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KNIGHT RIDER: KNIGHTLINES

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

Production #58644
2nd Draft - January 21, 1985 (F.R.)

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



                                ACT ONE

     FADE IN

     EXT. MEGATRON CONSTRUCTION SITE - NIGHT - ESTABLISHING

     The camera searches the steel skeleton of an ultramodern
     high-rise in the later phases of construction, rising into 
     the moonlight.  Moving stealthily among the high girders is:

     KEVIN MORGAN

     twenty-five, a bright, attractive communications worker.
     Dressed in blue denims, work belt, and boots, he tightropes 
     catlike along the top level, clearly at home in this 
     environment.  He steals through the shadows eyes darting 
     around until he reaches:

     OMITTED

     AN ELECTRICAL JUNCTION BOX

     After a final furtive glance around, Kevin opens the 
     junction box to reveal:

     INSERT - A SHINY CHROME COMPONENT

     nestled amid the other circuitry.  Kevin pulls a tiny 
     pocket camera from his tool belt and flashes a few pictures
     of it before going to work with needle-nose pliers and 
     cutting it loose.  As he pockets it and closes the box, he
     startles at the sound of a muffled roar from below.  He 
     darts to:

     ANGLE - A CAGE/ELEVATOR

     running down the exterior of the building.  Kevin climbs 
     in, punches "down," and holds his breath, wincing at its 
     grinding noise.  After a few beats, the elevator jars to a 
     stop, suspended between floors.  He glances around, punches 
     "down" again, but nothing happens.  A low roar rises from 
     below.

     EXT. SITE - NIGHT - THE MEGA-4

     A huge, state-of-the-art construction crane has rumbled to
     life.  Its roof-mounted arm swings slowly, ominously toward
     the elevator.  Hanging from its clawed end is a sharp-
     cornered, multi-ton cement bucket.

     IN THE ELEVATOR

     Adrenalin pumping, Kevin yanks at the elevator door, which
     won't open.  He climbs up to knock the roof hatch off the 
     cage, then climbs out the ceiling of the car.

     EXT. BUILDING - KEVIN

     starts shinnying down the elevator cables, desperate to 
     escape the approach of:

     THE CRANE ARM

     which now rocks away from the building, its payload 
     starting to swoop back in a deadly parabola toward Kevin.

     CLOSE SHOT - KEVIN

     clinging to the steel for life, eyes bursting with fear as:

     THE CEMENT BUCKET

     crashes into the side-girders of the building and sends 
     Kevin hurtling away from the girders.  As his scream fades,
     go to:

     ANGLE - THE MEGA-4 CONTROL BOOTH

     In the yard below, doors open to reveal an ultramodern
     control booth complete with video monitors, lights, gauges,
     etc.  Out steps Dan Hannegan, 6'4", 220 pounds of no- 
     nonsense Irish building foreman, dressed in jeans, flannel
     shirt, and hard hat.  After a brief glance toward the spot 
     where Kevin fell, he heads in the other direction.

                                              CUT TO

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

     cruising comfortably.

                               K.I.T.T.'S VOICE
               Twisted Sister, Quiet Riot, Iron 
               Maiden...Michael, where do they get 
               these names?

     ANGLE IN K.I.T.T.

     Michael's listening to some hard rock, chuckling at 
     K.I.T.T.'s dismay.

                               MICHAEL
               It's heavy metal, buddy.  Macho rock.
               The badder the better.

                               K.I.T.T.
               Uranium is a heavy metal, and it 
               isn't good for you either.  Do you 
               know what an Iron Maiden is?  A 
               medieval torture device.

                               MICHAEL
               Okay, pal, what would you name a 
               band?

                               K.I.T.T.
               Something with values.  Like 'Truth,
               Justice, and the American Way.'

                               MICHAEL
               I like it, but it's not commercial.

                               DEVON'S VOICE
               How about 'The Foundation for Law 
               and Government'?

                               MICHAEL
                      (smiles)
               It'd never sell.  Hi, Devon.

     INTERCUT - MONITOR AS NEEDED

     Devon's seated in his office.

                               DEVON
               Good morning, Michael.  We have you 
               and Kitt just north of the county 
               line, is that right?

                               MICHAEL
               You said it, and making a beeline 
               for Millie's.  Best chili omelets 
               west of the Colorado.  Why are you 
               up so early?

                               DEVON
               You're going on an unofficial security
               investigation for Megatron, 
               Incorporated.

                               MICHAEL
               Megatron?  Sounds like a 'Masters of 
               the Universe' toy.

                               DEVON
               Hardly.  They're the most advanced 
               technological think tank in America.
               Kitt has some of their patents in his 
               circuitry.

                               MICHAEL
               Sounds hot.

                               DEVON
               It is.  This week they caught a thief 
               in their new R&D facility -- one of 
               their own people.

                               MICHAEL
               Is that so unusual?

                               DEVON
               Michael, when you have projects with
               the Pentagon that make Starwars look 
               like a covered wagon, everything is 
               unusual.  The thief fell to his 
               death and I'd like you to pay a 
               visit to his widow.

                               MICHAEL
                      (reluctant)
               Devon, is that necessary?

                               DEVON
               I'm afraid so.  Bonnie will give 
               Kitt the details.

                               MICHAEL
               What about Millie's chili?

                               DEVON
               Your indigestion will keep.  Good-bye.

     He blinks off.  Michael sighs.

                               MICHAEL
               Gourmets have a lonely life, Kitt.

     As they race off:

                                              CUT TO

     EXT. JANET MORGAN'S HOUSE - DAY

     Michael knocks at the door of a small suburban dwelling.
     After a beat, he's answered by Janet Morgan, a liquid-eyed 
     young woman in her twenties.  Understated hair and dress 
     highlight rather than hide her pretty features.  She's 
     Kevin's widow, and she looks tired and a bit suspicious.

                               MICHAEL
               Janet Morgan, I'm sorry to bother 
               you....

                               JANET
               You police?

                               MICHAEL
               No ma'am, I'm not.  But I am here 
               about your husband.

                               JANET
               Insurance?

                               MICHAEL
               No.  I'm Michael Knight, Foundation
               for Law and Government.  We're 
               investigating Kevin's death.

                               JANET
               You mean his murder?

     Michael stops, reacts, taking this in.

                               MICHAEL
               The report I read said 'accident,'
               but I'm willing to listen....

     Janet eyes him a beat, opens the door.

     INT. JANET'S HOUSE - DAY - CONTINUOUS

     As they cross from the door, Janet leads Michael into 
     a modest living room.  Along with typical decor are a 
     few interesting-looking electronic gadgets.

                               JANET
               I bet that report said 'thief,' too.
               Kevin gave his life to that company,
               ten hours a day.  Didn't even claim
               all the overtime.  You tell me who 
               the thief is.

                               MICHAEL
                      (sympathetic)
               I don't know.  But I can see who got 
               robbed.

     Janet is touched.  This may be the first sympathetic ear
     she's had.

                               JANET
               Naturally they cut off his benefits 
               and insurance, and my job won't pay 
               the bills.
                      (beat; sincere)
               He didn't fall.  I just know it.

                               MICHAEL
               It was dark...probably windy....

                               JANET
               He grew up on the high steel.  His 
               dad was a Mohawk...worked on the 
               Empire State Building.

     Michael absorbs this.

                               MICHAEL
               Had Kevin been hanging out with 
               any...new friends, lately?

                               JANET
                      (sad smile)
               I wish.  He spent all his spare time 
               at school...or tinkering in that 
               workshop of his.

                               MICHAEL
               Were you guys in any money trouble?

                               JANET
               Isn't everybody?

                               MICHAEL
               I mean, serious trouble.

     Janet catches his drift, turns cold.

                               JANET
               What are you saying?

                               MICHAEL
               Being fired can be hard on a man.
               It can make him....

                               JANET
                      (uncomprehending)
               Fired?  Kevin?

                               MICHAEL 
                      (surprised she 
                       doesn't know)
               Three days before he died.  He 
               didn't tell you?

                               JANET
                      (shakes her 
                       head)
               No...That's impossible.  He went to 
               work those days.

                               MICHAEL
               Maybe he didn't want you to worry....

                               JANET
               You don't sleep beside a man and not 
               know something like that.

                               MICHAEL
                      (gently)
               Look, I know this hurts.  But I have
               to know what he was doing at the 
               building that night.  Why'd he go 
               back?

                               JANET
                      (angrier now)
               What's with you.  You come in here,
               nice smile, no badge...but you're 
               just like the rest of them.  You 
               think he's guilty, too.

                               MICHAEL
               Someone has to ask these questions....

                               JANET
               Yeah, the police.  But at least they 
               were up front.  At least I knew they
               were the enemy.

                               MICHAEL
               Janet, I'm not the enemy.

