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KNIGHT RIDER: KNIGHTS OF THE FAST LANE

EXEC. PRODUCERS: Glen Larson, Robert Foster
PRODUCERS: Gino Grimaldi, Gerald Sanford

Production #58601
1st Draft - August 8, 1984 (F.R.)

Teleplay: .................. Richard Okie
Director: .................. Winrich Kolbe

                              
                                ACT ONE

     FADE IN

     EXT. DOWNTOWN LOS ANGELES - NIGHT - AERIAL VIEW

     A hot rock beat as we sweep the electric streets and
     skyscrapers in search of....

     DOWNTOWN STREET - NIGHT

     deserted at this wee hour but lit up bright as day.  The
     static hum of the flourescent streetlights gives way to the
     throaty roar of a pair of race tuned automobile engines.

     ANGLE ON THE CORNER - THE RACERS

     Rumbling out of the shadows between the buildings, looking
     like a couple of space-age ground attack vehicles come two
     fantastic automobiles.  One is a thigh-high silver Porsche
     935, a racing model with full ground skirts and tires like
     the business end of a steamroller.  The other is like 
     nothing we've ever seen before (except for K.I.T.T.).

     ANGLE ON THE VECTOR TWINTURBO W-2

     This is a one-of-a-kind car, a futuristic blending of
     automotive and aerospace engineering.  2000 candlepower
     heli-arc headlights stab the night and the 600 horsepower
     Can-Am engine whines as though annoyed at having to stand
     still.  The light green gull-wing doors open upward
     mysteriously, eerily, and out climbs Mark Tanner;
     late thirties, dressed with a seemingly careless designer
     chic that says money, lots of it.  At the passenger side, he
     gives a chivalrous hand to Stacy Courtney, a natural beauty
     in her early twenties, dressed in casual designer blouse and
     expensive jeans.  They exchange smiles, their faces close
     together, before crossing to join:

     WIDER ANGLE

     Standing by the Porsche is Jack Lehigh, thirty, its
     driver/owner, a broker who's trying to hide the feeling
     he's outclassed.  A third car, sporty but not extravagant,
     has pulled onto the scene bearing Tom Bloodworth, 245
     pounds of ex-linebacker who serves as Tanner's aide and
     bodyguard.  Lehigh looks at the Vector, shakes his head:

                               LEHIGH
               So this is the Vector...I was beginning
               to think it only existed in your dreams.

                               TANNER
                      (good-natured)
               You'll see it's for real soon enough.
               But if you still have any doubts --
               maybe we should up the stakes.

                               LEHIGH
               Fifty grand's enough.  I hate to see 
               a grown man cry.

     Tanner laughs.  Lehigh heads for his Porsche.  Tanner puts
     his arm around Stacy.

                               TANNER
               3.8 miles.  Think you can occupy your-
               self for about a minute and a half?

                               STACY
               Only if you promise to come back in
               one piece.

                               TANNER
               You're looking at the man with a 
               thousand lives.

                               STACY
               Just so you save one of them for me.

                               TANNER
               I'll do better than that.  I'll save
               'em all.

     He kisses her, heads for the Vector.

     ANGLE IN PORSCHE

     Lehigh works his fingers nervously on the wheel as he revs
     his engine and slides his shift into first.  He looks over at:

     TANNER IN THE VECTOR

     Sitting semi-prone in the cockpit, Tanner calmly flips
     toggle switches and checks digital readouts on water
     temperature, oil pressure, etc., like a pilot readying for
     takeoff.

     WIDER ANGLE

     Stacy crosses between the cars.  Squinting in the head-
     light's glare, she holds a silk scarf high over her head.
     The engines whine, the drivers nod ready and she whips it
     down.

     LOW ANGLE - THE CARS

     starting, scream in high torque as the clutches are released
     and the racing rubber grabs the pavement.  The Vector gains
     an early lead, hitting 100 mph in seconds as the Porsche
     wobbles momentarily before gaining purchase.  They whip
     past camera and out of sight.  Stacy and Bloodworth watch
     the cars disappear into red pinpricks of taillight in 
     seconds.  Stacy's awed.

                               STACY
               I get chills just watching!

                               BLOODWORTH
               Mark wouldn't have it any other way.

                                              CUT TO

     VARIOUS ANGLES - THE BANZAI RUN

     Incredible action as the Vector hits the first turn,
     hugging the corner with fluid grace.  The Porsche sits
     right on its tail, taking advantage of its draft.  They
     blaze out of sight, over the freeways and under the
     skyline.

     OVER TANNER'S SHOULDER - HIS POINT OF VIEW - THE STREETLIGHTS
     AND BUILDINGS

     flip past like flash cards at this speed.  He pilots the car
     perfectly through a right-hand corner, the speeds dipping to
     110, then racing up again.

     ANGLE ON THE L.A. MUSIC CENTER

     The two cars rip around the high end of the stately buildings,
     past the fountains and sculpture and back toward their
     destination.

     STACY AND BLOODWORTH

     staring into the night as the headlights of the runners
     reappear.  Stacy stands at the edge of the street, jumps
     excitedly when she sees them approaching.

                               STACY
               Come on, Mark!  Come on!

     LOW ANGLE - A POTHOLE AND THE VECTOR

     The Vector hits a rough patch of pavement and the back
     wheels momentarily leave the ground.  That moment is enough
     to send the engine whining up to red-line plus and Tanner
     loses control.

     CLOSE ON STACY

     Her excitement turns to horror as she sees the Vector
     careening out of line and closer to her.  There's no time
     to react before:

     SLOW MOTION - THE ACCIDENT

     The Vector barely clips Stacy but at this speed, that's
     enough to send her flying like a broken doll onto the 
     sidewalk.  Tanner recovers control, grazes light standard,
     and brakes the car to a stop a hundred yards down the 
     street.

     ANOTHER ANGLE

     Bloodworth races to Stacy, starts checking for a pulse.
     Tanner and Lehigh pull back into the shot.  Tanner comes
     from the Vector, shaken, Lehigh, right behind him.

                               TANNER
               What happened?!
                      (to Bloodworth)
               Why'd you let her stand in the 
               street!

                               BLOODWORTH
               I didn't let her do anything.

                               LEHIGH
               Is she alive?  Oh my God, what if
               she dies...?

                               BLOODWORTH
               I feel a pulse, but it's weak.

                               LEHIGH
               Somebody's gotta call an ambulance!

     Lehigh looks like he's about to unravel.  Tanner grabs his
     arm.

                               TANNER
               Jack, I'll take care of it.  Go
               home, get drunk -- I don't care,
               just get out of here.  And keep your
               mouth shut.  This didn't happen.
               Tonight didn't happen.

     He pushes Lehigh toward the Porsche, then turns to
     Bloodworth, who's still with Stacy.

                               TANNER
               Call an ambulance.  Just make sure 
               you're nowhere near here when it 
               comes.

     Without waiting for a reply he climbs into the Vector, hits
     the gas.  In an instant he's gone.

                                              CUT TO

     EXT. HIGHWAY - DAY - ON K.I.T.T.

     sleek lines blending in with the countryside.

                               K.I.T.T.'S VOICE
               According to Coach Berchuk, his Lions
               should have no problem with the 
               Wranglers on Sunday.

     ANGLE IN K.I.T.T.

     Michael watches as the morning sports pages flip across the
     monitor.

                               MICHAEL
               That's why I'm picking the Wranglers
               to win.  Every time Berchuk toots his
               horn the team loses.

                               K.I.T.T.
               Twenty-two men in mock war regalia
               knocking each other down for posses-
               sion of an air-filled bladder made of
               a pig's skin.  Chased by more men
               dressed as zebras blowing whistles.
               Some human institutions confuse me
               but football is a total mystery.

                               MICHAEL
                      (a smile)
               Wish I could help you out, Kitt.
               It's a little like rhubarb -- either
               you like it or you don't.

                               K.I.T.T.
               Michael, if you're going to use a 
               multi-million dollar system to read a 
               twenty-five cent paper, you could at
               least read the front page.  Be well
               informed.

                               MICHAEL
               Okay, wise guy.  Lay a little world,
               national, and local on me.

                               K.I.T.T.
               That's more like it.

     Dozens of pages flip past.  We settle on the front page.

                               K.I.T.T.
               Allow me.  'In Washington today, a 
               nuclear freeze bill goes before
               Congress in --- '

                               MICHAEL
                      (interrupting)
               Kitt!  The lower left corner -- blow
               it up.

     A portion of the page grows larger, revealing a picture of
     Stacy with her name and a caption.

     Michael reacts, worst fears confirmed.

                               MICHAEL
               Stacy....

                               K.I.T.T.
               Someone you know, Michael?

     Without answering, he stomps on the brakes, spins the wheel.

     WIDER ANGLE

     Kitt spins a 180 and heads back the way he came,
     accelerating.

