Knight Rider (1982) s04e20 Episode Script
Fright Knight
Don't you think someone's | trying to destroy your movie? Such as | the Phantom of Stage 28? Action! The Phantom of Stage 28? Let's just call him a guy | in a monk suit, okay? Now, I saw that guy, | Mr.
Knight, and he was real.
Michael, I've detected some | movement directly behind you.
He's all yours.
You've had two cracks at him, | and you've blown them both.
I'll make the next one count.
Knight Rider, | a shadowy flight into the dangerous world | of a man who does not exist.
Michael Knight, | a young Ioner on a crusade to champion | the cause of the innocent the helpless, | the powerless in a world of criminals | who operate above the law.
I'd sure like to get | this shot before lunch.
I'm ready to make one.
I just heard Travis is doing | the stunt himself? Karen, please, | it's all worked out.
I just did a walkthrough | with Travis.
I am ready to roll.
| Relax.
Okay? Look, after what I've been | through on this picture I'm not going to relax until | the last shot is in the can.
Well, we won't get this one | if you keep interfering.
Gavin you're producing a picture | that's $20 million over budget.
If your star gets hurt, we're | not gonna make a penny of it back.
Well, you never will | anyway.
You know, whoever said, ''Don't | throw good money after bad'' was talking about | this turkey.
People, people I turned down the beach | picture to do this ''turkey.
'' I could be on Maui surrounded by squealing | beach bunnies in bikinis.
So, let's make up | our minds, please.
Come on, Tobey, | I can handle it.
You know, if we shut down, we'll be | another $80,000 in the hole, Karen.
Cliff, you feel confident | about this? Yeah, I'm ready to go.
You're head of production.
| You decide.
We have little choice.
Let's do it.
Works for me.
Okay, listen up, | we're gonna make one.
All right, take your places.
Effects, are you ready? All right, everybody | listen up, please.
This is a very important shot.
Travis, are you ready? With lots of energy | and keep it pumping.
And action! All right, you wanna tell me | what happened back there, Tobey? What are you asking | me for? Clifford's in charge | of special effects.
I set four charges, | Mr.
Gavin.
Five went off.
I don't know where the | fifth one came from but it wasn't mine.
Well, whose was it? | I mean, does anybody else have access | to that equipment? Oh, no, | I'm the only one.
Now, wait a minute.
There was a guy | out by the truck before.
What guy, who? I don't know.
He had | on a hood and a mask.
Oh, come on, you're not gonna start | that Phantom of Stage 28 nonsense.
Yeah, they stopped blaming | accidents on him 20 years ago.
Well, someone is to blame, | and it's time to find out who.
This is the fourth accident in | three weeks and the most serious.
You've heard of | Raging Sky? Who hasn't? Battles on the set, | battles off the set.
They've got a runaway | budget of what? $25 million, | and no end in sight.
Man, what I could do | with that.
What a small country could | do with that.
But you know movie people.
''lt's only money.
'' Not McKee Studios, | Bonnie.
For years, they've donated time and | money to our educational film program.
Why, when Jack McKee | was alive he was an ardent supporter | of the Foundation.
No, they have too much integrity | to be this irresponsible.
So we're talking serious | bad luck or sabotage.
Well, whichever it is they've asked for our help | and they deserve it.
Your contact | is Karen Bennett Vice President in charge | of production.
Devon, I think you've | left something out.
It's rather silly, | really but there has been | some talk at the studio that the legendary Phantom may have something | to do with it all.
Bonnie, you don't really think | there's a phantom.
Do you? No.
You want me to investigate | a phantom? Certainly.
Why not? Why not? As you were saying, Michael.
Don't rub it in, pal.
I don't see | a phantom in the bunch.
Do you? No, but around here, no one would | think twice about it if they did.
I agree.
He'd simply get lost | in the crowd.
You look just like | Ms.
Bennett's 10:15.
Let's see, Michael Knight? Foundation for Law | and Government? You got it.
| She's expecting me.
Very quick, Mr.
Knight.
| We're all expecting you.
I'm Edward Kent, Ms.
Bennett's | executive secretary.
I encode 90 words a minute.
I take shorthand at 120.
I do | not, however, make coffee nor have I ever been chased | around a desk.
I'm afraid | you'll have to wait.
The negotiations are at | a delicate stage.
Well, when you two decide | what to shoot, I'll shoot it! I could be on Maui.
On Maui, surrounded by | beach bunnies in bikinis.
Excusez-moi.
If I don't get this | distributed, McKee is in deep kimchi.
Ciao.
The insurance company | is wrong! Now, look, I'm the producer | and I'm telling you there's no way I can finish | this picture without Travis! And I am head | of this studio.
It is my job that's on the | line and I think you can.
You're not the one who has | to figure out how to do it! But I already have.
| All we have to do- Yeah, they're casting the beach | picture down the hall, 316.
My name is Michael Knight.
Oh, oh, oh, | from the Foundation.
Boy, am I glad | to see you.
You and I need to talk.
Would you just hold it? Look, I've got $20 million of | my own money in this picture.
We finish | our talk first.
That's fine by me, but your people | are the ones who are getting hurt and I'm here to try and find | out who or what's behind this.
Behind what? Well, for openers, don't you think | someone's trying to destroy your movie? I mean, you've had four | accidents in the last five weeks.
That's a pretty | suspicious pattern.
A pattern that leads right to | the Special Effects Department.
Yeah, well, that's the one thing | that Karen and I do agree on.
You talk to Sam Clifford.
Of course, he'll probably | blame it on this legend that he's dredged up | to cover his butt.
The legend of the so-called | ''Phantom'' that haunts the studio.
The one and the same.
Yeah, the Phantom | of Stage 28.
It started with the original | Raging Sky.
It was a nightmare.
One accident after another.
Do you think there could | be a connection? Oh, no.
No, no way.
No, the person | behind them was Dennis Darrow.
He was an actor who was originally turned | down for the starring role in the film.
He vowed it would never | get made.
I mean, the man's been dead | for years.
Of course, his body's | never been found.
Who knows, maybe his corpse sprouted a | cape and he went wherever phantoms go.
The bottom line is, | he still could be alive.
Really, Mr.
Knight.
His car went off a cliff and | exploded.
There was nothing left but ashes and smoke.
And a lot of | unfinished business.
Michael, I detect someone | bearing down on you.
KITT, he's all yours.
KITT, scan his vitals.
