Knight Rider (1982) s02e05 Episode Script
Blind Spot
You must be some kind of | a driver, Michael Knight.
I thought you | said she was blind! Seeing isn't | necessarily knowing.
I heard that shot ring out.
I want the eyewitness.
Maybe he's just | angry at someone.
He's angry at someone, | all right.
KITT, where are we? Inside the compactor.
Knight Rider, a shadowy flight into the dangerous world | of a man who does not exist.
MichaeI Knight, a young loner on a crusade to champion | the cause of the innocent, the helpless, the powerless in a world of criminals | who operate above the law.
No problem, Alfredo.
Your friend here just | can't hold his tequila.
Go back to work.
I understand.
No, if we agree | to accept the case, we'll agree to your | terms and conditions.
I have papers, | evidence against him.
I will give you the papers, | but if he finds out, he will kill me.
Don't worry.
We'll have someone there | for you.
Now, if you'll just | give me your name.
Devon, how do you know | it's not a crank caller? I mean, maybe he's just | angry at someone.
He's angry at someone, | all right.
The difference is, the man he's | angry with is Louis Gastner.
MichaeI, here is | the police arrest report on Louis Gastner.
Gastner, Louis R.
Age.
: 54.
White male.
Eight arrests for grand theft, | larceny, and extortion.
Name a crime, | and he's been accused of it.
Only problem is nobody's been | able to get a conviction on him.
This "evidence drop, " | as you call it, is all very strange | and unorthodox, MichaeI.
And so is that cap | you're wearing.
Hey, it's my ID.
It's what the caller ordered.
| All part of the plan.
I don't think | I'm going to like this.
Relax.
Piece of cake.
I've heard that before.
For instance, when we went up | against Goliath.
No, MichaeI, | it's this location.
Parking lots depress me.
With all these cars? I thought | you'd feel right at home.
It's precisely | all these cars that bother me.
Here they sit, | left in the sweltering sun, for all | practicaI purposes forgotten while their owners browse | in air-conditioned comfort.
Don't take it personally.
There's row D.
Here we go.
All right.
I was told | to wait in the mall.
You wait here.
| Informant will come by and drop the evidence in the | window in about two minutes.
Now I'm a mobile mailbox.
All right, Devon wants | a visual on this, so I'm activating | your video camera.
You buzz me | when he makes the drop, okay? Despite what you may think, I'm perfectly capable of | handling my responsibilities.
Boy, you're touchy.
What did you do? Wake up on the | wrong side of the garage this morning? Very funny.
Stay here.
| I'll be right back.
John, where are you going? I'll be right back.
MichaeI, this could | be our informant now.
I got you, KITT.
John.
Don't move him! All right.
| Call the paramedics! I will call them! All right, everybody, back! | Stay back! I suppose this is your idea | of a piece of cake? Thanks for the reminder, | smart guy.
Let's get some history | on his plates, huh.
KITT, are we clear | to Turbo Boost? No, MichaeI.
There's a schooI | bus trapped behind the truck! Can you pick 'em up | with your scanner? They're out of range.
I'm afraid | we've lost them, MichaeI.
Them and 10 years | off my life.
Aw! You know how I feel | about that car.
It's potentially | incriminating.
Yeah, but that's my car.
| I love that car.
I hand wax it | every weekend.
Changes the oil | himself, too.
Look, Mr.
Gastner, | give me a break.
I'll stash it.
I'll have my brother | drive it over the state line.
Okay.
Stash it.
Stash it good.
Now I want that evidence | and the guy who stole it, | no matter who he is.
You understand me? You shot a guy.
| Left an eyewitness.
Said so yourself.
| She looked right at you.
You screwed up.
| That's human.
I'm forgiving.
| That's me.
All heart.
To a point.
I want the eyewitness.
That was a close one.
You'd better | find that girl.
Oscar, let her down.
Easy! Are you going to be okay | in this parking lot? This is a hospitaI, | not a shopping center.
By definition, there's a valid | reason for every car here.
I'm quite comfortable, | thank you.
Anything to keep you happy.
Excuse me, I'm lookin' for | a Julie Robinson? Down the hall.
Thank you.
Dr.
Jackson, Treatment Room 1.
Excuse me, | are you Julie Robinson? Mm-hmm.
My name is Michael Knight.
I'm with the Foundation | for Law and Government.
I'm the one John was supposed | to meet in the parking lot today.
John didn't say anything | about meeting anyone.
Whether he said | anything or not, he had some evidence | to deliver.
Now, I've spoken to the | paramedics and the hospital, but nobody seems to know | anything about it.
Look, uh, I really don't know | what you're talking about.
John and I were | simply going shopping when someone shot him | for no reason.
Look, I know this doesn't | seem to be the right time to ask questions, but, Julie, you were there.
You must've seen | where he hid the evidence.
Miss Robinson? Yes.
The doctor's with John now | if you'd like to see him.
Thank you.
Sugar? MichaeI, I sense | something is bothering you.
KITT, our eyewitness | to the shooting is blind.
But she moved | with such certainty.
Surely I would've noticed.
She also insists | that John Murray had nothing to do | with the evidence drop.
Do you believe her? I don't know.
We'll see.
Let's hang out here a minute.
She should be out | pretty soon.
What about the Porsche? | Any luck? The car in question is | registered to a David Dudley.
Insofar as it was involved | in an attempted homicide shouldn't we share this | information with the police? KITT, the guy | called the Foundation because he couldn't go | to the police.
