Home : Knight Rider : Season 2 : Blind Spot : Scripts : 5th Draft

KNIGHT RIDER: BLIND SPOT

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

Production #57809
5th Draft - August 27, 1983 (F.R.)

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

                              
                                ACT ONE

     FADE IN

     EXT. GASTNER AUTO WRECKING YARD - DAY

     A big operation, with rows and rows of cars, stacked six
     high.  A large crane arches toward a crusher/compacter
     that's used to reduce entire cars to flattened blocks of
     metal.  Numerous workers man the equipment -- and although
     we may not immediately notice, all are Latinos.

     ANGLE ON ALFREDO

     A Latino foreman, moving through the stacks, barking orders
     in Spanish at the workers.  He approaches a more isolated
     area of the yard, where the dead cars are stacked, rounds
     one of those stacks.  He stops suddenly as he's confronted 
     by:

     WIDER ANGLE - MEL AND DUDLEY

     stocky, muscular men in their early forties, supporting
     between them the limp body of a young Latino.

                               ALFREDO
               Celso!

     Mel and Dudley look up.

                               MEL
               No problema, Alfredo.  Your friend
               here just can't hold his tequila.

     Alfredo stares at the inert Celso, starts to approach and
     Mel stops him with a sharp command.

                               DUDLEY
               Go back to work!

     Alfredo pauses, eyeing Celso uncertainly, then slowly turns
     and heads out of the stacks, gazing back as the three men
     disappear among the stacks.  After a moment, a horrible
     scream of metal makes Alfredo jump, and he turns to see:

     ANGLE - AN OLD CAR

     in the steel claw of the crane, being lifted into the air,
     swivelled toward and dropped out of view, into the crusher.

     ANGLE ON ALFREDO

     His face pained, as we hear the sound of metal scraping
     against metal, a terrible rending sound, and go to:

     EXT. FOUNDATION - DAY - STOCK

     as the Trans Am pulls up fast and Michael hops out, hurries
     into the Foundation.

                               MICHAEL'S VOICE
               I got here as fast as I could.
               Where's Devon?

                               APRIL'S VOICE
               Still on the phone.  If we hurry....

     OMITTED

     INT. DEVON'S OFFICE - DAY

     Devon's standing by his desk, jotting down notes as he
     listens intently to someone on the other end of the phone.
     He looks up as Michael and April enter, signals them to
     stand by.

                               DEVON
                      (phone)
               ...I understand...No, if we agree to
               accept the case, we'll honor your
               terms and conditions....

     INT. AN OFFICE - DAY - ANGLE ON A LATINO

     seen from the back, speaking into a telephone.  He's
     obviously terrified, is almost whispering to avoid being
     overheard.  He has only a slight accent.

                               LATINO
                      (phone)
               ...I have papers, evidence against
               him...I can't, no...if he finds out
               he'll kill me....

     INT. AN ADJACENT OFFICE - DAY

     We recognize Mel as he enters the room and may or may not
     figure out that we're in the Gastner Wrecking Yard office.
     Mel crosses to a telephone and lifts the receiver to his
     ear, hears that the line's engaged and begins to hang up.
     Then, catching a bit of the conversation, he again raises
     the receiver to his ear, listens.

     INT. DEVON'S OFFICE - DAY

     Devon scribbling like mad, taking down directions from the
     mysterious caller.  He hands what he's written to Michael,
     who scans it quickly, "salutes" Devon and leaves.  April
     moves closer to Devon, watching him.

                               DEVON
               ...I'll have someone there, don't
               worry.  If you'd just give me your
               name ---

     From his expression, it's apparent that the caller has hung
     up.  Devon also hangs up.

                               APRIL
               Devon, how do you know it's not a
               crank caller?  Maybe he's just angry
               at someone.

                               DEVON
               He's angry at someone, all right.
               The difference is the man he's angry
               at is Louis Gastner.

     April reacts to the name.

     INT. OFFICE - DAY

     The office the Latino phoned from.  Mel bursts in, intent
     on capturing the caller.  The office is empty....

                                              CUT TO

     EXT. CITY STREET - DAY - ON THE TRANS AM

     moving fast through city traffic.

     INT. TRANS AM - DAY

     Michael's behind the wheel, wearing a Dodgers baseball cap.

                               K.I.T.T.
               Gastner...why is that name familiar?

                               MICHAEL
               The guy's been in the papers for years
               -- name a crime and he's been accused
               of it.  The problem is nobody's been
               able to get a conviction on him.

                               K.I.T.T.
               This 'evidence drop,' as you call it,
               is all very strange and unorthodox,
               Michael...so is that cap you're
               wearing.

     Michael glances in the rearview mirror, adjusts his cap.

                               MICHAEL
               It's what the caller ordered, Kitt.
               Instant ID.  All part of the plan.

     EXT. SHOPPING CENTER MALL - PARKING LOT - DAY

     As the Trans Am pulls into the lot, we hear:

                               K.I.T.T.'S VOICE
               I don't think I'm going to like
               this....

     INT. TRANS AM 

     Michael scans the parking lot.

                               MICHAEL
               Relax, it'll be a piece of cake.

                               K.I.T.T.
               I've heard that before.  For instance,
               when we went up against Goliath.
                      (beat)
               No, Michael, it's this location.
               Parking lots depress me.

                               MICHAEL
               With all these cars?  I thought
               you'd feel right at home.

                               K.I.T.T.
               It's precisely all these cars that
               bother me.  Here they sit, left in
               the sweltering sun, for all practical
               purposes forgotten, while their owners
               browse in air-conditioned comfort....

     Michael checks out the rows of cars.  He smiles.

                               MICHAEL
               Don't take it so personally.

                               K.I.T.T.
               That's easy for you to say.  I 
               happen to be a car, and crimes
               against cars bother me.

                               MICHAEL
               Okay, okay.
                      (beat)
               There's row D.

     Michael pulls down the row, finds a space and parks.  He
     checks his watch.

                               MICHAEL
               I've got about two minutes to get
               across to the mall.  You wait for
               our informant to drop the evidence
               in the window.

                               K.I.T.T.
               Now I'm a mobile mailbox.

     Michael smiles, gets out of the car, leans back in, punches
     buttons.

                               MICHAEL
               Devon wants visuals on this, so I'm
               activating your video camera.  And
               buzz me when he makes the drop.

                               K.I.T.T.
               Despite what you may think, I'm
               perfectly capable of handling my
               responsibilities.

                               MICHAEL
               Boy, you're touchy today.  Wake up
               on the wrong side of the garage?

                               K.I.T.T.
               Very funny.

     Michael tips his hat, heads off.

     EXT. PARKING LOT - DAY - FEATURING MICHAEL

     as he saunters away from the Trans am, toward the shopping
     mall, passing by a late model Porsche parked not far from
     the Trans Am.  The darkened window on the driver's side
     slowly lowers, and inside we see:

     DUDLEY AND MEL

     Dudley at the wheel, both watching Michael walk by.  Dudley
     takes out an automatic, checks the clip.  Mel checks his
     watch, scans the parking lot, waiting....

     ANGLE ON MICHAEL

     moving toward his preset destination, a kiosk inside the
     shopping mall.  From here, he can see the Trans Am -- but
     he's some distance away.

     EXT. PARKING LOT - FEATURING A BLUE SEDAN

     pulling in.  Behind the wheel is a young man, John Murray.
     Sitting beside him, wearing lightly tinted sunglasses, is
     a stunningly pretty young woman, Julie Robinson.  In the
     backseat, we see a golden retriever, named Sugar, her head
     hanging out the open window.  John pulls down row "D,"
     obviously looking for a space.

     ANGLE ON DUDLEY AND MEL

     watching the blue sedan, Dudley indicating his watch.  He
     raises the automatic....

     INT. K.I.T.T. - ON THE VIDSCREEN

     Lights flashing, vidscreen activated.  We see a video
     image of John's car pulling past the Trans Am, backing up
     and taking a space two over from the Trans Am.  A sports
     car parked between the two should effectively block the low-
     level view K.I.T.T.'s camera has of John's car.  We see
     the door open and John gets out of the car.  We hear:

                               JULIE
               John, where are you going?

                               JOHN
               I'll be right back.  Stay there....

     EXT. PARKING LOT - FEATURING THE PORSCHE

     Dudley and Mel watch John as he moves quickly between cars,
     looking to his right, then his left, seeming to case the
     area.  Suddenly, he spots the Trans Am and moves decisively
     toward it.  Dudley tenses, starts the Porsche, inches forward.

