ACT ONE
FADE IN
EXT. WAREHOUSE - NIGHT
A security fence surrounds the building that is entered
through a steel roll-up door. Outside the fence and
adjacent to the electric gate is a guard shack.
ANOTHER ANGLE - GUARD SHACK
A sign proclaims -- NO ADMITTANCE WITHOUT PASS. Inside the
shack, his attention riveted to the sports page of a news-
paper, is uniformed Police Sergeant Gottlieb. A shadow falls
across the shack, we hear:
TYLER'S VOICE
Excuse me?
Gottlieb glances up, does a little double take:
INTERCUT - GOTTLIEB'S POINT OF VIEW - TYLER'S FACE
incredibly beautiful, a sultry quality; hair that tumbles
onto her shoulders as she breaks into an appealing, dis-
arming smile. She's twenty-six; wears an elegant dress, a
shoulder bag -- and is as intelligent and calculating as
she is beautiful.
TYLER
Hello -- I'm looking for Captain
O'Malley?
RESUME THE SCENE
GOTTLIEB
O'Malley? You have some kind of
business with him?
She fingers his name tag; smiles coyly, seductively.
TYLER
Why Sergeant Gottlieb, I think the
Captain would prefer it be kept
between he and I. You understand ---
Gottlieb's eyes drift from her face down to her ample
cleavage that pushes against the vee of the dress.
GOTTLIEB
Oh yeah, sure, I understand.
(beat)
But a, he's -- not here yet.
TYLER
Is there someplace inside I can wait?
GOTTLIEB
Sure. If you have a pass.
TYLER
You mean one of these?
Tyler goes into her shoulder bag and removes:
A 3 X 5 CARD
The signature reads T. O'MALLEY. As Tyler gives the card
to Gottlieb, it slips from her fingers and flutters to the
ground next to the guard shack.
RESUME THE SCENE
as Tyler feigns a move to retrieve the card and Gottlieb
steps out of the shack with a slight air of chivalry.
GOTTLIEB
Hey, I got it ---
He crouches in front of Tyler; as his fingers scrape at the
edge of the card to pick it up we:
INTERCUT - GOTTLIEB'S POINT OF VIEW - TYLER'S LEGS
beautifully shaped, one of them turned out of the slit in
the dress that goes to her hip and then suddenly --
blackness, as:
TYLER
takes a .357 Magnum from her bag and brings it down hard
across the back of Gottlieb's head.
RESUME THE SCENE
as Tyler moves into the guard shack and three men, Jastrow,
Rawleigh and Fletcher, hurry from a vehicle parked nearby.
Jastrow is forty-seven, a once proud, battle-hardened Army
officer. Rawleigh, twenty-eight, a cross between a Hell's
Angel and a soldier of fortune. Fletcher, thirty-five,
British, serious, committed, precise.
INTERCUT - INSIDE THE SHACK - FAVORING SECURITY PANEL
as Tyler presses buttons labeled -- GATE -- DOOR -- ALARM
OFF.
RESUME THE SCENE
as the electric security fence gate slides back; the
roll-up warehouse doors open. Jastrow runs into the
warehouse with Rawleigh and Fletcher dump the guard back
in the shack.
RESUME GUARD SHACK - ON WIRE CUTTERS
as Tyler cuts the bundle of wires that come from the
communications console; keeping an eye on:
THE WAREHOUSE
as a truck barrels out of the entrance; Rawleigh and
Fletcher in the cab; Jastrow outside on the step.
INTERCUT - ANOTHER GUARD
making rounds at the opposite end of the building. He
hears the roar of the truck engine and runs toward the
entrance.
RESUME WAREHOUSE ENTRANCE
The security gate is already closing as the truck exits and
heads into the street. Jastrow jumps off the truck and
heads for the car. Tyler crosses from the guard shack to:
THE SECURITY GATE
As it slams shut, Tyler pulls a chain from her bag; wraps
it around the frame and locks it. Jastrow pulls up in the
car. As Tyler jumps in and they take off after the truck,
the other guard, gun drawn, comes running after them but is
stopped by the locked security gate.
CUT TO
EXT. HIGHWAY - DAY (DAY TWO)
as K.I.T.T. comes out of a turn and accelerates past camera.
K.I.T.T.
Well, Michael, we're almost home.
INSIDE K.I.T.T. - TRAVELING
MICHAEL
(suspiciously)
Which means -- it's about time for
Devon to call.
K.I.T.T.
Oh, I don't think he will, Michael.
MICHAEL
Bet you he does. Every time I'm
ready to knock off for a couple of
days and get some R & R, he sticks
me with another assign ---
Michael is interrupted by the beeper, signaling Devon is
calling. Michael groans; forces a smile ---
MICHAEL
-- ment. Good afternoon, Devon.
INTERCUT - K.I.T.T.'S MONITOR
Devon in his Foundation office.
DEVON
Well, Michael, how are you this
fine, glorious day?
MICHAEL
I'll let you know as soon as I find
out what kind of omelet you're
cooking up for me.
DEVON
Why, Michael, I was about to suggest
you check into the Dune Drifter for
the weekend.
MICHAEL
(surprised;
delighted)
The Dune Drifter -- whow, posh as
they come.
DEVON
No need for concern. The Foundation
will pick up a few extravagancies.
I've already made the arrangements.
MICHAEL
Now I know you're scramblin' my eggs.
Come on, what's the catch?
DEVON
Guns -- a truckload confiscated by
a police department was stolen from
a warehouse a few days ago. Among
the weapons were five hundred 9mm
Baretta automatic pistols and two
laser rifles.
MICHAEL
Laser rifles?
DEVON
Yes, it seems some bank robbers were
apprehended trying to cut into a
cobalt steel vault.
MICHAEL
That's a police case, Devon...we
shouldn't be involved.
DEVON
One of the thieves, was a woman.
She had a pass issued by a Police
Captain Tom O'Malley. The police
want an independent investigation.
MICHAEL
How does the Dune Drifter fit in?
DEVON
O'Malley is a survivalist...and
there's a convention there.
MICHAEL
Survivalists don't usually buy
stolen guns, they're legitimate
people. Patriotic.
DEVON
They may not know what they're
buying....
MICHAEL
I see where you're coming from ---
CUT TO
EXT. DUNE DRIFTER HOTEL - DAY
as we pan across a sprawling, posh resort and convention
center, and pick up clusters of survivalists: outdoorsmen,
cowboys, mercenaries, a rowdy mix of rugged individualists
talking shop -- pistols on their hips; rifles in their hands.
The pan picks up K.I.T.T. approaching.
MICHAEL (V.O.)
(continuing)
-- A whole convention of unsuspecting
customers.
ANOTHER ANGLE - PARKING LOT
packed with four-wheel-drive vehicles, campers, vans, some
with camouflage pattern paint jobs and gun racks; few con-
ventional cars in sight, as Michael parks.
INT. DUNE DRIFTER LOBBY - REGISTRATION DESK - DAY
alive with conventioneers in a cross section of wardrobe;
some in fatigues; others in Western gear; and others in
fancy, almost formal attire. The Clerk, an attractive
young woman in a uniform, hands Michael his room key.
CLERK
Here we are, Mr. Knight, suite thirty-
seven -- the Mirrored Grotto.
MICHAEL
Just your basic survival shelter, uh?
