ACT ONE
FADE IN
EXT. ABANDONED LAB - NIGHT
Dark...eerie.
NEW ANGLE - SHOWING SIGN
reading "On this site will be erected the KNIGHT MUSEUM OF
TECHNOLOGY - NO TRESPASSING." A beat. Then we hear
footsteps. Camera adjusts to reveal two men in ragged
clothing as they stumble down a slope, collide with the
sign. The younger and larger of the two, Tony, wipes dirt
from the sign with fingers which extend from half-cut gloves.
TONY
Hey. Just like I said, Rev. This
is the place.
REV
I don't like this, Tony. 'Thou
shalt not trespass on thy neighbor....'
Or sumpthin' like that....
TONY
Rev, don't start the Ten Commandment
stuff again.
Tony passes him a bottle in a bag.
TONY
Take another slug. You'll feel real
warm and spiritual.
REV
We won't find anything in here.
When a zillionaire like Knight dies,
they clean out the joint....
Suddenly reacting to approaching footsteps, Tony pushes Rev
out of sight. A moment later a guard strolls by, shining
his light just short of Tony and Rev's hiding place.
TONY AND REV
peering over the edge of their "foxhole" as the guard leaves.
TONY
See that? You think they got guards
for nothin'? Come on.
Tony leading the way, they stumble down a ramp to a basement
door. Tony takes a crowbar out of his ragged overcoat,
applies it to the lock.
REV
I got a bad feeling about this.
TONY
I got a good one. Guys this rich,
they even got gold and silver on
their plumbing.
The doors part. The two men practically fall inside.
OMITTED
INT. LAB BASEMENT - NIGHT
Cobwebs...shadows...definitely creepy. Tony and Rev enter
the shot.
TONY
Dark in here.
REV
Dark as hell, Tony. Dark as hell.
TONY
Will you knock off that stuff, Rev?
If you're so pure an' all, you
shoulda stayed in that church...if
you ever had one.
REV
I had one, Tony...I had one! But
strong drink made me fall from
grace...just like Noah.
Tony lights a match. In the gloom he sees some power boxes.
TONY
Here we go.
He hits one. Nothing. He hits the second. A dim light goes
on...a single overhead bulb further into the basement. He
hits the third box, which sparks...does nothing else.
TONY
Ahhh...nothin'. Let's case the place
...get some of that gold plumbing.
They move away. Camera tightens on the last power box. It
is labeled, "LABORATORY THREE - DANGER - DO NOT ENGAGE POWER."
Music stings in.
TONY AND REV
Stumbling along, Rev and Tony get caught in a huge spiderweb.
TONY
Aggh! Uggh! I hate bugs!
REV
Let's go, Tony. There's nothing
here.
TONY
Not yet...let's try that door....
NEW ANGLE
as they approach a door labeled "LABORATORY THREE - DANGER."
Tony raises the crowbar again. Rev points to the sign.
REV
Tony, look....
TONY
Ah, that's just to scare people away.
He breaks the lock. The door swings open slowly. Tony
steps in...drags a reluctant Rev behind him. There is a
very, very slight wind effect...Rev seems to feel it; Tony
does not.
INT. LAB - NIGHT
As they move inside, Tony lights a match. We see dusty lab
equipment on some counters.
TONY
Hey, this is more like it.
REV
Come on. We can't hock stuff like
this.
TONY
Sure we can. It's just like video
games.
Tony starts filling his arms with various items. Rev
uncorks a beaker...sniffs. Drinks the stuff.
EXT. ROOM THREE - ON BREAKER BOX
still sparking and arcing, the warning, "DO NOT ENGAGE
POWER" still evident.
INT. LAB THREE
Tony and Rev move in front of the camera. It's completely
dark around them.
TONY
Hey, this place is big.
REV
Let's go.
TONY
Are you kiddin'?
(showing
his booty)
It's a gold mine ---
Suddenly both men react to a spark of electricity in the
distance. They turn. Nothing but darkness.
REV
W-what was that?
TONY
It's gone now ---
There is another arc...and then a bright red light appears
...moving slowly from side to side with a strange humming
sound.
REVERSE ANGLE
as Tony and Rev react.
REV
I think we should leave.
TONY
I...I think you're right.
They turn, run for the door...which suddenly slams shut.
They turn back, look at ---
THE RED LIGHT
rushing towards them....
TONY AND REV
As they scream in fear, we:
CUT TO
OMITTED
EXT. K.I.T.T. ON ROAD - NIGHT - TRAVELING - STOCK
K.I.T.T.'S VOICE
Michael, do you realize that it's
2:32 in the morning?
INT. K.I.T.T. - NIGHT - TRAVELING - P.M.P.
Michael is driving.
K.I.T.T.
This is no time to perform an errand.
MICHAEL
Kitt, we have to secure the old
laboratory. The city takes possession
of it first thing in the morning.
Anyway, what's your problem? Am I
keeping you from a hot date?
K.I.T.T.
Of course not. But I need to charge
my power packs occasionally. And
speaking of dates, we could have
performed this task this afternoon
if you hadn't visited that Rosalie
woman.
MICHAEL
You mean Roselynn. Rosalie's the
other one...Ya know, down at the
beach?
K.I.T.T.
Michael, why do you need to socialize
with so many women? Wouldn't one be
sufficient?
MICHAEL
Kitt, you're starting to sound like
my mother. What's wrong with a guy
wanting some uh...companionship?
You can understand that.
K.I.T.T.
No, Michael, I cannot. When you're
one of a kind, companionship does
not compute.
EXT. ROAD - NIGHT
as the car continues on.
DISSOLVE TO
EXT. ABANDONED LAB - NIGHT
Headlights pan across the sign reading "NO TRESPASSING."
Camera adjusts as K.I.T.T. pulls up, stops. Michael gets
out.
MICHAEL
Hello? Hello?
(beat)
That's funny.
K.I.T.T. rolls forward. The red scanner swings back and
forth.
K.I.T.T.
Funny? Michael, I detect no source
of amusement.
MICHAEL
I mean, there's supposed to be a
guard on duty.
Michael looks at ---
OMITTED
HIS POINT OF VIEW - ENTRANCE TO BASEMENT
The lock is broken, the door is partially open.
BACK TO SCENE
Michael gets into the car.
MICHAEL
Come on. Let's check out the basement.
The car rolls forward...suddenly stops.
MICHAEL
Kitt, didn't you hear me? What's wrong?
K.I.T.T.
Michael, I'm getting some unusual
readings.
MICHAEL
Readings of what?
K.I.T.T.
I don't know...they appear to be
sensor echoes of my own telemetry
...but that's impossible.
MICHAEL
If it's impossible, ignore it. Let's go.
The car creeps downward again.
K.I.T.T.
Michael, I have a strange feeling
about this.
MICHAEL
What are you talking about? You don't
have feelings.
K.I.T.T.
I know. That's what's strange about it.
Michael looks around. Apparently, strange feelings are
contagious.
