ACT ONE
FADE IN
EXT. HILLY AREA - DAY - ESTABLISHING
EXT. CATCHMENT BASIN - DAY
An area which holds a reserve of water for eight ranches
in the area. Two figures are bent over, planting something
in the ground.
CLOSER ANGLE ON ALEX WEBSTER
who could be playing fullback for the L.A. Raiders, and
Richard Kirk, a slobby-looking guy who is all thumbs. They
are fooling around with dynamite, which Kirk is fumbling
with.
ALEX
Watch it, you jerk! You wanna blow
us to kingdom come?
KIRK
I wouldn't do that, Alex.
ALEX
Just hurry up, Kirk. Let's plant
this and get outta here.
As they set the charges:
CUT TO
EXT. SHASTA CITY TOWN HALL - DAY
A jewel of a building set in the middle of a picture post-
card kind of small town. The town is surrounded by lush
farm and ranchland.
INT. TOWN HALL - DAY
Devon Miles and Susan Wade, a beautiful black woman, are
in the midst of a crowd obviously celebrating. Everyone has
a cup in their hand and there is an excited feel to the
party. One man, Ted Moore, is in front of the room, in the
middle of making a toast.
MOORE
And we're all here celebrating
because of Miss Wade and Mr. Miles.
Without their help, we'd all be in
deep trouble right now...dried out,
thanks to Herb Bremen...but boy, I
gotta tell ya, when I saw a lady
lawyer from the Foundation for Law
and Government was representing us
in our case, I really got a little
nervous there....
Everyone laughs, except Susan Wade, who tolerates the
comment with a tight little smile.
MOORE
But seriously, folks, they did a
bang-up job. We've finally beaten
Bremen, and according to the courts,
our water finally belongs to who it
should belong to -- us!
Everyone claps.
MOORE
So, in your honor, we'd like to
present you both with a little token
of our appreciation.
More giggles.
MOORE
Myra, bring it on in....
Myra Moore, an attractive lady in her forties brings up a
truly tasteless but well-meaning trophy to present. As
everyone claps, Devon pushes Susan Wade gently up to the
mike.
SUSAN
I'm sure I speak for all my
colleagues at the Foundation who
worked so diligently on this
matter...It has been a privilege
representing you in your fight. And
it is especially a pleasure to win.
More clapping.
SUSAN
Now, I'm sure Mr. Miles would like
to thank you all personally. Devon?
Devon moves to the mike.
DEVON
We're of course very pleased to have
been able to help all of you. After
all, that is part of what our
Foundation is for. And we certainly
appreciate your kind, uh, uh, gift.
It has been my experience in the past
that....
He is interrupted by a very loud explosion o.s. The whole
party starts to move outside to check it out nervously.
MOORE
What the hell was that?
EXT. CATCHMENT BASIN - DAY
as the explosion has allowed the water to start flowing
out.
EXT. TOWN HALL - DAY
as the ranchers, Devon and Susan move outside. We can see a
plume of smoke in the distance.
MYRA
It looks like it's near the
catchment basin!
Another rancher, John Peters, moves to Moore, Devon and
Susan.
PETERS
If it is, we could be in real deep
trouble.
MOORE
Yup. We'd better go check it out.
At that moment a Jeep turns onto the main street and stops
with squealing tires in front of the group. Francesca
Morgan gets out. She is a feisty, gorgeous redhead who is
obviously furious. She commands the attention of the group
as she marches up to Devon, and stands in front of him,
nose-to-nose.
FRAN
Our catchment basin has just been
'rearranged.' I warned you all they
wouldn't give up so easily, but you
thought I was just a paranoid widow!
Well, Mr. Miles, your legal victory
doesn't mean diddly if they cut off
our water.
She turns to the rest of those assembled there.
PETERS
What are we gonna do?
FRAN
Well, the first thing is we better
go try and fix the basin.
She jumps back in her Jeep and barrels off as the others
look at Devon and Susan as if they had just arrived from
Mars. They dash off to their cars as Susan turns to Devon.
SUSAN
Do you think they'll want their
trophy back?
He just looks at her, as we:
CUT TO
EXT. FOUNDATION - DAY - ESTABLISHING SHOT
EXT. SEMI - DAY
parked on the grounds.
INT. SEMI - DAY
Bonnie is lying half under K.I.T.T., just finishing up with
some tools. Michael is in the far end of the semi, feet up,
head back, eyes half-closed. He's almost listening to a ball
game on TV. Bonnie moves out from under K.I.T.T. and gets
up.
BONNIE
All done.
Michael doesn't answer.
BONNIE
Michael, what are you doing?
Watching or sleeping?
MICHAEL
Both. It's an acquired taste.
BONNIE
Can't you give your full attention
to anything?
He gets up and moves towards her.
MICHAEL
You won't let me.
She backs off a bit and blushes.
BONNIE
Anyway, I've finished.
MICHAEL
What have you done to the monster now?
She gives him a dirty look, then leans into K.I.T.T.
BONNIE
I've just added enormously to his
capability. You see you just push
this button and a grappling hook
shoots out of the back.
The phone rings. Michael answers it.
MICHAEL
Yup...
(turns to Bonnie)
It's Devon. They're putting him
through.
Intercut the following, with Devon:
INT. TOWN HALL - DAY
DEVON
Just the person I wanted.
MICHAEL
I'm flattered.
DEVON
I need you in Shasta City. Immediately.
MICHAEL
What seems to be the problem?
DEVON
You may have to stop a war.
Michael reacts.
CUT TO
EXT. SHASTA CITY - DAY - ESTABLISHING
INT. TELEPHONE OFFICE - DAY
It's an old-fashioned switchboard. The operator has just
unplugged a call. She dials a number.
OPERATOR
Hello? Mr. Bremen, I think I have
some information you'd be interested
in....
EXT. ROAD - DAY
as K.I.T.T. is tooling down the highway, red lights on.
INT. K.I.T.T. - DAY
Michael is lounging across the front seat, letting K.I.T.T.
do all the work as usual.
K.I.T.T.
Michael?
MICHAEL
Yes, Kitt.
K.I.T.T.
Wouldn't you like to brief me on
our mission?
MICHAEL
How can I tell you what I don't know?
K.I.T.T.
It seems an unusually sloppy way of
operating, even for you.
MICHAEL
What can I tell you? Devon said
come and we're going.
K.I.T.T.
Very peculiar. Mr. Miles must be
emotionally upset about something.
MICHAEL
You're probably right. Considering
his temperament, a brown tie with a
blue suit could give him a nervous
breakdown.
EXT. ROAD - DAY
as K.I.T.T. drives.
EXT. BREMEN RANCH - DAY
A beautifully manicured spread. It's a miniature Tara
surrounded by green lawns, gardens and a pool. The piece de
resistance is a beautiful complex containing a very valuable
herd of cattle in a corral, and a complex of stables with a
riding ring for jumpers. In the b.g. there is a magnificent
bay horse and rider easily making the jumps. When the rider
finishes, the horse trots over to the stall area.
EXT. STABLES - DAY
as Herb Bremen, a fit and tan forty-eight, dismounts. He
hands the horse to Sam, the groom, before he turns to his
waiting cohorts.
BREMEN
Sam, better give him a chance to
cool down. We had an invigorating
ride.
He pats the horse, obviously fond of him.
SAM
Yessir, Mr. Bremen. C'mon boy.
Sam leads the horse off, as Bremen turns and walks briefly
towards Alex and Kirk, who are waiting near the house. They
follow Bremen as he walks briskly towards the house.
EXT. HOUSE - DAY
as Bremen approaches house.
BREMEN
So?
KIRK
Piece'a cake, boss.
ALEX
Very clean operation, Mr. B. It
should stop 'em for a while.
