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KNIGHT RIDER: BLIND SPOT

EXEC. PRODUCERS: Glen A. Larson, Robert Foster
SUPV. PRODUCER: Joel Rogosin
CO-PRODUCERS: Robert W. Gilmer, Gian R. Grimaldi

Production #57809
3rd Draft - August 18, 1983 (F.R.)

Teleplay: .................. Jackson Gillis
Director: .................. Bernard L. Kowalski

                              
                                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