ACT ONE
FADE IN
EXT. ROAD THROUGH REMOTE TERRAIN (DESERT OR ?) - DAY
Camera pans the idyllic countryside, finding a rabbit at
roadside. Pan continues, and finds a tanker truck some
distance down the road, barrelling this way.
CLOSER - THE TRUCK
A logo identifies INTERSTATE WASTE DISPOSAL CO.
INT. THE CAB
We meet the driver, Chuck, a hard-looking man who's doing a
dirty job and doesn't mind a bit. He stares ahead at the
road.
HIS POINT OF VIEW - THROUGH THE WINDSHIELD
No traffic ahead.
BACK TO DRIVER
glancing at rearview mirror.
REARVIEW MIRROR
No traffic seen behind.
BACK TO DRIVER
he reaches for a wire pull release under the dash, pulls
this.
EXT. TRUCK - DAY - INSERT - A VALVE
as it is opened by the pull release, and a viscous liquid
spills out.
ANGLE ON THE ROAD
The fluid striping the roadside as the truck drives off.
Camera pans down to the fluid; the sound of the truck fades
to nature's silence again, then:
ANGLE
The rabbit moves out of the terrain flanking the road, to
the liquid staining the roadside, sniffs at the mess,
staggers, stumbles and finally falls -- dead.
CUT TO
ANOTHER AREA OF ROAD - DAY
The truck barrels past some cattle on graze land -- still
gushing its poison.
ANGLE WITH SOME OF THE CATTLE
There's a plaintive lowing, and we know these beeves are a
goner.
CUT TO
EXT. ROAD THROUGH DIFFERENT TERRAIN - DAY
A runby of K.I.T.T.
INT. K.I.T.T. - DAY
Michael facetiously bantering with K.I.T.T.
MICHAEL
I'm telling you, pal, I've seen
custom paint jobs that'd stop your
heart.
K.I.T.T.
I haven't got a heart, Michael. I
haven't got a paint job either. I
have a molecular bonded shell.
MICHAEL
So what would be so wrong if we maybe
airbrushed a little surfing scene on
the doors, wrote your name on your
side window -- Kitt: the love machine!
K.I.T.T.
Michael, even in jest this line of
conversation strains my audio sensors.
MICHAEL
O.K., Kitt, we'll stick with basic
black.
K.I.T.T.
Thank you.
MICHAEL
Maybe just a little pin striping.
K.I.T.T.
(beat)
Devon is calling.
INTERCUT - THE MONITOR
as Devon's image appears:
DEVON
Hello, Michael.
MICHAEL
Hello yourself, Devon. If you'd
waited another few minutes, we
could've talked face to face. We're
almost back to the semi now.
DEVON
That's why I'm calling. I won't be
there. I've injured my back. No
jokes, please, about falling off a
barstool or chasing blondes.
MICHAEL
Somehow, the image didn't occur.
DEVON
Bonnie will be doing double duty.
Taking my place. She'll fill you in
on what we've got.
MICHAEL
On what case?
DEVON
Acid John Birock.
(to Michael's
reaction)
You can pat yourself on the back for
putting the Foundation onto him.
MICHAEL
I'll pat myself on the back when we
put him out of business.
DEVON
It took considerable research and
surveillance, but I think we have a
handle on how to do just that. Good
luck, Michael.
MICHAEL
Feel better, Devon.
And the screen goes to black.
POINT OF VIEW THROUGH WINDSHIELD TO SEMI
ahead.
BACK TO MICHAEL
He tromps on the gas.
ANGLE ALONG THE ROAD - STOCK
Michael drives K.I.T.T. into the semi, and we see the
tailgate raise, etc. Finally we go:
INT. SEMI - DAY
Michael hurriedly emerging from K.I.T.T., meeting Bonnie,
who's putting a video disc (or VCR cassette) into the
machine.
BONNIE
I think you're going to like our
movie selection for the day.
MICHAEL
So Devon said. Tell me you've
caught Acid John in the act.
BONNIE
No such luck. But we have put a lot
of pieces together.
Bonnie hits the lights, and we:
CUT TO
OMITTED
EXT. INTERSTATE WASTE DISPOSAL CO. - DAY
The United truck enters the complex, moving past a sign
that identifies the place, and a guard gate. The guard has
a pistol on his hip, and in the facility we are aware of a
lot of security. We establish the facility as we follow
the truck in, and:
ANGLE IN THE COMPLEX TO FEATURE THE MONSTER MACHINE
It's (literally) a custom tractor truck, (figuratively) the
meanest "junk yard dog" to K.I.T.T.'s "pedigree." Angle
adjusts as it hauls some barrels of God knows what on a
flat, to an area of drums...tires throwing up rooster tails
of sand or mud, engine screaming as it plows its way
through the toxicity it's grown used to and now calls
home. We never see who's at the controls of the thing, but
it pulls its load past:
ANGLE AT THE ACID PIT
as Monster Machine moves past, a workman is finishing a
beer, tossing the can in the pit.
ANGLE IN THE ACID PIT
The beer can smokes and dissolves...and is gone in a
malevolent burp of bubbles.
CUT TO
INT. SEMI - DAY - OPEN CLOSE ON A VIDEO SCREEN
Seeing various angles of the United Waste dump operation,
plainly taken surreptitiously.
BONNIE (V.O.)
...the waste disposal site itself,
where acid is presumably contained,
but is actually leaching into the
ground waters of the area...barrels
of toxic waste...rusted, leaking, a
nightmare.
On a clear shot of Birock himself entering his Century City
office building:
MICHAEL (V.O.)
There's our man! John Birock ---
ANGLE ON SCENE
Michael here with K.I.T.T. and Bonnie watching the film.
MICHAEL
-- Acid John. Owner of Interstate
Waste Disposal. King of the polluters.
BONNIE
Your friend and mine.
MICHAEL
Chemicals that kill tossed in your back
yard, or dumped in your lakes and
streams. He likes his manicures today,
but he came up from the streets and
there's a lot of dirt under those
fingernails. Tell me you've found a
way, Bonnie.
BONNIE
We concentrated on finding his records.
They'd show a jury what chemicals came
in to the disposal site, and what were
unaccounted for ---
MICHAEL
Yes, dumped. Bonnie, we've been all
through that. The District Attorney
subpoenaed his records.
BONNIE
And Birock was happy to give him a
set -- a nice clean phoney set from
his nice clean offices.
(re film)
Here ---
And she slo-mo's the film. We see Birock entering his (dump)
office, briefcase in hand.
BONNIE
Here's why Devon brought you in. For
obvious reasons Birock stays as far
from that dump as he can get. But we
caught him there on two separate
occasions. Both times carrying
something....
MICHAEL
You think the real records are in
that dump of his.
BONNIE
We think they're in that office. If
we can confirm, the DA says he'll
jump on Birock with both heels....
Michael considers the image of Birock on the monitor, and we:
CUT TO
EXT. ROAD - DAY - STOCK
K.I.T.T. slides out of the semi, and heads on his way.
CUT TO
OMITTED
EXT. ROAD AT GRAZE LAND - DAY
Panning to see a number of cattle, dead in the graze land
here.
INCLUDE FRAN
A pretty lady in her late twenties, now moving away from
her camper (parked at the roadside), filling with fury at
the sight of the dead cattle. She hears a pathetic bawl,
looks to:
POINT OF VIEW TO A CALF
Miraculously, one calf has survived.
