ACT ONE
FADE IN
RENO - NIGHT - ESTABLISHING - STOCK
EXT. ND HOTEL - NIGHT - STOCK
INT. CASINO - NIGHT - STOCK
Should be maximum up-key.
CLOSE ON CRAP TABLE (TO MATCH)
Action at the table, loud music from the lounge, Charles
Acton, fifty-five, graying temples, handsome and
distinguished is on a roll. Quite appropriately standing
next to him as if completing an ad for Gentleman's Quarterly,
a woman wearing both furs and jewelry, none of which she'd
need to be the centerpiece for the entire room. She is
Tanya Walker. She looks at her watch discreetly as Charles
clenches his fist in conservative jubilance.
CROUPIER
Seven the winner.
A stack of hundred dollar checks is pushed at Charles and
he modestly picks them up and places them in a chip holder
already packed. He is having a very lucky night.
CHARLES
I can't seem to lose tonight.
TANYA
Don't say that. It could lead to
bad luck.
CHARLES
I don't believe in luck.
He turns back to the table.
TANYA
Then you won't mind if I leave you
for a while?
CHARLES
(distracted)
Where are you going?
TANYA
Just to get some fresh air.
Tanya kisses him on the cheek and departs.
INT. CORRIDOR - NIGHT
as Lonnie dressed as a maid pushes a cleaning cart into
scene and stops in front of the double doors to a penthouse
suite. She knocks, waits a beat, then unlocks the door and
enters.
INT. SUITE - NIGHT
as she talks into a H/T unit.
LONNIE
Point one to point two. I'm inside
and clear.
EXT. PARKING LOT - NIGHT
where Michael Long, his face in dark shadow, is seated
behind the wheel of his car watching the entrance to the
hotel. He appears tense as he glances at his watch, then
speaks softly into a H/T unit.
MICHAEL
Ten-four, point one.
TANYA (o.s.)
Hi there, Michael.
INT. CAR - NIGHT
Michael reacts, startled, as the passenger door opens and
Tanya Walker slides into the car next to him.
MICHAEL
What are you doing here, Miss Walker?
TANYA
Just getting some peace and quiet.
I'm not much up to all this high
living and it's off hours, Michael.
You can call me Tanya.
MICHAEL
I saw you in the casino with the big
boss, I'd better keep it Miss Walker.
TANYA
Afraid of me? I like that. But you
don't need to worry. Not as long as
I continue to like it.
She slides a bit closer to him as he reacts.
INT. SUITE - NIGHT
The room is totally dark except for a cone of light revealing
Lonnie as she feverishly photographs a stack of documents in
front of an open safe.
INT. CAR - NIGHT
where Michael is even more tense as Tanya snuggles up to him.
MICHAEL
Look Tanya, don't you think you
ought to be getting back inside?
TANYA
Plenty of time, Michael. You know,
with a little cooperation you could
be a lot more interesting than any
chairman of the board.
Michael surreptitiously glances at his watch again as she
moves even closer.
INT. SUITE - NIGHT
as Lonnie finishes her copying, stacks the documents and
shoves them into the safe.
INT. CORRIDOR - NIGHT
As Lonnie exits into corridor, she grabs a long coat from
under the cleaning cart, puts it on and shoves the camera
into a pocket. She crosses to the elevator. As the doors
open, Wilson and Symes exit. As she enters, they start for
the suite, take one look at the cleaning cart, react with
suspicion, then turn and stare at Lonnie for a beat. Her
reaction betrays her and they start to cross back to the
elevator just as the doors close and the car starts down.
In frustration, Wilson starts pushing the elevator button.
INT. ELEVATOR
LONNIE
(into H/T)
Point one to point two. I'm out
with the goods, but I think I'm
burned. Cover me.
INT. CAR - NIGHT
where Michael is getting increasingly tense as he reacts.
We can see he's wearing an earplug to his H/T in his left
ear.
MICHAEL
Look, Tanya. I'm sure at the right
time and in the right place we could
really get something going, but....
TANYA
But this isn't it, huh? Pretty
gutsy attitude to take to the
chairman's executive assistant.
ANOTHER ANGLE
as Lonnie exits the hotel and starts moving in the general
direction of Michael's car, looking over her shoulder as she
does so.
INT. CAR
as Michael spots her moving towards him.
MICHAEL
Sorry Tanya. Fun time's over. Out.
He withdraws his wallet and flips it to reveal a badge.
TANYA
A cop! You? What for? What....
MICHAEL
Tomorrow. I'll tell you about it
tomorrow. Right now you're just in
the way. For your own safety, get
lost.
HIS POINT OF VIEW
as he spots Wilson and Symes exit the hotel and move toward
Lonnie. They are closer to her than Michael is.
INT. CAR - NIGHT
as Michael exits the car and starts moving through the lot
towards Lonnie.
ANOTHER ANGLE
As Lonnie realizes that Wilson and Symes have cut her off
from Michael, she panics and turns and runs in the other
direction. As they all follow:
ON HER CAR
as she reaches it, climbs in and splits.
ON WILSON AND SYMES
as they race back to their car.
ON MICHAEL
as he races back to the limo and climbs in only to discover
Tanya is still there. As he starts the car:
MICHAEL
Out.
TANYA
No way. I'm going with you. You
might need help.
MICHAEL
All right. There's no time to argue.
ON THE LIMO
as it pulls out.
EXT. HIGHWAY - NIGHT
as the three cars, Lonnie, Wilson and Symes' and the limo
all flash past. Wilson and Symes are considerably closer
to Lonnie than the limo.
EXT. HIGHWAY - NIGHT
as Wilson and Symes cut off Lonnie and force her off the road.
DESERT ROAD - NIGHT (SHOT)
It is night on a lonely desert road as Wilson and Symes
emerge from their car which has pulled Lonnie off the road.
With red lights flashing, Symes moves from a car marked:
ALLON CHEMICAL
Special Security
WILSON
Will you step out of the car please.
Lonnie steps out revealing a sumptuous figure.
WILSON
I'll take the microfilm....
Lonnie reaches into her purse and removes a small micro-
camera. Suddenly, the scene is bathed in light as the
limousine screams up from o.s.
ON MICHAEL (SHOT)
as he climbs out of the car, his gun leveled on the three-
some.
MICHAEL
Hold it right there. You move. I
fire.
THE CONSPIRATORS (SHOT)
freeze.
MICHAEL
Drop the gun, and kick it over here.
WILSON
Michael Long, the boss' chauffeur.
Well. We seem to have made a
small mistake.
Tanya climbs out of the limo and comes forward around the
side of the car.
MICHAEL
I'd call treason more than a small
mistake. It draws the death
penalty. Tanya, pick up that gun.
TANYA
That won't be necessary. I have my
own.
Michael freezes, a chill racing up his spine. He sees the
expressions on the faces of his three captives relax into
smiles, then into laughter. Slowly he turns to look.
ON TANYA (SHOT)
as she stands with the gun straight out, aimed into Michael's
face.
MICHAEL
You're working with them?
TANYA
Ahh. I've disappointed you.
MICHAEL
Tanya. Give me the gun. I can
still make a deal for you, if you
cooperate.
He extends his hand for her gun.
MICHAEL
Give it to me.
TANYA
I intend to.
Cooly, she fires into Michael's face at point-blank range.
MICHAEL (SHOT)
flies off of his feet in slow motion, his hands racing up to
cover his face...He tumbles backwards into the darkness of
the desert fringing the highway, only his shoes protruding
onto the light of his own headlights. Michael's point of
view slow motion. All is suddenly still except for the
sound of Michael's idling car. Fade to black. Over this
o.s.
WILSON'S VOICE
What about the girl?
TANYA
Waste her. Now.
We hear a scream and a shot. Then silence.
SLOW DISSOLVE THRU TO
A NEW ANGLE (SHOT)
on the strange death scene as suddenly something is happening
as we perceive a strange whine far in the distance and camera
tilts up to reveal a pinpoint of light far off on the horizon.
The light grows larger and larger until it is directly over-
head. Suddenly a powerful light bursts on, bathing the scene
of carnage in dazzling brightness. Close on a weathered old
face. The man is Wilton Knight. He stares down from the
hovering machine.
KNIGHT
My God. We're too late.
He signals and the machine begins to lower down to the
highway.
SLOW DISSOLVE TO
HIS POINT OF VIEW (SHOT)
where we see the bodies of Michael and Lonnie sprawled in
the dust.
THE KNIGHT ESTATE - DAY (SHOT)
as a twin turbine jet helicopter lands behind a massive
house. On the machine is the logo of KNIGHT INDUSTRIES.
OMITTED
ON DOCTOR MILES (SHOT)
as he examines the now carefully bandaged and reconstructed
form of Michael Long. He looks at a wall of medical instru-
mentation and examines the eyes of Michael as Wilton Knight
enters the room.
KNIGHT
Well?
MILES
You're right. He's probably the
only human being on this planet in
worse condition than you.
KNIGHT
You have the bedside manner of a
rattlesnake.
MILES
My deal with you was honesty. You
want me to tell you he's in good
shape? He's in good shape.
KNIGHT
Is he going to die?
MILES
He should have. The bullet was
fired into his head at point-blank
range.
KNIGHT
Then how did he survive? You aren't
that good a doctor. Look at what
you've done to me.
MILES
The man has a metal plate in his
forehead. Military surgery, I'd
suspect. It deflected the bullet
away from a dead center hit in his
brain and back out through his
face. We'll never know what he
looked like.
ON MICHAEL
stirring restlessly...mumbling...crying out in anguish and
anger.
KNIGHT
That's it, son...get mad...and stay
mad. It will keep you living. Just
like me.
MONTAGE ON MILES AND NURSES
taking Michael through a series of quick shots to indicate
treatment and recovery over a period of time. We start with
evidence of massive life support equipment which is removed
in successive shots.
EXT. ESTATE GROUNDS - DAY
Devon and Knight are seated on a bench.
KNIGHT
Anyway, Devon...in the eyes of the
law, Michael Long is legally dead.
Devon looks uncomfortable.
DEVON
I just don't understand this
obsession you have about Michael
Long. Besides, it could get the
Doctor in trouble.
KNIGHT
Stop worrying about it. How can
saving a man's life lose the Doc his
license?
DEVON
Stealing a body from the medical
school for the police to find isn't
exactly playing by the rules.
KNIGHT
I make my own rules. So does the
government. They fake deaths and
identities all the time.
DEVON
All right. But why are you doing it?
KNIGHT
Let's just call it a hunch.
DEVON
You're not considering him for...?
KNIGHT
Like I said, Devon. It's a hunch.
A hunch I haven't started playing
yet. Now, what's the progress
report on the automobile. I'm
running out of time.
DEVON
It's almost completed. There are
some complaints about the all-night
hours and the secrecy. Some of
these men have families.
KNIGHT
Who are being well taken care of. I
want it done and I want it done
within the next forty-eight hours.
DEVON
Surely the Doctor hasn't told you....
KNIGHT
Don't you worry about what the
Doctor's told me. Just get your job
done. Let me worry about the
doctors...and Michael Long.
Knight turns and moves off...Devon watching him with begrudg-
ing affection.
OMITTED
THE STRANGE STRUCTURE - NIGHT
as seen by night, with people coming and going as if a work
shift were exchanging places.
INT. MICHAEL'S ROOM - NIGHT
as Michael, his face and eyes bandaged, listens to the
sounds trying to decipher them. A voice spins him around.
KNIGHT
Sometimes I have trouble sleeping
myself.
ANOTHER ANGLE TO REVEAL KNIGHT
as he enters, and using his cane crosses and sits in a
large chair.
MICHAEL
I was thinking about Lonnie. She
didn't make it, did she?
KNIGHT
I'm sorry. There was nothing we
could do.
MICHAEL
At least it's a straight answer.
The first one I've had since I've
been here...we were more than just
partners, you know. A lot more.
Worked together for three years. I
was supposed to cover her and I blew
it. I....
KNIGHT
You were sold out. It wasn't your
fault. There was nothing you could
have done.
MICHAEL
Maybe. I'll just never know, will I?
There is a long beat. Then....
MICHAEL
What's going on? What is it you
people are doing out there?
KNIGHT
Nothing that should occupy your
thoughts. You're to concentrate on
getting well.
MICHAEL
For a man who talks like he's on his
last legs, you worry an awful lot
about other people.
KNIGHT
Only you.
MICHAEL
Why me? How did I become so impor-
tant to you.
KNIGHT
Didn't you know? I'm America's
foremost champion of the underdog.
MICHAEL
Is that what I am?
KNIGHT
Supreme. You can't be much more
under than dead.
MICHAEL
I'm grateful. But I don't like
living in the dark.
KNIGHT
Then I have good news for you.
