Home : Knight Rider : Season 2 : A Good Knight's Work : Scripts : 2nd Draft

KNIGHT RIDER: A GOOD KNIGHT'S WORK

EXEC. PRODUCERS: Glen A. Larson, Robert Foster
SUPV. PRODUCER: Joel Rogosin
CO-PRODUCERS: Robert W. Gilmer, Tom Greene, Gian R. Grimaldi

Production #57840
2nd Draft - January 18, 1984 (F.R.)

Teleplay: .................. Richard Okie
Director: .................. Sidney Hayers

                              
                                ACT ONE

     FADE IN

     EXT. BAR - DAY - ESTABLISHING

     We see a little urban watering hole that has seen better
     days.  Music splashes from the inside as patrons enter and
     exit through the front doors.

     CLOSER ANGLE - THE ENTRANCE

     as a Man, better dressed than the bar's regular denizens
     emerges from the entrance carrying a briefcase.  He looks
     around furtively, then starts away from the place.

                               K.I.T.T.'S VOICE
               There he is, Michael.

     INT. TRANS AM - DAY

     Michael slouches in the driver's seat, watching the above
     on K.I.T.T.'s monitors.

                               MICHAEL
               Okay, pal, let's nail him.

     WIDE SHOT - PARKING LOT

     K.I.T.T.'s engine roars and the Trans Am springs to life,
     screeching toward the man, who freezes momentarily, then
     starts to run.

     MOVING SHOT - MICHAEL AND K.I.T.T.

     Michael stands up through the open sun roof as K.I.T.T.
     pulls up next to the fleeing suspect.  Michael leaps from
     the car and "bulldogs" the Man to the ground before he even
     reaches the edge of the lot.

     MICHAEL AND THE MAN

     The Man struggles but Michael is more powerful and has him
     firmly in hand.  He pulls the Man to his feet, takes the
     briefcase from him, spins him around and places his hands
     inside K.I.T.T.'s open driver's window.

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

     as the glass powers up and catches the Man's wrists holding
     them tight.  Better than handcuffs.

     EXT. PARKING LOT - DAY - ON JAKE SIMPSON

     Near the entrance of the bar, we see a well-built, kinetic
     individual watching the confrontation between Michael and
     the Man.  He frowns, then his eyes go wide at what he
     sees.  He steps into a place of concealment in a phone
     booth and continues to watch.  He looks as though he's seen
     a ghost.  And he has.

     BACK TO SCENE

     Michael's triumph is complete despite the Man's futile
     struggles.

                               MICHAEL
               Thank you, Kitt.  Dial the police.

                               MAN
               You're in a lot of trouble, pal.

     Michael pops the locks on the briefcase and we see that it
     is filled with cash.

                               MICHAEL
               No, 'pal,' I think you're the one
               who's in trouble.

     ON SIMPSON

     He's seen enough.  He drops a coin in the phone and dials.

     INT. ZACHARY'S PENTHOUSE - DAY

     An expensive, space-age telephone rings discreetly in an
     unpretentious but elegant room decorated in an Oriental
     motif.  The surroundings are masculine, almost Spartan, but
     very handsome.  Zen-style painting/prints adorn the walls.
     A pair of Samurai swords are in evidence in a glass case.
     The phone is answered by:

     CAMERON ZACHARY

     A tightly wound man with a cold, inscrutable expression.
     He's dressed in a silk bathrobe and he's annoyed at having
     been disturbed.

                               CAMERON
               What is it?

     INTERCUT - CAMERON AND SIMPSON - PHONE CONVERSATION

                               SIMPSON
               You won't believe this, but I just
               saw Michael Long.

                               CAMERON
                      (gasping)
               Michael Long?  The cop?

                               SIMPSON
               I swear, it's him.

                               CAMERON
               That's impossible.  He's been dead 
               two years.  Tanya killed him.

                               SIMPSON
               He's shaking down one of our runners
               right now.

                               CAMERON
               You're mistaken.  It just can't be.

                               SIMPSON
               Look, the face is different.  Surgery
               or something.  But the moves, the walk,
               the build are the same.  And the voice.
               I couldn't mistake the voice.  It's 
               him, Cameron.

     Simpson looks out toward K.I.T.T., sees that a police car
     has arrived.

                               SIMPSON
               Listen, the police just pulled up.
               He's giving them Brummel.

                               CAMERON
               All right.  Follow him.  Check him
               out and get back to me.

     Simpson hangs up, steps out of the booth.  Looking past him
     we see Michael bundle his suspect into K.I.T.T., then pull
     away.  K.I.T.T.'s license plate -- K.N.I.G.H.T. -- is
     clearly visible.  Simpson notes it and hurries off.

     INT. PENTHOUSE - ON CAMERON

     He hangs up, obviously stirred up by Simpson's news, he
     thinks hard for a moment, then picks up the phone again and
     dials.

                               CAMERON
               I have a little job for you tonight.
               A dirty one, I'm afraid.

                                              CUT TO

     EXT. GRAVEYARD - NIGHT

     A scimitar of moon slashes at wind-blown treetops and the
     scream of a night bird pierces the chill air.  Sound of
     digging and scraping can be heard as two dark figures
     engage in tense and secretive work over one of the graves.

     ON FIGURES

     One stands lookout while the other shovels dirt from a
     newly opened grave.  When the shovel strikes wood, they nod
     to each other and begin pulling on two prepositioned ropes.

     INTO THE GRAVE

     The men strain at the ropes and a dirty, dark coffin rises
     to ground level.  Quickly the two gather their implements.
     One shines a flashlight onto the box while the other starts
     to pry open the lid.  The camera pans from them up to:

     THE GRAVESTONE

     As a sudden rain begins to pelt the marble marker, a flash 
     of lightning illuminates it clearly.  The markings read:

                       MICHAEL ARTHUR LONG
                         January 9, 1949
                         August 8, 1982

     EXT. THE FOUNDATION - DAY - ESTABLISHING

     washed by the rain and shining in the morning light.

                               MICHAEL'S VOICE
               Miss Adams, we appreciate your 
               problem.

     INT. DEVON'S OFFICE - DAY

     Morning sun dapples the room.  Michael lounges in a chair
     near an intense, attractive young woman who is clearly
     upset.  Her name is Gina Adams.  On her lap is a Teddy
     bear.  Devon is just entering from the door and he moves to
     his desk during:

                               GINA
               I know.  Don't tell me.  Toys just
               aren't a serious matter.  Dolls,
               Teddy bears, phooey.  That's just
               what the police said.

                               MICHAEL
               Frankly, Miss Adams, you're right.
               That's just what I was going to say.

     He spots Devon and rises eagerly.

                               MICHAEL
               Devon, what did the police get out 
               of Brummel?

                               DEVON
                      (ignoring 
                       Michael)
               Hello, I'm Devon Miles.  Sorry to
               have kept you waiting.  You're the
               one whose designs have been stolen.

                               GINA
               That's right.  Mr. Knight here
               doesn't seem to think that's too
               important.  That's why I bought this
               along.

     Gina shows them the Teddy bear.

                               GINA
               This is my new toy for this season.
               'Talking Teddy.'  Watch.

     She presses a button on the bear's back.  In a cute,
     squeaky voice, it says:

                               TALKING TEDDY
               Hi!  I'm Talking Teddy.  What's your 
               name?

                               MICHAEL
               Cute.

                               TALKING TEDDY
               Hello Cute.  How are you today?

                               MICHAEL
                      (surprised)
               Oh, I get it.  Uhh...fine.  How are 
               you, Teddy?

                               TALKING TEDDY
               Very well, thank you.

                               GINA
               You see?  It really talks.  I
               designed a microvoice module and
               conversation computer.  It says and
               responds to over 1500 different
               phrases.  But my schematics were
               stolen by one of our competitors,
               Triple-M-Toys.

                               MICHAEL
               You suspect.  There's no evidence.

                               DEVON
               Toys are a hot market, Michael.
               Items can come and go overnight.  By
               the time procedure is followed, 
               Talking Teddy could be on the 
               shelves.

                               MICHAEL
               What about the Brummel case?

                               DEVON
               Consider this as your new assignment.
               You have carte blanche, as usual.

     Gina shakes Devon's hand briskly.

                               GINA
               Thank you, Mr. Miles.  You've made
               the children of America very happy.
                      (to Michael)
               Can I fill you in on the details?

                               MICHAEL
               A little later this afternoon....

                               GINA
               Great.

     She plops Talking Teddy into Michael's hands.