                               JANET
               Look, maybe I'm old fashioned, but I
               thought widows got a few days to 
               grieve, so please leave.

     Michael tries to reply....

                               JANET
               Get out of here.

     He eyes her a long best, sad for her.  But there's nothing 
     else to say.  He leaves.

                                              CUT TO

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

                               K.I.T.T.'S VOICE
               You're showing signs of distress, 
               Michael.  What's wrong?

     ANGLE IN K.I.T.T.

                               MICHAEL
               I don't know.  Something sure felt 
               wrong back there.

                               K.I.T.T.
               Talking to a young widow is 
               understandably difficult.

                               MICHAEL
               It was more than that.  The lady was
               telling the truth.  Call Devon.  I
               need him to arrange a little cover 
               for me.

                               K.I.T.T.
               Cover?  For what?

                               MICHAEL
               I want to see the place where Kevin 
               died.

     He cranks a left turn.

                                              CUT TO

     EXT. MEGATRON SITE - DAY - FEATURE THE MEGA-4

     K.I.T.T. cruises past the Megatron building, driving 
     directly under the long arm of the Mega-4, which dwarfs the 
     car.  Michael parks on the street nearby as the crane hauls
     a huge load of cement skyward.

     OMITTED

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

     Michael climbs out holding a tool belt and hard hat.  He
     peels off his leather jacket, exposing bare arms, and dons
     the construction gear.

                               MICHAEL
               Well, Kitt, what do you think?

                               K.I.T.T.
               Michael, we're dealing with a very 
               sophisticated company here.  Their 
               security is elaborate.  You don't
               stand a chance of....

     Suddenly a whistle blows.  Michael notes it with a smile.

                               MICHAEL
               There's my shift.  Gotta go.  Later,
               pal.

     Follow Michael as he joins a bunch of similarly clad men 
     heading onto the site, changing places with the ones who 
     are coming off.  K.I.T.T. whoops his scanner in disapproval.

     EXT. MEGATRON SITE - DAY

     High above the street, Michael steps out of the open cage 
     elevator, jostling along with a couple other workers.  He
     waits until they've dispersed, then raises his comlink.

                               MICHAEL
               Okay, I'm on the eighth level.  The
               reports said he fell near the elevator
               column.

     Follow Michael as he walks out to the edge and looks at:

     MICHAEL'S POINT OF VIEW - THE GROUND BELOW

     a long way down.  Swinging past is the arm of Mega-4, its
     huge cement bucket dumping four cubic yards of concrete.

     BACK TO MICHAEL

     He shudders, then starts looking around the area.  Suddenly
     something catches his eye.  He starts toward:

     EDGE GIRDERS - A DENTED SPOT

     There's a large ding in one of the framing girders.
     Michael examines it, sights along it.  It's the spot 
     where the crane crashed into the building.  To comlink:

                               MICHAEL
               Looks like there was a little accident
               here, eh, Kitt?

     INTERCUT - MONITOR AS NEEDED

     K.I.T.T. produces a colorful graphic blueprint of the 
     building, with numbers reading out next to it.

                               K.I.T.T.
               'Little' isn't the word, Michael.
               There's an eight millimeter sag in 
               the floor above you, and the rest of 
               the structure is showing a ripple 
               effect.

                               MICHAEL
                      (frowns)
               Eight millimeters off...that would 
               take a ton of force....

                               K.I.T.T.
               3.2 tons per square inch, to be exact.

     Suddenly a hand grabs Michael around the neck, pulling him
     backward.  It belongs to:

     DAN HANNEGAN

     an icy glint in his eye, his ham-like arm constricts 
     Michael's breathing.  He growls:

                               HANNEGAN
               You've got to be careful.  People can
               fall....

     Michael strains in his grasp, then responds with a martial 
     arts arm move which breaks Hannegan's grip.  He spins to 
     confront the big foreman.

                               MICHAEL
               You shouldn't surprise people up
               here.  Makes 'em jumpy.  Dangerous.

                               HANNEGAN
               Who are you; and what are you doing 
               up here?

                               BARNES' VOICE
               Easy, Hannegan....

     ANGLE TO INCLUDE STEPHEN BARNES

     A tanned, handsome man in his midthirties, wearing the vest
     and slacks of a three-piece suit, incongruous with his hard
     hat.  He carries a clipboard.

                               BARNES
               What's the trouble?

                               HANNEGAN
               Gorgeous here was checking the view 
               instead of doing his job, whatever 
               that is.  Talking to himself, too.

                               BARNES
                      (looks Michael
                       over)
               Where's your name tag?

                               MICHAEL
               Name's Knight.  Local 42 sent me over.
               I'm replacing Kevin Morgan.  Who are 
               you?

     Barnes and Hannegan trade a look.

                               BARNES
               I'm Stephen Barnes.  Megatron Chief
               Engineer.  Why didn't you report to
               your foreman?

                               MICHAEL
               Couldn't find him.  What is this,
               twenty questions?  Things are tough,
               but I don't need the work this bad.

     A beat passes.  They appear to buy his story.

                               BARNES
               You're on the wrong level.  The 
               phone links are already in on this 
               floor.

                               MICHAEL
               So where do I start?

                               BARNES
               Come back after the weekend.  We're 
               blowing gunnite and pouring concrete
               now.  You can start the trunk wiring
               when that's finished.

                               MICHAEL
               Hey, fine by me.  The old lady won't 
               like it though.  Always griping 
               about me watching too much TV, you
               know?
                      (a beat)
               See you Monday.

     He steps into the cage elevator and heads down.  When he's 
     gone:

                               HANNEGAN
               Are you crazy?  Tellin' him to come
               back?

                               BARNES
                      (in control)
               Calm down.  I want to keep an eye on
               him.  Did you call for a union 
               replacement?

                               HANNEGAN
               You didn't...?

                               BARNES
                      (interrupts)
               Easy, easy.  The concrete's going in
               now.  Once it's set, we're home 
               free.  You just do your job and let
               me do mine.

     He starts away.

                               HANNEGAN
               Where are you going?

                               BARNES
               To see if our visitor's story stands 
               up.

     Hannegan thinks, nods his approval.

     EXT. MEGATRON SITE - DAY - GROUND LEVEL - TRAILER/OFFICE

     From an on-site office in a Megatron trailer we hear:

                               BARNES' VOICE
               Yes, Local 42?  Stephen Barnes at 
               Megatron.

     INT. TRAILER/OFFICE - DAY

     Barnes talks coolly on the phone, signing a clipboard 
     handed to him by a pretty secretary. 

                               BARNES
               Did you send over a new communications
               tech today to replace...Oh, you did.
               And the name?
                      (beat)
               Knight.  That's right.  Okay.

     He starts to hang up, then thinks again.

                               BARNES
               You still there?  Yes...this Knight
               ...blonde-haired fellow about five 
               feet, six inches, right?
                      (eyebrows
                       arching)
               That's him?  Good.  No, no problem
               at all.  Thank you.

     He hangs up, his wheels turning, then lifts the phone again,
     dials.

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

     Parked across the street, Michael keeps an eye on the site 
     as he catches Devon up on the monitor.

                               DEVON
               I'd hardly call a dented girder an
               earth-shaking discovery.

     ANGLE IN K.I.T.T. - INTERCUT MONITOR

                               MICHAEL
               Maybe not in some buildings.  But this 
               one's supposed to house labs, clean
               rooms...the specs on the place are 
               ultra-tight.  Megatron even keeps an 
               engineer on-site.

                               DEVON
               Then I'm sure they'll catch it.

                               MICHAEL
               That's my point.  It should've been 
               caught already.  Check for me, will 
               you?
                      (looking across 
                       the street)
               Gotta run.  Keep in touch.

     He punches buttons, loses Devon.

                               MICHAEL
               Well, well, well.  What have we here?

     ANGLE - MICHAEL'S POINT OF VIEW - THE SITE 

     A black stretch limo is pulling up to the site.  Stepping
     out of the office and into the car is Stephen Barnes.

                               K.I.T.T.
               I didn't know construction people 
               made so much money.

                               MICHAEL
               They don't.  Let's see where our 
               friend goes.  Discreetly.

     And they pull out in pursuit of the limo.

                                              CUT TO

     EXT. MANSION/FORTRESS - DAY 

     The limousine pulls up to a stately but well-secured house
     on a hilltop.  After a few beats, K.I.T.T. appears around a 
     curve and parks well below the house, but with a view of it.

     ANGLE IN K.I.T.T. - INTERCUT MONITOR

     Michael punches buttons, calling up the screen.

                               MICHAEL
               Nice digs.  Run a trace on the 
               address and zoom in on the front,
               Kitt....

     The monitor zooms in and we see Barnes exiting the limo.
     Waving an imperious finger at him from a balcony 
     overlooking the driveway is an immaculately turned-out 
     continental type we'll come to know as Soltis.

