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KNIGHT RIDER: NOT A DROP TO DRINK

EXEC. PRODUCERS: Glen A. Larson, R.A. Cinader
PRODUCERS: Hannah Shearer, Steven E. de Souza

Production #57304
1st Draft - September 23, 1982

Teleplay: .................... Hannah L. Shearer
Contributing Writer: ......... R.A. Cinader
Director: .................... Virgil W. Vogel

                              
                                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.)