ACT ONE
FADE IN
EXT. CANYON COUNTRY - INDIAN TERRITORY - NIGHT
Moonlight falls on the cliffs, which echo with the long and
lonely howls of the coyotes. A coyote wanders down the
slope.
EXT. BURIAL GROUND - ESTABLISHING
At the bottom of a ravine, a Landrover is parked by
the mouth of a cave. We hear the crunch of pickaxes.
INT. CAVE - NIGHT
By the glow of a battery-powered lantern, Dr. Quentin Tanner,
archaeologist, digs fiercely away at the rock wall. Tanner's
a grizzled early sixties, strongly built, with skin red from
the desert sun, and the wild fervor of a man who lives for
his work and doesn't come up too often for air. Barbara
Ralston, his college protege, digs by his side; a clean-cut
preppy, she's a little tired and spooked by the surroundings.
She slows down to wipe the sweat off her face. They work
with small chipping hammers and soft whisk brooms.
DR. TANNER
Let's dig a little faster.
Barbara speaks up -- not happily.
BARBARA
Doctor Tanner, all we've got is a
tribal legend that hints the relics
may be in the fork of this cave....
Dr. Tanner glares at her.
DR. TANNER
You may yet become an archaeologist.
But less grades and more grit --
that's what you need.
That galls her into digging harder. A loud wail of a
coyote echoes through the cave and she jumps up, listening
...Dr. Tanner is amused by her fear.
DR. TANNER
We must be getting closer, Barbara.
The spirits are angry with you.
As Dr. Tanner chuckles, she tries to shrug off her case of
nerves and resume digging. But meanwhile....
EXT. ANGLE ON EDGE OF RAVINE - NIGHT
An old pickup wheels into view -- short, squat and ominous.
It eases to a stop and perches right at the edge of the
rocks.
CLOSER ON TRUCK
Two Indians in dark baseball jackets put on masks and
wait....
RESUME CAVE
As Barbara keeps digging....
DR. TANNER
Stop!
Tanner grabs her arm, halting her in midswing. He then
scrapes at the hole bare-handed, Barbara eagerly joining him.
THEIR HANDS
snatch and pull carefully at the stones, and suddenly a
brood of small, ancient clay dolls, like mice flushed out
of their hole, tumble out of the dirtfall.
DR. TANNER AND BARBARA
catch them. With Barbara hovering over his shoulder,
Dr. Tanner takes a rag and wipes them off. Then he brings
it over to his lantern.
BARBARA
Is it...?
DR. TANNER
(quietly
jubilant)
What we came here for. The guardian
spirits of the warrior dead.
BARBARA
The Kobe Indian shrine.
CUT TO
EXT. MOUTH OF CAVE - NIGHT
Dr. Tanner and Barbara rush out of the cave laughing and
talking, in high spirits, though their voices are muffled,
swallowed up by the depth of the ravine. The camera pulls
up and back to disclose the truck lying in wait for them.
TANNER'S VOICE
We've done it...Let's get it to
Susan.
BARBARA'S VOICE
It's wonderful. I never really
believed till now.
REVERSE ANGLE ON TRUCK
The Indian in the driver's seat knocks on the back of the
truck. The camera tilts up as two other masked Indians,
Simpson and a cohort whose identity we'll learn later, hop
out of the flatbed, landing with catfooted lightness on the
ground.
WITH THE INDIANS
They silently slip down the ravine.
EXT. BOTTOM OF RAVINE - LANDROVER
While Dr. Tanner stows the dolls in the back, Barbara jumps
into the front seat and starts the engine. He glances up at
the rearview and freezes with fear.
IN THE MIRROR
A dark human form rearing up into view.
BARBARA
whirls around just as the Indian slugs her down.
DR. TANNER
jumps as he hears the attack and Simpson grabs him from
behind. He tries to twist free, but the big Indian yanks
him down and out of view and punches him once.
Dr. Tanner doesn't get up. Simpson pokes the driver in the
back.
SIMPSON
Go.
The camera pulls back as the driver shoves the unconscious
Barbara aside, guns the Landrover into a speed turn and
heads up the ravine towards the pickup, which revs its motor
and pulls away. The coyotes once again begin to howl.
CUT TO
EXT. OCEAN DRIVE - SANTA MONICA - DAY
K.I.T.T. cruising along the palm-lined beaches in his
convertible mode.
MICHAEL'S VOICE
(laughing)
Stress-relaxation techniques?
INT. K.I.T.T.
Michael hale and hearty and having fun at K.I.T.T.'s
expense.
K.I.T.T.
It really works, Michael. Combined
with the right sort of meditation.
MICHAEL
I'm going to have to park you in the
shade more often, pal. What do you
need with stress-relaxation and
meditation? The best kind of stress-
relaxation is two weeks in Maui.
I can't wait.
Michael holds up a colorful Hawaiian shirt....
K.I.T.T.
Your choice of shirts make that quite
apparent.
MICHAEL
The luaus, soft tropical nights...
the sun, the sand....
OMITTED
MONITOR
Devon flashes on the screen.
DEVON
I'm afraid you'll have to settle for
a working vacation at the Kobe Indian
Reservation.
MICHAEL
Devon, c'mon -- that's a contradic-
tion of terms! What about Maui?
DEVON
Maui will have to wait, Michael.
Have you ever heard of Doctor Quentin
Tanner?
MICHAEL
Can't say that I have. Why?
DEVON
He's a noted archaeologist who's
been searching for relics on the Kobe
reservation grounds. The Foundation
has supported his activities on behalf
of native Americans for years. Last
night, he and his assistant vanished
from the area.
MICHAEL
Devon, it seems to me that's a matter
for the Missing Persons Bureau or the
police.
DEVON
No time. The bulldozers will be on
the land before they get there.
There's a conflict between the Kobe
Indians and some oilman over the
ownership of the canyon where Doctor
Tanner was last seen. You're to
contact Susan Christopher. She's a
social worker. She thinks Doctor
Tanner and his assistant may be in
grave danger.
MICHAEL
I'll check it out -- on one condition.
No more references to 'working vaca-
tions.'
Devon smiles, clicks off. K.I.T.T. is sympathetic.
K.I.T.T.
Look at it this way, Michael. In the
desert, you'll get just what you
wanted.
MICHAEL
What's that?
K.I.T.T.
The sun, the sand...But no shirt....
MICHAEL
(laughs)
And dust, and heat, and small animals
crawling over your fenders...
(beat)
We're going to love it....
Michael hits the gas.
CUT TO
EXT. HIGHWAY - DAY - SHOTS OF MICHAEL AND K.I.T.T. - STOCK
heading in to the desert.
CUT TO
EXT. ROAD - DAY - ON K.I.T.T. - STOCK
speeding down a two-lane blacktop towards the reservation.
Music underscores the eerie beauty of the stark shapes of
boulders and mesas rising up from the red sand.
CUT TO
OMITTED
EXT. RESERVATION - DAY
K.I.T.T. drives into the center of the reservation, passing
the gas station, the general store and some assorted
buildings.
ANOTHER ANGLE
He pulls to a stop opposite the tribal council lodge and
the local medical clinic.
CLOSER ON LODGE
A bunch of Indians are hanging out on the porch. They turn
and all their eyes burn in on....
MICHAEL
as he pulls to a stop. The Indians move forward.
MICHAEL
Well, here we are, pal. And people
to greet us to boot.
