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.
MEL
No problema, Alfredo. Your 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
(phone)
...I understand...No, if we agree to
accept the case, we'll honor your
terms and conditions....
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
(phone)
...I have papers, evidence against
him...I can't, no...if he finds out
he'll kill me....
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 caller. He hands what he's written to Michael,
who scans it quickly, "salutes" Devon and leaves. April
moves closer to Devon, watching him.
DEVON
...I'll have someone there, don't
worry. If you'd just give me your
name ---
From his expression, it's apparent that the caller has hung
up. Devon also hangs up.
APRIL
Devon, how do you know it's not a
crank caller? Maybe he's just angry
at someone.
DEVON
He's angry at someone, all right.
The difference is the man he's angry
at is Louis Gastner.
April reacts to the name.
INT. OFFICE - DAY
The office the Latino phoned from. Mel bursts in, intent
on capturing the caller. The office is empty....
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 cap.
K.I.T.T.
Gastner...why is that name familiar?
MICHAEL
The guy's been in the papers for years
-- name a crime and he's been accused
of it. The problem is nobody's been
able to get a conviction on him.
K.I.T.T.
This 'evidence drop,' as you call it,
is all very strange and unorthodox,
Michael...so is that cap you're
wearing.
Michael glances in the rearview mirror, adjusts his cap.
MICHAEL
It's what the caller ordered, Kitt.
Instant ID. All part of the plan.
EXT. SHOPPING CENTER MALL - PARKING LOT - DAY
As the Trans Am pulls into the lot, we hear:
K.I.T.T.'S VOICE
I don't think I'm going to like
this....
INT. TRANS AM
Michael scans the parking lot.
MICHAEL
Relax, it'll be a piece of cake.
K.I.T.T.
I've heard that before. For instance,
when we went up against Goliath.
(beat)
No, Michael, it's this location.
Parking lots depress me.
MICHAEL
With all these cars? I thought
you'd feel right at home.
K.I.T.T.
It's precisely all these cars that
bother me. Here they sit, left in
the sweltering sun, for all practical
purposes forgotten, while their owners
browse in air-conditioned comfort....
Michael checks out the rows of cars. 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.
Michael pulls down the row, finds a space and parks. He
checks his watch.
MICHAEL
I've got about two minutes to get
across to the mall. You wait for
our informant to drop the evidence
in the window.
K.I.T.T.
Now I'm a mobile mailbox.
Michael smiles, gets out of the car, leans back in, punches
buttons.
MICHAEL
Devon wants visuals on this, so I'm
activating your video camera. And
buzz me when he makes the drop.
K.I.T.T.
Despite what you may think, I'm
perfectly capable of handling my
responsibilities.
MICHAEL
Boy, you're touchy today. Wake up
on the wrong side of the garage?
K.I.T.T.
Very funny.
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 gets out of the car. We hear:
JULIE
John, where are you going?
JOHN
I'll be right back. Stay there....
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.
MICHAEL
(comlink)
Gotcha, Kitt.
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,
his hand reaching for 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.
ANGLE ON MICHAEL
He runs forward, toward the action.
ANGLE AT TRANS AM
Mel jumps out of the porsche, runs to the Trans Am and
tries to open the door. It's locked, so he reaches through
the window. Just as quickly K.I.T.T. powers up the window,
nearly clutching 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
Call the paramedics!
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 circles to 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
Thanks for the reminder, smart guy.
(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 AT CATERING TRUCK
several people, including a motorcycle cop, Officer Gray.
He's just gotten a donut and cup of coffee when the Porsche
flashes by. Torn, he nevertheless dumps coffee and donut
into a trash container and runs to his bike. Just then the
Trans Am flashes by. Could be a bank robbery! He leaps on
his bike, winces as delicate parts are sat upon, hits the
starter: nothing. Hits it again...and, finally, it catches.
He shoots away.
THE PORSCHE ON THE STREET
roaring toward an intersection, light turning yellow.
Congestion, including a large 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, are we clear to Turbo Boost?
K.I.T.T.
No, Michael...there's a school bus
trapped behind the truck!
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 MOS insults out the window.
MICHAEL
Can you pick 'em up with your scanner?
K.I.T.T.
They're out of range. 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. Where'd everybody go?
EXT. WRECKING YARD - DAY - CLOSE ON PORSCHE
dangling in the air, about to be caught in the steel jaws
of the crane's claw. Over the whine of the crane, we hear:
DUDLEY'S VOICE
You know how I feel about that
car....
Camera adjusts to reveal Dudley, Mel and Louis Gastner.
Dudley is visibly upset.
