Home : Knight Rider : Season 2 : Goliath : Scripts : 1st Draft

KNIGHT RIDER: GOLIATH

EXEC. PRODUCERS: Glen A. Larson, Robert Foster
SUPV. PRODUCER: Joel Rogosin
CO-PRODUCERS: Robert W. Gilmer, Gian R. Grimaldi

Production #57823
1st Draft - July 22, 1983 (F.R.)

Teleplay: .................. Robert Foster &
............................ Robert W. Gilmer
Director: .................. Winrich Kolbe


                                 ACT ONE

     FADE IN

     EXT. DESERT - NIGHT

     A coyote howls.  Nothing moves for miles.  A section of 
     deserted two-lane road angles by, dotted by chuckholes, 
     cracked by desert scrub that rushes to life in the early 
     spring and then fights to stay alive the rest of the 
     year.  From somewhere behind there's a noise, the sound of 
     vehicles approaching.

     REVERSE ANGLE - HEADLIGHTS

     stab at the night as a small caravan of cars approach, two 
     windowless vans followed by a long black limo.  The limo 
     stops a short distance from the two-lane road, parks, engine 
     running.  The vans reach the road and separate, one on 
     either side, as dark men in military-style jumpsuits hang
     from the van and drop electronic aviation lights.  In less 
     than a minute they have marked off a hundred yards of 
     concrete suitable for landing.

     ANGLE ON LIMO

     It waits off by itself, dark and mysterious.  "Gimme Shelter" 
     wafts across the desert night from a five thousand dollar car 
     stereo.  One of the smoked rear windows lowers and we see 
     what appears to be a lone man in the backseat, sipping 
     Napoleon cognac.  A thin cigar glows red in the darkness.

     ANGLE BACK INTO DESERT

     A strange object appears, a head and shoulders, gliding 
     silently along the top of a ridge.  Then we hear the faint 
     sound of a two-stroke engine and we recognize it's a figure 
     on a motorcycle, a dirt bike.  The rider, whom we'll later 
     identify as Ron Wilcox, cuts the engine and coasts to a 
     silent stop.

     POINT OF VIEW - THE LIMO AND THE LANDING LIGHTS BEYOND - 
     BACK TO RON WILCOX

     He has an expensive camera around his neck.  He climbs off 
     the bike, and starts forward, closer to the limo and the 
     lights.  Hearing something above, and away, Ron pauses, 
     watching.

     ANOTHER ANGLE

     Approaching over a rim of low sawtooth mountains is the 
     dark shape of a big C-140 cargo plane.

     ANGLE ON COMBAT TROOPS

     They have become an efficient ground crew.  A black 
     lieutenant functions as ATC, using a battery-operated 
     ground-to-air system.

     ANGLE ON LIMO

     The mysterious figure waits, handsome face still buried in 
     shadow.  The C-140 passes overhead, circling in for a 
     landing.

     ANGLE ON RON WILCOX

     He rises to snap a photo of the plane.

     ANGLE ON LIMO

     The man inside notices something in one of the mirrors, a 
     momentary flash, a movement, a reflection.  He stubs out 
     his cigar.

     ANGLE ON THE MAKESHIFT RUNWAY

     The C-140 touches down and lumbers toward us.
 
     INTERCUT - COMBAT TROOPS

     They prepare to off-load the contents.

     INTERCUT - RON WILCOX

     He edges forward, taking photos, as the plane comes to a 
     stop seventy-five yards away.

     ANGLE AT C-140

     The huge belly opens up and half a dozen soldiers ascend 
     into the cargo hold.  The lieutenant barks orders in an 
     African language.  For that matter we are, conceivably, in 
     Africa.  It's hard to say.

     ANOTHER ANGLE

     Shooting up into the darknesss of the huge cargo hold as 
     powerful diesel engines come to life.  Then headlights.  
     Then an enormous blunt snout emerges, chrome and black 
     lacquer, and the oversized, specially modified truck and 
     trailer descend.  It is the centerpiece of a major 
     undertaking.  It's known simply as Goliath.

     ANGLE ON RON WILCOX

     He scurries forward to another outcropping of rock or 
     brush, uses it for cover, pauses to snap off more photos.

     HIS POINT-OF-VIEW - THROUGH CAMERA

     several shots clicked off of Goliath.  Now something 
     foreign comes into the field of vision, out of focus.  
     Focus adjusts and we see the object in question is the 
     figure of a man.

     ANGLE ON RON WILCOX

     He drops the camera and stares.

     HIS POINT OF VIEW - THE MAN

     standing ten feet away, facing him, is the man from the 
     limousine.  He is tall and lean, wears a tuxedo and carries 
     a black diamond-studded cane.  He also wears a discreet 
     diamond stud in his left ear.  He moves with the grace of a 
     panther, but also with a slight limp, the reason for which
     will be forthcoming.  Except for minor cosmetic differences, 
     the man is a dead-ringer for Michael Knight.  The reason 
     isn't coincidental.  He is the late Wilton Knight's only 
     son, Garthe.

     ANOTHER ANGLE - RON WILCOX

     runs for his life.

     REVERSE ANGLE

     Goliath rumbles toward him, massive and inescapable.  Ron 
     Wilcox turns back to face Garthe, trapped.

     ANGLE ON GARTHE

     He twists his antique cane and reveals a .38 steel barrel.  
     He raises it and fires.

                                              CUT TO

     DIFFERENT ANGLE - LATER

     Lead by the limousine, flanked by the vans, Goliath lumbers 
     by.  Camera pulls back and up and we see a cluster of 
     bright lights five or ten miles away.  Camera zooms in 
     toward the lights, and in light of what's just happened, 
     it's strange to see the town is actually Las Vegas, 
     Nevada.

                                              CUT TO

     EXT. DESERT HIGHWAY - DAY - THE TRANS AM
 
     appears, loafing along about seventy.

     INT. K.I.T.T. - DAY

     Michael is relaxed and enjoying himself despite some long 
     hours behind the wheel.  They pass gaudy signs advertising 
     various casinos and clubs.

                               K.I.T.T.
               Disgusting.

                               MICHAEL
               I thought you liked the desert.

                               K.I.T.T.
               I'm referring to those half-naked 
               young ladies.  Correction.  Make 
               that two-thirds to three-quarters 
               naked.  Michael, I've searched my 
               data banks and memory cells 
               thoroughly.  I can't find one 
               redeeming quality about gambling.

                               MICHAEL
               How about young ladies?

                               K.I.T.T.
               I'm quite serious.

                               MICHAEL
               Don't be so serious, Kitt.  Lighten 
               up.  Relax.  Roll the dice of life.

                               K.I.T.T.
               If that's a joke, I don't find it 
               amusing.

     The comlink to the Foundation blinks.  Michael smiles, 
     punches Devon in on the monitor.

                               MICHAEL
               It's no joke.  We're all gamblers in 
               our own way.  Ask Devon.

     INTERCUT DEVON AND APRIL ON MONITOR - DEVON'S OFFICE

     April cross-checks programs on the computer while Devon 
     talks.

                               DEVON
               Please don't.  Hello, Michael.  I 
               see you're already in the spirit of 
               things.

                               MICHAEL
               Remind me to talk to April about 
               loosening Kitt up a little.

                               DEVON
               I'll see what I can do.  Michael,
               since you're going through Las Vegas 
               at any rate, I want you to check 
               someone out for me.  Her name is Rita 
               Wilcox.  She works at the Royal Flush 
               on the Strip.

                               MICHAEL
               What are you looking for?

                               DEVON
               Just your impressions.  She tells a 
               very provocative but equally fantas-
               tic tale about a missing brother.  It 
               may be nothing.

                               MICHAEL
               I'll see what she has to say.  With 
               any luck I should be in by ten or 
               ten thirty tonight.

     Ad-lib good-byes and Michael switches off the monitor.

     Stay with:

     DEVON AND APRIL

     He switches off his end.  April glances over.

                               APRIL
               You won't be here.

                               DEVON
               I beg your pardon?

                               APRIL
               Here.  At ten or ten thirty.
                      (to Devon's
                       blank look)
               Your date tonight.

     Devon looks embarrassed, slightly annoyed.  He busies 
     himself with some paperwork.

                               DEVON
               For your information the liaison in 
               question is not a 'date,' it's...an 
               appointment.

                               APRIL
               Devon, she's a beautiful woman.

                               DEVON
               She is the former spouse of Wilton 
               Knight who, as you recall, created 
               and continues to fund the Foundation 
               for which we both work.

                               APRIL
               I recall.

                               DEVON
               Good.
                      (beat)
               Incidentally, you're quite right.
                      (to April's 
                       blank look)
               She is a beautiful woman.

                                              CUT TO

     EXT. LAS VEGAS STRIP - NIGHT

     K.I.T.T. drives by, turns into the entrance of a major 
     hotel.

     INT. CASINO - NIGHT

     Various shots of gambling, people, faces, agony and 
     ecstacy.

     ANGLE AT THE BLACKJACK TABLE

     A beautiful girl in her twenties deals cards to a lone 
     player at a five dollar table.  She is Rita Wilcox.  The 
     single player gestures for a card, gets one, goes bust.

                               MICHAEL'S VOICE
               I feel lucky.

     The player shoots him a sour look and leaves with one chip, 
     his last.  Michael smiles at Rita, sits down and puts out 
     a five dollar chip.

                               MICHAEL
               I feel lucky I'm not him.

     Rita smiles, deals.  A little eye contact.

                               RITA
               Cards?

                               MICHAEL
               Blackjack.

     He turns over an ace to go with the ten.

                               RITA
               This must be your lucky night.

                               MICHAEL
               We'll see.

     She pays him, smiles, assumes he's flirting.

                               MICHAEL
               I'm Michael Knight.  Devon Miles 
               from the Foundation sent me.

     Her reaction is instantaneous:  fear.

                               RITA
                      (sotto voce)
               I said not to send anyone here.  I 
               can't talk here.

                               MICHAEL
               Where?

                               RITA
               I get off at midnight.

                                              CUT TO

     INT. HOTEL SUITE - NIGHT

     A tastefully furnished suite somewhere in the heart of 
     another city.  The doorbell chimes and a beautiful, elegant
     woman in her late forties appears, crosses to answer it as 
     she puts on her earrings.  She is Elizabeth Knight.  She 
     opens the door.

                               ELIZABETH
               Devon!

     Devon enters, smiling, dressed for an evening out.  He 
     hands her a little gift, flowers or something agreeable.

                               DEVON
               It's so good to see you, Elizabeth.

     They ad-lib greetings, holding each other's hands.  Elizabeth 
     is an engaging woman, formidable in her charm, and Devon is 
     spared none of it.

                               ELIZABETH
               You look absolutely wonderful!  I
               know everyone says that but I don't 
               care, it's true.  You're an incor-
               rigible rogue.  Come in, please.

     ANOTHER ANGLE

     They enter the living room, drift toward a wet bar that's 
     banked by a view of the city:

                               DEVON
               Your lifestyle as always is filled 
               with such...style.

                               ELIZABETH
               Who was it who said living well is 
               the best revenge?  Nonsense.  There 
               is no revenge.  It's a dirty job but 
               somebody's got to do it.  Gin and 
               tonic?

                               DEVON
               Thanks.

     She lingers on the eye contact between them.  It's Devon 
     who discreetly turns his attention elsewhere.

                               DEVON
               I'm so pleased you phoned.  It's 
               been what...three years?

                               ELIZABETH
               Three years and four months.

                               DEVON
                      (smiles)
               But who's counting.

                               ELIZABETH
               I am.

     She brings him his gin and tonic, meets his eyes very 
     directly.

                               ELIZABETH
               I'm not telling you anything you 
               don't already know....

                               DEVON
               I beg your pardon?

                               ELIZABETH
               I was always strongly attracted to 
               you.  You knew it.  So did Wilton.  
               That's why the Foundation saw so 
               little of me.

     She sees Devon is refraining from saying something.

                               ELIZABETH
               Oh I know what you're thinking, all 
               those pretty young boys -- but they 
               were only friends.  Surely Wilton
               knew that.

                               DEVON
               Whatever happened between you and 
               your husband was your business, no
               one else's.

                               ELIZABETH
               Surely you did.

                               DEVON
                      (beat)
               Elizabeth, what do you want?

     She crosses away, smiling back at him provocatively.

                               ELIZABETH
               Devon, you should know better.  When 
               Sigmund Freud was dying his students 
               gathered 'round and asked him if 
               there was one question his work 
               hadn't answered, what was it.  He 
               replied, 'What a woman really wants.'

                               DEVON
               There's no need to be coy.

                               ELIZABETH
               And there's no need to rush.  The 
               future is still the future.  It will 
               repeat itself when it chooses, not
               before.

     She smiles, pours herself a drink.

                                              CUT TO

     EXT. LAS VEGAS STRIP - NIGHT

     The Trans Am appears, turns down an intersecting street 
     away from the Strip.

                               RITA'S VOICE
               ...I was going to be a singer and 
               Ron was a pianist.  He played 
               everything....

     INT. TRANS AM - NIGHT

     Michael and Rita drive toward her apartment.

                               RITA
               ...classical, blue-grass, electric 
               rock...anyway, when we knew we'd
               never make L.A. we stopped here, and 
               I got a job dealing Twenty-One at 
               the club.  The next thing I knew 
               this guy who looks so much like 
               you...it's uncanny really...he won't 
               leave me alone.  Flowers everyday.  
               Gifts.  One of the gifts was a job 
               for Ron.

                               MICHAEL
               The plot thickens.

                               RITA
               I guess it did.  I sure didn't see 
               it at the time....

     EXT. RITA'S APARTMENTS - NIGHT

     The Trans Am parks and they get out.

                               RITA'S VOICE
               ...so Ron did odd jobs for him.  It 
               all began very innocently.

                               MICHAEL
               What's his name?

                               RITA
               Garthe.  With an 'e.'  He's very 
               particular about the 'e.'

                               MICHAEL
               Is that his first name or his last?

                               RITA
               Believe it or not, no one knows.  No
               one I know.  And despite the fact 
               he's buying up half the town, and
               everybody knows it, you never see 
               his picture in the paper.  You 
               never see him on TV.  It's like
               he's this incredible mystery man.

                               MICHAEL
                      (smiles)
               Who looks like me.

                               RITA
               Wait'll you see him.  You'll see.
               You could be twins.

                               MICHAEL
               What makes you think I'll see him?

                               RITA
                      (opens 
                       front door)
               Because he's what Ron's diappear-
               ance is all about.

     INT. ELIZABETH'S HOTEL SUITE - NIGHT

     A waiter finishes the last touches of serving a fine dinner 
     on china, linen and silver.

                               ELIZABETH
               ...and the Romans were in the habit 
               of poisoning one another at dinner.  
               Thank you, Charles.

     He bows and leaves.

                               ELIZABETH
               Well?

                               DEVON
               Well what?

                               ELIZABETH
               Don't you think it's a rather peculiar 
               topic of conversation for him to 
               choose -- particularly when his poor 
               wife turned up poisoned to death 
               three days later?

     Devon laughs, charmed by her.  The candles on the table 
     send soft shadows dancing across her face.

                               DEVON
               I think it's exceedingly peculiar.  
               And if I were his wife I'd never 
               trust him to tea again.

     She gives him a scolding feminine look.  It's got heat 
     behind it, and Devon is undecided as to how to respond.  
     Actually he's rather dumbfounded by the entire evening so 
     far.

                               DEVON
               To be quite honest, Elizabeth, I'm 
               having a wonderful time despite a 
               nagging certainty you've an ulterior 
               motive tucked away in the folds of 
               the evening's spectacles.

                               ELIZABETH
               I'm going to figure out if I should
               be flattered or insulted.
                      (smiles)
               'Spectacles,' Devon?  How red-blooded.

                               DEVON
               Don't mock me, Elizabeth.

                               ELIZABETH
               I came here to praise Caesar, not 
               mock him.  Would you be a love Devon 
               and open the patio doors?  It's 
               stuffy in here, don't you think?

     As Devon crosses to open French doors, Elizabeth deftly 
     removes a tiny vial tucked into her bra and lightly salts 
     Devon's meal with a powdery substance.

                               DEVON
               How do they know she was poisoned to 
               death?

                               ELIZABETH
               Who?

                               DEVON
               The doctor woh poisoned his wife.

                               ELIZABETH
               They don't.  That's the difficulty 
               with good poison -- it's so desper-
               ately hard to prove.

                                              CUT TO

     INT. RITA'S APARTMENT - NIGHT

     Camera slowly pans the small one-bedroom apartment.

                               RITA'S VOICE
               ...and we went out twice.  A limo to 
               pick me up.  The works.

     Camera reaches Michael and Rita at the coffee table, a 
     college yearbook and old photos spread between beer, soft 
     drinks and onion dip.

                               MICHAEL
               Did the dates stop about the time
               Ron was caught in the filing room 
               with a Minox?

                               RITA
               The same week.

     Michael nods, makes a note.  Eats chips and dip.

                               MICHAEL
               Good.

                               RITA
                      (encouraged)
               Really?  What?

                               MICHAEL
               I mean the dip.

                               RITA
               Oh, any thoughts on the key?

                               MICHAEL
               Lots of thoughts, no answers.

     Michael picks up a plain-looking key from the table, looks 
     at it critically.

                               MICHAEL
               Tapes.

                               RITA
               That's what he said.

                               MICHAEL
               Locked away...wherever this key fits.

