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KNIGHT RIDER: THE FINAL VERDICT

EXEC. PRODUCERS: Glen A. Larson, R.A. Cinader
PRODUCERS: Hannah Shearer, Steven E. de Souza

Production #57316
6th Draft - November 9, 1982 (F.R.)

Teleplay: .................. John Alan Schwartz &
............................ E. Paul Edwards
Story: ..................... Tom Greene,
............................ John Alan Schwartz &
............................ E. Paul Edwards
Contributing Writer: ....... David Braff
Director: .................. Bernard Kowalski

                              
                                ACT ONE

     FADE IN

     OMITTED

     EXT. TRANS AM - DAY - VARIOUS ANGLES - STOCK

     K.I.T.T. and Michael surge down the open road accompanied by
     the pulsating rhythms of the hot theme music.

     EXT. SEMI - DAY - ESTABLISHING - STOCK

     INT. SEMI - DAY

     Bonnie is standing in front of a TV monitor.  Next to her
     is Devon who is perched over an easel where he is drawing a
     sketch based on the description offered by Bonnie.

                               BONNIE
                      (addressing 
                       TV monitor)
               Brown, curly hair, wide-set piercing
               blue eyes, a well-set jaw, with a 
               cute little dimple on the chin....

     INSERT - VIDEO MONITOR

     Responding to Bonnie's voice, a composite sketch is being
     formed by the computer on the screen.  We can see that it's 
     going to be Michael's face.

                               BONNIE (v.o.)
               ...medium width, straight nose, small
               ears, and a full, sexy lower lip.

     ANGLE - DEVON

     drawing hastily, trying to keep up.

                               DEVON
               Slow down, Bonnie.

                               BONNIE
               That's it.

     ANGLE - DOOR

     It opens and K.I.T.T. enters.  Michael stops the car and 
     bounds out.

                               MICHAEL
               Hi, guys.

     He notices the TV and easel set-up.

                               MICHAEL
               Hey, what's all this?

                               DEVON
               Kitt's got a brand new feature.

                               K.I.T.T.
               I do?

                               BONNIE
               Yes.  You can now construct a com-
               posite drawing on his screen based 
               on a verbal description.

     ANGLE - DEVON

     standing next to his very sketchy sketch.

                               DEVON
               As you can see, it's a rather
               striking facsimile.

     ANGLE - VIDEO MONITOR

     A very good sketch of Michael.

     ANGLE - TRANS AM

                               K.I.T.T.
               I'm impressed.

                               BONNIE
               You should be.

     Michael looks at Devon's sketch.

                               MICHAEL
               I'd like to say, it's back to the 
               drawing board for you, Devon...but
               frankly, I'm not sure there's much
               hope.

     Michael smiles as he needles Devon, who comes right back at 
     Michael, reaching for a manila folder.

                               DEVON
               I could say the same of your wit...but
               I shan't.  Instead, allow me to present 
               your next case.

                               MICHAEL
               Devon, uh...I have a problem.

                               DEVON
               Don't be modest dear boy.
                      (beat)
               You have a wide range of problems.

     While Michael and Devon talk, Bonnie takes a disc from the 
     computer that was hooked up to the TV and installs it under 
     K.I.T.T.'s dashboard.

                               MICHAEL
               I'm serious.  I just got a call from
               Albuquerque.

                               DEVON
               From whom, may I ask?

                               MICHAEL
               A friend of mine, Cheryl Burns, is in 
               jail there.  She asked me to help her.

                               DEVON
                      (pauses)
               I see.

                               MICHAEL
               You remember what Wilton Knight said
               about one man making a difference.

                               DEVON
                      (still
                       noncommittally)
               Oh, indeed I do.

     As Bonnie climbs out of K.I.T.T.

                               MICHAEL
               Good, I didn't think you'd have 
               any objections.

     Michael climbs in, not waiting for Devon's approval.

                               DEVON
               Wait a minute.

     Michael starts up the car.

                               DEVON
               You have two days.  And then I want 
               you back on this case.

                               MICHAEL
               Thanks, Devon.  Bye, Bon.

     Michael waves and backs out of the semi as Devon and Bonnie
     look at each other and shrug.

     EXT. TRANS AM - DAY - VARIOUS ANGLES - STOCK

     Montage of K.I.T.T. en route to Albuquerque.

     EXT. ALBUQUERQUE PRISON - DAY - AN ESTABLISHING SHOT

     of a cold green building protected by barbed wire fencing,
     armed guards in towers, and bars on the windows.

     ANGLE - PRISON SIGN

     which reads NORTHFOLK WOMEN'S HOUSE OF DETENTION.

                                              CUT TO

     INT. PRISON VISITATION ROOM - DAY

     Michael is waiting impatiently in a drab gray room at a 
     metal table.  A jowly prison matron escorts Cheryl Burns, a
     twenty-six-year-old woman with blonde hair and a fawn-like
     countenance, into the room.

                               CHERYL
                      (happy to
                       see him)
               Michael!  Oh, thank you for coming.
               I'm so glad to see you.

     Michael is somewhat puzzled by the presence of his comely
     friend in penal attire.

                               MICHAEL
               No problem, Cheryl.
                      (beat as they
                       both sit down
                       at a table)

                               CHERYL
               It's like a nightmare, Michael.  The 
               police are convinced I killed my boss.

     Michael can't believe it.

                               CHERYL
               You know me, Michael, you know I'd
               never do something like that.

     Michael reaches out and takes her hands in his own.

                               MICHAEL
                      (comforting)
               It's all right, Cheryl.

                               CHERYL
               No, it's not.  Not when nobody
               believes a word I say.  They won't
               even listen to me.

                               MICHAEL
                      (calm)
               I'll listen.  Now tell me what 
               happened.

                               CHERYL
                      (in a broken
                       voice)
               We were working late -- for about
               the tenth day in a row.  He always
               kept me late for something.  Finally,
               I asked him for a raise.  He said if
               I wanted a raise, I would have to 
               earn it, then he started pawing at 
               me.

                               MICHAEL
               What did you do?

                               CHERYL
               I ran out of the office, that's what
               I did.  The next morning the janitor
               found him with a fractured skull and 
               my desk lamp beside him.

                               MICHAEL
               Where did you go when you left the 
               office?

                               CHERYL
               I walked for a while and then went 
               to a bar called the Bent Arm.

                               MICHAEL
               Can anybody prove you were there?

                               CHERYL
               The only person I talked to was 
               this guy named Marty.  He was so 
               nice.  He listened to my problems 
               for hours.

                               MICHAEL
               Did he tell you anything about him-
               self?

                               CHERYL
               Only that he was an accountant.  And
               that he liked to gamble.

                               MICHAEL
               What did he look like?

                               CHERYL
               He's about five-six.  Light colored hair,
               kind of thin on top.  Glasses.  He kind 
               of reminded me of Woody Allen.

                               MICHAEL
               The police couldn't find him?

     Cheryl shakes her head no.

                               MICHAEL
               So you don't have an alibi.

     Cheryl stares at Michael and her eyes well up with tears.

                               CHERYL
               I'm frightened, Michael, this is an 
               awful place...the people in here....

                               MICHAEL
               Don't worry.

                               CHERYL
               What else can I do?  If my lawyer 
               can't delay the trial, I'm finished.

                               MICHAEL
               No you're not, Cheryl.  I'll find 
               the guy.

                               CHERYL
               What if you don't?

                               MICHAEL
                      (trying to
                       lighten up)
               Then I'll rob a bank and get tossed 
               in here with you.  Maybe they'll
               give us a co-ed cell.

     Cheryl smiles for the first time in two weeks.  Michael
     smiles back.

     OMITTED

     EXT. CITY STREETS - DAY - STOCK

     K.I.T.T. driving on city streets.

     EXT. BENT ARM BAR - DAY

     Michael pulls in and parks.

                                              CUT TO

     INT. BAR - DAY

     Michael enters the noisy, crowded bar in the center of 
     which a waist-high butchers' block serves as a battlefield
     for two combatants locked in an arm wrestling match.  Michael
     walks to an attractive female Bartender.

                               BARTENDER
               Hi, there.  What can I get you?

                               MICHAEL
               Beer's fine.

                               BARTENDER
               Draught?

                               MICHAEL
               Perfect.

     She begins to draw a cold one as Michael surveys the busy
     environs.  His eyes fix on the arm wrestling clash.

                               MICHAEL
                      (to Bartender,
                       indicating
                       wrestling match)
               Looks like fun.

                               BARTENDER
                      (blase)
               Yeah, if you like holding hands with
               an ape.

     She brings him his beer.

                               MICHAEL
               A friend of mine told me about this 
               place.  He comes here a lot.  Maybe 
               you know him.  Name's Marty.  He's 
               an accountant.

     She gives Michael a funny look and remains curiously silent 
     for a beat, then:

                               BARTENDER
               I don't know any Martys.

                               MICHAEL
               Kind of short.  Brown hair.  Glasses.