                               GINA
               You can borrow him.  Maybe he'll 
               help you lighten up a little.

     Gina turns and leaves happily.  Michael looks daggers at
     the little bear, then at Devon, who shrugs innocently.

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

     cruising.

                               K.I.T.T.'S VOICE
               I'm sorry, Michael.  I have nothing
               to say.

     INT. TRANS AM - ON MICHAEL

     Talking Teddy sits on the passenger seat, and Michael is
     trying to introduce K.I.T.T. to the bear.

                               MICHAEL
               Kitt, you always have something to
               say.  Come on, talk to it.

                               K.I.T.T.
               Computers are serious tools, Michael.

                               MICHAEL
               Oh yeah?  How about video games and
               computer chess?

                               K.I.T.T.
               Sharpening one's mental acuity and
               coordination are one thing.  Talking
               bears are quite another.

     Michael pushes Talking Teddy's nose.

                               TALKING TEDDY
               Hi, I'm Talking Teddy.  Is the
               weather nice today?

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

     The car is silent.  Aloof, if a car could be aloof.

     BACK TO SCENE

                               MICHAEL
               Spoilsport.  Never mind.  We're here.

     EXT. GINA'S APARTMENT BUILDING - DAY

     Michael parks the car across the street from a modest
     address.  On our side near K.I.T.T. is a used car lot, with
     autos in various states of repair overflowing onto the
     sidewalk.  Michael hops out of the car and heads for Gina's.

                               MICHAEL
               Be right back.

     ANGLE ON K.I.T.T. AND THE CAR LOT

     Looking past the Trans Am, we see a shifty salesman named
     Dave Collins ushering a middle-aged couple out of his
     office under a banner proclaiming his name and the greatest
     used car bargains in the Western Hemisphere.  He patters as
     he leads them up to a rather rumpled not-so-late model car.

                               DAVE
               You won't believe this but yesterday
               I couldn't have offered you this car.
               Just took her in trade from my own
               grandmother.  She couldn't see the
               road anymore, poor dear.  Course,
               she hasn't driven in a year anyway.
               Here it is.

     K.I.T.T.'s scanner flashes warily.  The couple follow Dave
     like sheep.  He pats the fender of the car in question.

                               DAVE
               What workmanship!  This car will
               last 100,000 miles easy.  Our
               factory-trained service specialists
               have been over it with a fine-tooth
               comb.
                      (gestures 
                       to K.I.T.T.)
               Solid steel, too.  Not like those
               fibreglass wonders they're pumping 
               out now.

                               K.I.T.T.
               I beg your pardon!

     Dave whirls.  The couple gawks.

                               DAVE
               Who said that?

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

     It flashes and gives out its characteristic sound.

     BACK TO SCENE

     The used car in question suddenly begins to shake.  One of
     the tires blows.  The muffler and tailpipe fall off.  Smoke
     puffs out from under the hood.  Dave's jaw drops.  The couple
     stare at the car, then at Dave.  Then they're gone as fast as
     they can go.  Dave stares at K.I.T.T., speechless.

     INT. HALLWAY - GINA'S BUILDING - DAY

     Michael knocks on the front door of Gina's loft.  In a
     moment the door opens.  From behind it emerges a hand
     puppet of a giraffe.

                               PUPPET
                      (Gina's voice
                       down low)
               Can Mikey Knight come out and play?

     Michael smiles and plays along.

                               MICHAEL
               Not until he finishes his chores.

     Gina opens the door and lets him in.

     INT. GINA'S LOFT - DAY

     Michael enters and looks around the loft, whistles softly.

     Panning:

     THE LOFT

     It's a combination design studio/apartment, lined wall-to-
     wall with stuffed animals, dolls and toys.  A kid's
     paradise.  Or the refuge of a lady who never grew up.

     Gina is grabbing a coat and putting it on during:

                               GINA
               Don't tell me.  You feel like you're
               in a toy store.

                               MICHAEL
               Actually, I love it.  This is great.

                               GINA
               Just not your idea of work, though,
               right?  Did you know my Carrot Top
               doll grossed eighteen million dollars
               last year?  C'mon.  Let's go.

                               MICHAEL
               Hold it.  You were going to fill me
               in on Triple-M Toys.

                               GINA
               It's Saturday.  They're closed today.
               If we go now, no one'll be there and
               we can get my schematics back.

     Michael smiles at her enthusiasm and naivete.  They head 
     outside.

     OMITTED

     INT. TRANS AM - ON GINA AND MICHAEL

     driving.  She's floored by K.I.T.T.

                               GINA
               I feel like Luke Skywalker.

                               MICHAEL
               You have your toys, I have mine.

                               K.I.T.T.
               Michael, I am not a toy.

                               MICHAEL
                      (to Gina)
               He's very sensitive.
                      (to K.I.T.T.)
               Okay, buddy, plot us the best course
               to the Triple-M Toy plant.

                               GINA
                      (laughing)
               And, I thought Talking Teddy was
               special.

                               K.I.T.T.
               It's not you, Miss Adams.  I am a
               little ahead of my time.

     INT. DEVON'S OFFICE - DAY

     Devon looks ashen as he listens to news over the telephone.
     April is with him, looking on with concern.

                               DEVON
               Thank you for alerting us.

     He hangs up.

                               APRIL
               What is it?

                               DEVON
               Last night, someone robbed Michael
               Long's grave.

                               APRIL
               I didn't know there was one.

                               DEVON
               We planted a body there to protect
               Michael's identity.

                               APRIL
               You mean someone's found out who he 
               really is?  Who would go to all that
               trouble?

                               DEVON
               Only one person I can think of.  The
               same person who had him killed before.
               Cameron Zachary.

     The impact of his words sink in.

     EXT. TRIPLE-M TOY COMPANY - DAY

     K.I.T.T. pulls up across from a large, ornate think-tank-
     type factory.  Michael and Gina look out, appraising the
     structure.

                               MICHAEL
               That's a toy factory?  Nice place to
               work.

                               GINA
               They try to put their people in the
               right frame of mind.

                               MICHAEL
               Well, it looks quiet enough.  Kitt,
               give me a readout on the security 
               systems.

     He punches a few buttons.

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

     as graphics pop up.

                               K.I.T.T.
               The internal alarms are simple,
               Michael.  I show only two guards,
               and they appear to be playing cards
               on the ground floor.

                               GINA
               Awesome.  He's amazing.

                               MICHAEL
               Okay, Gina, where would your stolen
               plans be kept?

                               GINA
               Research and development.  They 
               probably have a vault.

                               MICHAEL
               Kitt?

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

     The graphics change.  A flashing light indicates the vault.

                               K.I.T.T.
               On the second floor.  Not exactly a
               piece of cake, Michael, but nothing
               we can't handle.

     BACK TO SCENE

                               MICHAEL
               I'll be back as soon as I can.

                               GINA
               Hey, you need me to show you what 
               you're looking for.

                               MICHAEL
               No way....

                               K.I.T.T.
               She's right, Michael.

     Michael sighs.

                               MICHAEL
               Okay.  But, this is going to be quick
               and clean.

     MOVING WITH MICHAEL AND GINA

     as they exit the car and start into the perimeter of the
     parking lot surrounding the building.

     LONG SHOT - MICHAEL AND GINA - BINOCULAR MATTE

     as they edge toward the building.

     ANGLE ON A CAR

     parked fairly far away, concealed, but with a view of
     K.I.T.T.  The driver lowers a pair of binoculars and we
     recognize him as Jake Simpson.  From within the car he
     produces a wicked-looking weapon with a telescopic sight.

     OMITTED

     MICHAEL AND GINA

     continuing a cautious approach to the factory.

                               MICHAEL
               Once we're inside, I want you to
               wait for....

     A bullet explodes between them, splintering the concrete at
     their feet.  Michael reacts instinctively, grabbing Gina
     and covering her with his body.  There's no cover except
     for the parking lot stanchions.

                               MICHAEL
               Kitt, get down here and cover us!

     A second shot spanks into the pavement.

     OMITTED

     INT. TRANS AM 

     The shifter moves, the pedals floor, lights blink.

     FOLLOWING K.I.T.T.

     The turbines roar and the car clears all obstacles in its
     path, making a beeline for Michael and Gina.

     SIMPSON 
 
     fires again.

     BACK TO K.I.T.T.

     The Trans Am reaches the prone couple just as Simpson's
     shot rings out.  The bullet smacks into K.I.T.T.'s surface
     harmlessly.

     ON SIMPSON'S CAR

     as he pulls back in frustration, frowning at the sight of
     K.I.T.T. mysteriously blocking his shot.  He pulls in his
     gun and peels away.