Tomorrow morning, you come out into
the light.
MICHAEL
The bandages?
KNIGHT
The bandages.
INT. THE ESTATE HOSPITAL ROOM (SHOT)
Doctor Miles stands over Michael who is prone on an
operating table. Knight looks on from across the room as
one by one, the delicate bandages come off.
ON DEVON (SHOT)
as he enters and moves up to Knight.
DEVON
I have good news for you. The car
will be ready by....
KNIGHT
Shhhh....
Knight moves forward leaving Devon mystified and not just
mildly frustrated.
DEVON
(under breath)
I work these people around the clock
and suddenly you aren't interested.
ON MILES (SHOT)
as he masterfully lifts the final strip of adhesive and
begins to unwrap Michael's face. Knight moves in to stand
beside him, and Devon beside the two other men. We are
looking up at them from Michael's point of view as they
stare down not revealing anything.
ON MICHAEL KNIGHT (SHOT)
A new face, far more rugged than his former image. Char-
acter and age somehow replacing youthful naivete.
MICHAEL
That bad?
MILES
On the contrary. An excellent job
if I do say so myself. Why don't
you go look for yourself?
Almost reluctantly, Michael rises up and moves slowly across
the room to a mirror.
KNIGHT
Perfection.
Miles moves down to Michael, who stares into the mirror.
MICHAEL
Who is it? It isn't me.
DEVON
Would you like to walk around with
a face that could get you killed all
over again?
Michael raises his fingers up to feel the unfamiliar con-
tours.
KNIGHT
Take my word. You'll be much
happier with this face.
Devon leans in.
DEVON
Does it strike you that there's an
uncanny resemblance between this
fellow and you as a young man?
Knight shoots Devon a wilting glare.
DEVON
Just my imagination, I'm sure.
KNIGHT
Stick to your task. When will I see
it?
DEVON
I tried to tell you. Tonight.
KNIGHT
Excellent. My work is almost
complete.
EXT. GROUNDS - DAY - ON MICHAEL THROUGH BINOCULAR MATTE
jogging around the perimeter of the Knight Estate wearing
simple blue shorts and jogging shoes.
ON KNIGHT
Camera pulls back to reveal Knight watching him. Knight
lowers the binoculars and nods in satisfaction.
CLOSE ON MICHAEL - DAY
on the lawn in the same wardrobe doing pushups as Knight
enters the shot and sits on a nearby bench.
KNIGHT
Aren't you pushing it a bit, Michael?
MICHAEL
I've got to get back into shape fast.
I've still got a job to do.
KNIGHT
(testing him)
Oh? And what would that be?
Michael switches to situps so he's facing Knight, but
continues.
MICHAEL
There's a woman named Tanya and two
friends of hers that need taking
care of. By me. Personally.
KNIGHT
Revenge?
MICHAEL
Not just revenge. Maybe Lonnie and
I were blown and maybe I just blew
it myself, but either way, I've got
to finish the job. We were after
them for industrial espionage. Now
they're going down on a homocide
count.
KNIGHT
Dead or alive?
MICHAEL
Their choice.
KNIGHT
But do you have to pursue it? After
all, you're not a cop anymore.
You're not even Michael Long anymore.
In a manner of speaking you're not
even alive anymore.
Michael stops exercising and moves towards Knight.
MICHAEL
Look, I didn't become a cop for the
money, or the pension, or the sense
of power it gives some guys. I
became a cop because there's things
wrong with this world that need
fixing.
KNIGHT
Like Tanya and her friends?
MICHAEL
Like Tanya and her friends. They
need to be put away. And lots more
like them.
KNIGHT
An endless supply I'd say. But why
you? You're just one man.
MICHAEL
Because just one man can make a
difference, that's why.
KNIGHT
(really probing)
And you really believe that?
MICHAEL
Let's just say I wouldn't want to
live in a world where I couldn't
believe it.
As Knight reacts:
DISSOLVE TO
INT. KNIGHT'S STUDY - DAY
As Knight enters Devon is working at the desk. Knight is
really high.
KNIGHT
I've found him, Devon. I've found
the one element we needed to
complete the equation.
DEVON
Don't tell me. It's Michael Long.
Right?
KNIGHT
Right.
DEVON
For my sins it had to be.
KNIGHT
He's exactly what we need for the
project. My God, Devon, he's what
I'd be if I could invent a new body
for myself. He's what I was forty
years ago. And with it all still in
front of him.
DEVON
You know, Wilton, I've never agreed
with you about the project. Not at
all. And I never will. But even if
I did, question whether Michael Long
would be my first choice. He's much
to brash and too impetuous for my taste.
KNIGHT
Devon, you know I've always respected
your intelligence. In fact, I don't
believe I've ever met anyone smarter
than you. But there's one thing I
value even more highly.
DEVON
What's that?
KNIGHT
My instincts, Devon. My instincts.
DISSOLVE TO
ON MICHAEL
as he lies on his bed in a darkened room. Sounds outside
draw his attention. He rises up and moves to the window.
POINT OF VIEW - THE STRANGE IVY-COVERED BUILDING
as two dozen workers move out and into busses, leaving their
job for the night.
MICHAEL
thinks about it. Moves to a closet and pulls out some
clothes.
ON THE GROUNDS
Michael watches as a security guard paces past a door and
around the side of the building. He enters the door vacated
by the workers.
INSIDE THE LARGE WAREHOUSE-LIKE STRUCTURE
It might have been designed to accommodate a prototype 747.
In fact, the superstructure is very much like an aircraft
hangar, although the small Lear-type jet which sits in a far
corner is dwarfed by the dimensions of the building, where a
dark form in the shape of an automobile silhouette stands
ominously beckoning to Michael. He moves closer, closer,
until a narrow red light comes on and begins to scan the
area between the shape and Michael. It is as if he is being
perceived by a red-eyed Cobra. Michael stops in his tracks,
sucks in his breath, then moves forward once more. Suddenly
the headlights pop up, bathing him in light. Again, Michael
stops, startled. Once more he starts forward and suddenly
the engine roars to life. Suddenly, the car lunges ahead
driving straight for Michael. As the car bears down on him,
we:
FREEZE FRAME
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
ON MICHAEL
as the sleek car screeches to a halt at his feet, and the
lights to the cavernous room resembling something out of the
Kennedy Space Center suddenly blossom, with straight down
beams of light on the sleek vehicle.
KNIGHT
Enough, Devon. You've had your fun
with your guest.
Devon climbs out of the car and Michael turns to see Wilton
Knight limping forward with his cane.
DEVON'S VOICE
It's not polite to sneak about
uninvited.
KNIGHT
Be gracious, Devon. I think an
explanation is well overdue.
MICHAEL
You're damn right it is. Now what
is all this? You could throw World
War III in here without hitting the
walls.
KNIGHT
I'm an inventor. That small jet
over there revolutionized corporate
aviation.
MICHAEL
The Knight 2000. I know about that.
KNIGHT
I'll bet. But you don't know about
this. Gentlemen....
From above, lines pull on the silk cover, revealing beneath
it in the center of the spotlight, the perfect likeness of
Michael's sleek black Trans Am.
MICHAEL
That's my car.
KNIGHT
No, it may look like your car, but in
actuality, that vehicle is now probably
the most expensive car in the world.
MICHAEL
Come on...What are you talking
about? It's nice body work, but....
Michael has moved up to the sleek machine. He pats the
fender. He reacts.
MICHAEL
What kind of paint is this? It
feels like baby skin.
He looks closely.
MICHAEL
Guys do nice paint work. Hasn't got
a ripple in it....
He leans in close.
MICHAEL
Like a mirror. A dentist could use
this to drill....
KNIGHT
It isn't paint. It's a finish
bonded into the molecular structure
of a new substance.
MICHAEL
You mean the metal?
KNIGHT
It isn't metal, and it isn't fiber
glass. Devon.
Devon moves forward out of the shadows with a large pinhead
hammer.
KNIGHT
Here. Strike the surface as hard as
you can.
MICHAEL
I'm not going to hit my car. It's
beautiful. If I were another car,
I'd be in love.
Knight smiles. Takes the hammer himself and raises it
high, driving it down. It bounces off the surface and out
of Knight's hand. Michael stares at the skin of the car in
disbelief.
DEVON
reacts with alarm as he rushes up to Knight. Knight appears
slightly dizzy.
KNIGHT
No, I'm fine, Devon. Fine. I keep
forgetting I'm not supposed to be
doing the work anymore. I'm
strictly upper management.
MICHAEL
Mr. Knight, what's with this car?
DEVON
It's quite simple, Mr. Long. This is
a one of a kind car. It is faster
and safer, and stronger than any
machine in the world. It is com-
pletely operated by microprocessors
which make it physically impossible
for it to be involved in any kind of
collision or mishap, unless specifically
ordered by its pilot.
MICHAEL
Pilot? Don't tell me this thing
flies.
DEVON
No. But it thinks.
MICHAEL
It thinks? My car thinks?
DEVON
We like to think of it as our car.
MICHAEL
Well, don't get too attached to my
car. I'm going to be pulling out of
here in the morning and it's going
with me. I'll pay you whatever I
can as soon as I get situated.
DEVON
Mr. Knight has a fortune in his
car. There's no way you could ever
repay him.
MICHAEL
Okay, fine. I owe you my life.
Keep the car and replace it...or
loan me bus fare. I've spent three
months learning how to walk and talk
all over again and now I have to
leave.
KNIGHT
Prepare the car for him, Devon.
DEVON
But, sir....
KNIGHT
I said, prepare the car. There's a
great deal he'll need to know about
it before it's safe for him to
drive. I must go to bed. I'm not
feeling very well.
Knight turns and starts out of the immense complex. Devon
turns a severe look to Michael.
DEVON
You just struck a dying man.
MICHAEL
Hey, listen. I like that old man.
I really do. But it's time to get
on with my life.
DEVON
You wouldn't have a life if he
hadn't brought you here. There are
people who will still kill you if
they find out you're alive.
MICHAEL
But I'm legally dead, remember? I
don't even know me with this face.
DEVON
You have no interest in avenging
your own death?
MICHAEL
Yeah. I plan to look up a certain
little lady and her two playmates.
But it's going to be in my own way
and in my own time.
DEVON
You'd never find them. We on the
other hand are tracking their
movements very carefully.
MICHAEL
You know where they are? Tell me.
DEVON
All in good time. Tomorrow morning,
you will arise at six am and I will
introduce you to our car.
Devon turns and leaves. Michael stares momentarily, then
follows after him.
DAWN ON THE ESTATE
We hear the roar of a car.
INSIDE THE WAREHOUSE
Devon climbs out from behind the wheel and walks to the
passenger side and climbs in.
MICHAEL
walks up and stares inside at the futuristic panel.
DEVON
Well, don't just stand there with
your mouth open. Get in.
INSIDE THE TRANS AM
DEVON
Welcome aboard the Knight 2000.
MICHAEL
Hey. It's still my Trans Am.
Devon reaches over and touches a panel and a whirring sound
snaps on as the dashboard switches from normal to super
and the car comes to life.
DEVON
Is it really?
MICHAEL
(dubiously)
That's really something. Well, now
what do I do?
DEVON
I'd recommend depressing the
accelerator as a beginning.
Michael simply does as he's told. The results are startling.
The Trans Am leaps forward with such acceleration that there
is no stopping at the door.
ON THE OUTSIDE OF THE WAREHOUSE-LIKE STRUCTURE (SHOT)
as the Trans Am fires through it, splintering the door into
a million toothpicks. Suddenly the car screeches to a halt.
INSIDE THE TRANS AM (SHOT)
DEVON
I'd have preferred you let me open
the door first, however, no harm has
been done to the car.
Michael jumps out and rushes to look at the front of the
car, then slowly moves back and reenters the vehicle.
MICHAEL
There's not a scratch on it and that
door is made out of metal.
DEVON
You were told that the new alloy is
virtually indestructible.
MICHAEL
Yeah? Well, you also said that this
machine couldn't have a collision.
DEVON
Not if that system is operable. But
first you have to turn it on.
Devon simply reaches over and touches another heat sensitive
switch on the dash.
MICHAEL
Now you're telling me I can't hit
anything?
DEVON
Trust me.
MICHAEL
I'll never trust anybody again.
Michael floors the car and aims for the edge of the property.
A security guard tips his cap to Devon and opens the gate in
time for the Trans Am to streak off the grounds.
OUT ON THE HIGHWAY - DAY (SHOT)
The Trans Am roars along.
MICHAEL
I'm warning you. I'm going to put
this thing to the test.
DEVON
Be my guest.
ON A SEMITRUCK AND TRAILER (SHOT)
moving up the highway...panning back we see the Trans Am
moving up rapidly behind it.