GASTNER
It's potentially incriminating
evidence.
DUDLEY
Yeah, but it's my car. I love that
car. I hand wax it every weekend....
MEL
Changes the oil himself, too.
DUDLEY
Look, Mr. Gastner, gimme a break.
I'll stash it. I'll have my brother
drive it over the state line.
Gastner debates, signals the operator to stop; the Porsche
dangles helplessly above the crusher.
GASTNER
Okay, stash it. Stash it good.
Dudley nods, relieved.
GASTNER
I want that evidence -- and the guy
who stole it, whoever he is. You
understand me?
They nod, sincere.
GASTNER
You shot a guy...left an eyewitness.
Said so yourself -- She looked right
at you.
(beat)
You screwed up. That's human. I'm
forgiving...that's me. All heart...
(suddenly cold)
To a point. I want the eyewitness.
With that, Gastner turns and strides quickly toward the
office.
MEL
That was a close one.
DUDLEY
We'd better find that girl.
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 a
valid reason for every car here. I'm
quite comfortable, thank you.
MICHAEL
Anything to keep you happy.
Michael 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.
ANGLE ON MICHAEL
as he approaches. He sees a nurse, pauses to ask an MOS
question. The nurse indicates Julie. Michael approaches
her.
MICHAEL
Excuse me...Julie Robinson?
Julie doesn't turn, but she's obviously listening.
MICHAEL
My name's Michael Knight. I'm with
the Foundation for Law and Government.
No response.
MICHAEL
I'm the one John was supposed to
meet in the parking lot today....
She faces him, confused.
JULIE
John didn't say anything about
meeting anyone.
MICHAEL
Whether he said anything or not, he
had some evidence to deliver. I
checked with the paramedics, the
hospital -- no one knows anything
about it.
JULIE
I really don't know what you're
talking about. John and I were
going shopping and someone just
...shot him. For no reason....
Julie looks as if she may cry, stubbornly wills it away.
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 the
evidence....
Michael's interrupted by the Nurse.
NURSE
Miss Robinson? The doctor's with
John now if you'd like to see him.
JULIE
Thank you.
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.
K.I.T.T.
Michael, I sense something is
bothering you.
MICHAEL
Our eyewitness to the shooting is
blind.
K.I.T.T.
But she moved with such certainty,
surely I would've noticed....
MICHAEL
Hard to say, pal. She also insists
that John Murray had nothing to do
with the evidence drop.
K.I.T.T.
Do you believe her?
MICHAEL
We'll see. Let's hang out for a
minute...She should be out soon.
(beat)
How'd you do on the Porsche?
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.
K.I.T.T.
The car in question is registered to
a David Dudley. Insofar as it was
involved in an attempted homicide,
shouldn't we share this information
with the police?
MICHAEL
The man called the Foundation because
he couldn't go to the police. We've
got to honor that confidence.
Michael sees Julie and Sugar appearing through the glass
hospital doors, approaching to exit.
K.I.T.T.
I doubt 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.
GRAY
You're welcome.
She smiles, 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
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. Just in time he reaches Julie, K.I.T.T.
between her and the oncoming car.
OMITTED
ANOTHER ANGLE - WIDER
as Mel, eyes wide with surprise, swerves to the left.
Sensing trouble, Sugar pulls Julie away. She loses her
balance, stumbles and falls to the asphalt, the contents
of her purse emptying everywhere.
INT. SEDAN - DAY
squirreling away from the Trans Am, heading out of the lot,
Dudley staring back.
DUDLEY
That girl -- she's blind!
MEL
You sure?!
DUDLEY
Sure as I'm sitting here. So much
for our 'eyewitness.'
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 come at me 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 it was me?
JULIE
I heard you. 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 lady.
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. I think
whoever tried to kill John thinks
you're an eyewitness -- just like I
did.
(glances after
departed car)
I wonder if they still do...
(beat)
C'mon, I'll give you a lift home.
JULIE
Well...you do sound all right.
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.
I'm pleased to meet you, Miss Robinson.
Julie listens intently to the sound of K.I.T.T.'s voice.
Even Sugar cocks her head slightly.
JULIE
A talking car! Now it's my turn to
be impressed.
(beat)
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?
Michael laughs and they pull 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.
He smiles, follows.
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 seventeen.
I painted until then. Now, with
John's help, I sculpt.
MICHAEL
Then you two are close....
JULIE
(beat)
Close? In ways, yes....
MICHAEL
Julie, why did John bring 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 not possible.
MICHAEL
Then why was John reaching for my
car?
JULIE
What makes you think he was?
MICHAEL
I saw him.
