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. 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 -- Sam -- 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, Junior, and jumps
into the driver's seat.
ANGLE - WIDER
as Sam backs the tractor up, heads it toward a waiting
truck. A third man (whose face we don't see) 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 Sam and Junior 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 Glover, 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 Glover, without a possibility
of stopping. Another blast from the truck's horn and then
suddenly the road is bright as day as Sam switches on the
truck's 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.
It's a pain in the neck. Extremely well.
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. Sanderson?
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
Millions of dollars worth of equipment
is 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
Sanderson. 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
April, can't we do without the
chemical analyzer? I've done my
research and I should be able to
tell the difference between a
tractor and a taco.
K.I.T.T.
Quite frankly, Michael, you might be
better off ingesting the tractor.
APRIL
You may find that sooner or later,
it'll come in handy.
She crosses to the Trans Am, opens the door, sits in the
front seat of the Trans Am and punches a couple of buttons.
The vidscreen lights up.
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 leap tall buildings
in a single bound, huh?
April climbs out of the car.
APRIL
If that suits your purposes. If you
want to make me happy, just find
some semi-reasonable way to test it.
Michael gets into the car, smiles back at April.
MICHAEL
I'm hoping I won't have to.
CUT TO
EXT. SEMI - DAY - STOCK
as the Trans Am backs out of the semi, pulls away.
CUT TO
EXT. MOTEL - TUCSON - DAY
A simple, sunlit family stopover. 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 to eat
in the motel diner, are you?
MICHAEL
Hadn't thought about it. Why?
K.I.T.T.
Because its kitchen 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 Sanderson. 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 "Sanderson 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 SANDERSON
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 Sanderson.
FRANK
You found him. What do you want?
MICHAEL
My name's Michael Knight. Devon Miles,
from the Foundation sent me....
A beat as Frank evaluates this, decides it must be true,
then Frank lowers his shotgun, sets it by the front door.
FRANK
Sorry. Not exactly hospitable, I
guess.
(angrily)
But, I don't know who to trust anymore.
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. Sanderson answers it, leaving the door open as he
talks.
FRANK
Hello...hello, John. I know. Listen,
I can't finish the job without equip-
ment, 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 Glover. He's worked
for me for twenty years. He's a good
man. Anything you need to know,
he'll tell you. You can usually find
him down at Tulley's about now.
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 recognize as Junior and Sam.
Behind the bar, a pretty young woman in her twenties, Mary
Beth, washes glasses. Michael's sitting at the bar.
ANGLE ON THE BAR
as a good-looking smooth-talker, Vance Burke, moves in
beside Michael.
BURKE
Howdy. Saw you sittin' all alone.
Name's Vance Burke.
He shakes Michael's hand, gives him a business card.
INSERT - THE CARD
reading: VANCE BURKE, EQUIPMENT SALES
BACK TO SHOT
MICHAEL
Michael Knight. Just passing through.
BURKE
When I see a new face in town, I just
like to let 'em know I'm here in case
they need any big iron.
MICHAEL
Sorry. I'm not in the market.
BURKE
Keep the card anyway. You never know.
He slaps Michael on the back and exits the bar. Mary Beth
crosses to Michael.
MARY BETH
Get you anything else?
Behind them, the domino game rages, with raucous laughter,
shouting. Mary Beth grimaces, shakes her head. Michael
smiles sympathetically.
MICHAEL
Maybe you could help me. I'm
looking for Joe Glover, thought
he'd be here.
MARY BETH
He was, 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 Sanderson.
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.
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 Sanderson knows where
he's working, the rigs he's running,
the guard schedule...everything.
MICHAEL
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 home 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 Sanderson'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 Newald. Three years ago
they dissolved their partnership,
and Sanderson's been working by
himself ever since.
MICHAEL
A silver anniversary and then they
split up. What's Newald 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 Newald finally split
up?
FRANK
Simple. Newald 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, Newald
remembered another. It got real
sticky...
(frowning)
Newald even started talking about how
I'd cheated him. That's died down now,
but Newald'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?
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
tries the knob -- the door opens a crack.
MICHAEL
Joe? Joe Glover?
No answer. Michael pushes the door open, enters the cottage.
INT. COTTAGE - NIGHT
where we see Joe Glover 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.
MICHAEL
Oh, no....
Something O.S. catches Michael's eye. He crosses to a
couch not far from the body, kneels and retrieves some-
thing from beneath it. He holds the thing up and we
recognize the small pillbox that hung around Joe's neck.
