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KNIGHT RIDER: KNIGHT IN DISGRACE

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

Production #58622
10th Draft - June 28, 1984 (F.R.)

Teleplay: .................. Simon Muntner,
............................ Tom Lazarus,
............................ Robert Foster &
............................ Gerald Sanford
Director: .................. Harvey Laidman

                              
                                ACT ONE

     FADE IN

     EXT. NEW ORLEANS - DAY - HELICOPTER SHOT - STOCK

     The high wail of a Dixieland clarinet.  Swooping low over 
     the Pontchartrain Bridge and establishing New Orleans.

     OMITTED

     EXT. CATFISH'S DIXIELAND BAR - DAY

     Sign establishes.  One can only imagine what's going on
     inside at this moment.  But the music's hot, and it floats
     clear out onto the street.

     ANGLE ON K.I.T.T.

     parked at a safe stakeout distance from the entrance.

                               DEVON'S VOICE
               Maybe we're just wasting time.

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

     Devon's on the monitor from his Foundation office.

                               MICHAEL
               If you've gotta waste time, Devon,
               there's no better place to do it
               than New Orleans.

                               DEVON
               I'm sure you're right, but you've been
               tailing this Willis character for 
               almost twenty-four hours now and all
               you've got to show for it is a tour
               of the city.

                               MICHAEL
               He likes to enjoy himself, no question
               about that.  But if we want to put
               Lasalle out of business we've got to 
               squeeze his key people -- people like
               Willis.

                               DEVON
               All right, Michael.  Keep me posted.

     Devon disappears from the screen.

                               K.I.T.T.
               To tell you the truth, Michael, it's 
               not the waiting that bothers me.
               It's the Dixieland jazz that goes 
               with it.  If I hear 'When The Saints
               Go Marching In' one more time....

     But Michael spots something O.S., interrupts:

                               MICHAEL
               Kitt...there he is.

     MICHAEL'S POINT OF VIEW THROUGH WINDSHIELD - WILLIS

     coming from Catfish's Bar and moving toward a fast sports
     car parked at the curb.  He's thirty, wears designer jeans
     and shirt.  Nice looking in a rough sort of way.  He
     carries an overnight bag.  The lovely young lady clinging 
     to his arm is Ginger, twenty-five, blonde, a woman who's
     seen both ends of Bourbon Street.

                               K.I.T.T.'S VOICE
               Michael, he didn't have that case when
               he went in.

     BACK TO SCENE

                               MICHAEL
               You got that right.  Let's take a peek
               inside.

     He presses the X-ray mode.

     INTERCUT - MONITOR

     as a computer-generated image moves through the case and
     focuses on a plastic container filled with white powder.

                               K.I.T.T.
               A kilo of pure heroin, Michael.

                               MICHAEL
               Known on the street as 'China White.'

     ANGLE TO INCLUDE WILLIS THROUGH WINDSHIELD

     shooting from behind as Michael sees Willis kiss Ginger
     good-bye.

                               K.I.T.T.
               I didn't think Lasalle was involved
               with drugs.

     Willis starts toward the driver's side.

                               MICHAEL
               Why not, he's into everything else.

     ANGLE ON WILLIS

     As he starts to open the car door something suddenly
     catches his eye.

     WILLIS' POINT OF VIEW - K.I.T.T.

     Michael behind the wheel.

     BACK TO WILLIS

     He debates, then suddenly takes off on foot.

     ANGLE ON MICHAEL

                               MICHAEL
               He made us!  Notify Devon, then cut
               Willis off.

     Michael jumps out and races after Willis.

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

     to see the accelerator depress and light up.

     BACK TO SCENE

     as K.I.T.T. pulls out.

     VARIOUS ANGLES OF CHASE

     Willis is big, agile and fast, making use of sidewalk
     artifacts -- trash cans, bicycles, vendors racks, etc. --
     to keep Michael off balance.

     ANGLE AT CORNER

     Willis is about to cross the street when K.I.T.T. suddenly
     pulls up and cuts him off.  Willis turns to run the other
     way when Michael manages to tackle him and bring him down.
     And as he does:

     TIGHT ON HIGHLY POLISHED BOX

     as it falls to the sidewalk from Willis' pocket.

     ANGLES ON FIGHT

     Willis catches Michael in the midsection with his foot,
     sending him sprawling on his back.  Michael quickly springs 
     to his feet, drops the charging Willis with a right, and as
     police sirens are heard arriving he lifts Willis up, pins 
     his arms around his back and slams him against the brick 
     wall.

     ANGLE ON POLICE CARS

     screaming up, lights flashing.  Several police officers
     jump out, revolvers drawn.

                               SERGEANT
               Police officer!  Hands up against the
               wall!  Legs spread.

     Willis obeys with the help of another armed officer.  A
     third officer takes the case, begins working to pry the 
     locks with a penknife.

                               SERGEANT
               That goes for you, too!

                               MICHAEL
               Officer, my name's Michael Knight,
               I'm with the Foundation for Law and
               Government ---

                               SERGEANT
               You heard me.  Spread 'em!

     Michael obeys.

     CLOSER - SERGEANT

     as he spots the box near their feet, picks it up and opens
     it.

     INSERT - KEY

     It's unusual, highly tooled and sophisticated.

     FULLER ANGLE

     The Sergeant takes it out.  To Michael:

                               SERGEANT
               This yours?

                               MICHAEL
               His.

     As the Sergeant returns the key to the box, puts it in his
     pocket and begins patting Michael down:

                               POLICE OFFICER
                      (re heroin)
               Sergeant, looks like heroin.

                               MICHAEL
               It is heroin.  I've been tailing him.

     But the Sergeant pulls something out of Michael's jacket
     pocket.

                               SERGEANT
               You've been tailing something, that's 
               for sure.

     He shows Michael a small plastic bag of heroin.  Michael
     looks at it in total shock and disbelief.

                               SERGEANT
               You're under arrest.

                                              CUT TO

     EXT. FOUNDATION - DAY - ESTABLISHING

                               MICHAEL'S VOICE
               Suspension?!

     INT. DEVON'S OFFICE - DAY

     Devon is near his desk, looking terribly distressed, at the 
     same time toying thoughtfully with the key.

                               DEVON
               I'm sorry, but until this mess is 
               straightened out I have no other 
               choice.

                               MICHAEL
                      (hot)
               But I was framed!  He must've slipped
               that heroin into my pocket while I was
               busting him!

                               DEVON
               Michael, please.  I want to believe
               you but we need proof...
                      (re key)
               And at this moment, the Foundation
               must concentrate all its efforts on
               this key.

                               MICHAEL
               Key?  I'm suspended and you're 
               worried about a key they found on
               Willis?

                               DEVON
                      (patient)
               Michael, the police have requested
               that I use all our resources to find
               out just what this key unlocks.  If
               Lasalle has anything to do with it,
               it has to be important.

                               MICHAEL
               Devon, in case you've forgotten, I'm
               one of those resources.

                               DEVON
               Not under the present circumstances!
                      (softer)
               Michael, the Foundation has people to
               answer to.  We're a visible organiza-
               tion.  If we let these charges against
               you pass without an investigation, it
               would be looked upon as a cover up.

                               MICHAEL
               All right, investigate all you want,
               just don't keep me from doing my job.

                               DEVON
                      (difficult
                       beat)
               I'm sorry, but my decision is made.

                               MICHAEL
               Well, I've got news for you, I've 
               made a decision, too.  I've been
               framed and there's just one person
               who can clear me.

     He grabs his stuff, starts for the door.

                               DEVON
               Willis is sticking to his story.

                               MICHAEL
               I'm not talking about Willis.  I'm 
               talking about his boss -- Lasalle.

                               DEVON
                      (concerned)
               Michael, the Foundation cannot operate
               above the law.

                               MICHAEL
               But I'm no longer with the Foundation,
               remember...I'm on suspension.

