ACT ONE
FADE IN
EXT. EXCAVATION SITE - NIGHT
Dark. Quiet. At first we see nothing but blackness, but
gradually we begin to make out the shape of something
hunched like a giant beetle in the dirt. Suddenly, the
sound of footsteps crunching through the dirt is heard, and
we see:
TWO MEN
hurrying toward the beetle. In the darkness, we don't see
their faces. A click of a flashlight and a beam of light
cuts through the night, illuminating our beetle: a big
D8 tractor. In a second, the man without the flashlight
is on the tractor. He snaps cable grips on the battery
terminal, takes out a screwdriver and leans into the engine.
A spark flashes and the D8 fires to life. He tosses the
cables to the second man, jumps into the driver's seat.
ANGLE - WIDER
as the man backs the tractor up, heads it toward a waiting
truck. A third man (whose face we don't see, either) joins
them, helps guide the tractor into the bed of the truck
where they secure it with heavy chains. They move silently,
quickly. It's clear they've done this before. Suddenly,
light sweeps across the construction site. The three men
turn to see twin beams of:
HEADLIGHTS OF ANOTHER CAR
heading toward them.
BACK TO SCENE
as two of the men jump into the cab of the truck, start it.
The third jumps into a waiting Bronco. With a grinding of
gears, the big rig rumbles forward, its lights off. The
Bronco heads in an opposite direction, disappearing into
the night.
ON THE RIG
as it heads directly toward the oncoming car. The big rig
is riding squarely in the middle of the narrow, dusty road.
ON THE CAR
A small compact, dwarfed by the truck speeding toward it.
Inside, we see Joe Graves, the night guard assigned to the
construction site. He leans on his horn and is answered
by the thundering roar of the truck's air horn.
ANGLE - WIDER
as the truck bears down on Graves, without a possibility
of stopping. Another blast from the truck's horn and then
suddenly the road is bright as day as the truck driver
switches on his high beams.
ON JOE
blinded by the light of the truck as it looms over the tiny
compact. At the last moment, he swerves sharply to the
right, off the road and into the ditch that parallels it.
The big rig rumbles by, shaking the ground and leaving a
choking trail of dust in its wake.
ANOTHER ANGLE
as the rig heads down the road. Slowly, Joe struggles out
of the battered car. He reaches for a pill box around his
neck, takes a small pill out and quickly swallows it. As
he slides to the ground we:
CUT TO
EXT. SEMI - DAY - STOCK
As the Trans Am pulls up to the semi and starts up the
ramp, we hear:
MICHAEL (V.O.)
I can't believe it. All I wanted
was one measly jelly doughnut, and
you act like it was a capital
offense.
As the Trans Am disappears inside:
CUT TO
INT. SEMI - DAY
as Michael parks. He gets out and we hear:
K.I.T.T.
As far as your body is concerned, it
would have been.
(beat)
I analyzed its composition...bleached
flour, refined sugar, preservatives,
artificial color and flavoring...in
other words, poison.
As they talk, April crosses to them.
APRIL
How'd the ultraphonic chemical
analyzer test out?
Michael and K.I.T.T. respond, simultaneously:
MICHAEL K.I.T.T.
Terrible. Fantastic.
MICHAEL
He's like a kid with a chemistry
set. Everything's molecules and
atoms...he doesn't know when to stop.
April smiles at Michael, turns to K.I.T.T.
APRIL
We'll run it for a month to get the
bugs out....
MICHAEL
A month? I'm gonna starve to death.
DEVON (V.O.)
Then before I leave for Montreal,
I'd best give you something to
take your mind off your stomach....
ANOTHER ANGLE - TO FEATURE DEVON
as he crosses to the Trans Am, speaks to Michael.
DEVON
I trust you've reviewed the computer
file on Mr. Gunderson?
Michael turns to Devon.
MICHAEL
Yeah. I never realized there was
such a market for stolen construc-
tion equipment.
Devon smiles at Michael, moves to a computer terminal,
punches in as he talks:
DEVON
See for yourself.
ANGLE TO INCLUDE COMPUTER SCREEN
as a brightly colored bar graph appears, delineating
frequency and cost of theft on a yearly, or monthly,
basis. Michael whistles.
DEVON
Tens of millions of dollars worth of
equipment are stolen and then
illegally resold each year.
MICHAEL
The old five-finger discount.
DEVON
It's epidemic. And the authorities
have neither the time nor the
manpower to help people like Frank
Gunderson. That's why he contacted
us...he's desperate.
(checking
watch)
Well, I've got a jet to catch. Good
luck, Michael....
ANGLE - WIDER
as Devon heads for the exit and Michael for the Trans Am.
MICHAEL
Thanks, Devon. I'll give it my best
shot...
(to April)
But, it's a little out of my
league. I mean, I hardly know the
difference between a tractor and a...
taco.
K.I.T.T.
A taco?
MICHAEL
It's a figure of speech, Kitt.
Relax.
(to April)
You've got to unplug that analyzer.
He's going to drive me nuts.
April crosses to the Trans Am, opens the door.
APRIL
He's also going to help you tell the
difference between a tractor, a
three-axle semi, and a taco...he's
fully programmed with everything I
could think of relating to the con-
struction industry.
April sits in the front seat of the Trans Am, punches a
couple of buttons. The vidscreen lights up.
APRIL
One more thing....
INT. TRANS AM TO INCLUDE THE VIDSCREEN
where we see a graphic representation of a ninety degree
protractor, with the Trans Am at the base. Michael leans
in, looks over April's shoulder at the screen.
APRIL
I've also adapted a trajectory guide
to Kitt's turbo boost system.
April punches buttons which adjust the angle of the
Trans Am on the graph.
APRIL
By adjusting the angle here you
should be able to launch him at any
angle within a ninety degree arc.
MICHAEL
In case we have to jump over tall
buildings, huh?
April climbs out of the car. She's not smiling.
APRIL
Absolutely not. This is a prototype,
designed for normal application only.
So, don't get any ideas....
Michael gets into the car, smiles back at April innocently.
MICHAEL
Who, me?
Off April's very skeptical look:
CUT TO
EXT. SEMI - DAY - STOCK
as the Trans Am backs out of the semi, pulls away.
CUT TO
EXT. MOTEL - TUCSON - DAY
The sun's shining, the kids are cavorting in the pool and
Mom and Dad are soaking up the rays and the gin and tonics.
Michael comes out of the office, jumps in the car, and
slowly pulls forward to a parking space in front of a
room. Michael grabs a bag from the backseat. Before he
gets out of the car:
K.I.T.T.
Michael, you're not planning on
swimming in that pool....
MICHAEL
Hadn't thought about it. Why?
K.I.T.T.
Because it contains more bacteria
than a petri dish.
Michael smiles and climbs out of the car. Next to his room
is a soft drink machine and an ice machine. As Michael
fiddles with his key, the door next to his opens and we
hear the delightful giggle of:
A BEAUTIFUL WOMAN
who we'll later know as Lucy Gunderson. Right now, though,
she's just one great-looking dame. She whispers to a man
in the room (we don't see his face), closes the door and
turns to nearly bump into Michael. Another delightful laugh
for Michael's benefit, then she's gone.
ON MICHAEL
As he turns to go into his room, he spots the soft drink
machine, hesitates a beat, then opens his door and goes
inside. A second later, Michael emerges, heads for the soft
drink machine like a kid raiding the cookie jar. In a
second, he's got a can of something. Glancing guiltily over
his shoulder at K.I.T.T., he disappears back into his room.
CUT TO
EXT. EXCAVATION SITE - DAY
The same site that opened the show. During the day we see
it's the site of a subdivision that's just getting started.
The drone of one backhoe (or comparable construction equip-
ment) is heard. At the end of the dusty road off the highway
is a faded white trailer, with "Gunderson Construction"
written across the side. The Trans Am pulls up and parks.
ANGLE ON MICHAEL
as he climbs out and walks toward the trailer. The door is
closed, so he knocks. No answer. Another knock, but still
no answer. Finally, he tries the knob. Just as it turns,
we hear a click behind Michael and then:
VOICE
Freeze.
Michael turns very quickly to see:
FRANK GUNDERSON
on the other end of a very lethal-looking shotgun. Fiftyish,
muscular, brown. A day's growth of beard covers a leathered
face.
FRANK
You'd better have a real good story.
Michael steps back, his hands in the air.
MICHAEL
I'm looking for Frank Gunderson.
FRANK
You found him. What do you want?
MICHAEL
My name's Michael Knight. Devon Miles,
from the Foundation sent me....