The Clerk smiles and attaches a name tag to Michael's jacket.
MICHAEL
Oh, I'm meeting an old buddy here.
Name's O'Malley, Tom O'Malley? He
check in yet?
CLERK
(chuckles,
reflecting)
Certainly has. Everybody knows Tom
O'Malley.
(off Michael's
look)
Got the desert foxes by their tails,
if you know what I mean?
MICHAEL
Any idea where he's hunting today?
CLERK
Try the display hall -- the Uzi
display -- her name's Sheila.
CUT TO
AN UZI SUB MACHINE GUN
cranks off rapid bursts.
A TARGET
is turned into confetti by the rounds from the Uzi.
THE UZI BOOTH - IN THE CONVENTION HALL
When the demonstrator finishes, Sheila Gutherie, twenty-
three, a knockout in leather jacket, shorts, cartridge belt,
boots, an Uzi planted on her hip, takes over. A crowd of
men watch -- attention divided between the equipment and
Sheila's -- vulnerable eyes, tumbling blonde hair and legs
as long as half-time at the Super Bowl. One of the men is
Rawleigh (seen earlier at the gun heist). After the demo ---
SHEILA
Something else, huh?
RAWLEIGH
(calls out)
You sure are, sweetcakes.
SHEILA
Thanks, and so is the Uzi RF22L -- a
fully automatic weapon that ---
She glances to a "crib sheet" Scotch taped to the stock of
the weapon she's holding.
SHEILA
-- a weapon that oozes more fire
power per buck than any other ---
RAWLEIGH
(calls out,
interrupting)
-- You sure do, baby.
Laughter from the crowd.
SHEILA
Come on, fellas, I wrote this myself.
Don'tcha want to hear it?
MICHAEL
I do.
ANOTHER ANGLE - FAVORING MICHAEL
As he pushes to the front of the crowd and directs Sheila
aside, Rawleigh eyes him coolly.
MICHAEL
You can run down the entire
nomenclature for me if you like.
SHEILA
Right. A, listen, Mr. --
(off name tag)
-- Knight. I, a -- I'm going on my
break now, so -- maybe later.
Sheila waves at Michael, smiles and moves through a door
exiting the convention hall. Michael moves after her.
ANGLE - DISPLAY AREA
as Michael catches up with Sheila.
MICHAEL
Sheila? Why don't we do it over a
cup of coffee.
SHEILA
I'm sorry but -- Well, I don't
really know anything about guns. I
mean, last show I worked I washed my
hair twenty-five times a day for a
shampoo company, next one could be
Bibles....
MICHAEL
(chuckles)
I get the message. By the way, I'm
looking for a Tom O'Malley. I hear
you know him.
SHEILA
Tom? You know Tom? He's the neatest
guy. The kind a girl could spend a
lotta time with.
MICHAEL
You seen him today?
SHEILA
(shakes no)
Said something about going to the
shooting competition -- I think.
You can ---
Sheila is interrupted by gunshots. She screams as Michael
bear hugs her and dives for cover in an alcove.
ANOTHER ANGLE
as a man, in a garish Western tuxedo, brandishing a
handgun, call him Tuxedo, runs down the corridor. He
whirls and fires at:
ANOTHER MAN
in similar dress who pops into view and cranks off two
rounds from his hand gun.
TUXEDO
is hit in the chest; a red splash explodes across his
clothing. He drops his gun and goes down right in front of
Michael and Sheila. The attacker rushes up to him.
MICHAEL
springs at the attacker. They go down in a flurry of arms
and legs. Michael comes out on top and rears back his
right fist to put the guy away. A meaty hand grabs his arm.
TUXEDO
Easy, son ---
Michael whirls his head around to see:
TUXEDO
The red splat staring Michael in the face.
MAN
(continuing)
-- just a game. Ever hear of the
East Orange Ambush Club? We do this
for fun.
THE SCENE
Tuxedo standing over Michael and the attacker.
MICHAEL
No, no I haven't, but I've heard
about --
(fingers the
red splat)
-- paint pellets.
TUXEDO
Right, and we're in this war with
Ventura County whenever one member
spots another, it's draw and fire, no
questions asked.
Michael smiles. Tuxedo turns to retrieve his gun from the
floor. Michael helps the attacker get to his feet.
MICHAEL
(to attacker)
Sorry 'bout that. You okay?
TUXEDO
Sure is. Nine millimeter. Accurate.
Great balance.
MICHAEL
That's what I hear. Mind if I take
a look?
Tuxedo hands the gun to Michael; as he examines it, he runs
his comlink across the serial number....
INTERCUT - K.I.T.T.
as it runs down the number against a list.
RESUME THE SCENE
MICHAEL
(returns gun)
Beauty. Gotta get one. Where'd you
get yours?
TUXEDO
Bought it from her -- Sheila -- the
gal that was with you.
Tuxedo and Michael look around to discover Sheila is gone.
TUXEDO
Gotta keep 'em on a leash these days,
huh? Be seein' ya.
Tuxedo and the attacker move off. Michael raises his
comlink.
MICHAEL
Kitt....
K.I.T.T.
Yes, Michael, it's stolen. Are you
onto something?
MICHAEL
Yeah, her name's Sheila.
CUT TO
CLOSE ON SHEILA
SHEILA
Stole it? You're nuts. I don't
know what you're talking about. I
didn't even admit I sold it....
She turns and heads for the Uzi booth in the b.g. Michael
pursues and stops her.
MICHAEL
I'm talking about doing years,
Sheila, not weekends.
SHEILA
(suddenly
worried)
In jail....
MICHAEL
You got it. The guns were ripped
off from a police department -- a
woman was involved.
SHEILA
Hey, I didn't steal any guns. I
didn't. That's the truth.
MICHAEL
But you sold one.
SHEILA
(nods contritely)
Only that one. Got the others back
in my room. Just trying to make a
buck. You a cop?
MICHAEL
No. Now, where'd you get them?
SHEILA
I found them -- out in the hills. I
was hitching. This guy started to
get fresh. I started walking. I
took a shortcut through some trees
and found this truck -- full of guns.
MICHAEL
You take me there and I might believe
you....
SHEILA
Okay, okay, but I've gotta get outta
these clothes first.
MICHAEL
So you can split on me?
SHEILA
I can't escape hitchhiking...that's
the way I travel...I'll meet you in
the parking lot.
(off Michael's
look)
I will.
Michael studies her face; decides, nods and we:
CUT TO
EXT. HOTEL PARKING LOT - DAY
as a battered, older-model sedan turns into the parking lot
right in front of another car that is exiting. The other
driver slams on the brakes. His car dives to a stop. The
old sedan continues on -- the driver oblivious.
INSIDE THE OLD SEDAN
Edgar at the wheel. Martha next to him; both in their
sixties. They are oblivious and smack into K.I.T.T.
ANOTHER ANGLE - PARKING LOT
to reveal the car Edgar has whacked is K.I.T.T. -- still in
a parking spot. The sedan's fender mashed into K.I.T.T.'s
rear bumper; not a scratch on K.I.T.T. of course. Michael
gets out of K.I.T.T. Edgar and Martha out of their sedan.
As they move together ---
EDGAR
Don't you look when you back out?
MICHAEL
I was parked. I never moved.
EDGAR
Listen here, young man, you're not
the first road hog I've run into
who ---
Michael glances to:
THE SEDAN
to see a heavily dented and dinged fender and door.
