ACT ONE
FADE IN
EXT. DEMOLITION SITE - DAY
A large downtown building stands in the b.g. waiting to be
turned into a pile of rubble, which will then be hauled off
so that a modern hotel complex can take its place. The
area is roped off, a crew goes about its business, and the
usual safety precautions are in effect.
ANGLE ON MS. JORDAN
as she addresses a handful of VIPs representing various
international construction and engineering firms, there to
see a demonstration of a "new breed" demolition explosive.
Ms. Jordan is twenty-seven and attractive. Also present,
and wearing hard hats like the others, are Devon and Bonnie.
MS. JORDAN
I'm sure you all realize that normally
a building this size would require a
minimum of a thousand pounds of dyna-
mite to bring down.
Devon, aside to Bonnie:
DEVON
Of course, you knew that, didn't
you, Bonnie?
BONNIE
(a smile)
Doesn't everyone?
MS. JORDAN
However, with the development of our
new nitro-plastique, we can accomplish
the same job with just six of these
packets, weighing a total of...thirty
ounces.
MR. IAMOTO
But what about its stability?
She drops one of the packets. Others react ---
MS. JORDAN
Does that answer your question?
(laughs)
It's perfectly stable. Until one of
these micro-detonators is attached --
(shows)
-- and set, it's as harmless as...a
tube of toothpaste.
MR. SCHMITT
And the regulations on this...miracle
explosive?
MS. JORDAN
That's Mr. Miles' department...
(motions)
The Director of the Foundation for
Law and Government.
Bonnie nudges him ---
BONNIE
You're on.
DEVON
Yes...well...the Foundation has been
asked to do a study on the control
and licensing of nitro-plastique, to
assure its usage for nonmilitary
purposes only. The study should be
completed by the end of this month;
after which, the Regulatory Agency
will decide on its availability for
commercial use.
MS. JORDAN
Thank you, Mr. Miles. We at XPL
Industries are confident your
studies will substantiate the belief
we have in our product.
(glances at
large LED
clock)
Now, according to our predetermined
settings...it's thirty seconds to
detonation time...and counting!
ANGLE ON BRONCO
turning into the demolition area. It's two-tone, red and
white, and on the upper white half there's a sign reading:
'KELLOGS PLUMBING SUPPLIES'. It stops just short of the
cordoned off area.
Camera moves in close on:
FRONT WINDOW
Two men are in the front seat, and for some reason they
wear ski masks.
INT. BRONCO - DAY
The man behind the wheel, looking at LED clock ---
KORSO
Ten seconds.
PELL
Nine...eight...seven...six....
EXT. DEMOLITION SITE - DAY - ON DEVON AND BONNIE
DEVON
Five...four...three...two...one....
BONNIE
And so long, building!
A terrifying explosion.
ON BUILDING
as it crumbles into a pile of dust and bricks.
INT. BRONCO
PELL
Go for it!
Korso accelerates.
EXT. DEMOLITION SITE - DAY - ON BRONCO
pushing through the barrier, and heads for a trailer marked
XPL INDUSTRIES, HIGH EXPLOSIVES. It's parked off to the
side.
ANGLE ON DEVON, BONNIE, OTHERS
impressed with what they've just seen.
DEVON
Remarkable!
BONNIE
Now I know why the Foundation's
involved. I'd hate to see that fall
into the wrong hands.
ON BRONCO
pulling up outside trailer, where a Security Guard is
watching building's demise. Pell jumps out, holding a
sawed-off shotgun.
PELL
You!
Guard turns, freezes.
PELL
You got that nitro-plastique in
there! We want it! Now!
He pumps shotgun. The Guard hurries inside the trailer.
Pell makes sure he keeps an eye on him through the open
door.
PELL
C'mon!!
The Guard reappears with a small steel carton. Pell looks
inside, sees the packets of nitro-plastique ---
PELL
In there!
The Guard puts the crate inside the Bronco ---
PELL
You got two choices, buddy -- stay
put, or stay dead!
Pell hops in the Bronco and Korso peels out.
ON GUARD
pulling the alarm just inside the trailer door. It sounds,
then he runs to others.
ANGLE TO INCLUDE DEVON, BONNIE, OTHERS
reacting to the alarm, as the Guard runs to them, points ---
SECURITY GUARD
That red and white Bronco -- They
just made off with a carton of
nitro-plastique!
CUT TO
EXT. HIGHWAY - DAY - ON K.I.T.T.
MICHAEL (V.O.)
You know, Kitt, sometimes I feel a
little guilty.
INT. K.I.T.T. - DAY
K.I.T.T.
Why's that, Michael?
MICHAEL
Well, you know, here we are on the
way to the beach, a full afternoon
off, and Devon and Bonnie have to go
and watch a building being leveled.
K.I.T.T.
If you feel so guilty, why didn't
you accept Devon's invitation to go
with them?
MICHAEL
Guilty, yes, Kitt...crazy, no.
K.I.T.T.
Michael, Devon's calling.
MICHAEL
Why did I open my big mouth?
ON MONITOR
as Devon appears.
DEVON
An XPL trailer has just been hit for
a crate of nitro-plastique. A police
car is in pursuit, but if you're any-
where in the vicinity of Interstate 5,
I want you to join in.
MICHAEL
What am I looking for?
DEVON
A red and white Bronco, with Kellogs
Plumbing Supply written on the side.
MICHAEL
Kitt, pick up the police frequency,
plot an intercept course.
K.I.T.T.
Right away, Michael.
MICHAEL
I'll be in touch. Oh, and Devon...
thanks for the afternoon off.
Michael accelerates.
EXT. HIGHWAY - DAY - ON K.I.T.T.
leaving the other traffic far behind.
EXT. INTERSTATE 5 - DAY - ON BRONCO
The police car is still in hot pursuit.
INT. BRONCO - DAY
Pell looks back. Both still in ski masks.
PELL
That cop's glued to our tail.
KORSO
So let's unglue him.
Korso hits a switch on the dash.
EXT. BRONCO - DAY - ON HOOD
as the supercharger's air intake lifts up, and the super-
charger begins to whine.
INT. BRONCO - DAY - ON SPEEDOMETER
hitting one fifty mph.
EXT. INTERSTATE 5 - DAY - ON CHASE
The police car tries to keep up.
KORSO (V.O.)
Here's where we say good-bye!
Korso makes a sudden turn down an off ramp.
ON POLICE CAR
attempting to take the same turn, but not making it, flying
right through the guard rail, and crashing into traffic on
the level below.
INT. BRONCO - DAY
They see the crash ---
PELL
Like they say -- speed kills.
They exchange looks, and we can see them grin beneath their
masks. Korso hits the supercharger button.
ON HOOD
as the air intake disappears.
EXT. ROAD - DAY - ON K.I.T.T.
MICHAEL (V.O.)
Kitt, how you doing with that
intercept course?
INT. K.I.T.T. - DAY
shows on monitor ---
K.I.T.T.
The target vehicle is on my scanners
now, Michael. Seven point two miles
due east of here.
MICHAEL
That's heading into the Highland Dam
area.
K.I.T.T.
Correct.
MICHAEL
We'll cut across Temple Road, and
try to cut them off at Needles Ridge.
The speedometer rises.
CUT TO
EXT. HIGHLAND ROAD - DAY - ON BRONCO
speeding along.
INT. BRONCO - DAY
Korso spots K.I.T.T. in the mirror ---
KORSO
Bobbie, that T-top back there, I
don't like the looks of it.
Pell looks.
PELL
Neither do I.
Korso hits a switch on the dash.
ON HOOD
Intake lifts. Supercharger whines.
