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KNIGHT RIDER: KITTNAP

EXEC. PRODUCERS: Glen Larson, Robert Foster
PRODUCER: Gino Grimaldi
SUPV. PRODUCERS: Burton Armus, Bruce Lansbury

Production #60216
6th Draft - August 6, 1985 (F.R.)

Teleplay: .................. Skip Webster
Director: .................. Bernard McEveety

                              
                                ACT ONE

     FADE IN

     EXT. PENITENTIARY - DAY - ESTABLISHING

     A large maximum security prison somewhere in California.
     The time is midmorning.

     EXT. INSIDE PENITENTIARY MAIN GATE - TWO GUARDS

     react as a sedan with an official insignia that reads 
     Department of Corrections slowly approaches.  This is the 
     Commissioner's car and is on its way out.  As the sedan 
     comes to a stop, a guard respectfully salutes what is 
     presumed to be the Commissioner behind those tinted windows.

                               GUARD #2
               I'm sorry for the delay, Commissioner
               but it's procedure.

     The guard opens the rear door of the sedan to inspect it.

     REAR OF SEDAN - GUARD'S POINT OF VIEW 

     The real driver is tied and gagged on the floor, guarded by
     Lukas, a black convict who wounds both guards with a pistol 
     the instant he opens the door.

     THE SCENE

     as the guard goes down and Lukas emerges from the backseat
     and activates the gate opener.  The driver, a convict named 
     Jeffery Cavanaugh, thirty, fast-talking street survivor, 
     stomps on the gas pedal the instant the gates are open.

     TOWER GUARDS - VARIOUS SHOTS

     All hell has broken loose and confusion reigns.  They are 
     shouting, running, phoning and shooting.

     THE SEDAN

     Already on the move as Lukas scrambles back inside.
     The sedan rockets down the road that leads away from 
     the prison.

                                              CUT TO

     EXT. ROAD - DAY - K.I.T.T.

     moves along in convertible mode.

                               K.I.T.T.
               The air temperature is 93.367 degrees.
               Water, 71.893 and the winds are from 
               the southwest at 6.789 knots.  This 
               data indicates ---

     INSIDE K.I.T.T. - TRAVELLING

     Michael, in a jogging suit, is with Karen Forester, 
     twenty-three, an attractive young lady in beach wear.

                               MICHAEL
                      (interrupting)
               I think he's trying to tell us it's
               a perfect day for sailing.

                               K.I.T.T.
               And for a painful sunburn.  My 
               dermal scan indicates Karen hasn't 
               been exposed to the sun for quite 
               some time.  I recommend a screen of 
               PH20 or higher.

                               KAREN
               He doesn't miss a thing.  Are his 
               scanners programmed for continuous 
               surveillance, or ---

                               MICHAEL
                      (interrupting)
               I thought we agreed to put the shop
               talk on hold for today.  You know 
               what they say about all work and 
               no play.

                               KAREN
               Yes -- it's a prerequisite for a 
               doctorate in criminology.  Right, 
               Kitt?

                               K.I.T.T.
               I refuse to answer on the grounds it 
               constitutes an invasion of privacy.

                               MICHAEL
               Loosen up, pal.  Devon gace Karen 
               full approval to study your 
               equipment and capabilities for her 
               thesis -- but not today.

     They both laugh.  As Michael pulls into a Marina area, and 
     parks, K.I.T.T.'s monitor chirps.

     OMITTED

     INTERCUT AS NEEDED - K.I.T.T.'S MONITOR

     to see Devon in his office.

                               DEVON
               I'm sorry to intrude, Michael, but 
               it's of the utmost urgency.

                               MICHAEL
               I had a feeling you were going to say
               that.

                               DEVON
               Less than an hour ago, while the 
               Commissioner was conducting an 
               inspection of the state penitentiary,
               two inmates abducted his chauffeur, 
               shot a guard, and escaped in the 
               Commissioner's car.

                               MICHAEL
               I understand your concern, Devon, 
               but it sounds like a matter for the 
               State Police to me.  What makes it 
               Foundation business?

                               DEVON
               One of the felons is Jeffery 
               Cavanaugh.

                               MICHAEL
                      (searching)
               Cavanaugh, Cavanaugh.  Oh, yeah.  I 
               remember him.
                      (off Karen's
                       look)
               Syndicate hoodlum.  I had the 
               pleasure of putting him away last 
               year.

                               DEVON
               When last sighted, Cavanaugh and his 
               cellmate, Lukas were headed your way.
               Good luck, Michael.  And -- caveat
               emptor.

     Devon disappears from the screen.

                               MICHAEL
               Whatever happened to -- 'be careful'?

                               KAREN
               That's what he said -- in Latin.
               Literally translated it means 'let 
               the buyer beware.'

                               MICHAEL
               Good advice.  We're talking about a 
               couple of killers, Karen.  I'm going
               to drop you someplace safe.

                               KAREN
               I'm not interested in being safe, 
               Michael.  It's now or never for me,
               I have four days to finish my thesis.
               I mean, what do I tell the head of 
               the department?  When it got dangerous,
               I went to the ladies' room?  I'm not
               getting out of this car.  I'm ---

                               MICHAEL
               Okay, okay.  On that condition --
               whatever happens, you stay in Kitt, 
               deal?

     Karen nods emphatically.  As Michael hits some buttons on 
     his console:

                               MICHAEL
               Let's button up, pal.

     OMITTED

     K.I.T.T. - RAPID FIRE SERIES OF SHOTS

     as he transforms from convertible to T-top mode.

     RESUME INSIDE K.I.T.T.

     As Michael slams him in gear, backs out of the parking spot
     and takes off:

                               MICHAEL
               First order of business is to access
               the police band and get an updated 
               position on the getaway car.

                               KAREN
               Michael, this country is a maze of 
               streets and freeways with millions of
               vehicles in transit.  Are you saying 
               that Kitt can ---

                               MICHAEL
               Watch ---

     Michael hits some buttons on his console.

     OMITTED

     K.I.T.T.'S MONITOR - INTERCUT AS NEEDED

     A grid map of streets and freeways appears.  Pulsing blips 
     mark the various positions as K.I.T.T. responds.

                               K.I.T.T.
               The vehicle was last spotted here.
               Then turned east onto this secondary
               road, toward Soledad Canyon.

                               MICHAEL
               Plot every escape route Cavanaugh has
               available, then give me the most 
               probable point of intercept.

     A few beats before a very fast moving blip appears on the 
     map on K.I.T.T.'s monitor.

                               K.I.T.T.
               I'm onto him, Michael.

     Michael swings a look to Karen whose attention has been 
     riveted on the monitor.

                               KAREN
               Incredible!  Out of all those cars 
               he can tell which one Cavanaugh's 
               driving?

                               MICHAEL
               No, but he can tell there's only one
               going ninety-five miles an hour.

                                              CUT TO

     OMITTED

     EXT. ROAD - DAY

     as the sedan barrels along.

     INSIDE THE SEDAN

     Cavanaugh driving with obsessive fervor.  Lukas nervous,
     curious.

                               LUKAS
               Come on, Cavanaugh.  How much longer 
               before we make this connection you 
               keep talking about?!

                               CAVANAUGH
                      (checks his 
                       watch)
               Cool it, Lukas!  I got you out, 
               didn't I?!  Now back off!

     Cavanaugh pulls a walkie-talkie from a pocket.

                               CAVANAUGH
               This is Cavanaugh.  Estimated time of 
               arrival, forty-five seconds.  You 
               there?!

                               VOICE
               Ready to rendezvous.  Come on in.

     Cavanaugh suddenly reacts to something in the rearview 
     mirror.  Blood drains from his face; looks over his 
     shoulder.

                               LUKAS
               What is it man?!

                               CAVANAUGH
               That car tailing us!  I know that 
               car!

     Cavanaugh stomps on the gas pedal.

     OMITTED

     K.I.T.T.

     accelerates after the sedan weaving between other cars.
     The sedan fishtails into a processing plant.  K.I.T.T.
     right behind.

     INSIDE K.I.T.T. - TRAVELLING

                               K.I.T.T.
               Shall I microlock his brakes, Michael?

                               MICHAEL
               No, we don't know what's in those 
               tanks, pal.

     OMITTED

     ANOTHER ANGLE - PROCESSING PLANT

     The sedan approaches at high speed, K.I.T.T. in pursuit.

     INSIDE THE SEDAN

     as Lukas reacts.

                               LUKAS
               What are we doing in here, Cavanaugh!
               What is this?!

                               CAVANAUGH
               The end of the line!

     Cavanaugh slams on the brakes.

     THE SCENE

     as the limo swerves, smashes into some crates, Cavanaugh 
     pops the door and runs.  Lukas, stunned by the crash, 
     slowly stumbles out, spots K.I.T.T. and empties his gun
     as he approaches, then runs.

     INTERCUT - INSIDE K.I.T.T.

     Karen ducks as the rounds hit and spark off the windshield.

                               K.I.T.T.
               He's out of ammunition by my count, 
               Michael.