We've got to honor | that confidence.
I doubt I'll ever grasp | this human need for secrets.
Thank you.
You're welcome.
MichaeI, there's a car approaching | that girI at high speed.
What was that black car? I don't know, | but that girl, she's blind.
Sure? | As sure as I'm sittin' here.
So much | for our eyewitness.
You all right? Most of me.
Thanks for | cutting that maniac off.
You know what happened? A car was coming at me | from over there.
You seemed to be coming at me | from over there.
You must be some kind of | a driver, Michael Knight.
Wait a minute.
| How'd you know it was me? I heard you.
I think whoever tried | to kill John thinks you're an eyewitness | just like I did.
What if they still do.
MichaeI.
Sorry, pal.
I know how you feel | about dogs as passengers, but this one's | well trained.
Training is one thing, | obeying is quite another.
You've got a computer | in your car.
No, Julie, | the computer is the car.
KITT, introduce yourself | to Julie Robinson.
I'm pleased to meet you, | Miss Robinson.
A talking car.
Well, now it's my turn | to be impressed.
KITT, is it? | What an intriguing voice.
A little too much gain | in your tweeter, and a slight metallic tone | to your bass.
Do you really think so? Make yourself at home.
I'm gonna take Sugar's harness | off and give her some water.
Julie, this place | is beautiful.
Thank you.
Hey, this painting | looks just like Sugar.
Sugar wasn't even born | when I painted that.
I was 17 | when I lost my sight.
I painted until then.
And now, | with John's help, I sculpt.
Wow! I guess the two of you | are real close, huh.
Close? In a way, yes.
You must know | why he brought you to the shopping center | at that particular time.
We were going to buy supplies | at the art store at that particular time.
Now, Julie You don't believe me, do you? Well, it's not that | I don't believe you, but isn't it possible | John didn't tell you his real reason | for being in there? No.
How can you be so sure? The same way I knew | you didn't believe me.
I could hear it | in your voice.
I would've known if John | had been worried or anxious.
No, it's just not possible.
All right.
Then why was he | reachin' for my car? What makes you think | he was? I saw him.
Michael, seeing isn't | necessarily knowing, or understanding.
I heard that shot ring out.
I could feel John was hurt.
And all I could do | was just stand there.
All right.
Julie, I got a video tape of | what happened out there today.
I want you | to take a look at it.
Maybe you can hear | or feel somethin' I missed.
All right.
Stay here.
| I'll be right back.
John, where are you going? I'll be right back.
John.
John was going after Sugar, | my dog.
She didn't have | her harness on, and when John opened the | door, she slipped out.
Miss Robinson, | Sugar is not in the picture.
Why, she has to be.
| I can hear her.
Could you please | play back the tape? Sure.
There.
Do you hear her? Devon, what's that? A dog's tail, Michael.
I've run every possible check | on John Murray.
He's clean.
The man who called me on the | telephone had a Spanish accent.
Our John is not a Latino.
He's Irish.
Don't move him! All right.
| Call the paramedics! I'll call them! There's your Latino.
Don't move him! All right.
| Call the paramedics! I will call them! He does have an accent.
I'll try to blow it up, | but we'll lose some clarity.
Miss Robinson, you really are | an excellent eyewitness.
Thank you.
Just a still town girI | on a Saturday night.
lookin' for the fight | of her life.
In the reaI-time world | no one sees her at all.
they all say she's crazy.
Locking rhythms | to the beat of her heart.
changing woman into life.
She has danced | into the danger zone.
when a dancer | becomes a dance.
It can cut you | like a knife.
if the gift | becomes the fire.
On a wire between will | and what will be.
She's a maniac.
maniac on the floor.
And she's dancing like | she's never danced before.
.
This is Gastner's place.
Let's see | what we can find out.
It's gonna be tough.
It's a long shot, but I | think Gastner's involved.
I faiI to see the logic | of what we're doing here.
Tryin' a long shot, pal, | maybe we'll get lucky.
It's worse than I imagined.
Yeah, I know.
Because everybody | has an accent.
No.
That machine.
| That horrible machine.
Look what it's doing.
Wow.
And you thought | parkin' lots were bad.
Hello.
Yeah? I'm lookin' for a guy | named Dudley.
Dave Dudley.
He brought his Porsche | by my house yesterday said he wanted | to trade it for my car.
Thought I might take him up | on his offer, Mr Gastner.
Nobody named | Dudley works here.
You sure? Yeah.
But if you find him, | take him up on his offer.
You'll be getting | the best end of the deal.
All right.
| Let's get back to work.
Spoken like a true barbarian.
Did you say somethin'? I certainly did.
That awfuI man is an insult | to the human race and the automotive industry.
He belongs behind bars.
No argument from me | on that one.
KITT, the guy seemed | pretty sure of himself.
I think Dudley and his pal | realized Julie really is blind.
Then we're back | to square one.
Maybe.
Maybe not.
Give me all you've got | on David Dudley.
Personal habits, | hobbies, friends.
Give me the works.
Dudley used to play | semi-pro football.
On his time off, he hangs | around in the Second Avenue park.
That gives me an idea, KITT.
The way John's improving, he | should be able to talk pretty soon.
Well, I'm still not sure | I understand your plan.
I thought | you were after Gastner.
We are.
But as long | as Dudley and his buddy are running interference | for him, we're gonna have | to nail 'em first.
