ACT ONE
FADE IN
EXT. BEACH - DAY
Sunlight pours down on a crescent of beach in a small,
rocky cove. Cliffs tumble into tide pools which ebb and
swell with driftwood and debris from a recent storm. A
young woman and man clamber over the rocks. They are:
JOHN STANTON AND MANDY MORAN
She's a beauty; barefoot, tanned, dressed in cutoffs and
a bikini top of her own design. He's trim and healthy,
older, late twenties, not quite as at peace with the
world as she is. He's carrying a portable metal detector
and they banter teasingly as they scavenge the tide
pools.
JOHN
Back in the Fifties a guy found some
Spanish doubloons near here after a
big storm.
MANDY
I'll bet he retired to Tahiti.
JOHN
Not only that, his girl friend
opened up her own bikini shop.
She laughs. He reaches to pinch her but she dodges,
laughing. Suddenly the metal detector starts to emit some
erratic clicks.
JOHN
Hello, Tahiti.
The detector rises in frequency and pitch. Mandy follows
him as he starts off over the rocks.
He stops, sensing something. She follows his look.
REVERSE ANGLE
Protruding from the sand at the waterline are the roof and
window posts of a very familiar black Trans Am. Even three-
quarters buried, its sleek lines are recognizable and despite
its position, it is free of rust and corrosion. It glistens
in the morning light as a froth of foam splashes around it.
ON MANDY AND JOHN
amazed by the unexpected find.
MANDY
Good-bye Tahiti.
JOHN
Don't be so sure. It looks brand new.
MANDY
John, it's not Spanish doubloons,
it's somebody's car.
JOHN
(half-
listening,
fascinated)
C'mon, let's get the truck.
As he grabs her hand and they move off, push in on the black
car. Suddenly, from the exposed slit of window comes a brief
pulsation of yellow light. It throbs a second time, then
it's gone.
EXT. TUNNEL - DAY
A tunnel's black mouth opens onto a peaceful two-lane
highway. Over bright rock music, we hear a horn blaring.
MICHAEL'S VOICE
Whoooo-eee! Yeah!
Suddenly K.I.T.T. pops out of the tunnel. The honking stops.
INT. K.I.T.T. - DAY
Michael's smiling at the wheel, free as the breeze.
K.I.T.T.
Honking in a tunnel. Really, Michael,
I fail to see the point.
MICHAEL
It's an American tradition. Like
raising your hands on a roller coaster.
K.I.T.T.
Unsafe, unsound behavior if you ask me.
MICHAEL
Now that you mention it, I didn't.
Kitt, relax. It's been a long trip.
Another hour and you'll be back to
Bonnie for some TLC.
K.I.T.T.
None too soon. My remote monitors
seem to be malfunctioning.
MICHAEL
(checks dash)
You look good to me.
INSERT - COMMUNICATIONS PANEL
as K.I.T.T.'s new indicators scan the wave bands.
K.I.T.T.
Contrary to popular belief, looks
aren't everything. I'm picking up
some very unusual signals from up
the coast.
(beat; then)
Michael, someone is broadcasting on
our private carrier frequency!
BACK TO SCENE
Michael's brow narrows.
MICHAEL
That's not supposed to be possible.
K.I.T.T.
It must be a problem in calibration.
MICHAEL
That's what worries me. That's not
supposed to be possible either.
EXT. ROAD - DAY
The Trans Am veers off, changing course and heading for the
coast.
EXT. BEACH - DAY
Under a higher, hotter sun, John strains to finish the work
of shoveling sand away from the car. He's nearly got it
dug out. Mandy hands him a tow chain attached to a well-
worn tow truck marked "MR. D'S GARAGE." Looking for a place
to attach it, he brushes sand off the rear license plate,
which reads simply, "KARR."
JOHN
Okay, easy....
ANGLE IN K.A.R.R. - ON DASH
Unseen by John a light blinks on.
WIDE SHOT
Mandy guns the tow truck. The chain grows tight, the
Trans Am moves an inch but doesn't roll free. John moves
to the car's front, looking for a place to push.
ANGLE ON K.A.R.R.'S DASH
A second set of lights blink to life. An indicator labeled
"Ignition" begins to glow.
ANGLE ON THE TRUCK AND MANDY
She frowns in frustration as the wheels spin in the sand.
MANDY
I've got it floored!
ON JOHN AND THE TRANS AM
On his knees in the sand, he grasps the hood, straining to
push it free.
JOHN
C'mon, just a little more!
Suddenly the scanner flashes on and a throaty turbine roars.
John jumps back in amazement as K.A.R.R. starts to shake,
digs in, and rises slowly from its sandy grave like a dark
Phoenix. It glides up onto the flat beach and its engine
lowers to a throbbing idle.
ANGLING WITH JOHN
He moves cautiously toward the Trans Am. Mandy hops from
the cab and joins him.
JOHN
Wow.
MANDY
What happened? How did it start?
JOHN
I don't know, it just did....
As John reaches for the door, it clicks open on its own.
John cautiously leans in. He stares, enthralled, as more
lights start blinking on in the cockpit.
JOHN
You won't believe this dash. It's
like a fantasy of what a car's dash
should be like.
MANDY
Not mine.
He sees a loose wire under the dash, plugs it into its con-
nector. From the dash comes an unintelligible grunting
sound, and a yellow voice box flashes. If we didn't know
better, we'd think the car might have been clearing its
throat.
JOHN
I'm gonna drive it into town. C'mon.
MANDY
What if the owner comes back?
JOHN
I'll tell him you're a hitchhiker.
Mandy, we're saving the car, not
stealing it. C'mon.
She pauses and climbs in.
EXT. BEACH AND HIGHWAY - DAY
K.A.R.R. flies up off the sand, across the gravel shoulder
of the road and onto the coastal two-lane.
INT. K.A.R.R. - DAY
She's petrified.
MANDY
John, slow down!
JOHN
I'm barely touching the pedal!
Seemingly on its own, the car slows down to a more reason-
able speed. We hear the turbine's pitch wind down. John is
amazed.
JOHN
Voice command, are you ready? I
don't believe it. You've got the
world right here at your fingertips.
Music!
Suddenly welling up from all around them comes a thundering
rock beat as K.A.R.R.'s sound system grinds into a current
hit song. John and Mandy stare at each other.
JOHN
I bet George Lucas drives one of
these.
OMITTED
EXT. ANOTHER HIGHWAY - DAY - ON K.I.T.T.
Michael and K.I.T.T. come over a mountain pass, heading for
a small beach community.
MICHAEL'S VOICE
How're we doing?
ANGLE IN K.I.T.T.
Michael is more concerned than he's showing.
K.I.T.T.
You just asked me that. We're getting
closer. The signal is progressively
stronger.
MICHAEL
Good. When we're close enough I want
to triangulate the source and convert
the impulse into a visual.
K.I.T.T.
We should be close enough now.
MICHAEL
Let's find out.
He keys the code on the computer.
MICHAEL'S VOICE
Okay, now let's see if it's moving
or not. Give me an overlay of the
area.
INSERT - MONITOR
A red pulse on a blank field is overlaid with a street map.
BACK TO MICHAEL
He studies it.
K.I.T.T.
It's moving.
MICHAEL
I noticed.
K.I.T.T.
(beat)
You're worried, aren't you?
MICHAEL
It's probably nothing, Kitt. I just
want to make sure.
EXT. BEACH BOARDWALK AREA - DAY
K.A.R.R. glides up in front of a colorful row of hot dog
stands, beach front boutiques and roller skate rentals.
ANGLE IN K.A.R.R.
Mandy kisses him, climbs out.
JOHN
I'll see you tonight.
MANDY
I've got that Poly Sci final to
study for.