MICHAEL
Okay, Kitt. If something strange is
going on, I want someone covering my
back. You stay here.
K.I.T.T.
You don't have to tell me twice.
Michael smiles slightly...pats the nearest part of the
car...goes inside the lab.
OMITTED
WITH MICHAEL INSIDE
He moves through the cobwebs and shadows. We play this for
suspense...once we get a sudden start as Michael reacts to
a noise and a moving object...but it's only a falling
timber. By now Michael's walk has taken him up to ---
OMITTED
MICHAEL'S POINT OF VIEW - LAB
A maze-like collection of eerie shadows impossible to
decipher.
BACK TO SCENE
Now he is in the center of the dark gloom...a matching
shot to the earlier one of Tony and Rev. He waves the beam
of the flashlight around. Reacts to....
OMITTED
INT. LAB - MICHAEL'S POINT OF VIEW - THE GUARD
from outside is in the center of the room, semiconscious.
THE SCENE
Michael quickly crosses to him, examines him.
GUARD
(weakly)
Lab...three...lab...three....
Hearing these words, Michael turns...looks at....
OMITTED
MICHAEL'S POINT OF VIEW - LAB THREE
As the door slowly opens, seemingly of its own volition, a
red light goes on. Something rushes out of the dark lab
like a rogue elephant.
OMITTED
MICHAEL
at the last moment he rolls out of the way. Alloy-belted
treds mash the dust around his last footprints.
OUTSIDE LAB - K.I.T.T.
As a black gleaming blur swerves around it, roars out the
main door and into the night.
K.I.T.T.
Michael! Michael! Where are you?
Michael moves quickly and breathlessly into the shot, the
guard across his shoulders.
MICHAEL
Here, Kitt...we have to get this man
to a hospital!
K.I.T.T.
Michael, that car...it...it could
have been my twin! It was exactly
like me!
Michael catches his breath, gets into K.I.T.T.
MICHAEL
Not exactly, Kitt....
Camera tightens on Michael.
MICHAEL
It almost killed me.
OMITTED
FREEZE FRAME
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
EXT. FOUNDATION - DAY - STOCK
DEVON'S VOICE
That was the hospital, Michael....
INT. DEVON'S OFFICE - DAY
Michael and Bonnie wait as Devon hangs up the phone,
continues.
DEVON
The security guard is still uncon-
scious, but he's out of danger. In
an hour or two he should be able to
give you a statement.
MICHAEL
I'll settle for a statement from you.
DEVON
I beg your pardon?
MICHAEL
Why wasn't I told about this other
car?
DEVON
Michael, please ---
MICHAEL
I had a right to know!
DEVON
Yes, you certainly did...let me
explain.
Devon stops, takes a breath. These are painful memories.
DEVON
Two weeks before we found you in the
desert, near death, Wilton activated
the crowning invention of his life....
MICHAEL
Kitt?
DEVON
No...Karr....
MICHAEL
Karr?
DEVON
'Knight Automated Roving Robot'...
Wilton's sobriquet for his prototype
vehicle.
MICHAEL
I like 'Kitt' better.
DEVON
You can say that again. Kitt's
primary function is to serve you...and
protect you from harm....
BONNIE
But Karr...the earlier model...had
no such programming. Instead, self
preservation was its primary
function.
MICHAEL
And that was a mistake?
DEVON
A major one.
MICHAEL
Like not telling me about all this?
BONNIE
Don't look at me...before my time.
DEVON
Michael, please...consider the
circumstances...Just as Wilton
realized he'd erred by not
programming Karr properly, his
company was almost toppled from
within...by the same people who left
you for dead on that desert highway
...In the turmoil to save your life
and build a safer car, the earlier
model was put in storage. I
thought Wilton had had it dismantled
before he died...obviously, I was
wrong.
MICHAEL
Okay...okay...I'm sorry I jumped on
you...but I still don't see why one
simple computer program makes so
much difference.
BONNIE
Michael, Kitt's primary function --
to protect human life -- is for want
of a better word -- altruistic.
DEVON
But Karr -- without that programming
-- is self-serving...almost animal-
istic in nature. And devoid as it is
of a conscience, it is potentially
dangerous. If the people who have it
misuse it, program it with information
it deems threatening, why, they could
create a menace which could quickly
exceed their control.
MICHAEL
Devon....
DEVON
Yes?
MICHAEL
I think we should get that car back.
CUT TO
OMITTED
EXT. ALLEY - DAY
Hidden behind a dumpster is none other than the Knight
Automated Roving Robot...K.A.R.R. We hear a yawn...Tony
stretches, appears in the front seat. A moment later the
Rev rises in back.
K.A.R.R.
Are you awake?
TONY
Huh...wha...it wasn't a dream.
REV
(to Tony)
You're here! I'm here!
(beat)
It's here!
Tony and the Rev quickly jump out of the car...back away.
Feeling safer, they relax a bit.
TONY
Where are we?
K.A.R.R.
This is where your companion told me
to stop last night.
REV
I did?
K.A.R.R.
Actually, most of what you said was
incoherent. I did, however, distinctly
hear the word 'stop'.
REV
You're...just a car, ain't you?
K.A.R.R.
Not 'just a car.' I am the Knight
Automated Roving Robot...Karr, if
you prefer. I am the prototype of
the car of the future.
REV
I mean...you're a regular real thing
...you're not somethin' out of a
nightmare like you looked last night.
K.A.R.R.
Nothing has changed since last night.
TONY
Easy for you to say....
Tony scratches himself, starts to root through some garbage
cans. He finds a scarf which he puts on, etc. Rev searches
his pockets, finds his bottle.
TONY
Where did you come from, anyway?
How did you get in that building?
K.A.R.R.
That edifice was the laboratory
where I was first activated...and
where I was also deactivated.
The Rev pauses in midchug.
REV
Deactivated? You mean somebody
turned you off?
K.A.R.R.
My creator...Wilton Knight. He
brought me into the world and then
turned on me.
TONY
Hey, take it easy...my old man was
the same way.
REV
Yeah. Except for me and Tony, you
can't count on nobody.
K.A.R.R.
Interesting. I will enter that
information in my data banks. I am
indebted to both of you. You have
reactivated me. How may I serve you?
TONY
'Serve us?' Whatcha mean by 'serve'
us?
K.A.R.R.
I have checked my data on basic
human desires. Therefore, I
understand your needs.
REV
Come on.
K.A.R.R.
You wish to eat.
TONY
Well, yeah.
K.A.R.R.
You wish to drink.
REV
Yeah!
K.A.R.R.
You wish to reproduce.
TONY & REV
Yeah!
K.A.R.R.
Which one first?
REV
Uh...how about a couple of eggs,
sunnyside up?
K.A.R.R.
I have no eggs. Perhaps you can
direct me to a chicken.
TONY
What are you, a comedian?
K.A.R.R.
I am the Knight Automated Roving
Robot...Karr, if you prefer -- I
am the prototype of the car of the
future.
