ACT ONE
FADE IN
EXT. STATE PRISON - DAY - ESTABLISHING
A gray, monolithic structure.
BREWSTER'S VOICE
Before this parole board renders
its decision, do you have anything
to say in your own behalf?
INT. STATE PRISON - HEARING ROOM - DAY
A three-man parole board is seated at one side of a hearing
table with its head officer, Brewster, in the middle.
Seated at a table, facing the parole board, is a prisoner in
his early forties, Peter McCord. Two guards stand on either
side of him. The only other two people in the room are
Phillip Hunt, a state official, a distinguished man in his
early fifties, and plainclothes officer, Rogers.
MC CORD
Yeah, I have something to say. I
don't want parole.
Brewster isn't used to this kind of response. He and Hunt
share a look.
BREWSTER
Mr. McCord, this is a prison, not a
hotel. You are eligible for parole.
When McCord sees Brewster make eye contact with Hunt again,
McCord turns to look at Hunt.
MC CORD
Who are you?
Hunt doesn't answer. McCord looks back at Brewster.
MC CORD
What's going on here? You ram through
a parole...this guy sits here nodding
like Solomon...I know my rights. You
can't force me to leave.
Brewster stares at McCord, then whispers something to each
of the other board members.
BREWSTER
Having been duly constituted and
authorized by the Department of
Corrections, this board grants
parole to Peter McCord.
McCord stands, outraged. He looks from Brewster to Hunt.
Then, in a flash, moves to a guard and punches him. The
guard recovers quickly and the other guard pulls his club.
BREWSTER
All right -- if that's the way you
want it, you've got it. Parole is
hereby revoked.
(to guards)
Get him out of here.
McCord is hustled out. Hunt is keenly disappointed.
HUNT
(to Rogers)
Get Devon Miles on the phone.
CUT TO
EXT. PRISON YARD - DAY
It is early morning. Armed guards keep watch on the walls
and in the yard. There are no prisoners in the exercise
yard. From O.S., we hear the sound of an approaching
vehicle.
ANGLE ON MAIN GATE
which swings open to admit a police van, its windows
covered with wire mesh. We follow the van as it pulls
forward and comes to a stop in the compound. Two guards
climb out of the cab, then move to open the doors.
One by one the prisoners, dressed in prison blue denim
shirts and jeans, climb out of the van. They are handcuffed
and shackled together. As the last prisoner bends his head
to duck out, we see that it is Michael Knight, a days growth
of beard on his face. As Michael steps down, we:
CUT TO
INT. PRISON - MC CORD'S CELL - DAY
Peter McCord is alone in the cell, reading a book. The
cell is more library than living space: stacks of books are
piled on the floor. Next to the bunk beds are magazine ads,
all featuring the same strikingly beautiful girl in her
early twenties, who we'll come to know as Lisa Martinson.
In the b.g. are sounds of men shouting, televisions playing,
radios blaring -- the cacophony of prison life. At the
sound of footsteps approaching, McCord looks up to see
Michael being escorted by Jeffries a prison guard. Michael
carries bedding and a packet of toiletries. Jeffries
unlocks the prison door and Michael steps in. Jeffries
slams the door shut, locks it, then moves off. Michael and
McCord eye one another.
MICHAEL
How you doin'?
McCord regards him.
MC CORD
I like it better alone. Every guy
they put in here wants to tell me his
life story. The names change but
they're all the same.
Michael shrugs, stows his gear.
MICHAEL
Yours too?
MC CORD
(a look)
Yeah.
And McCord goes back to his book. Michael throws his
bedding on the top bunk.
CUT TO
EXT. HIGHWAY - DAY - FOUNDATION SEMI
as it heads down a rural highway.
DEVON'S VOICE
There's not much time left. Is Kitt
ready?
INT. FOUNDATION SEMI - DAY
April is working intensely on K.I.T.T. Devon enters from
the private compartment, crosses to stand behind her.
APRIL
Almost.
(beat)
Devon, does anyone at the prison
besides the warden know about this?
DEVON
No.
K.I.T.T.
This sounds awfully dangerous.
APRIL
I agree. Is there another way to
accomplish it?
DEVON
Not according to Phillip Hunt. If
the prisoner in question isn't
released by noon tomorrow, a Minotaur
bomb will be detonated somewhere in
the heart of the city.
K.I.T.T.
According to my data, the Minotaur is
an extremely powerful variation of a
plastique explosive.
APRIL
And difficult to detect.
(beat)
Devon, if the threat was phoned in
anonymously, it could be a hoax.
DEVON
The bomb was stolen from a military
depot last week -- and the caller
described it in detail. It's no hoax.
K.I.T.T.
If I'm fully prepared, April, I'd
like to commence as soon as possible.
The thought of Michael alone in that
awful place is quite disconcerting.
APRIL
I've adjusted the thrust on turbo
boost and programmed everything you
should need. You're as prepared as
you're going to be.
DEVON
Bring him home safely, Kitt.
EXT. HIGHWAY - DAY
The ramp opens and K.I.T.T. backs out, driverless. He hits
the road, then passes the semi and heads up the highway.
ANGLE ON HIGHWAY
as K.I.T.T. roars past a hitch-hiker at the side of the
road. The guy waves his thumb at K.I.T.T., sees no one
behind the wheel, and gawks in disbelief. Off his
incredulous look:
CUT TO
INT. MC CORD'S CELL - DAY
Michael paces. McCord is lying on his bunk reading a book.
Michael walks over and gazes at the magazine pictures.
MICHAEL
Great legs.
MC CORD
Get away from there.
MICHAEL
You got 'em up on the wall, looks
like public domain to me....
McCord gets off the bed, faces Michael.
MC CORD
It's not. Now move it...!
JEFFRIES' VOICE
Warden wants to see you.
NEW ANGLE TO INCLUDE JEFFRIES
who unlocks the cell door.
MC CORD
Who?
JEFFRIES
Both of you. Let's go.
MC CORD
I don't want to see the warden.
JEFFRIES
It's not an invitation, McCord.
Michael exits the cell. McCord reluctantly follows.
EXT. PRISON YARD - DAY
Michael, McCord and Jeffries emerge from the cellblock and
begin to walk across the open yard.
ANGLE ON WATCH TOWER
A guard peers outside the compound. He does a double take
when he sees the driverless K.I.T.T. coming up the road
to the prison. The guard hesitates, starts to call for
help, stops, looks back at the car, making sure he's seeing
what it is he thinks he's seeing.
ANGLE ON MICHAEL, MC CORD AND JEFFRIES
They are about halfway across the yard.
ANGLE ON K.I.T.T.
suddenly he pours it on, racing for the wall at breakneck
speed. The guard in the watch tower is surprised at this
obviously suicidal move, until....
ANGLE WITH K.I.T.T.
as he turbo-boosts up, up and over the prison wall.
EXT. PRISON YARD - DAY - ANGLE ON MICHAEL, MC CORD AND
JEFFRIES
K.I.T.T. lands and locks his brakes, skidding to a stop.
Jeffries snaps out of his shock long enough to dive out of
the way. McCord stares at the black Trans Am.
MICHAEL
Get in!
MC CORD
What?! No way I'm gonna ---
K.I.T.T. springs open his doors and Michael pushes McCord
inside. By the time Michael dives in the driver's side,
the guards begin to open fire. Bullets ricochet off.
INT. K.I.T.T. - DAY
McCord tries desperately to get out, but K.I.T.T.'s door
is locked tight. The guards continue to fire at the car.
Michael slams K.I.T.T. into gear.
MICHAEL
Kitt, let's go!
K.I.T.T.
Michael, even with the adjusted
turbo boost, I may need a longer
approach to clear the wall.
McCord looks around for the voice, confused by the rapid-
fire series of events.
MICHAEL
Can't give it to you, pal. Let's go!
Michael accelerates and hits the turbo boost.
ANGLE WITH K.I.T.T.
He barely clears the top of the wall.
EXT. PRISON - ROAD - DAY
K.I.T.T. comes back to earth and roars down the road.