     INT. K.I.T.T.

     The vidscreen showing John as he moves toward the Trans Am.

                               K.I.T.T.
                      (comlink)
               Michael, I think we've got a visitor.

     ON MICHAEL

     by the kiosk, as K.I.T.T.'s voice comes through comlink.

                               MICHAEL
                      (comlink)
               Gotcha, Kitt.

     ON THE TRANS AM

     At this point, we should see John, as well as other ND
     passersby:  an elderly man, a lady with shopping cart, a
     young man in a jogging suit and a dark-haired young man.
     As John moves toward the passenger side of the Trans Am,
     his hand reaching for the door handle....

     ANOTHER ANGLE

     Just as John appears to connect with the Trans Am, the
     Porsche pulls up and Dudley fires his automatic.  The shot
     hits John and he falls against the Trans Am, then hits the
     ground.

     ANGLE ON MICHAEL

     He runs forward, toward the action.

     ANGLE AT TRANS AM

     Mel jumps out of the porsche, runs to the Trans Am and
     tries to open the door.  It's locked, so he reaches through
     the window.  Just as quickly K.I.T.T. powers up the window,
     nearly clutching his hand.  Then:

                               JULIE'S VOICE
               John?  John...!

     Mel turns, sees Julie climbing out of the blue sedan two
     cars over, facing directly toward him.  At that moment:

                               MICHAEL
               Hey, you -- stop!

     Mel whirls to see Michael dashing toward him.  He turns and
     bolts for the Porsche, leaps in and the car peels away.

     ANGLE TO FEATURE MICHAEL

     dodging cars, racing toward the fallen John.  The passersby
     stare, horrified, and a shopping mall security guard runs to
     John.  As he's about to lift him, Michael arrives:

                               MICHAEL
               Don't move him!

     The guard looks up as Michael kneels, checks John's injury.

                               MICHAEL
               Call the paramedics!

     The dark-haired young man in the b.g. yells:

                               DARK-HAIR
               I'll call them!

     He sprints away.  As the security guard comforts John,
     Michael circles to the Trans Am, jumps in.

     ANOTHER ANGLE

     as the Trans Am backs up at break-neck speed, whirls around
     and takes off after the Porsche.

     EXT. PARKING LOT - DAY

     as the Porsche threads its way through the maze of cars,
     finds an exit, hits the street.  A beat later, the Trans Am
     squeals the wrong way down a one-way row, barely missing a
     car and fishtailing out onto the street.

     EXT. STREET - DAY

     The Porsche's got enough of a head start to give K.I.T.T.
     something to go for.  The traffic is heavy enough to provide
     some obstacles, but Dudley handles the Porsche with panache.

     INT. TRANS AM - DAY

     as Michael negotiates the same traffic.  They're moving 
     fast.

                               K.I.T.T.
               I suppose this is your idea of 'a
               piece of cake?'

                               MICHAEL
               Thanks for the reminder, smart guy.
                      (beat)
               Let's get some history on his plates.

     Michael punches the appropriate buttons, and on the vid-
     screen, we see the Porsche and as we zoom in on the rear
     plates, we go to:

     ANGLE AT CATERING TRUCK

     several people, including a motorcycle cop, Officer Gray.
     He's just gotten a donut and cup of coffee when the Porsche
     flashes by.  Torn, he nevertheless dumps coffee and donut
     into a trash container and runs to his bike.  Just then the
     Trans Am flashes by.  Could be a bank robbery!  He leaps on
     his bike, winces as delicate parts are sat upon, hits the
     starter:  nothing.  Hits it again...and, finally, it catches.
     He shoots away.

     THE PORSCHE ON THE STREET
 
     roaring toward an intersection, light turning yellow.
     Congestion, including a large dump truck waiting to move
     through the intersection.

     ANGLE ON THE STREET

     as the Porsche hits the intersection, the light turns red.
     The Porsche runs the light, weasels around the dump truck
     and barely misses a school bus which is forced to stop
     beyond the dump truck, completely blocking through traffic.
     The Porsche tears away up the street.  A beat later, the
     Trans Am approaches the intersection.

     INT. TRANS AM - DAY
 
     Michael sees the dump truck dominating the intersection.
     He's moving toward it at high speed.

                               MICHAEL
               Kitt, are we clear to Turbo Boost?

                               K.I.T.T.
               No, Michael...there's a school bus
               trapped behind the truck!

     EXT. TRANS AM - DAY

     Michael hits the brakes and goes into a broadside skid into
     the intersection, coming to a stop just feet from the dump 
     truck.

     INT. TRANS AM - DAY

     Michael takes a deep breath, then slowly drives the car out
     of the intersection.  The light turns green and the dump
     truck begins to move, then the bus, the drivers of both
     shouting MOS insults out the window.

                               MICHAEL
               Can you pick 'em up with your scanner?

                               K.I.T.T.
               They're out of range.  I'm afraid 
               we've lost them, Michael.

                               MICHAEL
               Them and ten years off my life.

     A beat as Michael pulls away from the scene of the skid, 
     then:

     ANGLE ON OFFICER GRAY

     tearing into the intersection screeching his bike to a stop.
     He looks around, confused.  Where'd everybody go?

     EXT. WRECKING YARD - DAY - CLOSE ON PORSCHE

     dangling in the air, about to be caught in the steel jaws
     of the crane's claw.  Over the whine of the crane, we hear:

                               DUDLEY'S VOICE
               You know how I feel about that
               car....

     Camera adjusts to reveal Dudley, Mel and Louis Gastner.
     Dudley is visibly upset.

                               GASTNER
               It's potentially incriminating
               evidence.

                               DUDLEY
               Yeah, but it's my car.  I love that
               car.  I hand wax it every weekend....

                               MEL
               Changes the oil himself, too.

                               DUDLEY
               Look, Mr. Gastner, gimme a break.
               I'll stash it.  I'll have my brother
               drive it over the state line.

     Gastner debates, signals the operator to stop; the Porsche
     dangles helplessly above the crusher.

                               GASTNER
               Okay, stash it.  Stash it good.

     Dudley nods, relieved.

                               GASTNER
               I want that evidence -- and the guy
               who stole it, whoever he is.  You
               understand me?

     They nod, sincere.

                               GASTNER
               You shot a guy...left an eyewitness.
               Said so yourself -- She looked right
               at you.
                      (beat)
               You screwed up.  That's human.  I'm
               forgiving...that's me.  All heart...
                      (suddenly cold)
               To a point.  I want the eyewitness.

     With that, Gastner turns and strides quickly toward the
     office.

                               MEL
               That was a close one.

                               DUDLEY
               We'd better find that girl.

     OMITTED

     EXT. HOSPITAL PARKING LOT - DAY

     The Trans Am pulls in and parks.  Michael climbs out of
     the car, leans in, addressing K.I.T.T.:

                               MICHAEL
               You going to be okay in this parking 
               lot?

                               K.I.T.T.
               This is a hospital, not a shopping
               center.  By definition, there's a
               valid reason for every car here.  I'm
               quite comfortable, thank you.

                               MICHAEL
               Anything to keep you happy.

     Michael heads for the entrance.

     OMITTED

     INT. HOSPITAL - NURSES' STATION - DAY

     A uniformed cop's hanging out near the station and not far 
     from him is Julie Robinson, still in her tinted sunglasses,
     pacing near a large sofa in the waiting section.

     ANGLE ON MICHAEL

     as he approaches.  He sees a nurse, pauses to ask an MOS
     question.  The nurse indicates Julie.  Michael approaches
     her.

                               MICHAEL
               Excuse me...Julie Robinson?

     Julie doesn't turn, but she's obviously listening.

                               MICHAEL
               My name's Michael Knight.  I'm with 
               the Foundation for Law and Government.

     No response.

                               MICHAEL
               I'm the one John was supposed to
               meet in the parking lot today....

     She faces him, confused.

                               JULIE
               John didn't say anything about
               meeting anyone.

                               MICHAEL
               Whether he said anything or not, he
               had some evidence to deliver.  I 
               checked with the paramedics, the
               hospital -- no one knows anything
               about it.

                               JULIE
               I really don't know what you're 
               talking about.  John and I were
               going shopping and someone just
               ...shot him.  For no reason....

     Julie looks as if she may cry, stubbornly wills it away.

                               MICHAEL
               Look, I know this doesn't seem like
               the right time to be asking you
               questions, but you were there.  You
               must've seen where he hid the 
               evidence....

     Michael's interrupted by the Nurse.