                               MICHAEL
               Full magnification, Kitt, and give 
               me a hard copy.

     FREEZE FRAMES - SOLTIS

     A grainy but recognizable sequence of photos of Barnes 
     and Soltis.

                               K.I.T.T.
               The best I can do, Michael.

     And as the hard copy slides into Michael's hand, go to:

     INT. SOLTIS' MANSION - DAY

     Barnes enters the foyer of a beautiful room, lavishly 
     furnished.  Despite the epulence, the place feels antiseptic;
     it's not really a home.  Soltis finishes a conversation on
     an elegant phone.  He flicks his hand at a beautiful woman,
     Seline, seated near him, and she rises and crosses to Barnes.

                               SOLTIS
               Lalo, of his excellency is unwilling
               to pay our price, sell the M-16s to
               the contras.
                      (beat)
               Wars need guns, my friend.  Who buys
               them is not my concern.  I only care
               that we get our price.  If you can't 
               negotiate it, I know people who can.

                               SELINE
               Champagne?  I'm sure he won't be long.

                               BARNES
               Yes.
                      (thinks again)
               Er, no, no thank you.

     Soltis hangs up, crosses to Barnes, who tries to greet 
     him.

                               BARNES
               Thanks for sending....

                               SOLTIS
                      (interrupts;
                       cold)
               Did you find it?

                               BARNES
               Uh...Morgan had one on him when he 
               died.  A camera, too.  Three guesses 
               what he was photographing.

                               SOLTIS
                      (interrupts
                       again)
               Did you find the missing interceptor?

                               BARNES
                      (after a beat)
               No.  There's still one unaccounted 
               for.

     Soltis' eyes flare a beat, then he seems to gain control of 
     his anger.  He reaches out a hand...and Seline is there to 
     fill it with a glass of champagne.

                               SOLTIS
               You were hired because I heard you 
               were a thorough man.

                               BARNES
               I'll get it back, don't worry.

                               SOLTIS
               But I am worried.  Last year there 
               was a facility in France whose sole 
               work was the development of the 
               perfect wiretap.

                               BARNES
               The silicon interceptor....

                               SOLTIS
                      (nods; knowing
                       smile)
               That lab isn't there any more.  An
               industrial 'accident.'  My name was 
               raised in certain circles at the 
               time.  So if the interceptor turns 
               up here....

                               BARNES
               Mr. Soltis, say no more.  My best 
               man is on the job, even as we 
               speak....

                               SOLTIS
                      (flares)
               I don't like working this way!  I
               survive because I know how to 
               disappear.  You, Mr. Barnes, are 
               making that harder and harder to do.
                      (beat; regains 
                       control)
               What about Morgan.  You've thoroughly
               discredited the man, I trust?

     Barnes nods, relieved at being able to give some "good 
     news."

                               BARNES
               His personnel records now indicate 
               he was fired. 

                               SOLTIS
               Fired...for what?

                               BARNES
               Theft of company property.

                               SOLTIS
               If I were Megatron, I'd want that 
               property back.  In other words, I 
               want him proven guilty.  Arrange it, 
               Barnes.

     Without another word he turns and offers a hand to Seline,
     who's seated nearby.  As they glide away, Soltis whispers 
     in her ear and we hear her laugh.  Hold on Barnes as he 
     watches, very nervous, very worried....

                                              CUT TO

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

     cruising through a suburban neighborhood.

                               DEVON'S VOICE
               You were right, Michael....

     ANGLE IN K.I.T.T./INTERCUT - MONITOR

     as Michael and Devon converse.

                               MICHAEL
               No report of that damaged beam at 
               Megatron, right?

                               DEVON
               No report of any damage, period.
               Shall I tell their president?

                               MICHAEL
               No, hold off.  If this is a cover-up,
               I want to know who's behind it...and 
               why.

     Devon nods as Michael punches buttons and cuts him off.  
     Michael cranks a turn up to:

     EXT. MAYFLOWER SCHOOL - DAY

     K.I.T.T. pulls up outside a small suburban day school.

                               MICHAEL
                      (exiting 
                       the car)
               Hang loose.  I'll be right back.

     He heads off toward the school.  K.I.T.T.'s scanner whoops.

                               K.I.T.T.
               Hang loose?

     ANGLE ON THE BUSHES - BILLY

     Twelve going on twenty-one, T-shirt and camo's, trying 
     hard to hide the fact that he's a cute kid, he emerges from 
     the bushes, having watched Michael's arrival.

                               BILLY
               Wow...you can talk!

     K.I.T.T. doesn't respond.

                               BILLY
               C'mon, I heard you.  I'm gonna call 
               the 'eyewitness' guys.

                               K.I.T.T.
               Young man, why aren't you in school?

                               BILLY
                      (tough
                       posture)
               I don't go to school.
                      (beat)
               Actually, I'm cuttin' class.

                               K.I.T.T.
               Which one?

                               BILLY
               History.  Whatta joke.

                               K.I.T.T.
               History is no joke.

                               BILLY
               C'mon, it's the pits.

                               K.I.T.T.
               That's because it's sometimes taught 
               improperly.  Come here.

     To Billy's amazement, the door swings open.  His bravado 
     fails him.

                               BILLY
               Uh-unh.  No way.

                               K.I.T.T.
               What's the matter?  Chicken?

                               BILLY
               Who you calling chicken?

     Slowly, unsure of himself, he gets in the car.

     ANGLE IN K.I.T.T. - INTERCUT MONITOR

     Billy looks around, wowed.

                               K.I.T.T.
               Watch this.

     Suddenly the monitor comes alive with an eye-popping 
     display of pyramids and pharoahs, Spanish galleons and 
     pirates, battles, cowboys and Indians...everything we can 
     muster.

                               BILLY
               Far out!  What is that?

                               K.I.T.T.
               That, my friend, is history.

     Billy looks up and sees:

     MICHAEL AND JANET

     returning from the school building.

     RESUME ON K.I.T.T.

                               BILLY
               Uh, oh.  Busted.

                               K.I.T.T.
               It's okay.  Sneak out.  I'll cover 
               for you.  And get back in that 
               history class!

     The driver's door opens away from the adults and Billy 
     slips out as Michael opens the passenger door for Janet,
     then climbs in himself and pulls out.  Billy emerges from 
     the bushes again, trying to figure out if this really 
     happened.  As we pull back, also watching is:

     HANNEGAN

     parked in a van across the street, brows knitted, wheels 
     turning.

     ANGLE IN K.I.T.T.

     as Michael drives her home, she reacts to K.I.T.T.

                               JANET
               Nice car.  Kevin would've loved it.
                      (to Michael)
               What did you want to tell me?

                               MICHAEL
               That I felt bad about this morning.
               And that I checked Megatron after I 
               left you.  I think you're onto 
               something.

                               JANET
                      (guarded)
               I'm listening. 

                               MICHAEL
               Something happened at the spot where 
               Kevin fell that night...some kind of 
               crash or accident.  I think maybe he 
               didn't fall.  He might've been 
               knocked off.

                               JANET
               Why wasn't it in the reports?

                               MICHAEL
               I'm trying to find out.  Janet, I'll
               make you a deal.  I want the truth.
               You want Kevin cleared.  If you're right
               about him, you've got no beef with me.

     After a beat, she nods.

                               MICHAEL
               But if you're wrong, can you accept 
               what I find?

     She looks at him, sees he's sincere.  After long 
     consideration:

                               JANET
               Yes.

                               MICHAEL
               Okay, then.

     He produces the photos of Soltis and Barnes.  She looks 
     them over.

                               MICHAEL
               You know these people?

                               JANET
               Stephen Barnes, Kevin's boss.  Nice 
               guy.  He was over to dinner a couple 
               weeks ago.  Who's the other one?

                               MICHAEL
               I'll tell you when I find out.

                                              CUT TO

     EXT. JANET'S HOUSE - DAY - ESTABLISHING 

     K.I.T.T. is parked out front.

     INT. JANET'S HOUSE - KEVIN'S WORKSHOP/DEN - DAY

     Janet opens the door, admitting Michael to a masculine room 
     full of electronic gadgets, obviously the haunt of a very 
     advanced do-it-yourselfer.  Michael starts poking around.

                               MICHAEL
               Wow...I'm impressed.  Looks like 
               Kevin was a genius.

                               JANET
               He almost had his M.S. in electronics.
               We made a deal in high school.  I'd 
               work to pay his tuition.

                               MICHAEL 
               What was your end of the bargain?

                               JANET
                      (looks up)
               Having a baby.

     From the desk she picks up a high school portrait of 
     herself, looks at it wistfully.  Michael absorbs her 
     tragedy.

                               MICHAEL
               We can do this later....

                               JANET
               No...no it's okay.  What do you 
               expect to find in here?