But they know I'm blind.
Julie, you said it yourself: "Seeing isn't necessarily | knowing or understanding.
" Don't worry about a thing.
KITT's gonna take | real good care of you.
Am I doing all right, KITT? With a little more practice, | we could enter the Indy 500.
Flatterer.
Go! Go! Go! Go! There's Dudley, Julie.
Good.
He saw you.
Dudley, look! | Look, it's that broad.
I thought you said | she was blind! You said she was! | Come on! Barbara, wait here! I believe | MichaeI's ploy is working.
Good.
| Pedal to the metal, KITT.
This is Officer Peter Gray.
| 42786.
I've just spotted | a blind girl driving a car.
Please advise.
Looks like the little lady | ran out of space.
Yeah.
She's run | out of luck, too.
Hey, open the door.
| Open the door.
Open the door.
| Come on! Don't worry, Julie, | everything will be all right.
Well, what are you | yelling for? The car moved.
| It's got my foot.
It's got my foot! No, no, no! Julie, you all right? Yeah, I'm fine.
Somebody's under arrest.
April, there's no way | I can identify the man.
He could just | as easily be me.
I know.
I'm sorry, Michael.
| It's the best I could do.
Okay.
Michael, I'm afraid | your plan may not pay off.
The police have questioned | Dudley and Mel to no avail.
The sports car you described | has disappeared.
And there's simply | no concrete evidence linking them | to John Murray's shooting.
Well, at least we've kept them | out of action for 24 hours.
Hello? Oh, hi, Julie.
Oh, that's wonderful.
Yeah.
Sure, I'll tell him.
Bye-bye.
Good news.
John's regained consciousness.
That is good news.
Maybe we've got | an eyewitness after all.
MichaeI, I've been thinking.
| If I adJusted my bass an octave or so, perhaps | it might sound more mellow.
What do you think? KITT, will you stop worrying | about your voice? It's fine.
| I like it just the way it is.
You wouldn't fib to me, | would you? Never.
MichaeI, I've been thinking | about David Dudley's sports car.
I'm afraid it may have met | with a dreadfuI end.
I don't follow.
It's occurred to me | that insofar as the car is essentially evidence | in the shooting, those hoodlums | may have disposed of it in that crusher | at the wrecking yard.
Oh.
Well, that would make a | compact out of it, wouldn't it? I faiI to see the humor | in that.
It's a most humiliating way to | go, transformed into a tin can.
Well, I'll remember that | the next time I have sardines.
Really, MichaeI.
Sometimes | you're so insensitive.
John, I'm real sorry you got | caught in the middle of this.
It's just a matter of being at | the wrong place at the wrong time.
I was trying to help Julie, | and she was telling me not to.
That's the way | it is with us.
Where is she, anyway? Probably down | at the cafeteria telling them | how to cook my food.
I got it.
Thank you.
| Okay, straight ahead.
Thank you, Julie.
They're beautiful.
They smell good, too.
John, we're trying | to put this puzzle together, but we're missin' | a few pieces.
Oh.
I don't know what I can | do to help, but anything I can.
Do you remember right | after you were shot, a man callin' out | for the paramedics? He was a Latino.
Yeah.
Yeah, I think I remember him.
One minute he was | comin' toward me, like he was going | to help me catch Sugar, then he was gone.
We think he's the key | to the whole situation here.
If you saw this guy again, | you think you'd recognize him? I don't think so.
No.
I was paying | more attention to Sugar.
Then, when I got shot | everything went black.
I'm sorry.
Visiting hours | are almost over.
I was hoping you could | stay a little longer.
I'll be back.
| You get your rest.
Julie.
Thanks a lot, John.
| Hang in there.
Where're you goin'? The wreckin' yard.
I'll find out which one | of the Latinos speaks English.
We'll talk to every single | one of them if we have to.
Listen, | I appreciate your help, but maybe you should | stay here with John.
He's doing fine.
| And he's in the best of care.
Besides, you have no idea | who you're looking for, and I know exactly | what he sounds like.
I think you need me.
You know what I think? You're right.
I do.
Let's go.
You know, Julie, I don't think I'm the | only one who needs you.
Come on, Sugar.
| Come on, come on.
Come on, come on.
| In you go.
Okay.
"Now is the winter | of my discontent made glorious summer | by the sun of York.
" Say what? Shakespeare.
I wanted Julie to | hear the tonaI purity of my voice.
Very nice.
Really.
But do I detect a slight | reverberation in your treble? That does it.
| My tweeters are sealed.
Is something | bothering you, Michael? Well, I can't hide much | from you, can I? This time | it's simple female intuition.
What's wrong? Nothin's wrong, Julie.
| I'm just curious.
About? About you and John.
I told you, Michael, | we're close- I know you said | you're close in ways.
Just wondering | if that's how John sees it.
No pun intended? Julie, maybe you're too busy | proving you don't need anybody, you're overlookin' | someone who needs you.
Someone who loves you | very much.
KITT, is Gastner around? Now he's not talkin'.
Gastner's car isn't here.
Be careful.
| This place feels dangerous.
Hello! Mi nombre is Michael Knight.
I'm from The Foundation | for Law and Government.
Your boss, uh, Louis Gastner.
He's a bad man, | you know that.
One of you guys called | the Foundation for help.
We're here.
| We want to help.
But you guys | got to talk to me.
Please, one of you, | tell me what's goin' on.