     A last look at Devon and he starts out.

                               DEVON
               Whatever you do, Michael...however
               you do it...it will have to be 
               without Kitt.

                               MICHAEL
               I figured.  Anything else you'd like 
               to strip away while I'm still here?
                      (contrite)
               I'm sorry, Devon, we've been friends
               for a long time, I shouldn't have 
               said that.

                               DEVON
               In your position I might have said
               the same thing.
                      (forces smile)
               Believe me, in a week or so we'll 
               all have a good laugh about this.
                      (smile fades)
               But until that time, Michael...I'm 
               truly going to miss you.

     They look at one another...then Michael leaves.

                                              CUT TO

     OMITTED

     INT. FOUNDATION GARAGE - DAY - SHOOTING OUT DOOR

     to see Michael approaching and entering.

     ANGLE TO INCLUDE K.I.T.T.

     parked in the service stall as Michael moves to him.

                               K.I.T.T.
               Well, Michael, I'm glad you got that
               little matter straightened out.

                               MICHAEL
               The only thing I got was a suspension.

                               K.I.T.T.
               A suspension?  But how can that be?

                               MICHAEL
               It's a long story and I don't want 
               to bore you with it.
                      (difficult beat)
               I'm leaving, Kitt.

                               K.I.T.T.
               Where are we going?

                               MICHAEL
               Not we.  I'm going alone.

                               K.I.T.T.
               Alone?  But Michael, we're a team.

                               MICHAEL
               You belong to the Foundation, Kitt.

                               K.I.T.T.
               But, Michael, without you....

                               MICHAEL
               I know, pal, I feel the same way.
               It's not over yet.  Not by a long
               shot.
                      (beat)
               Until then, take care.

     He grabs a casual jacket from the backseat, starts down the 
     long driveway.

     K.I.T.T.'s red scanner light slows and then stops.

                                              CUT TO

     EXT. FRENCH QUARTER - NIGHT - ESTABLISHING - STOCK

     Dixieland jazz over.

     INT. FRENCH QUARTER BAR - NIGHT - STOCK

     Tastefully crude, smoky and colorful, with foggy mirrors and
     ceiling fans.  The funky piano man, sleeves pulled up, nurses
     a shot as he plays his music.

     ANGLE ON MICHAEL

     having just entered and stepping up to the bar.  He hasn't
     shaved and his clothes look as if he's slept in them.  He's
     also had a few drinks, although he's far from drunk.  Gino,
     the bruising bartender, spots him, shakes his head, and
     comes up to him.

                               GINO
               You again.  You're worse than a bad
               dream.

                               MICHAEL
               All you gotta do is tell me where I
               can find Lasalle and I'll be glad to
               take my business down the street.

     ANGLE TO INCLUDE DANTON

     seated in a nearby booth.  Huge and black with muscles
     bulging inside his three-piece suit.  With him is a 
     beautiful young woman named Linda.  Both watch Michael's
     action, Danton with interest, Linda without.

                               GINO
               I told you, I don't know what Lasalle
               you're talking about.

                               MICHAEL
               How many Lasalle's own a big chunk of
               the French Quarter, including this
               joint?

                               GINO
               Look, you wanna drink or not?

                               LINDA'S VOICE
               Sure he wants a drink.

     Michael turns as Linda slides up.

                               LINDA
               I don't think he's here for the 
               scenery.

     She smiles.  He relaxes some, returns it.

                               MICHAEL
               A beer for me...a mint julep for 
               Blanche here.

     Linda laughs.

                               LINDA
               I love a man with a sense of humor.
               Make mine a gin and tonic, Gino.

     Gino pours Michael a beer and Linda a gin and tonic.
     Michael holds the glass for a toast.

                               MICHAEL
               To a long friendship.

                               LINDA
               Even if it lasts all night.

     Michael grins, and they drink.  After which Linda moves in
     for a kiss.  Michael doesn't fight it.  As Linda kisses
     him with surprising passion:

     CLOSE ON HER HAND

     slipping over Michael's beer and dropping in a quick-
     dissolving tablet.

     FULLER ANGLE 

     They finally break, smiling, tasting the kiss.  She touches
     the rim of his glass, and they drink, Michael polishing off
     his beer.

                               MICHAEL
               You know, I've kissed a few ladies
               in my life....

                               LINDA
                      (smiles)
               Really?  Could've fooled me.  Tell
               me all about it...lady by lady and
               kiss by kiss....

                               MICHAEL
               But you, you're the...the....

     He's having trouble focusing; feeling a bit dizzy.

     MICHAEL'S POINT OF VIEW - LINDA

     out of focus, getting fuzzier, spinning.

     BACK TO MICHAEL

     He tries to speak, can't, slowly slips to the floor.

     MICHAEL'S POINT OF VIEW - BAR LIGHTS ON CEILING

     out of focus, spinning into:

                                              DISSOLVE TO

     INT. MICHAEL'S ROOM - DAY

     Soft focus of sunlight playing on crystals.  We tilt off
     the chandelier tinkling in the breeze down to the morning
     sun shining through the eight-foot beveled glass windows
     and backlighting Linda.  She wears a simple, yet sexy white
     summer dress.

                               LINDA
               I thought you were dead.

                               MICHAEL
               Who says I'm not.

     It's an elegant room filled with tasteful antiques and
     classical paintings.  Michael sits up painfully.

                               MICHAEL
               If I didn't know better I'd think
               somebody put something in my drink
               last night.

                               LINDA
               Now why would anyone want to do
               that?

                               MICHAEL
               You tell me.

                               LINDA
               Boyd's waiting for you on the veranda.
                      (motions to
                       closet)
               There's some clothes in that closet.

     She leaves.  On his reaction:

                                              CUT TO

     EXT. VERANDA - DAY

     Boyd Lasalle, a powerful, handsome man in his early fifties,
     is having coffee and reading a newspaper.  Linda is seated
     next to him having juice.  Danton, always formally dressed,
     sits on the balcony railing nearby, a faithful and fierce
     watchdog.  Lasalle glances up to see the freshly shaved
     Michael heading their way.  He wears a casual but expensive
     outfit.

                               LASALLE
               You must be Michael Knight.

                               MICHAEL
               How'd you guess?

                               LASALLE
               I'm Boyd Lasalle, and this is Linda.

                               MICHAEL
               We almost met earlier.

     Michael and Linda exchange looks until:

                               LASALLE
               Darling....

     Knowing what's coming, she gets up:

                               LINDA
               I know.  Business.

     One last look at Michael and she goes toward the house.
     Michael watches her; she moves like a thoroughbred.

                               LASALLE
               Now, I understand you've been looking
               all over New Orleans for me.  Why?

                               MICHAEL
               Because one of your errand boys framed
               me, that's why.

                               LASALLE
                      (shrugs)
               Willis?  So what do you want from me?

                               MICHAEL
               I want my suspension lifted and my
               name cleared.  I want you to talk to
               him, tell him he made a big mistake.

                               LASALLE
               But you and I are natural enemies.
               As long as you're on suspension I
               sleep better at night.

                               MICHAEL
               I'm not going to be on suspension
               forever.

                               LASALLE
               No, you aren't.  As a matter of 
               fact, your status at the Foundation
               has taken another turn for the worse.

                               MICHAEL
               What are you talking about?

     Over this a twenty-three-year old computer expert, thin,
     long hair, John Lennon glasses, crosses from the house
     carrying what appears to be a briefcase.  He places it
     on the table.

                               LASALLE
               Thanks to my electronic wizard here,
               I've recently gained access to the 
               Foundation's inner sanctum.  We
               actually use your surveillance 
               equipment to spy on you.

     Poole smiles and opens the top of the briefcase to reveal
     a state-of-the-art portable TV monitor.

                               LASALLE
               Watch.

     He motions to Poole to turn it on.  Michael reacts to what
     he sees on the screen.

