ACT ONE
FADE IN
EXT. MECROPLEX 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 goes 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 strange,
electrical whirring 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 whirring grows
louder.
EXT. SITE - NIGHT - THE MAC-4
A huge, state-of-the-art construction crane has rumbled to
life. Its roof-mounted arm swings slowly, ominously toward
the elevator, ominously silent. 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 finally jerks it free and climbs/squeezes
out of the cage onto the building's top level. But no
sooner is he standing than he's confronted with:
OMITTED
THE CRANE ARM
which now swoops in over the building, its payload swinging
in a deadly arc toward Kevin.
CLOSE SHOT - MOVING WITH KEVIN
He stumbles back, frightened, down the narrow edge along
the building's roof, giving ground to the bucket's
relentless onslaught. There's nowhere to run.
KEVIN'S POINT OF VIEW - THE CEMENT BUCKET
drags and scrapes along the building's top, pushing him
closer and closer to the edge.
FULL SHOT - KEVIN, THE BUCKET AND THE BUILDING
Kevin screams as the bucket clangs against the low girder
railing the roof. As he topples over the edge and whistles
toward the pavement, go to:
ANGLE - THE MAC-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
Wrong, actually. You're going on an
unofficial security investigation for
Macroplex Incorporated.
This week they caught a thief in
their new R&D facility -- a technician
named Kevin Morgan, one of their own.
MICHAEL
Macroplex? Sounds like an exercise
machine.
DEVON
Hardly. They're the most advanced
technological think tank in America.
Kitt has some of their patents in his
circuitry. And since Macroplex has
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....it's about your husband.
JANET
You police? Insurance?
MICHAEL
No. I'm Michael Knight, Foundation
for Law and Government. We're
investigating Kevin's death.
JANET
You mean murder?
MICHAEL
(reacts, takes
it in)
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,
twelve hours a day. Thieves don't
work overtime.
MICHAEL
(sympathetic)
I've never known one who did. And
if anyone got robbed, it was you.
Janet is touched. This may be the first sympathetic ear
she's had.
JANET
More than you know. His benefits
and insurance were cut off, 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
grandfather 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)
Just an old friend...me. He spent
all his spare time at school...or
tinkering in that workshop of his.
Why?
MICHAEL
Well, being fired can be hard on a
man. It can make him....
JANET
(uncomprehending)
Fired? Kevin? That's impossible.
He worked right up to the last.
MICHAEL
Maybe he didn't want you to worry.
They let him go three days before the
...fall.
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 ask what he was doing at the
building that night.
JANET
(angrier now)
What's with you. You come in here,
nice smile, no badge...but you're
just like the rest of them. At
least the police 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. Now.
Michael tries to reply, eyes her a long beat, 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 under-
standably 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?
He cranks a left turn.
CUT TO
EXT. MACROPLEX SITE - DAY - FEATURE THE MAC-4
K.I.T.T. cruises past the Macroplex building. Behind it
we see the long arm of the Mac-4, which dwarfs the car.
Michael wheels into the frontage street 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
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. MACROPLEX 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 top level. The
reports said he fell from here.
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 Mac-4, its
huge cement bucket dumping four cubic yards of concrete.
BACK TO MICHAEL
He shudders, then walks down the railing girder. Suddenly
something catches his eye. He starts toward:
EDGE GIRDERS - A DENTED SPOT
There's a large rusty bend at the corner of the railing.
Michael examines it, sights along it, at the spot where
the crane struck it. 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 significant bend in that
edging. It could create a ripple
effect in the rest of the structure.
MICHAEL
(frowns)
Bending this would take a ton of
force....
K.I.T.T.
3.2 tons per square inch, to be exact.
Suddenly a hand grabs Michael by the shoulder, pulling him
backward. Michael throws it off and faces:
DAN HANNEGAN
an icy glint in his eye. He growls:
HANNEGAN
Who are you; and what are you doing
up here?
MICHAEL
My job. I work here.
HANNEGAN
We'll see about that. Come with me.
He heads for the elevator, gesturing Michael to follow.
INT. SITE ELEVATOR AT LOWER LEVEL - FAVOR 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, turns as Michael and Hannegan
exit the cage.