     The Bartender starts washing a glass, trying to be low key.

                               BARTENDER
                      (stiff)
               I said I don't know him.

                               MICHAEL
               That's too bad.  Because I haven't
               seen him in awhile and I was hoping
               you might know where he is these 
               days.  I owe him some money.

                               BARTENDER
               Sounds like a guy who used to come 
               in here, but he moved out of town.

                               MICHAEL
               Oh yeah?  Where to?

                               BARTENDER
               Sorry.  I don't remember.
                      (beat)
               Did you say you wanted to wrestle?

     Before Michael can respond she calls out to the arm wrestler.

                               BARTENDER
                      (continuing)
               Hey, Butch.  This guy's next.

     ANGLE - BUTCH

     who takes on all comers at arm wrestling.  He is a hairy,
     hard-looking hombre with forearms twice the size of Steve 
     Garvey's.  Butch dispatches a beefy opponent and beckons
     Michael with a crooked finger.

     ANGLE - MICHAEL

     He's suspicious and becomes even more so when the Bartender
     walks to the end of the bar and picks up a telephone to
     make a call.

                               MICHAEL
                      (into wristwatch)
               Kitt, there's an outgoing phone call
               from this bar.  Get me the number.

     Michael saunters to Butch.

     ANGLE - BUTCH AND MICHAEL

                               MICHAEL
               How you doing there, Butch?

     Michael extends his hand for a shake but Butch greets him 
     with only a grinding of teeth.  Michael sighs -- this isn't
     gonna be easy.  Michael gets down in position and the two 
     men lock hands.  It looks like an even match but the 
     experienced Butch feels an edge and begins to smile.
     Michael's face reflects his concentration and discipline --
     he won't go down without a fight.

                               BUTCH
               Ready, go!

     ANGLE - BARTENDER

     who speaks softly into the phone at the bar.

                               BARTENDER
               Hello, Marty, it's Kim.  There's 
               another guy here looking for you.
               He says he owes you money...No, I 
               didn't tell him anything...Okay, 
               Marty.  Take care of yourself, kid.
               Bye-bye.

     She hangs up.

     OMITTED

     ANGLE - MICHAEL

     as he begins to make his move on Butch who tries to look 
     cocky but he's a little concerned -- he didn't think this
     kid had this much power.  Michael slowly pulls his hand 
     toward the table but Butch stops him and pulls his arm
     upright.

     ANGLE - BARTENDER

     She takes a long hard look at Michael who is slowly losing
     ground to Butch who is really putting on the pressure.

                               BUTCH
               You're gonna go, pally.  You got 
               nothing left.

     Butch makes his move to finish him off.

                               K.I.T.T. (v.o.)
                      (through
                       wrist
                       watch)
               Michael, I've traced the number you
               requested.

                               BUTCH
               What??

     The momentary loss of his concentration costs Butch the 
     match as Michael pulls his arm to the block.  The crowd
     roars -- this is something they don't see too often.

                               BUTCH
                      (blustering)
               His watch was talking.  I heard it!

                               MICHAEL
               Better luck next time, Butch.

     The crowd laughs at Butch as Michael moves back to the 
     Bartender.

                               BARTENDER
               I'll keep an eye out for your friend.

                               MICHAEL
               That won't be necessary.

     She gives Michael a curious look as he leaves.

     EXT. BAR - DAY

     Michael exits the bar, gets into the Trans Am.  He is about
     to start the car when he sees that he has been pinned in 
     by a garbage truck.

     INT. TRANS AM

     Michael leans out the window and calls to the Garbage Man.

                               MICHAEL
               Excuse me.

     No response.

                               K.I.T.T.
               Not a very cooperative fellow, is he?

                               MICHAEL
               No, he isn't.

     Michael gets out of the car.

     EXT. BAR - DAY

     Michael walks to the driver of the garbage truck who sits on
     a fender eating his lunch and delighting in Michael's pre-
     dicament -- he's just the type.

                               MICHAEL
               I hate to bother you, but could you
               back your truck up a couple of feet 
               so I can get out?

                               GARBAGE MAN
                      (with a
                       mouthful
                       of food)
               Sorry, buddy, but the city only
               gives me forty-five minutes for lunch
               and I ain't getting back in that 
               truck 'til then.  You understand....

                               MICHAEL
               Yeah, I understand.

     As Michael's face reddens and he takes a few steps away from 
     the man, his watch beeps.  Raising his wrist, Michael speaks 
     into the communicator.

                               MICHAEL
               Yeah, Kitt.

                               K.I.T.T.
               Michael, can I be of assistance?

                               MICHAEL
               As a matter of fact, you can.

     OMITTED

     ANGLE - K.I.T.T.

     backs into the garbage truck, pushing the huge vehicle back
     about five feet, sending the driver sprawling.

     ANGLE - GARBAGE MAN

     sitting on the road surrounded by what's left of his lunch
     and reacting to the actions of the self-propelled car.

                               GARBAGE MAN
               Hey, what's the big idea?

     The Garbage Man does a double take when he sees no driver
     in the Trans Am.

                               GARBAGE MAN
               Holy mackerel.
                      (beat)
               Hey, get back here.  You can't do
               that to city property.

     ANGLE - MICHAEL

     as he backs K.I.T.T. out of the parking space.

                               MICHAEL
               Sorry, but I'm sort of in a hurry.
               You understand.  Bon appetit.

     BACK TO SCENE

     Michael gets back into his car.  K.I.T.T. drives off, the
     garbage truck driver throws a half-eaten sandwich after them.

     EXT. TRANS AM

     as it pulls away from the bar.

                               MICHAEL
               Okay, Kitt, what about that phone
               number?

                               K.I.T.T.
               I traced it to an apartment building
               on Mayfield Road.

                               MICHAEL
               Mayfield Road?  Where's that?

                               K.I.T.T.
               Claremont Bay.  Which is approximately 
               four hundred seventy-four miles north
               northwest of our current location.

                               MICHAEL
               Well, then set our course for Claremont
               Bay.

                               K.I.T.T.
               Michael, I'm not certain who the 
               call was made to.  There's no 
               guarantee we'll find Marty at that
               address.

                               MICHAEL
               Kitt, there's an old expression I
               learned when I was a cop.

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

                               MICHAEL
               A lead is a lead.
                      (beat)
               Besides, it's a beautiful day for a
               drive.

                                              DISSOLVE TO

     INSERT - EXT. WIDE OPEN SPACES - DAY - MONTAGE - VARIOUS
     SHOTS OF K.I.T.T. - STOCK

     on the road, mission-bound.  Car and driver wind through 
     hills, rip down straightaways, and bask in the sunshine
     and splendor of the scenic surroundings.

     INT. TRANS AM

                               K.I.T.T.
               Is there any further information you
               can provide?

                               MICHAEL
               Sorry, Kitt.  I told you all I know.

                               K.I.T.T.
               Although the data is relatively
               sketchy, the composite can be
               computed.

                               MICHAEL
               Well, let's see it.

     INSERT - VIDEO MONITOR

     With a flurry of flashing lights and squiggly lines, a
     composite sketch of Marty appears on the screen.

                               K.I.T.T. (o.s.)
               Voila.

     Hold on the composite, then:

                                              CUT TO

     CLOSE SHOT OF MARTY

     His face is twitching nervously.  Pull back and widen to:

     INT. POLICE STATION - DAY

     Marty is fidgeting in a chair while his two stone-face
     interrogators loom ominously above him, pacing the floor in 
     a circle around his bare wooden chair.  They are Lieutenant 
     Dickerson, a lean, hard-boiled man in his forties, and his 
     assistant, Brad, a young detective.

                               MARTY
                      (stammering)
               C-c-can I go now?

                               DICKERSON
               No.

                               MARTY
               Look, officers, I'd l-l-love to be 
               of assistance.  Honest.  But I don't
               think I can be of any u-u-use to you.

                               DICKERSON
               I'll be the judge of that.

     Marty slumps back in his chair.

                               BRAD
                      (playing
                       good cop)
               Look, Marty, we know all about your
               work at Falcon Enterprises.  In fact,
               we'd like to get a first-hand glance 
               at some of that 'creative bookkeeping'
               you're so famous for.

                               MARTY
                      (flinching)
               I don't know what you're talking
               about.

                               DICKERSON
               He's talking about trafficking in 
               hot merchandise, transporting stolen
               goods across state lines -- and lots 
               of other good things.

                               BRAD
               Including illegal accounting.

                               MARTY
               I've got nothing to do with that.  I
               swear.

                               DICKERSON
               Sure you do, Marty.  On a stack of 
               Bibles.

     Beat, as Dickerson comes nose-to-nose with Marty.

                               DICKERSON
               Now, listen to me, Marty.  I'm 
               giving you a chance to help me and 
               help yourself.  I need those books
               to make a case against your boss.
               If you get them for me, maybe we can 
               cut a deal.