     MICHAEL AND GINA

     Michael rolls and crouches, and looks after Simpson's car.
     Gina lies prone on the pavement.

                               MICHAEL
               Gina, are you all right?

     He shakes her.  She doesn't move.

                               MICHAEL
               Gina!

     On his fearful reaction, we:

                                              FREEZE FRAME

                                              AND

                                              FADE OUT

                         END OF ACT ONE

                             ACT TWO

     FADE IN

     EXT. PARKING LOT - ON MICHAEL AND GINA

     K.I.T.T. stands next to them as Michael tries to shake Gina
     back to life.

                               MICHAEL
               Gina!  Kitt, is she alive?

     Before K.I.T.T. can answer, Gina's eyes flutter open.  She
     grabs Michael's arm, disoriented.

                               GINA
               What happened?  Is he gone?  Is it
               all right?

                               MICHAEL
               It's all right, he's gone.  Are you
               okay?

                               GINA
               Oh, don't tell me I fainted....

                               MICHAEL
               You fainted.

                               K.I.T.T.
               Her pulse is returning to normal,
               Michael.  Vitals looks fine.

                               GINA
               You saved my life.  You shielded me
               with....

                               MICHAEL
               What about that sniper, Kitt?

                               K.I.T.T.
               He's out of range to the north.
               Michael, those bullets were very
               unusual.  I'm analyzing the one
               that struck my door.

                               MICHAEL
               Fill me in later, pal.  Let's get 
               this lady home.

     He helps Gina into the car.

     EXT. GINA'S APARTMENT BUILDING

     K.I.T.T. drives up and Michael helps Gina out.

                               MICHAEL
               Keep your eyes open, just in case,
               Kitt.

                               K.I.T.T.
               Certainly.

     They head off for her apartment.

     ANOTHER ANGLE - K.I.T.T. AND THE CAR LOT

     Dave has another sucker in his clutches, this one a geeky
     looking sixteen year old.  He's pulling him toward the same
     car he tried to sell before.

                               DAVE
               I had two of these beauties and I
               took one home for my own son.  He's 
               just about your age and he'd been
               saving for his first car and I just
               knew this was the one he deserved.

     Dave stops when he spots K.I.T.T. parked at the curb.  The
     kid looks on expectantly, but Dave suddenly changes his
     pitch in midstream when K.I.T.T.'s scanner flashes.

                               DAVE
               On the other hand, there's a car
               over at the other end of the lot I
               think you ought to see first.

     He reverses field, the startled teenager in tow.  Anything
     to get away from K.I.T.T.

     INT. GINA'S LOFT

     as Michael and Gina enter from the hallway.  She's carrying
     Talking Teddy.  She's still shaken, but her spunk is
     returning.

                               MICHAEL
               I guess I was out of line when I 
               doubted you about toys being serious
               business.

                               GINA
               They were shooting at us.  I can't
               believe they were really shooting
               at us.  Those Triple-M guys are a
               bunch of wimps.
                      (beat)
               Well, I guess it's back to the
               drawing board for me.

                               MICHAEL
               Wait a minute.  You want to back
               out now?  No way.

                               GINA
               Hey, I like my skin too much.

                               MICHAEL
               Come on, you dragged me into this
               thing.  I admit I wasn't crazy about 
               it, but once I start a job, I finish
               it.

                               GINA
               You're serious, aren't you?

     Michael takes Talking Teddy from her, holds it up.

                               MICHAEL
                      (high, squeaky 
                       voice)
               You bet, lady.

     They share a laugh.

                               MICHAEL
               I've got to go check in with Devon,
               then I'll be back.  Meanwhile, do me
               a favor and keep yourself locked in
               here, okay?

                               GINA
               No problem.  I think I'll take a
               good, hot bath.

     Michael smiles, clasps her hand warmly and leaves.  She
     locks the door and leans on it, smiling enigmatically.

     EXT. STREETS - DAY - ON K.I.T.T. AND THE SEMI

     as K.I.T.T. slides up the ramp and enters.

     INT. SEMI - FAVORING DEVON

     as K.I.T.T.'s turbines whirr down and Michael climbs out.

                               DEVON
               Where the devil have you been?

                               MICHAEL
               Getting shot at.

     Devon freezes.

                               MICHAEL
               I'm fine, and so is Gina.  But I think
               you owe me some answers.

                               DEVON
               Such as?

                               MICHAEL
               I finally catch Bob Brummel with
               protection money in his dirty little
               hands.  We turn him over to CID for
               interrogation, and you suddenly send
               me out on a case chasing talking
               Teddy bears.  Something's fishy here.

                               DEVON
               Michael, sit down.

     He indicates two chairs near the computer terminal, and they
     sit.

                               DEVON
               You're right.  I sent you with
               Miss Adams to divert you.  To get
               you out of the way.  I can see that
               didn't work.

                               MICHAEL
               Divert me from what?

                               DEVON
               Two years ago, when we rescued Michael
               Long in the desert, there were people
               who wanted him dead.  That's why we
               turned him into Michael Knight.

                               MICHAEL
               Those people are dead.  I watched 
               Tanya Walker die.

                               DEVON
               Tanya had a boss, Michael.  A very big
               boss.  His name is Cameron Zachary.
               Look.

     Devon punches up some pictures on the computer screen.

     INSERT - COMPUTER SCREEN

     We see a vague picture of a man, then another.  They look
     like the ones of "Carlos," grainy and mysterious.

                               DEVON'S VOICE
               His name is Cameron Zachary.  He has a
               half-dozen operatives just as clever
               and elusive as Tanya Walker in his
               employ.  They've pirated secrets
               from governments, companies, and
               individuals the world over.  Wilton 
               Knight was once their victim.

     FLASHBACK - SUBLIMINAL CUTTING - (KNIGHT RIDER PILOT)

     Tanya Walker shoots Michael Long in the face.  He falls
     back onto the hood of his car.

     CLOSE ON MICHAEL

     troubled by old memories that are being resurrected.

                               MICHAEL
               Why didn't you tell me this before?

                               DEVON
               There was no point.  Cameron was out of
               the country.  But, the man you arrested
               yesterday was bailed out of jail by a
               lawyer with ties to Zachary.  And last
               night, Michael Long's grave was robbed.
                      (beat)
               He's back, Michael.  Zachary is back.

     Michael stands and paces like a caged animal:  angry, con-
     fused, excited.  Conversation heats up as:

                               DEVON
               Tanya was Zachary's lover, and he
               knows you caused her death.

                               MICHAEL
               Maybe, but revenge can't be his only
               reason for being here, if he's as big
               as you say.  He must be up to some-
               thing else.  Something big.

                               DEVON
               Someone took a shot at you today.
               That's all I need to know.  This
               man's vengeance could be....

                               MICHAEL
               What about our vengeance?  Wilton
               Knight was your best friend.  You saw
               what they did to him.

                               DEVON
               My vengeance is keeping you alive and
               fighting.  That's what Wilton would
               have wanted.  And, if that means
               laying low to fight another day, so
               be it.  At least until we find out 
               more of what Zachary is up to.

     Michael stops, searches Devon's face.

                               MICHAEL
               I've never run and hid from anything 
               in my life, Devon.  I can't start 
               now.

                               DEVON
               Michael....

                               MICHAEL
               And, if I suddenly go underground,
               we'll never find Cameron.  We've got to
               let him show his hand.  Am I right?

     Devon's look tells us he knows Michael is right.  He reaches
     into his pocket and pulls out a small medallion on a gold
     chain.

                               DEVON
               Very well.  But do me a favor and
               wear this.  It's something April's
               been developing:  a homing device.
               It's not perfected yet, but if you
               get separated from Kitt for any
               reason, press it.  It overrides all
               his programs and brings him straight 
               to you.

     Michael takes it from Devon.  There's a moment of real 
     mutual concern.

                               DEVON
               I don't approve, Michael.  But, as 
               always, you have my full backing.

     They shake hands warmly.

                                              CUT TO

     EXT. RURAL ROAD - DAY - ON K.I.T.T. DRIVING - STOCK

     Michael is tearing up the curves, troubled by Devon's news.

     INT. TRANS AM - ON MICHAEL

                               K.I.T.T.
               Perhaps you'd better let me drive
               for a while.  Your pulse is racing.

                               MICHAEL
               So is my mind, buddy.

                               K.I.T.T.
               By the way, I completed analysis on
               the sniper's bullets, and I must say
               I'm puzzled.