K.I.T.T.
Careful, Michael, this doesn't appear
to be a welcoming committee.
MICHAEL
Gotcha.
As Michael gets out of the car he is met by a looping punch
thrown by Jonathan Eagle, a young hotheaded Indian in a
native jacket. Michael is caught off balance and goes down.
NEW ANGLE
as Eagle rushes forward.
EAGLE
Go back and tell Cyrus Oakes we've
had enough of his people putting the
squeeze on us.
Eagle reaches down to grab Michael who allows Eagle to pull
him to his feet. Eagle aims another looping punch at
Michael, who slides under it and drives his fist to Eagle's
midsection, then quickly turns the limp man around in a
choke hold to use him as a shield against the other Indians
who start to press forward. Susan exits a building.
MICHAEL
Now take it easy...My name's Michael
Knight, Foundation for Law and
Government...I just want to talk to
Susan Christopher.
The Indians start forward.
ANOTHER ANGLE
Susan Christopher, a good-looking, strongly built woman in
her early thirties, races forward. She is part or all
Indian herself and not afraid of the conflict or the group.
She bangs the topmost Indian on the head, kicks off another,
and that gives Michael more than enough edge.
SUSAN
Wait! Stop! I called him...He's here
to try and help us find Doctor Tanner
and Barbara....
EAGLE
We don't need a white man's help!
SUSAN
Tell that to your mother. A white
doctor delivered your three brothers.
There is some laughter from the other Indians. Eagle is
embarrassed, so he turns back to Michael to swing another
blow which Michael, now prepared, easily ducks. He controls
Eagle in an armhold.
MICHAEL
(to other
Indians)
If you promise to hold him, I won't
have to....
SUSAN
(firmly)
He'll be no trouble.
Michael lets him go and although Eagle doesn't look happy
he at last accepts it.
SUSAN
(to Eagle)
Control yourself and you can join us
with Thorn.
MICHAEL
Who's Thorn?
SUSAN
Curator of our Kobe Museum.
CUT TO
INT. RESERVATION MUSEUM - DAY - CLOSE ON THORN
Thorn is a formally dressed, scholarly, older, half white,
half Indian. The museum is a musty space lit by a skylight
and surrounded by glass cases containing Indian relics.
THORN
I worked closely with Doctor Tanner.
We were hoping to come up with a
major archeological find and have the
burial grounds declared a national
shrine.
EAGLE
(flaring)
Instead Cyrus Oakes will be drilling
through the bones of our ancestors
to get to his oil.
SUSAN
Oakes has acquired the rights to
exploit the land as of eight AM
tomorrow. Doctor Tanner was our last
chance to keep the grounds intact.
MICHAEL
Isn't it a little far-fetched to
believe that Oakes grabbed Doctor
Tanner before he could complete his
survey.
EAGLE
I told you he wouldn't believe us.
Eagle exits the hut.
MICHAEL
I didn't say that, but I'm going to
need a little more explanation and a
lot more proof before I'm convinced.
I'd like to start with the spot where
Doctor Tanner disappeared.
THORN
Susan can take you out there...but I
doubt you'll find anything.
They move off, followed by Eagle's disgusted look.
CUT TO
OMITTED
INT. RESERVATION - THORN'S OFFICE - MUSEUM - DAY
A spooky little enclosure in part of the museum, dominated
by a large glass case containing a headdress, a satchel and
an ancient spear. Thorn goes to his desk, picks up the
phone, and starts dialing.
OMITTED
EXT. CITY SKYLINE - DAY - ESTABLISH
EXT. HILL COUNTRY - DAY
Cyrus Oakes, a big, middle-aged businessman with a well-
tailored suit and big-city attitude and language. He takes
a deep breath, enjoying the country air and the view....
OAKES
Nothing like a little tailgate picnic
to christen a new piece of property.
He turns around and we see his "tailgate" -- a big stretch
limo. Lisa, his blonde and very hot companion, dressed in
revealing, flowing silk, comes out with champagne glasses.
Oakes starts to open the bottle.
OAKES
What you're seeing, Lisa, is diver-
sification. Coal, oil...
(pointing with
the bottle
to the hills)
...Real estate. A natural progression.
The land and its resources. Something
you can grab a hold onto.
LISA
All yours?
OAKES
Absolutely.
CHAUFFEUR
Mr. Oakes ---
ANGLE ON LIMO
The Chauffeur holds out his cellular phone. Oakes, not a
little annoyed, goes to answer it.
OAKES
Yeah.
OMITTED
INT. RESERVATION MUSEUM - INTERCUT AS NEEDED
Thorn on the phone, nervous.
THORN
Mr. Oakes, it's Thorn....
OAKES
How'd you find my mobile phone?
THORN
I told your secretary it was an
emergency.
OAKES
Then it better be just that.
THORN
Michael Knight. An investigator for
The Foundation for Law and Government
showed up. He's on his way out to
the burial grounds now to snoop around.
OAKES
If you did what you were told there
shouldn't be anything there to find.
THORN
It's not just that -- some of the
Indians are thinking he might help
and I think you're going to have
trouble rounding up drill and rig
crews.
OAKES
(a few beats,
controlling)
I pay people to do a job and then I
end up doing it myself.
(checks
his watch)
I'll be out at the reservation to
talk to them myself.
THORN
What about this investigator?
OAKES
Handle him. Use Simpson.
THORN
Wait a minute, I don't want to be
involved in any killings....
OAKES
I got millions of dollars' worth of
oil waiting to be tapped. You got
eighty-nine cents worth of Indian
relics. Where do you figure your
future lies?
CUT TO
OMITTED
EXT. DESERT BLACKTOP - DAY
K.I.T.T. cruising through the high desert country.
INSIDE K.I.T.T. - DAY - MOVING
Susan sits next to Michael, her eyes taking in all of
K.I.T.T.'s "extras" but not wanting to comment about them.
SUSAN
I'm sorry about that welcoming
committee at the reservation, but
Jonathan Eagle has quite a temper
and the others are just frustrated
enough to follow his lead.
MICHAEL
You seem to be able to control
him.
SUSAN
(a laugh)
I've known him all my life. When I
got my degree and decided to come
back to the tribe it was like I never
left...Now this whole issue of oil
is tearing us apart.
MICHAEL
I can understand your loyalty to
tradition and to your heritage...and
as beautiful as this country is, I
can also understand why someone would
try and grab it.
SUSAN
You've got to help us. Somehow,
some way...we've got to keep the
tribe and the land together....
ON MICHAEL
He holds a beat.
MICHAEL
Let's take a look at things, then
I'll do whatever I can.
Susan, a little more relaxed....
CUT TO
EXT. PANORAMIC - DAY - EDGE OF THE RAVINE
K.I.T.T. steers off the two-lane blacktop and pulls up at
the ravine's rim. Michael gets out and looks over the
ravine, and Susan follows him.
We pull back to a ridge of boulders up which Simpson is
slowly climbing, keeping an eye on Michael and Susan and
carrying in his leather-gloved hand a large, ugly-looking
sack.
CLOSER ANGLE ON MICHAEL AND SUSAN
MICHAEL
Let's do some old-style tracking.
SUSAN
Please, no Indian jokes.
Michael leans on K.I.T.T.'s hood.
MICHAEL
This isn't a joke.
(to K.I.T.T.)
