EXEC. PRODUCERS: Glen Larson PROD. #58634
Robert Foster November 11, 1984 (F.R.)
PRODUCERS: Gerald Sanford
Gino Grimaldi
KNIGHT RIDER
GIRLS' KNIGHT OUT
by
Richard Okie
________________
ACT ONE
FADE IN
EXT. CLUB - NIGHT - ESTABLISHING
Neon lights flashing. Rock music coming from inside.
INT. CLUB - NIGHT
Bruce Springsteen music blasts from stereo speakers as an
energetic crowd fills every inch of the place. Twirling
gels and strobe lights illuminate a seething dance floor.
MICHAEL AND BONNIE
dancing. Looking hot and tight with the beat. Both
dressed to kill. Michael makes an elaborate move, and
Bonnie laughs.
BONNIE
Don't tell me -- you've been taking
lessons from Michael Jackson.
MICHAEL
No way...Michael Jackson's been
taking them from Michael Knight.
Bonnie makes a move of her own.
MICHAEL
Hey, where's all that been hiding?
BONNIE
Right in plain sight...you've just
never bothered to look.
MICHAEL
Ohhh, Bonnie...how wrong you are.
They laugh, another few turns, and the music stops. They
hug one another in a fond, fun embrace. Then something
catches their eyes. They react.
WHAT THEY SEE
Matt Erickson, thirty, well-dressed, nice looking, and
definitely single, dancing with a beautiful young lady
named Samantha. Dancing, even though the music has long
stopped.
INTERCUT MICHAEL AND BONNIE AS NEEDED
They obviously know Matt.
BONNIE
Should we tell them?
MICHAEL
Nahhh, why spoil the fun.
BONNIE
Love at first sight?
MICHAEL
C'mon, Bonnie, Matt's known her at
least fifteen minutes already.
As they start from the dance floor, Michael spots:
JULIE HOLMES
leaning against a nearby column. Julie is nineteen,
blonde, pretty, with a somewhat hard veneer at odds with a
sensitive center. She wears a unique pendant around her
neck, and appears trying to keep her nerves under control.
BACK ON MICHAEL AND BONNIE
Bonnie sees Michael eyeing Julie.
BONNIE
And something tells me you'd like to
know her girl friend.
MICHAEL
Bonnie, are you suggesting that I...
Michael Knight of the Foundation for
Law and Government...a man dedicated
to combating injustice while at the
same time championing the cause of
the underdog, would be tempted to
ask that beautiful young lady sitting
there all by herself to dance?
She only nods.
MICHAEL
Thanks, Bonnie, you're a sport.
(starting
toward
Julie)
Really. I won't forget this. Never
in a million years.
Bonnie laughs to herself, and shakes her head. The music
starts again.
ANGLE ON JULIE
She's watching Samantha, and definitely nervous about
something. Michael startles her with:
MICHAEL
There are two things it's a sin to
waste -- good food and good
music.
She looks at him, he smiles.
MICHAEL
Care to dance?
JULIE
No...no thanks.
MICHAEL
Make that three things -- good
conversation.
JULIE
Look, I don't want to talk either.
MICHAEL
I...see.
(not one to
give up)
Then how 'bout a drink? Maybe
something to eat....
ON JULIE
intense as she watches Samantha.
ON SAMANTHA
looking past Matt and nodding to Julie.
BACK TO SCENE
Michael is still trying his best:
MICHAEL
Wait a second, I just got an idea....
JULIE
(interrupting)
Save it....
MICHAEL
But....
JULIE
I've gotta go.
And she does, heading toward the exit. Michael stands in
her wake:
MICHAEL
Hey, don't let me keep you...maybe
another time...right.
He shrugs, turns and goes back to Bonnie.
BONNIE
Struck out, huh?
MICHAEL
On three straight pitches.
ANGLE TO INCLUDE MATT
hurrying over by himself.
MATT
You guys aren't going to believe
this!
BONNIE/MICHAEL
You're in love.
MATT
I'm telling you this time it's
different! She's different! The
whole world's different!
MICHAEL
But you're taking her to the same
Italian restaurant.
BONNIE
Buying the same bottle of Chianti.
MICHAEL
And taking the same route back to
your apartment.
MATT
Except for one thing -- in my brand
new red Ferrari. At a cost of one
hundred thousand bucks.
BONNIE
But what's money to a Beverly Hills
lawyer.
MATT
Look, I work for every penny I get.
Michael...I've gotta ask you a favor.
MICHAEL
If it's looking after her girl
friend, forget it. She already left.
MATT
Left? That's impossible, she didn't
have a way home.
MICHAEL
See for yourself.
Matt looks around. Julie's gone...and so is Samantha.
MATT
That's funny. She said she'd meet
me at the door.
Matt's been around, and he's a lawyer, so he instinctively
feels his pockets. Slowly at first.
BONNIE
Lose something, Matt?
MATT
No...everything. Wallet, car keys...
(frustration,
anger,
helplessness)
I've been suckered!
He runs for the exit. Michael right at his heels.
EXT. CLUB - NIGHT
They come out. Look around. Matt points:
MATT
There they are!
WHAT THEY SEE
Matt's red Ferrari racing toward the street from the
parking lot. Samantha drives. Julie beside her.
BACK TO SCENE
Michael talks to comlink.
MICHAEL
Kitt, pick me up.
ANGLE ON K.I.T.T.
parked deep in the lot. A parking attendant nearby.
K.I.T.T.
On my way, Michael.
VARIOUS ANGLES
of K.I.T.T.'s auto-starting, pulling out, and the
attendant's reactions.
BACK ON MICHAEL
racing to meet K.I.T.T., while Matt goes after the Ferrari
on foot, cutting across the parking lot. As Michael slides
in:
MICHAEL
Someone just made off with Matt's
pride and joy, pal.
K.I.T.T.
His Phi Beta Kappa key?
MICHAEL
'Fraid not. His brand new Ferrari.
K.I.T.T.
I should have known.
Michael peels out in hot pursuit.
ANGLE ON MATT
He's crossed the parking lot and now runs toward the
opposite street waving his arms, at the approaching Ferrari.
MATT
Stop! If I ever get my hands on you!
INT. MATT'S CAR - NIGHT
Samantha is heading in Matt's direction. Julie is clearly
frightened.
JULIE
What's he doing?
SAMANTHA
Trying to be a hero.
ANGLE TO INCLUDE MATT THROUGH WINDSHIELD
waving, shouting.
EXT./INT. K.I.T.T. - NIGHT
turning a corner and racing down the same street that the
Ferrari is on...but still a good distance away.
MICHAEL
Can you get me hard copies on the
thieves, buddy?
K.I.T.T.
Not from this distance, Michael.
Suddenly Michael grows very concerned as he sees Matt
running into the street.
MICHAEL
(to himself)
Don't, Matt. Don't get in their way.
He pushes the throttle to the limit.
EXT. STREET - NIGHT - VARIOUS ANGLES
Matt is determined to stop them. The Ferrari bears down
on him.
INT. MATT'S CAR - NIGHT
Julie's fear is building.
JULIE
Samantha! You can't just run him
over!
SAMANTHA
What do you want me to do, stop and
pick him up?
JULIE
Samantha! No! Samantha!!
She turns away in horror as:
EXT. STREET - NIGHT
The Ferrari runs into Matt sending him up on the curb, and
continues off into the night. Michael aborts the chase.
