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. She's on an IV, has a
cannula in her nose and is coughing slightly. 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
Mom, 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, she's conscious
and alert, her temperature's elevated.
We've drawn blood for cross match. Have
three units 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. She got sick on
vacation and the medicine they gave
her isn't working.
.
APRIL
(upset)
It was their first vacation in....
MICHAEL
Hey, 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 died, Becky's been
her whole life....
MICHAEL
Take it easy, April. 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 hurries to her
sister, and embraces her warmly. Michael lingers with
Devon for a moment.
MICHAEL
How's she doing?
DEVON
Not too well, I'm afraid.
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 pneumonia. Somebody prescribed
an antibiotic without knowing her
history of aplastic anemia, and it's
wiping out her white cells and bone
marrow. Right now she couldn't even
fight off a common cold.
DEVON
Which means what, exactly?
DR. KILEY
There could be other complications.
In thirty-six to forty-eight hours
we might have to do a marrow trans-
plant.
LAURA
(recoiling)
Transplant?!
DR. KILEY
It's always been an option. But,
I'm afraid that this time, there may
be no alternative.
LAURA
(desperate)
Then let me be the donor.
DR. KILEY
Mrs. Phillips, the records indicate
that Becky was adopted.
MICHAEL
What about one of us?
DR. KILEY
We'll do tissue typing on all of
you. Meanwhile, we're trying for a
computer match-up. It's a compli-
cated 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 cannula and IV
are still in evidence as is monitoring equipment.
The door swings ajar and Michael and April enter.
APRIL
Hi, sweetheart.
BECKY
Aunt April! Michael! Hi!
She still has a slight cough.
BECKY
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.
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, concerned, turns back
to Becky with a forced smile.
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
condition?
EXT. HOSPITAL PARKING LOT - DAY
Michael is just reaching K.I.T.T.'s parking space. He
carries hospital records.
K.I.T.T.
Michael, I wish there were something
I could do.
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.
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 synthesized voice of
Interstate Research and Medical
Assistance. Welcome to I.R.M.A.
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 tissue typing data now.
A pause.
I.R.M.A.
Receiving data. Check sums correct.
Accessing data files: bone marrow
transplant. Scanning data for donor
type match. Standby for data transfer.
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. She's a rare tissue
type. But 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, but
there's no phone listed.
LAURA
What can we do?
MICHAEL
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. We're a family, aren't we?
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, near a taco stand.
ANOTHER ANGLE
as Michael exits the Trans Am and surveys the street.
Sweeping nearby is the proprietor of the stand. Michael
decides he looks like the best bet.
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
He's from this neighborhood, isn't he?
SHOPKEEPER
Neighborhood? It used to be a
neighborhood.
MICHAEL
You been here long?
SHOPKEEPER
Long enough. Look, I'm busy, mister.
MICHAEL
A little girl's life is at stake.
SHOPKEEPER
(hesitates;
then)
I knew Julio -- when he was little.
I knew his people...I don't know him
anymore. He's with a gang. Los
Vengadores. Last week they fought
with the Conquerors from the south
side. Julio was knifed, and their
leader went to the hospital with a
bullet in him. He could die.
MICHAEL
Did Julio shoot him?
The man reacts slightly as two low riders pull up with
several Vengadores, including Santos in a gang jacket. He
moves away from Michael, who follows him.
ANGLE ON LOS VENGADORS
The young toughs get out of their cars. They notice
Michael.
SANTOS
He doesn't look like a cop to me.
Maybe he's a Conqueror.
Santos sees the Trans Am, starts toward K.I.T.T. The others
follow. They begin checking it out, try the doors, hood,
windows. One examines the hubcaps.
RESUME ON MICHAEL
His attention on the Shopkeeper.
MICHAEL
Where can I find Julio.
SHOPKEEPER
(clamming up)
I don't know him. 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 transportation.
OMITTED
ON MICHAEL
His brows narrow as he addresses K.I.T.T. via comlink.
MICHAEL
Kitt, let's 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.
K.I.T.T.
Con su permiso.
The gang look at each other in confusion 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
OMITTED
EXT. HOSPITAL - TO ESTABLISH
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 next to the bed with Becky, playing
checkers. She's about the same as before. He throws
up his hands in "mock" surrender.
