ACT ONE
FADE IN
EXT. MILLENIUM STUDIOS - DAY - TO ESTABLISH THE MAIN ENTRANCE
OF A MAJOR MOTION PICTURE STUDIO
EXT. RANCH SET - DAY
A modern western is shooting. We pan across the film
company and hold on Director Mel Tobey, Producer Victor
Gavin, Star Clayton Travis and Special Effects Chief Andy
Clifford are crossing in front of a barn, the crew in place
around them as they talk.
GAVIN
I'd like to get this before lunch.
TOBEY
I'm ready to make one. Let's ---
He pauses in reaction to the arrival of:
A MERCEDES 450SL
as members of the crew move aside and it chirps to a stop
next to the group. Karen Bennett, thirty-three, elegant,
beautiful, head of production, gets out and joins them.
KAREN
I just heard Travis is doing the
stunt himself?!
TOBEY
Karen, please, it's all worked out.
Travis and I just did a walk through.
I'm ready to roll. Relax. Okay?
KAREN
After what I've been through on this
picture, I won't relax until the last
shot is in the can.
GAVIN
We'll never get this one if you keep
interfering.
KAREN
You're producing a picture that's
twenty million dollars over budget,
Gavin. If your star gets hurt,
we'll never get a penny of it back.
GAVIN
You never will anyway. Whoever said
don't throw good money after bad was
talking about this turkey.
TOBEY
People, people, I turned down the beach
picture to do this 'turkey.' I could
be on Maio -- surrounded by squealing
coeds in bikinis. Make up your minds,
please?
GAVIN
If we shut down, you'll be another
eighteen thousand in the hole,
Karen.
(facetiously)
You're head of production. You
decide.
Karen digests this information; crosses to Clifford.
KAREN
You feel confident about this?
CLIFFORD
(nods)
Yes, I've double checked all the
charges. Shouldn't be any problem.
Karen evaluates a beat; decides; nods grudgingly and we:
CUT TO
INT. EFX TRUCK - DAY - CLOSE ON REMOTE-CONTROL PANEL
The kind used to trigger explosives. Someone is replacing
the rear plate. The hands in tight-fitting black leather
gloves, tighten the last screw and yank the screwdriver up
into cowled sleeves in response to ---
CLIFFORD
Hey, what are you doing here?
We widen as a figure in a hooded monk's robe reacts,
startled, revealing a glimpse of a grotesque face as it
glides away.
CLIFFORD
They're making Spires of Death
on Stage 5, pal!
Clifford takes the panel and we go to:
EXT. RANCH SET - DAY
The company is just completing the steps that lead to ---
TOBEY
And -- Action!
TRAVIS
starts to run toward the barn.
CLIFFORD
hits a switch on his control panel.
RESUME TRAVIS
as a buried charge explodes, showering him with dirt. He
leaps aside and keeps moving through two more explosions.
CLOSE ON REMOTE-CONTROL PANEL
as Clifford's finger moves from button 3 to #4; hovers a
beat, then depresses it.
RESUME TRAVIS
He dives and rolls to avoid the fourth explosion. As he
comes up onto his feet a fifth explosion hurls Travis
skyward, then harshly to the ground.
CUT TO
CLOSE ON A RED FLASHER
as we pull back to reveal a paramedic van. Travis, an IV
in his arm, is rolled into it on a gurney. The van takes
off, siren wailing. Karen, Gavin and Tobey watch it leave,
then ---
GAVIN
You want to tell me what the hell
happened back there, Tobey?
TOBEY
(upset;
baffled)
Why're you asking me? Clifford's in
charge of special effects.
CLIFFORD
I set four charges, Mr. Gavin. Five
went off. I don't know where that
last one came from. But it wasn't
mine.
KAREN
Then whose was it? Does anyone else
have access to your equipment?!
CLIFFORD
No. No, I'm the only one who --
Wait a minute. There was this guy
out by the truck before. But ---
KAREN
What guy? Who?
CLIFFORD
I don't know. He had on a hood, and
a mask ---
GAVIN
Oh come on, you're not going to
start that Phantom of Stage 12
nonsense.
TOBEY
Yeah. They stopped blaming
accidents on him twenty years ago.
KAREN
Well, someone's to blame. And it's
time to find out who!
Karen turns and heads off the set.
CUT TO
EXT. SEMI - DAY
K.I.T.T. cruises down the road, then rolls in up the ramp.
INT. SEMI - DAY - ON A TABLE
as Devon, angry, slams down an issue of the Trades. The
headline reads "MAYHEM AT MILLENIUM MULTIPLIES".
DEVON
That's the fourth accident in three
weeks, and the most serious!
Michael ambles over and picks up the paper.
DEVON
(continuing)
You've heard about Raging Sky.
MICHAEL
Who hasn't? Battles on the set.
Battles off the set. A runaway
budget -- twenty-five million and no
end in sight.
RC3
Man, what I could do with that.
MICHAEL
What a small country could do with
that. But you know movie people --
it's only money.
DEVON
Not Millenium Studios, Michael. For
years they've donated time and money
to our educational film program.
They have too much integrity to be
this irresponsible.
MICHAEL
That leaves bad luck and sabotage.
DEVON
Whatever it is, they've asked for
our help, and they deserve it. Your
contact is Karen Bennett, Vice
President in charge of production.
Michael nods, turns to get into K.I.T.T.; pauses at ---
BONNIE
Devon, I think you left something out.
DEVON
Well, it's -- it's quite silly,
really, but there has been some talk
at the studio about the legendary
Phantom having something to do with
it all.
MICHAEL
You want me to investigate a phantom?
This is 1986, Devon. 1986.
SMASH CUT TO
CLOSE ON A CONFEDERATE SOLDIER
As we pull back to reveal we are on a street at a movie
studio. Assorted costumed extras -- Southern belles,
Confederate soldiers, WWII fly boys, belly dancers --
are coming out of Wardrobe.
K.I.T.T.
As you were saying, Michael ---
INSIDE K.I.T.T.
as he drives down the studio street.
MICHAEL
Don't rub it in, pal. I don't see a
phantom in that bunch. Do you?
K.I.T.T.
No. But around here no one would
think twice about it if they did.
The belly dancer walks right past Michael's side of the
car. He follows her, with his eyes admiring her -- belly.
MICHAEL
I agree. He'd simply -- get lost
in the crowd.
CUT TO
EXT. MILLENIUM STUDIOS OFFICES - DAY - ESTABLISHING K.I.T.T.
parked outside the building.
INT. KAREN BENNETT'S OUTER OFFICE - DAY
As Michael enters, we see Edward Kent, dapper, thirtyish,
typing up a storm on a word processor. He continues
encoding a few beats; hits a button, like a concert pianist
playing the last note of a concerto. During the following
the computer printer comes to life and prints out a one-
page production schedule.
KENT
You look just like Miss Bennett's
ten fifteen.
(scans
appointment
book)
Michael Knight. Foundation for Law
and Government?
MICHAEL
(nods; then,
facetiously)
She's expecting me.
KENT
Very quick Mr. Knight. We're all
expecting you. I'm Edward Kent,
Ms. Bennett's secretary. I encode
ninety words a minute. I take short-
hand at 120. I don't make coffee,
and I've never been chased around the
desk. I'm afraid you'll have to
wait --
(indicating
the door)
-- The negotiations are at a delicate
stage.