INSIDE THE TRANS AM (SHOT)
MICHAEL
I can't believe this. I'm playing
chicken with a ten-ton semi....
DEVON
I believe the expression is, 'Keep
the pedal to the metal.'
ON THE TRANS AM (SHOT)
as it races up and suddenly turns, passing the truck.
BACK INSIDE THE TRANS AM (SHOT)
MICHAEL
The car just drove around the
truck...it steered itself.
DEVON
The microprocessor deduced that you
were making one counter to your best
interests. It had two options.
Slow the car down, or maneuver
around the obstacle.
MICHAEL
Okay, so why did it steer around the
truck instead of slowing down? That
would have been much safer.
Devon looks pained. He doesn't answer right away.
MICHAEL
Come on...come on...I think I just
found a flaw in your perfect machine.
DEVON
It isn't a flaw...It's just that....
MICHAEL
Yeah....
DEVON
It's showing off for you.
Michael's head snaps around to look at Devon.
MICHAEL
What?
He brings the car to a halt.
DEVON
Don't blame the machine. Actually I
had a part in it. I'm afraid I've
allowed you to annoy me. I could
have set the anticollision system
for any one of several conditions.
MICHAEL
Such as?
DEVON
Such as actual road driving, pursuit,
or....
MICHAEL
Yeah? Or....
DEVON
The car can react to a complex
network or stimuli that are a little
too advanced to explain to you all
at once. Suffice to say it can
drive itself, under certain required
conditions.
MICHAEL
Oh, great. You mean it can decide
to take off and go for gas, or a car
wash. Just like that. Be great if
you happen to be working under it at
the time.
DEVON
It wouldn't do anything to harm you,
I assure you. Its primary function
is in the preservation of human life.
Your life.
MICHAEL
By me, you mean anyone driving this
thing.
Devon takes a long pause, and a deep breath, continuing to
stare straight ahead.
DEVON
No, actually I mean you. Michael
Arthur Long. Soon to be Michael
Knight.
Michael stares at Devon long and hard.
EXT. ROAD - DAY
A deserted highway in the desert as the Trans Am races
past at a speed approaching two hundred miles an hour.
INSERT - A DIGITAL SPEEDOMETER (SHOT)
as it passes two hundred.
ON MICHAEL
as perspiration runs down his temples. Slowly he brakes the
car and comes to a complete halt. He turns to Devon.
MICHAEL
Okay. It wins. I chickened out
first. What's the high end?
DEVON
You don't want to know.
MICHAEL
It's time for another talk with
Mr. Knight.
DEVON
I was hoping you'd feel that way.
INSIDE THE MANSION (SHOT)
Doctor Miles exits a room, appearing quite grave.
MILES
You'd better go right in.
ACROSS KNIGHT IN BED TO THE DOORWAY
through which Michael and Devon enter. They cross to his
bedside. Knight's eyes are closed. It appears that they
are too late.
MICHAEL
We're too late.
Knight's eyes open. They shift to Devon and Michael.
KNIGHT
Almost. What kept you? Car not
fast enough?
MICHAEL
The car's fantastic. It ought to make
you another fortune.
Knight grimaces with pain. He coughs.
KNIGHT
Another fortune is not one of my
more urgent problems. That car is
not yet ready to go public. It has
a more immediate mission. I have
plans for that car. Plans that
should interest you greatly.
MICHAEL
Like how?
Knight starts to reply but is interrupted by more coughing.
DEVON
Perhaps I can explain more easily,
sir.
Knight nods weakly.
DEVON
It was no coincidence that we
happened to be there the night
you were shot. You see we were
following Tanya Walker, looking
to catch her in possession of enough
evidence to put her and her friends
away for a long time.
MICHAEL
Don't tell me she took Knight
Industries, too?
KNIGHT
For a couple of million dollars
worth of designs. And as smooth an
operation as I've ever seen.
MICHAEL
So that's why I'm here. You were
going to use me to get them.
DEVON
Let's say rather, that we were
considering allowing you to use us
and the Knight 2000 to get them.
KNIGHT
This is no time for quibbling,
Devon. Michael, we have a common
cause here. To put Tanya and her
friends away. Common sense dictates
that we work together -- I mean that
you and Devon work together on this.
Agreed?
MICHAEL
We do it my way?
Devon starts to bristle but Knight cuts him off.
KNIGHT
Your way.
MICHAEL
You got yourself a deal.
KNIGHT
Thank you, Michael. But Tanya is
only a beginning. There's much more
to be done. Much more that you can
do for me. You see Michael, I want
to live on through you.
MICHAEL
(pauses,
contemplating
his words)
Mr. Knight...I can't stand here at a
time like this and lie to you...I
just don't know if....
Michael stops in midsentence as he sees a frail hand
extended towards him. He looks from the hand to the face of
Wilton Knight. There is a small smile on his face.
MICHAEL
fights off emotion as he reaches out and takes the hand.
KNIGHT
My adventure has ended, and yours has
just begun.
KNIGHT
seems to relax, his eyes slowly closing out the visitors.
His smile fades to a look of peace.
ON MICHAEL
as he looks down at the limp hand in his own. He places it
at Knight's side.
IN A SPRAWLING, LUSH GREEN CEMETARY
A large number of people are in attendance of Wilton Knight's
funeral, including some television news teams.
REPORTER
(speaking
in a hush)
And so the end comes for another
American pioneer whose life was
dedicated to bucking the system and
proving that the individual can
still fulfill the American dream.
Wilton Knight, dead at the age of
eighty-one.
MINISTER
Ashes to ashes, dust to dust, amen.
Michael Long turns and walks out of the crowd of mourners.
Devon Shire whispers something and tosses a flower onto the
grave.
ON MICHAEL AND DEVON
as Devon catches up to him.
DEVON
Don't walk so fast. I'm an old man.
MICHAEL
Sorry...But I've got places to go.
DEVON
Typical. You can't wait to go into
action and you haven't got a clue as
to where to start.
MICHAEL
And I suppose you do?
DEVON
Of course.
Michael stops in his tracks.
DEVON
(continuing)
Tanya's working in what they call
Silicon Valley. Probably the
wealthiest four-mile strip of space
age industry in the world. She's
managed to promote herself into a
job as executive assistant to Will
Benjamin, the president of COM TRON,
one of the really big operations.
MICHAEL
I've heard of Silicon Valley. It's
where they make all those microchips.
A perfect target for her kind of
operation.
DEVON
My thoughts exactly.
MICHAEL
Well if Tanya is in Silicon Valley,
that's where I'm going. Now...Today.
DEVON
I forbid it. We haven't worked out
a game plan.
MICHAEL
You can't forbid it. That wasn't
the deal. Besides you work out the
game plan and tell me about it later.
DEVON
I had a feeling this wasn't going to
be easy.
MICHAEL
Easy's not the point. Winning is.
He starts off then suddenly stops and turns back.
MICHAEL
What did Mr. Knight mean when he
said that Tanya is only a beginning?
DEVON
I was hoping you might have for-
gotten.
(sighs)
Mr. Knight left the bulk of his
fortune to the Knight Foundation of
which I am the Executive Director.
MICHAEL
The Knight Foundation?
DEVON
For law and justice. The major part
of our activity involves legal
research, class action environmental
suits, etc. etc. and are calculated
to change and improve the law
through evolutionary and academic
processes.
MICHAEL
Very interesting, but what's that
got to do with me?
DEVON
Absolutely nothing, of course. But
Mr. Knight did have one obsession.
One with which I strongly disagreed
and still do.
MICHAEL
Then it must be a real winner.
Devon sighs in frustration.
DEVON
Mr. Knight believed that there were
and would be situations in which
direct intervention, direct action
might provide the only feasible
solution. That's what the Knight
2000 was designed for. The pilot
project is to consist of one man and
one car.
MICHAEL
And I'm supposed to be that man?
DEVON
By an unfortunate coincidence, you
used a phrase in talking to Mr. Knight
which, in essence, summed up his
philosophy on this particular
project.
MICHAEL
You know, I don't even remember what
I said.
DEVON
You said, and I quote, 'that one man
could make a difference'. I'm
afraid that -- to put it in terms
that you can relate to -- that it
blew his mind.
MICHAEL
And so he picked me for the project?
That's pretty heavy, Devon. I just
don't know if....
DEVON
Think about it, Michael. Think
about it while you're chasing after
Tanya and her friends.
MICHAEL
I'll do just that.
DEVON
Good. And what will sustain me in
the days to come is the happy
thought that you'll decide to pass.
As Michael reacts:
DISSOLVE TO
ON THE TRANS AM PARKED IN FRONT OF THE MANSION
Michael is looking as a registration slip on a visor.
MICHAEL
Michael Knight?
DEVON
Michael Long is dead. Remember
that. You wouldn't want to die
by using it a second time.
MICHAEL
No, once was plenty, but how do I
suddenly....
Devon extends a wallet to Michael. He flips it open.
MICHAEL
A driver's license...credit cards....
DEVON
All according to Mr. Knight's orders.
MICHAEL
I'm glad you're so devoted, Devon.
It'll save us both a lot of energy.
DEVON
You're a primitive, Mr. Lon....
Michael holds up a finger as if to say...ah, ah, ah....
DEVON
...Mr. Knight. Quite predictable.
MICHAEL
You think the old man was pretty
smart.
DEVON
A certifiable genius.
MICHAEL
Then get off my back. He must've
known what he was doing when he
picked me. I'll be on my way now.
Michael fires up the car.
DEVON
Wait...there are countless more
things about the vehicle to explain
to you....
MICHAEL
I'm a fast study. I'll pick things
up as I go along.
DEVON
That's very foolhardy and quite
unnecessary. Time is not that much
of the essense. Tanya isn't going
anywhere yet.
MICHAEL
If I followed your logic, I'd just
sit back and let her die of old
age. Good-bye and thank you,
Devon. I want you to know I'm kind
of getting to like you.
DEVON
What?
MICHAEL
Never mind. What does it mean,
anyway. Coming from a primitive
like me.
Michael gives Devon his best cocker spaniel bark...rolls up
the window and floors it.
ON DEVON
as he simply watches the car race off in a cloud of rubber
smoke then looks skyward as if he were the star of a Xerox
commercial.
DEVON
Wilton...He's everything you said he
was. What have you gotten me into.
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
OMITTED
ON BEAUTIFUL NORTHERN CALIFORNIA (SHOT)
lush and green as we helicopter a shot of the Trans Am
cutting up a long, nearly empty highway.
ON A SIGN (SHOT)
SAN FRANCISCO 241 Miles
MILLSTON 171 Miles
INSIDE THE TRANS AM
MICHAEL
One hundred seventy-one miles to
Millston. I wonder why they call
it Silicon Valley?
Suddenly a voice resembling the voice of Hal, the computer in
2001, begins a low drone.
K.I.T.T.
Silicon Valley, the home of over a
hundred small companies specializing
in microelectronics.
The car suddenly screeches to a halt.
MICHAEL
What the hell was that?
Michael scans the dash.
CLOSE ON A FLASHING LIGHT
marked: K.I.T.T.
MICHAEL (SHOT)
pushes the light. The voice resumes.
K.I.T.T.
Do you wish further information on
Silicon Valley?
MICHAEL
Hell, no. I want to know who you
are and how you're listening in.
K.I.T.T.
There's no reason for increased
volume. I am scanning your
interrogatives quite satifac-
torily. I am the voice of the
Knight Industries 2000's micro-
processor. K.I.T.T. for easy
reference. Kitt if you prefer.
MICHAEL
I don't prefer and what's more I do
not intend to drive around in a car
that talks back to me. So, either
Devon pulls your plug, or you get
yourself a new driver.
K.I.T.T.
Unfortunately, I am not programmed
to overrule your wishes.
MICHAEL
Oh, that's real good to hear,
because I don't want to hear another
peep out of you, until I can get a
call off to Devon. So clam up
so I can listen to some good music.
And don't offer any suggestions.
I'll choose my own.
K.I.T.T.
As you wish, Mr. Knight. But, since
I sense we are in a slightly irritable
mood caused by fatigue...may I suggest
you put the car in the auto cruise
mode for safety's sake.
MICHAEL
No, you may not. And that's final.
Good night.
K.I.T.T.
Good night.
ON MICHAEL (SHOT)
as he punches up a radio button and music fils the car with
a hard-driving beat.
MICHAEL
(mumbling)
Can't believe it. Car starts
talking to me. This machine has got
to go.
SLOW DISSOLVE THRU
TO ANOTHER AREA OF THE HIGHWAY - DAY (SHOT)
The Trans Am is speeding along to the sounds of different
music.
ON MICHAEL (SHOT)
as we see him fighting off sleep.
