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
Normally a building this size would
require a minimum of a thousand
pounds of dynamite to bring down.
However, with the development of our
new XPL nitro-plastique, we can
accomplish the same job with just
six of these packets, weighing a
total of...thirty ounces.
A scattering of reactions, an ad-lib comment or two.
Ms. Jordan smiles as though to good reviews.
MS. JORDAN
We at XPL knew you'd be favorably
impressed. We also knew you'd have
concerns -- serious concerns --
regarding the potential dangers
of an explosive this compact, this
versatile...This powerful. In that
regard, we at XPL are consulting
with a number of experts in a variety
of fields. Today we're fortunate
enough to be joined by Mr. Devon
Miles of the Foundation for Law and
Government.
Some applause, some "Who's he?" expressions. Bonnie nudges
him.
BONNIE
You're on.
DEVON
So it would appear.
Devon smiles, steps forward.
DEVON
We at the Foundation welcome the
opportunity to work with private
industry toward developing adequate
safeguards. In today's world, some-
thing as powerful as nitro-plastique
isn't simply an explosive. In the
wrong hands, it's a weapon.
MS. JORDAN
Well, I don't know if we at XPL
would go that far....
She whisks him off with a smile, gestures to an XPL techni-
cian off to one side, not at all pleased by Devon's candor.
MS. JORDAN
Thank you, Mr. Miles. And now, for
the event we've all been waiting
for...it's ten seconds to detonation.
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:
'BOB'S 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. They will later be revealed as Bobby Pell
and Julius Korso.
INT. BRONCO - DAY
Korso, behind the wheel, looking at LED clock ---
KORSO
Ten seconds. Bobby, this better
work....
PELL
It'll work. Seven...six...five....
EXT. DEMOLITION SITE - DAY
MS. JORDAN
Four...three...two...one....
A terrifying explosion.
ON BUILDING
as it crumbles into a pile of dust and bricks.
INT. BRONCO
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, a distance from the demolition site.
ON TRAILER
as the Bronco roars up. Two security guards are quickly
alerted, but before they can go for their guns, Korso and
Pell jump out and level sawed-off shotguns on them.
PELL
Don't even think it! Drop the belts
-- now!
The guards drop their belts as Korso disappears inside the
trailer. Pell makes sure he keeps an eye on him through
the open door.
PELL
C'mon!!
Korso pops out with a small steel case. Pell looks inside,
sees the packets.
PELL
How do we know this is the stuff?
KORSO
It's the stuff! Let's go!
He darts for the Bronco. Pell follows, shotgun on the guards.
PELL
You got two choices -- stay put or
kiss the holiday's good-bye.
He jumps into the Bronco and Korso peels out.
ON GUARDS
One scrambles for his weapon, while the other races to the
trailer, pulls the alarm inside.
ANGLE ON BRONCO
It flies past.
ANGLE ON XPL SECURITY CAR
It roars out in pursuit, red lights flashing.
ANGLE ON DEVON, BONNIE AND OTHERS
reacting to the alarm.
BRONCO AND SECURITY JEEP
As the Jeep tries to cut the Bronco off Korso rams into it
with his heavy bumper, sends it into a spin, causing it to
crash into a fence. Korso hits the street.
EXT. TWO-LANE 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, 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...crazy, no.
K.I.T.T.
Michael, Devon's calling.
MICHAEL
Why did I open my big mouth?
INSERT MONITOR
as Devon appears, a sense of urgency about him.
MICHAEL
Yo, Devon.
DEVON
Michael, the demolition site has just
been robbed! Two men made off with
a quantity of that new explosive.
The police are in pursuit, but if
you're anywhere in the vicinity, I
want you to assist in any way
possible.
MICHAEL
What am I looking for?
DEVON
A red and white Bronco, with Bob's
Plumbing Supply on the side.
MICHAEL
Did you get a make on the plate?
DEVON
Incomplete -- only the first three
digits: 187.
MICHAEL
Kitt, pick up the police frequency,
and 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. ANOTHER HIGHWAY - DAY - ON BRONCO
as it leaves the highway and turns onto a smaller road.
EXT. ROAD - DAY - ON K.I.T.T.
MICHAEL (V.O.)
Kitt, how're we doing?
INT. K.I.T.T. - DAY
A graphic appears on the monitor.
K.I.T.T.
I have the target vehicle's location,
direction and approximate speed.
Michael looks at the graphic, studies it for a moment.
MICHAEL
That's heading into the Kirkland Dam
area.
K.I.T.T.
Correct.
MICHAEL
We'll go as far as Temple Road, and
try to intercept at Needles Ridge.
The speedometer rises.
CUT TO
EXT. KIRKLAND ROAD - DAY - ON BRONCO
speeding along.
ANOTHER ANGLE
The Trans Am flies in from an intersecting road.
ANGLE IN K.I.T.T.
Michael is intent behind the wheel.
K.I.T.T.
Michael, my monitor....
MICHAEL
Gotcha.
Meaning the vehicle is in sight.
INT. BRONCO - DAY
Korso spots K.I.T.T. in the mirror, reacts.
KORSO
Behind us.
Pell looks.
KORSO
What is it, a cop?
PELL
No...some joker in a black T-top.
Let's dust him.
Korso hits a switch on the dash.
ON HOOD
A custom air intake opens revealing a powerful supercharger.
It whines.
ON SPEEDOMETER
It arcs up over 100, 110, 120....