BARNES
What's the trouble?
HANNEGAN
This guy was checking the view
instead of doing his job, whatever
that is. Talking to himself, too.
BARNES
What's your name?
MICHAEL
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. Macroplex Chief
Engineer. Where's 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'll
be starting the trunk wiring then.
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
No...I thought you did!
BARNES
(interrupts)
Calm down. The last of the concrete's
going in now. Once it's set, we're
home free. You let me worry about
our visitor.
Hannegan nods his approval. Barnes heads off.
OMITTED
EXT. STREET - DAY - ON K.I.T.T.
Parked across the street, Michael keeps an eye on the site.
ANGLE IN K.I.T.T. - INTERCUT MONITOR
K.I.T.T.
This building is built to exact
specifications, Michael. I'm sure
they'll be repairing the bent girder.
MICHAEL
...which just happens to be at the
very spot Kevin died. Why hasn't it
been fixed already? The rust makes
it at least a couple days old. Ask
Devon to see if it's scheduled for
repair.
(sees something
across the
street)
Well, well...look who's here.
MICHAEL'S POINT OF VIEW - THE SITE
Barnes walks off the site and heads up the block to the
corner, where he climbs into a stretch limo parked
unobtrusively.
MICHAEL'S VOICE
Get a picture of this, Kitt. Then
let's see where they go.
ANGLE - STREET
The limo pulls out. After a few beats, K.I.T.T. follows.
VARIOUS RUNBYS - THE LIMOUSINE AND K.I.T.T.
K.I.T.T.'S VOICE
I didn't know construction people
made so much money.
MICHAEL
They don't, Kitt. They don't.
The pursuit continues until:
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, talking
on a cordless phone, 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 opulence, the place feels
antiseptic; it's not really a home. As Soltis finishes
his conversation, he flicks his hand at a beautiful woman,
Seline, seated near him, and she rises and crosses to
Barnes.
SOLTIS
Lalo, if his excellency is unwilling
to pay our price, sell the M-16s to
the revolutionaries.
(beat)
Wars need guns, my friend. I don't
care how many die, I just want the
largest profit. If you can't
negotiate it, I know people who can.
SELINE
Champagne? I'm sure he won't be long.
BARNES
Yes. Er, no, no thank you.
Soltis hangs up, hands the phone to Seline. She hands him
champagne, then slips away. He crosses to Barnes, who tries
to greet him.
SOLTIS
(cold)
Did you find it?
BARNES
Uh...we've taken car of Kevin
Morgan. He had another one on
him....
SOLTIS
(interrupts)
Did you find the missing interceptor?
BARNES
(after a beat)
There's still one unaccounted for.
Soltis' eyes flare a beat, then he seems to gain control of
his anger.
SOLTIS
You were hired because I heard you
were a thorough man.
BARNES
I'll get it back, don't worry.
SOLTIS
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 remain a shadow...a
name without a face. You, Mr. Barnes,
are making that harder and harder to
do.
(beat; regains
control)
You've thoroughly discredited Kevin
Morgan, I trust?
Barnes nods, relieved at being able to give some "good
news."
BARNES
His personnel records now indicate
he was fired. For theft of company
property.
SOLTIS
(thinking)
If I were Macroplex, I'd want that
property back. In other words, I
want him proven guilty. Arrange it,
Barnes.
Off his icy look:
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.
DEVON
There's been no report of that
damaged beam at Macroplex. Shall
I notify Washington?
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, and tries
to open K.I.T.T.'s door, to no avail
K.I.T.T.
What are you doing?
Billy reacts.
BILLY
Wow! You can talk!
K.I.T.T.
Young man, why aren't you in school?
BILLY
(tough
posture)
I'm cuttin' class. Lemme in. I
gotta hide.
K.I.T.T.
Which class?
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 what you think! Get in.
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, watching with concern.
ANGLE IN K.I.T.T.
as Michael drives Janet home.
JANET
So what do I have to do to make you
leave me alone?
MICHAEL
How about talk to me?
JANET
(looks around)
Nice car. Kevin would've loved it.
Enough gadgets to keep him busy.