Sirens begin to wail from inside the prison.
INT. K.I.T.T. - DAY - MOVING
McCord is stunned, looks pale, desperate.
MC CORD
If you want to do this, okay -- but
count me out.
MICHAEL
Sorry, McCord. Can't do that.
McCord grabs the wheel and Michael wrestles him for it.
K.I.T.T. is swerving all over the road.
MICHAEL
Kitt, go on auto-pilot!
K.I.T.T. complies.
K.I.T.T.
Kindly unhand me, you hard-rock con.
This startles McCord enough to make him stop his struggle.
Michael quickly takes control of the wheel again.
MC CORD
What's going on here -- who said that?
K.I.T.T.
I did. I can't tolerate bad driving.
McCord stares at the voice box.
K.I.T.T.
Michael, an All Points Bulletin is
being issued over the police band for
a vehicle fitting my description.
MICHAEL
Punch up the locations of police cars
in the area.
On K.I.T.T.'s monitor screens is a map of the area. Police
cars are marked in red and a half dozen are going to
converge on K.I.T.T. from all directions momentarily.
MICHAEL
Looks like we're about to be surrounded.
Know any good hiding places?
K.I.T.T.
I have just the spot.
EXT. HIGHWAY - DAY
From up ahead of K.I.T.T. looms the Foundation semi. The
ramp lowers and K.I.T.T. goes up inside. The ramp closes.
ANGLE ON A POLICE CAR
tearing down the highway. It passes the semi, siren fading
in the distance.
EXT. FOUNDATION HEADQUARTERS - DAY - ESTABLISHING
INT. DEVON'S OFFICE - DAY
Devon gets up from his desk to greet Phillip Hunt and
Rogers. Devon and Hunt ad-lib greetings.
HUNT
Congratulations on a job well done,
Devon.
DEVON
I'm just glad it worked as success-
fully as it did.
(a smile)
I don't have to tell you the
Foundation wasn't conceived with
prison breaks in mind.
HUNT
You're not alone, believe me. I've
never encountered anything like this
before. Hope I never do again. I've
informed the Governor phase one has
been completed.
DEVON
Then the APB on Michael has been
cancelled?
HUNT
An hour ago. If everything goes
according to plan we'll have the
extortionist and the Minotaur in our
possession before the day's over.
(beat)
Where is he?
Devon presses the intercom buzzer.
DEVON
Send Michael in.
NEW ANGLE TO INCLUDE MICHAEL AND MC CORD
They enter. McCord stares at Devon, then sees Hunt.
MC CORD
(to Hunt)
Who are you? Why are you doing
this?!
Michael and Devon note the reaction. Hunt nods to Rogers
and Rogers takes McCord by the arm, but McCord shakes free,
frightened.
MC CORD
I'm not going anywhere with you!
MICHAEL
Take it easy, McCord.
MC CORD
Take it easy? I'm a dead man out
there. You hear me...a dead man!
Rogers grabs McCord, wrestles him toward the door as Michael
and Devon exchange a look of alarm. Devon turns to Hunt.
DEVON
Phillip, what's he talking about?
HUNT
He's a disturbed man, Devon. I
wouldn't take what he says too
seriously.
As they force McCord out, close the door. The sounds of
scuffle fade away. Michael and Devon are perplexed, shaken.
MICHAEL
There's something about this that
doesn't feel right...McCord was
terrified.
(beat)
In the car, he begged me to take him
back to prison.
DEVON
How peculiar...particularly for a man
being freed by his own confederates.
MICHAEL
(beat)
If you don't mind, I'd like to
follow this up. See what develops.
DEVON
The Foundation's involvement is finished
Michael, but...
(beat)
...use your own judgment.
CUT TO
EXT. LIQUOR/CONVENIENCE STORE - DAY - ON HUNT'S SEDAN
as it pulls to a stop in front of the store.
INT. HUNT'S SEDAN - DAY
In the front seat are Hunt and Rogers. In the backseat is
McCord. Separating the front from the backseat is wire mesh.
Hunt and Rogers start out of the car.
MC CORD
Where are you going?
HUNT
Relax. We're going to get some
cigarettes.
MC CORD
It takes two of you to get cigarettes?
Hunt slams the door shut. McCord watches as they walk to
the store.
ANGLE ON SEDAN #2
parked a block away. Inside is Plainclothesman #1.
ANGLE ON BUS BENCH
Plainclothesman #2 sits on the bench.
OMITTED
ANGLE ON WHITE CADILLAC
positioned up the street. Behind the wheel is Payne, a
large man in his thirties. He is packing a gun, stares
at the convenience store. Another man, Talman, crosses
from a vantage point, climbs in the passenger side.
TALMAN
There's an unmarked car up the
street and a softclothes guy solo
on the bus bench.
PAYNE
What about McCord?
TALMAN
Like a chicken waiting to be plucked.
OMITTED
INT. HUNT'S SEDAN - DAY
McCord's becoming increasingly uneasy, agitated. When he
looks inside the liquor/convenience store, he becomes
alarmed: Hunt and Rogers are nowhere to be seen.
OMITTED
ANGLE ON HUNT'S SEDAN
McCord goes for the door handle, discovers it gone --
removed. Both are.
ANGLE UP STREET
The Trans Am appears, pulls over.
ANGLE INSIDE K.I.T.T.
Michael punches up the monitor.
K.I.T.T.
Why are we stopping so far away,
Michael?
MICHAEL
Don't want to spook anyone, Kitt.
Show me what you've got.
INSERT - MONITOR
We see McCord kick out the sedan's rear window, open
the door from the outside, struggle out and run down
the street.
ON THE CADILLAC
as it pulls out and starts after McCord.
ANGLE ON SEDAN #2
Plainclothesman #1 sees McCord sprint down the street,
away from the white Cadillac.
PLAINCLOTHESMAN #1
(into police radio)
It's not coming down like we thought.
Hold your positions.
ANGLE ON K.I.T.T.
Michael still watching the action on the monitor.
K.I.T.T.
Michael, what's happening?
MICHAEL
I don't know, but I don't like it.
Let's go.
He pulls out fast.
ANGLE ON BUS BENCH
Plainclothes #2 nods, doesn't move.
ANGLE ON MC CORD
He races down the street and ducks into an alleyway.
ANGLE ON WHITE CADILLAC
It rips around the corner. Payne is driving. Talman is
in the passenger's seat. It reaches the alley, skids and
turns in.
ANGLE IN ALLEY
McCord runs for his life, desperate. The Cadillac appears
at the end of the alley behind him, accelerates.
OMITTED
ANGLE ON ANOTHER STREET
K.I.T.T. races past, turns, heading for the alley from this
intersecting street.
ANGLE IN ALLEY
McCord reaches the mouth of the intersecting street just as
the Cadillac is ready to overtake him.
ANGLE IN CADILLAC
Payne and Talman react to what's ahead.
OMITTED
ANOTHER ANGLE
K.I.T.T. is suddenly there, blocking the Cadillac from
reaching the intersecting street. McCord is nowhere to be
seen. The Cadillac skids to a stop, then reverses at high
speed down the street.
OMITTED
ANGLE IN K.I.T.T.
Michael glances at the men in the Cadillac, ignores the
honking.
MICHAEL
(punches up
scanner)
Where's McCord?
K.I.T.T.
I'm afraid he's gone, Michael.
MICHAEL
Gone? Where?
K.I.T.T.
I don't pick him up. He's disappeared.
FREEZE FRAME
AND
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
OMITTED
EXT. STATE BUILDING - DAY - STOCK
DEVON'S VOICE
I have a number of questions,
Phillip....
CUT TO
INT. STATE BUILDING - HUNT'S OFFICE - DAY
Open close on Phillip Hunt, looking very official, very
buttoned-down and very angry. He's standing behind a big
desk in a well-appointed government office.
HUNT
I have a few of my own. I want to
know what Knight was doing at the drop?
DEVON
He was observing. With my approval.
HUNT
Your approval? Devon, this case is
no longer your concern!
