ACT ONE FADE IN EXT. COURTHOUSE - DAY - TO ESTABLISH busy downtown area. OMITTED INT. COURTHOUSE AREA - DAY A plainclothes officer, Bryson, escorts a handcuffed prisoner in. Early forties, lean, deceptively charming, wearing a distinctive gold ring, his name is Gordon Baxter the Chameleon. CHAMELEON Ah, look at it...Smell it.... BRYSON (sniffs) Yeah, they must've just waxed the floors. CHAMELEON I'm not talking about floors, Bryson, I'm talking about American jurispru- dence...the District Court of Appeals ...The conscience of the criminal justice system. BRYSON Save it for the judge. CHAMELEON (a smile) I'm just warming up. In this game, you've got to come out of the blocks fast. (re men's room) How 'bout a little pit stop? BRYSON It's always something with you. CHAMELEON C'mon. Loosen up. You'll live longer. Bryson sighs, relents, escorts the Chameleon to the men's room. INT. MEN'S ROOM - DAY Bryson and the Chameleon enter. BRYSON You know the routine -- age before beauty. He unlocks one of the cuffs, slips it around a post, then fastens it to the Chameleon's wrist again. With the Chameleon safely secured, Bryson turns to the wash basin. As he does, the Chameleon uses the leverage of the post to lift himself off the ground and drives his legs into Bryson's back -- propelling Bryson into the wall with such force that he is knocked cold by the impact. THE CHAMELEON now tears off a piece of skin-colored latex from his wrist, revealing a small key...which he uses to unlock the handcuffs. Then he gets Bryson's gun, pockets it and moves to the door, opening it carefully. INT. CORRIDOR - ON THE CHAMELEON Checking to make sure the way is clear, he darts across the corridor and enters a door marked: Judge Edith Webster's Chambers. INT. JUDGE'S CHAMBERS - DAY Wearing her judicial robe, Judge Webster is working behind her desk when she looks up, startled to see the man with a gun enter. CHAMELEON Take off your robe! (to her reaction) Don't worry, Your Honor, it's not what you think. Now take it off. OMITTED INT. MEN'S ROOM - DAY A deputy sheriff enters, sees Bryson, reacts. BRYSON (regaining consciousness) Escaped prisoner...hit the alarm...! The deputy sheriff rushes out. EXT. CITY STREET - DAY - ON K.I.T.T. moving through traffic. MICHAEL (V.O.) Kitt, give me the point spread on this week's game. INT. K.I.T.T. Michael is driving, relaxed. K.I.T.T. Michael, I really don't think gam- bling is a proper use of Foundation equipment. MICHAEL You're absolutely right, buddy. Forget it. I shouldn't have asked. It was out of line. K.I.T.T. Thank you, Michael. MICHAEL Just tell me who's going to win. K.I.T.T. Michael! (off Michael's laugh) Devon is calling. MICHAEL Yo, Devon? What's up? INTERCUTTING MONITOR DEVON Nothing good, I'm afraid. Remember that thief you caught with that shipment of stolen arms; J. Gordon Baxter? MICHAEL Alias 'the Chameleon' -- how could I forget? But he's in prison. DEVON 'Was,' Michael. He was scheduled for an appearance at the District Court of Appeals this morning. He just escaped. MICHAEL Knowing the Chameleon as well as I do, Devon, he's long gone. DEVON Not necessarily. They cordoned off the building. There's reason to believe he's still in the vicinity. MICHAEL Gotcha. We're on our way. WIDER ANGLE - THE STREET Michael hits the brakes, does a 180 and is off. CUT TO INT. JUDGE WEBSTER'S CHAMBERS - DAY framed on the Chameleon's back. He is wearing the wig and the judge's robe as he looks in the wall mirror, dabbing a last touch of makeup on his latex mask-covered face -- which we do not see until he turns. As he does, he uncovers the judge, who can be seen in the mirror. She is bound and gagged and is staring incredulously at the Chameleon, who has transformed himself into a clone-like duplicate of the lady. CHAMELEON/JUDGE My sympathies, Judge. At least I can take this face off when I'm finished. INT. CORRIDOR - DAY Exiting from the judge's chambers, the Chameleon/Judge sees Bryson and other police approaching, checking people, asking for ID. CHAMELEON/JUDGE (in woman's voice) He's in there! The escaped prisoner is in my chambers! He's a vile, ugly man! Hurry! The police react, rush to the judge's chambers. As they do, Chameleon/Judge slips through the stairwell door and is gone. INT. JUDGE'S CHAMBERS as Bryson and police rush in, react to seeing the judge bound and gagged. BRYSON He's done it again! EXT. COURTHOUSE - DAY Chameleon/Judge exits the building and dashes to a dry cleaner's van that is just pulling in. CHAMELEON/JUDGE Okay, honey, out! I'm commandeering these wheels. As he grabs hold of the driver and yanks him out, camera angles off to: K.I.T.T. approaching. INT. K.I.T.T. K.I.T.T. Michael, did you see what that lady just did? MICHAEL Kitt, that was no lady! EXTERIOR - ON K.I.T.T. as Michael executes a U-turn and gives chase. INT. DRY CLEANER'S VAN - THE CHAMELEON is removing the wig and pulling off the latex mask when he looks in the rearview mirror and sees K.I.T.T. bearing down. He steps on the gas and careens onto a side street.... EXT. STREET - ON K.I.T.T. turning onto the side street, and then delayed as Michael is forced to maneuver around a car ahead, pulling out from the curb.... EXTERIOR - SERIES OF CUTS The chase.... OMITTED EXT. INTERSECTION - DAY The Chameleon maneuvers his van around a huge truck that is entering the intersection. INT. K.I.T.T. K.I.T.T. (alarmed) Michael! OVER MICHAEL THROUGH THE WINDSHIELD at the truck, now almost blocking the intersection. MICHAEL We're going for it, buddy! But just then, a crossing guard escorting a child and holding up a stop sign starts across the street. MICHAEL Oh no.... He is braking to a stop. EXTERIOR - ON K.I.T.T. waiting. As the guard and child pass they start up again. K.I.T.T. (V.O.) The van stopped two hundred yards ahead, Michael. EXT. THE PARKED VAN - DAY as K.I.T.T. roars in, stops and Michael hops out. He spots the Latex mask inside, then looks around. K.I.T.T. It's been only a matter of seconds, Michael. He couldn't have gotten far. MICHAEL'S POINT OF VIEW panning various individuals and groups of pedestrians. Over this: MICHAEL'S VOICE That's the trouble, Kitt. A few seconds is all he needs. End pan on a small group of tourists, filing onto a bus. One, wearing a loud Hawaiian shirt, Bermuda shorts and knee socks -- and snatching up someone's camera he finds on a bench is the Chameleon. We also notice his distinctive ring. RESUME ON MICHAEL