ACT ONE
FADE IN
EXT. GASTNER AUTO WRECKING YARD - DAY
A big operation, with rows and rows of cars, stacked six
high. A large crane arches toward a crusher/compacter
that's used to reduce entire cars to flattened blocks of
metal. Numerous workers man the equipment -- and although
we may not immediately notice, all are Latinos.
ANGLE ON ALFREDO
A Latino foreman, moving through the stacks, barking orders
in Spanish at the workers. He approaches a more isolated
area of the yard, where the dead cars are stacked, rounds
one of those stacks. He stops suddenly as he's confronted
by:
WIDER ANGLE - MEL AND DUDLEY
stocky, muscular men in their early forties, supporting
between them the limp body of a young Latino.
ALFREDO
Celso!
Mel and Dudley look up. Dudley grins at Alfredo.
MEL
No problema, Alfredo. You friend
here just can't hold his tequila.
Alfredo stares at the inert Celso, starts to approach and
Mel stops him with a sharp command.
DUDLEY
Go back to work!
Alfredo pauses, eyeing Celso uncertainly, then slowly turns
and heads out of the stacks, gazing back as the three men
disappear among the stacks. After a moment, a horrible
scream of metal makes Alfredo jump, and he turns to see:
ANGLE - AN OLD CAR
in the steel claw of the crane, being lifted into the air,
swivelled toward and dropped out of view, into the crusher.
ANGLE ON ALFREDO
His face pained, as we hear the sound of metal scraping
against metal, a terrible rending sound, and go to:
EXT. FOUNDATION - DAY - STOCK
as the Trans Am pulls up fast and Michael hops out, hurries
into the Foundation.
MICHAEL'S VOICE
I got here as fast as I could.
Where's Devon?
APRIL'S VOICE
Still on the phone. If we hurry....
OMITTED
INT. DEVON'S OFFICE - DAY
Devon's standing by his desk, jotting down notes as he
listens intently to someone on the other end of the phone.
He looks up as Michael and April enter, signals them to
stand by.
DEVON
You understand that we don't usually
deal with people who are unwillng
to identify themselves.
INT. AN OFFICE - DAY - ANGLE ON A LATINO
seen from the back, speaking into a telephone. He's
obviously terrified, is almost whispering to avoid being
overheard. He has only a slight accent.
LATINO
But you have nothing to lose. Now,
here is what you will do....
INT. AN ADJACENT OFFICE - DAY
We recognize Mel as he enters the room and may or may not
figure out that we're in the Gastner Wrecking Yard office.
Mel crosses to a telephone and lifts the receiver to his
ear, hears that the line's engaged and begins to hang up.
Then, catching a bit of the conversation, he again raises
the receiver to his ear, listens.
INT. DEVON'S OFFICE - DAY
Devon scribbling like mad, taking down directions from the
mysterious Latino. He hands what he's written to Michael,
who scans it quickly, "salutes" Devon and leaves. April
moves closer to Devon, watching him.
DEVON
We'll uphold our end of the bargain,
my friend. You have my word.
From his expression, it's apparent that the caller has hung
up. Devon also hangs up.
APRIL
How do you know he's not just
another crank with evidence to
convict some poor guy who hasn't
even done anything wrong?
DEVON
Because the man he's got the 'goods'
on is Louis Gastner.
April reacts to the name as we:
CUT TO
EXT. CITY STREET - DAY - ON THE TRANS AM
moving fast through city traffic.
INT. TRANS AM - DAY
Michael's behind the wheel, wearing a Dodgers baseball hat.
K.I.T.T.
Gastner...why is that name familiar?
MICHAEL
Because the guy's been all over the
headlines for years for just about
every crime on the books -- and
nobody's been able to get a
conviction on him.
K.I.T.T.
And now someone simply calls Devon
with the perfect evidence...It's
all very strange and unorthodox,
Michael...especially you in that
hat.
Michael glances in the rearview mirror, adjusts his hat.
MICHAEL
It's just so the guy'll recognize me.
Besides, I think I look very
athletic.
K.I.T.T.
I'm quite grateful that no one's
invented baseball hats for auto-
mobiles.
Michael laughs.
EXT. SHOPPING CENTER MALL - PARKING LOT - DAY
As the Trans Am pulls into the lot, we hear:
K.I.T.T.'S VOICE
I'm not going to like this, Michael.
INT. TRANS AM
Michael scans the parking lot.
MICHAEL
Relax, it's going to be a piece of
cake.
K.I.T.T.
I've heard that before.
(beat)
It's this location. Parking lots
always depress me.
MICHAEL
With all these cars? I thought
you'd feel right at home.
K.I.T.T.
It's all the cars that bother me.
There they sit, in the sweltering
sun, for all practical purposes
forgotten, while their owners are
inside...
(with real
disdain)
Throwing away their money.
Michael cranes his neck, checking out the rows. He smiles.
MICHAEL
Don't take it so personally.
K.I.T.T.
That's easy for you to say. I
happen to be a car, and crimes
against cars bother me.
MICHAEL
Okay, okay.
(beat)
There's row D. We're supposed to park
as close to the stores as we can.
Michael pulls down the row, finds a space and parks. He
checks his watch.
MICHAEL
I've got about two minutes to get
all the way across the mall. You
just wait for our informant to dump
his goods in the passenger window....
K.I.T.T.
Now I'm a mailbox. This is exactly
what I'm talking about, Michael...
no respect....
Michael smiles, gets out of the car, leans back in.
MICHAEL
Devon wants visuals on this, so
activate your video camera. And
buzz me when he makes the drop,
okay?
K.I.T.T.
Despite what you may think, I'm
perfectly capable of handling my
responsibilities.
MICHAEL
Boy, you're touchy today.
Michael tips his hat, heads off.
EXT. PARKING LOT - DAY - FEATURING MICHAEL
as he saunters away from the Trans Am, toward the shopping
mall, passing by a late model Porsche parked not far from
the Trans Am. The darkened window on the driver's side
slowly lowers, and inside we see:
DUDLEY AND MEL
Dudley at the wheel, both watching Michael walk by. Dudley
takes out an automatic, checks the clip. Mel checks his
watch, scans the parking lot, waiting....
ANGLE ON MICHAEL
moving toward his preset destination, a kiosk inside the
shopping mall. From here, he can see the Trans Am -- but
he's some distance away.
EXT. PARKING LOT - FEATURING A BLUE SEDAN
pulling in. Behind the wheel is a young man, John Murray.
Sitting beside him, wearing lightly tinted sunglasses, is
a stunningly pretty young woman, Julie Robinson. In the
backseat, we see a golden retriever, named Sugar, her head
hanging out the open window. John pulls down row "D,"
obviously looking for a space.
ANGLE ON DUDLEY AND MEL
watching the blue sedan, Dudley indicating his watch. He
raises the automatic....
INT. K.I.T.T. - ON THE VIDSCREEN
Lights flashing, vidscreen activated. We see a video
image of John's car pulling past the Trans Am, backing up
and taking a space two over from the Trans Am. A sports
car parked between the two should effectively block the low-
level view K.I.T.T.'s camera has of John's car. We see
the door open and John suddenly jumps out of the car. We
hear:
JULIE
John, don't do it....
JOHN
I'll be right back. Stay there....
JULIE
Let me....
JOHN
(firmly)
No...I'll take care of it.
EXT. PARKING LOT - FEATURING THE PORSCHE
Dudley and Mel watch John as he moves quickly between cars,
looking to his right, then his left, seeming to case the
area. Suddenly, he spots the Trans Am and moves decisively
toward it. Dudley tenses, starts the Porsche, inches forward.
INT. K.I.T.T.
The vidscreen showing John as he moves toward the Trans Am.
K.I.T.T.
(comlink)
Michael, I think we've got a visitor.
ON MICHAEL
by the kiosk, as K.I.T.T.'s voice comes through comlink.
K.I.T.T.
(comlink)
Make that three visitors -- and one
of them's got a gun.
MICHAEL
I'm on my way.
He darts away from the kiosk, heading toward the parking
lot.
ON THE TRANS AM
At this point, we should see John, as well as other ND
passersby: an elderly man, a lady with shopping cart, a
young man in a jogging suit and a dark-haired young man.
As John moves toward the passenger side of the Trans Am,
he reaches into his jacket pocket, his other hand grabbing
the door handle....