INT./EXT. K.I.T.T. - CLOSE ON THE DIGITAL READOUT
The mph numbers rapidly clicking upward to 140. Camera
draws back to catch Michael's reaction.
MICHAEL
Kitt, we're not pulling like we should.
K.I.T.T.
I don't understand it, Michael.
Michael presses buttons.
MICHAEL
Let's see what we're dealing with
here.
A graphic appears on the monitor.
K.I.T.T.
The vehicle in question has a super-
charger, mounted on a Hemi-head V-8.
MICHAEL
Let's show 'em what super-charged is
all about, buddy.
K.I.T.T.'S CONTROLS
As Michael hits Pursuit, K.I.T.T. catapults to 150, 160,
170....
EXT. ROAD - DAY - CHASE
INT. BRONCO
They're flying and Korso is scared beneath the conviction
he will, in the end, tough-out any situation.
KORSO
I thought you said nothing on the
street could touch this!
Pell is starting to look desperate, too. He grabs one of
the packets of explosives, snaps a contact detonator onto it.
PELL
So whoever he is thinks he's a smart
guy, let him think he's a smart guy.
(yells)
Eat this, smart guy!
He tosses a packet out of the window.
EXT. ROAD - DAY
The packet hits the pavement and explodes, shaking K.I.T.T.
violently, but not stopping him. It does tear up the road,
however.
INT. BRONCO - DAY
They're shocked to see the Trans Am still behind them and
gaining.
KORSO
Bobby, c'mon! Do something! Drop
the guy!
Pell, totally frustrated, readies two packets of explosives.
PELL
If this doesn't stop him, pull over
and put up your hands, the man is
holy.
He flings them out.
OMITTED
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. Michael hits his head, stunned.
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 a sign down
the road: "REST AREA - PUBLIC PHONE - ONE MILE."
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 -- suddenly
spots something and holds.
WHAT K.I.T.T. SEES - A 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, K.I.T.T.
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 turns off a fire road, and stops near a blue Blazer
hidden in some heavy brush. Korso and Pell jump out.
Remove their ski masks. Korso is thirty-five, hardened by
too many years in prison, and brooding. Pell is twenty-
seven, mercurial and deadly. The release of tension
produces a momentary giddiness in him. He laughs.
PELL
Know why I like you, Julius? 'Cause
next to you even I look good.
KORSO
A comedian. You're too good for
this line of work, you should be on
Saturday Night Live.
As Pell reaches inside the Bronco for the nitro-plastique
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, affects a slightly rebellious,
tough-edged look. He wears a baseball cap with the initials
W-W on it, carries a small knapsack with a baseball jacket
rolled up and strapped to the side. He looks at the men,
takes the scene in, immediately turns and runs.
ANGLE TO INCLUDE KORSO, PELL
PELL
He made us!
Without hesitation Pell charges after him. Korso is amazed.
KORSO
Bobby, it's a kid! What're you doing?!
Bobby!
No reply. Korso follows without as much conviction.
VARIOUS ANGLES OF CHASE
Pell is bigger, stronger, faster, leaping over brush and
rocks. Doug, however, knows the terrain, weaves in and out.
Still the terror builds as he sees Pell getting closer and
closer.
ON DOUG
as he gets his knapsack caught on a branch and struggles to
free it.
ANGLE TO INCLUDE KORSO
He pounds up the rugged terrain to join Pell.
CLOSER ANGLE ON KORSO AND PELL
They pause to look.
WHAT THEY SEE - WILD HILLSIDE
Doug has vanished.
BACK TO SCENE
Their eyes flash over everything. They're breathing hard.
PELL
He's gotta be around here somewhere.
KORSO
Yeah, but where? He's like a jack-
rabbit. Forget it, it's only a kid.
MOUTH OF CAVE
It's covered with brush but behind its dense exterior we
see Doug peering out, holding his breath.
PELL'S VOICE
You say that like kids don't count.
like kids can't testify.
ANGLE ON KORSO AND PELL
They're right in front of the opening, not aware of it.
KORSO
Bobby, don't be crazy. You can't
run around killing people because of
what they might've seen.
(beat)
Relax. Calm down. You're too hyper.
Pell looks around, slowly crosses to join Korso, not satis-
fied.
PELL
I'm too hyper, yeah, an' you're too
laid back. You're so laid back you
won't know you been busted again 'til
they slam the jailhouse doors.
MOUTH OF CAVE
to see Doug watching them, frightened to death.
CUT TO
EXT. KIRKLAND MEDICAL CENTER - DAY - ON ENTRANCE
Like the town of Kirkland itself, the medical center is
small but fairly modern.
ON MICHAEL
as he comes out, tucking in his shirt, followed by a very
large and commanding Nurse who is trying to change his mind.
NURSE
I'm warning you, Mr. Knight, you're
leaving against medical advice ---
MICHAEL
I appreciate all you've done, Nurse
Gilmore, but I feel fine.
NURSE
If you feel so fine, why were you
found half unconscious babbling some-
thing about your car driving 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.
And actually my car did drive off by
itself, but that's an even longer
story. Thanks for everything, you're
a credit to your profession....
He kisses her, leaves. She stands, still feeling his kiss
on her cheek, not sure if she's shocked or grateful.
ANGLE TO INCLUDE DEVON AND BONNIE
having arrived in a Foundation limo. They hurry to meet
Michael.
DEVON
Well, I see you've been discharged.
MICHAEL
(re Nurse)
Escaped is more like it. What about
Kitt? Any luck?
DEVON
No sign of him, Michael.
BONNIE
The voltage surge must've knocked
out his homing device.
