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KNIGHT RIDER: LOST KNIGHT

EXEC. PRODUCERS: Glen Larson, Robert Foster
PRODUCERS: James M. Miller, Gino Grimaldi

Production #58619
4th Draft - June 11, 1984 (F.R.)

Teleplay: .................. Robert Foster &
............................ James M. Miller
Director: .................. Sidney Hayers

                              
                                ACT ONE

     FADE IN

     EXT. DEMOLITION SITE - DAY

     A large downtown building stands in the b.g. waiting to be
     turned into a pile of rubble, which will then be hauled off
     so that a modern hotel complex can take its place.  The 
     area is roped off, a crew goes about its business, and the 
     usual safety precautions are in effect.

     ANGLE ON MS. JORDAN

     as she addresses a handful of VIPs representing various
     international construction and engineering firms, there to
     see a demonstration of a "new breed" demolition explosive.
     Ms. Jordan is twenty-seven and attractive.  Also present,
     and wearing hard hats like the others, are Devon and Bonnie.

                               MS. JORDAN
               Normally a building this size would 
               require a minimum of a thousand 
               pounds of dynamite to bring down.
               However, with the development of our
               new XPL nitro-plastique, we can
               accomplish the same job with just
               six of these packets, weighing a 
               total of...thirty ounces.

     A scattering of reactions, an ad-lib comment or two.
     Ms. Jordan smiles as though to good reviews.

                               MS. JORDAN
               We at XPL knew you'd be favorably
               impressed.  We also knew you'd have
               concerns -- serious concerns --
               regarding the potential dangers 
               of an explosive this compact, this 
               versatile...This powerful.  In that 
               regard, we at XPL are consulting 
               with a number of experts in a variety
               of fields.  Today we're fortunate 
               enough to be joined by Mr. Devon 
               Miles of the Foundation for Law and 
               Government.

     Some applause, some "Who's he?" expressions.  Bonnie nudges
     him.

                               BONNIE
               You're on.

                               DEVON
               So it would appear.

     Devon smiles, steps forward.

                               DEVON
               We at the Foundation welcome the 
               opportunity to work with private 
               industry toward developing adequate
               safeguards.  In today's world, some-
               thing as powerful as nitro-plastique
               isn't simply an explosive.  In the 
               wrong hands, it's a weapon.

                               MS. JORDAN
               Well, I don't know if we at XPL
               would go that far....

     She whisks him off with a smile, gestures to an XPL techni-
     cian off to one side, not at all pleased by Devon's candor.

                               MS. JORDAN
               Thank you, Mr. Miles.  And now, for 
               the event we've all been waiting
               for...it's ten seconds to detonation.

     ANGLE ON BRONCO

     turning into the demolition area.  It's two-tone, red and 
     white, and on the upper white half there's a sign reading:
     'BOB'S PLUMBING SUPPLIES'.  It stops just short of the 
     cordoned off area.

     Camera moves in close on:

     FRONT WINDOW

     Two men are in the front seat, and for some reason they
     wear ski masks.  They will later be revealed as Bobby Pell
     and Julius Korso.

     INT. BRONCO - DAY

     Korso, behind the wheel, looking at LED clock ---

                               KORSO
               Ten seconds.  Bobby, this better 
               work....

                               PELL
               It'll work.  Seven...six...five....

     EXT. DEMOLITION SITE - DAY

                               MS. JORDAN
               Four...three...two...one....

     A terrifying explosion.

     ON BUILDING

     as it crumbles into a pile of dust and bricks.

     INT. BRONCO

     Korso accelerates.

     EXT. DEMOLITION SITE - DAY - ON BRONCO

     pushing through the barrier, and heads for a trailer marked
     XPL INDUSTRIES, HIGH EXPLOSIVES.  It's parked off to the 
     side, a distance from the demolition site.

     ON TRAILER

     as the Bronco roars up.  Two security guards are quickly 
     alerted, but before they can go for their guns, Korso and 
     Pell jump out and level sawed-off shotguns on them.

                               PELL
               Don't even think it!  Drop the belts 
               -- now!

     The guards drop their belts as Korso disappears inside the 
     trailer.  Pell makes sure he keeps an eye on him through 
     the open door.

                               PELL
               C'mon!!

     Korso pops out with a small steel case.  Pell looks inside,
     sees the packets.

                               PELL
               How do we know this is the stuff?

                               KORSO
               It's the stuff!  Let's go!

     He darts for the Bronco.  Pell follows, shotgun on the guards.

                               PELL
               You got two choices -- stay put or 
               kiss the holiday's good-bye.

     He jumps into the Bronco and Korso peels out.

     ON GUARDS

     One scrambles for his weapon, while the other races to the 
     trailer, pulls the alarm inside.

     ANGLE ON BRONCO

     It flies past.

     ANGLE ON XPL SECURITY CAR

     It roars out in pursuit, red lights flashing.

     ANGLE ON DEVON, BONNIE AND OTHERS

     reacting to the alarm.

     BRONCO AND SECURITY JEEP

     As the Jeep tries to cut the Bronco off Korso rams into it
     with his heavy bumper, sends it into a spin, causing it to 
     crash into a fence.  Korso hits the street.

     EXT. TWO-LANE HIGHWAY - DAY - ON K.I.T.T.

                               MICHAEL (V.O.)
               You know, Kitt, sometimes I feel a 
               little guilty.

     INT. K.I.T.T. - DAY

                               K.I.T.T.
               Why's that, Michael?

                               MICHAEL
               Well, here we are on the way to the
               beach, a full afternoon off, and 
               Devon and Bonnie have to go and 
               watch a building being leveled.

                               K.I.T.T.
               If you feel so guilty, why didn't
               you accept Devon's invitation to go
               with them?

                               MICHAEL
               Guilty, yes...crazy, no.

                               K.I.T.T.
               Michael, Devon's calling.

                               MICHAEL
               Why did I open my big mouth?

     INSERT MONITOR

     as Devon appears, a sense of urgency about him.

                               MICHAEL
               Yo, Devon.

                               DEVON
               Michael, the demolition site has just 
               been robbed!  Two men made off with 
               a quantity of that new explosive.
               The police are in pursuit, but if 
               you're anywhere in the vicinity, I 
               want you to assist in any way
               possible.

                               MICHAEL
               What am I looking for?

                               DEVON
               A red and white Bronco, with Bob's
               Plumbing Supply on the side.

                               MICHAEL
               Did you get a make on the plate?

                               DEVON
               Incomplete -- only the first three 
               digits:  187.

                               MICHAEL
               Kitt, pick up the police frequency,
               and plot an intercept course.

                               K.I.T.T.
               Right away, Michael.

                               MICHAEL
               I'll be in touch.  Oh, and Devon...
               thanks for the afternoon off.

     Michael accelerates.

     EXT. HIGHWAY - DAY - ON K.I.T.T.

     leaving the other traffic far behind.

     EXT. ANOTHER HIGHWAY - DAY - ON BRONCO

     as it leaves the highway and turns onto a smaller road.

     EXT. ROAD - DAY - ON K.I.T.T.

                               MICHAEL (V.O.)
               Kitt, how're we doing?

     INT. K.I.T.T. - DAY

     A graphic appears on the monitor.

                               K.I.T.T.
               I have the target vehicle's location, 
               direction and approximate speed.

     Michael looks at the graphic, studies it for a moment.

                               MICHAEL
               That's heading into the Kirkland Dam 
               area.

                               K.I.T.T.
               Correct.

                               MICHAEL
               We'll go as far as Temple Road, and 
               try to intercept at Needles Ridge.

     The speedometer rises.

                                              CUT TO

     EXT. KIRKLAND ROAD - DAY - ON BRONCO

     speeding along.

     ANOTHER ANGLE 

     The Trans Am flies in from an intersecting road.

     ANGLE IN K.I.T.T.

     Michael is intent behind the wheel.

                               K.I.T.T.
               Michael, my monitor....

                               MICHAEL
               Gotcha.

     Meaning the vehicle is in sight.

     INT. BRONCO - DAY

     Korso spots K.I.T.T. in the mirror, reacts.

                               KORSO
               Behind us.

     Pell looks.

                               KORSO
               What is it, a cop?

                               PELL
               No...some joker in a black T-top.
               Let's dust him.

     Korso hits a switch on the dash.

     ON HOOD

     A custom air intake opens revealing a powerful supercharger.
     It whines.

     ON SPEEDOMETER

     It arcs up over 100, 110, 120....