ANOTHER ANGLE
Just as John appears to connect with the Trans Am, the
Porsche pulls up and Dudley fires his automatic. The shot
hits John and he falls against the Trans Am, then hits the
ground. In a flash, Mel's out of the Porsche, races to the
Trans Am and tries to open the door. It's locked, so he
reaches through the window and just as quickly, K.I.T.T.
powers up the window, nearly catching his hand. Then:
JULIE'S VOICE
John? John...!
Mel turns, sees Julie climbing out of the blue sedan two
cars over, facing directly toward him. At that moment:
MICHAEL
Hey, you -- stop!
Mel whirls to see Michael dashing toward him. He turns and
bolts for the Porsche, leaps in and the car peels away.
ANGLE TO FEATURE MICHAEL
dodging cars, racing toward the fallen John. The passersby
stare, horrified, and a shopping mall security guard runs to
John. As he's about to lift him, Michael arrives:
MICHAEL
Don't move him!
The guard looks up as Michael kneels, checks John's injury.
MICHAEL
If the bullet's anywhere near his
spine, we could paralyze him. We've
got to get the paramedics here, fast.
The dark-haired young man in the b.g. yells:
DARK-HAIR
I'll call them!
He sprints away. As the security guard comforts John,
Michael rises.
MICHAEL
And I'm gonna get the guy who shot
him.
He rises, circles the Trans Am, jumps in.
ANOTHER ANGLE
as the Trans Am backs up at break-neck speed, whirls around
and takes off after the Porsche.
EXT. PARKING LOT - DAY
as the Porsche threads its way through the maze of cars,
finds an exit, hits the street. A beat later, the Trans Am
squeals the wrong way down a one-way row, barely missing a
car and fishtailing out onto the street.
EXT. STREET - DAY
The Porsche's got enough of a head start to give K.I.T.T.
something to go for. The traffic is heavy enough to provide
some obstacles, but Dudley handles the Porsche with panache.
INT. TRANS AM - DAY
as Michael negotiates the same traffic. They're moving
fast.
K.I.T.T.
I suppose this is your idea of 'a
piece of cake?'
MICHAEL
A piece that's turned stale.
(beat)
Let's get some history on his plates.
Michael punches the appropriate buttons, and on the vid-
screen, we see the Porsche and as we zoom in on the rear
plates, we go to:
ANGLE ON A FAST FOOD STAND
featuring a bespectacled, young, rookie motorcycle cop,
Officer Gray. He's eating a donut and drinking a cup of
coffee and, as the Porsche tears by, he looks up, stares.
A beat, then the Trans Am roars by and Gray's on the case.
He jams the donut into his pocket and runs toward his
awaiting motorcycle, trying desperately to polish off his
coffee. As he grabs the handlebars, he upends the coffee,
pouring it all over the bike. He mutters, cleaning it
fast, as we:
CUT BACK TO
THE PORSCHE ON THE STREET
roaring toward an intersection, light turning yellow.
Congestion, including a large, dirt-filled dump truck
waiting to move through the intersection.
ANGLE ON THE STREET
as the Porsche hits the intersection, the light turns red.
The Porsche runs the light, weasels around the dump truck
and barely misses a school bus which is forced to stop
beyond the dump truck, completely blocking through traffic.
The Porsche tears away up the street. A beat later, the
Trans Am approaches the intersection.
INT. TRANS AM - DAY
Michael sees the dump truck dominating the intersection.
He's moving toward it at high speed.
MICHAEL
Kitt, we've gotta go over that truck.
K.I.T.T.
We can't, Michael...there's a school
bus trapped behind it.
MICHAEL
Then hang on, buddy...and give me
that extra sixty percent of traction!
EXT. TRANS AM - DAY
Michael hits the brakes and goes into a broadside skid into
the intersection, coming to a stop just feet from the dump
truck.
INT. TRANS AM - DAY
Michael takes a deep breath, then slowly drives the car out
of the intersection. The light turns green and the dump
truck begins to move, then the bus, the drivers of both
shouting insults out the window.
K.I.T.T.
I'm afraid we've lost them, Michael.
MICHAEL
Them and ten years off my life.
A beat as Michael pulls away from the scene of the skid,
then:
ANGLE ON OFFICER GRAY
tearing into the intersection screeching his bike to a stop.
He looks around, confused, removes his glasses, peers
through them, then pulls what he thinks is a handkerchief
out of his pocket in order to wipe his glasses -- and sees
he's wiping them with his donut. Disgusted, he starts to
throw the donut away...reconsiders and eats it instead.
EXT. WRECKING YARD - DAY - CLOSE ON PORSCHE
dangling in the air, caught in the steel jaws of the crane's
claw. Over the whine of the crane, we hear:
DUDLEY'S VOICE
This really isn't necessary....
The crane drops the Porsche into the crusher, and we pull
back to reveal Dudley, Mel and Louis Gastner. In his late
forties, dressed in a tacky double knit, Gastner looks like
exactly what he is: a used car salesman who's come into
too much money, too fast. With as much class as a half-pint
in a paper bag.
GASTNER
I hope this'll teach you to be more
careful next time.
Gastner signals, the crusher rumbles to life and reduces
the Porsche to a metal cube. Quickly. Dudley looks like
his heart was inside the car, Mel's properly sober.
DUDLEY
I tipped you to the phone call. I
ran to the drop....
GASTNER
And you came back empty-handed. A
broad got a perfect look at Mel, a
guy in a fancy car ID'd your Porsche,
probably got a make on the plates...
(coldly)
As far as I'm concerned, your car...
and you...don't exist.
Dudley falls silent. Behind them, what was once the
Porsche hits the ground with an ominous thud. Both Dudley
and Mel can't help cringing.
MEL
We been with you a long time, Lou.
We'll make right by you. You know
you can count on us....
Gastner turns an icy stare on Mel. Mel studies his toes.
GASTNER
I want the papers and the man that
took them. And not necessarily in
that order. You understand?
Dudley realizes he's still on the payroll. He's enormously
relieved.
DUDLEY
Loud and clear.
GASTNER
You screwed up. That's human. I'm
forgiving...that's me. All heart...
(suddenly cold)
To a point.
With that, Gastner turns and strides quickly toward a one-
story office featuring a GASTNER WRECKING sign hanging
over a greasy bulletin board and time clock by the front
door.
OMITTED
EXT. HOSPITAL PARKING LOT - DAY
The Trans Am pulls in and parks. Michael climbs out of
the car, leans in, addressing K.I.T.T.:
MICHAEL
You going to be okay in this parking
lot?
K.I.T.T.
This is a hospital, not a shopping
center. By definition, there's an
important reason for every car in
this lot to be here. I'm quite
comfortable, thank you.
Michael smiles, gets out, heads for the entrance.
OMITTED
INT. HOSPITAL - NURSES' STATION - DAY
A uniformed cop's hanging out near the station and not far
from him is Julie Robinson, still in her tinted sunglasses,
pacing near a large sofa in the waiting section. A Nurse
crosses toward the station and Julie stops her.
JULIE
Please, can't anyone tell me how
John's doing? I can't stand
thinking he's in pain in there,
alone....
NURSE
He's not in pain, Miss Robinson.
He's still unconscious....
JULIE
In the darkness...that's pain in
itself.
NURSE
The best thing you can do for both
of you is go home and get some rest.
I'll phone you if there's any
change....
She heads into the Nurses' station and Julie shakes her
head, tears welling up in her eyes. She removes her
glasses, wipes away the tears, as in the b.g., we see
Michael turn a corner, see Julie and approach her.
ANGLE ON MICHAEL
as he comes up to Julie. She doesn't look up or seem to
notice him. He hesitates, then....
MICHAEL
Excuse me...Julie Robinson?
Julie still doesn't turn, but she's obviously listening.
MICHAEL
My name's Michael Knight and I'm
with the Foundation for Law and
Government. Your friend asked
me to meet him in that parking
lot today. He had some papers
to give me....
Julie faces Michael, appears confused.
JULIE
John didn't call anybody....
MICHAEL
Yes, he did. Now, I've checked with
the nurses and John didn't have the
evidence on him. It's very important
that I find it -- his life could be
at stake.
JULIE
Evidence? I really don't know what
you're talking about.
MICHAEL
You know John works for Louis
Gastner....