                               RITA
               I went to two gyms and a bus depot
               before I gave up.

                               MICHAEL
               I'll see what I can do.  No promises.

     He gets to his feet.  She holds out her hand for help up 
     and he gives it, her face coming up to his.  She kisses him
     on the mouth.

                               RITA
               Do you know what antithesis means?

                               MICHAEL
               It was on last month's Power 
               Vocabulary Builder.

                               RITA
               I'm serious.  You're the antithesis 
               of him.  Be careful.  I have a 
               strange feeling....

                               MICHAEL
               What?

                               RITA
               That he won't like you.

                                              CUT TO

     INT. ELIZABETH'S SUITE - NIGHT

     Devon and Elizabeth sit across from one another, eating.

                               ELIZABETH
               ...and then, one night at the 
               Insberg, in front of the entire 
               Norwegian ski team he proposed a 
               toast to...Devon?

     Devon doesn't move, for a moment frozen, staring at his 
     plate.

                               ELIZABETH
               Are you all right?  Devon?

     He struggles to look up at her, tries to speak and falls 
     face first in the entrée.  Elizabeth very carefully folds 
     her napkin.

                               ELIZABETH
               Good.

     She rises and moves to where he slumps, unconscious.

                               ELIZABETH
               Now we shall begin.

                                              CUT TO

     EXT. LAS VEGAS - DAY

     The Trans Am moves through town.  It's early morning and 
     the streets are quiet.

                               K.I.T.T.'S VOICE
               Aren't you going to tell me?

                               MICHAEL'S VOICE
               There's nothing to tell.

     INT. K.I.T.T. - DAY

     Michael drives.

                               K.I.T.T.
               According to my research, that's the 
               first thing gamblers say when they 
               lose.

                               MICHAEL
               Kitt, I wouldn't lie to you.

                               K.I.T.T.
               That's the second.

                               MICHAEL
               I wish your 'research' had less on 
               gambling and more on keys.

                               K.I.T.T.
               Michael, blank stock is extremely 
               difficult to trace.
                      (lights flash)
               April's calling.

                               MICHAEL
               Good.

     He pushes buttons.  April comes on the monitor.

     INTERCUT - APRIL

     She looks worried.

                               APRIL
               Michael, you've got to come back 
               right away -- where are you?

                               MICHAEL
               Las Vegas.  Doing a little leg-work
               per Devon's request.  Why, what's 
               wrong?

                               APRIL
               It's Devon -- Michael, I'm worried 
               about him.  He went out with an old 
               friend last night and....

                               MICHAEL
               And what?  Is he there?

                               APRIL
               He's in the study with Doctor Alpert.  
               I don't know what's wrong with him.  
               He came in late and slept until noon.  
               It took him half an hour to wake up. 
               I thought he had a hangover but ---

     She breaks off as Dr. Alpert, the Foundation Doctor, steps 
     in.

                               ALPERT
               Excuse me, but Devon wants you to 
               get message to Michael as soon as 
               possible.

                               APRIL
               Tell him yourself.

     Alpert glances a trifle suspiciously at the mobile camera.

                               ALPERT
               I hate these things.  Michael, is 
               that you?

                               MICHAEL
               It's me, Doc.  What's the message?

                               ALPERT
               Devon wants you to return immediately.

                               MICHAEL
               I'll have to drop the case he asked 
               me to look into....

                               ALPERT
               Michael, whatever it is, drop it.  
               Devon was poisoned last night.

     Michael and April react.

                                              CUT TO

     EXT. CASINO PARKING LOT - DAY

     The Trans Am pulls in fast, brakes to a stop.  Michael  
     jumps out and crosses for the entrance.

     INT. CASINO - DAY

     Rita and several other Twenty-One dealers are crossing 
     toward the tables to begin their shifts.  Michael inter-
     cepts Rita.

                               MICHAEL
               Glad I caught you ---

                               RITA
               Did you find the locker?

                               MICHAEL
               No.  That computer friend I mentioned
               said blank stock keys are tough to 
               trace.  Anyway, I'll get on it, but 
               I've got to handle something that's
               come up first.

                               RITA
                      (disappointed)
               You mean...that's it?  Sorry, but 
               what happened to Ron just doesn't 
               measure up in global importance?  So
               it's just adios and into the sunset,
               huh?

                               MICHAEL
               Rita, I'll come back, I'll find out 
               what happened to your...Rita.

     She is gone, ignoring him.  He sighs, no time to explain
     further.  He starts back for the entrance, notes a commotion 
     at the door.  People gather, pause to stare and whisper, 
     nudge one another.

     MICHAEL'S POINT OF VIEW

     Sweeping through the entryway, surrounded by onlookers, 
     flanked by several black security men (actually combat 
     soldiers out of uniform) are a man and a woman.  The woman 
     we recognize as Elizabeth.  The man we have seen also.  
     It's Garthe.  Michael stares at him, struck by the 
     resemblance.

                               MICHAEL
                      (to Bystander)
               Who's that, royalty?

                               BYSTANDER
               Might as well be.  They say they own
               interest in half the casinos in town.

                               MICHAEL
               Who's the woman?

                               BYSTANDER
               Knight's mother, Elizabeth.

                               MICHAEL
                      (reacts)
               What did you say his name is?

                               BYSTANDER
               Knight.  Garthe Knight.  There's 
               rumors he's the bad-seed son of 
               Wilton Knight, the industrialist.

     On Michael's reaction ---

                                              FADE OUT

                         END OF ACT ONE

                            ACT TWO

     FADE IN

     EXT. FOUNDATION - DAY

     Luggage is being loaded into a luxury sedan by a chauffeur.

                               MICHAEL'S VOICE
               You're sure he's okay to travel?

                               DEVON'S VOICE
               Michael, will you please stop annoy-
               ing Doctor Alpert?  

     The front door opens and they come out, Michael, Devon,
     April and Alpert.

                               DEVON
               He's assured me I'm in excellent 
               condition.

                               APRIL
               In all fairness, Devon, he didn't 
               say that.

                               DEVON
               Words to that effect.

     Alpert looks from April to Michael, shrugs as if to say 
     what can I do?  They ad-lib good-byes and thanks and April
     sees Alpert to his car.  Michael grabs Devon's arm, guides 
     him a short distance from where the chauffeur loads the 
     remaining luggage.

                               MICHAEL
               All right, he's gone.  Now I want to 
               know what's going on.  You haven't 
               stopped moving since I got back, you 
               and April are on your way to Brazil 
               to visit some mysterious old friend 
               in the hospital ---

                               DEVON
               Michael, I'll explain it all on the 
               way to the airport.  What it all
               boils down to, I'm afraid, is that 
               Garthe Knight, Wilton's only son, 
               has somehow been resurrected from 
               three consecutive life sentences in 
               Africa.  He's returned.  Accompanied 
               by mother, Elizabeth.  They're after 
               the formula.

                               MICHAEL
               What 'formula'?

                               DEVON
                      (piqued)
               How many formulas are you aware of?

                               MICHAEL
                      (realizes)
               Are you talking about Kitt's skin?

                               DEVON
               Precisely.
                      (opens door)
               Coming?

     April climbs in the opposite side.  Michael nods, gets in.

                                              CUT TO

     EXT. PRIVATE AIRSTRIP - DAY

     Pan from the Foundation jet, being prepared for the trip,
     to the sedan as it pulls up and stops.  The chauffeur opens 
     doors, then begins loading the luggage onto the plane.

     ANGLE ON MICHAEL, DEVON AND APRIL

     as they cross to the waiting plane.

                               DEVON
               ...and after Wilton perfected it, he 
               came up with a rather ingenious 
               method of keeping it accessible but 
               private.

                               MICHAEL
               So it could be reproduced for Kitt 
               but no one else.

                               DEVON
               Exactly.  You can imagine a skin as 
               invulnerable as Kitt's in the hands 
               of the wrong people.  So Wilton 
               divided the formula into three 
               distinct elements and entrusted two 
               of the elements to each of three 
               hand-picked people.

                               MICHAEL
               In other words any two of the three 
               people could put their elements 
               together and have the formula.

                               APRIL
               But one alone couldn't.

                               DEVON
               Precisely.

                               MICHAEL
               And you're worried about the other 
               two.

     As they reach the plane and the copilot helps April aboard, 
     Devon pauses to face Michael.

                               DEVON
               No.  Only one.  Doctor Karl Elliott.
               He's vacationing in Rio de Janiero -- 
               but no one at his hotel has seen him 
               since Tuesday.

                               MICHAEL
               But you said that one man alone 
               couldn't reproduce the formula.

                               DEVON
               Yes.  I'm the second man, Michael.

                               MICHAEL
                      (beat)
               You?

                               DEVON
               As you know I had dinner with 
               Elizabeth Knight last night.  I was 
               drugged.  Poisoned.  Doctor Alpert 
               identified the poison as a rare 
               extract from the African gum tree 
               called oluta....

                               MICHAEL
               Devon, you survived.

                               DEVON
               Yes, I survived.  But did the 
               formula?  

                               MICHAEL
               I don't know what you mean.

                               DEVON
               Oluta is used by the natives as 
               truth serum.  It's said to be more 
               effective than sodium pentothol.

     It registers.  Ad-lib good-byes and Devon joins April 
     aboard the plane.  Michael watches as it taxis down the 
     runway and lifts into the sky.

                                              CUT TO

     EXT. FOUNDATION - DAY

     The sedan pulls up and Michael jumps out, heads directly 
     for K.I.T.T., jumps in and, in a squeal of rubber, is gone.

                                              CUT TO

     EXT. HIGHWAY - DAY

     The Trans Am heads back across the desert for Las Vegas.

                               MICHAEL'S VOICE
               That's all there is?

     INT. TRANS AM - DAY

     Michael looks at the monitor, disappointed.

                               K.I.T.T.
               That's all I have, Michael.

                               MICHAEL
               Interface with Centra-Comp, Kitt.  
               Garthe was sentenced to three 
               consecutive life sentences in Africa 
               and all you show is a prep school 
               biography.

                               K.I.T.T.
               I beg your pardon.  This is not a 
               'prep school biography.'
                      (beat)
               Did you say three consecutive life 
               sentences?

                               MICHAEL
               That's right.

                               K.I.T.T.
               My creator's son?

                               MICHAEL
               One in the same.

                               K.I.T.T.
               How...difficult for a man like Wilton 
               Knight.

                               MICHAEL
               Difficult for him then, difficult 
               for us now.

                               K.I.T.T.
               What's he suspected of doing?

                               MICHAEL
               Stealing the formula for your 
               protective skin.

                               K.I.T.T.
               Michael, my 'skin' as you call it,
               is an exclusive.

                               MICHAEL
               Let's hope it stays that way.

                               K.I.T.T.
                      (beat)
               I had no idea how serious this was.

                                              CUT TO

     EXT. RIO INTERNATIONAL AIRPORT - NIGHT - STOCK

     Private and commercial jets arrive and depart.

     EXT. RIO DE JANEIRO - NIGHT - STOCK

     Several shots to establish the feel of the city.

     INT. EXCLUSIVE HOTEL - NIGHT

     Several guests register, check for mail, etc.  Pan to the 
     entrance as Devon and April enter, cross to the desk.

                               CLERK
                      (Portugese accent)
               May I help you?

                               DEVON
               Yes, I'd like to speak with a regis-
               tered guest, Doctor Karl Elliott.

                               CLERK
                      (checks)
               I can ring him, but Doctor Elliott 
               left instructions not to be dis-
               turbed.

                               DEVON
               I have reason to believe Doctor 
               Elliott may be the victim of foul 
               play.  I want to check his room.

                               CLERK
                      (beat)
               You are...?

                               DEVON
               Devon Miles, a personal friend.

                               CLERK
               I must check first with the manager.

                               DEVON
               Please hurry.

     INT. HOTEL SUITE - DAY

     The room is dark.  The sound of a key in the door and it 
     opens, the Clerk turning on the light.  Devon and April 
     react.

     THEIR POINT OF VIEW - DR. KARL ELLIOTT

     lies on the floor where he collapsed.

     ANOTHER ANGLE - DEVON AND APRIL

     rush into the room.  April strips open Elliott's shirt and 
     begins emergency CPR treatment over:

                               DEVON
                      (to Clerk)
               Find the nearest hospital with 
               facilities for treating exotic 
               poisons.

                               CLERK
               Poison -- ?

                               DEVON
               Quick!

     Devon joins April over Dr. Elliott's body.  Her work slows, 
     stops.  Devon looks at her.  She shakes her head.

                               DEVON
               You're quite sure?

                               APRIL
                      (nods)
               He's been dead for at least several 
               hours.

     A silent moment as Devon accepts it.  Karl Elliott was an 
     old friend, a good friend.

                               DEVON
                      (to Clerk)
               Never mind.

                               CLERK
                      (hopefully)
               He will...be all right?

                               DEVON
               He's dead.

     He crosses to the Clerk, shows him a snapshot.

                               DEVON
               Have you ever seen this woman?

                               CLERK
                      (looks)
               Yes.  That's Doctor Elliott's com-
               panion.

                               DEVON
               'Companion'?  She was here with him?

                               CLERK
               For two days.

     Devon and April exchange a look and we see:

     THE PHOTO

     It's of Elizabeth Knight.

                                             CUT TO

     EXT. LAS VEGAS - DAY

     The Trans Am drives along the Strip.

     EXT. RITA'S APARTMENT - DAY

     The Trans Am parks in front and Michael gets out.

                                              CUT TO

     ANGLE AT RITA'S DOOR

     Michael knocks, waits.  The door opens and a Woman with a 
     red bandana and painter's coveralls regards him.

                               WOMAN
               Yeah?

                               MICHAEL
               I'm...guess I must have the wrong 
               apartment.

                               WOMAN
               You looking for Rita Wilcox?

                               MICHAEL
               Yeah.

                               WOMAN
               You got the right apartment, but 
               she's moved out.

                               MICHAEL
               When?  She was here yesterday.

                               WOMAN
               This is Las Vegas, mister.  Yesterday, 
               last year...gone is gone, you know?

                               MICHAEL
               Did she leave a forwarding address?

                               WOMAN
               When they move that fast they never 
               do.

                                              CUT TO

     EXT. RITA'S APARTMENT - DAY - MICHAEL

     crosses to K.I.T.T., climbs in and pulls away.  Pan down 
     the block to where two men in a sedan, watching; discreetly 
     begin to follow.

     INT. K.I.T.T. - DAY

     as Michael drives.

                               K.I.T.T.
               I thought you said she was broke.

                               MICHAEL
               That's what she told me.

                               K.I.T.T.
               And dedicated to finding her brother.

                               MICHAEL
               Ditto.

                               K.I.T.T.
               Puzzling.

                               MICHAEL
               My thoughts exactly.  All right, 
               Kitt, back to the key.

                               K.I.T.T.
               Michael, blank stock is ---

                               MICHAEL
               Kitt, I know all about blank stock.  
               I don't care how difficult it is, 
               how long it takes, finding those 
               tapes is the one clue we've got.

                               K.I.T.T.
               Very well.

     Lights flash and blink as K.I.T.T.'s computers go to work.

     EXT. STREETS - DAY - THE TRANS AM

     proceeds through town, carefully followed by the two men in 
     the sedan.

                                              CUT TO

     EXT. AFRICAN CITY - DAY - STOCK - TO ESTABLISH

     EXT. AIRPORT - DAY - STOCK - THE F.L.A.G. JET

     touches down.

     EXT. CITY STREETS - DAY - STOCK

     A taxi pushes through the crowded streets.

     INT. GOVERNMENT OUTER OFFICE - DAY

     Large, formal, Colonial in appearance.  Devon and April 
     wait.  Double doors open and an immaculately uniformed 
     black Charges d'Affairs enters, bows.

                               CHARGES D'AFFAIRS
               I have briefed His Excellency on the 
               nature and importance of your 
               visit.  He will see you now.

                               DEVON
               Thank you.

     They rise and follow.

     INT. GOVERNMENT OFFICE - DAY
 
     His Excellency, a large black man dressed in a combination
     of Western and native clothing, rises to greet them as they 
     enter.

                               CHARGES D'AFFAIRS
               His Excellency, may I present Mr. 
               Devon Miles and Miss April Curtis.

     Ad-lib hellos and handshakes.  His Excellency appreciates a 
     little decolletage and a glimpse of leg.  He is charming 
     and amiable.

                               HIS EXCELLENCY
               Sit.  Please.
                      (paces
                       thoughtful)
               What do you know about Garthe Knight's 
               'activities,' shall we say, in my 
               country?

                               DEVON
               Only what I've picked up from 
               various unofficial sources.

                               HIS EXCELLENCY
               Unofficial?

                               DEVON
               Official sources regarding 
               the...internal configurations of 
               your country are somewhat hard to 
               come by.

     His Excellency laughs explosively, taking Devon and April 
     somewhat aback.

                               HIS EXCELLENCY
               Ah, you English and your love of 
               language.  And subtlety I've learned 
               much from you.
                      (beat)
               Yes, somewhat hard to come by 
               indeed.  I'll be frank.  Garthe 
               Knight entered this country in
               October of 1977.  He bought up 
               rights and options on a vast 
               quantity of diamond mines which had 
               been declared inoperable for reasons 
               of safety.  He then proceeded to 
               hire slave labor from a neighboring 
               country to work the mines.  Less 
               than a month after commencing work, 
               one of the mines collapsed and 
               buried forty-nine men alive.  None 
               survived.