ANOTHER SLOW DISSOLVE THRU TO
THE TRANS AM (SHOT)
in still another part of the highway. Underscored by new
music from the radio.
ON MICHAEL (SHOT)
as his head nods, falling back against the headrest and
slightly cocked to one side. He is now sound asleep.
CLOSE ON K.I.T.T.'S FUTURISTIC INSTRUMENT PANEL
as we hear a beep and see two lights exchange positions.
INSERT ON THE LIGHTS (SHOT)
A flashing light reading "NORMAL CRUISE" moves from the
flashing stage to simply illuminated, while the light next
to it which has been illuminated to read "AUTO CRUISE"
begins to flash indicating that it is now activated.
ON THE TRANS AM (SHOT)
as it begins to maneuver around a corner, neatly and safely.
OMITTED
INSERT - CLOSE ON K.I.T.T.'S FUTURISTIC INSTRUMENT PANEL
A single light flashes and we see the car wheel turn
slightly and move over, the speed coming down. Michael
continues to sleep.
OMITTED
A POLICE CAR (SHOT)
as it races out across the double line and speeds up to pass.
ON DEKE AND KYLE (SHOT)
as they pass the car.
POINT OF VIEW OF THE TRANS AM (SHOT)
with Michael cuddled against the window, sound asleep.
BACK INSIDE THE POLICE CAR (SHOT)
KYLE
Did you see what I saw? That man is
plumb asleep at the wheel.
DEKE
Well slow down and get his attention.
He ain't gonna make Dead Man's Curve
up ahead.
THE POLICE CAR (SHOT)
slows down until it is driving parallel to the Trans Am.
The police car's horn begins to honk incessantly. They flip
on the intersection bleeper which sounds like a destroyer
bearing down on a submarine.
MICHAEL (SHOT)
remains dead to the world.
BACK IN THE POLICE CAR (SHOT)
Kyle looks up ahead with fright.
DEKE
Kyle, drop back. He ain't gonna
make that curve and he'll take us
right along with him.
KYLE
He's deader 'n a doornail...but you
can't say we didn't try.
THE POLICE CAR (SHOT)
drops back behind the Trans Am.
POINT OF VIEW OF THE TRANS AM (SHOT)
as it negotiates Dead Man's Curve perfectly.
ON THE TWO POLICEMEN (SHOT)
as they exchange incredulous looks.
ON THE TRANS AM (SHOT)
as it continues to snake down a winding road leading to the
valley below.
KYLE
That boy woke up just in time.
DEKE
Probably drunk as a skunk. Let's
pull him over.
Once again the police car pulls alongside the Trans Am on
the winding road.
POINT OF VIEW OF THE TRANS AM (SHOT)
with Michael sleeping soundly, a smile on his face.
THE TWO POLICE OFFICERS (SHOT)
exchange incredulous looks.
OMITTED
INSIDE THE TRANS AM (SHOT)
The radio dial turns down to be replaced by a beeper not
unlike a wake-up call.
ON MICHAEL (SHOT)
as he stirs, his sound sleep jarred by the change in
environment, first the comparitive silence from the dimming
radio, then the beeper...then the ungodly siren, horn
blaring and screaming policemen.
MICHAEL
What in the....
Michael looks back.
MICHAEL
Oh oh...What'd I do?...
K.I.T.T.
Deny everything.
INSERT - THE DASHBOARD
as Michael switches it from super to normal.
THE TRANS AM (SHOT)
pulls over, the police car moving to a stop behind it.
Michael is digesting that as the officers both come forward,
each with a hand on his gun.
DEKE
Okay...Out....
K.I.T.T.
If I may suggest. Deafness is always
a good approach to law enforcement
officers.
MICHAEL
You shut up. I'll handle this. You
were probably weaving all over the
road.
K.I.T.T.
On the contrary. You couldn't have
driven better. I might also suggest
you display a slight kink in your
neck since you were driving with
your head against the window.
MICHAEL
Aah -- terrific. Why didn't you
warn me?
K.I.T.T.
You told me to keep quiet.
DEKE
Who's he talking to?
KYLE
Nobody. This boy's a hard-core alky.
DEKE
Did you hear me? I said, out, or
you'll spend the night in jail.
ON MICHAEL (SHOT)
as he moves his lips without sound coming forward and points
to his ears with one hand as he rolls down the window with
the other.
KYLE
That's better. Out. Get the
balloon, Deke.
MICHAEL
(loudly)
I'm sorry, officer, but can you
speak in sign language, or slightly
slower. I haven't quite gotten lip
reading down, yet.
KYLE
You mean you can't hear?
MICHAEL
Could you talk louder, into this ear.
Michael climbs out and turns his other ear, bending over
slightly for the officer, his head kinked to one side like a
permanent injury.
KYLE
You mean you're deaf?
DEKE
That explains everything. I told
you nobody could drive that smooth
if he was drunk...and we can get
home without spending the whole
night booking him.
MICHAEL
What?
Michael is yelling. So do the officers in return.
KYLE
He said...Never mind. Go on your
way. Sorry to bother you, but watch
your rearview mirror from now on.
We've been flashing you for miles.
MICHAEL
Yes, sir. I'll do that.
The officers walk back to their car, climb in and drive off
as Michael watches them, then climbs into the car.
K.I.T.T.
You're welcome.
Michael burns, shoves the car in gear and drives off.
EXT. MILLSTON - DAY - ESTABLISHING
ON A LARGE MODERN MANUFACTURING PLANT - DAY
A large logo reads:
COM TRON
ON THE TRANS AM - DAY
as it cruises to a stop across the street from the plant in
time to see a number of people, including several very
attractive young ladies, cross the street and enter a lively
looking establishment called the House of the Rising
Sun...with subneon lights in script proclaiming sushi,
disco dancing, and motel accommodations.
MICHAEL
House of the Rising Sun. This looks
like a good place to pick up on the
local scene.
K.I.T.T.
Saloons usually are.
MICHAEL
How would you know?
Michael pulls into the parking lot.
K.I.T.T.
Social gathering places where
alcoholic beverages are consumed in
quantity can create a causative
environment in which indiscretion
becomes commonplace. Just remember
you're there to listen, not to talk.
Michael flares up, pounding the dash as he climbs out.
MICHAEL
That's it. When a car starts telling
me how much to drink I've had it.
Three girls have paused in the doorway to take note of
Michael's outburst. Michael slams the door and storms away,
mumbling under his breath.
MICHAEL
Should have gotten rid of you before I
turned you on...Now I can't shut you up.
(arrives at
the door)
Evening, ladies....
They give him a weird look as he passes them and enters....
DORIS
Some guys sure start their belting
real early.
SALLY - DAY
is possibly the prettiest of the three girls but it's almost
a toss-up between three tens.
SALLY
He isn't our problem. Those guys
are. Let's stick to business.
The girls look back to see the three young men crossing from
the plant, wearing three-piece suits and laughing amongst
themselves. The girls enter the House of the Rising Sun.
INSIDE THE LIVELY DISCO
Michael sits alone at a corner table. The booths are taken
up by boisterous people enjoying themselves with ample
rounds of libation. Michael is eyeing a corner booth.
AT THE BOOTH
The three girls who entered the restaurant with Michael are
now well-ensconced with the three young executives who
entered just behind them. Two of them are getting extremely
friendly. A few kisses don't go unnoticed as Sally,
remaining aloof from the public display of affection,
casually glances over at Michael with sober curiosity.
Michael stares back. Sally appears interested, but is cut
off as Maggie, a young waitress, interrupts the cross-room
romance.
MAGGIE
Your tab's starting to get up
there. I'll need a credit card.
Michael glances up.
MICHAEL
Sure. Uh. Do you know those people
in the corner booth?
Maggie looks over at them.
MAGGIE
Lemme do you a favor. Unless you
like waking up sucking dirt, don't
get interested in anyone at that
table.
MICHAEL
It wasn't anyone at the table I was
curious about. It's someone else.
I noticed they all came across the
street from Com Tron.
MAGGIE
Yeah?
MICHAEL
Well, I'm trying to look up an old
friend of mine who works there. I
thought she might be able to help me.
MAGGIE
I used to work there. Who's the
friend?
MICHAEL
Tanya Walker.
Maggie's half-patient stare turns bitterly sour. She
suddenly takes the fresh beer on her tray and pours it into
Michael's lap. He jumps to his feet.
MICHAEL
Hey...What's a matter with you....
MAGGIE
That's what I think of friends of
Tanya Walker.
SALLY
is frozen on the outburst across the room. Catching
snatches of it, she watches as a Manager rushes up.
MANAGER
What happened here?..Oh, look at
your pants, what a terrible accident.
MAGGIE
It wasn't an accident.
MANAGER
Maggie, this is the last time I put
up with your discourtesy. You may
as well punch out. When you finish
up. You're fired.
MICHAEL
Hey, that's not necessary.
MAGGIE
Shut up, jerk. Go hang out with
those Com Tron bums. I fight my own
battles.
She shoves a tray with drinks into the Manager's gut in a
way he can't possibly handle. Three more drinks come
tumbling down onto Michael.
MICHAEL
watches as Maggie hustles into the kitchen. He is obviously
determined to continue the discussion.
MICHAEL
I think I'll leave before something
else comes down on me.
He rises giving special attention to Sally who is eyeing
his every move.
OUTSIDE THE DISCO - DAY
As Michael heads towards the car...Sally appears in the
doorway behind him.
SALLY
I heard you mention Tanya Walker.
You a friend?
MICHAEL
You're not going to throw anything
at me, are you?
SALLY
Why should I? She's a friend of
mine, too.
MICHAEL
You know how I might get in touch
with her?
SALLY
I'm afraid she's seeing someone.
MICHAEL
I'm not interested in her body. I'm
interested in her money.
SALLY
Come again?
MICHAEL
I've got something to sell. Some-
thing rather valuable.
SALLY
Like what?
Michael looks both ways.
MICHAEL
That's between me and her.
SALLY
Who shall I tell her inquired?
MICHAEL
Tell her an old friend.
Michael smiles and climbs into his car as she hurriedly
scribbles down the license number.
EXT. COM TRON - DAY - ESTABLISHING
IN AN INNER OFFICE
SYME'S VOICE
Security. Symes, speaking.
A man turns around in his chair and we recognize him as the
uniformed security guard who participated in the Nevada
desert shootings.
TO INTERCUT WITH TANYA IN AN EXECUTIVE OFFICE
Plush furnishings and pools of light. Tanya is in one of
them.
TANYA
This is Tanya. Someone just came to
town asking about me. Let me give
you a car and license number.
(refers to
a note pad)
A new black Trans Am with Nevada
plates and the lettering, K N I G H T.
SYMES
Got it. If it's another cop we'll
handle him like the last ones.
TANYA
Exactly what I had in mind.
BENJAMIN
Who're you calling, love?
She reacts to a pair of arms being placed around her from
behind. Warmly she turns into Will Benjamin's embrace. He
is forty-five, in good shape and reasonably handsome.
TANYA
Just our people in Security. As
president of this company you're an
irreplaceable asset and I want
to make sure you're safe tomorrow.
You know how I worry about you out
in public.
BENJAMIN
Nothing's going to happen to me.
TANYA
Darling, in this day and age, there
are all kinds of people out there in
the world, who'd like to get their
hands on a rich man like you.
She kisses him fully and we push into her eyes which open
diabolically as she rests her chin on his shoulder.
TANYA
Just be grateful you have me to look
out for your best interests.
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
ON THE TRANS AM - NIGHT
sitting parked in the shadows at the back door of the disco
bar. Maggie exits carrying her clothes and other belongings
that might be appropriate for someone who just cleaned out
their locker. Michael watches as she moves to an old VW.
He starts his car and moves up behind the vehicle.
MICHAEL
Maggie.
Maggie spins around.
MAGGIE
Get lost, I warn you I've got a
purse full of mace.
MICHAEL
I stayed in my car so I wouldn't
alarm you.
MAGGIE
Well, ain't you the David Niven.
MICHAEL
Look, I'm sorry about what happened
in there. But you misunderstood.
I'm not a friend of Tanya's. I just
need to find her.
MAGGIE
Who cares. Not me. She and that
group of parasites have taken away
everything I had...my husband...my
job...my house. I can't even afford
decent clothes for my kid.
She starts into her car. The Trans Am blocks any chance of
her backing out....
MAGGIE
Hey...out of my way, or I'll put a
dent in the middle of that machine.
I mean it.
MICHAEL
If it'll make you feel better.
MAGGIE
You asked for it....
She floors her car and it backs into the Trans Am with a
resounding crash. Her bumper falls off. Michael jumps out
of the car and moves to the back of hers....
MICHAEL
I'll pay to get this fixed for you.
Maggie is looking at her car and at his.
