ACT ONE
FADE IN
EXT. CITY STREETS - DAY - STOCK
An ambulance streaks through the streets, siren blaring and
red lights flashing.
INT. AMBULANCE - DAY - FAVORING BECKY PHILLIPS
age ten, a bright-eyed, perky child who is not feeling
well, but pretending to enjoy her ride in an ambulance
despite the fact that she's the patient. Her mother, Laura,
rides next to her and tries to keep her daughter calm, but
her own veneer of composure is none too solid.
BECKY
Mommy, we just ran a red light!
LAURA
Ambulances can do that, honey. How
do you feel?
BECKY
I feel better now. Honest.
Next to them, a Paramedic radios information ahead to the
hospital.
PARAMEDIC
...Vital signs stable, and she's
conscious and alert. Have 2000 ccs
of O-Negative standing by.
BECKY
Am I going to need transfusions
again?
LAURA
(almost
cracking)
Yes, honey.
BECKY
It's worse this time, isn't it?
Laura's look tells the truth.
LAURA
Everything's going to be okay.
CUT TO
EXT. STREET - DAY
as K.I.T.T. races through.
EXT. HEALTH CLUB/GYM
K.I.T.T. screeches to a halt in front of a small aerobics/
nautilus style gym. We see April standing on the front
steps, dressed in leotard, tights, and leg warmers under
her topcoat. She's carrying a fashionable tote bag.
She hurries to the car, gets in. They pull away in a
hurry.
INT. TRANS AM - DAY
APRIL
What happened?
MICHAEL
They're not sure. Only that she was
given some antibiotics -- and
they're raising havoc with her
system.
APRIL
It's so soon since the last time she
was in the hospital.
MICHAEL
She's tough...She's your niece,
isn't she? She'll make it.
APRIL
How's Laura?
MICHAEL
She was pretty torn up when she
called Devon.
APRIL
Since her husband Sam died, Becky's
been her whole life....
MICHAEL
Hey, take it easy. They're both
gonna need you.
APRIL
And look at me...I didn't even take
time to change.
MICHAEL
You look fine.
EXT. HOSPITAL - DAY
The Trans Am pulls up.
K.I.T.T.
Tell Becky I'm pulling for her.
APRIL
I will, Kitt.
Michael and April race for the entrance.
INT. HOSPITAL - DAY
Devon is waiting with Laura, who is visibly shaken at the
trauma her daughter is going through. April runs to her
sister, and embraces her warmly. Michael lingers with
Devon for a moment.
MICHAEL
How's she doing?
DEVON
I'm afraid it doesn't look good.
The transfusions just aren't working
for some reason.
They move to the women.
LAURA
Michael -- Thanks for being here.
MICHAEL
That's what families are for.
LAURA
She's been asking for you and Kitt.
MICHAEL
He's right outside.
They look up as Dr. Kiley approaches.
DR. KILEY
It's the pneumonia. Normally
aplastic anemia can be held in check
by fresh blood. But in this case,
the antibiotics are wiping out the
white cells as fast as we can
replace them.
DEVON
Which means what, exactly?
DR. KILEY
Which means, at best, we're in a
holding pattern.
DEVON
How much time do we have?
DR. KILEY
Thirty-six to forty-eight hours. Not
more. After that, the degeneration
will have done too much damage even
for a marrow transplant.
LAURA
(recoiling)
Transplant?!
DR. KILEY
It's always been an option. But,
I'm afraid that this time, there's
no alternative.
LAURA
(desperate)
Then let me be the donor.
DR. KILEY
Mrs. Phillips, the records indicate
that Becky was adopted. There's no
family matching possible.
MICHAEL
What about one of us?
DR. KILEY
We'll check you out. Meanwhile,
we're trying for a computer match-
up. It's a complicated process, and
the computers aren't always aware of
the urgency of our human needs.
It's going to take time.
On their looks:
CUT TO
INT. HOSPITAL ROOM - DAY
Becky is propped up in a hospital bed.
The door swings ajar and Michael and April enter.
APRIL
Hi, sweetheart.
BECKY
Aunt April! Michael! Hi!
She hugs them both.
BECKY
Michael, we rode in an ambulance.
We ran a red light!
MICHAEL
Was it faster than Kitt?
BECKY
Well, maybe. But not as nice. Is
he here?
Michael gestures grandly, pulls up his sleeve, and
addresses his comlink.
MICHAEL
(into comlink)
Somebody here wants to talk to you,
Kitt.
He puts the comlink close to Becky.
K.I.T.T.'S VOICE
Becky? Can you hear me? It's...
it's...
(with a little
embarrassment)
It's Black Beauty.
BECKY
(smiling now)
Shh. That's our secret.
K.I.T.T.'S VOICE
(audibly
relieved)
It's good to hear your voice. How
are you feeling?
BECKY
(into comlink)
Well...I get a little spinny.
K.I.T.T.'S VOICE
You just rest and get better so
you can come riding with us again.
BECKY
(into comlink)
All right.
The door opens and Devon gestures Michael outside.
MICHAEL
Be right back, Becky.
He exits with Devon. April reacts, turns back to Becky.
BECKY
Aunt April, how come you're wearing
those clothes?
INT. CORRIDOR - DAY
as Michael and Devon join Dr. Kiley in the hall.
MICHAEL
What is it?
DR. KILEY
Our computer's down. We can't get
through to I.R.M.A.
DEVON
Irma?
DR. KILEY
Interstate Research and Medical
Assistance. Our data base.
DEVON
How long?
DR. KILEY
Whatever time it takes.
MICHAEL
We haven't got time!..Doctor Kiley,
do you have hard copy on Becky's
data?
EXT. HOSPITAL PARKING LOT - DAY
Michael is just reaching K.I.T.T.'s parking space.
K.I.T.T.
Michael, I wish there were something
I could do. I feel helpless.
MICHAEL
There is, Kitt.
He climbs into the car.
INT. TRANS AM - DAY
Michael pushes a few buttons and feeds a print-out into
K.I.T.T.'s dash.
MICHAEL
This is Becky's file. We need to
contact a computer named I.R.M.A.
that has the records on suitable
donors for Becky.
K.I.T.T.
I.R.M.A.? Say no more.
INSERT - K.I.T.T.'S DASH
We see the dash blink and whirr into action. Appropriate
graphics appear on the monitors. A very dry, dehumanized,
female computer voice addresses K.I.T.T. and Michael.
I.R.M.A.
This is the automated voice of
Interstate Research and Medical
Assistance. Indicate desired
information.
BACK TO SCENE
MICHAEL
Whew! Get a load of that voice.
I.R.M.A.
Please repeat.
K.I.T.T.
Never mind. This is Knight Industries
Two Thousand requesting donor match
for bone marrow transplant. I'm
transmitting data now.
I.R.M.A.
I will scan and retrieve appropriate
files.
K.I.T.T.
Thank you.
(beat; to
Michael)
I don't know why they can't give
those machines a little more....
MICHAEL
Pizazz?
K.I.T.T.
Exactly.
MICHAEL
She's just not your type, Kitt.