                               NURSE
               Miss Robinson?  The doctor's with
               John now if you'd like to see him.

                               JULIE
               Thank you.

     Julie turns away from Michael, toward the sofa.

                               JULIE
               Sugar?

     There's a movement beyond the sofa and a golden retriever
     comes forward.  As we see the dog (seen earlier in the blue 
     sedan), and the dog's harness, we realize, as Michael
     does...that Julie's blind.

     ANOTHER ANGLE

     as the dog moves skillfully beside Julie, the harness
     sliding perfectly into her grasp.  She walks the dog up the
     hall, disappearing from view.  We hold on Michael watching
     her leave, stunned, and then:

                                              FADE OUT

                         END OF ACT ONE

                             ACT TWO

     FADE IN

     EXT. HOSPITAL PARKING LOT - DAY

     Michael comes out of the hospital, crosses to the Trans Am
     and climbs in.

     INT. TRANS AM - DAY

     as Michael talks to K.I.T.T.

                               K.I.T.T.
               Michael, I sense something is 
               bothering you.

                               MICHAEL
               Our eyewitness to the shooting is
               blind.

                               K.I.T.T.
               But she moved with such certainty,
               surely I would've noticed....

                               MICHAEL
               Hard to say, pal.  She also insists
               that John Murray had nothing to do
               with the evidence drop.

                               K.I.T.T.
               Do you believe her?

                               MICHAEL
               We'll see.  Let's hang out for a 
               minute...She should be out soon.
                      (beat)
               How'd you do on the Porsche?

     In the b.g., we see a motorcycle cop pull to a stop in
     front of the hospital.  We recognize Officer Gray as he
     climbs off his bike, crosses toward the hospital.

                               K.I.T.T.
               The car in question is registered to
               a David Dudley.  Insofar as it was
               involved in an attempted homicide,
               shouldn't we share this information
               with the police?

                               MICHAEL
               The man called the Foundation because
               he couldn't go to the police.  We've 
               got to honor that confidence.

     Michael sees Julie and Sugar appearing through the glass
     hospital doors, approaching to exit.

                               K.I.T.T.
               I doubt I'll ever grasp this human
               need for secrets.

     EXT. HOSPITAL ENTRANCE - DAY

     as Officer Gray jumps to open the doors and holds them for
     her and Sugar.

                               JULIE
               Thank you.

                               GRAY
               You're welcome.

     She smiles, exits the hospital and the doors flap back in
     Gray's face.  We follow Julie as she heads into the parking
     lot, Sugar walking in perfect step at her side.

     INT. TRANS AM - DAY

     as Michael watches Julie.  She pauses to rummage through
     her purse and Sugar sits obediently, her harness effec-
     tively hidden from sight by Julie's body.

                               K.I.T.T.
               Michael!  There's a car approaching
               at high speed!

     Michael turns to see:

     AN ND SEDAN

     roaring across the parking lot, directly toward Julie.
     Mel's at the wheel, Dudley's beside him.

     OMITTED

     ANGLE ON THE TRANS AM

     as Michael whips it into gear, squealing out of the space,
     races toward Julie.  Just in time he reaches Julie, K.I.T.T.
     between her and the oncoming car.

     OMITTED

     ANOTHER ANGLE - WIDER

     as Mel, eyes wide with surprise, swerves to the left.
     Sensing trouble, Sugar pulls Julie away.  She loses her
     balance, stumbles and falls to the asphalt, the contents
     of her purse emptying everywhere.

     INT. SEDAN - DAY

     squirreling away from the Trans Am, heading out of the lot,
     Dudley staring back.

                               DUDLEY
               That girl -- she's blind!

                               MEL
               You sure?!

                               DUDLEY
               Sure as I'm sitting here.  So much
               for our 'eyewitness.'

     OMITTED

     EXT. PARKING LOT - DAY

     The Trans Am screeches to a halt and Michael jumps out,
     runs to Julie.  She rubs her skinned knees, struggles to
     gather her fallen belongings.  Sugar stands protectively at
     her side, wags her tail as she sees Michael.

                               MICHAEL
               Are you all right?

                               JULIE
               Most of me.  Thanks for cutting that
               maniac off.

                               MICHAEL
               You know what happened?

                               JULIE
               A car was coming at me from there.
                      (points)
               You seemed to come at me from over
               there...
                      (points, then 
                       a beat)
               You must be some driver, Michael Knight.

                               MICHAEL
               And you don't miss a trick.  How'd
               you know it was me?

                               JULIE
               I heard you.  Could you hand me my
               wallet?

     She points at her wallet, lying behind Michael.  He spots 
     it, grins, impressed with Julie's ability.  He hands her
     the wallet.  She's already on her feet.

                               MICHAEL
               You're a pretty remarkable lady.

     Julie grabs Michael's hand, tilts her face up at him.

                               JULIE
               It wasn't an accident, was it?

                               MICHAEL
               Didn't look like it to me.  I think
               whoever tried to kill John thinks
               you're an eyewitness -- just like I
               did.
                      (glances after
                       departed car)
               I wonder if they still do...
                      (beat)
               C'mon, I'll give you a lift home.

                               JULIE
               Well...you do sound all right.

                               MICHAEL
               With ears like yours, I figure
               that's a compliment.

     Julie manages a smile.  Michael begins to "walk" her toward
     the Trans Am and she gently -- but firmly -- indicates that
     she can find her own way, with Sugar.

     NEW ANGLE

     as Michael, Julie and Sugar reach the Trans Am and Michael
     opens the passenger door.  Sugar immediately jumps in.
     K.I.T.T. clears his throat.

                               MICHAEL
               Sorry, pal, I know how you feel 
               about dogs as passengers, but this
               one's real well-trained.

                               K.I.T.T.
               Training is one thing...obeying is
               quite another.

                               JULIE
               You've got a computer in your car!

                               MICHAEL
               The computer is the car.  Introduce
               yourself, Kitt.

                               K.I.T.T.
               I'm pleased to meet you, Miss Robinson.

     Julie listens intently to the sound of K.I.T.T.'s voice.
     Even Sugar cocks her head slightly.

                               JULIE
               A talking car!  Now it's my turn to
               be impressed.
                      (beat)
               Kitt, is it?  What an intriguing 
               voice.  A little too much gain in
               your tweeter, and a slight metallic
               ring to your bass....

                               K.I.T.T.
                      (concerned)
               Do you really think so?

     Michael laughs and they pull away as we:

                                              CUT TO

     EXT. JULIE'S CONDOMINIUM - DAY

     The Trans Am pulls to a stop in front of the attractive,
     two-story dwelling.  Julie's door opens and she and Sugar
     are heading for the stairs before Michael can reach them.
     He smiles, follows.

     INT. JULIE'S CONDO - DAY

     The door opens and Julie and Sugar enter, followed by
     Michael.  The living room is full of light, furniture
     covered with canvas -- this is clearly an art studio.
     There are attractive paintings on the walls and sculpture
     materials and tools neatly arranged for easy access.  As
     Michael eyes the artwork, Julie heads into a small, open
     kitchenette, moving for all intents and purposes like a
     fully sighted person.  Her nimble hands prepare Sugar's
     dinner as Michael pauses in front of an attractive painting
     of a dog.

                               MICHAEL
               This looks like Sugar.

     Julie crosses toward him, obviously knowing the painting.

                               JULIE
               Sugar wasn't even born when I
               painted that.

                               MICHAEL
               You...?

                               JULIE
               I lost my sight when I was seventeen.
               I painted until then.  Now, with
               John's help, I sculpt.

                               MICHAEL
               Then you two are close....

                               JULIE
                      (beat)
               Close?  In ways, yes....

                               MICHAEL
               Julie, why did John bring you to that
               shopping center at that particular 
               time?

                               JULIE
               We were going to buy supplies at the
               art store.  At that particular time.
               You still don't believe me, do you?

                               MICHAEL
               It's not that I don't believe you --
               but isn't it possible that John
               didn't tell you his real reason for
               being there?

                               JULIE
               No.

                               MICHAEL
               How can you be so sure?

                               JULIE
               The same way I knew you didn't believe
               me -- I could hear it in your voice.
               I'd've known if John was worried or
               anxious -- no, it's just not possible.

                               MICHAEL
               Then why was John reaching for my
               car?

                               JULIE
               What makes you think he was?

                               MICHAEL
               I saw him.

                               JULIE
               Seeing isn't necessarily knowing, or
               understanding.

     This stops Michael up short.  Julie's obviously upset.

