ACT ONE
FADE IN
EXT. MEGATRON CONSTRUCTION SITE - NIGHT - ESTABLISHING
The camera searches the steel skeleton of an ultramodern
high-rise in the later phases of construction, rising into
the moonlight. Moving stealthily among the high girders is:
KEVIN MORGAN
twenty-five, a bright, attractive communications worker.
Dressed in blue denims, work belt, and boots, he tightropes
catlike along the top level, clearly at home in this
environment. He steals through the shadows eyes darting
around until he reaches:
OMITTED
AN ELECTRICAL JUNCTION BOX
After a final furtive glance around, Kevin opens the
junction box to reveal:
INSERT - A SHINY CHROME COMPONENT
nestled amid the other circuitry. Kevin pulls a tiny
pocket camera from his tool belt and flashes a few pictures
of it before going to work with needle-nose pliers and
cutting it loose. As he pockets it and closes the box, he
startles at the sound of a muffled roar from below. He
darts to:
ANGLE - A CAGE/ELEVATOR
running down the exterior of the building. Kevin climbs
in, punches "down," and holds his breath, wincing at its
grinding noise. After a few beats, the elevator jars to a
stop, suspended between floors. He glances around, punches
"down" again, but nothing happens. A low roar rises from
below.
EXT. SITE - NIGHT - THE MEGA-4
A huge, state-of-the-art construction crane has rumbled to
life. Its roof-mounted arm swings slowly, ominously toward
the elevator. Hanging from its clawed end is a sharp-
cornered, multi-ton cement bucket.
IN THE ELEVATOR
Adrenalin pumping, Kevin yanks at the elevator door, which
won't open. He climbs up to knock the roof hatch off the
cage, then climbs out the ceiling of the car.
EXT. BUILDING - KEVIN
starts shinnying down the elevator cables, desperate to
escape the approach of:
THE CRANE ARM
which now rocks away from the building, its payload
starting to swoop back in a deadly parabola toward Kevin.
CLOSE SHOT - KEVIN
clinging to the steel for life, eyes bursting with fear as:
THE CEMENT BUCKET
crashes into the side-girders of the building and sends
Kevin hurtling away from the girders. As his scream fades,
go to:
ANGLE - THE MEGA-4 CONTROL BOOTH
In the yard below, doors open to reveal an ultramodern
control booth complete with video monitors, lights, gauges,
etc. Out steps Dan Hannegan, 6'4", 220 pounds of no-
nonsense Irish building foreman, dressed in jeans, flannel
shirt, and hard hat. After a brief glance toward the spot
where Kevin fell, he heads in the other direction.
CUT TO
EXT. HIGHWAY - DAY - ON K.I.T.T.
cruising comfortably.
K.I.T.T.'S VOICE
Twisted Sister, Quiet Riot, Iron
Maiden...Michael, where do they get
these names?
ANGLE IN K.I.T.T.
Michael's listening to some hard rock, chuckling at
K.I.T.T.'s dismay.
MICHAEL
It's heavy metal, buddy. Macho rock.
The badder the better.
K.I.T.T.
Uranium is a heavy metal, and it
isn't good for you either. Do you
know what an Iron Maiden is? A
medieval torture device.
MICHAEL
Okay, pal, what would you name a
band?
K.I.T.T.
Something with values. Like 'Truth,
Justice, and the American Way.'
MICHAEL
I like it, but it's not commercial.
DEVON'S VOICE
How about 'The Foundation for Law
and Government'?
MICHAEL
(smiles)
It'd never sell. Hi, Devon.
INTERCUT - MONITOR AS NEEDED
Devon's seated in his office.
DEVON
Good morning, Michael. We have you
and Kitt just north of the county
line, is that right?
MICHAEL
You said it, and making a beeline
for Millie's. Best chili omelets
west of the Colorado. Why are you
up so early?
DEVON
You're going on an unofficial security
investigation for Megatron,
Incorporated.
MICHAEL
Megatron? Sounds like a 'Masters of
the Universe' toy.
DEVON
Hardly. They're the most advanced
technological think tank in America.
Kitt has some of their patents in his
circuitry.
MICHAEL
Sounds hot.
DEVON
It is. This week they caught a thief
in their new R&D facility -- one of
their own people.
MICHAEL
Is that so unusual?
DEVON
Michael, when you have projects with
the Pentagon that make Starwars look
like a covered wagon, everything is
unusual. The thief fell to his
death and I'd like you to pay a
visit to his widow.
MICHAEL
(reluctant)
Devon, is that necessary?
DEVON
I'm afraid so. Bonnie will give
Kitt the details.
MICHAEL
What about Millie's chili?
DEVON
Your indigestion will keep. Good-bye.
He blinks off. Michael sighs.
MICHAEL
Gourmets have a lonely life, Kitt.
As they race off:
CUT TO
EXT. JANET MORGAN'S HOUSE - DAY
Michael knocks at the door of a small suburban dwelling.
After a beat, he's answered by Janet Morgan, a liquid-eyed
young woman in her twenties. Understated hair and dress
highlight rather than hide her pretty features. She's
Kevin's widow, and she looks tired and a bit suspicious.
MICHAEL
Janet Morgan, I'm sorry to bother
you....
JANET
You police?
MICHAEL
No ma'am, I'm not. But I am here
about your husband.
JANET
Insurance?
MICHAEL
No. I'm Michael Knight, Foundation
for Law and Government. We're
investigating Kevin's death.
JANET
You mean his murder?
Michael stops, reacts, taking this in.
MICHAEL
The report I read said 'accident,'
but I'm willing to listen....
Janet eyes him a beat, opens the door.
INT. JANET'S HOUSE - DAY - CONTINUOUS
As they cross from the door, Janet leads Michael into
a modest living room. Along with typical decor are a
few interesting-looking electronic gadgets.
JANET
I bet that report said 'thief,' too.
Kevin gave his life to that company,
ten hours a day. Didn't even claim
all the overtime. You tell me who
the thief is.
MICHAEL
(sympathetic)
I don't know. But I can see who got
robbed.
Janet is touched. This may be the first sympathetic ear
she's had.
JANET
Naturally they cut off his benefits
and insurance, and my job won't pay
the bills.
(beat; sincere)
He didn't fall. I just know it.
MICHAEL
It was dark...probably windy....
JANET
He grew up on the high steel. His
dad was a Mohawk...worked on the
Empire State Building.
Michael absorbs this.
MICHAEL
Had Kevin been hanging out with
any...new friends, lately?
JANET
(sad smile)
I wish. He spent all his spare time
at school...or tinkering in that
workshop of his.
MICHAEL
Were you guys in any money trouble?
JANET
Isn't everybody?
MICHAEL
I mean, serious trouble.
Janet catches his drift, turns cold.
JANET
What are you saying?
MICHAEL
Being fired can be hard on a man.
It can make him....
JANET
(uncomprehending)
Fired? Kevin?
MICHAEL
(surprised she
doesn't know)
Three days before he died. He
didn't tell you?
JANET
(shakes her
head)
No...That's impossible. He went to
work those days.
MICHAEL
Maybe he didn't want you to worry....
JANET
You don't sleep beside a man and not
know something like that.
MICHAEL
(gently)
Look, I know this hurts. But I have
to know what he was doing at the
building that night. Why'd he go
back?
JANET
(angrier now)
What's with you. You come in here,
nice smile, no badge...but you're
just like the rest of them. You
think he's guilty, too.
MICHAEL
Someone has to ask these questions....
JANET
Yeah, the police. But at least they
were up front. At least I knew they
were the enemy.
MICHAEL
Janet, I'm not the enemy.
JANET
Look, maybe I'm old fashioned, but I
thought widows got a few days to
grieve, so please leave.
Michael tries to reply....
JANET
Get out of here.