                               MICHAEL
               Lay it on me.

                               K.I.T.T.
               They were made of a waxy substance
               containing a very exotic tranquilizer
               called morbadine.  The Defense Depart-
               ment is still experimenting with it
               and it isn't available commercially.

                               MICHAEL
               Sounds like Cameron Zachary all right.
                      (beat)
               But, that means he wanted me alive....

                               K.I.T.T.
               Michael?

                               MICHAEL
               Yeah, Kitt?

                               K.I.T.T.
               I want you alive, too.

     Michael smiles.  They drive off.

     INT. ZACHARY'S PENTHOUSE - DAY

     A beautiful sunset shines through the floor-to-ceiling
     windows.  Cameron Zachary paces the floor in front of an
     edgy Jake Simpson.  Cameron is cool, unreadable.

                               CAMERON
               Go on.

                               SIMPSON
               I had them, but all of a sudden my
               line of fire was blocked by this car.

                               CAMERON
               What car?

                               SIMPSON
               His car.  It's some kind of custom,
               futuristic thing.  It moved between
               me and Knight.

                               CAMERON
                      (intrigued)
               You mean someone else was with 
               them?  Who drove it?

                               SIMPSON
               That's just it.  No one.  It drove
               itself.

                               CAMERON
                      (it clicks)
               My God!  He built a car.  Wilton
               Knight built a car.  That must be it.

     Cameron grows more and more excited.

                               CAMERON
               Wilton Knight was like an Einstein
               who could apply his ideas to everyday
               life.  Simpson, if he built a car, I 
               can guarantee it would make all our
               other projects pale by comparison.  We
               must shift our strategies.  Transfer
               our attentions.

                               SIMPSON
               But the laser...the South Africans
               are bringing in the crystals today.
               You've spent three years....

                               CAMERON
                      (flares)
               Don't argue with me!  Stall them.
               We must have that car.  And Knight.
               Do you understand?

     Simpson nods.

     EXT. GINA'S APARTMENT BUILDING - NIGHT

     Michael is just pulling up.

                               K.I.T.T.'S VOICE
               I wish you could fill me in on this
               plan a little better, Michael.

     Michael gets out.

                               MICHAEL
               I will, pal, but I'm still feeling 
               for it.  Keep your eyes open.

     And he heads upstairs.

     INT. GINA'S APARTMENT - NIGHT

     As she moves to answer his knock at the door.

                               GINA
               Michael?

                               MICHAEL
               It's me.

     She undoes the locks and lets him in.  She starts as if to
     hug him, but then stops herself.  They move to the couch.

                               MICHAEL
               No puppets this time?

                               GINA
               I guess I feel a little less playful.
               What have you been up to?

                               MICHAEL
               Well, Devon wasn't too happy about 
               our afternoon, but I wouldn't let
               him pull me off your case.

                               GINA
               You're a real bulldog, aren't you?

                               MICHAEL
               Comes with the job, I guess.

                               GINA
               How'd you get into this line of work?

                               MICHAEL
               It's a long story.  Gina, I'm going
               back to the toy factory tonight,
               alone.  I need you to fill me in on
               exactly what I'm looking for.

                               GINA
               Michael, I don't want that respons-
               ibility.  This afternoon really
               scared me.

                               MICHAEL
               Look, no one's twisting my arm.  I'd
               also like to know whatever you can tell
               me about Triple-M that might help.

     She starts to object again, but he stops her with a hand on
     her arm.

                               MICHAEL
               I was the one who thought this wasn't
               important, remember?  But, I don't
               scare easily and there are some things
               I won't put up with.  One of those is
               seeing people I like get hurt.

     We see something go out of Gina.  Michael has touched her.

                               MICHAEL
               Tell you what.  Just give me Talking
               Teddy.  Kitt can scan his schematics
               well enough to identify them for me 
               in the factory.  You just sit tight
               here until I get back.

     She looks at him gratefully, moves to a shelf and takes
     down the Teddy bear.

                               GINA
               When I left Wisconsin, my mom told
               me to watch out for city boys.  I 
               wish she could meet you.

     He kisses her lightly, and leaves.  When he's gone, she 
     moves to the telephone and dials a number.  Her softness
     gives way to a more efficient demeanor.

                               GINA
                      (into phone)
               It's Adams.  The toy factory.  He'll
               be there in half an hour.

     INT. ZACHARY'S PENTHOUSE - NIGHT

     Cameron is on the phone, and Simpson stands nearby.  Cameron
     nods to him, gives him a "thumbs up."

                               CAMERON
               Can we count on him being away from
               the car?

     INT. GINA'S APARTMENT - ON GINA

                               GINA
               Just wait until he gets inside.  You
               shouldn't have any problems.

     She hangs up.  Her look tells us she's not entirely happy
     with what she's just done.

     INT. TRANS AM - NIGHT - DRIVING

     Michael looks determined.  The Teddy bear sits on the dash.

                               MICHAEL
               Kitt, have you analyzed the bear's
               circuitry?
                      (beat)
               Kitt?

                               K.I.T.T.
               Yes.  Michael, computers can save
               lives, enhance communication.  Why
               waste this fine technology on a mere
               toy?

                               MICHAEL
               'Cause, it's fun, buddy.

     EXT. TOY FACTORY - NIGHT

     It's brightly lit but looks quiet.  K.I.T.T. glides 
     noiselessly along one of the walls.

                               K.I.T.T.'S VOICE
               I think the roof is our best bet,
               Michael.  There are skylights that
               aren't alarmed.

     ON K.I.T.T. AND MICHAEL

     He pops the sun roof and stands on the driver's seat.

                               MICHAEL
               I'm in your hands buddy.  Keep me
               posted on anything that happens out
               here.  Okay.  Let 'er rip.

                               K.I.T.T.
               Bon Voyage.

     And with a beep and a whoosh he's ejected up onto the roof
     of the factory.

     EXT. ROOFTOP - ON MICHAEL

     He lands, catlike, and moves to an open skylight.

                               MICHAEL
               Nice work, pal.

     INT. HALLWAY - NIGHT

     Michael drops from the ceiling into an ND hallway.  He
     gets his bearings and starts up the corridor.

     MOVING WITH MICHAEL

     He reaches a large pair of double doors and edges to get a
     look inside.

     INT. THE ROOM - MICHAEL'S POINT OF VIEW - STOCK

     Is a dazzling display of high-tech hardware:  computer
     banks, futuristic devices.  No sign of toys or anything
     like them.

     CLOSE ON MICHAEL

     puzzled.  What kind of place is this?  He moves on.

     EXT. FACTORY - NIGHT - FAVORING K.I.T.T.

     Near where the Trans Am is parked, we see one of the large
     super-tow trucks used to haul semitractors when they break
     down.  It sports quadruple tires and an oversized winch.
     Quickly and silently, three figures steal out of it and head
     toward K.I.T.T.

     INT. FACTORY - MOVING WITH MICHAEL

     As he enters the outer office of the factory's executive
     suite.  There's a receptionist's desk with a computer
     terminal, phones, etc.  Michael whispers to his comlink:

                               MICHAEL
               Kitt, I'm in the offices.  Can you
               tell me what's in the president's
               suite?

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

     Graphics flash, and we see a solarized picture of an armed
     Simpson and another ND gunman flanking the doorway through
     which Michael was about to enter.

                               K.I.T.T.
               Don't go in there, Michael.  It's a 
               trap.  And, I have a problem.  Someone
               is trying to steal me.

     OMITTED

     EXT. FACTORY - NIGHT - ON K.I.T.T.

     K.I.T.T.'s assailants from the tow truck are hurrying to
     place their hitch assembly under the Trans Am's front end.

     INT. RECEPTIONIST'S AREA - ON MICHAEL

                               MICHAEL
               Can you handle it?

                               K.I.T.T.
               So far, but they're very professional.

                               MICHAEL
               Do what you have to do.  Look, there's
               a computer in here.  Can you tap it
               and drain it for me?

                               K.I.T.T.
               Consider it done.

                               MICHAEL
               I'm gone.

     He starts out the door.

     INT. OFFICE - NIGHT - ON SIMPSON AND THE GUNMAN

     As we saw them on the monitor, waiting, guns drawn.

                               SIMPSON
               He's not biting.  Let's go.

     They open the door just in time to see Michael fleeing.
     Immediately, they race after him.

     INT. HALLWAY - NIGHT

     Michael hurries down the hall and is heading back to the
     roof when the lights suddenly come on.  He ducks into a
     doorway on his right just as the two armed men enter the
     corridor from the far end.

