ACT ONE
FADE IN
EXT. MAXIMUM SECURITY PRISON - DAY - STOCK
A desolate setting surrounding the desolate buildings. Tall
walls. Guards in gun towers at every corner. The hot sun
beats down, baking everything to a rock hardness that
reflects the conditions inside the prison walls.
EXT. EXERCISE AREA INSIDE PRISON WALLS - DAY
The exercise period. The inmates are milling around the
yard. Some playing ball, some pumping iron, most just
shooting the breeze. We pan through the yard, and find
ourselves in front of a gaggle of men. They're surrounding
two men who are arm-wrestling. One of the men is a parti-
cularly rough-looking con, his long dark hair and unshaped
beard failing to hide the cruelness in his eyes. As we
move closer, we realize we're looking at:
GARTHE KNIGHT
Though his opponent is gasping for breath and straining,
Garthe doesn't move, doesn't flinch. His eyes bore, with
nothing but a profound coldness, into the other man's eyes.
Slowly, inexorably, Garthe pushes his hand toward the table.
Suddenly, with total finality, he smashes the hand down.
The table splinters under the force of the impact and the
man cries out in pain. Garthe still doesn't react. We go
to:
THE GUARD TOWER
where one of the guards is staring out toward the surrounding
desert. Something has totally captured his attention. We
begin to hear a low rumble, almost a growl, and follow his
glance to:
THE DESERT
Empty, except for a black form speeding toward the prison.
Straight as an arrow and picking up speed as it approaches.
As it comes closer it begins to take shape. In a moment,
we recognize:
GOLIATH
snorting smoke, its powerful engine beginning to roar as
it roars closer.
EXT. EXERCISE AREA - ON GARTHE
standing, turning toward the guards. As though he senses
something. A slight smile spreads across his face and he
walks across the yard. Around him, the guards are begining
to panic as a siren sounds. Guards rush into the yard,
start trying to round up the prisoners who are reacting to
the commotion.
ON THE GUARD TOWERS
All of them watching Goliath roaring toward them. Frantic
phone calls are placed. Goliath's roar is audible to every-
one. The prisoners turn, listen, watch.
ON GOLIATH
approaching the prison walls. Inside, we see a lone
driver, a man known as Halverson. The guards open fire, but
the bullets bounce off harmlessly. The driver gives them a
blast on thr air horn, and roars toward the prison walls.
EXT. EXERCISE YARD
as the guards continue firing, but to no avail. Suddenly,
there's a tremendous sound as Goliath hits the prison walls
and they crumble. Debris flies in every direction as the
gigantic black truck smashes into the exercise yard.
ON GARTHE
calm, cool and certain in the midst of mass confusion. He
runs, crouching, toward the truck. Halverson opens the
driver's side, Garthe leaps inside, slamming the door behind
him.
ON GOLIATH
As quickly as it appeared, Goliath leaves, roaring over the
rubble that was once walls and through the gaping hole to
freedom. The clatter of automatic rifle fire is heard,
then drowned by another blast on Goliath's horn.
INT. GOLIATH - FEATURE GARTHE
behind the wheel of the truck, that same strange, thin
smile on his face. As he steers across the desert:
CUT TO
OMITTED
EXT. ANOTHER ND DESERT AREA - DAY
This time we see another black form speeding past camera.
It's the Trans Am, and it's heading directly toward a cliff.
The drop is breathtaking. At the speed the car's going,
it's going to be difficult to stop.
INT. TRANS AM - DAY
Michael's at the wheel, white-knuckling the wheel. He's
nervous.
MICHAEL
Hang on, buddy...and get ready to
make like a bird.
Suddenly, a red light flashes on the dash and we hear a
warning buzzer sound.
K.I.T.T.
Michael, the parachute release
mechanism is malfunctioning.
Abort...abort!
MICHAEL
That's easier said than done, pal...!
Michael slams on the brakes.
EXT. TRANS AM - DAY
as it slides and skids toward the edge of the cliff. For a
moment, it seems certain it's going over, but at the last
moment, it catches and stops.
INT. TRANS AM - DAY
Michael sits frozen for a beat, then slowly, carefully,
lets his breath out.
MICHAEL
Looks like it's back to the drawing
board.
APRIL'S VOICE
Don't worry, Michael. I'll have it
fixed in fifteen minutes.
CUT TO
INT. FOUNDATION LAB - DAY
If possible, the same location used as the "heat room" in
Ring of Fire. April's tending to K.I.T.T. Michael watches
anxiously.
MICHAEL
Fifteen minutes...look, take half an
hour and make sure it's perfect,
okay?
APRIL
Would you relax? I know what I'm
doing.
K.I.T.T.
And I know what I'm not doing....
APRIL
What's that, Kitt?
K.I.T.T.
I'm not going near another cliff
with or without a parachute.
Teetering on the edge of oblivion
out there has spoiled my appetite
for heights.
Michael and April exchange a smile. Devon hustles briskly
in. He's clearly on his way to something else.
DEVON
Not to worry, Kitt. It's going to
be canapes and croissants for the
next few days.
Michael and April turn to Devon.
MICHAEL
Sounds good to me.
APRIL
It sounds bad to me. Devon, I need
to test the parachute I've installed
in Kitt.
Devon holds up his hands to quiet them, and checks his
watch.
MICHAEL
April, you heard Kitt....
APRIL
Michael....
DEVON
Please...I don't have time for a
debate. I'm sure you've both heard
of Doctor Klaus Bergstrom.
Michael and April both nod.
APRIL
Of course. His research in satellite
laser technology has revolutionized
the field.
DEVON
Precisely. Well, Doctor Bergstrom's
visiting from Sweden -- to attend a
symposium at the University.
MICHAEL
Here? That'll be the first time
he's left Sweden for years.
DEVON
Yes...and a good many people,
including his wife are concerned for
his...well-being.
APRIL
(laughing)
From what I've heard about Doctor
Bergstrom his well-being isn't a
problem.
MICHAEL
Meaning?
APRIL
Well, Doctor Bergstrom apparently
loves the wine, the women....
DEVON
(interrupting)
That's where we...or, more precisely,
Michael...you come in.
Michael suddenly realizes where Devon's headed.
MICHAEL
Wait a minute, Devon. Einstein or
not, I'm not interested in playing
babysitter to....
DEVON
(interrupting)
It's hardly babysitting. We've been
asked to help make Doctor Bergstrom's
stay as pleasant...and uneventful...as
possible.
(beat)
Besides, his niece is with him. Per-
haps you could show them the sights.
MICHAEL
The sights? Devon, I'm a terrible
tour guide. I always get lost.
Devon and April exchange a smile.
DEVON
Then you're in luck. Your first date
is here at the Foundation cocktail
party we're having for Doctor Bergstrom.
Three o'clock...sharp. And please
dress appropriately.
Before Michael can protest, Devon's gone.
MICHAEL
Terrific! What am I going to say to
some scientist and his niece? From
Sweden?
CHRISTINA'S VOICE
Neither do I.
CUT TO
EXT. FOUNDATION - DAY
The cocktail party is underway. We're close on a very
beautiful woman in her midtwenties. She's sipping
champagne. This is Bergstrom's niece, Christina. She's
talking to Michael, who's looking very intrigued.
CHRISTINA
My father's Swedish, my mom's
American and I was born in the
States.
(smiles)
Actually, I lied. I can say, 'ja,'
but that's it. Luckily, there's not
too much call for Swedish in behavorial
psych these days.
MICHAEL
You couldn't be a psychologist. You
don't have a beard.
CHRISTINA
That's because I just graduated.
The beard grows in later.
Michael laughs. Christina smiles back. They're obviously
enjoying each other's company.
MICHAEL
With your uncle in all those meetings,
you're going to have some time on
your hands.
CHRISTINA
(nodding)
For the first time in about twenty-
four years.
(off Michael's
look)
I graduated college two weeks ago.
Suddenly, I'm a free woman.
(smiles)
Any idea what I can do with all this
independence?
Christina laughs mischievously, more than a little flirta-
tious. But before Michael can answer, Devon and April step
up with Dr. Bergstrom. He's in his late thirties, still
young looking and fit. And rather handsome, too.
APRIL
Careful, Christina. He's a terrible
tour guide. Always gets lost.
MICHAEL
Hey, what're you talking about? I'm
the best.
DEVON
A remarkable improvement in less
than five hours, Michael.
April and Michael smile. Devon introduces Bergstrom.
DEVON
I see you've met Christina. This is
her uncle, Doctor Bergstrom.
As Michael and Bergstrom ad-lib intros, an aid comes up to
Devon, whispers something.
DEVON
Excuse me, please...I won't be a
moment.
As Devon crosses the ground to the house, Bergstrom smiles
at Michael.
KLAUS
A moment's all I need. Look, once
this 'affair' breaks up, where would
a bashful Swede go to see the...
sights?
Klaus smiles at Michael playfully. Christina reacts.
MICHAEL
Well, that depends on what kind of
sights you have in mind.
KLAUS
That's simple...the kind most travel
agents wouldn't think of recommending.
CHRISTINA
Uncle Klaus! You promised....
KLAUS
Research, Christina. This is
research. America is such a
fascinating place, I must study it.
In detail....
Christina shakes her head skeptically. Klaus grins and we
go to:
INT. FOUNDATION - DRAWING ROOM - DAY
where we find Devon on the phone. His face is white, his
look one of grave concern.
DEVON
Yes, I understand. Keep me informed
of any further developments.
He hangs up and stands frozen, for a beat. Then he turns
and hurries out to:
EXT. FOUNDATION - DAY
as he moves quickly through the party. He intercepts
Michael on his way for more champagne. He takes him by the
arm.
DEVON
I must speak with you immediately.
Alone.
Michael senses Devon's urgency, follows him across the lawn.
ANGLE ON DEVON AND MICHAEL
When they're alone, Devon turns to Michael.
DEVON
Garthe Knight has escaped from prison.
MICHAEL
(stunned)
Escaped? How?
DEVON
(beat)
In Goliath....
As these words sink in, hold on Michael, and then:
CUT TO
EXT. MANSION - REMOTE AREA - DAY
When we see this house, we're immediately struck by two
things: its majestic beauty and its remote location. The
black limo pulls up the driveway, parks, and Garthe gets
out. He strides into:
INT. HOUSE - ENTRANCE AREA - DAY
Garthe enters. Armed guards snap to attention. He strides
past them, through the house, and out to:
THE POOL
A woman, her back to camera, is luxuriating in the spa part
of the pool. She turns as Garthe walks out of the house
toward her, moving across the lawn like a conquering
soldier taking possession of his spoils. He walks toward
the pool and, without hesitating a moment, steps into the
spa, takes the woman in his arms and kisses her. She is
Adrianne Margeaux (from Soul Survivor fame.) She kisses back
for a moment, then breaks the embrace.
ADRIANNE
Garthe...you're free. I'm so happy.
Garthe stares at Adrianne, then at the luxurious sur-
roundings.
GARTHE
For good reason. How much does this
cost me?
ADRIANNE
I gave you your freedom! Don't
bother me with dollars and cents.
GARTHE
Goliath freed me.
ADRIANNE
And I rebuilt Goliath. Just as I
have directed this project from the
beginning. Don't ever forget that.
Garthe and Adrianne stare at each other. There's a fire
between them that's both attraction and repulsion. A beat,
then:
GARTHE
The dungeon...it's been done as I
requested?
ADRIANNE
Exactly.
GARTHE
And the other?
ADRIANNE
See for yourself.
Garthe turns and stomps toward the house. Adrianne reaches
for a towel as we:
CUT TO
INT. LABORATORY - DAY
A lab that is both medical and scientific. Hi-tech, but
not science-fiction. Two lab assistants circulate, taking
notes, making adjustments. We pick up Garthe moving
through the lab with Dr. Adrian Moritz. An internationally
reknown plastic surgeon, Moritz is young, fit, tan. Very
jet-setty looking.
MORTIZ
We completed the tertiary state of
reconstruction yesterday. You'll be
very pleased.
At this point Adrianne, in a skin-tight black jump suit,
joins them. Adrianne links her arm through Garthe's.
ADRIANNE
You see, everything is going just as
I promised it would. Even Goliath's
weaknesses have been totally eliminated.
He is completely invulnerable now.
GARTHE
(to Moritz)
And the biodata implant?
MORITZ
It's in place and functioning beau-
tifully. Much like an IV apparatus
introduces medicine drop by drop into
the bloodstream, the biodata unit is
slowly programming the patient's
brain with every detail of the
subject's life and personality.
Second-by-second, twenty-four hours
a day.
(smiling)
The only things he won't know happened
less than thirty-six hours ago.
Garthe nods.
GARTHE
When can we see the patient?
MORITZ
The bandages come off tomorrow.
Precisely as I promised.
ADRIANNE
And precisely as I promised. You
see, dear Garthe, everything is
under control.
Garthe turns to Adrianne. His face is cold, hard.
GARTHE
Not quite everything. There's still
one crucial matter I have to take
care of.
Garthe turns to leave, but Adrianne takes his arm, holds it
firmly.
ADRIANNE
Later. Take care of that...later.
Adrianne leans up, kisses Garthe lightly. Moritz discreetly
exits, leaving them alone. Adrianne kisses Garthe again.
ADRIANNE
There's one crucial matter you must
take care of here. And now....
As they kiss and exit, we:
CUT TO
OMITTED
EXT. CITY STREET - NIGHT
as the Trans Am cruises through traffic, heading for the
hotel where Klaus and Christina are staying.
INT. TRANS AM - NIGHT
Klaus is in the backseat, Christina in the front. Both
of them are listening, fascinated as K.I.T.T. entertains
them.
K.I.T.T.
Actually, I first went on-line in a
main frame in Washington, but the
government bureaucracy never suited
me. Too stuffy.
Bergstrom roars with laughter in the backseat.
KLAUS
I know what you mean! I spend half
my life with dried-out bureaucrats
who have dust in their veins.
K.I.T.T.
I'm much happier at the Foundation.
Of course, I still have to deal with
human beings....
MICHAEL
Hey, you're not exactly a cup of
tea, pal...
(to the
others)
Very moody. And almost no sense of
humor.
K.I.T.T.
I have a highly developed sense of
humor. For example, have you heard
the one about the man who walked
into the bar with a horse...?
MICHAEL
Later, pal. We're here...and not a
minute too soon.
EXT. HOTEL - NIGHT
as Michael gets out, opens the door and helps Christina
out. Klaus climbs out, leans back into the car.
KLAUS
Good night, Kitt. Perhaps we could
play chess before I leave.
K.I.T.T.
I'd be delighted. There are still
3,642 variations of the Stravinchy
defense I'd like to try.
Klaus laughs, turns to step onto the curb, misses and comes
down hard on his ankle. Michael's immediately at his side.
MICHAEL
Doctor Bergstrom, you all right?
KLAUS
It's twisted slightly, but I'm sure
it will be fine.
Klaus takes a few tentative steps, limping slightly. They
head for the hotel entrance.
CHRISTINA
As long as you get it elevated and
put some ice on it. Immediately.
KLAUS
Immediately? But, I was going to
invite Michael to have dinner with
us.
CHRISTINA
Uncle Klaus, Michael probably has
plans.
INT. HOTEL - NIGHT
as Michael, Klaus and Christina enter the hotel.
MICHAEL
Not really.
KLAUS
Well you do now. Where's a good
restaurant?
Christina takes Klaus' arm, leads him toward the elevator.
CHRISTINA
How's 'Chez Room Service' sound?
KLAUS
Room service? Christina....
CHRISTINA
I'm going to take care of you, Uncle
Klaus...whether you like it or not.
Klaus glances over at Michael, shakes his head, Michael
grins. As they enter the elevator:
CUT TO
EXT. FOUNDATION - NIGHT
still, dark, except for the lights on the grounds. We
begin to see dark figures, dressed in commando garb, moving
through the shadows.
ANGLE ON A SECURITY GUARD
making the nightly rounds. He hears a sound, turns his gun
at the ready. Suddenly a thin wire garrot is wrapped around
his neck and tightened. The guard struggles briefly, choking
for air, then collapses.
ON THE BUILDING
as several commandos reach the building, move to the doors
at the rear of the building.
CLOSE ON THE COMMANDOS
as one of the commandos checks his watch. At the other
doors, we see the other commandos doing the same thing.
The first commando raises his hand, in a signal. He waits,
counting down, then drops his hand.
ANGLE - WIDER
as the commandos move in a single synchronized action,
against the doors. Locks are blown off, doors kicked
open. As the commandos rush inside, we go to:
INT. FOUNDATION - NIGHT - DEVON'S OFFICE
Where we find Devon and April going over some paperwork.
Both of them look up, startled by the noise. Without a
word, they both rush to the door, open it and exit.
INT. FOUNDATION - NIGHT - IN A CORRIDOR
The first wave of commandos move down the corridor. A
night watchman comes rushing around the corner, spots
them. Before he can reach his gun, he's taken out by two
of the men. They drop him and move on.