EXT./INT. K.I.T.T. - NIGHT
K.I.T.T.
Michael, they're getting away.
MICHAEL
Later, Kitt. He needs us.
(pulls up
nearby)
Scan his vitals.
ANGLE TO INCLUDE MONITOR GRAPH
K.I.T.T.
He's still alive, but it would be
too dangerous in his condition for
us to try to transport him to a
hospital.
Michael is out of the car, and hurrying to Matt. Bonnie is
seen racing across the lot toward them.
MICHAEL
Then get an ambulance over here, and
quick!
As Michael begins examining his unconscious friend Bonnie
hurries over.
BONNIE
Oh, my God...how is he?
Michael looks up at her.
MICHAEL
Alive, Bonnie...alive.
EXT. TWO-LANE HIGHWAY - DAY
The semi's ramp drops off and K.I.T.T. slides up inside.
INT. SEMI - DAY
Michael crosses out of K.I.T.T. as Bonnie moves to service
K.I.T.T. Devon is at the computer terminal in b.g. Ad-lib
greetings. Then:
MICHAEL
He seems to drift just a little on
sharp turns.
BONNIE
It's probably the traction
stabilizer.
MICHAEL
(reads her
mood)
How's Matt?
BONNIE
Still on the critical list. He's
unconscious but 'stable,' whatever
that means.
A look between them, Michael sympathetic.
BONNIE
(lower)
Devon says it's not a Foundation
case.
MICHAEL
I'll talk to him.
She goes to work on K.I.T.T. Michael crosses to Devon.
DEVON
My hearing is more acute than you
think.
MICHAEL
Devon, c'mon -- he's a personal
friend of Bonnie's.
DEVON
Michael, I'm sorry it happened. I
wish it hadn't. But the Foundation
has rules and regulations. This is
a police matter, no more, no less.
MICHAEL
I had Kitt access the police logs.
What happened last night wasn't an
isolated incident. There's been
half-a-dozen similar cases over the
last couple of months.
DEVON
Good. That guarantees it won't be
taken lightly. Michael, I've been
reviewing the Pierson file. I'm not
satisfied it's ---
MICHAEL
Devon, the police weren't there. I
was. I'm an eyewitness.
DEVON
Who, according to Bonnie, can only
provide a general description of the
young ladies in question.
MICHAEL
It's still more than the police
have. Besides, there's something
else. The girl called Julie was
wearing an unusual necklace -- a
bloodstone in a hand-crafted gold
setting.
DEVON
That hardly qualifies as a meaningful
clue.
MICHAEL
Maybe, maybe not. We'll never know
unless I'm free to run it down.
A beat between them.
DEVON
All right....
Michael smiles, crosses back toward K.I.T.T.
DEVON
But if it's a deadend, I want you on
the road by tomorrow.
No response.
DEVON
Michael!
MICHAEL
Gotcha.
ANGLE AT K.I.T.T.
as Michael moves to slide in.
MICHAEL
(sotto voce)
His hearing's more acute than we
think.
BONNIE
(smiles)
We'll have to be more careful.
(beat)
Michael -- thanks.
A warm moment. He winks, slides into K.I.T.T., and they
roll out.
OMITTED
EXT. HIGHWAY - WITH SEMI - DAY
K.I.T.T. backs out and wheels off.
CUT TO
EXT. BRENTON'S GEMSTONES - DAY
Michael is hurrying from the store and getting into a
parked K.I.T.T.
K.I.T.T.
Find out anything about that piece
of jewelry, Michael?
MICHAEL
This guy's definitely got the corner
on bloodstones, pal.
Michael starts K.I.T.T., drives off.
INT. K.I.T.T. - DAY - TRAVELING
As they move, Michael continues....
MICHAEL
I described the setting, and he said
it sounds like the work of a young
jewelry designer named Misty. She
just opened a shop on the Grand
Canal.
K.I.T.T.
In Venice, Michael?
MICHAEL
Yeah, pal. Venice, California.
EXT. VENICE STREETS - DAY
K.I.T.T. hurries by.
EXT. VENICE - DAY
High-priced antique clothes in stores coexist with neon-lit
record emporiums. It's a funky, fun, multicolored street.
ANGLE IN K.I.T.T.
Michael drives, watching the circus on the sidewalk.
K.I.T.T.
Michael. This place is...bizarre!
MICHAEL
Wrong word, buddy. Try fashionable.
EXT. MISTY'S SHOP
A large building whose windows display everything from Army
uniforms to flapper costumes; a blaze of neon declares
Misty's Shop. K.I.T.T. parks before this.
K.I.T.T.'S VOICE
Fashionable? If this is fashionable,
every junkyard and waste bin in the
city is worth a fortune.
Michael laughs, gets out of the Trans Am.
MICHAEL
Your aesthetic circuits need adjusting
pal. Some people call this art.
Michael starts for Misty's Shop as loud rap music approaches.
K.I.T.T.
What on earth?
LEGS
Street dancer extraordinaire. Dressed in multicolored
sweats and Adidas, he carries a huge ghetto blaster blaring
rap music at top volume. He places this on K.I.T.T.'s roof.
LEGS
Gimme room, people. The Leg-Man is
here!
K.I.T.T.
Kindly remove that noxious noise
maker at once!
LEGS
(looking inside
the empty K.I.T.T.)
You got a problem, man. You really
are nowhere!
K.I.T.T.
I asked you to remove that device.
Now I'm telling you. City Ordinance
number....
LEGS
Hey, man.
(speaking
along with
the rap music)
Listen to the rap and get in the flow
and open your soul and be in the know....
And he goes on, doing a break dance routine Michael Jackson
would be envious of. A crowd quickly gathers, clapping
along to the beat. Then Legs jumps on K.I.T.T.'s hood and
starts spinning on his head.
K.I.T.T.
Get off me, you lunatic!
People start tossing money at K.I.T.T. Bills and coins
litter the hood that Legs is spinning on.
LEGS
I want you for my partner.
K.I.T.T.
All right, you human pinwheel. You
asked for it.
K.I.T.T. raises his hood. The break dancer slides off of
it and onto the pavement, only to continue dancing as if it
were part of the routine.
LEGS
Right on, partner.
K.I.T.T.
I give up.
OMITTED
INT. MISTY'S SHOP - DAY - CLOSE ON MISTY
as she crafts a beautiful and intricate gold pendant around
a bloodstone. (Note: this is not the same design as
Julie's.) As for Misty, she's twenty, pretty, intelligent
and gentle.
MICHAEL'S VOICE
Now that's what I call a work of art.
ANGLE TO INCLUDE MICHAEL
standing in front of her small jewelry stand and work
bench. Her other jewelry is also on display, along with
photos of her many designs. She stops her work, looks up,
smiles warmly:
MISTY
Thanks...and lucky for you I'm still
celebrating my grand opening. You
can have it for thirty percent off.
MICHAEL
I'm sure it's a bargain at any
price. However...I'm looking for
something a little different.
(re photos)
Mind?
MISTY
That's what they're there for.
INTERCUT PHOTOS OF DESIGNS
as Michael looks at them.
MICHAEL
Pretty...very nice...elegant...
(re Julie's
pendant)
But...this is the one I'm interested
in.
MISTY
You are a man with taste. That's a
limited edition. I only made fifty
of them.
MICHAEL
Good. Then maybe you can help me
find the girl I saw wearing one last
night.
