ACT ONE
FADE IN
OMITTED
EXT. TRANS AM - DAY - VARIOUS ANGLES - STOCK
K.I.T.T. and Michael surge down the open road accompanied by
the pulsating rhythms of the hot theme music.
EXT. SEMI - DAY - ESTABLISHING - STOCK
INT. SEMI - DAY
Bonnie is standing in front of a TV monitor. Next to her
is Devon who is perched over an easel where he is drawing a
sketch based on the description offered by Bonnie.
BONNIE
(addressing
TV monitor)
Brown, curly hair, wide-set piercing
blue eyes, a well-set jaw, with a
cute little dimple on the chin....
INSERT - VIDEO MONITOR
Responding to Bonnie's voice, a composite sketch is being
formed by the computer on the screen. We can see that it's
going to be Michael's face.
BONNIE (v.o.)
...medium width, straight nose, small
ears, and a full, sexy lower lip.
ANGLE - DEVON
drawing hastily, trying to keep up.
DEVON
Slow down, Bonnie.
BONNIE
That's it.
ANGLE - DOOR
It opens and K.I.T.T. enters. Michael stops the car and
bounds out.
MICHAEL
Hi, guys.
He notices the TV and easel set-up.
MICHAEL
Hey, what's all this?
DEVON
Kitt's got a brand new feature.
K.I.T.T.
I do?
BONNIE
Yes. You can now construct a com-
posite drawing on his screen based
on a verbal description.
ANGLE - DEVON
standing next to his very sketchy sketch.
DEVON
As you can see, it's a rather
striking facsimile.
ANGLE - VIDEO MONITOR
A very good sketch of Michael.
ANGLE - TRANS AM
K.I.T.T.
I'm impressed.
BONNIE
You should be.
Michael looks at Devon's sketch.
MICHAEL
I'd like to say, it's back to the
drawing board for you, Devon...but
frankly, I'm not sure there's much
hope.
Michael smiles as he needles Devon, who comes right back at
Michael, reaching for a manila folder.
DEVON
I could say the same of your wit...but
I shan't. Instead, allow me to present
your next case.
MICHAEL
Devon, uh...I have a problem.
DEVON
Don't be modest dear boy.
(beat)
You have a wide range of problems.
While Michael and Devon talk, Bonnie takes a disc from the
computer that was hooked up to the TV and installs it under
K.I.T.T.'s dashboard.
MICHAEL
I'm serious. I just got a call from
Albuquerque.
DEVON
From whom, may I ask?
MICHAEL
A friend of mine, Cheryl Burns, is in
jail there. She asked me to help her.
DEVON
(pauses)
I see.
MICHAEL
You remember what Wilton Knight said
about one man making a difference.
DEVON
(still
noncommittally)
Oh, indeed I do.
As Bonnie climbs out of K.I.T.T.
MICHAEL
Good, I didn't think you'd have
any objections.
Michael climbs in, not waiting for Devon's approval.
DEVON
Wait a minute.
Michael starts up the car.
DEVON
You have two days. And then I want
you back on this case.
MICHAEL
Thanks, Devon. Bye, Bon.
Michael waves and backs out of the semi as Devon and Bonnie
look at each other and shrug.
EXT. TRANS AM - DAY - VARIOUS ANGLES - STOCK
Montage of K.I.T.T. en route to Albuquerque.
EXT. ALBUQUERQUE PRISON - DAY - AN ESTABLISHING SHOT
of a cold green building protected by barbed wire fencing,
armed guards in towers, and bars on the windows.
ANGLE - PRISON SIGN
which reads NORTHFOLK WOMEN'S HOUSE OF DETENTION.
CUT TO
INT. PRISON VISITATION ROOM - DAY
Michael is waiting impatiently in a drab gray room at a
metal table. A jowly prison matron escorts Cheryl Burns, a
twenty-six-year-old woman with blonde hair and a fawn-like
countenance, into the room.
CHERYL
(happy to
see him)
Michael! Oh, thank you for coming.
I'm so glad to see you.
Michael is somewhat puzzled by the presence of his comely
friend in penal attire.
MICHAEL
No problem, Cheryl.
(beat as they
both sit down
at a table)
CHERYL
It's like a nightmare, Michael. The
police are convinced I killed my boss.
Michael can't believe it.
CHERYL
You know me, Michael, you know I'd
never do something like that.
Michael reaches out and takes her hands in his own.
MICHAEL
(comforting)
It's all right, Cheryl.
CHERYL
No, it's not. Not when nobody
believes a word I say. They won't
even listen to me.
MICHAEL
(calm)
I'll listen. Now tell me what
happened.
CHERYL
(in a broken
voice)
We were working late -- for about
the tenth day in a row. He always
kept me late for something. Finally,
I asked him for a raise. He said if
I wanted a raise, I would have to
earn it, then he started pawing at
me.
MICHAEL
What did you do?
CHERYL
I ran out of the office, that's what
I did. The next morning the janitor
found him with a fractured skull and
my desk lamp beside him.
MICHAEL
Where did you go when you left the
office?
CHERYL
I walked for a while and then went
to a bar called the Bent Arm.
MICHAEL
Can anybody prove you were there?
CHERYL
The only person I talked to was
this guy named Marty. He was so
nice. He listened to my problems
for hours.
MICHAEL
Did he tell you anything about him-
self?
CHERYL
Only that he was an accountant. And
that he liked to gamble.
MICHAEL
What did he look like?
CHERYL
He's about five-six. Light colored hair,
kind of thin on top. Glasses. He kind
of reminded me of Woody Allen.
MICHAEL
The police couldn't find him?
Cheryl shakes her head no.
MICHAEL
So you don't have an alibi.
Cheryl stares at Michael and her eyes well up with tears.
CHERYL
I'm frightened, Michael, this is an
awful place...the people in here....
MICHAEL
Don't worry.
CHERYL
What else can I do? If my lawyer
can't delay the trial, I'm finished.
MICHAEL
No you're not, Cheryl. I'll find
the guy.
CHERYL
What if you don't?
MICHAEL
(trying to
lighten up)
Then I'll rob a bank and get tossed
in here with you. Maybe they'll
give us a co-ed cell.
Cheryl smiles for the first time in two weeks. Michael
smiles back.
OMITTED
EXT. CITY STREETS - DAY - STOCK
K.I.T.T. driving on city streets.
EXT. BENT ARM BAR - DAY
Michael pulls in and parks.
CUT TO
INT. BAR - DAY
Michael enters the noisy, crowded bar in the center of
which a waist-high butchers' block serves as a battlefield
for two combatants locked in an arm wrestling match. Michael
walks to an attractive female Bartender.
BARTENDER
Hi, there. What can I get you?
MICHAEL
Beer's fine.
BARTENDER
Draught?
MICHAEL
Perfect.
She begins to draw a cold one as Michael surveys the busy
environs. His eyes fix on the arm wrestling clash.
MICHAEL
(to Bartender,
indicating
wrestling match)
Looks like fun.
BARTENDER
(blase)
Yeah, if you like holding hands with
an ape.
She brings him his beer.
MICHAEL
A friend of mine told me about this
place. He comes here a lot. Maybe
you know him. Name's Marty. He's
an accountant.
She gives Michael a funny look and remains curiously silent
for a beat, then:
BARTENDER
I don't know any Martys.
MICHAEL
Kind of short. Brown hair. Glasses.
The Bartender starts washing a glass, trying to be low key.
BARTENDER
(stiff)
I said I don't know him.
MICHAEL
That's too bad. Because I haven't
seen him in awhile and I was hoping
you might know where he is these
days. I owe him some money.
BARTENDER
Sounds like a guy who used to come
in here, but he moved out of town.
MICHAEL
Oh yeah? Where to?
BARTENDER
Sorry. I don't remember.
(beat)
Did you say you wanted to wrestle?