He gestures to:
THE DOOR TO KAREN'S OFFICE
as it suddenly blows open and Tobey storms out.
TOBEY
When you two decide what to shoot,
I'll shoot it!
(to the world)
I could be on Maui. On Maui,
surrounded by coeds in bikinis.
KENT
(echoing over)
-- surrounded by coeds in bikinis.
Tobey leaves the office. Kent turns to the printer that
has stopped and tears the page from it.
KENT
(officiously)
Excuse me, but if I don't get this
distributed -- Millenium will be in
the toiletteum. 'Bye ---
Kent hurries from the office. Michael crosses toward the
door to Karen's office, that has remained open.
INT. KAREN'S OFFICE - DAY
Karen and Gavin are up from their chairs and shouting.
GAVIN
The insurance company is wrong! I'm
the producer and there's no way I can
finish this picture without Travis!
KAREN
I think you can.
GAVIN
You're not the one who has to figure
out how to do it!
KAREN
I already have. All you have to do
is ---
She pauses as she notices Michael enter the office.
KAREN
They're casting the beach picture
down the hall, 316.
MICHAEL
I'm Michael Knight.
KAREN
(brightens)
Oh, from the Foundation. Forgive me.
I'll need a minute to finish with
Gavin, then we'll talk.
GAVIN
Hold it. I've got twenty million of
my own money in this picture. We'll
all talk.
MICHAEL
Fine with me. Your people are
getting hurt. I'm here to find out
what or who is behind it. And I'll
talk to anybody who can help. Miss
Bennett?
Karen nods, grudgingly.
MICHAEL
For openers, you think someone's out
to destroy the movie? I mean, four
accidents in five weeks is a pretty
suspicious pattern.
KAREN
A pattern that leads right to the
Special Effects Department.
GAVIN
Yes, that's the one thing Karen and
I agree on. Talk to Andy Clifford.
(reconsidering)
Of course, he'll probably blame it
on this legend he's dredged up to
cover his butt.
MICHAEL
This legend wouldn't be the --
'Phantom' some people seem to think
haunts the studio.
KAREN
(chuckles)
One and the same -- The Phantom of
Stage 12. It all started with the
original Raging Sky. A nightmare.
One accident after another.
MICHAEL
In that case, what are the chances
there's a connection?
GAVIN
No way. The person behind them was
Dennis Darrow; an actor who didn't
get the starring role and vowed it
wouldn't be made. The man's been
dead for years.
KAREN
Of course, his body never was found --
(sarcastically)
Who knows, maybe his corpse sprouted
a cape and went -- wherever phantoms
go.
MICHAEL
But the bottom line is, he could
still be alive.
KAREN
Really Mr. Knight. Darrow's car went
off a cliff and exploded. The only
thing left were ashes and smoke.
MICHAEL
And a lot of unfinished business.
Michael's remark puts an end to Karen and Gavin's off-
handed attitude. They exchange looks, with Michael and we:
CUT TO
EXT. BEHIND MILLENIUM OFFICES - DAY
Michael saunters out the rear exit. As he turns a corner:
A MOTORCYCLE
drives into view, behind Michael and tracks him at a
distance between the buildings.
ANOTHER ANGLE
Michael heads around the corner towards K.I.T.T. We hold
and pan back to pick up the motorcycle coming around the
same corner. The rider wears a helmet with tinted visor;
black rigid riding suit and appears to be almost part of
the bike.
ON K.I.T.T.
scanner humming.
K.I.T.T.
Michael, my scanners have detected
someone following you.
ON MICHAEL
As he reacts and looks back, we hear the whine of the
motorcycle engine as it revvs.
THE MOTORCYCLE
accelerates; does a wheelie and hurtles through the air
towards Michael. He barely leaps out of the way. The bike
blasts past Michael, and makes a turn to come back at him.
ON THE BIKE'S FRONT WHEEL
burning in towards Michael....
THE SCENE
MICHAEL
He's all yours, Kitt. Now!
K.I.T.T. cuts across the path of the oncoming cycle. It
swerves to avoid K.I.T.T., goes out of control, skidding
down the alley between the stages.
ON A WALL
as the skidding cycle slams into it and crashes to a stop.
THE CYCLE
as Michael rushes to the biker; crouches down and unstraps
his helmet.
CLOSE ON THE BIKER'S HELMET
as Michael removes it -- revealing a complex electronic
skull beneath. The "eyes" are lenses, one of which is
cracked; and the brain pan is a flashing web of curcuitry.
RESUME MICHAEL
as he reacts to this discovery.
MICHAEL
What have we got here?
K.I.T.T.
A 1200 cc, four-cylinder direct-drive
motorcycle and state-of-the-art robot,
hard wired to the frame.
MICHAEL
Which means it had to be remote
controlled from somewhere.
K.I.T.T.
It still is. I'm picking up a
signal.
MICHAEL
Trace it back to its source.
During the above we:
INTERCUT - THE PHANTOM
in hooded monk's robe watching from atop the roof of one of
the stages. He holds a remote-control panel.
K.I.T.T.'S MONITOR - INTERCUT AS NEEDED
A graph of the bike, framed by K.I.T.T.'s analytic graphic
-- until a white pulse erases the grid.
K.I.T.T.
I'm locked on. Michael, I'm also
picking up --
(pauses;
alarmed)
Get away from that thing! Now!
INTERCUT - THE PHANTOM
as he first presses a button on the remote panel. Then
clicks it off and hurries off.
ON MICHAEL
as he turns and runs and the bike explodes, knocking him to
the ground. He gets to his feet and crosses toward the
smoking wreckage.
MICHAEL
Thanks, pal. Nice little fail-safe
mode. Would've guaranteed a murder
without a suspect.
K.I.T.T.
Yes, Michael. And there's no way I
can locate the source of that signal
now.
Michael swings a frustrated glance to the robot cycle;
crosses to K.I.T.T., and we:
CUT TO
A PATCH OF GROUND
as a small charge explodes in a flash of light and smoke.
EXT. CLIFFORD'S EFX TRUCK - DAY
as K.I.T.T. pulls to a stop. Michael gets out and reacts
to the sound of a second explosion. He cautiously moves
around to ---
THE OPPOSITE SIDE OF THE TRUCK
as the smoke clears, revealing Andy Clifford. He's posi-
tioning two more small charges on the ground.
MICHAEL
From the sound of that you must be
Andy Clifford.
Clifford nods and points out the explosive charges.
CLIFFORD
Better stand back. Those are very
unstable. Got to set them off before
me and my pink slip check outta here.
He presses buttons on his remote-control panel, setting
off the charges -- two quick explosions.
MICHAEL
You know, for a guy who's been
accused of negligence, you seem
pretty safety-conscious to me.
CLIFFORD
Tell that to the insurance company.
Twenty pictures without an accident
didn't mean a thing to them. You
must be Knight, the guy who's
investigating the accidents.
MICHAEL
That's right. And the way I hear it,
you claim you got more explosions
than you bargained for.
CLIFFORD
Claim?
(holds up panel)
Four buttons. Five explosions.
How's that fifth one mine?
Clifford hands the panel to Michael. He examines it, then
passes his comlink over the row of buttons.