ON SPEEDOMETER
reaching a hundred and sixty.
INT./EXT. K.I.T.T. - CLOSE ON THE DIGITAL READOUT
showing: "TARGET SPEED". The mph numbers rapidly clicking
upward to over 160. Camera draws back to catch Michael's
reaction.
MICHAEL
One thing for sure, that's no stock
car.
K.I.T.T.
It has a supercharger, Michael. A
big full-bore, dyno-pack unit.
MICHAEL
Why don't we show him what super-
charged is all about, ol' buddy....
K.I.T.T.'S CONTROLS
as Michael hits the Pursuit Button, hard, and K.I.T.T.
catapults to two hundred miles per.
EXT. ROAD - DAY - CHASE
INT. BRONCO
KORSO
He wants us, and I can't shake him!
Pell looks at the explosives ---
PELL
Maybe I can.
He takes one of the packets of explosives, snaps a contact
detonator onto the end of it ---
PELL
Good-bye, T-top!
Tosses it.
EXT. ROAD - DAY
The packet explodes, shaking K.I.T.T. violently, but not
stopping him. It does tear up the road, however.
INT. BRONCO - DAY
Pell is surprised to see the T-top still in one piece.
PELL
It didn't even phase it!
KORSO
Try another one.
He presses the detonator on a second one, tosses it out.
EXT. ROAD - DAY
Another violent explosion, but Michael steers K.I.T.T. around
this one, too.
INT. BRONCO - DAY
Pell, totally frustrated, readies two packets of explosives.
PELL
If this doesn't stop 'em, nothing
will.
He flings them out.
EXT. HILLSIDE ROAD - DAY
The packets land between tall steel stanchions which support
cross-country high voltage electrical transmission lines.
MICHAEL
slams on the brakes. Too late:
THE PACKETS
explode with tremendous force, sending a gigantic column
of asphalt and debris upward. The power lines are severed.
K.I.T.T.
skidding, trying to stop. Can't. The whipping, arcing
cables hit the Trans Am with a stunning flash. The car
shudders with the impact. An intense, blue, aura-like
field envelopes the outside.
ON BRONCO
disappearing over rise.
INSIDE K.I.T.T.
Michael is almost blinded by the megavolt charges. He has
the presence of mind to hold his hands away from any metal
surface. Outside the heavy cables lash at the car. Sparks
and smoke come from the dash. Then:
ON ONE OF THE STANCHIONS ABOVE
A huge transformer can blows up. The power is cut off. The
lashing cables fall away from K.I.T.T. like dead snakes.
Quiet.
MICHAEL
shaken, very dizzy, takes in the scene, then opens the door.
MICHAEL
Kitt, you all right? Kitt?!
K.I.T.T.
I am a...Knight Industries...I am
a...I...would you please...repeat
...the...question....
There's an electric sputtering from the dash, smoke, and
silence.
MICHAEL
Kitt, say something!
Silence.
MICHAEL
Kitt!
Nothing.
MICHAEL
Okay, pal, you stay right here.
I'll go get us some help.
He gets out, feeling very weak himself. Spots an emergency
roadside phone down the road ---
MICHAEL
Now don't you go anywhere...I'll be
right back.
And he starts off, half running, half walking, looking back
every now and then to see that K.I.T.T.'s still there.
ON MICHAEL
beginning to feel very dizzy, but stumbling on.
ON K.I.T.T.
His surveillance light flashes, and he slowly leaves the
road, heading into the rugged, mountainous terrain.
Climbing the hillside, he stops as if to get his bearings.
And as his surveillance light looks about, it suddenly
spots something and holds.
WHAT K.I.T.T. SEES - A YOUNG BOY OF FOURTEEN
stands on a distant hill looking at K.I.T.T. curiously.
BACK ON K.I.T.T.
looks at the boy a beat, then frightened, confused, heads
up the rugged terrain to seemingly safer ground.
ON MICHAEL
Getting weaker by the moment, he stops, looks back, and
reacts. K.I.T.T. is nowhere in sight. He begins running
back, calling ---
MICHAEL
Kitt! Kitt!
Reaching the spot where he left him, he looks about, sees
nothing but the rugged terrain. Calls again ---
MICHAEL
Kitt!!!
Then suddenly the entire earth begins to spin, as Michael
slumps to his knees, barely conscious.
EXT. MOUNTAIN TERRAIN - DAY - ON BRONCO
as it comes to a stop off a fire road.
KORSO
You change the license plates.
They jump out and get to work. Pell changing the plates,
while Korso peels the white skin off the top half of the
Bronco, along with the words, Kellogs Plumbing Supplies.
What remains is an all red wagon. While working, Pell
suddenly remembers, and pulls off his mask revealing Bobbie
Pell, late twenties, mercurial and deadly. Korso removes
his. He's thirty-five, hardened by too many years in
prison, and brooding.
PELL
Know something, Julius, I liked you
better with it on.
KORSO
A comedian. You're too good for
this line of work, Bobby. You
should be on Saturday Night Live.
Throws the mask at him, then they return to work. Suddenly
both react to the sound of a twig snapping. Turn.
WHAT THEY SEE - DOUG WAINWRIGHT
the boy we glimpsed earlier is standing a short distance
away. Doug is fourteen, nice looking, but guarded. He
wears a baseball cap with the initials W-W on it, carries a
fishing pole, and a small canvas knapsack. He looks at the
men a frightened beat, then turns and begins to run.
ANGLE TO INCLUDE KORSO, PELL
PELL
He made us!
KORSO
Don't let him get away.
They charge after him.
VARIOUS ANGLES OF CHASE
The men are bigger, stronger, faster, leaping over large
clumps of brush. The kid, however, knows the terrain, and
weaves in and out. Still, the terror builds as he sees
them getting closer and closer.
ON DOUG
as he gets his knapsack caught on a branch and struggles to
free it. Suddenly he hears a snap.
ANGLE TO INCLUDE KORSO
standing within a few feet of him. But as he reaches out
to grab him, Doug breaks away with the freed knapsack, and
disappears within the heavy brush.
ANGLE ON KORSO AND PELL
picking up the chase, then suddenly stopping.
WHAT THEY SEE - DOUG
has completely vanished.
BACK TO SCENE
PELL
Where'd he go?
KORSO
I don't know.
They walk quietly, peering into various possible hiding
places.
Camera moves in on:
MOUTH OF CAVE
It's covered with brush, but behind this we see Doug peering
out, holding his breath.
ANOTHER ANGLE TO SEE KORSO AND PELL
stopping right in front of the opening, but not seeing it.
PELL
He couldn't've just disappeared!
KORSO
Tell me about it. Let's get out of
here.
He starts back toward the Bronco.
PELL
He made us! He can describe us to
the cops!
KORSO
He's just a kid!
(stops,
turns back)
You comin' or not?!
Korso continues on. Pell gives a quick look about, then
catches up.
PELL
I don't like it!
KORSO
Relax, Bobbie...it's going to be
okay.
Pell stops again, looks about, then catches up.
Camera moves in on:
MOUTH OF CAVE
to see Doug watching them, frightened to death.
EXT. HIGHLAND MEDICAL CENTER - DAY - ESTABLISHING
Like the town of Highland itself, the medical center is
small but fairly modern.
INT. MICHAEL'S ROOM - DAY
Michael, better now, is busy dressing, as a very large and
commanding Nurse is trying to change his mind.
NURSE
I'm warning you, Mr. Knight, you're
making a big mistake!
MICHAEL
Nurse, I appreciate all you've done
for me, but I feel fine.
NURSE
If you feel so fine, why were you
found half unconscious on the road,
babbling something about your car
having driven off by itself?!