JULIE
I think you've got your wires crossed.
John Murray took me shopping this
afternoon and somebody shot him.
For no reason....
Julie starts to cry again and stubbornly brushes away the
tears as if she resents their intrusion.
MICHAEL
Look, I know this doesn't seem like
the right time to be asking you
questions, but you were there, you
must've seen where he hid those
papers....
Michael's interrupted by the Nurse, calling from her
station:
NURSE
Miss Robinson? You can see him now.
Julie turns away from Michael, toward the sofa.
JULIE
Sugar?
There's a movement beyond the sofa and a golden retriever
comes forward. As we see the dog (seen earlier in the blue
sedan), and the dog's harness, we realize, as Michael
does...that Julie's blind.
ANOTHER ANGLE
as the dog moves skillfully beside Julie, the harness
sliding perfectly into her grasp. She walks the dog up the
hall, disappearing from view. We hold on Michael watching
her leave, stunned, and then:
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
EXT. HOSPITAL PARKING LOT - DAY
Michael comes out of the hospital, crosses to the Trans Am
and climbs in.
INT. TRANS AM - DAY
as Michael talks to K.I.T.T.
MICHAEL
You won't believe our luck, Kitt.
Our eyewitness to the shooting is
blind.
K.I.T.T.
But she moved with such certainty,
surely I would've noticed....
MICHAEL
She's blind, take my word. And she
insists she's never heard of
Gastner....
K.I.T.T.
And you're inclined to believe her
because she's blind.
MICHAEL
Well, that's part of it....
K.I.T.T.
The Porsche from which the man fired
had an inactive right headlight....
MICHAEL
...but that doesn't mean the car
wasn't involved in the shooting.
Okay, Kitt, I get your point.
(beat)
Speaking of the Porsche, did you get
a DMV on those plates?
In the b.g., we see a motorcycle cop pull to a stop in
front of the hospital. We recognize Officer Gray as he
climbs off his bike, crosses toward the hospital carrying
a bouquet of flowers.
K.I.T.T.
The car is registered to a David
Dudley. Michael, insofar as he
was involved in an attempted homicide,
shouldn't we share this information
with the police?
MICHAEL
No can do, Kitt. The man called the
Foundation because he couldn't go to
the police. We've got to respect his
need for privacy until we have good
reason for suspecting him of something.
Wait a minute...How'd you know about
the Porsche's headlight?
K.I.T.T.
Creative licence -- I made it up.
Michael's distracted by Julie and Sugar appearing through
the glass hospital doors, approaching to exit.
K.I.T.T.
I doubt that I'll ever grasp this
human need for secrets.
EXT. HOSPITAL ENTRANCE - DAY
as Officer Gray jumps to open the doors and holds them for
her and Sugar.
JULIE
Thank you, officer.
GRAY
How'd you know I was a policeman?
JULIE
Because no one but a civil servant
would be wearing a heavy uniform on
a hot day and hold a door open for a
dog.
She exits the hospital and the doors flap back in Gray's
face. We follow Julie as she heads into the parking lot,
Sugar walking in perfect step at her side.
INT. TRANS AM - DAY
as Michael watches Julie. She pauses to rummage through
her purse and Sugar sits obediently, her harness effec-
tively hidden from sight by Julie's body.
K.I.T.T.
Michael! There's a car approaching
that woman -- at high speed!
Michael turns to see:
AN ND SEDAN
roaring across the parking lot, directly toward Julie.
Mel's at the wheel, Dudley's beside him.
OMITTED
ANGLE ON THE TRANS AM
as Michael whips it into gear, squealing out of the space,
races toward Julie. Suddenly, a car backs out, blocking
K.I.T.T.'s path.
INT. TRANS AM
as Michael sees the car.
MICHAEL
Over the top, Kitt!
As Michael hits turbo boost, we go to:
EXT. TRANS AM - DAY
airborn, over the car, hitting the pavement yards in front
of the onrushing sedan, between it and Julie.
ANOTHER ANGLE - WIDER
as Mel, eyes wide with surprise, swerves to the left.
Sensing trouble, Sugar barks wildly, pulls Julie away. She
loses her balance, stumbles and falls to the asphalt, the
contents of her purse emptying everywhere.
ON THE SEDAN
squirreling away from the Trans Am, heading out of the lot.
OMITTED
EXT. PARKING LOT - DAY
The Trans Am screeches to a halt and Michael jumps out,
runs to Julie. She rubs her skinned knees, struggles to
gather her fallen belongings. Sugar stands protectively at
her side, wags her tail as she sees Michael.
MICHAEL
Are you all right?
JULIE
Most of me. Thanks for cutting that
maniac off.
MICHAEL
You know what happened?
JULIE
A car was coming at me from there.
(points)
You seemed to -- jump in -- from
over there...
(points, then
a beat)
You must be some driver, Michael
Knight.
MICHAEL
And you don't miss a trick. How'd
you know who I was?
JULIE
Call it a seventh sense. Could you
hand me my wallet?
She points at her wallet, lying behind Michael. He spots
it, grins, impressed with Julie's ability. He hands her
the wallet. She's already on her feet.
MICHAEL
You're a pretty remarkable woman.
JULIE
I wonder if you'd say that if I
wasn't blind.
MICHAEL
I'd say it to anybody who could be
so cool after a near miss.
Julie grabs Michael's hand, tilts her face up at him.
JULIE
It wasn't an accident, was it?
MICHAEL
Didn't look like it to me.
(beat)
C'mon, I'll give you a lift home.
JULIE
Well...you do sound okay.
MICHAEL
With ears like yours, I figure
that's a compliment.
Julie manages a smile. Michael begins to "walk" her toward
the Trans Am and she gently -- but firmly -- indicates that
she can find her own way, with Sugar.
NEW ANGLE
as Michael, Julie and Sugar reach the Trans Am and Michael
opens the passenger door. Sugar immediately jumps in.
K.I.T.T. clears his throat.
MICHAEL
Sorry, pal, I know how you feel
about dogs as passengers, but this
one's real well-trained.
K.I.T.T.
Training is one thing...obeying is
quite another.
JULIE
You've got a computer in your car!
MICHAEL
The computer is the car. Introduce
yourself, Kitt.
K.I.T.T.
Despite your animal, I'm very happy
to meet you, Miss Robinson.
Julie listens intently to the sound of K.I.T.T.'s voice.
From inside the car, even Sugar cocks her head slightly.
JULIE
Kitt, is it? What an intriguing
voice. A little too much gain in
your tweeter, and a slight metallic
ring to your bass....
K.I.T.T.
(concerned)
Do you really think so?
Julie directs her attention toward Michael.
JULIE
A talking car! Now it's my turn to
be impressed.
She smiles, climbs in and as Michael climbs into the
driver's seat, Sugar pokes her head through Julie's window.
K.I.T.T.
I'd like to hear the tweeter on this
four-legged interloper.
And the Trans Am pulls away as we:
CUT TO
EXT. JULIE'S CONDOMINIUM - DAY
The Trans Am pulls to a stop in front of the attractive,
two-story dwelling. Julie's door opens and she and Sugar
are heading for the stairs before Michael can reach them.
MICHAEL
You live upstairs?
JULIE
I may be blind, but I'm not crippled.
INT. JULIE'S CONDO - DAY
The door opens and Julie and Sugar enter, followed by
Michael. The living room is full of light, furniture
covered with canvas -- this is clearly an art studio.
There are attractive paintings on the walls and sculpture
materials and tools neatly arranged for easy access. As
Michael eyes the artwork, Julie heads into a small, open
kitchenette, moving for all intents and purposes like a
fully sighted person. Her nimble hands prepare Sugar's
dinner as Michael pauses in front of an attractive painting
of a dog.
MICHAEL
This looks like Sugar.
Julie crosses toward him, obviously knowing the painting.
JULIE
Sugar wasn't even born when I
painted that.
MICHAEL
You...?
JULIE
I lost my sight when I was seven-
teen. I painted until then. Now,
it's sculpture, with John's help.
MICHAEL
Then John sculpts.
JULIE
He's been my teacher for two years
now.
MICHAEL
You probably know him pretty well.
JULIE
We're like brother and sister.
MICHAEL
Then you must know why he brought
you to that shopping center at that
particular time.
