ACT ONE
FADE IN
EXT. OPEN ROAD - DAY
as a new model jacked-up, four-drive pickup truck speeds
past us. As it goes by, we rack focus to see in the
distance, just appearing -- K.I.T.T., racing toward us
with deadly accuracy. K.I.T.T. speeds past to:
HIGH ANGLE - ROAD - DAY
The powerful pickup turns sharply onto a dirt access road,
sending up a wave of dust, then veers off onto an extremely
rocky, wet and rough field. We see K.I.T.T. rapidly gaining.
INT. K.I.T.T. - DAY - ON MICHAEL
as he maneuvers around rocks and mudholes. Devon appears on
the monitor.
DEVON
Michael, are you still tracking the
truck?
MICHAEL
Not any more -- I'm chasing it
now. With a little luck my Swamp
Fox technique will pay off.
K.I.T.T.
What on earth is 'Swamp Fox'?
MICHAEL
The greatest tracker of all time.
My childhood hero.
DEVON
Please remember it's the catching
that's the important part of the
chase. Keep me posted.
And Devon's image vanishes from the monitor.
K.I.T.T.
'Swamp Fox.' Really, Michael.
Michael grins.
EXT. BEDFORD DAM - DAY
Jutting up from the green rocky fields is the abandoned
Bedford Dam, its stark white concrete giving the entire
area an eerie, ethereal feeling. The pickup bumps from the
field onto the spillway spreading to the foot of the dam,
and comes to a halt by the center mound. A man we can't
identify (whom we'll later know as Frank Poole) runs out
and immediately begins up the mound via a ladder attached
to its curving surface. We pick up K.I.T.T. as he charges
down the spillway like a black bullet over a white frozen
lake. He screeches to a stop next to the empty pickup and
Michael climbs up, runs toward the center mound. As
Michael begins to climb, the other man glances back from
the top of the mound and disappears over the other side.
OTHER SIDE OF THE DAM
as we see Michael appear over the top and look down -- it's
deserted -- just a smooth, semidry layer of earth jutting
off to the horizon. Michael speaks into the comlink:
MICHAEL
Kitt, there's no sign of him -- not
even footprints. It's like he was
swallowed up by the dam. I'm going
down to check it out.
Static issues from the comlink. Michael shakes it, then:
MICHAEL
Kitt, can you hear me?
ANGLE ON K.I.T.T.
parked on the spillway. We can hear the last static
"transmission" from Michael.
K.I.T.T.
Michael, I'm having trouble
receiving you. Something in the dam
is blocking transmission. I suggest
you use extreme caution.
OTHER SIDE OF THE DAM - ON MICHAEL
He climbs to the bottom and walks against the wall of the
mound, seeking an entry into the dam. He runs his hand
across a row of bolts jutting out in a straight line the
length of the wall. Long rust stains flow down from the
bolts like red tears. Eyeing the bolts, Michael stops. We
see what he's spotted -- a group of bolts exactly like the
others, except that these do not have the rust stains under
them. Beneath them, he discovers a space in the wall, like
the crack of a door. Michael pries the crack with his
fingers, finds a hidden release; applies pressure, and with
a click, the concrete door comes ajar. He swings it open
and carefully walks into the dam.
INT. CENTER MOUND - HYDRAULIC ROOM - DAY
Michael moves into the small room, the sunlight from
outside sending thick beams into the room, casting strange
patterns on Michael's face -- and on a series of hydraulic
gears behind him. Suddenly a shot rings out and shatters
the floor in front of him. Across the room, in the
shadows, he sees two figures moving -- Frank and Duke,
the man with the gun. Michael ducks to the ground and
rolls to safety behind the machinery. Another shot
shatters something right over Michael's head.
CLOSE ON MICHAEL
looking toward where the shot struck, as a sudden realization
crosses his face.
MICHAEL
(in awe)
So that's it!
(into comlink)
Kitt, I've found it!
Through the comlink static, we hear Frank's footsteps
overhead. Michael strains to see where Frank's going,
then, as Duke fires again from the shadows, Michael
turns and bolts back out of the dam, pursuing Frank.
EXT. DAM - BY CENTER MOUND - DAY
as Michael darts out into the sunlight and looks around,
sees no one. He looks at the dam above him, but the sun
shines directly in his face, blocking his view of the
walkway above.
CLOSEUP - FRANK'S HAND
holding a concussion grenade. He pulls the pin and we
widen just enough to see that Frank is on the walkway
above Michael.
ANGLE ON MICHAEL
shielding his eyes from the sun. Just as he makes out the
form of someone on the walkway, the grenade hurtles toward
Michael.
FULL - MICHAEL - SLOW MOTION
as the grenade explodes in front of Michael, in a massive
orange ball of fire. Michael flies back from the power of
the blast. As he hits the ground, Michael's head strikes
the wall hard, and the explosion continues to reverberate
in our ears.
CLOSE - COMLINK - SLOW MOTION
torn from Michael's wrist by the impact, shattering....
EXTREME CLOSEUP - MICHAEL'S FACE - SLOW MOTION
knocked unconscious as the explosion continues to roar in
our ears. The rumbling takes on a surreal echo, like the
distant shout of thunder. Through Michael's point of view,
we begin a swirling montage:
MONTAGE
A. INT. HYDRAULIC ROOM - SLOW MOTION - as the hydraulic
gears, out of focus, swirl around like turning
clockworks. We hear Michael's voice (echoed) calling,
"Kitt, Kitt, can you hear me?"
B. EXT. DAM - SKY - SLOW MOTION - as the face of a para-
medic appears, looking down at Michael; behind him,
lights of an ambulance flashing, the sounds of
sirens....
C. INT. HOSPITAL ROOM - SLOW MOTION - as the paramedic
dissolves into a nurse looking down, the ambulance
lights turn into fluorescent lights behind the
nurse. As the image clears, resumes normal motion,
we see Nurse Langly, heavily built, professional,
strong features. Nurse Langly is dry and to the
point. She's seen it all.
NURSE LANGLY
(echoed)
Checkout time's at twelve. Come on,
we need these rooms for a convention.
We end Montage as the rumble of the explosion fades out.
CLOSEUP - MICHAEL
suddenly opening his eyes and sitting up. He's sweating,
his chest is bandaged.
INT. HOSPITAL ROOM - DAY - WIDER ANGLE
Small and private. The Nurse immediately looks at
Michael's chart, then crosses to take his pulse. Over this:
NURSE LANGLY
Okay, we're looking at a mild
concussion, bruised ribs, nothing
broken. You're lucky to be in such
good shape. Are you a football
player or were you just born this
way?
MICHAEL
(slowly coming
out of it)
The case...I'm working on a case...
Getty Caulfield.
NURSE LANGLY
Well, right now you're in Hoff
Medical Center, and all you should
be working on is getting better.
(beat)
Now, what's your name?
Michael's "waking up" a bit more; yet, he still has to
think.
MICHAEL
Michael. Michael Long.
NURSE LANGLY
(writing it
on the chart)
L-O-N-G?
MICHAEL
(more definite)
Yes. I'm a police officer.
(starting
to get up)
And I've got to report in....
Nurse Langly gently pushes him down again.
NURSE LANGLY
At the moment, 'Officer Long,' the
only ticket you're going to be writing
is the one on the nightstand for your
meals. And I'd suggest you stay away
from the chicken surprise. It'll only
keep you here longer, and the pretty
girl won't like that.
MICHAEL
Pretty girl? What pretty girl?
NURSE LANGLY
The blond that's been asking for you
ever since you checked in last night.
MICHAEL
I...I don't know anybody....
NURSE LANGLY
Well, let's not worry about that
right now. And I wouldn't worry too
much about Getty Caulfield either.
He's been dead for almost a year.
Michael looks at her, shocked.
MICHAEL
Dead?
