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KNIGHT RIDER: KNIGHTLINES

EXEC. PRODUCERS: Glen Larson, Robert Foster
PRODUCERS: Gino Grimaldi, Burton Armus

Production #58644
3rd Draft - January 22, 1985 (F.R.)

Writer: ................... Richard Okie
Director: ................. Charles Watson Sanford


                              
                                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