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KNIGHT RIDER: SOUL SURVIVOR

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

Production #57829
2nd Draft - September 29, 1983 (F.R.)

Teleplay: .................. Robert Foster &
............................ Robert W. Gilmer
Director: .................. Harvey Laidman

                              
                                 ACT ONE

     FADE IN

     INT. VAN - DAY - CLOSE ON COMPUTER MONITOR

     We open very close on a computer monitor screen displaying
     a series of complicated equations.  As the equations
     multiply, we hear the sound of a computer keyboard over,
     and pull back to reveal three other monitors.  Technical
     data on one, mechanical schematics on the other two.
     Always, we hear the sound of the keyboard as someone works
     feverishly.  Pull back further to reveal:

     RANDY MERRITT

     seventeen.  Dishevelled hair and clothing, with an old
     baseball hat riding low on a pair of glasses.  The kind of
     kid who lives and breathes computers.  He takes a swig of a
     soft drink, stuffs a piece of candy in his mouth, but his
     eyes never leave the monitors in front of him.  A small
     smile of excitement flashes across his face now and then.
     Behind him someone steps into the van.  Randy turns expect-
     antly.

     WIDER ANGLE

     At first all we see is the backlit and shapely figure of a
     tall, sensuous woman.  As she steps into the light sur-
     rounding the monitors, we see a beautiful woman in her
     late twenties.  This is Adrianne Margeaux, a woman of
     commanding presence.  Confident, in control.  She smiles a
     breathtaking smile at Randy.  He grins back, very much 
     infatuated.

                               ADRIANNE
               Don't let me interrupt.

                               RANDY
                      (excited)
               I was just about to call you!  I've
               completely debugged the algorithmic
               system analysis program, Adrianne.
               It's going to work...I know it is.
               Look....

     Randy turns back to the computer, starts typing rapidly.
     In front of him, the monitors start flashing a series of
     numbers, equations.  As he works, Adrianne moves close to
     him, one hand resting on his shoulder.  Casual, yet
     intimate.  Randy notices it, and so do we.

                               ADRIANNE
                      (purring)
               I knew you could do it.

                               RANDY
                      (pleased)
               I wasn't so sure...I've never written 
               a program for something like this.

     With that, he punches another button on the keyboard.

     ON THE MONITORS

     As all three screens go blank and then flash computer
     pictures of -- K.I.T.T.!  A front, side and rearview of
     Trans Am.  Off this, we:

     OMITTED

                                              CUT TO

     EXT. HIGHWAY - DAY - CLOSE ON A SIMILAR PICTURE OF K.I.T.T.

     as the Trans Am moves down the highway.  Over, we hear the
     characteristic jingle of "Pac-Man" or some other appropriate
     video game, and we hear:

                               MICHAEL'S VOICE
               Gotcha!  Did you see that, Kitt?

     INT. TRANS AM - DAY - CLOSE ON MONITOR

     where we see a video game in progress, preferably Pac-Man.
     As the little creature gobbles baddies, pull back to reveal
     Michael playing the game, laughing delightedly.

                               K.I.T.T.
               I've seen nothing else for three hun-
               dred miles.  Don't you think you've
               had enough?

                               MICHAEL
               What's the problem?  I thought you'd
               appreciate me getting into computers....

                               K.I.T.T.
               Playing a video game where circles 
               eat blobs is hardly 'getting into
               computers.'  Michael, a computer is
               a sophisticated, very complicated
               piece of equipment....

                               MICHAEL
               You want to talk complicated?  Try
               getting twenty thousand points on
               this thing....

                               K.I.T.T.
               Never.  But, if you can tear your-
               self away, my sensors are picking up
               a disabled automobile ahead....

     Michael looks up to see a beautiful black Bentley parked by
     the side of the road its hood up.  Someone is bent over the
     engine, though we can't see who.  Shapely legs indicate
     it's a woman.

                               MICHAEL
               Let's see if we can lend a hand....

     Michael pulls to the side of the road, behind the Bentley.

     EXT. HIGHWAY - DAY

     as Michael parks, gets out of the Trans Am, walks to the
     Bentley.  As he approaches, the woman under the hood looks
     up.  It's Adrianne.  She flashes Michael another blinding
     smile.

                               ADRIANNE
               Help!

                               MICHAEL
               What's the problem?

                               ADRIANNE
               It won't go.
                      (smiling)
               I'm not so hot with mechanics....

                               MICHAEL
               Sort of like me and cooking...I get
               stuck at 'bring water to boil.'

     Adrianne laughs.  Michael smiles, moves to the engine,
     looks in, studies it for a moment.

                               MICHAEL
               Ah ha....

                               ADRIANNE
               'Ah ha?'  As in, 'I think I see the
               problem?'

     Michael nods, reaches in, fiddles.

                               MICHAEL
               Your distributor cap was loose.

     Michael climbs in, tries the car.  It starts.  Adrianne
     beams.

                               MICHAEL
               You probably weren't getting any
               juice from your induction coil to
               your plugs.

     Michael climbs out, closes the hood, as Adrianne studies 
     him.  She clearly likes what she sees.

                               ADRIANNE
               It seems like just saying 'thanks'
               isn't nearly enough.

                               MICHAEL
               It was my pleasure.

                               ADRIANNE
               Look, my place is right down the 
               road.  How about letting me buy you
               a drink?

                               MICHAEL
               That's very thoughtful, but....

                               ADRIANNE
               Oh, come on...what self-respecting
               knight denies his damsel a chance 
               to thank him?
                      (coyly)
               Besides, what if this stupid car 
               stops again and you're gone?

     She holds Michael's look for a beat, smiles.  As Michael
     smiles back, we:

                                              CUT TO

     EXT. HOUSE - DAY

     Something luxurious.  In front we see the Trans Am parked
     next to the Bentley.  We should see a garage in the b.g.
     with its doors closed.

     INT. HOUSE - LIVING ROOM - DAY

     Beautifully furnished.  Plants.  Carefully chosen prints
     on the walls.  A magnificent sound system, highlighted
     by two very large speakers mounted on the walls.  Michael
     is walking around, admiring the room as Adrianne comes in
     carrying a tray with drinks, hors d'oeuvres.

                               MICHAEL
               You have a beautiful place.

                               ADRIANNE
               I'm an art dealer.  I love having
               beautiful things around me.

     Adrianne sets down the tray, hands Michael a glass.

                               ADRIANNE
               Art and music.  They're two of the 
               three essential ingredients in my
               life....

     Adrianne lets her last line sink in, then moves to a reel-
     to-reel tape recorder.  As she switches it on, we notice her
     quickly place plugs in both her ears.  As she does, we go to:

     EXT. HOUSE - DAY

     as a van pulls up the driveway, parks next to the Trans 
     Am.  It's got a huge termite on the roof, and a sign on the
     side that reads, "Rodent Raiders -- If It Crawls, It Falls."
     The door opens and Randy jumps out.  He crosses to the Trans
     Am, peers in the window like a kid at a candy store, then
     moves toward the house.  We hear the faint sound of synthe-
     sized music (a la "Vangelis" or "Tangerine Dream"), and go
     to:

     INT. HOUSE - LIVING ROOM - DAY

     The music fills the room, Michael stands, listens intently,
     seemingly lost in the melody.  Adrianne's at his side,
     smiling warmly.  He catches himself drifting, shakes his
     head, stands shakily.

                               MICHAEL
               Strange...music.

                               ADRIANNE
               I find it so...soothing.  Relaxing.

     Michael looks at her sharply.  She gestures for him to sit.

                               ADRIANNE
               Come and sit down.

     She takes his arm, very gently leads him toward the sofa.
     Michael's distracted by the music again, then brings himself
     back to reality.  He looks at Adrianne, then over to the
     tape recorder.

                               MICHAEL
               I've had enough music.

     He turns, lurches toward the door.  Again, Adrianne very
     calmly takes his arm.

                               ADRIANNE
                      (crooning)
               Michael...I want you to relax.

                               MICHAEL
                      (groggy)
               Who are you?  What are...you...
               doing?

                               ADRIANNE
               Making you comfortable.  Helping 
               you...relax....

     He tries to break free from her grasp, but he's weak as a
     kitten.  She leads him back to the sofa, sits him down.
     Her hand caresses his face.  He tries to get up, but can't
     find the strength.  Adrianne caresses his face.

                               ADRIANNE
               Don't...Stay here...with me...
                      (beat)
               Just...relax...relax.