     INT./EXT. K.I.T.T. - CLOSE ON THE DIGITAL READOUT

     The mph numbers rapidly clicking upward to 140.  Camera 
     draws back to catch Michael's reaction.

                               MICHAEL
               Kitt, we're not pulling like we should.

                               K.I.T.T.
               I don't understand it, Michael.

     Michael presses buttons.

                               MICHAEL
               Let's see what we're dealing with 
               here.

     A graphic appears on the monitor.

                               K.I.T.T.
               The vehicle in question has a super-
               charger, mounted on a Hemi-head V-8.

                               MICHAEL 
               Let's show 'em what super-charged is 
               all about, buddy.

     K.I.T.T.'S CONTROLS

     As Michael hits Pursuit, K.I.T.T. catapults to 150, 160, 
     170....

     EXT. ROAD - DAY - CHASE

     INT. BRONCO

     They're flying and Korso is scared beneath the conviction
     he will, in the end, tough-out any situation.

                               KORSO
               I thought you said nothing on the 
               street could touch this!

     Pell is starting to look desperate, too.  He grabs one of
     the packets of explosives, snaps a contact detonator onto it.

                               PELL
               So whoever he is thinks he's a smart
               guy, let him think he's a smart guy.
                      (yells)
               Eat this, smart guy!

     He tosses a packet out of the window.

     EXT. ROAD - DAY

     The packet hits the pavement and explodes, shaking K.I.T.T.
     violently, but not stopping him.  It does tear up the road,
     however.

     INT. BRONCO - DAY

     They're shocked to see the Trans Am still behind them and 
     gaining.

                               KORSO
               Bobby, c'mon!  Do something!  Drop 
               the guy!

     Pell, totally frustrated, readies two packets of explosives.

                               PELL
               If this doesn't stop him, pull over
               and put up your hands, the man is 
               holy.

     He flings them out.

     OMITTED

     EXT. HILLSIDE ROAD - DAY

     The packets land between tall steel stanchions which support
     cross-country high voltage electrical transmission lines.

     MICHAEL

     slams on the brakes.  Too late:

     THE PACKETS

     explode with tremendous force, sending a gigantic column
     of asphalt and debris upward.  The power lines are severed.

     K.I.T.T.

     skidding, trying to stop.  Can't.  The whipping, arcing 
     cables hit the Trans Am with a stunning flash.  The car 
     shudders with the impact.  Michael hits his head, stunned.
     An intense, blue, aura-like field envelopes the outside.

     ON BRONCO

     disappearing over rise.

     INSIDE K.I.T.T.

     Michael is almost blinded by the megavolt charges.  He has 
     the presence of mind to hold his hands away from any metal
     surface.  Outside the heavy cables lash at the car.  Sparks
     and smoke come from the dash.  Then:

     ON ONE OF THE STANCHIONS ABOVE

     A huge transformer can blows up.  The power is cut off.  The 
     lashing cables fall away from K.I.T.T. like dead snakes.
     Quiet.

     MICHAEL

     shaken, very dizzy, takes in the scene, then opens the door.

                               MICHAEL
               Kitt, you all right?  Kitt?!

                               K.I.T.T.
               I am a...Knight Industries...I am 
               a...I...would you please...repeat
               ...the...question....

     There's an electric sputtering from the dash, smoke, and 
     silence.

                               MICHAEL
               Kitt, say something!

     Silence.

                               MICHAEL
               Kitt!

     Nothing.

                               MICHAEL
               Okay, pal, you stay right here.
               I'll go get us some help.

     He gets out, feeling very weak himself.  Spots a sign down
     the road: "REST AREA - PUBLIC PHONE - ONE MILE."

                               MICHAEL
               Now don't you go anywhere...I'll be
               right back.

     And he starts off, half running, half walking, looking back
     every now and then to see that K.I.T.T.'s still there.

     ON MICHAEL

     beginning to feel very dizzy, but stumbling on.

     ON K.I.T.T.

     His surveillance light flashes, and he slowly leaves the 
     road, heading into the rugged, mountainous terrain.  Climbing 
     the hillside, he stops as if to get his bearings -- suddenly
     spots something and holds.

     WHAT K.I.T.T. SEES - A BOY OF FOURTEEN

     stands on a distant hill looking at K.I.T.T. curiously.

     BACK ON K.I.T.T.

     looks at the boy a beat, then frightened, confused, K.I.T.T.
     heads up the rugged terrain to seemingly safer ground.

     ON MICHAEL

     Getting weaker by the moment, he stops, looks back, and 
     reacts.  K.I.T.T. is nowhere in sight.  He begins running 
     back, calling ---

                               MICHAEL
               Kitt!  Kitt!

     Reaching the spot where he left him, he looks about, sees 
     nothing but the rugged terrain.  Calls again ---

                               MICHAEL
               Kitt!!!

     Then suddenly the entire earth begins to spin, as Michael
     slumps to his knees, barely conscious.

     EXT. MOUNTAIN TERRAIN - DAY - ON BRONCO

     as it turns off a fire road, and stops near a blue Blazer
     hidden in some heavy brush.  Korso and Pell jump out.
     Remove their ski masks.  Korso is thirty-five, hardened by
     too many years in prison, and brooding.  Pell is twenty-
     seven, mercurial and deadly.  The release of tension
     produces a momentary giddiness in him.  He laughs.

                               PELL
               Know why I like you, Julius?  'Cause
               next to you even I look good.

                               KORSO
               A comedian.  You're too good for 
               this line of work, you should be on 
               Saturday Night Live.

     As Pell reaches inside the Bronco for the nitro-plastique
     both react to the sound of a twig snapping.  Turn.

     WHAT THEY SEE - DOUG WAINWRIGHT

     the boy we glimpsed earlier is standing a short distance 
     away.  Doug is fourteen, affects a slightly rebellious,
     tough-edged look.  He wears a baseball cap with the initials
     W-W on it, carries a small knapsack with a baseball jacket
     rolled up and strapped to the side.  He looks at the men,
     takes the scene in, immediately turns and runs.

     ANGLE TO INCLUDE KORSO, PELL

                               PELL
               He made us!

     Without hesitation Pell charges after him.  Korso is amazed.

                               KORSO
               Bobby, it's a kid!  What're you doing?!
               Bobby!

     No reply.  Korso follows without as much conviction.

     VARIOUS ANGLES OF CHASE

     Pell is bigger, stronger, faster, leaping over brush and 
     rocks.  Doug, however, knows the terrain, weaves in and out.
     Still the terror builds as he sees Pell getting closer and 
     closer.

     ON DOUG

     as he gets his knapsack caught on a branch and struggles to 
     free it.

     ANGLE TO INCLUDE KORSO

     He pounds up the rugged terrain to join Pell.

     CLOSER ANGLE ON KORSO AND PELL

     They pause to look.

     WHAT THEY SEE - WILD HILLSIDE

     Doug has vanished.

     BACK TO SCENE

     Their eyes flash over everything.  They're breathing hard.

                               PELL
               He's gotta be around here somewhere.

                               KORSO
               Yeah, but where?  He's like a jack-
               rabbit.  Forget it, it's only a kid.

     MOUTH OF CAVE

     It's covered with brush but behind its dense exterior we 
     see Doug peering out, holding his breath.

                               PELL'S VOICE
               You say that like kids don't count.
               like kids can't testify.

     ANGLE ON KORSO AND PELL

     They're right in front of the opening, not aware of it.

                               KORSO
               Bobby, don't be crazy.  You can't 
               run around killing people because of 
               what they might've seen.
                      (beat)
               Relax.  Calm down.  You're too hyper.

     Pell looks around, slowly crosses to join Korso, not satis-
     fied.

                               PELL
               I'm too hyper, yeah, an' you're too
               laid back.  You're so laid back you 
               won't know you been busted again 'til 
               they slam the jailhouse doors.

     MOUTH OF CAVE

     to see Doug watching them, frightened to death.

                                              CUT TO

     EXT. KIRKLAND MEDICAL CENTER - DAY - ON ENTRANCE

     Like the town of Kirkland itself, the medical center is 
     small but fairly modern.

     ON MICHAEL

     as he comes out, tucking in his shirt, followed by a very 
     large and commanding Nurse who is trying to change his mind.

                               NURSE
               I'm warning you, Mr. Knight, you're 
               leaving against medical advice ---

                               MICHAEL
               I appreciate all you've done, Nurse 
               Gilmore, but I feel fine.

                               NURSE
               If you feel so fine, why were you 
               found half unconscious babbling some-
               thing about your car driving off by 
               itself?

