EXEC. PRODUCERS: Glen A. Larson PROD. #57839
Robert Foster December 28, 1983 (F.R.)
SUPV. PRODUCER: Joel Rogosin
CO-PRODUCERS: Robert W. Gilmer
Tom Greene
Gian R. Grimaldi
KNIGHT RIDER
GOLIATH RETURNS
by
Robert Foster
Robert W. Gilmer
Tom Greene
Janis Hendler
________________
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 comes 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 the 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 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 is 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 release mechanism is
malfunctioning. Abort...abort!
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
That was too close for comfort.
Looks like it's back to the drawing
board.
APRIL'S VOICE
I'll have it fixed in fifteen minutes.
CUT TO
INT. SEMI - DAY
April's tending to K.I.T.T. Michael watches anxiously.
MICHAEL
Take half an hour and make sure it's
perfect, okay? Take an hour.
APRIL
Will 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.
Teetering on the edge of oblivion
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
Don't worry, Kitt. There's been a
change in the menu. It's going to
be canapes and croissants for the
next few days.
Michael and April turn to Devon, puzzled.
DEVON
I'm sure you've both heard of
Doctor Klaus Bergstrom.
Michael and April nod. April's excited by the possibil-
ities. Michael isn't.
APRIL
Who hasn't? His research in satellite
laser technology has revolutionized
the field.
DEVON
Precisely. Well, Doctor Bergstrom's
visiting from Sweden to attend an
international symposium on the peace-
ful application of the technology. A
good many people, including his wife,
are concerned for his well-being.
There are governments who would use
his knowledge for other purposes.
MICHAEL
(a smile)
From what I've heard about Doctor
Bergstrom, his well-being isn't a
problem.
DEVON
Meaning?
APRIL
(to Michael)
What's Swedish for 'Life in the fast
lane'?.
DEVON
Enough. We've been asked to help.
Michael suddenly realizes where Devon's headed.
MICHAEL
Wait a minute, Devon. Einstein or
not, I'm not interested in playing
baby-sitter 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
Only when you want to. The Foundation
is hosting a cocktail party for Doctor
Bergstrom. Three o'clock sharp. And
please dress appropriately.
Before Michael can protest, Devon's gone.
MICHAEL
What am I going to say to some scien-
tist and his niece? From Sweden? I
don't know a word of Swedish.
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, but my mother's
American. I was born in the States.
(smiles)
Actually, I lied. I can say, 'ja,'
but that's about it. Luckily, there's
not much of a call for Swedish in
behavorial psych these days.
MICHAEL
You can'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 my life. 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 forties, still young
looking and fit. And rather handsome, too.
APRIL
Careful, Christina. He's a terrible
tour guide. Always gets lost.
MICHAEL
Not true. I know the city like the
back of my hand.
DEVON
A remarkable improvement in less
than an hour, Michael.
April and Michael smile. Devon introduces Bergstrom.
DEVON
I see you've met Christina. This is
her uncle, Doctor Klaus Bergstrom.
As Michael and Bergstrom ad-lib intros, an aid, Kathy
Cunningham, 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. 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. America is such
a fascinating place, I must study it.
In detail....
Christina shakes her head skeptically. Klaus grins at
Michael 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)
The details are incomplete. All
except for one. A massive truck
broke through the prison walls....
MICHAEL
(reacts)
Goliath...
Devon nods. On their somber look....
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. A
limo pulls up the driveway, parks, and Garthe gets out.
OMITTED
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 Margot, first encountered in Soul Survivor. She
kisses back for a moment, then breaks the embrace.
ADRIANNE
Such passion. Is it me you love, or
freedom?
GARTHE
Only a fool would answer that
question.
Garthe looks at the luxurious surroundings.
GARTHE
You have exquisite taste, Adrianne.
How much is this costing me?
ADRIANNE
I broke you out of prison. Don't
bother me with dollars and cents.
GARTHE
Goliath broke me out of prison.
ADRIANNE
And I rebuilt Goliath. Resurrected
him from a burnt-out shell in the
desert. 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 reaches for a towel, climbs out to join Garthe.
ADRIANNE
Look for yourself.
MOVING SHOT
as they cross toward the house, Adrianne points to a
bandaged figure in a wheelchair pushed by a nurse.
ADRIANNE
Doctor Moritz completed the tertiary
state of reconstruction yesterday.
You'll be very pleased.
Adrianne links her arm through Garthe's.
ADRIANNE
Everything is going just as I promised
it would. Even Goliath's weaknesses
have been eliminated. He's completely
invulnerable now.
GARTHE
(still watching
bandaged figure)
And the biodata implant?
ADRIANNE
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.
(beat)
The only information he won't have
is what's happened in the last twenty-
four hours.
Garthe nods, satisfied.
GARTHE
When can I see the patient?
ADRIANNE
The bandages come off tomorrow. You
see, Garthe, everything is under
control. And on schedule.
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.
ADRIANNE
There's a much more pressing 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 front, Christina in the back. 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 instead
of blood.
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 cold beer
on a hot day yourself, pal.
(to the others)
Moody. Tempermental. And almost
no sense of humor.
K.I.T.T.
I beg your pardon, I have a highly
developed sense of humor. For exam-
ple, 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 a fast
game of chess before I leave.
K.I.T.T.
I'd be delighted. There are still
642 variations of the Stravinchy
defense I'd like to try. And after-
wards, we could discuss your work
in laser technology.
KLAUS
(laughs)
I'd be delighted.
Klaus turns to step onto the curb, misses and comes down
hard on his ankle. Michael's immediately at his side.
MICHAEL
Are you all right?
KLAUS
I think so...yes.
Klaus takes a few tentative steps, limping slightly. They
head for the hotel entrance.
CHRISTINA
We'd better get some ice on it.
KLAUS
Ice? 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
Nothing special. Consider me yours.
KLAUS
That's the spirit. I love America
already. Now, where's a good res-
taurant and nightclub?
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 -- and
your ankle -- 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.
OMITTED
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.
Locks are smashed, doors kicked open. As the commandos rush
inside:
INT. FOUNDATION - NIGHT - DEVON'S OFFICE
where we find Devon and April going over some paperwork.
Both of them look up, startled by an alarm. 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.
CUT TO
OMITTED
INT. FOUNDATION - NIGHT - THE FOYER
as Devon and April come hurrying down the corridor, into
the foyer. Two commandos cover them. Just in time to see
Garthe step through the shattered front door. 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. He stands, smiling coldly at Devon and April, both
of whom are too startled to speak.
GARTHE
We meet again.
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 big city. The real world...
(a smile)
I've been so busy 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 one of the reasons 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. Michael smiles,
takes her hand.
MICHAEL
In that case, what you need is an
experienced tour guide.
CHRISTINA
Sounds wonderful. Got anyone in
mind?
MICHAEL
Me.
CHRISTINA
That sounds wonderful, too. When?
MICHAEL
How about tomorrow morning?
CHRISTINA
Perfect. What time?
MICHAEL
I'll check Devon's schedule and give
you a call.
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 limo indicate anything
out of order.
GARTHE'S VOICE
I want Michael Knight!
CUT TO
OMITTED
INT. DEVON'S OFFICE - NIGHT - CLOSE ON BOOTS
propped up on Devon's antique desk. 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, a commando off to one side, guarding them.
DEVON
If you think for a moment I'll give
you any information about Michael,
you're sadly mistaken. This madness
will never succeed.
GARTHE
As always, you underestimate me.
Our last encounter wasn't a defeat,
merely a temporary setback. Make no
mistake, I'll succeed this time.
It's my destiny.
DEVON
Your destiny is self-destruction.
Garthe laughs, smashes the half-smoked cigar down on the
desk top. Devon blanches at this act of blasphemy.
GARTHE
Destruction, yes. But it will be
Michael Knight's, not mine.
(beat)
And you will be the instruments.
Garthe stands.
GARTHE
Get up. You're coming with me.
Both of you.
Devon rises, furious.
DEVON
Why?! What earthly purpose will ---
Garthe grabs his cane, fires. A priceless vase shatters.
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 is relaxed behind the wheel.
K.I.T.T.
You seem pleased.
MICHAEL
I am.
K.I.T.T.
Was it the food or the company?
MICHAEL
Both.
(a smile)
What's this, 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 Klaus Bergstrom...or you and
Christina found something to chat
about.
MICHAEL
Take a wild guess.
K.I.T.T.
Advanced human psychology?
Michael laughs, then notices something in the road ahead.
MICHAEL
That's strange. The Foundation
gates are 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.
