ACT ONE
FADE IN
EXT. DESERT - NIGHT
A coyote howls. Nothing moves for miles. A section of
deserted two-lane road angles by, dotted by chuckholes,
cracked by desert scrub that rushes to life in the early
spring and then fights to stay alive the rest of the
year. From somewhere behind there's a noise, the sound of
vehicles approaching.
REVERSE ANGLE - HEADLIGHTS
stab at the night as a small caravan of cars approach, two
windowless vans followed by a long black limo. The limo
stops a short distance from the two-lane road, parks, engine
running. The vans reach the road and separate, one on
either side, as dark men in military-style jumpsuits hang
from the van and drop electronic aviation lights. In less
than a minute they have marked off a hundred yards of
concrete suitable for landing.
ANGLE ON LIMO
It waits off by itself, dark and mysterious. "Sympathy
for the Devil" wafts across the desert night from a five
thousand dollar car stereo. One of the smoked rear windows
lowers and we see what appears to be a lone man in the
backseat, sipping Napoleon cognac. A thin cigar glows red
in the darkness.
ANGLE BACK INTO DESERT
A strange object appears, a head and shoulders, gliding
silently along the top of a ridge. Then we hear the faint
sound of a two-stroke engine and we recognize it's a figure
on a motorcycle, a dirt bike. The rider, whom we'll later
identify as Ron Wilcox, cuts the engine and coasts to a
silent stop.
POINT OF VIEW - THE LIMO AND THE LANDING LIGHTS BEYOND -
BACK TO RON WILCOX
He has an expensive camera around his neck. He climbs off
the bike, and starts forward, closer to the limo and the
lights. Hearing something above, and away, Ron pauses,
watching.
ANOTHER ANGLE
Approaching over a rim of low sawtooth mountains is the
dark shape of a big C-140 cargo plane.
ANGLE ON COMBAT TROOPS
They have become an efficient ground crew. A black
lieutenant functions as ATC, using a battery-operated
ground-to-air system.
ANGLE ON LIMO
The mysterious figure waits, handsome face still buried in
shadow. The C-140 passes overhead, circling in for a
landing.
ANGLE ON RON WILCOX
He rises to snap a photo of the plane.
ANGLE ON LIMO
The man inside notices something in one of the mirrors, a
momentary flash, a movement, a reflection. He stubs out
his cigar.
ANGLE ON THE MAKESHIFT RUNWAY
The C-140 touches down and lumbers toward us.
INTERCUT - COMBAT TROOPS
They prepare to off-load the contents.
INTERCUT - RON WILCOX
He edges forward, taking photos, as the plane comes to a
stop seventy-five yards away.
ANGLE AT C-140
The huge belly opens up and half a dozen soldiers ascend
into the cargo hold. The lieutenant barks orders in an
African language. For that matter we are, conceivably, in
Africa. It's hard to say.
ANOTHER ANGLE
Shooting up into the darknesss of the huge cargo hold as
powerful diesel engines come to life. Then headlights.
Then an enormous blunt snout emerges, chrome and black
lacquer, and the oversized, specially modified truck and
trailer descend. It is the centerpiece of a major
undertaking. It's known simply as Goliath.
ANGLE ON RON WILCOX
He scurries forward to another outcropping of rock or
brush, uses it for cover, pauses to snap off more photos.
HIS POINT-OF-VIEW - THROUGH CAMERA
several shots clicked off of Goliath. Now something
foreign comes into the field of vision, out of focus.
Focus adjusts and we see the object in question is the
figure of a man.
ANGLE ON RON WILCOX
He drops the camera and stares.
HIS POINT OF VIEW - THE MAN
standing ten feet away, facing him, is the man from the
limousine. He is tall and lean, wears a tuxedo and carries
a black diamond-studded cane. He also wears a discreet
diamond stud in his left ear. He moves with the grace of a
panther. Except for minor cosmetic differences, the man is
a dead-ringer for Michael Knight. The reason isn't coinci-
dental. He is the late Wilton Knight's only son, Garthe.
ANOTHER ANGLE - RON WILCOX
runs for his life.
REVERSE ANGLE
Goliath rumbles toward him, massive and inescapable. Ron
Wilcox turns back to face Garthe, trapped.
ANGLE ON GARTHE
He twists his antique cane and reveals a .38 steel barrel.
He raises it and fires.
CUT TO
DIFFERENT ANGLE - LATER
Lead by the limousine, flanked by the vans, Goliath lumbers
by. Camera pulls back and up and we see a cluster of
bright lights five or ten miles away. Camera zooms in
toward the lights, and in light of what's just happened,
it's strange to see the town is actually Las Vegas,
Nevada.
CUT TO
EXT. DESERT HIGHWAY - DAY - THE TRANS AM
appears, loafing along about seventy.
INT. K.I.T.T. - DAY
Michael is relaxed and enjoying himself despite some long
hours behind the wheel. They pass gaudy signs advertising
various casinos and clubs.
K.I.T.T.
Disgusting.
MICHAEL
I thought you liked the desert.
K.I.T.T.
I'm referring to those half-naked
young ladies. Correction. Make
that three-quarters naked. Michael,
I've searched my data banks and
memory cells thoroughly. I can't
find one redeeming quality about
gambling.
MICHAEL
How about young ladies?
K.I.T.T.
I'm quite serious.
MICHAEL
Don't be so serious, Kitt. Lighten
up. Relax. Roll the dice of life.
K.I.T.T.
If that's a joke, I don't find it
amusing.
The comlink to the Foundation blinks. Michael smiles,
punches Devon in on the monitor.
INTERCUT DEVON AND APRIL ON MONITOR - DEVON'S OFFICE
April cross-checks programs on the computer while Devon
talks.
DEVON
Hello, Michael. I see you're already
in the spirit of things.
MICHAEL
Gotta talk to April about loosening
Kitt up a little. What's up?
DEVON
Since you'll be going through Las
Vegas anyway, I want you to check
someone out for me. Her name is Rita
Wilcox. She works at the Royal Flush
on the Strip.
MICHAEL
What are you looking for?
DEVON
Just your impressions. She tells a
provocative but fantastic tale about
a missing brother. It may be nothing.
MICHAEL
I'll see what she has to say. With
any luck I should be in by ten or
ten thirty tonight.
Ad-lib good-byes and Michael switches off the monitor.
Stay with:
DEVON AND APRIL
He switches off his end. April glances over.
APRIL
You won't be here.
DEVON
I beg your pardon?
APRIL
Here. At ten or ten thirty.
(to Devon's
blank look)
Your date tonight.
Devon looks embarrassed, slightly annoyed. He busies
himself with some paperwork.
DEVON
For your information the liaison in
question is not a 'date,' it's...an
appointment.
APRIL
Devon, she's a beautiful woman.
DEVON
She is the former spouse of Wilton
Knight who, as you recall, created
and continues to fund the Foundation
for which we both work.
APRIL
I recall.
DEVON
Good.
(beat)
Incidentally, you're quite right.
(to April's
blank look)
She is a beautiful woman.
CUT TO
EXT. LAS VEGAS STRIP - NIGHT
K.I.T.T. drives by, turns into the entrance of a major
hotel.
INT. CASINO - NIGHT
Various shots of gambling, people, faces, agony and
ecstacy.
ANGLE AT THE BLACKJACK TABLE
A beautiful girl in her twenties deals cards to a lone
player at a five dollar table. She is Rita Wilcox. The
single player gestures for a card, gets one, goes bust.
MICHAEL'S VOICE
I feel lucky.
The player shoots him a sour look and leaves with one chip,
his last. Michael smiles at Rita, sits down and puts out
a five dollar chip. She gives him a searching, curious
look which we'll later understand.
MICHAEL
I feel lucky I'm not him.
Rita smiles, deals. A little eye contact.
RITA
Cards?
MICHAEL
Blackjack.
He turns over an ace to go with the ten. A passerby also
stares at him.
RITA
This must be your lucky night.
MICHAEL
We'll see.
She pays him, smiles, assumes he's flirting.
MICHAEL
I'm Michael Knight. Devon Miles
from the Foundation sent me.
Her reaction is instantaneous: fear.
RITA
(sotto voce)
I said not to send anyone here. I
can't talk here.
MICHAEL
Where?
RITA
I get off at midnight.
CUT TO
INT. HOTEL SUITE - NIGHT
A tastefully furnished suite somewhere in the heart of
another city. The doorbell chimes and a beautiful, elegant
woman in her late forties appears, crosses to answer it as
she puts on her earrings. She is Elizabeth Knight. She
opens the door.
ELIZABETH
Devon!
Devon enters, smiling, dressed for an evening out. He
hands her a little gift, flowers or something agreeable.
DEVON
It's so good to see you, Elizabeth.
They ad-lib greetings, holding each other's hands. Elizabeth
is an engaging woman, formidable in her charm, and Devon is
spared none of it.
ELIZABETH
You look absolutely wonderful!
Come in, please.
ANOTHER ANGLE
They enter the living room, drift toward a wet bar that's
banked by a view of the city:
DEVON
I believe you used to say 'living
well is the best revenge.'
ELIZABETH
Nonsense. There is no revenge. It's
a nasty job but somebody's got to do
it. Gin and tonic?
DEVON
Thanks.
She lingers on the eye contact between them. It's Devon
who discreetly turns his attention elsewhere.
DEVON
I'm so pleased you phoned. It's
been what...three years?
ELIZABETH
Three years and four months.
DEVON
(smiles)
But who's counting.
ELIZABETH
I am.
She brings him his gin and tonic, meets his eyes very
directly.
ELIZABETH
I'm not telling you anything you
don't already know...I was always
strongly attracted to you. You
knew it. So did Wilton. That's
why the Foundation saw so little
of me.
She sees Devon is refraining from saying something.
ELIZABETH
Oh I know what you're thinking, all
those pretty young boys -- but they
were only friends. Surely you knew
that.
DEVON
(beat)
Elizabeth, what do you want?
She crosses away, smiling back at him provocatively.
ELIZABETH
Devon, you should know better. When
Sigmund Freud was dying his students
gathered 'round and asked him if
there was one question his work hadn't
answered. He replied, 'What a woman
really wants.'
DEVON
There's no need to be coy.
ELIZABETH
And there's no need to rush. The
future is still the future. It will
reveal itself when it chooses.
She smiles, pours herself a drink.
CUT TO
EXT. LAS VEGAS STRIP - NIGHT
The Trans Am appears, turns down an intersecting street
away from the Strip.
RITA'S VOICE
...I was going to be a singer and
Ron was a pianist. He played
everything....
INT. TRANS AM - NIGHT
Michael and Rita drive toward her apartment.
RITA
...classical, blue-grass, electric
rock...anyway, when we ran out of
money we stopped here, and I got a
job dealing Twenty-One at the club.
The next thing I knew this mysterious
man -- he looks so much like you I
can't believe it -- he wouldn't leave
me alone. Flowers everyday. Gifts.
One of the gifts was a job for Ron.
MICHAEL
The plot thickens.
RITA
I suppose. I sure didn't see it at
the time....
EXT. RITA'S APARTMENT - NIGHT
The Trans Am parks and they get out.
RITA'S VOICE
...so Ron did odd jobs for him. It
all began very innocently.
MICHAEL
What's his name?
RITA
Garthe. With an 'e.' He's very
particular about the 'e.'
MICHAEL
Is that his first name or his last?
RITA
Believe it or not, I don't know.
He's very secretive. And despite
the fact he's buying up half the
town, you never see his picture in
the paper. You never see him on TV.
He's like a ghost.
MICHAEL
I'm intrigued.
RITA
So was I. So was Ron.
(opens
front door)
Too intrigued, I'm afraid....
INT. ELIZABETH'S HOTEL SUITE - NIGHT
A waiter finishes the last touches of serving a fine dinner
on china, linen and silver.
ELIZABETH
...and the Romans were in the habit
of poisoning one another at dinner.
Thank you, Charles.
He bows and leaves.
ELIZABETH
Well?
DEVON
Well what?
ELIZABETH
Don't you think it's a rather peculiar
topic of conversation for the good
doctor to choose -- particularly when
his poor wife turned up poisoned to
death three days later?
Devon is charmed by her. The candles on the table send
soft shadows dancing across her face.
DEVON
I think it's exceedingly peculiar.
And if I were his wife I'd never
trust him to tea again.
She laughs, gives him a scolding feminine look. It's got
heat behind it, and Devon is undecided as to how to respond.
Actually he's rather perplexed by the entire evening so
far.
DEVON
To be quite honest, Elizabeth, I'm
having a wonderful time despite a
nagging certainty you've an ulterior
motive tucked away in the folds of
the evening's spectacles.
ELIZABETH
(smiles)
'Spectacles,' Devon? How red-blooded.
DEVON
Don't mock me, Elizabeth.
ELIZABETH
I came here to praise Caesar, not to
mock him. Would you be a love Devon
and open the patio doors? It's
stuffy in here, don't you think?
As Devon crosses to open French doors, Elizabeth deftly
removes a tiny vial tucked into her bra and drops a
thimbleful of amber liquid into his wine.
DEVON
How do they know she was poisoned to
death?
ELIZABETH
Who?
DEVON
The doctor's wife.
ELIZABETH
They don't. That's the difficulty
with good poison -- it's so desper-
ately hard to prove.
CUT TO
INT. RITA'S APARTMENT - NIGHT
Camera slowly pans the small one-bedroom apartment.
RITA'S VOICE
...and we went out twice. A limo to
pick me up. Carte blanche at the
hotel's shops. The works.
Camera reaches Michael and Rita at the coffee table, a
college yearbook and old photos spread between beer, soft
drinks and onion dip.
MICHAEL
What happened?
RITA
I've always believed in love and
romance -- pretty much in that
order. Garthe made it clear
he didn't. He prefers to buy
what he wants.
Michael nods, makes a note. Eats chips and dip.
He picks up a key from the table, looks at it thoughtfully.
MICHAEL
So Ron got suspicious of Garthe
...whatever he found out or over-
heard went into a tape recorder...
and the tapes were hidden in
whatever locker this key fits....
RITA
(nods)
I know it's not much to go on, but
it's all I have.
MICHAEL
I'll see what I can do. No promises.
He gets to his feet. She holds out her hand for help up
and he gives it, her face coming up to his. The fact
they're attracted is obvious to both of them.
RITA
Do you know what antithesis means?
MICHAEL
It was on last month's Power
Vocabulary Builder.
RITA
I'm serious. You're the antithesis
of him. Be careful. I have a
strange feeling....
MICHAEL
What?
RITA
That he won't like you.
CUT TO
INT. ELIZABETH'S SUITE - NIGHT
Devon and Elizabeth sit across from one another, eating.
ELIZABETH
...and then, one night at the
Insberg, in front of the entire
Norwegian ski team he proposed a
toast to...Devon?
Devon doesn't move, for a moment frozen, staring at his
plate.
ELIZABETH
Are you all right? Devon?