DEVON
I wonder. McCord was left alone and
locked in your car. Why?
HUNT
Because our instructions were to
leave McCord near the intersection
of Third and Crane for the pick-up....
DEVON
But, according to Michael, when McCord's
associates arrived, he ran...obviously
in fear of his life. Again, Phillip
-- why?
HUNT
This is an unusual case to say the
least. I can't explain that.
Frankly, it surprised us, too.
ON DEVON
He stares at Hunt, incredulous.
DEVON
Surprised you? When McCord was in
my office he seemed terrified. Did
you ask him why?
Hunt moves out from behind his desk, angrily confronts
Devon.
HUNT
For God's sake, Devon, there's a
madman with a Minotaur bomb out there!
My responsibility was to trade McCord
for the bomb, not hold his hand!
The two men stand, facing each other.
DEVON
And if you'd known what we've come
to understand...that these 'confeder-
ates' of McCord's aren't allies, but
in all probability want to kill him
...would you have acted differently?
HUNT
I'd have done exactly the same
thing. I'm willing to trade one
murderer for the lives of hundreds,
maybe thousands, of innocent people.
(beat)
Aren't you?
DEVON
I'm afraid not.
(beat)
I acted in good faith...both because
of our friendship and because one of
the basic tenets of the Foundation
is the preservation of human life.
HUNT
(angrily)
I'm trying to preserve as many
lives as I can.
DEVON
I'd like to believe it's possible to
save every life. And I'd hate to
think the Foundation played a part
in sacrificing even one life --
without at least trying to save it.
Devon turns to leave Hunt's office.
HUNT
Stay out of this, Devon. You're in
over your head.
At the door, Devon turns to Hunt.
DEVON
Apparently so is Peter McCord.
Perhaps we have something in common
after all.
With that, Devon exits. Hold on Hunt. He picks up the
phone.
HUNT
(phone)
I want the All Points Bulletin on
Knight's car reinstated immediately.
CUT TO
EXT. HIGHWAY - DAY - ON THE SEMI - STOCK
as the Trans Am pulls up the ramp and disappears inside.
CUT TO
INT. SEMI - DAY
Michael is looking at one of the computer modules. April
is programming K.I.T.T.
MICHAEL
McCord's profile doesn't indicate much
...except he's not a typical criminal.
APRIL
First Devon and now you....
MICHAEL
What?
APRIL
It sounds like you're making excuses
for him. Michael, he was convicted
of second degree murder.
MICHAEL
Convicted yeah, but all through the
trial he swore he was innocent. He'd
never been arrested before, and he
was a model prisoner -- except he'd
been denied parole twice.
(shaking
his head)
When they finally do grant him parole,
he belts a guard. Very strange.
(crossing
to her)
How's that bomb sniffer coming?
APRIL
Michael, this is a highly sophisti-
cated Electronic Detection Module
especially adapted for plastique-
type devices -- not a 'bomb sniffer.'
MICHAEL
(smiles)
Right. How's it coming?
APRIL
Fine. With one qualification. It's
range is severely limited in the
presence of ferrous metals.
MICHAEL
Translation, please.
K.I.T.T.
Metals like steel, Michael.
MICHAEL
Thanks, pal.
K.I.T.T.
Don't mention it. Incidentally, I've
been monitoring the police band fre-
quency. The APB has been reinstated.
We're fugitives again.
MICHAEL
There must be some mistake.
K.I.T.T.
That's what Willie 'The Fly' Carruthers
said when he was apprehended in an air
conditioning duct above the Warden's
office in Sing Sing.
April finishes, crosses to the computer console over:
MICHAEL
I think he's over-programmed.
APRIL
There's no such thing. I've cross-
checked every available reference on
McCord's personal life. Only one
indicated any family...a daughter.
Lisa Martinson.
(punches up
visual)
She's one of the hottest print
models in the country.
Michael peers over her shoulder, reacts.
MICHAEL
Now it makes sense....
APRIL
What? Do you know her?
MICHAEL
In a manner of speaking.
ANGLE ON MONITOR
We see a picture of a beautiful young woman. It's the same
woman whose picture we saw on the walls of Peter McCord's
cell.
MATCH CUT TO
EXT. OPEN FIELD - DAY - CLOSE ON LISA MARTINSON
Even more lovely than her photo, Lisa's dressed in fresh
white, her head tilted toward the sun in a fashion pose.
We pull back to see that Lisa's surrounded by Klieg lights
and a photographer's furiously snapping pictures. A makeup
woman stands in the wings, a lighting man manipulates the
Kliegs. A mobil dressing room's parked nearby and behind
it, just visible, are the crew's cars, including one which
we'll later see is a white Cadillac.
NEW ANGLE TO INCLUDE THE TRANS AM
approaching across the field, heading toward the photo site.
INT. TRANS AM - DAY
Michael's carefully watching Lisa as the Trans Am pulls
closer to the site.
K.I.T.T.
I must say, Michael, this adventure
does have a certain appeal.
Michael parks the Trans Am. He's more interested in Lisa
than K.I.T.T. at this moment.
MICHAEL
(absently)
Yeah, I see what you mean.
K.I.T.T.
Think of it. We're fugitives of a
sort, desperadoes on the lam.
(dramatically)
We must be extremely careful. If
we're captured, we could end up on a
chain gang.
MICHAEL
Chain gang? That's the Thirties,
pal. I'd end up in the pen, stamping
license plates.
(smiling)
And I'd probably be making them out
of pieces of you.
K.I.T.T.
They'd never take me alive.
MICHAEL
Being a car, that's easy for you to
say. Me, I plan to keep breathing...
keep an eye on things.
Michael climbs out of the car, crosses to:
PHOTO SITE TO FEATURE LISA
as the session's breaking up and Lisa's heading toward
the trailer. Michael falls in step beside her.
MICHAEL
Miss Martinson? My name's Michael
Knight. I need to talk to you for a
moment...it's important.
LISA
You'd better talk to my manager. He
handles bookings and interviews.
MICHAEL
I'm with the Foundation for Law
and Government. There's an urgent
matter...concerning your father.
Lisa stops, stares at Michael hard. Her face doesn't give
away much, but what he's said has hit a nerve.
LISA
Not that this is any of your
business, but my father's dead.
Now, if you don't mind....
She turns to leave. Michael steps in front of her.
MICHAEL
I know Peter McCord's your father.
I've got to talk to him.
LISA
Mr. Knight, both my parents died in
a car crash when I was four years
old. I grew up with my aunt and
uncle in Pomona, California. So,
if this is some kind of joke it's
rude and tasteless.
MICHAEL
It's not a joke.
LISA
Then you're rude and tasteless. Now
get out of my way, or I'm going to
call for help.
She turns, stomps past Michael, heads for her trailer. Over
Michael's comlink we hear:
K.I.T.T.'S VOICE
Michael, my sensors indicate there
are two armed men in Miss Martinson's
trailer....
MICHAEL
(into comlink)
Kitt, get over here!
With that, Michael rushes forward and intercepts Lisa just
as she's about to reach the trailer.
MICHAEL
Don't go in there!
Lisa turns around to face Michael, startled. As she does,
the door to the trailer flies open and we see Payne and
Talman. They hustle down the stairs toward Lisa as Michael
grabs her around the waist, pulls her with him.
ANOTHER ANGLE TO FEATURE K.I.T.T.
as the Trans Am pulls up and K.I.T.T. pops the doors.
Michael struggles to push the battling Lisa inside, then
races around and jumps inside himself. As the Trans Am
speeds off:
OMITTED
PAYNE AND TALMAN
race around to the back of the trailer, jump in their
white Cadillac.
ANOTHER ANGLE
as the Caddy chases the dust the Trans Am has left for a
beat, and then stops. In the distance, K.I.T.T.'s nothing
more than a black speck on the horizon. Hold on Talman and
Payne's disbelieving faces, and then:
CUT TO
EXT. HIGHWAY - DAY - ON THE TRANS AM
with Michael and Lisa inside.