(to Michael)
What did you want to tell me?
MICHAEL
That I felt bad about this morning.
And that I checked Macroplex 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.
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 haven't found out why Kevin went
back to 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.
There's one device I can't scan. It
must have a lead casing. Top shelf.
Michael reaches up to find the object. It's the chrome
box -- the silicon interceptor. Michael shows it to Janet.
MICHAEL
Any idea what this is?
She shakes her head. 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
Macroplex, 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 the police start their
search. The Uniform checks a prominent bookcase.
JANET
You can't just come in here....
CLOSE ON MICHAEL - INTERCUT K.I.T.T.
watches from concealment, raises his comlink.
MICHAEL
Kitt, I need a few seconds. Give
these guys a little car trouble.
K.I.T.T.
Right away.
K.I.T.T.'s dash responds with lights and beeps. Suddenly:
THE POLICE CAR
lights up like the Fourth of July -- sirens, lights, the
works -- all go on at once.
RESUME IN LIVING ROOM
Rayford and the Uniform react, hurry to the door. Looking
outside:
RAYFORD
Get outside and see what's the
matter.
The Uniform runs out. Michael takes advantage of the
distraction to slip the chrome box into the already-searched
bookcase. When Rayford turns around again, Michael's
standing with Janet.
RAYFORD
Who are you?
MICHAEL
Friend of the family. Whose
signature is on that complaint?
RAYFORD
What're you, a lawyer?
The siren has stopped, and now the Uniform reenters.
RAYFORD
(to Uniform)
Jack, frisk this guy.
MICHAEL
(angry)
Ah ah -- not unless you've got a
warrant with my name on it too.
The Uniform stops, backs off. At a look from Rayford, he
goes back to his searching.
CLOSE ON JANET AND MICHAEL
JANET
Can they do this?
MICHAEL
I'm afraid they can.
UNIFORM'S VOICE
Lieutenant, take a look.
FAVOR THE UNIFORMED OFFICER
turning over a small scope-like device in his hand,
matching it to a picture he carries. Rayford checks his
warrant, shows it to Janet.
RAYFORD
Radon graphic analyzer. Ten grand a
pop. Yours, ma'am?
JANET
I've never seen it before.
MICHAEL
(defending her)
The lady's in mourning, Lieutenant.
Is she under arrest?
RAYFORD
Not yet. But we'll be taking this
with us.
MICHAEL
Fine. Take it and go.
Rayford eyes Michael a hard beat, then leaves with the
Uniform. 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 the bookcase. She
heaves a sigh of relief.
CUT TO
OMITTED
EXT. SWIMMING POOL AND JACUZZI - DAY
Two lovely, long-limbed women lavish in the spa. One moves
to the pool, dives in, swims a lap. Pull back to reveal:
EXT. SOLTIS MANSION - SOLTIS
sips a dark drink from a brandy snifter on the veranda
overlooking the pool. He calls out:
SOLTIS
Lovely stroke, Michelle. I love to
watch your...form.
The woman looks up, waves, then climbs back into the
Jacuzzi. 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 -- his car visible
in b.g. He looks uncomfortable. Soltis turns cold.
SOLTIS
Well?
BARNES
My man planted the evidence at
Morgan's, but he couldn't find the
interceptor.
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)
The guy we caught snooping on the
site this morning, was spotted 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
You had something to...show me?
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 device....
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
Then obviously, 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 wanted in half the
countries in the world.
BONNIE
(reading)
Guns to Nicaragua, heroin from
Laos...he's not particular, is he.
DEVON
The man is a menace. He's slipped
through the fingers of justice for
fifteen years. We'll have to notify
the FBI.
Devon reaches for a phone, starts to dial. Michael reaches
over and slams down the switch hook. Devon's angered.
DEVON
Michael, you don't understand. If
Soltis has breached Macroplex
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. Let me get some evidence on
him first.
Michael starts for K.I.T.T.
DEVON
Where are you going?
MICHAEL
To Macroplex, 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.
As K.I.T.T. drives, Michael's pulling on 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
Macroplex now, if you don't mind.
INTERCUT - MONITOR AS NEEDED
The dash prints up a graphic representation of the Macroplex
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 fence...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.