He eyes her a long best, sad for her. But there's nothing
else to say. He leaves.
CUT TO
EXT. STREETS - DAY - K.I.T.T.
K.I.T.T.'S VOICE
You're showing signs of distress,
Michael. What's wrong?
ANGLE IN K.I.T.T.
MICHAEL
I don't know. Something sure felt
wrong back there.
K.I.T.T.
Talking to a young widow is
understandably difficult.
MICHAEL
It was more than that. The lady was
telling the truth. Call Devon. I
need him to arrange a little cover
for me.
K.I.T.T.
Cover? For what?
MICHAEL
I want to see the place where Kevin
died.
He cranks a left turn.
CUT TO
EXT. MEGATRON SITE - DAY - FEATURE THE MEGA-4
K.I.T.T. cruises past the Megatron building, driving
directly under the long arm of the Mega-4, which dwarfs the
car. Michael parks on the street nearby as the crane hauls
a huge load of cement skyward.
OMITTED
EXT. K.I.T.T. - DAY
Michael climbs out holding a tool belt and hard hat. He
peels off his leather jacket, exposing bare arms, and dons
the construction gear.
MICHAEL
Well, Kitt, what do you think?
K.I.T.T.
Michael, we're dealing with a very
sophisticated company here. Their
security is elaborate. You don't
stand a chance of....
Suddenly a whistle blows. Michael notes it with a smile.
MICHAEL
There's my shift. Gotta go. Later,
pal.
Follow Michael as he joins a bunch of similarly clad men
heading onto the site, changing places with the ones who
are coming off. K.I.T.T. whoops his scanner in disapproval.
EXT. MEGATRON SITE - DAY
High above the street, Michael steps out of the open cage
elevator, jostling along with a couple other workers. He
waits until they've dispersed, then raises his comlink.
MICHAEL
Okay, I'm on the eighth level. The
reports said he fell near the elevator
column.
Follow Michael as he walks out to the edge and looks at:
MICHAEL'S POINT OF VIEW - THE GROUND BELOW
a long way down. Swinging past is the arm of Mega-4, its
huge cement bucket dumping four cubic yards of concrete.
BACK TO MICHAEL
He shudders, then starts looking around the area. Suddenly
something catches his eye. He starts toward:
EDGE GIRDERS - A DENTED SPOT
There's a large ding in one of the framing girders.
Michael examines it, sights along it. It's the spot
where the crane crashed into the building. To comlink:
MICHAEL
Looks like there was a little accident
here, eh, Kitt?
INTERCUT - MONITOR AS NEEDED
K.I.T.T. produces a colorful graphic blueprint of the
building, with numbers reading out next to it.
K.I.T.T.
'Little' isn't the word, Michael.
There's an eight millimeter sag in
the floor above you, and the rest of
the structure is showing a ripple
effect.
MICHAEL
(frowns)
Eight millimeters off...that would
take a ton of force....
K.I.T.T.
3.2 tons per square inch, to be exact.
Suddenly a hand grabs Michael around the neck, pulling him
backward. It belongs to:
DAN HANNEGAN
an icy glint in his eye, his ham-like arm constricts
Michael's breathing. He growls:
HANNEGAN
You've got to be careful. People can
fall....
Michael strains in his grasp, then responds with a martial
arts arm move which breaks Hannegan's grip. He spins to
confront the big foreman.
MICHAEL
You shouldn't surprise people up
here. Makes 'em jumpy. Dangerous.
HANNEGAN
Who are you; and what are you doing
up here?
BARNES' VOICE
Easy, Hannegan....
ANGLE TO INCLUDE STEPHEN BARNES
A tanned, handsome man in his midthirties, wearing the vest
and slacks of a three-piece suit, incongruous with his hard
hat. He carries a clipboard.
BARNES
What's the trouble?
HANNEGAN
Gorgeous here was checking the view
instead of doing his job, whatever
that is. Talking to himself, too.
BARNES
(looks Michael
over)
Where's your name tag?
MICHAEL
Name's Knight. Local 42 sent me over.
I'm replacing Kevin Morgan. Who are
you?
Barnes and Hannegan trade a look.
BARNES
I'm Stephen Barnes. Megatron Chief
Engineer. Why didn't you report to
your foreman?
MICHAEL
Couldn't find him. What is this,
twenty questions? Things are tough,
but I don't need the work this bad.
A beat passes. They appear to buy his story.
BARNES
You're on the wrong level. The
phone links are already in on this
floor.
MICHAEL
So where do I start?
BARNES
Come back after the weekend. We're
blowing gunnite and pouring concrete
now. You can start the trunk wiring
when that's finished.
MICHAEL
Hey, fine by me. The old lady won't
like it though. Always griping
about me watching too much TV, you
know?
(a beat)
See you Monday.
He steps into the cage elevator and heads down. When he's
gone:
HANNEGAN
Are you crazy? Tellin' him to come
back?
BARNES
(in control)
Calm down. I want to keep an eye on
him. Did you call for a union
replacement?
HANNEGAN
You didn't...?
BARNES
(interrupts)
Easy, easy. The concrete's going in
now. Once it's set, we're home
free. You just do your job and let
me do mine.
He starts away.
HANNEGAN
Where are you going?
BARNES
To see if our visitor's story stands
up.
Hannegan thinks, nods his approval.
EXT. MEGATRON SITE - DAY - GROUND LEVEL - TRAILER/OFFICE
From an on-site office in a Megatron trailer we hear:
BARNES' VOICE
Yes, Local 42? Stephen Barnes at
Megatron.
INT. TRAILER/OFFICE - DAY
Barnes talks coolly on the phone, signing a clipboard
handed to him by a pretty secretary.
BARNES
Did you send over a new communications
tech today to replace...Oh, you did.
And the name?
(beat)
Knight. That's right. Okay.
He starts to hang up, then thinks again.
BARNES
You still there? Yes...this Knight
...blonde-haired fellow about five
feet, six inches, right?
(eyebrows
arching)
That's him? Good. No, no problem
at all. Thank you.
He hangs up, his wheels turning, then lifts the phone again,
dials.
EXT. STREET - DAY - ON K.I.T.T. - INTERCUT MONITOR
Parked across the street, Michael keeps an eye on the site
as he catches Devon up on the monitor.
DEVON
I'd hardly call a dented girder an
earth-shaking discovery.
ANGLE IN K.I.T.T. - INTERCUT MONITOR
MICHAEL
Maybe not in some buildings. But this
one's supposed to house labs, clean
rooms...the specs on the place are
ultra-tight. Megatron even keeps an
engineer on-site.
DEVON
Then I'm sure they'll catch it.
MICHAEL
That's my point. It should've been
caught already. Check for me, will
you?
(looking across
the street)
Gotta run. Keep in touch.
He punches buttons, loses Devon.
MICHAEL
Well, well, well. What have we here?
ANGLE - MICHAEL'S POINT OF VIEW - THE SITE
A black stretch limo is pulling up to the site. Stepping
out of the office and into the car is Stephen Barnes.
K.I.T.T.
I didn't know construction people
made so much money.
MICHAEL
They don't. Let's see where our
friend goes. Discreetly.
And they pull out in pursuit of the limo.
CUT TO
EXT. MANSION/FORTRESS - DAY
The limousine pulls up to a stately but well-secured house
on a hilltop. After a few beats, K.I.T.T. appears around a
curve and parks well below the house, but with a view of it.
ANGLE IN K.I.T.T. - INTERCUT MONITOR
Michael punches buttons, calling up the screen.
MICHAEL
Nice digs. Run a trace on the
address and zoom in on the front,
Kitt....
The monitor zooms in and we see Barnes exiting the limo.
Waving an imperious finger at him from a balcony
overlooking the driveway is an immaculately turned-out
continental type we'll come to know as Soltis.