INT. TRANS AM - DAY
Lisa's huddled against the door, as far as possible away
from Michael.
LISA
This is crazy! You can't just throw
people in your car and drive off ---
MICHAEL
This is an emergency....
LISA
This is kidnapping!
MICHAEL
Lisa, your father's out of prison.
You can tell the world about a car
crash and your aunt and uncle in
Pomona, but I know different. Your
father is Peter McCord. He's out of
prison, someone's after him -- and
they're threatening to explode a bomb
in the city if they don't get him.
LISA
I don't believe you. I don't believe
any of this....
MICHAEL
Then who were those two men in your
trailer? Fans? Press agents?
LISA
Thanks to you I never got a chance
to find out.
MICHAEL
You'll be glad you didn't.
LISA
Where are you going? Where are you
taking me?
MICHAEL
To the Foundation. You'll be safe
there.
She stares at him, his resolve, glances out the window,
thinking.
LISA
If it was true...if...what makes you
think I'd know where he is?
MICHAEL
You were the person closest to him...
if it's true.
LISA
It isn't.
MICHAEL
Somehow I knew you'd say that.
She suddenly goes for the door, tries to open it, can't.
MICHAEL
Sorry.
She glares at him.
CUT TO
EXT. HIGHWAY - DAY - ANGLE ON HIGHWAY PATROL CAR
parked by the side of the road, as the Trans Am cruises
past.
INT. HIGHWAY PATROL CAR - DAY
The Highway Patrolman speaks into his walkie-talkie.
PATROLMAN
This is six-Adam-eleven. I have a
black Trans Am, license plates
K-N-I-G-H-T in sight. Am in pursuit.
EXT. HIGHWAY - DAY
as the Highway Patrol car turns on its blinking lights,
goes in pursuit of the Trans Am.
INT. TRANS AM - DAY
Lisa stares sullenly out the window, refusing to even
look at Michael. We hear K.I.T.T.:
K.I.T.T.
Michael, there is a patrol vehicle
approaching in response to the APB.
LISA
The police!
(then)
Who was that voice?
Lisa instead cranes hopefully to try to wave at the patrol
car, then pounds on the window.
MICHAEL
Let's lose him, Kitt.
K.I.T.T.
If I may suggest, 'Tommygun' Taylor
had an effective way of ---
MICHAEL
Forget Tommygun Taylor, Kitt.
We've got a more subtle option.
Michael pushes a button on the dash.
EXT. TRANS AM - DAY - ANGLE ON LICENSE PLATE
as the KNIGHT plate flips over, revealing a numbered plate.
ANOTHER ANGLE
as the patrol car catches up with the Trans Am.
INT. PATROL CAR - DAY
The Patrolman picks up his mike.
PATROLMAN
I'm on him. Confirm the plate ---
He trails off, squinting at the license plate, shaken.
PATROLMAN
Never mind. False alarm.
He slows down and pulls to the shoulder of the road. He
rubs his eyes, shakes his head.
ANOTHER ANGLE - THE TRANS AM
disappearing up the highway, as we:
CUT TO
EXT. MARINE YACHTS - DAY - ESTABLISHING
A chic yacht sales dealership in a Marina-type coastal
area. A sign in front reads: "MARINE YACHTS". In the
yard we see the now familiar white Cadillac. Beyond it is
a trailer-style office.
INT. MARINE YACHTS - FENTON'S OFFICE - DAY
Payne and Talman are facing Eric Fenton, a hard-looking
man in his fifties, who's pacing behind his desk.
TALMAN
We would've had her if that guy
hadn't shown up....
FENTON
That's what you said about McCord in
the alley -- if. If things had gone
as planned he'd be standing here in
front of me now instead of you two.
(beat)
Now he's gone. Disappeared. And
you've let the one person I could
have used to lure him here slip
through your fingers.
Fenton crosses to a metal box sitting by the door. He
opens it and inside we glimpse the Minotaur. Fenton leans
over, sets a digital clock to 12:00.
FENTON
It's on them. They let him get
away...They've got until twelve
noon tomorrow to deliver him.
Talman and Payne exchange a nervous glance.
PAYNE
But...what if they don't find him?
FENTON
I'm a successful man. I get what I
want. Know why? I've never made an
idle threat...and I don't intend to
start now.
(beat)
Plant it.
Off Talman and Payne's look:
CUT TO
EXT. FOUNDATION - DAY - TO ESTABLISH
INT. FOUNDATION - DEVON'S OFFICE - DAY
Devon and Michael stand watching as an irate Lisa stalks
before them. She's livid.
DEVON
I understand how you must feel,
believe me....
LISA
Believe you? Why should I believe
any of you? This whole thing is
incredible....
DEVON
I agree. Unfortunately, it's also
true.
MICHAEL
Lisa, you won't be safe until we can
find McCord -- and the Minotaur
bomb. And the sooner you start to
tell us about....
Suddenly, the door to the office bursts open and Peter
McCord rushes in, closely followed by April.
APRIL
Devon, I'm sorry. He got past
security before I could stop him ---
McCord crosses to Devon and Michael. He doesn't notice
Lisa at first.
MC CORD
You got me out -- I've got no place
to go, no one to turn to. Like it
or not, I'm your responsibility
and....
He notices Lisa, stops in midsentence. He stares at her,
stunned.
MC CORD
Lisa...?
McCord takes a step toward Lisa. She's just as stunned,
but from the expression on her face, it's clear she
recognizes McCord. She steps away from him.
LISA
Stay away from me.
MC CORD
(beat)
Lisa...please....
McCord reaches out, touches her. She jumps back like she's
been shocked.
LISA
Don't touch me! Don't you ever
touch me.
Lisa turns on Devon and Michael, tears welling in her eyes.
LISA
How could you do this? Why? He's a
murderer!
DEVON
We're aware of his record....
LISA
Did he tell you who he killed? Do
you know? Do you care? He killed
my mother...!
Lisa turns her back, her face suddenly set, cold.
LISA
All right, you've got him. You don't
need me. And I don't want to spend
another second in the same room with
him.
(to Michael)
Can we go now?
MICHAEL
I'm sorry.
LISA
But you said ---
April steps up to Lisa, takes her gently by the arm.
APRIL
Lisa? Can I see you for a minute?
Please.
Lisa's shoulders slump. She nods, allows April to escort
her out of the room. McCord looks devastated.
OMITTED
EXT. MARINE YACHTS - DAY
where we see the white Caddy parked close to the office,
its trunk open. Talman and Payne come out of the office,
very slowly and very carefully carrying the metal box
containing the Minotaur. They load it in the trunk of the
Caddy, as Fenton watches from the doorway.
ON THE WHITE CADILLAC
as Talman and Payne get inside, slowly drive out of the
lot. Follow as it moves down the street. As it does:
FREEZE FRAME
AND
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
EXT. FOUNDATION - DAY - STOCK
MC CORD'S VOICE
How could you do this to her...put
her through this....
INT DEVON'S OFFICE - DAY
MICHAEL
We didn't plan to. Someone tried to
kidnap her today.
The words hit him. He turns, paces.
MC CORD
I didn't kill my wife. I loved her
more than anything in this world....
MICHAEL
Look, McCord, what you did is
between you and your daughter and
the courts. Right now we've got
another problem...a Minotaur bomb
set to explode at noon tomorrow.
DEVON
Michael's right. We're running out
of time. Who is this person? Who's
trying to kill you?
McCord hesitates for a beat, then shakes his head.
MC CORD
Who's trying to kill me has a lot to
do with why. It's a long story....
MICHAEL
If it can help us find the bomb,
we've got the time.
MC CORD
(a long beat)
Rachel, my wife...before we met
she'd been engaged to a guy who
turned out to have some ties with
organized crime. He got busted.
Before he went up, he asked me to
keep an eye on her.
(beat)
I did. You can guess the rest...we
fell in love. By the time he got
out, Rachel and I were married.
Lisa was nearly seven. He flipped
out, threatened to kill us both.
McCord paces the room, struggling with memories.