MICHAEL
Don't be surprised if that's not all.
What else could be affected?
BONNIE
His memory modules, information banks
...Michael, how could you -- he's out
there, damaged, alone ---
MICHAEL
Bonnie, give me a break. I was on
assignment.
(then)
He's gotta be somewhere in those hills.
(starts toward
limo)
Devon, I'll need a car. Four-wheel
drive ---
DEVON
(catching up)
Michael, we're doing everything
possible to find Kitt. Right now
our top priority is locating the
stolen nitro-plastique.
MICHAEL
Maybe it's your top priority, but
mine's Kitt. Let the police look for
the explosives.
DEVON
They are, but they've also requested
our help.
MICHAEL
As soon as I find him, I'll be glad
to put in a double shift.
DEVON
(stops him)
There was enough nitro-plastique
stolen to level this entire city.
MICHAEL
Devon....
DEVON
Believe me, under any other circum-
stances, I'd say go out there and
find Kitt and don't come back until
you do...but this is different.
This is an order.
The limo phone buzzes. Devon answers it.
DEVON
Yes...
(listens)
I see...Good.
He hangs up.
MICHAEL
What?
DEVON
The Foundation helicopter just spotted
the abandoned Bronco.
CUT TO
CAVE AREA - DAY - ON MOUTH
Doug comes out cautiously, looks around, sees it's
apparently safe, then heads back in the direction of the
Bronco, still carrying his knapsack.
ANGLE ON BRONCO
as Doug approaches it cautiously, then looks it over
appraisingly.
ANOTHER ANGLE
He looks inside, sizes up the radio, and toys with the
idea of maybe pulling it out. But then he hears an
approaching vehicle, looks through the opposite window.
DOUG'S POINT OF VIEW - MICHAEL
pulling up nearby in an open Jeep. He spots Doug.
BACK ON DOUG
He jumps from the Bronco and takes off.
OMITTED
ANGLE TO INCLUDE MICHAEL
giving chase. He quickly catches him, turns him around, and
Doug comes out fighting.
DOUG
Let go of me! Get your hands off me!
MICHAEL
Easy, son. I'm not going to hurt you.
DOUG
Then let me go -- you got no right
grabbing me! I didn't do anything!
MICHAEL
All right. Slow down.
(beat)
There's no reason to be afraid.
DOUG
Who said anything about being afraid?!
MICHAEL
Then why did you run?
DOUG
Because...
(thinks)
I thought maybe you were the game
warden. He's always trying to bust
me for fishing in the reservoir.
MICHAEL
(smiles)
I'm not a game warden. My name's
Michael Knight. I'm from the
Foundation for Law and Government.
DOUG
Oh, I get it. Some kind of cop.
MICHAEL
No, not a cop. Not even close.
What's your name?
DOUG
(hesitant)
Doug. Why?
MICHAEL
Good to meet you, Doug.
(re cap)
I see you're a ball player.
DOUG
Yeah.
MICHAEL
(patient)
W-W. The name of your team?
DOUG
Wainwright's Warriors. I play short-
stop.
MICHAEL
I used to play first base.
DOUG
Must've been a long time ago.
MICHAEL
Yeah. There were dinosaurs in the
outfield.
(beat)
Doug, you know anything about that
Bronco over there?
DOUG
I didn't rip it off, if that's what
you mean.
MICHAEL
Never entered my mind. I was just
hoping you saw the two men who left
it there.
DOUG
I didn't see anybody.
But he answered too quickly.
MICHAEL
You're sure?
DOUG
Yeah I'm sure. What is this? I
thought you said you weren't a cop.
MICHAEL
(studies him)
If you did see them, you'd tell me,
wouldn't you? These aren't the kind
of guys you'd want to protect.
DOUG
I'm not protecting anybody. I gotta
go.
MICHAEL
Then I guess you didn't see a black
T-top, either?
DOUG
No!
(uncomfortable
beat)
Look, if you're finished with the
interrogation, I got things to do.
MICHAEL
(nods)
Thanks for the help.
He turns and goes off. Michael watches him curiously, then
heads for the Jeep.
CUT TO
EXT. FLAT TERRAIN - DAY - ON DOUG
Knapsack in 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. Then stops again,
turns, reacts.
DOUG
Where'd you come from?
The scanner flashes. Doug doesn't know what to make of it
so he walks faster; K.I.T.T. continues to follow.
DOUG
Look I don't like anyone tailing me,
so bug off.
He walks on fast, building to a run. K.I.T.T. keeps 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. He can't imagine where. He
turns to continue, reacts.
ANGLE TO INCLUDE K.I.T.T.
standing right in front of him, his scanner flashing.
K.I.T.T.
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
Kitt's more than my partner,
Devon....
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. Over this Bonnie enters, crosses to the
computer.
MICHAEL
He's a friend. You've got to let
me go out there and look for him.
DEVON
Not until we find that nitro-plastique.
MICHAEL
We don't even know what those two
guys are driving anymore! Who they
are, why they're here, what they
want ---
DEVON
(crosses to
Bonnie at
computer)
In spite of the fact they've switched
cars, we still have reason to believe
they're in the Kirkland area.
MICHAEL
What reason? What are you talking
about?
DEVON
I'm talking about this man. Bonnie?
Bonnie presses a button.
ANGLE TO INCLUDE MONITOR
to see Conrad Marrs, forty, good-looking, rugged.
BONNIE
Recognize him?
MICHAEL
No, should I?
