Knight Rider (1982) s02e03 Episode Script

They let him get away.
They've got | until noon tomorrow.
I go out there, | I'm a dead man.
Where's McCord? I don't pick him up.
Somebody is threatening | to explode a bomb in the city unless they get | a hold of your father.
We're running out of time.
As they say in chess, | "Checkmate.
" I've got a vehicle moving | at speeds off the clock.
Land easy.
| We got a bomb in the back.
Knight Rider, a shadowy flight into the dangerous world | of a man who does not exist.
MichaeI Knight, a young loner on a crusade to champion | the cause of the innocent, the helpless, the powerless, in a world of criminals | who operate above the law.
Before this parole board | renders its decision, do you have anything to say | in your own behalf? Yeah, I have something to say.
I don't want parole.
Mr.
McCord, this is a prison, | not a hotel.
You are eligible for parole.
Who are you? What's goin' on around here? You ram through a parole, and this guy sits here | nodding like Solomon.
Now I know my rights.
You can't force me to leave.
Having been duly constituted and authorized by | the Department of Corrections, this board grants | parole to Peter McCord.
All right.
If that's the way you want it, | you've got it.
Parole is hereby revoked.
Get him out of here.
Get Devon Miles | on the phone.
How you doin'? I like it better here alone.
Every guy they put in here wants to tell me | his life story.
The names change | but they're always the same.
Yours, too? Yeah.
I'm afraid we haven't got | much time left.
Is KITT ready? Almost.
Devon, does anyone | at the prison besides the warden | know about this? No.
This sounds awfully dangerous.
I agree with you.
Is there any other way | to accomplish this? Not according to Phillip Hunt.
If the prisoner in question is | not released by noon tomorrow, a Minotaur bomb is going | to be detonated somewhere in | the heart of the city.
According to my data, the Minotaur is an | extremely powerfuI variation of a plastique explosive.
It's compact.
| It can destroy a city block.
It's highly sophisticated.
And difficult to detect.
Devon, if the threat was | phoned in anonymously, it could be a hoax.
Afraid not.
The bomb was stolen from a military depot | last week.
The caller | described it in detail.
I'm afraid it's no hoax.
What about the police? So far they haven't found it.
It seems to be up to us.
If I'm fully prepared, ApriI, I'd like to commence | as soon as possible.
The thought of MichaeI alone in that awfuI place | is quite upsetting.
I know what you mean.
Now, I've adjusted | the turbo boost and programmed everything | you should need.
You're as prepared | as you're ever gonna be.
Bring him home safely, KITT.
Nice legs.
Get away from there.
It's on the wall.
Looks like public domain | to me.
Well, it's not.
| So, move it.
Warden wants to see you.
Who? Both of you.
I don't want | to see the warden.
It's not an invitation, | McCord.
Let's go.
Get in! Come on, get in! Go! Look, if you want | to do this, okay.
But count me out.
I'm sorry.
I can't do that.
Go to autopilot! Kindly unhand me, | you hard-rock con.
What's going on here? Who said that? I did.
MichaeI, | an all-points bulletin is being issued over | the police band for a vehicle | fitting my description.
Punch up the locations | of police cars in the area.
Looks like we're surrounded.
Got any ideas for | a hiding place, KITT? I have Just the spot.
Congratulations, Devon, | on a job well done.
Thank you, Phillip.
| I'm certainly pleased that everything went | as well as it did.
I need hardly tell you | that The Foundation was not conceived | with prison breaks in mind.
You're not alone, | believe me.
I've never encountered anything | like this before in my whole life, and I hope | I never do again.
I told the Governor | phase one has been completed.
Does that mean that Michael's | APB has been cancelled? An hour ago.
Now, if everything goes | according to plan, we should have | the extortionist and that Minotaur bomb in our | possession before the day is out.
Good.
Where is he? Please send Michael in, | will you? Thank you.
Who are you? Why are you doing this? Take it easy.
Take it easy? I go out there, | I'm a dead man.
You hear me, I'm a dead man! Phillip, what is | he talking about? He's a disturbed man, Devon.