JULIE
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 video of what happened
today. Maybe you ought to take a
look at it.
She looks up at him, evaluating him.
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 - NIGHT - CLOSE ON THE 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, where are you going?
JOHN'S VOICE
I'll be right back. Stay there.
Julie nods as she listens, turns to the others.
JULIE
John was going after Sugar, my dog.
She didn't have her harness on and
when John opened the door, she
slipped out.
Devon and Michael exchange a look.
DEVON
Miss Robinson, Sugar's not in the
picture.
JULIE
But she has to be. I can hear her!
Could you 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
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. He's clean.
Julie nods knowingly.
DEVON
The man who called me had a Spanish
accent. Is John a Latino?
JULIE
(smiles)
He's Irish.
On the tape, the shot rings out. We hear the dialogue.
MICHAEL'S VOICE
Don't move him! Call the paramedics!
DARK-HAIR'S VOICE
I'll call them!
Julie suddenly sits forward.
JULIE
If you're looking for a Latino,
there he is!
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 it up, but we'll
lose some clarity.
DEVON
Do what you can, April.
April rewinds the tape, Devon addresses Michael and Julie.
DEVON
Thank you, Miss Robinson. 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 imagined.
MICHAEL
Awful lot of guys with Spanish 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
Trying a long shot, pal -- maybe
we'll get lucky.
K.I.T.T.
Michael, is it true?
MICHAEL
(getting out)
What?
K.I.T.T.
Too much gain in my tweeter and a
metallic ring to my bass....
MICHAEL
(smiles)
I wouldn't worry about it, Kitt.
You sound fine to me.
EXT. TRANS AM - DAY
as Michael climbs out, crosses toward the office. A red
Cadillac is parked in front. Gastner comes out of the
office. He eyes the Trans Am, then Michael, with equal
mistrust.
GASTNER
Yeah?
Michael sizes Gastner up with thinly concealed distaste.
MICHAEL
I'm looking for a guy named Dudley --
Dave Dudley. He brought his Porsche
by my place last week, wanted to trade
it for my car.
Michael indicates K.I.T.T. and the scanner flashes.
MICHAEL
Thought I might take him up on his
offer, Mr....
GASTNER
Gastner. Nobody named Dudley works
here.
MICHAEL
You sure?
GASTNER
Yeah. But if you find him, 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)
Spoken like a true barbarian.
Michael appears, climbs in.
MICHAEL
Did you say something?
K.I.T.T.
I certainly did. That awful man is
an insult to the human race and the
automotive industry. He belongs
behind bars.
MICHAEL
(starts
the engine)
No arguments from me there...
(beat,
pauses)
He seemed pretty sure of himself.
I've got an idea Dudley and his pal
realized Julie is blind....
K.I.T.T.
Then we're back to square one.
MICHAEL
(thinking)
Maybe not.
(punches buttons)
Give me all you've got on David
Dudley -- personal habits, hobbies,
friends -- the works.
K.I.T.T.'s computer lights flash. Michael puts K.I.T.T.
in gear and pulls out.
OMITTED
EXT. HOSPITAL - DAY
Michael, Julie and Sugar exit and approach the Trans Am,
which is parked out front.
MICHAEL
The way John's improving, he should
be able to talk soon.
JULIE
(nods; beat)
I'm still not sure I understand your
plan. I thought you were after Gastner.
MICHAEL
We are. But as long as Dudley and his
buddy are running interference for him,
we've got to nail them first.
JULIE
But they know I'm blind.
MICHAEL
You said it yourself, Julie --
'seeing isn't necessarily knowing or
understanding.'
He smiles, opens K.I.T.T.'s door for her. Sugar jumps in.
MICHAEL
Don't worry, Kitt'll take care of
you.
CUT TO
OMITTED
EXT. PARK - DAY
Dudley and Mel toss a football, their dates a short dis-
tance away on a blanket listening to rock 'n roll on a
radio and gossiping.
FEATURE THE TRANS AM ACROSS THE PARK
Julie's behind the wheel, hands gripping it. As she becomes
more accustomed to "driving," she relaxes more.
OMITTED
INT. TRANS AM - DAY
JULIE
Am I doing all right, Kitt?
K.I.T.T.
With a little more practice we could
enter the Indy 500.
JULIE
(laughs)
Flatterer.
OMITTED
ANGLE ON MEL AND DUDLEY
as Mel, ready to throw, spots Julie. He stares, points.
MEL
Dave, look -- the blind broad!
DUDLEY
(stares)
I thought you said she was blind!
MEL
You said she was!
Dudley and Mel run for their car parked nearby. 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 Michael's ploy is working.