EXT. FOUNDATION - NIGHT - ON THE FRONT DOOR
A light from the inside, flashes once, then again. An
answering light flashes from the driveway, and then a car
pulls silently up the drive and parks. It's the black
limo. The door swings open and Garthe, dressed in his
characteristic black, steps out. His hair has been cut,
his shaggy beard trimmed to precision, his diamond earring
is back in place and he's carrying the diamond-tipped
cane. As he strides toward the front door like he owns the
place, we:
CUT TO
INT. FOUNDATION - NIGHT - THE FOYER
as Devon and April come hurrying down the corridor, into
the foyer. Just in time to see Garthe step through the
shattered front door. He stands, smiling coldly at Devon
and April, both of whom are too startled to speak.
GARTHE
I have returned.
Off Devon and April's stunned reaction, we:
OMITTED
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
EXT. HOTEL - NIGHT
The Trans Am is parked in front of the hotel. We see
Michael and Christina walking toward it. Christina's
smiling.
CHRISTINA
So, this is what it's like.
MICHAEL
What?
CHRISTINA
The real world.
(smiling)
I've been so busy growing up and
going to school, I haven't had a
chance to see much of it.
MICHAEL
Well, you've got a lot to look
forward to. And a lot of time to
look.
CHRISTINA
That's why I came with Uncle Klaus.
I'm thinking of moving out here this
fall.
(smiling)
You know, away from home, the
family, everything that's been so
secure and dependable for so long....
Christina thinks about this for a moment. Her face falls
slightly.
CHRISTINA
Wow...thinking about it sounds real
exciting. Hearing myself say it
sounds pretty scary.
Michael smiles, takes her hand.
MICHAEL
It's both. Exciting and scary.
What you need is an experienced tour
guide....
CHRISTINA
I do?
MICHAEL
Which I happen to be...despite what
anyone else says. Mature. Wise.
Experienced. How's that sound?
CHRISTINA
(a beat)
A little scary.
(then
smiling)
And exciting.
MICHAEL
Perfect. We leave at ten sharp.
Okay?
CHRISTINA
Okay.
They both smile. Michael leans over, kisses her. As he
jumps into K.I.T.T. and drives off, we:
CUT TO
EXT. FOUNDATION - NIGHT
From the outside, things look peaceful. Even serene. Only
the presence of a van, a Bronco and a black limo indicate
anything out of order. But, inside:
INT. FOUNDATION - DRAWING ROOM - NIGHT
Chaos. The room has been completely ransacked: furniture
broken and torn, paintings slashed. Everywhere we see
wanton destruction. As we pan the room, a commando, with
two Foundation employees at gunpoint, moves down a corridor.
In the distance, we hear shouting, things breaking, possibly
even gunfire. Over this, we hear:
GARTHE'S VOICE
I want Michael Knight!
CUT TO
INT. DEVON'S OFFICE - NIGHT - CLOSE ON BOOTS
propped up on Devon's antique desk. Everything else has
been pushed onto the ground. We pull back to reveal Garthe
sitting in Devon's chair, smoking one of his hand-rolled
Jamaican cigars. Dropping the ashes on the priceless
Persian rug under him. Devon and April sit in front of the
desk.
DEVON
If you think for an instant that
we're going to give you any
information about Michael, you're
sadly mistaken! This madness will
never succeed.
Garthe slams his fist down on Devon's desk with a
thunderous crash.
GARTHE
As always, you, and everyone like
you, have underestimated me. I will
succeed...it is my destiny.
DEVON
Your destiny is self-destruction.
Garthe laughs loudly, smashes the half-smoked cigar down on
the desk top. Devon blanches at this act of blasphemy.
GARTHE
Destruction, yes. But it's going to
be Michael Knight's, not mine.
(harshly)
And you are going to be the instru-
ments of that destruction.
Garthe pulls an automatic pistol from his belt, turns it on
Devon and April.
GARTHE
Get up. You're coming with me.
Devon rises, furious.
DEVON
No! You're out of your mind if you
think....
A shot rings out, exploding the vase behind Devon's head.
April screams, jumps to Devon's side. Garthe laughs. Then
the smile is gone.
GARTHE
Move!
April and Devon slowly head for the door. Garthe stuffs a
handful of Devon's cigars into his pocket, follows them.
CUT TO
EXT. HIGHWAY - NIGHT - STOCK
as the Trans Am cruises by nearing the Foundation.
INT. TRANS AM - NIGHT
Michael and K.I.T.T. are talking.
MICHAEL
Sure did.
K.I.T.T.
The food...or the company?
MICHAEL
Both.
(beat)
Hey, what's the third degree?
K.I.T.T.
Just checking. My sensors indicate
some interesting biochemical activity
in your body. Not related to diges-
tion, I might add.
MICHAEL
Meaning?
K.I.T.T.
You tell me. Either you had a
scintillating conversation with
Doctor Bergstrom...or you and
Christina found something to chat
about.
MICHAEL
I don't have to respond to that....
Michael responds to something in the road ahead.
MICHAEL
That's strange. The Foundation
gates are wide open.
K.I.T.T.
Yes. And I get no response from
security. Something's wrong,
Michael!
MICHAEL
Just what I was thinking. Let's hit
it, pal!
Michael steps on it, roars toward the Foundation entrance.
OMITTED
EXT. FOUNDATION - NIGHT
as the Trans Am screeches to a halt in front of the
Foundation, Michael jumps out and runs toward the building.
He finds the front door hanging loosely on its hinges,
hurries inside to:
INT. FOUNDATION FOYER - NIGHT
as Michael stops, surveying the results of Garthe's
commando raid. It should be devastation in every direction.
MICHAEL
Oh, my God...!
Michael turns, starts to hurry out of the room.
MICHAEL
(shouting)
Devon! April!
Before he can get much further, a bloodied Foundation
executive, Kathy Cunningham, staggers into the room.
She's in shock.
MICHAEL
Kathy! What happened?
Cunningham shakes her head, trying to gather her thoughts.
CUNNINGHAM
There was a raid...commandos...he
captured Devon and April.
MICHAEL
He? Who are you talking about?
CUNNINGHAM
Garthe Knight. He came looking for
you, Michael...when he couldn't find
you, he took Devon and April.
Off of Michael's stunned reaction, we:
CUT TO
EXT. MANSION - DAWN
The limo, followed by the van, pulls up and parks in front of
the mansion. Garthe climbs out of the limo, stands waiting
as Devon and April are pulled roughly out of the back of
the van by two armed guards. Garthe smiles at them.
GARTHE
I trust your journey was pleasant.
Devon and April don't answer. The guards push them after
Garthe as he heads into:
INT. MANSION - ENTRANCE AREA - DAY
Garthe gestures to the beautiful home.
GARTHE
Voila. Isn't it amazing what money
can buy?
Just at this moment, we hear:
ADRIANNE'S VOICE
It certainly is. Absolutely amazing.
Everyone turns to watch as Adrianne comes down the
staircase toward them. A perfectly timed entrance. She
knows it as she smiles at Devon and April.
DEVON
Adrianne Margeaux.
APRIL
We heard you'd got out of prison.
ADRIANNE
Out? Darling, I was never in.
(smiling)
Money also buys the best lawyers in
the country.
(meaning
Garthe)
Isn't it fascinating the friends we
have in common?
Devon barely glances toward Garthe.
DEVON
Garthe Knight is not a friend.
Adrianne glances at Garthe, smiling sympathetically.
ADRIANNE
Poor Garthe. People say such nasty
things about him.
(beat)
But, I'll bet they say nothing but
good things about Michael Knight.
I'll bet he is so...good.
Adrianne laughs. Garthe frowns deeply, gestures to the
guards.
GARTHE
I was just showing them to their
rooms.
ADRIANNE
By all means. I do hope the bath
towels match.
With that, Garthe heads downstairs. Devon and April are
hustled after him. Hold on Adrianne, and then go to:
INT. MANSION - BASEMENT CORRIDOR - DAY
With Garthe leading the way, we move down the corridor. He
stops at a heavily armored door, opens it.
GARTHE
This is something I designed
myself. What do you think?
The guards force Devon and April to peer into:
INT. DUNGEON - DAY
A stone prison -- precisely the sort you'd expect to find
if you were doing hard time somewhere in deepest, darkest
Africa. Stone stairs lead down to a dirt floor. Stone
walls, damp with moisture and algae, enclose the dark, dank
space which is furnished only with a wooden cot. The air
almost smells of death and decay. A single, harsh light
bulb casts eery shadows on the filthy walls.
BACK TO DEVON AND APRIL
recoiling at the sight and the smell of the room. Garthe
laughs.
GARTHE
Lovely, isn't it? But, don't even
think about it. It's reserved for a
very special guest. My sincerest
apologies.
Devon and April exchange a look. Garthe points to the next
room over. A guard opens the door and they're pushed.
CELL #1
A small, antiseptic room. White, peeling paint is lit by a
single bulb. A small grate, enough for some air and a
sliver of sunlight, is set in the ceiling. Two steel cots
flank opposite walls. A pail, water container and cups sit
on the floor. Devon and April stand, stunned.
GARTHE
With luck, he'll be here soon.
(beat)
For your sake, I hope he is.
With that, Garthe slams the door with a resounding thud.
Hold on Devon and April, and then:
CUT TO
EXT. FOUNDATION - DAY
The Trans Am is parked outside. Police cars, two or three,
are also present.
INT. FOUNDATION - DEVON'S OFFICE - DAY
Michael's just finished an interview with the police. A
Lt. Chatsworth is talking with him. Michael can't stop
pacing. He's distraught.
MICHAEL
Look, you know about as much as I
do. Probably more, since you've
talked to people who were here.
When I arrived, he'd hit the place
and gone.
(beat)
With Devon and April....
CHATSWORTH
This guy Knight...any idea where he
might have gone?
MICHAEL
No. I don't know where he took
them, or why.
(beat)
Or what he's planning to do with
them.
There's a moment of silence. We see that Michael's very
troubled by what's happened. Tortured. He abruptly turns
to Chatsworth.
MICHAEL
Look, if there's nothing else....
CHATSWORTH
Not for now. We'll be in touch.
Michael nods, quickly exits the room. As he does:
CUT TO
EXT. FOUNDATION - DAY
as Michael comes hurrying out of the Foundation. He stops,
turns to look back at the building, thinking hard. He
crosses to:
THE TRANS AM
Michael walks up, opens the door, sits down. A moment of
silence.
MICHAEL
I've been all through the Foundation,
Kitt. He didn't leave a clue.
Nothing....
K.I.T.T.
Perhaps the police will find some-
thing.
MICHAEL
Perhaps isn't good enough, pal.
(shakes head)
There's gotta be something.
There has to be....
Michael stares out at the driveway, thinking.
MICHAEL
Even if there's nothing inside, they
might have left us something out
here...scan the driveway area, Kitt.
K.I.T.T.
Certainly, Michael....
Michael gets out of the car, looks around.
K.I.T.T.
I'm afraid there's nothing...no,
wait, there is something! A trace
of radiator coolant that one of the
vehicles was leaking.
MICHAEL
(excited)
Can you follow it?
K.I.T.T.
I'm not sure. It depends on how
consistent the dripping is, the
amount of liquid, the weather
conditions, the....
MICHAEL
Enough talking. Let's give it a
go....
Michael jumps into the Trans Am. As it pulls out, we:
CUT TO
OMITTED
EXT. REMOTE HIGHWAY - DAY - STOCK
as the Trans Am races by.
INT. TRANS AM - DAY
Michael's hunched over the wheel.
K.I.T.T.
Michael, you mustn't worry.
MICHAEL
(tense)
That's like telling water it
shouldn't be wet.
K.I.T.T.
All I mean is we're going to find
them. These tracks are remarkably
clear.
MICHAEL
Sorry, pal. I'm a little tense.
With Garthe and Goliath both back in
action, anything could happen.
K.I.T.T.
(alarmed)
Did you say Goliath?
MICHAEL
Yep. They used it to break Garthe
out of prison.
K.I.T.T.
(more worried)
But, Michael, we destroyed that ugly
monstrosity.
MICHAEL
We sure did, but somehow they put
the pieces back together.
K.I.T.T.
Oh, dear. What an unsettling
thought. Who could have done such a
horrible thing?
Michael shakes his head.
MICHAEL
Good question. Who. And, why?
Garthe hates me more than anything
on Earth, but he's also greedy --
for money, and power. Whatever he's
up to is more than a personal
vendetta, Kitt. I'm sure of it.
(beat)
But, what's he after this time?
GARTHE'S VOICE
I want it all.
CUT TO
INT. MANSION - DAY - CLOSE ON GARTHE
taking a long swallow from a glass of champagne, then
filling his glass to overflowing again.
GARTHE
A new life, a new future...and my
revenge.
Pull back to reveal Adrianne sitting next to him. She
looks at him critically, almost scornfully.
ADRIANNE
You have your life. Before long,
your future will be assured. Forget
this childish revenge....
Garthe turns on Adrianne, close to fury.
GARTHE
No! Nothing means a thing to me
without that. It is essential.
ADRIANNE
It's foolish! And you're going to
jeopardize this project because of
it. I won't allow it.
Garthe stares at Adrianne, a smile spreading slowly across
his face.
GARTHE
How intriguing. I hadn't really
appreciated the extent of your
interest in Michael Knight.
ADRIANNE
My interest in Michael Knight is
none of your business.
GARTHE
Oh, but it is. You want him alive,
and I want him dead.
(beat)
One of us is going to be terribly
disappointed.
Before Adrianne can respond, Dr. Moritz steps into the
room. He smiles that charming smile of his.
MORITZ
I hope I'm not interrupting
anything, but I have something to
show you.
(smiles)
He turned out better than even I
anticipated....
Moritz turns, claps his hands.
OMITTED
ANGLE ON THE DOOR
We see someone moving down the stairs from the second
floor. In the shadows we can't see who it is, until he
steps into the doorway. Then, we see:
KLAUS BERGSTROM
Actually, not the real Bergstrom, but a plastic surgery
recreation that is so accurate he looks exactly like the
real thing. We will refer to him as Klaus #2 to distinguish
him from the actual Bergstrom.
ANGLE - WIDER
as Moritz beams at his work.
MORITZ
Doctor Klaus Bergstrom.
Garthe and Adrianne stare, impressed.
ON KLAUS #2
as he nods to them. He's so real, so right, that it's like
seeing the actual Bergstrom. Hold on him, and then:
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
OMITTED
EXT. REMOTE MANSION - DAY
From the outside it looks peaceful, benign.
INT. CELL #1 - DAY
Devon is standing on a chair examining the barred window
for weak spots.
WIDER ANGLE
April is at the door, listening for anyone approaching.
She reacts.
APRIL
Someone's coming.
Devon moves off the chair, returns it to its original
position as feet stop outside. Keys in the heavy
dead bolt. The door opens to reveal Garthe and Adrianne.
ADRIANNE
Good morning. Breakfast will be
along shortly.
She notices the chair, glances at Devon, smiling. Garthe
eyes April appreciatively.
ADRIANNE
Doing your morning calisthenics?
DEVON
I beg your pardon.
ADRIANNE
Someone's been standing on the
chair. I'd hate to think you're
trying to escape.
GARTHE
He doesn't have the will or the
imagination.
Garthe's gaze leaves Devon, turns on April. He obviously
likes what he sees. April feels the stare, keeps her eyes
away from him. Garthe moves toward her.
GARTHE
(to April)
You, on the other hand, have some-
thing very special. Beauty, grace,
elegance....
Garthe reaches out to stroke April's hair. She tolerates
it for a split second, then turns and slaps him hard across
the face. The sound of the blow echoes through the cell.
Garthe barely flinches from the slap. Adrianne smiles
slightly, enjoying Garthe's dilemma. Devon moves
protectively to April.
GARTHE
You remind me of a filly I once
owned. She came to me wild, full of
spirit. It took me two weeks to
break her.
(beat)
I enjoyed every minute of it.
ADRIANNE
Now, now, Garthe. Your fangs are
showing.
(to Devon and
April)
I hate to dash your hopes, but this
isn't a purely social visit. There's
someone I want you to see.
She turns to the open door and as if on cue a man appears.
It's Klaus Bergstrom. Devon and April react.
DEVON
Klaus!
Devon moves toward him.
DEVON
Are you all right? Did they hurt
you?
Adrianne and Garthe, watching, look pleased.
ADRIANNE
Bravo! Congratulations!
Klaus (actually Klaus #2) smiles and bows. Devon and
April look puzzled, bewildered.
KLAUS #2
Thank you.
(to Devon)
Good day.
He turns and leaves.
DEVON
(furious)
What have you done to him!
ADRIANNE
Nothing a little corrective surgery
won't remedy. You see, that was not
Klaus Bergstrom. A rather good
imitation, don't you think?
Garthe chuckles. On Devon's reaction:
CUT TO
EXT. REMOTE MANSION - DAY
A limo pulls up in front. The driver jumps out, opens the
rear door as Garthe, Adrianne and Klaus #2 come out of the
house. They cross to the limo and climb in. The driver
closes the door and returns to the drivers seat. The limo
pulls out and swings down the long driveway.