                               MICHAEL
               It's a long story, but all I needed 
               was a little rest and tender loving
               care, which you more than gave me.
               And actually my car did drive off by
               itself, but that's an even longer 
               story.  Thanks for everything, you're 
               a credit to your profession....

     He kisses her, leaves.  She stands, still feeling his kiss 
     on her cheek, not sure if she's shocked or grateful.

     ANGLE TO INCLUDE DEVON AND BONNIE

     having arrived in a Foundation limo.  They hurry to meet 
     Michael.

                               DEVON
               Well, I see you've been discharged.

                               MICHAEL
                      (re Nurse)
               Escaped is more like it.  What about 
               Kitt?  Any luck?

                               DEVON
               No sign of him, Michael.

                               BONNIE
               The voltage surge must've knocked
               out his homing device.

                               MICHAEL
               Don't be surprised if that's not all.
               What else could be affected?

                               BONNIE
               His memory modules, information banks
               ...Michael, how could you -- he's out 
               there, damaged, alone ---

                               MICHAEL
               Bonnie, give me a break.  I was on 
               assignment.
                      (then)
               He's gotta be somewhere in those hills.
                      (starts toward
                       limo)
               Devon, I'll need a car.  Four-wheel
               drive ---

                               DEVON
                      (catching up)
               Michael, we're doing everything 
               possible to find Kitt.  Right now 
               our top priority is locating the 
               stolen nitro-plastique.

                               MICHAEL
               Maybe it's your top priority, but 
               mine's Kitt.  Let the police look for 
               the explosives.

                               DEVON
               They are, but they've also requested 
               our help.

                               MICHAEL
               As soon as I find him, I'll be glad 
               to put in a double shift.

                               DEVON
                      (stops him)
               There was enough nitro-plastique 
               stolen to level this entire city.

                               MICHAEL
               Devon....

                               DEVON
               Believe me, under any other circum-
               stances, I'd say go out there and 
               find Kitt and don't come back until 
               you do...but this is different.
               This is an order.

     The limo phone buzzes.  Devon answers it.

                               DEVON
               Yes...
                      (listens)
               I see...Good.

     He hangs up.

                               MICHAEL
               What?

                               DEVON
               The Foundation helicopter just spotted 
               the abandoned Bronco.

                                              CUT TO

     CAVE AREA - DAY - ON MOUTH

     Doug comes out cautiously, looks around, sees it's 
     apparently safe, then heads back in the direction of the 
     Bronco, still carrying his knapsack.

     ANGLE ON BRONCO

     as Doug approaches it cautiously, then looks it over 
     appraisingly.

     ANOTHER ANGLE

     He looks inside, sizes up the radio, and toys with the 
     idea of maybe pulling it out.  But then he hears an
     approaching vehicle, looks through the opposite window.

     DOUG'S POINT OF VIEW - MICHAEL

     pulling up nearby in an open Jeep.  He spots Doug.

     BACK ON DOUG

     He jumps from the Bronco and takes off.

     OMITTED

     ANGLE TO INCLUDE MICHAEL

     giving chase.  He quickly catches him, turns him around, and 
     Doug comes out fighting.

                               DOUG
               Let go of me!  Get your hands off me!

                               MICHAEL
               Easy, son.  I'm not going to hurt you.

                               DOUG
               Then let me go -- you got no right
               grabbing me!  I didn't do anything!

                               MICHAEL
               All right.  Slow down.
                      (beat)
               There's no reason to be afraid.

                               DOUG
               Who said anything about being afraid?!

                               MICHAEL
               Then why did you run?

                               DOUG
               Because...
                      (thinks)
               I thought maybe you were the game 
               warden.  He's always trying to bust 
               me for fishing in the reservoir.

                               MICHAEL
                      (smiles)
               I'm not a game warden.  My name's
               Michael Knight.  I'm from the 
               Foundation for Law and Government.

                               DOUG
               Oh, I get it.  Some kind of cop.

                               MICHAEL
               No, not a cop.  Not even close.
               What's your name?

                               DOUG
                      (hesitant)
               Doug.  Why?

                               MICHAEL
               Good to meet you, Doug.
                      (re cap)
               I see you're a ball player.

                               DOUG
               Yeah.

                               MICHAEL
                      (patient)
               W-W.  The name of your team?

                               DOUG
               Wainwright's Warriors.  I play short-
               stop.

                               MICHAEL
               I used to play first base.

                               DOUG
               Must've been a long time ago.

                               MICHAEL
               Yeah.  There were dinosaurs in the 
               outfield.
                      (beat)
               Doug, you know anything about that 
               Bronco over there?

                               DOUG
               I didn't rip it off, if that's what 
               you mean.

                               MICHAEL
               Never entered my mind.  I was just 
               hoping you saw the two men who left 
               it there.

                               DOUG
               I didn't see anybody.

     But he answered too quickly.

                               MICHAEL
               You're sure?

                               DOUG
               Yeah I'm sure.  What is this?  I
               thought you said you weren't a cop.

                               MICHAEL
                      (studies him)
               If you did see them, you'd tell me,
               wouldn't you?  These aren't the kind 
               of guys you'd want to protect.

                               DOUG
               I'm not protecting anybody.  I gotta
               go.

                               MICHAEL
               Then I guess you didn't see a black
               T-top, either?

                               DOUG
               No!
                      (uncomfortable 
                       beat)
               Look, if you're finished with the 
               interrogation, I got things to do.

                               MICHAEL
                      (nods)
               Thanks for the help.

     He turns and goes off.  Michael watches him curiously, then 
     heads for the Jeep.

                                              CUT TO

     EXT. FLAT TERRAIN - DAY - ON DOUG

     Knapsack in hand he moves toward a distant road having just
     come down the hillside.  Sensing something, he suddenly
     slows his pace.

     FULLER ANGLE TO SEE K.I.T.T.

     tailing along behind him.  Doug stops, afraid to turn.  So
     does K.I.T.T.  Then Doug continues.  Then stops again,
     turns, reacts.

                               DOUG
               Where'd you come from?

     The scanner flashes.  Doug doesn't know what to make of it 
     so he walks faster; K.I.T.T. continues to follow.

                               DOUG
               Look I don't like anyone tailing me,
               so bug off.

     He walks on fast, building to a run.  K.I.T.T. keeps up.

     VARIOUS ANGLES

     As Doug begins to run faster, faster, K.I.T.T. leaves the 
     trail behind him.  Tired, breathing hard, Doug stops, turns,
     to find that K.I.T.T. is gone.  He can't imagine where.  He 
     turns to continue, reacts.

     ANGLE TO INCLUDE K.I.T.T.

     standing right in front of him, his scanner flashing.

                               K.I.T.T.
               Help...me.

     And as the two look at one another we ---

                                              FADE OUT

                         END OF ACT ONE

                             ACT TWO

     FADE IN

     EXT. F.L.A.G. - DAY - ESTABLISHING

                               MICHAEL'S VOICE
               Kitt's more than my partner,
               Devon....

     INT. DEVON'S OFFICE - DAY

     Michael, pacing the office, Devon behind his desk, tie 
     askew, shirt uncharacteristically open at the throat.  Both
     men are weary.  Over this Bonnie enters, crosses to the 
     computer.

                               MICHAEL
               He's a friend.  You've got to let
               me go out there and look for him.

                               DEVON
               Not until we find that nitro-plastique.

                               MICHAEL
               We don't even know what those two
               guys are driving anymore!  Who they 
               are, why they're here, what they 
               want ---

                               DEVON
                      (crosses to 
                       Bonnie at 
                       computer)
               In spite of the fact they've switched
               cars, we still have reason to believe 
               they're in the Kirkland area.

                               MICHAEL
               What reason?  What are you talking 
               about?

                               DEVON
               I'm talking about this man.  Bonnie?

     Bonnie presses a button.

     ANGLE TO INCLUDE MONITOR

     to see Conrad Marrs, forty, good-looking, rugged.

                               BONNIE
               Recognize him?

                               MICHAEL
               No, should I?

                               BONNIE
               His name is Conrad Marrs.  He's one 
               of the premier explosives men in the 
               business.

                               MICHAEL
               So?

                               BONNIE
               He flew in from Dallas this morning.

                               DEVON
               Of course, it might just be a coinci-
               dence, Michael.  But if you believe 
               that stay away from people selling 
               bridges in Brooklyn and swamps in 
               Florida.

                               MICHAEL
               Thanks for the advice.  Any idea 
               where he's staying?

                               DEVON
               We're trying to find out now.
                      (slight 
                       beat)
               Michael, have you any leads?  Any-
               thing at all?