MICHAEL
Kitt, scan the circuits in this unit
for signs of tampering.
CLIFFORD
(indicates
K.I.T.T.)
What's that all about?
MICHAEL
A little special effect of my own.
K.I.T.T.'S MONITOR - INTERCUT AS NEEDED
The buttons and the circuitry within the panel with one
circuit path highlighted.
K.I.T.T.
The fourth circuit has been rewired,
Michael. It transmits two signals
when the detonator button is
depressed.
Michael swings a look to Clifford, who reacts with
surprise. Then something dawns on him.
CLIFFORD
Yeah, yeah, that's what that guy was
up to. Had to be him. Nobody else
was near my equipment until he ---
MICHAEL
(skeptically)
The guy in the monk's robe?
CLIFFORD
Yeah, right. The Phantom of Stage
12. I saw that guy, Mr. Knight. He
was real.
MICHAEL
I hear you. But let's not call him
'The Phantom,' okay? The 'guy in
the monk's robe' will be just fine.
CLIFFORD
Call him what you like. The bottom
line is, the original Raging Sky was
shot on 12. And people who have
seen him say that's where he hangs
out.
MICHAEL
Whoever he is, according to Karen
Bennett he'll have another crack at
making trouble today.
CLIFFORD
That's right. They're shooting a big
stunt sequence with Liz Preston right
after lunch.
MICHAEL
Gives me a couple of hours. Where's
Stage 12?
CLIFFORD
Other side of the lot. No one's shot
on it for years.
(off
Michael's
look)
Everybody says the legend is a big
joke. But down deep this is a very
superstitious business, Mr. Knight.
MICHAEL
Superstition or not, it's all I've
got.
Michael crosses toward K.I.T.T.; gets in and drives off.
CUT TO
EXT. STUDIO STREET - DAY - K.I.T.T.
tooling along, past various intriguing and colorful
artifacts found on the lot.
K.I.T.T.'S MONITOR - INTERCUT AS NEEDED
to see Devon in his office.
DEVON
Hello, Michael. How are things in
Hollywood this morning?
MICHAEL
Hitchcock would have loved it.
We've got a saboteur on our hands.
DEVON
Glad you didn't say psycho.
MICHAEL
Might be that, too. But right now
I need everything Bonnie can find on
actor Dennis Darrow, also. Run down
the insurance policies on Raging Sky.
I want to know who benefits if it
shuts down.
DEVON
Right away, Michael. And please,
take care. I don't want two
phantoms haunting Millenium Studios.
CUT TO
EXT. STAGE 12 - DAY
Michael drives up and gets out.
MICHAEL
Scanners peeled, pal.
He walks up to the massive steel door, slides it open.
INT. STAGE 12
Darkness. Michael softly switches on a work light.
MICHAEL'S POINT OF VIEW
Spooky shadows play across the enormous sound stage. Tiers
of platforms, old backdrops, and props, etc. populate the
eerie landscape.
WITH MICHAEL
He takes the light off its hook, shining it ahead of him as
he walks past brocaded gowns, then armor and swords.
K.I.T.T.
Michael, have you found anything?
MICHAEL
Yes. Enough weaponry for Conan
Three, Four and Five.
As he walks past one of the knight suits:
AN ARM
slowly rises into view, gripping a crossbow.
ON MICHAEL
as he comes upon and is startled by some creepy masks.
MICHAEL
(continuing)
-- And enough bad guys, too.
K.I.T.T.
Michael, I've detected some movement.
Directly behind you!
K.I.T.T.'S MONITOR - INTERCUT AS NEEDED
Holograph of the armor and a red pulse behind it.
MICHAEL
whirls around, on the alert. He swings the lamp, trying to
spot his attacker....
RESUME THE HANDS
A black gloved finger on the trigger of the crossbow,
starting to squeeze.
FREEZE FRAME
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
INT. STAGE 12 - DAY - ON THE CROSSBOW
about to fire. The cord creaks....
ANGLE - MICHAEL
hears the sound and grabs a shield.
ON THE CROSSBOW
The trigger's pulled. The arrow flies ---
ON MICHAEL'S ARM
as he whirls and raises the shield just as the arrow stabs
into it.
WITH MICHAEL
The impact knocks him back into a pile of armor. He
clambers to his feet and hears footsteps in the distance.
He starts to run after him.
MICHAEL
Kitt, I'm chasing the guy. Monitor
all the exits!
K.I.T.T.
I'm scanning them now.
MICHAEL
Which one, pal?! Where is he?!
He aims the lamp in all directions, frustrated.
THE PHANTOM
is running at full tilt between the rows of sets. He yanks
at a tied-off rope as he runs past; hangs on with both hands
and is suddenly launches into the air.
ANOTHER ANGLE
as he soars skyward, his robe billowing around him, then
vanishes from view into the darkness of the catwalks and
air-conditioning ducts above.
ON A SAND BAG
attached to the other end of the rope as it plummets toward
the floor of the stage and hits with a thud.
RESUME MICHAEL
as he reacts to the sound; whirls; sees the inert sandbag
and thinks nothing of it. He raises his comlink.
MICHAEL
Kitt, he's got to have left the
building by now. Give me a fix on
the exit.
K.I.T.T.
I can't, Michael, I'm absolutely
positive. No one has come out. And
no one is in the building either.
As Michael stands holding the lamp, baffled:
CUT TO
EXT. STUDIO STREET - DAY
as K.I.T.T. drives, passing a man carrying a massive
boulder on his shoulders.
INSIDE K.I.T.T. - DAY
As Michael reacts to and steers around the "walking"
boulder, the monitor chirps. Devon flashes on.
MICHAEL
Yo, Devon.
INTERCUT - DEVON
in his office.
DEVON
Michael, it looks like you've been
in quite a scuffle.
MICHAEL
I just did a scene from William Tell.
I played the apple. What's up?
DEVON
Well, Bonnie found very little data
on your Mr. Darrow. It seems he died
over twenty years ago.
MICHAEL
And nothing's turned up since? She's
positive.
DEVON
(slightly
perplexed)
Not even his remains, as I understand
it, Michael. I have something more
substantial on your insurance inquiry.
Gavin and the studio are fully covered.
MICHAEL
That means they both get their invest-
ment back if the picture can't be
completed -- which gives us nothing.
DEVON
Well, I've also discovered the studio
has just taken out an additional four-
million-dollar policy on their star,
Liz Preston.
MICHAEL
Uncanny timing. She's doing a major
stunt today. I'm on my way to the
back lot now.
DEVON
Good luck, Michael.
Devon signs off. As Michael accelerates.
K.I.T.T.
Michael, watch out!
MICHAEL'S POINT OF VIEW THROUGH K.I.T.T.'S WINDSHIELD
as a large flat (the front of a house) rolls from behind a
stage right in K.I.T.T.'s path. The two grips who are
wheeling it freeze in their tracks.
MICHAEL
reacts and quickly turns the wheel left, right, left.
ON K.I.T.T.
as he swerves toward and zooms right through the empty
"doorway."
RESUME INSIDE K.I.T.T.
K.I.T.T.
This place is full of surprises.
MICHAEL
Something tells me we won't get
through the rest of them this easily.
