ACT ONE
FADE IN
EXT. VAN DECKER AUCTION HOUSE - DAY - ON K.I.T.T.
turning into the parking lot. Lots of expensive cars.
MICHAEL'S VOICE
Between you and me, Bonnie....
INT. K.I.T.T. - DAY
Bonnie is seated next to Michael as he continues:
MICHAEL
I can think of at least ten
different ways I'd rather be
spending my day off.
ANGLE TO INCLUDE YOUNG LADY
as Michael spots her. She's beautiful and wears shorts
and T-shirt.
MICHAEL
Make that eleven.
He pulls into a parking spot. Bonnie suppresses a smile.
BONNIE
Poor Michael Knight. Victim of the
work ethic. Prince of the
powerless.
MICHAEL
I wouldn't go that far.
K.I.T.T.
Neither would I.
They get out, start for the entrance.
BONNIE
According to Devon, the late
Mrs. Potts was a staunch supporter
of the Foundation.
MICHAEL
From the looks of these cars,
staunch isn't all she was. She
must've been worth millions....
OMITTED
INT. VAN DECKER AUCTIONEERS - DAY - CLOSE ON DEVON
DEVON
Ten million, to be precise.
FULLER ANGLE
Suitably impressed, Michael and Bonnie are with Devon, while
in the b.g. a half-dozen or so wealthy buyers inspect the
various objects d'art about to be auctioned off. A nearby
sign reads: ESTATE OF THE LATE EUDORA POTTS. SALE TIME,
10 AM.
DEVON
Mrs. Potts might've seemed a bit
eccentric, Michael, but she had
impeccable taste in husbands.
MICHAEL
(looking off)
She didn't do too badly in diamonds,
either.
ANGLE TO INCLUDE JODY TOMPKINS
She's twenty-three, very pretty, with a great body and a
look that tells us she sometimes dreams of far away wonders.
She's also moving about modeling a million bucks worth of
diamond jewelry. Devon motions to her:
DEVON
The auctioneer said the stones alone
should fetch about three million --
the proceeds of which have been
earmarked to help fund our various
charities.
(a little
smile to Jody)
Now you see why I wanted the two of
you here.
BONNIE
I smell public relations.
DEVON
It's not an altogether unpleasant
odor. Sometimes an ounce of PR is
worth a pound of arm-twisting.
MICHAEL
(glances off)
Speaking of which, I think I see
someone with a corporate check book
looking to buy a small present for
his wife.
DEVON
(looks off)
Very good. You're learning. Excuse
me.
Devon heads for a gentleman looking at a display case of
diamond jewelry. Bonnie glances at Michael.
BONNIE
With a little practice, you could be
dangerous.
MICHAEL
Have I told you it's good to have you
back?
She smiles, not sure whether to believe him or not.
CUT TO
EXT. VAN DECKER AUCTIONEERS - DAY
We're on Charley Winters and Lyle Austin as they look at the
jewelry displayed in the small security window. Winters is
early thirties, blond and broad-shouldered, with an easy
charm and the good looks of an All-American. Austin, on the
other hand, is tough with the personality of a switchblade
and a face that's run into too many hard objects. A small
sign in the window reads: ESTATE SALE OF EUDORA POTTS.
AUSTIN
Come on, let's do it.
He starts toward the front door, but Winters takes his arm,
cautioning him:
WINTERS
Just remember, we do it clean.
Austin shrugs off his hand, fits a Halloween mask into
place.
AUSTIN
What is this, a stick up or a
political campaign?
WINTERS
It's what I say it is, Lyle. I
planned it. It's my dance.
INT. VAN DECKER AUCTIONEERS - DAY
Jody is showing her diamond necklace to Michael and Bonnie,
unaware they're not potential buyers. She has a lovely,
ingenious quality.
JODY
I was told Napoleon gave this to
Josephine.
BONNIE
Some men know how to treat women,
Michael.
MICHAEL
Yes, but you know what happened to
Napoleon?
Michael grins. Suddenly:
ANGLE ON WINTERS AND AUSTIN
bursting into the room. They wear Halloween masks and hold
guns, Austin a Magnum and Winters a .38.
AUSTIN
Freeze! Nobody move!
ON SECURITY GUARD
starting to go for his gun when Austin turns on him; feet
planted, ready to fire.
AUSTIN
Don't.
The guard freezes.
AUSTIN
Drop your belt.
(to Winters)
Go!
ANGLE ON MICHAEL AND DEVON
exchanging looks but there's little they can do as the guard
unbuckles his belt. For all his aplomb, guise of decorum --
even in a robbery -- Devon seems particularly disturbed.
FULLER ANGLE
Winters reaches the display case, smashes it open with his
.38. He scoops out diamond jewelry into a nylon bag.
Austin grabs the necklace around Jody's neck, looks at her
close, his eyes to hers.
AUSTIN
You come with this, pretty?
Michael reacts, angrily. His eyes are intense, his voice is
deceptively calm.
MICHAEL
You came for the diamonds. Take the
diamonds.
Austin reacts, swings the Magnum directly on Michael.
AUSTIN
The only thing standing between you
and that wall is my finger. Don't
press your luck.
He yanks the necklace off as Winters crosses back, the
nylon bag filled. Austin gives Winters the jewelry he took
from Jody. Devon, increasingly distressed, angry, steps
forward.
DEVON
Just one damn moment!
They're so surprised they stop. Michael and Bonnie stare
at Devon.
DEVON
Those jewels are the property of the
Foundation for Law and Government.
The funds they bring are pledged to
charity....
AUSTIN
(furious)
Tell me about it!
Before Devon can respond, or Michael react, Austin hits
Devon across the head with his pistol. Devon is knocked
back. Michael instinctively starts for Austin but Austin
levels the Magnum at him.
AUSTIN
Like I said, don't press your luck.
EXT. VAN DECKER - DAY
The door bursts open and Winter and Austin sprint to two
high-powered Japanese bikes at the curb, pulling off their
masks.
ANGLE INSIDE VAN DECKERS
Michael and Bonnie kneel over Devon, semiconscious on the
floor. People mill about, frightened.
MICHAEL
(comlink)
Kitt, meet me out front!
(to Bonnie)
Is he okay?
BONNIE
Yes! Go!
He goes, dodging through people. Jody watches like a child
watching a scary movie.
OUTSIDE VAN DECKER'S
Winters and Austin scream away as Michael bursts out,
running for the curb.
ANOTHER ANGLE
K.I.T.T. materializes around the corner from the parking
lot, barrels to a stop at the curb as Michael races to meet
him, slides in one fluid motion.
ANGLE ON BYSTANDER
He stares.
VARIOUS ANGLES
Michael hits the throttle...tires spin...the sleek line of
K.I.T.T.'s front end flashes by, coming off the curb in an
explosion of movement.
ANGLE IN K.I.T.T.
Michael is intense behind the wheel.
K.I.T.T.
Michael, what happened?
MICHAEL
(tight)
He hit Devon.
K.I.T.T.
(concerned)
Who hit Devon?
MICHAEL
One of those guys on the bikes.
(angry)
They had what they wanted. They
didn't have to hit him....
He shoots past a car, takes a corner on two wheels.
VARIOUS ANGLES - THE CHASE
Winters in the lead, the bikes weave easily in and out of
traffic. K.I.T.T., on the other hand, is having his problems
finding and holding an opening.