The chain's broken but the pills are intact. Michael
encloses the pillbox in his fist, turns back to Joe, and
we hold on Michael staring at the lifeless body as we:
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
OMITTED
EXT. ROAD - DAY - ON THE TRANS AM - STOCK
as the Trans Am moves slowly toward the outskirts of the
city.
MICHAEL'S VOICE
I don't know, buddy. Something just
doesn't wash.
INT. TRANS AM - DAY
Michael's lost in thought, fingering Joe Glover's pillbox
on its broken chain.
K.I.T.T.
The medical examiner's report states
the cause of Joe Glover's death as
cardiac arrest.
MICHAEL
I know, no sign of a struggle, nothing
out of the ordinary. Very convenient.
What about the pills?
Scientific figures and data flash through the chemical
analyzer, appearing on K.I.T.T.'s screens.
K.I.T.T.
Glyceryle trinitrate, or a form of
nitroglycerine, commonly used as a
vasodilator.
MICHAEL
The kind of thing you'd keep real
close if you had a heart condition
...maybe even wear around your neck
in case of an attack, right?
K.I.T.T.
Most certainly.
MICHAEL
But the chain that held them was
broken and somehow Joe's pills ended
up all the way across the room when
he was having an attack. Sounds
like somebody could've kept Joe from
getting to them, doesn't it?
K.I.T.T.
That doesn't necessarily follow,
Michael.
MICHAEL
Maybe, but something in my bones
tells me I'm right.
More visuals flash on K.I.T.T.'s screens -- anatomy diagrams
of human bone structures.
K.I.T.T.
The ultraphonic analyzer indicates
there's absolutely nothing unusual
about your bones.
MICHAEL
I'm talking about a feeling, Kitt.
A gut reaction.
More visuals, this time of internal organs, intestinal
systems.
K.I.T.T.
And I'm showing no unusual activity
in your gastro-intestinal system.
MICHAEL
Okay, okay, let's drop it. We'll
just follow the only lead we've got
-- to Lloyd Newald's.
As Michael steps up the speed, we:
CUT TO
EXT. NEWALD 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 Newald.
JUNIOR
This ain't Mr. Newald's office...and
you're trespassing.
Just then, Lloyd Newald arrives. Like Frank, he's in his
fifties, tanned, muscular. He nods at Sam and Junior.
NEWALD
I'll take care of this, boys.
Sam and Junior reluctantly back off, but don't leave.
Newald turns to Michael.
NEWALD
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 Newald.
MICHAEL
Then I'll get right to the point...
I'm trying to find out what's been
happening to Frank Sanderson's
equipment.
NEWALD
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....
NEWALD
I'll give you some: Sanderson's not
the only guy around here losing
equipment -- lots of guys are.
Practically everybody gets hit once
in a while. I lost two pieces in the
last six months, and I've got the
police reports to prove it.
MICHAEL
Frank's lost over twice that many.
And whoever's hitting him knows his
operation inside and out.
Newald stares hard at Michael. He's getting pissed.
NEWALD
Meaning me, right? Is that what
Sanderson 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 Newald the paint on his fingers.
MICHAEL
Sanderson lost a D8 last week...a
lot like the one you just painted.
NEWALD
(flaring)
That's his problem not mine. I'd
suggest you and Sanderson get that
straight. Real soon...
(beat)
...or you're both gonna have some
real trouble on your hands.
With that, Newald wheels and stomps away, gesturing to Sam
and Junior:
NEWALD
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 Sanderson, 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...
(giggles)
I can't...you know that....
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 for the
party, not...
(regaining
her composure)
Frank's still at the site....he's
always at a site somewhere...
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. Sanderson....
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. Sanderson, 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.
Lucy doesn't like the accuracy of Michael's implication,
changes the subject.
LUCY
What'd you want to talk to Frank about,
anyway?
MICHAEL
Bad news, I'm afraid.
(beat)
Joe Glover died last night. I think
he was murdered.
The news stuns Lucy, shakes her up. Off her reaction, we:
CUT TO
INT. FRANK'S HOUSE - NIGHT
Frank and Michael are in the living room. Michael paces the
floor. Frank is clearly disturbed.
FRANK
Kill Joe...I just can't believe it.
MICHAEL
Someone must've been afraid Joe
recognized him the night your place
was hit...someone Joe could identify.
FRANK
I know what you're thinking. Newald.
(beat)
There's a part of me just can't believe
he could be involved...
(beat)
And there's a part of me knows he could.
It's that damn pride of his....
