PLEASE NOTE: KCLF Radio Broadcast has now been changed to:
KCPY Radio Broadcast throughout the entire script.
________________
ACT ONE
FADE IN
EXT. MOUNTAIN ROAD - DAY - ON TRANS AM
The gleaming Trans Am serpentines its way through summer-
scorched hills, falling toward the coast where a late gold
sun descends for its evening dip in the Pacific. Peaceful.
INT. MUSCLE CAR - VARIOUS INSERTS
A fist grips the knob of a Hurst gearshifter. A heavy-
booted foot stamps on a stiff clutch pedal. New Wave music
blares through the car's speakers, its beat mixing with the
roar and throb of a big V-8 under the hood.
BACK TO TRANS AM
cruising. Quiet again, Michael Knight sits easy and com-
fortably at the wheel.
EXT. HIGHWAY - DAY - ON TWO MUSCLE CARS
lined up across both lanes of the paved road. In one car
-- with a "REBELS" plate on the corner of windshield is Ron
Prescott, early twenties, good looking in a James Dean
vulnerable kind of way. In the other car is Mace Beaudry,
local boy, a little younger, intense.
INT. TRANS AM - DAY - DRIVING
Michael is meditative, wrapped up in the car, the road, the
moment. Unaware of the danger rocketing toward him.
MICHAEL
You know, sometimes I think I have
the best job in the world. A lot of
men would die for duty like this.
K.I.T.T.
You nearly have on several occasions.
MICHAEL
You're all heart, Kitt.
EXT. HIGHWAY - RON AND MACE
pouring on the power, just missing each other as they
scream down the straight two lanes.
INT. TRANS AM - DAY
driving. Michael's reverie is interrupted.
K.I.T.T.
Michael, my sensors are picking up
two obstacles heading directly this
way.
MICHAEL
What kind of obstacles?
MICHAEL'S POINT OF VIEW THROUGH THE WINDSHIELD
The two drag racers zoom into sight through a slight bend
in the road -- head on. Seconds away.
K.I.T.T.
That kind. Michael, there's no
shoulder.
INT. RON'S MUSCLE CAR - DAY
A look of sheer horror on his face.
INT. TRANS AM - DAY
Michael's razor-sharp reflexes take over and his finger
stabs the dash for turbo boost.
MICHAEL
Do it, Kitt!
EXT. HIGHWAY - DAY
An instant before a splintering head-on, K.I.T.T. soars up,
up, and over Ron and Mace's cars, then lands hard behind
them. The carnage is averted miraculously. The two
competing racers slam on their brakes and stare out their
respective windows in disbelief. They both then turn and
race off -- away from the flying car.
OMITTED
EXT. HIGHWAY - ON K.I.T.T.
The Trans Am spins immediately into a 180 and roars after
the racers, who are already out of sight.
INT. K.I.T.T. - DAY
MICHAEL
We've got to stop them before they
kill somebody.
K.I.T.T.
Michael, my scanners indicate those
maniacs are splitting up. I'm also
picking up a siren coming up behind
us.
MICHAEL
Might as well leave them to the
cops. We have an appointment to
keep, buddy.
EXT. K.I.T.T. - DAY
as Michael is passed by a wailing black-and-white. K.I.T.T.
then does a U-turn and heads off.
EXT. DIRT ROAD - DAY - RON'S CAR
He's pulled off into some thick brush, as the black-and-
white roars past him. He looks over to the other side of
the road where we can see Mace's car -- also camouflaged.
OMITTED
EXT. VISTA BEACH, CALIFORNIA - DAY - ESTABLISHING
A quaint, colorful coastal resort town. Sun-drenched
streets, clean air, and a blue, blue ocean.
EXT. MATTHESON GALLERY - DAY
K.I.T.T. drives up in front of a building, appealing and
funky. We note signs of vandalism in the gallery, however.
A makeshift sign reads "Closed", and a window is broken.
ANGLE ON MICHAEL
Before he can cross the sidewalk and enter, he finds himself
pumping the hand of a brash, old-style salesman dressed in
a plaid Zachary-All sport coat and a bow-tie. This is
Manny Carmichael.
MANNY
Nice car. Beautiful car, in fact.
Had her long? Carmichael's the name,
auto alarms is my game. Friends
call me Manny and I hope you will
too.
MICHAEL
Well, Manny, I hate to stop you in
midpitch, but I really don't think I
need an alarm system.
Manny shuffles through his briefcase and comes out with a
coat hanger and a screwdriver.
MANNY
If you'll just permit me a little
demonstration? Thirty seconds to
break into this baby, thirty seconds
...and I'm just an amateur, mind you.
MICHAEL
(smiling slyly)
Tell you what, Manny. I've got an
appointment. You go ahead and shoot
your best shot and if you can break
into...
(pats K.I.T.T.'s
roof)
...'this baby,' we'll talk some
business, okay?
MANNY
You've got a deal!
Michael heads for the gallery, barely keeping a straight
face.
INT. MATTHESON GALLERY - DAY
A door chime rings, announcing Michael's entrance. Inside
is a curio shop of paintings, objects d'art, and funky
antiques of toys, small appliances and signs. Many objects
have been broken, turned over and generally disrupted.
FOLLOWING MICHAEL
as he surveys the damage and looks for signs of life.
MICHAEL
Hello? Anyone home?
MARIETTA'S VOICE
Freeze, buster! Hands away from
your body!
Michael does. We pull back enough to see the point of a
shotgun prodding his back.
ANOTHER ANGLE - MICHAEL AND MARIETTA
Holding the gun on Michael is Marietta Mattheson, an attrac-
tive, slightly eccentric lady in her late forties.
MARIETTA
(calling out)
Cindy! Call the cops.
CINDY'S VOICE
Aunt Marietta, you put that gun down
this minute.
Cindy walks into the gallery from the back room. She is
nineteen, a lovely blonde, wholesomely attractive California
teenager. Michael turns around, smiles.
MICHAEL
You must be Marietta Mattheson.
Devon's told me a lot about you.
MARIETTA
Devon sent you? Why didn't you say
so?
MICHAEL
Somebody stuck a gun in my back.
MARIETTA
I see what you mean.
(puts gun
aside)
This is my niece, Cindy.
CINDY
Hi. Excuse us. It's just gotten a
little scary around here and we're
leery of strangers on weekends.
MICHAEL
So I hear. You want to tell me what's
been happening?
MARIETTA
Rotten, thieving hoodlum bums.
Decent people can't stay in business.
This used to be a quiet, lovely town,
until these 'weekend warriors'
started coming in. That's when the
burglaries began. We got hit last
Saturday night.
CINDY
We can't even clean the place up
until the insurance company checks
it out item by item.
MICHAEL
Who are these 'weekend warriors'?
MARIETTA
(an edge)
Cindy could help you there.
CINDY
(a touch
defensive)
They're out-of-town car clubs mostly.
They come in every weekend.
MICHAEL
And you're convinced they're the
burglars.
CINDY
My aunt is.
MARIETTA
So's most of the town. Cindy doesn't
want to believe it because her boy-
friend's one of them.
CINDY
Nobody really knows who it is. Our
police chief hasn't even gotten close
to an arrest yet.
MICHAEL
If this has been going on for a while,
you'd think he'd ask for some outside
help.
MARIETTA
Chief Craig's been here for thirty-
five years and he's never needed any.
He retires this year and he doesn't
want to spoil his record now. If
you ask me, it's already spoiled.
MICHAEL
Well, Devon'll be here sometime
tomorrow. In the meantime, I'd like
to look around. Got any idea where
I might find these 'weekend warriors'?