                               MICHAEL
               Let's get him, pal!
                      (to Karen)
               Stay put!

     K.I.T.T.

     screeches to a fast stop behind the sedan.  Michael jumps 
     out, and goes after the fleeing Lukas.  Michael dives at 
     him.  The two men go down.  They scramble to their feet 
     and grapple for an advantage.

                               K.I.T.T.
               Michael!  Cavanaugh's getting 
               away!!

     Michael wheels around, Lukas springs from a crouch and 
     plows ahead first into Michael's midsection.  Michael 
     half slips the attack and finishes Lukas with a Karate 
     combination; then takes off after:

     CAVANAUGH

     who pops out from behind some processing equipment and 
     runs, seemingly trapped.  Michael is about to catch up
     when he reacts to the O.S. approach of:

     A HELICOPTER

     appearing from behind one of the huge tanks.  Descending
     fast with horse-collar loop in lowered position.  Cavanaugh
     slips into the horse-collar loop and is plucked from the 
     ground as Michael approaches on the run.

     MICHAEL'S POINT OF VIEW - CAVANAUGH

     being quickly whisked away by the helicopter.  As it soars
     out of sight.

     MICHAEL

     raises his comlink.

                               MICHAEL
               What are the chances of microlocking
               that chopper, pal!

                               K.I.T.T.
               Negative, Michael.  He's behind those
               tanks and out of my line of transmis-
               sion.

     Michael angrily settles for a beat and, we:

                                              CUT TO

     EXT. MARINA - DAY

     as we pan across and come upon a sign that reads:
     ENTERPRISES, INTERNATIONAL and see that this is a boat
     yard which caters to the custom made trade of luxury
     craft.  The pan moves onto a warehouse structure.

     INT. STRUCTURE - DAY

     Julian Martin, forty, slick, clotheshorse, polished veneer,
     is with Cavanaugh.  Who's changing into street clothes.
     Snyder, Martin's enforcer opens an attache case on a table
     revealing neatly packaged currency and documents.

                               MARTIN
               Three hundred thousand, new identity,
               passport, ticket to Paraguay.  That 
               was the deal.

                               CAVANAUGH
               For three months in the joint.  You
               let me rot in that hell hole for over
               a year, Julian.  And it's going to 
               cost you.

                               MARTIN
               Come on Jeff.  I mean, what do you 
               want me to say?  I had a judge in my 
               pocket and I lost him to a coronary.
               It was an act of God.  There was 
               nothing I could do.  I --- 

                               CAVANAUGH
                      (interrupting)
               Bull!  I knew Julian Martin when he 
               was Julio Martinez, and didn't have 
               a green card, remember?!  When he 
               hit a grocery store for a couple 
               of six packs and thought he scored 
               big!  So don't try and snow me, now.
               You sat on your hands until I 
               threatened to go to the DA.  I 
               could've copped a plea and walked 
               with what I have on you! -- and I 
               still can!
                      (beat)
               A flat million, that's the deal.

                               MARTIN 
                      (flares)
               You ungrateful little punk!  If 
               it wasn't for me you'd still be 
               hustling in the old neighborhood.
               You're pushing real hard for a 
               guy who screwed up!

                               CAVANAUGH
               What're you talking about?!

                               MARTIN
               Your friend, Knight.  Took me two 
               years to get him out of my hair.
               You're out of the joint an hour and 
               you bring him down on me again.

                               CAVANAUGH
               That's your problem, Julian.  I'll
               consider this a down payment.  Have
               the rest by the end of the day.

     Cavanaugh reaches for the attache case.  Snyder pulls it 
     back in response to:

                               MARTIN
                      (in Spanish)
               Snyder.  Hold the money.
                      (to Cavanaugh)
               Banks are already closed for the 
               weekend, genius.  Besides, nobody
               takes my money and leaves me holding 
               the bag.  I'll take care of Knight.
               But you're not going anywhere, until 
               he's dead.

                               CAVANAUGH
               One call, my friend sends a package
               to the DA, Julian.  I can drop a dime 
               on you just like that.

                               MARTIN
               And blow a cool million?  You're 
               stupid, Jeff, but not that stupid.
               And don't leave here.  If you get 
               busted now, we both go down.

     Cavanaugh meets Martin's angry gaze without flinching.
     Then watches Martin and Snyder go.  A few beats before 
     he anxiously crosses to a phone.

                                              CUT TO

     OMITTED

     EXT. FOUNDATION HEADQUARTERS - DAY - STOCK

     INT. DEVON'S OFFICE - DAY

     A very agitated Michael is reporting in to Devon.

                               MICHAEL
               That chopper scooped Cavanaugh right
               out of my hands, Devon!  This was a 
               lot more than a couple of cons 
               making a run for the fence.

                               DEVON
               I agree, Michael.  Cavanaugh must 
               have made some powerful connections 
               while behind bars.

                               MICHAEL
                      (shakes no)
               I think he had them before he went in,
               Devon.  Let's check his record.

     They cross to Devon's computer terminal and we go to:

     EXT. K.I.T.T. - DAY

     parked near some bushes ostensibly outside Foundation 
     Headquarters.  Scruffy a loveable little mutt who's on the 
     lam, runs up to K.I.T.T., paws at the door.

                               K.I.T.T.
               Go away, please.

     Scruffy continues pawing.  Desperate.  Looks up at K.I.T.T.
     with plaintive eyes.

                               K.I.T.T.
               I have no intention of giving your 
               fleas sanctuary in my upholstery.

     A uniformed animal control officer (dog catcher) rounds the 
     corner with his loops snare searching for Scruffy.

                               K.I.T.T.'S VOICE
               But under the circumstances ---

     K.I.T.T.'S DOOR

     pops open.  Scruffy jumps in.  The door closes.

     OMITTED

     THE DOG CATCHER

     spots K.I.T.T.; senses Scruffy's inside.  Scruffy barks.

                               K.I.T.T.
               I know, I know.  I'm working on it.

     K.I.T.T.'s window darken.  The dog catcher flinches, steps 
     back, then cautiously tries to see through the windows.  As
     he walks off, bewildered, K.I.T.T.'s door pops open.

                               K.I.T.T.
               All clear, pooch.  But please don't
               make this a habit, my auto-vac system
               isn't programmed for paw prints.

     Scruffy barks a "thank you," jumps out, and races off.

     RESUME DEVON'S OFFICE

     Michael and Devon are at the computer terminal reacting to 
     data they have come up with.  Michael's tapping on the 
     screen indicating a name.

                               MICHAEL
               That's the one -- Julian Martin --
               two years ago he and Cavanaugh were 
               knotted tighter than a family of snakes.

                               DEVON
               But since, Martin has cleverly 
               adopted the guise of model citizen
               and respected businessman making
               absolutely certain nothing soils his
               hands.  Why would he take a chance 
               by breaking a low-life like Cavanaugh
               out of prison?

                               MICHAEL
               Maybe he had no choice.
                      (off Devon's
                       look)
               The guy Cavanaugh killed was an 
               accountant, remember?  He'd blown 
               the whistle on a number of Martin's
               operations; claimed they were 
               syndicate laundries.  But we never 
               came up with the records that tied 
               Martin to the victim.

                               DEVON
               Good point.  These records indicate,
               the prosecutor's office was forced
               to drop the charges against him for 
               lack of evidence.

                               MICHAEL
               Could be something to do with that.

     As Michael and Devon consider this notion, RC3 and Karen 
     enter the office.  RC's draining a soft drink from a can;
     sets it on Devon's desk.  During ---

                               DEVON
               That's merely a theory, Michael.
               What we need is enough evidence to 
               convince a jury.

                               MICHAEL
               Yeah, and Martin's just given us a 
               way to get it.  We nail Cavanaugh,
               we nail him -- and vice versa.

                               RC3
               Hey, you can't take on that Martin
               dude without some heavy-duty backup,
               my man.

                               KAREN
               He already has all the backup he can
               handle, RC.
                      (to Michael)
               Remember what you said, Michael, I go
               with you as long as I stay in Kitt.

                               MICHAEL
               Hang in there RC.  I'm saving you 
               for the double heavy-duty action.
               You dig?

     Devon eyes the soft drink can; Lifts it from the desk with 
     two fingers like he has a dead rat by the tail.  Hands it 
     to RC3.

                               DEVON
               Kindly refrain from desecrating my 
               office with your culinary litter.
                      (smiles
                       affectionately)
               You dig?

                               RC3
               You got it, skipper.
                      (sotto to 
                       Michael)
               What'd he say anyway?

                               MICHAEL
               You just got a 'D' in neatness.

                                              CUT TO

     OMITTED

     EXT. COUNTRY CLUB - DAY

     A posh, Spanish-style country club.  Two brawny "doormen"
     flank the entrance.  Next to them is a sign that reads --
     MEMBERS ONLY and a podium with computer screen and keyboard
     as well as a clerk in official blazer.  K.I.T.T. arrives
     and pulls to a stop in the drive lined with expensive cars.