OMITTED
ON WINTERS AND AUSTIN
turning onto a street leading to the large drainage pipes of
the L.A. River.
ON K.I.T.T.
making the same turn but a good distance behind, accelerating.
EXT. L.A. RIVER (DRY) - DAY - WINTERS AND AUSTIN
riding down the side walls then racing toward a distant
pipe.
ON K.I.T.T.
roaring down the side wall after them.
INT. K.I.T.T. - DAY
The speedometer reads 120. Shooting from behind Michael,
through the windshield, we see him gaining on the bikers.
EXT. L.A. RIVER - DAY
Winters and Austin head directly for the mouth of the pipe.
Then, just before reaching it, they bend forward so that
their chins hit the handlebars, and disappear into the dark
tunnel with only inches to spare.
INT. K.I.T.T. - DAY
Michael sees the pipe coming up fast.
K.I.T.T.
Michael, unless you're planning on
changing my design, and yours, there's
absolutely no way I can squeeze into
that pipe.
Frustrated, Michael slams on the brakes. Shooting:
MICHAEL'S POINT OF VIEW
We see the pipe coming up to within a few feet.
WIDER ANGLE
as he screeches to a stop just inches from the opening.
Michael jumps out, looking over the area.
MICHAEL
Kitt, scan the drainage system! They
have to come out somewhere.
INSERT - K.I.T.T.'S MONITOR
to see a hologram of the drainage system, a maze of inter-
locking pipes.
BACK TO SCENE
as Michael slides back in:
K.I.T.T.
That's true, Michael. But right now
they have their choice of twenty-five
exits, covering an area of over a
hundred miles.
Michael's face registers disappointment, frustration.
MICHAEL
I want those guys, Kitt. Whatever
it takes, I want 'em.
He hits the throttle and K.I.T.T. fishtails away.
CUT TO
EXT. HILLCREST CANYON - DAY - ON WINTERS AND AUSTIN
as they emerge on their bikes from a drainage pipe located
in an isolated rocky area. They pull to a stop.
AUSTIN
We did it! Didn't I tell you to
listen to the old pro?
WINTERS
You sure did, Lyle.
They remove their dark Plexiglas helmets, climb off the
bikes, dusty but exhilarated.
AUSTIN
Now, you want my advice, you come to
Napa with me and have that doc fix
you up. Time he's through no one'll
ever know who you are.
WINTERS
(weighs his
words a beat)
But no one knows who I am now.
You're the one with the record,
Lyle, the one who's wanted for
breaking his parole. There's no
one on earth looking for me.
AUSTIN
All I'm saying is, you can't be too
careful. Just when you least expect
it some punk always pops out of the
woodwork and points a finger at you.
(rubs hands
together)
Okay, let's divvy it up.
Winters looks at him a beat, nods:
WINTERS
Sure.
He goes to his saddlebag, but instead of pulling out the
diamonds he takes out his gun, aims it at Austin.
AUSTIN
Hey, is this a joke? What d'ya
think you're doin'?
WINTERS
Just listening to the old pro, Lyle
...eliminating the only punk who
could ever point a finger at me.
Austin bolts, running for the drainage pipe.
ANGLE ON WINTERS
He raises the .38, aims and fires.
CUT TO
EXT. LOFT BUILDING - DAY - ON MICHAEL
K.I.T.T. is parked outside.
INT. LOFT/APARTMENT - DAY - ON MICHAEL
as he looks at a large canvas covered entirely with streaks
of paint, a la Jackson Pollock, trying to figure out what it
is, or isn't.
ANGLE TO INCLUDE JODY
standing next to him. She wears paint-spattered jeans and
top. There are other paintings of equal quality about the
large room which also serves both as her studio and her
apartment.
JODY
As you can see modeling is just a
means to an end. I'm really an
artist. Recognize it?
MICHAEL
(looks from
several angles)
Don't tell me...Let's see...
(points,
prays)
That...vase and flowers over there!
JODY
My stove and refrigerator.
MICHAEL
Of course...I mean...what else could
it be? Have you been painting long?
JODY
Every since I broke my leg trying to
learn how to ski, which was right
after I almost drowned trying to
learn to scuba dive. To be truthful,
it began as a matter of survival....
MICHAEL
Good thinking.
JODY
Then it began to grow...and grow...
until it's what you see today. Are
you interested in neo-expressionism?
MICHAEL
Isn't everyone? But right now I'm
interested in that robbery at the
auction this morning.
JODY
I already told the police everything
I know, which is nothing. I was
just hired to model some jewelry,
that's all.
MICHAEL
I was hoping you might have seen
something...anything no matter how
small or insignificant.
JODY
(shakes
her head)
Look, I'm sorry your Foundation lost
those diamonds. I know the money was
going to a good cause. But the only
thing I remember about this morning
is that I was scared to death.
MICHAEL
I don't blame you. Well, thanks for
your time.
(hands her card)
If anything comes to mind you can
reach me here.
As he turns to leave:
ANGLE TO INCLUDE WINTERS
entering the front door. He's dressed in a tasteful sport
shirt and jacket, tailored pants and carries a briefcase.
He could be your average businessman. He stops upon seeing
Michael, but Jody runs to him.
JODY
Charley!
WINTERS
Hey. You okay?
JODY
I am now. Thanks for coming.
They embrace, then Jody sees him glancing at Michael.
JODY
Oh, I'm sorry. Charley, this is
Michael Knight from the Foundation
for Law and Government.
(to Michael)
This is my fiance, Charley Winters.
MICHAEL
Hello, Charley.
WINTERS
Jody told me about the robbery.
Incredible. Any leads?
MICHAEL
Nothing yet.
Over this the phone rings. Jody answers it.
JODY
Hello...yes, just a minute.
(to Michael)
It's for you.
Michael takes the phone.
MICHAEL
Hello ---
INT. DEVON'S OFFICE - DAY - DEVON AT HIS DESK
DEVON
Michael, the police just turned up
something very interesting....
ON MICHAEL
Jody hugs Charley, relieved he's here. Charley watches
Michael.
MICHAEL
(listens a beat)
I'll get right out there. Thanks.
(hangs up)
Looks like we've got ourselves a
lead after all.
Winters fights down a reaction.
WINTERS
That was fast. Anything you can
share?
MICHAEL
A kid found an abandoned bike in the
Hillcrest Canyon area and called the
police. They speculate a falling
out among thieves.
(heads for door)
Thanks for your help.
WINTERS
'Speculate?'
MICHAEL
They found blood...but no body.
Michael leaves closing the door behind him. Winters looks
shaken.
JODY
You have no idea how awful it was.
WINTERS
I can imagine.
He crosses to the window, thinking furiously.
WINTERS
I wish I didn't have to leave so soon.
JODY
Leave? What are you talking about?
WINTERS
Remember that real estate deal I
told you about? It's gonna close
faster than I thought.
JODY
What real estate deal? Charley, I
don't want to be alone. Not now.
I'll come with you.
WINTERS
Honey, this is business.
JODY
I don't care. You won't even know
I'm there.
(teasing smile)
Unless you want to. Where are we
going?
WINTERS
(beat)
A little place up in the wine
country...called Napa.
CUT TO
EXT. HILLCREST CANYON - DAY - ON K.I.T.T.
moving fast within the rugged terrain near where Austin
fell.