     ANGLE TO INCLUDE SCREEN

     A freeze frame of Devon talking to Bonnie in his office.
     There's a time and date readout at the top of the screen.

                               LASALLE
               As you can see, this was recorded 
               just over an hour ago.

     INSERT - SCREEN

     as seen on the monitor.  Both Bonnie and Devon are terribly
     upset.

                               BONNIE
               But Devon, you can't just fire him!

     INTERCUT AS NEEDED

     with Michael's reactions.

                               DEVON
               It's the board's decision, Bonnie,
               not mine.

                               BONNIE
               But why?  He was supposed to be 
               suspended pending the results of the
               investigation!

                               DEVON
               The consensus was that Michael has
               been compromised.  I'm sorry.  I
               argued against it.  I did everything
               I could.

                               BONNIE
                      (beat)
               Have you told him?

                               DEVON
               I'm trying to locate him now.

                               BONNIE
               But what are we going to do?

                               DEVON
               Do?  We're going to replace him.

                               BONNIE
               Just like that?

                               DEVON
               We've no other choice.  Bonnie, I'm
               going to miss him, too...but the 
               integrity of the Foundation is more
               important that any one man -- including 
               Michael Knight.

                               LASALLE
               Seen enough?

     Michael glances at him, stunned.  He nods.  Poole turns it
     off.

                               LASALLE
               I can imagine how difficult this is
               for you.  Fortunately I think some
               good can come out of it after all.

                               MICHAEL
                      (beat)
               I can't imagine what.

                               LASALLE
               I can use a man of your talent.

     Michael regards him with contempt.

                               MICHAEL
               What do you think I am, for sale to 
               the highest bidder?  No questions
               asked?

                               LASALLE
               You haven't heard my offer yet.

                               MICHAEL
               Save your breath.

     Angry, he starts away.

                               LASALLE
               Then what are you going to do for a 
               living?  With your present security
               rating you couldn't get a job as a 
               rent-a-cop.

     No response.

                               LASALLE
               I'm willing to pay you fifty thousand
               dollars for an hour's work.

     Despite himself Michael pauses.

                               MICHAEL
                      (beat)
               What kind of work?

                               LASALLE
               Stealing something I want very much.
                      (motions
                       to screen)
               Come here.  I'll show you.

     Michael crosses back.  Poole presses another of the remote
     buttons.  Michael reacts to what he sees.

     MICHAEL'S POINT OF VIEW - K.I.T.T.

     inside the Foundation garage, being worked on by Bonnie.

                               LASALLE'S VOICE
               The Knight Industry Two Thousand.

     ANGLE TO INCLUDE MICHAEL AND LASALLE

     Michael reacts.

                               LASALLE
               Or as you so fondly call it...Kitt.

     Lasalle looks to Michael and smiles.

                                              FREEZE FRAME

                         END OF ACT ONE

                             ACT TWO

     FADE IN

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

     as he races behind two trucks running alongside each other,
     then lifts up on two wheels and skiis right between them.

     ANGLE ON TRUCK DRIVER THROUGH WINDSHIELD

     reacting.

                               K.I.T.T.'S VOICE
               No, Charles, Ski Mode is used only in
               emergency situations....

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

     Charles, thirty, looking every bit an FBI agent, sits
     behind the wheel, eating up every moment of his adventure.

                               CHARLES
               Just checking out the equipment,
               little buddy.

                               K.I.T.T.
                      (appalled)
               Little...buddy?

                               CHARLES
               And, by the way, you can call me
               Chuck.

                               K.I.T.T.
               I can, yes, but why would I want to?

                               CHARLES
               Well, if I'm going to be your new 
               partner....

                               K.I.T.T.
                      (interrupting)
               Unless I'm mistaken, Chuck, at this
               point you're simply one of many
               candidates being considered for the 
               job.

                               CHARLES
               That's true, but when Chuck Wallyburton
               goes after something, he usually gets it.

     ANGLE TO INCLUDE MONITOR

     as Devon appears, sitting behind his desk.

                               DEVON
               Well, I see you and Kitt are getting
               to know each other, Charles.

                               K.I.T.T.
               You can call him Chuck, Devon.

     Devon raises his eyebrows.

                               CHARLES
               We're getting along just fine.  And
               I must say, this is some organization
               you run, Dev.  Just give me the word
               and it's good-bye Feds, hello Foun-
               dation.

                               DEVON
               Yes...well...you realize we're still
               in the process of interviewing 
               possible replacements....

                               CHARLES
               Like I always say, why shop for 
               ground round when you've got top
               sirloin right on your plate.

                               DEVON
               That's...what you always say, is it?

                               CHARLES
               And what does this little button
               do?

     CLOSE ON BUTTON

     as Charles reads:

                               CHARLES
               Eject...left.

     FULLER ANGLE

                               K.I.T.T.
                      (pregnant pause)
               Why don't you check it out Chuck?

     Devon raises his eyebrows.

                               CHARLES
               Now you're talking, little buddy.

     He pushes eject button.

     EXT. ROAD - DAY

     as Chuck is ejected skyward.

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

     Devon has mixed feelings.

                               DEVON
               Kitt, I didn't see that.

     EXT. ROADSIDE - DAY - ON CHARLES

     having landed in a soft area, unhurt, and dusting himself
     off.

                                              CUT TO

     EXT. MANSION VERANDA - DAY - ON MICHAEL

     as he studies a blueprint labeled, F.L.A.G. Garage.

     OMITTED

     ANOTHER ANGLE

     Linda comes out the french doors with that same look, never
     fully making eye contact with him.

                               LINDA
               Danton's ready to take you to the
               plane.

                               MICHAEL
               What if I'm not ready to be taken?

                               LINDA
               Are you asking a question or making
               conversation?

                               MICHAEL
               Maybe a little of each.  Is that
               allowed?

                               LINDA
               If it makes you feel better.

     She turns to go back in but Michael lightly catches her arm.

                               MICHAEL
               What is it with you?  Do you have 
               contempt for everyone, or am I
               special?

     She looks at him fully for the first time, a long enigmatic
     look, then turns and walks inside without replying.

     OMITTED

     EXT. F.L.A.G. GARAGE AREA - DAY

     A limo pulls up and Michael quickly crosses toward the 
     building.  (Note:  This limo should not have Louisiana
     plates.)

     CLOSE ON COMPUTER LOCK

     as Michael punches in 2, 1, 6, 7 and the garage door opens.

     INT. GARAGE - DAY

     Caruso is singing, otherwise, K.I.T.T. is alone.

                               MICHAEL'S VOICE
               Been taking voice lessons?

     Caruso shuts off abruptly.

                               K.I.T.T.
               Michael!

     Michael slips in through the door.

                               K.I.T.T.
               I thought I'd never see you again!

                               MICHAEL
               Hey, pal, you can't get rid of me 
               that easy.

                               K.I.T.T.
               You've talked with Devon.  It was a 
               misunderstanding.  Everything will 
               be the way it was.

                               MICHAEL
               No, Kitt, it'll never be the way it
               was.

     Stunned.

                               K.I.T.T.
               Then why did you come back?

                               MICHAEL
               To get you.

                               K.I.T.T.
               I don't understand.

                               MICHAEL
               You said it, Kitt: we're partners.

     He presses his hand on the pressure plate but the door
     doesn't open.

                               K.I.T.T.
               Michael, this is all very confusing.

                               MICHAEL
                      (reaching for 
                       the driver's door)
               Come on, Kitt, we've got things to
               do.  Places to go.

                               K.I.T.T.
               I am the property of the Foundation
               for Law and Government.

                               MICHAEL
               Kitt, open the door.  Let me in....

     He tries again:  nothing.

                               MICHAEL
               This is it, pal.  I won't ask again.

     He tries again.  Intercut Michael's face, his fingers,
     K.I.T.T.'s dash...and then the sensors keyed to his touch
     flash.  He opens the door and jumps in.