CUT TO
ANGLE ON THE ROAD - FEATURING THE DEAD RABBIT
as K.I.T.T. blasts past.
BACK INSIDE K.I.T.T.
Michael reacts to an odor.
MICHAEL
I think we just entered enemy territory,
pal. Can you give me a reading?
INTERCUT - K.I.T.T.'S SCOPE
Showing computer versions of various molecular structures,
as:
ON SCENE
K.I.T.T.
The road's surface is covered with
benzene and PCBs...polyvinyl chloride
...C-56...all in all, a highly toxic
combination.
Michael suddenly becomes alert to a sight ahead:
POINT OF VIEW THROUGH WINDSHIELD - A CAMPER
is parked at roadside. On the road, Fran is moving after
the calf that is staggering, attempting to get hold of the
thing.
BACK TO MICHAEL
as he slows K.I.T.T.
ON THE ROAD
Fran manages to get hold of the calf, which has faltered
and fallen. Michael pulls up, emerges, moves to her.
MICHAEL
Need a hand?
FRAN
Who're you?
MICHAEL
Just a guy passing by.
FRAN
You might as well just keep going.
There's nothing you can do. Nothing
anyone can....
She barely holds back the tears. Michael is looking about,
stunned by the sight of:
SEVERAL DEAD CATTLE
lying near the roadside.
BACK TO SCENE
as Fran collects herself, indicates the calf.
FRAN
He's too heavy for me. Can you get
him in my camper? I'll take him to a
vet...for all the good it'll do....
Michael picks up the calf.
ANGLE
as they walk to her camper:
MICHAEL
Is this your ranch?
FRAN
I'm not a rancher. I'm a wildlife
photographer. I'm beginning to feel
like an endangered species -- the
illegal dumping of toxic waste is on
its way in, and wildlife is on its
way out.
Michael loads the calf into the back of the camper, ad-
libbing: "There you go." "Be all right, little feller."
etc.
FRAN
Everyone knows what's happening, but
no one does anything. Everyone is
just 'passing by.'
MICHAEL
(can't spell
it out)
I'm not so sure about that.
She enters the cab, starts it, then pauses.
FRAN
I'm sorry. Thanks for your help.
MICHAEL
It was no trouble.
She nods her thanks again, drives off. Michael watches her
go, then heads back to K.I.T.T., gets into the car.
K.I.T.T.
Who was she, Michael?
MICHAEL
A lady with a point of view. Let's
go, Kitt. We've got business.
And they head off.
CUT TO
EXT. INTERSTATE WASTE DISPOSAL CO. - NIGHT
Quiet but the feeling it's a security-conscious, well-
armed camp.
OMITTED
ON THE ROAD OUTSIDE THE DISPOSAL SITE
K.I.T.T. cruises by, slowly, scanning.
INT. K.I.T.T. - MICHAEL AND K.I.T.T.
survey the place.
POINT OF VIEW THROUGH WINDSHIELD TO COMPLEX
The guard at the complex is armed. Other security personnel
are apparent.
MICHAEL
You get the feeling they don't want
company.
K.I.T.T.
More to the point, who'd want to visit?
MICHAEL
Let's find the office, Kitt.
INSERT - K.I.T.T.'S MONITOR
Seeing a schematic of the disposal site, as it is completed.
BACK TO SCENE
K.I.T.T.
That's it -- upper left quadrant.
MICHAEL
What kind of security?
K.I.T.T.
There's a Bell model 211-403 safe,
and a Marco steel and rock fireproof
file cabinet, complete with combina-
tion lock.
MICHAEL
Looks like we've got our work cut out
for us, pal.
EXT. INTERSTATE WASTE DISPOSAL - NIGHT
The place is lit in patches with work lights. The office
building is quiet; sounds of a poker game emanate from a
back shed. Off to the side are rows of barrels of God-
knows-what, stacked near the ominous acid pit.
THE MONSTER TRACTOR TRUCK
is parked, quietly, concealed by the barrels: the sleeping
junkyard dog.
OMITTED
MICHAEL
appears near the chain-link fence ringing the place. To
comlink, surreptitiously:
MICHAEL
I'm going in, Kitt.
And with a commando's moves, he's up and over the fence.
He moves through the shadows until he's outside....
OMITTED
THE OFFICE BUILDING
Michael ducks aside as a Security Man passes, then uses a
lock pick, breaks in.
INT. OFFICE - NIGHT - MICHAEL
entering. He turns on a flashlight, goes through the
place, checking the desk, and the file cabinets...but of
course it wouldn't be so easy.
MICHAEL
(into comlink)
Kitt, I need a hand with this lock.
INT. K.I.T.T.
The monitor shows K.I.T.T. going through the mathematical
permutations possible, and:
BACK WITH MICHAEL
at the file cabinet. The combination lock is worked by
K.I.T.T.'s invisible hand, and finally, Michael hears
the lock open. He hauls open the drawer, examines the
papers there, and is well satisfied by what he sees.
MICHAEL
(comlink)
Activate photo-scan, Kitt. We've hit
the mother lode.
Michael uses the comlink to scan the files, and:
OMITTED
INT. K.I.T.T. - NIGHT
He monitors the records, commits these to his computer memory.
BACK TO MICHAEL
Suddenly Michael is pausing in his work, closing the file,
as he hears a ruckus outside.
FRAN'S VOICE
No! Let me go!
Michael moves to the window, sneaks a look out at:
MICHAEL'S POINT OF VIEW - THE YARD
Fran has been doing some skulking too; she's dressed in
dark garb and is now wrestling in the ham-like arms of
Chuck, the tanker driver.
MICHAEL
is exasperated at the turn of events. Into comlink:
MICHAEL
Kitt, we've got trouble. Get in
here!
K.I.T.T.
All systems come to life as he auto-starts.
K.I.T.T.
Right away, Michael.
And with a squeal of tires and a burst of speed K.I.T.T.
heads for:
VARIOUS ANGLES - THE CHAIN-LINK FENCE
with a crash and a clang of grinding metal, K.I.T.T.
barrels through the fence.
ON THE SHED
Reacting to the noise, three of Birock's bruisers emerge
from their poker game and see the onrushing headlights.
They start racing for the office building but K.I.T.T.
slides into the fray. The lead bruiser gets through but
the other two find themselves being backed up by the
ominous black Trans Am.
K.I.T.T.
Going somewhere, fellows?
As they start to back away....
BACK TO FRAN AND CHUCK
He's got her and is now holding her camera by its strap.
CHUCK
Camera? Who are you?
She bites his hand and saves the camera but doesn't get
free. Suddenly:
MICHAEL'S VOICE
That's no way to treat a lady.
Chuck whirls as:
REVERSE ANGLE - MICHAEL
unloads on Chuck before he can respond. There's a brief
fight, and Chuck gets knocked out. Michael grabs Fran's
hand.
MICHAEL
Come on!
But before they can start away, the lead bruiser grabs
Michael from behind, and a second fight starts.
ANGLE - THE JUNKYARD DOG
Mysteriously, as if with a life of its own, it starts up
with the sound of a grinding diesel, belching flames and
smoke from its pipes.
ANGLE ON THE DRUM AREA
K.I.T.T. continues to corral the two other bruisers, who
keep backing toward the drums of waste.
K.I.T.T.'S VOICE
In a way, you two qualify as toxic
waste, so....