MAGGIE
How can I go through life with luck
this bad? I plow into your door and
my bumper falls off.
MICHAEL
Let me help change your luck.
MAGGIE
Just leave me alone. I just lost
the last job I'll ever get in this
town.
MICHAEL
What if Tanya and her crew could be
run out of Millston?
She looks at him and starts to laugh.
MAGGIE
Don't tell me. You're about to hand
me a silver bullet.
MICHAEL
Just a chance to get even.
MAGGIE
For what? How much do you know
about what's going on here?
MICHAEL
Not enough. I was hoping you could
tell me what I need to know.
MAGGIE
To do what?
MICHAEL
One step at a time, Maggie. Will
you help?
She studies him.
ON THE SILICON VALLEY STRIP - NIGHT
A colorful assortment of lights from restaurants, motels,
nightclubs, etc....
MAGGIE
It's a regular boom town. There's
more money flowing through this
valley now than there was during the
California Gold Rush.
THE TRANS AM - NIGHT
moves easily up the strip, the colorful lights dancing off
of the diamond-finish black paint. The dashboard is in
normal configuration.
MICHAEL
Must be one big party....
MAGGIE
Try and find a place to live at a
decent price. We've got every
shill, con man, or dreamer in the
world here to sell something to
people who don't even care if they
get taken. They're that wealthy.
MICHAEL
This is where they perfected the
micro chip.
MAGGIE
Yeah. Every calculator, every
electronic kid's game. They were
all born right here.
MICHAEL
What about you? How do you fit into
Silicon Valley?
MAGGIE
My husband came here to take a job
as head of security and Com Tron.
MICHAEL
It didn't work out?
MAGGIE
It worked out great until the pres-
ident got a new executive assistant.
You wouldn't believe her. She
started as a fill-in girl and worked
her way to the top inside of three
months.
MICHAEL
Her name wouldn't be Tanya Walker?
Maggie shoots him a look.
MAGGIE
You're just pumping me. You know
all there is to know.
MICHAEL
Is Tanya all there is to know?
MAGGIE
Hey, before she rode that flashy
tail of hers to the top, Com Tron
was one happy family. Then she
started making wholesale changes.
MICHAEL
Your husband was fired?
MAGGIE
That wasn't the worst of it. He
couldn't accept what was going on.
He started poking into things. One
night he didn't come home.
MICHAEL
He disappeared.
MAGGIE
They found him dead in a gulley.
Said he'd been drinking. He didn't
drink. Not even beer.
MICHAEL
How'd they make that stick?
MAGGIE
Witnesses. Half a dozen truck
drivers who hang out in that place
where I work. All animals who work
for Com Tron.
MICHAEL
You wouldn't have taken that job to
find some answers?
MAGGIE
I took the job to feed our little
boy. This is where I live. What
else do you want to know?
Michael pulls to a stop.
MICHAEL
Everything.
MAGGIE
Well, in that case I guess you
better come on in.
EXT. APARTMENT - NIGHT
as they get out of the car and enter the building.
INT. MAGGIE'S APARTMENT - NIGHT
It's neat, clean and cheap. As they enter:
MAGGIE
I'll just see if Buddy's okay.
She exits to bedroom as Michael idly wanders around the room
for a beat until she reenters.
MICHAEL
Look. If I wanted to talk to Tanya,
alone, where would I go? The plant,
her apartment...?
MAGGIE
Forget it. I think she's staying at
Benjamin's estate.
MICHAEL
William Benjamin?
MAGGIE
He owns Com Tron. She rarely leaves
his side. Now you go to sleep.
Michael seems to sink.
MAGGIE
Wait a minute! Tomorrow's one day
she and the old man have to go out.
Com Tron is sponsoring a charity
show out at the track.
MICHAEL
The track?
MAGGIE
A demolition derby for charity. My
kid wanted to go. Ya see, in Silicon
Valley, they have so much money,
they don't use junkers. Every plant
is putting up a brand new car.
People are eating it up.
Michael seems to be lighting up....
MICHAEL
Can anyone enter?
MAGGIE
Come on. Who can afford to get his
brand new car totalled out?
Michael nods....
MICHAEL
Tell your son, I'll be by to pick
you both up at ten o'clock.
MAGGIE
You mean we get to watch it?
MICHAEL
You two get to watch. I'll be in
it.
On her face as her mouth drops open.
AT THE AUTO RACING TRACK - DAY
A carnival of activity as beautiful new cars from various
electronic manufacturers in the famous valley, proudly bear
their company logos and are being serviced by teams each
utilizing the same semi truck and trailer rigs furnished by
Com Tron and each bearing its logo and stripes.
ON THE TRANS AM
as it pulls into the area.
INSIDE THE TRANS AM
Michael is behind the wheel. Maggie is beside him wearing
shorts and a halter. Her nine-year-old son is in the back.
The dash is in normal.
BUDDY
Wow, it's better than an auto show!
MAGGIE
Better take 'em in while you can,
Buddy. There won't be much left of
them after the race.
MICHAEL
Why all the trucks from Com Tron?
She turns to Michael.
MAGGIE
Because they're sponsoring the race
and providing the drivers. You
aren't really thinking of entering
your beautiful car?
MICHAEL
It's for charity, isn't it.
MAGGIE
It's also for people who can afford
it. I can't figure out why you're
doing this.
MICHAEL
I have my reasons.
MAGGIE
You're a strange man. Nice...but
strange.
MICHAEL
Thanks.
(beat)
Well, let's at least get you some
good seats in the owner's row....
MAGGIE
Me? In the owner's row. That'll
frost 'em.
AT A CREDENTIAL BOOTH
Tanya is seated with several other girls as Michael moves
up, opening his wallet.
MICHAEL
I understand this is where I check
in, Tanya.
TANYA
(looking at
him curiously)
I beg your pardon.
MICHAEL
I'm Michael Knight.
TANYA
You're the one who phoned. Then you
were serious about entering your car?
MICHAEL
Dead serious.
TANYA
Well, your car serves as the entry
fee. You'd better not plan on
getting much of it back. There is a
nice trophy to the winning car and
the driver gets a five-thousand-
dollar prize.
MICHAEL
That's nice. I'll give the prize
money to the charity.
TANYA
You're very confident. You know I
should warn you that most of these
Com Tron drivers are professionals
and a little too eager for the
driver's money. It could be dan-
gerous.
MICHAEL
These days what isn't?
A beat as she worries about the implications of his words.
MICHAEL
By the way, did anyone mention the
fact to you that I was in town?
TANYA
As a matter of fact, yes. But I
didn't understand the message and I
don't deal with salesmen.
MICHAEL
You don't know what I'm selling.
TANYA
It wouldn't matter.
MICHAEL
Want to bet? After the race, you'll
be looking for me. I guarantee it.
TANYA
Mr. Knight. I'm not sure I can accept
your entrance into this race without
proper credentials. Who are you?
Where are you from? Why are you here?
As she studies him Benjamin moves up.
BENJAMIN
Come on, Tanya...Let's go, let's go...The
crowd's a waiting.
MICHAEL
You must be Mr. Benjamin. I sure do
admire your charity work here, and
I'm sure glad to do my little part.
Michael has his hand out and is pumping Benjamin's like he's
attempting to pull water out of a dry well.
BENJAMIN
Doing your part?
MICHAEL
I guess I'm the only independent
driver in the race. But it's still
an honor.
BENJAMIN
We don't use jalopies in this race,
Mister...?
MICHAEL
Knight...And my car's no jalopy...You
can see for yourself. She's brand
spanking new.
BENJAMIN
Well, you are a generous man. You
make sure the crowd appreciates his
gesture, Tanya.
Tanya eyes Michael coldly....
MICHAEL
Oh, and I'll need a couple of seats
in the owner's row.
Tanya looks over Michael's shoulder and sees Maggie standing
with her son.
TANYA
Here are your passes to the owner's
row, Mr. Knight. Good-bye.
She rises up and follows after Benjamin, talking in muffled
tones which suggest she's angry....
BENJAMIN
Why are you so hostile? You think
there's a kidnapper under every
lunch pail....
Michael smiles and moves to Maggie with the tickets....
MICHAEL
Here ya go. Take your place with
the valley's finest.
MAGGIE
You're a doll...Buddy...Buddy.
She looks around.
MAGGIE
Now where did that boy go?
MICHAEL
There're a lot of cars to see.
He'll turn up.
ON THE STARTING LINE
as row after row of gleaming new cars right off the show-
room floors roar around the figure-eight track in tight
formation, waiting for the starting flag.
ON THE STARTER
as he waves the green flag....
ANNOUNCER
And the race is on. Remember ladies
and gentlemen, this is a figure-eight
track and as the cars begin to spread
out, it will become increasingly dif-
ficult to get through the intersection
without colliding with another car.
ON THE TRANS AM
as Michael switches the dashboard to Super and jockeys to
take the lead, pouring it on. He is wearing racing-style
shoulder belts. Suddenly a small head appears behind him
from the floor, staring wide-eyed at the Super dash.
BUDDY
Gosh. I've never seen anything like
that.
Michael's head spins around....
MICHAEL
Buddy...what're you doing here?
You're supposed to be with your
mother....
BUDDY
This is much more fun.
ON A CAR
deliberately trying to run Michael up and off the track as
Michael was trying to pass on the outside...Michael brakes
and lets the car go ahead....
BUDDY
Awww...why'd you chicken out?...
MICHAEL
Because you're standing there ready
to be flipped out of the car. Climb
over the seat and strap yourself
in. Now...fast.
Buddy climbs over the seat....
ON THE TRANS AM
as it approaches the next curve....
ANNOUNCER
Once again, the young independent is
challenging on the outside against a
car weighing half again as much...We'll
see if he backs down again....
INSIDE THE TRANS AM
where Buddy is strapped in the passenger seat.
MICHAEL
Ready?
BUDDY
Ready....
MICHAEL
Here we go.
ON THE CORNER
as the Trans Am screams up on the outside and as the
competing driver decides to once again force Michael to fall
back or hit the wall. Michael gives the wheel a hard left
and the inside car makes the equivalent of a U-turn sending
it flying back into the infield where it plows into one of
the Com Tron trucks....
INSIDE THE TRANS AM
BUDDY
Yeah...You not only wiped him out,
you wiped out the truck.
ON THE SIDELINES
Benjamin looks up, shaking his head.
BENJAMIN
Those boys aren't supposed to hit my
trucks. Where'd you get these new
drivers, Tanya?
Tanya burns.
ON THE TRACK
as two cars are in front of Michael, with only a half-a-car
width between them....
INSIDE THE TRANS AM
BUDDY
We're in trouble...There's no
room....
MICHAEL
Well, if the shoe fits....
Michael looks down at Kitt and its related lights....
MICHAEL
Okay, Kitt. I need to knock out
about four feet, I'm going on Auto
Pursuit...you figure out what to do.
K.I.T.T.
As you wish.
ON THE DASH
as we see the lights go from Normal to Auto....
ON THE TRANS AM
as it moves up towards the two cars, and suddenly turns up
onto two wheels and barrels down the narrow alleyway between
the two cars....
ON DRIVER ONE
as he is so busy staring at what's just gone by him, he
fails to negotiate a turn and puts his car through a fence.
BACK TO THE TRANS AM
as it comes back down onto all fours.
INSIDE THE CAR
MICHAEL
Thanks, Kitt. I needed that....
K.I.T.T.
You're welcome. It's so good to be
communicating again....
BUDDY
Golly...this car even talks.
MICHAEL
That was just the radio....
BUDDY
No, it wasn't...I may be just a kid
but I'm not stupid. The car talked
to you.
MICHAEL
Buddy...It might be better if we
didn't mention that to a whole lot
of people. Like any, if you know
what I mean.
BUDDY
I think I know what you mean.
ON THE FIGURE-EIGHT INTERSECTION
as two competing cars arrive at precisely the same time
resulting in a total head-on with both cars skidding off in
opposite directions, rolling over and over, clearly out of
the race.
ANNOUNCER
The field has narrowed to but six
cars, ladies and gentlemen, and oh,
oh...here go two more.
ON THE TRANS AM
as it heads into a certain collision at the figure-eight.
MICHAEL
punches up a button....
THE TRANS AM
leaps the intersection, vaulting over the other car.
ANNOUNCER
I saw it ladies and gentlemen, but I
don't believe it. Apparently a rut
in the road allowed the Trans Am to
go airborne, completely escaping
certain destruction.
ON THE LAST CARS
mangled messes, bumping and shoving one another as steam and
oil flow from the cars in all directions.
ANNOUNCER
As a matter of fact ladies and gentle-
men, from here, it doesn't look like
the Trans Am has a mark on it.
BENJAMIN
is looking at the track through field binoculars.
BENJAMIN
That car's incredible, Tanya. I want
to know all about that young man.