Marietta looks pointedly at Cindy.
CINDY
I waitress over at the Hurricane Club.
A lot of them hang out there. And my
boyfriend'll be coming in later this
afternoon.
MICHAEL
Sounds good to me. When can we
leave?
CINDY
I'll just grab a sweater.
OMITTED
EXT. MATTHESON GALLERY - DAY
Michael and Cindy cross the sidewalk to K.I.T.T. An
exhausted Manny is still working on the Trans Am's door.
His coat is off, his tie is askew, and he looks a little
apologetic.
MANNY
Oh, hi. Back so soon? Well, like I
said, I'm an amateur at this, but
those pros...thirty seconds.
MICHAEL
Don't doubt it for a minute, Manny.
Thanks anyway.
MANNY
Hey, but I'm going to be around town
for a few days, so if you can give
me another crack at this baby I'd
sure....
Manny stops in midsentence as he sees Michael open the car
door with ease and let Cindy in. He then goes to the
driver's side and opens his door. We see the red lights
under the door handles flash green to Michael's touch.
Michael gets in, then sticks his head out.
MICHAEL
Catcha later, Manny.
Off Manny's confused look, Michael drives off down the
street.
INT. K.I.T.T. - DAY
as Michael drives down the road toward the Hurricane Club.
Cindy looks around the dash.
CINDY
Some car. Do you race?
MICHAEL
Not in the normal sense.
CINDY
(re monitors)
Watch TV?
Michael laughs. Looks at her.
MICHAEL
I got the idea from Devon this was a
personal matter, but from what I see
it's a lot bigger than that.
CINDY
(nods)
Everyone's keeping it quiet. Trying
to. Crime's not good for business.
But just because they happen on the
weekends, everyone automatically
thinks it's the car clubs.
MICHAEL
You sound like you're sure it isn't.
CINDY
Well, I know it's not Ron or The
Rebels -- That's the name of his
club, The Rebels. When I first met
him I thought he had an attitude
problem. But after I got to know
him, I realized he's not what people
think he is. He's not antisociety or
antipolice or anti anything. He just
likes cars and likes to race. He's
not involved, Michael. Believe me,
if he was I'd know.
MICHAEL
(a smile)
Spoken like a lady in love.
CINDY
(a little
taken aback)
Is it...that obvious?
MICHAEL
Only to a trained eye.
She looks relieved. Michael smiles, liking her.
EXT. HURRICANE CLUB - DAY
as Michael pulls K.I.T.T. into the parking lot. Parked
together are a group of the muscle cars seen earlier. We
can hear loud rock music coming from inside.
CLOSER ANGLE - K.I.T.T.
as Michael and Cindy come out and head for the club.
Michael notes one of the cars is the one racing earlier.
CINDY
Your car is outrageous. I love it!
MICHAEL
Some of these aren't too shabby
either.
(re the car)
Whose is that?
CINDY
Mace Beaudry. He's a local. Wait'll
you see Ron's. He's restored it him-
self.
(beat)
Don't get me wrong about Aunt Marietta.
I love her and she means well -- and
I want these burglars caught as much
as anyone. If things keep on like
they are, she and a lot of other
small businesses could be forced to
close down.
MICHAEL
That's why I'm here.
(off her look)
To see things don't keep on like
they are.
INT. HURRICANE CLUB - DAY
Michael and Cindy enter amid young adults of all types,
eating, drinking, dancing and socializing. Rock music
blasts from overhead speakers. A few guys play pool.
MICHAEL
When did the car clubs start coming
to Vista Beach?
CINDY
About six months ago. Nobody knows
exactly how or why it started, but
now it's the thing to do. They come
from all over.
Mace stops playing pool and comes over to Cindy.
MACE
Hey Cindy, I ordered a couple of
turbo burgers -- got an ETA on 'em?
CINDY
Mace, I'm not even working yet.
When did you order?
MACE
Last night.
(to Michael)
She's a great little dancer, but as
a waitress you could starve to death.
(then)
Play pool?
MICHAEL
Never before dark. Didn't I see you
out on the road into town earlier?
MACE
Could be.
(reacts)
You don't drive a black hardtop, do
you?
MICHAEL
Could be.
Mace studies him, unsure. Then, to Cindy:
MACE
You really go for the out-of-towners,
huh Cindy? Why not try a little
home-grown once in awhile?
Before she can respond he drifts off, back to pool.
CINDY
(to Michael)
Mace Beaudry. I should've introduced
you.
MICHAEL
We already met, in a manner of speaking.
I'll settle for Ron.
HANDSOME ANSON (V.O.)
Hey, hey all right boys and babies,
lords and ladies, a big hand for
that song -- number twelve with a
bullet...here live from the Hurricane
with Handsome Anson on KCLF!
Michael turns to see:
OMITTED
ANGLE ON SMALL STAGE - HANDSOME ANSON JAMES
We see where the music is coming from: Dressed in a
Hawaiian shirt and narrow punk sunglasses which he doffs
and twirls in his hands as he raps, is Handsome Anson.
Dick Diondi/Cousin Brucie/Wolfman Jack: he's one of a grand
tradition. He sits in front of a small DJ two-turntable
setup. As he blares on in the b.g.:
RESUME - MICHAEL AND CINDY
Michael turns back to Cindy, leans close to be heard.
MICHAEL
Your own club DJ? I'm impressed.
CINDY
He's Vista Beach's one and only
celebrity. Handsome Anson. He has
his own radio show.
Michael looks around the club again, smiling, shaking his
head.
MICHAEL
Some things never change.
CINDY
You've been here before?
MICHAEL
Not here, but these guys remind me
of myself about ten years ago. The
clubs, the rap...the turbo burgers,
they all stay the same...only the
sideburns change.
Cindy laughs as Michael takes in the deja vue.
ANGLE - ENTRANCE OF HURRICANE CLUB
as we pick up Ron Prescott, the racer we saw in the opening
scene. Out of his car, he's tall and lean; a natural leader.
He's dressed in jeans, boots and a worn-out bomber jacket
bearing the colors of his car club: The Rebels. He's with
Ty, another club member. As they come in:
RON
Can't do it, man -- jets that big'll
foul your plugs, I don't care how
hot they are.
TY
Not if you keep the RPM over three
grand.
RON
It's your car.
We hear Cindy laugh as she and Michael continue to talk.
Ron sees her, smiles...then goes over to her.
ANGLE - MICHAEL AND CINDY
as Ron approaches and Cindy sees him. Ron grabs Cindy and
lifts her up, gives her an affectionate hug. Ad-lib
greetings.
RON
Hey, Cindy, I wait all week to see
you and I'm ten minutes late and
you're with another guy.
CINDY
(laughs)
That'll teach you. Ron, I want you
to meet Michael -- Michael Knight.
Michael, this is Ron.
They smile, shake hands. Ad-lib hellos.
CINDY
He's here to look into the burglaries.
RON
(a reaction)
In here?
MICHAEL
(shakes
his head)
Just dropped by to look around.
Say hello. See what's happening.
RON
Yeah? What's happening?
MICHAEL
(beat)
Ron, I'm not after you. I'm not
after Cindy. Relax.
RON
Yeah, well it's kinda hard to relax
when half the people in town look at
you like you're Attila the Hun coming
in to rape and pillage.
MICHAEL
I didn't say that.
RON
No, nobody says it. But you're not
out somewhere dusting for prints,
you're here. If you don't think
it's us -- or me -- why here?
MICHAEL
Like I said, I'm just looking around.
Ron studies him for a moment.