MICHAEL
Joe worked for you and Newald nearly
twenty years. Developed loyalties...
to both of you.
FRANK
You think he was protecting Newald?
MICHAEL
Maybe....
Frank thinks for a moment, then shakes his head.
FRANK
I don't know, Michael...I really don't.
MICHAEL
Frank, Newald'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.
MICHAEL
You're not finished yet, Frank.
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, K.I.T.T.
following behind him like a loyal puppy, Michael 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 much 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
Well, let's check it out.
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 backs away from the warehouse, toward the car.
EXT. RED AND WHITE PICKUP TRUCK - DAY
moving toward the warehouse.
INT. RED AND WHITE PICKUP TRUCK
Sam's at the wheel. Junior's gaze is on the warehouse.
JUNIOR
Looks like we got company.
EXT. TRANS AM
as Michael fires it up, quickly drives to the rear of the
warehouse.
INT. TRANS AM
K.I.T.T.
Michael, it would be wiser to use
this time to effect a strategic
departure.
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 Newald'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.
It's impossible to tell. The granite
composition of the soil around us has
rendered my sonar useless.
MICHAEL
How much air have we got in here, Kitt?
K.I.T.T.
Twenty minutes, with a half-hour
reserve.
MICHAEL
Then we've only got 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 guide should
fail, you would not have enough
oxygen left to survive.
MICHAEL
I'm not going to survive sitting here
waiting for a miracle...let's go for
it.
K.I.T.T.
I cannot willingly endanger human life,
Michael. You know that.
MICHAEL
Yeah...well, if anyone asks, you can
blame it on me.
Michael 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. The supply is
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 stumbles out.
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.
MICHAEL
That pickup truck...any idea where
it is?
K.I.T.T.
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.
INT. TRUCK - ON SAM AND JUNIOR
too engrossed in making tracks to notice the Trans Am behind
them.
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.
To put it in your terms, Michael,
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.
Q17425.
MICHAEL
Run a DMV check.
A beat, then:
K.I.T.T.
According to the information in the
Arizona Motor Vehicles Division,
that truck is registered to
Lloyd Newald.
On Michael's reaction, we:
CUT TO
EXT. FOUNDATION SEMI ON THE MOVE - DAY
K.I.T.T. goes up 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.
Don't forget the ultraphonic 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. You'll never
hear me say another bad word about
it.
APRIL
I'll believe it when I see it.
MICHAEL
I mean it...I love that thing.
(pats K.I.T.T.'s
hood)
And you're the greatest.
(smiles)
So, if you could get Kitt ready to
roll as soon as possible. We've got
our first lead.
APRIL
As soon as possible? Look at Kitt.
How can you expect me....
MICHAEL
Like I said...you're the greatest.
I'm going to grab a shower. Fifteen
minutes?
Another smile and he heads toward the semi's inner quarters.
We hold on April's glare, 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 Newald, sitting at a table across
the room. Enroute to Newald, he passes Sam and Junior, who
are kibitzing with Mary Beth at the bar. They're shocked,
dismayed.
ANGLE ON SAM AND JUNIOR
Intercut as they warily watch the discussion between Michael
and Newald.
ANGLE ON NEWALD'S TABLE
as Michael crosses to the table, stands over Newald. The
older man glares up at Michael, nods curtly. Michael stares
back at him, barely controlling his anger.
MICHAEL
We've got a lot to talk about, Newald.
Newell looks up at him, annoyed.
NEWALD
I seriously doubt that.
MICHAEL
I think you'd better listen. Real
carefully...I just found a whole
collection of stolen equipment out
in the Silverbell Mountains.
Newald straightens up.
NEWALD
That a fact? I'll bet some of it's
mine....
MICHAEL
I seriously doubt that.
(beat)
Someone driving one of your trucks
tried to kill me out there.
NEWALD
One of my trucks? That's impossible!
MICHAEL
I've got the license plate and a MVD
identification.
NEWALD
Then it was stolen. It had to be.
MICHAEL
That's what Frank would say. He thinks
you're an honest man. Me...I'm not so
sure.
This enrages Newald and he jumps to his feet, collaring
Michael. He spits out his words in a soft, menacing
voice that only Michael can hear.
NEWALD
You ain't lived long enough to sit
there an judge me, kid. We may not
see eye to eye, but I'd stop breathin'
before I'd steal a penny from Frank
Sanderson...before I'd lend a hand in
taking away everything he's worked for
in his life.
(beat)
If he's nothing else, he's a man...and
something plenty rare in this world.