JULIE
Good. 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 OFFICER GRAY
He is buying a hotdog from a vendor, ready to bite into it
when he sees Julie. He drops the hotdog, runs to his bike.
GRAY
(radio)
This is 42786, Officer Peter Gray.
I've just spotted a blind girl
driving a car...please advise.
RADIO VOICE
A blind girl? You'd better see your
optometrist, 42786.
The voice clicks off as the sedan flies past in pursuit.
Gray starts his bike.
ANGLE ON THE TRANS AM AND SEDAN
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 a 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
What're you yelling for?!
MEL
The car moved! It's got my foot!
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, grabs Dudley and judo-flips him to the ground.
OMITTED
ANGLE - WIDER
At that moment, Officer Gray rides his motorcycle into the
picnic area, jumps off, gun drawn. Seeing Michael over
Dudley, Mel, pinned by the car, a grinning Julie climbing
out of the Trans Am and Sugar poking her head out of the
window is too much for him.
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 - CLOSE ON MONITOR
We see several 8 x 10 photos, 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
(nods)
I know. I'm sorry, Michael. It's
the best I could do.
Michael frowns at the monitor as Devon enters, looking
aggravated.
DEVON
Well, your plan may not pay off. The
police have questioned Dudley and
Mel to no avail, the sportscar you
described has disappeared and there's
simply no concrete evidence linking
them to John Murray's shooting.
MICHAEL
At least we've kept them out of
action for twenty-four hours.
The telephone rings and April answers it.
APRIL
Hello?
(smiles)
Hi, Julie...That's wonderful...sure,
I'll tell him. Bye.
(to them)
Good news. John's regained conscious-
ness.
DEVON
That is good news.
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.
Michael, I've been thinking. If I
adjusted my bass...
(in a deep,
rich voice)
...an octave or so, perhaps it might
sound more...
(very deep)
...mellow. What do you think?
MICHAEL
Kitt, stop worrying about your voice.
It's fine. I like it just the way
it is.
K.I.T.T.
You wouldn't fib to me, would you?
MICHAEL
Never.
A beat, then:
K.I.T.T.
Michael, I've been thinking about
David Dudley's sportscar. I'm
afraid it may have met with a
dreadful end.
MICHAEL
I don't follow you.
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 that.
It's a most humiliating way to go,
transformed into a tin can.
MICHAEL
I'll remember that next time I have
sardines.
K.I.T.T.
Really, Michael. Sometimes you're
so insensitive.
Michael grins.
EXT. HOSPITAL - DAY
The Trans Am drives in and parks.
INT. HOSPITAL - JOHN'S ROOM - DAY
Michael's sitting at the foot of John's bed. John's pale,
obviously still sedated, in some pain.
MICHAEL
I'm sorry you got caught up in this,
John.
JOHN
(shrugging)
Just a matter of being at the wrong
place at the wrong time. I was
trying to help Julie and she was
telling me not to. That's the way
it is with us.
MICHAEL
Where is she?
JOHN
(smiling)
Probably in the cafeteria telling
them how to cook my food.
John's distracted by Julie, who walks into the room carrying
a vase full of flowers. He beams at her.
JOHN
Thanks, Julie. They're beautiful.
JULIE
Smell good, too.
She holds the flowers out for John to smell. He takes her
hand as he smells, holds it. She pulls away from him and as
she does a look of disappointment crosses John's face.
Michael notices it, covers by speaking:
MICHAEL
John, we're putting this puzzle
together, but we're still missing a
couple of pieces....
JOHN
I don't know how I can help, but if
I can....
MICHAEL
Right after you were shot, a man
called the paramedics...a Latino.
JOHN
Yeah...yeah, I think I remember
him. One minute he was coming
toward me, like he was going to help
catch Sugar, then he was gone.
MICHAEL
We think he's the key to this whole
thing...would you recognize him if
you saw him again?
John shakes his head.
JOHN
I don't think so...no. I was paying
more attention to Sugar. Then, when
I got shot...everything just went
black. I'm sorry.
Michael nods, disappointed. A silent moment.
JULIE
Visiting hours are almost over.
Michael nods.
JOHN
(to Julie)
I was hoping you could stay a little
longer.
Michael starts to say something, but Julie's already in
motion toward the door.
JULIE
You get some rest. I'll be back
later.
John reaches out, takes her hand. She squeezes it briefly,
then exits. Michael turns to John.
MICHAEL
Thanks, John. Hang in there.
John nods, his eyes on Julie. As Michael exits, we go to:
OMITTED
EXT. HOSPITAL - DAY
as Michael, walking with Julie and Sugar, heads for the
Trans Am.
