Home : Knight Rider : Season 4 : Sky Knight : Scripts : 8th Draft

KNIGHT RIDER: SKY KNIGHT

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

Production #60219
8th Draft - August 16, 1985 (F.R.)

Teleplay: .................. Carlton Hollander &
............................ Dennis Rodriguez
Director: .................. Jeffrey Hayden

                              
                                 ACT ONE

     FADE IN

     EXT. INTERNATIONAL AIRPORT - DAY - ESTABLISHING

     OMITTED

     INT. TERMINAL - DAY

     Michael and Bonnie, carrying luggage, walk towards the 
     security check in.  There are two security stations, each
     manned by a security officer.  Both stations possess the 
     normal devices -- X-ray, metal detector, alarm....

     MOVING SHOT

                               BONNIE
               Maybe I should have taken the train.

                               MICHAEL
               This is the only way you'll ever 
               make it to your sister's wedding in
               time.

                               BONNIE
               I think I'd rather be late than 
               terrified.

                               MICHAEL
               Flying is safer than driving a car.
                      (into comlink)
               Tell her, Kitt.

     INTERCUT - K.I.T.T.

                               K.I.T.T.
               It may be safer than traveling by 
               automobile, Michael, but there is no 
               doubt that air travel is one of the 
               most unnatural modes of transportation
               ever devised by the mind of man.

                               MICHAEL
               Thanks a lot, buddy.  You really 
               helped.

                               BONNIE
               It's not Kitt's fault, Michael.  He
               was programmed to be afraid of 
               flying.

                               MICHAEL
               But you were the programmer.

                               BONNIE
               I know.

     They reach the first line.

     ANGLE TO INCLUDE NICK

     a fifteen-year-old hotshot with an eye for the ladies.
     Nick gives Bonnie the once-over and likes what he sees.

                               NICK
               You in smoking?

                               BONNIE
                      (amused)
               Non-smoking.

                               NICK
               Good!

     Nick places his duffle bag on the conveyor belt, stands 
     back and grins at Bonnie.  Their attention is drawn by 
     the sound of the metal detector alarm beeping.

     ANGLE - DETECTOR X-RAY SCREEN AND ALARM LIGHTS

     The origin of the beeps -- the screen displays Nick's 
     duffle bag with what appears to be a toy car inside.  Alarm
     lights are flashing.

     ANGLE - CHARLES ZURICH

     He is a few people behind Bonnie in line.  An affable,
     folksy-looking kind of guy in his later forties, Charles 
     Zurich reacts to the alert.  With him in line is Steven, a 
     young, intellectual type; and Kurt, a guy who looks too 
     tough to wear a three-piece suit.  All three carry attache
     cases.

     Zurich looks at the alarm, then glances O.S. in the direc-
     tion of the other line where Larry and Eddie, two young,
     nervous-looking guys, stand.  Larry carries a large
     briefcase.  He glances back toward Zurich, who nods, then
     gestures for them to remain calm.

     A Security Officer removes Nick's duffle bag from beneath
     the scanner and opens it.

                               SECURITY OFFICER
               Please, remove the contents.

     Nick glances quickly at Bonnie, then pulls out a few items
     of clothing before removing a battery-powered toy car.

                               SECURITY OFFICER
               That's the culprit.

                               NICK
                      (embarrassed; 
                       for Bonnie's
                       benefit)
               It's for my little brother.  The
               kid's really into toys.

                               BONNIE
               Most kids are.

                               NICK
               Yeah, isn't that the truth!

     Nick shoves his stuff back into his bag.  The car slips
     from his hand and rolls along the security desk...Michael
     grabs it before it rolls off the counter.  He examines it 
     and hands it back to Nick who nods and moves on.  Bonnie 
     hugs Michael, passes through, leaving him on the other side.

                               MICHAEL
               Give your sister my best.

                               BONNIE
               I will.  See you in a week.

                               MICHAEL
               Have fun.

     OMITTED

     ON BONNIE

     as she starts to move down the concourse and is joined by 
     Nick, who has been hovering nearby.

                               NICK
               You flying alone?  That's great!
               Listen, I buy the drinks, okay?  And
               don't argue, a pretty lady like you,
               are you kiddin'...?

     Bonnie glances back toward Michael, somewhat delighted to 
     be in the clutches of this fifteen-year-old Don Juan.
     Michael grins, waves once more and turns to exit the 
     terminal.

     OMITTED

     ANOTHER ANGLE

     Larry places the briefcase on the conveyor belt, then both
     he and Eddie begin backing away.

     The Security Officer watches them, then glances up at the 
     X-ray screen, sees what appears to be a bomb inside -- 
     metal pipes, detonator and wires.

                               SECURITY OFFICER
               It's a bomb.

     OMITTED

     WIDER ANGLE - MICHAEL

     reacts, turns to see a Security Officer reacting to 
     detector, then on walkie-talkie.

                               SECURITY OFFICER
               Security, we have an emergency in 
               terminal five.  This is a code Red.
               I repeat, code Red!

     The security guard from station number one has abandoned 
     his post and is moving people back off the bomb.

     He is pointing toward Larry and Eddie, who are trying to 
     leave without incident.

                               SECURITY OFFICER
               That's them, they're the ones who
               planted the bomb!

     They turn and flee, heading for an exit door to the airfield.
     The guards take off after them.

     OMITTED

     ANGLE - MICHAEL

     as he runs toward the exit door.

                               MICHAEL
                      (on comlink)
               Kitt, meet me behind the terminal, on
               the double!

     INT. K.I.T.T.

     All systems come to life.

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

     The accelerator depresses.

     OMITTED

     INT. TERMINAL - SECURITY STATIONS

     They have been abandoned.  Zurich, Steve and Kurt wait a 
     moment longer, then walk around the station unwatched then
     proceed quickly down the concourse toward the boarding 
     gates.

     OMITTED

     EXT. REAR OF TERMINAL - DAY

     Michael bursts from inside the terminal, looks one direc-
     tion, then the other, sees something O.S.

     MICHAEL'S POINT OF VIEW - WHITE VAN

     Larry and Eddie scrambling inside.

     K.I.T.T. pulls around the corner.

                               MICHAEL
               Let's stop them right here, pal!
               Microjam.

     OMITTED

     WIDER ANGLE 

     Michael runs towards the van just as the van's doors 
     are opening.  Larry tumbles out, followed by Eddie, who
     stumbles over him as he tries to make his escape.  Eddie
     takes a wild swing, Michael ducks, lands a right to the 
     midsection that sends Eddie reeling back towards the van.

     Michael brings both up to their feet, as airport security
     vehicles screech up.

     OMITTED

     INT. AIRPLANE (FLIGHT 34) - DAY - ON MARY

     a stewardess, as she carries pillows down the aisle.  She
     passes Zurich, who is flipping through a magazine.

     Across the aisle are Bonnie and Nick.  Bonnie is trying to
     read, but Nick obviously has other ideas.

                               NICK
               Would you like the window seat?
               There's plenty to see.

                               BONNIE
               Thanks.  Maybe later.

                               NICK
               The name's Nick, what's yours?

                               BONNIE
               Bonnie.  Pleased to meet you, Nick.

                               NICK
               Going to Boston, eh?

                               BONNIE
               Yes, my sister's getting married 
               tomorrow.

                               NICK
               What a waste.

                               BONNIE
               Getting married?..Or Boston?

                               NICK
               No, I meant...my parents were married 
               in Boston.

                               BONNIE
               Oh?  Were you visiting a relative out
               here?

                               NICK
               Yeah, my mother.  Now I'm going to 
               see my father.

     Mary approaches to take drink orders.

                               MARY
               Would either of you care for a drink?

                               NICK
                      (brightening)
               Sure, we'll have a couple of Martinis.
               Stir, don't shake, we don't wanna 
               bruise the gin.

                               MARY
                      (amused)
               I'm sorry, but I think all of our
               gin has been bruised.

                               BONNIE
               Make mine a root beer.

                               NICK
               Make it two.

     Mary smiles at Bonnie, turns to get the order from across
     the aisle.

     ANGLE - ANOTHER SEAT

     A stern-looking woman, Mrs. Swanson, in her sixties is sitting
     next to her son, Floyd, studious looking and thirty-five and 
     totally intimidated by this woman....

                               MRS SWANSON
               Make that three root beers and I'll
               have one of those bruised martinis.

                               FLOYD
               I think I'll have a Scotch mother.

                               MRS SWANSON
               Not a chance.  You can't handle 
               liquor any more than your father 
               could.  You'll have a root beer.

     A sympathetic look passes from Mary and Floyd.

     ANGLE - ZURICH AND MARY

                               MARY
               Could I get you a refreshment, sir?

     Zurich opens his magazine to reveal a 9mm pistol.

                               ZURICH
               I think maybe the Captain would like 
               some coffee, don't you?