MICHAEL
Full magnification, Kitt, and give
me a hard copy.
FREEZE FRAMES - SOLTIS
A grainy but recognizable sequence of photos of Barnes
and Soltis.
K.I.T.T.
The best I can do, Michael.
And as the hard copy slides into Michael's hand, go to:
INT. SOLTIS' MANSION - DAY
Barnes enters the foyer of a beautiful room, lavishly
furnished. Despite the epulence, the place feels antiseptic;
it's not really a home. Soltis finishes a conversation on
an elegant phone. He flicks his hand at a beautiful woman,
Seline, seated near him, and she rises and crosses to Barnes.
SOLTIS
Lalo, of his excellency is unwilling
to pay our price, sell the M-16s to
the contras.
(beat)
Wars need guns, my friend. Who buys
them is not my concern. I only care
that we get our price. If you can't
negotiate it, I know people who can.
SELINE
Champagne? I'm sure he won't be long.
BARNES
Yes.
(thinks again)
Er, no, no thank you.
Soltis hangs up, crosses to Barnes, who tries to greet
him.
BARNES
Thanks for sending....
SOLTIS
(interrupts;
cold)
Did you find it?
BARNES
Uh...Morgan had one on him when he
died. A camera, too. Three guesses
what he was photographing.
SOLTIS
(interrupts
again)
Did you find the missing interceptor?
BARNES
(after a beat)
No. There's still one unaccounted
for.
Soltis' eyes flare a beat, then he seems to gain control of
his anger. He reaches out a hand...and Seline is there to
fill it with a glass of champagne.
SOLTIS
You were hired because I heard you
were a thorough man.
BARNES
I'll get it back, don't worry.
SOLTIS
But I am worried. Last year there
was a facility in France whose sole
work was the development of the
perfect wiretap.
BARNES
The silicon interceptor....
SOLTIS
(nods; knowing
smile)
That lab isn't there any more. An
industrial 'accident.' My name was
raised in certain circles at the
time. So if the interceptor turns
up here....
BARNES
Mr. Soltis, say no more. My best
man is on the job, even as we
speak....
SOLTIS
(flares)
I don't like working this way! I
survive because I know how to
disappear. You, Mr. Barnes, are
making that harder and harder to do.
(beat; regains
control)
What about Morgan. You've thoroughly
discredited the man, I trust?
Barnes nods, relieved at being able to give some "good
news."
BARNES
His personnel records now indicate
he was fired.
SOLTIS
Fired...for what?
BARNES
Theft of company property.
SOLTIS
If I were Megatron, I'd want that
property back. In other words, I
want him proven guilty. Arrange it,
Barnes.
Without another word he turns and offers a hand to Seline,
who's seated nearby. As they glide away, Soltis whispers
in her ear and we hear her laugh. Hold on Barnes as he
watches, very nervous, very worried....
CUT TO
EXT. STREETS - DAY - K.I.T.T.
cruising through a suburban neighborhood.
DEVON'S VOICE
You were right, Michael....
ANGLE IN K.I.T.T./INTERCUT - MONITOR
as Michael and Devon converse.
MICHAEL
No report of that damaged beam at
Megatron, right?
DEVON
No report of any damage, period.
Shall I tell their president?
MICHAEL
No, hold off. If this is a cover-up,
I want to know who's behind it...and
why.
Devon nods as Michael punches buttons and cuts him off.
Michael cranks a turn up to:
EXT. MAYFLOWER SCHOOL - DAY
K.I.T.T. pulls up outside a small suburban day school.
MICHAEL
(exiting
the car)
Hang loose. I'll be right back.
He heads off toward the school. K.I.T.T.'s scanner whoops.
K.I.T.T.
Hang loose?
ANGLE ON THE BUSHES - BILLY
Twelve going on twenty-one, T-shirt and camo's, trying
hard to hide the fact that he's a cute kid, he emerges from
the bushes, having watched Michael's arrival.
BILLY
Wow...you can talk!
K.I.T.T. doesn't respond.
BILLY
C'mon, I heard you. I'm gonna call
the 'eyewitness' guys.
K.I.T.T.
Young man, why aren't you in school?
BILLY
(tough
posture)
I don't go to school.
(beat)
Actually, I'm cuttin' class.
K.I.T.T.
Which one?
BILLY
History. Whatta joke.
K.I.T.T.
History is no joke.
BILLY
C'mon, it's the pits.
K.I.T.T.
That's because it's sometimes taught
improperly. Come here.
To Billy's amazement, the door swings open. His bravado
fails him.
BILLY
Uh-unh. No way.
K.I.T.T.
What's the matter? Chicken?
BILLY
Who you calling chicken?
Slowly, unsure of himself, he gets in the car.
ANGLE IN K.I.T.T. - INTERCUT MONITOR
Billy looks around, wowed.
K.I.T.T.
Watch this.
Suddenly the monitor comes alive with an eye-popping
display of pyramids and pharoahs, Spanish galleons and
pirates, battles, cowboys and Indians...everything we can
muster.
BILLY
Far out! What is that?
K.I.T.T.
That, my friend, is history.
Billy looks up and sees:
MICHAEL AND JANET
returning from the school building.
RESUME ON K.I.T.T.
BILLY
Uh, oh. Busted.
K.I.T.T.
It's okay. Sneak out. I'll cover
for you. And get back in that
history class!
The driver's door opens away from the adults and Billy
slips out as Michael opens the passenger door for Janet,
then climbs in himself and pulls out. Billy emerges from
the bushes again, trying to figure out if this really
happened. As we pull back, also watching is:
HANNEGAN
parked in a van across the street, brows knitted, wheels
turning.
ANGLE IN K.I.T.T.
as Michael drives her home, she reacts to K.I.T.T.
JANET
Nice car. Kevin would've loved it.
(to Michael)
What did you want to tell me?
MICHAEL
That I felt bad about this morning.
And that I checked Megatron after I
left you. I think you're onto
something.
JANET
(guarded)
I'm listening.
MICHAEL
Something happened at the spot where
Kevin fell that night...some kind of
crash or accident. I think maybe he
didn't fall. He might've been
knocked off.
JANET
Why wasn't it in the reports?
MICHAEL
I'm trying to find out. Janet, I'll
make you a deal. I want the truth.
You want Kevin cleared. If you're right
about him, you've got no beef with me.
After a beat, she nods.
MICHAEL
But if you're wrong, can you accept
what I find?
She looks at him, sees he's sincere. After long
consideration:
JANET
Yes.
MICHAEL
Okay, then.
He produces the photos of Soltis and Barnes. She looks
them over.
MICHAEL
You know these people?
JANET
Stephen Barnes, Kevin's boss. Nice
guy. He was over to dinner a couple
weeks ago. Who's the other one?
MICHAEL
I'll tell you when I find out.
CUT TO
EXT. JANET'S HOUSE - DAY - ESTABLISHING
K.I.T.T. is parked out front.
INT. JANET'S HOUSE - KEVIN'S WORKSHOP/DEN - DAY
Janet opens the door, admitting Michael to a masculine room
full of electronic gadgets, obviously the haunt of a very
advanced do-it-yourselfer. Michael starts poking around.
MICHAEL
Wow...I'm impressed. Looks like
Kevin was a genius.
JANET
He almost had his M.S. in electronics.
We made a deal in high school. I'd
work to pay his tuition.
MICHAEL
What was your end of the bargain?
JANET
(looks up)
Having a baby.
From the desk she picks up a high school portrait of
herself, looks at it wistfully. Michael absorbs her
tragedy.
MICHAEL
We can do this later....
JANET
No...no it's okay. What do you
expect to find in here?
MICHAEL
I'm not sure. But I still need to
know what he was doing at the site
that night. If this is his hangout,
it's a place to start.