He struggles to look up at her, tries to speak and falls
face first in the entrée. Elizabeth very carefully folds
her napkin.
ELIZABETH
Good.
She rises and moves to where he slumps, unconscious.
ELIZABETH
Now we shall begin...Think back,
Devon, back to when Wilton was
developing the car...the Knight
Industries 2000....
CUT TO
EXT. LAS VEGAS - DAY
The Trans Am moves through town. It's early morning and
the streets are quiet.
K.I.T.T.'S VOICE
Aren't you going to tell me?
MICHAEL'S VOICE
There's nothing to tell.
INT. K.I.T.T. - DAY
Michael drives.
K.I.T.T.
According to my research, that's the
first thing gamblers say when they
lose.
MICHAEL
Kitt, I wouldn't lie to you. I didn't
lose.
K.I.T.T.
That's the second.
MICHAEL
I wish your 'research' had less on
gambling and more on keys.
K.I.T.T.
Michael, blank stock is extremely
difficult to trace.
(lights flash)
April's calling.
MICHAEL
Saved by the bell.
He pushes buttons. April comes on the monitor.
INTERCUT - APRIL
She looks worried.
APRIL
Michael, you've got to come back
right away ---
MICHAEL
Why, what's wrong?
APRIL
It's Devon. I'm worried about him.
He went out with an old friend last
night and....
MICHAEL
And what? Is he there?
APRIL
He's in the study with Doctor Alpert.
I don't know what's wrong with him.
He came in late and slept until noon.
It took him half an hour to wake up
and ---
She breaks off as Dr. Alpert, the Foundation Doctor, steps
in.
ALPERT
Excuse me, but Devon wants you to
get a message to Michael as soon as
possible.
APRIL
He's on the monitor.
Alpert glances a trifle suspiciously at the mobile camera.
ALPERT
I hate these things. Michael, is
that you?
MICHAEL
It's me, Doc. What's the message?
ALPERT
Devon wants you to return immediately.
MICHAEL
I'll have to drop the case he asked
me to look into....
ALPERT
Michael, whatever it is, drop it.
Devon was poisoned last night.
CUT TO
EXT. CASINO PARKING LOT - DAY
The Trans Am pulls in fast, brakes to a stop. Michael
jumps out and crosses for the entrance.
INT. CASINO - DAY
Rita and several other Twenty-One dealers are crossing
toward the tables to begin their shifts. Michael inter-
cepts Rita. Several of the other girls stare at him,
amazed.
MICHAEL
Glad I caught you ---
RITA
Did you find the locker?
MICHAEL
Not yet. I'll have to postpone it
for a day or two -- something's
come up that can't wait.
RITA
(disappointed)
You mean...that's it? Sorry, but
what happened to Ron just doesn't
measure up in global importance?
MICHAEL
Rita, I'll come back, I'll find out
what happened to...Rita.
She is gone, ignoring him. He sighs, no time to explain.
He starts back for the entrance, notes a commotion at the
door. People gather, pause to stare and whisper, nudge one
another.
MICHAEL'S POINT OF VIEW
Sweeping through the entryway, surrounded by onlookers,
flanked by several black security men (actually combat
soldiers out of uniform) are a man and a woman. The woman
we recognize as Elizabeth. The man we have seen also.
It's Garthe. Michael stares at him, struck by the
resemblance.
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
EXT. FOUNDATION - DAY - TO ESTABLISH
MICHAEL'S VOICE
You're sure he's okay to travel?
INT. DEVON'S OFFICE - DAY
Devon, packed, finishes a detail or two at his desk.
Michael, April and Dr. Alpert are ready to go.
DEVON
Michael, will you please stop annoy-
ing Doctor Alpert? He's assured me
I'm in excellent condition.
APRIL
In all fairness, Devon, he didn't
say that.
DEVON
Words to that effect.
Alpert looks from April to Michael, shrugs as if to say
what can I do? They ad-lib good-byes and thanks and April
sees Alpert to his car.
MICHAEL
All right, he's gone. Now I want to
know what's going on. I see this
mysterious Garthe Knight in Las
Vegas with his mother. You haven't
stopped moving since I got back, you
and April are on your way to Brazil
to visit an old friend ---
DEVON
Michael, I'll explain it all on the
way to the airport. What it boils
down to, I'm afraid, is that Garthe
Knight, Wilton's only son, has some-
how been resurrected from three
consecutive life sentences in Africa.
He's returned. Accompanied by his
mother, Elizabeth. They're after the
formula.
MICHAEL
What 'formula'?
DEVON
(piqued)
How many formulas are you aware of?
MICHAEL
(realizes)
Are you talking about Kitt's Molecular
Bonded Shell?
DEVON
Precisely.
(opens door)
Coming?
CUT TO
EXT. PRIVATE AIRSTRIP - DAY
Pan from the Foundation jet, being prepared for the trip,
to a sedan as it pulls up and stops. The chauffeur opens
doors, then begins loading the luggage onto the plane.
ANGLE ON MICHAEL, DEVON AND APRIL
as they cross to the waiting plane.
DEVON
...and after Wilton perfected it, he
came up with a rather ingenious
method of keeping it accessible but
private.
MICHAEL
So it could be reproduced for Kitt
but no one else.
DEVON
Exactly. You can imagine a shell as
invulnerable as Kitt's in the hands
of the wrong people. So Wilton
divided the formula into three
distinct elements and entrusted two
of the elements to each of three
hand-picked people.
MICHAEL
In other words any two of the three
people could put their elements
together and have the formula.
APRIL
But one alone couldn't.
DEVON
Precisely.
MICHAEL
And you're worried about the other
two.
As they reach the plane and the copilot helps April aboard,
Devon pauses to face Michael.
DEVON
No. Only one. The third party is
alive and well in Switzerland. But
the other man, Doctor Karl Elliott,
is vacationing in Rio de Janiero.
The problem is no one at his hotel
has seen him since Tuesday.
MICHAEL
But you said that one man alone
couldn't reproduce the formula.
DEVON
Yes. I'm the second man, Michael.
MICHAEL
(beat)
You?
DEVON
As you know I had dinner with
Elizabeth Knight. I was drugged.
Poisoned. Doctor Alpert identified
the poison as a rare extract from
the African gum tree called oluta....
MICHAEL
Devon, you survived.
DEVON
Yes, I survived. The question is --
did the formula? Oluta is used by
the natives as a truth serum. It's
said to be more effective than
sodium pentothol.
It registers. Ad-lib good-byes and Devon joins April
aboard the plane. Michael watches as it taxis down the
runway and lifts into the sky.
CUT TO
EXT. FOUNDATION - DAY
The sedan pulls up and Michael jumps out, heads directly
for K.I.T.T., jumps in and, in a squeal of rubber, is gone.
CUT TO
EXT. HIGHWAY - DAY
The Trans Am heads back across the desert for Las Vegas.
MICHAEL'S VOICE
That's all there is?
INT. TRANS AM - DAY
Michael looks at the monitor, disappointed.
K.I.T.T.
That's all I have, Michael.
MICHAEL
Devon's depending on us, Kitt.
Interface with Centra-Comp, Kitt.
Garthe was sentenced to three
consecutive life sentences in Africa
and all you show is a prep school
biography.
K.I.T.T.
I beg your pardon. This is not a
'prep school biography.'
(beat)
Did you say three consecutive life
sentences?
MICHAEL
That's right.
K.I.T.T.
My creator's son?
MICHAEL
One in the same.
K.I.T.T.
How...difficult for a man like Wilton
Knight. What's he suspected of doing?
MICHAEL
Stealing the formula for your Molecular
Bonded Shell.
K.I.T.T.
(shocked)
Michael, my shell is an exclusive.
MICHAEL
Let's hope it stays that way.
K.I.T.T.
(beat)
I had no idea how serious this was.
CUT TO
OMITTED
EXT. LAS VEGAS - DAY
The Trans Am drives along the Strip.
EXT. RITA'S APARTMENT - DAY
The Trans Am parks in front and Michael gets out.
CUT TO
ANGLE AT RITA'S DOOR
Michael knocks, waits. The door opens and a Woman with a
red bandana and painter's coveralls regards him.
WOMAN
Yeah?
MICHAEL
I'm...looking for Rita -- Rita Wilcox.
WOMAN
She moved out.
MICHAEL
When? She was here yesterday.
WOMAN
This is Las Vegas, mister. Yesterday,
last year...gone is gone, you know?
MICHAEL
Did she leave a forwarding address?
WOMAN
When they move that fast they never
do.
CUT TO
EXT. RITA'S APARTMENT - DAY - MICHAEL
crosses to K.I.T.T., climbs in and pulls away. Pan down
the block to where two men in a sedan, watching; discreetly
begin to follow.
INT. K.I.T.T. - DAY
as Michael drives.
K.I.T.T.
I thought you said she was broke.
MICHAEL
That's what she told me.
K.I.T.T.
And dedicated to finding her brother.
MICHAEL
Ditto.
K.I.T.T.
Puzzling.
MICHAEL
My thoughts exactly. All right,
Kitt, back to the key.
K.I.T.T.
Michael, blank stock is ---
MICHAEL
Kitt, I know all about blank stock.
I don't care how difficult it is,
how long it takes, finding those
tapes is the one clue we've got.
K.I.T.T.
Very well.
Lights flash and blink as K.I.T.T.'s computers go to work.
EXT. STREETS - DAY - THE TRANS AM
proceeds through town, carefully followed by the two men in
the sedan.
EXT. RIO INTERNATIONAL AIRPORT - DAY - STOCK
Private and commercial jets arrive and depart.
EXT. RIO DE JANIERO - DAY - STOCK
Several shots to establish the feel of the city.
INT. EXCLUSIVE HOTEL - DAY
Several guests register, check for mail, etc. Pan to the
entrance as Devon and April enter, cross to the desk.
CLERK
(Portugese
accent)
May I help you?
DEVON
Yes, I'd like to speak with a regis-
tered guest, Doctor Karl Elliott.
CLERK
(checks)
I can ring him, but Doctor Elliott
left instructions not to be dis-
turbed.
DEVON
I have reason to believe Doctor
Elliott may be the victim of foul
play. I want to check his room.
CLERK
(beat)
You are...?
DEVON
Devon Miles, a personal friend.
CLERK
I must check first with the manager.
DEVON
Please hurry.
INT. HOTEL SUITE - DAY
The room is dark. The sound of a key in the door and it
opens, the Clerk turning on the light. Devon and April
react.
THEIR POINT OF VIEW - DR. KARL ELLIOTT
lies on the floor where he collapsed.
ANOTHER ANGLE - DEVON AND APRIL
rush into the room. April strips open Elliott's shirt and
begins emergency CPR treatment over:
DEVON
(to Clerk)
Find the nearest hospital with
facilities for treating exotic
poisons.
CLERK
Poison -- ?
DEVON
Quick!
Devon joins April over Dr. Elliott's body. Her work slows,
stops. Devon looks at her. She shakes her head.
DEVON
You're quite sure?
APRIL
(nods)
He's been dead for at least several
hours.
A silent moment as Devon accepts it. Karl Elliott was an
old friend, a good friend.
DEVON
(to Clerk)
Never mind.
CLERK
(hopefully)
He will...be all right?
DEVON
He's dead.
He crosses to the Clerk, shows him a snapshot.
DEVON
Have you ever seen this woman?
CLERK
(looks)
Yes. That's Doctor Elliott's com-
panion.
DEVON
'Companion'? She was here with him?
CLERK
For two days.
Devon and April exchange a look and we see:
THE PHOTO
It's of Elizabeth Knight.
CUT TO
OMITTED
EXT. LAS VEGAS STREET - DAY
as K.I.T.T. passes.
K.I.T.T.'S VOICE
Michael, I think I may have something.
INT. K.I.T.T. - DAY - MICHAEL
reacts, glances at the monitor.
K.I.T.T.
The particular tumbler configuration
of this key was used on a brand of
lock designed principally for
lockers ---
MICHAEL
I know that, Kitt. That's what Rita
said.
K.I.T.T.
Please let me finish.
MICHAEL
Sorry.
K.I.T.T.
I've cross-checked building permits
and dates of construction for every
commercial installation of said
locker, and it boils down to two
locations.
MICHAEL
All right. Where first?
K.I.T.T.
Take your pick. One is a bowling
alley on Desert Drive and the other
is a bus depot on Third.
MICHAEL
Let's try the bus depot.
EXT. STREET - DAY - THE TRANS AM
does a 180 and heads back the opposite way. The sedan
reacts, makes a U-turn and follows.
CUT TO
INT. BUS DEPOT - DAY - MICHAEL
enters, looks at the rows of lockers, shrugs. A little
more than he bargained for. He starts at number one, first
row.
EXT. PARKING LOT - DAY
K.I.T.T.'s scanner picks up the sedan as it pulls in and two
men get out.
ANGLE ON MICHAEL
halfway down the first row of lockers. The comlink buzzes.
MICHAEL
(sotto voce)
Yeah, Kitt.
K.I.T.T.
I believe someone has been following
us.
MICHAEL
No one even knows we're in town.
K.I.T.T.
I suspect the two men who just
entered the bus depot do.
Michael, continuing his key/lock search as he talks, is
about to respond when the key fits the locker he tries.
MICHAEL
Thanks, Kitt, but we're in luck.
He opens the locker and removes a sports sac. He unzips
it, peers inside: it contains half a dozen cassette
tapes. He zips it up and closes the locker door.
MAN'S VOICE
I'll take that.
Michael starts to turn but feels a large calibre pistol in
his ribs.
FREEZE FRAME
AND
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
EXT. BUS DEPOT - DAY
The two men, Biggs and Statton, come running out, Biggs
with the tape bag.
INT. DEPOT - DAY
Michael darts around people, runs for the exit.
MICHAEL
(comlink)
Kitt! Meet me at the rear exit.
ANGLE ON K.I.T.T.'S DASH
It comes to life; the gear shift flies into reverse and the
accelerator is depressed.
ANGLE ON SEDAN
Biggs and Statton leap in and peel away.
ANGLE ON REAR EXIT
K.I.T.T. speeds up and broadslides to a stop, door flying
open, as Michael comes running out. He leaps in and with a
squeal of tires leaves in pursuit.
EXT. CITY STREETS - DAY
The sedan speeds by, passing cars and terrifying pedestrians.
ANOTHER ANGLE
K.I.T.T. dodges traffic, a block and a half behind.
ANGLE IN K.I.T.T.
as Michael drives, intent.
K.I.T.T.
Perhaps next time you'll heed my
warnings.
MICHAEL
Be glad to, buddy -- with a little
head start ---
K.I.T.T.
Michael, look out!
HIS POINT OF VIEW - A TRUCK
pulls out, creating a narrow corridor between isles of
traffic.
ANGLE ON MICHAEL
He punches buttons.
ANGLE FROM STREET
K.I.T.T. two-wheels through the corridor.
