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.
As Acton turns to look back at the game, Tanya's eyes drift
to Wilson, a husky man in a three-piece suit standing to the
back of the gallery. He is chief of security for Consolidated
Chemical Corporation, something we might deduce as we push in
to a small earpiece with an inconspicuous, flesh-colored wire
leading down into his suit. He lifts a hand to the earpiece,
which brings his watch up into proximity to his mouth. When
he speaks, it is surrepticiously unnoticed by people craning
to see the game in front of him.
WILSON
Okay, Lonnie. He's winning big.
It's now or never.
Wilson turns his head and we follow his gaze to an elevator
into which moves a statuesque dark-haired girl. Her name is
Lonnie.
CLOSE ON LONNIE
as the elevator doors close on her, and we pull back to
reveal the back of the head of a second man watching her
progress. He too is wearing a tell-tale earpiece. He is
standing farther back behind both Wilson and the game that
is in progress. He is Michael Long. We see little of his
face except to notice that he is young, has dark curly hair
and rugged outlines to his sparsely seen features. He turns
away from the game and we tilt down to avoid his face and
see him flip a microswitch on his belt receiver/transmitter.
MICHAEL
I think it's coming down -- Wilson
just sent Lonnie into the elevator.
Do you read?
A MAN STANDING ON A LADDER - MUNTZY
wearing hotel coveralls.
MUNTZY
Loud and clear, Lieutenant. If she's
coming -- I'll have a front row seat.
He is changing a ceiling fixture as an elevator door opens
down the corridor and Lonnie heads his way, giving him a
smiling look as she moves past. He doesn't acknowledge the
girl, continuing his work, obliviously.
LONNIE
reaches a door, looks both ways.
POINT OF VIEW OF THE MAN ON THE LADDER
No interest. She is relieved. She puts a key in the lock
and enters...We push back up to the man on the ladder, he
turns his head to us, full on and we now see an earpiece.
MUNTZY
I've got her. She just went into
Acton's suite.
TO INTERCUT WITH MICHAEL LONG IN THE CASINO
LONG
Muntzy. Be careful.
MUNTZY
Hey -- I've got ten years on you,
junior. I'm the original man of
steel. You're the one I'm worried
about. You're right inside that
nest of snakes.
INSIDE ACTON'S SUITE
Lonnie moves hurriedly to a safe installed for the use of
"high roller" guests in most lavish Nevada suites. She
opens it and removes a folder containing documents. She
places them under a table light and begins to shoot
photographs of them with a minicamera.
ON WILSON
at the craps table. Nothing but passes and cheers.
LONNIE'S VOICE
(filtered)
I'm finished.
BACK IN THE ROOM
We see that she's closing the safe and is walking to the
door.
TO INTERCUT WITH WILSON
WILSON
Be sure no one sees you.
LONNIE
There's no one in the corridor but
an electrician.
Wilson's facade stiffens.
WILSON
Electrician. You didn't say
anything about an electrician.
LONNIE
He works for the hotel. I've seen
him around.
WILSON
Stay in the room.
LONNIE
For how long?
Suddenly Acton is turning from the table with Tanya on his
arm and both hands filled with chips.
ACTON
Come on, Wilson. We're calling it a
night.
A startled Wilson exchanges looks with Tanya.
WILSON
But you're on a roll.
ACTON
I got to be chairman of Consolidated
Chemical by knowing when to quit
winners. Let's go, darling. Be sure
security stays close behind until we
get these in the room safe.
As Acton moves off -- Wilson holds Tanya back.
WILSON
Delay him.
Wilson turns hurriedly.
ON MICHAEL LONG'S BACK
as Wilson rushes to him.
WILSON
Stay close to Mr. Acton. He's carry-
ing a lot of money.
As Michael rushes off, we hold on Wilson who speaks quietly.
WILSON
Get out of there, Lonnie. Acton's
coming up.
TO INTERCUT WITH LONNIE
standing nervously at the door to the corridor.
LONNIE
What about the guy on the ladder?
WILSON
If he follows you, I'll handle him.
You just get in your car and head
east, out of town. We'll pick up
the film from you there.
IN THE CORRIDOR
Lonnie rushes out of the suite and down to the elevator bank.
We push into Muntzy on the ladder as the elevator door opens
and she hurries inside.
MUNTZY
She's leaving in a hurry, Lieutenant.
ON MICHAEL
crossing the casino -- a few yards behind Acton and Tanya.
MICHAEL
I know. Wilson just put me in
charge. That means they've got a
broken play -- can you follow
Lonnie?
BACK IN THE CORRIDOR
Muntzy scampers down the ladder and races for a second
elevator as Lonnie disappears into a first.
MUNTZY
Back me up if I blow it.
BACK IN THE CASINO - ON MICHAEL
MICHAEL
We've got six months in this one,
Muntzy. I'll be right behind you.