NURSE LANGLY
I read the papers.
She smiles kindly, then leaves. Michael immediately gets
up. He has to sit back down for a moment as dizziness
pours over him, but then makes his way to the closet to get
his clothes. As he shuts the closet door, he sees himself
in a mirror.
CLOSE ON MICHAEL'S FACE
looking at his own reflection with shock. Carefully
touching his face:
MICHAEL
My God...my face...what happened to
my face?!
TAXI DRIVER'S VOICE (O.S.)
Hey, what's the matter with you?
ANOTHER ANGLE - DAY - CLOSE ON MICHAEL'S FACE
staring straight ahead, lost in thought. He looks up:
MICHAEL
What did you say?
EXT. SHOREBORNE AVENUE - DAY - CLOSE ON TAXI
as we see Michael inside a taxicab, as it pulls to the
curb.
TAXI DRIVER
We're here. Comes to twelve dollars
and ninety-five cents.
We pull back to reveal a miniature golf course adjacent to
the cab and a Mazda RX-7 pulling to the curb not far behind.
Michael gets out of the taxi and looks around, confused.
MICHAEL
I told you to take me to 1834
Shoreborne Avenue.
TAXI DRIVER
That's where you are.
MICHAEL
But there's supposed to be an apart-
ment building here. My apartment
building.
TAXI DRIVER
(shrugs)
Look, buddy, what's supposed to be
here's beyond my control. Now
what about the twelve ninety-five?
Michael, still looking at the golf-course, reaches into his
back pocket. There's nothing there. He searches all his
pockets. Over this:
TAXI DRIVER
Don't tell me: 'My wallet was here
a minute ago.' Look, I gotta make a
living too, you know?
(disgusted)
Forget it.
He starts the cab up.
MICHAEL
Wait a minute. Just take me to the
police station. Eleventh precinct.
I work there....
TAXI DRIVER
Yeah. Sure.
He drives off.
MICHAEL
Wait!
Michael watches helplessly as the cab peels away, then:
FLASH CUT TO
K.I.T.T. - DAY - FLASHBACK
as the Trans Am peels away and we see the KNIGHT license
plate.
Resume to:
ANGLE ON MICHAEL
shaking off the image, beginning down the street. Camera
zooms behind him, to the RX-7 as the window rolls down
exposing Cara, a pretty blond in her early twenties.
She's obviously been watching Michael. Now, she starts
her car and, staying a careful distance behind, follows
him.
INT. HOSPITAL ROOM - DAY
Nurse Langly is busy putting fresh sheets on the bed.
Devon and April are at the foot of the bed.
DEVON
Gone? What do you mean he's gone?
NURSE LANGLY
This is a hospital, not a high school.
You don't need a note from your mother
to come and go. He left AMA -- Against
Medical Advice.
APRIL
How was he when you last saw him?
NURSE LANGLY
A little scattered from the
concussion. Nothing serious.
Normal disorientation.
Devon glances at Michael's chart on the overbed, reacts.
DEVON
This chart states his name is Michael
Long.
Nurse Langly snatches the chart away.
NURSE LANGLY
In the absence of ID we generally
take a patient's word. You'd be
amazed at some of the names we get.
She leaves. April and Devon share a concerned look.
APRIL
Michael Long? Devon, what's happened
to him?
DEVON
With a head injury, I'm afraid some
form of amnesia would not be unlikely.
APRIL
When we picked Kitt up at impound all
he could give us was the ambulance
number to trace to the hospital. He
couldn't have known this has happened
to Michael....
DEVON
We must try to find him. Fast.
APRIL
He'd go where Michael Long would've
gone -- his apartment....
DEVON
Possibly his old precinct...
(as they leave)
I fear Michael may be out there living
the life of a man who's been dead for
two years.
EXT. STREET - DAY
Michael's wandering, looking lost. Just as he's about to
cross the street, we hear a car's horn and a woman calling:
CARA'S VOICE
Michael, wait!
The RX-7 moves close to Michael, stopping him on the curb.
MICHAEL
Are you talking to me?
Cara doesn't answer, just takes something from the
passenger's seat and hands it out the window to Michael.
It's a small sports bag. She seems nervous, anxious to
go on her way.
CARA
Here, take it. Please.
Michael takes the bag and before Cara can drive away,
Michael reaches through the window, grabbing the steering
wheel.
MICHAEL
Who are you? Do you know me?
Cara glances in the rearview mirror, takes a breath,
searching for an explanation. Not finding one, she tries
another tack, affecting a playful, flirtatious air.
CARA
(mock
exasperation)
If I didn't have such a wonderful
self-image, I'd be crushed. You'd
think a man would be a little more
receptive when the girl he was with
returns his stuff. Call me, okay?
Before Michael can soak it all in, Cara jams the RX-7 in
gear and drives off.
CLOSE ANGLE - MICHAEL
Michael starts to go after her but the RX-7's faster, is
quickly out of sight. Michael opens the bag and pulls out
a wallet. It's new, its ID windows empty -- but contains
a large amount of cash. He now pulls out the second object
and we move in as Michael reacts to it -- a small caliber
pistol. He glances around, slides the wallet into his
pocket and conceals the gun in his jacket. Then, stuffing
the bag into a nearby trash can, he moves up the street.
INT. ELEVENTH PRECINCT POLICE STATION - DAY
There's a Desk Sergeant, a large counter and a police radio
continually squawking calls from the mobile units. To the
right is a windowed office section with a rather worn
AUTHORIZED PERSONNEL written on it. Inside working at a
desk is Officer Bowman, early thirties, tall, fair-haired.
We pick up Michael as he enters the station. He hesitates
a moment -- there's something about the place that seems
different. We play the moment, then Michael begins toward
the windowed offices.
DESK SERGEANT
That's authorized personnel only.
Can I help you?
Michael stops and looks at the Desk Sergeant for a moment.
MICHAEL
Are you subbing for Jerry?
DESK SERGEANT
Jerry...you mean Sergeant Brinkman?
He's retired. What can I do for you?
Michael stops.
MICHAEL
Retired? What are you talking about?
Who are you? You've never worked
the desk before ---
DESK SERGEANT
Look, you've got a problem, I'm here to
help. If not, I've got a lot of
work to do.
Michael continues toward the windowed offices. Bowman,
rising, crosses to the door, opens it to overhear:
DESK SERGEANT
(stronger)
I'm not going to tell you again --
you don't go in there.
That does it. Michael turns to the Sergeant.
MICHAEL
I've got business in there. My
name's Michael Long, serial number
1-0-5-0-9, badge number 8-0-4-3.
I don't know about you, but I work
here.
He turns toward the windowed office and now sees his
reflection in the glass. It's the second time he's seen it
and it stops him cold. Bowman reacts to what he's over-
heard, reaches for a phone. Over this:
DESK SERGEANT
This is the wrong precinct to try
and pass yourself off as Michael
Long. He was a good cop. A lot of
the guys took his death hard.
Michael reacts, stunned. Confused.
ANGLE - OFFICER BOWMAN
as he finishes dialing a number, looks out at Michael.
OFFICER BOWMAN
(into phone)
Devon Miles, please.
INT. FOUNDATION - DEVON'S OFFICE - DAY - FAVORING COMPUTER
Devon enters behind April, who's carrying maps and com-
puter readouts.
APRIL
I've reprogrammed Kitt to seek
Michael and self-activate if he
finds him....
DEVON
Good, good.
The phone buzzes. Devon picks it up.
DEVON
Yes?
(listens;
reacts)
You're sure? See if you can keep
him there until we arrive. Thank
you, Officer.
Devon hangs up the phone, turns to April.
DEVON
Let's go. They've found him.
INT. ELEVENTH PRECINCT - DAY - FULL SHOT
Things have heated up. The Desk Sergeant is moving closer
to Michael as Officer Bowman approaches from his office.