RON
(to Cindy)
I got a few things to do. I'll see
you later.
With that he turns and walks toward the door. Cindy looks
incredulous, hurt.
CINDY
(calls after
him)
Ron...Ron, please....
MICHAEL
It's okay. Maybe he needs a little
time. Where does he usually go to
when he gets like this?
CINDY
I don't know...but he'll be at the
races tonight. I can tell you where
they are.
MICHAEL
I think I already know.
EXT. ROAD - NEAR TWO-LANE DRAG ROAD - NIGHT
as we see K.I.T.T. drive toward the stretch of roadway.
OMITTED
INT. K.I.T.T. - NIGHT
Michael drives.
K.I.T.T.
Both cars we saw racing were in the
parking lot of that awful rock-and-
roll club.
MICHAEL
Gotcha, Kitt. One belongs to Mace
Beaudry. I've got a hunch who the
other belongs to.
K.I.T.T.
Michael, there's something I don't
understand. What is this drag racing
all about? Why is everyone in such a
hurry?
MICHAEL
It's competition. You know, who's
fastest. Who's the baddest.
K.I.T.T.
The 'baddest'?
MICHAEL
Just an expression. To racers, it
means 'best.'
K.I.T.T.
The slang use of words is beyond me.
However, as far as who is the fastest,
that's simple. I am.
MICHAEL
(smiles)
Yeah, but that's just between us,
pal.
EXT. DRAG ROAD - NIGHT
Headlights illuminate the darker side of the local scene.
A number of heavy-duty cars have congregated here, several
showing Rebels' logos. Handsome Anson's voice blares out
of turned up stereos, seemingly coming from everywhere.
Guys and girls hang out of cabs and tailgates, drinking and
partying. The roar and throb of high-powered engines
sometimes drowns out the pounding of the rock hit,
"Crumblin' Down" which comes from the radios. The song
continues to echo through dozens of speakers, creating a
cacophony of rever-berating rock.
K.I.T.T.
Michael, it's one thing to have to
hear that 'music' from my own
speaker, but to be assaulted from
all sides...I feel like Custer at
Little Big Horn.
MICHAEL
Hang in there, buddy, this isn't
your last stand. I don't see Ron.
Scan the cars, see what you can pick
up. And let's get pictures.
Michael punches appropriate buttons, climbs out.
CLOSEUP - K.I.T.T.'S SCANNER
as he begins to record the scene.
OMITTED
FULL
as Michael turns to the crowd.
MICHAEL
I'm looking for Ron. Ron Prescott.
Is he here?
Ty, Ron's friend from the Hurricane Club, walks up to him.
TY
You want the top dog, you gotta earn
it. Can that thing move?
MICHAEL
When there's a reason. I don't
consider street racing a reason.
This elicits hoots from the crowd.
TY
I could've figured. All show, no
go. Better move it out of the way,
we've got some races to run.
MICHAEL
Not until I know where Ron is.
The moment tenses. The song "Crumblin' Down" continues
to blare in the b.g. Then the sound of a siren, growing
louder. The group reacts by leaping into their cars.
TY
The heat! Meet at the bluffs!
And he climbs into his car and backs up and off. The scene
is breaking up pretty thoroughly as a black-and-white
police car arrives, red lights flashing. A spotlight from
the car is trained on Michael.
CHIEF CRAIG
(over bullhorn)
Hold it right there, son.
ANGLE ON THE POLICE CAR
as Chief Rupert Craig climbs out of the driver's door.
He's a flint-jawed, old-school lawman in his midfifties.
Out of the passenger side comes Officer Apted, early
thirties, lanky, but boyish face. He guards his holster as
he monitors the scene.
MICHAEL
I've got no reason to run.
CRAIG
No? We'll see. What's your name?
MICHAEL
Michael Knight. I'm in town on
business.
CRAIG
What business is that?
MICHAEL
For the time being, it's personal.
CRAIG
Then I'd suggest you get to it.
Otherwise, as far as I'm concerned,
you're just another out-of-town
street racer. Got that?
Michael smiles, starts back into K.I.T.T.
MICHAEL
You bet, sir. Fifty-five, stay
alive.
And he drives off. Craig watches him.
OMITTED
EXT. JEWELER'S STORE - NIGHT
An alarm is ringing as we see the aftermath of a break-in,
smashed glass, discarded merchandise, etc. We see a
robber, his back to us, run from the store toward a muscle
car -- the same kind of car we just saw at the drag road.
Taillights blink on and the engine roars away as he makes a
clean escape...as the final strains of "Crumblin' Down"
scream from his car radio.
FREEZE FRAME
AND
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
EXT. HIGHWAY - DAY - K.I.T.T. AND SEMI - STOCK
as K.I.T.T. pulls a 180 after passing the truck, then
glides up the ramp.
INT. SEMI - DAY
as Michael climbs out of the Trans Am, ad-libs hellos.
APRIL
I've come up with something new for
Kitt.
MICHAEL
A program to help him understand drag
race slang?
APRIL
(smiles)
I'm afraid that's beyond my grasp.
This comes straight from Research
and Development.
MICHAEL
I can hardly wait.
(crosses to
Devon)
Devon. Did you get the info on...
(sensing Devon's
concern)
What's wrong?
DEVON
(at the
computer)
We just received a report from
Vista Beach. Apparently it wasn't
as quiet as you thought last night.
MICHAEL
Another burglary?
DEVON
(nods)
A jewelry store.
MICHAEL
Devon, this isn't just an isolated
incident or two. The whole town is
being hit every weekend. We've got
more than we bargained for here.
Devon looks back at the monitor.
DEVON
Apparently. They took jewelry. A
rather good selection. All of
quality.
(then)
What's this I hear about a gang?
MICHAEL
There's some out-of-town street racers
everybody's got their eye on. I'm
not saying they're innocent, but one
thing's for sure -- they don't look
like diamond experts.
DEVON
Looks can be deceiving.
MICHAEL
I hear you. What've you got on a guy
named Ron Prescott?
Devon punches it in. It comes up on the screen. Michael
looks it over, then:
MICHAEL
What do you know. A prior. Breaking
and entering. Maybe I spoke too soon.
(beat)
I wonder if Cindy knows about this.
DEVON
Who?
MICHAEL
Marietta's niece. Ron's her boyfriend.
Devon's face lightens a bit.
DEVON
So, you met Marietta. How is she?
She used to be quite a...fun-loving
young lady.
MICHAEL
(carefully)
She's...seasoned a bit.
DEVON
(undaunted)
Good. Proper seasoning tends to
bring out the true flavors. I'm
looking forward to seeing her after
all these years.
Michael gives Devon an amused look as April shuts the hood.
APRIL
Kitt's all set. The unit is desig-
nated 'Silent Mode.' Push the
activator and Kitt's engines become
virtually noiseless.
K.I.T.T.
Michael, I resent being muzzled.
Over this, the phone rings and April answers it, then:
APRIL
(to Michael)
It's Cindy. She needs you back at
the gallery. She says it's urgent.
Off Michael's look, we:
CUT TO
EXT. MATTHESON GALLERY - DAY
The Trans Am glides to a stop. We can see Chief Craig's
cruiser parked outside the gallery. As Michael gets out
of K.I.T.T.:
K.I.T.T.
Michael, that horrible man is here
again.
MICHAEL
Chief Craig?
K.I.T.T.
The auto alarm salesman.
Manny leaves an MOS pitch down the street, approaches. He
has a flat metal "door popper" in his hand.