                                              CUT TO

     EXT. CENTRAL RECEIVING HOSPITAL - DAY - ESTABLISHING

     A modern big-city hospital.

     INT. HOSPITAL CORRIDOR - DAY - MOVING WITH MICHAEL

     He nods his thanks to a nurse who points him down the hall.
     He moves quickly down to a window in the hall set next to
     double doors marked:  "Intensive care".  He looks through
     the window.

     ANGLE TO INCLUDE INTENSIVE CARE

     Lying in bed attached to life-support machines, is Stacy,
     her fragile beauty shining even in this condition.  Seated
     on the far side of her bed, holding her hand, is her father,
     Jim Courtney, a career cop around forty-five.  He has a face
     that's world-weary but not cynical; right now it's grey,
     showing the ravages of his all-night vigil.

     Michael's face clouds with concern, worry.  These are 
     people he cares about deeply.

     A nurse appears, puts a hand on Courtney's shoulder.  It
     takes him a moment to react to her presence, then he looks
     up at her, nods, and rises slowly, crossing toward the door.

     ANGLE IN HALLWAY

     Michael waits, ambivalent, as Courtney emerges.

                               MICHAEL
               Sergeant Courtney?

                               COURTNEY
               Lieutenant.

     He otherwise ignores Michael, pauses to pick up a personal
     item or two left outside.

                               MICHAEL
               How...is she?

                               COURTNEY
               Why?

                               MICHAEL
               I'm a friend.  An old friend....

     Courtney looks at him, a cop's glint in his eye.

                               COURTNEY
               Yeah?  I don't remember your face.
               What's your name?

                               MICHAEL
               Knight.  Michael Knight.

                               COURTNEY
                      (beat)
               You know anything about what happened
               last night?

                               MICHAEL
               I wish I did.

     Courtney studies him a moment, then starts down the corridor.

                               MICHAEL
               I'd like to help.

                               COURTNEY
               I don't need any.

     Courtney doesn't even look back.  Hold on Michael, troubled.

                                              CUT TO

     EXT. CITY STREET - DAY

     K.I.T.T. flashes by.

                               DEVON'S VOICE
               Michael, I expected you over an hour
               ago.

     ANGLE IN K.I.T.T.

     Michael is intent behind the wheel.

                               MICHAEL
               Whatever it is will have to wait.

                               DEVON
                      (a reaction)
               I beg your pardon.

                               MICHAEL
               Sorry, Devon, I'm a little on edge.
               Remember Jim Courtney?

                               DEVON
               Courtney...Your partner when you 
               were on the police force.

                               MICHAEL
               When you're a rookie you don't have
               a partner.  You have a second
               father.  That's what Jim was -- that
               and more.

                               DEVON
               What happened?

                               MICHAEL
               His daughter Stacy was in an 
               accident last night.  Hit and run.

                               DEVON
               I'm sorry to hear that, Michael, but
               I fail to see how that postpones our
               work.

                               MICHAEL
                      (sharp)
               Whoever did it left her lying alone
               on the street.  I'm going to find 
               out who it was and make sure he gets
               what he deserves.  God knows Stacy
               didn't.

                               DEVON
               Michael, don't let your emotions 
               overrule your judgment.

                               MICHAEL
               Meaning?

                               DEVON
               If Courtney discovers your real 
               identity, it could compromise our
               work.

                               MICHAEL
               Gotcha.  I'll stay in touch.

     Devon fades.  Michael pushes buttons.

                               MICHAEL
               Kitt, access the police report on
               Stacy's accident.  Dig deep, pal.
               Dig deep.

                               K.I.T.T.
               Right away, Michael.

                                              CUT TO

     TIGHT ANGLE - A GROUP OF BEAUTIFUL WOMEN

     bouncing up and down in a strenuous synchronized aerobic
     workout.  Pull back slowly to reveal they're dancing on the 
     sidelines of:

     EXT. FOOTBALL FIELD - STADIUM - DAY

     These are the Kittens, cheerleaders for the L.A. Lions
     football team.  Dressed in short t-shirts with Lions logos
     or leotards and shorts, they're really tight and very sexy.
     Behind them we see a group of football players in light
     pads working pass patterns.

     MARK TANNER

     who, we will learn, owns the Lions.  He's wearing a satin
     team jacket and moving to Steve Young, his quarterback,
     just coming off the field.  Tanner looks stressed but in
     control.

                               TANNER
               You looked like ten million bucks
               today.  Considering I paid twenty,
               I'm halfway in the black already.
                      (pats him
                       on back)
               Go take a shower.

     Young picks up one of the cheerleaders.

                               YOUNG
               Okay if I take one of these with me?

                               TANNER
               Take two, they're small.

     The girl squeals in mock protest.  Tanner's eye catches
     something.

     ANGLE TO INCLUDE DIANE LANDREAUX

     coming onto the field from the clubhouse area.  One of the
     cheerleaders, showing up late for practice, she's 
     twenty-two, pretty, with long hair cascading down a 
     dancer's body.  She's also Stacy's roommate, best friend,
     and very disturbed by what's happened.

                               TANNER
               Diane...!

     She pauses.  He crosses to join her.

                               TANNER
               How is she?  Any change?

                               DIANE
               No.  She's still critical.

                               TANNER
               What happened?  Who was she with?
               What was she doing down there in the
               first place?

     Diane looks confused, almost speechless.

                               DIANE
               I don't know what you mean.  She was
               with you last night.

                               TANNER
               Yeah, until about ten, ten fifteen.
               Didn't she tell you?

                               DIANE
               What?

                               TANNER
               I got an emergency call from Dallas
               last night.  We hadn't even ordered.
               I told her I'd send her home in a cab
               but she said she'd call you.  I told
               her to sign for dinner and not to get
               into too much mischief.  I fly in 
               this morning and her picture's in the
               paper!  Now come on, Diane -- you've
               got to know something.

     Diane takes it in, baffled, perplexed.

                               DIANE
               She didn't call me.  I didn't even
               know you'd gone to Dallas until now.

     Tanner sighs, shakes his head; a man with heavy burdens.
     He puts a paternal arm around Diane.  They walk slowly.

                               TANNER
               The thought of losing her...I've
               been going crazy.
                      (beat)
               I feel like a coward saying this,
               but I'm afraid to even visit the 
               hospital.  If those damn reporters
               find out....

     He doesn't finish.  She looks at him, sympathetic.

                               DIANE
               Don't feel like a coward.  You're
               not being fair to yourself.

                               TANNER
               Thanks, Diane.  Believe it or not,
               that helps.

                               DIANE
               There's nothing you can do.  And
               it's not just your wife, Mr. Tanner,
               it's Stacy's father, too.  If he 
               ever found out she was dating a 
               married man....

                               TANNER
                      (sighs)
               I guess you're right.
                      (pauses, takes
                       her hands)
               At times like this it's hard to 
               think clearly.

                               DIANE
               That's what friends are for.

                               TANNER
               There's enough confusion and pain as
               it is.  Maybe everyone's better off
               if it's our secret -- yours, mine and
               Stacy's.

     Diane nods.  Tanner smiles, a sad but heroic figure.

                                              CUT TO

     EXT. DOWNTOWN STREET CORNER - DAY

     the one where the accident occurred.  K.I.T.T. glides into
     shot.

                               K.I.T.T.
               This is the corner, Michael.  The 
               police report indicates a thorough
               search of the area.

     WITH MICHAEL

     He climbs from the car to examine the long skid marks on
     the pavement.

                               MICHAEL
               The police have a lot on their side,
               Kitt, but we've got a secret weapon.
               You.  I want pictures of this.
                      (squats)
               Tires were really wide.  T/A 50's at
               the least.  Four sets.  Two cars....

     INSERT - K.I.T.T.'S MONITOR - TREADMARK

     Then molecular matrix.

                               K.I.T.T.
               And made of very expensive, cold-rolled
               rubber.  Used in formula one racing
               and discarded after each performance.

     BACK TO SHOT

     Michael follows the skid marks, to the light post which the 
     Vector clipped.

                               MICHAEL
               Yeah...well this is no race track.

                               K.I.T.T.
               Obviously not.  Could it be we're 
               dealing with some high class type of
               drag racers?

                               MICHAEL
               You got it, pal.  They're called
               Banzai runners.  It's a speed kick
               for the man who has everything.

     Michael sees something, produces a small vial from his 
     pocket.  Scrapes a tiny chip of paint from the post.
     Michael moves back to K.I.T.T.

                               MICHAEL
               Here's something the police might've
               missed.  I need an analysis of this
               paint chip.

     He climbs into K.I.T.T. and places the vial in the analyzer.

                               K.I.T.T.
               It's exotic and highly unusual,
               Michael.  It may take a while.

                               MICHAEL
               If these guys use racing tires,
               chances are they also use racing
               fuel.  Get me a list of outlets 
               handling nitro-methane.