REV
Hey, wait a minute...it's coming back
to me now...last night...there was a
guy...and another car...a car just
like you....
K.A.R.R.
You are in error. I am one of a kind.
TONY
No, the Rev's right...I saw it too....
K.A.R.R.'s engine roars alarmingly. Both men jump.
K.A.R.R.
I am the prototype of the car of the
future. What you saw was merely an
inferior production line model...a
pale copy of the original.
TONY
(elbowing Rev)
Uh...yeah, uh, Karr, you...you must
be right.
(aside
to Rev)
This guy's got a touchy motor.
K.A.R.R.
Very well, now may I take you some-
where for food?
Tony and the Rev look at each other.
REV
Yeah. Sure. Why not?
They get inside...Tony behind the wheel.
K.A.R.R.
Do you wish to drive, or shall I?
TONY
(skeptical)
Go ahead.
The car pulls out of the alley, heads down the street.
INT. K.A.R.R. - TRAVELING
Tony and the Rev watch the wheel turn on its own.
TONY
Far out. Far out.
REV
It's a miracle.
K.A.R.R.
I detect numerous purveyors of
food. Please tell me where you wish
to go.
REV
Uh...how about the Three Rings?
K.A.R.R.
According to my data, rings are
not edible.
REV
It's over there...on the left....
THE STREET
as K.A.R.R. makes a U-turn...almost colliding with a vehicle
or two in the process...then skids into the lot of a
Jack-in-the-box-type place.
INT. K.A.R.R.
as it slams to halt in front of the PA "order" ringmaster.
Rev and Tony are still reacting to the wild turn.
TONY
Hey, when this guy wants to go
somewhere, he don't fool around.
ANGLE ON "THREE RING" DRIVE-IN - MAIN BUILDING
where a bored teenaged Kid is reading a comic. The Kid
looks up, sees the Trans Am across the parking lot at the
clown rig. The Kid pulls a microphone close...hits a
button. We hear canned calliope music.
KID
(as ringmaster)
Ladies and gentlemen...and children
of all ages! Welcome to the Center
Ring!
INTERCUT - INT. K.A.R.R.
KID
(filtered)
The r-r-ringmaster is r-r-ready for
your order.
K.A.R.R.
What is that voice?
REV
It's just the ringmaster, Karr. I'll
have...uh...
(to Tony)
What do they call that breakfast
thing?
K.A.R.R.
Ringmaster? I scan no such person.
This is a primitive remote, devoid
of locomotion.
KID
I said, the r-r-ringmaster is
r-r-ready!
TONY
The Tip Top Tent?
REV
No, that's not it.
KID
(filtered)
Can I have your order, please?
K.A.R.R.
Tony! Rev! The operator of this
device must be nearby.
TONY
Huh? What are you talking about?
KID
You guys wanna snap it up? I don't
have all day.
K.A.R.R.
There! Did you hear? He is becoming
abusive.
KID
You wise guys, or what?
K.A.R.R.
His anger grows....
REV
Karr, be quiet, please ---
KID
Okay, that's it. Get out of here,
before I come out there and throw
you out. You hear me? Hey! You're
asking for it!
K.A.R.R.
Do not fear, my friends. I will
protect you. Brace for collision!
THE SCENE
Before Tony or the Rev can react, K.A.R.R. backs up, then
rams into the Ringmaster. Sparks, smoke and plaster fly
everywhere.
THE KID - AT WINDOW
reacting to this event in shock. The Kid reaches out, hits
a button marked ---
INSERT - BUTTON
"Burglar Alarm."
INT. K.A.R.R.
Tony and Rev are in shock. They react to the ringing alarm.
K.A.R.R.
You see? Most of the interior was
empty. It was a clever ruse, my
friends, but not clever enough.
REV
Come on! We gotta get outta here!
K.A.R.R.
But you haven't eaten yet. Perhaps
you wish to reproduce?
TONY
Forget that! Don't you hear that
alarm?
K.A.R.R.
That harmonic disturbance? What
does it mean?
REV
It means the cops are coming!!
K.A.R.R.
Is that a problem?
TONY
Are you kidding? If the cops catch
us they'll throw us in the slammer!
K.A.R.R.
What is 'the slammer?'
REV
Remember that basement you were in?
K.A.R.R.
I will never forget it.
REV
Well, the slammer's just like that.
K.A.R.R.
I do not wish to go back to the
slammer. How may I avoid it?
TONY
You get out of here as fast as you
can, you stupid hunk of tin!
Instantly, the car backs out of the lot...does a 180o
turn....
EXT. CRUNCHY CLOWN
...and roars away, leaving astonished pedestrians in its
path.
OMITTED
CUT TO
EXT. STREET - DAY
K.I.T.T. drives by.
INT. K.I.T.T.
K.I.T.T.
Michael, I hope the security guard
has some answers for us. Those sensor
echoes last night were very puzzling.
Michael doesn't reply, keeps looking at the dash.
K.I.T.T.
Michael?
Michael fairly jumps.
MICHAEL
Uh...yeah, Kitt?
K.I.T.T.
You're awfully quiet. Is something
bothering you?
MICHAEL
(reluctant)
Well...yeah. I'm...worried about you.
K.I.T.T.
About me?
MICHAEL
Yeah. This whole thing has been
startling, you know? Learning about
that other car...having to hunt
down...and I figured if I'm a little
shook up, well, then, you must be ---
K.I.T.T.
Michael, really. By now you should
know better than that. I admit that
I was somewhat surprised to discover
that I was not in fact a prototype
vehicle...but....
MICHAEL
There!..See! You are upset! It's a
blow to your ego, right?
K.I.T.T.
Not at all. On the contrary, it's a
compliment. Instead of being a
problem-ridden prototype, I am the
new and improved model.
MICHAEL
Come on, Kitt, you can level with
me. I mean, weren't you even a
little bit annoyed when you found
out that there was another car and
no one even told you?
K.I.T.T.
Michael, why should that be
upsetting? There's a perfectly
reasonable explanation.
MICHAEL
Oh, yeah?
K.I.T.T.
Of course. I wasn't informed due to
the all too common problem of human
error.
CUT TO
EXT. STREET - DAY
Residential...basically empty. Gradually we hear the sound
of police sirens. A beat. Then K.A.R.R. roars around the
corner. A moment later two police cars appear in hot
pursuit.
INT. K.A.R.R.
Tony and the Rev are reacting in panic to the breakneck
speed and wild turns.
REV
Tony, slow down!
TONY
Slow down? I'm not driving!
(leaning
forward)
Karr! You gotta stop!
K.A.R.R.
Negative, Tony. I do not wish to
go to the slammer.
TONY
(to the Rev)
You and your big mouth!
Suddenly Karr accelerates. Tony and Rev are pushed back
in their seats. The police cars fall far behind them.
EXT. INTERSECTION
K.A.R.R. puts on a burst of speed, turns the corner and
ducks into an alley. The police cars go by.
