ACT ONE
FADE IN
EXT. RANGE - DAY - DAWN
Rebecca Hammond, twenty-seven, attractive, her arms folded
in front of her, trying to keep warm behind a small hill,
looks out into the gray and windy morning. Propped up on
the ground nearby, his bony shoulders covered with an old
horse blanket, his vintage rifle resting on his loose-skin
thighs, is Cat Holliday, sixty, the hard way. Except for
the wind, and the occasional sound of the calves bawling
nearby, a coyote barking in the distance, all is quiet.
Cat watches Rebecca with narrow, slit eyes.
CAT
Bet the comforts of home would feel
mighty good to you about now.
She doesn't respond.
CAT
Soft perfumed sheets...breakfast in
bed...a nice hot bubble bath. How
does that sound?
REBECCA
Like you've never been to the Bronx.
CAT
Nope, can't say that I have, but I
once got to New Orleans for a
weekend. I remember I met this big
redhead, must've been over six foot
tall. Her name was Charlene...and
she was a dancer who had hit upon
hard times.
REBECCA
(interrupting)
Cat!..listen!
He listens, clutching his rifle, then shakes his head ---
CAT
Just the wind, Rebecca...just the
cactus suckin' wind and a city girl's
imagination.
He laughs to himself, taking a swig of cold coffee from a
tin cup.
EXT. OPEN HIGHWAY - DAY - DAWN - ON K.I.T.T.
Fences, tumbleweed, an occasional steer and nothing more.
MICHAEL (V.O.)
(singing)
'It's a lonely highway morning,
And without any warning,
I'm off again.'
ANGLE IN K.I.T.T.
MICHAEL
(singing)
'It's a time to be a-leavin',
So don't you be a-grievin',
I'm off again.'
K.I.T.T.
Michael, isn't it bad enough to be
in a land where rattlesnakes out-
number people a hundred to one,
without your doing your imitation of
Waylon Nelson.
MICHAEL
That's Willie Nelson, Kitt, and for
your information, I was imitating
Merle Haggard. How much farther to
Sage City?
K.I.T.T.
This is Sage City. As for the Right
On Ranch ---
ANGLE TO INCLUDE MONITOR
to see a colorful map and grid. Flashing light indicates
the ranch itself.
K.I.T.T.
It's exactly thirty-three point five
miles.
MICHAEL
Good. With any luck we'll be at the
ranch in time for breakfast.
ANGLE ON K.I.T.T.
rolling down the road.
K.I.T.T.'S VOICE
With any luck...the ranch won't be
there.
On Michael's laugh:
CUT TO
EXT. RANGE - DAY - FAVORING REBECCA
still alert, listening. Then:
REBECCA
Cat, there's someone out there! I
know it!
She grabs her rifle resting on a rock, and heads for the
four-wheeler.
He finishes the coffee, shakes his head, and hurries to
catch up with her. Rebecca drives. Cat rides shotgun.
EXT. FENCE AREA - DAY - ON CALVES
fifty or so head, bunched together. (Note: The fence area
is far enough away, and at such an angle that Rebecca
couldn't see it from her vantage point.)
ON REBECCA'S FOUR-WHEELER
still some distance off. Rebecca and Cat keeping a sharp
eye. Shouting over the wind ---
CAT
What did I tell you! Just the
cactus suckin wind!
But Rebecca has seen something O.S.
REBECCA
Yeah, then what's that over there?!
Cat looks, his eyes grow wide.
WHAT THEY SEE - THE SHADOW OF A BIGFOOT TRUCK
coming into frame. It's enormous, and crushes a fifty-foot
section of fence with ease, then goes after the frightened
calves which have begun to scatter.
BACK TO SCENE
REBECCA
I won't let him have anymore of our
calves! I won't, Cat!!
Cat stands up, fires a wild shot which only knocks him back
into his seat. Rebecca drives to stop the rustling.
VARIOUS ANGLES
as Bigfoot cuts a dozen or so calves from the bunch and
begins driving them beyond the fence to a nearby truck,
waiting with the ramp down. There are also two men on horses
and wearing bandanas on their faces. Rebecca tries to run
interference, but it's no match. Cat stands to fire ---
CAT
You get off this land, you cactus
suckin'...!
Fires, and is knocked back into his seat again, which
causes him to accidentally fire again. This time straight
up in the air.
CUT TO
EXT. ROAD - DAY - ON K.I.T.T.
approaching the area not too far from where the rustling is
taking place. Reacting to the gunshots:
MICHAEL'S VOICE
Kitt, did you hear those shots?
ANGLE IN K.I.T.T.
K.I.T.T.
I'm afraid so, Michael.
MICHAEL
Find out where they came from.
K.I.T.T.'s scanner light flashes.
INSERT - MONITOR
to see Bigfoot driving the calves into the truck, with the
help of the two bandana-masked cowboys.
BACK TO SCENE
MICHAEL
Looks like rustlers, pal. Give me a
hard copy of that.
ON DASH
as a hard copy of the rustling scene pops out.
K.I.T.T.
Welcome to the wild, wild west!
ANGLE ON K.I.T.T.
as Michael drives to the rescue.
EXT. FENCE AREA - DAY
The calves in the truck, the ND driver closes the rear door
and drives off. The two cowboys wave to the driver of
Bigfoot and ride away.
ON REBECCA
still inside the four-wheeler.
CAT
They're getting away!
REBECCA
Not if I can help it!
She starts driving to cut off the truck. But ---
ON BIGFOOT
as the driver sees Rebecca and bears down on her.
ON K.I.T.T.
appearing on the range, but still a good distance off.
K.I.T.T.
Michael, is that a truck or a mountain
on wheels?
MICHAEL
It's called a Bigfoot, pal.
K.I.T.T.
Well, it's about to step on some
toes.
MICHAEL
Anything we can do to stop it?
K.I.T.T.
Not from here.
ON FOUR-WHEELER
REBECCA
Jump, Cat!
CAT
You don't have to tell me twice!
And each dives out the nearest exit. Unfortunately, Rebecca
dives into a deep and muddy water hole. Not being able to
swim, she begins thrashing about.
ON BIGFOOT
as it rolls right over the four-wheeler, pulverizing it.
Intercut Big Ed, enjoying that moment. (Note: He's high
enough up in the cabin, that no one on the ground can see
him.) After which, he heads on out.
ON K.I.T.T.
MICHAEL
(re Bigfoot)
Let's go get him, Kitt.
K.I.T.T.
Michael, judging by the way she's
thrashing about, I don't think she
can swim.
Michael looks to see Rebecca, then drives to her rescue.
He gets out, extends his hand. As for Cat, he's been
trying to reach her but to little avail.
MICHAEL
Grab hold.
She does, and he pulls a muddy Rebecca out.
MICHAEL
You okay?
REBECCA
Oh, yeah, sure. I just lost another
twenty calves, my four-wheeler looks
like it went through a giant can
crusher, and these just happen to be
a brand new pair of boots. So why
shouldn't I be okay? Who are you
anyway?
MICHAEL
(looks at his
own muddy hand)
You're welcome.
(smiles)
Michael Knight from the Foundation.
She glances about, trying hard to be patient. Cat wanders
over near Kitt.
REBECCA
Where are the others?
MICHAEL
What others?
REBECCA
With all I had to go through to
convince this Devon Miles I needed
help, I figured he'd send an army,
or at least a bunch of reformed
muggers.
MICHAEL
What you see is what you get.
CAT
And what you saw is only part of
what you're up against. There's
also a couple of cowboys and a
trucker.
MICHAEL
Any idea who they were?
REBECCA
Yeah...the bad guys. Can you give
us a lift back to the ranch?
MICHAEL
Hop in. I'll drop you off, then I
want to pay the sheriff a little
visit. There is a sheriff, isn't
there?
REBECCA
Yeah...lots of luck.