MICHAEL
(interrupting)
I can see that.
RESUME THE SCENE
as Edgar spots a crowd that has formed.
EDGAR
You saw what happened. Right? He
backed into me. Came right out
and ---
MARTHA
I think I have whiplash.
Edgar crosses to the crowd to continue his appeal. We stay
with Michael and K.I.T.T. Michael talks into his comlink.
K.I.T.T.
That's not how it happened, Michael.
MICHAEL
I know that, pal.
K.I.T.T.
Well, I'm a witness too.
MICHAEL
Yeah, but I don't think I can put
you on the stand.
K.I.T.T.
Why not? It's all recorded in my
data bank. I wouldn't lie.
Michael spots Edgar coming back.
MICHAEL
Knock it off, he's coming back.
(to Edgar)
Look, I'm sorry this happened. At
least no one got hurt. Now ---
Michael is interrupted by Martha, who grabs the back of her
neck with both hands and lets out a loud moan.
EDGAR
You're sorry?! You ever been on a
second honeymoon with a woman who
has whiplash?
MICHAEL
(eyes rolling)
Not in this life ---
CUT TO
EXT. HIGHWAY - DAY
as K.I.T.T. barrels past camera.
SHEILA'S VOICE
It should be just around that
turn ---
INSIDE K.I.T.T. - TRAVELING
Sheila is seated next to Michael.
MICHAEL
You said that three turns back.
SHEILA
Hey, I was walking. Things look
different when ---
She pauses, recognizing something O.S.
SHEILA
There it is. Those trees ---
EXT. A WOODED AREA - DAY
just off the road as K.I.T.T. pulls to a stop on the
shoulder and Michael and Sheila get out. She points to
the ground.
SHEILA
See?
Michael follows her gesture to:
TIRE TRACKS
that lead from the road into dirt and on toward the grove
of trees.
RESUME THE SCENE
as Michael and Sheila follow the tire tracks toward the
grove of trees.
GROVE OF TREES
As Michael and Sheila approach:
SHEILA
The truck's right ---
She bites off the sentence when she and Michael see:
THEIR POINT OF VIEW - THE GROVE
A clear sight line through the grove; the clearing beneath
the canopy of foliage empty; no truck anywhere in sight.
ANOTHER ANGLE - MICHAEL AND SHEILA
as they exchange looks, and we pull way back to:
ANGLE - HILLSIDE
Rawleigh watching them. We hold a beat and we:
FREEZE FRAME
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
EXT. GROVE OF TREES - DAY - RAWLEIGH - CONTINUOUS
as Rawleigh watches Michael and Sheila; too far away to
hear them. He ducks behind bushes when they turn to leave.
ANOTHER ANGLE - K.I.T.T.
as Michael and Sheila return from the grove.
SHEILA
I swear it, that truck was there.
It was.
MICHAEL
I believe you.
(thoughtful
beat)
Weird -- tracks going in: none
coming out.
SHEILA
That's right. Where'd it go?
MICHAEL
Up probably...chopper.
SHEILA
(admiringly)
That's pretty good.
They get into K.I.T.T. and drive off. We hold as Rawleigh
pulls onto the road in a Land Rover and follows.
INSIDE K.I.T.T. - TRAVELING
SHEILA
So what now?
MICHAEL
I've got to find O'Malley. Where'd
you say he was going?
SHEILA
A shooting competition.
MICHAEL
I don't even know what he looks
like. Will you help me?
SHEILA
Sure. Why not?
As K.I.T.T. accelerates down the highway, we:
CUT TO
EXT. HOTEL - DAY - TO ESTABLISH
JASTROW'S VOICE
No, no forget about it.
INT. CONVENTION HALL - LOUNGE AREA
Jastrow's got the phone in one hand; a rifle in the other;
a handgun hangs from his hip.
JASTROW
Don't go back.
He hangs up; thinks; toys with rifle a beat before Tyler
enters, she's looking good....
JASTROW
'Bout time you got here.
TYLER
Father, when I look good, I think
good, you know that ---
JASTROW
Yeah, and I'm tired of hearing it.
If that's all they taught you at
those schools, I wasted my money.
TYLER
I got us those lasers, didn't I?
What's the problem?
JASTROW
Rawleigh called.
TYLER
Is he too drunk again to get rid of
those tire tracks like he was
supposed to?
JASTROW
No. Couple of people were out there
nosing around.
TYLER
Cops?
JASTROW
(shrugs)
One's a pitch girl who works the
convention. The other's a guy.
Rawleigh followed them to the
shooting competition.
TYLER
We should go there and check him out.
JASTROW
We should stay put -- right here
'til tomorrow. 'Til it's time.
TYLER
Why? The convention's the perfect
cover for our equipment and
practice. That's why we're here.
JASTROW
Yeah, yeah, I know, but ---
TYLER
Then let's look like we belong -- and
check out the snoop at the same time.
CUT TO
EXT. SHOOTING RANGE - DAY - ON A LARGE TARGET
some hits in the bull's-eye -- others in the outer rings.
INTERCUT - MARKSMAN
as he continues to fire at the target with a rifle.
THE SCENE - WIDE
as Michael moves through the spectators who watch the
competition. Wardrobe here is military fatigues and
hunters...Sheila weaves her way through and joins him.
MICHAEL
Anything?
SHEILA
Everybody knows O'Malley but nobody
has seen him.
As Michael ponders this:
SHEILA
I looked everywhere.
A LAND ROVER
arrives. Tyler and Jastrow get out and are joined by
Rawleigh who indicates Michael in the b.g.
RAWLEIGH
That's him, that's the guy who was
nosing around.
Tyler leans to Jastrow; whispers something. He nods, and
we:
RESUME MICHAEL AND SHEILA
as Jastrow crosses and joins them, we notice a handgun
riding on his hip -- the same distinctive grip as the
Baretta we saw earlier. He indicates Michael's clothing.
JASTROW
Couldn't help noticing, you look
like you're new to all this.
MICHAEL
Yeah, well. When I got in from L.A.
I found out my bags went to Honolulu.
Michael's eyes drift to the handgun on Jastrow's hip.
JASTROW
You saying, you're into guns?
MICHAEL
Shoot anything and everything.
(indicates
handgun)
Even those. Nice weapon.
JASTROW
Does the job. I'm Lyle Jastrow.
MICHAEL
Michael Knight. Say, you wouldn't
know a guy named Tom O'Malley, would
you?
JASTROW
(thinks; shakes
no)
He in the competition?
MICHAEL
I don't know.
JASTROW
Are you?
MICHAEL
I was. But my guns went the way of
my bags. I'm out of it now.
JASTROW
(muses a beat)
No you're not. My daughter's got a
beautiful twelve-pound, small bore I
can loan you.
MICHAEL
Hey, I appreciate it, but I couldn't
do that.
JASTROW
I don't know any man who's really
into guns who wouldn't.
(beat)
That is unless you're one of those
reporters came here to ridicule
us....
MICHAEL
(trapped)
No way...I wouldn't mind firing off
a few rounds...Thanks.
They cross toward Tyler, Rawleigh at the Land Rover in the
b.g. and we:
CUT TO
A TARGET
as rounds pop into it. The range officer removes it; puts
a fresh one in its place.