MC CORD
I wrote him a letter, tried to
explain it, apologize...then one
night I went out for a six pack. The
store was closed, and when I got back...
(beat)
He'd been there. He killed her...I
didn't know what to do...by the time
I picked up the phone to call the
cops they were pounding on the
door. There I was...and no alibi.
He had five guys who said he was in
Vegas that night.
McCord falls silent. Michael and Devon exchange a look.
DEVON
And you're saying he's still after
you? Twelve years later?
MICHAEL
It seems to me a guy with organized
crime connections could've had you
iced inside prison.
MC CORD
He could've, sure. But he didn't.
He wants to do it personally.
DEVON
Then that's why you've resisted
parole for so long.
MC CORD
Yeah. And with Rachel gone
and Lisa...feeling like she does,
I had nothing on the outside anyway.
DEVON
All right, Mr. McCord...let's assume
what you say is true. Who is this
man? What's his name?
McCord hesitates. Michael faces him.
MICHAEL
C'mon, McCord. His name. Now.
MC CORD
His name is Eric Fenton.
(a long beat)
He's my half-brother.
Off of Michael and Devon's reactions:
OMITTED
EXT. HIGHWAY - DAY - ON TRANS AM - STOCK
INT. TRANS AM - DAY
MICHAEL
Is the address on Fenton residential
or commercial?
K.I.T.T.
It's Marine Yacht Sales on Bridgeway.
We should be there in thirty minutes.
(beat)
Michael, are you sure this is the
wisest course of action?
MICHAEL
It's the only one available, pal.
Unless you can conjure up the
location of the bomb.
K.I.T.T.
Conjuring is not one of my strong
suits.
MICHAEL
That makes two of us.
K.I.T.T.
I've completed a comprehensive review
of famous partnerships in crime. I've
decided we're most like Butch Cassidy
and the Sundance Kid.
MICHAEL
I think this whole thing's going to
your head, Kitt.
K.I.T.T.
They hated injustice, had a code
of ethics, cared for the common
man....
MICHAEL
Great. I'll see if I can find a
bank for us to knock over.
K.I.T.T.
I wouldn't advise that. There are
police cars everywhere. Check my
monitor.
Michael does, and we see a grid of city streets. Red dots
signify the presence of police cars.
K.I.T.T.
Fortunately, we can always utilize
my special plates. A tactic Butch and
Sundance would undoubtedly envy.
MICHAEL
Undoubtedly. Only I don't think
they're going to work much longer
...we might have to do broken open
field running.
K.I.T.T.
How challenging.
MICHAEL
Just don't forget what happened
to Bonnie and Clyde...and their car.
K.I.T.T.
Their car?
MICHAEL
Check your computer. When the cops
finally caught up with them, they
riddled their car with so many bullets
it looked like Swiss cheese.
(beat)
So'd Bonnie and Clyde, for that
matter.
There's a long silence.
K.I.T.T.
One hundred and seven....
MICHAEL
What?
K.I.T.T.
There were 107 bullet holes in that
car...how depressing.
Off Michael's smile:
CUT TO
EXT. CITY STREET - DAY
as the white Cadillac moves through the afternoon traffic.
CUT TO
EXT. FOUNDATION - DAY
as April crosses the grounds to Devon.
DEVON
How is she? Any better?
APRIL
A little. She's agreed to stay over-
night at least.
DEVON
Good, let's make use of the time...talk
to her, April. Record the conversation.
Get her to open up about the past.
April looks at Devon.
APRIL
Devon, you don't realize how traumatized
she is by that experience. She's spent
twelve years trying to forget. I can't
ask her to open it up again...I just
can't.
DEVON
We have no choice, April. I'm
convinced the past is the key to
this entire case -- including the
placement of the bomb.
APRIL
Why?
DEVON
I've been going through everything
we've got on McCord, Eric Fenton and
Lisa...Tomorrow would have been the
twentieth wedding anniversary for
McCord and his wife.
(beat)
They were married at noon.
APRIL
The same day and the same time
Fenton's threatened to explode the
Minotaur.
DEVON
Precisely. If I'm right, Fenton will
place the bomb somewhere that ties in
with personal histories of these people
...it seems to be his psychological
modus operandi.
APRIL
(beat)
In that case, I'd better get to work.
DEVON
Get Lisa to go into as much detail as
possible. Don't leave a stone unturned.
April nods, crosses back to the Foundation.
CUT TO
EXT. STREET - LATE AFTERNOON
A downtown area. Office buildings and stores. We pick up
the white Caddy, with Payne and Talman inside, as it drives
into a multi-story parking structure.
INT. PARKING STRUCTURE - LATE AFTERNOON
as the Caddy pulls into a parking space. Payne and Talman
jump out, open the trunk. Inside, we see the Minotaur
bomb. Talman leans over, gingerly checks the bomb. We see
the digital clock glowing 12:00. He closes the trunk, and
the two men hurry off. As they do:
CUT TO
OMITTED
EXT. COASTAL YACHTS - NIGHT
A single light glows inside. We see the Trans Am pull up
and stop on the street in front of the lot.
INT. TRANS AM - NIGHT
as Michael checks out the lot.
MICHAEL
Pick up anything, Kitt?
K.I.T.T.
I'm registering traces that indicate
the bomb was here, Michael. Unfor-
tunately, it's gone now.
Michael starts to get out.
MICHAEL
I was afraid of that. Cover me...
just like Butch and Sundance.
K.I.T.T.
Be careful. Need I remind you what
happened to Butch and Sundance?
MICHAEL
(grimly)
I saw the movie.
Michael climbs out, hustles toward the office.
CUT TO
OMITTED
INT. OFFICE - NIGHT
Fenton's at his desk. Among the paperwork, we should see a
vial of pills with a drugstore label on it. The door
suddenly flies open and Michael steps inside. Fenton stands.
FENTON
Who are you? What do you want?
MICHAEL
Are you Eric Fenton?
FENTON
That's right. Who are you?
MICHAEL
Michael Knight. I'll get right to
the point. I want the Minotaur.
Fenton's face registers total surprise for a beat. He
covers it, then slowly, almost painfully sits down. He
regards Michael for a beat, then:
FENTON
Are you with the police?
MICHAEL
No. I'm with a Foundation you've
probably never heard of.
FENTON
How did you find me?
MICHAEL
We've got Peter McCord. He pointed
us in your direction.
FENTON
(reacts)
You've got Peter? Why?
MICHAEL
Why does it matter. We've got him.
Alive. And safe. So is his daughter,
Lisa.
(beat)
We know you've got the Minotaur.
As they say in chess...check.
Fenton hesitates, then smiles, shrugs easily.
FENTON
I think we understand each other. I
want Peter. You, want the bomb. A
simple exchange.
MICHAEL
It's not that simple. Phillip Hunt
may operate that way. We don't.
FENTON
What you fail to understand is I do.
And I'm the one dealing from a position
of power here, not you. I won't com-
promise. You see, there's only one
thing I want from the rest of my life...
and that's to see Peter dead.
(beat)
As they say in chess...checkmate.
Fenton's smile fades to an icy glare. Hold on him, then:
CUT TO
EXT. STREET - NIGHT - ON TRANS AM
as Michael walks to K.I.T.T., climbs inside:
K.I.T.T.
How did it go, Michael?
MICHAEL
Fenton's definitely our man...but he
sure plays a mean game of chess.
As the Trans Am fires up and takes off:
INT. TRANS AM - NIGHT - TRAVELING
as Michael heads into the night.
K.I.T.T.
Chess? The two of you played chess?
MICHAEL
No. I mean, the man's got ice in
his veins.
K.I.T.T.
Oh, dear...that does sound serious.
MICHAEL
It's an expression, Kitt. It means
nothing fazed him. It's like he doesn't
care about anything...
(beat)
Tell me what you've got on a drug
called Diphenidol.
K.I.T.T.
Diphenidol?
MICHAEL
Yeah...Fenton had a vial of it on
his desk.
K.I.T.T.