                               MICHAEL
               No, not really....

                               BONNIE
                      (sensing it)
               What?

                               MICHAEL
               I'm not sure...it's just a feeling.
               I ran into this kid up near the 
               abandoned Bronco.  He said he was 
               scared because he thought I was the 
               game warden.  He was scared all 
               right, but that wasn't the reason.

                               DEVON
               You think he might've seen the 
               thieves?

                               MICHAEL
               The more I think about it the more 
               convinced I am he saw something....

                                              CUT TO

     EXT. CAVE AREA - DAY

     K.I.T.T. sits in a small clearing in front of the cave.
     Doug, now wearing his baseball jacket, with "Wainwright's 
     Warriors" on the back, is with him.

                               DOUG
               You'll be safe here for a while.  If
               anyone comes, all you have to do is 
               back into the cave.

                               K.I.T.T.
               Good idea.  I'm sorry I frightened 
               you earlier.

                               DOUG
               Look, you didn't scare me.  I...I...
               I just don't like people...things...
               sneaking up on me, that's all.

                               K.I.T.T.
               Well, I can understand that.  And
               under normal circumstances I would've 
               introduced myself first.  But I'm 
               afraid these aren't exactly normal 
               circumstances.

                               DOUG
               You can say that again.

                               K.I.T.T.
               I could, yes, but is there any need
               to?

                               DOUG
               That's not what I mean, aww forget it.
                      (shakes head)
               A talking car...if that's not a mind 
               blower.

                               K.I.T.T.
               I seem to recall I can do a lot of 
               other things, too...if only I could 
               remember what they are.  What do you
               do?

                               DOUG
               I...Anything I want.

                               K.I.T.T.
               For instance?

                               DOUG
               For instance?  Well...if I don't 
               want to go to school I just split,
               come up here, or maybe hang out at 
               the video arcade.  Like I said,
               whatever I want.

                               K.I.T.T.
               But how do you learn anything if you
               'split' school?

                               DOUG
               You don't learn anything in school
               anyway.  Not about real life.

     Doug moves about him curiously, still holding his knapsack.

                               DOUG
               Do you always just follow behind 
               people...or does someone get inside?

                               K.I.T.T.
               Let's find out.

     The door pops open.  Doug's eyes grow wide and he slides
     behind the wheel.

     INT. K.I.T.T. - DAY

     Doug looks at the dash; his eyes explode ---

                               DOUG
               Look at that dash!  Your own TV...and
               all these buttons.  What are all 
               these buttons for?  'Pursuit...Scanner
               ...X-ray...Infraray...Turbo-Boost....'

                               K.I.T.T.
               Don't touch Turbo-Boost.  Something 
               tells me you shouldn't touch Turbo-
               Boost.

                               DOUG
               What about, 'Eject -- Right and Left'?

                               K.I.T.T.
               I don't recall....

                               DOUG
               Well, there's just one way to find 
               out.

     Fortunately he presses Right...the roof pops up and his 
     knapsack, which he placed on the seat, lifts off.

     ANGLE ON KNAPSACK

     It comes close to disappearing from sight.

     BACK TO SCENE

     Doug's mouth is open.

                               DOUG
               It's like a rocket!

                               K.I.T.T.
               It is rather remarkable, isn't it?

     Doug watches the knapsack crash to the ground, shakes his 
     head in wonderment.

                               K.I.T.T.
               By the way -- what's your name?

                               DOUG
               Doug.

                               K.I.T.T.
               A pleasure meeting you, Doug.  My name
               is...is...
                      (thinks)
               ...Kitt!  That's it, Kitt!

                               DOUG
               Nice meeting you...Kitt.

     Doug hesitates, then places both hands tightly about the 
     wheel.

                               DOUG
               If I could drive you to school, I'd 
               go every day....

                                              CUT TO

     EXT. DAM - FULL ANGLE - DAY

                               CONRAD'S VOICE
               I'm impressed.

     ANGLE TO INCLUDE PELL, KORSO, AND CONRAD

     Conrad's sporty elegance makes him stand out from the 
     casually dressed Pell and Korso.  His rented white Cadillac
     is parked next to their Blazer.  He examines one of the 
     packets of nitro-plastique the way Pinchas Zukerman would 
     handle a Stradivarius.

                               CONRAD
               I know guys who've been in the business
               twenty years and even they can't get
               their hands on this stuff....

                               PELL
                      (defensive)
               We're not exactly amateurs.

                               CONRAD
                      (an easy smile)
               Good.  Then I'll give you a real pro-
               fessional explosion.  A symphony.

     He unfolds a map/blueprint of the dam and town on the hood
     of his car.

                               KORSO
               Don't get carried away.  All we need 
               is a nice civil emergency.  Enough to 
               knock out the power and draw the 
               police, fire, and emergency units.

                               PELL
               While they go crazy handling traffic
               and evacuations and a thousand haywire 
               alarms, we hit the museum.  Fifteen 
               mil worth of Pre-Columbian artifacts.

                               CONRAD
                      (studies
                       blueprint)
               Dam's no problem...your basic earth-
               fill, structural steel, lots of 
               concrete.  They loved concrete in
               the '30s...
                      (then)
               This quadrant ought to do it.  It'll 
               create a good spill and weaken the 
               rest of the dam enough to worry them.

                               KORSO
               All right.  Then we're set for 
               tomorrow.

                               CONRAD 
               I'll need an hour's notice.  You know 
               where to reach me.

     He crosses to the Cadillac.

                               PELL
               You didn't see a kid on your way up,
               did you?

     Conrad stops.  Korso throws Pell a hard look.

                               CONRAD
               What kid?

                               PELL
               When we ditched the Bronco this kid 
               saw us, that's all.

                               KORSO
               Forget him.  He was scared stiff.
               C'mon, it's only a kid.

                               CONRAD
               You telling me somebody made you?

                               KORSO
               No.  Not exactly....

                               PELL
               Okay, so what?  That's on us, not you.

                               CONRAD
               I thought you said you weren't 
               amateurs...
                      (beat)
               You know why I'm the best?  Because 
               I'm careful.  There aren't a lot of 
               old explosives experts around.
               They're either dead or in the joint.

                               PELL
               Okay.  We'll find the kid!

                               CONRAD
                      (weighs it)
               By morning or I'm gone.  Believe it.

     Conrad gets into his car and drives off.  Korso turns on 
     Pell:

                               KORSO
               I don't believe you, Bobby.  We got 
               the guy in our pocket and you gotta
               ask him if he saw a kid on the way up!

                               PELL
               So now we gotta find the kid, that's 
               all.
                      (crosses 
                       to Blazer)
               We should've done it anyway.  It's 
               cleaner.

                                              CUT TO

     EXT. WAINWRIGHT NURSERY - DAY

     A nice suburban establishment.  Pan as Michael pulls up in 
     the Jeep, heads for the entrance.

     ANGLE TO INCLUDE JIM TURNER

     late thirties, big, a no-nonsense sort of guy who helps run the 
     place.

                               JIM
               Help you?

                               MICHAEL
               I hope so.  I'm looking for the sponsor
               of a Youth League baseball team.

                               LORI'S VOICE
               Sorry, but we've already got one.

     Michael looks over.

     ANGLE TO INCLUDE LORI WAINWRIGHT

     She's thirty-two, pretty and bright.  It soon becomes 
     obvious that Turner feels very protective of her.

                               LORI
               In first place, too.

                               MICHAEL
               Wainwright's Warriors?

                               LORI
               That's right.

                               MICHAEL
                      (reacts)
               I'm looking for a boy named Doug.
               He plays short-stop.  Do you know 
               him?

     Lori and Jim exchange troubled looks.

                               LORI
               He's my son.  Doug Wainwright.

                               JIM
               What's this all about?

                               MICHAEL
               Mrs. Wainwright, I'd like to talk to
               him.  Is he here?

                               JIM
               I asked you what this is about.

                               LORI
               It's all right, Jim...why don't you
               help that customer over there.

     A last look and Turner goes off.

                               LORI
               He's...a good friend.
                      (steels herself)
               What's he done this time?  And who
               are you?

                               MICHAEL
               My name's Michael Knight, I'm with 
               the Foundation for Law and Government.
               We're trying to locate some stolen
               explosives and we think Doug may have 
               seen something.  Do you know where
               he is?

                               LORI
               Probably in the hills.  He and his 
               father used to hike up there.  They
               discovered a cave...Doug's been
               spending a lot of time there lately....

                               MICHAEL
               Could you give me directions?

     She hesitates.

                               MICHAEL
               It's very important.