OMITTED
BACK AT THE ELEVATOR
as Acton looks at Tanya with puppy-loving eyes, a small
crowd of anxious guests around them waiting for their
elevator impatiently.
TANYA
Charles, security can only do so
much in a crowd with you carrying
all those chips. I'd feel much
better if you stop off at the
cashier's.
Michael moves up hurriedly.
MICHAEL
That's good advice, Mr. Acton. I'd
recommend it.
ACTON
I guess you're right. They're
clumsy as hell to carry, anyway.
Michael walks with the couple towards the cashier's cages,
keeping his eyes on the elevators behind him. Tanya, too,
is eyeing the elevators.
ON THE ELEVATORS
As one car arrives, Lonnie steps out and hurries away. On
another car as it arrives and we see Muntzy, the hotel
maintenance man exit, look both ways, spot Lonnie and hurry
after her.
ON MUNTZY
hurrying across the lobby. He lifts his cuff.
MUNTZY
You can relax, Lieutenant.
MICHAEL
Be careful, Muntzy. I don't know
where Wilson is.
ON WILSON
as he watches the entire charade and speaks covertly.
WILSON
Gray. They've burned her. She's
got a guy on her tail. He's wearing
a maintenance suit...Stop him.
OUTSIDE THE HOTEL
Gray, a rugged-looking man steps out of the shadows of a
billboard and watches as Lonnie races out of the casino and
towards a car.
GRAY
I've got her.
She jumps into her car and drives off.
GRAY
And I've got him.
Gray pulls out a weapon and attaches a silencer.
BACK INSIDE THE CASINO
at the cashier's cage.
MICHAEL
Wait here, Mr. Acton. Don't leave
these cages and guards.
ACTON
What're you talking about. Where
are you going?
TANYA
Michael...Michael...I don't know
what's gotten into him, Charles.
I'll be right back.
She too, hurries off.
ON MICHAEL
racing across the casino. He talks into his lapel. A
small American flag.
MICHAEL
Watch it, Muntzy. Wilson is on his
way out. I think he made you...
Muntzy. Muntzy.
OUTSIDE THE CASINO
A security car, complete with red lights and formal lettering
on the side, speeds up. Wilson jumps in as the car streaks
off into the night, driven by Gray. Right behind them,
Michael exits the casino on the dead run. He sees the
security car streak off and runs into the parking lot,
panning back we see Tanya following the parade. She sees
Michael entering the darkened lot and hurries after him.
TANYA
Michael...What are you doing?
ON A BLACK TRANS AM
as Michael streaks up to find Muntzy clutching at the door
to the car. He collapses as Michael reaches him, Tanya --
right behind him.
MICHAEL
Muntzy!
(to Tanya)
Watch him. I'll get help.
MUNTZY
Forget it, Lieutenant. Go after 'em.
MICHAEL
Muntzy...you've got to hang on --
Muntzy.
But it's obvious that Muntzy is dead. Michael looks up at
Tanya, ashen.
TANYA
What is it? What's going on?
MICHAEL
Stay here with him.
Michael starts into the car. Tanya races to the other side
as hotel personnel and bystanders move up, warily.
TANYA
Why are you doing this. You were
hired to protect Charles. You can't
leave him.
MICHAEL
These people are no longer interested
in your boss. They just got what
they were after.
TANYA
What are you talking about? I'm
coming with you.
INSIDE THE TRANS AM
as Tanya jumps in and it speeds off into the night. Michael
is pulling out his gun and checking it.
MICHAEL
I don't have time to explain it all
to you, Tanya, but your boss's chief
of security is up to his Bahamian
bank accounts in industrial espionage
-- and now murder.
TANYA
I don't believe it.
MICHAEL
Did you believe that dead cop back
there? He was my partner. I was
supposed to be covering him.
DESERT ROAD - NIGHT (SHOT)
It is night on a lonely desert road as Wilson and Gray
emerge from their car which has pulled Lonnie off the road.
With red lights flashing, Symes moves from a car marked:
CONSOLIDATED CHEMICAL
Special Security
WILSON
Will you step out of the car please.
Lonnie steps out revealing a sumptuous figure.
WILSON
Good work, Lonnie. I'll take the
microfilm....
Lonnie reaches into her purse and removes a small micro-
camera. Suddenly, the scene is bathed in light as Michael's
Trans Am 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, (Mr. Acton's personal
bodyguard). We seem to have made a
small mistake.
(Words in parenthesis to be looped into scene, v.o.) Tanya
climbs out of the Trans Am 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.
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 body of Michael 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
I'll give you the same answer I've
given you the past four days. 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.
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?
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.
(Note: The following underlined dialogue will either be shot in
closeup or v.o.)
KNIGHT
That's it, son...get mad...and stay
mad. It will keep you living. Just
like me.
OMITTED
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 Knight
2000 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 look for yourself?