Before Michael can respond she calls out to the arm wrestler.
BARTENDER
(continuing)
Hey, Butch. This guy's next.
ANGLE - BUTCH
who takes on all comers at arm wrestling. He is a hairy,
hard-looking hombre with forearms twice the size of Steve
Garvey's. Butch dispatches a beefy opponent and beckons
Michael with a crooked finger.
ANGLE - MICHAEL
He's suspicious and becomes even more so when the Bartender
walks to the end of the bar and picks up a telephone to
make a call.
MICHAEL
(into wristwatch)
Kitt, there's an outgoing phone call
from this bar. Get me the number.
Michael saunters to Butch.
ANGLE - BUTCH AND MICHAEL
MICHAEL
How you doing there, Butch?
Michael extends his hand for a shake but Butch greets him
with only a grinding of teeth. Michael sighs -- this isn't
gonna be easy. Michael gets down in position and the two
men lock hands. It looks like an even match but the
experienced Butch feels an edge and begins to smile.
Michael's face reflects his concentration and discipline --
he won't go down without a fight.
BUTCH
Ready, go!
ANGLE - BARTENDER
who speaks softly into the phone at the bar.
BARTENDER
Hello, Marty, it's Kim. There's
another guy here looking for you.
He says he owes you money...No, I
didn't tell him anything...Okay,
Marty. Take care of yourself, kid.
Bye-bye.
She hangs up.
OMITTED
ANGLE - MICHAEL
as he begins to make his move on Butch who tries to look
cocky but he's a little concerned -- he didn't think this
kid had this much power. Michael slowly pulls his hand
toward the table but Butch stops him and pulls his arm
upright.
ANGLE - BARTENDER
She takes a long hard look at Michael who is slowly losing
ground to Butch who is really putting on the pressure.
BUTCH
You're gonna go, pally. You got
nothing left.
Butch makes his move to finish him off.
K.I.T.T. (v.o.)
(through
wrist
watch)
Michael, I've traced the number you
requested.
BUTCH
What??
The momentary loss of his concentration costs Butch the
match as Michael pulls his arm to the block. The crowd
roars -- this is something they don't see too often.
BUTCH
(blustering)
His watch was talking. I heard it!
MICHAEL
Better luck next time, Butch.
The crowd laughs at Butch as Michael moves back to the
Bartender.
BARTENDER
I'll keep an eye out for your friend.
MICHAEL
That won't be necessary.
She gives Michael a curious look as he leaves.
EXT. BAR - DAY
Michael exits the bar, gets into the Trans Am. He is about
to start the car when he sees that he has been pinned in
by a garbage truck.
INT. TRANS AM
Michael leans out the window and calls to the Garbage Man.
MICHAEL
Excuse me.
No response.
K.I.T.T.
Not a very cooperative fellow, is he?
MICHAEL
No, he isn't.
Michael gets out of the car.
EXT. BAR - DAY
Michael walks to the driver of the garbage truck who sits on
a fender eating his lunch and delighting in Michael's pre-
dicament -- he's just the type.
MICHAEL
I hate to bother you, but could you
back your truck up a couple of feet
so I can get out?
GARBAGE MAN
(with a
mouthful
of food)
Sorry, buddy, but the city only
gives me forty-five minutes for lunch
and I ain't getting back in that
truck 'til then. You understand....
MICHAEL
Yeah, I understand.
As Michael's face reddens and he takes a few steps away from
the man, his watch beeps. Raising his wrist, Michael speaks
into the communicator.
MICHAEL
Yeah, Kitt.
K.I.T.T.
Michael, can I be of assistance?
MICHAEL
As a matter of fact, you can.
OMITTED
ANGLE - K.I.T.T.
backs into the garbage truck, pushing the huge vehicle back
about five feet, sending the driver sprawling.
ANGLE - GARBAGE MAN
sitting on the road surrounded by what's left of his lunch
and reacting to the actions of the self-propelled car.
GARBAGE MAN
Hey, what's the big idea?
The Garbage Man does a double take when he sees no driver
in the Trans Am.
GARBAGE MAN
Holy mackerel.
(beat)
Hey, get back here. You can't do
that to city property.
ANGLE - MICHAEL
as he backs K.I.T.T. out of the parking space.
MICHAEL
Sorry, but I'm sort of in a hurry.
You understand. Bon appetit.
BACK TO SCENE
Michael gets back into his car. K.I.T.T. drives off, the
garbage truck driver throws a half-eaten sandwich after them.
EXT. TRANS AM
as it pulls away from the bar.
MICHAEL
Okay, Kitt, what about that phone
number?
K.I.T.T.
I traced it to an apartment building
on Mayfield Road.
MICHAEL
Mayfield Road? Where's that?
K.I.T.T.
Claremont Bay. Which is approximately
four hundred seventy-four miles north
northwest of our current location.
MICHAEL
Well, then set our course for Claremont
Bay.
K.I.T.T.
Michael, I'm not certain who the
call was made to. There's no
guarantee we'll find Marty at that
address.
MICHAEL
Kitt, there's an old expression I
learned when I was a cop.
K.I.T.T.
What's that?
MICHAEL
A lead is a lead.
(beat)
Besides, it's a beautiful day for a
drive.
DISSOLVE TO
INSERT - EXT. WIDE OPEN SPACES - DAY - MONTAGE - VARIOUS
SHOTS OF K.I.T.T. - STOCK
on the road, mission-bound. Car and driver wind through
hills, rip down straightaways, and bask in the sunshine
and splendor of the scenic surroundings.
INT. TRANS AM
K.I.T.T.
Is there any further information you
can provide?
MICHAEL
Sorry, Kitt. I told you all I know.
K.I.T.T.
Although the data is relatively
sketchy, the composite can be
computed.
MICHAEL
Well, let's see it.
INSERT - VIDEO MONITOR
With a flurry of flashing lights and squiggly lines, a
composite sketch of Marty appears on the screen.
K.I.T.T. (o.s.)
Voila.
Hold on the composite, then:
CUT TO
CLOSE SHOT OF MARTY
His face is twitching nervously. Pull back and widen to:
INT. POLICE STATION - DAY
Marty is fidgeting in a chair while his two stone-face
interrogators loom ominously above him, pacing the floor in
a circle around his bare wooden chair. They are Lieutenant
Dickerson, a lean, hard-boiled man in his forties, and his
assistant, Brad, a young detective.
MARTY
(stammering)
C-c-can I go now?
DICKERSON
No.
MARTY
Look, officers, I'd l-l-love to be
of assistance. Honest. But I don't
think I can be of any u-u-use to you.
DICKERSON
I'll be the judge of that.
Marty slumps back in his chair.
BRAD
(playing
good cop)
Look, Marty, we know all about your
work at Falcon Enterprises. In fact,
we'd like to get a first-hand glance
at some of that 'creative bookkeeping'
you're so famous for.
MARTY
(flinching)
I don't know what you're talking
about.
DICKERSON
He's talking about trafficking in
hot merchandise, transporting stolen
goods across state lines -- and lots
of other good things.
BRAD
Including illegal accounting.
MARTY
I've got nothing to do with that. I
swear.
DICKERSON
Sure you do, Marty. On a stack of
Bibles.
Beat, as Dickerson comes nose-to-nose with Marty.
DICKERSON
Now, listen to me, Marty. I'm
giving you a chance to help me and
help yourself. I need those books
to make a case against your boss.
If you get them for me, maybe we can
cut a deal.
MARTY
(trying not
to crack)
I told you I don't know what you're
talk....
DICKERSON
(cutting
him off)
Think about it, Marty.
(beat)
We'll be in touch.
MARTY
Am I free to go?
He gets up.
DICKERSON
Yeah. Now get out of here before I
change my mind. And I suggest you
leave through the back.
Marty hastily exits from the room. Brad looks at his
mentor.
BRAD
What do we do now?