Michael, it has no vitals.
What have we here? A 1200 cc, four-cylinder | direct-drive motorcycle and state-of-the-art robot, | hard-wired to the frame.
Then it's gotta be | remote-controlled from somewhere.
It still is.
| I'm picking up a signal.
Trace it back | to its source.
I'm locked on.
Michael, I'm also | picking up Get away from that thing! Now! Thanks, pal.
Nice little | fail-safe mode, huh? Yes, Michael.
Guaranteed a murder | without a suspect.
Hi.
Can you tell me where I | could find Sam Clifford? Cameras reloading.
From the sound of that, | you must be Sam Clifford.
Yeah.
Hey, you'd better stand back | here.
These are very unstable.
I've got to set them off before I pick | up my pink slip and check out of here.
You know, for a guy who was | just fired for negligence, you seem pretty | safety-conscious to me.
Well, you tell that | to the insurance company.
Twenty pictures without an accident.
| Didn't mean a thing to them.
Are you the guy that's | investigating these accidents? Yeah, yeah, my name | is Michael Knight.
And from what I hear you claim you got more | explosions than you bargained for.
Claim? Four buttons.
| Five explosions.
Now, how's | the fifth one mine? KITT, scan the circuits in this | unit for any sign of tampering.
Right away, Michael.
What's that all about? That's a | little special effect of my own.
The fourth circuit | has been rewired, Michael.
It transmits two signals, | one delayed when the detonator button | is depressed.
Yeah.
Yeah, that guy by the truck.
| Now, it had to be him.
Nobody was near | my equipment until- You're talking about a guy | in a monk's robe.
Yeah, the Phantom | of Stage 28.
I saw that guy, Mr.
Knight, | and he was real.
Look, let's not call him | the Phantom of Stage 28.
Let's just call him a man | in a monk's robe, okay? You call him what you want.
But the bottom line is, the | original Raging Sky was shot on 28.
Now, people that have seen him | say that's where he hangs out.
Well, whoever he is Karen Bennett says he's gonna have | another crack at making some trouble today.
That's right.
They're shooting a big sequence with Liz | Preston over on Stage 1 right after lunch.
Gives me a couple of hours.
| Where's Stage 28? It's on the other side | of the lot.
But they haven't shot anything | over there in years.
I know, I know.
Everybody | thinks the legend is a big joke.
But this is a very superstitious | business, Mr.
Knight.
Superstition or not, | it's all I got.
Thank you very much.
Michael, Devon's calling.
Hello, Michael, how are things | in Hollywood this morning? A little rocky.
| Hitchcock would have loved it.
We've got a saboteur | on our hands.
Well, I'm glad | you didn't say ''psycho.
'' Might be that, too.
Devon, right now I need | everything Bonnie can find on an actor | named Dennis Darrow.
Also, run down the insurance | policies on Raging Sky.
I wanna know who benefits | if it shuts down.
Right away, Michael.
Oh, and be careful.
I don't want two phantoms | haunting McKee Studios.
Over and out.
Michael, have you | found anything? Yeah, KITT, | this place is incredible.
There's enough stuff in here | to make Conan III, IV and V.
Enough bad guys, too.
KITT, monitor all exits! I'm scanning them now.
Which one? Where is he? I don't know.
I'm absolutely | positive no one has come out.
And no one is in the building, | except you.
Devon, those were not rumors | about a phantom on Stage 28.
Yes, I understand, Michael.
And that's one of the reasons | you're on this investigation.
By the way, Michael Bonnie found very little data | on your Mr.
Darrow.
It seems he died | over 20 years ago.
And nothing's turned up since? | I mean, she's positive? Not even his remains, | as I understand it.
I have something more substantial | on your insurance inquiry.
Gavin and the studio | are fully covered.
That means they both get | their investments back if the picture can't | be completed.
It gives us nothing.
Well, I've also discovered that | the studio has just taken out an additional $4 million policy | on their star, Liz Preston.
No kidding.
| That's uncanny timing.
She's doing | a major stunt today, Devon.
I'm on my way | to the back lot now.
Good luck, Michael.
What's with the darkened | windows, pal? This is Hollywood, Michael.
I'm wearing my sunglasses.
Effects, are you ready? Hey, you guys actors? Heck no, stuntmen.
Oh I'm looking for Liz Preston.
You and about | 100 other cowboys.
Better start twirling | your lariat, son here she comes.
Excuse me.
Don't tell me.
Michael Knight, the | investigator I've heard so much about? I was wondering when you'd | get around to looking me up.
Well, I'm sorry it took so long.
| Can we talk for a few minutes? It's the cars.
That's all that matters | nowadays.
Yeah, all this picture needs | is one more jackrabbit-mobile.
And what's wrong | with fast cars, may I ask? Everything.
Raging Sky was a western.
How do you remake a western | with cars playing horses? I've cleaned up a couple | of western towns in my day.
Hogwash.
Well, Michael, I'll tell ya, the last | man who said he liked all my movies had a thing for desperate, | vulnerable women on the run.
Five minutes, Liz.
| Thanks.
Bet you're beginning to feel like | one of your characters lately.
Wardrobe to the set.
Liz, tell me the truth.
| You want out of this picture? No, I'm very grateful | to have this job.
I think I'd be crazy not to | admit I'm a little bit frightened.
Some people are.
You don't know? Liz, the studio took out an extra | $4 million insurance policy on you.
Really? I'm impressed.
Well, I'm not.
Now, I understand you're doing | a twist on a runaway buggy scene.
You wanna run | that stunt by me? Yeah, sure.
Let's see.
I'm driving a pick-up truck | down a hill and a tire blows out so, I lose control | of the vehicle then the truck crashes into a | bridge, the bridge almost collapses and the truck screeches to a halt | just before I plunge into the water.
That's all? Well, actually, the stunt | double does all the hard stuff.
I just sit in that 4X4 truck | over there and scream a lot.
Look, just so you know, I'm gonna run | through every aspect of the stunt before you do the shot.
Well, thank you.
I appreciate the interest.
I'm interested.
Excuse me.
I'm sick of people | getting hurt.
Look, there aren't | gonna be any more accidents.
We got rid of them when we got rid | of Clifford.
You are using this Mr.
Knight, just the man I wanted to see.
| Have you checked out Clifford's story? Yeah.
I think he's telling | the truth.
What? You mean it wasn't his incompetence | that was causing the accidents? We really have a maniac | on our hands? Looks that way.