CUT TO
EXT. COUNTRYSIDE - DAY
K.I.T.T. appears over a rise.
ANGLE IN K.I.T.T.
Michael checks the monitor. K.I.T.T. speaks, his voice a
little strained.
K.I.T.T.
The spots seem to be increasing in
size, Michael.
Michael glances ahead.
HIS POINT OF VIEW
Fifty yards ahead a narrow road intersects the two-lane
road they're on.
BACK TO MICHAEL
He glances between the monitor and the road ahead.
MICHAEL
They turned off on that road. We may
be getting somewhere, pal.
K.I.T.T.
(worried)
In a manner of speaking....
Michael checks the dots on the monitor, turns off on the
narrow road. As he does:
MICHAEL
What's the matter?
K.I.T.T.
(beat)
Nothing's the matter.
MICHAEL
There's one thing about computers,
Kitt. They're terrible liars.
What's wrong?
K.I.T.T.
(another beat)
If I was human I'd diagnose it as an
anxiety attack. You don't suppose
this could be a trap, do you,
Michael?
OMITTED
ANGLE IN K.I.T.T.
MICHAEL
With Garthe anything's possible.
K.I.T.T.
Is that also true of Goliath?
MICHAEL
What do you mean?
K.I.T.T.
Is it possible he's been made
invulnerable?
Michael hesitates.
K.I.T.T.
You're hesitating.
MICHAEL
To hesitate is human.
K.I.T.T.
I thought to err is human.
MICHAEL
Both are.
K.I.T.T.
And now you're stalling.
MICHAEL
(beat)
It's possible.
Silence from K.I.T.T.
MICHAEL
You okay?
K.I.T.T.
That depends on how one defines
'okay.'
MICHAEL
Now you're stalling.
K.I.T.T.
All right -- no. I am not 'okay'.
The thought of meeting Goliath again
is quite unsettling.
MICHAEL
Join the club, pal.
K.I.T.T.
Thank you, I'd rather not.
CUT TO
EXT. BERGSTROM'S HOTEL - DAY - TO ESTABLISH
INT. SUITE - DAY
Christina is in her room, on the phone. Beyond her, in the
adjoining living room, we can see Klaus glued to a football
game on TV. His sprained ankle is resting on a footrest.
CHRISTINA
(into phone)
Michael Knight, please.
(listens)
I see...no, it's not important.
Please tell him Christina called.
Thank you.
She hangs up, puzzled.
CHRISTINA
(to Klaus)
That's strange.
No response.
CHRISTINA
He's supposed to be here at ten.
Where do you suppose he could be?
Still no response. She crosses.
ANGLE FROM LIVING ROOM
as she enters. Klaus hasn't moved.
CHRISTINA
Uncle Klaus?
He grunts absently, absorbed. She shakes her head, smiles,
crosses to turn down the TV.
CHRISTINA
You. Look at you. A man of your
intelligence, your vision -- you come
to America to enlighten the world on
laser technology and before I know it
you're like every other American
male...glued to a TV set watching
football.
KLAUS
But, what an incredible game, Christina!
These Americans are crazy! Have you
ever watched them play football?
CHRISTINA
(smiling)
It's got you hooked, Uncle Klaus. If
Aunt Heidi was here she'd be a football
widow already.
KLAUS
(laughing)
Heidi understands a man has two wives
-- the woman he marries and his work.
So what is this 'football widow?'
CHRISTINA
In America, a third wife.
KLAUS
Too many.
He switches off the set, looks at her.
KLAUS
What's wrong?
CHRISTINA
Nothing.
KLAUS
No football. I have two wives, one
niece. What's wrong?
CHRISTINA
(beat)
It's Michael. He promised he'd call
this morning and I can't reach him
at the Foundation.
Klaus smiles.
KLAUS
He likes you.
CHRISTINA
(covers)
I'm not...That's not why I'm concerned.
Klaus laughs, gets up and puts an arm around her.
KLAUS
It sounds to me like something's got
you hooked too.
(another laugh)
You were going shopping. So, go. If
he calls I'll tell him you're out with
a handsome young man who adores you.
CHRISTINA
(laughs)
Don't you dare.
She picks up her purse, heads for the door. She blows him a
kiss and leaves. He crosses back to the TV, turns it on and
plops in a chair. He watches, fascinated. A knock on the
door. Klaus sighs, gets up and crosses to the door, limping
slightly.
KLAUS
Christina, how is he supposed to
miss you if you never go away?
The door opens, he stares in disbelief.
REVERSE ANGLE
He is staring at himself. Klaus #2 smiles.
KLAUS #2
Good day.
Before Klaus can respond, Garthe materializes, grabs him
and slaps a chloroform gauze over his mouth.
CUT TO
OMITTED
INT. HOTEL - LOBBY - DAY
as the elevator opens and Christina steps out. She crosses
to:
THE RECEPTION AREA
where a female clerk is behind the desk. Chrisitna crosses
to her, her room key in her hand.
CHRISTINA
Hi...I'd like to leave my room key.
CLERK
Of course....
The Clerk looks more closely at Christina.
CLERK
Aren't you Dr. Bergstrom's niece?
CHRISTINA
Yes.
CLERK
(giggling)
He is so handsome. He just walked
through the lobby and the girls
behind the desk couldn't stop
staring.
Christina looks at the Clerk curiously.
CHRISTINA
You just saw my uncle?
CLERK
A few minutes ago.
CHRISTINA
On his way out?
CLERK
No. I think he was returning to his
room.
Christina stares at the Clerk, confused. She takes her key
back, turns and heads toward the elevator. She enters, the
door closes and we go to:
INT. CORRIDOR - ANGLE ON ELEVATOR - DAY
as the doors open and Christina steps out. She turns to
walk to her room, stops, startled, when she sees:
GARTHE AND ADRIANNE
wheeling a man whose face we don't see toward the elevator.
Christina's eyes catch Garthe's for a moment.
GARTHE
Excuse us, please.
Christina moves out of the way and Garthe wheels the man
into the elevator. Adrianne follows. The doors close,
leaving Christina in the hallway, staring at the elevator.
Lost in thought. She turns and hurries down the corridor
to her room. As she fiddles for her key and the lock:
CHRISTINA
Uncle Klaus....
INT. SUITE - DAY
The door opens and Christina hurries.
CHRISTINA
Uncle Klaus...!
Klaus #2 is seated in front of the TV. He looks up at her
absently, smiles.
KLAUS #2
What is it, Christina?
Christina stares at Klaus #2 for a beat.
CHRISTINA
(beat)
Were you just downstairs?
KLAUS #2
If I was, I'm more of a genius than
even I thought. Being in two places
at the same time would be quite a
feat...
(smiling)
And, depending on the circumstances,
quite a treat.
Klaus #2 chuckles. Christina crosses, taking off her
coat. She looks a little perplexed.
CHRISTINA
I just had the most remarkable
experience. There was a man getting
on the elevator who looked so much
like Michael Knight. Except for his
beard....
Klaus #2 looks up at Christina, a trifle too sharply. Then
he smiles.
KLAUS #2
And now men are starting to look
like Michael...that's a bad sign.
(shaking his
head)
I thought you were supposed to be
keeping an eye on me....
He laughs again, returns to the television. Christina
finally smiles a little. She crosses to him.
CHRISTINA
Well...?
No response.
CHRISTINA
You're terrible. All right, I'll
ask...did he?
For an instant, Klaus #2 looks strange, oddly off balance.
Then, characteristically, he laughs.
KLAUS #2
My mind is on a thousand things. I
have no idea what you're talking
about here. Football?
She throws a pillow at him.
CHRISTINA
I'm talking about Michael and you
know it!
KLAUS #2
Ah! Michael! Why didn't you say so?
CHRISTINA
Did he call?
KLAUS #2
No.
She throws another pillow at him and marches into her
bedroom in mock anger. He laughs. He's perfect in every
detail. Only his eyes are different. His eyes are flat
and cold.
CUT TO
OMITTED
EXT. RURAL ROAD - DAY
K.I.T.T. appears, tracking. The road winds deeper and
deeper into the hills.
ANGLE IN K.I.T.T.
Michael is alert and watchful behind the wheel. The red
dots on the monitor beep rhythmically.
MICHAEL
You're awfully quiet. Still thinking
about Goliath?
K.I.T.T.
No. Devon and April.
MICHAEL
Me too.
K.I.T.T.
I'm used to worrying about you. I
expect to worry about you. But
Devon and April...I feel so helpless.
MICHAEL
Think of it as a temporary situation.
We'll find 'em.
K.I.T.T.
Michael, we've just found something.
Michael reacts, hits the brakes.
OMITTED
HIS POINT OF VIEW
Off the road is a marshy, soft area, and in the center is
an old car with two figures in it, unclear from this
distance. Except one looks like Devon and the other like
April.
BACK TO MICHAEL
He stares.
MICHAEL
Kitt, give me a reading, quick! Is
that Devon and April?
Michael pushes buttons on the dash and we see:
ANGLE ON MONITOR
The two figures appear.
ANGLE ON MICHAEL
watching.
K.I.T.T.
Those figures aren't human. They're
wearing Devon's and April's clothing,
but their bodies are made of
polyurethane.
MICHAEL
Mannequins. Let's take a closer
look.
WIDER ANGLE
K.I.T.T. drives onto the marshy area, pulls up next to the
old car. Michael cautiously gets out.
MICHAEL
I think we've been lead on a wild
goose chase, pal.
K.I.T.T.
But why?
MICHAEL
Garthe Knight's the only one who
could answer that one, pal.
Michael crosses to the old car, peers inside, trying to
figure it out. His feet sink an inch in the soft cover.
K.I.T.T.
(alarmed)
Michael!
MICHAEL
Yeah, Kitt.
K.I.T.T.
I think I'm...sinking.
Michael reacts, glances back.
ANGLE ON K.I.T.T.
His wheels are half-submerged.
ANOTHER ANGLE
Michael starts toward him, his feet sinking with each step.
MICHAEL
Kitt, self-activate!
K.I.T.T. fires up.
MICHAEL
I don't want to add any weight. Go
into auto pilot and start forward
slowly.
K.I.T.T. complies, but his wheels spin, unable to gain
traction.
K.I.T.T.
Michael, traction is impossible!
I'm sinking deeper!
Michael glances around, desperate.
MICHAEL
Try your grappling hook!
K.I.T.T. activates it.
ANGLE ON GRAPPLING HOOK
It discharges, lands harmlessly in the brush.
ANOTHER ANGLE
K.I.T.T. is going down.
K.I.T.T.
Michael, is this it? The big adios?
MICHAEL
Hang on, buddy.
He moves for the brush, each step sinking to his ankles.
Slowly, he reaches the safe edge of the bog.
ANGLE ON GRAPPLING HOOK
He grabs it, pulls with all his might and hooks it onto a
tree.
MICHAEL
Now try it. Easy. Nice and easy.
ANGLE ON K.I.T.T.
as K.I.T.T.'s winch slowly retrieves the line. For a
moment, it looks as if the tree will give under the strain,
but inch by inch K.I.T.T. is pulled toward safety.
ANGLE ON MICHAEL
relieved. But at the same time he feels Garthe's presence,
can almost hear him laughing.
ANGLE ON MANNEQUINS
dressed in Devon's and April's clothes. Lifeless. A
bizarre, eerie sight.
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
EXT. MARSH AREA - DAY
K.I.T.T. is on the firm ground. Michael unlocks the grappling
hook, crosses back to K.I.T.T.
K.I.T.T.
What a relief.
(beat)
Michael, look.
HIS POINT OF VIEW - THE OLD CAR
begins to sink.
BACK TO THEM
as Michael climbs in, punches buttons.
MICHAEL
Lets see what was holding it up.
A visual appears, showing wood planks beneath the car.
K.I.T.T.
A crude wood flotation system.
MICHAEL
(thoughtful)
I wonder whether Garthe expected us
to go under...or whether this was
designed to buy time.
K.I.T.T.
Time for what?
MICHAEL
I don't know, Kitt. I'll feel a lot
better when I do.
He glances out the window.
HIS POINT OF VIEW - THE OLD CAR
goes under, the lifeless faces of Devon and April, disap-
pearing in the bog.
MICHAEL
He shudders, puts K.I.T.T. into gear.
MICHAEL
Let's give this place the big adios.
K.I.T.T.
The sooner the better.
WIDE ANGLE
K.I.T.T. skirts the bog, reaches the road and heads back.
Camera pans up to the mountain above the bog.
CLOSE ANGLE - MOUNTAIN
as we see a commando watch K.I.T.T. through binoculars.
CUT TO
INT. HOTEL SUITE - DAY
Klaus #2 is reviewing his notes for the symposium. The
phone rings.
CHRISTINA'S VOICE
I'll get it.
ANOTHER ANGLE
She answers the phone.
CHRISTINA
(into phone)
Hello...yes....
He looks up, smiling.
KLAUS #2
Michael?
She shakes her head, disappointed.
CHRISTINA
(into phone)
I'll tell him. Thank you.
She hangs up.
CHRISTINA
That was Mr. Andrews. He wanted you
to know the press conference has been
finalized for 10:30 tomorrow morning.
KLAUS #2
I hate press conferences.
He puts his notes down, rises, stretches.
KLAUS #2
I tell you, Christina, the one thing
I'm going to miss the most when I
get back to Sweden is watching
football...especially the beer
commercials. There's more violence
in them than the game itself!
With that, Klaus #2 begins to the kitchen.
CHRISTINA
Where're you going?
KLAUS #2
To get a beer, of course. I'm sure
if the U.S. government found me
watching football with one they
could have me arrested.
Christina laughs, then noticing Klaus #2's walk.
CHRISTINA
Your ankle!
KLAUS #2
What?
CHRISTINA
(stares)
Your ankle...you twisted it yesterday....
KLAUS #2
Yes, of course. It's much better.
He smiles at her but his eyes are cold. She tries to smile
back, glances away, moves to her bedroom. He watches her,
wondering.
CUT TO
EXT. REMOTE MANSION - DAY
The van pulls up and parks. The driver hurries to open the
rear door. Garthe and Adrianne watch as Klaus is wheeled
out, still semiconscious.
INT. CELL ROOM - DAY
Devon is back at the barred window, trying to loosen the
bolted bars with a short length of tubing from the lamp
which he's fashioned into a crude screwdriver. April
listens at the door, hears something.
APRIL
Someone's coming.
DEVON
As if this wasn't already difficult
enough.
He climbs down, rearranges things just as the dead bolt is
unlocked. The door opens and Garthe and Adrianne wheel
Klaus in.
ADRIANNE
A visitor.
They react.
DEVON
Klaus?
(to them)
What have you done to him?!
They unload him onto the bed. April immediately checks his
eyes, his pulse.
ADRIANNE
Nothing time won't cure.
APRIL
(to Devon)
His pulse is strong.
GARTHE
He's too valuable to injure. Unlike
you.
DEVON
Too 'valuable'? What do you intend
to do with him? Sell him on the
open market to the highest bidder?
ADRIANNE
Close. Except the bidding is all
over. It's now just a simple task
of delivering the goods.
APRIL
But as soon as they discover he's
missing....
GARTHE
Missing? Why he's with his lovely
niece right now, most likely getting
ready for tomorrow's press conference.
April and Devon look over to Klaus as Garthe laughs, then:
GARTHE
(crossing to
window)
How's the great escape coming?
He checks the bars, smiles coldly.
GARTHE
Tedious work. Believe me, I know.
They leave, bolting the door behind them. Devon crosses to
April and Klaus. He stirs and moans.
APRIL
He's coming to.
DEVON
What's that smell?
APRIL
Chloroform.
They exchange looks. Devon paces.
DEVON
Is it possible to duplicate a man so
closely he won't be discovered as a
fraud?
APRIL
If he were home, among family and
friends, I'd say no. Here, where
no one knows him that intimately
...it's possible.
CUT TO
INT. COMMUNICATIONS ROOM - DAY
A room converted to a high-tech communications center with
state-of-the-art equipment.
TECHNICIAN
The trap didn't work. Michael
Knight escaped.
We widen to include Adrianne and Garthe.
GARTHE
I wanted so much to pick him up
myself.
ADRIANNE
You see, as I told you...Michael is
not so easily 'taken.'
TECHNICIAN
I have also made contact with the
sub. Pick-up time is still seventeen
hundred hours.
Garthe looks at the monitors a moment, then:
GARTHE
Doesn't leave me much time to give
Knight my little present.
(to Adrianne)
Oh, of course, I forgot. That kind
of talk upsets you....
ADRIANNE
My only interest in Michael Knight is
in obtaining the Knight Industries
Two Thousand...nothing more.
GARTHE
(dry)
I see...your motives are only
'technical.'
ADRIANNE
(hard)
My motives are my own business. We
both want Knight for different reasons
...I suggest we try not to knock each
other off the track in the race to get
him.