MANNY
Hey, remember me? Been thinking
about yesterday. See, I was using
the wrong tools. This baby's what
the pros pop you open with in thirty
seconds.
MICHAEL
Manny, I think you're wasting your
time.
MANNY
Hey, just one more chance. That's all
I ask.
Manny looks over at K.I.T.T. as Michael crosses to the
gallery. Manny inserts the "door popper" between the window
and door frame, applies pressure; it bends. Manny stares in
disbelief. He's about to try again when K.I.T.T. starts up
and blind-drives away from Manny, making a U-turn in the
street and parks in front of the gallery. Manny stares,
transfixed.
INT. GALLERY - DAY
Michael comes in and sees Chief Craig and Officer Apted as
they are searching through the back room, Marietta watching
every move. Cindy runs up to Michael.
MICHAEL
Cindy, what's happening?
CINDY
They've got a warrant out for Ron's
arrest!
MICHAEL
(reacts)
What? What's the charge?
CINDY
Suspicion of burglary. Can they do
that?
MICHAEL
We'll see.
With that, Michael walks toward the door to the back room
as Chief Craig comes out. Officer Apted stays in the back
room, searching.
CRAIG
You again.
MICHAEL
Me again. What's the evidence against
Ron, Chief?
CRAIG
Do I see a badge on that jacket?
MICHAEL
You don't need a badge to ask a
question.
CINDY
Michael, you were with Ron last night.
Tell him.
MICHAEL
Wish I could, Cindy. But I never
caught up with him. I'm sorry.
CRAIG
That's bad news for the boy. Although
I'm not surprised. You see, his car
was made leaving the scene of the
crime.
Officer Apted comes out of the back room, followed by
Marietta.
OFFICER APTED
He's not here, Chief.
They both turn to leave.
CRAIG
(to Michael)
How's the 'personal business' coming?
MICHAEL
I'll let you know.
They both go out the door. Cindy turns to Michael, upset.
CINDY
Michael, he didn't do it. He didn't
commit that burglary...but now Chief
Craig is convinced he did.
MICHAEL
I'm not saying he did, Cindy. But
the truth is the truth -- I didn't
see him last night.
MARIETTA
(trying to
comfort)
Cindy, Devon sent Michael here to
help solve the crimes -- not prove
Ron innocent.
CINDY
I happen to think they're the same
thing.
MICHAEL
I'll look around, see what I can find
out. Cindy, if Ron's innocent, I'll
help him prove it. That's a promise.
Cindy nods. The phone rings. As she crosses to answer it:
MARIETTA
Tell Devon is he stands me up I'll
never forgive him.
MICHAEL
(a smile)
He'll be here.
She smiles. Michael goes out the door.
EXT. GALLERY - DAY - ON K.I.T.T.
As Michael comes out, we see Manny spread-eagled across
K.I.T.T.'s hood as Officer Apted pats him down. Chief Craig
calls out as Michael approaches.
CRAIG
He was trying to jimmy your door
locks. Claims he knows you.
MANNY
Tell 'em! Tell 'em it's okay!
MICHAEL
It's okay, Chief. Thanks.
Michael opens K.I.T.T.'s passenger door, pauses.
MICHAEL
The door was open, Manny. Can't
figure out why it's so tough for
you.
Manny stares, turns and walks away, glancing back. Craig
and Apted cross to their car. Michael starts to get in as
Cindy comes running out of the gallery.
CINDY
Michael!
Michael turns as Cindy reaches him.
CINDY
(excited)
I just got a call from Ron! He
wants to talk to you.
MICHAEL
That's a surprise. Where is he?
CINDY
He found out about the warrant.
He's hiding.
(starts to
get in)
C'mon, I'll show you.
MICHAEL
No, it's better if I go alone. Just
give me the location.
CINDY
Half a mile south of the Glenrock
Cliffs, just off I-19.
(then)
Michael, help him. Please. I
didn't mention this...but he's got a
prior.
MICHAEL
So I heard.
CINDY
You knew? Why didn't you say
anything?
MICHAEL
I was hoping you would.
He smiles. Off her look, we:
OMITTED
EXT. GLENROCK CLIFFS - DAY
as K.I.T.T. drives along the road.
NEWSMAN'S VOICE
...We repeat, an all points bulletin
has been issued for the arrest of
one Ronald Prescott in connection
with the town's recent string of
burglaries....
EXT. KCPY RADIO STATION - DAY - ESTABLISH
A small building on the hill. We hear:
NEWSMAN'S VOICE
Prescott is a white male, light brown
hair, blue eyes, one hundred seventy
pounds and has been seen with the
car club known as The Rebels.
INT. KCPY RADIO BROADCAST BOOTH - DAY
as camera pans through the equipment and the voice
continues, we pick up the "Newsman." It's Handsome Anson,
sans sunglasses, reading the official copy with a low
"newsman's voice."
HANDSOME ANSON
Any citizen spotting Prescott or knowing
his whereabouts is urged to call the
police hotline at 555-0933. And now,
back to Handsome Anson James on KCPY.
Anson puts the sunglasses back on, and in his "jock voice:"
HANDSOME ANSON
Yeah, yeah, Handsome Anson back
spinning 'em for you here with The
Police and 'King of Pain'....
INT. K.I.T.T. - DAY
Michael negotiates the rough road.
K.I.T.T.
Michael, I've been doing some research
on this hot rodding business. It's
absolutely criminal.
MICHAEL
Yeah? How's that?
K.I.T.T.
Did you know that each year over a
thousand cars are sacrificed in
front of paying crowds in the name
of speed?
MICHAEL
That's competition, pal.
K.I.T.T.
(dry)
It's comforting to know just how far
humans have progressed since the
days of the Christians and the
lions.
(then)
We're here, Michael.
MICHAEL
Okay, let's scan for any sign of Ron.
EXT. K.I.T.T. - ON SCANNER
as it oscillates back and forth...looking for signs of
human life.
INT. K.I.T.T. - DAY - ON MONITOR
as we see a graphic representation of Glenrock Cliffs. We
see the figure of a man behind some trees.
K.I.T.T.
I've located him, Michael. At two
o'clock...behind those trees.
EXT. K.I.T.T. - ON MICHAEL
as he comes out of the Trans Am and begins toward the trees.
MICHAEL
(calling out)
Ron? It's Michael. C'mon out, man.
There's no answer. Michael goes further away from K.I.T.T.
toward the trees.
MICHAEL
I'm here. I'm alone.
More silence, then:
RON'S VOICE
You sure you weren't followed?
MICHAEL
Positive.
ANGLE - TREES
as we see Ron look out.
RON'S POINT OF VIEW - MICHAEL
as Michael walks toward him. We see K.I.T.T., his scanner
still on, in the distance.
MICHAEL
You wanted me, here I am.
ANGLE ON AREA ABOVE CLIFFS
We see a muscle car pull up and stop. The door opens and
we see two booted feet get out and walk to the edge.
INT. K.I.T.T. - ON MONITOR
as we see on the graphic of Glenrock Cliff the sudden
appearance of the muscle car and figure.
K.I.T.T.
Michael! We're not alone.
MICHAEL
as he hears this on his comlink. He looks around. Ron
reacts to the voice.
MICHAEL
(comlink)
Where?
K.I.T.T.'S VOICE
The cliffs above you!
CLOSEUP - HANDS
as they pull into frame three sticks of dynamite, taped
together. The fuse is lit, then the dynamite is thrown
down towards Michael and Ron.
ANGLE ON MICHAEL
as we see the dynamite sail through the air and fall to the
ground in front of Michael. Ron looks up to where the
dynamite was thrown. He begins to run. Michael turns to
run after him, but slips on the loose gravel and falls.