     Zurich stands, the gun held on Mary from beneath the 
     magazine.  She leads him up the aisle to the cockpit door,
     Steven and Kurt watching from their respective seats.

     OMITTED

     ANGLE - COCKPIT DOOR

                               ZURICH
               Now don't get fancy on me, sweetheart
               ...Just knock on that door and 
               announce coffee.

     Mary knocks on the door.

                               MARY
               Coffee...?

     INT. COCKPIT

     Captain Bill Rogers, a copilot and a navigator.  Without
     looking back, the navigator unlatches the cockpit door and 
     opens it.

     Zurich slips in.

                               ROGERS
               Mary, don't forget my two lumps this
               time, would you please?

                               ZURICH
               Wouldn't dream of it, Captain.

     Rogers and his crew react to Zurich and his gun.

                               ZURICH
               Good morning gentlemen.

                               ROGERS
               Sir, you are committing an act of 
               air piracy, a felony under Federal
               Aviation law.  I must inform you at 
               this time that my responsibility....

                               ZURICH
               ...Is only for the safety of your
               passengers and your behavior will,
               in no way, constitute support of my 
               actions or political beliefs.
               That's real nice, Captain, now 
               please remain calm.

     Zurich opens his attache case, revealing a sophisticated
     electronic device with a small radar screen and many dials
     and settings.  We see a blip on the screen.  Zurich sets
     the dials and pushes a button which causes the screen to 
     turn to "snow."

                               ZURICH
               As of this moment, Captain, we are 
               off radar.

     Rogers glares at Zurich.

                               ZURICH
               I'm going to take you all to some
               very pretty country.  Your new 
               heading, Captain, will be one twenty-
               three.
                      (beat)
               Don't be a hero.

     He levels the pistol at the Captain who turns back to the
     controls; then he picks up an intercom.

                               ZURICH
               Ladies and gentlemen, you are now in
               the hands of the New Dawn Movement.

     OMITTED

     ANGLE - STEVEN

     opens the attache case which sits on his lap and extracts
     an Uzi with a collapsible stock.  Steven locks the stock
     in place and jumps to his feet, brandishing the Uzi as 
     Kurt, from another part of the plane, also gets to his feet
     with an Uzi.

                               STEVEN
               If you want to live you'll do exactly
               as you're told.

     OMITTED

     ANGLE TO INCLUDE BONNIE AND NICK

     Along with the other passengers, they react, stunned.

                               BONNIE
               My God, no!

     Steven has Mary in front of him.  He gives her a large
     plastic bag.

                               STEVEN
               Your wallets and purses in the bag.

     Mary starts down the aisle, Kurt steps in behind her while
     Steven maintains his position at the front of the cabin.
     The passengers throw their wallets and purses into the bag.

                               BONNIE
                      (to Nick)
               Please, do as they say.

     Nick angrily takes out his wallet and throws it into the bag.

     Bonnie then holds up her wallet, a beautifully etched 
     leather piece, and hesitates, then tosses it into the 
     bag.

                                              CUT TO

     OMITTED

     EXT. HIGHWAY - DAY

     The semi rolling, K.I.T.T. coming into scene from opposite
     direction, hangs a 180 and charges after the semi, rolling
     onto the ramp.

     INT. SEMI - DAY

     Devon is on the phone as RC3 enters worriedly.

                               DEVON
                      (on phone)
               Yes, I'll hold.
                      (a beat,
                       to RC3)
               Shouldn't you be behind the wheel?

                               RC3
               We're on auto pilot.
                      (concerned)
               Any news of Bonnie?

                               DEVON
                     (back on
                      phone)
               Yes....

     Over this Michael and K.I.T.T. pull in, screech to a stop,
     Michael climbing out.  Ad-lib greetings with RC3 over:

                               DEVON
                      (on phone)
               I see.  Thank you.
                      (to Michael)
               Bad news, Michael.  It's as we 
               feared.  Bonnie's flight disappeared 
               from radar fifteen minutes ago.

                               MICHAEL
                      (deflated)
               What about that bomb?

                               DEVON
               It's a fake...That's why they let 
               Bonnie's flight go on schedule.

                               MICHAEL
               I had a feeling it might be.  It was 
               a decoy -- a smoke screen for their 
               real purpose.

     The phone rings and Devon answers it.

                               DEVON
                      (on phone)
               Yes, patch it through.

     Devon places the telephone receiver on a modem.

                               DEVON
               That was airport security, they're
               receiving a transmission from the 
               plane.

                               MICHAEL
               Kitt, pick this up and give me a 
               voice analysis.

     Michael, Devon and RC3 look expectantly up at the speaker.

                               ZURICH (O.S.)
               Gentlemen....

     OMITTED

     EXT. HARRIS FIELD - BUNKER - DAY

     In the immediate f.g. we see just the wing and landing gear
     of a commercial jetliner.  Beyond is Harris Field, an 
     abandoned military airfield.  Next to one of the hangars is
     a bunker, with a powerful radio transmitter above.  Between
     the jetliner and the bunker is a perimeter fence.  There
     are signs everywhere of robotic weaponry -- missile packs,
     .50 caliber guns and mortars and mines.

                               ZURICH (O.S.)
               ...this is the new commander of 
               Flight 34.  We are now on the 
               ground and all the passengers are 
               doing fine.

     INT. BUNKER - DAY

     A split level, high-tech war room.  Zurich stands at the 
     communication center which contains broadcast equipment,
     computers and a huge monitor above.  In the b.g. is a black
     monolith about ten feet high which will be revealed later 
     as the Doomsday Device.  The bunker is totally enclosed,
     with catwalks above the main floor.

     The passengers, including Bonnie and Nick and the Swansons
     in the f.g., are on the main floor.

     Steven, Kurt, and five guards patrol the catwalks.

                               ZURICH
                      (on radio)
               Fortunately, there were no heroes.
               Just a lot of people who want to get
               home safely.

     INT. SEMI - INTERCUT AS NEEDED

                               ZURICH
               A list containing the names of one 
               hundred and ninety-seven men currently
               serving time in this state's prisons
               should be arriving about now at the 
               Justice Department.  My demands are 
               simple.  In addition to three million
               dollars cash, I want each and every 
               one of those political prisoners 
               named on that list released.  Details 
               of how and where will be forthcoming.

     Zurich moves to the catwalk railing, studies the passengers.

                               ZURICH
                      (on radio)
               You have twenty-four hours to comply
               or The New Dawn Movement will have
               no choice but to begin executing 
               these people one at a time.
                      (a beat)
               I'll be in touch.

     Zurich cuts the mike, grins at Steven and throws him a wink.
     Steven raises his Uzi in a salute.  Zurich moves off the 
     catwalk, down to the main floor.  Kurt stands at a table
     piled high with the wallets of the passengers.

     Kurt hands Zurich Bonnie's wallet.

     OMITTED

     CLOSER ANGLE

     as Zurich opens it, sees ID for F.L.A.G.  Kurt nods in 
     Bonnie's direction.  Zurich turns and smiles.

                               ZURICH
               Foundation for Law and Government.
               An organization, as I recall, that 
               meddled in the affairs of others.

     Zurich hands Bonnie her wallet.

                               ZURICH
               Unless my demands are met, I think 
               it would be appropriate if you're the 
               first hostage to be executed.

     Bonnie stares incredulously down at her F.L.A.G. card.

                               ZURICH
               Foundation for Law and Government --
               I'm afraid it's become your death 
               warrant.

     OMITTED

                                              FREEZE FRAME

                                              FADE OUT

                         END OF ACT ONE

                             ACT TWO

     FADE IN

     INT. SEMI - DAY

                               ZURICH (O.S.)
               I'll be in touch.

     Michael pushes the off button.

                               MICHAEL
               Kitt, have you got the voice 
               analysis yet?

                               K.I.T.T.
               Just completed, Michael.  Sorry it 
               took so long but it took special 
               cooperation from the authorities to 
               cut through the maze of security 
               clearances.

                               DEVON
               Security clearances?

                               K.I.T.T.
               Yes, it appears our hijacker was at 
               one time in a strategically sensitive
               position.

     OMITTED

     ANGLE - SEMI MONITOR

     A photo of Charles Zurich, basically a security mug shot.

                               K.I.T.T.
               Charles Zurich, age forty-nine.
               Until two years ago he was with 
               Special Operations for the 
               National Security Commission.

                               MICHAEL
               And now he's a freelancer.

                               K.I.T.T.
               Exactly, Michael.  It seems he was 
               passed over for promotion.  The NSC
               dismissed him when it suspected he 
               was manipulating funds.  He was about 
               to be charged when he simply disap-
               peared.

                               RC3
               Yeah, but what would he want with 197
               cons?

                               MICHAEL
               He calls them 'political prisoners,'
               but I had Kitt check 'em out -- 
               they're hard-core murderers and 
               thieves, not a political bone in 
               their bodies.
                      (beat)
               Tell me if I'm wrong, Devon, but
               aren't there 197 troops in an 
               expanded infantry company?