KITT, that voice over | the bullhorn, that's him.
Are you positive, Julie? Absolutely.
MichaeI, Julie's identified | the man with the bullhorn.
Wait! | I'm Michael Knight.
Stop! Hey, stop.
KITT, run some | interference for me.
Hold on, Julie.
Look, I want to help.
I | just wanna talk to you.
Open the door, KITT! I'm Michael Knight.
I'm with the Foundation.
| Come on, get in.
You make | a terrible mistake, senor.
My name's Alfredo Diaz and I work for Mr.
Gastner | for five years.
But I'm an honest man.
Alfredo, I'm sure you are.
That's why you called us | in the first place.
That's why I'm here now.
He's the one, Michael.
| I'm positive.
Alfredo, if you called the | Foundation you must've been desperate.
We're ready to help.
| Why don't you let us? Allow me, MichaeI.
All right.
Maybe Devon | will have better luck.
Come on, Sugar.
That poor man must be | frightened to death.
Julie, it's for | his own good.
Gastner would do a lot more than | scare him if he'd found him first.
Look, I really don't like | leavin' you alone here.
I'm not alone.
| I've got Sugar.
You'll be at | the hospital later, right? And you've got my number at | the Foundation if you need me.
Okay.
Now, lock the door and | don't let anybody in, okay? Um, I've been thinking | about what you said.
Maybe it's true.
Maybe I've been trying | so hard to be independent that I just haven't left room | for anybody else in my life.
Thanks.
Okay.
Come on, Sugar.
You said | that you had evidence of Gastner's | criminal activities.
Well, why won't you tell us | about them now? You're safe here.
We're never safe.
He would kill me | just like he killed Celso.
Celso? A man from Guadeloupe.
They told me he was drunk.
They put his body in the car, | and they put the car Alfredo, why did | Gastner kill him? Alfredo, this Foundation exists | to help anyone who needs it, anyone who feels | that a wrong must be righted.
You know that.
| We'll protect you.
Gastner brings people in across | the border to work for him.
He gives us money that we | must pay back with interest.
The more we make, | the more we owe.
Celso refused to pay.
He threatened | to go to the police.
He was proud.
| He was too proud.
The evidence you have on | Gastner, where is it now? I have it hidden.
But now I'll get it for you.
Hello? Yes? What? Where? Yes, I understand.
Thanks for calling.
Dudley and Mel were formally | charged with attempted assault.
Bail was set and Gastner posted | it before the ink was dry.
Julie! What is it, Sugar? What is it? Michael? Julie.
It's okay, Sugar.
| I'll bring her back.
You idiot.
Some eyewitness.
She was driving the car.
| We saw her plain as day.
Her boyfriend | doesn't know anything, or the cops would've | got to us by now.
But who knows | what Alfredo gave them? That's why I'm clearing out, | and taking her as insurance.
The guy in the black car, | he's headed this way! Julie, are you all right? He's not armed.
Give it up, Gastner.
| It's all over.
Because of some | flimsy evidence and the word of | an illegal alien? MichaeI, I scanned the cars | as you asked.
I've located human remains in | one of the compacted automobiles.
Who said that? Celso Moreno died | in that crusher.
He was murdered by Gastner and | his men because he fought back.
Shut Knight up.
Get him in the car.
Mel.
I'm going to stop | by the office and pick up the files.
You take care of him.
All right.
Get him in.
You guys stay cool, | or you're next.
MichaeI? MichaeI, I need you! MichaeI.
MichaeI.
What are you- Hey, back off! It's okay.
| I'm your friend.
MichaeI, | you've regained consciousness.
KITT, where are we? Inside the compactor.
My worst nightmares | are being realized.
I can see me now.
Tin cans, TV dinners, | garbage can lids.
Not if I can help it! Give me every pound | of Turbo Boost you've got.
All right, let's go for it! | Now! You okay? At the moment, | I'm practically speechless.
Gastner's about to escape, | MichaeI, down at the office.
With Julie? No, he's alone.
All right, KITT, | let's get him.
Give me everything you've got.
Look at that.
Are you all right? I'm okay.
Out cold and he never | laid a glove on me.
No less than the miserable | cretin deserves, MichaeI.
I trust a court of law will | treat him just as harshly.
Count on it, buddy.
Anyway, good work.
Oh, yeah.
Good voice.
But that was my normaI voice.
That's what I mean.
I can't believe John will be | coming home tomorrow.
It seems like a miracle | how quickly he's recovering.
It's always easier | when you give a man somethin' to come home for.
What's going to happen with | Alfredo and the other workers? First, they've got | to testify against Gastner.
With Alfredo's evidence, | that shouldn't take too long.
Oh, by the way, Devon's | already looking into a way to have them stay here | and work legally.
I think that's all | they really want.
To work and live in peace.
That doesn't seem | too much to ask for.
Oh, I almost forgot.
| Here.
Sugar.
Okay Come on, buddy.
Well, when something | or someone moves me, I try and capture | his likeness.
Oh.
I don't know what to say.
No one's ever done this | for me before.
It's beautifuI, Julie.
And such a remarkable likeness, | don't you think, MichaeI? Yeah.
Yeah.
Very remarkable.
Michael, I have one request | to ask of KITT.
Name it.
KITT, since I'm never going to | have another opportunity to drive- Say no more, Julie.
Don't Just stand there, | MichaeI.
We're in | for the ride of our lives.
Oh, you might as well | get in, too.