                               MARTY
                      (trying not
                       to crack)
               I told you I don't know what you're
               talk....

                               DICKERSON
                      (cutting
                       him off)
               Think about it, Marty.
                      (beat)
               We'll be in touch.

                               MARTY
               Am I free to go?

     He gets up.

                               DICKERSON
               Yeah.  Now get out of here before I 
               change my mind.  And I suggest you
               leave through the back.

     Marty hastily exits from the room.  Brad looks at his 
     mentor.

                               BRAD
               What do we do now?

                               DICKERSON
               We watch him like a hawk.  All we've
               got to do is keep the pressure on 
               him.  He'll crack soon enough.

                               BRAD
               He better.  Or we'll never get 
               this case to the grand jury in time.

     As the detectives share a look of concern....

                                              DISSOLVE TO

     OMITTED

     EXT. APARTMENT BUILDING - NIGHT

     K.I.T.T. pulls up in front of the apartment building.

                               K.I.T.T. (v.o.)
               We're here.

     ANGLE - APARTMENT SIGN

     that reads "Harbor View House."

     OMITTED

     INT. TRANS AM

     Michael wakes up from a light sleep as the car comes to a 
     halt.

                               MICHAEL
               You sure this is the place?

                               K.I.T.T.
               Michael, are you questioning my
               navigating capabilities?

                               MICHAEL
               I was just asking.

                               K.I.T.T.
               You want apartment number three.

                               MICHAEL
               Thanks, Kitt.

     He gets out of the car.

                               MICHAEL
               Hang in there, Kitt.  This shouldn't
               take long.

                               K.I.T.T.
               I've heard that before.

     Michael approaches the building.

     ANGLE - DOOR

     When Michael walks to the door and knocks, two men, one of
     them being Brad, appear out of the darkness.  Before he can
     move, they pin Michael's arms to his side, put a hand over 
     his mouth and stick a gun in his stomach.

                               BRAD
               Don't make a sound.  Just turn 
               around and start walking.

     Michael obeys and the two men noiselessly escort him out of 
     sight.  After a beat, Marty opens the door as far as the 
     chain will allow it to go and peers out.

                               MARTY
               Hello?

     When he sees no one, Marty unlatches the door and cautiously 
     steps out as if afraid of his own shadow.  His balcony is 
     empty and he quickly scurries back inside like a mouse 
     returning to its hole, and as he slams the door, we....

                                              FREEZE FRAME

                         END OF ACT ONE

                             ACT TWO

     FADE IN

     EXT. POLICE STATION - NIGHT - STOCK

     INT. POLICE STATION - NIGHT

     Under the glare of interrogation lights, Michael is being
     questioned by Lt. Dickerson, a man who still uses the old
     tried and true methods of force and intimidation.

                               DICKERSON
               What were you doing at Marty Keene's
               apartment?

                               MICHAEL
               That's the sixth time you've asked
               me that question.

                               DICKERSON
               And there will be a seventh time 
               unless I get the right answer.

                               MICHAEL
               I told you I'm trying to help a 
               friend.  She's on trial for murder 
               and Marty....

                               DICKERSON
               Yeah, I know all about that.  Now
               what I want you to tell me about is 
               Falcon Enterprises....

                               MICHAEL
               I've never even heard of Falcon
               Enterprises.

     A young detective named Brad enters the room.

                               MICHAEL
               I'm not here to cause trouble, 
               believe me.

                               DICKERSON
               You're causing trouble whether you 
               like it or not.

                               MICHAEL
               What's going on?  What's this all 
               about?

                               DICKERSON
               That's on a need to know basis.

                               MICHAEL
               Look all I need is to get Marty 
               Keene to Albuquerque so he can testify.
               Then he's all yours and I'm out of 
               your hair.

                               DICKERSON
               I'd like to help you, but you and I
               want the same man.  And in this town
               I'm bigger than you so guess who 
               gets what he wants.

                               MICHAEL
               You're making a big mistake.

                               DICKERSON
               No, you're making a mistake if you 
               think you're gonna waltz in here and 
               do as you please.  Got it?

     Michael stares through Dickerson.

                               DICKERSON
               I hope that look means yes.
                      (to Brad)
               Let him go.

     Brad pulls Michael roughly by the arm.

                               BRAD
               C'mon....

     Brad and Michael exit as Dickerson stares after them.

                                              CUT TO

     EXT. WAREHOUSE - DAY - TO ESTABLISH

     a large set-up with storage and office space like you might
     find in an industrial park.  A large sign proudly proclaims
     it to be headquarters for Falcon Enterprises.

     INT. MARTY'S OFFICE - DAY

     Marty fidgets as he scans the books laid out on his desk and
     his fingers busily tally an adding machine.  There is a 
     look of concern on Marty's face -- something is definitely
     wrong.  There is a knock on the door and as Marty looks up
     Al Farlan enters.  Farlan is the head of Falcon Enterprises,
     a burly man who knows how to get his way.

                               FARLAN
               Hello, Marty.

     Marty nervously shuts the books he's been doing and gets a
     little antsy at the surprising sight of his boss.

                               MARTY
                      (nervous)
               H-hi, Mr. Farlan.

                               FARLAN
                      (chummy)
               What's with the Mr. Farlan, Marty.
               I told you to call me Al.

                               MARTY
               Right.  Mr...Al.

     Farlan smiles, sits down in a chair next to Marty's desk,
     the only chair in the tiny cubicle Marty calls his office.
     Farlan gives Marty a long look.

                               FARLAN
               They said you wanted to call me,
               Marty.  What can I do for you?

                               MARTY
                      (timid)
               Nothing really...It's just that
               well, you know, I think I've done
               a pretty good job of making this 
               operation look legit.

     He indicates the books.

                               FARLAN
               Are you kidding, you're a genius.
               And to show how much I appreciate
               your services I'm giving you a ten 
               percent raise.

                               MARTY
               That's very generous of you Mr...Al.
               But I was thinking more of a little 
               time off.

                               FARLAN
               How much time off do you want?

                               MARTY
               How 'bout the rest of my life.

     Farlan's face turns serious.  He leans onto Marty's desk
     intimidatingly.

                               FARLAN
               Marty, don't make jokes with me.  I
               need you to keep the books, you know 
               that.

                               MARTY
               Mr. Farlan, I think the pressure's 
               getting to me.  My nerves can't 
               handle it.  I'm not doing my best 
               work.  What if I make a mistake?
               Then we're all gonna be in a fix.

     Farlan gets up and beams at his accountant.  He claps Marty
     on the back like a brother.

                               FARLAN
               Marty, you're trouble is you 
               underestimate yourself.  You're 
               under too much stress, that's all.

     He walks toward the door like everything is hunky-dory.

                               FARLAN
               As soon as we clear out this inventory,
               I'm gonna send you to Acapulco, all
               expenses paid.  In the meantime, relax.
               Everything's gonna be fine.

     Farlan leaves the office with a big grin on his face.

     ANGLE - MARTY

     He's confused.

     INT. HALLWAY

     outside of Marty's office.  Farlan comes over to one of his 
     assistants who has been standing outside the office.  His 
     name is Dink.

                               FARLAN
                      (grim)
               Keep your eye on him.  That little
               wimp knows enough to cause us a lot 
               of trouble if he starts getting cold
               feet.

     Dink nods as Farlan walks away with a mean look on his face.

     EXT. WAREHOUSE - DAY

     The Trans Am is parked in the Falcon Enterprises parking
     lot.

     INT. TRANS AM

     Michael sits behind the wheel, gazing at the warehouse as
     people leaving work walk past.

                               MICHAEL
               You picking up any sign of him, Kitt?

                               K.I.T.T.
               Not as yet, Michael.  Perhaps we're
               barking up the wrong tree, as they
               say.

                               MICHAEL
               No, that Lieutenant mentioned Falcon
               Enterprises.  There has to be some 
               connection between this place and
               Marty Keene.

     INSERT - DASHBOARD

     A few lights flash.

                               K.I.T.T.
               Michael, I think I've made a
               positive identification.

     BACK TO SCENE

                               MICHAEL
               Yeah?  Where do you see him?

                               K.I.T.T.
               Coming out the side door.

     Michael looks.

     HIS POINT OF VIEW

     Exiting the building from a discreet side door is Marty
     Keene.  He sticks his head out the door, casts about
     anxiously, then walks hurriedly toward his economy sedan.

     INT. TRANS AM

     Michael is watching Marty then pushes a button on the dash
     panel.

     INSERT - VIDEO MONITOR

     We see the computerized composite sketch of Marty Keene.
     The similarity is readily apparent.

     BACK TO SCENE

                               MICHAEL
               You're right, Kitt.  I think we
               found our man.

     ANGLE - SEDAN

     Marty starts up the car and pulls out of the parking lot.

     ANGLE - TRANS AM

     Michael begins following Marty.

     EXT. ROAD - DAY

     Marty weaves in and out of traffic as other drivers honk 
     and shake their fists at him.