     INSIDE K.I.T.T.

     Karen in the seat next to Michael as they roll to a stop 
     and notice the sign.

                               MICHAEL
               I get the feeling non-members get 
               hit for some heavy dues by those 
               characters, pal.

                               K.I.T.T.
               I agree, Michael.

                               KAREN
               How do you plan to get inside?

                               MICHAEL
               Through the main entrance -- access
               their membership roster, Kitt.

     Michael pushes some buttons on his console.

     INTERCUT - K.I.T.T.'S MONITOR - AS NEEDED

     to see the alphabetized roster.  A blur of names flashes 
     past.  Stops on the K's.

                               MICHAEL
               Okay.  Insert my name between King and
               Kortner.

     Michael's name appears on the roster.  As he gets out of 
     K.I.T.T. and heads for the entrance.

                               MICHAEL
               Keep your scanners peeled.
                      (to Karen)
               And you ---

                               KAREN
                      (anticipating)
               Stay put.  I know.

                                              CUT TO

     EXT. COUNTRY CLUB SWIMMING POOL AREA - DAY

     as beauty contestants in bikinis parade past a panel of 
     judges.

     ANGLE ON JULIAN MARTIN

     one of the V.I.P. judges eyeing the contestants.  Martin 
     leans to a city Councilman next to him and indicates an 
     especially exotic contestant who pirouettes suggestively
     in front of them.  Snyder stands in the b.g. behind Martin.

                               MARTIN
               She's the one I was telling you about,
               Councilman.
                      (beat)
               By the way, I hear more and more talk
               about off-shore drilling areas.  If 
               those tide lands just happened to be 
               rezoned for commercial exploration ---

                               COUNCILMAN
               Why, Julian you know my commission
               can't compromise its objectivity in 
               this matter ---

                               MARTIN
               Of course not, Councilman.  But as 
               you very well know, everyone profits 
               from a healthy economy.

     While the Councilman considers this and eyes another stunning 
     contestant who parades before him.  Snyder spots Michael 
     approaching and moves forward to Martin.

                               SNYDER
               What's he doing here?  I've got people
               looking all over for him.

                               MARTIN
                      (in Spanish)
               He saved you the trouble.  Find out
               how he got past the guards.

     Snyder moves off.  Martin turns to Michael for ---

                               MARTIN
               I don't know how you got in here 
               Knight but it's time to leave.

                               MICHAEL
               Soon as you tell me where to find 
               Cavanaugh.

                               MARTIN
                      (feigns he 
                       can't remember)
               Cavanaugh -- Cavanaugh.  Doesn't ring 
               a bell.

                               MICHAEL
               Don't give me that, Martin.  I know
               you broke him out.  And I know why.

     The Councilman blanches at the mention of Cavanaugh's name.

                               COUNCILMAN
               Jeffery Cavanaugh -- ?
                      (beat)
               Don't tell me.  I'd prefer not to 
               know.

     The Councilman gets up to leave.  Martin tries to stop him.

                               MARTIN
               No problem, Councilman I'll have this 
               cleaned up in a minute.

                               MICHAEL
               Right.  Laundry's your specialty,
               isn't it Martin.  You came out squeeky
               clean two years ago.  But this time 
               I'm going to be on you until your 
               neck's in the wringer.

     The Councilman eyes Martin coldly and leaves.  Snyder 
     returns from the main entrance.

                               SNYDER
               His name was on the roster.

                               MICHAEL
               Frankly, Martin, the thought of 
               belonging to a club that'd have you 
               for a member turns my stomach.

     Michael burns him with a look; turns and leaves.  Martin 
     turns to Snyder for ---

                               MARTIN
               Cancel his membership.

                               SNYDER
               That's no ordinary hit, Julian.  If 
               you want to get Knight you have to 
               deal with that car of his at the 
               same time.

                               MARTIN
               He's got to have a weak spot.  Find
               it.

                                              CUT TO

     OMITTED

     EXT. ROAD - DAY

     as K.I.T.T. comes through a turn.

     INSIDE K.I.T.T. - TRAVELLING

     Karen seated next to Michael who pushes some buttons on his 
     console.

                               MICHAEL
               Get me Devon, pal.

     OMITTED

     INTERCUT K.I.T.T.'S MONITOR AS NEEDED

     as Devon appears.

                               DEVON
               Some progress to report, Michael?

                               MICHAEL
               Yeah.  I pushed Martin's button and 
               he came right at me.

                               DEVON
               Sounds like he has something to hide.

                               MICHAEL
               And it's name is Cavanaugh.  Question 
               is, where?  I need the locations of 
               all of Martin's operations.

                               DEVON
               He has numerous fronts and dummy 
               corporations, Michael.  This could 
               take some time.  I'll get Bonnie 
               working on it right away.

     Devon clicks off.  Michael turns to Karen for:

                               MICHAEL
               I'm sorry about all this.

                               KAREN
               You kidding.  I've already got enough
               material for two PhDs.  But I think 
               I've had enough for today.

                               MICHAEL
               Me too.  I'll drop you at home.
               Nothing much will happen until I get
               that data from Devon.

                               KAREN
               Good.  I make the best pasta prima
               vera this side of the Spanish Steps.
               What do you say?

     Michael considers a beat; feigns pushing some buttons on 
     console ---

                               MICHAEL
               Plot me the most direct course to the 
               Spanish Steps, pal.

     Karen chuckles, and we go to:

     EXT. CITY - DAY - TO ESTABLISH

     EXT. COUNTRY CLUB - POOL AREA - DAY

     Martin is joined by Snyder.

                               MARTIN
               You find a way to get to Knight?

                               SNYDER
               Two of 'em.

     Snyder flips two photos on the table....

     CLOSE ON TWO SNAPSHOTS

     One of Bonnie, one of Karen.

                               SNYDER
                      (continuing)
               He works with one.  Plays with the 
               other.

     We hold a beat on Martin's look and then we:

                                              FADE OUT

                            END OF ACT ONE

                               ACT TWO

     FADE IN

     EXT. CITY - SUNRISE (EARLY MORNING) - TO ESTABLISH - STOCK

     EXT. KAREN'S APARTMENT - DAY

     as K.I.T.T. parks out front and Michael gets out and 
     crosses to the entrance.

     INT. KAREN'S APARTMENT - DAY

     Sun streaming into this simple but comfortable room.
     Michael pushes open the door and enters as Karen pours 
     coffee from an espresso pot and hands Michael a cup.

                               MICHAEL
               Espresso?

                               KAREN
               After yesterday I figure I'd better
               start off wide awake today.

                               MICHAEL
               Pasta for dinner, espresso for break-
               fast -- you must've been an Italian 
               in a former life.

                               KAREN
               This life.  I lived in Rome for 
               almost a year.  I loved it.

                               MICHAEL
               Karen, I'm getting the feeling there's 
               a whole side of you I don't know yet.

                               KAREN
               Not really.  Italian law enforcement
               agencies have a lot of experience 
               with terrorism.  I was studying
               their techniques.
                      (beat)
               See, Michael, you were right -- all
               work and no play.

                               MICHAEL
               I wouldn't go quite that far.

     She smiles shyly.  He reaches out and sits her down next 
     to him.  Their playful laughter segues into soulful eye 
     contact.  As they hold a look ---

     K.I.T.T.'S SCANNER

     pulses faster and faster -- a few beats before:

     SCRUFFY

     runs up to K.I.T.T. and paws at his door.

                               K.I.T.T.
               You again?

     The dog catcher barrels around a corner in pursuit.
     Scruffy paws frantically at K.I.T.T.'s door.

                               K.I.T.T.
               And him again.  Doesn't he ever give
               up?  Come on, get in.

     K.I.T.T.'s door opens.  Scruffy scoots inside.  The dog 
     catcher approaches K.I.T.T.; pulls on a door handle.
     K.I.T.T.'s "Burglar Alarm" goes off, briefly.  The dog 
     catcher jumps back, startled.

                               K.I.T.T.
               Kindly keep your 'paws' to yourself,
               sir.

     K.I.T.T.'S VOICE MODULE

     comes alive followed by three sharp barks.

     THE SCENE

     as the dog catcher reacts, looking to houses across 
     the street, as a few more barks emanate from that area.

                               K.I.T.T.
                      (continuing)
               I believe the one's you're after are
               scurrying between those houses across 
               the street.

     As the dog catcher charges off:

     K.I.T.T.'S MONITOR

     chirps and Devon appears.  Right in front of Scruffy who's 
     in Michael's seat.

                               DEVON
               Good morning, Michael.

     Scruffy tilts his head thoughtfully and barks.

                               DEVON
               Michael?  Michael are you all right?
               You seem to be looking rather --
               'scruffy' this morning.

     RESUME MICHAEL AND KAREN

     They're now locked in a tender embrace.  A beat before 
     Michael's comlink chirps.

                               MICHAEL
                      (comlink;
                       dreamily)
               Yeah, yeah, buddy, what is it?