A beat, then:
FRANK
The Foundation? Then you guys actually
do exist....
MICHAEL
We sure do.
(gestures
to the gun)
You mind?
Gunderson sets it by the front door.
FRANK
Sorry. Not exactly hospitable, I
guess.
(angrily)
But, I don't know who to trust anymore,
dammit! They hit me again two nights
ago...nearly killed my guard, and drove
off with a brand new D8. The cops have
been out, but they've only got one
guy for the whole county....
Before Michael can respond, a telephone rings inside the
trailer. Gunderson answers it, leaving the door open as he
talks.
FRANK
Hello...hello, John. Don't ask...
listen, if you're that sorry, what
about the loan?...Dammit, I can't
finish the job without equipment,
but I can't pay you back without the
job...look, I'm coming over to talk
...now...fifteen minutes, that's all
I want.
Frank slams down the phone, stands in the doorway of the
trailer. Finally, slowly, he takes a battered hat and
walks down the stairs. Michael's moved away from the
trailer, but he's overheard everything. Frank knows it.
ON FRANK
as he crosses to Michael. He suddenly looks ten years
older. He shakes his head.
FRANK
Worked thirty years. About all I've
got left is memories...
(beat)
They get you between a rock and a
hard place, and there's no place to
move....
Frank's voice fades away. He stands, surveying his
building site, then turns to Michael.
FRANK
Look, I don't mean to sound ungrate-
ful, but at this point nothing less
than a miracle's gonna help me.
MICHAEL
I'm not strong on miracles, but you
mentioned a guard. I'd like to talk
to him.
(beat)
It's a start....
Frank looks at Michael, long and hard, then smiles. Sticks
out his hand.
FRANK
His name's Joe Graves. You can
usually find him down at Tulley's
about now.
(smiling)
I've been trying to figure him for
twenty years. Maybe you'll have
more luck.
Frank turns to head for his pickup, turns back to Michael.
FRANK
I'd be pleased to have you to dinner
tonight. Like you to meet my wife,
Lucy.
(smiling)
Best cook in the whole state.
With that, Frank turns and climbs into his pickup truck,
fires it up and drives off. Hold on Michael watching him
go, then:
CUT TO
EXT. TULLEY'S BAR - DAY
An ND neighborhood bar. A couple of dusty trucks are parked
outside. We see the Trans Am parked in the street in front
of a meter reading "Violation." A meter maid pulls up in
her wagon, stops, gets out and prepares to write a ticket.
We hear:
K.I.T.T.'S VOICE
Please don't do that...I'm allergic
to tickets.
The meter maid looks up, startled, sees no one, and goes
back to writing her ticket.
ANGLE ON K.I.T.T.
as the Trans Am silently creeps forward into the next spot
directly in front of him where the meter shows fifteen
minutes left.
ON THE METER MAID
finishing with her ticket, looking up and finding the
Trans Am parked in the other spot. She stares at the
Trans Am, checks the meter, looks around trying to figure
out what's going on. Finally, she tears the ticket she's
written in half, stuffs it in her pocket. As she does, we
hear:
K.I.T.T.'S VOICE
There...don't you feel better? I
certainly do....
By this time, the poor meter maid's convinced she's been
in the sun too long. She quickly climbs into her cart
and hurries down the street. As she does:
CUT TO
INT. TULLEY'S BAR - DAY
A funky bar, with pool table, pinball and neon bear signs.
A handful of customers are visible, drinking beer, watching
the tube. At a table near the bar a raucous domino game is
being played by two men we'll later know as Junior and Sam.
Behind the bar, a pretty young woman in her twenties, Mary
Beth Graves, washes glasses and talks to a man in his late
thirties. His name is Vance Burke. Michael's sitting at
the bar.
ANGLE ON THE BAR
as Michael catches Mary Beth's eye.
MICHAEL
Excuse me....
Mary Beth crosses to Michael. Behind them, the domino game
rages, with raucous laughter, shouting. Mary Beth grimaces,
shakes her head. Michael smiles sympathetically.
MICHAEL
Wonder if you could help me...I'm
looking for Joe Graves.
MARY BETH
He was in, but he's gone home. Feeling
pretty rotten....
MICHAEL
Yeah...I heard about the accident.
MARY BETH
Some accident. He was run off the road,
nearly killed...
(suspiciously)
You from that insurance company?
MICHAEL
No way. Just a friend of a friend...
Frank Gunderson.
Behind Michael, Sam and Junior exchange a glance. Mary
Beth wipes the bar with a vengeance.
MARY BETH
I've got nothing against Frank, but
I told Joe to quit that job months
ago...when all the trouble started.
MICHAEL
When was that?
MARY BETH
It's got to be a year ago...
(beat)
But, you think he'd listen? To me or
anyone else? No way. He's been out
there every night, in the cold...with
his bad heart and arthritis. Like a
sitting duck.
MICHAEL
Sitting duck?
MARY BETH
Sure. Joe said it himself...whoever's
stealing from Gunderson knows where
he's working, the rigs he's running,
the guard schedule...everything.
MICHAEL
Just between you and me, I'm working
with Frank Gunderson on this thing.
I'd like to talk to Joe.
Mary Beth's suddenly a little distant, standoffish. She
doesn't respond.
MICHAEL
Look, if I can help Frank, it's going
to make Joe's job a lot safer, right?
(beat)
Mary Beth nods.
MICHAEL
But you don't trust me, right?
Never seen me before, don't know
exactly what I'm up to, don't
particularly care for my after-
shave....
Mary Beth blushes, smiles in spite of herself.
MARY BETH
I didn't even notice it.
MICHAEL
Good, 'cuz I don't wear any. Just
testing you.
Mary Beth laughs, grabs a pencil, writes down an address
on the back of a napkin.
MARY BETH
You can always catch him here after
eight. That's the easy part....
MICHAEL
What's the hard part?
MARY BETH
Getting him to talk. I'd bring a
little hair of the dog if I were
you....
MICHAEL
Got it. And thanks....
With that, Michael pays for the beer, gets up and leaves.
As he passes the table where Sam and Junior are playing
dominoes, both of the men turn to stare after him. Hold on
them and then:
CUT TO
EXT. STREET - DAY
As the Trans Am drives by, we hear:
MICHAEL
Kitt, give me what you've got on
Frank Gunderson's company history.
INT. TRANS AM - DAY - ON MICHAEL
K.I.T.T.
Right away, Michael.
(beat)
It's rather brief, actually. In
1956, he went into partnership with
a Lloyd Newell. Three years ago
they dissolved their partnership,
and Gunderson's been working by
himself ever since.
MICHAEL
A silver anniversary and then they
split up. What's Newell up to these
days?
K.I.T.T.
Working independently also. Very
successfully, I might add.
(beat)
I'm not sure whether it's relevant
but the volume of legal documents
accompanying the end of the partner-
ship indicates a rather acrimonious
separation.
MICHAEL
(nodding)
Sounds like a lot of divorces.
(beat)
Wonder if they argued over community
property.
CUT TO
EXT. FRANK'S HOUSE - NIGHT - TO ESTABLISH
We see the Trans Am parked outside. Over this, we hear:
FRANK'S VOICE
Of course we argued. Like cats and
dogs....
CUT TO
INT. FRANK'S HOUSE - NIGHT
A comfortable, nicely furnished Western house. Michael and
Frank are in the living room. Frank comes into the room
with chips, dip and cheese on a tray.
FRANK
We couldn't agree on anything. But,
after twenty-five years, that's normal
...isn't it?
Frank looks at Michael, half-expecting an answer. Finally,
he pops open a beer, hands it to Michael.
FRANK
Afraid this is gonna be it for
dinner...I didn't think to phone
Lucy, and she'd made plans. You
know how women are today.
MICHAEL
(grabbing
a chip)
No problem.
(beat)
Why did you and Newell finally split
up?
FRANK
Simple. Lloyd got this crazy bug to
start speculating in real estate. I
wouldn't go along.
MICHAEL
Any money problems because of the
split?
FRANK
Big ones. I'd put more money into
the company when we started, but we'd
never thought about writing anything
down.
MICHAEL
And twenty-five years later it's
real hard to remember....
FRANK
Remembering was easy. Problem was, I
remembered one figure, Lloyd remembered
another. It got real sticky...
(frowning)
Lloyd even started talking about how I'd
cheated him. That's died down now, but
Lloyd's like an old pit bull. Once he
gets his teeth into something, he just
can't let go...
(shaking
his head)
We haven't said two words to each other
since we split up....