as he takes the mask from the dry cleaner's van studies it, thoughtful. CUT TO EXT. THE FOUNDATION - DAY - TO ESTABLISH INT. DEVON'S OFFICE - DAY - MICHAEL, BONNIE AND DEVON who studies the mask. DEVON It's remarkable. Imagine...to make a mask of this quality while being locked up behind prison walls. MICHAEL You don't get to be The Man Of A Thousand Faces And Voices without learning a few tricks. (frustrated) I had him, Devon. Right in the palm of my hand.... DEVON It's an all-too-common story, I'm afraid. The important thing now is, with his reputation for stealing sophisticated weapons and selling them to the highest bidder, he's got to be caught and caught fast. MICHAEL (to Bonnie) Anything new on him in the computer? BONNIE Nothing useful. He's been in prison since you helped send him there back in August, 1982. MICHAEL What about his daughter? (thinks) Tonie? BONNIE (nods) Tonie. According to our information, she still lives in town. MICHAEL Good. (crosses toward door) It's a place to start. DEVON Michael, I know this goes without saying, but I'll say it anyway. The Chameleon's already threatened to kill you if your paths ever crossed again. So be careful. MICHAEL Gotcha. He's gone. OMITTED EXT. ARMAND'S CAFE - DAY - TO ESTABLISH INT. ARMAND'S CAFE - DAY - CLOSE ON BELLY DANCER doing her thing, as a hand stuffs several twenties beneath the waistband of her costume, along with the others already there. FULLER ANGLE to see the man is Bertril Unger, forty-five, with a monocle in his right eye, nattily dressed, seated at a table. BERTRIL Perhaps later? My place? Alone? The belly dancer glances down at him. ANGLE TO INCLUDE GUSTAV UNGER his totally twin brother. Monocle and all, seated across from him. GUSTAV Believe me, Bertril, it's not the impossible dream. Bertril throws an angry look at Gustav as the belly dancer dances away. Armand's is Rick's Place in Casablanca. Reeking with a sense of intrigue, this is a cockpit for soldiers of fortune from every part of the world, and Armand Presler is not only the proprietor, he is also an international arms broker with whom these mercenaries do volume business, in the purchase and sale of illegal arms. A gregarious host, Armand is carrying his Sidney Greenstreet- like bulk from table to table, laughing at a coarse joke here, joining a whispered intrigue there...when he suddenly bumps into someone wearing an eye patch, moustache, and sporting a deep scar down the right side of his face: ARMAND Excuse me, my good.... But he suddenly stops, takes a better look at the man, then brightens: ARMAND Gordon! (closer look) That is you, isn't it? Of course it is. (takes his arm, leads him to a back office) Welcome home. CHAMELEON It's good to be back, Armand. (looks about) The place looks the same.... OMITTED ANGLE TO INCLUDE BELLY DANCER dancing nearby. Ruby in her navel: ARMAND Only the belly buttons have changed. They enter the office. INT. PRIVATE OFFICE - DAY They sit at a table Armand; will pour two drinks. ARMAND Two years is a long time, eh, my friend? CHAMELEON You have no idea. That's why I intend to make up for everyday of them. ARMAND Of course, of course. How can I help you? CHAMELEON First -- I need one big job. The bigger the better. ARMAND (glances about, softer) All right -- I've recently received inquiries about an item that might be just up your alley. It's called Project Lone Eagle. The Air Force is testing it at Welby Field. CHAMELEON How much is in it for me? ARMAND One million dollars. CHAMELEON (nods) It's a start. ARMAND I'm glad you think so. But you said -- first. May I ask -- what's second? CHAMELEON Yes...I intend to kill someone by the name of Michael Knight. He lifts his glass and drinks. OMITTED EXT. TONIE'S LAUREL CANYON HOUSE - DAY - ON K.I.T.T. turning onto the street and pulling up in front of a funky canyon house. From inside, a vocalist (Tonie) can be heard singing along with a rock group. K.I.T.T. (V.O.) Michael, if Tonie Ryder lives where that so-called music is coming from, I suspect she hasn't heard about her father's escape. AT K.I.T.T. Michael climbs out. MICHAEL I don't know. I guess that depends on how she feels about him. Kitt, run down the name of the top dog in illegal arms around here. K.I.T.T. I'll get right on it, Michael. MICHAEL And keep your scanner peeled. Kitt's scanner flashes. Michael heads for the house. ANOTHER ANGLE to include Harry, eighteen, an energetic young handbill distributor, who has just papered another car with an advertisement; he approaches K.I.T.T. and is about to plant one on him: K.I.T.T. No thank you. Startled, pulling his hand back: HARRY Who said that? K.I.T.T. I did. Please, keep your advertise- ment off my person. HARRY 'Off your person?!' You're a car! K.I.T.T. A figure of speech. HARRY Wow. I've heard of alarm systems that do everything but talk...and now they got one that does. (shrugs) Well...we all got a job to do. Again, he reaches to fold a handbill under K.I.T.T.'s wind- shield wiper. K.I.T.T. Not on me. With this, K.I.T.T. activates the wiper, making it wag at a rapid rate of speed, again startling Harry into withdrawing his hand. But Harry is a man to be reckoned with: HARRY Look, I got professional pride to deal with here. I got integrity. When I promise to deliver five hundred circulars, I don't dump 'em in the sewer like some other guys. So saying, Harry slaps a handbill on K.I.T.T.'s hood and scoots quickly away. K.I.T.T. (grumbles) The things I'm forced to put up with. INT. TONIE'S HOUSE - DAY Tonie Baxter, nineteen, is singing to music, blasting out of a tape deck stereo. As the song ends, she turns and reacts. TONIE Michael...? ANOTHER ANGLE to include Michael, standing in the open doorway. He smiles. MICHAEL Hi, Tonie. You look terrific. She seems pleased but slightly uncomfortable, busies herself, turning off the stereo, over: TONIE Well, the place is kinda of a mess now; I've been rehearsing all morning... (indicates stereo) ...my band's new song. MICHAEL I didn't say the place, I said you. She smiles, flattered, uncomfortable. TONIE Don't tell me. You just happened to be in the neighborhood and.... Michael waits, sympathetic. Her eyes finally find his. TONIE What's my father done now? MICHAEL Escaped. She sighs, moves away, busies herself with something. TONIE What's that got to do with me? MICHAEL Tonie, he's your father. TONIE (turns) So what? It's a biological fact, not a relationship. Whether you believe it or not, there's a difference. One doesn't necessarily equal the other. MICHAEL Tonie, I know how painful this is for you. TONIE Then why are you here?! MICHAEL Because someone had to come. I thought you'd rather hear it from me than a rookie cop, taking notes. She believes him, seems to relax a little. TONIE I'm sorry, Michael. You were straight with me before...it's just that every time I think he's out of my life once and for all, someone knocks on my door, or I turn on the TV and there he is again. MICHAEL (re the place) Looks like you've put a lot of room between you and your old life. What happened to college? TONIE I quit. All part of burying the past. (ironic laugh) You can see how successful it was. (beat) The answer is no. MICHAEL I didn't ask a question. TONIE Your eyes have been asking it ever since you walked in. 