MICHAEL
It's a long story, but all I needed
was a little rest and tender loving
care, which you more than gave me,
Nurse Gilmore. And actually my car
did drive off by itself, but that's
an even longer story, and I haven't
got time to go into it right now.
Thanks again for everything, you're
a credit to your profession...
(kisses her)
I'll take care of the bill on the
way out.
She stands, still feeling his kiss on her cheek.
EXT. MEDICAL CENTER - DAY - ON MICHAEL
as he exits ---
ANGLE TO INCLUDE DEVON AND BONNIE
pulling up in separate cars -- Bonnie's is an open Jeep --
and hurrying over to meet Michael.
DEVON
Well, I see you've been discharged.
MICHAEL
Escaped is more like it. What about
Kitt?
DEVON
No sign of him, Michael.
MICHAEL
But he has to be somewhere around
there. How far could he go?
BONNIE
His turbine has nothing to do with
his memory banks, Michael. As long
as it's working, he can go as far as
he wants.
MICHAEL
Maybe he's confused, hiding up there
in the mountains.
DEVON
I've launched a helicopter search
of the entire area and alerted the
various police departments to be
on the lookout for him.
MICHAEL
I'm sure you're doing everything
you can, Devon, but I'm going up
there and look for him myself.
BONNIE
We figured as much, so I brought
you some wheels.
(motions to
Jeep)
It's not Kitt, but then what is?
MICHAEL
Thanks, Bonnie.
They move with him toward the Jeep. Uncomfortable ---
DEVON
Michael, I'm positive we'll find
Kitt...but there's something I think
you should be aware of.
MICHAEL
What's that?
A difficult moment.
DEVON
Michael, as valuable as Kitt is
to us...think of what he would
mean to someone who might want
to use him for some other purpose.
Michael stares at him.
MICHAEL
Hey, wait a second. Am I going
crazy, or are you talking about
destroying Kitt.
DEVON
Like it or not, it's in my power to
do so. Wilton Knight insisted on
a...
(hates to
even say it)
...'Terminate and Destroy' button.
MICHAEL
Devon, whatever you do, don't panic
and push that button! Please, I'm
asking you!
DEVON
You have my assurance I won't panic,
Michael, but that's the only assur-
ance I can give. Now, for God's sake,
go out there and find him!
A moment between them, then Michael climbs into the Jeep
and drives off.
EXT. CAVE AREA - DAY - ON DOUG
as he pokes his head out of the cave, looks around, senses
it's safe, and comes out. Once again he looks to be sure,
then takes off at a fast pace.
ANGLE ON MICHAEL
driving up a fire road nearby, when he spots Doug, stops,
calls out ---
MICHAEL
Son! Hold up a minute.
ON DOUG
Fear exploding in his face, he begins to run.
ANGLE TO INCLUDE MICHAEL
easily catching up, and stopping him.
DOUG
I didn't do anything, honest!
MICHAEL
I'm not accusing you of anything.
(studies him)
What are you so nervous about?
DOUG
Ah...ahh...
(glances at
fishing pole)
I'm always being chased away from
here for fishing in the reservoir.
I thought maybe you were the game
warden.
MICHAEL
(smiles)
No, I'm not the game warden.
(holds out
hand)
My name's Michael Knight. I'm from
the Foundation for Law and Government.
DOUG
(hesitant,
extends hand)
My name's Doug.
MICHAEL
Good to meet you, Doug.
(re cap)
I see you're a baseball player. W-W?
DOUG
The Wainwright Warriors. I play
shortstop.
MICHAEL
I used to play first base myself.
(beat)
Doug, did you happen to see a black
T-top anywhere around here?
DOUG
(too quickly)
No.
MICHAEL
It wouldn't have been too hard to
spot. Might even've had a flashing
red light in its grill.
DOUG
I told you, I didn't see anything.
MICHAEL
(studies him)
You'd tell me if you did, wouldn't
you?
DOUG
Sure, I'd tell you...but I didn't.
Look, I gotta get home, my mom's
waiting for me.
MICHAEL
(nods, smiles)
Sure...You never want to keep a mom
waiting.
Doug walks on, glances back at Michael, who waves, then
hurries off. Michael watches him a beat, then returns to
the Jeep.
CUT TO
EXT. FLAT TERRAIN - DAY - ON DOUG
His fishing pole over his shoulder, his knapsack in his
hand, he moves toward a distant road having just come down
the hillside. Sensing something, he suddenly slows his
pace.
FULLER ANGLE TO SEE K.I.T.T.
tailing along behind him. Doug stops, afraid to turn. So
does K.I.T.T. Then Doug continues on. Then stops again,
turns, reacts ---
DOUG
Where'd you come from?
The scanner flashes.
DOUG
Go away!
He walks on faster; K.I.T.T. continues to follow.
DOUG
I said, leave me alone! Get away!
He starts to run. K.I.T.T. speeds up.
VARIOUS ANGLES
As Doug begins to run faster, faster, K.I.T.T. leaves the
trail behind him. Tired, breathing hard, Doug stops, turns,
to find that K.I.T.T. is gone. A beat, then he starts to
relax, even smiles, turns to continue home...but suddenly
stops:
ANGLE TO INCLUDE K.I.T.T.
standing right in front of him. The two look at one
another. K.I.T.T. flashes his light. Frustrated, angry ---
DOUG
What do you want?!
K.I.T.T.
(beat)
Help...me. Please...help me.
And as the two look at one another, we ---
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
EXT. F.L.A.G. - DAY - ESTABLISHING
MICHAEL'S VOICE
Devon, I'll find him!
INT. DEVON'S OFFICE - DAY
Michael, pacing the office, Devon behind his desk, tie
askew, shirt uncharacteristically open at the throat. Both
men are weary.
DEVON
Unfortunately, that's not the point,
Michael.
MICHAEL
All right, you want it in blood?
You want specifics? I'll find him
in time -- before anyone else does.
Before anyone else can use him.
DEVON
Michael, I appreciate your sentiments.
I share them, believe me. But that's
just what they are -- sentiments. I
can't make decisions that could
jeopardize the Foundation based on
emotion.
MICHAEL
You said you'd wait as long as you
possibly could.
DEVON
And that period of grace is quickly
coming to an end.
Bonnie enters with computer sheets, and a small computer
component. She looks tired. Michael glances at her,
hopeful.
MICHAEL
Anything?
BONNIE
Not yet. I've contacted every
computer supply outlet in a hundred
mile radius.
(more optimism
than she feels)
If anyone tries to repair him, I'm
sure we'll know about it.
Devon clearly isn't sold, and she avoids his look. Michael
feels compelled to carry the torch.
MICHAEL
And if no one does try, the threat
against the Foundation is academic.
DEVON
Not quite. Kitt could be trans-
ferred out-of-state and repaired.
He could be repaired from existing
CPU components.
(beat)
Michael. Bonnie. I know what Kitt
means to you. I share your love for
him and your anguish. But our work
is too important to be compromised.
(beat)
I have no choice. If Kitt can't be
recovered by 9:00 AM tomorrow, I'll
be forced to activate his self-
destruct mode.
MICHAEL
At least give me twenty-four hours.
Devon paces, sighs.
DEVON
Do you have anything at all to go on?!
MICHAEL
Yes!
DEVON
What?
MICHAEL
(beat)
Can't you take my word for it?
DEVON
Oh, Michael....
MICHAEL
It's...a feeling I have, Devon. I
ran into this kid up in the hills.
He said he was scared to death
because he thought I was a game
warden. He was scared all right,
but that wasn't the reason. I think
he knows something about Kitt. Damn,
I should never've let him out of my
sight.