                               K.I.T.T.
               Right away.

     The computers whir.

                               K.I.T.T.
               There's only one in this area,
               Michael.

                               MICHAEL
               One'll do just fine, buddy.

     He fires K.I.T.T. up, pulls out.

                                              CUT TO

     EXT. "BEYOND THE LIMIT" RACING SHOP - DAY

     A formidable brick building sporting the company's logo and
     a sign reading, "BY APPOINTMENT ONLY" and "NO TRESPASSING".
     And a larger sign:  "CLOSED."  K.I.T.T. pulls around the
     corner, slides up to a stop.

     ANGLE IN K.I.T.T.

     Michael scopes it out.

                               MICHAEL
               Not a very friendly looking place.

                               K.I.T.T.
               There's barbed wire around the entire
               back perimeter.

     Michael climbs out.

                               MICHAEL
               Keep an eye open.

     ANOTHER ANGLE

     Michael climbs up a tree, swings up and over the barbwire
     topping.  Jumps down into the yard.  He's crossing to
     examine a covered race car when:

     TWO DOBERMANS

     snarling and gnashing gallop toward him.

     CLOSE ON MICHAEL

     Eyes go wide, all reflexes go to "flight."  In a second,
     he's back on the fence, climbing up, the dogs at his
     heels.

                               MICHAEL
                      (comlink)
               Kitt, crank up your synthesizer and
               get over here!  Give me the king of the
               jungle.

     INCLUDE K.I.T.T.

     as he screeches up to the fence, emitting jungle bird
     sounds.  This infuriates the dogs more.  One leaps, nearly
     catching Michael's foot.  The sound from K.I.T.T. changes
     to chattering monkeys.

                               MICHAEL
               Kitt!

                               K.I.T.T.
               Michael, I'm building to it.

     The dogs leap again and a lion's roar bursts forth from 
     K.I.T.T.  The dogs immediately back off, cringing.
     Whimpering, they run off into the back of the yard, before
     the roaring stops.

                               K.I.T.T.
               How was that?

     MICHAEL

     much relieved, hops back down into the yard again.

                               MICHAEL
                      (comlink)
               Thanks, pal.  You may have a future
               in Tarzan films.

                               K.I.T.T.
               Unfortunately, Michael, I don't
               think it fooled the person behind you.

     Michael turns to see:

     INCLUDE NIKKI LA DONNA

     A pretty but unmistakably tough lady in her midthirties,
     cocking a .410 shotgun and pointing it right at Michael.
     On Michael's reaction:

                                              FADE OUT

                         END OF ACT ONE

                            ACT TWO

     FADE IN

     EXT. BEYOND THE LIMIT RACING - YARD - DAY - CONTINUOUS
     ACTION

     Michael holds his hands out in front of him.  LaDonna
     doens't lower the shotgun.

                               MICHAEL
               Easy...If I knew someone was
               home I would have knocked.

                               LA DONNA
               Three hundred a week those flesh-
               eaters cost me.  What'd you do to
               them?

                               MICHAEL
               Hey, dig a moat and buy alligators.
               Name's Michael Knight.  This is the
               place to buy racing nitro, isn't it?

     LaDonna glances over at K.I.T.T., snickers:

                               LA DONNA
               If that's the windup you drive, try
               filling up at a toy store.

     But when she looks back, Michael's heading inside.  LaDonna
     moves after him.

                               LA DONNA
               Hey!

     INT. RACING SHOP - DAY

     An immaculate high-priced shop filled with exotic foreign
     cars, in different states of repair.  Michael whistles
     appreciatively at the collection.  Leans over a massive
     engine on a hoist.

                               MICHAEL
               Nice rebuild.  About four hundred 
               fifty horses?

                               LA DONNA
               Five hundred.  What do you want?

     Michael moves by a jacked-up Ferrari.  Notices on the
     fender a distinctive medallion with a logo featuring the
     letter "E".

                               MICHAEL
               You work on Banzai runners?

     La Donna studies him a beat.

                               LA DONNA
               You got the wrong shop, Stretch.

     Michael continues his casual investigation.

                               MICHAEL
               Hey, you're talking to me now.  Like
               the Boss says, cars like this were 
               born to run.

     Michael lifts the tarp back, on a low-slung Porsche.  On
     the car's fender is the same medallion.  The same "E" logo.

                               LA DONNA
               Hands off!

     Michael drops the tarp back down.

                               MICHAEL
               What's the "E" stand for?

     LaDonna raises the gun again.

                               LA DONNA
               It stands for either you walk out of 
               here on your own power, or someone
               wheels you out.

     Michael takes one long last casual glance, spots a back 
     door, then back to LaDonna:

                               MICHAEL
               With such natural charm, you must do 
               great business.

     Then smiles and saunters out.  La Donna watches him go,
     puzzled and disturbed.

     EXT. STREET - DAY - ON K.I.T.T. - MOVING

                               K.I.T.T.'S VOICE
               How are these, Michael?

     ANGLE IN K.I.T.T. - FAVORING MONITOR - MOVING

     The letter "E" in several different sizes, colors, and type-
     faces flashes by.  As one resembling the logo appears:

                               MICHAEL
               Good.  A little taller, with 
               dark flames coming off the back.

     The letter gets closer and closer to the right logo.

                               MICHAEL
               Hold it.  Now put a circle around it.
               That's it.  Can you trace it?

                               K.I.T.T.
               Most logos are copyrighted, but it 
               will take a little time, even for me.

                               MICHAEL
               Well, don't strain yourself.  Two
               or three minutes will be fine.

                               K.I.T.T.
               How sporting of you, Michael.

     INT. MARK TANNER'S OFFICE - DAY

     High overlooking L.A. Lions stadium.  Luxurious room
     sporting trophies, plaques, photos, etc.  Tanner stands by 
     a map on a wall, running a blue marker over a route, as he 
     consults various other maps on a table.  Enjoying himself.
     Abruptly, the door opens and Jack Lehigh bolts in.  Tie
     askew, unshaven, and determined to see him.  He is followed
     by Tanner's sumptuous secretary, Marie.  She tries to usher
     him back out.

                               MARIE
               I'm sorry, Mr. Tanner, he....

     Tanner signals for his secretary to leave.

                               TANNER
               It's all right, Marie, I'm never too
               busy for family or friends.

     As Marie leaves, closing the door:

                               TANNER
               Jack, you look like death warmed 
               over.  Sit down, take a load off.

     Lehigh does not sit.

                               LEHIGH
               I wish it were easy.  I can't stop
               thinking about that girl.

                               TANNER
               Well I've got something to take your 
               mind off it.  Come here.
                      (indicating 
                       maps)
               What do you think about an L.A. to 
               Vegas Super Banzai, I figure we can 
               get the four best drivers....

                               LEHIGH
               What are you crazy!  Someone may
               already be on to us.  I just got a 
               call from Beyond The Limit.  Nikki 
               says this guy in a black T-top...
               a Michael....

                               TANNER
               Knight!  I got the same call.  The 
               big difference is I'm not panicking.
               I've got our alibi covered.

                               LEHIGH
               Mark, Stacey's on the critical
               list.  If she dies we're accessories
               to murder.  We've got to do the 
               right thing before it's too late!

                               TANNER
               Calm down.

                               LEHIGH
               Tell that to Stacy's father.  Why
               didn't you tell me he was a cop?!

     Tanner looks at Lehigh, sees the desperation in his eyes.

                               TANNER
               Jack...I have to buy other people,
               but I count on friends like you.

     Lehigh's not buying this.  Shakes his head "no".

                               LEHIGH
               It's just....

                               TANNER
                      (interrupting)
               ...It's just that it's gonna blow 
               over in a couple of weeks!  Stacy's
               gonna get well and she'll say 
               anything I tell her to.  All 
               confessing's gonna do is drastically
               lower both our lifestyles.  Now am I 
               right?

                               LEHIGH
                      (beat)
               Yeah...I guess so.

                               TANNER
                      (starts moving
                       him to the door)
               Good...Go to the club.  Have a 
               sauna.  Relax.  Everything is gonna
               work out.

     Lehigh nods as Tanner lets him out.  Tanner moves back into
     the room, back to the map.  Though now too preoccupied to 
     enjoy it.  From an inner doorway, Bloodworth appears.

                               BLOODWORTH
               He's gonna crack, sooner or later.

     Tanner looks at him.  Deeply disturbed, not wanting to hear 
     those words.

                               TANNER
               I was praying it wouldn't come to 
               this.

     As he and Bloodworth share a glance.

     EXT. PLAYING FIELD - DAY

     The Kittens, including Diane, doing their kicks to great 
     music.  Working out a flashy routine.  Camera pans wide 
     toward:

     ANGLE ON K.I.T.T. - MOVING

     through a stadium tunnel, and onto the service vehicle 
     track.