DEVON
I give up. It's 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.
The phone rings, and Devon answers it.
INT. K.I.T.T. - DAY - TRAVELING
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.
(then to
Michael)
How are things going?
MICHAEL
Not good. The address was a phony.
The donor turns out to be a guy who's
wanted for shooting 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. 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.
K.I.T.T.
Hello, Becky.
BECKY
(lighting up)
Kitt!
(then, almost
as a secret)
Your lesson in checkers paid off.
Devon 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.
We lose intercut.
OMITTED
EXT. CEDAR CITY STREET - DAY
as K.I.T.T. drives down the street. We see Santo's car
some length behind him.
INT. K.I.T.T.
K.I.T.T.
Michael, there's a car following us.
Shall we lose it?
MICHAEL
Whoever it is must be as interested
in Julio as we are.
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 unlocked 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 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
Get stuffed, man.
MICHAEL
I think what you're really interested
in is looking out for Julio Rodriquez.
SANTOS
I don't know him.
MICHAEL
He's a Vengador, isn't he? Turn here,
Kitt.
Santos reacts -- Who's K.I.T.T.?
EXT. INTERSECTION
as K.I.T.T. makes a turn, heads over a bridge.
INT. K.I.T.T.
SANTOS
Where we goin'?
MICHAEL
Thought we'd take a scenic drive
through 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 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. Ahead, several
Conquerors including Ric and Tony are working on their
vans.
INT. K.I.T.T. - ON SANTOS
He tries to slump down.
MICHAEL
This looks good, Kitt.
EXT. CURBSIDE
The Trans Am stops by the curb and the driver's door is
popped open. Ric, Tony and the other Conquerors spot
Santos. He reacts, tries to close the door. No go.
INT. K.I.T.T.
SANTOS
They saw me man, get me outta here!
MICHAEL
I need five minutes of Julio's time.
Just to talk.
SANTOS
Close the door, they'll rip me apart!
MICHAEL
Where's Julio?
Santos looks out again as the Conquerors approach. He tries
the door one more time. It's as if the panel is welded
open. Then, quickly:
SANTOS
Okay...okay....
NEW ANGLE
as the Conquerors get closer to K.I.T.T.
SANTOS
...I'll take you to Julio. But 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 the 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, and you're
fresh out of choices.
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 do 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...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 moves 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. This is the only
way....
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.
ANGLE - K.I.T.T.
starts up, tears out.
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 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 U-turn
their vans, to chase after K.I.T.T.
ANOTHER ANGLE - STREET
as we see K.I.T.T. roaring away, leaving the vans far behind
them.
K.I.T.T. - DAY - RUN THRU
INT. K.I.T.T. - DAY
as they continue on.
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
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.)
Get me Devon, 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.
NURSE
Mr. Miles....
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's still the small
matter of convincing him to do it,
but I believe he can.
APRIL
I'm beginning to believe a lot of
things again.
INT. BECKY'S ROOM - DAY
Becky is asleep. She's now in an oxygen tent. Her mother,
Laura, is dozing in a chair, a children's book open in her
lap. April comes into the room, reacts, shakes her sister
gently.
APRIL
Laura...hey, sis....
LAURA
(waking)
I finally got her to sleep....
APRIL
You, too...What were you reading?
LAURA
Fredrick the Frog.
APRIL
About the frog who has no friends
except for his reflection in the
pond? I remember.
(then)
Come outside for a minute.
Laura glances at Becky and they exit.
INT. CORRIDOR AT BECKY'S DOOR
as April and Laura come out, Laura still clutching the book.
APRIL
Michael's bringing the donor.
LAURA
Thank God.
She struggles to control her emotions.
LAURA
(continuing)
Before she fell asleep she said
sometimes she feels like she'll
never get better. Sometimes she
gets so tired, like she stayed up
past her bedtime, and it's only
afternoon....
April hugs her close.
APRIL
There are so many people who love
Becky and care about her. She's
bound to get better.
LAURA
You're right, April. With all that
love, nothing can go wrong.
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'd be a shame if Julio didn't get
to see it.
Suddenly the CB crackles to life.
CB VOICE (CONQUEROR)
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 replaces the mike.