                               DEVON
               My God!

                               RC3
               A ready-made terrorist army....

                               MICHAEL
                      (nods)
               Yes...but what for?
                      (to K.I.T.T.)
               Kitt, tap into every source you can
               -- I want all there is on Mr. Charles 
               Zurich.

                               K.I.T.T.
               Of course Michael.

                               MICHAEL
                      (to Devon)
               Anything on the two guys in the van?

                               DEVON
                      (shakes his
                       head)
               They've been well-rehearsed.

                               MICHAEL
               What about their van?

                               DEVON
               The police were good enough to 
               provide a readout...just odds and 
               ends, really....

     On the semi's main frame he accesses the findings.  Michael
     studies the miscellaneous items, all innocuous, some 
     tickets....

                               MICHAEL
               Doesn't tell you much, does it....

                               RC3
                      (over his
                       shoulder)
               One of 'em smokes too much, and they
               like drive-in movies...They've been
               to the same double feature for the 
               past six days....

                               MICHAEL
               Sounds more like a meeting place 
               than a movie....

                               RC3
               I'll be glad to check it out....

                               MICHAEL
               No, you baby-sit the semi, I'll go to
               the movies....

     He gets into K.I.T.T....

                                              CUT TO

     OMITTED

     EXT. SEMI - DAY

     The ramp lowers, K.I.T.T. rolls out, makes a 180 and roars 
     out.

                                              CUT TO

     EXT. DRIVE-IN THEATER - DAY

     K.I.T.T., approaching the empty theater, moves past the 
     marquee and toward the closed entry gates.

     OMITTED

     MICHAEL'S POINT OF VIEW - GATES

     Michael drives through, passing a sign which reads:
     Warning -- Do Not Back Up, Severe Tire Damage.

     EXT./INT. DRIVE-IN THEATER - DAY

     The vast lot is empty.  K.I.T.T. cruises past the 
     playground beneath the screen, then heads towards the rear
     past the snack bar.

                               MICHAEL
               Okay, pal, keep your scanner peeled 
               for anything unusual.

                               K.I.T.T.
               Would you care to be more specific?

                               MICHAEL
               Would if I could, buddy.

     K.I.T.T.'s systems flash across the monitor.  Michael
     drives slowly, eyes covering everything.

                               K.I.T.T.
               Michael, if 'unusual' is the requi-
               site, I may have something.

                               MICHAEL
               Lay it on me.

                               K.I.T.T.
               The speaker dead center, number 1204
               last row has been altered to function
               as a telephone.

                               MICHAEL
               Let's check it out.

     As K.I.T.T. moves to the last row, and the center speaker,
     Michael brings the speaker into the car.

                               MICHAEL
               If we make a connection I want you
               to run a trace.

                               K.I.T.T.
               I'm ready, Michael.

     Michael depresses the tone button.

                               MICHAEL
               Zurich told me to come here.

     Silence.

                               MICHAEL
               He said I could make contact here.
               I've got some important information 
               for him.

                               SPEAKER VOICE
               Is this regarding 'Deep Sleep'?

                               MICHAEL
                      (reacts)
               'Deep Sleep'...right.

                               SPEAKER VOICE
               Hold on.

                               K.I.T.T.
                      (sotto voce)
               Michael, the speaker connects 
               directly with a switcher located in
               the office above the snack bar.  An 
               outgoing call is being made at this 
               moment....

                                              CUT TO

     INT. BUNKER - DAY

     Zurich picks up the telephone, listens.

                               ZURICH
               I made no arrangements for a contact.
                      (a beat)
               Find out who he is, then terminate
               him.
                      (a beat)
               Yes, that's right.  Terminate.

                                              CUT TO

     EXT./INT. DRIVE-IN THEATER - DAY

                               SPEAKER VOICE
               Could you state your business more 
               specifically?

                               MICHAEL
               I could, but it's got to be directly
               with Zurich.

     Michael reacts to something O.S.

                               MICHAEL
               Uh oh, looks like we got company.

     MICHAEL'S POINT OF VIEW - TWO SEDANS

     barreling towards him from either side of the movie screen.

     ANGLE IN K.I.T.T.

                               MICHAEL
               No time for tag with the small fry,
               pal.  Contact the police.

                               K.I.T.T.
               With pleasure, Michael.

     ANOTHER ANGLE

     The two sedans fly over the humps.  A gunman hangs out of 
     each shotgun window, firing an automatic weapon.

     The sedans close in on K.I.T.T., the bullets pinging off.

     K.I.T.T. roars off in the opposite direction, the 
     converging sedans almost collide but manage to avoid one
     another at the last moment.

     SERIES OF SHOTS

     K.I.T.T. being chased by the sedans over the humps, between
     the speakers, along the perimeter fence.

                               MICHAEL
               How close are the police?

                               K.I.T.T.
               Within two blocks Michael....

                               MICHAEL
               All right, buddy, let's deliver
               them....

     OMITTED

     SERIES OF SHOTS

     K.I.T.T., the sedans, Michael finally leads the pack around 
     the back fence, then directly towards the entrance.

     ANGLE - ENTRANCE

     featuring sign:  WARNING - NO EXIT - SEVERE TIRE DAMAGE!

     ANGLE - REVERSE SPIKES

     blocking entrance.

     ANGLE - K.I.T.T.

     heading directly at the spikes.

                               MICHAEL
               This'll blow 'em away!

     REVERSE ANGLE - ENTRANCE

     featuring reverse spikes as K.I.T.T. rolls over them 
     without damage.  The first sedan attempts the same feat and 
     blows all four tires.

     ANOTHER ANGLE - FIRST SEDAN

     out of control, spinning and coming to a stop.

     BACK TO ENTRANCE

     The second sedan plows through, blowing all four of its
     tires.

     WIDER ANGLE

     as two black and whites, sirens blasting and lights flashing,
     pull to a screeching stop on either side of the sedans.

     OMITTED

     ANGLE - K.I.T.T.

                               K.I.T.T.
               Michael, I've traced that call to a 
               town in southwestern Arizona called 
               Cactus.

                               MICHAEL
               Good work, buddy.  Get me Devon.

     MONITORS - INTERCUT AS NEEDED

     Devon flicks on....

                               DEVON
               Michael, are you all right?

                               MICHAEL
               No worse than any normal Saturday
               night at the drive-in movies.  We 
               made connection -- a call from the 
               drive-in to Zurich in a town in
               Arizona called Cactus.

                               DEVON
               We'll be right behind you.

                               MICHAEL
               Good -- oh, and Devon, whatever 
               Zurich's got planned, the code name 
               is Deep Sleep and let's hope that 
               isn't Bonnie's future.

                               DEVON
               My thoughts exactly, Michael.

                               MICHAEL
               Okay, Kitt.  It's time for a little
               Super Pursuit Mode.

     Michael hits the SPM button as Devon disappears.

     SERIES OF INSERTS

     An air dam slides down on K.I.T.T.'s front end.

     The rear fin converts to a new aerodynamic shape as the 
     rear end lifts up to expose two jet exhausts.  Side vents
     slide outward.

     An air intake vent pops up from the hood.

     ON K.I.T.T.

     The Super Pursuit Mode transformation complete, K.I.T.T.
     explodes.

                                              CUT TO

     INT. BUNKER - DAY - ON ZURICH

     as he patrols on the catwalk.  He stops, lights a cigarette
     and looks down to the floor.

     ANGLE - ZURICH'S POINT OF VIEW - BONNIE

     She is looking up at him, then turns away.

     ANGLE TO INCLUDE BONNIE AND NICK

     Nick is absently playing with his toy car.

                               NICK
               I should have told them it was my 
               wallet.

                               BONNIE
               Since when could you pass as a 
               Bonnie?

                               NICK
               It's not fair, them choosing you to be
               the first.

                               BONNIE
               I'm not going to die, Nick.  I've got 
               some very special friends who are 
               going to see that I don't.

     ANGLE ON SWANSON SEATS

     Floyd is exchanging a look with Mary, the stewardess.  His
     mother catches it and interrupts him.

                               MRS. SWANSON
               I would think in a situation like 
               this you'd be paying some attention 
               to me....

     Floyd is a little annoyed, but as usual, patient with her.
     But not frightened!...

                               FLOYD
               What would you like to discuss Mother?
               Shall we walk about your summer plans
               for us in the Hamptons?  Shall it be 
               three weeks or four this year...
                      (beat)
               Or perhaps none at all....

     On his mother's shocked look we:

                                              CUT TO

     ANGLE - ZURICH

     He has been watching Bonnie.  He turns to Steven, who sits 
     at the communications panel.

                               ZURICH
               Well...?

                               STEVEN
               The police have the drive-in and four 
               of our men.

                               ZURICH
               Did we get an ID?