                               LORI
                      (beat)
               I think I'd better draw you a map.

                               MICHAEL
                      (a smile)
               I hope you draw better than I do.

     She smiles, begins drawing a crude map on the back of a 
     nursery receipt.  Off to one side Jim watches, brow 
     furrowed.

                                              CUT TO

     EXT. CAVE AREA - DAY

     Doug slowly climbs out of K.I.T.T.

                               K.I.T.T.
               Is something wrong?

                               DOUG
               No...I gotta get home, that's all.

                               K.I.T.T.
               What's 'home?'

                               DOUG
               That's a place where...I don't know,
               where you go when there's no place 
               else to go.

                               K.I.T.T.
               'Home' doesn't sound like much fun.

                               DOUG
               It used to be....

                               K.I.T.T.
               What happened?

                               DOUG
               Well, my dad got real sick...and 
               everybody said he was gonna be 
               okay...
                      (cuts it off)
               What is this, the third degree?

                               K.I.T.T.
               The third degree?

                               DOUG
               Forget it.

     He's succeeded in holding his feelings down.  He grabs his
     jacket and knapsack, ready to leave.

                               DOUG
               So, you going to be okay or what?

                               K.I.T.T.
               I'll be fine.  And I think my memory
               is improving.

                               DOUG
               Good.  I'll come back tonight -- late,
               when everybody's asleep.

     He starts off.

                               K.I.T.T.
               That sounds like fun.  Good-bye,
               Elliot.

                               DOUG
               Doug!  My name's Doug.

                               K.I.T.T.
               Then who's Elliot?

                               DOUG
               How do I know?  I thought your 
               memory was getting better.

                               K.I.T.T.
               Yes...well...at least it's not 
               getting any worse.

     K.I.T.T. flashes his scanner and Doug goes off.

                                              CUT TO

     EXT. FOOTHILL ROAD - DAY - ON MICHAEL

     coming up the mountain, but still quite far from the cave
     area.

     EXT. RUGGED TERRAIN - DAY - ON KORSO AND PELL

     in their Blazer and searching the area.  Tired as hell.

                               KORSO
               This could go on forever....

     Pell spots something, points.

                               PELL
               Julius...look!

     THEIR POINT OF VIEW - DOUG

     only a short distance from the cave area.

     BACK TO SCENE

     Korso floors the Blazer.

     ANGLE ON DOUG

     hearing the Blazer, reacting, and running back toward the 
     cave.  They're close enough to read the "Wainwright's
     Warriors" on the back of his jacket.

                               PELL
               Don't let him get away!

     ANGLE ON CAVE AREA 

     as Doug runs to K.I.T.T.

                               DOUG
               Kitt, they're after me!

                               K.I.T.T.
               Who?

                               DOUG
               Those two guys!

                               K.I.T.T.
               Get in.

     The driver door pops open.  Doug jumps in.

     ANGLE IN K.I.T.T.

                               K.I.T.T.
               Can you drive?

                               DOUG
               Are you kidding?  I can drive anything
               on wheels.
                      (looks)
               Where's the ignition?

                               K.I.T.T.
               On second thought, there are still a 
               few things I remember.  Hold on.

     K.I.T.T. comes to life.  Doug's eyes grow wide as K.I.T.T.
     pulls out.

     EXT. RUGGED TERRAIN - DAY - ON K.I.T.T.

     pulling from the cave area, and heading down a fire road.

     ON KORSO'S BLAZER

     Pell points.

                               PELL
               That's him!  In the black T-top!

     Korso takes off after K.I.T.T.

     VARIOUS ANGLES OF CHASE

     through the rugged terrain, intercutting with Doug's reac-
     tions.  The kid's definitely softening up a bit.

     ANGLE ON MICHAEL'S JEEP

     coming up in their direction.  However, he's still a good 
     distance away.

                               MICHAEL
               Kitt!!

     He goes after him.

     VARIOUS ANGLES

     as K.I.T.T. races toward the edge of the canyon.

     ANGLE IN K.I.T.T.

     Doug's reaction to the fast approaching edge:

                               DOUG
               We're coming to the edge!

                               K.I.T.T.
               I noticed!

                               DOUG
               It's not that I'm scared...but what
               are we gonna do?!

                               K.I.T.T.
               When I tell you, press Turbo-Boost!

                               DOUG
               You told me never to press Turbo-
               Boost!

                               K.I.T.T.
               I've changed my mind!

     And right at the edge ---

                               K.I.T.T.
               Press!

     Doug freezes.

                               K.I.T.T.
               Press!

     ON DOUG

     as he presses the button.

     ANGLE ON K.I.T.T.

     shooting off into the canyon.

     ON DOUG

     eyes and mouth wide open, petrified, thrilled.

     ON K.I.T.T.

     As he heads for the opposite side of the canyon, we ---

                                              FREEZE FRAME

                                              FADE OUT

                         END OF ACT TWO

                            ACT THREE

     FADE IN

     EXT. CANYON - DAY

     We resume action, K.I.T.T. flying over the canyon.

     ANGLE IN K.I.T.T.

     Doug is holding onto the steering wheel for dear life,
     terrified.

                               K.I.T.T.
               I have the strangest feeling I've 
               done this before.

                               DOUG
               Not me!

     ANGLE AT CANYON LIP

     The Blazer screams to a stop, Pell and Korso staring in 
     disbelief.

     FAR EDGE OF CANYON

     K.I.T.T. lands, bounces, gains traction and speeds off.

     ANGLE ON PELL AND KORSO

     Pell watches the disappearing K.I.T.T.

                               PELL
               Did you see that?!

     But Korso is more concerned with something else.

     POINT OF VIEW - MICHAEL'S JEEP

     on the winding road below racing toward them.

     BACK TO THEM

                               KORSO
               I'd swear that's the same idiot who
               chased us before.

     ANGLE AT CANYON

     Korso spins the Blazer around and hits the Supercharger.

     ANGLE AT INTERSECTING DIRT ROAD

     The Blazer hits the dirt road on two wheels, already going
     fifty, accelerating, and bearing down on Michael's Jeep.

     VARIOUS ANGLES

     as Michael first avoids being hit head-on by the much 
     heavier wagon, and then becomes the aggressor in a duel in
     which he tries to put the Blazer out of commission.

     ANOTHER ANGLE

     Seeing they've met more than their match, Pell levels his 
     sawed-off shotgun out the window, and fires at the Jeep as 
     Michael makes a pass.

     ON JEEP

     as the radiator blows, and Michael slams the steering wheel
     in frustration.

     ANGLE TO INCLUDE BLAZER

     disappearing in the distance.

     ANGLE AT CANYON EDGE

     The Jeep churns to a stop, Michael leaping out.  He runs to 
     the canyon edge, looking.

     HIS POINT OF VIEW - RAW HILLSIDE

     Wild and untouched.  Nothing moves.

     CLOSE ON MICHAEL

     He tries the comlink.

                               MICHAEL
                      (comlink)
               Kitt!  Kitt, it's me, Michael?  Can
               you hear me?

     Silence.  Desperate, he cups his hands to his mouth.

                               MICHAEL
                      (hollers)
               Kitt...Kitt, it's me...Kitt....

     He pauses, listening.  All he hears is his echo, faint.
     Hold on his face.

                                              CUT TO

     EXT. DIRT ROAD - DAY

     K.I.T.T. races along, a rooster tail of dust behind him.

                               K.I.T.T.'S VOICE
               I have the strangest feeling....

     ANGLE IN K.I.T.T.

     Doug gripping the wheel, eyes wide, but trying to be cool.

                               DOUG
               I know -- you've done this before,
               too.

                               K.I.T.T.
               I have that awareness also.  This is
               different.  I have the strangest 
               feeling someone is calling my name....

     But Doug's not listening, his eyes wander over the dash,
     amazed.

                               DOUG
               I didn't know they made cars like 
               this.

                               K.I.T.T.
               I'm not sure they do.

                               DOUG
               Kitt, you are rad-i-cal!

                               K.I.T.T.
               If you say so.

                               DOUG
               What's this?

     He pushes Pursuit and K.I.T.T. accelerates, pushing Doug
     back against the seat.

                               DOUG
               Thriller!

     DIFFERENT ANGLES - MONTAGE

     A dazzling display of K.I.T.T.'s capabilities intercut with
     Doug at the wheel, expression changing from fear to 
     exhilaration to absolute wonder.  This is an experience
     beyond his wildest dreams.