     INT. STOREROOM - ON MICHAEL

     He's in a warehouse-like room, packed with boxes and toys
     everywhere.  He steps behind a crate of toy trucks, and
     addresses the comlink.

                               MICHAEL
               They're onto me, Kitt.  I'm in the
               storeroom.  I need an alternate
               exit.  Any doors or windows?

     INT. K.I.T.T. - ON DASH

     The assailants are still working outside.

                               K.I.T.T.
               I'm afraid not, Michael.  You appear
               to be cornered.

     INT. STOREROOM - ON MICHAEL AND THE DOOR

     The knob is starting to turn.  There's really no place to
     hide, and no time.  Off Michael's frozen face....

                                              FREEZE FRAME

                         END OF ACT TWO

                            ACT THREE

     FADE IN

     INT. STOREROOM - NIGHT

     Michael huddles against the wall away from the door, which
     is just starting to open.

                               MICHAEL
               Kitt, give me a diversion up here.
               Anything!  Quick!

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

     as appropriate lights blink on.  He plays with the
     electrical field in the storeroom.

     INT. STOREROOM - ON THE DOOR

     Simpson and another man enter, guns drawn, looking around
     warily for Michael when:

     IN THE STOREROOM - VARIOUS SHOTS

     Suddenly, all over the room, the toys come to life.  Little
     mechanical soldiers start to walk; a robot starts moving
     and tips over a box of balls which roll all over the floor;
     several dancing monkeys start clanging toy cymbals; music
     boxes fire up.  As much mayhem as we can produce.

     ANGLE ON THE GUNMEN

     Simpson whirls away from the corner where Michael is hiding
     and fires a shot into a toy car which has just rolled out
     from behind a box.  As he and his baffled partner move into
     the room and start knocking over boxes looking for Michael,
     he quietly slips behind them and out the door.

     MOVING WITH MICHAEL

     as he sprints down the corridor and stops at a window, he 
     calls K.I.T.T. on the comlink.

                               MICHAEL
               Kitt, get under this window, fast.
               I'm coming out!

     EXT. PARKING LOT - ON K.I.T.T.

     partially trussed, the Trans Am suddenly fires up,
     surprising the three marauders, who step back.

                               K.I.T.T.
               Sorry fellows.  Got to go.

     K.I.T.T.'s wheels spin in reverse, throwing smoke.  The
     towing winch strains and grinds and the cables snap.
     K.I.T.T. races off.

     INT. CORRIDOR - NIGHT

     Simpson and his henchman burst into the corridor and spot
     Michael at the window.

                               SIMPSON
               There he is!

     ON MICHAEL

     A shot rings out and a bullet digs into the plaster right
     next to him.  No time to think about it.  He jumps.

     VARIOUS ANGLES - OVERCRANKED - THE JUMP

     Michael sails down out of the rampart window just as
     K.I.T.T. positions himself underneath him.  He lands gently
     in the raised ejector seat.  Simpson reaches the window,
     leans out, fires after him.

     EXT. TRANS AM

     K.I.T.T. burns rubber and is out of the lot.

     INT. TRANS AM

     Michael is panting, out of breath.

                               MICHAEL
               Nice work, pal.

                               K.I.T.T.
               Did you find Gina's designs?

                               MICHAEL
               In a manner of speaking.  Let's go
               see Devon.

     EXT. CITY STREETS - K.I.T.T.

     disappears into the night.

     EXT. FOUNDATION - NIGHT - ESTABLISHING

     Lights are on in a few windows.

     INT. DEVON'S OFFICE - NIGHT

     Devon is pacing before his desk.  He turns when a rather
     dishevelled Michael enters his office and slumps onto the
     couch.

                               DEVON
               Thank God!  Are you all right?

                               MICHAEL
               Yes, Devon.  I'm fine.

                               DEVON
               Michael, I've done some research on
               Gina Adams and....

                               MICHAEL
               She's a plant of Zachary's.  She's
               setting me up.  He must own that toy
               factory and it's a front too.

                               DEVON
               We think he launders funds through
               it.  But how do you know?

                               MICHAEL 
               I've suspected since we were first
               fired on.  That sniper wasn't 
               following us, he was there, set up
               and waiting.  And then Gina's toy
               collection.  Everything was new.
               Nothing old fashioned, nothing from
               her childhood.  It was just too good
               to be real.  Like it was all bought 
               yesterday.

                               DEVON
               If you suspected her all along, why
               didn't you tell me?
                      (stands up,
                       furious)
               How could you have taken such an
               idiotic risk!  And without back up!
               Doesn't our work mean anything to
               you?

     Michael stands up.

                               MICHAEL
               It means everything to me!  Don't you
               see?  I recognized Zachary's M.O.
               right away.  He always uses a woman
               to worm her way into the lives of the
               men he wants to destroy.  That's what
               Gina was doing to me.  That's what 
               Tanya Walker was so good at.  That's
               what she did to Wilton Knight.

                               DEVON
               What has that got to do with what you 
               did?

                               MICHAEL
               I only knew Wilton Knight for a few
               days, but that old man taught me a
               hell of a lot about fighting.  About
               using your fear and anger to spur you
               on instead of being crippled by them.

     This cools Devon somewhat.

                               DEVON
               Why didn't you confide in me?

                               MICHAEL
               Because you never would have
               approved.

                               DEVON
               That never stopped you before.

                               MICHAEL
               Devon, we may not see eye to eye on
               everything.  But I respect you.  And
               I care about you.  I just had to go
               this one alone for a while.

     Devon accepts the truth of Michael's words.

                               DEVON
               What next.  Does she know you're 
               onto her?

                               MICHAEL
               I don't think so.  Devon, I want to
               persuade her to help us.  I think we
               can turn the tables on Cameron.

                               DEVON
               No.  It's too risky.

                               MICHAEL
               Devon, look what Kitt found.

     He moves to the computer terminal, punches a few buttons.
     Into the comlink:

                               MICHAEL
               Show him, Kitt.

     INSERT - COMPUTER SCREEN

     Onto the screen pops an amazing 3-D moving graphic of a 
     futuristic weapon.  A legend identifies it as: "A.P.B.A.
     LASER 30X."

                               MICHAEL
               This is Cameron's big project.  Kitt's
               been over this, and it's a laser 
               handgun.  It's no toy.  And, believe
               me, that factory is geared up for 
               production.  The toys are just there
               for show.

                               DEVON
               What if you fail?  What if the girl
               turns on you?

                               MICHAEL
               If I fail, I fail.  I've already
               died once, Devon.  I died trying to
               bring this man to justice.  It was
               a good cause.  And, now I've got a
               second chance.

                               DEVON
               I don't like it.  I don't like it at
               all.

                               MICHAEL
               I don't either, but I like it better
               than letting Zachary get away again.

     EXT. HIGH-RISE APARTMENT BUILDING - DAY - ESTABLISHING

     flanked by a parking structure.

                               CAMERON'S VOICE
               So the car moves on its own, thinks
               for itself?

     INT. ZACHARY'S PENTHOUSE - DAY

     There's a council of war going on.  Zachary sits at a
     massive teak desk.  Before him are Simpson and Gina.

                               GINA
               Apparently it can, but it's direction
               does come from its driver.

                               CAMERON
               Amazing.  And he talks to it through
               this wristwatch device?

                               GINA
               A 'comlink' he calls it.

                               SIMPSON
               Cameron, my guys were the best and they
               couldn't crack that car.  Is this
               really worth jeopardizing the 
               laser?  Let's not lose perspective 
               here.

                               CAMERON
               You don't understand, do you?  I'll
               wager we can't begin to imagine that
               car's capabilities.  To get it --
               with Michael Knight's death in the
               bargain -- I'd sacrifice anything.

                               GINA
               I thought you wanted Michael alive.
               You said you wanted information from
               him.

     Cameron gauges her remark carefully, trying to read her,
     moving closer to her.

                               CAMERON
               Did I?  Killing Michael Long is the
               icing on the cake, my dear.  When
               we're through with him, we'll be on
               our way to the islands with the 
               laser components, Knight's car, and
               our own private fantasies.  You'd
               like that, wouldn't you?

                               GINA
                      (recovering)
               Of course.

                               CAMERON
               Good.

     Off his satisfied look.

                                              CUT TO

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

     Michael and K.I.T.T. are heading for Gina's, reviewing 
     their plans.

                               K.I.T.T.
               I feel very vulnerable in this plan
               of yours, Michael.

                               MICHAEL
               We are vulnerable, buddy, but we
               have no choice.  Gina is our only
               real connection to Cameron.