TANYA
That makes two of us.
She moves over to Fred Wilson.
TANYA
What have you found out about him.
WILSON
He doesn't exist. We've run his
credit card numbers from the club,
car license...Everything. Up until
three months ago, there was no
Michael Knight.
She looks at Wilson...then back to the track.
TANYA
Phony credentials don't surprise me.
He says he's here to sell me something.
WILSON
Since when did we go public?
TANYA
Since I saw that car perform.
WILSON
It's one thing to sneak out of a
development lab with secrets. It's
quite another to steal an entire
prototype. He has to be a setup.
TANYA
Did you run his fingerprints?
WILSON
I don't have them, and in any event
that's a fallacy. Fingerprints are
only on file if someone has a criminal
record.
TANYA
Or has worked for the government in
some law enforcement capacity.
WILSON
Well, I can only think of one way
to get his prints and it could get
messy.
TANYA
I leave it entirely in your hands.
IN FRONT OF MAGGIE'S APARTMENT - DAY
The Trans Am pulls up to the curb, and almost before it can
come to a stop, Maggie's boy is jumping out of the car.
MAGGIE
Buddy, you come back here and say
thank you.
BUDDY
Thank you, thank you, thank you,
Mr. Knight...I gotta go tell every-
body....
On his exit there is a pregnant pause.
MICHAEL
You don't look very happy. I
thought it was a real nice day.
MAGGIE
Who are you really?
MICHAEL
A friend.
MAGGIE
Michael. That's all it can be. I'm
not up to falling in love. I still
hurt too much.
She reaches over and kisses Michael on the cheek and exits
as he stares after her.
ON THE HOUSE OF THE RISING SUN - DAY
Michael pulls up and climbs out and enters.
INSIDE THE RISING SUN - DAY
It is like a scene from an old Western, as the place seems
to come to a halt when Michael enters to find himself
looking into the faces of all of the truck drivers who raced
against him. They are a Rogues Gallery of misfits and
criminal-types.
MICHAEL
Hi, fellas. Nice race.
DOLAN
Let's talk about it outside.
MICHAEL
Sorry. I'm here to meet a young
lady.
DRIVER
Miss Walker got the message. She
sent us to pick you up.
MICHAEL
Tanya did that? You work for her,
too?
DRIVER
She suggested we show you what we
think of outsiders coming into our
little town and taking away our
prize money.
MICHAEL
Oh, didn't Tanya tell you, I'm
donating it to the charity.
DRIVER
Yeah, well we've each got a little
donation for you, too.
As he starts a haymaker towards Michael's stomach, Michael
pivots and knocks him down. The fight is brisk and violent,
but Michael is totally outnumbered and so the outcome is
inevitable.
OMITTED
FADE OUT
END OF ACT FOUR
ACT FIVE
FADE IN
ON THE TRANS AM - DAY
as it is being towed through the gates of the large modern
factory bearing the Logo of Com Tron Industries.
ON FRED WILSON - DAY
as he exits the office building section in the company of
Tanya. They move towards the car which is being towed
towards some opening doors in the factory.
TANYA
I want that car examined from top to
bottom. Inside and out.
WILSON
What's that going to tell us?
TANYA
Who Michael Knight is working for.
WILSON
The car is going to tell us that?
TANYA
Even cars that are specially
engineered require stock parts and
they have serial numbers. Benjamin's
engineers should be able to give us
a pretty good idea where the work
was done and by whom.
ON DEVON INSIDE THE KNIGHT MANSION (SHOT)
He is standing at a window, speaking into the telephone with
a look of grave disappointment on his face.
DEVON
You're where?
INSIDE THE JAIL - TO INTERCUT (SHOT)
Michael is in a holding cell, using the telephone.
MICHAEL
Jail. But it's a trumped up charge.
DEVON
It always is.
MICHAEL
Look, I'm dead serious. These
people we're after are practically
running the town.
DEVON
Where is the Knight 2000?
MICHAEL
I...I'm not sure.
DEVON
What do you mean you're not sure.
Mr. Knight practically went to his
grave creating that marvelous machine.
How can you call me long distance and
tell me you've misplaced it.
MICHAEL
I didn't misplace it. They impounded
it. The trouble is, I think Com Tron
talked the Sheriff into letting them
check the car out.
DEVON
Congratulations. You've managed to
live up to my every expectation.
MICHAEL
This is no time to be trading insults,
Devon. What are we going to do.
DEVON
Wonderful. Now it's we. A few
hours ago you practically drove over
my foot to be on your own.
MICHAEL
I was a little hasty.
Deke moves up.
DEKE
Your time's up, boy. Let's get back
to the cell.
MICHAEL
I'm counting on you, Devon. We've
got 'em right where we want 'em if
you come through.
DEVON
It'll take me awhile to get there.
We may have to rely on other...means,
temporarily.
MICHAEL
What do you mean by that. Devon...
Devon...Hey you guys cut me off...
I demand another phone call.
Deke opens the holding cell door and stands impatiently.
DEKE
I'll give one to the coroner if you
don't move it....
Seeing as he means it, Michael exits the holding cell.
IN AN ORDINARY CELL BLOCK - NIGHT
Michael is deposited in a cell adjacent to a second cell in
which we see Carney who was arrested in the same brawl.
Deke turns and walks away as Carney moves to the bars
between the two cells.
CARNEY
Hey, cowboy.
Michael folds onto his bed.
CARNEY
Hey. I'm talking to you. I want to
know what that machine of yours is
made of.
MICHAEL
Sit and spin.
OMITTED
EXT. COM TRON - NIGHT - ESTABLISHING
INT. GARAGE - ON THE TRANS AM
as a team of auto experts buzz around the machine like a
swarm of bees. Unfortunately, nothing is getting accom-
plished. A man on the door is trying to drive a crowbar
into the door. A second man, assisted by a third is
attempting to penetrate the hood with a diamond bit drill.
Two more crewmen with acetylene torches are trying to burn
their way into the car through the windows and trunk.
ON TANYA
watching impatiently.
SYMES
We've gone through three diamond bit
drills.
TANYA
It's impossible. Just plain impossible.
WILSON
arrives hurriedly.
WILSON
Maybe I can explain it.
He hands a wire to Tanya....
TANYA
I don't understand what this means.
WILSON
The Sheriff fingerprinted Knight
when he was arrested. These are the
results.
TANYA
What does this mean, no identification
possible.
WILSON
Keep reading....
She reads on, then suddenly pales.
TANYA
Altered?
WILSON
Expertly done. But still not the
man's own prints.
Tanya moves off to herself.
TANYA
It's unraveling. Someone is breath-
ing down our necks. It's time to
get out.
WILSON
A few days from penetrating all of
Com Tron's secrets?
TANYA
We can go for the main one. The
breakthrough chip. It's worth more
than all their other patents
combined. We get it out of the
engineering computer and fly out
tonight.
WILSON
Tanya...You're panicking over
nothing. If he had any proof of
anything, he wouldn't be wasting time
in demoliton derbies or letting
himself get locked up. He'd tell
the Sheriff why he was here.
TANYA
Trust me, I could feel it when I looked
into his eyes. He's not an ordinary
cop. He's far more dangerous.
Send these people home and go get
Michael Knight out of jail while I
start clearing out the records.
ON THE JAIL - NIGHT
CARNEY
You're just making it worse. This
your first time in the can?
MICHAEL
No. I used to nose around for Army
Intelligence back in 'Nam. I got
caught once by the Cong.
CARNEY
What happened to you?
MICHAEL
I had to punish them.
Carney nods...then does a take, looking at his cellmate
with a new kind of respect.
CARNEY
I hope you didn't take what we did
to you tonight, personally.
MICHAEL
No. You look like you already paid
a pretty good price.
CARNEY
You got any friends on the outside
at all? I mean you did make the one
call, but no one seems to have shown
up.
MICHAEL
I have one friend.
CARNEY
That's good.
MICHAEL
But we aren't on the best of terms.
CARNEY
That's bad.
INSIDE THE FACTORY - ON THE TRANS AM
as the light hoods shift up and the lights flash on. We
push in closer and hear the powerful engine turn over.
INSIDE THE CAR - ON THE NORMAL DASH
We see the dash convert to Super. Then we see the micro-
processor shift from normal to pursuit. The brake lights
go out as the transmission light shifts to low gear.
INT. GARAGE (SHOT)
as the car burns rubber and lurches forward.
ON THE GARAGE DOORS (SHOT)
as they shatter into the sky and come bounding down in the
wake of the Trans Am which disappears off into the night.
BACK INSIDE THE JAIL - NIGHT
Michael moves from the window to lie on his cot.
MICHAEL
The other drivers. The ones that
beat me up. They local boys?
CARNEY
Naw. We all got hired by Wilson, the
new security chief. I heard about it
in stir as I was getting my parole.
They pay good and you don't have to
break too many laws.
MICHAEL
Sounds great. Ever wonder why a
nice polite electronics company
needed strong-arm boys?
CARNEY
Hey. They had to dump a lot of
people with big seniority to hire
us. It helped that we could take
care of ourselves. Keep everything
nice and peaceful.
MICHAEL
Makes sense.
OMITTED
ON THE TRANS AM
as it cruises slowly down main street. It stops at the
entrance to the alley.
EXT. SHERIFF'S OFFICE - NIGHT
as a Com Tron security car pulls up in front and Wilson
gets out leaving a security guard at the wheel. He
enters the building.
ON THE SUPER DASH (SHOT)
as microprocessors are sensing directions and opportunities.
Lights change and the Trans Am turns down the alley.
Suddenly it stops...guns its engine and hauls for all its
worth towards a brick building at the end of the alley.
ON MICHAEL (SHOT)
His eyes are shut.
IN THE SHERIFF'S OFFICE (SHOT)
WILSON
Deputy. I have a court order for
Mr. Knight's release.
DEKE
Okay...I guess he's yours.
BACK ON MICHAEL (SHOT)
He rolls over, his back to the window. Suddenly his eyes
open as he hears the screaming whine of an engine growing
louder and closer.
Suddenly:
THE WALL BEHIND MICHAEL (SHOT)
explodes, sending bricks everywhere.
IN THE SHERIFF'S OFFICE (SHOT)
Deke, Wilson, react, as dust drops in from the ceiling.
WILSON
What the hell was that?
Deke turns to rush back to the cell block. Wilson looks and
races after the deputy.
BACK IN THE JAIL CELL (SHOT)
Michael climbs out from under a layer of red chalk and
stares in disbelief.
MICHAEL
I don't believe it.
CARNEY
Must be a drunk. See if he hurt
himself.
Michael climbs across the bricks to the door and opens it.
The front seat is empty.
MICHAEL
I won't even ask how you did this,
Kitt.
CARNEY
Who you talking to? There's nobody
in there.
The deputy rushes up to the door, Wilson behind him.
DEKE
Hey...what in the....
With that Michael jumps into the machine and throws it into
reverse, roaring back into the alley.
EXT. SHERIFF'S OFFICE - NIGHT
as the Trans Am brodies out into the main street and flashes
past the security car as Wilson rushes out and jumps into
his car. The Driver spins a fast U-turn and takes off in
pursuit.
OMITTED
ON THE TRANS AM
screaming down the dark highway.
ON THE SECURITY VEHICLE
as it tries vainly to catch up.
INSIDE THE SECURITY VEHICLE
WILSON
It isn't any use trying to catch
that machine.
DRIVER
Then how do we stop him? He's got
to be heading out of town. There's
nothing else out this way.
WILSON
Oh, yes there is.
ON COM TRON INDUSTRIES - NIGHT
situated handsomely amongst its well-manicured grounds,
illuminated only by exterior ground lights. Only the
executive floor is lighted with a single car out on the
parking lot.
THE TRANS AM
pulls into the parking lot and moves up beside the single
vehicle in front of which we see the sign:
TANYA WALKER
MICHAEL
looks up at the lighted top floor and a security fence which
surrounds the building. He drives on around the side of the
building.
ON THE SIDE OF THE BUILDING
Michael looks up. It's a long way to the roof and the fence
whose top is laced with razor wire prohibits any intruders
with a bent for climbing.
MICHAEL
examines the Super dash.
MICHAEL
It's times like this that I wish I'd
listened a little more closely to
Devon. What is this? Emergency
eject....
K.I.T.T.
Is it all right to respond?
Michael takes a deep breath.
MICHAEL
Yes...yes. It's all right. I have
to get up to a roof about one
hundred feet in the air and to the
right.
K.I.T.T.
Very well, if you'll set the
pressure adjustment for precisely
six hundred pounds, you should land
quite gently.
MICHAEL
That's it. I just set the pressure
and hit the button?
K.I.T.T.
It would help if you also open the
sun roof.