K.I.T.T. revs his engine and sends up a rooster-tail,
lunging for them. The two men turn and leap over the
barrels for cover. K.I.T.T. stops, satisfied, but just
then....
THE JUNKYARD DOG
snarls and roars its way out of concealment behind the
barrels, pushing them out of the way like so many aluminum
cans. Before the Trans Am can react, it drives its forklift
blades under the car, lifting it off the ground, its tires
spinning freely.
K.I.T.T.
Michael! Help!
MICHAEL
applies a roundhouse right to the bruiser's chin, sending
him out alongside Chuck, when he hears K.I.T.T.'s cries.
MICHAEL
Come on, Fran! This way.
They race off toward:
FULL SHOT - JUNKYARD DOG AND K.I.T.T.
The Trans Am is suspended helplessly above the ground as the
demon machine carries it to the edge of the bubbling acid
pit.
K.I.T.T.
Michael, hurry....
But it's too late as:
VARIOUS ANGLES
The Junkyard Dog dumps K.I.T.T. splashing down into the
acid waste and stands over K.I.T.T., almost glowering,
belching smoke in triumph. It starts backing out of sight
as:
MICHAEL
reaches the pit and looks into it, seeing K.I.T.T. sinking
deeper and deeper.
MICHAEL
Kitt, hold on!
K.I.T.T.
(weak)
Michael, I can't....
K.I.T.T.
sinks deeper and deeper into the ooze. It's over his door
panels.
MICHAEL
is joined by Fran. In the distance we hear:
CHUCK'S VOICE
Call Birock! We got a break in!
Get the dogs out here!
Along with other ND voices sounding the alarm. Michael
ignores them, dying inside at his inability to help
K.I.T.T. Fran grabs him.
FRAN
They're coming! We've got to get
out of here! Let's go!
K.I.T.T.
(weaker)
Michael....
Michael can't bear it. Before he turns:
MICHAEL
I'll be back, Kitt. I'll be back.
He grabs Fran's hand and they run off into the darkness,
toward the gate, toward freedom.
OMITTED
ANGLE ON K.I.T.T.
The last of him sinks into the bubbling smoking mess...
and, finally, his red scanner grows pale, then stops
as he disappears from sight.
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
EXT. INTERSTATE WASTE DISPOSAL CO. - DAY - OPEN CLOSE ON
K.I.T.T.
being hauled out of the acid pit by a F.L.A.G. tow truck.
Adjust to find an anxious and disheveled Michael on the
bank, Bonnie with him, giving instructions to F.L.A.G.
technicians who wash off the chemicals with huge steam/
solvent guns. Fran watches in close b.g.
ANGLE ON THE BANK
as K.I.T.T. -- or the shell of K.I.T.T. -- comes to rest on
the bank. Michael and Bonnie move slowly to the car,
examining K.I.T.T., hearts breaking, as they see:
VARIOUS ANGLES
K.I.T.T. has only (steel belt) shreds of an interior left.
Shreds of other "stuff" (trim, wiring) hang festooned from
the car. There are only plotches of paint. There is no
upholstery. The car might well have been burned to its
metal skeleton, which, in fact, is pretty much what happened.
ANGLE
Michael exchanges a somber look with Bonnie, moves to look
at the empty interior. Blanches. Finally, he is gently
calling:
MICHAEL
Kitt...Kitt....
There is no answer. Michael reaches out and touches the
voice box.
MICHAEL
Kitt?
INSERT - THE VOICE BOX
which crumbles at Michael's touch.
BACK TO MICHAEL
absorbing this, now running his hand along the car as if
looking for some sign of life. There is none.
THE MONSTER TRACTOR/TRUCK
looks on from nearby, belching exhaust, flanked by several
workers and security guards. They seem to be enjoying
themselves.
ANGLE ON MICHAEL AND BONNIE
Their eyes meet again.
MICHAEL
Let's get him out of here.
BONNIE
(nods)
The sooner the better.
ANGLE ON LIMO
Long and sleek, sparkling, it pulls up and stops. Doors
open. A chauffeur/bodyguard stands aside as John Birock and
his Attorney, Arthur Stiles step out. Birock is a big man,
well-dressed but tough, a street survivor who lets nothing
stand in his way. Birock has an MOS brief exchange with
his Attorney, who doesn't want Birock talking to Michael.
Birock brushes his Attorney aside, and:
ANOTHER ANGLE
Birock crosses to Michael, the Attorney in his wake.
BIROCK
You know me? You got some beef with
me?
MICHAEL
The same beef the rest of the world
has.
BIROCK
Now what is that supposed to mean....
ATTORNEY
(overlapping)
Mr. Birock, there's no reason for
you to be talking to this person!
BIROCK
(overlapping)
All right, all right...
(to Michael)
I don't know who you are, or what
you want, and I don't care, but
I'll tell you what -- don't come
back here.
ATTORNEY
(to Michael)
You know what a restraining order is?
BIROCK
You hear what I'm telling you?
MICHAEL
(returns Birock's
stare)
I hear just fine.
ATTORNEY
Step foot on this property again and
I promise you'll be prosecuted to
the fullest extent of the law.
Michael doesn't dignify the outburst; would turn to go, but
the Attorney puts a hand to his chest.
ATTORNEY
You got that?
MICHAEL
Take your hand off me, or you're
going to be flat on your back in the
mud. Have you got that?
The Attorney quickly removes his hand.
BIROCK
Don't press your luck. You're walking
away this time. This one's on me.
MICHAEL
Next one's on me.
Their eyes lock. Any spark could let it off. Bonnie
breaks the moment:
BONNIE
Michael...let's get Kitt out of
here. Please....
A last look and Michael turns, crosses to join Bonnie at
the truck. Hold on Birock, staring after him.
CUT TO
OMITTED
EXT. ROAD - DAY
The semi roars by.
INT. SEMI - DAY
Bonnie is going over what is left of K.I.T.T. with
diagnostic instruments. Michael watches her, waiting...
almost not daring to ask.
MICHAEL
(finally)
How bad is it...?
Bonnie sighs, pauses, tries to find the right words. For a
moment Michael thinks he sees tears in her eyes.
BONNIE
It's...gone, Michael. Destroyed.
Everything, but his shell, his
frame....
Michael looks to her for clues.
MICHAEL
How long will it take to repair him?
BONNIE
Michael, I don't think you understand.
It's not a question of 'repairing' him,
it's a question of recreating him.
There are only the barest shreds of
his memory banks left....
It sinks in.
MICHAEL
But he can be recreated...he can be
reborn.
It's half a question. Bonnie has trouble meeting his eyes.
BONNIE
With a lot of help, a lot of
work...and time, yes....
Michael senses it.
MICHAEL
'But.'
BONNIE
But Kitt was greater than the sum of
his parts. We can recreate the
parts...but whether they will equal
'Kitt' I just can't say....
MICHAEL
(beat)
We'll do it, Bonnie. Whatever it
takes, we'll do it.
(then)
You said a lot of help -- how much?
Who?
BONNIE
The original team that Wilton Knight
assembled -- Von Voorman, Yamata and
Breeland.
MICHAEL
Where are they?
BONNIE
Von Voorman's living in Berne,
Switzerland. I don't know where
Yamata and Breeland are.
Michael crosses to the computer, punches up Devon, whose
face appears on the monitor.
DEVON
Michael, I've been waiting to hear.
How is he?