MICHAEL
crosses to the firing line with a rifle. As he loads and
positions it on his shoulder, he talks into his comlink.
MICHAEL
Talk to me good buddy.
INTERCUT - K.I.T.T.
K.I.T.T.
I detect a sense of urgency in your
voice, Michael.
MICHAEL
Good, because I need some fast
windage and elevation calculations.
Give me some numbers, pal.
INTERCUT - K.I.T.T.'S SCREEN
as a graphic of the competition range setup followed by
fast-changing equations and numerical readouts appears.
K.I.T.T.
At that distance Michael, I'd try ---
MICHAEL
Try? This has to be right on.
K.I.T.T.
Elevation ________; windage
___________, should do it.
Michael makes the adjustments; raises the weapon and fires.
INTERCUT - TARGET
as rounds pop into the bull's-eye.
INTERCUT - CROWD REACTIONS
impressed by Michael's marksmanship as rounds continue to
pop into the bull's-eye.
INTERCUT - SHEILA
watching; pulling for Michael; excited at each bull's-eye
-- she's here with a winner.
ANOTHER ANGLE - TYLER AND JASTROW
as Michael finishes up; and applause breaks out ---
TYLER
Shoots pretty good. He might be
useful.
JASTROW
He was also asking about O'Malley.
He might be a cop.
TYLER
Then we better find out as much
about him as we can.
ANOTHER ANGLE - MICHAEL
He comes off the shooting range to congratulatory, hand
shakes, back slaps as he moves through the spectators.
SHEILA
pushes her way toward Michael; is a few feet away when
Tyler cuts in front of her intercepting Michael. During
this Sheila is also showing some jealousy, not liking it at
all.
THE SCENE - FAVORING TYLER AND MICHAEL
TYLER
Congratulations -- my father was
right --
(indicating
rifle)
You two really got along.
MICHAEL
Thanks.
(eyeing Tyler)
Fine weapon: smooth action,
beautifully finished ---
TYLER
But it takes the sensitive hands of
a marksman to give it life.
MICHAEL
Breathe, hold, squeeze -- nothing
quite like it.
(smiles; beat)
Don't know how to thank you.
TYLER
Well, there are some events at the
convention later. Come with me.
I'm sure you'll find them
interesting.
MICHAEL
(considers;
nods)
I'm sure I will.
They hold a look for a beat. Then Michael turns and he and
Sheila cross to K.I.T.T. in the b.g. Jastrow and Rawleigh
join Tyler. As K.I.T.T. pulls out and drives off ---
TYLER
That's twice. They spend a lot of
time together, don't they?
EXT. DESERT HIGHWAY - DAY
as K.I.T.T. drives past and accelerates into a sunset.
MICHAEL
Answer a question for me will you?
INSIDE K.I.T.T. - TRAVELING
Sheila slouches, staring blankly at the passing terrain.
MICHAEL
(continuing)
Those guns you found -- you said you
sold only one.
SHEILA
That's right.
MICHAEL
You're positive?
SHEILA
You heard me.
MICHAEL
Sorry, I had to be sure.
(beat)
What's the matter, you're mad at me
aren't you?
SHEILA
(defensively)
No. Why'd you ask me that?
MICHAEL
Well, since we left the competition,
you haven't exactly been Miss
Congeniality. I thought maybe you
didn't like me talking to ---
SHEILA
(interrupting)
That girl?
Michael nods.
SHEILA
Hey, you're good-looking and all --
but you're not my kinda guy. I want
someone who's --
(choosing each
word)
-- personable, dependable and
bankable. Am I making myself clear?
MICHAEL
Painfully ---
SHEILA
I mean, I'm tired of going to parties
with great-looking guys and coming home
alone. I just want somebody I can
count on who wants to take care of me.
MICHAEL
I think they're called husbands....
SHEILA
Sure. That's why I came to the
convention. Lotta guys here fit
the bill. But I know I'm not gonna
catch Mr. Right without some decent
threads.
(continuing;
down)
-- that's why I sold that gun.
MICHAEL
And that's where you almost blew it.
(beat)
Come on, cheer up. You'll do fine.
SHEILA
You really think so?
MICHAEL
I'm sure of it....
She glances at Michael; thanks him with a vulnerable smile.
CUT TO
EXT. HOTEL - ENTRANCE - DAY
as K.I.T.T. pulls to a stop. Sheila hops out.
As K.I.T.T. pulls away and heads into the parking lot, we
hear:
INSIDE K.I.T.T.
as Michael heads for the parking lot and cruises in search
of an empty space.
K.I.T.T.
Really? We did very well at the
competition didn't we Michael.
MICHAEL
Yes, Kitt, we did. We won....
K.I.T.T.
Now will you tell me why you entered?
MICHAEL
Because that guy Jastrow was carrying
a 9mm Baretta. When he said he didn't
know O'Malley, I decided to take the
bait. Get Devon for me, will you?
Michael hits some buttons on the console.
K.I.T.T.'S MONITOR
comes to life -- Devon appears in his office.
DEVON
Hello, Michael, I assume you're
calling to tell me you've tracked
down O'Malley.
MICHAEL
No. Why would you assume that?
DEVON
Well, my data clearly indicates that
-- everyone knows O'Malley.
MICHAEL
(echoing)
Everyone knows O'Malley. Right, but
nobody can find him.
DEVON
Is it possible we've taken a wrong
turn here somewhere?
MICHAEL
No, no this is the place. Someone
here's seen the truck and I've
turned up two of those Barettas.
DEVON
Excellent work, Michael. How can I
help you?
MICHAEL
By checking out a guy named
Jastrow. Lyle Jastrow.
Michael clicks off the monitor and pulls into a parking
spot.
MICHAEL
You can help me too, pal. Keep your
scanners peeled for Jastrow while
I'm at these events.
K.I.T.T.
Anything specific I should be
looking for Michael?
MICHAEL
No, I've just got a feeling his
daughter cooked this up to keep me
busy.
EXT. PARKING LOT - DAY - FAVORING K.I.T.T.
as Michael gets out of K.I.T.T.
K.I.T.T.
You're going to be a lot busier than
you think.
EDGAR'S CAR
as it lurches to a stop in a no-parking zone. Edgar gets
out followed by Martha in a neck brace.
EDGAR
There he is Martha!
He runs up to Michael waving a sheet of paper; Martha
brings up the rear. Edgar shoves the paper into Michael's
hands.
MICHAEL
What's this?
EDGAR
An estimate.
MICHAEL
For what?
EDGAR
To fix my car.
MICHAEL
Why're you giving it to me?
EDGAR
'Cause you're the one that hit me.
And you're going to pay.
MICHAEL
(off the
estimate)
Replace cracked rear window? Repair
dings and dents in roof? Replace
bumper, right front fender, trunk
lid, wheels covers, prime and paint
-- four thousand six hundred and
eighty-one dollars?
EDGAR
Without the engine work.
MICHAEL
Engine work?
EDGAR
I'm still waiting for that estimate
-- and the one to fix Martha's neck.
K.I.T.T.
Excuse me, Michael?
EDGAR
Who's that?
MICHAEL
My attorney.
K.I.T.T.
I think you should let the
Foundation handle this.
EDGAR
Foundation?
MICHAEL
My employer -- the Foundation for
Law and Government.
EDGAR
Law and Government ---
MICHAEL
Right. We have an entire division
that specializes in fraudulent
accident claims.