                               DEVON
               I assume that's when he was arrested.

                               HIS EXCELLENCY
               Arrested and sentenced to three 
               consecutive life sentences.

                               DEVON
               Which he somehow managed to have 
               abrogated.

                               HIS EXCELLENCY
               Abrogated?  Not unless that is an 
               English euphemism for bribery.

     Devon and April exchange a look.

                               DEVON
               No, it's not.

                               APRIL
               Your Excellency, Garthe Knight is 
               presently in the United States.  He 
               apparently has an inexhaustible 
               supply of money and ambitious plans 
               -- as yet unknown.  Do you have any 
               idea what he has in mind?

                               HIS EXCELLENCY
               Yes.  The violent overthrow of this
               country.  And then as much of Africa
               as he can digest.  He and Kuna.

                               DEVON
               Do you mean Tsombe Kuna, the 
               revolutionary?

                               HIS EXCELLENCY
               Revolutionary?!  Anarchist, 
               murderer.  Demagogue.

                               APRIL
               What's the relationship between 
               Garthe Knight and Tsombe Kuna?

                               HIS EXCELLENCY
               They're partners.  Business and 
               political.  They met in prison while 
               Kuna was forming his so-called Pan-
               African Unity Movement.  It was a 
               perfect match up -- Garthe Knight 
               had the diamond leases and Kuna had 
               tens of thousands of religious 
               followers who would walk off the 
               edge of the world if he commanded.  
               Instead he commanded they walk into 
               those diamond mines, and they did.
                      (beat)
               We estimate that Garthe Knight and 
               Tsombe Kuna mined well over a 
               hundred million dollars worth of 
               diamonds before they left.

     On Devon and April's reaction:

                                              CUT TO

     EXT. LAS VEGAS STREET - DAY

     as K.I.T.T. passes.

                               K.I.T.T.'S VOICE
               Michael, I think I may have 
               something.

     INT. K.I.T.T. - DAY - MICHAEL

     reacts, glances at the monitor.

                               K.I.T.T.
               The particular tumbler configuration 
               of this key was used on a brand of 
               lock designed principally for 
               lockers ---

                               MICHAEL
               I know that, Kitt.  That's what Rita 
               said.

                               K.I.T.T.
               Please let me finish.

                               MICHAEL
               Sorry.

                               K.I.T.T.
               I've cross-checked building permits 
               and dates of construction for every 
               commercial installation of said 
               locker, and it boils down to two 
               locations.  

                               MICHAEL
               All right.  Where first?

                               K.I.T.T.
               Take your pick.  One is a bowling 
               alley on Desert Drive and the other  
               is a bus depot on Third.

                               MICHAEL
               Let's try the bus depot.

     EXT. STREET - DAY - THE TRANS AM

     does a 180 and heads back the opposite way.  The sedan 
     reacts, makes a U-turn and follows.

                                              CUT TO

     INT. BUS DEPOT - DAY - MICHAEL

     enters, looks at the rows of lockers, shrugs.  A little 
     more than he bargained for.  He starts at number one, first
     row.

     EXT. PARKING LOT - DAY

     K.I.T.T.'s scanner picks up the sedan as it pulls in and two 
     men get out.

     ANGLE ON MICHAEL

     halfway down the first row of lockers.  The comlink buzzes.

                               MICHAEL
                      (sotto voce)
               Yeah, Kitt.

                               K.I.T.T.
               I believe someone has been following 
               us.

                               MICHAEL
               No one even knows we're in town.

                               K.I.T.T.
               I suspect the two men who just 
               entered the bus depot do.

     Michael, continuing his key/lock search as he talks, is 
     about to respond when the key fits the locker he tries.

                               MICHAEL
               Thanks, Kitt, but we're in luck.

     He opens the locker and removes a sports sac.  He unzips 
     it, peers inside:  it contains half a dozen cassette 
     tapes.  He zips it up and closes the locker door.

                               MAN'S VOICE
               Excuse me, I'll take that.

     Michael starts to turn but feels a large calibre pistol in 
     his ribs.

                                              FREEZE FRAME

                         END OF ACT TWO

                           ACT THREE

     FADE IN

     EXT. BUS DEPOT - DAY

     The two men, Briggs and Stratton, come running out, Briggs 
     with the tape bag.

     INT. DEPOT - DAY

     Michael darts around people, runs for the exit.

                               MICHAEL
                      (comlink)
               Kitt!  Meet me at the rear exit.

     ANGLE ON K.I.T.T.'S DASH

     It comes to life; the gear shift flies into reverse and the 
     accelerator is depressed.

     ANGLE ON SEDAN

     Briggs and Stratton leap in and peel away.

     ANGLE ON REAR EXIT

     K.I.T.T. speeds up and broadslides to a stop, door flying 
     open, as Michael comes running out.  He leaps in and with a
     squeal of tires leaves in pursuit.

     EXT. CITY STREETS - DAY

     The sedan speeds by, passing cars and terrifying pedestrians.

     ANOTHER ANGLE

     K.I.T.T. dodges traffic, a block and a half behind.

     ANGLE IN K.I.T.T.

     as Michael drives, intent.

                               K.I.T.T.
               Perhaps next time you'll heed my 
               warnings.

                               MICHAEL
               Be glad to, buddy -- with a little 
               head start ---

                               K.I.T.T.
               Michael, look out!

     HIS POINT OF VIEW - A TRUCK

     pulls out, creating a narrow corridor between isles of 
     traffic.

     ANGLE ON MICHAEL

     He punches buttons.

     ANGLE FROM STREET

     K.I.T.T. two-wheels through the corridor.

     ANGLE IN SEDAN

     Briggs glances in the rearview mirror, reacts.

     HIS POINT OF VIEW - K.I.T.T.

     threads his way between the cars, gaining on the sedan.

     ANGLE FROM STREET

     The sedan overreacts, cranks an abrupt left, skids out of 
     control and crashes into a parked car.

     ANGLE ON K.I.T.T.

     He comes around the corner, slows.

     ANOTHER ANGLE

     Briggs and Stratton jump out of the sedan as it explodes in 
     a ball of flame.  Pedestrians scatter.  Cars swerve out of 
     the way.  Confusion and pandemonium.

     ANGLE ON BRIGGS AND STRATTON

     They sprint down the street.

     ANGLE ON MICHAEL

     as K.I.T.T. skids to a stop.

                               K.I.T.T.
               Michael, they're getting away!

                               MICHAEL
               Where are the tapes?

     K.I.T.T.'s scanner flashes.

                               K.I.T.T.
               They're still in the car.

     Michael jumps out.

     ANGLE ON BURNING CAR

     Michael takes off his jacket as he runs, wraps it around 
     his arms as a shield and yanks open the sedan's door.

     INTERCUT - K.I.T.T.

     His instruments monitor the fire.

                               K.I.T.T.
               Michael, the other gas tank will 
               explode within five seconds!

     ANGLE ON MICHAEL

     He emerges from the burning car with the tape bag, sprints 
     for K.I.T.T.

                               K.I.T.T.'S VOICE
                      (comlink)
               Michael, hit the dirt!

     As Michael obeys, diving for the pavement, K.I.T.T. self-
     activates and drives over him, stopping just as the second 
     tank explodes.  K.I.T.T. is rocked by the impact.

                               K.I.T.T.
               Michael, are you intact?

                               MICHAEL
                      (under K.I.T.T.)
               Intact, pal.  Thanks.

                                              CUT TO

     EXT. FOUNDATION JET - DAY

     It flies back from Africa.

                               DEVON'S VOICE
               Garthe and Elizabeth have the 
               formula for Kitt's skin, Michael....

     INT. JET - DAY

     Devon and April talk with Michael, whose face we see on the
     monitor.

                               MICHAEL
               They want it bad enough to kill for
               it -- why?  What've they got in mind?

                               DEVON
               That's what I want you to find out.
               His Excellency suggested the 
               Pan-African Unity Movement as 
               Garthe's base of operations, but 
               that doesn't explain how they 
               intend to use the skin -- or 
               why they're in Las Vegas.

                               APRIL
               Michael, how are the tapes coming?

     ANGLE ON MICHAEL IN K.I.T.T.

     driving toward the Strip.

                               MICHAEL
               Slowly.  I'm using Kitt's Rapid
               Thought Analyzer to find a common 
               denominator from tape to tape, but 
               nothing so far.

                               DEVON
                      (on monitor)
               I hate to say this, Michael, espe-
               cially after what you went through
               to get them -- but the tapes may 
               have nothing whatsoever to do with 
               Garthe Knight.

                               MICHAEL
               My hunch is they do.  Either way I
               want to follow it through.

                               DEVON
               Keep me posted.

     Ad-lib good-byes and Devon disappears from the monitor.

                               K.I.T.T.
               Michael, I think I may have some- 
               thing.

                               MICHAEL
               Shoot.

                               K.I.T.T.
               The name 'Red Bluff' seems to have a 
               particular but undefined significance.

                               MICHAEL
               Red Bluff...is it a location?

                               K.I.T.T.
               It appears to be.

                               MICHAEL
                      (hits buttons)
               Let's check it out on a map.

     A map of Nevada appears on the monitor.  K.I.T.T.'s instru-
     ments process names.

                               K.I.T.T.
               It's not a city or town.

                               MICHAEL
               Try mountains, parks, geographical 
               areas.

     Computer lights flash.

                               K.I.T.T.
               Nothing, I'm afraid.

                               MICHAEL
               Strange.  I wonder if Rita could 
               shed some light.

                               K.I.T.T.
               I thought she'd disappeared.

                               MICHAEL
               She did.  But maybe someone at the 
               casino knows where she is.

                                              CUT TO

     INT. CASINO - DAY

     Michael is talking to a pretty Twenty-One Dealer.

                               TWENTY-ONE DEALER
               Rita?  She's not hard to find.

                               MICHAEL
               She moved.  Didn't leave a forwarding
               address.

                               TWENTY-ONE DEALER
               People in Vegas never do.  It's a 
               small town.

     She smiles, points to a beautiful young woman in high-style 
     clothes seated at a Blackjack table.  Her back is to us.

                               TWENTY-ONE DEALER
               Be careful.

                               MICHAEL
               Why?

     She smiles enigmatically, leaves.  Michael still can't 
     quite believe this young woman in expensive clothes is Rita.  
     He moves toward her.

     REVERSE ANGLE FEATURING RITA

     as Michael approaches from behind.  In addition to new 
     chic clothes, her hair is different, her manner, her 
     ambiance.  She looks like a different woman.  She is at a 
     $20 minimum table, four or five thousand worth of chips in 
     front of her.  She looks bored.

                               MICHAEL
               You were right....

     She intends to ignore the voice, recognizes it, turns to 
     see Michael.  She appears indifferent.

                               RITA
               About what?

     Michael sits down, holds up the key.  Rita reacts, suddenly 
     uncomfortable.

                               RITA
               I don't know what you're talking 
               about.

                               MICHAEL
                      (beat)
               We had a misunderstanding.  I didn't
               think it was that important.
                      (re key)
               I'm talking about this.

                               RITA
                      (to dealer)
               Thanks, Charlie.

     She tips him a hundred dollar chip and he leaves.  Rita 
     faces Michael.

                               RITA
               Don't ever do that again.

                               MICHAEL
               What?

                               RITA
               Bring up private business in a 
               public place.

                               MICHAEL
               I wanted to make sure I got your 
               attention.

                               RITA
               You had it.  You don't have it 
               anymore.

     She starts to leave.  Michael takes her arm, forcing her to 
     pause.

                               MICHAEL
               What happened?  Two days ago all you
               could think of was your brother's 
               disappearance.
                      (glances
                       around)
               Now...I don't know what you're 
               thinking about.  Or who.  Or why.

                               RITA
               Good.  That's the way I prefer it.

     She starts to leave again but Michael keeps his grip on her
     arm.

                               RITA
               Let go of my arm.

                               MICHAEL
               What's 'Red Bluff'?

                               RITA
               I have no idea.

                               MICHAEL
               Your brother did.  It's what those 
               tapes are all about...Red Bluff and 
               Garthe Knight.

                               RITA
               I have no idea what you're talking 
               about.

     She pointedly pulls her arm free and leaves.  Michael 
     watches her, puzzled by the change.

     ANGLE IN "PEEK ROOM" ABOVE CASINO

     Angle from a view of Michael at the table below through a 
     one-way mirror to Garthe Knight, watching.

                               ELIZABETH'S VOICE
               I warned you about her.

     Garthe turns to see his mother behind him.

                               GARTHE
               You still move like a cat.  Or is 
               there a more colloquial phrase that 
               suits you better.

                               ELIZABETH
               Prison not only brutalized your 
               taste in women, it vulgarized your 
               vocabulary as well.

     Garthe laughs coldly.  Below them, Michael leaves.  They 
     pause to watch, speculating.

                               ELIZABETH
               I want him dead.

                               GARTHE
               If it were up to you, half the world 
               would be dead.  He'll die.  In due 
               time.

                               ELIZABETH
               Don't be coy, Garthe.  He knows too
               much already.

                               GARTHE
               He knows nothing but the words 'Red 
               Bluff'.  It might as well be Pine 
               Sol or Orange Blossom for all the 
               good it'll do him.  It's a dead-end.  
               A riddle.  Let him chase his tail.

                               ELIZABETH
               I was hoping your brush with life 
               imprisonment would teach you some-
               thing about discipline.

                               GARTHE
                      (faces her)
               Discipline has never been my problem, 
               Mother dear.  Mark my words, Michael 
               Knight will die.
                      (beat)
               After all, he was conceived and 
               designed by my late great father to 
               replace me, wasn't he?  How could I 
               possibly tolerate his life on this 
               earth continuing?  He is a living, 
               breathing insult to my existence.

                                              CUT TO

     EXT. STATE BUILDING - DAY

     Michael exits, crosses to where K.I.T.T. is parked and 
     climbs in.

     INT. K.I.T.T. - DAY

     Michael backs up and pulls away over:

                               K.I.T.T.
               I take it the Department of Geology 
               wasn't much help with 'Red Bluff' 
               either.

                               MICHAEL
               Yes and no.

                               K.I.T.T.
               That phrase is an insult to the 
               precision of the English language.

                               MICHAEL
                      (smiles)
               That's why I like it.

                               K.I.T.T.
               Would you care to define?

                               MICHAEL
               The English language is the problem.  
               You see, if you confine your search 
               to English, you draw a blank on Red 
               Bluff.  But as the state geologist 
               pointed out, this area has had a 
               number of different names -- Spanish 
               and before that, Indian.

                               K.I.T.T.
               Ah ha.

                               MICHAEL
               Couldn't have said it better myself.

                               K.I.T.T.
               I suppose we're off to the 
               Department of Indian Affairs.

                               MICHAEL
               Not exactly.

                                              CUT TO

     INT. WAREHOUSE SOMEWHERE IN DESERT - DAY

     Different shots, in close, of huge wheels, chrome 
     accessories, twin diesel engines so immaculate they shine
     ...and we realize we are seeing Goliath.

     OTHER ANGLES

     Several technicians in lab smocks prepare a precise 
     combination of chemicals for introduction to one another.  
     The lab, though portable, is highly sophisticated.

     ANGLE ON GARTHE

     He walks the area like a general inspecting troops.  He 
     pauses where the senior lab Technician works.

                               GARTHE
               I have a little plan to field test 
               Goliath tomorrow.  He will be ready?

                               TECHNICIAN
               By noon as promised.

                               GARTHE
               Will the skin be completely hardened 
               by then?

                               TECHNICIAN
               The final coat is scheduled to be 
               applied at eight AM.  It will reach 
               maximum density within an hour and a 
               half.

                               GARTHE
               Good.

     An Armament Expert approaches.

                               ARMAMENT EXPERT
               The rockets are ready for installa-
               tion, Mr. Knight.

                               GARTHE
               Proceed.

                               ARMAMENT EXPERT
               Yes sir.

     He heads off, ad-libs instructions to several men.

     Garthe pauses to watch.

     HIS POINT OF VIEW - A CRANE

     lumbers into position, one of two rockets suspended above 
     Goliath's tractor.  As the rocket is slowly lowered....

                                              CUT TO

     EXT. USED CAR LOT - DAY

     A peeling sign identifies "Chief's Previously Owned 
     Vehicles."  Pan down to a tattered old house trailer and 
     half a dozen dusty cars somewhere outside of Las Vegas.  
     Michael is talking to the owner, Chief, an old Indian in a 
     pin-stripped jacket, Levis and Adidas.  K.I.T.T. is parked 
     nearby.

                               CHIEF
               You wanna buy one a Chief's pre-
               viously owned personal automobiles?

                               MICHAEL
               Thanks, I already have one.

                               CHIEF
                      (glances 
                       at K.I.T.T.)
               Gas guzzler.  I slip you into a real 
               economy car.

                               MICHAEL
               Maybe some other time.  

                               CHIEF
               'Maybe some other time, maybe some
               other time' -- what you think old 
               Indians live on, air?  I got bills
               too.

                               MICHAEL
               Look, Chief, I know you've got your
               problems, but I've got mine.  I need
               your help.

                               CHIEF
               Got a couple bucks?

     Michael sighs, pulls out some money and gives it to him.

                               MICHAEL
               I need to know if there's an area 
               around here the Indians called 'Red 
               Bluff'.

     Chief regards him from under heavy eyebrows.

                               CHIEF
               Red Bluff old Indian burial ground.

                               MICHAEL
               Can you tell me where it is?