ANGLE ON CAT
about to spit a wad of tobacco near K.I.T.T.'s tire. Until:
K.I.T.T.
Don't...you...dare!
Cat's been around, nothing really surprises him. Still, he
studies K.I.T.T. a beat, before spitting somewhere else,
O.S., and then looks to K.I.T.T. again.
CAT
I'm keepin' my eye on you.
Cat heads for the passenger door. But K.I.T.T. has to get
the last word in:
K.I.T.T.
It's not your eye I'm worried about.
Cat gives him a quick look back, then continues on.
CUT TO
EXT. SAGE CITY - DAY - ON K.I.T.T.
driving onto Main Street. Main Street? It's the only
street. There are a few shops, a bus station, general
store, and the most notorious place in town -- Big Ed's
Shaggy Buffalo Saloon. Michael looks about until spotting:
MICHAEL
The hoosegow's over there, Kitt?
K.I.T.T.
Hoosegow, Michael? Is that
something like a moo cow?
MICHAEL
It's western for jail, buddy.
K.I.T.T.
Don't tell me -- they even have
their own language.
Michael pulls up, gets out and heads for the jail, where he
finds the door locked, but a sign hanging on the knob.
INSERT - SIGN
"At the Shaggy Buffalo. (Signed) Sheriff Lance Barton."
BACK TO SCENE
Michael looks around until he spots Big Ed's Shaggy Buffalo
Saloon, then heads for it.
INT. SHAGGY BUFFALO SALOON - DAY - ON MARILYN
She's twenty-seven, blonde, buxom, pretty, and even kind of
bright, but not being one to boast, prefers keeping it to
herself. She also sings, in her "inimitable" style, and
right now she's perched on the end of the bar singing her
heart out.
MARILYN
'If you leave me tonight I will cry,
Though you say we will soon meet
again,
For the hours I spent here with you,
Are like words from a poet's pen.'
She notices someone coming in.
ANGLE TO INCLUDE MICHAEL
Marilyn likes what she sees. So does Michael. Without
missing a beat:
MARILYN
'Words like love and truth and goodness,
Words like 'till death do us part.
I will never love another,
Take my heart, take my heart, take...
My...heart!'
She finishes to complete silence. But then, Michael begins
to applaud, keeping it up until he reaches her at the bar.
And as he moves:
ANGLE ON BIG ED BARTON
seated at a table playing cards with two other men. Big Ed
doesn't like what he sees.
ANGLE ON MICHAEL
face to face with Marilyn. She smiles:
MARILYN
At least someone around here had an
ear for good music.
He lifts her down from the bar.
MICHAEL
It's not the song but the singer.
Now she really smiles, even a bit flustered.
MARILYN
My name's Marilyn -- like in Monroe.
MICHAEL
Michael...like in...
(thinks)
...Knight.
She doesn't quite get it, but likes the way it sounds.
ANGLE TO INCLUDE BIG ED
standing nearby now. Big Ed's bigger than big, forty, and
owns almost everything in Sage City, including the Shaggy
Buffalo. He's also the one we saw driving Bigfoot earlier
that morning.
BIG ED
Showtime's over, Miss Mar-i-lyn.
Time to put on your apron and do
some honest work.
She gives him a dirty look, but not much more. Then a
gentle smile to Michael:
MARILYN
Hope to see you again...Michael.
MICHAEL
It would be my pleasure.
Their eyes hold a beat, then she looks at Big Ed with a
"humpf" and heads for her apron.
BIG ED
Can I buy you a drink, stranger.
MICHAEL
No, thanks, I was just looking for
the Sheriff.
BIG ED
Then you don't have far to look.
He heads for the nearby table. Michael follows him. The
other two men are Alfred Barton, thirty-five, a mountain,
and one of the cowboys we saw earlier. The other is Sheriff
Lance Barton, twenty-seven, smaller, thinner, weaselier, and
sort of a cross between Napoleon and Billy the Kid. He was
the other cowboy. As for the Shaggy Buffalo Saloon, well,
it's sort of the Gilly's of Sage City, even has one of those
bucking broncs. It's not very busy at this hour, although
someone does begin riding the bronc in the b.g.
BIG ED
Little brother, someone here to see
you.
Sheriff Lance doesn't bother to look up from his cards, nor
does Alfred. To Michael:
BIG ED
Seen him enough?
Big Ed grins, lifts his leg over the back of the chair and
flops down to his cards. Lance struggles to hold back a
laugh determined to come out, especially when Big Ed winks
at him. Alfred, too, suppresses a snicker. Michael fights
to keep cool.
MICHAEL
It's about Rebecca Hammond. She
lost another twenty calves to
rustlers this morning.
Not looking up from his hand:
BIG ED
Rustlers? You've been watching too
many late-night movies, boy.
Lance is about to burst with laughter.
MICHAEL
Then what do you call this?
Michael puts the hard copy of K.I.T.T.'s photo on the table.
INSERT - PHOTO
as Big Ed looks at it.
FULLER ANGLE
BIG ED
I call it a truck taking a bunch of
calves to market.
Returns photo to Michael.
MICHAEL
Except for one thing -- they're
someone else's calves.
BIG ED
Says who?
MICHAEL
Says Rebecca Hammond! Her brand is
on them!
The joking's over. Big Ed rises. Lance becomes deadly.
Alfred wipes the grin off his face.
BIG ED
Well, let me tell you something
about Rebecca Hammond, boy. She's a
rancher, like Marilyn over there's a
singer. She don't care anything
about cattle, she only bought that
spread so she'd have a place for her
kids.
MICHAEL
What kids?
LANCE
(jumps up)
A bunch of bad apples she picked up
off the sidewalks of Noo Yoorrkk
Citty. And now she wants to move
'em out here so's they can terrorize
our decent, law-abiding citizens.
(fast draws
his gun)
Well, the only ones goin' to do any
terrorizin' around here is me!
BIG ED
Will you put that thing away, Lance!
Lance spins the gun right back into his holster.
BIG ED
You a friend of Miss Hammond's?!
Still somewhat taken back by this new turn of events:
MICHAEL
Yeah.
BIG ED
Then maybe she'll listen to you. I
happen to know the Unified Ranch
Corporation has made her an offer
for her place. A very fair and
reasonable offer...and if you're
really her friend, boy...you'll see
that she accepts it. You got that?!
MICHAEL
Yeah, I got it. Now maybe the Sheriff
over here will get off his brains and
get those rustlers.
He floats K.I.T.T.'s photograph in front of Lance, turns
and leaves. They watch him -- real unfriendly like.
EXT. MAIN STREET - DAY - ON K.I.T.T.
parked where Michael left him. Forced patience:
MICHAEL'S VOICE
Devon...I think there's something
you failed to tell me.
INT. K.I.T.T. - DAY
Devon on the monitor from his desk. Intercut as needed.
Forced nonchalance.
DEVON
Really? And what is that, Michael?
MICHAEL
'That'...is Rebecca Hammond's real
reason for buying the ranch in the
first place.
DEVON
Ohhh...I take it you mean the
children.
As Michael speaks, his eyes slowly fall on something driving
into Main Street.
MICHAEL
Devon, that's exactly what I....
MICHAEL'S POINT OF VIEW - BUS
It's really an old school bus, only painted white, and
covered everywhere with graffiti. Including several
renditions of: "SAGE CITY OR BUST" and "RIGHT ON RANCH".
It heads for where Rebecca and Cat are waiting to meet it.
K.I.T.T.
Michael -- what on earth is that?!
MICHAEL
Something tells me...the bad apples.
DEVON
Ahhh, they've arrived. Well, Michael,
I won't keep you. Just remember,
children are the flowers of mankind.
But Michael is starting to see these "children" getting off
the bus.
MICHAEL
I'll...try, Devon...I'll try.
Michael turns Devon off, and slowly gets out of the car.
K.I.T.T.
Be careful, Michael...there's just
the two of us.