JOHN
Oh, yeah. 'Explain Libya in twenty-
five words or less.' I forgot.
MANDY
Don't do that. It's important to me.
JOHN
(beat)
I know. I'm sorry.
MANDY
(kisses him,
pauses)
John....
JOHN
I'll turn the car in. I promise.
EXT. BEACHFRONT - DAY - ON K.A.R.R.
Ad-lib good-byes and Mandy crosses to a bathing suit
boutique called "BIKINIMANIA."
TIGHTER ANGLE - FAVORING JOHN IN K.A.R.R.
A pretty female roller Skater glides by in tight shorts.
She ogles K.A.R.R.
SKATER
Hey, radical car, dude.
JOHN
Radical shorts.
She gives him a big smile, skates off. John's aware she
wouldn't have reacted this way if he'd been driving the tow
truck. He peels out.
JOHN
Music!
A current hit blasts over stereo speakers.
EXT. CITY STREET - DAY
K.I.T.T. is entering town when suddenly the same rock song
blasts on his speakers.
K.I.T.T.'S VOICE
Michael!
ANGLE IN K.I.T.T.
Michael reacts.
K.I.T.T.
That awful music is being broadcast
on our frequency!
MICHAEL
Kitt -- the monitor.
INSERT - MONITOR
The red pulse fades and disappears.
BACK TO MICHAEL
A thoughtful moment. He turns down the sound.
K.I.T.T.
I don't understand what's happening.
MICHAEL
Neither do I, pal. But whatever the
source is, it was heading back out
of town -- and fast.
He cranks the wheel.
EXT. STREET - DAY
K.I.T.T. executes a 180 and heads out.
OMITTED
EXT. RURAL HIGHWAY - DAY
K.A.R.R. speeds along. John is enjoying himself.
JOHN
Wow! Where were you when I was
seventeen? You know, I thought the
days a hot car could make me feel
good were over. I was wrong. I'm
gonna hate to give you up, slick.
K.A.R.R.
Then don't.
John's eyes widen at the deep, rumbling voice.
ANGLE ON HIGHWAY
The black Trans Am comes screeching to a halt, tires squealing.
John jumps out, slams the door, moves a safe distance away.
JOHN
Okay, what is this? A joke? A tape
recorder? Is Allen Funt gonna pop
up and say, Smile, You're On Candid
Camera?
K.A.R.R.
Who's Allen Funt?
John nearly jumps out of his skin.
JOHN
What is this? You're a car. Cars
don't talk....
K.A.R.R.
Correct. I am not a car -- I'm the
Knight Automated Roving Robot, the
first in a bold new experiment. You
may call me 'KARR.' Speech is
actually the least remarkable of my
functions. Get in. Let me show you
what I can really do.
John turns, leaving, walking very quickly. K.A.R.R. follows
him, yellow scanner flashing.
JOHN
You're a 'bold new experiment,' I
think that's terrific. Personally
I'm not a bold new experiment. I
think you'd be happier with somebody
else.
K.A.R.R.
John, the days of 'feeling good'
aren't over. Not for someone who
still dreams. Not for someone like
you. Think of me as the genie in the
magic lamp.
JOHN
Who am I, Aladdin?
K.A.R.R.
If you choose.
John stops; half-laughing at himself, he turns to face
K.A.R.R. He shakes his head, climbs in, turns off
the stereo.
CUT TO
EXT. ANOTHER HIGHWAY - DAY
K.I.T.T. arcs over a hill.
K.I.T.T.'S VOICE
Michael! It's gone!
ANGLE IN K.I.T.T.
Michael reacts, punches buttons:
INSERT - MONITOR
The red dot reappears and pulsates over the map, heading
out of town.
BACK TO MICHAEL
MICHAEL
Plot us an intersecting course.
(punches
buttons)
I want to temporarily shut down our
own signal, just in case.
K.I.T.T.
In case of what?
MICHAEL
In case whatever it is is also
tracking us.
He hits the accelerator.
CUT TO
EXT. MOUNTAIN ROAD - DAY
Just empty road, then the approaching whine of a powerful
turbine...and suddenly K.A.R.R. flies into view, shoots past
at an unbelievable speed.
K.A.R.R.'S VOICE
As you can see, terrain doesn't hamper
my performance. I am designed for
virtually every condition.
INT. K.A.R.R. - DAY - ON JOHN
He looks apprehensive, but exhilarated.
JOHN
I don't believe it. I don't believe
any of this....
K.A.R.R.
Forget belief systems. Forget the
perimeters of 'rational thinking' as
it's so smugly called. Feel, my
friend...feel....
Just as John is ready to give in to it, something catches
his eye.
REVERSE ANGLE - WHAT HE SEES - A CHP CRUISER
has spotted them speeding.
EXT. HIGHWAY - DAY - WIDE SHOT
As K.A.R.R. rips by, the police cruiser slides into a 180
and takes off after it. Over the radio we hear:
OFFICER'S VOICE
Seven Baker Charles in pursuit of a
black T-top, speeding and reckless,
northbound on State 14. Request
assistance.
And the chase is on. He fires up his lights and siren.
EXT. DIFFERENT AREA OF HIGHWAY - DAY
Michael pulls the Trans Am off the road, punches buttons.
MICHAEL
One more time, Kitt.
INSERT - MONITOR
We see K.I.T.T., a solid dot, and the approaching blinking
dot.
K.I.T.T.'S VOICE
According to my projections the
source should be here within
seconds, Michael.
BACK TO MICHAEL
He waits, ready for anything. Or so he thinks. Out
of the silence comes the high-pitched whine of K.A.R.R.'s
turbines. It grows louder until:
ANOTHER ANGLE - MICHAEL'S POINT OF VIEW - UNDERCRANK
K.A.R.R. slams around a curve into sight, races past the
parked K.I.T.T., and is gone as fast as it appeared.
ANGLE ON MICHAEL
stunned by what he's seen.
K.I.T.T.
Michael!
MICHAEL
Gotcha pal. Let's go.
They scream out in pursuit.
INT. TRANS AM - DAY - OVER MICHAEL'S SHOULDER
hot on the heels of the fleeing K.A.R.R.
K.I.T.T.
Michael, that can't be Karr. We
destroyed Karr two years ago!
MICHAEL
Then who -- or what -- is that?
K.I.T.T.
But I saw him explode. You saw him
explode.
MICHAEL
(punches buttons)
Let's get a visual on his license.
K.I.T.T.
Good idea.
INSERT - MONITOR
Camera zooms into a shot of the plate: K.A.R.R.
BACK TO MICHAEL
MICHAEL
So much for wishful thinking.
EXT. HIGHWAY - ON A CURVE - DAY
K.A.R.R. races into view and whips past. A second later
K.I.T.T. blazes into sight in hot pursuit, flashing past
the camera.
ANGLE IN K.A.R.R.
John looks concerned.
JOHN
Hey...Okay...You can slow down...
C'mon, it's okay now.
K.A.R.R.
They must have picked up my sonar.
Damn!
JOHN
Who? What're you talking about -- ?
Confused, glancing up, he sees in the rearview mirror:
HIS POINT OF VIEW - K.I.T.T.
A fair distance behind but matching them move for move, hot
on their tail.
BACK TO JOHN
He stares at the dash.
JOHN
Who's that? That car looks exactly
like you!
K.A.R.R.
Not for long. Hang on.
John looks ahead, reacts.
HIS POINT OF VIEW - A FLATBED TRUCK
lumbering into an intersection just ahead is a large diesel
pulling a load of fifty gallon oil drums. Markers on the
side warn; "Caution: Flammable Materials."
BACK TO JOHN
JOHN
Oh, God! Stop! Where are the
brakes?!
K.A.R.R.