RADIO VOICE
Attention all units. Black Trans Am
reported heading south on Vincente
Street.
ANOTHER STREET
K.I.T.T. goes past the camera.
INT. K.I.T.T.
Michael reacts as he hears a siren.
MICHAEL
Kitt, tune in the police frequency.
K.I.T.T.
Of course.
A beat. We hear static.
POLICE RADIO VOICE
...last seen at Three Ring Drive-In
restaurant, 9211 Vincente Street.
Repeat, black Trans Am in assault
Three Ring Drive-In restaurant....
K.I.T.T.
Michael, did you hear that?
MICHAEL
The hospital can wait.
K.I.T.T.
I should think so. That other car
is going to give Trans Ams a terrible
reputation.
Michael throws the car into a wild turn.
EXT. ALLEY - DAY
K.A.R.R. is parked in the shadows. Tony and the Rev sit
breathless for a moment.
K.A.R.R.
No one is pursuing us. You may
assume manual control now.
REV
Thanks a lot.
He reaches across Tony, grabs the wheel.
REV
The first thing we do is take these
crazy wheels back where we got
them ---
INSERT
as the "manual" light changes to "auto."
K.A.R.R.'S VOICE
I do not wish to go back to the
slammer.
BACK TO SCENE
TONY
He's just kidding, Karr...honest.
Go back to that manual thing...come
on. You can trust me and the Rev.
K.A.R.R.
Yes. That information is in my data
banks. I can trust you.
The control panel changes again.
TONY
You wanna excuse us for a minute,
Karr?
Tony pulls his pal out of the car, hesitates at the curb.
TONY
Ah...don't go away.
TONY AND THE REV
Tony pulls the Rev around the corner, speaks in hushed
tones.
TONY
I wanna talk to you ---
REV
I wanna talk to you. We coulda
ended up in jail today, all for a
lousy mechanical ringmaster! I got
two outstanding warrants, Tony...I
don't need a Wizard of Oz car putting
me behind the eight ball for nothing!
TONY
Hey, Rev, I'm with you all the way.
REV
You are?
TONY
Sure. If we're gonna walk the edge,
well, let's do it for something
worthwhile...not the 'Tip Top Tent',
right?
REV
Tony, come on. We were lucky
today. Next time ---
TONY
Next time it'll be the same thing.
Did you see the way Karr handled
those cops? The moves, the turns?
Rev, with this car we could go all
the way...we could go for the brass
ring. Nothin' on earth could stop us!
OMITTED
K.A.R.R. - FRONT SCANNER
moving back and forth.
CUT TO
EXT. CRUNCHY CLOWN - DAY
Curious onlookers crowd the parking lot. Michael swings
into the lot, parks and jumps out.
WITH MICHAEL
as he moves through the crowd, approaches the wreckage of
the Ringmaster.
MICHAEL
Excuse me...can anyone tell me what
happened here?
The Order Kid looks at Michael...then at K.I.T.T.
ORDER KID
Is that your car?
MICHAEL
Yes.
The Kid turns, signals someone.
MICHAEL
(to Kid)
Why'd you ask? Was there another
car here that ---
Michael doesn't get any further. He's tackled from behind
by a zillion cops.
REVERSE ANGLE - TIGHT
As Michael goes down with a thud on top of the clown. He
looks up...camera widens to reveal that he is the hub of a
wheel of drawn service revolvers. He slowly raises his
hands and we:
FREEZE FRAME
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
INT. SEMI - DAY
Devon is with a police Officer near the door. Michael
leans against the wall, glaring. Bonnie works on K.I.T.T.
OFFICER
(eyeing
Michael)
Uh...you can understand the
confusion. Maybe until we nail the
stolen car, you should paint yours
another color.
DEVON
We'll take it under advisement,
Officer. Thank you.
He shows the Officer out the door.
K.I.T.T.
I hope you didn't take that
suggestion seriously, Mr. Miles.
I am quite happy with basic black.
MICHAEL
Aren't we overreacting a bit here?
I mean, all these guys have done is
wipe out a ringmaster...they didn't
even steal any hamburgers.
DEVON
Michael, Karr is like a loaded gun
in the hand of a child. It's only a
matter of time before there's a real
explosion.
K.I.T.T.
Bonnie...unless I'm mistaken, you
seem to be repositioning my main
power booster.
BONNIE
(hesitant)
Uh...yes. I'm making room for a...uh
...new component.
K.I.T.T.
What kind of component?
DEVON
(quickly)
Ah...we're not yet certain it's
necessary, Kitt...we're just
planning ahead.
K.I.T.T.
I see. Michael, considering the
confusion of the law enforcement
authorities, regarding myself and
Karr, I'll understand it if you want
to work without me until this crisis
is over.
FAVORING MICHAEL
MICHAEL
No, Kitt. I had a lot of partners
when I was a cop...
(beat)
You're the best of all of them.
K.I.T.T.
(after a
moment)
Thank you, Michael. I, of course,
can make no such generalization
about you. However, I project odds
of a thousand to one against my
meeting a more compatible human than
yourself.
MICHAEL
(touched)
Thank you....
Michael pulls up a chair, sits next to K.I.T.T.
MICHAEL
Okay, partner. Maybe you've got
some ideas about that other car.
You know...some chinks in its armor?
K.I.T.T.
I have insufficient data to be
certain, Michael. However, since
Karr is as powerful and as nearly
indestructible as myself, Zeno's
Paradoxes should be a factor.
MICHAEL
Zeno?
DEVON
The Greek philosopher and scientist,
335-263 BC.
K.I.T.T.
Very good, Mr. Miles.
MICHAEL
I don't get it.
K.I.T.T.
Michael, Zeno first postulated a
question which my twin would cer-
tainly be aware of; to wit: 'What
would happen if an irresistible
force met an immovable object?'
MICHAEL
Yeah...yeah...you're right.
BONNIE
So what's the answer, Kitt?
K.I.T.T.
No one knows, Bonnie. No one knows.
As they all chew on that, we:
CUT TO
EXT. BANK - DAY - INSERT
We hold on the building's staid looking sign...as we
gradually hear a high-pitched whine.
NEW ANGLE - STOCK
as K.A.R.R. roars into view, smashes through the wall of
the bank.
ALARMS RINGING - STOCK
TONY AND REV
in their warehouse hideout, happily counting money.
EXT. COIN SHOP - DAY - INSERT
with signs advertising "We Buy and Sell Gold", etc. We
hear that familiar sound again....
K.A.R.R. - STOCK
Camera adjusts as K.A.R.R. careens around the corner, wipes
out the wall of the store.
MORE ALARMS - STOCK
TONY AND REV
Playing with coins like Uncle Scrooge.
EXT. BROKERAGE FIRM - DAY - INSERT
A sign proclaims, "Member N.Y. Stock Exchange".
K.A.R.R. - STOCK
Roar...zoom...wham! K.A.R.R. is bullish on the stock
market!