Diphenidol is a generic drug pre-
scribed for relief of nausea, especially
that due to chemotherapy....
Off Michael's reaction to this information:
CUT TO
INT. FOUNDATION - SITTING ROOM - NIGHT
April and Lisa are sitting facing each other. A table,
with tape recorder, a stack of tapes and a pot of tea and
cups sits between them.
APRIL
Anything else about that summer on
the island?
LISA
Other than what I've told you...I
don't think so...April, I'm so...
tired.
April nods, reaches over and switches off the recorder.
APRIL
That makes two of us...
(a beat;
smiles)
I know this is tough, but you're
doing just fine.
Lisa just shrugs, stares at the floor hard. Fighting back
tears.
LISA
I've spent so much time learning to for-
get, it's hard to start...remembering.
APRIL
You've got a lot of courage, Lisa.
I don't know if I'd be holding up
nearly as well.
(getting up)
Take a break. I'll brew up some
more tea.
April exits with the tea pot. Lisa leans forward, reverses
the recorder, plays back a bit of the last conversation.
LISA'S VOICE
(on recorder)
...The house was a big, knotty-pine
place that smelled like moss and
moth balls almost all the time....
Under this, we hear the door open and close. Lisa flicks
off the recorder as we hear:
MC CORD'S VOICE
Lisa....
Lisa whirls around to face her father. She's immediately
angry.
LISA
What are you doing in here?!
McCord crosses toward her. He's obviously quite moved.
MC CORD
I wasn't sure I'd ever see you
again...except on magazine covers
and TV commercials.
LISA
Please, just go.
MC CORD
Lisa, give me thirty seconds. A
minute...then I'll leave. Please....
Something in his voice, the need, the vulnerability,
touches Lisa. She watches him warily.
MC CORD
There's so much...Lisa, I loved your
mother.
LISA
You killed her.
MC CORD
That's not true....
LISA
It is! I remember it like it was
yesterday. I was upstairs in bed,
coloring with my crayons. Mom ran
into the room, picked me up and
carried me to the closet. She said,
'Baby, whatever you do, don't come
out until I get you.'
MC CORD
I'd gone out....
LISA
(remembering,
terrified)
I heard a door slam, angry voices,
yelling...
(beat)
When they found me, I'd crushed all
of my crayons into little pieces....
MC CORD
You were so young, and scared...
you could have mistaken the voice you
heard for mine. It wasn't me.
(no response)
Lisa, I didn't kill her. Eric did.
LISA
Eric Fenton? My uncle -- ?
MC CORD
You know how he felt about us...
(beat)
Think about it. She was killed
the day after he got out of prison.
Lisa shakes her head, not wanting to hear.
LISA
You were tried and convicted...found
guilty by a jury.
McCord stares at Lisa, struggling to find words for his
thoughts.
MC CORD
Juries aren't always right. Men in
prison aren't always guilty.
(beat)
Think about the times we had...you,
me, your mom...We couldn't have been
happier. Why would I kill her? How
could I kill her?
Lisa doesn't respond. She's watching her father carefully.
MC CORD
I must have rehearsed this scene a
thousand times in prison.
(beat)
In my mind it always worked out that
you believed me...and lived happily
ever after.
(beat)
I guess I knew it wouldn't really
happen that way, but I had to try....
He slowly gets up, turns, walks to the door, stops.
MC CORD
Lisa...I love you, just like I loved
your mom. No matter what else I lose.
No one's ever going to take that away
from me....
With that, McCord turns and exits. Hold on Lisa, staring
at her hands, refusing to look up. A tear trickles from
her eye, as we:
CUT TO
INT. DEVON'S OFFICE - DAY
Devon's at the portable computer, reviewing details of
McCord's past -- names, dates, etc. flash on the screen.
Devon looks frustrated, tense. Michael enters and Devon
looks up.
DEVON
Did you find him?
MICHAEL
Yeah, I found him. But he's not going
to tell us where the bomb is. He's got
no reason to.
DEVON
What do you mean?
MICHAEL
He's got nothing to lose, Devon.
He's dying.
This hits Devon and he sinks back in his chair.
DEVON
Perhaps we're fighting a losing battle,
Michael. Phillip Hunt's mobilized
the entire police force in a massive
dragnet to find McCord. He also has
bomb squads searching the city section
by section....
April hurries into the office. She looks dismayed.
APRIL
Devon, Michael -- we've got a problem.
(beat)
Peter McCord's gone.
Michael and Devon exchange surprised looks.
DEVON
But why would he leave? Where would
he go? He was safe here...he knew
that.
At this moment, Lisa comes hurrying into the room. She
looks terribly upset.
LISA
What happened?
MICHAEL
McCord left.
(to Devon)
I think I know where he went. Eric
Fenton's.
LISA
(reacts)
But if what he said is true...Eric's
the one who wants to kill him.
Michael nods. Lisa suddenly looks defeated, vulnerable.
LISA
He came to me and tried to talk. I
wouldn't listen to him. I told him
I didn't believe him.
MICHAEL
Right now he probably doesn't care
much whether he lives or dies....
Michael heads for the door, tucking the cassette carrying
case under his arm as he goes.
LISA
Michael...find him. Please....
Michael nods, exits. Hold on Lisa, then:
FREEZE FRAME
AND
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
OMITTED
EXT. HIGHWAY - DAY - STOCK
K.I.T.T. speeds down the highway, his scanners flashing as
he heads toward the city.
INT. TRANS AM - DAY
Michael grips the steering wheel, his concentration focused
on his mission and the road.
MICHAEL
How long before that bomb's due to
go off, Kitt?
Digital numbers flash across K.I.T.T.'s monitor screen,
finally giving a readout as K.I.T.T. speaks: 01:35:19.
K.I.T.T.
One hour, thirty-five minutes and
nineteen seconds.
MICHAEL
Keep the clock running, pal. I want
to see those seconds ticking down.
K.I.T.T.
Aren't we rather foolhardy to move
at our present speed and make
ourselves quite so visible to police
officers? After all, we are
fugitives....
MICHAEL
No time for hide and seek.
K.I.T.T.
Very well, but it defies criminal
logic.
The seconds and minutes continue to change as time flies
by.
MICHAEL
How're you coming with those tapes
of Lisa that April gave us?
K.I.T.T.
I'm afraid I really don't understand
what I'm looking for, Michael.
MICHAEL
I'm hoping your voice analyzer will
pick up subtle changes in her emotions.
There's got to be someplace in the
family's past that ties into what's
happening now.
K.I.T.T.
You mean the placement of the Minotaur.
MICHAEL
That's what I mean.
K.I.T.T.
I'll do what I can. But please,
Michael -- try to keep us away from
one of those dreadful police
ambushes....
MICHAEL
(a smile)
Bonnie and Clyde got you worried?
K.I.T.T.
No, but their car does. One hundred
and seven bullet holes, Michael.
INT. BOAT DEALERSHIP - FENTON'S OFFICE - DAY
Fenton's in a swivel chair at his desk, staring at a small
clock nearby. Suddenly, the door across from him opens --
and framed by sunlight pouring in from behind him is Peter
McCord. Fenton just stares for a beat.
MC CORD
Hello, Eric.
FENTON
Hello, Peter.
The tension is palpable. McCord moves into the office and
Fenton's hand opens the desk drawer. He pulls out a gun,
aims it at McCord. Cocks it.
FENTON
Are you ready to die, Peter?
McCord swallows, nods. Fenton smiles coldly and lays the
gun on the desk in front of him, still aimed tauntingly
toward McCord.
FENTON
Know what's kept me alive all these
years? What made me keep going?
The chance to see you suffer the
way you made me suffer.
(beat)
You took the only thing I ever
loved away from me.
MC CORD
Then maybe we're even, Eric. You
killed the only woman I ever loved.
Fenton stares coldly at McCord, shakes his head.
FENTON
No, Peter. We'll be even when
you're dead.
MC CORD
Then let's get on with it.
In spite of himself, Fenton looks surprised, temporarily
thrown off balance by McCord's attitude.