Almost reluctantly, Michael rises up and moves slowly across
the room to a mirror.
KNIGHT
Perfection.
MICHAEL
It isn't me.
Michael raises his fingers up to feel the unfamiliar contours.
DEVON
You now have a second chance to
live. Unless you'd prefer to walk
around with a face that could get
you killed all over again?
Michael turns a sober look towards Knight.
KNIGHT
Take my word. You'll be much safer
with this face. And it's rather
handsome if I do say so myself.
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. It'll be ready
within the week.
KNIGHT
Excellent. I pray it leaves me
enough time.
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 as Devon
moves up.
DEVON
How much have you told him?
KNIGHT
I've told him he no longer has
anyone to fear. In the eyes of the
law, Michael Long is legally dead.
Devon looks uncomfortable.
DEVON
But Mr. Knight, stealing a body from
the medical school for the police to
find wasn't exactly playing by the
rules.
KNIGHT
I make my own rules. So does the
government. They fake deaths and
identities all the time. Not to
mention our adversaries who don't
exactly play by the rules.
DEVON
All right. But why are you doing it?
KNIGHT
I think you know why, Devon. I want
to leave something behind -- something
worthwhile, not just numbers in a bank
account. Now, when will the Knight 2000
be ready?
DEVON
Soon. I'm already working the crew
double shifts.
KNIGHT
Make it around the clock. We must
hurry....
DEVON
Has the Doctor told you....
KNIGHT
(interrupts)
Don't worry about what the good
Doctor's told me. Let me worry
about the doctors...and Michael Long.
CLOSE ON MICHAEL - DAY
as he pulls up to Knight, as Devon moves off.
KNIGHT
Aren't you pushing it a bit, Michael?
MICHAEL
I've got to get back into shape fast.
I've got one last debt to pay.
KNIGHT
Is revenge all that you can think
of? You're better than that. You
were a good cop.
MICHAEL
Was I? I blew it?
KNIGHT
What if I could offer you another
shot. I want Tanya and her friends
too -- but they're just the tip of
the iceberg. If we were to work
together....
Michael comes back to his feet.
MICHAEL
(interrupts)
Mr. Knight, my last partner is
dead. It's nothing personal, but
from now on I work alone. I can't
take responsibility for anyone's
life but my own. I think you can
understand that.
Michael jogs off.
INSIDE GARAGE WITH COMPUTER EQUIPMENT
Devon enters.
DEVON
It's ready.
KNIGHT
I know -- and so are we. I've found
our man. I'm sure of it.
DEVON
Wilton, I've never been in total
agreement about this project. But
even if I were, I question Michael
Long as your choice. He's too
young ---
KNIGHT
He'll need to be young ---
DEVON
And inexperienced.
KNIGHT
Three years of counter intelligence
work in Nam, working on his own in
deep cover.
DEVON
He was captured.
KNIGHT
He survived -- which is more than I
can say for his captors.
DEVON
All right. I'll give you his
ability to work well on his own --
Perhaps that's what disturbs me most
-- what you have in mind -- what we
hope to accomplish -- demands team
work.
KNIGHT
Does it. He's going to have to be
out there on his own most of the
time, Devon ---
DEVON
Yes, at first -- of course -- but
eventually when we prove ---
KNIGHT
When we prove. He's going to be the
living proof, Devon -- The living
proof that each of us as individuals
can make a difference.
DEVON
Why do I always attempt to challenge
your instincts with logic? I always
lose.
Knight smiles....
KNIGHT
This time in losing -- you win -- we
both win. Michael Long is our man.
OMITTED
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 (SHOT)
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 damned right it is. Now what
is all this? What are you guys up
to with people sneaking in and out
of here at all hours of the day and
night?
DEVON
Look who's talking.
KNIGHT
Be quiet both of you. Let's get
down to business. I'm running out
of time and Michael is now healthy
enough to carry on.
Knight moves up to stand beside Michael, Devon right behind
him.
MICHAEL (v.o.)
Carry on what? Hey, look. I don't
know what you do out here, but all
I want to do is settle the score
and get on with my life.
DEVON (v.o.)
That's not very grateful.
(*Several additional lines are to be added either in closeup
or v.o. as underlined.)
MICHAEL
The guys you're after are too big.
They're the kind of criminals that
operate above the law. Nobody can
touch them.
KNIGHT
I don't agree with you.
MICHAEL
You're entitled to your opinion.
As for me, I'm pulling out of here
tonight and I'm taking my car with
me.
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 huge room. 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.
Now what is all this I'm supposed to
know about my own car.
DEVON
Any resemblance between your car and
this one is purely superficial.
Michael walks closer to the machine.
MICHAEL
What're you talking about. That's
my Trans Am. I left it out in
the desert.
DEVON
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 just....
Michael has moved up to the sleek machine. He pats the
fender. He reacts.
MICHAEL
What is this, new paint? It feels
like baby skin.