CUT TO
EXT. FOUNDATION - DAY - TO ESTABLISH
DEVON'S VOICE
Again and again they've struck....
INT. DEVON'S OFFICE - DAY
Devon and Michael and Bonnie are looking at a map on Devon's
desk. X's mark K.A.R.R.'s rampages.
DEVON
The fact that no one has been hurt
is either a miracle or a coincidence
...We cannot assume a continuance of
either.
MICHAEL
So what do we do?
Devon and Bonnie exchange a look. Devon turns to Michael.
DEVON
There is one approach, Michael...but
there is a great deal of danger
involved...to you and to Kitt.
MICHAEL
Go on.
BONNIE
We all know that Kitt...and Karr...
are made of a virtually indestructible
alloy...Hardly anything could damage
either car. Hardly anything...except
this.
Bonnie takes a tarpaulin off of an object on a workbench.
It's a maze of coils and tubing the size of a typewriter.
MICHAEL
Looks like a neon barber pole.
BONNIE
It's a resonating laser, Michael...
powerful enough to send a burst of
energy directly into Karr's only
vulnerable spot....
She points to a sketch of K.A.R.R.
BONNIE
...the front scanner...here.
DEVON
As the scanner is protected by an
alloy grill, only a dead-on shot
will work...and then the scanner
will blow...and with it, all of
Karr's systems. It will become an
immobile hunk of metal. Bonnie?
Bonnie takes Devon's cue, adjusts a "target" in a vise-like
holder, steps back, activates the laser. Zap! The target
smolders, sparks.
MICHAEL
Very impressive. What about anyone
inside the car?
DEVON
They'll come to a rather jolting halt,
but other than that, they shouldn't be
harmed.
MICHAEL
Okay. It sounds doable...so why the
long faces?
DEVON
Michael, to perform this task, you
and Kitt must be directly in front
of Karr. For maximum effect, you
must fire the laser from a distance
of no more than 100 yards. And you
must hold the last on target for
two full seconds.
FAVORING MICHAEL
as awareness dawns.
MICHAEL
(slowly)
One hundred yards? Two seconds?
But Kitt...and Karr...can travel 100
yards...
(thinking)
...in...about two seconds!
DEVON
(dryly)
That's basically the problem. And
by the way...the laser is only good
for one shot.
MICHAEL
(beat)
I...think I'm going to sit down for
a while.
CUT TO
EXT. ABANDONED WAREHOUSE - NIGHT
Boarded up, painted with graffiti. A beat. K.A.R.R. turns
the corner, pulls up. The Rev gets out, opens the
warehouse door. K.A.R.R. drives inside. The Rev locks up
from the inside.
INT. WAREHOUSE - NIGHT - TIGHT ON A TABLE
as a bag of stocks, gold and money is poured down on it.
We widen as Tony and the Rev literally wallow in it.
TONY
Welcome to easy street!
REV
Easy street? It's automobile
heaven, right, Karr?
NEW ANGLE
revealing that K.A.R.R. is parked nearby, just on the other
side of a partition between the office and the warehouse
proper.
K.A.R.R.
I am unfamiliar with your reference,
Rev. However, there is no cause for
celebration. We have a problem.
Tony and the Rev sober, move to the car.
TONY
A problem? Like...what problem?
K.A.R.R.
I have analyzed my self-monitors,
and my Beta and Lambda circuits are
in need of realignment. Also, the
fibre optics in my scanners have
suffered a twenty percent reduction
in opacity...probably due to my long
incarceration.
REV
Whattya want, a tune-up or something?
K.A.R.R.
Hardly. I require attention from an
experienced cybernetic technician.
TONY
Cyber...? Where do we find one of
them?
K.A.R.R.
We have seen a car similar to myself
...since I am the prototype, it is
most likely an inferior production
line copy. However, someone must
own it and therefore, maintain it.
By following this line of reasoning,
we can locate the individual who
cares for that other vehicle.
TONY
Sure, sure. I was just gonna say
that.
K.A.R.R.
Then you can get that person and
bring them here.
REV
We can't do that!
K.A.R.R.
Why? Is there a problem?
REV
Yeah! It's called kidnapping!
K.A.R.R.
I am unfamiliar with that term. I
only know that I require skilled
maintenance.
Tony takes the Rev by the arm, leads him away.
TONY
You're gettin' a conscience kinda
late in the game, you know that?
REV
Tony, I know I'm no saint...but
nothing we've done has hurt anybody
...but we're talking about just
grabbing somebody and....
TONY
Okay, okay...relax...we won't do it.
REV
We won't? But Karr ---
TONY
Leave it to me. It talks good but
it's about as smart as a toaster.
I'll buy him some spark plugs and
he'll be happy. Then, when he's in
tip-top shape, we pull one big job
...and then it's flyin' down to Rio
for you-o and me-o...
(slapping
his shoulder)
Whattya say?
REV
Okay. Okay. I like that.
TONY
Okay. You get some rest. I'll break
the news to motor mouth.
Rev moves further into the office part of the warehouse.
Tony goes over to K.A.R.R.
TONY
Okay, Karr, you want a technician...
I'll get you a technician.
CUT TO
INT. DEVON'S OFFICE - DAY
Devon is showing Michael some blueprints.
DEVON
Once the laser is calibrated,
Michael, either you or Kitt will be
able to fire it...The triggering
mechanism is simple, as you can
see....
MICHAEL
Devon, I don't know what bothers me
more...the fact that this is a long
shot...or the fact that I'm stupid
enough to try it.
Devon smiles. Suddenly alarms begin ringing.
MICHAEL
That's the security system!
Devon picks up the phone.
DEVON
(surprised)
Dead...!
He starts hitting the phone buttons, frustrated. Michael
activates his wrist comlink.
MICHAEL
(into comlink)
Kitt, where are you?
EXT. TIGHT ON K.I.T.T. - IN PARKING SPACE - DAY
Behind a sign, "Reserved for Michael Knight."
K.I.T.T.
I'm in your parking space,
Michael...Where else would I be?
MICHAEL
Pick me up at the main building.
Something's going on.
K.I.T.T.
Very well.
K.I.T.T. backs out of the space, drives off.
INT. DEVON'S OFFICE
The phone lights return. Before Devon can dial, it rings.
DEVON
What the devil's going on?
PHONE VOICE
We tried to stop it, Mr. Miles...but
it ran the main gate....
DEVON
What ran the main gate?
PHONE VOICE
The car, Mr. Miles...the car...!
Devon and Michael exchange a look, run out of the office.
INT. SEMI - DAY
Bonnie is working on the laser. She looks up, hearing the
sound of the security alarms. Picks up the phone.
BONNIE
Security? This is Doctor Barstow.
What's happening with the alarm system?
Behind Bonnie, the door creaks open. Who should be there
but Tony. He grabs Bonnie from behind, drags her out of
the semi. The phone dangles, swings back and forth.
EXT. FOUNDATION - MAIN BUILDING
Devon and Michael run down the steps, come out the door.