I wouldn't take too seriously | what he has to say.
Devon, I'm telling you, there's something about this | that is very wrong.
The man is terrified.
Back in the car, he begged | me to go back to prison.
Really? How very odd.
Particularly since he is being | freed by his own confederates.
If you don't mind, I want | to follow this thing up.
See what happens.
The Foundation's involvement | is finished, Michael.
However, | use your own judgment.
There's an unmarked car | around the corner and a soft clothes guy, | solo, on the bus bench.
That looks like Hunt's car.
Where are you going? Relax.
We are going | to get cigarettes.
It takes two of you | to get cigarettes? There's McCord.
Like a chicken waiting | to be plucked.
Why are we stopping | so far away, MichaeI? I don't want to spook anyone.
It's not coming | down like we thought.
Hold your position.
Let's go.
Something seems | to be wrong, MichaeI.
Let's go.
Where's McCord? I'm afraid he's gone, | MichaeI.
He's gone? Where? I don't pick him up.
| He's disappeared.
I have a number of questions, | Phillip.
Uh-huh, and I have got | a few of my own.
What the blazes was Knight | doing at the pickup, anyway? He was observing.
| With my approval.
Your approval? Look.
This case is no longer | any concern of yours.
I wonder.
McCord was left alone | and locked in your car.
Why? Because our instructions | were to leave McCord, at the intersection of Third | and Crane for the pickup.
According to Michael, when | his associates arrived, he ran, obviously in fear | of his life.
Again, Phillip, why? I don't know.
| I can't explain it.
Frankly, it surprised us, too.
Surprised you? When McCord was in my office, | he was obviously terrified.
Did it occur to you | to ask him why? Oh, for God's sake, Devon, there's a maniac out there | with a Minotaur bomb.
My responsibility | is to trade McCord for that bomb, | not to hold his hand.
And if you'd known then | what you now understand, that instead of being allies, | those confederates of McCord's are probably trying | to kill him, would you have | acted differently? I'd have done | the exact same thing.
I'm perfectly willing | to trade one murderer for the lives of 100 | or even 1,000 innocent people.
Aren't you? I'm afraid not.
| I acted in good faith.
Partly because of | friendship towards you, and probably because one of the basic tenets | of The Foundation is the preservation | of human life.
Well, I'm trying to preserve | all the lives I can.
But I think it's possible | to save every single life.
And I'd hate to think that The Foundation | played a part in the sacrifice | of one single life without at least | trying to save it.
Devon, look.
Get out of this.
| You're in over your head.
So, apparently, | is Peter McCord.
Obviously, we have something | in common, after all.
I want that all points | bulletin on Knight's car reinstated immediately.
McCord's profile | doesn't indicate much except that he's not | a typical criminal.
First Devon and now you.
What? Well, it just seems like | you're making excuses for him.
Michael, he was convicted | of second-degree murder.
Yeah, he was convicted, but all through | the trial he swears he was innocent.
He's never been | arrested before.
He's been a model prisoner, except for | the fact that he's been denied parole.
When they finally do grant | him parole, he belts a guard.
That's very strange.
How's the bomb sniffer coming? Michael, I will have you know, this is a highly sophisticated | Electronic Detection Module, especially adapted | for plastique-type devices, not a "bomb sniffer.
" Right.
How is it coming? Just fine, thank you.
With one qualification.
Its range is severely limited in the presence | of ferrous metals.
Metals like steeI, MichaeI.
Thanks, pal.
Don't mention it.
Incidentally, I've been monitoring | the police band frequency.
Still no sign of the bomb, and the APB | has been reinstated.
We're fugitives again.
Now, that's some mistake.
That's what Willie "The Fly" | Carruthers said when he was apprehended in an air-conditioning duct above the warden's office | in Sing Sing.
I think he is over-programmed.
There's no such thing.
MichaeI, since the police | haven't turned up anything, it looks like | we're on our own.
Right, pal.
Now, I've cross-checked | every available reference on McCord's personal life.
Only one indicated | any family at all, a daughter.
Her name is Lisa Martinson.
She's one of the hottest | young print models around, right now.