MICHAEL
Not good, Devon. We need the original
team -- I don't care where they are,
what you have to do -- we need 'em
and we need 'em fast.
On Devon's look:
CUT TO
OMITTED
EXT. F.L.A.G. FOUNDRY - DAY
A hi-tech complex in a tranquil setting.
INT. FOUNDRY - DAY
Various angles of sparks and molten metal being worked;
reconstruction from the skeleton up.
ANOTHER ANGLE
A crew of technicians in coveralls muscles (with a dolly
or forklift, or chain hoist) the shell of K.I.T.T. off
toward a waiting (what we'll call) "Emergency Room." An
anxious Michael and Bonnie follow in their wake.
AT THE "EMERGENCY ROOM"
As the doors are opened we find a team of white-coated
technicians and scientists, high-tech automotive equipment
-- scopes and racks and wires and gauges and you-name-it
-- all in a "clean room" kind of setting. As the technicians
get K.I.T.T. into the room, Michael -- inclined to follow --
is halted by Bonnie, who puts a firm hand on his chest.
BONNIE
There's nothing you can do in here,
Michael. Please....
He subsides...finally nods his understanding. Bonnie
turns, hurries into the room after the technicians. The
best Michael can do is go to the door and stare through the
glass inset.
POINT OF VIEW - THE EMERGENCY ROOM
as K.I.T.T. is hooked up to wires and scopes, and one of
the technicians lights a cutting torch under Bonnie's MOS
direction.
REVERSE TO MICHAEL AT THE WINDOW
Camera moves in on his troubled look.
DISSOLVE TO
INT. EMERGENCY ROOM - NIGHT - VARIOUS ANGLES - A TECHNICAL
MONTAGE
opens up angle on the glare of a work light, as the techni-
cian bends into camera, handling some tools.
K.I.T.T.'s hood and doors are off. A technician is attaching
a number of wires from a hand truck of batteries operated by
another technician.
Bonnie sits at a computer console, wires running into
K.I.T.T.'s interior where we see a makeshift speaker box
set up where K.I.T.T.'s voice used to emanate from. Bonnie
types on the screen:
YOU ARE THE KNIGHT INDUSTRIES TWO-THOUSAND. WHO ARE YOU?
Bonnie waits, but...there's no response from the speaker
box except electronic static. Bonnie tries again.
WHO ARE YOU?
Bonnie waits again, watching the cursor blipping, awaiting
instructions. But again the only response is electronic
static.
ANGLE WITH MICHAEL
in the hall. Moving away from the door as a technician
hurries out on some important mission. Motivated away
from the door, he now moves off into the hall, and paces.
ANGLE IN THE HALL
As Michael sees white-coated Von Voorman and Yamata moving
into the emergency room.
BONNIE (V.O.)
Dr. Von Voorman! Doctor Yamata!
Thank goodness!...
VON VOORMAN (V.O.)
We came as quickly as we could.
MICHAEL
moves to the emergency room window, sees:
POINT OF VIEW TO BONNIE
MOS orienting the two scientists to K.I.T.T.'s situation.
BACK TO MICHAEL
turns away from the window; it's too painful.
DISSOLVE TO
BACK IN THE EMERGENCY ROOM
It's later. Breeland arrives, and is greeted by Bonnie.
She shows him to a table filled with micro-chips and
schematic designs, where she's been using a soldering iron
to create a complex circuit. He now assists, adds another
capacitor (or micro-chip) to the circuit.
Von Voorman and Yamata wheel in a cart, and put it next to
the engine compartment. On the cart, once the toweling
draping it is pulled aside, is an exotic-looking engine
part; the two technicians begin removing and transplanting
this new one, working with all the precision one would
expect of a technical "first team." And all the while:
ANGLE IN WAITING AREA
Michael is waiting...and waiting, hating it.
The door opens and Bonnie comes in, exhausted, but
determined.
BONNIE
Hi....
MICHAEL
Hi.
(beat)
Coffee?
BONNIE
No thanks.
Both are reluctant to address it.
MICHAEL
How's it...coming?
BONNIE
It's coming. 'How' we won't know
for a while. Why don't you go get
some sleep?
MICHAEL
If there's nothing I can do....
BONNIE
There isn't.
MICHAEL
(nods)
I could use an hour or two.
BONNIE
Good. I've been trying to think of
a polite way to kick you out of here.
They share a smile. It's been a while. It feels good. She
starts back in, when:
MICHAEL
Bonnie?
She turns.
MICHAEL
It's funny....
BONNIE
What?
MICHAEL
I guess sometimes it takes something
like this to make you realize how you
can take people for granted. I've been
watching you. I'd forgotten how good
you are.
She almost blushes.
BONNIE
Thanks.
She goes back inside. Michael grabs his jacket and leaves.
OMITTED
EXT. FOUNDATION - NIGHT - TO ESTABLISH - STOCK
MICHAEL'S V.O.
Thanks for coming over. I know it's
late.
INT. DEVON'S OFFICE - NIGHT
Michael escorts Fran into Devon's office. She notes the
opulent surroundings.
FRAN
I owed you one. Nice place, but...
somehow it's not you.
MICHAEL
Hardly. Did you bring the photos?
She reaches into her bag, presents Michael with a set of
8 x 10s.
FRAN
Right here.
MICHAEL
(as he
examines)
Are all these from the Birock dump
site?
FRAN
(nods)
More to add to my collection -- some
not so good, some kind of good --
but none good enough to make the
cover of a national magazine and
have people sit up and take notice.
I have a dozen portfolios full of
shots just like these.
MICHAEL
Sounds like you've made Birock a
personal crusade. Why?
FRAN
I came home the summer after my first
year as a professional in New York.
My father had died the year before.
I went out to the lake where we used
to go hiking and fishing on the week-
ends. I hadn't been there for years.
I couldn't believe the change -- the
trees were either dead or dying, there
weren't any more fish in the lake...
the old caretaker who rented cabins
was sick. He had a 'cough' he just
couldn't get rid of. He'd had it
for a year.
MICHAEL
Birock had a waste disposal place
nearby.
She nods.
FRAN
I extended my vacation. I made phone
calls. I contacted every city and
state official I could. Finally,
eighteen months later, the Department
of Health got a search warrant. The
night before they were to exercise it,
the place inexplicably burned down.
MICHAEL
Arson?
FRAN
I didn't know for sure. Not then.
But in the two years I've been
following his operation, I've seen it
happen three times -- you fight the
local bureaucracy. The red tape,
you're in a position to move on him
and suddenly a mysterious man shows
up...and that night there's a fire
that destroys everything.
A sober, reflective moment between them. Michael crosses
to her.
MICHAEL
I've got an idea how to nail Birock.
FRAN
It'll take eighteen months.
MICHAEL
No it won't. Not if it works.
FRAN
You have no idea how involved due
process is when it comes to toxic
waste.
MICHAEL
Yeah, I do. That's why I leave it
to people with more patience and
more time.
(beat)
I want you to tell me all you know
about Birock -- don't judge it,
don't screen it -- whether you think
it's important or not, I want to
know everything you know.
On her puzzled look:
CUT TO
OMITTED
EXT. F.L.A.G. FOUNDRY - DAY - TO ESTABLISH
OMITTED
INT. EMERGENCY ROOM - DAY
Michael enters with Bonnie. She looks cautiously
optimistic. He reacts.