(to comlink)
Kitt, is there anything in here
that's unusual...out of the ordinary?
INTERCUT - MONITOR AS NEEDED
K.I.T.T. scanning the room with appropriate graphics.
K.I.T.T.
A lot of interesting hardware, but
nothing...wait.
(focusing on
one object)
There's one device I can't scan. It
must have a lead casing. Top shelf.
Michael reaches up to find the object in question. It's
the chrome box we saw on Kevin when he died -- the silicon
interceptor. Michael pulls it down, shows it to Janet.
MICHAEL
Any idea what this is?
She shakes her head. Michael looks it over. Suddenly
they're startled by a loud knock at the door.
MICHAEL
See who it is.
Michael steps out of sight as Janet goes to the door.
OMITTED
ANGLE - THE FRONT DOOR
She swings it open. A uniformed officer and another man in
a suit, Rayford, flash their badges.
RAYFORD
Mrs. Morgan, Lieutenant Rayford, PD.
We have a warrant to search the
premises for stolen property from
Megatron, Inc.
As they start inside, go to:
MICHAEL
frozen in place, looking down at the shiny box in his hand.
FREEZE FRAME
END OF ACT ONE
ACT TWO
FADE IN
EXT. JANET'S HOUSE - DAY - ESTABLISHING
K.I.T.T. and a black and white parked out front.
INT. JANET'S HOUSE - DAY
Janet backs into the living room as Rayford and the uniform
enter and start their search.
JANET
You can't just come in here like
this....
RAYFORD
Sorry, ma'am, but we have to.
MICHAEL'S VOICE
Slow down, Lieutenant.
They turn to see:
MICHAEL
emerging from the den. One hand in a pocket, probably
holding the chrome device. Janet watches Michael, scared
but hopeful.
MICHAEL
Who's the signature on that
complaint?
RAYFORD
Who wants to know?
MICHAEL
Call me a concerned citizen.
RAYFORD
(eyeing Michael;
to uniform)
Jack, frisk this guy.
MICHAEL
(angry; shows
his hands)
Ah ah -- no, you don't. Not unless
you've got a warrant with my name on
it, too.
RAYFORD
(responds,
tough)
What're you, a lawyer?
But before they can square off further:
OFFICER'S VOICE
Lieutenant...take a look.
They turn to:
THE UNIFORMED OFFICER
who's turning over a small scope-like device in his hands,
matching it to a picture he carries. Rayford takes it from
him, checks it against his warrant. He offers Janet the
paper.
RAYFORD
Radon graphic analyzer. Yours, ma'am?
JANET
I've never seen that before.
RAYFORD
Ten grand a pop. No home should be
without one.
MICHAEL
(angry;
defending her)
The lasy's in mourning. She says
she's never seen it. Is she under
arrest?
RAYFORD
Not yet. But we'll be taking this
with us.
MICHAEL
Fine. Take it and go.
Rayford eyes him a hard beat.
RAYFORD
I'll remember you, stretch.
And the officers turn and go. When they're gone, Janet
turns to Michael:
JANET
I never saw that thing, I swear.
Someone must have put it here.
(beat)
What did you do with....
Michael produces the chrome device from his pocket. She
heaves a sigh of relief.
JANET
You covered for me. Thanks, but why?
MICHAEL
Hey, I don't withhold evidence. But
if I give this to them, I'm back at
square one.
Janet looks around, feeling violated.
JANET
I don't know who's doing this to me,
but someone's going to pay....
MICHAEL
Hey, easy. You just go on with your
life and let me do the dirty work,
okay?
After a beat, she nods. He heads outside.
CUT TO
OMITTED
EXT. TENNIS COURT - LOW ANGLE - DAY
As a forehand smash whips right into camera. Widen to
reveal:
EXT. SOLTIS MANSION - TENNIS COURT - DAY
two beautiful, long-legged women in tennis garb, finishing
a game. Watching them play from the veranda above is
Soltis, sipping a dark drink in a brandy snifter.
SOLTIS
Lovely point, Michelle. I love to
watch your...form.
One of the women looks up, smiles deprecatingly. They go
back to their game. Seline appears behind Soltis, twines
her arms around his neck.
SELINE
I'd rather you watched mine.
SOLTIS
Then show it to me....
Their moment is broken by:
STEPHEN BARNES
moving from the house onto the veranda. He looks uncomfor-
table. Soltis turns cold.
SOLTIS
Well?
BARNES
My man planted the evidence at
Morgan's, but he couldn't find the
bug.
Soltis rises, deadly. Venomous.
SOLTIS
I told you not to leave that inter-
ceptor to anyone else. I ---
BARNES
(interrupting)
Forget the interceptor. We've got
another problem.
(off Soltis'
reaction)
Remember the guy we caught snooping
on the site this morning?
SOLTIS
What about him?
BARNES
We just spotted him with Morgan's
widow.
SOLTIS
So? You're the security expert.
Find out who he is.
BARNES
I tried. The man's as elusive as
you. His name's Michael Knight.
Beyond that, he's a mystery. I
don't like it.
SOLTIS
(ice)
Then get rid of him.
Barnes wants to say more but doesn't. He starts off.
SOLTIS
And Barnes....
Barnes turns back.
SOLTIS
I still want that interceptor.
Don't come back here without it.
His look tells Barnes how serious he is. He goes. Soltis
turns back to Seline, all charm.
SOLTIS
Well...I'm waiting....
CUT TO
EXT. HIGHWAY - NIGHT - ON THE SEMI
highballing.
BONNIE'S VOICE
It's a transmitter-receiver of some
kind, Michael....
INT. SEMI - NIGHT
Bonnie's at her work station, analyzing the device.
Michael and Devon stand nearby. A colorful schematic is
displayed on the computer monitor. K.I.T.T. is parked at
the rear.
BONNIE
State-of-the-art electronic surveil-
lance. I've never seen anything
like it.
MICHAEL
What's so special about it?
BONNIE
For starters, the casing. It's a
sealed lead alloy. I put it on our
phone line to test it. Normally,
Kitt can trace the frequency of any
transmitting bug....
MICHAEL
But not this one....
BONNIE
Right. You could tap a phone or a
computer bank without a trace. This
thing is revolutionary. Until I get
inside it, I can't tell you much
more.
MICHAEL
Well, at least we know Kevin didn't
build it in his home workshop.
DEVON
Still, what was he doing with it?
MICHAEL
I wish I knew....
Their uncomfortable silence is interrupted by:
K.I.T.T.
Michael, I have the information on
those pictures you requested.
MICHAEL
On the monitor, Kitt.
The three gather at the computer monitor. K.I.T.T. feeds
in.
INTERCUT - COMPUTER MONITOR AS NEEDED
The photo of Barnes and Soltis is displayed, and printing
out beneath it is the name "SOLTIS: Interpol warrants
#48106A, 49270, along with assorted data and other
Carlos-style pictures.
DEVON
Soltis -- He's the most wanted man
in the world.
BONNIE
(reading)
Guns to Nicaragua, heroin from
Laos...he's not particular, is he.
DEVON
The man is a monster. He's above
the law. He's slipped through the
fingers of justice for fifteen years.
MICHAEL
Suspected in twenty-three interna-
tional crimes...nothing ever proven.
Devon reaches for a phone, starts to dial.
MICHAEL
Who're you calling?
DEVON
The FBI. Where were these pictures
taken?
Michael reaches over and slams down the switch hook.
Devon's angered.
DEVON
Michael, you don't understand. If
Soltis has breached Megatron
security, the possibilities are
devastating.
MICHAEL
Devon, you don't understand. If
he's this good, the Feds bust in now,
he goes underground and we've got
nothing.
DEVON
We must do something!