                               STEVEN
               Michael Knight.  He works for The
               Foundation for Law and Government.

                               ZURICH
               I see....

     Zurich turns and looks toward Bonnie, then moves to the 
     Doomsday Device.

                               ZURICH
               Ladies and gentlemen, your attention,
               please!

     They turn their attention to Zurich.

                               ZURICH
               Now, I know some of you believe in 
               miracles...Like those which may have 
               been wrought in the past from organi-
               zations like...say, The Foundation 
               for Law and Government.  Well, stop
               believing in miracles because if any-
               one ever managed to get this far...
               Then, I'd have to activate this right
               here.

     Zurich pats the device affectionately.

                               ZURICH
                      (pointing
                       to the key)
               This key is the secret.  Pull it and
               fifteen minutes later everything 
               around here and five thousand feet
               above us is gone.  Incinerated.
               Everything.
                      (beat)
               It's the key to life....

     Zurich pulls the key, which is a long, thin piece of metal
     with what appears to be microchips on either side.

     We hear a few horrified gasps from the passengers.

     OMITTED

     ON THE DIGITAL MONITOR

     In huge digital numbers, the countdown has begun.

     ANOTHER ANGLE

     Bonnie and Nick stare with horror at the monitor, as do the
     other passengers.  Holding the key, Zurich looks from 
     hostages to monitor.

                               ZURICH
               Makes you wish the government would
               cooperate a little quicker, doesn't 
               it?

     Zurich shakes his head and inserts the key back into the 
     device.

     Countdown stops at zero minus fourteen minutes and twenty
     seconds.

     Zurich leans casually over the railing, facing the hostages,
     clasping his hands.

                               ZURICH
               What can I do?  My hands are tied.
               I just hope all of you understand
               how difficult this is for me.  I 
               really do....

     Zurich shrugs, smiles weakly -- a kind soul caught in a
     dilemma.

     OMITTED

     ANGLE - BONNIE AND NICK

                               NICK
               Geez, Bonnie!

                               BONNIE
                      (firmly)
               Don't let him get to you, Nick.  Don't
               let him do it.

                               NICK
               It's not me, it's you he's gonna get.

     On Nick's glance at Bonnie....

                                              CUT TO

     EXT. DESERT HIGHWAY - DAY

     K.I.T.T. at SPM roaring through the night.

     INT. K.I.T.T.

                               MICHAEL
               Okay, pal, let's take a look at that 
               map.

     ON K.I.T.T.'S MONITOR

     A map of southwestern Arizona -- a scan until we can see the
     town of Cactus, which sits next to a very large blank area
     with no ID.

                               K.I.T.T.
               The only town in the area is Cactus,
               Michael.  The call had to go there.

                               MICHAEL
               That blank area next to Cactus....

                               K.I.T.T.
               Normally unidentified areas of
               terrain such as this would indicate
               government restricted areas.

                               MICHAEL
               Get me Devon.

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

     MONITOR - INTERCUT AS NEEDED

     Devon comes on.

                               MICHAEL
               Anything from your people in 
               Washington?

                               DEVON
               Apparently Deep Sleep was a top-secret
               project, Michael.  Only a select group
               of men knew about it.

                               MICHAEL
               How select?

                               DEVON
               At the highest levels.  My contacts
               have put me in touch with a man 
               named Calvin Holmes who should be 
               here soon.

                               MICHAEL
               He'd better be one of the select few.

                               DEVON
               Holmes is considered this country's 
               top authority on techno-weaponry.
               He worked on Deep Sleep.

                               MICHAEL
               Let me know when he arrives.  I 
               should be in Cactus by sunrise.

                               DEVON
               We're right behind you, Michael.

                                              CUT TO

     OMITTED

     EXT. DESERT HIGHWAY - DAWN

     A sign in f.g., riddled with bullet holes, reads:  Cactus.

                               MICHAEL
               We better slow down for the town 
               buddy....

     ON K.I.T.T.

     As it moves down highway, the Emergency Braking System
     engages.

     INSERT

     coming out of SPM.  The intake vents retract, the side 
     vents retract, the rear fin reconverts and the air dam 
     retracts.

     EXT. MAIN STREET - CACTUS - DAWN

     Even though there are a few older cars parked on the street,
     the place seems deserted.  Most of the businesses and 
     cocktail lounges are boarded up.  K.I.T.T. cruises slowly
     past places.

     INT. K.I.T.T.

                               MICHAEL
               Find that phone, Kitt.

                               K.I.T.T.
               The only operative phone in the 
               immediate area is located in a booth 
               at the end of this street.

     BACK TO STREET

     as K.I.T.T. rolls past an old, crotchety-looking man whose
     wardrobe looks like the town, but on his worn jacket hangs a 
     badge denoting him as sheriff.  He steps out from the 
     shadows, watches K.I.T.T. for a beat, runs back and returns
     with a parking meter and note pad.  Amos walks purposefully
     after K.I.T.T.

     ANGLE - PHONE BOOTH

     K.I.T.T. pulls to a stop along the curb nearby.

     ON K.I.T.T.

     Michael gets out.

                               MICHAEL
               Do a general surveillance while I 
               check this number out.

                               K.I.T.T.
               Right away.

     Michael walks away toward the booth as K.I.T.T. goes into 
     surveillance mode.  His windows darken.

     Amos walks up to K.I.T.T., plants the parking meter and 
     begins writing a ticket.  Amos cannot see inside.

                               K.I.T.T.
               Sir, that parking meter wasn't there
               a few minutes ago.

     Amos continues writing.

                               AMOS
               Well, it is now, sonny.

                               K.I.T.T.
               Sonny?!?

                               AMOS
               Who's in there?

                               K.I.T.T.
               No one, you're talking to an 
               automobile.

                               AMOS
               That crack'll cost you another twenty-
               five dollars!

     K.I.T.T. starts his engine and backs twenty feet down the 
     street.  Amos sighs, picks up the meter and places it next 
     to K.I.T.T.

                               AMOS
               You drag racers think you can come 
               racin' in here, disrupt our rush 
               hour traffic patterns by parkin'
               illegally and then leave without so
               much as a ticket?  Think again!

                               K.I.T.T.
               Drag racer?!?  Sir, you are out of line!

                               AMOS
               Talkin' back to a sheriff?  Fifty
               more bucks.

     As Michael returns, Amos tears off the ticket and hands it 
     to him.

                               AMOS
               Better teach this friend of yours a 
               little more respect for the law, 
               mister.

     Amos grabs his parking meter and ambles off, leaving Michael
     shaking his head in disbelief as he climbs into K.I.T.T.

     INT. K.I.T.T.

                               K.I.T.T.
               I'm sorry, Michael, but his methods
               were....

                               MICHAEL
                      (interrupting)
               Forget it, pal, tell me what you've
               got.

                               K.I.T.T.
               Incredible electronic interference 
               to the south, Michael.

                               MICHAEL
               The number in the booth didn't match 
               the one we traced from the drive-in.
               Let's head south.

     ON K.I.T.T.

     as it rolls out of town into the desert.

     EXT. BLUFF - DAY

     K.I.T.T. moves up a small hill toward the edge, stops.

                               K.I.T.T.
               Michael...?

                               MICHAEL
               I think we've found Bonnie, pal.

                               K.I.T.T.
               And somebody has found us....

     OMITTED

     ANGLE - MICHAEL'S POIUNT OF VIEW - HARRIS FIELD

     Sitting on the runway, outside of the fenced area in which
     the bunker is located, is Flight 34.

     ON MONITOR

     as it comes to life with static.

                               ZURICH (O.S.)
               Mr. Knight, you're a long way from 
               the drive-in.  But since you're here,
               I'd like to take this opportunity to
               welcome you.

     ANGLE - FIELD

     From within the fenced area a burst of movement as an 
     armored vehicle appears, loaded with the latest offensive
     weapons.  It moves toward Michael and K.I.T.T.

                               ZURICH (O.S.)
               Welcome to Deep Sleep....

     OMITTED

                                              FREEZE FRAME

                                              FADE OUT

                         END OF ACT TWO

                            ACT THREE

     FADE IN

     OMITTED

     EXT. BLUFF - DAY

     Michael sizes up the adversary.

                               MICHAEL
               Looks like we got company, pal.

     WIDER ANGLE

     The armored vehicle, complete with a mounted .50-caliber 
     machine gun, screams from the other side of the field
     towards Michael.

                               MICHAEL
               If we're gonna play games, let's 
               not play on their turf.

     Michael takes off, does a 180, and roars back toward Cactus.

     OMITTED

     EXT. MAIN STREET - CACTUS - DAY

     Michael and K.I.T.T. scream down the street.

     ANGLE 

     in the opposite direction; the armored vehicle as it turns 
     onto Main Street and stops, facing K.I.T.T.

                               MICHAEL
               If we don't stop them right here,
               they'll own the ground the semi's 
               going to park on.  It's got to go down
               here and now!