K.I.T.T.'S VOICE
Michael, you know how I feel about
dogs, but perhaps this is one job
better suited for a bloodhound.
INT. K.I.T.T. - DAY
MICHAEL
I have complete faith in you, pal.
Besides, the Sheriff's Department
can't have their dogs up here for
another hour yet.
K.I.T.T.
Somehow, Michael, I don't look upon
that as a compliment.
Suddenly a beeping sound. Michael looks toward the monitor.
INSERT - MONITOR
A pulsating red light marks a spot on the 3-D image of the
terrain.
K.I.T.T.'S VOICE
My hemometer has picked something up
on those rocks above us.
BACK TO SCENE
Michael looks about.
MICHAEL
This is as far as we go. I'll have
to make the rest of the way on foot.
Michael stops.
K.I.T.T.
Be careful, Michael, there's nothing
more dangerous than a wounded animal.
Michael gets out.
EXT. RUGGED TERRAIN - DAY
Michael looks around, then heads up the rocky hillside.
ANOTHER ANGLE
as Michael climbs upward out of K.I.T.T.'s scanning vision:
ANGLE ON AUSTIN
hiding behind some large rocks directly above Michael's
path. He's wounded, desperate, but still strong enough to
fight for his life.
ON MICHAEL
as he climbs directly beneath Austin.
ON AUSTIN
pushing a large rock down with his feet.
ON MICHAEL
hearing the sound of the falling rock, looking up.
MICHAEL'S POINT OF VIEW - THE FALLING ROCK
BACK TO SCENE
Michael dives out of the way, somersaults, barely avoids
being crushed to death by the falling rock, then gets to
his feet to see:
AUSTIN
taking a wild shot at Michael, then heading for higher
ground.
BACK ON MICHAEL
going after him.
VARIOUS ANGLES OF CHASE
as Michael scampers up the hill, avoiding the falling rocks
created by Austin's flight, and coming up behind him.
FAVORING AUSTIN
spinning about to take a shot. But before he squeezes the
trigger:
FAVORING MICHAEL
knocks the gun from his hand, leaving Austin wide open, and
smashing him into the hillside. As Austin slips unconsciously
to the ground, Michael's comlink beeps, followed by:
K.I.T.T.'S VOICE
Michael, are you all right?
MICHAEL
(into comlink)
A little dusty, Kitt...but a lot
better than my opponent.
As we:
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
OMITTED
EXT. HILLCREST CANYON - DAY
Michael stands over Austin who's being bandaged by a
paramedic. Two L.A. police cars are in evidence, with
several police officers present, and an ambulance.
MICHAEL
Why are you protecting him?
AUSTIN
Because I'm a nice guy.
MICHAEL
You're not a nice guy, you're a
dirtbag. Now who's your partner,
Lyle? What's his name?
AUSTIN
I don't know what you're talking
about. It was a hunting accident.
Someone mistook me for a deer.
MICHAEL
A jackass would be more like it.
Well, suit yourself. But I guess
you won't be going on that little
trip you had planned.
AUSTIN
What trip is that?
MICHAEL
To Napa. The police found this
airline ticket tucked away in your
saddlebag. Was your partner going
with you?
AUSTIN
Anyone ever tell you you have a one-
track mind?
MICHAEL
All the time. That's why I usually
get what I go after.
(beat)
Count on it.
Michael moves to K.I.T.T.
OMITTED
EXT. CITY STREET - DAY - ON K.I.T.T.
moving through light traffic.
MICHAEL'S VOICE
Kitt, why would a guy like Lyle
Austing be going to Napa?
INT. K.I.T.T. - DAY
K.I.T.T.
A good question, Michael. He
doesn't exactly seem like a
connoisseur of fine wines.
MICHAEL
He was scheduled to leave this
evening.
(punches
buttons)
Let's run a check of passenger
reservations, see if there's anyone
going up there who might've served
time with him in the past.
K.I.T.T.
Right away, Michael.
INSERT - MONITOR
to see various names flashing by, as:
K.I.T.T.
I'm cross-checking with the
Department of Corrections now.
BACK TO SCENE
K.I.T.T.
Negative, Michael. There's no one
scheduled to fly to Napa over the
next twenty-four hours who has ever
served time with --
(suddenly)
Michael!
MICHAEL
What've you got?
K.I.T.T.
There are two names here I'm sure
you'll recognize.
ANGLE TO INCLUDE MONITOR
as two names flash on the screen from a passenger list.
Michael reacts.
MICHAEL
Jody Tompkins and Charley Winters.
K.I.T.T.
They caught a flight to Napa less
than an hour ago. Do you think it's
just a coincidence?
MICHAEL
Yeah...but one too many, pal. Plot
out the fastest route to Napa.
Michael accelerates.
EXT. CITY STREET - DAY - ON K.I.T.T.
pulling out. Sound-alikes over.
CUT TO
EXT. HIGHWAY - DAY - STOCK
Several shots as Michael and K.I.T.T. leave the city,
heading north.
EXT. ROAD - DAY - ON K.I.T.T.
moving fast along a road leading into Napa. The heart of
the wine country, with fields of grapes stretching endlessly.
Early morning and not too much traffic. Sound-alikes conti-
nuing over, and somewhere in the sky we catch a glimpse of
hot air balloons drifting over the valley.
MICHAEL (V.O.)
Welcome to Napa, Kitt, where wine is
king.
K.I.T.T.
Or as the French say, 'Le vin est
l'elixir d'amour.' That means....
INT. K.I.T.T. - DAY
MICHAEL
(interrupting)
I think I get the general drift.
(slight beat)
Have you turned up anything on
Charley Winters yet?
K.I.T.T.
Negative, Michael. I ran the name
through Data Bases in this country
and abroad. No one with that name
matches the man you describe. It
would certainly help to have a
picture of him.
MICHAEL
We'll see what we can do.
K.I.T.T.
Michael, do you think Jody knows any
of this?
MICHAEL
I'd like to believe not, Kitt...but
at this point I wouldn't bet on it.
(sees something)
Looks like someone's having trouble
up ahead.
OMITTED
MICHAEL'S POINT OF VIEW - WAGON
overturned in a gully, with what appears to be a monk
trying to right it ---
MICHAEL
Let's see if we can give him a hand.
EXT. GULLY - DAY - ON OVERTURNED WAGON
The monk, Brother Francis, short and round and loveable --
wearing his familiar cassock -- is huffing and puffing in a
vain attempt to right his old wooden wagon that was loaded
with used clothing, etc., for the poor.
While a short distance away, in the comfort of a shade
tree, sits Brother Tyrone, tall and thin and sullen, and
next to him, the monastery donkey, also sitting. Pulling a
wagon is one thing, righting it another. Suddenly their
attention, including the donkey's, shift up the road.
WHAT THEY SEE - K.I.T.T.
racing to the rescue, down the embankment leading into the
gully, along the bumpy gully, and pulling up nearby.
BACK TO SCENE
Even Brother Tyrone is almost impressed with K.I.T.T.'s
driving performance. Michael gets out, moves to them ---
MICHAEL
Looks like you can use some help.
BROTHER FRANCIS
Yes, we were delivering food and
clothes to the poor when I'm afraid
we strayed a little too far from
the straight and narrow. I'm Brother
Francis....
MICHAEL
Michael Knight....
BROTHER FRANCIS
And that's Brother Tyrone.
MICHAEL
(to Tyrone)
Nice meeting you.