ANGLE IN SEDAN
Biggs glances in the rearview mirror, reacts.
HIS POINT OF VIEW - K.I.T.T.
threads his way between the cars, gaining on the sedan.
ANGLE FROM STREET
The sedan overreacts, cranks an abrupt left, skids out of
control and crashes into a parked car.
ANGLE ON K.I.T.T.
He comes around the corner, slows.
ANOTHER ANGLE
Biggs and Statton jump out of the sedan as it explodes in
a ball of flame. Pedestrians scatter. Cars swerve out of
the way. Confusion and pandemonium.
ANGLE ON BIGGS AND STATTON
They sprint down the street.
ANGLE ON MICHAEL
as K.I.T.T. skids to a stop.
K.I.T.T.
Michael, they're getting away!
MICHAEL
Where are the tapes?
K.I.T.T.'s scanner flashes.
K.I.T.T.
They're still in the car.
Michael jumps out.
ANGLE ON BURNING CAR
Michael takes off his jacket as he runs, wraps it around
his arms as a shield and yanks open the sedan's door.
INTERCUT - K.I.T.T.
His instruments monitor the fire.
K.I.T.T.
Michael, the other gas tank will
explode within five seconds!
ANGLE ON MICHAEL
He emerges from the burning car with the tape bag, sprints
for K.I.T.T.
K.I.T.T.'S VOICE
(comlink)
Michael, hit the dirt!
As Michael obeys, diving for the pavement, K.I.T.T. self-
activates and drives over him, stopping just as the second
tank explodes. K.I.T.T. is rocked by the impact.
K.I.T.T.
Michael, are you intact?
MICHAEL
(under K.I.T.T.)
Intact, pal. Thanks.
CUT TO
EXT. AFRICAN CITY - DAY - STOCK - TO ESTABLISH
EXT. AIRPORT - DAY - THE F.L.A.G. JET - STOCK
touches down.
EXT. CITY STREETS - DAY - STOCK
A taxi pushes through the crowded streets.
INT. GOVERNMENT OUTER OFFICE - DAY
Large, formal, Colonial in appearance. Devon and April
wait. Double doors open and an immaculately uniformed
black Charges d'Affairs enters, bows.
CHARGES D'AFFAIRS
I have briefed His Excellency on the
nature and importance of your
visit. He will see you now.
DEVON
Thank you.
They rise and follow.
INT. GOVERNMENT OFFICE - DAY
His Excellency, a large black man dressed in a combination
of Western and native clothing, rises to greet them as they
enter.
CHARGES D'AFFAIRS
His Excellency, may I present
Mr. Devon Miles and Miss April Curtis.
Ad-lib hellos and handshakes. His Excellency appreciates a
little decolletage and a glimpse of leg. He is charming
and amiable.
HIS EXCELLENCY
Sit. Please.
(paces, thoughtful)
What do you know about Garthe Knight's
'activities,' shall we say, in my
country?
DEVON
Only what I've picked up from
various unofficial sources.
HIS EXCELLENCY
Unofficial?
DEVON
Official sources regarding the...
internal configurations of your
country are somewhat hard to come by.
His Excellency laughs explosively, taking Devon and April
somewhat aback.
HIS EXCELLENCY
Ah, you English and your love of
language. And subtlety. I've
learned much from you.
(beat)
Yes, somewhat hard to come by indeed.
I'll be frank. Garthe Knight entered
this country in October of 1977. He
bought up rights and options on a
vast quantity of diamond mines which
had been declared inoperable for
reasons of safety. He then proceeded
to hire slave labor from a neighboring
country to work the mines. Less than
a month after commencing work, one of
the mines collapsed and buried forty-
nine men alive. None survived.
DEVON
I assume that's when he was arrested.
HIS EXCELLENCY
Arrested and sentenced to three con-
secutive life sentences.
DEVON
Which he somehow managed to have
abrogated.
HIS EXCELLENCY
Abrogated? Not unless that is an
English euphemism for bribery, black-
mail and seduction.
DEVON
No, it's not.
APRIL
How did Garthe accomplish all this
in prison?
HIS EXCELLENCY
He had help. Specifically, his
mother. A true black widow.
Devon and April exchange a look.
DEVON
Your Excellency, Garthe Knight is
presently in the United States. He
has an apparently inexhaustible
supply of money and ambitious plans
-- as yet unknown. Do you have any
idea what he has in mind?
HIS EXCELLENCY
I have my suspicions. He and Kuna
are halves of a whole.
DEVON
Do you mean Tsombe Kuna, the
revolutionary?
HIS EXCELLENCY
Revolutionary?! Anarchist, murderer.
Demagogue.
APRIL
What's the relationship between
Garthe and Tsombe Kuna?
HIS EXCELLENCY
They're partners. Business and
political. They met in prison while
Kuna was forming his so-called Pan-
African Liberation Movement. It was
a perfect match up -- Garthe Knight
had the diamond leases and Kuna had
tens of thousands of religious
followers who would walk off the
edge of the world if he commanded.
Instead he commanded they walk into
those diamond mines, and they did.
(beat)
We estimate that Garthe Knight and
Tsombe Kuna mined over fifty million
dollars worth of diamonds before
they left.
On Devon and April's reaction:
CUT TO
OMITTED
EXT. LAS VEGAS - DAY
K.I.T.T. drives toward the Strip.
K.I.T.T.
Michael, I think my Rapid Thought
Analyzer may have something on the
tapes.
INT. K.I.T.T. - DAY
Michael drives.
MICHAEL
Shoot.
K.I.T.T.
The name 'Red Bluff' seems to have a
particular but undefined significance.
MICHAEL
Red Bluff...is it a location?
K.I.T.T.
It appears to be.
MICHAEL
(hits buttons)
Let's check it out.
A map of Nevada appears on the monitor. K.I.T.T.'s instru-
ments process names.
K.I.T.T.
It's not a city or town.
MICHAEL
Try mountains, parks, geographical
areas.
Computer lights flash.
K.I.T.T.
Nothing, I'm afraid.
MICHAEL
Strange. I wonder if Rita could
shed some light.
K.I.T.T.
I thought she'd disappeared.
MICHAEL
She did. But maybe someone at the
casino knows where she is.
CUT TO
INT. CASINO - DAY
Michael is talking to a pretty Twenty-One Dealer.
MICHAEL
She moved. Didn't leave a forwarding
address.
TWENTY-ONE DEALER
People in Vegas never do.
She smiles, points to a beautiful young woman in high-style
clothes seated at a Blackjack table. Her back is to us.
TWENTY-ONE DEALER
Be careful.
She smiles enigmatically, leaves. Michael still can't
quite believe this young woman in expensive clothes is Rita.
He moves toward her.
REVERSE ANGLE FEATURING RITA
as Michael approaches from behind. In addition to new
chic clothes, her hair is different, her manner, her
ambiance. She looks like a different woman. She is at a
$20 minimum table, four or five thousand worth of chips in
front of her. She looks bored.
MICHAEL
You were right....
She intends to ignore the voice, recognizes it, turns to
see Michael. She appears indifferent. The dealer looks
at Michael, blinks in disbelief.
RITA
About what?
Michael sits down, holds up the key. Rita reacts, suddenly
uncomfortable.
RITA
I don't know what you're talking
about.
MICHAEL
I'm talking about this.
RITA
(to dealer)
Thanks, Charlie.
She tips him a hundred dollar chip and he leaves. Rita
faces Michael.
RITA
Don't ever do that again.
MICHAEL
What?
RITA
Bring up private business in a
public place.
MICHAEL
I wanted to make sure I got your
attention.
RITA
You had it. You don't have it
any more.
MICHAEL
Who does? Garthe?
She starts to leave. Michael takes her arm, forcing her to
pause.
MICHAEL
What's 'Red Bluff'?
RITA
I have no idea.
MICHAEL
Your brother did. It's what those
tapes are all about...Red Bluff and
Garthe Knight.
She pointedly pulls her arm free and leaves. Michael
watches her, puzzled by the change.
ANGLE IN "PEEK ROOM" ABOVE CASINO
Angle from a view of Michael at the table below through a
one-way mirror to Garthe Knight, watching.
GARTHE
So there he is in the flesh...Michael
Knight.
ELIZABETH'S VOICE
Right now I'd be more concerned about
Rita if I were you.
Garthe turns to see his mother behind him.
GARTHE
You still move like a cat. Or is there
a more colloquial phrase that suits you
better.
ELIZABETH
Prison not only brutalized your taste
in women, it vulgarized your vocabulary
as well.
Garthe laughs coldly. Below them, Michael leaves. They
pause to watch, speculating.
ELIZABETH
I want him dead. Both of them. They
know too much already.
GARTHE
If it were up to you, half the world
would be dead.
(beat)
All she knows is what I want her to
know. All he knows are the words 'Red
Bluff'. It might as well be Pine Sol
or Orange Blossom for all the good
it'll do him. It's a dead end. A
riddle. Let him chase his tail.
ELIZABETH
I was hoping your brush with life
imprisonment would teach you some-
thing about discipline.
GARTHE
(faces her)
Discipline has never been my problem,
Mother dear. Mark my words, Michael
Knight will die.
(beat)
After all, he was conceived and
designed by my late great father to
replace me, wasn't he? How could I
possibly tolerate his life on this
earth continuing? He is a living,
breathing insult to my existence.
CUT TO
EXT. STATE BUILDING - DAY
Michael exits, crosses to where K.I.T.T. is parked and
climbs in.
INT. K.I.T.T. - DAY
Michael backs up and pulls away over:
K.I.T.T.
I take it the Department of Geology
wasn't much help with 'Red Bluff'
either.
MICHAEL
Yes and no.
K.I.T.T.
That phrase is an insult to the
precision of the English language.
MICHAEL
(smiles)
That's why I like it.
K.I.T.T.
Would you care to define?
MICHAEL
The English language is the problem.
You see, if you confine your search
to English, you draw a blank on Red
Bluff. But as the state geologist
pointed out, this area has had a
number of different names -- Spanish
and before that, Indian.
K.I.T.T.
Ah ha.
MICHAEL
Couldn't have said it better myself.
K.I.T.T.
I suppose we're off to the
Department of Indian Affairs.
MICHAEL
In a manner of speaking.
CUT TO
INT. WAREHOUSE SOMEWHERE IN DESERT - DAY
Different shots, in close, of huge wheels, chrome
accessories, twin diesel engines so immaculate they shine
...and we realize we are seeing Goliath.
OTHER ANGLES
Several technicians in lab smocks prepare a precise
combination of chemicals for introduction to one another.
The lab, though portable, is highly sophisticated.
ANGLE ON GARTHE
He walks the area like a general inspecting troops. He
pauses where the senior lab Technician works.
GARTHE
I have a little plan to field test
Goliath tomorrow. He will be ready?
TECHNICIAN
By noon as promised.
GARTHE
Will the shell be completely hardened
by then?
TECHNICIAN
The final coat is scheduled to be
applied at eight AM. It will reach
maximum density within an hour and a
half.
GARTHE
Good.
An Armament Expert approaches.
ARMAMENT EXPERT
The rockets are ready for installa-
tion, Mr. Knight.
GARTHE
Proceed.
ARMAMENT EXPERT
Yes sir.
He heads off, ad-libs instructions to several men.
Garthe pauses to watch.
HIS POINT OF VIEW - A CRANE
lumbers into position, one of two rockets suspended above
Goliath's tractor. As the rocket is slowly lowered....
CUT TO
EXT. USED CAR LOT - DAY
A peeling sign identifies "Chief's Previously Owned
Vehicles." Pan down to a tattered old house trailer and
half a dozen dusty cars somewhere outside of Las Vegas.
Michael is talking to the owner, Chief, an old Indian in a
pin-stripped jacket, Levis and Adidas. K.I.T.T. is parked
nearby.
CHIEF
You wanna buy one a Chief's pre-
viously owned personal automobiles?
MICHAEL
Thanks, I already have one.
CHIEF
(glances
at K.I.T.T.)
Gas guzzler. I slip you into a real
economy car.
MICHAEL
Maybe some other time. I need to know
if there's an area around here the
Indians called 'Red Bluff'.
Chief regards him from under heavy eyebrows.
CHIEF
Red Bluff old Indian burial ground.
MICHAEL
Can you tell me where it is?
CHIEF
You can't go there.
MICHAEL
Why?
CHIEF
Government land.
MICHAEL
Protected for the Indians?
CHIEF
Ha. That's what the government say
-- but Indians can't go there either.
Catch twenty-two.
MICHAEL
(nods, beat)
I'll take my chances.
Chief shrugs, takes a stick and begins drawing a map on
the dirt.
CUT TO
EXT. HIGHWAY - DAY
as K.I.T.T. turns off the highway onto a narrow two-lane
road.
K.I.T.T.'S VOICE
Can't someone do something about a
situation like that?
INT. K.I.T.T. - DAY
as they proceed down the two-lane road into forbidding
desert.
MICHAEL
I'm sure they don't feel a thing.
K.I.T.T.
That's easy for you to say. Did you
see that poor old convertible? She'd
been faithful to a variety of owners,
and now that her fenders are unfash-
ionably wide, and her top is sagging,
no one wants her.
MICHAEL
Hey, pal, it's a dog-eat-dog world
out there. All cars aren't as
fortunate as you.
K.I.T.T.
I think it's shameful.
(beat)
We're approaching the mountain known
as Red Bluff.
MICHAEL'S POINT OF VIEW - A BARBED WIRE FENCE
stretches across the road, a sign reading: "Keep Out.
Bureau of Indian Affairs." Beyond the fence, rising
majestically from the desert floor, is a huge red sandstone
mountain. There's no sign of life for miles.
BACK TO MICHAEL
He slows down as he reaches the fence.
MICHAEL
Looks like any other mountain to me.
K.I.T.T.
Why would Rita's brother, Ron,
emphasize it the way he did?
MICHAEL
Good question, Kitt.
(beat)
I've got an idea. Let's see if there's
more to Red Bluff than meets the eye.
(pushes buttons)
I'm activating your X-ray mode.
ANGLE ON MONITOR
The face of Red Bluff appears. What becomes immediately
apparent is that a large rectangular section at the base
isn't penetrable.
ANGLE ON MICHAEL
He stares, puzzled.
MICHAEL
Kitt, what's that at the base?
K.I.T.T.
How extraordinary. Michael, it
appears to be two large doors. But
my X-ray mode is blocked by leaded
plates.
(beat)
Huge doors...leaded plates in the
middle of the desert...What is Red
Bluff hiding?
MICHAEL
Good question, pal.
On Michael's worried look....
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
EXT. PRIVATE AIRFIELD - DAY - K.I.T.T. AND MICHAEL
wait as the Foundation jet touches down, taxis to a stop.
Michael gets out of K.I.T.T. and crosses as Devon and
April deplane. Ad-lib greetings, all glad to see one
another.
MOVING SHOT
as they cross toward a waiting limousine.