     The front door opens and Randy steps into the room.  Adrianne
     and Michael turn to see him.  Adrianne nods that every-
     thing's all right.  Randy hesitates for a moment, a frown on
     his face, taking in the scene.  Finally, he backs out and
     closes the door.  Michael sinks back on the sofa, closes his
     eyes.  Adrianne smiles at him, and we:

                                              CUT TO

     EXT. HOUSE - DAY

     as Randy comes out, crosses directly to the van and climbs
     inside.

     INT. VAN - DAY

     Not a rodent control van at all, but a mobile computer
     center.  We realize it's the setup from the opening
     sequence.  Randy sits down, punches into the keyboard.
     A schematic of K.I.T.T. appears on one of the monitors.
     Intercut with:

     INT. TRANS AM - DAY - ON K.I.T.T.

     blinking to life.

                               K.I.T.T.
                      (surprised)
               I beg your pardon!  What do you
               think you're doing?

     K.I.T.T.'s monitor blinks to life.  As Randy types into his
     computer, we see words appearing on K.I.T.T.'s monitor.

     K.I.T.T.'S MONITOR

     The words read, "Hello.  My name is Randy.  I want to be
     your friend.  Don't resist.  It won't do any good."

     BACK TO K.I.T.T.

     blinking in alarm, his voice box activating.

                               K.I.T.T.
               I'm highly classified material...
               Now get out of here, before I...
                      (a beat)

     We hear a rapid succession of electronic pulses.  K.I.T.T.'s
     lights blink in alarm.

                               K.I.T.T.
               Michael, someone's trying to gain
               access to me...!

     INT. HOUSE - LIVING ROOM - DAY - CLOSE ON MICHAEL

     as we hear K.I.T.T. over Michael's comlink:

                               K.I.T.T.'S VOICE
               Michael, can you hear me!  Help...!

     Michael slumped over on the sofa, completely mesmerized by
     the music.  Adrianne's standing over him.  As she turns and
     walks out of the room, we go back to:

     INT. VAN - DAY

     Randy types on his keyboard.  A monitor shows a schematic
     of K.I.T.T., focusing on a door handle.

     EXT. TRANS AM - CLOSE ON DOOR

     As the electric lights in the handle begin to blink, signi-
     fying Randy trying to get inside.  We hear:

     OMITTED

     EXT. TRANS AM - ON THE HANDLE

     as it suddenly pops open.

     INT. TRANS AM - ON K.I.T.T.

                               K.I.T.T.
                      (shocked)
               How did he do that?

     INT. VAN - ON RANDY

     smiling delightedly.  He punches another series of buttons.
     Adrianne appears behind him, watching intently.

     EXT. TRANS AM - ON THE HOOD

     as it pops open.  We hear:

                               K.I.T.T.'S VOICE
               Oh, no, you don't....

     The hood slams shut again.

     INT. VAN - ON RANDY

     frowning with irritation.  He punches in another combination
     of numbers.

     EXT. TRANS AM

     The hood pops open.

     INT. TRANS AM - ON K.I.T.T.

                               K.I.T.T.
               This is getting very irritating.
                      (fiercely)
               But, that's all he's going to get.

     INT. VAN - ON RANDY

     working feverishly over his keyboard.  The monitors in
     front of him reflect the interior of the Trans Am.

     INT. TRANS AM

     as the dash lights come on, the gear shift moves, the wind-
     shield wipers activate, the horn honks.  Then the ignition
     turns, catches and the Trans Am roars to life.  K.I.T.T. is
     powerless to stop it.  The gear shift moves into drive and
     the Trans Am lurches forward, stops, reverses, stops.  The
     movement is awkward, jerky, but K.I.T.T.'s under Randy's
     tentative control.

     OMITTED

     INT. VAN

     Randy whoops, pounds the table with his fist.  He turns to
     Adrianne, whose eyes are burning with excitement.  Spon-
     taneously, she hugs him.

                               ADRIANNE
               You've done it, Randy!

                               RANDY
               Part of it.  I've got control of the
               car.  Once I get into the central
               processing unit, I've got control of
               the computer, too.

     Randy punches in a series of numbers, followed by a phrase.
     "Designate Access Code."  A beat, then we hear:

                               K.I.T.T.
               I am the Knight Industries Two
               Thousand.  My serial number is Alpha
               Delta Two Two Seven Five Two Nine.
               I am unauthorized to allow access to
               Central Processing Unit.

     Randy shakes his head, punches in another series of letters
     and numbers.  As we hear K.I.T.T.'s voice, repeating the
     previous phrase;  Adrianne frowns with irritation.

                               ADRIANNE
               Your computer controls the car,
               Randy.  We don't need someone else's.

     Randy looks up at her, his face filled with innocent
     excitement.

                               RANDY
               But, Adrianne, you told me the Knight
               Industries Two Thousand is one of the
               most fantastic computers in the world.
               I've gotta get inside, get to know it....

                               ADRIANNE
                      (interrupting,
                       harsh)
               That's not necessary!  Destroy what
               we can't use....

                               RANDY
                      (shocked)
               Destroy it?  You've got to be
               kidding....

     Adrianne senses Randy's mood, changes tactics.  She leans
     over, her face close to Randy's.  Suddenly, she's pure
     sensuality.

                               ADRIANNE
                      (softer)
               Randy, because of you, your bril-
               liance, we don't need that computer.
                      (beat)
               I don't need anything, or anyone
               else.  Just you....

     She leans closer, kisses him, softly.  Randy melts, and as
     we hold on his face, then:

                                              CUT TO

     EXT. DESERTED ROAD - DAY

     A two-lane blacktop somewhere out of town.  Lightly traveled.
     As our camera pans slowly down the side of the road, we 
     suddenly see:

     MICHAEL

     Just off the shoulder of the road, looking like a bum
     sleeping off a binge.  Not moving, so we worry he might be
     hurt, even dead.  Then, slowly, he moves, struggles to sit
     up.  Suddenly, he's on his feet, grabbing for his comlink.

                               MICHAEL
               Kitt...Kitt, can you read me?  Come 
               in, Kitt!

     Dead silence.  Michael scans the horizon in every direction,
     then turns and starts walking down the road.  As he breaks
     into a run, we:

                                              CUT TO

     EXT. FOUNDATION - DAY

     Over, we hear:

                               DEVON'S VOICE
               You've lost Kitt!?

                                              CUT TO

     INT. FOUNDATION - DEVON'S OFFICE - DAY

     Michael's standing in front of Devon's desk, still dusty
     and disheveled from the road.  April stands behind Devon,
     just as stunned as he.

                               APRIL
                      (dismayed)
               To a woman who picked you up on the 
               side of the road?!  Michael, how could 
               you...?

     Michael holds up his hands, frustrated, angry.

                               MICHAEL
               I know how it sounds, but....

                               DEVON
               It sounds rather fantastic, frankly.
               A long-legged mermaid hypnotizes you
               with her siren's song....

                               MICHAEL
               It had to be some kind of ultra low
               frequency sound, subliminal thing...
                      (shaking 
                       his head)
               That music, and her voice...it liter-
               ally drained the strength out of me.
               It was incredible....

     April and Devon exchange a look.  Michael's starting to
     fume.

                               MICHAEL
               Look, we can debate this later!  The
               fact is, Kitt's gone and I want him
               back...
                      (to April)
               April, how far could they really get
               with Kitt?  I mean, he's programmed
               to respond only to me....

                               APRIL
               That's right.  But, if someone changed
               that program....

     Michael glances at Devon, then back to April.

                               MICHAEL
               What're the chances of that?

                               DEVON
               Infinitesimal.  But they exist.  And
               the thought of Kitt in the wrong
               hands disturbs me greatly.
                      (urgently)
               Do you think you can find the house?

     Michael thinks for a beat, nods.

                               MICHAEL
               Yeah, but that's about it.  Once she
               turned on that music, I was gone....

                               DEVON
               And now so is Kitt.
                      (to April)
               Notify the authorities.  I want an
               APB out on Kitt immediately.
                      (to Michael)
               Let's go, Michael.

     As Michael and Devon hurry out of the room, we:

                                              CUT TO

     EXT. ADRIANNE'S HOUSE - DAY

     deserted as a red Mercedes convertible pulls up the driveway
     and stops.  A "For Sale" sign is planted on the front lawn.
     The garage doors are open.  Devon and Michael get out,
     hurry to the front door.  Michael rings the bell.  No one
     answers.  Michael goes to work with a key pick and in a 
     second the front door opens.  He and Devon enter to:

     INT. LIVING ROOM - DAY

     Completely empty.  Michael and Devon stand in the middle of
     the room.  Michael's fuming.