     ON BUTTERFLY COLLECTOR

     She's the dowdy type, overweight, and trying to net a 
     butterfly.  When K.I.T.T. makes a pass, she reacts, nets a 
     limb instead, falling backwards into a muddy stream.

                                              CUT TO

     EXT. WAINWRIGHT BACKYARD - DAY (EARLY EVENING)

     The backyard is just what you'd expect; pool, tropical
     landscaping, Malibu lights.  Gathered around lawn furniture
     on the patio are Lori, Jim Turner and Doug.  Lori serves
     rice and vegetables and Jim finishes barbecuing chicken
     on a fancy unit.  Doug looks alone, preoccupied, not a 
     part of the occasion.

                               LORI
               How hungry are you?

                               DOUG
               What?  Not very.

                               JIM
               Your mother went to a lot of trouble
               to fix this.

                               LORI
               It's all right.

     Doug can't stand him, but for his mother's sake he tries 
     not to show it.  The doorbell rings.

                               LORI
               I wonder who that could be.

                               JIM
               I'll get it.

     Doug looks worried.  Jim crosses into the house.

     ANGLE AT FRONT DOOR

     He opens it to reveal Michael.  Neither was expecting the 
     other.  Jim doesn't like Michael here and he doesn't try to 
     hide it.

                               MICHAEL
               Hope I'm not interrupting dinner.

                               JIM
               You are.

                               MICHAEL
               In that case, I apologize.  Is Doug
               home?

     Jim sizes Michael up, takes his time answering.

                               JIM
               Just what do you want with him?

                               MICHAEL
               I want to ask him some questions.

                               JIM
                      (beat)
               Lori's husband died a little over a 
               year ago.  She's been through a lot.
               I'm here to see no one takes advan-
               tage of her.

                               MICHAEL
               I appreciate your concern.  Maybe I 
               didn't make myself clear.  I'm not 
               here to see Lori, I'm here to see 
               Doug.

                               JIM
                      (beat)
               I've got my eye on you.

     ANGLE IN BACKYARD - MOMENTS LATER

     Doug fidgets, scared, trying not to show it.

                               JIM'S VOICE
               Okay, ask away.

     WIDER ANGLE 

     Michael opposite Doug, flanked by Jim and Lori.  Jim looks
     deep into his macho role.  Lori is concerned, not sure just 
     what is what here.

                               MICHAEL
               Doug, before we start, I'm sorry it 
               has to be this way.

                               JIM
               What's that supposed to mean?

     Embarrassed, Lori tries to shush him.  Doug avoids 
     Michael's eyes.

                               MICHAEL
                      (to Jim)
               It means this is tough enough person-
               to-person.
                      (to Doug)
               Those men I'm looking for -- I think 
               you saw them this afternoon.

     Doug doesn't respond.

                               MICHAEL
               They were chasing you, and you were in
               the black T-top.

     Lori and Jim exchange an incredulous look.

                               JIM
               Wait a minute here, the kid's fourteen
               -- he doesn't even drive.

                               DOUG
               I can too!  What do you know, anyway?!

                               JIM
               Don't yell at me, I'm trying to 
               protect you!

                               LORI
               Jim, please!

                               JIM
                      (to Michael)
               Are you satisfied?  We're trying to 
               have a nice family dinner here and 
               thanks to you, people are yelling
               at each other!

                               DOUG
               It is not a family dinner 'cause 
               you're not part of the family!

     He bolts for the house.  The silence is painful.  Lori looks
     to Michael.

                               LORI
               I'm sorry...ever since his father 
               died....

                               MICHAEL
               I'm sorry I had to ask.  Thanks.
                      (to Jim)
               Take it easy.

                               JIM
               Yeah.  Right.

                                              CUT TO

     EXT. FOUNDATION - NIGHT

     The light in Devon's office is on.

                               DEVON'S VOICE
               We know where Conrad Marrs is 
               staying.

     INT. DEVON'S OFFICE - NIGHT

     Devon finishes jotting it down on a slip of paper, hands it 
     across to Michael, who looks skeptical.

                               MICHAEL
               That's all?  Just an address?

                               DEVON
               What would you prefer, an arrest 
               warrant?  A grand jury indictment?

                               MICHAEL
               Now that you mention it, yeah -- why
               not?  Why not something tangible for 
               a change?

                               DEVON
               Because as far as the police are con-
               cerned, Marrs is clean.  Innocent 
               until proven guilty and all that.

                               MICHAEL
               Yeah, that rings a bell.  So, what am
               I supposed to do, take him to dinner?

                               DEVON
               I'll leave the details to you.  But
               Marrs has a reputation as a cautious
               man.  If he bails out the whole 
               operation may collapse.

                               MICHAEL
               Whatever the 'operation' is.

                               DEVON
               Indeed.  I thought you said the boy
               is lying.

                               MICHAEL
               Doug?  I think he is.

                               DEVON
               In that case I'd recommend a stake-
               out.  

                               MICHAEL
               Next on my list.  Whatever he's got 
               in mind, he'll wait until the house 
               is asleep before he leaves.
                      (glances
                       at watch)
               I figure I've got a couple of hours 
               yet.
                      (beat)
               Devon, I know Foundation commitments
               come first, but I'm worried about 
               Kitt.  When I saw him today he shot 
               past like I was a stranger.

                               BONNIE'S VOICE
               You were.

     ANGLE TO INCLUDE BONNIE

     She enters with a small high-impact aluminum case.  Realizing
     she's interrupted:

                               BONNIE
                      (to Devon)
               Excuse me.

                               DEVON
               By all means.  Perhaps you can make 
               him understand.

                               BONNIE
               I'm a scientist, not a miracle 
               worker.

     Devon smiles, crosses back to his desk.  Bonnie hands 
     Michael the case.

                               BONNIE
               For you.

     Michael opens it, sees the socket-like instrument inside.
     It looks small and insignificant.

                               MICHAEL
               Don't tell me this is Kitt's new 
               memory.

                               BONNIE
               Absolutely.  New and improved, with 
               five thousand mega-bits of added 
               information.  The only problem now 
               will be to get close enough to his 
               CPU service port to install it.

                               MICHAEL
               Sound Freudian.  Where is it?

                               BONNIE
               Facing Kitt, eight inches left of
               the power shift on the transmission.

                               MICHAEL
                      (realizes)
               In other words, under Kitt?

                               BONNIE
               In other words.  Don't worry, some 
               of us spend a lot of time under Kitt.

                               MICHAEL
                      (concerned)
               Not when he doesn't know who you are.

                                              CUT TO

     OMITTED

     INT. LUXURY MOTEL - NIGHT

     A suite.  A pretty girl, Angel, bounces into the living 
     room from the O.S. bedroom (and bathroom) where we hear a 
     shower running.  She's wearing something skimpy and cute.
     She crosses to turn on the TV when someone knocks.

                               ANGEL
                      (calls off)
               Hurry up, it's here.

     She moves to the door, opens it to reveal Michael.

                               ANGEL
               Hi!  Where do I sign?

                               MICHAEL
               Where do you want to sign?

     She gives him a dazzling smile and a quizzical look.

                               ANGEL
               For the champagne...Aren't you from
               the liquor store?

                               MICHAEL
               Not exactly.  I'm here to see Conrad.

                               ANGEL
               He's taking a shower.

                               MICHAEL
               Mind if I wait?

                               CONRAD'S VOICE
               You got a problem?  Angel?

                               MICHAEL
                      (sotto voce)
               Let's have some fun with him -- tell
               him I need his signature.

                               ANGEL
                      (unsure)
               He won't get mad?

                               MICHAEL
               Connie?  C'mon, he's a fun guy.

     She likes the idea.

                               ANGEL
               Okay.
                      (calls off)
               Honey, he says he needs your 
               signature.

     The shower stops, angry mumblings and Conrad enters, a 
     towel wrapped around his wet body.  Seeing Michael, he 
     freezes midstep.

                               MICHAEL
               Hello, Conrad.

                               CONRAD
                      (to Angel)
               Who's this guy?

                               ANGEL
               He's a friend of yours --
                      (to Michael)
               Aren't you?

                               MICHAEL
                      (to Conrad)
               Where are they?

                               CONRAD
               I don't know what you're talking 
               about.  You're in my room, cowboy.
               Get out.  Now.

                               MICHAEL
               There's two of them -- they stole 
               some experimental explosives called 
               nitro-plastique.  They run around in 
               a supercharged four-wheel drive.
               They hired you.

                               CONRAD
               I'm not for hire.  I'm on vacation
               an' you're still in my room.

                               MICHAEL
               Do yourself a favor.  Go home.

     Michael knows he's ready to throw a punch.