BONNIE
Do you know where to find him?
MICHAEL
He belongs to the Wainwright Warriors.
A Little League baseball team.
(beat)
I'll find him, Devon. That's a
promise.
He starts out, but Bonnie stops him, hands him a light-
weight portable kit.
BONNIE
Michael...when you do, place these
new modules into his CPU. They'll
restore his memory until I have a
chance to work on him.
He takes the kit.
BONNIE
I know you're going to find him,
Michael.
MICHAEL
Thanks, Bonnie.
Michael continues out.
EXT. CAVE AREA - DAY
K.I.T.T. sits in a small clearing within dense terrain; the
large mouth of a cave in back of him. Doug in front of
him ---
DOUG
You'll be safe here for awhile. If
anyone comes, all you have to do is
back into that cave.
K.I.T.T.
Good idea. I think if I could just
get a little rest, I'll get some of
my strength back.
Doug looks him over.
DOUG
Who owns you?
K.I.T.T.
I beg your pardon?
DOUG
Who has your pink slip?
K.I.T.T.
I'm really not sure. What's a pink
slip?
DOUG
I'll bet it's that big guy who was
looking for you.
K.I.T.T.
What big guy?
DOUG
Oh, just this big tall guy....
Doug moves about him curiously, still holding his knapsack.
DOUG
Do you always just follow behind
people...or does someone get inside?
K.I.T.T.
If that's a hint...hop in.
The door pops open. Doug's eyes grow wide and he slides
behind the wheel.
INT. K.I.T.T. - DAY
Doug looks at the dash; his eyes explode ---
DOUG
Look at that dash! It's like being
inside a spaceship! What are all
these buttons for? 'Pursuit Mode...
Scanner...Infrarays...Turbo-Boost....'
K.I.T.T.
Don't touch the Turbo-Boost!!! Some-
thing tells me you shouldn't touch
the Turbo-Boost.
DOUG
What about, 'Eject -- Right and
Left'?
K.I.T.T.
Hmmmmm?
DOUG
Well, there's just one way to find
out.
Fortunately he presses, Right...the top blows, and his
knapsack, which he placed on the seat, lifts off.
ANGLE ON KNAPSACK
It comes close to disappearing from sight.
BACK TO SCENE
Doug's mouth is open.
DOUG
It's like a rocket!
K.I.T.T.
Yes, well, we know what it does...
now I think it needs a bit of
adjustment. And I wouldn't touch
any more of those buttons if I were
you.
Doug watches the knapsack crash to the ground, shakes his
head in wonderment.
K.I.T.T.
By the way -- what's your name?
DOUG
Doug.
K.I.T.T.
Well, Doug, mine is...
(thinks)
Kitt! That's it, Kitt!
DOUG
Nice meeting you...Kitt.
Doug hesitates, then places both hands tightly about the
wheel.
EXT. SUZY'S RIB JOINT - DAY
Korso and Pell are seated at a patio table, in this less-
than-fashionable eatery. Both have a plate of ribs in
front of them, but Pell isn't eating. Watches Korso a few
beats ---
PELL
Is that all you think about --
feeding that ugly face of yours?
KORSO
Relax, Bobbie, enjoy. Tomorrow at
this time we'll be in the big bucks.
PELL
Yeah, and a week from this time,
back in the joint.
KORSO
What're you talking about? We did
it, we got the nitro-plastique. We
blow the dam, we give 'em massive
civil emergency and all that and
while they're going crazy --
(motions across
the street)
We walk into that bank and come out
rich men. Now quit worrying.
PELL
Julius, it's not the job I'm worrying
about, it's the kid! He made us!
Once he gives the police our descrip-
tions, we'll be more famous than
Michael Jackson.
KORSO
We'll be long gone by then.
PELL
'Long gone' where?! Julius, the
world's changed. You just can't run
off and hide somewhere. Look at
those guys who hit that armored car
last year. They went clear to the
opposite side of the world, and they
still got caught before they had a
chance to enjoy it!
KORSO
So what are you telling me?
PELL
I'm telling you we've got to find
that kid and put him away!
KORSO
Forget it.
Korso starts to take a rib, Pell stops him ---
PELL
No, you forget it. If we don't find
that kid, I'm not going through with
this job. We can go somewhere else,
find another dam, another bank, but
not here! You read me?
KORSO
Bobby, we don't even know where to
start looking for him.
PELL
We start where we last saw him, up
in those hills. He's a local kid.
We can find him. All we got to do
is look.
CUT TO
EXT. WAINWRIGHT NURSERY - DAY
A nice suburban establishment. Pan as Michael pulls up in
the Jeep, heads for the entrance.
ANGLE TO INCLUDE JIM TURNER
late thirties, big, a no-nonsense sort of guy who helps run the
place.
JIM
Help you?
MICHAEL
I sure hope so. I'm looking for a
sponsor of a Little League baseball
team.
LORI'S VOICE
Sorry, but we've already got one.
Michael looks over.
ANGLE TO INCLUDE LORI WAINWRIGHT
She's thirty-two, pretty and bright. It soon becomes
obvious that Turner feels very protective of her.
LORI
In first place, too.
MICHAEL
The Wainwright Warriors?
LORI
That's right.
MICHAEL
(brightens)
I'm looking for a boy named Doug.
He plays short-stop. Do you know
him?
LORI
I should...he's my son. Doug
Wainwright.
JIM
What's this all about?
MICHAEL
Mrs. Wainwright, I'd like to talk to
him.
JIM
And I asked you what this was all
about?!
LORI
It's all right, Jim...why don't you
see what that customer over there
wants.
Beat, then Turner goes off.
LORI
He's...become a little overprotective
since my husband died. They were
good friends.
(forces
smile)
What did you want to see Doug about?
MICHAEL
It's about a car. My car.
LORI
Your car?
MICHAEL
I really can't go into it now. I'm
with the Foundation for Law and
Government and ---
LORI
(overlap)
Is Doug in some kind of trouble?
MICHAEL
No, it's nothing like that -- but
believe me, it's very important that
I talk to him.
LORI
Doug isn't here right now. He
should be, but...well...he's been
spending more and more time by
himself lately.
MICHAEL
Could Doug be at home?
LORI
No, I just tried calling him there.
But I think I know where you can
find him.
MICHAEL
Like I said, it's very important.
LORI
He and his father used to do a lot
of hiking in those hills up there.
Once they discovered a cave...They
called it their secret hideaway.
MICHAEL
Could you give me some directions?
LORI
It's straight up the fire road. When
you reach the top go about fifty
yards due west.
MICHAEL
(a smile)
Thanks, Mrs. Wainwright. You don't
know what this means to me.
She watches him hurry back to the Jeep. Off to one side
Jim also watches, brow furrowed.
EXT. CAVE AREA - DAY
Doug is ready to leave.
DOUG
You sure you'll be okay by your-
self?
K.I.T.T.
I'll be fine. I think I'm beginning
to remember a little more, and if
there's any trouble, I'll just drive
into the cave.
DOUG
I'll come back later.
He starts off.
K.I.T.T.
Now don't forget.
DOUG
(smiles)
Don't worry, Kitt, I won't.
K.I.T.T. flashes his scanner and Doug goes off.
EXT. FOOTHILL ROAD - DAY - ON MICHAEL
coming up the mountain, but still quite far from the cave
area.
EXT. RUGGED TERRAIN - DAY - ON KORSO AND PELL
in their Bronco and searching the area.
KORSO
I'm giving it another five minutes,
Bobby. If we don't find him by
then, I'm heading back.
Pell spots something, points.
PELL
Julius...look!