Michael swings K.I.T.T. onto the street that leads to the
backlot, and we:
CUT TO
EXT. BACK LOT SET - DAY
The stunt supervisor is wiring a squib vest that's on a
stunt double. Two elder actors, Buck and Slim, sit around
playing cards. They stop and glance with disdain as
K.I.T.T. drives up beside them.
INSIDE K.I.T.T. - ON MICHAEL
MICHAEL
Okay, pal. Scan that 4x4 and tell
me if you spot anything unusual.
Michael pushes some buttons on his console and indicates:
4X4 WAGON
diligently muddied and battered for the movie, parked
nearby.
K.I.T.T.
Only that it's expected to drive at
all.
MICHAEL
This is the movies, Kitt. They
probably spent a fortune getting
those dents and dings in the right
places. It should be in perfect
running condition and rigged for
stunts.
K.I.T.T.'S MONITOR - INTERCUT AS NEEDED
a schematic of the 4x4 wagon, and the special safety
adaptations highlighted.
K.I.T.T.
You're right, Michael. And I detect
no evidence of tampering.
MICHAEL
All right, pal.
THE SCENE
Michael gets out of K.I.T.T., and crosses over to Buck and
Slim.
MICHAEL
Excuse me, I'm looking for Miss Preston.
SLIM
(chuckling)
You and a hundred other cowboys.
Better start twirling you lariat,
son -- here she comes.
Michael follows Slim's gesture and sees ---
LIZ PRESTON
an attractive, vivacious, though slightly faded starlet of
thirty-three, saunters by, looking smashing in a jumpsuit.
She gives Michael the once over. Just as he's about to
introduce himself ---
LIZ
Don't tell me. Michael Knight, the
investigator I've heard so much
about.
(flirtatiously)
I was wondering when you'd catch up
with me.
MICHAEL
(returning
compliment)
Sorry it took so long. Do you have
a few minutes to talk?
She nods and follows him. As they leave, Buck and Slim
look longingly after them, then at K.I.T.T.
SLIM
It's the car. That's all that
matters nowadays.
BUCK
(disgusted)
Just what the picture needs --
another jackrabbitmobile.
K.I.T.T.
And what's wrong with fast cars, may
I ask?
The cowboys are startled -- then assume there's someone in
the car and continue.
SLIM
Everything. Raging Sky was a western.
How do you remake a western with cars
playing the horses?
K.I.T.T.
I've cleaned up a couple of western
towns in my day.
BUCK
Hogwash. No gunslinger worth his
spurs would back down to a car. We
tried to tell that to the director.
SLIM
Come on, Buck, only a fool argues
with a mule, a skunk, or a director.
K.I.T.T.
That may be true, gentlemen. But
when it comes to law enforcement,
the horse has taken its rightful
place in history.
Buck and Slim shake their heads in dismay, and we:
CUT TO
EXT. BACKLOT - DAY - WITH LIZ AND MICHAEL
as they walk to the set.
LIZ
Well, Michael, the last guy who said
he liked all my movies had a thing
for desperate, vulnerable women on
the run.
MICHAEL
(smiles)
Bet you feel like you've become one
of your characters lately.
(beat)
You want out of this movie, Liz?
LIZ
Oh, no. I'm very grateful to be
working. But I'd be crazy not to
admit I'm a little frightened.
MICHAEL
So are some other people.
(off her
look)
The studio took out an extra four-
million-dollar policy on you.
LIZ
Really -- I'm impressed.
Michael eyes her curvaceous figure appreciatively.
MICHAEL
So am I.
(beat)
Now, from the information I have,
you're doing the old runaway buggy
scene with a twist today. Run me
through it.
LIZ
Well, I drive that 4x4 down the hill,
a tire blows, I lose control of the
vehicle, it hits the bridge, the
bridge starts to collapse, and the
4x4 screeches to a halt just before
I plunge into the water.
MICHAEL
(teasing)
That's it?
LIZ
(laughing)
Actually, all I do is drive down the
hill and scream a lot. The stunt
double handles the rough stuff.
MICHAEL
(warily)
I'll make sure to keep it that way.
They hold a look. Then Liz walks off to prepare for the
shot as Michael watches her, the aura lingering, and then
crosses toward:
KAREN AND GAVIN
in heated conversation, director Tobey in the b.g.
instructing the camera crew.
KAREN
Okay, Gavin, I'll run you through it
again. We use a stunt double in
Travis' wardrobe; lots of explosions
and lots of smoke. Nobody'll know
it's not him. I'm telling you,
it'll work.
GAVIN
I don't care if it'll work. If it
was up to me, I'd close down and
cut our losses now. I'm sick of
people getting hurt and ---
KAREN
There won't be any more accidents.
We got rid of them when we got rid
of Clifford. You're just using that
as an excuse to ---
She bites off the sentence when she sees Michael crossing
toward them.
KAREN
Mr. Knight. Just the man I want to
see. Have you checked Clifford's
story?
MICHAEL
Yes. I think he's telling the truth.
KAREN
(stunned)
What? Are you saying it wasn't his
incompetence that caused the accidents?
We really have a maniac on our hands!
MICHAEL
Looks that way. Yes.
GAVIN
That's it. I'm pulling the plug.
No way I'm doing this shot.
TOBEY
Again?! Listen, I've got a play or
pay contract. Make up your minds or
you'll be mailing my checks to Maui.
Gavin turns to leave. Karen grabs his arm and stops him.
KAREN
Hold it.
(to Michael)
Have you had a chance to check the
set and equipment we'll be using?
MICHAEL
(nods)
It's been checked.
GAVIN
I don't want to hear it, Karen. Do
what you want. I'm not taking
responsibility.
KAREN
I will.
As Gavin walks off, Karen nods resolutely to Michael and
Tobey.
KAREN
Okay. Let's do it.
MICHAEL
(on comlink)
Come on over here, pal. Show time.
EXTERIOR - ON K.I.T.T.
as he auto starts and pulls away from Buck and Slim.
K.I.T.T.
(to cowboys)
You'll have to excuse me, gentlemen.
K.I.T.T. leaves them behind in a cloud of dust.
ANOTHER ANGLE ON K.I.T.T.
weaving through the crowd without a driver.
K.I.T.T.
Excuse me...Pardon me...Coming
through.
Most are blase. After all, this is Hollywood.
EXT. BACKLOT SET - DAY
Tobey and the stunt coordinator give Liz last-minute
instructions as she stands beside the 4x4 wagon.
TOBEY
Put it in gear on my signal. About
halfway down the hill, start
screaming your lungs out. Any
problems, hit the walkie.
LIZ
Any problems, I'm going to hit you.
She winks. He smiles.
ON THE GROUP BEHIND THE CAMERAS - MICHAEL
and the others tensely watching.
MICHAEL
(comlink)
Kitt, keep your scanners peeled.
Let me know if there's the slightest
indication something's wrong.
K.I.T.T.
I'll be on maximum surveillance,
Michael.
ON LIZ
She gets behind the wheel of the 4x4. The stunt
coordinator buckles her up and gives the vehicle a last-
minute check, then slams the door.
RESUME GROUP BEHIND THE CAMERAS
TOBEY
(bullhorn)
Everybody in their places. Stand by!
The various members of the crew tensely waiting....
TOBEY
And --- Action!
ON THE 4X4 WAGON
as Liz puts it in gear, releases the brake, and moves down
a steeply banked hill, pulling away from the camera towards
a ramshackle bridge in the distance.