Newald releases Michael, sits down. Michael stands, staring
at him, and knowing beyond a shadow of a doubt he's telling
the truth.
ON SAM AND JUNIOR
not liking the turn the conversation between Newald and
Michael has taken.
SAM
They're talking too much. Let's get
that guy out of here.
Sam and Junior move quickly across the floor.
WIDER ANGLE
as the two men approach Michael from behind. Neither
Newald or Michael see them coming.
SAM
C'mon, fella, we don't want any
trouble.
NEWALD
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, Newald sees
Frank joining the crowd and heads for him.
VARIOUS ANGLES ON THE FIGHT
Michael takes on Sam and Junior and, with a minimum of
punches, neatly dispatches them. As he fights Frank and
Newald 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 Newald, misses him. Newald
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 across the floor,
prying them apart.
ON MICHAEL
standing between the huffing, wheezing middle-aged men.
MICHAEL
All right...knock it off.
Frank and Newald stare warily at each other.
NEWALD
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 guys are up the same creek.
Frank and Newald stare each other. They don't buy this for
a moment. Michael stands between them like a referee.
MICHAEL
Let's find a quiet place and try and
figure out how we can get you down.
Off Frank and Newald's distrustful looks:
CUT TO
EXT. FRANK'S HOUSE - DAY
The Trans Am's parked among several cars in front of Frank's
house. Michael and Newald wait as Frank starts to unlock
the front door, finds it open.
INT. FRANK'S HOUSE - LIVING ROOM - DAY
As Michael, Frank and Newald step into the living room, we
hear the sound of music coming from the backyard, and we
see a number of people, in bathing suits and summer clothes,
dancing and talking on the back lawn. As they stare, sur-
prised, we see:
VANCE BURKE
the guy Michael met in the bar. He comes in from the back-
yard, crosses toward the kitchen. He sees Frank, smiles.
Frank scowls.
FRANK
Burke...what're you doing here?
BURKE
Same thing as everyone else, Frank
...enjoying the party. Come on out....
Burke passes Frank, nods to Newald and Michael, disappears
into the kitchen. Michael and Newald exchange an uneasy
look.
NEWALD
Look, maybe we should've gone to my
place.
FRANK
My place is just fine.
(suddenly
yelling)
Lucy!
ANOTHER ANGLE TO INCLUDE LUCY
as she steps inside, hears Frank's voice and looks up,
obviously startled to see him.
LUCY
What are you doing home so early?
FRANK
This is my house. What are you
doing?
LUCY
I'm having a party. This is my house,
too.
Frank stares past Lucy at the party. Back to her:
FRANK
Without telling me?
LUCY
I mentioned it...lots of times. You
weren't interested. In the party,
or my friends....
FRANK
Friends? I've never seen any of them.
LUCY
Of course not, Frank. You never wanted
to meet any of them. Ever. I got
tired of waiting.
Lucy turns and runs outside, slamming the door behind her.
Frank glares after her, then ashamedly over at Michael and
Newald. Newald comes to the rescue.
NEWALD
You got a beer in this dump?
Frank glances back at the party, then nods and moves toward
the kitchen as we:
INT. KITCHEN - DAY
Frank, Newald and Michael are standing in the kitchen.
Newald and Frank are still uneasy in each other's presence,
staying to opposite sides of the room.
NEWALD
I said this to the kid, and I'll say
it to you, Frank...I don't like being
accused of stealing. Especially
behind my back....
FRANK
Funny thing. I never like being
accused of cheating...behind my back.
The two men glare at each other, each remembering past
hurts, past injustices. Newald finally turns to Michael.
NEWALD
You said you wanted to talk. About
what?
MICHAEL
Getting the rest of the equipment...
and the guys who stole it.
(beat)
I'm going to need you guys...working
together.
NEWALD
Look, I'm not particularly interested
in helping him.
FRANK
And I don't need the help.
NEWALD
You give me half an hour with my crew
and I'll find out who's been using my
truck. Guaranteed.
FRANK
Stop puffin', Newald. It's not that
easy.
Newald 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 ware-
house, figuring it was money in the
bank. Now, we've taken away his goods.
He's going to be real anxious 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.
NEWALD
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 Newald 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 excava-
tion site. Devon moves past the equipment, consulting an
auction book. He shakes his head.
ANOTHER ANGLE - WIDER
as we pull back to reveal the auction site. A dozen pros-
pective buyers, wearing everything from cowboy hats to
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. And the opening bid is mighty
inflated.