BREMEN
I hope you're right, Alex. I don't
like losing...Like the lawsuit I
filed. I should have made sure of
the Judge in the first place.
They just reach the house as Fran Morgan gallops in from
around the back of the house. She stops right in front of
the three men.
BREMEN
Francesca, my dear! I see you took
the shortcut.
FRAN
Just like you do all the time, Herb.
BREMEN
Always good to see you. Why don't
you come in and have a drink?
FRAN
Cut the civilized bull, Herb. I'm
here for one reason only: to serve
notice on you. We beat you in court
and it made no difference. You're
still trying to steal our water.
Well, I won't have it, Herb. We are
going to win this battle, legal or
not. You play fair, we will. You
don't....
(shrugs)
Kirk can't stand it anymore, and moves in as if to get
closer to her, but she whirls around and hits him with her
riding crop just enough to move him back fast. He jumps
back, stung and embarrassed in front of his boss.
FRAN
Just back off, Herb.
She moves out as fast as she came in.
ALEX
There's a pain we can deal with.
KIRK
Lemme at her. She thinks she owns
the world.
BREMEN
Don't underestimate her. She's got
more guts than any of them and she's
their rallying point. The way to
deal with her is constant pressure.
We are going to make it very diffi-
cult for them. If she and the other
ranchers lose their water for a few
days, their livestock can't survive
and neither can they. Water is the
key. We take away their water for
long enough and the whole valley
will be mine by default.
ALEX
It's a good plan, Mr. B.
BREMEN
Yes. If you execute it properly.
By the way, I received a phone call
this morning. Apparently the
Foundation is sending in reinforce-
ments. I think that idea should be
discouraged. I suggest you take
care of it.
CUT TO
EXT. CATCHMENT BASIN - DAY
as all the ranchers we saw earlier are working feverishly to
contain the seepage -- with sandbags, earthen damns, etc.
Fran rides into the shot, then walks over to Josh Morgan,
sixty, and Kevin Morgan, eight. Josh is an attractive,
weather-beaten man who's obviously spent his life outdoors.
Everyone else waves at Fran.
FRAN
How's it going, Dad?
JOSH
It's rough but with a little luck we
should have it repaired by sundown.
Kevin walks up to the both of them.
KEVIN
Ma, are we gonna let Bremen get away
with this?
FRAN
No, Kevin. We're not.
KEVIN
Well, what are we gonna do?
FRAN
Don't know yet, but I'll think of
something.
JOSH
Kevin, they had a problem like this
in Lincoln County back in 18 and 80.
KEVIN
What did they do, Grandpa?
JOSH
It's a long story. I'll tell you
about it....
He takes the kid and they walk a bit as Fran stares after
them fondly, then goes to work with the sandbags.
DISSOLVE TO
EXT. ROAD - NIGHT
as K.I.T.T. soars down the highway, still on automatic, the
red computer lights on.
INT. K.I.T.T. - NIGHT
Michael is asleep draped in the seat.
DISSOLVE TO
EXT. K.I.T.T. - DAY
still driving down the highway.
INT. K.I.T.T. - DAY
Michael is leaning back, his hands behind his head, totally
relaxed.
MICHAEL
You're more comfortable than any
hotel, Kitt. A great night's sleep
and a wonderful dream.
K.I.T.T.
I'm glad you enjoyed yourself,
Michael. But I believe we have a
problem. I've picked up a large
object directly ahead about 500
yards. It's stationary.
MICHAEL
Is it a roadblock?
K.I.T.T.
Negative. It's one massive solid
object.
Michael moves forward and pushes a button.
INSERT - MICHAEL
pushes the "manual" button on the dash.
EXT. ROAD - DAY - MICHAEL'S POINT OF VIEW
As they come over the rise of a hill, there is a massive
piece of farm equipment blocking the road ahead.
EXT. ROAD - DAY
As K.I.T.T. slows down, two other massive bulldozers move
from a hiding place on either side of the road. The three
dozers slowly converge on K.I.T.T.
INT. K.I.T.T. - DAY
MICHAEL
How come you missed those, Kitt?
K.I.T.T.
I thought they were buildings.
MICHAEL
Do we have room to jump?
K.I.T.T.
Of course we can jump. But I cannot
guarantee where or how we'll land.
As the three bulldozers converge on K.I.T.T.:
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
EXT. ROAD - DAY - CONTINUOUS ACTION
as the three bulldozers converge on K.I.T.T., K.I.T.T. goes
into a ski mode and barely slides out between two of them.
CLOSE ON DRIVERS
astonished.
EXT. BULLDOZERS - DAY
As K.I.T.T. takes off down the road, the astonished drivers
are so distracted, the three dozers simultaneously collide
with an earthshaking crash.
EXT. ROAD - DAY
as K.I.T.T. drives towards Shasta.
INT. K.I.T.T. - DAY
MICHAEL
That was a close one. I wonder how
they knew we were coming.
K.I.T.T.
Are you positive it was a deliberate
assault on us?
MICHAEL
No question about it.
K.I.T.T.
How can you be so sure?
MICHAEL
Because bulldozers don't mate this
time of year.
DISSOLVE TO
EXT. SHASTA CITY
as K.I.T.T. drives up to the Town Cafe.
EXT. CAFE
as K.I.T.T. pulls up and Michael exits and bounds up the
steps.
INT. CAFE
where a disgruntled Devon and an irritable Susan Wade wait.
DEVON
It certainly took you long enough.
Where have you been?
MICHAEL
Hello to you, too. And to you,
Susan.
She nods at him as he moves into the booth.
MICHAEL
You seem a happy couple.
DEVON
I'm surprised they haven't tarred
and feathered us yet.
SUSAN
What Devon is trying to say,
Michael, is that we're not real
popular around here right now.
Michael moves over and picks up some cold toast. A waitress
comes over for his order.
MICHAEL
Milk, a rare hamburger and fries,
please. All right, Devon lay it on
me.
DEVON
I beg your pardon.
MICHAEL
The mission, Devon, the mission.
What am I here for?
DEVON
We just won a lawsuit which would
enable eight ranches to keep the
water that rightfully belongs to
them. However, there seems to be
some extra legal maneuvers going on
to deprive them of water.
MICHAEL
Meaning?
SUSAN
Meaning Mr. Herbert Bremen, the
plaintiff in the lawsuit who tried
to take over all the water rights in
this valley, and failed, has
apparently now decided to put these
ranchers out of business any way he
can.
DEVON
It seems that these ranchers subsist
mainly by raising cattle. A great
many cattle. Apparently each cow
consumes approximately fourteen
gallons of water a day. So if you
deprive enough cows of enough water
for a long enough period of time,
the ranchers will go under and
Mr. Bremen will succeed.
MICHAEL
It sounds like a dirty business.
SUSAN
It is.
MICHAEL
What's the game plan?
SUSAN
I am attempting to get a peace bond,
which is an injunction against this
sort of harrassment.
MICHAEL
Meaning?
DEVON
Meaning if there's any more
hanky-panky, the court will hold
Mr. Bremen personally responsible.
MICHAEL
How long will it take to get the
bond?
SUSAN
Considering the situation, I'll have
to go to the State Capitol. It could
take anywhere from a week to ten
days, depending on how much of a
stiff the judge is.
MICHAEL
What do you want me to do?
DEVON
First, I want you to protect the
ranchers' water and property against
any additional extra legal activity.
SUSAN
What he means is violence.
MICHAEL
But that's not all, right?
DEVON
The most important thing is to
protect the ranchers against
themselves.
MICHAEL
I don't follow you.
SUSAN
We can't go into court with dirty
hands, which means if the ranchers
engage in any extra legal activity
against Mr. Bremen, the judge will
throw the whole thing out.
MICHAEL
Gotcha. Where do I start?