Michael nods in agreement and moves toward the bus. Some
townspeople will also begin to look on, tight-lipped,
suspicious, even angry.
ANGLE ON BAD APPLES
as they come out: "Diablo" Sanchez, fifteen, good-looking,
and cocky. "Star," fourteen, going on thirty. Cute, but
sooo much makeup. "Trasher," fifteen, his electric purple
punk hair says it all. "Magic Fingers" Jackson, fifteen,
black, a ghetto blaster glued to his ear. But there's also
a hand resting on his shoulder, and this belongs to Joanna,
sixteen, long blonde hair, the slender body of a ballerina,
and blind from birth. As they step off the bus, and take
in the town ---
DIABLO
Death.
STAR
Bizarre.
MAGIC FINGERS
Man, what did I do to deserve this?
He helps Joanna off, Rebecca runs to her first, embraces
her.
REBECCA
Joanna, sweetheart! God, I've
missed you!
(to others)
All you bad apples! Welcome to Sage
City!
(but then she
looks into the
bus; back to
the kids)
All right, what did you do with the
driver?
TRASHER
He quit.
REBECCA
He quit? When?
JOANNA
After the breakdown.
REBECCA
The bus broke down?
STAR
No, the driver. Forty-five minutes
outside New York City.
DIABLO
No guts.
REBECCA
(afraid to ask)
Then...who drove?
MAGIC FINGERS
What difference does it make? We
got here, didn't we?
MICHAEL
He's got a point.
REBECCA
Whose side are you on? All right...
everybody back on, let's go to the
ranch.
MAGIC FINGERS
You mean this ain't the ranch?
Rebecca laughs, shaking her head.
ANGLE TO INCLUDE "BLUE"
twenty-two, a pleasant-faced, unsophisticated ranch hand,
moving from the general store with bags of groceries.
REBECCA
Get everything, Blue?
BLUE
Yes, ma'am. Even the Coney Island
hot dogs.
REBECCA
Cat, you drive the bus. Joanna,
you'll come with Blue and me.
As she starts for a nearby Jeep:
MICHAEL
I'll meet you out there, we've got a
lot to talk about.
She nods and continues on. Michael moves to K.I.T.T.,
slides in.
MICHAEL
Let's sashay on out to the old home-
stead, pardner.
K.I.T.T.
Really, Michael, I think I liked you
better when you spoke rock-and-roll.
As the black Trans Am rides off in a cloud of dust ---
ANGLE ON BIG ED, LANCE AND ALFRED
standing outside the Shaggy Buffalo, watching. Suddenly
Lance fast draws his gun, spins it around.
LANCE
Just give me the word, Big Red, and
I'll blow him away.
BIG RED
And what good is that going to do?
Time's running out, we need her land,
not a gunfight at O.K. Corral.
ALFRED
Maybe there's another way to get it.
Alfred and Big Red exchange looks ---
BIG RED
Yeah...maybe there is, Brother
Alfred...maybe there is.
On Big Red's tight little smile we:
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
EXT. RANCH - DAY - ESTABLISHING SHOT
Beyond the wooden gate, the compound: main house, bunk-
house, various sheds, barn, various pieces of ranching
equipment, all of which have seen far better days. In fact,
the only thing new is the wooden sign swinging between the
gate posts. It reads: RIGHT ON RANCH and each letter is
painted a different color. It's early evening.
MICHAEL (V.O.)
Rancher...mother hen to a bunch of
bad apples....
ANGLE ON MICHAEL AND REBECCA
Rebecca carrying a bunch of empty plastic water jugs.
Michael with her.
MICHAEL
Which is it?
REBECCA
Both. And they're not really bad
apples. They just haven't fallen
far enough from the tree. They've
been battered, abused, used, and
then left to fend for themselves.
MICHAEL
Even Joanna?
Rebecca stops by an old water pump, putting down the jugs.
REBECCA
Especially Joanna. She's been kicked
around more than an Italian soccer
ball. In case you haven't guessed,
Michael, my real occupation isn't
ranching. I'm a child psychologist.
Rebecca starts priming the pump.
MICHAEL
I kinda got that idea.
REBECCA
By the way I handle the kids?
MICHAEL
By the way you tried milking that
cow earlier...which turned out to be
a bull.
REBECCA
All right! So in New York we get
our milk from cartons!
Still no water has come out. Rebecca stops momentarily, to
catch her breath. Michael takes the handle. Working the
pump. Water comes out. Rebecca reacts.
REBECCA
...and our water from a tap!
With that, she places a jug under the water. As Michael
pumps, it fills.
MICHAEL
(slight laugh)
I think you handle the kids great.
REBECCA
(calm, smiles)
Thanks. Anyway, I came to the
conclusion that all the testing,
counselling, understanding in the
world didn't mean a thing if, after
those kids left my office, they went
back on the streets.
MICHAEL
So you bought this ranch.
REBECCA
With all my savings, and every penny
I could beg, borrow or steal. I
figured if I could bring a handful
of them out here with me, keep them
for maybe a year...Let them help me
work the place, share in some of the
profits, if there are any, see that
there's more to life than dealing
and hustling....
MICHAEL
Then maybe they might have a chance.
REBECCA
Right. This is my first group...and
if I lose any more calves it could
be my last. Cat and Blue are the only
real hands I've been able to hire, so
I need help, Michael.
MICHAEL
(re pump)
Hey -- haven't I helped you so far?
Michael smiles and she returns it with a nod, moving in
another empty water jug.
EXT. RANCH - DAY
Diablo and Trasher -- Star tagging along -- are wheeling an
acetylene torch from the tool shed toward K.I.T.T., parked
on the opposite side of the house from the barn. Magic
Fingers, always with his ghetto blaster, moves to the nearby
fence, looks out over the dirt road. Reaching K.I.T.T.,
Diablo looks at Magic Fingers curiously ---
DIABLO
What are you doin' over there, man?
MAGIC FINGERS
Keeping my headlights on, in case
someone drives by.
DIABLO
Drives by?! Where do you think you
are, 125th Street?! We've been
deported to a lunar outpost!
STAR
Strictly death warmed over.
TRASHER
Deee-composed!
MAGIC FINGERS
Then what are you going to chop up
that T-top for?!
K.I.T.T.
Chop up that T-top?!
Star is the only one close enough to have heard K.I.T.T. ---
STAR
Oh, wow, bizarre.
DIABLO
Because I'm makin' my statement!
Stakin' out my territory! Tellin'
every straight that this here is my
turf!!!
He lights the torch ---
K.I.T.T.
Your turf?! Well, we'll see about
that!!
They've all heard him this time, and what follows knocks
their socks off.
VARIOUS ANGLES
as K.I.T.T. whinnies like an angry stallion. Then rides
circles around them, kicking up storms of dust, and even
bucking angrily on occasion, his doors and hood opening and
closing. Wide-eyed faces seen through the dust:
MAGIC FINGERS
That car's bad!
DIABLO
Killer wheels, man!
STAR
A way happening!
TRASHER
A real punk out!
K.I.T.T. finally comes to rest. They're covered with dust.
K.I.T.T.
Now whose turf is it?!!
EXT. BARN AREA - DAY - ON JOANNA
as she makes her way toward the barn, responding to a calf
bawling inside.
INT. BARN - DAY - ON ALFRED
having just come in, he's about to open a container of
poison -- to mix with the nearby feed -- when he hears
Joanna coming in. Not realizing she's blind he quickly
takes cover.
ANGLE TO INCLUDE JOANNA
moving to a calf, and kneeling to pet it.
JOANNA
Don't cry...I'm here...everything's
going to be all right.
Alfred, moving to get a better look at her, bumps into
something causing Joanna to look in his direction.
JOANNA
Is anyone there?
(silence)
Is someone there?
Then, sensing danger, she rises and starts for the door.
Alfred, confused himself, grabs hold of her, putting his
hand over her mouth.