                               MICHAEL
               All right, Kitt!  Butch and Sundance,
               back in the saddle!  Rock-n-roll!

                               K.I.T.T.
               Michael, if you'd only try to 
               appreciate 'Il Travotore.'

     From a different area Bonnie suddenly appears.

                               BONNIE
               Michael!  Kitt, no ---

     Michael hits a button and the garage doors slowly open.
     Then he hits the throttle.

     EXT. TWO LANE ROAD - DAY

     K.I.T.T. flashes by, heading back for New Orleans.

     INT. TRANS AM - DAY

     Michael smiling, taking it all in.

                               MICHAEL
               It feels great.  Come on, admit it.

                               K.I.T.T.
               There is an undeniable nostalgia.
               Unfortunately it's clouded by your
               recent behavior.

                               MICHAEL
               My recent behavior's history.  We've
               got a whole life ahead of us.

                               K.I.T.T.
               It would seem as fugitives.

     OMITTED

     EXT. MANSION GATES - DAY

     A high open wall surrounds the huge estate.  The Trans Am
     stops at the open gate guarded by two burly security officers.

                               MICHAEL
               Michael Knight.

                               GUARD
                      (very polite)
               I don't see your name on the guest
               list, Mr. Knight.  Are you here for
               the birthday party?

                               MICHAEL
               What birthday party?  I work for Lasalle.

                               GUARD
                      (tense)
               Please wait here.

     He goes back to the security office, picks up the phone,
     glancing suspiciously at Michael.

                               MICHAEL
               Are you thinking what I'm thinking?

                               K.I.T.T.
               Quite possibly.

                               MICHAEL
               Shall we?  Just for old time's sake?

     Michael drives through the open gate.  The Guard calls out,
     still holding the phone:

                               GUARD
               Hey, you, stop!

     He hangs up the phone, starts after K.I.T.T.

                               K.I.T.T.
               Michael, it is good to have you back.

     Michael laughs.

     ANGLE ON GUARDS

     running after K.I.T.T.

     ANGLE ON K.I.T.T.

     Michael hits the throttle, then pushes Turbo Boost.

     INTERCUT - GUARDS

     They stare.

     ANGLE FROM GATE

     The Trans Am arcs up and heads toward the manicured hedges.

     ANGLE FROM MANSION GROUNDS

     A Dixieland band, dozens of guests, vats of jumbalaya,
     crawfish pies and file-gumbo.

     The pool and lawns are crowded with party-goers, and
     there's more than an ample supply of beautiful young women.

     ANGLE ON LASALLE AND LINDA

     Lasalle is holding court with influential guests.  Linda is
     breathtaking.  At the whine of a turbine approaching they
     turn.

     WHAT THEY SEE - K.I.T.T.

     He soars over the hedges and slides to a dramatic stop.
     The door pops open and Michael steps out.  The jaded crowd
     applauds, assuming it's part of the festivities.  Michael
     bows, smiling, then to K.I.T.T.:

                               MICHAEL
               Guess they don't allow parking on
               the grass, Kitt.

                               K.I.T.T.
               Don't worry, I'll find a place for 
               myself, Michael.

                               LASALLE
               A new business associate...
                      (smiling)
               ...who favors dramatic entrances.

     K.I.T.T. goes off and Michael approaches Lasalle.  He
     catches Linda's eye.  This time there's another brief,
     mysterious contact before she turns away.  Lasalle shakes
     Michael's hand.  The ever present Danton materializes from
     the crowd, watching Michael.

                               LASALLE
               Congratulations.

                               MICHAEL
               As agreed.

                               LASALLE
               As agreed, yes.  But considering we 
               live in a time where agreements are
               broken as often as honored, I'm
               impressed.

                               MICHAEL
               The price was right.

                               LASALLE
               Is that a hint?

                               MICHAEL
               No.  I'd like my money.

     Lasalle seems to enjoy Michael's brashness, guides him 
     toward the house, away from the guests.  Michael glances
     across at Linda, sees her react to something off.  He looks.

     HIS POINT OF VIEW - A LIMO

     It glides through, darkened windows concealing who or what
     is inside.  It continues past, disappears toward the rear
     of the estate.

     ANGLE ON LINDA

     She immediately excuses herself, hurries off in the 
     direction of the limo.

     ANGLE ON K.I.T.T. ON THE LAWN

     near a clump of trees, away from the party.

                               K.I.T.T.
               Oh my....

     REVERSE ANGLE

     A huge alligator lumbers out of the trees, coming toward
     K.I.T.T.

                               K.I.T.T.
               Scat!  Scedaddle!

     The alligator continues to come closer.

                               K.I.T.T.
               Adios, arrivaderci, ciao, sayonara,
               aloha, bug off!

     The alligator is nose-to-nose with K.I.T.T.

                               K.I.T.T.
               I support endangered species, but
               this is ridiculous.

     ANGLE INSIDE K.I.T.T.

     He auto-starts, shifts into reverse and backs up.

     ANGLE ON ALLIGATOR
 
     He comes forward again.  His jaw opens revealing rows of
     huge teeth.

                               K.I.T.T.
               This calls for extreme measures.

     K.I.T.T.'s hood pops open, jaw-like and huge.  The
     alligator thinks it over, does an about-face and heads back
     toward the trees, out-jawed.

                               K.I.T.T.
               Thank goodness.

     OMITTED

     INT. MANSION - DAY

     Lasalle counts out fifty thousand dollars in stacks of
     hundred dollar bills onto a table.  Michael watches.

                               MICHAEL
               Thanks.

     He picks up the bills and puts them in his pocket.

                               LASALLE
               That's all?

                               MICHAEL
               Did I forget something?

                               LASALLE
               Let's not play games.  Without you
               the car is virtually useless.  You
               know that and I know that.  It's a 
               means to an end.  What will it cost 
               me?

                               MICHAEL
               What do you want done?

                               LASALLE
               Something dangerous.

                               MICHAEL
               I figured.

     Interrupted by Danton running in, concerned.  He pulls
     Lasalle aside, whispers something in his ear.

                               LASALLE
               Excuse me.  I won't be a minute.

     He hurries out with Danton.  Michael watches them go
     outside, cross quickly toward the rear of the mansion -- the
     direction the limo went.

     ANOTHER ANGLE

     Just as Michael is ready to leave, a pretty dark-haired girl
     enters from the party outside.  Her name is Carmen.

                               CARMEN
               Hi.

                               MICHAEL
               Hi.

                               CARMEN
               Could you tell me where the salle de
               bain is?  That's French for bathroom.

                               MICHAEL
               I figured.

     He points down the hall.  She smiles, starts down the hall,
     aware he's watching her walk.

                               CARMEN
               Don't run off.

                               MICHAEL
               I wouldn't think of it.

     As soon as she's gone, he darts out.

     EXT. REAR AREA OF MANSION - DAY

     Michael appears, cautious.  He hears a woman scream, men's
     voices.  He pushes through trees and undergrowth.

     HIS POINT OF VIEW - LINDA

     Danton and another security guard are dragging her away 
     from the limo kicking and screaming.  Lasalle watches,
     grim.  The darkened window electrically rises, a child's
     face glimpsed briefly before it's obscured.  The limo pulls
     out.

     ANGLE ON LINDA

     She's hysterical, kicking and biting.  In the fury the
     locket she wears is ripped off, forgotten in the dirt.
     Danton looks to Lasalle.

                               LASALLE
               Go ahead.

     Danton pulls a syringe out of a case in his pocket.  Linda
     screams.  The other guard holds her down while Danton
     injects her with a powerful tranquilizer.

     ANGLE ON MICHAEL

     He watches, hating the helplessness he feels.

     ANGLE ON LINDA

     She goes limp, and Danton and the guard carry her off,
     followed by Lasalle.

