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KNIGHT RIDER: KNIGHTMARES

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

Production #57830
7th Draft - October 21, 1983 (F.R.)

Teleplay: .................. Tom Greene &
............................ Janis Hendler
Director: .................. Sidney Hayers


                              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