     INT. TRANS AM

                               MICHAEL
               I don't think we'll have a problem 
               losing him in traffic.

                               K.I.T.T.
               I hope Marty's better in court than
               he is behind the wheel.

     INT. MARTY'S SEDAN - DAY

     Marty cowers at the sound of the honking horns.  He's 
     having a minor anxiety attack.  He sees a store on the 
     other side of the road.  He yanks the wheel to the left.

     ANGLE - ROAD

     Marty swings in front of an oncoming car.  It screeches to
     a halt, the irate driver gesturing maliciously at the driver
     of the reckless sedan.

     ANGLE - MARTY

                               MARTY
                      (quietly)
               I'm sorry.  I'm sorry.

     Marty pulls into the lot of a small shopping center.  He 
     parks his car in the lot and heads for a health club,
     carrying a gym bag.

     ANGLE - TRANS AM

     Michael can't follow Marty right away because of a steady
     stream of oncoming cars.

                               MICHAEL
               It looks like he's going in that
               health club.

     ANGLE - DICKERSON AND BRAD

     tailing Marty in their unmarked car.  They see Marty going
     into the club, but they can't see Michael from their 
     location.  Nor does he see them.

     OMITTED

     INT. HEALTH CLUB - DAY

     Michael enters and begins the search for Marty.  The room
     is filled with weight machines and barbells and lots of 
     gorgeous scantily-clad guys and dolls.

     ANGLE - MARTY

     He is walking toward the locker room.  Michael spots him
     and approaches.

                               MICHAEL
               Excuse me.  You're Marty Keene,
               aren't you?

     Marty is taken by surprise.  He practically leaps out of 
     his shoes at the sound of Michael's voice.

                               MARTY
               Huh?  What?  Will you guys leave me 
               alone already.  I'm just a little 
               guy.  I don't know a thing.

     Marty starts scurrying away.

                               MICHAEL
                      (confused)
               Wait a second.  I just want to talk
               to you.

     Marty ducks behind a luscious looking female and takes off.

                               MARTY
               Well, I don't want to talk to you.

     The woman steps into Michael's path, delaying him for an 
     instant as Marty runs into the locker room.  Michael
     eventually follows him into:

     OMITTED

     INT. LOCKER ROOM

     Marty's not there, just a few muscle men.  Michael sees a 
     door marked POOL and enters.

     INT. POOL

     Michael is again disappointed because Marty is not present.
     There are, however, several striking femmes in bikinis
     around the pool.  Michael checks out the scene, then exits.

     INT. LOCKER ROOM

     Michael hustles back toward the gym.

     ANGLE - BRAD

     He steps out from behind a row of lockers and tosses a 
     medicine ball at Michael.

     ANGLE - MICHAEL

     He's startled, but makes a nice catch.

     FULL SHOT

                               BRAD
                      (severe)
               Nice catch.

     There is a beat as Brad glares at Michael.

     OMITTED

     ANOTHER ANGLE

     Dickerson steps out from behind the lockers, shaking his 
     head in mock bewilderment.

                               DICKERSON
               I have a real hard time understanding
               people like you, Knight.

                               MICHAEL
               Why, because I'm trying to keep an 
               innocent lady out of prison?

     Dickerson stops pacing, waits a beat, then stares at Michael
     with quiet fury.

                               DICKERSON
               I told you to stay away from Marty
               Keene.

                               MICHAEL
               Yeah, but you didn't give me a very 
               good reason.

                               DICKERSON
               I don't have to give you a reason,
               friend.  Let's just say my depart-
               ment's put too much time and effort
               into this investigation to let it go
               down the tubes because of some self-
               appointed hero.
                      (beat)
               Get my drift, Mr. Knight?

                               MICHAEL
               You do what you have to do,
               Lieutenant, and I'll do what I have
               to do.

                               DICKERSON
               Good, because from this moment on my
               men have orders to lock you up if 
               you interfere.

                               MICHAEL
               I'll keep that in mind.

                               DICKERSON
               See that you do.

     Michael turns to Brad and tosses the medicine ball at him.
     It hits Brad in the gut and he grunts.

                               MICHAEL
               Here you go.

     Michael walks away, exiting the locker room.

                                              DISSOLVE TO

     EXT. ROAD - DAY

     The Trans Am is parked close to a transformer.

     ANGLE - MICHAEL

     Dressed in a power company uniform, he walks from the 
     transformer over to the Trans Am and gets in.  He pushes a
     few buttons on the dashboard.

                               K.I.T.T.
               Michael, wouldn't it be more 
               advantageous to go to the local DA
               and arrange for extradition?

                               MICHAEL
               I don't think so, Kitt.  It would 
               take too long.

                               K.I.T.T.
               Yes, but perhaps he'd overrule
               Lieutenant Dickerson and allow us 
               to transport Marty back to Albuquerque.

                               MICHAEL
               Remember what Dickerson said.  This 
               is his turf.  He calls the shots.
               And I don't see him giving us any
               help.

                               K.I.T.T.
               In that case my microwave jammers are
               ready.

                               MICHAEL
               Then start the show.

     INSERT - DASH

     Michael pushes a button marked MICROJAM and the dashboard
     blinks and wiggles in a graphic response to the release of
     energy.

     ANGLE - TRANSFORMER

     Sparks fly all over the place.

     OMITTED

     INT. FARLAN'S OFFICE - DAY

     The lights in the warehouse begin blinking on and off.
     Farlan and Dink react to the malfunctioning lights.

                               FARLAN
               Dink, call somebody and get 'em out
               here.  This is ridiculous.

     Dink goes to a phone and dials a number.

                                              CUT TO

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

     Michael is closely monitoring K.I.T.T.'s video screen.

                               K.I.T.T.
               Here comes our call, Michael.

                               MICHAEL
               Standard Power Company.

                               DINK (v.o.)
               Yeah, could you send a guy over to 
               1322 Crescent as soon as possible...we
               got some kind of power foul up.

                               MICHAEL
               Be right there.

     The phone goes dead.

                               MICHAEL
                      (to K.I.T.T.)
               I'll be back soon.  Don't blow a 
               fuse.

                               K.I.T.T.
               On the contrary.  The sensation is 
               quite intoxicating.

                               MICHAEL
               Well, try to stay sober until I get
               back.

     Michael exits K.I.T.T. with toolbox in hand and walks down
     the road to the warehouse.

                                              CUT TO

     INT. WAREHOUSE - DAY

     Dink leads Michael past several offices.

                               DINK
               I've never seen lights doing that.
               They were...I don't know wobbling --
               it's like they was drunk.  It was
               weird....

                               MICHAEL
                      (matter-  
                       of-factly)
               It's the winds off the desert.  They
               blow a lot of positive ions around
               -- it affects everything -- even our
               sleep.

                               DINK
                      (impressed)
               Oh yeah?..Well, here's the fuse box.

                               MICHAEL
               Thanks.

     Michael opens the circuit box and shines a flashlight on it
     as Dink watches.

                               MICHAEL
               If you don't mind, I'd rather work 
               without an audience.

                               DINK
               Oh sure...yeah...sorry.

     Dink shrugs his shoulders and exits.  Michael pretends to
     work until the coast is clear then runs down the hall and 
     starts checking the names on the office doors.  He comes to
     one marked Marty Keene.  He opens it.

     ANOTHER ANGLE

     Al Farlan is coming down the other side of the hall.
     Michael doesn't see him, but Farlan sees Michael enter 
     Marty's office.  His face reflects both his curiosity and 
     his concern.

     INT. MARTY'S OFFICE

     As Michael enters, Marty looks up with a start.

                               MARTY
               Oh!
                      (beat,
                       as he recovers)
               The outlet's on that wall over there.

     As Marty points toward the wall, he gets a second look at 
     Michael and recognizes him.

                               MARTY
               Hey, wait a minute.
                      (loud)
               You're the guy from the hardware
               store.

     Michael comes over to Marty and puts his hand over Marty's
     mouth to keep him quiet.

                               MICHAEL
               I know that.  And you know that.
               But the rest of the world doesn't
               have to.

     Michael releases the quivering bookkeeper.

                               MARTY
               What do you want from me?

                               MICHAEL
               A while back you met a girl in
               a bar called The Bent Arm in 
               Albuquerque.  Her name was Cheryl
               -- nice looking blonde?

                               MARTY
               Yeah...What's this all about?

                               MICHAEL
               Murder.

                               MARTY
                      (blanches)
               Murder!?

                                              CUT TO

     INT. FARLAN'S OFFICE - DAY

     A semi-plush suite with a large metallic desk and an 
     intercom system set up through the phone.  Dink is going
     through a set of files as Farlan enters.

                               FARLAN
               What's that repair man got to do in 
               Marty's office?

                               DINK
               Beats me.  I didn't even know he was
               in there.

     Farlan reaches over the phone and switches on his intercom
     allowing him to eavesdrop on the conversation taking place 
     in:

     INT. MARTY'S OFFICE

     Michael has told Marty the story.