                               JULIE
               I heard a shot ring out.  I could
               feel John was hurt and all I could
               do was stand there, helpless....

     Michael sees the anguish that the word "helpless" holds
     for Julie.  He thinks, tries a new tack:

                               MICHAEL
               I've got a video of what happened
               today.  Maybe you ought to take a
               look at it.

     She looks up at him, evaluating him.

                               MICHAEL
               Maybe you'd hear -- or feel -- some-
               thing I'd miss.

     Julie waits a beat, head cocked.  Then, she nods and we:

                                              CUT TO

     OMITTED

     INT. DEVON'S OFFICE - NIGHT - CLOSE ON THE TV MONITOR

     where we see the video tape of our opening sequence.  We
     pick up the action as John's car pulls in and parks.

                               JULIE'S VOICE
               John, where are you going?

                               JOHN'S VOICE
               I'll be right back.  Stay there.

     Julie nods as she listens, turns to the others.

                               JULIE
               John was going after Sugar, my dog.
               She didn't have her harness on and
               when John opened the door, she 
               slipped out.

     Devon and Michael exchange a look.

                               DEVON
               Miss Robinson, Sugar's not in the
               picture.

                               JULIE
               But she has to be.  I can hear her!
               Could you back up the tape...?

     Michael reverses the machine, adjusts the volume.  Against
     the b.g. noise, we hear a faint sound that could be a bark.

                               JULIE
               There she is...hear her?

     Suddenly, Michael points to the monitor, pushes "pause."

                               MICHAEL
               Wait a minute...what's that?

     On the screen, we see John moving past the cars, and in a
     corner of the frame is the tip of Sugar's tail sticking up
     past a parked car.

                               DEVON
               A dog's tail....

     She smiles, as do the others.  At that moment, April enters
     the room while Michael reactivates the tape.

                               APRIL
               I've run every possible check on
               John Murray.  He's clean.

     Julie nods knowingly.

                               DEVON
               The man who called me had a Spanish
               accent.  Is John a Latino?

                               JULIE
                      (smiles)
               He's Irish.

     On the tape, the shot rings out.  We hear the dialogue.

                               MICHAEL'S VOICE
               Don't move him!  Call the paramedics!

                               DARK-HAIR'S VOICE
               I'll call them!

     Julie suddenly sits forward.

                               JULIE
               If you're looking for a Latino,
               there he is!

     He runs the tape back.  Once more:

                               DARK-HAIR'S VOICE
               I'll call them!

                               MICHAEL
                      (to Devon)
               He does have an accent....

     On the screen, we zoom in on the dark-haired man, but his
     back is to us as he moves away.

                               APRIL
               I'll try to blow it up, but we'll 
               lose some clarity.

                               DEVON
               Do what you can, April.

     April rewinds the tape, Devon addresses Michael and Julie.

                               DEVON
               Thank you, Miss Robinson.  You're an
               excellent 'eye' witness.

     She smiles and we:

                                              CUT TO

     EXT. GASTNER'S WRECKING YARD - DAY

     The Trans Am pulls in and parks.  It's a beehive of activity
     -- the crane is busily feeding another car to the crusher
     and everywhere are Latino employees.

     INT. TRANS AM - DAY

     Michael stares at the yard around him.

                               K.I.T.T.
               It's worse than I imagined.

                               MICHAEL
               Awful lot of guys with Spanish accents,
               huh?

                               K.I.T.T.
               No, that machine.  That horrible
               machine.  Look what it's doing.

     Michael eyes the crusher, a little awestruck by its power.

                               MICHAEL
               And you thought parking lots were 
               bad.

                               K.I.T.T.
               I fail to see the logic of what we're 
               doing here.

                               MICHAEL
               Trying a long shot, pal -- maybe 
               we'll get lucky.

                               K.I.T.T.
               Michael, is it true?

                               MICHAEL
                      (getting out)
               What?

                               K.I.T.T.
               Too much gain in my tweeter and a
               metallic ring to my bass....

                               MICHAEL
                      (smiles)
               I wouldn't worry about it, Kitt.
               You sound fine to me.

     EXT. TRANS AM - DAY

     as Michael climbs out, crosses toward the office.  A red
     Cadillac is parked in front.  Gastner comes out of the
     office.  He eyes the Trans Am, then Michael, with equal 
     mistrust.

                               GASTNER
               Yeah?

     Michael sizes Gastner up with thinly concealed distaste.

                               MICHAEL
               I'm looking for a guy named Dudley --
               Dave Dudley.  He brought his Porsche
               by my place last week, wanted to trade 
               it for my car.

     Michael indicates K.I.T.T. and the scanner flashes.

                               MICHAEL
               Thought I might take him up on his
               offer, Mr....

                               GASTNER
               Gastner.  Nobody named Dudley works
               here.

                               MICHAEL
               You sure?

                               GASTNER
               Yeah.  But if you find him, take him
               up on his offer.  You'll be getting
               the best end of the deal.

     INT. TRANS AM

     K.I.T.T.'s dash lights flash.

                               K.I.T.T.
                      (offended)
               Spoken like a true barbarian.

     Michael appears, climbs in.

                               MICHAEL
               Did you say something?

                               K.I.T.T.
               I certainly did.  That awful man is
               an insult to the human race and the
               automotive industry.  He belongs 
               behind bars.

                               MICHAEL
                      (starts  
                       the engine)
               No arguments from me there...
                      (beat,
                       pauses)
               He seemed pretty sure of himself.
               I've got an idea Dudley and his pal
               realized Julie is blind....

                               K.I.T.T.
               Then we're back to square one.

                               MICHAEL
                      (thinking)
               Maybe not.
                      (punches buttons)
               Give me all you've got on David 
               Dudley -- personal habits, hobbies,
               friends -- the works.

     K.I.T.T.'s computer lights flash.  Michael puts K.I.T.T.
     in gear and pulls out.

     OMITTED

     EXT. HOSPITAL - DAY

     Michael, Julie and Sugar exit and approach the Trans Am,
     which is parked out front.

                               MICHAEL
               The way John's improving, he should
               be able to talk soon.

                               JULIE
                      (nods; beat)
               I'm still not sure I understand your 
               plan.  I thought you were after Gastner.

                               MICHAEL
               We are.  But as long as Dudley and his
               buddy are running interference for him,
               we've got to nail them first.

                               JULIE
               But they know I'm blind.

                               MICHAEL
               You said it yourself, Julie --
               'seeing isn't necessarily knowing or
               understanding.'

     He smiles, opens K.I.T.T.'s door for her.  Sugar jumps in.

                               MICHAEL
               Don't worry, Kitt'll take care of 
               you.

                                              CUT TO

     OMITTED

     EXT. PARK - DAY

     Dudley and Mel toss a football, their dates a short dis-
     tance away on a blanket listening to rock 'n roll on a
     radio and gossiping.

     FEATURE THE TRANS AM ACROSS THE PARK

     Julie's behind the wheel, hands gripping it.  As she becomes 
     more accustomed to "driving," she relaxes more.

     OMITTED

     INT. TRANS AM - DAY

                               JULIE
               Am I doing all right, Kitt?

                               K.I.T.T.
               With a little more practice we could
               enter the Indy 500.

                               JULIE
                      (laughs)
               Flatterer.

     OMITTED

     ANGLE ON MEL AND DUDLEY

     as Mel, ready to throw, spots Julie.  He stares, points.

                               MEL
               Dave, look -- the blind broad!

                               DUDLEY
                      (stares)
               I thought you said she was blind!

                               MEL
               You said she was!

     Dudley and Mel run for their car parked nearby.  They 
     floor the sedan and take off after the Trans Am, tearing
     across the park.

     OMITTED

     INT. TRANS AM - DAY

     as K.I.T.T. picks up speed.

                               K.I.T.T.
               I believe Michael's ploy is working.

                               JULIE
               Good.  Pedal to the metal, Kitt.

     EXT. PARK - DAY

     K.I.T.T. leads the sedan on a chase through the park,
     dodging plants and other obstacles, heading toward a more
     sparsely-populated area.

     ANGLE ON OFFICER GRAY

     He is buying a hotdog from a vendor, ready to bite into it
     when he sees Julie.  He drops the hotdog, runs to his bike.

                               GRAY
                      (radio)
               This is 42786, Officer Peter Gray.
               I've just spotted a blind girl
               driving a car...please advise.

                               RADIO VOICE
               A blind girl?  You'd better see your
               optometrist, 42786.

     The voice clicks off as the sedan flies past in pursuit.
     Gray starts his bike.