                               CHIEF
               You can't go there.

                               MICHAEL
               Why?

                               CHIEF
               Government land.

                               MICHAEL
               Protected for the Indians?

                               CHIEF
               Ha.  That's what the government say 
               -- but Indians can't go there either.  
               Catch twenty-two.

                               MICHAEL
                      (nods, beat)
               I'll take my chances.

     Chief takes a stick and begins drawing a map on the dirt.

                                              CUT TO

     EXT. HIGHWAY - DAY

     as K.I.T.T. turns off the highway onto a narrow two-lane 
     road.

                               K.I.T.T.'S VOICE
               Can't someone do something about a 
               situation like that?

     INT. K.I.T.T. - DAY

     as they proceed down the two-lane road into forbidding 
     desert.

                               MICHAEL
               Got any ideas?

                               K.I.T.T.
               Ideas are not my department, Michael.
               Information is.

                               MICHAEL
               I'm sure they don't feel a thing.

                               K.I.T.T.
               Easy for you to say.  Did you see 
               that poor old convertible?  She'd 
               been faithful to a variety of 
               owners, and now that her fenders 
               are unfashionably wide, and her 
               top is sagging, no one wants her.

                               MICHAEL
               Hey, pal, it's a dog-eat-dog world 
               out there.  All cars aren't as 
               fortunate as you.

                               K.I.T.T.
               We'll go into it later.  We're 
               approaching the mountain known as 
               Red Bluff.

     MICHAEL'S POINT OF VIEW - A BARBED WIRE FENCE

     stretches across the road, a sign reading:  "Keep Out.  
     Bureau of Indian Affairs."  Beyond the fence, rising 
     majestically from the desert floor, is a huge red sandstone 
     mountain.  There's no sign of life for miles.

     BACK TO MICHAEL
 
     He slows down as he reaches the fence.

                               MICHAEL
               Looks like any other mountain to me.

                               K.I.T.T.
               Why would Rita's brother emphasize 
               it the way he did?

                               MICHAEL
               Good question, Kitt.
                      (beat)
               I've got an idea.  Let's see if 
               there's more to Red Bluff than meets 
               the eye.

                               K.I.T.T.
               I beg your pardon?

                               MICHAEL
                      (pushes buttons)
               I'm activating your X-ray mode.

     ANGLE ON MONITOR

     The face of Red Bluff is graphically penetrated to reveal a 
     huge cone-shaped area hollowed out inside.  In the center,
     surrounded by space-age looking equipment, is a modified
     tense-pack missile base.  It carries four ICBM missiles.

     ANGLE ON MICHAEL

     He stares in disbelief.

                               K.I.T.T.
               How extraordinary.  Michael, what in 
               the world is it?

                               MICHAEL
               Looks like a secret base for ICBMs, 
               Kitt.

                               K.I.T.T.
               But why would Garthe Knight be 
               interested in government missiles?
               Surely he isn't planning to...is he?

                               MICHAEL
               Good question, pal.

     On Michael's worried look....

                                              FADE OUT

                        END OF ACT THREE

                            ACT FOUR

     FADE IN

     EXT. PRIVATE AIRFIELD - DAY - K.I.T.T. AND MICHAEL

     wait as the Foundation jet touches down, taxis to a stop.  
     Michael gets out of K.I.T.T. and crosses and Devon and 
     April deplane.  Ad-lib greetings, all glad to see one 
     another.

     MOVING SHOT

     as they cross toward a waiting limousine.

                               DEVON
               Anything new?

                               MICHAEL
               Not since we last talked.  What 
               about the Strategic Air Command?

                               DEVON
               I spoke with General Maddux.  He was
               astounded I knew about the Red Bluff
               Missile Range.

                               MICHAEL
               Is he going to help?

                               DEVON
               No.

                               MICHAEL
                      (reacts)
               Why?  Doesn't he realize what's at
               stake here?

                               DEVON
               I got the distinct impression he was 
               far more concerned with the alleged 
               'security' breech of the Red Bluff 
               site than anything else.

                               MICHAEL
               Security breech is the least of the 
               problems.

                               DEVON
               It is -- but only if one believes in
               the Garthe Knight-Tsombe Kuna 
               hypothesis.

                               APRIL
               The General unfortunately doesn't.
               He considers it a preposterous 
               fantasy.

                               MICHAEL
               But what if we can prove it?

                               DEVON
               That's another issue entirely.  To my
               knowledge we can't.

                               APRIL
               He's right, Michael.  Think about
               it.  We have no actual physical 
               evidence.  No real proof.

                               MICHAEL
               Great.  What will it take to convince
               SAC -- the actual theft of the missiles?

                               DEVON
               Funny you should mention that --
               because that's precisely what I 
               think Garthe has in mind.

                               APRIL
               General Maddux wouldn't give an 
               actual date, but within the next 
               several days SAC is apparently 
               replacing the existing Red Bluff
               missiles with new, updated warheads.

                               DEVON
               For that period of time, the missile
               site will be especially vulnerable.

                               MICHAEL
               Then that's when Garthe is planning 
               to strike.

     They reach the limo, pause before getting in.

                               DEVON
               That would be my guess.
                      (beat)
               I have one stop, then I'll meet you
               two back at the hotel.

                               MICHAEL
               Anything I can help with?

                               DEVON
               I don't think so.  When one walks
               into the lion's den, legend demands 
               it be done alone.

     On his enigmatic smile:

                                              CUT TO

     INT. PENTHOUSE - DAY - ELIZABETH KNIGHT

     is on the phone with her personal secretary.  She seems 
     pleased.

                               ELIZABETH
                      (into phone)
               He is?  How quaint.  By all means, 
               send him in....

     She hangs up, pauses to touch up her hair before moving to 
     the door.  She opens it to reveal Devon.  Their eyes hold 
     for a moment before either responds.

                               ELIZABETH
               What a lovely surprise.

                               DEVON
               I suspect it's neither, Elizabeth.  
               May I come in?

     She smiles, gestures for him to enter.  He admires the 
     impressive penthouse suite, the eagle's view of Las Vegas 
     stretched out below them.

                               ELIZABETH
               May I get you something?

                               DEVON
               Arsenic?  Sodium Pentothol?

     She laughs.  He turns to face her.

                               DEVON
               I want you to stop this insanity 
               you and Garthe are planning.

                               ELIZABETH
               Devon, my dear, you're so much like 
               Wilton.  So dramatic.  Such a flair 
               for hyperbole.

                               DEVON
               I flew to Rio de Janiero.  I found 
               Doctor Elliott.  I know you were 
               there.  I also know why.

                               ELIZABETH
               So I visited Karl in Rio.  We're old 
               friends.  The fact he died shortly 
               after I left had more to do with a 
               bad heart than an exotic poison.

                               DEVON
               I said nothing about a poison.

     Trapped, she smiles, never losing her composure.

                               ELIZABETH
               Devon, you're such a dear, charming 
               man.  But so suspicious.

                               DEVON
               Elizabeth, I have no desire or 
               intention of sparring with you.  I 
               know you have the formula for the 
               Knight Industries Two Thousand  
               skin.  I know you intend to use it
               in penetrating the Red Bluff Missile 
               Range.  Isn't that enough?

                               GARTHE'S VOICE
               No.

     ANGLE TO INCLUDE GARTHE

     as he enters.  He and Devon eye one another like jungle 
     cats.

                               ELIZABETH
               I believe you two know one another.

                               DEVON
               It's been awhile.  Before your... 
               'African experience.'

                               GARTHE
               You're amazingly like my late 
               father.  Perhaps that's why I so 
               dislike you.

                               DEVON
               Garthe, I came here to reason with 
               you and your mother.

                               GARTHE
               Reason?  It's too late for 'reason,' 
               Mr. Miles.  It's too late for 
               anything but war -- our victory, 
               your defeat.  And you will be 
               defeated, Mr. Miles.  You and the 
               Foundation for Law and Government...
               and Michael Knight.  Especially 
               Michael Knight.

     Garthe smiles.  Devon has never seen eyes so cold, so 
     devoid of human feeling.

                                              CUT TO

     EXT. LAS VEGAS STRIP - NIGHT - THE TRANS AM

     passes.

                               K.I.T.T.'S VOICE
               Michael, April is calling.

                               MICHAEL'S VOICE
               Thanks, Kitt.

     INT. K.I.T.T. - NIGHT - MICHAEL

     punches buttons and April appears on the monitor.

                               MICHAEL
               April, what's up?

                               APRIL
               I just got a call for you from Rita
               Wilcox.

                               MICHAEL
               I thought we'd had our last 
               conversation.  What did she want?

                               APRIL
               She said she needs to meet with you
               as soon as possible.  Michael, do 
               you think it's a trap?

                               MICHAEL
               I don't know, but I think I'll have
               to take that chance.  Find out when
               and where.

                               APRIL
               Right away.

     The monitor goes blank.  Michael drives for a moment,
     thoughtful.

                               K.I.T.T.
               It's difficult to know just whose
               side Rita is on, isn't it, Michael.

                               MICHAEL
               You can say that again, pal.  Maybe
               this is our chance to find out once 
               and for all.

                                              CUT TO

     EXT. STRIP HOTEL - NIGHT - ESTABLISH

     K.I.T.T. parked in a private parking spot, scanner on.
     Then slowly angle up to one of the top suites over:

                               RITA'S VOICE
               I'm sorry I acted the way I did....

     INT. SUITE - NIGHT

     A lavish suite that overlooks the Strip.  Rita is 
     beautiful, elegant, chic, the look of a rich man's mistress.  
     She pours drinks at the wet bar.

                               RITA
               Among other things, I was angry.

                               MICHAEL
               I could tell.
                      (re: beer)
               No glass.

     She hands him his beer, sips her drink.

                               RITA
               I thought you'd found something more 
               interesting to do than search for my 
               brother.

                               MICHAEL
               I tried to explain.

                               RITA
               I know.  I just felt so...powerless 
               after you left.  Like no one cared 
               whether Ron was dead or alive....

                               MICHAEL
               That explains your anger.  It 
               doesn't explain why one day you're 
               in a $300 a month apartment and the 
               next you're in a $300 a day suite 
               tipping blackjack dealers hundred 
               dollar chips.

                               RITA
               I decided to...resume my relationship
               with Garthe.

                               MICHAEL
               I figured that out.  What I couldn't 
               figure out was why.

                               RITA
               Isn't it obvious?  I'm convinced 
               Garthe had Ron killed.

                               MICHAEL
               So to punish him, you become his 
               mistress.

     She slaps Michael hard.  Her eyes are direct and hot.

                               RITA
               I became whatever I've become for 
               one reason and only one reason:  to 
               find proof that he killed my 
               brother.  After you left I had no 
               other way to get the information I 
               needed.

                               MICHAEL
                      (beat)
               All right.  Did you get it?

                               RITA
               Not all of it, not yet.  But I 
               overheard something this afternoon 
               that could be important, and I 
               thought you should know.
                      (beat)
               Are you interested or not?

                               MICHAEL
               I'm listening.

                               RITA
               A man named Tsombe Kuna is arriving 
               tomorrow morning.  Garthe has a 
               'demonstration' planned for him at 
               noon tomorrow on an isolated salt 
               flat in the desert.

                               MICHAEL
               A demonstration of what?

                               RITA
               All he said was, 'The skin is 
               ready.  Goliath is born.'

     It sends a chill down Michael's spine.

                               RITA
               Does that mean anything to you?

     Michael slowly nods.

                                              CUT TO

     EXT. WAREHOUSE IN DESERT - DAY - A CADILLAC SEDAN

     rolls in from open desert, slows as it reaches this 
     scattered configuration of outbuildings.  The centerpiece 
     of which is the warehouse.  An armed Guard forces the 
     Cadillac to stop, checks, waves it through.

                               GUARD
                      (handi-talkie)
               Perimeter to Control.  He's here.

     ANGLE AT WAREHOUSE

     The door opens and Garthe steps out, flanked by a guard 
     with an automatic weapon.  The Cadillac stops and several 
     black special security officers pop out, each with
     automatic weapons as well.  One opens the rear door and a 
     huge black man in African tribal robes slowly gets out.  
     This is Tsombe Kuna.  Garthe steps forward, smiling, and 
     Tsombe breaks into a grin.

                               GARTHE
                      (in Zwambese)
               Greetings, my brother.

                               TSOMBE
                      (in Zwambese)
               Greetings, my brother.

     They execute a ceremonial bow and then embrace.

                               GARTHE
               I have a surprise for you.

                               TSOMBE
               I didn't travel six thousand miles 
               to be bored.

                               GARTHE
               Bored you shall not be, my brother.  
               This way.

     Garthe opens the warehouse door.  Tsombe steps inside.

     INT. WAREHOUSE - DAY

     as they enter.  Tsombe pauses.  Garthe nods, indicating:

     THEIR POINT OF VIEW - GOLIATH

     It occupies half the warehouse space, it's so large.  This 
     is our first full daylight view of it, and it's a behemoth,
     a huge grizzly bear of a truck, all lacquered black and 
     spotless chrome.  It's four times the length of K.I.T.T., 
     and two stories high.  It weighs fourteen tons.

     ANGLE ON GARTHE AND TSOMBE

     Garthe's eyes dance with pride.  Tsombe smiles, awed by its 
     size.

                               TSOMBE
               So this is Goliath.

                               GARTHE
               With his impenetrable skin, there's
               no vehicle on earth to match him.

                               TSOMBE
               You mentioned something about a 
               demonstration....

                               GARTHE
               It's all been arranged.
                      (checks watch)
               In less than two hours, you will see 
               Goliath in all his might and 
               splendor.

                                              CUT TO

     EXT. DESERT HIGHWAY - DAY - K.I.T.T.

     appears, takes a lonely desert turn-off.

     INT. K.I.T.T. - DAY - MICHAEL

     drives, hot despite the air-conditioning.

                               K.I.T.T.
               Michael, you're sure this is the 
               right way....

                               MICHAEL
               According to Rita it is.

                               K.I.T.T.
               Do you trust her?

                               MICHAEL
               I trust her sincerity.  For now 
               that's enough.

                               K.I.T.T.
               I certainly hope so.

     EXT. DESERT - DAY - THE TRANS AM

     winds along the narrow road which takes them over a sharp 
     rise, and through a narrow pass, then down the other side.  
     Camera now pulls back from this long lens shot to reveal a 
     half-a-dozen men present, shielded by boulders, protected 
     from the hot sun by colorful umbrellas.  Prominent is 
     Tsombe, sipping a chilled Perrier.  A field lieutenant 
     picks up a handi-talkie.

                               FIELD LIEUTENANT #1
                      (handi-talkie)
               Get ready....

     ANGLE ATOP DISTANT DESERT MOUNTAIN

     Several combat troops man what appears to be a dynamite 
     plunger.

                               FIELD LIEUTENANT #2
               Now?

     INTERCUT - TSOMBE CAMP

                               FIELD LIEUTENANT #1
               Now.

     Field Lieutenant #2 depresses the plunger.

     ANGLE ON NARROW DESERT MOUNTAIN PASS

     Strategically placed charges of dynamite explode 
     sequentially.

     ANGLE IN K.I.T.T. - MICHAEL AND K.I.T.T.

     react to the explosions behind them.

                               MICHAEL
               What was that?

                               K.I.T.T.
               According to my sensors...dynamite.

                               MICHAEL
               Dynamite?!
                      (beat)
               Kitt, I smell a rat.

                               K.I.T.T.
               I beg your pardon.

                               MICHAEL
               Time for a quick exit.

     He does a 180, heads back the opposite way.

                               K.I.T.T.
               I'm afraid that's impossible,
               Michael.  Look.

     MICHAEL'S POINT OF VIEW - TONS OF ROCKS AND SAND

     block the narrow pass.

     BACK TO MICHAEL

     He reacts.

                               MICHAEL
               Any way over it?

                               K.I.T.T.
               I don't think we have the time.

                               MICHAEL
               What are you talking about?

                               K.I.T.T.
               We're not the only vehicle on this
               road.  Behind you, Michael.

     Michael looks.

     HIS POINT OF VIEW

     Several miles away is a black speck heading toward them.

                               MICHAEL
               Kitt, what is it?

                               K.I.T.T.
               It appears to be a large
               semi...my goodness.

                               MICHAEL
               What?

                               K.I.T.T.
               Large isn't the word.  It's enormous.

                               MICHAEL
               Goliath....

                               K.I.T.T.
               What did you say, Michael?

                               MICHAEL
               Nothing.  With that pass closed, our 
               back's to the wall, buddy.

                               K.I.T.T.
               Michael, not only is the semi 
               extremely large, it's also extremely 
               fast.  According to my calculations 
               it's traveling over one hundred and 
               twenty miles an hour and gaining 
               speed.

     INTERCUT - GOLIATH

     heading directly toward K.I.T.T.

     ANGLE IN CAB - GARTHE 

     is behind the big wheel, eyes fixed on K.I.T.T. ahead.

     ANGLE ON K.I.T.T.

                               K.I.T.T.
               Unless I'm mistaken, that monster 
               intends to do us bodily harm.

                               MICHAEL
               What are the chances of going off-road?

                               K.I.T.T.
               Not terribly good.  The sand is 
               extremely soft.  If we lost traction,
               we'd be sitting ducks.

                               MICHAEL
               If Goliath is going to knock us out,
               I'd rather take it on the chin than
               trapped in sand.

                               K.I.T.T.
               Michael, surely, you're not 
               intending to go nose-to-nose with 
               that behemoth.