BONNIE
His name is Conrad Marrs. He's one
of the premier explosives men in the
business.
MICHAEL
So?
BONNIE
He flew in from Dallas this morning.
DEVON
Of course, it might just be a coinci-
dence, Michael. But if you believe
that stay away from people selling
bridges in Brooklyn and swamps in
Florida.
MICHAEL
Thanks for the advice. Any idea
where he's staying?
DEVON
We're trying to find out now.
(slight
beat)
Michael, have you any leads? Any-
thing at all?
MICHAEL
No, not really....
BONNIE
(sensing it)
What?
MICHAEL
I'm not sure...it's just a feeling.
I ran into this kid up near the
abandoned Bronco. He said he was
scared because he thought I was the
game warden. He was scared all
right, but that wasn't the reason.
DEVON
You think he might've seen the
thieves?
MICHAEL
The more I think about it the more
convinced I am he saw something....
CUT TO
EXT. CAVE AREA - DAY
K.I.T.T. sits in a small clearing in front of the cave.
Doug, now wearing his baseball jacket, with "Wainwright's
Warriors" on the back, is with him.
DOUG
You'll be safe here for a while. If
anyone comes, all you have to do is
back into the cave.
K.I.T.T.
Good idea. I'm sorry I frightened
you earlier.
DOUG
Look, you didn't scare me. I...I...
I just don't like people...things...
sneaking up on me, that's all.
K.I.T.T.
Well, I can understand that. And
under normal circumstances I would've
introduced myself first. But I'm
afraid these aren't exactly normal
circumstances.
DOUG
You can say that again.
K.I.T.T.
I could, yes, but is there any need
to?
DOUG
That's not what I mean, aww forget it.
(shakes head)
A talking car...if that's not a mind
blower.
K.I.T.T.
I seem to recall I can do a lot of
other things, too...if only I could
remember what they are. What do you
do?
DOUG
I...Anything I want.
K.I.T.T.
For instance?
DOUG
For instance? Well...if I don't
want to go to school I just split,
come up here, or maybe hang out at
the video arcade. Like I said,
whatever I want.
K.I.T.T.
But how do you learn anything if you
'split' school?
DOUG
You don't learn anything in school
anyway. Not about real life.
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.
Let's find out.
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! Your own TV...and
all these buttons. What are all
these buttons for? 'Pursuit...Scanner
...X-ray...Infraray...Turbo-Boost....'
K.I.T.T.
Don't touch Turbo-Boost. Something
tells me you shouldn't touch Turbo-
Boost.
DOUG
What about, 'Eject -- Right and Left'?
K.I.T.T.
I don't recall....
DOUG
Well, there's just one way to find
out.
Fortunately he presses Right...the roof pops up 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.
It is rather remarkable, isn't it?
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.
A pleasure meeting you, Doug. My name
is...is...
(thinks)
...Kitt! That's it, Kitt!
DOUG
Nice meeting you...Kitt.
Doug hesitates, then places both hands tightly about the
wheel.
DOUG
If I could drive you to school, I'd
go every day....
CUT TO
EXT. DAM - FULL ANGLE - DAY
CONRAD'S VOICE
I'm impressed.
ANGLE TO INCLUDE PELL, KORSO, AND CONRAD
Conrad's sporty elegance makes him stand out from the
casually dressed Pell and Korso. His rented white Cadillac
is parked next to their Blazer. He examines one of the
packets of nitro-plastique the way Pinchas Zukerman would
handle a Stradivarius.
CONRAD
I know guys who've been in the business
twenty years and even they can't get
their hands on this stuff....
PELL
(defensive)
We're not exactly amateurs.
CONRAD
(an easy smile)
Good. Then I'll give you a real pro-
fessional explosion. A symphony.
He unfolds a map/blueprint of the dam and town on the hood
of his car.
KORSO
Don't get carried away. All we need
is a nice civil emergency. Enough to
knock out the power and draw the
police, fire, and emergency units.
PELL
While they go crazy handling traffic
and evacuations and a thousand haywire
alarms, we hit the museum. Fifteen
mil worth of Pre-Columbian artifacts.
CONRAD
(studies
blueprint)
Dam's no problem...your basic earth-
fill, structural steel, lots of
concrete. They loved concrete in
the '30s...
(then)
This quadrant ought to do it. It'll
create a good spill and weaken the
rest of the dam enough to worry them.
KORSO
All right. Then we're set for
tomorrow.
CONRAD
I'll need an hour's notice. You know
where to reach me.
He crosses to the Cadillac.
PELL
You didn't see a kid on your way up,
did you?
Conrad stops. Korso throws Pell a hard look.
CONRAD
What kid?
PELL
When we ditched the Bronco this kid
saw us, that's all.
KORSO
Forget him. He was scared stiff.
C'mon, it's only a kid.
CONRAD
You telling me somebody made you?
KORSO
No. Not exactly....
PELL
Okay, so what? That's on us, not you.
CONRAD
I thought you said you weren't
amateurs...
(beat)
You know why I'm the best? Because
I'm careful. There aren't a lot of
old explosives experts around.
They're either dead or in the joint.
PELL
Okay. We'll find the kid!
CONRAD
(weighs it)
By morning or I'm gone. Believe it.
Conrad gets into his car and drives off. Korso turns on
Pell:
KORSO
I don't believe you, Bobby. We got
the guy in our pocket and you gotta
ask him if he saw a kid on the way up!
PELL
So now we gotta find the kid, that's
all.
(crosses
to Blazer)
We should've done it anyway. It's
cleaner.