INT. HOSPITAL WAITING ROOM - DAY
April and Laura sit close together. Devon paces. April
offers quiet consolation.
LAURA
Forty-eight hours....
APRIL
At least two days, Laura...That's a
long time.
Michael enters, joins them.
DEVON
Any luck?
MICHAEL
Yes and no. There were three suit-
able donors in the computer.
LAURA
Good...!
MICHAEL
Not so good, Laura. One of them is
dead. Another is out of the
country, and can't be reached.
APRIL
And the third?
MICHAEL
We have a name and an address in
Cedar City, but there's no phone
listed.
LAURA
(trying for
control)
Then, I guess we've done all we can.
MICHAEL
No way! It's only a few hundred
miles. I'm out of here right now.
Tell Becky I love her.
He exits.
DEVON
(softly)
Godspeed, Michael.
CUT TO
EXT. HIGHWAY - VARIOUS SHOTS OF K.I.T.T. - STOCK
tracing a black line across the heartland, with music up
under.
K.I.T.T. (V.O.)
So even though Becky is adopted,
she's still April's niece.
MICHAEL (V.O.)
That's right.
K.I.T.T. (V.O.)
This business of family seems pretty
complicated, Michael.
INT. TRANS AM - DAY - DRIVING
Michael sits at the wheel.
MICHAEL
It can be...See, family doesn't just
mean who you're related to. Family
is the people who love you and care
about you. It doesn't matter how you
know each other. Some friends are
like family.
K.I.T.T.
I'm afraid I still find it a bit
confusing.
MICHAEL
Well, take Devon and April and you
and me. I'd say we're a family,
wouldn't you?
K.I.T.T.
(pause)
By your definition, yes.
MICHAEL
See what I mean?
K.I.T.T.
Thank you, Michael.
EXT. COUNTRYSIDE - DAY - ON K.I.T.T. - DRIVING
as they rocket toward their destination.
EXT. STREETS OF CEDAR CITY - DAY
The Trans Am tools up the block in a modest, tough neighbor-
hood. It's not barrio, but it's not too far from it. A
few people notice the strange shiny black car.
K.I.T.T. (V.O.)
This is the street, Michael.
INT. K.I.T.T.
The Trans Am slows, moving into an area of apartments and
storefronts.
MICHAEL
748. It's in the next block, Kitt.
Right up here somewhere.
K.I.T.T. pulls along slowly in front of a row of small
businesses. We can see numbers clearly marked: 742, 746...
then 750.
K.I.T.T.
I don't see any 748, Michael.
MICHAEL
Maybe it's in the back.
He pulls the Trans Am to the curb.
ANOTHER ANGLE
as Michael exits the Trans Am and surveys the street.
There's a group of four young male Chicanos sitting on a
porch across the street. These are Los Vengadors, a local
gang. Prominent among them is a young man we'll come to
know as Santos. Nearby a couple of low-riders are parked.
Sweeping in front of his shop on Michael's side of the
street is an older shopkeeper. Michael decides he looks
like the best bet and approaches him.
MICHAEL
Keep your scanner peeled, Kitt.
K.I.T.T.
Of course, Michael.
ANGLE ON MICHAEL AND SHOPKEEPER
MICHAEL
(approaching)
Excuse me. I'm looking for 748.
SHOPKEEPER
Not on this street. I'm 746, then
it goes to fifty.
MICHAEL
I've got to find a guy named Julio
Rodriques. It's very important.
SHOPKEEPER
(slight
reaction)
Don't know him.
He goes back to his sweeping.
MICHAEL
A little girl's life is at stake.
It's a medical emergency.
This gets him nowhere.
EXT. PORCH - ANGLE ON LOS VENGADORS
The young toughs are watching everything Michael does.
SANTOS
He doesn't look like a cop to me.
Maybe he's a Conqueror.
Santos rises and starts toward K.I.T.T., the others follow.
RESUME ON MICHAEL
MICHAEL
Okay, maybe the address was wrong
but he must be from this neighbor-
hood. Julio Rodriquez. Come on,
man....
SHOPKEEPER
I don't know where he is.
Michael's comlink buzzes.
K.I.T.T.'S VOICE
Michael, I think we have company.
MICHAEL'S POINT OF VIEW
Michael turns around and sees Los Vengadors surrounding his
car. They're checking it out, casual but menacing. Santos
lounges against K.I.T.T.'s hood. They place themselves
so that they definitely cut Michael off from his trans-
portation.
OMITTED
ON MICHAEL
His brows narrow as he addresses K.I.T.T. via comlink.
MICHAEL
Kitt, what do you say we lose the
welcoming committee?
K.I.T.T.'S VOICE
Good idea, Michael.
OMITTED
EXT. K.I.T.T. - ON GROUP
as the Trans Am suddenly starts up, startling the group.
They turn around and look in. There's no one there.
K.I.T.T.
Con su permiso.
The gang look at each other in confused silence as K.I.T.T.
blind drives around them and toward Michael.
ANGLE - K.I.T.T. AND MICHAEL
as K.I.T.T. drives up to Michael, then pops the door;
Michael gets in and they drive away.
ANGLE - THE GANG
as they watch him drive away. Santos moves to the Shopkeeper.
THE TWO
SANTOS
What did he want?
SHOPKEEPER
He asked about Julio...but I didn't
tell him anything. I don't get
involved.
Santos is affected by the news. His face is tense as he
looks after the departing Trans Am.
SANTOS
That's okay, man. We get involved.
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
EXT. CEDAR CITY STREET
as K.I.T.T. drives along.
INT. K.I.T.T. - DAY
Michael drives, deep in thought, pulls around a corner,
stops. After a moment:
K.I.T.T.
Michael, we must consider the
possibility that we won't find him.
MICHAEL
No...we'll find him, Kitt. We just
have to start over.
K.I.T.T.
From where?
MICHAEL
I'm not sure...how about the hospital?
Rodriquez gave them a phony address.
Why...? Kitt, do we know what
Rodriquez was admitted for?
K.I.T.T.
I didn't access that information
but....
MICHAEL
...Irma might have it. You mind,
buddy?
K.I.T.T.
Not if it will help us help Becky.
Just give me a moment....
ANGLE ON MONITOR
as we see a computer readout, as K.I.T.T. contacts I.R.M.A.
"This is the Knight Industries Two Thousand" and "I.R.M.A.
access on line" flashes on the monitor.
K.I.T.T.
I have interfaced with Irma, Michael.
MICHAEL
She's all yours.
K.I.T.T.
Irma, can you tell me what Julio
Rodriquez was admitted to the
hospital for?
Lights and graphics flash on K.I.T.T.'s screen.
I.R.M.A.
Rodriquez, Julio. Age nineteen.
Blood type, O-negative. Five feet,
ten inches tall. One hundred
seventy pounds...admitted to Hoff
Medical Center emergency trauma
ward by Cedar City Police Gang Unit.
Treated for...knife wound.
MICHAEL
A knife wound. How did that happen?
I.R.M.A.
I am not programmed with that
information.
The monitor shows "I.R.M.A. access terminated."
MICHAEL
She's not very friendly, is she?
K.I.T.T.