MISTY
(laughs)
I thought that only worked with
glass slippers.
MICHAEL
Well, this wasn't exactly Cinderella,
but it was a dance, and she was just
as pretty. About five-six, long blond
hair, blue eyes, and the nicest turned
up nose in the world.
(sees the slightest
sign of recognition
in her face)
You know her?
MISTY
No...
(forces smile)
Why do you ask?
MICHAEL
Just something in your eyes that
said maybe you did. Besides, if you
only sold fifty of those pendants....
MISTY
(interrupting)
I have other outlets for my jewelry.
Some of the small stands on the
beach....
MICHAEL
The ones that disappear around
sundown, and don't keep too many
records.
An uncomfortable beat. Each seems to understand the other.
MISTY
This girl? Didn't you even bother
to get her name?
MICHAEL
That's what I was hoping to get from
you, Misty.
MISTY
I'm sorry. Like I said....
MICHAEL
You have other outlets.
MISTY
Yes.
(nervous
smile)
If I want to keep this place open I
better get back to work.
She starts for the workbench, he gently takes her arm:
MICHAEL
Misty, if she does come in...the
name's Michael Knight. I'm with the
Foundation for Law and Government.
Here's my number.
Misty looks at the card, then:
MISTY
What did she do?
MICHAEL
Stole a friend's car, and then ran
over him with it.
She bites her lip, but betrays no more:
MISTY
I'm sorry.
MICHAEL
So am I.
He turns to leave. She watches after him, troubled, upset.
EXT. STREET - DAY - ON MICHAEL
moving to K.I.T.T. and sliding inside. Legs is gone.
K.I.T.T.
Well?
MICHAEL
I think Misty knows a lot more than
she told me, buddy...check her out.
K.I.T.T.
Right away, Michael.
And he peels off.
EXT. GAINESBORO STATE REFORMATORY - DAY
This is a minimum/medium security prison farm located in an
isolated canyon. Guard towers and a wire fence ring the
compound. The women are "on the yard" now, most of them
young -- late teens and twenties. Dressed in jeans and
denim shirts, they talk, walk, and dream of the outside
world. A few have a game of volleyball going. Camera
moves in to:
INT. WARDEN'S OFFICE - DAY
well-kept and modern. A man and a woman are talking to one
of the prisoners, a blonde girl, seated with her back to
us. The man is Guard Captain Nelson. The woman, Warden
Christine Briggs, forty, talks evenly to the prisoner.
She's trained in psychology but street-smart, sweet when
she needs to be but tough as nails.
CHRISTINE
Captain Nelson says you behaved very
well last night. I'm proud of you,
Julie.
ON JULIE
It's our girl from last night. She feels wretched, sick to
her stomach, fighting tears.
JULIE
Proud? For putting a man in the
hospital. What if he dies?
CHRISTINE
That's not your concern. All you
really have to worry about is making
things easier for yourself while
you're here in prison.
JULIE
I don't want to make things easier
for myself. I just want to serve my
time and get out.
CHRISTINE
Julie, you'll get out of here when I
say.
JULIE
You can't keep me! It's not up to
you!
CHRISTINE
Oh, isn't it, dear?
She motions to two files on her desk.
CHRISTINE
Julie, you see these two files I
have on you?
(touches one)
This girl here is a model prisoner.
She could get out in three months on
good behavior.
(touches file,
shakes head)
But this Julie...she's a big
problem. Fights, gets into
trouble....
JULIE
(miserable)
That's not true! None of it!
CHRISTINE
Of course, it isn't...but between
you and me which one do you think
the parole board will believe?
Nelson?
NELSON
My guess is they're going to decide
she needs another year with
us...maybe even two.
Julie breaks, begins to sob:
JULIE
I don't belong here at all. All I
did was run away from home, get
mixed up with the wrong crowd.
Christine comforts her.
CHRISTINE
Of course, that's all you did. You
didn't even know that car your
boyfriend was driving was stolen,
did you?
JULIE
That's the truth. He told me he
borrowed it from a friend.
CHRISTINE
(comforting her)
I believe you, Julie...and that's
why I'm going to help you with the
parole board...but you've got to
help me first.
JULIE
I can't go through what happened
last night again.
CHRISTINE
You won't have to dear...like you
said, the man's in the hospital.
He'll have no idea you and Samantha
are going to be robbing his
apartment.
JULIE
Ohhh, noo...haven't we done enough
to him?
CHRISTINE
It's just business, Julie...nothing
personal.
(looks to
Nelson)
Get them ready.
NELSON
You heard the warden -- let's go.
Slight beat, then he leads her out.
EXT. K.I.T.T. - DAY
K.I.T.T. hurries past us.
MICHAEL'S VOICE
Has Matt regained consciousness?
ANGLE IN K.I.T.T. - INTERCUT MONITOR
as Michael drives, we see Bonnie's image on the monitor.
BONNIE
(concerned)
Not yet. Nothing we can do...except
wait. What about those girls?
MICHAEL
I'm working on it. Meanwhile, I'm
near Matt's place. I'm going to
drop by to see that everything's
secure.
EXT. K.I.T.T. - DRIVE BY - DAY
and K.I.T.T. hurries off down the street.
EXT. TOWNHOUSE CONDO BUILDING - DAY
An upscale young professional's building. A station wagon
is parked in a driveway at the base of the building. Julie
is standing by it, tense, looking up:
JULIE'S POINT OF VIEW - SAMANTHA
climbing up to the third floor balcony where the rope is
attached to the ledge by a grappling hook.
EXT. BALCONY - DAY - SAMANTHA
climbing onto the balcony, moving to the French doors,
tries them, finds them locked.
INSERT OF SAMANTHA BREAKING A GLASS PANE
then reaching in to open the door.
RESUME ON SAMANTHA
entering the apartment.
ON JULIE
growing increasingly nervous. She looks up, sees Samantha
lean over the balcony ledge.
SAMANTHA
(whispered
voice)
His jewelry case. There's a lot
more.
She drops a small case down to Julie.
JULIE
No. I just can't go through with
this. Please....
INTERCUTTING AS NEEDED
SAMANTHA
Pick it up, you idiot! You know
what could happen to us?
Torn, Julie moves to pick up the case. As she does, she
looks up and sees:
JULIE'S POINT OF VIEW - K.I.T.T.
in the distance, approaching.
RESUME SCENE
JULIE
(full voice)
Samantha -- that car. It's the same
one that chased us.
ON SAMANTHA
looking, recognizing the car. In an instant, she is over
the balcony ledge and rapelling down to the ground.
INT. K.I.T.T.
looking, seeing them.
MICHAEL
Kitt, the girl's from last night!!
OVER MICHAEL THROUGH WINDSHIELD
He sees Julie climbing into the station wagon as Samantha
comes off the building wall, runs for the wagon.
MICHAEL
Give me a hard copy, buddy.
INSERT - HARD COPIER
as it prints and dispenses a photo of Samantha.
RESUME SCENE
as the station wagon roars away and K.I.T.T. gives chase.
EXT. STREETS - DAY
The station wagon rips past, bouncing over gutters, doing
seventy miles per hour.
ON K.I.T.T.
not far behind. Michael turns a corner, gaining ground.
OMITTED
ANGLE IN K.I.T.T. - INTERCUT MONITOR
Michael's punching buttons as they drive.
MICHAEL
Let's jam their engine.
The microwave graphic starts to form when:
K.I.T.T.