MICHAEL
(stops him)
Let me get some evidence on him
first.
Michael starts for K.I.T.T.
DEVON
Where are you going?
MICHAEL
To Megatron, to see if these little
bugs have found their way inside.
And he guns the car away.
OMITTED
EXT. HIGHWAY - NIGHT - ON SEMI
as K.I.T.T. slides down the ramp and spins a 180 away.
CUT TO
EXT. STREETS - NIGHT - K.I.T.T.
The Trans Am cruises through light, late traffic.
ANGLE IN K.I.T.T.
Michael's changed into black garb for stealth work.
K.I.T.T.
I've never seen Devon so upset.
MICHAEL
He was pretty worried all right.
I'll take that security readout on
Megatron now, if you don't mind.
INTERCUT - MONITOR AS NEEDED
The dash prints up a graphic representation of the Megatron
building.
K.I.T.T.
It's going to be difficult to crack,
Michael. They add guard dogs at night.
MICHAEL
(scanning the
monitor)
Barbed wire, electric eye gates...okay,
we'll do our best. Now overlay the
wiring and show me where you'd plant
bugs if you wanted to spy on this place.
Bright red lines shoot through the graphic, showing the
wiring. Lights blip at appropriate locations for the bug
sites.
K.I.T.T.
I suggest you check the one on the
second floor. It will get us in and
out quickly. Here we are.
Michael pulls the car to the curb, starts pulling on gloves.
MICHAEL
No good, pal. I'm going to the top
floor.
K.I.T.T.
Michael, this is no time to indulge
your rock climbing fantasies.
MICHAEL
I've got my reasons, Kitt.
He starts out.
EXT. CONSTRUCTION SITE - NIGHT - CLOSE ON A FENCE
as a hi-tech grappling hook swings up and catches hold.
Widen to see Michael pulling himself up and over the barbed
wire atop the fence. He drops to the ground easily and
sprints into the darkness, avoiding a slow-pacing security
guard.
MOVE WITH MICHAEL
He reaches the building and tosses his grappling hook up
into the beams, pulls it tight, and starts a tenuous,
exciting climb.
ANOTHER ANGLE
Michael pulls himself up onto a girder, then uses an
acrobatic swing to reach the next level. The moon lights
his ascent through the high steel. When he catches his
breath, he addresses the comlink.
MICHAEL
Kitt, you read me?
INTERCUT - K.I.T.T.'S DASH
K.I.T.T.
Yes, Michael. It appears you're
doing very well. No sign they've
detected you.
MICHAEL
That's the way I like it.
He fires his hook upward again and continues climbing.
ANGLE - BASE OF BUILDING
A German Shepherd trots to the base of the building where
the dangling end of Michael's rope brushes the ground. The
dog starts to whine nervously, then to bark.
INTERCUT - ANGLE IN K.I.T.T.
K.I.T.T.
Oh, no. Go away. Shoo. Scat. Scram.
But the dog continues whining, barks louder. Another dog
joins it, takes up the chorus.
K.I.T.T.
Michael, we have a problem.
ANGLE - HIGH - GIRDERS - MICHAEL
pulls himself up another floor and answers the comlink.
MICHAEL
I'm almost to the top, Kitt. Can
you deal with it?
K.I.T.T.
You know dogs aren't my specialty.
MICHAEL
Well distract 'em somehow. Buy me
three minutes.
INSERT - K.I.T.T.'S DASH
A light indicates "Olfactory synthesizer" and blinks the
word, "Roast Beef" on and off. K.I.T.T. whistles.
K.I.T.T.
Here, poochie. Here boy.
Slowly the car auto-starts and pulls off down the street.
THE DOGS
raise their noses, barking, and follow K.I.T.T. away.
OMITTED
INT. TRAILER/OFFICE - NIGHT
Hannegan and Barnes hear the barking and commotion. They
move to the door and look out to see:
THEIR POINT OF VIEW - K.I.T.T.
driving along the fence, leading the dogs down the block.
HANNEGAN
That's his car! Knight's!
BARNES
(pleased)
Looks like our problem has come to
us. Let's give Mega-4 a workout.
They race from the office.
OMITTED
EXT. BUILDING - TOP - NIGHT
Michael works quickly and carefully at an electrical
junction like the ones we've seen before.
K.I.T.T.'S VOICE
(comlink)
Michael, I'm afraid I've blown our
cover.
MICHAEL
(comlink)
Keep 'em busy, pal. I'm almost
through.
Move in to see what Michael's found -- another one
of silver boxes, this one secreted deep in the wiring.
With a pair of clippers he cuts it free and pockets it.
But before he can start moving, he hears a roar and a
grind of gears from the yard below. Looking down, he
sees:
THE MEGA-4
rumbling into action. At the end of the crane's hoist is a
bucket large enough to hold a man and in it is:
HANNEGAN
holding an automatic rifle, eyes scanning into the girders,
following the beam of a large flashlight. Lights are going
on in the yard below him and being trained on the building
skeleton. Hannegan rises rapidly alongside the building.
MICHAEL
sees his predicament immediately. To comlink:
MICHAEL
I'm open to suggestions, pal.
K.I.T.T.
Michael, I'm sorry. The elevators
are off and there's no other way
down.
Suddenly a bullet pings off the steel next to Michael. He
dives out of the way.
NEW ANGLE - MICHAEL
swings down over a girder, catching hold of it at the last
second before falling. As he hangs by his hands in this
precarious position, Hannegan's light trains on him and we:
FREEZE FRAME
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
EXT. MEGATRON SITE - HIGH STEEL - NIGHT - CONTINUOUS ACTION
Just as Hannegan fires again, Michael lets go of the girder
he dangles from and drops! The bullet whistles over his
head.
MICHAEL
lands on a lower girder, fights for balance, and tightrope-
walks to its end, where a rope is tied off. The intervening
level blocks Hannegan's fire.
HANNEGAN
strains for a clear shot.
HANNEGAN
Down! Take it down.
He's lowered for a better shot as:
INT. MEGA-4 CONTROL BOOTH - NIGHT
Barnes works furiously at the controls, lit by the eerie
glow of the dials, responding to Hannegan's directions.
MICHAEL
looks for an escape, sees none, then takes a deep breath.
Loosening the line he's found, he braces himself and calls
out:
MICHAEL
Kitt, I hope this is secuurrrre....
He swings out into space, away from the building.
FULL SHOT - MICHAEL ON THE BUILDING
More shots ring out as Michael arcs out from the girders
and is deposited back down at a different spot.
FULL SHOT - YARD, MEGA-4, AND HANNEGAN
Guards and dogs are circling below, barking and pointing.
Hannegan gestures furiously.
HANNEGAN
Down! And to the left!
MICHAEL
gets his footing on a new girder, still high above the
ground. To comlink:
MICHAEL
Where is he, Kitt?
INTERCUT - K.I.T.T. - DRIVER'S POINT OF VIEW OF THE SITE
Engines whining, K.I.T.T. watches, awaiting orders.
K.I.T.T.
Getting close again, Michael.
MICHAEL
When I call, be ready to bust in for
an interception.
K.I.T.T.
Michael, I don't understand....
But a new bullet pings off the steel right next to
Michael's head. Grabbing a line, he dives over the edge
into space.
MICHAEL
Now, buddy!
K.I.T.T.
roars into action, speeding for the fence, and:
VARIOUS ANGLES - MICHAEL
loops downward, rappelling his way through the girders,
bouncing down the vertical face like a mountain climber as
searchlights play on him from below.
VARIOUS ANGLES - K.I.T.T.
bursts through the electrified gate in a hail of sparks,
making for the wall below Michael, t-roof cranking open.
CLOSE ON MICHAEL
as he runs out of rope at the third floor and dangles from
the end of his line, still a good twenty-five feet above
the ground. Another shot whines past him. He yells:
MICHAEL
Come on, Kitt!