Well, that's it.
| I'm pulling the plug.
Hold it.
Hold it.
There's | no way I'm doing that shot.
Have you had a chance | to check the set? I'm gonna check on it now.
| Then I'm going to Stage 28 to see if I can pick up the | Phantom's trail.
Excuse me.
Look.
Karen, I don't care | if God himself came down and checked out that set.
| There's no way- Okay, Liz? Ready? You got three minutes.
Thanks second team.
| Bring in the reelies.
Thank you, second team.
Michael, I'm detecting | unusual movement and electrical activity | above Liz's makeup table.
Liz.
Liz! Liz! You all right? | I think I will be.
Easy.
Am I getting older, or is | this job getting tougher? Liz, thank God | you're okay.
I'm sorry, I don't know how | this could have happened.
From now on, I check out every location | before anyone is allowed on the set.
I don't have time for you, Mr.
| Knight, I have a budget and a deadline.
All right, Karen, | that does it.
I've tried it your way, I've | tried it his, now we'll do it mine.
This production is over.
| It's finished.
It's a wrap.
You can notify the insurance | company to pay off.
Not again.
Listen, may I remind you that | I have a pay-or-play contract? Make up your minds, or you'll | be delivering my checks to Maui.
Aloha.
I broke a nail.
Karen, if this is the end | of the film, I'm sorry but I promise you it is not | the end of the investigation.
No, it's not the end | of the film.
That's my decision, not Gavin's.
| He was just letting off some steam.
Have you ever thought about | going along with him? Of course.
But if I shut this film down without | making up the cost over-runs we're out of business.
Why? The studio will collect | on the insurance.
I mean, obviously, you're | gonna come out with something.
Michael, I am not in this | business to collect insurance.
I'm in this business | to make movies.
Women in positions of power | are still considered a novelty.
I have to finish | what I started.
Karen, you know your stuff.
You wouldn't | have made it up the ladder if you didn't.
There are those who said | I wasn't always on my feet.
You're saying that they think it's just | a matter of time before you mess up? They thought I had when | Travis landed in the hospital.
But as I was saying | to Gavin if we increased the explosives to | mask the use of a stunt double we could shoot that last scene | and make it work.
That stunt double | was going to be me.
Michael, I appreciate that but you'd be putting yourself in | an extremely dangerous situation.
I knew that going in.
Like someone once said, ''I've | gotta finish what I started.
'' Karen? Karen, I just heard.
I stopped by the set l- Well, get back down there and | find out everything you can.
I'm going to have a mob | of reporters in this office and I need something | to tell them.
Michael, thanks.
Piece of cake.
I do hope she isn't | expecting the truth.
When a movie goes down the tube, | there are a thousand versions of why.
Really? Well, I would be | interested in yours.
You mean, who might be | sabotaging this film? Well, no more than half | the producers in Hollywood.
This is Tinseltown, | Mr.
Knight.
The place where | massive egos collide.
Where people get a kick out | of watching their friends fail.
Where 10,000 mourners go | to a producer's funeral just to make sure the jerk | is really dead.
Take it from me, Mr.
Knight, you | have waded into a pool of sharks.
Could I tell you stories.
Yeah, but you didn't tell me | the story I need.
Well, I'm sorry, I I did my best to tell you | how the game was played.
Whoever tried to kill Liz | Preston isn't playing a game.
Neither am I.
Just how long have you | been at this, anyway? About 30 years.
Ever since we made | the original Raging Sky.
I'd hold that one | if I were you.
You sure? | I'll play these.
You wouldn't happen to know | what Buck is holding.
You have to take some chances, Slim.
| After all, this is a game of risk.
But I wouldn't hedge my bet | if I were you.
I see you got tired | of wearing your shades, pal.
No, I only wear them when | I'm playing poker, Michael.
Wait a minute, you weren't | kibitzing in that game, were you? Michael, I was merely helping | Slim sample random possibilities and arrive at a computation | using- Enough, enough.
| I'm sorry I asked.
Patch me into the semi, | will you? Yes, Michael.
Bonnie, put RC on, will ya? I'm | gonna need him out here on this one.
RC.
What about me, Michael? You | know how much I love westerns.
Well, I know, pilgrim.
Maybe I can get you one of | those gutsy Maureen O'Hara roles.
Yo, Michael, you do a great | Jimmy Stewart.
Very funny.
What are we gonna | be doing? They're shooting the climax | of Raging Sky tomorrow.
It's the Phantom's last chance | to try and sabotage the picture.
You and I are going to stop him.
All right.
Just call us | Phantom-busters! Not so fast, RC.
It so happens I have some information | which may narrow the possibilities as to the Phantom's identity.
What do you got, Devon? When I was looking into | the insurance I checked out the backers | of Raging Sky as well.
Victor Gavin's corporation | isn't his corporation any longer.
Then the $20 million he put up for | the picture really isn't his money.
Exactly.
It was provided | by his new partners whose capital comes | from tainted sources.
You mean the sort of people | who collect one way or another.
I'm afraid so.
Evidently, they stand to gain more | if the picture isn't completed than if it is.
What next? Stage 28.
Whoever tried to kill me | got past both of us.
I'm gonna find out how.
Well, Hollywood, | here I come.
You bum.
I have to stay here.
Hey, well, men have got to do | what men have got to do.
All right, don't be | a wise guy.
You know what? This picture | should be shut down and we should be filling | the insurance claims by now.
You still haven't | pulled it off.
Don't push me, Gavin.
This turkey's neck was on the block | until Michael Knight showed up.
You've had two cracks at him | and you've blown them both.
I'll make | the next one count.
You do that.
Silent mode, KITT.
All right.
Give me a schematic | on the stage, will you? See if there's a way out | besides the exits.
I detect a maze of catwalks high | above the floor, but no other exits.
Thank you.
Keep your scanners peeled.
KITT, I think | I've found something.
Get me a fix on the | north side of the stage.
Right away, Michael.
My scan indicates | a concealed exit, Michael.
Thanks, buddy.
You shouldn't involve yourself | in affairs that don't concern you.
Good bye, Mr.
Knight.
KITT, KITT, | talk to me, buddy.
Yes, Michael? Listen, pal, I need a favor.
I'm a little hung up here.
You | wanna get in here real fast? On my way.
Are you all right? Yeah, I'm fine.
You know, | you're my favorite air bag.