Manual override! Press 'Turbo Boost.'
Desperate, John does. Suddenly his head is thrust back.
VARIOUS ANGLES - THE JUMP
K.A.R.R. turbos off the pavement and over the side of the
load of oil drums.
ANGLE ON DRIVER
He reacts, momentarily loses control. The truck jackknifes.
ON THE TRUCK - OPPOSITE SIDE
K.A.R.R. crashes back to earth and speeds away. Two ND
cars screech into near-collisions at the scene as oil drums
roll wildly off the truck.
OMITTED
ANGLE IN K.I.T.T.
Michael reaches for K.I.T.T.'s turbo button:
MICHAEL
Kitt, are we clear?
K.I.T.T.
The risk factor is too high!
Michael swings the wheel to the right.
WIDE ANGLE - K.I.T.T.
goes into a broad slide just short of the stack up. Michael
climbs out just as the CHP cruiser screeches onto the scene.
The Officer leaps from his car, gun drawn.
OFFICER
Freeze! Hands in the air.
Michael realizes what's happening, looks at him in disbelief.
MICHAEL
I know what you're thinking, but it
wasn't me. Check the license! The
guy you're after is getting away ---
OFFICER
Right. Spread your hands on top of
your car. Now.
CLOSE ON MICHAEL
It's no use. As he spreads his hands....
FREEZE FRAME
END OF ACT ONE
ACT TWO
FADE IN
EXT. POLICE STATION - DAY
Pan over:
MICHAEL'S VOICE
Thanks for bail, Devon. You know
how Kitt hates impound yards....
Camera reaches the adjacent impound area as Michael drives
K.I.T.T. out.
K.I.T.T.'S VOICE
A euphemism indeed. Jail for auto-
mobiles is what it is. I feel
like a hard-rock con.
ANGLE IN K.I.T.T.
as they pull out into early morning traffic, Devon on the
monitor.
DEVON
It's still hard to believe Karr is
back.
MICHAEL
He's back all right. And from what
we've seen so far, meaner than ever.
(beat)
I'll need you and Bonnie up here as
soon as possible.
DEVON
We'll be leaving within the hour.
Michael?
MICHAEL
Yeah?
DEVON
Be careful. I don't want any nose-
to-nose encounters with that...
'machine' until Bonnie's had a chance
to beef up Kitt's weaponry.
MICHAEL
Gotcha, Devon.
He punches Devon out, hits another button.
MICHAEL
Reach back into your memory banks,
pal. I think we could both stand a
rebriefing.
INSERT - MONITOR - A SERIES OF SHOTS
from the initial K.A.R.R. encounter...the highlights.
BACK TO MICHAEL
He watches, looking for any weaknesses, an overlooked flaw.
MICHAEL
All right, Kitt, let's reconstruct
the triangulation. I want to find
out where Karr came from...and if
possible, who's helping him.
K.I.T.T.
Right away, Michael.
The graphic reappears on K.I.T.T.'s monitor.
WIDER ANGLE
Michael eases into high gear, heading out of town.
CUT TO
EXT. BEACH AREA - DAY
K.I.T.T. pulls up above the tide pools where K.A.R.R. was
found. Michael climbs out and scans the beach. He spots
the hole where K.A.R.R. was.
MOVING WITH MICHAEL
At the hole's edge, he comes upon several tire tracks. He
squats to examine them.
MICHAEL
Kitt, give me a reading on these
tracks.
INSERT - K.I.T.T.'S DASH
Graphics reveal complex tread prints.
K.I.T.T.
The tread configuration is virtually
identical to mine, Michael. It must
be Karr's. I'm also picking up a
heavy vehicle having traction problems.
BACK TO SHOT
MICHAEL
So somebody raised Karr with a four-
wheeler or a tow truck.
K.I.T.T.
Affirmative.
Michael rises and heads back to the car.
MICHAEL
After two years in salt water, Karr
had to be draining fluids. Does the
road surface show anything?
K.I.T.T.
There are faint signs of turbine
fuel.
MICHAEL
Good. Let's see where they go.
He climbs in and they torque out onto the road.
EXT. MR. D.'S MARINE - DAY
There's a small office and showroom in front, a work bay
and garage in back. Pan to K.A.R.R. as he drives in;
John looks around warily, then drives around back and
into the garage. After a beat he emerges and checks that
no one is watching.
INT. GARAGE - DAY
He lowers the garage door from the inside.
JOHN
Okay, that's it. You said no cops,
you can stay here until tonight.
Then you're on your own.
K.A.R.R.
I don't understand. I thought we were
friends. My circuitry needs repairs
and I want to alter my appearance. I
can reward you handsomely for your help.
JOHN
No thanks.
(beat)
No hard feelings. It was fun. For a
little while there I was a kid again,
a teenager with the hottest car in
town. The trouble is I'm not a teen-
ager anymore. I've got responsibilities,
plans...a job.
K.A.R.R.
You repair boats for four dollars an
hour.
JOHN
(defensive)
You weren't complaining back on the
beach when I towed you out.
K.A.R.R.
Nor am I complaining now. Just
pointing out what should be obvious.
JOHN
(pauses)
And what's that?
K.A.R.R.
You need me. I meant what I said
earlier. You may not be Aladdin, but
I am the genie. I can make all your
dreams come true.
John hesitates, tempted, then shakes his head.
JOHN
Thanks anyway.
K.A.R.R.
As you wish.
John exits via a side door. Move in on K.A.R.R.'s scanner,
flashing rhythmically.
EXT. MR. D'S MARINE - DAY
John is crossing back to the front of the shop area when:
EDDIE'S VOICE
You in the habit of leaving trucks at
the beach?
ANGLE TO INCLUDE EDDIE DEXTER
He's the owner of Mr. D's and John's boss. He's tough,
funny, a wheeler-dealer ready to capitalize on anything or
anyone.
JOHN
What?
EDDIE
You want to own your own business one
of these days, you can't be leaving
trucks at the beach. Where's your
brains, kid?
John hits himself in the head.
JOHN
I can't believe it. I'm sorry,
Eddie. Things have been a little
weird lately.
(beat)
Say, how was the doctor?
EDDIE
I don't know, I didn't ask him.
JOHN
Funny. You gonna live?
EDDIE
(taps his chest)
Only my batteries know for sure. If
I die tomorrow, and this place goes
into probate, you'll never get it.
Ten thousand down and it's yours
today.
ANGLE IN GARAGE
K.A.R.R.'s scanner glows in the dark.
ANGLE ON MONITOR
Lights activate on the dash. We see Eddie's figure appear
on the monitor, then convert to X-ray -- revealing a
noticeable solid unit in his chest cavity area.
JOHN'S VOICE
Eddie, c'mon. I don't have that
kind of money and you know it.
K.A.R.R.
A pacemaker. Well, well, well....
EXT. BEACH FRONT AREA - DAY
K.I.T.T. cruises to a stop in the area we saw before, near
Mandy's shop.
K.I.T.T.'S VOICE
This is it, Michael. The trail's
becoming too faint to follow, but it
appears Karr paused here.
MICHAEL
Maybe we'll get lucky. Full sur-
veillance.
Michael climbs out and heads off. K.I.T.T.'s scanner
flashes.
MONTAGE - MICHAEL IN NEIGHBORHOOD - DAY
Various shots show Michael inquiring with local merchants,
a balloon vendor, kids in bathing suits with surfboards.
They all admire K.I.T.T., the girls admire Michael, but all
shake their heads "no" when asked about K.A.R.R. Until he
comes to:
INT. "BIKINIMANIA" BOUTIQUE - DAY
Michael jingles the door chime as he enters. Mandy is
helping a pretty but picky customer try on a new style
bathing suit at a mirror in the corner.