EXT. STREET OUTSIDE SITE - NIGHT - ON K.I.T.T.
Michael pulls 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. Short out
this section of fence.
He starts out.
EXT. CONSTRUCTION SITE - NIGHT - CLOSE ON A FENCE
Michael scrambles up the chain link fence and climbs onto
the block wall behind it. He crouches and runs off down
the wall, into the depths of the site.
MOVE WITH MICHAEL
He runs over a concrete bridge spanning the yawning pits
and half-built columns of the new structure rising in the
moonlight around him like some futuristic alien city.
ANOTHER ANGLE - BASE OF ELEVATOR
Michael reaches the end of the bridge and tightrope-walks a
concrete ledge to the base of the cage elevator on the main
tower. He raises his 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 jumps onto the elevator scaffolding and starts climbing.
ANGLE - BASE OF BUILDING
A German Shepherd trots to the base of the scaffolding
where Michael climbs. The dog starts to whine nervously,
then to bark.
MICHAEL
looks down off the scaffolding and sees the dog, freezes.
MICHAEL
Go away. Shoo. Scat. Scram.
But the dog continues whining, barks louder. Another dog
joins it, takes up the chorus.
MICHAEL
Kitt, we have a problem. Can you
deal with it?
INTERCUT - K.I.T.T.
K.I.T.T.
You know dogs aren't my specialty.
MICHAEL
Well distract 'em somehow. Buy me
three minutes.
OMITTED
INSERT - K.I.T.T.'S DASH
A light indicates "Ultrasonic Frequency," and a high-pitched
whine is heard.
THE DOGS
cower and cringe, whining and moving off, but not before:
A SECURITY GUARD
sees the commotion and picks up an on-site phone.
OMITTED
INT. TRAILER/OFFICE - NIGHT
Hannegan and Barnes have heard the barking and commotion.
Barnes hangs up his phone.
BARNES
(pleased)
Looks like out problem has come to
us. Pull the plug on the elevator.
They head 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, we've been spotted.
MICHAEL
(comlink)
Keep 'em busy, pal. I'm almost
through.
Move in to see what Michael's found -- another one of the
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 high-pitched whining.
Looking off, he sees:
THE MAC-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 toward 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. Hannegan aims again.
CROSS HAIRS MATTE - MICHAEL
is homed in by the infrared scope on Hannegan's rifle as
he crouches behind available cover. He's a sitting duck
and we:
OMITTED
FREEZE FRAME
END OF ACT TWO
ACT THREE
FADE IN
EXT. MACROPLEX SITE - ROOF LEVEL - NIGHT - CONTINUOUS ACTION
Just as Hannegan fires again, Michael dives and rolls across
the roof. The bullet chews out a chunk of plaster where his
head just was.
MICHAEL
serpentines across the roof until he reaches cover behind a
large cargo box near the edge. He looks around desperately
for his next move.
HANNEGAN
strains for a clear shot.
HANNEGAN
Up! Get me up!
He's moved for a better shot as:
INT. MAC-4 CONTROL BOOTH - NIGHT
Barnes works furiously at the controls, lit by the eerie
glow of the dials, responding to Hannegan's directions.
MICHAEL
spots a rope tied to the cargo box. Getting an idea, he
flings it out over the edge of the building.
ANGLE ON BUILDING
The rope untwines its way down...not nearly long enough to
reach the ground.
HANNEGAN
starts to take aim for another shot.
MICHAEL
grabs the line and a deep breath. He calls out to K.I.T.T.
MICHAEL
Kitt, get in heeerre....
And with a running leap, he flies over the edge of the
rooftop.
OMITTED
VARIOUS ANGLES - MICHAEL
loops downward, twelve stories up, rappelling his way
through the girders, bouncing down the vertical face like
a mountain climber as searchlights play on his from below.
INTERCUT - 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.
And they race off into the darkness.
CUT TO
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 - NIGHT
She pulls a robe around her and moves to answer a knock.
Michael enters, urgent and excited. He shows her the 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 Macroplex building.
JANET
Kevin couldn't have done it, I'm
telling you. He....