You're just spoiled, Michael.
MICHAEL
I think you're right.
(then)
Police gang unit, huh? Well at
least we're out of the starting gate.
He pulls a 180, drives away.
CLOSEUP - POLICE RECORD - DAY
as we see the file on Julio Rodriquez tossed down.
MICHAEL'S VOICE
What do you mean, he's missing?
We pull back to:
INT. CEDAR CITY POLICE STATION - DAY
Small and cluttered. A few overworked desk officers are
busy on the phones, their desks overflowing with paperwork.
Standing with Michael is Officer Reyes, professional,
concerned, but obviously equally overworked and frustrated.
OFFICER REYES
Maybe that's not the right word. At
least if they're missing, you might
be able to find them. 'Dug in' is
what I'd call it.
MICHAEL
'Dug in'...you mean hiding?
OFFICER REYES
That's right, and after what went down,
you could turn the city inside out
and not shake him loose. He's a
member of a gang, Los Vengadors.
Last week they mixed it up pretty
good with the Conquerors from the south
side. When all was said and done,
their leader went to the hospital
with a bullet wound. Word is, he
may not make it.
MICHAEL
And Julio Rodriquez was knifed.
OFFICER REYES
There's no hard evidence...but the
word on the street is that he pulled
the trigger.
Michael reacts, then looks over at a large street map of
the city on the wall.
OFFICER REYES
I grew up here myself, but there's
no way of knowing where Rodriquez
would be hiding. You get real
creative when your life depends on
it.
MICHAEL
Unfortunately, his life isn't the
only one that depends on it.
He moves off.
CUT TO
CLOSEUP - CHECKERBOARD - DAY
The "red player" is obviously winning, what with a whole
slew of black checkers piled up behind the red side, and
at least half the red checkers already "kniged." A small
hand comes into frame, picks up one of the kinged red
checkers, and jumps the remaining black checkers with a
flourish. We pull back to:
INT. BECKY'S HOSPITAL ROOM - DAY
Devon is sitting on the bed with Becky, playing checkers.
He throws up his hands in "mock" surrender.
DEVON
I give up. I'm being slaughtered
worse than the 'Charge of the Light
Brigade.'
Becky grins with delight.
BECKY
You wanna play again? I'll let you
win this time.
DEVON
Charity begins at home...not on the
checkerboard. No, young lady, I
know when I'm overmatched.
BECKY
You'll get better, I'll teach you.
DEVON
Well, perhaps a few tips from the
master....
The phone rings, and Devon answers it.
INT. K.I.T.T. - DAY
as we see the "Phone Line" button activated.
MICHAEL
Devon...it's Michael, how's Becky
doing?
INT. HOSPITAL ROOM - ON DEVON - INTERCUT WITH MICHAEL
as Devon looks over to Becky and smiles.
DEVON
Apart from the fact that she has no
regard for her elders, she's in top
form, Michael.
Becky's face lights up at the mention of Michael.
BECKY
Can I talk to him?
DEVON
(to Becky)
In a moment, Becky.
(then to
Michael)
How are things going?
MICHAEL
Not good. The donor turns out to be
a guy who's wanted for killing the
leader of a rival gang. He's hidden
out somewhere.
Devon takes that in, then glances at Becky whose smiling
face is taking in his side of the conversation. Devon
turns back to the phone, then, covering:
DEVON
Well, splendid, Michael. Sounds
marvelous. That's good news.
MICHAEL
Devon, can you hear me? It could
take days to locate this guy...if
he's still alive.
DEVON
I see. Well, that sounds promising,
Michael. Becky's right here, and
she wants to talk with you.
MICHAEL
Okay, I got it.
(then)
Devon, I'm not giving up, you know
that.
DEVON
I understand, Michael, and I
appreciate it. Here's Becky.
Devon gives the phone to an excited Becky. She takes it.
BECKY
(into phone)
Michael...when are you coming back?
MICHAEL
Soon, I'm just taking care of a few
things. There's someone else who'd
like to talk to you.
K.I.T.T.
Hello, Becky, are you taking good
care of Devon?
BECKY
(lighting up)
Kitt!
(then, almost
as a secret)
Your lesson in checkers paid off.
He never knew what hit him.
K.I.T.T.
When I see you again I'll give you a
few pointers on chess.
Becky giggles at that.
MICHAEL
Kitt and I have to go now, sweetheart,
but we'll see you real soon.
BECKY
Okay. Bye.
As we lose intercut, April walks into the room. She sees
Becky hanging up the phone.
APRIL
Hi, honey.
BECKY
Aunt April! Guess what. I just
talked to Michael and Kitt.
April shoots a concerned look at Devon.
APRIL
How is everything?
DEVON
(covering)
Michael's doing just splendidly.
He's very resourceful, you know.
APRIL
(picking up on it;
concerned)
I know.
OMITTED
EXT. CEDAR CITY STREET - DAY
as K.I.T.T. drives down the street, past a familiar location,
we see an ND car pull in some length behind him.
INT. K.I.T.T.
K.I.T.T.
Michael, there's a car following us.
Shall we lose them?
MICHAEL
Whoever it is must be as interested
in Julio as we are. That could be
our lead.
K.I.T.T.
How are we going to talk to him?
Polite introductions don't seem in
vogue around here.
MICHAEL
(thinks a moment)
Kitt, you're about to be the big
cheese in a shiny black mouse trap!
K.I.T.T.
A somewhat unpleasant metaphor.
MICHAEL
Not if it works!
EXT. STREET - ON TRANS AM
as it stops by a drugstore. Michael gets out and walks into
the store. We hold for a moment, then we see the other car
stop. The driver gets out. It's Santos. He waits until
Michael is inside, then walks quickly over to K.I.T.T.
CLOSER ANGLE - K.I.T.T.
as Santos looks inside. Then looking around, he tries the
door, and seeing that it's open gets inside.
INT. K.I.T.T. - DAY
as Santos settles in, the door still open. He immediately
begins searching around for some kind of ID on the driver.
Suddenly, the driver's door slams shut. Santos tries to
open it, but it's locked. Then in another instant, the
passenger door opens and Michael gets in. He sits down as
a startled Santos tries again to get out.
MICHAEL
You like licorice?
He offers a small bag, a piece of red licorice. Santos
just looks at him.
SANTOS
Who are you?
MICHAEL
Let's get moving, Kitt.
The auto drive button goes on, the gearshift flips into
drive and the car pulls out...with a helpless Santos behind
the wheel. He desperately tries to steer the car, work the
pedals.
SANTOS
What's going on?
MICHAEL
That's what I'd like to know.
Since I hit town, you've fallen in
love with my car. Why?
SANTOS
I like it.
MICHAEL
Me, too. But I think what you're
really interested in is looking out
for Julio Rodriquez.
SANTOS
I don't know him.
MICHAEL
Turn here, Kitt.
EXT. INTERSECTION
as K.I.T.T. makes a turn.
INT. K.I.T.T.
SANTOS
Where we goin'?
MICHAEL
I was at the police station today.
They've got a very interesting map.
Shows all the territories of the
different gangs. Thought I'd take a
scenic drive over to the Conquerors'
territory.