MICHAEL
Hey, I don't want any trouble. Just
some answers....
OFFICER BOWMAN
(smooth, calming)
And we don't want any trouble,
either. Come on, let me buy you a
cup of coffee and we'll talk about
it....
MICHAEL
Don't play 'good-cop' with me. I
know all the games.
OFFICER BOWMAN
C'mon, fella, calm down....
With that, Bowman moves to grab Michael and Michael moves
away, breaks free, rushing to the door. As the Desk
Sergeant goes for him, Michael turns quickly, sending
a filing cabinet crashing to the floor to block the
Sergeant. In a flash, Michael's outside and gone.
EXT. CITY STREET - DAY - ON K.I.T.T.
April's at the wheel, Devon's beside her.
INT. K.I.T.T. - DAY
as the car turns onto the police station street. Devon and
April are silent, clearly very worried.
K.I.T.T.
I wish someone would say something
encouraging.
APRIL
We'll find him, Kitt. It won't be
long now.
K.I.T.T.
I certainly hope so. The thought of
Michael forgetting everything is quite
distressing. If I were to experience
total file loss, I would simply switch
an auxiliary data bank.
DEVON
In a manner of speaking, that's just
what Michael did. Only in his case,
his auxiliary data bank is missing
two years.
A beat, then:
K.I.T.T.
Poor Michael.
EXT. POLICE STATION - DAY
K.I.T.T. comes to a stop and Devon and April get out, hurry
up the precinct steps. We move in to K.I.T.T.'s scanner as
it suddenly begins to pick up something.
K.I.T.T.
Devon, April, wait -- I've located
Michael!
But Devon and April have already gone inside, shutting the
door behind them. They don't hear K.I.T.T.'s plea.
INT. K.I.T.T. - DAY - ON MONITOR
where we see Michael running down a street near the police
station.
K.I.T.T.
Michael, you need me. I must
self-activate....
We see the windows darken, K.I.T.T. jam his gears into
drive.
EXT. STREET - DAY - ON K.I.T.T.
taking off, windows blacked out, moving down the street and
turning the corner.
EXT. STREET BEHIND POLICE STATION - DAY
Michael walks quickly down the street. We rack focus to
see K.I.T.T. behind him. Michael, sensing something, turns
toward K.I.T.T.
K.I.T.T.
(on PA)
Michael, please -- stop. It's
me...Kitt.
Michael turns and races down the street.
ANOTHER ANGLE - STREET
Ahead, the street is closed off with barriers, behind which
is some road equipment and three workers, eating lunch.
Michael runs toward the barrier, K.I.T.T. following. As
Michael darts past the barrier, K.I.T.T. turbo boosts and
soars over the barrier, still pursuing Michael.
ANGLE ON THE THREE WORKERS
staring in amazement at the "flying" car.
ON MICHAEL
as he turns and sees K.I.T.T. following. Now, he turns
right into an alley.
ON K.I.T.T.
following Michael, heading toward the alley.
IN THE ALLEY
as Michael finds himself facing a dead end. He stops for
a moment to catch his breath and we see K.I.T.T. turn
slowly into the alley.
CLOSER ANGLE - ON MICHAEL
turning toward K.I.T.T., tired of running. Michael pulls
the gun out of his jacket and planting his feet, both hands
steady on the gun, aims directly at the oncoming K.I.T.T.
Seeing that the car isn't about to stop, Michael begins
firing. We see the bullets shatter and spark like the
Fourth of July gone mad on K.I.T.T.'s hood and windshield.
The car races directly toward Michael, showing no sign of
stopping, and as his black body fills the frame, we:
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
EXT. ALLEY - DAY - ANGLE ON MICHAEL
as K.I.T.T. screeches to a halt a few yards from the barrel
of Michael's gun and idles, scanner flashing hypnotically.
Michael stops firing and approaches, gun still trained on
K.I.T.T. Suddenly the driver's door pops open.
MICHAEL
All right. Out. Hands away from
your body.
K.I.T.T.
This is not quite the reunion I'd
hoped for, Michael.
MICHAEL
I said get out of the car!
He reaches the driver's door and looks inside.
MICHAEL'S POINT OF VIEW - INSIDE K.I.T.T.
Empty, needless to say.
ANGLE ON MICHAEL AND K.I.T.T.
He stares into the car, bewildered.
K.I.T.T.
Michael, have you really forgotten
me?
CLOSER ON MICHAEL
We see again that something's prodding his memory:
FLASH CUT TO
FLASHBACK - STOCK FOOTAGE
As in slow motion, we see K.I.T.T. flying to Michael's
rescue in a spectacular stunt from a previous episode.
Resume to:
EXT. ALLEY - ON MICHAEL AND K.I.T.T.
as he closes his eyes, shutting out the confused memory.
K.I.T.T.
Are you all right?
Michael opens his eyes, struggling to understand what's
going on.
MICHAEL
No, I...I'm confused. Nothing
around me makes any sense. This
face...it's not my face. My past
seems to have disappeared and now...
(ironically)
I'm talking to a car.
K.I.T.T.
I think I can explain everything,
Michael....
MICHAEL
How do you know my name?
K.I.T.T.
We're partners, you and I. We're
a team. Please, let me help you.
Come inside.
Michael shakes his head, steps back.
MICHAEL
No thanks.
K.I.T.T.
As you pointed out, I'm only a
car. Please. Trust me.
Michael hesitates, then slowly climbs into the car.
INT. K.I.T.T. - DAY
as Michael moves into the driver's seat, rests his hands on
the steering wheel. Despite the strangeness of the
interior, he feels a subtle familiarity, senses he's been
here before. Eyeing the multitude of flashing controls:
MICHAEL
I've never seen anything like this.
Suddenly, the door shuts and locks. Michael tries to open
it, finds he can't.
MICHAEL
Hey, what's going on? Let me out!
K.I.T.T.
I'm sorry, Michael, but I can't do
that. April's programmed me speci-
fically to help find you and return
you to the Foundation.
MICHAEL
I said open the door!
K.I.T.T.
Please forgive me.
And the car starts to move.
INT. ELEVENTH PRECINCT STATION - DAY
As Devon and April are with Officer Bowman:
OFFICER BOWMAN
...and then he ran out. Since we
didn't have a charge to hold him
on....
Suddenly, K.I.T.T.'s voice echoes through the police band
radio behind the Desk Sergeant.
K.I.T.T.'S VOICE
Devon, can you hear me?
Bowman whirls toward the radio.
DEVON
Kitt's broadcasting on the police
frequency!
K.I.T.T.'S VOICE
I have Michael and I'm returning him
to the Foundation. Please rendezvous
immediately.
Devon and April lock eyes, turn and hurry out of the
station as the astonished Bowman tries to retune the radio.
INT. DEVON'S OFFICE - DAY - CLOSE ON MONITOR SCREEN
showing a blowup of a news article, with the lead copy:
POLICE OFFICER VANISHES,
PRESUMED DEAD
Officer Michael Long was presumed
dead today when his car was found
in the desert....
And the article continues, in print too small to read, as
we hear:
MICHAEL'S VOICE
What is this -- what're you trying to
tell me, I'm dead?!
WIDER ANGLE ON MICHAEL, DEVON AND APRIL
Michael stares at the article, as Devon and April watch
him, obviously concerned.
DEVON
You were Michael Long, but you have
a new identity. A new purpose.
You're Michael Knight now.
Michael moves away from the monitor, begins to pace.
APRIL
Why would we go to all this trouble
if we didn't care about you?
Michael looks at her with the eyes of a stranger.
MICHAEL
I don't know. That's one of the
things I'm trying to figure out.
DEVON
At the time of the explosion you were
working on the Getty Caulfield case.
Do you remember that?