                               MICHAEL
               I'm not sure.  But I still need to 
               know what he was doing at the site 
               that night.  If this is his hangout,
               it's a place to start.
                      (to comlink)
               Kitt, is there anything in here 
               that's unusual...out of the ordinary?

     INTERCUT - MONITOR AS NEEDED

     K.I.T.T. scanning the room with appropriate graphics.

                               K.I.T.T.
               A lot of interesting hardware, but 
               nothing...wait.
                      (focusing on 
                       one object)
               There's one device I can't scan.  It 
               must have a lead casing.  Top shelf.

     Michael reaches up to find the object in question.  It's 
     the chrome box we saw on Kevin when he died -- the silicon
     interceptor.  Michael pulls it down, shows it to Janet.

                               MICHAEL
               Any idea what this is?

     She shakes her head.  Michael looks it over.  Suddenly 
     they're startled by a loud knock at the door.

                               MICHAEL
               See who it is.

     Michael steps out of sight as Janet goes to the door.

     OMITTED

     ANGLE - THE FRONT DOOR

     She swings it open.  A uniformed officer and another man in 
     a suit, Rayford, flash their badges.

                               RAYFORD
               Mrs. Morgan, Lieutenant Rayford, PD.
               We have a warrant to search the 
               premises for stolen property from 
               Megatron, Inc.

     As they start inside, go to:

     MICHAEL

     frozen in place, looking down at the shiny box in his hand.

                                              FREEZE FRAME

                         END OF ACT ONE

                             ACT TWO

     FADE IN

     EXT. JANET'S HOUSE - DAY - ESTABLISHING 

     K.I.T.T. and a black and white parked out front.

     INT. JANET'S HOUSE - DAY

     Janet backs into the living room as Rayford and the uniform
     enter and start their search.

                               JANET
               You can't just come in here like 
               this....

                               RAYFORD
               Sorry, ma'am, but we have to.

                               MICHAEL'S VOICE
               Slow down, Lieutenant.

     They turn to see:

     MICHAEL

     emerging from the den.  One hand in a pocket, probably 
     holding the chrome device.  Janet watches Michael, scared
     but hopeful.

                               MICHAEL
               Who's the signature on that 
               complaint?

                               RAYFORD
               Who wants to know?

                               MICHAEL
               Call me a concerned citizen.

                               RAYFORD
                      (eyeing Michael;
                       to uniform)
               Jack, frisk this guy.

                               MICHAEL
                      (angry; shows 
                       his hands)
               Ah ah -- no, you don't.  Not unless
               you've got a warrant with my name on 
               it, too.

                               RAYFORD
                      (responds, 
                       tough)
               What're you, a lawyer?

     But before they can square off further:

                               OFFICER'S VOICE
               Lieutenant...take a look.

     They turn to:

     THE UNIFORMED OFFICER

     who's turning over a small scope-like device in his hands,
     matching it to a picture he carries.  Rayford takes it from 
     him, checks it against his warrant.  He offers Janet the 
     paper.

                               RAYFORD
               Radon graphic analyzer.  Yours, ma'am?

                               JANET
               I've never seen that before.

                               RAYFORD
               Ten grand a pop.  No home should be 
               without one.

                               MICHAEL
                      (angry;
                       defending her)
               The lasy's in mourning.  She says 
               she's never seen it.  Is she under 
               arrest?

                               RAYFORD
               Not yet.  But we'll be taking this 
               with us.

                               MICHAEL
               Fine.  Take it and go.

     Rayford eyes him a hard beat.

                               RAYFORD
               I'll remember you, stretch.

     And the officers turn and go.  When they're gone, Janet 
     turns to Michael:

                               JANET
               I never saw that thing, I swear.
               Someone must have put it here.
                      (beat)
               What did you do with....

     Michael produces the chrome device from his pocket.  She 
     heaves a sigh of relief.

                               JANET
               You covered for me.  Thanks, but why?

                               MICHAEL
               Hey, I don't withhold evidence.  But 
               if I give this to them, I'm back at 
               square one.

     Janet looks around, feeling violated.

                               JANET
               I don't know who's doing this to me,
               but someone's going to pay....

                               MICHAEL
               Hey, easy.  You just go on with your 
               life and let me do the dirty work,
               okay?

     After a beat, she nods.  He heads outside.

                                              CUT TO

     OMITTED

     EXT. TENNIS COURT - LOW ANGLE - DAY

     As a forehand smash whips right into camera.  Widen to 
     reveal:

     EXT. SOLTIS MANSION - TENNIS COURT - DAY

     two beautiful, long-legged women in tennis garb, finishing
     a game.  Watching them play from the veranda above is 
     Soltis, sipping a dark drink in a brandy snifter.

                               SOLTIS
               Lovely point, Michelle.  I love to 
               watch your...form.

     One of the women looks up, smiles deprecatingly.  They go
     back to their game.  Seline appears behind Soltis, twines 
     her arms around his neck.

                               SELINE
               I'd rather you watched mine.

                               SOLTIS
               Then show it to me....

     Their moment is broken by:

     STEPHEN BARNES

     moving from the house onto the veranda.  He looks uncomfor-
     table.  Soltis turns cold.

                               SOLTIS
               Well?

                               BARNES
               My man planted the evidence at 
               Morgan's, but he couldn't find the 
               bug.

     Soltis rises, deadly.  Venomous.

                               SOLTIS
               I told you not to leave that inter-
               ceptor to anyone else.  I ---

                               BARNES
                      (interrupting)
               Forget the interceptor.  We've got 
               another problem.
                      (off Soltis'
                       reaction)
               Remember the guy we caught snooping 
               on the site this morning?

                               SOLTIS
               What about him?

                               BARNES
               We just spotted him with Morgan's 
               widow.

                               SOLTIS
               So?  You're the security expert.
               Find out who he is.

                               BARNES
               I tried.  The man's as elusive as 
               you.  His name's Michael Knight. 
               Beyond that, he's a mystery.  I 
               don't like it.

                               SOLTIS
                      (ice)
               Then get rid of him.

     Barnes wants to say more but doesn't.  He starts off.

                               SOLTIS
               And Barnes....

     Barnes turns back.

                               SOLTIS
               I still want that interceptor.
               Don't come back here without it.

     His look tells Barnes how serious he is.  He goes.  Soltis
     turns back to Seline, all charm.

                               SOLTIS
               Well...I'm waiting....

                                              CUT TO

     EXT. HIGHWAY - NIGHT - ON THE SEMI

     highballing.

                               BONNIE'S VOICE
               It's a transmitter-receiver of some 
               kind, Michael....

     INT. SEMI - NIGHT

     Bonnie's at her work station, analyzing the device.
     Michael and Devon stand nearby.  A colorful schematic is 
     displayed on the computer monitor.  K.I.T.T. is parked at 
     the rear.

                               BONNIE
               State-of-the-art electronic surveil-
               lance.  I've never seen anything 
               like it.

                               MICHAEL
               What's so special about it?

                               BONNIE
               For starters, the casing.  It's a 
               sealed lead alloy.  I put it on our 
               phone line to test it.  Normally, 
               Kitt can trace the frequency of any 
               transmitting bug....

                               MICHAEL
               But not this one....

                               BONNIE
               Right.  You could tap a phone or a 
               computer bank without a trace.  This 
               thing is revolutionary.  Until I get 
               inside it, I can't tell you much 
               more.

                               MICHAEL
               Well, at least we know Kevin didn't 
               build it in his home workshop.

                               DEVON
               Still, what was he doing with it?

                               MICHAEL
               I wish I knew....

     Their uncomfortable silence is interrupted by:

                               K.I.T.T.
               Michael, I have the information on 
               those pictures you requested.

                               MICHAEL
               On the monitor, Kitt.

     The three gather at the computer monitor.  K.I.T.T. feeds 
     in.

     INTERCUT - COMPUTER MONITOR AS NEEDED

     The photo of Barnes and Soltis is displayed, and printing 
     out beneath it is the name "SOLTIS:  Interpol warrants
     #48106A, 49270, along with assorted data and other 
     Carlos-style pictures.

                               DEVON
               Soltis -- He's the most wanted man  
               in the world.

                               BONNIE
                      (reading)
               Guns to Nicaragua, heroin from 
               Laos...he's not particular, is he.

                               DEVON
               The man is a monster.  He's above 
               the law.  He's slipped through the 
               fingers of justice for fifteen years.

                               MICHAEL
               Suspected in twenty-three interna-
               tional crimes...nothing ever proven.

     Devon reaches for a phone, starts to dial.

                               MICHAEL
               Who're you calling?

                               DEVON
               The FBI.  Where were these pictures 
               taken?

     Michael reaches over and slams down the switch hook.
     Devon's angered.

                               DEVON
               Michael, you don't understand.  If 
               Soltis has breached Megatron 
               security, the possibilities are 
               devastating.