ALFRED
Just be quiet and I won't hurt you!
OMITTED
EXT. MAIN HOUSE - DAY
Michael and Rebecca cross the yard carrying the filled jugs.
MICHAEL
This Unified Ranch Corporation --
what do you know about them?
REBECCA
Nothing, really, except that they've
been buying up a lot of the ranches
around here.
MICHAEL
Who's behind them?
REBECCA
I don't know.
Suddenly, Joanna's screams are heard.
REBECCA
That's Joanna!
They drop the jugs and hurry around the house.
INT. BARN - DAY
Joanna's freed his hand from her mouth, and continues to
scream and struggle as he tries to quiet her again, all the
time pulling her from the barn.
EXT. HOUSE - DAY
Michael and Rebecca race to the front. The screams continue
over. Into comlink:
MICHAEL
Pick me up, buddy.
ANGLE TO INCLUDE K.I.T.T.
peeling up in front. Michael jumps in.
K.I.T.T.
It's coming from the barn, Michael.
K.I.T.T. roars off.
EXT. BARN AREA - DAY
Alfred, having dropped the poison container, is pulling
Joanna toward his four-wheeler when he hears K.I.T.T. in
the distance. Feeling she's slowing him down, he pushes
her away and proceeds on his own.
ON JOANNA
as she hits the corral fence, falling between the wide
railings. Alfred roars off.
ANOTHER ANGLE
Joanna gets to her feet, and as she begins walking into the
corral we see she has company -- a wild Mustang, who begins
pawing the ground and eyeing her warily.
ANGLE ON K.I.T.T.
arriving on the scene. Rebecca and the kids are racing
toward the corral in the b.g.
K.I.T.T.
Michael, in the corral!
MICHAEL
I see her, buddy.
He pushes the turbo boost.
ON K.I.T.T.
Turbo boosting over the corral fence, and landing just as
the Mustang races toward Joanna.
VARIOUS ANGLES
as K.I.T.T. cuts the Mustang off, takes a couple of kicks
itself, and finally forces enough distance between the
bucking horse and Joanna for Michael to get out and race to
the frightened and helpless girl. Picking her up in his
arms:
MICHAEL
It's going to be okay, Joanna.
Trust me.
VARIOUS ANGLES
As Michael runs toward the gate, the Mustang charges.
K.I.T.T., however, manages to squeeze in between, taking
the slicing, pounding hooves.
ANGLE ON GATE
Rebecca and the kids are there to open it. Michael leaves
the corral, followed by K.I.T.T.
ANGLE OUTSIDE CORRAL
Magic Fingers closes the gate as K.I.T.T. passes through.
MAGIC FINGERS
Man, you just knocked my socks off!
K.I.T.T.
Yes, well, put them back on, it gets
cold here at night.
ANGLE ON MICHAEL
putting Joanna down near Rebecca. She embraces the girl ---
REBECCA
Joanna...it's all right. You're
safe, sweetheart...you're safe!
She comforts the sobbing Joanna.
ANGLE TO INCLUDE CAT
hurrying up as fast as his old legs can carry him. He
holds the container of poison.
CAT
Found this in the barn.
Michael takes the unlabeled container, gets into K.I.T.T.,
and puts it into the analyzer.
MICHAEL
Give me the recipe, pal.
ANGLE ON MONITOR
to see a flashy chemical breakdown graph.
K.I.T.T.
Two parts C-21, H-22, N-2-O-2, and
one part S-2-O-4.
MICHAEL
Something tells me that's not the
ingredients to Mom's apple pie.
K.I.T.T.
It's a high-grade poisonous alkaloid,
Michael. Mixed in with the feed,
enough to destroy at least a thousand
head of cattle.
INT. SHAGGY BUFFALO SALOON - DAY - BIG ED
as he examines the container.
BIG ED
Poison?
FULLER ANGLE
He sits at a table, playing cards, with Lance and Alfred.
Michael stands over them.
MICHAEL
You heard me, and it was found in
Rebecca Hammond's barn. Now this
goes beyond rustling, and I'm going
to see that something's done about
it!
ALFRED
In her barn, you say? Well, she
oughta be more careful 'n that.
LANCE
Here, I'll just take that for
evidence.
But Michael takes it first.
MICHAEL
You take it and it's going to be the
hard way.
Lance rises, hand on gun.
LANCE
Now, you listen here. I'm the
sheriff, and if I say I want that
for evidence, then I'll take it for
evidence! Ain't that right, Big Ed?!
BIG ED
Well, now, you are the sheriff,
little brother...But on the other
hand, possession is nine-tenths of
the law. And it seems to me that
poison's in his possession.
(to Michael)
Of course...Lance here can shoot the
wings off a fly while blowing his
nose.
Lance's thumb plays nervously with the holstered gun. Big
Ed, however, has another idea, smiles:
BIG ED
Tell me, you a betting man, Mr. Knight?
MICHAEL
I'm listening.
BIG ED
That buckin' bronc over there. I'll
bet Lance can stay on it longer than
you.
MICHAEL
And if he doesn't?
BIG ED
Then you walk out of here with the
evidence. Of course, you can always
walk out of here right now...
(looks to
Lance's gun)
...without it. Well?
Michael looks at the gun, Lance's itching fingers, the
bronc:
MICHAEL
Let's go buckin'.
They get up and move to the mechanical monster.
BIG ED
Guests first.
(re controls)
Brother Alfred will do the honors.
ON MICHAEL AND MARILYN
He gives her the container.
MICHAEL
Hold this for me.
MARILYN
I've seen real cowboys break their
backs on that bronc.
MICHAEL
(glances
at bronc)
Real...cowboys?
MARILYN
Rodeo champs....
MICHAEL
(a weak echo)
Rodeo champs?
MARILYN
Snapped right in two.
Michael grimaces from the thought. Nods weakly:
MICHAEL
Thanks for the vote of confidence.
Smiles at her, and climbs aboard the bronc.
VARIOUS ANGLES
as Alfred increases the current, and Michael begins to hang
on for dear life, Marilyn rooting him on much to Big Ed's
anger. Then, suddenly, Michael is thrown, landing on a
table and smashing it. Marilyn hurries to help him up.
MARILYN
You all right?
MICHAEL
Hey, c'mon, like riding a merry-go-
round.
He hobbles back to the bronc as Lance mounts. Alfred reads
the time:
ALFRED
Twenty seconds!
MICHAEL
Twenty seconds?!!!
LANCE
Let 'er rip!
Alfred turns up the controls, but the bronc barely bucks.
I mean it's super slow-mo time. To Marilyn:
MICHAEL
Are they kidding? He has more chance
of falling asleep than falling off.
ALFRED
Ten seconds.
MICHAEL
And still dancing.
(on comlink)
Pardner....
EXT./INT. K.I.T.T. - DAY
MICHAEL'S VOICE
There's a bronc in here needs some
juice.
K.I.T.T.
I got the picture, Michael.
OMITTED
ON DASH
as the Electro Inducer comes to life.
INT. SHAGGY BUFFALO - DAY
The bronc suddenly comes to life, even though Alfred starts
turning it down. Marilyn cheers even more, and in a matter
of seconds Lance is thrown off. Marilyn glances at the
clock:
MARILYN
Nineteen seconds!
MICHAEL
Thanks.
MARILYN
My champion!
She throws her arms around his neck, and gives him a big
beautiful kiss.
MICHAEL
Just call me bronco Knight.
He grins and leaves with the evidence. Big Ed looks hard
at Marilyn, and then he's interrupted by Alfred.
ALFRED
I think I figured out another way to
get rid of Rebecca Hammond once and
for all.
THEIR POINT OF VIEW - THE BAD APPLE BUS
parked outside the general store.
BACK TO SCENE
BIG ED
Good idea, Brother Alfred...
(turns)
Meantime, I got some house cleanin'
of my own.