DICKERSON
We watch him like a hawk. All we've
got to do is keep the pressure on
him. He'll crack soon enough.
BRAD
He better. Or we'll never get
this case to the grand jury in time.
As the detectives share a look of concern....
DISSOLVE TO
OMITTED
EXT. APARTMENT BUILDING - NIGHT
K.I.T.T. pulls up in front of the apartment building.
K.I.T.T. (v.o.)
We're here.
ANGLE - APARTMENT SIGN
that reads "Harbor View House."
OMITTED
INT. TRANS AM
Michael wakes up from a light sleep as the car comes to a
halt.
MICHAEL
You sure this is the place?
K.I.T.T.
Michael, are you questioning my
navigating capabilities?
MICHAEL
I was just asking.
K.I.T.T.
You want apartment number three.
MICHAEL
Thanks, Kitt.
He gets out of the car.
MICHAEL
Hang in there, Kitt. This shouldn't
take long.
K.I.T.T.
I've heard that before.
Michael approaches the building.
ANGLE - DOOR
When Michael walks to the door and knocks, two men, one of
them being Brad, appear out of the darkness. Before he can
move, they pin Michael's arms to his side, put a hand over
his mouth and stick a gun in his stomach.
BRAD
Don't make a sound. Just turn
around and start walking.
Michael obeys and the two men noiselessly escort him out of
sight. After a beat, Marty opens the door as far as the
chain will allow it to go and peers out.
MARTY
Hello?
When he sees no one, Marty unlatches the door and cautiously
steps out as if afraid of his own shadow. His balcony is
empty and he quickly scurries back inside like a mouse
returning to its hole, and as he slams the door, we....
FREEZE FRAME
END OF ACT ONE
ACT TWO
FADE IN
EXT. POLICE STATION - NIGHT - STOCK
INT. POLICE STATION - NIGHT
Under the glare of interrogation lights, Michael is being
questioned by Lt. Dickerson, a man who still uses the old
tried and true methods of force and intimidation.
DICKERSON
What were you doing at Marty Keene's
apartment?
MICHAEL
That's the sixth time you've asked
me that question.
DICKERSON
And there will be a seventh time
unless I get the right answer.
MICHAEL
I told you I'm trying to help a
friend. She's on trial for murder
and Marty....
DICKERSON
Yeah, I know all about that. Now
what I want you to tell me about is
Falcon Enterprises....
MICHAEL
I've never even heard of Falcon
Enterprises.
A young detective named Brad enters the room.
MICHAEL
I'm not here to cause trouble,
believe me.
DICKERSON
You're causing trouble whether you
like it or not.
MICHAEL
What's going on? What's this all
about?
DICKERSON
That's on a need to know basis.
MICHAEL
Look all I need is to get Marty
Keene to Albuquerque so he can testify.
Then he's all yours and I'm out of
your hair.
DICKERSON
I'd like to help you, but you and I
want the same man. And in this town
I'm bigger than you so guess who
gets what he wants.
MICHAEL
You're making a big mistake.
DICKERSON
No, you're making a mistake if you
think you're gonna waltz in here and
do as you please. Got it?
Michael stares through Dickerson.
DICKERSON
I hope that look means yes.
(to Brad)
Let him go.
Brad pulls Michael roughly by the arm.
BRAD
C'mon....
Brad and Michael exit as Dickerson stares after them.
CUT TO
EXT. WAREHOUSE - DAY - TO ESTABLISH
a large set-up with storage and office space like you might
find in an industrial park. A large sign proudly proclaims
it to be headquarters for Falcon Enterprises.
INT. MARTY'S OFFICE - DAY
Marty fidgets as he scans the books laid out on his desk and
his fingers busily tally an adding machine. There is a
look of concern on Marty's face -- something is definitely
wrong. There is a knock on the door and as Marty looks up
Al Farlan enters. Farlan is the head of Falcon Enterprises,
a burly man who knows how to get his way.
FARLAN
Hello, Marty.
Marty nervously shuts the books he's been doing and gets a
little antsy at the surprising sight of his boss.
MARTY
(nervous)
H-hi, Mr. Farlan.
FARLAN
(chummy)
What's with the Mr. Farlan, Marty.
I told you to call me Al.
MARTY
Right. Mr...Al.
Farlan smiles, sits down in a chair next to Marty's desk,
the only chair in the tiny cubicle Marty calls his office.
Farlan gives Marty a long look.
FARLAN
They said you wanted to call me,
Marty. What can I do for you?
MARTY
(timid)
Nothing really...It's just that
well, you know, I think I've done
a pretty good job of making this
operation look legit.
He indicates the books.
FARLAN
Are you kidding, you're a genius.
And to show how much I appreciate
your services I'm giving you a ten
percent raise.
MARTY
That's very generous of you Mr...Al.
But I was thinking more of a little
time off.
FARLAN
How much time off do you want?
MARTY
How 'bout the rest of my life.
Farlan's face turns serious. He leans onto Marty's desk
intimidatingly.
FARLAN
Marty, don't make jokes with me. I
need you to keep the books, you know
that.
MARTY
Mr. Farlan, I think the pressure's
getting to me. My nerves can't
handle it. I'm not doing my best
work. What if I make a mistake?
Then we're all gonna be in a fix.
Farlan gets up and beams at his accountant. He claps Marty
on the back like a brother.
FARLAN
Marty, you're trouble is you
underestimate yourself. You're
under too much stress, that's all.
He walks toward the door like everything is hunky-dory.
FARLAN
As soon as we clear out this inventory,
I'm gonna send you to Acapulco, all
expenses paid. In the meantime, relax.
Everything's gonna be fine.
Farlan leaves the office with a big grin on his face.
ANGLE - MARTY
He's confused.
INT. HALLWAY
outside of Marty's office. Farlan comes over to one of his
assistants who has been standing outside the office. His
name is Dink.
FARLAN
(grim)
Keep your eye on him. That little
wimp knows enough to cause us a lot
of trouble if he starts getting cold
feet.
Dink nods as Farlan walks away with a mean look on his face.
EXT. WAREHOUSE - DAY
The Trans Am is parked in the Falcon Enterprises parking
lot.
INT. TRANS AM
Michael sits behind the wheel, gazing at the warehouse as
people leaving work walk past.
MICHAEL
You picking up any sign of him, Kitt?
K.I.T.T.
Not as yet, Michael. Perhaps we're
barking up the wrong tree, as they
say.
MICHAEL
No, that Lieutenant mentioned Falcon
Enterprises. There has to be some
connection between this place and
Marty Keene.
INSERT - DASHBOARD
A few lights flash.
K.I.T.T.
Michael, I think I've made a
positive identification.
BACK TO SCENE
MICHAEL
Yeah? Where do you see him?
K.I.T.T.
Coming out the side door.
Michael looks.
HIS POINT OF VIEW
Exiting the building from a discreet side door is Marty
Keene. He sticks his head out the door, casts about
anxiously, then walks hurriedly toward his economy sedan.
INT. TRANS AM
Michael is watching Marty then pushes a button on the dash
panel.
INSERT - VIDEO MONITOR
We see the computerized composite sketch of Marty Keene.
The similarity is readily apparent.
BACK TO SCENE
MICHAEL
You're right, Kitt. I think we
found our man.
ANGLE - SEDAN
Marty starts up the car and pulls out of the parking lot.
ANGLE - TRANS AM
Michael begins following Marty.
EXT. ROAD - DAY
Marty weaves in and out of traffic as other drivers honk
and shake their fists at him.
INT. TRANS AM
MICHAEL
I don't think we'll have a problem
losing him in traffic.
K.I.T.T.
I hope Marty's better in court than
he is behind the wheel.
INT. MARTY'S SEDAN - DAY
Marty cowers at the sound of the honking horns. He's
having a minor anxiety attack. He sees a store on the
other side of the road. He yanks the wheel to the left.