MANDY
If you like, I could show you some-
thing hotter.
MICHAEL
Anything hotter than that you'll melt
the polar ice caps....
The women turn, react to Michael's smile.
CUSTOMER
I think I'll take it after all.
She starts for the changing room. Mandy turns to Michael,
pleased.
MANDY
I owe you a commission on that one.
MICHAEL
Thanks, but I'll settle for some
information. I'm looking for a black
T-top that was in the area yesterday.
(indicates
K.I.T.T.
outside)
Looks a lot like that one. Did you
see it?
Mandy stiffens, and it's not lost on Michael.
MANDY
I don't think so...no.
MICHAEL
If you did, I need to know. It's
not just another car. It's very
important...and potentially
dangerous.
(beat)
Look, if it makes any difference,
this can be confidential.
REVERSE ANGLE - REAR OF STORE
John enters through the back. Seeing Michael with his girl
he pauses, curious.
MANDY
I'm sorry, I haven't seen it...
(calls)
Dorothy? Is that you?
Caught, John enters. He feels a little uncomfortable.
Michael watches.
JOHN
It's me.
MANDY
Oh, hi -- just a minute.
(to Michael)
I don't know what more I can say.
MICHAEL
(hands her
card)
You can reach me through this number
-- just in case the car turns up.
Or in case you remember something.
A glance at John and he leaves, crossing back out toward
K.I.T.T.
JOHN
What was all that about?
MANDY
That black car. John, you said you
were going to turn it in!
JOHN
I said I wasn't going to keep it!
All I did was take it for a ride.
Quit making such a big deal out of
it. It's over.
They regard each other, a little shocked by the intensity.
The phone rings, breaking the moment.
MANDY
(phone)
Bikinimania...
(reacts)
John? Who's this? -- Oh yes, yes --
right away.
(to John)
It's somebody at the hospital. Eddie's
had a heart attack.
EXT. HIGHWAY - DAY - ON THE SEMI
K.I.T.T. slides up the ramp and into the trailer. We hear:
BONNIE'S VOICE
I can have Kitt back from the
Foundation by this time tomorrow.
INT. SEMI - DAY
Michael paces, arguing with Bonnie and Devon.
MICHAEL
Twenty-four hours we don't have to
install a laser that won't work?
I'm sorry, Bonnie, but no.
(to Devon)
We tried the laser last time Karr
got loose.
BONNIE
I've been working on some modifications.
I can double it's penetration.
DEVON
Michael, what choice do we have? I
can't risk sending you and Kitt out
without some kind of an edge.
MICHAEL
I appreciate the concern, Devon, but I
had Kitt project the salt water damage
to Karr's Alpha circuits. If he gets
the parts and repairs them, it'll be
only a matter of hours until his other
systems will be back to full strength.
So while we're experimenting with
modified lasers, he'll be making him-
self fully operational. We can't let
that happen.
Devon weighs the facts, swayed by Michael's conviction.
MICHAEL
Look, if we ever needed to act as a
team, it's now. Go back to the
Foundation. Finish the laser and
bring it back. As soon as you call
I'll bring Kitt in for installation.
Until then, I've got to keep the
pressure on.
DEVON
Bonnie?
She nods in agreement.
Michael heads for K.I.T.T., hands Devon a computer list as
he crosses over.
DEVON
Any leads on the human factor?
MICHAEL
Not yet. Could be anybody. But I
did have Kitt generate a list of all
the outlets for the components Karr
will need.
DEVON
(nods)
I'll alert local law enforcement.
Do what you need to do, Michael, but
please be careful.
BONNIE
If anything happens to Kitt....
Michael silences her with a kiss on the cheek.
MICHAEL
I love you too.
With a smile, he's into K.I.T.T. and gone.
EXT. CITY MEDICAL CENTER - NIGHT
A large, modern hospital.
INT. HOSPITAL ROOM - NIGHT
John is with Eddie who, aside from being plugged into
several machines, seems to be in pretty good shape.
JOHN
Eddie, c'mon -- that's all they
said? You almost die and all they
can say is, 'Sorry, the battery in
your pacemaker went bad?'
EDDIE
'Unexplained malfunction,' that's
what they said. Kinda makes you
think -- makes you realize just how
many things you've never done.
(beat)
I'm getting out, kid. Everything I
got is for sale as of now. You want
the shop, you got it -- the deal of
a lifetime. Five grand down and
interest-only payments till you get
on your feet.
JOHN
Eddie, I'm broke. You keep talking
to me like I've got the money. If I
had the money you'd have a deal.
EDDIE
I'd just hate to see this one slip
through your fingers. Think about
it. Maybe something'll turn up.
John nods, knowing it won't.
CUT TO
EXT. CITY MEDICAL CENTER - NIGHT
We pick up John as he walks to the lobby doors. He turns
his collar up against the cold. As he starts to walk
toward the parking lot, a scanner appears out of the
darkness behind him.
K.A.R.R.
The black Trans Am slides up beside him. Once again the
driver's door pops open invitingly.
K.A.R.R.
Hello, John.
John ignores K.A.R.R., continues walking.
K.A.R.R.
Why don't you get in? Just for old
times sakes.
JOHN
We don't have any old times. Get lost.
K.A.R.R.
I'm a computer, I can't get lost.
But if you come on a little 'errand'
with me, I'll get you the five
thousand dollars you need.
John stares at him.
JOHN
You were listening....
K.A.R.R.
Why not?
(beat)
Interested?
JOHN
No.
K.A.R.R.
Liar. Get in. What have you got to
lose? Four dollars an hour won't buy
much of a future. For the first time
in your life, do something for you.
The time is now. Don't wait.
(beat)
Last chance, Aladdin.
Slowly, John climbs in. K.A.R.R.'s turbines snarl in triumph
as he blasts out of the parking area and onto the street.
EXT. CITY STREET - NIGHT
K.I.T.T. cruises by.
MICHAEL'S VOICE
Awfully quiet, Kitt. Too quiet.
ANGLE IN K.I.T.T.
K.I.T.T.
You're doing everything you can,
Michael. All Karr's possible
targets have double security tonight.
In the event of a break-in we'll be
notified immediately.
MICHAEL
(pushes
buttons)
Okay. Let's raise Devon.
EXT. HIGHWAY - NIGHT - ON SEMI
The behemoth steams through the darkness.
INT. SEMI - NIGHT
Devon addresses the monitor console.
DEVON
Good news, Michael. Bonnie mobilized
every technician at The Foundation and
the laser is complete. We're on our
way back.
INTERCUT - MICHAEL AND DEVON
MICHAEL
Good work. Give my regards to Bonnie.
DEVON
Anything on your end?
MICHAEL
If no news is good news, we're doing
fine. But between you and me I don't
feel reassured.
EXT. HIGHWAY - NIGHT - ON SEMI
gliding silently out of the darkness behind the eighteen-
wheeler is K.A.R.R.'s distinctive yellow scanner. Track
with it as it pulls right up into the truck's draft.
INT. K.A.R.R. - NIGHT
Jaw clenched, John grips the wheel.
K.A.R.R.
You'll be more efficient if you relax.
And more comfortable.
JOHN
Relax. Right.
K.A.R.R.
It'll all be over in a moment. I
promise you. Press 'Turbo Boost.'
John reaches for the dash with a trembling finger. He
hesitates.
K.A.R.R.
Press it!
Decision made, he does.
EXT. HIGHWAY - NIGHT - K.A.R.R. AND SEMI
With a roar, K.A.R.R. rises from the surface of the road
and impacts into the semi's tailgate.
INT. SEMI - NIGHT
Devon's wrapping it up with Michael. Bonnie works next to
him.
DEVON
...so you'll see us at oh-two
hundred....
...and crash!