MC CORD
On the way here, I reviewed all the
reasons for facing you like this...
(beat)
I was going to atone for my sins...I
was going to redeem myself in Lisa's
eyes...I was going to martyr myself
to save thousands of innocent people.
(shakes
his head)
But, you want to know what's really
the truth? I'm here because I'm
tired of running, tired of hiding,
tired of living half a life...
(beat)
I'm not afraid of dying any more,
Eric. Do what you have to do.
EXT. BOAT DEALERSHIP - DAY - ANGLE ON K.I.T.T.
as the car barrels into the yard adjacent to the office,
squealing to a stop, scanners flashing.
WIDER ANGLE
as Payne and Talman appear and rush toward the car, guns
drawn. Reaching the car, they stare at it in awe.
TALMAN
There's nobody in there.
ANOTHER ANGLE
Michael leaps at them from behind, knocking Talman to the
ground and dispatching Payne with a punch. Talman levels
his gun at Michael and Michael kicks it out of his hand,
slams him back against the Trans Am, knocking him out.
Then, Michael runs toward the office.
INT. BOAT DEALERSHIP - FENTON'S OFFICE - DAY
as the door bursts open and Michael bolts in, confronting
McCord and Fenton. Fenton begins to raise his gun and
Michael grabs his hand, ultimately shaking the gun free and
knocking it out of his reach, across the room.
MICHAEL
The bomb, Fenton. This time you're
going to tell me where it is.
FENTON
You underestimate me, Knight.
MICHAEL
I don't think so. You're a dying
man. You're desperate. But, I
don't think you're really going to
kill thousands of innocent people.
(beat)
Don't you think every one's suffered
enough? McCord has. Lisa has. And
I've got a feeling you have, too.
FENTON
You have a choice, Knight. The same
one Phillip Hunt had. Turn around
and walk out that door...or the
responsibility for that bomb is
yours, not mine.
There's a moment's silence as Michael studies Fenton. He
knows the older man's not bluffing. Michael finally turns
to McCord.
MICHAEL
(to McCord)
Let's go.
MC CORD
(shaking his head)
This is my fight. It's time I faced
it....
MICHAEL
What about Lisa? What happens to
her?
MC CORD
It's too late for that.
MICHAEL
Not according to her. She asked me
to find you. You've got a chance to
live, to be a father...don't throw
it away.
Michael turns to head for the door. McCord stands, halfway
between Fenton and Michael. He glances at his brother,
then at Michael. A beat, then McCord turns and follows
Michael.
FENTON
(shouting)
You leave now and you're responsible!
Do you hear me?! Both of you!
CUT TO
EXT. CITY STREET - DAY - ANGLE ON TRANS AM
as the car moves away from the dealership, into traffic.
INT. TRANS AM - DAY - ANGLE ON MONITOR SCREEN
The digital clock now reads: 0:48:16
WIDER ANGLE TO REVEAL MICHAEL
at the wheel, McCord beside him. A conversation is in
progress.
MICHAEL
...Kitt's analyzed the tapes and
isolated three locations with
emotional charge to them. I'm
hoping they might mean something to
you...and to Fenton. It's a long
shot, but it's all we've got.
MC CORD
Shoot.
MICHAEL
Kitt....
K.I.T.T.
The three locations are: Basilio
Island, Church of the Morning, and
1177 McClure Street.
MICHAEL
(to McCord)
What's Basilio Island?
MC CORD
A little place off the coast where
we used to go on vacation every
summer. How could she remember
that? She was so little...We were
almost always alone there -- it's
uninhabited.
MICHAEL
Then Fenton wouldn't plant the bomb
there. What about the other two?
MC CORD
The McClure address is where we used
to live.
(beat)
Rachel died there.
(beat)
Church of the Morning is where we
got married....
A realization hits him.
MC CORD
Of course -- that's where he met
Rachel, at a picnic! Do you think...?
MICHAEL
We'll find out. Let's do it, Kitt.
And the Trans Am picks up speed.
EXT. CHURCH OF THE MORNING - DAY
A small chapel in a suburban area. The Trans Am pulls to a
stop in front, scanners flashing.
OMITTED
INT. TRANS AM - DAY
A beeping sound accompanies the scanning of the Electronic
Detection Module.
MICHAEL
Is it here?
K.I.T.T.
I'm afraid my Electronic Detection
Module isn't picking up even a trace
of the Minotaur bomb.
McCord's thinking hard.
MC CORD
Then it's got to be the McClure
house.
MICHAEL
Let's hope so. We're running out
of time.
And we angle to the digital clock, now reading: 0:26:04.
As the Trans Am tears away from the curb, we:
CUT TO
EXT. MULTILEVEL PARKING STRUCTURE - DOWNTOWN AREA - DAY
as the Trans Am pulls up in front of a new-looking
efficiency lot filled with cars. We hear:
MICHAEL'S VOICE
This is 1177 McClure Street.
OMITTED
INT. TRANS AM - DAY
McCord looks baffled by the public structure before him.
MC CORD
The house is gone....
MICHAEL
It's been torn down, but I'll bet
somewhere in that haystack, Fenton's
planted his needle.
EXT. TRANS AM - DAY
as the car pulls quickly through the entrance, into the
parking structure.
INT. PARKING STRUCTURE - DAY - ANGLE ON TRANS AM
Scanners flashing, the car moves slowly up an aisle, up a
ramp.
INT. TRANS AM - DAY
The Electronic Detection Module beeps, scanning....
MICHAEL
What're you getting, Kitt?
K.I.T.T.
A great deal of interference, Michael.
The concrete walls of this structure
are reinforced with steel beams which
are adversely affecting my Electronic
Detection Module.
(beat)
I can tell you there are 897 people and
1585 vehicles in the structure at this
time.
Michael glances at the digital readout which is now:
0:14:00. He thinks hard, then:
MICHAEL
Kitt, run a scan of the garage...
quick! Tell me if that white Cadillac
we saw is in there....
K.I.T.T.
Yes, Michael. You're absolutely
right. It's parked on level 3B.
MICHAEL
That's it!
EXT. TRANS AM - DAY
as the car whilrs a narrow 180 and heads in the opposite
direction, moving level to level in the parking structure.
NEW ANGLE
as K.I.T.T. comes around a corner and skids to a stop
in front of a car stalled diagonally across their path.
Slowly, gently, Michael inches forward and pushes the
car aside. Once clear, Michael floors it and races for
the next level.
INT. TRANS AM - DAY
As they pull onto Level 3B, suddenly the beeping of the
Electronic Detection Module becomes fast and loud. Michael
spots the Cadillac.
MICHAEL
Bingo! Crack the trunk, Kitt!
McCord opens his door to climb out and Michael stops him.
MICHAEL
If you want out, McCord, do it now.
McCord looks at him.
MC CORD
I've been out for ten years. Deal
me in.
Michael nods and as he and McCord climb out, we hold a beat
on the digital readout: 0:10:01
ANGLE UP FROM MONITOR THROUGH WINDSHIELD
as the Cadillac's trunk pops open and Michael and McCord
approach, and we see the bomb, silently waiting....
EXT. CITY STREETS - DAY - ANGLE ON TRANS AM
as the car darts through traffic and finally moves out onto
the highway, picking up speed.
INT. TRANS AM - DAY - ANGLE ON DIGITAL READOUT
clicking down the seconds: 0:08:05, 0:08:04, etc.
WIDER ANGLE TO SEE MICHAEL AND MC CORD
the strain showing in their faces.
MICHAEL
Where can we dump this thing, Kitt?
On the monitor beside the digital readout, K.I.T.T. flashes
a series of maps, finally settling upon one featuring a
single blinking red light.
K.I.T.T.
The nearest uninhabited location is
precisely forty-five point seven
miles away.
MC CORD
We'll never make it in eight minutes!
MICHAEL
Don't be too sure. Kitt, remember
Bonnie and Clyde's car.
K.I.T.T.
Say no more, Michael.
Michael hits the gas, the Trans Am roars forward.