The object of Big Ed's look -- Marilyn!
EXT. MAIN STREET - DAY - ON K.I.T.T.
Michael is about to get in:
K.I.T.T.
Michael, why do I get the feeling
that 'Home On The Range' wasn't
written with us in mind.
MICHAEL
I hear you, pal...
(sees something)
But maybe we've got someone else on
our side.
MICHAEL'S POINT OF VIEW - MARILYN
being tosses out of the Shaggy Buffalo by Big Ed.
BIG ED
And if I ever catch you in Sage City
again you'll be singing up on Boot
Hill!
MARILYN
Yeah, well for your information --
Sage City is Boot Hill!
ANGLE TO INCLUDE MICHAEL
catching up to Marilyn as she heads for the bus depot,
carrying all her possessions in a small suitcase -- some of
it hanging out.
MICHAEL
Marilyn....
MARILYN
There's a bus pulling out of here in
ten minutes, and I'm going to be on
it.
MICHAEL
You won't miss it, I promise.
She stops. In the b.g. we will see Rebecca and the kids
boarding the Bad Apple bus, carrying various goods from the
general store.
MARILYN
Well?
MICHAEL
Tell me about Big Ed Barton.
MARILYN
He's a rat. What more do you want
to know?
MICHAEL
Tell me why the rat's so anxious to
move Rebecca Hammond off her ranch.
MARILYN
I'm not sure. I think it has
something to do with those kids.
MICHAEL
I don't. Marilyn, have you ever
heard of the Unified Ranch Corporation?
MARILYN
Yeah...I think I heard Big Ed and his
brothers talking about it once.
MICHAEL
Do you remember what they were saying?
MARILYN
No, but look, you want to find out
about Big Ed, just take a little
peek inside his safe.
MICHAEL
His safe?
MARILYN
In his office behind the saloon.
Being a crook himself, Big Ed
doesn't trust banks. He keeps his
entire life locked inside that safe.
(beat, touch
of sadness)
Well, I got a bus to catch.
MICHAEL
Know where to?
MARILYN
Yeah...wherever it's going. See ya
around...Michael...as in Knight.
MICHAEL
Take care...Marilyn...as in Monroe.
He smiles, she returns it, waves and continues off toward
the bus depot. As Michael starts back to K.I.T.T. ---
ANGLE ON BAD APPLE BUS
pulling out. Rebecca drives. Then ---
ANGLE ON ALFRED
hiding nearby. He holds a steel cutter and file, and his
hands are covered with grease. He watches the bus pull
out, satisfied he's done a good job.
ANGLE ON MICHAEL
sliding into K.I.T.T.
MICHAEL
We've got to get into Big Ed's safe,
pal.
K.I.T.T.
In broad daylight?! Michael, even
the most desperate desperado...
(beat)
Is something wrong?
Michael is looking off, troubled.
MICHAEL
There's a puddle on the ground where
the bus was parked. What do you
make of it, Kitt?
K.I.T.T.'S POINT OF VIEW - PUDDLE
ANGLE IN K.I.T.T. - ON MONITOR
A graphic breakdown of puddle's composition.
K.I.T.T.
Michael, it's brake fluid. And I
also detect some steel filings on
the ground.
MICHAEL
The brake lines were cut, pal.
Let's go.
He floors the pedal.
OMITTED
ON K.I.T.T.
pulling out and away in a cloud of dust.
EXT. CANYON ROAD - DAY - ON BAD APPLE BUS
Rock music can be heard from inside.
INT. BAD APPLE BUS - DAY
The music blasts. The mood is up.
REBECCA
All right, you bad apples, try to
keep it down to a roar!
They ignore her completely.
ON REBECCA
enjoying the day. Then, going over the top of a hill, she
steps on her brakes...to find them all but gone. She pumps
them.
INSERT - BRAKE PEDAL
hitting the floor.
BACK TO SCENE
Rebecca's fighting panic...and the runaway bus. The kids
begin reacting to the danger.
EXT. CANYON ROAD - DAY
as the bus speeds down the hill, out of control.
INT. BAD APPLE BUS - DAY
On Rebecca's desperate plight, we ---
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
EXT. CANYON HILL ROAD - ON REBECCA - CONTINUOUS
steering the brakeless bus as it picks up speed. Tires
squealing on the hairpin turns. She yells back.
REBECCA
Everyone down...get under the seats.
ANGLE IN K.I.T.T.
as it moves up behind the bus.
K.I.T.T.
Michael, we're close enough for me
to microlock the wheel system.
MICHAEL
Too risky, pal. Once we jam she's
not going to have the strength to
keep that bus under control. Pull
up to their bumper.
Michael activates AUTO-CRUISE. Then the button that opens
the T-top roof.
K.I.T.T.
(concerned)
Michael, what are you going to do?
MICHAEL
My imitation of John Wayne. Stay
with me, pardner.
ANGLE ON MICHAEL
climbing out of K.I.T.T.'s roof. Over the top of K.I.T.T.'s
hood, to the back of the moving bus. He balances atop
K.I.T.T., as he works the bus's back door. He pulls it open
just as:
THE BUS
swerves out on a curve. The back door flies back, with
Michael on it. Swinging him out over the roadside's
abyss. He hangs on, for dear life.
MICHAEL'S POINT OF VIEW - THE DROP BELOW
A dizzying distance down.
BACK TO SHOT
Michael pulls himself, hand over hand, across the door.
Then jumps into the back of the bus.
ANGLE IN BUS
Rebecca steering all she's worth. The steering wheel
vibrates so hard it jumps out of her hands. Quickly,
Michael's hands appear on it. He slides into the seat, as
she slides out.
MICHAEL
(into comlink)
Okay, pal, give me all the microlock
you've got.
ANGLE IN K.I.T.T. - DASHBOARD
Microlock button activates.
THE BUS
swerving down the hill. Suddenly its wheels lock, stopping
it. Causing it to go into a perilous spin.
ANGLE IN BUS
Michael steering it out of the skid. Fishtailing around.
THE BUS
coming to a stop, right at the edge of the precipice.
ANGLE IN BUS
as it comes to rest. A beat and then the kids cheer.
Rebecca, too. Michael smiles.
MICHAEL
Everybody just stay put. I'm gonna
hitch up old paint here and get you
all back to the ranch.
As Michael stands, Rebecca looks at him. Still white-faced
from the experience.
REBECCA
I don't understand it. I just had
the bus safety checked.
MICHAEL
This wasn't mechanic failure,
Rebecca, someone cut the brake lines.
Off her reaction:
CUT TO
CLOSE ON A PAIR OF BINOCULARS
watching the goings on. Pull back to reveal Big Ed, as he
lowers them. With him is Sheriff Lance, and behind them
looms Bigfoot, parked on a high mesa.
LANCE
Big Ed, I say we fire up Bigfoot
right now and grind those apples
into sauce.
BIG ED
Not with that guy Knight around.
He's more trouble than a Texas
twister. We're gonna be safer
stickin' to our original plan.
CUT TO
EXT. RANCH - DAY
K.I.T.T., parked out front the main house. Cat comes by
trying to twirl a rope and chew tobacco at the same time.
He stops twirling. Stops and one-eyes K.I.T.T. Beat ---
CAT
I think I got you figured out.
He spits tobacco ---
K.I.T.T.
Disgusting.
CAT
(wipes mouth)
It was when I was lost on the Mojave
Desert. '54, I think it was. No
maybe '55.
K.I.T.T. sighs.
CAT
Anyway, there I was, when all of a
sudden this mean-lookin' snake comes
slitherin' up to me.
K.I.T.T.
I hate snakes.
CAT
I'm not partial to them myself. But
this one was different. He talked.
K.I.T.T.
That's ridiculous.
CAT
Just as good as you. It seems he
wasn't a snake at all, but a spirit
in the body of a snake. And of all
the things he said, one thing in
particular stayed in my mind all
these years. Bet yo're dying to
hear what that was, aren't cha?