SANTOS
No way! They'll kill me!
He tries to get out, to no avail.
MICHAEL
Where's Julio?
SANTOS
Come on man, what are you trying to
do?
MICHAEL
I'm trying to save a little girl's
life.
SANTOS
What's that got to do with me?
MICHAEL
I need Julio's help. You're a
'brother.' I figure you'd know
where he is.
SANTOS
No way. I ain't tellin' you that.
MICHAEL
Fine. Then let's just enjoy the
view.
EXT. CONQUEROR TERRITORY - DAY
as we see the Trans Am moving along. An astonished member
of the gang, Ric, watches as he sees Santos behind the
wheel. He signals to three other Conquerors behind him
(including Tony).
INT. K.I.T.T. - ON SANTOS
as he sees that he's been spotted. He tries to slump down.
SANTOS
They saw me man, get me outta here!
MICHAEL
I need five minutes of Julio's
time. Just to talk.
SANTOS
I told you I can't do that. He's
under protection.
Michael looks around, then:
MICHAEL
This looks good, Kitt.
EXT. CURBSIDE
The Trans Am stops by the curb and the driver's door is
popped open. We can see Ric, Tony and the other Conquerors
closing in. Santos reacts, tries to close the door. No
go.
INT. K.I.T.T.
SANTOS
Close the door, they'll rip me apart!
MICHAEL
Where's Julio?
Santos looks out again as they are coming closer. He tries
the door one more time. It's as if the panel is welded
open. Then, quickly:
SANTOS
Okay...okay. I'll take you to him.
NEW ANGLE
as Ric gets closer to K.I.T.T.
SANTOS
(to Michael)
If you wanna talk to Julio, I gotta
make a phone call first. Just close
the door!
MICHAEL
You got a deal.
The door closes just as Ric reaches it, and the Trans Am
roars away leaving Ric and the gang empty-handed. Ric
turns to the others.
RIC
You hear that? He knows where Julio
is. Let's go.
They move off toward two parked vans.
EXT. ST. ANDREWS CHURCH - DAY
as the Trans Am drives up to the church and stops.
INT. K.I.T.T. - DAY
as Michael, now driving, looks up at the church.
MICHAEL
He's in there?
SANTOS
Like I said.
EXT. K.I.T.T. - DAY
as Michael and Santos get out of the car and begin up the
steps of the church. Camera pushes into K.I.T.T.'s scanner
as he begins to survey the scene.
INT. CHURCH - DAY
A rather beautiful, but small, neighborhood church. It is
empty as they enter, except for one old lady who sits
quietly in the back, praying. Santos indicates a confes-
sional.
SANTOS
In there.
Michael hesitates, goes in.
NEW ANGLE
as a group of Los Vengadors members drift in, take seats.
With them is a girl, around eighteen, dark, large innocent
eyes, beautiful. Her name is Terri.
INT. CONFESSIONAL
Michael waits for a moment, then we can hear the door open
on the other side and someone enters. The door closes.
Michael slides the viewing door open...as the door on the
other side also opens. It's hard to see the person on the
other side through the grate, but it's Julio Rodriquez.
JULIO
What do you want?
MICHAEL
To help you.
JULIO
Who says I need help?
MICHAEL
The cops are looking for you. The
Conquerors are looking for you...It's
just a matter of time.
JULIO
So? What can you do?
MICHAEL
Get you out.
JULIO
Yeah? You some kind of magician?
MICHAEL
Something like that. Look, there's
a girl who's dying. I need you to
come with me...you can save her
life. And I can save yours.
JULIO
What you think I am, some kind of
doctor? No way, man, I'm not moving
from here until the heat settles.
The comlink buzzes, then we hear K.I.T.T.'s voice.
K.I.T.T. (V.O.)
Michael, I'm picking up the approach
of two vans from the Lanark area.
JULIO
Who's that?
MICHAEL
A friend outside.
JULIO
Lanark area...that's Conquerors'
territory.
We can hear Julio leave the other booth. Michael immediately
steps out of the confessional.
INT. CHURCH - OUTSIDE CONFESSIONAL
as Michael and Julio confront each other. Julio is tall,
around twenty, with a lean and strong build. The moment is
tense. Michael notes the rest of the gang as Santos comes
from the door.
SANTOS
The Conquerors are outside, man!
The others react.
MICHAEL
They just want you, Julio. Why risk
the others?
Terri runs up to Julio. She is afraid.
TERRI
Julio, please...listen to him. We've
got plans, right? They're no good
when you're dead.
JULIO
(to Michael)
What have you got, a tank?
SANTOS
It's close man.
Julio looks at Santos, then at the pleading Terri, then:
JULIO
Okay...I'll go with you. But just
to cool out this place.
MICHAEL
(on comlink)
Kitt, pick us up in the alley!
As Michael and Julio hurry out a side door.
EXT. CHURCH ALLEY - DAY
as they run down the steps. K.I.T.T. drives up and pops
his doors. Julio reacts. He and Michael get in.
INT. K.I.T.T.
as Michael settles, looks off, reacts.
MICHAEL
Company.
Julio follows his look.
THEIR POINT OF VIEW - THE ALLEY
is blocked by a van. Intercut Michael reacting to a second
van at the opposite end.
NEW ANGLE
The vans fire up, start to converge on K.I.T.T.
INT. K.I.T.T.
MICHAEL
Kitt, do we have room to turbo?
K.I.T.T.
Negative, Michael...there's not
enough distance.
JULIO
Hey, what's going on?
We can see through the windows as the vans move toward
K.I.T.T.
JULIO
I thought you said you could get me
out of here!
Michael reacts.
EXTERIOR - SHOT
as the vans close in.
FREEZE FRAME
AND
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
EXT. CHURCH ALLEY - HIGH ANGLE - DAY
As we see the two vans moving in on K.I.T.T.
INT. K.I.T.T. - DAY
MICHAEL
Kitt, what about a double turbo?
One to pop the angle, and the other
to clear the vans?
K.I.T.T.
I've never tried it before.
MICHAEL
That's what it's all about, pal....
With that, Michael hits the turbo button. Julio grabs hold
of the dash as they are both shot back against their seats.
EXT. K.I.T.T. - STREET - DAY
as the Trans Am rears up on two back wheels.
INT. K.I.T.T. - FAVORING CONTROL PANEL
as Michael hits the turbo boost button a second time.
EXT. STREET - FULL - SLOW MOTION
Still propped up on two back wheels, the Trans Am shoots up
and over the vans, just missing the tops by inches.
RIC, TONY AND CONQUERORS
as they watch in disbelief.
OMITTED
STREET - OTHER SIDE OF VANS
The Trans Am lands, then speeds away. The Conquerors pull
out in their vans, to chase after K.I.T.T.
ANOTHER ANGLE - STREET
as we see K.I.T.T. roaring away at incredible speed, leaving
the vans far behind them.
K.I.T.T. - DAY - RUN THRU
INT. K.I.T.T. - DAY
as they continue down an open road.
MICHAEL
(to Julio)
You okay?