MICHAEL
Oh, my God...!
Michael turns, starts to hurry out of the room.
MICHAEL
(shouting)
Devon! April!
Before he can get much further, Kathy Cunningham staggers
into the room. She's in shock.
MICHAEL
Kathy! What happened?
Cunningham shakes her head, trying to gather her thoughts.
CUNNINGHAM
They forced their way in...Michael,
he took Devon and April...!
MICHAEL
He? Who are you talking about?
CUNNINGHAM
Garthe.
Off of Michael's stunned reaction, we:
CUT TO
EXT. MANSION - DAWN
The limo, followed by the van, pull up and park 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
Welcome to your new quarters.
Devon and April don't answer. The guards push them after
Garthe as he heads into:
INT. MANSION - ENTRANCE AREA - DAY
Garthe indicates the beautiful home.
GARTHE
Pleasant enough for a short stay,
don't you think?
Just at this moment, we hear:
ADRIANNE'S VOICE
Hello.
Everyone turns as Adrianne comes down the staircase toward
them. A perfectly timed entrance. She knows it as she
smiles at Devon and April. They're shocked to see her.
DEVON
Adrianne Margeaux...!
ADRIANNE
I'm so pleased you remember -- but so
disappointed Michael Knight isn't
with you.
APRIL
I thought you were in prison.
ADRIANNE
Prison? Perish the thought. I have
the best lawyers money can buy. And
they bought the best judge money can
buy.
(to Devon
re Garthe)
Isn't it fascinating the friends we
have in common? Such a small world.
DEVON
Garthe Knight isn't a friend. Even you
should know that.
ADRIANNE
Poor Garthe. People say such nasty
things about him.
(beat)
But such good things about Michael.
I'm beginning to wonder if he's
really flesh and blood. I look
forward to finding out for myself.
She smiles seductively. Garthe doesn't like the emphasis
on Michael, gestures to guards.
GARTHE
Take them to their room.
ADRIANNE
I do hope the bath towels match.
They exit. Hold on Adrianne, enjoying herself.
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
First, I have something to show you.
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 worry,
it's reserved for a very special
guest. Michael Knight.
Devon and April exchange a look.
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 react.
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
OMITTED
EXT. FOUNDATION - DAY
as Michael comes hurrying out of the Foundation. In b.g.
we see police cars. He crosses to:
THE TRANS AM
Michael walks up, opens the door, and climbs in. 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. If not
inside, maybe out here. Scan the
entire area, Kitt. Look for any-
thing, no matter how small or
insignificant.
K.I.T.T.
Right away, Michael.
Michael gets out of the car, looks around, pacing.
K.I.T.T.
I'm afraid there's nothing...what's
that?
MICHAEL
(reacts)
What?
K.I.T.T.
There appears to be drops of radiator
coolant on the driveway.
MICHAEL
(excited)
Enough to follow?
K.I.T.T.
I'm not sure. It depends on how
consistent the drops are, the amount
of liquid, the weather conditions
affecting the ---
MICHAEL
Devon and April's lives may hang in
the balance, pal. Let's go!
Michael jumps into the Trans Am. As it pulls out, we:
CUT TO
OMITTED
EXT. REMOTE HIGHWAY - DAY
as the Trans Am passes at a relatively slow speed, scanner
flashing.
INT. TRANS AM - DAY
Michael's hunched over the wheel.
MICHAEL
How're we doing, buddy? Still on the
trail?
K.I.T.T.
The drops are remarkably consistent.
MICHAEL
Good. We'll need every break we can
get.
K.I.T.T.
It's hard to believe Garthe succeeded
in breaking out of prison.
MICHAEL
Not with Goliath, it isn't.
K.I.T.T.
(alarmed)
Did you say Goliath?
MICHAEL
Thought I'd mentioned that.
K.I.T.T.
You certainly didn't.
(beat)
Michael, I thought we destroyed that
ugly monstrosity.
MICHAEL
I thought we did too. Somehow...
someway...somebody put the pieces
back together again.
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, but he's also
greedy for money and power. What-
ever he's up to is more than a
personal vendetta, Kitt.
(beat)
The question is 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
Never. Nothing means anything to me
without it.
ADRIANNE
Then you're a fool. You're not
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.
A phone rings. Adrianne answers.
ADRIANNE
(phone)
Yes...good. Send him in.
(to Garthe)
He's ready.
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
Garthe and Adrianne stare, impressed.
ADRIANNE
Good afternoon.
KLAUS #2
Good afternoon.
ON KLAUS #2
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.
DEVON
Leave her alone.
GARTHE
(ignoring him)
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.
APRIL
You disgust me.
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.
Michael checks the dots on the monitor, turns off on the
narrow road.
K.I.T.T.
(worried)
You don't suppose this could be a
trap, do you, Michael?
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 a 'new and
improved' model?
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
OMITTED
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 said he'd call. 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
Look at you. A man of your intelli-
gence, 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
What an incredible game. These
Americans are crazy! Have you ever
watched them play football?
CHRISTINA
(smiling)
It's got you hooked, Uncle Klaus. If
Aunt Helga was here she'd be a football
widow already.
KLAUS
Helga 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
Hello, Doctor Bergstrom.
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
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,
startled, when she sees:
GARTHE AND ADRIANNE
wheeling a man whose face we don't see into the elevator.
It all happens in a split second. 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 in.
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
they say. 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 strangest experience.
There was a man getting on the ele-
vator 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
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 makes a face 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 a 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, look!
Michael reacts.
OMITTED
HIS POINT OF VIEW
Off the road is a marshy, soft area, and in the center is
the Bronco with two figures in it, unclear from this dis-
tance. 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. We've been lead on a
wild goose chase, pal.
K.I.T.T.
I'm afraid it's more than that,
Michael. I'm sinking!
OMITTED
ANGLE ON K.I.T.T.
His wheels are half-submerged.
ANGLE IN K.I.T.T.
MICHAEL
Let's get out of here fast!
They try 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
Let's try your grappling hook!
Michael activates it.
ANGLE ON GRAPPLING HOOK
It discharges, wraps around a tree near the edge of the bog.
ANOTHER ANGLE
K.I.T.T. is going down.
K.I.T.T.
Michael, is this it? The big adios?
MICHAEL
Hang on, buddy.
(makes
adjustments)
Now try it. Easy. Nice and easy.
OMITTED
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.
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.
INSERT - THE GRAPPLING HOOK
returns to its carriage.
ANGLE ON MANNEQUINS
dressed in Devon's and April's clothes. Lifeless. A
bizarre, eerie sight.
ANGLE AT HILLTOP
We see a commando watching. He picks up a walkie-talkie.
ANGLE ON BRONCO
It slowly sinks into the bog.
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
OMITTED
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.
KLAUS #2
I hate press conferences.
He puts his notes down, rises, stretches.
KLAUS #2
The thing I'm going to miss the most
when I get back to Sweden is football
...especially the beer commercials.
I don't know which is more violent,
the games or the commercials.
Klaus #2 crosses to a refrigerator.
CHRISTINA
Where're you going?
KLAUS #2
To get a beer, of course. It's
un-American to watch football and
not drink beer.
Christina laughs, then noticing Klaus #2's walk.
CHRISTINA
Your ankle!
KLAUS #2
What?
CHRISTINA
(stares)
Your ankle, you twisted it yesterday
...don't you remember?
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 limo pulls up and parks. The driver hurries to open the
door. Garthe and Adrianne get out, the driver takes the
folded wheelchair out of the trunk. Now they haul the
unconscious Klaus out of the backseat and prop him up in
the wheelchair.
INT. CELL ROOM - DAY
Devon is back at the barred window, trying to loosen the
bolted bars with a short length of metal bedspring. April
listens at the door, hears something.
APRIL
(warning)
Devon....
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 over.
Now it's just a matter of delivering
the goods on time.
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...it's
possible.
(beat)
Even Christina doesn't know him
that well.
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 doesn't
seem too concerned.
GARTHE
A temporary condition. I'd prefer to
take him with Goliath anyway. What
about the sub?
TECHNICIAN
I've made contact. Pick-up time is
still tomorrow at fifteen hundred
hours.
Garthe nods, looks at the monitors.
ADRIANNE
So, the elusive Michael Knight is
still at large. Too bad.
(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
Yeah, we'd made plans. I'll call her
when I can.
KATHY
The last time she phoned she sounded
frightened. She 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....
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.
CLOSER ANGLE - CHRISTINA AND MICHAEL
as she reaches him.
CHRISTINA
I'm sorry. I'm just so...so confused.