We hear the sound of footsteps from the hall and Lucy's
voice:
LUCY (O.S.)
Frank, I'm leaving.
Frank and Michael stand as Lucy steps into the living room.
ANGLE ON THE DOORWAY
framing Lucy, the same beautiful woman we saw outside of
Michael's motel room. Michael and Lucy recognize each other
at the same moment. A spark of recognition that Frank misses
completely. He's looking at Lucy with the proprietary pride
a man might have for a fine bird dog.
FRANK
Michael, my wife Lucy. Lucy, Michael
Knight. He's out here on business....
Michael and Lucy exchange ad-libbed hellos. Lucy avoids
Michael's eyes, turns quickly to Frank and gives him a
cursory peck.
LUCY
Don't wait up, hon....
FRANK
Are you kidding? I'll be sawing logs
by ten.
LUCY
(a beat)
I know. Nice to meet you, Mr. Knight.
Hope you can take a rain check on dinner.
MICHAEL
Be glad to. Thanks....
Very proper, very cool. Lucy exits. Frank watches her go,
a smile playing across his face.
FRANK
She's a beauty, isn't she?
(another smile)
Haven't regretted a single day since
I married her ten years ago.
(beat)
Best deal I ever made.
Michael nods, but doesn't respond. Off his troubled look:
CUT TO
OMITTED
EXT. STREET - NIGHT
as the Trans Am pulls up in front of an ND little cottage.
Obviously not the high-rent part of town. Michael gets out,
walks to the front door.
ANGLE ON THE FRONT DOOR
He knocks. There's no answer in the house, though a light
is burning. He knocks again. Still no answer. Michael
peers through a front window, stiffens, then turns and
bolts through the front door.
MICHAEL
Mr. Graves....
INT. COTTAGE - NIGHT
where we see Joe Graves sprawled on the living room floor,
obviously quite dead.
ANGLE ON MICHAEL
as he rushes to the body, leans over, searches for a pulse,
doesn't find one. Hold on Michael, staring at the lifeless
body, and then:
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
EXT. HIGHWAY - ON THE SEMI - DAY - STOCK
as the Trans Am pulls up the ramp and into the semi.
CUT TO
INT. SEMI - DAY
As Michael parks the Trans Am, gets out. April crosses to
Michael.
APRIL
Michael, I just got the medical
examiner's report on Joe Graves...
the cause of death was cardiac
arrest.
Michael nods, thinking.
MICHAEL
Yeah...I'd heard he had a heart problem.
Anything else?
APRIL
No. There was no sign of a struggle,
nothing stolen...nothing out of the
ordinary.
MICHAEL
So...case closed. Over and out.
It's all real convenient.
APRIL
The M.E.'s report was cut and dried.
MICHAEL
Maybe, but something in my bones
tells me it's not so cut or dried.
K.I.T.T.
Michael, the ultraphonic analyzer
indicates there's absolutely nothing
unusual about your bones.
MICHAEL
I'm talking about a feeling, Kitt,
a gut reaction.
K.I.T.T.
And I'm showing no unusual activity
in your gastro-intestinal system.
MICHAEL
(beat)
Besides, how could a GI response
have anything to do with feelings?
Michael turns to April.
MICHAEL
You see what I've got to live with?
Twenty-four hours a day...
(pleading)
Turn that thing off. Please.
APRIL
(smiling sweetly)
No.
Michael shakes his head, climbs back into the Trans Am.
APRIL
Leaving already?
MICHAEL
Yeah...I'm going to pay my last
respects to Joe Graves.
As Michael fires up the Trans Am.
CUT TO
EXT. SEMI - DAY - STOCK
As the Trans Am backs out of the semi, hits the road and
takes off.
CUT TO
OMITTED
EXT. JOE'S COTTAGE - DAY
as the Trans Am pulls up and parks. Michael jumps out of
the car, heads for the cottage. We watch as he opens the
front door and goes inside.
CUT TO
INT. JOE'S COTTAGE - DAY
As Michael begins to look around the small, cluttered
room. Dishes, books, clothes are everywhere. A bed and an
old dresser are against one wall.
ANGLE ON MICHAEL
as he begins to search through the room, finally moving to
the dresser. He pulls out a couple of drawers, finds
nothing, and then is attracted by something on the floor
beside the dresser. He gets down on his hands and knees,
reaches in and pulls out a small antique silver locket on a
silver chain.
ANGLE - CLOSE ON MICHAEL
studying the locket. He opens it, finds a dozen small pills
inside. He turns and hurries out of the cottage.
CUT TO
EXT. COTTAGE - DAY - ON THE TRANS AM
as Michael hustles down the walk to K.I.T.T., opens the
door and sits down.
INT. TRANS AM - DAY
Michael opens the silver locket, takes one of the pills out.
MICHAEL
Okay, buddy, time to strut your
stuff. Tell me what this is....
Michael puts the pill into a compartment on the dash.
Appropriate lights flash, and we hear:
K.I.T.T.
The pills are glyceryl trinitrate,
or a form of nitroglycerine,
commonly used as vasodilator....
Michael takes the pills out, looks at it.
MICHAEL
Meaning it's used for people with
bad hearts, right?
K.I.T.T.
That's correct....
MICHAEL
The kind of thing you'd keep real
close, maybe even wear about your
neck...in case of an attack, right?
K.I.T.T.
Most certainly.
MICHAEL
Then what were these doing all the
way across the room, behind a
dresser, when Joe had his attack?
Michael looks at the locket and the chain. He examines the
chain more carefully, then puts it in the analyzer
compartment.
MICHAEL
Kitt, have a look at this chain.
Where it's broken....
K.I.T.T.
Yes. The configuration of the link
indicates it was torn apart...with
some force.
MICHAEL
And then thrown across the room...
out of the reach of a dying
man...
(beat)
So much for natural causes.
Michael fires the Trans Am up.
K.I.T.T.
Michael, I'm monitoring increases in
your levels of epinephrine and
norepinephrine. I'm concerned.
MICHAEL
You're concerned? What've I got?
K.I.T.T.
A high level of stress.
MICHAEL
Oh...that. Comes with the job,
pal. Let's go...I've got another
hunch.
K.I.T.T.
I was afraid of that.
As the Trans Am takes off:
CUT TO
EXT. NEWELL CONSTRUCTION - DAY
Compared to Frank's lone trailer, this is the big leagues.
An attractive building, a yard with impressive equipment.
We see the Trans Am parked out front.
ANGLE ON MICHAEL
moving through the machines, casually inspecting them. He
stops near a D8 (same kind of machine we saw stolen in the
opening sequence), shiny with a new coat of paint. Michael
runs his finger over it. The paint's wet. Behind him, we
hear:
SAM'S VOICE
You looking for something, mister?
Michael turns to see Sam and Junior glaring at him. He
smiles, wipes the paint off his finger.
MICHAEL
Lloyd Newell.
JUNIOR
This ain't Mr. Newell's office...and
you're trespassing.
Just then, Lloyd Newell arrives. Like Frank, he's in his
fifties, tanned, muscular. He nods at Sam and Junior.
NEWELL
I'll take care of this, boys.
Sam and Junior reluctantly back off, but don't leave.
Newell turns to Michael.
NEWELL
What can I do for you, Knight?
(off
Michael's look)
Word gets around pretty quick.
Michael glances over at Sam and Junior. They glare right
back. He turns back to Newell.
MICHAEL
Then I'll get right to the point...
I'm trying to find out what's been
happening to Frank Gunderson's
equipment.
NEWELL
So you've come to talk to me.
(with an
edge)
I don't like the implication.
MICHAEL
None intended. I'm just trying to
get some information....
NEWELL
I'll give you some: Gunderson's not
the only guy losing equipment around
here...I lost two pieces the last
six months, and I've got the police
reports to prove it.
MICHAEL
Frank's lost nine pieces. And who-
ever's hitting him knows his operation
inside and out.
Newell stares hard at Michael. He's getting pissed.
NEWELL
Meaning me, right? Is that what
Gunderson said? Because if he did,
he's a liar! I'm making enough
running my business...I don't have
to steal from his.
Michael shows Newell the paint on his fingers.
MICHAEL
Gunderson lost a D8 last week...a
lot like the one you just painted.
NEWELL
(flaring)
That's his problem not mine. I'd
suggest you and Gunderson get that
straight. Real soon...
(beat)
...or you're both gonna have some
real trouble on your hands.
With that, Newell wheels and stomps away, gesturing to Sam
and Junior:
NEWELL
I want him out of this yard...now!