VARIOUS ANGLES - K.A.R.R.
blasts into the mobile unit, scattering metal, sparks, and
furniture. Devon leaps to his feet, shielding Bonnie with
his body. K.A.R.R. moves relentlessly toward them, backing
them toward the wall at the cab-end.
INT. K.I.T.T. - NIGHT - MICHAEL'S POINT OF VIEW OF MONITOR
Michael is galvanized by the sight of K.A.R.R. appearing on
the monitor. The video signal starts to break up, he
presses buttons in a flurry of activity.
MICHAEL
Oh my God! Kitt, roll tape on all
video units. And straighten out
this signal! Keep me patched in.
K.I.T.T.
I'm doing what I can, Michael. The
feed is disrupted.
MICHAEL
(hits buttons)
Full Pursuit to the semi!
EXT. STREETS - NIGHT
K.I.T.T. 180's on a dime and smokes away.
INT. SEMI - NIGHT
K.A.R.R. is pressing Devon and Bonnie up against the front
wall of the trailer. Devon tries to edge aside as John
jumps out, frightened but determined.
K.A.R.R.
Unless you want to be pressed right
into the diesel block, I wouldn't
move, Mr. Miles.
(then)
And what's this? A laser? Intended
for me, no doubt. I came for Alpha
capacitors. What an unexpected
surprise.
CLOSE ON BONNIE AND DEVON
chilled to the bone, and unable to do a thing to stop
K.A.R.R.
OMITTED
FREEZE FRAME
END OF ACT TWO
ACT THREE
FADE IN
OMITTED
EXT. HIGHWAY - NIGHT
The semi is parked at the side of the road, a workman on a
ladder repairing its torn and badly damaged rear door.
K.I.T.T. is parked nearby, red scanner flashing a warning
to the night. Beware. We've been hurt. Proceed at your
own risk.
MICHAEL'S VOICE
(upset)
If I'd only gotten here sooner....
INT. SEMI - NIGHT
Michael paces, frustrated, angry at himself. Bonnie works
to repair the main computer terminal while Devon, though
still shaken, tries to take some of the weight off Michael.
DEVON
It's not your fault.
MICHAEL
It happened. It's somebody's.
He hears the edge in it, looks at Devon, shakes his head.
MICHAEL
I'm sorry.
Devon gestures it off; don't give it a second thought.
DEVON
The irony isn't remarkable, it's
diabolical. Think of it. If Bonnie
hadn't been so successful in
increasing the laser's power, we
wouldn't have been returning so
soon; if we hadn't been returning so
soon...etcetera.
MICHAEL
Yeah. Big 'etcetera.' Now Karr's
got a modified laser and we've got a
banged-up mobile unit we can't even
get a picture out of.
BONNIE
If that's a hint, I've almost got it
fixed.
MICHAEL
If that's a hint, I'm being too
polite. Bonnie, I need that visual.
Devon swings around, puts an arm over Michael's shoulder
and guides him forward past Bonnie.
DEVON
The usual?
MICHAEL
The 'usual' what?
DEVON
Your tea. Lemon?
They've reached the unit that provides these things, which
is only slightly askew. Devon pours water into Wedgewood
china cups.
MICHAEL
(realizes)
Devon, when it comes to tea there is
no 'usual.' I hardly ever drink tea.
DEVON
Yes, but when you do it's generally
with lemon.
MICHAEL
Why are we having this conversation?
Karr's probably having his Alpha
circuits repaired right now. Once
that's done he can make the rest of
his repairs himself. He'll be at
full strength and more dangerous
than ever. And we're talking about
tea.
DEVON
Only until Bonnie completes her work.
BONNIE'S VOICE
I've got it.
They almost run for the computer.
ANGLE TO INCLUDE BONNIE
as Michael and Devon join her.
MICHAEL
All right, let's see who our
'mystery guest' is.
The tape runs.
INSERT - COMPUTER
The video replays, showing K.A.R.R. crashing into the
semi. His door opens and John gets out, half turns, his
face visible.
MICHAEL'S VOICE
It's him!
BACK TO SCENE
They look at Michael.
DEVON
Would you care to be a bit more
specific?
MICHAEL
(thinking)
I would if I could.
(then)
I may not know his name, but I know
how to find him.
Before Devon can reply, Michael is running for the rear
exit.
DEVON
But Michael ---
EXT. HIGHWAY - NIGHT
Michael leaps into K.I.T.T. and tears out, in a roostertail
of dust and gravel.
CUT TO
EXT. BANK - DAY
It's early AM as K.A.R.R. slides out of an alley in the
morning light and pulls into a parking lot next to a small
bank. There's no one in sight except a little Old Lady
punching buttons at one of the windows marked, "Quick-Cash
-- 24 Hours". K.A.R.R., we now see, has been repainted
with John's help; black top, silver side panels. He looks
sharp.
ANGLE AT K.A.R.R.
It's been a tough night. John looks the worse for wear,
tired and tense, on edge.
K.A.R.R.
Go to the cash computer. I'll do
the rest.
JOHN
(beat)
When it comes right down to it, I
don't like this.
K.A.R.R.
My records indicate you were arrested
in 1978.
John reacts.
K.A.R.R.
Several counts of grand theft auto.
One count of trafficking in stolen
merchandise.
JOHN
(angry)
Hey, I'm not on trial here. I did
six months for that, I paid for that.
What's the point?
K.A.R.R.
You have strikes against you. As I
do. Thinking entities who have strikes
against them do not throw away once-in-
a-lifetime opportunities.
(beat)
Go to the window, John. Let the
magic begin.
John inhales. He questions what he's doing but at the same
time knows he'll do it anyway. He slowly climbs out of
K.A.R.R.
ANGLE ON "QUICK-CASH" WINDOW
As John approaches a little Old Lady is slumped by the
window, dazed.
QUICK-CASH VOICE
Please enter your nine-digit secret
code, your date of birth, and your
mother's maiden name.
She watches as John slides up to the window and self-
consciously opens his shopping bag.
OLD LADY
Go ahead. Maybe you'll have better
luck.
(then)
They punish you.
JOHN
Pardon?
OLD LADY
The older you are the harder they
make it. They know you lived all
your life without a computer and
they resent it.
(looks him
over)
Your age, you'll probably get away
with just an access code.
CLOSE ON K.A.R.R.'S SCANNER
It flashes.
BACK TO JOHN
He starts to reply when twenty dollar bills suddenly come
flying from his Quick-Cash window.
OLD LADY
Oh my! You're very good at this.
I thought they only gave out a
hundred dollars.
JOHN
I guess it's a new policy.
OLD LADY
Goodness. They certainly don't
resent you, do they?
John's bag is full of cash. He starts to walk away, then
turns back to the Old Lady. He takes out a handful of
money and stuffs it into her hand.
OLD LADY
No. It's not mine.
JOHN
It's yours. Think of it as a gift
from the age of technology. A
gesture of respect.
Before she can refuse he dashes to K.A.R.R., leaps in and
pulls away. She stares at the cash, then at the departing
car.
CUT TO
OMITTED
EXT. BEACHFRONT AREA - DAY
Still early sun as K.I.T.T. skids to a stop in front of
Bikinimania. Michael jumps out.
INT. BIKINIMANIA - DAY
Mandy has just opened for the day, is running yesterday's
receipts when she notices Michael reaching the door,
coming in like a gust of wind.
MICHAEL
I wish you'd have called. You could've
saved a lot of people a lot of grief.
MANDY
What are you doing, charging in here
like that?
MICHAEL
Where is he?
MANDY
Who?
MICHAEL
Your boyfriend! You remember him
-- he slipped in through the back
yesterday when I was here.
MANDY
What do you want him for?