DEVON
Anything new?
MICHAEL
Not since we last talked. What
about the Strategic Air Command?
DEVON
I spoke with General Maddux. He
denied any SAC or Air Force instal-
lations at this 'Red Bluff' location.
Michael shakes his head, frustrated.
MICHAEL
Assuming it's some kind of top-secret
weapons system, what's Garthe trying
to accomplish? And why?
APRIL
Whatever it is, I'll bet Tsombe Kuna
and the Pan-African Liberation
Movement are at the heart of it.
DEVON
If you're right about Red Bluff,
Michael, we need some kind of
proof. Otherwise Maddux will
stonewall to the very end.
MICHAEL
(to April)
What are the chances of beefing up
Kitt's X-ray mode?
APRIL
To penetrate lead?
Michael nods.
DEVON
Good. April, see what you can come
up with. I have a stop to make
first, then I'll join you.
MICHAEL
Anything I can help with?
DEVON
I think this is a one-man job,
Michael. A real long shot.
CUT TO
INT. PENTHOUSE - NIGHT - ELIZABETH KNIGHT
is on the phone with her personal secretary. She seems
pleased.
ELIZABETH
(into phone)
He is? How quaint. By all means,
send him in....
She hangs up, pauses to touch up her hair before moving to
the door. She opens it to reveal Devon. Their eyes hold
for a moment before either responds.
ELIZABETH
What a lovely surprise.
DEVON
I suspect it's neither, Elizabeth.
May I come in?
She smiles, gestures for him to enter. He admires the
impressive penthouse suite, the eagle's view of Las Vegas
stretched out below them.
ELIZABETH
May I get you something?
DEVON
Arsenic? Sodium Pentothol?
She laughs. He turns to face her.
DEVON
I want you to stop this insanity
you and Garthe are planning.
ELIZABETH
Devon, my dear, you're so much like
Wilton. So dramatic. Such a flair
for hyperbole.
DEVON
I flew to Rio de Janiero. I found
Doctor Elliott. I know you were
there. I also know why.
ELIZABETH
So I visited Karl in Rio. We're old
friends. The fact he died shortly
after I left had more to do with a
bad heart than an exotic poison.
DEVON
I said nothing about a poison.
Trapped, she smiles, never losing her composure.
ELIZABETH
Devon, you're such a dear, charming
man. But so suspicious.
DEVON
Elizabeth, I have no intention of
sparring with you. I know you have
the formula for the Molecular Bonded
Shell. I know about 'Red Bluff.'
Isn't that enough?
GARTHE'S VOICE
No.
ANGLE TO INCLUDE GARTHE
as he enters. He and Devon eye one another, size each
other up.
ELIZABETH
I believe you two know one another.
DEVON
It's been awhile. Before your...
'African experience.'
GARTHE
You're amazingly like my late father.
Perhaps that's why I so dislike you.
DEVON
Garthe, I came here to reason with
you and your mother.
GARTHE
Reason? It's too late for 'reason,'
Mr. Miles. It's too late for any-
thing but war -- our victory, your
defeat. And you will be defeated.
You and the Foundation for Law and
Government...and Michael Knight.
Especially Michael Knight.
Garthe smiles. Devon has never seen eyes so cold, so
devoid of human feeling.
CUT TO
OMITTED
EXT. HIGHWAY - NIGHT
The Trans Am appears behind the Foundation semi. The gate
drops and the Trans Am enters.
INT. SEMI - NIGHT
April works at beefing up Kitt's X-ray mode. Michael is at
the computer terminal reviewing programs.
APRIL
Any luck?
MICHAEL
There's not much on Tsombe Kuna or
the Pan-African Liberation Movement....
The phone rings. Michael answers.
MICHAEL
(into phone)
Hello...When?..Thanks.
He hangs up. April notices the look on his face.
APRIL
Devon?
MICHAEL
No...Rita Wilcox. She wants to see
me as soon as possible. Says it's
urgent.
CUT TO
EXT. STRIP HOTEL - NIGHT - ESTABLISH
RITA'S VOICE
I'm sorry I acted the way I did....
INT. SUITE - NIGHT
A lavish suite that overlooks the Strip. Rita is beautiful,
chic, the look of a rich man's mistress. She pours drinks
at the wet bar.
RITA
Among other things, I was angry.
MICHAEL
I could tell.
(re beer)
No glass.
She hands him his beer, sips her drink.
RITA
I thought you'd found something more
interesting to do than search for my
brother. I felt so...powerless after
you left. Like no one cared whether
Ron was dead or alive....
MICHAEL
That explains your anger. It
doesn't explain why one day you're
in a $300 a month apartment and the
next you're in a $300 a day suite
tipping blackjack dealers hundred
dollar chips.
RITA
I decided to...take up Garthe on his
offer.
MICHAEL
I figured that out. What I couldn't
figure out is why.
RITA
Isn't it obvious? I'm convinced
Garthe had Ron killed.
MICHAEL
So to punish him, you become his
mistress.
She glares at Michael, angry.
RITA
I did what I did for one reason: to
find proof that he killed my brother.
MICHAEL
(beat)
All right. Did you find it?
RITA
Not all of it, not yet. But I
overheard something this afternoon
that could be important, and I
thought you should know.
(beat)
Are you interested or not?
MICHAEL
I'm listening.
RITA
A man named Tsombe Kuna is arriving
tomorrow morning. Garthe has a
'demonstration' planned for him at
noon on an isolated salt flat in
the desert.
MICHAEL
A demonstration of what?
RITA
All he said was, 'The shell is
ready. Goliath is born.'
It sends a chill down Michael's spine.
RITA
Does that mean anything to you?
Michael slowly nods.
CUT TO
EXT. WAREHOUSE IN DESERT - DAY - A CADILLAC SEDAN
rolls in from open desert, slows as it reaches this
scattered configuration of outbuildings. The centerpiece
of which is the warehouse. An armed Guard forces the
Cadillac to stop, checks, waves it through.
GUARD
(handi-talkie)
Perimeter to Control. He's here.
ANGLE AT WAREHOUSE
The door opens and Garthe steps out, flanked by a guard
with an automatic weapon. The Cadillac stops and several
black special security officers pop out, each with
automatic weapons as well. One opens the rear door and a
huge black man in African tribal robes slowly gets out.
This is Tsombe Kuna. Garthe steps forward, smiling, and
Tsombe breaks into a grin.
GARTHE
(in Zwambese)
Greetings, my brother.
TSOMBE
(in Zwambese)
Greetings, my brother.
They execute a ceremonial bow and then embrace.
GARTHE
I have a surprise for you.
TSOMBE
I didn't travel six thousand miles
to be bored.
GARTHE
Bored you shall not be, my brother.
This way.
Garthe opens the warehouse door. Tsombe steps inside.
INT. WAREHOUSE - DAY
as they enter. Tsombe pauses. Garthe nods, indicating:
THEIR POINT OF VIEW - GOLIATH
It occupies half the warehouse space, it's so large. This
is our first full daylight view of it, and it's a behemoth,
a huge grizzly bear of a truck, all lacquered black and
spotless chrome. It's four times the length of K.I.T.T.,
and two stories high. It weighs fourteen tons.
ANGLE ON GARTHE AND TSOMBE
Garthe's eyes dance with pride. Tsombe smiles, awed by its
size.
GARTHE
Meet Goliath.
(checks watch)
In less than two hours you will
see him in all his might and
splendor.
CUT TO
EXT. ROAD TO RED BLUFF - DAY
K.I.T.T. travels the same road as yesterday.
EXT. FENCE AT RED BLUFF - DAY
K.I.T.T. pulls up and stops.
INT. K.I.T.T. - DAY
Michael activates K.I.T.T.'s X-ray mode.
MICHAEL
All right, let's see if you can
penetrate those leaded doors.
K.I.T.T.
I'll do my best.
ANGLE ON MONITOR
Beyond the leaded doors we see a huge cone-shaped area
hollowed out inside the mountain. In the center,
surrounded by space-age looking support equipment, is a
modified dense-pack missile system.
BACK TO MICHAEL
He reacts in awe, in disbelief.
MICHAEL
Missiles...
(pushes buttons)
Let's get Devon, pal.
Lights flash.
K.I.T.T.
I'm afraid he's incommunicado at the
moment, Michael. So is April.
Shall I leave a message?
MICHAEL
Tell 'em we've got some big news,
Kitt. Headlines.
He puts K.I.T.T. into reverse, pulls out.
CUT TO
EXT. DESERT HIGHWAY - DAY - K.I.T.T.
appears, takes a lonely desert turn-off.
INT. K.I.T.T. - DAY - MICHAEL
drives, hot despite the air-conditioning.
K.I.T.T.
Michael, you're sure this is the
right way....
MICHAEL
According to Rita it is.
K.I.T.T.
I'd feel safer if Devon knew what we
know.
MICHAEL
As soon as we can reach him he will.
In the meantime I want to see what
Garthe is up to.
EXT. DESERT - DAY - THE TRANS AM
winds along the narrow road which takes them over a sharp
rise, and through a narrow pass, then down the other side.
Camera now pulls back from this long lens shot to reveal a
half-a-dozen men present, shielded by boulders, protected
from the hot sun by colorful umbrellas. Prominent is
Tsombe, sipping a chilled Perrier. A field lieutenant
picks up a handi-talkie.
FIELD LIEUTENANT #1
(handi-talkie)
Get ready....
ANGLE ATOP DISTANT DESERT MOUNTAIN
Several combat troops man what appears to be a dynamite
plunger.
FIELD LIEUTENANT #2
Now?
INTERCUT - TSOMBE CAMP
FIELD LIEUTENANT #1
Now.
Field Lieutenant #2 depresses the plunger.
ANGLE ON NARROW DESERT MOUNTAIN PASS
Strategically placed charges of dynamite explode sequen-
tially.
ANGLE IN K.I.T.T. - MICHAEL AND K.I.T.T.
react to the explosions behind them.
MICHAEL
What was that?
K.I.T.T.
According to my sensors...dynamite.
MICHAEL
Dynamite?!
(beat)
Kitt, I smell a rat.
K.I.T.T.
I believe it's time for a fast exit,
Michael.
MICHAEL
Not so fast. Let's see what Garthe's
got in mind.
K.I.T.T.
Michael, look behind us.
MICHAEL'S POINT OF VIEW - TONS OF ROCKS AND SAND
block the narrow pass.
BACK TO MICHAEL
He reacts, thinking. He looks ahead.
HIS POINT OF VIEW
Several miles away is a black speck heading toward them.
MICHAEL
Kitt, what is it?
K.I.T.T.
It appears to be a large...my
goodness.
MICHAEL
What?
K.I.T.T.
Large isn't the word. It's enormous.
MICHAEL
Goliath....
K.I.T.T.
What did you say, Michael?
MICHAEL
Nothing. With that pass closed, our
back's to the wall, buddy.
K.I.T.T.
Michael, not only is the semi
extremely large, it's also extremely
fast. According to my calculations
it's traveling over one hundred and
twenty miles an hour and gaining
speed.
INTERCUT - GOLIATH
heading directly toward K.I.T.T.
ANGLE IN CAB - GARTHE
is behind the big wheel, eyes fixed on K.I.T.T. ahead.
ANGLE ON K.I.T.T.
K.I.T.T.
Michael, my sensors detect the vehicle
in question is armored with my pro-
tective shell! Unless I'm mistaken,
that monster intends to do us bodily
harm.
MICHAEL
I think that's just what he intends.
Michael begins to accelerate toward Goliath.
K.I.T.T.
Michael, surely you're not planning
to go nose-to-nose with that
behemoth.
MICHAEL
That's what I want Garthe to think.
At the last moment we'll swerve
and try to knock out his left front
wheel.
Now Michael floors K.I.T.T.
HIGH ANGLE - THE TWO MACHINES
Race toward one another, the gap rapidly closing.
INTERCUT - TSOMBE
He grins and sips his Perrier, fascinated.
INTERCUT - GARTHE
The moment of truth is near.
INTERCUT - MICHAEL
He sees Goliath looming in front of him.
SERIES OF SHOTS
At the last moment Michael swerves, hoping to damage the
giant's wheels, but the huge bumper catches K.I.T.T.'s
left front fender. There's a horrible ripping sound, metal
on metal.
HIGH SHOT - K.I.T.T.'S LEFT SIDE
disintegrates, fender flying in one direction, hood and
various other parts thrown a hundred feet in the air.
ANGLE ON K.I.T.T.
He's thrown off the road, rolls half a dozen times before
coming to a stop.
INTERCUT - GARTHE
He toots Goliath's horn in victory.
INTERCUT - TSOMBE AND PARTY
They cheer.
ANGLE ON K.I.T.T.
motionless in the desert sand. Nothing moves. There is no
sign of life....
FADE OUT
END OF ACT FOUR
ACT FIVE
FADE IN
OMITTED
EXT. DESERT - DAY
Hot. Dry. Dusty. Not a sign of life as we pan across the
desert floor. Then we see a battered hub cap, a dented
bumper, a piece of fender. Slowing the pan, we stop on:
THE TRANS AM
or what's left of it. Goliath has taken its toll on
Kitt: the windshield is shattered, one side of the car is
badly crumpled, the trunk is sprung open, and the driver's
side door hangs loosely on its hinges. As we move closer
to the door, we see a hand, a trickle of blood on the palm,
dangling out of the car.
ANGLE - CLOSER ON THE CAR
where we see Michael, half-in and half-out of the car.
Unconscious, with a cut/bruise on his head that looks as
bad as we can make it look. Slowly, painfully, Michael
stirs to life. His eyes blink open, he groans and strug-
gles to sit up. Another painful groan as Michael falls
back, grimacing with pain. Off his anguished face we:
CUT TO
EXT. HOTEL - DAY
The hotel where April and Devon are staying. We hear:
APRIL'S VOICE
I can't raise Michael or Kitt, Devon
...it's like they've disappeared.
INT. HOTEL SUITE - DAY
April's sitting in front of a computer terminal. Behind
her, Devon paces nervously.
DEVON
Michael left a message at 11:40. He
indicated he had something important
to relay. And, now...
Devon and April exchange a glance.
APRIL
(concerned)
Devon, you don't think...?
DEVON
No, I don't. Still, I wish Michael
hadn't rushed into the middle of the
desert like some bedouin soldier....
RITA'S VOICE
It's my fault. I should have waited
until I knew more....
ANOTHER ANGLE TO INCLUDE RITA
Sitting in a corner, her knees tightly clasped against her
chest. She's been crying. Devon shakes his head.
DEVON
Nonsense. Michael's perfectly
capable of assessing the risks in a
situation like this.
Rita looks from Devon to April.
RITA
I know how this must look to you
two, but I was only trying to help.
APRIL
Rita, Michael believed you...so do
we.
Rita nods, fighting back another tear. Devon is suddenly
in action, brisk, urgent. Very worried, but trying to
cover.
DEVON
Well, we can't stand around wondering.