                               MARTY
               Gee, I'd really like to help you,
               but Mr. Farlan would never let me go
               with you.

                               MICHAEL
               Why not?

     Marty covers his books with his arms.

                               MARTY
               Well...because.

     Michael is suspicious and takes a look at the books.

                               MICHAEL
               Just what kind of business is Falcon
               Enterprises?

     Michael leafs through the books.

                               MARTY
               You can't look at those.

                               MICHAEL
                      (reading 
                       the books)
               Hmmm.  Looks interesting...no wonder
               the cops are on to you.

     INT. FARLAN'S OFFICE

     A troubled Farlan is listening.  He shuts off the intercom
     and turns to Dink.

                               FARLAN
                      (foreboding)
               We better take care of them while
               we've got the chance.

     ANGLE - HALLWAY OUTSIDE OF MARTY'S OFFICE

     Michael and Marty are making a furtive exit.

                               MARTY
               I don't think this is such a good 
               idea.

                               MICHAEL
               Trust me.

     As they sneak down the hallway and into:

     INT. WAREHOUSE

     Marty gasps.  Michael turns to see Farlan bearing down on
     them from behind the controls of a forklift, with the forks
     held high.  On Michael's reaction:

                                              FREEZE FRAME

                         END OF ACT TWO

                            ACT THREE

     FADE IN

     INT. WAREHOUSE - DAY - CONTINUOUS ACTION

     Michael pushes Marty out of the way, he dives and rolls
     across the floor to elude the forklift.

     ANGLE - FORKLIFT

     The fork rams through the plasterboard wall.

     ANGLE - MARTY

                               MARTY
                      (shrieks)
               Aiyeee....

     He bolts out of the warehouse for an unknown destination.

     ANGLE - MICHAEL

     The forklift comes around for another pass and Michael
     scrambles to the top of a fifteen-foot high stack of 
     television boxes and speaks into his wristwatch.

                               MICHAEL
               Kitt, can you hear me?

                               K.I.T.T. (v.o.)
                      (calmly)
               Of course, Michael.  Can I be of 
               service?

                               MICHAEL
               Yes!  Get your tailpipes in here.
               On the double!

     And Michael has good reason to panic.  Farlan is lifting 
     the pallet holding the stack Michael is on and it teeters
     precipitiously.  Michael jumps to another stack as the 
     television boxes come crashing to the floor.

     EXT. WAREHOUSE

     K.I.T.T. comes alive.

     ANGLE - FARLAN

                               FARLAN
               Damn!
                      (to Michael)
               There's no way out of here.  I'll
               get you yet.

     BACK TO SCENE

     Michael scrambles down from the stack and runs down an aisle
     of boxes.  Farlan heads after him smashing the forks
     against the boxes in his way.

                               MICHAEL
                      (into wrist-
                       watch)
               Kitt, where are you?

     Michael runs down another aisle of boxes and runs into a
     dead-end canyon of boxes.  He turns to find Farlan bearing
     down on him with the forklift.

                               FARLAN
               Eat some steel!!

     Farlan puts the pedal to the floor in a final charge at
     Michael.  Within ten feet of Michael, one side of the 
     canyon of boxes explodes and K.I.T.T. enters by crashing
     through the wall.  The blades of the forklift bounce harm-
     lessly off his side.

                               FARLAN
               What the hell...?

     INT. TRANS AM

     Michael climbs in the passenger side of the window as 
     Farlan backs the forklift away.

                               MICHAEL
               What took you so long?

                               K.I.T.T.
               I came as quickly as I could.

                               MICHAEL
               Okay, now do something about that 
               forklift.

     BACK TO SCENE

     As K.I.T.T. squeals away, he sends boxes flying.  Farlan
     sees K.I.T.T. coming and dives off the forklift before 
     K.I.T.T. sideswipes the vehicle knocking it over on its side.

     INT. TRANS AM

                               MICHAEL
               Not bad, Kitt.  Now how about getting
               us out of this snake pit.

     BACK TO SCENE

     as the Trans Am makes an abrupt turn and goes through the 
     wall he previously crashed through.

                                              CUT TO

     INT. WAREHOUSE - DAY

     Farlan stands in the midst of a shambles:  Boxes, and 
     assorted debris are strewn about the warehouse.  Dink enters.

                               FARLAN
                      (fuming)
               Look at this place.  It's a disaster
               area.

                               DINK
               There's no sign of Marty.

                               FARLAN
               What about the other guy?

                               DINK
                      (shakes 
                       his head)
               No way I was gonna catch him.

                               FARLAN
               Come on.  We've got to find Marty
               before he spills his guts to the law.

     The two men head for the exit.

     INT. POLICE STATION - DAY

     A plainly aggravated Dickerson is barking into a phone.
     Brad watches intently.

                               DICKERSON
                      (into phone)
               No one disappears into thin air!  I
               don't care.  It's imperative neither 
               of them crosses the state line --
               under any circumstances...All right,
               keep me posted.

     Dickerson hangs up the phone, turns to Brad.

                               BRAD
               What about Farlan?

                               DICKERSON
               Come on, we've got to find Marty
               before Farlan does.

     Brad nods and both men exit.

     INT. HEALTH CLUB - DAY

     There's an aerobics class going on.  A group of ladies in
     leotards are jumping and twisting to the accompaniment
     of fast-paced rock music.

     ANOTHER ANGLE

     Michael enters and observes the frenetic scene before him.
     As he casts about looking for Marty, a mouth-watering
     instructor named Tracy approaches.  She flashes a warm,
     toothy smile.

                               TRACY
               Hi, there...like what you see?

                               MICHAEL
               Who wouldn't?

                               TRACY
               Well right now we're having a 
               special offer.  If you join the club
               for one year, you get another year 
               absolutely free.

                               MICHAEL
               Actually, I'm....

                               TRACY
                      (keeps going
                       with her sales
                       pitch)
               We have a complete weight room,
               sauna, pool, a full-time masseuse,
               and lots of happy members.

                               MICHAEL
               I can see that.

                               TRACY
               So you want to sign up?

                               MICHAEL
               Not really.

                               TRACY
                      (frowns)
               Well, then, what do you want?

                               MICHAEL
               Look, do you know a guy who comes
               here named Marty Keene?

                               TRACY
               Sure.  Marty's my special project.
               In a couple of months that little 
               pussycat's going to be a tiger.

                               MICHAEL
               Do you have any idea where I might
               find him?

                               TRACY
                      (shakes her
                       head no)
               Sorry.  He was here before.  But he
               left.

                               MICHAEL
               Is there any special place he goes
               to?

                               TRACY
               I really wouldn't know.  We're not
               that close.

     She gives Michael a dirty look.

                               MICHAEL
               Okay.  Yeah...well, thanks anyway.

     He smiles at her and leaves.  When he exits, Tracy walks
     down a hall and stops at a door marked LADIES SAUNA.  She
     opens it and says:

                               TRACY
               You can come out now, Marty.

     Marty comes out, his clothes soaked from the sauna.  We can
     hear some girlish giggles coming from inside the sauna as 
     Tracy rubs Marty's head with a towel and comforts him like
     a mother.

                               TRACY
               You poor thing....

     EXT. TRANS AM - DAY

     It is tooling down a Claremont Bay side street.

     INT. TRANS AM

     Michael has a disconsolate look on his face.

                               MICHAEL
               Any luck with the scanner, Kitt?

                               K.I.T.T.
               Negative, Michael.  I don't want to
               sound like a pessimist, but I'm
               afraid we've lost him.

     Michael pushes a button on the dashboard.

     Intercut with:

     OMITTED

     INT. SEMI - DAY

     Devon, picks up a ringing phone.  Bonnie looks on.

                               DEVON
               Hello, Michael.  I'm glad you
               called.  I was just thinking of you.

                               MICHAEL
               Listen, Devon, things are not going
               as well as I thought...I may need an
               extra day or two.

                               DEVON
               That's perfectly all right with me,
               however at this point, time is a 
               luxury I fear you can't afford.

                               MICHAEL
               What do you mean?

                               DEVON
               I just received a phone call from
               Cheryl's attorney.  The Judge
               refused to grant them a continuance.
               I'm afraid Cheryl goes on trial
               tomorrow.

     CLOSE ON MICHAEL

     as the news hits him like a ton of bricks.

     EXT. MARTY'S APARTMENT - NIGHT - ESTABLISHING

     A big luxury car, which we will soon learn belongs to 
     Farlan, is parked in front of the apartment building.

     INT. MARTY'S APARTMENT - NIGHT

     Farlan is in the modestly decorated living room checking one
     of the closets.  He finds nothing as Dink enters from the 
     bedroom.

                               DINK
               He ain't here, boss.

                               FARLAN
               That no-good little twerp.  I give
               him the chance to make more money
               than he's ever had in his life and
               this is the thanks I get.

                               DINK
               Want me to trash the place.