                               MICHAEL
               Devon, you don't understand.  If 
               he's this good, the Feds bust in now, 
               he goes underground and we've got 
               nothing.

                               DEVON
               We must do something!

                               MICHAEL
                      (stops him)
               Let me get some evidence on him 
               first.

     Michael starts for K.I.T.T.

                               DEVON
               Where are you going?

                               MICHAEL
               To Megatron, to see if these little 
               bugs have found their way inside.

     And he guns the car away.

     OMITTED

     EXT. HIGHWAY - NIGHT - ON SEMI 

     as K.I.T.T. slides down the ramp and spins a 180 away.  

                                              CUT TO

     EXT. STREETS - NIGHT - K.I.T.T.

     The Trans Am cruises through light, late traffic.

     ANGLE IN K.I.T.T.

     Michael's changed into black garb for stealth work.

                               K.I.T.T.
               I've never seen Devon so upset.

                               MICHAEL
               He was pretty worried all right.
               I'll take that security readout on 
               Megatron now, if you don't mind. 

     INTERCUT - MONITOR AS NEEDED

     The dash prints up a graphic representation of the Megatron
     building.

                               K.I.T.T.
               It's going to be difficult to crack, 
               Michael.  They add guard dogs at night.

                               MICHAEL
                      (scanning the 
                       monitor)
               Barbed wire, electric eye gates...okay,
               we'll do our best.  Now overlay the 
               wiring and show me where you'd plant 
               bugs if you wanted to spy on this place.

     Bright red lines shoot through the graphic, showing the 
     wiring.  Lights blip at appropriate locations for the bug 
     sites.

                               K.I.T.T.
               I suggest you check the one on the 
               second floor.  It will get us in and 
               out quickly.  Here we are.

     Michael pulls the car to the curb, starts pulling on gloves.

                               MICHAEL
               No good, pal.  I'm going to the top 
               floor.

                               K.I.T.T.
               Michael, this is no time to indulge 
               your rock climbing fantasies.

                               MICHAEL
               I've got my reasons, Kitt.

     He starts out.

     EXT. CONSTRUCTION SITE - NIGHT - CLOSE ON A FENCE

     as a hi-tech grappling hook swings up and catches hold.
     Widen to see Michael pulling himself up and over the barbed 
     wire atop the fence.  He drops to the ground easily and 
     sprints into the darkness, avoiding a slow-pacing security 
     guard.

     MOVE WITH MICHAEL

     He reaches the building and tosses his grappling hook up 
     into the beams, pulls it tight, and starts a tenuous, 
     exciting climb.

     ANOTHER ANGLE 

     Michael pulls himself up onto a girder, then uses an 
     acrobatic swing to reach the next level.  The moon lights 
     his ascent through the high steel.  When he catches his 
     breath, he addresses the comlink.

                               MICHAEL
               Kitt, you read me?

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

                               K.I.T.T.
               Yes, Michael.  It appears you're 
               doing very well.  No sign they've 
               detected you.

                               MICHAEL
               That's the way I like it.

     He fires his hook upward again and continues climbing.

     ANGLE - BASE OF BUILDING 

     A German Shepherd trots to the base of the building where
     the dangling end of Michael's rope brushes the ground.  The 
     dog starts to whine nervously, then to bark.

     INTERCUT - ANGLE IN K.I.T.T.

                               K.I.T.T.
               Oh, no.  Go away.  Shoo.  Scat.  Scram.

     But the dog continues whining, barks louder.  Another dog 
     joins it, takes up the chorus.

                               K.I.T.T.
               Michael, we have a problem.

     ANGLE - HIGH - GIRDERS - MICHAEL

     pulls himself up another floor and answers the comlink.

                               MICHAEL
               I'm almost to the top, Kitt.  Can
               you deal with it?

                               K.I.T.T.
               You know dogs aren't my specialty.

                               MICHAEL
               Well distract 'em somehow.  Buy me 
               three minutes.

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

     A light indicates "Olfactory synthesizer" and blinks the 
     word, "Roast Beef" on and off.  K.I.T.T. whistles.

                               K.I.T.T.
               Here, poochie.  Here boy.

     Slowly the car auto-starts and pulls off down the street.

     THE DOGS 

     raise their noses, barking, and follow K.I.T.T. away.

     OMITTED

     INT. TRAILER/OFFICE - NIGHT

     Hannegan and Barnes hear the barking and commotion.  They
     move to the door and look out to see:

     THEIR POINT OF VIEW - K.I.T.T.

     driving along the fence, leading the dogs down the block.

                               HANNEGAN
               That's his car!  Knight's!

                               BARNES
                      (pleased)
               Looks like our problem has come to 
               us.  Let's give Mega-4 a workout.

     They race from the office.

     OMITTED

     EXT. BUILDING - TOP - NIGHT 

     Michael works quickly and carefully at an electrical 
     junction like the ones we've seen before.

                               K.I.T.T.'S VOICE
                      (comlink)
               Michael, I'm afraid I've blown our 
               cover.

                               MICHAEL
                      (comlink)
               Keep 'em busy, pal.  I'm almost
               through.

     Move in to see what Michael's found -- another one 
     of silver boxes, this one secreted deep in the wiring.
     With a pair of clippers he cuts it free and pockets it.
     But before he can start moving, he hears a roar and a 
     grind of gears from the yard below.  Looking down, he 
     sees:

     THE MEGA-4

     rumbling into action.  At the end of the crane's hoist is a 
     bucket large enough to hold a man and in it is:

     HANNEGAN

     holding an automatic rifle, eyes scanning into the girders, 
     following the beam of a large flashlight.  Lights are going
     on in the yard below him and being trained on the building
     skeleton.  Hannegan rises rapidly alongside the building.

     MICHAEL

     sees his predicament immediately.  To comlink:

                               MICHAEL
               I'm open to suggestions, pal.

                               K.I.T.T.
               Michael, I'm sorry.  The elevators 
               are off and there's no other way 
               down.

     Suddenly a bullet pings off the steel next to Michael.  He 
     dives out of the way.

     NEW ANGLE - MICHAEL

     swings down over a girder, catching hold of it at the last 
     second before falling.  As he hangs by his hands in this 
     precarious position, Hannegan's light trains on him and we:

                                              FREEZE FRAME

                                              FADE OUT

                         END OF ACT TWO

                            ACT THREE

     FADE IN

     EXT. MEGATRON SITE - HIGH STEEL - NIGHT - CONTINUOUS ACTION

     Just as Hannegan fires again, Michael lets go of the girder
     he dangles from and drops!  The bullet whistles over his 
     head.

     MICHAEL

     lands on a lower girder, fights for balance, and tightrope-
     walks to its end, where a rope is tied off.  The intervening
     level blocks Hannegan's fire.

     HANNEGAN 

     strains for a clear shot.

                               HANNEGAN
               Down!  Take it down.

     He's lowered for a better shot as:

     INT. MEGA-4 CONTROL BOOTH - NIGHT

     Barnes works furiously at the controls, lit by the eerie 
     glow of the dials, responding to Hannegan's directions.

     MICHAEL

     looks for an escape, sees none, then takes a deep breath.
     Loosening the line he's found, he braces himself and calls
     out:

                               MICHAEL
               Kitt, I hope this is secuurrrre....

     He swings out into space, away from the building.

     FULL SHOT - MICHAEL ON THE BUILDING

     More shots ring out as Michael arcs out from the girders
     and is deposited back down at a different spot.

     FULL SHOT - YARD, MEGA-4, AND HANNEGAN

     Guards and dogs are circling below, barking and pointing.
     Hannegan gestures furiously.

                               HANNEGAN
               Down!  And to the left!

     MICHAEL

     gets his footing on a new girder, still high above the 
     ground.  To comlink:

                               MICHAEL
               Where is he, Kitt?

     INTERCUT - K.I.T.T. - DRIVER'S POINT OF VIEW OF THE SITE

     Engines whining, K.I.T.T. watches, awaiting orders.

                               K.I.T.T.
               Getting close again, Michael.

                               MICHAEL
               When I call, be ready to bust in for 
               an interception.

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

     But a new bullet pings off the steel right next to 
     Michael's head.  Grabbing a line, he dives over the edge
     into space.

                               MICHAEL
               Now, buddy!

     K.I.T.T.

     roars into action, speeding for the fence, and:

     VARIOUS ANGLES - MICHAEL

     loops downward, rappelling his way through the girders,
     bouncing down the vertical face like a mountain climber as 
     searchlights play on him from below.

     VARIOUS ANGLES - K.I.T.T.

     bursts through the electrified gate in a hail of sparks, 
     making for the wall below Michael, t-roof cranking open.

     CLOSE ON MICHAEL

     as he runs out of rope at the third floor and dangles from 
     the end of his line, still a good twenty-five feet above 
     the ground.  Another shot whines past him.  He yells:

                               MICHAEL
               Come on, Kitt!