                               MICHAEL
               Whatever it takes, Kitt...nose-to-
               nose, belly-to-belly...let's go.

     Michael floors K.I.T.T.

     HIGH ANGLE - THE TWO MACHINES

     Race toward one another, the gap rapidly closing.

     INTERCUT - TSOMBE

     He grins and sips his Perrier, fascinated.

     INTERCUT - GARTHE

     The moment of truth is near.

     INTERCUT - MICHAEL

     He sees Goliath looming in front of him.

     SERIES OF SHOTS

     At the last moment Michael swerves the wheel, hoping if all
     else fails to deflect Goliath's impact, but the huge bumper
     and fender catch K.I.T.T.'s left front fender.  There's a 
     horrible ripping sound, metal on metal.

     HIGH SHOT - K.I.T.T.'S LEFT SIDE

     disintegrates, fender flying in one direction, hood and 
     various other parts thrown a hundred feet in the air.

     ANGLE ON K.I.T.T.

     He's thrown off the road, rolls half a dozen times before 
     coming to a stop.

     INTERCUT - GARTHE

     He toots Goliath's horn in victory.

     INTERCUT - TSOMBE AND PARTY

     They cheer.

     ANGLE ON K.I.T.T.

     motionless in the desert sand.  Nothing moves.  There is no
     sign of life....

                                              FADE OUT

                         END OF ACT FOUR

                             ACT FIVE

     FADE IN

     EXT. HOTEL - DAY

     The hotel where Devon and April are staying.  We hear:

                               APRIL'S VOICE
               I can't raise Michael or Kitt, 
               Devon...it's like they've 
               disappeared.

                                              CUT TO

     INT. HOTEL SUITE - DAY

     April's sitting in front of a computer terminal.  Behind 
     her, Devon paces nervously.

                               DEVON
               That's what worries me...it's not
               like them....

     Devon and April exchange a glance.

                               APRIL
                      (concerned)
               Devon, you don't think...?

                               DEVON
               No, I don't.  Still, I wish Michael 
               hadn't rushed into the middle of the 
               desert like some bedouin soldier....

                               RITA'S VOICE
               It's my fault.  I should have waited 
               until I knew more....

     ANOTHER ANGLE TO INCLUDE RITA

     sitting in a corner, her knees tightly clasped against her 
     chest.  She's been crying.  Devon shakes his head.

                               DEVON
               Nonsense.  Michael's perfectly 
               capable of assessing the risks in a 
               situation like this.

     Rita looks from Devon to April.

                               RITA
               I know how this must look to you 
               two, but I was only trying to help.

                               APRIL
               Rita, Michael called after he talked
               with you.  He believed you...so do 
               we.

     Rita nods, fighting back another tear.  Devon is suddenly 
     in action, brisk, urgent.  Very worried, but trying to 
     cover.

                               DEVON
               Well, we can't stand around wondering
               ...even if it's for the worst, we've
               still got an international emergency 
               to deal with...
                      (bitterly)
               If I can just find someone who'll
               listen.

     Devon turns to April as he starts to dial a number.

                               DEVON
               I'm flying to SAC headquarters.  
               Immediately.  I want you to stand by 
               here, in the event....

     Devon doesn't finish his sentence.  He and April share a 
     look that doesn't need words.

                               APRIL
               I've got the semi on full alert and 
               ready to roll.

     Devon nods, then turns to Rita.

                               DEVON
               You're welcome to stay here, of 
               course.

                               RITA
                      (shaking
                       her head)
               I'm going back to the penthouse.  I 
               can be of more help there.

                               DEVON
               That's ridiculous.  After what
               happened to Michael, it's very 
               probable Garthe knows about you.

     Rita stands, heads for the door.

                               RITA
               Ronnie was my brother.  Michael 
               was...is...my friend.  I owe both of 
               them....

     With that, she turns and exits.  Hold on Devon and April, 
     then:

                                              CUT TO

     EXT. DESERT - DAY

     Hot.  Dry.  Dusty.  Not a sign of life as we pan across the 
     desert floor.  Then we see a battered hub cap, a dented 
     bumper, a piece of fender.  Slowing the pan, we stop on:

     THE TRANS AM

     or what's left of it.  Goliath has taken its toll on 
     Kitt:  the windshield is shattered, one side of the car is 
     badly crumpled, the trunk is sprung open, and the driver's 
     side door hangs loosely on its hinges.  As we move closer 
     to the door, we see a hand, a trickle of blood on the palm, 
     dangling out of the car.

     ANGLE - CLOSER ON THE CAR

     where we see Michael, half-in and half-out of the car.  
     Unconscious, with a cut/bruise on his head that looks as 
     bad as we can make it look.  Slowly, painfully, Michael 
     stirs to life.  His eyes blink open, he groans and 
     struggles to sit up.  Another painful groan as he pulls 
     himself out of the seat and staggers to his feet, holding
     himself upright with his good hand.

     CLOSE ON MICHAEL

     trying to get his bearings, shaking his head groggily.
     Suddenly, he turns back to K.I.T.T.

                               MICHAEL
               Kitt!  Kitt, are you okay?

     Michael leans into the Trans Am.  Nothing.

                               MICHAEL
               Kitt, come on, buddy...talk to me.

     No response.

                               MICHAEL
               Kitt!

     Still nothing.  A wave of pain sweeps over Michael and he
     nearly collapses.  Slowly, painfully, he sits in the 
     driver's seat.  Then:

                               K.I.T.T.
                      (very weakly)
               I'm afraid we zigged when we should 
               have zagged, Michael.

                               MICHAEL
               Kitt!  You're all right!

                               K.I.T.T.
               'All right' hardly seems appropriate, 
               Michael.  Look what that...that... 
               behemoth did to me!

                               MICHAEL
                      (weakly)
               Yeah...now I know what being run 
               over by a truck really feels like.

     Michael shakes off another wave of pain as his head slumps 
     back on the seat.

                               K.I.T.T.
               Michael, are you all right?

                               MICHAEL
                      (grimacing
                       with pain)
               It's nothing about four hundred
               aspirin wouldn't cure.

                               K.I.T.T.
               My computer functions are damaged, 
               so I can't make a diagnosis...but 
               you sound terrible.  You need a 
               doctor.

     Michael nods.  A beat, then:

                               K.I.T.T.
               Michael, I'm unable to make contact 
               with April or Devon.

                               MICHAEL
               Then we're going to have to get 
               ourselves out of this jam.

                               K.I.T.T.
               I've sustained a good deal of 
               structural and mechanical damage....

     Michael leans out, squints up at the sun, a ball of fire in 
     the sky.

                               MICHAEL
               Yeah, but there's not a taxi in 
               sight and it's gonna be hot enough 
               to melt rocks out here pretty soon.
                      (beat)
               We've got to get you running again.

                               K.I.T.T.
               I'm not sure that's possible.

                               MICHAEL
               It's got to be.

     As Michael climbs out of K.I.T.T. and surveys the desolate 
     desert that surrounds him, we:

                                              CUT TO

     INT. PENTHOUSE - DAY - GARTHE

     dressed in an impeccably tailored silk smoking jacket, 
     stands in front of a picture window overlooking downtown 
     Vegas.  He's sipping a glass of champagne.

                               GARTHE
               Everything went perfectly.  Just as 
               I knew it would....

                               ELIZABETH'S VOICE
               You should never have taken the
               truck.  What if something had gone 
               wrong...?
 
     Garthe spins to face Elizabeth.  His face is hard, cold.

                               GARTHE
               Nothing is going to go wrong,
               Mother.  Nothing.

                               ELIZABETH
               Michael Knight is still alive.

                               GARTHE
               For the time being.

     Garthe walks past his mother, pours another glass of 
     champagne.

                               ELIZABETH
               You should have killed him.  Like I 
               told you to.

                               GARTHE
               I have plans for him....

     Elizabeth turns, knocks the champagne out of Garthe's hand.

                               ELIZABETH
               There's only one plan, and I've 
               spent nearly ten years of my life 
               preparing for it!  You're not going 
               to jeopardize everything because of 
               a personal vendetta.

     Garthe smiles at his mother for a beat, then:

                               GARTHE
               You underestimate me.  You always 
               have...
                      (beat)
               This is much more than a trivial
               evening of scores....

                               ELIZABETH
               It's just that!  It's trivial and 
               it's childish, and I won't allow it.

     Garthe fills another glass with champagne, drains it.

                               GARTHE
               I'm not your little boy anymore, 
               Mother.  I do what I please, when I 
               please.
                      (beat)
               Right now, it pleases me to keep 
               Michael Knight alive...whether you 
               like it or not.

     Garthe turns to the table, scoops a spoonful of caviar onto  
     a cracker, holds it out to Elizabeth.

                               GARTHE
               Caviar?

     Elizabeth stares at her son, then turns and stomps out of 
     the room.  Garthe laughs, devours the caviar.  As he does:

                                              CUT TO

     EXT. DESERT - DAY

     The sun is higher, hotter.  We see Michael bent under the 
     hood of the Trans Am.

                               MICHAEL
               Now....

     The Trans Am turns over sluggishly, missing badly, not 
     catching.

                               K.I.T.T.
               I'm sorry, Michael.

     Michael makes another adjustment under the hood.

                               MICHAEL
               Try it again....

     Once more, the Trans Am turns over, this time with a little
     more juice, but it still doesn't catch.

                               K.I.T.T.
               I'm afraid the damage to my electrical
               system has rendered my fuel injection 
               inoperable, Michael.

                               MICHAEL
                      (nodding)
               That's what I figure.  I need some
               wire.  Pop the trunk, Kitt....

     Michael stumbles to the back of the car, takes a shirt and
     a pair of pants on a hanger out of the trunk.  He quickly 
     untwists the hanger, hurries back to the engine.  As he 
     does:

                               K.I.T.T.
               Michael, I've never felt this way 
               before.

                               MICHAEL
               That makes two of us, pal.

                               K.I.T.T.
               I mean, so vulnerable.  So...mortal.
                      (beat)
               Do you think it's possible I could 
               cease to exist?

     Michael's bent under the hood, working with the wire.

                               MICHAEL
               If I can't jerryrig this wire, I'd 
               put money on it.

                               K.I.T.T.
               What a depressing thought.  How do
               you humans live with the idea you're
               going to die?

                               MICHAEL
               One day at a time.  Come on, Kitt,
               quit gabbing and try it again....

     The engine turns over, sputters, misses, then fires to life.
     Michael's face lights, then falls as the engine dies. 
     K.I.T.T. turns it over again, and this time it catches.
     Michael whoops, closes the hood, gets into the car.

     INT. K.I.T.T. - DAY

                               MICHAEL
               Let's go.

                               K.I.T.T.
               In which direction?  My navigational 
               equipment is gone.

     Michael stares at K.I.T.T. for a beat, then out the window
     at the desert.  A long beat, as Michael takes a deep breath 
     and points straight ahead.

                               MICHAEL
               Straight ahead.

                               K.I.T.T.
               Michael, we're surrounded by 
               desert.  If this is the wrong 
               direction....

                               MICHAEL
               Yeah, I know.  Let's hit it.

     With that, K.I.T.T. starts slowly across the desert.  
     Hold on Michael, grimacing with pain and fatigue, and then:

                                              CUT TO

     INT. SAC HEADQUARTERS - GENERAL MADDUX'S OFFICE - DAY

     Big desk, wood-paneled walls, standard American flag and 
     picture of Reagan, all complemented by pictures of planes 
     of all kinds.  Maddux, trim, grey, in his fifties, is 
     facing Devon from behind his desk.  He's very smooth.

                               MADDUX
               Devon, you've got to understand my 
               position....

                               DEVON
               I'm finding that increasingly 
               difficult, General.

                               MADDUX
               Well, you can't just walk in here 
               with this cock and bull story and 
               expect me to take it to the 
               President....

                               DEVON
               This is not a story!  This is fact!
               Red Bluff is going to be attacked.  
               I can guarantee that.

                               MADDUX
               Guarantee it?  I'd be happy if you
               just prove it.  Give me a shred of 
               evidence, Devon...anything.

     Devon struggles to regain his composure.  It's not easy.

                               DEVON
               I've already told you everything I 
               know.

                               MADDUX
               And it doesn't fly!  African messiahs,
               some crazy formula, Las Vegas mobsters.  
               My God, Devon, do you have any idea 
               what that sounds like?

                               DEVON
               It sounds like a very real and very
               dangerous threat to our national
               security, General.

     Maddux shakes his head, stands and comes around to Devon.

                               MADDUX
                      (smiling)
               Even if someone was crazy enough to 
               go after Red Bluff, they'd never get 
               inside.  That mountain's safer than 
               Fort Knox.

                               DEVON
               That's simply not true, General.  If
               nothing else, change the date for 
               the rotation.  Postpone it....

     The phone buzzes softly on the desk, and Maddux moves to 
     answer it.

                               MADDUX
                      (shaking
                       his head)
               Devon, I appreciate your concern.  I
               do.  But, you and the Foundation, 
               take care of your part of the world, 
               and we'll take care of ours....

     Maddux has picked up the phone during the last part of this 
     dialogue.  Devon doesn't respond, but rather turns and 
     angrily exits the office.

                               MADDUX
                      (into phone)
               Maddux....
                      (brightening)
               Elizabeth, hello!  I was hoping 
               you'd phone.  No, no, you're not
               interrupting a thing.  I'd just
               finished.  Dinner?  I'd love it....

     As Maddux smiles broadly, we:

                                              CUT TO

     EXT. DESERT - DAY

     as the Trans Am pulls across an open and desolate stretch 
     of desert, weaving erratically.

     INT. TRANS AM - DAY

     Once inside, we see why:  Michael's weak from the loss of 
     blood, slipping into unconsciousness and then pulling 
     himself back.

                               K.I.T.T.
               Michael...Michael!

     Michael's eyes open, but he's not really seeing.

                               MICHAEL
               I'm right here, old buddy.

                               K.I.T.T.
               We've been driving in circles.  For
               hours....

                               MICHAEL
                      (lightheaded,
                       almost giddy)
               That must be why everything looks 
               so familiar....

     His voice fades and he starts to lose consciousness.

                               MICHAEL
               Thirsty, Kitt.  Head hurts.  So 
               sleepy...maybe I'll take a little 
               nap.  You take the wheel for a while.

                               K.I.T.T.
               You've got a concussion, Michael.  
               Don't sleep...Michael.  Michael....

     It's too late.  Michael's head falls back and he's out.

                               K.I.T.T.
               Michael, we're lost.

     EXT. DESERT - DAY - ON THE TRANS AM

     as it drives slowly across the desert.  Alone.  In the 
     middle of nowhere.

                                              CUT TO

     INT. WAREHOUSE - DAY - ON GOLIATH

     The big, black rig glistens in the glow of the floodlights 
     which surround it.  Technicians in uniforms are working in 
     various parts of the truck.  We see in particular a 
     complement of rockets being fitted into launchers set on
     the front of the cab.

     ANOTHER ANGLE TO FEATURE GARTHE

     supervising and inspecting the work, clipboard in hand.  He 
     nods, pleased with what he sees.  Behind him, we suddenly 
     hear:

                               TSOMBE'S VOICE
               A miracle of American technology.

     Garthe spins to see Commander Tsombe, elegantly dressed in 
     an African tribal robe.  He's flanked by two huge soldiers.  
     Garthe glares at him.

                               GARTHE
               If this is anyone's miracle, it's 
               mine.

     Tsombe laughs, a deep, rich laugh that echoes through the 
     warehouse.

                               TSOMBE
               Of course it is, my dear Garthe.  
               Why, you could walk on water if 
               necessary couldn't you?

     The harsh words are a counterpoint to Tsombe's smile.
     Garthe doesn't flinch, though.

                               GARTHE
               I've got a dozen things to do.  So, 
               if you don't mind....

     Garthe starts to move past Tsombe, but the Commander stops 
     him.

                               TSOMBE
               Oh, but I do mind.  Very much.  
               After all, I have a rather 
               substantial investment to protect.
                      (beat)
               And I find myself worrying....

                               GARTHE
               About?

                               TSOMBE
               You.  So much of what I plan to
               achieve depends, for the moment, on 
               your success in the next twenty-
               four hours.
                      (beat)
               There must be no distractions, Garthe.

     Garthe stares at Tsombe hard enough to cause Tsombe's 
     guards to stiffen.

                               GARTHE
               Don't tell me how to run this 
               operation.  Without me, you'd still 
               be dodging spears back home.

                               TSOMBE
                      (flaring)
               And without me, you'd be rotting in 
               that rat-infested hole of a prison.
                      (smiling)
               So, we are mutually indebted to each 
               other.  With luck, we shall continue 
               a long and fruitful relationship.

     Tsombe turns, glances at Goliath, then turns back to Garthe.

                               TSOMBE
               But, you know, I have many men who 
               are excellent drivers.  If you 
               prove unreliable....

                               GARTHE
               Don't threaten me.

                               TSOMBE
               That is not a threat, my young
               friend.  Only a reminder....

     Tsombe turns and exits the warehouse.  Garthe stares after 
     him, as we:

                                              CUT TO

     INT. HOTEL SUITE - DAY - APRIL

     is pacing nervously back and forth across the suite, when 
     the door opens and a grim faced Devon comes into the room.  
     They share a look.  Neither of them speaks at first, then:

                               DEVON
               Still nothing?
	
                               APRIL
                      (shaking head)
               No.  How'd it go?