Just mind your manners.
Come on, Sugar.
I thought you | said she was blind! Seeing isn't | necessarily knowing.
I heard that shot ring out.
I want the eyewitness.
Maybe he's just | angry at someone.
He's angry at someone, | all right.
KITT, where are we? Inside the compactor.
Knight Rider, a shadowy flight into the dangerous world | of a man who does not exist.
MichaeI Knight, a young loner on a crusade to champion | the cause of the innocent, the helpless, the powerless in a world of criminals | who operate above the law.
No problem, Alfredo.
Your friend here just | can't hold his tequila.
Go back to work.
I understand.
No, if we agree | to accept the case, we'll agree to your | terms and conditions.
I have papers, | evidence against him.
I will give you the papers, | but if he finds out, he will kill me.
Don't worry.
We'll have someone there | for you.
Now, if you'll just | give me your name.
Devon, how do you know | it's not a crank caller? I mean, maybe he's just | angry at someone.
He's angry at someone, | all right.
The difference is, the man he's | angry with is Louis Gastner.
MichaeI, here is | the police arrest report on Louis Gastner.
Gastner, Louis R.
Age.
: 54.
White male.
Eight arrests for grand theft, | larceny, and extortion.
Name a crime, | and he's been accused of it.
Only problem is nobody's been | able to get a conviction on him.
This "evidence drop, " | as you call it, is all very strange | and unorthodox, MichaeI.
And so is that cap | you're wearing.
Hey, it's my ID.
It's what the caller ordered.
| All part of the plan.
I don't think | I'm going to like this.
Relax.
Piece of cake.
I've heard that before.
For instance, when we went up | against Goliath.
No, MichaeI, | it's this location.
Parking lots depress me.
With all these cars? I thought | you'd feel right at home.
It's precisely | all these cars that bother me.
Here they sit, | left in the sweltering sun, for all | practicaI purposes forgotten while their owners browse | in air-conditioned comfort.
Don't take it personally.
There's row D.
Here we go.
All right.
I was told | to wait in the mall.
You wait here.
| Informant will come by and drop the evidence in the | window in about two minutes.
Now I'm a mobile mailbox.
All right, Devon wants | a visual on this, so I'm activating | your video camera.
You buzz me | when he makes the drop, okay? Despite what you may think, I'm perfectly capable of | handling my responsibilities.
Boy, you're touchy.
What did you do? Wake up on the | wrong side of the garage this morning? Very funny.
Stay here.
| I'll be right back.
John, where are you going? I'll be right back.
MichaeI, this could | be our informant now.
I got you, KITT.
John.
Don't move him! All right.
| Call the paramedics! I will call them! All right, everybody, back! | Stay back! I suppose this is your idea | of a piece of cake? Thanks for the reminder, | smart guy.
Let's get some history | on his plates, huh.
KITT, are we clear | to Turbo Boost? No, MichaeI.
There's a schooI | bus trapped behind the truck! Can you pick 'em up | with your scanner? They're out of range.
I'm afraid | we've lost them, MichaeI.
Them and 10 years | off my life.
Aw! You know how I feel | about that car.
It's potentially | incriminating.
Yeah, but that's my car.
| I love that car.
I hand wax it | every weekend.
Changes the oil | himself, too.
Look, Mr.
Gastner, | give me a break.
I'll stash it.
I'll have my brother | drive it over the state line.
Okay.
Stash it.
Stash it good.
Now I want that evidence | and the guy who stole it, | no matter who he is.
You understand me? You shot a guy.
| Left an eyewitness.
Said so yourself.
| She looked right at you.
You screwed up.
| That's human.
I'm forgiving.
| That's me.
All heart.
To a point.
I want the eyewitness.
That was a close one.
You'd better | find that girl.
Oscar, let her down.
Easy! Are you going to be okay | in this parking lot? This is a hospitaI, | not a shopping center.
By definition, there's a valid | reason for every car here.
I'm quite comfortable, | thank you.
Anything to keep you happy.
Excuse me, I'm lookin' for | a Julie Robinson? Down the hall.
Thank you.
Dr.
Jackson, Treatment Room 1.
Excuse me, | are you Julie Robinson? Mm-hmm.
My name is Michael Knight.
I'm with the Foundation | for Law and Government.
I'm the one John was supposed | to meet in the parking lot today.
John didn't say anything | about meeting anyone.
Whether he said | anything or not, he had some evidence | to deliver.
Now, I've spoken to the | paramedics and the hospital, but nobody seems to know | anything about it.
Look, uh, I really don't know | what you're talking about.
John and I were | simply going shopping when someone shot him | for no reason.
Look, I know this doesn't | seem to be the right time to ask questions, but, Julie, you were there.
You must've seen | where he hid the evidence.
Miss Robinson? Yes.
The doctor's with John now | if you'd like to see him.
Thank you.
Sugar? MichaeI, I sense | something is bothering you.
KITT, our eyewitness | to the shooting is blind.
But she moved | with such certainty.
Surely I would've noticed.
She also insists | that John Murray had nothing to do | with the evidence drop.
Do you believe her? I don't know.
We'll see.
Let's hang out here a minute.
She should be out | pretty soon.
What about the Porsche? | Any luck? The car in question is | registered to a David Dudley.
Insofar as it was involved | in an attempted homicide shouldn't we share this | information with the police? KITT, the guy | called the Foundation because he couldn't go | to the police.