     ANOTHER ANGLE

     Michael appears from the trees, moves to where the locket
     fell.  He finds it, picks it up and opens it.

     INSERT - LOCKET

     Inside is a picture of a beautiful little girl, the same
     little girl who was in the limo.

                                              CUT TO

     INT. MANSION - DAY

     The doors to the study/communications room open, Danton
     coming out.

                               DANTON
               He'll see you now.

     REVERSE ANGLE 

     Michael pacing, restless, crosses to enter the study.

     INT. STUDY/COMMUNICATIONS ROOM - DAY

     Michael enters, followed by Danton who secures the door
     behind them.  Lasalle watches Michael's reaction to the 
     room; it looks like a cross between a state-of-the-art
     telecommunications center and the war room at the Pentagon.
     Every electronic surveillance device known to man.  A
     variety of images flicker across a dozen TV monitors.

                               MICHAEL
               Now I'm impressed.

                               LASALLE
               Thank you.

     Whether it's the incident at the limo with Linda or not,
     Lasalle seems more abrupt, less willing to spend time being
     charming.

                               LASALLE
               Shall we get down to business?

                               MICHAEL
               I already got down to mine.

     He pats the pocket with the 50,000, smiles.

                               LASALLE
               That's nothing -- six months if you're
               not too extravagant.  I'm prepared to
               make you a wealthy man.

                               MICHAEL
               Care to be more specific?

                               LASALLE
               Five times that.  Two hundred and fifty
               thousand cash.

                               MICHAEL
               Who do I have to kill?

     He smiles.  They don't.

                               MICHAEL
               That was a joke.

     Lasalle smiles thinly, crosses to the array of electronic
     wizardry.

                               LASALLE
               What you see here is the state of the
               arts in digital communications.  With
               it I can detect and monitor and elec-
               tronic transmission in the world.
                      (points to 
                       underwater 
                       diving sequence)
               A treasure hunt off the coast of Haiti.
               A gamble, but if we hit the jackpot
               is enormous.
                      (points to
                       another monitor)
               And that one could be even bigger.
                      (beat)
               Now, tell me what you know about the 
               Bohr-Fellows lock?

                               MICHAEL
               It's the most impregnable lock ever 
               designed.  Titanium alloy tumblers,
               a coded magnetic key...
                      (the slightest
                       hesitation as
                       he begins 
                       putting it
                       together)
               ...that's next to impossible to
               duplicate.

                               LASALLE
               Excellent.  And I was this close to
               getting my hands on one...until Willis
               decided to moonlight a drug deal on
               his own....

                               MICHAEL
               And the rest is history.

                               LASALLE
               History I intend to rewrite.  I want
               that key back, Michael...and we both
               know who has it.  Danton ---

     Danton types in an access code on the computer.  The
     underwater diving sequence is replaced by:

     ANGLE ON MONITOR

     The Foundation office with Devon busy at his desk.

                               MICHAEL
               He'll die before parting with it,
               Lasalle.

                               LASALLE
               Yes...I imagine he will.

     Lasalle grins, and ---

                                              FADE OUT

                         END OF ACT TWO

                            ACT THREE

     FADE IN

     OMITTED

     EXT. FOUNDATION PERIMETER - DAY

     Michael appears, slips in and deactivates the perimeter
     surveillance system.

     ANGLE ON INNER WALL

     A grappling hook arcs through the air, hooks onto the 
     wall...and Michael appears, pulls himself up, vaults over
     onto the grounds.

     OMITTED

     INT. DEVON'S OFFICE - DAY

     at his desk, trying to catch up on paperwork.  He hears
     someone on the veranda, glances up, reacts.

     ANOTHER ANGLE

     Michael enters through French doors.  The two men stare at
     one another.

                               DEVON
               Michael!  What are you doing?!

                               MICHAEL
               It turns out we have some unfinished
               business.

     Devon rises, furious.

                               DEVON
               The only 'unfinished business' we 
               have is your theft of Kitt -- That
               and breaking into my office!  I
               demand an explanation.

                               MICHAEL
               Sorry, Devon -- your days of
               'demanding' are over.  I don't do
               your bidding anymore, I do my own.

     Over this Michael sees Devon's foot moving surreptitiously
     under the desk.  He pulls the pistol from his belt, grabs
     Devon and pulls him roughly away.

                               MICHAEL
               Don't step on the alarm.

                               DEVON
               I can't believe you're doing this!
               Michael, for God's sake, stop this
               insanity before you do something you
               truly regret.

                               MICHAEL
               Save the moral indignation.  I've had 
               enough to last a lifetime.  Open the
               safe.

                               DEVON
               Why?

                               MICHAEL
               Open it!

     Devon moves to the wall, removes a book which reveals a 
     hidden wall safe.  He punches the digital combination,
     opens it.

                               DEVON
               What is it you want?  Money?

                               MICHAEL
               The key.

     Devon reacts, horrified.  Tries to cover.

                               DEVON
               What key?

                               MICHAEL
                      (angry)
               Don't press your luck.  The key they
               found on Willis.

                               DEVON
                      (deadly calm)
               Michael, listen to me....

                               MICHAEL
                      (holds out hand)
               The key, Devon.  Now.

     No choice, Devon reaches into the safe.

     ANGLE IN SAFE 

     Secreted there is a small revolver.  Devon surreptitiously
     reaches for it.

     WIDER ANGLE

     as he turns, concealing the revolver:

     INTERCUT MONITOR IN LASALLE'S COMMUNICATION ROOM

     Lasalle, Poole and Danton watch as Devon spins around, the
     pistol in his hand.  Michael reacts, fires his revolver
     before Devon can get off a shot.  Devon stumbles, collapses,
     mortally wounded.  Michael steps over his body and reaches
     into the safe.

     ANGLE ON LASALLE

     He looks at Poole, pleased.

                               LASALLE
               Phase two is complete.

                                              CUT TO

     EXT. MANSION - NIGHT

     K.I.T.T. arcs up the long driveway, pulls to a stop.

     ANGLE ON UPSTAIRS BALCONY

     French doors open and Linda moves out, watching Michael.

     ANGLE ON MICHAEL

     He climbs out, starts for the house.

     OMITTED

                                              CUT TO

     INT. COMMUNICATIONS ROOM - NIGHT

     The box is placed on the table.

                               MICHAEL'S VOICE
               If you don't mind, I think I'll turn 
               in.  It's been a long day.

     Lasalle opens the box, admires the key.

                               LASALLE
               Good idea.  We complete the third 
               and final phase tomorrow.  Be ready
               to leave at seven AM.

                               MICHAEL
               Mind telling me what the 'third and
               final phase' is?

                               LASALLE
               From now on, information will be on a 
               need-to-know basis.

                               MICHAEL
               I need to know.

                               LASALLE
               You do, but not tonight.

     Michael starts out.

                               LASALLE
               Was it difficult for you?

                               MICHAEL
               What?

                               LASALLE
               Dealing with Devon Miles.

     Michael glances knowingly at the monitor screen, then:

                               MICHAEL
               Yeah...it was.  But I did it.

     He turns and leaves.  Hold on Lasalle, fingering the 
     titanium key, thoughtful.

                                              CUT TO

     EXT. MANSION - NIGHT

     Later, quiet, only a few lights on.  Honeysuckle in the air.

     INT. MICHAEL'S ROOM - NIGHT

     He is in the process of taking his jacket off, when he
     hears something outside, a sound.  He crosses cautiously 
     to the French doors, opens them.

     ANGLE FROM BALCONY

     as Michael comes out.  At first he doesn't see anything.
     Then he does.

     ANOTHER ANGLE

     Linda is barely visible, half-hidden by potted palms a few
     yards away.

                               LINDA
               Don't say anything, you're on the
               surveillance system.  I have to talk
               to you.
                      (beat)
               Someone...left something in my
               bedroom.  If it was you, show me.
               Do something to let me know.