                               MICHAEL
               Think before you swing, Conrad.

     Conrad grabs the towel before it falls.

                               CONRAD
                      (furious,
                       deadly)
               Who are you?

                               MICHAEL
               Just a guy who knows who you are.
               Be careful.  Somebody's watching 
               you.

     He leaves without waiting for a response, winks at Angel on
     the way out.  Conrad stares after him, angry.  Shaken.

                               ANGEL
                      (weakly)
               I thought he was a friend of 
               yours....

     Conrad grabs the phone, begins to dial.

                               CONRAD
                      (to her)
               Pack my stuff.
                      (into phone)
               When's your next flight to Dallas?

                                              CUT TO

     EXT. SUBURBAN STREET - DAY (EARLY AM)

     It's early, this part of the world still asleep.

     ANGLE ON WAINWRIGHT HOUSE

     silent and dark inside.

     INT. DOUG'S BEDROOM - DAY (EARLY AM)

     Doug finishes dressing.  He grabs his baseball jacket.

     ANGLE IN HALL

     The door to Lori's bedroom is open.  We can see her in bed,
     beginning to stir.  Pan to reveal Doug creeping down the 
     hall, absorbed in the sense of high adventure.  He reaches 
     her open door, pauses, heart in his throat.  She stirs,
     awakens, looks at the alarm clock:  five thirty AM, and 
     tries to go back to sleep.  He drops to the floor and in 
     commando-fashion wiggles across the open space.  She sits up 
     with a start, but can't see Doug pressed against the floor:

                               LORI'S VOICE
               Doug?

     He freezes.  The moment passes.  He crawls beyond the 
     doorway to safety.

     EXT. HOUSE - DAY 

     Sliding out into the early morning from the adjacent garage
     area is a bicycle, a stealthy figure aboard.  It's Doug.
     He pedals furiously up the street.

     REVERSE ANGLE 

     to see a Jeep parked at a safe distance.

     ANGLE IN JEEP

     Michael is behind the wheel.  He's just seen what he 
     suspected.  What he's been waiting for.  He starts the Jeep
     and pulls out.

     ANOTHER ANGLE

     Doug pedals around a corner.  Something's bothering him.
     He stops, looking back.

     HIS POINT OF VIEW - THE CORNER 

     Nothing.

     ANGLE ON DOUG

     Satisfied, he continues.

     ANGLE FROM CORNER

     Michael's Jeep appears, quiet, following at a safe distance.

                                              CUT TO

     EXT. WAINWRIGHT NURSERY - DAY (EARLY)

     Some early morning traffic, but here it's silent, a place 
     apart.  Something moves near the rear fence, a shadow, and 
     we see Doug pull up on his bike.  He stashes it, crosses to
     the fence and scrambles over.

                                              CUT TO

     ANGLE IN ALLEY

     The Blazer is parked in the shadows.

                               PELL
               So who do you think he is?

                               KORSO
               Who?

                               PELL
               That guy who keeps showing up.  The 
               guy who leaned on Conrad.

                               KORSO
               I don't know, but I don't like it.
               I don't like snatching a kid, either
               ...if we ever find him.

                               PELL
               We'll find him.  This place sponsors
               the team, the kid's got a jacket,
               he's on the team...
                      (reacts O.S.)
               Julius, you're not gonna believe this
               ...it's him!  The kid!

                               KORSO
               Where?

                               PELL
                      (points)
               Right over there.

                                              CUT TO

     ANGLE AT STREET

     The Jeep pulls up a discreet distance away.  Michael slides
     out, starts for the nursery.

                                              CUT TO

     ANGLE AT STORAGE SHED

     Doug reaches it, pauses.

                               DOUG
                      (whispers)
               Kitt?  Kitt, don't be scared, it's 
               me, Doug....

     He unlocks the lock, slowly enters.

     ANGLE IN SHED

     K.I.T.T.'s scanner flashes red in the darkness.  Doug slips 
     in, turns on the light.  He stares at K.I.T.T., still 
     fascinated, still unsure exactly how to relate to his new 
     friend.

                               K.I.T.T.
               Hello, Doug.

                               DOUG
               How you doing...okay?

                               K.I.T.T.
               I've been thinking about what you
               said, Doug.  About 'home'....

                               DOUG
               What about it?

                               K.I.T.T.
               Do I have one?

     It's been on Doug's mind, his conscience.  He wrestles with 
     it, decides.

                               DOUG
               I was gonna tell you anyway...Kitt,
               there's a guy looking for you named 
               Michael.  He says you're his.

                               K.I.T.T.
               Really.  What does he look like?

                               DOUG
               I don't know...he's older, and 
               tall.  I guess he's okay.  He was 
               looking for you near the dam.

                               K.I.T.T.
               What's a dam?

                               DOUG
               You don't know what a dam is? -- Oh,
               I keep forgetting about your memory.
               A dam is a big thing that holds water.

                               K.I.T.T.
               I thought that was a bathtub.

                               DOUG
               No, it's bigger than a bathtub.  Kitt,
               sometimes you're really weird.

                               K.I.T.T.
               Losing one's memory is so embarrassing.

     There's a sound outside.  Curious, Doug crosses to the door,
     peers out.

     ANGLE OUTSIDE SHED

     Two figures suddenly leap at him.  Doug tries to yell but 
     they cover his mouth.

     ANOTHER ANGLE 

     Approaching through potted ferns from the opposite direction
     is Michael.  He hears the noises, reacts.

     DIFFERENT ANGLE

     Pell and Korso wrestle Doug out to the Blazer in the alley
     as Michael races toward them, using plants and potted trees 
     as cover.  But Pell spots him.

                               PELL
               Hey!

     He points his shotgun and fires.  Michael is forced to dive 
     for cover.

     ANGLE AT BLAZER

     Korso shoves Doug in, starts the engine and pulls out, Pell
     leaping on as it moves past.

     ANGLE ON MICHAEL

     He sprints after it, but it's hopeless.  Hold on his face 
     for ---

                                              FADE OUT

                        END OF ACT THREE

                            ACT FOUR

     FADE IN

     EXT. NURSERY - DAY

     Michael hurries back to the shed, pauses.

                               MICHAEL
               Kitt?  Are you in there?  It's me,
               Michael....

     Silence.  Michael slowly opens the door.

     ANGLE IN SHED

     K.I.T.T.'s scanner flashes.  Michael grins, relieved.

                               MICHAEL
               Kitt!  I've been worried about you,
               buddy.

                               K.I.T.T.
               Do we know each other?

     Michael approaches him slowly, aware it may be a difficult
     transition for him.  He takes the microchip unit from his 
     pocket.

                               MICHAEL
               Know each other?  Did Butch know 
               Sundance?  Did Smith know Wesson?

     Michael touches K.I.T.T.'s door.

                               K.I.T.T.
               I'd prefer it if you would kindly 
               keep your hands to yourself.

                               MICHAEL
                      (beat)
               Kitt, there's no time.  Doug's been
               kidnapped.  He needs us.

                               K.I.T.T.
               Do you know how many yard-feet of 
               water it takes to irrigate the 
               Imperial Valley in July?

     Michael uses this opportunity to try to slip the memory
     unit under K.I.T.T.'s frame, but K.I.T.T. reacts like a 
     wild horse.  His systems come to life, he auto-starts and:

     ANGLE OUTSIDE SHED FROM ALLEY

     The shed wall splinters in all directions as K.I.T.T. flies 
     out, turbines snarling.

     ANOTHER ANGLE

     Michael runs out, stops, facing K.I.T.T.  He has an idea.
     He slowly crosses into the alley, directly in front of 
     K.I.T.T.

                               K.I.T.T.
               Please remove yourself from my path.

                               MICHAEL
               No.

     Michael slowly advances on him.  The memory unit in his 
     hand, ready.

                               K.I.T.T.
               Stay away from me.

                               MICHAEL
               Sorry.

     Michael reaches K.I.T.T.'s hood.  It's a dangerous 
     stalemate.

                               K.I.T.T.
               I'll be forced to push you aside.

                               MICHAEL
               Go ahead.  Your dominant program is 
               the preservation of human life.

                               K.I.T.T.
               What's a 'dominant program?'

     K.I.T.T.'s turbine revs up.  He slowly advances.  Michael 
     allows himself to drop to the ground, K.I.T.T.'s hood and 
     engine compartment passing over him.

                               K.I.T.T.
               Don't say I didn't warn you!

                               MICHAEL
               Don't run over my leg!

     K.I.T.T. reacts, for one instant, stops.