I'm not quite sure how | to take that, Michael.
As a compliment, | until further notice.
Okay, next item.
We're doing that big stunt | sequence tomorrow morning.
Notify studio security.
I want every | available guard in the back lot.
Done.
I don't know | what I'd do without you.
Yes, well, don't forget | my little friend here.
Well, I caught up with the | Phantom, but he got away.
You have any idea | who it was? It's either Friar Tuck | or Mr.
Gavin.
It turns out that the $20 million he | put into Raging Sky wasn't his own.
As a matter of fact, he's in some | serious debt to some heavy hitters.
Well, let's not be | so surprised, Mr.
Knight.
No producer worth his car phone | would use his own money in a movie.
Have you notified | the police? What am I gonna do? Tell them a | guy who's produced 26 pictures is running around the back lot | in a phantom suit? We gotta catch Mr.
Gavin | in the act.
What are you doing here? I have some bad news | for you.
All right, cut the act, | just lay it on me.
Knight found out that the | organization is backing you.
And that makes them nervous.
You got a job to do.
It's none of your concern.
Of course it is.
| That's why I'm here.
To protect their interests.
That's why they insisted | you get me a job on this lot.
It was part of the deal.
What about our deal? I've paid you | a lot of money.
You work for me, too.
It's come down to you or them.
And the bottom line is | I'm working for them.
Didn't you learn anything from | all those B movies you've produced? What are you | No.
Michael, I'm not happy | about this.
I don't like | leaving you alone.
We don't have | any choice.
You gotta cover the outside, | I'll be on the set.
Yeah, that's where | all the trouble's gonna be.
I still don't like it.
You got a better idea? Well, I do now.
Yeah.
Just make sure you're in | position when the camera's rolling.
All right, I'll be there.
Hi, out of gas? It's electric.
You don't look it, | but maybe you're out of juice.
Thanks, but the car's been | charging all night.
Do you know anything | about these things? Just about everything | there is to know.
Pop the hood.
The motor's in the back.
I've only been here | a couple of days.
I have got a great idea.
I'll bet you do.
How about turning | the key to ''on?'' Hey, it's running.
And headed right for some | coffee and conversation? What's your name? Ellie, and yours? Reginald Cornelius III only, you can call me RC.
Yeah, right, RC, | I've seen you.
You're the guy that runs through the | airport and jumps over the luggage.
Do you like doing | TV commercials? Yeah.
Yeah, you know Beats the heck out of | being chased by linebackers.
Why, I remember one game big game, Super Bowl.
I was dodging tackles | to the right.
I was dodging tackles | to the left.
And then you know what | happened? No, what? I scored.
Thanks, Barry.
Okay, listen up.
| We're gonna make one.
Got it.
Places, please, | for a run-through.
Okay, KITT, we're getting | real close to showtime.
Just scan all the ammunition | we're using.
Right away, Michael.
The wardrobe's at the set.
Michael you know, it's not too late | to change your mind.
Yeah, I know.
It's the last chance | for Gavin to play his hand.
Just be careful, all right? | Thanks.
Michael, my scan indicates | every round is a blank.
Thanks, pal.
Looks like Gavin's | got something else in mind, huh? We're ready, Mr.
Knight.
Yeah, come on, Michael.
Every desperate, vulnerable girl on the | run needs a big, strong guy on her side.
Michael, security just found | Gavin in his car.
Dead.
Oh, my God.
That means whoever's been doing | this to us is still around.
Yeah.
Back to square one.
Maybe.
Mr.
Knight Let's do it, huh? Keep an eye on us, will you? | Hey, you got it.
Place the background.
Settle, people.
| Let's settle.
Makeup.
Makeup! Check them.
Now, remember Mike and Liz are running | toward the barn.
The car blasts | through the fence after after they take out | the bad guys.
Everybody got it? Okay, people, this is a take.
Lots of energy.
| Have fun with it.
All right, | let's go for one.
Marker.
And action.
KITT, get over here.
I didn't cue a black car.
Jump in.
Michael, we can take him out | right here.
No, pal, we don't wanna | endanger any people.
Let's wait for a clear shot.
Look out! Thank goodness | that was a movie prop.
This place is full | of surprises.
How is he doing that? I don't know.
He's gotta have | some kind of remote hookup.
KITT, you gotta get me | through this.
Leave that to me, Michael.
Get out of the way! Michael, he's activated | another obstruction for us.
No problem with this one, pal.
Michael, shall we bring | this legend to an end? Yeah, right now.
Come on, quick.
| Right here.
Set it here.
Shoot it right there.
Lots of energy.
No sound.
Keep it going, looking good.
KITT, I need a little | distraction, buddy.
Coming right up.
Cut.
Michael, are you okay? Well, I'm not.
| I broke another fingernail.
She broke another fingernail.
But I'm fine.
I'm telling ya, I | have a new respect for seafood.
It really does help you | live longer.
Yeah, I'd have been here, | but he got the drop on me.
Oh, Michael, | you were wonderful.
You took a mediocre ending | and you gave it new life.
Have you ever considered | a career in this? I have a career.
I caught | the Phantom, didn't I? Phantom schmantom, I'm talking | about my picture in Maui.
How would you like to be | the lead? Are you serious? Of course, I am.
Hey, now hold on, Tobey.
I represent Mr.
Knight.
Now, dollars aside will he get a motor home | and script approval? Michael, don't forget | a parking place in the shade.
You won't need a car, you'll | have a chauffeur-driven limo.
A chauffeur-driven | limousine! Fantastic! I'll take it.
No deal, he already | has a contract.
How did that car get here? Special effects.
Here you go.
Michael, when I said | I wanted to treat the guy who saved | the studio millions to lunch I meant champagne | and caviar not cola and hotdogs.
Karen, after all the trouble | I've had trying to figure out what is real and what isn't | real around here I need something I can finally | sink my teeth into.
I wish there was something else | I could do to thank you and KITT.
There is one thing, | Ms.
Bennett.
When you see Buck and Slim remind them it was a car that helped run the gunslinger | out of town this time.
Gunslingers, KITT, | gunslingers.
Kent agreed to testify against | the people he was working for.
So you can sit back, relax and congratulate yourself | on a job well done.
Relax? This picture still has to be edited, | scored, marketed, distributed- Hey, dude, | come on, sit down.
Have some chow, | Karen's buying.
Thanks, but they had a little bash on | the set celebrating Sam Clifford's return.