JULIE
We were going to buy supplies at the
art store. At that particular time.
You still don't believe me, do you?
MICHAEL
It's not that I don't believe you --
but isn't it possible that John
didn't tell you his real reason for
being there?
JULIE
No.
MICHAEL
How can you be so sure?
JULIE
The same way I knew you didn't
believe me -- I could hear it in
your voice. I'd've known if John
was worried or anxious -- no, it's
just plain no.
MICHAEL
Then why was John reaching into my
car?
JULIE
What makes you think he was?
MICHAEL
Because I saw him.
JULIE
(sharp)
Seeing isn't necessarily knowing, or
understanding.
This stops Michael up short. Julie's obviously upset.
JULIE
I heard a shot ring out. I could
feel John was hurt and all I could
do was stand there, helpless....
Michael sees the anguish that the word "helpless" holds
for Julie. He thinks, tries a new tack:
MICHAEL
I've got a complete video tape of
what happened today. Maybe you
ought to take a look at it.
She looks up at him, evaluating him.
JULIE
You're not making fun of me, are you?
MICHAEL
Maybe you'd hear -- or feel -- some-
thing I'd miss.
Julie waits a beat, head cocked. Then, she nods and we:
CUT TO
OMITTED
INT. DEVON'S OFFICE - DAY - CLOSE ON TV MONITOR
where we see the video tape of our opening sequence. We
pick up the action as John's car pulls in and parks.
JULIE'S VOICE
John, don't do it....
JOHN'S VOICE
I'll be right back. Stay there.
JULIE'S VOICE
Let me....
JOHN'S VOICE
No...I'll take care of it.
Julie nods as she listens, turns to the others.
JULIE
John was going after Sugar.
DEVON
Sugar?
JULIE
My dog. She didn't have her harness
on and when John opened the door,
she jumped out. John insisted on
chasing her....
Devon and Michael exchange a look.
MICHAEL
Julie, Sugar's not in the picture.
JULIE
But she has to be. I can hear her!
Back up the tape....
Michael reverses the machine, adjusts the volume. Against
the b.g. noise, we hear a faint sound that could be a bark.
JULIE
There she is...hear her?
Suddenly, Michael points to the monitor, pushes "pause."
MICHAEL
Wait a minute...what's that?
On the screen, we see John moving past the cars, and in a
corner of the frame is the tip of Sugar's tail sticking up
past a parked car.
DEVON
It's a dog's tail....
She smiles, as do the others. At that moment, April enters
the room while Michael reactivates the tape.
APRIL
I've run every possible check on
John Murray, and he's come up clean.
Julie nods knowingly.
DEVON
The man who called me definitely had
a Spanish accent. John's not a Latino,
is he?
JULIE
An Irish Latino? No, he's not.
On the tape, the shot rings out. We hear the dialogue.
MICHAEL'S VOICE
Don't move him! If the bullet's
anywhere near his spine, we could
paralyze him. We've got to get the
paramedics here, fast.
DARK-HAIR'S VOICE
I'll call them!
Julie suddenly sits forward.
JULIE
If you're looking for a Latino at
the scene of the shooting, there he
is!
MICHAEL
Where?
He runs the tape back. Once more:
DARK-HAIR'S VOICE
I'll call them!
MICHAEL
(to Devon)
He does have an accent....
On the screen, we zoom in on the dark-haired man, but his
back is to us as he moves away.
APRIL
I'll try to blow him up, but we'll
be awfully blurry.
DEVON
Do what you can, April.
April rewinds the tape, Devon addresses Michael and Julie.
DEVON
You're an excellent 'eye' witness.
She smiles and we:
CUT TO
EXT. GASTNER'S WRECKING YARD - DAY
The Trans Am pulls in and parks. It's a beehive of activity
-- the crane is busily feeding another car to the crusher
and everywhere are Latino employees.
INT. TRANS AM - DAY
Michael stares at the yard around him.
K.I.T.T.
It's worse than I could've imagined,
Michael.
MICHAEL
An awful lot of guys with Latin
accents, huh?
K.I.T.T.
No, that machine. That horrible
machine. Look what it's doing.
Michael eyes the crusher, a little awestruck by its power.
MICHAEL
And you thought parking lots were
bad.
K.I.T.T.
I fail to see the logic of what
we're doing here, Michael.
MICHAEL
We're trying a long shot, Kitt -- if
I'm right, Dudley works for Gastner...
And if we're real lucky, he'll be here.
K.I.T.T.
Let's make this visit a short one.
MICHAEL
I hear you, pal.
EXT. TRANS AM - DAY
as Michael climbs out, toting a small clipboard, crosses
toward the office. A red Cadillac is parked out front. He
calls out:
MICHAEL
Mr. Dudley? David Dudley?
Gastner comes out of the office. He eyes the Trans Am,
then Michael, with equal mistrust.
GASTNER
I'm Louis Gastner. What do you want?
Michael sizes Gastner up with thinly concealed distaste.
MICHAEL
Guy brought his Porsche by my place
last week, wanted to trade it for my
Trans Am.
Michael indicates the car and the scanner flashes.
MICHAEL
Said his name was Dave Dudley and he
worked here. Thought I might take
him up on his offer.
GASTNER
Nobody named Dudley works here. You
can see I've got mostly Latinos.
MICHAEL
That was the name all right. Drives
a real nice Porsche....
Gastner shakes his head.
GASTNER
We wreck cars. We don't drive
them.
He turns and heads away across the yard. Gastner looks at
the Trans Am.
GASTNER
If you find your Dudley, take him
up on his offer. You'll be getting
the best end of the deal.
INT. TRANS AM
K.I.T.T.'s dash lights flash.
K.I.T.T.
(offended)
There's no accounting for taste!
ANGLE ON MICHAEL
as the bulletin board tacked to the office wall catches his
eye, and he steps up for a closer look. A hand-printed
sign, in English and Spanish, announces a softball game
Saturday. A penciled-in list of players runs the length of
the page and among the names is DAVE DUDLEY, printed in big,
legible letters.
ANGLE ON MICHAEL
as he studies the list, then turns. Several Latino workers
are staring at the Trans Am, and at Michael. He smiles,
waves and strides to the car, starts it up and drives out
of the yard as we:
CUT TO
EXT. HOSPITAL - DAY
Michael, Julie and Sugar exit and approach the Trans Am,
which is parked out front.
JULIE
I thought Gastner was the man you
were after.
MICHAEL
Yeah, but Dudley and his pal are after
you. So while we go after the king,
we'd better get his executioners off
the streets.
JULIE
But this plan sounds impossible.
MICHAEL
Kitt'll take care of you.
JULIE
You want me to trust my life to a
car.
K.I.T.T.
Well, after all, I've entrusted my
upholstery to Bowser there.
The doors pop open and Sugar barks, jumps in. Julie turns
to Michael, sighs and climbs in.
OMITTED
EXT. PARK - BASEBALL DIAMOND - DAY
where a softball game's in progress. Gastner's company
team, the "Wreckers" emblazoned across the backs of their
jerseys, is at bat. Dudley, sucking down a beer, is
sitting on the bench. Mel's swinging a bat, awaiting his
turn at the plate.
FEATURE THE TRANS AM ACROSS THE PARK
Moving toward the baseball diamond. Julie's behind the
wheel, hands gripping it. As she becomes more accustomed
to "driving," she relaxes more. As the Trans Am slowly
cruises past the left fielder, he notices, sees Julie and
whistles appreciatively.
OMITTED
INT. TRANS AM - DAY
K.I.T.T. responds to the whistle.
K.I.T.T.
The fielders are whistling at you.
JULIE
(delighted)
At me?
She waves and smiles, looking every bit an expert driver.
OMITTED
ANGLE ON MEL AND DUDLEY
as Mel, his bat dragging behind him, hurries to Dudley.
MEL
Dudley, it's her -- the broad from
the parking lot.
Dudley's on his feet and they stare as Julie passes by; then
Dudley grabs the bat from Mel's hands and they run for a
car (another ND sedan) parked near the diamond. They floor
the sedan and take off after the Trans Am, tearing across
the park.
OMITTED
INT. TRANS AM - DAY
as K.I.T.T. picks up speed.
K.I.T.T.
I believe Dudley and his associate
are hot on our trail.
JULIE
Put the pedal to the metal, Kitt!