(alarmed)
Michael, look out! On the left!
EXT. INTERSECTION - DAY
Lumbering out into the street and stalling is a large ND
van. Michael and K.I.T.T. are too close to attempt any
jumping or evasion, and the intersection is thoroughly
blocked, so the Trans Am screeches to a forced halt, inches
short of the truck. Michael leans out, calling:
MICHAEL
Move that thing!
DRIVER'S VOICE
(cranks engine)
Sorry, she's flooded.
Michael leans back, heaves a sigh of frustration. Finally,
the van's engine catches, the driver pulls it slowly out of
the way. Michael doesn't see the driver, only the street
ahead.
MICHAEL
Don't tell me. They're out of range
by now.
K.I.T.T.
All right, I won't tell you.
ANGLE ON VAN
The Driver wears a self-satisfied smile. It's Nelson!
FREEZE FRAME
END OF ACT ONE
ACT TWO
FADE IN
EXT. HIGHWAY - DAY
The semi rolls along.
BONNIE'S VOICE
I can't believe it....
INT. SEMI - DAY
Bonnie works on K.I.T.T.; Michael nearby.
BONNIE
It's not enough to have your car
stolen, hit by it, nearly
killed...while you're in the
hospital they rob your house.
MICHAEL
(nods)
Cold.
BONNIE
I don't think 'cold' does it
justice. Michael, isn't there
anything I can do? I want to help.
MICHAEL
You are. You always do.
BONNIE
I mean besides Kitt.
MICHAEL
If there is, I'll let you know. In
the meantime, the night wasn't a
total loss.
(produces
hard copy)
Look.
INSERT - HARD COPY
Grainy, but recognizable, we see Samantha looking back as
she climbs into the getaway car.
BACK TO MICHAEL AND BONNIE
Bonnie reacts.
BONNIE
That's her! One of the girls from
the night club. No doubt about it.
MICHAEL
(nods)
Kitt's running a make on her.
(to K.I.T.T.)
How's it coming, buddy?
INTERCUT - K.I.T.T.'S DASH
Appropriate graphics.
K.I.T.T.
I think I have something, Michael.
On one side of the monitor is Samantha's face; on the
other hundreds of faces flash by. Suddenly, a matching mug
shot freezes on the screen.
K.I.T.T.
Sheehan, Samantha P. Twenty years
old, height, five feet four inches....
BACK TO SHOT
They move to K.I.T.T.
MICHAEL
Good work, pal. Got a present
address?
K.I.T.T.
Michael, you won't believe this.
She's an inmate at Gainesboro State
Women's Reformatory.
Michael and Bonnie react with confusion and puzzlement.
MICHAEL
There's got to be some mistake.
K.I.T.T.
Not according to my data.
BONNIE
Michael, you don't think....
MICHAEL
Right now I don't know what to think.
He slides into K.I.T.T.
BONNIE
Where are you going?
MICHAEL
To pay a little visit to the Women's
Reformatory. I'll keep you posted.
EXT. HIGHWAY - DAY - ON SEMI
K.I.T.T. drops down the ramp, spins a turn, and heads off.
EXT. GAINESBORO PRISON YARD - DAY - ESTABLISH
Then move into Nelson and Julie, walking toward a
building. He's escorting her to the visitors' area.
INT. VISITORS' AREA - DAY - MISTY
waits impatiently on her side of the partitioned room until
she hears the locks turn and sees Julie enter. They sit on
opposite sides of a table divided by a screen.
Julie smiles, but it's half-hearted, shadowed by
preoccupation.
MISTY
Hi.
JULIE
Hi....
Beat.
MISTY
You look awful.
JULIE
Thanks, I needed that.
MISTY
You did it, didn't you?
JULIE
What?
MISTY
Julie, don't go dumb on me. You did
it. You let them get to you.
Julie averts her eyes.
JULIE
No, I didn't....
MISTY
Don't lie to me. I can tell by
looking at you.
(beat)
Some guy came by the store asking
about you. About the necklace...
Julie, he saw you!
JULIE
Okay I did! Nelson said they'd add
another ninety days to my time for
'disciplinary' problems if I didn't.
(near tears)
Misty, I'm not as strong as you
are. I'm afraid. They control
everything here. They can do
whatever they want....
Misty leans forward, frustrated, sympathetic.
MISTY
It'll be okay...don't cry...you'll
come through it....
JULIE
How? What can I do?
Misty has no answer. On their look:
CLOSE ON A MONITOR
where a black-and-white surveillance picture of Misty and
Julie flickers. Pull back to reveal we're in:
INT. WARDEN'S OFFICE - DAY - WARDEN BRIGGS
is intently watching the girls on the monitor. Nelson
leans over her shoulder and looks on.
NELSON
What do you think?
CHRISTINE
(cold; angry)
I think visiting privileges just
ended.
Nelson nods, getting the message. He leaves the room.
CUT TO
EXT. GAINESBORO REFORMATORY - FRONT GATE - DAY
K.I.T.T. drives to a parking area. Michael gets out.
MICHAEL
Okay, pal, I want you to tap into
anything you can -- computers, files
on inmates, surveillance cameras...
everything you can access.
K.I.T.T.
That's a big order, Michael.
MICHAEL
That's why I saved it just for you.
A half-smile and he moves off toward the entrance.
EXT. THE YARD - DAY
A guard leads Michael across the open area where the prison
girls are getting sun, stretching their bodies, and making
the best of the day. Several engage in a spirited game of
volleyball. One girl, Rosie, tough, but pretty, gets an
eyeful of Michael and rolls the ball directly into his
path. He catches it, flips it back to her.
ROSIE
Hey, good-lookin', why doncha come
back later?
MICHAEL
I'll see what I can do.
This draws hoots and catcalls from some of the other girls.
Michael smiles and heads on.
INT. WARDEN'S OFFICE - DAY
Christine is busy at her desk when the door opens and the
guard admits Michael. She barely looks up.
CHRISTINE
Thanks, Robertson.
He nods, closes the door. She finishes a report, signs her
name before giving her attention to Michael.
CHRISTINE
Mr...Knight?
MICHAEL
Michael Knight.
She smiles, crosses to where he stands, shakes his hand.
CHRISTINE
Your Mr. Miles must have friends in
high places. I don't usually accept
visits from people not involved in a
professional capacity. What can I
do for you?
MICHAEL
Tell me about an inmate by the name
of Samantha Sheehan.
She regards him evenly.
CHRISTINE
What do you want to know?
MICHAEL
How she gets out at night, commits
robberies and returns here without
being reported missing. And maybe
even takes a cell mate along with
her.
Over this Nelson enters, pauses.
CHRISTINE
No, Nelson, come in. I think you
should hear this.
Michael and Nelson exchange a look. Christine makes no
attempt to introduce them.
CHRISTINE
(to Michael)
Are you suggesting Samantha Sheehan
and this 'cell mate' do commit
robberies?
MICHAEL
Not suggesting -- stating a fact.
CHRISTINE
You sound so sure of yourself. I
assume you have proof?
MICHAEL
I saw them, Warden. Twice. One I
know is an inmate here. I'm almost
willing to bet the other one is, too.
CHRISTINE
I seriously doubt that, Mr. Knight.
(to Nelson)
Have bed checks revealed anyone
missing?
NELSON
No.
CHRISTINE
There's your answer. I won't say it
isn't possible -- this isn't San
Quentin -- but it's highly unlikely.