     ANGLE ON THE TRANS AM AND SEDAN

     K.I.T.T. tears around a curve and suddenly brakes sharply,
     skidding to a stop in a deserted picnic area.  In the b.g.,
     we see a lone jogger in a sweatsuit with hood, apparently
     oblivious to the action as he approaches.  The dust still
     hasn't settled when Mel and Dudley skid to a stop behind
     the Trans Am.

     OMITTED

     ANGLE - WIDER - MEL AND DUDLEY

     climb out of their car, Dudley wielding a baseball bat.

                               MEL
               Looks like the little lady's run out
               of gas.

                               DUDLEY
               Run out of luck, too.

     They run to the Trans Am, try the door handles and find
     them locked as Julie "looks" at them through the window.
     Dudley raises the bat high and slams it against the driver's
     window.  The bat splinters and Dudley and Mel stare at it
     with awe.  They stage an all-out attack on the Trans Am, bat
     swinging, Mel slamming rocks and whatever else's available
     against car and window.

     ANOTHER ANGLE

     as suddenly, K.I.T.T. backs up, directly onto Mel's foot.
     He lets out a howl -- he's pinned in place.

                               DUDLEY
               What're you yelling for?!

                               MEL
               The car moved!  It's got my foot!

     He crosses to help Mel and they struggle with the boot --
     then suddenly, the jogger appears behind them and we see
     it's Michael.  Dudley takes a swing at him and Michael
     ducks, grabs Dudley and judo-flips him to the ground.

     OMITTED

     ANGLE - WIDER

     At that moment, Officer Gray rides his motorcycle into the
     picnic area, jumps off, gun drawn.  Seeing Michael over 
     Dudley, Mel, pinned by the car, a grinning Julie climbing
     out of the Trans Am and Sugar poking her head out of the
     window is too much for him.

                               GRAY
               Somebody's under arrest.

     On Michael's grin, we:

                                              FADE OUT

                         END OF ACT TWO

                            ACT THREE

     FADE IN

     OMITTED

     INT. DEVON'S OFFICE - DAY - CLOSE ON MONITOR

     We see several 8 x 10 photos, all of the same dark-haired
     young man from the video tapes.  All are either out of focus
     or show angles which do not reveal the man's identity.  We
     widen to see April watching Michael as he in turn eyes the
     photos.  Finally, he shakes his head.

                               MICHAEL
               I can't identify him, April.  Look
               at that -- it could just as easily
               be me.

                               APRIL
                      (nods)
               I know.  I'm sorry, Michael.  It's 
               the best I could do.

     Michael frowns at the monitor as Devon enters, looking
     aggravated.

                               DEVON
               Well, your plan may not pay off.  The
               police have questioned Dudley and
               Mel to no avail, the sportscar you
               described has disappeared and there's
               simply no concrete evidence linking
               them to John Murray's shooting.

                               MICHAEL
               At least we've kept them out of 
               action for twenty-four hours.

     The telephone rings and April answers it.

                               APRIL
               Hello?
                      (smiles)
               Hi, Julie...That's wonderful...sure, 
               I'll tell him.  Bye.
                      (to them)
               Good news.  John's regained conscious-
               ness.

                               DEVON
               That is good news.

                               MICHAEL
               Maybe we've got an eyewitness after all.

     He hurries out of the room.

     OMITTED

     EXT. CITY STREET - DAY - ANGLE ON TRANS AM

     heading toward the hospital where John's now recovering.

     INT. TRANS AM - DAY

     K.I.T.T. clears his throat, then:

                               K.I.T.T.
               Michael, I've been thinking.  If I 
               adjusted my bass...
                      (in a deep,
                       rich voice)
               ...an octave or so, perhaps it might 
               sound more...
                      (very deep)
               ...mellow.  What do you think?

                               MICHAEL
               Kitt, stop worrying about your voice.
               It's fine.  I like it just the way 
               it is.

                               K.I.T.T.
               You wouldn't fib to me, would you?

                               MICHAEL
               Never.

     A beat, then:

                               K.I.T.T.
               Michael, I've been thinking about 
               David Dudley's sportscar.  I'm
               afraid it may have met with a
               dreadful end.

                               MICHAEL
               I don't follow you.

                               K.I.T.T.
               It's occured to me that insofar as
               the car is essentially evidence in
               the shooting, those hoodlums may
               have disposed of it in that crusher
               at the wrecking yard.

                               MICHAEL
               That'd really make a compact out of 
               it.

                               K.I.T.T.
               I fail to see the humor in that.
               It's a most humiliating way to go,
               transformed into a tin can.

                               MICHAEL
               I'll remember that next time I have
               sardines.

                               K.I.T.T.
               Really, Michael.  Sometimes you're
               so insensitive.

     Michael grins.

     EXT. HOSPITAL - DAY

     The Trans Am drives in and parks.

     INT. HOSPITAL - JOHN'S ROOM - DAY

     Michael's sitting at the foot of John's bed.  John's pale,
     obviously still sedated, in some pain.

                               MICHAEL
               I'm sorry you got caught up in this,
               John.

                               JOHN
                      (shrugging)
               Just a matter of being at the wrong
               place at the wrong time.  I was
               trying to help Julie and she was
               telling me not to.  That's the way
               it is with us.

                               MICHAEL
               Where is she?

                               JOHN
                      (smiling)
               Probably in the cafeteria telling
               them how to cook my food.

     John's distracted by Julie, who walks into the room carrying
     a vase full of flowers.  He beams at her.

                               JOHN
               Thanks, Julie.  They're beautiful.

                               JULIE
               Smell good, too.

     She holds the flowers out for John to smell.  He takes her
     hand as he smells, holds it.  She pulls away from him and as
     she does a look of disappointment crosses John's face.
     Michael notices it, covers by speaking:

                               MICHAEL
               John, we're putting this puzzle
               together, but we're still missing a 
               couple of pieces....

                               JOHN
               I don't know how I can help, but if 
               I can....

                               MICHAEL
               Right after you were shot, a man
               called the paramedics...a Latino.

                               JOHN
               Yeah...yeah, I think I remember
               him.  One minute he was coming 
               toward me, like he was going to help
               catch Sugar, then he was gone.

                               MICHAEL
               We think he's the key to this whole
               thing...would you recognize him if
               you saw him again?

     John shakes his head.

                               JOHN
               I don't think so...no.  I was paying 
               more attention to Sugar.  Then, when
               I got shot...everything just went 
               black.  I'm sorry.

     Michael nods, disappointed.  A silent moment.

                               JULIE
               Visiting hours are almost over.

     Michael nods.

                               JOHN
                      (to Julie)
               I was hoping you could stay a little
               longer.

     Michael starts to say something, but Julie's already in
     motion toward the door.

                               JULIE
               You get some rest.  I'll be back
               later.

     John reaches out, takes her hand.  She squeezes it briefly,
     then exits.  Michael turns to John.

                               MICHAEL
               Thanks, John.  Hang in there.

     John nods, his eyes on Julie.  As Michael exits, we go to:

     OMITTED

     EXT. HOSPITAL - DAY

     as Michael, walking with Julie and Sugar, heads for the
     Trans Am.

                               JULIE
               Where're you going?

                               MICHAEL
               The wrecking yard.  I'm going to try
               to find out which one of the Latino 
               workers speaks English.

                               JULIE
               Good idea.  We'll talk to every one 
               of them if we have to.

                               MICHAEL
               Look, I appreciate your help, but
               maybe you should've stayed with John.

                               JULIE
                      (shaking 
                       her head)
               He's doing fine.  Besides, you don't 
               know who you're looking for, but I
               know exactly what he sounds like.
                      (smiling)
               Face it...you need me.

                               MICHAEL
               You're right...I do.
                      (beat)
               But, I don't think I'm the only 
               one....

     Julie's smile fades quickly, but she doesn't respond.
     Instead, she deftly opens the door to the Trans Am and she
     and Sugar climb in.  As she closes the door, we hold on
     Michael a beat, then:

                                              CUT TO

     EXT. TRANS AM - DAY

     moving through traffic, toward the wrecking yard.

     INT. TRANS AM - DAY

     Suddenly, we hear K.I.T.T., speaking in a clipped, very
     precise voice:

                               K.I.T.T.
               'Now is the winter of my discontent,
               made glorious summer by the sun of
               York...'

                               MICHAEL
               Say what?

                               K.I.T.T.
               Shakespeare.  I wanted Julie to hear
               the tonal purity of my voice....