MICHAEL
Why? What's wrong?
CHRISTINA
Uncle Klaus. I know it sounds crazy,
but it's like he's not the same person.
MICHAEL
Not the same person -- why? Did
something happen?
CHRISTINA
It's nothing big, just little things
...remember when he twisted his ankle?
Well, he's been walking around the hotel
room as if nothing's wrong. When I
asked him about it, he looked at me
as if he didn't know what I was
talking about.
(beat)
Michael? Do you think I'm crazy?
MICHAEL
Yesterday I would've said yes. Today
I'm not sure. C'mon.
He takes her hand and they cross for the elevators.
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.
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
they say 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. I just wanted
to drop by and say hello.
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. I'm sorry.
KLAUS #2
Ah, a pity. Well, perhaps next time.
Michael smiles, takes Christina's arm.
MICHAEL
Walk me down?
Klaus #2 disappears back into the room.
ANGLE IN HALLWAY
They come out, closing the door behind them. His smile
disappears. He turns Christina to face him.
MICHAEL
I don't know who that is in there,
but it's not Klaus Bergstrom. I
never mentioned anything about
Disneyland to him.
She looks horrified.
CHRISTINA
Michael, where's my uncle? What ---
He motions her to be quiet.
MICHAEL
(comlink)
Kitt, tap into the hotel's phone
system. I want to 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....
CHRISTINA
(stopping him)
I know what you're going to say. 'If
they know we know....'
MICHAEL
(nods)
Not bad for a small-town girl. They
think they've got us fooled. I want
to keep it that way for now. But
it's up to you.
Christina hesitates.
CHRISTINA
I won't pretend I have any idea
what's going on. All I know is
Uncle Klaus is in danger...and I
trust you. If you think it's
important, I'll do it.
Michael smiles, gives her hands a squeeze.
MICHAEL
Don't worry about the big city,
you're doing just fine.
With that Michael disappears down the hall. Christina looks
after him for a moment, then heads back to her hotel room,
terrified but determined.
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 Mr. Knight, quick!
CUT TO
OMITTED
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, apprehension mixed with a sense of hope.
MICHAEL
(quietly)
Bingo.
K.I.T.T.
'Bingo' indeed! It's Goliath!
MICHAEL
At least we know we're on the right
track.
(beat)
How far away is he?
K.I.T.T.
Two point three miles and closing
fast.
MICHAEL
Speed.
K.I.T.T.
One hundred twenty and accelerating.
Michael, surely you're not thinking
of 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 been repaired!
Goliath is 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
Adrianne enters, watches the impending confrontation on the
big monitor.
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 and eighty
feet 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, we're out of control!
MICHAEL
Reverse turbo!
(hits buttons)
K.I.T.T.
Malfunction! 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 K.I.T.T. 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, what are we going to do?!
MICHAEL
Pray April fixed you.
K.I.T.T.
My 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. 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!
K.I.T.T.
Thank goodness!
EXT. TOP OF CLIFF - DAY
as we see Garthe looking over the cliff as K.I.T.T. floats
down. He grabs a walkie-talkie.
GARTHE
(into walkie-
talkie)
Get him.
OMITTED
ANGLE - VAN AND JEEP
as, with a roar, a Jeep with commandos and a van come
speeding down a dirt road toward 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'd rather be turned into a toaster-
oven than go through this again.
MICHAEL
I'm with you there, pal. At least
we're still in one piece.
Michael opens the car door and begins to pull off the
parachute.
ANOTHER ANGLE
The Jeep and van pull up in a cloud of dust. Commandos
with submachine guns jump out.
MICHAEL
He slowly puts his hands up. Below him we can see the
malfunction light blinking, the buzzer going -- then all the
lights on the dash blow.
ANGLE AT TOP OF CLIFF
Watching, Garthe smiles to himself, then crosses back to
Goliath.
CUT TO
EXT. REMOTE MANSION - DAY
as it looms out at us like a menacing lion. The van and the
Jeep pull up, and Michael is hustled out, lead to the front
door.
INT. COMMUNICATION ROOM - DAY
On the monitor we see Michael being led down the hallway by
two commandos, submachine guns at the ready.
ANOTHER ANGLE
Garthe and Adrianne, are watching.
GARTHE
He's mine.
Adrianne shrugs as if to say you're the boss, but the look
in her eyes says different.
INT. DUNGEON - DAY
The heavy metal door is opened, spilling light into the room.
Michael is led into the room by the 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
Michael walks down the last step and is pushed onto the
dungeon floor. The commandos turn and go up the stairs.
As the door above closes with an echoing thud, Michael gets
up and begins to look around.
CLOSER ANGLE - MICHAEL
quietly, into his comlink:
MICHAEL
Kitt, can you hear me? Kitt?
There is some static, then we hear the familiar:
K.I.T.T.'S VOICE
(from comlink)
Michael, is that you?
MICHAEL
It's me, pal. You okay?
INT. K.I.T.T. - DAY - ON VOICE BOX
K.I.T.T.
No, I am not 'okay.' I am nowhere
near 'okay.' 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 suspended, helpless.
MICHAEL
Where are you?
K.I.T.T.
In the garage, and it's not a pleasant
experience.
MICHAEL
I'm not exactly in the Palace Hotel
myself. Don't worry, we'll find a
way out of here.
K.I.T.T.
I certainly hope so. Police impound
would be preferable to the company
I'm forced to keep.
Camera pulls back and we see, blocking the entrance of the
garage, staring down at us: Goliath.
INT. DUNGEON - ON MICHAEL
He hears the door open, close, then someone walking down the
stairs. It's Garthe.
CLOSER ANGLE
as Garthe slowly crosses to Michael. It's a moment charged
with tension. A moment Garthe relishes.
GARTHE
Well, imagine this...we meet again.
Surprised?
MICHAEL
Not particularly.
GARTHE
Liar.
Garthe laughs, moves idly around the small room, enjoying
himself.
GARTHE
The last time we met I promised to
take you to Africa. To the very
prison in which I was forced to
exist.
(beat)
Unfortunately, that's no longer
practical. So I did the next best
thing. I had the prison cell brought
here...stone by stone. Just for you,
Michael. Just for you.
His voice is calm, but the intense hatred burns in his eyes.
MICHAEL
I'm flattered. Now why don't we
talk business.
GARTHE
Business? This is the business.
You'll be interested to note I
received an unexpected bonus with
the stones. African rats -- just
like the ones who chewed at me.
They breed quickly, and will stop at
nothing to feed their young.
(smiles)
Make friends, Michael. If you can....
MICHAEL
I want you to release Devon and
April.
Garthe laughs, turns and starts back up the stairs.
MICHAEL
You've got me -- that's what you want,
isn't it?
GARTHE
(pauses)
Yes. But that's not all I want. I
want you to suffer in every way
imaginable...and my possession of
Devon Miles and April Curtis causes
you great anguish. Why would I con-
ceivably deny myself that pleasure?
He smiles, continues up.
GARTHE
(calls)
Guards! I'm through.
(then to
Michael)
Incidentally, I'm told the rats have
already begun to breed. Sleep well,
my brother.
His laughter rings off the stone walls. Guards open the
thick door and he disappears. We begin to hear the squeals
of the large rodents. Michael can see, in the corners of the
dungeon, the reflection of their large eyes as they stare
hungrily at him.
EXT. HOTEL - NIGHT
Camera zooms up to one of the top floors. Over this:
CHRISTINA'S VOICE
I want to speak to Michael...Michael
Knight. Please, tell him it's
important.
INT. CHRISTINA'S ROOM - NIGHT
By the window, Christina is looking out and talking into the
phone.
CHRISTINA
(into phone)
Do you know where he is? I've got
to talk to him about ---
KLAUS #2'S VOICE
Christina?
Startled, Christina quickly turns as Klaus #2 comes in.
She hangs up the phone. It's unclear whether he's heard
her phone conversation or not.
CHRISTINA
(to Klaus #2)
You startled me...I thought you were
going out.
KLAUS #2
I was, but then I realized how little
time we will have together.
He comes over to her, and puts a fatherly arm around her.
KLAUS #2
Christina, is something bothering
you?
CHRISTINA
No. No, really -- I'm fine.
KLAUS #2
If something is bothering you, you
can talk to me. After all, we're
family. There's no bond as close as
that. If you can't trust family...
who can you trust?
CLOSE ANGLE - CHRISTINA
as she looks out the window, away from him, afraid he'll
see the fear in her eyes.