DEVON
With Francesca Morgan. She's not
only their leader, but she's almost
as impulsive as you, stubborn,
rebellious and constantly indignant.
As a matter of fact, I can't think
of two people who deserve each other
more.
MICHAEL
I got it. Stop him, stop her, and
don't let anyone get hurt.
DEVON
Exactly.
Michael finishes his breakfast and starts to leave.
DEVON
We'll be on our way, too, Michael.
Please keep in touch.
MICHAEL
Don't I always?
DEVON
No, you don't.
He exits, as we:
CUT TO
EXT. DOUBLE M RANCH ROAD - DAY
as K.I.T.T. makes the turn off the highway towards the
Double M.
EXT. DOUBLE M - DAY - RANCH HOUSE
K.I.T.T. and Michael pull up in front of the house. No one
is visible. A very schlumpy-looking dog (Harry) comes from
the barn and starts to bark at Michael and the car. The dog
continues to bark and circle Michael as he gets out of the
car. He has the looks of a mutt and the personality of a
Doberman.
MICHAEL
Easy boy, it's okay.
Harry doesn't get close to him, just keeps circling around
him, alternately growling and barking. Michael is startled
by a voice behind him.
JOSH
Just turn around slowly, mister, and
keep your hands showin'.
Michael turns around to see Josh Morgan holding a shotgun on
him. Kevin appears slightly behind him.
JOSH
Who are you, son, and whaddya want
here?
MICHAEL
I'm not looking for a part in a
Western. Especially as the bad
guy...You can put your gun down now.
I'm Michael Knight. Devon Miles
asked me to stop by.
Another voice from the area of the barn. Michael turns
around to see Fran Morgan, also holding a gun on him, as she
appears in the entrance to the barn. Nobody puts their guns
down.
FRAN
Down, Harry.
She just stares at Michael, as the dog moves over and
silently stands next to Kevin.
JOSH
Lemme see some ID, if you don't mind.
Michael reaches slowly into his jacket and pulls out his
wallet. He tosses it to the old man. Josh flips it open,
checks it out, nods, and flips it back to Michael. He then
lowers his gun.
JOSH
He's okay, Franny.
FRAN
That remains to be seen.
She also lowers her gun and moves towards the house.
JOSH
Sorry for bein' so inhospitable,
son, but things are kind of tense
around these parts at the moment.
He moves towards Michael and puts his hand out.
JOSH
Welcome to the Double M, Mr. Knight.
I'm Josh Morgan, this here's my
daughter-in-law Fran, and my
grandson, Kevin.
As they shake hands, Kevin moves directly to the car in
awe. He circles the car, followed by Harry.
KEVIN
What a neat car!
MICHAEL
You like it, huh?
KEVIN
Sure beats the crummy Jeep we got
around here.
He's obviously very impressed, patting K.I.T.T. here and
there.
FRAN
I've got work to do, Mr. Knight. If
you want to talk, you'll have to
talk in the barn.
Michael reacts to the edge of hostility, as she turns around
and goes to the barn.
JOSH
Coming, Kevin?
KEVIN
In a minute, Gramp. Just want to
take another look.
As Michael and Josh follow Fran to the barn, Kevin takes
another longing look and then follows behind them,
reluctantly. Harry stops, jealous, then lifts his leg on
K.I.T.T.'s tire.
K.I.T.T.
(sotto voce)
Some days there's just no winning.
EXT. BARN - DAY
as Michael and Josh enter, followed by Kevin a beat later.
INT. BARN - DAY
A barn. Fran is feeding their three horses and doing other
various barn things, including grooming a mare who's about
to foal. She obviously expects Michael to keep up with her
and help her. He does, but without the expertise, during
the following. Her movements are sure, and almost angry.
KEVIN
Hey, Mr. Knight. This is my mare,
Terra. She's gonna foal any day now.
MICHAEL
Call me Michael. She looks like
she'll throw a great foal.
(to Fran)
Devon Miles suggested I might be of
some help.
FRAN
Just what we need. Another lawyer.
MICHAEL
I'm not a lawyer. Listen, I
understand you've been having some
problems, but I get the feeling
you're not real interested in having
me here. So, if you're not, I'll be
happy to leave.
Fran stops what she's doing, and looks at him. She's
outbluffed.
FRAN
Kevin, go change. We're leaving for
the catchment basin in a few minutes.
Kevin exits, reluctantly. Obviously there are things that
are going to be discussed that he doesn't get to be part of.
FRAN
Mr. Knight, what the hell good is
one man like you gonna be up against
an army of mercenaries?
JOSH
Now, Franny, you can't....
FRAN
Yes, I can be sure, Dad. Look,
Mr. Knight, in this part of the
country water is more valuable than
land. We just spent a year in court
litigating with Mr. Bremen over water
rights. He lost. Now he's decided
to take our water any way he can just
to put us under. Even without his
help, we're barely managing to
survive. We had a dry winter two
years running and our acre feet are
down thirty percent. Now, just how
do you propose to help us?
MICHAEL
To be honest, I don't know. Not
yet. But I'll figure something
out. By the way, what's an acre-
foot?
Josh smiles, suspecting that Michael is deliberately trying
to aggravate Fran. And he may be right.
FRAN
Some help you'll be. But you may as
well do some real work around the
place if you're gonna be here
anyway. Mr. Knight, you do your
spying or whatever it is you do.
Just keep outta my way. I've got my
own ideas on what has to be done.
Agreed?
MICHAEL
Sure.
She doesn't know what to make of him.
FRAN
I'm heading over to the catchment
basin, Josh. I'll see you both
there.
She starts to exit, then turns around.
FRAN
You can bunk in the back room.
Nobody's there since all our help
quit.
She exits and Josh turns to Michael, puts his hand on
Michael's arm and moves him toward the door.
JOSH
Don't mind her, Mr. Knight.
MICHAEL
Michael. And I don't. I think
she's kinda cute.
JOSH
She's been under a lotta pressure
since my boy Billy died. Feels like
she's fighting a war single-handed
and it's almost true. It's tough
for her. Would be for anyone, I
guess. I'm too old to be much help
and Kevin's too young. So on top of
everything else, she's got the ranch
to look after....
MICHAEL
I'll do what I can to help.
JOSH
Yep. I betcha you will. C'mon.
I'll show you the ranch. By the
way, an acre-foot is enough water to
cover an acre of land with one foot
of water. Or enough to flush 70,000
johns a year. Whichever is more
important to you.
They laugh and exit.
EXT. BREMEN RANCH - DAY - ESTABLISHING
INT. BREMEN RANCH - LIBRARY
As Alex comes in, Bremen is going over some papers.
BREMEN
Well?
ALEX
You're not gonna believe this.
BREMEN
Spare me the excuses. What happened?
ALEX
You know the guy we were gonna stop?
Well, he got away. He's already at
the Double M.
BREMEN
That's impossible.
ALEX
Honest, Mr. Bremen. Honest.
BREMEN
Well, then, I suggest, for your own
health, Alex, that you do something
about it. I don't care what as long
as you don't bring the authorities
down on us.
CUT TO
EXT. ROAD - DAY
as K.I.T.T. drives towards the catchment basin.
INT. K.I.T.T. - DAY
Josh is in the passenger seat. Michael looks towards the
basin.
MICHAEL
What's going on here?
JOSH
Bremen tried to blow it up yesterday.
We've got it almost repaired. We
lose this basin and the feeder lines
into it and the cattle won't make
it past three or four days.
EXT. BASIN - DAY
About twelve men and women are finishing more permanent
shoring up of the reserve as Josh and Michael drive up.
Fran appears to be doing a lot of ordering around. They get
out of the car and move towards her.
JOSH
I'm just showin' Mike here what we
gotta deal with.
Fran smiles warmly at Josh, obviously very fond of him.
FRAN
Well, as long as you're here, uh,
you...