     Michael yawns and stretches, pretends to look out into the
     Bayou night.  He unobtrusively speaks into the comlink.

                               MICHAEL
                      (comlink)
               Kitt, I want you to knock out the 
               system monitoring my room.

     INTERCUT - K.I.T.T.

     His systems come to life.

                               K.I.T.T.
               Michael, this is a very sophisticated
               operation.  The old saying 'easier
               said than done' comes to mind.

                               MICHAEL'S VOICE
               Buzz me twice when it's okay.

     Graphics appear on K.I.T.T.'s monitor.

     ANGLE IN COMMUNICATIONS ROOM

     Danton is monitoring security.  One of the monitors shows
     Michael's room, Michael at the balcony as before.  Suddenly
     a soccer game appears on all the screens.  Danton reacts,
     punches buttons to no avail.

     ANGLE ON BALCONY

     Michael's comlink buzzes twice.

                               MICHAEL
                      (comlink)
               Thanks, pal.
                      (to Linda)
               It's safe now.

                               LINDA
                      (cautious)
               Are you sure?

     Michael nods, crosses to meet her as she approaches.

                               LINDA
               I want to believe you, but I can't
               take any chances.  What did you
               leave in my room?

                               MICHAEL
               A birthday card with something
               inside.

                               LINDA
               What was inside?

     He touches the locket which is back around her neck.

                               MICHAEL
               This.

     For a moment it looks as if she will cry.  He wonders if
     he's ever seen such beautiful eyes, such pain, an anguish
     that goes right to her heart.

                                              CUT TO

     ANGLE IN COMMUNICATIONS ROOM

     Frustrated, Danton picks up a phone and buzzes Poole.

                               DANTON
                      (phone)
               You'd better get down here, genius,
               all I can see is soccer.
                      (beat)
               Soccer -- you know, where you hit
               the ball with your head.

     He hangs up.

                                              CUT TO

     ANGLE IN MICHAEL'S ROOM

     Linda moves absently around the room, too frazzled to sit.
     Michael watches her, waits.

                               LINDA
                      (finally)
               Who are you?

                               MICHAEL
               Someone you can trust.

                               LINDA
               That doesn't tell me who you are.

                               MICHAEL
               If you can trust me, who I am
               shouldn't matter.
                      (beat)
               I'd like to trust you, too.  If only
               you hadn't slipped whatever you did
               into my drink....

                               LINDA
               Boyd told me to.

                               MICHAEL
               And like a good little girl you
               always do what he says.

                               LINDA
               You don't refuse Boyd.
                      (beat)
               He's sick.  You know that, don't you?

     Michael refrains from answering.

                               LINDA
               I didn't.  When I met him I thought
               he was...different.  A savior.  I
               guess if you're looking for a savior
               you'll see one whether he's there or
               not.

                               MICHAEL
               Who's the little girl?  Your 
               daughter?

                               LINDA
               Mary Beth was three when I met
               Boyd.  I was divorced, working in
               one of his clubs on Bourbon Street, 
               trying to support us...keep Mary
               Beth in preschool...Boyd told me
               he'd take care of everything if I
               moved in with him.  I should've said
               no, I wanted to, but I didn't.
                      (beat)
               Then, when I tried to leave, it was
               too late.

                               MICHAEL
               What happened at the limousine?

                               LINDA
               He'd promised I could see her on my
               birthday.  Then when she came I
               found out he'd told them no more
               than ten minutes -- he thought it
               might be 'too upsetting.'  I guess I
               just...went a little crazy.

                               MICHAEL
               So to make sure you never leave him,
               he's keeping Mary Beth prisoner.

                               LINDA
               Yes.

                               MICHAEL
               Do you know where?

                               LINDA
               Somewhere outside the city.  He'd
               never tell me.

                               MICHAEL
               Maybe I can trace it through the
               limousine's license.

     The comlink buzzes.

                               MICHAEL
                      (comlink)
               Yeah.

                               K.I.T.T.'S VOICE
               They're working on the system.  I
               can't hold the override more than 
               another ten or fifteen seconds.

                               MICHAEL
                      (comlink)
               Thanks, pal.

                               LINDA
               What was that?!

                               MICHAEL
               A friend.  Quick.

     He hustles her out the French doors.

     ANGLE IN COMMUNICATIONS ROOM

     Poole, at the controls, brings the signals back.  Michael's
     room is empty.  At the balcony Michael yawns, stretches,
     comes back inside as if nothing's on his mind but a good
     night's sleep.

     EXT. MANSION - NIGHT

     From out on the grounds a figure turns, leaving.  It's
     Lasalle.  What he's seen, or hasn't, isn't clear.

                                              CUT TO

     EXT. MANSION - DAY

     It's early.  Lasalle and Danton accompany Michael to
     K.I.T.T.  Lasalle hands Michael the twin keys.

                               LASALLE
               Good luck.

                               MICHAEL
               Yeah.  I'd feel a lot better if I 
               knew where I was going...exactly
               what I'm supposed to do.

                               LASALLE
               When the time is right, you'll know.

     Beat.  Michael climbs into K.I.T.T., pulls out.  Lasalle
     watches him leave.

                                              CUT TO

     EXT. TWO-LANE ROAD - DAY

     K.I.T.T. glides by.

     ANGLE IN K.I.T.T.

     Michael is behind the wheel.

                               K.I.T.T.
               Well, Butch, where now?

                               MICHAEL
               Kitt, I meant that as an example of 
               friendship.  Partnership.  We're not
               outlaws.

                               K.I.T.T.
               What would you call us?  Models of
               civic responsibility.

                               MICHAEL
                      (beat)
               I wouldn't go that far.

                               K.I.T.T.
               I thought not.  In fact....

     INT. COMMUNICATIONS CENTER - DAY

     Poole presses Audio Override as Lasalle watches.

                               K.I.T.T.'S VOICE
               How very odd....

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

                               LASALLE'S VOICE
                      (overriding
                       K.I.T.T.)
               Michael, can you hear me?

     His voice is coming from K.I.T.T.'s speaker box, which
     flashes as if K.I.T.T. is talking.

                               MICHAEL
                      (surprised)
               Lasalle?

                               LASALLE
                      (microphone)
               Listen carefully.  You are fifteen
               point three miles from Fire Mountain
               Chemical Facility.  After penetrating
               security, proceed to Delta Level
               refrigerated storage vault, which can
               be opened by punching the code --
               3-2-8-1.  There, inside the Bohr
               -Fellows wall depository, you'll 
               find our target object -- a canister
               of Tri-Hydrosulfate-G.  You'll receive
               additional instructions when needed.

     Lasalle clicks off...and K.I.T.T. reappears.

                               K.I.T.T.
                      (outraged)
               How dare that person override me!?!

                               MICHAEL
               Kitt, what's Tri-Hydrosulfate-G?

                               K.I.T.T.
               Coming right up.

     INTERCUT - MONITOR

     Holographic models of four separate molecules combining
     into a single, snake-like chain rotating on the screen.

                               K.I.T.T.
               Tri-Hydrosulfate-G is an experimental
               genetically engineered amino acid
               being tested as a bacteriological
               agent.  It is quantumly more powerful
               than anything that is presently in 
               use.

                               MICHAEL
                      (tightening)
               Biological warfare?

                               K.I.T.T.
               To say the least.  If one litre were
               accidentally released into the atmos-
               phere, no living organism within a 
               thousand square miles would survive.

                               MICHAEL
                      (after a 
                       beat)
               You have a site map of the Fire
               Mountain facility?

     No response from K.I.T.T.

                               MICHAEL
               Kitt?

                               K.I.T.T.
               Michael, given the severity of the 
               situation, I can no longer support
               your actions.

                               MICHAEL
               I'll manual override.

                               K.I.T.T.
               What you do is sadly beyond my control.
               But I cannot and will not aid in 
               anything that could jeopardize a
               human life.