Champagne, caviar I think it's gone to my head.
You don't think? | I think that is a man in a monk's robe | riding a bicycle.
Knight, and he was real.
Michael, I've detected some | movement directly behind you.
He's all yours.
You've had two cracks at him, | and you've blown them both.
I'll make the next one count.
Knight Rider, | a shadowy flight into the dangerous world | of a man who does not exist.
Michael Knight, | a young Ioner on a crusade to champion | the cause of the innocent the helpless, | the powerless in a world of criminals | who operate above the law.
I'd sure like to get | this shot before lunch.
I'm ready to make one.
I just heard Travis is doing | the stunt himself? Karen, please, | it's all worked out.
I just did a walkthrough | with Travis.
I am ready to roll.
| Relax.
Okay? Look, after what I've been | through on this picture I'm not going to relax until | the last shot is in the can.
Well, we won't get this one | if you keep interfering.
Gavin you're producing a picture | that's $20 million over budget.
If your star gets hurt, we're | not gonna make a penny of it back.
Well, you never will | anyway.
You know, whoever said, ''Don't | throw good money after bad'' was talking about | this turkey.
People, people I turned down the beach | picture to do this ''turkey.
'' I could be on Maui surrounded by squealing | beach bunnies in bikinis.
So, let's make up | our minds, please.
Come on, Tobey, | I can handle it.
You know, if we shut down, we'll be | another $80,000 in the hole, Karen.
Cliff, you feel confident | about this? Yeah, I'm ready to go.
You're head of production.
| You decide.
We have little choice.
Let's do it.
Works for me.
Okay, listen up, | we're gonna make one.
All right, take your places.
Effects, are you ready? All right, everybody | listen up, please.
This is a very important shot.
Travis, are you ready? With lots of energy | and keep it pumping.
And action! All right, you wanna tell me | what happened back there, Tobey? What are you asking | me for? Clifford's in charge | of special effects.
I set four charges, | Mr.
Gavin.
Five went off.
I don't know where the | fifth one came from but it wasn't mine.
Well, whose was it? | I mean, does anybody else have access | to that equipment? Oh, no, | I'm the only one.
Now, wait a minute.
There was a guy | out by the truck before.
What guy, who? I don't know.
He had | on a hood and a mask.
Oh, come on, you're not gonna start | that Phantom of Stage 28 nonsense.
Yeah, they stopped blaming | accidents on him 20 years ago.
Well, someone is to blame, | and it's time to find out who.
This is the fourth accident in | three weeks and the most serious.
You've heard of | Raging Sky? Who hasn't? Battles on the set, | battles off the set.
They've got a runaway | budget of what? $25 million, | and no end in sight.
Man, what I could do | with that.
What a small country could | do with that.
But you know movie people.
''lt's only money.
'' Not McKee Studios, | Bonnie.
For years, they've donated time and | money to our educational film program.
Why, when Jack McKee | was alive he was an ardent supporter | of the Foundation.
No, they have too much integrity | to be this irresponsible.
So we're talking serious | bad luck or sabotage.
Well, whichever it is they've asked for our help | and they deserve it.
Your contact | is Karen Bennett Vice President in charge | of production.
Devon, I think you've | left something out.
It's rather silly, | really but there has been | some talk at the studio that the legendary Phantom may have something | to do with it all.
Bonnie, you don't really think | there's a phantom.
Do you? No.
You want me to investigate | a phantom? Certainly.
Why not? Why not? As you were saying, Michael.
Don't rub it in, pal.
I don't see | a phantom in the bunch.
Do you? No, but around here, no one would | think twice about it if they did.
I agree.
He'd simply get lost | in the crowd.
You look just like | Ms.
Bennett's 10:15.
Let's see, Michael Knight? Foundation for Law | and Government? You got it.
| She's expecting me.
Very quick, Mr.
Knight.
| We're all expecting you.
I'm Edward Kent, Ms.
Bennett's | executive secretary.
I encode 90 words a minute.
I take shorthand at 120.
I do | not, however, make coffee nor have I ever been chased | around a desk.
I'm afraid | you'll have to wait.
The negotiations are at | a delicate stage.
Well, when you two decide | what to shoot, I'll shoot it! I could be on Maui.
On Maui, surrounded by | beach bunnies in bikinis.
Excusez-moi.
If I don't get this | distributed, McKee is in deep kimchi.
Ciao.
The insurance company | is wrong! Now, look, I'm the producer | and I'm telling you there's no way I can finish | this picture without Travis! And I am head | of this studio.
It is my job that's on the | line and I think you can.
You're not the one who has | to figure out how to do it! But I already have.
| All we have to do- Yeah, they're casting the beach | picture down the hall, 316.
My name is Michael Knight.
Oh, oh, oh, | from the Foundation.
Boy, am I glad | to see you.
You and I need to talk.
Would you just hold it? Look, I've got $20 million of | my own money in this picture.
We finish | our talk first.
That's fine by me, but your people | are the ones who are getting hurt and I'm here to try and find | out who or what's behind this.
Behind what? Well, for openers, don't you think | someone's trying to destroy your movie? I mean, you've had four | accidents in the last five weeks.
That's a pretty | suspicious pattern.
A pattern that leads right to | the Special Effects Department.
Yeah, well, that's the one thing | that Karen and I do agree on.
You talk to Sam Clifford.
Of course, he'll probably | blame it on this legend that he's dredged up | to cover his butt.
The legend of the so-called | ''Phantom'' that haunts the studio.
The one and the same.
Yeah, the Phantom | of Stage 28.
It started with the original | Raging Sky.
It was a nightmare.
One accident after another.
Do you think there could | be a connection? Oh, no.
No, no way.
No, the person | behind them was Dennis Darrow.
He was an actor who was originally turned | down for the starring role in the film.
He vowed it would never | get made.
I mean, the man's been dead | for years.
Of course, his body's | never been found.
Who knows, maybe his corpse sprouted a | cape and he went wherever phantoms go.
The bottom line is, | he still could be alive.
Really, Mr.
Knight.
His car went off a cliff and | exploded.
There was nothing left but ashes and smoke.
And a lot of | unfinished business.
Michael, I detect someone | bearing down on you.
KITT, he's all yours.
KITT, scan his vitals.
Michael, it has no vitals.
What have we here? A 1200 cc, four-cylinder | direct-drive motorcycle and state-of-the-art robot, | hard-wired to the frame.