(pointing
at Michael)
...can go over there and help Ted
Moore with those sand bags.
She points to where Moore and John Peters are struggling.
MICHAEL
Sure.
He moves over to Moore and lends his hefty self to the
action.
JOSH
Kinda hard on him, aren't ya,
Franny? He did come to help.
FRAN
What kind of help can he be if he
doesn't know anything about
ranching? Or farming? Or water?
JOSH
Kinda depends on what it is he does
know about. Give him a chance.
Unless it's somethin' else you're
not comfortable about.
FRAN
(lightly)
Sometimes I wonder if you missed
your calling. You would have been
great at quilting bees with all the
other gossips...C'mon, we got work
to do. This will take the rest of
the day.
ANOTHER ANGLE
as they are all busy working, finishing up.
HIGH ANGLE
In the distance, Alex is watching the scene through
binoculars. Two of his thugs are with him. He looks at
them and nods.
EXT. DOUBLE M RANCH - NIGHT - ESTABLISHING SHOT
INT. DOUBLE M KITCHEN - NIGHT
A large country kitchen, combination living area, dining
area. A big family room, obviously a comfortable, lived-in
look. Josh and Michael are sitting at the table. Fran, who
has literally let her hair down, has just poured more coffee
into the men's cups and she sits down. Fran and Michael
really can't stop making eye contact, but they are trying
very hard not to. At least, she's trying hard not to. Josh
is talking, as Kevin is playing with Harry near the
fireplace.
JOSH
You gotta understand, Mike. To us,
water is more precious than land is
in the East. It's our lifeline...
Why, I remember when the river was
a raging torrent here.
When I was a kid, half the valley
was under water from a break in the
levee. There was a whirlpool that
was the scariest thing I ever saw.
FRAN
We're living on the last frontier,
you know. A hundred years ago, open
range was fenced in so we could have
high crop yield farming. Now...well,
now the change is from a rural,
agricultural society to an urbanized
energy producing one. And there
isn't enough water to go around.
If we keep getting bad droughts,
low snowfall, then we're all in
trouble.
JOSH
You know, there are people in
Washington, D.C. right now who eat
irrigation grown foods and have no
idea where they came from.
Michael smiles.
MICHAEL
I guess people just take things for
granted like I do.
JOSH
Folks are just used to having their
comforts. They have no idea how
they got there or why. Or how much
fightin' there is to get it there.
Kevin speaks up from the fireplace.
KEVIN
Hey, Mom, can I go spend the night
in the barn with Terra?
FRAN
Absolutely not, young man. It's not
necessary, yet. But right now you
just reminded me it's your bedtime.
KEVIN
Aw, Ma....
FRAN
Now. I'll come tuck you in when
you're ready.
MICHAEL
If your mom will let you, you can
show me around tomorrow. I missed
out on a lot of territory today.
KEVIN
You'll drive?
MICHAEL
Yup.
KEVIN
All right!
He exits, skipping. Fran stares after him.
FRAN
You know, Michael, this is really
our war, not yours. Those people
mean business. And they don't care
who gets hurt. They haven't managed
to kill anyone yet, but I think
that's just Bremen's notion of
civilized behavior.
MICHAEL
Don't worry about me. I've been in
wars before. And survived. I don't
like 'em, but I don't like greedy
power-hungry people more. So
tomorrow I think I'll have a little
look around.
From o.s. we can hear Kevin calling, "Ma."
FRAN
I guess I'd better go say good night.
MICHAEL
I'll say good night then. I promised
Ted Moore I'd do guard duty for him
tonight at the reserve.
He gets up and waves good night and exits.
EXT. RANCH HOUSE - NIGHT
as Michael walks over to K.I.T.T. and gets in.
INT. K.I.T.T. - NIGHT
K.I.T.T.
It's about time.
MICHAEL
You can't be impatient, Kitt.
That's a human trait.
K.I.T.T.
I just like to know what's going
on. I'm only as good as my input
you know. Did you see what that
mongrel did to my tire?
MICHAEL
No, but I'm sure the damage isn't
permanent. Kitt, I want you to stay
in surveillance mode tonight. We're
doing some guard duty and I have a
feeling....
K.I.T.T.
By all means, listen to your instincts.
MICHAEL
Don't worry. I do.
He starts the car.
EXT. RANCH HOUSE - NIGHT
as Michael and K.I.T.T. leave.
INT. RANCH HOUSE - KEVIN'S ROOM - NIGHT
as Kevin snuggles up to Harry and kisses Fran.
KEVIN
I love you, Mom.
FRAN
I love you too, sweetheart. Sleep
tight and don't let the bad bedbugs
bite.
They both giggle at the ritual.
KEVIN
I think I'm too old for that, Mom.
FRAN
Whatever you say. Good night, Kev.
Another hug and she exits.
EXT. ROAD - NIGHT
as K.I.T.T. and Michael drive to the basin.
INT. KITCHEN - NIGHT
as Fran finishes putting the cups into the sink. Josh is
still sitting at the table.
JOSH
He's a nice young fella.
FRAN
Mm-hum.
JOSH
'Bout time you went out and had some
fun, doncha think?
Fran turns and just looks at him.
FRAN
Poppa! I'm your son's wife.
JOSH
Widow.
FRAN
He's just drifting through.
JOSH
So what? First time I saw you all
lit up inside since Billy died.
FRAN
We're in the middle of a war. I've
got no time for distractions.
JOSH
Your problem is you're just too
old-fashioned, Franny. Why, we even
had fun during WW II. I remember
a little lady in a village in...well,
never mind. Yessir, we had fun even
then.
FRAN
You're an incorrigible old romantic.
JOSH
Nothin' wrong with a little romance
now and again.
A beat as she finishes drying the cup and moves to Josh.
She knows what he's telling her, even though some people
just can't say it. She bends over and kisses him on the
cheek.
FRAN
Good night, Poppa. I love you, too.
She exits as he stares after her, shaking his head.
EXT. CATCHMENT BASIN - NIGHT
as Michael and K.I.T.T. drive up. It's dark and mysterious
looking. Someone lights a cigarette in the distance, near
an old pickup truck.
INT. K.I.T.T.
MICHAEL
See you later, Kitt.
He pats the dashboard and gets out, leaving K.I.T.T. in
surveillance mode.
EXT. K.I.T.T.
as Michael approaches the lighted cigarette. The man
holding it is Ted Moore.
MOORE
Right on time, Mike.
MICHAEL
Everything okay?
MOORE
So far. But I don't expect any
trouble so soon.
MICHAEL
Let's hope not.
MOORE
Sure you don't want me to stay and
help you out? Gets kinda lonely up
here.
MICHAEL
It's okay. Go on home, Ted. And
thanks.
MOORE
Thank you. Don't know why you're
doin' this, but we sure appreciate
it.
He stubs out his cigarette and moves towards his truck, gets
in and leaves.
ANOTHER ANGLE
as Michael checks out the area. He talks into his comlink.
MICHAEL
Kitt, I'm going to check out the
perimeter. Stay alert.
K.I.T.T.
That's a redundancy, Michael. I am
always alert.
MICHAEL
Keep it up.
EXT. K.I.T.T.
as his red lights flash in surveillance mode. Michael goes
moving off towards the perimeter.
ANOTHER ANGLE
Kirk and Alex are hidden in the foliage surrounding the area.
ALEX
(sotto)
You take care of the car. I'll take
care of him.
Kirk nods and moves off.
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
INT. K.I.T.T.
as his scope shows movement in the bushes.
EXT. AREA
As Michael checks out the perimeter, his comlink goes off.
MICHAEL
(quietly)
What is it Kitt?
K.I.T.T.
There are two men moving about the
area. One is approaching me on the
rear left. The other is twenty
yards behind you, moving quietly.