Kitt, give me an imprint reconstruc-
tion for the bottom of the cave. I'm
looking for evidence of any struggle
that might have taken place here last
night.
K.I.T.T.
Right away, Michael.
SUSAN
(startled)
They've certainly put some interesting
accessories on cars lately!
MICHAEL
You won't find these on any other
model.
ON SCAN SCREEN
A hologram of the ravine. In quick sequence, two pairs of
footprints head into the cave. Then two pairs come out
towards a line of tire tracks -- and two new pairs of
footprints converge on them.
K.I.T.T.
Thank you, Michael. I show an unusual
pattern for the past twelve hours.
ON MICHAEL AND SUSAN
Michael leans inside K.I.T.T.'s side window, pointing to
the image.
SUSAN
That looks like Doctor Tanner's
land cruiser.
MICHAEL
Those footprints intersect by the car
-- and then they disappear.
SUSAN
He wasn't meeting anyone out here.
MICHAEL
Then he just might have been ambushed
after all. Show me where he was
digging in the cave.
(to K.I.T.T.)
Surveillance Mode, Kitt, watch my
back ---
K.I.T.T.
Of course, Michael.
EXT. CAVE
Michael and Susan cautiously enter the cave mouth.
INT. CAVE TUNNEL
They slip inside, Michael bent almost double in the tight
space. The cave track forks and Susan points him to the
right.
ANOTHER ANGLE
as they head deeper into the cave, they pass a cleft in the
rocks above. The camera tilts up to reveal the sunlight
pouring down from the surface and the ominous silhouette of
Simpson's head peering through the crack.
UP ON THE ROCKS ABOVE
Simpson kneels at the top of the crevice. A gunny sack in
his hand, setting himself to throw it down....
RESUME SCENE
Michael and Susan get to the dead end where Tanner was
digging. There's no room to stand -- they're crouched
against the wall. Suddenly, the comlink crackles to life.
K.I.T.T.
Michael.
MICHAEL
Yeah, Kitt?
INT. K.I.T.T. - SCREEN
A pulsating, red light on a holographic readout of the ridge.
K.I.T.T.
I've detected an intruder on the
rocks above you.
BACK TO MICHAEL AND SUSAN
as we hear dirt sliding loose in the crevice and Michael
yanks Susan towards him.
MICHAEL
Stay back!
THE GUNNY SACK - ANGLES AS NEEDED
It crashes down and bursts open to release a horde of
rattlesnakes.
MICHAEL AND SUSAN
recoil against the cave wall in the tight, dark corner --
the rattlers all around them....
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
INT. CAVE - DAY
The rattlers move, coil....
MICHAEL AND SUSAN
are backed against the wall. Michael, eyes glued to the
rattlers, raises the comlink.
MICHAEL
(in a low
voice)
Kitt, go into Electrical Generation
Mode and pump about two hundred
volts through the comlink.
K.I.T.T.
If I do, Michael, it will cause more
damage to you than to those snakes.
The rattlers coil in wait. Michael unstraps the wristband.
MICHAEL
I'm taking the comlink off, pal.
Wait for my signal.
Susan, transfixed with fear, shrinks back as Michael dangles
the comlink in front of the rattlers. They crawl towards
the bait -- he hurls it at them.
MICHAEL
Now, Kitt!
THE RATTLERS
pounce.
MICHAEL
grabs Susan to protect her.
ON THE RATTLERS
They attack the comlink and are stunned by the jolt of the
current.
RESUME MICHAEL AND SUSAN
Michael takes Susan by the hand and they slip by the
snakes, some of which are still twitching on the ground.
They pass them. Michael picks up his comlink...Susan,
overwhelmed with relief, clings to Michael for support.
CUT TO
EXT. RAVINE - DAY
Michael and Susan hustle up the ravine slope. Michael
gives the still-shaky Susan a hand over some rocks.
MICHAEL
Are you all right?
SUSAN
Oh, I'll be fine. I've seen my
share of snakes...
(trying
to smile)
...just not all at once....
Michael grins at her display of pluckiness and rushes over
to where K.I.T.T. waits for them.
MICHAEL
Kitt, locate the guy on the ridge.
K.I.T.T.
I'm afraid he's gone, Michael.
SUSAN
We've got to be able to stop Oakes
now. Isn't this enough proof?
MICHAEL
Not yet. Nothing to tie him
directly to any crime. A guy like
Oakes works through middlemen. But
I think I have a lead on who those
middlemen are.
SUSAN
What's that?
MICHAEL
There were only two people who knew
we were coming here. Eagle and Thorn.
Susan takes it in.
SUSAN
It couldn't be Eagle. Not the way he
feels about the land.
MICHAEL
That leaves Thorn. He was working
with Doctor Tanner at the dig, right?
Susan is shocked as it sinks in.
SUSAN
I've worked with Thorn for a year....
MICHAEL
Susan, it's just a hunch so far. But
I wouldn't recommend trusting Thorn
with any of our travel plans from now
on.
CUT TO
EXT. RESERVATION LODGE - DAY
A crowd of Indians has gathered around the porch. K.I.T.T.
pulls up behind the group. Michael and Susan exit...They
stare ahead at a meeting taking place.
MICHAEL AND SUSAN'S POINT OF VIEW - OAKES
stands on the porch, speaking to a bunch of Indian pipe
fitters and construction workers.
OAKES
He spots them a distance away and continues his speech as
he refers to them...His Stetson still a prop in his hand.
OAKES
Who do you people want to listen to,
a welfare worker paid by the state
who has nothing to gain by this
influx of money and jobs...How much
money has she put in your jeans since
she came back? You people start to
do well and she's out of her job...Or
do you want to listen to that 'inves-
tigator' in the fancy car...He's got a
steady paycheck coming in from a place
called F.L.A.G.
SUSAN AND MICHAEL
She's furious.
SUSAN
That creep....
MICHAEL
So that's Cyrus Oakes....
BACK TO SCENE
OAKES
I'll guarantee six months employment
at double minimum to any and all of
you who report to my compound at
six AM tomorrow morning....
OMITTED
ON THE PORCH
Oakes claps the shoulder of a potential Indian worker.
OAKES
Oakes Industries can also guarantee
plenty of overtime....
ANOTHER ANGLE - THE INDIAN CROWD
begins to turn away -- except for Eagle, who furiously
breaks from the front rank of the crowd and marches up to
the porch.
RESUME MICHAEL AND SUSAN
SUSAN
(alarmed)
Eagle!
Michael shoulders his way up front.
ANGLE ON EAGLE
Alone, he confronts Oakes and the construction workers.
EAGLE
How can you shake this man's hand?
He's taking the land that's right-
fully yours. He's destroying your
birthright.
SIMPSON
lumbers forward. A couple of other henchmen frame him in
the b.g.
SIMPSON
He's offering them jobs, Eagle. Jobs,
not ghosts.
EAGLE
That's what you think it's about,
Simpson? Ghosts? That land is the
heart of our tribal heritage!
SIMPSON
Get lost, kid.
With one hand, he shoves Eagle against the wall -- but
Eagle jumps right back at him.
Simpson catches him, hoists him up and draws back his fist
for a crashing blow -- only to have it grabbed from behind
by Michael. He steps in and yanks Simpson across the porch.
CLOSER ON SIMPSON
He crashes against the post.
MICHAEL
squares himself in front of Simpson, who's stunned to see
him still alive.