MICHAEL
Smart aleck car....
Michael quickly sets the button and opens the roof. He
takes a deep breath and pushes the button.
ON MICHAEL
as he is catapulted high into the air and onto the roof.
ON A NIGHT WATCHMAN
who steps out of a door and looks around. He spots the car
and quickly runs toward it.
ON THE SUNROOF
as we see it slowly closing on its own.
THE GUARD
rushes up and looks at the vehicle. He tries it, then grabs
his walkie-talkie.
GUARD
You guys aren't going to believe
this, but it's back.
IN THE GARAGE
portion of the building where the shattered doors are bathed
in lights as guards stand gaping at the damage done by the
missing vehicle. Tanya grabs the walkie-talkie from the
Guard and barks into it.
TANYA
What do you mean, it's back? Back where?
ON THE GUARD
GUARD
Right out here on the south parking
lot.
TANYA
looks at the assorted guards around her and charges out the
door.
INSIDE THE OFFICE BUILDING
An air duct is pulled up, and Michael Knight lowers himself
to the floor. He moves to the nearest desk, looks amongst
the directories in a file stand and opens one marked Com
Tron Industries.
MICHAEL
Tanya Walker, third floor.
Michael turns and hurries to a staircase and down into the
darkness.
ON THE TRANS AM
as all the guards try in vain to open the car. Headlights
suddenly bathe the scene in light as the security car races
to a stop.
TANYA
Where's Knight?
WILSON
I dunno. He busted out of jail.
TANYA
You think he's here?
Wilson turns and looks up at the lighted executive suite on
the top floor.
WILSON
There's no way he could get in. Not
without being seen.
TANYA
How much do you want to stake on
that? I'm going back up and secure
the microchip design. You give the
guards orders to shoot to kill.
This is a serious breach of national
security.
Tanya enters the building as....
WILSON
You heard her, gentlemen. We've
got a man in that building trying to
get at our top secrets. We've got
to stop him.
(turning to
a guard)
You stay by this vehicle and shoot
anyone who attempts to come near it.
Wilson removes the gun from his shoulder and cocks it and
takes off on the dead run.
OMITTED
TANYA
enters the office, rifles through the file and removes a
roll of microfilm as the phone rings. She answers.
TANYA
It's okay. I've got the microfilm.
I'll be leaving for the airfield now.
Alert the pilot -- I'm flying out on
Benjamin's orders. You get Knight
and meet me at the field.
She hangs up and reaches for her gun which is lying on the
desk. As she does so....
MICHAEL'S HAND
reaches under her arm and picks up the gun. She spins
around, startled half out of her wits. He looks at her with
a gleam of satisfaction in his eyes.
MICHAEL
Very kind of you to organize the
evidence for me, Tanya.
TANYA
Look. Don't do this. Whoever
you're working for -- it can't be
worth what I can do for you.
He raises the gun to her face.
MICHAEL
Would you rather I did this, Tanya?
It's not a starry night in Nevada,
but it'll hurt just as much.
She pales.
TANYA
Michael Long?...
ON TANYA
She gasps.
FADE OUT
END OF ACT FIVE
ACT SIX
FADE IN
IN THE EXECUTIVE SUITE
Michael stands with the gun leveled on Tanya.
TANYA
You don't want to do this. Look,
I can share millions with you. All
the money we took out of Knight
Industries and Allon Chemical is
safely out of the country. Please
don't do this, please.....
Slowly he lowers the gun. Tanya takes it as a sign of
victory and moves into his arms, breaking into tears.
TANYA
I really was in love with you,
Michael...I didn't want to hurt
you but I had no choice. If I
hadn't done it, Wilson would have.
Those were his orders.
MICHAEL
How can we share the millions if
someone else is giving the orders?
You're the boss, Tanya. No one
else.
TANYA
That's right. I'm the boss, but you
were the only man I ever considered
close to an equal. That's why I
fell in love with you. But I
couldn't let you take everything
away from me. I can't let you do it
now.
She moves towards Michael ignoring the gun in his hand.
OVER MICHAEL'S SHOULDER
We can see Symes in the corridor, moving towards the suite,
his gun drawn.
MICHAEL
Not this time, Tanya.
Standing close to him, he holds the gun at her belly.
Suddenly Michael catches a glimpse of movement out of the
corner of his eyes. He dives as a shot rings out spinning
him around.
FROM THE FLOOR
Michael fires at Symes who is himself firing while going
down. Recovering first, Michael races for a door as Tanya
rises up and races towards the fallen Symes. She grabs the
gun and fires it into the door after Michael. Slowly she
moves to the door and opens it.
ON AN EMPTY CORRIDOR
Tanya spins around and races for the elevator.
ON WILSON
running down a corridor. He stops as a Guard rounds the
corner surprising him.
WILSON
Where'd the shot some from?
GUARD
I couldn't tell.
WILSON
Get every guard to check in.
OMITTED
IN A THIRD FLOOR CORRIDOR
Michael rushes towards a stairwell, starts down, then jumps
back at the sound of voices coming towards him.
GUARD #1
I'll take Personnel. You take
Accounting.
Michael ducks back into an office alcove as a guard rounds
the corner. His hand suddenly shoots out and grabs the man
by the mouth and pulls him back into the alcove.
EXT. BUILDING - NIGHT
as Tanya exits, jumps into her car and takes off.
ON A GUARD
racing down a corridor.
ON ANOTHER GUARD
in the garage area.
ON MICHAEL
as he steps out of the alcove in a guard's uniform.
IN A STAIRWELL
as Michael struggles hurriedly down. Suddenly his walkie-
talkie squawks.
GUARD #1
Nothing in Personnel. What about
you Baker?..Baker...Baker....
Michael looks down at his nameplate.
MICHAEL
Nothing.
ON WILSON
standing with another guard.
WILSON
That wasn't Baker.
ON THE PARKING LOT
A Guard paces by the Trans Am as across from him a silhouette
appears at one of the doors. A figure exits. The Guard
raises his weapon.
MICHAEL
Don't shoot. It's Baker....
The Guard is momentarily fooled by the uniform, but he
relaxes only slightly, squinting against the back-lighted
man in uniform.
GUARD #2
What's going on?
MICHAEL
Wilson wants you upstairs.
As Michael is almost close enough to make a move...the
walkie-talkie on his side begins to squawk.
WILSON
All guards be aware that Baker's
uniform has been stolen. Repeat...
suspect is now wearing a guard's
uniform....
GUARD #2
Hold it right there, Knight.
Holding the weapon in one hand and raising his own walkie-
talkie with the other, he chortles into his instrument.
GUARD #2
I got him. Dead in my sights. Right
out here by his car.
ON WILSON
as he turns, excitedly inside the building.
WILSON
Don't let him move so much as an
inch and you've got yourself ten
thousand dollars, boy...
GUARD #2
Yes sir.
BACK TO THE GUARD AND MICHAEL
GUARD #2
You almost made it...But I was too
smart for you, fella.
MICHAEL
Sorry. You'd better look behind you.
GUARD #2
Oh no. There's no one behind me for
two hundred yards.
MICHAEL
What about the car?
GUARD #2
There's no one in the car, either.
I checked.
Michael nods silently. Then....
ON THE TRANS AM
as the headlights suddenly snap on and the engine starts.
ON THE GUARD
as his knees weaken and his mouth falls open.
GUARD #2
Don't kill me. I have dogs at home
and a sick mother.
MICHAEL
Just lay right down and toss your
weapon over here.
He falls to the ground and hurls his weapon. Michael picks
it up as guards led by Wilson race out of the building.
MICHAEL
turns and moves painfully to the car...touches the lock. It
opens to his touch. He enters...backs up and spins around,
races off.
WILSON
You idiot. How'd you let him get
away?
GUARD #2
He had help. There musta been
dozens of 'em.
WILSON
Get to the cars. And alert the two
guarding the driveway.
ON THE TWO SECURITY CARS AT THE DRIVEWAY
as the Trans Am races towards the entrance without slowing.
The guards in both cars hold their guns steady, and commence
firing, round after round.
INSIDE THE TRANS AM
Ping, ping, ping, as the two cars loom up less than thirty
yards ahead.
ON THE CARS
as at the last possible moment, the security guards leap out
of their vehicles narrowly making it to safety as the
two cars explode sending flames high in the sky.
BACK TO WILSON AND SYMES
driving looking at the entrance in disgust.
WILSON
Forget trying to catch him in
security cars. There's only one way
to stop him now.
Wilson turns and hurries towards the building.
ON THE HIGHWAY
The Trans Am races along.
INSIDE THE CAR (SHOT)
Michael is faltering behind the wheel.
MICHAEL
Kitt? You there?
K.I.T.T.
Where would I go?
MICHAEL
Look, I know we've had some misunder-
standings, but I'm not sure I'm
going to be around at the end of
this trip.
K.I.T.T.
If you're suffering from any form of
trauma, you should seek immediate
medical attention.
MICHAEL
We can't stop, pal. They're going to
be coming at us from all directions.
K.I.T.T.
What can I do?
MICHAEL
Is there any way to get in touch with
Devon?
K.I.T.T.
Mr. Devon is en route to Millston now.
You could communicate quite easily
by phone.
MICHAEL
Do it. Do it fast.
ON THE KNIGHT 2000 JET (SHOT)
streaking through the night sky.
ON DEVON (SHOT)
seated in an executive interior. A veritable war room.
DEVON
What in the name of heaven are you
doing out of jail? I told you to
stay put until I could be of assistance.
TO INTERCUT WITH MICHAEL IN THE TRANS AM
He speaks without using a hand phone and fights off
dizzyness.
MICHAEL
I didn't have much choice. They were
going to kill me. I'm sure of that.
DEVON
Why? What have you learned?
MICHAEL
That Tanya and her buddies are the
same people who ripped off Allon
Chemical and are getting away with
a couple of million dollars worth
of Com Tron's designs.
DEVON
Can you prove it?
MICHAEL
Only if we catch them in possession.
DEVON
I'll contact the local police
immediately.
MICHAEL
Forget them. They've been bought.
Get to the State Police or the FBI.
Have them standing by.
DEVON
Standing by where?
MICHAEL
They're making a run for it. To the
airport. I'm going after them if I
last that long.
DEVON
Michael. What's wrong? Kitt. What's
wrong with Michael?
K.I.T.T.
I'm afraid Mr. Knight's condition is
suboptimum. I really feel I should
take over.
MICHAEL
You aren't taking over anything.
You hear?
DEVON
Michael...Forget everything. Save
yourself. We can regroup to fight
another day.
MICHAEL
This may be it for me and I'm going
out winners.
IN A COM TRON HELICOPTER
Wilson is in the passenger seat beside a Pilot in security
garb. Wilson calmly talks into the headset.
WILSON
This is Chief of Security Wilson.
Patch me into Com Tron truck dis-
patch. I want everything we've
got on the road to stand by for
special insructions.
BACK IN THE TRANS AM - NIGHT
racing through the night. Michael trying to hang on.
DEVON
Michael, are you there? Kitt?
K.I.T.T.
He's still conscious, sir and
insisting on maintaining control
of the vehicle.
MICHAEL
And that's another thing that gripes
me.
DEVON
What's that?
MICHAEL
I don't want to have anything to do
with a car that takes off on its
own. That can listen to my thoughts
and make its own decisions.
DEVON
You're giving it far too much credit.
MICHAEL
I don't think so. I can see myself
out on a dance floor sometime and my
car comes up and cuts in on me.
K.I.T.T.
Amusing, but not factual.
DEVON
It's all right, Kitt. Keep him
talking.
MICHAEL
Anything to keep me awake, Kitt....
POINT OF VIEW - A GIANT SEMITRUCK AND TRAILER (SHOT)
is racing towards an intersection. The logo on the truck
reads Com Tron Industries.
MICHAEL
MICHAEL
Great. Just great....
DEVON
What is it?
MICHAEL
I just figured out how they intend
to keep me from getting to the
airport.
Michael slows down to a stop as he sees the semi's next move
as it moves into the intersecting highway.
THE SEMI (SHOT)
stops, completely blocking the intersection.
ON THE TRUCK DRIVER (SHOT)
as he looks out his window smiling and we recognize him as
one of the drivers who gave Michael such a beating.
DRIVER
Come on, big shot. Come to papa.
ON MICHAEL (SHOT)
MICHAEL
Okay, Kitt, here goes nothing.
Michael floors it.
ON THE TRANS AM (SHOT)
as it accelerates towards the intersection, faster,
faster....
ON THE DRIVER (SHOT)
as his look turns sour....
DRIVER
Hey...is he nuts?...
ON THE TRANS AM (SHOT)
as it hits a dip in the road and goes airborne, directly
into the logo on the side of the truck.