(beat)
I'm sure you'll be hearing from them.
Michael stuffs the estimate into Edgar's breast pocket and
heads into the hotel.
CUT TO
INT. LOBBY - ELEVATOR
Michael in camouflage fatigues exiting the elevators, talks
into comlink.
K.I.T.T.
Michael?
MICHAEL
I read you good buddy.
INSIDE K.I.T.T. - POINT OF VIEW THROUGH WINDSHIELD
as Jastrow and Fletcher leave the hotel carrying long
cases; load them into a Land Rover, and drive off.
K.I.T.T.
Jastrow and another man are leaving
the hotel with some kind of
equipment.
RESUME MICHAEL
as he pulls on an army shirt; jams a foot into a boot.
MICHAEL
Thanks, pal. Get 'em on radar. I'm
on my way.
As Michael pulls on another boot.
MICHAEL
Oh yeah, one other thing. Cook up
something to delay Tyler for a
while, will you?
K.I.T.T.
If she's doing what most women do
before a date Michael, I have just
the tactic.
INT. HOTEL ROOM - DAY
wrapped in a towel standing in front of a mirror blow
drying her hair. Suddenly the dryer stops. She shakes
it; flips the switch on and off several times.
THE DRYER
makes a little explosive noise as sparks and smoke emanate
from the air vents.
TYLER
yelps frightened, dropping the dryer.
CUT TO
EXT. WILDERNESS HIGHWAY - DAY
as K.I.T.T. accelerates toward camera from the horizon.
K.I.T.T.
We're almost there, Michael.
INTERCUT - K.I.T.T.'S MONITOR
A map of the area with radar scan highlighting the
location of the Land Rover.
K.I.T.T.
I've pinpointed the Land Rover behind
those boulders up ahead.
ANOTHER ANGLE - HIGHWAY
as K.I.T.T. approaches and pulls off onto the shoulder and
Michael gets out.
MICHAEL
Keep your scanners peeled ---
Michael makes his way between the boulders, and we are:
CLOSE ON A LASER RIFLE
set on a mount in the rear of a Land Rover. Fletcher
sights in and fires.
A TREE
A bright flash, a loud crack as the tree is hit and snaps
in half as if struck by a bolt of lightning.
INTERCUT - MICHAEL
watching, reacting.
EXT. WILDERNESS AREA - DAY
The Land Rover is pulled in behind the boulders. Fletcher
is seated in the cargo bed behind the laser rifle. Jastrow
stands next to him.
FLETCHER
Powerful little devils, aren't they.
JASTROW
I'm gonna use it on Rawleigh if he
doesn't show soon.
FLETCHER
I told him where and when. He's
always late. What's his problem?
JASTROW
Booze.
RESUME MICHAEL
MICHAEL
(comlink)
Laser rifle, pal. You see that?
K.I.T.T.
Yes, according to my data it uses a
highly advanced mega laser capable
of ---
K.I.T.T. is interrupted by the beep from his surveillance
scanner.
K.I.T.T.
Michael, there's a vehicle approaching.
A SECOND LAND ROVER
Rawleigh behind the wheel swings off the road barreling
down on Michael; he barks into a walkie-talkie.
RAWLEIGH
Jastrow? You guys got company!
MICHAEL
whirls and runs a few steps toward K.I.T.T., then freezes
as:
THE OTHER LAND ROVER
Jastrow driving, Fletcher in rear, drives out from behind
the boulders and accelerates toward Michael cutting off
his access to K.I.T.T.
RESUME MICHAEL
trapped; the two Rovers closing in on him. We hold a beat,
and then we:
FREEZE FRAME
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
EXT. WILDERNESS AREA - MICHAEL - ROVERS - CONTINUOUS
Michael barks into his comlink as the Land Rovers converge
on him.
MICHAEL
I'm caught in the middle, pal!
K.I.T.T.
K.I.T.T. starts his engine and rockets across the terrain
toward Michael.
K.I.T.T.
On my way!
THE SCENE
as K.I.T.T. rockets between the Land Rovers, missing each
by inches, forcing them to swerve wide to avoid a collision.
ANOTHER ANGLE - MICHAEL
As K.I.T.T. approaches, slams on the brakes and pops the
driver's door open. Michael jumps inside.
MICHAEL
Okay, Kitt, let's take it to 'em.
K.I.T.T. takes off after the Land Rovers, a beat before:
THE LAND ROVERS
swing around and converge on K.I.T.T. Michael waits until
the last moment before spinning a 180 sending a rooster
tail of dirt and gravel into the air.
MICHAEL
Eat dirt cowboy!
INSIDE A LAND ROVER
as a shower of dirt and gravel and blasts into the
windshield and down onto Rawleigh in the open cab. He
loses control; spins to a stop.
K.I.T.T.
takes off after the other Land Rover.
K.I.T.T.
Well done, Michael.
THE SCENE
as Jastrow stomps on the accelerator of the Land Rover. It
takes off across the terrain, K.I.T.T. in pursuit.
IN THE CARGO BED OF THE ROVER - FLETCHER
swings the laser rifle around and starts tracking ---
K.I.T.T. - HI-TECH CROSS HAIRS
as the laser tracks:
RESUME K.I.T.T.
as Fletcher fires repeatedly and the laser hits create an
explosion of sparks as they ricochet off K.I.T.T.'s body.
One laser hit misses and smacks into:
A BOULDER
as it is cracked by the impact of the laser hit.
FLETCHER
tracks and fires again.
ON K.I.T.T.'S SCANNER
as one of the laser blasts hits and shatters the crystal.
INSIDE K.I.T.T.
as a warning graphic starts flashing on the console and
Michael reacts.
K.I.T.T.
I've taken some damage, Michael!
MICHAEL
Give me a report, pal.
K.I.T.T.
They've knocked out my scanner. All
my gyro circuits are down. What's
our plan, Michael?
MICHAEL
Run -- If we're going to war, pal,
we've got to repair our equipment.
ON K.I.T.T.
as he turbo thrusts away leaving the Land Rovers far behind.
MICHAEL
(continuing)
Let's contact Bonnie and have the
semi meet us.
CUT TO
EXT. HIGHWAY - NIGHT
as the semi barrels through a turn ---
ON K.I.T.T.'S SCANNER PORT
as Bonnie slides a new scanner unit into position.
BONNIE
That ought to keep your wheels from
spinning.
INT. SEMI - NIGHT - TRAVELING
Michael watching as Bonnie finishes her work on K.I.T.T.
and turns to him.
BONNIE
(continuing)
Find anything out there besides
trouble?
MICHAEL
Laser rifles. I'm betting they're
the only reason Jastrow stole that
truck.
BONNIE
Any idea what he's up to?
MICHAEL
Not a one.
DEVON
Perhaps I can shed some light on
that, Michael.
Michael and Bonnie react, and we go to:
ANOTHER ANGLE - FAVORING MONITOR
to see Devon appear in his Foundation office. Michael and
Bonnie move in.
MICHAEL
Devon -- that means you've got
something on Jastrow for me?
DEVON
Yes, he's a once zealous patriot who
became disenchanted when promotions
passed him by....
MICHAEL
Anything on his daughter?
DEVON
She's been to the finest schools in
Europe; expelled from most for
militant behavior. Has expensive
tastes and an unusually high IQ.