                               K.I.T.T.
               Devon just called.  I gave him 
               Karen's number.  He should be ---

     K.I.T.T. is interrupted by the ring of the phone.  Michael
     snaps to.  He and Karen disengage, as he answers it.

                               MICHAEL
               Yo, Devon.

                               DEVON
               Ah, there you are Michael.  I had 
               some trouble getting through.  Julian
               Martin just called.  He wants to see
               you right away.  I'm afraid I'm still 
               working on that data you requested.

                               MICHAEL
               Maybe we won't need it, Devon.
               Sounds to me like Martin's going to
               roll over on Cavanaugh.
                      (to Karen)
               I'll check this out and come back 
               for breakfast.

     He kisses her and hurries off.

     EXT. KAREN'S APARTMENT - DAY

     as Michael exits on the run, and opens K.I.T.T.'s door.
     Scruffy scoots out.  Michael does a take.

                               MICHAEL
               Did I just see what I think I saw, 
               pal?

                               K.I.T.T.
               What do you think you saw, Michael?

                               MICHAEL
                      (ponders)
               Never mind, Kitt.  Forget it.  I 
               think maybe I should have finished 
               that cup of espresso.

     He shakes it off, gets inside and takes off, passing a van 
     parked down the street.  We hold on the van as doors pop 
     open revealing marine hardware, repair tools, cans of paint
     and varnish inside.  Snyder and the two guards from the 
     club get out and head toward Karen's hotel.

     OMITTED

     EXT. COUNTRY CLUB - POOL AREA - DAY

     Martin is at a table having breakfast, reading the paper as 
     Michael approaches.

                               MARTIN
               Sit down, Mr. Knight.  Order something,
               the food here is excellent.  I like to 
               see a new member get everything he has 
               coming to him.

                               MICHAEL
               This powwow was your idea, Martin.
               Get to the point.  I don't have time 
               to play games.

                               MARTIN
               You had plenty when you embarrassed 
               me in front of the Councilman yester-
               day.  Now it's my turn to make you 
               squirm.
                      (waggles the 
                       newspaper)
               Seen the paper?  Every once in a 
               while I run across a nasty story 
               about someone I know.

                               MICHAEL
               I'm working on one right now.  The 
               headline reads -- Julian Martin
               Indicted.

                               MARTIN
               Check tonight's edition, you'll find 
               one that says -- Graduate Student 
               Abducted.  I think her name was --
                      (snaps 
                       fingers)
               -- Karen, Karen something.

     Michael lunges forward to grab Martin; regains control as 
     Martin moves a towel on the table revealing a handgun.

                               MICHAEL
               You can't shoot me here, Martin.  And 
               you know it.

                               MARTIN
               I can if you attack me.

                               MICHAEL
               I'll do more than that if you've hurt
               Karen.  There's no place on this earth
               you'll be able to hide.  And if you 
               think kidnapping her will make me 
               back off, you're wrong.  You just gave 
               me another reason to keep on coming.

                               MARTIN
               Hey, take it easy, it was only a 
               rumor.  I probably made a mistake.

                               MICHAEL
               That's two mistakes counting 
               Cavanaugh.  And I'm gonna use both of
               'em to nail you to the wall mister!

     Michael burns him with a look and leaves.  Martin wonders 
     thoughtfully, and we:

                                              CUT TO

     INT. KAREN'S APARTMENT - DAY

     Trashed, evidence of a struggle; chairs overturned, cups,
     dishes, etc. from breakfast scattered on the floor as 
     Michael picks his way through.

                               MICHAEL
                      (comlink)
               Looks like Karen put up a fight, but
               came out second best.  I want a com-
               plete scan of everything in sight,
               Kitt.

                               K.I.T.T.
               I'm too far away to get any detail,
               Michael.

                               MICHAEL
               Okay, buddy, we'll work through my 
               comlink.

     Michael moves about the room passing his comlink over 
     surfaces, windows, etc.  As he passes the front door ---

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

     As graphics on a schematic of the hotel room come alive.

                               K.I.T.T.
               Hold it, Michael.  Right there.  I
               just picked up a handprint on that 
               window.

                               MICHAEL
               Good going.  Run a comparison.  Start
               with Martin, Snyder and Cavanaugh.  I
               want as much hard evidence as I can 
               get.

     Michael reacts to something he notices on the glass.

                               MICHAEL
               What's this, pal?

                               K.I.T.T.
               A smear of some kind, Michael.  It's 
               still wet and appears to be a manufac-
               tured substance.  It's probably nothing 
               important.

                               MICHAEL
                      (thoughtful)
               Maybe, maybe not.  Do a chemical
               analysis.  Maybe it'll give us a fix 
               on where they've taken Karen.

                                              CUT TO

     INT. MARTIN'S MARINA BUILDING - DAY - KAREN

     is here, hands manacled, with Snyder and the two guards
     from the club.  Martin pulls in.  He gets out, crosses 
     to Karen.

                               MARTIN
               Sorry but you can thank your boy-
               friend for the inconvenience.

                               KAREN
               I'll make sure to mention your name.

     Martin burns her with a look, glances around.  Frowns.

                               MARTIN
               Hey, where's Cavanaugh?

                               SNYDER
               The word is he made a call and split.
               He could be anywhere.

                               MARTIN
               Jeffery and I go way back.  Whenever 
               we were up against it, the first thing 
               we did was make sure our insurance was 
               still in force.  Under the circum-
               stances, I'm betting he's with his 
               friend who has the evidence that's 
               keeping him alive.

                               SNYDER
               What do you want to do, Julian?

                               MARTIN
               Have your lady at the phone company
               trace the call.  Get an address.

     EXT. PARKING STRUCTURE - DAY - ESTABLISHING

     EXT. TOP LEVEL - DAY

     as a car pulls in and parks.  Jodi Hopkins gets out.  She's 
     a vulnerable, likeable woman of thirty-five who looks 
     around anxiously and brightens when Cavanaugh steps out 
     from behind a concrete column where he's been waiting.
     They run into each other's arms.  Kiss, embrace.  But, 
     Cavanaugh is nervous just being here.

                               CAVANAUGH
               Oh, baby, I still don't believe I'm
               holding you.

                               JODI
               Oh, Jeffery, Jeffery.  In spite of 
               what everyone said, I always knew 
               you'd get out and we'd be together.

                               CAVANAUGH
               The waiting's over, Jodi.  The minute 
               Julian pays up, we're outta here.

                               JODI
               Out of here?  You've been saying that 
               since we were kids, Jeffery.  I don't 
               know why, but I believed you then and 
               I still do.

                               CAVANAUGH
               That's because I always meant it.
               Now I've got the bucks to back it up.
                      (beat)
               You all packed?

                               JODI
               My suitcase has been ready to go for 
               twenty years.

     She kisses him blissfully.  He's distracted, glances 
     anxiously to a grimy, dirty, 1980, green Chevy sedan 
     parked nearby.

                               CAVANAUGH
               Everything cool?

                               JODI
               Of course.  It's in the trunk right
               where you left it.  I check every 
               month when I pay the parking fee.

                               CAVANAUGH
               Hey, after what I've been through,
               seeing is believing -- the key.

     Jodi pulls some keys from her purse, gives them to Cavanaugh.
     As they cross to the green Chevy, he opens the trunk and 
     examines an accordion manila folder that contains an 
     accountant's ledger records, file folders, papers, documents,
     etc.  Pleased, relieved.

                               JODI
               You giving it to Julian in exchange 
               for the million?

                               CAVANAUGH
                      (flares)
               You nuts?  He'd blow me away if he 
               ever got his hands on this.
                      (beat, softens,
                       realizing)
               I'm just wired.  I got to go.  I'm
               sorry.

     He closes the trunk, leaving the manila folder inside.
     He kisses her briefly, but she prolongs it -- hungrily.

                               JODI
               I love you, Jeffery ---

                               CAVANAUGH
               I love you too, babe.

     We hold a beat on their look and:

                                              CUT TO

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

     moving along.  Michael behind the wheel.

     K.I.T.T.'S MONITOR - INTERCUT AS NEEDED

     to see Devon in midconversation.

                               DEVON
               Karen kidnapped?!  That's very dis-
               tressing, Michael.  I can't help 
               feeling I should have foreseen the 
               possibility.  Have you reported it to
               the authorities, yet?

                               MICHAEL
               No.  I think we should hold off.  I
               don't want to make it easier for 
               Martin to kill her than keep her.

                               DEVON
               Do you have any leads as to her where-
               abouts?

                               MICHAEL
               Kitt came up with a couple of things.
               Anything yet, pal?

                               K.I.T.T.
               Yes, Michael.  The hand print belongs 
               to Snyder, Martin's bodyguard.  I've 
               also determined the substance is a 
               varnish of some kind.  I'm still
               breaking down its chemical composi-
               tion.

                               MICHAEL
               Pull out the stops, pal.

                               DEVON
               And also have him clear a channel, 
               Michael.  I'll transmit that data
               on Martin's operations.  Perhaps it 
               will help.