CUT TO
INT. MANSION - NIGHT
Adrianne is finishing dressing, wears something sheer and
provocative. She hears voices in another part of the house,
one of them Garthe's. A door leading outside opens and
then closes. Adrianne smiles to herself, moves to a mirror
where she applies perfume to the right places. She is, in
a word, a female on the prowl.
CUT TO
INT. CELL - NIGHT
In the cell are Klaus, Devon and April. The cots are no
longer present. They are searching for a way out. Devon
turns and looks at a small key-lock light switch on the wall.
DEVON
April, do you know a way we could
switch this key-lock off, and then
on again?
April crosses and looks.
APRIL
A bobby pin should do the trick.
KLAUS
(to Devon)
What are you thinking?
DEVON
Just that I wish some of my friends
from the old UXB unit in England were
here. They became experts on every
kind of bomb, and even invented a
few. Spies' bread, for instance.
APRIL
Spies' bread?
KLAUS
(excited)
I remember that. When R.A.F. pilots
were imprisoned in Germany, they used
to escape by making a kind of 'dough'
out of articles of clothing. They
used electricity to detonate it.
(beat)
Shall we, as the English say, give
it a go?
DEVON
It's a long shot, but we do have water.
What we need is a base.
A moment of thoughtful concentration.
KLAUS
(then)
If only we still wore those celluloid
collars...that alone could blow us out
of here.
DEVON
Wait -- aren't our collar stays made
of a similar material?
Devon looks over to Klaus, then they both remove the small
stays from their collars. April breaks the light fixture
with her shoe, retrieves several shards of glass.
APRIL
We can use this glass to shave the
stays into smaller pieces.
KLAUS
But we still need the 'flour' for the
dough.
APRIL
Klaus, what about the lining of your
jacket? It's made of an acrylic.
KLAUS
The problem is we need something that
can be crushed into a powder to create
combustion.
DEVON
I bought this sweater in India. They
use the malimite for the buttons.
KLAUS
Good! Malimite will act as an oxi-
dizer.
With that, Devon begins pulling off the buttons. April
takes them, puts them on the floor and uses her high heels
to begin crushing them while Devon and Klaus work at the
stays with glass.
CLOSE ON BUTTONS
April pounds at them. One by one they shatter and begin
to turn into a powder-like substance.
INT. DUNGEON - NIGHT
Michael 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.
Michael reacts to the sound of a guard opening the door.
MICHAEL
No time to explain now. I want you
to start recording everything. You
with me?
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
as Adrianne appears, coming down. She looks fabulous.
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
Why not just get to the point,
Adrianne.
ADRIANNE
One point at a time, Michael.
(beat)
You know what I'm talking about...
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. Those are the
dreams I've had about you, Michael.
Only I've been having them almost
every night since we last met. And
it has made my 'mood' very strong.
MICHAEL
Where does Garthe fit into these
'moods'?
ADRIANNE
He fits into a different mood. You
see, I'm a woman of varied tastes.
She smiles and walks closer to Michael, sizing him up,
studying him.
ADRIANNE
It's amazing...the resemblance
between you and Garthe. You're like
flip sides of a coin, opposites to
the core, one good, one evil.
(smiles)
I'm curious to see which one I'll
prefer.
MICHAEL
I don't know what you're talking
about.
ADRIANNE
I'm talking about you. Your future.
Will it be life, or death? If it
were up to Garthe alone, it would
be death.
Closer still, she brushes herself against him, playful,
tantalizing.
ADRIANNE
Fortunately for you, it's not up to
Garthe alone. If you please me, I
may have you spared. You see, once
Garthe and I conclude our project
tomorrow, I'll have more money than
I can possibly spend alone. I'll
need some help.
MICHAEL
I'm sure Garthe can help you out in
that department -- if you succeed.
ADRIANNE
Oh we'll succeed. The question is
will you succeed in staying alive?
She kisses him lightly on the face, the neck, toying with
him.
ADRIANNE
Kiss me, Michael. Convince me you're
worth saving.
She moves her mouth hungrily up to his. When he doesn't
meet her she grabs his hair and pulls his mouth to hers.
CUT TO
INT. MANSION GARAGE - NIGHT - ANGLE ON K.I.T.T.
Tape activated, K.I.T.T. is recording the conversation in
the dungeon.
ADRIANNE'S VOICE
Mmm...That's a nice start....
K.I.T.T.
(to himself)
Goodness gracious.
We hear a noise.
ANOTHER ANGLE
A technician armed with scientific-looking apparatus
enters, approaches K.I.T.T. His name is Karl.
KARL
Good evening, my friend. My name is
Karl.
ANGLE FROM K.I.T.T.
We see K.I.T.T. cut the sound on the tape recorder. Karl
approaches, puts down his gear.
KARL
I hear you're a tough nut to crack.
Well let me tell you, I'm a tough
nutcracker.
He tries the door. It won't open.
KARL
So, that's the way it's going to
be. All right, have it your own
way. But let me warn you -- I will
strip your defenses one by one and,
in the end, I'll transplant your
central processing unit to Goliath.
K.I.T.T.'s scanner flashes angrily. Karl notes it,
delighted.
KARL
Ha! Got a rise out of you, I see.
All right, we will begin.
He opens his equipment, begins punching computer keys.
K.I.T.T.'s door flies open. Karl grins, moves to get
inside but it slams shut again. Frustrated, Karl returns
to his computer.
KARL
Okay, smart guy. You're in for the
fight of your life.
CUT TO
OMITTED
EXT. HOTEL - NIGHT
The street is deserted in the late night calm. We pan up
to Christina's room.
INT. CHRISTINA'S ROOM - NIGHT
Christina is carefully going through Klaus #2'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, he
appears from his bedroom in a robe.
KLAUS #2
I think it's time we ended this
little charade.
CHRISTINA
I was just looking for....
KLAUS #2
Some kind of identification? Don't
bother. It's 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? Where is my uncle?!
KLAUS #2
Let's just say I am part of a very
complex plan...a plan that will go
smoothly, no matter what. It's been
quite obvious ever since this
afternoon that you had suspicions
about me. I think it's time we lay
our cards on the table.
CHRISTINA
What do you want from me?
KLAUS #2
Very little, actually. Just your
smile, and silence...and cooperation.
If you try to escape, or alert anyone,
your uncle will suffer. Is that
clear?
INT. MANSION GARAGE - NIGHT
Karl is at his computer, furiously punching keys.
K.I.T.T.'s hood pops open. Karl jumps up.
KARL
I told you!
He goes for the engine compartment but the hood slams in
his face. He is livid. He kicks the tire in frustration,
succeeds only in stubbing his toe. He grimaces, returns to
his computer, starts over again.
KARL
I'll get you, mark my words. Your
door, your hood, your trunk...and
before I finish with you, your
C.P.U.! Do you hear me?!
K.I.T.T.'s scanner flashes, as if to say, "Just try."
CUT TO
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 resembles a gray dough. We pull back as
Devon lifts up the golf ball size mixture.
DEVON
Now all we need is something that's
conductive to electricity.
Klaus looks around, then:
KLAUS
April, your belt -- isn't that wire?
APRIL
(looks)
I think so -- yes.
April takes off her belt and they pull off a long strand of
decorative wire trim.
APRIL
Is this enough?
DEVON
Let's find out.
Devon inserts it into the substance, then walks over to the
door where he sticks the other end into 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:
KLAUS
Cover your eyes!
Devon 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!
ANGLE IN HALL OUTSIDE CELL
as the three hurry 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
Garthe is standing there. He points his cane-gun at them.
GARTHE
So the 'great escape' concludes,
neither great nor successful.
(then)
Guards!
Commandos appear and take Devon and April to another cell.
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
Your friends tried to escape. They
failed. But they're lucky. At least
their deaths will be quick...and
painless.
He laughs as we push in on Michael.
FREEZE FRAME
AND
FADE OUT
END OF ACT FIVE
ACT SIX
FADE IN
EXT. REMOTE MANSION - DAYBREAK
The deceivingly peaceful mansion is bathed in morning light.
EXT. MANSION GARAGE - DAY
The door opens and Karl appears, carrying his equipment.
His shoulders are slumped. He looks exhausted. He trudges
away, toward the mansion, a defeated man.
INT. DUNGEON - MORNING - ON MICHAEL
as he leans against the wall, talking into the comlink. He
looks tired.
MICHAEL
(into comlink)
Okay, now find a 'the' and splice it
on after 'open.'
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 Adrianne from the night before,
but this time, some words are separated and put on the
monitor on a separate line. The words are then rearranged
so that the sentence reads on the monitor as follows:
"GUARDS! OPEN THE DOOR, I'M TAKING MICHAEL OUT OF HERE."