(then,
seductively)
In the meantime, got any ideas on
how to pass a quiet afternoon?
On her smile:
CUT TO
OMITTED
EXT. TWO-LANE ROAD - DAY
K.I.T.T. flies by.
K.I.T.T.'S VOICE
The Foundation is calling.
ANGLE ON K.I.T.T.
Michael pushes buttons. Kathy's face appears on the monitor.
KATHY
Hello, Michael. Any luck?
MICHAEL
I thought I had a lead, but it
turned into a dead end. Anything
from the police?
KATHY
Nothing so far. Christina's been
calling.
MICHAEL
Look Kathy, I don't have time to
babysit. Finding Devon and April is
a lot more important right now.
KATHY
I understand, but this last call was
different. She sounded frightened.
Said it was urgent.
MICHAEL
I better check it out.
He punches out, thoughtful.
K.I.T.T.
It's strange, isn't it?
MICHAEL
What?
K.I.T.T.
Seeing someone other than Devon or
April on the monitor.
MICHAEL
Real strange, pal.
(beat)
I hope Christina's all right.
K.I.T.T.
Why wouldn't she be?
MICHAEL
I don't know. Just an uneasy feeling
that Devon and April's disappearance
and Christina's concern might just be
connected.
He pushes pursuit.
WIDER ANGLE (UNDERCRANK)
K.I.T.T. surges forward, doubling his speed within seconds.
CUT TO
EXT. HOTEL - DAY
K.I.T.T. pulls up and Michael jumps out.
OMITTED
INT. HOTEL LOBBY - DAY
Michael enters, looks around. Christina sees him and runs
up to him...throwing her arms around him.
CLOSER ANGLE - CHRISTINA AND MICHAEL
as she looks up at him.
CHRISTINA
I'm sorry. I'm just so...so confused,
and I was afraid I was never going to
see you again.
MICHAEL
There was some business I got caught
up in...that's why I couldn't call.
CHRISTINA
Well, you're here now, and I've just
got to see if...if I'm losing my
mind.
MICHAEL
What is it?
CHRISTINA
Uncle Klaus. I know it sounds
crazy, but it's like he's not the
same person.
MICHAEL
Did something happen?
CHRISTINA
It's nothing big, just little things
...like remember when he twisted his
ankle? Well he's been walking around
the hotel room as if nothing was wrong.
When I asked him about it, he looked
at me as if he didn't know what I was
talking about.
Michael looks away from Christina, soaking in the news.
CHRISTINA
Michael? Do you think I'm crazy?
MICHAEL
There's been a lot stranger things
going on lately. Nothing would
surprise me now. I just hope it's
not all related.
(then)
We better pay your uncle a little
visit.
CUT TO
INT. SUITE - DAY
Klaus is polishing his shoes as Michael and Christina
enter. He looks up, smiles.
KLAUS #2
Ah, you found him.
CHRISTINA
Yes. Finally.
MICHAEL
Hello, doctor.
They shake hands, ad-lib greetings. Without making a point
of it, Michael watches him closely.
MICHAEL
Going dancing?
KLAUS #2
Ha. A press conference tomorrow
morning. The last one I attended
in Stockholm, the reporters paid
more attention to a hole in my shoe
than my work. This time I'm ready
for them.
Michael smiles.
KLAUS #2
Will you join us for dinner? I've
been invited by the International
Laseroptics Society. Boring, but
the food is magnificent.
Michael smiles, crossing for the door with Christina.
MICHAEL
I've got a few things to take care
of. Thanks anyway.
He opens the door. They shake hands, ad-lib good-byes.
MICHAEL
(pauses)
Oh, by the way. Those tickets to
Disneyland I mentioned? Can't get
'em until next week. You'll be gone
by then. Well if it makes you feel
any better, your favorite ride, the
Matterhorn, is down for repairs. I
know how much you were looking forward
to it. Having climbed it and all.
KLAUS #2
I guess it wouldn't be the same as
the real thing anyway. Perhaps next
time.
Michael smiles, takes Christina's arm.
MICHAEL
Walk me down?
ANGLE IN HALLWAY
They come out, closing the door behind them. His smile
disappears. He turns Christina to face him.
CHRISTINA
What was that all about?
MICHAEL
I don't know who that is in there,
but it's not Klaus Bergstrom. I
never mentioned anything about
Disneyland to him. And besides, your
uncle never climbed the Matterhorn.
He has vertigo.
She looks horrified.
CHRISTINA
Michael, where's my uncle? What ---
He motions her to be quiet.
MICHAEL
Right before we left I noticed your
'uncle' heading for the phone. I
think he might have feared he made a
mistake.
(comlink)
Kitt, tap into the hotel's phone
system. See if a call goes out from
room 611.
INTERCUT - K.I.T.T.
His systems activate.
K.I.T.T.
Right away, Michael.
MICHAEL AND CHRISTINA
Michael turns back to Christina.
MICHAEL
Christina, listen to me. Devon and
April have disappeared, and I think
there's a connection. I hate to ask
you to do this but ---
CHRISTINA
What?
MICHAEL
We can't afford to let them know we're
onto them. Can you --
(comlink beeps)
Yeah, Kitt.
K.I.T.T.'S VOICE
A call is going out, Michael.
MICHAEL
(comlink)
Trace it. I'll be right with you.
(to Christina)
Look, I can't ask you to go back in
there, it could be dangerous....
CHRISTINA
(stopping him)
I know what you're going to say. I
mean, if we were to expose this man
in there, it could mess everything
up, couldn't it?
MICHAEL
I'm afraid so. They're not after
you Christina. And for whatever
reason, it's important to them that
you two continue like nothing is
wrong. But it's up to you. I'll
understand whatever you decide.
Christina looks over at a painting on the hallway wall,
then:
CHRISTINA
If I stop and run away every time
the going gets hot, I might as well
lock myself into academia and forget
the real world altogether.
Michael smiles and gives her hands a squeeze.
MICHAEL
We'll find your uncle...I promise.
CHRISTINA
I believe you Michael.
With that Michael smiles, then disappears down the hall.
Christina looks after him for a moment, then heads back to
her hotel room.
EXT. HOTEL - DAY
Michael comes running out and jumps into K.I.T.T. They
leave rubber behind.
ANGLE IN K.I.T.T.
Michael punches buttons.
MICHAEL
I need an address on that number,
pal.
K.I.T.T.
It's a high-com unlisted number,
Michael. I'll have to go to the
heart of the phone company's
computers.
MICHAEL
Go.
EXT. STREET - DAY
K.I.T.T. flashes by.
K.I.T.T.'S VOICE
I have it, Michael.
MICHAEL'S VOICE
Plot me the fastest route.
CUT TO
EXT. RURAL COUNTRYSIDE - DAY
K.I.T.T. speeds by.
CUT TO
EXT. REMOTE MANSION - DAY - TO ESTABLISH
INT. COMMUNICATIONS ROOM - DAY
The Technician is picking up a surveillance signal. He
moves to the monitor, pushes buttons.
ANGLE ON MONITOR
We see K.I.T.T. approaching at high speed.
ANGLE ON TECHNICIAN
He reacts, grabs a phone.
TECHNICIAN
(into phone)
Get me Knight or Margeaux...quick!
CUT TO
INT. REMOTE MANSION LIVING ROOM - DAY
as we hear the buzzer of the phone. Garthe comes out from
the other room, wearing a black bathrobe. He answers the
phone.
As he talks we can see Adrianne as she comes out of the
other room, wearing a very revealing morning coat.
GARTHE
Garthe Knight. Yes? When?
No...no, I'll take care of it.
Personally.
Garthe hangs up the phone and smiles.
ADRIANNE
What is it?
GARTHE
Looks like the 'race' is about to
come to an end.
EXT. RURAL ROAD - DAY
K.I.T.T. appears, zooms by.
ANGLE IN K.I.T.T.
Michael is intent behind the wheel.
K.I.T.T.
(concern)
Michael, I'm picking up something
quite...strange.
Michael punches up the monitor.
MICHAEL
Let's have a look.
ANGLE ON MONITOR
A fuzzy outline appears, coming toward them. As the focus
clears, we see it is Goliath.
ANGLE ON MICHAEL
He reacts.
MICHAEL
Bingo, Kitt! We've hit the jackpot!
Just what I was afraid of...Goliath!
And I'll bet the driver has a striking
resemblance to me. It's all coming
together, buddy.
(beat)
How far away is he?
K.I.T.T.
Two point three miles, and he's just
accelerated to one hundred and forty
miles an hour. Michael, surely you're
not thinking of a confrontation?
MICHAEL
I'd rather avoid one, pal -- but
he's standing between us and Devon
and April. Let's scan for those
weak spots.
More buttons, graphics.
K.I.T.T.
(startled)
Michael, they've all been repaired.
Goliath is now completely invulnerable!
ANGLE - GOLIATH
as he roars by. We push in on Garthe, behind the wheel.
He looks determined, possessed.
OMITTED
INT. REMOTE MANSION COMMUNICATIONS ROOM - DAY - ON ADRIANNE
as she watches the impending confrontation on the big
monitor, confident.
INT. K.I.T.T. - DAY
as Michael desperately tries to think of an edge.
K.I.T.T.
Michael, what's our plan?
(silence)
We do have a plan, don't we?
MICHAEL
Give me a visual on the road.
More buttons. A visual appears.
K.I.T.T.
At present rate of speed, we'll meet
about here.
A red dot flashes on the map.
MICHAEL
What's that to the left of the road?
K.I.T.T.
A cliff. Over a hundred eight
straight down.
Looking ahead, Michael sees:
HIS POINT OF VIEW - GOLIATH
heading straight for them.
BACK TO MICHAEL
Every muscle tenses.
MICHAEL
Hang on, pal. He's got the size but
we've got the maneuverability.
K.I.T.T.
Right now I'd trade.
WIDE ANGLE
as Goliath and K.I.T.T. head directly at one another.
INTERCUT - GARTHE
He senses his long awaited victory. He blows the horn.
DIFFERENT ANGLES
as Goliath and K.I.T.T. come within fifty yards of one
another Michael quickly angles to the right, hoping to
dart by, but Goliath reacts instantly. It appears a head-
on is inevitable. Michael whips the wheel to the left at
the last moment, Goliath's right bumper smashes hard into
the back of K.I.T.T.
ANGLE ON K.I.T.T.
as he spins out of control toward the edge of the cliff.
K.I.T.T.
Michael, I'm afraid the impact has
knocked me out of control!
MICHAEL
Reverse your turbo power to pull
back.
K.I.T.T.
Something's wrong. They won't
activate!
Michael frantically fights to regain control.
OMITTED
ANGLE AT EDGE OF CLIFF
as K.I.T.T. spins, wheels locked. Smoke, dust, rocks fly
out from under K.I.T.T. as:
ANGLE FROM BELOW CLIFF
K.I.T.T. sails out and over the cliff as we:
FREEZE FRAME
AND
FADE OUT
END OF ACT FOUR
ACT FIVE
FADE IN
EXT. CLIFF - DAY
as we see K.I.T.T. as he continues plummeting to the valley
below.
INT. K.I.T.T. - DAY - ON MICHAEL
as Michael stares out in sheer horror. He leans forward
and presses a button labeled: EPD. The lights behind the
button flicker.
K.I.T.T.
Michael, the circuits are shorting!
Michael, refusing to give up, slams the palm of his hand
into the button...again and again.
OMITTED
EXT. CLIFF - HIGH ANGLE
as we see K.I.T.T. sailing down to the valley floor. We are
above him. Suddenly there is a loud bang and from the top
of K.I.T.T.'s roof we see a puff of white smoke. Then we see
a large cloth streamer fly out, and like a flower opening to
the morning sun, it "blooms." It is a parachute, the letters
F.L.A.G. imprinted on its crown in bright red letters. A
series of high-tension ropes connect from the parachute to
K.I.T.T.
INT. K.I.T.T. - DAY - ON MICHAEL
as he is pulled upward from the updraft of the parachute.
Then:
MICHAEL
Kitt, it worked!
He looks out the window as they float down.
MICHAEL
April, wherever you are...Thanks!
K.I.T.T.
Michael, I suggest you enjoy this
little 'ride' to the fullest,
because I will sooner be turned into
a toaster-oven than go through this
again.
OMITTED
EXT. TOP OF CLIFF - DAY
as we see Garthe looking over the cliff from Goliath's
cab. Next to him is one of his commandos. Garthe looks
with a dark face as K.I.T.T. continues to "float" down to
earth.
GARTHE
(to commando)
Get down there...immediately. I
want him brought back to the mansion.
The commando nods and heads for the back of Goliath.
ANGLE - BACK OF GOLIATH
as, with a roar, the back doors open, a ramp drops down,
and a van and Jeep come speeding out, then race down the
dirt road to the valley below.
OMITTED
EXT. VALLEY FLOOR - DAY
as we see K.I.T.T. land gently. The parachute falls over
the Trans Am.
INT. K.I.T.T. - DAY
as, in the darkened car, Michael settles from the landing.
K.I.T.T.
I'll bet that ugly mammoth thought
he had us, Michael.
MICHAEL
I guess he'll never learn, Kitt.
Now, let's see what the outside
world looks like.
Before Michael can open the car door, the parachute
suddenly is pulled off the car and we see:
MICHAEL'S POINT OF VIEW - OUTSIDE WINDSHIELD
Surrounding him are the commandos, all with submachine guns,
aimed right at Michael. Over this:
MICHAEL
as he looks out, then puts his hands up. Below him we can
see the malfunction light blinking, the buzzer going -- then
all lights on the dash blow out.
EXT. REMOTE MANSION - DAY
as it looms out at us like a menacing lion. The commando
van and Jeep are parked out front.
INT. MANSION - DAY - HALLWAY
as we see Michael being led down the hallway by two
commandos...submachine guns at the ready. As they pass by
the corner, camera pans up to a video camera.
INT. MANSION COMMUNICATION CENTER - DAY
as we see on one of the monitors, as Michael is being led
to a heavy metal door with bars on its small window. We
pull back to see Garthe and Adrianne as they smile with
deep satisfaction.
INT. DUNGEON - DAY
as the heavy metal door is opened, spilling light into the
room. Michael is led into the room by the two commandos.
The light from the outside reveals old wood and stone
stairs that lead down into the bowels of the dungeon.
Camera follows as Michael walks down the slippery, steep
stairs.
ANOTHER ANGLE - DUNGEON FLOOR
as Michael walks down the last step and is pushed onto the
dungeon floor. As the commandos turn and go up the stairs
the light from the outside hallway reveals the dungeon
walls, which are made up of stone.
As the door above closes with an echoing thud, Michael gets
up and begins to inspect his "quarters."
CLOSER ANGLE - MICHAEL
as he talks, quietly, into his comlink.
MICHAEL
Kitt, can you hear me?
There is some static, then we hear the familiar:
K.I.T.T.'S VOICE
(from comlink)
Michael, I'm glad to hear your
voice.
MICHAEL
Are you all right, buddy?
INT. K.I.T.T. - DAY - ON VOICE BOX
as he continues talking to Michael.
K.I.T.T.
No, I am not. Most of my functions
are out of order and I'm being
treated like a side of beef.
INTERCUT WITH MICHAEL - EXT. K.I.T.T. - MANSION GARAGE - DAY
We start close on K.I.T.T.'s scanner which is dim and is
oscillating in a slow, irregular rhythm. As we pull back
we can see that K.I.T.T. is situated on top of a hydraulic
lift, all four wheels dangling...rendering him helpless.
MICHAEL
Where are you?
K.I.T.T.
In the garage, and it's not a
pleasant sight.
MICHAEL
I'm not exactly in the Palace Hotel
myself. Don't worry, buddy, I'll get
you out of there...I promise.
K.I.T.T.
I hope so Michael, because I really
am not very comfortable with the
company I'm keeping.
With that, camera pulls all the way back and we see,
blocking the entrance of the garage, and "staring" down at
us: Goliath.
INT. DUNGEON - ON MICHAEL
as he suddenly hears the door open, then close, then
somebody begins walking down the stairs. It's Garthe.
Garthe walks right up to Michael.
CLOSER ANGLE - GARTHE AND MICHAEL
as they stare at each other. Then:
GARTHE
I promised you we would meet again,
Michael. And you thought I could
never do it.
MICHAEL
(looking around
dungeon)
Not by yourself, Garthe. I'm sure
you had a little help from your
friends.
Garthe smiles and turns...begins walking around the small
room. Then:
GARTHE
I hope you like your room. I had it
built special for you...it was all
done while I was in prison.
MICHAEL
Reminds me of another 'room.' One
you stayed in for a while in Africa.
GARTHE
(building rage)
It's not a reproduction, Michael.
It is the real thing. I had it
brought here, stone by stone, and
with its layout etched in my mind
like the frozen scream of a dead
man, I had it rebuilt. For you.
MICHAEL
Fine. So now you've got me. You
can sit back and watch me 'suffer'
in this hole like you did for so
many years. Your mission is
accomplished...why not release Devon
and April?