MICHAEL
Speaking of ghosts, you look like
you've just seen one.
ANGLE ON THORN
Thorn stands a short distance away and watches him...and
he's dumbfounded by Michael's appearance.
WITH OAKES
He suavely steps forward to handle the situation, passing
as close as possible to Thorn.
OAKES
(under his
breath)
I thought you took care of this.
Thorn has no answer.
ANGLE ON MICHAEL AND SIMPSON
both called for action...Oakes steps in...Michael turns away
from Simpson to face Oakes. The Indians surrounding the
porch, behind Michael, perk up at his coming confrontation
with the oilman.
OAKES
You seem to know so much, Knight --
when did you become an Indian?
MICHAEL
When I went through a snake ceremony
and lived.
The line is directed at Oakes and Thorn, who flinch at it.
OAKES
You sound like a lucky man...But I
wouldn't press it if I were you.
MICHAEL
You're not me.
Some of the Indians in the square laugh at Michael's
comeback. Oakes' eyes show a brief flash of hatred --
then he holds a restraining hand up to Simpson, nods and
moves off....
Thorn, with a last frightened look at Michael, heads out of
the square. The rest of the Indians hang back with Michael
and Susan. Eagle is still fuming, eyes Michael.
EAGLE
I didn't need your help.
MICHAEL
You really should think a little
more before you jump someone twice
your size. But in this case, you
might also have helped me out.
EAGLE
Yeah? How?
MICHAEL
Flushing Simpson out. He looked
awfully nervous just now. And I'm
gonna find out why.
CUT TO
ANGLE ON K.I.T.T. - A SHORT DISTANCE AWAY
As the Indians mill about in the b.g., one old man, Blue
Feather, slowly walks up to K.I.T.T. He's blind, cautiously
he touches the windshield, touches the rim.
K.I.T.T.
May I help you?
Blue Feather is thunderstruck -- then smiles blissfully.
BLUE FEATHER
I knew it. In my heart, I knew it.
And he begins an old tribal chant, bowing and dancing.
K.I.T.T.
What in the world are you doing?
BLUE FEATHER
It is as my dreams foretold. The god
of the wind has come to Earth to
instruct us in this time of crisis.
K.I.T.T.
I beg your pardon. Cross-checking my
data bank on tribal customs, I find
that your god of the wind material-
izes as a horse.
BLUE FEATHER
It is 1985. So in your wisdom, you
have chosen, instead, to come as a
car.
K.I.T.T.
No I haven't.
BLUE FEATHER
Ah! You are trying to trick me, as
the legends said you would. But I
know you, Great One. I know you.
He begins the chanting again.
K.I.T.T.
Well, I...I have to agree, I could
be compared to 'lightning on a
summer's day.' 'Wise as the all-
seeing hawk,' hm?
Blue Feather corrects the chant and starts to do some
serious "dovening" when Michael, a little startled, comes
up to the door. Blue Feather smiles.
BLUE FEATHER
Blessed is the servant of the mighty
steed. He shall do great things.
He drifts away. Michael chuckles and slides into the front.
INT. K.I.T.T.
K.I.T.T.
'Servant.' You know, Michael, I
never thought of it that way.
MICHAEL
Yeah, well don't start to, 'mighty
steed.'
K.I.T.T.
Sometimes I don't think you appreciate
me enough.
MICHAEL
All right, god of the road, all
powerful one....
MICHAEL'S POINT OF VIEW - SIMPSON
heads over to his Datsun pickup.
MICHAEL
...if I may check if my suspicions
are on target...please beam your all-
seeing scan on Mr. Simpson's shoes
and his truck.
K.I.T.T.
(irritated)
You don't have to rub it in.
THE SCAN SCREEN
flashes with shoe impressions and tire tracks.
MICHAEL
Thank you, your magnificence. Now
compare them with the footprints
from the ravine and the snake attack.
The first imprint is flashed parallel to one from K.I.T.T.'s
memory.
K.I.T.T.
We have a double match. And Michael,
you can stop worshipping me now. I
see your point.
MICHAEL
Thanks, pal.
RESUME MICHAEL'S POINT OF VIEW - SIMPSON
gets into the truck. With one last dour look back at
Michael and K.I.T.T., he revs up the motor and heads off.
INT. K.I.T.T.
MICHAEL
All right, let's talk to our snake
handler.
CUT TO
SIMPSON
He is suddenly cut off by Michael and K.I.T.T...Simpson
jams on the brakes and exits his truck in a rage.
EXT. ROADSIDE - DAY
Michael is out of K.I.T.T. and meets Simpson's swinging
charge with a couple of punches to the ribs and a blow
to the side of the head...He shoves Simpson against the
fender of the truck and holds him....
MICHAEL
The game of tag is over. You're it,
snake man.
SIMPSON
What's your beef? You cut me off,
you're the one looking for trouble.
MICHAEL
You tried to kill me and chances are
you're involved in Doctor Tanner's
disappearance. Talk to me.
Simpson reacts slightly but holds.
SIMPSON
I don't know what you're talking
about. Cut me loose or call the
cops.
MICHAEL
No cops yet, Simpson...just you and
me.
SIMPSON
(building)
What do you want from me?
MICHAEL
Like I said, it's tag and you're it.
You belong to me and it's just a
matter of time before I come back with
enough facts to take possession.
(beat)
Go tell that to Oakes.
Michael steps back, Simpson drives off.
INT. K.I.T.T.
Parked.
K.I.T.T.
Michael, would you explain that last
bit of action to me? I assume you
have a plan.
MICHAEL
It's simple, pal. We don't have much
time before Oakes takes possession of
the land. We've got to get them
thinking scared and getting careless.
(punches
buttons)
Now let's do some checking into Oakes
and his operation. Unless I miss my
guess, he's got Doctor Tanner and
Barbara stashed around here somewhere.
K.I.T.T.
Right away, Michael....
The monitor comes to life.
CUT TO
OMITTED
EXT. OAKES' COMPOUND - DAY
An impressive cluster of fenced-in oil rigs perched on a
high plateau. Simpson's truck heads for the gate and is
waved inside.
OMITTED
INT. OAKES' COMPOUND OFFICE - DAY
Oakes slams down his phone, gets up from his chair and
shouts at Thorn. Simpson enters over:
OAKES
One of you left a trail -- Michael
Knight's headed here!
(to
Simpson)
He's got a reason to be here.
(to Thorn)
You don't.
THORN
I'm here because I'm scared!
OAKES
Scared? I don't care if you're
shaking like a leaf -- if you're
spotted with me before we take the
land tomorrow the whole deal can
fall apart!
THORN
It's gone too far -- farther than you
ever said. I'm willing to settle for
a percentage of what you promised if
I can have it now.
OAKES
So you can turn around and tell
Knight everything you know?!
THORN
No! I just want to get away...I
don't want any trouble....
OMITTED
ON OAKES
He studies Thorn a few beats, then turns to Simpson.
OAKES
You feel the same way?
SIMPSON
I only told you what happened to me
so you'd know. I still want my end
of the payoff...And I'll do what I
have to do to get it.
Oakes nods, turns back to Thorn, his look and voice soften;
he is now charmingly lethal.
OAKES
Okay, Thorn, wait over in the cook
shed. I'll have to send for the
cash. You do want cash, don't you?
Thorn nods, exits gratefully. Oakes turns his look to
Simpson; they understand each other.