                               MICHAEL
               She was here, Devon.  This place was
               completely furnished...and it wasn't
               for sale.

     Devon glances around the empty room.

                               DEVON
               If that's the case, this young lady
               obviously went to some trouble to
               snare you and Kitt.  Why?

                               MICHAEL
                      (grimly)
               We're gonna find that out, Devon.
               I promise you that....

     Michael wheels and walks out of the house.  Devon follows.

     EXT. HOUSE - DAY

     He notices the open garage door.  Thinks a minute.  Then
     turns and hurries toward it.  Devon follows.

     ANGLE - ON GARAGE

     as Michael walks inside.  Like the house, it's empty, except
     for a pile of boxes stacked in the corner.  Michael stands
     staring at the garage as Devon joins him.  A beat, then:

                               DEVON
               What is it, Michael?

                               MICHAEL
               I don't know...I felt something...in
               here.  A presence...
                      (beat)
               Kitt's presence.

     Both men glance around the empty garage, turn to leave.  As
     Michael starts to close the garage door we see a faint red
     light flicker in the pile of boxes.  It catches Michael's
     attention.  He freezes, peers through the darkness.  Again,
     a red light flickers.

                               MICHAEL
               Devon...!

     Michael throws open the door, hurries to the pile of boxes,
     reaches in and pulls out a black metallic rectangle about
     the size of a cigar box.  Severed wires dangle from it and
     it's been badly mishandled.  As Michael picks it up, a 
     red LED flickers, then grows bright.  Devon hurries over.

                               DEVON
               What is it, Michael?

                               MICHAEL
               It's Kitt...Kitt, are you all 
               right?!  Kitt...talk to me...Kitt!

     There's no response.  As the two men stare in shocked
     amazement at a Kitt we've never seen, we:

                                              FREEZE FRAME

                                              AND

                                              FADE OUT

                         END OF ACT ONE

                             ACT TWO

     FADE IN

     EXT. FOUNDATION - NIGHT - TO ESTABLISH

     Over, we hear:

                               MICHAEL'S VOICE
               Is Kitt going to be all right?

                                              CUT TO

     INT. FOUNDATION - DEVON'S OFFICE - NIGHT

     Michael paces across the room.  Devon and April face him,
     looking very somber.

                               APRIL
               He's been badly cannibalized....

                               MICHAEL
               Cannibalized?

                               APRIL
               Most of Kitt's programs were broken 
               into...everything concerning the 
               operation of the car is gone.

     Devon and Michael share a concerned look.

                               MICHAEL
               In the wrong hands, that's a lethal
               weapon.

                               APRIL
               They also tried to access Kitt's
               central processing unit and his
               'bubble memory'...everything that
               makes Kitt...Kitt.
                      (beat)
               His personality, his little idio-
               syncrasies...his soul.

                               MICHAEL
               It sounds like brainwashing.  Did 
               it work?

                               APRIL
                      (very upset)
               No...but we almost lost him, Michael.

     April's nearly on the verge of tears.  Devon and Michael
     notice.

                               DEVON
               This is becoming a crisis of major
               proportions and we still don't have
               a clue as to who we're dealing with.
                      (to April)
               How're we coming with those composite
               pictures?

                               APRIL
               I've already entered Michael's des-
               criptions.  Kitt's data should be in
               the computer by now....

     April crosses to the computer terminal, punches in.  Devon
     and Michael follow, peer over her shoulder.

     ANGLE TO FEATURE THE MONITOR

     as a computer-generated picture of Adrianne comes up on the
     screen.  Michael peers at it closely, excited.

                               MICHAEL
               That's her!

                               APRIL
               Good...that's a start.  Let's see
               the boy....

     More keys are punched.  We see a picture of Randy appear.

                               MICHAEL
               That's going to be tougher.  I only
               caught a glimpse of the kid....

     April is peering intently at the picture.  She punches a
     button, blows the picture up.

                               APRIL
               I've got the strangest feeling I've
               seen him somewhere....

     April thinks for a beat, then crosses to a pile of magazines.
     She grabs one, hurriedly flips through it.

                               APRIL
               Last month there was a convention in
               Chicago.  The brightest computer
               kids in the country got together,
               read papers, exchanged programs...
               awards were given to the best pres-
               entations.  A local kid took almost
               every prize....

     She stops turning the pages, stares at the magazine.

                               APRIL
               His name was Randy Merritt....

     She holds up the magazine.

     ANGLE ON THE MAGAZINE

     where we see a picture of a smiling Randy Merritt, under
     the caption "Computer Whiz Kid Wows Chicago."  It's very
     similar to the composite picture of Randy.

     BACK TO SCENE

     as Devon and Michael stare at the picture.

                               DEVON
               Good work, April.  Let's find him
               ...quickly!
                      (to Michael)
               We'll continue our search for the
               woman while you interrogate this
               boy....

     As Devon talks, there's a buzz on the intercom.  April
     crosses, picks up the phone, speaks softly, then hangs up.

                               APRIL
               That was the 'clean room'.  Kitt's
               ready...in a manner of speaking.
               Shall I bring him in?

                               MICHAEL
               Absolutely!  I don't like working
               without a partner.

     April turns for the door, stops.

                               APRIL
               He's going to look...different.
               He's already pretty touchy, so
               don't make it any worse....

     April exits.  Devon and Michael share a look.

                               MICHAEL
               Different?

     Before Devon can answer, April enters, pushing a gurney which
     carries one of those portable entertainment units, with
     a five-inch TV screen, AM/FM radio, speaker and carrying
     handle.  She sets it on a table in front of Michael and
     Devon.  They're flabbergasted.  We hear K.I.T.T.'s voice,
     smaller, slightly metallic, but undeniably K.I.T.T.  As he
     talks, a light on the top of the set flashes.

                               K.I.T.T.
               Don't say a thing!  Not one word!

                               MICHAEL
               Kitt, you're...okay!

                               K.I.T.T.
               I am not 'okay.'  I'm being held 
               captive inside a television set....

                               APRIL
               Kitt, it's the best we can do to make
               you portable....

                               K.I.T.T.
               And totally ridiculous!  I feel like 
               the booby prize at a Halloween party.

     April, Michael and Devon have to hide smiles.

                               K.I.T.T.
               Well, don't just stand there.  We've 
               got to find those beasts...immediately!

                               MICHAEL
               As soon as we get a lead on the kid.
               But, you sure you feel like traveling,
               pal?

                               K.I.T.T.
               Like April said, Michael...
                      (sarcastic)
               I'm portable.

     Off everyone's amused reactions, we:

                                              CUT TO

     EXT. HIGHWAY - DAY

     as we pick up the red Mercedes convertible moving down the
     highway.

     INT. CONVERTIBLE - DAY

     Michael's behind the wheel.  K.I.T.T.'s on the passenger
     seat next to him.  Silence, then:

                               K.I.T.T.
               You seem to be enjoying this.

                               MICHAEL
               It's kinda fun having the top down.

                               K.I.T.T.
               Well, if being burned by the sun and
               buffeted by the wind is your idea of
               fun....

                               MICHAEL
               Look, I'm only driving this until we
               get our car back.  Don't be paranoid.

                               K.I.T.T.
               That's easy for you to say.  You're
               still you, and I'm a...shadow of my
               former self!  I used to be sleek and
               black and dashing, and now...
                      (poignantly)
               Oh, Michael, do I look just dreadful?
               Be honest....

     Michael glances over at the portable TV, smiles.

                               MICHAEL
               What matters to me is who you are,
               not what you look like, Kitt.  Sure,
               we don't have the car, so we can't
               turbo boost or go two hundred miles
               an hour, but that was all frosting
               on the cake, anyway.  It was never
               you.

                               K.I.T.T.
               It wasn't?

                               MICHAEL
               No...the car was fantastic but if
               you break it down it was steel,
               glass, rubber...and we can always
               make another one.
                      (beat)
               But, you...you're a lot more than
               silicon chips and fancy circuitry.
               You're my buddy and my partner...and
               you're one of a kind.

                               K.I.T.T.
               Why, thank you, Michael.  The feeling's
               mutual...I mean, I've always considered
               you as more than a dollar and seventy-
               eight cents worth of chemicals...a
               good deal more, in fact.

