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KNIGHT RIDER: KNIGHT OF THE PHOENIX

2 HOUR SERIES PREMIERE

EXEC. PRODUCER: Glen Larson
PRODUCER: Harker Wade

Production #57309
4th Draft - July 2, 1982 (F.R.)

Teleplay: .................... Glen A. Larson
Contributing Writer: ......... R.A. Cinader
Director: .................... Daniel Haller


                             ACT ONE

     FADE IN

     RENO - NIGHT - ESTABLISHING - STOCK

     EXT. ND HOTEL - NIGHT - STOCK

     INT. CASINO - NIGHT - STOCK

     Should be maximum up-key.

     CLOSE ON CRAP TABLE (TO MATCH)

     Action at the table, loud music from the lounge, Charles 
     Acton, fifty-five, graying temples, handsome and 
     distinguished is on a roll.  Quite appropriately standing 
     next to him as if completing an ad for Gentleman's Quarterly, 
     a woman wearing both furs and jewelry, none of which she'd 
     need to be the centerpiece for the entire room.  She is 
     Tanya Walker.  She looks at her watch discreetly as Charles 
     clenches his fist in conservative jubilance.

                               CROUPIER
               Seven the winner.

     A stack of hundred dollar checks is pushed at Charles and 
     he modestly picks them up and places them in a chip holder 
     already packed.  He is having a very lucky night.

                               CHARLES
               I can't seem to lose tonight.

                               TANYA
               Don't say that.  It could lead to 
               bad luck.

                               CHARLES
               I don't believe in luck.

     He turns back to the table.

                               TANYA
               Then you won't mind if I leave you 
               for a while?

                               CHARLES
                      (distracted)
               Where are you going?

                               TANYA
               Just to get some fresh air.

     Tanya kisses him on the cheek and departs.

     INT. CORRIDOR - NIGHT

     as Lonnie dressed as a maid pushes a cleaning cart into 
     scene and stops in front of the double doors to a penthouse
     suite.  She knocks, waits a beat, then unlocks the door and 
     enters.

     INT. SUITE - NIGHT

     as she talks into a H/T unit.

                               LONNIE
               Point one to point two.  I'm inside
               and clear.

     EXT. PARKING LOT - NIGHT

     where Michael Long, his face in dark shadow, is seated
     behind the wheel of his car watching the entrance to the
     hotel.  He appears tense as he glances at his watch, then 
     speaks softly into a H/T unit.

                               MICHAEL
               Ten-four, point one.

                               TANYA (o.s.)
               Hi there, Michael.

     INT. CAR - NIGHT

     Michael reacts, startled, as the passenger door opens and 
     Tanya Walker slides into the car next to him.

                               MICHAEL
               What are you doing here, Miss Walker?

                               TANYA
               Just getting some peace and quiet.
               I'm not much up to all this high 
               living and it's off hours, Michael.
               You can call me Tanya.

                               MICHAEL
               I saw you in the casino with the big
               boss, I'd better keep it Miss Walker.

                               TANYA
               Afraid of me?  I like that.  But you
               don't need to worry.  Not as long as 
               I continue to like it.

     She slides a bit closer to him as he reacts.

     INT. SUITE - NIGHT

     The room is totally dark except for a cone of light revealing
     Lonnie as she feverishly photographs a stack of documents in
     front of an open safe.

     INT. CAR - NIGHT

     where Michael is even more tense as Tanya snuggles up to him.

                               MICHAEL
               Look Tanya, don't you think you 
               ought to be getting back inside?

                               TANYA
               Plenty of time, Michael.  You know,
               with a little cooperation you could 
               be a lot more interesting than any
               chairman of the board.

     Michael surreptitiously glances at his watch again as she 
     moves even closer.

     INT. SUITE - NIGHT

     as Lonnie finishes her copying, stacks the documents and 
     shoves them into the safe.

     INT. CORRIDOR - NIGHT

     As Lonnie exits into corridor, she grabs a long coat from 
     under the cleaning cart, puts it on and shoves the camera 
     into a pocket.  She crosses to the elevator.  As the doors
     open, Wilson and Symes exit.  As she enters, they start for 
     the suite, take one look at the cleaning cart, react with 
     suspicion, then turn and stare at Lonnie for a beat.  Her 
     reaction betrays her and they start to cross back to the 
     elevator just as the doors close and the car starts down.
     In frustration, Wilson starts pushing the elevator button.

     INT. ELEVATOR

                               LONNIE
                      (into H/T)
               Point one to point two.  I'm out
               with the goods, but I think I'm 
               burned.  Cover me.

     INT. CAR - NIGHT

     where Michael is getting increasingly tense as he reacts.
     We can see he's wearing an earplug to his H/T in his left 
     ear.

                               MICHAEL
               Look, Tanya.  I'm sure at the right
               time and in the right place we could
               really get something going, but....

                               TANYA
               But this isn't it, huh?  Pretty 
               gutsy attitude to take to the 
               chairman's executive assistant.

     ANOTHER ANGLE

     as Lonnie exits the hotel and starts moving in the general
     direction of Michael's car, looking over her shoulder as she 
     does so.

     INT. CAR

     as Michael spots her moving towards him.

                               MICHAEL
               Sorry Tanya.  Fun time's over.  Out.

     He withdraws his wallet and flips it to reveal a badge.

                               TANYA
               A cop!  You?  What for?  What....

                               MICHAEL
               Tomorrow.  I'll tell you about it 
               tomorrow.  Right now you're just in 
               the way.  For your own safety, get 
               lost.

     HIS POINT OF VIEW

     as he spots Wilson and Symes exit the hotel and move toward 
     Lonnie.  They are closer to her than Michael is.

     INT. CAR - NIGHT

     as Michael exits the car and starts moving through the lot 
     towards Lonnie.

     ANOTHER ANGLE

     As Lonnie realizes that Wilson and Symes have cut her off
     from Michael, she panics and turns and runs in the other 
     direction.  As they all follow:

     ON HER CAR

     as she reaches it, climbs in and splits.

     ON WILSON AND SYMES

     as they race back to their car.

     ON MICHAEL

     as he races back to the limo and climbs in only to discover
     Tanya is still there.  As he starts the car:

                               MICHAEL
               Out.

                               TANYA
               No way.  I'm going with you.  You
               might need help.

                               MICHAEL
               All right.  There's no time to argue.

     ON THE LIMO

     as it pulls out.

     EXT. HIGHWAY - NIGHT

     as the three cars, Lonnie, Wilson and Symes' and the limo
     all flash past.  Wilson and Symes are considerably closer 
     to Lonnie than the limo.

     EXT. HIGHWAY - NIGHT

     as Wilson and Symes cut off Lonnie and force her off the road.

     DESERT ROAD - NIGHT (SHOT)

     It is night on a lonely desert road as Wilson and Symes 
     emerge from their car which has pulled Lonnie off the road.  
     With red lights flashing, Symes moves from a car marked:

                         ALLON CHEMICAL

                        Special Security

                               WILSON
               Will you step out of the car please.

     Lonnie steps out revealing a sumptuous figure.

                               WILSON
               I'll take the microfilm....

     Lonnie reaches into her purse and removes a small micro-
     camera.  Suddenly, the scene is bathed in light as the 
     limousine screams up from o.s.

     ON MICHAEL (SHOT)

     as he climbs out of the car, his gun leveled on the three-
     some.

                               MICHAEL
               Hold it right there.  You move.  I
               fire.

     THE CONSPIRATORS (SHOT)

     freeze.

                               MICHAEL
               Drop the gun, and kick it over here.

                               WILSON
               Michael Long, the boss' chauffeur.
               Well.  We seem to have made a
               small mistake.

     Tanya climbs out of the limo and comes forward around the 
     side of the car.

                               MICHAEL
               I'd call treason more than a small 
               mistake.  It draws the death 
               penalty.  Tanya, pick up that gun.

                               TANYA
               That won't be necessary.  I have my
               own.

     Michael freezes, a chill racing up his spine.  He sees the 
     expressions on the faces of his three captives relax into 
     smiles, then into laughter.  Slowly he turns to look.

     ON TANYA (SHOT)

     as she stands with the gun straight out, aimed into Michael's
     face.

                               MICHAEL
               You're working with them?

                               TANYA
               Ahh.  I've disappointed you.

                               MICHAEL
               Tanya.  Give me the gun.  I can 
               still make a deal for you, if you
               cooperate.

     He extends his hand for her gun.

                               MICHAEL
               Give it to me.

                               TANYA
               I intend to.

     Cooly, she fires into Michael's face at point-blank range.

     MICHAEL (SHOT)

     flies off of his feet in slow motion, his hands racing up to 
     cover his face...He tumbles backwards into the darkness of 
     the desert fringing the highway, only his shoes protruding 
     onto the light of his own headlights.  Michael's point of 
     view slow motion.  All is suddenly still except for the 
     sound of Michael's idling car.  Fade to black.  Over this
     o.s.

                               WILSON'S VOICE
               What about the girl?

                               TANYA
               Waste her.  Now.

     We hear a scream and a shot.  Then silence.

                                         SLOW DISSOLVE THRU TO

     A NEW ANGLE (SHOT)

     on the strange death scene as suddenly something is happening 
     as we perceive a strange whine far in the distance and camera
     tilts up to reveal a pinpoint of light far off on the horizon.
     The light grows larger and larger until it is directly over-
     head.  Suddenly a powerful light bursts on, bathing the scene
     of carnage in dazzling brightness.  Close on a weathered old 
     face.  The man is Wilton Knight.  He stares down from the 
     hovering machine.

                               KNIGHT
               My God.  We're too late.

     He signals and the machine begins to lower down to the 
     highway.

                                              SLOW DISSOLVE TO

     HIS POINT OF VIEW (SHOT)

     where we see the bodies of Michael and Lonnie sprawled in 
     the dust.

     THE KNIGHT ESTATE - DAY (SHOT)

     as a twin turbine jet helicopter lands behind a massive 
     house.  On the machine is the logo of KNIGHT INDUSTRIES.

     OMITTED

     ON DOCTOR MILES (SHOT)

     as he examines the now carefully bandaged and reconstructed 
     form of Michael Long.  He looks at a wall of medical instru-
     mentation and examines the eyes of Michael as Wilton Knight 
     enters the room.

                               KNIGHT
               Well?

                               MILES
               You're right.  He's probably the 
               only human being on this planet in 
               worse condition than you.

                               KNIGHT
               You have the bedside manner of a
               rattlesnake.

                               MILES
               My deal with you was honesty.  You
               want me to tell you he's in good 
               shape?  He's in good shape.

                               KNIGHT
               Is he going to die?

                               MILES
               He should have.  The bullet was 
               fired into his head at point-blank 
               range.

                               KNIGHT
               Then how did he survive?  You aren't
               that good a doctor.  Look at what 
               you've done to me.

                               MILES
               The man has a metal plate in his 
               forehead.  Military surgery, I'd
               suspect.  It deflected the bullet
               away from a dead center hit in his 
               brain and back out through his 
               face.  We'll never know what he 
               looked like.

     ON MICHAEL

     stirring restlessly...mumbling...crying out in anguish and 
     anger.

                               KNIGHT
               That's it, son...get mad...and stay
               mad.  It will keep you living.  Just
               like me.

     MONTAGE ON MILES AND NURSES

     taking Michael through a series of quick shots to indicate
     treatment and recovery over a period of time.  We start with
     evidence of massive life support equipment which is removed 
     in successive shots.

     EXT. ESTATE GROUNDS - DAY

     Devon and Knight are seated on a bench.

                               KNIGHT
               Anyway, Devon...in the eyes of the 
               law, Michael Long is legally dead.

     Devon looks uncomfortable.

                               DEVON
               I just don't understand this 
               obsession you have about Michael
               Long.  Besides, it could get the 
               Doctor in trouble.

                               KNIGHT
               Stop worrying about it.  How can
               saving a man's life lose the Doc his
               license?

                               DEVON
               Stealing a body from the medical 
               school for the police to find isn't
               exactly playing by the rules.

                               KNIGHT
               I make my own rules.  So does the 
               government.  They fake deaths and
               identities all the time.

                               DEVON
               All right.  But why are you doing it?

                               KNIGHT
               Let's just call it a hunch.

                               DEVON
               You're not considering him for...?

                               KNIGHT
               Like I said, Devon.  It's a hunch.
               A hunch I haven't started playing 
               yet.  Now, what's the progress 
               report on the automobile.  I'm
               running out of time.

                               DEVON
               It's almost completed.  There are 
               some complaints about the all-night 
               hours and the secrecy.  Some of 
               these men have families.

                               KNIGHT
               Who are being well taken care of.  I
               want it done and I want it done 
               within the next forty-eight hours.

                               DEVON
               Surely the Doctor hasn't told you....

                               KNIGHT
               Don't you worry about what the
               Doctor's told me.  Just get your job
               done.  Let me worry about the 
               doctors...and Michael Long.

     Knight turns and moves off...Devon watching him with begrudg-
     ing affection.

     OMITTED

     THE STRANGE STRUCTURE - NIGHT

     as seen by night, with people coming and going as if a work
     shift were exchanging places.

     INT. MICHAEL'S ROOM - NIGHT

     as Michael, his face and eyes bandaged, listens to the 
     sounds trying to decipher them.  A voice spins him around.

                               KNIGHT
               Sometimes I have trouble sleeping
               myself.

     ANOTHER ANGLE TO REVEAL KNIGHT

     as he enters, and using his cane crosses and sits in a 
     large chair.

                               MICHAEL
               I was thinking about Lonnie.  She 
               didn't make it, did she?

                               KNIGHT
               I'm sorry.  There was nothing we 
               could do.

                               MICHAEL
               At least it's a straight answer.
               The first one I've had since I've 
               been here...we were more than just
               partners, you know.  A lot more.
               Worked together for three years.  I
               was supposed to cover her and I blew 
               it.  I....

                               KNIGHT
               You were sold out.  It wasn't your 
               fault.  There was nothing you could 
               have done.

                               MICHAEL
               Maybe.  I'll just never know, will I?

     There is a long beat.  Then....

                               MICHAEL
               What's going on?  What is it you 
               people are doing out there?

                               KNIGHT
               Nothing that should occupy your
               thoughts.  You're to concentrate on 
               getting well.

                               MICHAEL
               For a man who talks like he's on his 
               last legs, you worry an awful lot 
               about other people.

                               KNIGHT
               Only you.

                               MICHAEL
               Why me?  How did I become so impor-
               tant to you.

                               KNIGHT
               Didn't you know?  I'm America's 
               foremost champion of the underdog.