OMITTED
ANGLE INCLUDING DYNAMITE
as the fuse burns toward the sticks.
MICHAEL
(into comlink)
Kitt! I need you!
INT. K.I.T.T. - ON CONTROLS
as the auto drive button activates, the gearshift moves to
drive and the gas pedal is depressed.
EXT. K.I.T.T.
as he blind-drives for Michael.
ANGLE - MICHAEL AND K.I.T.T.
as K.I.T.T. drives over the dynamite, covering it with his
body.
HIGH ANGLE
with Michael only a few yards away, the dynamite explodes
under K.I.T.T., sending up a deadly billowing cloud of
smoke and a massive roar. The cloud fills the frame so
that all we see is the thick white smoke and hear the
echoing sound of the explosion as we:
OMITTED
FREEZE FRAME
AND
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
OMITTED
EXT. GLENROCK CLIFFS - DAY
as the cloud of smoke still hangs in the air. It is now
silent -- uneasy silence, as the dust and debris settles.
We can't see anything. Then:
K.I.T.T.'S VOICE
Michael...Michael, are you all right?
MICHAEL'S VOICE
I'll know better once the smoke
clears. Thanks, pal.
CLOSER ANGLE - K.I.T.T.
as the debris thins out and we see Michael approaching
K.I.T.T. He opens the door and goes inside.
MICHAEL
I think I'm okay. How 'bout you?
K.I.T.T.
After surviving that music last
night, this was a piece of cake.
(then)
A vehicle is just leaving scanner
range. I trust whoever was driving
threw the explosive.
MICHAEL
Right now I'll settle for the guy
who set me up.
EXT. FIELD - BY GLENROCK CLIFFS - DAY
as K.I.T.T. does a 180 and heads back the way they came, in
hot pursuit of Ron, who we pick up running toward the slope.
CLOSER ANGLE - K.I.T.T.
The sun roof popped, we see Michael as he stands up on the
seat, and as K.I.T.T. glides next to Ron, Michael leaps out
-- tackling Ron. They both hit the ground hard.
ANGLE - MICHAEL AND RON
as they slide over the ground and come to a stop. Michael
grabs Ron, furious, as Ron struggles.
RON
What're you doing? They're getting
away!
MICHAEL
I don't want them, I want you.
Why'd you do it?
RON
Do what? What're you talking about?
MICHAEL
You set me up!
RON
I didn't -- I swear I didn't.
MICHAEL
No one else knew I was coming up here
except Cindy!
RON
I don't know! All I know is it
wasn't me. You gotta believe me.
Michael stares hard at Ron, and long. He's weighing the
situation and the adrenaline is wearing off.
RON
Look, maybe I get hot sometimes,
race, get into a little trouble, but
that's it. I'm no burglar. I'm no
killer.
MICHAEL
(beat)
All right, then who do you think
that was?
RON
I don't know. That's what I wanted
to find out.
MICHAEL
Let's go back to last night. The
police said your car was made near
the burglary. What about it?
RON
Hey, Craig knows my car, he knows
me. It must just be getting too hot
for him. I wasn't anywhere near
there.
MICHAEL
Where were you?
RON
I came up here. I wanted to be alone,
I wanted a chance to think. Some of
the locals know about this place, but
it's kind of a secret.
Michael motions Ron toward K.I.T.T. Camera moves with
them.
MICHAEL
Well, somebody knew about it today,
and they must have followed you
here. They didn't follow me.
RON
What makes you so sure?
MICHAEL
Kitt, were we followed?
INSERT - K.I.T.T.'S DASH
K.I.T.T.
No, Michael.
BACK TO SCENE
Ron had started to get into K.I.T.T. but jumps back out.
Michael's amused.
RON
Who's in there?
MICHAEL
Come on. He doesn't bite.
RON
What about my car?
MICHAEL
We'll pick it up later. Right now
it's a red flag.
Ron gets into K.I.T.T. Cautiously.
MICHAEL
You know, I've been thinking about
your club's cars. Seems to me if
you had all this sudden money, your
cars would be in better shape.
RON
Then you believe me?
MICHAEL
For the time being. The point is, if
it's not the weekend warriors, who is
it?
CUT TO
EXT. HIGHWAY - DAY - ON K.I.T.T.
They drive down the open road.
OMITTED
INT. K.I.T.T. - ON MICHAEL AND RON
Ron keeps looking behind him.
MICHAEL
Don't worry, I can black out the
windows if I have to.
RON
Hey, I haven't exactly had a whole
lot of people believe in me before.
Why you?
MICHAEL
Because there's a cute waitress with
a terrific smile who believes in
you. And one other reason.
RON
What's that?
MICHAEL
Somebody did it for me once.
EXT. SEMI - STOCK
as the back opens and the ramp comes down.
RON
as he stares ahead.
RON
Far be it from me -- but don't you
think you're tailgaiting just a
little too close?
MICHAEL
Come on, racer. Live dangerously.
With that, Michael floors the Trans Am as Ron braces
himself.
EXT. HIGHWAY - DAY - K.I.T.T. AND SEMI - STOCK
as K.I.T.T. hits the ramp, then rides up and into it.
INT. SEMI - DAY
as K.I.T.T. comes to a stop and Ron and Michael get out.
Ron looks around, mouth open.
RON
I think I'm hallucinating. I've
heard of pit stops before but....
He stops as April walks over to K.I.T.T. Michael sees his
reaction.
MICHAEL
April, meet Ron Prescott. Ron, this
is April Curtis. She takes care of Kitt.
RON
A mechanic. Right. Now I know I'm
hallucinating.
APRIL
You're the one the police are
looking for.
MICHAEL
I thought I'd leave him here with
you and Devon while I check out a few
things.
APRIL
Devon's not here. He's gone to see
Marietta. Michael, can I talk to
you for a second? Alone?
Michael moves to her while Ron scopes out the rest of the
semi. She and Michael keep their voices low.
APRIL
Do you really think this is a good
idea?
MICHAEL
What could I do, there was nowhere
else I could take him. The whole
town's after him.
APRIL
Did you check this with Devon?
MICHAEL
Didn't have time. Relax, it's
Foundation business.
Michael moves back toward K.I.T.T., calls to Ron.
MICHAEL
Your buddies -- will they be racing
tonight?
RON
I doubt it. The heat's just too
heavy.
MICHAEL
Well, I need to get them out racing
to test a little theory of mine.
And I think I know just the way to
do it. Straight ahead.
He pulls away in K.I.T.T. down the lowering ramp. Ron smiles
at April who does her best to smile back.
OMITTED
EXT. SEMI ON HIGHWAY - DAY - STOCK
as K.I.T.T. slides out, does a 180 and heads back toward
town.
INT. K.I.T.T. - DAY - FAVORING MONITOR
as Michael drives and looks at the monitor.
MICHAEL
Kitt, did you access those police
reports?
K.I.T.T.
Yes, Michael.
Graphics pop up.
K.I.T.T.
Each night a burglary occurred, there
was also a racing incident which
took the police out of town.
Michael is puzzled, intrigued.
MICHAEL
The timing is amazing. Whoever's
behind this has a way of knowing
whenever a race is happening.
Intentional or not, I've got a
feeling they're a smoke screen for
the burglaries.
K.I.T.T.
Michael, if you don't mind I'd like
to know what this plan of yours is...
since I have a feeling I'm going to
be involved.
MICHAEL
Simple, Kitt. I'm just going to
stimulate a little action and see if
it creates some itchy fingers around
town.