MICHAEL
Any clues as to what kind of bash
they're planning?
DEVON
Indeed, officials believe it was
Jastrow who tried to hijack a
shipment from the Denver Mint a year
ago. But can't prove it.
MICHAEL
Large scale crime -- that's where
the lasers fit in. That it?
DEVON
A few last items -- He's an expert
helicopter pilot and he's booked a
number of international flights that
leave at noon tomorrow.
MICHAEL
Then we know whatever he's up to is
happening before lunch.
DEVON
What's your plan of attack?
MICHAEL
I'm gonna rattle Jastrow's cage and
see what crawls out.
DEVON
That's it?
MICHAEL
That's all I've got.
Michael crosses to K.I.T.T., and we:
CUT TO
EXT. DUNE DRIFTER HOTEL - NIGHT - TO ESTABLISH
as we move in.
INT. LOUNGE AREA - NIGHT
Sheila enters the room, looks around for someone, not
finding him!..Tyler comes up next to her.
TYLER
Michael Knight's not here...I'm the
one who wants to speak to you.
Sheila holds out the hotel message to her.
SHEILA
You're the one that sent this.
Tyler nods.
SHEILA
Why? What do you want?
TYLER
I want to talk. I knew you'd show
if you thought you were meeting
Michael Knight --
(a sexy smile)
-- I would.
SHEILA
Hey, I don't like this. In fact, I
don't like you either.
Tyler takes a stack of currency from her purse and peels the
edges with her thumb -- ziiiip.
TYLER
You like this....
Sheila pauses. Tyler holds out the money.
TYLER
Five thousand dollars -- It's
yours.
SHEILA
Just like that? Come on, what's the
catch.
TYLER
No catch. All you have to do is
spend some time with our favorite
guy. It's that ---
SHEILA
(interrupting)
Forget it. Michael's been good to
me. No way I'd do anything to hurt
him.
Sheila swings a forlorn glance to the money and heads for
the door. Tyler pursues her.
TYLER
Neither would I, Sheila. Really.
That's not what I want you to do.
Sheila pauses; interested; questions Tyler with a look.
TYLER
Just get him away from the hotel
tomorrow; steer him to a certain
location....
SHEILA
(considering;
crumbling)
That's all?
TYLER
That's it. Here ---
Tyler pushes the money into Sheila's hands. Sheila
hesitates to accept it.
TYLER
Go ahead, take it.
(winks)
Just between us girls, can you think
of a -- more pleasant way to earn
five thousand bucks?
Tyler smiles. Sheila returns it, softening; glances down
to the money she's holding; deciding ---
CUT TO
EXT. DUNE DRIFTER HOTEL - MORNING - TO ESTABLISH
ANOTHER ANGLE - PARKING LOT - K.I.T.T.
pulls in and parks. Michael gets out; is hurrying toward
the hotel when Edgar's car screeches to a stop and cuts him
off. Edgar's head pops through the open window.
EDGAR
Just the man I'm looking for!
MICHAEL
Sorry, I don't have time for this.
Michael turns to go. Edgar opens the door, clocking his way
and gets out. Martha follows wearing the neck brace and
balancing on crutches that she's added to her ensemble.
EDGAR
No one fluffs us off that easily.
MICHAEL
Look, I'll give you two hundred bucks
and we're square. Okay?
EDGAR
Two hundred?!!
K.I.T.T.
That's a hundred over blue book,
Michael.
MICHAEL
He's right. You'd do better if you
scrapped it.
MARTHA
(incensed)
Young people! No respect for
anything older than they are.
EDGAR
Right! This car's a classic. Solid
as a rock.
He slams the door closed -- a beat before:
A FENDER
creaks and falls off.
RESUME THE SCENE
As Edgar and Martha react, and Michael laughs.
K.I.T.T.
(checking data)
Blue book -- without one fender. I
can't find a listing.
EDGAR
A couple of loose nuts that's all ---
MICHAEL
(sotto; to
K.I.T.T.)
You said it, hey pal?
EDGAR
-- This car's got another hundred
thousand miles in her.
He slams a fist onto the hood to emphasize his point.
THE FRONT BUMPER
falls off.
CUT TO
INT. HOTEL LOBBY - DAY - FAVORING SHEILA
camped out in a chair. She reacts as Michael enters and
crosses the lobby.
SHEILA
Michael?
He stops; turns as Sheila runs up and joins him.
SHEILA
Michael, I've been looking all over
for you.
MICHAEL
What's up?
SHEILA
I've got some information for you.
MICHAEL
Can it wait? I have to find Jastrow
right now. I ---
SHEILA
(interrupting)
That's who it's about.
(off Michael's
reaction)
I overheard that guy Rawleigh in the
bar. He said something about
Jastrow and O'Malley meeting.
MICHAEL
Jastrow and O'Malley -- where?
When? Did you hear anything else?
SHEILA
(nods
emphatically)
Vasquez Canyon. I'll show you where.
Michael's already on the move out of the lobby. Sheila
goes after him.
MICHAEL
(calls back)
Thanks. I'll find it.
EXT. PARKING LOT - DAY
as Michael dashes to K.I.T.T.; pulls open the door pauses
when he sees Sheila opening the passenger door.
MICHAEL
Where do you think you're going?
SHEILA
I feel safer with you than here
alone.
Michael considers; nods. They both get into K.I.T.T.
INSIDE K.I.T.T.
Sheila settles in. As Michael starts the engine and back
out of the parking space ---
K.I.T.T.
What's our destination, Michael?
MICHAEL
Vasquez Canyon. Plot me a course.
SHEILA
Hey, that's neat. When I was
little, I had a doll that talked.
(beat; sidelong
glance)
Who are you anyway, Michael?
MICHAEL
Let's just say I work in support of
law and government. Jastrow works
against them.
SHEILA
Good guys and bad guys, huh?
MICHAEL
Don't leave out the ladies, Sheila.
You've been a big help.
SHEILA
Somebody once said, good girls
finish last.
MICHAEL
Not the ones I know ---
Michael winks at her. Sheila smiles nervously, and we go
to:
ANOTHER ANGLE - HIGH POINT OF VIEW - K.I.T.T.
as he exits the parking lot and accelerates onto the
highway.
CUT TO
A BALCONY
to reveal Jastrow and Tyler watching from a window or small
balcony that overlooks the area.
TYLER
There they go -- the little
ding-a-ling pulled it off.
Jastrow crosses to a phone; punches out a number.
JASTROW
Rawleigh? They're on their way.
He hangs up; swings a look to Tyler. We hold on their
conspiratorial smiles, and then we:
FREEZE FRAME
END OF ACT THREE
ACT FOUR
FADE IN
EXT. RUGGED HILLSIDE - DAY - CLOSE ON DYNAMITE
We open tight on a pair of hands firmly placing an explosive
charge into the rocky soil of a desert incline. Pull back
to reveal they belong to Rawleigh as he uncoils a spool of
wire and runs it back to:
FLETCHER
who attaches it to an explosive plunger in cover behind some
brush. Two camouflaged Land Rovers are concealed nearby.
RAWLEIGH
This oughta slow him down.
FLETCHER
Slow him down? They'll be scraping
him off the rocks...We have time to
check our equipment once more.
RAWLEIGH
You check, I need a little rest....
Rawleigh unbuttons his shirt, sprawls back in the sunshine.