                               MICHAEL
               Is that what I am?

                               KNIGHT
               Supreme.  You can't be much more
               under than dead.

                               MICHAEL
               I'm grateful.  But I don't like 
               living in the dark.

                               KNIGHT
               Then I have good news for you.
               Tomorrow morning, you come out into 
               the light.

                               MICHAEL
               The bandages?

                               KNIGHT
               The bandages.

     INT. THE ESTATE HOSPITAL ROOM (SHOT)

     Doctor Miles stands over Michael who is prone on an 
     operating table.  Knight looks on from across the room as 
     one by one, the delicate bandages come off.

     ON DEVON (SHOT)

     as he enters and moves up to Knight.

                               DEVON
               I have good news for you.  The car
               will be ready by....

                               KNIGHT
               Shhhh....

     Knight moves forward leaving Devon mystified and not just 
     mildly frustrated.

                              DEVON
                      (under breath)
               I work these people around the clock
               and suddenly you aren't interested.

     ON MILES (SHOT)

     as he masterfully lifts the final strip of adhesive and 
     begins to unwrap Michael's face.  Knight moves in to stand 
     beside him, and Devon beside the two other men.  We are 
     looking up at them from Michael's point of view as they 
     stare down not revealing anything.

     ON MICHAEL KNIGHT (SHOT)

     A new face, far more rugged than his former image.  Char-
     acter and age somehow replacing youthful naivete.

                               MICHAEL
               That bad?

                               MILES
               On the contrary.  An excellent job
               if I do say so myself.  Why don't 
               you go look for yourself?

     Almost reluctantly, Michael rises up and moves slowly across 
     the room to a mirror.

                               KNIGHT
               Perfection.

     Miles moves down to Michael, who stares into the mirror.

                               MICHAEL
               Who is it?  It isn't me.

                               DEVON
               Would you like to walk around with 
               a face that could get you killed all
               over again?

     Michael raises his fingers up to feel the unfamiliar con-
     tours.

                               KNIGHT
               Take my word.  You'll be much 
               happier with this face.

     Devon leans in.

                               DEVON
               Does it strike you that there's an
               uncanny resemblance between this
               fellow and you as a young man?

     Knight shoots Devon a wilting glare.

                               DEVON
               Just my imagination, I'm sure.

                               KNIGHT
               Stick to your task.  When will I see
               it?

                               DEVON
               I tried to tell you.  Tonight.

                               KNIGHT
               Excellent.  My work is almost 
               complete.

     EXT. GROUNDS - DAY - ON MICHAEL THROUGH BINOCULAR MATTE

     jogging around the perimeter of the Knight Estate wearing 
     simple blue shorts and jogging shoes.

     ON KNIGHT

     Camera pulls back to reveal Knight watching him.  Knight 
     lowers the binoculars and nods in satisfaction.

     CLOSE ON MICHAEL - DAY

     on the lawn in the same wardrobe doing pushups as Knight 
     enters the shot and sits on a nearby bench.

                               KNIGHT
               Aren't you pushing it a bit, Michael?

                               MICHAEL
               I've got to get back into shape fast.
               I've still got a job to do.

                               KNIGHT
                      (testing him)
               Oh?  And what would that be?

     Michael switches to situps so he's facing Knight, but 
     continues.

                               MICHAEL
               There's a woman named Tanya and two
               friends of hers that need taking 
               care of.  By me.  Personally.

                               KNIGHT
               Revenge?

                               MICHAEL
               Not just revenge.  Maybe Lonnie and 
               I were blown and maybe I just blew 
               it myself, but either way, I've got 
               to finish the job.  We were after 
               them for industrial espionage.  Now
               they're going down on a homocide
               count.

                               KNIGHT
               Dead or alive?

                               MICHAEL
               Their choice.

                               KNIGHT
               But do you have to pursue it?  After
               all, you're not a cop anymore.
               You're not even Michael Long anymore.
               In a manner of speaking you're not 
               even alive anymore.

     Michael stops exercising and moves towards Knight.

                               MICHAEL
               Look, I didn't become a cop for the 
               money, or the pension, or the sense 
               of power it gives some guys.  I
               became a cop because there's things 
               wrong with this world that need 
               fixing.

                               KNIGHT
               Like Tanya and her friends?

                               MICHAEL
               Like Tanya and her friends.  They 
               need to be put away.  And lots more 
               like them.

                               KNIGHT
               An endless supply I'd say.  But why
               you?  You're just one man.

                               MICHAEL
               Because just one man can make a 
               difference, that's why.

                               KNIGHT
                      (really probing)
               And you really believe that?

                               MICHAEL
               Let's just say I wouldn't want to 
               live in a world where I couldn't 
               believe it.

     As Knight reacts:

                                              DISSOLVE TO

     INT. KNIGHT'S STUDY - DAY

     As Knight enters Devon is working at the desk.  Knight is
     really high.

                               KNIGHT
               I've found him, Devon.  I've found
               the one element we needed to 
               complete the equation.

                               DEVON
               Don't tell me.  It's Michael Long.
               Right?

                               KNIGHT
               Right.

                               DEVON
               For my sins it had to be.

                               KNIGHT
               He's exactly what we need for the 
               project.  My God, Devon, he's what 
               I'd be if I could invent a new body 
               for myself.  He's what I was forty 
               years ago.  And with it all still in 
               front of him.

                               DEVON
               You know, Wilton, I've never agreed 
               with you about the project.  Not at 
               all.  And I never will.  But even if 
               I did, question whether Michael Long
               would be my first choice.  He's much
               to brash and too impetuous for my taste.

                               KNIGHT
               Devon, you know I've always respected
               your intelligence.  In fact, I don't 
               believe I've ever met anyone smarter 
               than you.  But there's one thing I 
               value even more highly.

                               DEVON
               What's that?

                               KNIGHT
               My instincts, Devon.  My instincts.

                                              DISSOLVE TO

     ON MICHAEL

     as he lies on his bed in a darkened room.  Sounds outside
     draw his attention.  He rises up and moves to the window.

     POINT OF VIEW - THE STRANGE IVY-COVERED BUILDING

     as two dozen workers move out and into busses, leaving their
     job for the night.

     MICHAEL

     thinks about it.  Moves to a closet and pulls out some 
     clothes.

     ON THE GROUNDS

     Michael watches as a security guard paces past a door and 
     around the side of the building.  He enters the door vacated
     by the workers.

     INSIDE THE LARGE WAREHOUSE-LIKE STRUCTURE

     It might have been designed to accommodate a prototype 747.  
     In fact, the superstructure is very much like an aircraft 
     hangar, although the small Lear-type jet which sits in a far 
     corner is dwarfed by the dimensions of the building, where a 
     dark form in the shape of an automobile silhouette stands 
     ominously beckoning to Michael.  He moves closer, closer, 
     until a narrow red light comes on and begins to scan the 
     area between the shape and Michael.  It is as if he is being 
     perceived by a red-eyed Cobra.  Michael stops in his tracks, 
     sucks in his breath, then moves forward once more.  Suddenly 
     the headlights pop up, bathing him in light.  Again, Michael 
     stops, startled.  Once more he starts forward and suddenly 
     the engine roars to life.  Suddenly, the car lunges ahead 
     driving straight for Michael.  As the car bears down on him, 
     we:

                                              FREEZE FRAME

                                              FADE OUT

                         END OF ACT ONE

                             ACT TWO

     FADE IN

     ON MICHAEL

     as the sleek car screeches to a halt at his feet, and the 
     lights to the cavernous room resembling something out of the 
     Kennedy Space Center suddenly blossom, with straight down 
     beams of light on the sleek vehicle.

                               KNIGHT
               Enough, Devon.  You've had your fun
               with your guest.

     Devon climbs out of the car and Michael turns to see Wilton 
     Knight limping forward with his cane.

                               DEVON'S VOICE
               It's not polite to sneak about
               uninvited.

                               KNIGHT
               Be gracious, Devon.  I think an
               explanation is well overdue.

                               MICHAEL
               You're damn right it is.  Now what 
               is all this?  You could throw World
               War III in here without hitting the 
               walls.

                               KNIGHT
               I'm an inventor.  That small jet 
               over there revolutionized corporate
               aviation.

                               MICHAEL
               The Knight 2000.  I know about that.

                               KNIGHT
               I'll bet.  But you don't know about 
               this.  Gentlemen....

     From above, lines pull on the silk cover, revealing beneath
     it in the center of the spotlight, the perfect likeness of 
     Michael's sleek black Trans Am.

                               MICHAEL
               That's my car.

                               KNIGHT
               No, it may look like your car, but in 
               actuality, that vehicle is now probably 
               the most expensive car in the world.

                               MICHAEL
               Come on...What are you talking 
               about?  It's nice body work, but....

     Michael has moved up to the sleek machine.  He pats the 
     fender.  He reacts.

                               MICHAEL
               What kind of paint is this?  It 
               feels like baby skin.

     He looks closely.

                               MICHAEL
               Guys do nice paint work.  Hasn't got 
               a ripple in it....

     He leans in close.

                               MICHAEL
               Like a mirror.  A dentist could use 
               this to drill....

                               KNIGHT
               It isn't paint.  It's a finish
               bonded into the molecular structure
               of a new substance.

                               MICHAEL
               You mean the metal?

                               KNIGHT
               It isn't metal, and it isn't fiber
               glass.  Devon.

     Devon moves forward out of the shadows with a large pinhead 
     hammer.

                               KNIGHT
               Here.  Strike the surface as hard as 
               you can.

                               MICHAEL
               I'm not going to hit my car.  It's 
               beautiful.  If I were another car, 
               I'd be in love.

     Knight smiles.  Takes the hammer himself and raises it 
     high, driving it down.  It bounces off the surface and out 
     of Knight's hand.  Michael stares at the skin of the car in 
     disbelief.

     DEVON

     reacts with alarm as he rushes up to Knight.  Knight appears 
     slightly dizzy.

                               KNIGHT
               No, I'm fine, Devon.  Fine.  I keep
               forgetting I'm not supposed to be 
               doing the work anymore.  I'm
               strictly upper management.

                               MICHAEL
               Mr. Knight, what's with this car?

                               DEVON
               It's quite simple, Mr. Long.  This is 
               a one of a kind car.  It is faster 
               and safer, and stronger than any 
               machine in the world.  It is com-
               pletely operated by microprocessors
               which make it physically impossible
               for it to be involved in any kind of
               collision or mishap, unless specifically 
               ordered by its pilot.

                               MICHAEL
               Pilot?  Don't tell me this thing 
               flies.

                               DEVON
               No.  But it thinks.

                               MICHAEL
               It thinks?  My car thinks?

                               DEVON
               We like to think of it as our car.

                               MICHAEL
               Well, don't get too attached to my
               car.  I'm going to be pulling out of 
               here in the morning and it's going 
               with me.  I'll pay you whatever I 
               can as soon as I get situated.

                               DEVON
               Mr. Knight has a fortune in his 
               car.  There's no way you could ever
               repay him.

                               MICHAEL
               Okay, fine.  I owe you my life.
               Keep the car and replace it...or 
               loan me bus fare.  I've spent three 
               months learning how to walk and talk
               all over again and now I have to 
               leave.

                               KNIGHT
               Prepare the car for him, Devon.

                               DEVON
               But, sir....

                               KNIGHT
               I said, prepare the car.  There's a 
               great deal he'll need to know about 
               it before it's safe for him to 
               drive.  I must go to bed.  I'm not 
               feeling very well.

     Knight turns and starts out of the immense complex.  Devon
     turns a severe look to Michael.

                               DEVON
               You just struck a dying man.

                               MICHAEL
               Hey, listen.  I like that old man.
               I really do.  But it's time to get 
               on with my life.

                               DEVON
               You wouldn't have a life if he 
               hadn't brought you here.  There are 
               people who will still kill you if 
               they find out you're alive.

                               MICHAEL
               But I'm legally dead, remember?  I
               don't even know me with this face.

                               DEVON
               You have no interest in avenging 
               your own death?

                               MICHAEL
               Yeah.  I plan to look up a certain
               little lady and her two playmates.
               But it's going to be in my own way 
               and in my own time.

                               DEVON
               You'd never find them.  We on the 
               other hand are tracking their 
               movements very carefully.

                               MICHAEL
               You know where they are?  Tell me.

                               DEVON
               All in good time.  Tomorrow morning,
               you will arise at six am and I will 
               introduce you to our car.

     Devon turns and leaves.  Michael stares momentarily, then 
     follows after him.

     DAWN ON THE ESTATE

     We hear the roar of a car.

     INSIDE THE WAREHOUSE

     Devon climbs out from behind the wheel and walks to the 
     passenger side and climbs in.

     MICHAEL

     walks up and stares inside at the futuristic panel.

                               DEVON
               Well, don't just stand there with 
               your mouth open.  Get in.

     INSIDE THE TRANS AM

                               DEVON
               Welcome aboard the Knight 2000.

                               MICHAEL
               Hey.  It's still my Trans Am.

     Devon reaches over and touches a panel and a whirring sound 
     snaps on as the dashboard switches from normal to super 
     and the car comes to life.

                               DEVON
               Is it really?

                               MICHAEL
                      (dubiously)
               That's really something.  Well, now
               what do I do?

                               DEVON
               I'd recommend depressing the 
               accelerator as a beginning.

     Michael simply does as he's told.  The results are startling.
     The Trans Am leaps forward with such acceleration that there 
     is no stopping at the door.

     ON THE OUTSIDE OF THE WAREHOUSE-LIKE STRUCTURE (SHOT)

     as the Trans Am fires through it, splintering the door into 
     a million toothpicks.  Suddenly the car screeches to a halt.

     INSIDE THE TRANS AM (SHOT)

                               DEVON
               I'd have preferred you let me open
               the door first, however, no harm has
               been done to the car.

     Michael jumps out and rushes to look at the front of the 
     car, then slowly moves back and reenters the vehicle.

                               MICHAEL
               There's not a scratch on it and that
               door is made out of metal.

                               DEVON
               You were told that the new alloy is
               virtually indestructible.

                               MICHAEL
               Yeah?  Well, you also said that this 
               machine couldn't have a collision.

                               DEVON
               Not if that system is operable.  But
               first you have to turn it on.

     Devon simply reaches over and touches another heat sensitive
     switch on the dash.

                               MICHAEL
               Now you're telling me I can't hit
               anything?

                               DEVON
               Trust me.

                               MICHAEL
               I'll never trust anybody again.

     Michael floors the car and aims for the edge of the property.  
     A security guard tips his cap to Devon and opens the gate in 
     time for the Trans Am to streak off the grounds.