He looks closely.
MICHAEL
Guys do nice work. Hasn't got a
ripple in it....
He leans in close.
MICHAEL
Like a mirror. A dentist could use
this to drill....
DEVON
It isn't paint. It's a finish
bonded into the molecular structure
of a new substance.
MICHAEL
You mean the metal?
DEVON
It isn't metal, and it isn't
Fiberglass.
Devon moves forward with a large pinhead hammer.
DEVON
Here. Strike the surface as hard as
you can.
MICHAEL
I'm not going to hit my car. It's
beautiful.
Devon smiles. Takes the hammer himself and raises it high,
driving it down. It bounces off the surface and out of his
hand. Michael stares in disbelief.
MICHAEL
How'd you do that?
OMITTED
MICHAEL (SHOT)
walks up and stares at the point of impact. It is flawless.
DEVON
Don't stand there with your mouth
open. Get in.
INSIDE THE TRANS AM (SHOT)
Michael sits staring at the futuristic panel.
DEVON
Welcome aboard the Knight 2000.
MICHAEL
Thank you. What is all this? It
looks like Darth Vadar's bathroom.
DEVON
This is a one of a kind car, Mr. Long.
It is faster and safer, and stronger
than any machine in the world. It is
completely fuel-efficient and is
entirely operated by microprocessors
which make it physically impossible
for it to be involved in any kind of
collision or mishap, unless specifi-
cally 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.
Devon reaches over and touches a panel and a whirring sound
snaps on as the car comes to life.
DEVON
Now, in order to motivate forward.
MICHAEL
Devon. I recognize the more
rudimentary controls -- such as the
accelerator. I do know how to drive.
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 (RESHOOT)
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
Marvelous, isn't it?
MICHAEL
I hate it. I like to make my own
decisions.
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.
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.
IN A CORRIDOR - NIGHT
Doctor Miles stands waiting anxiously as Michael and Devon
move down the hall.
MILES
You'd better hurry.
INSIDE A LARGE BEDROOM - NIGHT (SHOT)
A fire rages in the fireplace. The drapes are drawn and
Wilton Knight lies as if in state, his eyes closed. Devon
approaches fearfully, Michael not far behind him.
(Note: The following underlined dialogue will be shot in
v.o.)
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
Hey, look. I don't even know what
to say. You've got to put that
machine on the market. It could
save thousands of lives. There's
never been anything like it.
KNIGHT
And have it taken away from me and
kept off the market like my airplane.
(grimaces and
coughs)
No! I have other plans for that car.
DEVON
Don't try to talk, sir. Let me
explain.
Knight appears to be sinking. Devon turns to Michael.
DEVON
Mr. Knight is the last of his breed.
He built his own empire like the
Fords and the Rockefellers.
MICHAEL
Devon, we've been through all that.
KNIGHT
Enough. Now, Michael come closer.
Think about the opportunity you have.
MICHAEL
What opportunity?
KNIGHT
You don't exist. You're legally
dead. No one can trace your source
of funds or identity. Even your
fingerprints have been altered.
MICHAEL
You set this whole thing up.
KNIGHT
You set it up when you still had
faith that 'one man could make a
difference.' I want you to get that
spirit back. I want it to be your
obsession as it is mine.
MICHAEL
(almost breaking)
Look, I'd like to be able to promise
you I'll feel like taking on the
world some day, but I can't. I used
to have a real life with real friends
-- Now...I still wake up in the middle
of the night shaking, remembering
that gun in my face and the whole
world blowing up.
KNIGHT
Remember that moment, and think of
it as your baptism by fire. You
were spared to lead a great fight.
Don't turn away in fear. One man
can make a difference. You're going
to be that man.
MICHAEL
Mr. Knight...I can't stand here at a
time like this and lie to you...I
just don't know if....
Michael stops 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.
OMITTED
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 - STOCK
A large number of people are in attendance of Wilton Knight's
funeral, including some television news teams.
REPORTER (v.o.)
(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 (v.o.)
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 IN THE GARAGE (SHOT)
Michael walks hurriedly towards the car, Devon trying to catch
up. (To be used as shot plush indicated v.o.)
(Note: The following underlined dialogue will either be shot
in closeup or v.o.)
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
where to start.
MICHAEL
And I suppose you do.
DEVON
Of course.
Michael stops in his tracks.
DEVON
Tanya's working in Silicon Valley --
Millston to be precise. Probably
the wealthiest four-mile strip of
space-age industry in the world.
She's managed to promote a position
as executive assistant to Will
Benjamin, president of Com Tron --
one of the biggest operations there.
MICHAEL
I've heard of Silicon Valley --
where they make all the microchips.
The stakes may have changed but
she's still playin' the same game.
DEVON
My thoughts exactly.
MICHAEL
Well if Tanya is in Silicon Valley,
that's where I'm going. Now...today.