GARTHE
Very commendable. You are willing
to give up your life for that of
others. Unfortunately it's not a
trade, Michael. It's a coup.
Garthe begins to laugh, then as he turns and walks up the
stairs:
GARTHE
I received an interesting bonus in
the crates that carried these stones
here. Dozens of African rats, that
seem to breed like poison mushrooms
under the stones. They are very
hungry...and very angry at the
voyage. Make friends, Michael...
make friends.
He laughs again as the door to the cell closes. Michael
looks down as we begin to hear the frightened squeals of
the large rodents. We can see, in the corners of the
dungeon, the reflection of their large eyes as they stare
up at us.
EXT. HOTEL - DAY
as camera zooms up to the top floor...and Christina's
room. Over this:
CHRISTINA'S VOICE
Hello? Is this the Foundation? I
want to speak to Michael...Michael
Knight.
INT. CHRISTINA'S ROOM - DAY
as we see her by the window, looking out and talking into
the phone.
CHRISTINA
(into phone)
No...it's nothing important. I just
want to talk to him about my
uncle....
KLAUS #2'S VOICE
Are you hungry, my dear?
Startled, Christina quickly turns around as Klaus #2 comes
into view. She hangs up the phone as she turns. It is
unclear whether Klaus #2 heard her phone conversation or
not.
CHRISTINA
(to Klaus #2)
You startled me...I thought you were
going out for a walk.
KLAUS #2
I was but then I realized how little
time I'm going to have with you...so
I thought we'd go out together.
CHRISTINA
That's very nice of you, uncle, but
I'm really not hungry.
KLAUS #2
I've heard so much about American
pizza. But I've also heard that it
never does taste as good when you
eat it alone.
CHRISTINA
Maybe a little later....
Klaus #2 comes over to Christina, and puts a "fatherly" arm
around her.
KLAUS #2
Christina, is there something
bothering you?
CHRISTINA
I'm just a little jumpy...maybe I'm
coming down with a cold.
KLAUS #2
If something is bothering you, talk
to me. Remember all those letters
you used to write? You always
trusted me with your problems.
Christina walks over to the window...away from Klaus #2.
CHRISTINA
It's nothing, really.
KLAUS #2
You must remember that we are
family. There's no bond as tight as
that. And if you can't trust
family...who can you trust?
CLOSE ANGLE - CHRISTINA
as she looks out the window. We see her face tense up.
CHRISTINA
I don't know the answer to that. I
really don't.
INT. CELL - DAY
as we see the real Klaus as he turns toward us. We pull
back to find ourselves in the cell with Klaus, Devon and
April. They are searching for a way out.
DEVON
We've tried all the conventional ways
of escape...I think it's time we
used a little imagination.
Devon turns and looks at a small key-lock light switch on
the wall. Then:
DEVON
April, do you know a way we could
switch this key-lock off, and then
on again.
April walks over and looks at it.
APRIL
Well, if we had an electromagnet, we
could force the inner rod up.
DEVON
Isn't there anything a little less
complicated?
APRIL
Sure...
(reaching into
hair)
...a bobby pin will do the trick
just as easy.
KLAUS
(to Devon)
Devon, I have always been an admirer
of your knowledge, but I don't think
even you could escape with a bobby
pin.
DEVON
I was just thinking that I wish some
of my friends from the old UXB unit
in England were here. They became
experts on every kind of bomb,
especially spies' bread.
APRIL
Spies' bread?
KLAUS
Why yes, I read about that. When
German spies were imprisoned, they
used to escape by making a kind of
'dough' made up of articles of
clothing...then use electricity to
detonate them.
Devon picks up the water container.
DEVON
We have water...now all we need is a
base.
APRIL
How about the paint off the wall?
KLAUS
No, the principal behind spies'
bread is that the interaction of
chemicals create the explosive.
That kind of paint is not an
activator.
(then)
If only we still wore those celluloid
collars...that alone could blow us
out of here.
DEVON
Wait, but our collar stays are of a
similar material!
Devon looks over to Klaus, then they both remove the small
stays from their collars. Klaus takes off his ring and
begins "sanding" down the back of it on the cement floor.
KLAUS
We'll use my ring as a cutting tool
to make the stays into shavings. But
we still need the 'flour' for our
spies' dough.
APRIL
Devon, what about the lining of your
jacket? It's made of an acrylic.
KLAUS
Good idea...but we need something
that can be crushed into a powder to
create the combustion.
DEVON
(to April)
Yes, but you're close. I bought this
jacket in India. They use the
mineral, malimite for these
buttons....
APRIL
...and malimite is a distant cousin
to saltpeter!
With that, Devon begins pulling off the buttons, as April
takes them and puts them on the floor under the bedframe.
Klaus begins to make shavings from the collar stays.
APRIL
This is as good as any flour grinder.
Devon bends down next to the frame, and with April, they
pick up the end of the frame, sending the leg down hard on
the buttons. They hit it a second...then a third time.
CLOSEUP - BUTTONS
as the leg continues to come down on them, they shatter and
begin to turn into a powder-like substance.
INT. DUNGEON - ON MICHAEL - NIGHT
as he talks into the comlink. During the following camera
pans down to Michael's leg where we see a rat, large and
ugly as it begins to climb up Michael's leg.
K.I.T.T.'S VOICE
But Michael, I don't understand how
that's going to help us.
MICHAEL
Garthe's become quite a talker since
he's broken out of prison. I think
he might just talk us right out of
this dungeon. When I say 'now,' I
want you to start recording every-
thing. Got it?
K.I.T.T.'S VOICE
At this point, I'll try anything.
Just then, Michael looks down and sees the rat. In one
quick move he shakes it off his leg and kicks it across the
room. The dungeon doors open and we see Adrianne walk in.
As she walks down the stairs:
ADRIANNE
Very good. I love a man who can do
two things at once.
(then)
I'm glad to see I'm not the only one
who can't sleep tonight. It's a
pity. I love to watch men sleep. I
like to fantasize what they're
dreaming about...or who.
MICHAEL
I haven't been doing much 'dreaming'
lately.
ADRIANNE
Oh, but I have.
Adrianne walks closer to Michael, then:
ADRIANNE
(continuing)
You know that feeling you have after
you dream about somebody...in the
'romantic' sense. Somebody you might
not have even thought about in weeks
...and it puts you into a kind of
'mood' for the rest of the day...
thinking about them in that 'special'
kind of way? Those are the dreams
I've had about you, Michael. Only
I've been having them almost every
day since we last met. And it has
made my 'mood' very strong.
MICHAEL
And where does Garthe fit into these
'moods'?
ADRIANNE
He is merely an end to a means.
Once he and I finish our little
'project' I will have more money
than I could possibly use. I'm
going to need help spending it.
MICHAEL
I think cigarettes are about all you
can buy in jail.
ADRIANNE
Michael, don't you see? If we were
to work together there is no end to
the power we would have. Add to
that the mind of Kitt transplanted
into the body of Goliath, and you
and I will have the world at our
fingertips.
MICHAEL
There's one little problem to your
perfect scheme...I don't want any
part of it...or you.
ADRIANNE
You have no choice. Garthe's one
goal is to see you die. And I am
the only link keeping him from
carrying out his wishes.
She moves close to Michael again, then:
ADRIANNE
But if you deny me my plans, then I
would have no reason to stand in his
way.
With that, Adrianne gives Michael a long, passionate kiss.
Michael returns it.
She pulls back and looks at Michael, then:
ADRIANNE
It's too bad you don't mean it. I
know a real kiss when I get it. But
it only takes time to turn you around
...and time is something we have
plenty of.
GARTHE'S VOICE
I hate to disagree with you Adrianne,
but our time is running out. We
only have ten hours before our
'delivery' takes place.
We pull back to see Garthe as he starts down the stairs.
OMITTED
CLOSE ANGLE - MICHAEL
as he walks away from Adrianne, then into comlink:
MICHAEL
(quietly)
Kitt...now!
FULL
as Garthe comes down to join the two.
MICHAEL
(to Garthe)
You don't have to be so cryptic,
Garthe. I know what your plan is.
GARTHE
When are you going to stop taking me
for a fool, Michael? I'm not
falling for that. You're not
getting out of here that easy.
MICHAEL
On the contrary, you want me to escape.
That's why there are no guards outside
my door.
GARTHE
No guards? You're out of your mind.
MICHAEL
Why not open up and show me?
GARTHE
You're not going to get me to open
the doors.
MICHAEL
Have it your way. I just got what I
wanted.
Michael looks down at the comlink, and gives it a private
smile.
GARTHE
(misunderstanding)
You mean Adrianne? Don't give your-
self so much credit. She's only
interested in what you can give her.
(then;
to Adrianne)
Isn't that right, my dear?
ADRIANNE
I'm sure you couldn't even begin to
imagine what really interests me,
Garthe.
GARTHE
(hard)
At the moment we have a lot to do...
and very little time in which to get
it done. I think we should leave
Knight alone.
(to Michael)
I'm not through with you.
He starts up the steps. Adrianne turns to Michael, then
gives him another kiss.
ADRIANNE
(seductively)
Neither am I.
As she turns to go up, Michael lifts up the comlink.
MICHAEL
(into comlink)
Okay buddy, now let's do some
creative editing.
EXT. HOTEL - NIGHT
The street is deserted in the late night calm. We pan up
to Christina's room.
INT. CHRISTINA'S ROOM - NIGHT
as we see her carefully going through her "uncle's" coat
pocket, which is draped over the living room easy chair.
Just as she is about to lift the wallet from the breast
pocket the lights go on, startling her.
KLAUS #2
I think it is time we ended our
little charade.
CHRISTINA
I was just looking for....
KLAUS #2
Some kind of identification? Go
ahead...you will find that it is in
perfect order, right down to the
pretty dollar bills from the Bahamas
that your uncle keeps in his wallet
for good luck.
CHRISTINA
Who are you?
KLAUS #2
Let's just say I am part of a very
complex plan...a plan that is going
to go smoothly, no matter what. It
has been quite obvious ever since
this afternoon that you had suspi-
cions about me. I think it is time
we lay all the cards on the table.
CHRISTINA
What do you want from me?
KLAUS #2
Very little, actually. Just your
smile, and silence...and cooperation.
Or you, and your real uncle will
find yourselves very dead. Is it
a deal?
CHRISTINA
Do I have a choice?
KLAUS #2
(with a dark smile)
Of course not.
INT. CELL - NIGHT - CLOSE ON PAIL
as we see April pouring in the last of the powdered
malimite from Devon's buttons. Devon is "kneading" the
mixture which does resemble a gray dough. We pull back as
Devon lifts up the golf ball size mixture.
DEVON
Now all we need is some kind of
thread that is fine enough to hold
the mixture together, yet is
conductive to electricity.
Klaus looks around, then:
KLAUS
April, the embroidery on your blouse.
It has a metallic coating...that's what
gives it its shine.
DEVON
Yes, that would work.
April takes the ring from Klaus, cuts into the embroidery,
then pulls out the thread.
APRIL
That's all of it. Is this enough?
DEVON
It's going to have to be.
Devon mixes it into the substance, then walks over to the
door. We see that the wire from inside the mattress has
been set up on two areas by the edge of the door, the ends
of which lead to the empty light socket. Devon breaks the
"dough" apart and sticks it, like plastique, over the two
wires. He then walks over to the key-lock switch. Devon
sticks the bobby pin into the switch, and turns off the
light. Klaus sticks the other end of the wire into the
socket, then:
DEVON
Cover your eyes!
He turns on the light again, and the two pieces of "dough"
make a loud pop, followed by a blindingly bright, magnesium-
type fire. The door falls forward.
KLAUS
We did it!
EXT. CELL - BY HALLWAY - NIGHT
as the three carefully walk out and down the hall. We
follow them as they continue to the other side. Just as it
looks like they might have a chance, they turn a corner to:
HALLWAY - OTHER SIDE
as we see Garthe standing there. He grabs Klaus.
GARTHE
Funny, I was just about to come down
and get Dr. Bergstrom. Thank you
all for saving me a trip.
(then)
Guards!
The commandos take Devon and April to another cell. Klaus
looks over to April and Devon.
KLAUS
(to Devon)
It was a good try.
GARTHE
(to Klaus)
Take a good look. You'll never see
them again.
INT. DUNGEON - NIGHT - ON MICHAEL
as we hear a pounding on the door, then:
GARTHE'S VOICE
I thought you would be happy to know
that your three friends tried to
escape. They failed. But they are
lucky. At least their deaths will
be quick...and painless.
He begins to laugh as we pull in on the concerned face of
Michael, as we:
FREEZE FRAME
AND
FADE OUT
END OF ACT FIVE
ACT SIX
FADE IN
EXT. REMOTE MANSION - DAYBREAK
as the deceivingly peaceful mansion is bathed in the morning
light.
INT. DUNGEON - MORNING - ON MICHAEL
as he leans against the wall, talking into the comlink. He
looks tired.
MICHAEL
(into comlink)
Okay buddy, how about using the
third word from the fourth sentence?
K.I.T.T.
We've been at this all night...I
don't know how you keep it all
straight.
MICHAEL
Necessity, Kitt. Now come on, this
should do it.
INT. K.I.T.T. - DAY - ON MONITOR
as we see "AUDIO EDIT - ON", flash on the screen. We then
hear bits of the speeches of Garthe from the night before,
but this time, some words are separated and put on the
monitor on a separate line: "...when are you going to stop
taking me for a fool, Michael...I'm not falling for
that...You're not getting out of here...no guards...you're
not going to get me to open the doors." The words are then
rearranged so that the sentence reads on the monitor as
follows: "GUARDS! OPEN THE DOORS, I'M TAKING MICHAEL OUT
OF HERE!"
K.I.T.T.
I think that works, Michael.
MICHAEL'S VOICE
I knew you could do it Kitt.
K.I.T.T.
I couldn't have without your
tricking the words out of him.
MICHAEL'S VOICE
Well, I buy it...now let's see if
the rest of the world does.
MICHAEL
as he carefully walks up the steep steps to the door.
CLOSER ANGLE - MICHAEL
as he looks out the small window, then into comlink:
MICHAEL
Turn it up loud as you can, Kitt.
This is it.
Michael holds the comlink right at the window.
EXT. DUNGEON DOOR - DAY
as we see two guards sitting on either side of the door.
They both look gone to the world. Suddenly, in a deep,
bellowing voice from inside the dungeon:
GARTHE'S VOICE
Guards! Open the doors, I'm taking
Michael out of here!
With that, the two guards wake up...quickly...and go over
to the dungeon door. While the first guard takes out his keys
and begins to open the lock, the other one stands back a bit
and aims his gun at the ready.
CLOSER ANGLE - DOOR
as the first guard opens the door...slowly, then, suddenly
the door flies open, pinning the guard against the wall.
In a flash, Michael is out of the door. He sidesteps the
second guard and gives him a kick to the stomach, and then,
in one quick motion, throws him into the dungeon. The door
pushes open as the first guard comes to, but before he can
do anything, Michael coldcocks him, sending him into the
dungeon as well. He tumbles down the steep steps. With
that, Michael tears out the long electrical cord connecting
the desk radio to the wall on the guards desk, and heads
into the dungeon with the cord.
INT. DUNGEON FLOOR - DAY
as we see Michael tie both guards' hands together from
behind. He then takes the first guard's keys and goes back
up the stairs, slamming, then locking, the door behind him.
EXT. MANSION - DAY
as we see Michael look out the door, then seeing the early
morning grounds deserted, goes out and runs toward the
garage.
INT. GARAGE - DAY
as we see K.I.T.T. still on the hydraulic lift. We hear a
key go into the narrow side door to the garage, and open.
Michael walks in, then stands in front of K.I.T.T. looking
up. Goliath dwarfs the two of them as it stands by the
large garage main doors.
K.I.T.T.
Michael, I'm so glad to see you, I was
beginning to feel like a beached
seal.
MICHAEL
There's no time for thank yous. I'm
sure those guards are going to make
their situation known as soon as
they come to. Now where's the
hydraulic switch?
K.I.T.T.
Right behind you.
Michael turns the switch to the down position. As K.I.T.T.
begins to lower:
K.I.T.T.
You have no idea how helpless it is
to look right at that switch and be
powerless to do anything about it.
I had to reserve power for our
communications. With my circuits
down it was about the only function
left.
MICHAEL
We should have you back to your old
self in no time.
K.I.T.T.
Besides which, I had to fight off
two technicians who kept trying to
get into my computer last night. I
had to use every ounce of power to
keep them at bay. I felt like a
chorus girl at a convention.
By now K.I.T.T. has reached the ground. Michael runs over
to him and pops the hood. As Michael begins working
frantically inside K.I.T.T.'s hood:
MICHAEL
Just be glad you fought them off.
I'm sure you wouldn't like the con-
sequences if they succeeded.
K.I.T.T.
You know what they were planning?
MICHAEL
Yeah...your brain in Goliath's body.