'Have you seen your father? Has he contacted you?' A moment between them. MICHAEL I was straight with you...and you were always straight with me. You say 'no,' I've got no more questions to ask. Just one request. If you do see him, I'd appreciate a call. He doesn't wait for a response, leans forward and quietly kisses her forehead. MICHAEL Don't give up on that new life. It can be done. He slips out. She watches him, a mixture of feelings. EXTERIOR - AT K.I.T.T. as Michael returns and gets in. K.I.T.T. Did she give you anything, Michael? MICHAEL Yeah, Kitt. The truth. She hasn't seen him. (beat) Yet. (starts K.I.T.T.) What about that arms dealer? His picture and pertinent information appear on the monitor. K.I.T.T. Armand Presler, one of the most ruthless traffickers in illegal arms on the North American Continent. MICHAEL Sounds like my kinda guy. EXTERIOR - ON K.I.T.T. pulling away...then pan off and zoom in on an old man raking leaves across the street. For some reason, the old man is intently interested in Michael, and, as he steps over to his pickup truck, keeps his eye on him as he drives away. Now, as the old man reaches into the truck for a rag to wipe the makeup off his face, the distinctive ring he wears identifies him as being the Chameleon. Another thoughtful look in the direction Michael took, then the Chameleon looks up at his daughter's house. As he does: FREEZE FRAME AND FADE OUT END OF ACT ONE ACT TWO FADE IN EXT. CITY STREETS - DAY - WITH K.I.T.T. - STOCK K.I.T.T. flashes by. MICHAEL (V.O.) Kitt, this Armand Presler didn't get to be the number one arms dealer playing with kids. He's got to think I'm a top mercenary. INT. K.I.T.T. - DAY - TRAVELING Michael wears a finely cut white suit and tie...blue carnation. K.I.T.T. Michael, top mercenaries always seem to have other mercenaries out to assassinate them. Wouldn't you be happier with a more modest rating... say fourth or fifth? MICHAEL Forget it, pal. Armand only deals with the best, and if I'm not the best.... K.I.T.T. He won't lead you to the Chameleon. MICHAEL The bottom line, buddy. So let's make me one mean machine. K.I.T.T. (sighs) As you wish, Michael. ANGLE TO INCLUDE MONITOR A picture appears of a man who vaguely resembles Michael. K.I.T.T. Since soldiers-of-fortune invariably uses aliases, you can choose between John Doe, Jack Smith or Joe Brown.... MICHAEL Jack Smith sounds like a winner. K.I.T.T. Very well. Jack Smith it is. Former Special Forces Commando, active in the Congo, Nambia, Dominican Republic. MICHAEL Let's not overdo it, pal. K.I.T.T. Michael, you wanted to be top dog. On Michael's look: SMASH CUT TO EXT. ARMAND'S CAFE - DAY - ON K.I.T.T. K.I.T.T. pulls up and Michael gets out. MICHAEL Anything else you have to tell me before I enter this den of jackals? K.I.T.T. Yes, Michael: Kwa bahati nzuri. MICHAEL Which means? K.I.T.T. Be careful. In Swahili. Michael smiles and walks off toward the cafe. INT. FOYER AREA OF ARMAND'S CAFE - DAY - WITH MICHAEL He enters the dimly lit room. A big hand reaches in from off frame and jabs into his chest, stopping him cold. The bouncer, six feet of muscle and bone, appears out of the gloom. GIBBS You need a membership card. Michael carefully reaches into his pocket. MICHAEL My initiation fee. Michael pulls out a hundred-dollar bill and hands it to Gibbs. The bouncer tears it in half. GIBBS We don't need new members. MICHAEL Then I'll just visit. Michael starts to brush past Gibbs. The man throws him against the wall. ACROSS THE CAFE At his special booth, Armand sits with a beautiful young woman. They watch the action in the foyer together. BACK TO THE FOYER Gibbs makes a move on Michael, which Michael uses to his advantage, judo-throwing him into the nearby fountain. MICHAEL (to stunned bouncer) That's all right, I'll seat myself. AT ARMAND'S BOOTH He makes a simple gesture to the girl, whose name is Ingrid. She leaves the booth. WITH MICHAEL He moves through the busy, smoky cafe, pauses at the bar...and then Ingrid is standing beside him. INGRID My name is Ingrid. Michael takes a look at her Bergman-cut clothes, he smiles. MICHAEL What would you like to drink, Ingrid? INGRID (gesturing at bartender) Dar Bel Dormey. MICHAEL Good choice. Cool, elegant, a fine flavor. Like a woman named Ingrid. Ingrid's drink arrives. She sips it. Michael's eyes meet her. INGRID And what is your name? MICHAEL Jack Smith. INGRID Good choice. MICHAEL Glad you like it. I'm looking for Armand Presler. Ingrid glances toward Armand's booth. INGRID Try that way. MICHAEL Thanks. Michael puts some money on the bar and moves toward the booth. AT ARMAND'S BOOTH Michael approaches. Armand sizes him up, but doesn't make a single move to welcome him. MICHAEL That's all right, don't get up. (slides into the booth) My name's Jack Smith. ARMAND That's hardly reason enough to attack my bouncer. MICHAEL He attacked. I retaliated. Armand laughs deeply. ARMAND A man after my own heart. The laughter stops as abruptly as it started. ARMAND Now, why are you here? MICHAEL I need something real special, and I heard you were once the man to see. ARMAND 'Once?' As in past tense? MICHAEL When you had the Chameleon working for you. But now that he's in prison, Armand, they say you've lost some of your touch. Armand bristles. ANGLE ON WAITRESS uncorking a bottle of champagne with a loud "pop." FULLER ANGLE as half the guests duck under their tables, and the other half go for their concealed guns, putting them away only when they realize there's no attack. BACK ON MICHAEL AND ARMAND completely oblivious to the action. Continuing: ARMAND Whoever 'they' are, Mr. Smith...don't know what 'they're' talking about. As for the Chameleon...well...I have someone just as good. If not better. MICHAEL Fine, then I'll talk to him. Armand's smile turns into a deep laugh, which he quickly turns off. ARMAND No, I don't think so. Now what is it you wanted? MICHAEL Scorpion missiles. ARMAND Scorpion missiles? For them, I'll need a little time. MICHAEL Take as long as you want...up to twenty-four hours. (grins) I'll be in touch. He gets up and leaves. Armand studies him. WITH MICHAEL On his way out he sees Ingrid taking a cordless phone to Armand's booth, the receiver off. EXT. ARMAND'S CAFE - DAY Michael coming out, talking to the comlink: MICHAEL Kitt, Armand just got a call. Let's see what it's about. K.I.T.T.'S VOICE Right, Michael. Michael continues to K.I.T.T., slides in. ANGLE IN K.I.T.T. A voice graph is on the monitor. The phone conversation, however, is garbled. MICHAEL They're using a scrambler. K.I.T.T. I'm afraid so, Michael. A very good one, I might add. It's beyond my deciphering capabilities. MICHAEL Bonnie's been dying to try out that new LBG analyzer. Here's her big chance. ANGLE ON K.I.T.T. Michael drives off down the street with a roar of K.I.T.T.'s turbines. OMITTED EXT. LAUREL CANYON HOUSE - DAY Tonie is tending the garden back of the house, on her knees in a flower bed. A shadow crosses over her. Startled, she looks up at.... THE CHAMELEON He wears a cap, leather jacket. His nose appears to have been broken once and he wears a short, neatly trimmed beard. CHAMELEON Tonie.... Slightly startled by the recognition of his voice: CHAMELEON You don't have to be afraid of me. I'm your father. TONIE Father? Is that the role you're playing now? CHAMELEON I've never stopped being your father. He takes a step toward her, she backs off. TONIE What about all those years you were in prison, or off somewhere selling guns? CHAMELEON A man does what he has to do. TONIE And gets what he deserves. And in your case, it's prison. CHAMELEON Not this time. No one's ever going to put me away again. Especially Michael Knight. (beat) What did you tell him, Tonie? TONIE What could I tell him? I don't know anything. CHAMELEON (smiles) Good girl. He reaches for her. She backs away. TONIE Don't touch me. CHAMELEON Baby, I'm onto a big one now. It's going to make us more money than we've ever seen in our lives. And it's gonna be just for us. You and me. TONIE I don't want your money. (slight beat) You know what I want, Dad? I want you to leave me alone, because you hurt me. And I don't want to be hurt anymore. She runs off toward the house, pauses in the open door. CHAMELEON (calls after her) I'm going to the high desert. We'll talk about it when I get back. Believe me, sweetheart, hurting you is the last thing I ever want to do. She slams the door shut. He looks after her, darkly. EXT. HIGHWAY - DAY - ON THE FOUNDATION SEMI barrels through the noon day sun. MICHAEL'S VOICE Getting any closer, Bonnie? INT. SEMI - DAY Michael and Devon stand over Bonnie, who's tabbing keys at the computer terminal. Atop it, we see a device with flashing L.E.D.'s -- Bonnie's new unscrambler. Michael tries to cover his impatience. K.I.T.T. waits nearby. BONNIE Should be. The LBG analyzer is on the cutting edge of sonic distortion technology. MICHAEL In English, please. BONNIE It'll break down any scrambled message, Michael...given enough time. MICHAEL How much time is that? BONNIE (ignoring his pressure) I'll tell you when I get it. She hits a button to activate a new possibility. INTERCUT - TERMINAL SCREEN as it feeds out a graphic representation of the garbled and distorted sounds coming over the unscrambler. The group listens intently. Out of the electronic gobbledygook we pick out the word: "Armand." Michael reacts. MICHAEL That's it, Bonnie, you're beautiful. Bonnie punches a few more keys. ON THE MONITOR The voices blur...and we hear: ARMAND'S VOICE Yes? ANOTHER ANGLE to show our threesome's gleeful reaction. From the monitor the voices, with matching graphics image, continue. CHAMELEON'S VOICE It's me. MICHAEL The Chameleon! I'd recognize that voice anywhere. ARMAND'S VOICE Any news? CHAMELEON'S VOICE The Lone Eagle is about to fly. ARMAND'S VOICE Very good. And once you finish this job my friend, I have a new buyer you may wish to meet. CHAMELEON'S VOICE Forget it, Armand. After this job, I'm retiring. A click and a dial tone. K.I.T.T. Lone Eagle? What could that possibly mean? DEVON Obviously a code name for the Chameleon's next target. MICHAEL Kitt, any idea where that call came from? OMITTED FAVOR THE SCREEN We see a map. A red dot marks the spot. K.I.T.T. A phone booth in the Laurel Canyon area. BACK TO MICHAEL AND COMPANY MICHAEL (putting it together) Laurel Canyon. That's where Tonie lives. Michael heads back to K.I.T.T. Devon follows. DEVON You think he went to see her, Michael? MICHAEL Don't think, Devon -- know. He practically jumps into K.I.T.T. EXT. SEMI - DAY K.I.T.T. barrels backwards out of the semi and races off. EXT. LAUREL CANYON ROAD - DAY - ON TONIE jogging. K.I.T.T. approaches from behind, slowly. Michael calls out the window: MICHAEL Now that's what I call a nice easy stride. She looks at him, shakes her head: TONIE How'd you find me? Don't tell me that car of yours is psychic, too? MICHAEL Almost. But this time I asked your friendly next door neighbor. Mind if we join you? Michael gets out and begins to jog alongside her. K.I.T.T., of course, keeps right up with them. Once again, Tonie just shakes her head. TONIE Michael, you are weird. MICHAEL What's wrong? Half the men in America jog. TONIE With their dogs, not their cars. MICHAEL What about Muhammad Ali, Rocky Marciano, the old Bronx Bomber himself, Joe Lewis -- they all did their road work with cars following them. Right, Kitt? K.I.T.T. Whatever you say, Michael. MICHAEL There. TONIE I take that back -- you're both weird. Now what do you want? MICHAEL To know what your father said to you. TONIE I haven't seen him. MICHAEL What happened to playing it straight with each other? She tries to ignore this. MICHAEL Tonie.... She stops jogging. So does he. They'll continue to walk. TONIE All right...he came by. MICHAEL (pleasant) Thanks for calling. TONIE Michael, whatever he's done, he's my father. MICHAEL A biological fact, remember? He's also the man who caused you to give up college and a very promising future. TONIE