     Devon shakes his head angrily.

                               DEVON
               The visit was pointless!  Absolutely 
               pointless!  Without a signed affidavit 
               from Garthe Knight detailing his plan, 
               I couldn't get anyone to listen.

     Devon stares at April for a beat, a pained look on his face.

                               DEVON
               To think that Michael may 
               have...given his life...in vain.

                               APRIL
               Devon, I've contacted the National 
               Guard and the Air Force.  They 
               promised to launch a search....

                               DEVON
                      (angrily)
               Promises!  Words!  Inane 
               conversations!  It's not enough, 
               April....

     Devon struggles to control himself.

                               DEVON
               I'm sorry.  I'm just so 
               frustrated....

                               APRIL
               I know, but we've got to keep 
               hoping, Devon.

     Devon nods, but doesn't respond.  There's a knock on the 
     door.  April hurries to open it.

                               APRIL
               It must be Colonel Abrahms from the 
               National Guard.  He promised to stop 
               by....

     ANGLE ON THE DOOR

     as April opens the door and finds herself staring at 
     Michael.  He's holding himself up, nearly dead on his feet.

                               MICHAEL
               April...Devon....

     Michael takes a step into the room and starts to collapse.

                               APRIL
               Devon...!

     Devon rushes to her side in time to catch Michael as he 
     falls.  Together they carry him to a sofa.  As Devon rushes
     to the phone, hold on April standing over the unconscious 
     Michael, and then:

                                              FADE OUT

                         END OF ACT FIVE

                             ACT SIX

     FADE IN

     INT. HOTEL SUITE - DAY

     Michael, bandaged and pale, is sitting on the sofa.  Devon 
     is sitting across from him, looking anxiously concerned.

                               DEVON
               You're absolutely certain the semi 
               was equipped with the skin?

                               MICHAEL
               You saw Kitt...what else could have 
               done that?

     Devon nods, thinks for a moment.

                               DEVON
               But why would Garthe go to all the 
               trouble?  Certainly not simply to 
               destroy you and Kitt...

                               MICHAEL
               Devon, you take ten thousand pounds 
               of steel, cover it with that skin 
               and you could drive it through 
               anything....

     Devon looks sharply at Michael, suddenly understanding.

                               DEVON
               Red Bluff.  He's going to use it to 
               break into the missile site.

                               MICHAEL
               And once he gets going, there's not 
               much that can stop him.

                               DEVON
               Right now, there doesn't appear to
               be anyone who cares to try.  We've 
               found out the government is proceeding 
               with the missile rotation.  In less 
               than twelve hours....

     Michael struggles up from the sofa, faces Devon.

                               MICHAEL
               Then we don't have much time.

                               DEVON
               Time for what?  Michael, you're in 
               no condition....

                               MICHAEL
               Devon, the only way to destroy that
               truck is from the inside.

                               DEVON
               Inside?  How?

                               MICHAEL
               Garthe's going to help us.

     Michael paces as he talks, intense and excited.  Devon 
     watches him curiously.

                               MICHAEL
               I learned something real interesting
               about Garthe yesterday.  He could've 
               killed me, but he didn't.  Any idea 
               why?

                               DEVON
               None.

                               MICHAEL
               Because he's got everything 
               perfectly choreographed.  That show 
               yesterday was Garthe flexing his 
               muscles for my benefit.  He plans to
               win, real big, and he wants me 
               around to see it.  Once that's 
               done....

                               DEVON
               He's consumed with hatred...of you,
               everything you stand for....

                               MICHAEL
               Of course he is!  And, we're going 
               to use that...
                      (beat)
               The last thing Garthe could stand 
               would be losing to me.  Anywhere.  
               Any time.

                               DEVON
               I imagine you're right.

                               MICHAEL
               So I'm going to beat him, Devon...at 
               his own game.

                               DEVON
               How?

                               MICHAEL
               I'm going to break the bank at his 
               casino...and then we're going to 
               break him.

     As Michael smiles at Devon's surprised look, we:

     INT. FOUNDATION SEMI - DAY

     April and two Foundation technicians are working on K.I.T.T.  
     Though he still shows the signs of his run-in with Goliath, 
     he looks remarkably good.  Most of the major structural 
     damage has been repaired, broken windows replaced.  April 
     hasn't been able to do much for his ego, though.

                               K.I.T.T.
               It wasn't a fair fight, April.  He 
               must have had six thousand pounds on
               me if he had an ounce....

                               APRIL
               I know, Kitt.

                               K.I.T.T.
               It was like putting Roberto Duran in 
               the ring with Sonny Liston.

                               APRIL
               I'm sure it was, Kitt.

                               K.I.T.T.
               It won't happen again, I can assure 
               you of that.

                               APRIL
               It had better not.  I've got you 
               patched together with scotch tape 
               and bailing wire as it is.

                               K.I.T.T.
               If I ever see that snout-nosed 
               ignoramus....

                               MICHAEL'S VOICE
               You'd better hope he's heading in 
               the opposite direction....

     Michael appears, crosses to April.

                               K.I.T.T.
               Very funny, Michael.  It so happens
               I'm already reviewing my computer 
               logs of our confrontation.  In a 
               matter of hours, I'll know everything 
               there is to know about that truck.  
               I'll know how to beat it.

                               MICHAEL
               Let's hope you don't get a chance...
                      (to April)
               How're you doing?

     April shakes her head, shrugs.

                               APRIL
               I really need two weeks, but he's 
               running.

                               K.I.T.T.
               I'm perfectly fine.  Good as new.
               Better, even....

                               MICHAEL
               You've got him programmed and wired 
               to handle the roulette wheel?

                               APRIL
                      (nodding)
               I've installed an electromagnetic 
               resonator that should work up to 
               three hundred yards.

                               MICHAEL
               Good.  And the explosive...?

     April nods, hands Michael a small metal box that fits 
     comfortably in his hand.

                               APRIL
               Activated by Kitt's microwave 
               jammer.

                               K.I.T.T.
               Is this really necessary?  I'd much 
               prefer a return engagement....

                               MICHAEL
               Do it on your own time, pal...I'm 
               planning on something a little more 
               discreet.

     During the conversation, Devon joins them.

                               DEVON
               Your plan is hardly discreet, 
               Michael.  A little like Daniel 
               entering the lion's den, I'd say.

                               MICHAEL
               Yeah, I guess it is.
                      (beat)
               By the way...who won that one?  
               Daniel or the lion?

     Devon and April share a look.  Michael grins, heads for 
     K.I.T.T.

                               MICHAEL
               Give me three hours.

     Devon checks his watch, nods.

                               DEVON
               Michael, if anything goes wrong, and 
               I mean anything....

                               MICHAEL
               Don't worry.  I'm not looking to be 
               a hero...
                      (gesturing to 
                       K.I.T.T.)
               Him, I'm not so sure about....

     Another grin as Michael climbs into K.I.T.T.  As he does:

                                              CUT TO

     EXT. HIGHWAY - ON TRANS AM - DAY

     as Michael and K.I.T.T. head toward the strip in Las Vegas.

     INT. K.I.T.T. - DAY

     as K.I.T.T. chatters to Michael.

                               K.I.T.T.
               Facing one's possible demise is a 
               strangely exhilarating experience, 
               Michael.

                               MICHAEL
               It usually gives me heartburn.

                               K.I.T.T.
               I'm serious.  It fosters a whole new 
               appreciation of living...or existing, 
               in my case.

                               MICHAEL
               Terrific.  If things don't work out
               at the Foundation, you can tour auto
               shows and discuss 'life after 
               death.'  Meanwhile, we've got a job
               to do here.

                               K.I.T.T.
               I know, and I'm looking forward to
               it.

                               MICHAEL
               Would you stop being so cheerful.

                               K.I.T.T.
               Why?

                               MICHAEL
               Because it's depressing, that's 
               why.  No one's that happy.

                               K.I.T.T.
               I am.

                               MICHAEL
               You're a computer.  What do you know?

                               K.I.T.T.
               Actually, just about everything.  
               Including the fact that you're 
               worried...about Miss Wilcox.  
               Correct?

     Michael shakes his head, shrugs, then nods.

                               MICHAEL
               I guess I am.  I'm afraid she's in 
               over her head, Kitt.

                               K.I.T.T.
               I wouldn't worry, Michael.  She 
               seemed like a very capable young 
               woman.

                               MICHAEL
               Garthe Knight's more capable.

     Off of Michael's troubled look, we:

                                              CUT TO

     INT. GARTHE'S PENTHOUSE - DAY

     It's quiet, deserted.  At the far end of the room a door 
     opens and Rita steps silently inside.  She closes the door 
     softly, crosses quickly to a desk.  In a second, she's 
     inside the drawers, rifling through papers.  So intent on 
     her work that she doesn't hear another door softly open.  
     We do, though, and go to:

     GARTHE

     watching Rita for a long beat, then loudly closing the door 
     as he steps fully into the room.

     ANGLE - WIDER

     as Rita straightens up, startled, trying to cover her 
     surprise and fear.

                               RITA
               Garthe....

                               GARTHE
               Yes.  What a lovely surprise.  I 
               thought you'd gone shopping.

                               RITA
                      (shrugging)
               I did, but I couldn't find a thing, 
               so I came back....

     Garthe crosses to Rita, smiling.  For a second, he almost 
     looks sincere.

                               GARTHE
               I know how it must be for you...and 
               I promise you as soon as I'm 
               finished with this...project...we'll 
               have all the time in the world.

     Rita smiles weakly, doesn't respond.  Garthe takes her hand
     and she stands facing him.  

                               GARTHE
               Won't that be lovely?

     Again, Rita smiles.  Garthe leans over and kisses her 
     lightly.  She stiffens, hating every moment.  Garthe breaks 
     the embrace, looks at Rita.

                               GARTHE
               I'm very lucky to have you back in 
               my life....

                               RITA
               I...I'm glad.

                               GARTHE
               Now, run along.  I've got a thousand 
               things to take care of.

     Rita nods, turns to go.  Garthe grabs her wrist a little 
     too hard, turns her back to him.  With a slight edge to his 
     voice:

                               GARTHE
               There's no one but me is there, Rita?

     Rita stares, clearly frightened, at Garthe.  Shakes her
     head.

                               RITA
               No...of course not.

     Garthe smiles, gives her a little peck, lets go of her.  
     Rita hurries out the door.  As she exits, Garthe presses an 
     intercom button.  A beat later, one of his assistants 
     appears.

                               GARTHE
               Keep her here until we're on the 
               plane.  Then kill her.

     The assistant nods, turns and leaves.  Hold on Garthe as he 
     crosses to his picture window, and then:

                                              CUT TO

     INT. CASINO - CLOSE ON ROULETTE WHEEL - DAY

     as the ivory ball circles the wheel, falls, kicks around 
     and finally nestles in a slot:  Black 2.

     ANOTHER ANGLE - CLOSE ON THE TABLE

     as a large stack of chips is moved next to an equally large 
     stack.  We pull back to see Michael sitting at the table, 
     with an impressive bank of chips in front of him.  He makes 
     another bet, this time Red 1.  He smiles at the croupier, 
     and touches his comlink as:

                              MICHAEL
               Red one.  Five thousand dollars.

     The croupier arches his brow slightly.  A murmur of 
     excitement passes through the small crowd around the 
     table.  While we play the casino action intercut with:

     INT. TRANS AM - DAY

     on K.I.T.T., as he processes Michael's information.  On his 
     vidscreen, we should see the roulette wheel.

                              K.I.T.T.
               Red one it shall be, Michael....

     BACK TO MICHAEL

     watching as the croupier spins the ball.  Around and around 
     it spins, kicking and then finally dropping into Red 1.

                              CROUPIER
               Red one.

     He points to the square on the layout, then begins to 
     collect all the losing bets before paying Michael.  More 
     excited murmurs around the table, more onlookers.

     ON THE CROUPIER

     as he glances across the room toward a bloodless character
     in a dark suit.  Just a glance.  Then back to the table.

     ON MICHAEL

     moving a "large" stack to the Black 35.  He smiles at the 
     croupier.

     ON K.I.T.T.

     processing the information.  Lights blink, a digital 
     readout shows "Black -- 35."

     BACK TO MICHAEL

     Again, the croupier looks like his teeth don't fit.  The 
     dark suit across the room disappears, and we go:

     INT. CASINO - OBSERVATION DECK ABOVE TABLE

     now looking down on the roulette wheel, as the ball begins 
     to spin.  Just as it drops into Black 35, pull back to 
     reveal Garthe Knight intently studying the game.  A glass 
     he's holding suddenly shatters in his hand, but he doesn't 
     seem to notice.  Suddenly, he turns to an assistant, snaps
     his fingers.  The man nods, turns to an electronic console
     situated next to the observation window.  As he begins to
     punch a series of buttons, Garthe turns and hurries out.
     We return to:

     MICHAEL

     now surrounded by a crowd of curious, excited onlookers.  A 
     small gasp as Michael pushes a monstrous pile of chips 
     across the layout.

                               MICHAEL
               Make that one hundred thousand 
               dollars on black twenty.

                               CROUPIER
                      (blanching)
               Monsieur...I'm sorry, house limit on 
               the table is twenty thousand dollars.

     A disappointed murmur from the crowd is overriden by:

                               GARTHE'S VOICE
               Let him play.

     Everyone, including Michael, turns to see Garthe standing 
     behind him.  Garthe doesn't even acknowledge Michael's 
     presence.  The Croupier nods curtly.

     ANOTHER ANGLE - ACROSS THE CASINO

     where we see Elizabeth Knight, followed closely by Commander 
     Tsombe, come into the room.  They stop, watching Garthe from 
     a distance.  Tsombe turns to Elizabeth.

                               TSOMBE
               What the hell is he doing?

     Elizabeth shakes her head anxiously, and we go to:

     OBSERVATION DECK

     as the guy working the board punches in another number:  00.

     INT. TRANS AM

     where we see Black -- 20 on the screen.  Then we hear:

                               K.I.T.T.
               Oh, dear, I'm picking up another
               signal...a strong one.  Michael...
               Michael....

     RETURN TO MICHAEL

     intently watching the table, then turning to glance at 
     Garthe.  For the slightest of moments, the two men hold a 
     glance.  Garthe gives away nothing, but if looks could 
     kill....

     Elizabeth hurries to her son's side, whispers urgently in 
     his ear.  Garthe doesn't respond.  His attention is riveted 
     on Michael.

     ON THE TABLE

     as the final bet is placed and the croupier gets set to 
     spin the ball.  He glances at Garthe uneasily.  The crowd 
     around the table is hushed with anticipation.  The ball 
     begins to spin.

     ON K.I.T.T.

     the roulette wheel on his vidscreen.

                              K.I.T.T.
               Michael, I'm not sure I can control
               this....

     IN THE OBSERVATION DECK

     close in the electronic console, reading "00."

     BACK TO THE TABLE

     as the ball slows, kicks around, almost settles in the 00,
     then kicks out and lands in the Black 20.  A roar goes up 
     around the table.  Michael grins.  The croupier looks at 
     Garthe in terror, who's staring hard at Michael's back.

     ON MICHAEL

     turning and holding Garthe's look.  Then he smiles, gets 
     up.

                              MICHAEL
               Guess you can't win 'em all.  Have 
               your man cash in my chips.  I'll be 
               back.

     With that, Michael turns, tosses the croupier a very 
     healthy stack of chips, turns and leaves.  Garthe hasn't 
     moved an inch, but he looks like a volcano about to 
     explode.  Hold on him, then:

                                              CUT TO

     EXT. CASINO - DAY

     as Michael hustles out to the Trans Am, gets in.

     INT. TRANS AM - DAY

     as Michael whoops, pounds the steering wheel.

                               MICHAEL
               We did it, buddy!  Great work...!

                               K.I.T.T.
               Michael, he was trying to cheat
               you...that wheel is electronically
               manipulated.

     Michael fires up the Trans Am.  Heads out of the parking 
     lot.

                               MICHAEL
               I figured as much.  This guy does not
               like to lose...
                      (smiling,
                       laughing)
               You should have seen the look on his 
               face, Kitt....

     Off this line, we:

                                              SMASH CUT TO

     EXT. CASINO - REAR ENTRANCE - DAY

     very close on Garthe, in a black fury, hurrying toward a 
     waiting car.  A second later, Elizabeth hurries after him.

                               ELIZABETH
               Garthe!  Where do you think you're
               going?

                               GARTHE
               Leave me alone, Mother.  This 
               doesn't concern you.

                               ELIZABETH
               It most certainly does!  It's less 
               than six hours before we move on Red 
               Bluff.

                               GARTHE
               I'm aware of that.  I'll be there.

     Before Elizabeth can protest further, Garthe's gotten in 
     his car and is roaring out of the parking lot.  Commander 
     Tsombe joins Elizabeth, watching Garthe leave.

                               TSOMBE
               Your son is very headstrong,
               Mrs. Knight...
                      (beat)
               ...and very expendable.  I will have
               those missiles...with or without his
               help.

     Tsombe turns and leaves.  Hold on Elizabeth, and then:

                                              CUT TO

     EXT. HIGHWAY - ON THE TRANS AM - DAY

     speeding across the desert.

     INT. TRANS AM - DAY

     as Michael checks in his rear view mirror.

                               MICHAEL
               Got anything, Kitt?

                               K.I.T.T.
               Yes, Michael.  A single car, closing 
               quickly on us.  One driver....