     OUT ON THE HIGHWAY - DAY (SHOT)

     The Trans Am roars along.

                               MICHAEL
               I'm warning you.  I'm going to put 
               this thing to the test.

                               DEVON
               Be my guest.

     ON A SEMITRUCK AND TRAILER (SHOT)

     moving up the highway...panning back we see the Trans Am 
     moving up rapidly behind it.

     INSIDE THE TRANS AM (SHOT)

                               MICHAEL
               I can't believe this.  I'm playing 
               chicken with a ten-ton semi....

                               DEVON
               I believe the expression is, 'Keep 
               the pedal to the metal.'

     ON THE TRANS AM (SHOT)

     as it races up and suddenly turns, passing the truck.

     BACK INSIDE THE TRANS AM (SHOT)

                               MICHAEL
               The car just drove around the 
               truck...it steered itself.

                               DEVON
               The microprocessor deduced that you
               were making one counter to your best
               interests.  It had two options.
               Slow the car down, or maneuver 
               around the obstacle.

                               MICHAEL
               Okay, so why did it steer around the
               truck instead of slowing down?  That 
               would have been much safer.

     Devon looks pained.  He doesn't answer right away.

                               MICHAEL
               Come on...come on...I think I just 
               found a flaw in your perfect machine.

                               DEVON
               It isn't a flaw...It's just that....

                               MICHAEL
               Yeah....

                               DEVON
               It's showing off for you.

     Michael's head snaps around to look at Devon.

                               MICHAEL
               What?

     He brings the car to a halt.

                               DEVON
               Don't blame the machine.  Actually I 
               had a part in it.  I'm afraid I've 
               allowed you to annoy me.  I could 
               have set the anticollision system 
               for any one of several conditions.

                               MICHAEL
               Such as?

                               DEVON
               Such as actual road driving, pursuit, 
               or....

                               MICHAEL
               Yeah?  Or....

                               DEVON
               The car can react to a complex 
               network or stimuli that are a little 
               too advanced to explain to you all 
               at once.  Suffice to say it can 
               drive itself, under certain required 
               conditions.

                               MICHAEL
               Oh, great.  You mean it can decide
               to take off and go for gas, or a car
               wash.  Just like that.  Be great if
               you happen to be working under it at
               the time.

                               DEVON
               It wouldn't do anything to harm you,
               I assure you.  Its primary function
               is in the preservation of human life.
               Your life.

                               MICHAEL
               By me, you mean anyone driving this
               thing.

     Devon takes a long pause, and a deep breath, continuing to
     stare straight ahead.

                               DEVON
               No, actually I mean you.  Michael
               Arthur Long.  Soon to be Michael
               Knight.

     Michael stares at Devon long and hard.

     EXT. ROAD - DAY

     A deserted highway in the desert as the Trans Am races 
     past at a speed approaching two hundred miles an hour.

     INSERT - A DIGITAL SPEEDOMETER (SHOT)

     as it passes two hundred.

     ON MICHAEL

     as perspiration runs down his temples.  Slowly he brakes the
     car and comes to a complete halt.  He turns to Devon.

                               MICHAEL
               Okay.  It wins.  I chickened out 
               first.  What's the high end?

                               DEVON
               You don't want to know.

                               MICHAEL
               It's time for another talk with 
               Mr. Knight.

                               DEVON
               I was hoping you'd feel that way.

     INSIDE THE MANSION (SHOT)

     Doctor Miles exits a room, appearing quite grave.

                               MILES
               You'd better go right in.

     ACROSS KNIGHT IN BED TO THE DOORWAY

     through which Michael and Devon enter.  They cross to his
     bedside.  Knight's eyes are closed.  It appears that they 
     are too late.

                               MICHAEL
               We're too late.

     Knight's eyes open.  They shift to Devon and Michael.

                               KNIGHT
               Almost.  What kept you?  Car not 
               fast enough?

                               MICHAEL
               The car's fantastic.  It ought to make 
               you another fortune.

     Knight grimaces with pain.  He coughs.

                               KNIGHT
               Another fortune is not one of my
               more urgent problems.  That car is 
               not yet ready to go public.  It has 
               a more immediate mission.  I have 
               plans for that car.  Plans that 
               should interest you greatly.

                               MICHAEL
               Like how?

     Knight starts to reply but is interrupted by more coughing.

                               DEVON
               Perhaps I can explain more easily,
               sir.

     Knight nods weakly.

                               DEVON
               It was no coincidence that we 
               happened to be there the night 
               you were shot.  You see we were 
               following Tanya Walker, looking 
               to catch her in possession of enough 
               evidence to put her and her friends 
               away for a long time.

                               MICHAEL
               Don't tell me she took Knight 
               Industries, too?

                               KNIGHT
               For a couple of million dollars 
               worth of designs.  And as smooth an
               operation as I've ever seen.

                               MICHAEL
               So that's why I'm here.  You were 
               going to use me to get them.

                               DEVON
               Let's say rather, that we were 
               considering allowing you to use us
               and the Knight 2000 to get them.

                               KNIGHT
               This is no time for quibbling,
               Devon.  Michael, we have a common 
               cause here.  To put Tanya and her 
               friends away.  Common sense dictates
               that we work together -- I mean that 
               you and Devon work together on this. 
               Agreed?

                               MICHAEL
               We do it my way?

     Devon starts to bristle but Knight cuts him off.

                               KNIGHT
               Your way.

                               MICHAEL
               You got yourself a deal.

                               KNIGHT
               Thank you, Michael.  But Tanya is 
               only a beginning.  There's much more 
               to be done.  Much more that you can
               do for me.  You see Michael, I want 
               to live on through you.

                               MICHAEL
                      (pauses,
                       contemplating 
                       his words)
               Mr. Knight...I can't stand here at a
               time like this and lie to you...I
               just don't know if....

     Michael stops in midsentence as he sees a frail hand 
     extended towards him.  He looks from the hand to the face of 
     Wilton Knight.  There is a small smile on his face.  

     MICHAEL

     fights off emotion as he reaches out and takes the hand.

                               KNIGHT
               My adventure has ended, and yours has 
               just begun.

     KNIGHT

     seems to relax, his eyes slowly closing out the visitors.  
     His smile fades to a look of peace.

     ON MICHAEL

     as he looks down at the limp hand in his own.  He places it 
     at Knight's side.

     IN A SPRAWLING, LUSH GREEN CEMETARY

     A large number of people are in attendance of Wilton Knight's 
     funeral, including some television news teams.

                               REPORTER
                      (speaking 
                       in a hush)
               And so the end comes for another
               American pioneer whose life was
               dedicated to bucking the system and 
               proving that the individual can 
               still fulfill the American dream.  
               Wilton Knight, dead at the age of 
               eighty-one.

                               MINISTER
               Ashes to ashes, dust to dust, amen.

     Michael Long turns and walks out of the crowd of mourners.  
     Devon Shire whispers something and tosses a flower onto the 
     grave.

     ON MICHAEL AND DEVON

     as Devon catches up to him.

                               DEVON
               Don't walk so fast.  I'm an old man.

                               MICHAEL
               Sorry...But I've got places to go.

                               DEVON
               Typical.  You can't wait to go into
               action and you haven't got a clue as
               to where to start.

                               MICHAEL
               And I suppose you do?

                               DEVON
               Of course.

     Michael stops in his tracks.

                               DEVON
                      (continuing)
               Tanya's working in what they call
               Silicon Valley.  Probably the 
               wealthiest four-mile strip of space
               age industry in the world.  She's 
               managed to promote herself into a 
               job as executive assistant to Will
               Benjamin, the president of COM TRON,
               one of the really big operations.

                               MICHAEL
               I've heard of Silicon Valley.  It's
               where they make all those microchips.
               A perfect target for her kind of 
               operation.

                               DEVON
               My thoughts exactly.

                               MICHAEL
               Well if Tanya is in Silicon Valley,
               that's where I'm going.  Now...Today.

                               DEVON
               I forbid it.  We haven't worked out 
               a game plan.

                               MICHAEL
               You can't forbid it.  That wasn't 
               the deal.  Besides you work out the 
               game plan and tell me about it later.

                               DEVON
               I had a feeling this wasn't going to 
               be easy.

                               MICHAEL
               Easy's not the point.  Winning is.

     He starts off then suddenly stops and turns back.

                               MICHAEL
               What did Mr. Knight mean when he 
               said that Tanya is only a beginning?

                               DEVON
               I was hoping you might have for-
               gotten.
                      (sighs)
               Mr. Knight left the bulk of his 
               fortune to the Knight Foundation of
               which I am the Executive Director.

                               MICHAEL
               The Knight Foundation?

                               DEVON
               For law and justice.  The major part 
               of our activity involves legal 
               research, class action environmental 
               suits, etc. etc. and are calculated
               to change and improve the law 
               through evolutionary and academic
               processes.

                               MICHAEL
               Very interesting, but what's that 
               got to do with me?

                               DEVON
               Absolutely nothing, of course.  But 
               Mr. Knight did have one obsession.
               One with which I strongly disagreed 
               and still do.

                               MICHAEL
               Then it must be a real winner.

     Devon sighs in frustration.

                               DEVON
               Mr. Knight believed that there were 
               and would be situations in which 
               direct intervention, direct action 
               might provide the only feasible
               solution.  That's what the Knight 
               2000 was designed for.  The pilot 
               project is to consist of one man and 
               one car.

                               MICHAEL
               And I'm supposed to be that man?

                               DEVON
               By an unfortunate coincidence, you
               used a phrase in talking to Mr. Knight 
               which, in essence, summed up his 
               philosophy on this particular
               project.

                               MICHAEL
               You know, I don't even remember what 
               I said.

                               DEVON
               You said, and I quote, 'that one man
               could make a difference'.  I'm 
               afraid that -- to put it in terms
               that you can relate to -- that it 
               blew his mind.

                               MICHAEL
               And so he picked me for the project?
               That's pretty heavy, Devon.  I just
               don't know if....

                               DEVON
               Think about it, Michael.  Think
               about it while you're chasing after
               Tanya and her friends.

                               MICHAEL
               I'll do just that.

                               DEVON
               Good.  And what will sustain me in 
               the days to come is the happy 
               thought that you'll decide to pass.

     As Michael reacts:

                                              DISSOLVE TO

     ON THE TRANS AM PARKED IN FRONT OF THE MANSION

     Michael is looking as a registration slip on a visor.

                               MICHAEL
               Michael Knight?

                               DEVON
               Michael Long is dead.  Remember 
               that.  You wouldn't want to die
               by using it a second time.

                               MICHAEL
               No, once was plenty, but how do I 
               suddenly....

     Devon extends a wallet to Michael.  He flips it open.

                               MICHAEL
               A driver's license...credit cards....

                               DEVON
               All according to Mr. Knight's orders.

                               MICHAEL
               I'm glad you're so devoted, Devon.
               It'll save us both a lot of energy.

                               DEVON
               You're a primitive, Mr. Lon....

     Michael holds up a finger as if to say...ah, ah, ah....

                               DEVON
               ...Mr. Knight.  Quite predictable.

                               MICHAEL
               You think the old man was pretty 
               smart.

                               DEVON
               A certifiable genius.

                               MICHAEL
               Then get off my back.  He must've 
               known what he was doing when he 
               picked me.  I'll be on my way now.

     Michael fires up the car.

                               DEVON
               Wait...there are countless more
               things about the vehicle to explain 
               to you....

                               MICHAEL
               I'm a fast study.  I'll pick things 
               up as I go along.

                               DEVON
               That's very foolhardy and quite 
               unnecessary.  Time is not that much
               of the essense.  Tanya isn't going 
               anywhere yet.

                               MICHAEL
               If I followed your logic, I'd just
               sit back and let her die of old
               age.  Good-bye and thank you, 
               Devon.  I want you to know I'm kind 
               of getting to like you.

                               DEVON
               What?

                               MICHAEL
               Never mind.  What does it mean,
               anyway.  Coming from a primitive 
               like me.

     Michael gives Devon his best cocker spaniel bark...rolls up
     the window and floors it.

     ON DEVON

     as he simply watches the car race off in a cloud of rubber
     smoke then looks skyward as if he were the star of a Xerox
     commercial.

                               DEVON
               Wilton...He's everything you said he 
               was.  What have you gotten me into.

                                              FADE OUT

                         END OF ACT TWO

                            ACT THREE

     FADE IN

     OMITTED

     ON BEAUTIFUL NORTHERN CALIFORNIA (SHOT)

     lush and green as we helicopter a shot of the Trans Am 
     cutting up a long, nearly empty highway.

     ON A SIGN (SHOT)

                      SAN FRANCISCO  241 Miles
                      MILLSTON       171 Miles

     INSIDE THE TRANS AM

                               MICHAEL
               One hundred seventy-one miles to
               Millston.  I wonder why they call
               it Silicon Valley?

     Suddenly a voice resembling the voice of Hal, the computer in
     2001, begins a low drone.

                               K.I.T.T.
               Silicon Valley, the home of over a 
               hundred small companies specializing
               in microelectronics.

     The car suddenly screeches to a halt.

                               MICHAEL
               What the hell was that?

     Michael scans the dash.

     CLOSE ON A FLASHING LIGHT

     marked:  K.I.T.T.

     MICHAEL (SHOT)

     pushes the light.  The voice resumes.

                               K.I.T.T.
               Do you wish further information on
               Silicon Valley?

                               MICHAEL
               Hell, no.  I want to know who you 
               are and how you're listening in.

                               K.I.T.T.
               There's no reason for increased
               volume.  I am scanning your 
               interrogatives quite satifac-
               torily.  I am the voice of the
               Knight Industries 2000's micro-
               processor.  K.I.T.T. for easy 
               reference.  Kitt if you prefer.

                               MICHAEL
               I don't prefer and what's more I do
               not intend to drive around in a car
               that talks back to me.  So, either
               Devon pulls your plug, or you get
               yourself a new driver.

                               K.I.T.T.
               Unfortunately, I am not programmed
               to overrule your wishes.

                               MICHAEL
               Oh, that's real good to hear,
               because I don't want to hear another
               peep out of you, until I can get a
               call off to Devon.  So clam up
               so I can listen to some good music.
               And don't offer any suggestions.
               I'll choose my own.

                               K.I.T.T.
               As you wish, Mr. Knight.  But, since
               I sense we are in a slightly irritable
               mood caused by fatigue...may I suggest
               you put the car in the auto cruise
               mode for safety's sake.

                               MICHAEL
               No, you may not.  And that's final.
               Good night.