JULIO
I gotta admit, I'm impressed, man,
I've heard of lifters....
Lights flash on the monitor.
K.I.T.T.
We've lost them, Michael.
MICHAEL
All right!
JULIO
What is this, you got some guy back
at the shop you talk to?
MICHAEL
No. A computer right here. Julio,
meet Kitt. He's part of the family.
K.I.T.T.
Thank you, Michael.
Julio reacts; then:
JULIO
What happens now?
MICHAEL
I told you. There's a sick little
girl, who needs your help.
JULIO
Why me?
MICHAEL
Because you're compatible.
JULIO
What?
MICHAEL
You're a good donor.
JULIO
You mean like blood?
MICHAEL
Yeah, more or less.
JULIO
I don't know....
MICHAEL
You got something better to do?
Julio glances out the rear window.
JULIO
Not right now.
MICHAEL
Okay.
(to K.I.T.T.)
I think Devon would like some good
news, Kitt.
K.I.T.T.
With pleasure, Michael.
INT. HOSPITAL - WAITING ROOM - DAY
as a nurse answers the phone and motions to Devon, who's
waiting with April. He crosses, takes the receiver.
DEVON
Thank you.
(into phone)
Yes? Michael that's absolutely
wonderful news. Congratulations.
I knew you could do it. I'll tell
the others.
Devon hangs up the phone and turns to April who takes in
his smile.
APRIL
He's found the donor.
DEVON
Yes, and he's bringing him to the
hospital. There still is the small
matter of convincing him to do it.
APRIL
I believe we can. I'm beginning to
believe a lot of things again.
She turns and starts up the corridor.
INT. BECKY'S ROOM - DAY
Becky is reading a story out of a book...aloud. Her mother,
Laura, is fast asleep in a chair by her night stand. April
comes into the room.
APRIL
Becky?
BECKY
Shhh. I finally got her to sleep.
Mom's been more nervous than my
substitute teacher.
April smiles at the sight of Laura asleep. She takes a
spare blanket from the foot of Becky's bed and puts it over
her legs, then sits down on the bed next to Becky.
APRIL
What are you reading?
BECKY
Fredrick the Frog. It's about this
frog who has no friends except for
his reflection in the pond. I read
it before.
(then)
When are Michael and Kitt coming
back?
APRIL
Real soon...and they're bringing the
man who's going to help you get
better. Isn't that great?
BECKY
(quiet)
Sometimes I feel like I'll never
get better. Sometimes I get so
tired, like I stayed up past my
bedtime...and it's only afternoon.
April strokes her hair.
APRIL
There are so many people who love
you, and care about you, you're
bound to get better. Like your
mother and me, and Mr. Miles,
and Michael....
BECKY
...and Kitt!
APRIL
And Kitt. With all that love,
nothing can go wrong.
She gives Becky a reassuring smile. Becky smiles back,
gives her a hug.
EXT. HIGHWAY - DAY - CLOSE ON VAN
as we can see Ric driving the van down the deserted
highway at high speed. Tony is next to him, looking
out the window. The second van follows.
INT. VAN - DAY
as Tony glances at Ric.
TONY
Sooner or later they've got to stop
for gas or something. We'll find
'em.
RIC
We better. After all the trouble we
went to catching our little 'prize.'
It would be a shame if Julio didn't
get to see it.
Suddenly the CB crackles to life.
CB VOICE
Swordfish to Ramrod. You read me?
Ric lifts the mike and responds.
RIC
I read you. Go ahead.
CB VOICE
Ric...hey...uh...listen.
RIC
Come on, man. What is it?
CB VOICE
It's Jimmy.
TONY
What about him?
CB VOICE
He didn't make it.
Tony slams his fist against the dash.
TONY
No...no!
RIC
Come on...that's not going to get us
anywhere.
TONY
I'll tell you what'll get us somewhere
when we find them. Her.
He indicates the back of the van.
ANGLE - BACK OF VAN
as we see two other Conquerors crouched in the back.
Between them we can see another figure...Terri, her eyes
full of terror.
EXT. HIGHWAY - NEAR WOODED AREA - DAY
as we see K.I.T.T. traveling down the road. Overhead we
can see the beginnings of storm clouds churning up the blue
sky.
INT. K.I.T.T. - DAY
Julio has relaxed somewhat. He looks around the seat, and
comes up with a small bag. He looks in and pulls out a
piece of licorice.
MICHAEL
Go ahead. I bought it for Santos.
Julio doesn't understand, but he takes a bite of the
licorice and chews it hungrily. A moment, then:
MICHAEL
You want to tell me about the
shooting?
JULIO
What's to tell? You heat up, get a
little fried, you're nervous, you've
got all this energy see, and no
place to put it.
MICHAEL
What was the beef?
JULIO
We were on their turf, man. That's
enough. I was out front. We heard
the cops. I started running, and
this dude Jimmy stuck me from behind.
Next thing I knew I heard a pop,
turned around and he was down.
MICHAEL
So because he knifed you, everyone
thinks you shot him?
JULIO
When someone 'buys it' on the street
you got to put the finger somewhere.
Otherwise you got no place to put
the anger.
MICHAEL
Why not put it on the truth?
JULIO
You make up the truth out there,
just like you make up the justice.
MICHAEL
Right. And look where it got you.
Julio throws the bag down, then:
JULIO
Ahhh, what am I doing here? I don't
even like licorice.
EXT. RURAL HIGHWAY - DAY - ON K.I.T.T.
The Trans Am's full-tilt cruise is slowed as:
K.I.T.T. (V.O.)
Michael, we have a problem. There's
a roadblock up ahead.
INT. TRANS AM - DAY
Julio gets edgy. Michael tries to calm him.
JULIO
Cops. I knew it. Let me out of
here.
MICHAEL
Stay cool. They don't want you.
EXT. ROADBLOCK - DAY
Several cars are lined up as a Highway Patrol officer waves
them onto a detour. We see K.I.T.T. drive up to the end of
the line. Michael exits and walks up to the Trooper.
MICHAEL
What's the trouble?
TROOPER
Road's washed out up ahead, from the
storm. We're rerouting all traffic
west of here.
Michael is concerned.
INT. TRANS AM - DAY
Julio fidgets uncomfortably.
JULIO
What's taking so long?
K.I.T.T.
He's only been gone forty seconds.
JULIO
Yeah, well, listen. I've got to
stretch my legs.
K.I.T.T.
I don't think that's a very good
idea.
Julio hesitates, glances at the dash, punches the "roof"
button. The roof pops open. Julio scrambles out.
K.I.T.T.
Michael...!
EXT. TRANS AM - DAY
Julio bolts directly into the thick woods nearby.
EXT. ROADBLOCK - DAY
Michael is still with the cop.
TROOPER
...Look, everybody's got important
business or an emergency, or something.
I can't let you through this road.
MICHAEL
Thanks anyway.
Suddenly the comlink buzzes. Michael answers as he heads
back toward the car.
MICHAEL
Yeah, Kitt?
K.I.T.T.
Michael, I'm afraid I've let Julio
escape.
Michael runs to the car, gets in, pitches a 180 and heads
off down the road.