MICHAEL
(beat)
I...remember the name. What do you
know about it?
DEVON
Getty Caulfield was a multimillion-
aire industrialist. At the time of
his death, ten million dollars worth
of his privately owned Alidium was
stolen while in transit to a govern-
ment facility.
APRIL
Alidium's an exotic alloy. It's a
vital catalyst in the space program.
DEVON
The authorities had given up on finding
it. They approached the Foundation,
and that's how you became involved.
APRIL
You'd found the thief, remember? You
were tracking him. You chased him to
Bedford Dam, then we lost contact with
you. Please try to remember....
Michael's incredulity has been taking over and now he
shakes his head emphatically.
MICHAEL
No. No, I'm a cop. If I was looking
for this...Alidium...it was police
business.
APRIL
But, Michael....
MICHAEL
I work alone. Now, I'd like the gun
back.
DEVON
I can't give it to you.
MICHAEL
Why not?
DEVON
Because it's not registered to you.
You have no legal right to carry a
gun.
Michael glares at him, whirls and heads for the door. April
shoots a look at Devon and Devon steps in front of Michael,
grabbing his arm.
DEVON
I can't let you just walk out of here
and wander the streets, not knowing
who you are....
MICHAEL
You can't stop me.
He removes Devon's hand from his arm and leaves.
APRIL
Oh, Devon -- what're we going to do?
DEVON
I'm afraid if we put more pressure
on him it will only drive him away.
We can only rest assured that, at the
very least, he won't be alone....
EXT. STREET ADJACENT TO FOUNDATION - DAY - ANGLE ON MICHAEL
as he strides down a street (ostensibly near the Foundation,
although we don't see it), moves quickly up the attractive
residential street. A beat, then K.I.T.T. comes up behind
him, scanner flashing, and moves slowly after Michael,
following him like an adoring pet. Realizing he's being
followed, Michael whirls around to face K.I.T.T. and the
Trans Am stops.
MICHAEL
Leave me alone.
K.I.T.T.
I'm coming with you, Michael. We're
a team.
MICHAEL
Not anymore. Beat it.
He turns and starts to walk again and, again, K.I.T.T.
follows. Michael breaks into a run and rounds a corner and
K.I.T.T. picks up speed to follow.
ANOTHER ANGLE - AROUND THE CORNER
as Michael runs toward a mailman pushing a mailcart, pausing
to deposit some letters in a mailbox in front of one home.
He looks up as K.I.T.T. approaches; then, seeing no driver,
stares dumbfounded, tipping the mailcart so that several
letters fall out. After K.I.T.T. passes, the mailman comes
to his senses and guiltily gathers up the fallen letters,
hoping no one noticed.
ON MICHAEL AND K.I.T.T.
Michael stops abruptly and behind him, K.I.T.T. squeals to
a halt. Michael moves to the driver's door, as if con-
fronting a delinquent child inside.
MICHAEL
I'd tell you to get this through
your head, but you can't 'cause
you're a machine. So run this one
through your data processor -- get
lost!
K.I.T.T.
I can't do that, Michael. I'm
programmed to respond to your needs.
Despite your being unaware of it,
you need me.
MICHAEL
What if I don't want you?
K.I.T.T.
I suppose I'll be quite hurt.
Michael thinks about this, realizing there's a definite
"emotional" makeup to K.I.T.T.
MICHAEL
Well, we wouldn't want that.
(beat)
So you insist you're my car.
K.I.T.T.
I would hardly expend this energy
for a stranger.
MICHAEL
It is pretty hard to get around
without a set of wheels.
He opens the door and climbs in.
INT. K.I.T.T. - DAY
as Michael shuts the door behind him, revs the engine.
MICHAEL
I drive from here on.
K.I.T.T.
Absolutely. Providing you'll
promise me one thing.
MICHAEL
What's that?
K.I.T.T.
Please do not refer to me as a car,
or a 'set of wheels'. It's most
demeaning. I'm the Knight Industries
Two Thousand. You've always called
me Kitt.
MICHAEL
All right, Kitt. Let's see what you
can do.
And he steps on the gas.
EXT. K.I.T.T. - DAY
as the car bursts forward, moves quickly up the street and
hangs a screaming 180, now tearing back to pass by the
mailman again. At the sound of the approaching car, the
man once again stares.
INT. K.I.T.T. - DAY
Michael seems to be enjoying this, is eyeing the buttons on
the dash. He spots the Turbo Boost, reaches for it.
MICHAEL
What's this do?
K.I.T.T.
Michael, I don't think --
Too late. Michael hits the button.
EXT. K.I.T.T. - DAY
as the car leaps from the road and becomes airborne. It
soars several yards over nothing, then drops back down in a
perfect landing.
INT. K.I.T.T. - ON MICHAEL
catching his breath, astounded by what he and K.I.T.T. have
just done.
MICHAEL
Wow! You're hot, Kitt!
K.I.T.T.
Quite true, Michael.
EXT. K.I.T.T. - ANGLE ON MAILMAN
Shocked beyond belief. As the Trans Am vanishes from
sight, the astonished mailman unconsciously releases the
mail cart. It rolls away, dumping letters as it goes.
The mailman notices -- and takes off after the cart.
EXT. HIGHWAY - ANGLE ON K.I.T.T. - STOCK
gliding expertly along.
INT. K.I.T.T. - DAY
Michael's driving smoothly, but his eyes are locked on
something other than the road -- his fists, clenched around
the steering wheel.
K.I.T.T.
Is something wrong? You're acting
very strange, Michael.
We move in on Michael as his stare deepens, his thoughts
turn inward....
FLASH CUT TO
CLOSE ON MICHAEL'S CLENCHED FIST - FLASHBACK
dissolving into something shiny which turns, like clock-
works, then melting back into Michael's fist.
Resume to:
INT. K.I.T.T. - DAY
as Michael snaps out of it.
MICHAEL
It's something I keep seeing over
and over again, Kitt. Something
that doesn't make any sense to me --
a fist. My fist. The shape of it....
K.I.T.T.
Perhaps if we take a closer look....
ANGLE ON THE MONITOR
as a graphic drawing of a fist appears on the screen. We
widen to include Michael, eyeing the monitor.
MICHAEL
How'd you do that?
K.I.T.T.
Computer graphics. It's one of my
many functions, Michael. How about
this?
As the rendering of the fist is rotated horizontally,
revealing all sides of the fist, Michael watches the image,
then shakes his head.
MICHAEL
I don't know...
(beat)
It's a terrible feeling...every time
I pass a mirror or see a reflection
in a window, I see a stranger's face.
K.I.T.T.
I wish I could help you regain your
memory, especially your memory of me.
We have quite a history together.
MICHAEL
That's why we're going back to the
dam -- to see if it'll help me remember.
EXT. BEDFORD DAM - DAY
looming silent and somehow ominous, despite the bright sun-
light bathing its granite walls in a white glow. A beat,
then the Trans Am approaches, gliding across the spillway.
K.I.T.T. stops at the foot of the dam and Michael climbs out.
CLOSER - MICHAEL AND K.I.T.T.
Michael peers up at the dam, eyes it thoughtfully. K.I.T.T.'s
scanner is flashing.
MICHAEL
This place has been deserted for eight
years. Why would the thief have come
here?
K.I.T.T.
My only information on Bedford Dam
is that it's marked for demolition.
Even its hydraulic works were recently
auctioned off.
MICHAEL
What was I doing here, Kitt?
K.I.T.T.
Chasing the suspect, Michael. He
ran up that center lock....
CLOSE ON MICHAEL
as he moves slowly toward the dam, thinking back, poring
over his injured memory.
MICHAEL
Chasing...I was chasing him....
FLASH CUT TO
ANGLE ON FRANK POOLE - FLASHBACK
Not identifiable here, as, in slow motion, he scrambles up
the center mound via a ladder....