JULIE
Where're you going?
MICHAEL
The wrecking yard. I'm going to try
to find out which one of the Latino
workers speaks English.
JULIE
Good idea. We'll talk to every one
of them if we have to.
MICHAEL
Look, I appreciate your help, but
maybe you should've stayed with John.
JULIE
(shaking
her head)
He's doing fine. Besides, you don't
know who you're looking for, but I
know exactly what he sounds like.
(smiling)
Face it...you need me.
MICHAEL
You're right...I do.
(beat)
But, I don't think I'm the only
one....
Julie's smile fades quickly, but she doesn't respond.
Instead, she deftly opens the door to the Trans Am and she
and Sugar climb in. As she closes the door, we hold on
Michael a beat, then:
CUT TO
EXT. TRANS AM - DAY
moving through traffic, toward the wrecking yard.
INT. TRANS AM - DAY
Suddenly, we hear K.I.T.T., speaking in a clipped, very
precise voice:
K.I.T.T.
'Now is the winter of my discontent,
made glorious summer by the sun of
York...'
MICHAEL
Say what?
K.I.T.T.
Shakespeare. I wanted Julie to hear
the tonal purity of my voice....
JULIE
Nice, Kitt, very nice...but do I
detect a slight reverberation in
your tremble?
K.I.T.T.
That does it. My tweeters are sealed.
Julie laughs, turns toward Michael. He seems lost in
thought.
JULIE
Something's bothering you....
MICHAEL
Can't hide much from you, can I?
JULIE
This time it's simple female intui-
tion. What's wrong?
MICHAEL
Nothing's wrong. I'm just...curious.
JULIE
About?
MICHAEL
You and John.
Julie stiffens slightly, becomes a little distant, cool.
JULIE
(shaking
her head)
I told you, Michael, we're....
MICHAEL
'Close in ways,' I know.
(beat)
I wonder if that's how John sees it.
JULIE
(smiles)
No pun intended.
MICHAEL
(smiles)
None intended.
(beat)
Maybe you've got a blind spot, Julie
-- a blind spot that's got nothing
to do with whether you can see or
not....
JULIE
(beat)
Go on....
MICHAEL
I get the feeling you're so busy
proving you don't need anybody,
you're overlooking someone who needs
you. Who loves you very much....
Julie just listens without responding. As she does, 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. We see a number of Latinos in
the yard.
INT. TRANS AM - DAY
as Michael parks the car, 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...but Gastner's
car isn't here.
Michael starts to climb out of the car.
JULIE
Be careful. This place feels...
dangerous.
EXT. TRANS AM - DAY
as Michael moves toward the workers. Among them, we see
Ramon. The men see Michael coming toward them, exchange
uneasy looks.
MICHAEL
My name's Michael Knight. I work for
the Foundation for Law and Government....
The Latino workers stare at Michael impassively. No one
utters a word. Michael stares at them, waiting. Nothing.
MICHAEL
Louis Gastner's a bad man, you know
that...one of you called the Foundation
for help...we're still here, we can
still help....
Still no response from the men.
MICHAEL
But, you've got to help us...tell us
what you know...come forward and
identify yourself....
Suddenly a Voice booms through a bullhorn:
VOICE
Regresa a trabajar imediatamente!
Michael glances around as the men begin to slowly disperse.
OMITTED
INT. TRANS AM
as Julie leans forward, listening intently.
JULIE
Kitt, that voice over the bullhorn
...that's him!
K.I.T.T.
Are you positive, Julie?
JULIE
Absolutely, Kitt.
EXT. YARD - ON MICHAEL
as we hear K.I.T.T. via the comlink:
K.I.T.T.
Michael, Julie's identified the man
with the bullhorn....
Michael glances over to see:
ALFREDO
standing on the runningboard of the crane. He glances
over, sees Michael staring at him. Quickly, he jumps down,
hurries across the yard.
ANOTHER ANGLE TO INCLUDE MICHAEL
starting after Alfredo.
MICHAEL
Hey...wait a minute! Stop...!
Alfredo breaks into a run. As Michael starts after him,
a group of Latinos start to move into his path.
MICHAEL
(into comlink)
Kitt, run some interference for me....
ANGLE ON THE TRANS AM
firing up, peeling out, driving toward the Latinos. The men
look up, startled, at the driverless car, Julie inside.
K.I.T.T. roars up, drives between Michael and the men,
screeches to a halt. As Michael sprints after Alfredo,
some of the Latinos try to get around K.I.T.T., but he keeps
them at bay. We hear:
K.I.T.T.