We've got to honor | that confidence.
I doubt I'll ever grasp | this human need for secrets.
Thank you.
You're welcome.
MichaeI, there's a car approaching | that girI at high speed.
What was that black car? I don't know, | but that girl, she's blind.
Sure? | As sure as I'm sittin' here.
So much | for our eyewitness.
You all right? Most of me.
Thanks for | cutting that maniac off.
You know what happened? A car was coming at me | from over there.
You seemed to be coming at me | from over there.
You must be some kind of | a driver, Michael Knight.
Wait a minute.
| How'd you know it was me? I heard you.
I think whoever tried | to kill John thinks you're an eyewitness | just like I did.
What if they still do.
MichaeI.
Sorry, pal.
I know how you feel | about dogs as passengers, but this one's | well trained.
Training is one thing, | obeying is quite another.
You've got a computer | in your car.
No, Julie, | the computer is the car.
KITT, introduce yourself | to Julie Robinson.
I'm pleased to meet you, | Miss Robinson.
A talking car.
Well, now it's my turn | to be impressed.
KITT, is it? | What an intriguing voice.
A little too much gain | in your tweeter, and a slight metallic tone | to your bass.
Do you really think so? Make yourself at home.
I'm gonna take Sugar's harness | off and give her some water.
Julie, this place | is beautiful.
Thank you.
Hey, this painting | looks just like Sugar.
Sugar wasn't even born | when I painted that.
I was 17 | when I lost my sight.
I painted until then.
And now, | with John's help, I sculpt.
Wow! I guess the two of you | are real close, huh.
Close? In a way, yes.
You must know | why he brought you to the shopping center | at that particular time.
We were going to buy supplies | at the art store at that particular time.
Now, Julie You don't believe me, do you? Well, it's not that | I don't believe you, but isn't it possible | John didn't tell you his real reason | for being in there? No.
How can you be so sure? The same way I knew | you didn't believe me.
I could hear it | in your voice.
I would've known if John | had been worried or anxious.
No, it's just not possible.
All right.
Then why was he | reachin' for my car? What makes you think | he was? I saw him.
Michael, seeing isn't | necessarily knowing, or understanding.
I heard that shot ring out.
I could feel John was hurt.
And all I could do | was just stand there.
All right.
Julie, I got a video tape of | what happened out there today.
I want you | to take a look at it.
Maybe you can hear | or feel somethin' I missed.
All right.
Stay here.
| I'll be right back.
John, where are you going? I'll be right back.
John.
John was going after Sugar, | my dog.
She didn't have | her harness on, and when John opened the | door, she slipped out.
Miss Robinson, | Sugar is not in the picture.
Why, she has to be.
| I can hear her.
Could you please | play back the tape? Sure.
There.
Do you hear her? Devon, what's that? A dog's tail, Michael.
I've run every possible check | on John Murray.
He's clean.
The man who called me on the | telephone had a Spanish accent.
Our John is not a Latino.
He's Irish.
Don't move him! All right.
| Call the paramedics! I'll call them! There's your Latino.
Don't move him! All right.
| Call the paramedics! I will call them! He does have an accent.
I'll try to blow it up, | but we'll lose some clarity.
Miss Robinson, you really are | an excellent eyewitness.
Thank you.
Just a still town girI | on a Saturday night.
lookin' for the fight | of her life.
In the reaI-time world | no one sees her at all.
they all say she's crazy.
Locking rhythms | to the beat of her heart.
changing woman into life.
She has danced | into the danger zone.
when a dancer | becomes a dance.
It can cut you | like a knife.
if the gift | becomes the fire.
On a wire between will | and what will be.
She's a maniac.
maniac on the floor.
And she's dancing like | she's never danced before.
.
This is Gastner's place.
Let's see | what we can find out.
It's gonna be tough.
It's a long shot, but I | think Gastner's involved.
I faiI to see the logic | of what we're doing here.
Tryin' a long shot, pal, | maybe we'll get lucky.
It's worse than I imagined.
Yeah, I know.
Because everybody | has an accent.
No.
That machine.
| That horrible machine.
Look what it's doing.
Wow.
And you thought | parkin' lots were bad.
Hello.
Yeah? I'm lookin' for a guy | named Dudley.
Dave Dudley.
He brought his Porsche | by my house yesterday said he wanted | to trade it for my car.
Thought I might take him up | on his offer, Mr Gastner.
Nobody named | Dudley works here.
You sure? Yeah.
But if you find him, | take him up on his offer.
You'll be getting | the best end of the deal.
All right.
| Let's get back to work.
Spoken like a true barbarian.
Did you say somethin'? I certainly did.
That awfuI man is an insult | to the human race and the automotive industry.
He belongs behind bars.
No argument from me | on that one.
KITT, the guy seemed | pretty sure of himself.
I think Dudley and his pal | realized Julie really is blind.
Then we're back | to square one.
Maybe.
Maybe not.
Give me all you've got | on David Dudley.
Personal habits, | hobbies, friends.
Give me the works.
Dudley used to play | semi-pro football.
On his time off, he hangs | around in the Second Avenue park.
That gives me an idea, KITT.
The way John's improving, he | should be able to talk pretty soon.
Well, I'm still not sure | I understand your plan.
I thought | you were after Gastner.
We are.
But as long | as Dudley and his buddy are running interference | for him, we're gonna have | to nail 'em first.
But they know I'm blind.