K.I.T.T.
Is this what they call competition?
MICHAEL
No. Hopefully it's what they call
confrontation.
EXT. HURRICANE CLUB - DAY
The parking lot is about half full. The Rebels' cars are
in evidence as K.I.T.T. pulls up. Michael gets out and
looks at the cars.
MICHAEL
I used to have a GTO like that, Kitt.
K.I.T.T.
Isn't your life better now?
Michael gives K.I.T.T. a smile, then walks toward the club.
OMITTED
INT. HURRICANE CLUB - DAY
as Michael enters. It's not as lively as the day before.
A few pool players...more beer drinkers. The music comes
from a jukebox. A group of Rebels, including Ty, sit
around a table. Anson is setting up for a broadcast.
The Rebels seem subdued. Before they see Michael, Cindy
intercepts him.
CINDY
Michael! Did you find him? Is he
all right?
MICHAEL
He's okay. Safe and sound for the
time being. Just go about your
business. There's a few things I've
got to take care of.
Michael turns and heads to the Rebels' table. She watches,
unsure.
CLOSER ANGLE - TABLE
Michael walks over to the jukebox, unplugs it. Reactions.
Ty looks up. So does Anson.
MICHAEL
I'm glad I found you turkeys. I
thought you'd be out of town by now.
TY
Hey, clear out, man. You're not
welcome.
MICHAEL
Where's your top dog hiding out?
'Cause I've changed my mind. I want
him on the strip, eyeball to eyeball.
TY
With that no-go of yours? You gotta
be kidding.
MICHAEL
All right. You guys want me to earn
the shot at him, I'll run against all
of you, one at a time. Any time.
Tonight.
The challenge perks the Rebels out of their doldrums.
TY
We're not running tonight. Not until
we find Ron.
MICHAEL
I heard I could get some action in
this town. Guess I was wrong.
Ty looks at him for a moment. He's burning. Behind them,
we can see Anson as he finishes setting up for the day's DJ
action. The debate attracts his attention. Over this:
TY
Okay, smart mouth, you want action
you got it. Meet at the pier at
eleven. We'll go from there.
HANDSOME ANSON
Whoa, whoa, make it mellow, lads.
You know the heat is on.
MICHAEL
(to Ty)
I can handle it. Can you?
TY
Eleven. I can't wait.
Michael strolls out nonchalantly, winks at a surprised
Cindy as he leaves.
CUT TO
OMITTED
INT. MATTHESON GALLERY - DAY
The place has now been cleaned up pretty well. Devon has
his sleeves rolled up and his tie loosened; he's been
helping his old friend. He's finishing straightening a
painting.
DEVON
That's really a lovely painting.
MARIETTA
It's a Deyar...she's a local artist.
Two of her other works were stolen
in last weekend's...assault.
DEVON
(comforting)
I must admit, at first I thought you
might be exaggerating. But from what
I can see, and from what Michael's
told me, there's more to this than
meets the eye.
MARIETTA
The Chamber of Commerce reports that
business is off by twenty-five
percent. If this keeps up I'll be
forced to close down.
DEVON
I think thoughts of closing down are
a bit premature. If anyone can get
to the bottom of this, it's Michael.
Marietta glances at him, something on her mind.
MARIETTA
(then)
Oh, Devon, when I called you I thought
I'd be getting the best kind of help,
and frankly, I'll admit I'm disap-
pointed.
DEVON
Really? By Michael? Why?
MARIETTA
I expected someone who would come in
and...well, if nothing else present
a decent role model for Cindy.
Devon smiles to himself, a good idea of what is coming.
MARIETTA
I'm afraid your Michael Knight is
more sympathetic with the problem
elements than the victims.
DEVON
Marietta, Michael may not always take
a conventional approach but I've found
him to be bright, reliable and above
all trustworthy.
MARIETTA
If you say so. I just hope he won't
make his efforts here an exception.
DEVON
He won't. You have my word on it.
INT. SEMI - DAY
Devon is furious.
DEVON
Michael, I can't believe you've done
this!
We pull back to:
WIDER ANGLE
Michael and Devon are in the forward area, in b.g. April
shows Ron K.I.T.T.'s dash MOS.
MICHAEL
He's being framed. He's innocent.
DEVON
He's a fugitive from the law. He's
wanted by the police. The law is
what we're all about.
MICHAEL
What about justice? Devon, you sent
me here to stop these burglaries.
And to catch the people responsible.
Now someone out there wants a scape-
goat and they've picked Ron. And
there are some real burglars who may
decide to lay quiet and let him take
their rap unless we do something about
it.
DEVON
No one is arguing that point, but by
keeping Ron here we're jeopardizing
our own ability to continue our work.
MICHAEL
I understand this puts us in a
sensitive position but ---
DEVON
'Sensitive' is hardly the word.
'Culpable' is more likely.
MICHAEL
All right, what's our choice? Kick
him out? 'Sorry, Ron, but when push
comes to shove we're more interested
in covering our own tails.'
Devon looks at Michael, then at Ron. He takes a deep
breath, then:
DEVON
(to Michael)
You've made your point, Michael.
Now I'll make mine. You have until
this noon tomorrow to close the case.
If you're not successful by then,
I'll have no choice but to turn Ron
over to the authorities.
OMITTED
FREEZE FRAME
AND
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
OMITTED
EXT. VISTA BEACH PIER - NIGHT
as we see the Rebels and other street racers who have
caught onto the word-of-mouth about the "big race."
Handsome Anson once again blares out of car stereos and
ghetto blasters. Young people laugh, flirt, compare cars.
We pick up Ty and the Rebels. They check their watches and
look impatiently for Michael's arrival. Ty yells at some
of the younger locals who are gunning their engines.
TY
Hey, keep it down! I don't want the
heat getting here before Knight does.
The kids respond, back off. Ty paces. Waits.
EXT. STREETS OF VISTA BEACH - NIGHT
K.I.T.T. cruises by quietly. The streets are nearly empty.
INT. K.I.T.T. - ON MICHAEL
as he too listens to Handsome Anson on the radio.
K.I.T.T.
It's eleven oh-five, Michael. How
long do you think we'll have to wait?
MICHAEL
I don't know, Kitt. But there's no
way you can put a crowd of street
racers together on a Saturday night
and not have some action. Whether
we show up or not.
K.I.T.T.
I hope you're right.
MICHAEL
Just in case I am, let's get a
graphic of the streets.
ANGLE - FAVORING MONITOR
as we see a graphic of the city streets of Vista Beach come
up on the monitor. There is a random series of red dots on
the map.
K.I.T.T.
Per your request.
MICHAEL
Well, we've lit the fuse, pal.
Let's see if anything explodes.
EXT. PIER - NIGHT - ON REBELS
Ty has lost control of the locals, as well as some of his
own racers. A few "jump starts" are going on around him as
more and more engines are being fired up. Ty talks to one
of the other Rebels.
TY
He's not showing. I wouldn't be
surprised if he set us up to get
busted.
HANDSOME ANSON'S VOICE
(over radios)
Eleven-seventeen at the big KCPY.
It's Saturday night and yours truly
is feelin' all right! And now, from
me to you, special delivery...'Crumblin'
Down.'
Under the first bars of the music we can hear the strains
of a different type of music: police sirens approaching.
TY
The cops! I was right! Let's find
that sucker!
The Rebels peel out.
OMITTED
INT. K.I.T.T. - NIGHT - FAVORING MONITOR
Michael is also listening to "Crumblin' Down" on the radio.
K.I.T.T.