MICHAEL
Gotcha. Take care of your end and
I'll take care of my end.
K.I.T.T.
Of course.
Michael moves off to stalk his prey.
EXT. K.I.T.T.
as Kirk moves up to the car. He experiments by kicking the
tires. K.I.T.T. moves slowly forward. Kirk is very
startled and more cautious in his approach.
EXT. FOLIAGE
as Michael patiently waits, as Alex thinks he is stalking him.
BACK TO CAR
as Kirk tries to open the door and sees no one inside.
K.I.T.T.
I suggest you remove your hand.
Kirk jumps back.
BACK TO MICHAEL
as Alex approaches cautiously. He has a blunt instrument in
his hand. Michael starts to make his move when there is a
very loud noise.
BACK TO K.I.T.T.
as Kirk screams in terror when K.I.T.T.'s lights go on and a
very loud horn is blaring.
BACK TO ALEX
who moves quickly back to Kirk. Michael starts chasing him.
BACK TO K.I.T.T.
As Alex comes tearing through, Kirk grabs him and babbles:
KIRK
It's alive! It's alive!
ALEX
Shut up and let's go.
They run as Michael follows them, then decides to stop.
INT. K.I.T.T.
as Michael gets in.
K.I.T.T.
Aren't you going to catch them,
Michael?
MICHAEL
It's pointless, Kitt. We have to
stay here on guard duty. We know
who they were and probably what they
were doing. But what, may I ask,
was all that about?
K.I.T.T.
(proudly)
You told me to take care of my end
and I did. I don't think that
person will ever attempt to approach
me again.
MICHAEL
Did the possibility occur to you
that we may have scared them off?
K.I.T.T.
Isn't that the point?
MICHAEL
Not exactly.
K.I.T.T.
(slightly
miffed)
Well, Michael, next time you want
something handled in a specific way,
please be sure to tell me ahead of
time. I did manage to save us both
from harm, you know.
MICHAEL
Right. And good work, Kitt. Now,
how about staying in surveillance
mode while I take a nap. I doubt if
anyone will be back tonight.
K.I.T.T.
Good night, Michael.
MICHAEL
Good night, Kitt.
K.I.T.T.
Michael, I'm sorry if I 'blew it,' as
they say.
MICHAEL
Did you know you just made a pun,
Kitt?
K.I.T.T.
A pun? Blew it? Blow it? I don't
understand!
MICHAEL
Kitt! Shut up!
DISSOLVE TO
EXT. DOUBLE M - CORRAL AREA - DAY
It is very quiet. Fran is coaxing Frank, an ugly, mangy-
looking bull, onto the end of a rope. She's being quiet
about it.
ANOTHER ANGLE
as K.I.T.T. drives up. Michael gets out and walks over
towards the corral. Fran's expression is a combination of
embarrassment and determination.
MICHAEL
Morning!
FRAN
Good morning, Michael. Did every-
thing go all right last night?
MICHAEL
Sorta. I recommended they double
the guard.
He stares at her.
FRAN
(slightly
defiant)
What are you staring at?
MICHAEL
I've never seen anyone take a bull
for a walk before. You want some
help?
FRAN
No! I mean, it's okay. I'd rather
be alone.
MICHAEL
Fran, where are you taking that bull?
FRAN
I'm going to teach Herb Bremen a
lesson he won't forget.
MICHAEL
What kind of a lesson?
FRAN
Well, I thought I'd let old Frank
here have a little fun for a change
with a real high class crowd of
Herefords.
MICHAEL
Wouldn't that destroy the value of
his herd?
FRAN
You catch on quickly, Michael.
Doesn't he deserve it?
MICHAEL
Probably. But that's not the point.
FRAN
That's exactly the point.
MICHAEL
You're gonna take a chance with
every ranch in this valley just to
play a dirty trick on Bremen.
FRAN
Damn right! What do you care anyway?
MICHAEL
Because if you do, you're jeopardizing
your chance, everybody's chance, to
get rid of Bremen for good in court.
And for what?
FRAN
To get even with him.
MICHAEL
That's pure self-indulgence.
FRAN
Who the hell are you to tell me how
to run my ranch or my life? You're
just here on a pass! You don't
belong. Where do you get off being
judge and jury?
MICHAEL
I'm not. I'm just pointing out a
few facts you're too hot-headed to
think about. And maybe too selfish.
As he turns away and starts to walk to the bunkhouse, the
bull gets away from Fran's grasp and starts to run crazily
around the yard.
MICHAEL
(into comlink)
Kitt, do something about the bull.
K.I.T.T. (v.o.)
Certainly, Michael.
ANOTHER ANGLE
as K.I.T.T. comes alive, and with red lights flashing, acts
as a matador with mangy old Frank.
ANGLE ON FRAN
who's astonished.
ANGLE ON K.I.T.T. AND BULL
as K.I.T.T. herds the bull back into the corral.
BACK TO SCENE
FRAN
How did you do that? How did that
car do that?
They look at each other, struck by the ridiculousness of it
all, and start to laugh.
FRAN
I see it, but I don't believe it.
K.I.T.T. (v.o.)
Everything's under control,
Michael. No need to worry.
CUT TO
EXT. ROAD - DAY
as K.I.T.T. drives to town.
INT. K.I.T.T. - DAY
Michael, as usual, is not driving.
K.I.T.T.
Michael, where are we going into town?
MICHAEL
To investigate.
K.I.T.T.
To investigate what?
MICHAEL
If I knew what, we wouldn't be
investigating.
K.I.T.T.
You call that logic?
MICHAEL
You got a better idea?
K.I.T.T.
(a beat)
How would you like to hear a little
music?
As the music starts:
EXT. TOWN - DAY
as K.I.T.T. pulls up into town. There is a congregation of
cruddy, seedy-looking characters around the local bar,
including Alex, Kirk and another goon.
EXT. BAR
where Alex and Kirk see K.I.T.T. driving in.
ALEX
Look who just drifted into town.
KIRK
You don't wanna mess with him after
last night, do you Alex?
ALEX
Just a little.
EXT. K.I.T.T.
as Michael gets out. He moves down the street towards the
bar. As Michael gets close, Alex and Kirk and the goon move
towards Michael. Alex deliberately bumps into him.
MICHAEL
Sorry.
ALEX
You oughta be sorry. You just
stepped on my polished boots.
MICHAEL
Said I was sorry. After all, it was
an accident. Wasn't it?
Alex pushes Michael.
ALEX
Guess we'll just have to give you a
lesson in manners, mister.
He takes a swing at Michael, which Michael parries neatly.
Michael practically picks him up and throws him over his
shoulder, then dumps him on the grass. The other two move
in, as Michael takes care of Kirk.
CLOSE ON THE GOON
who pulls a knife from his back pocket as Michael is taking
care of Kirk.
ANOTHER ANGLE
As Josh appears from around the corner, Michael is finishing
off Kirk and facing the goon with the knife.
ON JOSH
as he watches the scene carefully.
ON MICHAEL AND THE GOON
as they wrestle. He and Michael dance around a bit.
ANGLE ON ALEX
who is coming to and reaching for a gun.
BACK TO JOSH
who has a gun on Alex and the goon.
JOSH
Just hold it right there. Move the
gun away from you nice and slow now.
BACK TO SCENE
ALEX
Whaddya think this is, old man? The
Old West?
JOSH
Coulda fooled me.
MICHAEL
Thanks, Josh. These guys were
getting a little too serious for a
minute.
Michael lifts the two guys off the ground and dusts them
off, obviously infuriating them.
JOSH
Let's just break this up right now,
Alex. Just go cool off somewhere.
ALEX
(to Michael)
I'll be seeing you around.
MICHAEL
Looking forward to it.
He salutes as Alex, Kirk and the goon move off.