But Brother Tyrone doesn't respond.
BROTHER FRANCIS
You'll have to forgive him. He's
taken a vow of silence. Unfortunately
...he could never work without talking.
MICHAEL
I know how that is.
Michael gives K.I.T.T. a look.
BROTHER FRANCIS
And that's Kit.
MICHAEL
How did you know?
BROTHER FRANCIS
(re donkey)
Oh, but I named him. When he was
just a little ass.
MICHAEL
Your donkey's name is Kit?!
K.I.T.T.
I beg your pardon!
The donkey brays in outrage. Even Tyrone comes close to
speaking!
BROTHER FRANCIS
Dear Lord, a talking car! Will
miracles never cease? Or perhaps...
it's a sign, Brother Tyrone.
The two Brothers exchange nervous looks, interrupted by:
K.I.T.T.
Michael, I suggest we give them a
hand and be on our way.
MICHAEL
Right...Kitt.
Donkey brays ---
K.I.T.T.
If you don't mind, I believe he's
talking to me!
MICHAEL
Let's have the grappling hook.
BROTHER FRANCIS
And it even drives itself!
K.I.T.T.
Which is more than I can say for big
ears over there.
K.I.T.T. comes over. Michael takes out the grappling hook,
hooks it onto the wagon, and reads what's painted on the
side:
MICHAEL
'The Monastery of the Grape.'
BROTHER FRANCIS
(proud)
Yes, perhaps you've tasted some of
our wine. Monk's Cellar. We make a
perfectly delightful Cabernet, or at
least we used to before our wine
maker, Brother Juliano....
He suddenly stops upon receiving a stern look from Brother
Tyrone. A look Michael catches.
BROTHER FRANCIS
Perhaps we will again someday. The
good Lord willing.
MICHAEL
I'm sure you will. Ready, Kitt?
Donkey brays, and brays and brays.
K.I.T.T.
Something definitely has to be done
about this. Michael, just keep that
-- big dog -- away from my tires.
MICHAEL
After we right the wagon, we'll tow
it back onto the road.
K.I.T.T.
And the sooner the better.
BROTHER FRANCIS
Bless you...both of you.
Michael gets in and K.I.T.T. drives to right the wagon.
BROTHER FRANCIS
Brother Tyrone -- I'm sure it's a
sign -- Brother Juliano's going to
be back with us soon!
Brother Francis starts retrieving the spilled clothing.
Tyrone decides to lend a hand.
EXT. MONK'S CELLAR WINERY - DAY - ESTABLISHING A SMALLER
MISSION-STYLE WINERY
Tourists can be seen stopping at the wine tasting bar. Also
a number of monks moving about the extensive grounds.
OMITTED
ANGLE ON BROTHER ROME
Big, mean and hooded, he suddenly stops, turns impatiently ---
ROME
Come on, the doctor's waiting.
ANGLE TO INCLUDE CHARLEY WINTERS
who's been glancing about curiously ---
WINTERS
All right, all right.
He catches up, and they move through a door.
INT. BOTTLING ROOM - DAY
Monks are operating the fascinating and complex machinery
that fills thousands of bottles with wine. They avoid
looking at the two men. Then Rome leads Winters to a wine
rack that obviously serves another purpose. He swings the
rack out, revealing a steel door. Takes another key,
unlocks it, looks to the ever more curious Winters ---
ROME
You first.
WINTERS
Sure, why not?
INT. DOCTOR FELLOWS' CORRIDOR - DAY - ON WINTERS
He barely enters, Rome locking the door behind him, before
he freezes.
WHAT WINTERS SEES
a long, wide corridor, with doors on each side leading to
various rooms, and bordering some of the doors are racks of
wine, so that in many ways this area resembles a large wine
cellar. But what has made Winters uneasy are the monks
moving about. Unlike the ones we've seen up front, most of
these have bandaged faces beneath their cassock hoods.
ANGLE ON BROTHER JULIANO
A gentle man of sixty, his pleasant face not bandaged, being
led to one of the rooms by another unbandaged monk we'll
call Carey. Upon seeing Winters, Brother Juliano stops
and gives him a rather stern look before being prodded by
Carey:
CAREY
Inside your cage, Brother Juliano!
Beat, then Brother Juliano gets into his cell and Carey
locks the door.
BACK TO SCENE
ROME
This way.
Winters hesitates, then follows.
INT. DOCTOR FELLOWS' OFFICE/OPERATING - DAY
Winters sits in a treatment chair, in front of a mirror,
as Dr. Fellows, thirty-seven, pleasant, competent, draws
on Winters' face with a colorful skin scribe marking pen.
A pretty young Nurse, Miss Jones, assists him. The office
is very modern. Rome is also present.
FELLOWS
We'll make the eyes a little rounder
...narrow the bridge of your nose...
raise your cheekbones...and even
alter your fingertips. In time
you'll forget there ever was a
Charley Winters. Isn't that right,
Miss Jones.
NURSE
Charley who?
Fellows gives a little laugh at her attempt at humor.
Winters isn't amused.
WINTERS
And how much is this going to cost me?
FELLOWS
I usually charge according to what my
patients can afford. From what I've
heard, you can afford quite a bit.
WINTERS
Don't believe everything you hear, I
had to split fifty-fifty with my
partner.
FELLOWS
Your partner was shot under
'mysterious' circumstances, and
picked up before he got his cut.
Which gives you even more reason for
wanting to become someone else, in
case he ever gets out and comes
looking for you.
ANGLE TO INCLUDE ROME
taking all this in with interest.
WINTERS
(beat)
All right, what are we talking about?
FELLOWS
You stole around three million in
diamond jewelry. I like round
figures. Ten percent is a nice
round figure.
WINTERS
That's three hundred thousand
dollars!
FELLOWS
A small price to be born again
without having to listen to a lot
of sermons. Of course, that includes
new ID, passport, credit cards, and
all the other little necessities of
modern day life.
WINTERS
(thinks)
When can we get started?
FELLOWS
I don't take Blue Cross, Charley, but
I do take white ice. You come back
here with three hundred thousand in
diamonds...and you've got yourself
a new face.
Fellows grins, and turns off the bright examination light.
ANGLE ON ROME
watching Winters with a very greedy look.
EXT. RIESLING INN - DAY - ON JODY
as she immortalizes the picturesque inn, nestled within
fields of grapes, on canvas. Or to be more exact randomly
spatters the entire canvas with multicolored paint. Hot
air balloons are seen drifting in the b.g.
ANGLE TO INCLUDE K.I.T.T.
gliding up behind her. Michael gets out, but she's too
absorbed in her art to hear him. Michael examines the
canvas:
MICHAEL
No, don't tell me....
She turns, surprised, pleased.
MICHAEL
(points)
The Inn!
JODY
You recognize it?
MICHAEL
Are you serious? Although...I think
you left out one of the windows over
here.
He points to the place on the canvas.
JODY
You're right.
(splashes on
a blotch)
There!
MICHAEL
You got it!
JODY
Hey, what are you doing here?
MICHAEL
Guess I could ask you the same thing.
JODY
Charley had some business to take
care of, so I decided to keep him
company.
She continues to splash on paint, forcing Michael to back
off a bit.
MICHAEL
What kind of business is Charley in?
JODY
Real estate. He works for the
Boulder Land Development Company.
Ever hear of it?