     OMITTED

     WIDER ANGLE

     K.I.T.T. at one end of the street facing the armored
     vehicle, which sits at the other end.

     The driver smiles, looks back to his gunner, who nods, then
     shoots the gate, burning rubber as he heads straight toward
     Amos, who's holding his ground but getting a little nervous.

     It opens fire and bullets spray the ground in front of him.

     OMITTED

     ANOTHER ANGLE

     Michael revs the engine.

                               MICHAEL
               Okay, Kitt, let's give these guys a 
               run they won't forget!

     K.I.T.T. screams straight toward the armored vehicle.

     K.I.T.T. AND THE ARMORED VEHICLE - INTERCUT

     careening towards one another.

                               MICHAEL
               Let's microlock their brakes, pal!

     Michael punches the buttons and K.I.T.T. performs the 
     microlock function.

     OMITTED

     ANGLE - ARMORED VEHICLE

     The brakes lock, sending the gunner flying and the driver
     smashing into the steering wheel.

     ON K.I.T.T.

     as it passes the vehicle, spins into a 180 and heads full
     speed down the street.  K.I.T.T. roars past the Cactus
     Lounge, Amos appears, ticket book in hand, shaking his 
     fist at K.I.T.T.

                               AMOS
                      (just a 
                       little less
                       convinced)
               I mean it, one more time and it's 
               your license!

                                              CUT TO

     INT. BUNKER - DAY

     Steven on the radio, rips off his earphones and slams them
     down on the table.

                               STEVEN
               They lost him in Cactus.

     TO INCLUDE ZURICH

                               ZURICH
               He's a very lucky man -- so far.

     Steven grabs his Uzi.

                               ZURICH
               What do you think you're doing?

                               STEVEN
               Blood will stop him.

                               ZURICH
               There's still time.  We start 
               killing hostages now we've lost our 
               negotiating position.

                               STEVEN
               I'm not going to wait forever.

                               ZURICH
               Trust me.  Let him come.  Let him
               commit suicide.

     ANGLE TO INCLUDE BONNIE

     who has been listening from the floor.

                               BONNIE
               It's Michael Knight, isn't it?

     ON ZURICH

     who glares down at her.

                               ZURICH
                      (for Bonnie's
                       benefit)
               Steven, be so kind as to prepare a 
               transmission.

                                              CUT TO

     EXT. HIGHWAY - DAY

     as K.I.T.T. roars down the road.

     INT. K.I.T.T.

     as Devon comes on.

     INT. SEMI - INTERCUT

     Calvin Holmes, whom we will meet later, has joined Devon.
     He is tall, thin, has the ascetic look of a prophet.

                               DEVON
               Michael, Zurich's just cut the dead-
               line in half!

                               MICHAEL
               He knows we're here, Devon.

                               DEVON
               Calvin Holmes from the National 
               Security Commission is with me now,
               Michael.

                               MICHAEL
               I'm eight minutes away from you.  Have
               we got any help coming?

     He punches out.  We stay in the semi.

                               DEVON
               The President has appointed an 
               intragovernmental task force to 
               monitor the crisis and they're in 
               constant touch with Zurich.

                               MICHAEL
               Where are they posted?

                               DEVON
               At a National Guard Armory thirty
               miles north.  They've got tank,
               heavy weapons ---

                               HOLMES
                      (scoffs)
               -- heavy weapons ---

                               DEVON
                      (glares at
                       Holmes)
               -- and a forty-man antiterrorist
               force on combat alert.

                               HOLMES
               I don't know why you brought me here.
               Measures like that are futile.

                               DEVON
               Mr. Holmes, I certainly did not 
               bring you here to concede defeat!

                               HOLMES
               You people just don't seem to 
               understand what you're up against!

     On Devon's look....

     EXT. HIGHWAY - DAY

     as K.I.T.T. roars past.

     ANGLE ON SEMI

     as K.I.T.T. approaches from other direction, and we stay on
     K.I.T.T. as it hangs a 180, screams out after the semi and 
     moves up into the trailer.

     ON THE SEMI

     It heads towards Cactus.

     INT. SEMI - DAY - ON MONITOR

     A schematic of Harris Field which will be intercut 
     throughout the following to visualize the various weapons
     systems as they are described.

     Michael, Devon and Calvin Holmes.

                               HOLMES
               Ten years ago, Charles Zurich and I 
               worked for the National Security 
               Commission.  We were asked to develop 
               an impenetrable fortress to protect 
               top government officials in the event
               of a non-nuclear terrorist war.  We 
               called it 'Deep Sleep.'
                      (a beat)
               The result of that collaboration is
               one of the most devastating defense 
               systems ever created.  It was a victim
               of tax cuts and abandoned.  Zurich is 
               the one man who would know how to 
               rearm it.

     Holmes gestures toward the monitor where an aerial 
     photograph of Harris Field appears with a computer-animated
     overlay showing the defense systems.  The outer perimeter 
     system, which encircles the terminal/bunker area and inner
     tarmac area, is shown via a multitude of pulsating white 
     lights.  Inside this area is a series of rectangular red
     lights.  And closer yet to the terminal area are a series 
     of blue, green and yellow lights.

                               HOLMES
               Gentlemen, this is Deep Sleep.

                               MICHAEL
               There's got to be a way.  Nothing's
               impenetrable.

                               HOLMES
               Deep Sleep is.  There's no way in,
               by land, or by air.

                               DEVON
               Explain, Mr. Holmes, exactly what 
               you mean.

     Holmes' enthusiasm begins to bubble over.  (He controls the 
     images on the monitor from the console.)

                               HOLMES
               An aerial attack, using paratroopers?

     A series of bluish-green lines, representing laser beams
     crisscross the area -- moving rapidly.  Figures representing
     paratroopers fall through the laser grid and burn a bright
     orange as they are struck by the beams.

                               HOLMES (O.S.)
               Laser beams creating a grid above the 
               field would burn any object floating 
               through.

                               DEVON
               A plane coming in beneath the grid....

     Holmes smiles, pushes a few more buttons.  We see the 
     rectangular red lights, a representative plane moving 
     towards the terminal, and the red lights releasing hot,
     fiery orange missiles at the plane -- a white burst as 
     they strike.

                               HOLMES
               The missiles, sir, would make that a 
               rather unfortunate option.

     The blue and green lights popping tracer bullets from 
     various locations within the inner perimeter area, then the 
     white lights begin exploding, and missiles fire again ---

                               HOLMES
               You see, the entire field is ringed
               with land mines, missiles and 
               robotic .50-caliber automatic 
               weapons and mortars.

                               MICHAEL
               Kitt, add this to your analysis of 
               the weapons systems.

                               K.I.T.T.
               Certainly, Michael.

                               HOLMES
               It will do you no good.  To insure
               that the compound would never fall 
               into the hands of our enemies, we 
               installed a doomsday device inside 
               the bunker.

     Michael and Devon exchange worried glances.

                               DEVON
               Mr. Holmes, are you telling us....

                               HOLMES
                      (interrupting)
               The explosive has the power of a 
               small nuclear device.

     We see a simulation of a nuclear explosion wiping out 
     all of Harris Field....

                               HOLMES
                      (almost
                       happily)
               It all goes...!

                               MICHAEL
               You guys really thought of everything.

                               HOLMES
               Charles and I worked brilliantly 
               together, I must say.

                               MICHAEL
                      (angrily)
               And now innocent people are going
               to pay!

     As a phone beeps in the b.g. Devon picks it up.

                               HOLMES
                      (a little
                       defensively)
               You must understand, we were asked 
               to protect top government officials.

     ON DEVON

     He turns back to Michael and Holmes.

                               DEVON
               I'm sorry Michael, the antiterrorist
               force attack has been aborted...It was 
               considered a suicide mission....

     SCENE

                               MICHAEL
               Devon, I've got to try.

                               HOLMES
               The odds against you are staggering!

                               MICHAEL
               Bonnie's in there.  I have no choice
               now...I've got a plan....

                               DEVON
               Are you sure Michael....

                               MICHAEL
                      (beat)
               What have we got to lose.

     He climbs into K.I.T.T.

     OMITTED

     INT. BUNKER - DAY

     A depressed Nick sits on the floor, absently playing with 
     his car.  Bonnie sits next to him.

                               NICK
               I don't know about dying I never even
               thought about it.  I've never even 
               had a real date.

                               BONNIE
               Nick, we've got friends out there.

                               NICK
                      (becoming
                       angry)
               It's not fair!

     Zurich approaches, stands behind Bonnie.

                               BONNIE
               Twenty-four hours from now we'll be 
               eating ice cream and laughing.  I 
               promise.

                               ZURICH
               You're a dreamer, aren't you?

     Bonnie and Nick react as Zurich idly kicks Nick's car
     across the room.  He laughs and walks away.  She's about 
     as angry as she can get.