RIC
Come on...that's not gonna get us
anywhere.
TONY
What do you care, man? He was my
brother!
RIC
I'll tell you what'll get us some-
where, 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.
EXTERIOR - SKY - STOCK
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. I'll talk to them.
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.
EXT. K.I.T.T.
as Santos' car pulls up beside him. Julio reacts.
CLOSER ANGLE
Santos leans toward Julio.
SANTOS
Hey, man, they got Terri!
Julio reacts, glances at the dash, punches the "roof"
button.
K.I.T.T.
Michael...!
INTERCUT - SANTOS
JULIO
scrambles out through the open roof, climbs over K.I.T.T.
and gets into Santos' car.
EXT. TRANS AM - DAY
as Santos pulls a 180 and peels out.
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.
Suddenly the comlink buzzes.
MICHAEL
Thanks anyway.
As he heads back toward the car:
MICHAEL
(comlink)
Yeah, Kitt?
K.I.T.T.
Michael, I'm afraid I've let Julio
escape.
Michael runs to the car, gets in. A traffic jam is
developing as cars approach the roadblock, back and turn,
blocking both lanes.
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.
K.I.T.T.
I'm afraid we have another problem.
Michael glances around.
HIGH ANGLE - FULL SHOT - THE SCENE
K.I.T.T. is trapped, walled in by cars driven by frustrated
drivers.
EXT. HIGHWAY - DAY
Santos' car races through.
OMITTED
EXT. HIGHWAY - DAY
The two Conquerors vans loom out of the gathering dusk.
They're cruising slowly, obviously on "full alert."
OMITTED
ANOTHER ANGLE - SANTOS' CAR - DAY
driving in the opposite direction.
EXT. HIGHWAY - DAY
the Conquerors' vans approach from one direction, Santos'
car from the other. They squeal to a stop, some distance
between them, the vans almost blocking the road.
CLOSE ANGLE - JULIO AND SANTOS
reacting.
SANTOS
What do we do, man?
THEIR POINT OF VIEW
as the Conquerors climb out of the vans, with a struggling
Terri.
JULIO AND SANTOS
Julio reacts, angry and concerned. Then:
JULIO
You take off, man. They just want
me.
Before Santos can reply, he gets out of the car.
NEW ANGLE
The Conquerors and Terri react to Julio.
CLOSE - JULIO
at Santos' car. He glances toward Santos.
JULIO
I said, take off!
Santos hesitates, drives off, edging past the Conquerors'
vans. Julio starts to walk slowly toward the Conqeurors
and Terri.
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 takes one gratefully.
APRIL
Did you reach Michael?
DEVON
We're not raising anything on Kitt's
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. HIGHWAY - ON K.I.T.T. - NIGHT
moving along briskly.
INT. TRANS AM - NIGHT
K.I.T.T.
I still can't believe that traffic
jam, Michael.
MICHAEL
Yeah. First Times Square and now no
sign of anything, including Julio
and his sidekick.
A moment, then graphics reveal a view of several unident-
ifiable shapes.
K.I.T.T.
Michael, I'm getting something.
Two vehicles approaching a large
structure point six miles east.
MICHAEL
Let's 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.
Five 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.
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
One good thing about this. It's
gonna hurt you a lot more than it
hurt Jimmy.
TONY
I don't like it, man. Burnin' them
like that.
RIC
He was your brother, remember?
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. This is the police!
Throw out your weapons and come out
with your hands up!
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.
OMITTED
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, A Conqueror steps out and
into the headlights' blinding glare. He freezes, hands in
the air. Michael pciks up the gun, trains it on him.
MICHAEL
(tight)
Be cool.
K.I.T.T.
All right, men! Hold your fire!!
Now, a second Conqueror 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
Another Conqueror comes out. 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 hesitates.
RIC
Do it!
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
(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 explodes all around them.
RIC
Everybody back inside.
They start to retrieve their guns and move inside.
ANGLE - K.I.T.T.
scanner flashing.
FADE OUT
END OF ACT THREE
ACT FOUR
FADE 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 on with 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.
RIC
Is that all you gotta say?
MICHAEL
No.
(beat)
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...?
It wasn't made public...What if
Julio's telling the truth, and
somebody else killed Jimmy?