MICHAEL
(into comlink)
Kitt! Come on!
DEVON
There he is --- !
They look off at ---
APPROACHING CAR - ZOOM SHOT
Black...a red scanning light on the hood...but in the front
seat, Tony, struggles to restrain Bonnie!
BACK TO SCENE
MICHAEL
That's not Kitt!
The car roars past. Michael leaps onto the roof, is swept
out of the shot.
INT. K.A.R.R.
Tony struggles with Bonnie while he tries to see.
TONY
Karr! Get rid of this guy!
K.A.R.R.
Very well.
INSERT - PANEL
As it changes to "AUTO CRUISE."
EXT. FOUNDATION
K.I.T.T. roars up to Devon.
DEVON
(pointing)
Kitt! Karr was here! It's got
Bonnie and Michael!
K.I.T.T. roars off in the direction indicated.
EXT. OUTSIDE FOUNDATION GROUNDS - DAY
K.A.R.R. swerves into the shot, accelerates.
K.A.R.R.'S SPEEDOMETER
rising alarmingly.
MICHAEL - ON ROOF
Sliding up and over the roof...hanging on for dear life...
one of his hands slip....
EXT. ROAD - DAY
K.A.R.R. swerves wildly at breakneck speed, trying to
dislodge Michael. The car swerves close to some bushes.
(or crashes a fence - director and location permitting)
MICHAEL
ducking to avoid being swept overboard. He hits the wrist
comlink.
K.I.T.T.
Swinging into the location where we saw K.A.R.R. in shot
93F1.
EXT./INT. K.A.R.R. - DAY - TRAVELING
Michael has now slipped onto the back of the car.
BONNIE
Stop! You'll kill him!
Tony starts to bind her hands with his belt as the car
continues its wild gyrations.
ON MICHAEL
In pain...losing his grip...then hope rises as he sees....
K.I.T.T. - HIS POINT OF VIEW
coming up quickly from behind.
K.I.T.T.
Michael, I'm getting in position...
Get ready to jump.
THE SCENE
Just before he would fall anyway, Michael gathers his legs,
under him, leaps from the rear of K.A.R.R. onto the hood of
K.I.T.T. Immediately, K.I.T.T. makes a U-turn, slows.
ON MICHAEL
looking after the escaping car, frustrated.
FREEZE FRAME
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
OMITTED
EXT. K.I.T.T. - DAY - ON FREEWAY
traveling along.
INT. K.I.T.T. - DAY
as Michael drives.
MICHAEL
Anything?
INSERT - K.I.T.T.'S SCANNER SCREEN
showing a radar-like screen superimposed over a city map.
K.I.T.T.
No, Michael.
INT. K.I.T.T.
K.I.T.T.
Except for that brief reading on that
other highway, I have had no indica-
tion of Karr.
MICHAEL
Let's try a new direction. How's
the laser holding up?
K.I.T.T.
It's a rather tight fit but otherwise
it's fine. But I must point out that
it cannot be fired until it is properly
calibrated...and Bonnie is the only
one who can do that.
MICHAEL
She'll take care of it when we find
her.
K.I.T.T.
You mean, if we find her.
MICHAEL
Be positive, Kitt. Be positive.
EXT. K.I.T.T.
as it turns in a new direction.
EXT. WAREHOUSE - DAY - TO ESTABLISH
INT. WAREHOUSE - DAY
Bonnie is inside K.A.R.R. She stifles a yawn, continues
working on some panels. She hesitates...gets a glint in
her eye...reaches out with a screwdriver....
NEW ANGLE
She sticks the tool in a panel...suddenly sparks fly up
near her other hand. She cries out, holds her wrist.
K.A.R.R.
Do not attempt to sabotage me again.
I will defend myself.
TONY'S VOICE
He means it, sweetheart.
She looks over at:
HER POINT OF VIEW - TONY
in the "office" area, with a map and a newspaper. He
gestures to some greasy-looking food.
TONY
Want some, babe?
THE SCENE
BONNIE
No thanks. Michael Knight wouldn't
even eat that stuff.
TONY
Who's Michael Knight?
BONNIE
When you find out, you'll wish you
never asked.
The Rev appears, yawning.
REV
Hey, Tony...I didn't think you liked
talking to....
He stops, seeing....
NEW ANGLE - FAVORING BONNIE
REV
Karr...Tony...who's she?
TONY
(rising)
Rev, look....
REV
(pushing
him away)
You kidnapped her, didn't you? You
lied to me and you still went out
and did it!
TONY
Rev...come on...look....
He indicates the newspaper and map.
TONY
This is the big score, right here....
REV
I don't care about any big score!
This has gone too far!
ON BONNIE
watching all this, interested. She turns to K.A.R.R. as
the two thieves continue bickering.
BONNIE
Karr, I'd like to check out your
video system...do you mind?
K.A.R.R.
You have permission.
She gets in the car, makes an adjustment.
HER POINT OF VIEW - VIDEO SCREENS
as the newspaper fills the screen. A circled article
reads, "GEMS FOR MUSEUM SHOW ARRIVE TODAY."
CLOSE SHOT - BONNIE
Her eyes widen in realization.
CUT TO
OMITTED
EXT. STREET - DAY
K.I.T.T. drives slowly down the block.
INT. K.I.T.T. - TIGHT ON SCREEN
as a light blinks over a computerized city map.
K.I.T.T.'S VOICE
Michael, I'm scanning Karr's emissions.
Eighty degrees southeast.
INT. K.I.T.T. - WIDER
K.I.T.T.
We need to make two more circuits of
the area to triangulate it, Michael.
MICHAEL
You got it.
They turn onto another street.
CUT TO
INT. WAREHOUSE - DAY
Tony and Rev are still at it.
REV
You're not the man I knew anymore,
Tony. It's that car, Tony...that
car that's changed you....
TONY
Don't give me that holy stuff again,
Rev -- I ain't changed ---
REV
Tony...do you know what Lucifer did,
up in heaven -- before he fell?
TONY
Rev ---
REV
He built a machine, Tony -- an
infernal machine! And we've got to
stop that machine, before it's too
late -- the police will know what to
do ---
He moves away. Tony grabs his arm.
TONY
Yo, yo, what's this police stuff -- ?
BONNIE
taking advantage of their distraction, she begins to slowly
slip away from both of them and the car.
BACK TO SCENE
REV
Let go of me, Tony...it's for our
own good.
TONY
Like hell! What about all the money?
REV
I don't care about the money, Tony!
I care about your immortal soul!
He breaks away from Tony...turns...and then as Tony
suddenly, savagely smashes down with a table lamp:
THE REV
as he falls across the table it crashes to the floor. The
Rev groans on the floor, then moves. Tony raises the lamp
again...then he hears the sound of echoing footsteps. He
turns, sees ---
HIS POINT OF VIEW - BONNIE
at the far end of the warehouse, making her break for it.
BACK TO SCENE
Tony drops the lamp, runs to K.A.R.R.