                               K.I.T.T.
               I suppose.  But this woman.  Michael,
               I don't see the logic of walking
               right in and appealing to her.  How
               do you know she'll join us?

                               MICHAEL
               I'm dealing with feelings here, Kitt.
               Intuition.  There's only so much
               acting a person can do.

                               K.I.T.T.
               I wish I could be programmed to have
               this 'intuition.'

                               MICHAEL
               You hopeless romantic, you.

     He pulls the Trans Am over.

     EXT. GINA'S APARTMENT BUILDING - DAY

     Once again K.I.T.T. is parked in front of Dave's Used Cars.
     Michael gets out and heads for her building.

                               MICHAEL
               Be ready when I call you.

     ANOTHER ANGLE ON K.I.T.T. AND THE USED CARS

     Dave appears, leading a new customer, like a spider with a
     fly.  This one's an attractive young female.

                               DAVE
               A woman wants certain things in a
               car.  Comfort, reliability, ease of
               handling.  Now my wife, she wanted
               me to bring this car home.  Said it
               was a car she wouldn't have to think 
               about.

     He's leading her toward the same old lemon we've seen him
     try to move before.  Suddenly he spots K.I.T.T.

                               DAVE
               Ahh...never mind....

                               GIRL
               No, show me the one you're talking
               about.

     K.I.T.T.'s scanner flashes.  Dave struggles with his
     conscience.

                               DAVE
               Oh, what's the use.  You don't want
               this car.

     She's looking it over, likes what she sees.

                               GIRL
               Oh, I don't know.

                               DAVE
               Look, those are retreads, this is a
               twenty-five dollar paint job we did
               on it fast, the valves need grinding,
               and we took the radiator out of an
               old Wyllis.

                               GIRL
               I'll take it.

                               DAVE
               But let me show you another...you'll
               what?

                               GIRL
               I'll take it.  I just completed
               mechanic's training and I'm looking
               for a fixer-upper.  $300 cash.

                               DAVE
               Sold.

     They shake.  Dave looks over at K.I.T.T., who flashes
     happily.  He flashes K.I.T.T. as "Okay" sign.

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

                               K.I.T.T.
               Honesty is the best policy.

     INT. GINA'S APARTMENT

     Gina's just let Michael in.  She's a little flustered
     because she wasn't expecting him.

                               GINA
               When you didn't come back last night
               I was so worried.

                               MICHAEL
               Really?  Why?

                               GINA
               Well, because...I'm just glad you're
               all right.

                               MICHAEL
               Don't you care whether I got your 
               plans back?

                               GINA
               Of course.  Did you?

                               MICHAEL
               There are no plans, are there,
               Gina?  There never were any.

     She turns half away from him, hesitating.  Michael is
     measured, quiet.

                               GINA
               What are you talking about?

                               MICHAEL
               I'm talking about Cameron Zachary.
               About you setting me up to be killed.

     Gina faces him, torn.  How much does he know?

                               GINA
               What are you talking about?

                               MICHAEL
               You know, I was really getting to
               like you.  I can't help but wonder
               how a person like you got wrapped up
               with the likes of him.

     She turns, strolls calmly toward a desk in the corner of her
     room.

                               GINA
               I was born in the middle of Wisconsin.
               I was the middle one of three children.
               We lived in the middle of a middle-sized
               town.  In a middle-class neighborhood.
               Everything in my life was middle,
               middle, middle!

                               MICHAEL
               Is that so bad?

                               GINA
               It was for me.  I wanted a chance to
               live on the edge.  So, when Cameron
               found me in modeling school, he was
               my brass ring.  And, I grabbed it.

                               MICHAEL
               Well, I guess sucking people's blood
               with a guy like Zachary isn't boring.

                               GINA
               You make it sound so Gothic!  We steal
               ideas, Michael.  It's all a big,
               complicated game.  Corporations do it.
               Governments do it.  We just think of 
               ourselves as free-lancers.

                               MICHAEL
                      (heating up)
               Is that what Cameron told you?  All neat
               and clean?  Never get any dirt under
               your fingernails.  Well, listen, lady.
               Do you know how many people he's
               killed?  How many lives he's destroyed?
               Murder means nothing to him.  I know.
               And, if you don't get away from him,
               pretty soon, murder won't mean anything
               to you.

     Gina reaches for the desk and opens a drawer.  Michael
     doesn't even move to stop her.  She turns, holding a gun on
     him.

                               GINA
               I don't have any choice, Michael.

     SUBLIMINAL FLASHBACK - KNIGHT RIDER PILOT

     Tanya Walker shoots Michael Long.

     BACK TO SCENE - CLOSE ON MICHAEL

     facing death for the second time.

                               MICHAEL
               Yes you do!  You can leave this
               behind, starting here and now.  Gina,
               I see something in you I don't see in
               most people.  A softness, a tender-
               ness.  You're a hell of an actress,
               but you didn't fool me.  And, you
               don't fool me now.

                               GINA
               I should kill you just for being so
               cocksure of yourself.

                               MICHAEL
               A day ago, I met a toymaker with
               fire in her eyes who wanted me to
               come out and play.  That person was 
               real, Gina.  You may have been 
               acting but she came from inside
               you.  She is you.
                      (beat)
               Let her out, Gina.  Come out and
               play.  Come with me.

     She stands, unreadable for a moment.  Then starts to crack
     around the edges.  She cocks the gun.

                               MICHAEL
               Gina, I need you.  I need you to help
               me get Cameron.  I've already got 
               the Foundation checking into immunity
               for you.  It stops here, Gina.  It has
               to stop.  Give me the gun.

     He holds out his hand.  Her hands start to shake.  She
     hands it to him, then breaks down and sobs.  He puts the
     gun down and holds her.

                               MICHAEL
               It's all right now.  It's all right.

     Their embrace is interrupted by the ringing of the
     telephone.  Gina picks it up.

                               GINA
               Hello?

     Her face goes ashen.  She holds the phone out to Michael.

                               GINA
               It's Cameron.  He wants you.

     Michael is startled, but he takes the phone.

     INT. ZACHARY'S PENTHOUSE - DAY

     Cameron leans on his desk as he plays his trump card.

                               CAMERON
               Mr. Knight.  Or, should I say,
               Mr. Long.

     INTERCUT THE FOLLOWING - TELEPHONE CONVERSATION

                               MICHAEL
               What do you want?

                               CAMERON
               Very nice work on Miss Adams.  I
               enjoyed listening to your dramatic
               appeal to her.  You'll find there's
               a bug under her phone.

     Michael looks.  It's true.

                               CAMERON
               Listen closely.  Does the address
               410 Chesapeake Road mean anything to
               you?

     Michael pales.

                               MICHAEL
               My uncle lives there.

                               CAMERON
               I know.  How about the Burnley
               School?

                               MICHAEL
                      (getting paler)
               My niece...my niece goes there.

                               CAMERON
               How about badge number 41675?

                               MICHAEL
               Charlie Hart.  My old police sergeant.
               So, you know me.  What do you want?

                               CAMERON
               I want you.  And, I want your car.
               And, if I don't get what I want, I'm
               going to go through the people you
               love, one by one, until I do.

     Gina watches as Michael wrestles with this dilemma.  He's
     caught, and he knows it.  He covers the phone and gestures to
     her to run.

                               MICHAEL
                      (sotto)
               Go.  Get away from here.  Go to the
               Foundation.  You'll be safe there.

     She starts to object.

                               MICHAEL
               Just go!

     After a beat, she leaves.  Michael returns to the phone.

                               CAMERON
               Exit the building.  Mr. Simpson will
               be waiting for you.  He'll tell you
               what you are to do.

     Cameron hangs up the phone.  Hold on Michael's despair.

     OMITTED

     EXT. GINA'S BUILDING - DAY

     Michael emerges onto the street, where he's met by Simpson.

                               SIMPSON
               Let's go.  Over to the car.

     ON K.I.T.T.

     as Michael and Simpson walk up to the car.  Simpson signals
     up the street.

                               K.I.T.T.
               This is highly irregular, Michael.

                               MICHAEL
               I know, Kitt, but we've got to do 
               what they say.

     THE STREET - WIDE SHOT

     as a large, five ton truck pulls up in front of K.I.T.T.
     Two ND drivers emerge and open the back.  A ramp is lowered
     in front of the Trans Am.

                               SIMPSON
               The car goes in the truck.

     Michael starts to climb into the Trans Am, but:

                               SIMPSON
               Not you.  Just the car.