Resume to:
ANGLE ON MICHAEL
pushing away the haunting memory, reaching the mound and
glancing up at the ladder. He begins to climb....
ANGLE ON K.I.T.T.
as the scanner begins to flash madly.
K.I.T.T.
Michael, there's a man with a gun on
the top of the dam. Michael? Michael!
ANGLE ON MICHAEL
as a shot rings out and ricochets off the mound inches
from Michael. Michael ducks out of the way and tries to
hide behind the huge pillar of the lock.
MICHAEL'S POINT OF VIEW - THE WALKWAY
where a man we will know as Duke stands, aiming a high-
powered rifle at Michael. He's a very large man in his
early thirties. As he pulls off another shot:
ANGLE ON MICHAEL
The shot narrowly misses him and he tries to scramble up
the mound, slips back down. He glances over at K.I.T.T.,
parked across the spillway. He shouts out:
MICHAEL
Kitt! Give me a hand!
ANGLE ON K.I.T.T.
hearing Michael's cry as a vague echo across the spillway.
K.I.T.T.
It's about time.
And the engine revs as K.I.T.T. takes off, blasting
directly toward the dam. He slips in between Michael and
the gunfire, bullets bouncing off the molecular bonded
shell. Michael ducks behind the car, stays down as the
bullets spark around him.
ANGLE ON DUKE
as he ceases firing, scrambles down the backside of the dam
and disappears.
ANGLE ON K.I.T.T.
as Michael peers over K.I.T.T.'s hood.
MICHAEL
Why's he stopped firing?
K.I.T.T.
Quite possibly because he's gone.
MICHAEL
What do you mean? He can't be gone.
He doesn't even have a car.
K.I.T.T.
It doesn't matter, Michael. I'm not
picking up any human life readings
in this area. He's simply disappeared.
OMITTED
CLOSE ON MICHAEL
as this hits him.
INT. DAM HYDRAULICS ROOM - DAY
We see only low-voltage, caged lamps on the ceiling and
Duke moving through the darkness, carrying his rifle. He's
met by a second man, thirty-two years old, dark and hand-
some -- Frank Poole.
FRANK
Have you lost your mind? What were
you shooting at out there?!
DUKE
The guy in the black car. I told
you we should've checked the body.
FRANK
What're you talking about?
DUKE
He's not dead, Frank.
CLOSE ON FRANK
His face is hard, his eyes cold.
FRANK
Well, that's too bad for him. All
that trouble to stay alive and now
he's going to have to die again.
On his ominous look, we:
FREEZE FRAME
AND
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
EXT. STREET - DAY - ANGLE ON K.I.T.T. - MOVING SHOT
as the car glides through a business area away from the dam.
INT. K.I.T.T. - DAY
Michael's inspecting the wallet Cara gave him with one hand,
driving with the other.
K.I.T.T.
What exactly do you expect to find
in that wallet, Michael?
MICHAEL
I don't know, Kitt...hopefully some-
thing to identify the girl who gave
it to me. She's tied into this
thing one way or another. If only
I had access to the police lab, I
could run an analysis....
K.I.T.T.
We can do it right here, Michael.
And the chemical analyzer pops open. Michael looks at it.
MICHAEL
Thanks, I don't smoke.
K.I.T.T.
It's not an ashtray, it's a chemical
analyzer. With it, we can detect any
identifiable qualities to the wallet....
MICHAEL
You're a regular wonder on wheels,
aren't you?
K.I.T.T.
I like to think so.
Michael places the wallet on the chemical analyzer pad and
it vanishes inside. Michael waits a beat, thinking. Then:
MICHAEL
You say that you knew me before the
accident. What...was Michael Knight
like?
K.I.T.T.
You were -- Michael Knight was bright,
agile, often quite logical. He was
also stubborn, impatient, readily dis-
tracted by pretty girls and he listened
to possibly the most appalling music
to ever shatter my air waves.
Despite himself, Michael grins.
MICHAEL
Sounds like my kind of guy.
K.I.T.T.
Yes, that's what I'm afraid of.
The chemical analyzer returns the wallet to Michael.
K.I.T.T.
It's an extremely high-grade leather,
imprinted by a method used only by
fashionable boutiques.
MICHAEL
Fashionable boutiques -- That leaves
a lot of ground to cover.
K.I.T.T.
Under normal circumstances, yes.
However, this particular wallet was
purchased at a shop called 'Caine's.'
MICHAEL
(amazed)
I'm impressed. How did a chemical
analysis identify the store?
K.I.T.T.
It didn't. Look.
INSERT - MONITOR
A slip reads "Made exclusively for Caine's by South Beach
Leather."
BACK TO SCENE
Michael laughs.
MICHAEL
Good work, Kitt.
As he turns the wheel, to head toward Caine's:
K.I.T.T.
One other thing about Michael Knight.
MICHAEL
What's that?
K.I.T.T.
I was extremely fond of him.
Michael's touched.
EXT. SMALL SHOPS - DAY
Michael crosses to K.I.T.T., climbs in.
MICHAEL'S VOICE
The lady who bought it lives at 1735
Hollyway Lane, apartment 335. Her
name's Cara.
(beat)
Cara Caulfield, as in Getty Caulfield.
As they drive off....
EXT. CARA'S SECURITY APARTMENT BUILDING - DAY
as the Trans Am pulls up the circular driveway, parks.
INT. K.I.T.T. - DAY - ON MICHAEL
as he peers out at the building.
MICHAEL
Security system, and not a skeleton
key in sight....
Michael climbs out of the car.
EXT. K.I.T.T. - DAY - ANGLE ON MICHAEL
as he climbs out of the car and heads for the front door.
ANGLE ON K.I.T.T. - CLOSE ON THE SCANNER
flashing madly as the microwave jammer goes to work.
ANGLE ON MICHAEL AT THE DOOR
He pauses, begins to examine the lock when suddenly it pops
open. Michael is amazed. He glances back at K.I.T.T.
MICHAEL
Should I say 'thanks?'
K.I.T.T.
If you do, I'll say 'You're welcome.'
MICHAEL
Thanks.
K.I.T.T.
De nada.
Michael smiles, goes in.
INT. APARTMENT BUILDING HALLWAY - DAY
Michael knocks at a door with the number 335 on it. The door
opens and we see Cara. Seeing Michael, her face goes blank.
MICHAEL
Hello, Cara.
We see an immediate change in Cara's expression as she
struggles to overcome her surprise. She smiles brightly.
CARA
Michael, you're early! Come in.
And he follows her into the apartment.
INT. CARA'S APARTMENT - DAY
A large nicely furnished studio-type apartment, with a dining
area open to the living room. The dining room table is set
for two. In the middle of the living room is a large sculp-
ture, a construction of old machinery, sheet metal, etc.
Michael glances at this as Cara speaks warmly, but a bit too
cheerfully.
CARA
The lasagna won't be ready for
another half-hour, so I hope you're
not starving to death. Why don't we
go ahead and open the wine....
MICHAEL
Who are you?
Cara deliberately avoids his gaze, laughs nervously.
CARA
Oh, look at that! I don't have a
corkscrew. Be an angel and run down
to the liquor store and get one for
me, will you?
Michael steps directly in front of her, forcing her to look
up at him.
MICHAEL
I don't know you...I've never been
here before...you're not waiting
for me.
(beat)
I want answers, Cara. Like why you
handed me a wallet full of money and
a gun....
Cara drops the flighty performance like a glass mask that
shatters.
CARA
I was...trying to help you, that's
all. Isn't that enough? Can't you
just accept that and leave?
MICHAEL
It's not enough, Cara. It's the tip
of the iceberg. What's your rela-
tionship to Getty Caulfield?
Cara pauses, then:
CARA
He was my grandfather. Now please,
get out of here....