                               JULIE
               Nice, Kitt, very nice...but do I
               detect a slight reverberation in
               your tremble?

                               K.I.T.T.
               That does it.  My tweeters are sealed.

     Julie laughs, turns toward Michael.  He seems lost in
     thought.

                               JULIE
               Something's bothering you....

                               MICHAEL
               Can't hide much from you, can I?

                               JULIE
               This time it's simple female intui-
               tion.  What's wrong?

                               MICHAEL
               Nothing's wrong.  I'm just...curious.

                               JULIE
               About?

                               MICHAEL
               You and John.

     Julie stiffens slightly, becomes a little distant, cool.

                               JULIE
                      (shaking 
                       her head)
               I told you, Michael, we're....

                               MICHAEL
               'Close in ways,' I know.
                      (beat)
               I wonder if that's how John sees it.

                               JULIE
                      (smiles)
               No pun intended.

                               MICHAEL
                      (smiles)
               None intended.
                      (beat)
               Maybe you've got a blind spot, Julie
               -- a blind spot that's got nothing 
               to do with whether you can see or 
               not....

                               JULIE
                      (beat)
               Go on....

                               MICHAEL
               I get the feeling you're so busy
               proving you don't need anybody,
               you're overlooking someone who needs
               you.  Who loves you very much....

     Julie just listens without responding.  As she does, we:

                                              CUT TO

     EXT. GASTNER WRECKING YARD - DAY - ANGLE ON TRANS AM

     as it pulls into the yard, moves slowly toward the work
     area outside the office.  We see a number of Latinos in
     the yard.

     INT. TRANS AM - DAY

     as Michael parks the car, pushes some buttons on the dash
     panel.

                               MICHAEL
               Is Gastner around, Kitt?

     ANGLE ON MONITOR

     as a picture of Gastner's red Cadillac appears, with a red
     line through it.  We hear Michael's voice as he laughs.

     INT. TRANS AM - DAY

     The picture vanishes from the monitor.

                               MICHAEL
               Kitt's not talking...but Gastner's 
               car isn't here.

     Michael starts to climb out of the car.

                               JULIE
               Be careful.  This place feels...
               dangerous.

     EXT. TRANS AM - DAY

     as Michael moves toward the workers.  Among them, we see
     Ramon.  The men see Michael coming toward them, exchange
     uneasy looks.

                               MICHAEL
               My name's Michael Knight.  I work for 
               the Foundation for Law and Government....

     The Latino workers stare at Michael impassively.  No one
     utters a word.  Michael stares at them, waiting.  Nothing.

                               MICHAEL
               Louis Gastner's a bad man, you know
               that...one of you called the Foundation
               for help...we're still here, we can
               still help....

     Still no response from the men.

                               MICHAEL
               But, you've got to help us...tell us
               what you know...come forward and 
               identify yourself....

     Suddenly a Voice booms through a bullhorn:

                               VOICE
               Regresa a trabajar imediatamente!

     Michael glances around as the men begin to slowly disperse.

     OMITTED

     INT. TRANS AM

     as Julie leans forward, listening intently.

                               JULIE
               Kitt, that voice over the bullhorn
               ...that's him!

                               K.I.T.T.
               Are you positive, Julie?

                               JULIE
               Absolutely, Kitt.

     EXT. YARD - ON MICHAEL

     as we hear K.I.T.T. via the comlink:

                               K.I.T.T.
               Michael, Julie's identified the man
               with the bullhorn....

     Michael glances over to see:

     ALFREDO

     standing on the runningboard of the crane.  He glances
     over, sees Michael staring at him.  Quickly, he jumps down,
     hurries across the yard.

     ANOTHER ANGLE TO INCLUDE MICHAEL

     starting after Alfredo.

                               MICHAEL
               Hey...wait a minute!  Stop...!

     Alfredo breaks into a run.  As Michael starts after him,
     a group of Latinos start to move into his path.

                               MICHAEL
                      (into comlink)
               Kitt, run some interference for me....

     ANGLE ON THE TRANS AM

     firing up, peeling out, driving toward the Latinos.  The men
     look up, startled, at the driverless car, Julie inside.
     K.I.T.T. roars up, drives between Michael and the men,
     screeches to a halt.  As Michael sprints after Alfredo,
     some of the Latinos try to get around K.I.T.T., but he keeps
     them at bay.  We hear:

                               K.I.T.T.
               Easy on the paint job, hombres....

     With that, the men back off and stare at the car in wonder,
     several of them crossing themselves hastily.

     ANGLE ON ALFREDO

     moving through the yard, with Michael right on his heels.  
     Without much trouble, Michael catches him, grabs him by the
     arm.  Alfredo struggles to escape.

                               MICHAEL
               Hey, slow down...C'mon, I'm on your
               side.  All I want to do is talk...
                      (into comlink)
               Over here, Kitt....

     As K.I.T.T. comes roaring up, Alfredo stares, frightened,
     first at K.I.T.T., then at Michael.  As Michael puts
     Alfredo into the car:

                               MICHAEL
               Thanks, Julie...you too, pal.  Good 
               job.

                                              CUT TO

     OMITTED

     INT. TRANS AM - DAY

     A frightened Alfredo's in the backseat with Sugar, who
     seems to be partial to him.  Julie's grinning like the cat
     who swallowed a canary.

                               ALFREDO
               You make a terrible mistake.  My
               name's Alfredo Diaz and I work for
               Mr. Gastner ten years.  I'm an
               honest man.

                               MICHAEL
               I'm sure you are.  That's why you
               came to us in the first place...and
               that's why I'm here now.

     Alfredo eyes Michael nervously, but doesn't respond.

                               JULIE
               He's the one, Michael.  The more he
               talks, the more sure I am.

     Michael glances back at Alfredo.

                               MICHAEL
               Alfredo, if you called the Foundation
               you must've been desperate.  We're 
               ready to help.  Why not let us?

     Alfredo doesn't answer.

                               K.I.T.T.
               Allow me, Michael.
                      (beat)
               Solamente queremos ayudarle.

     Alfredo clams up.

                               MICHAEL
               Maybe Devon'll have more luck.

     EXT. JULIE'S CONDO - DAY

     The Trans Am stops and Michael walks Julie and Sugar to the 
     stairs.

                               JULIE
               That poor man must be frightened to 
               death.

                               MICHAEL
               It's for his own good.  Gastner'd do
               a lot more than scare him if he'd found
               him first.

     ANGLE ON TRANS AM

     Alfredo is sunk down in the backseat, staring sullenly out
     the window.

     ANGLE ON MICHAEL AND JULIE

     Michael and Julie stop at the foot of the stairs.  Sugar's
     at Julie's heel.

                               MICHAEL
               I really don't like leaving you
               alone.

     Julie pats Sugar on the head.

                               JULIE
               I'm not alone.  I've got Sugar.

                               MICHAEL
               You'll be at the hospital later,
               right?  And you've got my number at
               the Foundation if you need me.
                      (beat)
               Lock the door.  Don't open it for
               anyone.

     Julie nods then as Michael turns to go, speaks slowly,
     thoughtfully.

                               JULIE
               I've been thinking about what you
               said...about my 'blind spot.'  Maybe
               it's true...maybe I've been trying
               so hard to be independent I haven't
               left room for anyone else in my life.

     She takes Michael's hand, squeezes it, turns and starts up
     the stairs.  Michael smiles, watching her, then turns and
     leaves.

                                              CUT TO

     EXT. FOUNDATION - DAY - STOCK

     The Trans Am's parked out front.

                               DEVON'S VOICE
               You said you had evidence of Gastner's
               criminal activities.  Why won't you
               talk to us about it now?  You're safe
               here....

     INT. DEVON'S OFFICE - DAY

     Michael, Devon and April strive to crack the taciturn
     Alfredo, who's still battling his conscience and his fears.

                               ALFREDO
               We're never safe.  He would kill me.
               Like he killed Celso....

                               MICHAEL
               Celso?

     Alfredo looks up at Michael, pained by what he will say.

                               ALFREDO
               A man from Guadeloupe.  They told
               me he was drunk, but he was dead.
               They put his body in a car, and 
               they put the car in the crusher....

     He stops, horrified by the memory.  April, Michael, and
     Devon are equally as moved.

                               MICHAEL
               Why did Gastner kill him?

     Alfredo hesitates again, clearly frightened.  Devon steps up
     to him.

                               DEVON
               Alfredo, the Foundation exists to 
               help anyone who needs it, anyone who
               feels a wrong must be righted...you
               know that.  We'll protect you.