EXT. PARK - DAY
K.I.T.T. leads the sedan on a chase through the park,
dodging plants and other obstacles, heading toward a more
sparsely-populated area.
ANGLE ON A MOTORCYCLE COP
heading in the opposite direction as the Trans Am
approaches, blasts past. We recognize Officer Gray as he,
in turn, recognizes Julie. He hits the brakes and nearly
loses the bike as he screeches to a stop and grapples with
his walkie-talkie.
GRAY
(radio)
This is 42786, Officer Peter Gray.
I've just spotted a blind girl
driving very fast in a black Trans
Am....
VOICE
(through
walkie-talkie)
A blind girl? Sure...and I'm E.T.
The voice clicks off as now, the ND sedan flies past. Gray
revs his bike, takes off in pursuit.
ANGLE ON THE TRANS AM AND SEDAN
as finally, K.I.T.T. tears around a curve and suddenly
brakes sharply, skidding to a stop in a deserted picnic
area. In the b.g., we see a lone jogger in a sweatsuit
with hood, apparently oblivious to the action as he
approaches. The dust still hasn't settled when Mel and
Dudley skid to a stop behind the Trans Am.
OMITTED
ANGLE - WIDER - MEL AND DUDLEY
climb out of their car, Dudley wielding the baseball bat.
MEL
Looks like the little lady's run out
of gas.
DUDLEY
Run out of luck, too.
They run to the Trans Am, try the door handles and find
them locked as Julie "looks" at them through the window.
Dudley raises the bat high and slams it against the driver's
window. The bat splinters and Dudley and Mel stare at it
with awe. They stage an all-out attack on the Trans Am, bat
swinging, Mel slamming rocks and whatever else's available
against car and window.
ANOTHER ANGLE
as suddenly, K.I.T.T. backs up, directly onto Mel's foot.
He lets out a howl -- he's pinned in place.
DUDLEY
Why're you dancing around like an
idiot?
MEL
It's got my boot! I'm stuck!
DUDLEY
Then take your damn boot off.
He crosses to help Mel and they struggle with the boot --
then suddenly, the jogger appears behind them and we see
it's Michael. Dudley takes a swing at him and Michael
ducks, and the punch knocks Mel head over heels, right out
of his boot. Michael grabs Dudley and judo-flips him to
the ground, right on top of Mel.
MICHAEL
as he grabs both men by their collars, pulling them to their
feet.
MICHAEL
One of you must be Dudley. You can
tell me which one on the way to jail.
ANGLE - WIDER
At that moment, Officer Gray rides his motorcycle into the
picnic area, jumps off, gun drawn. Seeing Michael holding
Dudley and Mel, a grinning Julie climbing out of the Trans
Am and Sugar poking her head out of the window is too much
for him. He removes his glasses, pockets them and points
his gun in the right general direction.
GRAY
Somebody's under arrest.
On Michael's grin, we:
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
OMITTED
INT. DEVON'S OFFICE - DAY - ANGLE ON SEVERAL 8 X 10
PHOTOGRAPHS
tacked up on the wall, all of the same dark-haired young man
from the video tapes. All are either out of focus or show
angles which do not reveal the man's identity. We widen to
see April watching Michael as he in turn eyes the photos.
Finally, he shakes his head.
MICHAEL
I can't identify him, April. Look
at that -- it could just as easily
be me.
April eyes the photos.
APRIL
Y'know, you're right....
Michael frowns at her as Devon enters, looking aggravated.
DEVON
Well, your plan may not pay off,
Michael. The police have questioned
Dudley and Mel with no luck whatsoever,
the Porsche you described has disap-
peared and there's simply no concrete
evidence linking them to John's
shooting.
MICHAEL
At least we've got them off the board
for twenty-four hours.
The telephone rings and April answers it.
APRIL
Hello? Yes -- I'll tell him.
She hangs up.
APRIL
That was Julie. She's on her way to
the hospital.
MICHAEL
Has something happened to John?
APRIL
Something good -- he's conscious.
MICHAEL
Maybe we've got an eyewitness after
all.
He hurries out of the room.
OMITTED
EXT. CITY STREET - DAY - ANGLE ON TRANS AM
heading toward the hospital where John's now recovering.
INT. TRANS AM - DAY
K.I.T.T. clears his throat, then:
K.I.T.T.
I've always thought my bass to be
quite mellow in tone.
MICHAEL
Kitt, I've told you, stop worrying
about it. Julie's got a tin ear.
K.I.T.T.
I hardly think that's funny,
Michael. Not even my hearing
apparatus is made of tin.
MICHAEL
You sound fine. You're a regular
Mario Lanza.
K.I.T.T.
A what?
MICHAEL
Never mind.
A beat, then:
K.I.T.T.
Michael, I've been thinking about
that Porsche.
MICHAEL
The one Dudley drove? What about it?
K.I.T.T.
I'm afraid it may have met with a
dreadful end.
MICHAEL
What do you mean?
K.I.T.T.
It's occured to me that insofar as
the car is essentially evidence in
the shooting, those hoodlums may
have disposed of it in that crusher
at the wrecking yard.
MICHAEL
That'd really make a compact out of
it.
K.I.T.T.
I fail to see the humor in it, Michael.
It's a most humiliating way to go,
transformed into a tin can.
MICHAEL
I'll remember that next time I have
sardines.
Michael grins.
EXT. HOSPITAL - DAY - STOCK
The same as seen before, Trans Am parked out front.
INT. HOSPITAL - JOHN'S ROOM - DAY
Michael's at the foot of John's bed. John's pale and
obviously still sedated.
MICHAEL
Is there anything else you remember
from the shooting? Think, John....
JOHN
I was going after the dog, just
trying to please Julie, and she was
telling me not to. That's the way
it is with us.
Michael sees the pain welling from his heart as well as his
injury. The door opens and Julie comes in, carrying a vase
filled with flowers. She reacts to Michael's presence
before he can open his mouth.
JULIE
I didn't know you were here, Michael.
I was putting these in water.
JOHN
They're beautiful, Julie.
JULIE
Smell them.
She moves to the bed, holds the flowers for John to sniff.
He catches her hands, presses them to his cheek. She
stiffens, pulls her hands away briskly, goes about
arranging the flowers on the bed tray. None of this
escapes Michael, and John meets his eyes.
JOHN
I wish I could be of more help.
MICHAEL
Do you remember the man who offered
to call the paramedics, John?
JOHN
A Latin-looking guy, sure. He came
right toward the Trans Am. I thought
he was going to help catch Sugar....
MICHAEL
I think he was there to make a drop.
Would you know him if you saw him again?
JOHN
You bet. His face was the last thing
I saw before the shot....
He closes his eyes, clearly in pain.
JULIE
We'd better go, Michael.
John opens his eyes halfway, holds out his hand toward
Julie.
JOHN
Julie....
But she's already making her way to the door. Michael stops
her, speaks softly, but firmly.
MICHAEL
Stay with him.
But she clearly doesn't want to.
OMITTED
EXT. HOSPITAL - DAY
as Michael hurries toward the Trans Am. Julie comes after
him, Sugar at her side.
JULIE
Where're we going?
MICHAEL
To Gastner's wrecking yard, to find
out which one of his workers speaks
good English.
JULIE
Good. We'll talk to every one of
them if we have to....
Michael stops so suddenly that Julie almost runs into him.
MICHAEL
Not we, Julie. Me.
JULIE
Michael, you don't know what he
looks like, but I know exactly what
he sounds like.
MICHAEL
In case you didn't notice, John needs
you.
JULIE
So do you. I'm your seeing eye person.
Michael can see that arguing is hopeless. Julie opens the
passenger door and, as Sugar jumps in, we:
CUT TO
EXT. TRANS AM - DAY - STOCK
moving through traffic, toward the wrecking yard.
INT. TRANS AM - DAY
Suddenly, K.I.T.T. begins to sing.
K.I.T.T.
'Getting to know you...getting to
know all about you....'
MICHAEL
Kitt, have you flipped your turbo
jets?
K.I.T.T.
I want Julie to hear the tonal
purity of my voice....
JULIE
Do I detect a slight hum in your
treble?
K.I.T.T.
That does it. My lips are sealed.
Julie laughs, turns toward Michael. He seems lost in
thought.
JULIE
Something's bothering you, isn't it,
Michael?