K.I.T.T.
I think that works, Michael.
MICHAEL'S VOICE
Good. Now let's see if the rest of
the world does.
MICHAEL
He carefully walks up the steep steps to the door.
CLOSER ANGLE - MICHAEL
He pauses.
MICHAEL
(comlink)
Okay, pal, this is it. Give me the
performance of your life.
Michael holds the comlink up to the door.
ANGLE OUTSIDE DUNGEON DOOR
Two guards are on either side of the door. Suddenly we hear:
ADRIANNE'S VOICE
Guards! Open the door. I'm taking
Michael out of here.
The guards react, cross to the dungeon door. While the first
guard takes out his keys and begins to open the lock, the
other one stands back, his gun ready.
CLOSER ANGLE - DOOR
as the first guard opens the door...slowly, then, suddenly
the door flies open, pinning him against the wall. In a
flash Michael sidesteps the second guard and gives him a
kick to the stomach. Then, in one quick motion, throws him
into the dungeon. The door pushes open as the first guard
appears, but Michael coldcocks him, sending him into the
dungeon as well. He tumbles down the steep steps. Michael
quickly grabs both their weapons, locks them inside the
dungeon and leaves.
OMITTED
ANGLE IN HALLWAY
as Michael appears, listens, moves quickly down the hall.
He carries one of the guards' guns.
ANGLE IN LIVING ROOM
A guard is on duty. Behind him Michael appears, slips
quietly past, unnoticed.
EXT. MANSION - DAY
Michael peers out a door. Seeing the early morning grounds
deserted, he runs toward the garage.
INT. GARAGE - DAY
K.I.T.T. is still on the hydraulic lift. We hear a key go into
the narrow side door to the garage. It opens. Michael comes
in, looking up. Goliath dwarfs the two of them as it stands
by the large garage main doors.
K.I.T.T.
Michael! It worked!
MICHAEL
So far. Right now we're long on luck
and short on time. 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 I felt
up here. A technician named Karl kept
trying to get into my central processing
unit last night. I had to use every
ounce of power to fight him off. I
felt like a chorus girl at a convention.
K.I.T.T. reaches the ground and Michael pops the hood,
begins working inside.
K.I.T.T.
How do I look?
MICHAEL
I think you'll live.
(continues
working)
Looks like all Goliath did was loosen
your main circuit distribution panel.
There...how's that feel?
INT. K.I.T.T. - ON CONTROL PANEL
Suddenly all the lights, buttons and digital readouts light
up.
ANGLE ON SCANNER
It brightens to its normal level and begins oscillating back
and forth in a steady rhythm.
K.I.T.T.
Wonderful! I feel alive again! Reborn!
MICHAEL
He jumps into K.I.T.T.
MICHAEL
Don't get carried away. We're not
free yet.
He punches up the X-ray mode.
MICHAEL
Okay, pal, let's see if we can locate
Devon and April.
We see on the monitor an electronic blueprint of the remote
mansion. A small red light begins to blink in a room.
K.I.T.T.
They've been moved to another room.
It has a security camera and PA
system.
MICHAEL
Good. Jam the waves and give me a
direct two-way from that PA speaker.
K.I.T.T.
Right away.
OMITTED
INT. COMMUNICATIONS ROOM - MORNING
Two technicians are present. On one monitor we can see
Devon and April as they sleep on mattresses. Suddenly, the
monitor fills with snow. One of the technicians tries to
adjust it.
INTERCUT WITH MICHAEL - INT. CELL #2 - MORNING
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?..Where are you?
MICHAEL
In the garage. Kitt's ready to roll.
Just sit tight -- we'll find a way
to get you out of there.
DEVON
Michael, no. Listen to me: Get
Christina first.
MICHAEL
But Devon ---
DEVON
That's an order.
MICHAEL
(beat)
I'll be back for you. That's a
promise.
DEVON
Good luck, Michael. And God's speed.
MICHAEL
as he switches off the communications jammer.
INT. COMMUNICATIONS ROOM
The monitor clears up...and we see April and Devon sleeping
again, as if nothing happened.
TECHNICIAN
I wish they'd stop using those
blenders in the morning.
OMITTED
INT. STUDY - DAY
Adrianne enters to find Garthe pacing.
ADRIANNE
Good morning.
GARTHE
What makes you think so? If you got
up at a decent hour you'd know the
submarine's going to be late. It's
been dalayed by an American destroyer
on maneuvers near the international
boundary.
ADRIANNE
You're in a foul mood as usual. For
your information, I'm not responsible
for the movements of the United States
Navy.
GARTHE
No. And you're not responsible for
Michael Knight, either. Stay away
from him.
ADRIANNE
How dare you tell me what to do. If
it weren't for me, you'd still be in
prison and Goliath would still be a
burned-out skeleton in the desert!
GARTHE
You give yourself too much credit. I
would've escaped one way or another.
I had a promise to keep.
ADRIANNE
What, your revenge against Michael
Knight? It always comes back to him,
doesn't it?
GARTHE
My revenge is my business, not yours.
ADRIANNE
Your hate for him is eating away at
you. It makes you weak. It disgusts
me.
GARTHE
And your lust for him disgusts me!
Adrianne slaps Garthe hard across the face. He stares at
her for a moment, then slaps her back. Adrianne glares at
him, shocked. Then she attacks him, all claws. Garthe
grabs her and slams her down into a chair, holds her there.
GARTHE
It's time you understood once and for
all my life does not revolve around
you. It was my will that forced you to
break me out of prison, my knowledge
that resurrected Goliath, and my
planning that captured Michael Knight.
Before Adrianne can answer, the door opens and the first
Guard from the dungeon runs in. His clothes are dirty and
his face bruised.
GUARD
He's gone! He escaped!
CUT TO
OMITTED
INT. GARAGE - DAY - ANGLE ON K.I.T.T. TO INCLUDE GOLIATH
beside the Trans Am.
K.I.T.T.
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
He tests the operations panel.
MICHAEL
Give me another thirty seconds and ---
K.I.T.T.
Michael! I detect a vehicles headed
our way!
MICHAEL
I think that's our exit line, Kitt.
He starts the engine with a roar.
WIDER ANGLE
Michael slams the accelerator to the floor and K.I.T.T.
bursts forward.
OMITTED
EXT. GARAGE - DAY
as K.I.T.T. bursts through the wall.
WIDER ANGLE TO INCLUDE COMMANDOS
They react, scurry to firing positions.
INT. K.I.T.T. - DAY - ON MICHAEL
He sees commandos, hits pursuit.
MICHAEL
Give me all you've got, pal.
EXT. GROUNDS - DAY - SLOW MOTION
as K.I.T.T. races past they open fire. The bullets bounce
off. The commandos react in disbelief.
OMITTED
EXT. MANSION - DAY - ANGLE ON GARTHE AND ADRIANNE
as they run out of the house, stunned by what they see.
GARTHE
I'll stop him!
ADRIANNE
(grabs him)
No! Not now! He'll come back for
his friends.
Garthe glowers, turns and storms back into the house. We
move in on Adrianne as she smiles to herself.
ADRIANNE
Then it will be my turn.
ANGLE ON K.I.T.T.
He races for the gates.
ANGLE AT GATES
K.I.T.T. smashes through, leaving a tangle of wrought iron
behind.
EXT. HIGHWAY - DAY - ANGLE ON K.I.T.T.
He flashes by at high speed.
INT. K.I.T.T. - DAY
Michael is tense behind the wheel.
K.I.T.T.
I've never been so happy to leave a
place, Michael.
MICHAEL
Too bad it's only a breather.
Michael pushes buttons activating the monitor.
MICHAEL
Let's access Doctor Bergstrom's
itinerary for today.
ANGLE ON MONITOR
A list of activities appears on the screen.
K.I.T.T.
He's scheduled to attend a press
conference at 10:30.
ANGLE TO INCLUDE MICHAEL
MICHAEL
Let's try and catch him before he
leaves the hotel.
Michael hits pursuit.
OMITTED
EXT. HOTEL - DAY - TO ESTABLISH
INT. HALLWAY - DAY
Klaus #2 and Christina leave their room, start for the
elevator.
EXT. HIGHWAY - DAY
K.I.T.T. races by.
INT. HOTEL ELEVATOR - DAY
They are alone. Klaus #2 looks at Christina.
KLAUS #2
Surely you can do better than that.
CHRISTINA
Better than what?
KLAUS #2
Your face is frozen. You look like
a statue.