                               K.I.T.T.
               Michael, did you know that on third 
               down, seventy-five percent of the 
               time, the defensive team will blitz.

                               MICHAEL
               That's why they invented the trap 
               play.  Glad to see you're starting 
               to appreciate the game, buddy.

     Michael pulls the car to a stop.  Getting out.

                               K.I.T.T.
               Yes.  I place its complexity
               somewhere above checkers and below
               World War II.

     Michael looks back with a wry smile, then moves off.

     ANGLE FOLLOWING MICHAEL

     moving towards the cheerleaders, who have finished their
     routine and are dispersing.  Several move by Michael.  He 
     draws some smiles and returns some as well.  He zeroes in on
     Diane, who is stretching her long, beautiful legs.

                               MICHAEL
               Diane?

     Diane looks up.  Michael continues.

                               MICHAEL
               I'm Michael Knight...friend of 
               Stacy's.

     Diane's face turns tense.  Expecting the worst.

                               DIANE
               Oh, no, don't tell me she's....

                               MICHAEL
                      (gently)
               No, I didn't mean to frighten you.
               She's still holding her own.

     Diane's relieved, but still emotional.

                               DIANE
               Stacy's a fighter.  She won't let 
               go.  I know it...It's just so
               horrible what happened.

                               MICHAEL
                      (slight beat)
               What did happen, Diane...did you
               know where she was going last night.

     Diane continues stretching, nervously.  Michael sees this.

                               DIANE
               No...she never told me.

     ANOTHER ANGLE - BLOODWORTH

     across the field, looking over at Michael with Diane.  The 
     black T-top nearby.  Disturbed, he moves over to Tanner who
     is talking with an N.D. coach.  Whispers to him.

     BACK TO SCENE

                               MICHAEL
                      (gently)
               ...I'm just trying to help find 
               whoever ran down Stacy.  You want 
               that too, don't you?

                               DIANE
                      (looks at him)
               Of course.

                               MICHAEL
               Then give me a hand.  Was she seeing
               someone?

     Diane looks really nervous now.  Before she can speak,
     Tanner approaches, calling:

                               TANNER
               Everything all right, Diane?

                               DIANE
               Sure.  This is Michael Knight.  He's
               a friend of Stacy's.

     Recognizing the name, Tanner hesitates a beat.

                               TANNER
               Terrible tragedy.

                               MICHAEL
               Did you know Stacy?

                               TANNER
                      (nods)
               I met her once or twice.  Enough to
               know how lovely she is.  I hope to 
               heaven she's going to be all right.
                      (slight beat;
                       smiles)
               You finished for the day, Diane?

                               DIANE
               Yes, Mr. Tanner...I thought I'd stop
               by the hospital.

                               TANNER
               Good girl.

     With that, Diane grabs her gym bag and moves off, giving
     Michael a look, but not wanting to commit much more.
     Tanner turns to Michael.

                               TANNER
               No, Mr. Knight.  I'm going to have
               to ask you to leave.  I've got my 
               Lions charging out and practices are
               closed to the public.  You understand,
               don't you?

                               MICHAEL
               Of course.

     He starts to K.I.T.T., Tanner following admiring K.I.T.T.'s
     sleek lines.

                               TANNER
               That's some wild bucket you're 
               driving.  Is it fast?

                               MICHAEL
                      (slight smile)
               When I need it to be.  Why?

                               TANNER
               I'm just a man who appreciates fast
               cars and fast women.  Although with
               a car at least you can sell it when 
               you're tired of it.

     He laughs at his own joke.  Michael smiles.  Gets into 
     K.I.T.T.  Tanner waves as Michael drives off.  We hold on 
     his look.

     EXT. STADIUM STREET - ANGLE IN K.I.T.T.

     in motion.  As they pull out of the stadium onto the 
     surface streets.

                               MICHAEL
               So that's Mark Tanner -- living 
               proof that money doesn't buy class.

                               K.I.T.T.
               Michael, I've just completed the 
               trace on your logo.  It's registered
               to an elite club called Edge.
               Incorporated.

                               MICHAEL
               Sounds like a bunch of Yahoos, who 
               like to push it to the limit.

                               K.I.T.T.
               Those aren't exactly the words of 
               their charter, but that is the 
               general idea.  You might be 
               interested in knowing who their 
               president is.

                               MICHAEL
               Don't tell me...Mark Tanner.

                               K.I.T.T.
               How did you guess?

                               MICHAEL
               I didn't...Let's see if you can get 
               a list of the members and their 
               cars, pal.

                               K.I.T.T.
               Right away...Michael, are we 
               speeding?

                               MICHAEL
               No...why?

     The sound of a police siren is heard.  As Michael reacts.

     INCLUDE POLICE CAR

     moving up behind them.  Over its PA we hear:

                               COURTNEY'S VOICE
               Pull over.

     As Michael brakes:

     EXT. STREET - DAY

     K.I.T.T. parks roadside, the police car right behind it.
     Courtney moves to K.I.T.T.'s driver's door.

                               COURTNEY
               Out of the car.

     Michael steps out.

                               MICHAEL
               I didn't know police lieutenants 
               worked traffic detail.

                               COURTNEY
               There's obviously a lot about the 
               police you don't know.  Primarily,
               we don't like amateurs mucking up 
               our investigation, by wearing out 
               the leads.  Get the picture?

                               MICHAEL
               Got it.

                               COURTNEY
               Good.  Because the next time I hear
               you've been asking questions, I'm
               going to consider slapping you with 
               an obstruction charge.  So unless
               you like contemplating your navel
               for thirty day stretches, stay out 
               of my face.

                               MICHAEL
               Just remember we're on the same side.

                               COURTNEY
               Oh yeah?...What side is that?  If
               anyone ever smelled hinky, it's you,
               Mr. Michael Knight.  I checked you 
               out.  Up to two years ago, you 
               didn't exist.  Now do me a favor,
               disappear again.

     Courtney gives him a hard look, then starts off.  Michael 
     calls to him.

                               MICHAEL
               How's Stacy doing?

                               COURTNEY
               The same.

                               MICHAEL
               Alright if I keep a good thought for 
               her?

                               COURTNEY
               Sure.  She needs all she can get.

     Then he gets into his car and drives off.  Michael gets 
     back into K.I.T.T., pulling away.

     ANGLE IN K.I.T.T.

     in motion.

                               MICHAEL
               Buddy, I'm starting to worry, about
               Jim.  He's wound pretty tight.

                               K.I.T.T.
               Maybe this will help...I've just 
               been going over the members in Edge
               Incorporated with Devon.  One of 
               them, a Jack Lehigh, owns a silver
               racing Porsche.  The original tires
               for that particular model....

     INTERCUT - MONITOR - MICHAEL

     We see graphics of tires, then treadmarks.

                               K.I.T.T.
               ...match trademarks found at the 
               accident site.

                               MICHAEL
               Where can we find this Jack Lehigh?

                               K.I.T.T.
               He's a stockbroker, but when Devon
               called, he was informed that Mr. Lehigh
               had gone to see his mechanic.

                               MICHAEL
               His red-haired mechanic?

                               K.I.T.T.
               Yes.  I was certain you wouldn't 
               forget her.

                               MICHAEL
               Not a chance.  Time to rock and roll.

     With that, Michael steers the car into a quick 180 turn,
     zooming off the other way.

     INT. BEYOND THE LIMIT - GARAGE - DAY

     Courtney inside with Nikki LaDonna.  As she looks over his 
     car, Lehigh fidgets.

                               LA DONNA
               I can sell it for you...no questions
               asked...but you're not gonna get 
               what it's worth.

                               LEHIGH
               I don't care, Nikki.  Look I'll give 
               you a good cut off the top.  Take 
               whatever you can get.

                               LA DONNA
               You're not talking sell.  You're 
               talking vanish, aren't you?

                               LEHIGH
               That's the bottom line.

     Their heads turn as the sound of a car, pulling up to the
     open garage door is heard.

     CAMERA ANGLE

     to include K.I.T.T. parking.

                               LA DONNA
               Here comes Stretch again.

                               LEHIGH
               Who is he?

                               LA DONNA
               That Knight character.  I called you 
               about.

     As Lehigh reacts, Michael steps out of K.I.T.T. and into 
     the garage.  He spots the silver Porsche, Lehigh near it.

                               MICHAEL
               Mr. Lehigh?

     That's all Lehigh needs to hear.  He rushes quickly toward
     the back door and out.  Michael moves after him, talking 
     into his comlink.

                               MICHAEL
               Kitt.  Go round the back.  He's 
               getting away.

     ANGLE IN K.I.T.T.

     A lighted gas pedal, accelerating.  K.I.T.T. pulls out.

     EXT. BEYOND THE LIMIT - SIDE STREET - DAY

     Bloodworth, in an idling sports car, waiting on the 
     deserted street.