Michael turns to see Sam and Junior approaching him. They
don't look happy. Michael stops, smiles.
MICHAEL
No problem, guys...I can find my own
way....
Sam and Junior stare hard at Michael as he walks past them
to the Trans Am. Hold on them, and then:
CUT TO
EXT. FRANK'S BACKYARD - LATE AFTERNOON
A beautiful garden, with flowers, plants, shrubs. In the
midst of this, we see Lucy Gunderson, in an attractive
bathing suit, sitting by the pool. She's talking into a
cordless telephone. Her tone is playful, almost seductive.
LUCY
Would you stop it...no, I will not...
(giggles)
I can't...you know that...of course
I do...last night wasn't enough for
me, either, but we're just going to
have to....
At this point, Lucy glances over to see Michael standing
uncomfortably in the b.g. She blanches.
LUCY
Look, someone's just come in. I'll
have to phone back. Bye....
Lucy sets down the cordless phone, stands to face Michael.
MICHAEL
Sorry...I thought Frank would be home
by now. I saw your note on the door...
so I came around....
LUCY
I was expecting the caterer, not...
(regaining
her composure)
Frank's still at the site....
Michael studies Lucy for a beat, nods.
MICHAEL
I'll drive out there. Thanks.
Michael turns to leave. Lucy calls after him:
LUCY
He's always at a site somewhere....
Michael stops, turns to face Lucy.
LUCY
Fourteen hours a day, six days a
week, fifty two weeks a year.
That's Frank's life. That's all he
ever talks about.
(a little
bitter)
We took a vacation about three years
ago...went to Vegas for a weekend.
There just happened to be an equipment
show going on....
MICHAEL
Look, Mrs. Gunderson....
LUCY
Frank's idea of a night on the town
is chicken fried steak at the truck
stop cafe, a beer at Tulley's, and the
late movies on TV.
Lucy looks around at the lush backyard.
LUCY
This yard's my little oasis...it
keeps the dust and the dirt and the
desert out...there.
(fiercely)
I'm not going to dry up and wither
away. I love Frank. He's my
husband. But...
(beat)
A thirsty person's got to have
water. That's basic.
MICHAEL
(beat)
Mrs. Gunderson, what you do with
your life is your business, not
mine. But, I'd be real careful
about drawing your water from
someone else's well.
Their conversation is interrupted as Frank comes into the
backyard. He sees Michael, crosses to him, looking
concerned.
FRANK
Michael, I've been in the field all
day. I just got your message...
what's this about Joe Graves?
MICHAEL
He died last night, Frank.
(beat)
I think he was murdered.
Frank's stunned. Lucy's shaken. Off their reactions we:
CUT TO
INT. FRANK'S HOUSE - NIGHT
Frank and Michael are in the living room, talking. Michael
paces the floor. Frank looks shaken.
FRANK
This is a tough one. There's a part
of me just can't believe Lloyd could
be involved...
(beat)
And there's a part of me knows he
could. It's that damn pride of his....
MICHAEL
Someone was afraid of Joe talking...
someone Joe could identify.
FRANK
Joe Graves knew half this town.
MICHAEL
But, he worked for you and Lloyd
nearly twenty years. Developed
loyalties...to both of you.
FRANK
You think he was protecting Lloyd?
MICHAEL
Maybe....
Frank thinks for a moment, then shakes his head.
FRANK
I don't know, Michael...I really don't.
MICHAEL
Frank, Lloyd's nursing a big grudge.
Against you. And he happens to
spread so thin he's about to rip.
FRANK
What?
MICHAEL
I did some digging. He's lost his
shirt in real estate, and he's in
big trouble....
In the hallway, the phone's been ringing. Frank answers it
and we hear one end of a muffled conversation. A beat,
then Frank returns. He's totally shaken.
FRANK
He just got another one. The most
expensive grader I own.
Frank sinks onto the sofa, a beaten man.
FRANK
Without that piece, I'm paralyzed.
Finished.
MICHAEL
No you're not, Frank. Not yet.
CUT TO
EXT. EXCAVATION SITE - DAY
The Trans Am pulls slowly down a dirt road somewhere near
the excavation site that opened the show. Michael pulls to
a stop.
INT. TRANS AM - DAY
as Michael surveys the surrounding countryside.
MICHAEL
The guard Frank hired to replace Joe
was checking out another site...
didn't see a thing.
K.I.T.T.
It doesn't appear there's much to
see....
MICHAEL
Hold on....
EXT. TRANS AM - DAY
Michael jumps out of the car, walks down the road, carefully
examining the road. He stops over a deeply embedded tire
track. He turns to K.I.T.T., whose surveillance lights are
flashing.
MICHAEL
Kitt, check out these tire tracks
...they're fresh.
Michael walks back to the Trans Am, opens the door, and
sits down.
ANGLE ON MICHAEL
waiting for K.I.T.T.'s response. In a second, it comes:
K.I.T.T.
Michael, I've found something rather
interesting....
MICHAEL
What is it?
K.I.T.T.
Silicon dioxide in the tracks....
MICHAEL
Silicon dioxide. You mean sand?
(impatiently)
In case you haven't noticed, buddy,
we're in the middle of a desert.
K.I.T.T.
If you'd let me continue...I've also
detected a miniscule amount of horiz-
onthal onium...better known as echino
cactus...which only grows in one small
section of the state: The Silverbell
Mountains a few miles west of our
present location.
Michael slams the door shut, fires up the Trans Am.
MICHAEL
And if that's where the truck came
from, that's probably where it
went....
K.I.T.T.
A logical conclusion...so much nicer
than one of your gastro-intestinal
responses....
MICHAEL
Yeah, but not nearly as fun.
As the Trans Am spins in the dust and takes off, we:
CUT TO
EXT. DESERT - DAY
A stretch of open desert, near a range of foothills. The
Trans Am races across the desert floor, kicking up a plume
of dust behind it.
INT. TRANS AM - DAY
as Michael steers down the narrow, dusty road.
MICHAEL
You sure you know where we're going?
K.I.T.T.
Of course. The flora and fauna of
an area can be read like a road map.
MICHAEL
Then keep reading, pal, 'cuz I'm
lost.
K.I.T.T.
Michael, my ultraphonic analyzer is
detecting an extraordinary amount of
iron, with smaller amounts of
carbon, manganese, coal....
MICHAEL
Speak English....
K.I.T.T.
Steel. At approximately forty-
seven degrees north by northwest.
MICHAEL
Aye, aye, captain.
Michael takes a sharp right turn up an even smaller road,
leading into the hills. As he does:
CUT TO
EXT. QUARRY - DAY
An abandoned quarry pit, with a large warehouse-type
building which stands on the edge of the pit. At the front
of the building, we should see a pair of sliding double
doors. The Trans Am roars down the road and parks in front
of the warehouse.
ON MICHAEL
as he gets out of the Trans Am and moves to the double
doors. They're locked, so Michael moves to one of the
windows further down the wall, and peers inside. He lets
out a long, low whistle, as he sees:
INT. WAREHOUSE - DAY
A nice collection (as much as our money can buy) of heavy
equipment.
BACK TO MICHAEL
as we hear K.I.T.T.:
K.I.T.T.
My sensors indicate a vehicle
approaching...approximately a
quarter of a mile away.
Michael hustles over and jumps into the car.
INT. TRANS AM
as Michael fires it up, quickly drives to the rear of the
warehouse.
K.I.T.T.
Michael, it would be wiser to use
this time to effect a strategic
departure.
(beat)
In more contemporary terms...split!
MICHAEL
Sit tight, Kitt. I want to see
who's behind this operation.
K.I.T.T.
We could always observe from a
distance.
(beat)
Too late...the vehicle is directly
in front of the warehouse.
CUT TO
EXT. WAREHOUSE - DAY
as Sam and Junior jump out of a red and white pickup truck
with Newell's name on the side. They both disappear inside
the warehouse. As they do:
CUT TO
EXT. REAR OF WAREHOUSE - DAY
as Michael starts to get out of the Trans Am.
MICHAEL
I'm going to have a look around
front.
Just then, we hear the pulsing growl of diesel engines
firing up. Michael stops, listens.
MICHAEL
What's that?
K.I.T.T.
I believe it's two D8 tractors...
and they're coming this way.
MICHAEL
This way? There's no door back
here....
K.I.T.T.
I don't think that matters...Michael,
get in here...quickly!
The sound of the tractors grows louder. Michael leaps for
K.I.T.T., just as the two tractors come barreling through
the rear wall of the warehouse.