INT. TRANS AM - DAY
K.I.T.T.
Michael, I feel just awful.
MICHAEL
What's done is done, Kitt. Let's
just get him back.
EXT. DENSE WOODS - DAY
Julio races through the trees, chest heaving, heart
pounding. He runs roughly parallel to the road but
well concealed. A branch rips at his shirt.
INSERT - K.I.T.T.'S DASH
The scanner monitor shows a ripple area for the woods, with
a small blip moving. It's Julio.
INT. TRANS AM - DAY
Michael reacts to the scan.
MICHAEL
There he is, Kitt.
Suddenly there's a crack of thunder. We hear static coming
from the dash. The monitor picture fades, comes back, then
breaks up in static and snow.
K.I.T.T.
Michael, I lost him. I'm encountering
interference from this storm.
MICHAEL
(slams the
steering wheel)
We've come too close to blow this now.
EXT. HIGHWAY - DAY
The two Conquerors vans loom out of the gathering dusk.
They're cruising slowly, obviously on "full alert."
EXT. HOSPITAL - NIGHT - ESTABLISHING - STOCK
Darkness has fallen.
INT. HOSPITAL WAITING ROOM - NIGHT
Devon brings two cups of coffee to the spot where April,
who sits slumped on a chair. She takes one gratefully.
APRIL
Did you reach Michael?
DEVON
We're not raising anything on Kitt's
main frequency. It seems there's
a heavy electrical storm between
here and Cedar City. They could
walk in here any minute.
APRIL
God, I hope so.
Laura comes out of Becky's room to join them.
DEVON
How is she?
LAURA
Resting. April, her breathing is so
shallow. And she's pale. Any word?
APRIL
Nothing new.
DEVON
(reaching)
They say no news is good news.
LAURA
'They' say a lot of things.
Devon places a hand on Laura's shoulder, reassuringly.
DEVON
I know. I know.
EXT. WOODS - NIGHT
Julio is half-running, half-walking through an area where
the trees are somewhat thinner. He's breathing heavily.
His shirt is torn and wet from the intermittent rain. He
stops for a moment, exhausted, then turns and makes his way
toward the road.
EXT. HIGHWAY
as Julio trudges along the shoulder. Suddenly lights of a
vehicle appear, accompanied by the roar of engines. Julio
reacts, realizes it's the Conquerors' vans just as they squeal
to a stop. He tries to run but is tackled immediately by
two of the gang members and pulled roughly to his feet, his
arms pinioned to his sides. Ric walks into the area
illuminated by the vans' headlights.
RIC
So. Looks like our little chicken
has come home to roost. Toss him in
back with his chiquita, guys.
Julio reacts, glares hatred at his opposite number.
EXT. HIGHWAY - ON K.I.T.T. - NIGHT
moving slowly along the side of the road, still searching
for Julio. The car glides to a stop.
INT. TRANS AM - NIGHT
Michael rubs his forehead for a moment. He's exhausted.
MICHAEL
I'm going blind staring out into the
trees, Kitt. I think I see him
everywhere.
K.I.T.T.
I still can't get a good view of the
area, Michael. And my energy cells
are depleting.
MICHAEL
See if you can raise Devon.
A new graphic on the monitor tells us K.I.T.T.'s trying.
Nothing but the crackle of static as thunder booms and
lightning flashes.
MICHAEL
We're alone out here.
K.I.T.T.
Michael, I'm getting something. Look!
Graphics reveal a "snowy" view of several unidentifiable
shapes.
K.I.T.T.
Two vehicles approaching a large
structure point six miles east.
MICHAEL
Go for it, Kitt. It's our only shot.
EXT. ROAD - NIGHT
K.I.T.T. spins off the main drag onto a dirt road.
EXT. BARN - NIGHT
The Conquerors' vans park outside. The gang climbs out,
taking Julio and Terri inside.
INT. BARN - NIGHT
as they enter the deserted barn. Someone lights an old
kerosene lamp. Julio's arms are pulled up painfully behind
him as he's tied to a chair. Terri is restrained by a
Conqueror as she looks on in horror.
EXT. ROAD - NIGHT - ON K.I.T.T.
The Trans Am stops just within sight of the barn.
K.I.T.T.
There it is, Michael. And there are
those vans.
MICHAEL'S POINT OF VIEW - THE BARN
We see the flickering light and some shadowy movement
inside.
INT. TRANS AM - NIGHT
Michael's wheels are turning.
K.I.T.T.
Michael, there are seven of them.
Four are armed.
MICHAEL
Not very good odds.
K.I.T.T.
I agree. The odds are terrible.
MICHAEL
(smiles)
I mean they don't have a chance.
Here's the plan.
INT. BARN - NIGHT
Ric finishes dumping the last of a can of kerosene around
the old barn and throws the can aside with a bang. He
turns to Julio.
RIC
Only good thing for me in all this.
It's gonna hurt you a lot more than it
hurt Jimmy.
Suddenly a blaze of lights seem to glare into the barn from
all directions, through the rickety walls, windows, and
lofts. Noises come from all sides at once. It sounds like
the seventh cavalry is outside. Tires squeal, doors slam,
voices are heard. The gang reacts, startled and alarmed.
K.I.T.T.
(bullhorn
filtered)
You in there. Throw out your weapons
and come out with your hands raised
high.
EXT. BARN AREA - NIGHT
K.I.T.T. is racing all around the barn, screeching his tires
and revving his engine. Powerful searchlights glare into
the barn, first red, then white, then both. Headlights
blink, doors open and slam shut. It's quite a display.
K.I.T.T.
(over
bullhorn)
You have thirty seconds. This is
the police.
ANGLE ON MICHAEL
He's pressed tight against the main barn door, illumined
by the flashing lights of the Trans Am, which continues
blaring in the b.g. As he waits to see if his ruse will
work, we:
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
EXT. BARN - NIGHT
K.I.T.T. continues his charade as Michael flattens himself
beside the door, waiting tensely.
INT. BARN
The Conquerors react to K.I.T.T.'s display, his light still
flashing from O.S., his voice still audible.
K.I.T.T. (O.S.)
You're completely surrounded! Throw
out your weapons and come out with
your hands up!
TONY
Sounds like an army out there!
RIC
We got a better army in here!
TONY
You crazy? Those are cops!
EXT. BARN - ANGLE ON DOOR
For a moment, there is no movement. Then, slowly, the huge
door creaks open. A hand reaches out and throws a pistol
out on the ground. In a moment, Avenger #1 steps out and
into the headlights' blinding glare. He freezes, hands in
the air. Michael pciks up the gun, trains it on the
Avenger.
MICHAEL
Be cool.
K.I.T.T.
All right, men! Hold your fire!!
Now, the second Avenger repeats the same action. After a
moment, Tony throws out his gun, exits the barn, and joins
the other two.
MICHAEL
Let's go, people! Everybody out of
there! Move it!!
CLOSEUP - BARN DOOR
For a moment, nothing happens. Then, slowly, Ric begins to
emerge, at first, apparently alone. After a moment, however,
he moves out into full view. His right hand grips the arm
of a terrified Terri. His left holds a pistol pressed firmly
into her side.