     LEHIGH

     rushing out of the back alley.  And onto the street.
     Pursued by Michael, followed by Nikki La Donna.  The 
     cound of a revving engine is heard.  Michael screams.

                               MICHAEL
               Look out!

     Lehigh turns.  His face freezes.  A mask of terror as 
     Bloodworth's car hurtles down on him.  Running him over.

     MICHAEL

     reacting.  La Donna, too, as K.I.T.T. screeches up.
     Michael turns to La Donna.

                               MICHAEL
               Call an ambulance, quick.

     Then, getting into K.I.T.T.:

                               MICHAEL
               I want him, pal!

     ANGLE IN K.I.T.T.

     as they zoom away.

                               MICHAEL
               What do you see?

     ON MONITOR - MAP DISPLAY

     with blinking light.

                               K.I.T.T.
               I have him, Michael.  He's heading 
               for open traffic.

                               MICHAEL
               Not if we can help it!

     EXT. STREETS - DAY - VARIOUS ANGLES OF CHASE

     ANGLE IN SPORTS CAR

     Bloodworth is driving for his life and he knows it.  Skids
     a turn into:

     EXT. ALLEY - DAY

     The sports car screeches into an alley behind a water 
     bottling plant.  A worker who is directing a truck loaded 
     with bottles leaps aside as the sports car whizzes past.  He
     shakes his fist, continuing his direction.

     ANGLE IN K.I.T.T.

     in hot pursuit.  Michael rips into the alley and sees the 
     load of bottles closing off his path.  He reaches for Turbo
     Boost.

                               MICHAEL
               Can we clear it, buddy?

                               K.I.T.T.
               I don't think so, Michael.  We're too
               close.

                               MICHAEL
               Nothing ventured nothing gained.

     Michael hits the button.

     VARIOUS ANGLES - UNDERCRANK - THE CRASH

     K.I.T.T. goes airborne and crashes into the load of bottles.

     It's spectacular.  Glass and gallons on water burst in 
     every direction.  K.I.T.T. comes to ground on the other 
     side in a shimmering field of debris.

     ANGLE ON MICHAEL

     grimacing in frustration.

                               MICHAEL
               Oh, no....

     WHAT HE SEES

     Facing K.I.T.T. is a vertical army of water trucks.
     K.I.T.T. zigs into their midst, but there's no sign of 
     Bloodworth.  Finally Michael brings K.I.T.T. to a halt.

     ANGLE IN K.I.T.T. - MICHAEL

     falls back against the headrest, disappointed and 
     frustrated.

                               K.I.T.T.
               Could this be considered 'fumbling 
               the ball.'

                               MICHAEL
               In the end zone, buddy.  But game's 
               not over yet, pal.

     On his burn:

                                              FREEZE FRAME

                                              FADE OUT

                         END OF ACT TWO

                            ACT THREE

     FADE IN

     EXT. HOSPITAL - DAY - ESTABLISHING

     INT. STACY'S ROOM - DAY

     Stacy is in a deep sleep.  Courtney stands over her.  There
     are tears in his eyes.  Then he bends over, kisses her 
     forehead and leaves the room.

     INT. CORRIDOR - DAY

     Start on Courtney coming out, then something catches his 
     eye that causes him to tense up.

     ANGLE TO INCLUDE MICHAEL

     heading his way.

                               MICHAEL
               Any improvement?

                               COURTNEY
                      (impersonally)
               A little.

                               MICHAEL
               Even a little's encouraging.

     Beat, then Courtney unloads:

                               COURTNEY
               You wouldn't listen to me, would
               you?  You couldn't keep your nose 
               out of this!

                               MICHAEL
               If you're talking about Lehigh....

                               COURTNEY
               You bet that's who I'm talking 
               about!  I was this far from picking 
               him up, only I would've got him to
               talk, not let him get killed!
                      (pointing his 
                       finger at him)
               You just cost me my number one 
               suspect, Knight!

                               MICHAEL
               Lehigh didn't run down Stacy.

                               COURTNEY
               You don't know that for sure!

                               MICHAEL
               The car he raced was silver.  The 
               one that hit Stacy was pale green.
               That much I do know.

                               COURTNEY
               All right, so if he didn't do it
               himself at least I could've got him 
               to tell me who did.

                               MICHAEL
               No way, Jim.  You were two steps 
               behind, and Lehigh was a dead man 
               from the minute he entered that 
               garage.  Now maybe it's time we 
               started working together.

                               COURTNEY
                      (incredulous)
               You and me.

                               MICHAEL
               That's right.  This isn't the Old
               West, even sheriffs had their 
               deputies.  We could pool our 
               information, back each other up.

                               COURTNEY
               Like partners, huh?

                               MICHAEL
               Yeah...like partners.

     Courtney studies him a beat, trying to figure him out.

                               COURTNEY
               Forget it...I work alone.

     He starts off.

                               MICHAEL
               Jim....

     Courtney turns:

                               COURTNEY
               What now?

     Michael looks at him a long beat, very tempted to confess,
     but:

                               MICHAEL
               You're right...forget it.

     Beat, then Courtney heads out.  Michael stands watching him.

     EXT. CANYON STREET - DAY

     Tanner is driving Diane home in his expensive open conver-
     tible.  She's silent, troubled.  He's also got something on
     his mind.  Glances over at her:

                               TANNER
               Thinking about Stacy, huh?

                               DIANE
                      (nods)
               Yeah...I really miss her.  She was
               always so much fun.

                               TANNER
               I know what you mean.  But she'll be 
               well soon, you'll see.
                      (silence, then)
               Diane...that Michael Knight hasn't 
               been around again, has he?

                               DIANE
               No...why?

                               TANNER
               Just curious.  He's been asking a 
               lot of questions of my friends
               lately, poking his nose in my 
               business, and that's one thing I
               won't tolerate.
                      (beat)
               There's something else I won't 
               tolerate, Diane....

     She looks at him curiously.

                               TANNER
               Disloyalty.
                      (pleasant)
               I expect my friends, my players, all
               the people who work for me to be a 
               hundred and ten percent loyal, all 
               the time.  You can understand that,
               can't you?

                               DIANE
                      (a bit
                       uncomfortable)
               Yes....

                               TANNER
               That's my girl.  And that's why if 
               this Knight does come to see you, 
               about anything, you're going to send
               him away, and then call me.
                      (turns to her,
                       pleasant)
               Right?

                               DIANE
                      (begins 
                       feeling 
                       a chill)
               If that's what you want....

     Tanner pulls in front of her house, looks to her, smiles:

                               TANNER
               I'm glad we had a chance to talk.
               Have a good evening, Diane.

                               DIANE
                      (slight beat)
               Thanks for the lift.

     She gets out and hurries toward the house.  Tanner watches 
     her enter and then drives off.

     INT. DIANE'S LIVING ROOM - DAY

     It's simply furnished, funky and fun.  Diane enters, closes 
     the door, turns, and reacts with a start.

     ANGLE TO INCLUDE MICHAEL

     standing at the window, having just seen Tanner drive off.

                               DIANE
               How did you get in here?

                               MICHAEL
               You left your patio door open.
               Trusting, but not very smart.
                      (re window)
               Does Tanner drive all his kittens
               home?

                               DIANE
               If it's any of your business, my 
               car's in the shop.  He offered to 
               give me a lift.

                               MICHAEL
               That's what I call being good to 
               your local cheerleader.

                               DIANE
               Look, what do you want?

                               MICHAEL
               I want to know who Stacy had a date 
               with that night.

                               DIANE
               I'm her roommate, not her shadow.

                               MICHAEL
               You're also her best friend.

                               DIANE
               I don't know.

     She turns to go into another room, Michael takes her arm
     gently:

                               MICHAEL
               Diane, Stacy's in a coma.  There's a 
               chance she'll never come out of it.

                               DIANE
                      (pulls away,
                       close to 
                       breaking)
               Don't you think I know that?  Don't
               you think I care?

                               MICHAEL
               If you care, then tell me.

                               DIANE
               I can't.

                               MICHAEL
               Why not?  Diane, who are you afraid 
               of?

     She looks at him, and he sees the fear in her eyes.  Then 
     he glances toward the window where he saw Tanner, and it 
     dawns on him:

                               MICHAEL
               Tanner!  That's it, isn't it?  Stacy
               was dating Mark Tanner!

                               DIANE
               Yes!  But he had nothing to do with 
               her accident.

                               MICHAEL
               What makes you so sure?

                               DIANE
               Because the police said it happened 
               around midnight.  Stacy and Mark were 
               having dinner earlier when Mark was 
               called out of town.

                               MICHAEL
               And what happened to Stacy.

                               DIANE
               He sent her home, only she never got 
               here.

                               MICHAEL
               Tanner told you all this?

                               DIANE
               Yes.

                               MICHAEL
               That helps a lot.  Thanks Diane.