Really, Michael, you'd think of all
the music in the world they could
find a better piece than that
monstrosity.
Suddenly one of the red dots begins to blink.
K.I.T.T.
Michael, I'm picking up a burglar
alarm activated on the west side.
MICHAEL
I think we've trapped a live one.
Let's go!
EXT. CITY STREET - NIGHT - ON K.I.T.T.
as he turns and squeals away toward the alarm.
EXT. FURRIER SHOP - NIGHT
as K.I.T.T. screeches to a stop in front of a store with a
broken window and a clanging alarm. Michael jumps out of
K.I.T.T.
K.I.T.T.
I'm afraid we're too late. Whoever
was in there is already off my
scanner.
MICHAEL
(frustrated)
We were so close....
Michael looks around the street. Something catches his
eye. Michael kneels to examine a prominent set of skid
marks on the pavement.
MICHAEL
(into comlink)
Kitt, can you analyze these tire
marks?
INT. K.I.T.T. - ON MONITOR
as we see the tread marks being broken up on a graph.
K.I.T.T.
They're still warm, Michael. Made
by a vehicle accelerating, not
stopping. And I detect traces of
clay in the tires.
MICHAEL
as he gets up.
MICHAEL
(into comlink)
Clay? Like at Glenrock Cliffs?
K.I.T.T.
Affirmative.
(then)
Michael, I think we have company.
We hear a siren and see the flashing light of a police car
as it comes into view and stops. Chief Craig and Officer
Apted come out, both with drawn guns.
MICHAEL
You're too late. They're gone.
CRAIG
Open the trunk of your car. Now.
The trunk pops open. A surprised Officer Apted looks in.
OFFICER APTED
It's clean.
MICHAEL
Hey, if I'd robbed that store, why
would I hang around waiting for you?
Chief Craig walks up to Michael, face to face.
CRAIG
Lemme tell you something, Knight.
I'm sick of outsiders coming into
Vista Beach doing what they want.
And that includes you.
MICHAEL
I'm after the same thing you are.
CRAIG
Not in my town you're not. Go give
somebody else the benefit of your
wisdom. If I have to arrest you for
having your shoes untied on a city
street, I'll do it just to get you
out of my hair. Got that?
MICHAEL
Got it, Chief.
Michael climbs into K.I.T.T., the trunk goes down and Craig
and Apted begin up to the broken-in shop. Michael roars
off.
EXT. STREET - NIGHT - ON K.I.T.T.
We can hear "Crumblin' Down" playing from inside K.I.T.T.
INT. K.I.T.T. - FAVORING MONITOR
Michael's face is lit up by the monitor. We can see a
replay of the first confrontation the night before with the
Rebels as recorded by K.I.T.T.'s scanner. The music comes
from the audio portion. The video ends.
MICHAEL
Kitt, there's got to be something
I'm missing.
K.I.T.T.
Michael, you've been analyzing this
over and over again. I'm afraid I'm
going to burn out a circuit.
MICHAEL
Wait a minute -- that song, 'Crumblin'
Down' -- it was on the air just before
the burglar alarm went off.
(then)
And the only other time I heard it
was up with the street racers --
which was when the last burglary
took place!
K.I.T.T.
I don't think I understand the
correlation. If there is one.
MICHAEL
I think there is, pal. Access the
airplay logs from KCPY and cross-
reference them with the times the
police were called out to break up
the drag racing.
CLOSE ON MONITOR
as the print-out comes up: on one side the dates and times
of the police calls -- on the other, the airplay logs,
after which the song played is listed: 7/6: 12:06am:
"CRUMBLIN' DOWN"; 7/7: 1:16am: "CRUMBLIN' DOWN"; 7/14:
11:56pm: "CRUMBLIN' DOWN", etc.
MICHAEL
Now superimpose the dates of the
burglaries.
We see the same dates and times flashing over the print-out.
MICHAEL
That's it! Instant communication.
The cops are called to bust street
racers, the song is played and the
burglars strike. Time to shake the
tree and see who falls out.
OMITTED
EXT. KCPY RADIO STATION BUILDING - NIGHT
as K.I.T.T. pulls up in front and Michael gets out.
MICHAEL
Got it straight?
K.I.T.T.
Yes, Michael. I hope this plan
works better than the last one.
MICHAEL
It better. It's our last shot.
Michael heads into the building.
INT. KCPY RADIO STATION - BROADCAST BOOTH - NIGHT - ON
HANDSOME ANSON
He's dressed the same as always, but this time he's doing
the voice of an early Sunday morning inspirational deejay.
HANDSOME ANSON
This is Gary Spurley on the Gospel
Hour here at KCPY. Here's three
songs of love and inspiration from
Andre Crouch.
Gospel music starts up. Suddenly the doors burst open and
in flies Michael Knight. Handsome Anson flips a switch and
the volume drops.
MICHAEL
Why don't you play 'Crumblin' Down,'
Handsome? Or isn't the timing right?
HANDSOME ANSON
I don't know what you're talking
about, brother. This is Gospel Hour.
Michael lifts him out of his chair. The song choruses
about love and truth in the b.g.
MICHAEL
I think you do. You want to tell me
about it or wait for the police?
CRAIG'S VOICE
Nice try, Knight. The police are
already here.
Michael whirls around and finds himself staring down the
barrel of Craig's service revolver. Mace Beaudry stands
behind him.
MICHAEL
Well what do you know. I figured
there had to be somebody on the
inside, but I didn't think it was
a crooked cop.
EXT. RADIO STATION - NIGHT - CLOSE ON K.I.T.T.'S SCANNER
as we see it oscillate back and forth.
INT. K.I.T.T. - NIGHT - ON MONITOR
as we see the "record button" activate.
INT. RADIO STATION - FULL
Michael steps closer to Chief Craig.
MICHAEL
It's right out of a 'B' movie.
Small town cop on the take. Too
bad. Because being a real cop is
not a bad life. I know.
Against his better judgement, Craig responds.
CRAIG
Don't preach to me you long-legged
punk. I've been a 'real' cop. Thirty-
five years worth. But you can't live
on that the rest of your life. Not
when half the slime you've put away
have condos in Hawaii. So what's a
little stolen property. I deserve it.
Michael looks at him, satisfied. Craig slaps cuffs on him.
MACE
Hey, let's move it. Let's get it
over with.
CRAIG
Take him to the Cliffs. And do it
right this time.
EXT. RURAL ROAD - DAY
It's morning as we see a high-riding four-wheel pickup
thumping over the road. Mace is at the wheel. Michael is
beside him. We pan over to:
OMITTED
EXT. ROAD - DAY - ON K.I.T.T.
as we see him driving behind Mace. Silently.
INT. K.I.T.T. - ON DASHBOARD
as we push in and see the "Silent Mode" light blinking.
EXT. GLENROCK CLIFFS - DAY
Mace stops the truck, and he and Michael get out. He prods
Michael at gunpoint to the edge of the cliff. Mace stands
facing him, in front of his truck. Michael looks out at
the water.
MICHAEL
Beautiful sunrise. Hate to think
it's my last. So what's the story?
I handcuffed myself from behind,
then jumped? That's always a tough
one to sell.
Mace carefully unlocks the cuffs. We widen to see K.I.T.T.
silently pulling in back of Mace's truck. Michael turns and
sees K.I.T.T.
MICHAEL
Hey Mace, behind you.
MACE
You think I'd fall for that old
trick?
MICHAEL
Don't say I didn't warn you.