ANGLE ON MICHAEL
His face acknowledges his surprise. It's a standoff.
RIC
(blinded by
headlights)
Okay, big shot -- call off the army.
TONY
(moving out
of light,
looking
around)
There's no army, Ric. It's one guy!
MICHAEL
Just a little floor show for your
benefit.
RIC
Get rid of the gun, funny man.
MICHAEL
Not until we talk.
RIC
Stick the talk! You keep the gun --
I shoot the girl!
K.I.T.T.
Michael, his pulse rate and Adrenalin
flow indicate a highly agitated state.
I suggest you comply!
RIC
Who's that?
CONQUEROR
His car!
MICHAEL
(hesitates,
then drops
the gun)
You gonna hide behind the girl, or
get it on like a man?!
RIC
The man's the one with the hardware,
sucker!
Thunder and lightning explode all around them.
RIC
Everybody back inside.
They retrieve their guns and move in.
INT. BARN
as Michael enters, with Ric covering him and Terri. She
moves to Julio. Michael and he exchange a look. There's
O.S. thunder and rain through:
RIC
All right, nobody has anything else
to say, let's get to it.
Terri clings to Julio, frightened.
TONY
The girl, too?
RIC
What do you think?
MICHAEL
I've got something to say. What you
do to each other is one thing, but
if you kill them you'll have to kill
me. And there's a whole lot of
trouble backing me up.
CONQUEROR
We don't even know who he is.
RIC
What difference does it make?
MICHAEL
I'm with the Foundation for Law and
Government.
RIC
So?
MICHAEL
We're in business to put people like
you out of business.
TONY
Is that what you had to say?
MICHAEL
No...What if Julio didn't do it?
RIC
What are you talking about? He shot
Jimmy in the back!
MICHAEL
How could Julio have shot Jimmy in
the back if he was being chased by
him?
RIC
Who says he was being chased?
TONY
There were no witnesses....
MICHAEL
But Ric says Jimmy was shot in the
back. How could he know that...?
What if Julio's telling the truth,
and somebody else killed Jimmy?
TONY
Like who?
CONQUEROR
Any one of Los Vengadors....
MICHAEL
They were on your turf....
TONY
So....
MICHAEL
So maybe it wasn't one of 'the
brothers' at all.
RIC
Come on, let's get this over with!
MICHAEL
We're in no rush. You in a rush
Julio?
JULIO
No.
MICHAEL
Terri?
TERRI
No.
MICHAEL
See, no rush...So what's yours, man?
RIC
(hesitates)
No rush.
MICHAEL
You run things now that Jimmy's gone?
RIC
Yeah, I was his second.
TONY
(thoughtful)
You never liked that much....
RIC
What are you sayin'! That I wasted
your 'big shot' brother?!
TONY
Big shot. Jimmy wasn't no 'big
shot' -- except maybe to you.
RIC
You're nuts, man!
MICHAEL
(to the group)
You figured it was an enemy who shot
Jimmy -- but the most dangerous
enemy can be someone you trust.
Tony makes a move on Ric, who turns his gun on him.
Michael grabs Ric. They struggle and finally Michael
wrestles the gun from Ric.
CONQUEROR
He would've blown you away....
MICHAEL
Just like he did Jimmy.
Tony motions to the Conquerors who have been guarding Julio
and Terri. They hesitate, move away to join him.
TONY
(to Ric)
We're gonna kill you, man.
MICHAEL
No. I'm going to turn him over to
the police.
He has the gun, but there are several of them.
MICHAEL
It can end right here -- if you let it.
They eyeball each other, then:
TONY
Okay.
MICHAEL
Let's go, Julio.
JULIO
What about Terri?
Michael hesitates.
MICHAEL
(to Tony)
Would you see the lady home?
TONY
(sincere)
Yeah...
(to Julio)
She'll be all right. Don't worry.
Terri hesitates, looks from Julio to Tony.
TERRI
(to Julio)
I'll be all right.
EXT. ROADBLOCK - DAWN
The rain has stopped. There is fog. In the b.g. the
barriers are still up, police in evidence. Michael is
turning Ric over to the police MOS. In the f.g., K.I.T.T.
is parked with Julio in the passenger seat.
INT. K.I.T.T.
as Julio watches the O.S. proceedings, edgy again, eyes the
woods.
K.I.T.T.
I don't think so.
JULIO
(startled)
Huh?
K.I.T.T.
Not this time.
JULIO
What are you talking about?
K.I.T.T.
You know very well. Your treacherous
behavior earlier.
JULIO
Man, this is crazy, talking to a car!
K.I.T.T.
Remember, Michael saved your life.
You owe him.
NEW ANGLE
as Michael approaches K.I.T.T., climbs in.
MICHAEL
Everything okay?
K.I.T.T.
Perfect. You?
MICHAEL
Yep. Once I identified myself, the
boys in blue were very grateful.
How's our time, Kitt?
K.I.T.T.
Running out, Michael. Unlike Julio,
who's staying right here. Am I
correct...
No answer.
K.I.T.T.
...Julio?
JULIO
Yeah, yeah. Okay.
MICHAEL
Good.
He starts the car.
FULL SHOT
as they drive away.
EXT. HIGHWAY - DAY
as the Trans Am races toward the hospital, carrying a
grudging Julio. There is fog.
INT. TRANS AM - DAY
MICHAEL
You're doing the right thing. You
know that, don't you?
JULIO
I know you got some good moves.
Gettin' me off like you did.
MICHAEL
The truth got you off, Julio. It
just needed somebody to tell it.
JULIO
(wanting to
believe him)
You think the cops'll believe me?
MICHAEL
We'll talk to them together. After
we take care of Becky.
JULIO
That her name? Becky?
MICHAEL
Yeah. She's ten...and beautiful...
and scared.
JULIO
Yeah, well I never had no transplant.
They gonna take anything I need?
MICHAEL
Nothing you can't make more of.
JULIO
Like some kind of factory.
(beat)
Will it hurt?
MICHAEL
Probably. And from what I hear,
there's always some risk. But the
procedure isn't considered life-
threatening.
JULIO
Oh, good. I get to live.
MICHAEL
You scared?
Julio just looks at him. The silence is interrupted by
K.I.T.T.'s dashboard going haywire.
MICHAEL
What is it, Kitt?
K.I.T.T.
Atmospheric interference again --
that electrical storm. I'm afraid
I'm losing power again.
A flashing red light illuminates the scanner. Michael pulls
to a stop.
MICHAEL
What are you picking up?
K.I.T.T.
The road ahead. It registers
'impassable.'
MICHAEL
Any secondaries?
K.I.T.T.
One. On the other side of the river.
MICHAEL
Let's go for it.
K.I.T.T.
Negative. The bridge is washed out.
MICHAEL
What about turbo boost?
K.I.T.T.
I'm afraid that's out of the question.
Even under normal circumstances the
distance is too great. And without
all our systems operational, we'll
just be in over our heads. Quite
literally.
JULIO
Great. I get away from the Conquerors
and buy it in a car accident!
MICHAEL
Kitt -- scan the area. There's got
to be another way!