SAM
They get big money at these auctions.
DEVON
Not from me, I'm afraid. Which is a
disappointment, because I am in the
market for a decent skip grader.
He starts to move away as Sam and Junior exchange a look,
then Sam moves in close to Devon.
SAM
That's tough to find. Course, if you
got the right contacts, you can get
the right piece...at the right price.
DEVON
Unfortunately, I'm from out of town.
And I don't have time to shop around....
SAM
(beat)
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 the vidscreen.
K.I.T.T.
Michael, I hope you don't mind me
pointing this out, but Devon's res-
piration rate and heartbeat are
increasing, as is the secretion of
water through his pores...
(beat)
He appears to be lying.
MICHAEL
He's acting, pal. Sweaty palms and
butterflies are occupational hazards.
K.I.T.T.
I've scanned the area, and there don't
appear to be any type of lepidoptera
for miles. I'm afraid I don't under-
stand what they have to do with acting....
Michael glances at the dash, grits his teeth a little.
MICHAEL
(slightly
exasperated)
Look, Kitt....
K.I.T.T.
Oh, my...you're getting angry. I
never should have opened my voice
module about any of this.
MICHAEL
(too loudly)
Look, I'm not...
(catching
himself)
...mad. This just isn't the time
or the place....
Michael suddenly leans over the vidscreen.
ON THE SCREEN
As the conversation between Devon, Sam and Junior finishes,
and the two men walk off. Devon takes out a handkerchief,
wipes his brow. In the b.g., we see Sam cross to a pay
phone, begin to dial a number.
ANGLE ON MICHAEL
noticing the signal, and the call being placed.
MICHAEL
We got a nibble, pal. There's a
call going out. Trace it, Kitt.
ANGLE ON THE VIDSCREEN
as K.I.T.T. zooms in on the phone. We hear a series of
beeps, and a blur of digital numbers begin flashing on the
screen, finally falling into place like cherries on a
slot machine.
K.I.T.T.
Elementary. Though there is no
number listed, the address for this
number is....
CUT TO
OMITTED
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.
ANGLE ON THE TRANS AM
cruising slowly past a condo with 2031 clearly visible on
the front.
INT. TRANS AM - DAY
as Michael pulls over and parks across the street.
K.I.T.T.
Michael, I'm still not certain why
we're here. What are you looking for?
MICHAEL
A connection, Kitt. The final piece
in this puzzle.
Just then:
K.I.T.T.
Then this should be of interest. The
car heading this way...my monitors
indicate it belongs to Frank Sanderson.
MICHAEL
(surprised)
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
EXT. FRANK'S HOUSE - DAY
The Trans Am is parked across the street. We hear:
LUCY'S VOICE
So this is how you really make your
living, Mr. Knight...spying on people.
CUT TO
INT. FRANK'S HOUSE - LIVING ROOM - DAY - CLOSE ON LUCY
standing in the living room. Livid.
LUCY
How much is Frank paying you?
ANGLE - WIDER TO REVEAL MICHAEL
standing in front of Lucy.
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
Look, whatever's going on with Vance
and me is my business. But, to
think I'd steal from Frank...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.
(beat)
Vance loves me. And I've never told
him anything about Frank's business.
He never asked.
Michael watches her carefully, believes what she's saying.
MICHAEL
(gently)
But, you two had to arrange time
to be together...and that meant
discussing Frank's schedule...where
he was working, 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! I told you...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
19 toward Nogales. 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, still on the phone.
LUCY
No, I understand...it's okay.
Tomorrow night, maybe...okay...bye.
Lucy slowly hangs up the phone, avoiding Michael's look.
There's a long beat, then the front door opens and slams. A
second later, Frank enters the living room, heads directly
for Michael. He barely notices Lucy.
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
(delighted)
Well, this calls for a celebration.
Lucy, how about getting us something...?
Lucy looks at Frank for a long beat.
LUCY
Frank, we've got to talk. Right
now....
MICHAEL
I'm going to head down to Tulley's...
Catch you later, Frank.
Michael glances at Lucy, heads toward the front door. Frank
finally catches on that something's amiss.
FRANK
What's going on? Lucy...?
We move in close on them as we:
CUT TO
EXT. FRANK'S HOUSE - DAY
as Michael walks out of the house, crosses to the
Trans Am. Gets inside.
INT. TRANS AM - DAY
Michael just sits, staring at the house.
K.I.T.T.
Michael, at the risk of being too
inquisitive....
MICHAEL
What is it, Kitt?