DEVON
I forbid it.
MICHAEL
You can't forbid it. You don't own
me.
DEVON
I can certainly take away the car.
MICHAEL
I'll get another one. Besides it's
in my name.
DEVON
That's where you're wrong.
Devon hands Michael the registration slip.
MICHAEL
Michael Knight?
DEVON
Michael Long is dead. Remember
that. You wouldn't want to die
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
Driver's license...credit cards....
DEVON
All according to Mr. Knight's orders.
MICHAEL (v.o.)
Then I'll be on my way.
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.
MICHAEL
Good-bye and thank you, Devon. I
want you to know I kind of got to
like you.
DEVON
What?
MICHAEL
Never mind. What does it mean,
anyway. Coming from a primitive
like me.
(PLUS ADDITIONAL SHOT FOOTAGE)
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, the heart of Silicon
Valley. Might as well put on some
music.
(looking at the
Knight 2000's
complex dash)
With all these stupid gadgets, you'd
think they'd give you a radio.
Suddenly a voice resembling the voice of Hal, the computer in
2001, begins a low drone.
K.I.T.T.
What would you like to hear? A little
Beethoven?
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.
Possibly, you'd prefer Chopin.
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.
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.
MICHAEL
Why do I have the feeling this won't
be the last time I run into trouble
in this town?
Michael 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 up into the parking lot.
K.I.T.T.
Social gathering places where alcoholic
beverages are consumed in quantity
can create an environment in which
indiscretion becomes commonplace.
Just remember this is business, not
pleasure.
Michael flares up, pounding the dash as he climbs out.
MICHAEL
You can say that again -- You're about
as much fun as a divorce -- which is a
good idea.
K.I.T.T.
I want custody of me.
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....
LONNIE
Some guys sure start early.
LONNIE - DAY
is possibly the prettiest of the three girls but it's almost
a toss-up between three tens.
LONNIE
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...Lonnie appears in the
doorway behind him.
LONNIE
I heard you mention Tanya Walker.
You a friend?
MICHAEL
You're not going to throw anything
at me, are you?
LONNIE
Why should I? She's a friend of
mine, too.
MICHAEL
You know how I might get in touch
with her?
LONNIE
I'm afraid she's seeing someone.
MICHAEL
I'm not interested in her body. I'm
interested in her money.
LONNIE
Come again?
MICHAEL
I've got something to sell. Some-
thing rather valuable.
LONNIE
Like what?
Michael looks both ways.
MICHAEL
That's between me and her.
LONNIE
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.
K.I.T.T.
That's easy for you to say. It's my
body we're abusing.
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
All because of tiny little micro-
chips.
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
Tanya Walker?
Maggie shoots him a look.
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 are allowed entrance
by a kindly elderly woman of Hispanic origin who removes a
door chain, several dead bolts and a door lock:
LUCE
Ah...senorita -- I was worried ---
MAGGIE
I'm sorry I'm late, Luce...I ran
into -- something ---
LUCE
Oh -- I hope it was nothing serious --
(as she sees
Michael in
doorway, puts
her hands to
her cheeks)
Oh my goodness, I hope it is something
serious ---
MAGGIE
Luce -- please -- you're embarrassing
me -- this is Mr. Knight -- Luce
looks after my son.
Luce sweeps up her shopping bags, stuffed with who knows what,
and beats a hasty retreat.
LUCE
He is sleeping -- and I am leaving
you two -- have a good time. You
especially. She is a wonderful
woman -- a saint -- remember that.
She hugs Maggie.
LUCE
(whispered)
Good luck -- this one is a winner.
And Luce is gone, pulling the door closed behind her. Maggie
turns to Michael, beet red and speechless.
MAGGIE
I don't know what to say -- she
never behaves like that.
MICHAEL
No apologies necessary. What could
I be, but flattered.
MAGGIE
Thank you, but I have to know you
believe me. I haven't had a man in
my apartment since my husband ---
BUDDY
Mom ---
She turns in place to see a sleepy-eyed Buddy, age approx-
imately nine, enter in his footed pajamas.
MAGGIE
Buddy -- what on earth are you doing
up -- This is Buddy.
MICHAEL
I figured -- Hi, Buddy ---
BUDDY
Hi! Are you going to marry my
mother?
She reacts like she just touched a hot stove.
MAGGIE
Ahh -- I don't believe he said that.
Now you get right back to bed. Will
you excuse me a minute ---
Michael smiles warmly.
MICHAEL
Listen -- I know you've got to get to
bed, and I only need to talk over a
couple of things -- like....
She exits to bedroom as Michael idly wanders around the room,
calling off to her.
MICHAEL
If I wanted to talk to Tanya, alone,
where would I go? The plant, her
apartment...?
BUDDY (v.o.)
Who's Tanya -- competition?
MAGGIE
Shh -- Go to bed. Look, forget trying
to get to her off duty. I think she's
staying at Benjamin's estate.