                               BONNIE
               Think Michael Knight, Nick.  Keep 
               thinking Michael Knight.

                                              CUT TO

     SWANSONS

     As Zurich passes Mrs. Swanson reaches out to grasp his arm and
     turns to him angrily and righteously....

                               MRS. SWANSON
               Young man, you're an animal....

     Zurich turns to her, his eyes flare for a beat then settle 
     down to a cold taunting hardness....

                               ZURICH
               Am I now?  Then examine the enormity 
               of the fact than an 'animal' is in 
               the position of power to decide 
               whether you live or die.

                               MRS. SWANSON
               If you're trying to frighten me
               you're failing...I'm well over 
               seventy years old and been prepared 
               for death for quite a few years...
               You would simply be advancing the 
               schedule a season or two and not 
               creating anything of awesome
               originality...
                      (beat)
               In my eyes you remain an animal....

                               ZURICH
                      (beats)
               I can create a war...I can walk into
               any small country with my combat 
               group and sway the balance of 
               power...That in turn makes me the
               power...I decide who runs the 
               country and then where the next 
               incursion will take place...This 
               incident that surrounds is just a 
               start, the nucleus of what I intend.

                               MRS. SWANSON
                      (beat)
               I think if I manage to live through 
               this I'll require a rabies inoculation.

     Zurich stares at her a beat then starts to laugh.  Floyd
     takes this opportunity to make a lunge at Zurich but is 
     easily thwarted by Zurich who then coldly glances at 
     Mrs. Swanson, then smashes Floyd across the face 
     unnecessarily....

                               MRS. SWANSON
               That wasn't necessary....

                               ZURICH
               I chose to...Another option of 
               power....

     Zurich walks away as Mary moves to Floyd's side to 
     administer some aid...Mrs. Swanson shows a little concern 
     and surprise as she speaks to Floyd.

                               MRS. SWANSON
               Why did you do that?

                               FLOYD
                      (beats)
               I also chose to....

     A new look of respect from Mrs. Swanson....

                               MRS. SWANSON
               Floyd, is we make it through all this
               I'd like to buy you a glass of Scotch.

     Reactions...Floyd a smile.

                               FLOYD
               I really do prefer root beer....

                                              CUT TO

     OMITTED

     EXT. BLUFF - DAY

     K.I.T.T. pulls up to the edge and stops.

                               MICHAEL
               Kitt, first off scan the bunker, if
               we do get through we have to know 
               how many guards are inside.

                               K.I.T.T.
               Michael, I can't differentiate between
               the hostages and the guards.

                               MICHAEL
               We've got to know.
                      (a beat)
               Wait a second!  I've got a wild hunch
               ...Kitt, give me a visual of this 
               year's MPC electronic toy cars....

     One toy car after another crosses the monitor.

                               MICHAEL
               C'mon, c'mon, you've got to be there
               someplace...
                      (a beat)
               Hold it, Kitt, go back two!

     Visual pattern reverses, stopping on a car that looks 
     exactly like Nick's.

                               MICHAEL
               That's it!  Now give me a schematic 
               of its design.

     A schematic of the toy car.

                               K.I.T.T.
               It hardly qualifies as a 'design,'
               Michael.

                               MICHAEL
               Maybe not but it's the one that 
               Bonnie's new boyfriend was carrying.
               Locate its ignition system, pal.

     Focus in on the ignition system.

                               MICHAEL
               Good work!  Now put that into your 
               directional memory bank and activate
               your micropulse.

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

                               MICHAEL
               Now phase into target using the 
               memory.

     OMITTED

     INT. BUNKER - DAY - ON THE TOY CAR

     sitting on its back against a far wall behind Kurt, who
     stands guard.

     Move to Bonnie and Nick, who sit on the floor, looking 
     worried and depressed....

     Back to Kurt, who stares out with cold, killer eyes.

     Then down to the car, still on its back, when suddenly its
     rear tires begin spinning.

                                              CUT TO

     ANGLE IN K.I.T.T.

                               MICHAEL
               All right, pal, give it a power 
               thrust.

                               K.I.T.T.
               Certainly, Michael.

                                              CUT TO

     ANGLE IN BUNKER

     Suddenly the car's wheels really whir, the headlights flash
     on, then off, and finally the entire car jumps as though
     charged by electricity.  The jolt causes it to flip onto
     its tires and bang into the wall.

     ANOTHER ANGLE

     Hearing the tiny sound of the crash from below, Kurt checks
     it out, shrugs, ignoring it.

     OMITTED

     BACK TO THE CAR

     It backs up, clears the wall and rolls quietly past Kurt's 
     jackboots and out onto the floor.

     ANGLE - NICK

     resting on his side, his head propped onto his arm at floor
     level, daydreaming about better days, when suddenly his 
     eyes open wide.  The car heading toward him.  He sits up,
     astounded and thrilled.  He nudges Bonnie as the car rolls 
     up to them and stops.  The car begins blinking its lights 
     in Morse Code.

                               NICK
               That's Morse Code!  It's asking, 
               'How many guards?'
                      (a beat)
               I was an Eagle Scout.

                               BONNIE
               It's got to be Michael and Kitt.
               Use your controls, tap out 'three.'

     OMITTED

     EXT. BLUFF/INT. K.I.T.T. - ON MONITOR

     as electronic impulses flash in code.

                               K.I.T.T.
               They count five guards, Michael.

                               MICHAEL
                      (reacts)
               Good news.  He could have twenty men
               waiting...Give me silent mode pal....

     INT. BUNKER - DAY - ON ZURICH

     standing on catwalk, looking down at Bonnie.

                               ZURICH
               I'm afraid your time has run out.

     He nods O.S.

     ANGLE ON STEVEN

     He moves to the floor and walks directly up to Bonnie.

     Nick steps in between, but Steven pushes him away.

                               STEVEN
               Don't worry, your time will come.

     On Nick's worried look:

                                              CUT TO

     EXT. HARRIS FIELD - DAY

     K.I.T.T. approaching the perimeter area, running silent.

     INT. K.I.T.T.

     Devon comes in.

                               DEVON
               Zurich has just announced he's going
               to execute the first hostage.
               Michael, he's chosen Bonnie.

                               MICHAEL
                      (to himself)
               I'll be there Bonnie.

     INT. BUNKER 

     Bonnie stands near the catwalk area, alone against a wall.
     She is terrified but trying to retain control.  She looks 
     at Nick, who holds up his toy car, a signal for hope.  She 
     smiles, turns to face Zurich.

                                              CUT TO

     OMITTED

     EXT. FIELD - ON ARMORED VEHICLE

     as it guards the perimeter.

     ON K.I.T.T.

     moving up behind it.

                               MICHAEL
               Next move pal, electronic ignition
               starter.  Let's shake this place up!

                                              CUT TO

     INT. BUNKER - ON BONNIE

     ON ZURICH

     as he pulls out his 9mm pistol.

                                              CUT TO

     EXT. FIELD - ON ARMORED VEHICLE

     as it starts up, careens towards the mine field.  The 
     vehicle hits the fence, detonating a mine, which causes a 
     huge explosion and takes out the fence.

                                              CUT TO

     INT. BUNKER - ON ZURICH

     aiming his pistol at Bonnie when, suddenly, the alarm beep
     goes off....

     ANOTHER ANGLE

     as Zurich looks frantically around, forgets about Bonnie 
     and runs up the catwalk.

                               STEVEN
               He's trying to come through!  He
               used the armored vehicle to clear a 
               path through the mine field!

                               ZURICH
               Then our first execution will be 
               Michael Knight!

     ON BONNIE

     as Nick runs to her and hugs her.  She's shaky and happy to 
     be alive, if only for a few more moments.

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

     moving through an imaginary maze.

     INT. K.I.T.T. - MONITOR

     A schematic of mine field with the mines forming the maze
     and K.I.T.T. as the cursor.  Michael playing the video 
     game of his life.

                               MICHAEL
                      (to himself)
               Okay...easy...stay inside, stay
               inside!

     BACK TO EXTERIOR

     as K.I.T.T. penetrates deeper.

     ANGLE - ROCKET LAUNCHER

     It moves, taking aim, and a rocket is launched.

     INT. K.I.T.T. - MONITOR

     The rocket, in the form of another cursor, approaching.

                               K.I.T.T.
               Michael, we have a rocket approaching.

                               MICHAEL
               Give me its launch coordinates, Kitt!

     The rocket launcher on the monitor, then K.I.T.T. changing
     direction and heading towards it.

                               MICHAEL
               Use the TDS to project a heat source 
               into that launcher, pal.

     The launcher begins to glow, K.I.T.T. heading straight 
     at the launcher.  The launcher glowing brightly, K.I.T.T.
     on top of it, and at the last second Michael turns hard 
     to the right.