He moves off.
JOSH
Seen enough here?
MICHAEL
Nah. Haven't even started yet. You
sure have good timing, Josh.
JOSH
My left ear was wiggling. Any time
that happens, I know there's
trouble. I've just learned to
listen to it.
Michael just stares at him.
JOSH
Think I'm kidding, doncha?
Michael shakes his head "no."
MICHAEL
I'm a great believer in instinct.
JOSH
And my instinct tells me I need a
long cool one. Let's go!
They move off to the bar, obviously fond of each other.
EXT. K.I.T.T. - DAY
as Kirk sneaks around the corner and stares at K.I.T.T.
EXT. RIVER - DAY
As Fran rides up on her horse, Ted and Myra Moore are
patrolling the river.
FRAN
How's it going?
MYRA
All quiet so far.
FRAN
Well, don't let up. We know
Bremen's gonna make another move on
us. It's only a question of where
and when.
CUT TO
EXT. BAR - DAY
as Josh and Michael exit. Josh pats him on the back.
JOSH
See you later, Mike.
He goes the other way as Michael moves over towards K.I.T.T.
His comlink goes off.
MICHAEL
Yes, Kitt.
K.I.T.T. (v.o.)
Michael, the same person who tried
to manhandle me last night is
observing you from the alley. I
thought you should be aware of it.
MICHAEL
Thanks, Kitt.
He saunters past the alley and moves around the corner
instead of getting into K.I.T.T.
ANOTHER ANGLE
as Michael moves around behind Kirk.
EXT. ALLEY
As Kirk is skulking, watching K.I.T.T., he doesn't observe
Michael sneaking up on him. Michael grabs him from the back
and just hangs onto him.
MICHAEL
Okay, buddy, what's your problem now?
KIRK
Nothing, mister. Nothing. I was
just looking at your car.
MICHAEL
Really?
He lets go of the guy.
MICHAEL
You got a problem with my car?
KIRK
No! Honest, no!
MICHAEL
Good, because that car has some very
weird capabilities that I don't
think you want to find out about.
Michael is really beginning to enjoy scaring the bejeebers
out of this creep.
KIRK
Whaddya mean?
Michael grabs him.
MICHAEL
C'mon, I'll show you. Then maybe I
won't have to give you a demonstration.
Unless, of course, you have some
information you want to give me.
KIRK
Whaddya want to know?
MICHAEL
Like maybe what's next on the agenda
for the rest of Bremen's goons?
KIRK
I could get in big trouble.
MICHAEL
You sure could.
A beat.
KIRK
We were supposed to keep you busy.
MICHAEL
Why?
KIRK
I think you better go check the main
water pipe to the catchment basin.
That's all I can tell you. Just
please go. And take it with you.
MICHAEL
Whatever you say.
He moves towards K.I.T.T.
EXT. K.I.T.T.
as Michael jumps in.
INT. K.I.T.T.
as he moves out.
K.I.T.T.
Where are we going, Michael?
MICHAEL
To the main pipe above the basin.
It seems your ghost act last night
made a lasting impression on that
creep.
K.I.T.T.
You see, Michael, I didn't 'blow'
it. Besides, I'm not weird.
Different, true, but weird is an
inaccurate description.
MICHAEL
Just drive, Kitt.
EXT. K.I.T.T. ON THE HIGHWAY
tooling along very fast.
EXT. HILLY AREA - DAY
near where the master pipes are located.
MICHAEL'S POINT OF VIEW - A HUGE BACKHOE
up on top of a hill is silhouetted against the sun in the
distance.
INT. K.I.T.T. - DAY
MICHAEL
Kitt, scan the area. What's up on
top of that hill, aside from that
monster?
INSERT - DASHBOARD
as K.I.T.T. computes.
BACK TO SCENE
K.I.T.T.
There are several major water pipes
on that hill, leading to the
irrigation ditches to several
ranches.
MICHAEL
That's what I was afraid of.
K.I.T.T.
There's no need to be afraid,
Michael.
MICHAEL
Figure of speech, Kitt. Let's get
up there and see what's going on.
EXT. K.I.T.T. - DAY
as the car makes its way up the hill.
EXT. HILLTOP - DAY
as a massive backhoe is getting into position to use its arm
to destroy the pipes leading to the ranches. Its arm poises
as Michael and K.I.T.T. move towards it.
EXT. ROAD - DAY
as K.I.T.T. races up to reach the top of the hill.
EXT. HILLTOP - DAY
as the backhoe moves into position to snap the water lines.
ANOTHER ANGLE
as K.I.T.T. speeds up to the backhoe.
ANGLE ON DRIVER
who is at first startled, then delighted to deal with this
puny intruder.
ON MICHAEL
MICHAEL
I think we're in time, Kitt.
K.I.T.T.
Of course, Michael. Do you wish me
to take over?
MICHAEL
I think I can manage.
ANOTHER ANGLE
As K.I.T.T. guns towards the backhoe, it has to move
backwards away from the pipes. The scene looks like either
a cobra versus a mongoose, or the Jolly Green Giant with a
terrier yapping at its heels.
INT. BACKHOE
as the operator pushes a lever. He has a malicious look on
his face.
EXT. K.I.T.T.
as the arm of the backhoe crashes down, moving massive
amounts of dirt where K.I.T.T. was seconds before. K.I.T.T.
has backed off, doing a dance around the equipment. The arm
is immediately raised again and poised to strike, as we:
FREEZE FRAME
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
EXT. HILL - DAY - CONTINUOUS ACTION
as K.I.T.T. dances away from the backhoe as its arm crashes
down again.
INT. BACKHOE
as the operator gets frustrated.
MONTAGE
Intercut the following:
The backhoe moving to attack K.I.T.T.
The backhoe's arm moving dirt.
K.I.T.T. moving out of the way in time.
The operator getting more frustrated by the minute.
Michael having a good time.
The backhoe being moved further and further away from
the water link.
INT. K.I.T.T.
MICHAEL
I think we can finish him off now,
Kitt.
K.I.T.T.
What do you intend to do, Michael?
You know I am not programmed to finish
off any person.
MICHAEL
What about a machine?
K.I.T.T.
No problem.
EXT. K.I.T.T.
as K.I.T.T. does a quick 180.
INT. BACKHOE
The driver, thinking he has the pest on the run, moves to
follow it.
EXT. K.I.T.T.
as K.I.T.T. stops abruptly and fires the grappling hook,
into one of the tires, thus making it go flat, causing it to
sink and list slightly.
INT. BACKHOE - ON THE FACE OF THE DRIVER
who gets out and then makes a mad dash for freedom.
INT. K.I.T.T.
K.I.T.T.
Are you going to let him get away,
Michael?
MICHAEL
It's called strategy, Kitt. He'll
go back to his boss, who'll probably
not believe him. But one way or
another, he's gotta come looking for
us out of curiosity.
K.I.T.T.
Very logical, Michael.
MICHAEL
Thanks, Kitt.
EXT. ROAD
as K.I.T.T. moves down the hill towards the Double M.
EXT. BREMEN RANCH - ESTABLISHING
INT. BREMEN RANCH - LIBRARY
Bremen is in the middle of screaming at Kirk and Alex.
BREMEN
I don't want to hear any more
excuses! This guy is always in the
right place at the wrong time! I
want them scared and I want it now
and I don't care how you do it!
EXT. RIVER - DAY
as Fran and Michael walk their horses along the bank, patrol-
ling while they walk.
MICHAEL
So after this incident I figure
it'll reach a peak pretty soon --
and when Devon gets that injunction
you'll be okay...What's the matter?
FRAN
I'm just worried.
MICHAEL
About Bremen?
FRAN
No. That's a temporary situation.
One way or the other...I'm worried
about Kevin.
MICHAEL
Why?