WIDER ANGLE
leaner now, no more "stuff" festooned from him, but in
place of all that, are even more wires, etc. As K.I.T.T. is
hooked up to a myriad of machines and pneumatic gadgets,
looking very antiseptic (draped with drop cloths, etc.,
and very pathetic). A couple of technicians are cleaning
up, packing away some ugly looking cutting tools, and some
precise-looking scientific ones. They finish packing up
their gear, and finally leave the room.
Michael turns to Bonnie.
MICHAEL
You sure it's okay...?
She nods, a hint of a smile.
BONNIE
Just don't ask him to turbo boost.
With that, she too leaves, disappearing out a far door.
Michael cautiously crosses to K.I.T.T.
THE SCOPES
K.I.T.T. is hooked up to a couple of scopes, which read
flat at the moment, and one which clearly shows electrical
amperage, the needle moving rhythmically in time with the
pneumatic tube, cooling the exposed circuitry. Also
exposed, and not in its usual place, K.I.T.T.'s voice box.
Assorted battery packs are about, and alligator clips are
everywhere, tangled -- octopus ganglions of life support.
ON SCENE
Michael is affected by the sight, but manages:
MICHAEL
Hey, pal...it's me, Michael.
There is a long beat as he waits. Then, as if with great
effort, K.I.T.T. speaks. Except, it's K.I.T.T. speaking out
of a temporary speaker, and under various "boosters," and
so it hardly sounds like K.I.T.T. at all. And every line
could be his last.
K.I.T.T.
Hello, Michael....
Michael closes his eyes in gratitude for a moment, in spite
of the weakness in K.I.T.T.'s voice. Tries to rouse good
spirits.
MICHAEL
How you doing, buddy? Ready for a
little turbo boost? Maybe a couple
of one-eighties?
There is no response. Michael's smile fades, replaced by
concern.
MICHAEL
Kitt, I was just kidding.
(beat; worried)
Kitt?
K.I.T.T.
I guess my humor mode needs a little
more work.
(then, with
concern)
Where's Bonnie? Did Bonnie leave?!
MICHAEL
No -- no, she's right outside.
Michael feels uncomfortable. Doesn't know what to say.
MICHAEL
As a matter of fact she tells me
you're doing fine. You're gonna
pull through, buddy. Good as new in
no time.
Again, no response.
MICHAEL
Kitt?
K.I.T.T.
Yes?
MICHAEL
Did you hear me?
K.I.T.T.
Yes, Michael.
Another silence. Michael tries to hide his concern, fakes
cheerfulness.
MICHAEL
Well, I just wanted to come in and
see you...got a lot of people out
there anxious to get back in here
and...finish you.
(beat)
So. I'll see you soon, huh?
K.I.T.T.
Good-bye, Michael.
MICHAEL
You take care, pal.
He rises, torn, unsure what to do. He touches K.I.T.T.'s
fender, then turns and leaves.
OMITTED
ANGLE IN THE HALL
Michael emerges, plainly shaken, pauses as Bonnie crosses
from technicians to join him.
BONNIE
(encouraged)
Well?
Michael looks at her, can't fake it.
MICHAEL
It's...not him, Bonnie.
She reacts as if slapped, hurt.
BONNIE
What do you mean it's 'not him?'
It's him. It's Kitt.
MICHAEL
It is, but it isn't. There's
something wrong.
BONNIE
Michael, how can you say that?! Of
course there's something 'wrong' --
you saw what happened to him! How
insensitive can you be!
MICHAEL
Bonnie, I'm not criticizing you --
I'm not criticizing Kitt ---
BONNIE
He's not finished yet! He's still
weak, he still needs work! What did
you expect, jokes and pratfalls?
She doesn't wait for a reply, pushes back into the
emergency room. He's tempted to stop her, explain, but
she's gone. Hold on his face, the secret knowledge he's
right. Or is it just his imagination?
CUT TO
EXT. CENTURY CITY TYPE OFFICE - DAY
A bright, upscale location.
THE FRONT DOORS
Emerging from the high wood and glass doors is John Birock.
On his arm is a lovely, well-dressed young woman, Tori, who
hangs on his every word.
BIROCK
You'll love it -- forty-eight feet,
twin diesels, fly bridge. That's
where my captain sits running the
boat.
TORI
While we're down below -- partying.
BIROCK
We'll leave Friday about noon. Hey,
and why not bring that cute little
friend of yours for Eddie.
TORI
You mean, Melissa. The one who does
the bikini ads?
BIROCK
As I think of it, let's leave Eddie
home!
As they head for Birock's limo a hand grabs Birock's
shoulder and whirls him around.
ANOTHER ANGLE
As Birock finds himself face to face with a haggard and
intense Michael Knight. Tori steps aside, and looks on
during:
BIROCK
What do you want?
MICHAEL
I'm going to talk and you're going
to listen.
BIROCK
Get away from me.
MICHAEL
You're finished, Birock. You may
know how to deal with red tape and
cracks in the law, but you don't
know how to deal with me.
BIROCK
Don't let the limo and the suit fool
you, chum. I know how to deal with
you. I just don't have to deal with
you.
MICHAEL
Your operation is dirty. I'm gonna
close it down.
BIROCK
Be my guest. All you need is some
evidence.
Birock would head away to the limo once again, but Michael
has him halting.
MICHAEL
My little trip out to your acid pit
might have been a lot more productive
than you think.
BIROCK
Go ahead, Knight. Talk tough.
Threaten me. Every word's a nail in
your coffin.
MICHAEL
I'll see you arrested, I'll see you
prosecuted and I'll see you put in
jail. The law's a two-edged sword,
Birock -- you've been sitting pretty
on one side of it too long. Time's
run out. Now you're gonna taste the
other side, the side that cuts.
Michael doesn't wait for a reply, turns and stalks off.
Hold on Birock feeling a fury he hasn't felt in years.
OMITTED
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
EXT. F.L.A.G. FOUNDRY - DAY - TO ESTABLISH
INT. EMERGENCY ROOM - NIGHT
K.I.T.T. is looking more finished now. All his glass is
back in. Tires on. The body is filled out with grey lead
and primer. The interior is still makeshift and full of
wires, but seats are in it, and the wiring suggests most of
the components (and abilities) are back. K.I.T.T.'s hood
is up, his engine racing, as a technician bends over the
engine compartment, monitoring everything, revving the
engine at the carburetor, watching the scopes, etc. Bonnie
stands with Dr. Von Voorman nearby, supervising and noting
all the results on a clipboard, stoic.
VON VOORMAN
Response time is better, yes?
BONNIE
(nods)
Kitt, what's the square root of 256
and the capital of Montana?
K.I.T.T.
Bonnie, really....
Bonnie smiles. He's sounding a lot more like the K.I.T.T.
we know and love. But she stays firm.
BONNIE
Kitt, do you know the answer?
K.I.T.T.
Can Michael Jackson moonwalk?
(proudly)
Sixteen and Helena, population
22,730. The city boasts some lovely
old mansions along Power Street.
Police chief Bill Ware keeps the
streets safe. And it's not as cold
up there as they say it is. Shall I
go on?
BONNIE
You got it!
MICHAEL'S VOICE
Did I hear what I think I heard?
REVERSE ANGLE - MICHAEL
enters the room from the glass doors. He's up and excited
at K.I.T.T.'s "progress."
MICHAEL
What say, old buddy? How do you
greet an old friend?
K.I.T.T.
(excited)
Michael! I'm so glad to see you! I
have new diodes and circuit boards
and....