                               MICHAEL
               Right on schedule.  That's what I 
               like about Garthe...he's predic-
               table.

     ANOTHER ANGLE - ON THE HIGHWAY

     as Garthe races toward Michael, his face grim, determined.

     EXT. HIGHWAY - DAY

     as Garthe's car gains on Michael.  In front of both cars,
     down the road, we see the Foundation semi in the right-hand
     lane of the two-lane road.

     ANOTHER ANGLE

     as Garthe pulls up in the middle lane, to Michael's right, 
     and angrily swerves into the Trans Am.  Michael holds the
     road, decelerates slightly.  Garthe, his eyes always on 
     Michael, turns his car into K.I.T.T. again.  The sound of 
     crunching metal -- Garthe's.  He loses a hubcap.

     WIDER ANGLE

     as the semi looms up in front of Michael and Garthe, its 
     rear ramp slowly descending.

     INT. TRANS AM - ON MICHAEL

     watching Garthe and keeping an eye on the semi in front of
     them.  Garthe pulls up alongside of Michael again, and rams 
     the Trans Am.

                               MICHAEL
               That's right...stay right where you 
               are....

                               K.I.T.T.
               Michael, Devon and April are ready.

                               MICHAEL
               So am I, pal....

     EXT. HIGHWAY TOWARD BLIND CURVE - DAY

     as Michael and Garthe, side-by-side, race down the highway, 
     jockeying for position, Michael and Garthe pull toward the 
     semi.  Just as they reach it, Michael suddenly swerves to 
     his right, bumping Garthe's car and keeping it pinned in 
     the right lane, directly behind the semi, which suddenly 
     slows down appreciably.

     ON GARTHE'S CAR

     wedged in by the Trans Am, and going faster than the semi, 
     Garthe is forced up the ramp of the semi.  He slams on the 
     brakes, but it's too late.  He's trapped in the back of the 
     big rig.  As the ramp closes, we:

                                              CUT TO

     INT. FOUNDATION SEMI - DAY

     as Devon and April approach Garthe, April's carrying a 
     weapon.  Garthe gets out of the car, glares at Devon.

                               GARTHE
               What's the meaning of this?

                               DEVON
               Hello, Garthe....

                               GARTHE
               This is kidnapping.  You can't do 
               this....

                               DEVON
               Yes, well, let's just say we're 
               bending the law temporarily.
                      (smiling)
               I suspect your father would have 
               approved....

     The door at the other end of the semi opens and Michael 
     steps inside.

     ANOTHER ANGLE

     as Michael approaches the others, Garthe regards him coldly.

                               GARTHE
               I should have killed you when I had 
               the chance.

                               MICHAEL
               Your one mistake...
                      (smiling)
               Unfortunately, it only takes one....

     Devon turns to Michael.

                               DEVON
               April, Michael...You'd best get
               moving.  We don't have much time.

     April and Michael nod.  April glances at Garthe, back to 
     Michael.

                               APRIL
               It's uncanny how much you two look 
               alike.

     Michael glances at Garthe.

                               MICHAEL
               Let's hope so....

     Off that enigmatic comment, we:

                                              CUT TO

     EXT. CASINO - DAY

     as the Trans Am pulls up and parks in front of the casino.  
     A beat and then Garthe Knight steps out of the car.  
     Actually, it's Michael, but his disguise is so effective 
     that, for a moment, we think it's Garthe himself.

     CLOSE ON MICHAEL

     as he leans into the car.

                               MICHAEL
               Keep an eye on things, buddy.  I 
               might need some help.

                               K.I.T.T.
               Be careful, Michael....
	
     Michael nods, turns and walks slowly toward the casino.

     MOVING WITH MICHAEL

     as he approaches the front door.  The acid test.  The two 
     doormen snap to, tip their hats.  One of them hurries to 
     open the door.  Michael nods curtly and walks inside.  As 
     he disappears into the casino, we:

                                              FREEZE FRAME

                                              AND

                                              FADE OUT

                         END OF ACT SIX

                           ACT SEVEN

     FADE IN

     INT. CASINO CORRIDOR - DAY

     as Michael steps off an elevator, glances up and down an 
     empty hallway.  He crosses to a large door, hesitates as he
     composes himself, and then boldly opens the door and enters:

     THE PENTHOUSE

     Empty.  Michael softly closes the door behind him, crosses 
     the living room.  Another door opens and Michael freezes
     as Garthe's Assistant -- the one assigned to off Rita --
     enters the room.  He's surprised, too, even goes for his 
     gun until he recognizes Garthe.

                               ASSISTANT
               Mr. Knight.  You surprised me...I 
               thought everyone was gone.

                               MICHAEL
               Obviously not.  
                      (looking irritated)
               Where's my mother?

                               ASSISTANT
               Like I said...gone.  Her, the 
               Commander, everyone....

                               MICHAEL
               How long ago?

                               ASSISTANT
               Half an hour at the most.  Anything
               wrong?

     Michael glares at the Assistant.

                               MICHAEL
               No.  Leave me.  Wait...the girl.
               Rita...where is she?

     The Assistant looks at Michael curiously.

                               ASSISTANT
               In the other room.  Just like we
               discussed....

                               MICHAEL
               Bring her to me.

     The Assistant nods, hurries out of the room.  A moment
     later, Rita appears in the doorway, steps into the room.
     Michael turns to the Assistant.

                               MICHAEL
               That's all for now....

     The Assistant hesitates for a moment.

                               ASSISTANT
               You all right, Mr. Knight?

                               MICHAEL
               Yes.

     The Assistant exits.  Michael crosses to Rita.  She regards
     him warily.

                               MICHAEL
                      (softly)
               Rita...it's me.
                      (off her look)
               Michael....

                               RITA
                      (confused)
               Michael?

     She looks closely at Michael, studies him intently for a 
     beat.  Then, her face brightens.

                               RITA
               Michael, it is you!  How'd you get 
               here.  Why...?

                               MICHAEL
               I'll fill you in.  Right now, I've 
               got to find the others...fast!  Any
               idea where they went?

                               RITA
               An airfield.  I overheard them 
               arguing about it.  Garthe's mother 
               wanted to wait for him, but Tsombe 
               insisted on leaving.  He said they 
               couldn't wait....

                               MICHAEL
               The airstrip...do you know where it 
               is?

                               RITA
               Just west of someplace called Indian 
               Springs....

                               MICHAEL
               Indian Springs...I remember hearing 
               about it when I was looking for Red 
               Bluff.  It's about three miles from 
               there.  Come on....

     As Michael and Rita hurry out of the penthouse, we: 

                                              CUT TO

     EXT. DESERT - DAY

     On the edge of an open plain.  A large Winnebago-type RV is 
     parked in what little shade there is, surrounded by a 
     scattering of other cars.  The sound of an airplane close 
     overhead cuts the silence, and we see Elizabeth Knight, 
     followed by Tsombe, step out of the RV to watch:

     A C-140

     The same plane we saw in the opening sequence, as it 
     circles over the desert, sets down, and taxis to a stop not 
     far from the RV.  As soon as it's stopped, the cargo ramp 
     is lowered and we see Goliath slowly back out of the plane.

     ANOTHER ANGLE - FEATURE THE RV

     as Elizabeth and Tsombe watch the truck being unloaded.  
     Tsombe checks his watch.

                               TSOMBE
               The plane is right on schedule.

                               ELIZABETH
               Of course it is.  What did you 
               expect?

                               TSOMBE
                      (shrugging)
               With your son, it is sometimes 
               difficult to tell.

                               ELIZABETH
               My son knows precisely what he's 
               doing!

                               TSOMBE
               But, no one else does!

     Elizabeth doesn't respond.  Tsombe continues:

                               TSOMBE
               I have tried to talk to him, impress 
               upon him the urgency of our
               mission.  And now, with less than two 
               hours to go, he's driven into the 
               desert chasing a fantasy....

     Tsombe shakes his head in disgust.

                               TSOMBE
               He is expendable.  We will not wait 
               for a fool....

     With that, Tsombe turns and walks back into the RV, leaving 
     Elizabeth staring across the desert toward Goliath.

                                              CUT TO

     INT. FOUNDATION SEMI - DAY

     Garthe is sitting, calmly watching April who's working on 
     the computer terminal.  Devon comes into the room, and 
     Garthe turns his cold, hard gaze on him.

                               GARTHE
               Father would be proud of you.

                               DEVON
               I'm very happy your father is not 
               alive.

                               GARTHE
               Spare me the dramatics, Miles.  He 
               was a cold, insensitive boor...the
               only thing he ever cared about was 
               business.

                               DEVON
               That's not the Wilton Knight I 
               knew...and we were friends for 
               nearly thirty years.

                               GARTHE
               I lived with him, saw what he did to 
               my mother....

                               DEVON
                      (strongly)
               Your mother broke his heart, Garthe.

                               GARTHE
               He never had a heart....

                               DEVON
               You're very wrong.  He tried to save 
               their marriage for years.  Your 
               mother was never happy.  There were 
               incidents...
                      (beat)
               Other men....

     Garthe jumps from his chair, stands facing Devon.

                               GARTHE
               Liar!

                               DEVON
               I wish I was.  She was a charming, 
               attractive woman.  Many men fell 
               under her spell...
                      (beat)
               ...myself included, I suppose...in 
               an innocent way.

     Across the room, April is listening intently.

                               DEVON
               No one really understood who she 
               was, what she was, until she 
               suddenly left Wilton....

                               GARTHE
               She had to leave...to preserve her 
               sanity.  And if you believe anything 
               else, you're a bigger fool than he 
               was!

     Devon doesn't respond, but rather just shakes his head 
     sadly.  Garthe looks around.

                               GARTHE
               I don't suppose there's a bathroom 
               in this thing.

     Devon gestures through the door.

                               DEVON
               First door on your left...
                      (beat)
               And don't bother to try, 
               Garthe...there's absolutely no way 
               out.

     Garthe just snorts, moves past Devon and exits.  Devon 
     turns to April.

                               DEVON
               Anything more from Michael?

                               APRIL
               Nothing.  He and Rita are driving 
               toward Indian Springs.

                               DEVON
               He shouldn't have involved the girl.

                               APRIL
               He felt she wasn't safe at the 
               hotel, and she apparently insisted 
               on going.

     Devon shakes his head.

                               APRIL
               I told him we'd get as close as we 
               could, and stand by....

                               DEVON
               Good.  This whole scheme is making 
               me very nervous.  The sooner it's 
               over, the better....

     Devon checks his watch, glances toward the door.

                               DEVON
               I'd better check on the Knight boy...
                      (catches himself)
               The 'Knight boy.'  Isn't it funny 
               how very strange that sounds?

     With that, Devon exits to:

     INT. SEMI - SMALL CORRIDOR - DAY

     Devon stops out a door, knocks.  No answer.  He knocks 
     again, and still no response.

                               DEVON
               Garthe?  Garthe...?

     Devon opens the door, stiffens when he sees:

     INT. BATHROOM

     Narrow, but with enough height for a guy Garthe's size to 
     hang himself with his belt from a light fixture.  From our
     vantage point, he looks very dead.

     ADJUST ANGLE TO INCLUDE DEVON

     as he moves to pull Garthe down.

                               DEVON
               April!  Come quickly!

     Suddenly, Garthe comes alive, kicking out, catching Devon 
     full on the chest, sending him crashing against the far 
     wall.  In a second, Garthe is on his feet.

     ANOTHER ANGLE

     as April, gun in hand, comes running into the corridor 
     toward the bathroom.  Garthe is waiting for her behind the 
     door, and rips the gun out of her hand.  April sees Devon 
     lying on the floor.

                               APRIL
               Devon...!

     Garthe, gun in hand, runs down the corridor and out into:

     THE SEMI

     slamming and locking the door behind him.  Frantically, he 
     scans the inside of the semi, looking for an escape route.  
     He spots an air conditioning duct on the ceiling, a square 
     barely large enough for a man to squeeze through.  He pulls 
     a chair over, rips the cover off the duct.  As he 
     disappears through the duct, we:

                                              CUT TO

     EXT. SEMI - DAY - TRAVELING

     Garthe is on top of the semi, as it speeds down the 
     highway.  He moves to the edge, leans over to see:

     AN OPEN FLATBED TRUCK

     filled with bundles of hay.

     BACK TO THE SEMI

     as it moves past the flatbed, Garthe leaps from the top of 
     the semi, lands on the hay.  As he scrambles toward the cab
     of the truck, we:

                                              CUT TO

     INT. K.I.T.T. - DAY

     moving down a dusty two-lane road, well off the main drag.  
     Rita's looking sadly out the window.

                               RITA
               You know, everything's been moving 
               so fast, I haven't had time for 
               everything to really sink in....

                               MICHAEL
               You thinking about Ronnie?

                               RITA
                      (nodding)
               It's always been the two of us 
               against the world.  Buddies, 
               partners, friends...
                      (suddenly angry)
               I told him to stay out of all 
               this...I begged him!  But, all he'd 
               say was 'this is important.  Really 
               important.'

                               MICHAEL
                      (gently)
               He was right, Rita.

                               RITA
               Sure...dead right!  What's that
               prove?
                      (beat, softer)
               Sorry.  None of this is your fault, 
               Michael.  It's just that I'm...I'm 
               going to miss him a lot....

     Rita's on the verge of tears.  Michael reaches out, takes a 
     hand.  As he does, we hear:

                               K.I.T.T.
               Michael, I'm beginning to get a 
               reading...about a mile down this 
               road.

                               MICHAEL
               What do you have, buddy?

                               K.I.T.T.
               People, cars, a large plane and...
                      (excited, for 
                       K.I.T.T.)
               ...Michael!  That brute, that 
               miserable mechanical masher -- it's 
               up there!

                               MICHAEL
                      (tensely)
               All right, then...we're on.

     Rita looks at Michael, shakes her head.

                               RITA
               Maybe all of this is never going to 
               sink in...you, this car, a computer 
               that talks, thinks, even...it's mind 
               boggling.

                               MICHAEL
               Compared to a madman who's looking 
               to take over part of the world, 
               we're pretty tame.

     Michael slows down as they come to a rise in the road.

     ANGLE ON THE DESERT BELOW

     We see the landing field, the RV, cars, the plane and
     Goliath gleaming menacingly in the sun.

     RESUME SCENE

     Michael turns to Rita.

                               MICHAEL
               Look, I don't know what it's going 
               to be like down there....

                               RITA
               I've come this far.  I'm not turning 
               back now.

                               MICHAEL
               Then you stay in the car.  Kitt can 
               darken the windows.  You'll be safe.

                               RITA
               But, what about you?

                               MICHAEL
               Hey, I'm Garthe Knight, remember?  I 
               fear no man...
                      (beat)
               How's my makeup?

                               RITA
               It's amazing.  You look just like him.

                               MICHAEL
                      (grimly)
               Now, if I can just act like him....

     Michael puts the Trans Am in gear, heads down the hill.

                                              CUT TO

     EXT. DESERT - DAY - FEATURE THE RV

     as the Trans Am pulls up and parks.  Three armed guards 
     rush toward the car as the door opens and Michael steps 
     out.  (Note:  The windows of the Trans Am should be 
     darkened so Rita is not seen inside.)  The guards recognize 
     Garthe, lower their guns.

     ON MICHAEL

     standing for a moment, looking toward Goliath.  He's 
     distracted by:

     ELIZABETH

     coming out of the RV.  A moment later, Commander Tsombe 
     steps squinting into the sunlight and follows her.

     ANOTHER ANGLE

     as Michael turns and walks slowly toward Elizabeth who 
     glares at him.

                               ELIZABETH
               You're finally here.

                               MICHAEL
               You knew I would be.

                               ELIZABETH
               I did, yes, but he...
                      (gesturing
                       to Tsombe)
               ...had grave doubts.

     Tsombe looks past Michael to the Trans Am.  Elizabeth 
     follows his gaze.

                               TSOMBE
               I see you found what you were 
               looking for.

                               MICHAEL
                      (nodding)
               He won't be needing the car any  
               longer.
                      (to Elizabeth)
               And I felt I had a right to it, 
               somehow....

     Elizabeth grimaces, shakes her head.

                               ELIZABETH
               I despise it...anything that reminds 
               me of him....

     Tsombe fixes Michael with a cold stare, watches him closely.

                               TSOMBE
               You're not looking well, Garthe... 
               are you certain you're up to this?

     Michael throws Tsombe a venomous glare.

                               MICHAEL
               Of course!  I'm the only one meant 
               to drive the truck.  I want that 
               perfectly understood.

     Tsombe doesn't reply.  Elizabeth watches the exchange with 
     obvious pleasure.  Michael turns to her.

                               MICHAEL
               I assume everything is ready.

                               ELIZABETH
               Tsombe's men are on their way.

                               MICHAEL
               Fine.
                      (checking
                       his watch)
               Give me five minutes to check the 
               truck.

     Michael turns and begins walking quickly toward the truck.  
     Behind him, Elizabeth and Tsombe turn to walk back to the 
     RV.

     INSIDE THE TRANS AM

     as Rita watches on the vidscreen as Michael moves across
     the desert.

                               RITA
               He's almost there, Kitt.

                               K.I.T.T.
               Yes...but I wish he'd hurry.  This 
               is making me very nervous....

     BACK TO MICHAEL
	
     moving steadily toward Goliath.  He reaches into his 
     pocket, takes out the small detonation device, palms it.  
     We hear:

                               K.I.T.T.'S VOICE
                      (via comlink)
               Michael!  There's a car coming... 
               Garthe Knight's inside!