K.I.T.T. bumps up against Mace's truck, pushing it slightly
toward the cliff. Mace jumps and Michael steps out of the
way. K.I.T.T. pours on the steam and pushes the truck
right up to and over the edge of the cliff. Mace drops his
gun and grabs the push-bar on the grill as he falls over
the edge. He's forced to cling for his life.
MACE
Help! I'm falling!
K.I.T.T.
You were right, Michael. 'Silent
Mode' does have its advantages.
MICHAEL
Nice work, Kitt.
MACE
Hey! I can't hold on any longer! I
don't want to die!
Michael leans over the cliff next to the truck, looks down
at Mace.
MICHAEL
Spell it out, Mace. All the details.
Now. Out loud.
MACE
Okay, okay -- just get me up first!
MICHAEL
A little more pressure, Kitt. Use
your grappling hook.
INSERT - K.I.T.T.'S GRILL
K.I.T.T.'s grappling hook locks firmly onto the truck's
rear axle.
FULL
K.I.T.T. pushes the truck further over the cliff.
MICHAEL
Now then, from the beginning....
MACE
(talking fast)
Craig scouted the hits during the week.
He'd tell Anson. Anson gave me the
target. They'd wait for the weekend
and the street racers. When Craig
went after the racers, Anson played,
'Crumblin' Down' and I'd do the job.
MICHAEL
Got that, Kitt?
K.I.T.T.
Loud and clear.
MICHAEL
Pull him up.
K.I.T.T. backs up. Michael pulls Mace to safety. The
beaten young man stands breathless on the cliff.
MICHAEL
You okay now?
MACE
(panting)
Yeah.
MICHAEL
Good.
He decks Mace with a crushing right.
EXT. HIGHWAY - DAY
K.I.T.T. rolls past an intersecting road where we see Ty
and the other Rebels.
TY
There he goes!
As the hot rods pursue, we see K.I.T.T. pulling away from
them. The chase is on. They pass a police car coming in
the opposite direction.
INT. CRUISER - ON OFFICER APTED AND PARTNER
He sees K.I.T.T. fly past him.
OFFICER APTED
(into mike)
I've got a speeder on eighteen,
heading east. Black hardtop,
license K-N-I-G-H-T. Wait a
second. Make that four speeders.
Request assistance.
He hits his siren and burns a U in pursuit.
OMITTED
INT. POLICE CAR - DAY - ON CHIEF CRAIG
Craig has heard the call. He picks up his mobile unit.
CRAIG
(into unit)
All units! Move to pursue black
hardtop. Consider driver armed and
dangerous. Stop him, boys.
INT. K.I.T.T. - DAY
K.I.T.T.
I'm afraid we've attracted attention,
Michael.
MICHAEL
How close do you need to be to the
radio station to broadcast?
K.I.T.T.
The closer the better.
MICHAEL
Then let's deliver it right to their
doorstep.
EXT. OUTSIDE OF TOWN - DAY
As K.I.T.T. races to the radio station, we see him being
pursued by the Rebels, Apted's police car and another squad
car.
INT. K.I.T.T. - DAY
K.I.T.T.
Michael. We're within range.
MICHAEL
Okay, pal. Do your stuff.
K.I.T.T.
(very
official)
And now a special news announcement.
EXT. RADIO STATION - DAY
Craig arrives, runs inside.
INT. KCPY - BROADCAST BOOTH - DAY
Handsome Anson sits at his console, frantically pushing
buttons. K.I.T.T.'s voice rings out over his speakers.
Craig runs in.
CRAIG
What are you doing?!
HANDSOME ANSON
Me? Are you crazy? I'm trying to
get him off!
K.I.T.T.'S VOICE
Police Chief Rupert Craig and radio
personality Handsome Anson James
confessed today to being the master-
minds behind the recent string of
weekend warrior burglaries.
HANDSOME ANSON
He's stepping on our frequency!
There's nothing I can do!
INT. APTED'S CRUISER - DAY - ON APTED AND PARTNER
He is startled by the continuing "Special Bulletin."
K.I.T.T.'S VOICE
In his own words, Chief Craig said....
CRAIG'S VOICE
(recorded)
'...So what's a little stolen property?
I deserve it.'
EXT. RADIO STATION - DAY
as K.I.T.T., followed by the Rebels, Officer Apted and
another black-and-white drive up. K.I.T.T. continues his
broadcast. It is now also playing on his own loudspeaker.
K.I.T.T.'S VOICE
...suspect Ron Prescott was cleared
by the confession of local mechanic
Mace Beaudry, the actual burglar.
Chief Craig exits, reacts. Michael gets out of the car.
Apted and the Rebels are right behind him.
CRAIG
It's a lie! Don't listen!
Craig goes for his gun, but Michael grabs him in a bear hug,
pinioning his arms. Officer Apted is out of the cruiser,
his gun on the Chief, as the Rebels look on.
OFFICER APTED
Freeze Chief...you're under arrest.
MICHAEL
(to Apted)
I think you'll find Handsome Anson
inside.
Michael releases the Chief to Apted and tosses him the
Chief's gun. He turns to the Rebels.
MICHAEL
Sorry I missed our race last night.
But I figured helping clear Ron was
more important than letting you beat
me.
Ty smiles, shakes his head. Michael's diplomacy doesn't
fool him.
TY
Sure. Maybe some other time.
K.I.T.T.'s broadcast comes to a close.
K.I.T.T.
And now, back to the Gospel Hour.
(beat)
How was that, Michael?
MICHAEL
Perfect, Kitt. Now that Handsome
Anson's off the air, maybe you'd
like to take a crack at rock 'n roll.
K.I.T.T.
Perish the thought.
On Michael's grin....
FADE OUT
END OF ACT FOUR
TAG
FADE IN
OMITTED
INT. MATTHESON GALLERY - DAY
Everything is now back to normal. Marietta has put out a
punch bowl and some fruit and cheese for her invited
guests: Ron and Cindy, Michael and Devon.
MARIETTA
...And then there was the time it
was raining so hard you had to spend
the night in my mother's den. Do
you remember that?
DEVON
(embarrassed)
As I recall, I had pneumonia.
MARIETTA
(meaningfully)
Oh no, you were in very good health.
(then)
I propose a toast...to Michael Knight.
The group ad-libs its agreement.
CINDY
Michael, if it hadn't been for you....
RON
It's true. You saved my bacon. If
there's ever anything I can do....
MICHAEL
Maybe there is one thing. Try your
racing on a drag strip. They give
you trophies instead of tickets.
Ron laughs.
DEVON
There's a rumor the radio station
wanted to hire Kitt as their regular
newsman.
MICHAEL
Well, they'll need somebody new now
that Anson's in jail. In fact, I'd
better leave if I'm going to deliver
those tapes of Craig's confession to
the DA by four. The Chief's got
some dues of his own to pay.
Cindy gives him a kiss.
CINDY
This one's from me...I don't care
what Ron says.
Michael smiles, gives Ron a thumbs-up sign and leaves.
EXT. GALLERY - DAY
Michael gets into K.I.T.T. He is stopped by Manny and two
very large, unsavory looking guys.
MANNY
Hiya Mike! Thirty seconds, and
these guys can prove it. These are
real professionals.
MICHAEL
Sorry, Manny. Deal's off. You
convinced me having a car is too
much trouble. I'm getting a Moped.
K.I.T.T.
Moped, indeed.
Michael grins, starts up K.I.T.T. and pulls out. The two
thugs give Manny very unfriendly looks.
MANNY
(chasing after
him)
Hey, come back! I brought these guys
in special from L.A. -- and now I
got to pay 'em...Mike, come back...!
OMITTED
FADE OUT
THE END