CHRISTINA
Unfortunately my major wasn't theater
arts. I can't smile on cue.
KLAUS #2
No, but you can look pleasant. Try.
For your uncle's sake.
The threat is clear. She tries to relax, but it's
difficult.
EXT. HOTEL - DAY
K.I.T.T. screams in, skids to a stop. Michael jumps out
and runs for the entrance.
INT. LOBBY - DAY
Elevator doors open and Klaus #2 and Christina walk out.
ANOTHER ANGLE
Michael enters. He sees them. They see him. He smiles
and waves.
MICHAEL
Doctor Bergstrom! Christina!
Klaus #2 isn't sure how to respond -- does Michael know?
Christina looks relieved. Michael crosses to them, smiling.
MICHAEL
Sorry I've been such a lousy tour
guide. The least I can do is give
you a ride to the press conference.
KLAUS #2
Thanks, but I've already made
arrangements.
MICHAEL
I'll bet you have.
Still smiling, he grabs Klaus #2's arms, spins him around
and grabs the pistol. People stare, confused, frightened.
KLAUS #2
Let me go!
MICHAEL
Fat chance.
(to Christina)
You okay?
She nods. A hotel security officer approaches.
SECURITY GUARD
What's the problem here?
MICHAEL
This man is an imposter.
KLAUS #2
(to Guard)
This man is a maniac! Do something!
MICHAEL
(to Christina)
The real Klaus Bergstrom is being
held against his will. This is his
niece. Tell him.
CHRISTINA
(to Guard)
It's true! This man isn't my uncle!
He threatened to hurt him if I said
anything.
The Guard isn't sure who to believe. Michael hands him the
pistol.
MICHAEL
Klaus Bergstrom doesn't own a
pistol. Check the registration. If
I'm wrong, let him go. If I'm
right, turn him over to the police.
Without waiting for an answer, he grabs Christina's hand and
they run for the door.
EXT. HOTEL - DAY
They come running out.
CHRISTINA
I thought you'd forgotten about me!
MICHAEL
Never. I got delayed.
CHRISTINA
(fearful)
Is Klaus...all right?
MICHAEL
He's alive. Do psychologists pray?
CHRISTINA
I do. Why?
MICHAEL
Make it a good one.
ANGLE IN K.I.T.T.
They slam doors. Michael starts the engine, hits the gas.
EXT. HOTEL - DAY
K.I.T.T. blasts out in a squeal of rubber.
FREEZE FRAME
AND
FADE OUT
END OF ACT SIX
ACT SEVEN
FADE IN
EXT. HIGHWAY - DAY
K.I.T.T. races down the road.
INT. K.I.T.T. - DAY - FAVORING DASH
where the computer reads out accelerating speed, moving
quickly over 100 mph. 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.
In this case, I believe it's called
party-crashing.
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 awfully quiet.
CHRISTINA
I'm sorry. I haven't even thanked
you for rescuing me from that...
that....
K.I.T.T.
Masquerading misanthropic Klaus clone.
CHRISTINA
(smiling despite
herself)
Exactly.
MICHAEL
You don't have to thank me. I just
wanted a guarantee that you'd be
available for dinner after this is
all over.
CHRISTINA
If it's over. I'm so afraid I'll
never see Uncle Klaus again.
MICHAEL
You will, Christina. If it's humanly
possible, you will.
K.I.T.T.
I beg your pardon.
MICHAEL
Sorry, pal. Didn't mean to exclude
you.
(to Christina)
He's very sensitive.
CHRISTINA
(smiles)
I can see.
CUT TO
OMITTED
INT. GARAGE - DAY - CLOSE ON GOLIATH (STOCK)
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.
OMITTED
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 into it:
ADRIANNE
XL735, come in. What's taking so long?
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
thirty-three minutes. Over.
OMITTED
INT. MANSION COMMUNICATIONS ROOM - CLOSE ON ADRIANNE
ADRIANNE
We'll be there. Over and out.
She switches off the transmitter.
OMITTED
INT. REMOTE MANSION - CELL #2 - DAY
We see Devon kneeling, prying at an air vent, trying a des-
perate attempt to escape. He shakes his head, giving up,
rising.
APRIL
It's no use, Devon.
DEVON
I'm afraid we had the only chance
we'll get.
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 much more time in this cracker
box.
DEVON
Where are you taking us?
GARTHE
Nowhere. As soon as we remove
Bergstrom, I'll overload the circuitry.
As the wires melt, the house will
burst into flames -- and so will Devon
Miles and my father's dream.
APRIL
You're didn't include me. An oversight?
Garthe approaches her, takes her face almost gently in his
hands.
GARTHE
No. I find you too appealing to
destroy.
Devon pushes Garthe's hands off April.
DEVON
April isn't a trophy for your mantle!
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.
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 seduc-
tively.
APRIL
Can we speak alone?
DEVON
April ---
APRIL
Devon, please. I'm a grown woman.
Garthe releases Devon, walks to the door and opens it
gallantly, waits for April to move out. He looks back at
Devon.
GARTHE
Don't wait up.
He laughs 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 want me. I'll go with you on
one condition -- That you release
Devon.
GARTHE
Never.
APRIL
An agreeable companion is better
than an unwilling prisoner.
GARTHE
You'd become willing soon enough.
In a month you'd be following me
around like a hungry puppy.
APRIL
Let Devon go. Please -- he can't
hurt you now.
GARTHE
Nor will he ever again. Devon Miles
must die. Just as surely as Michael
Knight.
April knows he's beyond reason. There's no longer a reason
to pretend.
APRIL
In that case, you might as well know
what I think about you and your
'destiny.' Your destiny is to never
have a woman who wants you for your-
self. To never have a man respect
you for what you are. Your destiny
is death, and if you don't believe me
take a good look in the mirror. Your
eyes are holes. There's nothing inside
but darkness.
INT. CELL #2 - DAY
The door bursts open and Garthe pushes April in, livid
with fury. Devon moves protectively to her side as Garthe
slams the door and bolts it.
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 course north
by northwest.
MICHAEL
(pushing buttons)
Let's get an exact location.
K.I.T.T.
Forty-three point five miles northwest
of the mansion.
MICHAEL
That would be in the middle of the
ocean.
K.I.T.T.
Twenty-four point six miles from shore
to be exact -- and approximately two
hundred feet below the surface.
CHRISTINA
Below the surface?
MICHAEL
That's it -- a submarine! That's
how they're moving Klaus out.
CHRISTINA
But a submarine -- 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.
MICHAEL
Correction, pal. Even if they take
Goliath.
OMITTED
INT. CONTROL ROOM - DAY
We see K.I.T.T. 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 communica-
tions room. In the b.g., we hear the submarine Commander's
voice crackling through an open speaker:
COMMANDER'S VOICE
This is XL735. I'm twenty-four point
two miles offshore and approaching.
Prepare for shore-to-ship transfer.
WIDER ANGLE
to show a Technician staring at K.I.T.T. on the monitor as
Adrianne moves in behind him, eyes the screen. She smiles
cryptically.
ADRIANNE
Just as I predicted.
TECHNICIAN
At his present speed, he'll be here
in five minutes or less. I'd better
alert Mr. Knight.
The Technician reaches for a microphone connected to the PA
system. Adrianne suddenly stops his hand.
ADRIANNE
No. If Garthe knows Michael's coming,
he'll lay everything aside for his
personal vendetta. Michael's arrival
will be our secret for the time being.
She leans over and turns off the monitor, then leaves.
OMITTED
INT. CELL #1 - DAY
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
Force you. Use whatever means
necessary.
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. As
he leaves the room, we move in on various meters whose
registers arc toward the red and danger.
EXT. REMOTE MANSION GARAGE - DAY
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
A commando driver climbs out of Goliath 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.
OMITTED
WIDER ANGLE
As Garthe moves toward Goliath, the commandos immediately
snap to attention. Garthe salutes them quickly, then
crosses to climb into the driver's seat, pauses by
Goliath's big hood.
GARTHE
Our time is almost here, my giant
friend. This time there will be no
doubt.
ANGLE ON GOLIATH
Garthe climbs in, revs the truck's massive engine. Garthe
blasts the powerful air horn and the behemoth rumbles away.
ANGLE ON VAN AND JEEP
They also pull out.
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
Suddenly the lights in the room go out, then on again.
APRIL
If Garthe's overriding the circuitry,
we may only have minutes....
DEVON
(nods)
Michael, wherever you are...please
hurry.
EXT. ROAD TO MANSION - DAY - ON K.I.T.T.