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 hope so. I'm looking for the sponsor
of a Youth 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
Wainwright's Warriors?
LORI
That's right.
MICHAEL
(reacts)
I'm looking for a boy named Doug.
He plays short-stop. Do you know
him?
Lori and Jim exchange troubled looks.
LORI
He's my son. Doug Wainwright.
JIM
What's this all about?
MICHAEL
Mrs. Wainwright, I'd like to talk to
him. Is he here?
JIM
I asked you what this is about.
LORI
It's all right, Jim...why don't you
help that customer over there.
A last look and Turner goes off.
LORI
He's...a good friend.
(steels herself)
What's he done this time? And who
are you?
MICHAEL
My name's Michael Knight, I'm with
the Foundation for Law and Government.
We're trying to locate some stolen
explosives and we think Doug may have
seen something. Do you know where
he is?
LORI
Probably in the hills. He and his
father used to hike up there. They
discovered a cave...Doug's been
spending a lot of time there lately....
MICHAEL
Could you give me directions?
She hesitates.
MICHAEL
It's very important.
LORI
(beat)
I think I'd better draw you a map.
MICHAEL
(a smile)
I hope you draw better than I do.
She smiles, begins drawing a crude map on the back of a
nursery receipt. Off to one side Jim watches, brow
furrowed.
CUT TO
EXT. CAVE AREA - DAY
Doug slowly climbs out of K.I.T.T.
K.I.T.T.
Is something wrong?
DOUG
No...I gotta get home, that's all.
K.I.T.T.
What's 'home?'
DOUG
That's a place where...I don't know,
where you go when there's no place
else to go.
K.I.T.T.
'Home' doesn't sound like much fun.
DOUG
It used to be....
K.I.T.T.
What happened?
DOUG
Well, my dad got real sick...and
everybody said he was gonna be
okay...
(cuts it off)
What is this, the third degree?
K.I.T.T.
The third degree?
DOUG
Forget it.
He's succeeded in holding his feelings down. He grabs his
jacket and knapsack, ready to leave.
DOUG
So, you going to be okay or what?
K.I.T.T.
I'll be fine. And I think my memory
is improving.
DOUG
Good. I'll come back tonight -- late,
when everybody's asleep.
He starts off.
K.I.T.T.
That sounds like fun. Good-bye,
Elliot.
DOUG
Doug! My name's Doug.
K.I.T.T.
Then who's Elliot?
DOUG
How do I know? I thought your
memory was getting better.
K.I.T.T.
Yes...well...at least it's not
getting any worse.
K.I.T.T. flashes his scanner and Doug goes off.
CUT TO
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 Blazer and searching the area. Tired as hell.
KORSO
This could go on forever....
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 Blazer.
ANGLE ON DOUG
hearing the Blazer, reacting, and running back toward the
cave. They're close enough to read the "Wainwright's
Warriors" on the back of his jacket.
PELL
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!
K.I.T.T.
Get in.
The driver door pops open. Doug jumps in.
ANGLE IN K.I.T.T.
K.I.T.T.
Can you drive?
DOUG
Are you kidding? I can drive anything
on wheels.
(looks)
Where's the ignition?
K.I.T.T.
On second thought, there are still a
few things I remember. Hold on.
K.I.T.T. comes to life. 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 BLAZER
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. The kid's definitely softening up a bit.
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
It's not that I'm scared...but what
are we gonna do?!
K.I.T.T.
When I tell you, press Turbo-Boost!
DOUG
You told me never to press Turbo-
Boost!
K.I.T.T.
I've changed my mind!
And right at the edge ---
K.I.T.T.
Press!
Doug freezes.
K.I.T.T.
Press!
ON DOUG
as he presses 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.
DOUG
Not me!
ANGLE AT CANYON LIP
The Blazer screams to a stop, Pell and Korso staring in
disbelief.
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.
PELL
Did you see that?!
But Korso is more concerned with something else.
POINT OF VIEW - MICHAEL'S JEEP
on the winding road below racing toward them.
BACK TO THEM
KORSO
I'd swear that's the same idiot who
chased us before.
ANGLE AT CANYON
Korso spins the Blazer around and hits the Supercharger.
ANGLE AT INTERSECTING DIRT ROAD
The Blazer hits the dirt road on two wheels, already going
fifty, accelerating, and bearing down on Michael's Jeep.
VARIOUS ANGLES
as Michael first avoids being hit head-on by the much
heavier wagon, and then becomes the aggressor in a duel in
which he tries to put the Blazer out of commission.
ANOTHER ANGLE
Seeing they've met more than their match, Pell levels his
sawed-off shotgun out the window, and fires at the Jeep as
Michael makes a pass.
ON JEEP
as the radiator blows, and Michael slams the steering wheel
in frustration.
ANGLE TO INCLUDE BLAZER
disappearing in the distance.
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, but trying to be cool.
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....
But Doug's not listening, his eyes wander over the dash,
amazed.
DOUG
I didn't know they made cars like
this.
K.I.T.T.
I'm not sure they do.
DOUG
Kitt, you are rad-i-cal!
K.I.T.T.
If you say so.
DOUG
What's this?
He pushes Pursuit and K.I.T.T. accelerates, pushing Doug
back against the seat.
DOUG
Thriller!
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.
ON BUTTERFLY COLLECTOR
She's the dowdy type, overweight, and trying to net a
butterfly. When K.I.T.T. makes a pass, she reacts, nets a
limb instead, falling backwards into a muddy stream.