                               ALFREDO
                      (after a
                       long beat)
               Gastner brings people in across the
               border to work for him.  He gives us
               money we must pay back with interest.
               The more we earn, the more we owe.
               Celso -- he refused to pay.  Then he
               threatened to go to the police...he
               was proud -- too proud.

                               APRIL
               The evidence you have on Gastner --
               where is it now?

     Alfredo lowers his eyes.

                               ALFREDO
               I have it hidden.  I'll get it for
               you.

     At that moment the telephone rings.  April answers it.

                               APRIL
               Hello?  Yes?
                      (beat)
               What?!  When?

     Michael and Devon watch her.  April is highly distressed.

                               APRIL
               Yes, I understand.  Thanks for calling.

     She hangs up the phone.

                               APRIL
               Dudley and Mel were formally charged 
               with attempted assault.  Bail was
               set and Gastner posted it before the
               ink was dry.

     The significance of this strikes Michael and he's out the 
     door.  On their reactions:

     INT. JULIE'S CONDO - DAY - ANGLE ON SUGAR

     Sugar's lying near the front door, gnawing a bone.  Suddenly
     she raises her head, turns toward the door, whimpers.

     WIDER ANGLE

     as Julie enters the room, senses Sugar's reaction.

                               JULIE
               What is it, Sugar?  Someone at the
               door?

     There's a soft knock at the door.  Julie comes to it, pauses.

                               JULIE
               Michael?

     There's another knock.  Before Julie can open the door, it's
     kicked open.

     ANGLE ON DUDLEY AND MEL

     move quickly on Julie and as she realizes what's happening
     and begins to scream, we:

                                              FADE OUT

                        END OF ACT THREE

                            ACT FOUR

     FADE IN

     EXT. JULIE'S CONDO - DAY - ANGLE ON TRANS AM

     as it screeches to a stop in front and Michael jumps out,
     runs to the front door.  He rings the bell, waits an
     impatient beat, then tries the doorknob.  The door swings
     open.

     INT. JULIE'S CONDO - DAY

     Michael looks around at the apparent emptiness.  A few
     things have been knocked over by Julie's struggle.

                               MICHAEL
               Julie?

     From O.S. he hears a muted crying and scratching.  He
     crosses to the bedroom door, opens it and Sugar comes out,
     whining and jumping.  Michael kneels to stroke her.

                               MICHAEL
               I'll bring her back, girl.  I promise.

     And he runs out.

     OMITTED

     EXT. TRANS AM - DAY

     as it moves fast through city traffic, heading toward the
     wrecking yard.

     INT. TRANS AM - DAY

     K.I.T.T.'s dashboard lights flash.

                               K.I.T.T.
               Did you know it takes less than
               sixty seconds to destroy an auto-
               mobile in a crusher, Michael?

                               MICHAEL
                      (preoccupied)
               Hadn't thought about it, Kitt.

                               K.I.T.T.
               Well, I have.
                      (beat)
               And, in case you didn't know it,
               another name for a wrecking yard is
               an 'auto graveyard.'  How tasteless
               and insensitive....

                               MICHAEL
               Don't get yourself worked up....

     As K.I.T.T. responds, his voice grows louder, deeper, more
     powerful, surprising both K.I.T.T. and Michael.

                               K.I.T.T.
               I have a perfect right to get worked
               up, Michael...this man Gastner is a
               despicable human being...!!
                      (surprised)
               My goodness, I didn't know I had that
               in me.  I wish Julie had heard it....

                               MICHAEL
               Soon as she's safe, you can do an 
               encore, buddy....

                                              CUT TO

     EXT. GASTNER WRECKING YARD - DAY - ON THE OFFICE

     where we see Gastner's Cadillac parked.  The trunk's open
     and as we watch, Gastner comes out of the office lugging
     a suitcase which he loads in the trunk.  A moment later,
     Mel follows with Julie, who's tied and gagged.

                               GASTNER
               You idiot!  Some 'eyewitness.'

                               MEL
               She was driving that car.  We saw
               her plain as day.

     Gastner looks at Mel, then at Julie, thinking.

                               GASTNER
               Her boyfriend doesn't know anything,
               or the cops would've been all over
               us by now.

                               MEL
               Yeah, but who knows what Alfredo
               gave 'em?

                               GASTNER
               That's why I'm clearing out...
                      (looking 
                       at Julie)
               ...and she's going to be my insurance.

     Gastner takes Julie by the arm to put her in the Cadillac.
     She breaks away, tries to run, but Mel's on her.  Just then,
     Dudley comes running up, breathless.

                               DUDLEY
               The guy in the black car...he's
               headed this way!

                               GASTNER
                      (shouting)
               Ramon...!  
                      (beat)
               Ramon!  Aqui!

     As Ramon and several of the other Latinos hurry across the 
     yard, we go to:

     OMITTED

     EXT. STREET - DAY - ON THE TRANS AM

     speeding toward the front gates, which are wide open.

     OMITTED

     EXT. WRECKING YARD - DAY

     as the Trans Am skids to a stop in the middle of the yard.
     A beat, then, Ramon and the other Latinos dart out of the
     shadows and surround the Trans Am, forming a human barrier,
     holding them in.

     INT. TRANS AM - DAY

     Michael looks out at the circle of Latin workers.

                               MICHAEL
               Look at that -- a welcoming committee.

                               K.I.T.T.
               I'd have settled for a red carpet.

                               MICHAEL
               Scan the smashed cars.  I'm going 
               to be neighborly....

     EXT. TRANS AM - DAY

     K.I.T.T.'s scanner activates and Michael climbs out of the
     car to face the silent, menacing crowd around him.  A beat,
     then Dudley approaches, holding a gun.  Michael scans the
     yard to see:

     MEL

     seated at the controls of the crane, hands moving nervously,
     and:

     GASTNER AND JULIE

     He's at the crusher's controls, maintaining a firm grip on
     Julie.  Her head is cocked as if listening, then Michael
     calls out:

                               MICHAEL'S VOICE
               Julie!  Are you all right?

     Julie struggles, but can't answer.

     ANGLE ON THE WRECKING YARD

     Dudley moves quickly through the circle of workers enclosing
     Michael and the Trans Am.  He frisks Michael roughly as the
     Latinos watch.

                               DUDLEY
               He's not armed.

     Dudley again pushes Michael roughly.  The Latinos exchange
     uneasy looks, begin to speak softly among themselves.  Even
     with the gun in his hand, the mumbling makes Dudley uncom-
     fortable.

                               MICHAEL
               Let the girl go, Gastner.  It's all 
               over.

                               GASTNER
               You gotta be dreaming -- all over?
               Because of some flimsy evidence and 
               the word of an illegal alien?

     Suddenly, K.I.T.T. speaks.

                               K.I.T.T.
               Michael, I've located human remains
               in one of the compacted automobiles.

     Dudley whirls at the sound of the voice, aiming his gun at
     the Trans Am.

                               DUDLEY
               Who said that?

     He peers into the car, sees it's empty.  Michael turns to
     the Latinos.

     Their muttering increases in volume.  Not even Ramon,
     eyeing the Trans Am in awe, tries to stop them.  Instead,
     he translates as Michael points toward the stacks of cars.

                               MICHAEL
               Your friend Celso Diaz died here,
               in the crusher.  Gastner and his men
               murdered him, because he spoke out
               against their cruelty.  Because he
               fought back....

                               GASTNER
               Don't listen to him!  He's lying!

                               MICHAEL
                      (urgently)
               Now you've got to fight for yourselves.
               Don't be afraid...you're not alone....

                               RAMON
               Is that true, Mr. Gastner?  You said
               Celso went back to his family in
               Mexico....

     The buzz in the crowd builds.  Gastner hears it, shouts:

                               GASTNER
               Shut him up!

     Dudley slams the butt of his gun against the back of
     Michael's head, knocking him unconscious.  The Latinos
     begin to move in and Dudley shoves Michael into the
     Trans Am, trains his gun on the advancing workers.

                               DUDLEY
               Get back!

                               GASTNER
               Mel!

     ANGLE ON MEL IN THE CRANE

     The machine comes to life and its long arm and claw swing
     toward the Trans Am.  Seeing the claw coming, the Latinos
     move away from the car, as their newly awakened courage
     flees.  Michael's slumped over in the car, still uncon-
     scious, and we hear:

                               K.I.T.T.'S VOICE
               Michael!  Michael, I need you!