                               FARLAN
               No, let's get out of here.  He may
               already have the cops onto us, that
               worthless fink.

     They head for the door.

     EXT. MARTY'S APARTMENT - NIGHT - ANGLE ACROSS THE STREET

     Tucked in the protective shadows of a neighboring apartment
     building, Marty observes his own apartment building.

     HIS POINT OF VIEW - FARLAN AND DINK

     come out of the building, get into the big car and drive
     off.

     ANGLE - MARTY

     He breathes a sigh of relief, comes out from his hiding 
     place and begins to walk toward the street.  Suddenly he 
     hears a car approach.

     ANGLE - STREET

     Dickerson and Brad pull up in an unmarked car.  They get
     out of the car in a hurry and head for the apartment 
     building.

     ANGLE - MARTY

     He sees them, suspects the worst and ducks back into his 
     hiding place.

     EXT. TRANS AM - NIGHT

     The car is again tooling down a Claremont Bay side street.

     INT. TRANS AM

     Michael is frustration personified.  Even K.I.T.T. is a 
     little testy.

                               K.I.T.T.
               Michael, this is the third time
               we've reconnoitered this 
               neighborhood.

                               MICHAEL
               So what?  You got a late date?

                               K.I.T.T.
               May I make a suggestion.

                               MICHAEL
               No, you may not, Kitt.  I just 
               thought of something.

     Michael abruptly turns down another street and accelerates.

                               K.I.T.T.
               Where are we going?

                               MICHAEL
               To Marty's apartment.

                               K.I.T.T.
               Michael, my analysis of human
               behavior suggests that the last 
               place Marty would hide is his own 
               residence.  Perhaps you'd care to
               explain the logic behind your 
               decision.

                               MICHAEL
               It's more like reverse logic, Kitt.
               No one would think Marty would hole
               up in his own place.  So maybe he 
               figures no one will bother checking
               there.

                               K.I.T.T.
               I'd have to say that's a long shot.

                               MICHAEL
               Maybe.  But right now it's the only 
               shot we have.

     EXT. MARTY'S APARTMENT BUILDING - NIGHT - ESTABLISHING

     The unmarked police car is still parked in front.

     ANGLE - MARTY

     watching cautiously from his perch across the street.

     OMITTED

     INT. MARTY'S APARTMENT

     Dickerson and Brad stand in the living room, their faces
     reflecting their failure.

                               DICKERSON
               There goes our case...right down the 
               toilet.

                               BRAD
               Maybe the blues turned up something.
               Knight's car is awfully hard to miss.

                               DICKERSON
               Let's hope so.

     They exit the apartment.

     OMITTED

     ANGLE - MARTY

     He watches the unmarked car drive off and then emerges from
     the shadows, checks to make certain the coast is clear.  He 
     determines that it is, and hurries across the street and 
     enters his building.

     MICHAEL

     turns into an alley behind Marty's apartment.  He parks
     near a fire escape about twenty feet off the ground.

     INT. TRANS AM

     Michael checks out the situation.

                               MICHAEL
               Kitt, pop the sunroof.

                               K.I.T.T.
               Certainly, Michael.

     The sunroof opens.

                               K.I.T.T.
               But why?

                               MICHAEL
               I'm going to need a boost.

     Michael braces for lift-off.

     INSERT - DASH

     He pushes the ejector button.

     ANGLE - MICHAEL

     as he sails out of the car and up to the fire escape.  He
     grabs hold of the metal stairs, safe and sound.

                               MICHAEL
               Thanks, Kitt.

     INT. TRANS AM

                               K.I.T.T.
               Don't mention it.

     ANGLE - MICHAEL

     He begins climbing up the fire escape.  Follow him as he
     climbs past an open window.  A light is on and we can see
     inside.

     INT. ROOM

     A couple lies in bed, fully covered, but highly shocked
     and embarrassed by the sight of Michael on the fire escape.

     ANGLE - MICHAEL

                               MICHAEL
                      (red-faced)
               Uh, sorry about that...forgot my
               key....

     Michael quickly climbs away.

     INT. MARTY'S APARTMENT

     Marty carefully enters through the front door.  He tiptoes
     about the room, still frightened someone might be there.  He
     goes to check the bedroom.

     ANGLE - MICHAEL

     He pulls up a window and enters:

     INT. MARTY'S KITCHEN - NIGHT

     Michael pads silently across the darkened kitchen, heading
     toward a swinging door that leads to the living room.

     ANGLE - MARTY

     He returns to the living room from the bedroom.  He walks 
     toward the swinging door that leads to the kitchen.

     ANGLE - MICHAEL

     He is about to push the swinging door.

     ANGLE - MARTY

     He pushes the door.  It doesn't open.  He reacts with fear
     and uncertainty.

     ANGLE - MICHAEL

     He pushes the door and it doesn't open.  He's perplexed,
     then backs away.

     ANGLE - MARTY

     He pushes again, this time with his shoulder.  There is no 
     resistance, however, and he goes flying into the kitchen.

     INT. KITCHEN

     As Marty gets his balance, Michael flicks on a light.
     Marty reacts with a yelp.

                               MARTY
               Eee-yahh.

     He tries to run out the door, but Michael stops him.

                               MICHAEL
               Oh, no you don't.  You're not 
               getting away this time.

     Michael takes Marty by the shoulder and parks him in a 
     chair.

                               MICHAEL
               I want to get a few things straightened
               out here.  First of all, how did you 
               get involved with Falcon Enterprises?

                               MARTY
               I took this job 'cause I owed a lot
               of money.  I didn't know it was a 
               fencing operation.  Honest.  When
               I saw what was going on I tried to 
               quit, but Mr. Farlan wouldn't let me.

     Marty drops his head into his hands.

                               MICHAEL
               Calm down, Marty.  I'll help you out
               of this, but only if you'll come 
               back to Albuquerque with me and
               testify.

     Marty brightens at the prospect of getting away from the 
     mess he's in.

                               MARTY
               I'll do anything...anything to get
               out of this jam.

                               MICHAEL
               Great, we'll take off as soon as we 
               steal your accounting books.

                               MARTY
               What?  Are you crazy?  Not me, no
               way.

     Marty goes after his Maalox and takes a big swig.

                               MICHAEL
               You don't have much of a choice.  We
               have to get the evidence on your
               boss or the police will never let us
               out of town.  And Cheryl's trial 
               starts tomorrow.

                               MARTY
               Yes, but....

                               MICHAEL
               Look, the cops can't break in and 
               steal them.  We can.

                               MARTY
               Yes, but there's still one thing you
               don't seem to understand.

                               MICHAEL
               What's that?

                               MARTY
               I'm a coward.

                               MICHAEL
               Not for long.

     EXT. WAREHOUSE - NIGHT

     Michael and Marty are standing under the cover of a thatch
     of trees or shrubbery.  The Trans Am is parked nearby as 
     they stare through a tall chain-link fence at the warehouse.

                               MARTY
               We'll never make it.  It'll be 
               daylight pretty soon.

                               MICHAEL
               I know, that's why we've got to get
               cracking.

     Michael walks over to the car, opens the door and addresses
     K.I.T.T. quietly.

                               MICHAEL
               Kitt, we're going in.  If I'm not
               back in an hour, call the police.

                               K.I.T.T.
               Be careful, Michael.

                               MICHAEL
               Aren't I always?

                               K.I.T.T.
               You don't want me to answer that 
               question.

     Michael closes the door and goes back over to Marty.

                               MICHAEL
               Ready?

                               MARTY
               No.

                               MICHAEL
               Let's go.

     Michael climbs the fence and places his hands carefully
     between the barbed wire at the top.  With one graceful
     push, he easily clears the barbed wire and lands softly on 
     the ground -- the man is an athlete.

                               MICHAEL
               Okay, c'mon.

     Marty shakes his head and starts his climb over the fence
     as Michael watches the warehouse for signs of life.

                               MARTY
               Oy....

     Marty gets to the top of the fence and falls over the 
     barbed wire trapping himself like a fly in a spider web.
     As he hangs upside down, Marty emits sounds like duck being
     strangled.

                               MARTY
               Eergh...!

     ANGLE - GUARD

     He walks around the building.

     ANGLE - MICHAEL

     He sees the guard and looks over at Marty.

     ANGLE - MARTY

     as he flails about helplessly on the fence....

     OMITTED

                                              FREEZE FRAME

                        END OF ACT THREE

                            ACT FOUR

     FADE IN

     OMITTED

     EXT. WAREHOUSE - NIGHT - CONTINUOUS ACTION

     Michael makes certain that the guard is out of sight, then
     rushes to help Marty.

     ANGLE - MARTY

     He struggles to free himself and manages to do so at the 
     instant Michael arrives.  Marty tumbles down on top of 
     Michael and they both hit the ground hard.

                               MARTY
               Oomph!

     ANGLE - MICHAEL

     His wrist is pinned against the ground.  He lifts his hand 
     to check his watch.