CUT TO
EXT. WAINWRIGHT BACKYARD - DAY (EARLY EVENING)
The backyard is just what you'd expect; pool, tropical
landscaping, Malibu lights. Gathered around lawn furniture
on the patio are Lori, Jim Turner and Doug. Lori serves
rice and vegetables and Jim finishes barbecuing chicken
on a fancy unit. Doug looks alone, preoccupied, not a
part of the occasion.
LORI
How hungry are you?
DOUG
What? Not very.
JIM
Your mother went to a lot of trouble
to fix this.
LORI
It's all right.
Doug can't stand him, but for his mother's sake he tries
not to show it. The doorbell rings.
LORI
I wonder who that could be.
JIM
I'll get it.
Doug looks worried. Jim crosses into the house.
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. Is Doug
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
(beat)
Lori's husband died a little over a
year ago. She's been through a lot.
I'm here to see no one takes advan-
tage 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.
ANGLE IN BACKYARD - 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 tough enough person-
to-person.
(to Doug)
Those men I'm looking for -- I think
you saw them this afternoon.
Doug doesn't respond.
MICHAEL
They were chasing you, and you were in
the black T-top.
Lori and Jim exchange an incredulous look.
JIM
Wait a minute here, the kid's fourteen
-- he doesn't even drive.
DOUG
I can too! What do you know, anyway?!
JIM
Don't yell at me, I'm trying to
protect you!
LORI
Jim, please!
JIM
(to Michael)
Are you satisfied? We're trying to
have a nice family dinner here and
thanks to you, people are yelling
at each other!
DOUG
It is not a family dinner 'cause
you're not part of the family!
He bolts for the house. The silence is painful. Lori looks
to Michael.
LORI
I'm sorry...ever since his father
died....
MICHAEL
I'm sorry I had to ask. Thanks.
(to Jim)
Take it easy.
JIM
Yeah. Right.
CUT TO
EXT. FOUNDATION - NIGHT
The light in Devon's office is on.
DEVON'S VOICE
We know where Conrad Marrs is
staying.
INT. DEVON'S OFFICE - NIGHT
Devon finishes jotting it down on a slip of paper, hands it
across to Michael, who looks skeptical.
MICHAEL
That's all? Just an address?
DEVON
What would you prefer, an arrest
warrant? A grand jury indictment?
MICHAEL
Now that you mention it, yeah -- why
not? Why not something tangible for
a change?
DEVON
Because as far as the police are con-
cerned, Marrs is clean. Innocent
until proven guilty and all that.
MICHAEL
Yeah, that rings a bell. So, what am
I supposed to do, take him to dinner?
DEVON
I'll leave the details to you. But
Marrs has a reputation as a cautious
man. If he bails out the whole
operation may collapse.
MICHAEL
Whatever the 'operation' is.
DEVON
Indeed. I thought you said the boy
is lying.
MICHAEL
Doug? I think he is.
DEVON
In that case I'd recommend a stake-
out.
MICHAEL
Next on my list. Whatever he's got
in mind, he'll wait until the house
is asleep before he leaves.
(glances
at watch)
I figure I've got a couple of hours
yet.
(beat)
Devon, I know Foundation commitments
come first, but I'm worried about
Kitt. When I saw him today he shot
past like I was a stranger.
BONNIE'S VOICE
You were.
ANGLE TO INCLUDE BONNIE
She enters with a small high-impact aluminum case. Realizing
she's interrupted:
BONNIE
(to Devon)
Excuse me.
DEVON
By all means. Perhaps you can make
him understand.
BONNIE
I'm a scientist, not a miracle
worker.
Devon smiles, crosses back to his desk. Bonnie hands
Michael the case.
BONNIE
For you.
Michael opens it, sees the socket-like instrument inside.
It looks small and insignificant.
MICHAEL
Don't tell me this is Kitt's new
memory.
BONNIE
Absolutely. New and improved, with
five thousand mega-bits of added
information. The only problem now
will be to get close enough to his
CPU service port to install it.
MICHAEL
Sound Freudian. Where is it?
BONNIE
Facing Kitt, eight inches left of
the power shift on the transmission.
MICHAEL
(realizes)
In other words, under Kitt?
BONNIE
In other words. Don't worry, some
of us spend a lot of time under Kitt.
MICHAEL
(concerned)
Not when he doesn't know who you are.
CUT TO
OMITTED
INT. LUXURY MOTEL - NIGHT
A suite. A pretty girl, Angel, bounces into the living
room from the O.S. bedroom (and bathroom) where we hear a
shower running. She's wearing something skimpy and cute.
She crosses to turn on the TV when someone knocks.
ANGEL
(calls off)
Hurry up, it's here.
She moves to the door, opens it to reveal Michael.
ANGEL
Hi! Where do I sign?
MICHAEL
Where do you want to sign?
She gives him a dazzling smile and a quizzical look.
ANGEL
For the champagne...Aren't you from
the liquor store?
MICHAEL
Not exactly. I'm here to see Conrad.
ANGEL
He's taking a shower.
MICHAEL
Mind if I wait?
CONRAD'S VOICE
You got a problem? Angel?
MICHAEL
(sotto voce)
Let's have some fun with him -- tell
him I need his signature.
ANGEL
(unsure)
He won't get mad?
MICHAEL
Connie? C'mon, he's a fun guy.
She likes the idea.
ANGEL
Okay.
(calls off)
Honey, he says he needs your
signature.
The shower stops, angry mumblings and Conrad enters, a
towel wrapped around his wet body. Seeing Michael, he
freezes midstep.