K.I.T.T.
Not really. What?
CAT
He said...'there was stranger things
in this world than a talking snake...'
(moves close
to K.I.T.T.'s
grill)
I think he was referrin' to you,
pardner...I think somewhere inside
that T-top...there's a spirit named
Kitt.
Cat waits. Kitt's scanner flashes. Cat grins, convinced
it's an affirmation.
INT. BARN - DAY - ON REBECCA AND BLUE
Reluctantly, she's counting out his weeks wages in cash.
REBECCA
Sure I can't change your mind, Blue?
BLUE
(embarrassed,
contrite)
I'm sorry, ma'am...but since I've
been working for you the guys in town
don't talk to me anymore and the gals
don't smile the way they used to...I
don't mind the guys not talking....
He grins. Rebecca hands him the money.
REBECCA
I understand.
BLUE
I did fix the brakes for you, though.
REBECCA
Thank you, Blue. That was nice.
He tips his hat and moves off. Passing Michael, who has
entered. Rebecca slumps down onto a haybale.
MICHAEL
I got some good news.
REBECCA
I can use some.
MICHAEL
Reinforcements are on the way. Devon's
coming.
She can't believe her ears.
REBECCA
Devon's coming? That's it, Devon's
coming?!
(forces laugh)
We just barely escape death because
someone cut the brake line. My one
able-bodied hand quits. The bank's
going to foreclose my mortgage if I
lose any more cattle...and you tell
me, Devon's coming.
She fights to keep from breaking!
MICHAEL
What's this about the bank? Why
didn't you tell me?
REBECCA
I just found out in town. My equity's
in my livestock. No livestock, no
equity. No equity, no Right On Ranch!
Know what else they told me? That I
should accept Unified Ranch Corpora-
tion's offer and sell.
MICHAEL
Did you give 'em both barrels or just
one?
REBECCA
I...told them I'd think about it.
And don't look at me that way!
(fighting tears)
Michael, maybe it's just not worth
any more fight.
Michael goes to her, gently takes her shoulders.
MICHAEL
If I thought you believed that,
Rebecca, I'd say okay, it's your
ranch. Your dream. Hold up the
white flag and surrender the fort.
(slight beat)
But that's not you...and it's not me.
(wipes a tear
from her eye)
We've got 'em whipped, Sergeant...
they just don't know it yet.
She smiles at him, feeling a whole lot stronger.
OMITTED
EXT. COUNTRY HIGHWAY - DAY - ON SEMI
barrelling along. C-W sound-alikes over.
INT. SEMI - DAY
Michael is with Devon and Bonnie. K.I.T.T. in b.g.
MICHAEL
Devon, I need some answers. Is it a
corporation, or isn't it?
DEVON
Unified Ranch, Inc. is what's known as
a closed corporation. There is one
majority stockholder. But the only
way to uncover his identity is to
know who holds the securities them-
selves.
Michael paces, frustrated.
MICHAEL
It's got to be the Bartons....
DEVON
It may well be. Unfortunately, at
this point in time, proving it is
another matter entirely.
MICHAEL
You just said the operative word,
Devon. Time. Rebecca's running out
of that, along with her cattle.
BONNIE
Michael, if you stop to think about
it, none of this makes sense. Why
would anyone want to buy Rebecca's
ranch enough to go to these lengths?
DEVON
She's right. Ranching is one of most
depressed businesses in the country
right now.
MICHAEL
Who says they want Rebecca's ranch
for ranching?
DEVON
What other purpose could there be?
MICHAEL
I don't know, but whatever it is
must be big. Because they sure want
it bad.
BONNIE
Michael, you've got that look in your
eye again.
DEVON
What are you thinking about?
MICHAEL
John Wayne, Devon...The Duke himself.
EXT. COUNTRY ROAD - DAY - SEMI
The semi barrelling along. The ramp coming out and K.I.T.T.
backing out of the semi. Doing a 180 turn, and zooming off.
EXT. SHAGGY BUFFALO - NIGHT - K.I.T.T.
pulling up in front.
K.I.T.T.
Michael, are you sure John Wayne
would do it this way?
MICHAEL
(imitating Wayne)
Darn tootin', Pilgrim. You just
keep an eye peeled for the bad guys.
He heads for the Shaggy Buffalo, where we hear music and
rowdiness coming from inside.
INT. SHAGGY BUFFALO SALOON - NIGHT
The joint is jumping with cowboys, whooping and hollering.
Consuming booze and gambling at the tables, while others
step out on the dance floor. Dancing with the saloon girls
to a C & W song on the jukebox. The mechanical bronc is
busy. Michael carefully shoulders his way through the
crowd, scoping the place out. Gets hard looks from a lot
of the meaner hombres.
MICHAEL'S POINT OF VIEW - THE OFFICE DOOR
next to the bar. Blocking it is Big Ed himself, making
time with two saloon girls.
BACK TO SCENE
Michael moves toward the jukebox. Next to Smiley, a tall
angry-looking cowboy with a scar and a cigar in his mouth.
Michael watches the couples dance to the C & W ballad, as
an idea brews. He addresses the comlink.
MICHAEL
Kitt, I think this place needs a disc
jockey. Put on something I can dance
to.
K.I.T.T.
How about Swan Lake?
As Michael reacts.
INTERCUT - K.I.T.T.'S DASHBOARD
K.I.T.T.
Just kidding, Michael.
K.I.T.T.'s ultra-frequency modulator activates.
THE JUKEBOX
Suddenly the needle pulls up midsong. The record flips up
and away. Another platter comes down and a hard-driving
rock song plays.
DANCE FLOOR
Couples try to make the transition, including Alfred Barton,
who is dancing with a real saloon spitfire, Charlene. She
boogies on, but Alfred can't. Michael moves up to him.
Tapping him on the shoulder.
MICHAEL
I'll take it from here, pal.
Michael moves in, to dance with Charlene, as Alfred seethes.
Michael and Charlene rock and roll, as people watch,
including Sheriff Lance and Big Ed.
ANGLE ON ALFRED
enraged. Smashes his fist against the jukebox. The
record bounces off the turntable. He slips in a quarter
and a C & W ballad comes down into place again. Alfred
storms back on the floor. Pushing Michael off and resuming
his slow dance with Charlene. She looks over at Michael.
Gives him a little wave, obviously preferring him to Alfred.
ANGLE ON MICHAEL
standing a good distance from the jukebox. Addresses
comlink again.
MICHAEL
One more time, buddy.
INTERCUT - K.I.T.T.
K.I.T.T.
Michael, if you're not careful,
they'll be doing the Texas Two-Step
on your head.
MICHAEL
Just let it rock, Kitt.
THE JUKEBOX
Again, the C & W ballad stops, midsong. The disc flips
up. The rock record comes down and pulsates loudly over
the room, with its driving beat.
DANCE FLOOR
Alfred, enraged again. Charges over to Michael. Michael
holds his hands up, innocently. Pointing over to Smiley,
next to the jukebox.
MICHAEL
Don't look at me...It was handsome
there.
ANGLE ON ALFRED
Bursts over to Smiley and throws a haymaker. Smiley ducks
and it connects with another cowboy, who is sent flying
into the card table, shattering it. Angry cowboys rise
and a saloon brawl erupts.
VARIOUS ANGLES - THE BRAWL
Everyone against everyone. Shots of fighting all around.
Michael dodges a punch and moves through the melee to the
bar. Just as he's about to hop over it, a bottle swings
toward him. He blocks it with his arm. It's held by
Charlene.
MICHAEL
I'm really a nice guy once you get
to know me.
She gives him a quick kiss, then turns to smash the bottle
down on Smiley's head as he lunges for Michael. Michael
winks, hops over the bar.