     He leaves.  Hold for a beat on her torn look.

     EXT. STREET - DAY - ON K.I.T.T.

     churning up the pavement.

                               K.I.T.T.'S VOICE
               Michael, the airport logs confirm 
               Tanner's alibi.

     ANGLE INTO K.I.T.T.

                               MICHAEL
               So his plane took off and landed.
               That doesn't mean he was on it.  By
               the way, did you ever get an analysis
               of that paint chip from the accident 
               site?

                               K.I.T.T.
               It just came in, Michael.  It's a 
               special high-lead racing paint from 
               a factory in Italy.  They make a car 
               called the Vector.  It's pretty 
               terrifying.

                               MICHAEL
               Show me what you've got.

     INSERT - K.I.T.T.'S MONITOR

     a dazzling 3-D image of the Vector appears.  Michael 
     whistles softly.

                               K.I.T.T.'S VOICE
               A double turbo 600 horse engine.  Can-
               Am aluminum-titainium body.  Zero to 
               sixty in 3.5 seconds.  Top speed 200
               plus.  Totally illegal to drive in 
               this country by all civilized standards.

     BACK TO SHOT

                               MICHAEL
               No one ever accused these guys of 
               being civilized.  Any chance Tanner 
               owns one?

                               K.I.T.T.
               With his money anything is possible,
               although I can't find a registration 
               to prove it.

                               MICHAEL
               Then maybe we'll have to prove it 
               another way.

     He makes a sharp turn.

     EXT. STREET - DAY - ON K.I.T.T.

     peeling a 180 and racing off the other direction.

     EXT. FOOTBALL STADIUM - DAY - ON SIGN

     bearing an L.A. Lions logo, reading:  "CLOSED WORKOUT.  NO
     ADMITTANCE".

     ANGLE ON K.I.T.T.

     pulling up.  Michael sees the signs, notes all the gates 
     are barred.

                               MICHAEL
               Kitt, see if you can find a way in.

     INSERT - K.I.T.T.'S MONITOR

     We see various locked gates flashing by, then hold on an 
     open drive-in gate.

     BACK TO SCENE

                               K.I.T.T.
               Michael, there is one open gate,
               but....

                               MICHAEL
               Let's go for it, Kitt....

                               K.I.T.T.
               Only....

                               MICHAEL
               Kitt, if you don't mind!

                               K.I.T.T.
               Whatever you say, Michael.

     K.I.T.T. heads for a side gate.

     ANGLE ON GATE

     as K.I.T.T. is about to move through it.

                               K.I.T.T.
               Why do I feel like I'm entering the 
               jaws of a lion?

     EXT. STADIUM FIELD - DAY - ON K.I.T.T.

     as he comes onto the field...and finds himself smack in the 
     middle of a scrimmage game.

                               K.I.T.T.
               Now I know.

     VARIOUS ANGLES

     the ball is snapped.  Steve Young receives it and throws a 
     long pass.

     IN K.I.T.T.

     trying to avoid the charging players he accidentally catches 
     the football through his open sunroof.

     K.I.T.T.'S POINT OF VIEW - THE DEFENSIVE LINE

     as then some, charging him.

                               K.I.T.T.'S VOICE
               Michael, why are all those helmeted 
               behemoths charging me?!

     INTERCUT AS NEEDED - TO INCLUDE TANNER

     who watches from the sideline, along with the Kittens.

                               MICHAEL
               'Cause you got the ball, buddy.

                               K.I.T.T.
               Not anymore!

     ANGLE TO INCLUDE DASH

     as the eject button lights up, and the football is ejected
     from the passenger seat.

     ON FOOTBALL

     flying high in the air, then landing in the arms of a well-
     known player.

                               K.I.T.T.
               Let him worry about it.

     VARIOUS ANGLES

     As K.I.T.T. drives through the on-field mayhem, the new 
     receiver is hit from behind.  The ball flies from his hands 
     and before it can hit the ground, Michael steers the Trans
     Am under it again, catching it in the sunroof.

                               K.I.T.T.
               Michael, I really don't enjoy this
               game.

                               MICHAEL
               It's not a game, pal.  It's showtime!
               And I want to make sure the spotlight
               is on us.

     ANGLE ON TANNER

     His interest and his blood pressure rising as he watches 
     the Trans Am.

     WHAT FOLLOWS

     is probably a first, as Michael drives through two teams,
     crisscrossing the field, reversing, running various 
     patterns, and finally crossing the goal line.

     ANGLE IN K.I.T.T.

     as Michael pulls to a stop.

                               MICHAEL
               You're another Marcus Allen, buddy.

                               K.I.T.T.
               I suppose that's meant to be a 
               compliment.

                               MICHAEL
               Strictly MVP time, Kitt.

     Michael gets out and the Kittens crowd around, one putting 
     her arms around his neck.

                               KITTEN ONE
               Fantastic!  I've never seen moves 
               like that before!

                               MICHAEL
               You should see me on my pass plays.

                               KITTEN ONE
               I'm pretty aggressive on offense 
               myself.

     She looks at him, into him.  He returns the look until:

                               K.I.T.T.
               Michael, somehow this doesn't sound 
               like football talk to me.

     Michael is about to respond when:

     ANGLE TO INCLUDE TANNER

     joining Michael.  The Kittens will drift off.

                               TANNER
               It seems there's no limit to this 
               car's ability.

                               MICHAEL
                      (pats K.I.T.T.'s
                       fender)
               You got that right.  And if it was
               any faster it would need wings.  Of 
               course, if you don't believe me....

                               TANNER
               Are you suggesting a race, Knight?

                               MICHAEL
               If you've got the wheels to make it
               interesting.

                               TANNER
               Oh, I've got the wheels all right.
               Question is...do you have the guts?

                               MICHAEL
               Just name the time and place.

                               TANNER
               Midnight.  The corner of Temple and 
               Third.  And...what say we run for 
               pink slips?

                               MICHAEL
                      (nods)
               Banzai.

     Michael slides into K.I.T.T. and peels out.

     EXT. DOWNTOWN STREETS - NIGHT

     We're back in the area where we first saw the racers.
     K.I.T.T. pulls around a corner like a prowling black shark.

     ANGLE INTO K.I.T.T. - ON MICHAEL

                               K.I.T.T.
               Michael, I just don't see a man like 
               Tanner bringing out the guilty car 
               for a race.

                               MICHAEL
               Frankly, I don't either, but it is 
               worth a shot.

                               K.I.T.T.
               And if the shot misses?

                               MICHAEL
               Then it's onto Plan B.

                               K.I.T.T.
               And what, may I ask, is Plan B?

                               MICHAEL
               Here they come, Kitt.

     WIDE ON THE STREET

     A low slung Lamborghini Countach pulls around the corner
     followed by a large truck.  The Countach is an evil-looking
     racing machine.  It pulls up next to Michael and disgorges
     Tanner, who strolls over to K.I.T.T.  Bloodworth climbs 
     from the nearby truck.

                               TANNER
               All right if my man holds the pinks?

                               MICHAEL
               If it makes him happy.

     He reaches in his pocket, hands Tanner K.I.T.T.'s title.
     Tanner passes them to Bloodworth.

                               TANNER
                      (to Michael)
               Ready?

                               MICHAEL
               Let's burn!

     Tanner climbs into his car.

     CLOSE ON THE CARS

     as they explode off the pavement.

     VARIOUS ANGLES - RACE

     over the city course.

     FIRST CORNER

     The cars skid around it in four-wheel drift as though 
     bolted together.

     TANNER

     glances sidelong at K.I.T.T.  This is a challenge like he's
     never known.

     ANGLE IN K.I.T.T.

     The speedometer is clicking up so fast we can't read it.
     Past 150.

     BRIGHT STREET

     The cars rocket through the glass, concrete and electricity.
     They turn a final corner for home.

     ANGLE IN K.I.T.T.

                               K.I.T.T.
               Michael, we could've taken him by
               now.  What are you doing?

                               MICHAEL
               Plan B, Kitt.  Plan B.

     He's slowing noticeably as:

     THE FINISH LINE

     The two cars slam past Bloodworth, the Countach with a half 
     length lead.  They slow, turn and drive back to the starting
     point.

     ANGLE IN K.I.T.T.

                               K.I.T.T.
               Michael...you...you lost me!

                               MICHAEL
               That...is...Plan B!

     Michael's out of the car to meet:

     TANNER AND BLOODWORTH

     Bloodworth prepares to pull K.I.T.T. into the waiting truck.

                               TANNER
               Looks like your machine just got 
               its wings clipped.

                               MICHAEL
               Just take good care of it.

                               TANNER
               Maybe.  Maybe I'll scrap it for 
               parts.

     INSERT - VOICE BOX

     K.I.T.T. gulps.

     BACK TO SHOT

     Michael puts a hand on K.I.T.T.'s fender.