MICHAEL
Mandy, give it up! He's got the
T-top I'm looking for. I know it,
you know it. You can't protect
him -- and besides, he doesn't
need protection. He needs help.
(beat)
Now, who is he? What's his name?
Where can I find him?
She's still fighting it, tries to turn away.
MANDY
I've never seen people go so crazy
over a car.
MICHAEL
It's not just a car. Among other
things, it has a way of changing
people.
He stops her, puts what she's doing down and makes her face
him.
MICHAEL
Mandy, I'm not a cop. I don't put
people in jail.
(beat)
I'll give it to you straight. He's
in way over his head. He's drowning
and right now you're the only person
who can save him.
MANDY
(long pause)
Don't let him know I told you. He
doesn't trust a lot of people. And
he didn't mean to keep the car. It
just...
(beat)
Promise me nothing will happen to
him....
MICHAEL
I'll do my best, Mandy. That's all
I can promise.
Mandy measures his sincerity and decides.
MANDY
His name is John Stanton. He works
at Mr. D's Marine on Seaside Road.
EXT. BIKINIMANIA - DAY
Hold on their figures inside for a moment and then Michael
comes running out. He jumps into K.I.T.T. and floors it,
arcing back onto the highway.
CUT TO
INT. MR. D'S SHOWROOM/OFFICE - DAY
Hands count out a stack of twenty dollar bills.
WIDER ANGLE
John is finishing counting out five thousand dollars.
Eddie watches, a thousand thoughts in his head. K.A.R.R.
is outside, silent but omnipresent.
JOHN
(finishes)
Five thousand. Want to count it
yourself?
EDDIE
I just did. How long're we gonna
carry on this charade?
JOHN
What charade?
EDDIE
I get out of the hospital, I come by
to pay a few bills and next thing I
know you're driving this hot new car
and buying me out with twenty dollar
bills you got in a shopping bag. I've
been around. I've made some fast money
myself. Now who's kidding who?
John pauses, shakes his head.
JOHN
Take my word for it. You don't want
to know.
EDDIE
I want to know.
John exhales. He looks at Eddie almost apologetically,
gestures for Eddie to follow him.
ANGLE - OUTSIDE
John leads him to K.A.R.R.
JOHN
(to K.A.R.R.)
Say something.
Nothing happens. Eddie grins. He's about to say something
to John when the scanner flashes, undulating like a
bullwhip.
K.A.R.R.
How's the pacemaker, Eddie?
Eddie's jaw drops.
OMITTED
EXT. STREETS - DAY
K.I.T.T. races by in pursuit mode.
MICHAEL'S VOICE
Do me a favor, Bonnie.
OMITTED
ANGLE IN K.I.T.T. - INTERCUT - MONITOR
Michael talks to Bonnie on the monitor.
MICHAEL
The high-tensile reflectors you
developed for Kitt. Are they still
around?
BONNIE
Yes, I have them in...Oh no.
Michael, you're not thinking what I
think you're thinking, are you?
MICHAEL
Pull them out of mothballs. I don't
have time to discuss it now. I'll
see you when I see you.
BONNIE
But Michael....
She's cut off as Michael punches a button and she disappears.
EXT. GARAGE - DAY
Outside, nothing has changed.
EDDIE'S VOICE
I'm telling you, it's a fortune in
gold...!
INT. GARAGE - DAY
Eddie paces in front of K.A.R.R., pleading his case. John
watches, appalled.
EDDIE
My brother-in-law drives the armored
truck -- he says between three and
five million each trip. Each
Wednesday.
K.A.R.R.'s scanner flashes.
K.A.R.R.
Today is Wednesday.
EDDIE
Atta boy, Karr. Atta boy.
K.A.R.R.
Don't call me 'boy.'
JOHN
I can't believe this. Eddie,
you're talking about armed robbery!
They put people in prison for that.
EDDIE
They gotta catch you first. Hey,
kid, everybody's got to roll the dice
sooner or later. The difference
between the winners and losers is
timing. I've been waiting a long
time for the right timing.
(beat)
It's here. Today.
K.A.R.R.
There's only one problem. I have no
interest in gold. That's a uniquely
human foible.
EDDIE
Maybe I didn't make myself clear. Gold
is money. And whether you realize it
or not, you need money. You're gonna
need parts, a technician to keep you
in top shape, a safe place to hide
out. All that costs a lot of money.
K.A.R.R.
Interesting point, Eddie. I hadn't
thought of it in quite that way.
Eddie looks at John, grins triumphantly. John heads for
the door.
EDDIE
Where d'you think you're going?!
JOHN
It doesn't matter, I'm not staying
here. I don't want any part of this.
He slams out. Eddie starts to go after him when:
K.A.R.R.
Let him go!
EDDIE
Let him go? Who's gonna drive you?
Who's gonna handle all this?
K.A.R.R.
Don't worry, I'll take care of it.
EDDIE
(beat)
Yeah? Then we have a deal? Fifty-
fifty?
K.A.R.R.'s scanner glows in the filtered sunlight.
K.A.R.R.
We have a deal, Eddie.
CUT TO
EXT. STREET - DAY
K.I.T.T. races by, heading for Mr. D's.
BONNIE'S VOICE
I'm sorry, Michael.
ANGLE IN K.I.T.T.
Michael is tense behind the wheel. Bonnie is on the
monitor.
BONNIE
I could install another laser but it
wouldn't have the capability of the
one Karr stole.
MICHAEL
If we can't out-gun him, we'll have
to come up with a way to outsmart
him.
K.I.T.T.
Michael, surely you're not thinking
of going up against that monster
alone. I'm your only protection.
MICHAEL
Whoa, whoa, Kitt. What about John?
Right now, I'm his only protection.
I can't just leave him in there.
One way or another, I've got to get
him away from Karr.
K.I.T.T.
Oh, Michael. To put it mildly, it's
a long shot.
MICHAEL
Beats no shot, buddy.
And quickly, quietly, he's out the door.
FRONT ANGLE ON MR. D'S GARAGE
Catlike, Michael runs across the front building, stops at
a corner, and positions himself to charge.
EDDIE
Sorry. Maybe later.
MICHAEL
You haven't seen a black T-top
around, have you?
Eddie works at not reacting.
EDDIE
Nope.
MICHAEL
(beat)
Any objections if I check your
garage?
EDDIE
Help yourself. I got nothing to
hide.
Michael runs for the garage. Eddie watches him, then looks
at K.I.T.T., uncomfortable. He hurries to finish loading
his car.
INT. GARAGE - DAY
Michael enters, looks.
WIDER ANGLE
The garage is empty. He starts to leave, stops, something
catching his eye. He crosses to where K.A.R.R. was, bends
down, picks something up.
INSERT - IN MICHAEL'S HAND
It's a corroded Alpha capacitor.
BACK TO MICHAEL
He knows. Off his look:
CUT TO
EXT. PIER - DAY
Mandy walks toward a quiet but colorful old fishing pier.
Bikers and skaters glide past, between the old men and
little boys dangling lines into the surf below. She keeps
her eyes open. She sees something.
MANDY'S POINT OF VIEW - K.A.R.R. PARKED NEARBY
The windows are blacked out. She hesitates, then moves
cautiously toward it.
ON MANDY
As she reaches the car, the passenger door opens.
JOHN'S VOICE
Quick! Get in.
She darts in.
INT. K.A.R.R. - DAY
She reacts.
REVERSE ANGLE
The car is empty. Suddenly the door closes. She struggles
to escape but it's no use.
K.A.R.R.
Stop struggling, you foolish girl.
MANDY
What are you doing?! Where's John?
INSERT - K.A.R.R.'S VOICE BOX
The yellow light flashes, but in place of the normal Darth
Vaderish rumble, we hear:
JOHN'S VOICE
I'm afraid he couldn't make it.