INT. TRANS AM - ON MICHAEL
as the big tractors loom over him, their blades smashing
into K.I.T.T. and pushing the Trans Am toward the edge of
the quarry.
MICHAEL
Come on, Kitt...let's go!
K.I.T.T.
I'm afraid that's out of the question,
Michael.
EXT. TRANS AM - DAY
as the tractors push it over the edge and into the quarry
pit, skidding backwards down the walls of the pit to the
bottom.
ANGLE - CLOSE ON THE TRANS AM
Michael, knocked dizzy by the fall, struggles to gain
consciousness. As he lifts his head and looks through the
windshield, he sees:
MICHAEL'S POINT OF VIEW - THE TRACTORS
pushing an avalanche of dirt into the quarry. In an
instant, the Trans Am is buried under tons of dirt. As
the screen goes black, we:
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
EXT. QUARRY - DAY
K.I.T.T. is nowhere to be seen, buried under a tremendous
mound of earth. Sam and Junior gaze down from the edge of
the pit, then get into their pickup and leave.
INT. K.I.T.T. - DAY
But it looks like night, pitch-dark night. Michael is lit
only by the faint glow of K.I.T.T.'s dash.
MICHAEL
Give me a systems check, Kitt. Is
everything functioning?
K.I.T.T.
It's hard to tell, Michael. My
systems have never gone underground
before.
MICHAEL
Neither have mine, and I don't like it.
What's our depth?
On K.I.T.T.'s monitor screens, sonar waves start to measure
the quarry's depth. Then they begin to bounce back and
forth, running into each other, a jumbled mess.
K.I.T.T.
The granite composition of the soil
around us has rendered my sonar use-
less. To paraphrase, everything is
not functioning.
MICHAEL
So we could be five feet under or
fifty. How much air have we got in
here, Kitt?
K.I.T.T.
One hour existing with a four-hour
reserve.
MICHAEL
There's not much time. We've got only
one chance -- April's new gadget.
K.I.T.T.
I don't believe the Trajectory Guide
was designed with excavation in mind.
MICHAEL
And I wasn't designed with being
buried alive in mind, pal.
ANGLE TO INCLUDE THE DASH
as Michael presses another button and the Trajectory Guide
appears on the screens. It's a ninety degree protractor
with K.I.T.T. at its vertex. Michael maneuvers the button
until it reads "60 degrees."
MICHAEL
Keep your microchips crossed.
He pauses, then he hits turbo boost. K.I.T.T. begins to
shake -- the lights on the dash flicker -- but nothing
happens. K.I.T.T. goes nowhere.
K.I.T.T.
There does not appear to be enough
oxygen to achieve combustion for
turbo boost.
MICHAEL
What if we tap into the reserve
supply?
K.I.T.T.
I can't do that, Michael. In the
event the Trajectory should fail, you
would not have enough oxygen left
to survive.
MICHAEL
If we don't get out of here, that
five hour's worth'll go pretty fast,
anyway.
K.I.T.T.
I cannot willingly endanger human life,
Michael. You know that.
MICHAEL
I'm already in danger, Kitt. You know
that.
K.I.T.T.
I must protest this action....
MICHAEL
Save your breath, pal -- we're going to
need it.
Michael takes a deep breath, holds it -- then hits the
turbo boost. The car shakes violently -- the lights on the
panel flicker. Nothing is happening.
ANGLE ON MICHAEL
holding his breath, tense, the shaking continues.
ANOTHER ANGLE TO INCLUDE THE DASH
as Michael punches up an oxygen reading, depleting rapidly.
CLOSE ON MICHAEL
beginning to strain for breath, sweat pouring down his face,
the darkness beginning to close in. Suddenly....
EXT. QUARRY PIT - DAY
The mound of earth explodes and K.I.T.T. flies up. The car
barely clears the sheer granite wall and comes to a stop by
the bulldozers.
INT. K.I.T.T. - DAY
As the car, covered with dirt, settles, and K.I.T.T. springs
open the doors. Michael gasps for air, taking it in huge
gulps.
K.I.T.T.
Michael, are you all right?
MICHAEL
Yeah...good job, Kitt.
K.I.T.T.
As a machine, I believe I'm quite
fortunate not to have your human
dependency upon oxygen for survival.
MICHAEL
As a human, I'm pretty lucky to have
a machine like you for a friend.
This seems to take K.I.T.T. aback. It takes a beat for
him to respond.
K.I.T.T.
Thank you, Michael.
(beat)
By the way, that pickup truck...my
sensors indicate it's still on a road
east of us, moving away at a rapid
rate.
MICHAEL
Yeah? Well, let's head 'em off at
the pass.
Michael shuts the door, starts K.I.T.T. up, hits the
"Pursuit Mode" button on the dash. K.I.T.T. lurches and
almost stalls out.
MICHAEL
What's wrong?
K.I.T.T.
I'm not certain.
Then K.I.T.T.'s engines begin to purr normally. K.I.T.T.
reaches Pursuit Mode speed.
K.I.T.T.
Apparently a temporary dysfunction.
VARIOUS ANGLES - THE CHASE
K.I.T.T. picks up amazing speed -- quickly closing the gap
over the desert roads. On a rise we see the pickup truck.
K.I.T.T. is still sufficiently behind it, however, so Sam
and Junior do not see the Trans Am.
INT. K.I.T.T. - DAY
The speedometer reads "125...130...135..."; then, oddly, it
begins to read "135...130...125...."
MICHAEL
We're losing them!
K.I.T.T.
My diagnostic scanner indicates a
plethora of mechanical malfunctions.
In the current vernacular: I'm
trashed.
Michael watches, frustrated, as the pickup truck heads down
the road.
MICHAEL
Can you catch the license plate?
K.I.T.T.
776 GFE.
MICHAEL
Run a DMV check.
A beat, then:
K.I.T.T.
According to the information in the
Arizona Department of Motor Vehicles,
that truck is registered to two
parties...Newell Construction and
Lloyd Newell.
On Michael's reaction, we:
CUT TO
EXT. FOUNDATION SEMI ON THE MOVE - DAY
K.I.T.T. goes up the ramp and into the semi.
INT. SEMI - DAY
As Michael climbs out of the car, April hurries up, staring
at K.I.T.T. He's dirty, dusty -- a wreck. So, for that
matter, is Michael. April only has eyes for K.I.T.T.
APRIL
What in the world....
MICHAEL
April!
April spins angrily to face Michael.
APRIL
I don't want excuses, stories or
explanations....
Michael grabs April and gives her a big hug. She backs
away, flustered and embarrassed.
APRIL
Michael, what...why...I mean....
MICHAEL
I just wanted to thank you for saving
our skins. You and your Trajectory
Guide....
K.I.T.T.
And the chemical analyzer.
April eyes Michael unsurely, trying to determine whether or
not there's a punchline coming.
APRIL
He'll never thank me for that.
MICHAEL
Oh, you're wrong. We couldn't have
found the stolen D8s without the
chemical analyzer. I love it. I
want Kitt to use it from now on.
You'll never hear me say another
bad word about it.
APRIL
I'll believe it when I see it.
K.I.T.T.
He appears to be telling the truth,
April. I detect no change in blood
pressure, pulse, breathing or per-
spiration....
April glances questioningly at Michael. He grins, pats
K.I.T.T.'s hood.
MICHAEL
Love it.
And he heads toward the semi's inner quarters. We hold on
April's bemused expression as we:
CUT TO
EXT. TULLEY'S BAR - DAY
Michael parks the newly cleaned Trans Am and heads inside.
INT. TULLEY'S BAR - DAY
Michael enters, and spots Newell, sitting at a table across
the room. Enroute to Newell, he passes Sam and Junior, who
are kibitzing with Mary Beth at the bar. Seeing Michael,
they're shocked, dismayed.
ANGLE ON NEWELL'S TABLE
as Michael sits beside him, lounging comfortably.
MICHAEL
Well, Newell, I've got some good
news and bad news for you.
Newell looks up at him, annoyed, trying to remain casual.
NEWELL
That a fact?
MICHAEL
The good news is I found a warehouse
full of stolen equipment. I figure
some of it could be yours.
NEWELL
I'm mighty pleased to hear that.
MICHAEL
The bad news is someone tried to
kill me out there. Someone driving
one of your trucks.
NEWELL
One of my trucks? That's impossible.
MICHAEL
I've got the license plate and a DMV
identification.
Newell stares at Michael, stunned. He shakes his head.
In the b.g., we see Sam and Junior watching this exchange.
NEWELL
Then it was stolen. It had to be.
MICHAEL
That's what Frank would say. He thinks
you're an honest man.