MICHAEL
I can't hide much from you, can I?
JULIE
This time it isn't compensation for
blindness. It's woman's intuition.
What's wrong?
MICHAEL
Do you mind if I ask you a personal
question?
From the stiffening of her posture, it's obvious that she
does mind, but Julie listens nonetheless.
JULIE
No. What?
MICHAEL
Why is it you can throw yourself so
completely into finding this Latino
but you can't give anything to John?
JULIE
(cold)
I don't know what you mean.
MICHAEL
He's obviously in love with you.
JULIE
I told you, we're like....
MICHAEL
...brother and sister, I know.
(beat)
I think I've found your blind spot,
Julie.
JULIE
Michael, I don't think....
MICHAEL
It's got nothing to do with eyesight.
You've just spent so much time proving
that you don't need anybody that you've
overlooked someone who really needs
you -- namely, John.
Julie falls silent and Michael lets her absorb this as we:
CUT TO
EXT. GASTNER WRECKING YARD - DAY - ANGLE ON TRANS AM
as it pulls into the yard, moves slowly toward the work
area outside the office.
INT. TRANS AM - DAY
as Michael parks the car.
JULIE
You can't just barge in on Gastner....
Michael pushes some buttons on the dash panel.
MICHAEL
Is Gastner around, Kitt?
ANGLE ON MONITOR
as a picture of Gastner's red Cadillac appears, with a red
line through it. We hear Michael's voice as he laughs.
INT. TRANS AM - DAY
The picture vanishes from the monitor.
MICHAEL
Kitt's not talking to us, but at
least he's letting us know Gastner's
car isn't here.
Michael climbs out of the car.
EXT. TRANS AM - DAY
as Michael moves toward Ramon, the nearest worker.
MICHAEL
Hey, excuse me ---
Ramon, clearly the only one who understands English, looks
up.
RAMON
What is it?
MICHAEL
I need a better transmission for my
car there ---
INT. TRANS AM - DAY
Ear to the window, Julie's listening intently. To her
surprise, the truculent K.I.T.T. speaks.
K.I.T.T.
I do wish he wouldn't use me as a
cover. It's so demeaning.
Julie grins.
ON MICHAEL AND THE WORKERS
Ramon looks at Michael as if he's speaking Greek.
RAMON
We work. No time to talk.
MICHAEL
A guy here got me a great transmission
last time. I forget his name. It was,
uh -- there he is....
ANGLE ON THE LATINO WORKERS
as Michael moves in among them, disrupting work and getting
incredulous stares as he goes from man to man.
MICHAEL
No, it was you, wasn't it? Don't
you remember me? Big Miguel? You?
Suddenly, a Voice booms through a bullhorn.
VOICE
Regresa a trabajar imediatamente!
The men return to work. Behind Michael, Julie sticks her
head out the window, calls to him.
JULIE
Michael, the one with the bullhorn
-- that's him!
Michael turns to see:
OMITTED
ANGLE ON ALFREDO
standing on the high "running board" of the crane, lowering
the bullhorn. He glances over at Michael.
ANOTHER ANGLE
Michael starts toward the crane. Eyes glued to Michael,
Alfredo climbs quickly down, heads across the wrecking yard.
MICHAEL
Hey, you -- wait a minute!
Alfredo breaks into a run and the Latinos again look up
from their work, watch as Michael now chases Alfredo,
ducking through their midst toward the stacks of crushed,
compacted automobiles. Reaching the stacks, Alfredo climbs
up, scrambles over the wrecks. Michael calls into comlink:
MICHAEL
(comlink)
Cut him off at the pass, Kitt.
ANGLE ON THE TRANS AM
taking off, the Latinos turning to stare at the roaring
vehicle which, clearly driverless, is angling toward the
compacted cars. The Trans Am skids around the stack,
heading directly into the line of Alfredo's escape.
ANGLE ON ALFREDO
climbing quickly down the other side of the stacked cars,
losing his footing and sliding directly onto the hood of
the Trans Am.
K.I.T.T.
Easy on the paint job, hombre.
Alfredo stares in awe at the talking car, mutters something
resembling a Hail Mary. Michael rounds the stack of cars
and grabs Alfredo, hustles him into the Trans Am.
MICHAEL
Let's go someplace where we can talk
shop.
OMITTED
INT. TRANS AM - DAY
A frightened Alfredo's in the back seat with Sugar, who
seems to be partial to him. Julie's grinning like the cat
that swallowed a particularly meaty canary.
ALFREDO
You make a terrible mistake. My
name's Alfredo Diaz and I work
for Mr. Gastner ten years. I'm an
honest man.
MICHAEL
I'm sure you are. That's why I'm
here. My name's Michael Knight...
I'm from the Foundation.
Alfredo eyes Michael nervously, but doesn't respond.
JULIE
He's the one, Michael. The more he
talks, the more sure I am.
Michael glances back at Alfredo.
MICHAEL
Alfredo, what's the use of playing
'no intiendo' with me? If you
called the Foundation to begin with,
you must've been pretty desperate.
I doubt that's changed any, so why
not let us help you.
Alfredo doesn't answer.
K.I.T.T.
Allow me, Michael.
(beat)
Solamente queremos ayudarle.
Alfredo clams up.
MICHAEL
Got to be the way you said it, Kitt.
Julie grins.
EXT. JULIE'S CONDO - DAY
The Trans Am stops and Michael walks Julie and Sugar to the
stairs.
JULIE
How do you know Alfredo won't make a
break for it?
MICHAEL
I have great faith in Kitt.
ANGLE ON TRANS AM
Alfredo desperately trying to escape a very much sealed
K.I.T.T.
ANGLE ON MICHAEL AND JULIE
as Sugar darts up the stairs. Michael and Julie stop at
the foot of the stairs.
MICHAEL
I really don't like leaving you
alone.
Julie listens for a beat to Sugar barking, O.S.
JULIE
I'm not alone. I've got Sugar.
MICHAEL
You'll be at the hospital later,
right? And you've got my number at
the Foundation in case you need me.
Julie nods then as Michael turns to go, speaks slowly,
thoughtfully.
JULIE
I've been thinking about what you
said before, about my 'blind spot'.
I remember a quote I heard once --
and I guess maybe it applies to me.
'There are none so blind as those
who will not see.'
She takes Michael's hand, squeezes it, turns and starts up
the stairs.
MICHAEL
Keep the doors locked, Julie.
She smiles, heads up toward her apartment. Michael stands
for a beat, watching her go, then he turns back to the
Trans Am.
EXT. FOUNDATION - DAY - STOCK
The Trans Am's parked out front.
DEVON'S VOICE
You said you had evidence of
Gastner's criminal activities. Why
won't you talk to us about it now?
You're safe....
INT. DEVON'S OFFICE - DAY
Michael, Devon and April strive to crack the taciturn
Alfredo, who's still battling his conscience and his fears.
ALFREDO
No. He would kill me. Like he
killed Celso....
MICHAEL
Who's Celso?
Alfredo looks up at Michael, pained by what he will say.
ALFREDO
A man from Guadeloupe. They told
me he was drunk, but he was dead.
They put his body in a car, and
put the car in the crusher....
He stops, horrified by the memory.
MICHAEL
Why did Gastner kill him?
ALFREDO
Gastner brings people up from my
country to work for him. Then he
gives us money we must pay back with
interest. The more we earn, the
more we owe. Celso wasn't like the
rest -- he would stand up to Gastner,
refuse to pay. And when that doesn't
work, he would go to the police...he
was proud -- too proud.
MICHAEL
The evidence you have on Gastner --
where is it now?
Alfredo looks from face to face, afraid to talk.
DEVON
This Foundation exists to help
people -- all people, anyone who
needs us, who's fighting for his
life. Let us help you fight,
Alfredo. Please....
Alfredo lowers his eyes, overcome with emotion.
ALFREDO
I have it hidden, Senor. I will get
it for you.
At that moment the telephone rings. April answers it.
APRIL
Hello? Yes?
(beat)
What?! When?
Michael and Devon watch her. April is highly distressed.
APRIL
Yes, I understand. Thank you for
calling.
She hangs up the phone.
APRIL
Dudley and Mel confessed to assault,
they were officially charged and
bail was posted. Gastner was there
in two seconds and got them out.
DEVON
And by now, he no doubt knows we've
got Alfredo....