     Off Michael's smile:

                                              CUT TO

     EXT. RESIDENTIAL STREET - DAY

     A middle-class neighborhood, with small houses and apart-
     ments lining the street.  We see the Mercedes parked in
     front of one of the houses, and:

                                              CUT TO

     INT. APARTMENT - DAY

     where we find Michael talking with Denise Merritt.  She's
     in her early forties, with an attractiveness that's given
     way to the concern and fatigue etched in her face.

                               MRS. MERRITT
               I'd give anything to know where he
               was, Mr. Knight...I've been worried
               sick since he disappeared.
                      (beat)
               It's been nearly a month...
                      (near tears)
               ...no calls, no letters.  The police
               haven't turned up a thing, the private
               investigator I hired has been use-
               less....

                               MICHAEL
               Mrs. Merritt, I think I saw Randy.
               He was with a woman....

     Mrs. Merritt stares at Michael, totally stunned.

                               MRS. MERRITT
               You saw him?  With Adrianne?

                               MICHAEL
               I don't know her name.  She's tall,
               with dark hair, in her late twenties....

                               MRS. MERRITT
                      (overwhelmed)
               That's her!  You've got to tell me
               where you saw them, how to find them
               ...please!

     Mrs. Merritt has grabbed Michael's hand.  She's squeezing 
     it tightly.

                               MICHAEL
                      (gently)
               They've disappeared...but I want to
               find them just as much as you do.
               Anything you can tell me about her
               might help.

                               MRS. MERRITT
               I really don't know that much.  Her
               name's Adrianne Margeaux.  They met
               at one of those computer conventions
               ...she started filling his head with
               plans for building a computer making
               millions of dollars.  It was crazy....

     She stands, starts pacing.  She's talking rapidly now.

                               MRS. MERRITT
               Look, Randy's a good boy, but he's
               young and so impressionable.  She
               smiled at him, started telling him
               he was some kind of computer genius.
               She's so much older, so beautiful...
               it completely swept him off his feet.
                      (shaking 
                       her head)
               I watched him changing right in front
               of my eyes...even started lying and
               he'd never done that before.
                      (beat)
               I finally told him he couldn't see her
               anymore...two days later, he was gone.

     She gives way to tears again.

                               MICHAEL
                      (a beat)
               He couldn't have taken a lot with 
               him.  Maybe if we check his room,
               there's a clue hidden away some-
               where....

                               MRS. MERRITT
               I doubt that.  Not in his room.

                               MICHAEL
               Why?

     Rather than answer, Mrs. Merritt turns to exit.  Michael
     follows to:

     INT. RANDY'S ROOM - DAY

     A small, barren bedroom.  A single bed and a night stand
     line one wall.  The other part of the room is occupied by a 
     desk with a home computer and monitor, a workbench with
     electronic gadgets, a few magazines and books.  A phone
     should be hooked up to the computer monitor.  Michael and
     Mrs. Merritt walk in, stare at the room.

                               MICHAEL
               Looks like Randy wasn't into much
               besides his computer.

     Denise nods sadly, glances toward the computer.

                               MRS. MERRITT
               There wasn't anything else.  Randy
               was so shy, so quiet...I thought
               that computer would be good for him
               ...give him something to share with
               me.
                      (beat)
               But, once he discovered the world
               inside that machine, he disappeared
               into it.

     Michael nods, notices a picture stuck on the wall.  He 
     crosses, looks at it.  It's a picture of Adrianne and
     Randy, standing next to a computer.  They're smiling.

                               MRS. MERRITT
               I used to hate it when he'd spend
               hours with that computer.
                      (sadly)
               Now, I'd give anything just to have
               him here.

     She crosses to Michael, takes the picture.  As she and 
     Michael look at it, move in close on Randy's smiling face,
     and then:

                                              CUT TO

     INT. RODENT RAIDER VAN - DAY - CLOSE ON RANDY

     in front of his computer and monitors.  Rather than his
     keyboard, though, he's got a joystick apparatus, much like
     the kind used in home video games.  On the monitor in front
     of him we see, via live-action, a car racing across the 
     desert.  The point of view is from the driver's seat, and
     we realize that Randy is, in fact, "driving" the car.
     He jams the joystick straight ahead and we intercut with:

     OMITTED

     EXT. DESERT - DAY - ON THE TRANS AM

     jumps forward with a roar of power.  The wheel turns to the
     right sharply and the car skids into a turn, but too
     sharply.  It's responding awkwardly like a pup still
     learning to obey it's master.  In the b.g. we see the van
     parked next to a sleek limo.

     INT. LIMO

     where we see Adrianne watching the Trans Am perform.  She's
     sipping champagne.  Her driver, Turner, is behind the 
     wheel.  As the Trans Am spins out again, Adrianne frowns
     and we go back to:

     RANDY

     who frowns, mutters to himself, straightens out the joystick,
     hits a button.

     THE TRANS AM

     skids to a stop, then shoots forward, swerving from side to
     side erratically.  Then it turns, races toward the limo as:

     RANDY

     hunches over the joystick, hits two buttons simultaneously,
     pulls back sharply on the joystick.

     ON THE TRANS AM

     as it lifts off the ground, turbos over the limo, and hits 
     the ground hard.  Another skid as the car spins out and
     stops.

     ANGLE ON THE LIMO

     as Turner gets out, opens the door for Adrianne.  A beat
     later, Randy comes out of the van, crosses to Adrianne.
     She's furious.

                               ADRIANNE
               What's the matter?  You were driving
               that car like a drunken sailor.

     Randy stares at her, hurt to the quick.

                               RANDY
               I told you it might take some time....

                               ADRIANNE
                      (shaking her 
                       head)
               I thought you could deliver what
               you promised.

                               RANDY
               I can!

     Adrianne looks at Randy, dismisses him with a single shake
     of her head.

                               ADRIANNE
               It was a mistake to send a boy to do
               a man's job.  We should never have
               gotten rid of the Knight Industries
               CPU....

                               RANDY
               You told me to!  Besides, it's not
               the computer you want...it's him!
               The guy who you stole the car from.
               Isn't it...!

     Adrianne doesn't respond.  Her smile drives Randy crazy.

                               RANDY
               I'll make this work!  I will...!

     Randy turns and hurries back into the van.  Adrianne smiles
     to herself and steps back into the limo.  As she does:

                                              CUT TO

     EXT. HIGHWAY - DAY - ON THE MERCEDES

     cruising down the highway.

     INT. MERCEDES - DAY

     Michael's lost in thought.

                               K.I.T.T.
               I know it must seem strange talking to
               a television set, but you could say
               something....

                               MICHAEL
               Sorry, pal.  I was just thinking 
               about Randy Merritt.
                      (beat)
               You know, I always figured where
               someone lived sort of reflected 
               who they are.

                               K.I.T.T.
               That can be deceptive.  My present
               surroundings certainly doesn't reflect
               who I am.

                               MICHAEL
               Yeah, but his room was so empty.
               There was nothing of him in there.
               No personality, no character....

                               K.I.T.T.
               That doesn't surprise me.  It sounds 
               like Randy lived in his own private 
               world....

     Michael looks at K.I.T.T. sharply.

                               MICHAEL
               Kitt, that's it!  His own private 
               world...his mother said he lived in
               his computer....

     Michael slams on the brakes, spins a U-turn and heads back
     down the road.  As he does:

                                              CUT TO

     INT. RANDY'S ROOM - DAY

     Michael's sitting at Randy's computer, with K.I.T.T. on the
     table beside him.  In the b.g. we see Mrs. Merritt, watching
     nervously from the door.

                               MICHAEL
               Okay, buddy...let's see what you can
               find.

                               K.I.T.T. 
               Michael, are you sure we should be
               doing this?  Computers are very
               personal.

                               MICHAEL
               Look at it this way, Kitt...the sooner
               we find Randy Merritt, the sooner you
               can trade that portable in for a bigger
               model.

                               K.I.T.T.
                      (briskly)
               I'll get right to work.

     ANGLE TO INCLUDE THE MONITOR

     as the screen blinks on.  We hear a series of electronic tones
     as K.I.T.T. goes to work.

                               K.I.T.T.
               I'm accessing everything that's not
               coded, Michael...it's all rather
               predictable:  video games, telephone
               numbers, homework assignments...
               several weeks overdue, I might add
               ...just a moment, what's this...?

     On the screen, the word "Orpheus" appears.

                               MICHAEL
               Orpheus?  What's it mean?