MICHAEL
No, can't say that I have.
JODY
Charley's one of their top men.
MICHAEL
I'm sure he is.
(slight beat)
Jody, how long have you known him?
JODY
(uncomfortable
laugh)
We're getting married in a couple of
months.
MICHAEL
That's not what I asked.
Stops painting, looks at him. This is obviously a sore
spot:
JODY
Four weeks, all right?
MICHAEL
Four weeks?
JODY
Charley's a good man and he loves me
...and more important, I love him.
They look at one another a beat, then Jody sees Winters
driving up and goes to meet him. He tenses upon seeing
Michael.
JODY
Charley, how'd the meeting go?
WINTERS
Fine...just fine.
JODY
(re Michael)
Look who's here.
WINTERS
I see.
Her arm around him as he moves toward Michael.
WINTERS
Anything we can do for you,
Mr. Knight?
MICHAEL
Nope, just following up on that
diamond robbery.
WINTERS
Then in that case I don't think you
should be bothering Jody.
JODY
Charley, he was just....
WINTERS
(interrupting)
She's been through enough, Mr. Knight.
What she needs now is a little R and
R.
(crowding him)
So if you don't mind....
MICHAEL
(interrupting)
Hey, I don't mind one bit. Besides
-- Charley -- she's not the one I'm
interested in...
(smiles)
It's you.
Michael looks at him a beat, then gets into the Trans Am.
INT. K.I.T.T. - DAY
as Michael starts to drive off.
INSERT - MONITOR
Vital sign graph.
K.I.T.T.
Michael, according to Charley's
vital signs....
BACK TO SCENE
K.I.T.T.
I'd say you definitely hit a nerve.
MICHAEL
Did you get a photograph of him,
Kitt?
CLOSE ON MONITOR
as three photos of Winters snap on in succession. Each
was just taken and in various facial positions.
FULLER ANGLE
K.I.T.T.
Does that answer your question? I'm
running it through my Image Data
Bank now.
MICHAEL
Good work.
EXT. ROAD - DAY - ON K.I.T.T.
As he pulls away from the Riesling Inn with Winters still
watching them, we hold on:
PICKUP
pulling up nearby.
INT. PICKUP - DAY
Rome, no longer in his cassock, is seated behind the wheel.
ROME'S POINT OF VIEW - WINTERS AND JODY
as they move toward the inn.
BACK TO SCENE
Rome continues to watch, hard, determined.
CUT TO
INT. FELLOWS' OFFICE/SURGERY - DAY
Dr. Fellows, in operating gear, stands over Winters on the
operating table. The pretty Nurse prepares the IV.
FELLOWS
Care to take one last look at
yourself before we begin?
WINTERS
I've seen enough of myself...let's
just do it.
FELLOWS
That's the spirit.
(motions for
Nurse to begin
the IV)
Now I want you to begin counting
backwards from a hundred.
WINTERS
Ninety-nine...ninety-eight...ninety-
seven...ninety...seven...ninety....
And he's out. Fellows throws out his hand, and the Nurse
slaps a scalpel into it.
CUT TO
EXT. RIESLING INN - DAY - ESTABLISHING
INT. JODY'S ROOM - DAY
Jody is cleaning her paint brushes, making quite a mess,
when there's a knock at the door.
JODY
One second.
She shakes out a brush, tries washing her hands.
Another knock.
JODY
All right, all right.
She goes to the door wiping paint-smeared hands on her
T-shirt, opens it.
ANGLE TO INCLUDE ROME
taking up most of the doorway. Her eyes grow wide but she
tries not to seem afraid.
JODY
Yes....
Rome pushes his way in.
JODY
Hey, what do you want?
He slams the door shut after him.
ROME
The diamonds!
JODY
What diamonds?!
ROME
The ones I'm going to retire on. Now,
where'd he hide them?!
He begins pulling drawers out, knocking over lamps, throwing
off cushions.
ANOTHER ANGLE
as Jody makes a dash for the door. But before she can
reach it, Rome grabs hold of her, begins shaking her:
ROME
I want those diamonds!
Jody struggles, starts to scream, but Rome covers her mouth
with his huge hand.
EXT. RIESLING INN - DAY - ON K.I.T.T.
pulling up in front.
K.I.T.T.
I don't see Charley's car anywhere,
Michael.
INT. K.I.T.T. - DAY
MICHAEL
Let's scan their room.
INSERT - SCANNER
K.I.T.T.
There's definitely someone inside.
MICHAEL
I hope Jody's alone. It'll sure
make it a whole lot easier telling
her what we found out about her
fiance.
He gets out.
EXT. RIESLING ROOM - DAY - ON MICHAEL
as he climbs the exterior stairs leading to 2A. Midway up,
he hears Jody screaming, runs the rest of the way, and kicks
the door open. An inn maid, working nearby, moves closer to
see what's happening.
INT. JODY'S ROOM - DAY
Seeing Michael coming in, Rome draws Jody even closer to
him, draws his gun, and holds it on her. Michael freezes.
ROME
Come any closer and she's dead.
MICHAEL
I hear you. I hear you.
Michael backs out the door, to let them pass. And as they
do, we:
FREEZE FRAME
AND
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
EXT. 2A - DAY
Rome moves toward the stairs with Jody. Michael gives him
plenty of room.
MICHAEL
Just don't hurt her.
(to Jody)
It's going to be okay. Just keep
cool.
Rome backs down the stairs with her.
NEW ANGLE
as Rome backs Jody to his pickup.
ROME
You drive.
JODY
Yes, but not very well.
ROME
That wasn't a question! Drive!
He hustles her behind the wheel, slides in himself, and they
roar off.
ON MICHAEL
jumping into K.I.T.T.
MICHAEL
We can't let him see us, Kitt.
K.I.T.T.
Another project for Bonnie -- find a
way to make me invisible.
And off they go.
EXT. ROAD - DAY - ON PICKUP
It roars down the highway, bordering fields of grapes.
INT. PICKUP - DAY
Rome keeps his eyes glued to the rear window.
HIS POINT OF VIEW - TRAFFIC
But no K.I.T.T.
ANGLE ON K.I.T.T.
speeding along the road embankment, at a forty-five degree
angle.
ANGLE ON CAR DELIVERY RIG
as it speeds past K.I.T.T. Top level empty.
ON K.I.T.T.
MICHAEL (V.O.)
This could be our chance.
K.I.T.T.
Michael surely there's a more
conventional way....
K.I.T.T. surfaces from the embankment onto the road.
ON PICKUP
Rome's rearview is now blocked by the large car trailer.
ROME (V.O.)
Pull into the other lane.
Jody pulls into the inside lane.
INT. K.I.T.T.
MICHAEL
Here goes, Kitt.
He pushes Turbo-Boost.
EXT. K.I.T.T.
as he flies into the air landing on top tracks of car trailer.
OMITTED
VARIOUS ANGLES OF ACTION
Rome looks around the trailer now and sees nothing. The
trailer catches up to the convertible, and now Michael can
look down on the open bed.
MICHAEL'S POINT OF VIEW - OPEN BED
FAVORING MICHAEL
leaving K.I.T.T. Above roar of traffic ---
MICHAEL
See ya, buddy.
K.I.T.T.
It's a longer jump than you think,
Michael!
MICHAEL
You had to tell me tthhhaaatt!!
And off he goes.
INT./EXT. PICKUP - DAY
as Michael lands in back.