Julie, you said it yourself: "Seeing isn't necessarily | knowing or understanding.
" Don't worry about a thing.
KITT's gonna take | real good care of you.
Am I doing all right, KITT? With a little more practice, | we could enter the Indy 500.
Flatterer.
Go! Go! Go! Go! There's Dudley, Julie.
Good.
He saw you.
Dudley, look! | Look, it's that broad.
I thought you said | she was blind! You said she was! | Come on! Barbara, wait here! I believe | MichaeI's ploy is working.
Good.
| Pedal to the metal, KITT.
This is Officer Peter Gray.
| 42786.
I've just spotted | a blind girl driving a car.
Please advise.
Looks like the little lady | ran out of space.
Yeah.
She's run | out of luck, too.
Hey, open the door.
| Open the door.
Open the door.
| Come on! Don't worry, Julie, | everything will be all right.
Well, what are you | yelling for? The car moved.
| It's got my foot.
It's got my foot! No, no, no! Julie, you all right? Yeah, I'm fine.
Somebody's under arrest.
April, there's no way | I can identify the man.
He could just | as easily be me.
I know.
I'm sorry, Michael.
| It's the best I could do.
Okay.
Michael, I'm afraid | your plan may not pay off.
The police have questioned | Dudley and Mel to no avail.
The sports car you described | has disappeared.
And there's simply | no concrete evidence linking them | to John Murray's shooting.
Well, at least we've kept them | out of action for 24 hours.
Hello? Oh, hi, Julie.
Oh, that's wonderful.
Yeah.
Sure, I'll tell him.
Bye-bye.
Good news.
John's regained consciousness.
That is good news.
Maybe we've got | an eyewitness after all.
MichaeI, I've been thinking.
| If I adJusted my bass an octave or so, perhaps | it might sound more mellow.
What do you think? KITT, will you stop worrying | about your voice? It's fine.
| I like it just the way it is.
You wouldn't fib to me, | would you? Never.
MichaeI, I've been thinking | about David Dudley's sports car.
I'm afraid it may have met | with a dreadfuI end.
I don't follow.
It's occurred to me | that insofar as the car is essentially evidence | in the shooting, those hoodlums | may have disposed of it in that crusher | at the wrecking yard.
Oh.
Well, that would make a | compact out of it, wouldn't it? I faiI to see the humor | in that.
It's a most humiliating way to | go, transformed into a tin can.
Well, I'll remember that | the next time I have sardines.
Really, MichaeI.
Sometimes | you're so insensitive.
John, I'm real sorry you got | caught in the middle of this.
It's just a matter of being at | the wrong place at the wrong time.
I was trying to help Julie, | and she was telling me not to.
That's the way | it is with us.
Where is she, anyway? Probably down | at the cafeteria telling them | how to cook my food.
I got it.
Thank you.
| Okay, straight ahead.
Thank you, Julie.
They're beautiful.
They smell good, too.
John, we're trying | to put this puzzle together, but we're missin' | a few pieces.
Oh.
I don't know what I can | do to help, but anything I can.
Do you remember right | after you were shot, a man callin' out | for the paramedics? He was a Latino.
Yeah.
Yeah, I think I remember him.
One minute he was | comin' toward me, like he was going | to help me catch Sugar, then he was gone.
We think he's the key | to the whole situation here.
If you saw this guy again, | you think you'd recognize him? I don't think so.
No.
I was paying | more attention to Sugar.
Then, when I got shot | everything went black.
I'm sorry.
Visiting hours | are almost over.
I was hoping you could | stay a little longer.
I'll be back.
| You get your rest.
Julie.
Thanks a lot, John.
| Hang in there.
Where're you goin'? The wreckin' yard.
I'll find out which one | of the Latinos speaks English.
We'll talk to every single | one of them if we have to.
Listen, | I appreciate your help, but maybe you should | stay here with John.
He's doing fine.
| And he's in the best of care.
Besides, you have no idea | who you're looking for, and I know exactly | what he sounds like.
I think you need me.
You know what I think? You're right.
I do.
Let's go.
You know, Julie, I don't think I'm the | only one who needs you.
Come on, Sugar.
| Come on, come on.
Come on, come on.
| In you go.
Okay.
"Now is the winter | of my discontent made glorious summer | by the sun of York.
" Say what? Shakespeare.
I wanted Julie to | hear the tonaI purity of my voice.
Very nice.
Really.
But do I detect a slight | reverberation in your treble? That does it.
| My tweeters are sealed.
Is something | bothering you, Michael? Well, I can't hide much | from you, can I? This time | it's simple female intuition.
What's wrong? Nothin's wrong, Julie.
| I'm just curious.
About? About you and John.
I told you, Michael, | we're close- I know you said | you're close in ways.
Just wondering | if that's how John sees it.
No pun intended? Julie, maybe you're too busy | proving you don't need anybody, you're overlookin' | someone who needs you.
Someone who loves you | very much.
KITT, is Gastner around? Now he's not talkin'.
Gastner's car isn't here.
Be careful.
| This place feels dangerous.
Hello! Mi nombre is Michael Knight.
I'm from The Foundation | for Law and Government.
Your boss, uh, Louis Gastner.
He's a bad man, | you know that.
One of you guys called | the Foundation for help.
We're here.
| We want to help.
But you guys | got to talk to me.
Please, one of you, | tell me what's goin' on.
KITT, that voice over | the bullhorn, that's him.