K.I.T.T.
Well, now your palms are clammy, your
heartbeat, blood pressure and respira-
tion rate is up. Does this mean you're
lying? Or acting? Or...I'm terribly
confused.
MICHAEL
It's called anxiety, Kitt. I'm
waiting for an explosion.
K.I.T.T.
But, there's no detonating device in
the vicinity.
MICHAEL
Sure there is...a shaky marriage is
about to blow...sky high.
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
EXT. TULLEY'S BAR - DAY
The Trans Am parked in front of the bar, basically the
same place we saw it parked before. Again, the meter
shows "violation." And, again, the same meter maid
comes walking down the sidewalk, checking meters.
ANGLE ON THE METER MAID
as she spots the Trans Am, stops in her tracks. Almost
reluctantly, she checks the meter, sees the little red
flag. She starts to take out her ticket book, hesitates,
and instead, digs into her pocket and comes up with a
quarter. Looking both right and left, she steps up to
the meter, deposits the coin.
ANGLE - WIDER
Avoiding looking at K.I.T.T., our little meter maid turns
and briskly walks down the street. Hold on her, and then:
CUT TO
INT. TULLEY'S BAR - DAY
where we find Michael and Frank sitting at one of the tables.
Michael's got a coke, Frank's nursing a cup of coffee.
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
That maybe this didn't happen over-
night for Lucy. That 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, building the house,
putting in the pool...and this is
what I get.
(shaking
his head)
I was married before, when I was a
kid, to a woman who ran off with a
rancher rich enough to buy her every-
thing she wanted. With Lucy, I've
busted my back making sure she had
everything, and it still wasn't
enough.
MICHAEL
(gently)
It wasn't enough of what she really
wanted.
(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 to 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 Newald quickly move to secure
the machine with chains. Frank jumps down to help.
NEWALD
What makes you so sure Burke's gonna
hit this particular run?
MICHAEL
I'm not that sure. Call it an
educated guess.
(smiling)
Besides, I've got someone on the
inside....
FRANK
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 Newald 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 Newald
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 an ND 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 Newald 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 Newald inside the truck.
JUNIOR
Hey, buddy, you get out of there, too.
The other door opens and Newald 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.
NEWALD
Well, Sam and Junior decided to go
into business for themselves...
(with an edge)
That's gonna be the last dumb thing
you boys do....
SAM
Shut up....
Sam pulls off his mask and cocks his rifle, points it at
Newald with shaking hands. Junior looks at him, scared.
JUNIOR
Wait a minute...you said no more
killing. You said the old man was
it....
SAM
Yeah, well, now we've got two more
witnesses we don't need....
As they talk, the door to the Bronco opens and Burke leans
out.
BURKE
Let's go...move it!
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 as if out of nowhere.
Michael hits the dirt, slams on the brakes, and slides toward
the thoroughly frightened Sam and Junior who leap out of
the way.
ANGLE ON BURKE
as he slams the door, fires up the Bronco and roars down
the highway.
ANOTHER ANGLE
as Sam and Junior bolt, Newald and Frank are on them.
Newald knocks the rifle out of Junior's hand, then tackles
him when he tries to make a break for the desert. 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
Burke....
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 shoots 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.
ON MICHAEL
as he jumps out of the Trans Am, hustles over to the Bronco
just as Burke jumps out and tries to run for it. Michael
tackles him, they roll in the dirt and, with two solid
punches, Burke's under control. As Michael picks him up
and props him against the Bronco, we:
FADE OUT
END OF ACT FOUR
TAG
FADE IN
EXT. STREET - DAY
as the Trans Am moves through traffic. Inside, we see
Michael and Frank.
INT. TRANS AM - DAY - MOVING
Frank's doing most of the talking, a smile occasionally
playing across his face.
FRANK
It was just like it was twenty years
ago...almost.
(smiling)
Me and Lloyd, we could've taken on
a bar full of truckers and come out
on top.
MICHAEL
I can believe it.
FRANK
'Course, we were younger then, but we
made a helluva team.
MICHAEL
(beat)
You probably still would.
Michael and Frank exchange a glance. Just as they do,
Michael pulls up in front of Frank's house.
OMITTED
EXT. FRANK'S HOUSE - DAY
A taxi's parked in front of the house.
INT. TRANS AM - DAY
Frank states 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
Frank, you asked who helpedme...
(beat)
Lucy did. She phoned Burke, and
helped set the whole thing up.
(another
beat)
She could've told him what was
happening, but she didn't. 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 still 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