                               K.I.T.T. 
               I'm not sure, but it must have been
               important because it's protected by
               a rather sophisticated entry code.

                               MICHAEL
               Can you break it?

                               K.I.T.T.
               Probably.  It could take time.

                               MICHAEL
               Let's go for it.  We don't have 
               much else....

     Before K.I.T.T. can respond, we hear another series of
     electronic impulses.

                               K.I.T.T.
               Michael, someone's calling into this
               computer...!

                               MICHAEL
               Calling in?  You mean from outside?

                               K.I.T.T.
               Yes.  Via the telephone...it's 
               another computer.

                               MICHAEL
               It's gotta be Randy!  Can you trace 
               the call?

     ANGLE ON K.I.T.T.'S SCREEN

     as a map grid flashes onto the screen, searches, then stops.
     A blinking light pinpoints the origin of the call.

                               K.I.T.T.
               It's coming from a mobile phone,
               approximately fifty miles due east
               of here.

     RESUME SCENE

     As Michael grabs K.I.T.T. and hurries out the door, we:

                                              CUT TO

     EXT. ROAD - DAY - IN THE DESERT

     A deserted road heading into the desert.  We see the
     Mercedes crest a hill, head toward camera.

     INT. MERCEDES - DAY

     as Michael studies the countryside.

                               MICHAEL
               Looks pretty desolate out here,
               Kitt...You sure we're on the right
               track?

                               K.I.T.T.
                      (testy)
               Michael, I might look like a tele-
               vision, but I am still a computer.
               Of course, I'm sure....

                               MICHAEL
                      (shaking
                       his head)
               I don't know...there's nothing in
               sight....

     Just then, we hear the roar of a car approaching them at
     high speed, from behind.  Michael looks in his rearview
     mirror, sees:

     THE TRANS AM

     bearing down on the Mercedes, doing a hundred plus.

     ANGLE ON THE ROAD

     as Michael swerves to the right and the Trans Am whistles
     by on the left.  It's driverless.  During this, we intercut
     with:

     INT. VAN - DAY - ON RANDY

     at the joystick, a wild look in his eye.  He laughs, jams
     the joystick to the right and:

     THE TRANS AM

     spins into a sloppy one eighty, heads back toward the
     Mercedes, weaving uneasily as Randy struggles for control.

     INT. MERCEDES
 
     as Michael stares in stunned disbelief at the Trans Am
     racing toward them.

                               MICHAEL
               Kitt...that's our car!  And no one's
               driving....

                               K.I.T.T.
               I'm picking up electronic impulses,
               Michael...it's under remote control....

     As the Trans Am bears down on them:

                               MICHAEL 
               It's heading straight for us!

                               K.I.T.T.
               Then I suggest we move.  Quickly!

     ANGLE ON THE ROAD

     as the Trans Am barrels toward the Mercedes.  Michael takes
     it as far to the right on the shoulder as he can go, but
     still the Trans Am bears down on it.

     INT. MERCEDES
 
     The Trans Am almost on top of it.

     ON RANDY

     watching the monitor.

     EXT. ROAD 

     as the Trans Am speeds toward the Mercedes on a sure
     collision course, we:

                                              FREEZE FRAME

                                              AND

                                              FADE OUT

                         END OF ACT TWO

                            ACT THREE

     FADE IN

     EXT. DESERT ROAD - DAY

     Continuous action from the end of Act Two, as the Trans Am
     bears down on the Mercedes.  Almost to the point of impact.

     ON RANDY

     pulling the joystick back as far as it will go.

     ON THE TRANS AM

     Turboing over the Mercedes, hitting the ground and disap-
     pearing in a cloud of dust down the road.

     INT. MERCEDES

     as Michael slows almost to a stop, takes a very deep breath.

                               MICHAEL
               You know something, pal...I don't
               much care for being on this end of
               things.

                               K.I.T.T.
               That makes two of us.

                               MICHAEL
               Especially when you can't see who's
               trying to run you down.

                               K.I.T.T.
               We might be about to find out, 
               Michael...there, in the road
               ahead....

     As Michael comes over a rise in the hill, we see:

     OMITTED

     THE LIMO

     Pan up the road to the Mercedes as it approaches, slows and
     parks.  As Michael gets out, Turner also gets out.  As the
     two men face each other, the back door to the limo opens
     and two beautiful legs swing out, followed by Adrianne.
     She's holding her champagne, smiling radiantly.  Not the
     slightest bit bothered by Michael's appearance.

                               ADRIANNE
               My, my, what a delightedly small
               world.  I've been thinking about
               you....

     She lifts her glass in a toasting gesture to Michael.

                               ADRIANNE
               To my brave knight...even if he
               seems to have lost his trusty steed.

     She laughs, drinks, then reaches inside the car for the
     bottle and another glass.  She offers it to Michael, but he
     refuses.

                               MICHAEL
               I want that car back.

                               ADRIANNE
                      (another laugh)
               Yes, I'm sure you do.  Coinci-
               dentally, I very much want the
               one remaining piece of him:  the
               central processing unit.

     Michael almost smiles.  This is proof.

                               MICHAEL
               Having trouble without it?

                               ADRIANNE
               Not trouble.  But it would simplify
               things.  Give me the CPU for twenty-
               four hours, and I'll return it and
               the car to you intact.

                               MICHAEL
               If I don't?

                               ADRIANNE
               You'll never see the car again.

     Michael studies her for a beat.

                               MICHAEL
               I don't know what you're up to, but
               I don't like being threatened, and I
               don't make deals.
                      (beat)
               Tell your gorilla you're coming with
               me.

     She looks at Michael and laughs.  She snaps her fingers
     toward Turner who brings her a walkie-talkie from the car.

                               ADRIANNE
               You underestimate me...I've always 
               got an ace somewhere up my sleeve...
                      (into phone)
               Fredericks, what are you to do with
               Randy if I don't call every half
               hour?

     She holds the walkie-talkie so Michael can hear a crackly
     voice:

                               FREDERICK'S VOICE
               Kill him.

     Adrianne smiles coldly at Michael.  Off his look:

                                              CUT TO

     OMITTED

     EXT. FOUNDATION - DAY - STOCK

                               MICHAEL'S VOICE
               It's not just recovering Kitt's body
               now, Devon....

     INT. DEVON'S OFFICE - DAY

     Michael paces.  Devon is at his desk, April is at the
     computer, listening.

                               MICHAEL
               It's Randy's life too.  He's as good
               as dead when she's through with him.

                               DEVON
               And we still don't know a thing 
               about her.  I've circulated her
               photo with my contacts -- FBI, even
               Interpol.  No one recognizes her.

                               MICHAEL
               Look, Adrianne said 'Orpheus,' what-
               ever it is, will happen by tomorrow
               afternoon.  Maybe that's our best
               lead.

                               APRIL
                      (shaking her 
                       head)
               I've researched it from its genesis
               in Greek mythology to every conceiv-
               able modern application.  I can't
               find any connection.

     They stare at one another, frustrated.  Michael paces, then 
     pauses, an idea forming.  He grabs the phone, dials.

                               MICHAEL
                      (phone)
               Mrs. Merritt, this is Michael Knight....

     INTERCUT - MRS. MERRITT

     on the phone in her living room.

                               MRS. MERRITT
                      (anxious)
               Have you found him?

                               MICHAEL
               No, not yet.  Mrs. Merritt, you
               mentioned that after Randy met
               Adrianne he started to lie...what
               did he lie about?  Anything in
               particular?

                               MRS. MERRITT
                      (embarrassed)
               Adrianne.

                               MICHAEL
                      (intrigued)
               What kind of lies?  Can you give me  
               an example?

                               MRS. MERRITT
               Yes.  One Saturday he had me drive
               him to the Parkhurst Hotel.  He said
               there was a computer convention....

                               MICHAEL
               There wasn't?

                               MRS. MERRITT
               No.  He'd gone to visit her....

                               MICHAEL
               She was staying there?

                               MRS. MERRITT
               Apparently.  He spent all day with 
               her in her suite....

     On Michael's reaction:

                                              CUT TO

     EXT. PARKHURST - DAY - STOCK

                               CLERK'S VOICE
               May I help you?

     INT. FRONT DESK - DAY

     Michael is walking and talking to an Assistant Manager
     type, who's shaking his head.

                               MANAGER
               I'm sorry, but we guarantee our
               clientel the strictest privacy.
               Registration is confidential.

     Michael pulls out the photo of Adrianne.