K.I.T.T.
An electronic Frankenstein on wheels?
Michael, we have to get out of here.
MICHAEL
I'm trying. But that black bulldozer
shook you up pretty bad.
(then)
You're in luck. Seems that all he
did was loosen your main circuit dis-
tribution panel. There...how's that
feel?
INT. K.I.T.T. - ON CONTROL PANEL
as we suddenly see all the lights, buttons and digital
readouts light up.
EXT. K.I.T.T. - ON SCANNER
as we see it, too, brighten to its normal level and begin
oscillating back and forth in a steady rhythm.
K.I.T.T.
Michael, I feel like a new car.
MICHAEL
as he runs over and climbs into K.I.T.T.
MICHAEL
I hope not, Kitt. I really like the
old one. Now let's get moving, we're
on borrowed time as it is.
INT. K.I.T.T. - FAVORING MONITOR - ON MICHAEL
as he punches up the communication button.
MICHAEL
Locate Devon for me.
As we see on the monitor an electronic blueprint of the
remote mansion. A small red light begins to blink in a
room labeled Cell #2.
K.I.T.T.
They've been moved to another cell
...there is a security camera and PA
system there.
MICHAEL
Jam the waves and give me a direct
two-way from that PA speaker.
K.I.T.T.
Right away.
INT. COMMUNICATIONS ROOM - MORNING
as we see a few technicians glancing at the monitors. On
one monitor we can see Devon and April as they sleep on
mattresses. Suddenly, the monitor fills with snow. One of
the technicians begins to try and adjust it.
INT. CELL #2 - MORNING - INTERCUT WITH MICHAEL
as Devon and April are awakened by Michael's voice.
MICHAEL
Devon, April...can you hear me?
They look up at the speaker, surprised.
DEVON
Michael...yes, where are you?
MICHAEL
I'm in the garage. Kitt is repaired,
and we've located your position.
Just sit tight and I'll be there to
get you out....
DEVON
(interrupting)
No...listen to me. You cannot chance
coming back in here. It's more
important right now that you find
Christina. Get her away from that
imposter...before it's too late.
MICHAEL
I can't leave you and April.
DEVON
You must. Believe me, we are still
bait to insure your return. They
won't harm us.
MICHAEL
How can you be sure?
Devon pauses for a moment, then:
DEVON
Michael, go get Christina. That's
an order.
MICHAEL
as he switches off the communications jammer.
INT. COMMUNICATIONS ROOM
as the monitor clears up...and we see April and Devon
sleeping again...as if nothing happened.
TECHNICIAN
I wish they would stop using those
blenders in the morning.
INT. REMOTE MANSION DINING ROOM - DAY
Klaus is at the table, toying with some breakfast, two
guards on either side of him. Adrianne comes in, wearing a
revealing morning coat. She motions to the guards and they
leave as she sits down beside Klaus.
ADRIANNE
Not a morning eater?
She playfully takes a strip of bacon from Klaus' plate and
nibbles on it suggestively.
KLAUS
You're as charming as a poisonous
snake.
ADRIANNE
It's all in how you look at things,
isn't it?
KLAUS
What have you done to Devon and
April?
ADRIANNE
They're unharmed. Although their
accommodations aren't quite as nice
as the ones they shared with you.
But then again, they're not as
important to me as you are.
KLAUS
Why am I so important?
ADRIANNE
Don't you know? You are a humble
man. You shouldn't underestimate
the value of your discoveries in
laser technology -- the people
who've expressed interest in you
haven't.
KLAUS
You intend to sell me to the highest
bidder?
ADRIANNE
You make it sound so inhumane.
Actually, I'm sure you'll be very
happy with your new sponsors. You'll
have the most sophisticated equipment,
the best living facilities...you'll
be scientific royalty.
Garthe enters the room behind them, signals to Adrianne
that he wishes to speak with her. He doesn't look happy.
ADRIANNE
Do try to finish your breakfast,
Doctor. Travelling is so much
easier on a full stomach.
With that, she rises, heads out of the room. Klaus moves
to follow her and is immediately confronted by the two
guards, blocking his escape. Frustrated, Klaus allows
himself to be escorted back to the table.
INT. STUDY - DAY
where Adrianne enters to find Garthe pacing.
ADRIANNE
What're you so hot and bothered
about?
GARTHE
Your submarine's going to be late.
It's been dalayed by an American
destroyer idling around off the
international boundary.
ADRIANNE
Is that my fault? I'm not in
control of the movements of the
United States Navy.
GARTHE
But you planned the rendezvous, and
as usual, you didn't take reality
into consideration.
ADRIANNE
How dare you criticize anything I've
done! If it weren't for me, you'd
still be eating filth in that jail,
and your Goliath would be a burned-out
hulk!
GARTHE
You give yourself far too much credit.
I would've gotten away -- I had so
much unfinished business.
ADRIANNE
Your revenge against Michael
Knight. It always comes back to
him, doesn't it?
GARTHE
You brought him up -- I didn't.
ADRIANNE
Your hate for him is always eating
away at you. It makes you weak. It
disgusts me.
GARTHE
And your lust for him disgusts me.
Adrianne hauls off and slaps Garthe hard across the face.
He stares at her for a moment, then slaps her back.
Adrianne glares at him, shocked by his impudence -- then
she attacks him, all claws and poorly-aimed punches.
Grinning, Garthe grabs her and slams her down into a
chair, holds her there. His smile vanishes and he speaks
icily, in a commanding tone.
GARTHE
It's time for you to understand, my
lovely queen, that you're merely the
tool for my desires. It was my will
that forced you to break me out of
jail, my knowledge that resurrected
Goliath, my planning that enabled me
to capture Michael Knight. We'll
transport your Doctor Bergstrom out
of the country, we'll pocket your
coveted millions -- but no one,
especially you, can stop me from my
revenge.
Before Adrianne can answer, the door opens and the First
Guard from the dungeon runs in. His clothes are dirty and
his face bruised.
FIRST GUARD
Michael Knight -- he's escaped!
ANGLE ON ADRIANNE AND GARTHE
as they react to the news.
INT. GARAGE - DAY - ANGLE ON K.I.T.T.
to include Goliath, standing between the Trans Am and the
large garage doors. We hear:
K.I.T.T.'S VOICE
Michael, how do you intend to get us
out of here? There's a rather large
obstacle in our way.
INT. K.I.T.T. - DAY - ON MICHAEL
as he tests the operations panel.
MICHAEL
I scouted the garage from the
outside. The wall straight ahead of
us is thin enough to penetrate.
K.I.T.T.
We're too late! I detect a convoy
of vehicles headed our way.
MICHAEL
Let's not stick around for a chat.
And Michael starts the engine with a roar.
WIDER ANGLE
as Michael slams the accelerator to the floor and K.I.T.T.
bursts forward, heading directly toward the wall.
OMITTED
EXT. GARAGE - DAY
as K.I.T.T. bursts through the wall, takes off toward the
driveway.
WIDER ANGLE
to include the vans and Jeep now driving directly toward
the escaping Trans Am.
INT. K.I.T.T. - DAY - ON MICHAEL
as he sees the commandos ranged in his path.
MICHAEL
I know you'd like to keep both feet
on the ground for awhile, but
they're not leaving us much choice.
K.I.T.T.
It'll be a pleasure to leave this
penitentiary, one way or the other.
With that, Michael reaches for the turbo boost.
EXT. GROUNDS - DAY - SLOW MOTION
as K.I.T.T. turbo boosts up and over the oncoming commando
vehicles and lands on the other side; the Trans Am continues
toward the gates without stopping.
CLOSE ANGLE - GATES
as K.I.T.T. crashes through them, sending wrought iron in
all directions. Once outside, the Trans Am roars up the
road at incredible speed.
EXT. MANSION - DAY - ANGLE ON GARTHE AND ADRIANNE
as they run out of the house and stare after the
disappearing K.I.T.T.
GARTHE
I've got to stop him!
ADRIANNE
(strongly)
Not now, Garthe! Too much is at
stake! Let him go, he'll be back!
Garthe glowers out at the road, turns and storms back into
the house. We move in on Adrianne as she smiles to herself.
ADRIANNE
He'll definitely be back.
EXT. HIGHWAY - DAY - ANGLE ON K.I.T.T.
now miles from the remote mansion, continuing at high speed
toward the city.
INT. K.I.T.T. - DAY
Michael drives determinedly.
K.I.T.T.
I've never been so happy to leave a
place, Michael.
MICHAEL
Don't cancel your subscription, pal
-- we're coming back soon.
K.I.T.T.
Oh, not really....
MICHAEL
We still have the small problem of
rescuing Devon and April, not to
mention Doctor Bergstrom.
K.I.T.T.
You're right, Michael. I'm thinking
most selfishly. Forgive me. Will
we be storming the fortress?
MICHAEL
I haven't planned that far ahead.
First, we've got to save Christina
from that imposter.
Michael pushes buttons activating the monitor.
MICHAEL
Let's access Doctor Bergstrom's
symposium itinerary for today.
ANGLE ON MONITOR
as a list of activities appears on the screen.
K.I.T.T.
He's discussing laser use in the
home with a ladies' club at ten-
thirty.
ANGLE TO INCLUDE MICHAEL
MICHAEL
I hope the ladies won't mind a
surprise guest speaker.
With that, Michael lays on the gas and they zoom up the
highway.
EXT. HOTEL - DAY
The same as seen earlier, people milling about. We hear a
Woman's voice over:
WOMAN
We're very fortunate to have with us
today one of the world's most
renowed scientists, a man who's
revolutionary ideas will long be
remembered.
INT. SMALL BANQUET ROOM - DAY
where we see the attractive Woman at the head of a long
table, speaking into a microphone. Several women are
seated on either side of her, and they face a gathering of
women seated on folding chairs, in business attire.
WOMAN
Please welcome, from Gottenberg,
Sweden, Doctor Klaus Bergstrom.
The women in the audience rise, clapping.
CLOSER ANGLE - ON KLAUS #2 AND CHRISTINA
entering at the far end of the room his arm linked through
hers. He smiles as they move slowly toward the head table,
shaking hands and exchanging greetings. Christina is
utterly unsmiling. Ultimately, never losing his smile,
Klaus #2 speaks softly to her.
KLAUS #2
Your face is frozen like a statue's,
my dear. These people are expecting
to see an adoring niece.
CHRISTINA
Just because I'm here doesn't mean I
have to smile and play along with
you.
KLAUS #2
Please remember that all I have to
do is place one phone call and your
uncle will die.
CHRISTINA
But as long as we're in a room with
a crowd of people, you can't use the
telephone, can you, 'uncle'?
ANGLE TO INCLUDE KLAUS #2 AND CHRISTINA
as they take their places facing the audience, and Klaus #2
speaks into the microphone.
KLAUS #2
Thank you for the generous welcome,
ladies. Truly, I've never been so
recognized in my life.
As the smile disappears from Christina's face, we:
CUT OUTSIDE TO
OMITTED
EXT. HOTEL - DAY - ON K.I.T.T.
screeching to a stop in front of the hotel. As Michael
leaps out:
K.I.T.T.
Michael how are you going to get
Christina away from him with all
those people around?
MICHAEL
As quickly as possible.
With that, he runs into the hotel.
INT. SMALL BANQUET ROOM - DAY
as in the b.g. we hear Klaus #2's lecture:
KLAUS #2'S VOICE
...and although in theory, laser
weaponry is possible, in reality it
is still only the material of Saturday
morning television.
Michael appears at the entrance, looks forward to Klaus #2
and Christina, seated beside him before a rapt audience.
CLOSE ON CHRISTINA
seeing Michael, almost rising from her seat.
ANGLE ON MICHAEL
calling out from the rear of the room:
MICHAEL
Your game's up, 'Klaus', or whatever
your name is. I've come for Christina.
We widen as a general hubub rises across the room and Michael
makes his way toward the table. Christina rises and Klaus
#2's confident mask begins to crumble as Michael approaches,
but he hangs onto his disguise:
KLAUS #2
Young man, control yourself, or
we'll be forced to call the police.
MICHAEL
You do that. I'm sure they'll be
delighted to hear from you.
Michael takes Christina's arm, begins to lead her away.
KLAUS #2
Have you lost your mind? Take your
hands off my niece.
He grabs Michael's arm and Michael shakes free, starts away
-- then Klaus #2 snaps. He pulls a gun, aims it at Michael.
KLAUS #2
Stop, or I'll shoot!
Women begin to scream and scramble for cover. Releasing
Christina, Michael whirls around and kicks the gun out of
Klaus #2's hand. Klaus #2 swings at Michael and Michael
ducks aside, then retaliates, punching Klaus #2 hard,
knocking him unconscious. Michael scoops up the fallen
gun, hands it to the shocked Woman who introduced the
"renowned scientist."
MICHAEL
Keep an eye on him until the police
get here. And cancel the lecture --
he'll be off the circuit for awhile.
Taking Christina's hand, Michael runs out of the banquet
room.
EXT. HOTEL - DAY - ANGLE ON K.I.T.T.
as Michael and Christina approach, and he opens the
passenger door for her. Before she climbs in, Christina
throws her arms around Michael.
MICHAEL
Take it easy, Christina. Everything's
going to be all right.
CHRISTINA
It's been horrible, trying to pretend
-- I kept hoping for a chance to push
him down a flight of steps or something.
MICHAEL
I'm glad I spared you the trouble.
CHRISTINA
It's not over yet, is it?
MICHAEL
I'm afraid not.
CLOSE ON MICHAEL
concerned:
MICHAEL
It's just beginning.
As he helps Christina into the awaiting K.I.T.T., we:
OMITTED
FREEZE FRAME
AND
FADE OUT
END OF ACT SIX
ACT SEVEN
FADE IN
EXT. HIGHWAY TO REMOTE MANSION - DAY - ANGLE ON K.I.T.T.
speeding up the road toward the mansion.
INT. K.I.T.T. - DAY - FAVORING DASH
where the computer reads out accelerating speed, moving
quickly through the eighties. We widen to see Michael
adjusting K.I.T.T.'s Ultra-Frequency Modulator.
MICHAEL
Stay tuned for transmissions from
the mansion, pal. When they make
their move with Klaus, we want to be
there for the going-away party.
K.I.T.T.
Party crashing, I believe it's
called.
Michael glances at Christina, who sits tensely beside him,
staring out the window. He reaches over to take her hand,
squeezes it reassuringly.
MICHAEL
You okay? You haven't said a word
for...
(checks mileage
gauge)
...a hundred and seventy-four miles.
CHRISTINA
I'm sorry. I haven't even thanked
you for rescuing me from that...
that....
K.I.T.T.
Masquerading misanthropic non-Bergstrom.
CHRISTINA
(smiling despite
herself)
Exactly.
MICHAEL
You don't have to thank me. I just
wanted a guarantee that you'd be
available for a half-dozen dinners
or so after this is all over.
CHRISTINA
If it's over. I'm so afraid I'll
never see poor Uncle Klaus again....
MICHAEL
You will, Christina, I promise. It
won't be that easy for Garthe and
Adrianne to sneak a renowned scientist
out of the country. All we've got to
do is figure out when and how they're
planning to do it -- and stop them.
CHRISTINA
How can we? Two people against a well-
organized band of traitors....
K.I.T.T.
I beg your pardon. Two people and
the Knight Industries Two Thousand.
MICHAEL
And that ain't chopped liver.
He winks at Christina, then:
EXT. REMOTE MANSION GARAGE - DAY - ANGLE ON GARTHE
as he strides toward the garage, where we see a flurry of
activity, commandos moving in and out. Garthe enters the
garage.
INT. GARAGE - DAY - CLOSE ON GOLIATH
showing various adjustments being made -- air checked in
mammoth tires, nose grill polished meticulously, rear doors
closed and lock secured. The air breathes preparation for
departure.
CLOSE ON GARTHE
smiling up at the behemoth, as he rests a hand lovingly on
the metal side of the truck.
GARTHE
Our time has almost come, my giant
friend. The only thing delaying us
is the inaccuracy of a woman....
INT. MANSION COMMUNICATIONS ROOM - CLOSE ON A DIGITAL CLOCK
reading out the seconds, as the minute marker turns over.
We widen to see a testy Adrianne pacing behind the radio
operator, then pushing him aside to grab the transmitting
device. She speaks roughly into it:
ADRIANNE
XL735, come in. What's taking you
so long? Are you sailing the scenic
route?
EXT. SUBMARINE - DAY - BENEATH THE SURFACE - STOCK
moving silently, stealthily, as we hear:
COMMANDER'S VOICE
I'm on the approach, due at K17 in
less than twenty minutes. I'm at
maximum speed of thirty knots -- I
suggest you sit tight. Over.
OMITTED
INT. MANSION COMMUNICATIONS ROOM - CLOSE ON ADRIANNE
infuriated by the Commander's insolence.
ADRIANNE
I'll tighten you if you're so much
as a second late.
She slams down the transmitter.