MICHAEL
Whoa there, pal...don't wear
yourself out.
(to Bonnie and
Von Voorman)
Seriously...how's he doing?
Von Voorman and Bonnie trade cautious looks.
BONNIE
Well, we're still not sure. You can
see there's been improvement....
K.I.T.T.
Improvement? That's an understatement.
We're planning a test run on the track
in two hours, Michael. Can you be
there?
MICHAEL
Wouldn't miss it for the world.
He means it. Michael looks to Bonnie to share his
hopefulness. Her reaction tells him and us she's still not
sure. Michael moves off, and we:
CUT TO
OMITTED
EXT. STREET - DAY
Fran and Michael at the back of her van, checking over her
camera equipment.
MICHAEL
I did just what I told you -- I
rattled Birock's chain, but good.
Now, let's see if you were right.
FRAN
He's going to do it -- like he's
done it every time someone's gotten
close before. He's going to burn
that toxic waste site to the ground,
and go find a new place to poison.
MICHAEL
I wouldn't ask you to tail him, but
he'd be watching for me now.
FRAN
(holds up
camera)
I'll be the eyes and ears for both
of us.
MICHAEL
Both of us? The man hasn't got a
chance.
There's a chuckle, and a warm moment between them, then
Michael turns serious again.
MICHAEL
It may take a while. We don't know
just when he'll make his move.
FRAN
I've been waiting years.
MICHAEL
You watch yourself. I don't mind
telling you the guy scares me.
FRAN
Welcome to the club.
There's a moment between them, then Fran moves to the
driver's seat and drives the van off. Michael watches her
go a beat, then walks off and we:
CUT TO
EXT. TEST TRACK AREA - DAY
Bonnie and Michael emerge from the large, well-equipped
Foundation tow truck in the middle of a large open testing
area. They're met by Von Voorman.
VON VOORMAN
This is fine. Right here.
MICHAEL
(looking
around)
I don't get it. Where's Kitt?
BONNIE
He wanted to show you himself.
Suddenly, K.I.T.T. roars out of nowhere and slides a ninety
degree to face the group. He still sports primer and
patchwork.
K.I.T.T.
Ta da!
They all applaud. And K.I.T.T. takes off, down the track.
All watch, as:
ANGLE ON THE TRACK
K.I.T.T. goes through the paces. And he looks pretty good,
at first.
INTERCUT - MICHAEL, ET AL
At first ad-lib jubilation at seeing K.I.T.T. back in
action again. Bonnie's face tries for enthusiasm, but
Michael's starts to fall.
BONNIE
Looks pretty good....
MICHAEL
Bonnie...before, he would have gone
through that trap at a hundred. Not
doing more'n sixty, now.
BONNIE
(reaching)
Just warming up? Suspension too
stiff, maybe?
MICHAEL
(sadly)
Bonnie, that's not it. Look at him.
K.I.T.T. continues through the course, but he does it the
way your car would...missing pylons, skiing erratically.
The group's faces confirm the sad story.
VON VOORMAN
I was afraid of this.
MICHAEL
Of what? Keep talking.
VON VOORMAN
He's been hurt. It's not surprising
he doesn't want to be hurt again.
BONNIE
You mean...he's lost his nerve?
VON VOORMAN
(nods)
In layman's terms...yes. He'll never
admit it, but you watch. He'll find
some excuse to stay out of the action.
Bonnie and Michael try to digest this.
BONNIE
Maybe if I reformat the software....
VON VOORMAN
(shakes his
head;
interrupts)
Miss Barstow, I'm sorry.
(beat)
I'll have to recommend he be
reclassified for light duty.
Michael is rocked by this.
MICHAEL
Light duty?!
VON VOORMAN
A utility vehicle, perhaps.
Recreational use. It's still a fine
automobile....
MICHAEL
(hot)
Fine automobile! Kitt's a thorough-
bred. You wanna make a golf cart out
of him!
VON VOORMAN
(gestures re
K.I.T.T.)
Look at him. He's playing the brave
soldier...for you, I suspect.
(beat)
But he cannot be trusted under
pressure. He just doesn't have it,
anymore.
ANGLE
K.I.T.T. roars up in "triumph," stands in front of them.
K.I.T.T.
A little rusty...but not bad, eh,
Michael?
MICHAEL
Looking good, Kitt.
(testing)
You ready for business?
K.I.T.T.
Just as soon as you can get me out of
here. I have been poked and prodded
and violated....
Suddenly there's a backfire, and K.I.T.T.'s engine runs
rough. And then another backfire. Which causes sparks and
fire at K.I.T.T.'s muffler.
K.I.T.T.
Oh...oh my...!
BONNIE
Fire!
Michael grabs a fire extinguisher off the tow truck and
douses the flames before they spread.
ANOTHER ANGLE
as Michael stands and surveys the car.
K.I.T.T.
(weakly)
Maybe they should tow me back to....
MICHAEL
(firmly)
No.
He moves to the car and opens the driver's door.
K.I.T.T.
Michael, what are you doing?
MICHAEL
No one is going to tow you anywhere.
We are going back to bay three and
we are going to put you in shape
and we are going to run this test
again until we get it perfect. You
got that straight, Kitt?
VON VOORMAN
With all due respect....
MICHAEL
Keep your respect, Doctor Von Voorman.
We don't deserve it...yet. Come on,
Bonnie.
And he gestures her into K.I.T.T., guns the engine, and
screeches off. Von Voorman looks after them, shakes his
head.
CUT TO
OMITTED
MONTAGE - REBUILDING K.I.T.T. - IN REPAIR BAY
Wider tires are wheeled in. Michael uses pneumatic tool on
the lug nuts. Michael uses a grinder to sand a portion of
K.I.T.T.'s body. Finally, Michael sprays black paint onto
bare metal and into camera...K.I.T.T.'s bonded shell...the
finishing touch. Michael stands by K.I.T.T., admiring his
work, as K.I.T.T. looks like his old self again. We can
almost hear the "Rocky" theme, as we:
DISSOLVE TO
EXT. BIROCK'S OFFICE BUILDING - DAY
Hustle and bustle as yuppies and working types move in and
out. Camera moves in among them to find Fran maintaining a
low profile, dressed unassumingly in jeans, sweater,
sunglasses. But around her neck is a professional's 35mm
camera with a good-sized lens. Suddenly her attention is
riveted to:
OMITTED
BIROCK'S LIMOUSINE - BIROCK AND ZOORMAGIAN
As it reaches the curb, Birock exits the limo with a small,
dark weasel of a man -- Mike "The Torch" Zoormagian. They
move quickly, furtively.
FRAN
recognizes her target, starts snapping away; moto-driving
shot after shot.
WHAT SHE SEES - CAMERA MATTE
In a series of freeze frames, we see Birock and Zoormagian
as they head into the building.
FRAN
lowers her camera, showing a satisfied smile.
FRAN
Gotcha!
CUT TO
OMITTED
EXT. FOUNDATION TEST TRACK - DAY
K.I.T.T. tears around the track with Michael at the wheel.
This time, all the maneuvers are being executed perfectly.
ANGLE IN K.I.T.T.
MICHAEL
Way to go, buddy! Looking good.
K.I.T.T.
Nice to have you back at the controls,
Michael.
MICHAEL
Nice to be here. Just one more
test.