ANGLE - ROAD
Marty swings in front of an oncoming car. It screeches to
a halt, the irate driver gesturing maliciously at the driver
of the reckless sedan.
ANGLE - MARTY
MARTY
(quietly)
I'm sorry. I'm sorry.
Marty pulls into the lot of a small shopping center. He
parks his car in the lot and heads for a health club,
carrying a gym bag.
ANGLE - TRANS AM
Michael can't follow Marty right away because of a steady
stream of oncoming cars.
MICHAEL
It looks like he's going in that
health club.
ANGLE - DICKERSON AND BRAD
tailing Marty in their unmarked car. They see Marty going
into the club, but they can't see Michael from their
location. Nor does he see them.
OMITTED
INT. HEALTH CLUB - DAY
Michael enters and begins the search for Marty. The room
is filled with weight machines and barbells and lots of
gorgeous scantily-clad guys and dolls.
ANGLE - MARTY
He is walking toward the locker room. Michael spots him
and approaches.
MICHAEL
Excuse me. You're Marty Keene,
aren't you?
Marty is taken by surprise. He practically leaps out of
his shoes at the sound of Michael's voice.
MARTY
Huh? What? Will you guys leave me
alone already. I'm just a little
guy. I don't know a thing.
Marty starts scurrying away.
MICHAEL
(confused)
Wait a second. I just want to talk
to you.
Marty ducks behind a luscious looking female and takes off.
MARTY
Well, I don't want to talk to you.
The woman steps into Michael's path, delaying him for an
instant as Marty runs into the locker room. Michael
eventually follows him into:
OMITTED
INT. LOCKER ROOM
Marty's not there, just a few muscle men. Michael sees a
door marked POOL and enters.
INT. POOL
Michael is again disappointed because Marty is not present.
There are, however, several striking femmes in bikinis
around the pool. Michael checks out the scene, then exits.
INT. LOCKER ROOM
Michael hustles back toward the gym.
ANGLE - BRAD
He steps out from behind a row of lockers and tosses a
medicine ball at Michael.
ANGLE - MICHAEL
He's startled, but makes a nice catch.
FULL SHOT
BRAD
(severe)
Nice catch.
There is a beat as Brad glares at Michael.
OMITTED
ANOTHER ANGLE
Dickerson steps out from behind the lockers, shaking his
head in mock bewilderment.
DICKERSON
I have a real hard time understanding
people like you, Knight.
MICHAEL
Why, because I'm trying to keep an
innocent lady out of prison?
Dickerson stops pacing, waits a beat, then stares at Michael
with quiet fury.
DICKERSON
I told you to stay away from Marty
Keene.
MICHAEL
Yeah, but you didn't give me a very
good reason.
DICKERSON
I don't have to give you a reason,
friend. Let's just say my depart-
ment's put too much time and effort
into this investigation to let it go
down the tubes because of some self-
appointed hero.
(beat)
Get my drift, Mr. Knight?
MICHAEL
You do what you have to do,
Lieutenant, and I'll do what I have
to do.
DICKERSON
Good, because from this moment on my
men have orders to lock you up if
you interfere.
MICHAEL
I'll keep that in mind.
DICKERSON
See that you do.
Michael turns to Brad and tosses the medicine ball at him.
It hits Brad in the gut and he grunts.
MICHAEL
Here you go.
Michael walks away, exiting the locker room.
DISSOLVE TO
EXT. ROAD - DAY
The Trans Am is parked close to a transformer.
ANGLE - MICHAEL
Dressed in a power company uniform, he walks from the
transformer over to the Trans Am and gets in. He pushes a
few buttons on the dashboard.
K.I.T.T.
Michael, wouldn't it be more
advantageous to go to the local DA
and arrange for extradition?
MICHAEL
I don't think so, Kitt. It would
take too long.
K.I.T.T.
Yes, but perhaps he'd overrule
Lieutenant Dickerson and allow us
to transport Marty back to Albuquerque.
MICHAEL
Remember what Dickerson said. This
is his turf. He calls the shots.
And I don't see him giving us any
help.
K.I.T.T.
In that case my microwave jammers are
ready.
MICHAEL
Then start the show.
INSERT - DASH
Michael pushes a button marked MICROJAM and the dashboard
blinks and wiggles in a graphic response to the release of
energy.
ANGLE - TRANSFORMER
Sparks fly all over the place.
OMITTED
INT. FARLAN'S OFFICE - DAY
The lights in the warehouse begin blinking on and off.
Farlan and Dink react to the malfunctioning lights.
FARLAN
Dink, call somebody and get 'em out
here. This is ridiculous.
Dink goes to a phone and dials a number.
CUT TO
INT. K.I.T.T. - DAY
Michael is closely monitoring K.I.T.T.'s video screen.
K.I.T.T.
Here comes our call, Michael.
MICHAEL
Standard Power Company.
DINK (v.o.)
Yeah, could you send a guy over to
1322 Crescent as soon as possible...we
got some kind of power foul up.
MICHAEL
Be right there.
The phone goes dead.
MICHAEL
(to K.I.T.T.)
I'll be back soon. Don't blow a
fuse.
K.I.T.T.
On the contrary. The sensation is
quite intoxicating.
MICHAEL
Well, try to stay sober until I get
back.
Michael exits K.I.T.T. with toolbox in hand and walks down
the road to the warehouse.
CUT TO
INT. WAREHOUSE - DAY
Dink leads Michael past several offices.
DINK
I've never seen lights doing that.
They were...I don't know wobbling --
it's like they was drunk. It was
weird....
MICHAEL
(matter-
of-factly)
It's the winds off the desert. They
blow a lot of positive ions around
-- it affects everything -- even our
sleep.
DINK
(impressed)
Oh yeah?..Well, here's the fuse box.
MICHAEL
Thanks.
Michael opens the circuit box and shines a flashlight on it
as Dink watches.
MICHAEL
If you don't mind, I'd rather work
without an audience.
DINK
Oh sure...yeah...sorry.
Dink shrugs his shoulders and exits. Michael pretends to
work until the coast is clear then runs down the hall and
starts checking the names on the office doors. He comes to
one marked Marty Keene. He opens it.
ANOTHER ANGLE
Al Farlan is coming down the other side of the hall.
Michael doesn't see him, but Farlan sees Michael enter
Marty's office. His face reflects both his curiosity and
his concern.
INT. MARTY'S OFFICE
As Michael enters, Marty looks up with a start.
MARTY
Oh!
(beat,
as he recovers)
The outlet's on that wall over there.
As Marty points toward the wall, he gets a second look at
Michael and recognizes him.
MARTY
Hey, wait a minute.
(loud)
You're the guy from the hardware
store.
Michael comes over to Marty and puts his hand over Marty's
mouth to keep him quiet.
MICHAEL
I know that. And you know that.
But the rest of the world doesn't
have to.
Michael releases the quivering bookkeeper.
MARTY
What do you want from me?
MICHAEL
A while back you met a girl in
a bar called The Bent Arm in
Albuquerque. Her name was Cheryl
-- nice looking blonde?
MARTY
Yeah...What's this all about?
MICHAEL
Murder.
MARTY
(blanches)
Murder!?
CUT TO
INT. FARLAN'S OFFICE - DAY
A semi-plush suite with a large metallic desk and an
intercom system set up through the phone. Dink is going
through a set of files as Farlan enters.
FARLAN
What's that repair man got to do in
Marty's office?
DINK
Beats me. I didn't even know he was
in there.
Farlan reaches over the phone and switches on his intercom
allowing him to eavesdrop on the conversation taking place
in:
INT. MARTY'S OFFICE
Michael has told Marty the story.
MARTY
Gee, I'd really like to help you,
but Mr. Farlan would never let me go
with you.
MICHAEL
Why not?
Marty covers his books with his arms.
MARTY
Well...because.