     Michael looks over his shoulder to see:

     A CAR

     speeding across the desert, heading directly for him.  
     Inside, we can see Garthe's jet black hair and goatee.

     BACK TO MICHAEL

     as he turns and starts running for Goliath.  He shouts into
     his comlink:

                               MICHAEL
               Kitt, as soon as I get this thing
               inside, blow it!

     INT. TRANS AM 

     following Michael on the vidscreen.

                               K.I.T.T.
               Michael, I can't.  You'll be too 
               close...Michael...!

     BACK TO MICHAEL

     running all out now.  Nearing the truck.

     WIDER ANGLE TO INCLUDE GARTHE'S CAR

     roaring toward Michael.

     ANOTHER ANGLE

     Just as Michael's about to reach the truck, the car swerves 
     in front of him, spins and comes skidding to a stop, blocking 
     Michael's path.

     CLOSE ANGLE - ON THE CAR

     As the door opens and Garthe steps out.  Michael stands, 
     gasping for breath as the dust swirls around him.  Garthe 
     just smiles that cold, cruel smile of his.

                               GARTHE
               You can't win them all, can you?

     ON MICHAEL

     not bothering to answer.  He's up a creek and knows it.  
     Hold on him, and then:

                                              FREEZE FRAME

                                              AND

                                              FADE OUT

                        END OF ACT SEVEN

                            ACT EIGHT

     FADE IN

     EXT. DESERT - DAY - CLOSE ON TRUCKS

     as two large, canvas-topped military-type trucks pull up 
     and stop near the RV.  In a second, the back flaps are
     opened and soldiers, dressed in commando uniforms, come 
     pouring out, carrying automatic weapons, grenades, rocket 
     launchers, and gas masks.

     ANOTHER ANGLE

     as we pull back to reveal Garthe watching.  He's grim-faced,
     but pleased.  He nods at the men, turns and crosses to:

     MICHAEL

     handcuffed, standing near the RV.  An armed guard is 
     standing near him.  Garthe approaches.

                               GARTHE
               I'm pleased you'll be here for the 
               finale.

                               MICHAEL
               Wouldn't miss it for the world.

                               GARTHE
               There are so many things I look 
               forward to sharing with you...
                      (off Michael's 
                       surprised look)
               Well, we have so much in common
               ...our faces, my father...
                      (a beat)
               Why not our future?

                               MICHAEL
               What's that supposed to mean?

                               GARTHE
               I'll be returning to Africa soon.  
               You're coming with me....

                               MICHAEL
               You're out of your mind.

                               GARTHE
               No, but you may be.  African prisons 
               can have that affect on some men....

                               MICHAEL
               Prison?

                               GARTHE
               Precisely.  The same hell I died in 
               while my father turned his back and 
               gave to you everything that should 
               have been mine.
                      (beat)
               Now the tables are turned....

     With that, he turns, walks away.  The guard gestures for 
     Michael to follow him toward the RV.

     ON MICHAEL
	
     a few yards behind the guard.  Over the comlink, we hear:

                               K.I.T.T.'S VOICE
               Michael....

     Intercut with:

     INT. K.I.T.T.

     where Rita is still huddled in the front seat.  We can see 
     Michael on the vidscreen.

                               K.I.T.T.
               Michael, is there anyway we can help?

                               MICHAEL
               Just hang tight.  And don't let Rita 
               out of the car.

                               RITA
                      (sputtering)
               But...tell him I can't just sit 
               here, Kitt.  We've got to help him.

     At this point, Michael disappears into the RV, and we hear:

                               K.I.T.T.
               I'm afraid there's nothing we can 
               do...except hope.

                                              CUT TO

     INT. RV - DAY

     Spacious.  Equipped with state-of-the-art communication 
     gear, radar, TV monitors.  One of the monitors, with a 
     particularly large screen.  This screen, hooked up to a 
     video camera mounted on the front of Goliath, will give the 
     viewers inside the RV a first-hand view of what happens at 
     Red Bluff.

     We find Michael, still handcuffed, sitting close to the 
     door.  In front of him, Elizabeth, Tsombe, two of his 
     assistants lounge on plush sofas, sipping drinks.  An armed 
     guard stands in the doorway.  Elizabeth turns to Michael.

                               ELIZABETH
               I think you'll enjoy this.  We've 
               arranged a front row seat for you.

                               MICHAEL
               How exciting.

                               ELIZABETH
                      (coldly)
               Yes.  I'm certain it will be.

     As she turns back to the screen, we:

                                              CUT TO

     EXT. DESERT - DAY - ON GOLIATH

     as Garthe, dressed in a striking black jump suit, steps up 
     to Goliath, climbs inside and fires it up.  It comes to 
     life with a roar that seems to shake the ground around it.  
     With a loud blast in its air horn, Garthe throws the rig 
     into first and moves across the desert.

                                              CUT TO

     EXT. FOUNDATION SEMI - DAY - TO ESTABLISH

     moving down the highway.

     INT. FOUNDATION SEMI - DAY

     Devon's pacing back and forth, looking terribly worried.  
     April's at the computer.

                               DEVON
                      (almost to 
                       himself)
               There's really no excuse for it!  If 
               anything happens to Michael, I hold 
               myself personally responsible....

     Devon turns, crosses to April, who's absorbed in the 
     computer.

                               DEVON
               There must be something, April -- 
               anything we can use to alert the 
               military, get some help to Michael.

     April shakes her head.

                               APRIL
               I've done a data scan on everything 
               we've got, Devon.  There's nothing 
               here that proves anything.  Suggest 
               but doesn't prove....

                               DEVON
               And proof's the only thing they'll 
               listen to....

     Devon stands, thinking, then moves for the phone.

                               APRIL
               Who're you phoning?

                               DEVON
               General Maddux at SAC.

                               APRIL
               Devon, he didn't listen before.  Why 
               would he listen now...?

                               DEVON
               Because this time I'm telling him 
               I'm driving straight into Red 
               Bluff...and I'm going to dare him to 
               stop me!

     As Devon starts to dial:

                                              CUT TO

     EXT. DESERT - NEAR RED BLUFF - DAY - ON GOLIATH

     as the semi speeds across the desert toward Red Bluff, 
     nearing the first perimeter of fences that warn "U.S. 
     Government Property.  No Trespassing."

     INT. GOLIATH

     as Garthe accelerates.

     EXT. GOLIATH

     smashing directly through the fence like it was paper, and 
     heading straight for Red Bluff.  During this sequence, we 
     will intercut as needed with:

     INT. RV - DAY

     The mood is tense, excited, as the TV monitor shows 
     Garthe's progress.  On the screen, Red Bluff draws nearer.

     EXT. RED BLUFF

     A rack of six missiles, mounted on a track, is being loaded 
     outside of the mountain.  The huge doors protecting the 
     site are open.  Suddenly, we hear an alarm sound, sirens 
     scream, as:

     GOLIATH

     crashes through a second perimeter fence.  An armored 
     vehicle gives chase and a befuddled guard rushes for a 
     phone.  Meanwhile at:

     RED BLUFF

     The missile rack is hurriedly being rolled inside.  Once 
     there, the doors begin to slowly close.

     ON GOLIATH

     now being attacked on both sides by armored vehicles, but
     the bullets are bouncing off harmlessly.  Suddenly, one 
     rocket, then another, is launched from the semi, streaking 
     toward Red Bluff and exploding against the now-closed doors.

     INT. RV

     as a cheer goes up from the onlookers.  Michael is 
     watching, fascinated, then glances over at the guard, who's 
     also enthralled.  We see him lean into his comlink.  As he 
     does, we go back to:

     RED BLUFF

     as Goliath, at full speed, bears down on the site.  Another 
     rocket batters the already badly damaged doors seconds 
     before the mighty semi smashes into them, with a thunderous 
     roar.

     INT. RED BLUFF

     as the doors give way and the semi barrels into the site.  

     ON GOLIATH

     as the rear doors fly open and the commandoes come bursting 
     out.  The first wave of men fire a dozen gas grenades into
     the cavern inside the mountain.  Automatic fire fills the 
     air as guards rush to confront the attackers.

     ANOTHER ANGLE

     In seconds, the area is filled with a paralyzing nerve gas
     that works instantaneously on everyone without masks.  In
     less than a minute, Garthe and his men have taken control 
     of the site.

     CLOSE ON MICHAEL IN THE RV

     Pandemonium.  Shouting, cheers, excitement.  People paying 
     attention to everything except Michael.

                               MICHAEL
                      (into comlink)
               Get ready, buddy....

     INT. RED BLUFF

     Garthe has backed the semi up to the track the missile rack 
     is set on, and as the semi's ramp is lowered, we see that 
     it's fitted with an identical track which allows Garthe's 
     commandoes to run the missile into the semi.  The entire 
     operation is being run like a military movement:  precise, 
     efficient, smooth.  Garthe stands, watching, barking 
     commands.  When the missiles are finally secure, he jumps 
     into Goliath, starts it up.

     IN THE RV

     Elizabeth and the others watch as Goliath pulls out of the 
     missile site.  Excited congratulations all around.  Michael 
     leans into his comlink and we go to:

     INT. K.I.T.T.

     as we hear:

                               K.I.T.T.
               I'm on my way, Michael...
                      (to Rita)
               Hold on, Miss Wilcox...this could be 
               a bit bumpy....

     EXT. K.I.T.T.

     as the Trans Am springs to life, speeding toward the RV, 
     knocking two guards on their butts and ramming, at high 
     speed, into the side of the RV.

     INSIDE THE RV

     as K.I.T.T. hits and everyone, save Michael, goes tumbling 
     to the chair.  Instant chaos.  Michael uses the confusion 
     to jump to his feet and race for the door.

     EXT. RV

     as Michael rolls out, finds his feet and races for K.I.T.T. 
     who's popped the door.  Michael's in, the door is slammed 
     just as a guard unloads about fifty rounds.  The bullets
     ricochet off as K.I.T.T. speeds away.

     INT. K.I.T.T.

     with Michael behind the wheel.  Rita looks on in stunned 
     amazement.

                               RITA
               Michael, are you all right...?

                               MICHAEL
               Just great...soon as I get rid of 
               these.

     Meaning the cuffs.  They're the fancy digital kinds, seen 
     only on this show.

                               MICHAEL
               Kitt, give me a hand, okay?

     We see a series of numbers, combinations of numbers, begin 
     to flash by on K.I.T.T.'s vidscreen.

                               K.I.T.T.
               Immediately, Michael.  But, until 
               you're free to steer, where are we 
               going?

                               MICHAEL
               Nowhere.  We're staying here.

                               RITA
               What about Garthe?

                               MICHAEL
               He'll find us.  We're the last thing 
               between him and that plane.

                               RITA
               And when he finds us?  What do we do
               then...?

     Michael's hand suddenly snaps free from the cuffs.

                               MICHAEL
               Thanks, Kitt...
                      (to Rita)
               To be real honest, I'm fresh out of 
               ideas.  All I know for certain is 
               it's fourth down on the one yard
               line...and we've got to make a goal
               line stand.
                      (beat)
               And about two minutes to decide 
               how....

                               K.I.T.T.
               Michael, I may have a solution....

                               MICHAEL
               Forget it, pal.  We go head on with 
               this guy again, they're gonna find 
               pieces of you in New Hampshire.

                               K.I.T.T.
               That's debatable, but not the 
               point...I think I've found a weak 
               spot in that ugly piece of steel...
               his Achilles Heel, so to speak....

     Michael sits forward, intense.

                               MICHAEL
                      (excited)
               Where?  How?

                               K.I.T.T.
               By analyzing every bit of data from 
               our last encounter.  There's a 
               point, a small one, where the 
               tractor is connected to the 
               trailer...it's unprotected by the 
               'skin,' and vulnerable.

     Michael sits back, suddenly deflated.

                               MICHAEL
               Great.  That's like saying you can 
               tame a lion by scratching his ear...
               if you can get past his teeth,
               that is.

                               K.I.T.T.
               Speaking of predators, I'm picking 
               something up at two o'clock....

     Both Rita and Michael look through the windshield, and see:

     GOLIATH

     really just a black speck on the horizon, but looming 
     larger by the second.

     RESUME ON MICHAEL

     watching the semi race toward them.  Suddenly, he brightens.

                               MICHAEL
               Kitt, you ever seen a bullfight?

                               K.I.T.T.
               Of course not.  Why?

                               MICHAEL
               Because you're about to become the 
               red flag we're going to wave in 
               front of that big bull....

     EXT. DESERT - FEATURE GOLIATH

     as Michael steers the Trans Am directly toward it.

     INT. GOLIATH - ON GARTHE

     seeing Michael.  A small smile spreads across his face, the 
     look of a killer about to spring.  He reaches up and blasts 
     a long toot on his air horn, then turns to face the 
     oncoming Trans Am.

     INT. K.I.T.T.

     as Goliath bears down on them.

                               K.I.T.T.
               Michael, hadn't we better do 
               something?  Quickly....

                               MICHAEL
               Don't worry, buddy...I've studied
               all the great matadors.

                               K.I.T.T.
               How comforting.

     In front of the Trans Am, we see Goliath rushing toward 
     them.

     EXT. DESERT - FEATURE THE TRANS AM

     as Michael swerves sharply to the right, deftly moving out 
     of the path of the huge semi as it roars by.  Garthe slams 
     on the brakes, turns to follow Michael.

     ANOTHER ANGLE

     Michael, moving the Trans Am like Cassius Clay moved around 
     Liston, circles behind the semi, comes up along the right 
     side.  Garthe sees him, pulls the rig toward Michael, trying 
     to smash into the Trans Am.  Michael quickly moves out of 
     danger, spins a one-eighty and heads in the opposite direction.

     ON GOLIATH

     lumbering into a turn, facing the Trans Am.  Suddenly, 
     Garthe unleashes one of the rockets.

     INT. TRANS AM

     as Michael stares down the barrel of a rocket launcher.  He
     desperately swerves to his left and the rocket, in a near 
     miss, roars past the car.

                               MICHAEL
               Some pretty mean horns....

                               K.I.T.T.
               Michael, he's carrying two more 
               rockets...and soldiers in the back.

                               MICHAEL
               Yeah...right now, they're the least
               of my worries.

     EXT. DESERT - FEATURE GOLIATH

     maneuvering for position to fire another rocket.  The 
     Trans Am's slightly to its rear and as Garthe turns to begin 
     to circle, Michael cuts sharply across his tail, from left 
     to right.

     INT. TRANS AM

     With the semi almost broadside to the Trans Am, Michael
     turns toward the truck and accelerates.

                               MICHAEL
               Your theory better be a good one,
               pal....

                               K.I.T.T.
                      (a little
                       uncertainly)
               It's a theory, Michael, not a 
               theorem.  I don't have any proof....

                               MICHAEL
               Well, we're gonna test it right now.

     As the Trans Am races for the side of the semi, aiming for
     the junction between the cab and the trailer:

                               MICHAEL
               Hang on, gang...this is the moment 
               of truth.

     EXT. DESERT - ON GOLIATH AND K.I.T.T.

     as the Trans Am smashes into the side of the semi.  A 
     resounding crash as the cab separates from the trailer, 
     then lurches to a halt, crippled.

     INT. K.I.T.T.

     as Rita and Michael cheer.

                               RITA
               Michael, it worked!

                               MICHAEL
               It sure did...!  Kitt, see what you 
               can do about locking the back door.  
               Quick....

                               K.I.T.T.
               My microjammer should do the trick.

     CLOSE ON GOLIATH

     at the rear of the truck, as the tailgate mechanism closes 
     and locks.  From the inside, we hear the muffled shouts of
     the trapped commandoes.

     WIDER ANGLE

     as we hear the roar of, and then see, the C-140 moving across
     the desert toward the crippled semi, the door open and the 
     ladder down.  In the door, we can see Elizabeth, waving to 
     Garthe.

     ANOTHER ANGLE FEATURING GARTHE

     leaping from the semi and sprinting toward the plane.

     ON MICHAEL

     leaping from the Trans Am and racing to cut Garthe off.
     Garthe's got a good head start and for a moment it doesn't 
     look like Michael's going to catch him.

     ON GARTHE AND MICHAEL

     Michael's superior speed eats the distance between them and
     just as Garthe is about to reach the plane, Michael's 
     flying tackle brings him to the ground.  In the dust being
     kicked up by the plane, Michael pulls Garthe to his feet.

     CLOSER ANGLE

     as the two men go at it, Garthe crouched in a martial arts 
     stance, Michael deftly avoiding his kicks and punches until 
     he sees an opening and lands a solid one-two combination 
     that knocks Garthe down hard and keeps him there.

     WIDER ANGLE

     As the C-140 turns to taxi away, an Air Force jet suddenly
     roars over the hill and sweeps low over the plane.  A beat
     later, a second follows, roaring past the plane, its jet
     creating an almost deafening sound.  Then we hear the blast 
     from an air horn, and Michael turns to see:

     THE FOUNDATION SEMI

     speeding toward the Trans Am, followed by a convoy of 
     military vehicles that quickly surround the C-140.

     ON MICHAEL

     as he hauls Garthe to his feet and stands, a smile playing 
     across his face, waving at the semi.  Hold on him and then:

                                              FREEZE FRAME

                                              AND

                                              FADE OUT

                        END OF ACT EIGHT

                          TAG TO FOLLOW

                              TAG

     INT./EXT. CASINO

     To be written....