THEIR POINT OF VIEW - DOUG
only a short distance from the cave area.
BACK TO SCENE
Korso floors the Bronco.
ANGLE ON DOUG
hearing the Bronco, reacting, and running back toward the
cave.
PELL (V.O.)
Don't let him get away!
ANGLE ON CAVE AREA
as Doug runs to K.I.T.T.
DOUG
Kitt, they're after me!
K.I.T.T.
Who?
DOUG
Those two guys -- get in the cave,
quick!
K.I.T.T.
No, Doug -- you get in.
The driver door pops open. Doug jumps in.
ANGLE IN K.I.T.T.
He comes to life.
DOUG
But I don't drive! My dad was going
to teach me when I turned fifteen.
K.I.T.T.
There are still a few things I
remember how to do, Doug. Hold on.
Doug's eyes grow wide as K.I.T.T. pulls out.
EXT. RUGGED TERRAIN - DAY - ON K.I.T.T.
pulling from the cave area, and heading down a fire road.
ON KORSO'S BRONCO
Pell points.
PELL
That's him! In the black T-top!
Korso takes off after K.I.T.T.
VARIOUS ANGLES OF CHASE
through the rugged terrain, intercutting with Doug's reac-
tions.
ANGLE ON MICHAEL'S JEEP
coming up in their direction. However, he's still a good
distance away.
MICHAEL
Kitt!!
He goes after him.
VARIOUS ANGLES
as K.I.T.T., races toward the edge of the canyon.
ANGLE IN K.I.T.T.
Doug's reaction to the fast approaching edge:
DOUG
We're coming to the edge!
K.I.T.T.
I noticed!
DOUG
What are we going to do?!
K.I.T.T.
When I tell you, push the Turbo-
Boost button!
DOUG
But you told me before, never to
press the Turbo-Boost button!
K.I.T.T.
I've changed my mind!
And right at the edge ---
K.I.T.T.
Push!
Doug freezes.
K.I.T.T.
Push!
ON DOUG
as he pushes the button.
ANGLE ON K.I.T.T.
shooting off into the canyon.
ON DOUG
eyes and mouth wide open, petrified, thrilled.
ON K.I.T.T.
As he heads for the opposite side of the canyon, we ---
FREEZE FRAME
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
EXT. CANYON - DAY
We resume action, K.I.T.T. flying over the canyon.
ANGLE IN K.I.T.T.
Doug is holding onto the steering wheel for dear life,
terrified.
K.I.T.T.
I have the strangest feeling I've
done this before. Have you?
DOUG
Are you kidding?!
ANGLE AT CANYON LIP
The Bronco screams to a stop, Pell and Korso staring in
disbelief.
ANGLE ON DIRT ROAD
Michael races by.
FAR EDGE OF CANYON
K.I.T.T. lands, bounces, gains traction and speeds off.
ANGLE ON PELL AND KORSO
Pell watches the disappearing K.I.T.T. Korso, ever
vigilant, sees:
POINT OF VIEW - MICHAEL'S JEEP
on the winding road below racing toward them.
BACK TO THEM
PELL
(finally)
Did you see that?!
KORSO
Yeah -- and that ain't all. Look.
He points to the Jeep approaching.
ANGLE AT CANYON
Pell fires up the Bronco, spins around and hits the
Supercharger.
ANGLE AT INTERSECTING DIRT ROAD
The Bronco hits the dirt road on two wheels, already doing
fifty, and accelerating.
DIFFERENT ANGLES
The Bronco flashes by. Michael realizes the Jeep is no
match, suddenly turns off.
ANGLE AT CANYON EDGE
The Jeep churns to a stop, Michael leaping out. He runs to
the canyon edge, looking.
HIS POINT OF VIEW - RAW HILLSIDE
Wild and untouched. Nothing moves.
CLOSE ON MICHAEL
He tries the comlink.
MICHAEL
(comlink)
Kitt! Kitt, it's me, Michael? Can
you hear me?
Silence. Desperate, he cups his hands to his mouth.
MICHAEL
(hollers)
Kitt...Kitt, it's me...Kitt....
He pauses, listening. All he hears is his echo, faint.
Hold on his face.
CUT TO
EXT. DIRT ROAD - DAY
K.I.T.T. races along, a rooster tail of dust behind him.
K.I.T.T.'S VOICE
I have the strangest feeling....
ANGLE IN K.I.T.T.
Doug gripping the wheel, eyes wide.
DOUG
I know -- you've done this before,
too.
K.I.T.T.
I have that awareness also. This is
different. I have the strangest
feeling someone is calling my
name...could it be those men who
were chasing us?
DOUG
I hope not.
K.I.T.T.
Do you suppose they want to play tag?
DOUG
I don't think so! They're killers.
K.I.T.T.
Oh my. In that case, let's play
alone.
DOUG
What do you mean?
K.I.T.T.
Press something -- anything other
than 'Eject.' Let's see what
happens.
The temptation is too much to resist. Doug presses
"Pursuit."
DIFFERENT ANGLES - MONTAGE
A dazzling display of K.I.T.T.'s capabilities intercut with
Doug at the wheel, expression changing from fear to
exhilaration to absolute wonder. This is an experience
beyond his wildest dreams.
CUT TO
INT. WAINWRIGHT HOUSE - NIGHT
Lori serves, rice, fresh vegetables and barbecued chicken
to Doug and her guest, Jim Turner.
LORI
How hungry are you?
DOUG
Not very.
JIM
Your mother went to a lot of trouble
to fix this.
LORI
It's all right.
Jim's presence creates a strain, and Lori does her best to
diffuse it.
JIM
I just don't want the boy to take
things for granted. Kids have a
tendency to take things for granted
these days.
Doug can't stand him, but for his mother's sake he tries
not to show it. There's an unexpected knock on the front
door.
LORI
I wonder who that could be.
JIM
I'll get it.
Doug looks worried. Jim crosses toward the living room.
ANGLE AT FRONT DOOR
He opens it to reveal Michael. Neither was expecting the
other. Jim doesn't like Michael here and he doesn't try to
hide it.
MICHAEL
Hope I'm not interrupting dinner.
JIM
You are.
MICHAEL
In that case, I apologize.
LORI'S VOICE
Who is it, Jim?
JIM
(off, to her)
Do you need any pots and pans?
LORI'S VOICE
No.
JIM
(to Michael)
She doesn't need any.
He starts to close the door but Michael stops him.
MICHAEL
I came to see Doug. Is he home?
Jim sizes Michael up, takes his time answering.
JIM
Just what do you want with him?
MICHAEL
I want to ask him some questions.
JIM
About what?
MICHAEL
A car.
JIM
Same car you mentioned to his mother
today?
It's a challenge, and Michael debates how to handle it.
MICHAEL
Same car.
(beat)
Do you have a problem with me? If
you have a problem with me, why
don't you get it out so we'll both
know what it is.
Jim is a little taken aback by Michael's directness.
JIM
Lori's husband died a little over a
year ago. She's been through a
lot. I'm here to see no one takes
advantage of her.
MICHAEL
I appreciate your concern. Maybe I
didn't make myself clear. I'm not
here to see Lori, I'm here to see
Doug.
JIM
(beat)
I've got my eye on you.
CUT TO
ANGLE IN LIVING ROOM - MOMENTS LATER
Doug fidgets, scared, trying not to show it.
JIM'S VOICE
Okay, ask away.
WIDER ANGLE
Michael opposite Doug, flanked by Jim and Lori. Jim looks
deep into his macho role, Lori is concerned, not sure just
what is what here.
MICHAEL
Doug, before we start, I'm sorry it
has to be this way.
JIM
What's that supposed to mean?