     FULL SHOT

     Just in time, K.I.T.T. skids to a stop below Michael.  He 
     releases the rope and falls through the open t-top.  More 
     bullets spark harmlessly off the car as:

     K.I.T.T.

     floors a 180 in the dirt, and hightails it out of the site.

     ANGLE IN K.I.T.T.

                               MICHAEL
                      (gulping air)
               Thank...you...Kitt.

                               K.I.T.T.
               That was awful.  Are you all right?

                               MICHAEL
               You tell me.  I'm not sure.
                      (wrinkles his
                       nose)
               But I sure am hungry.  What's that 
               smell?

                               K.I.T.T.
               Never mind.  You must be all right.

     And they race off into the darkness.

     EXT. JANET'S HOUSE - NIGHT 

     K.I.T.T. pulls up and Michael gets out.

                               MICHAEL
               Scanners peeled, Kitt.

     He heads for the door.  Stay with K.I.T.T. for a beat, then:

     BILLY

     comes rolling down the street, on his skateboard in the 
     dark.  K.I.T.T. flashes his lights and Billy stops.

                               BILLY
               Whoa!  What are you doing here?

                               K.I.T.T.
               I might ask you the same thing.  
               It's very late.

                               BILLY
               Hey, off my case.  I was at the 
               library.

                               K.I.T.T.
               Why do I find that hard to believe?

                               BILLY
               No, really.  I was reading all about 
               the Vikings.  Did you know they 
               discovered America before Columbus?

                               K.I.T.T.
                      (amused; if he 
                       could be)
               No.  Really?

                               BILLY
               Yeah.  You really got me interested 
               in this history stuff.  Now if you 
               could make science interesting....

                               K.I.T.T.
               You must be joking.

     The door pops open.  Billy hops eagerly in.

                                              CUT TO

     OMITTED

     INT. JANET'S HOUSE - NIGHT

     She pulls a robe around her as she moves to answer a 
     knock.  Open the door to reveal Michael, urgent and excited.

                               JANET
               Michael...come in.

                               MICHAEL
               I think I have some good news.  Sit
               down.

     He ushers her back into a chair.

                               JANET
               What?  What is it?

                               MICHAEL
               I think you were right about Kevin.
               I think someone at Megatron killed him.
               'Cause they just tried to kill me.

     He reaches into his pocket, produces the new chrome box.

                               MICHAEL
               This is a bug -- a wiretap.  Just 
               like the one we found here.  I found 
               it installed on the top floor of the 
               new Megatron building.

                               JANET
               Kevin couldn't have done it, I'm 
               telling you.  He....

                               MICHAEL
                      (takes her by 
                       the shoulders)
               You're right.  He couldn't have.
               The top floor just went up 
               yesterday.  It hadn't been built 
               when he died.

                               JANET
               Then...what...I don't understand.

                               MICHAEL
               Someone else at Megatron is 
               installing these.  I think Kevin 
               found out and they killed him.

                               JANET
               You mean...someone he worked with?
               Someone he knew?

                               MICHAEL
                      (nods)
               I think it's Stephen Barnes.

                               JANET
               Barnes?  Kevin looked up to him.  He 
               was such a nice guy.  Why him?

                               MICHAEL
               Remember the other guy in that 
               picture?  His name is Soltis.  He's 
               an international criminal...wanted 
               around the world.  He's above the 
               law...never caught or convicted.  I
               think he's bugging Megatron to steal 
               their secrets.  And I think Barnes 
               is helping him.

     Janet is rocked by this news.  Her temper heats up.

                               JANET
               Barnes told Kevin he'd help him get 
               promoted.  We had him to dinner.  I 
               cooked all day!

                               MICHAEL
               Janet...Barnes is way out of his 
               league.  Soltis has done things you 
               wouldn't believe, and one murder is 
               just a drop in the bucket to him.

                               JANET
               What can we do?

                               MICHAEL
               We can't do anything.  I'm going to 
               try to smoke out Barnes and make him 
               lead me to Soltis.  But I can't do 
               it if I'm worrying about you.

                               JANET
               But this man...if he always gets 
               away....

                               MICHAEL
               He won't this time...I promise.
                      (beat)

     She calms down.

                               MICHAEL
               Now, I need to use your phone.

                                              CUT TO

     INT. MEGATRON OFFICE/TRAILER - NIGHT

     Barnes is at Hannegan's throat.

                               BARNES
               How could you miss him!  You were so 
               close!

                               HANNEGAN
               The guy was quick...it was dark...and 
               you weren't all that steady at those 
               controls either.  Not to mention that
               car of his....

                               BARNES
               You'll never get another shot at him 
               like that one.

     Suddenly the phone rings.  Barnes picks it up.

                               BARNES
               What is it?

     OMITTED

     INTERCUT - MICHAEL AND BARNES

     Janet listens in the b.g.

                               MICHAEL
               Barnes, it's Michael Knight.

     Barnes covers the receiver, mouths, "It's him," to Hannegan.
     He recovers quickly.

                               BARNES
               Uh...little late for you to be....

                               MICHAEL
               Shut up and listen.
                      (slowly)
               Fifty thousand dollars.

                               BARNES
               What are you talking about?

                               MICHAEL
               I'm selling you a picture.  Of you 
               and Soltis.

                               BARNES
                      (nervous)
               You're crazy.

                               MICHAEL
               It's an offer I wouldn't pass up.
               'Cause if you don't buy it, I'm 
               sending one to Soltis and one to the 
               police.  You can decide who you want 
               to run from.

                               BARNES
               Where do I get fifty thousand this 
               time of night?

                               MICHAEL
               That's your problem.  Bellows Park 
               at sunrise.  Be there.

     He slams the receiver down.  Barnes holds his end, stunned.

     OMITTED

     EXT. HIGHWAY - NIGHT - ON SEMI

     K.I.T.T. appears out of the night and rolls up the ramp. 

                               DEVON
               An hour and forty-nine minutes.
               Pressing your luck, Michael.

     INT. SEMI - NIGHT

     Bonnie works with a microtorch on the first box, which is 
     now in pieces, as Devon looks on.  Michael hands her the 
     new one.

                               MICHAEL
               Not really.  Kitt had it figured to 
               the millisecond.
                      (re box,
                       to Bonnie)
               These things just keep popping up 
               everywhere.  How you coming?

                               BONNIE
               It's an amazing piece of circuitry.
               Besides the wiretap, there's a tiny 
               condenser mike.  They could bug 
               meetings, conversations...even office
               gossip.

                               DEVON
               Another day and they'd have been 
               buried inside Megatron's walls forever.
               Totally untraceable.

                               BONNIE
               There's still one circuit I haven't 
               cracked.  Lord knows what it does.

                               MICHAEL
               Well, keep at it.
                      (takes Devon 
                       aside)
               Did you run my check on Stephen Barnes?

                               DEVON
               The man has impeccable credentials.
               Hired by Megatron right out of M.I.T.,
               fast rise to his present position, 
               A-1 security clearance.

                               MICHAEL
               Well, even the best ones go sour.

                               BONNIE
                      (calls from 
                       work station)
               Hey, you two.  I think I've....

     K.I.T.T.'S SCANNER

     suddenly whoops and his lights flash.

                               K.I.T.T.
               Michael, Bonnie, be careful.  That 
               circuit you just opened, Bonnie, 
               it's a time bomb!

     FULL SHOT 

     Michael is galvanized into action.  He crosses to where 
     Bonnie is frozen over the box, an angry red light now 
     blinking on the circuit in question.  He lifts it gently.

                               MICHAEL
               How long, Kitt?

                               K.I.T.T.
               About eight seconds....

                               MICHAEL
               Open your trunk, buddy.

                               K.I.T.T.
               Oh, Michael, not the trunk again....

                               MICHAEL
               Kitt!

     K.I.T.T.'S TRUNK

     powers open.  Michael approaches gingerly.

                               K.I.T.T.
               Careful, Michael.  It's very delicate.

     He starts to lower it into the trunk.

                               K.I.T.T.
               Three seconds, Michael!

     BONNIE AND DEVON

     back away.  He tries to shield her.

     BACK TO SHOT

     Michael places the blinking box in the trunk and slams it 
     just milliseconds before:

     THE EXPLOSION

     rocks K.I.T.T. and the entire semi.  Smoke fills the 
     passenger compartment and our people back away into the 
     walls.  When it's over, Michael approaches the car. 

                               MICHAEL
               You okay, buddy?

     K.I.T.T.

     sucks the smoke clear.

                               K.I.T.T.
               Barely.  That little device packs an 
               astonishing punch.  And we'll never 
               get the smell out of the upholstery.

     FULL SHOT 

                               MICHAEL
               Soltis thinks of every possibility.
               If the bugs are discovered, he has 
               them self-destruct.  Along with anyone
               in the vicinity.