     OMITTED

     ANOTHER ANGLE

     K.I.T.T. screeching to the right, the rocket flies past
     and makes a direct hit on the launcher.  The explosion 
     is tremendous as all the rockets either explode or are 
     launched like a fireworks display.

     INT. BUNKER - DAY - ON ZURICH

     slamming his fist down in anger as we hear the explosion.

     EXT. HARRIS FIELD - ON K.I.T.T.

     moving across the tarmac.

     ON AUTOMATIC WEAPONS

     .50-caliber robotic machine guns take aim and open fire.

     ON K.I.T.T.

     as bullets ping off its body.

     ON MORTARS

     Also robotic, they take aim and fire.

     ON K.I.T.T.

                               MICHAEL
               Hang on, we've got mortars coming in!

     ON K.I.T.T.

     as it evades the mortar fire raining down.

     SERIES OF SHOTS

     The weapons fire on K.I.T.T., who manages to get through 
     and finally out of range next to the bunker.

                               MICHAEL
               Nice work, pal!  Very nice!

                               K.I.T.T.
               Thank you, Michael.

     INT. BUNKER - DAY

     Zurich stares in disbelief at the monitor.  Steven bangs 
     his fist in anger on the console.

     OMITTED

     ANOTHER ANGLE

     Zurich moves toward the monolithic device.  Steven watches
     him, clutching his Uzi.  Zurich takes out the key.  The 
     monitor begins the countdown.

     Zurich begins slowly making his way off the catwalk and 
     onto the main floor.

                               ZURICH
               They've got fourteen minutes to make 
               up their minds.

                               STEVEN
               There's got to be a better way.
               That computer's taken it out of our
               hands.

     Zurich continuing to move, Steven glancing alternately 
     between Zurich and the Doomsday.

                               STEVEN
               Shut it down, we'll start executing 
               hostages!

     Zurich now moving towards a wall.

                               ZURICH
               They'll back down, they've got to.
               Stay by the phone, they'll be in 
               touch.

     Zurich stops, looks at the wall.

     OMITTED

     INSERT - KEYHOLE

     exactly like the one on the Doomsday Device, very 
     unobtrusive, virtually unnoticeable in the wall.

     BACK TO SCENE

                               ZURICH
               They'll let it run down to three,
               maybe two minutes...and then we'll
               hear from 'em.

                               STEVEN
               You're doing it all wrong!  You're 
               blowing it, Zurich!

     Zurich palms the key, slips it into the slot and, instantly,
     the heavy metal walls part.

     Zurich steps into the opening, smiles.

                               ZURICH
               Then try it your way!

     The doors close.

     ON STEVEN

     stunned, then opening fire on the closing doors.

                               STEVEN
               He's got the key!  He's double-
               crossed us -- left us to die!

     The bullets riddle the door, but do no good.

     ON BONNIE

                               BONNIE
               He's done it!

     ON MONITOR

     The countdown continuing...now at thirteen minutes, thirty
     seconds and counting.

     ON BONNIE, NICK, THE HOSTAGES AND TERRORISTS

     Reactions.  We:

                                              FREEZE FRAME

                                              FADE OUT

                        END OF ACT THREE

                            ACT FOUR

     FADE IN

     A SERIES OF CUTS ON BONNIE

     standing with Nick.

     ON MONITOR

     The countdown is continuing.

     BACK TO BONNIE

     who glances at the terrorists, feature Steven and Kurt,
     still guarding the hostages but shaken by the countdown on
     the monitor as well.

                               BONNIE
                      (to Nick)
               I've got to try.

     Bonnie moves quickly towards the catwalk.

     ANGLE - KURT

     raising his Uzi.

                               KURT
               Halt!

     He begins firing.

     BACK TO BONNIE

     She runs for the ladder, bullets spraying the floor behind 
     her.  She starts to climb up, but stops.

     ANGLE - BONNIE'S POINT OF VIEW - STEVEN

     His Uzi pointed.

                               STEVEN
               Get back.

     ANGLE - BONNIE AND STEVEN

                               BONNIE
               I'm a computer programmer.  I have 
               to try and stop it.  He left you here
               to die, can't you see that?

     Bonnie begins moving up the ladder.

     OMITTED

     BACK TO SCENE

     Steven following her with his Uzi.

                               BONNIE
               Kill me and you all die.  I'm your 
               only hope.

     Bonnie reaches the catwalk level, faces Steven directly.

                               BONNIE
               You can shoot me or you can drop
               your weapons and let me try.

     Bonnie turns away from Steven, begins moving toward the 
     communications panel.

     ON STEVEN

     who takes aim at Bonnie.

     OMITTED

     ON BONNIE

     as she begins activating the communications panel.

     ON STEVEN

     sweating now, finally lowers his Uzi and drops it to the 
     floor.  The others follow suit.

     OMITTED

     CAPTAIN ROGERS AND HIS CREW

     quickly move in to grab the weapons as does Floyd 
     Swanson....

     ON BONNIE

     as the communications panel is fully activated.

                                              CUT TO

     INT. SEMI - DAY

     Devon is picking up Bonnie's transmission, Holmes by his
     side.

                               DEVON
               It's Bonnie!  What's happened in 
               there?

     INTERCUT - BONNIE

                               BONNIE
               Zurich activated Doomsday and 
               escaped with the key!  We've got 
               less than eleven minutes!

     INTERCUT - MICHAEL

     in K.I.T.T.

                               MICHAEL
               Bonnie, we're right outside the 
               bunker.  Kitt scanned the walls --
               they're steel reinforced, too thick 
               to penetrate.

     INTERCUT - SEMI

     Holmes shrugs.

                               HOLMES
               It's hopeless.

                               DEVON
                      (angrily)
               You designed this monstrosity, now
               help us!

                               HOLMES
                      (breaking 
                       down,
                       helplessly)
               There's nothing I can do.  In case of
               evacuation, the device was supposed 
               to guarantee total destruction of 
               the facility.

                               DEVON
               Then there was a serious flaw in your
               design if there was no fail/safe 
               mechanism.  Innocent people are going 
               to die because of your idiocy....

                               HOLMES
               I'm sorry, I....

                               DEVON
               Stop feeling sorry for yourself!
               Think, man!  How do we stop it?

                               HOLMES
               Without the key...
                      (a beat)
               Time, we need time to access the 
               computer.

     ANGLE IN BUNKER - INTERCUT

     Nick joins Bonnie as she prepares to access the computer.

                               BONNIE
               I need a password!

     Devon turns to Holmes who shrugs....

                               HOLMES
               It was Deep Sleep.

                               DEVON
               Try 'Deep Sleep.'

     Bonnie enters "Deep Sleep."

     ANGLE - MONITOR

     It flashes NO ACCESS.

     ANGLE - BONNIE

                               BONNIE
               I didn't get in.

                               NICK
               Try 'Doomsday'!

     Bonnie makes the entry and the monitor repeats NO ACCESS.

     EXT. BUNKER 

     K.I.T.T. parked in front.

     INTERCUT - MICHAEL AND K.I.T.T.

     Michael punches buttons.

                               MICHAEL
               Okay, buddy, let's access that endless
               vocabulary of yours.  Any and all syno-
               nyms for sleep.

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

     The words flash across K.I.T.T.'s monitor.

     INTERCUT - BONNIE

     She enters them one by one.

     INTERCUT - OTHERS

     waiting, tense, time running out.

     ANGLE ON BONNIE

     She enters "Coma."  The monitor suddenly displays the Deep 
     Sleep menu, featuring "Random Number Access Shut Down Code."

                               BONNIE
               We're in!

     ANGLE - TERRORISTS, HOSTAGES

     They sense hope.

     ANGLE - BONNIE

     as she types in random number access instructions.

     OMITTED

     ANGLE - MONITOR

     One digit locks in.

     ANGLE - TERRORISTS, HOSTAGES

     The hostages and the terrorists step towards the monitor.

     The Doomsday clock reads nine minutes, twenty-two seconds.
     The numbers are still rolling and a second digit locks in.

     Another hopeful cheer.

                               NICK
               We're gonna make it, aren't we?

                               BONNIE
                      (convinced)
               Darned right we are!

     INTERCUT - K.I.T.T.

                               K.I.T.T.
               Michael, my preliminary calculations 
               indicate that fifteen minutes are 
               needed to break that code.  Bonnie
               and the others have nine minutes 
               remaining.

                               MICHAEL
               We couldn't get them out and safe by
               then...we've got to get the key.  Scan
               the hangars -- we've tried everyplace 
               else!

     ANGLE - SCREEN

     Graphics of the hangars and, in one, the schematic of a 
     C-130 plane.  A heat pulse appears in the plane's cockpit.

                               MICHAEL
               That's gotta be him!

                               K.I.T.T.
               Michael, he's on the move!

     Michael looks O.S. across the tarmac.

     ANGLE - MICHAEL'S POINT OF VIEW - HANGAR

     The door opens.  The C-130 lumbers out, heading for a 
     runway.

