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KNIGHT RIDER: LOST KNIGHT

EXEC. PRODUCERS: Glen Larson, Robert Foster
PRODUCERS: James M. Miller, Gino Grimaldi

Production #58619
1st Draft - May 30, 1984 (F.R.)

Teleplay: .................. Robert Foster &
............................ James M. Miller
Director: .................. Sidney Hayers

                              
                                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