We've still got an international
emergency to deal with....
Devon turns to April as he starts to dial a number.
DEVON
I'm flying to SAC headquarters.
Immediately. I want you to stand by
here, in the event....
Devon doesn't finish his sentence. He and April share a
look that doesn't need words.
APRIL
I've got the semi on full alert and
ready to roll.
Devon nods, then turns to Rita.
DEVON
You'll stay here, of course.
RITA
(shaking
her head)
I'm going back to the penthouse. I
can be of more help there.
DEVON
You mustn't. It's very probable
Garthe knows about you, even used
you to lure Michael into the desert....
Rita stands, heads for the door.
RITA
Ron was my brother. Michael was...
is...my friend. I owe both of them....
With that, she turns and exits. Hold on Devon and April,
then:
CUT TO
EXT. DESERT - DAY - CLOSE ON MICHAEL
Slowly, painfully, struggling to get out of the car. He
squints into the blinding, broiling sun and stands shakily.
He shakes his head groggily, suddenly turns back to K.I.T.T.
MICHAEL
Kitt! Kitt, are you okay?
Michael leans into the Trans Am. Nothing.
MICHAEL
Come on, buddy...talk to me.
Still no response. Another wave of pain sweeps over
Michael. He nearly collapses. He sits in the driver's
seat, eyes clenched tight against the pain. Then:
K.I.T.T.
(very weakly)
I'm afraid we zigged when we should
have zagged, Michael.
MICHAEL
Kitt! You're all right!
K.I.T.T.
'All right' hardly seems appropriate,
Michael. Look what that...that...
behemoth did to me!
MICHAEL
(weakly)
Yeah...now I know what being run
over by a truck really feels like.
Michael shakes off another wave of pain as his head slumps
back on the seat.
K.I.T.T.
Michael, my computer functions are
damaged, so I can't make a diagnosis,
but you sound terrible. You need a
doctor.
Michael nods. A beat, then:
K.I.T.T.
I'm unable to make contact with April
or Devon.
MICHAEL
Then we're going to have to get our-
selves out of this jam.
K.I.T.T.
I've sustained a good deal of damage....
MICHAEL
Yeah, but there's not a taxi in
sight and it's gonna be hot enough
to melt rocks out here pretty soon.
(beat)
We've got to get you running again.
K.I.T.T.
I'm not sure that's possible.
MICHAEL
It has to be.
As Michael climbs out of K.I.T.T. and surveys the desolate
desert that surrounds him, we:
CUT TO
INT. PENTHOUSE - DAY - GARTHE
Dressed in an impeccably tailored silk smoking jacket,
stands in front of a picture window overlooking downtown
Vegas. He's sipping a glass of champagne.
ELIZABETH'S VOICE
You should never have taken Goliath.
What if something had gone wrong...?
Garthe spins to face Elizabeth. His face is hard, cold.
GARTHE
Nothing is going to go wrong.
Garthe walks past his mother, pours another glass of
champagne.
ELIZABETH
You should have killed Michael Knight.
Like I told you to.
GARTHE
I have plans for him....
Elizabeth turns, knocks the champagne out of Garthe's hand.
ELIZABETH
There's only one plan! You're not
going to jeopardize everything
because of a personal vendetta. I
won't allow it!
Garthe stares at his mother for a beat, then fills another
glass of champagne, drains it.
GARTHE
I'm not your little boy anymore,
Mother. I do what I please, when I
please.
(beat)
Right now, it pleases me to keep
Michael Knight alive...whether you
like it or not.
Garthe turns to the table, scoops a spoonful of caviar onto
a cracker, holds it out to Elizabeth.
GARTHE
Caviar?
Elizabeth stares at her son, then turns and stomps out of
the room. Garthe laughs, devours the caviar. As he does:
CUT TO
EXT. DESERT - DAY
The sun is higher, hotter. We see Michael bent squatting
next to the Trans Am, staring intently at a complicated
schematic of K.I.T.T.'s engine. He stands, looks under
the hood.
MICHAEL
And I thought putting my barbeque
together was hard....
K.I.T.T.
Michael, I've never felt this way
before.
MICHAEL
That makes two of us, pal.
K.I.T.T.
I mean, so vulnerable. So...mortal.
(beat)
Do you think it's possible I could
cease to exist?
MICHAEL
If you're not running real soon,
I'd put money on it.
Michael checks the blueprint, shakes his head.
MICHAEL
Along with everything else, about
ninety percent of the blades on your
turbine are shot....
K.I.T.T.
My turbine? Oh, goodness...without
that, I'm powerless.
Michael goes back under the hood.
MICHAEL
Maybe not...if I can get the turbine
out, we might be able to jerryrig
a ramjet.
K.I.T.T.
A ramjet? But, Michael, my exhaust
system isn't designed to accommodate
temperatures on the volume of gas the
ramjet will produce.
MICHAEL
Meaning?
K.I.T.T.
Very simply, we could be blown apart.
Michael stands up, thinking. He stares at the expanse of
desert surrounding them.
MICHAEL
We're a long way from home, pal.
We're gonna have to take our chances.
As Michael goes back to work, we:
CUT TO
OMITTED
INT. SAC HEADQUARTERS - GENERAL MADDUX'S OFFICE - DAY
Big desk, wood-paneled walls, standard American flag and
picture of Reagan, all complemented by pictures of planes
of all kinds. Maddux, trim, grey, in his fifties, is
facing Devon from behind his desk. He's very smooth.
MADDUX
Devon, you've got to understand my
position....
DEVON
I'm finding that increasingly
difficult, General.
MADDUX
You can't walk in here with this cock
and bull story and expect me to take
it to the President....
DEVON
Red Bluff is going to be attacked.
I can guarantee that.
MADDUX
Just prove it! Give me a shred of
evidence, Devon...anything.
Devon struggles to regain his composure. It's not easy.
DEVON
I've already told you everything I
know.
MADDUX
Yes...African messiahs, Las Vegas
mobsters, some crazy formula. My
God, Devon, do you have any idea
what that sounds like?
DEVON
It sounds like an international
crisis, General.
Maddux shakes his head, stands and comes around to Devon.
MADDUX
(smiling)
Even if someone was crazy enough to
go after Red Bluff, they'd never get
inside. That mountain's safer than
Fort Knox.
DEVON
General, change the date for the
missile rotation. Postpone it....
The phone buzzes softly on the desk. Maddux shakes his
head, moves to answer the phone.
MADDUX
(shaking his head)
Devon, I appreciate your concern.
But, you and the Foundation, take
care of your part of the world.
We'll take care of ours....
Maddux has picked up the phone during the last part of this
dialogue. Devon doesn't respond, but rather turns and
angrily exits the office.
MADDUX
(into phone)
Maddux....
As he talks, we intercut with:
INT. PENTHOUSE - DAY
where we see none other than Elizabeth Knight on the phone.
ELIZABETH
Darling, please don't be angry...I
was missing you, and just had to
phone.
MADDUX
I was hoping you would.
ELIZABETH
I know it's naughty. I'm probably
interrupting something terribly
important....
MADDUX
No, no, not a thing. I've just
finished. How about dinner?
ELIZABETH
I'd love it. There's so much I want
to talk to you about....
Hold on Elizabeth's shrewd face, and then:
CUT TO
OMITTED
INT. TRANS AM - DAY
as Michael closes the hood, and slowly, painfully makes his
way to the door and climbs in. He sits for a moment, eyes
closed.
K.I.T.T.
Michael...?
Michael opens his eyes, nods.
MICHAEL
I read you, Kitt...loud and clear.
He sits up, makes a number of adjustments on K.I.T.T.'s
dash. Takes a deep breath.
MICHAEL
You ready?
K.I.T.T.
I suppose so.
(beat)
Michael, I'm worried....
Michael nods, tight-lipped.
MICHAEL
Me, too...Hang on, buddy....
Michael leans forward, turns the ignition. We hear the
engine turn over, lights on the dash flash. It nearly
catches, doesn't, then does. We hear an uncharacteristic
high-pitched whine from the ramjet. Michael whoops.
MICHAEL
That a boy, Kitt!
K.I.T.T.
Gently, Michael. Any sudden accel-
eration could be disasterous....
Michael nods, puts the car in gear, starts gingerly
forward. Slowly, the car starts to gain momentum, the
high-pitched whine growing louder.
MICHAEL
It's working, Kitt! We're moving....
K.I.T.T.
Yes, Michael...but now the question
is, where? My navigational equip-
ment is gone.
Michael stares out the window for a long beat. Nothing but
desert in every direction. He finally points ahead.
MICHAEL
Straight ahead.
K.I.T.T.
Michael, we're surrounded by desert.
If this is the wrong direction....
Michael nods grimly.
MICHAEL
Yeah, I know. Let's go....
With that, K.I.T.T. starts slowly across the desert. Hold
on Michael, fighting back pain and fatigue, and then:
CUT TO
OMITTED
INT. WAREHOUSE - DAY - ON GOLIATH
The big, black rig glistens in the glow of the floodlights
which surround it. Technicians in uniforms are working in
various parts of the truck.
ANOTHER ANGLE TO FEATURE GARTHE
Supervising and inspecting the work, clipboard in hand. He
nods, pleased with what he sees. Behind him, we suddenly
hear:
TSOMBE'S VOICE
A miracle of American technology.
Garthe spins to see Commander Tsombe, elegantly dressed in
an African tribal robe. He's flanked by two huge soldiers.
Garthe glares at him.
GARTHE
If this is anyone's miracle, it's
mine.
Tsombe laughs, a deep, rich laugh that echoes through the
warehouse.
TSOMBE
Of course it is, my dear Garthe.
Why, you could walk on water if
necessary couldn't you?
GARTHE
I've got a dozen things to do. So,
if you don't mind....
Garthe starts to move past Tsombe, but the Commander stops
him.
TSOMBE
Oh, but I do mind. Very much. I
have a rather substantial investment
to protect.
(beat)
And I find myself worrying....
GARTHE
About?
TSOMBE
You. So much depends on your success
in the next twenty-four hours.
(beat)
There must be no distractions, Garthe.
Garthe stares at Tsombe hard enough to cause Tsombe's
guards to stiffen.
GARTHE
Don't tell me how to run this
operation. Without me, you'd still
be in the bush dodging spears.
TSOMBE
(still smiling)
And without me, you'd be rotting in
prison.
(beat)
So, we are mutually indebted to each
other. With luck, we shall continue
a long and fruitful relationship.
Tsombe turns, glances at Goliath, then turns back to Garthe.
TSOMBE
But, you know, I have many men who
are excellent drivers. If you prove
unreliable....
GARTHE
Don't threaten me.
TSOMBE
That is not a threat, my brother.
Only a reminder....
Tsombe turns and exits the warehouse. Garthe stares after
him, as we:
CUT TO
EXT. DESERT - DAY
as the Trans Am pulls across an open and desolate stretch
of desert, weaving erratically.
K.I.T.T.'S VOICE
Michael, we've been driving in
circles. For hours.
INT. TRANS AM - DAY
Once inside, we see why: Michael's weak from the loss of
blood, slipping into unconsciousness and then pulling
himself back.
MICHAEL
(lightheaded,
almost giddy)
That must be why everything looks
so familiar....
His voice fades and he starts to lose consciousness.
MICHAEL
Thirsty, Kitt. Head hurts. So
sleepy...maybe I'll take a little
nap. You take the wheel for a while.
K.I.T.T.
You've got a concussion, Michael.
Don't sleep...Michael. Michael....
It's too late. Michael's head falls back and he's out.
K.I.T.T.
Michael, we're lost.
EXT. DESERT - DAY - ON THE TRANS AM
as it drives slowly across the desert. Alone. In the
middle of nowhere.
CUT TO
INT. HOTEL SUITE - DAY - APRIL
is pacing nervously back and forth across the suite, when
the door opens and a grim faced Devon comes into the room.
They share a look. Neither of them speaks at first, then:
DEVON
It's been hours...still nothing?
APRIL
(shaking head)
No. How'd it go?
Devon shakes his head angrily.
DEVON
The visit was pointless! Absolutely
pointless! Without a signed affidavit
from Garthe Knight detailing his plan,
I couldn't get anyone to listen.
Devon stares at April for a beat, a pained look on his face.
DEVON
To think that Michael may have...given
his life...in vain.
APRIL
Devon, I've contacted the National
Guard and the Air Force. They
promised to launch a search....
DEVON
(angrily)
Words! Promises! Inane conversa-
tions! It's not enough, April....
Devon struggles to control himself.
DEVON
I'm sorry. I'm just so frustrated....
APRIL
I know, but we've got to keep hoping,
Devon.
Devon nods, but doesn't respond. There's a knock on the
door. April hurries to open it.
APRIL
It must be Colonel Abrahms from the
National Guard. He promised to stop
by....
ANGLE ON THE DOOR
as April opens the door and finds herself staring at
Michael. He's holding himself up, nearly dead on his feet.
As he takes a step into the room and starts to collapse:
APRIL
Devon...!
Devon rushes to her side in time to catch Michael as he
falls. Together they carry him to a sofa. As Devon rushes
to the phone, hold on April standing over the unconscious
Michael, and then:
FADE OUT
END OF ACT FIVE
ACT SIX
FADE IN
INT. HOTEL SUITE - DAY
Michael, bandaged and pale, is sitting on the sofa. Devon
is sitting across from him, looking anxiously concerned.
DEVON
You're absolutely certain the semi
was equipped with the molecular
shell?
MICHAEL
You saw Kitt...what else could have
done that?
Devon nods, thinks for a moment.
DEVON
But why would Garthe go to all the
trouble? Certainly not simply to
destroy you and Kitt...
MICHAEL
Devon, you take ten thousand pounds
of steel, cover it with that skin
and you could drive it through
anything....
Devon looks sharply at Michael, suddenly understanding.
DEVON
Red Bluff. He's going to use it to
penetrate the missile site.
MICHAEL
Exactly.
DEVON
We've found out the government is
proceeding with the missile rotation.
In less than twelve hours....
Michael struggles up from the sofa, faces Devon.
MICHAEL
Then we don't have much time.
DEVON
Time for what? Michael, you're in
no condition....
MICHAEL
Devon, bear with me for a second....
Michael paces as he talks, intense and excited.
MICHAEL
Garthe could've killed me out there,
but he didn't. Any idea why?
DEVON
None.
MICHAEL
That show on the desert was Garthe
flexing his muscles for me.
(beat)
He could've killed me, but he wants
me to see him win at Red Bluff.
(intensely)
Devon, he needs me there, don't you
see? To prove that he's better.
DEVON
He must be consumed with hatred and
jealousy....
MICHAEL
Right! And we're going to use
that.
(beat)
The last thing Garthe could stand
would be losing to me. Anywhere.
Any time.
DEVON
I think you're right.
MICHAEL
So I'm going to beat him. At his
own game.
DEVON
But, how?