Easy on the paint job, hombres....
With that, the men back off and stare at the car in wonder,
several of them crossing themselves hastily.
ANGLE ON ALFREDO
moving through the yard, with Michael right on his heels.
Without much trouble, Michael catches him, grabs him by the
arm. Alfredo struggles to escape.
MICHAEL
Hey, slow down...C'mon, I'm on your
side. All I want to do is talk...
(into comlink)
Over here, Kitt....
As K.I.T.T. comes roaring up, Alfredo stares, frightened,
first at K.I.T.T., then at Michael. As Michael puts
Alfredo into the car:
MICHAEL
Thanks, Julie...you too, pal. Good
job.
CUT TO
OMITTED
INT. TRANS AM - DAY
A frightened Alfredo's in the backseat with Sugar, who
seems to be partial to him. Julie's grinning like the cat
who swallowed a 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 you
came to us in the first place...and
that's why I'm here now.
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, if you called the Foundation
you must've been desperate. We're
ready to help. Why not let us?
Alfredo doesn't answer.
K.I.T.T.
Allow me, Michael.
(beat)
Solamente queremos ayudarle.
Alfredo clams up.
MICHAEL
Maybe Devon'll have more luck.
EXT. JULIE'S CONDO - DAY
The Trans Am stops and Michael walks Julie and Sugar to the
stairs.
JULIE
That poor man must be frightened to
death.
MICHAEL
It's for his own good. Gastner'd do
a lot more than scare him if he'd found
him first.
ANGLE ON TRANS AM
Alfredo is sunk down in the backseat, staring sullenly out
the window.
ANGLE ON MICHAEL AND JULIE
Michael and Julie stop at the foot of the stairs. Sugar's
at Julie's heel.
MICHAEL
I really don't like leaving you
alone.
Julie pats Sugar on the head.
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 if you need me.
(beat)
Lock the door. Don't open it for
anyone.
Julie nods then as Michael turns to go, speaks slowly,
thoughtfully.
JULIE
I've been thinking about what you
said...about my 'blind spot.' Maybe
it's true...maybe I've been trying
so hard to be independent I haven't
left room for anyone else in my life.
She takes Michael's hand, squeezes it, turns and starts up
the stairs. Michael smiles, watching her, then turns and
leaves.
CUT TO
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
here....
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
We're never safe. He would kill me.
Like he killed Celso....
MICHAEL
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
they put the car in the crusher....
He stops, horrified by the memory. April, Michael, and
Devon are equally as moved.
MICHAEL
Why did Gastner kill him?
Alfredo hesitates again, clearly frightened. Devon steps up
to him.
DEVON
Alfredo, the Foundation exists to
help anyone who needs it, anyone who
feels a wrong must be righted...you
know that. We'll protect you.
ALFREDO
(after a
long beat)
Gastner brings people in across the
border to work for him. He gives us
money we must pay back with interest.
The more we earn, the more we owe.
Celso -- he refused to pay. Then he
threatened to go to the police...he
was proud -- too proud.
APRIL
The evidence you have on Gastner --
where is it now?
Alfredo lowers his eyes.
ALFREDO
I have it hidden. I'll 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. Thanks for calling.
She hangs up the phone.
APRIL
Dudley and Mel were formally charged
with attempted assault. Bail was
set and Gastner posted it before the
ink was dry.
The significance of this strikes Michael and he's out the
door. On their reactions:
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 is it, Sugar? Someone at the
door?
There's a soft knock at the door. Julie comes to it, pauses.
JULIE
Michael?
There's another knock. Before Julie can open the door, it's
kicked 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 swings
open.
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
as it moves fast through city traffic, heading toward the
wrecking yard.
INT. TRANS AM - DAY
K.I.T.T.'s dashboard lights flash.
K.I.T.T.
Did you know it takes less than
sixty seconds to destroy an auto-
mobile in a crusher, Michael?
MICHAEL
(preoccupied)
Hadn't thought about it, Kitt.
K.I.T.T.
Well, I have.
(beat)
And, in case you didn't know it,
another name for a wrecking yard is
an 'auto graveyard.' How tasteless
and insensitive....
MICHAEL
Don't get yourself worked up....
As K.I.T.T. responds, his voice grows louder, deeper, more
powerful, surprising both K.I.T.T. and Michael.
K.I.T.T.
I have a perfect right to get worked
up, Michael...this man Gastner is a
despicable human being...!!
(surprised)
My goodness, I didn't know I had that
in me. I wish Julie had heard it....
MICHAEL
Soon as she's safe, you can do an
encore, buddy....