                               BONNIE
               And we don't know who can detonate 
               them....

                               DEVON
               What if this isn't the only building 
               they've wired?

     Chilling possibilities all.  But Michael grabs the other 
     interceptor and starts toward K.I.T.T.

                               DEVON
               Where are you going?

                               MICHAEL
               I'm still holding an ace...the picture
               of Soltis.  I'm meeting Barnes with it.

     As he climbs into the car, Devon crosses close.

                               DEVON
               Get him, Michael.  I want these men.

                               MICHAEL
               You and me both, Devon.

     Grim and determined, Michael pulls out.

                                              CUT TO

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

     cruises through light traffic under a beautiful sunrise.

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

     ANGLE IN K.I.T.T.

                               MICHAEL
               Join the crowd, Kitt.

                               K.I.T.T.
               Soltis could detonate that building 
               any time.

                               MICHAEL
               That's why I need Barnes.  I want to 
               scare him into defusing the bugs. 
               Then we get Soltis.

                               K.I.T.T.
               Let's hope he knows how.

     Michael cranks the wheel.

     EXT. BELLOWS PARK - DAY

     Michael and K.I.T.T. pull into a quiet, green park with 
     swings and a ball field.

     ANGLE IN K.I.T.T.

     Michael punches buttons.

                               MICHAEL
               Any sign of him, Kitt?

                               K.I.T.T.
               I'm scanning...wait!  There he is, 
               Michael.

     BARNES

     steps out of concealment behind a fence and walks into view.
     Michael climbs out of K.I.T.T. and walks slowly to meet 
     him.  Sotto, to comlink:

                               MICHAEL
               How's his blood pressure, Kitt?

                               K.I.T.T.
               Skyrocketing.

     FULL SHOT - BARNES AND MICHAEL

     Showdown.

                               BARNES
               Where's the picture?

                               MICHAEL
               Where's the money?

     Barnes reaches into his pocket and starts toward Michael.

                               MICHAEL
               Don't!

     MICHAEL

     suddenly holds up the transceiving diode.  Wired to it is a 
     battery.  Barnes sees it and freezes.

                               MICHAEL
               I know what this does.  I know 
               everything it does.  Now throw the 
               gun away.

                               BARNES
               Gun?

                               MICHAEL
                      (blazing)
               Don't mess with me, Barnes.  If I 
               go, I don't mind taking slime like 
               you with me.

     Barnes doesn't react.  Michael holds a second wire inches 
     from the diode.

                               MICHAEL
                      (icy)
               I'll blow us both up.  The gun.  Now.

     BARNES

     starts to sweat.  After a beat, he pulls his hand from his 
     jacket pocket and, indeed, he does have a gun, which he 
     tosses aside.

                               BARNES
               Okay.  What do you want?

     Michael lowers the box and battery.  He's furious.

                               MICHAEL
               A lot.  I want Soltis.  And you're 
               gonna testify.  You're my star 
               witness.

     But as he starts for Barnes:

                               JANET'S VOICE
               No!

     Michael whirls.  Whip pan to:

     JANET

     She looks ragged, very close to the brink.  The gentleness
     in her eyes has been replaced with a glint-like sun on bare
     metal, and she holds a pistol trained on Barnes.

                               JANET
               You killed my husband.  You took 
               everything away from me.

     MICHAEL

     tenses, watching the confrontation.  He tries to talk to 
     Janet.

                               MICHAEL
               Janet, don't....

     FULL SHOT - JANET

     The gun trembling in her hands.

                               JANET
               Don't, Michael.  There's nothing you 
               can say.

     BARNES

     watches her, his eyes wild with fright.

     CLOSE SHOT - THE GUN

     Her hands draw back the hammer.

                               JANET
               I'm going to kill him like he killed 
               Kevin.

     MICHAEL

     watches, mesmerized.

                                              FREEZE FRAME

                                              FADE OUT

                        END OF ACT THREE

                            ACT FOUR

     FADE IN

     EXT. BELLOWS PARK - DAY - CONTINUOUS ACTION

     Janet's trembling hands still hold the gun on Barnes.
     Michael is trying to "talk her down."

                               MICHAEL
               Janet, no.  Not this way.

                               JANET
                      (to Barnes)
               Kevin really liked you.  He cared 
               about you.

                               BARNES
               I cared about him, too, Janet.

                               JANET
               The hell you did!  How did you do it?
               How did you kill him?

                               MICHAEL
               Janet, you can't do this.  This isn't 
               the answer.

                               JANET
               You said it yourself, Michael.  They 
               never get caught.  Well, this time 
               they did.  And I don't need proof.

                               BARNES
                      (frazzled)
               No!  I'm not the one you want.

                               JANET
               You're the one I want, all right.
               You're going to die.  Just like 
               Kevin.

     MICHAEL

     sees she's about to pull the trigger, so he leaps onto 
     her.  She's strong, and the gun wavers up and down in her 
     grip before firing into the air.

     BARNES

     takes advantage of the commotion, races away.

     MICHAEL AND JANET

     continue to wrestle on the ground as he tries to fight her 
     to a standstill without hurting her.

                               JANET
               Let me go...let me go!

     He manages to get on top of her with a firm hold.  She 
     struggles a little more, then goes limp.  Both of them gasp 
     for air.

                               MICHAEL
               Kitt, where's Barnes?

                               K.I.T.T.
               He's escaping, Michael.  Toward 
               Megatron.

                               MICHAEL
               Come get us, buddy.

     K.I.T.T. motors over.

                               MICHAEL
               Janet, you don't know what you're 
               doing.  Murdering Barnes won't help 
               anything.

     Janet just listens, crying softly.

                               JANET
               It'll help how I feel inside....

                               MICHAEL
               No.  Not for long.  And you might 
               have cost us our one shot at getting 
               the man who's really behind Kevin's 
               death.  Do you understand?

     She nods.

                               MICHAEL
               You're coming with me.  I want you 
               to stay in Kitt until I say so.

                               JANET
               No...leave me here.

                               MICHAEL
               After what you just pulled...no 
               way.  I'm keeping an eye on you.
               Come on.

     He helps her to her feet and sets her inside K.I.T.T., then 
     races around to the driver's side.

                               MICHAEL
               Megatron, Kitt.  On the double.

     K.I.T.T. screams away, laying rubber down on the red clay 
     court.

                                              CUT TO

     EXT. MEGATRON SITE - DAY

     Barnes' car comes skidding up to the site.  He climbs out 
     and looks around, surprised to see that it's deserted.  He 
     races to the open door of the trailer.

     INT. TRAILER/OFFICE - DAY

     Barnes runs in, calling:

                               BARNES
               Hannegan!  Where is everybody!

                               SOLTIS' VOICE
               Hannegan sent them home, Barnes.

     REVERSE ANGLE

     Barnes whirls to see Soltis waiting easily for him.

                               BARNES
               What are you doing here?  Where's 
               Hannegan?

                               SOLTIS
               Relax.  He told me everything.  Did 
               you get that picture?

                               BARNES
                      (glowering)
               No.

                               SOLTIS
               I'm here to help you.  I managed to 
               clear the site for what you have to 
               do.

                               BARNES
               Which is...?

                               SOLTIS
               Turn on the power and destroy the 
               building.

                               BARNES
               No!  I'm going to pull all the 
               boxes.  There's still time....

                               SOLTIS
                      (calm; stops 
                       him)
               Barnes, our work is over.  But I 
               survive because I know how to cut my 
               losses.

                               BARNES
               This wasn't supposed to happen.  What 
               about my job?  My life...what happens 
               to me now?

     Soltis reaches into his pocket, produces two plane tickets.

                               SOLTIS
               I took the liberty.  Is Montevideo 
               all right with you?

     Barnes is shaken. 

                               SOLTIS
               When we gamble, we must be prepared 
               to lose.  Come with me.  You could be 
               useful.

     He puts an arm around Barnes, starts walking him toward the 
     door.

                               SOLTIS
               Get busy.  Feed the current into
               the structure.

                               BARNES
               We'd better be a mile from here when 
               it blows.

                               SOLTIS
               I brought a car.  We'll be safe.
                      (pushes him 
                       outside)
               Now go...hurry.

     Barnes heads out onto the site.  Soltis watches him a beat,
     then reaches into his breast pocket and pulls out a Luger,
     checks its clip.  Satisfied, he steps outside, swinging the 
     door away from the wall behind him.  Hanging from the 
     door's coat hook is:

     HANNEGAN

     Limp, lifeless.  Obviously dead.

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

     races past, blowing past surrounding traffic.

                               DEVON'S VOICE
               I'm alerting the authorities, 
               Michael.

     ANGLE IN K.I.T.T. - INTERCUT MONITOR

     Michael's driving like a demon, with Janet hanging on.
     Devon's on the monitor.