                               MICHAEL
               Last chance, Kitt.

     No response.  After a beat Michael programs a manual Map
     Search into the system.

     INTERCUT - MONITOR

     Maps flash by.  Michael presses Freeze.  Hold on a map of
     Fire Mountain Facility.  Michael studies it, then presses
     Pursuit.

     EXT. TWO-LANE ROAD - DAY

     The Trans Am leaps up the road.

     INT. TRANS AM - DAY

     Michael behind the wheel.

     EXT. FIRE MOUNTAIN - DAY

     As the Trans Am approaches the security fence it suddenly
     accelerates, smashing through it.

     ANGLE AT SECURITY STATION

     A Guard on routine duty looks up and reacts, stunned.  He
     grabs a phone.

                               GUARD
               Someone just busted through the
               north fence, get on over here!

     ANOTHER ANGLE 

     The Trans Am heads directly for the chemical facility.  

     ANGLE IN K.I.T.T.

     Michael grips the wheel.

                               MICHAEL
               Kitt, we're about to hit three feet
               of reinforced concrete wall.  I'll
               abort if you say you can't do it.

     Silence from K.I.T.T.

     WIDER ANGLE

     The Trans Am hurtles toward the wall and slams directly into
     it, concrete and steel girders flying in all directions.

     INT. FACILITY - DAY

     K.I.T.T. comes to a stop across from a large security vault
     labeled DELTA LEVEL CHEMICAL STORAGE.  Michael climbs out
     of the Trans Am, a little shaken, punches the code, 3281.
     The huge vault door swings open revealing a cloudy cold
     room with a tamper-proof Bohr-Fellows depository box in the
     wall, along with several sophisticated gauges recording
     temperature, earth movements, etc.

     ANGLE IN COLD ROOM

     Michael enters.

                               DEVON'S VOICE
               Hello, Michael.

     It's Devon, bundled up in a parka, emerging from the cold,
     cloudy shadows of the room.

                                              FREEZE FRAME

                        END OF ACT THREE

                            ACT FOUR

     FADE IN

     INT. COLD ROOM - DAY

     With various alarms sounding over, Devon embraces Michael:

                               DEVON
               Good to see you, Michael.

                               MICHAEL
               Me too, Devon.  I see you also dis-
               covered what the key unlocks.

                               DEVON
               Just a short time ago.  He's after
               the Tri-Hydrosulfate-G.

     Michael nods, moves to the depository box, fits the key
     into the Bohr-Fellows lock.

                               DEVON
               Any idea what he's going to do with it?

     Turns the key:

                               MICHAEL
               Ten to one sell it to the highest
               bidder.

     He opens the box, removes a canister smoking with frost.
     Looks at it, reflecting on its horrifying capabilities.

                               DEVON
               I know what you're thinking, Michael
               -- what if he outsmarts us and gets
               away with it?

                               MICHAEL
                      (looks at Devon)
               I'd sure feel a lot safer if this
               were filled with shaving cream.

                               DEVON
               That makes two of us.  Only Lasalle
               wouldn't get thirty days for master-
               minding the theft of a can of shaving
               cream.  But once he takes possession
               of that Tri-Hydrosulfate-G, we're
               talking about a life sentence.

                               MICHAEL
               Just make sure you have the 
               authorities there to arrest him.
               Wherever there is.

                               DEVON
               We'll be able to track your
               destination by monitoring Kitt's
               homing signal.

     They react to the O.S. voice:

                               GUARD'S VOICE
               Take the labs.  We'll check out the
               cold storage vaults.

                               DEVON
               Now go!  And for heaven's sake,
               Michael, do be careful with that.

     Michael nods and hurries out.

     ANGLE DOWN CORRIDOR

     Several security guards are racing toward them carrying
     automatic weapons.  One of them spots Michael ---

                               GUARD
               You!  Don't move!

     ANGLE TO INCLUDE MICHAEL

     leaping into K.I.T.T.  He puts the canister on the passenger 
     seat, waits for K.I.T.T. to start up.  When he doesn't:

                               MICHAEL
               Kitt, this is no time to hold a grudge!
                      (starts him
                       manually)
               All right, we'll talk about it later.

     Michael hits the throttle.

     ANGLE TO INCLUDE SECURITY GUARDS

     firing.  The bullets bounce off K.I.T.T. as he blasts
     through hole.

     EXT. CHEMICAL FACILITY - DAY

     The Trans Am emerges from the building, races toward the 
     hole in the fence as automatic weapon fire ricochets off.

                                              CUT TO

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

     moving fast down the highway.

     INT. TRANS AM - DAY

     As Michael glances over at the canister a red light near
     the speaker begins to flash.

                               LASALLE'S VOICE
                      (over speaker)
               Well done, Michael.

                               MICHAEL
                      (eyeing canister
                       nervously)
               Where do I get rid of this thing?

     INT. COMMUNICATIONS CENTER - DAY

     Lasalle is on a panel microphone, tracking K.I.T.T. via a 
     monitor screen.  Poole is nearby.

                               LASALLE
               I can see where you might be a little
               nervous.  Continue on I-10 for another
               thirty minutes at your present speed.

     INTERCUT AS NEEDED

     Michael nods.

                               MICHAEL
               You got it.
                      (to K.I.T.T.)
               You heard the man.

     K.I.T.T. remains silent.

     ANGLE IN COMMUNICATIONS CENTER

     Lasalle takes a last look at K.I.T.T. on monitoring screen,
     then turns to Linda.

                               LASALLE
               Ready for our little trip?

                               LINDA
               Where are we going?  Boyd please...
               what about Mary Beth?  Let her come
               with us, she won't be any trouble, I
               promise.

                               LASALLE
               Oh, it's not Mary Beth I'm worried
               about.  It's you, Linda...you and
               Michael Knight...and your little
               rendezvous behind my back.

     Danton enters the room.

                               DANTON
               The chopper's ready, sir.

                               LASALLE
               Then let's get started.

                               LINDA
               I'm not going, Boyd -- no!  You
               can't make me!

                               LASALLE
               Danton.

     Danton grabs Linda by the arm and all but drags her out.
     Lasalle watches her a beat and then follows.

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

     moving fast.

     EXT. HELICOPTER - DAY - IN FLIGHT

     INT. HELICOPTER - DAY

     Danton at the controls.  Lasalle takes the microphone.

                               LASALLE
               Michael...Boyd.

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

                               MICHAEL
               I hear you.

     Intercut as needed:

                               LASALLE
               You should be approaching Laffite
               Crossing.  Turn off there, then take
               a left onto the old River Road.
               Follow it to the end.

                               MICHAEL
               You're the boss.

                               LASALLE
               And just so you don't forget that,
               Michael...I've decided to take out 
               an insurance policy -- Linda and her
               daughter.

                               MICHAEL
               What are you getting at?

                               LASALLE
               Call it the paranoia of a suspicious
               mind...but if anything goes wrong...
               if for some reason I don't get that
               canister...Linda and her daughter 
               will die.

     Michael thinks fast, then forces a small laugh:

                               MICHAEL
               Hey, Boyd, she's your girl friend,
               not mine.  What do I care what
               happens to her?

                               LASALLE
                      (looking 
                       at Linda)
               Somehow, Michael, I don't believe
               you mean that.  That's why I'm sure
               you won't let anything go wrong.
               Anything at all.

     He clicks off.  Michael weighs his words a beat, then
     reaches for a dash button:

     OMITTED

     INSERT - HOMING BUTTON

     as Michael presses it and the green light turns to red,
     signaling it's off.

     OMITTED

     EXT. OLD RIVER ROAD - DAY - ON K.I.T.T.

     His wheels bounding along a road that's little more than
     a dirt path, overgrown with swamp vegetation.  He splashes
     through a deep puddle.

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

     Michael has his hands full controlling the wheel.