She looks up at him.
MICHAEL
Why, are you expecting someone?
She doesn't reply.
MICHAEL
Who's coming over?
CARA
(finally)
Frank.
MICHAEL
Who's Frank?
CARA
He's...my boyfriend. Was.
(desperate)
All right...I met Frank in college.
He told me Grandpa was selling the
Alidium to the military. He said
it was wrong to use it to hurt
people. He said he'd see that it
got used for peaceful projects...
but the next thing I knew you'd been
hurt, almost killed, and when I saw
you in the hospital, so helpless....
MICHAEL
So you brought me the gun to protect
myself against Frank.
CARA
(nods)
This thing's gotten so far out of hand.
I want to tell Frank that it's over.
That's what I'm going to tell him
when he's here.
(then)
You've got to leave. Please. If he
sees you here....
MICHAEL
What?
CARA
He'll kill you.
MICHAEL
I'll have to take that chance.
Until I can find him, find out what
happened back at the dam, there's a
piece of me missing....
ANGLE ON THE DOOR
A key turns in the lock and the door opens, revealing Frank
Poole. Seeing Michael standing across the room, his eyes
grow wide.
ANGLE ON MICHAEL AND CARA
as she screams. Frank grabs a chair and lunges at Michael;
hitting him with the chair, knocking Michael back against
the large sculpture.
OMITTED
CLOSE ON MICHAEL
as his head strikes the metal of the sculpture. With the
impact comes a sudden burst of memory:
FLASH CUT TO
INT. HYDRAULIC HOUSE - BEDFORD DAM - MICHAEL'S POINT OF VIEW
- FLASHBACK
In the darkness a gun flashes, partially illuminating Frank.
We see the bullet blast metal near Michael's head, hear the
metallic echo, over and over....
Resume to:
INT. CARA'S APARTMENT - CLOSE ON MICHAEL
covering his ears to shut out the screaming ring of bullet
on metal.
WIDER ANGLE
to show Cara as she runs to the front door, throws it open
and dashes out.
ANGLE WITH MICHAEL
recovering from the haunting memory and weakened by his
previous concussion as Frank pushes him out onto the
balcony.
EXT. BALCONY - DAY
Michael struggles to clear his senses as Frank presses him
toward the balcony's edge. Realizing where he is, Michael
calls out:
MICHAEL
Kitt! Kitt, get over here!
OMITTED
EXT. DRIVEWAY IN FRONT OF BUILDING - DAY - ANGLE ON K.I.T.T.
People have come out of the building, clearly in response
to the noise of the fight, and are craning in the direction
of Cara's balcony. As Michael's voice echoes from the side
of the building, K.I.T.T.'s engine revs and astonished
people stare.
ANOTHER ANGLE
as the Trans Am takes off, tearing out of the driveway and
heading to Michael's aid, we see that K.I.T.T. has opened
his sunroof.
INT. K.I.T.T. - DAY - ANGLE ON MONITOR
as Michael's image appears, up on the balcony.
K.I.T.T.
He does choose the most precarious
locations.
We now see a schematic drawing of the balcony with Michael
indicated by a red outline; intersecting lines move closer
and closer together until they cross the image of Michael.
OMITTED
EXT. SIDE OF BUILDING - DAY - ANGLE ON MICHAEL
Frank is pressing Michael over the balcony wall. From
beneath, K.I.T.T.'s voice booms from the PA:
K.I.T.T.'S VOICE
Michael -- jump.
Michael glances down, sees the car below. He looks up at
Frank, shoves him away, then jumps.
ANOTHER ANGLE
as Michael drops from the balcony and lands on his feet
in the driver's seat, which hydraulically absorbs the
impact. Michael slides down into the driver's seat.
ANGLE ON THE BALCONY
as Frank stares thunderstruck at the Trans Am. At this same
moment, we suddenly hear police sirens drawing close. Frank
ducks back into the apartment.
EXT. STREET - DAY
We now see K.I.T.T.'s sunroof is closed as two squad cars
tear around the front of the building, forming a blockade
before K.I.T.T. Two cops with guns immediately leap out of
the cars and take aim at Michael.
OFFICER
You in the black car, come out with
your hands up.
With a squeal of tires, Michael backs the car up fast, away
from the police, rips a tight 180 and heads away up the street.
The police leap into their cars and take up the pursuit.
EXT. STREETS - DAY - VARIOUS ANGLES
The two squad cars pursue K.I.T.T., who leads them on a merry
chase, rapidly gaining distance on them.
EXT. HIGHWAY - DAY
as the Trans Am, then the squad cars reach the broad stretch
and pick up even greater speed.
INT. K.I.T.T. - DAY
Michael glances back into the rearview mirror. The squad
cars are just a dot on the horizon.
MICHAEL
Kitt, does it always get this heavy?
K.I.T.T.
When we get a moment, I'll tell you
stories that will stand your hair on
end.
Michael again glances into the rearview mirror.
MICHAEL
I think we've lost him.
K.I.T.T.
I'm afraid not.
ANGLE ON MONITOR
showing a graphic visual of the highway, indicating the
squad cars pacing some distance behind, but still coming.
K.I.T.T.
We've merely left them somewhat
behind.
K.I.T.T. now runs up a second visual and we recognize a
graphic of the Foundation semi in the vicinity. We widen
as Michael's eyes return from monitor to road.
MICHAEL
I never thought I'd say this, but
this is one time I'd like to see a
couple of black-and-whites disappear.
K.I.T.T.
Would you settle for us disappearing?
MICHAEL
What've you got in mind? Magic?
K.I.T.T.
Keep your eye on the white handker-
chief.
ANGLE ON THE FOUNDATION SEMI
moving along up ahead. The tailgate opens invitingly.
K.I.T.T. pulls in behind the semi and rolls up the ramp.
The tailgate immediately closes behind it.
INT. FOUNDATION SEMI - DAY - ANGLE ON K.I.T.T.
the door opens and Michael climbs out, wide-eyed with
wonder.
MICHAEL
Wow.
K.I.T.T.
Welcome to the Foundation's mobil
unit.
EXT. FOUNDATION SEMI - DAY - ANGLE ON SQUAD CARS
as we see them burn up the highway toward the semi, then
whiz past, continuing on out of view.
INT. FOUNDATION SEMI - DAY - ON MICHAEL
as Devon and April approach Michael.
MICHAEL
You guys don't fool around, do you?
Michael approaches the computer terminal area, taking every-
thing in, while April runs a quick check on K.I.T.T.'s
functions. Devon watches Michael closely.
DEVON
Michael, are you beginning to
remember? You came here....
MICHAEL
Kitt brought me.
Devon's disappointment is palpable.
DEVON
I see...I was hoping you'd acted on
your own.
Michael sees the disappointment and responds:
MICHAEL
Devon...Were we friends before the
explosion?
DEVON
I like to think so.
MICHAEL
I'm glad to hear that.
He smiles. So does Devon. April approaches, looks from
Devon to Michael. She hands Michael a new comlink watch,
identical to the old one.
APRIL
This is a comlink. You had one
before, but this one has a boosted
intake receptor. With this, you can
talk to Kitt with less structural
interference. We don't want to lose
you again, Michael.
The sincerity of April and Devon touches Michael.
MICHAEL
I wish I could remember you two. I
really wish I could...
(beat)
Kitt said the Bedford Dam was going
to be demolished. I'd like to know
all there is to know about it -- like
who's bought the hydraulic works.
DEVON
(nods)
We'll check into it.
Michael eyes the computer bank.
MICHAEL
Looks like you're hooked up to every
computer in the world. Think you
could get me some background on a
guy named Frank Poole?
APRIL
Let's see what we have.
April sits before the computer and punches in. A beat,
then a mug shot of Frank appears, accompanied by a printout.