                               K.I.T.T.
               Good night.

     ON MICHAEL (SHOT)

     as he punches up a radio button and music fils the car with
     a hard-driving beat.

                               MICHAEL
                      (mumbling)
               Can't believe it.  Car starts 
               talking to me.  This machine has got
               to go.

                                              SLOW DISSOLVE THRU

     TO ANOTHER AREA OF THE HIGHWAY - DAY (SHOT)

     The Trans Am is speeding along to the sounds of different 
     music.

     ON MICHAEL (SHOT)

     as we see him fighting off sleep.

                                     ANOTHER SLOW DISSOLVE THRU TO

     THE TRANS AM (SHOT)

     in still another part of the highway.  Underscored by new 
     music from the radio.

     ON MICHAEL (SHOT)

     as his head nods, falling back against the headrest and 
     slightly cocked to one side.  He is now sound asleep.

     CLOSE ON K.I.T.T.'S FUTURISTIC INSTRUMENT PANEL

     as we hear a beep and see two lights exchange positions.

     INSERT ON THE LIGHTS (SHOT)

     A flashing light reading "NORMAL CRUISE" moves from the 
     flashing stage to simply illuminated, while the light next 
     to it which has been illuminated to read "AUTO CRUISE" 
     begins to flash indicating that it is now activated.

     ON THE TRANS AM (SHOT)

     as it begins to maneuver around a corner, neatly and safely.

     OMITTED

     INSERT - CLOSE ON K.I.T.T.'S FUTURISTIC INSTRUMENT PANEL

     A single light flashes and we see the car wheel turn 
     slightly and move over, the speed coming down.  Michael 
     continues to sleep.

     OMITTED

     A POLICE CAR (SHOT)

     as it races out across the double line and speeds up to pass.

     ON DEKE AND KYLE (SHOT)

     as they pass the car.

     POINT OF VIEW OF THE TRANS AM (SHOT)

     with Michael cuddled against the window, sound asleep.

     BACK INSIDE THE POLICE CAR (SHOT)

                               KYLE
               Did you see what I saw?  That man is
               plumb asleep at the wheel.

                               DEKE
               Well slow down and get his attention.
               He ain't gonna make Dead Man's Curve
               up ahead.

     THE POLICE CAR (SHOT)

     slows down until it is driving parallel to the Trans Am.  
     The police car's horn begins to honk incessantly.  They flip 
     on the intersection bleeper which sounds like a destroyer 
     bearing down on a submarine.

     MICHAEL (SHOT)
 
     remains dead to the world.

     BACK IN THE POLICE CAR (SHOT)

     Kyle looks up ahead with fright.

                               DEKE
               Kyle, drop back.  He ain't gonna
               make that curve and he'll take us
               right along with him.

                               KYLE
               He's deader 'n a doornail...but you              
               can't say we didn't try.

     THE POLICE CAR (SHOT)

     drops back behind the Trans Am.

     POINT OF VIEW OF THE TRANS AM (SHOT)

     as it negotiates Dead Man's Curve perfectly.

     ON THE TWO POLICEMEN (SHOT)

     as they exchange incredulous looks.

     ON THE TRANS AM (SHOT)

     as it continues to snake down a winding road leading to the 
     valley below.

                               KYLE
               That boy woke up just in time.

                               DEKE
               Probably drunk as a skunk.  Let's 
               pull him over.

     Once again the police car pulls alongside the Trans Am on 
     the winding road.

     POINT OF VIEW OF THE TRANS AM (SHOT)

     with Michael sleeping soundly, a smile on his face.

     THE TWO POLICE OFFICERS (SHOT)

     exchange incredulous looks.

     OMITTED

     INSIDE THE TRANS AM (SHOT)

     The radio dial turns down to be replaced by a beeper not 
     unlike a wake-up call.

     ON MICHAEL (SHOT)

     as he stirs, his sound sleep jarred by the change in 
     environment, first the comparitive silence from the dimming 
     radio, then the beeper...then the ungodly siren, horn 
     blaring and screaming policemen.

                               MICHAEL
               What in the....

     Michael looks back.

                               MICHAEL
               Oh oh...What'd I do?...

                               K.I.T.T.
               Deny everything.

     INSERT - THE DASHBOARD

     as Michael switches it from super to normal.

     THE TRANS AM (SHOT)

     pulls over, the police car moving to a stop behind it.  
     Michael is digesting that as the officers both come forward, 
     each with a hand on his gun.

                               DEKE
               Okay...Out....

                               K.I.T.T.
               If I may suggest.  Deafness is always
               a good approach to law enforcement
               officers.

                               MICHAEL
               You shut up.  I'll handle this.  You
               were probably weaving all over the 
               road.

                               K.I.T.T.
               On the contrary.  You couldn't have
               driven better.  I might also suggest
               you display a slight kink in your
               neck since you were driving with
               your head against the window.

                               MICHAEL
               Aah -- terrific.  Why didn't you
               warn me?

                               K.I.T.T.
               You told me to keep quiet.

                               DEKE
               Who's he talking to?

                               KYLE
               Nobody.  This boy's a hard-core alky.

                               DEKE
               Did you hear me?  I said, out, or
               you'll spend the night in jail.

     ON MICHAEL (SHOT)

     as he moves his lips without sound coming forward and points
     to his ears with one hand as he rolls down the window with
     the other.

                               KYLE
               That's better.  Out.  Get the
               balloon, Deke.

                               MICHAEL
                      (loudly)
               I'm sorry, officer, but can you 
               speak in sign language, or slightly
               slower.  I haven't quite gotten lip
               reading down, yet.

                               KYLE
               You mean you can't hear?

                               MICHAEL
               Could you talk louder, into this ear.

     Michael climbs out and turns his other ear, bending over 
     slightly for the officer, his head kinked to one side like a 
     permanent injury.

                               KYLE
               You mean you're deaf?

                               DEKE
               That explains everything.  I told 
               you nobody could drive that smooth
               if he was drunk...and we can get
               home without spending the whole 
               night booking him.

                               MICHAEL
               What?

     Michael is yelling.  So do the officers in return.

                               KYLE
               He said...Never mind.  Go on your
               way.  Sorry to bother you, but watch
               your rearview mirror from now on.
               We've been flashing you for miles.

                               MICHAEL
               Yes, sir.  I'll do that.

     The officers walk back to their car, climb in and drive off 
     as Michael watches them, then climbs into the car.

                               K.I.T.T.
               You're welcome.

     Michael burns, shoves the car in gear and drives off.

     EXT. MILLSTON - DAY - ESTABLISHING

     ON A LARGE MODERN MANUFACTURING PLANT - DAY

     A large logo reads:

                         COM TRON

     ON THE TRANS AM - DAY

     as it cruises to a stop across the street from the plant in 
     time to see a number of people, including several very 
     attractive young ladies, cross the street and enter a lively
     looking establishment called the House of the Rising 
     Sun...with subneon lights in script proclaiming sushi, 
     disco dancing, and motel accommodations.

                               MICHAEL
               House of the Rising Sun.  This looks
               like a good place to pick up on the
               local scene.

                               K.I.T.T.
               Saloons usually are.

                               MICHAEL
               How would you know?

     Michael pulls into the parking lot.

                               K.I.T.T.
               Social gathering places where 
               alcoholic beverages are consumed in 
               quantity can create a causative 
               environment in which indiscretion 
               becomes commonplace.  Just remember 
               you're there to listen, not to talk.

     Michael flares up, pounding the dash as he climbs out.

                               MICHAEL
               That's it.  When a car starts telling
               me how much to drink I've had it.

     Three girls have paused in the doorway to take note of 
     Michael's outburst.  Michael slams the door and storms away,
     mumbling under his breath.

                               MICHAEL
               Should have gotten rid of you before I
               turned you on...Now I can't shut you up.
                      (arrives at 
                       the door)
               Evening, ladies....

     They give him a weird look as he passes them and enters....

                               DORIS
               Some guys sure start their belting
               real early.

     SALLY - DAY

     is possibly the prettiest of the three girls but it's almost 
     a toss-up between three tens.

                               SALLY
               He isn't our problem.  Those guys
               are.  Let's stick to business.

     The girls look back to see the three young men crossing from 
     the plant, wearing three-piece suits and laughing amongst 
     themselves.  The girls enter the House of the Rising Sun.

     INSIDE THE LIVELY DISCO

     Michael sits alone at a corner table.  The booths are taken 
     up by boisterous people enjoying themselves with ample 
     rounds of libation.  Michael is eyeing a corner booth.

     AT THE BOOTH

     The three girls who entered the restaurant with Michael are 
     now well-ensconced with the three young executives who 
     entered just behind them.  Two of them are getting extremely 
     friendly.  A few kisses don't go unnoticed as Sally, 
     remaining aloof from the public display of affection, 
     casually glances over at Michael with sober curiosity.  
     Michael stares back.  Sally appears interested, but is cut 
     off as Maggie, a young waitress, interrupts the cross-room 
     romance.

                               MAGGIE
               Your tab's starting to get up
               there.  I'll need a credit card.

     Michael glances up.

                               MICHAEL
               Sure.  Uh.  Do you know those people 
               in the corner booth?

     Maggie looks over at them.

                               MAGGIE
               Lemme do you a favor.  Unless you
               like waking up sucking dirt, don't 
               get interested in anyone at that
               table.

                               MICHAEL
               It wasn't anyone at the table I was
               curious about.  It's someone else.
               I noticed they all came across the 
               street from Com Tron.

                               MAGGIE
               Yeah?

                               MICHAEL
               Well, I'm trying to look up an old 
               friend of mine who works there.  I 
               thought she might be able to help me.

                               MAGGIE
               I used to work there.  Who's the
               friend?

                               MICHAEL
               Tanya Walker.

     Maggie's half-patient stare turns bitterly sour.  She 
     suddenly takes the fresh beer on her tray and pours it into 
     Michael's lap.  He jumps to his feet.

                               MICHAEL
               Hey...What's a matter with you....

                               MAGGIE
               That's what I think of friends of
               Tanya Walker.

     SALLY

     is frozen on the outburst across the room.  Catching 
     snatches of it, she watches as a Manager rushes up.

                               MANAGER
               What happened here?..Oh, look at
               your pants, what a terrible accident.

                               MAGGIE
               It wasn't an accident.

                               MANAGER
               Maggie, this is the last time I put 
               up with your discourtesy.  You may
               as well punch out.  When you finish 
               up.  You're fired.

                               MICHAEL
               Hey, that's not necessary.

                               MAGGIE
               Shut up, jerk.  Go hang out with
               those Com Tron bums.  I fight my own 
               battles.

     She shoves a tray with drinks into the Manager's gut in a 
     way he can't possibly handle.  Three more drinks come 
     tumbling down onto Michael.

     MICHAEL 
 
     watches as Maggie hustles into the kitchen.  He is obviously
     determined to continue the discussion.

                               MICHAEL
               I think I'll leave before something 
               else comes down on me.

     He rises giving special attention to Sally who is eyeing 
     his every move.

     OUTSIDE THE DISCO - DAY

     As Michael heads towards the car...Sally appears in the 
     doorway behind him.

                               SALLY
               I heard you mention Tanya Walker.
               You a friend?

                               MICHAEL
               You're not going to throw anything
               at me, are you?

                               SALLY
               Why should I?  She's a friend of 
               mine, too.

                               MICHAEL
               You know how I might get in touch 
               with her?

                               SALLY
               I'm afraid she's seeing someone.

                               MICHAEL
               I'm not interested in her body.  I'm
               interested in her money.

                               SALLY
               Come again?

                               MICHAEL
               I've got something to sell.  Some-              
               thing rather valuable.

                               SALLY
               Like what?

     Michael looks both ways.

                               MICHAEL
               That's between me and her.

                               SALLY
               Who shall I tell her inquired?

                               MICHAEL
               Tell her an old friend.

     Michael smiles and climbs into his car as she hurriedly 
     scribbles down the license number.

     EXT. COM TRON - DAY - ESTABLISHING

     IN AN INNER OFFICE

                               SYME'S VOICE
               Security.  Symes, speaking.

     A man turns around in his chair and we recognize him as the
     uniformed security guard who participated in the Nevada 
     desert shootings.

     TO INTERCUT WITH TANYA IN AN EXECUTIVE OFFICE

     Plush furnishings and pools of light.  Tanya is in one of 
     them.

                               TANYA
               This is Tanya.  Someone just came to
               town asking about me.  Let me give
               you a car and license number.
                      (refers to 
                       a note pad)
               A new black Trans Am with Nevada
               plates and the lettering, K N I G H T.

                               SYMES
               Got it.  If it's another cop we'll 
               handle him like the last ones.

                               TANYA
               Exactly what I had in mind.

                               BENJAMIN
               Who're you calling, love?

     She reacts to a pair of arms being placed around her from 
     behind.  Warmly she turns into Will Benjamin's embrace.  He 
     is forty-five, in good shape and reasonably handsome.

                               TANYA
               Just our people in Security.  As
               president of this company you're an
               irreplaceable asset and I want
               to make sure you're safe tomorrow.
               You know how I worry about you out
               in public.

                               BENJAMIN
               Nothing's going to happen to me.

                               TANYA
               Darling, in this day and age, there
               are all kinds of people out there in
               the world, who'd like to get their 
               hands on a rich man like you.

     She kisses him fully and we push into her eyes which open
     diabolically as she rests her chin on his shoulder.

                               TANYA
               Just be grateful you have me to look
               out for your best interests.

                                              FADE OUT

                        END OF ACT THREE

                            ACT FOUR

     FADE IN

     ON THE TRANS AM - NIGHT

     sitting parked in the shadows at the back door of the disco 
     bar.  Maggie exits carrying her clothes and other belongings 
     that might be appropriate for someone who just cleaned out 
     their locker.  Michael watches as she moves to an old VW.  
     He starts his car and moves up behind the vehicle.

                               MICHAEL
               Maggie.

     Maggie spins around.

                               MAGGIE
               Get lost, I warn you I've got a
               purse full of mace.

                               MICHAEL
               I stayed in my car so I wouldn't
               alarm you.

                               MAGGIE
               Well, ain't you the David Niven.

                               MICHAEL
               Look, I'm sorry about what happened
               in there.  But you misunderstood.
               I'm not a friend of Tanya's.  I just
               need to find her.

                               MAGGIE
               Who cares.  Not me.  She and that
               group of parasites have taken away
               everything I had...my husband...my
               job...my house.  I can't even afford
               decent clothes for my kid.

     She starts into her car.  The Trans Am blocks any chance of 
     her backing out....