MICHAEL
You're right. There's no way. The
top floor just went up yesterday.
It hadn't been built when Kevin
died. So someone else at Macroplex
is doing the installing. Kevin
found out and they killed him. I
think it's Stephen Barnes.
JANET
Barnes? Why Barnes?
MICHAEL
Remember the other man in that
picture. His name is Soltis. He's
an international criminal, above the
law, never caught or convicted.
Macroplex secrets are just his style
and Barnes is the man who could
deliver.
JANET
(temper
heating)
Barnes was so nice to Kevin. Said
he'd help him get promoted. We had
him to dinner. I cooked all day!
(beat)
What are we going to do?
MICHAEL
We aren't going to do anything. I'm
going to try to make Barnes 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.
He picks up her telephone. Dials.
CUT TO
INT. MACROPLEX 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....
Suddenly the phone rings. Barnes picks it up.
BARNES
What....
OMITTED
INTERCUT - MICHAEL AND BARNES
Janet listens in the b.g.
MICHAEL
Barnes, it's Michael Knight. You had
your shot at me. Now it's my turn.
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
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.
EXT. JANET'S HOUSE - NIGHT - ON K.I.T.T.
Billy's inside, watching the monitor.
ANGLE IN K.I.T.T. - INTERCUT MONITOR
displaying an amazing trick shot on a billiards table.
BILLY
Wow.
K.I.T.T.
Simple physics, Billy. The rotation
on the cue ball is greater than its
forward momentum.
Suddenly Michael leans into shot.
MICHAEL
Am I interrupting anything?
BILLY
(sheepish)
Uh...I gotta go.
He slides out. Michael slides in.
K.I.T.T.
Michael...I can explain.
MICHAEL
(enjoys this)
Corrupting innocent youth....
And they pull away.
OMITTED
EXT. HIGHWAY - NIGHT - ON THE SEMI
K.I.T.T. appears, rolls up and in.
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. How you coming,
Bonnie?
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 Macroplex'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.
(to Devon)
Did you run my check on Stephen Barnes?
DEVON
The man has impeccable credentials.
Hired by Macroplex right out of Cal
Tech, fast rise to his present posi-
tion, 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 devices 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.
ANGLE IN K.I.T.T.
K.I.T.T.
Michael, you realize Soltis could
detonate that building any time.
MICHAEL
That's why I need Barnes. I want to
scare him into defusing the wiretaps.
Then we get Soltis.
K.I.T.T.
If he knows how. I'm scanning for
him now.
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.
K.I.T.T.
There he is, Michael. In that car.
BARNES
steps out of his car 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 chrome interceptor. 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....
TIGHT 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! Why did you do it?
Why 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, runs to his car, 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
Macroplex.
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.
He helps her to her feet and sets her inside K.I.T.T., then
races around to the driver's side.
MICHAEL
Macroplex, Kitt. On the double.
K.I.T.T. screams away, laying rubber down on the red clay
court.
CUT TO
EXT. MACROPLEX 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. Slumping out behind
him onto the floor is the seated figure of:
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. MACROPLEX SITE - DAY
Barnes heads for the Mac-4 control booth. Next to it is
a large construction generator -- 400 volts of all-purpose
power with lines leading away into the building. Barnes is
rewiring the generator at a control panel as Soltis strolls
up.
SOLTIS
Is everything ready?
BARNES
(nods)
I plugged the power trunks into the
communications grounds. It'll take a
minute to warm up, but 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 Mac-4.
ANGLE IN K.I.T.T.
Michael surveys the situation.
K.I.T.T.
Over there with Barnes...it's Soltis,
Michael.
MICHAEL
Kitt, that generator! Is it wired to
the building?
K.I.T.T.
Yes, but Michael, it's powering up....
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 MAC-4 CEMENT BUCKET
Fully loaded, two tons of wrecking deadweight is swinging
right toward him. Michael dives back inside.
MICHAEL
Floor it, 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 cranks the car around.
INT. MAC-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., who backs
out of the way. The bucket starts back toward the car.
ANGLE IN K.I.T.T.
as Michael jams it in reverse to drive, 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 cinderblocks. Dust
and debris 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 Mac-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.
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