                               MICHAEL
               Well, let's forget the records.
               Maybe you'd recognize the face....

     He hands it to the Clerk, who reacts:  A hundred dollar
     bill is folded underneath it.  The Clerk expertly palms the
     bill, studies the photo.  He glances around.

                               MANAGER
                      (sotto)
               Of course.  Miss Margeaux.  She's
               often here...but she never registers.

                               MICHAEL
               How could she not register?

                               MANAGER
                      (confidential
                       smile)
               She stays in Mr. Atherton's permanent
               suite.

     Michael reacts to the name, obviously recognizing it.

                               MICHAEL
               Mr. Atherton?  Mr. George Atherton.

     As the Manager nods, we hold on Michael's look, then:

                                              CUT TO

     OMITTED

     INT. N.D. GARAGE - NIGHT

     A small, empty garage, except for the Trans Am and the
     "Rodent Raider."  We pan past the Trans Am to the van.  The
     doors are open.  Inside, we see:

     RANDY

     bent over a bench, absorbed in his work.  We hear the sound
     of footsteps and Adrianne comes into the van.  Randy
     doesn't bother to look up.  Adrianne stands next to him for
     a moment.  The mood is distant, a little cold between them.

                               ADRIANNE
               You've been awfully quiet.  How's 
               the work coming?

                               RANDY
               I ought to have control over the car
               by tomorrow.

     Randy fiddles with the keyboard, looking very unhappy.
     Adrianne sits next to him, brushes a hair off his fore-
     head.

                               ADRIANNE
               That makes me very happy.  And proud.
                      (beat)
               Why do you look so sad?

     Randy shrugs, hesitates, then:

                               RANDY
               Look, Adrianne, the computer stuff 
               is fun, but the rest of it...that's
               really serious.
                      (long beat)
               Maybe...maybe I shouldn't be involved.
               I mean, I didn't know it was gonna
               be like this...any of it.

     Adrianne studies Randy intently, then smiles warmly.

                               ADRIANNE
               After this, we'll take a long
               trip...just you and me.  The world
               will be our playground and you'll be
               my little Prince....

     Randy stiffens, glares at Adrianne.

                               RANDY
               I'm not "little!"

     She's startled by his vehemence.  She smiles; she has
     uncovered what's bothering him.

                               ADRIANNE
               Randy, that's just a phrase, a 
               figure of speech.  Are you jealous?

                               RANDY
               No.

                               ADRIANNE
               Yes, you are.  But, who...not Turner
               or Fredericks, certainly....

                               RANDY
                      (beat)
               You were with him today....

                               ADRIANNE
                      (realizes)
               Michael Knight?
                      (laughs)
               You darling, I'm flattered but you
               have nothing to be jealous of.  Looks
               aren't what really attract a woman.
               Certainly not for long.  Women are
               attracted by power, what a man can 
               do, what he can create.  No one but
               you could reprogram and control the
               Knight Industries' Two Thousand,
               darling.  No one.

     Smiling, she gently turns his face to hers.  He trembles
     at her touch, totally under her spell again:

                                              CUT TO

     OMITTED

     EXT. HIGHWAY - NIGHT

     The Mercedes passes, Michael pushing it.

                               DEVON'S VOICE
                      (astonished)
               George Atherton?

     ANGLE IN MERCEDES

     Michael is driving, K.I.T.T. is on the passenger seat, Devon's
     image on his little screen.  Intercut as necessary.

                               MICHAEL
               That's what the clerk said, Devon.

     Devon shakes his head.

                               DEVON
               He's been on the Foundation Board of
               Directors for nearly fifteen years.
               There must be an explanation.

                               MICHAEL
               Adrianne Margeaux is a very beautiful
               explanation.

                               DEVON
               An indiscretion is one thing, but to
               share confidential information about
               Kitt.  I just don't understand....

                               MICHAEL
               Maybe Atherton can shed some light on
               the subject.  Got an address on him?

                               DEVON
               He stays at the Blackwell when he's in
               town.  He's there now.

                               MICHAEL
               I'm on my way.

                               DEVON
               Michael...George Atherton was an old, dear
               friend of Wilton Knight's.  Please be...
               considerate.

                               MICHAEL
               I'll try.  But, given what's happened
               to Kitt and the car, I'm not going 
               to make any promises....

     As Michael switches the screen off, hold on him, and then:

                                              CUT TO

     EXT. BLACKWELL HOTEL - NIGHT

     The camera angles up from the Mercedes, parked, to the top
     floor.

     INT. ATHERTON'S SUITE - NIGHT - GEORGE ATHERTON

     is a good-looking, well-tanned man in his fifties.  At the
     moment he looks angry, controlled.

                               ATHERTON
               Are you out of your mind?

     ANGLE TO INCLUDE MICHAEL

     across from Atherton in his beautiful, expensively furnished
     living room.  Both men are standing.

                               ATHERTON
               I told you, Knight, I've never heard 
               of Adrianne Margeaux!  Now, if you 
               don't mind....

     He moves to the door.  Michael doesn't budge.

                               MICHAEL
               Look, Mr. Atherton, your private life's
               your business...but this thing's out
               of control.  The Knight Industries'
               Two Thousand computer was nearly 
               destroyed, the car is still missing,
               and a young kid's life is in danger.
               And, it all comes back to Adrianne
               Margeaux.
                      (firm)
               Which leaves the whole mess on your 
               front porch.

     Atherton stares at Michael for a beat, then sags.  He nods.

                               ATHERTON
               I've known Adrianne for nearly five
               years.  We've been...more than
               friends, but I never discussed Kitt...
                      (thinking)
               She could've gone through my files,
               it could have been pillow talk....

                               MICHAEL
               What's 'Orpheus?'

     Atherton looks at Michael, shocked.  He hesitates, then:

                               ATHERTON
               When we became...involved, I set up
               a Swiss numbered account for her.
               Only she has access.  We code named
               it 'Orpheus' -- each letter of the
               name is a number in the account.

                               MICHAEL
               Mr. Atherton, she's planning a crime
               of some kind...a big one.  My guess
               is it involved something of yours.

                               ATHERTON
               Ridiculous!  How could she possibly
               hurt me?

                               MICHAEL
               You tell me.  What do you have that's
               worth a lot of money and somehow
               vulnerable?

     Atherton paces, perplexed.  Then suddenly stops, staring at
     Michael.

                               ATHERTON
               My collection!

                               MICHAEL
               What collection?

                               ATHERTON
               My art!  It's been on display in San
               Francisco and is being transported
               by a special armored car to Denver.

                               MICHAEL
               Any idea what it's worth?

                               ATHERTON
               At last appraisal, over fourteen
               million dollars.

     On their looks....

                                              FADE OUT

                        END OF ACT THREE

                            ACT FOUR

     FADE IN

     EXT. ND GARAGE - DAY

     The big doors slide open.

     ANOTHER ANGLE

     A flatbed truck backs up to the entrance.

     ANGLE ON K.I.T.T.

     Driverless, he moves out of the warehouse and rolls up onto
     the flatbed.

     ANGLE ON RANDY AND ADRIANNE

     Inside, Randy at his mobil computer control.  Adrianne
     smiles.

     ANGLE ON K.I.T.T.

     He stops at precisely the right place on the truck.
     Turner, and the mysterious Fredericks, cover K.I.T.T.
     with a snap-down tarp, designed for travel.

                                              CUT TO

     EXT. HIGHWAY - DAY

     The Mercedes flashes by.

     OMITTED

     INT. SEMI - DAY

     Michael is on with Devon.

                               MICHAEL
               Devon, I'll need every possible piece
               of information on this special car,
               the route, terrain, intersecting
               highways -- the works.

                               DEVON
               April's arranging to interface Kitt
               with Centra-Comp right now.  From what
               I understand, the vehicle is a state-
               of-the-art armored bus capable of
               withstanding virtually any impact.

                               MICHAEL
               How about a laser?

                               DEVON
                      (reacts)
               Kitt's laser isn't operative.

                               MICHAEL
               The laser powerpack is still there.
               If Randy's the computer genius
               he appears to be, anything's possible.

     A sobering thought for Devon.  April crosses from the b.g.

                               APRIL
               Kitt's connected to Centra-Comp.
               Within minutes he'll know every-
               thing we've got.

                               MICHAEL
                      (beat)
               Thanks, April.  Devon.  We'll be in
               touch.

     Ad-lib good-byes and their faces fade.  A silent moment
     passes, Michael deep in thought.