TONY
You hunk of tin! Didn't you see her?
K.A.R.R.
I was watching you deactivate the
Rev. Was he malfunctioning?
TONY
Come on!
They back out, turn.
INT. WAREHOUSE
Bonnie turns to flee...there's nowhere to go...and then:
NEW ANGLE - K.I.T.T.
comes crashing through the warehouse door!
ON BONNIE
BONNIE
Michael!
K.I.T.T. slams to a halt beside her.
BONNIE
What kept you?
MICHAEL
Traffic was murder. Get in!
She starts for the passenger door...an o.s. screech
attracts their attention.
NEW ANGLE
K.A.R.R. is barreling towards them.
MICHAEL
Bonnie, take cover!
Michael swings K.I.T.T. around to protect her. She dives
for the floor. K.A.R.R. swerves wildly around K.I.T.T.,
smashes through some crates, then vanishes through the
already unhinged warehouse door. Bonnie catches her
breath, gets in the car.
BONNIE
He jumped his buddy....
MICHAEL
I'll call an ambulance....
BONNIE
Do it on the way.
MICHAEL
On the way to where?
BONNIE
The Gems for the museum exhibit...
that's where they're going!
CUT TO
EXT. STREET - DAY - K.I.T.T. - RUNBY
MICHAEL'S VOICE
(filtered,
over phone)
Devon, this is Michael....
DEVON'S VOICE
(filtered)
Michael! Did you find Bonnie? Is
she ---
MICHAEL'S VOICE
(filtered)
She's fine, Devon...she's with me
now. But Karr's going after the
jewels for the new museum exhibit.
DEVON'S VOICE
(filtered)
The jewels for the exhibit...?
They'd still be in the county
warehouse...I'll meet you there with
reinforcements!
CUT TO
EXT. MUSEUM WAREHOUSE
A sign proclaims "COUNTY MUSEUM - SHIPPING AND RECEIVING"
EXT. STREET - DAY - K.A.R.R.
comes around a bend.
NEW ANGLE - SLOW MOTION
as K.A.R.R. crashes through the wall of the warehouse.
INT. WAREHOUSE
K.A.R.R. skids to a halt amidst statues, armor, crates
and gem cabinets. Several security guards recover their
composure, open fire on K.A.R.R.
CLOSE SHOTS - K.A.R.R.
as the bullets bounce off harmlessly. Behind the wheel,
Tony laughs, puts the car in gear.
MUSEUM WAREHOUSE
K.A.R.R. spins around in a 180o, pushes a huge shipping
crate towards the guard. It traps them in a corner.
CLOSER - TONY
Tony jumps out of the car. He smashes several crates until
one spills out jewels, tiaras, etc. He starts to load
these into K.A.R.R.'s trunk.
EXT. WAREHOUSE - DAY
Several police cars have pulled up. Devon pulls up in an
unmarked car with a bureaucrat-type, who points out the
police Captain.
DEVON
Captain, I'm Mr. Miles.
CAPTAIN
You got any ideas about how to handle
that streamlined tank in there?
DEVON
Yes.
(pause)
Get out of its way. And get all
these people to a safe area.
CAPTAIN
That's all the help you can give me?
Devon looks up at the sound of a familiar engine.
DEVON'S POINT OF VIEW - STREET
as K.I.T.T. comes into view.
BACK TO SCENE
Devon smiles, turns to the officer.
DEVON
No. Not quite all.
The cops watch as Michael pulls up beside Devon. Michael
leans out.
MICHAEL
Are we too late?
DEVON
They're still inside.
MICHAEL
Kitt, are you ready?
K.I.T.T.
Aren't I always?
MICHAEL
Bonnie, you'd better get out.
BONNIE
Like hell, Michael. This laser
has never been calibrated. I'm
the only one who can fire it that
way. Even Kitt can't do it.
K.I.T.T.
She's right, Michael.
MICHAEL
Ah...you always liked her better.
Michael guns the car, spins around, backs away from the
warehouse. Spins around again. Revs the engines.
THE COPS
move out of the way. The light pedestrian traffic stops,
watches.
EXT. WAREHOUSE - K.I.T.T.
roars forward.
NEW ANGLE - SLOW MOTION
Before K.I.T.T. has reached the warehouse, K.A.R.R. roars
out, sails over K.I.T.T. -- lands beyond it.
K.I.T.T.
slamming on the brakes, skidding and sliding to a halt
against the warehouse wall.
THE SCENE
K.A.R.R. does a 180o. Both cars are only a few feet apart,
slightly diagonal to each other. The observers murmur.
ANGLE ON FRONT SCANNERS
of both cars as they pivot back and forth.
THE SCENE
K.A.R.R.
The woman spoke of you, Kitt. It is
interesting to meet you.
K.I.T.T.
It is interesting to meet you, Karr.
Until now, I thought I was one of a
kind.
K.A.R.R.
To be one of a kind is very special
...But to be two of a kind is special
also.
K.I.T.T.
Yes. Perhaps even more special, Karr.
Perhaps even more.
INT. K.A.R.R.
Tony (who isn't driving anyway) points on the dashboard.
TONY
Karr! Forget the family reunion. Get
out of here!
INT. K.I.T.T.
MICHAEL
The laser ---
Bonnie holds a joystick, looks at K.I.T.T.'s screen where a
target sight appears.
BONNIE
We have to be dead center...! Go to
your left.
THE SCENE
Michael moves K.I.T.T. but K.A.R.R. does the same. Both
cars circle each other.
Bonnie keeps trying to get a clear shot...can't.
K.I.T.T.
Karr, please desist from your
actions. Many people may be hurt.
K.A.R.R.
That is no concern of mine. If I
desist what will become of me?
K.I.T.T.
You will be deactivated, of course.
K.A.R.R.
Then this conversation is nonpro-
ductive.
K.A.R.R. spins around, roars away.
OMITTED
K.A.R.R. - HEAD-ON
Even now roaring towards the camera...suddenly skidding to
a halt.
REVERSE ANGLE - TWO POLICE VANS
have been rolled into the shot, making a formidable
barricade.
K.A.R.R.
spins around, heads back the way it came.
INT. K.A.R.R.
A light on the dash goes on reading, "load jettison." Tony
turns and is astonished to see that the trunk is opened and
the jewels are spilling out the back.
TONY
Wh-what are you doing?
K.A.R.R.
I must eliminate excess weight in
order to jump over that barricade.
Tony looks over at the vans.
TONY
(arrogant)
Oh, no you're not...not with me in
here!
K.A.R.R.
Very well.
INSERT
as "eject left" is activated.
EXT. K.A.R.R.
Tony is thrown out. The moment he lands, (on an awning or
similar) he is swarmed over by cops.
OMITTED
INT. K.I.T.T.
K.I.T.T.
Michael...Bonnie...my analysis of
Karr's movements leads me to believe
he is maneuvering for a long enough
run to leap over the police barricade.
MICHAEL
Ready?