     INSERT - WATCH

     It's broken.

     BACK TO SCENE

                               MICHAEL
                      (upset)
               Damn.

     Marty sees the damage and feels a twinge of guilt.

                               MARTY
               Is everything all right?

                               MICHAEL
               Unfortunately, no.

                               MARTY
               Sorry.

                               MICHAEL
               Forget it.  Let's move out.

     They make a quick dash for the rear of the warehouse.

                                              CUT TO

     EXT. WAREHOUSE - NIGHT

     The Guard shines his flashlight into the trees.  He sees
     the Trans Am and approaches the car.

     INT. TRANS AM - NIGHT

     Before the Guard gets close enough, K.I.T.T. sends out an
     S.O.S.

                               K.I.T.T.
                      (sotto)
               Michael, I've been spotted by one of
               the Guards.

     No reply.

                               K.I.T.T.
               Michael?

     K.I.T.T. shuts down as the Guard starts nosing around.

     ANGLE - GUARD

     He looks in the window, sees nothing.  Next, he tries to
     open the door.  As he does, K.I.T.T. moves forward.  The
     Guard does a take, then goes to K.I.T.T. and tries the 
     door again.  This time K.I.T.T. moves backward.  The Guard
     is really perplexed.  He takes out a walkie-talkie, turning
     his back to the car.

                               GUARD
                      (into
                       walkie-talkie)
               Mr. Farlan, you better get over 
               here.  Something funny's going on.

     ANGLE - TRANS AM

     K.I.T.T. self starts, and with scanner flashing, drives 
     off.  The startled Guard turns around and reacts.

                               GUARD
               What the...?

     The Trans Am rolls past him.

     INT. FARLAN'S OFFICE - NIGHT

     In the office, still messy from the day's events, Marty
     works on a combination of a wall safe.  He's nervous and
     his eyes dart outside the office windows to see if any
     guards are around.  He stops with a frustrated, constipated
     look on his pace.

                               MARTY
               I can't do it.

                               MICHAEL
               Sure you can.

                               MARTY
               I'm too nervous -- what are we doing
               in this place?

                               MICHAEL
               Sit down for a second.

     Marty plops down in a chair next to him.

                               MICHAEL
                      (calming)
               Now, close your eyes.

                               MARTY
               What for?

                               MICHAEL
                      (stern)
               Close your eyes.

     Marty closes his eyes.

                               MICHAEL
               Picture yourself on a sailboat off
               the coast of a tropical island.
               You're lying in a hammock basking
               in the midday sun....

                               MARTY
               I'm seasick.

                               MICHAEL
               You're not seasick.  You're totally
               relaxed.  The waves lap gently
               against the side of your boat.  At
               your side is the girl of your dreams....

                               MARTY
               ...Alice Schmelkin...?

     Michael looks at him and shrugs -- why not?

                               MICHAEL
               ...Alice Schmelkin...Your life is 
               good, everything is calm.  You are 
               at peace with the world.

     Michael pauses to let Marty contemplate the scene and 
     relax.  Marty has a smile on his face.  Michael shakes 
     Marty back to reality.

                               MICHAEL
               The safe?

                               MARTY
                      (calm, smiling)
               Sure.

     Marty walks to the safe and quickly turns the combination 
     through the right sequence and the safe pops open.

                               MICHAEL
               There you go.  It's all in the mind.

     Marty reaches in and grabs the books which he hands to 
     Michael.

                               MICHAEL
               Let's get out of here.

     Michael and Marty move into the warehouse, avoiding guards
     as they make their way toward the exit.

     OMITTED

     EXT. WAREHOUSE - NIGHT

     K.I.T.T. surreptitiously nudges his way inside the gate.

     EXT. WAREHOUSE - DAWN

     Marty and Michael carefully open the door of the warehouse
     and peer outside.  The sun is coming up.

                               MICHAEL
               Looks like the coast is clear.

     Michael steps outside and Marty follows.

                               MICHAEL
               Stay low and try not to trip over 
               anything.

     Marty appears out of the warehouse beside Michael.  They
     walk close to the wall of the building keeping an eye out
     for guards.  As they sneak around the corner of the 
     building, they come face-to-face with Farlan and Dink who
     stand next to their car, guns trained on their victims.

                               FARLAN
               Nice of you to drop by.

                               MARTY
                      (stammering)
               Mr. Farlan, this isn't what it looks 
               like....

                               DINK
               Knock it off, Marty.  You're not gonna
               weasel your way out of this mess.

     Farlan's hand trembles with anger as he points his handgun
     at Marty and Michael.

                               FARLAN
               I suppose the cops would give you a
               nice bonus for that set of books.

                               MICHAEL
               I'm not working for the police.

                               FARLAN
               No?  Well, that's too bad 'cause I 
               hear they give nice funerals.  Now,
               if you don't mind, I believe those 
               belong to me.

     Farlan reaches for the books but stops cold when he hears a 
     booming voice.

                               K.I.T.T. (v.o.)
                      (over loudspeaker)
               This is the police.  You are
               surrounded.  Throw down your weapons
               and put your hands over your heads.

     As Farlan and his men throw down their guns and reach for 
     the sky, K.I.T.T. barrels directly at the crowd.  When 
     K.I.T.T. gets close, it becomes obvious it's not the police.

                               DINK
               Look!  It's that car again!

                               GUARD
               I told you it moved by itself.

     OMITTED

     ANGLE - K.I.T.T.

     The Trans Am pulls to a screeching halt in front of 
     Michael and its doors fly open.

                               MICHAEL
               Good timing, Kitt.
                      (to Marty)
               Get in.

     Michael and Marty get in.  The Trans Am crashes through the 
     fence and zooms away.

     OMITTED

     INT. TRANS AM

     While Marty is still in a daze, Michael tries to buckle
     Marty's seat belt.

                               MARTY
                      (screams)
               Who's driving the car!

                               MICHAEL
               Kitt.

     Marty looks around.

                               MARTY
                      (another
                       scream)
               Who is Kitt?

     Michael gives up on the seatbelt -- Marty's squirming too
     much.

                               MICHAEL
               Don't worry about it.  Just buckle 
               your seatbelt.

                               MARTY
               I'm worried about it.  I'm worried 
               about it.

     ANGLE - FARLAN AND DINK

     They are in a major state of disbelief.

                               DINK
               I ain't never seen anything like 
               that.

                               FARLAN
               Wait 'til you see what happens when I
               catch them.

     They get into their car and take off in pursuit.

     EXT. TRANS AM - DAY

     It is going down a Claremont Bay street in the dock/
     warehouse district.

                                              CUT TO

     INT. TRANS AM - DAY

     Marty can't keep his eyes off the dashboard.

                               MARTY
               What is all this stuff?

                               MICHAEL
               A computer.

                               MARTY
               Yeah, but how did it manage to drive
               itself?

                               MICHAEL
               Let's just say it manages.

                               MARTY
               Yeah, and I suppose it can talk, too.

                               K.I.T.T.
               On a variety of subjects.  What do 
               you care to discuss, Mr. Green?

     A nervous smile freezes on Marty's face.  Michael contains
     his laughter.  Michael presses some buttons on K.I.T.T.'s 
     console.

                               MARTY
                      (nervously)
               What are you doing?

     INSERT - K.I.T.T.'S VIDEO SCREEN

     On the radar scan, a strong dot appears headed toward the 
     middle of the screen.

     BACK TO SCENE

                               MICHAEL
               What's their distance, Kitt?

                               K.I.T.T.
               Approximately 400 yards.  Shouldn't
               we accelerate or do you want them to 
               catch us?

                               MICHAEL
               No, I just want them to think they can
               catch us.

                               K.I.T.T.
               Michael, I'm not sure I understand.
               We've got the books, why don't we just
               go to the police?

                               MICHAEL
               That's the next step.  See if you
               can pick up the police frequency.  I 
               want to talk to Lieutenant Dickerson.

     ANGLE - FARLAN'S CAR

     It takes the corner at top speed, and the Trans Am comes 
     into view.

     INT. FARLAN'S CAR

     Dink is at the wheel.  Farlan rides shotgun.

                               FARLAN
               There he is.  Step on it.

     EXT. FARLAN'S CAR

     It shoots down the street in hot pursuit.

     EXT. DICKERSON'S CAR - DAY

     as it races down a street.

     OMITTED

     INT. DICKERSON'S UNMARKED CAR - DAY

                               DICKERSON
                      (into radio)
               Dickerson here.

                               MICHAEL (o.s.)
                      (through radio)
               Lieutenant, this is Michael Knight.

     Dickerson and Brad react with complete surprise.

                               DICKERSON
               Knight!?  How did you get a police 
               frequency?

     Intercut with:

     MICHAEL

     as they race through the warehouse district.

                               MICHAEL
               I don't have time to explain.  I've 
               got Marty and the books from Falcon
               Enterprises.  Where do you want them
               delivered?