Now that makes sense.
What? Do you know her? In a manner of speaking.
She works hard | for the money.
So hard for the money.
She works hard | for the money.
So you better | treat her right.
KITT, how's our time? We have precisely She works hard | for the money.
So you better | treat her right.
I must say, MichaeI, this adventure does | have a certain appeaI.
Yeah, I see what you mean.
Think of it.
We're fugitives of a sort, | desperadoes on the lam.
We must be extremely carefuI.
If we're captured, we could end up | on a chain gang.
Chain gang? | That's the '30s, pal.
I'd end up in the pen, | stampin' license plates.
And I'd probably be making | them out of pieces of you.
They'd never take me alive.
Well, bein' a car, | that's easy for you to say.
Me, I plan to keep | on breathin' and, uh, keepin' an eye on things.
She works hard | for the money.
So you better | treat her right.
She works hard | for the money.
.
Miss Martinson, hi.
| My name is Michael Knight.
I need to talk to you.
| It's very important.
You should talk to my manager.
He | handles my bookings and interviews.
Yeah.
Well, I'm from The | Foundation for Law and Government.
And there's an urgent matter | concerning your father.
Not that this is any | of your business, but my father is dead.
So, if you don't mind I know Peter McCord's | your father.
Now, he is alive.
| I need to talk to him.
Mr.
Knight, both my parents | were killed in a car crash when I was 4 years old.
I was raised | by my aunt and uncle in Pomona, California.
So, if this is | some kind of joke, it's rude and tasteless.
It's no joke.
Then you're | rude and tasteless.
Now stay out of my way, | or I'll call for help.
MichaeI, my sensors indicate there are two armed men | in Miss Martinson's trailer.
KITT, get over here! Don't go in there! | Come on.
Come on.
What are you doing? | Let go of me! No, I won't.
Oh! What are you doing? Let me out of here.
| Let me out of here.
This is crazy! I- You can't just throw | a person in your car- I'm sorry.
| It's an emergency.
Uh, this is a kidnapping! Lisa, your father | is out of prison.
You can tell the world | a story about a car crash, and your aunt and uncle | in Pomona, but I know your father | is Peter McCord.
He's out of prison.
Somebody is threatening | to explode a bomb in the city, unless they get | a hold of your father.
Well, I don't believe you.
| I don't believe any of this.
Then who were those people | on the trailer? Fans? Press agents? Look.
Where are you taking me? | I mean, where are we going? I'm taking you, uh, | to The Foundation.
You'll be safe there.
Okay, if this is true, if what makes you think | I'd know where he is? Because you were | the person closest to him.
If it's true.
Well, it isn't.
Somehow I had a feeling | you'd say that.
MichaeI, there's | a patroI vehicle approaching in response | to the APB.
Police! Who was that voice? Let's lose him, KITT.
If I may suggest, "Tommygun" Taylor had | an effective way- Tommygun Taylor later.
We've got | a more subtle option.
I'm on him.
Confirm plate Never mind.
False alarm.
I understand how | you must feel, believe me.
Believe you? Why should I believe | any of you? I mean, this whole thing | is incredible.
Yes, I agree.
| Unfortunately, it's also true.
And you're not gonna be safe until we find McCord | and the Minotaur bomb.
Now, whatever you | can tell us about- Devon, I'm sorry.
He got past | security before I could stop him.
You got me out.
I've got no | place to go.
No one to turn to.
Like it or not, I'm | your responsibility and Lisa.
Stay away from me.
Wait, please.
Don't touch me.
Don't ever touch me.
How could you | do this to me? Why? He's a murderer.
We're aware of his record.
Did he tell you | who he murdered? Do you know? He killed my mother.
Anyway, you've got him.
| You don't need me anymore.
And I don't want | to spend another second in the same room as him.
Can we go? I'm sorry.
But you said Lisa, can I see you a minute? | Please.
Look, we would have had her | if that guy hadn't shown up.
That's what you said about | McCord in the alley.
"If.
" If things would have gone | as planned, he would have been | standing here, not you two.
Now he's gone.
| Disappeared.