ON ROME
reacting to Michael's landing, turns and shouts out the
window onto the back of the pickup.
ON MICHAEL
as he recovers from the blown-out window, reaches around the
side of the cab, and begins struggling with Rome through the
side window.
MICHAEL
Pull over!
EXT. ROAD - DAY
Jody pulls over, stops.
ANGLE ON K.I.T.T.
K.I.T.T.
Thanks for the lift.
And he slides backwards off the trailer onto the road.
ON TRUCK DRIVER - DAY
reacting.
ON PICKUP
as the door opens in the struggle and Rome falls out,
with Michael jumping on top of him.
EXT. SIDE OF ROAD - DAY - VARIOUS ANGLES OF FIGHT
The two men exchange hard punches; Michael rolls backwards
down the embankment; Rome jumps from the road on top of
him; Michael rolls; Rome misses. More punches; Michael's
down, and Rome takes off across the grape fields.
ANGLE TO INCLUDE K.I.T.T.
circling around toward Rome, while Michael comes from
behind. The grape pickers react to the excitement.
ON ROME
seeing K.I.T.T. bearing down on him, stopping, turning, and
running right into Michael's fist, which knocks him clean
back onto K.I.T.T.'s hood. And out cold. Michael jumps
onto the hood next to him, just in case he comes to ---
MICHAEL
Let's see what he can tell us, Kitt.
K.I.T.T.
Right, Michael. Hang on!
ANGLE TO INCLUDE JODY
waving from the side of the road as K.I.T.T. heads toward
her, relieved and thankful.
EXT. NAPA ROAD - DAY - ON SEMI
It passes endless fields of grapes.
INT. SEMI - DAY
Michael, upset, paces in front of the TV monitor, with
Rome's picture on it, while Devon stands nearby. Bonnie
is putting something into K.I.T.T.'s computer bank.
MICHAEL
Just what we needed -- the man
who never was. Fake IDs, credit
cards, driver's license, even his
fingerprints don't belong to him.
DEVON
He's obviously been given a totally
new identity.
MICHAEL
The question is, who was he?
BONNIE
(finishes work)
Maybe Kitt can tell us, with the new
3-Dimensional Interactive Graphics
Plotter I just installed.
MICHAEL
Sounds impressive, but what does it
do?
BONNIE
See for yourself. Kitt ---
ANGLE TO INCLUDE TV MONITOR
K.I.T.T.
It's obvious our friend here has
undergone extensive plastic surgery,
so I'll simply use the I.G.P. to
break down his new face....
An I.G.P. button lights up on K.I.T.T.'s dash, and the face
on the TV monitor begins to break apart ---
K.I.T.T.
And then activate my Linear Predictive
Graphics Routine...
(L.P.G.R. button
lights up)
To give us a 3-D reconstruction of
his previous face.
A new face forms on the monitor screen.
DEVON
You're astonishing, Kitt.
Bonnie clears her throat.
DEVON
Of course, that goes for you, too,
Bonnie.
BONNIE
Thanks much.
K.I.T.T.
And now I'll search my Image Data
Bank....
Lights flash on and off indicating search. Then pulsate.
K.I.T.T.
Does the name Eric Sanders mean
anything to you?
DEVON
The condemned murderer who escaped
death row last year. They've been
looking everywhere for him.
MICHAEL
That's it! If Charley Winters is
our man, that's why he's in Napa.
To buy a new identity.
DEVON
But where does one go to buy such a
thing, Michael?
MICHAEL
That's a good question. When I find
out you'll be the first to know.
He jumps into K.I.T.T.
EXT. RIESLING INN - DAY - ON JODY'S ROOM
A large private security guard is stationed outside.
INT. JODY'S ROOM - DAY
Jody's in an agitated state -- at Michael:
JODY
Michael, you don't know Charley's a
thief! The police searched this place
inside out and couldn't find those
diamonds!
MICHAEL
Which only means Charley must've taken
them with him. What I do know is,
Charley isn't who he claims to be.
JODY
What do you mean?
MICHAEL
His real name's James Benson. Over
the years he's called himself Charles
Samson, Dave Winters, Chuck Bender,
just to name a few of his aliases.
Before crashing the big time he was
a con man, and there was always a
pretty woman involved somewhere.
(beat)
Jody, he's been engaged to three of
them.
JODY
(fighting
tears)
I...don't believe you.
MICHAEL
I think you do. You told me yourself
it was more important to love him
than for him to love you. Maybe you
suspected he didn't love you as much
...that he was only using you.
JODY
That's a lie!
MICHAEL
Then where is he?
JODY
I told you, he had to go look at
some land in Santa Rosa.
MICHAEL
The Globe Land Development Company
doesn't exist. I checked it out.
Her head's spinning, her legs are weak. He steadies her.
JODY
He loves me, Michael...I'm sure of
it.
MICHAEL
Maybe he does, Jody...but it's not
the kind of love you want or need.
(beat)
You must have some idea where he is.
JODY
No....
MICHAEL
What did you do when you got to
Napa?
JODY
Checked in here.
MICHAEL
After that? Think. It could be
important.
JODY
We...went to this winery.
MICHAEL
Which one?
JODY
The...Monk's Cellar.
MICHAEL
What did you do there?
JODY
We went to where you taste the wine
and...Charley did something kinda
strange.
MICHAEL
What?
JODY
He asked for a glass of Chateau Neuf
du Pape.
MICHAEL
A French wine in a California winery?
JODY
I told you it was strange.
MICHAEL
Then what happened?
JODY
Charley sent me on the tour...and
when I came back he was there
waiting.
MICHAEL
Thanks, Jody. You going to be okay?
JODY
What can happen to me with that
private security guard you put
outside my door?
MICHAEL
Not a thing...which is exactly what
I want.
He smiles, gives her a light kiss on the cheek and leaves.
OMITTED
EXT. NAPA ROAD - DAY - ON K.I.T.T.
Fields of grapes on either side. Hot air balloon drifting
in distance.
MICHAEL'S VOICE
It'll have to look like the police
are hot on my tail.
INT. K.I.T.T. - DAY
MICHAEL
We'll invent a crime and feed it to
the wire services.
K.I.T.T.
As you wish, Michael. Let's see --
I think you fit the embezzler mode.
MICHAEL
Thanks a lot, pal, but I was thinking
of something a little more violent.
K.I.T.T.
Let's see ---
INSERT - MONITOR
as various criminal activities flash on the screen:
Extortion, Blackmail, Stock Fraud, Kidnapping, Car Theft
and finally:
FULLER ANGLE
MICHAEL
That's it, Kitt -- Armed Robbery!
K.I.T.T.
Michael -- I'm sorry. But armed
robbery just isn't you! I still
think embezzling....
MICHAEL
(interrutping)
If I'm going to pull it off, I've got
to go for broke!
K.I.T.T.
(giving up)
Whatever you say -- Public Enemy
Number One.
MICHAEL
I'll also need some front money. My
guess is about a hundred grand.
K.I.T.T.
Michael, you know how Devon is about
any kind of money....
MICHAEL
Get him, Kitt -- it's the only
chance we have of finding those
diamonds!
EXT. NAPA ROAD - DAY - ON K.I.T.T.
moving on to sound-alikes.