Then it's gotta be | remote-controlled from somewhere.
It still is.
| I'm picking up a signal.
Trace it back | to its source.
I'm locked on.
Michael, I'm also | picking up Get away from that thing! Now! Thanks, pal.
Nice little | fail-safe mode, huh? Yes, Michael.
Guaranteed a murder | without a suspect.
Hi.
Can you tell me where I | could find Sam Clifford? Cameras reloading.
From the sound of that, | you must be Sam Clifford.
Yeah.
Hey, you'd better stand back | here.
These are very unstable.
I've got to set them off before I pick | up my pink slip and check out of here.
You know, for a guy who was | just fired for negligence, you seem pretty | safety-conscious to me.
Well, you tell that | to the insurance company.
Twenty pictures without an accident.
| Didn't mean a thing to them.
Are you the guy that's | investigating these accidents? Yeah, yeah, my name | is Michael Knight.
And from what I hear you claim you got more | explosions than you bargained for.
Claim? Four buttons.
| Five explosions.
Now, how's | the fifth one mine? KITT, scan the circuits in this | unit for any sign of tampering.
Right away, Michael.
What's that all about? That's a | little special effect of my own.
The fourth circuit | has been rewired, Michael.
It transmits two signals, | one delayed when the detonator button | is depressed.
Yeah.
Yeah, that guy by the truck.
| Now, it had to be him.
Nobody was near | my equipment until- You're talking about a guy | in a monk's robe.
Yeah, the Phantom | of Stage 28.
I saw that guy, Mr.
Knight, | and he was real.
Look, let's not call him | the Phantom of Stage 28.
Let's just call him a man | in a monk's robe, okay? You call him what you want.
But the bottom line is, the | original Raging Sky was shot on 28.
Now, people that have seen him | say that's where he hangs out.
Well, whoever he is Karen Bennett says he's gonna have | another crack at making some trouble today.
That's right.
They're shooting a big sequence with Liz | Preston over on Stage 1 right after lunch.
Gives me a couple of hours.
| Where's Stage 28? It's on the other side | of the lot.
But they haven't shot anything | over there in years.
I know, I know.
Everybody | thinks the legend is a big joke.
But this is a very superstitious | business, Mr.
Knight.
Superstition or not, | it's all I got.
Thank you very much.
Michael, Devon's calling.
Hello, Michael, how are things | in Hollywood this morning? A little rocky.
| Hitchcock would have loved it.
We've got a saboteur | on our hands.
Well, I'm glad | you didn't say ''psycho.
'' Might be that, too.
Devon, right now I need | everything Bonnie can find on an actor | named Dennis Darrow.
Also, run down the insurance | policies on Raging Sky.
I wanna know who benefits | if it shuts down.
Right away, Michael.
Oh, and be careful.
I don't want two phantoms | haunting McKee Studios.
Over and out.
Michael, have you | found anything? Yeah, KITT, | this place is incredible.
There's enough stuff in here | to make Conan III, IV and V.
Enough bad guys, too.
KITT, monitor all exits! I'm scanning them now.
Which one? Where is he? I don't know.
I'm absolutely | positive no one has come out.
And no one is in the building, | except you.
Devon, those were not rumors | about a phantom on Stage 28.
Yes, I understand, Michael.
And that's one of the reasons | you're on this investigation.
By the way, Michael Bonnie found very little data | on your Mr.
Darrow.
It seems he died | over 20 years ago.
And nothing's turned up since? | I mean, she's positive? Not even his remains, | as I understand it.
I have something more substantial | on your insurance inquiry.
Gavin and the studio | are fully covered.
That means they both get | their investments back if the picture can't | be completed.
It gives us nothing.
Well, I've also discovered that | the studio has just taken out an additional $4 million policy | on their star, Liz Preston.
No kidding.
| That's uncanny timing.
She's doing | a major stunt today, Devon.
I'm on my way | to the back lot now.
Good luck, Michael.
What's with the darkened | windows, pal? This is Hollywood, Michael.
I'm wearing my sunglasses.
Effects, are you ready? Hey, you guys actors? Heck no, stuntmen.
Oh I'm looking for Liz Preston.
You and about | 100 other cowboys.
Better start twirling | your lariat, son here she comes.
Excuse me.
Don't tell me.
Michael Knight, the | investigator I've heard so much about? I was wondering when you'd | get around to looking me up.
Well, I'm sorry it took so long.
| Can we talk for a few minutes? It's the cars.
That's all that matters | nowadays.
Yeah, all this picture needs | is one more jackrabbit-mobile.
And what's wrong | with fast cars, may I ask? Everything.
Raging Sky was a western.
How do you remake a western | with cars playing horses? I've cleaned up a couple | of western towns in my day.
Hogwash.
Well, Michael, I'll tell ya, the last | man who said he liked all my movies had a thing for desperate, | vulnerable women on the run.
Five minutes, Liz.
| Thanks.
Bet you're beginning to feel like | one of your characters lately.
Wardrobe to the set.
Liz, tell me the truth.
| You want out of this picture? No, I'm very grateful | to have this job.
I think I'd be crazy not to | admit I'm a little bit frightened.
Some people are.
You don't know? Liz, the studio took out an extra | $4 million insurance policy on you.
Really? I'm impressed.
Well, I'm not.
Now, I understand you're doing | a twist on a runaway buggy scene.
You wanna run | that stunt by me? Yeah, sure.
Let's see.
I'm driving a pick-up truck | down a hill and a tire blows out so, I lose control | of the vehicle then the truck crashes into a | bridge, the bridge almost collapses and the truck screeches to a halt | just before I plunge into the water.
That's all? Well, actually, the stunt | double does all the hard stuff.
I just sit in that 4X4 truck | over there and scream a lot.
Look, just so you know, I'm gonna run | through every aspect of the stunt before you do the shot.
Well, thank you.
I appreciate the interest.
I'm interested.
Excuse me.
I'm sick of people | getting hurt.
Look, there aren't | gonna be any more accidents.
We got rid of them when we got rid | of Clifford.
You are using this Mr.
Knight, just the man I wanted to see.
| Have you checked out Clifford's story? Yeah.
I think he's telling | the truth.
What? You mean it wasn't his incompetence | that was causing the accidents? We really have a maniac | on our hands? Looks that way.
Well, that's it.
| I'm pulling the plug.
Hold it.
Hold it.