I'm sorry you wasted a trip.
She crosses back to her desk, dismissing him.
MICHAEL
I want to see Samantha Sheehan.
CHRISTINE
I'm afraid that's impossible.
MICHAEL
Why?
CHRISTINE
Tell him, Nelson. Then escort him
out.
NELSON
She's in solitary. No visitations
allowed. Let's go.
He takes Michael by the arm. Michael pulls his arm away.
MICHAEL
I'm not an inmate, Captain.
Nelson stares at him, hard. Michael meets the look, then
turns and leaves, Nelson following. The door closes.
Christine looks up, facade gone, concerned. Angry.
EXT. PRISON YARD - DAY
Move with Michael and Nelson as they cross the yard.
MICHAEL
Run a pretty tight ship here, do you,
Captain?
NELSON
We have the best record in the state.
MICHAEL
That's not what I asked.
NELSON
I don't like your attitude, Knight.
Michael is about to respond when something catches his eye.
MICHAEL'S POINT OF VIEW - JULIE
across the yard, past the volleyball game, leaning up
against a wall, looking at the world beyond the fences.
Alone.
MICHAEL
He reacts. He suddenly turns away from Nelson, crossing
the yard toward Julie.
MICHAEL
I can find my own way out. Thanks.
FULL SHOT
NELSON
Hey! Come back here!
ANGLE TO INCLUDE JULIE
She sees Michael, reacts, tempted to run. Michael reaches
her first.
MICHAEL
Hello, beautiful. Lose your dancing
shoes?
NELSON
Get away from her!
P.A. VOICE
No visitors are allowed off the
walkways.
JULIE
(frightened)
I don't know you....
Nelson reaches Michael, grabs him roughly by the arm.
NELSON
You're in violation of regulations.
Let's go.
MICHAEL
(to Nelson)
What's the hurry, Captain? I just
want to say hello to an old friend.
What was the name again?
(sees name tag
on uniform)
Ah, yes, Julie.
(to Julie)
How's Samantha, Julie?
Terrified, Julie bolts. Michael watches her leave, then
notices:
HIS POINT OF VIEW - GUARDS
Two burly guards move quickly toward him.
BACK TO MICHAEL AND NELSON
Nelson still has him by the arm.
NELSON
You just don't know when to quit, do
you?
MICHAEL
Nobody's perfect, Captain. In your
line of work, who should know that
better than you?
The guards reach them, pause a short distance away, ready
for trouble.
NELSON
(to guards)
Escort Mr. Knight out.
MICHAEL
You and the Warden may control this
institution, but once you walk out
those gates you're no different than
anyone else. We'll meet again,
Captain. That's a promise.
NELSON
I hope so, Knight. I'd just love to
teach you some manners. Personally.
A last look and Michael crosses to the guards. Hold on
Nelson, furious.
INT. WARDEN'S OFFICE - DAY
Nelson is tense. Christine, in contrast, is controlled.
NELSON
He knows!
CHRISTINE
All right, suppose he does. What
can he do? Who will listen to him?
NELSON
Why wait to find out?
(beat)
It won't get better, it'll only get
worse.
Christine thinks it over, undecided.
CHRISTINE
What do you have in mind?
NELSON
Russell's running a road crew a
couple miles out.
CHRISTINE
(decides)
As long as it won't touch us.
NELSON
It won't. That's what Russell's for.
He picks up the phone.
NELSON
(phone)
Get me the road crew.
EXT. PARKING AREA - DAY - MICHAEL
crosses to K.I.T.T., climbs in.
MICHAEL
How'd you do?
K.I.T.T.
Reasonably well, all things
considered. You seem agitated.
MICHAEL
'Agitated' only scratches the
surface, pal. I want to bust some
heads on this one.
They pull out in a squeal of rubber.
ANGLE IN K.I.T.T. - MOVING
As they head out, leaving the prison behind.
MICHAEL
What've you got?
K.I.T.T.
The record of every inmate for
openers.
MICHAEL
Good openers. Anything else?
K.I.T.T.
An unexpected bonus. I was able to
interface with their surveillance
system. I think you'll be
interested in one particular
visitation.
INTERCUT - MONITOR
Fast forward is a blur. Then the tape stops, revealing the
meeting between Julie and Misty. Michael reacts.
MICHAEL
(reacts)
Bingo!
K.I.T.T.
Michael, must you always use
gambling phrases like 'for openers'
and 'bingo?'
MICHAEL
(smiles)
You said 'for openers,' Kitt, not me.
K.I.T.T.
Which only proves I'm not
invulnerable to your bad habits.
MICHAEL
(studies tape)
Any chance for reconstructing their
conversation from lip movements?
K.I.T.T.
I can try, but it's a long shot.
MICHAEL
Bite your tongue. And while you're
at it isolate all the 'Julies'
you've got.
Records fly by on the monitor.
K.I.T.T.
Is there a particular reason you're
more interested in her than Samantha
Sheehan?
MICHAEL
Yeah. When I look at her I don't
see a criminal, I see a scared
little girl.
EXT. ROAD OUT - DAY - K.I.T.T.
is flagged to a stop where a prison road gang repairs a
washout on the winding two-lane. The flagman is a huge,
barrel-chested trustee named Russell. We notice he has a
walkie-talkie as he approaches the car.
RUSSELL
Take it slow. Got a one-lane detour
up ahead.
MICHAEL
Thanks.
Michael heads on through. After he passes, Russell lifts
his two-way:
RUSSELL
Here he comes.
ANGLE IN K.I.T.T.
Michael negotiates the tricky driving. The road is bumpy,
one-lane dirt. Prisoners lean on their shovels and watch
the black t-top cruise slowly up to a "detour" sign.
ANOTHER ANGLE - AT DETOUR
The Trans Am turns a corner onto a deserted stretch of
upgrade where the pavement is even worse.
K.I.T.T.'S VOICE
This isn't the way we came in.
MICHAEL'S VOICE
I noticed, pal. I noticed.
ANGLE IN K.I.T.T. - INTERCUT - MONITOR
Suddenly the dash comes alive, flashing a warning.
K.I.T.T.
Michael, I'm scanning....
MICHAEL
(reacts)
Gotcha.
REVERSE ANGLE
Looming ahead of them, coming over the top of the grade and
gaining momentum is a large, lumbering earth mover/bulldozer,
with no one at the controls. As it bears down on K.I.T.T.
it continues to pick up speed, huge wheels and wicked blade
dwarfing K.I.T.T.
ANGLE IN K.I.T.T.
Michael moves to jab Turbo Boost.
K.I.T.T.
Michael, we'll never make it.
MICHAEL
Never say never, pal.
DIFFERENT ANGLES
K.I.T.T. soars up just as the huge machine bears down on
them. Will they clear it? As K.I.T.T. arcs up:
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
OMITTED
EXT. DIRT ROAD - DAY - CONTINUOUS ACTION
K.I.T.T. turbo-boosts up, up, and over the onrushing
bulldozer, barely clearing the blade and cab.
ON THE OTHER SIDE
K.I.T.T. slams back down into the soft earth.
ANGLE IN K.I.T.T.
Michael bounces back into his seat, rocking with the impact.
MICHAEL
Thanks, buddy. Let's chase that
thing down.
He cuts the wheel.
ON K.I.T.T.
Michael whips a 180 and spins back down the road after the
bulldozer.