OMITTED
INT. REMOTE MANSION - CELL #2 - DAY - CLOSE ON A VIDEO
CAMERA
arcing right and left, panning the small room. We move
down to see Devon kneeling below the camera, prying at a
low air vent, trying a desperate attempt to escape. He
shakes his head, giving up, rising.
APRIL
It's no use, Devon. They're not
taking any chances with us this time.
We widen as across the small room a door opens and Garthe
enters.
GARTHE
You'll be happy to know you won't be
spending too much more time in this
cracker box.
DEVON
Where are you taking us?
GARTHE
Nowhere. It's the house that's leaving.
As soon as we remove Bergstrom, the
circuitry will override in a very
unsafe way that most homeowners
wouldn't approve of. As the wires
melt, the house will burn -- and so
will Devon Miles and my father's
perverse dream.
APRIL
You're not including me.
Garthe approaches her, takes her face almost gently in his
hands.
GARTHE
No. I find you too appealing to
destroy. I'd like to take you with
me.
Devon roughly pushes Garthe's hands off April.
DEVON
April is not a trophy for your
mantle.
GARTHE
I didn't ask your opinion.
DEVON
I'm giving it, nonetheless. This
plan of yours will never work.
Michael will be back with half the
police and military behind him.
GARTHE
I don't share your belief that he's
a superman....
DEVON
He defeated you before -- he'll do
it again.
GARTHE
I don't think so.
DEVON
But you don't know. You fear him.
Don't you, Garthe?
Garthe's temper explodes and as April gasps, Garthe grabs
Devon and slams him back against the wall.
GARTHE
I could kill you right now.
DEVON
You're not man enough.
As Garthe's hands move toward Devon's throat April
suddenly intervenes, stepping between the two men.
APRIL
I have a right to make my own
decision, don't I?
Garthe's cold eyes turn to April. She looks at him
seductively and a smile creeps across his face.
APRIL
Can we speak -- alone?
Garthe releases Devon, who gasps for breath. Garthe walks
to the door and opens it gallantly, waits for April to move
out, as he looks back at Devon.
GARTHE
Aren't women unpredictable?
And we move in on Devon's worried face as Garthe shuts the
door behind him.
INT. CORRIDOR ADJACENT TO CELL #2 - DAY - ON GARTHE
as he turns from the door to April, placing a hand on
either side of her, pinning her against the wall.
APRIL
You say you want me -- all right.
I'll go with you if you'll release
Devon.
GARTHE
You're hardly in a position to be
making deals, my lovely.
APRIL
An agreeable companion is better
than an unwilling prisoner.
GARTHE
But unwilling ones are the challenge.
He tries to kiss her and she turns her face sharply aside.
GARTHE
Resisting makes you all the more
attractive.
April looks at him, her eyes filled with fire.
APRIL
Do you know why you have to pin a
woman to a wall to make her look at
you? It's because the coldness
that's inside you comes through your
eyes. You look like Michael Knight
on the outside, but inside, you're
empty and dead. Adrianne doesn't
want you and neither do I.
Garthe glares at her, then:
INT. CELL #2 - DAY
The door opens and Garthe pushes April in. Devon moves
protectively to her side as Garthe says icily:
GARTHE
If you're worried about Knight and
your super car, don't -- I intend to
dispose of them personally. With
Goliath.
And he leaves. Devon and April exchange a tense look.
DEVON
We mustn't give up hope. I have
great faith in Michael....
APRIL
Devon...I'm scared.
DEVON
So am I, April.
EXT. ROAD TO REMOTE MANSION - DAY - ANGLE ON K.I.T.T.
moving like lightning up the empty road.
INT. K.I.T.T. - DAY - FAVORING MONITOR
where latitudes and longitudes arc outward from a median
source which is the mansion. Suddenly, a blip appears at
the outer edge of the grid, a form moving slowly toward the
mansion.
K.I.T.T.'S VOICE
Michael, I'm intercepting a trans-
mission to the mansion from a moving
vehicle....
We widen to see Michael and Christina as they eye the
flashing dot on the monitor.
MICHAEL
What kind of vehicle, Kitt?
K.I.T.T.
One approaching on a rather erratic
course from north by northwest.
MICHAEL
(pushing buttons)
Let's get its exact location....
K.I.T.T.
One hundred seventeen point five
miles northwest of the mansion.
MICHAEL
That would be in the middle of the
ocean.
K.I.T.T.
Seventy-four point six miles from shore,
to be exact -- and approximately two
hundred feet below the surface.
CHRISTINA
Below the surface?
MICHAEL
Of course -- a submarine! That's
how they're moving Klaus out. Talk
about a low profile.
CHRISTINA
Michael, how can we possibly stop
them?
MICHAEL
They've got to get your uncle from
the mansion to the sub, and that's
when they'll be vulnerable.
K.I.T.T.
Unless they take...Goliath.
CLOSE ON MICHAEL
as his expression becomes grim.
MICHAEL
Even if they take Goliath.
And he floors the accelerator.
EXT. K.I.T.T. - DAY - CLOSE SHOT
picking up speed, blasting toward the camera. We pull back
to reveal this image on a video monitor, and see also that
we're in the mansion's communications room. In the b.g.,
we hear the submarine Commander's voice crackling through an
open speaker:
COMMANDER'S VOICE
XL735 reporting in fifty-three miles
offshore and approaching, prepare
our guest for shore-to-ship transfer.
WIDER ANGLE
to show a Technician staring in horror at K.I.T.T. on the
monitor as Adrianne moves in behind him, eyes the screen
intently and smiles cryptically.
ADRIANNE
So Michael's come back. Somehow, I
knew he would.
TECHNICIAN
At his present speed, he'll be here
in five minutes or less. Should we
alert Mr. Knight?
ADRIANNE
At once!
The Technician reaches for a microphone connected to the
PA system and Adrianne suddenly stops his hand.
ADRIANNE
No, wait. If Garthe knows Michael's
coming, he'll lay everything aside
for his personal battle. No, let's
not tell Garthe. It will be our
little secret.
She pats the Technician's shoulder confidentially, leans
over and turns off the monitor. The Technician watches
worriedly as Adrianne leaves.
INT. CORRIDOR ADJACENT TO COMMUNICATIONS ROOM - DAY
as Adrianne nearly collides with Garthe, who's headed toward
the room.
ADRIANNE
Where are you going?
GARTHE
Don't use that tone on me. I'm doing
my job, and hoping you've done yours.
That submarine had better be there,
Adrianne.
ADRIANNE
It'll be there. I hope that monster
of yours isn't too slow. We've got
to be out of here within five minutes.
GARTHE
Don't cast aspersions at Goliath.
We'll be gone in three.
He storms toward the communications room as she smiles
after him, heads up the corridor.
OMITTED
INT. CELL #1 - DAY
where we find Klaus Bergstrom pacing nervously as the door
opens and Adrianne enters, smiling pleasantly.
ADRIANNE
It's time to go, Doctor Bergstrom.
KLAUS
Suppose I refuse to leave. What
will you do, then?
ADRIANNE
Ask again, nicely. And if that
fails, I'll have your niece executed.
You must understand that I made a
deal with you as the prize, and I
always uphold my end of the bargain.
Please, Doctor....
She holds the door open, revealing two armed commandos
waiting to serve as escorts. Klaus finally glares at
Adrianne, holds his head high and marches through the
door. As the guards lead him down the hall:
INT. MANSION COMMUNICATIONS ROOM - DAY - ON GARTHE
as he feeds intensified currents into all circuitry,
preparing the house to self-destruct in a fiery death. In
the b.g., crackling through the open speaker, we hear a
continuing transmission from the submarine:
COMMANDER'S VOICE
XL735 here, twenty-five miles off-
shore and approaching. Prepare for
rendezvous within the hour.
Garthe stops his sabotage and moves to the speaker, picks
up the transmitter. Into it:
GARTHE
K17 to submarine -- hear this.
Prepare for Goliath!
He tosses the transmitter onto a table and, as he leaves
the room, we move in on various meters whose registers arc
toward the red and danger.
EXT. REMOTE MANSION GARAGE - DAY
as two commandos pull back the huge doors. From inside
comes the rumbling of a huge, angry animal. A beat -- and
then Goliath begins to move out, its massive black snout
blocking out the daylight. We widen as the huge truck
emerges, growls forward.
EXT. REMOTE MANSION - DAY - ON GOLIATH
as it rumbles toward the front of the house, comes to a
screaming stop. A commando driver climbs out of the
driver's seat as Adrianne exits the house with Klaus and
his two-man escort. They cross to the rear of the truck
and the commandos open the tail gate, help the scientist
in. Then, they seal the gate, close the lock as Adrianne
crosses to the passenger side of Goliath.
ANGLE ON GARTHE
coming out of the house, looking back and over toward the
part of the basement where April and Devon await their
doom. Garthe salutes the house ironically.
GARTHE
Good-bye, Foundation for Law and
Government.
WIDER ANGLE
as Garthe now moves toward Goliath, and commandos immediately
snapping to attention. Garthe salutes them quickly, then
crosses to climb into the driver's seat, taking his place
beside Adrianne.
ANGLE ON GOLIATH
as the truck's massive engine roars. Garthe blasts the
powerful air horn and the behemoth rumbles away, taking a
rear road toward the sea and awaiting submarine.
ANGLE ON THE COMMANDOS
as the remaining men leap into two vans and a Jeep and rumble
after Goliath.
EXT. OCEAN - DAY - ANGLE ON SUBMARINE - STOCK
now nearing shore, as it rises to the surface. The silent
gray menace cuts whitewater, heading for its rendezvous.
EXT. REMOTE MANSION - DAY
All now appears quiet; Goliath and the troops are forgotten.
INT. CELL #2 - DAY - ON DEVON AND APRIL
as suddenly, the lights in the room go out, then on again.
APRIL
Devon, if Garthe's really overriding the
circuitry, we have only minutes....
DEVON
Where is Michael?
EXT. ROAD TO MANSION - DAY - ON K.I.T.T.
K.I.T.T.'s scanner flashes as the car now arcs around a
final curve, leading to the mansion.
INT. K.I.T.T. - DAY - FAVORING MONITOR
showing a graphic representation of the area and several
blips moving away from the centerpoint/mansion -- one large
blip remaining on a straight course, the others scattering.
K.I.T.T.'S VOICE
Michael, there appears to be a mass
exodus from the mansion in progress.
We widen to include Michael and a very worried Christina.
MICHAEL
Probably like rats deserting a
sinking ship, 'cause if I'm any
judge of Adrianne, she won't leave
a trace of that house behind.
K.I.T.T.
On the other hand, she wouldn't be
inclined to include Devon and April
in her departure.
MICHAEL
Exactly what I'm thinking, Kitt.
EXT. REMOTE MANSION - DAY - ANGLE ON K.I.T.T.
tearing now toward the mansion, screeching to a halt
directly in front of the house, scanner oscillating.
INT. K.I.T.T. - DAY
as Michael cranes up to the house.
K.I.T.T.
Michael, my magnetic analyzer indicates
that the current charging through the
electrical system will cause a con-
flagration within a matter of minutes.
MICHAEL
Are you getting any life readings in
the house, Kitt?
ANGLE ON MONITOR
as a scheme of the house appears, and a grid scans the
rooms, ultimately stopping at one featuring two life forms.
K.I.T.T.
Two individuals in a sealed cell in
the basement, Michael. And the
current is building.
WIDER ANGLE
as Michael peers out toward the house.
MICHAEL
Can you locate the circuitry center?
K.I.T.T.
In a room only doors from the
prisoners.
MICHAEL
I've got to get in there!
As he leaps out of the car, Christina starts after him.
CHRISTINA
Michael, can't I help you?
As he gently stops her:
MICHAEL
You sure can. Stay in Kitt -- if
anything happens, it's the safest
place you can be. Keep the doors
and windows shut -- and cross your
fingers.
And Michael runs toward the house.
INT. REMOTE MANSION - DAY - ANGLE ON MICHAEL
as he runs in and up the stairs, two at a time. There's an
ominous hum and rumbling throughout the house and the
lights flicker on and off. Michael runs up the corridor:
INT. COMMUNICATIONS ROOM - DAY - ANGLE ON MICHAEL
throwing the door open, dashing into the room. Around
him, all meters register DANGER and OVERLOAD, flash red.
Sparks are flying, the lights flash their warning.
Sheltering his face from the sparks and smoke, Michael
speaks to comlink:
MICHAEL
(to comlink)
Kitt, there're so many registers up
here, I don't know where to start.
Is there one main source I can knock
out to stop this thing?
K.I.T.T.'s voice comes through heavy static interfence:
K.I.T.T.'S VOICE
Far...wall, Michael...near...window....
Michael spots the large governing lever, where sparks have
already burst into flame. Stripping off his jacket, he
wraps it around his arm and leaps toward the governor. He
grabs it with the protected arm and, using his body's full
force, pulls it to the ground.
WIDER ANGLE
as suddenly, the lights go out, the hum and rumbling subside.
Sparks continue to shoot for a beat, then die out.
CLOSE ON MICHAEL
crouching near the window, with the expression of a man
waiting for the world to end. Relieved that it didn't, he
rises slowly.
MICHAEL
(to comlink)
We did it, buddy. Now, I've got to
find Devon and April!
INT. CELL #2 - DAY - ANGLE ON DEVON AND APRIL
huddled against the far wall, as sparks fly from the
automatically-operated door. As the sparks diminish, the
door gradually opens. Devon and April exchange an
astonished look, then head for the door.
INT. CORRIDOR - DAY - ANGLE ON MICHAEL
dashing out of the communications room, shouting:
MICHAEL
Devon! April! Where are you?!
At this moment, Devon and April step out of their cell, see
Michael.
APRIL
Michael!
The three friends run to one another; April leaps into
Michael's arms and they hug like reunited relatives.
APRIL
I've never been so glad to see
anybody in my life.
Still holding April, Michael looks to Devon, who smiles and
offers his hand. As Michael shakes it:
DEVON
I believe I now know the meaning of
'the nick of time.'
April now moves free of Michael's arms.
MICHAEL
Do you have any idea how long ago
they left with Bergstrom?
DEVON
Only minutes, but Michael -- they've
taken him in Goliath.
MICHAEL
I had a feeling they would. Listen,
I think I'm going to need some rein-
forcements, and the transmitters in
the communications room are probably
still operating.
APRIL
Say no more, Michael. That's my
department.
MICHAEL
I'm going to leave Christina
Bergstrom with you. I haven't got
time to explain -- I've got to stop
a submarine.
And Michael runs up the corridor, toward the stairs, as
Devon calls after him:
DEVON
Michael -- good luck!
April joins him and they head toward the communications
room as we:
FREEZE FRAME
AND
FADE OUT
END OF ACT SEVEN
ACT EIGHT
FADE IN
EXT. HIGHWAY - DAY - ANGLE ON K.I.T.T.
speeding on the straightaway, on a rendezvous with destiny.
INT. K.I.T.T. - DAY - FAVORING MONITOR
showing a scheme of the road ahead, as a large blip
appears on the outer perimeter.
K.I.T.T.
I can't deny it to myself any
longer. That's definitely Goliath.
We widen to see Michael intent upon the road.
MICHAEL
Bigger and meaner than ever.
K.I.T.T.
Please don't make light of it, Michael.
Quite frankly, I'd rather face an
entire Army of car crushers.
MICHAEL
Just remember, pal -- we've got
right and justice on our side.
K.I.T.T.
And he's got weight, size and my
molecular bonded shell.
MICHAEL
Picky, picky.
EXT. HIGHWAY - DAY - ANGLE ON GOLIATH
sailing along like a massive, black ship on land. The
voluminous air horn blasts ominously.
INT. GOLIATH - DAY
Adrianne glares at Garthe as he gleefully releases the horn.
ADRIANNE
Must you blast that thing? I don't
see any need to announce our
approach.
GARTHE
We've got nothing to be afraid of.
Even Michael Knight's just a memory.
One I have yet to deal with....
ADRIANNE
Your hopes far exceed your abilities,
Garthe.
GARTHE
You know what you lack, Adrianne? A
sense of spectacle. You'd be
satisfied quietly counting your
money in some forgotten outpost
while I, on the other hand, won't be
happy until I'm the acknowledged
ruler of everything I touch.
ADRIANNE
You'll be the ruler of nothing if
Michael's called for help. Who
knows what's waiting for us up ahead?
GARTHE
And who cares? Nothing can stop us
-- we've got Goliath!
And he again blows the ear-splitting air horn, much to
Adrianne's disgust.
EXT. DOCK - DAY - ANGLE ON SUBMARINE - STOCK
waiting silently for the arrival of its prisoner, as we
hear:
COMMANDER'S VOICE
XL735, come in K17. We've docked
and are waiting on less than cordial
shores. Please hurry!
OMITTED
INT. MANSION COMMUNICATIONS ROOM - DAY - CLOSE ON DEVON
on the telephone, as the submarine Commander's Voice
crackles through the speaker nearby.
COMMANDER'S VOICE
Are you receiving, K17?