She lets out a terrified cry. She pounds the window glass,
crying in fear. As K.A.R.R. starts to pull out....
FREEZE FRAME
END OF ACT THREE
ACT FOUR
FADE IN
EXT. MR. D'S GARAGE - DAY
Michael crosses from the garage to the office where Eddie
gathers the last of his files. Michael smashes through the
office door.
INT. OFFICE - DAY
Eddie reacts, startled. Michael holds up the capacitor for
him to see.
MICHAEL
Do you fix computers or boats?
EDDIE
What d'you think you're doing?
MICHAEL
I'm trying to keep from tearing you
apart. Where's the car? Where's
John?
EDDIE
I don't know what ---
Michael grabs him by his shirt.
MICHAEL
I've got no time for your lies.
Karr was here. He was repaired in
your garage. I want answers and I
want 'em fast. Where is he?
EDDIE
You've got no authority over me.
Besides, I'm a sick man. You hit
me and I die, you're in big trouble.
MICHAEL
I'm willing to take the chance.
Are you?
Eddie decides against it.
EDDIE
I had nothing to do with it. It's
the Santa Cruz Canyon bridge -- he's
hitting an armored van.
MICHAEL
When?
CUT TO
MOVING WITH JOHN
He turns back and rounds the corner into the alley fronting
his garage. He reacts.
K.A.R.R.
parked and waiting for him, windows still blacked out.
John stops and starts backing away.
JOHN
Oh no. Nope. No way.
K.A.R.R.
Before you run off, there's something
you ought to see.
John's eyes widen as he sees:
OMITTED
CLOSE ON K.A.R.R.'S WINDOWS
as they lighten from black to grey to clear we can see
Mandy's terrified, tear-streaked face inside.
BACK TO JOHN
He tries in vain to open K.A.R.R.'s door. Mandy beats on
the glass.
JOHN
Let her go! What is this? You
don't need her!
K.A.R.R.
No. I need you.
(angry)
You wanted to desert me. Abandon
me, just like those people at that
pompous Foundation.
(beat)
How would you like me to slowly
remove the air from the passenger
compartment? Have you ever seen
someone explode in a vacuum?
John is horrified.
K.A.R.R.
No, I have a better idea.
Lights start to blink on K.A.R.R.'s dash.
INSERT - K.A.R.R.'S DASH
An L.E.D. readout indicates "Interior Temp." The numerals
start to climb: 110...115...125.
WIDER ANGLE
John pounds on the window.
JOHN
Stop it! Let her go!
Mandy is roasting in K.A.R.R.'s self-made inferno. Her
eyes bug wide, her face is reddened and glistening with
sweat. The L.E.D.'s continue to rise: 150...155...160.
JOHN
Okay! Stop! Whatever you want --
I'll do whatever you want!
Instantly K.A.R.R.'s windows power down. Mandy gasps at
the cooler air, and we can hear her sobs. John reaches in
and they embrace.
JOHN
I'm sorry, Mandy...I didn't know...
I'm so sorry.
K.A.R.R.
Very touching. Get in.
John does as he's told. K.A.R.R. glides into motion.
EXT. HIGHWAY - DAY - ON K.I.T.T.
leaving town at a good clip.
K.I.T.T.'S VOICE
Michael, it's been five hours since
Karr hit the semi. We'd better
assume all his functions are at full
strength. Not to mention Bonnie's
modified laser.
INT. K.I.T.T. - DAY - ON MICHAEL
grim, dogged at the wheel.
MICHAEL
That's not the only thing I'm assuming,
pal. I think this whole thing may be
a trap Karr's arranged. Think about it.
It's not like him to leave evidence
around...or witnesses.
K.I.T.T.
That's a rather disconcerting premise,
Michael.
MICHAEL
Took the words right out of my mouth.
Here we are.
OMITTED
EXT. HIGHWAY - DAY
K.I.T.T. rolls up behind the moving semi and glides up the
lowered ramp.
INT. SEMI - DAY
Michael is powering through Devon and Bonnie's arguments.
BONNIE
But, Michael, I doubled the power
of the laser Karr took....
MICHAEL
Have you got a better idea?
DEVON
I'm sure with a little more time we
could come up with something.
MICHAEL
Time is the operative word around
here. We don't have any.
DEVON
Listen to reason. Kitt is not pre-
pared to go into battle against that
machine.
MICHAEL
(getting hot)
I've got the information that'll
give me one showdown with Karr. I'm
lucky to have that. If we miss this
chance, we may never get another.
DEVON
In my opinion, it's nothing short of
suicide.
MICHAEL
Devon, I admire your maturity, wisdom,
and sense of proportion. I even like
your tie. But Kitt and I are going
out of here in three minutes with or
without those reflectors...or your
blessing.
The two men are eye to eye. After a beat, Devon signals to
Bonnie.
DEVON
Get to work.
CUT TO
OMITTED
EXT. HIGHWAY - BRIDGE AREA - DAY
K.A.R.R. stops near a dry creek bed, over which spans a high,
old-fashioned bridge.
K.A.R.R.'S VOICE
May I present our preliminary
target. Let us begin.
K.A.R.R. sprays gravel and leaps forward off the road and
down the creek bed. He positions himself near the base of
the bridge, where its three concrete pillars meet the ground.
K.A.R.R.'S VOICE
I've established our point of impact.
The bridge is old and weak.
OMITTED
ANGLE IN K.A.R.R.
John and Mandy wait uneasily.
MANDY
What does he mean?
JOHN
He means we're going to crash into
it, if I know him.
K.A.R.R.
I suggest you fasten your seat belts.
It shouldn't be long.
EXT. HIGHWAY - DAY - ON A HIGH-TECH SECURA-VAN
The ultra-modern armored security vehicle emerges from a
curve in the road and heads out onto the bridge.
ANGLE ON K.A.R.R.
as it springs to life, racing for the bridge's first pillar.
OMITTED
ANGLE INTO K.A.R.R. - ON JOHN AND MANDY
bracing themselves for the impact.
VARIOUS ANGLES - K.A.R.R. AND THE BRIDGE
K.A.R.R. flies upward and impacts into the bridge footing,
smashing out a large chunk of it. Smoke, dust, and debris
fly.
ANGLE ON BRIDGE
A portion crumbles as its support gives out.
ANGLE INTO SECURA-VAN
The stunned driver and guard slam on the brakes as the
roadway ahead of them tumbles into the canyon.
The driver jams it in reverse and floors it. The van
jumps backward, but:
IN THE CREEK BED
K.A.R.R. backs out of the rubble and gets a good running
start toward the other end of the bridge.
VARIOUS ANGLES - SECOND TURBO
Once again, K.A.R.R. launches itself skyward, shearing out
the bridge pillar at the other end. Another section of the
bridge collapses.
WIDER SHOT - THE BRIDGE
Only the center portion of the bridge is left standing, and
suspended in the middle, with no exit, is the Secura-Van.
ANGLE INTO K.A.R.R.
as it pulls back away from the bridge. John and Mandy gape
at the destruction it's wrought. Mandy's in tears.
JOHN
Why don't you finish the job? You've
got them where you want them.
K.A.R.R.
You don't even begin to understand
what the 'job' is.
JOHN
It's the armored car.
K.A.R.R.
No. That's the decoy. Lo and
behold here comes the real target --
to the rescue, just as I planned.
THEIR POINT OF VIEW - K.I.T.T.
Michael races the Trans Am within sight of the downed
bridge.
ANGLE IN K.I.T.T.
K.I.T.T.
There's Karr, Michael! What's he
waiting for?
MICHAEL
Unless I'm mistaken...us.
K.I.T.T.