Embarrassed, Lori tries to shush him. Doug avoids
Michael's eyes.
MICHAEL
(to Jim)
It means this is difficult enough
person-to-person.
Michael holds Jim's look, angry, ready to meet whatever Jim
wants to introduce. Jim, sensing it, lets it pass. Doug is
aware of the tension between them.
MICHAEL
(to Doug)
The car I'm looking for -- the black
T-top -- I think you know where it
is.
Silence. Lori responds, concerned.
LORI
Doug -- answer him. Do you?
DOUG
No.
Jim rises, quick and pointed.
JIM
Okay, you got your answer.
MICHAEL
In fact, I think you were with it
this afternoon near the dam.
(beat)
Doug, listen to me. If you were,
you'll know what I'm talking about...
Kitt's my friend. My best friend.
He's been hurt and he needs help.
He's saved my life more times than I
can count and now I've got to save
his.
JIM
This is getting weird.
(to Michael)
You wanted to ask a question, you
asked it. The answer is 'no.'
LORI
Jim, just a minute.
(to Doug)
Doug, are you telling the truth?
Have you seen this car he's talking
about?
DOUG
No. How many times do I have to say
it?
He suddenly runs from the room. Jim regards Michael.
JIM
If you don't mind, dinner's getting
cold.
Michael has no choice. As he rises to leave:
MICHAEL
(to Lori)
Sorry I bothered you.
CUT TO
EXT. SUBURBAN STREET - NIGHT
It's late, only a few porch lights on.
ANGLE ON WAINWRIGHT HOUSE
silent and dark.
INT. DOUG'S BEDROOM - NIGHT
Doug appears to be asleep. Then the covers stir and he
sits up, wide awake. As he silently climbs out of bed we
see he is dressed.
ANGLE IN HALL
The door to Lori's bedroom is open. We can see her in bed,
watching a late-night talk show. Pan to reveal Doug
creeping down the hall, absorbed in the sense of high
adventure. He reaches her open door, pauses, heart in his
throat. He drops to the floor and in commando-fashion
wiggles across the open space.
LORI'S VOICE
Doug?
He freezes. The moment passes. He crawls beyond the
doorway to safety.
EXT. HOUSE - DAY
Sliding out into the night from the adjacent garage area is
a bicycle, a stealthy figure aboard. It's Doug. He pedals
furiously up the darkened street.
REVERSE ANGLE
The dark shadow of a car. A Jeep, actually.
ANGLE IN JEEP
Michael is behind the wheel. He's just seen what he
suspected. What he's been waiting for. He starts the Jeep
and pulls out.
ANOTHER ANGLE
Doug pedals around a corner. Something's bothering him.
He stops, looking back.
HIS POINT OF VIEW - THE CORNER
Nothing.
ANGLE ON DOUG
Satisfied, he starts to continue. Then he hears a sound --
the sound of a car's engine.
HIS POINT OF VIEW - THE CORNER
The Jeep appears, lights out.
CLOSE ON DOUG
He reacts, darts down an alley.
ANGLE IN JEEP
Michael realizes he's been made; no choice, he floors the
Jeep.
ANGLE IN ALLEY
Doug ditches the bike, leaps over a fence and disappears.
ANOTHER ANGLE
The Jeep turns into the alley, headlights catching the
discarded bike. Michael brakes to a stop, jumps out. He
turns off the engine, listens: silence.
ANGLE ON MICHAEL
Frustrated, angry at himself, still not used to not having
K.I.T.T., his capabilities. He jumps into the Jeep and
tears out.
CUT TO
EXT. WAINWRIGHT NURSERY - NIGHT
Some late-night traffic, cars, distant rock 'n' roll, but
here it's silent, a place apart. Something moves near the
rear fence.
CLOSER ANGLE
The figure is Doug. He climbs over the fence, cat-like.
He knows the place like the back of his hand.
ANGLE AT STORAGE SHED
Doug reaches it, pauses.
DOUG
(whispers)
Kitt? Kitt, it's me...don't be
scared....
He unlocks the lock, slowly enters.
INT. SHED - NIGHT
K.I.T.T.'s scanner flashes red in the darkness. Doug slips
in, turns on the light. He stares at K.I.T.T., fascinated,
still unsure exactly how to relate to his new friend.
DOUG
Hi...
(beat)
How do you feel? Okay?
K.I.T.T.
Much better...I think. How do I
look?
DOUG
Great.
(beat)
How do you look when you're sick?
K.I.T.T.
I don't know, I've never been sick
before.
(beat)
How do you look when you're sick?
DOUG
Awful. I get real pale.
K.I.T.T.
Am I pale?
DOUG
No.
K.I.T.T.
Good. Then maybe I am better...
(beat)
I do wish I could think more clearly.
I keep feeling there's something I
should be doing.
DOUG
Don't worry, that's normal.
K.I.T.T.
It is?
DOUG
Yeah, I do it all the time. Can I
get in?
K.I.T.T.
Of course.
The driver door opens automatically. Doug slides into the
driver's seat.
DOUG
Can I see your lights and things?
K.I.T.T.
I don't see why not.
The lights come up, a dazzling array across the dash.
K.I.T.T.
(beat)
Bonnie.
DOUG
What?
K.I.T.T.
Bonnie...do you know someone named
Bonnie?
DOUG
No.
K.I.T.T.
Or Michael? I recall someone named
Michael....
Doug wishes he could avoid it. He wrestles with it,
confused.
K.I.T.T.
Are you troubled? I sense you're in
conflict with yourself.
DOUG
I guess I am.
(beat)
Kitt, there's a guy looking for you
named Michael. He says you're his.
K.I.T.T.
Really. What does he look like?
DOUG
I don't know...he's older, and
tall. He seems like a nice guy. He
was looking for you near the dam.
K.I.T.T.
What's a dam?
DOUG
You don't know what a dam is? -- Oh,
I forgot about your memory. I'm
sorry. A dam is a big thing that
holds water.
K.I.T.T.
I thought that was a bathtub.
DOUG
No, it's bigger than a bathtub.
K.I.T.T.
This is so embarrassing.
DOUG
What?
K.I.T.T.
Losing one's memory. What if I
never regain it?
Difficult as it is, Doug makes a decision.
DOUG
Kitt, it's my fault. You belong to
that guy, Michael -- Michael
Knight. I'll bet he's got all the
things to fix your memory --
computer parts, all that stuff.
K.I.T.T.
That would be wonderful. But what
about you? We're friends, aren't we?
DOUG
Yeah. Sure we are....
Doug fights it, but he can't resist one last temptation.
DOUG
I'll give you back tomorrow, but can
we take one more ride before I do?
Just one?
K.I.T.T.
Of course.
Off Doug's reaction ---
CUT TO
EXT. FOUNDATION - NIGHT
Outwardly calm, an illusion that's quickly shattered.
MICHAEL'S VOICE
Devon, I know where he is!
INT. DEVON'S OFFICE - NIGHT
Late at night, Devon in a robe, pacing, Bonnie tired from
the pressure of the search. Michael is running on no
sleep, little food, frayed nerves and determination.
DEVON
Michael, that's simply not true!
MICHAEL
In principle it is -- Doug's got him!
The point is he's safe, wherever he
is. He's not in 'enemy hands,' he's
not being used by some evil character
to plunder the civilized world!
Devon immediately crosses to him, face to face, furious
under his impeccable control.
DEVON
Don't minimize the potential
danger. Worse, don't ridicule it --
no matter what your motives.
MICHAEL
(quietly)
My motives are Kitt's survival.
DEVON
I envy you. I wish mine could be so
singular.