And you've let the one person | I could have used to lure him here | slip through your fingers.
Now, it's on their head.
They let him get away.
Now, they've got until noon | tomorrow to deliver him.
But what if they | don't find him? I'm a successful man.
I get what I want.
| You know why? Because I don't make | idle threats, and I don't intend | to start now.
How could you do this to her, | put her through this? We didn't plan to.
| Somebody tried to kidnap her.
I didn't kill my wife.
I loved her more | than anything in this world.
That is between you, your | daughter, and the courts.
Right now, we have | got another problem.
There's a bomb due to go off | at noon tomorrow.
Michael's right.
| We're running out of time.
Who is this person? | Who's trying to kill you? It's a long story.
If it's gonna help us | find the bomb, we've got the time, | we'll listen.
Rachel, my wife, before we met, | she'd been engaged to a guy who turned out to have some ties | with organized crime.
He got busted.
Before he went up, he asked me | to keep an eye on her.
I did.
And you guess the rest.
| We fell in love.
By the time he got out, | Rachel and I were married, Lisa was nearly 7, | and he flipped out.
Threatened to kill us both.
I wrote him a letter, tried to explain it, | apologize.
Then one night, | I went out for groceries.
The store was closed.
When I got back, | he'd been there.
He killed her.
I didn't know what to do.
By the time I picked up | a phone to call the police, they were pounding | on the door.
There I was, and no alibi.
And he had five guys who said | he was in Vegas that night.
Are you saying | that he's still after you? After 12 years? Yeah, it seems to me a guy | with organized-crime connections could have had you | iced in prison.
Oh, he could have, sure.
| But he didn't.
He wanted to do it personally.
So that's why you've rejected | parole all this time.
Yeah.
With Rachel gone, and Lisa feeling | like she does, I had nothing on | the outside anyway.
All right, Mr.
McCord, let us assume that | your statement is true.
Who is this person? Come on, McCord.
We need a name, | come on, right now.
His name is Eric Fenton.
He's my half-brother.
April, how is she? | Is she better? A little.
She's agreed | to stay overnight, at least.
Good.
Well, we must | make use of the time.
Talk to her, April.
| Record the conversation.
Try to get her to open up | about the past.
Devon, I don't think | you realize just how traumatized | she is by that experience.
I- I mean, she's spent | 12 years trying to forget.
I can't just ask her | to open it up again.
I just can't.
I'm afraid we have | no choice, April.
I'm convinced the past is | the key to this entire case including the placement | of the bomb.
Why? I've been going over the stuff we have on McCord, | Eric Fenton, and Lisa.
Did you know that tomorrow would have been | the 20th wedding anniversary for McCord and his wife, and they were married | at noon.
The same day | and the same time Fenton has threatened | to explode the Minotaur.
Precisely.
| Now if I'm right, Fenton will place the bomb | somewhere that fits in with the personal histories | of these people.
In that case, | I better get back to Lisa.
Good.
You got that address | on Fenton, KITT? It's Marine Yacht Sales | on Bridgeway.
Pick up anything? I'm registering traces that indicate the bomb | was here, MichaeI.
Unfortunately, it's gone now.
I was afraid of that.
| Cover me.
Count on it, MichaeI.
Who are you? | What do you want? You Eric Fenton? Yeah.
Who are you? The name is Michael Knight.
| I'll get right to the point.
I want the Minotaur.
Are you from the police? No.
I'm with The Foundation for | Law and Government.
How did you find me? We've got Peter McCord.
He pointed us in | your direction.
So, you have Peter? Why? What does it matter "why"? | We've got him.
And he is very much | alive and very safe.
We also have | his daughter, Lisa.
We know you've got | the Minotaur.
As they say in chess, "Check.
" I think you and I | understand each other.
I want Peter.
| You want the bomb.
A simple exchange.
No, it's not that simple, | you see.
Phillip Hunt | may operate that way.
We don't.
What you fail | to realize is that I do.
You see, I'm the one dealing from a position | of power here, not you.
I won't compromise.
What I want most | from the rest of my life is to see Peter dead.