FRAN
I'm afraid he'll grow up like me or
Josh.
MICHAEL
So what's wrong with that?
FRAN
Well, Josh still thinks we live in
the Old West, and I'm not sure that
we're the greatest influence on him
sometimes.
MICHAEL
You give him a lot of love, right?
She nods.
MICHAEL
And discipline?
She nods.
MICHAEL
You give him a chance to be himself,
right?
FRAN
Most of the time.
MICHAEL
Then he'll be fine.
FRAN
You don't have any kids. How come
you know all this?
MICHAEL
I was a kid. I remember.
FRAN
I'm not sure you're still not a
giant kid right now.
MICHAEL
You may be right.
They laugh.
FRAN
Michael, do you think people can
change?
MICHAEL
All the time.
FRAN
Well, you know...I've got this
really bad temper sometimes.
MICHAEL
I hadn't noticed.
FRAN
I just wish sometimes I was an
easier sort of person instead of
always shooting off like a rocket
first. I know that's not good for
Kevin. Or me.
MICHAEL
You just have to learn to channel
all that energy into something
positive.
FRAN
I think I'm afraid if I let go of all
the anger, I just won't be able to
cope anymore. It's the only thing
that keeps me strong.
MICHAEL
You don't have to be strong all the
time, you know. Nobody is.
FRAN
Not even you?
MICHAEL
Well, almost nobody.
They laugh.
MICHAEL
You know, Devon is always telling me
how impulsive I am. Watching you, I
think I know what he means.
FRAN
You're right. I know you're right.
But now I think what I need more
than anything is a hug.
They do. He kisses her gently, and then they continue
walking.
DISSOLVE TO
EXT. DOUBLE M BARN - NIGHT - ESTABLISHING
INT. BARN - NIGHT
Kevin quietly enters, carrying his blanket. He moves over
to where his horse is, and pats her, then sets his blanket
down, curls up and goes to sleep.
DISSOLVE TO
EXT. DOUBLE M BARN - DAWN
as Alex and two others move towards the building. They
carry gas cans and start spreading gas around the base of
the building.
INT. BUNKHOUSE
K.I.T.T. awakens Michael through the comlink.
K.I.T.T. (v.o.)
Michael, I suggest you awaken.
Those three antisocial-types are
back. This time I think they intend
to burn the barn down.
MICHAEL
I'm on my way, Kitt. But don't wait
for me.
He starts out of bed.
EXT. BARN - DAWN
as K.I.T.T. goes into an attack mode and starts to move in
on Alex and Kirk.
ANOTHER ANGLE
The two react as K.I.T.T. starts to chase them around the
yard, playing a loud European-type siren.
K.I.T.T.
(through PA)
Cease and desist immediately.
The hoods pull out their guns and start shooting, which of
course has no effect whatsoever on K.I.T.T. The dog runs
out of the barn and starts barking.
ON MICHAEL
as he comes out of the bunkhouse and starts to chase Alex
and Kirk. They look at him and split in their car.
ON RANCH HOUSE
as Josh and Fran, who come running out carrying shotguns.
ON HOOD'S CAR
as it drives away at top speed.
ANOTHER ANGLE
as the three converge in the front yard.
JOSH
What the hell was all that about?
MICHAEL
I left Kitt on surveillance mode.
Apparently the next step was to burn
down the barn.
FRAN
They were going to burn down the
barn?
ANGLE ON BARN
as Kevin walks out sleepily.
KEVIN
Hey, what's all the noise about?
BACK TO SCENE
as the others stare at him in horror.
ANOTHER ANGLE
FRAN
You were in the barn?
KEVIN
Yeah. Sorry, Mom. I just thought
Terra needed a little company.
FRAN
I could just kill you. Boy, are you
a lucky kid. Get in the house right
now, young man. And no back talk.
Kevin knows when not to give her a hard time and moves into
the house.
FRAN
They were going to burn down my barn
with my kid in it.
She looks at Josh and Michael.
FRAN
Am I still being self-indulgent?
She turns and walks into the house, leaving them there with
no reaction.
DISSOLVE TO
EXT. RANCH HOUSE - DAY
There is no one around. Fran comes out of the barn, carrying
a rifle, leading her horse. She mounts and rides off.
INT. BREMEN RANCH - LIBRARY - DAY
Bremen is going quietly berserk as Alex and Kirk stand at
attention, wincing every time he comes near them. He's
dressing them down as if he were a controlled Patton furious
with the troops.
BREMEN
Stupid. Just plain stupid. But
what can you expect from hired help?
To do anything right you just have to
do it yourself. That's obvious.
He goes nose-to-nose with Alex.
BREMEN
You are an imbecile. Don't ever
forget that. You don't have a brain
in your head. You almost killed a
little boy. Not to mention a first
class horse! Do you know what that
would have done? You don't kill
people. Not unless there's no other
way. You two have almost single-
handedly destroyed a situation I've
been manipulating for years. Anybody
can kill people. Now we'll bring
down the State Police, the Feds, and
probably the CIA!
ALEX
We didn't know the kid was in there,
boss.
BREMEN
You have left me no option. I have
no time now. We're going to have to
flood them out. For good.
DISSOLVE TO
EXT. BREMEN RANCH - DAY
near the transportation garage. Fran is sneaking around to
the house when she hears voices.
ANOTHER ANGLE
as Alex and Kirk are outside, talking.
ALEX
Do you think this time you can get
it right?
KIRK
It's not my fault. It's that car, I
tell you. It's a jinx.
ALEX
Just get going. And make it look
like an accident opened those sluice
gates.
CLOSE ON FRAN
She's stunned.
BACK TO SCENE
ALEX
That oughta take care of the Double
M and the rest of them for good.
Now get going and set those charges.
ON FRAN
as she sneaks out of the area, back the way she got in.
EXT. EQUIPMENT AREA
as Fran moves around the other side of the building. She
looks around, and starts to make a run for it, then
stumbles. She looks down at a pair of feet. As she looks
up, we see she's looking straight at:
CLOSE ON ALEX'S FACE
grinning down at her.
EXT. BREMEN GARAGE - DAY
as Fran looks up at Alex. He lifts her off her feet, and
laughs. She struggles like a tiger, but is obviously no
match for him as he throws her over his shoulder.
EXT. BREMEN RANCH - ON KEVIN
as he watches from a distance. He struggles, knowing he has
to make a decision. A beat later, he and Harry start
running like crazy away from Bremen's.
VARIOUS CUTS OF KEVIN
riding a horse.
INT. BREMEN LIBRARY
Fran is standing, defiant. Bremen is standing, relaxed.
Kirk and Alex are in the b.g.
BREMEN
You just don't know when to stop, do
you, my dear? Lord knows what you
were doing around here, but it
doesn't matter anymore. I intend to
be good to you and give you all the
water you need or ever could use.
FRAN
You're going to flood me out. Along
with half of the valley.
BREMEN
Oh, no. A terrible accident is
going to happen and somehow the
sluice gates will open and before
anything can be done...well....
FRAN
Herb, you're a jerk if you think
anyone will ever believe that.
BREMEN
Belief is not the issue. Proof is.
However, that is not my biggest problem
at the moment. I've managed to avoid
violence this far. But you tell me,
what the hell can I do with you now?
ANGLE ON FRAN
as she realizes the predicament she's in.
EXT. RIVER - DAY
as Kevin rides up to where Josh and Michael are patrolling
the river.
KEVIN
They got Mom! I followed her over
but I couldn't help her.
MICHAEL
(into comlink)
Kitt, meet me at the Highway 6
crossroads.
K.I.T.T. (v.o.)
Roger.
JOSH
What the hell was that? Let's just
go. You 'bout ready to go get her
back, Kevin, or would you rather
ride home?
He looks at Kevin, who's glad of the choice.