THE BULLDOZER
hits the main road, sending sparks from its blade and
crashing heavily into the rocks on the other side. As
K.I.T.T. slides to a stop nearby, a prison vehicle arrives
bearing
OMITTED
RUSSELL AND CAPTAIN NELSON
Michael climbs out to confront them angrily.
MICHAEL
If you've got an explanation, it
better be good and it better be fast.
RUSSELL
You got it wrong, Jack. I think you
just bought us a new 'dozer.
MICHAEL
Yeah, you wish. That monster almost
killed me and you know it.
NELSON
(icy)
I'd cool down if I were you, Knight.
A man could get killed messing around
construction sites. Accidents do
happen.
MICHAEL
Sure they do. Only this wasn't one.
NELSON
You want to make an official
complaint?
MICHAEL
Complaints aren't my style, Captain.
When I get mad...
(gets back
into K.I.T.T.)
...I do something about it.
And with a glare he burns rubber away from them. They
watch him go.
CUT TO
EXT. HIGHWAY - THE SEMI - DAY
Barreling down the highway.
MICHAEL'S VOICE
Come on, Bonnie, can't we speed it
up?
INT. SEMI - DAY - OVER BONNIE'S SHOULDER
She's working at the computer terminal, fast-forwarding
through the videotapes from the prison surveillance camera
that K.I.T.T. pirated. Michael paces impatiently.
BONNIE
You have to admit this is a long
shot, Michael.
MICHAEL
Yeah, but when long shots come in,
they pay off big.
DEVON'S VOICE
There you are!
ANOTHER ANGLE
Michael turns as a very angry Devon enters from the front
room.
DEVON
Michael, this time you have really
gone too far. What kind of stunt
did you pull out at Gainesboro?
MICHAEL
Come again?
DEVON
The Department of Corrections just
called. Warden Briggs is considering
pressing criminal charges against you.
MICHAEL
(pleased)
Well what do you know. That proves
I rattled the right cage.
DEVON
It proves nothing except that you
can't master your impulsive nature.
MICHAEL
Come on, Devon. These robberies are
centered right inside Gainesboro.
The girls we want are inmates there.
I saw them with my own eyes.
DEVON
What you claim to have seen will
never stand up in court. Hard
evidence, Michael. Procedure. The
law, remember? It's our touchstone.
MICHAEL
Maybe it's yours. Mine is justice.
For people who can't get it any
other way.
BONNIE
(interrupting)
Hold it, you two. Take a look at
this.
Michael and Devon cross to the monitor where Bonnie has a
frozen-frame. She hits "play."
CLOSE ON MONITOR
The videotape shows Julie and Misty talking, as we saw them
earlier.
BACK TO SHOT
MICHAEL
Hey, that's Misty!
DEVON
Who?
MICHAEL
The jewelry lady. I knew she was
hiding something. She does know
Julie.
K.I.T.T.
That's not the only thing she's
hiding, Michael. My check shows she
recently spent six months in
Gainesboro...as Julie's cell mate.
MICHAEL
Convinced, Devon?
DEVON
Convincing me isn't the problem,
Michael. I'm not a judge. You need
more than this.
MICHAEL
Then I'll get more.
(moves to
K.I.T.T.)
And when I do...will you back me up?
Devon gives Michael a long look.
DEVON
Haven't I always?
Michael smiles, puts K.I.T.T. in reverse motion....
OMITTED
EXT. THE SEMI - DAY
As Michael backs K.I.T.T. onto the street, turns a 180,
then streaks away.
EXT. MISTY'S SHOP - DAY
Legs is walking along, lugging his ghetto blaster, when he
spots K.I.T.T. pulling in at the curb.
LEGS
Ah, my main man.
He waits until Michael gets out of the car and enters the
shop, then ambles over.
K.I.T.T.
Oh, please!
LEGS
Come on, man, don'tcha dig breakin'?
What it is! You were born to break!
Legs is setting the blaster down and getting ready.
K.I.T.T.
That is inaccurate. I am unbreakable.
I don't even dent.
But Legs turns the volume up and begins breaking.
ANOTHER ANGLE
Pedestrians stop to watch, toss coins, encourage Legs with
handclapping. He starts with "popping" and robot moves.
K.I.T.T.
Really, Legs, you can hurt yourself
doing that.
Carried away with himself, Legs slips onto K.I.T.T. and
continues dancing on his hood and roof, doing head and back
spins.
K.I.T.T.
Very well. You leave me no choice.
With this, K.I.T.T. blasts Legs' blaster with the 1812
Overture by Tchaikovsky. And, as the cannons roar, Legs
stops dancing and looks at K.I.T.T. plaintively.
LEGS
Man, that's got no beat. I can't
dance to that.
K.I.T.T.
Precisely.
INT. MISTY'S SHOP - JEWELRY STALL - DAY
Michael leans over her counter, intense.
MICHAEL
Come on, Misty. You know what's
going on in Gainesboro. Talk to me.
MISTY
Leave me alone, will you? I served
my time. I'm on parole. Will you
please go!
MICHAEL
Misty, you care about Julie. I know
you do. And you know the trouble
she's in. You want to help her,
don't you?
MISTY
(torn)
Please, I'm in business now. That
prison's in my past and I just want
to leave it there.
MICHAEL
Look. Julie was part of a robbery,
and I saw her in a car that hit a
friend of mine. But I don't believe
she's a killer.
MISTY
She's not.
MICHAEL
(louder)
Then do something about it. Help me
prove it!
Misty reacts as passers-by note the heated discussion.
Michael quiets until they're gone.
MICHAEL
The whole operation is run by Warden
Briggs and Captain Nelson, isn't it?
(presses)
Tell me!
Misty struggles to hold his look, but she can't. Finally,
she nods.
MISTY
Yes...but they forced Julie to go
along with them. You've got to
believe me.
MICHAEL
I do.
MISTY
Once they make you dirty, you haven't
got a chance.
MICHAEL
You do if we blow this whole thing
wide open.
MISTY
(frightened)
But what about Julie. If they feel
heat coming, I don't know what
they'd do to her.
MICHAEL
(comforting
hand on hers)
Then I'll just have to get her out
before they know what's happening.
Misty studies him, wanting to believe.
MISTY
They're tough, Michael. Really
tough.
MICHAEL
So am I, Misty.
After a beat, he heads outside.
EXT. MISTY'S SHOP - DAY
Michael is exiting the shop and getting into K.I.T.T.
ANGLE IN K.I.T.T. - INTERCUT - MONITOR
Before he drives away, Michael punches buttons. Devon's
face appears.
MICHAEL
Devon, I was right about what's
going on at Gainesboro. I've got to
get Julie out of there now.
DEVON
Michael, I was just about to call
you. I've got bad news.
MICHAEL
What is it?
DEVON
Bonnie picked up an A.P.B. from the
prison. They say Julie has escaped.
Michael reacts strongly.
MICHAEL
I don't believe it. Not for a
second.
DEVON
Neither do I.
He fires up the turbines.
MICHAEL
I'm coming in, Devon. Tell Bonnie
I'm going to need her help.
Devon nods and fades from the screen.
EXT. STREET - DAY
As Michael pulls away, pan to and zoom in on Captain
Nelson, parked unobtrusively across the street. He is
thoughtfully watching the Trans Am streak off.