                               MICHAEL
               So long, old friend.

     CLOSE ON K.I.T.T.'S SCANNER

     moving slower, slower, then going out, as Michael 
     disappears into the night.

                                              FREEZE FRAME

                                              FADE OUT

                        END OF ACT THREE

                            ACT FOUR

     FADE IN

     EXT. FOUNDATION - DAY - ESTABLISHING

     The morning calm is shattered by the tense sound of:

                               BONNIE'S VOICE
               Michael, how could you have done this.

     INT. DEVON'S OFFICE - DAY

     Michael is pacing while Bonnie labors over the computer and 
     a small radio-like device which emits intermittent static.
     Devon looks on from his desk.  It's been a tough night.

                               MICHAEL
               It was the only way.

                               BONNIE
               Losing him in a race?

                               DEVON
               Really, Michael, you overstepped 
               your bounds.  Losing Kitt is...
                      (can't find
                       a word bad 
                       enough)
               ...unforgivable.

                               MICHAEL
               For the last time, I didn't lose 
               him.  I figured his homing signal
               would lead us to where Tanner's
               keeping the Vector.  How was I 
               supposed to know the tracking device
               wouldn't work?

                               BONNIE
               It does work!  But there's so much
               interference, I can't tell what's 
               coming from Kitt and what isn't.
                      (beat)
               This is really awful.  Poor Kitt.

                               MICHAEL
               Okay, look.  What direction is the 
               primary signal coming from?

                               BONNIE
               It's hard to say.  Considering 
               reflection...
                      (beat)
               I can't even hazard a guess.

                               MICHAEL
               Bonnie, I love having you back.
               You're great at your job.  But every 
               minute we argue is a minute we don't
               find Kitt.  Look, maybe the 
               interference is from power lines or 
               something we could get past.  So
               throw that scientist's caution aside
               and give me a direction!

                               BONNIE
               Okay!  Okay.
                      (consults the 
                       device)
               South.

                               MICHAEL
               Let's go.  Bring that thing with 
               you.  Devon, give me your keys.

     Devon fishes them out of his pocket, hands them to 
     Michael.  Bonnie picks up her portable receiver.

                               DEVON
               This had better work, Michael.

                               MICHAEL
               We'll make it work.

     And they're gone.

                                              CUT TO

     EXT. STADIUM - DAY - ESTABLISHING

     Deserted at this hour.

     INT. KITTENS LOCKER ROOM - DAY

     Diane, fearful, is quickly emptying her locker and stuffing
     her belongings into a small shoulder bag.  Just as she 
     finishes and slams the locker:

                               TANNER'S VOICE
               Here awfully early, Diane.

     She jumps a little, turns to see:

     ANGLE TO INCLUDE TANNER

     leaning in the room's doorway.

     She tries to hide what she's doing as he moves closer to 
     her.

                               DIANE
               I...I just needed a couple things.

     He opens her locker, sees it's cleaned out.  He looks in
     her gym bag, then searches her with a look she can't meet.

                               TANNER
               Diane, I'm disappointed in you.

                               DIANE
               I'm going home.  Back to my folks.

                               TANNER
               When I hired you you said this was 
               your chance of a lifetime.  National
               exposure, TV.  It'd take a lot to 
               make you leave.

     He's pressing.  She's more and more nervous.

                               TANNER
               It's Michael Knight, isn't it.
               What'd he tell you?

                               DIANE
               Nothing.

                               TANNER
               Then he did come see you.

                               DIANE
               No...I mean, I didn't tell him 
               anything!

                               TANNER
               Diane, I'm sorry.  I can't let you 
               go just now.

     She tries to dart past him to the door but he's too quick,
     too powerful.  She struggles in his grip, starts to scream,
     but he clamps a hand over her mouth.

     EXT. CITY STREET - DAY

     Devon's Mercedes flashes by, Michael driving, Bonnie in the
     passenger seat.

     ANGLE IN MERCEDES

     Bonnie is monitoring the computer in her lap.  Michael 
     looks tense, keeps glancing at her.

                               MICHAEL
               Talk to me.

                               BONNIE
                      (frowns)
               The signal's stronger now, but it's 
               in multiples.

                               MICHAEL
               Bonnie, spare me the technical
               analysis.  I need a direction.  Left
               or right?

                               BONNIE
               Left.

     ANGLE ON THE STREET

     Approaching a cross street, the Mercedes cuts a left.

                                              CUT TO

     INT. STADIUM - UNDERGROUND GARAGE

     We're close on a large drill, boring into a hard surface
     but not making any progress.  Pull back to reveal it's held
     by Bloodworth, doing his best to get into K.I.T.T., who's 
     parked in a well-stocked indoor garage/lube bay.  Next to 
     K.I.T.T. under a tight-fitting nylon cover is a low 
     silhouette we recognize as belonging to the Vector.

     ANOTHER ANGLE

     Bloodworth holds up the drill to examine the bit.  It's 
     badly bent.  He shakes his head, turns when he hears a door
     opening.  Through the door comes Diane, shoved in roughly 
     ahead of Tanner, who closes it behind him.

                               BLOODWORTH
                      (re K.I.T.T.)
               Forget about pulling the engine on 
               this car, boss.  I can't even get 
               under the hood...
                      (reacts to
                       Diane's
                       presence)
               What's she doing here?

                               TANNER
               She knows.

     Bloodworth reacts.  Off Diane's fearful look:

                                              CUT TO

     EXT. STREETS NEAR STADIUM - DAY

     The Mercedes cruises through light traffic.  Bonnie's 
     tracking device is now emitting a strong regular beep.

                               BONNIE
               Michael, the signal's almost at full
               strength.  We're getting close.

                               MICHAEL
                      (it dawns)
               Lion's Stadium is only a couple of 
               blocks from here.  That's it!

     He floors the car, cutting through traffic and around a 
     corner.

     ANGLE IN MERCEDES

     They speed along, excitement replacing the previous tension.

                               BONNIE
               That makes sense.  If Kitt's under 
               all that concrete, it'd explain the 
               interference.

                               MICHAEL
               How close can that thing pinpoint him?

                               BONNIE
               Not very close.  That place is big.
               He could be anywhere.

                               MICHAEL
               And we may not have much time.
                      (beat;
                       something
                       dawns)
               Wait a minute!

     He picks up the car phone, dials as he drives.  Waits a beat.

                               MICHAEL
               Yeah, Jim Courtney please.  Patch me
               through.  It's an emergency.

     EXT. STREET - DAY - ANGLE ON COURTNEY'S CRUISER

     in motion.

     ANGLE IN CRUISER - INTERCUT MICHAEL

     Courtney picks up his radio mike.

                               COURTNEY
               Yeah, this is Courtney.

                               MICHAEL
               Jim, it's Michael Knight.  I don't 
               have time to explain, but if you 
               want the man who ran down Stacy,
               meet me at the stadium.  Right now.

                               COURTNEY'S VOICE
               I'm on my way.

     Michael hangs up, impatient.

     EXT. STREET - DAY - COURTNEY'S CRUISER

     spins a turn, burns rubber.

     INT. STADIUM - GARAGE - DAY

     Bloodworth finishes tying a frightened Diane to a chair.

                               DIANE
               Please don't hurt me!

     Tanner's been poring over some maps at a workbench.  He 
     moves to join them.

                               TANNER
               Believe me, Diane, I wish there was 
               another way.

     Hold on their looks.

     EXT. STADIUM - PARKING LOT - DAY

     The Mercedes is parked inconspicuously and Courtney's 
     cruiser screeches up to it.  Michael and Courtney are both
     out of their cars quickly to confer.

     ANGLE ON THE TWO MEN

                               COURTNEY
               Okay, Bright Eyes.  What've you got?

                               MICHAEL
               The man who ran down Stacy was Mark 
               Tanner.

                               COURTNEY
                      (incredulous)
               Mark Tanner?  The owner of the Lions?

                               MICHAEL
               That's the one.  We can tie him to 
               it if we can find the car he drove, 
               and it's somewhere under that 
               stadium.  No one knows the inside of 
               this place like you.

                               COURTNEY
               Let's go.

     They dash into the structure.

     INT. GARAGE - DAY

     Tanner turns away from a set of maps to where Bloodworth
     stands guard over Diane.  He's more up now, thinking he 
     sees a way out of all this.

                               TANNER
               Get her ready to move.

                               BLOODWORTH
               What's the plan?

                               TANNER
               I think it'd be a lot better for 
               both of us, friend, if you didn't
               know.

     Bloodworth starts to untie Diane from the chair.

     INT. STADIUM CORRIDORS - DAY

     Michael and Courtney run down a hall to an old door that's
     been long closed.  Courtney tries to open it.  Michael 
     pitches in.

                               MICHAEL
               What's behind here?

                               COURTNEY
               Maintenance stairway.  It'll get us 
               to any level.