                               MAGGIE
               Hey...out of my way, or I'll put a 
               dent in the middle of that machine.
               I mean it.

                               MICHAEL
               If it'll make you feel better.

                               MAGGIE
               You asked for it....

     She floors her car and it backs into the Trans Am with a 
     resounding crash.  Her bumper falls off.  Michael jumps out 
     of the car and moves to the back of hers....

                               MICHAEL
               I'll pay to get this fixed for you.

     Maggie is looking at her car and at his.

                               MAGGIE
               How can I go through life with luck
               this bad?  I plow into your door and
               my bumper falls off.

                               MICHAEL
               Let me help change your luck.

                               MAGGIE
               Just leave me alone.  I just lost
               the last job I'll ever get in this 
               town. 

                               MICHAEL
               What if Tanya and her crew could be
               run out of Millston?

     She looks at him and starts to laugh.

                               MAGGIE
               Don't tell me.  You're about to hand
               me a silver bullet.

                               MICHAEL
               Just a chance to get even.

                               MAGGIE
               For what?  How much do you know
               about what's going on here?

                               MICHAEL
               Not enough.  I was hoping you could 
               tell me what I need to know.

                               MAGGIE
               To do what?

                               MICHAEL
               One step at a time, Maggie.  Will 
               you help?

     She studies him.

     ON THE SILICON VALLEY STRIP - NIGHT

     A colorful assortment of lights from restaurants, motels,
     nightclubs, etc....

                               MAGGIE
               It's a regular boom town.  There's
               more money flowing through this
               valley now than there was during the
               California Gold Rush.

     THE TRANS AM - NIGHT

     moves easily up the strip, the colorful lights dancing off 
     of the diamond-finish black paint.  The dashboard is in 
     normal configuration.

                               MICHAEL
               Must be one big party....

                               MAGGIE
               Try and find a place to live at a 
               decent price.  We've got every 
               shill, con man, or dreamer in the 
               world here to sell something to 
               people who don't even care if they
               get taken.  They're that wealthy.

                               MICHAEL
               This is where they perfected the 
               micro chip.

                               MAGGIE
               Yeah.  Every calculator, every
               electronic kid's game.  They were 
               all born right here.

                               MICHAEL
               What about you?  How do you fit into
               Silicon Valley?

                               MAGGIE
               My husband came here to take a job
               as head of security and Com Tron.

                               MICHAEL
               It didn't work out?

                               MAGGIE
               It worked out great until the pres-
               ident got a new executive assistant.
               You wouldn't believe her.  She
               started as a fill-in girl and worked
               her way to the top inside of three 
               months.

                               MICHAEL
               Her name wouldn't be Tanya Walker?

     Maggie shoots him a look.

                               MAGGIE
               You're just pumping me.  You know 
               all there is to know.

                               MICHAEL
               Is Tanya all there is to know?

                               MAGGIE
               Hey, before she rode that flashy 
               tail of hers to the top, Com Tron
               was one happy family.  Then she
               started making wholesale changes.

                               MICHAEL
               Your husband was fired?

                               MAGGIE
               That wasn't the worst of it.  He
               couldn't accept what was going on.
               He started poking into things.  One
               night he didn't come home.

                               MICHAEL
               He disappeared.

                               MAGGIE
               They found him dead in a gulley.
               Said he'd been drinking.  He didn't
               drink.  Not even beer.

                               MICHAEL
               How'd they make that stick?

                               MAGGIE
               Witnesses.  Half a dozen truck
               drivers who hang out in that place
               where I work.  All animals who work
               for Com Tron.

                               MICHAEL
               You wouldn't have taken that job to
               find some answers?

                               MAGGIE
               I took the job to feed our little
               boy.  This is where I live.  What 
               else do you want to know?

     Michael pulls to a stop.

                               MICHAEL
               Everything.

                               MAGGIE
               Well, in that case I guess you
               better come on in.

     EXT. APARTMENT - NIGHT

     as they get out of the car and enter the building.

     INT. MAGGIE'S APARTMENT - NIGHT

     It's neat, clean and cheap.  As they enter:

                               MAGGIE
               I'll just see if Buddy's okay.

     She exits to bedroom as Michael idly wanders around the room
     for a beat until she reenters.

                               MICHAEL
               Look.  If I wanted to talk to Tanya, 
               alone, where would I go?  The plant, 
               her apartment...?

                               MAGGIE
               Forget it.  I think she's staying at 
               Benjamin's estate.

                               MICHAEL
               William Benjamin?

                               MAGGIE
               He owns Com Tron.  She rarely leaves
               his side.  Now you go to sleep.

     Michael seems to sink.

                               MAGGIE
               Wait a minute!  Tomorrow's one day
               she and the old man have to go out.
               Com Tron is sponsoring a charity
               show out at the track.

                               MICHAEL
               The track?

                               MAGGIE
               A demolition derby for charity.  My
               kid wanted to go.  Ya see, in Silicon
               Valley, they have so much money, 
               they don't use junkers.  Every plant
               is putting up a brand new car.  
               People are eating it up.

     Michael seems to be lighting up....

                               MICHAEL
               Can anyone enter?

                               MAGGIE
               Come on.  Who can afford to get his
               brand new car totalled out?

     Michael nods....

                               MICHAEL
               Tell your son, I'll be by to pick
               you both up at ten o'clock.

                               MAGGIE
               You mean we get to watch it?

                               MICHAEL
               You two get to watch.  I'll be in
               it.

     On her face as her mouth drops open.

     AT THE AUTO RACING TRACK - DAY

     A carnival of activity as beautiful new cars from various 
     electronic manufacturers in the famous valley, proudly bear 
     their company logos and are being serviced by teams each 
     utilizing the same semi truck and trailer rigs furnished by 
     Com Tron and each bearing its logo and stripes.

     ON THE TRANS AM

     as it pulls into the area.

     INSIDE THE TRANS AM

     Michael is behind the wheel.  Maggie is beside him wearing 
     shorts and a halter.  Her nine-year-old son is in the back.  
     The dash is in normal.

                               BUDDY
               Wow, it's better than an auto show!

                               MAGGIE
               Better take 'em in while you can,
               Buddy.  There won't be much left of 
               them after the race.

                               MICHAEL
               Why all the trucks from Com Tron?

     She turns to Michael.

                               MAGGIE
               Because they're sponsoring the race
               and providing the drivers.  You
               aren't really thinking of entering
               your beautiful car?

                               MICHAEL
               It's for charity, isn't it.

                               MAGGIE
               It's also for people who can afford 
               it.  I can't figure out why you're 
               doing this.

                               MICHAEL
               I have my reasons.

                               MAGGIE
               You're a strange man.  Nice...but
               strange.

                               MICHAEL
               Thanks.
                      (beat)
               Well, let's at least get you some
               good seats in the owner's row....

                               MAGGIE
               Me?  In the owner's row.  That'll
               frost 'em.

     AT A CREDENTIAL BOOTH

     Tanya is seated with several other girls as Michael moves 
     up, opening his wallet.

                               MICHAEL
               I understand this is where I check
               in, Tanya.

                               TANYA
                      (looking at 
                       him curiously)
               I beg your pardon.

                               MICHAEL
               I'm Michael Knight.

                               TANYA
               You're the one who phoned.  Then you
               were serious about entering your car?

                               MICHAEL
               Dead serious.

                               TANYA
               Well, your car serves as the entry
               fee.  You'd better not plan on
               getting much of it back.  There is a
               nice trophy to the winning car and
               the driver gets a five-thousand-
               dollar prize.

                               MICHAEL
               That's nice.  I'll give the prize 
               money to the charity.

                               TANYA
               You're very confident.  You know I
               should warn you that most of these
               Com Tron drivers are professionals
               and a little too eager for the
               driver's money.  It could be dan-
               gerous.

                               MICHAEL
               These days what isn't?

     A beat as she worries about the implications of his words.

                               MICHAEL
               By the way, did anyone mention the
               fact to you that I was in town?

                               TANYA
               As a matter of fact, yes.  But I
               didn't understand the message and I
               don't deal with salesmen.

                               MICHAEL
               You don't know what I'm selling.

                               TANYA
               It wouldn't matter.

                               MICHAEL
               Want to bet?  After the race, you'll 
               be looking for me.  I guarantee it.

                               TANYA
               Mr. Knight.  I'm not sure I can accept
               your entrance into this race without
               proper credentials.  Who are you?
               Where are you from?  Why are you here?

     As she studies him Benjamin moves up.

                               BENJAMIN
               Come on, Tanya...Let's go, let's go...The 
               crowd's a waiting.

                               MICHAEL
               You must be Mr. Benjamin.  I sure do
               admire your charity work here, and
               I'm sure glad to do my little part.

     Michael has his hand out and is pumping Benjamin's like he's
     attempting to pull water out of a dry well.

                               BENJAMIN
               Doing your part?

                               MICHAEL
               I guess I'm the only independent
               driver in the race.  But it's still
               an honor.

                               BENJAMIN
               We don't use jalopies in this race,
               Mister...?

                               MICHAEL
               Knight...And my car's no jalopy...You
               can see for yourself.  She's brand
               spanking new.

                               BENJAMIN
               Well, you are a generous man.  You
               make sure the crowd appreciates his
               gesture, Tanya.

     Tanya eyes Michael coldly....

                               MICHAEL
               Oh, and I'll need a couple of seats 
               in the owner's row.

     Tanya looks over Michael's shoulder and sees Maggie standing 
     with her son.

                               TANYA
               Here are your passes to the owner's
               row, Mr. Knight.  Good-bye.

     She rises up and follows after Benjamin, talking in muffled
     tones which suggest she's angry....

                               BENJAMIN
               Why are you so hostile?  You think
               there's a kidnapper under every 
               lunch pail....

     Michael smiles and moves to Maggie with the tickets....

                               MICHAEL
               Here ya go.  Take your place with 
               the valley's finest.

                               MAGGIE
               You're a doll...Buddy...Buddy.

     She looks around.

                               MAGGIE
               Now where did that boy go?

                               MICHAEL
               There're a lot of cars to see.
               He'll turn up.

     ON THE STARTING LINE

     as row after row of gleaming new cars right off the show-
     room floors roar around the figure-eight track in tight 
     formation, waiting for the starting flag.

     ON THE STARTER

     as he waves the green flag....

                               ANNOUNCER
               And the race is on.  Remember ladies
               and gentlemen, this is a figure-eight
               track and as the cars begin to spread
               out, it will become increasingly dif-
               ficult to get through the intersection
               without colliding with another car.

     ON THE TRANS AM

     as Michael switches the dashboard to Super and jockeys to 
     take the lead, pouring it on.  He is wearing racing-style 
     shoulder belts.  Suddenly a small head appears behind him 
     from the floor, staring wide-eyed at the Super dash.

                               BUDDY
               Gosh.  I've never seen anything like
               that.

     Michael's head spins around....

                               MICHAEL
               Buddy...what're you doing here?
               You're supposed to be with your
               mother....

                               BUDDY
               This is much more fun.

     ON A CAR

     deliberately trying to run Michael up and off the track as 
     Michael was trying to pass on the outside...Michael brakes 
     and lets the car go ahead....

                               BUDDY
               Awww...why'd you chicken out?...

                               MICHAEL
               Because you're standing there ready 
               to be flipped out of the car.  Climb 
               over the seat and strap yourself 
               in.  Now...fast.

     Buddy climbs over the seat....

     ON THE TRANS AM

     as it approaches the next curve....

                               ANNOUNCER
               Once again, the young independent is
               challenging on the outside against a
               car weighing half again as much...We'll
               see if he backs down again....

     INSIDE THE TRANS AM

     where Buddy is strapped in the passenger seat.

                               MICHAEL
               Ready?

                               BUDDY
               Ready....

                               MICHAEL
               Here we go.

     ON THE CORNER

     as the Trans Am screams up on the outside and as the 
     competing driver decides to once again force Michael to fall 
     back or hit the wall.  Michael gives the wheel a hard left 
     and the inside car makes the equivalent of a U-turn sending 
     it flying back into the infield where it plows into one of 
     the Com Tron trucks....

     INSIDE THE TRANS AM

                               BUDDY
               Yeah...You not only wiped him out,
               you wiped out the truck.

     ON THE SIDELINES

     Benjamin looks up, shaking his head.

                               BENJAMIN
               Those boys aren't supposed to hit my
               trucks.  Where'd you get these new
               drivers, Tanya?

     Tanya burns.

     ON THE TRACK

     as two cars are in front of Michael, with only a half-a-car
     width between them....

     INSIDE THE TRANS AM

                               BUDDY
               We're in trouble...There's no 
               room....

                               MICHAEL
               Well, if the shoe fits....

     Michael looks down at Kitt and its related lights....

                               MICHAEL
               Okay, Kitt.  I need to knock out
               about four feet, I'm going on Auto
               Pursuit...you figure out what to do.

                               K.I.T.T.
               As you wish.

     ON THE DASH

     as we see the lights go from Normal to Auto....

     ON THE TRANS AM

     as it moves up towards the two cars, and suddenly turns up 
     onto two wheels and barrels down the narrow alleyway between 
     the two cars....

     ON DRIVER ONE

     as he is so busy staring at what's just gone by him, he 
     fails to negotiate a turn and puts his car through a fence.

     BACK TO THE TRANS AM

     as it comes back down onto all fours.

     INSIDE THE CAR

                               MICHAEL
               Thanks, Kitt.  I needed that....

                               K.I.T.T.
               You're welcome.  It's so good to be
               communicating again....

                               BUDDY
               Golly...this car even talks.

                               MICHAEL
               That was just the radio....

                               BUDDY
               No, it wasn't...I may be just a kid
               but I'm not stupid.  The car talked
               to you.

                               MICHAEL
               Buddy...It might be better if we
               didn't mention that to a whole lot
               of people.  Like any, if you know
               what I mean.

                               BUDDY
               I think I know what you mean.

     ON THE FIGURE-EIGHT INTERSECTION

     as two competing cars arrive at precisely the same time 
     resulting in a total head-on with both cars skidding off in
     opposite directions, rolling over and over, clearly out of 
     the race.

                               ANNOUNCER
               The field has narrowed to but six
               cars, ladies and gentlemen, and oh,
               oh...here go two more.

     ON THE TRANS AM

     as it heads into a certain collision at the figure-eight.

     MICHAEL

     punches up a button....

     THE TRANS AM

     leaps the intersection, vaulting over the other car.

                               ANNOUNCER
               I saw it ladies and gentlemen, but I
               don't believe it.  Apparently a rut
               in the road allowed the Trans Am to
               go airborne, completely escaping
               certain destruction.