MICHAEL
Hello, Conrad.
CONRAD
(to Angel)
Who's this guy?
ANGEL
He's a friend of yours --
(to Michael)
Aren't you?
MICHAEL
(to Conrad)
Where are they?
CONRAD
I don't know what you're talking
about. You're in my room, cowboy.
Get out. Now.
MICHAEL
There's two of them -- they stole
some experimental explosives called
nitro-plastique. They run around in
a supercharged four-wheel drive.
They hired you.
CONRAD
I'm not for hire. I'm on vacation
an' you're still in my room.
MICHAEL
Do yourself a favor. Go home.
Michael knows he's ready to throw a punch.
MICHAEL
Think before you swing, Conrad.
Conrad grabs the towel before it falls.
CONRAD
(furious,
deadly)
Who are you?
MICHAEL
Just a guy who knows who you are.
Be careful. Somebody's watching
you.
He leaves without waiting for a response, winks at Angel on
the way out. Conrad stares after him, angry. Shaken.
ANGEL
(weakly)
I thought he was a friend of
yours....
Conrad grabs the phone, begins to dial.
CONRAD
(to her)
Pack my stuff.
(into phone)
When's your next flight to Dallas?
CUT TO
EXT. SUBURBAN STREET - DAY (EARLY AM)
It's early, this part of the world still asleep.
ANGLE ON WAINWRIGHT HOUSE
silent and dark inside.
INT. DOUG'S BEDROOM - DAY (EARLY AM)
Doug finishes dressing. He grabs his baseball jacket.
ANGLE IN HALL
The door to Lori's bedroom is open. We can see her in bed,
beginning to stir. 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. She stirs,
awakens, looks at the alarm clock: five thirty AM, and
tries to go back to sleep. He drops to the floor and in
commando-fashion wiggles across the open space. She sits up
with a start, but can't see Doug pressed against the floor:
LORI'S VOICE
Doug?
He freezes. The moment passes. He crawls beyond the
doorway to safety.
EXT. HOUSE - DAY
Sliding out into the early morning from the adjacent garage
area is a bicycle, a stealthy figure aboard. It's Doug.
He pedals furiously up the street.
REVERSE ANGLE
to see a Jeep parked at a safe distance.
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 continues.
ANGLE FROM CORNER
Michael's Jeep appears, quiet, following at a safe distance.
CUT TO
EXT. WAINWRIGHT NURSERY - DAY (EARLY)
Some early morning traffic, but here it's silent, a place
apart. Something moves near the rear fence, a shadow, and
we see Doug pull up on his bike. He stashes it, crosses to
the fence and scrambles over.
CUT TO
ANGLE IN ALLEY
The Blazer is parked in the shadows.
PELL
So who do you think he is?
KORSO
Who?
PELL
That guy who keeps showing up. The
guy who leaned on Conrad.
KORSO
I don't know, but I don't like it.
I don't like snatching a kid, either
...if we ever find him.
PELL
We'll find him. This place sponsors
the team, the kid's got a jacket,
he's on the team...
(reacts O.S.)
Julius, you're not gonna believe this
...it's him! The kid!
KORSO
Where?
PELL
(points)
Right over there.
CUT TO
ANGLE AT STREET
The Jeep pulls up a discreet distance away. Michael slides
out, starts for the nursery.
CUT TO
ANGLE AT STORAGE SHED
Doug reaches it, pauses.
DOUG
(whispers)
Kitt? Kitt, don't be scared, it's
me, Doug....
He unlocks the lock, slowly enters.
ANGLE IN SHED
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., still
fascinated, still unsure exactly how to relate to his new
friend.
K.I.T.T.
Hello, Doug.
DOUG
How you doing...okay?
K.I.T.T.
I've been thinking about what you
said, Doug. About 'home'....
DOUG
What about it?
K.I.T.T.
Do I have one?
It's been on Doug's mind, his conscience. He wrestles with
it, decides.
DOUG
I was gonna tell you anyway...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. I guess he's okay. 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 keep forgetting about your memory.
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. Kitt,
sometimes you're really weird.
K.I.T.T.
Losing one's memory is so embarrassing.
There's a sound outside. Curious, Doug crosses to the door,
peers out.
ANGLE OUTSIDE SHED
Two figures suddenly leap at him. Doug tries to yell but
they cover his mouth.
ANOTHER ANGLE
Approaching through potted ferns from the opposite direction
is Michael. He hears the noises, reacts.
DIFFERENT ANGLE
Pell and Korso wrestle Doug out to the Blazer in the alley
as Michael races toward them, using plants and potted trees
as cover. But Pell spots him.
PELL
Hey!
He points his shotgun and fires. Michael is forced to dive
for cover.
ANGLE AT BLAZER
Korso shoves Doug in, starts the engine and pulls out, Pell
leaping on as it moves past.
ANGLE ON MICHAEL
He sprints after it, but it's hopeless. Hold on his face
for ---
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
EXT. NURSERY - DAY
Michael hurries back to the shed, pauses.
MICHAEL
Kitt? Are you in there? It's me,
Michael....
Silence. Michael slowly opens the door.
ANGLE IN SHED
K.I.T.T.'s scanner flashes. Michael grins, relieved.
MICHAEL
Kitt! I've been worried about you,
buddy.
K.I.T.T.
Do we know each other?
Michael approaches him slowly, aware it may be a difficult
transition for him. He takes the microchip unit from his
pocket.
MICHAEL
Know each other? Did Butch know
Sundance? Did Smith know Wesson?