TONY
Like who?
CONQUEROR
Any one of the Vengadores....
MICHAEL
But they were on your turf, right?
TONY
So....
MICHAEL
So maybe it wasn't one of 'the
brothers' at all.
RIC
Come on, let's get this over with!
TONY
What's the 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 sometimes the most
dangerous enemy can be someone you
trust.
Tony makes a move on Ric, who turns his gun on him.
MICHAEL
(comlink)
Kitt.
EXT. BARN - NIGHT
K.I.T.T. activates, guns, heads for the barn, crashing
through.
INT. BARN
as K.I.T.T.'s hood and scanner area crash through.
THE GROUP
reacting. Michael grabs Ric, whom K.I.T.T. has distracted.
They struggle, and Michael finally wrestles the gun from
him.
UP ANGLE - MICHAEL ACROSS K.I.T.T.
MICHAEL
Good work, pal.
K.I.T.T.
Naturally....
THE SCENE
CONQUEROR
(to Tony)
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, then untie Julio and move away
to join Tony.
TONY
(to Ric)
We're gonna kill you, man.
MICHAEL
No. I'm going to turn him over to
the police at the roadblock.
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 glances at Tony.
MICHAEL
Would you see the lady home?
TONY
(sincere)
Yeah...
(to Julio)
She'll be all right, man. Don't
worry.
Terri hesitates, looks from Julio to Tony.
TERRI
(to Julio)
I'll be all right.
Julio and Tony shake on it.
OMITTED
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....
K.I.T.T.
...In spite of your treacherous
behavior earlier.
JULIO
What are you talking about?
K.I.T.T.
You know perfectly well.
JULIO
Hey, I was worried about my old lady
...Man, this is crazy, talking to a
car!
(beat)
You think the cops'll believe me?
MICHAEL
Well, they've got Ric, and we'll
talk to them together. After we
take care of Becky.
JULIO
(a beat)
That her name? Becky?
MICHAEL
Yeah. She's ten...and beautiful...
and scared.
JULIO
(beat)
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, huh?
(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. After a moment:
K.I.T.T.
Michael, my sensors are picking up
a problem ahead. More storm damage.
The road's impassable.
Michael stops the car. The fog settles in.
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.
The distance is too great. We'd
just be in over our heads. Quite
literally.
JULIO
Great. I lose 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. scans.
K.I.T.T.
I'm afraid it's hopeless, Michael.
MICHAEL
No way. Not this close to the
finish line.
Suddenly the screen presents a new graphic.
K.I.T.T.
Wait a minute, Michael. 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 tracks.
EXT. HIGHWAY - DAY - ANGLE ON TRANS AM
Michael jockeys the Trans Am through the fog and over some
treacherous terrain.
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. 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 tosses down a
magazine with a "snap," waking April. He notices.
DEVON
Sorry.
APRIL
It's all right...What time is it?
DEVON
Still early. Can I get you something?
The devilish coffee'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!
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
Rodriguez.
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. The conversation is in strained,
hushed tones.
JULIO
You made me come here.
MICHAEL
You owe me! 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, still in the oxygen
tent, which has mist in it now. She can barely speak, still
coughs slightly. Julio sees the little girl. Michael moves
closer.
MICHAEL
Hi, sweetheart.
BECKY
Hi, Michael.
Hesitantly, Julio 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 sure 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 through the
wall of the tent.
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. PLAZA AREA
A few staff and patients are in evidence. 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, starts to wheel her away.
MICHAEL
(into comlink)
Now, pal.
NEW ANGLE - K.I.T.T.
He activates, makes a U-turn, pulling up beside Becky as
Michael wheels her over.
K.I.T.T.
Hello, Becky. I'm so glad to see
you.
FAVOR BECKY
with Michael beside her.
BECKY
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.
INTERCUT - DEVON AND APRIL
with Julio and Laura, watching Becky.
ANGLE ON MICHAEL
MICHAEL
Show her how happy that makes you,
Kitt.
ANGLE ON K.I.T.T.
as he opens and closes his doors briskly, flashes his
scanner, and turns his headlights on and off.
CLOSE ON BECKY
laughing with delight.
FREEZE FRAME
AND
FADE OUT
THE END