Meaning, as a singer, I should take up law. MICHAEL No, meaning you don't really owe him anything. He stops her. MICHAEL Tonie, what's he after? TONIE (beat) He didn't tell me, Michael. That's the truth. MICHAEL And you don't have any idea where I can find him? TONIE No...only.... MICHAEL What? TONIE He said something about having to go to the high desert...and I don't think it was for his health. MICHAEL That makes two of us. Thanks. A gentle kiss, he slides back into K.I.T.T. and peels off. EXT. K.I.T.T. - DAY - FAST DRIVEBY - STOCK K.I.T.T. screams past us. MICHAEL'S VOICE Bonnie, fill me in on high-desert defense installations. INT. K.I.T.T. - DAY - TRAVELING/INTERCUT BONNIE ON MONITOR BONNIE He could hit any of a dozen places, Michael. They're all low-profile, high-security testing sites. It's hard to learn much about them. MICHAEL Well, the Chameleon managed to. (beat; idea) Kitt, does any of them show a computer file on a Lone Eagle project? Data graphics replace Bonnie on the monitor momentarily, then she reappears. Under her we see numbers and the flashing words: Welby Field. K.I.T.T. I have it, Michael. Welby Field is conducting tests on a project X12JP1. Code name Lone Eagle. MICHAEL Bonnie, have Devon warn the base. They could be in for a nasty surprise. As her image fades and they roar away: CUT TO OMITTED EXT. RURAL ROAD - DAY - ON AN ND SEDAN being driven by Major William Anderson. As he drives along, the Major is unaware he has a passenger in the back who is now pulling off the blanket under which he has hidden himself. SHOOTING OVER THE MAJOR as he looks in the rearview mirror and is shocked to see another person behind him, who looks exactly like himself. ANOTHER ANGLE as the Chameleon puts a gun to the Major's side. CHAMELEON Just keep driving, Major. I'll tell you when to stop. The stunned officer obeys, and we: CUT TO EXT. A DIFFERENT RURAL AREA - DAY - ON K.I.T.T. streaking along. K.I.T.T. (V.O.) Michael, we've reached the outer limits of Welby Field. ANGLE IN K.I.T.T. MICHAEL Give me an ETA for the main base. K.I.T.T. Two point five minutes, Michael. And they zoom on.... CUT TO EXT. FRONT GATE - WELBY FIELD - DAY The Chameleon/Major wheels up to the guard post and stops. As he salutes, we again spot his distinctive ring. GUARD Good morning, Major Anderson. CHAMELEON/MAJOR Good morning, Corporal. The imposter drives on through, his disguise perfect. INT. CORRIDOR - LAB BUILDING - DAY The sign on the door reads: PROJECT LONE EAGLE - R & D - RESTRICTED AREA. Using the real Major's ID, the imposter slots it in the card key device and the door opens. INT. LAB - ANTE ROOM AND DUTY DESK - DAY The duty sergeant, who presides over the super sensitive entrance to the main lab, looks up as Chameleon/Major enters, recognizes him with a nod and returns to his crossword puzzle. When he does, Chameleon/Major circles around back of him, draws his gun and uses it to knock the man out. Now he crosses to the door marked TOP SECRET. A red light flashes. He again slots the ID card; the light goes off, the door swings open and he enters. INT. LAB ROOM - DAY In the middle of the room is a stand. A silvery space- blanket covers the object sitting on top of it. Its silhouette is nothing we recognize. The Chameleon crosses, lifts the object and starts out with it. EXT. HIGHWAY - DAY - K.I.T.T. ON THE BASE racing toward the research and development area. MICHAEL'S VOICE Kitt, tap the base security channel. ANGLE IN K.I.T.T./INTERCUT - MONITOR K.I.T.T. All's quiet, Michael. There's no breach of security indicated. Michael studies the monitor. MICHAEL There's got to be something. Kitt, use your infrared to scan the area. The monitor responds. A fast moving blip appears. K.I.T.T. Michael, there's a four-wheeled vehicle heading for the ordinance testing ground. And it's going fast. MICHAEL Use the I.G.P. and try for an ID. The monitor responds appropriately. K.I.T.T. It's him, Michael. E. Gordon Baxter. MICHAEL I think we just caught ourselves a Chameleon. Let's nail him. He hammers a right turn. OMITTED EXT. ROAD - RUGGED TERRAIN - ANOTHER AREA OF THE BASE - DAY The Jeep appears and passes. ANGLE ON K.I.T.T. driving hard in another area to catch up. ANGLE ON CHAMELEON/MAJOR He looks back, sees K.I.T.T. and wheels onto a secondary road. The stolen device is beside him. ANGLE IN K.I.T.T. driving hard. MICHAEL Where does this road go? K.I.T.T. He's outsmarted himself, Michael. It dead ends at a cliff just ahead. We've got him. MICHAEL Don't say that. He might disguise himself as a rock on a bush...or even a Chameleon. EXT. THE CLIFF - DAY A sheer drop to a ravine far below. In the distance, the oncoming Jeep and K.I.T.T. behind. EXT. END OF ROAD - DAY The Chameleon's Jeep slides to a stop in the dirt just before going over the edge. He immediately starts working with the stolen device, looking back over his shoulder at: K.I.T.T. racing up to catch him. ANGLE IN K.I.T.T. - MICHAEL'S POINT OF VIEW To Michael and K.I.T.T.'s amazement, the Chameleon is standing boldly beside the Jeep, strapping the stolen device to his back. K.I.T.T. Michael, what on earth is he putting on his back? MICHAEL Something tells me that's Project Lone Eagle. He starts after the Chameleon when: VARIOUS SHOTS - THE CHAMELEON'S TAKEOFF We reveal the "Lone Eagle," showing it in action. The Chameleon ignites the booster on a high-powered jet pack and suddenly lifts away from the Jeep, flying up, up, and away from Michael and K.I.T.T., out over the ravine and away from capture. RESUME ON MICHAEL Openmouthed, in grudging admiration: K.I.T.T. Michael...no! MICHAEL Just when you think he's run out of surprises.... Off his look: OMITTED FREEZE FRAME FADE OUT END OF ACT TWO ACT THREE FADE IN EXT. HIGHWAY - DAY - FOUNDATION SEMI churning down the blacktop. INT. SEMI - DAY Bonnie sits at the computer terminal as Michael and Devon talk restlessly nearby. DEVON Give the Chameleon credit for a brilliant deception. He walked right through top security and flew off with their prototype jet pack. MICHAEL Kitt, what do we have on the Lone Eagle? INTERCUT - MONITOR to see a graphic of the stolen jet pack. K.I.T.T. It makes all its predecessors look like toys. It can stay airborne six minutes, has stealth scramblers and night flight vision. DEVON What about offensive capabilities? K.I.T.T. Definitely possible, but still in the development stage. BONNIE Imagine what a terrorist could do with