MICHAEL
William Benjamin?
MAGGIE (v.o.)
He owns Com Tron. She rarely leaves
his side. Now you go to sleep.
Michael seems to sink as Maggie reappears, closing the bed-
room door behind her.
MAGGIE
Wait a minute! Tomorrow's one day
she and Benjamin have to go out.
Com Tron is sponsoring a charity
show out at the track.
MICHAEL
The track?
MAGGIE
A demolition derby for charity. Buddy
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 Buddy as he appears in a suddenly opened door.
BUDDY
Yeah!!!
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 TRANS AM
racing around the track gaining on two more cars.
INSIDE ONE OF THE LEAD CARS
Logan is looking back into his rearview mirror.
LOGAN
Hey, Carney?
CARNEY
in the car next to logan yells back.
CARNEY
Yeah....
LOGAN
I figure this hotshot's trying to
horn in on my money that rightly
belongs to one of us. You get my
drift?
CARNEY
Loud and clear. Let's give him a
little room to get through.
The two cars separate allowing Michael to shoot up between
them.
ON MICHAEL
in the car.
MICHAEL
Now, why are they being so generous?
BUDDY
They're chicken.
MICHAEL
I wonder.
THE TRANS AM
as it shoots up the middle, we see the two cars close the
gap, banging in to catch the car in a pinzer.
BACK INSIDE THE CAR
BUDDY
Look out....
Michael hits a button....
ON THE TRANS AM
as it leaps over the other two cars.
ON THE TWO DRIVERS
gaping out and over as the car hits the track in front of
them....
CARNEY
How'd he do that?
LOGAN
I don't know...But nobody makes a
fool out of me. I'm going to get
him.
ON LOGAN
as he races up behind Michael and begins banging into the
back of the car.
INSIDE THE TRANS AM
BUDDY
He can't do that...It's against
NASCAR regulations.
MICHAEL
I don't think this is a regulation
race.
They get punched again from behind....
BUDDY
looks at the various buttons on the console.
BUDDY
Wow...if that last button made this
thing fly...I wonder what this one
would do....
Buddy pushes a button.
MICHAEL
Hey, don't start pushing things. I
don't even know what those do.
ON THE BACK OF THE TRANS AM
to see a pipe reveal itself and begin spewing out a
continuous stream of thick oil.
ON A CORNER
as Logan races up to pass the Trans Am, suddenly hits the
oil slick and spins out, doing a one eighty.
ON LOGAN
LOGAN
Hey...what's happening....
ON BUDDY
looking back.
BUDDY
Wow...All right....
CARNEY
CARNEY
Okay, pal. Now you're up against
number one.
ON BUDDY
BUDDY
Here comes the other dirty rat who
tried to cut us off....
MICHAEL
Just sit tight and don't touch
anything.
ON BUDDY
eyeing Michael warily. Then looking at the buttons,
breaking into a smile.
INSERT - A BUTTON
SMOKE SCREEN
ON CARNEY
as he races up towards a corner.
ON A SMALL FINGER
pushing a button.
ON A SMOKE SCREEN
pouring out of the back of the Trans Am.
ON CARNEY
CARNEY
Hey...I can't see.
ON CARNEY'S CAR
as it crashes straight ahead, missing a turn, and plowing
through a wall.
ON THE FLAG MAN
as he starts to raise a black flag.
ANNOUNCER
Oh, oh, ladies and gentlemen, that
flashy Trans Am has apparently blown
an engine and is about to get the
black flag disqualifying it....
INSIDE THE CAR
MICHAEL
Buddy. Take your finger off that
button.
Buddy's hand jerks back as if touching a hot stove.
ON THE TRANS AM
as the smoke abruptly stops.
ON THE FLAG MAN
looking puzzled.
ANNOUNCER
An amazing turn of events as the
lead car is apparently all right,
after all.
The flag man scratches his head and puts down the black flag
and reaches for the checkered flag.
ANNOUNCER
We're coming up on the end of the
race with only six cars still in the
running.
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 bump
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.
As Benjamin exits, Tanya moves over to Wilson, but before
she can speak, Michael intercepts her.
MICHAEL
You just saw what I'm selling. If
you want to know more, meet me at
the Rising Sun -- tonight -- eight
o'clock.
Michael walks off and Tanya resumes with Wilson.
TANYA
What have you found about 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 to sell.
It's quite another to steal an entire
prototype. This smells like 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. Do you know what you're up
against? I still hurt from the last
man who made me feel...I can't go
through it again.
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 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.
CARNEY
Miss Walker got the message. She
sent us to pick you up.
MICHAEL
Tanya did that? You work for her,
too?
DOLAN
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.
CARNEY
Yeah, well we've each got a little
donation for you, too.
MICHAEL
Fellas -- I hate to mention this,
but I'm kind of heavily into martial
arts.