Michael is suspicious and takes a look at the books.
MICHAEL
Just what kind of business is Falcon
Enterprises?
Michael leafs through the books.
MARTY
You can't look at those.
MICHAEL
(reading
the books)
Hmmm. Looks interesting...no wonder
the cops are on to you.
INT. FARLAN'S OFFICE
A troubled Farlan is listening. He shuts off the intercom
and turns to Dink.
FARLAN
(foreboding)
We better take care of them while
we've got the chance.
ANGLE - HALLWAY OUTSIDE OF MARTY'S OFFICE
Michael and Marty are making a furtive exit.
MARTY
I don't think this is such a good
idea.
MICHAEL
Trust me.
As they sneak down the hallway and into:
INT. WAREHOUSE
Marty gasps. Michael turns to see Farlan bearing down on
them from behind the controls of a forklift, with the forks
held high. On Michael's reaction:
FREEZE FRAME
END OF ACT TWO
ACT THREE
FADE IN
INT. WAREHOUSE - DAY - CONTINUOUS ACTION
Michael pushes Marty out of the way, he dives and rolls
across the floor to elude the forklift.
ANGLE - FORKLIFT
The fork rams through the plasterboard wall.
ANGLE - MARTY
MARTY
(shrieks)
Aiyeee....
He bolts out of the warehouse for an unknown destination.
ANGLE - MICHAEL
The forklift comes around for another pass and Michael
scrambles to the top of a fifteen-foot high stack of
television boxes and speaks into his wristwatch.
MICHAEL
Kitt, can you hear me?
K.I.T.T. (v.o.)
(calmly)
Of course, Michael. Can I be of
service?
MICHAEL
Yes! Get your tailpipes in here.
On the double!
And Michael has good reason to panic. Farlan is lifting
the pallet holding the stack Michael is on and it teeters
precipitiously. Michael jumps to another stack as the
television boxes come crashing to the floor.
EXT. WAREHOUSE
K.I.T.T. comes alive.
ANGLE - FARLAN
FARLAN
Damn!
(to Michael)
There's no way out of here. I'll
get you yet.
BACK TO SCENE
Michael scrambles down from the stack and runs down an aisle
of boxes. Farlan heads after him smashing the forks
against the boxes in his way.
MICHAEL
(into wrist-
watch)
Kitt, where are you?
Michael runs down another aisle of boxes and runs into a
dead-end canyon of boxes. He turns to find Farlan bearing
down on him with the forklift.
FARLAN
Eat some steel!!
Farlan puts the pedal to the floor in a final charge at
Michael. Within ten feet of Michael, one side of the
canyon of boxes explodes and K.I.T.T. enters by crashing
through the wall. The blades of the forklift bounce harm-
lessly off his side.
FARLAN
What the hell...?
INT. TRANS AM
Michael climbs in the passenger side of the window as
Farlan backs the forklift away.
MICHAEL
What took you so long?
K.I.T.T.
I came as quickly as I could.
MICHAEL
Okay, now do something about that
forklift.
BACK TO SCENE
As K.I.T.T. squeals away, he sends boxes flying. Farlan
sees K.I.T.T. coming and dives off the forklift before
K.I.T.T. sideswipes the vehicle knocking it over on its side.
INT. TRANS AM
MICHAEL
Not bad, Kitt. Now how about getting
us out of this snake pit.
BACK TO SCENE
as the Trans Am makes an abrupt turn and goes through the
wall he previously crashed through.
CUT TO
INT. WAREHOUSE - DAY
Farlan stands in the midst of a shambles: Boxes, and
assorted debris are strewn about the warehouse. Dink enters.
FARLAN
(fuming)
Look at this place. It's a disaster
area.
DINK
There's no sign of Marty.
FARLAN
What about the other guy?
DINK
(shakes
his head)
No way I was gonna catch him.
FARLAN
Come on. We've got to find Marty
before he spills his guts to the law.
The two men head for the exit.
INT. POLICE STATION - DAY
A plainly aggravated Dickerson is barking into a phone.
Brad watches intently.
DICKERSON
(into phone)
No one disappears into thin air! I
don't care. It's imperative neither
of them crosses the state line --
under any circumstances...All right,
keep me posted.
Dickerson hangs up the phone, turns to Brad.
BRAD
What about Farlan?
DICKERSON
Come on, we've got to find Marty
before Farlan does.
Brad nods and both men exit.
INT. HEALTH CLUB - DAY
There's an aerobics class going on. A group of ladies in
leotards are jumping and twisting to the accompaniment
of fast-paced rock music.
ANOTHER ANGLE
Michael enters and observes the frenetic scene before him.
As he casts about looking for Marty, a mouth-watering
instructor named Tracy approaches. She flashes a warm,
toothy smile.
TRACY
Hi, there...like what you see?
MICHAEL
Who wouldn't?
TRACY
Well right now we're having a
special offer. If you join the club
for one year, you get another year
absolutely free.
MICHAEL
Actually, I'm....
TRACY
(keeps going
with her sales
pitch)
We have a complete weight room,
sauna, pool, a full-time masseuse,
and lots of happy members.
MICHAEL
I can see that.
TRACY
So you want to sign up?
MICHAEL
Not really.
TRACY
(frowns)
Well, then, what do you want?
MICHAEL
Look, do you know a guy who comes
here named Marty Keene?
TRACY
Sure. Marty's my special project.
In a couple of months that little
pussycat's going to be a tiger.
MICHAEL
Do you have any idea where I might
find him?
TRACY
(shakes her
head no)
Sorry. He was here before. But he
left.
MICHAEL
Is there any special place he goes
to?
TRACY
I really wouldn't know. We're not
that close.
She gives Michael a dirty look.
MICHAEL
Okay. Yeah...well, thanks anyway.
He smiles at her and leaves. When he exits, Tracy walks
down a hall and stops at a door marked LADIES SAUNA. She
opens it and says:
TRACY
You can come out now, Marty.
Marty comes out, his clothes soaked from the sauna. We can
hear some girlish giggles coming from inside the sauna as
Tracy rubs Marty's head with a towel and comforts him like
a mother.
TRACY
You poor thing....
EXT. TRANS AM - DAY
It is tooling down a Claremont Bay side street.
INT. TRANS AM
Michael has a disconsolate look on his face.
MICHAEL
Any luck with the scanner, Kitt?
K.I.T.T.
Negative, Michael. I don't want to
sound like a pessimist, but I'm
afraid we've lost him.
Michael pushes a button on the dashboard.
Intercut with:
OMITTED
INT. SEMI - DAY
Devon, picks up a ringing phone. Bonnie looks on.
DEVON
Hello, Michael. I'm glad you
called. I was just thinking of you.
MICHAEL
Listen, Devon, things are not going
as well as I thought...I may need an
extra day or two.
DEVON
That's perfectly all right with me,
however at this point, time is a
luxury I fear you can't afford.
MICHAEL
What do you mean?
DEVON
I just received a phone call from
Cheryl's attorney. The Judge
refused to grant them a continuance.
I'm afraid Cheryl goes on trial
tomorrow.
CLOSE ON MICHAEL
as the news hits him like a ton of bricks.
EXT. MARTY'S APARTMENT - NIGHT - ESTABLISHING
A big luxury car, which we will soon learn belongs to
Farlan, is parked in front of the apartment building.
INT. MARTY'S APARTMENT - NIGHT
Farlan is in the modestly decorated living room checking one
of the closets. He finds nothing as Dink enters from the
bedroom.
DINK
He ain't here, boss.
FARLAN
That no-good little twerp. I give
him the chance to make more money
than he's ever had in his life and
this is the thanks I get.
DINK
Want me to trash the place.
FARLAN
No, let's get out of here. He may
already have the cops onto us, that
worthless fink.
They head for the door.