DEVON
(to telephone)
Can't you hear that? A foreign
submarine illegally docked on our
shores should at least fall within
your jurisdiction.
We widen to see April comforting a bereaved Christina
nearby as Devon listens briefly to his receiving party's
response, his anger building. Now, he leaps to his feet,
practically shouting into the telephone:
DEVON
Listen to me, you stiff-spined
military curmudgeon -- Klaus
Bergstrom is about to be shipped out
to some foreign nation and it's not
for a pleasure cruise. I don't care
whether he's a citizen or not, if
you've any sense of human decency,
you'll get out of that leather chair
of yours and mobilize your troops at
once!
(beat)
Hello? Hello! Blast him!
APRIL
I'm not sure that was the right
approach, Devon.
ANGLE ON APRIL AND CHRISTINA
as Christina turns desperately to April.
CHRISTINA
Can't I talk to them, April? They
don't understand that there's more
than politics involved here -- it's
my uncle's life.
APRIL
Believe me, Christina, if there's
anything that can be done to help
Klaus, Devon'll do it.
CHRISTINA
But it sounds as if Michael's driven
after something he can't possibly
handle.
APRIL
If there's anybody who can handle
himself as well as Devon, it's
Michael.
CHRISTINA
All Klaus ever wanted was to make
things better for mankind. This is
too unfair a price for him to pay.
Christina begins to cry and April embraces her.
APRIL
Don't worry. Everything's going to
be all right.
She looks over at Devon, who's pacing, trying to determine
his next course of action.
APRIL
Isn't it, Devon?
ANGLE ON DEVON
as he looks over at the women, then grabs the telephone,
dials quickly. A beat, then:
DEVON
Give me the Highway Patrol.
OMITTED
EXT. HIGHWAY - DAY - ANGLE ON GOLIATH
roaring along an empty stretch of road. As the behemoth
rumbles past a large ground-anchored billboard, we pick up
a Highway Patrol car parked behind it.
INT. HIGHWAY PATROL CAR - DAY - ANGLE ON PATROLMAN
picking up his walkie-talkie as he watches the vanishing
black truck.
PATROLMAN
I've got a vehicle answering to APB
1126 moving south on Highway 19. Am
in pursuit.
EXT. HIGHWAY PATROL CAR - DAY
pulling away from behind the billboard, lights flashing,
accelerating after Goliath.
INT. GOLIATH - DAY
Garthe spots the quickly approaching patrol car in his side
mirror, smiles.
GARTHE
How thoughtful -- a police escort.
ANGLE THROUGH GARTHE'S WINDOW
as the patrol car pulls up alongside, lights flashing. The
officer's voice booms through the loudspeaker:
PATROLMAN'S VOICE
Please pull over to the side of the
road immediately, by order of the
Highway Patrol.
ANGLE ON ADRIANNE AND GARTHE
She coldly dismisses the police vehicle.
ADRIANNE
Get rid of him.
Garthe grins demonically and swerves toward the car.
EXT. GOLIATH - DAY - ANGLE ON PATROL CAR
darting out of the way of the swerving truck, accelerating
and quickly passing. The patrol car gains on Goliath, then
skids to a stop, blocking the highway. The Patrolman
climbs out and stands at the front of the car, aiming his
gun with both hands at the oncoming leviathan.
INT. GOLIATH - DAY - CLOSE ON GARTHE
pulling the incredible air horn, its scream filling the air.
ANGLE ON PATROLMAN
as Goliath rumbles toward him, realizing the truck's not
even hesitating. At the ultimate moment, he leaps to
safety.
WIDE ANGLE - GOLIATH AND PATROL CAR
as the massive truck plows right over the patrol car,
utterly flattening it, then continuing up the empty highway.
CLOSE ON THE PATROLMAN
stunned, without even a radio to dispatch this news.
EXT. ROAD INTERSECTING HIGHWAY - DAY - ON K.I.T.T.
scanner flashing, zipping from road to highway in a
spectacular sideways sweep, then tearing up the highway.
INT. K.I.T.T. - DAY
A light flashes on the dash and we intercut with Devon on
the telephone in the mansion communications room.
K.I.T.T.
Michael, Devon's calling from the
mansion.
MICHAEL
Hello, Devon, any luck with General
Maddux?
DEVON
Yes, but only because he's interested
in submarines. Have you caught a
sight of Goliath?
MICHAEL
Not yet, but we're gaining fast.
DEVON
The Highway Patrol has set up a
roadblock at the juncture of Highway
19 and Comstock Road. Apparently
Goliath has wiped out one patrol car.
MICHAEL
Tell them to clear the area of people
before he wipes out several more.
OMITTED
EXT. JUNCTURE HIGHWAY 19 AND COMSTOCK ROAD - DAY - ANGLE ON
HIGHWAY PATROL ROADBLOCK
consisting of several squad cars and standard sawhorses.
Per Michael's request, the patrolmen are standing to either
side of the blockade, guns trained on the road.
ANGLE ON GOLIATH
roaring toward the roadblock. The air horn blasts....
ANGLE ON HIGHWAY PATROLMEN
ranged on either side of the road, opening fire as the huge
truck hurtles past.
ANGLE ON GOLIATH
as bullets ricochet off his molecular bonded shell.
WIDER ANGLE - GOLIATH AND ROADBLOCK (MINIATURE)
as once again, the behemoth simply blasts through the
roadblock, splintering metal and wood, continuing up the
highway.
INT. K.I.T.T. - DAY - FAVORING MONITOR
where we see a computer graphic rendering of the utter
desecration of the roadblock.
K.I.T.T.
My goodness, he's a devil!
We widen to see Michael watching the horrible destruction,
then suddenly spotting something O.S.
MICHAEL
Look out!
EXT. K.I.T.T. - DAY
darting around the utterly flattened hulk of the first
patrol car. As K.I.T.T. flies past, we angle to the
astounded, gaping patrolman, who gives up his efforts
to flag the Trans Am.
EXT. HIGHWAY - DAY - ANGLE ON GOLIATH
rumbling along, pieces of debris from the previous
encounter wedged to the massive grill at his snubbed nose.
INT. GOLIATH - DAY
Garthe glances over at Adrianne, whose eyes are glued to the
road ahead.
GARTHE
It's an amazing feeling of power,
isn't it? The power of men against
any obstacle....
He reaches for Adrianne's hand...she instantly pulls it
away, glares at him.
ADRIANNE
Don't touch me.
GARTHE
I remember when you were waiting
outside my door, hungry for my
touch. Just because I looked like
him.
ADRIANNE
Why settle for the copy when you can
have the original?
GARTHE
(angrily)
He's the copy! Never forget that!
Adrianne glances in her side mirror and a cryptic smile
crosses her face.
ADRIANNE
And he's coming, Garthe. He's
coming.
ANGLE INTO SIDE MIRROR
where we see K.I.T.T. reflected, just a black spot on the
distant horizon behind them.
INT. GOLIATH - DAY - CLOSE ON GARTHE
as he also sees Michael approaching.
GARTHE
No! How did he find us?
Then, as his eyes return to the road ahead.
GARTHE
Now what? Don't they realize we're
indestructible?
EXT. HIGHWAY - DAY - ANGLE ON SECOND ROADBLOCK
This time, an amalgam of greater proportion -- cement
trucks, dump trucks and huge piles of dirt and sand.
WIDE ANGLE - GOLIATH AND SECOND ROADBLOCK
as in slow motion, Goliath plows through, only slightly
slowed by the ponderous obstacle. As Goliath continues:
EXT. HIGHWAY - ANGLE ON K.I.T.T.
moving like lightning, gaining on Goliath, approaching the
remainder of the roadblock.
INT. K.I.T.T. - DAY
as Michael sees the obstacles ahead:
K.I.T.T.
Michael, unlike that dinosaur, I
dislike the look of that roadblock.
MICHAEL
It didn't stand in his way, and it
won't stand in ours.
And Michael reaches for turbo boost.
EXT. HIGHWAY - DAY - ANGLE ON K.I.T.T.
blasting from the road, soaring over the remainder of the
roadblock. Hitting the road beyond, the Trans Am rejoins
the chase.
EXT. HIGHWAY - DAY - ANGLE ON GOLIATH
picking up speed, roaring forward.
INT. GOLIATH - DAY
as Garthe eyes the oncoming K.I.T.T. in his side mirror.
GARTHE
He is in such a hurry to meet his
doom.
EXT. HIGHWAY - DAY - ANGLE ON K.I.T.T.
gaining on the behemoth.
INT. K.I.T.T. - DAY
The rumble of Goliath's powerful engine can be heard O.S.
MICHAEL
Okay, Kitt, it's time to start out-
thinking him.
K.I.T.T.
I'd prefer to outrun him, Michael.
That beast makes my chassis shudder.
MICHAEL
It's too late to get cold tires, we
have to help Klaus. Scan Goliath's
van for life forms.
We hear the scanner oscillate, then the conclusion:
K.I.T.T.
Only one person, Michael.
MICHAEL
Klaus Bergstrom. Okay, buddy, what
kind of lock's holding that tail
gate shut?
ANGLE ON MONITOR
where a plan of the complicated lock appears.
K.I.T.T.
It's a highly sophisticated electronic
timing device. Deprogramming it
would be quite time consuming.
ANGLE ON MICHAEL
as the image vanishes from the screen.
MICHAEL
If we were to concentrate all power
sources on microwave jammer and
focus it on that lock, think we
could spring it?
K.I.T.T.
Quite possibly, but it would
seriously deplete all active
functions. I doubt I could so much
as turbo boost without regeneration....
MICHAEL
We'll have to cross that bridge when
we come to it.
And Michael begins the transfer of all power....
EXT. HIGHWAY - DAY - ANGLE ON K.I.T.T.
pulling to within a few yards of Goliath, where we move in
on the scanner as the jammer goes to work.
ANGLE ON GOLIATH'S REAR GATE
as the mechanism of the lock begins to shake, then pops
open. The force of the jammer pulls the doors open as
well, and we see an astounded Klaus Bergstrom huddled
inside the van.
INT. GOLIATH - DAY
Garthe and Adrianne strain to make out what's going on
behind them.
GARTHE
He's right on top of us. I can't
strike at him there.
ADRIANNE
Something's going wrong, I can feel it!
EXT. HIGHWAY - DAY - ANGLE ON K.I.T.T.
sun roof open, now on auto drive, speeding so that
K.I.T.T.'s hood is just beneath Goliath's rear gate.
K.I.T.T. holds a steady course as Michael climbs up, over
the windshield, onto the hood of the car. He steadies
himself, then leaps into Goliath's van.
INT. VAN - DAY - ON MICHAEL AND KLAUS
as Michael hurries to help Bergstrom to his feet.
KLAUS
I don't believe what I've just
seen. I'm learning that the
miracles of science are nothing
compared to those of man.
MICHAEL
We'll discuss it later. Right now,
we've got to get you out of here.
And he rushes Klaus toward the open door.
EXT. GOLIATH - DAY - ON MICHAEL AND KLAUS
as Michael helps Klaus onto K.I.T.T.'s hood. As the two
men cling precariously to the windshield, K.I.T.T. drops
from behind Goliath, slows down.
ANGLE ON K.I.T.T.
as the two men climb to the safety of the car and Michael
slides into the driver's seat, returns K.I.T.T. to manual
drive. Immediately, K.I.T.T. takes off in pursuit of
Goliath, passes the truck and takes the lead.
INT. GOLIATH - DAY
as Garthe and Adrianne see what's happened.
ADRIANNE
He's got Bergstrom! We're lost!
GARTHE
No -- he is.
OMITTED
WIDER ANGLE
K.I.T.T. swerves from side to side, Goliath ponderously
attempting to follow, as K.I.T.T. turns off the highway onto
a smaller road.
INT. GOLIATH - DAY
Adrianne grabs at Garthe, who's obsessively staying on
K.I.T.T.'s tail.
ADRIANNE
Let him go, Garthe! There's still
time for us to escape!
GARTHE
For us to escape? We don't run --
we attack!
EXT. ROAD - DAY - ON GOLIATH AND K.I.T.T.
as K.I.T.T. leads Goliath across relatively flat terrain
toward the ocean. Garthe blasts the air horn and the truck
pulls up close behind K.I.T.T.
INT. K.I.T.T. - DAY - FAVORING MONITOR
where a schematic of the terrain shows, including a steep
cliff over the sea, directly ahead.
K.I.T.T.
Michael, we're headed directly
toward an extremely steep drop.
MICHAEL
So's Goliath.
K.I.T.T.
Allow me to remind you that we no
longer have April's parachute for
protection. I'm really not inter-
ested in executing a high dive without
a net.
MICHAEL
Allow me to remind you -- he's still
got the size, but we've still got
the maneuverability.
EXT. ROAD - DAY - ON K.I.T.T. AND GOLIATH
as K.I.T.T. bears down on the cliff's edge; then at the
last possible moment, angles away sharply and screeches to
a stop, while Goliath continues on his straight drive....
INT. GOLIATH - DAY - ON GARTHE AND ADRIANNE
suddenly seeing the cliff ahead as Garthe slams on the
brakes...too late.
EXT. ROAD - DAY - ANGLE ON GOLIATH
as the truck hurtles over the edge of the cliff, soars, in
slow motion, toward the sea below.
ANGLE ON K.I.T.T.
as Michael and Klaus climb out, stare over the cliff's
edge.
ANGLE ON GOLIATH
vanishing beneath the sea's surface.
CLOSE ON MICHAEL AND K.I.T.T.
K.I.T.T.'s scanner flashes as the sea air whips Michael's
hair.
MICHAEL
Seeing Garthe go down is almost like
watching a part of myself disappear
into the ocean.
K.I.T.T.
I feel as if a part of me went down,
too. That monster scraped my rear
bumper.
MICHAEL
Let's go home, pal.
As he heads back to K.I.T.T., we:
FREEZE FRAME
AND
FADE OUT
END OF ACT EIGHT
TAG
FADE IN
EXT. FOUNDATION - DAY - ESTABLISHING - STOCK
Sunny and peaceful, no echoing shadows of Goliath's threat.
DEVON'S VOICE
He smoked my cigars! And his
footprints on my desk! This is
unspeakable!
INT. FOUNDATION - DEVON'S OFFICE - DAY
Devon and April, now cleanly dressed and groomed, are
inspecting the ruin of Garthe's last visit. Now, Devon
kneels and picks up the shards of a shattered Chinese vase.
DEVON
My priceless Ming vase! Really, how
could Garthe destroy these things?
Surely, he knew their value.
APRIL
It's because he did that he destroyed
them. I think Garthe hated all things
of beauty. But look at it this way.
This may be the perfect opportunity
to redecorate.
DEVON
Redecorate? What's wrong with the
way it was?
April clams up as Michael enters, looks around and whistles.
MICHAEL
Whoa, Devon -- did you have one of
your wild parties in here?
DEVON
I fail to see the humor in it,
Michael.
He picks up several of the many books strewn across the
floor.
DEVON
Shakespeare, thrown around like old
newspapers. It's barbaric!
MICHAEL
Y'know, I've always thought the
decor in here looked a little...well
...old.
Devon freezes and looks up at Michael, appalled.
DEVON
What do you mean?
MICHAEL
Well, I think it's time to update the
Foundation's image. Brighten up the
walls, maybe put a skylight over
here....
DEVON
You have exactly five seconds to
leave this room before I shatter yet
another priceless Ming vase.
April giggles as Michael waves and beats a hasty retreat.
EXT. FOUNDATION - DAY
As Michael exits, Klaus and Christina approach. Her car's
parked near K.I.T.T. in the driveway. Klaus shakes
Michael's hand.
KLAUS
I was very glad to hear your General
Maddux and his men welcomed the
submarine on my behalf.
MICHAEL
The submarine commander was not
pleased.
Christina comes between the two men, officiously handing
Michael a typed list.
CHRISTINA
This is a list of restaurants Kitt's
recommended. He's working me into
your schedule even as we speak.
MICHAEL
And who said you weren't scientific?
Michael opens K.I.T.T.'s door, starts to climb in:
MICHAEL
See you tonight?
K.I.T.T.
Eight o'clock.
Klaus and Christina laugh as Michael and K.I.T.T. head out
of the Foundation driveway.
OMITTED
INT. K.I.T.T. - DAY
moving along a nice, quiet street near the Foundation at a
nice, quiet legal speed.
MICHAEL
I sure hope we've seen the last of
Garthe Knight and Goliath.
K.I.T.T.
So do I, Michael.
Suddenly, the blare of Goliath's air horn echoes around
them. Michael nearly jumps out of his skin.
MICHAEL
What was that?!
K.I.T.T.
Just a souvenir.
EXT. K.I.T.T. - DAY
as the car continues along.
MICHAEL'S VOICE
I've got a great idea -- let's go
jump off a cliff.
K.I.T.T.
No!
As Michael floors the accelerator, K.I.T.T. darts forward
and we:
FREEZE FRAME
AND
FADE OUT
THE END