OMITTED
EXT. MONK'S CELLAR WINERY - DAY - ON MICHAEL
standing at the wine tasting bar along with several other
tourists. Brother Carey pours the wine. Michael swirls
his glass, sniffs, drinks, then to Carey:
MICHAEL
Not bad...Now how 'bout a glass of
Chateau Neuf du Pape.
Carey stops pouring, looks at him curiously.
CAREY
What?
Michael pushes in on him, softly but with an edge:
MICHAEL
You heard me, brother -- a glass of
Chateau Neuf du Pape.
Carey studies him.
OMITTED
INT. DR. FELLOWS' OFFICE - DAY - ON MICHAEL
seated in the examining chair as Fellows marks his face.
The Nurse assists.
FELLOWS
And as icing on the cake I can give
you a slight break in your nose.
It's quite popular these...days.
Fellows has hesitated upon noticing something.
MICHAEL
Something wrong, Doc?
FELLOWS
I see...you've had extensive plastic
surgery before. Any particular
reason?
MICHAEL
Yeah...my face became too popular
with the cops.
FELLOWS
I know the feeling.
(smiles)
Well, what do you think?
The Nurse hands Michael a mirror. He looks at himself.
MICHAEL
Colorful.
(to Nurse)
What's your opinion?
NURSE
It's definitely you.
MICHAEL
(grins)
Then let's do it.
FELLOWS
Good.
(washing hands)
Now about the fee. How much did you
say you got from that armored truck
hit?
MICHAEL
A million, one.
FELLOWS
That's strange. Because when my
people checked you out -- they told
me it was more like a million five.
MICHAEL
So after the first million, who
counts?
FELLOWS
I'm glad you feel that way...because
I want a hundred and fifty thousand.
Michael stands, picks up leather case, opens it ---
MICHAEL
Doctor Fellows. I have a hundred
grand in here...take it or leave it.
FELLOWS
In that case...I'll take it.
He reaches for the case, but Michael pulls back:
MICHAEL
When do we get started?
FELLOWS
(slight
beat)
Within the hour...you just make your-
self at home.
Fellows takes the money.
CUT TO
OMITTED
INT. FELLOWS' CORRIDOR - DAY - ON MICHAEL
as he moves about the corridor, looking into the various
rooms, and at the same time trying not to get caught. Then
he suddenly reacts to:
MICHAEL'S POINT OF VIEW - BROTHER JULIANO
being put into his room by Carey.
JULIANO
You have no right to keep me a
prisoner like this.
CAREY
Take it up with your congressman,
Brother Juliano!
He laughs, pushes him inside. Locks the door.
BACK TO SCENE
Michael weighs what he's just seen then turns toward
another room. But as he does:
ANGLE TO INCLUDE MONK
accidentally bumping into Michael, and vice versa. The
monk, wearing a cossack, has a ruggedly handsome face,
although there's still quite a bit of swelling, and some
bluish discoloring highlighted with Vaseline. Michael
apologizes:
MICHAEL
Sorry...brother.
Michael smiles and hurries off. But the monk doesn't
appear amused. In fact, he stares after Michael with a
hard, angry look until:
ANGLE TO INCLUDE NURSE
joining the monk.
NURSE
Anything wrong, Charley? Looks like
you've seen a ghost.
We recognize the voice to be Winters', but nothing else.
Never taking his eyes from the unsuspecting Michael:
WINTERS
Not yet, Miss Jones...but he'll soon
be one.
ANGLE TO INCLUDE MICHAEL
entering one of the rooms.
Camera moves in on:
WINTERS
WINTERS
Get me Doctor Fellows!
As we:
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
INT. WINTERS' ROOM (IN WINERY) - DAY - CLOSE ON A CUT-UP
DRIVER'S LICENSE
as Michael puts the pieces together, and we see it belonged
to Charley Winters. Name and photograph. He's gone through
a wastebasket so there are other remnants of personal arti-
cles that Charley has tried to destroy.
FULLER ANGLE
as Michael studies the driver's license, and then glances
about the room.
OMITTED
EXT. MONK'S WINERY - DAY - ON K.I.T.T.
standing nose-to-nose, eye-to-eye with Kit the donkey.
K.I.T.T.
This is totally humiliating!
OMITTED
INT. K.I.T.T. - DAY
Brother Francis is examining the dash, having a tough time
keeping his hands off the buttons. Brother Tyrone, equally
intrigued, is seated next to him.
BROTHER FRANCIS
Pursuit Mode...Turbo Boost...Eject
buttons...Truly the design of a
Supreme Being.
K.I.T.T.
I wish you'd tell that to hee-haw
out there.
BROTHER FRANCIS
And what does...oil slick do?
K.I.T.T.
(pregnant pause)
Why...don't you find out, Brother
Francis?
Beat, then Brother Francis pushes the oil slick button.
EXT. K.I.T.T. - DAY
as a spray of oil shoots out the front, frightening Kit off
with an angry bray.
K.I.T.T.
Bless you, Brother Francis.
INT. K.I.T.T. - DAY - ON VOICE SENSOR
MICHAEL'S VOICE
Kitt, I found Charley's room.
INTERCUT AS NEEDED
Michael is searching the room.
K.I.T.T.
What about the diamonds?
MICHAEL
I'm looking for them now. What did
you find out about Doctor Fellows?
K.I.T.T.
He was kicked out of the American
Institute of Plastic Surgery almost
a year ago. That's when he showed
up at the Monastery of the Grape
with an offer of financial assistance.
BROTHER FRANCIS
You see, the Monastery had hit upon
hard times. But we had no idea he
was going to use the winery as a
front for his -- pardon the pun --
illegal operations.
MICHAEL
Why didn't you go to the police?
BROTHER FRANCIS
Because they're holding our wine maker,
Brother Juliano, hostage. They said
they'd hurt him if we tried to get help.
OMITTED
ON MICHAEL
He's taken the small room apart, and still no diamonds. And
then his eyes fall on a crystal pitcher of water sitting on
the bed table. As he moves toward it:
MICHAEL
I've seen Brother Juliano. He's
okay.
Michael lifts the pitcher to the available light, takes a
closer look inside.
Move in on:
PITCHER
to see the vague images of the diamonds resting on the
bottom.
FULLER ANGLE
as Michael pours off the water into a nearby glass, and then
empties the diamonds into his hand.
MICHAEL
Kitt, I've found them.
K.I.T.T.
Good for you, Michael.
MICHAEL
Now I'll see about finding Charley
Winters. Keep your eyes open.
K.I.T.T.
You, too, Michael. I don't know why
-- but I've grown accustomed to your
face.
BROTHER FRANCIS
Truly, truly a miracle!
Michael puts the stones in his pocket and leaves the room.
OMITTED
INT. FELLOWS' CORRIDOR - DAY - ON MICHAEL
coming from the room, turning and stopping dead in his
tracks.
WHAT HE SEES - WINTERS WITH FELLOWS
while the bandaged monks have him surrounded. The Nurse
and Carey are also there. Michael grins:
MICHAEL
Bell ringing time already?
No one's amused.
WINTERS
See if he has my diamonds!
Michael recognizes the voice:
MICHAEL
Charley...I wish I could say it was
an improvement.
The monks move in. He struggles, manages to get in a good
shot or two, but there are just too many. As they get the
best of him he talks to his comlink:
MICHAEL
Kitt, if you don't hear from me in
twenty seconds, c'mon in!