EXT. MARTY'S APARTMENT - NIGHT - ANGLE ACROSS THE STREET
Tucked in the protective shadows of a neighboring apartment
building, Marty observes his own apartment building.
HIS POINT OF VIEW - FARLAN AND DINK
come out of the building, get into the big car and drive
off.
ANGLE - MARTY
He breathes a sigh of relief, comes out from his hiding
place and begins to walk toward the street. Suddenly he
hears a car approach.
ANGLE - STREET
Dickerson and Brad pull up in an unmarked car. They get
out of the car in a hurry and head for the apartment
building.
ANGLE - MARTY
He sees them, suspects the worst and ducks back into his
hiding place.
EXT. TRANS AM - NIGHT
The car is again tooling down a Claremont Bay side street.
INT. TRANS AM
Michael is frustration personified. Even K.I.T.T. is a
little testy.
K.I.T.T.
Michael, this is the third time
we've reconnoitered this
neighborhood.
MICHAEL
So what? You got a late date?
K.I.T.T.
May I make a suggestion.
MICHAEL
No, you may not, Kitt. I just
thought of something.
Michael abruptly turns down another street and accelerates.
K.I.T.T.
Where are we going?
MICHAEL
To Marty's apartment.
K.I.T.T.
Michael, my analysis of human
behavior suggests that the last
place Marty would hide is his own
residence. Perhaps you'd care to
explain the logic behind your
decision.
MICHAEL
It's more like reverse logic, Kitt.
No one would think Marty would hole
up in his own place. So maybe he
figures no one will bother checking
there.
K.I.T.T.
I'd have to say that's a long shot.
MICHAEL
Maybe. But right now it's the only
shot we have.
EXT. MARTY'S APARTMENT BUILDING - NIGHT - ESTABLISHING
The unmarked police car is still parked in front.
ANGLE - MARTY
watching cautiously from his perch across the street.
OMITTED
INT. MARTY'S APARTMENT
Dickerson and Brad stand in the living room, their faces
reflecting their failure.
DICKERSON
There goes our case...right down the
toilet.
BRAD
Maybe the blues turned up something.
Knight's car is awfully hard to miss.
DICKERSON
Let's hope so.
They exit the apartment.
OMITTED
ANGLE - MARTY
He watches the unmarked car drive off and then emerges from
the shadows, checks to make certain the coast is clear. He
determines that it is, and hurries across the street and
enters his building.
MICHAEL
turns into an alley behind Marty's apartment. He parks
near a fire escape about twenty feet off the ground.
INT. TRANS AM
Michael checks out the situation.
MICHAEL
Kitt, pop the sunroof.
K.I.T.T.
Certainly, Michael.
The sunroof opens.
K.I.T.T.
But why?
MICHAEL
I'm going to need a boost.
Michael braces for lift-off.
INSERT - DASH
He pushes the ejector button.
ANGLE - MICHAEL
as he sails out of the car and up to the fire escape. He
grabs hold of the metal stairs, safe and sound.
MICHAEL
Thanks, Kitt.
INT. TRANS AM
K.I.T.T.
Don't mention it.
ANGLE - MICHAEL
He begins climbing up the fire escape. Follow him as he
climbs past an open window. A light is on and we can see
inside.
INT. ROOM
A couple lies in bed, fully covered, but highly shocked
and embarrassed by the sight of Michael on the fire escape.
ANGLE - MICHAEL
MICHAEL
(red-faced)
Uh, sorry about that...forgot my
key....
Michael quickly climbs away.
INT. MARTY'S APARTMENT
Marty carefully enters through the front door. He tiptoes
about the room, still frightened someone might be there. He
goes to check the bedroom.
ANGLE - MICHAEL
He pulls up a window and enters:
INT. MARTY'S KITCHEN - NIGHT
Michael pads silently across the darkened kitchen, heading
toward a swinging door that leads to the living room.
ANGLE - MARTY
He returns to the living room from the bedroom. He walks
toward the swinging door that leads to the kitchen.
ANGLE - MICHAEL
He is about to push the swinging door.
ANGLE - MARTY
He pushes the door. It doesn't open. He reacts with fear
and uncertainty.
ANGLE - MICHAEL
He pushes the door and it doesn't open. He's perplexed,
then backs away.
ANGLE - MARTY
He pushes again, this time with his shoulder. There is no
resistance, however, and he goes flying into the kitchen.
INT. KITCHEN
As Marty gets his balance, Michael flicks on a light.
Marty reacts with a yelp.
MARTY
Eee-yahh.
He tries to run out the door, but Michael stops him.
MICHAEL
Oh, no you don't. You're not
getting away this time.
Michael takes Marty by the shoulder and parks him in a
chair.
MICHAEL
I want to get a few things straightened
out here. First of all, how did you
get involved with Falcon Enterprises?
MARTY
I took this job 'cause I owed a lot
of money. I didn't know it was a
fencing operation. Honest. When
I saw what was going on I tried to
quit, but Mr. Farlan wouldn't let me.
Marty drops his head into his hands.
MICHAEL
Calm down, Marty. I'll help you out
of this, but only if you'll come
back to Albuquerque with me and
testify.
Marty brightens at the prospect of getting away from the
mess he's in.
MARTY
I'll do anything...anything to get
out of this jam.
MICHAEL
Great, we'll take off as soon as we
steal your accounting books.
MARTY
What? Are you crazy? Not me, no
way.
Marty goes after his Maalox and takes a big swig.
MICHAEL
You don't have much of a choice. We
have to get the evidence on your
boss or the police will never let us
out of town. And Cheryl's trial
starts tomorrow.
MARTY
Yes, but....
MICHAEL
Look, the cops can't break in and
steal them. We can.
MARTY
Yes, but there's still one thing you
don't seem to understand.
MICHAEL
What's that?
MARTY
I'm a coward.
MICHAEL
Not for long.
EXT. WAREHOUSE - NIGHT
Michael and Marty are standing under the cover of a thatch
of trees or shrubbery. The Trans Am is parked nearby as
they stare through a tall chain-link fence at the warehouse.
MARTY
We'll never make it. It'll be
daylight pretty soon.
MICHAEL
I know, that's why we've got to get
cracking.
Michael walks over to the car, opens the door and addresses
K.I.T.T. quietly.
MICHAEL
Kitt, we're going in. If I'm not
back in an hour, call the police.
K.I.T.T.
Be careful, Michael.
MICHAEL
Aren't I always?
K.I.T.T.
You don't want me to answer that
question.
Michael closes the door and goes back over to Marty.
MICHAEL
Ready?
MARTY
No.
MICHAEL
Let's go.
Michael climbs the fence and places his hands carefully
between the barbed wire at the top. With one graceful
push, he easily clears the barbed wire and lands softly on
the ground -- the man is an athlete.
MICHAEL
Okay, c'mon.
Marty shakes his head and starts his climb over the fence
as Michael watches the warehouse for signs of life.
MARTY
Oy....
Marty gets to the top of the fence and falls over the
barbed wire trapping himself like a fly in a spider web.
As he hangs upside down, Marty emits sounds like duck being
strangled.
MARTY
Eergh...!
ANGLE - GUARD
He walks around the building.
ANGLE - MICHAEL
He sees the guard and looks over at Marty.
ANGLE - MARTY
as he flails about helplessly on the fence....
OMITTED
FREEZE FRAME
END OF ACT THREE
ACT FOUR
FADE IN
OMITTED
EXT. WAREHOUSE - NIGHT - CONTINUOUS ACTION
Michael makes certain that the guard is out of sight, then
rushes to help Marty.
ANGLE - MARTY
He struggles to free himself and manages to do so at the
instant Michael arrives. Marty tumbles down on top of
Michael and they both hit the ground hard.
MARTY
Oomph!
ANGLE - MICHAEL
His wrist is pinned against the ground. He lifts his hand
to check his watch.
INSERT - WATCH
It's broken.