They smile.
DOLAN
Yeah?
Reactions as we see Maggie, Lonnie and others gasp as drivers
fly through air across tables, out doors, etc.
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.
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 on a very
high level is breathing 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. I got
the access code for the bubble
memory chip from Benjamin. It's
worth more than all their other
patents combined. We can get it out
of the 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. He
has to be eliminated.
(a long pause)
Now 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
I don't ask questions like that.
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 Gray 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 Gray as Wilson rushes out and jumps into his car. Gray
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.
GRAY
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
Now how am I going to get up there?
It's times like this that I wish I'd
listened a little more closely to
Devon.
K.I.T.T.
Might you entertain a suggestion?
Michael takes a deep breath.
MICHAEL
Yes...yes. It's all right. I have
to get up to a roof about one hundred
feet straight up!
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
Let's see. Data Processing. Ninth
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, punches an identification code into a
desk top computer as the phone rings. She answers.
TANYA
It's okay. I've accessed the design
specifications on the new memory chip.
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 OFFICE
TANYA
You don't want to do this. Look,
I can share millions with you. All
the money we took out of Consolidated
and Knight Industries is safely out
of the country. Please don't do
this...please.
Michael lowers the gun almost imperceptibly. Tanya takes
it as a sign of weakening and presses her case.
TANYA
I didn't want to hurt you, Michael,
but I had no choice. If I hadn't
done it, Wilson would have. Those
were his orders.
MICHAEL
Come on, Tanya. How can we share
the millions if someone else is
giving the orders? You're the boss,
Tanya. No one else.
TANYA
Okay. I'm the boss. But we could
use someone like you.
(seductively)
I promise you ours would be a very
rewarding partnership.
OVER MICHAEL'S SHOULDER
We can see Symes in the corridor, moving towards the suite,
his gun drawn.
MICHAEL
Not this time, Tanya. You see, I work
alone.
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. Symes rushes up.
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...
(then to Symes)
Let's go.
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 and Symes 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
seated in an executive interior. A veritable war room.
DEVON
What in the name of heaven is
going on?
TO INTERCUT WITH MICHAEL IN THE TRANS AM
He speaks without using a hand phone and fights off
dizzyness.
MICHAEL
They were going to kill me. Would
have if it weren't for Kitt.
DEVON
Michael. What's wrong? Kitt.
What's wrong with Michael?
K.I.T.T.
I'm afraid Mr. Knight's been injured.
His vital signs are deteriorating
rapidly. He's losing blood. I really
feel I should take over.
MICHAEL
You aren't taking over anything. You
hear?
DEVON
Michael...Forget everything. Save
yourself. We'll regroup to fight
another day. Remember -- Wilton
Knight had a dream for you that goes
well beyond Tanya and her sordid
rabble.
MICHAEL
He was a great man, Devon. I'm
proud he chose me to help him. But
I'm afraid I'm not going to be
around to help with his dream.
DEVON
Michael, don't talk like that. Kitt!!
K.I.T.T.
What can I do? He's still overriding
me.
MICHAEL
Don't worry Devon, I'm going to take
us out winners -- for Wilton, for
you -- for Kitt....
DEVON
Kitt?
K.I.T.T.
Given his signs, I suggest you hear
him out -- quickly.
DEVON
Michael, what does this mean? What
have you learned?
MICHAEL
That Tanya and her buddies are about
to rip-off Com Tron.
DEVON
Can you prove it?
MICHAEL
Right now they're trying to get away
with millions of dollars worth of
Com Tron's secrets. We have to
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.
DEVON
Kitt. Can he make it?
K.I.T.T.
You want the truth -- in front of
him?
MICHAEL
You can both take a flying leap --
If I'm going out -- I'm taking those
vultures with me.
DEVON
Michael -- Michael -- I forbid it.
You'll destroy everything.
K.I.T.T.
Listen to him, Michael. He's not
just talking about me.
OMITTED
IN A COM TRON HELICOPTER
Wilson is in the passenger seat beside Gray who is piloting
the bird. 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...to
keep me angry....
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
Dolan, one of the drivers who gave Michael such a beating.
DOLAN
Come on, big shot. Come to papa.
ON MICHAEL (SHOT)
MICHAEL
Okay, Kitt, here goes nothing.
K.I.T.T.
With all due respect, you aren't
possibly considering....
Michael floors it.
K.I.T.T.
Oh my word, you are.
ON THE TRANS AM (SHOT)
as it accelerates towards the intersection, faster, faster....
ON DOLAN (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
Dolan. Dolan. Did you get him?
DOLAN'S VOICE
I blocked the road and cut him off.
WILSON
Good work.
DOLAN
But he went right through my trailer.
WILSON
Have you been drinking?
DOLAN
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.
RED
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
RED
Forget it.
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?
K.I.T.T.
Yes, can I?