ANGLE BEHIND BAR
as Michael crouches, glasses and bottles breaking and whizzing
over his head. He makes his way to the end and slips through
the office door into:
INT. BARTON'S OFFICE - NIGHT - SAFE
a big, old one. Michael works the tumblers while the brawl
is heard outside. He pauses a beat and tries the handle.
The safe opens. Michael peers into the safe. Starts
rummaging through the items. Pulls out a wad of bound
documents.
OMITTED
CLOSE - STOCK CERTIFICATES
for Unified Ranch Corp.
BACK TO SHOT
Michael produces a mini-Minox camera, snaps the certificates.
Something else catches Michael's eyes as he is about to put
the stocks back. At the bottom of the bound pile is a map.
CLOSE - GRID MAP
with one grid marked with an "X".
BACK TO SHOT
Michael snaps a picture of the map, too. Behind him,
unseen, Sheriff Lance moves into the room. Michael returns
the map to the safe, closes it, then spins around as Lance
draws his gun. Lance, showing off, twirls it, passes it
from one hand to the other, preparing to blast Michael.
MICHAEL
(almost
speechless;
searching for
the right
words)
That's...That's...fantastic!
And without blinking he reaches out and decks the surprised
Lance with a straight-armed right to the jaw. (A beat out
of Raider/Lost Ark.) Lance goes down and Michael steps over
him.
INT. BAR
as Michael runs in from the office area. It looks like the
Second World War's been staged here. Debris everywhere. In
the middle of the barroom, the last two punch-drunk cowboys
are still duking it out. Michael makes for the door but his
way is suddenly blocked by ---
BIG ED AND ALFRED
loom into his path, all business and mean. They lunge for
him.
VARIOUS SHOTS - THE FIGHT
Michael using judo and street-smart combinations, ducks the
worst of their punches and gets in a few licks of his own.
Then, when he sees his opportunity, he races for the door.
Into the comlink, he whistles for K.I.T.T.
EXT. SHAGGY BUFFALO - NIGHT
The door bursts open and Michael flies out just ahead of
Big Ed and Alfred. K.I.T.T. screeches up, the door pops
open and Michael hops in.
K.I.T.T.
If you expect me to gallop off now,
Michael, forget it.
MICHAEL
Hi-Yo Kitt! Away!
K.I.T.T. churns up a cloud of dust as Michael peels out,
leaving Big Ed and Alfred coughing and shaking their fists.
FREEZE FRAME
AND
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
OMITTED
EXT. ANOTHER SECTION OF ROAD - DAY
The semi passes.
MICHAEL'S VOICE
This map was in Big Ed Barton's safe.
INT. SEMI - DAY
Michael, Devon and Bonnie are at the computer, where we see
a photo of the grid map with the prominent X.
DEVON
Michael, if you're expecting an
interpretation. Sorry to disappoint
you.
MICHAEL
Kitt, give me an overlay of Rebecca's
ranch.
K.I.T.T.
Coming right up, Michael.
A red line cuts out a particular area. The "X" falls just
inside it.
MICHAEL
Whatever that 'X' represents, I'm
positive it's somewhere on Rebecca's
ranch.
DEVON
If you're suggesting mineral deposits
-- I happen to know the old gold mines
have been picked clean long ago.
BONNIE
And there's no record of oil in this
area.
MICHAEL
It has to be something. 'X' marks
the spot, Kitt. Let's find it.
He crosses for K.I.T.T. Devon follows, concerned.
DEVON
Michael, there's an APB out on you!
MICHAEL
It's not the first time.
DEVON
No, but out here I'm without influence
of any kind. If they catch you, you're
on your own.
Michael fires up K.I.T.T.
MICHAEL
Not the first time for that either.
A half-smile to reassure Devon, then Michael backs out.
OMITTED
EXT. ROAD - DAY
K.I.T.T. slips out, hits the road and does a 180.
EXT. NORTH PASTURE - DAY - ANGLE ON K.I.T.T.
scanner flashing.
MICHAEL'S VOICE
Hey, I thought they made them tough
in the Bronx.
ANGLE TO INCLUDE MICHAEL
with a comforting arm around Rebecca. Cat eyeing K.I.T.T.
REBECCA
Like nails!
MICHAEL
Then don't give up, Rebecca...don't
let 'em beat you.
She looks at him.
REBECCA
It's not just the ranch and the kids
now, it's you too. They've been
here looking for you twice already.
They're calling you a fugitive.
MICHAEL
I've been called worse.
K.I.T.T.
Affirmative.
Rebecca laughs. Cat nods, as if to say "me too."
MICHAEL
Okay, wise guy. You're supposed to
be working.
K.I.T.T.
I am. As a matter of fact, I think
I've located the mysterious 'X.'
MICHAEL
Where, Kitt?!
K.I.T.T.
About ten feet directly to the right
of you, Michael.
Michael paces the distance.
K.I.T.T.
Now two steps forward.
Michael takes the steps, looks down to see a hole in the
ground no larger than a half dollar. Getting on his knees,
studying it.
MICHAEL
Looks like someone bored a deep hole
here.
(to Rebecca)
You or Cat know anything about this?
She shakes her head no, looks at Cat.
CAT
I sure don't.
Michael examines chips around the hole.
MICHAEL
I'd say it's a core sample.
(beat)
Kitt, put your geological cap on. I
need some answers.
OMITTED
ANGLE IN K.I.T.T.
As Michael and Rebecca cross to him. The monitor displays
a colorful graphic of the earth's layers.
K.I.T.T.
The hole goes down forty-six feet,
Michael, and there appears to be
sizeable deposit of malidium-sulfate.
MICHAEL
(a reaction)
...Malidium-sulfate? That's a new
one on me.
K.I.T.T.
It's a space age ore. Extremely
valuable, once it's strip-mined.
MICHAEL
Are we talking mega-millions, pal?
K.I.T.T.
Conservatively speaking. And
Rebecca's ranch sits right on top of
the mother lode.
REBECCA
Strip-mining? Have you ever seen
what that does to the land? It
makes the Bronx look like a rose
garden.
MICHAEL
Unfortunately there's no law against
it. But there is against rustling,
and that's how we're gonna stop them.
(to Cat)
Cat, I want you to drift into town
and spread the word. We're moving
the remaining stock to the south
pasture.
REBECCA
But that's where they hit us before.
MICHAEL
That's right...let's make it easy
for them.
CAT
Thinkin's one thing, but catchin'
'ems something else again.
MICHAEL
This time I've got a little help in
that department.
He takes a suger cube-sized radio frequency monitor from
his pocket.
MICHAEL
They use these to follow big game in
Africa. A couple dozen steers should
be a pushover.
CUT TO
EXT. SOUTH PASTURE - NIGHT
A full moon overhead, several dozen cattle graze near a
clump of trees. Camera pans to nearby rise, where we see
just the speck of embers from a campfire.
ANGLE AT CAMPSITE - FAVORING MICHAEL AND REBECCA
The kids and Cat sleep nearby. K.I.T.T. and the bus are
partially hidden. So far it's been a quiet, fruitless vigil.
REBECCA
If my friends in New York saw me
now, they'd think I was crazy.
MICHAEL
You know something -- sometimes crazy
helps.
She smiles, then it disappears.
REBECCA
Michael, they're not coming.
MICHAEL
They'll come. It's only a matter of
time....
Holding on their image we:
LAP DISSOLVE TO
OMITTED
EXT. OPEN COUNTRY - SUNRISE
The sun peeps over a distant hill.
ANGLE NEAR ROAD
The silence is broken by the roar of a big engine and
suddenly Bigfoot appears. Big Ed at the wheel.
ANGLE AT CAMPSITE
Everyone is asleep. Michael bolts upright simultaneous
with:
K.I.T.T.
Michael!
MICHAEL
Gotcha, pal.
HIS POINT OF VIEW - BIGFOOT
moving out of the morning haze and crushing a long section
of fence, then beginning to round up the frightened calves.