This enrages Newell and he jumps to his feet, collaring
Michael and nearly pulling him out of his chair. He spits
out his words in a soft, menacing voice that only Michael
can hear.
NEWELL
You ain't lived long enough to sit
there an judge me and Frank Gunderson,
kid. We may not see eye to eye, but
I'd stop breathin' before I'd steal
a penny from him. Six months ago, he
was gonna lose everything. The bank
was takin' over his house and just
like you, they thought I'd hate him
enough to help 'em do it. You
think I'd lend a hand in takin'
away everything a man's worked for
all his life? No. I put up the
money and the bank didn't foreclose
-- and I did it because he's a man,
kid -- and that's something plenty
rare in this world.
He releases Michael, points a finger at him.
NEWELL
You tell him any of this and I'll
kill you myself.
WIDER ANGLE
as behind Michael and Newell, Sam and Junior make a decision
and approach to try to hustle Michael toward the door.
SAM
C'mon, fella, we don't want any trouble.
NEWELL
Let him go, Sam.
MICHAEL
Hold on, boys, I'm not finished
talking....
They're not listening. A scuffle develops as they pull
Michael across the room. Michael breaks free, swings on
Sam, decks him, then finds himself facing Junior who's
holding a chair. A second later, Sam picks himself up
and joins Junior.
ANOTHER ANGLE
as Frank enters the bar, sees the two-on-one in progress
and hurries to Michael's aid. Across the room, Newell sees
Frank joining the crowd and heads for him.
VARIOUS ANGLES ON THE FIGHT
as Michael takes on Sam and Junior and neatly dispatches
them. Meanwhile, Frank and Newell are circling each other
like two old grizzlies. Neither's throwing a punch, but
they look like they're ready to. Suddenly, Frank lunges
for Newell, misses him. Newell throws a blow that whistles
past Frank's ear. They grab each other and stagger around
the floor, knocking over tables and chairs, but never really
hurting each other. Before they're able to do that,
Michael's prying them apart.
ON MICHAEL
standing between the huffing, wheezing middle-aged men.
MICHAEL
All right...knock it off. You've
been fighting long enough.
Frank and Newell stare warily at each other.
NEWELL
Look at you -- wheezing and puffing
like an old goat.
FRANK
Look who's talking. You're lucky
the kid broke us up.
MICHAEL
I broke it up because I want you
guys talking. Not fighting.
(beat)
Whether you know it or not, I think
you need each other.
Frank and Newell stare at Michael, confused, as we:
CUT TO
EXT. FRANK'S HOUSE - DAY
The Trans Am's parked among several cars in front of Frank's
house. Michael and Newell wait as Frank starts to unlock
the front door, finds it open.
INT. FRANK'S HOUSE - DAY
as Michael, Frank and Newell step into a disaster that used
to be Frank's living room. The remnants of a party are
everywhere -- largely empty food bowls, empty, crushed beer
and soda cans, the furniture in a state of disarray. There
are a few stragglers who stare at Frank, exchange looks
that say they'd better leave. Rock music still blasts from
the stereo.
NEW ANGLE
as a tall, good-looking man who we'll learn is Vance Burke
steps into the living room, enroute to the front door. He
and Frank stare at each other -- then Burke grins, grabs a
coat off the couch and pushes past Newell, heading out of
the house.
ANGLE ON MICHAEL, FRANK AND NEWELL
We see that Newell almost feels Frank's embarrassment,
humiliation. He speaks with uncharacteristic kindness.
NEWELL
Maybe we better come back another
time....
Frank pushes away from Michael and Newell, yelling:
FRANK
Lucy!
He heads for the stereo, snaps it off as Lucy enters the
room, wearing a pretty suit. She's obviously been drinking;
seeing Frank at the stereo angers her.
LUCY
What do you think you're doing?
FRANK
I'm coming home from work. What the
hell are you doing?
LUCY
I was having a party.
The few remaining guests beat a hasty retreat. Frank slams
the door behind them.
FRANK
Without telling me?
LUCY
I told you several times. You
weren't interested. You never are.
Frank looks around his demolished living room, aims a sturdy
kick sending a plastic dip bowl across the room.
FRANK
This is my house!
LUCY
It's mine, too. And those were my
friends.
FRANK
Friends!
LUCY
That's right, Frank. You just never
wanted to meet any of them. Ever.
I got tired of waiting.
(beat)
You don't like the way the house looks?
You clean it up!
And she turns and runs out of the room, slamming a door
behind her. Frank glares after her, then ashamedly over
at Michael and Newell. Newell comes to the rescue.
NEWELL
You got a beer in this dump?
Frank aims his glare at Newell and the anger seems to flow
out of him. Nodding, he moves toward the kitchen as we:
CUT TO
INT. KITCHEN - DAY
where we find Michael and Newell sitting around the kitchen
table while Frank paces, occasionally tilting his head as
if listening for sounds from Lucy in the other room.
MICHAEL
Sure, we got some of the equipment
back. But we don't have the guys
who stole it.
NEWELL
You give me half an hour in the yard
with my crew and we'll find out who's
been using my truck. Guaranteed.
FRANK
Oh, stop puffin', Newell. It ain't
that easy.
Newell starts to retort, but Michael's faster.
MICHAEL
There's more to this operation than
the guys that're doing the leg work.
We need whoever's pulling the strings.
FRANK
You got a plan?
Michael nods.
MICHAEL
Somebody was sitting on that warehouse
figuring it was money in the bank. Now,
we've taken away his goods. He's going
to want to get his hands on some new
merchandise, soon.
(beat)
If we dangle some bait in front of
his nose, chances are he'll go for it.
NEWELL
What kind of bait you got in mind?
MICHAEL
A buyer, with a wad of money he's
willing to spend, and a piece of equip-
ment he wants real bad.
Frank and Newell look at each other, back to Michael.
FRANK
The equipment's no problem. Where're
we going to find a buyer?
Off Michael's knowing smile:
CUT TO
EXT. AUCTION YARD - DAY - CLOSE ON DEVON
A weekend auction for construction equipment being held in
a field that, surprisingly, looks somewhat like our
excavation site. Devon stands before a monstrous piece
of equipment, consulting an auction book. He shakes his
head and moves toward another piece of equipment.
ANOTHER ANGLE - WIDER
as we pull back to reveal the auction site. A dozen pros-
pective buyers, wearing everything from cowboy hats to
pin-stripped suits, check out the equipment. Devon looks
very demure and very wealthy by comparison. In the b.g.,
eyes locked on Devon, are Sam and Junior.
ANGLE FOLLOWING DEVON
as he moves to another piece of equipment. He studies his
booklet again, jots down some notes. As he does, we hear:
SAM'S VOICE
That's a mighty nice piece of
equipment.
Devon turns to Sam, nods.
DEVON
Yes. The opening bid is also nicely
overpriced.
SAM
They get big money at these auctions.
DEVON
Not from me, they don't. But I need
these machines....
He starts to move away as Sam and Junior exchange a look,
then Sam moves in close to Devon.
SAM
Of course, if you got the right
contacts, you can get the right
prices....
DEVON
Unfortunately, I'm from out of town.
SAM
I could tell. Look, maybe I could
help you out....
As Devon and Sam talk, we go to:
EXT. TRANS AM - DAY
parked on a hill overlooking the auction site, invisible
from below.
INT. TRANS AM - DAY
as Michael watches Devon via projection on K.I.T.T.'s
screens.
K.I.T.T.
Michael, Devon's respiration rate
is increasing regularly, as is the
excretion of water through his pores.
Despite my knowledge of his habits --
Devon appears to be lying.
MICHAEL
We call it acting, Kitt.
K.I.T.T.
I've analyzed performers before,
Michael, and they display none of
these chemical reactions.
MICHAEL
That's because they feel good about
what they're doing. Devon happens
to be a lousy liar.
K.I.T.T.
But a very good actor.
Michael grins and we angle to the screens. There's a moment
of intense discussion between Sam and Devon, then Devon
nods. As Sam and Junior turn and walk off, Devon takes
out a handkerchief, wipes his brow.
ANGLE ON MICHAEL
noticing the signal.
MICHAEL
We got a nibble, pal. Let's go.
Michael fires up the Trans Am and heads down the hill.
ANOTHER ANGLE
as Sam and Junior pass by in their pickup; then, the
Trans Am slowly follows.
EXT. HIGHWAY - DAY - ON THE TRANS AM
passing a tiny gas station/motel. The pickup's parked by
a pay phone. We see Sam starting to dial.