     As they pound away, Courtney pauses.

                               COURTNEY
               Wait a second.  How'd you know I 
               could find my way around here with 
               my eyes closed?  Only a few people 
               knew this was on my beat.  My wife,
               my watch commander, and my late 
               partner, Michael Long.

                               MICHAEL
               You want to talk about it or you 
               want to find that car?

     The door gives under Michael's shoulder and they disappear
     through it.

     ANGLE IN ANOTHER CORRIDOR

     as Michael and Courtney burst out and stop to catch their 
     breaths.

                               MICHAEL
               Where to from here?

                               COURTNEY
               I know of two rooms big enough, but 
               I can't say which one.

                               MICHAEL
               Just a minute!
                      (to comlink)
               Kitt?  Can you read me?

                               K.I.T.T.'S VOICE
                      (heavy static)
               Michael, is that you?

     INT. GARAGE - DAY

     Tanner's uncovering the Vector as Bloodworth finishes
     untying Diane.

     ANGLE IN K.I.T.T. - INTERCUT MICHAEL AS NEEDED

     The dash lights up.  Softly:

                               K.I.T.T.
               Michael, thank God you're here.
               They've got Diane.  Hurry!

                               MICHAEL
               Buddy, where are you?

                               K.I.T.T.
               I'm not sure.  It's a low room.
               There's some heavy electrical
               conduit running through here.

     BACK TO MICHAEL AND COURTNEY

                               MICHAEL
               That help you any?

                               COURTNEY
               You know it.  Come on.

     They dash off.

     INT. GARAGE - DAY

     Bloodworth is pulling the struggling Diane into the Vector,
     his hand over her mouth.

                               TANNER
               Strap her in the car.  I'll take it
               from here.

     INT. STADIUM - BASEMENT CORRIDOR

     Michael and Courtney race down the corridor.  Courtney 
     points.

                               COURTNEY
               That's the door.

                               MICHAEL
               You take low, I'll take high.

                               COURTNEY
               You got it, Mike.

     They charge toward the door, kicking it in on the run.

     INT. GARAGE - ANGLE ON DOOR

     It explodes open.  Michael and Courtney burst in.

     FULLER ANGLE

     Tanner's climbing into the Vector beside Diane.  Bloodworth
     is near them.  He turns on the partners instinctively, and 
     charges.

                               MICHAEL
                      (to Courtney)
               High and low!

     Together they clothesline Bloodworth, who crumbles.  As 
     Courtney goes to cuff him:

     ANGLE ON GARAGE DOOR

     opening, and the Vector peeling out into a tunnel.

     MICHAEL

     hops into K.I.T.T.

     ANGLE IN K.I.T.T.

     as the dash comes to life.

                               K.I.T.T.
               Glad to have you back in the driver's
               seat, Michael.

                               MICHAEL
               That makes two of us.  Let's go get 
               'em.

     They screech out in pursuit.

     EXT. STADIUM - PARKING LOT - DAY

     The Vector shoots out of an underground parking tunnel,
     slams onto the pavement and burns off.  Seconds later,
     K.I.T.T. rockets out after them.

     VARIOUS ANGLES OF CHASE

     through the city streets surrounding the stadium.  The 
     Vector hauls for all its worth but can't shake the Trans Am.

     ANGLE IN K.I.T.T.

                               K.I.T.T.
               Shall I try to jam his ignition,
               Michael?

                               MICHAEL
               Too risky at this speed, pal.  We
               can't have him rolling that thing 
               with Diane in there.

                                              CUT TO

     EXT. TWO-LANE ROAD - DAY

     deserted until the Vector flies onto it.  K.I.T.T. is only
     seconds behind.

     VARIOUS ANGLES OF CHASE

     along this road.

     ANGLE IN K.I.T.T.

                               MICHAEL
               Kitt, give me a readout of what's 
               ahead.

     INSERT - MONITOR

     A computer-graphics map shows the road with two fast-moving
     blips indicating the cars.

                               K.I.T.T.
               Michael, this road ends in a washout
               in less than two miles.

     BACK TO SHOT

                               MICHAEL
               They'll never be able to stop in 
               time.

     ANGLE IN VECTOR

     Tanner sees they're running out of road.  He hits his 
     brakes and the car starts to skid out of control.  Diane is 
     terrified.

     ANGLE IN K.I.T.T.

                               MICHAEL
               He's losing it, Kitt.  We've got to 
               stop them.  Here goes.

     He reaches for turbo boost.

     VARIOUS ANGLES - THE JUMP

     K.I.T.T. goes up like a Saturn rocket.  He's up, up, and 
     over the Vector on the final straightaway.

     ANGLE ON K.I.T.T.

     He slams back to Earth in front of the skidding Vector!
     As they start past the signs indicating the end of the 
     road, Michael applies the brakes slowing K.I.T.T. down.  The
     cars bump once, then again.

     ANGLE ON K.I.T.T.'S TIRES

     His superior brakes grabbing the pavement, slowing both cars.

     ANGLE IN THE VECTOR

     Tanner fights for control of his car.  Only K.I.T.T. stands 
     between him and a splintering crash.

     ANGLE IN K.I.T.T. - THROUGH THE WINDSHIELD

     The end of the road coming perilously close, followed by a 
     deep drop-off.

     ANGLE ON THE MONITORS

     registering the upcoming disaster.

     MICHAEL

     sweating bullets.

                               MICHAEL
               More braking force!  Give it all
               you've got!

                               K.I.T.T.
               Michael, I'm at capacity now!  Anymore
               and my brakes will give out, and we'll
               go over with them.

     ANGLE ON THE CARS

     Bumpers kissing, glued together, bumper to bumper, still
     hurtling forward, smoking, screeching, tearing up the 
     highway.

     ANOTHER ANGLE

     Finally, they slow sown to a dangerous but controlled stop,
     inches away from the drop-off.

     ANGLE IN K.I.T.T.

                               MICHAEL
               I knew you could do it, pal.

                               K.I.T.T.
               I appreciate your confidence.

     He's out of the car in a flash.

     FOLLOWING MICHAEL

     He races back to the Vector, pulls Tanner out.  Leaning
     inside.

                               MICHAEL
               You all right, Diane?

                               DIANE
               I am now.

     Michael turns to Tanner.  Pulling Tanner's face to within 
     inches of his own.

                               MICHAEL
               The clock just ran out, Tanner.  You
               lose.

                                              FREEZE FRAME

                                              FADE OUT

                         END OF ACT FOUR

                               TAG

     FADE IN

     EXT. FOOTBALL STADIUM - DAY

     Michael walks with Courtney and Stacy, who's in a wheelchair
     pushed by her father.  Except for this, she shows no sign of
     the accident.  The Lions work out in the b.g.

                               MICHAEL
               Your father tells me you'll be 
               dancing again soon.

                               STACY
               Yes...the Ballet Academy even agreed 
               to hold my scholarship for me.

                               COURTNEY
               She's gonna be a superstar, just 
               wait and see.

     Michael smiles his approval.  They stop.  Courtney looks at 
     him.

                               COURTNEY
               Thanks for your help.

                               MICHAEL
               My pleasure.

                               COURTNEY
               Oh, by the way, I've got a little 
               present for you.

                               MICHAEL
               Hey, come on, no need....

                               COURTNEY
               No, it used to belong to a friend of 
               mine.

     Courtney produces a small box which Michael opens, revealing 
     a police badge.  Beneath it is a name tag reading:
     "M. Long."

                               COURTNEY
               A cop by the name of Michael Long.
                      (beat)
               See you around.

     Courtney goes off, pushing Stacy.  Michael looks at the 
     badge a tender beat, then moves to Devon and Bonnie,
     standing next to K.I.T.T.  He starts climbing in.

                               DEVON
               Michael, what's this I hear about 
               Kitt playing football?

                               MICHAEL
               I tell you, Devon, he's the next 
               O.J.  Let's show 'em, Kitt.
                      (calls over)
               Steve, let's go for a Hail Mary!

     Steve Young waves the football.

                               YOUNG
               One Hail Mary coming up.

                               BONNIE
               Michael, if you hurt him....

     But K.I.T.T.'s already down the field.

     VARIOUS ANGLES

     as Young passes.

                               MICHAEL
               Here it comes, buddy.

                               K.I.T.T.
               It's all mine, Michael.

     K.I.T.T. makes a fantastic catch through the sun roof.

                               MICHAEL
               Touchdown!  Now let's get the extra
               point!

                               K.I.T.T.
               Michael, you can't be serious...you
               wouldn't really...Michaelllll!!!

                               MICHAEL
                      (hitting
                       Turbo-Boost)
               Banzai!!!

     ON K.I.T.T.

     lifting off, higher and higher, and just as he crosses the 
     center of the goal posts for an extra point we:

                                              FREEZE FRAME

                                              AND

                                              FADE OUT

                             THE END