                               MICHAEL
               Let's hope so, Devon.  I got Karen 
               into this.  I've got to get her out.

     Michael pushes some buttons on his console and we:

                                              CUT TO

     EXT. MARINA - DAY - TO ESTABLISH

     INT. MARTIN'S MARINA BUILDING - DAY

     Martin is writing on a yellow legal pad.  He changes a 
     few words.  Satisfied, he tears it off, hands it to Snyder.

                               MARTIN
               This ought to do it.  Now, what about
               that address your friend is running 
               down for us?

                               SNYDER
               She was off duty when I called.  Took
               a while to track her down.  She's 
               working on it now.

     They react to Cavanaugh who slips into the building. 

                               MARTIN
               I thought I told you not to leave!!

                               CAVANAUGH
               Worried I got hit by a bus or some-
               thing?  If you're thinking about 
               arranging a little accident, Julian,
               forget it.  If anything happens to me,
               the ledger goes to the DA.  I want 
               my money.

                               MARTIN
               Knight's about to become history.
               Stick around and watch.  Then you 
               get your money.

     Cavanaugh nods.  Snyder crosses, takes Karen by the arm and 
     leads her to a phone.  He pulls a gun, threatens her with 
     it.  Then hands her the sheet from the legal pad Martin
     gave him.

                               SNYDER
               Here's the speech.  You make it.
               Like you mean it.  Clear?

     Karen nods, torn between spitting in his eye and fearing
     for her life.

                                              CUT TO

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

     on the move.  Michael driving.

                               K.I.T.T.
               Sorry it took so long, Michael.

     INSIDE K.I.T.T.

                               K.I.T.T.
                      (continuing)
               I finally identified the chemical
               composition of that varnish.  It's a
               polycarbonic compound with a densely 
               packed molecular structure very 
               similar in profile to polymers
               used to ---

                               MICHAEL
                      (interrupting)
               Come on, pal.  The bottom line.

                               K.I.T.T.
               It's a special custom-made marine 
               varnish.

                               MICHAEL
               Way to go!  We just narrowed the 
               search to the Marina area.

     Michael is about to reverse course when K.I.T.T.'s monitor
     chirps.

     K.I.T.T.'S MONITOR - INTERCUT AS NEEDED

     as Devon appears on screen.

                               DEVON
               Michael.  Karen's calling.  I'll make 
               it a three-way patch.

     Though we still see Devon, we only hear a stressful ---

                               KAREN'S VOICE
                      (filtered)
               Michael?!  Michael, Martin's people
               grabbed me.  But I escaped.  They ---

                               MICHAEL
                      (interrupting)
               Where are you?!  Are you okay?!

                               KAREN'S VOICE
               Just listen.  I don't have much time!
               They came after me.  I'm trapped in 
               this shipping place -- Ludlow and the 
               waterfront.  Hurry!

                               MICHAEL
               On my way!

                               KAREN'S VOICE
               And Michael -- caveat emptor.

     The phone clicks and Karen's gone.  Michael's head tilts 
     thoughtfully.  Then he pushes some buttons on his console.

                               MICHAEL
               Okay, pal, super pursuit mode.

     K.I.T.T.

     his nose cowling elongates, spoilers deploy, etc.  He 
     explodes down the road and we:

                                              CUT TO

     INT. MARTIN'S MARINA BUILDING - SNYDER

     gun in hand, has just taken the phone away from Karen.

                               SNYDER
                      (nods)
               He took the bait.

                               MARTIN
               Reel him in and gut him.

     Karen eyes them with hatred as they move to manacle her, 
     then:

                                              CUT TO

     EXT. CONTAINER STORAGE AREA - DAY - A SIGN WITH LOGO

     proclaims Enterprises, International.  We pan across 
     to see a large crane for lifting the large sea-going 
     containers.  A flatbed truck.  Other tools of the trade.

     ANGLE ON MICHAEL AND K.I.T.T.

     as K.I.T.T. rolls to a stop a distance from the site.

                               K.I.T.T.
               There doesn't seem to be anyone 
               around, Michael.  Why are we 
               stopping out here?

                               MICHAEL
               You heard Karen, pal.  Caveat emptor
               -- she was warning us it's a trap.
               Scan this place.  See if you can 
               locate her position for me.

     K.I.T.T.'S MONITOR - INTERCUT AS NEEDED

     as a schematic of the site forms and is broken up by zig-
     zagging interference lines.

                               K.I.T.T.
               It's no use, Michael.  I'm getting
               too much interference.  There's a 
               concentration of lead in the area.

                               MICHAEL
               You go in up the middle and keep them 
               busy.  I'll come in from below.

                               K.I.T.T.
               But if it's a trap, you'll be a lot 
               safer in me!

                               MICHAEL
               Safe and predictable.  I'm the one 
               they want.  While they're coming at 
               you, I'll be searching for Karen.

     Michael pushes some buttons on his console.

                               MICHAEL
               Tinted windows, pal.

     K.I.T.T.'s windows darken as Michael slips out of K.I.T.T.
     who slowly heads into the maze of containers on auto-pilot,
     as Michael moves off in a different direction.

     INTERCUT MICHAEL

     moving around the perimeter.  Toward an office trailer on 
     the far side of the large storage area.  Via comlink we 
     hear ---

                               MICHAEL
               Any sign of them yet?

                               K.I.T.T.
               Negative Michael.  I'm beginning to 
               think Martin's playing games with ---

     K.I.T.T. breaks off, reacting to ---

     A MASSIVE BULLDOZER

     coming straight at K.I.T.T.'s nose.

                               K.I.T.T.
               Michael!  Michael, there's a giant 
               forklift coming straight at me.

                               MICHAEL
               Keep it busy, pal.  I need all the time
               you can give me to search for Karen.

     THE SCENE - K.I.T.T.

     spins a series of 360s.  Running circles around the 
     charging machine until a second massive forklift comes 
     at him.

                               K.I.T.T.'S VOICE
               Make that two giant forklifts!

     The two forklifts bear down on K.I.T.T. from opposite sides.

                               K.I.T.T.
               I'm in trouble, Michael!  They're 
               going to scoop me off the ground with 
               their forks!!

     EXT. OFFICE TRAILER - DAY

     As Michael approaches searching for Karen.  He makes a 
     180 degree and runs into the maze of containers after 
     K.I.T.T.

                               MICHAEL
                      (comlink)
               On my way, but you better turbo out
               of there!!

     ANGLE ON THE COMBATANTS

     as K.I.T.T. turbos straight ahead, his body scraping against 
     the forks of the forklifts on both sides.  He runs the 
     gauntlet unaware the forklifts have purposely herded him 
     in the direction of ---

     A HUGE TIGER PIT

     camouflaged by sheets of dirt covered plywood that collapses
     under his weight.  K.I.T.T. suddenly drops down ---

     INSIDE A LARGE STEEL SHIPPING CONTAINER

     as K.I.T.T. falls from above and lands with a loud crash in
     the bottom of the container.

                               K.I.T.T.'S VOICE
               I've literally fallen into a trap of 
               some kind, Michael!  They've got me!

     As a metal lid comes down atop the container and, unbeknownst 
     to K.I.T.T. and Michael, cuts off all transmission.

     ANGLE ON MICHAEL

     barking into his comlink.

                               MICHAEL
               Where are you, buddy?  Talk to me!

     No response.  As Michael runs between the stacks of 
     containers, K.I.T.T. replies assuming Michael can hear 
     him.

     ON K.I.T.T.

     inside the container, as K.I.T.T.'s head and taillights 
     come on.

                               K.I.T.T.
               I'm in a large steel box.  I'm going 
               to turbo blast my way out if I can.

     K.I.T.T.'S WHEELS

     explode with power, burn rubber, smoking.

     MICHAEL

     still moving between the containers.

                               MICHAEL
               I can't hear you, pal!  What's going
               on?!  Kitt?  Kitt?!!

     K.I.T.T.

     as his nose cowling rockets forward into the steel wall 
     of the box but to no avail.

                               K.I.T.T.
               It's no use.  I can't get a running 
               start to generate power to penetrate 
               the steel.  Do you have any sugges-
               tions?
                      (beat)
               Michael?  Why aren't you responding,
               Michael?  Michael?!

     THE CONTAINER

     hoisted aboard a waiting flatbed truck by a crane.  The 
     hooks and cables are released.  The truck drives off with 
     K.I.T.T. silently imprisoned in the container on its bed.

     MICHAEL

     stands dwarfed and surrounded by the containers.  Looks 
     around.  Nothing.  Nobody.  A ghost town.

                               MICHAEL
                      (comlink)
               Kitt?  Talk to me, Kitt?  Kitt?!!
               Where are you?!!

     Michael sags with the realization he has now lost Karen and 
     K.I.T.T.

                                              FADE OUT

                            END OF ACT TWO

                              ACT THREE

     FADE IN

     EXT. CONTAINER STORAGE AREA - DAY

     The F.L.A.G. semi has been pulled into the area.

                               BONNIE'S VOICE
                      (continuing)
               I've scanned the area and recon-
               structed the movement of the vehicles.