FREEZE FRAME
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
EXT. GAINESBORO REFORMATORY - DAY - HIGH VIEW
We seem to be looking down on the prison. Widen to reveal
we are actually seeing a picture of the prison on K.I.T.T.'s
monitor. Michael sits at the wheel of the car, which is
parked and concealed in brush on a hill overlooking the
facility. A prison van is just entering the gates.
ANGLE IN K.I.T.T.
MICHAEL
There goes the van. We're on, pal.
K.I.T.T.
Michael, this whole plan of yours
makes me nervous.
MICHAEL
I know how you feel. But as plans
go, it's the only one we've got. Be
ready when I call you.
He climbs from the car and starts away through the brush.
EXT. PRISON YARD - DAY
The prison van pulls into the yard and stops. Across the
yard, several girls are playing a noisy volleyball game. A
Driver/Guard appears from the van, opens the side door. A
group of tough new inmates pile out, dressed in denims and
carrying duffel bags. We move in and reveal the last one
out is a tough-looking Bonnie Barstow.
GUARD/DRIVER
Okay, ladies. Form a double line.
(notices Bonnie
lagging behind)
You too, cupcake.
BONNIE
(looking around,
tough)
Whatta dump.
GUARD/DRIVER
I'm sure you've seen worse. Now
move it.
Slowly, Bonnie saunters to a place in line.
ANGLE ON GIRLS
as they march toward a building past the volleyball game.
Bonnie glances over toward....
THE SECURITY FENCE - MICHAEL
on the other side of it. Michael is crouched in the brush,
but visible to Bonnie. He makes a faint gesture to her.
WITH BONNIE
catching the gesture, knowing she has to make her move. She
walks along with the other inmates toward the volleyball
game. The girls toss the ball around. It gets away from
them and rolls toward Bonnie. She picks it up.
THE VOLLEYBALL PLAYERS
led by a tough girl named Darleen, gather around Bonnie.
Darleen grabs for the ball, and Bonnie jerks it away.
DARLEEN
Hand it over.
BONNIE
Whatever you say.
But instead, Bonnie defiantly tosses the ball back over her
shoulder.
DARLEEN
Go get it!
BONNIE
(calm)
That'll be the day.
Darleen lunges at Bonnie, grabs her and both are into a
violent wrestling match. The other girls gleefully join
in, pushing, shoving and wrestling with each other. Guards
run toward this as....
EXT. NEAR PRISON SECURITY FENCE - DAY
From concealment, Michael appears as the guards leave their
posts. He scales the fence.
ANGLE ON FENCE - INSIDE
Michael drops from the top and dashes into the shadows of a
building where he rolls to cover. He rises, watches....
ANGLE ON YARD - ON FIGHT
The guards are regaining control of the girls. During
this, Bonnie turns to see....
MICHAEL
about to make a move toward the main building's entrance.
He reaches for the door, and it practically opens in his
face. Michael jumps behind the open door. A guard stands
on the other side of it, hand still on the knob.
BONNIE
acts fast. She jumps on the back of a guard, kicking and
screaming.
THE GUARD AT THE DOOR
sees his mate being assaulted by Bonnie. He runs off to
give assistance. Michael uses the moment to duck from
behind the door and into the main building/solitary block.
BACK TO BONNIE
The Guard from the door grabs Bonnie, and tears her off his
mate, while the other guards calm down the other prisoners.
GUARD
(to Bonnie)
That little number just bought you a
week of solitary.
BONNIE
That's just fine with me. I like my
privacy.
INT. PRISON CORRIDOR - DAY
Michael moves stealthily past a row of administration
offices. A sign on the wall says SOLITARY WING, CORRIDOR A,
and an arrow points down the hall. Michael follows it.
He rounds a corner and almost runs into a guard standing
with his back to him, locking a door. Michael ducks back
into the cover of an alcove just as the guard turns around,
heads past him. After he's gone, Michael sneaks quietly
off down the corridor. He pauses at a door...and we hear
muffled voices from within an office. Michael hurries off
down the corridor. Tighten on the door and a title...
WARDEN'S OFFICE.
INT. WARDEN'S OFFICE - DAY
Captain Nelson and Warden Briggs are two very nervous
people.
NELSON
Sure, get Knight off our back; only
he doesn't scare that easy. And now
he's out there talking to Misty. I
don't like it.
CHRISTINE
We've had problems before and
overcome them. There's no need to
panic.
NELSON
No? Then maybe you don't understand
the situation. Julie Holmes is like
a time bomb hanging around our necks.
We've got to move her out of here.
CHRISTINE
That's your solution, is it? Move
her. Where?
NELSON
I don't know. Another prison
upstate somewhere. Call on one of
your big shot friends.
CHRISTINE
My friends aren't exactly accomplices
to what's going on here. No, if
there's any house cleaning to be
done, we'll have to do it ourselves.
NELSON
(exasperated)
Do what? Kill her for cryin' out
loud?
CHRISTINE
(nods)
Yes...and Samantha too.
Studies her. Realizes she's serious.
NELSON
You're not kidding, are you....
CHRISTINE
When have you ever known me to kid.
Being an escaped prisoner is very
dangerous. When they're found, they
often resist...and have to be shot.
NELSON
(beat; nods)
Okay...I'll take care of it.
CHRISTINE
I knew you would....
He walks out. Stay with Christine's cold eyes. Then go
to....
OMITTED
INT. SOLITARY WING - DAY - MICHAEL
moves quickly along the row of cell doors looking in through
the windows until he comes to the one holding Julie. Taking
out his pick, he uses it to unlock the door.
OMITTED
INT. JULIE'S CELL - DAY
She jumps to her feet as Michael enters. He gestures for
her to be quiet. They talk in whispers:
JULIE
What are you doing here? What's
happening?
MICHAEL
Later.
(takes her
hand)
Let's go.
JULIE
But they won't let you.
MICHAEL
I'm not asking their permission.
Come on!
INT. CORRIDOR
as Michael leads Julie out of her cell.
MICHAEL
Where's the other girl; Samantha?
JULIE
Down there somewhere.
He turns in that direction just as the Guard appears with
Bonnie in tow.
GUARD
Hey, what are you doing here? Who
are you?
Instantly, Michael is moving on the Guard, whose hand is
moving down to his side arm.
MICHAEL
Bureau of Prisons, mister.
(points at Julie)
What is this woman doing out of her
cell? What kind of country club are
you running here?
GUARD
Stay back!
But by now Michael is to the Guard and decks him with two
quick karate chops.
BONNIE
Now all we have to do is figure out
how to get out of here.
MICHAEL
Soon as we find Samantha.
Looking through the window of one of the doors:
JULIE
She's in here.
Michael relieves the Guard of his keys, goes to the door
and opens it. Michael picks open the door and Samantha
appears from within the cell.
SAMANTHA
What's going on...?
(seeing Julie)
Julie!
JULIE
Come with us, Sam.
SAMANTHA
Why? What...?
MICHAEL
No time to talk about it. We're
getting out of here.
At that instant, we hear the sharp click of a shotgun's
slide. They all turn toward the end of the hallway.
OMITTED
RUSSELL AND NELSON
stand at the end of the hallway, holding riot guns.
NELSON
You want to get out? Fine. We'll
take you out.
RUSSELL
All of them?
NELSON
We can't leave any witnesses.
(a gesture with
the riot gun at
the others)
Come on!
Michael and the others move down the hallway, led off by
Nelson and Russell.