He turns from the confrontation, crosses back to his desk.
BONNIE
Michael, Devon -- no. Kitt being
lost is bad enough. Damage enough.
If we start tearing into each other,
we're lost. Kitt's lost. We're all
he has.
Michael looks from her to Devon. The tension charges the
silences.
MICHAEL
Deadline still 9:00 AM?
Devon nods.
MICHAEL
See ya.
He heads for the door, disappears before anyone can respond.
CUT TO
EXT. SUZY'S RIBS - NIGHT
The after-hours crowd from the bars is headed home, a few
stragglers in the parking lot.
ANOTHER ANGLE
Pell finishes off some ribs. Korso looks bored and tired.
KORSO
Hurry up, I'm going home.
PELL
Two minutes. What's the big deal?
KORSO
I'm going home.
PELL
I heard you.
KORSO
I mean Chicago.
At first Pell doesn't take him seriously. Then he begins
to.
PELL
What're you talking about? Chicago?
What about everything planned?
KORSO
You tell me. You're the one who
says it's a wrap unless we find the
kid.
PELL
That's different. That's common
sense -- helps keep you out of the
joint. But you -- Chicago, that's
just quitting.
Angry, Korso tries to keep his voice down.
KORSO
Don't talk to me about quitting,
Bobby! That's you! You're the one
says we gotta find that kid first,
not me. In case you haven't noticed,
it's almost four AM. It's almost
daylight. Face it, we're not gonna
find him.
Over the last line or two Pell's attention focuses past
Korso. He grabs Korso's arm.
PELL
Look.
KORSO
Leave me alone.
PELL
Look!
THEIR POINT OF VIEW - K.I.T.T.
He drives by, Doug's head barely visible behind the wheel.
They pass Suzy's, continue down the street and then turn
into the nursery.
BACK TO PELL AND KORSO
They look at each other.
PELL
The nursery.
KORSO
I'll be damned....
PELL
Let's go.
They put some money on the table, quickly rise and head for
their car.
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
EXT. WAINWRIGHT HOUSE - NIGHT - JUST BEFORE DAWN
A car delivering the Times drives by, throwing papers. As
it passes Michael's Jeep rounds the corner, skids to a stop
in front of the house. Michael runs to the front door.
INT. LORI'S BEDROOM - NIGHT
Asleep, she stirs to the ringing doorbell, the pounding on
the door.
LORI
Okay, okay...just a minute....
She grabs a robe.
ANGLE ON FRONT DOOR
Michael waits, impatient. Lights go on in the living room.
LORI'S VOICE
Who is it?
MICHAEL
Michael Knight. I'm sorry to wake
you, but I've got to talk to you
about Doug ---
The door opens, Lori peering out.
LORI
Can't this wait until morning?
MICHAEL
No. Do you have any idea where he
is? Where he'd hide a car?
LORI
(reacts)
What are you talking about? He's
upstairs asleep in bed.
Michael shakes his head.
MICHAEL
He left on his bicycle over an hour
ago. Can I come in?
On her reaction:
CUT TO
EXT. NURSERY - NIGHT
There's a dim light on in the shed.
INT. SHED - NIGHT
Doug admires K.I.T.T. as if for the last time.
DOUG
I'll never forget this.
K.I.T.T.
You sound so sad. Don't be sad.
Do you know how many yard-feet of
water it takes to irrigate the
Imperial Valley in July?
DOUG
No.
K.I.T.T.
Given a mean air temperature of
ninety-two degrees Fahrenheit,
fourteen million, three hundred and
eight thousand.
DOUG
Wow.
K.I.T.T.
Indeed. The problem is, who cares?
How can I remember things like that
and not remember who I am? What I
do? Where I belong?
DOUG
You will tomorrow. I promise.
Everything'll be okay tomorrow.
Sad, he crosses to the door, pauses.
DOUG
Good night, Kitt.
K.I.T.T.
Good night, Doug.
He switches off the light and steps outside.
EXT. SHED - NIGHT
As Doug turns to lock the shed door two figures suddenly
leap from the darkness. Doug tries to yell but they cover
his mouth and wrestle him away into the darkness.
CUT TO
EXT. WAINWRIGHT HOUSE - NIGHT
The front door opens and Michael exits, joined by Lori as
he crosses to the Jeep.
LORI
I wish I could think of more places....
MICHAEL
I'll try the nursery first. If he's
not there -- if the car isn't there
-- I'll call you back and we'll go
down the list.
Michael jumps into the Jeep, puts it into gear and pulls
away.
CUT TO
EXT. ALLEY NEAR NURSERY - NIGHT
Pell and Korso force Doug into the Bronco.
KORSO
This is crazy. I thought you were
the one so anxious to get rid of
him. What happens if a cop stops
us because I don't make a DMV-perfect
left-hand turn?
PELL
So make 'em perfect.
KORSO
As usual, you miss the point entirely.
PELL
No, Julius, you do. The point is we
kill him here and it's murder. But
if we take him up to the dam, and
the dam 'mysteriously explodes,' and
two days later they find him buried
in the rubble, he's just another
victim of the terrible misfortune.
Now let's go, we gotta lot to do.
The Bronco takes off, disappears down the alley.
CUT TO
EXT. NURSERY - NIGHT
Michael races up in the Jeep, climbs out. Using a key Lori
gave him he enters the yard, crosses toward the shed. He
carries the spare component kit Bonnie prepared for him.
INT. SHED - NIGHT
The sound of the door opening, a pause.
MICHAEL'S VOICE
Kitt? Are you here? Doug? It's
okay...it's me, Michael.
Entering, he switches on the light.
WIDER ANGLE
K.I.T.T.'s scanner flashes. Michael breathes an enormous
sigh of relief.
MICHAEL
Kitt, you have no idea how glad I am
to see you.
K.I.T.T.
Do we know each other?
Michael approaches him slowly, aware it may be a difficult
transition for him.
MICHAEL
More than that. We're friends.
Partners.
Michael touches K.I.T.T.'s door.
K.I.T.T.
I'd prefer it if you would kindly
keep your hands to yourself.
A thought strikes Michael. He glances around.
MICHAEL
Where's Doug?
K.I.T.T.
He's my new friend.
MICHAEL
Yeah, I know. Where is he? I
thought he'd be here with you.
K.I.T.T.
He was. But then he left with
two men.
Michael reacts.
MICHAEL
What two men? Who?
K.I.T.T.
I don't know. They were waiting
outside.
MICHAEL
Kitt, c'mon -- you're on surveillance
mode. You've got information --
visuals, an audio of any conversa-
tions.
K.I.T.T.
I do?
MICHAEL
(beat)
Kitt, listen to me. I'm not sure
who those men were, but they could
be dangerous. They could hurt Doug.
K.I.T.T.
Oh dear.
MICHAEL
Yeah. Now I can fix you -- Bonnie
gave me modules to replace your
damaged ones -- but I need your
help. Will you help me?
K.I.T.T.
What do you want me to do?
MICHAEL
Trust me. Let me inside.
He tries the door again. This time it opens....
CUT TO
EXT. FOOTHILLS - DAY (DAWN)
The Bronco turns up a dirt road, heading for the dam.
CUT TO
INT. SHED - DAY (DAWN)
Michael places the last of the new modules into K.I.T.T.'s
CPU.
MICHAEL
This should do it.
He locks the CPU into place. There's a moment of silence,
then K.I.T.T.'s dash functions suddenly come to life.
MICHAEL
Kitt?
K.I.T.T.
Michael? Is that you?
MICHAEL
(relieved)
Yeah, pal, it's me. How do you feel?
K.I.T.T.
Better....