So, as they say in chess, | "Checkmate.
" How did it go, MichaeI? Fenton's definitely our man.
But he sure plays | a mean game of chess.
Chess? The two of you | played chess? No.
I mean, the man's | got ice in his veins.
Oh, dear, | that does sound serious.
No, KITT, | it's an expression.
It means nothing fazed him.
It's like he didn't care | about anything.
Tell me what | you've got on a drug called, uh, Diphenidol.
DiphenidoI? Yeah.
Fenton had a vial | of it on his desk.
DiphenidoI is a generic drug prescribed | for relief of nausea, especially that | due to chemotherapy.
What is it, MichaeI? KITT, I wanna check | Fenton's medical records.
Whatever you say, MichaeI.
Okay.
Anything else about | that summer on the island? Other than what I've told you, | I- I don't think so.
Oh, April, I'm so tired.
That makes two of us.
Listen, I-I know this is tough but, really, you're doing | just fine.
I've spent so much time | learning to forget.
It's hard to | start remembering.
Well, you've got | a lot of courage, Lisa.
I don't know if I'd be | holding up nearly as well.
What do you say | we take a break? Huh? I'll go brew some more tea.
The house was a big, | knotty-pine place that smelled like moss and Lisa.
all the time What are you doing in here? I wasn't sure | I'd ever see you again.
Except on magazine covers | and TV commercials.
Please, just go.
Lisa, give me 30 seconds.
Just a minute, | then I'll leave.
Please.
Well, did you find him? Yeah, I found him.
But he's not about to tell us | where the bomb is.
He has no reason to.
What do you mean? Devon, he's got | nothing to lose.
That man is dyin'.
We seem to be fighting | a losing battle, Michael.
Phillip Hunt's mobilized | the entire police force in a massive dragnet | to find McCord.
He's also got bomb squads | searching the city, section by section.
Devon, Michael, | we've got a problem.
Peter McCord's gone.
What? Why would he leave? Where would he go to? | He's safe here, he knows that.
He tried to talk to me.
| I- I wouldn't listen.
I told him | I didn't believe him.
I think I know | where he went.
He went to Eric Fenton's.
But if what he says is true, Eric's the one | who is trying to kill him.
Your dad probably doesn't care | whether he lives or dies now.
Michael.
Find him.
Please.
Okay.
How long before the bomb's due | to go off, KITT? One hour, | 35 minutes, and 19 seconds.
Keep the clock runnin', pal.
I want to see those | seconds tickin' down.
Aren't we rather foolhardy | to move at our present speed and make ourselves quite | visible to police officers? After all, we are fugitives.
There's no time | for hide and seek now.
Very well.
But it defies criminaI logic.
How you comin' with those tapes | of Lisa that April gave us? I'm afraid I really | don't understand what I'm looking for, MichaeI.
I was hopin' your | voice analyzer would detect some kind of subtle changes | in her emotions.
There's got to be some place | in the family's past that ties in with | what's happening now.
You mean the placement | of the Minotaur.
That's exactly what I mean.
Hello, Eric.
Are you ready to die, Peter? You know what's kept me alive | all these years, kept me going? The chance to watch you suffer | the way you made me suffer.
You took the one thing | I ever loved away from me.
Then maybe we're even, Eric.
No.
We won't be even | until you're dead.
Then let's get on with it.
On the way here, I reviewed all the reasons | for facing you like this.
I was going to atone | for my sins.
I was going to redeem myself | in Lisa's eyes, I was going to martyr myself to save thousands | of innocent people.
But you really | wanna know the truth? I'm here because | I'm tired of running, tired of hiding, tired of living half a life.
I'm not afraid to die | any more, Eric.
There's nobody in there.
AAH! Okay, the bomb.
This time you're going | to tell me where it is.
You underestimate me, Knight.
I don't think so.
You're a dying man, Fenton.
And you're desperate.
But, I really don't think you want to kill thousands | of innocent people.
Don't you think | everybody's suffered enough? McCord has.
Lisa has.
And I get the feeling | you have, too.
You have a choice, Knight.
The same one | Phillip Hunt had.