     ON THE LAST CARS

     mangled messes, bumping and shoving one another as steam and
     oil flow from the cars in all directions.

                               ANNOUNCER
               As a matter of fact ladies and gentle-
               men, from here, it doesn't look like
               the Trans Am has a mark on it.

     BENJAMIN

     is looking at the track through field binoculars.

                               BENJAMIN
               That car's incredible, Tanya.  I want
               to know all about that young man.

                               TANYA
               That makes two of us.

     She moves over to Fred Wilson.

                               TANYA
               What have you found out about him.

                               WILSON
               He doesn't exist.  We've run his
               credit card numbers from the club,
               car license...Everything.  Up until
               three months ago, there was no 
               Michael Knight.

     She looks at Wilson...then back to the track.

                               TANYA
               Phony credentials don't surprise me.
               He says he's here to sell me something.

                               WILSON
               Since when did we go public?

                               TANYA
               Since I saw that car perform.

                               WILSON
               It's one thing to sneak out of a
               development lab with secrets.  It's 
               quite another to steal an entire
               prototype.  He has to be a setup.

                               TANYA
               Did you run his fingerprints?

                               WILSON
               I don't have them, and in any event
               that's a fallacy.  Fingerprints are
               only on file if someone has a criminal
               record.

                               TANYA
               Or has worked for the government in
               some law enforcement capacity.

                               WILSON
               Well, I can only think of one way 
               to get his prints and it could get 
               messy.

                               TANYA
               I leave it entirely in your hands.

     IN FRONT OF MAGGIE'S APARTMENT - DAY

     The Trans Am pulls up to the curb, and almost before it can
     come to a stop, Maggie's boy is jumping out of the car.

                               MAGGIE
               Buddy, you come back here and say
               thank you.

                               BUDDY
               Thank you, thank you, thank you,
               Mr. Knight...I gotta go tell every-
               body....

     On his exit there is a pregnant pause.

                               MICHAEL
               You don't look very happy.  I
               thought it was a real nice day.

                               MAGGIE
               Who are you really?

                               MICHAEL
               A friend.

                               MAGGIE
               Michael.  That's all it can be.  I'm
               not up to falling in love.  I still
               hurt too much.

     She reaches over and kisses Michael on the cheek and exits 
     as he stares after her.

     ON THE HOUSE OF THE RISING SUN - DAY

     Michael pulls up and climbs out and enters.

     INSIDE THE RISING SUN - DAY

     It is like a scene from an old Western, as the place seems 
     to come to a halt when Michael enters to find himself 
     looking into the faces of all of the truck drivers who raced 
     against him.  They are a Rogues Gallery of misfits and 
     criminal-types.

                               MICHAEL
               Hi, fellas.  Nice race.

                               DOLAN
               Let's talk about it outside.

                               MICHAEL
               Sorry.  I'm here to meet a young 
               lady.

                               DRIVER
               Miss Walker got the message.  She
               sent us to pick you up.

                               MICHAEL
               Tanya did that?  You work for her,
               too?

                               DRIVER
               She suggested we show you what we
               think of outsiders coming into our
               little town and taking away our
               prize money.

                               MICHAEL
               Oh, didn't Tanya tell you, I'm 
               donating it to the charity.

                               DRIVER
               Yeah, well we've each got a little 
               donation for you, too.

     As he starts a haymaker towards Michael's stomach, Michael
     pivots and knocks him down.  The fight is brisk and violent,
     but Michael is totally outnumbered and so the outcome is 
     inevitable.

     OMITTED

                                              FADE OUT

                         END OF ACT FOUR

                             ACT FIVE

     FADE IN

     ON THE TRANS AM - DAY

     as it is being towed through the gates of the large modern
     factory bearing the Logo of Com Tron Industries.

     ON FRED WILSON - DAY

     as he exits the office building section in the company of 
     Tanya.  They move towards the car which is being towed 
     towards some opening doors in the factory.

                               TANYA
               I want that car examined from top to
               bottom.  Inside and out.

                               WILSON
               What's that going to tell us?

                               TANYA
               Who Michael Knight is working for.

                               WILSON
               The car is going to tell us that?

                               TANYA
               Even cars that are specially
               engineered require stock parts and
               they have serial numbers.  Benjamin's
               engineers should be able to give us
               a pretty good idea where the work 
               was done and by whom.

     ON DEVON INSIDE THE KNIGHT MANSION (SHOT)

     He is standing at a window, speaking into the telephone with 
     a look of grave disappointment on his face.

                               DEVON
               You're where?

     INSIDE THE JAIL - TO INTERCUT (SHOT)

     Michael is in a holding cell, using the telephone.

                               MICHAEL
               Jail.  But it's a trumped up charge.

                               DEVON
               It always is.

                               MICHAEL
               Look, I'm dead serious.  These 
               people we're after are practically
               running the town.

                               DEVON
               Where is the Knight 2000?

                               MICHAEL
               I...I'm not sure.

                               DEVON
               What do you mean you're not sure.
               Mr. Knight practically went to his 
               grave creating that marvelous machine.
               How can you call me long distance and
               tell me you've misplaced it.

                               MICHAEL
               I didn't misplace it.  They impounded
               it.  The trouble is, I think Com Tron
               talked the Sheriff into letting them
               check the car out.

                               DEVON
               Congratulations.  You've managed to
               live up to my every expectation.

                               MICHAEL
               This is no time to be trading insults,
               Devon.  What are we going to do.

                               DEVON
               Wonderful.  Now it's we.  A few
               hours ago you practically drove over 
               my foot to be on your own.

                               MICHAEL
               I was a little hasty.

     Deke moves up.

                               DEKE
               Your time's up, boy.  Let's get back
               to the cell.

                               MICHAEL
               I'm counting on you, Devon.  We've 
               got 'em right where we want 'em if
               you come through.

                               DEVON
               It'll take me awhile to get there.
               We may have to rely on other...means,
               temporarily.

                               MICHAEL
               What do you mean by that.  Devon...
               Devon...Hey you guys cut me off...
               I demand another phone call.

     Deke opens the holding cell door and stands impatiently.

                               DEKE
               I'll give one to the coroner if you
               don't move it....

     Seeing as he means it, Michael exits the holding cell.

     IN AN ORDINARY CELL BLOCK - NIGHT

     Michael is deposited in a cell adjacent to a second cell in 
     which we see Carney who was arrested in the same brawl.  
     Deke turns and walks away as Carney moves to the bars 
     between the two cells.

                               CARNEY
               Hey, cowboy.

     Michael folds onto his bed.

                               CARNEY
               Hey.  I'm talking to you.  I want to
               know what that machine of yours is
               made of.

                               MICHAEL
               Sit and spin.

     OMITTED

     EXT. COM TRON - NIGHT - ESTABLISHING

     INT. GARAGE - ON THE TRANS AM

     as a team of auto experts buzz around the machine like a 
     swarm of bees.  Unfortunately, nothing is getting accom-
     plished.  A man on the door is trying to drive a crowbar 
     into the door.  A second man, assisted by a third is 
     attempting to penetrate the hood with a diamond bit drill.  
     Two more crewmen with acetylene torches are trying to burn 
     their way into the car through the windows and trunk.

     ON TANYA

     watching impatiently.

                               SYMES
               We've gone through three diamond bit
               drills.

                               TANYA
               It's impossible.  Just plain impossible.

     WILSON 

     arrives hurriedly.

                               WILSON
               Maybe I can explain it.

     He hands a wire to Tanya....

                               TANYA
               I don't understand what this means.

                               WILSON
               The Sheriff fingerprinted Knight
               when he was arrested.  These are the
               results.

                               TANYA
               What does this mean, no identification
               possible.

                               WILSON
               Keep reading....

     She reads on, then suddenly pales.

                               TANYA
               Altered?

                               WILSON
               Expertly done.  But still not the 
               man's own prints.

     Tanya moves off to herself.

                               TANYA
               It's unraveling.  Someone is breath-
               ing down our necks.  It's time to 
               get out.

                               WILSON
               A few days from penetrating all of
               Com Tron's secrets?

                               TANYA
               We can go for the main one.  The 
               breakthrough chip.  It's worth more 
               than all their other patents 
               combined.  We get it out of the 
               engineering computer and fly out 
               tonight.

                               WILSON
               Tanya...You're panicking over
               nothing.  If he had any proof of
               anything, he wouldn't be wasting time
               in demoliton derbies or letting 
               himself get locked up.  He'd tell
               the Sheriff why he was here.

                               TANYA
               Trust me, I could feel it when I looked
               into his eyes.  He's not an ordinary 
               cop.  He's far more dangerous.  
               Send these people home and go get 
               Michael Knight out of jail while I 
               start clearing out the records.

     ON THE JAIL - NIGHT

                               CARNEY
               You're just making it worse.  This 
               your first time in the can?

                               MICHAEL
               No.  I used to nose around for Army
               Intelligence back in 'Nam.  I got 
               caught once by the Cong.

                               CARNEY
               What happened to you?

                               MICHAEL
               I had to punish them.

     Carney nods...then does a take, looking at his cellmate 
     with a new kind of respect.

                               CARNEY
               I hope you didn't take what we did
               to you tonight, personally.

                               MICHAEL
               No.  You look like you already paid
               a pretty good price.

                               CARNEY
               You got any friends on the outside
               at all?  I mean you did make the one
               call, but no one seems to have shown 
               up.

                               MICHAEL
               I have one friend.

                               CARNEY
               That's good.

                               MICHAEL
               But we aren't on the best of terms.

                               CARNEY
               That's bad.

     INSIDE THE FACTORY - ON THE TRANS AM

     as the light hoods shift up and the lights flash on.  We
     push in closer and hear the powerful engine turn over.

     INSIDE THE CAR - ON THE NORMAL DASH

     We see the dash convert to Super.  Then we see the micro-
     processor shift from normal to pursuit.  The brake lights 
     go out as the transmission light shifts to low gear.

     INT. GARAGE (SHOT)

     as the car burns rubber and lurches forward.

     ON THE GARAGE DOORS (SHOT)

     as they shatter into the sky and come bounding down in the 
     wake of the Trans Am which disappears off into the night.

     BACK INSIDE THE JAIL - NIGHT

     Michael moves from the window to lie on his cot.

                               MICHAEL
               The other drivers.  The ones that
               beat me up.  They local boys?

                               CARNEY
               Naw.  We all got hired by Wilson, the
               new security chief.  I heard about it
               in stir as I was getting my parole.
               They pay good and you don't have to 
               break too many laws.

                               MICHAEL
               Sounds great.  Ever wonder why a
               nice polite electronics company
               needed strong-arm boys?

                               CARNEY
               Hey.  They had to dump a lot of 
               people with big seniority to hire
               us.  It helped that we could take 
               care of ourselves.  Keep everything
               nice and peaceful.

                               MICHAEL
               Makes sense.

     OMITTED

     ON THE TRANS AM

     as it cruises slowly down main street.  It stops at the 
     entrance to the alley.

     EXT. SHERIFF'S OFFICE - NIGHT

     as a Com Tron security car pulls up in front and Wilson 
     gets out leaving a security guard at the wheel.  He 
     enters the building.

     ON THE SUPER DASH (SHOT)

     as microprocessors are sensing directions and opportunities.  
     Lights change and the Trans Am turns down the alley.  
     Suddenly it stops...guns its engine and hauls for all its 
     worth towards a brick building at the end of the alley.

     ON MICHAEL (SHOT)

     His eyes are shut.

     IN THE SHERIFF'S OFFICE (SHOT)

                               WILSON
               Deputy.  I have a court order for
               Mr. Knight's release.

                               DEKE
               Okay...I guess he's yours.

     BACK ON MICHAEL (SHOT)

     He rolls over, his back to the window.  Suddenly his eyes 
     open as he hears the screaming whine of an engine growing 
     louder and closer.

     Suddenly:

     THE WALL BEHIND MICHAEL (SHOT)

     explodes, sending bricks everywhere.

     IN THE SHERIFF'S OFFICE (SHOT)

     Deke, Wilson, react, as dust drops in from the ceiling.

                               WILSON
               What the hell was that?

     Deke turns to rush back to the cell block.  Wilson looks and 
     races after the deputy.

     BACK IN THE JAIL CELL (SHOT)

     Michael climbs out from under a layer of red chalk and 
     stares in disbelief.

                               MICHAEL
               I don't believe it.

                               CARNEY
               Must be a drunk.  See if he hurt
               himself.

     Michael climbs across the bricks to the door and opens it.  
     The front seat is empty.

                               MICHAEL
               I won't even ask how you did this,
               Kitt.

                               CARNEY
               Who you talking to?  There's nobody 
               in there.

     The deputy rushes up to the door, Wilson behind him.

                               DEKE
               Hey...what in the....

     With that Michael jumps into the machine and throws it into
     reverse, roaring back into the alley.

     EXT. SHERIFF'S OFFICE - NIGHT

     as the Trans Am brodies out into the main street and flashes 
     past the security car as Wilson rushes out and jumps into 
     his car.  The Driver spins a fast U-turn and takes off in 
     pursuit.

     OMITTED

     ON THE TRANS AM

     screaming down the dark highway.

     ON THE SECURITY VEHICLE

     as it tries vainly to catch up.

     INSIDE THE SECURITY VEHICLE

                               WILSON
               It isn't any use trying to catch 
               that machine.

                               DRIVER
               Then how do we stop him?  He's got
               to be heading out of town.  There's 
               nothing else out this way.

                               WILSON
               Oh, yes there is.

     ON COM TRON INDUSTRIES - NIGHT

     situated handsomely amongst its well-manicured grounds, 
     illuminated only by exterior ground lights.  Only the 
     executive floor is lighted with a single car out on the 
     parking lot.

     THE TRANS AM

     pulls into the parking lot and moves up beside the single 
     vehicle in front of which we see the sign:

                          TANYA WALKER

     MICHAEL

     looks up at the lighted top floor and a security fence which 
     surrounds the building.  He drives on around the side of the 
     building.

     ON THE SIDE OF THE BUILDING

     Michael looks up.  It's a long way to the roof and the fence 
     whose top is laced with razor wire prohibits any intruders 
     with a bent for climbing.

     MICHAEL

     examines the Super dash.

                               MICHAEL
               It's times like this that I wish I'd
               listened a little more closely to 
               Devon.  What is this?  Emergency
               eject....

                               K.I.T.T.
               Is it all right to respond?

     Michael takes a deep breath.

                               MICHAEL
               Yes...yes.  It's all right.  I have
               to get up to a roof about one 
               hundred feet in the air and to the 
               right.