He swings the wheel toward:
MICHAEL'S POINT OF VIEW THROUGH WINDSHIELD - A CONCRETE
WALL
K.I.T.T.
Oh, Michael...that's fourteen inches
of reinforced concrete.
MICHAEL
No sweat. We've penetrated twice
that much.
He bears down on the pedal.
INTERCUT - BONNIE AND DR. VON VOORMAN
looking on, pleased with the testing. Even Von Voorman is
impressed, until....
INSERT - K.I.T.T.'S DASH
A button labelled "abort" lights up and:
K.I.T.T.
screeches to a stop just short of the cement wall.
MICHAEL
rocks in his seat, controls his frustration.
MICHAEL
Kitt, what happened?
K.I.T.T.
Michael, at this stage of my
recovery....
MICHAEL
Kitt, you would've gone through it
like shaving cream. Trust me.
K.I.T.T.
I do trust you, but....
Silence from the car. Michael sags, it was going so
well....
K.I.T.T.
I'm sorry, Michael.
MICHAEL
It's okay, pal.
He climbs out of the car, shuts the door softly.
WIDEN TO INCLUDE BONNIE AND VON VOORMAN
running up to man and car.
BONNIE
What happened? Why didn't you
finish the....
But a look at Michael's discouraged face tells her all she
needs to know. As they ponder their dilemma:
FRAN'S VOICE
Michael! We got him!
They turn to see Fran running up to them.
NEW ANGLE - FRAN AND MICHAEL
Michael reacts to the importance of her news, pulls her
aside.
MICHAEL
What? Show me, tell me.
But Fran's already pulling a couple of 8 x 10 glossy
pictures out of her satchel. Hands them to Michael.
ADJUST TO INCLUDE THE PICTURES
grainy, but unmistakable: Birock and Zoormagian.
MICHAEL
(responding)
That's him. That's Mike Zoormagian.
BONNIE
Who?!
MICHAEL
Aka 'The Torch.' The most wanted
arsonist in the country. Meeting
with Birock today.
FRAN
It worked!
MICHAEL
Birock's gonna blow the Interstate
yards. And we're gonna catch him
doing it!
He plants a big kiss on Fran, and strides back to:
BONNIE AND K.I.T.T.
MICHAEL
Get ready for a ride, buddy. The
ride of your life.
BONNIE
Michael, you can't take him!
MICHAEL
You bet I can!
BONNIE
He might give out on you, just when
you need him most! Or he might try
to work for you, and try too much!
Michael is ignoring her and climbing into K.I.T.T., though
the door is open and Bonnie and Fran are on hand for:
ANOTHER ANGLE
K.I.T.T. has his own thoughts, and (plainly) fears:
K.I.T.T.
Michael, I'm not sure I'm ready.
MICHAEL
Are you kidding?! We're partners,
aren't we?
K.I.T.T.
Yes.
MICHAEL
We're a team, right?!
K.I.T.T.
Yes.
MICHAEL
I know you better than anyone, don't
I?
K.I.T.T.
Yes.
MICHAEL
Then believe me when I tell you, pal
-- this is it!!!
Michael slams the door and, with a roar and a squeal of
tires, he speeds off in K.I.T.T., Bonnie and Fran watching
them go. On the vanishing tail section, we:
FREEZE FRAME
AND
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
OMITTED
EXT. INTERSTATE WASTE DISPOSAL CO. - DAY
The Monster Junkyard Dog belches, growls, and bullies its
way through debris on its appointed rounds.
OMITTED
ANGLE AT THE PITS
Chuck is swinging up into the cab of the tanker truck.
ANGLE ON K.I.T.T.
Michael and K.I.T.T. are observing from a vantage point that
overlooks the waste disposal yards.
K.I.T.T.
I was hoping I'd never see this
place again, Michael.
MICHAEL
I know how you feel, buddy. If
things work out -- this'll be the
last time.
(reacts to O.S.)
Here we go.
MICHAEL AND K.I.T.T.'S POINT OF VIEW ON BIROCK'S
LIMOUSINE
as it pulls into the yard. Birock gets out. The tanker
truck rumbles up to Birock. Chuck is behind the wheel.
They have a brief MOS conversation.
Chuck gives Birock a thumbs up. As the tanker heads toward
the main gate, Birock goes into the office.
OMITTED
RESUME MICHAEL AND K.I.T.T.
MICHAEL
Kitt, is that tanker full or empty?
INTERCUT - K.I.T.T.'S SCREEN
as it comes to life -- a graphic of the tanker indicating a
liquid inside followed by the diagramatic molecular struc-
ture of the chemical.
K.I.T.T.
To the brim.
(pauses,
distraught)
Michael, its contents are identical
to those awful chemicals in the pit.
MICHAEL
Get me Bonnie.
Monitor comes on.
BONNIE
I'm here with Fran, Michael.
MICHAEL
Bonnie -- It's going down. There's a
fully loaded tanker heading out right
now.
OMITTED
INTERCUT - BONNIE ON MONITOR - IN SEMI
BONNIE
I'll relay the information to the state
police. They're ready to set up the
roadblock.
MICHAEL
Tell 'em to hustle. You know where
to find me.
BONNIE
That's what worries me. You two take
care of yourselves.
FRAN
Here, here!
A half smile and her image fades.
K.I.T.T.
Michael, I just detected tumblers
opening the security locks in that
office.
MICHAEL
Birock cleaning house. It's all
falling into place, Kitt. Birock's
covering his tracks with his usual
M.O. All the evidence will go up in
flames when Zoormagian does his bit.
INT. INTRASTATE WASTE DISPOSAL CO. OFFICE - DAY
as Birock unlocks and opens the fireproof security files;
pulling the drawers all the way out, exposed, ready for the
fire. Dumping other files on the floor.
RESUME IN K.I.T.T.
as Michael sees a car pulling into the dump.
MICHAEL
That'll be Zoormagian. Right on cue.
OMITTED
ANGLE AT UNITED
A car pulls up, drives in. Stops. Zoormagian gets out, is
joined by Birock from the office, MOS dialogue between them.
ANGLE IN K.I.T.T.
Michael watching every move.
MICHAEL
There's a pretty picture. Partners
in crime. Let's get it all for
posterity, Kitt.
K.I.T.T.
Not to mention the DA.
K.I.T.T.'s monitor shows the Birock/Zoormagian scene
below.
MICHAEL
Video and audio.
K.I.T.T.
I remember the plan, Michael.
INSERT - THE MONITOR
seeing Birock and Zoormagian below.
ANGLE AT DRUM STORAGE AREA - DAY
Hundreds of fifty-gallon drums filled with chemicals;
stacked three, four, five high. Zoormagian moves between
the drums. He stops and we are:
CLOSE ON A DRUM
as Zoormagian uses a small pry bar to pop the steel plug in
the center of the drum. The volatile waste chemical begins
pouring out onto the ground.
BIROCK
Be careful with that stuff -- or
we're both history.
ZOORMAGIAN
You hire an expert, then you have no
faith....
ZOORMAGIAN
crosses to another drum and does the same, Birock watching.
BIROCK
I've got a one thirty flight. I
don't want anything to happen until
I'm gone.
(looks about)
Beautiful...it was a gold mine.
(beat)
Burn it to cinders.
ZOORMAGIAN
It'll be like it was never here.
BIROCK
Two minutes. I've got to clean out
the safe.
He hurries back inside. Zoormagian continues his
preparations for the fire.