MICHAEL
I'm going to break the bank at his
casino...and then we're going to
break Goliath.
As Michael smiles at Devon's surprised look, we:
INT. FOUNDATION SEMI - DAY
April and two Foundation technicians are working on K.I.T.T.
Though he still shows the signs of his run-in with Goliath,
he looks remarkably good. Most of the major structural
damage has been repaired, broken windows replaced. April
hasn't been able to do much for his ego, though.
K.I.T.T.
It wasn't a fair fight, April. It
was like putting Sugar Ray in the
ring with Sonny Liston.
APRIL
I'm sure it was, Kitt.
K.I.T.T.
It won't happen again, I can assure
you of that.
APRIL
It had better not. I've got you
patched together with scotch tape
and bailing wire as it is.
K.I.T.T.
If I ever see that snout-nosed
ignoramus....
MICHAEL'S VOICE
You'd better hope he's heading in
the opposite direction....
Michael appears, crosses to April.
K.I.T.T.
I'm already reviewing my computer
logs of our confrontation. In a
matter of hours, I'll know every-
thing there is to know about that
truck. I'll know how to beat it.
MICHAEL
Let's hope you don't get a chance to
try.
(to April)
You've got him programmed and wired
to handle the roulette wheel?
APRIL
(nodding)
I've installed an electromagnetic
resonator that should work up to
three hundred yards.
MICHAEL
Good. And the explosive...?
April nods, hands Michael a small metal box that fits
comfortably in his hand.
APRIL
Activated by Kitt's microwave jammer.
K.I.T.T.
Is this really necessary? I'd much
prefer a return engagement....
MICHAEL
Do it on your own time, pal...I'm
planning on something a little more
discreet.
During the conversation, Devon joins them.
DEVON
Your plan is hardly discreet,
Michael. A little like Daniel
entering the lion's den, I'd say.
MICHAEL
Yeah, I guess it is.
(beat)
By the way...who won that one?
Daniel or the lion?
Devon and April share a look. Michael grins, heads for
K.I.T.T.
MICHAEL
Give me three hours.
Devon checks his watch, nods.
DEVON
Michael, if anything goes wrong, and
I mean anything....
MICHAEL
Don't worry. I'm not looking to be
a hero...
(gesturing to
K.I.T.T.)
Him, I'm not so sure about....
Another grin as Michael climbs into K.I.T.T. As he does:
CUT TO
EXT. HIGHWAY - ON TRANS AM - DAY
as Michael and K.I.T.T. head toward the strip in Las Vegas.
INT. K.I.T.T. - DAY
as K.I.T.T. chatters to Michael.
K.I.T.T.
Facing one's possible demise is a
strangely exhilarating experience,
Michael.
MICHAEL
It gives me heartburn.
K.I.T.T.
I'm serious. It fosters a whole new
appreciation of living...or existing,
in my case.
MICHAEL
Would you stop being so cheerful.
K.I.T.T.
Why?
MICHAEL
Because it's depressing, that's why.
No one's that happy.
K.I.T.T.
I am.
MICHAEL
You're a computer. What do you know?
K.I.T.T.
Actually, just about everything.
Including the fact that you're worried
...about Miss Wilcox. Correct?
Michael shakes his head, shrugs, then nods.
MICHAEL
I guess I am. I'm afraid she's in
over her head, Kitt.
K.I.T.T.
I wouldn't worry, Michael. She
seemed like a very capable young
woman.
MICHAEL
Garthe Knight's more capable.
Off of Michael's troubled look, we:
CUT TO
INT. GARTHE'S PENTHOUSE - DAY
It's quiet, deserted. At the far end of the room a door
opens and Rita steps silently inside. She closes the door
softly, crosses quickly to a desk. In a second, she's
inside the drawers, rifling through papers. So intent on
her work that she doesn't hear another door softly open.
We do, though, and go to:
GARTHE
watching Rita for a long beat, then loudly closing the door
as he steps fully into the room.
ANGLE - WIDER
as Rita straightens up, startled, trying to cover her
surprise and fear.
RITA
Garthe....
GARTHE
Yes. What a lovely surprise. I
thought you'd gone shopping.
RITA
(shrugging)
I did, but I couldn't find a thing,
so I came back....
Garthe crosses to Rita, smiling. For a second, he almost
looks sincere.
GARTHE
I know how it must be for you...and
I promise you as soon as I'm
finished with this...project...we'll
have all the time in the world.
Rita smiles weakly, doesn't respond and she stands facing
him. Garthe leans over and kisses her lightly. She
stiffens, hating every moment. Garthe breaks the embrace.
GARTHE
Now, run along. I've got a thousand
things to take care of.
Rita nods, turns to go. Garthe grabs her wrist a little
too hard, turns her back to him. With a slight edge to his
voice:
GARTHE
There's no one but me is there, Rita?
Rita stares, clearly frightened, at Garthe. Shakes her
head.
RITA
No...of course not.
Garthe lets go of her. Rita hurries out the door. As she
exits, Garthe presses an intercom button. A beat later,
one of his assistants appears.
GARTHE
Keep her here until we're on the
plane. Then kill her.
The assistant nods, turns and leaves. Hold on Garthe as he
crosses to his picture window, and then:
CUT TO
INT. CASINO - CLOSE ON ROULETTE WHEEL - DAY
as the ivory ball circles the wheel, falls, kicks around
and finally nestles in a slot: Black 2.
ANOTHER ANGLE - CLOSE ON THE TABLE
as a large stack of chips is moved next to an equally large
stack. We pull back to see Michael sitting at the table,
with an impressive bank of chips in front of him. He makes
another bet, this time Red 1. He smiles at the croupier,
and touches his comlink as:
MICHAEL
Red one. Five thousand dollars.
The croupier arches his brow slightly. A murmur of
excitement passes through the small crowd around the
table. While we play the casino action intercut with:
INT. TRANS AM - DAY
on K.I.T.T., as he processes Michael's information. On his
vidscreen, we should see the roulette wheel.
K.I.T.T.
Red one it shall be, Michael....
BACK TO MICHAEL
watching as the croupier spins the ball. Around and around
it spins, kicking and then finally dropping into Red 1.
CROUPIER
Red one.
He points to the square on the layout, then begins to
collect all the losing bets before paying Michael. More
excited murmurs around the table, more onlookers, as Michael
moves a "large" stack to the Black 35. He smiles at the
croupier.
OMITTED
ON K.I.T.T.
processing the information. Lights blink, a digital
readout shows "Black -- 35." We go to:
OMITTED
INT. CASINO - OBSERVATION DECK ABOVE TABLE
now looking down on the roulette wheel, as the ball begins
to spin. Just as it drops into Black 35, pull back to
reveal Garthe Knight intently studying the game. A glass
he's holding suddenly shatters in his hand, but he doesn't
seem to notice. Suddenly, an Assistant appears at his arm,
looking very concerned:
ASSISTANT
Mr. Knight, our surveillance system
is picking up a microwave signal...
directed at the roulette wheel.
Garthe turns to the Assistant, enraged.
GARTHE
What is the source?
ASSISTANT
That's impossible to determine, sir....
GARTHE
Block it.
The Assistant nods, exits. Garthe watches Michael for a
moment, a small smile on his face. As he turns and leaves,
we go to:
MICHAEL
surrounded by excited, curious onlookers. A small gasp is
heard as he pushes a monstrous pile of chips across the layout.
MICHAEL
One hundred thousand dollars on
black twenty.
CROUPIER
(blanching)
Monsieur...I'm sorry, house limit on
the table is twenty thousand dollars.
A disappointed murmur from the crowd is overriden by:
GARTHE'S VOICE
Let him play.
Everyone, including Michael, turns to see Garthe standing
behind him. Garthe doesn't even acknowledge Michael's
presence. The Croupier nods curtly.
ANOTHER ANGLE - ACROSS THE CASINO
where we see Elizabeth Knight, followed closely by Commander
Tsombe, come into the room. They stop, watching Garthe from
a distance. Tsombe turns to Elizabeth.
TSOMBE
What the hell is he doing?
Elizabeth shakes her head anxiously, and we go to:
OBSERVATION DECK
as Garthe's Assistant works at an electronic console.
INT. TRANS AM
where we see Black -- 20 on the screen. Then we hear:
K.I.T.T.
Oh, dear, I'm getting strong inter-
ference, Michael...Michael!
RETURN TO MICHAEL
intently watching the table, then turning to glance at
Garthe. For the slightest of moments, the two men hold
a glance. Garthe gives away nothing, but if looks could
kill....
Elizabeth hurries to her son's side, whispers urgently in his
ear. Garthe doesn't respond. His attention is riveted on
Michael.
ON THE TABLE
as the final bet is placed and the croupier gets set to spin
the ball. He glances at Garthe uneasily. The crowd around
the table is hushed with anticipation. The ball begins to
spin.
ON K.I.T.T.
the roulette wheel on his vidscreen.
K.I.T.T.
Michael, they're jamming me. I'm
not sure I can overcome it....
OMITTED
BACK TO THE TABLE
as the ball slows, kicks around, finally settles in the
black 20. A roar goes up around the table. Michael grins.
The croupier looks at Garthe in terror, who's staring hard
at Michael's back.
ON MICHAEL
turning and holding Garthe's look. Then he smiles, gets up.
MICHAEL
Guess you can't win 'em all. Have
your man cash in my chips. I'll be
back.
With that, Michael turns, tosses the croupier a very healthy
stack of chips, turns and leaves. Garthe hasn't moved an
inch, but he looks like a volcano about to explode. Hold
on him, then:
CUT TO
EXT. CASINO - DAY
as Michael hustles out to the Trans Am, gets in.
INT. TRANS AM - DAY
as Michael whoops, pounds the steering wheel.
MICHAEL
We did it, buddy! Great work...!
K.I.T.T.
Gambling is not my idea of great work,
but, thank you....
Michael fires up the Trans Am. Heads out of the parking lot.
MICHAEL
(smiling)
This guy does not like to lose...
you should have seen the look on his
face, Kitt....
Off this line, we:
SMASH CUT TO
OMITTED
INT. CAR - DAY - CLOSE ON GARTHE
bent over a steering wheel, his face a mask of cold fury.
Down the highway, we see the Trans Am, and hear:
K.I.T.T.'S VOICE
I may have a chance very soon.
CUT TO
OMITTED
INT. TRANS AM - DAY
as Michael checks in his rear view mirror.
MICHAEL
You got something, Kitt?
K.I.T.T.
Yes, Michael. A single car, closing
quickly on us. One driver....
MICHAEL
Right on schedule. That's what I like
about Garthe...he's predictable.
ANOTHER ANGLE - ON THE HIGHWAY
as Garthe races toward Michael, his face grim, determined.
OMITTED
ANOTHER ANGLE
as Garthe pulls up in the middle lane, to Michael's right,
and angrily swerves into the Trans Am. Michael holds the
road, decelerates slightly. Garthe, his eyes always on
Michael, turns his car into K.I.T.T. again. The sound of
crunching metal -- Garthe's. He loses a hubcap.
OMITTED
INT. TRANS AM - ON MICHAEL
watching Garthe as he pulls up alongside of Michael again,
and rams the Trans Am.
MICHAEL
That's right...stay right where you
are....
K.I.T.T.
Michael, Devon and April are ready.
MICHAEL
So am I, pal....
EXT. HIGHWAY TOWARD BLIND CURVE - DAY
as Michael and Garthe, side-by-side, race toward a blind
curve, jockeying for position. Just as they round it,
we suddenly see the Foundation semi ramp down, looming up
in front of them. Michael swerves to his right, bumping
Garthe's car and keeping it pinned in the right lane,
directly behind the semi, which suddenly slows down appreci-
ably.
ON GARTHE'S CAR
wedged in by the Trans Am, and going faster than the semi,
Garthe is forced up the ramp of the semi. He slams on the
brakes, but it's too late. He's trapped in the back of the
big rig. As the ramp closes, we:
CUT TO
INT. FOUNDATION SEMI - DAY
as Devon and April approach Garthe, April's carrying a
weapon. Garthe gets out of the car, glares at Devon.
GARTHE
What's the meaning of this?
DEVON
Hello, Garthe....
GARTHE
This is kidnapping. You can't do
this....
DEVON
Yes, well, let's just say we're
bending the law temporarily.
(smiling)
I suspect your father would have
approved....
Off of Devon's smile, we:
CUT TO
OMITTED
EXT. CASINO - DAY
as the Trans Am pulls up and parks in front of the casino.
A beat and then Garthe Knight steps out of the car.
Actually, it's Michael, but his disguise is so effective
that, for a moment, we think it's Garthe himself.
CLOSE ON MICHAEL
as he leans into the car.
MICHAEL
Keep an eye on things, buddy. I
might need some help.
K.I.T.T.
Be careful, Michael....
Michael nods, turns and walks slowly toward the casino.
MOVING WITH MICHAEL
as he approaches the front door. The acid test. The two
doormen snap to, tip their hats. One of them hurries to
open the door. Michael nods curtly and walks inside. As
he disappears into the casino, we:
FREEZE FRAME
AND
FADE OUT
END OF ACT SIX
ACT SEVEN
FADE IN
INT. CASINO CORRIDOR - DAY
as Michael steps off an elevator, glances up and down an
empty hallway. He crosses to a large door, hesitates as he
composes himself, and then boldly opens the door and enters:
THE PENTHOUSE
Empty. Michael softly closes the door, crosses and stops
to listen. Nothing. He starts across the room, hears a
door open behind him. He stiffens, turns slowly to see
Rita. She's carrying a small bag. When she sees Michael,
she stops, looking very scared.
RITA
Oh...I...thought you were gone.
Michael crosses to her, whispers:
MICHAEL
Rita, it's me...Michael.
Rita stares at Michael, confused.
RITA
Michael...?
(recognizing him)
Michael! How'd you get in here?
Why?
MICHAEL
I'll fill you in. Right now, I've
got to find the others...fast!
Where is everyone?
RITA
They've gone...to an airfield. I
overheard them arguing about it.
Garthe's mother wanted to wait for
him, but Tsombe insisted on
leaving. He said they couldn't
wait....
MICHAEL
The airstrip...do you know where it
is?
RITA
Just west of someplace called
Indian Springs....
MICHAEL
Indian Springs...I remember hearing
about it when I was looking for Red
Bluff. It's about three miles from
there. Come on....
As Michael and Rita turn to hurry out of the penthouse, the
front door opens and Garthe's Assistant, the one assigned
to off Rita, steps inside. He's startled, goes for a gun,
and then recognizes his boss. He stares at him, confused.
ASSISTANT
Mr. Knight...I thought you'd gone.
MICHAEL
(snappish)
Obviously not. I'm running late....
He takes Rita by the arm, starts for the door.
ASSISTANT
(quietly)
Shall I take care of the girl now,
sir...?
Michael glances at Rita, thinking fast.
MICHAEL
I've changed my mind. I'll take
care of the girl....