ANGLE TO INCLUDE NURSE
moving in with a loaded syringe, and giving Michael a shot
through his pants. Into comlink, as he falls ---
MICHAEL
Make that ten!
FELLOWS
That shot won't last long. Get him
into surgery.
INT. K.I.T.T. - DAY - ON L.E.D. CLOCK
ticking away the seconds, 5, 4, 3, 2, 1 ---
EXT. K.I.T.T. - DAY
K.I.T.T.
Is there another way into Doctor
Fellows' office?
BROTHER FRANCIS
Only is you like going through solid
brick walls.
K.I.T.T.
It's not my favorite pastime, but it
sure beats socializing with a donkey!
K.I.T.T. does a 180, and roars off.
EXT. REAR OF WINERY - DAY - ON K.I.T.T.
as he roars across the grape field, scanning various winery
walls.
INT. K.I.T.T. - DAY - ON MONITOR
as a graphic drawing appears showing Dr. Fellows' corridor.
K.I.T.T.
That's it!
The Brothers' eyes grow wide.
WHAT THEY SEE - THE WALL
getting closer.
BACK TO SCENE
The Brothers mouth a prayer.
EXT. GRAPE FIELD - DAY
as K.I.T.T. roars toward the proper brick wall.
INT. FELLOWS' OFFICE/SURGERY - DAY
Michael is beginning to stir. Fellows is with the Nurse as
Winters is putting his diamonds into the bag he used at the
robbery and stuffing it into his pocket.
FELLOWS
Let's find out how much this
Foundation knows about us.
The Nurse squirts out the remaining air in her IV, brings
the needle to Michael's vein ---
EXT. WINERY WALL - DAY - ON K.I.T.T.
hitting the bricks ---
INT. K.I.T.T. - DAY
Tyrone feels it's time to break his vow of silence:
BROTHER TYRONE
Glory, glory hallelujah!
BROTHER FRANCIS
Now that's how to break a vow of
silence!
INT. DR. FELLOWS' CORRIDOR - DAY - ON K.I.T.T.
exploding right through a rack of wine which was up against
the corridor wall. The monks scatter as the bottles break,
some of them exploding red wine.
INT. FELLOWS' OFFICE/SURGERY - DAY
Fellows, Winters and the Nurse react.
FELLOWS
What was that?!
They go to find out.
INT. FELLOWS' CORRIDOR - DAY
Fellows, et al see K.I.T.T. searching for Michael, the monks
in mass confusion. Fellows heads back for his office.
ON K.I.T.T.
His scanner searching, calling out ---
K.I.T.T.
Michael! Michael!
INT. FELLOWS' OFFICE/SURGERY - DAY - ON MICHAEL
still wobbly, he gets up just as Fellows enters the room
-- and decks the Doc with one punch.
INT. FELLOWS' CORRIDOR - DAY - ON MICHAEL
hurrying to Brother Juliano's cell, taking out one of his
tools, picking the lock and freeing the wine maker.
BROTHER JULIANO
God bless you!
K.I.T.T. pulls up.
MICHAEL
Kitt, have Devon call in the police.
Brother Juliano squeezes into the back of the Trans Am.
CLOSE ON MICHAEL
looking about.
MICHAEL'S POINT OF VIEW - WINTERS
running for the exit door.
BACK TO SCENE
MICHAEL
Meet me outside, pal!
K.I.T.T.
Right!
K.I.T.T. backs out the same hole he came in, as Michael
takes off after Winters.
OMITTED
INT. BOTTLING ROOM - DAY - ON WINTERS
as he comes from the corridor and makes his way toward a
side door.
ON MICHAEL
appearing and calling out ---
MICHAEL
Charley!
ON WINTERS
turning, pushing over a case of bottles to slow Michael up,
and continuing on.
ON MICHAEL
following Winters from the bottling room.
OMITTED
EXT. SIDE OF WINERY - DAY
Winters races to a winery four-wheeler, gets in and takes
off.
ON MICHAEL
coming out as K.I.T.T. pulls up. The Brothers pile out.
To Michael:
BROTHER JULIANO
Nothing succeeds like faith, love
and charity...Now go, young man, and
waste him!
MICHAEL
Gotcha!
Michael gets in, and they go after Winters.
VARIOUS ANGLES OF CHASE
Winters has a good head start, but K.I.T.T. is gaining.
CLOSE ON WINTERS
seeing something up ahead and reacting.
WHAT HE SEES - SEVERAL HOT AIR BALLOONS
preparing to take off.
BACK TO SCENE
as Winters turns off the road and races for the balloons.
ON K.I.T.T.
taking the turn off the road.
ON WINTERS
pulling up near a balloon, getting out, and running to the
gondola, which happens to be occupied by a young man.
WINTERS
I'll say a prayer for you!
Winters tosses the already petrified young man out, climbs
aboard, and takes off.
ANGLE ON K.I.T.T.
racing full throttle toward the balloon and screeching to
a stop.
MICHAEL
Let's go fishing, Kitt.
K.I.T.T.'s grappling hook shoots out.
OMITTED
ANGLE ON BALLOON
as the hook catches hold of the side.
ANGLE TO INCLUDE K.I.T.T.
K.I.T.T.
We caught something, Michael.
MICHAEL
You bet we did, buddy. Let's reel
it in.
K.I.T.T. reels the balloon back to earth as Michael races
toward it.
ANGLE ON BALLOON
as Michael reaches inside, pulls Winters out, and after a
brief struggle knocks him unconscious. He takes the bag
of diamonds from his pocket:
MICHAEL
Get Devon, Kitt...
(emptying the
bag into his
hand)
We've got to raise some money for
that charity.
OMITTED
FADE OUT
END OF ACT FOUR
TAG
FADE IN
EXT. MONK'S WINERY - DAY
A wine party is in progress. All our people are there,
including Kit the Donkey. The good monks are serving.
DEVON
Sure you won't have some wine, Kitt?
K.I.T.T.
I don't need artificial stimulants
to make me feel good, Devon.
DEVON
Suit yourself. Cheers.
They drink. Brother Tyrone clears his throat. Silence.
BROTHER TYRONE
As you know, I'm not much of a speech
maker... just thank you for your help
and God bless you.
Some applause.
BONNIE
That was a beautiful speech, Brother
Tyrone.
ANGLE ON MICHAEL AND JODY
MICHAEL
Jody, I've got some good news for
you. Devon has agreed to buy a
couple of your paintings. Isn't
that right, Devon?
DEVON
(caught off
guard)
Agreed? Insisted is more like it!
JODY
(to Michael)
Thanks. And to show you my appre-
ciation I painted your portrait.
She reaches for a nearby canvas.
MICHAEL
I...can hardly wait to see it.
JODY
Well? What do you think?
Michael is stunned by what he sees.
ANGLE TO INCLUDE PAINTING
Damn it, it's good! Looks just like him!
MICHAEL
Jody, that's fantastic!
JODY
I also painted one of Kitt.
She gets it.
K.I.T.T.
Jody, you shouldn't have although I
have been told I have nice lines.
ANGLE TO INCLUDE PORTRAIT
It's of Kit the Donkey who brays.
K.I.T.T.
On second thought, Devon, I will have
some wine. Say about ten-fifteen gal-
lons to start. And, Michael...keep
that thing away from me!
Michael and Jody laugh, the donkey brays, and we ---
FREEZE FRAME
AND
FADE OUT
THE END