K.I.T.T.'s scanner flashes as the car 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 Christina.
MICHAEL
Good. That'll make our job easier.
EXT. ROAD - DAY
K.I.T.T. speeds by.
EXT. REMOTE MANSION - DAY - ANGLE ON K.I.T.T.
He speeds in, screeching to a halt in front of the house.
INT. K.I.T.T. - DAY
Michael punches buttons.
MICHAEL
Give me a reading, Kitt.
K.I.T.T.
My magnetic analyzer indicates exces-
sive electrical current from the com-
munications room! Michael, the
house is ready to explode!
MICHAEL
Kitt, protect her!
He jumps out.
CHRISTINA
Michael! Wait!
WIDER ANGLE
He runs toward the house.
ANGLE ON K.I.T.T.
He activates, pulls a safe distance away.
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.
INT. COMMUNICATIONS ROOM - DAY - ANGLE ON MICHAEL
throwing the door open, dashing into the room. 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, I don't know where to start.
Is there one main source I can knock
out?
K.I.T.T.'s voice comes through heavy static interfence:
K.I.T.T.'S VOICE
The breaker box on the far wall, near
the window.
Michael spots a large breaker box. Stripping off his jacket,
he wraps it around his arm and grabs the lever. Using his
body's full force, pulls it down.
WIDER ANGLE
Suddenly, the lights go out, the hum and rumbling subside.
Sparks continue, then die out.
CLOSE ON MICHAEL
crouching near the window with the expression of a man
waiting for the world to end. Relieved, he rises and runs
for the door.
INT. CELL #2 - DAY - ANGLE ON DEVON AND APRIL
huddled against the far wall.
MICHAEL'S VOICE
Devon! April! Where are you?
INT. CORRIDOR - DAY - ANGLE ON MICHAEL
running down the corridor.
DEVON AND APRIL'S VOICES
Michael! In here!
He runs for the door, tries it. It's locked.
INSERT K.I.T.T.'S MONITOR
A schematic appears.
MICHAEL
(comlink)
Kitt, help me with this lock!
ANGLE IN CELL #2
The door pops open, revealing Michael. The relief is
palpable. They meet in a three-way bear hug.
APRIL
I've never been so glad to see someone
in my life!
DEVON
God bless, Michael. And not a moment
too soon!
(then)
They've got Doctor Bergstrom.
MICHAEL
How long ago did they leave?
DEVON
No more than minutes, but Michael
-- they've taken him in Goliath.
MICHAEL
I had a feeling they would. Devon, I
could use some help. The transmitters
in the communications room are probably
still operable.
APRIL
If they aren't, I'll find a way.
DEVON
You'll get your help, Michael. Count
on it.
MICHAEL
I'm going to leave Christina with you.
Take good care of her.
As he turns to leave, moving out:
FREEZE FRAME
AND
FADE OUT
END OF ACT SEVEN
ACT EIGHT
FADE IN
EXT. HIGHWAY - DAY
K.I.T.T. speeds past.
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.
Michael! We've picked up Goliath on
the scanner.
We widen to see Michael intent upon the road.
MICHAEL
Good.
K.I.T.T.
Easy for you to say.
MICHAEL
They've got Klaus Bergstrom, Kitt.
Goliath's out last chance to stop
'em.
K.I.T.T.
Or their last chance to stop us.
EXT. HIGHWAY - DAY - ANGLE ON GOLIATH
rumbling by like a massive, prehistoric monster. The
air horn blasts ominously.
INT. GOLIATH - DAY
Adrianne glares at Garthe as he triumphantly releases the
horn.
ADRIANNE
Do you have to do that? Why announce
our presence to the world?
GARTHE
Why not? We've got nothing to be
afraid of. I want the world to
witness my triumph.
And he again blows the ear-splitting air horn, much to
Adrianne's disgust.
EXT. OCEAN - DAY - ANGLE ON SUBMARINE - STOCK
waiting silently for the arrival of its prisoner, as we
hear:
COMMANDER'S VOICE
XL735, to K17. We've surfaced. Over.
OMITTED
INT. MANSION COMMUNICATIONS ROOM - DAY - CLOSE ON DEVON
on the telephone, as the submarine Commander's Voice
crackles through the speaker nearby. The light source, if
any, is portable, battery-powered.
DEVON
(telephone)
Yes, General, I'm well aware of how
unlikely it is. As I recall, you
had a similar response when I asked
you for help at the Red Bluff missile
installation....
ANGLE ON APRIL AND CHRISTINA
across the room, April trying to comfort Christina.
CHRISTINA
Why won't they cooperate? Don't
they understand there's more than
politics involved? What about my
uncle's life?!
APRIL
Believe me, Christina, if there's
any chance of getting help from the
military, Devon can do it.
CHRISTINA
All Uncle Klaus ever wanted was to
share his research with the world.
For peace, not for war. I think
he'd rather dir than see his work....
She breaks off, begins to cry and April embraces her.
APRIL
Don't give up, Christina. It's not
over yet.
She looks over at Devon as he hangs up the phone.
APRIL
Is he going to help?
ANGLE ON DEVON
He looks over at the women, tense, still somewhat frustrated.
DEVON
Yes...just not with the size and
scope of response I asked for.
(beat)
I hope it's enough to stop Goliath.
CUT TO
OMITTED
EXT. HIGHWAY - DAY - ANGLE ON GOLIATH
roaring along an empty stretch of road. As the behemoth
rumbles past a clump of trees, we pick up a Highway Patrol
car parked in their cover.
INT. HIGHWAY PATROL CAR - DAY - ANGLE ON PATROLMAN
He sees the big truck speed by, starts his engine.
EXT. HIGHWAY PATROL CAR - DAY
pulling away from behind the trees, lights flashing,
accelerating after Goliath.
INT. GOLIATH - DAY
Garthe spots the 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 his loudspeaker:
PATROLMAN'S VOICE
This is the Highway Patrol. Please
pull over.
ANGLE ON ADRIANNE AND GARTHE
She coldly dismisses the police vehicle.
ADRIANNE
Get rid of him.
GARTHE
So cold and ruthless. Did I ever
tell you you remind me of my mother?
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 air horn, its scream filling the air.
ANGLE ON PATROLMAN
as Goliath rumbles toward him, realizing the truck's not
even hesitating. At the last moment, he leaps to safety.
WIDE ANGLE - GOLIATH AND PATROL CAR
as the massive truck plows over the patrol car, flattening
it, continuing up the empty highway.
CLOSE ON THE PATROLMAN
stunned. He can't believe his eyes.
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.
MICHAEL
Devon! Any luck with General Maddux?
DEVON
He agreed to alert an Army reserve
unit. They're setting up a roadblock
near Comstock Road.
MICHAEL
It better be a big one. Goliath eats
roadblocks for breakfast.
(beat)
How's Christina holding up?
DEVON
Reasonably well, given the circum-
stances.
(beat)
Good luck, Michael.
CUT TO
OMITTED
EXT. HIGHWAY NEAR COMSTOCK ROAD - DAY
A U.S. Army reserve unit has finished setting up a roadblock
of barricades backed by troop carriers and armored vehicles.
ANGLE ON SOLDIERS
Soldiers with M-16s take up positions.
ANGLE ON GOLIATH
roaring toward the roadblock. The air horn blasts.
ANGLE ON SOLDIERS
ranged on either side of the road, opening fire as the huge
truck refuses to stop.
ANGLE ON GOLIATH
as bullets ricochet off his molecular bonded shell.
WIDER ANGLE - GOLIATH AND ROADBLOCK (MINIATURE)
Goliath blasts through the roadblock, splintering metal and
wood, crushing armored vehicles where they stand.
INT. K.I.T.T. - DAY - FAVORING MONITOR
We see a computer graphic rendering of the utter devastation
of the roadblock.
K.I.T.T.
My goodness!
MICHAEL
So much for the Army's roadblock.
Michael reacts to something ahead.
MICHAEL
Looks like Goliath had an appetizer
before breakfast.
EXT. HIGHWAY - DAY
K.I.T.T. flies past the flattened hulk of the patrol car.
We angle to the astounded, gaping patrolman, who gives up
his efforts to flag down the Trans Am.
EXT. HIGHWAY - DAY - ANGLE ON GOLIATH
rumbling along, pieces of debris from the previous encounter
wedged into his massive grill.
INT. GOLIATH - DAY
Garthe glances over at Adrianne, whose eyes are glued to the
road ahead.
GARTHE
I love that feeling, the feeling of
absolute power. Just as you do....
