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