FULL SHOT
Just in time, K.I.T.T. skids to a stop below Michael. He
releases the rope and falls through the open t-top. More
bullets spark harmlessly off the car as:
K.I.T.T.
floors a 180 in the dirt, and hightails it out of the site.
ANGLE IN K.I.T.T.
MICHAEL
(gulping air)
Thank...you...Kitt.
K.I.T.T.
That was awful. Are you all right?
MICHAEL
You tell me. I'm not sure.
(wrinkles his
nose)
But I sure am hungry. What's that
smell?
K.I.T.T.
Never mind. You must be all right.
And they race off into the darkness.
EXT. JANET'S HOUSE - NIGHT
K.I.T.T. pulls up and Michael gets out.
MICHAEL
Scanners peeled, Kitt.
He heads for the door. Stay with K.I.T.T. for a beat, then:
BILLY
comes rolling down the street, on his skateboard in the
dark. K.I.T.T. flashes his lights and Billy stops.
BILLY
Whoa! What are you doing here?
K.I.T.T.
I might ask you the same thing.
It's very late.
BILLY
Hey, off my case. I was at the
library.
K.I.T.T.
Why do I find that hard to believe?
BILLY
No, really. I was reading all about
the Vikings. Did you know they
discovered America before Columbus?
K.I.T.T.
(amused; if he
could be)
No. Really?
BILLY
Yeah. You really got me interested
in this history stuff. Now if you
could make science interesting....
K.I.T.T.
You must be joking.
The door pops open. Billy hops eagerly in.
CUT TO
OMITTED
INT. JANET'S HOUSE - NIGHT
She pulls a robe around her as she moves to answer a
knock. Open the door to reveal Michael, urgent and excited.
JANET
Michael...come in.
MICHAEL
I think I have some good news. Sit
down.
He ushers her back into a chair.
JANET
What? What is it?
MICHAEL
I think you were right about Kevin.
I think someone at Megatron killed him.
'Cause they just tried to kill me.
He reaches into his pocket, produces the new chrome box.
MICHAEL
This is a bug -- a wiretap. Just
like the one we found here. I found
it installed on the top floor of the
new Megatron building.
JANET
Kevin couldn't have done it, I'm
telling you. He....
MICHAEL
(takes her by
the shoulders)
You're right. He couldn't have.
The top floor just went up
yesterday. It hadn't been built
when he died.
JANET
Then...what...I don't understand.
MICHAEL
Someone else at Megatron is
installing these. I think Kevin
found out and they killed him.
JANET
You mean...someone he worked with?
Someone he knew?
MICHAEL
(nods)
I think it's Stephen Barnes.
JANET
Barnes? Kevin looked up to him. He
was such a nice guy. Why him?
MICHAEL
Remember the other guy in that
picture? His name is Soltis. He's
an international criminal...wanted
around the world. He's above the
law...never caught or convicted. I
think he's bugging Megatron to steal
their secrets. And I think Barnes
is helping him.
Janet is rocked by this news. Her temper heats up.
JANET
Barnes told Kevin he'd help him get
promoted. We had him to dinner. I
cooked all day!
MICHAEL
Janet...Barnes is way out of his
league. Soltis has done things you
wouldn't believe, and one murder is
just a drop in the bucket to him.
JANET
What can we do?
MICHAEL
We can't do anything. I'm going to
try to smoke out Barnes and make him
lead me to Soltis. But I can't do
it if I'm worrying about you.
JANET
But this man...if he always gets
away....
MICHAEL
He won't this time...I promise.
(beat)
She calms down.
MICHAEL
Now, I need to use your phone.
CUT TO
INT. MEGATRON OFFICE/TRAILER - NIGHT
Barnes is at Hannegan's throat.
BARNES
How could you miss him! You were so
close!
HANNEGAN
The guy was quick...it was dark...and
you weren't all that steady at those
controls either. Not to mention that
car of his....
BARNES
You'll never get another shot at him
like that one.
Suddenly the phone rings. Barnes picks it up.
BARNES
What is it?
OMITTED
INTERCUT - MICHAEL AND BARNES
Janet listens in the b.g.
MICHAEL
Barnes, it's Michael Knight.
Barnes covers the receiver, mouths, "It's him," to Hannegan.
He recovers quickly.
BARNES
Uh...little late for you to be....
MICHAEL
Shut up and listen.
(slowly)
Fifty thousand dollars.
BARNES
What are you talking about?
MICHAEL
I'm selling you a picture. Of you
and Soltis.
BARNES
(nervous)
You're crazy.
MICHAEL
It's an offer I wouldn't pass up.
'Cause if you don't buy it, I'm
sending one to Soltis and one to the
police. You can decide who you want
to run from.
BARNES
Where do I get fifty thousand this
time of night?
MICHAEL
That's your problem. Bellows Park
at sunrise. Be there.
He slams the receiver down. Barnes holds his end, stunned.
OMITTED
EXT. HIGHWAY - NIGHT - ON SEMI
K.I.T.T. appears out of the night and rolls up the ramp.
DEVON
An hour and forty-nine minutes.
Pressing your luck, Michael.
INT. SEMI - NIGHT
Bonnie works with a microtorch on the first box, which is
now in pieces, as Devon looks on. Michael hands her the
new one.
MICHAEL
Not really. Kitt had it figured to
the millisecond.
(re box,
to Bonnie)
These things just keep popping up
everywhere. How you coming?
BONNIE
It's an amazing piece of circuitry.
Besides the wiretap, there's a tiny
condenser mike. They could bug
meetings, conversations...even office
gossip.
DEVON
Another day and they'd have been
buried inside Megatron's walls forever.
Totally untraceable.
BONNIE
There's still one circuit I haven't
cracked. Lord knows what it does.
MICHAEL
Well, keep at it.
(takes Devon
aside)
Did you run my check on Stephen Barnes?
DEVON
The man has impeccable credentials.
Hired by Megatron right out of M.I.T.,
fast rise to his present position,
A-1 security clearance.
MICHAEL
Well, even the best ones go sour.
BONNIE
(calls from
work station)
Hey, you two. I think I've....
K.I.T.T.'S SCANNER
suddenly whoops and his lights flash.
K.I.T.T.
Michael, Bonnie, be careful. That
circuit you just opened, Bonnie,
it's a time bomb!
FULL SHOT
Michael is galvanized into action. He crosses to where
Bonnie is frozen over the box, an angry red light now
blinking on the circuit in question. He lifts it gently.
MICHAEL
How long, Kitt?
K.I.T.T.
About eight seconds....
MICHAEL
Open your trunk, buddy.
K.I.T.T.
Oh, Michael, not the trunk again....
MICHAEL
Kitt!
K.I.T.T.'S TRUNK
powers open. Michael approaches gingerly.
K.I.T.T.
Careful, Michael. It's very delicate.
He starts to lower it into the trunk.
K.I.T.T.
Three seconds, Michael!
BONNIE AND DEVON
back away. He tries to shield her.
BACK TO SHOT
Michael places the blinking box in the trunk and slams it
just milliseconds before:
THE EXPLOSION
rocks K.I.T.T. and the entire semi. Smoke fills the
passenger compartment and our people back away into the
walls. When it's over, Michael approaches the car.
MICHAEL
You okay, buddy?
K.I.T.T.
sucks the smoke clear.
K.I.T.T.
Barely. That little device packs an
astonishing punch. And we'll never
get the smell out of the upholstery.
FULL SHOT
MICHAEL
Soltis thinks of every possibility.
If the bugs are discovered, he has
them self-destruct. Along with anyone
in the vicinity.
BONNIE
And we don't know who can detonate
them....
DEVON
What if this isn't the only building
they've wired?