CUT TO
EXT. GASTNER WRECKING YARD - DAY - ON THE OFFICE
where we see Gastner's Cadillac parked. The trunk's open
and as we watch, Gastner comes out of the office lugging
a suitcase which he loads in the trunk. A moment later,
Mel follows with Julie, who's tied and gagged.
GASTNER
You idiot! Some 'eyewitness.'
MEL
She was driving that car. We saw
her plain as day.
Gastner looks at Mel, then at Julie, thinking.
GASTNER
Her boyfriend doesn't know anything,
or the cops would've been all over
us by now.
MEL
Yeah, but who knows what Alfredo
gave 'em?
GASTNER
That's why I'm clearing out...
(looking
at Julie)
...and she's going to be my insurance.
Gastner takes Julie by the arm to put her in the Cadillac.
She breaks away, tries to run, but Mel's on her. Just then,
Dudley comes running up, breathless.
DUDLEY
The guy in the black car...he's
headed this way!
GASTNER
(shouting)
Ramon...!
(beat)
Ramon! Aqui!
As Ramon and several of the other Latinos hurry across the
yard, we go to:
OMITTED
EXT. STREET - DAY - ON THE TRANS AM
speeding toward the front gates, which are wide open.
OMITTED
EXT. WRECKING YARD - DAY
as the Trans Am 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
Scan the smashed cars. I'm going
to be neighborly....
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 approaches, holding a gun. Michael scans the
yard to see:
MEL
seated at the controls of the crane, hands moving nervously,
and:
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 roughly as the
Latinos watch.
DUDLEY
He's not armed.
Dudley again pushes Michael roughly. The Latinos exchange
uneasy looks, begin to speak softly among themselves. Even
with the gun in his hand, the mumbling makes Dudley uncom-
fortable.
MICHAEL
Let the girl go, Gastner. It's all
over.
GASTNER
You gotta be dreaming -- all over?
Because of some flimsy evidence and
the word of an illegal alien?
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?
He peers into the car, sees it's empty. Michael turns to
the Latinos.
Their muttering increases in volume. Not even Ramon,
eyeing the Trans Am in awe, tries to stop them. Instead,
he translates as Michael points toward the stacks of cars.
MICHAEL
Your friend Celso Diaz died here,
in the crusher. Gastner and his men
murdered him, because he spoke out
against their cruelty. Because he
fought back....
GASTNER
Don't listen to him! He's lying!
MICHAEL
(urgently)
Now you've got to fight for yourselves.
Don't be afraid...you're not alone....
RAMON
Is that true, Mr. Gastner? You said
Celso went back to his family in
Mexico....
The buzz in the crowd builds. Gastner hears it, shouts:
GASTNER
Shut him up!
Dudley 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!
GASTNER
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. Michael's slumped over in the car, still uncon-
scious, and we hear:
K.I.T.T.'S VOICE
Michael! Michael, I need you!
Michael doesn't move as the claw closes over the car's roof
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.
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 wound.
K.I.T.T.
Michael...you've regained conscious-
ness.
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.
OMITTED
EXT. WRECKING YARD
Gastner shoves Julie into the Cadillac, slams the door and
hurries back into the office. Across the yard, we see
Dudley and Mel watching the compactor close in on the
Trans Am. Around them, the Latino workers also stare,
their horror growing. They glance, with growing hostility,
at Mel and Dudley. Their mutterings grow, suddenly turn
and start moving on the two men.
OMITTED
ANOTHER ANGLE - FEATURE MEL AND DUDLEY
as they react to the approaching mob. Dudley tries to
raise his gun, but it's too late. The Latinos swarm over
them, and we go back to:
INT. TRANS AM
The noise is deafening. The compactor begins pressing
against the Trans Am. Michael's pushing buttons franti-
cally.
K.I.T.T.
My worst nightmares are being realized,
Michael! I can see me now...tin cans,
TV dinners, garbage can lids....
MICHAEL
Not if I can help it! Give me every
pound of turbo boost you've got...!
Michael pushes the turbo boost. Nothing. Frantically,
he pushes the button, and we intercut with:
INT. COMPACTOR
as the compactor bears down on K.I.T.T. Screeching of
metal. Suddenly, the chamber begins to shake, sparks shoot
through cracks that develop in the walls. Then, everything
comes apart, and we go to:
EXT. WRECKING YARD - DAY - ON THE CRUSHER
as the Trans Am roars through the smoke and debris. The
workers, with Dudley and Mel under control, stare in awe.
ANOTHER ANGLE - FEATURE GASTNER
racing out of the office with a heavy briefcase. He sees
the Trans Am breaking free, jumps in the Cadillac.