I detect our laser mounted under his
scanner, Michael. I wish you'd
reconsider what Devon said.
MICHAEL
Hang in with me, Kitt. We're not
dead yet.
He guns the Trans Am down into the creek bed.
WIDE ANGLE - THE TWO CARS
K.I.T.T. reaches the dry creek bottom a good distance from
K.A.R.R. K.A.R.R.'s yellow scanner almost snarls as it
tries to position itself facing K.I.T.T., but K.I.T.T.
keeps circling.
ON K.I.T.T.
Even as it moves, the gull-wing T-top pops open. Michael
stands up inside the car and addresses the adversary.
MICHAEL
Let them go, Karr. We're here. We're
what you want.
OMITTED
INTERCUT - MICHAEL AND K.A.R.R.
K.A.R.R.
Your impudence is amusing. You're
in no position to make demands.
MICHAEL
Think about it. Mandy's not your
enemy. Neither is John. I am.
(beat)
You'll never be free until you
defeat us.
K.A.R.R.'s scanner flashes, pondering the challenge.
K.A.R.R.
I accept your challenge.
ON K.A.R.R.
His doors pop open. John and Mandy scramble out to safety.
Suddenly from K.A.R.R.'s scanner, a bright laser beam
fires!
WIDE SHOT
With catlike quickness, K.I.T.T. churns backwards. The
laser hits the creek bank behind K.I.T.T. Brush bursts
into flame.
ANGLE INTO K.I.T.T.
as Michael settles down into the driver's seat.
K.I.T.T.
That was close!
MICHAEL
I want it to be close. Ready?
K.I.T.T.
If this plan of yours fails, I want
you to know it's been a beautiful
partnership.
MICHAEL
It's mutual, Kitt.
They leap forward as:
WIDE ANGLE
A second blast comes from K.A.R.R.'s laser. This time
K.I.T.T. dodges forward, just evading the beam. The two
cars circle each other like wise old warriors, jockeying
for position.
ON K.A.R.R.
Suddenly it turns away from K.I.T.T. and faces the last
support of the bridge. The armored car is still perched on
the only remaining piece of pavement.
K.A.R.R.
Very well. If you insist on a game
of dodging, perhaps this will change
your mind.
The laser hums beneath K.A.R.R.'s scanner and:
WIDE SHOT
Flash! A laser shot blasts into the last support of the
bridge, knocking loose a chunk of cement. The bridge sways
precariously.
ANGLE INTO K.I.T.T.
Michael watches, horrified.
K.I.T.T.
Michael, the men in the van ---
MICHAEL
Let's get over there, buddy!
K.I.T.T.
But Michael....
MICHAEL
Do it!
Michael floors K.I.T.T. The car moves into a wide, flat
space of creek bed, trying to defend the bridge.
K.A.R.R.
swings around to face K.I.T.T. and fires another blast.
K.I.T.T.
takes a shot from the laser in its tail portion. Sparks
and smoke flash from K.I.T.T.'s shell.
ANGLE INTO K.I.T.T.
Michael rocks from the jolt.
MICHAEL
Kitt, are you all right?!
K.I.T.T.
(quavering)
I can't take another blow like
that.
MICHAEL
Prepare the high-tensile reflectors.
If we can find the right angle, we
can shatter the laser.
His hand hovers over a button on the dash.
ANGLE OVER K.A.R.R.
as it swings into position to take one last shot at K.I.T.T.
Michael slides broadside, right in the laser's path.
K.A.R.R.
Good-bye, Michael Knight.
And the laser fires!
CLOSE ON MICHAEL
waiting until the last second.
MICHAEL
Now!
He stabs the dash. Next to him the driver's window changes
to a bright, high density mirror.
ANGLE ON BOTH CARS
K.A.R.R.'s laser blasts into the mirror and is reflected
back right into its source. There's an explosion in
K.A.R.R.'s scanner and smoke pours from its hood. With a
bellow of rage, the wounded car swings toward:
K.I.T.T.
Michael floors the black car and sends it rocketing toward
its evil counterpart.
MICHAEL
This is it, pal. Now or never.
He's vulnerable head on.
OMITTED
K.A.R.R.
Seeing their action, he too accelerates, heading straight
for K.I.T.T. in a deadly game of chicken.
INTERCUT - THE TWO FRONT SCANNERS
K.A.R.R.
If I am destroyed, so shall you be!
ANGLE IN CREEK BED - THE CARS
much closer, moving very fast now.
CLOSE ON MICHAEL THROUGH K.I.T.T.'S WINDSHIELD
grim, knuckles white on the wheel. Sweating bullets.
MICHAEL
Full power, Kitt!
He hits Turbo Boost.
THE TWO CARS
simultaneously rise into the air in full-on turbo boosts.
SLOW MOTION - THE COLLISION
The cars smash together in midair. After a millisecond,
K.A.R.R. explodes into a million splinters and a fiery ball
of smoke and flame. Glass, metal, and rubber fly every-
where. K.I.T.T. passes through the carnage and comes
to rest on the ground, intact.
ON K.I.T.T.
as Michael climbs out slowly, painfully, and turns to
survey the wreckage.
Panning:
MICHAEL'S POINT OF VIEW
All that's left of K.A.R.R. is smoke and ash. Pieces of
black material are strewn across the creekbed. Michael
turns to K.I.T.T.
ON MICHAEL AND K.I.T.T.
as he leans in....
MICHAEL
Kitt, are you still alive? Talk to
me.
(silence)
Kitt? Come on, pal. Can you hear
me?
K.I.T.T.
If I say 'yes,' will you promise we'll
never have to do that again?
A smile slowly spreads over Michael's face.
MICHAEL
Never say never, Kitt.
FREEZE FRAME
END OF ACT FOUR
TAG
FADE IN
EXT. STREET - DAY
K.I.T.T. passes, all patched up.
ANGLE IN K.I.T.T. - MICHAEL
John sits in the passenger seat.
JOHN
C'mon, what is it?
MICHAEL
I promised not to tell.
JOHN
Promised who?
MICHAEL
(smiles)
Don't you like surprises?
JOHN
Hate 'em. They make me nervous.
MICHAEL
Relax.
He points to the road ahead.
MICHAEL
Check it out.
THEIR POINT OF VIEW - THE MARINE SHOP
The "Mr. D's" sign has been replaced by a sign reading
"John's Marine". Mandy is waiting, smiling.
BACK TO MICHAEL AND JOHN
John can't believe his eyes.
MICHAEL
The reward money just about equaled
what you gave back to the bank.
JOHN
What reward money?
MICHAEL
For information leading to the recovery
of Karr: The Foundation posted it
two years ago. Mandy said this is
how you'd want it invested, and
Eddie needed it for his bail and
defense.
(beat; smiles)
Watch out, man. She's already
spending your money.
Michael shakes hands with John, then watches him cross to
Mandy and enfold her in a big hug.
DEVON'S VOICE
Michael!
ANGLE TO INCLUDE MONITOR
Devon is upset.
DEVON
What is this I'm hearing about a
five thousand dollar reward?!
MICHAEL
Don't worry, Devon, it's for a good
cause.
DEVON
What 'good cause?' I demand an
explanation!
MICHAEL
When I think one up, you'll be the
first to know.
On Michael's smile ---
CUT TO
EXT. CREEK BED - DAY
Residue of the confrontation, quiet and peaceful now, just
the whistle of the wind. Then a faint noise, a weak elec-
tronic pulse, and camera finds a twisted black box about
the size of a pack of cigarettes lying in the rocks, wires
sheared off and tangled. It can't still be functioning,
but it continues to emit a pulse and a faint red light. It
is K.A.R.R.'s CPU, his Central Processing Unit, and
incredibly it's still alive ---
FADE OUT
THE END