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.
MICHAEL
(beat)
Kitt, there's no time. Doug's been
kidnapped. He needs us.
K.I.T.T.
Do you know how many yard-feet of
water it takes to irrigate the
Imperial Valley in July?
Michael uses this opportunity to try to slip the memory
unit under K.I.T.T.'s frame, but K.I.T.T. reacts like a
wild horse. His systems come to life, he auto-starts and:
ANGLE OUTSIDE SHED FROM ALLEY
The shed wall splinters in all directions as K.I.T.T. flies
out, turbines snarling.
ANOTHER ANGLE
Michael runs out, stops, facing K.I.T.T. He has an idea.
He slowly crosses into the alley, directly in front of
K.I.T.T.
K.I.T.T.
Please remove yourself from my path.
MICHAEL
No.
Michael slowly advances on him. The memory unit in his
hand, ready.
K.I.T.T.
Stay away from me.
MICHAEL
Sorry.
Michael reaches K.I.T.T.'s hood. It's a dangerous
stalemate.
K.I.T.T.
I'll be forced to push you aside.
MICHAEL
Go ahead. Your dominant program is
the preservation of human life.
K.I.T.T.
What's a 'dominant program?'
K.I.T.T.'s turbine revs up. He slowly advances. Michael
allows himself to drop to the ground, K.I.T.T.'s hood and
engine compartment passing over him.
K.I.T.T.
Don't say I didn't warn you!
MICHAEL
Don't run over my leg!
K.I.T.T. reacts, for one instant, stops.
INSERT - CPU SERVICE PORT
Michael deftly pops it open, removes the old unit over:
K.I.T.T.
Move or I refuse to be responsible!
MICHAEL
My leg! Please!
Over this, he shoves in the new unit. There's an unexpected
silence, followed by:
K.I.T.T.'S DASH
exploding to life.
TO INCLUDE MICHAEL
MICHAEL
Kitt?
K.I.T.T.
Michael? Is that you?
MICHAEL
(relieved)
Yeah, pal. It's me.
He scrambles from underneath the car.
K.I.T.T.
If I may be so bold, what on earth
are you doing down there?
MICHAEL
I'll explain later. Right now,
we've got to save Doug.
K.I.T.T.
Doug's my new friend. Where is he?
ANGLE IN K.I.T.T.
Michael jumps in, activates various systems.
MICHAEL
He was kidnapped, Kitt.
K.I.T.T.
Kidnapped!
MICHAEL
(punches
buttons)
Let's access your audio banks, see
if you picked anything up.
K.I.T.T.
Good idea.
K.I.T.T.'s computers whir.
K.I.T.T.
I think I may have something.
PELL'S VOICE
'...The place sponsors the team, the
kid's got a jacket....'
MICHAEL
(buttons)
Fast forward. There.
PELL'S VOICE
'...No, Julius, this time you listen
to me. the point is we do it here
and it's murder. But if we take him
up to the dam, and the dam 'mysteriously
explodes,' he's just part of the natural
disaster....'
K.I.T.T.
Michael, they're talking about Doug?!
He slams K.I.T.T. into gear.
MICHAEL
I'm afraid so, pal. Let's go!
K.I.T.T.'s tires spin, gain traction and they're off.
EXT. DAM - DAY
The Blazer speeds up a dirt road to the base of the dam
area, stops. Korso and Pell get out with Doug, who has
his mouth taped securely. Pell starts for a catwalk that
circles the face of the dam. Julius hustles Doug down a
steep canyon shoulder, below the dam.
CUT TO
OMITTED
EXT. CITY STREET - DAY
K.I.T.T. rounds a corner on two wheels, heading toward the
hills above the city.
EXT. DAM - DAY
Pell takes the nitro-plastique, 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
St. Louis, wave.
He starts back up.
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 Blazer, 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
Blazer...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.
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 friends in
the supercharged Blazer.
K.I.T.T.
Blazer 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 Blazer 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 Blazer, lands ahead of it,
cutting it off.
ANGLE ON KORSO AND PELL
Korso cuts the wheel too sharply.
THE BLAZER
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 grabs Pell's .38.
MICHAEL
Go ahead, Doug.
DOUG
Aww, I don't know...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
He's like his old self again. He
even offered to do the dishes this
morning. I was shocked.
Michael smiles.
MICHAEL
I wouldn't count on that.
LORI
(laughs)
I've been a mother too long, don't
worry. But it was nice. It felt
good.
They smile, continue toward K.I.T.T. and Doug.
LORI
He's going to miss you. You and
Kitt.
MICHAEL
According to Kitt, not for long. He's
already made me promise to come by.
She pauses.
LORI
I've been doing a lot of thinking.
About Doug...about Jim. I think
it's still too soon. I think Doug
needs more than I can give him with
another man around...
(kisses him
on cheek)
Bye. And thanks.
She goes back in. Michael watches her, pleased, then turns
to Doug.
MICHAEL
(to Doug)
Sorry, partner. Time to go.
DOUG
I was just telling Kitt that maybe
I'd start going to school a little
more, maybe like even everyday.
MICHAEL
Sounds good to me. Sound good to
you?
DOUG
I guess.
Michael smiles, gives him a thumbs up and climbs into
K.I.T.T.
DOUG
Don't forget to come by!
K.I.T.T.
I'll see that he doesn't forget, Doug.
Now that I've got my memory back, you
can count on me.
Doug watches as they pull out and disappear down the street....
FADE OUT
THE END