There's | no way I'm doing that shot.
Have you had a chance | to check the set? I'm gonna check on it now.
| Then I'm going to Stage 28 to see if I can pick up the | Phantom's trail.
Excuse me.
Look.
Karen, I don't care | if God himself came down and checked out that set.
| There's no way- Okay, Liz? Ready? You got three minutes.
Thanks second team.
| Bring in the reelies.
Thank you, second team.
Michael, I'm detecting | unusual movement and electrical activity | above Liz's makeup table.
Liz.
Liz! Liz! You all right? | I think I will be.
Easy.
Am I getting older, or is | this job getting tougher? Liz, thank God | you're okay.
I'm sorry, I don't know how | this could have happened.
From now on, I check out every location | before anyone is allowed on the set.
I don't have time for you, Mr.
| Knight, I have a budget and a deadline.
All right, Karen, | that does it.
I've tried it your way, I've | tried it his, now we'll do it mine.
This production is over.
| It's finished.
It's a wrap.
You can notify the insurance | company to pay off.
Not again.
Listen, may I remind you that | I have a pay-or-play contract? Make up your minds, or you'll | be delivering my checks to Maui.
Aloha.
I broke a nail.
Karen, if this is the end | of the film, I'm sorry but I promise you it is not | the end of the investigation.
No, it's not the end | of the film.
That's my decision, not Gavin's.
| He was just letting off some steam.
Have you ever thought about | going along with him? Of course.
But if I shut this film down without | making up the cost over-runs we're out of business.
Why? The studio will collect | on the insurance.
I mean, obviously, you're | gonna come out with something.
Michael, I am not in this | business to collect insurance.
I'm in this business | to make movies.
Women in positions of power | are still considered a novelty.
I have to finish | what I started.
Karen, you know your stuff.
You wouldn't | have made it up the ladder if you didn't.
There are those who said | I wasn't always on my feet.
You're saying that they think it's just | a matter of time before you mess up? They thought I had when | Travis landed in the hospital.
But as I was saying | to Gavin if we increased the explosives to | mask the use of a stunt double we could shoot that last scene | and make it work.
That stunt double | was going to be me.
Michael, I appreciate that but you'd be putting yourself in | an extremely dangerous situation.
I knew that going in.
Like someone once said, ''I've | gotta finish what I started.
'' Karen? Karen, I just heard.
I stopped by the set l- Well, get back down there and | find out everything you can.
I'm going to have a mob | of reporters in this office and I need something | to tell them.
Michael, thanks.
Piece of cake.
I do hope she isn't | expecting the truth.
When a movie goes down the tube, | there are a thousand versions of why.
Really? Well, I would be | interested in yours.
You mean, who might be | sabotaging this film? Well, no more than half | the producers in Hollywood.
This is Tinseltown, | Mr.
Knight.
The place where | massive egos collide.
Where people get a kick out | of watching their friends fail.
Where 10,000 mourners go | to a producer's funeral just to make sure the jerk | is really dead.
Take it from me, Mr.
Knight, you | have waded into a pool of sharks.
Could I tell you stories.
Yeah, but you didn't tell me | the story I need.
Well, I'm sorry, I I did my best to tell you | how the game was played.
Whoever tried to kill Liz | Preston isn't playing a game.
Neither am I.
Just how long have you | been at this, anyway? About 30 years.
Ever since we made | the original Raging Sky.
I'd hold that one | if I were you.
You sure? | I'll play these.
You wouldn't happen to know | what Buck is holding.
You have to take some chances, Slim.
| After all, this is a game of risk.
But I wouldn't hedge my bet | if I were you.
I see you got tired | of wearing your shades, pal.
No, I only wear them when | I'm playing poker, Michael.
Wait a minute, you weren't | kibitzing in that game, were you? Michael, I was merely helping | Slim sample random possibilities and arrive at a computation | using- Enough, enough.
| I'm sorry I asked.
Patch me into the semi, | will you? Yes, Michael.
Bonnie, put RC on, will ya? I'm | gonna need him out here on this one.
RC.
What about me, Michael? You | know how much I love westerns.
Well, I know, pilgrim.
Maybe I can get you one of | those gutsy Maureen O'Hara roles.
Yo, Michael, you do a great | Jimmy Stewart.
Very funny.
What are we gonna | be doing? They're shooting the climax | of Raging Sky tomorrow.
It's the Phantom's last chance | to try and sabotage the picture.
You and I are going to stop him.
All right.
Just call us | Phantom-busters! Not so fast, RC.
It so happens I have some information | which may narrow the possibilities as to the Phantom's identity.
What do you got, Devon? When I was looking into | the insurance I checked out the backers | of Raging Sky as well.
Victor Gavin's corporation | isn't his corporation any longer.
Then the $20 million he put up for | the picture really isn't his money.
Exactly.
It was provided | by his new partners whose capital comes | from tainted sources.
You mean the sort of people | who collect one way or another.
I'm afraid so.
Evidently, they stand to gain more | if the picture isn't completed than if it is.
What next? Stage 28.
Whoever tried to kill me | got past both of us.
I'm gonna find out how.
Well, Hollywood, | here I come.
You bum.
I have to stay here.
Hey, well, men have got to do | what men have got to do.
All right, don't be | a wise guy.
You know what? This picture | should be shut down and we should be filling | the insurance claims by now.
You still haven't | pulled it off.
Don't push me, Gavin.
This turkey's neck was on the block | until Michael Knight showed up.
You've had two cracks at him | and you've blown them both.
I'll make | the next one count.
You do that.
Silent mode, KITT.
All right.
Give me a schematic | on the stage, will you? See if there's a way out | besides the exits.
I detect a maze of catwalks high | above the floor, but no other exits.
Thank you.
Keep your scanners peeled.
KITT, I think | I've found something.
Get me a fix on the | north side of the stage.
Right away, Michael.
My scan indicates | a concealed exit, Michael.
Thanks, buddy.
You shouldn't involve yourself | in affairs that don't concern you.
Good bye, Mr.
Knight.
KITT, KITT, | talk to me, buddy.
Yes, Michael? Listen, pal, I need a favor.
I'm a little hung up here.
You | wanna get in here real fast? On my way.
Are you all right? Yeah, I'm fine.
You know, | you're my favorite air bag.
I'm not quite sure how | to take that, Michael.
As a compliment, | until further notice.
Okay, next item.
We're doing that big stunt | sequence tomorrow morning.