OMITTED
ANGLE ON K.I.T.T.
watching the monitor. Michael flips some switches.
MICHAEL
Birock just talked himself right
into jail. You ready, pal?
K.I.T.T.
What...exactly are we going to do,
Michael?
MICHAEL
Kitt? You were just bragging about
your memory.
K.I.T.T.
Michael, if you're suggesting I'm
afraid, nothing could be further
from the truth. I don't experience
fear. I do, however, abide by my
dominant program: the preservation
of human life.
(beat)
You could be hurt down there.
MICHAEL
Yeah, I could be. But so could you...
(beat)
Kitt, I'm not saying you're afraid.
But if you were, that'd be okay,
too. It's no crime. If it were,
we'd all be guilty.
(beat)
Before we met, when I was still
Michael Long...what am I telling you
for, you know what happened. But
maybe you don't know all of it...When
I regained consciousness days later,
I could still see that muzzle
flash. I couldn't get it out of my
mind. For months afterwards I'd
flinch when someone lit a match,
when a car's headlights would flash
in my face....
K.I.T.T.
(long beat)
How did you overcome it, Michael?
MICHAEL
I didn't. It overcame itself. All
I did was refuse to give in to it,
and do what I knew had to be done.
A thoughtful pause before K.I.T.T.'s scanner flashes. His
voice takes on a more determined, confident tone.
K.I.T.T.
Speaking of what has to be done, I
believe we have an arsonist to stop.
The image on the monitor zooms in until a blowtorch nozzle
and flame become visible. The flame sharpens to a blue-
white pinpoint as Zoormagian turns up the flow of gas.
MICHAEL
(a smile)
Gotcha. Ready?
K.I.T.T.
(beat)
Yes, Michael, I am.
(then)
And Michael? Thanks.
Michael pops the clutch; slams the accelerator to the floor
and:
OMITTED
K.I.T.T.
takes off down the road at high speed toward the entrance
to the yard and we go to:
EXT. DRUM STORAGE AREA - DAY
Waste chemicals flow from a dozen drums, forming puddles on
the ground between the stacked drums. Zoormagian, torch in
hand, is following a narrow river of the chemical that flows
in a tire rut. He allows this "fuse" to lengthen for a few
beats, then lowers the torch toward it.
ANGLE AT GATE
K.I.T.T. speeds through.
ANGLE WITH ZOORMAGIAN
Ready to ignite the chemicals, he reacts as K.I.T.T. roars
up, Michael leaping out.
Zoormagian comes at him; throws a punch. Michael blocks it
and puts Zoormagian away with a roundhouse right to the
jaw. Zoormagian goes down and stays down. Michael crosses
toward K.I.T.T.
K.I.T.T.
Nicely done, Michael.
MICHAEL
Thanks, buddy. But we're not
finished. Gotta find Birock ---
K.I.T.T.
Michael!
OMITTED
ANGLE - THE MONSTER FORKLIFT
blasts through some drums of goop, climbs over these,
bearing down on them.
OMITTED
K.I.T.T.'S POINT OF VIEW - THE MEANEST MACHINE AROUND
stares right at him, exhausts growling, ready to eat up the
pedigree in front of him.
BACK IN K.I.T.T.
He's a little uncertain; takes a moment to gather his
courage, then:
MICHAEL
We could micro-lock his brakes!...
K.I.T.T.
That wouldn't prove much, would it?
MICHAEL
It's you and me, buddy. Let's go!
Michael tromps on the accelerator. K.I.T.T. surges ahead.
OMITTED
THE JUNKYARD DOG
rocks toward K.I.T.T., intending to spear K.I.T.T. with the
massive forks that jut out from the front of the monster
vehicle, but:
K.I.T.T.
turbo boosts right over the top of the Junkyard Dog.
OMITTED
INTERCUT - BIROCK
reacting with amazement to this maneuver, while:
THE JUNKYARD DOG
continues to blast forward to where K.I.T.T. would have
been. Its momentum driving the massive forks into another
car, or Birock's limousine, or the guard shack, whatever is
feasible. As the monster vehicle backs away from its
skewered victim, we are:
OMITTED
ON MICHAEL
As K.I.T.T. lands, he's clearly euphoric at K.I.T.T.'s
performance.
MICHAEL
Yeah! Way to go, pal!!
K.I.T.T.
Oh, I must admit, this is a good
feeling, Michael.
Michael flips some switches on the console.
K.I.T.T.
does a screaming one-eighty; circles the monster vehicle
and blasts right in front of it at high speed and we are:
OMITTED
ON THE MASSIVE FORKS
as K.I.T.T. lops them right off the front of the Junkyard
Dog, and:
ANOTHER ANGLE
as K.I.T.T. swings around; aligns his front bumper with the
front of the monster vehicle and plows it into the bubbling
acid. There's a roar that sounds like pain as its engine
tries to race out, then coughs and dies.
ANGLE
Birock manages to scramble out onto the top of the cab, as
Michael is getting out of K.I.T.T. Birock considers his
position and blanches with mortal terror.
BIROCK
Pleeeeze!...
FRAN'S VOICE
Hold it! Perfect!
Michael turns to see:
BONNIE AND FRAN
are arriving, Fran with her camera ready.
MICHAEL
(reacts)
What're you two doing here?!
FRAN
Getting my shot for Newswatch
magazine, what else?
As Fran clicks off shot after shot of Birock atop the
Junkyard Dog being destroyed by the ooze in the acid pit.
BIROCK
(calls out)
Come on, get me out of here! What
is this?
MICHAEL
I believe it's called hazardous waste
disposal.
(to K.I.T.T.)
Wouldn't you agree?
K.I.T.T.
I most certainly would.
BIROCK
His jaw drops.
MICHAEL
grins, swings a look to K.I.T.T., then Bonnie and Fran,
and we:
OMITTED
FADE OUT
END OF ACT FOUR
TAG
FADE IN
EXT. FIELD - DAY
Open close on a magazine cover -- the masthead proclaims
NEWSWATCH. The cover is Fran's. A photograph of Birock
atop the Junkyard Dog sinking into the acid pit. We widen
out to include Michael and Fran on a blanket having a picnic
and looking at the magazine. K.I.T.T. is parked close by.
FRAN
Been a long time coming ---
MICHAEL
Well, I'm glad we're the ones who
made sure he finally got -- wasted.
Fran and Michael laugh, but K.I.T.T. maintains a serious
demeanor.
K.I.T.T.
Yes, well, unless my speed reading
program has developed a glitch, I
can't find anything in the accompany-
ing article that indicates who put
those Neanderthals into that acid pit.
FRAN
Why, Kitt, I think I detect a subtle
craving for recognition in that
statement.
K.I.T.T.
After what I've been through, a little
publicity might help reinforce my
self image.
MICHAEL
Gee, Kitt, I'm sorry.
(winks to Fran)
I mean, I thought you were one of
those old-time heroes who just drove
off into the sunset, secure in the
knowledge that you can handle any
situation that might arise.
OMITTED
ANGLE WITH K.I.T.T.
K.I.T.T.
I don't know if those old-time heroes
were so much. I mean, they always
drank sasparilla and never kissed
the girl. What was all that about?
Michael? Michael?...
WITH MICHAEL AND FRAN
This hero is kissing the girl....
K.I.T.T.
K.I.T.T.'s light waves a "wink" at us, and we:
FREEZE FRAME
FADE OUT
THE END