The significance of this strikes Michael and he's out the
door.
INT. JULIE'S CONDO - DAY - ANGLE ON SUGAR
Sugar's lying near the front door, gnawing a bone. Suddenly
she raises her head, turns toward the door, whimpers.
WIDER ANGLE
as Julie enters the room, senses Sugar's reaction.
JULIE
What's it Sugar? Someone at the
door?
There's a soft knock at the door. Julie comes to it,
starts to open it, then pauses.
JULIE
Michael?
There's another soft knock and she starts to open the door
a crack -- the safety chain catches, then suddenly, the
door bursts open.
ANGLE ON DUDLEY AND MEL
move quickly on Julie and as she realizes what's happening
and begins to scream, we:
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
EXT. JULIE'S CONDO - DAY - ANGLE ON TRANS AM
as it screeches to a stop in front and Michael jumps out,
runs to the front door. He rings the bell, waits an
impatient beat, then tries the doorknob. The door opens.
INT. JULIE'S CONDO - DAY
Michael looks around at the apparent emptiness. A few
things have been knocked over by Julie's struggle.
MICHAEL
Julie?
From O.S. he hears a muted crying and scratching. He
crosses to the bedroom door, opens it and Sugar comes out,
whining and jumping. Michael kneels to stroke her.
MICHAEL
I'll bring her back, girl. I promise.
And he runs out.
OMITTED
EXT. TRANS AM - DAY - STOCK
as it moves fast through city traffic, heading toward the
wrecking yard.
INT. TRANS AM - DAY
Michael's hands are clenched on the wheel.
K.I.T.T.
Do you know it takes only sixty seconds
to compact an ordinary automobile in the
crusher, Michael.
MICHAEL
Let's talk about something else, Kitt,
okay? How're your vocal cords today?
K.I.T.T.
Absolutely perfect.
A beat, then:
K.I.T.T.
If I may be so bold, I think Julie
and I have quite a bit in common.
MICHAEL
How's that?
K.I.T.T.
She can't see and I can't feel.
MICHAEL
Oh, but she can see -- more than
most people. And if you don't mind
my saying so, you seem to be caring
an awful lot about people lately.
K.I.T.T.
Michael, I wouldn't tell April that
if I were you. She might find it
necessary to reprogram me.
MICHAEL
I don't think so, buddy. Feeling's
what makes us better than machines.
K.I.T.T.
I beg your pardon.
MICHAEL
A slip of the tongue, Kitt. A slip
of the tongue.
EXT. GASTNER WRECKING YARD - DAY - ANGLE ON MEL
standing by the gates, looking out at the street, waiting.
We widen to see business as usual behind him, the Latinos
plying their trade, the crane being manipulated by Ramon,
who shouts orders in Spanish at the resentful workers.
ANOTHER ANGLE
as Gastner's red Cadillac pulls into the yard and Mel shuts
and locks the gates behind it. Dudley comes out of the
office, pulling a very resistant, bound and gagged, Julie.
She trips as they come near Gastner, and, as he climbs out
of the Cadillac, he can clearly see she's blind.
GASTNER
So this is your eyewitness -- a blind
girl. You idiots!
DUDLEY
She can see, I swear she can. She
was driving that black car....
GASTNER
Sure, Dudley. And her seeing eye
dog was riding shotgun.
DUDLEY
Okay, so you think I'm nuts. And
I think it was crazy to bring her
here.
GASTNER
She's my insurance. Nobody'll shoot
at a man who's got a knife to the
throat of a blind girl.
DUDLEY
What're you going to do?
GASTNER
The prudent thing, Dudley. I'm
clearing out.
He takes Julie's arm and she struggles violently. Just then,
Mel calls out from the gate.
DUDLEY
The guy in the Trans Am's coming.
Fast.
GASTNER
Then you know what to do.
Mel lopes to the crane, climbs up to the controls as Gastner
leads a resistant Julie toward the crusher. Around them,
Ramon barks orders and the Latinos clear the yard.
EXT. STREET ADJACENT TO GASTNER WRECKING YARD - DAY -
ANGLE ON TRANS AM
as it pulls up very fast toward the wrecking yard, the closed
gates loom up ahead.
INT. TRANS AM - DAY - MICHAEL
K.I.T.T.
Allow me to remind you that another
name for this type of enterprise
is 'auto graveyard.'
MICHAEL
Maybe we can sprinkle a few flowers
around before we leave.
EXT. TRANS AM - DAY
as it smashes through the gates, destroying them, skids to
a stop in the middle of the yard. A beat, then, Ramon and
the other Latinos dart out of the shadows and surround the
Trans Am, forming a human barrier, holding them in.
INT. TRANS AM - DAY
Michael looks out at the circle of Latin workers.
MICHAEL
Look at that -- a welcoming committee.
K.I.T.T.
I'd have settled for a red carpet.
MICHAEL
You just scan the smashed cars while
I have a powwow with the natives.
EXT. TRANS AM - DAY
K.I.T.T.'s scanner activates and Michael climbs out of the
car to face the silent, menacing crowd around him. A beat,
then Dudley comes out of the office, holding a gun.
ANGLE ON MEL
seated at the controls of the crane, hands moving nervously.
ANGLE ON GASTNER AND JULIE
He's at the crusher's controls, maintaining a firm grip on
Julie. Her head is cocked as if listening, then Michael
calls out:
MICHAEL'S VOICE
Julie! Are you all right?
Julie struggles, but can't answer.
ANGLE ON THE WRECKING YARD
Dudley moves quickly through the circle of workers enclosing
Michael and the Trans Am. He frisks Michael.
DUDLEY
He's not armed.
Around Michael and Dudley, the Latinos exchange uneasy looks,
begin to speak softly among themselves. Even with the gun
in his hand, the mumbling makes Dudley uncomfortable.
MICHAEL
Let the girl go, Gastner.
GASTNER
Why should I? You've only got cir-
cumstantial evidence and the word of
an illegal alien.
MICHAEL
The word of a man, Gastner...even
though you may have forgotten that's
what your workers are.
GASTNER
I wish I had time to stand here and
exchange social values...but y'see,
I'm about to leave on an extended
vacation.
Suddenly, K.I.T.T. speaks.
K.I.T.T.
Michael, I've located human remains
in one of the compacted automobiles.
Dudley whirls at the sound of the voice, aiming his gun at
the Trans Am.
DUDLEY
Who said that? Get him out here or
I'll shoot.
He peers into the car, sees it's empty.
MICHAEL
So much for circumstantial evidence,
Gastner.
The Latinos' muttering increases in volume; not even Ramon,
who's eyeing the Trans Am with awe, tries to stop them.
Michael faces toward Gastner, but deliberately addresses
himself to the Latinos. Ramon translates as Michael
points toward the stacks of smashed cars:
MICHAEL
I'll give you a hundred to one
the body in that compacted car
is Celso Diaz.
The buzz builds threateningly among the workers as Ramon
translates and Dudley begins to panic.
DUDLEY
Shut up!
He slams the butt of his gun against the back of Michael's
head, knocking him unconscious. The Latinos begin to move
in and Dudley shoves Michael into the Trans Am, trains his
gun on the advancing workers.
DUDLEY
Get back!
RAMON
Is this true what he says,
Mr. Gastner? You said Celso
returned to his hometown.
Dudley aims his gun directly at Ramon, his hand shaking
visibly.
GASTNER
Now, Mel!
ANGLE ON MEL IN THE CRANE
The machine comes to life and its long arm and claw swing
toward the Trans Am. Seeing the claw coming, the Latinos
move away from the car, as their newly awakened courage
flees.
INT. TRANS AM - DAY
Michael's slumped over in the car.
K.I.T.T.'S VOICE
Michael? Michael, please say some-
thing. We're in great danger....
There's a crunch as the claw closes over the car's roof.
EXT. TRANS AM - DAY
The claw grips firmly and lifts the Trans Am high into the
air. The crane arches across the lot, carrying the Trans
Am -- then drops the car into the crusher.
ANGLE ON GASTNER AND JULIE
She cranes toward the Trans Am, the eerie, unidentifiable
noise....
GASTNER
This is one of those times when you
oughta be grateful you can't see.
Holding the struggling Julie, he activates the crusher.