                               K.I.T.T.
               My laser power pack...Michael, in
               the wrong hands it's a weapon of
               incredible destruction.

                               MICHAEL
               I'm aware, pal.  Well aware...
                      (beat)
               How you doing down there?  Okay?

                               K.I.T.T.
               'How you doing down there'?  You're 
               making me feel like a midget.

                               MICHAEL
                      (smiles)
               Sorry, big fella.

                               K.I.T.T.
               That's better.

     Michael laughs.

                                              CUT TO

     OMITTED

     EXT. ANOTHER HIGHWAY - DAY

     We see the tarp-covered flatbed, followed by the "Rodent
     Raider" van, pass camera.  Adrianne and Randy are in the van, 
     Turner and Fredericks in the flatbed.

                                              CUT TO

     OMITTED

     EXT. DIFFERENT HIGHWAY - DAY

     The Mercedes speeds by.

                               K.I.T.T.'S VOICE
               I've got something, Michael.

     ANGLE IN MERCEDES

     Michael at the wheel.  He glances at K.I.T.T.

                               MICHAEL
               Go.

                               K.I.T.T.
               The two most likely places for inter-
               cept are ten point two miles north of
               Cutter's Crossing and six point seven
               miles north-northeast of a town called
               Bridgeport.

     Intercut K.I.T.T.'s little TV screen as it flashes maps,
     indicating each location with a red dot.

                               MICHAEL
               Which one's more likely?

                               K.I.T.T.
               They're virtually the same in terms
               of desirability.

                               MICHAEL
               I think Randy worships computers.
               He'd abandon his own judgment for
               even a fractional advantage.

                               K.I.T.T.
               In that case, I'd say the Cutter's
               Crossing location.

     Before Michael can respond, the car sputters, coughs, dies
     and coasts to a stop.

                               MICHAEL
               Kitt, what's wrong?

                               K.I.T.T.
               A chronic problem with petrol-
               dependent vehicles...we're out 
               of gas.

                               MICHAEL
               Out of gas?  Why didn't you tell me
               we were running out?

                               K.I.T.T.
               Why didn't you watch the gauge?
               You're the driver...I'm only along 
               for the ride.

                               MICHAEL
               How far to Cutter's Crossing?

                               K.I.T.T.
               Nearly ninety miles.

     EXT. ROADSIDE - DAY

     as Michael climbs out, checks his watch, looks around.
     Nothing.  Then, putting along toward Michael, we see:

     A '49 STUDEBAKER

     cruising along about forty.  Michael moves onto the highway,
     waving his arms.  The Studebaker slows, finally stops.  An
     old hayseed, Elmer, looks out at Michael.

                               MICHAEL
               Thanks for stopping.  Listen, how'd
               you like to own that expensive
               convertible?

                               ELMER
                      (hard of hearing)
               What's that?

                               MICHAEL
                      (shouting)
               Look...I'm in a big hurry and I just
               ran out of gas.  I'll trade you cars
               -- that convertible's very expensive,
               and it runs great....

     Elmer climbs out of his car, crosses to the Mercedes,
     inspects it, then turns to Michael.

                               ELMER
               Not without gas, it don't....

     Michael glances at his watch, at his wit's end.  Then an
     idea strikes.  He pulls out his wallet.

                               MICHAEL
               Look, I'll trade you straight across
               and throw in...
                      (counts his
                       money)
               ...sixty-eight dollars.

     Elmer ignores the money.  He's spotted K.I.T.T. in the front
     seat of the Mercedes.

                               ELMER
               Tell you what....

                               MICHAEL
                      (encouraged)
               Yeah?

                               ELMER
               Throw in the sixty-eight dollars and
               that little TV set, an' you got a 
               deal.

     Michael stares, dumbfounded.

                               MICHAEL
               I can't throw in the TV.  See, it's
               not really a TV.

                               ELMER
               Looks like a TV.

                               MICHAEL
               Elmer, make the trade for the 
               convertible and the sixty-eight
               dollars, give me your address and
               I'll send you a little TV just like
               that one.

                               ELMER
               Thought you said it wasn't a little
               TV.

     Michael is ready to kill Elmer.

                               MICHAEL
               I'll send you two.

                                              CUT TO

     OMITTED

     EXT. SIDE ROAD - DAY

     The caravan passes camera, lead by the Rodent Raider at a 
     deserted part of the road, Randy turns off and parks.  The
     flatbed parks behind it.

     EXT. ANOTHER HIGHWAY 

     Just empty road and then, over a rise, we see the Studebaker
     appear, going full out, which means about forty-seven.

     ANGLE IN STUDEBAKER

     Michael is at the wheel, K.I.T.T. beside him.  Michael
     doesn't look happy.

                               K.I.T.T.
               That Elmer was quite a character.

                               MICHAEL
               Yeah.

                               K.I.T.T.
               Drove a hard bargain.

                               MICHAEL
               Yeah.

                               K.I.T.T.
               We're behind schedule.

                               MICHAEL
               Kitt, keep one thing in mind.  I can
               always switch you to a game show.

                                              CUT TO

     EXT. ARMORED BUS - DAY

     It speeds along the highway.  It's high-tech panelling
     gives an unusual appearance.  A driver and a guard are seen
     in the cab.

                                              CUT TO

     OMITTED

                                              CUT TO

     EXT. SIDE ROAD - DAY

     Fredericks and Turner untarp the flatbed, revealing the
     Trans Am.  Randy, inside the van, operates the mobil
     computer and guides the car off the truck.  Adrianne
     watches, smiling, then steps into:

     OMITTED

     THE VAN - ANGLE ON RANDY AND ADRIANNE

     Randy at the controls.

                               ADRIANNE
               How far away is the armored bus?

                               RANDY
                      (pushes buttons)
               Two minutes and thirteen seconds.

                               ADRIANNE
               Shouldn't you begin the computer 
               override?

     No response.

                               ADRIANNE
               I said, shouldn't you start the 
               computer override?

     Randy glances at Adrianne.  She looks at him sternly.  He
     hesitates, then nods, starts to work.  Adrianne smiles.

                               ADRIANNE
               That's my good boy.

                               RANDY
               I'm not your boy.

     Randy keeps working as Adrianne watches him carefully and
     we:

                                              CUT TO

     ON THE STUDEBAKER

     wheezing down the road, barely making it up a medium
     incline, maybe even starting to steam.

     ARMORED BUS

     moving down the highway, looking invincible.

     OMITTED

     EXT. SIDE ROAD - ON THE TRANS AM - DAY

     Poised.  Ready.  The body, without K.I.T.T.'s heart and soul,
     looks strangely evil.  Behind the Trans Am, we see the 
     flatbed and the van.  Turner and Fredericks are in the
     flatbed.

     INT. VAN - DAY

     Randy's at the computers, Adrianne at his shoulder.  He
     pushes a series of buttons.  We see the armored bus on a
     monitor in front of him (live-action video).

                               RANDY
               Five, four, three, two, one...go!

     INT. ARMORED BUS CAB - DAY

     as the bus sputters, misses.  Dashboard lights flash on and
     off, then off.  The driver and the guard exchange a 
     startled look as the big rig starts to slow to a stop.

     EXT. ROAD - DAY

     With Randy's beautiful planning, the armored bus slows to a
     stop directly in front of the place where the Trans Am and
     the other vehicles are parked.  As it does:

     THE TRANS AM

     roars forward, heading for the bus.  Behind it, Turner and
     Fredericks wait, poised and ready to strike.

     OMITTED

     ANGLE AT ARMORED BUS

     The Trans Am pulls alongside, stops.  A laser beam begins 
     to cut a hole through the reinforced car.

     ANGLE IN CAB

     The driver and guard react, pulls their weapons, jump out of
     the cab and watch, incredulous, as the laser proceeds to 
     cut a 4 x 4 chunk out of the side.  They open fire on the 
     car, bullets ricocheting in every direction.

     INTERCUT - RANDY AND ADRIANNE IN VAN

     Adrianne watches, eyes flashing with excitement, as Randy
     expertly manipulates the action via computer.  The laser
     continues to cut.

     ANGLE ON STUDEBAKER

     as it careens down the dirt road.

     ANGLE - ON THE FLATBED

     as Turner roars across the road, coming up behind the 
     driver and the guard.  Fredericks opens fire, winging one
     of the guards.  The other, wisely, drops his gun as
     Fredericks leaps out of the truck.