A sharp stare at the Assistant and Michael and Rita rush
through the door. Hold on the Assistant staring after
them, wondering what's going on, and then:
CUT TO
EXT. DESERT - DAY
on the edge of an open plain. A large Winnebago-type RV is
parked in what little shade there is, surrounded by a
scattering of other cars. The sound of an airplane close
overhead cuts the silence, and we see Elizabeth Knight,
followed by Tsombe, step out of the RV to watch:
A C-140
The same plane we saw in the opening sequence, as it circles
over the desert, sets down, and taxis to a stop not far
from the RV. As soon as it's stopped, the cargo ramp is
lowered and we see Goliath slowly back out of the plane.
ANOTHER ANGLE - FEATURE THE RV
as Elizabeth and Tsombe watch the truck being unloaded.
Tsombe checks his watch. There's an angry edge to his
voice.
TSOMBE
At least the plane is on schedule.
ELIZABETH
Of course it is. What did you
expect?
TSOMBE
(shrugging)
With your son, it is sometimes
difficult to tell.
ELIZABETH
My son knows precisely what he's
doing!
TSOMBE
But, no one else does!
Elizabeth doesn't respond. Tsombe continues:
TSOMBE
I have tried to talk to him, impress
upon him the urgency of our
mission. And now, with less than two
hours to go, he's driven into the
desert chasing a fantasy....
ELIZABETH
He'll be here! I promise you.
Tsombe shakes his head in disgust.
TSOMBE
He is expendable. We will not wait
for a fool....
With that, Tsombe turns and walks back into the RV, leaving
Elizabeth staring across the desert toward Goliath.
CUT TO
INT. FOUNDATION SEMI - DAY
Garthe is sitting, calmly watching April who's working on
the computer terminal. Devon comes into the room, and
Garthe turns his cold, hard gaze on him.
GARTHE
Father would be proud of you.
DEVON
I'm very happy your father is not
alive.
GARTHE
Spare me the dramatics, Miles. He
was a cold, insensitive boor....
DEVON
That's not the Wilton Knight I
knew...and we were friends for
nearly thirty years.
GARTHE
I lived with him, saw what he did to
my mother....
DEVON
(strongly)
Your mother broke his heart, Garthe.
GARTHE
He never had a heart....
DEVON
You're very wrong. He tried to save
their marriage for years. Your
mother was never happy. There were
incidents...
(beat)
Other men....
Garthe jumps from his chair, stands facing Devon.
GARTHE
Liar!
DEVON
I wish I was. She was a charming,
attractive woman. Many men fell
under her spell...
(beat)
...myself included, I suppose...in
an innocent way.
Across the room, April is listening intently.
DEVON
No one really understood who she
was, what she was, until she
suddenly left Wilton....
GARTHE
She had to leave...to preserve her
sanity. And if you believe anything
else, you're a bigger fool than he
was!
Devon doesn't respond, but rather just shakes his head
sadly. Garthe looks around.
GARTHE
I don't suppose there's a bathroom
in this thing.
Devon gestures through the door.
DEVON
First door on your left...
(beat)
And don't bother to try, Garthe...
there's absolutely no way out.
Garthe just snorts, moves past Devon and exits. Devon
turns to April.
DEVON
Anything more from Michael?
APRIL
Nothing. He and Rita are driving
toward Indian Springs.
DEVON
He shouldn't have involved the girl.
APRIL
He felt she wasn't safe at the
hotel, and she apparently insisted
on going.
Devon shakes his head.
APRIL
I told him we'd get as close as we
could, and stand by....
DEVON
Good. This whole scheme is making
me very nervous. The sooner it's
over, the better....
Devon checks his watch, glances toward the door.
DEVON
I'd better check on Garthe....
Devon exits to:
INT. SEMI - SMALL CORRIDOR - DAY
Devon stops outside a door, knocks. No answer. He knocks
again, and still no response.
DEVON
Garthe? Garthe...?
Devon opens the door, stiffens when he sees:
INT. BATHROOM
Narrow, but with enough height for a guy Garthe's size to
hang himself with his belt from a light fixture. From our
vantage point, he looks very dead.
ADJUST ANGLE TO INCLUDE DEVON
as he moves to pull Garthe down.
DEVON
April! Come quickly!
Suddenly, Garthe comes alive, kicking out, catching Devon
full on the chest, sending him crashing against the far
wall. In a second, Garthe is on his feet.
ANOTHER ANGLE
as April, gun in hand, comes running into the corridor
toward the bathroom. Garthe is waiting for her behind the
door, and rips the gun out of her hand. April sees Devon
lying on the floor.
APRIL
Devon...!
Garthe, gun in hand, runs down the corridor and out into:
THE SEMI
slamming and locking the door behind him. Frantically, he
scans the inside of the semi, looking for an escape route.
He spots an air conditioning duct on the ceiling, a square
barely large enough for a man to squeeze through. He pulls
a chair over, rips the cover off the duct. As he
disappears through the duct, we:
CUT TO
EXT. SEMI - DAY - TRAVELING
Garthe is on top of the semi, as it speeds down the
highway. He moves to the edge, leans over to see:
A CONVERTIBLE
with a single passenger enjoying the sunny drive.
BACK TO THE SEMI
As it moves past the car, Garthe leaps from the top of
the semi, lands in the backseat. As he overwhelms the
surprised driver:
CUT TO
INT. K.I.T.T. - DAY
moving down a dusty two-lane road, well off the main drag.
Rita's looking sadly out the window.
RITA
You know, everything's been moving
so fast, I haven't had time for
everything to really sink in....
MICHAEL
You thinking about Ron?
RITA
(nodding)
It's always been the two of us
against the world. Bunker buddies,
partners, friends...
(suddenly angry)
I told him to stay out of all
this...I begged him! But, all he'd
say was 'this is important. Really
important.'
MICHAEL
(gently)
He was right, Rita.
RITA
Sure...dead right!
(off Michael's
look)
Garthe delighted in telling me. A
sweet, innocent kid's dead, and
what's been accomplished?
(beat, softer)
Sorry. None of this is your fault,
Michael. It's just that I'm...I'm
going to miss him a lot....
Rita's on the verge of tears. Michael reaches out, takes a
hand. As he does, we hear:
K.I.T.T.
Michael, I'm beginning to get a
reading...about a mile down this
road.
MICHAEL
What do you have, buddy?
K.I.T.T.
People, cars, a large plane and...
(excited, for
K.I.T.T.)
...Michael! That brute, that
miserable mechanical masher -- it's
up there!
MICHAEL
(tensely)
All right, then...we're on.
Rita looks at Michael, shakes her head.
RITA
Maybe all of this is never going to
sink in...you, this car, a computer
that talks, thinks, even...it's mind
boggling.
MICHAEL
Compared to a madman who's looking
to take over part of the world,
we're pretty tame.
Michael slows down as they come to a rise in the road.
ANGLE ON THE DESERT BELOW
We see the landing field, the RV, cars, the plane and
Goliath gleaming menacingly in the sun.
RESUME SCENE
Michael turns to Rita.
MICHAEL
Look, I don't know what it's going
to be like down there....
RITA
I've come this far. I'm not turning
back now.
MICHAEL
Then you stay in the car. Kitt can
darken the windows. You'll be safe.
RITA
But, what about you?
MICHAEL
Hey, I'm Garthe Knight, remember? I
fear no man...
(beat)
How's my makeup?
RITA
It's amazing. You look just like him.
MICHAEL
(grimly)
Now, if I can just act like him....
Michael puts the Trans Am in gear, heads down the hill.
CUT TO
EXT. DESERT - DAY - FEATURE THE RV
as the Trans Am pulls up and parks. Three armed guards
rush toward the car as the door opens and Michael steps
out. (Note: The windows of the Trans Am should be
darkened so Rita is not seen inside.) The guards recognize
Garthe, lower their guns.
ON MICHAEL
standing for a moment, looking toward Goliath. He's
distracted by:
ELIZABETH
coming out of the RV. A moment later, Commander Tsombe
steps squinting into the sunlight and follows her.
ANOTHER ANGLE
as Michael turns and walks slowly toward Elizabeth who
glares at him.
ELIZABETH
You're finally here.
MICHAEL
You knew I would be.
ELIZABETH
I did, yes, but he...
(gesturing
to Tsombe)
...had grave doubts.
Tsombe looks past Michael to the Trans Am. Elizabeth
follows his gaze.
TSOMBE
I see you found what you were
looking for.
MICHAEL
(nodding)
He won't be needing the car any
longer.
(to Elizabeth)
And I felt I had a right to it,
somehow....
Elizabeth grimaces, shakes her head.
ELIZABETH
I despise it...anything that reminds
me of him. If I could I'd destroy
everything that was his.
Tsombe fixes Michael with a cold stare, watches him closely.
TSOMBE
You're not looking well, Garthe...
are you certain you're prepared
for this?
Michael throws Tsombe a venomous glare.
MICHAEL
Of course! I'm the only one meant
to drive Goliath. I want that
perfectly understood.
Tsombe doesn't reply. Elizabeth watches the exchange with
obvious pleasure. Michael turns to her.
MICHAEL
I assume everything is ready.
ELIZABETH
Tsombe's men are on their way.
MICHAEL
Fine.
(checking
his watch)
Give me five minutes to check the
truck.
Michael turns and begins walking quickly toward the truck.
Behind him, Elizabeth and Tsombe turn to walk back to the
RV.
INSIDE THE TRANS AM
as Rita watches on the vidscreen as Michael moves across
the desert.
RITA
He's almost there, Kitt.
K.I.T.T.
Yes...but I wish he'd hurry. This
is making me very nervous....
BACK TO MICHAEL
moving steadily toward Goliath. He reaches into his
pocket, takes out the small detonation device, palms it.
We hear:
K.I.T.T.'S VOICE
(via comlink)
Michael! There's a car coming...
Garthe Knight's inside!
Michael looks over his shoulder to see:
THE CONVERTIBLE
speeding across the desert, heading directly for him.
Inside, we can see Garthe's jet black hair and goatee.
BACK TO MICHAEL
as he turns and starts running for Goliath.
OMITTED
WIDER ANGLE TO INCLUDE GARTHE'S CAR
roaring toward Michael.
ANOTHER ANGLE
Just as Michael's about to reach the truck, the car swerves
in front of him, spins and comes skidding to a stop, blocking
Michael's path.
CLOSE ANGLE - ON THE CAR
As the door opens and Garthe steps out. Michael stands,
gasping for breath as the dust swirls around him. Garthe
just smiles that cold, cruel smile of his.
GARTHE
You can't win them all, can you?
ON MICHAEL
not bothering to answer. He's up a creek and knows it.
Hold on him, and then:
FREEZE FRAME
AND
FADE OUT
END OF ACT SEVEN
ACT EIGHT
FADE IN
EXT. DESERT - DAY - CLOSE ON TRUCKS
as two large, canvas-topped military-type trucks pull up
and stop near the RV. In a second, the back flaps are
opened and soldiers, dressed in commando uniforms, come
pouring out, carrying automatic weapons, grenades, rocket
launchers, and gas masks.
ANOTHER ANGLE
as we pull back to reveal Garthe watching. He's grim-faced,
but pleased. He nods at the men, turns and crosses to:
MICHAEL
his hands handcuffed in front of him, standing near the RV.
An armed guard is standing near him. Garthe approaches.
GARTHE
I'm pleased you'll be here for the
finale.
MICHAEL
Wouldn't miss it for the world.
GARTHE
There are so many things I look
forward to sharing with you...
(off Michael's
surprised look)
We have so much in common...our faces,
my father...
(a beat)
Why not our future?
MICHAEL
What's that supposed to mean?
GARTHE
I'll be returning to Africa soon.
You're coming with me....
MICHAEL
You're out of your mind.
GARTHE
No, but you may be. African prisons
can have that affect on some men....
MICHAEL
Prison?
GARTHE
Precisely. The same hell I died in
while my father turned his back and
gave you everything that should
have been mine.
With that, he turns, walks away. The guard gestures for
Michael to follow him toward the RV.
ON MICHAEL
a few yards behind the guard. Over the comlink, we hear:
K.I.T.T.'S VOICE
Michael....
Intercut with:
INT. K.I.T.T.
where Rita is still huddled in the front seat. We can see
Michael on the vidscreen.
K.I.T.T.
Michael, is there anyway we can help?
MICHAEL
Just hang tight. And don't let Rita
out of the car.
RITA
(sputtering)
But...tell him I can't just sit
here, Kitt. We've got to help him.
At this point, Michael disappears into the RV, and we hear:
K.I.T.T.
I'm afraid there's nothing we can
do...except hope.
CUT TO
INT. RV - DAY
Spacious. Equipped with state-of-the-art communication
gear, radar, TV monitors. One of the monitors, with a
particularly large screen. This screen, hooked up to a
video camera mounted on the front of Goliath, will give the
viewers inside the RV a first-hand view of what happens at
Red Bluff.
We find Michael, still handcuffed, sitting close to the
door. In front of him, Elizabeth, Tsombe, two of his
assistants lounge on plush sofas, sipping drinks. An armed
guard stands in the doorway. Elizabeth turns to Michael.
ELIZABETH
I think you'll enjoy this. We've
arranged a front row seat for you.
MICHAEL
How exciting.
ELIZABETH
(coldly)
Yes. I'm certain it will be.
As she turns back to the screen, we:
CUT TO
EXT. DESERT - DAY - ON GOLIATH
as Garthe, dressed in a striking black jump suit, steps up
to Goliath, climbs inside and fires it up. It comes to
life with a roar that seems to shake the ground around it.
With a loud blast in its air horn, Garthe throws the rig
into first and moves across the desert.
CUT TO
EXT. FOUNDATION SEMI - DAY - TO ESTABLISH
moving down the highway.
INT. FOUNDATION SEMI - DAY
Devon's pacing back and forth, looking terribly worried.
April's at the computer.
DEVON
(almost to
himself)
There's really no excuse for it! If
anything happens to Michael, I hold
myself personally responsible....
Devon turns, crosses to April, who's absorbed in the
computer.
DEVON
There must be something, April --
anything we can use to alert the
military, get some help to Michael.
April shakes her head.
APRIL
I've done a data scan on everything
we've got, Devon. There's nothing
here that proves anything. Suggests
but doesn't prove....
DEVON
And proof's the only thing they'll
listen to....
Devon stands, thinking, then moves for the phone.
APRIL
Who're you phoning?
DEVON
General Maddux at SAC.
APRIL
Devon, he didn't listen before. Why
would he listen now...?
DEVON
Because this time I'm telling him
I'm driving straight into Red
Bluff...and I'm going to dare him to
stop me!
As Devon starts to dial:
CUT TO
EXT. DESERT - NEAR RED BLUFF - DAY - ON GOLIATH
as the semi speeds across the desert toward Red Bluff,
nearing the first perimeter of fences that warn "U.S.