that. MICHAEL And now it's heading for Armand Presler... (heading for Kitt) Devon, call the bank. I'm going to need some money to flash around. Say, half a million. DEVON (blanches) Dollars? MICHAEL I don't think Presler will take yen or shekels. He wants a highroller, I'll give him one. He gets into K.I.T.T. and backs out. EXT. SEMI ON HIGHWAY - DAY K.I.T.T. slides down the ramp, spins a 180 and glides off. EXT. ARMAND'S CAFE - DAY - ON K.I.T.T. pulling in. Michael gets out, hefting a leather attache case. K.I.T.T. Michael, your pulse and adrenalin levels are high. MICHAEL Right where they should be. This is a lot of bread, pal. Keep the scanner warm. As Michael starts for the entrance, K.I.T.T. spots Harry, the circular man, coming. K.I.T.T. Oh, no! Not you again! Circling about, eyeing K.I.T.T. HARRY You really a talking car? K.I.T.T. No, I'm a tight end for the Chicago Bears! HARRY I like the 49ers myself. K.I.T.T. You work hard. Don't you think you deserve some time off? Like a few years? HARRY Are you kidding? I'm performing a very important service here. See this? (the handbill) It's got a puzzle on it. It's a tough one, but whoever figures it out wins a fortune in prizes. I mean, I could be responsible for changing somebody's whole life around. With this, Harry lays the handbill for Ace Automotive Products on K.I.T.T.'s hood. Predictably, K.I.T.T. sends the handbill flying by, popping up the hood. Then, giving it a second thought: K.I.T.T. A tough puzzle, huh...? INT. ARMAND'S CAFE - DAY - CLOSE ON OPEN ATTACHE showing the Foundation money. OMITTED FULLER ANGLE Armand's eyes are open wide as he looks at the bills, but when he starts to touch them, Michael snaps the case closed. MICHAEL That's a good way to lose a hand, Armand. ARMAND But, Mr. Smith...I'm not sure I under- stand. You say you're no longer interested in the Scorpion missiles? MICHAEL That's right...I want the Lone Eagle jet pack, instead. It was stolen yesterday, by a man who could only have been the Chameleon. Armand reacts. ANGLE ON SWARTHY INDIAN seated at a nearby table. He wears a turban and has a red mark on his forehead. He also wears the Chameleon's ring, and watches Michael. BACK TO SCENE MICHAEL Well, Armand? Can you deliver or not? ARMAND I'm sorry...but I already have another buyer. However...I've never been one to let honor stand in the way of greed. The price is...five million. Cash, of course. MICHAEL When can I get it? ARMAND Call me here in an hour...I'll give you the time and place. (re attache) And if that's too heavy for you to carry around.... MICHAEL (grins) Thanks...but I can manage. He leaves. ANGLE ON CHAMELEON/INDIAN moving to Armand's table. CHAMELEON/INDIAN What do you think you're doing? Even Armand has to give him a quick double-take. ARMAND What I do best -- make money. CHAMELEON/INDIAN For your information, that was Michael Knight, from the Foundation For Law and Government. Presler reacts, then starts to laugh from the depths. ARMAND Well, what do you know about that? You two could make quite a team. (laughter stops cold) But I thought you were going to kill him? CHAMELEON/INDIAN That's right, Armand -- and I know just the way. He starts off. OMITTED EXT. STREETS - DAY - K.I.T.T. motoring through light traffic. MICHAEL'S VOICE If it goes the way I plan, we'll smoke out the jet pack and the Chameleon. ANGLE IN K.I.T.T. driving. K.I.T.T. Michael, it's Devon. Michael pushes the buttons. Devon appears on the monitor. DEVON Michael, you just got a call from Tonie Baxter. She needs to speak to you right away. MICHAEL Okay. I'll get her and keep you posted. He punches buttons and the monitor fades. MICHAEL Kitt, get me Tonie. K.I.T.T. responds with seven quick digital beeps. OMITTED INT. TONIE'S HOUSE - DAY Open tight on a ringing phone. Tonie picks it up. TONIE Hello? (keyed up) Michael! I need to see you. INTERCUT - MICHAEL AND TONIE Michael speaking as he drives, over K.I.T.T.'s speaker-phone. MICHAEL Tonie, is something wrong? TONIE Michael...he's here. Widen to reveal an apparently contrite Chameleon sitting with her. TONIE He's had a change of heart and wants to turn himself in. Only...he's afraid. MICHAEL Afraid of who? The police? Armand? TONIE Everyone. Michael, I've never seen him like this before. He's afraid he won't even make it back to prison alive. MICHAEL Tonie, you have my word. I won't let anyone hurt him. I'm on my way. They hang up. Michael accelerates. MICHAEL Call Devon, Kitt. Fill him in on all this. K.I.T.T. Michael, you know this could be a trap. MICHAEL Way ahead of you, Kitt. Way ahead of you. CUT TO OMITTED EXT. TONIE'S HOUSE - DAY - ON K.I.T.T. pulling in and Michael getting out. MICHAEL Keep your scanner peeled, buddy. Michael surveys the area, then heads for the door. INT. TONIE'S HOUSE - DAY Tonie pulls open the door for Michael, and he strides in. No sign of the Chameleon. She hugs him. TONIE Michael, thank God you're here. MICHAEL Where's your father? TONIE In the kitchen. Michael hurries toward the kitchen door and starts to swing it open, but it suddenly flies open toward him, pushing him back into the room. Ryles, one of Armand's henchmen from the cafe, emerges with a drawn gun. MICHAEL joins Tonie, who's terrified. MICHAEL Just take it easy. TONIE (to Ryles) Who are you? Where's my father? RYLES He had another appointment to keep. TONIE Michael, I didn't know. I swear. MICHAEL I know, Tonie. It's okay. (to Ryles) Look, it's me you want. Let her go. RYLES Fat chance, Knight. Or should I say 'Smith.' Now you two head toward the back, slow and smooth. Anything fancy from you... (cocks the gun) ...she gets it first. CLOSE ON MICHAEL He's caught. And he knows it. FREEZE FRAME END OF ACT THREE ACT FOUR FADE IN EXT. TONIE'S HOUSE - DAY - ESTABLISHING K.I.T.T. parked patiently out front. EXT. REAR OF HOUSE - DAY The back door opens and Tonie emerges, followed by Michael. Ryles comes last, his gun trained on Michael's back, gesturing them to a nearby car. MICHAEL I'm asking you again -- leave her here. RYLES Forget it! ANGLE IN K.I.T.T. - INTERCUT - MONITOR All systems alert, watching the goings-on. Devon is tense. K.I.T.T. Michael was right, Devon. It's a trap. DEVON I hope to heaven he hasn't been hurt. K.I.T.T. Not yet, but these plans of his make me nervous. And they have Tonie as well. DEVON Be ready when he needs you, Kitt. Don't let him out of your sight. K.I.T.T. Not a chance, Devon. EXT. REAR OF HOUSE - DAY The group has neared the parked car. Ryles directs them. RYLES (to Michael) Okay, you drive. I'm in back with her, so don't get any ideas. Michael starts to comply, but subtly addresses his comlink. MICHAEL (comlink) Okay, Kitt, phase two. ON K.I.T.T. As he auto-starts and roars up the driveway, a siren wails from under the hood, the headlights flash, and the scanner blinks on and off. K.I.T.T. (bullhorn) This is the police. The area is cordoned off. Throw down your weapons, or face the consequences. RYLES is caught unaware by K.I.T.T.'s display. He's distracted long enough that: MICHAEL can leap onto him, wrestling the gun away, tossing it aside. He forces Ryles up against a Dempsey dumpster and holds him there, hard. MICHAEL I'll only ask once, so you better listen good: Where's the Chameleon going? Ryles is silent, so Michael slams him against the dumpster harder. MICHAEL Have it your own way. He lifts his face to smash his face. RYLES Okay, okay. He's heading for J.B.X. Industries, that's all I know! MICHAEL That's plenty. With that he lifts Ryles right off his feet and dumps him backward into the dumpster. Before Ryles can recover, Michael slams the lid down and latches it. He turns back to Tonie and K.I.T.T. MICHAEL Nice job, Kitt. Have Devon tell the police to come pick up this trash. (as they climb in) And get me everything you can about J.B.X. Industries. With that, Michael and Tonie are safe inside the car. They screech out of the driveway. CUT TO EXT. STREET - DAY - ON LIMOUSINE slipping through light traffic. Zooming in, we see one of the passengers is Armand. With him is the Chameleon, made up to look like...Michael Knight! OMITTED INT. LIMOUSINE - DAY Armand watches with fascination as Chameleon/Michael puts on some last touches of makeup, then picks up phone and punches in a number.... ARMAND You must teach me how to do that. I'd like to make myself up as my wife's hairdresser. It would be interesting to know what she says about me. OPERATOR'S VOICE J.B.X. Industries. CHAMELEON/MICHAEL (using Devon's voice) This is Devon Miles, from The Foundation for Law and Government. Let me talk to your head of plant security. (cupping hand over phone; to Armand) You're sure your people understand about Tonie? ARMAND Stop worrying. I'm in the business of supplying arms, not hurting young women. OMITTED INT. SECURITY OFFICE - JBX INDUSTRIES - DAY John Maxwell is on the phone: MAXWELL Devon, nice to hear from you again. This is John Maxwell. What can I do for you? Intercutting as needed: CHAMELEON/MICHAEL John, we've been contacted by The Department of Defense to make an emergency check of your facility today at fourteen hundred hours.... MAXWELL That's rather short notice. CHAMELEON/MICHAEL You know how they are in Washington. At any rate, I'm sending Michael Knight. He'll have the proper papers signed by the Secretary and bearing his seal. He hangs up and turns to Armand. CHAMELEON/MICHAEL And half an hour after that, you'll have a fancy little flying machine armed with prototype rockets that can blow up anything from a tank to an aircraft carrier! CUT TO OMITTED EXT. RURAL ROAD - DAY - ON K.I.T.T. streaking by.... K.I.T.T.'S VOICE Michael, I have the information on JBX Industries. INT. K.I.T.T. - MICHAEL AND TONIE MICHAEL Let's have it. K.I.T.T. They have the government contract for RX-9 rockets. A rendition of the rocket appears on the monitor. MICHAEL Gruesome little fella. K.I.T.T. They carry the punch of a Sidewinder missile, but aren't any bigger than your arm. MICHAEL Perfect to mount on a jet pack, right? K.I.T.T. I'm afraid so. Michael notices Tonie recoil at the information. He offers her a reassuring hand. MICHAEL Hang in there, Tonie. We'll stop him. She looks at him, nods, torn. CUT TO EXT. J.B.X. INDUSTRIES WAREHOUSE - DAY - TO ESTABLISH INT. HALLWAY - DAY Discover the Chameleon, as Michael Knight, walking down a brightly lit hallway with Security Chief, John Maxwell, a gruff but genial contemporary of Devon's. They've reached the end of the hallway where Maxwell produces a special card key. CHAMELEON/MICHAEL Security looks excellent so far. MAXWELL This door opens only when we make a shipment. And this is the only card key. CHAMELEON/MICHAEL (producing a gun and dropping to his normal voice) That's good. Show me how it works. MAXWELL What's the meaning of this, Knight? CHAMELEON/MICHAEL I said, open the doors. Do it now or I'll blow you away and do it myself. In shock, Maxwell turns and inserts the card. As the door opens, Chameleon/Michael raises his gun and knocks him out. INT. WEAPONS WAREHOUSE - DAY The room is a large warehouse-style place. Mounted prom- inently on racks in the center of the room are four nasty- looking black rockets, small enough to mount aboard the jet pack. Other shiny weapons cases are also visible. The Chameleon's action is swift and well-rehearsed. He crosses the room and uses Maxwell's cardkey on a large set of loading doors opening to the outside of the building. ANOTHER ANGLE The loading doors swing open to reveal Gibbs' van parked outside. Gibbs enters and starts off-loading the rockets into a case. EXT. J.B.X. INDUSTRIES ARMAMENTS - DAY K.I.T.T. races to a stop outside the building. As Michael exits the car, Tonie also gets out. MICHAEL Where do you think you're going? TONIE With you. MICHAEL Forget it. You're staying here. TONIE Be careful, Michael. K.I.T.T. That goes for me, too. He dashes inside. INT. WEAPONS WAREHOUSE - DAY Chameleon/Michael stands guard as Gibbs finishes packing the rockets. Gibbs exits to the van and Chameleon tenses as he hears racing footsteps in the corridor outside. He heads for the corridor door. ANGLE IN CORRIDOR as Michael dashes through the complex towards the door to the weapons warehouse. ANGLE TO INCLUDE CHAMELEON coming out of the weapons warehouse. FULL ANGLE IN WEAPONS WAREHOUSE as Michael Knight stands face-to-face with...Michael Knight. Both men react. MICHAEL This ought to make Laura Feeny happy. She always said there wasn't enough of me to go around. CHAMELEON/MICHAEL And here I always thought there was one too many. The Chameleon raises his gun to shoot. Michael dives for a stack of crates, taking cover and toppling them toward the Chameleon, whose shot goes wild. He takes cover in the rows of crates. ANGLE IN K.I.T.T. Tonie chafes uncomfortably, edges toward the building. K.I.T.T. Michael told you to stay here. TONIE I can't just hang