Two ND cowboys load them into the rear of the cattle truck,
which is being driven by Lance.
BACK TO SCENE
Michael shakes Rebecca as the sleepers stir.
MICHAEL
Rebecca, wake up. Look.
REBECCA
Michael...it worked!
MICHAEL
Not yet...not 'til we follow them
and round up the whole gang.
DIABLO
Man, look at the size of that thing!
TRASHER
Rad-ic-cal!
STAR
Bizarre....
MAGIC FINGERS
Let's go get 'em, Michael!
Michael crosses toward K.I.T.T. Getting in.
MICHAEL
Sorry, guys. This is a one-man job.
DIABLO
Hey man, there's no way we're gonna
miss out on a rumble.
MAGIC FINGERS
That's the fact, Jack. You're
lookin' at the warlord of the Purple
Gang.
MICHAEL
Diablo, Magic, hold it. What if they
send out more bad guys? Someone's
gotta stay here and defend the women,
right?
DIABLO AND MAGIC
Right.
Michael jams the pedal and skids out. The kids turn to
Cat, Rebecca and Joanna.
MAGIC FINGERS
You heard the man, Cat. Stay here
and defend the women.
(to the others)
Let's head 'em off at the pass!
Before anyone can protest, the three boys and Star hop into
the bus, start it up, and smoke off in the other direction
across the open field, leaving Rebecca, Cat and Joanna
gaping.
OMITTED
EXT. TWO-LANE HIGHWAY - DAY - ON CATTLE TRUCK
as it barrels along, Lance at the wheel.
INT. CATTLE TRUCK - DAY - ON CALVES
We see the radio transmitter tucked behind one's ear.
EXT. HIGHWAY - DAY
K.I.T.T. tails at a safe distance, out of sight of the
cattle carrier.
INT. K.I.T.T. - DAY
There's a beeping sound, and a pulsating light on the
monitor.
MICHAEL
Looks like they're turning off the
highway, Kitt.
K.I.T.T.
Map overlay indicates Old Canyon Road.
MICHAEL
Does map overlay indicate where it goes?
K.I.T.T.
No. But were I to hazard a guess,
I'd say into an old canyon.
MICHAEL
Thanks, pal. Don't know what I'd do
without you.
EXT. CANYON ROAD - DAY - ON CATTLE TRUCK
as it speeds past an area of dense terrain ---
Hold on:
BIGFOOT (#1)
parked some distance off the road, and hidden by heavy
brush.
INT. BIGFOOT (#1) - DAY
Big Ed reacts as K.I.T.T. passes, then growls into the CB.
BIG ED
He's onto us, Alfred. But this time
he's in for a big surprise.
OMITTED
EXT. CANYON ROAD - DAY
Panning with cattle truck. The loaded truck rounds a blind
hairpin curve, a steep granite wall rising on one side and a
hundred-foot drop on the other. Once around the curve, it
pulls onto the shoulder and stops, to reveal:
BIGFOOT (#2)
Suddenly, a second Bigfoot, Alfred at the wheel, lumbers
out...and toward the unsuspecting Michael.
INT. K.I.T.T. - DAY
Michael looks around, begins to tense.
MICHAEL
Kitt, I've got a feeling....
K.I.T.T.
What feeling?
Michael reacts.
WHAT HE SEES - BIGFOOT (#2)
rounding the bend, and heading straight for them.
MICHAEL
(re Bigfoot #2)
That feeling. Hold onto your hat!
Michael whips the wheel.
EXT. CANYON ROAD - DAY
K.I.T.T. does a 180, heading in the opposite direction,
just short of Bigfoot's bumpers.
ANGLE ON THE CATTLE TRUCK
parked on the shoulder. Lance climbs from the cab, smug,
and watches with relish as Michael barely escapes and flees.
ANGLE TO INCLUDE THE BUS
moving in behind Lance from the other direction. It stops
and the doors open. Lance turns, as the kids charge from
the bus with bloodcurdling yells, flattening him, knocking
his gun far away.
EXT. CANYON ROAD - DAY
Michael's managed to put a little air between himself and
Alfred, but....
ANGLE IN K.I.T.T. - OVER MICHAEL'S SHOULDER
Looming into view through the windshield is Bigfoot #1,
driven by Big Ed.
K.I.T.T.
Michael, am I seeing double?
MICHAEL
'Fraid not, pal.
K.I.T.T.
We're running out of room!
MICHAEL
Not if we time it right.
He jerks the wheel.
ANGLE ON K.I.T.T.
spinning another 180, coming within a hair of Big Ed's
wheels.
EXT. CANYON ROAD - DAY
The two huge trucks are about the flatten K.I.T.T. in a
Trans Am sandwich, but:
ANGLE IN K.I.T.T.
Michael waits until the last possible second, then hits Ski
Mode.
CANYON ROAD - VARIOUS ANGLES
K.I.T.T. flips up onto two wheels and skis past Bigfoot
#2, only inches from going over the steep side.
OMITTED
ON BIGFOOT TRUCKS
as they plow head on into each other. Tires explode, metal
crunches, glass flies everywhere.
ON K.I.T.T.
landing back on all fours, and coming to a stop beside the
semi. Michael gets out, looks back ---
MICHAEL
Better get some help out here, Kitt.
The State police...an ambulance...and
a couple of very big tow trucks.
He turns to see:
THE KIDS
stand with satisfied grins. At their feet lies Lance,
completely hog-tied with rope, bawling like a bulldogged
calf.
FULL SHOT - THE GROUP
MICHAEL
Looks like the Right On Ranch will
survive after all.
FREEZE FRAME
FADE OUT
END OF ACT FOUR
TAG
FADE IN
OMITTED
EXT. RANCH - CORRAL - DAY
Cat and Star are struggling to hold down a calf about to be
branded by Rebecca. Joanna is seated by herself, nearby.
Devon and Bonnie are also present, but Devon looks skyward,
unable to watch the branding.
CAT
Will you hold still, you cactus
suckin' calf!
BONNIE
Sure you don't want to help, Devon?
DEVON
(quickly)
Of course, I'd happily lend my
expertise.
(takes one look,
then quickly
elsewhere)
Only...what's that about too many
chefs spoiling the...calf.
Magic Fingers, Diablo and Trasher keep their distance.
Michael calls over to them.
MICHAEL
What's wrong, you guys chicken?
MAGIC FINGERS
Chicken? Man, my old Purple Gang
does that to its new members.
REBECCA
Then come on here and give us a hand.
DIABLO
No sweat.
The group saunters over. But their eyes grow wide as
Rebecca holds up the hot iron.
REBECCA
Who wants to do it...Trasher?
She offers it. Trasher faints. Right into Diablo's arms.
Magic Fingers fans him.
MICHAEL
No sweat, huh?
Joanna stands.
JOANNA
I'll do it.
Michael gently puts his arm around Joanna, leading her over.
Giving her the handle of the iron. Together, he helps her
brand the calf. As the others, including Trasher, watch. We
see the satisfaction on Joanna's face.
CAT
First B.A. brand doggie!
MAGIC FINGERS
B.A.? Like in Bad Apples?
MICHAEL
That's right.
Cat lets the calf up, the B.A. brand on its side. The group
suddenly looks excited.
DIABLO
It's got our mark!
We see the enjoyment in their faces, as the calf runs off.
Cat grabs another calf. Rebecca holds up the brand again.
REBECCA
Who wants to do the next one?
The kids, at once, all respond, to Rebecca's delight.
KIDS
Me!!!
MICHAEL
(looks at
Rebecca)
Not worth the fight, huh?
REBECCA
(making a fist)
Sez who?
MICHAEL
(winks)
Now, that's the old Bronx cheer.
He moves off as Rebecca watches. A look of admiration on
her face. On this very "right-on" beat, we ---
FREEZE FRAME
FADE OUT
THE END