INSIDE THE 4X4 WAGON
Liz steers and brakes as the car approaches a winding turn
as it heads down the hill.
CLOSE ON THE PHANTOM
as the hooded figure depresses a button on a remote-control
panel.
ON THE BRAKE LINE OF THE 4X4
as a small explosive device detonates, severing the line.
Brake fluid pours out onto the ground.
K.I.T.T.'S MONITOR - INTERCUT AS NEEDED
a schematic of the 4x4 and a pulsing blip on a diagramatic
of the braking system.
K.I.T.T.
Miss Preston is in trouble, Michael!
INTERCUT - MICHAEL
as he reacts and raises his comlink.
MICHAEL
What have you got on your scan?
K.I.T.T.
I've detected a malfunction in the
braking system.
MICHAEL
Pick me up!
ON 4X4'S BRAKE PEDAL
as Liz's foot slams onto it and it goes to the floor. She
pumps it several times. Nothing happens.
THE 4X4 WAGON
accelerates through the twisting turns, rapidly gaining
speed. Liz starts screaming, for real.
TOBEY AND CAMERA CREW
He loves it; punches the air, exhilarated.
TOBEY
Great! Great! She's really getting
into it! What a set of lungs!
LIZ
pumps the brakes a few more times; clicks on the walkie-
talkie.
LIZ
Help! I've got no brakes!!! I
can't control this thing!
THE 4X4 WAGON
careens wildly out of control down the incline.
ON CAMERA CREW
Their smiles turn to expressions of horror. They jump
aside as K.I.T.T. screeches to a stop and Michael jumps
in. They roar off down the road after the 4x4 wagon.
INSIDE K.I.T.T.
K.I.T.T.
How do you want to handle this,
Michael?
MICHAEL
The brakes are out. We can't
microlock. Let's catch up and cut
it off.
As Michael accelerates.
K.I.T.T.'S MONITOR - INTERCUT AS NEEDED
as we see a flashing red rectangle on the schematic of the
4x4.
K.I.T.T.
That could be a problem. I'm
picking up an explosive charge with
a contact detonator beneath the
front bumper.
MICHAEL
If that 4x4 hits something it will
explode! We have to get Liz out of
there!
Michael stomps on the accelerator.
EXTERIOR - ANGLE ON BOTH CARS
as K.I.T.T. pulls up right next to the speeding stunt car.
RESUME INSIDE K.I.T.T.
MICHAEL
Okay, pal, take over!
Michael pushes a button on his console.
THE T-TOP
above him pops open. He starts to climb out, and we are:
ON THE PHANTOM
watching intently, expectantly.
ON K.I.T.T.
as Michael climbs out the T-top onto the roof.
THE SCENE
the two cars racing side by side as Michael leaps across to
the roof of the runaway 4x4. He reaches down and pops open
the door.
INSIDE THE 4X4 WAGON
as Michael drops from above and slides in next to the
astounded Liz.
MICHAEL
Get ready for a quick exit.
Michael grabs Liz and holds her tight.
ON THE BRIDGE
as the 4x4 hurtles toward a concrete abutment.
ON THE DOOR OF THE 4X4
Michael, an arm wrapped around Liz, leaps from the 4x4 just
as ---
THE 4X4 WAGON
smashes into the bridge abutment and explodes into a ball
of flame.
FREEZE FRAME
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
SCENE - THE AFTERMATH
the flaming 4x4 wagon in the b.g. As Michael helps Liz to
her feet, holding her with concern:
MICHAEL
Are you all right?
LIZ
(gasping)
I will be. Am I getting older or is
this business getting tougher?
The group behind the cameras, led by Karen, and Tobey run
up to them. Karen embraces Liz.
KAREN
Liz, thank God you're okay.
TOBEY
Yes, I'm sorry. I don't know how
that could have happened. I was
told the car was checked out.
MICHAEL
It was. Someone must have gotten to
it after that. Help Liz get settled
down, will you?
Tobey nods and leads Liz to her motor home in the b.g. as
Gavin joins the group.
GAVIN
That does it, Karen! I've tried it
your way; I've tried it his; now we
do it mine. The production's canceled.
Notify the insurance company to pay off.
Gavin turns and storms off. Michael swings a look to Karen.
MICHAEL
Karen, if this is the end of the film,
I'm sorry. But it's not the end of
the investigation. That's a promise.
KAREN
Oh, it's not the end of the film.
That's my decision, not Gavin's.
He's just letting off steam.
MICHAEL
Have you ever thought about going
along with him?
KAREN
Of course I have. But if we shut
the film down and don't make up the
cost overruns, we're out of business.
MICHAEL
Why? The studio will still collect
on the insurance. You'd come out
with something.
KAREN
Michael, I'm not in the business to
collect insurance. I'm in the
business to make movies.
(after
a beat)
Women in positions of power are still
considered a novelty. I have to
finish what I've started.
MICHAEL
You obviously know your stuff. You'd
never have made it up the ladder if
you didn't.
KAREN
There are those who say I wasn't
always on my feet.
MICHAEL
So they think it's just a matter of
time before you screw up.
KAREN
(nods)
They thought I had when Travis
landed in the hospital. But I
figured out that if we increased the
explosives to mask the use of a
stunt double, we could shoot the
last scene and make it work.
MICHAEL
That stunt double is going to be me.
KAREN
Michael, I appreciate that, but you'd
be putting yourself in an extremely
dangerous situation.
MICHAEL
I knew that going in.
(beat)
Like somebody once said -- I have to
finish what I've started.
She smiles at his repeating her statement. A few beats
before they react to Kent, who hurries toward them.
KENT
(full of
concern)
Karen? Karen, I just heard.
KAREN
Glad you're here. I'm going to have
a mob of reporters in my office.
Spend some time on the set and find
out as much as you can.
(squeezes
Michael's
hand)
Thanks.
As she hurries off ---
KENT
I hope she isn't expecting the truth.
(off
Michael's
look)
When a picture's going down the tube,
there are a thousand versions of it.
MICHAEL
I'd be interested in yours.
KENT
You mean, who might be sabotaging
this movie? Oh -- no more that half
the studio.
(off Michael's
reaction)
This is tinseltown, Mr. Knight. The
place where massive egos collide;
where people get a kick out of seeing
their friends fail; where ten thousand
'mourners' show up at a producer's
funeral -- to make sure the bastard
is really dead. Take it from me,
you've waded into a pool of sharks.
Could I tell you stories.
MICHAEL
But not the one I need.
KENT
I'm sorry. I've done my best to
tell you how the game is played.
MICHAEL
Whoever tried to kill Liz Preston
isn't playing a game. And neither
am I.
They hold a look and we:
CUT TO
K.I.T.T.
still parked adjacent to Buck and Slim, who are still
playing poker.
K.I.T.T.
Just how long have you been at this,
anyway?
BUCK
Thirty years. Ever since we made
the original Raging Sky.
SLIM
Can't imagine why I keep at it. I've
paid for his last three cars, swimming
pool, Jacuzzi, and divorce ---
K.I.T.T.
Sounds like you could use some help.
BUCK
He sure could. Be my guest. What's
a greenhorn like you know about
poker, anyway?
Slim is evaluating, his hand ready to draw a card.