                               MICHAEL
               They call this a road...even an
               alligator would have a hard time
               around here...sorry, Kitt.
                      (then suddenly
                       sees something
                       up ahead)
               Well, what do you know.

     MICHAEL'S POINT OF VIEW THROUGH WINDSHIELD - DISTANT
     CLEARING

     It's actually been hacked out of the swamp.  Linda, Lasalle
     and the armed Danton stand outside the helicopter.  Michael
     also sees a couple of Bayou boys, Cajun swamp boatmen
     obviously moonlighting for Lasalle and armed with shotguns.

                               MICHAEL'S VOICE
               Kitt, I think it's time we had a 
               little heart to heart.

     BACK TO SCENE

                               MICHAEL
               I wasn't suspended from the Foundation.
               Devon and I planned this whole thing so
               I could infiltrate Lasalle's operation,
               put him away.

                               K.I.T.T.
               What about the heroin the police found
               in your jacket?

                               MICHAEL
               I put it there myself.  It was all
               part of the plan.

                               K.I.T.T.
               But why didn't you let me in on it?

                               MICHAEL
               We were afraid Lasalle might've
               tapped into you, too.  We couldn't
               tell anyone.  Not even Bonnie.

                               K.I.T.T.
                      (slight beat)
               Michael, I recall you turned off my
               homing signal.  I truly hope part of
               your plan wasn't to have Devon monitor
               our position.

                               MICHAEL
               You got it, buddy.  But after what
               Lasalle said I couldn't risk Linda's
               and her daughter's life.

                               K.I.T.T.
               No, of course you couldn't, Michael.

     EXT. CLEARING - DAY

     K.I.T.T. pulls up near Lasalle and Linda.

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

                               MICHAEL
               Well, at least we're partners again.

                               K.I.T.T.
               Butch and Sundance.

     OMITTED

     EXT. CLEARING - DAY

     Michael gets out.

                               LASALLE
               There's not much time.  Where's the
               canister?

                               MICHAEL
                      (holding it)
               Right here.
                      (then)
               On one condition, Lasalle.

                               LASALLE
               What's that?

                               MICHAEL
               You let Linda go.

                               LASALLE
                      (beat)
               You ask too much.

                               MICHAEL
                      (re canister)
               I've got the ace in the hole.

                               LASALLE
               I could kill you now and just take
               it away from you.

                               MICHAEL
               In that case I better just open it
               up right here.

     He makes a motion as if to release the valve.  The Bayou
     boys back off some.  Quickly.

                               LASALLE
               No.  Wait.  I expect to get about
               ten million dollars for that
               canister.
                      (beat)
               You have a deal.

                               MICHAEL
                      (to Linda)
               Get into the car, Linda.

     She hurries over and gets in.

                               MICHAEL
               Get her out of here, Kitt.

                               K.I.T.T.
               But Michael...!

                               MICHAEL
               You heard me.

     Hearing K.I.T.T. talk, the Bayou boys back up more, appear
     to discuss with themselves if they really heard what they
     heard.  In Cajun.

                               K.I.T.T.
               But what about you?

                               MICHAEL
               I can take care of myself, now go.

     As K.I.T.T. starts to move off, the Bayou boys do the same
     thing, heading back for the swamps.

                               LASALLE
               Where are you going?!

                               BAYOU BOY
               No one said anything about poison 
               gas and a talking car.

                               MICHAEL
               Just can't get good help anymore.

                               LASALLE
               The canister.

     Michael proffers it.

                               MICHAEL
               All yours.

     Beat, then Lasalle takes it.  To Danton:

                               LASALLE
               Kill him.

     But as Danton's levelling his automatic:

     ANGLE ON MICHAEL

     diving behind some brush, turning a somersault, getting to
     his feet and racing toward K.I.T.T. who has circled around
     behind Lasalle.  Danton fires several wild shots, then
     Michael dives into K.I.T.T.

     OMITTED

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

                               MICHAEL
               That's the old team work, pal.

                               K.I.T.T.
               Michael, look.

     MICHAEL'S POINT OF VIEW - LASALLE AND DANTON

     getting into the helicopter, and starting to lift off.

     BACK TO SCENE

     as Michael starts after it.

     EXT. CLEARING - DAY

     The helicopter's about ten feet off the ground now.

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

                               MICHAEL
               Kitt, microwave jam the copter and
               bring her down.

     OMITTED

     EXT. HELICOPTER - DAY

     as the helicopter begins to drop toward the ground out of
     control.

     INT. HELICOPTER - DAY

     Danton struggles with the controls.

                               LASALLE
               Pull up!

                               DANTON
               I can't!

     EXT. CLEARING - DAY

     The helicopter lands.  Michael runs to meet Danton coming
     out with his weapon.

     MICHAEL AND DANTON

     Michael grabs hold of the weapon, using it to throw Danton
     off balance, and then doubles him up with a blow to the
     midsection with the stock.

     ANGLE TO INCLUDE LASALLE

     getting out the other side and starting to run with the
     canister.

                               MICHAEL
               Kitt!

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

     to see the accelerator depress and light up.

     BACK TO SCENE

     as K.I.T.T. cuts Lasalle off, and Michael comes up behind 
     him, spinning him around and slamming him back against the
     Trans Am.

                               MICHAEL
               I'll take that, Lasalle...Kitt has 
               enough photographs of you with it to
               put you away for a long time.

     Michael takes the canister.

                                              FADE OUT

                         END OF ACT FOUR

                               TAG

     FADE IN

     EXT. MANSION GROUNDS - DAY

     Michael is with Linda.  K.I.T.T. is nearby.

                               MICHAEL
               All your things packed?

                               LINDA
               Yes...by evening this will only be a 
               bad dream...thanks to you.

                               MICHAEL
               I couldn't have done it by myself.

                               K.I.T.T.
               And I hope you remember that,
               Michael.

                               MICHAEL
               Kitt, I promise I'll never keep
               anything from you again.

                               K.I.T.T.
               Well, I certainly hope not.

     Linda sees Devon's limo pulling up.  She tenses:

                               LINDA
               Michael....

     He puts his arm around her comfortingly.

     ANGLE ON LIMO

     Bonnie gets out with Mary Beth.  The child runs to her
     mother:

                               MARY BETH
               Mommie, Mommie....

     ANGLE TO INCLUDE LINDA

     as she hurries to her daughter, embraces her, picks her up.

                               LINDA
               Mary Beth...sweetheart...oh, my
               darling, we're never going to be
               away from each other again.

     She swings her around in her arms.

     ANGLE ON MICHAEL

     as Bonnie joins him.

                               MICHAEL
               Thanks for finding her, Bonnie.

                               BONNIE
               My pleasure.  And I even forgive you
               for not letting me in on your little
               secret.  Devon told me Kitt might've
               sensed I was keeping something from
               him.

                               MICHAEL
               Where is Devon anyway?

                               BONNIE
               Helping the authorities prepare
               their case against Lasalle, Danton,
               and all the others who worked for 
               him.

     K.I.T.T.'s red scanner suddenly begins to flash.

                               K.I.T.T.
               Oh, no.

     Michael looks over.

     MICHAEL'S POINT OF VIEW - THE ALLIGATOR

     heading to visit with K.I.T.T.

     BACK TO SCENE

                               MICHAEL
               Kitt, the alligator only wants
               to be friendly.

                               K.I.T.T.
               Michael, it's not the alligator
               I'm worried about.

     They turn to look.

     AND WHAT THEY SEE - CHUCK WALLYBURTON

     coming from his official Fed car.

     ANGLE TO INCLUDE OUR PEOPLE

                               BONNIE
               Oh, I forgot to tell you -- Chuck 
               Wallyburton is handling the case
               for the Feds.

     Chuck spots Kitt, waves ---

                               CHARLES
               Little Buddy...look who's here!

     As all but K.I.T.T. enjoy the moment, we ---

                                              FADE OUT

                             THE END