ON THE OTHER SIDE OF THE TRUCK (SHOT)
as the Trans Am exits and continues on up the highway
leaving a gaping hole in its wake.
MICHAEL
MICHAEL
I gotta admit. This car is something.
K.I.T.T.
Bold of you.
MICHAEL
Don't rile me, Kitt. Don't rile me.
K.I.T.T.
But that's the whole idea. Your
condition should improve drastically
when you get angry.
ON DOLAN (SHOT)
as he stares back at his trailer in disbelief.
INSIDE THE CAL TRON HELICOPTER
WILSON
Logan. Logan. Did you get him?
DRIVER'S VOICE
I blocked the road and cut him off.
WILSON
Good work.
DRIVER'S VOICE
But he went right through my trailer.
WILSON
Have you been drinking?
DRIVER'S VOICE
Not yet, but I plan on it. You
aren't going to stop that thing.
POINT OF VIEW OF THE CAR
from the copter.
BACK TO WILSON
WILSON
Attention all drivers. Anybody
wanting a fifteen thousand dollar
bonus is to smash that Trans Am head
on. Do you hear me? Head on. He's
currently moving north on Highway 17.
DRIVER'S VOICE
This is truck forty-one coming up 17
and you're nuts. What good is
fifteen thousand dollars if you're
dead?
WILSON
Jump clear, you idiot. Just be sure
you level that Trans Am.
OMITTED
INSIDE THE TRANS AM
DRIVER'S VOICE
I don't know.
WILSON'S VOICE
Make it twenty-five thousand to the
first man that nails him head on.
Michael reacts to the radio.
MICHAEL
Did you hear that, Devon?
DEVON
I'm afraid so.
MICHAEL
Well? You know what Kitt can do.
Can he do it?
DEVON
I can't recall having put him to
that precise test.
MICHAEL
Great.
K.I.T.T.
I suggest we'd better reach the
airport before we reach the truck.
MICHAEL
You know something? I think you're
right.
OMITTED
ON THE TRANS AM
racing along the highway....
OMITTED
ON THE COM TRON TRUCK (SHOT)
racing along the highway in the opposite direction.
ON THE COM TRON HELICOPTER
WILSON
Where are you, forty-one?
DRIVER #2'S VOICE
Just coming up to the airport turnoff.
OMITTED
INSIDE THE HELICOPTER
WILSON
I see you. You've got him. He's
just over the next rise.
Wilson smiles at the Pilot next to him. The Pilot takes a
shotgun from its rack and places it in a handy position.
PILOT
Just in case he gets by.
WILSON
No one survives a head-on collision
with a semi.
Wilson smiles securely.
BACK ON THE TRANS AM
barrelling down the highway.
MICHAEL
We should be seeing him any minute.
ON THE TRUCK - FROM MICHAEL'S POINT OF VIEW
coming in the opposite direction.
DRIVER #2'S VOICE
I got him in sight. He's coming
over the rise now.
ON WILSON IN THE HELICOPTER
WILSON
Remember, twenty-five thousand big
ones if you nail him.
DRIVER #2
Consider him nailed.
INT. CAR - NIGHT
K.I.T.T.
Mr. Knight. This is foolhardy. I
really must assume control.
ON THE PANEL
as we see the light go from manual to automatic.
MICHAEL
Negative. I'm driving this machine.
Michael pushes the manual button back in. The light reverts
to manual control.
K.I.T.T.
Mr. Devon. Michael is in no
condition to be making decisions.
ON DEVON
DEVON
Kitt, I'm afraid so long as he is in
the driver's seat and conscious, we
have no choice.
K.I.T.T.
An absurd set of circumstances.
MICHAEL
Too bad, Kitt. But the guy who
designed you believed in the
strength of the individual. We
may have to put it to the test.
ON WILSON
looking down.
WILSON
He isn't stopping.
PILOT
Man's nuts.
WILSON
I hope so.
OMITTED
INSIDE THE TRANS AM
MICHAEL
Any last thoughts, Kitt?
K.I.T.T.
I wish you hadn't put it that way.
ON THE SCENE
The Trans Am coming from the left. The truck from the
right. Closer...closer...closer....
Intercut:
POINT OF VIEW FROM COPTER
as it lights the scene as the truck and car hurtle towards
each other. Closer and closer. We reveal an intersection
with a left turn towards the airport. It's even money which
vehicle will make it first.
Intercut:
THE CAR AND TRUCK CLOSING FROM BOTH POINTS OF VIEW
POINT OF VIEW FROM THE COPTER
as the two vehicles close, the car at the last possible
moment swings left up the airport road as the truck hurtles
by.
INT. CAR - NIGHT
MICHAEL
Now that's about as close as it can
get.
K.I.T.T.
Tell me about it.
OMITTED
AERIAL VIEW OF MICHAEL'S CAR
weaving up the airport road.
ON WILSON
WILSON
Take her down. It's up to us.
ON THE TRANS AM
as it continues on the road.
ON MICHAEL
as he continues trying to hold himself together as he
continues towards the airport.
ON THE HELICOPTER
as it drops to running parallel and very close to the car and
Wilson lifts the shotgun and fires point blank at Michael's
head through the open side of the copter.
ON THE WINDOW
as the myriad lethal pellets ricochet back into Wilson's
face.
WILSON
as he grabs his face and he falls forward out of the copter.
EXT. AIRPORT - NIGHT
as Tanya's car slams to a stop next to the jet. The Pilot
is waiting.
PILOT
You ready to go, Miss Walker?
TANYA
In a minute. I'm just waiting for
Mr. Wilson.
PILOT
Well, I'll run her up while we're
waiting.
He disappears towards the cockpit. Tanya doesn't reply but
stares off as we hear the engine rev up, then suddenly reacts.
HER POINT OF VIEW
of the rapidly approaching distant headlights of the Trans
Am.
BACK TO SCENE
as Tanya dashes aboard the jet and starts to close the hatch.
TANYA
Let's get out of here fast.
PILOT (o.s.)
But what about Mr. Wilson?
TANYA
The hell with him. Let's go.
As the hatch closes, the jet starts to roll out.
THE TRANS AM
as it screams through the airport gates towards the runway.
MICHAEL'S POINT OF VIEW OF THE JET
taxiing fast.
INT. CAR - CLOSE ON MICHAEL
bathed in a cold sweat.
K.I.T.T.
Better let me take over. Your
reflexes probably can't handle it.
MICHAEL
It's two out in the bottom of the
ninth, Kitt. I'll finish the game
myself.
K.I.T.T.
I'll bet nobody talks that way to
Tommy Lasorda.
WIDE SHOT
As the jet reaches the end of the runway and swings around
for take-off, Michael swings the car towards the plane and
aims toward it. They are both starting towards each other
from virtually opposite ends of the field.
INTERCUT
1. Michael's point of view of the approaching jet.
2. The Pilot's point of view of the approaching car.
WIDE SHOT
as they close.
OMITTED
ANGLE ON THE GATE
as two or three police cars, sirens screaming and red lights
flashing, pour onto the runway.
CLOSE ON THE CAR
as it closes with the jet's wingtip.
THROUGH THE WINDSHIELD OVER MICHAEL'S SHOULDER
as the car reaches and tears off the jet's wingtip as the
rest of the wing explodes.
WIDE SHOT
as the car turns off as the plane does a 180 and comes to a
stop, the burning wing o.c. The door opens and Tanya,
Benjamin and the Pilot stumble out and into the hands of
the police as the plane blows up.
INT. CAR - NIGHT - MICHAEL
is just barely hanging in.
MICHAEL
It's done, Kitt. And now it's all
yours.
He passes out. There is a short beat, then:
ANGLE ON THE SUPER DASH
as the car shifts from manual to automatic.
EXT. CAR - NIGHT
as it slowly drives off as the police stare after it.
EXT. HOSPITAL - NIGHT - ESTABLISHING - STOCK
CLOSE ON EMERGENCY ENTRANCE
as the car slowly pulls up to a stop, the horn honks and
the door opens to reveal Michael. Michael stirs and comes
to slightly.
MICHAEL
Where are we?
K.I.T.T.
Emergency hospital. They should be
able to take care of you.
MICHAEL
Thanks.
K.I.T.T.
While you're in there, see if they've
got room for me.
MICHAEL
What's your problem?
K.I.T.T.
Acute exhaustion.
He honks again as a couple of attendants come out, discover
Michael, load him in a gurney and rush him inside. There's a
beat, then the door closes and the car slowly moves out of
frame. Hold on emergency room doors as we:
FREEZE FRAME
FADE OUT
END OF ACT SIX
TAG
FADE IN
EXT. HOSPITAL - DAY - ESTABLISHING - STOCK
CLOSE ON EMERGENCY ENTRANCE
as Michael comes out in a wheelchair dressed in his normal
clothing. The chair is being pushed by a very attractive
nurse, who pulls the chair to a stop beside a waiting taxi.
Michael hops out of the chair, obviously totally recovered.
He kisses the nurse good-bye with more affection than passion
and climbs into the cab which pulls out of frame as the
nurse stares wistfully after him.
EXT. MAGGIE'S APARTMENT - DAY
as the cab pulls up in front and Michael gets out and enters
the building.
DISSOLVE TO
INT. MAGGIE'S APARTMENT - DAY
Michael is seated on the couch with Maggie, drinking coffee.
MAGGIE
I don't know what I'm going to do
with Buddy now that you're leaving.
MICHAEL
I'd keep him. He's a pretty good
kid.
MAGGIE
You know what I mean. He needs a
man. I can see that. I thought I
could just go on not caring....
MICHAEL
...and not looking?
MAGGIE
Stupid, huh? Here I had a prime
candidate right under my nose and I
chased him away.
MICHAEL
Don't consider it a permanent
condition.
MAGGIE
You mean that? I mean, you might
come back to see us?
MICHAEL
You and Buddy can both count on it.
Michael leans over and kisses Maggie who tears up.
DISSOLVE TO
CLOSE ON DEVON (SHOT)
driving the Trans Am.
DEVON
Only you could have put a dent in
that machine.
Pull back to reveal that the Trans Am is being towed through
the gates of the airport towards a ramp, leading up into a
waiting truck bearing the logo, KNIGHT INDUSTRIES.
MICHAEL
Hey. Nothing's perfect. When do I
get it back?
DEVON
Who said anything about getting it
back?
MICHAEL
Devon. It's my car. I have the
registration.
DEVON
Don't remind me.
The tow truck comes to a stop. Michael and Devon climb out
as workers, wearing the Knight Industries logo, begin pre-
paring the car to be winched up into the waiting semi.
ANOTHER ANGLE - CLOSE ON MICHAEL AND DEVON
DEVON
I would assume that having disposed
of Tanya and her friends you'd be on
your way to getting on with whatever
passes for your life.
MICHAEL
Is that a fact?
DEVON
One can only hope for the best, you
know.
MICHAEL
Well, I hate to ruin your day,
but....
DEVON
Yes?
MICHAEL
Step aboard and we'll discuss it.
Michael moves out as Devon looks after him dubiously...then
follows.
ON THE LEAR JET
as it streaks off into the air.
INSIDE THE JET
MICHAEL
You really don't like the whole idea
of this project, do you?
DEVON
No I don't. But Wilton Knight was
my friend as well as my employer.
And like it or not the project will
be pursued. Faithfully pursued.
(beat)
Of course, your options are still
open. You don't have to....
MICHAEL
Forget it, Devon. The old man
wanted me and he got me. And now
you're stuck with me.
DEVON
Yes, I was afraid of that. No possi-
bility you'd reconsider, is there?
MICHAEL
Are you kidding? All my life I've
been banging my head against bureau-
cracy, red tape, indifference. I've
spent more time and energy fighting
to try and do my job than actually
doing it. I guess if I were totally
sane, I'd have quit years ago. But
now, I've had it all handed to me on
a silver platter. A completely free
hand, the world's most fantastic car.
All the money and resources of the
Knight Foundation, and most of all,
the best chance I'll ever get to
prove that one man really can make a
difference.
DEVON
Such dedication!
MICHAEL
I don't think we're ever going to
get along too well, Devon. But
you're straight and you're honest.
And you know I'm what Wilton Knight
wanted. So you've got no choice
about me. Not until I decide to
leave. And that may be a long time
coming.
Devon nods in resignation and pours a couple of drinks.
DEVON
I was afraid that might be your
attitude.
He hands Michael a glass.
DEVON
Well, shall we drink to what could
be the start of....
MICHAEL
(interrupting
lightly)
Of what?
DEVON
Only time will tell, dear boy. Only
time will tell.
MICHAEL
Well then, let's just drink to our
future. However it may turn out.
Devon nods. For once they are in complete agreement. As
they touch glasses:
FREEZE FRAME
THE END