Are you positive, Julie? Absolutely.
MichaeI, Julie's identified | the man with the bullhorn.
Wait! | I'm Michael Knight.
Stop! Hey, stop.
KITT, run some | interference for me.
Hold on, Julie.
Look, I want to help.
I | just wanna talk to you.
Open the door, KITT! I'm Michael Knight.
I'm with the Foundation.
| Come on, get in.
You make | a terrible mistake, senor.
My name's Alfredo Diaz and I work for Mr.
Gastner | for five years.
But I'm an honest man.
Alfredo, I'm sure you are.
That's why you called us | in the first place.
That's why I'm here now.
He's the one, Michael.
| I'm positive.
Alfredo, if you called the | Foundation you must've been desperate.
We're ready to help.
| Why don't you let us? Allow me, MichaeI.
All right.
Maybe Devon | will have better luck.
Come on, Sugar.
That poor man must be | frightened to death.
Julie, it's for | his own good.
Gastner would do a lot more than | scare him if he'd found him first.
Look, I really don't like | leavin' you alone here.
I'm not alone.
| I've got Sugar.
You'll be at | the hospital later, right? And you've got my number at | the Foundation if you need me.
Okay.
Now, lock the door and | don't let anybody in, okay? Um, I've been thinking | about what you said.
Maybe it's true.
Maybe I've been trying | so hard to be independent that I just haven't left room | for anybody else in my life.
Thanks.
Okay.
Come on, Sugar.
You said | that you had evidence of Gastner's | criminal activities.
Well, why won't you tell us | about them now? You're safe here.
We're never safe.
He would kill me | just like he killed Celso.
Celso? A man from Guadeloupe.
They told me he was drunk.
They put his body in the car, | and they put the car Alfredo, why did | Gastner kill him? Alfredo, this Foundation exists | to help anyone who needs it, anyone who feels | that a wrong must be righted.
You know that.
| We'll protect you.
Gastner brings people in across | the border to work for him.
He gives us money that we | must pay back with interest.
The more we make, | the more we owe.
Celso refused to pay.
He threatened | to go to the police.
He was proud.
| He was too proud.
The evidence you have on | Gastner, where is it now? I have it hidden.
But now I'll get it for you.
Hello? Yes? What? Where? Yes, I understand.
Thanks for calling.
Dudley and Mel were formally | charged with attempted assault.
Bail was set and Gastner posted | it before the ink was dry.
Julie! What is it, Sugar? What is it? Michael? Julie.
It's okay, Sugar.
| I'll bring her back.
You idiot.
Some eyewitness.
She was driving the car.
| We saw her plain as day.
Her boyfriend | doesn't know anything, or the cops would've | got to us by now.
But who knows | what Alfredo gave them? That's why I'm clearing out, | and taking her as insurance.
The guy in the black car, | he's headed this way! Julie, are you all right? He's not armed.
Give it up, Gastner.
| It's all over.
Because of some | flimsy evidence and the word of | an illegal alien? MichaeI, I scanned the cars | as you asked.
I've located human remains in | one of the compacted automobiles.
Who said that? Celso Moreno died | in that crusher.
He was murdered by Gastner and | his men because he fought back.
Shut Knight up.
Get him in the car.
Mel.
I'm going to stop | by the office and pick up the files.
You take care of him.
All right.
Get him in.
You guys stay cool, | or you're next.
MichaeI? MichaeI, I need you! MichaeI.
MichaeI.
What are you- Hey, back off! It's okay.
| I'm your friend.
MichaeI, | you've regained consciousness.
KITT, where are we? Inside the compactor.
My worst nightmares | are being realized.
I can see me now.
Tin cans, TV dinners, | garbage can lids.
Not if I can help it! Give me every pound | of Turbo Boost you've got.
All right, let's go for it! | Now! You okay? At the moment, | I'm practically speechless.
Gastner's about to escape, | MichaeI, down at the office.
With Julie? No, he's alone.
All right, KITT, | let's get him.
Give me everything you've got.
Look at that.
Are you all right? I'm okay.
Out cold and he never | laid a glove on me.
No less than the miserable | cretin deserves, MichaeI.
I trust a court of law will | treat him just as harshly.
Count on it, buddy.
Anyway, good work.
Oh, yeah.
Good voice.
But that was my normaI voice.
That's what I mean.
I can't believe John will be | coming home tomorrow.
It seems like a miracle | how quickly he's recovering.
It's always easier | when you give a man somethin' to come home for.
What's going to happen with | Alfredo and the other workers? First, they've got | to testify against Gastner.
With Alfredo's evidence, | that shouldn't take too long.
Oh, by the way, Devon's | already looking into a way to have them stay here | and work legally.
I think that's all | they really want.
To work and live in peace.
That doesn't seem | too much to ask for.
Oh, I almost forgot.
| Here.
Sugar.
Okay Come on, buddy.
Well, when something | or someone moves me, I try and capture | his likeness.
Oh.
I don't know what to say.
No one's ever done this | for me before.
It's beautifuI, Julie.
And such a remarkable likeness, | don't you think, MichaeI? Yeah.
Yeah.
Very remarkable.
Michael, I have one request | to ask of KITT.
Name it.
KITT, since I'm never going to | have another opportunity to drive- Say no more, Julie.
Don't Just stand there, | MichaeI.
We're in | for the ride of our lives.
Oh, you might as well | get in, too.
Just mind your manners.
Come on, Sugar.