CUT TO
EXT. DESERT HIGHWAY - DAY - ON K.I.T.T.
The Trans Am knifes across the sequaro.
MICHAEL'S VOICE
Something wrong with my driving?
ANGLE IN K.I.T.T. - TRAVELING
Michael sits comfortably at the wheel, glancing over at a
nervous Sheila. She jumps when she realizes he's talking
to her....
SHEILA
No, I'm -- I'm just trying to make a
decision.
MICHAEL
Well, I hope you make it soon.
Sheila broods, doesn't answer. Finally, suddenly:
SHEILA
It's made. Pull over. Something I
have to tell you.
MICHAEL
No time...O'Malley isn't going to be
in Vasquez Canyon forever.
SHEILA
(beat;
troubled)
He isn't there, Michael. Neither
are the guns.
MICHAEL
What are you talking about?
SHEILA
They paid me to set you up. I just
can't go through with it.
MICHAEL
Who? Who paid you? Jastrow?
SHEILA
(nods;
contritely)
His daughter.
Michael glances at her accusingly. Sheila pulls a fist full
of money from her purse; waggles it at him in reply.
SHEILA
Five thousand bucks ---
MICHAEL
(understanding)
That's a lot of shampoo and gun
demos ---
Sheila nods. They hold a look before ---
MICHAEL
What did they say, Sheila? Did they
tell you anything, did you overhear
something that could help me?
SHEILA
(shrugs;
shakes no)
No, they just said to get you out to
Vasquez Canyon.
MICHAEL
Think you can make it back on that
thumb of yours?
SHEILA
Why? Where you going?
MICHAEL
Vasquez Canyon.
SHEILA
(surprised)
But they're after you, you could be
walking into a trap.
MICHAEL
I'm after them, too. See you back
at the hotel.
He starts to pull over, but Sheila settles back into her
seat, determined.
SHEILA
No way.
MICHAEL
Out.
SHEILA
You go, I go too.
MICHAEL
Could be dangerous.
SHEILA
Drive.
MICHAEL
(beat; smiles)
I owe you one.
And as they speed up:
EXT. RUGGED HIGHWAY - DAY
as K.I.T.T. comes out of a sweeping curve and heads toward
a tunnel.
ANGLE IN K.I.T.T. - OVER MICHAEL'S SHOULDER
Michael and Sheila cross into the darkness of the tunnel
looking out toward the circle of daylight ahead of them
when:
RAWLEIGH
hammers the explosive detonator home and:
THE TUNNEL EXIT
erupts in a massive explosion.
INSIDE K.I.T.T. - THROUGH WINDSHIELD
The circle of daylight up ahead suddenly vanishes.
MICHAEL
slams on the brakes; jams K.I.T.T. into reverse; looks back
over his shoulder as he backs up at top speed and sees:
MICHAEL'S POINT OF VIEW - OPPOSITE END OF TUNNEL
as a second explosion obliterates the daylight, sealing off
his escape. He brakes to a stop. They're in total
darkness.
EXT. HILLSIDE - DAY - RAWLEIGH AND FLETCHER
look down with satisfaction on what used to be the tunnel.
They share a nod; jump into their Land Rovers and take off.
INT. TUNNEL - INSIDE K.I.T.T.
dark, Michael and Sheila barely visible.
K.I.T.T.
They sealed off both ends of the
tunnel, Michael. We're trapped.
SHEILA
(panic building)
Is he saying we're buried alive?
MICHAEL
Let's shed some light on it before
we panic.
INSERT - HEADLIGHTS
as they come on and illuminate:
THE END OF THE TUNNEL
A massive mountain of sand in front of K.I.T.T.
RESUME INSIDE K.I.T.T.
MICHAEL
Sure settles that -- Can we turbo
blast our way out?
INTERCUT - MONITOR AS NEEDED
K.I.T.T.
There are 9.68 tons of sand blocking
the way, Michael. Out of our range.
MICHAEL
Even with a running start? I'll
back up to the end.
As he shifts into reverse and backs up, another graphic hits
the screen, measuring the length of the tunnel, computing.
K.I.T.T.
Maximum turbo over that distance --
(beat)
We'd be traveling 247 miles per hour
when we hit the wall.
SHEILA
What's he mean, we? I'm getting out,
now.
MICHAEL
I wouldn't, Sheila. The impact could
bring the whole mountain down.
SHEILA
Can we call for help?
MICHAEL
Good idea. Get me Devon, pal.
K.I.T.T.'s monitor comes to life again; a sea of wavey,
zigzag lines accompanied by static.
K.I.T.T.
There's something in the tunnel
creating interference, Michael. No
one knows where we are.
SHEILA
And if we don't make it....
MICHAEL
(decision made)
We go for it. We've got no choice.
Michael pushes buttons, preparing for maximum turbo boost.
K.I.T.T.'S SCANNER
The TURBO BOOST graphic pulsing quickly, the indicator
edging past MAXIMUM.
K.I.T.T.
I'm at full power, Michael.
MICHAEL
Let 'er rip, pal!
INSIDE THE TUNNEL - K.I.T.T.
shudders as the roar of the turbo builds -- a beat before
K.I.T.T. rockets forward down the tunnel.
MICHAEL AND SHEILA
are slammed back in their seats, as K.I.T.T. heads toward:
THE MOUNTAIN OF SAND
K.I.T.T. approaches at blinding speed, a blur as he passes
camera and slams into it.
EXT. TUNNEL - DAY
as the roar of the turbo comes from beneath the earth, a
beat before the mountain of sand blocking the tunnel
explodes into the desert.
ANOTHER ANGLE - CLOSER - MOUTH OF TUNNEL - SLO MO
as K.I.T.T. rockets into view, launching through the air as
the sand and debris explode around him. He lands to a
shuddering stop.
INSIDE K.I.T.T. - MICHAEL AND SHEILA
rock to a stop and heave sighs of relief and exultation.
MICHAEL
Way to go, good buddy!
K.I.T.T.
Amazing what you can do when you
have no choice. I'm afraid the jolt
knocked out several circuits,
communications among them.
MICHAEL
How's your radar?
INTERCUT - MONITOR AS NEEDED
Graphics appear on the screen, with the familiar sweep arm.
K.I.T.T.
It appears functional. What am I
looking for?
MICHAEL
Devon said Jastrow leased a chopper.
See if you can pick it up.
SHEILA
Michael, he could be anywhere --
hundreds of miles away.
MICHAEL
No, he can't. The flight he booked
leaves in an hour and a half. It's
an hour to the airport from this
area. The target has to be within a
half hour's driving radius for those
Rovers to make it in time.
K.I.T.T.'s monitor responds with ever widening concentric
circles until a clear "blip" appears on the outer edge of
the screen.
K.I.T.T.
I have one, Michael -- about twenty
miles north of our location.
MICHAEL
Okay -- check the area for structures
that contain something of great value:
mints, banks, museums ---
K.I.T.T.'s monitor scans a list of companies and businesses
at search speed; finally holds on one highlighted by a
flashing rectangle.
K.I.T.T.
How about -- the Anderson Precious
Metals Depository?
MICHAEL
Bingo!
(turns to
Sheila)
Okay young lady, time to put that
thumb of yours to work.
SHEILA
What do you mean, Michael?