                               DICKERSON
               What kind of stunt are you trying to 
               pull, Knight?

                               MICHAEL
               All I'm trying to do is help,
               Lieutenant.

                               DICKERSON
                      (thinks for 
                       a beat)
               All right, I'll be at the end of 
               Highland Road.  That's down by the
               docks.

                               MICHAEL
               See you there.

     Dickerson pushes a button on the radio, ending his conver-
     sation with Michael.

                               BRAD
               You think he's on the level.

                               DICKERSON
               Only one way to find out.

     THE UNMARKED CAR

     speeds down the street.

     OMITTED

     EXT. HIGHWAY - DAY - THE TRANS AM - VARIOUS ANGLES

     It bounces along the hilly roads near the docks with Farlan
     right behind them.

     INT. TRANS AM

     Marty is turning pale as they are jolted up and down.  He 
     gulps audibly.

                               MICHAEL
               What's the matter now?

                               MARTY
               There's something I've got to tell
               you.  I get carsick.

                               K.I.T.T.
               What do you mean, you get carsick?

                               MARTY
               Sometimes....

                               MICHAEL
               Just hang in there, Marty.

                               MARTY
               I think I'm going to be ill.

     Suddenly shots ring out.

                               MARTY
               I'm definitely going to be ill.

     EXT. POLICE CARS

     on the move to form a blockade.

     EXT. ROAD - DAY

     Farlan's car is closing in on them.  Farlan leans out the 
     window and fires a rifle at the Trans Am.

     ANGLE - FARLAN

     reacting to his misses.

                               FARLAN
               Hold this thing steady so I can hit
               him.

                               DINK
               I get the feeling all the bullets in 
               the world ain't gonna stop that car.

     EXT. TRANS AM - VARIOUS ANGLES

     Michael continues at less than top speed.  Farlan and Dink
     remain on his tail.  They cut corners, run red lights and 
     make hair-raising turns as Michael leads them toward their
     destination.

     EXT. POLICE BLOCKADE - DAY

     Two police cars are lined up hood-to-hood, effectively
     blocking a narrow street between two rows of warehouses.

     ANGLE - DICKERSON

     as Brad approaches him.

                               BRAD
                      (indicating cars)
               We're all set, Lieutenant.

                               DICKERSON
               I guess the ball's in Knight's court
               now.

     OMITTED

     ANGLE - TRANS AM

     as it turns down Highland Road.

                               K.I.T.T.
               Michael, I'm picking up an
               obstruction a half mile ahead.

                               MICHAEL
               Good.  That should be Dickerson.

                               MARTY
               What are you doing?

                               MICHAEL
               Just sit tight, you'll see.

     WIDE ANGLE

     to see the Trans Am and Farlan's car racing down the street.

     MICHAEL'S POINT OF VIEW - THE POLICE BLOCKADE

     looms ahead.

     ANGLE - DICKERSON

     seeing the Trans Am.

                               DICKERSON
               Here he comes.

     ANGLE - WAREHOUSE

     Just in front of the police blockade a garage door opens 
     and a large truck begins to back out.

     ANGLE - DICKERSON

     He reacts to the sight of the truck with alarm.

                               DICKERSON
               What's that truck doing?

     WIDE ANGLE

     The Trans Am bears down on the truck which is a flatbed
     laden with large sheets of glass.

     OMITTED

     INT. TRANS AM

     Marty is freaking out as it looks like they're about to hit
     the truck.

                               MARTY
               Watch out for that truck.  Wait a 
               minute.  You're not gonna....

                               MICHAEL
               When I count to three, hold your 
               breath.  One.  Two.  Three.

     As he utters the number three, Michael hits the turbo boost
     button and the Trans Am goes airborne.

     ANOTHER ANGLE - K.I.T.T.

     glides over the truck.

     ANGLE - BRAD AND DICKERSON

     standing to the side of the blockade.  Both are awestruck
     as they see the car hurtling over them.

                               BRAD
               Look out!

     He and Dickerson hit the deck.

     EXT. TRANS AM

     It clears the truck and neatly swerves to avoid the police
     cars.

     OMITTED

     ANGLE - FARLAN'S CAR

     It has been following at top speed and can't stop in time
     despite Farlan's protestation.

                               FARLAN
               Hit the brakes, you fool.

     Too late.  Farlan's car goes slightly airborne, but not 
     enough to clear the glass truck.

     WIDE ANGLE

     Farlan's car smashes through the sheets of glass creating
     a shower of flying shards.

     ANOTHER ANGLE

     Farlan's car comes out on the other side of the truck and 
     smacks into one of the police cars.

     OMITTED

     ANGLE - TRANS AM

                               MARTY
                      (amazed)
               How did you do that?

                               MICHAEL
               With a little help from my friend.
                      (beat)
               Let's go back and square things
               away, Kitt.

     The Trans Am turns around and comes back toward the 
     blockade.

     ANGLE - BLOCKADE

     Brad and Dickerson get up from where they dove for cover
     and approach Farlan's twisted, smoking car.  They are 
     surprised to find Farlan and Dink.  Dickerson takes out
     his gun.

                               DICKERSON
               Okay, Farlan, get out, you're under
               arrest.

     Farlan and Dink get out of the car, hands held high.

                               FARLAN
               What do you mean, we're under 
               arrest?  You got nothing on us.

     OMITTED

     ANGLE - MICHAEL

     as he pulls up in the Trans Am.

                               MICHAEL
               Not true.

     He holds up the books.  Michael and Marty get out of the 
     car.  Michael hands the books to Dickerson.

                               MICHAEL
               Here you go, Lieutenant.  All the
               evidence you need to put them away.

     Brad puts the handcuffs on the heavies, leads them away.

                               DICKERSON
               Thanks, Knight...
                      (beat)
               I suppose I was a little harsh on 
               you.

                               MICHAEL
               Well, maybe a little.

                               DICKERSON
                      (chuckles)
               Sorry, kid, I guess that's just my
               style...But I want you to know I 
               appreciate what you did.

     Dickerson offers his hand.  They shake.

                               DICKERSON
                      (to Marty)
               Come on Marty, you're part of this
               package too.

                               MARTY
               But....

                               MICHAEL
               Wait a minute, Lieutenant.  This 
               whole thing was Marty's idea.  If it
               weren't for him you wouldn't have
               those books.  He's willing to help
               you put away his boss, aren't you,
               Marty?

                               MARTY
                      (confused;
                       then nods)
               Huh, oh, yeah....

                               DICKERSON
               Really?

                               MICHAEL
               On one condition, that is.

                               DICKERSON
               And what might that condition be?

                               MICHAEL
               You let him come back to Albuquerque
               with me now.

     Dickerson looks at Marty a beat, then:

                               DICKERSON
               I can live with that.

                               MICHAEL
               Thank you, Lieutenant.  I'll have
               him back before you know it.
                      (to Marty)
               Let's go.

     Michael gets in K.I.T.T.  Marty waves to Dickerson, then
     climbs into the Trans Am.  As K.I.T.T. fires up and pulls
     away....

                                              FREEZE FRAME

                         END OF ACT FOUR

                               TAG

     OMITTED

     INT. BENT ARM BAR - DAY

     Michael, Marty, and Cheryl are seated at a table having a
     drink.

                               MICHAEL
               Well, how does it feel to be free
               again?

                               CHERYL
               Wonderful.  Absolutely wonderful.
                      (beat)
               Especially since they caught the 
               real murderer.  Michael, I'll never
               be able to properly thank you for
               all you've done.

     She leans over and plants a kiss on his lips.

                               MICHAEL
               Well, that's a start.

                               MARTY
               Hey, what about me?

                               CHERYL
               Thank you too, Marty.

     She kisses him.  He gets his money's worth.

                               MICHAEL
               Marty, I hope you've learned a 
               lesson from all of this.

                               MARTY
               You better believe it.  From now on
               I'm staying away from crooks.
                      (beat)
               I've got better luck with the ponies.

     He takes out a racing form and opens it up.

                               MARTY
               You know who's running tomorrow....

     Before Marty can get into detail on the upcoming race,
     Butch enters the shot, placing one of his beefy paws on
     Michael's shoulder.

                               BUTCH
               I want you.

     Michael is not wild about seeing Butch.

                               MICHAEL
               Hi there, Butch....

                               BUTCH
               Let's go.

     Indicating the wrestling block, Butch lifts Michael by the
     arm and leads him toward the field of battle.  As Michael
     rises, he speaks into his wrist watch.

                               MICHAEL
               Kitt.

                               K.I.T.T.
                      (through wrist-
                       watch)
               Yes, Michael....

                               BUTCH
               You can talk to your watch all you
               want this time.  I know you're not a
               ventriloquist.

                               MICHAEL
                      (incredulous)
               A ventriloquist?

     Michael looks at Marty and Cheryl.  They're laughing.  He
     smiles back as Butch leads him away.  Hold on his smile
     and:

                                              FREEZE FRAME

                             THE END