We hear various functions tested, see particular lights and
readouts flash across the dash as K.I.T.T. checks himself
out.
K.I.T.T.
As a matter of fact, I've never felt
so good. But Michael, what about
you? Where have you been?
MICHAEL
It's a long story.
K.I.T.T.
I hope it's a good one. You know
how Devon gets when you're unac-
counted for.
MICHAEL
(smiles)
Gotcha.
(then)
Kitt, I'm a little worried about
Doug. You said he went off with two
men. Let's access your audio banks.
K.I.T.T.
Good idea.
He pushes buttons. K.I.T.T.'s computers whir.
K.I.T.T.
I think I have something.
PELL'S VOICE
...No, Julius, you do. The point
is we kill him here and it's murder.
But if we take him up to the dam,
and the dam 'mysteriously explodes'....
Michael puts the audio on pause.
MICHAEL
Is that one of them?
K.I.T.T.
Yes! Michael, are they talking
about Doug?
He fires K.I.T.T. up.
MICHAEL
I'm afraid so, pal. Let's go.
EXT. SHED - DAY
The corrugated wall suddenly splinters in all directions as
K.I.T.T. and Michael come through.
CUT TO
EXT. DAM - DAY
The Bronco speeds up a dirt road to the base of the dam
area, stops. Doors open and Pell comes out one side with
the strips of nitro-plastique and a timer in a knapsack and
Korso comes out the other side with Doug, a sock stuffed in
his mouth and taped securely.
ANGLE ON PELL
He darts for a catwalk that circles the face of the dam.
ANGLE ON KORSO
He hustles Doug down a steep canyon shoulder, below the dam.
CUT TO
EXT. CITY STREET - DAY
K.I.T.T. rounds a corner on two wheels, heading toward the
hills above the city.
MICHAEL'S VOICE
Kitt, while we have the chance we'd
better get Devon.
ANGLE IN K.I.T.T.
Michael is intent behind the wheel. He pushes buttons.
K.I.T.T.
Michael, with Doug's life in jeopardy,
is it really necessary to chat with
Devon?
MICHAEL
Doug's life isn't the only one in
jeopardy, pal.
INTERCUT - MONITOR
Devon appears.
DEVON
Michael, where are you?!
MICHAEL
Where else? Kitt.
(to K.I.T.T.)
Say hello.
K.I.T.T.
Hello, Devon.
Devon looks relieved, slightly embarrassed.
DEVON
Hello, Kitt. Good to have you back.
MICHAEL
(punches
him out)
Gotta go, Devon.
DEVON
But Michael ---
Devon's image fades.
K.I.T.T.
Michael, is Devon feeling well? He
looks awfully pale.
MICHAEL
(half-smile)
He's had a lot on his mind. Right
now let's concentrate on Doug.
CUT TO
EXT. DAM - DAY
Pell takes the nitro-plastique from the backpack, sets the
timer for fifteen minutes. He attaches four strips to the
concrete face and starts back.
ANGLE BELOW DAM
Korso ties Doug to a tree, double-cinches the last knot.
KORSO
So long kid. If you ever pass over
Chicago, wave.
He starts back up toward the Bronco.
CUT TO
EXT. BASE OF HILLS - DAY
Michael and K.I.T.T. leave the last of the residential area
behind, turbo over a steel rope guarding a dirt fire road
and accelerate up, toward the dam.
CUT TO
EXT. DAM AREA - DAY
Korso and Pell meet at the Bronco, jump in and take off.
INTERCUT - NITRO-PLASTIQUE AND TIMER
The clock reads less than eleven minutes.
INTERCUT - DOUG
He struggles to escape but it's no use.
ANGLE ON K.I.T.T.
barreling up the dirt road. Michael scans the area,
pushes buttons.
MICHAEL
All right, Kitt, let's scan for the
Bronco...Doug...any movement or
activity.
K.I.T.T.
Michael!
INSERT - MONITOR
We see Doug tied to the tree, struggling.
BACK TO MICHAEL
He whips down another road.
MICHAEL
Good work, Kitt!
ANGLE AT BASE OF DAM
K.I.T.T. skids to a stop, Michael jumping out.
K.I.T.T.
Michael, wait!
INSERT - MONITOR
We see the strips of plastique and the timer.
BACK TO MICHAEL
He reacts.
MICHAEL
The nitro-plastique! Kitt, quick --
how many minutes left on the timer?
K.I.T.T.
Just over seven minutes.
MICHAEL
Can we disarm it from here?
K.I.T.T.
I don't think so.
MICHAEL
Then let's stop the clock.
(pushes
button)
Full power on microwave jammer.
Michael runs to the canyon shoulder for Doug. Hold on the
jammer as it focuses on the timer. The timer begins to
vibrate.
ANGLE ON DOUG
He stops struggling when, to his amazement and relief, he
sees Michael coming down the ravine for him. Michael cuts
the rope, pulls off the tape.
MICHAEL
You okay?!
DOUG
Yeah....
MICHAEL
Let's go.
They start back up.
ANGLE IN K.I.T.T. - ON THE MONITOR
We see the timer begin to shake violently, then disintegrate.
WIDER ANGLE
as Michael and Doug appear, climbing in.
MICHAEL
(to K.I.T.T.)
How'd we do?
K.I.T.T.
Clock heaven. Hello, Doug!
DOUG
Hi, Kitt!
MICHAEL
All right. Now for our two friends
in the supercharged Bronco.
K.I.T.T.
Bronco heaven?
Michael backs out in a cloud of dust.
MICHAEL
Heaven's too good for 'em. I was
thinking of jail.
CUT TO
EXT. DIRT ROAD - DAY
The Bronco barrels along, unaware of:
ANGLE BEHIND K.I.T.T.
pulls into view.
MICHAEL
Okay, Kitt. Shall we put these
turkeys away?
K.I.T.T.
I thought you'd never ask.
MICHAEL
Doug, you do the honors. Press
Turbo Boost.
Doug grins -- reaches for the turbo button, presses hard.
K.I.T.T.
zooms high over the racing Bronco, lands ahead of it,
cutting it off.
ANGLE ON KORSO AND PELL
Korso cuts the wheel too sharply.
THE BRONCO
It flips and slides to a stop.
ANGLE ON K.I.T.T.
Michael and Doug jump out. As the dust clears, Korso and
Pell straggle out, dazed.
MICHAEL
Go ahead, Doug.
DOUG
Is it legal?
MICHAEL
You're a citizen, aren't you?
DOUG
I guess.
(to Korso
and Pell)
This is Doug Wainwright, and I'm
making a citizen's arrest!
FADE OUT
END OF ACT FOUR
TAG
FADE IN
EXT. WAINWRIGHT HOUSE - DAY
The front door opens and Lori, Doug and Michael come out,
cross slowly to where K.I.T.T. is parked. Doug darts ahead
to say good-bye to K.I.T.T.
LORI
Really, Michael...I don't know how
to thank you.
MICHAEL
I owe you a new shed.
LORI
No you don't. It's the least I can
do.
They smile, continue toward K.I.T.T. and Doug.
LORI
He's going to miss you. You and
Kitt.
MICHAEL
Not for long. Kitt's already made
me promise to come by.
She pauses, pauses, kisses him on the cheek and hurries
back inside.
MICHAEL
(to Doug)
Sorry, partner. Time to go.
DOUG
You promised to come back. I bet
you forget.
MICHAEL
Bet I don't.
Michael smiles, gives him a thumbs up and climbs into
K.I.T.T.
K.I.T.T.
I'll see that he doesn't forget,
Doug. You can count on me.
Doug watches as they pull out and disappear down the street....
FADE OUT
THE END