OAKES
I think you know what has to be
done....
SIMPSON
(nods)
Anything else?
OAKES
Yeah. One detail. Arrange it so
they go together -- him and that
Knight character.
CUT TO
OMITTED
INT. HUT - DAY
Two cots, two chairs, blacked-out windows. Dr. Tanner and
Barbara Ralston sit and eat as Lucas, an Indian guard
holding a rifle stands over them.
DR. TANNER
Do you know what the penalty is for
kidnapping?
LUCAS
Yeah. 'Bout the same as it is for
murder.
Barbara flinches. Tanner won't be put aside by words.
DR. TANNER
You have the mentality of a cro-
magnon man.
LUCAS
(untouched)
Maybe, but at least I know where I
am -- and I ain't no prisoner.
Lucas laughs at his own joke, then is interrupted by a
phone ringing outside the hut. He picks up his rifle and
moves through a double set of doors to the outside to:
INT. COMPOUND AREA
And we see that the hut is located in an off section of the
compound; he picks up a phone on the wall of the hut.
LUCAS
Lucas.
INT. OAKES' COMPOUND OFFICE - INTERCUT AS NEEDED
OAKES
Come on over to my office...I've got
a bonus job for you.
LUCAS
Sure thing, Mr. Oakes.
CUT TO
OMITTED
EXT. BLACKTOP - DAY
K.I.T.T. getting closer to the Oakes compound.
EXT. OAKES' COMPOUND - YARD - DAY
Simpson escorts Thorn across the yard.
SIMPSON
Lucas will take you to the bank --
Oakes has arranged for the money in
cash -- $25,000.
EXTERIOR - BY THORN'S CAR NEAR THE GATE - DAY
Lucas quickly slips an explosive device into the trunk
of Thorn's car. He slams it down and backs away before
Simpson and Thorn arrive.
WITH THORN AND SIMPSON
Thorn, a little tentatively, steps in. Simpson slugs Thorn
and shoves him into the car.
SIMPSON
He's all yours.
OMITTED
ANOTHER ANGLE
Lucas gives a little nod back before he drives off.
CUT TO
WITH K.I.T.T.
Michael drives K.I.T.T. along a twisting hill road over-
looking a narrow defile between the cliffs.
WHAT HE SEES - OAKES' COMPOUND
across the way.
INT. K.I.T.T.
MICHAEL
I'd say Oakes has a pretty big stake
in this operation.
K.I.T.T.
And he's protecting it very carefully,
Michael. That fence is electrified.
Its control grid goes back to a timed
computer-locking system.
Michael punches the appropriate buttons.
MICHAEL
Okay, pal. Use your Comprehensive
Configuration Analysis and give me a
rundown on any weak spots.
EXT. CLIFFSIDE ROAD
K.I.T.T. wends his way towards Oakes' compound.
EXT. COMPOUND - DAY
Thorn's car heads out the gate.
INT. K.I.T.T.
Michael watches the car come out.
MICHAEL
That's Thorn's car! Kitt, plot an
intercept course!
EXTERIOR - WITH K.I.T.T. - DAY
They roar down the ravine road, heading straight for
Thorn's car.
EXT. CLIFF ROAD - DAY
The two cars, churning up dust, head towards each other.
INT. THORN'S CAR - DAY
Lucas driving straight towards K.I.T.T.
Lucas kicks open the door. Jams a stick between the
accelerator pedal and the front seat....
WITH CAR - DAY - MOVING
Lucas rolls out of the car.
THORN'S CAR
heading straight for K.I.T.T.
INT. K.I.T.T.
K.I.T.T.
He's heading right at us, Michael!
MICHAEL
(pushes buttons)
Kitt, scan that car. Now!
ON SCREEN
A graphic of the Chevy and Thorn, the trunk flashing red.
K.I.T.T.
Michael, Thorn's inside -- uncon-
scious -- and there's a packet of
explosives in the trunk!
Michael gives the wheel a hard and fast turn to the right.
LUCAS
at the roadside, he presses a remote switch....
EXT. ROAD - DAY
K.I.T.T. turns off the road just as Thorn's car explodes
into flame.
INT. K.I.T.T.
K.I.T.T. suddenly and violently jolts to the side.
OMITTED
EXT. SIDE OF RAVINE - ANGLES AND STOCK AS NEEDED
The explosion triggers an avalanche on the western slope,
and it brings K.I.T.T. down the hill in aa mass of falling
rock.
FREEZE FRAME
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
EXT. WEST SLOPE OF RAVINE
K.I.T.T. spins down the mountain.
INSIDE K.I.T.T.
As K.I.T.T. is buffeted with rocks and dirt, some of which
pours into the car, Michael, gagging on the dust, tries to
drive free of the rock slide.
MICHAEL
Kitt, dig in and move!
K.I.T.T.
I have no traction, Michael! The
whole slope's coming apart!
MICHAEL
I'm hitting turbo boost! Try and
land us somewhere solid!
INT. DASHBOARD
He hits "Turbo Boost".
ON K.I.T.T.
K.I.T.T. shoots out of the torrent of falling debris.
EXT. RIM OF NORTHWEST SLOPE - DAY
He slams down with a rattling jolt on the edge of the ravine.
INT. K.I.T.T.
Michael whips back into his seat and then brakes to a
sudden stop.
ANOTHER ANGLE
He looks out the window, and knows there's nothing he can
do as:
EXT. CLIFFS
Thorn's car burns out of control halfway down the slopes.
OMITTED
INT. K.I.T.T. - DAY
Michael is angry and dejected.
MICHAEL
Oakes figured he'd get two for the
price of one, Kitt. Setting up
Thorn and using him as bait for me.
K.I.T.T.
I'm afraid he came very close.
(beat)
I'll need Bonnie.
Michael patches in to the communications.
MONITOR
Bonnie flashes on.
BONNIE
Michael! I've been getting strange
readouts from Kitt...Like an earth-
quake.
MICHAEL
Nope. Just a rock slide.
BONNIE
I wish I thought you were kidding.
Is Kitt all right?
MICHAEL
I love you, too, Bonnie. I'm fine,
thanks. But Kitt's gonna need some
stabilizer readjustment. I'm coming
in.
BONNIE
I'll be here.
Michael has to smile as she signs off.
CUT TO
EXT. SEMI - DAY
K.I.T.T. drives up the ramp into the semi.
INT. SEMI - DAY
RC3's knees poke out from under K.I.T.T.'s chassis as,
lying back on the roller, he gives K.I.T.T.'s undercarriage
a working over.
RC3
So much for that.
He wheels out from under K.I.T.T., pops up from the cart,
and, lounging against K.I.T.T.'s fender.
RC3
Those stabilizers were hit over-under-
sideways down. Hey Michael, didn't
you read that part of the Drivers'
Manual? Where it says watch out for
falling rocks?
Devon strides in.
MICHAEL
Right. Thanks. And speaking of
manuals, RC, the Foundation Manual
specifically states that, when not
otherwise engaged, the driver of the
Flag semi should be at the wheel.
RC3
Bonnie's autopilot is so smooth.
DEVON
Too smooth. RC I prefer a more
personal driving experience.
MICHAEL
See you around. RC.
RC3
Yeah, you got it.
He smiles, quickly heads back to the driver's seat.
DEVON
It's so unnerving to have RC3 back here
chatting while over six tons of truck
rolls down the highway driverless.