     Michael stops, looks at him.  Then leans into K.I.T.T.

                               MICHAEL
               You heard him, Kitt.

                               K.I.T.T.
               I won't leave you here.

                               MICHAEL
               It's okay, pal.  Trust me.  And, 
               make it look good.

     After a moment, the Trans Am starts up and pulls up the
     ramp.  Michael and Simpson follow it into the truck.

     INT. TRUCK - MICHAEL, SIMPSON AND K.I.T.T.

     Simpson gloats a little, enjoying the upper hand...finally.

                               SIMPSON
               Now, I want you to turn it off.

                               MICHAEL
               What?  It doesn't 'turn off.'

                               SIMPSON
               Every computer has a master switch,
               a circuit.  Something.  Take it
               down.  Turn it off.  Deactivate it.

                               MICHAEL
               Come on, you've got the car.

                               SIMPSON
               I don't think you really want to 
               argue.

     Michael turns to the car, leans in through the driver's
     window.

                               MICHAEL
               You heard him, Kitt.  Deactivate
               yourself.

                               K.I.T.T.
               You can't be serious, Michael.

     Michael looks intently at the dash, then:

                               MICHAEL
                      (sotto)
               Kitt, I know what I'm doing.  We
               need to buy some time.
                      (loud)
               Now turn yourself 'off.'

     A moment passes, then K.I.T.T.'s dash lights start to blink
     out, one by one.  The gauges go down to zero.

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

     deflate themselves.  Go completely flat.

     INT. TRANS AM - MICHAEL AND THE DASH

     Michael looks sad as the machine completes its "suicide."
     K.I.T.T.'s voice winds down like a slowed down record.

                               K.I.T.T.
               I guess this...is...good-bye...Michael.

     And all is dark and still.

     EXT. STREET

     Michael and Simpson descend the ramp.  The two men
     quickly load the ramp into the truck and slam the heavy
     doors shut.  It's as though K.I.T.T. is sealed into a tomb.
     They start up the truck and drive away.

     ON SIMPSON AND MICHAEL

     Simpson grins malevolently.

                               SIMPSON
               Okay, pal.  Let's find out how tough
               you are without your car.

     On Michael's dismay:

                                              FREEZE FRAME

                                              AND

                                              FADE OUT

                        END OF ACT THREE

                            ACT FOUR

     FADE IN

     EXT. TOY FACTORY - DAY - ESTABLISHING

     INT. FACTORY OFFICE 

     Michael is shoved roughly into the office he raided the
     night before.  Sitting, bound on the couch, is Gina.  All
     her bravado is gone.  She's terrified.  Michael is alert,
     catlike, casing the place for any advantage.  Simpson prods
     Michael with a gun.

                               SIMPSON
               On the couch.  Sit.

                               GINA
               What are you going to do with us?

                               SIMPSON
               We're going to wait for Mr. Zachary.
               What happens to you will be up to him.

                               MICHAEL
               What's he doing?

                               SIMPSON
               None of your business.

     Simpson settles into a corner of the room to wait.

     CLOSER ON MICHAEL AND GINA

     They talk quietly.  She's really terrified.

                               GINA
               I'm sorry, Michael.  They caught me
               right outside the building.

                               MICHAEL
               Tell me quickly, what's his plan
               with the lasers.

                               GINA
               I don't know much.  Some components
               were being brought in from overseas.
               He was going to make the deal and
               leave the country.
                      (near tears)
               Michael, he hates you.  And I've
               seen what he can do to people he
               hates.

                               MICHAEL
               That helps me, Gina.  People who 
               hate don't think clearly.  I'll use
               that against him.

     EXT. STREETS - ON THE FIVE-TON TRUCK

     The truck bearing K.I.T.T. cruises away.

     INT. TRUCK

     as we look past the two armed Drivers we can see the Trans
     Am sitting behind them, deactivated.

     INT. OFFICE - DAY

     Zachary strides in, looking supremely confident.  He has
     a small suitcase under his arm, and he's glad to see his
     two captives under control.

                               CAMERON
               I trust you're enjoying my hospitality.
                      (to Simpson)
               His car is on the way to the harbor?

     Simpson nods.  Cameron moves to Gina, fondles her chin.

                               CAMERON
               Ironic how quickly things change,
               isn't it, my dear.  I'd had such
               sweet plans for you, such sweet
               dreams.  Now that's all they'll ever
               be.

                               MICHAEL
               Do you treat all your women this well?
               No wonder everybody loves you.  You
               certainly did well by Tanya Walker.

     Zachary bristles.

                               CAMERON
               I'm going to make sure I hurt you as
               much as you hurt Tanya.  Simpson!

     Simpson moves to join them.

                               MICHAEL
               This is typical.  You're going to 
               let your boy here handle what you
               can't do on your own.

     Cameron brandishes his suitcase.  He looks down at Michael.

                               CAMERON
               Do you know what's in this suitcase?
               Laser crystal components from South
               Africa.  Among the rarest in the 
               world.  They'll be joined with micro-
               chips from Japan and a titanium
               housing from Canada to make the
               world's first laser handgun.  The
               sale of it will make me richer than
               most countries.  And, only I could
               coordinate the necessary elements.

                               MICHAEL
                      (sarcastic)
               The great Cameron Zachary.  It's
               even the kind of weapon you'd like.
               Where the victim never even has a 
               chance.

                               GINA
               Michael, don't push him.

                               CAMERON
               I know what you're trying to do,
               Knight.  But, I'm not a primitive
               like you.  It won't work.

     He turns to Simpson and takes his gun from him.  He hands
     Simpson the suitcase.

                               CAMERON
               Bring the car.  This won't take long.

     INT. SEMI - DAY

     Devon and April huddle over the computer terminal, doing 
     their best to raise Michael or K.I.T.T.

                               APRIL
               Oh Devon, I can't raise either of
               them.  Not on any of their frequen-
               cies.

                               DEVON
               I don't understand.  Even if Michael
               is in trouble, Kitt should respond.

                               APRIL
               Devon...they're alone out there.
               And there's nothing we can do.

     INT. OFFICE

     Cameron holds the gun on Michael and Gina.

                               MICHAEL
               I remember when Tanya turned on me
               and shot me, unarmed.  That was to 
               be expected from her.  She was a
               cheap, worthless, conniving leech.
               I'm disappointed.  Somehow, I
               expected more of you, Cameron.

     Michael looks around, spots two sets of Samurai swords in a
     glass case.

                               MICHAEL
               I'd have thought something like that
               was a little more your style.

     Cameron looks, sees what Michael's suggesting.

                               MICHAEL
               Come on, Cameron.  You collect these
               things.  Let's see if you can use them.

                               CAMERON
               I'll make you sorry you said that.

     And he moves to the case and takes out the swords.  Gina
     whispers to Michael.

                               GINA
               Michael, no.  He's a life master of
               Kenjitsu.

                               MICHAEL
               I'm improvising, Gina.  I need time.

     Cameron returns, sets a pair of swords in front of Michael.  He
     then unsheaths his own and walks behind him.

                               CAMERON
               One advantage to being exiled from
               your own home country.  You learn
               skills from the rest of the world.

     INSERT - MICHAEL'S HANDS

     The tip of Cameron's sword cuts through Michael's bonds like
     so much string.  Michael is suddenly free.

     BACK TO SCENE - ON MICHAEL

     He whirls to face Cameron and takes up his own swords.  Bows.
     Michael assumes the correct fighting stance.  Cameron looks
     surprised.

                               MICHAEL
               It's been a while.  But some things
               you don't forget.

     Just before the two clash, he reaches up to his neck.

     INSERT - MICHAEL'S NECK

     He reaches up and pinches the little medallion Devon gave 
     him.  Suddenly Michael rears back out of shot.

     BACK TO SCENE

     A vicious swipe from Cameron's sword almost costs Michael his
     head.  Only his reflexes save him.  The two begin to circle
     in combat.

     EXT. CITY STREETS - DAY

     The truck bearing K.I.T.T. is moving through moderate
     traffic.

     INT. TRUCK - ON THE TRANS AM

     Suddenly K.I.T.T.'s dash comes alive.  Familiar whirring
     sounds greet us as the various components reactivate.

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

     They reinflate quickly, pushing the car up.

     ANGLE THROUGH THE CAB

     The Drivers are apparently unaware of what's going on
     behind them but K.I.T.T.'s scanner suddenly lights up and
     can be seen right between them like a Cheshire Cat grin.
     The turbines start to whine with their familiar high-pitched
     sound.