K.I.T.T.'S MONITOR - INTERCUT AS NEEDED
as Buck and Slim's poker hands appear on the screen
followed by an X-ray sampler of the deck.
K.I.T.T.
I'd hold that one if I were you.
Slim has slipped the card halfway out of his hand, pauses
slyly, sensing possibilities afoot.
SLIM
You sure? The last time I filled an
inside straight was Duel In The Sun.
K.I.T.T.
Do as I tell you.
Slim nervously holds the card and discards another. Buck
deals Slim a card.
CLOSE ON SLIM'S HAND
as he slides the card in place, filling the inside straight.
RESUME THE SCENE
as Slim grins; then glances over his shoulder to K.I.T.T.
SLIM
You wouldn't have any idea what Buck's
holding?
K.I.T.T.
You have to take some chances, Slim.
After all, this is a game of risk.
(then sotto)
But I wouldn't hedge my bet if I were
you.
ANGLE ON POKER TABLE
Slim grins slyly and tosses a wad of bills into the pot.
Michael walks by, catching the last bit of the encounter.
As he crosses toward K.I.T.T.:
INSIDE K.I.T.T.
as Michael slides inside and the card display on K.I.T.T.'s
monitor vanishes.
MICHAEL
Let's move, pal.
He floors the accelerator, deftly turns the wheel as
K.I.T.T. rockets away.
MICHAEL
You weren't kibitzing in that game,
were you, pal?
K.I.T.T.
Michael -- I was merely helping Slim
sample random possibilities and
arrive at a computation using ---
MICHAEL
Enough. Sorry I asked. Get me
Bonnie.
ON MONITOR
as Bonnie flashes on.
BONNIE
Yes, Michael.
MICHAEL
How would you like to trade your
engineer's cap for a day's work as a
script girl?
BONNIE
That's silly. But I've always loved
westerns. Can you get me a gutsy
Maureen O'Hara role?
Michael chuckles. As RC3 and Devon join her at the
monitor; RC3 chimes in:
RC3
What will we be doing, Michael?
MICHAEL
They're shooting the climax of Raging
Sky tomorrow. It's the Phantom's last
chance to sabotage the picture. We're
going to stop him.
RC3
All right! Just call us Phantom-
busters!
DEVON
Not so fast, RC.
(to Michael)
It so happens I have some information
that may narrow the possibilities as
to this Phantom's identity.
MICHAEL
I can use as much help as I can get.
What do you have, Devon?
DEVON
While I was looking into the insurance,
I checked out the backers of Raging Sky
as well. Victor Gavin's corporation
is not his corporation any longer.
MICHAEL
Then, the twenty million he says he
put up isn't his money.
DEVON
Exactly. It was provided by his new
partners, whose capital comes from
tainted sources.
MICHAEL
You mean the sort of people who
always get paid back, one way or
another.
DEVON
I'm afraid so.
The monitor flashes off.
K.I.T.T.
Where are we headed now?
MICHAEL
Stage 12. Whoever tried to kill me
got past both of us. I'm gonna find
out how.
CUT TO
EXT. STAGE 12 - NIGHT - ESTABLISHING
as a figure slips through the darkness into a rear door.
INT. FLOOR OF STAGE 12 - NIGHT
In the semidarkness, we can glimpse the figure walking
between the medieval wardrobe racks -- it's Gavin. He
moves quietly but confidently, as if he owns the place.
Finally he arrives at the cluster of masks.
ANGLE ON MASKS
One of them suddenly whirls to camera, revealing the
grotesque face of the Phantom.
ON GAVIN
Gavin whirls, frightened for a beat, then realizes, his
demeanor changing to disgust and impatience.
GAVIN
Don't be such a wise guy. You've got
a job to do and you still haven't
pulled it off.
PHANTOM
I've done everything you wanted,
Gavin. This turkey's neck was on
the block until Michael Knight
showed up and saved it.
GAVIN
Well it's Knight's neck that's on
the block now!
Gavin buttons his meaning with a look. The Phantom gets
the message and nods.
CUT TO
EXT. STUDIO STREET - NIGHT
as K.I.T.T. drives between the closely packed stages.
INSIDE K.I.T.T. - ON MICHAEL
MICHAEL
Silent mode, pal.
Michael pushes some buttons on his console. K.I.T.T.
noiselessly glides to a stop behind Stage 12.
MICHAEL
All right, Kitt. Give me a schematic
of the stage.
K.I.T.T.'S MONITOR - INTERCUT AS NEEDED
The plan of the stage appears, revealing a system of ducts
and pipes crisscrossing through the studio. Michael
studies the screen.
MICHAEL
Highlight the air conditioning ducts.
On the screen K.I.T.T. traces in yellow a system only
slightly less complex.
MICHAEL
(continuing)
Search for a duct that leads outside
the stage.
Now only one linkage of ducts flashes on.
K.I.T.T.
This one, Michael. It connects to
an adjacent electronic control room.
MICHAEL
I'm out of here.
He leaps out of the car.
EXT. STAGE 12
as Michael crosses from K.I.T.T. to the door and slips
inside.
INT. STAGE 12 - WITH MICHAEL
moving past the costume racks. He looks around; crosses to
a ladder that runs up the wall of the stage and starts to
climb.
ANOTHER ANGLE ON MICHAEL
as he comes up to the top of the ladder and onto a platform
next to a duct. He notices a hinged panel in the duct wall.
ON THE PANEL
as Michael removes it and starts to climb into the duct.
INSIDE THE DUCT
as Michael enters and starts moving down the narrow sheet
metal tunnel.
ON A METAL DISC
in the duct wall as it slides aside, revealing a small TV
camera surveillance lens.
INT. STAGE 12 - NIGHT - ON THE PHANTOM
Something beeps inside his robe. He pulls out a small unit
that looks like a modified Sony Watchman. A red L.E.D. is
flashing. He flips it on.
CLOSE ON THE "WATCHMAN"
as we see Michael moving through the duct on the miniature
TV monitor.
INSIDE THE DUCT - ON MICHAEL
moving as quickly as possible through the claustrophobic
duct work.
INSIDE K.I.T.T. - ON MONITOR
as he tracks Michael, a pulsing blip, through the ducts.
RESUME MICHAEL
as he comes upon a grate in the floor of the duct. He
crouches down and peers through the grate.
MICHAEL'S POINT OF VIEW THROUGH THE GRATE OF AN ELECTRICAL
CONTROL ROOM
directly below him; the walls lined with racks of equipment;
a console board with rows of switches.
MICHAEL
Kitt, I found something. Get a fix
on this room beneath me.
K.I.T.T.'S MONITOR - INTERCUT AS NEEDED
a scan of the room and equipment.
K.I.T.T.
It's an electrical control room. It
contains remote-control equipment
and systems for the studio tour.
Michael reacts to something he sees through the grate.
MICHAEL
Hold it ---
RESUME MICHAEL'S POINT OF VIEW - CONTROL ROOM
as a figure moves into the room. It's the Phantom in
hooded monk's robe crossing to the console.
RESUME MICHAEL
He inches forward for a closer look and whispers into his
comlink.
MICHAEL
I got him, pal. He's right here.
Michael tries to lift the grating. It won't budge.
THE PHANTOM
reacts to flakes of dust that sprinkle down from above onto
the console in front of him. He looks up.