Chilling possibilities all. But Michael grabs the other
interceptor and starts toward K.I.T.T.
DEVON
Where are you going?
MICHAEL
I'm still holding an ace...the picture
of Soltis. I'm meeting Barnes with it.
As he climbs into the car, Devon crosses close.
DEVON
Get him, Michael. I want these men.
MICHAEL
You and me both, Devon.
Grim and determined, Michael pulls out.
CUT TO
EXT. STREETS - DAY - K.I.T.T.
cruises through light traffic under a beautiful sunrise.
K.I.T.T.
Michael, I'm worried.
ANGLE IN K.I.T.T.
MICHAEL
Join the crowd, Kitt.
K.I.T.T.
Soltis could detonate that building
any time.
MICHAEL
That's why I need Barnes. I want to
scare him into defusing the bugs.
Then we get Soltis.
K.I.T.T.
Let's hope he knows how.
Michael cranks the wheel.
EXT. BELLOWS PARK - DAY
Michael and K.I.T.T. pull into a quiet, green park with
swings and a ball field.
ANGLE IN K.I.T.T.
Michael punches buttons.
MICHAEL
Any sign of him, Kitt?
K.I.T.T.
I'm scanning...wait! There he is,
Michael.
BARNES
steps out of concealment behind a fence and walks into view.
Michael climbs out of K.I.T.T. and walks slowly to meet
him. Sotto, to comlink:
MICHAEL
How's his blood pressure, Kitt?
K.I.T.T.
Skyrocketing.
FULL SHOT - BARNES AND MICHAEL
Showdown.
BARNES
Where's the picture?
MICHAEL
Where's the money?
Barnes reaches into his pocket and starts toward Michael.
MICHAEL
Don't!
MICHAEL
suddenly holds up the transceiving diode. Wired to it is a
battery. Barnes sees it and freezes.
MICHAEL
I know what this does. I know
everything it does. Now throw the
gun away.
BARNES
Gun?
MICHAEL
(blazing)
Don't mess with me, Barnes. If I
go, I don't mind taking slime like
you with me.
Barnes doesn't react. Michael holds a second wire inches
from the diode.
MICHAEL
(icy)
I'll blow us both up. The gun. Now.
BARNES
starts to sweat. After a beat, he pulls his hand from his
jacket pocket and, indeed, he does have a gun, which he
tosses aside.
BARNES
Okay. What do you want?
Michael lowers the box and battery. He's furious.
MICHAEL
A lot. I want Soltis. And you're
gonna testify. You're my star
witness.
But as he starts for Barnes:
JANET'S VOICE
No!
Michael whirls. Whip pan to:
JANET
She looks ragged, very close to the brink. The gentleness
in her eyes has been replaced with a glint-like sun on bare
metal, and she holds a pistol trained on Barnes.
JANET
You killed my husband. You took
everything away from me.
MICHAEL
tenses, watching the confrontation. He tries to talk to
Janet.
MICHAEL
Janet, don't....
FULL SHOT - JANET
The gun trembling in her hands.
JANET
Don't, Michael. There's nothing you
can say.
BARNES
watches her, his eyes wild with fright.
CLOSE SHOT - THE GUN
Her hands draw back the hammer.
JANET
I'm going to kill him like he killed
Kevin.
MICHAEL
watches, mesmerized.
FREEZE FRAME
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
EXT. BELLOWS PARK - DAY - CONTINUOUS ACTION
Janet's trembling hands still hold the gun on Barnes.
Michael is trying to "talk her down."
MICHAEL
Janet, no. Not this way.
JANET
(to Barnes)
Kevin really liked you. He cared
about you.
BARNES
I cared about him, too, Janet.
JANET
The hell you did! How did you do it?
How did you kill him?
MICHAEL
Janet, you can't do this. This isn't
the answer.
JANET
You said it yourself, Michael. They
never get caught. Well, this time
they did. And I don't need proof.
BARNES
(frazzled)
No! I'm not the one you want.
JANET
You're the one I want, all right.
You're going to die. Just like
Kevin.
MICHAEL
sees she's about to pull the trigger, so he leaps onto
her. She's strong, and the gun wavers up and down in her
grip before firing into the air.
BARNES
takes advantage of the commotion, races away.
MICHAEL AND JANET
continue to wrestle on the ground as he tries to fight her
to a standstill without hurting her.
JANET
Let me go...let me go!
He manages to get on top of her with a firm hold. She
struggles a little more, then goes limp. Both of them gasp
for air.
MICHAEL
Kitt, where's Barnes?
K.I.T.T.
He's escaping, Michael. Toward
Megatron.
MICHAEL
Come get us, buddy.
K.I.T.T. motors over.
MICHAEL
Janet, you don't know what you're
doing. Murdering Barnes won't help
anything.
Janet just listens, crying softly.
JANET
It'll help how I feel inside....
MICHAEL
No. Not for long. And you might
have cost us our one shot at getting
the man who's really behind Kevin's
death. Do you understand?
She nods.
MICHAEL
You're coming with me. I want you
to stay in Kitt until I say so.
JANET
No...leave me here.
MICHAEL
After what you just pulled...no
way. I'm keeping an eye on you.
Come on.
He helps her to her feet and sets her inside K.I.T.T., then
races around to the driver's side.
MICHAEL
Megatron, Kitt. On the double.
K.I.T.T. screams away, laying rubber down on the red clay
court.
CUT TO
EXT. MEGATRON SITE - DAY
Barnes' car comes skidding up to the site. He climbs out
and looks around, surprised to see that it's deserted. He
races to the open door of the trailer.
INT. TRAILER/OFFICE - DAY
Barnes runs in, calling:
BARNES
Hannegan! Where is everybody!
SOLTIS' VOICE
Hannegan sent them home, Barnes.
REVERSE ANGLE
Barnes whirls to see Soltis waiting easily for him.
BARNES
What are you doing here? Where's
Hannegan?
SOLTIS
Relax. He told me everything. Did
you get that picture?
BARNES
(glowering)
No.
SOLTIS
I'm here to help you. I managed to
clear the site for what you have to
do.
BARNES
Which is...?
SOLTIS
Turn on the power and destroy the
building.
BARNES
No! I'm going to pull all the
boxes. There's still time....
SOLTIS
(calm; stops
him)
Barnes, our work is over. But I
survive because I know how to cut my
losses.
BARNES
This wasn't supposed to happen. What
about my job? My life...what happens
to me now?
Soltis reaches into his pocket, produces two plane tickets.
SOLTIS
I took the liberty. Is Montevideo
all right with you?
Barnes is shaken.
SOLTIS
When we gamble, we must be prepared
to lose. Come with me. You could be
useful.
He puts an arm around Barnes, starts walking him toward the
door.
SOLTIS
Get busy. Feed the current into
the structure.
BARNES
We'd better be a mile from here when
it blows.
SOLTIS
I brought a car. We'll be safe.
(pushes him
outside)
Now go...hurry.
Barnes heads out onto the site. Soltis watches him a beat,
then reaches into his breast pocket and pulls out a Luger,
checks its clip. Satisfied, he steps outside, swinging the
door away from the wall behind him. Hanging from the
door's coat hook is:
HANNEGAN
Limp, lifeless. Obviously dead.
EXT. STREETS - DAY - K.I.T.T.
races past, blowing past surrounding traffic.
DEVON'S VOICE
I'm alerting the authorities,
Michael.
ANGLE IN K.I.T.T. - INTERCUT MONITOR
Michael's driving like a demon, with Janet hanging on.
Devon's on the monitor.
MICHAEL
Suit yourself, Devon, but they'll be
too late. I'm afraid we'll be too
late.
DEVON
What guarantee do we have that
Soltis will be there?
MICHAEL
His pattern...his history. We know
the man doesn't leave loose ends.