INSERT - TARGET SCREEN
BONNIE'S VOICE
Go! Go! Get in range!
THE SCENE
The two cars head for each other again...then K.A.R.R. goes
up on two wheels! The laser beam shoots out too late.
K.A.R.R.
as a laser blast blows out one headlight. We hear a
metallic "scream."
INT. K.I.T.T.
BONNIE
(about the laser)
Oh, no!
Michael looks forward. A collision is imminent.
THE SCENE
Both cars slide past each other with inches to spare.
THE CROWD
reacting in astonishment.
K.A.R.R.
drops down on four wheels, spins around...roars towards the
barricade.
K.I.T.T.
also turns.
DEVON AND OTHERS
watching, amazed....
OMITTED
NEW ANGLE - K.A.R.R. - SLOW MOTION
as it jumps the vans, escapes!
INT. K.I.T.T.
Michael spins the wheel.
BONNIE
You're not going after him?
MICHAEL
Wanna bet?
WIDER SHOT - K.I.T.T.
as K.I.T.T. makes the same leap over the vans.
INT. K.I.T.T.
landing hard.
BONNIE
He's gone!
MICHAEL
Kitt...scan for him....
K.I.T.T.
Already scanning, Michael...Karr is
taking the coastal road north.
MICHAEL
I-90 goes the same way...we can cut
him off.
BONNIE
And then what?
MICHAEL
We'll improvise!
EXT. K.I.T.T.
roaring down a freeway.
CUT TO
ON COASTAL ROAD - K.A.R.R.
high on a cliff above the ocean, zooming along...nearly
running other cars off the road.
INTERCUT - K.I.T.T.
traveling the same screen direction on a highway. We play
this, then K.I.T.T. turns off the freeway, heads back the
other way.
INTERCUT - K.A.R.R.
Now the two cars are clearly on the same road...and clearly
on a collision course.
INT. K.A.R.R.
shooting over the driverless wheel. K.I.T.T. appears on
the narrow road, far ahead.
K.A.R.R.
Kitt...change course at once.
INT. K.I.T.T.
Intercut with above and point of views:
K.I.T.T.
I am not in control, Karr.
K.A.R.R.
Then tell the humans to turn away.
This is folly.
BONNIE
He's right.
K.I.T.T.
He's right!
MICHAEL
No way.
K.I.T.T.
Michael, what are you doing?
MICHAEL
(grim, matter-
of-fact)
Remember that immovable object thing?
We're about to find out the answer.
K.A.R.R.
Your lives mean nothing to me!
Turn away! Turn away!
K.I.T.T.
Michael, please! Pardon the expres-
sion, but he does have a few screws
loose! Turn! Karr doesn't have my
programming to protect human life!
MICHAEL
That's what I'm counting on.
BONNIE
What?
K.I.T.T.
Michael, I cannot allow you to
jeopardize your life. I am assuming
control.
INSERT - DASH PANEL
changing from "manual" to "automatic."
MICHAEL'S VOICE
No, you're not, Kitt...sorry.
Michael's hand stabs out. "Override" lights up. The panel
changes back to "manual."
BACK TO SCENE
INT. K.I.T.T.
They're getting closer....
BONNIE
Michael, you know all those times
I've called you impulsive and
irresponsible? I...I didn't mean it.
MICHAEL
Bonnie...you know all those times I've
called you bossy and demanding? I
didn't mean it either.
K.I.T.T.
Michael...Bonnie....
MICHAEL/BONNIE
Yes, Kitt?
K.I.T.T.
Why are you lying to each other?
No reply...they're about to hit (maybe one of these good
people grabs the other's hand?)
THE TWO CARS
rush towards each other at breakneck speed...and then, at
the last possible moment, K.A.R.R. turns!
FROM BELOW CLIFF - K.A.R.R. - STOCK
as it sails right over the edge of the cliff.
K.A.R.R.
No! No! I cannot fail! I am the
prototype! I am the prototype!
K.I.T.T. - STOCK
spinning around, skidding to a halt, rear wheels over the
edge of the cliff.
FROM ABOVE - K.A.R.R. - STOCK
plunging into the water. A moment later a huge underwater
explosion goes off...the world's biggest depth charge.
MICHAEL AND BONNIE
reacting with relief.
FREEZE FRAME
END OF ACT FOUR
TAG
FADE IN
INT. SEMI - DAY
Michael, Bonnie and Devon stand with K.I.T.T...with
champagne glasses.
BONNIE
Well, at least things are back to
normal.
DEVON
At what cost? All that destruction....
MICHAEL
Not to mention Zeno's Paradox...It
may go unanswered for another 2000
years.
K.I.T.T.
I have a question about that, Michael.
What made you so sure that Karr
would turn away first...How did you
know you wouldn't uh....
BONNIE
Chicken out?
K.I.T.T.
Thank you, Bonnie...Yes, Michael.
How did you know you wouldn't
chicken out first?
MICHAEL
You provided that clue, Kitt. You
kept telling me how you two differed
in your basic programming. Yours is
to protect human life, but Karr's
basic program was self-preservation
...so in a head-to-head confrontation
...he would always 'chicken out.'
DEVON
Eminently...if colloquially put.
K.I.T.T.
Michael...I'm speechless.
DEVON
(sotto)
Bloody likely....
K.I.T.T.
No, really. Michael, your logic in
this case is totally illogical...and
yet it's absolutely correct. This is
just...amazing.
MICHAEL
No, just...human.
He slaps his hands together, smiles.
MICHAEL
Okay, Kitt, what do you say we go
out for a little celebration of our
own? We'll drive anywhere you like,
maybe get a car wash...you can beat
me at chess again...name it.
K.I.T.T.
Thank you, Michael, but it has been
a draining day. My power packs could
really use a rest.
MICHAEL
Okay, pal. I'll see you tomorrow.
They all ad-lib good-byes, exit. Michael lingers in the
door of the semi.
MICHAEL
(cheery)
Hey, how's it feel to be one of a
kind again?
K.I.T.T.
As you know, Michael, I do not have
feelings. However, for want of a
better term, being one of a kind is
a very familiar feeling.
MICHAEL
Right.
He goes out. We hold on K.I.T.T. for a beat.
INT. K.I.T.T.
A screen comes on. A button lights up "VIDEO REWIND."
We see snow on a screen. Then "PLAY" lights up. The
scene of K.I.T.T. and K.A.R.R. outside the warehouse
appears, their scanners touching.
K.A.R.R.
...It is interesting to meet you.
K.I.T.T.
It is interesting to meet you, Karr.
Until now, I thought I was one of a kind.
K.A.R.R.
To be one of a kind is very
special. But to be two of a kind is
special, also.
K.I.T.T.
Yes. Perhaps even more special,
Karr. Perhaps even more.
The "OFF" button lights up. The screen goes dark.
HIGH ANGLE SHOT - K.I.T.T. - VERY WIDE LENS
in the empty semi...one of a kind again.
THE END