KEVIN
I'll go back. I hated leaving her.
JOSH
I know. But that's what you had to
do to help her out. Now, let's go.
My ear is wiggling again.
MICHAEL
This time you'll do it my way. I
don't know what she was doing, but
if we're going to get her back you
better listen to me.
VARIOUS INTERCUTS - K.I.T.T.
driving to the highway (red-lights on).
VARIOUS CUTS - KEVIN, MICHAEL AND JOSH
riding to meet him at the crossroads. The car and horses
pull up at the same time. The three jump off the horses,
pat them, and send them home. Then get into K.I.T.T.
INT. K.I.T.T.
as they take off down the road. Josh looks at the dashboard.
JOSH
What'll they think of next?
K.I.T.T.
Several variations, I'm sure.
EXT. K.I.T.T.
as he zooms down the road.
EXT. BREMEN RANCH - ESTABLISHING
EXT. K.I.T.T.
as he travels toward the ranch, almost flying.
EXT. ROAD - DAY
on the way to the sluice gates, as Alex and his henchmen
drive up in a pickup truck.
INT. PICKUP - DAY
ALEX
Got everything? If this goes wrong,
you're out on your ear with me.
KIRK
We got enough to blow the controls
sky high. The gates will automatic-
ally open and we won't be within ten
miles of the place.
ALEX
You'd better be right.
EXT. BREMEN RANCH - DAY
At the front gates, K.I.T.T. drives up and stops.
INT. K.I.T.T.
MICHAEL
Okay, Kitt, scan the interior. See
if you can locate her.
K.I.T.T.
(almost
sniffing)
Of course I can locate her. If
she's still here.
On Josh and Kevin's reaction:
MICHAEL
Try a little tact next time.
INSERT - DASHBOARD
as lights flash and we see a floor plan of the house on the
monitor.
BACK TO SCENE
K.I.T.T.
There are three people in the south-
east portion of the house. Several
in the back, which presumably is the
kitchen area. And one person
upstairs, northwest perimeter of the
interior.
JOSH
That's gotta be her. Let's go.
MICHAEL
No. You and Kevin stay here with
Kitt. I'll go in on my own and call
you when I need a diversion. We
have a better chance that way.
JOSH
You will call us.
MICHAEL
Don't be impatient, Josh. You'll
see enough action. Wait here.
He leaves the car.
EXT. FENCE
as Michael climbs over it.
EXT. BREMEN RANCH
as Michael does his stalking in the jungle number. He spots
one of the hoods we saw previously and sneaks up behind him
and takes him out. He ties a gag around his mouth and uses
cuffs on him. He moves closer to the house and starts
climbing up the side.
EXT. DAM/SLUICE GATES
as the pickup is parked near it.
INT. CONTROL ROOM - DAY
as Alex and Kirk set the charges to go off on a timer.
EXT. BREMEN HOUSE - DAY
as Michael makes it up to the window, kicks it in and jumps
into the room.
INT. BEDROOM
Fran is standing there with half a chair in her hand, ready
to smash it. She collapses with relief when she sees it's
Michael. He grabs her and hugs her for a beat without a
word between them. She takes her hand and strokes his cheek.
MICHAEL
Later.
She nods.
FRAN
They're going to flood the valley.
MICHAEL
Well, all we have to do is get you
safely out of here and then stop 'em.
FRAN
Simple. Let's do it.
He uses his comlink.
MICHAEL
Okay, Kitt. I'm with Fran. Come on
through the gates and create a diver-
sion. End up under my location. Get
your sun roof open. Got a fix on the
location?
INT. K.I.T.T.
with Josh and Kevin.
K.I.T.T.
Of course, Michael. We're on our
way.
EXT. K.I.T.T.
as he starts, backs up, then speeds up through the gates,
crashing them open. He then starts driving wildly through
the ranch area, dashing up to the window.
Intercut the following:
INT. BEDROOM
Michael nods and Fran opens her mouth and starts screaming
at the top of her lungs.
EXT. HOUSE
K.I.T.T. lets Josh out, with his shotgun at the ready.
INT. LIBRARY
where Bremen is seated with a goon.
BREMEN
Go see what she's up to now.
Kirk moves out.
EXT. HOUSE
Josh is firing the gun, providing diversion.
EXT. HALLWAY
as one of the goons opens Fran's door.
INT. BEDROOM
Michael is ready for him and takes him out in an instant.
Kirk is next. He comes through and Michael takes care of
him. He then handcuffs the two of them together.
K.I.T.T. (v.o.)
We're in position, Michael.
MICHAEL
(into
comlink)
Okay, Kitt. Be right there.
He grabs Fran.
MICHAEL
Ordinarily I'd take care of Bremen
first. But I guess we'd better take
care of that other business.
FRAN
Whatever you say.
MICHAEL
Good. Jump. There are too many of
them to go out the front.
She looks out the window.
HER POINT OF VIEW OF K.I.T.T.
waiting with roof open.
INT. BEDROOM
She shrugs and jumps.
INT. K.I.T.T.
She lands just fine as Josh still provides cover.
INT. BEDROOM
One more hood comes in. Michael takes care of him, then
moves to the window.
EXT. HOUSE
As Michael slithers down the side, Josh is waiting at the
bottom. Bremen runs out of the front, carrying a gun. Josh
scares him back with fire and jumps back into K.I.T.T. with
Michael.
INT. K.I.T.T.
JOSH
You okay, honey?
Fran is in the back, hugging Kevin.
FRAN
Just embarrassed that I got caught.
EXT. K.I.T.T.
as he zooms off the property.
INT. K.I.T.T.
as they speed down the road towards the dam.
JOSH
What about the rest of 'em?
MICHAEL
Other business to take care of first.
EXT. EQUIPMENT AREA
as Bremen gets into his fancy four-wheel drive vehicle and
makes tracks for the dam.
EXT. ROAD
as Alex and Kirk are coming the other way.
INT. K.I.T.T.
as they speed towards the dam and pass Alex.
EXT. ROAD
as K.I.T.T. races to the dam.
EXT. ROAD - ON ALEX'S PICKUP
as Alex and Kirk move away from the dam.
EXT. ROAD
as Bremen chases towards the dam.
EXT. DAM - ESTABLISHING - STOCK
INT. CONTROL ROOM
as a small explosion occurs.
ANGLE ON SLUICE GATES
as they start to open.
EXT. DAM
as K.I.T.T. arrives just in time to see the sluice gates
open and the water start to pour out.
INT. K.I.T.T.
as the four of them look on unhappily. The tears start to
trickle down Fran's cheeks.
FRAN
We're too late. All of this and we
didn't make it.
MICHAEL
Don't be too sure about that. Kitt,
there's a canyon about a mile down
the road. Let's get there before
the water does.
EXT. K.I.T.T.
turning around and speeding down the road.
EXT. SLUICE GATES
as more water is released as the gates open wider.
EXT. CANYON
as the water begins rushing down.
EXT. ROAD
K.I.T.T. on the way.
EXT. CLIFF AREA
as K.I.T.T. turns around and blasts his rockets.
Intercut the following:
EXT. CANYON
The water flowing down the canyon.
ANOTHER ANGLE - THE ROCK
exploding down the canyon from another angle.
ANOTHER ANGLE - A LANDSLIDE OF ROCK
starting down the walls of the canyon.
ANGLE
the water flowing.
EXT. CANYON
The landslide blocking up the canyon, acting as a natural
dam.
EXT. CLIFF
as Michael, Fran, Josh, Kevin and Harry watch the rocks
stop the flow of water. Fran just puts her arm around
Michael's waist and looks up at him.
FRAN
Who'd believe it?
FADE OUT
END OF ACT FOUR
TAG
TO FOLLOW
(Note to Production: It will play INT. SHASTA TOWN HALL.)