(then)
Our check on Cyrus Oakes proved very
fruitful, Michael. It seems that
seven years ago he tried to railroad
an Indian tribe in Oklahoma out of
some oil-rich land. He was convicted
of thirteen counts of land fraud,
filed an appeal and then beat the
case on a technicality. A most
unsavory character.
(shaking
his head)
It makes me fear the worst for
Barbara Ralston and Doctor Tanner.
MICHAEL
Perhaps Devon, but I don't think so.
Oakes has tried to kill me twice,
and his compound in the middle of
the desert has as much security as
an Army barracks. I think he's
hiding them there.
(beat)
I want to get 'em out.
DEVON
You'd best forget about another
frontal assault on the compound.
MICHAEL
I'm ahead of you, Devon. But I know
enough about Oakes to plan another
way in.
Bonnie tears off a print-out from a computer...hands it to
Michael who reads it....
BONNIE
Here's his activity for the day.
MICHAEL
Oakes will be spending tonight hosting
a business party at an exclusive club
...your computers are on top of
everything....
BONNIE
Right down to where he gets his hair
and nails done....
MICHAEL
Be a shame to interrupt his moment of
pleasure....
CUT TO
EXT. SEMI - DAY
K.I.T.T. roars out the semi.
CUT TO
OMITTED
EXT. RESERVATION CLINIC - EVENING
K.I.T.T. drives up to the clinic. Michael gets out
steps up to the porch where Susan is working late. She
turns around, relief on her face....
SUSAN
(worried)
Michael, where have you been?
MICHAEL
Well, I ran into a small explosion
on the cliffs below Oakes' base
camp. So did Thorn. He's dead.
SUSAN
Oh no. Seems like every time you
turn around there's more madness
going on.
MICHAEL
Yep. Oakes'll stop at nothing, and
he's smart. But I've got a few
moves of my own to try. If they're
alive. I'm pretty sure Oakes is
hiding Doctor Tanner and Barbara
Ralston at his base camp.
SUSAN
They're alive?
MICHAEL
It's a good bet. It looks like that
canyon is your sacred shrine, and
Doctor Tanner found some kind of
proof of that. So Oakes is keeping
him under wraps until he can grab it
all for himself.
SUSAN
I knew it. I always knew it.
MICHAEL
Now listen. Until eight AM that's
your land out there. Get everyone
who wants to save the burial ground
to go and dig there in the morning.
If I'm late get them to stay. Buy
me some time.
SUSAN
Oakes won't let us stay very long. I
don't want my people hurt.
MICHAEL
I'm not gonna let anything happen
to you or your people.
Susan agonizes over it -- and then decides to trust him.
SUSAN
We'll be there.
Michael, moved by the devotion in her voice, hugs her
comforts her.
CUT TO
OMITTED
EXT. A SHORT DISTANCE FROM THE CLINIC - EVENING
Blue Feather slowly walks up to K.I.T.T.
K.I.T.T.
Well, it's my acolyte! Hello!
The old man leans forward, prayerfully touching K.I.T.T.
BLUE FEATHER
I knew you'd come back. I've come
for my first lesson, Great One.
K.I.T.T.
In what?
BLUE FEATHER
The Secrets.
K.I.T.T.
Ah, yes. Of the universe, as it
were. Well, let's see...let's start
simple...Basic stress relaxation and
meditation technique. Clear your
mind. Concentrate on your breathing.
BLUE FEATHER
Great One, our tribe has known these
things for centuries.
K.I.T.T.
Well, of course, but, ah...ah...you
must start with what you know, and...
ah...in your own way get to the great
truth by small steps.
BLUE FEATHER
I see. You shelter your deepest
wisdom, and in that way tell me to
find my own path.
K.I.T.T.
(relieved)
Exactly.
BLUE FEATHER
Then I will trouble you no more.
Good-bye, Great One.
K.I.T.T.
Good-bye, my friend. I think I'll
miss you.
The old man, with a few bows, backs away. Michael passes
him en route to K.I.T.T., amused by this spectacle.
K.I.T.T.
You know, Michael, this being a god
is very demanding.
Michael gets into the car.
MICHAEL
Stick with what you do best, Kitt.
Let's go.
CUT TO
SERIES OF SHOTS - HIGHWAY
K.I.T.T. racing to the city.
OMITTED
EXT. HAIR SALON - NIGHT - ESTABLISH
INT. HAIR SALON - NIGHT
Empty, except for the Oakes group...An attractive female
hair stylist works on Oakes' hair as another beauty
manicures his nails...The Henchman/Chauffeur stands at the
door and a business associate, Jim, watches Oakes pampering
with amusement.
OAKES
It's called luxury Jim....
JIM
A fifty-year-old barber and a hot
towel is luxury...There's got to be
a better word for this....
MICHAEL'S VOICE
There is, but none of them are very
nice....
DOORWAY
Michael steps in, the Henchman steps in front of him to
block his way....
HENCHMAN
You can't come in here. It's
private....
MICHAEL
I'm already in and throwing one me
out could prove dangerous to your
health....
OAKES
Let Mr. Knight in....
SCENE
Michael smiles at the Henchman, moves him aside and steps
over to Oakes....
Jim, breaks the excruciating silence.
JIM
Who's your friend?
MICHAEL
Cyrus and I go back to the Curran
County days. Back when he was
running his game with the oil fields
on Indian land.
Oakes steps up to Michael, nods towards the side.
OAKES
We'd better talk elsewhere.
Michael lets Oakes lead him away to a dark corner of the
room.
OAKES
You're one hell of a good investi-
gator, Mr. Knight. But you're really
pushing it now.
Michael meets Oakes' anger with some of his own.
MICHAEL
You're right. Why spoil your pleasures
by dredging up anymore of your past?
Let's get to the point. I know how
much that Kobe burial ground is worth
to you, and how much your old record
could screw it up.
OAKES
So what do you plan to do about it?
MICHAEL
Nothing. For a half a million
dollars. In cash.
OAKES
You're crazy.
MICHAEL
Easy, Cyrus. I know it takes a bit
of time to raise that kind of
money. Even for you. So I'll
settle for an initial installment of
fifty thousand. Tonight.
OAKES
You'll have to come to my compound
to collect it. I have a business
dinner...it'll be a couple of hours.
MICHAEL
Fine. It's a tough drive, but I
know it pretty well.
CUT TO
OMITTED
EXT. DESERT ROAD - NIGHT
In the vast darkness, K.I.T.T.'s lights shoot down the
blacktop.
ANGLE IN K.I.T.T.
Michael at the wheel, thinking.
K.I.T.T.
Michael, I can't believe you're
going to walk right into Cyrus Oakes'
compound.
MICHAEL
I'm not.
K.I.T.T.
But you just said you were.
MICHAEL
I said I told Oakes I was. There's
a difference.
(beat)
I've got something else in mind....
CUT TO
INT. CLUB - NIGHT
Oakes is on the phone to his base camp.
OAKES
Yeah, listen. Michael Knight is
headed on over there to meet with me.
When he gets there, you hold him.
I'll be there and deal with him in a
more permanent fashion.
K.I.T.T. - NIGHT - DRIVEBY
FURTHER DOWN THE ROAD
K.I.T.T. comes up a hill, and as he passes by we see the
hive of lights of Oakes' compound down below.
ANOTHER ANGLE
K.I.T.T. coasts to a stop.