                               MICHAEL
               Suit yourself, Devon, but they'll be
               too late.  I'm afraid we'll be too 
               late.

                               DEVON
               What guarantee do we have that 
               Soltis will be there?

                               MICHAEL
               His pattern...his history.  We know 
               the man doesn't leave loose ends.

                               DEVON
               I hope you're right.  Do be careful,
               Michael.

                                              CUT TO

     EXT. MEGATRON SITE - DAY

     Barnes races out of the ground floor of the structure and 
     heads for the Mega-4 control booth.  Next to it is a large 
     construction generator -- 400 volts of all-purpose power 
     with lines leading away into the building.  Soltis meets 
     Barnes beside the crane.

                               SOLTIS
               Is everything ready?

                               BARNES
                      (nods)
               I plugged the power trunks into the 
               electrical mains.  When the voltage
               hits 400...we'd better be long gone.

     He reaches down onto the side of the generator and fires up 
     the ignition switch.  The generator coughs, sputters, then 
     hums to life.  But as its meters start to climb, suddenly a 
     familiar whine is heard and:

     K.I.T.T.

     comes skidding onto the site.

     BARNES AND SOLTIS

     freeze momentarily, then react.

                               SOLTIS
               I'll get the car.  Hold him off.

     Barnes looks around, then climbs into the control booth of 
     the Mega-4.

     ANGLE IN K.I.T.T.

     Michael surveys the situation.

                               MICHAEL
               Over there with Barnes...that's 
               Soltis, Kitt.  Let's get 'em. 

                               K.I.T.T.
               Michael, that generator!  It's wired 
               to the building.  The current's 
               starting to rise!

                               MICHAEL
               I've got to stop it!

     He starts from the car, but:

                               K.I.T.T.
               Michael, look out!

     Michael turns to see:

     MICHAEL'S POINT OF VIEW - THE MEGA-4 CEMENT BUCKET

     Fully loaded, two tons of wrecking deadweight is swinging 
     right toward him.  Michael dives back inside.

                               MICHAEL
               Full reverse, buddy!

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

     spin in the soft dirt, finally gain traction and:

     FULL SHOT

     The cement bucket whooshes past K.I.T.T., just missing 
     shearing off the top.  Michael maneuvers away, collects
     himself.

     ANGLE IN K.I.T.T.

     as Michael spins the wheel and manuvers.

                               K.I.T.T.
               That thing is huge!  He almost got us.

                               MICHAEL
               You're telling me.

                               K.I.T.T.
               The voltage on that generator is 
               rising fast, too.

                               MICHAEL
               One thing at a time, Kitt.  Hang on.

     And he floors the car forward.

     INT. MEGA-4 CONTROL BOOTH - DAY

     Barnes whips the controls like a giant video game.

     FULL SHOT 

     The huge bucket takes another swipe at K.I.T.T., missing,
     then starting back toward the car.

     ANGLE IN K.I.T.T.

     as Michael jams it in reverse, floors it.

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

     stuck in the muddy dirt of the site, spinning, going 
     nowhere.

                               K.I.T.T.
               Michael...I can't make it!

     FULL SHOT - K.I.T.T. AND THE BUCKET

     The two-ton bucket slams into the Trans Am, sending it 
     spinning off sidelong into a pile of lumber.  Boards 
     splinter and fly.

     BARNES

     gloats in satisfaction, stands away from the controls and 
     starts to climb out.

     INSERT - GENERATOR METERS

     reading red-line...nearly 400 volts.

     ANGLE IN K.I.T.T.

     Michael punches buttons, checks the functions.  Janet's 
     amazed.

                               MICHAEL
               You all right, Kitt?

                               K.I.T.T.
               Some peripheral systems are damaged,
               Michael, but I'm structurally 
               sound.  And more current is reaching 
               the building.

                               JANET
               I can't believe this!

                               MICHAEL
               Believe it.  You wanted revenge.  Now 
               you're going to get it!

     He floors the pedal.

     FULL SHOT

     Barnes reacts in amazement as K.I.T.T. comes roaring out 
     from under the woodpile unscathed.  He desperately climbs 
     back into the control booth of the crane.

     ANGLE IN K.I.T.T.

     Michael bears down, steering K.I.T.T. right for the lethal 
     machine.

                               MICHAEL
               I'm not taking any chances, Kitt.
               We're going right through him.

                               K.I.T.T.
               Michael, that bucket is on an 
               intersecting course with us.  I'm 
               not sure I can take another blow. 
               And the generator is going critical!

                               MICHAEL
               Then give it all you've got, pal.

     WIDE SHOT

     K.I.T.T. races toward the crane, but the cement bucket is 
     swinging in on him from the side.

                               K.I.T.T.
               Michael!  It's too close!

                               MICHAEL
               Hit it!

     Michael hits turbo boost and:

     VARIOUS ANGLES - THE JUMP

     K.I.T.T. turbos airborne, swishing just past the cement 
     bucket.  Barnes dives from the controls just as K.I.T.T.
     smashes into the smoked glass cockpit and shatters the 
     booth of the Mega-4.  As the Trans Am comes back to earth,
     the crane's engine blows with an ominous boom.

                               K.I.T.T.
               The generator!  The whole building 
               is going to explode!

                               MICHAEL
                      (to Janet)
               Stay here!

     MICHAEL

     is out of the car in a flash, racing for the generator.  He
     runs up to the machine and yanks the main cables loose in 
     a shower of sparks just in the nick of time.  But as the 
     hum dies, he's pulled away by:

     BARNES

     who greets him with a solid right.  Michael shakes it off 
     and decks Barnes with one punch, but just now a bullet whangs
     off the side of the generator.  Michael turns and sees:

     SOLTIS

     takes aim over the top of his car, a dark sedan parked 
     nearby.  He squeezes off another shot.

     MICHAEL

     looks for cover, dives behind the generator.  He looks out 
     and sees:

     FULL SHOT - MICHAEL'S POINT OF VIEW - SOLTIS AND THE CAR

     Unbeknownst to Soltis, he's parked right beneath the cement 
     bucket, which now hangs akimbo on the crane's defunct arm.
     He fires again and Michael ducks.

     MICHAEL

     addresses comlink.

                               MICHAEL
               Kitt, any chance you can get into
               what's left of the crane's control 
               circuits?

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

     Microwave jam lights up.

                               K.I.T.T.
               It might work.  But Michael, you
               wouldn't....

                               MICHAEL
               Oh yes I would.  Give him the works,
               Kitt.

     The dash blazes with lights and:

     FULL SHOT - THE BUCKET, THE LIMO, AND SOLTIS

     All of a sudden the cement bucket releases its contents 
     onto the car and Soltis, burying both under a ton of 
     cement.  The car windows pop out as its roof caves in 
     under the weight.

     SOLTIS

     is literally swimming in the grey mire.

     MICHAEL

     emerges from cover and walks up to the coughing, slimy
     Soltis.  Janet emerges from K.I.T.T. and stands with 
     Michael, looking down.  Michael offers a hand.

                               MICHAEL
               You look good in grey cement.
               You'll spend a lot of years behind 
               it.

                                              FREEZE FRAME

                                              FADE OUT

                         END OF ACT FOUR

                               TAG

     FADE IN

     EXT. SCHOOL - DAY

     Michael and Janet stroll from her classroom toward K.I.T.T.
     As they walk:

                               JANET
               ...so they restored his insurance 
               money, and his benefits....

                               MICHAEL
               Not to mention his good name.

                               JANET
               That most of all.  I think I'll make 
               it now.  I don't know how to thank 
               you.

                               MICHAEL
               You want to thank me, Janet?  Be 
               happy.  That's the best thanks I 
               could have.

                               JANET
                      (smiles)
               I'll do my best.

     They've just arrived at K.I.T.T. when:

     ANOTHER ANGLE - BILLY

     rolls up on his skateboard, wearing a backpack.

                               BILLY
               Hi, guys!

     Ad-lib hellos.  Billy turns to K.I.T.T.

                               BILLY
               Now don't start on me.  School got
               out an hour ago.  I've been to class 
               every day.

                               K.I.T.T.
               I'm glad to hear that.

                               BILLY
               In fact...I've got something here.
               For the teacher.

     He jumbles in his backpack.  Michael and Janet trade a 
     smile.

                               JANET
               You shouldn't have....

     Suddenly Billy produces his gift.  A can of 10/40 motor oil.

                               MICHAEL
               Nice, Billy.  Weird, but nice.

                               BILLY
               It's not for Mrs. Morgan.  It's for 
               Kitt.  I figured he didn't like 
               apples.

     As they react, laughing, K.I.T.T. rolls down his window.

                               K.I.T.T.
               What's so funny?  Let's have it.

     Billy tosses it inside and the window rolls back up.  As 
     the lights flash on and off and the scanner flashes....

                                              FREEZE FRAME

                                              FADE OUT

                             THE END