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
You'll have a final chance to prove
it, 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
His face hardens, his hands grip the wheel.
GARTHE
Good. This time no parachute will
save him.
Then, as he glances to the road ahead:
GARTHE
Look at that. Determined, aren't
they?
EXT. HIGHWAY - DAY - ANGLE ON TANKS
Two U.S. Army tanks fill the road ahead, side by side,.
rumbling toward us.
WIDE ANGLE - GOLIATH AND TANKS
in slow motion Goliath splits them apart, knocking them
off the road in a tangle of twisted metal.
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
Michael sees the obstacles ahead:
K.I.T.T.
Michael, unlike that dinosaur, we
can't simply push our way through.
MICHAEL
Wouldn't dream of it, Kitt. Not our
style.
He 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.
ANGLE ON SOLDIERS
They stare in disbelief.
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.
EXT. HIGHWAY - DAY - ANGLE ON K.I.T.T.
gaining on the behemoth.
INT. TRAILER - DAY
Klaus is inside.
INT. K.I.T.T. - DAY
The rumble of Goliath's powerful engine can be heard as
they draw closer.
MICHAEL
Okay, Kitt, scan the trailer for life
signs.
The scanner oscillates.
K.I.T.T.
You're right, Michael. There is
someone inside.
MICHAEL
Get ready.
K.I.T.T.
Get ready for what? Need I remind
you Goliath is now invulnerable?
MICHAEL
It's too late to get cold tires, pal.
We've got to get Klaus Bergstrom
outta there. Give me a schematic
on the lock.
ANGLE ON MONITOR
A plan of the complicated lock appears.
K.I.T.T.
It's a highly sophisticated electronic
timing device. Deprogramming it could
be time consuming.
ANGLE ON MICHAEL
as the image vanishes from the screen. Michael considers
the options.
MICHAEL
Kitt, what 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.
It's possible, Michael. But it
would render my other capabilities
under-powered.
MICHAEL
It's a chance we'll have to take.
Michael hits buttons, beginning the transfer.
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 IN K.I.T.T.
The microwave jammer focuses all power sources.
ANGLE ON GOLIATH'S REAR GATE
as the mechanism of the lock begins to shake, then pops
open.
INT. GOLIATH - DAY
Garthe and Adrianne strain to make out what's going on
behind them.
GARTHE
He's right behind us! What does he
think he's doing?!
ADRIANNE
He's after Doctor Bergstrom!
EXT. HIGHWAY - DAY - ANGLE ON K.I.T.T.
sun roof open, 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
manually unlocks the big latch.
INT. TRAILER - DAY - ON MICHAEL AND KLAUS
as Michael hurries to help Bergstrom to his feet.
KLAUS
Michael, thank God!
MICHAEL
Are you okay, Doctor? Can you walk?
KLAUS
I think so...yes.
MICHAEL
Then let's go!
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
Garthe and Adrianne see Klaus in K.I.T.T.
ADRIANNE
He's got Bergstrom!
GARTHE
(determined)
For the moment, dear Adrianne. For
the moment....
OMITTED
WIDER ANGLE
K.I.T.T. swerves from side to side, Goliath relentlessly on
his tail. K.I.T.T. turns off the highway onto a smaller
road.
INT. GOLIATH - DAY
Adrianne grabs at Garthe.
ADRIANNE
Let him go! There's still time for
us to escape!
GARTHE
For us to escape? I don't run -- I
attack!
EXT. ROAD - DAY - ON GOLIATH AND K.I.T.T.
as K.I.T.T. leads Goliath across 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 a steep cliff above
the sea, directly ahead.
K.I.T.T.
Michael, we're headed directly toward
an extremely steep cliff.
MICHAEL
So's Goliath.
K.I.T.T.
Allow me to remind you that we no
longer have April's parachute for
protection.
MICHAEL
No, but we're back to full power.
How's your grappling hook?
K.I.T.T.
My grappling hook? Michael, what on
earth do you have in mind?
MICHAEL
(to Klaus)
Hold on, Doctor. This could be tricky.
He presses the grappling hook release.
OMITTED
ANGLE ON GRAPPLING HOOK
It fires.
ANGLE ON ROCKS
The grappling hook lands and holds.
ANGLE AT CLIFF EDGE
as K.I.T.T., with Goliath right behind him, sails out over
the edge.
ANGLE IN GOLIATH
Garthe is obsesses, oblivious. Adrianne screams.
ADRIANNE
No! Stop!
She grabs for the wheel but it's too late.
ANGLE AT CLIFF
Goliath follows K.I.T.T. over the edge.
ANGLE ON K.I.T.T.
His fall is suddenly broken by the grappling hook. As
Goliath flashes by, falling, K.I.T.T. hangs suspended by the
cable.
ANGLE IN K.I.T.T.
Klaus is terrified. Michael pushes buttons.
MICHAEL
Okay, pal, nice and easy....
WIDER ANGLE
as K.I.T.T. slowly is pulled up the sheer face of the cliff
by retrieving the cable.
ANGLE AT TOP OF CLIFF
as K.I.T.T. pulls himself up onto flat land. Michael jumps
out, followed by Klaus, still shaken. Michael looks down.
HIS POINT OF VIEW - GOLIATH
is sinking, vanishing beneath the sea.
ANGLE ON MICHAEL, KLAUS AND K.I.T.T.
Michael crosses to Klaus.
MICHAEL
It's over.
KLAUS
Thank God. Who was that -- that
madman?
MICHAEL
It's a long story.
They start back toward K.I.T.T.
MICHAEL
Nice work, pal.
K.I.T.T.
Thank you, Michael.
MICHAEL
Let's go home.
They climb into K.I.T.T. As he wheels and turns, heading
back:
FREEZE FRAME
AND
FADE OUT
END OF ACT EIGHT
TAG
FADE IN
EXT. FOUNDATION - DAY
Sunny and peaceful.
DEVON'S VOICE
He smoked my Jamaican cigars and
stubbed them out on my desk! And my
vase...!
INT. FOUNDATION - DEVON'S OFFICE - DAY
Devon and April are inspecting the office. Devon examines
the remains of his vase on the desk.
DEVON
My priceless Ming vase why? For
what purpose?
APRIL
I think Garthe hated anything that
was beautiful. Anything he couldn't
possess. Maybe it's a blessing in
disguise, Devon. Now we can
redecorate.
DEVON
Redecorate? What's wrong with the
way it was?
April clams up as Michael enters, looks around and whistles.
MICHAEL
Whoa, Devon -- another one of your
wild toga parties?
DEVON
I fail to see the humor in it,
Michael.
He straightens books replaced on the shelf.
MICHAEL
Y'know, I've always thought the decor
in here looked a little...well...dated.
Devon freezes and looks up at Michael, appalled. April
watches smiling to herself.
DEVON
What do you mean, 'dated'?
MICHAEL
Well, maybe it's time to change the
Foundation's image. Brighten up the
walls, maybe put a skylight over here....
DEVON
Absolutely not! No skylights, no
'changed images.' And if you know
what's good for you ---
Michael waves and beats a hasty retreat.
MICHAEL
Just a suggestion. I know -- how
about a hot tub in the corner?
EXT. FOUNDATION - DAY
As Michael exits, laughing, Klaus and Christina approach
from a cab. Klaus shakes Michael's hand.
MICHAEL
How was the seminar?
KLAUS
Enjoyable. But compared to the last
several days, laser technology is a
bore.
Michael laughs. Christina hands him a typed list.
CHRISTINA
This is a list of restaurants Kitt's
recommended.
MICHAEL
Kitt's recommending restaurants? He
must be feeling better.
Michael climbs into K.I.T.T.
MICHAEL
(to Christina)
See you tonight?
K.I.T.T.
Eight o'clock sharp.
(to Christina)
And he won't be late, Christina. I'll
see to it.
CHRISTINA
Thanks, Kitt.
They laugh as Michael and K.I.T.T. head down the Foundation
driveway.
OMITTED
INT. K.I.T.T. - DAY
moving along a nice, quiet street near the Foundation at a
nice, 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.
I recorded it as a souvenir.
EXT. K.I.T.T. - DAY
as the car passes.
MICHAEL'S VOICE
Thanks, pal. I've got a little
surprise for you, too.
K.I.T.T.'S VOICE
No cliffs.
Silence.
K.I.T.T.'S VOICE
Did you hear me?
Silence.
K.I.T.T.'S VOICE
Michael, I'm serious -- Michael?!
As Michael floors the accelerator and K.I.T.T. darts
forward:
FREEZE FRAME
AND
FADE OUT
THE END