                               K.I.T.T.
               Very well, if you'll set the
               pressure adjustment for precisely
               six hundred pounds, you should land
               quite gently.

                               MICHAEL
               That's it.  I just set the pressure
               and hit the button?

                               K.I.T.T.
               It would help if you also open the 
               sun roof.

                               MICHAEL
               Smart aleck car....

     Michael quickly sets the button and opens the roof.  He 
     takes a deep breath and pushes the button.

     ON MICHAEL

     as he is catapulted high into the air and onto the roof.

     ON A NIGHT WATCHMAN

     who steps out of a door and looks around.  He spots the car 
     and quickly runs toward it.

     ON THE SUNROOF

     as we see it slowly closing on its own.

     THE GUARD

     rushes up and looks at the vehicle.  He tries it, then grabs 
     his walkie-talkie.

                               GUARD
               You guys aren't going to believe
               this, but it's back.

     IN THE GARAGE

     portion of the building where the shattered doors are bathed 
     in lights as guards stand gaping at the damage done by the 
     missing vehicle.  Tanya grabs the walkie-talkie from the 
     Guard and barks into it.

                               TANYA
               What do you mean, it's back?  Back where?

     ON THE GUARD

                               GUARD
               Right out here on the south parking 
               lot.

     TANYA 

     looks at the assorted guards around her and charges out the 
     door.

     INSIDE THE OFFICE BUILDING

     An air duct is pulled up, and Michael Knight lowers himself
     to the floor.  He moves to the nearest desk, looks amongst
     the directories in a file stand and opens one marked Com 
     Tron Industries.

                               MICHAEL
               Tanya Walker, third floor.

     Michael turns and hurries to a staircase and down into the
     darkness.

     ON THE TRANS AM

     as all the guards try in vain to open the car.  Headlights 
     suddenly bathe the scene in light as the security car races
     to a stop.

                               TANYA
               Where's Knight?

                               WILSON
               I dunno.  He busted out of jail.

                               TANYA
               You think he's here?

     Wilson turns and looks up at the lighted executive suite on
     the top floor.

                               WILSON
               There's no way he could get in.  Not
               without being seen.

                               TANYA
               How much do you want to stake on 
               that?  I'm going back up and secure
               the microchip design.  You give the
               guards orders to shoot to kill.
               This is a serious breach of national
               security.

     Tanya enters the building as....

                               WILSON
               You heard her, gentlemen.  We've
               got a man in that building trying to
               get at our top secrets.  We've got 
               to stop him.
                      (turning to
                       a guard)
               You stay by this vehicle and shoot 
               anyone who attempts to come near it.

     Wilson removes the gun from his shoulder and cocks it and
     takes off on the dead run.

     OMITTED

     TANYA

     enters the office, rifles through the file and removes a
     roll of microfilm as the phone rings.  She answers.

                               TANYA
               It's okay.  I've got the microfilm.
               I'll be leaving for the airfield now.
               Alert the pilot -- I'm flying out on
               Benjamin's orders.  You get Knight
               and meet me at the field.

     She hangs up and reaches for her gun which is lying on the 
     desk.  As she does so....

     MICHAEL'S HAND

     reaches under her arm and picks up the gun.  She spins 
     around, startled half out of her wits.  He looks at her with 
     a gleam of satisfaction in his eyes.

                               MICHAEL
               Very kind of you to organize the
               evidence for me, Tanya.

                               TANYA
               Look.  Don't do this.  Whoever  
               you're working for -- it can't be
               worth what I can do for you.

     He raises the gun to her face.

                               MICHAEL
               Would you rather I did this, Tanya?
               It's not a starry night in Nevada,
               but it'll hurt just as much.

     She pales.

                               TANYA
               Michael Long?...

     ON TANYA

     She gasps.

                                              FADE OUT

                         END OF ACT FIVE

                             ACT SIX

     FADE IN

     IN THE EXECUTIVE SUITE

     Michael stands with the gun leveled on Tanya.

                               TANYA
               You don't want to do this.  Look,
               I can share millions with you.  All 
               the money we took out of Knight 
               Industries and Allon Chemical is 
               safely out of the country.  Please 
               don't do this, please.....

     Slowly he lowers the gun.  Tanya takes it as a sign of 
     victory and moves into his arms, breaking into tears.

                               TANYA
               I really was in love with you,
               Michael...I didn't want to hurt 
               you but I had no choice.  If I 
               hadn't done it, Wilson would have.  
               Those were his orders.

                               MICHAEL
               How can we share the millions if 
               someone else is giving the orders?  
               You're the boss, Tanya.  No one 
               else.

                               TANYA
               That's right.  I'm the boss, but you
               were the only man I ever considered
               close to an equal.  That's why I 
               fell in love with you.  But I 
               couldn't let you take everything
               away from me.  I can't let you do it
               now.

     She moves towards Michael ignoring the gun in his hand.

     OVER MICHAEL'S SHOULDER

     We can see Symes in the corridor, moving towards the suite, 
     his gun drawn.

                               MICHAEL
               Not this time, Tanya.

     Standing close to him, he holds the gun at her belly.  
     Suddenly Michael catches a glimpse of movement out of the 
     corner of his eyes.  He dives as a shot rings out spinning 
     him around.

     FROM THE FLOOR

     Michael fires at Symes who is himself firing while going 
     down.  Recovering first, Michael races for a door as Tanya 
     rises up and races towards the fallen Symes.  She grabs the 
     gun and fires it into the door after Michael.  Slowly she 
     moves to the door and opens it.

     ON AN EMPTY CORRIDOR

     Tanya spins around and races for the elevator.

     ON WILSON

     running down a corridor.  He stops as a Guard rounds the 
     corner surprising him.

                               WILSON
               Where'd the shot some from?

                               GUARD
               I couldn't tell.

                               WILSON
               Get every guard to check in.

     OMITTED

     IN A THIRD FLOOR CORRIDOR

     Michael rushes towards a stairwell, starts down, then jumps 
     back at the sound of voices coming towards him.

                               GUARD #1
               I'll take Personnel.  You take 
               Accounting.

     Michael ducks back into an office alcove as a guard rounds
     the corner.  His hand suddenly shoots out and grabs the man 
     by the mouth and pulls him back into the alcove.

     EXT. BUILDING - NIGHT

     as Tanya exits, jumps into her car and takes off.

     ON A GUARD

     racing down a corridor.

     ON ANOTHER GUARD

     in the garage area.

     ON MICHAEL

     as he steps out of the alcove in a guard's uniform.

     IN A STAIRWELL

     as Michael struggles hurriedly down.  Suddenly his walkie-
     talkie squawks.

                               GUARD #1
               Nothing in Personnel.  What about 
               you Baker?..Baker...Baker....

     Michael looks down at his nameplate.

                               MICHAEL
               Nothing.

     ON WILSON

     standing with another guard.

                               WILSON
               That wasn't Baker.

     ON THE PARKING LOT

     A Guard paces by the Trans Am as across from him a silhouette
     appears at one of the doors.  A figure exits.  The Guard 
     raises his weapon.

                               MICHAEL
               Don't shoot.  It's Baker....

     The Guard is momentarily fooled by the uniform, but he 
     relaxes only slightly, squinting against the back-lighted 
     man in uniform.

                               GUARD #2
               What's going on?

                               MICHAEL
               Wilson wants you upstairs.

     As Michael is almost close enough to make a move...the 
     walkie-talkie on his side begins to squawk.

                               WILSON
               All guards be aware that Baker's 
               uniform has been stolen.  Repeat...
               suspect is now wearing a guard's
               uniform....

                               GUARD #2
               Hold it right there, Knight.

     Holding the weapon in one hand and raising his own walkie-
     talkie with the other, he chortles into his instrument.

                               GUARD #2
               I got him.  Dead in my sights.  Right
               out here by his car.

     ON WILSON

     as he turns, excitedly inside the building.

                               WILSON
               Don't let him move so much as an
               inch and you've got yourself ten
               thousand dollars, boy...

                               GUARD #2
               Yes sir.

     BACK TO THE GUARD AND MICHAEL

                               GUARD #2
               You almost made it...But I was too
               smart for you, fella.

                               MICHAEL
               Sorry.  You'd better look behind you.

                               GUARD #2
               Oh no.  There's no one behind me for
               two hundred yards.

                               MICHAEL
               What about the car?

                               GUARD #2
               There's no one in the car, either.
               I checked.

     Michael nods silently.  Then....

     ON THE TRANS AM

     as the headlights suddenly snap on and the engine starts.

     ON THE GUARD

     as his knees weaken and his mouth falls open.

                               GUARD #2
               Don't kill me.  I have dogs at home
               and a sick mother.

                               MICHAEL
               Just lay right down and toss your 
               weapon over here.

     He falls to the ground and hurls his weapon.  Michael picks 
     it up as guards led by Wilson race out of the building.

     MICHAEL

     turns and moves painfully to the car...touches the lock.  It 
     opens to his touch.  He enters...backs up and spins around, 
     races off.

                               WILSON
               You idiot.  How'd you let him get 
               away?

                               GUARD #2
               He had help.  There musta been 
               dozens of 'em.

                               WILSON
               Get to the cars.  And alert the two
               guarding the driveway.

     ON THE TWO SECURITY CARS AT THE DRIVEWAY

     as the Trans Am races towards the entrance without slowing.  
     The guards in both cars hold their guns steady, and commence 
     firing, round after round.

     INSIDE THE TRANS AM

     Ping, ping, ping, as the two cars loom up less than thirty 
     yards ahead.

     ON THE CARS

     as at the last possible moment, the security guards leap out 
     of their vehicles narrowly making it to safety as the 
     two cars explode sending flames high in the sky.

     BACK TO WILSON AND SYMES

     driving looking at the entrance in disgust.

                               WILSON
               Forget trying to catch him in
               security cars.  There's only one way
               to stop him now.

     Wilson turns and hurries towards the building.

     ON THE HIGHWAY

     The Trans Am races along.

     INSIDE THE CAR (SHOT)

     Michael is faltering behind the wheel.

                               MICHAEL
               Kitt?  You there?

                               K.I.T.T.
               Where would I go?

                               MICHAEL
               Look, I know we've had some misunder-
               standings, but I'm not sure I'm
               going to be around at the end of 
               this trip.

                               K.I.T.T.
               If you're suffering from any form of
               trauma, you should seek immediate
               medical attention.

                               MICHAEL
               We can't stop, pal.  They're going to
               be coming at us from all directions.

                               K.I.T.T.
               What can I do?

                               MICHAEL
               Is there any way to get in touch with 
               Devon?

                               K.I.T.T.
               Mr. Devon is en route to Millston now.
               You could communicate quite easily 
               by phone.

                               MICHAEL
               Do it.  Do it fast.

     ON THE KNIGHT 2000 JET (SHOT)

     streaking through the night sky.

     ON DEVON (SHOT)

     seated in an executive interior.  A veritable war room.

                               DEVON
               What in the name of heaven are you
               doing out of jail?  I told you to
               stay put until I could be of assistance.

     TO INTERCUT WITH MICHAEL IN THE TRANS AM

     He speaks without using a hand phone and fights off 
     dizzyness.

                               MICHAEL
               I didn't have much choice.  They were 
               going to kill me.  I'm sure of that.

                               DEVON
               Why?  What have you learned?

                               MICHAEL
               That Tanya and her buddies are the
               same people who ripped off Allon
               Chemical and are getting away with 
               a couple of million dollars worth 
               of Com Tron's designs.  

                               DEVON
               Can you prove it?

                               MICHAEL
               Only if we catch them in possession.

                               DEVON
               I'll contact the local police
               immediately.

                               MICHAEL
               Forget them.  They've been bought.
               Get to the State Police or the FBI.
               Have them standing by.

                               DEVON
               Standing by where?

                               MICHAEL
               They're making a run for it.  To the
               airport.  I'm going after them if I 
               last that long.

                               DEVON
               Michael.  What's wrong?  Kitt.  What's
               wrong with Michael?

                               K.I.T.T. 
               I'm afraid Mr. Knight's condition is
               suboptimum.  I really feel I should 
               take over.

                               MICHAEL
               You aren't taking over anything.
               You hear?

                               DEVON
               Michael...Forget everything.  Save
               yourself.  We can regroup to fight 
               another day.

                               MICHAEL
               This may be it for me and I'm going
               out winners.

     IN A COM TRON HELICOPTER

     Wilson is in the passenger seat beside a Pilot in security
     garb.  Wilson calmly talks into the headset.

                               WILSON
               This is Chief of Security Wilson.
               Patch me into Com Tron truck dis-
               patch.  I want everything we've 
               got on the road to stand by for
               special insructions.

     BACK IN THE TRANS AM - NIGHT

     racing through the night.  Michael trying to hang on.

                               DEVON
               Michael, are you there?  Kitt?

                               K.I.T.T.
               He's still conscious, sir and
               insisting on maintaining control
               of the vehicle.

                               MICHAEL
               And that's another thing that gripes 
               me.

                               DEVON
               What's that?

                               MICHAEL
               I don't want to have anything to do 
               with a car that takes off on its
               own.  That can listen to my thoughts
               and make its own decisions.

                               DEVON
               You're giving it far too much credit.

                               MICHAEL
               I don't think so.  I can see myself
               out on a dance floor sometime and my
               car comes up and cuts in on me.

                               K.I.T.T.
               Amusing, but not factual.

                               DEVON
               It's all right, Kitt.  Keep him
               talking.

                               MICHAEL
               Anything to keep me awake, Kitt....

     POINT OF VIEW - A GIANT SEMITRUCK AND TRAILER (SHOT)

     is racing towards an intersection.  The logo on the truck 
     reads Com Tron Industries.

     MICHAEL

                               MICHAEL
               Great.  Just great....

                               DEVON
               What is it?

                               MICHAEL
               I just figured out how they intend
               to keep me from getting to the 
               airport.

     Michael slows down to a stop as he sees the semi's next move 
     as it moves into the intersecting highway.

     THE SEMI (SHOT)

     stops, completely blocking the intersection.

     ON THE TRUCK DRIVER (SHOT)

     as he looks out his window smiling and we recognize him as 
     one of the drivers who gave Michael such a beating.

                               DRIVER
               Come on, big shot.  Come to papa.

     ON MICHAEL (SHOT)

                               MICHAEL
               Okay, Kitt, here goes nothing.

     Michael floors it.

     ON THE TRANS AM (SHOT)

     as it accelerates towards the intersection, faster, 
     faster....

     ON THE DRIVER (SHOT)

     as his look turns sour....

                               DRIVER
               Hey...is he nuts?...