     ANGLE - MICHAEL

                               MICHAEL
               Get right behind him, pal.

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

     as it takes off after the C-130.

     SERIES OF SHOTS

     as the C-130 picks up speed, K.I.T.T. in hot pursuit,
     angling after the cargo plane.

     INT. K.I.T.T. - DAY

                               MICHAEL
               Microlock on the entry ramp's system,
               pal.  On my signal....

                               K.I.T.T.
               Certainly, Michael.

     INSERT - SCHEMATICS OF C-130

     EXT. RUNWAY - DAY

     The C-130 moves towards a takeoff.

     K.I.T.T.

     moves up behind the plane.

                               MICHAEL
               Kitt!  Activate!

     INSERT - MONITOR

     On the schematic we see the microwaves lock.

     ANGLE - MICHAEL'S POINT OF VIEW - C-130

     They are underneath the plane as the ramp opens before them.

     BACK TO SCENE

                               K.I.T.T.
               Michael, you wouldn't!  You know I'm
               terrified of flying!

                               MICHAEL
               Sorry, pal, there's no choice.

     INSERT - K.I.T.T. CONTROLS

     Michael activates the turbo thrust.

     ANGLE - MICHAEL

     as he's thrown back against the seat.

     ANGLE - C-130

     K.I.T.T. rockets up the ramp into the plane as it takes off.

     INT. C-130 COCKPIT - DAY

     as Zurich fights for control of the suddenly unstable 
     aircraft.

     INT. C-130 CARGO HOLD - DAY

     K.I.T.T. screeches to a stop.  Featured on the fuselage 
     wall are parachutes which are attached to harnesses, each
     with a boldly lettered sign reading:  Warning - Test All
     Hook-up Before Vehicle Drop.

     ANGLE IN K.I.T.T.

                               MICHAEL
               Let's access the automatic pilot
               system, pal.  I want the plane to 
               circle the field.

     INT. COCKPIT - DAY

     Zurich at the controls.  The plane lurches into a bank,
     throwing Zurich into a state of alarm.

     Zurich attempts to regain control, but it's useless.
     Zurich pulls out his 9mm pistol, releases the safety, turns
     to leave the cockpit.

     INT. CARGO HOLD - DAY - ANGLE - MICHAEL

     He leaps from cover and jumps Zurich, a couple of blows 
     and Michael disarms him.

                               MICHAEL
               The key, Zurich!

                               ZURICH
               Don't be a fool, you'll never land
               this plane in time!  Your only 
               chance is to fly out of here with me.

                               MICHAEL
               Nobody's flying anywhere, Zurich --
               we're locked on auto-pilot circling 
               the field.  If Doomsday goes off you 
               die with the rest of us.  It's your 
               call.

     Zurich hands over the key.

                               ZURICH
               You're a fool.

                               MICHAEL
               Kitt, can we bring her down in time?

                               K.I.T.T.
               I'm sorry, Michael.

     OMITTED

     ANGLE - MICHAEL

     seeing something O.S., the hint of a smile.

     ANGLE - MICHAEL'S POINT OF VIEW - PARACHUTE

     BACK TO MICHAEL

                               MICHAEL
               Kitt, you're not gonna like this....

                               K.I.T.T.
               Michael, you wouldn't!

     As Michael begins to unstrap parachutes.

                               MICHAEL
                      (to Zurich)
               After I'm through, help yourself to
               one of these.  I'll be waiting for 
               you....

                                              CUT TO

     EXT. PLANE - DAY

     K.I.T.T. shoots out from the rear of the C-130, free-
     falling until three parachutes open.

                               K.I.T.T.
               My fear of flying has been fully 
               justified!

                               MICHAEL
               It's the ride of your life!

     VARIOUS ANGLES 

     as K.I.T.T. drifts to Earth.

                               K.I.T.T.
               A ride, Michael, is taken with four 
               wheels in contact with a hard,
               smooth surface.

                               MICHAEL
               What's our ETA for touchdown, pal?

                               K.I.T.T.
               Less than one minute -- providing
               this operation is a success.

                               MICHAEL
               There's nothing to worry about,
               buddy.  These chutes were designed 
               for this.

                               K.I.T.T.
               Falling through space hardly seems 
               the result of design.

                               MICHAEL
               We're getting down in one piece,
               aren't we?

                               K.I.T.T.
               Michael, I am in no mood to debate 
               the point.

                               MICHAEL
               No time, anyway, here comes Mother 
               Earth!

                               K.I.T.T.
               Thankfully, not a moment too soon!

     As K.I.T.T. lands.

                                              CUT TO

     INT. BUNKER

     Bonnie and Nick watching the monitor.

     ANGLE - MONITOR

     reading one minute -- ten seconds.

     BACK TO SCENE

     Static coming over the radio, then:

                               MICHAEL (O.S.)
               Bonnie?  Bonnie?

                               BONNIE
               Michael?!?  Where are you???

     INT. K.I.T.T.

     as Michael speeds towards the bunker.

                               MICHAEL
               Bonnie, how did Zurich get out?

                               BONNIE
               A door -- on the south wall, dead 
               center!
                      (a beat)
               Michael, hurry!

                               K.I.T.T.
               Fifty-two seconds, Michael.

     ON K.I.T.T.

     as it roars toward the hangar.

     EXT. HANGAR

     as K.I.T.T. screams into the dark, cavernous hangar.

     INT. HANGAR - INSIDE K.I.T.T.

     as they roar through the darkness.

     INT. BUNKER

     Reaction of Bonnie, Nick and the others as they watch the 
     Doomsday clock counting down.  We are now at less than one
     minute.

     INT. K.I.T.T.

     roaring through the darkness.

                               MICHAEL
               How long till impact, buddy?

                               K.I.T.T.
               Eleven seconds and counting.

     INSERT - TURBO BOOST

     Michael waits a second, then activates it.

     OMITTED

     INT. BUNKER - ON THE DOOR

     and K.I.T.T. smashes through.

     Michael brings K.I.T.T. to a screeching halt and leaps out,
     key in hand.

     BONNIE

     reacts to the sound.

     BUNKER

     Michael enters via door.

     ANGLE - BONNIE

                               BONNIE
               Up there, Michael -- on the catwalk!

     ON MICHAEL

     up the steps, to the device, slams home the key.

     ANGLE - CLOCK

     two seconds left.  The process still runs with eight 
     digits locked in.

     ANGLE - HOSTAGES, TERRORISTS, BONNIE, NICK

     Joyful celebration.

     ANGLE - BONNIE

     as she releases Nick from an embrace and rushes up the 
     steps to join Michael.  They embrace.

                               MICHAEL
                      (warmly)
               Hey, Bonnie...you did real well.

                               BONNIE
               You, too, Michael....

     INTERCUT - K.I.T.T. OUTSIDE

                               K.I.T.T.
               Michael, is Bonnie all right?

                               BONNIE
                      (comlink)
               I'm fine Kitt, and thank you.

                               K.I.T.T.
               And my congratulations to you young
               man.  You also performed well.

                               NICK
               You're incredible!

     ANGLE - TOY CAR

     The toy car beeps its horn and flashes its lights.

                               K.I.T.T.
               And you did well too, young sport!

     ANGLE - MICHAEL AND BONNIE

     laughing -- as the last digit locks in.

     On their reactions we....

                                              FREEZE FRAME

                                              FADE OUT

                         END OF ACT FOUR

                               TAG

     FADE IN

     OMITTED

     EXT. MAIN STREET - CACTUS - DAY

     With the semi in the b.g., Michael, Devon, Bonnie and 
     Nick.  K.I.T.T. is parked behind them in front of the 
     Cactus Lounge.

                               DEVON
               Your mother and father are waiting
               for you in Los Angeles.

                               NICK
               Together?

                               MICHAEL
               Together.

                               DEVON
               They're apparently ready to try 
               again, Nicholas.

                               NICK
               Gee...I guess I won't be going to 
               Boston after all, Bonnie.  No more 
               foolin' around for me.  I really 
               to help them make this work.
                      (a beat)
               But I bet we woulda been great 
               together at your sister's wedding....

                               BONNIE
               No doubt about it.  Sorry we missed
               it....

     She laughs and gives him a big hug.

     ANGLE - K.I.T.T.

     as Amos approaches from the rear, carrying his parking meter
     and ticket pad.

                               K.I.T.T.
               Surely you have something better to
               do.

                               AMOS
               The joke's on you buster, now I'm 
               the only sworn officer in these here
               parts to ticket a talkin' car???  It
               just don't get any better'n that,
               sonny!

     A moan from K.I.T.T. as he begins moving down the street.

     Amos hustles after him.

                               AMOS
               I'll teach you respect for law and
               order if it's the last thing I do!

     On Michael, Devon, Bonnie and Nick's laughter, we:

                                              FREEZE FRAME

                                              FADE OUT

                             THE END