OMITTED
EXT. BUSHY HILLSIDE - DAY - ANGLE ON K.I.T.T.
The Trans Am sits waiting, scanner flashing.
EXT. PRISON YARD - DAY
As a large black and white prison bus pulls up to the main
gate. The guard spots Nelson sitting inside the front of
the bus in the shotgun seat; Russell driving. The guard
waves them on through.
INT. THE BUS - DAY
Russell drives as Nelson keeps watch on the four prisoners
seated in the back. Nelson holds a riot gun in his lap.
Julie stares at the gun, very frightened. Michael touches
her shoulder reassuredly.
MICHAEL
Hang tough, Julie. We still got a
chance.
JULIE
(weak grin)
Where there's life there's hope, huh?
MICHAEL
You got it.
He stands up. Nelson tense, raises the riot gun.
NELSON
Sit down and stay put.
MICHAEL
You've been bossing little girls
around too long.
Michael turns and pretends to stretch. When his wrist is
near his mouth...sotto....
MICHAEL
(comlink)
Kitt, follow us.
EXT. THE BUSHY HILLSIDE - DAY - ON K.I.T.T.
K.I.T.T. comes to life.
K.I.T.T.
Right behind you, Michael. And
about this plan of yours....
MICHAEL'S VOICE
Kitt, will you just follow.
K.I.T.T. auto-starts and drives off.
INT. THE BUS - DAY
Michael returns to a seat near Bonnie. Quietly....
MICHAEL
I think I've got an idea.
BONNIE
Anything I can do?
MICHAEL
Yeah...keep the Captain busy.
BONNIE
(dry)
Why do I get all the dirty work?
She takes a deep breath and starts toward Nelson's shotgun
seat....
OMITTED
EXT. ROAD TO PRISON - DAY
The bus drives by, rounding a curb. A few beats later,
K.I.T.T. glides in their wake, silently pursuing.
INT. THE BUS - DAY - BONNIE AND NELSON
as she moves toward him.
BONNIE
You mind telling me where we're
going?
NELSON
You're going back to your seat, lady.
BONNIE
I don't understand. One minute, I'm
headed to solitary, the next minute
I'm taking a ride in the country.
What's going on here?
NELSON
Guess you could say you were just at
the wrong place at the wrong time.
BONNIE
The story of my life. Hey, look,
can't we talk this over?
Nelson laughs to himself. She lifts her leg and rests her
foot on the seat next to him. He sort of glances at her
ankle.
AT THE BACK OF THE BUS
Samantha and Julie sit between Michael and the front of the
bus, blocking Nelson's view as Michael makes a move on the
emergency door. He takes out a pick, starts to work on
the lock.
AT THE FRONT OF THE BUS
BONNIE
Bet you didn't know I used to be a
singer?
NELSON
That so?
BONNIE
No kidding. Worked clubs all across
the state. My voice wasn't great,
but put me in the right outfit and
nobody noticed. Know what I mean?
NELSON
I get the picture.
BONNIE
I even used to sing in a club just a
few miles up this very road.
NELSON
Big time, huh?
BONNIE
We could stop there now...maybe have
a few drinks...I could sing a few
songs....
NELSON
You just said you were a lousy
singer.
BONNIE
So I won't sing. Maybe we can find
something else to do.
She smiles.
AT THE BACK OF THE BUS
Michael opens the door, and slips out of the rear of the
bus without being spotted by Nelson.
BACK AT THE FRONT OF THE BUS
Bonnie is moving even closer to Nelson.
BONNIE
Well, what do you say?
NELSON
I say you get back to your seat.
BONNIE
Hey, friend....
NELSON
I said get back there!
Bonnie returns to the back of the bus and sits with the
others.
OMITTED
EXT. THE BUS - DAY
Michael is climbing the access ladder to the roof of the
bus. He sees a large tree far down the road ahead of the
bus.
MICHAEL
(comlink)
Time to make our move, pal.
As the tree passes over the bus, Michael reaches up and
grabs it. He's yanked off the ladder, hangs by the tree
limb over the road. Sunroof open, K.I.T.T. glides beneath
Michael. Michael lets go of the branch and falls into
K.I.T.T.'s driver's seat.
OMITTED
ANGLE IN K.I.T.T.
MICHAEL
Good catch, buddy. Now scan the bus
for me. Where are the girls sitting?
The monitor displays a graphic of the bus. The girls are
huddled in the rear, away from Nelson and Russell.
K.I.T.T.
All the way back, Michael.
MICHAEL
Great. Let's take 'em, Kitt.
Michael yanks at K.I.T.T.'s wheel.
EXT. PRISON ROAD - DAY
K.I.T.T. slews around a corner and up onto the dirt road
where we formerly met the earth mover.
INT. THE BUS - DAY
Nelson glances back at the rear of the bus, sees that
Michael's gone. He leaps to his feet, faces the girls at
the back.
NELSON
Where's Knight?
The girls just stare at him.
EXT. THE PRISON ROAD - DAY - K.I.T.T. AND THE BUS
K.I.T.T. races parallel to the bus on the dirt road.
INT. THE BUS - DAY
Russell sees K.I.T.T. coming.
RUSSELL
Look!
Nelson stares through a side window, reacts to K.I.T.T.
NELSON
Don't worry. There's nothing he can
do. We've got three hostages!
INT. K.I.T.T. - DAY - TRAVELING
Michael drives intently, eyes on the bus moving beside him.
K.I.T.T.
We could jam their engine, Michael.
MICHAEL
They'd still have the girls, pal.
Only one way to get between them and
their prisoners.
Michael yanks hard on the wheel.
EXT. FULL SHOT - DAY - THE BUS AND K.I.T.T.
K.I.T.T. takes a sharp turn off the road and heads right
for the bus at top speed.
INT. THE BUS - VARIOUS REACTION SHOTS - DAY
Nelson and the others in the bus react to K.I.T.T.'s
approach.
NELSON
What's he doing?
INT. K.I.T.T. - DAY
Michael braces himself as he hits turbo-boost.
EXT. FULL SHOT - VARIOUS ANGLES - THE JUMP
K.I.T.T. leaps off the ground and slams into the bus'
midsection. The bus rolls on with K.I.T.T.'s rear sticking
out and the car's nose trapped inside it.
INT. BUS - DAY
At the back of the bus, Bonnie and the girls are safe,
holding on tight. At the front of the bus, Nelson fires
his riot gun at Michael in the Trans Am. The shotgun
pellets flash, explode harmlessly against the driver's
window. Nelson moves toward the car. The driver's door
suddenly opens, knocking Nelson down. Michael appears,
takes Nelson's riot gun away from him, polishes him off
with a couple of blows.
RUSSELL
stops the bus, cranks open the door and tries to escape.
Michael grabs the entry railing and lashes out with his
feet. He catches Russell in the back and knocks him out of
the bus. Russell falls against a tree and lies unconscious.
EXT. THE BUS - DAY - MICHAEL
hurries out of the bus and toward the rear. He yanks open
the emergency door and helps Bonnie and the other girls
jump down.
MICHAEL
You all okay?
BONNIE
We are now.
K.I.T.T.
(from the bus)
Michael!
Michael turns toward K.I.T.T., still stuck in the bus.
MICHAEL
Yeah, pal?
K.I.T.T.
I have just one question...how are
you going to get me out of this?
Michael and the girls laugh. And....
FREEZE FRAME
FADE OUT
END OF ACT FOUR
THE END