You turn around | and walk out that door, or the responsibility for | that bomb is yours, not mine.
All right.
Let's go.
It's my fight.
| It's time to face it.
What about Lisa? | What happens to her? It's too late.
No, it's not.
She asked me to find you.
You've still got | a chance to be her father, you still got | a chance to live.
Don't throw it away.
You walk out of here, and it's your responsibility, | you hear me? Both of you.
KITT's analyzed the tapes, and isolated three locations that have emotional charge | to 'em.
Now, I'm hopin' they mean | somethin' to you, or, better yet, I'm hopin' | they mean somethin to Fenton.
It's a long shot, | but it's all we've got.
Shoot.
KITT.
The three locations | are Basilio Island, Church of the Morning, | and 1177 McCIure street.
All right.
| What's Basilio Island? That's a little place off | the coast where we used to go | on vacation every summer.
We were almost always alone.
| It's uninhabited.
Then there's a good chance Fenton | wouldn't plant the bomb there.
All right.
| What about the other two? Uh, the McClure address | is where we used to live.
Rachel died there.
Church of the Morning | is where we got married.
Of course.
That's where he met Rachel, | at a picnic.
Do you think | that's a possibility? We'll find out.
Is it here, KITT? I'm afraid my | Electronic Detection Module isn't picking up even a trace | of the Minotaur bomb.
Then it's got to be | the McClure house.
Let's hope so.
We're runnin' out of time.
All right.
| This is 1177 McClure Street.
The house is gone.
It may be torn down, but I bet somewhere | in that haystack, Fenton has planted | his needle.
What are you gettin', KITT? A great deaI of interference, | MichaeI.
The concrete walls | of this structure are reinforced | with steeI beams which are adversely affecting my Electronic | Detection Module.
KITT, run a scan | on the garage, quick.
Tell me if that white Cadillac | we saw is in here.
Yes, MichaeI.
| You're absolutely right.
It's parked on leveI 3B.
That's it! All right, | KITT, pop the trunk.
All right, McCord, if you want out, go ahead.
| You do it now.
I've been out for ten years.
Count me in.
KITT, open the trunk.
Where can we dump | this thing, KITT? The nearest | uninhabited location is precisely 45.
7 miles away.
Oh, we'll never make | it in 8 minutes.
Don't be too sure.
I've got a vehicle answering the description | of that APB, movin' at speeds | off the clock.
Can you provide | backup at Junction 30? MichaeI, we're being | pursued by the police.
If we stop, we will | undoubtedly blow sky high.
I hate to do this | to an officer of the law.
MichaeI, I'm picking up | a roadblock directly ahead of us.
You know what to do.
What's he talking about? | What are you gonna do? Watch.
Hey, KITT, land easy.
We got a bomb in the back.
PHEW! You took the words right out | of my mouth, MichaeI.
I talked to the Attorney | General's office.
Looks like your conviction | is going to be overturned.
Fantastic.
Sounds like you're gonna have to | get used to bein' a free man again.
Well, it may sound funny, but life on the outside | isn't going to be easy.
Not after | all these years.
Well, I get the feeling you may be having some help | from your daughter.
Are you ready? Your plane takes | off in 30 minutes.
Well, I guess I can forget that aunt and uncle | in Pomona now.
Gentlemen, thank you.
Both of you.
Okay.
Michael, I'll miss you.
Well, we'll see | each other again.
I hope so.
Goodbye.
| Goodbye.
MichaeI, I have a confession.
I'm rather pleased our life of crime | has come to an end.
Well, now that makes | two of us.
What's the matter? Tired of | livin' in the fast lane, pal? No.
It's simply that | my research indicates that not one vehicle or steed | of a noted desperado ever received | the acclaim of its owner.
Nor did they share in any of the | criminaI profits.
It's quite clear, | crime doesn't pay.
KITT, that APB | is off now, right? That's correct, MichaeI.
Good, we're taking a long, leisurely drive to the beach.
The beach, but, in the middle | of the day? I've got work to do.
What are they | goin' to do, arrest us? Besides, if they do, | we've got a great getaway car.