INT. TRANS AM - DAY
Michael drives right by the pickup. To K.I.T.T.:
MICHAEL
Let's trace that call.
K.I.T.T.
Elementary. The number being dialed
is listed under a Vance Burke.
(beat)
The address is....
EXT. RESIDENTIAL STREET - DAY - CLOSE ON AN ADDRESS
reading: "2031 Casa Buena." Just as we see it, we hear:
K.I.T.T.'S VOICE
2031 Casa Buena.
ANOTHER ANGLE ON THE TRANS AM
cruising slowly past 2031 Casa Buena, stopping across the
street.
INT. TRANS AM - DAY
as Michael confirms the address.
K.I.T.T.
I'm sorry, Michael, but there appears
to be no Vance Burke on any of Frank's
or Newell's payrolls, past or present.
MICHAEL
They must be related somehow....
K.I.T.T.
A reasonable deduction, insofar as
Frank's car is heading this way.
MICHAEL
Frank?
Michael watches as the car rounds the corner, pulls to a
stop down the block from 2031. Out of the car steps Lucy.
She hurries to 2031, rings the bell. When Vance Burke
opens the door, they embrace.
MICHAEL
I think we've just discovered the
connection, pal.
We hold on his troubled reaction, as we:
FREEZE FRAME
AND
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
INT. FRANK'S LIVING ROOM - DAY - CLOSE ON LUCY
She's huddled on the sofa, struggling with her tears.
LUCY
So this is how you really make your
living, Mr. Knight...spying on
people.
ANGLE - WIDER TO REVEAL MICHAEL
standing behind Lucy. She whirls to face him, angry.
LUCY
How much is Frank paying you?
MICHAEL
Frank doesn't know anything about
this.
Lucy stares at Michael, surprised.
LUCY
Then what're you following me around
for? You going to blackmail me?
Michael sits beside Lucy, locks eyes with her.
MICHAEL
Your relationship with Burke wouldn't
be any of my business if it wasn't for
the fact that he's been stealing your
husband's equipment.
LUCY
(incredulous)
What are you...?
MICHAEL
What I want to know is how...and
why...you're helping him.
(beat)
Do you really hate Frank that much?
Lucy shakes her head, unable to clearly understand or
believe what Michael's saying. She doesn't speak for a
moment, then:
LUCY
Vance and I...we're friends, you know
...it's not much more than that. But,
stealing from Frank...no, that's
ridiculous.
MICHAEL
Is it? Vance Burke sells heavy equip-
ment. He knows Frank, but not that well
...his operation depended on knowing
everything he needed to know about
your husband's business. Things only
Frank...or you...would know.
Lucy is listening intently to what Michael's saying. She's
suddenly gone white. She shakes her head. Tears well up
in her eyes.
LUCY
Why would I steal from Frank? He
gave me all the money he made...
(laughing
bitterly)
Which is funny, 'cause all I ever
wanted was someone who loved me.
That's all....
Michael watches her carefully, believes what she's saying.
MICHAEL
(gently)
But Burke asked questions about the
business. About the equipment Frank
had...where he was using it...when....
Lucy shakes her head again, as though she can shut out
Michael's voice and the implication of his words.
MICHAEL
He may have been using you, Lucy....
LUCY
No! He loves me....
Michael hesitates, then rises, picks up a phone, hands it
to Lucy.
MICHAEL
There's only one way for you to be sure.
Call Burke, tell him Frank's going to
be moving his skip loader tonight down
390 toward Henderson. Tell him you'll
be free to see him. I'll be surprised
if he can get away.
Lucy hesitates before taking the phone, stares at Michael,
a mixture of defiance and fear in her eyes. Then, she
dials. As she does:
CUT TO
EXT. FRANK'S HOUSE - DAY
as Frank parks his truck in the driveway. He notices the
Trans Am parked across the street, heads into the house.
INT. FRANK'S HOUSE - LIVING ROOM - DAY
Lucy sits, the phone still in her lap, her eyes even more
red from crying. She jumps as the door slams. A second
later, Frank enters the living room. Seeming to notice
neither Lucy nor her tears, he heads directly for Michael.
FRANK
How'd we do? Any bites?
MICHAEL
A big one. I think we're all set for
tonight.
He glances at Lucy, who looks away. Frank ignores this ex-
change, grins and slaps Michael on the back.
FRANK
Well, this calls for a celebration.
Lucy, get us some beers.
Lucy turns to stare at Frank for a long beat. Michael jumps
in.
MICHAEL
Some other time.
Michael glances at Lucy, heads toward the front door. Frank
finally catches on that something's amiss.
FRANK
What's going on here?
LUCY
We've got to talk, Frank.
We move in close on them as we:
CUT TO
INT. TRANS AM - DAY
parked where we saw it before. Michael's watching the house
intently, as we hear:
K.I.T.T.
Michael, your palms are clammy, your
heart beat and blood pressure are
higher than normal and you haven't
moved for fifteen minutes. May I
inquire what sort of emotional
sensation you are experiencing?
MICHAEL
It's called anticipation, Kitt. I'm
waiting for an explosion.
K.I.T.T.
I detect no detonation device in this
area.
MICHAEL
It's a marriage blowing apart....
Through the windshield we see Frank come storming out of
his house, stomp toward his truck.
MICHAEL
And we better try to stop it.
Michael fires up the Trans Am.
EXT. STREET - DAY
As Frank's backing down his driveway, Michael roars up,
blocking his path. Michael jumps out, crosses to Frank.
FRANK
Get out of the way.
MICHAEL
Maybe you'd better hear the whole
story.
FRANK
I'm not in the mood. Now, move...
before I knock you across the street.
MICHAEL
Go ahead, if it'll make you feel better.
Frank stares at Michael for a beat, then nods his head,
defeated. He slumps back against the truck and we:
CUT TO
INT. TULLEY'S - DAY
Frank and Michael sit at one of the tables, nursing beers.
Frank's numb with pain, anger, confusion.
FRANK
The funny thing is, it doesn't really
hurt. It's just kind of numb.
MICHAEL
You're better off that way. It gives
you a chance to think.
FRANK
About what? This is out of the blue.
Everything's fine, then....
A beat as Michael thinks, then:
MICHAEL
Frank, what color does Lucy look
pretty in?
FRANK
Huh? I don't know....
MICHAEL
What's her favorite song? Her favorite
perfume? Where's she like to go when
you take her out to dinner?
Frank stares at Michael like he's lost his mind.
FRANK
How should I know? What're you
getting at?
MICHAEL
I'm saying that maybe it's not out
of the blue for Lucy. Maybe she's
been unhappy for a long time, and
you just haven't noticed.
Frank thinks for a moment, then shakes his head.
FRANK
She could've told me. We've been
married ten years -- she's had
plenty of time.
(angrily)
I never did anything to deserve this.
MICHAEL
Maybe that's the problem...maybe you
didn't do enough.
FRANK
Didn't do enough? I worked my
fingers to the bone making that
business grow, so that I could buy
her things -- the house, the pool
-- all the things she wanted.
(beat)
I was married before, when I was
young. She ran off with a guy that
had more money, so she could have
pretty things.
(beat)
I swore that wouldn't happen with
Lucy -- that I'd give her everything.
MICHAEL
Too bad that wasn't what she wanted,
huh, Frank?
(beat)
You know you can't turn your back on
a construction site, or the weeds'll
grow in and take over. Same thing
happens with a marriage.
Frank doesn't respond. He sips his beer thoughtfully.
Michael watches him, waiting for a response but none
comes. Finally, Michael checks his watch.
MICHAEL
It's about time to toss out our bait.
FRANK
I wouldn't miss this for anything.
He polishes off his beer, as Michael heads for the door
and hurries after him. He stops Michael at the door.
FRANK
You're okay, kid.
He pats Michael's shoulder, Michael grins and they exit.
EXT. EXCAVATION SITE - NIGHT
as Frank drives a big piece of equipment up the ramp of a
low bed truck. Michael and Newell quickly move to secure
the machine with chains. Frank jumps down to help.
FRANK
What makes you so sure Burke's gonna
hit this particular run?
MICHAEL
I'm gambling on his greed. It's been a
pretty strong motivation so far.
(smiling)
And I had some help.
NEWELL
What's this help you won't tell us
about?
MICHAEL
I'll explain everything if my plan
works.
(checking
his watch)
You guys ready?
Frank and Newell nod.
MICHAEL
Okay. You go ahead, I'll follow in
the car. Soon as we get some action,
I'll be there.