     Michael doesn't move as the claw closes over the car's roof
     and lifts the Trans Am high into the air.  The crane arches
     across the lot, carrying the Trans Am -- then drops the car
     into the crusher.

     OMITTED

     INT. TRANS AM - DAY

     The jolt stirs Michael and he looks blurrily around, trying 
     to figure out what's going on, where he is.  Blood trickles
     from his wound.

                               K.I.T.T.
               Michael...you've regained conscious-
               ness.

                               MICHAEL
               Where are we?  Kitt?

                               K.I.T.T.
               At the end of the line -- we're
               inside the compactor.

                               MICHAEL
               The compactor?!

     From outside comes a terrible metallic screeching.

     OMITTED

     EXT. WRECKING YARD

     Gastner shoves Julie into the Cadillac, slams the door and
     hurries back into the office.  Across the yard, we see
     Dudley and Mel watching the compactor close in on the
     Trans Am.  Around them, the Latino workers also stare,
     their horror growing.  They glance, with growing hostility,
     at Mel and Dudley.  Their mutterings grow, suddenly turn
     and start moving on the two men.

     OMITTED

     ANOTHER ANGLE - FEATURE MEL AND DUDLEY

     as they react to the approaching mob.  Dudley tries to
     raise his gun, but it's too late.  The Latinos swarm over 
     them, and we go back to:

     INT. TRANS AM

     The noise is deafening.  The compactor begins pressing 
     against the Trans Am.  Michael's pushing buttons franti-
     cally.

                               K.I.T.T.
               My worst nightmares are being realized,
               Michael!  I can see me now...tin cans,
               TV dinners, garbage can lids....

                               MICHAEL
               Not if I can help it!  Give me every
               pound of turbo boost you've got...!

     Michael pushes the turbo boost.  Nothing.  Frantically,
     he pushes the button, and we intercut with:

     INT. COMPACTOR

     as the compactor bears down on K.I.T.T.  Screeching of
     metal.  Suddenly, the chamber begins to shake, sparks shoot
     through cracks that develop in the walls.  Then, everything
     comes apart, and we go to:

     EXT. WRECKING YARD - DAY - ON THE CRUSHER

     as the Trans Am roars through the smoke and debris.  The
     workers, with Dudley and Mel under control, stare in awe.

     ANOTHER ANGLE - FEATURE GASTNER

     racing out of the office with a heavy briefcase.  He sees
     the Trans Am breaking free, jumps in the Cadillac.

     INT. TRANS AM - DAY

     as Michael whoops with joy and relief, then:

                               MICHAEL
               We did it, Kitt!  You okay...?

                               K.I.T.T.
               For the moment, I'm practically
               speechless...
                      (urgently)
               Michael, Gastner's trying to escape.
               With Julie!

     Michael glances over, sees the Cadillac heading for the gate.

                               MICHAEL
               Let's go!

     EXT. TRANS AM - DAY

     as the Trans Am shoots forward, cutting the Cadillac off
     before it reaches the gate.

     CLOSER ANGLE

     as Gastner jumps out of the car, runs into the stacks of
     cars.  Michael's out of the Trans Am.

                               MICHAEL
               Kitt, you take the back, in case he 
               makes a break for it....

                               K.I.T.T.
               With pleasure....

     As K.I.T.T. takes off, Michael hurries over to Julie.

                               MICHAEL
               You all right?

                               JULIE
                      (nods)
               I think so...yes.

                               MICHAEL
               Sit tight...I'll be right back.

     With that, Michael turns and races after Gastner.

     ANGLE IN THE STACKS - FEATURE GASTNER

     racing down a row of cars, turning a corner and seeing
     Michael bearing down on him from the right.  He turns to
     his left, pulls a rusted fender which crashes into
     Michael's path, slowing him temporarily.

     ANOTHER ANGLE - FEATURE MICHAEL

     as Gastner heads down another row of cars, Michael pursuing
     him.

                               MICHAEL
                      (into comlink)
               He's heading your way, Kitt.

     ON GASTNER

     rounding a corner, slamming on the brakes as he sees
     K.I.T.T. bearing down on him.  He starts backpedaling, then
     running, glancing over his shoulder as K.I.T.T., from one
     direction, and Michael from the other, gain on him.

     ANGLE - WIDER

     allowing us to see that Gastner is down a dead-end row, the
     exit blocked by several compacted cars.  K.I.T.T.'s right
     behind him, snipping at his heels.  Gastner runs out of
     room, turns to face K.I.T.T., who slams on the brakes,
     skids to a halt, and then slowly, menacingly, inches for-
     ward, pressing Gastner back against the cars.  Gastner's
     terrified, shouts at Michael who comes running up.

                               GASTNER
               Stop this thing!  He's gonna crush 
               me....

                               K.I.T.T.
               No less than you deserve, you cretin.

                               GASTNER
               Okay, Celso's dead...but it was a 
               mistake, I swear!  Please....

                               MICHAEL
                      (enjoying 
                       the moment)
               What do you think, Kitt?

                               K.I.T.T.
               I think he's lying, Michael...but I
               know a court of law will determine
               that.  Perhaps we should give them
               the pleasure.

     K.I.T.T. backs up, Gastner sighs a huge sigh of relief and
     Michael slaps K.I.T.T. on the hood.

                               MICHAEL
               Good work, pal.  Good voice, too.

                               K.I.T.T.
               But...that was my normal voice.

                               MICHAEL
                      (smiles)
               That's what I mean.

     OMITTED

                                              FADE OUT

                         END OF ACT FOUR

                               TAG

     FADE IN

     OMITTED

     EXT. HOSPITAL ENTRANCE - DAY - ANGLE ON MICHAEL, JULIE,
     SUGAR

     as they come out of the hospital.

                               JULIE
               I can't believe John'll be coming 
               home tomorrow.  It seems like a 
               miracle how fast he's recovering.

                               MICHAEL
               It's always easier when you give a
               man something to come home for.

     Julie smiles.

                               JULIE
               What's going to happen to Alfredo
               and the other workers?

                               MICHAEL
               First, they've got to testify against
               Gastner...with Alfredo's evidence,
               that shouldn't take long.  Devon's
               already looking into a way to allow
               them to stay here and work...legally.

                               JULIE
               I think that's all they really 
               want...to work and live in peace.
               That doesn't seem too much to ask
               for.

     Michael smiles.  Julie suddenly stops, remembering something.

                               JULIE
               Oh, I almost forgot....

     ANOTHER ANGLE

     as they reach K.I.T.T. and the passenger door pops open.
     Julie reaches into the back where something's concealed by
     a piece of white canvas.  Julie holds it up.

                               JULIE
               When something or someone really
               moves me, I like to try to capture
               his likeness.

     Michael, realizing Julie holds a sculpture, becomes
     embarrassed.

                               MICHAEL
               I don't know what to say...nobody's 
               ever done this for me before....

     Julie pulls off the canvas, revealing an excellent likeness
     of...K.I.T.T.  Michael registers surprise.  K.I.T.T.'s 
     scanner blinks.

                               K.I.T.T.
               It's beautiful, Julie.  And such a
               remarkable likeness, don't you think,
               Michael?

                               MICHAEL
               Yeah.  Very...remarkable.

                               JULIE
               Michael, I have one request to make...
               of Kitt.

                               MICHAEL
               Name it.

                               JULIE
               Kitt, I'm always going to be blind,
               and I'm never going to have another
               opportunity to drive....

                               K.I.T.T.
               Say no more, Julie.

     Julie grins, hands the sculpture to Michael and hurries
     around to get behind the wheel.

                               K.I.T.T.
               Don't just stand there, Michael --
               we're in for the ride of our lives.
                      (beat;
                       to Sugar)
               You might as well get in, too.
               Just mind your manners.

     The dog jumps into the car, Michael climbs in with the
     sculpture, the engine fires up and the Trans Am roars out.

     OMITTED

     EXT. STREET - ON MOBILE CATERING TRUCK

     where young Officer Gray is about to dig into a foot-long
     hoagie.  He glances over his sandwich, stiffens as he sees:

     ANGLE - THE TRANS AM

     pulling past, Julie at the wheel, heading down the street.

     ANGLE ON OFFICER GRAY

     staring pathetically, suddenly having lost his appetite.  As
     he stands, openmouthed, we go to:

     EXT. TRANS AM - DAY

     disappearing down the street, with Julie beaming behind the
     wheel and Sugar happily hanging her head out the window.
     Hold on the car, and then:

                                         FREEZE FRAME

                                         AND

                                         FADE OUT

                             THE END