     EXT. STREETS - ON THE TRUCK (UNDERCRANK)

     Right in the middle of an intersection, K.I.T.T. comes
     bursting through the armored back doors of the Brink's
     truck.  The metal plates are twisted out of their sockets
     as the full force of the Trans Am hits them and the black
     car flies out into traffic and screeches away.

     INT. TRUCK CAB

     The two Drivers shake from the jolt of the car's departure.
     They swing out of the cab and gape at the fleeing car.

     OMITTED

     CLOSE ON A VASE OF FLOWERS

     as the razor-sharp blade of Zachary's sword whistles
     past Michael and lops off the blossoms neatly without
     disturbing the stems.  Zachary laughs.

     WIDER SHOT - THE FIGHT - MOVING

     Cameron's moves force the fight out of the office and into the
     hallway.  Michael is putting up a great fight.  It looks
     unconventional compared to Cameron's moves, but it's plenty
     effective.  He uses tables, chairs as obstacles...whatever
     comes to hand.

     EXT. STREETS - DAY

     A policeman is directing traffic at an intersection.  He
     turns his back for a moment to signal to oncoming cars and
     K.I.T.T. races behind him at awesome speed.  He never even
     notices.

     INT. FACTORY - THE FIGHT - ON A STAIRWAY

     Michael forces Cameron to the top of a stairway and the two
     battle their way down, fighting all the way.

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

     K.I.T.T. races through the traffic, heading for Michael.

     INT. FACTORY - WAREHOUSE AREA

     Michael and Cameron fight their way into a warehouse full
     of crates, forklifts, and the like.  Suddenly one of
     Cameron's blows sends Michael's short sword flying.  He's
     left with one sword to Cameron's two.  Cameron forces Michael
     to the foot of a ladder.  Michael quickly climbs it, grabs a 
     rope hanging from overhead and swings off it.

     INSERT - THE LADDER

     as Zachary's sword crashes down, splitting one of the 
     rungs.

     INT. SEMI - DAY

     April jumps as the radio-phone chatters to life.  The
     terminal displays a view of an empty driver's seat where
     Michael would normally be sitting.  As Devon looks on
     eagerly.

                               APRIL
               Kitt, where are you?

     EXT. STREETS - DAY - INTERCUT

     as K.I.T.T. screams through a turn and races onward.

                               K.I.T.T.'S VOICE
               I'm in an emergency mode, April, and
               heading for Michael.  E.T.A. at the
               homing transmitter ninety-four
               seconds.

                               DEVON
               Make it faster!

     Amazingly, K.I.T.T. does speed up.

     INT. THE WAREHOUSE - THE FIGHT

     Michael and Cameron fight up and over a forklift.  Michael
     swings at Cameron who retreats, causing Michael's sword to
     stick in a wooden crate.  He struggles to free it.  Cameron
     sees his opportunity.

     EXT. FACTORY - ON K.I.T.T.

     reaching the factory and heading straight for the building.

     INT. FACTORY - ON CAMERON AND MICHAEL

     Michael releases his sword to duck out of the way of Cameron's
     death blow.  Cameron's long sword topples a pile of boxes.
     Suddenly:

     INT. FACTORY - ON K.I.T.T. - UNDERCRANK

     K.I.T.T. explodes through the corrugated iron door of the
     warehouse, sending crates and boxes flying in every
     direction.

     FAVORING CAMERON

     Seeing the car has returned, he flings his sword at Michael
     and runs for the exit.

     ON MICHAEL AND K.I.T.T.

     Michael is breathless.  He climbs into the car.

                               MICHAEL
               Good work, buddy.  I knew you'd make 
               it.

                               GINA'S VOICE
               Michael!

     Before he can leave, Gina rushes into the warehouse, her
     hands still bound.  Michael helps her into the car.

                               MICHAEL
               Come on.  We've got to catch him.
               Where would he go?

     INT. TRANS AM - MOVING

     As K.I.T.T. bursts from the factory.

                               GINA
               His penthouse.  He keeps a chopper
               on the roof.

                               MICHAEL
               I hope we're in time.  How far is it?

                               GINA
               Only a few blocks.

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

     Graphics show Cameron's car as a flashing light.

                               K.I.T.T.
               He's in scanner range, Michael.

     VARIOUS SHOTS - K.I.T.T. DRIVING

     as Michael and Gina race in pursuit.

                               K.I.T.T.
               He appears to have stopped.  We must 
               be there.

     EXT. HIGH-RISE APARTMENT - DAY

     where Cameron's penthouse is located.  K.I.T.T. races up in
     front.  Cameron's car is in evidence.

     CLOSER ON K.I.T.T.

     Michael gets out, looks up at the building.

                               MICHAEL
               Is the chopper still here?

                               K.I.T.T.
               Yes, Michael, but it's running.

                               GINA
               We're too late.

                               MICHAEL
               Not yet, we're not.  Kitt, pinpoint 
               his apartment.

     EXT. - FOLLOWING K.I.T.T.

     as Michael guns the Trans Am into a multi-level parking
     structure next to Cameron's building.

     INT. PARKING STRUCTURE

     as K.I.T.T. spins up the ramps, heading for the top.

     INT. CAMERON'S PENTHOUSE - DAY

     Cameron scurries about his room, gathering a few valuables.
     He has the suitcase full of components.

     EXT. PARKING STRUCTURE - DAY

     K.I.T.T. explodes onto the top level, directly across from
     Cameron's apartment.

     INT. TRANS AM

     Michael pushes the turbo boost button.

                               MICHAEL
               Okay, pal, let's gooo....

     EXT. HIGH-RISE

     K.I.T.T. flies off the top of the parking structure and
     sails through the air straight for the apartment building.

     INT. PENTHOUSE (UNDERCRANK) - VARIOUS ANGLES

     as K.I.T.T. smashes in through the windows, showering the
     place with shards of glass and slamming furniture aside as
     it plows into the room.

     ZACHARY

     drops his suitcase and backs against the wall, stunned by
     the sight of a car in his living room.  Before he can
     recover himself....

     MICHAEL

     is out of the car, leaps toward Zachary and decks him
     with a stiff right hook.  Cameron goes out like a light.
     Michael picks up the suitcase.

     WIDER ON K.I.T.T. AND GINA

     as she joins Michael.

                               K.I.T.T.
               Michael, I just have one question.

                               MICHAEL
               What's that, Kitt?

                               K.I.T.T.
               How am I going to get down from 
               here?

     On Michael and Gina's laughter, we:

                                              FREEZE FRAME

                                              AND

                                              FADE OUT

                         END OF ACT FOUR

                               TAG

     FADE IN

     OMITTED

     EXT. GINA'S APARTMENT BUILDING - DAY - ESTABLISHING

     K.I.T.T. is parked outside behind a police car.

     INT. GINA'S APARTMENT - DAY

     Michael waits with Gina as she packs a few things.

                               GINA
               It's going to be strange starting 
               over after I testify.  New identity
               and all.

                               MICHAEL
               Take it from me, it's not so bad.
               You get used to it.

                               GINA
               I guess with Cameron out of the way,
               you could go back to being the other
               Michael.

                               MICHAEL
               I wouldn't want to be Michael Long
               again, even if I could, Gina.  I
               like Michael Knight.  I like myself
               now, as I am.  And, I'm proud to
               have the name of the man who saved
               my life.

                               GINA
               I hope I like myself as well.

                               MICHAEL
               You will.

     She closes her suitcase.

     EXT. GINA'S APARTMENT - DAY

     Michael escorts Gina to the waiting police car.  Before
     she gets in, she turns to him.

                               GINA
               I want you to have something.

     From among her things, she produces Talking Teddy, and
     hands him to Michael.  Michael presses the bear's nose one
     more time.

                               TALKING TEDDY
               Hi, I'm Talking Teddy.  What's your 
               name?

                               GINA
               I don't know, yet.  I'll tell you 
               after the trial.

     Michael and Gina share a laugh.  He kisses her good-bye and
     watches her drive away.

     INT. TRANS AM - DAY

     Michael climbs in and puts Talking Teddy on the seat.

                               MICHAEL
               Kitt, I'd like you to meet our new
               partner.

     HIGH SHOT - TRANS AM PULLING AWAY

                               K.I.T.T.'S VOICE
               You know how I feel about that
               little monstrosity.

                               TALKING TEDDY
               Hi!  I'm Talking Teddy.  What's your
               name?

     As the car shrinks in the distance, we hear Michael's
     laughter:

                                              FREEZE FRAME

                                              AND

                                              FADE OUT

                             THE END