Notify studio security.
I want every | available guard in the back lot.
Done.
I don't know | what I'd do without you.
Yes, well, don't forget | my little friend here.
Well, I caught up with the | Phantom, but he got away.
You have any idea | who it was? It's either Friar Tuck | or Mr.
Gavin.
It turns out that the $20 million he | put into Raging Sky wasn't his own.
As a matter of fact, he's in some | serious debt to some heavy hitters.
Well, let's not be | so surprised, Mr.
Knight.
No producer worth his car phone | would use his own money in a movie.
Have you notified | the police? What am I gonna do? Tell them a | guy who's produced 26 pictures is running around the back lot | in a phantom suit? We gotta catch Mr.
Gavin | in the act.
What are you doing here? I have some bad news | for you.
All right, cut the act, | just lay it on me.
Knight found out that the | organization is backing you.
And that makes them nervous.
You got a job to do.
It's none of your concern.
Of course it is.
| That's why I'm here.
To protect their interests.
That's why they insisted | you get me a job on this lot.
It was part of the deal.
What about our deal? I've paid you | a lot of money.
You work for me, too.
It's come down to you or them.
And the bottom line is | I'm working for them.
Didn't you learn anything from | all those B movies you've produced? What are you | No.
Michael, I'm not happy | about this.
I don't like | leaving you alone.
We don't have | any choice.
You gotta cover the outside, | I'll be on the set.
Yeah, that's where | all the trouble's gonna be.
I still don't like it.
You got a better idea? Well, I do now.
Yeah.
Just make sure you're in | position when the camera's rolling.
All right, I'll be there.
Hi, out of gas? It's electric.
You don't look it, | but maybe you're out of juice.
Thanks, but the car's been | charging all night.
Do you know anything | about these things? Just about everything | there is to know.
Pop the hood.
The motor's in the back.
I've only been here | a couple of days.
I have got a great idea.
I'll bet you do.
How about turning | the key to ''on?'' Hey, it's running.
And headed right for some | coffee and conversation? What's your name? Ellie, and yours? Reginald Cornelius III only, you can call me RC.
Yeah, right, RC, | I've seen you.
You're the guy that runs through the | airport and jumps over the luggage.
Do you like doing | TV commercials? Yeah.
Yeah, you know Beats the heck out of | being chased by linebackers.
Why, I remember one game big game, Super Bowl.
I was dodging tackles | to the right.
I was dodging tackles | to the left.
And then you know what | happened? No, what? I scored.
Thanks, Barry.
Okay, listen up.
| We're gonna make one.
Got it.
Places, please, | for a run-through.
Okay, KITT, we're getting | real close to showtime.
Just scan all the ammunition | we're using.
Right away, Michael.
The wardrobe's at the set.
Michael you know, it's not too late | to change your mind.
Yeah, I know.
It's the last chance | for Gavin to play his hand.
Just be careful, all right? | Thanks.
Michael, my scan indicates | every round is a blank.
Thanks, pal.
Looks like Gavin's | got something else in mind, huh? We're ready, Mr.
Knight.
Yeah, come on, Michael.
Every desperate, vulnerable girl on the | run needs a big, strong guy on her side.
Michael, security just found | Gavin in his car.
Dead.
Oh, my God.
That means whoever's been doing | this to us is still around.
Yeah.
Back to square one.
Maybe.
Mr.
Knight Let's do it, huh? Keep an eye on us, will you? | Hey, you got it.
Place the background.
Settle, people.
| Let's settle.
Makeup.
Makeup! Check them.
Now, remember Mike and Liz are running | toward the barn.
The car blasts | through the fence after after they take out | the bad guys.
Everybody got it? Okay, people, this is a take.
Lots of energy.
| Have fun with it.
All right, | let's go for one.
Marker.
And action.
KITT, get over here.
I didn't cue a black car.
Jump in.
Michael, we can take him out | right here.
No, pal, we don't wanna | endanger any people.
Let's wait for a clear shot.
Look out! Thank goodness | that was a movie prop.
This place is full | of surprises.
How is he doing that? I don't know.
He's gotta have | some kind of remote hookup.
KITT, you gotta get me | through this.
Leave that to me, Michael.
Get out of the way! Michael, he's activated | another obstruction for us.
No problem with this one, pal.
Michael, shall we bring | this legend to an end? Yeah, right now.
Come on, quick.
| Right here.
Set it here.
Shoot it right there.
Lots of energy.
No sound.
Keep it going, looking good.
KITT, I need a little | distraction, buddy.
Coming right up.
Cut.
Michael, are you okay? Well, I'm not.
| I broke another fingernail.
She broke another fingernail.
But I'm fine.
I'm telling ya, I | have a new respect for seafood.
It really does help you | live longer.
Yeah, I'd have been here, | but he got the drop on me.
Oh, Michael, | you were wonderful.
You took a mediocre ending | and you gave it new life.
Have you ever considered | a career in this? I have a career.
I caught | the Phantom, didn't I? Phantom schmantom, I'm talking | about my picture in Maui.
How would you like to be | the lead? Are you serious? Of course, I am.
Hey, now hold on, Tobey.
I represent Mr.
Knight.
Now, dollars aside will he get a motor home | and script approval? Michael, don't forget | a parking place in the shade.
You won't need a car, you'll | have a chauffeur-driven limo.
A chauffeur-driven | limousine! Fantastic! I'll take it.
No deal, he already | has a contract.
How did that car get here? Special effects.
Here you go.
Michael, when I said | I wanted to treat the guy who saved | the studio millions to lunch I meant champagne | and caviar not cola and hotdogs.
Karen, after all the trouble | I've had trying to figure out what is real and what isn't | real around here I need something I can finally | sink my teeth into.
I wish there was something else | I could do to thank you and KITT.
There is one thing, | Ms.
Bennett.
When you see Buck and Slim remind them it was a car that helped run the gunslinger | out of town this time.
Gunslingers, KITT, | gunslingers.
Kent agreed to testify against | the people he was working for.
So you can sit back, relax and congratulate yourself | on a job well done.
Relax? This picture still has to be edited, | scored, marketed, distributed- Hey, dude, | come on, sit down.
Have some chow, | Karen's buying.
Thanks, but they had a little bash on | the set celebrating Sam Clifford's return.
Champagne, caviar I think it's gone to my head.
You don't think? | I think that is a man in a monk's robe | riding a bicycle.