K.I.T.T. attempts to scan, but each time the signal breaks
up. The fog settles in around the Trans Am.
K.I.T.T.
I'm afraid it's hopeless, Michael.
MICHAEL
No way. Not this close to the
finish line.
The scan screen momentarily blips into activity and presents
a clear graphic.
K.I.T.T.
Wait a minute, Michael. Over there.
Lower right quadrant...those two
parallel lines disappearing into the
distance?!
MICHAEL
Tracks! They're train tracks!
K.I.T.T.
Exactly.
MICHAEL
(relieved)
I always wanted to ride the rails in
style.
Michael downshifts and heads for the ever-weakening blip on
the screen.
EXT. HIGHWAY - DAY - ANGLE ON TRANS AM
Michael jockeys the Trans Am through the fog and over some
treacherous terrain, with only the fading blip on the
screen for guidance.
INT. TRANS AM - DAY
JULIO
(white-knuckled)
You're crazy, you know that?!
MICHAEL
Hold on! This is an 'E' ticket ride!
He hits turbo.
NEW ANGLE
The Trans Am miniturbos up onto the tracks, just as the
scan screen goes blank for the last time. As it proceeds
down the tracks:
INT. K.I.T.T.
K.I.T.T.
Very nice, Michael, very nice.
MICHAEL
I couldn't have done it without you.
JULIO
You're both crazy!
A clap of thunder and slash of lightning cut through the
fog.
K.I.T.T.
Michael -- I don't like the sound of
that.
MICHAEL
Let's go for it, pal!
He floors it.
OMITTED
ANGLE ON K.I.T.T.
barreling down the tracks.
INT. HOSPITAL WAITING ROOM - DAY
April and Devon are there, looking tired, drained, even a
little disheveled. April is dozing. Devon moves to a
coffee machine, fishes for some coins, inserts them, pushes
buttons. Nothing. He tries again, then slams his hand
against the machine in frustration, waking April. He
notices.
DEVON
Sorry.
APRIL
It's all right...What time is it?
DEVON
Still early. Can I get you something?
This devilish machine's no good,
but....
APRIL
I'm fine, thanks. No word from
Michael?
DEVON
He'll be here.
He moves back to her.
DEVON
(continuing)
If it's humanly possible, he'll be
here.
APRIL
I know....
She looks up as Laura approaches, looking worn. They move
to her.
LAURA
She's so still now, as if it's
already over.
APRIL
Well it's not over. And it won't
be!
DEVON
Becky's a fighter, Laura. She won't
ever give up, and we mustn't either.
LAURA
I'm sorry. I'm just...so tired.
And Doctor Kiley says....
They put arms around her. Then, Devon reacts as:
ANOTHER ANGLE
Michael comes in, apparently alone. They react. But a few
steps behind is Julio.
LAURA
Thank God.
April holds her as Devon crosses to Michael and Julio.
MICHAEL
Julio, this is Devon Miles. Julio
Rodriquez.
Julio is increasingly aware of the hospital activity around
them -- a gurney with a patient, an IV stand, and X-ray
unit being wheeled through.
DEVON
I'm very happy you're here. Let me
introduce Becky's mother and aunt....
He starts to lead Julio to April and Laura, who's trying to
collect herself. Julio pulls back.
JULIO
(suddenly)
No! I can't do it.
MICHAEL
(low and tense)
What are you talking about?
He draws him away from the women. Devon goes to Laura and
April to reassure them.
JULIO
You made me come here.
MICHAEL
I saved your neck!
JULIO
Just 'cause you're crazy doesn't
mean I am.
MICHAEL
(a beat)
Tell you what, man...You're gonna
cop out on that little girl, you
tell her!
INT. BECKY'S HOSPITAL ROOM - DAY
Michael "ushers" Julio into the room, stands by the door.
ANGLE ON BECKY
She is gravely ill, wan, and exhausted. She can barely
speak. Julio sees the little girl. Hesitantly, he inches
toward her.
BECKY
Are you the one who's going to help
me?
JULIO
(quietly)
Not exactly.
He turns away, but there stands Michael. Immovable. Grim.
BECKY
(to Julio)
You must be pretty scared.
Julio tries not to make eye contact with her.
JULIO
Uh -- uh....
BECKY
I am. But now that you're here, I
feel better. Maybe...we can be
scared together.
She reaches for his hand.
CLOSE ON JULIO
reacting. He hesitates, touches the small hand.
CLOSE ON MICHAEL
reacting to the two.
INT. HOSPITAL CORRIDOR - DAY
Just outside Becky's room, Michael and Julio come out, stop.
Michael is carefully avoiding any signs of sentimentality.
JULIO
Bet you wouldn't get none of the
Conquerors to do this.
MICHAEL
Bet you wouldn't.
JULIO
Lemme ask you something.
MICHAEL
Anything you want.
JULIO
If this is such a great thing I'm
doin', how come I don't feel better
doin' it?
MICHAEL
(smiling;
to Julio)
You will.
FADE OUT
END OF ACT FOUR
TAG
FADE IN
EXT. HOSPITAL - DAY
K.I.T.T. is parked, scanner flashing.
INT. WAITING ROOM AREA
Devon and April are waiting for someone, they react as
Laura approaches, wheeling Becky, who is pale, but looks
much better. April and Devon move to them.
APRIL
Hey, this is quite an occasion,
pumpkin. Your first day out in
public!
DEVON
And I must say, you look smashing!
BECKY
(to Laura)
Is that good, Mom?
LAURA
The best!
Michael approaches, wheeling Julio up to Becky.
BECKY
Hi, Michael.
MICHAEL
Hello, sweetheart.
BECKY
(to Julio)
Hi....
JULIO
Hi!
BECKY
I haven't had a chance to say thank
you.
JULIO
Hey, no big deal. It's okay.
LAURA
We all thank you, very much.
She leans to kiss him on the cheek. He's embarrassed.
JULIO
Okay...okay.
(softening)
You're welcome.
MICHAEL
Got a surprise for you, Becky.
He takes her chair from Laura, wheels her to a window,
"parks" her sideways.
MICHAEL
Take a look.
She raises herself slightly to look down. Michael whispers
into his comlink.
MICHAEL
(into comlink)
Now, pal.
EXT. HOSPITAL - K.I.T.T.
He activates, makes a U-turn, pulling up right below
Becky's window.
K.I.T.T.
Hello, Becky. I'm so glad to see
you.
INTERCUT - BECKY
with Michael beside her.
BECKY
(into comlink)
Me, too.
K.I.T.T.
Can we go for a ride soon?
MICHAEL
The doctor says any day now, Kitt.
K.I.T.T.
Wonderful! That makes me very happy.
ANGLE - DEVON AND APRIL
with Julio and Laura, watching Becky.
ANGLE ON MICHAEL
MICHAEL
Show her how happy that makes you,
Kitt.
BECKY'S POINT OF VIEW - DOWN SHOT - K.I.T.T.
as he opens and closes his T-top briskly.
CLOSE ON BECKY
laughing with delight.
FREEZE FRAME
AND
FADE OUT
THE END