DEVON
I hope you're right. Do be careful,
Michael.
CUT TO
EXT. MEGATRON SITE - DAY
Barnes races out of the ground floor of the structure and
heads for the Mega-4 control booth. Next to it is a large
construction generator -- 400 volts of all-purpose power
with lines leading away into the building. Soltis meets
Barnes beside the crane.
SOLTIS
Is everything ready?
BARNES
(nods)
I plugged the power trunks into the
electrical mains. When the voltage
hits 400...we'd better be long gone.
He reaches down onto the side of the generator and fires up
the ignition switch. The generator coughs, sputters, then
hums to life. But as its meters start to climb, suddenly a
familiar whine is heard and:
K.I.T.T.
comes skidding onto the site.
BARNES AND SOLTIS
freeze momentarily, then react.
SOLTIS
I'll get the car. Hold him off.
Barnes looks around, then climbs into the control booth of
the Mega-4.
ANGLE IN K.I.T.T.
Michael surveys the situation.
MICHAEL
Over there with Barnes...that's
Soltis, Kitt. Let's get 'em.
K.I.T.T.
Michael, that generator! It's wired
to the building. The current's
starting to rise!
MICHAEL
I've got to stop it!
He starts from the car, but:
K.I.T.T.
Michael, look out!
Michael turns to see:
MICHAEL'S POINT OF VIEW - THE MEGA-4 CEMENT BUCKET
Fully loaded, two tons of wrecking deadweight is swinging
right toward him. Michael dives back inside.
MICHAEL
Full reverse, buddy!
INSERT - K.I.T.T.'S WHEELS
spin in the soft dirt, finally gain traction and:
FULL SHOT
The cement bucket whooshes past K.I.T.T., just missing
shearing off the top. Michael maneuvers away, collects
himself.
ANGLE IN K.I.T.T.
as Michael spins the wheel and manuvers.
K.I.T.T.
That thing is huge! He almost got us.
MICHAEL
You're telling me.
K.I.T.T.
The voltage on that generator is
rising fast, too.
MICHAEL
One thing at a time, Kitt. Hang on.
And he floors the car forward.
INT. MEGA-4 CONTROL BOOTH - DAY
Barnes whips the controls like a giant video game.
FULL SHOT
The huge bucket takes another swipe at K.I.T.T., missing,
then starting back toward the car.
ANGLE IN K.I.T.T.
as Michael jams it in reverse, floors it.
INSERT - K.I.T.T.'S WHEELS
stuck in the muddy dirt of the site, spinning, going
nowhere.
K.I.T.T.
Michael...I can't make it!
FULL SHOT - K.I.T.T. AND THE BUCKET
The two-ton bucket slams into the Trans Am, sending it
spinning off sidelong into a pile of lumber. Boards
splinter and fly.
BARNES
gloats in satisfaction, stands away from the controls and
starts to climb out.
INSERT - GENERATOR METERS
reading red-line...nearly 400 volts.
ANGLE IN K.I.T.T.
Michael punches buttons, checks the functions. Janet's
amazed.
MICHAEL
You all right, Kitt?
K.I.T.T.
Some peripheral systems are damaged,
Michael, but I'm structurally
sound. And more current is reaching
the building.
JANET
I can't believe this!
MICHAEL
Believe it. You wanted revenge. Now
you're going to get it!
He floors the pedal.
FULL SHOT
Barnes reacts in amazement as K.I.T.T. comes roaring out
from under the woodpile unscathed. He desperately climbs
back into the control booth of the crane.
ANGLE IN K.I.T.T.
Michael bears down, steering K.I.T.T. right for the lethal
machine.
MICHAEL
I'm not taking any chances, Kitt.
We're going right through him.
K.I.T.T.
Michael, that bucket is on an
intersecting course with us. I'm
not sure I can take another blow.
And the generator is going critical!
MICHAEL
Then give it all you've got, pal.
WIDE SHOT
K.I.T.T. races toward the crane, but the cement bucket is
swinging in on him from the side.
K.I.T.T.
Michael! It's too close!
MICHAEL
Hit it!
Michael hits turbo boost and:
VARIOUS ANGLES - THE JUMP
K.I.T.T. turbos airborne, swishing just past the cement
bucket. Barnes dives from the controls just as K.I.T.T.
smashes into the smoked glass cockpit and shatters the
booth of the Mega-4. As the Trans Am comes back to earth,
the crane's engine blows with an ominous boom.
K.I.T.T.
The generator! The whole building
is going to explode!
MICHAEL
(to Janet)
Stay here!
MICHAEL
is out of the car in a flash, racing for the generator. He
runs up to the machine and yanks the main cables loose in
a shower of sparks just in the nick of time. But as the
hum dies, he's pulled away by:
BARNES
who greets him with a solid right. Michael shakes it off
and decks Barnes with one punch, but just now a bullet whangs
off the side of the generator. Michael turns and sees:
SOLTIS
takes aim over the top of his car, a dark sedan parked
nearby. He squeezes off another shot.
MICHAEL
looks for cover, dives behind the generator. He looks out
and sees:
FULL SHOT - MICHAEL'S POINT OF VIEW - SOLTIS AND THE CAR
Unbeknownst to Soltis, he's parked right beneath the cement
bucket, which now hangs akimbo on the crane's defunct arm.
He fires again and Michael ducks.
MICHAEL
addresses comlink.
MICHAEL
Kitt, any chance you can get into
what's left of the crane's control
circuits?
INTERCUT - K.I.T.T.'S DASH
Microwave jam lights up.
K.I.T.T.
It might work. But Michael, you
wouldn't....
MICHAEL
Oh yes I would. Give him the works,
Kitt.
The dash blazes with lights and:
FULL SHOT - THE BUCKET, THE LIMO, AND SOLTIS
All of a sudden the cement bucket releases its contents
onto the car and Soltis, burying both under a ton of
cement. The car windows pop out as its roof caves in
under the weight.
SOLTIS
is literally swimming in the grey mire.
MICHAEL
emerges from cover and walks up to the coughing, slimy
Soltis. Janet emerges from K.I.T.T. and stands with
Michael, looking down. Michael offers a hand.
MICHAEL
You look good in grey cement.
You'll spend a lot of years behind
it.
FREEZE FRAME
FADE OUT
END OF ACT FOUR
TAG
FADE IN
EXT. SCHOOL - DAY
Michael and Janet stroll from her classroom toward K.I.T.T.
As they walk:
JANET
...so they restored his insurance
money, and his benefits....
MICHAEL
Not to mention his good name.
JANET
That most of all. I think I'll make
it now. I don't know how to thank
you.
MICHAEL
You want to thank me, Janet? Be
happy. That's the best thanks I
could have.
JANET
(smiles)
I'll do my best.
They've just arrived at K.I.T.T. when:
ANOTHER ANGLE - BILLY
rolls up on his skateboard, wearing a backpack.
BILLY
Hi, guys!
Ad-lib hellos. Billy turns to K.I.T.T.
BILLY
Now don't start on me. School got
out an hour ago. I've been to class
every day.
K.I.T.T.
I'm glad to hear that.
BILLY
In fact...I've got something here.
For the teacher.
He jumbles in his backpack. Michael and Janet trade a
smile.
JANET
You shouldn't have....
Suddenly Billy produces his gift. A can of 10/40 motor oil.
MICHAEL
Nice, Billy. Weird, but nice.
BILLY
It's not for Mrs. Morgan. It's for
Kitt. I figured he didn't like
apples.
As they react, laughing, K.I.T.T. rolls down his window.
K.I.T.T.
What's so funny? Let's have it.
Billy tosses it inside and the window rolls back up. As
the lights flash on and off and the scanner flashes....
FREEZE FRAME
FADE OUT
THE END