     INTERCUT AS NEEDED - SEMI'S COMPUTER MONITOR

     to see various sets of tire tracks made by the forklifts
     and K.I.T.T., in schematic graphic form.

                               BONNIE'S VOICE
                      (continuing)
               These tread marks were made by the 
               forklifts.  These are definitely 
               Kitt's.

     INT. F.L.A.G. SEMI - DAY

     Michael, Bonnie and RC3 are gathered around the computer 
     keyboard and monitor.

                               BONNIE 
                      (continuing)
               It looks like they trapped him in 
               some sort of pincer movement.

                               MICHAEL
               Yeah, and it worked.  They gave him 
               one escape route.  He took it and 
               ended up in that hole.

                               RC3
               Clever dudes, man.  But where'd he
               go?

                               MICHAEL
               Judging from these other tracks, into
               one of the containers, and trucked 
               away.  Kitt's out there somewhere.
               Let's get a fix on his location.

     Bonnie encodes at the keyboard in search of K.I.T.T.'s 
     audio signal, and we:

                                              CUT TO

     INT. MARTIN'S MARINA BUILDING - DAY - ON FLATBED

     arriving with the container.  Martin, Cavanaugh, Snyder, the
     two guards and Karen are here.  While a crane prepares to 
     lift the container from the flatbed, Martin turns anxiously 
     to Snyder.

                               MARTIN
               I'm going to handle this one myself.
                      (in Spanish)
               Give me the Uzi.

     Snyder hands Martin the compact automatic rifle he's 
     holding, and we:

                                              CUT TO

     INT. F.L.A.G. SEMI - DAY - BONNIE

     is utilizing her electronic equipment to pick up K.I.T.T.'s
     audio signal.  Her face tells us that she's not finding it.

                               BONNIE
               Nothing!  Even if Kitt's voice module
               malfunctioned, his homing transmitter 
               would be putting out a signal I could
               trace.

                               RC3
               Maybe the signal's being scrambled 
               by the steel container, you dig?
                      (off looks)
               My electronic expertise goes beyond
               ghetto blasters.

                               BONNIE
                      (frustrated;
                       wired)
               I wish you were right RC, but Kitt
               should be transmitting, regardless.
               This doesn't make any sense, Michael!

                               MICHAEL
                      (putting it 
                       together)
               Lead -- that container must be lined
               with lead.  Kitt had problems scanning
               because of it.
                      (beat, infuriated)
               Karen, now Kitt.  I'm the one they 
               want.  I should just go to that creep 
               Martin and offer him an exchange.

                               RC3
               I'm into chivalry myself, my man.
               But Martin's the kind of dude who'd
               say come ahead then blow you all 
               away.

     Michael nods his agreement, stymied, and we:

                                              CUT TO

     INT. MARTIN'S MARINA BUILDING - DAY

     The container has been unloaded from the flatbed truck.
     The crane is about to lift the lid from the container.
     Martin, Cavanaugh, Snyder, Karen and the two guards watch.
     Martin is moving in anxiously with the Uzi.

                               MARTIN
               Come on, come on!  Let's get this 
               over with!

     He checks the clip in the Uzi.  Slams it back into the 
     breech.

     CLOSE ON THE CRANE

     It now starts to lift the lid just barely and we:

                                              CUT TO

     INT. F.L.A.G. SEMI - DAY - BONNIE

     as one of her monitors picks up an audio signal.

                               BONNIE
               It's Kitt!  He's alive!  He's 
               transmitting a signal.

     Michael and RC3 converge and study the monitor.

                               MICHAEL
               All right!  Pinpoint its location.

     Bonnie encodes at her keyboard.  A map grows across her 
     monitor.

                               BONNIE
               Somewhere northwest of here.  Signal's
               too weak to compute exactly where.
                      (frustrated)
               That's all we've got.

                               MICHAEL
               No, it isn't, Bonnie.  We narrowed 
               the search for Karen to the marina 
               area.  Chances are that's where 
               they've taken Kitt.

                               BONNIE
               You're right.  That data I transmitted 
               earlier listed numerous Martin opera-
               tions on the waterfront.
                      (beat)
               What are you going to use for 
               transportation?

     On Michael's look and RC3's grin, we:

                                              CUT TO

     EXT. CONTAINER STORAGE AREA - DAY

     The tractor of the F.L.A.G. semi has already been discon-
     nected from the trailer and is pulling away.  RC3 behind the 
     wheel; Michael next to him.

                                              CUT TO

     INT. MARTIN'S MARINA BUILDING - DAY

     The top of the container opens fully to reveal a very 
     vulnerable K.I.T.T. below.

     MARTIN

     perches atop the wall of the container and blasts away with 
     the Uzi.  The rounds spark and ricochet off K.I.T.T.

                               MARTIN
               It's bulletproof -- Rip open the 
               T-top!!

     The two guards jump down atop K.I.T.T.'s roof and go to 
     work with pry bars.

     ON THE T-TOP

     as the pry bars push into the edge of the top and bend when 
     leverage is exerted.

     THE SCENE

     as the guards hold up the bent pry bars.

                               MARTIN
               Open up, Knight.  Otherwise we kill 
               the girl.

     ANGLE WITH KAREN

                               KAREN
               No!  Don't do it, Michael!

                               MARTIN
               Last call, Knight.  Open up or she 
               dies!

     K.I.T.T.

     A few beats then the T-top pops open.  Widen to include 
     Martin as he pumps a barrage of bullets into K.I.T.T.'s 
     driverless cockpit.  Cavanaugh watching anxiously.

     INTERCUT - INSIDE K.I.T.T.

     as the rounds puncture the upholstery of Michael's seat.
     The smoke clears, revealing Michael isn't inside.

                               MARTIN
               Knight's not in there!!

     RESUME SCENE

                               CAVANAUGH
               Great move, Julian.  Your clowns 
               kidnapped an empty car!

     All stand there in disbelief except ---

     KAREN

     who smiles, relieved, knowing that Michael is alive.

                                              CUT TO

     EXT. VARIOUS MARINA AREA STREETS - DAY - ON SEMI'S TRACTOR

     RC3 drives.  Michael operates the portable scanner.

                               RC3
               This is great.  I mean, like I been
               kinda missing the Street Avenger 
               action.  You know action...you and 
               me....

                               MICHAEL
               That's not what we're doing, RC.
               This is a professional operation.

                               RC3
               I know, man, I know.  I just mean 
               doing something that counts.  I like 
               the way it makes me feel.

                               MICHAEL
                      (nods)
               In that case, I know where you're 
               coming from, believe me.

     Michael reacts to something on the scanner.

                               MICHAEL
               We're getting close.  Kitt's signal's
               dead ahead.  Hang a right at the 
               next corner.

     As RC3 complies ---

                                              CUT TO

     INT. MARTIN'S MARINA BUILDING - DAY

     Cavanaugh's sounding off.  On the receiving end are Martin
     and Snyder, both of whom are growing livid.  Snyder drops 
     off to answer the phone that rings.

                               CAVANAUGH
               I'm up to here with waiting, Julian.
               And don't give me that stuff about
               banking hours.  You've got cash 
               planted all over town.  I want mine 
               now.

                               MARTIN
               I said when Knight's dead.  And I 
               meant it.

                               CAVANAUGH
               So did I about my little friend giving
               the DA those records.  You've got 'til
               noon today.  That's it.

     Cavanaugh moves off to join the guards.  Snyder returns 
     from the phone.

                               MARTIN
               Little punk's got me between a rock 
               and a hard place.  That's what I get 
               for dragging his butt out of the 
               joint.  Nothing I'd like better than 
               to pull his plug.

                               SNYDER
                      (smiles)
               Start pulling.  No more rock, no more
               hard place.  His 'little friend's'
               name is Jodi Hopkins.  Got the address
               right here.

                               MARTIN
                      (thoughtfully;
                       remembering)
               Jodi, Hopkins --
                      (beat)
               Cavanaugh?  I've got some news -- 
               good news.

     OMITTED

     ANGLE

     Cavanaugh joins Martin.  The latter puts his arm around 
     Cavanaugh's shoulder.  Pals.

                               MARTIN
               This 'little friend' of yours -- 
               somebody we grew up with, isn't it?

                               CAVANAUGH
               Maybe.  What's it to you?  What's 
               this all about?

                               MARTIN
               Blackmail.  Every time you tighten 
               the screws, you mention a little 
               friend.  Naturally, I'd be interested 
               in getting reacquainted with any 
               person who can lay their hands on 
               evidence to put me away for life.

                               CAVANAUGH
                      (sarcastically)
               You're a genius, Julian.  I'll bet 
               you even figured out that's why I 
               skipped the reunion.

                               MARTIN
                      (shakes no)
               Can't say I blame you for keeping her
               to yourself, Cavanaugh.  I mean, Jodi
               Hopkins always was one of those special
               girls, wasn't she?  Any message I can 
               pass on when I see her?
                      (off Cavanaugh's 
                       reaction)
               See, I had good news ---

     A gunshot rings out.