APRIL
Frank Poole, graduate student in art
at Reed College for about ten years
on and off. Apparently he was inter-
ested in more than art. He was
founder of a radical political group
-- and has three arrests: one for
drugs, two for armed robbery.
MICHAEL
He won't let her go, Devon. He'll
kill her.
He makes a decision, turns and climbs into K.I.T.T. We
hold on Devon's and April's confused looks.
OMITTED
INT. CARA'S APARTMENT - DAY - CLOSE ON CARA
kneeling in her living room, hurriedly packing some
belongings into a cardboard box. As she rises, we see that
everything around her (except the large sculpture) is covered
with sheets and ready for moving. Suddenly, she freezes.
ANOTHER ANGLE
to reveal Frank standing near the front door. He smiles
coldly.
FRANK
Looks like you've chosen sides,
Cara....
Cara drops the box and tries to run past Frank and he grabs
her, slams her back against the wall. She cries out....
FRANK
You and your friend Knight are the
only loose ends left. You're going
to be my bait, Cara. You're going to
bring him to me, and then you're both
going to die.
And as we move in on her terrified face, we:
FREEZE FRAME
AND
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
EXT. CARA'S APARTMENT - DAY
as Michael drives K.I.T.T. up to the entrance, comes to a
hard stop and jumps out. As Michael reaches the security
door, K.I.T.T. again pops the lock and Michael enters.
INT. CARA'S APARTMENT - DAY
as Michael pushes the unlocked door open, looks around.
MICHAEL
Cara?
He moves into the apartment, sees the contents of the box
spilled on the floor.
K.I.T.T.'S VOICE
(via comlink)
Michael, have you found her?
Michael looks around, realizes the voice is coming from the
comlink. He speaks into it:
MICHAEL
She's gone and it looks like she left
in a hurry. She didn't leave much
behind....
He continues to look around, stops by the large sculpture.
MICHAEL
Wait a minute....
He kneels by the sculpture.
We can plainly see on the base a signature: F. Poole.
MICHAEL
Bingo! Poole was an art student,
he's probably got a studio. Let's
get an address, Kitt.
K.I.T.T.'S VOICE
Say no more, Michael.
We push in tight on the signature of F. Poole.
MATCH CUT TO
OMITTED
CLOSEUP - F. POOLE SIGNATURE - DAY
We pull back to reveal we are at:
EXT. POOLE'S STUDIO - DAY
The signature is on another sculpture similar in style,
which sits outside Poole's rustic studio in the hills. The
building is ND with a garage-like door in front. The Trans
Am drives up and parks outside the door. Michael gets out,
goes over to the door and begins to look for a way in.
MICHAEL
Looks like it's on remote control.
Can you do your magic on this one,
Kitt?
K.I.T.T.
With pleasure.
The door slips open as via a garage door opener. Michael
walks into the studio, with K.I.T.T. following.
INT. STUDIO - DAY
as Michael finds a light switch, turns it on. The large
room is scattered with all kinds of metal sculptures. A
workbench is cluttered with sculpting tools, etc. Michael
begins searching as K.I.T.T. drives further in.
K.I.T.T.
This place doesn't look like an art
studio. It looks more like an
industrial accident.
MICHAEL
Kitt, we're not here to critique his
work.
K.I.T.T.
(continuing)
Whatever happened to the sensual
lines of Henry Moore, or the clean
whimsy of a Calder?
Michael looks over to K.I.T.T., who faces a piece of sculp-
ture made up of automobile parts.
K.I.T.T.
Michael, I ask you. Is nothing
sacred? It is grotesque and abso-
lutely humiliating.
MICHAEL
(preoccupied)
I kinda like it.
K.I.T.T.
Really? How would you like to see a
facsimile of yourself with arms and
legs scattered about like a
disembodied scarecrow?
MICHAEL
(still searching)
Sounds like a Picasso to me.
K.I.T.T.
You are obviously the wrong person
to discuss art with.
Suddenly we hear the sound of the garage door electronically
shutting. even as Michael turns toward it, K.I.T.T. cries
out:
K.I.T.T.
Michael, look out!
One of the sculptures near Michael tips over almost crushing
him. Michael gets out of the way. Immediately, we see Duke,
Frank's accomplice, charge Michael. Michael gives him a judo
flip, and Duke flies over, hitting the ground. Just as Duke
gets up, Michael gives him a powerful upper cut. He sends
Duke back hard against the auto sculpture. Several pieces
fall off as Duke falls into it and gets trapped in its midst.
K.I.T.T.
Thank you, Michael. You have improved
it immensely.
Michael looks down at the trapped Duke.
MICHAEL
I'll only ask you once. Where's
Frank Poole?
DUKE
At the dam. But you might as well
forget it. The girl's as good as
dead by now.
As Duke struggles fruitlessly to escape the sculpture,
Michael hurries to K.I.T.T., climbs in and revs the engine.
INT. K.I.T.T.
As Michael peers out the window toward the sealed garage
door.
MICHAEL
I've got a hunch that door's not
going to stand in our way, Kitt.
K.I.T.T.
Michael, this is beginning to sound
like old times.
EXT. FRANK'S STUDIO - DAY
as K.I.T.T. rips through the door and takes off.
EXT. ROAD BY BEDFORD DAM - HIGH ANGLE - DAY
as we see K.I.T.T. taking the same route as in the
beginning, racing down the access road towards the field.
INT. K.I.T.T. - DAY - ON MICHAEL
as he drives onto the rocky field.
K.I.T.T.
Michael, I pride myself on never
pointing out the obvious, but I'm
afraid we're driving into a trap.
MICHAEL
I'm not worried. I have an edge.
A secret weapon.
K.I.T.T.
Really? What is it?
MICHAEL
You.
Michael gives K.I.T.T. a reassuring smile as he drives
towards the dam.
EXT. FIELD - DAY - HIGH ANGLE
as we see K.I.T.T. heading toward the spillway.
INT. K.I.T.T. - DAY - ON MICHAEL
Michael looks outside with extreme concentration.
MICHAEL
I remember getting inside the dam...
somewhere. There was an opening.
I'm sure of it.
K.I.T.T.
Michael, I wish I could read minds,
but that's one power April has not
programmed me for. It's your turn.
You must remember what you did when
you got to the other side of the dam.
MICHAEL
Other side. That's it. The other
side of the dam.
FLASH CUT TO
CONCRETE DOOR - DAY - FLASHBACK
as it clicks open and becomes ajar.
Resume to:
INT. K.I.T.T. - ON MICHAEL
as he speeds across the spillway.
MICHAEL
The door is on the other side. I
remember now. Scan inside the dam
and see if you can find Cara.
We see a fuzzy infrared schematic of the dam. It goes in
and out of focus.
K.I.T.T.
Something is still interfering even
with my infrared, Michael. I can
only create an approximation based
on water and air displacement.
Michael looks out, concerned.
EXT. DAM - NEAR MOUNDS
Michael brings K.I.T.T. to a stop. He gets out and heads
up the mound, like before.
OTHER SIDE OF DAM - ON MICHAEL
as he jumps down to where the concrete door is. He feels
around the door to see how to get inside, finds the unrusted
bolts as before. He tries the door -- a few attempts, then
we hear a click. The door opens.
INT. HYDRAULIC HOUSE - DAY
as Michael goes in. This time he looks around and finds a
light switch. A small caged-in industrial light on the wall
comes on, filling the small room with a strange glow. We
can hear a muffled cry. A woman's cry of help. Michael
runs to the wall where it seems to be coming from.
MICHAEL
Cara! Can you hear me?
He pounds on the thick metal wall. Nothing. Michael
suddenly remembers the comlink. He tries it:
MICHAEL
(into comlink)
Kitt, I'm in the hydraulic room. I
can hear Cara. Can you detect any-
thing?