INT. K.I.T.T.
MICHAEL
All right, pal. Scan the camp
personnel.
He punches the required buttons.
ON SCREEN
A hologram comes on of the camp, red lights winking all
around the perimeter, two flashing in the center of the
compound.
K.I.T.T.
There's a concentration of men by the
front gate.
MICHAEL
Yeah. Betcha they're waiting for
me. But look at this -- they're
keeping a guard by that hut. Close
in on that and give me an infrared
scan.
The image zeros in on one Quonset hut. A very faint image
of two seated people appears.
MICHAEL
I think we've just found Doctor
Tanner and Barbara Ralston.
MICHAEL
Silent mode, pal.
OMITTED
INSIDE K.I.T.T.
Michael patches in the required circuits.
MICHAEL
Okay, Kitt, neutralize that fence.
ON SCREEN
The holograph shows the fence as it de-enhances.
EXTERIOR - LOOKING PAST K.I.T.T. DOWN THE HILL
Michael slips out and races to Oakes' compound.
EXT. COMPOUND
A guard patrols a narrow land between two huge earth-moving
vehicles. Pan from him to the fence and, through the links,
Michael sprinting up to the perimeter.
REVERSE ANGLE OVER MICHAEL'S SHOULDER - THE FENCE
He walks into frame. Looks up the links. Looks down.
MICHAEL'S POINT OF VIEW - DEAD BIRDS
are scattered at his feet.
CLOSEUP - MICHAEL - THROUGH FENCE
He looks down, picks up a piece of iron, tosses it at the
fence. No zap. He grabs the fence and starts to climb.
ANGLE ON GUARD
As the guard walks by, Michael, seen past him, gets to the
top of the fence, climbs down, then races stealthily along
the fence.
EXT. POWER STATION
Michael gets to the corner and hides.
MICHAEL'S POINT OF VIEW - A GUARD
crossing the alley between the huts. He goes by and Michael
races past him along the walls.
OMITTED
EXT. HUT
Lucas, outside the hut, lights a cigarette -- and is
clubbed to the ground by Michael.
INT. HUT
Dr. Tanner and Barbara stop eating, amazed as Michael
rushes in.
MICHAEL
(in a
whisper)
I'm Michael Knight, a friend of Susan
Christopher. I'm here to get you out.
Come on.
He leads Dr. Tanner and the somewhat stunned Barbara out the
door.
OMITTED
EXT. COMPOUND
Michael leads Barbara and Dr. Tanner past the other huts.
EXT. BY THE GATE - NIGHT
Guards wait for Michael. One of them Simpson. He looks
up at the fence and is dumbfounded.
SIMPSON'S POINT OF VIEW - AN OWL
is perched on the wire.
EXT. YARD - WITH MICHAEL AND THE KIDNAP VICTIMS
They are coming towards the fence when ---
LIGHTS
go on all around the camp, accompanied by a shrieking alarm.
MICHAEL
whirls around to see guards surrounding him, Dr. Tanner and
Ralston.
He raises his hands high. Simpson steps forward to glare
at Michael, seems about to slug him, but instead his eyes
settle on Michael's watch (the comlink). He rips it from
his wrist. Smiles....
SIMPSON
Nice watch you won't be needing
this....
Michael looks....
FREEZE FRAME
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
EXT. OAKES' COMPOUND - DAY (SUNRISE)
The sun rises over the yard.
INT. POWER STATION - MORNING
Michael sits in a chair flanked by two guards, in front
of him, seething with anger.
DR. TANNER AND BARBARA
sadly watch him.
Roaring machines can be heard. Michael, Barbara and
Dr. Tanner bristle to attention.
CUT TO
EXT. ENTRANCE TO THE COMPOUND - MORNING
A line of bulldozers, pipe and shaft drivers, and trucks of
workers rev up at the gate.
OAKES
waves them on over the thunderous clamor.
OAKES
Let's move 'em out, boys! I want
to be there at eight AM....
CUT TO
EXT. BURIAL GROUND - DAY
In the morning silence of the desert, Susan and Eagle look
over a group of about twenty Indian men and women who are
digging at the rubble of the cave. Some members of the
group are getting restive as Susan worriedly checks her
watch. Finally a middle-aged Indian man, Thomas, calls
out to her.
THOMAS
Susan!
She looks in the direction of the voice from the crowd.
THOMAS
Oakes and his men are coming! Where
is this guy Knight?
The crowd gets angry. But before Susan can answer them,
Blue Feather steps out from the edge of the group.
BLUE FEATHER
The god of the wind will come, as he
said he would.
THOMAS
Yeah, sure. The wind ain't gonna
stop Oakes' men from bustin' heads.
And I got a family.
He looks sadly at Susan.
THOMAS
Why don't you face it. It's over.
Some people begin to lay down their shovels.
SUSAN
It's not over! Listen to me! All
I'm asking is that we stand here just
a little while when they come and
demonstrate our feeling for this land.
THOMAS
What good will that do? The land
belongs to Oakes!
SUSAN
Not yet it doesn't...Michael Knight
has still got something to say...and
from what I've learned about him
-- he'll be here to say it....
She looks over the group. They consider what she said, and
decide to trust her. As one, they go back to digging.
CUT TO
INT. POWER STATION - DAY
Michael and the captives hear the sound of footsteps and
the door slamming open.
OAKES
accompanied by his goons, strides across the room.
OAKES
I'm sorry our meeting was delayed,
but I believe you've caused some real
trouble now. For yourself and your
friends.
Oakes nods over to Simpson and his goon, who hoist
Dr. Tanner and Barbara, fiercely struggling, out of
their chairs.
BARBARA
Let go of me!
DR. TANNER
Where are you taking us?
Barbara's face drains with abject fear as she and
Dr. Tanner are taken out the door.
SCENE
Oakes crouches down in front of Michael, taunting him.
OAKES
In fact, Mr. Knight, you might say you
killed them.
MICHAEL
Let them go, Oakes, you got what you
wanted.
OAKES
And I intend to keep it. You'll join
them in a different way. I think
we'll give you another shot at the
electrified fence. Good-bye,
Mr. Knight.
Oakes turns on his heel and leaves.
CUT TO
EXT. RAVINE - DAY
Susan and the Indians, waiting at the bottom, hear the
rumble of massive engines in the distance.
CUT TO
ON THE BLACKTOP - DAY
The line of rigs pound through a haze of dust.
CUT TO
OMITTED
INT. HUT
Lucas trains his gun on Michael, orders him to get up.
Michael does, raising his hands but just high enough to
touch the hanging metal lamp between him and Lucas. In
the next instant he pushes it hard as he can.
THE LAMP
smashes Lucas in the head.
MICHAEL
jumps for him, and, as Lucas tries to wield his rifle,
deflects the stock and smashes him down. He kneels to the
floor, grabs Lucas' wrist, and, while unstrapping it,
speaks into his comlink.
Michael lifts up his comlink.
MICHAEL
(quietly)
Kitt? I could use a little posse to
the rescue, buddy. I'm surrounded
by bad guys.
CUT TO
EXTERIOR - BEHIND THE HILL - K.I.T.T.
revs up.
K.I.T.T.
Right away, Michael.
OMITTED
INT. K.I.T.T.
Dash signals light up. The pedal floors.
ZOOM-IN K.I.T.T.
He explodes from behind the hill....