     INSERT - CPU SERVICE PORT

     Michael deftly pops it open, removes the old unit over:

                               K.I.T.T.
               Move or I refuse to be responsible!

                               MICHAEL
               My leg!  Please!

     Over this, he shoves in the new unit.  There's an unexpected
     silence, followed by:

     K.I.T.T.'S DASH

     exploding to life.

     TO INCLUDE MICHAEL

                               MICHAEL
               Kitt?

                               K.I.T.T.
               Michael?  Is that you?

                               MICHAEL
                      (relieved)
               Yeah, pal.  It's me.

     He scrambles from underneath the car.

                               K.I.T.T.
               If I may be so bold, what on earth 
               are you doing down there?

                               MICHAEL
               I'll explain later.  Right now,
               we've got to save Doug.

                               K.I.T.T.
               Doug's my new friend.  Where is he?

     ANGLE IN K.I.T.T.

     Michael jumps in, activates various systems.

                               MICHAEL
               He was kidnapped, Kitt.

                               K.I.T.T.
               Kidnapped!

                               MICHAEL
                      (punches
                       buttons)
               Let's access your audio banks, see 
               if you picked anything up.

                               K.I.T.T.
               Good idea.

     K.I.T.T.'s computers whir.

                               K.I.T.T.
               I think I may have something.

                               PELL'S VOICE
               '...The place sponsors the team, the 
               kid's got a jacket....'

                               MICHAEL
                      (buttons)
               Fast forward.  There.

                               PELL'S VOICE
               '...No, Julius, this time you listen
               to me.  the point is we do it here
               and it's murder.  But if we take him 
               up to the dam, and the dam 'mysteriously
               explodes,' he's just part of the natural
               disaster....'

                               K.I.T.T.
               Michael, they're talking about Doug?!

     He slams K.I.T.T. into gear.

                               MICHAEL
               I'm afraid so, pal.  Let's go!

     K.I.T.T.'s tires spin, gain traction and they're off.

     EXT. DAM - DAY

     The Blazer speeds up a dirt road to the base of the dam
     area, stops.  Korso and Pell get out with Doug, who has
     his mouth taped securely.  Pell starts for a catwalk that
     circles the face of the dam.  Julius hustles Doug down a 
     steep canyon shoulder, below the dam.

                                              CUT TO

     OMITTED

     EXT. CITY STREET - DAY

     K.I.T.T. rounds a corner on two wheels, heading toward the 
     hills above the city.

     EXT. DAM - DAY

     Pell takes the nitro-plastique, sets the timer for fifteen
     minutes.  He attaches four strips to the concrete face and 
     starts back.

     ANGLE BELOW DAM

     Korso ties Doug to a tree, double-cinches the last knot.

                               KORSO
               So long kid.  If you ever pass over
               St. Louis, wave.

     He starts back up.

                                              CUT TO

     EXT. BASE OF HILLS - DAY

     Michael and K.I.T.T. leave the last of the residential area 
     behind, turbo over a steel rope guarding a dirt fire road
     and accelerate up, toward the dam.

                                              CUT TO

     EXT. DAM AREA - DAY

     Korso and Pell meet at the Blazer, jump in and take off.

     INTERCUT - NITRO-PLASTIQUE AND TIMER

     The clock reads less than eleven minutes.

     INTERCUT - DOUG

     He struggles to escape but it's no use.

     ANGLE ON K.I.T.T.

     barreling up the dirt road.  Michael scans the area, 
     pushes buttons.

                               MICHAEL
               All right, Kitt, let's scan for the 
               Blazer...Doug...any movement or 
               activity.

                               K.I.T.T.
               Michael!

     INSERT - MONITOR

     We see Doug tied to the tree, struggling.

     BACK TO MICHAEL

     He whips down another road.

                               MICHAEL
               Good work, Kitt!

     ANGLE AT BASE OF DAM

     K.I.T.T. skids to a stop, Michael jumping out.

                               K.I.T.T.
               Michael, wait!

     INSERT - MONITOR

     We see the strips of plastique and the timer.

     BACK TO MICHAEL

     He reacts.

                               MICHAEL
               The nitro-plastique!  Kitt, quick --
               how many minutes left on the timer?

                               K.I.T.T.
               Just over seven.

                               MICHAEL
               Can we disarm it from here?

                               K.I.T.T.
               I don't think so.

                               MICHAEL
               Then let's stop the clock.
                      (pushes 
                       button)
               Full power on microwave jammer.

     Michael runs to the canyon shoulder for Doug.  Hold on the 
     jammer as it focuses on the timer.  The timer begins to 
     vibrate.

     ANGLE ON DOUG

     He stops struggling when, to his amazement and relief, he 
     sees Michael coming down the ravine for him.  Michael cuts 
     the rope, pulls off the tape.

                               MICHAEL
               You okay?!

                               DOUG
               Yeah....

                               MICHAEL
               Let's go.

     They start back up.

     ANGLE IN K.I.T.T. - ON THE MONITOR

     We see the timer begin to shake violently, then disintegrate.

     WIDER ANGLE 

     as Michael and Doug appear, climbing in.

                               MICHAEL
                      (to K.I.T.T.)
               How'd we do?

                               K.I.T.T.
               Clock heaven.  Hello, Doug!

                               DOUG
               Hi, Kitt!

                               MICHAEL
               All right.  Now for our friends in
               the supercharged Blazer.

                               K.I.T.T.
               Blazer heaven?

     Michael backs out in a cloud of dust.

                               MICHAEL
               Heaven's too good for 'em.  I was 
               thinking of jail.

                                              CUT TO

     EXT. DIRT ROAD - DAY

     The Blazer barrels along, unaware of:

     ANGLE BEHIND

     K.I.T.T. pulls into view.

                               MICHAEL
               Okay, Kitt.  Shall we put these 
               turkeys away?

                               K.I.T.T.
               I thought you'd never ask.

                               MICHAEL
               Doug, you do the honors.  Press 
               Turbo Boost.

     Doug grins -- reaches for the turbo button, presses hard.

     K.I.T.T.

     zooms high over the racing Blazer, lands ahead of it,
     cutting it off.

     ANGLE ON KORSO AND PELL

     Korso cuts the wheel too sharply.

     THE BLAZER

     It flips and slides to a stop.

     ANGLE ON K.I.T.T.

     Michael and Doug jump out.  As the dust clears, Korso and 
     Pell straggle out, dazed.  Michael grabs Pell's .38.

                               MICHAEL
               Go ahead, Doug.

                               DOUG
               Aww, I don't know...Is it legal?

                               MICHAEL
               You're a citizen, aren't you?

                               DOUG
               I guess.
                      (to Korso
                       and Pell)
               This is Doug Wainwright, and I'm 
               making a citizen's arrest!

                                              FADE OUT

                         END OF ACT FOUR

                               TAG

     FADE IN

     EXT. WAINWRIGHT HOUSE - DAY 

     The front door opens and Lori, Doug and Michael come out,
     cross slowly to where K.I.T.T. is parked.  Doug darts ahead
     to say good-bye to K.I.T.T.

                               LORI
               He's like his old self again.  He
               even offered to do the dishes this 
               morning.  I was shocked.

     Michael smiles.

                               MICHAEL
               I wouldn't count on that.

                               LORI
                      (laughs)
               I've been a mother too long, don't 
               worry.  But it was nice.  It felt 
               good.

     They smile, continue toward K.I.T.T. and Doug.

                               LORI
               He's going to miss you.  You and 
               Kitt.

                               MICHAEL
               According to Kitt, not for long.  He's 
               already made me promise to come by.

     She pauses.

                               LORI
               I've been doing a lot of thinking.
               About Doug...about Jim.  I think
               it's still too soon.  I think Doug
               needs more than I can give him with 
               another man around...
                      (kisses him
                       on cheek)
               Bye.  And thanks.

     She goes back in.  Michael watches her, pleased, then turns
     to Doug.

                               MICHAEL
                      (to Doug)
               Sorry, partner.  Time to go.

                               DOUG
               I was just telling Kitt that maybe 
               I'd start going to school a little 
               more, maybe like even everyday.

                               MICHAEL
               Sounds good to me.  Sound good to
               you?

                               DOUG
               I guess.

     Michael smiles, gives him a thumbs up and climbs into 
     K.I.T.T.

                               DOUG
               Don't forget to come by!

                               K.I.T.T.
               I'll see that he doesn't forget, Doug.
               Now that I've got my memory back, you 
               can count on me.

     Doug watches as they pull out and disappear down the street....

                                              FADE OUT

                             THE END