BACK TO SCENE
MICHAEL
(upset)
Damn.
Marty sees the damage and feels a twinge of guilt.
MARTY
Is everything all right?
MICHAEL
Unfortunately, no.
MARTY
Sorry.
MICHAEL
Forget it. Let's move out.
They make a quick dash for the rear of the warehouse.
CUT TO
EXT. WAREHOUSE - NIGHT
The Guard shines his flashlight into the trees. He sees
the Trans Am and approaches the car.
INT. TRANS AM - NIGHT
Before the Guard gets close enough, K.I.T.T. sends out an
S.O.S.
K.I.T.T.
(sotto)
Michael, I've been spotted by one of
the Guards.
No reply.
K.I.T.T.
Michael?
K.I.T.T. shuts down as the Guard starts nosing around.
ANGLE - GUARD
He looks in the window, sees nothing. Next, he tries to
open the door. As he does, K.I.T.T. moves forward. The
Guard does a take, then goes to K.I.T.T. and tries the
door again. This time K.I.T.T. moves backward. The Guard
is really perplexed. He takes out a walkie-talkie, turning
his back to the car.
GUARD
(into
walkie-talkie)
Mr. Farlan, you better get over
here. Something funny's going on.
ANGLE - TRANS AM
K.I.T.T. self starts, and with scanner flashing, drives
off. The startled Guard turns around and reacts.
GUARD
What the...?
The Trans Am rolls past him.
INT. FARLAN'S OFFICE - NIGHT
In the office, still messy from the day's events, Marty
works on a combination of a wall safe. He's nervous and
his eyes dart outside the office windows to see if any
guards are around. He stops with a frustrated, constipated
look on his pace.
MARTY
I can't do it.
MICHAEL
Sure you can.
MARTY
I'm too nervous -- what are we doing
in this place?
MICHAEL
Sit down for a second.
Marty plops down in a chair next to him.
MICHAEL
(calming)
Now, close your eyes.
MARTY
What for?
MICHAEL
(stern)
Close your eyes.
Marty closes his eyes.
MICHAEL
Picture yourself on a sailboat off
the coast of a tropical island.
You're lying in a hammock basking
in the midday sun....
MARTY
I'm seasick.
MICHAEL
You're not seasick. You're totally
relaxed. The waves lap gently
against the side of your boat. At
your side is the girl of your dreams....
MARTY
...Alice Schmelkin...?
Michael looks at him and shrugs -- why not?
MICHAEL
...Alice Schmelkin...Your life is
good, everything is calm. You are
at peace with the world.
Michael pauses to let Marty contemplate the scene and
relax. Marty has a smile on his face. Michael shakes
Marty back to reality.
MICHAEL
The safe?
MARTY
(calm, smiling)
Sure.
Marty walks to the safe and quickly turns the combination
through the right sequence and the safe pops open.
MICHAEL
There you go. It's all in the mind.
Marty reaches in and grabs the books which he hands to
Michael.
MICHAEL
Let's get out of here.
Michael and Marty move into the warehouse, avoiding guards
as they make their way toward the exit.
OMITTED
EXT. WAREHOUSE - NIGHT
K.I.T.T. surreptitiously nudges his way inside the gate.
EXT. WAREHOUSE - DAWN
Marty and Michael carefully open the door of the warehouse
and peer outside. The sun is coming up.
MICHAEL
Looks like the coast is clear.
Michael steps outside and Marty follows.
MICHAEL
Stay low and try not to trip over
anything.
Marty appears out of the warehouse beside Michael. They
walk close to the wall of the building keeping an eye out
for guards. As they sneak around the corner of the
building, they come face-to-face with Farlan and Dink who
stand next to their car, guns trained on their victims.
FARLAN
Nice of you to drop by.
MARTY
(stammering)
Mr. Farlan, this isn't what it looks
like....
DINK
Knock it off, Marty. You're not gonna
weasel your way out of this mess.
Farlan's hand trembles with anger as he points his handgun
at Marty and Michael.
FARLAN
I suppose the cops would give you a
nice bonus for that set of books.
MICHAEL
I'm not working for the police.
FARLAN
No? Well, that's too bad 'cause I
hear they give nice funerals. Now,
if you don't mind, I believe those
belong to me.
Farlan reaches for the books but stops cold when he hears a
booming voice.
K.I.T.T. (v.o.)
(over loudspeaker)
This is the police. You are
surrounded. Throw down your weapons
and put your hands over your heads.
As Farlan and his men throw down their guns and reach for
the sky, K.I.T.T. barrels directly at the crowd. When
K.I.T.T. gets close, it becomes obvious it's not the police.
DINK
Look! It's that car again!
GUARD
I told you it moved by itself.
OMITTED
ANGLE - K.I.T.T.
The Trans Am pulls to a screeching halt in front of
Michael and its doors fly open.
MICHAEL
Good timing, Kitt.
(to Marty)
Get in.
Michael and Marty get in. The Trans Am crashes through the
fence and zooms away.
OMITTED
INT. TRANS AM
While Marty is still in a daze, Michael tries to buckle
Marty's seat belt.
MARTY
(screams)
Who's driving the car!
MICHAEL
Kitt.
Marty looks around.
MARTY
(another
scream)
Who is Kitt?
Michael gives up on the seatbelt -- Marty's squirming too
much.
MICHAEL
Don't worry about it. Just buckle
your seatbelt.
MARTY
I'm worried about it. I'm worried
about it.
ANGLE - FARLAN AND DINK
They are in a major state of disbelief.
DINK
I ain't never seen anything like
that.
FARLAN
Wait 'til you see what happens when I
catch them.
They get into their car and take off in pursuit.
EXT. TRANS AM - DAY
It is going down a Claremont Bay street in the dock/
warehouse district.
CUT TO
INT. TRANS AM - DAY
Marty can't keep his eyes off the dashboard.
MARTY
What is all this stuff?
MICHAEL
A computer.
MARTY
Yeah, but how did it manage to drive
itself?
MICHAEL
Let's just say it manages.
MARTY
Yeah, and I suppose it can talk, too.
K.I.T.T.
On a variety of subjects. What do
you care to discuss, Mr. Green?
A nervous smile freezes on Marty's face. Michael contains
his laughter. Michael presses some buttons on K.I.T.T.'s
console.
MARTY
(nervously)
What are you doing?
INSERT - K.I.T.T.'S VIDEO SCREEN
On the radar scan, a strong dot appears headed toward the
middle of the screen.
BACK TO SCENE
MICHAEL
What's their distance, Kitt?
K.I.T.T.
Approximately 400 yards. Shouldn't
we accelerate or do you want them to
catch us?
MICHAEL
No, I just want them to think they can
catch us.
K.I.T.T.
Michael, I'm not sure I understand.
We've got the books, why don't we just
go to the police?
MICHAEL
That's the next step. See if you
can pick up the police frequency. I
want to talk to Lieutenant Dickerson.
ANGLE - FARLAN'S CAR
It takes the corner at top speed, and the Trans Am comes
into view.
INT. FARLAN'S CAR
Dink is at the wheel. Farlan rides shotgun.
FARLAN
There he is. Step on it.
EXT. FARLAN'S CAR
It shoots down the street in hot pursuit.
EXT. DICKERSON'S CAR - DAY
as it races down a street.
OMITTED
INT. DICKERSON'S UNMARKED CAR - DAY
DICKERSON
(into radio)
Dickerson here.
MICHAEL (o.s.)
(through radio)
Lieutenant, this is Michael Knight.
Dickerson and Brad react with complete surprise.
DICKERSON
Knight!? How did you get a police
frequency?
Intercut with:
MICHAEL
as they race through the warehouse district.
MICHAEL
I don't have time to explain. I've
got Marty and the books from Falcon
Enterprises. Where do you want them
delivered?
DICKERSON
What kind of stunt are you trying to
pull, Knight?