ANGLE DOWN THE HOOD
...speeding toward the electric fence.
AT THE FENCE
Impact -- he smashes through the sizzling wires as guards
hurl themselves out of the way.
CUT TO
MICHAEL
straps on the comlink, looks around, then heads for the
window.
OMITTED
ANGLE - WINDOW
Michael hurtles into it and smashes through the glass.
EXT. GROUND BY THE POWER STATION
He lands, rolls, and starts to run.
MICHAEL
(on comlink)
I'm coming out, Kitt! Lay down a
smoke screen!
CUT TO
WITH K.I.T.T. MOVING THROUGH COMPOUND
K.I.T.T. shoots across the yard, spurting a blanket of
thick black smoke. The guards stagger blindly in his wake.
CUT BACK TO
OMITTED
WITH MICHAEL
He runs around the corner of the hut.
EXT. COMPOUND - ALLEY BETWEEN THE HUTS
Guards see Michael and open fire.
RESUME MICHAEL
He ducks the shots and does a credible job of broken-field
running into the path of K.I.T.T.'s smoke.
OMITTED
CLOSER ON MICHAEL
...racing through the wake of the smoke screen....
MICHAEL
Block 'em for me, Kitt!
ON K.I.T.T.
He cuts in front of the guards, whose bullets squib harm-
lessly off his fender.
WITH MICHAEL
He races through the smoke to the truck.
ANGLE ON GOONS
confused by the noise and the smoke they barely have time
to react as Michael wades into them.
CLOSER ON MICHAEL - ANGLES AS NEEDED
He quickly grabs and dispatches the first goon -- but then
Simpson leaps on him from the back. They fight. Simpson
brings Michael down with a couple of body blows, then yanks
out of his hip sheath a long-bladed Bowie knife and prepares
to stab him. But Michael grabs his arm, kicks Simpson, then
rolls away and decks him. He pins him with his knee.
MICHAEL
You're caged, snake man.
He looks up.
MICHAEL
Doctor Tanner!
DR. TANNER AND BARBARA
rush out from behind the truck. Michael races over,
hustles them towards K.I.T.T.
MICHAEL
Into the car! Hurry! We've got to
double time it to the burial ground!
He pushes them in, shuts the door.
EXTERIOR - ANGLE ON K.I.T.T.
OMITTED
WITH K.I.T.T.
He blasts through the fence, shooting down the road.
MICHAEL'S VOICE
Gimme Super-Pursuit Mode, pal!
OMITTED
K.I.T.T. - SERIES OF INSERTS
Out comes the gleaming Air Dam, the sleek nose cone, the
vent in the hood and ferocious jet exhaust pipes.
OMITTED
WITH K.I.T.T.
K.I.T.T. in SPM shooting down the road.
OMITTED
EXT. BURIAL GROUND - DAY
The earth movers line up at the top, motors growling and
pouring smoke. Oakes stands in front with a bullhorn.
EXT. BOTTOM OF RAVINE
The frightened but steadfast group of demonstrators look up
at them.
RESUME OAKES
OAKES
(on bullhorn)
This land is the property of Oakes
Industries. If you people don't
disperse, we will forcibly remove
you.
SERIES OF SHOTS - THE DEMONSTRATORS
Susan, Eagle, Blue Feather facing Oakes' men down.
WITH K.I.T.T. - DAY
streaking down the blacktop.
MICHAEL
C'mon, Kitt, give it all you got!
THE SPEEDOMETER
hitting 300.
LOOKING UP AT THE RAVINE RIM - DAY
The construction workers line up behind Oakes. He checks
his watch, looks at the demonstrators, shrugs.
OAKES
I don't want a tap dance. Let's
kick 'em out now.
He leads his workers down.
ON THE DEMONSTRATORS
They brace themselves for the onslaught.
ON OAKES AND HIS MEN
They line up in front of the group. Ready to rumble.
ON ROAD
K.I.T.T. in SPM bearing down.
THE E.B.S. SYSTEM
deploys, the fins shooting out as air brakes.
EXT. RAVINE
Men jump back from the machines as K.I.T.T. screeches to a
stop between them.
EXT. RAVINE - SERIES OF SHOTS
Susan and the Indians smile with relief. Oakes looks up
and is absolutely stunned as ---
EXT. RAVINE - K.I.T.T.
races up to the edge. The Air Dams, spoilers, etc. tuck
in. The door opens and Michael rushes out.
ANGLE - OAKES AND HIS MEN
He turns behind him to summon his muscle.
OAKES
Get him!
CLOSER ON MICHAEL
Dr. Tanner and Ralston get out of the car behind him.
Michael looks back at them and then at Oakes' men.
MICHAEL
You men might want to think twice
before you become accessories to a
kidnapping and a murder.
OAKES
looks at his group of men.
OAKES
You heard what I said!
MICHAEL
If there is oil here it belongs to
the tribe and you don't need Oakes
to find it....
They don't budge.
Oakes tears up the trail.
MICHAEL
comes down to intercept him.
WITH OAKES
He tries to get by Michael, but Michael grabs his arm.
Oakes manages to sneak in a gut punch, but then Michael
deflects his next blow and with a quick one-two combination
knocks Oakes flat on his back.
THE INDIANS
applaud and cheer. Even Eagle smiles....
MICHAEL
catching his breath, stands over Oakes.
MICHAEL
You'll end up with all the land
you'll ever need...and eight-by-
eight cell...
(beat)
No digging permitted.
FREEZE FRAME
FADE OUT
END OF ACT FOUR
TAG
FADE IN
EXT. RAVINE - DAY
The dig in full swing -- a whole group of Indians, moving
in and out, led by Eagle.
Dr. Tanner proudly claps Barbara on the shoulder. Then he
looks up towards the top of the ravine, shouting at someone
up above.
DR. TANNER
Come on! We could use us another
pair of strong arms!
(pointing to
the Indians)
You can see how much fun it is!
ON MICHAEL
taking it light as he looks down at Dr. Tanner, puts his
arm around Susan....
MICHAEL
I've already got my hands full, Doc.
(to Susan)
Are there any other caves we can
search privately?
SUSAN
(laughs)
I don't think Eagle would like it.
MICHAEL
(a reaction)
You...and him?
SUSAN
Since we were seven years old, but
he'll understand this.
She walks into his arms and gives him a tender and lingering
kiss. Michael breaks away, a little surprised, and sees ---
ON K.I.T.T.
Blue Feather is laying a whole bouquet of desert flowers on
K.I.T.T.'s hood. Michael walks up and takes them.
MICHAEL
These are beautiful.
BLUE FEATHER
They are simply my way of offering
thanks to the both of you for helping
us in our crisis as the legends
foretold.
INT. K.I.T.T.
As Michael gets into the car.
K.I.T.T.
You know, Michael, I did fulfill the
ancient promise of their god of the
wind.
MICHAEL
Please. Don't get it into your...
circuits that you have any sort of
divine heritage, Kitt.
K.I.T.T.
But what if it's true? What if I,
without knowing it, am in fact ---
MICHAEL
Let me answer your question with a
question, Kitt. What's wrong with
merely being a superb piece of
machinery, a partner, and a friend?
K.I.T.T.
Nothing at all.
MICHAEL
I rest my case.
K.I.T.T.
But Michael? You could bring me
flowers some time.
Off Michael's "Oh, brother..." expression,
FREEZE FRAME
FADE OUT
THE END