K.I.T.T.'S VOICE
Negative, Michael. The dam is catacombed.
That sound could originate from anywhere.
CLOSE ANGLE - ON MICHAEL - FAVORING HIS RIGHT HAND
as he stares at his fist below the comlink watch. We rack
focus from his fist to the gears behind him. We can
plainly see the largest gear: it is shaped in a half-
crescent, with "teeth" on the curved side -- looking very
much like a closed fist. Michael turns around. It hits
him just as we see it. He walks over to the gear.
FLASH CUT TO
HYDRAULIC ROOM - DAY - FLASHBACK
as the bullet hits over Michael's head and he ducks behind
the gears. But this time we play out the scene as Michael
looks up at the same half-crescent gear and we can plainly
see from where the bullet hit, the rusty-gray of the gear
is only paint. Underneath is a brilliantly shiny, silver
metal. We can hear Michael's voice: "That's it!"
Resume to:
MICHAEL
as he grabs the gear and a piece of the precious metal
breaks off, weakened by the bullet crease. This valuable
piece of the puzzle falls into place.
MICHAEL
Now I remember!
(into comlink)
Kitt! The gears are fake. Frank
made them out of the Alidium.
K.I.T.T.'S VOICE
That's what has interfered with
reception, Michael -- the exotic
alloy.
MICHAEL
According to Devon's research, the
hydraulics have been sold to the
Middle-East -- so that's how Frank
planned to get the Alidium out of
the country! Some peaceful purpose,
huh?
Suddenly we hear footsteps overhead. Michael looks up and
sees grating on the ceiling, light filtering through. He
leaps upward and pulls the grating loose, exposing a doorway
to the walkway on top of the dam. Michael leaps up to the
door, pulling himself through to the walkway outside.
EXT. WALKWAY - BY GRATING
as Michael comes through. Frank is across the walkway
running away. Michael begins after Frank, catches him,
giving him a body block to the legs. They both go down.
There's a scuffle, then it becomes a turn around from the
balcony with Michael in charge now.
MICHAEL
Where's Cara?!
FRANK
She's in a runoff pipe deep in one
of the lock towers. Help yourself,
man -- You'll never find her.
Frank begins to laugh.
MICHAEL
Don't count on it, man.
And with one angry punch he coldcocks Frank, leaves him on
the walkway.
INT. RUNOFF PIPE - DAY
In the dark, small pipe we see Cara crying...terrified.
She is standing on a filter grate -- trying to pry the
grating above her loose with her hands...to no avail.
Suddenly the water begins to shoot up from underneath, the
powerful surge of water shooting up over her head to the
grating above, making it hard for Cara to breathe. She
begins screaming.
EXT. WALKWAY - ON MICHAEL
as he looks over the edge to K.I.T.T. He starts down,
running.
MICHAEL
(yells)
Kitt. You said you can pick up
water displacement. Scan the dam
for any sudden activity!
INT. K.I.T.T. - DAY
as we see the same infrared schematic of the dam. Sure
enough, on the far left-hand corner of the dam we can see a
blue area. Over this:
K.I.T.T.
Michael, I've pinpointed it. In a
small pipe section, above the
aqueduct. It's fifteen feet in.
MICHAEL - INTERCUT WITH K.I.T.T.
as he reaches K.I.T.T. and jumps in.
MICHAEL
Cara's in there, Kitt. We've got to
find a way to break the pipe. Can
you use the laser?
K.I.T.T.
It will take too long.
MICHAEL
(a sudden
thought)
Kitt...If we can hit the outside
wall, wouldn't the impact create a
shock wave that would shatter the
pipe inside?
K.I.T.T.
It would if I could find a weak spot
in the internal wall structure, but
it's a long shot.
MICHAEL
It's our only shot, pal.
K.I.T.T.
I read you loud and clear, Michael.
Michael fires K.I.T.T. up.
EXT. K.I.T.T. - DAY
They race backwards to the very edge of the spillway.
INT. K.I.T.T. - DAY - ON MONITOR
As we see the schematic of the aqueduct dam wall section
instantly fill with line graphs of the internal structure.
A small area suddenly blinks with a red circle and the word
LOCK appears.
K.I.T.T.
I may have located a weak spot,
Michael.
MICHAEL
Let's go for it.
EXT. K.I.T.T. - HIGH ANGLE
With the tires smoking, the Trans Am speeds toward the
wall of the aqueduct directly at the circled area.
OMITTED
LOW ANGLE - DAM - SLOW MOTION
as K.I.T.T. turbo boosts up, up, up right to the wall at
the side of the dam, hitting the corner with a loud impact,
causing the wall to crack around the area. Small bits of
concrete fall to the ground below.
INT. RUNOFF PIPE
Just as Michael predicted, the shock from the impact of
K.I.T.T. causes the pipe to crack, causing the water to
subside. It also pops the grating above Cara.
OTHER SIDE OF DAM - SLOW MOTION
as K.I.T.T. lands, trailing the white dust from the cracked
concrete. He does a sharp 180, turns, then stops, Michael
leaping out.
OMITTED
ANGLE - MICHAEL
as he reaches the walkway above the walkway. He rips the
loose grating up from the runoff pipe below and pulls Cara
out. Soaked and scared she cries as Michael gives her a
long reassured hug. He then turns toward K.I.T.T. below
and gives him the thumbs-up sign.
ANGLE ON K.I.T.T.
as his scanner flashes a salute and we:
FREEZE FRAME
AND
FADE OUT
END OF ACT FOUR
TAG
FADE IN
EXT. FOUNDATION - DAY - ESTABLISHING - STOCK
as we zoom in on Devon's office window we hear:
DEVON (O.S.)
April, are you sure you've packed the
correct release forms?
INT. DEVON'S OFFICE - DAY
as we see a few suitcases, and Devon's brief case on the
desk. The briefcase is opened, and Devon is looking
through it. April shuts it.
APRIL
For the third time -- yes. As in
Y-E-S.
DEVON
(locking the
case)
I'm sorry, but one cannot be too
careful. Especially when one is
responsible for transferring the
Alidium to its rightful home.
Just then Michael enters. He's all smiles. He walks over
to the desk and sits on the corner.
MICHAEL
Hey, just thought I'd come over and
say good-bye.
DEVON AND APRIL
Good-bye?
MICHAEL
Yeah, well, I thought you two could
handle the trip. My memory's still
not all here, and I figured I'd take
a week or two to straighten everything
out.
DEVON
(softens)
Well, of course, if you still don't
feel up to par.
MICHAEL
Thanks. Thought I'd check out the
beaches and try out some more of
the old Swamp Fox techniques...you
know, 'tracking.' Have fun.
He smiles, then leaves. April and Devon watch him go for
a moment, then:
APRIL
Do you think he'll ever fully regain
his memory?
DEVON
It's hard to say. Sometimes these
things...
(suddenly)
Swamp Fox! Why that conniver!
Don't you see...he's completely
recovered. He remembers everything.
He just wanted a vacation....
As April begins to laugh, we:
CUT TO
OMITTED
INT. K.I.T.T. - ON MICHAEL
as they speed down the street.
K.I.T.T.
Welcome back, Michael. I thought as
a little present I'd play some of
that appalling music you like so
much.
MICHAEL
Thanks, Kitt. Come on, let's
shatter some air waves.
Rock music blasts out of the speakers.
MICHAEL
You know, I've been thinking. I
could have April install an electronic
board in here, attach it to your
speakers and ---
K.I.T.T.
Michael?
MICHAEL
Yeah, Kitt?
K.I.T.T.
Don't press your luck.
Michael grins.
MICHAEL
Whatever you say, pal. Whatever you
say.
CUT TO
EXT. ROAD - DAY
as they hit the road, picking up speed....
FREEZE FRAME
AND
FADE OUT
THE END