MICHAEL
All I'm trying to do is help,
Lieutenant.
DICKERSON
(thinks for
a beat)
All right, I'll be at the end of
Highland Road. That's down by the
docks.
MICHAEL
See you there.
Dickerson pushes a button on the radio, ending his conver-
sation with Michael.
BRAD
You think he's on the level.
DICKERSON
Only one way to find out.
THE UNMARKED CAR
speeds down the street.
OMITTED
EXT. HIGHWAY - DAY - THE TRANS AM - VARIOUS ANGLES
It bounces along the hilly roads near the docks with Farlan
right behind them.
INT. TRANS AM
Marty is turning pale as they are jolted up and down. He
gulps audibly.
MICHAEL
What's the matter now?
MARTY
There's something I've got to tell
you. I get carsick.
K.I.T.T.
What do you mean, you get carsick?
MARTY
Sometimes....
MICHAEL
Just hang in there, Marty.
MARTY
I think I'm going to be ill.
Suddenly shots ring out.
MARTY
I'm definitely going to be ill.
EXT. POLICE CARS
on the move to form a blockade.
EXT. ROAD - DAY
Farlan's car is closing in on them. Farlan leans out the
window and fires a rifle at the Trans Am.
ANGLE - FARLAN
reacting to his misses.
FARLAN
Hold this thing steady so I can hit
him.
DINK
I get the feeling all the bullets in
the world ain't gonna stop that car.
EXT. TRANS AM - VARIOUS ANGLES
Michael continues at less than top speed. Farlan and Dink
remain on his tail. They cut corners, run red lights and
make hair-raising turns as Michael leads them toward their
destination.
EXT. POLICE BLOCKADE - DAY
Two police cars are lined up hood-to-hood, effectively
blocking a narrow street between two rows of warehouses.
ANGLE - DICKERSON
as Brad approaches him.
BRAD
(indicating cars)
We're all set, Lieutenant.
DICKERSON
I guess the ball's in Knight's court
now.
OMITTED
ANGLE - TRANS AM
as it turns down Highland Road.
K.I.T.T.
Michael, I'm picking up an
obstruction a half mile ahead.
MICHAEL
Good. That should be Dickerson.
MARTY
What are you doing?
MICHAEL
Just sit tight, you'll see.
WIDE ANGLE
to see the Trans Am and Farlan's car racing down the street.
MICHAEL'S POINT OF VIEW - THE POLICE BLOCKADE
looms ahead.
ANGLE - DICKERSON
seeing the Trans Am.
DICKERSON
Here he comes.
ANGLE - WAREHOUSE
Just in front of the police blockade a garage door opens
and a large truck begins to back out.
ANGLE - DICKERSON
He reacts to the sight of the truck with alarm.
DICKERSON
What's that truck doing?
WIDE ANGLE
The Trans Am bears down on the truck which is a flatbed
laden with large sheets of glass.
OMITTED
INT. TRANS AM
Marty is freaking out as it looks like they're about to hit
the truck.
MARTY
Watch out for that truck. Wait a
minute. You're not gonna....
MICHAEL
When I count to three, hold your
breath. One. Two. Three.
As he utters the number three, Michael hits the turbo boost
button and the Trans Am goes airborne.
ANOTHER ANGLE - K.I.T.T.
glides over the truck.
ANGLE - BRAD AND DICKERSON
standing to the side of the blockade. Both are awestruck
as they see the car hurtling over them.
BRAD
Look out!
He and Dickerson hit the deck.
EXT. TRANS AM
It clears the truck and neatly swerves to avoid the police
cars.
OMITTED
ANGLE - FARLAN'S CAR
It has been following at top speed and can't stop in time
despite Farlan's protestation.
FARLAN
Hit the brakes, you fool.
Too late. Farlan's car goes slightly airborne, but not
enough to clear the glass truck.
WIDE ANGLE
Farlan's car smashes through the sheets of glass creating
a shower of flying shards.
ANOTHER ANGLE
Farlan's car comes out on the other side of the truck and
smacks into one of the police cars.
OMITTED
ANGLE - TRANS AM
MARTY
(amazed)
How did you do that?
MICHAEL
With a little help from my friend.
(beat)
Let's go back and square things
away, Kitt.
The Trans Am turns around and comes back toward the
blockade.
ANGLE - BLOCKADE
Brad and Dickerson get up from where they dove for cover
and approach Farlan's twisted, smoking car. They are
surprised to find Farlan and Dink. Dickerson takes out
his gun.
DICKERSON
Okay, Farlan, get out, you're under
arrest.
Farlan and Dink get out of the car, hands held high.
FARLAN
What do you mean, we're under
arrest? You got nothing on us.
OMITTED
ANGLE - MICHAEL
as he pulls up in the Trans Am.
MICHAEL
Not true.
He holds up the books. Michael and Marty get out of the
car. Michael hands the books to Dickerson.
MICHAEL
Here you go, Lieutenant. All the
evidence you need to put them away.
Brad puts the handcuffs on the heavies, leads them away.
DICKERSON
Thanks, Knight...
(beat)
I suppose I was a little harsh on
you.
MICHAEL
Well, maybe a little.
DICKERSON
(chuckles)
Sorry, kid, I guess that's just my
style...But I want you to know I
appreciate what you did.
Dickerson offers his hand. They shake.
DICKERSON
(to Marty)
Come on Marty, you're part of this
package too.
MARTY
But....
MICHAEL
Wait a minute, Lieutenant. This
whole thing was Marty's idea. If it
weren't for him you wouldn't have
those books. He's willing to help
you put away his boss, aren't you,
Marty?
MARTY
(confused;
then nods)
Huh, oh, yeah....
DICKERSON
Really?
MICHAEL
On one condition, that is.
DICKERSON
And what might that condition be?
MICHAEL
You let him come back to Albuquerque
with me now.
Dickerson looks at Marty a beat, then:
DICKERSON
I can live with that.
MICHAEL
Thank you, Lieutenant. I'll have
him back before you know it.
(to Marty)
Let's go.
Michael gets in K.I.T.T. Marty waves to Dickerson, then
climbs into the Trans Am. As K.I.T.T. fires up and pulls
away....
FREEZE FRAME
END OF ACT FOUR
TAG
OMITTED
INT. BENT ARM BAR - DAY
Michael, Marty, and Cheryl are seated at a table having a
drink.
MICHAEL
Well, how does it feel to be free
again?
CHERYL
Wonderful. Absolutely wonderful.
(beat)
Especially since they caught the
real murderer. Michael, I'll never
be able to properly thank you for
all you've done.
She leans over and plants a kiss on his lips.
MICHAEL
Well, that's a start.
MARTY
Hey, what about me?
CHERYL
Thank you too, Marty.
She kisses him. He gets his money's worth.
MICHAEL
Marty, I hope you've learned a
lesson from all of this.
MARTY
You better believe it. From now on
I'm staying away from crooks.
(beat)
I've got better luck with the ponies.
He takes out a racing form and opens it up.
MARTY
You know who's running tomorrow....
Before Marty can get into detail on the upcoming race,
Butch enters the shot, placing one of his beefy paws on
Michael's shoulder.
BUTCH
I want you.
Michael is not wild about seeing Butch.
MICHAEL
Hi there, Butch....
BUTCH
Let's go.
Indicating the wrestling block, Butch lifts Michael by the
arm and leads him toward the field of battle. As Michael
rises, he speaks into his wrist watch.
MICHAEL
Kitt.
K.I.T.T.
(through wrist-
watch)
Yes, Michael....
BUTCH
You can talk to your watch all you
want this time. I know you're not a
ventriloquist.
MICHAEL
(incredulous)
A ventriloquist?
Michael looks at Marty and Cheryl. They're laughing. He
smiles back as Butch leads him away. Hold on his smile
and:
FREEZE FRAME
THE END