MICHAEL
Get to a phone; call F.L.A.G. head-
quarters and tell Devon Miles to
get us some backup just in case.
She starts from the car, then leans back and kisses him.
SHEILA
Be careful, will you?
MICHAEL
Everybody's always saying that to
me ---
She smiles, gets out, crosses the road and starts hitchhiking.
HIGH SHOT - K.I.T.T.
races away.
MICHAEL'S VOICE
Come on K.I.T.T. Let's go get us a
chopper.
CUT TO
EXT. JASTROW'S CHOPPER - DAY
flying low across terrain, the Land Rover's on the road
below.
EXT. PRECIOUS METALS DEPOSITORY - DAY - FROM CHOPPER
isolated in the distance, a low-slung, high-tech storage
building, its gleaming roof cutting outward toward the high
electrified fence surrounding its front courtyard.
INSIDE JASTROW'S CHOPPER - FLYING
as he gestures and smiles to Tyler next to him. They shout
over the roar of the rotors.
JASTROW
There it is ---
TYLER
Better get ready.
Jastrow nods. She moves from her seat, and we go to:
ANOTHER ANGLE - DOOR OF CHOPPER
as Tyler pulls it open, then prepares a hoist and sling
apparatus attached to a winch.
JASTROW
clicks on his microphone.
JASTROW
Rawleigh? Fletcher? We're on final
approach -- split up and move into
firing positions.
INTERCUT - ROAD BELOW - DAY - THE TWO LAND ROVERS
come throw a turn and approach the road that circles the
Depository.
RAWLEIGH
Gotcha ---
FLETCHER
Read you. Over.
ANOTHER ANGLE - POINT OF VIEW FROM CHOPPER
as the Land Rovers reach the road junction near the building,
one going left, the other right, and we:
CUT TO
K.I.T.T.
racing on the road, and we hear:
MICHAEL
What's our ETA, pal?
K.I.T.T.
One minute, seven seconds.
Michael tromps on the accelerator, and we:
CUT TO
INT. JASTROW'S CHOPPER - DAY - ON JASTROW
as he speaks into his headset.
JASTROW
Get ready men: on my countdown.
Three, two....
ANGLE IN DEPOSITORY COURTYARD - FAVORING PLATINUM BARS
stacked compactly and strapped to a shipping palate in the
center of the yard. Two armed guards are stationed at
opposite sides of the palate, react to:
PA VOICE
Attention all personnel! Be on full
alert for....
The voice is suddenly cut off. The guards look at each
other, puzzled as we go to:
QUICK CUTS - RAWLEIGH AND FLETCHER - IN LAND ROVERS
squeezing the triggers on the lasers, firing bolts of light
toward the Depository.
CLOSE ON A SWITCH PANEL
a laser beam bores directly into the "Central Security"
switch, which sparks, smokes, then melts right before our
eyes.
CLOSE ON THE RADIO FUSES
A second beam locks onto the largest fuse which bursts with
a bang. The guard nearby is startled, picks up his post
phone, but bangs the switchhook helplessly -- it's cut off.
IN THE COURTYARD - ON THE GUARDS
looking around, confused by the sudden silence, cocking
their weapons, as:
JASTROW'S CHOPPER - FAVORING TYLER
as the chopper swoops down over the courtyard and Tyler
crouches in the open door wearing a gas mask tossing out:
GAS CANISTERS
as they land in the courtyard and explode in billowing smoke.
THE GUARDS
fire at the chopper but stumble, drop their guns and fall
as they are overcome by the gas.
EXT. HIGHWAY - K.I.T.T.
screams past, racing for the Depository.
MICHAEL'S POINT OF VIEW - THE HELICOPTER
hovering as Tyler, at the end of the cable-and-sling,
winches down into the courtyard directly above the platinum
bars.
INSIDE K.I.T.T.
Michael throws some switches --
MICHAEL
We're running out of time! Can we
turbo boost, pal?
K.I.T.T.
I hope I have some left, Michael.
Michael is slammed back into the seat as K.I.T.T. turbo
explodes onto the Depository approach road.
MICHAEL
Yeah! I'll take it!
ON A LAND ROVER - FLETCHER
looks up in disbelief as he spots K.I.T.T. approaching, then
swings his laser around and begins sighting.
ON THE SECOND ROVER - RAWLEIGH
does the same.
K.I.T.T.
turbo blasts past camera toward the Depository entrance
gates that puts him in a crossfire between the two Land
Rovers.
QUICK CUTS - RAWLEIGH AND FLETCHER
sight in on the Trans Am and fire bolts of laser light.
EXT. APPROACH ROAD - K.I.T.T.
swerves and rocks as blasts from the two lasers chew up the
pavement just behind him.
INSIDE K.I.T.T. - MICHAEL
reacts to the explosion; whips the steering wheel as laser
hits spark off K.I.T.T.'s hood in front of him.
MICHAEL
They found a new target, pal! Can
you micro-jam their firing
mechanisms?
K.I.T.T.
No, but I may be able to close their
induction vents.
MICHAEL
Which means?
K.I.T.T.
I think you'll find the result
satisfactory.
INTERCUT - K.I.T.T.'S CONSOLE
as MICRO-JAM pulses with appropriate sounds and effects.
RAWLEIGH
tracks and fires. His eye is pressed to the laser sight
when the big gun starts to hum and spark. A red light
flashes, indicating "Core overheat." His eyes widen and is
knocked from the Land Rover as the weapon blows in a hail
of sparks.
FLETCHER
fires with the same result, thrown from his post as the
laser shorts out.
K.I.T.T.
accelerates right toward:
THE DEPOSITORY ENTRANCE GATES
as K.I.T.T. approaches and blasts into them.
REVERSE ANGLE - GATES
as they are blown away by K.I.T.T., who explodes through
them into the courtyard.
ANOTHER ANGLE - TYLER
perched atop the platinum bars attaching the chopper's
winch cable to the palate. She reacts to K.I.T.T.'s
explosive arrival. She pulls her Magnum and starts firing
at:
K.I.T.T.
who's side-sliding across the courtyard. He makes a
screeching stop right next to Tyler. Michael pushes open
K.I.T.T.'s door to get out; ducks back behind the door as
the rounds ricochet off the window in a hailstorm of sparks.
ANOTHER ANGLE
as he lunges to grab Tyler. She ducks and slams a karate
blow up into Michael's midsection followed by another
across the back of the neck. He straightens and puts Tyler
away with a short right hook.
ANOTHER ANGLE - PALATE OF PLATINUM
The cable being reeled back up toward the chopper as
Michael grabs it and snaps it onto K.I.T.T.'s winch hook.
MICHAEL
Okay pal, reel him in.
K.I.T.T.'s winch starts whirring.
JASTROW'S CHOPPER
strains to lift off, but can't.
MICHAEL
thumbs up to K.I.T.T., and we:
FREEZE FRAME
FADE OUT
END OF ACT FOUR
TAG
SHEILA
Sheila shows up with Tom O'Malley, a rotund, teddy-bear
type the ladies love to cuddle. He tells Michael, he and
Jastrow were in the same artillary unit in Korea; stayed in
touch at conventions and shared a continuing interest in
the big guns. He casually mentioned the 105mm's his police
department confiscated to Jastrow, never dreaming what he
was up to. Where's O'Malley been? At a desert spa
recovering from his first four nights at the convention.
THE END