                               MARTIN
               And bad news.

     We're momentarily uncertain where it came from.  Cavanaugh
     a look of disbelief on his face, slumps to the floor -- 
     dead.  And we now see that Martin is holding the gun.

     FLASH REACTION SHOTS - KAREN, SNYDER, THE GUARDS

     As Martin and Snyder move to the car....

                               MARTIN
               We got one more piece of business
               with Jodi.
                      (to guards)
               Wait a few minutes then dump that car
               in the ocean.  Let Cavanaugh drive 
               and our favorite graduate student can 
               enjoy the view.

     They drive off through a rear exit....

     EXT. MARTIN'S MARINA BUILDING - DAY

     as the semi's tractor rolls into view and stops.

     INSIDE CAB OF SEMI

                               MICHAEL
               That building there -- it's got to 
               be the one.

                               RC3
               Let's rev this baby up and blow right 
               through the doors.

                               MICHAEL
               Let's not.  Just sit here with your 
               hands folded.  Got it?

     RC3 nods contritely and pulls to the curb.  Michael raises 
     his comlink.

                               MICHAEL
               Kitt?  Talk to me, pal.  Can you 
               read me?

     INTERCUT - CONTAINER - DAY - HIGH ANGLE

     as we move in to K.I.T.T. inside.

                               K.I.T.T.
               Like you were next to me, Michael.

                               MICHAEL
               I am, pal, right outside.

                               K.I.T.T.
                      (sigh of
                       relief)
               Oh, I was hoping you were going to  
               say that.

                               MICHAEL
               What's going on in there?  Is Karen
               okay?

                               K.I.T.T.
               I think so but I can't be certain.
               I'm still inside this claustrophobic 
               container and can't send lateral 
               transmissions.

                               MICHAEL
               Not much longer, pal.  Can you tell 
               me how many of Martin's men are in 
               there?

                               K.I.T.T.
               Three, from the sound of their voices,
               Michael.

                               MICHAEL
               It'll take me a few minutes to get 
               into position.  Hang in there.  I'm 
               going to need your help.

                               RC3
               I want to go in with you, Michael.

                               MICHAEL
               Need you outside.  First, you go to 
               that pay phone, call Devon and 
               request police backup.  Then, back 
               me up out here.

                               RC3
               You got it, my man.

                               MICHAEL
               Told you I was saving you for the 
               heavy duty stuff.

     Michael and RC3 get out of the semi's tractor.  RC heads 
     for the phone, Michael toward the marina building.  Along 
     the way he picks up a small Danforth anchor and attached 
     long rope.  He tosses it like a grappling hook to the roof 
     of the building and rappels up the wall on the rope.

     MICHAEL ON THE ROOF OF THE BUILDING

     as he comes over the parapet and taking the rope and anchor
     with him, crosses to an open skylight, looks in to see --- 

     MICHAEL'S POINT OF VIEW - THE SCENE BELOW

     He sees:  the fallen Cavanaugh;  Karen manacled to some 
     pipes;  the three guards crossing to her, ostensibly to put 
     her in the container with K.I.T.T. for transport to a watery 
     grave; and K.I.T.T. in the open container.

     INT. MARINA BUILDING - DAY

     As Michael comes in from the skylight, lowers himself on 
     the rope to a cantilevered balcony below.  As he touches 
     down and moves to the edge of the balcony with the anchor 
     rope in hand ---

                               MICHAEL
                      (comlink)
               Kitt?  I'm coming in from up top.
               We're going to 'raid' the place. 
               Understand?

                               K.I.T.T.
               I'm reading you loud and clear.

                               MICHAEL
               Ready -- now!

     ANGLE ON K.I.T.T.

     As he activates his anharmonic system and emits blasting 
     police sirens, numerous tire screeches, door slams, the 
     guards pull guns and take cover.

                               K.I.T.T.
                      (bullhorn voice)
               This is the police.  You're surrounded.
               Throw out your guns and come out with 
               your hands up!!!

     MICHAEL

     grabs the anchor rope, loops it around the end of the 
     crane boom, and swings on it from the cantilevered balcony 
     toward:

     THE CONTAINER

     as Michael sweeps into the shot and kicks loose the steel
     handle that holds one end of the container in place.

     ANOTHER ANGLE

     as the end of the container falls open hitting the floor 
     with a crash like a boarding ramp.  K.I.T.T. explodes out 
     of the container.

                               MICHAEL
               Take the other guard!!!

     MICHAEL

     drops from the rope and brings down one of the guards who 
     fires at him as he sails through the air.  As Michael puts 
     him away with a karate combination, the second guard runs 
     for the access door.

     THE THIRD GUARD

     turns his gun on Karen.  K.I.T.T. swings around, rounds
     sparking off his skin as he races past Karen and sideswipes 
     the guard, knocking him down and out cold.

                               MICHAEL
               Way to go, buddy!

     As Michael runs to Karen's side:

     EXT. MARTIN'S MARINA BUILDING - DAY

     As the second guard runs from behind the building and bowls 
     over RC3, who comes at him.  RC scrambles to his feet, vaults 
     the hood of a car and brings down the guard with a flying 
     tackle, putting him away with a single punch.

                               RC3
               My man said you stay and you're 
               staying!

     OMITTED

     RESUME THE SCENE INSIDE THE WAREHOUSE

                               MICHAEL
               Karen's cuffs need some attention, 
               pal.

                               K.I.T.T.
               No problem, Michael.  They're 
               standard issue.

     The cuffs pop open with appropriate sound effects.  Michael
     helps remove them and embraces Karen, comfortingly.

                               MICHAEL
               You okay?

                               KAREN
                      (nods, shaken)
               Yes, yes, Michael.  I'm fine but 
               Martin's gone!

                               MICHAEL
               You know where?

                               KAREN
                      (nods)
               I'll tell you on the way.  Head
               downtown.

     Michael and Karen get into K.I.T.T.

     OMITTED

     INSIDE K.I.T.T.

     as Michael settles behind the wheel, fires up the engine 
     and pushes some buttons on his console.

                               MICHAEL
               Super Pursuit Mode, pal.  We don't 
               have a lot of time.

     K.I.T.T.

     as his nose cowling elongates, spoilers deploy and he 
     explodes forward.

     EXT. MARTIN'S MARINA BUILDING - DAY

     as K.I.T.T. rockets out the doors into the street in Super 
     Pursuit Mode and accelerates away.

                                              FADE OUT

                        END OF ACT THREE

                            ACT FOUR

     FADE IN

     EXT. ROAD - DAY

     as K.I.T.T. barrels past in super pursuit mode.

     K.I.T.T.'S SPEEDOMETER

     rapidly approaches 300 mph and continues past.

     MICHAEL AND KAREN

     She's more than impressed, eyeing the speedometer with 
     disbelief.  As K.I.T.T.'s speed evens out and they ease into 
     normal seating positions, Michael swings a look to Karen.

                               MICHAEL
               You said you'd tell me about Martin
               on the way.  I'd say it's time to 
               start talking.

                               KAREN
               If this isn't 'on the way,' what 
               is.  Wow!
                      (beat)
               Martin's after evidence, Michael.

                               MICHAEL
               That's what I figured all along.
               Cavanaugh must've used it to 
               blackmail Martin into breaking him
               out.  We've got to beat him to it,
               Karen.  Where's he headed?

                               KAREN
               To see somebody named Jodi Hopkins.
               That's all I've got.

     Michael pushes some buttons on the console.

                               MICHAEL
               Maybe that's all we'll need.  Jodi
               Hopkins, pal.  I need an address.
               Make it fast.

     And as they rocket off into the distance ---

                                              CUT TO

     EXT. FRONT OF JODI'S HOUSE - DAY

     Martin's car cruises past, Snyder at the wheel.

     INSIDE MARTIN'S CAR

                               MARTIN
               Park around back.  I don't want to
               be announced.

     Snyder turns into an alley.

                                              CUT TO

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

     rockets down a straightaway in SPM.

                               K.I.T.T.
               I've found Jodi Hopkins, Michael.

     INSIDE K.I.T.T. - TRAVELLING (SPM)

                               K.I.T.T.
               But there are three listings.  Bel Air,
               Beverly Hills and Southgate.

                               MICHAEL
               Good work.  Question is, which one?

                               KAREN
               I don't know if this will help, Michael.
               But I overheard something about Jodi
               and Cavanaugh growing up together.

                               MICHAEL
               He didn't strike me as a guy who grew
               up in a chic neighborhood, Karen.
                      (beat)
               Plot me the most direct course to 
               the Southgate address, pal!

     K.I.T.T.

     accelerates down the road and we:

                                              CUT TO

     INT. JODI'S HOUSE - DAY

     She's preparing to leave, stuffing a few last items into her
     suitcase.  She reacts to a noise on the back porch and 
     turns to the door.

                               JODI
               Jeffery?  Be with you in a ---

     ANOTHER ANGLE - DOOR

     It explodes open as Snyder lunges into the room with his 
     gun.  Martin's right behind him.