PHANTOM'S POINT OF VIEW - THE GRATE
in the ceiling of the control room. As Michael reacts;
pulls back, his shadow moving across the waffled surface.
RESUME THE PHANTOM
as he reacts and dashes to a rack of switches.
THE PHANTOM'S HAND
hits a switch marked "Fan."
INT. DUCT - GIANT FAN
comes to life with a mighty roar, the blades quickly
becoming a whirling blur.
MICHAEL
is yanked back by the suction of the fan. He tries to get
a handhold, to no avail. He's slammed against the duct.
The back of his head whacks into the sheet metal wall.
ON THE FAN
its giant blades spinning menacingly, closer and closer.
MICHAEL
slides into unconsciousness as the air current pulls him
back toward the whirling blades.
K.I.T.T.
Michael, can you hear me? Michael!
FREEZE FRAME
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
INSIDE THE DUCT - MICHAEL
is barely conscious, groggy as he's pulled toward:
THE FAN
Its enormous blades spinning at top speed.
RESUME MICHAEL
K.I.T.T.
Michael?! What happened? Answer me!
Michael reacts, coming to finally, snaps awake. Looks over
his shoulder with horror; fights to get a hand hold.
CLOSE ON THE DUCT WALL
Where two sections are joined. Michael's fingertips claw
and finally get a temporary hold on the raised seam. His
fingers start losing their grasp.
RESUME MICHAEL
MICHAEL
Kitt! I'm still in the duct!
Locate the turbine and turn it off!
Now!
K.I.T.T.'S MONITOR - INTERCUT AS NEEDED
a schematic of the whirling fan blades. A pulsing circle
appears over them.
K.I.T.T.
That should do it.
The graphic blades stop spinning, but:
THE FAN BLADES
keep whirling still pulling Michael toward them.
MICHAEL
The motor stopped but the blades are
still going, pal!
K.I.T.T.
Those fans have minimum friction
bearing, Michael.
MICHAEL
I've got to find a way out of there!
Michael fights the pull of the fan; spots:
A HATCH IN THE DUCT
he kicks it open with his foot. We widen as Michael dives
for the open hatch.
OUTSIDE THE DUCT
as Michael tumbles out the hatch, falling into space from
high above the stage floor. At the last instant he grabs a
rope that dangles from the catwalks and swings on the
counter-weighted line down toward:
THE FLOOR OF THE STAGE
as Michael arrives on the rope and lands. He catches his
breath and reacts to ---
K.I.T.T.
Are you all right?
MICHAEL
Yes. That was quite a ride, but I
wouldn't recommend they make it part
of the studio tour.
Michael crosses toward the door to leave and we:
CUT TO
EXT. MILLENIUM STUDIOS - MORNING - ESTABLISHING
as K.I.T.T. pulls up outside Karen Bennett's office and
Michael gets out.
INT. KAREN BENNETT'S OFFICE - NIGHT
Karen, running on adrenaline, leans over Kent giving him
orders. He encodes at his word processor as she talks.
KAREN
-- and notify Studio Security. We're
doing that big stunt sequence in the
morning, and I want every available
guard assigned to the back lot.
KENT
(encoding)
Done.
KAREN
Don't know what I'd do without you.
KENT
Don't forget my little friend here.
As he taps the word processor and Michael enters.
MICHAEL
I found the Phantom's headquarters.
(off their
looks)
The electrical control room next to
Stage 12. Have Security post some
people there, too.
KAREN
Of course. Any idea who the Phantom
is?
MICHAEL
Right now it's looking like Gavin.
The twenty million he put into
Raging Sky wasn't his own. He's in
debt to some very heavy hitters.
KENT
Don't be so surprised, Mr. Knight.
No producer worth his car phone
would put his own money in a movie.
Karen silences Kent with a look.
KAREN
Have you notified the police?
MICHAEL
To tell them what? That a guy who's
produced twenty-six features is
running around in a phantom suit?
We have to catch him in the act.
And I have a feeling I'll make
pretty good bait.
They hold a look and we:
CUT TO
OMITTED
EXT. PARKING LOT - NIGHT
Gavin, in a foul mood, walks hurriedly to his car. As he
arrives, the Phantom steps forward out of the darkness.
GAVIN
(aghast)
What are you doing here?
PHANTOM
I have some bad news. Knight's
found out about your backers. That
makes you look suspicious, which
makes them nervous.
GAVIN
You have a job to do. It is not
your concern.
PHANTOM
Of course it is. I'm here to
protect their interests. Why else
do you think they insisted you get
me a job on the lot. It was part of
the deal.
GAVIN
What about our deal. I've paid you
a lot of money. You work for me,
too.
The Phantom pulls a handgun with a silencer on Gavin.
PHANTOM
True. But, unfortunately, it's come
down to you or them. Didn't you
learn anything from all those
B-movies you've produced?
He shoots. Gavin falls to the tarmac, dead. The Phantom
quickly and quietly disappears into the blackness.
CUT TO
EXT. MILLENIUM STUDIOS - BACK LOT - DAY - TO ESTABLISH
Furious activity as everyone rushes about, especially the
special effects and stunt crews.
ON MICHAEL
wearing the same leather jacket and boots Travis wore in
the first scene.
He stands behind the cameras next to K.I.T.T.
MICHAEL
We're getting pretty close to show
time, Kitt. Scan the ammo we'll be
using.
K.I.T.T.
Right away, Michael.
RC3 crosses the set and joins Michael.
RC3
I've scoped the whole area. No sign
of Gavin anywhere.
Michael winces disappointed; thinks a beat; reacts to:
K.I.T.T.
My chemical scan indicates that
every round is a blank.
MICHAEL
Thanks, pal. That means Gavin must
have something else in mind.
As Michael contemplates this realization, Tobey comes up
with Liz.
TOBEY
Mr. Knight, I need you for a
run-through.
LIZ
Come on, honey. A desperate,
vulnerable girl on the run always
needs a strong man at her side.
MICHAEL
You got him.
(to RC3)
Keep looking for Gavin. I'd feel a
lot better knowing he's ---
Michael bites off the sentence in reaction to Bonnie who
hurries toward him. Michael and RC3 step aside, joining
her.
BONNIE
Security found Gavin in the parking
lot this morning, dead.
MICHAEL
What? That means the Phantom's
still out there.
RC3
Yeah. And he could be just about
anybody.
They turn and look over the set, as we intercut:
VARIOUS SHOTS
The crew -- the grips -- other studio personnel -- Tobey
and Liz lots of animated activity. The last shot in the
sequence is ---
A TERRORIST
who leaps forward with an Uzi. We pull back revealing
we're watching a rehearsal as Michael mimes a karate kick,
then a chop. The "terrorist" falls back. Tobey nods his
approval of Michael's performance.
TOBEY
Not bad for a guy with no training.
(to the crew)
Let's do one!
As the crew members hustle into position.
BONNIE
looks out at the set from behind the director's chair.
RC3
slowly moves through the crowd, on alert, and does a take
when he sees:
THE MONK'S ROBE
billowing as it disappears around the corner of a stage.
RESUME RC3
as he hustles after the Phantom.