     ANOTHER ANGLE

     As Fredericks ties up the two guards, Turner backs the
     flatbed toward the now complete hole in the side of the
     bus.  The Trans Am moves away from the bus and Turner pulls
     the truck close.  In a second he's out, pulling the loading
     ramps from the back of the flatbed across to the bus,
     forming a walkway between the two vehicles.  Fredericks
     joins him and they start unloading crates.

     OMITTED

     EXT. ROAD - ON THE STUDEBAKER

     moving down the road.  In the distance, we should be able 
     to see the armored bus at the side of the road.

     OMITTED

     INT. VAN - DAY

     as Adrianne rushes from the door to Randy, who's still at
     the computers.

                               ADRIANNE
               There's a car coming this way...
               who's inside?

     Randy punches into the monitor.  We see Michael's dirty
     face appear.

                               ADRIANNE
               It's Michael Knight!

     Before Randy can respond, Adrianne has him by the arm and
     is dragging him outside.

     EXT. VAN - DAY

     Adrianne pulls Randy across the road.  The Trans Am sits
     nearby the armored bus.  Fredericks and Turner are busily
     unloading the bus.  Adrianne shoves Randy toward the Trans
     Am.

                               ADRIANNE
               Get in!
                      (off Randy's
                       look)
               I want you to stop Knight.  In 
               person, not remote control....

                               RANDY
               What do you mean?

                               ADRIANNE
               Kill him!
                      (shouting off)
               Fredericks!

     Fredericks rushes over from the bus.

                               ADRIANNE
               Take a ride with the whiz kid...make 
               sure he finishes off Mr. Knight.

                               RANDY
               No!  I'm not gonna do it....

     Fredericks pulls his gun, points it at Randy.  Adrianne
     pushes Randy into the Trans Am and Fredericks climbs in the
     passenger side.  As Randy starts up the car, we go to:

     INT. STUDEBAKER

     heading for the tracks.  In front of it, we can see the
     Trans Am turning in their direction.

                               MICHAEL
               Uh oh...here comes your body again,
               Kitt...
                      (staring
                       ahead)
               And Randy's behind the wheel.

                               K.I.T.T.
               Randy?  I can't believe he'd try and
               harm us.

                               MICHAEL
               Me, either, but the guy sticking that
               gun in his ear might have something to
               say about it....

     INT. TRANS AM - DAY

     Fredericks has got his gun on Randy, his eyes on the road
     ahead of them.  Randy glances at Fredericks, then suddenly
     swerves to the left.  Fredericks recovers, leans over and
     grabs the wheel from Randy, knocking him against the door.

     INT. STUDEBAKER - DAY

     as the Trans Am heads for them.

                               MICHAEL
               Randy's trying to steer off the
               road, but his chaperone won't let
               him.

                               K.I.T.T.
               Michael, we're on a collision 
               course!  We've got to do
               something...!

                               MICHAEL
               Kitt, can you override the CPU
               Randy's installed in the car?

                               K.I.T.T.
               With my limited power, I wouldn't 
               have a chance, Michael....

                               MICHAEL
               Then you got enough juice for one
               little trick?

                               K.I.T.T.
               Trick?

     INT. TRANS AM - DAY

     as it races on a straight line for the old Studebaker.
     Randy struggles to turn the wheel, but Fredericks has a 
     steel grip on it.

                               FREDERICKS
               Keep your foot on the floorboard,
               kid...it's just a matter of seconds
               now.

     INT. STUDEBAKER - DAY

     Michael shouts to K.I.T.T.  The Trans Am is almost on top
     of them.

                               MICHAEL
               Hit it, Kitt!  Now...!

                               K.I.T.T.
               I'm trying, Michael!

     INT. TRANS AM - DAY

     as the "Eject" button on the dash comes to life.  Suddenly,
     Fredericks' seat, with Fredericks aboard, goes shooting out
     of the car.  Randy jams on the brakes, jerks the steering
     wheel as hard as he can to the right.

     EXT. ROAD - DAY

     as the two cars barely miss each other, come skidding to a
     stop.  Randy spins a perfect one eighty, drives back to the
     Studebaker just as Michael jumps out.  He stops, pops the 
     passenger door open.

                               RANDY
               Hop in!

     Michael grins, gives him the thumbs up sign, starts to
     climb in.  As he does, we hear:

                               K.I.T.T.'S VOICE
               Michael, don't forget me!

     Michael grins, retrieves K.I.T.T. from the Studebaker, then
     jumps into the Trans Am.  Randy jumps on it and they race
     toward the train.

     INT. TRANS AM

     Randy behind the wheel.  Michael glances over at Randy.

                               MICHAEL
               You handle this pretty well.

     Randy grins delightedly.

                               RANDY
               Thanks.  Thanks a lot.

                               MICHAEL
               Guess we've only got one loose end 
               to wrap up, huh?

     Randy nods.

     EXT. HIGH-RAIL VEHICLE - DAY

     Turner and Adrianne are still unloading the armored car
     when the Trans Am comes roaring up and skids to a halt.
     Randy gets out as Adrianne looks up.  She beams at him.

                               ADRIANNE
               Good work, Randy!  I knew you could
               do it....

     Then, Michael steps out of the car.  Turner sees him,
     reaches for his gun.  Michael's on him in a second,
     knocking the gun from his hand, then cold-cocking Turner
     with a single blow.  Then, he turns to Adrianne.

                               MICHAEL
               Me, too...I didn't doubt him for a
               second.

     By then, Adrianne's smile has turned to an icy sneer.  As
     Michael and Randy exchange a big smile, hold on them, and
     then:

     OMITTED

                                              FADE OUT

                         END OF ACT FOUR

                               TAG

     FADE IN

     EXT. RANDY'S HOUSE - DAY

     K.I.T.T. (or at least K.I.T.T.'s body) is parked in front.
     Pan to the front door as it opens and Michael, Randy and
     Mrs. Merritt step out.

                               MRS. MERRITT
               I don't know how we'll ever thank
               you.

                               MICHAEL
               It's enough for me that Randy's back
               home and Adrianne is under arrest.
                      (to Randy)
               When do you go back to classes?

                               RANDY
               Monday.  I fell behind, but I'm kind 
               of looking forward to catching up.

     They reach K.I.T.T., pause.

                               MICHAEL
               Well, guess I'd better get a move on.

     They shake hands, ad-lib good-byes.

                               MICHAEL
               Oh, almost forgot.

     He reaches inside K.I.T.T., hands Randy the little TV.

                               MICHAEL
               Just in case you ever want a break 
               from your computer.

     Mrs. Merritt doesn't know the TVs former significance, but
     Randy does.  He smiles.  He and Michael shake.

                               RANDY
               Thanks.

                               MICHAEL
               My pleasure.

     ANOTHER ANGLE

     Michael climbs into K.I.T.T. and pulls away.  They wave
     good-bye.

     ANGLE IN K.I.T.T.

     as Michael drives, feeling good.  Relaxed.  K.I.T.T.'s
     voice box lights up.

                               K.I.T.T.
               What a relief.

                               MICHAEL
               To see Randy home again?

                               K.I.T.T.
               To be whole again.  Michael, you have
               no idea what it was like to be locked
               inside that little TV.

     Michael laughs.

                               MICHAEL
               Driving Elmo's old Studebaker was no
               picnic either, pal.  Glad to have 
               you back.

     A buzzer sounds.

                               K.I.T.T.
               Devon's calling.  I guess it's 
               business as usual.

                               MICHAEL
               I don't know about that.  Let's play
               hooky.

                               K.I.T.T.
               Hooky?  I'm not familiar with the 
               term, Michael.

                               MICHAEL
                      (grins)
               Then let me educate you in one of 
               life's finer pleasures.

     He hits Pursuit.

     EXT. DESERTED ROAD - DAY

     K.I.T.T. flies by in excess of 100 mph.

                               K.I.T.T.'S VOICE
               Oh, this does feel good.

                               MICHAEL'S VOICE
               How about a little turbo boost?

                               K.I.T.T.'S VOICE
               Dare we?  Without sufficient reason?

                               MICHAEL'S VOICE
               Without sufficient reason is the 
               definition of hooky, pal.  Shall we
               go for it?

                               K.I.T.T.'S VOICE
               Lets.

     DIFFERENT ANGLE - STOCK

     as K.I.T.T. leaps over an obstruction.  He soars higher and
     higher.

                                              FREEZE FRAME

                                              FADE OUT

                             THE END