Frank makes a thumbs-up sign to Michael as he and Newell
climb into the big truck. Michael hops in the Trans Am and
the two vehicles start up and move into the night.
EXT. HIGHWAY - DAWN
as the lights from the low bed cut through early light of
morning. We can't see the Trans Am.
INT. TRANS AM - MORNING
Michael's hunched over the wheel of the Trans Am. Next to
him is a paper bag from which he removes a styrofoam cup
of coffee. As he takes off the top:
K.I.T.T.
The substance you are about to consume
contains enough benzosulfimide to
remove the enamel from your teeth,
Michael.
Michael peers into the coffee, then lowers it in disgust.
MICHAEL
Kitt, I'd like to make a deal with you.
K.I.T.T.
If you wish to protest my use of the
chemical analyzer, please remember
your comments to April in the semi.
MICHAEL
I remember. And I want you to feel
free to analyze tire tracks and cactus
and even evaluate human emotions in
terms of chemical imbalances -- but
please leave the state of my stomach
to me, okay?
K.I.T.T.
I'm merely trying to be helpful.
MICHAEL
I appreciate it, pal, but...don't.
Michael raises the coffee to his lips and drinks.
K.I.T.T.
Michael....
MICHAEL
I don't care if it's made of paint,
I'm drinking it.
K.I.T.T.
My sensors are picking up two addi-
tional vehicles coming onto the highway
from a sideroad.
MICHAEL
Where?
EXT. HIGHWAY - MORNING
as two vehicles, a high-rise Bronco we saw at the original
excavation site, and a red and white pickup, race to
overtake the truck.
ANGLE ON THE TRUCK
as the Bronco pulls directly in front of the truck, forcing
it to slow down. Frank blasts his air horn, but the Bronco
doesn't budge. Suddenly, the pickup pulls up alongside the
truck.
ON THE PICKUP
Inside, Sam and Junior are wearing ski masks. Junior's
riding shotgun and he leans out the window, a rifle in his
hand. He fires a warning shot over the hood of the truck,
waves the truck toward the side of the road. From his
perspective, he can't see Newell riding next to Frank.
IN THE TRUCK
Frank begins downshifting and pulling toward a wide turn-
about area off the road.
EXT. TRANS AM
racing toward the scene. K.I.T.T.'s scanner glowing red in
the early morning light.
EXT. TURNABOUT - DAY
The Bronco is parked in front of the truck. Sam and Junior
meet Frank as he opens the door and slowly climbs down.
Junior cranes his neck, half-seeing Newell inside the truck.
JUNIOR
Hey, buddy, you get out of there, too.
The other door opens and Newell climbs out, partially hidden
by the door until he hits the ground. He steps around the
front of the truck, and faces Sam and Junior. He glares at
them. They exchange a startled look.
NEWELL
Well, so Sam and Junior decide to go
into business for themselves. Shouldn't
have used my truck.
He moves toward Sam and Junior and Junior suddenly cocks
his rifle, aiming it at Newell with shaking hands. Sam
pulls off his mask, moves close to Junior, frightened.
SAM
What're you gonna do?
JUNIOR
I'm tired of him pushing us around.
And we don't need no witnesses....
SAM
Now, wait a minute....
Suddenly, we hear a blast from K.I.T.T.'s horn, loud enough
to split an eardrum. Sam and Junior turn to see:
ANGLE ON THE TRANS AM
bearing down on them at high speed. Michael hits the dirt,
slams on the brakes, and slides toward the thoroughly
frightened Sam and Junior who leap out of the way.
ANOTHER ANGLE
as Sam and Junior bolt, Newell and Frank are on them.
Newell knocks the rifle out of Junior's hand, then tackles
him when he tries to make a break for the desert, rips his
mask off. Frank's got Sam in a bear hug and he's squeezing
the air out of him. In a second, the younger man's lying
on the ground, gasping for breath. Michael jumps out of
the car, and Frank yells to him.
FRANK
We've got this under control. Get
the Bronco....
Which, by now, has headed down the long stretch of highway.
Michael jumps into K.I.T.T. and goes after the Bronco.
EXT. HIGHWAY - MORNING
as the Trans Am roars after the Bronco, steadily, easily
gaining on the truck.
ANGLE ON THE BRONCO
as Burke jockeys back and forth across the road, keeping
Michael from pulling even with him.
INT. TRANS AM
as Michael rides the Bronco's tail.
MICHAEL
He's not being very cooperative.
K.I.T.T.
Understandable, but not practical.
MICHAEL
Yeah. Well, I hate to do it, but
sometimes you've gotta go over
people's heads to get something
done....
Michael reaches for the dash, punches the turbo boost.
EXT. HIGHWAY
as the Trans Am lifts off the highway, sails over the top
of the Bronco, lands in front of it.
ON BURKE
Gasping with surprise, he nearly loses the Bronco as it
swerves wildly.
INT. TRANS AM
as Michael checks him out in the rearview mirror.
MICHAEL
Let's spread some oil on Mr. Burke's
troubled waters, buddy.
EXT. TRANS AM - CLOSE ON REAR FENDER
as oil shoot out of a series of jets.
ANGLE - WIDER
The Bronco hits the oil slick and goes into a spin, doing
a three sixty off into the flat desert land and coming to
rest in a shallow ditch.
EXT. TURNABOUT - DAY
Two State Troopers' cars are parked on the side of the
road. Sam and Junior sit in the back of one while Burke's
being handcuffed and hustled into the back of the other by
the two Troopers. Michael stands talking with Frank and
Newell.
ANGLE ON MICHAEL, FRANK AND NEWELL
Frank and Newell are laughing, feeling very good.
FRANK
It was just like twenty years ago....
NEWELL
Almost like it was.
FRANK
Me and Lloyd, we could've taken on a
bar full of truckers, and come out
on top....
NEWELL
Course, we were a lot younger then.
FRANK
We did make a helluva team, didn't we.
MICHAEL
You probably still would.
NEWELL
Yeah, maybe....
He and Newell look at the ground, almost afraid to think of
a reconciliation. Then, Frank looks up at Michael.
FRANK
Funny. I thought I'd want to tear
Burke limb from limb when I saw him.
Then, it just didn't seem worth it.
(beat)
You said you'd tell me who helped you
set this up.
MICHAEL
Lucy made a phone call...she talked
to Burke.
Frank stares at Michael, taking in his words.
FRANK
Lucy...?
Michael nods. Hold on Frank's face, and then:
FADE OUT
END OF ACT FOUR
TAG
FADE IN
EXT. FRANK'S HOUSE - DAY
A taxi's parked in front as the Trans Am pulls up. Michael
stops across the street. Frank's in the passenger seat.
INT. TRANS AM - DAY
Frank stares at the taxi. He doesn't make a move to get out.
FRANK
Maybe it's for the best.
MICHAEL
Whose best?
FRANK
Lucy's.
Through the window, we see the taxi driver come out the
front door with three big suitcases. Lucy, nicely dressed,
follows him. She turns, glances back sadly at the house,
then closes the door, heads for the taxi.
MICHAEL
She could have told Burke what was
happening, but she didn't. The
question is...why?
FRANK
More questions, huh?
MICHAEL
Yeah...but I've got a hunch you
already know the answer to this one.
Frank looks at Michael, hesitates for a second, then
extends his hand.
FRANK
You ever find a woman and need a
nice house built, you call me.
Michael shakes his hand, gives Frank the thumbs-up sign.
Frank gets out of the car.
EXT. FRANK'S HOUSE - DAY
as Frank walks to the taxi, opens the passenger door. Taken
completely by surprise, Lucy slowly gets out of the cab.
INT. TRANS AM - DAY
as we watch with Michael, through the windshield of the car.
Though we can't hear the words, it's clear what's being
said. Frank takes Lucy's hand, she shakes her head, tries
to hide her sudden tears. Frank says something to her and
she leans against him, burying her face against his chest.
He wraps his arms around her and holds her. Michael smiles
a big smile, starts the car.
K.I.T.T.
This is very intriguing....
MICHAEL
What's that?
K.I.T.T.
I'm picking up a radical fluctuation
in your friends' hormone levels very
similar to that experienced when they
were quite angry; and yet all indi-
cations are that they have formed a
reconciliation.
MICHAEL
I'm picking that up, too.
As Michael starts down the street:
K.I.T.T.
If the chemical reactions to both
happiness and anger are similar, how
do you know which you are experiencing?
I'm quite confused.
MICHAEL
All it proves is that you can't analyze
everything, pal...some things you've
got to just feel.
And we hold on Michael's smile, as we:
FADE OUT
THE END