EXT. TRANS AM - DAY
as the car picks up speed, burns up the highway.
NEW ANGLE - A HIGHWAY PATROL CAR
parked by the road as the Trans Am flies past.
INT. HIGHWAY PATROL CAR - DAY
The Officer (#2) clocks the Trans Am at 105 mph. He picks
up his walkie-talkie.
OFFICER #2
I've got a vehicle answering the
description of that APB moving at
speeds off the clock, north on
Highway 5. Am in pursuit. Can
you provide intercept at Junction
thirty?
EXT. HIGHWAY PATROL CAR - DAY
pulling away from the roadside, lights flashing, acceler-
ating after the Trans Am.
INT. TRANS AM - DAY
The pursuing vehicle appears on the monitor and Michael
glances into the rearview mirror, sees the squad car far
behind him.
K.I.T.T.
If we're stopped, we will indeed --
as Mr. McCord so quaintly put it --
blow sky high.
MICHAEL
I hate to do this to an officer of
the law....
He depresses the accelerator and we see the speed increasing
steadily: 130, 135, 140, etc.
EXT. HIGHWAY - DAY - ANGLE ON A SECOND HIGHWAY PATROL CAR
way ahead of the Trans Am, approaching the highway from an
intersecting road.
ANGLE ON A THIRD HIGHWAY PATROL CAR
approaching from the other side of the intersecting road.
The cars meet at the highway, pull nose to nose, forming a
roadblock across the highway.
INT. TRANS AM - DAY
The speed is still rising: 160, 165, etc.
K.I.T.T.
Michael, I'm picking up a roadblock
directly ahead of us.
MICHAEL
You know what to do, buddy.
K.I.T.T.
Yes, Al Capone would've had to run
through it. Thank goodness for
modern technology.
MC CORD
What's he talking about? What're
you gonna do?
MICHAEL
Watch.
McCord stares, terrified at the monitor when we see the
blockade ahead...we also see the digital readout, 0:00:30,
0:00:29, 0:00:28, etc.
EXT. HIGHWAY - DAY
as the Trans Am blasts toward the patrol cars. Just before
collision, the Trans Am leaves the road, sails up and over
the roadblock and continues up the highway at a speed that
transforms it into a black blur.
A beat, then the squad car that was pursuing the Trans Am
barrels toward the roadblock.
INT. HIGHWAY PATROL CAR - DAY
as the officer sees no more Trans Am -- only the roadblock
-- and he hits the brakes.
EXT. HIGHWAY - DAY
The squad car goes into a skid that would make drag racers
proud, stopping just inches short of a collision.
OMITTED
EXT. DESERTED DESERT AREA - DAY
empty and silent until, with a roar, the Trans Am
approaches, slowing as rapidly as is safe, as it pulls off
the pavement and tears across the terrain, out toward the
quarry....
ANOTHER ANGLE
The Trans Am screeches to a halt and Michael leaps out.
The trunk pops open and Michael and McCord pull out the
bomb, run to the edge of the quarry and heave the bomb
in. They dash back to the Trans Am, jump in.
INT. TRANS AM - DAY
as we see the digital readout: 0:00:6, 0:00:5, 0:00:4...
Michael slams on the accelerator.
EXT. TRANS AM - DAY - MOVING SHOT
as the Trans Am shoots away from us as if launched. Behind
it:
NEW ANGLE - THE BOMB
explodes!
INT. TRANS AM - DAY
Although the car's a good distance away, it's rocked
slightly by the power of the blast. We can see the digital
readout's now: 0:00:00
MICHAEL
Good work, Sundance.
K.I.T.T.
The same to you, Butch.
CUT TO
OMITTED
INT. GOVERNMENT BUILDING - PHIL HUNT'S OFFICE - DAY
Hunt's at his desk, intently studying a written speech
when Devon comes striding in. Hunt's initially taken
aback, but quickly covers it with a smile.
HUNT
Devon. What perfect timing.
DEVON
I certainly hope I'm not interrupting
anything. The foyer's filled with
reporters....
HUNT
With the bomb exploded and Fenton
and his men in custody, I've decided
to hold a press conference and give
those wolves what they've been
howling for.
(gesturing to
the speech)
I think you'll be pleased with the
recognition the Foundation gets....
Devon steps to Hunt's desk, places his hand firmly on top
of Hunt's speech. He fixes Hunt with a stern look.
DEVON
I think you'd be wise to reconsider
your press conference, Phillip.
HUNT
What're you talking about?
DEVON
You. From the beginning this was a
project tainted by your personal
bias and ambition.
HUNT
Now, just a minute ---
DEVON
You deceived me. You took advantage
of a friendship. And, worst of all,
you betrayed the Foundation.
HUNT
I did what I felt was right.
DEVON
Endangering Michael's life and
preparing to sacrifice Peter McCord
are hardly admirable acts. And if
you choose to go before the press to
further your personal aggrandizement,
I shall do what I feel is right.
(beat)
I'll expose you, Phillip. I'll open
you up for all to see.
Hunt stares at Devon, speechless. After a long beat, he
slowly picks up the phone, presses a button. Then:
HUNT
Cancel the press conference...I said,
cancel it!
Hunt slams down the phone, looks at Devon, and then picks
up his speech, tears it in half. As he does:
FREEZE FRAME
AND
FADE OUT
END OF ACT FOUR
TAG
FADE IN
EXT. FOUNDATION - DAY
The Trans Am and Devon's car are in the driveway. Michael,
Devon and McCord come from the Foundation.
DEVON
I've spoken with the Attorney
General's office. Your case will be
reopened shortly.
MICHAEL
Sounds like you're going to have to
get used to being a free man again.
McCord nods, thinks for a beat.
MC CORD
It may sound funny, but getting used
to life on the outside won't be easy
after all these years....
MICHAEL
I've got a feeling you're going to
have a lot of help.
The three men turn to see:
NEW ANGLE - FEATURE APRIL AND LISA
coming out of the Foundation. Lisa's smiling. She and
April laugh at something as they cross toward the men.
DEVON
(to Lisa)
Ready?
Lisa glances, almost shyly, toward her father, then nods.
McCord smiles back.
DEVON
In that case you'd better hurry.
The plane leaves in thirty minutes.
Lisa turns to give April a quick, spontaneous hug. As she
does, McCord turns to Michael, shakes his hand. Then
Devon's.
MC CORD
I'd quit believing in...people.
Thanks. Both of you.
Devon and Michael ad-lib responses. McCord turns and
crosses to the waiting car. Devon follows. Lisa takes
this opportunity to move to where Michael stands.
ANGLE ON MICHAEL AND LISA
as she gives him a hug and a kiss.
LISA
I guess I can forget that aunt and
uncle in Pomona now....
MICHAEL
I think they're where they belong...
in the past.
Lisa smiles, turns and climbs into the car. McCord
follows her. Devon starts up and the three of them
drive away.
ANOTHER ANGLE - FEATURE MICHAEL AND APRIL
standing near K.I.T.T., watching Devon drive off.
K.I.T.T.
Michael, I have a confession. I'm
rather pleased our life of crime has
come to an end.
APRIL
That makes two of us.
MICHAEL
Tired of life in the fast lane, Kitt?
K.I.T.T.
No. It's simply that my research
indicates not one vehicle or steed
of a noted desperado ever received
the acclaim of it's owner.
(beat)
Nor did they share in any of the
criminal profits. It's quite clear
crime doesn't pay.
Michael and April laugh.
MICHAEL
Kitt, that APB's off now, right?
K.I.T.T.
That's correct, Michael.
MICHAEL
Good, 'cause I'm taking a long,
leisurely drive to the beach.
APRIL
The beach? In the middle of the day?
MICHAEL
Yeah. Come on....
April hesitates.
MICHAEL
What're they going to do...arrest
us? Besides, if they do, we've got
a great getaway car.
K.I.T.T.
Very funny, Michael.
Michael and April laugh, jump in the Trans Am, and as it
roars down the street, we:
FREEZE FRAME
AND
FADE OUT
THE END