ANOTHER ANGLE - STAGE
as RC3 comes around the same corner where we saw the monk's
robe. He stops, puzzled, when he sees the street branches
out between several stages -- no sign of the Phantom. As
he looks around:
THE PHANTOM
leaps out from behind the motor home and whaps him across
the back of the head with the butt of a revolver. RC3
falls to the ground. The Phantom runs, leaving a
semiconscious RC3 behind. He tries to shake it off;
reaches for his walkie-talkie.
EXT. FRONT OF BAR - DAY
as the prop man hands Michael his Uzi. Tobey pats him on
the back, then shouts through his bullhorn.
TOBEY
Places everyone!
As he heads back to the cameras, Michael reacts to:
RC3'S VOICE
Michael!
MICHAEL
(comlink)
RC? What's going on?
INTERCUT - RC3
still trying to shake it off, on walkie-talkie.
RC3
I spotted him, Michael. But he got
away. He's still out there.
Off Michael's reaction, we:
CUT TO
INT. THE BARN - DAY
One of the prop people finishes putting soot on the
windshield of the stunt car. As he heads off the stunt
driver is about to get into the car -- when a hand karate
chops him down.
ANOTHER ANGLE
to reveal the Phantom in his monk's robe. He steps over
the fallen stunt driver and crosses to the front of the car.
CLOSE ON THE CAR
as the Phantom pops the hood revealing machine-guns mounted
beneath it. He removes the clip from one of them and
replaces it with another.
RESUME FRONT OF BARN
Everyone poised. Tobey and the camera operator high on a
crane.
TOBEY
(bullhorn)
Now remember -- Mike and Liz are
running toward the barn. The car
blasts through the doors after,
after they take out the guy with the
rocket launcher. Everybody got it?
The crew ad-libs affirmative replies and wait for his signal.
RESUME PHANTOM - INSIDE THE STUNT CAR
as he gets behind the wheel then places an attache case on
the seat next to him and opens it revealing a remote-control
unit.
RESUME DIRECTOR
TOBEY
This is a take. Roll sound...Camera
...Action!
ON MICHAEL AND LIZ
He grabs her hand and they run across a field toward the
barn. Terrorist one emerges from cover and blocks their
path -- Michael karate chops him down. As they scramble,
terrorist two yanks out an Uzi -- but before he can fire,
Michael fires his Uzi and cuts him down.
INT. BARN - ON THE PHANTOM'S CAR
as he steps on the gas and rockets toward the barn doors.
WITH MICHAEL AND LIZ - ANGLES AS NEEDED
As they sprint toward the barn, a third terrorist appears
and fires a shoulder-mounted rocket launcher. Michael and
Liz hit the deck as the ground explodes beside them. Then
Michael fires his Uzi, taking out the terrorist.
LIZ
This way, Dirk, hurry!
As she grabs Michael's hand, and they run ---
THE BARN DOORS
explode open as the stunt car blasts through them.
RESUME LIZ AND MICHAEL
Michael stops short and yanks her back.
MICHAEL
Hold it!
LIZ
Oh my God!
Michael and Liz start to back away when they see:
THEIR POINT OF VIEW - THE STUNT CAR
The engine growling, the dust clearing, the Phantom's
grotesque face behind the windshield.
INSIDE THE STUNT CAR
The Phantom triggers his controls, and ---
ANGLE ON CAR
as the two machine-guns mounted behind the grille open fire.
RESUME MICHAEL AND LIZ
Michael yanks her down and behind a feed storage box as
bullets punch holes and splinter the wood next to them.
LIZ
Hey! Those bullets are real!
MICHAEL
Kitt, pick us up now!
K.I.T.T.
auto-starts and, to Tobey's astonishment, rockets onto the
set.
TOBEY
I didn't cue a black car!
THE SCENE
as K.I.T.T. cuts in front of the Phantom's car, machine-
guns still blazing. The bullets spark harmlessly off
K.I.T.T.'s windows and shell as he pulls in front of
Michael and Liz, protecting them. K.I.T.T.'s door pops
open.
INSIDE K.I.T.T.
As Michael and Liz get in, the bullets spatter flame on the
windows.
MICHAEL
Hang on!
Michael hits the pedal, takes the wheel and spins K.I.T.T.
around.
SCENE
As the Phantom's car takes off, K.I.T.T. does a tire-smoking
180, and pursues.
A SERIES OF SHOTS
as the Phantom's car blazes down a studio street, cuts
through a narrow byway. K.I.T.T. roars right behind.
EXT. STUDIO TOUR - GALACTICA - DAY
The Phantom takes his car inside, K.I.T.T. follows. The
chase continues through the tunnel.
INT. PHANTOM'S CAR - ON THE PHANTOM
as he presses switches on his remote-control unit.
RESUME THE TUNNEL
and Galactica comes to life, with a burst of lighting and
other effects.
INSIDE K.I.T.T. - ON MICHAEL
Dazzled and confused by the light, he slows down.
K.I.T.T.
How is he doing that, Michael?!
He's not in the control room!
MICHAEL
He must have a remote hookup! Help
me out, pal! I can barely see him!
K.I.T.T.'S MONITOR
comes to life, tracking the Phantom's car.
EXT. GALACTICA AND PARKING LOT
The Phantom's car shoots out of the tour. Pedestrians
scramble as it careens between parked cars, up an
embankment towards a road.
RESUME INSIDE K.I.T.T.
K.I.T.T.
He's outside, Michael. He's over
that hill and getting away!
MICHAEL
Let's cut him off! Hold tight, Liz!
THROUGH THE WINDSHIELD
as K.I.T.T. exits the Galactica tunnel into the parking
lot, the parked cars come closer. Liz screams.
ON DASH
Michael hits turbo boost.
ON MICHAEL AND LIZ
are thrown back by the G-force....
ANGLES AS NEEDED
K.I.T.T. sails over the parking lot and....
VARIOUS SHOTS
of astounded tourists.
ROAD - DAY
as K.I.T.T. lands and pursues the Phantom's car down the
hill and back towards the lot.
ON STUDIO STREET
The Phantom's car speeds by, K.I.T.T. right behind.
EXT. BARN SET - DAY
Onlookers rush out of the way as the two vehicles blast
back onto the set.
TOBEY
reacts and shouts at his cameraman.
TOBEY
Keep rolling! Keep rolling! We'll
use it somehow!
INSIDE K.I.T.T. - ON MICHAEL
K.I.T.T.
Well, Michael, shall we bring this
legend to an end?
MICHAEL
Yeah. And I know just what'll become
this legend most.
And as Michael pushes the appropriate button:
VARIOUS ANGLES - THE PHANTOM'S TIRES
as the valves blow and they go flat.
SCENE
The Phantom's car wobbles to a stop. The Phantom leaps
out. As K.I.T.T. screeches to a stop next to him, Michael
jumps out and grabs him and puts him away with a karate
combination. He pulls him to his feet.
CLOSE ON THE PHANTOM'S MASK
as Michael rips it off, revealing Kent.
RESUME THE SCENE
as RC3, Bonnie, and two studio security men rush up to them
and react.
MICHAEL
This is how the game is played,
Mr. Kent.
Michael, Bonnie and RC3 react as the actors and crew behind
them burst into applause, and we hear ---
TOBEY'S VOICE
(shouts)
Cut!
FREEZE FRAME
FADE OUT
END OF ACT FOUR
TAG
(TO FOLLOW)
THE END