     THE SCENE

     Jodi starts to scream.  Snyder cups a hand over her mouth.
     Shoves her back inside and slams her against a wall.  He 
     holds her there and threatens her with the gun as Martin 
     moves to her.

                               MARTIN
               I'll get straight to the point, Jodi.
               For openers, your blackmailing boy-
               friend's dead.

                               JODI
                      (jolted)
               Jeffery?  Dead?!  No!  No!!

                               MARTIN
               You're next if you don't hand over 
               those records he gave you.

                               JODI
               But, but I don't have them.

     Snyder moves the gun closer.  Jodi eyes it.  Sags, capitu-
     lating.

                               JODI
               Even if I did know where it is.
               You'll kill me the minute I tell 
               you.  I know you will.

                               MARTIN
               There's only one way to find out,
               isn't there?

     Jodi ponders the offer as we:

                                              CUT TO

     EXT. STREETS - DAY - VARIOUS SHOTS - K.I.T.T.

     races in Super Pursuit Mode.

                                              CUT TO

     EXT. FRONT OF JODI'S HOUSE - K.I.T.T.

     arrives in Super Pursuit Mode and deploys breaking fins and 
     roof flap to come to a fast stop.

                               MICHAEL
               I don't see Martin's car.  Scan the 
               place for me.

     Michael pushes buttons on K.I.T.T.'s console.

     INTERCUT AS NEEDED - K.I.T.T.'S MONITOR

     to see a schematic of the house develop and representational
     figure of Jodi.

                               K.I.T.T.
               I'm picking up only one person,
               Michael.  A female who appears 
               nervous but uninjured.

                               MICHAEL
               Thanks, pal.  Keep your scanners 
               peeled.
                      (to Karen)
               And you ---

                               KAREN
                      (anticipating)
               Stay put, I know.

     Michael dashes out of K.I.T.T.

                                              CUT TO

     OMITTED

     INT. JODI'S LIVING ROOM - DAY

     Jodi's stunned but unharmed.  As Michael rushes to her.

                               MICHAEL
               Jodi?  Jodi, where's Martin?  Tell me
               you didn't give him that evidence.

                               JODI
                      (shakes no;
                       nervously)
               I -- I couldn't, I don't have it.  But
               I told him where.  You the police?

                               MICHAEL
               No.  No time to explain.  Where'd he 
               go, Jodi?  Where?!

     EXT. JODI'S HOUSE - DAY - ON K.I.T.T.

     is still in Super Pursuit Mode.  Michael exits on the run;
     jumps behind the wheel next to Karen and takes off.

     INSIDE K.I.T.T. - TRAVELING (SPM)

                               MICHAEL
               The evidence is in a green '78 Chevy,
               in a downtown parking structure.

     ANGLE ON K.I.T.T. FROM THE STREET

     as Michael hits the accelerator so hard that K.I.T.T. damn 
     near does a wheelie.

     INTERCUTTING BOTH CARS - VARIOUS STREETS - VARIOUS ANGLES

     Each heading for the parking structure at high speed.

     EXT. TWO PARKING STRUCTURES - DAY

     Next to each other...Martin's car arrives and rockets up 
     the east ramp.

     K.I.T.T.

     coming on strong after two-wheeling another corner.

     INSIDE K.I.T.T. - TRAVELING

                               K.I.T.T.
               The parking structure is dead ahead,
               Michael.

     Through the windshield we see first one parking structure, 
     then a second next to it is revealed as K.I.T.T. completes 
     his approach.

                               KAREN
               Michael, there are two....

     Michael hits a button on his console.

     K.I.T.T.

     deploys braking fins and roof flap and comes to a screeching 
     EBS stop in front of the two parking entrance ramps that 
     branch off left and right.

                               MICHAEL
               Back into cruise mode, pal.

     RAPID FIRE SEQUENCE OF SHOTS - K.I.T.T.

     as he transfers from super pursuit to cruise mode.

     RESUME INSIDE K.I.T.T.

                               MICHAEL
               Now, give me a quick scan for that 
               Chevy.

     Michael hits buttons on his console.

     K.I.T.T.'S MONITOR

     comes to life.  A schematic of the buildings traces out.  A 
     pulsing blip appears on the west tower.

                               K.I.T.T.
               I've picked up a green '78 sedan 
               atop the west structure, Michael.

                               MICHAEL
               Way to go, buddy!

     THE SCENE

     as Michael floors the accelerator and K.I.T.T. races up the 
     ramp that leads to the West Tower.

     EXT. TOP OF WEST STRUCTURE - K.I.T.T.

     careens off the ramp onto the top level, races between rows 
     of cars.  Brakes next to a green '78 Chevrolet sedan.
     Simultaneously, a woman gets out of the sedan, locks the 
     door, walks off.

     INSIDE K.I.T.T.

                               MICHAEL
               That's a green sedan all right but 
               that sure isn't Martin and Snyder!
               What's going on, pal?!

                               K.I.T.T.
               My scanner just picked up an identical
               vehicle on the opposite tower.

     They look off to see ---

     LONG SHOT - THEIR POINT OF VIEW - A DUPLICATE CHEVROLET 

     showing two indistinguishable men.

     RESUME INSIDE K.I.T.T.

                               MICHAEL
               Give me a closeup of that, fast!

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

     INTERCUTTING AS NEEDED - K.I.T.T.'S MONITOR

     to show Snyder prying open the trunk of the Chevy.  Martin
     reaches inside, and removes the manila accordion folder. 
     Chock full of the accountant's records.

                               K.I.T.T.
               They've got it, Michael.

                               MICHAEL
               Too late to cut them off down below.
               Think we can make it, Kitt?

                               K.I.T.T.
               It's twenty feet more than my 
               previous record.

                               KAREN
                      (incredulous)
               You're not doing what I think you're
               doing.

                               MICHAEL
               Records are made to be broken -- 
               Hang on!

     Michael backs up to get more "runway" space.  Guns the 
     engine.

                               MICHAEL
               Give me all the turbo boost you've 
               got, pal!

     Hits turbo boost.

     K.I.T.T. IN SLOW MOTION

     rockets across the parking structure, launches into the air
     and zooms off the edge of the West Structure into space.

     FLASH CUT - MARTIN

     reacting to K.I.T.T. while heading for his car.

     MARTIN AND SNYDER'S POINT OF VIEW - K.I.T.T.

     heading straight at them.

     KAREN

     wide-eyed with fright and wonder.

     MARTIN

     shakes off his incredulity.  Snyder starts shooting at 
     K.I.T.T.

     K.I.T.T.

     The bullets sparking off his skin as he makes a perfect 
     four-wheel landing on the East Structure.  Martin is heading 
     to his car as K.I.T.T. screeches to a stop directly behind 
     it, precluding a getaway.

                               MICHAEL
               Take Snyder, pal!  Martin's mine!!

     THE SCENE

     Martin takes off across the structure.  Snyder is running 
     past K.I.T.T. when his passenger door pops open and clobbers 
     him.  Snyder goes down and stays down.

     MICHAEL

     dashes out of K.I.T.T.; catches Martin from behind with a 
     shoestring tackle.  Then puts him away with a karate 
     combination.

     ANOTHER ANGLE

     Michael pulls him to his feet for ---

                               MICHAEL
               I can't wait to see the headline in 
               tonight's paper, Martin.

     On Martin's reaction ---

                                              FREEZE FRAME

                                              FADE OUT

                         END OF ACT FOUR

                               TAG

     FADE IN

     INT. SEMI - DAY - GROUP SHOT

     K.I.T.T.'s the center of attention with Michael, Devon, 
     Bonnie and Karen semicircled around the Trans Am.

                               MICHAEL
               Kitt was like a gazelle...what a 
               jump.

                               K.I.T.T.
               Michael I prefer to be likened to a 
               rocket.  Cars with animal names are
               very common.

                               KAREN
               You're right, Kitt...You're one of a 
               kind.  Sort of a national treasure
               and you've earned your privacy.

                               DEVON
               What are you going to use as the 
               basis for your thesis?

                               KAREN
                      (with a look)
               Michael Knight.  Sexiest crime 
               fighter in America.

                               MICHAEL
               Then the final interview should be 
               at a private party on a very private
               sailboat.

                               K.I.T.T.
               Karen, thank you, but would you 
               consider doing me another favor?

                               KAREN
               Anything....

                               K.I.T.T.
               Would you adopt a small dog?  You 
               might say he's a friend of mine....

                               MICHAEL
               So, I did see what I thought I saw.
               That's why I'm a little itchy.

                               K.I.T.T.
               Sorry, Michael, he needed a place to 
               hide and fleas are not a serious 
               ailment.

     Reaction and laughs ---

     ON MICHAEL

     as he turns to look at K.I.T.T., then shrugs to Karen:

                               MICHAEL
               Sorry, Karen.  Guess we'll be having 
               some extra company on that boat ---

                                              FREEZE FRAME

                                              FADE OUT

                             THE END