OMITTED
INT. TRANS AM - DAY
The jolt stirs Michael and he looks blurrily around, trying
to figure out what's going on, where he is. Blood trickles
from his head wound.
K.I.T.T.
Michael, Michael -- you're awake.
MICHAEL
Where are we, Kitt?
K.I.T.T.
At the end of the line -- we're
inside the compactor.
MICHAEL
The compactor?!
From outside comes a terrible metallic screeching.
INT. COMPACTOR - DAY - ANGLE ON TRANS AM
as with more screaming, the walls move in.
ANGLE ON GASTNER AND JULIE
He pulls her toward the Cadillac, pushes her into the car,
moves around to the driver's side and climbs in. The
Cadillac's engine flares to life and the car begins to
move toward the gates.
EXT. WRECKING YARD - DAY - ANGLE ON MEL
jumping out of the crane, running toward Dudley, who's
watching as the compactor closes in on the Trans Am. Around
them, the Latino workers also stare, their horror growing.
They look from the imprisoned Trans Am to Dudley and Mel,
their hostility enveloping them. They close in on the two
men with increasing indifference to the weapon Dudley wields.
ANGLE ON THE CADILLAC
reaching the gates as Julie manages to pull off her gag,
cry out her window:
JULIE
No la permita, hermanos -- help him!
Then, the Cadillac pulls through the gates and is gone.
ANGLE ON THE LATINO WORKERS
as the screech of the crusher builds. The walls are nearly
touching the sides of the Trans Am. The Latinos exchange
looks, then move fast toward Dudley and Mel.
ANOTHER ANGLE
as Dudley and Mel react to the approaching small mob,
Dudley raising his gun; but they're too late and in a
moment, the Latinos swarm over them, months and years of
anger and repression giving them strength to overcome
their two oppressors.
INT. TRANS AM - DAY
The noise is hideous. Sparks are shooting all around as
the pressing walls make contact with the body of the Trans
Am. Both Michael and K.I.T.T. must shout to be heard, as
Michael struggles to start the car.
MICHAEL
Kitt, can you beat this thing?
K.I.T.T.
My worst nightmares are being
realized, Michael -- I can see me
now -- tin cans, TV dinners,
garbage can lids....
MICHAEL
Then let's get out of here! Give me
every pound of turbo boost you've
got...!
Michael punches the turbo boost. Nothing happens. Fran-
tically, Michael pushes the button again.
Intercut with:
INT. COMPACTOR - DAY
as it presses against the Trans Am. Then, the entire crusher
begins to shake. Sparks and flames shoot out through its
cracks -- until its huge concrete block explodes like styro-
foam and the compactor bursts apart. The Trans Am roars
into view and the Latino workers, who've wrestled Dudley and
Mel to the ground, stare in awe at the automotive phoenix,
risen from the flames.
INT. TRANS AM - DAY
as Michael realizes what's happened. As a cheer goes up
outside among the workers, Michael lets out a whoop himself,
then:
MICHAEL
You okay, Kitt? Speak to me.
K.I.T.T. clears his throat, obviously out of sorts.
K.I.T.T.
I'm speechless.
EXT. TRANS AM - DAY
Michael pulls K.I.T.T. forward, leaps out the window, con-
fronting the Latinos, who hold the overcome Dudley and Mel.
MICHAEL
Can one of you call the police?
Ramon comes forward. He's dirty from the scuffle but
inflated with pride. He trains Dudley's gun on the two men.
RAMON
We are not afraid now, Senor.
Michael nods, jumps into the dirty and bruised Trans Am,
revs the engine, swings the car 180 and blasts out of the
wrecking yard.
EXT. ROAD THROUGH INDUSTRIAL AREA SURROUNDING GASTNER'S
WRECKING YARD - DAY - ANGLE ON TRANS AM
burning along, scanner flashing.
INT. TRANS AM - DAY
Michael scans the landscape flying by outside.
MICHAEL
You picking up that sedan?
K.I.T.T.
Yes, Michael. It's exactly four
point two miles east of us.
MICHAEL
We've got to get Gastner without
hurting Julie.
K.I.T.T.
I shall enjoy giving that metal
monger a run for his money.
EXT. TRANS AM - DAY
as the car picks up speed, blasting through the streets,
quickly catching up with the sedan.
INT. SEDAN - DAY
as Gastner spots the Trans Am in his rearview mirror. His
mask of confidence vanishes.
GASTNER
No. It's not possible.
Julie tilts her head toward the window. Wonder etches
across her face.
JULIE
Kitt...Michael!
Gastner floors the car.
EXT. SEDAN - DAY
as the Trans Am pulls up close to the sedan.
INT. TRANS AM - DAY
Michael's hand moves to the dash.
MICHAEL
He's dragged plenty of people through
the mud -- let's see how he likes it.
And he depresses the control for the grappling hook.
EXT. THE TWO CARS - DAY
as the grappling hook slithers out of the front of the
Trans Am and attaches to the bumper of the sedan. Michael
slams on the brakes and with the scream of tires on pave-
ment, the Trans Am drags the sedan to a stop as well.
Gastner leaps out of the sedan and makes a dash away from
the Trans Am, but Michael's on him immediately. He knocks
Gastner to the dirt with one punch. Julie immediately climbs
out of the sedan and gropes toward Michael as he rushes
toward her. She falls into his arms.
JULIE
Oh, Michael! For the first time in my
life, I knew what it was like to feel
really helpless.
MICHAEL
I know what you mean, Julie. I know
what you mean.
And he grabs Gastner, pulling him to his feet as we:
OMITTED
FADE OUT
END OF ACT FOUR
TAG
FADE IN
OMITTED
EXT. HOSPITAL ENTRANCE - DAY - ANGLE ON MICHAEL, JULIE,
SUGAR
as they come out of the hospital.
JULIE
I can't believe John'll be coming
home tomorrow. It seems like a
miracle how fast he's recovering.
MICHAEL
That's what happens when you give a
man something to come home for.
Julie grins at Michael.
JULIE
By the way, what's going to happen
to Alfredo and the other workers?
MICHAEL
My friend Devon has a lot of sway
with the authorities. Since the men
really want to work, the Foundation's
going to help them and their families
relocate and earn their citizenship.
JULIE
I guess this experience has taught
all of us a lot about fear. It's a
worse enemy than Gastner, or blind-
ness, or anything.
MICHAEL
And courage is a better friend than
even the Foundation.
Julie suddenly stops, remembering something.
JULIE
Oh, I almost forgot...I made some-
thing for you. Kitt....
ANOTHER ANGLE
as they reach K.I.T.T. and the passenger door pops open.
Julie reaches into the back where something's concealed by
a piece of white canvas. It's heavy, but Julie lifts it
out, holds it up ceremoniously.
JULIE
I'm an artist, and when somebody
really moves me, I like to try to
capture his likeness for all
eternity.
Michael, realizing Julie holds a sculpture, becomes
embarrassed.
MICHAEL
I don't know what to say...nobody's
ever done this for me before....
Julie pulls off the canvas, revealing an excellent likeness
of...K.I.T.T.
K.I.T.T.
A remarkable likeness, don't you
think?
Michael stares, then looks at Julie, who's obviously very
pleased with herself.
MICHAEL
Very...unusual.
JULIE
Michael, I have one request to make
of Kitt.
MICHAEL
Go ahead -- I don't think he'll mind.
JULIE
Kitt, I'm always going to be blind.
And I'm never going to have another
opportunity to drive....
K.I.T.T.
Say no more, Julie.
Julie grins, hands the sculpture to Michael and hurries
around to get behind the wheel. Michael stands, holding
the sculpture, Sugar barking beside him.
K.I.T.T.
Don't just stand there, Michael --
we're in for the ride of our lives.
Michael looks at Sugar, shrugs. The dog jumps into the
car, Michael climbs in with the sculpture, the engine fires
up and we angle up to:
THE HOSPITAL ENTRANCE
where young Officer Gray is just coming out, carefully
unwrapping a small package, revealing -- a new pair of
thick-lensed glasses. He polishes the glasses adoringly,
puts them on and looks up to see:
ANGLE - THE TRANS AM
pulling past, Julie at the wheel, heading out of the
parking lot.
ANGLE ON OFFICER GRAY
staring pathetically. He removes the new glasses, looks at
them, tosses them over his shoulder and we:
FADE OUT
THE END