Government Property. No Trespassing." During sequence,
intercut with:
INT. GOLIATH
as Garthe accelerates.
EXT. GOLIATH
smashing directly through the fence like it was paper, and
heading straight for Red Bluff. During this sequence, we
will also intercut as needed with:
INT. RV - DAY
The mood is tense, excited, as the TV monitor shows
Garthe's progress. On the screen, Red Bluff draws nearer.
EXT. RED BLUFF
A rack of six missiles, mounted on a track, is being loaded
outside of the mountain. The huge doors protecting the
site are open. Suddenly, we hear an alarm sound, sirens
scream, as:
GOLIATH
crashes through a second perimeter fence. An armored
vehicle gives chase and a befuddled guard rushes for a
phone. Meanwhile at:
RED BLUFF
The missile rack is hurriedly being rolled inside. Once
there, the doors begin to slowly close.
ON GOLIATH
now being attacked on both sides by armored vehicles, but
the bullets are bouncing off harmlessly. Suddenly, one
rocket, then another, is launched from the semi, streaking
toward Red Bluff and exploding against the now-closed doors.
INT. RV
as a cheer goes up from the onlookers. Michael is
watching, fascinated, then glances over at the guard, who's
also enthralled. We see him lean into his comlink. As he
does, we go back to:
RED BLUFF
as Goliath, at full speed, bears down on the site. Another
rocket batters the already badly damaged doors seconds
before the mighty semi smashes into them, with a thunderous
roar.
INT. RED BLUFF
as the doors give way and the semi barrels into the site.
Immediately, a volley of cannisters are fired out of the
truck's rocket launchers, filling the cavern with gas.
Attacking guards, their bullets bouncing harmlessly off
Goliath, begin to drop like flies.
ON GOLIATH
as the rear doors fly open and the commandoes come bursting
out. Automatic fire fills the air as the remaining guards
confront the attackers. In less than a minute, Garthe
and his men have taken control of the site.
OMITTED
CLOSE ON MICHAEL IN THE RV
Pandemonium. Shouting, cheers, excitement. People paying
attention to everything except Michael.
MICHAEL
(into comlink)
Get ready, buddy....
INT. RED BLUFF
Garthe has backed the semi up to the track the missile rack
is set on, and as the semi's ramp is lowered, we see that
it's fitted with an identical track which allows Garthe's
commandoes to run the missile into the semi. The entire
operation is being run like a military movement: precise,
efficient, smooth. Garthe stands, watching, barking
commands. When the missiles are finally secure, he jumps
into Goliath, starts it up.
IN THE RV
Elizabeth and the others watch as Goliath pulls out of the
missile site. Excited congratulations all around. Michael
leans into his comlink and we go to:
INT. K.I.T.T.
as we hear:
K.I.T.T.
I'm on my way, Michael...
(to Rita)
Hold on, Miss Wilcox...this could be
a bit bumpy....
EXT. K.I.T.T.
as the Trans Am springs to life, speeding toward the RV,
knocking two guards on their butts and ramming, at high
speed, into the side of the RV.
INSIDE THE RV
as K.I.T.T. hits and everyone, save Michael, goes tumbling
to the chair. Instant chaos. Michael uses the confusion
to jump to his feet and race for the door.
EXT. RV
as Michael rolls out, finds his feet and races for K.I.T.T.
who's popped the door. Michael's in, the door is slammed
just as a guard unloads about fifty rounds. The bullets
ricochet off as K.I.T.T. speeds away.
INT. K.I.T.T. - DAY - MOVING
with Michael behind the wheel. Rita looks on in stunned
amazement.
RITA
Michael, are you all right...?
MICHAEL
Just great...soon as I get rid of
these.
Meaning the cuffs. They're the fancy digital kind, seen
only on this show.
MICHAEL
Kitt, give me a hand, okay?
We see a series of numbers, combinations of numbers, begin
to flash by on K.I.T.T.'s vidscreen.
K.I.T.T.
Immediately, Michael. But, until
you're free to steer, where are we
going?
MICHAEL
To find Garthe, pal. We're the last
thing between him and that phone.
RITA
But, how are you going to stop him?
Michael's hand suddenly snaps free from the cuffs. He takes
the wheel. Outside, the desert flies by.
MICHAEL
Thanks, Kitt...
(to Rita)
To be real honest, I'm fresh out of
ideas. But, it's fourth and goal-to-
go, and we've got to make a stand.
K.I.T.T.
Michael, I may have a solution....
MICHAEL
Forget it, Kitt. We go head on with
this guy again, they're gonna find
pieces of you in New Hampshire.
K.I.T.T.
That's debatable, but not the point...
I think I've found a weak spot...two
of them, actually...in that ugly piece
of steel...his Achilles Heels, so to
speak....
Michael sits forward, intense.
MICHAEL
(excited)
What have you got?
K.I.T.T.
First, there's a point where the
trailer's connected to the tractor...
it's small but it's not protected
by the molecular shell.
MICHAEL
What else?
K.I.T.T.
An area directly below the windshields
...a small point where the shell was
applied incorrectly.
MICHAEL
How small?
K.I.T.T.
Approximately two inches in diameter.
Michael whistles, shakes his head.
MICHAEL
Even David had a bigger target when
he went after Goliath....
K.I.T.T.'s lights start flashing.
K.I.T.T.
Speaking of Goliath...I'm picking up
something very big at two o'clock....
Both Rita and Michael look through the windshield, and see:
GOLIATH
really just a black speck on the horizon, but looming
larger by the second.
RESUME ON MICHAEL
watching the semi race toward them, thinking hard. Suddenly:
MICHAEL
Kitt, you ever seen a bullfight?
K.I.T.T.
Of course not. Why?
MICHAEL
Because you're about to become the
red flag we're going to wave in
front of that big bull....
EXT. DESERT - FEATURE GOLIATH
as Michael steers the Trans Am directly toward it.
INT. GOLIATH - ON GARTHE
seeing Michael. A small smile spreads across his face, the
look of a killer about to spring. He reaches up and blasts
a long toot on his air horn, then turns to face the
oncoming Trans Am.
INT. K.I.T.T.
as Goliath bears down on them.
K.I.T.T.
Michael, hadn't we better do
something? Quickly....
MICHAEL
Don't worry, buddy...I've studied
all the great matadors.
K.I.T.T.
How comforting.
In front of the Trans Am, we see Goliath rushing toward them.
EXT. DESERT - FEATURE THE TRANS AM
as Michael deftly moves out of the path of the huge semi
as it roars by. Garthe slams on the brakes, turns to
follow Michael.
ANOTHER ANGLE
Michael, moving the Trans Am like Cassius Clay moved around
Liston, circles behind the semi, comes up along the right
side. Garthe sees him, pulls the rig toward Michael, trying
to smash into the Trans Am. Michael quickly moves out of
danger, spins a one-eighty and heads in the opposite
direction.
ON GOLIATH
lumbering into a turn, facing the Trans Am. Suddenly,
Garthe unleashes one of the rockets.
INT. TRANS AM
as Michael desperately swerves to his left and the rocket,
in a near miss, roars past the car.
MICHAEL
Some pretty mean horns....
K.I.T.T.
Michael, he's carrying another rocket
...and soldiers in the back.
MICHAEL
Yeah...right now, I'm more worried
about your 'Achilles Heel' theory.
K.I.T.T.
It's a theory, not a theorem,
Michael. I don't have any proof....
MICHAEL
Well, we're gonna test it right now....
EXT. DESERT - FEATURE GOLIATH
maneuvering for position to fire another rocket. The Trans
Am's slightly to its rear and as Garthe turns to begin to
circle, Michael cuts sharply across his tail, from left to
right, races for the side of the semi, aiming for the
junction between the tractor and the trailer.
OMITTED
EXT. DESERT - ON GOLIATH AND K.I.T.T.
as the Trans Am smashes into the side of the semi. A
resounding crash as the cab separates from the trailer,
then lurches to a halt, crippled.
INT. K.I.T.T.
as Rita and Michael cheer.
RITA
Michael, it worked!
MICHAEL
It sure did...! Kitt, see what you
can do about locking the back door.
Quick....
K.I.T.T.
My microjammer should do the trick.
CLOSE ON GOLIATH
at the rear of the truck, as the tailgate mechanism closes
and locks. From the inside, we hear the muffled shouts of
the trapped commandoes.
RESUME SCENE
as Michael watches Garthe wheel the tractor in a wide circle,
head back toward them.
K.I.T.T.
(alarmed)
He's coming after us!
MICHAEL
Yeah, well, you can cut the head off
a snake and it can still bite...and
kill.
K.I.T.T.
He's got another rocket, Michael.
MICHAEL
And I've got our laser. That's a fair
fight.
K.I.T.T.
The laser...?
EXT. DESERT - DAY
as Garthe and Michael square off, facing each other in a
High Noon confrontation. A beat, then they both start
across the parched desert floor toward each other.
INT. TRANS AM - DAY
as Garthe races toward them.
K.I.T.T.
Michael, I don't think this is a
good idea.
MICHAEL
No choice, pal...it's the only way
to get a shot at his weak spot.
K.I.T.T.
But, Michael, April didn't have time
to recharge my energy source.
MICHAEL
What? Have you got any juice at
all?
K.I.T.T.
Some, but it's impossible to say
how much.
(alarmed)
Michael, he's about to fire...!
EXT. DESERT - DAY
as Garthe fires his second, and last, rocket. Michael
swerves wildly to his left and the rocket misses them.
Still, Garthe comes for them, gaining speed. Again, he
sounds his horn, and the ground shakes.
INT. TRANS AM - DAY
as Garthe bears down on them, seeming to fill the wind-
shield.
MICHAEL
I'm gonna wait as long as I can,
then give me everything you've
got....
K.I.T.T.
I will, Michael....
EXT. DESERT - ON GOLIATH AND K.I.T.T.
as Garthe roars toward K.I.T.T. The laser flashes out of
K.I.T.T., hits Goliath's snout. Sparks, a flash, but for
a breathtaking moment, no effect on the tractor as it
barrels toward K.I.T.T.
CLOSER ANGLE
A collision seems unavoidable. Then, at the last moment,
Goliath stumbles: an explosion rocks the tractor, a tire
wobbles and comes loose, a second follows and the huge cab
falls to its knees. Another explosion, bigger than the
first, is heard and flames begin to engulf the cab.
ON THE CAB
as Garthe leaps, stumbling, from the flaming cab, tries
to run. In a second, Michael pulls up and is out of the
Trans Am, chasing him across the desert.
ON MICHAEL AND GARTHE
as Michael takes Garthe to the ground in a flying tackle.
A struggle, with Michael pulling Garthe to his feet, and
the two men go at it: Garthe crouched in a martial arts
stance and Michael avoiding his kicks and punches until
he sees an opening, lands a solid one-two combination
that knocks Garthe down hard and keeps him there.
WIDER ANGLE
As Michael stands over the fallen Garthe, we hear the roar
of an Air Force jet that sweeps low over the desert, dips
its wings and circles back across the desert. A second
later, we hear a blast from an air horn and Michael turns
to see:
OMITTED
THE FOUNDATION SEMI
speeding toward K.I.T.T., followed by a convoy of military
vehicles.
CLOSE ON MICHAEL
As he hauls Garthe to his feet and stands, a smile playing
across his face, waving at the semi. Hold on him and then:
FREEZE FRAME
AND
FADE OUT
END OF ACT EIGHT
TAG
FADE IN
EXT. CASINO - DAY
The Trans Am is parked in front. We see Michael, Devon,
April and Rita come walking through the doors into the
bright Las Vegas sunlight.
DEVON
I have a feeling no one's going to
see much of Garthe Knight for some
time to come.
MICHAEL
Sure. Once the FBI, the CIA, Interpol,
the Department of Defense and the Las
Vegas Gaming Commission get done with
him, he's going to be doing about
four centuries of straight time.
APRIL
What about his mother?
Michael and April glance at Devon. He shrugs, shakes his
head.
DEVON
I'm sure she'll get precisely what
she deserves.
(beat)
She was such a wonderful woman at
one time...Wilton loved her very
much.
(another
beat)
Many of us did.
Michael smiles, turns to Rita.
MICHAEL
We all owe you a big thanks, Rita.
If it hadn't been for you....
RITA
(shaking
her head)
No. I didn't do anything special.
(beat;
sadly)
Ron did....
MICHAEL
You're right...he sure did.
APRIL
What's next for you?
RITA
(shrugging)
Los Angeles. Ron and I always
promised each other we'd do it. I
figure it's time to give it a try.
(smiling)
After this town, L.A.'s going to be a
piece of cake.
Everyone laughs. Rita shakes hands with Devon and April,
turns and gives Michael a big hug.
RITA
(to Michael)
If you're ever in Los Angeles, look
for my picture on the billboard
on Sunset, okay?
MICHAEL
You know it...and I'll bet I see it,
too.
Rita laughs, turns and steps into a cab parked at the
curb. Everyone waves as she drives away. Michael turns,
takes an envelope out of his pocket, smiling like the
Cheshire cat.
APRIL
What's that?
Michael takes out a check, holds it up, smiles more broadly.
MICHAEL
My winnings at Garthe's roulette
wheel...not bad for an afternoon's
work.
Devon leans over, inspects the check and then deftly takes
it from Michael's hand. Michael's smile fades as:
DEVON
That was Foundation business,
Michael...sponsored by Foundation
funds....
APRIL
Coordinated by Foundation equipment...
(smiling
sweetly)
...and Foundation intelligence.
Michael looks from Devon to April.
MICHAEL
Hey, look, guys, I don't want all of
it. I mean, I'll take ten percent...
(off their
looks)
...eight? Five? Three? How about
a roll of quarters for the slots?
Devon and April are already heading for a limo parked in
front of K.I.T.T. Devon shakes his head.
DEVON
I'll expect to see you at headquarters
tomorrow morning, Michael. Good
work, my boy....
April and Devon wave good-bye, climb into the limo and
drive off. Michael leans on the Trans Am, watches them
go. We hear:
K.I.T.T.
Michael, I've been thinking about
the whole phenomenon of gambling...
it's actually rather intriguing.
MICHAEL
Sure. If you've got money and a
system....
K.I.T.T.
Well, I don't have any money, but I
have devised an interesting approach
to Blackjack. I estimate an average
return on investment of nearly sixty-
seven percent.
MICHAEL
Sixty-seven percent?
K.I.T.T.
Yes. And all one needs to begin is
roughly twenty dollars....
MICHAEL
Twenty bucks? I've got that here.
Somewhere....
Michael straightens up, hunts frantically through his
pockets. Everything but bread comes out: gum, keys,
souvenir dice, old Keno tickets. He piles it on top of
K.I.T.T., keeps searching. Hold on him as the pile grows,
and as he reaches the bottom of his pocket, and turns them
inside out, pull back to a long, high shot of Michael,
busted in the middle of millions, and then:
FREEZE FRAME
AND
FADE OUT
THE END