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 Gray (pilot) next to him. The pilot takes
a shotgun from its rack and places it in a handy position.
GRAY
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.
GRAY
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 the chopper.
INSERT - SMOKE
pouring out of the chopper.
GRAY
WILSON
He hit us --
GRAY
No, you hit us!
WILSON
Shut up and make another pass.
GRAY
You want to make another pass. You
jump out. We'll be lucky to make
the airport.
EXT. AIRPORT - NIGHT
Tanya's car slams to a stop next to the whining jet, as the
chopper lands.
TANYA
You get 'im?
WILSON
Does it look like it? Roll this
machine.
TANYA
Not until I finish Michael Knight.
She suddenly reacts:
HER POINT OF VIEW
of the rapidly approaching distant headlights of the Trans Am.
BACK TO SCENE
as Wilson and Gray dash towards the jet, physically grabbing
Tanya.
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 can't handle it.
MICHAEL
It's two out in the bottom of the
ninth, Kitt. I'll finish the game.
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.
OMITTED
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,
Wilson and Gray stumble out followed by the crew as the
plane blows up in the b.g.
As sirens begin to be heard in the distance:
WILSON
Run for the hangar -- we've got to
find another way out.
ON TANYA
as she cold-bloodedly starts across the apron towards a
pair of closing headlights, slowly removing the gun from
her fur coat pocket, the same gun she used to forever
destroy Michael Long.
TANYA
I'll get you a way out of here, that
nothing can stop.
GRAY
Tanya, come back here.
THE TRANS AM
screeches to a halt. Michael Knight looks out through
half-opened eyes.
TANYA
raises the gun to the side window at point blank range.
TANYA
You lose, Michael!
MICHAEL
No Tanya, don't....
WILSON
The windows are ---
Tanya smiles and fires. Michael grimaces. Tanya's hands
clutch her once beautiful face.
ANGLE ON THE GATE
as three police cars, sirens screaming and red lights
flashing, pour onto the runway.
INT. CAR - NIGHT - MICHAEL
looks down with empty satisfaction.
MICHAEL
It's done, Kitt. And now it's all
yours.
He passes out. There is a short beat as we see steam
pouring out from under the hood.
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
OMITTED
EXT. HOSPITAL - DAY
A nurse is rewrapping Michael's bandages as Michael stands
next to his hospital bed.
MAGGIE
Michael, are you all right?
MICHAEL
Well I'm a little stiff and sore but
the Doc says I'm mobile.
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
Tell Buddy it's a promise.
Michael leans over and kisses Maggie who tears up.
MAGGIE
You know Buddy was hoping you'd take
him for one last ride in your car.
MICHAEL
Well that might be a small problem....
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
We'll have to talk about that!
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.
OMITTED
ON THE LEAR JET
as it streaks off into the air.
INSIDE THE JET
MICHAEL
Now then, about my car.
DEVON
Well, simply stated, Wilton Knight
was my friend as well as my employer.
It's my legacy to see that his final
dream is faithfully pursued, like it
or not.
(beat)
You on the other hand, have no such
obligation, your options are still
open. You don't have to....
MICHAEL
Devon. The old man wanted me. It
was his dying request.
DEVON
Yes, of course. To rid the world
of Tanya and her friends -- The rest
of his dream would bore you to tears
-- just a sort of insignificant
foundation.
MICHAEL
Tell me about it, Devon -- Tell me
about the foundation. What's it for?
DEVON
For law and justice. But largely
paperwork. The major part of our
activity involves legal research,
class action suits, strictly
bureaucratic....
MICHAEL
What else, Devon?
DEVON
What else?
MICHAEL
The part he wanted me for. The truth!
DEVON
The truth. Well, Mr. Knight also
believed that there are certain
situations in which direct action
might provide the only feasible
solution. That's what the Knight 2000
was designed for. The pilot program
is to consist of one man and one car.
Absurd really -- who'd want to take
that on ---
MICHAEL
I was supposed to be that man, wasn't
I?
DEVON
Well, I ---
MICHAEL
The truth.
DEVON
He did seem to feel you were singu-
larly well qualified to go it
'alone' as he put it. But!!!
MICHAEL
But, what?
DEVON
Who could expect it of you? I mean
you barely came through this mis-
adventure with your life -- not to
mention the damage to the Knight 2000.
MICHAEL
I don't have any more choice than
you do, Devon.
DEVON
You don't?
MICHAEL
Think about it. I've spent years
knocking my head against criminals
of one type or another who've always
had the upper hand. Now this.
DEVON
Now what?
MICHAEL
The answer! A loner's dream. 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
An admiral ambition in theory --
however....
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. After all -- I gave Mr. Knight
my word on his deathbed.
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
Of one man's dream.
MICHAEL
And to our future! No matter who it
may take us up against -- or where.
Devon nods. For once they are in complete agreement. As
they touch glasses:
FREEZE FRAME
THE END