INT. TRANS AM - DAY
as Michael whoops with joy and relief, then:
MICHAEL
We did it, Kitt! You okay...?
K.I.T.T.
For the moment, I'm practically
speechless...
(urgently)
Michael, Gastner's trying to escape.
With Julie!
Michael glances over, sees the Cadillac heading for the gate.
MICHAEL
Let's go!
EXT. TRANS AM - DAY
as the Trans Am shoots forward, cutting the Cadillac off
before it reaches the gate.
CLOSER ANGLE
as Gastner jumps out of the car, runs into the stacks of
cars. Michael's out of the Trans Am.
MICHAEL
Kitt, you take the back, in case he
makes a break for it....
K.I.T.T.
With pleasure....
As K.I.T.T. takes off, Michael hurries over to Julie.
MICHAEL
You all right?
JULIE
(nods)
I think so...yes.
MICHAEL
Sit tight...I'll be right back.
With that, Michael turns and races after Gastner.
ANGLE IN THE STACKS - FEATURE GASTNER
racing down a row of cars, turning a corner and seeing
Michael bearing down on him from the right. He turns to
his left, pulls a rusted fender which crashes into
Michael's path, slowing him temporarily.
ANOTHER ANGLE - FEATURE MICHAEL
as Gastner heads down another row of cars, Michael pursuing
him.
MICHAEL
(into comlink)
He's heading your way, Kitt.
ON GASTNER
rounding a corner, slamming on the brakes as he sees
K.I.T.T. bearing down on him. He starts backpedaling, then
running, glancing over his shoulder as K.I.T.T., from one
direction, and Michael from the other, gain on him.
ANGLE - WIDER
allowing us to see that Gastner is down a dead-end row, the
exit blocked by several compacted cars. K.I.T.T.'s right
behind him, snipping at his heels. Gastner runs out of
room, turns to face K.I.T.T., who slams on the brakes,
skids to a halt, and then slowly, menacingly, inches for-
ward, pressing Gastner back against the cars. Gastner's
terrified, shouts at Michael who comes running up.
GASTNER
Stop this thing! He's gonna crush
me....
K.I.T.T.
No less than you deserve, you cretin.
GASTNER
Okay, Celso's dead...but it was a
mistake, I swear! Please....
MICHAEL
(enjoying
the moment)
What do you think, Kitt?
K.I.T.T.
I think he's lying, Michael...but I
know a court of law will determine
that. Perhaps we should give them
the pleasure.
K.I.T.T. backs up, Gastner sighs a huge sigh of relief and
Michael slaps K.I.T.T. on the hood.
MICHAEL
Good work, pal. Good voice, too.
K.I.T.T.
But...that was my normal voice.
MICHAEL
(smiles)
That's what I mean.
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
It's always easier when you give a
man something to come home for.
Julie smiles.
JULIE
What's going to happen to Alfredo
and the other workers?
MICHAEL
First, they've got to testify against
Gastner...with Alfredo's evidence,
that shouldn't take long. Devon's
already looking into a way to allow
them to stay here and work...legally.
JULIE
I think that's all they really
want...to work and live in peace.
That doesn't seem too much to ask
for.
Michael smiles. Julie suddenly stops, remembering something.
JULIE
Oh, I almost forgot....
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. Julie holds it up.
JULIE
When something or someone really
moves me, I like to try to capture
his likeness.
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. Michael registers surprise. K.I.T.T.'s
scanner blinks.
K.I.T.T.
It's beautiful, Julie. And such a
remarkable likeness, don't you think,
Michael?
MICHAEL
Yeah. Very...remarkable.
JULIE
Michael, I have one request to make...
of Kitt.
MICHAEL
Name it.
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.
K.I.T.T.
Don't just stand there, Michael --
we're in for the ride of our lives.
(beat;
to Sugar)
You might as well get in, too.
Just mind your manners.
The dog jumps into the car, Michael climbs in with the
sculpture, the engine fires up and the Trans Am roars out.
OMITTED
EXT. STREET - ON MOBILE CATERING TRUCK
where young Officer Gray is about to dig into a foot-long
hoagie. He glances over his sandwich, stiffens as he sees:
ANGLE - THE TRANS AM
pulling past, Julie at the wheel, heading down the street.
ANGLE ON OFFICER GRAY
staring pathetically, suddenly having lost his appetite. As
he stands, openmouthed, we go to:
EXT. TRANS AM - DAY
disappearing down the street, with Julie beaming behind the
wheel and Sugar happily hanging her head out the window.
Hold on the car, and then:
FREEZE FRAME
AND
FADE OUT
THE END