     ON THE TRANS AM (SHOT)

     as it hits a dip in the road and goes airborne, directly 
     into the logo on the side of the truck.

     ON THE OTHER SIDE OF THE TRUCK (SHOT)

     as the Trans Am exits and continues on up the highway 
     leaving a gaping hole in its wake.

     MICHAEL

                               MICHAEL
               I gotta admit.  This car is something.

                               K.I.T.T.
               Bold of you.

                               MICHAEL
               Don't rile me, Kitt.  Don't rile me.

                               K.I.T.T.
               But that's the whole idea.  Your 
               condition should improve drastically
               when you get angry.

     ON DOLAN (SHOT)

     as he stares back at his trailer in disbelief.

     INSIDE THE CAL TRON HELICOPTER

                               WILSON
               Logan.  Logan.  Did you get him?

                               DRIVER'S VOICE
               I blocked the road and cut him off.

                               WILSON
               Good work.

                               DRIVER'S VOICE
               But he went right through my trailer.

                               WILSON
               Have you been drinking?

                               DRIVER'S VOICE
               Not yet, but I plan on it.  You
               aren't going to stop that thing.

     POINT OF VIEW OF THE CAR

     from the copter.

     BACK TO WILSON

                               WILSON
               Attention all drivers.  Anybody 
               wanting a fifteen thousand dollar 
               bonus is to smash that Trans Am head 
               on.  Do you hear me?  Head on.  He's 
               currently moving north on Highway 17.

                               DRIVER'S VOICE
               This is truck forty-one coming up 17
               and you're nuts.  What good is
               fifteen thousand dollars if you're
               dead?

                               WILSON
               Jump clear, you idiot.  Just be sure 
               you level that Trans Am.

     OMITTED

     INSIDE THE TRANS AM

                               DRIVER'S VOICE
               I don't know.

                               WILSON'S VOICE
               Make it twenty-five thousand to the
               first man that nails him head on.

     Michael reacts to the radio.

                               MICHAEL
               Did you hear that, Devon?

                               DEVON
               I'm afraid so.

                               MICHAEL
               Well?  You know what Kitt can do.
               Can he do it?

                               DEVON
               I can't recall having put him to 
               that precise test.

                               MICHAEL
               Great.

                               K.I.T.T.
               I suggest we'd better reach the 
               airport before we reach the truck.

                               MICHAEL
               You know something?  I think you're
               right.

     OMITTED

     ON THE TRANS AM

     racing along the highway....

     OMITTED

     ON THE COM TRON TRUCK (SHOT)

     racing along the highway in the opposite direction.

     ON THE COM TRON HELICOPTER

                               WILSON
               Where are you, forty-one?

                               DRIVER #2'S VOICE
               Just coming up to the airport turnoff.

     OMITTED

     INSIDE THE HELICOPTER

                               WILSON
               I see you.  You've got him.  He's
               just over the next rise.

     Wilson smiles at the Pilot next to him.  The Pilot takes a 
     shotgun from its rack and places it in a handy position.

                               PILOT
               Just in case he gets by.

                               WILSON
               No one survives a head-on collision
               with a semi.

     Wilson smiles securely.

     BACK ON THE TRANS AM

     barrelling down the highway.

                               MICHAEL
               We should be seeing him any minute.

     ON THE TRUCK - FROM MICHAEL'S POINT OF VIEW

     coming in the opposite direction.
 
                               DRIVER #2'S VOICE
               I got him in sight.  He's coming 
               over the rise now.

     ON WILSON IN THE HELICOPTER

                               WILSON
               Remember, twenty-five thousand big
               ones if you nail him.

                               DRIVER #2
               Consider him nailed.

     INT. CAR - NIGHT

                               K.I.T.T.
               Mr. Knight.  This is foolhardy.  I
               really must assume control.

     ON THE PANEL

     as we see the light go from manual to automatic.

                               MICHAEL
               Negative.  I'm driving this machine.

     Michael pushes the manual button back in.  The light reverts 
     to manual control.

                               K.I.T.T.
               Mr. Devon.  Michael is in no 
               condition to be making decisions.

     ON DEVON

                               DEVON
               Kitt, I'm afraid so long as he is in
               the driver's seat and conscious, we 
               have no choice.

                               K.I.T.T.
               An absurd set of circumstances.

                               MICHAEL
               Too bad, Kitt.  But the guy who
               designed you believed in the 
               strength of the individual.  We
               may have to put it to the test.

     ON WILSON

     looking down.

                               WILSON
               He isn't stopping.

                               PILOT
               Man's nuts.

                               WILSON
               I hope so.

     OMITTED

     INSIDE THE TRANS AM

                               MICHAEL
               Any last thoughts, Kitt?

                               K.I.T.T.
               I wish you hadn't put it that way.

     ON THE SCENE

     The Trans Am coming from the left.  The truck from the 
     right.  Closer...closer...closer....

     Intercut:

     POINT OF VIEW FROM COPTER

     as it lights the scene as the truck and car hurtle towards 
     each other.  Closer and closer.  We reveal an intersection 
     with a left turn towards the airport.  It's even money which 
     vehicle will make it first.

     Intercut:

     THE CAR AND TRUCK CLOSING FROM BOTH POINTS OF VIEW

     POINT OF VIEW FROM THE COPTER

     as the two vehicles close, the car at the last possible 
     moment swings left up the airport road as the truck hurtles 
     by.

     INT. CAR - NIGHT

                               MICHAEL
               Now that's about as close as it can 
               get.

                               K.I.T.T.
               Tell me about it.

     OMITTED

     AERIAL VIEW OF MICHAEL'S CAR

     weaving up the airport road.

     ON WILSON

                               WILSON
               Take her down.  It's up to us.

     ON THE TRANS AM

     as it continues on the road.

     ON MICHAEL

     as he continues trying to hold himself together as he
     continues towards the airport.

     ON THE HELICOPTER

     as it drops to running parallel and very close to the car and
     Wilson lifts the shotgun and fires point blank at Michael's 
     head through the open side of the copter.

     ON THE WINDOW

     as the myriad lethal pellets ricochet back into Wilson's
     face.

     WILSON

     as he grabs his face and he falls forward out of the copter.

     EXT. AIRPORT - NIGHT

     as Tanya's car slams to a stop next to the jet.  The Pilot
     is waiting.

                               PILOT
               You ready to go, Miss Walker?

                               TANYA
               In a minute.  I'm just waiting for 
               Mr. Wilson.

                               PILOT
               Well, I'll run her up while we're 
               waiting.

     He disappears towards the cockpit.  Tanya doesn't reply but
     stares off as we hear the engine rev up, then suddenly reacts.

     HER POINT OF VIEW

     of the rapidly approaching distant headlights of the Trans 
     Am.

     BACK TO SCENE

     as Tanya dashes aboard the jet and starts to close the hatch.

                               TANYA
               Let's get out of here fast.

                               PILOT (o.s.)
               But what about Mr. Wilson?

                               TANYA
               The hell with him.  Let's go.

     As the hatch closes, the jet starts to roll out.

     THE TRANS AM

     as it screams through the airport gates towards the runway.

     MICHAEL'S POINT OF VIEW OF THE JET

     taxiing fast.

     INT. CAR - CLOSE ON MICHAEL

     bathed in a cold sweat.

                               K.I.T.T.
               Better let me take over.  Your
               reflexes probably can't handle it.

                               MICHAEL
               It's two out in the bottom of the 
               ninth, Kitt.  I'll finish the game 
               myself.

                               K.I.T.T.
               I'll bet nobody talks that way to 
               Tommy Lasorda.

     WIDE SHOT

     As the jet reaches the end of the runway and swings around 
     for take-off, Michael swings the car towards the plane and 
     aims toward it.  They are both starting towards each other 
     from virtually opposite ends of the field.

     INTERCUT

     1.  Michael's point of view of the approaching jet.
     2.  The Pilot's point of view of the approaching car.

     WIDE SHOT

     as they close.

     OMITTED

     ANGLE ON THE GATE

     as two or three police cars, sirens screaming and red lights
     flashing, pour onto the runway.

     CLOSE ON THE CAR

     as it closes with the jet's wingtip.

     THROUGH THE WINDSHIELD OVER MICHAEL'S SHOULDER

     as the car reaches and tears off the jet's wingtip as the 
     rest of the wing explodes.

     WIDE SHOT

     as the car turns off as the plane does a 180 and comes to a 
     stop, the burning wing o.c.  The door opens and Tanya, 
     Benjamin and the Pilot stumble out and into the hands of 
     the police as the plane blows up.

     INT. CAR - NIGHT - MICHAEL

     is just barely hanging in.

                               MICHAEL
               It's done, Kitt.  And now it's all 
               yours.

     He passes out.  There is a short beat, then:

     ANGLE ON THE SUPER DASH

     as the car shifts from manual to automatic.

     EXT. CAR - NIGHT

     as it slowly drives off as the police stare after it.

     EXT. HOSPITAL - NIGHT - ESTABLISHING - STOCK

     CLOSE ON EMERGENCY ENTRANCE

     as the car slowly pulls up to a stop, the horn honks and 
     the door opens to reveal Michael.  Michael stirs and comes 
     to slightly.

                               MICHAEL
               Where are we?

                               K.I.T.T.
               Emergency hospital.  They should be
               able to take care of you.

                               MICHAEL
               Thanks.

                               K.I.T.T.
               While you're in there, see if they've 
               got room for me.

                               MICHAEL
               What's your problem?

                               K.I.T.T.
               Acute exhaustion.

     He honks again as a couple of attendants come out, discover 
     Michael, load him in a gurney and rush him inside.  There's a 
     beat, then the door closes and the car slowly moves out of 
     frame.  Hold on emergency room doors as we:

                                              FREEZE FRAME

                                              FADE OUT

                         END OF ACT SIX

                               TAG

     FADE IN

     EXT. HOSPITAL - DAY - ESTABLISHING - STOCK

     CLOSE ON EMERGENCY ENTRANCE

     as Michael comes out in a wheelchair dressed in his normal
     clothing.  The chair is being pushed by a very attractive
     nurse, who pulls the chair to a stop beside a waiting taxi.
     Michael hops out of the chair, obviously totally recovered.
     He kisses the nurse good-bye with more affection than passion
     and climbs into the cab which pulls out of frame as the 
     nurse stares wistfully after him.

     EXT. MAGGIE'S APARTMENT - DAY

     as the cab pulls up in front and Michael gets out and enters
     the building.

                                              DISSOLVE TO

     INT. MAGGIE'S APARTMENT - DAY

     Michael is seated on the couch with Maggie, drinking coffee.

                               MAGGIE
               I don't know what I'm going to do 
               with Buddy now that you're leaving.

                               MICHAEL
               I'd keep him.  He's a pretty good
               kid.

                               MAGGIE
               You know what I mean.  He needs a 
               man.  I can see that.  I thought I
               could just go on not caring....

                               MICHAEL
               ...and not looking?

                               MAGGIE
               Stupid, huh?  Here I had a prime 
               candidate right under my nose and I
               chased him away.

                               MICHAEL
               Don't consider it a permanent
               condition.

                               MAGGIE
               You mean that?  I mean, you might
               come back to see us?

                               MICHAEL
               You and Buddy can both count on it.

     Michael leans over and kisses Maggie who tears up.

                                              DISSOLVE TO

     CLOSE ON DEVON (SHOT)

     driving the Trans Am.

                               DEVON
               Only you could have put a dent in
               that machine.

     Pull back to reveal that the Trans Am is being towed through 
     the gates of the airport towards a ramp, leading up into a
     waiting truck bearing the logo, KNIGHT INDUSTRIES.

                               MICHAEL
               Hey.  Nothing's perfect.  When do I
               get it back?

                               DEVON
               Who said anything about getting it
               back?

                               MICHAEL
               Devon.  It's my car.  I have the
               registration.

                               DEVON
               Don't remind me.

     The tow truck comes to a stop.  Michael and Devon climb out 
     as workers, wearing the Knight Industries logo, begin pre-
     paring the car to be winched up into the waiting semi.

     ANOTHER ANGLE - CLOSE ON MICHAEL AND DEVON

                               DEVON
               I would assume that having disposed 
               of Tanya and her friends you'd be on
               your way to getting on with whatever 
               passes for your life.

                               MICHAEL
               Is that a fact?

                               DEVON
               One can only hope for the best, you
               know.

                               MICHAEL
               Well, I hate to ruin your day,
               but....

                               DEVON
               Yes?

                               MICHAEL
               Step aboard and we'll discuss it.

     Michael moves out as Devon looks after him dubiously...then
     follows.

     ON THE LEAR JET

     as it streaks off into the air.

     INSIDE THE JET

                               MICHAEL
               You really don't like the whole idea 
               of this project, do you?

                               DEVON
               No I don't.  But Wilton Knight was 
               my friend as well as my employer.
               And like it or not the project will
               be pursued.  Faithfully pursued.
                      (beat)
               Of course, your options are still 
               open.  You don't have to....

                               MICHAEL
               Forget it, Devon.  The old man 
               wanted me and he got me.  And now 
               you're stuck with me.

                               DEVON
               Yes, I was afraid of that.  No possi-
               bility you'd reconsider, is there?

                               MICHAEL
               Are you kidding?  All my life I've
               been banging my head against bureau-
               cracy, red tape, indifference.  I've
               spent more time and energy fighting
               to try and do my job than actually
               doing it.  I guess if I were totally
               sane, I'd have quit years ago.  But
               now, I've had it all handed to me on 
               a silver platter.  A completely free 
               hand, the world's most fantastic car.
               All the money and resources of the
               Knight Foundation, and most of all,
               the best chance I'll ever get to
               prove that one man really can make a
               difference.

                               DEVON
               Such dedication!

                               MICHAEL
               I don't think we're ever going to 
               get along too well, Devon.  But
               you're straight and you're honest.
               And you know I'm what Wilton Knight
               wanted.  So you've got no choice
               about me.  Not until I decide to
               leave.  And that may be a long time
               coming.

     Devon nods in resignation and pours a couple of drinks.

                               DEVON
               I was afraid that might be your 
               attitude.

     He hands Michael a glass.

                               DEVON
               Well, shall we drink to what could
               be the start of....

                               MICHAEL
                      (interrupting
                       lightly)
               Of what?

                               DEVON
               Only time will tell, dear boy.  Only
               time will tell.

                               MICHAEL
               Well then, let's just drink to our 
               future.  However it may turn out.

     Devon nods.  For once they are in complete agreement.  As 
     they touch glasses:

                                              FREEZE FRAME

                             THE END