around and do nothing. She races off toward the JBX Industries building. K.I.T.T. Tonie, no! Wait! Oh, dear.... OMITTED INT. CORRIDOR - CLOSE ON MICHAEL staying in cover, stalking his prey. He calls: MICHAEL Give it up, Baxter. INTERCUT - CHAMELEON/MICHAEL moving elsewhere in the room. CHAMELEON/MICHAEL No way. I'm too close to my dream. MICHAEL Not close enough. The Chameleon squeezes off another shot. ANGLE TO INCLUDE GIBBS poking his head in: GIBBS They're loaded. Let's get outta here! INT. WAREHOUSE - DAY as the Chameleon runs in with Michael on his tail. Michael sends a rolling cart towards the Chameleon, who tumbles aside. As he does, he spots: A CASE OF WEAPONS marked "Plastique Charges". Seeing his chance for escape, the Chameleon grabs one of the charges, twists its timer, and tosses it toward Michael. Just then.... TONIE dashes into the room in plain sight. TONIE Michael! FULL SHOT - WEAPONS WAREHOUSE The Chameleon has reached the doorway, turns and spots his daughter. He panics momentarily: CHAMELEON/MICHAEL Tonie...no! Get out of here! He hesitates a moment, but it's his life or hers. He races to the waiting van. ANGLE ON VAN as it speeds away. BACK TO SHOT Michael heads toward the explosive device. MICHAEL Tonie, get out! Kitt, get back here! OMITTED EXT. JBX INDUSTRIES - DAY - K.I.T.T. The Trans Am auto-starts and screeches off to aid Michael. INT. WEAPONS WAREHOUSE - DAY - CLOSE ON EXPLOSIVE DEVICE Michael bends over and picks the device up. The digital timer is clicking away. They race for the door, Michael carrying the explosive. EXT. JBX INDUSTRIES - REAR LOADING DOORS - DAY as K.I.T.T. screeches up, Tonie and Michael exit the building. MICHAEL (desperate) Kitt, pop your truck! OMITTED FULL SHOT The trunk opens and Michael tosses the explosive inside. As it closes, he dives onto Tonie and pushes her to the ground for safety. VARIOUS ANGLES - K.I.T.T. as the device explodes! The car rocks with the impact, filled with smoke. Flames belch from the exhaust portals. But it holds, and controls the explosion with no damage. MICHAEL rises, looking hopefully at K.I.T.T. MICHAEL You all right, buddy. K.I.T.T. responds with the sound of a vacuum pump. The smoke disappears from the interior as quickly as it appeared and the car looks good as new. K.I.T.T. Does that answer your question? MICHAEL Let's get 'em! The doors open and Michael and Tonie climb in, grim and determined. OMITTED EXT. JBX INDUSTRIES ARMS - STREETS IN FRONT - DAY Gibbs and the Chameleon pull out in their van, burning rubber. ANGLE IN VAN The Chameleon does his latex number, pulling off his Michael face to reveal his own. GIBBS Looks like we lost Knight for good. CHAMELEON (troubled) That's not all I lost. ANGLE IN K.I.T.T. - INTERCUT - MONITOR Michael's driving like a demon. K.I.T.T. plots the course. K.I.T.T. I have their van, Michael. MICHAEL Move on it! ANGLE IN VAN - GIBBS AND CHAMELEON The Chameleon is checking the rearview. CHAMELEON I don't believe my eyes. Gibbs looks back, and sees the Trans Am roaring up. Desperate, the Chameleon climbs in the rear. CHAMELEON Stay ahead of him. GIBBS I can't! EXT. HIGHWAY - DAY - K.I.T.T. AND VAN K.I.T.T. is already alongside him, pulling up on his left until he's even with him. ANGLE ACROSS THE VEHICLES - THROUGH K.I.T.T. MICHAEL (calls out) End of the line, Baxter! He nails the pedal, putting K.I.T.T. in front of the van, then cuts a right, forcing it off onto the shoulder, where it bounces to a stop in the dirt. THE VAN DOORS burst open and the Chameleon climbs out, wearing the jet pack. CHAMELEON Not yet, Knight! And with a flourish he ignites the rockets and starts to rise again, but: K.I.T.T. Michael punches buttons. K.I.T.T. Michael, you're not thinking of.... MICHAEL No choice, Kitt. The auto-roof power opens and Michael stands up in his seat. MICHAEL Calibrate the angle, pal. INTERCUT - DASH Plotting graphics and angles in a colorful display. K.I.T.T. We'll only get one shot. MICHAEL Go for it! THE CAPTURE - VARIOUS ANGLES As the Chameleon ascends overhead, K.I.T.T. ejects Michael skyward at the perfect angle for an intercept. He flies toward his airborne prey and grabs a tight hold on him. They waver in the air as the rockets' thrust is thrown out of balance by their struggle. INSERT - MICHAEL'S HAND twists a valve on the jet pack. The rockets' roar diminishes. BACK TO SHOT Michael and the Chameleon settle slowly back to earth as the rockets' flame down, then off. Tonie looks on as they continue fighting on the ground, but Michael's superior mobility prevails. He manages a strong right to the jaw, sending the Chameleon reeling under the weight of his own equipment. Michael sees: GIBBS pinned against a tree by K.I.T.T.'s bumper, hands in the air. MICHAEL Good work, buddy. MICHAEL stands over the fallen Chameleon. Tonie runs to his side to join him. He puts a protective arm around her as she looks down at her father, beyond words. MICHAEL Now you can get on with your life, Tonie. Off their bittersweet satisfaction. OMITTED FREEZE FRAME END OF ACT FOUR TAG FADE IN OMITTED INT. TONIE'S HOUSE - DAY - GARDEN We're on Tonie as she finishes a song. The music comes from a tape deck. Finishing to enthusiastic applause, she moves to Michael and Bonnie. MICHAEL That was fantastic. TONIE Thank you, Michael. BONNIE I hear you and your group may be going to London. TONIE The group's going, but not me. (looks to Michael) I've decided to go back to school and get my degree. MICHAEL Hey, that's great. Not that you couldn't make it as a singer...but there's nothing like a good educa- tion. Suddenly Michael's comlink buzzes, and: K.I.T.T.'S VOICE Michael! This time I need your help! They react, hurry out. EXT. TONIE'S HOUSE - FRONT - DAY K.I.T.T. is parked at the curb, while Harry, the circular man, is unloading a van and placing all the packages on and around the Trans Am. MICHAEL What's all this, buddy? K.I.T.T. This is distressing, that's what it is. HARRY I don't know how he did it, but that little T-top figured out the puzzle and won a lifetime supply of auto accessories. He goes back to get more. Our family begins examining the prizes: BONNIE Plastic flowers for your antenna. TONIE A pair of fur dice to hang from your rearview mirror.... MICHAEL Velvet seat covers...perfumed Christmas trees...a horn that plays Happy Birthday...Kitt, how did you do it? K.I.T.T. Wellll, you know me with puzzles, Michael. And when I saw that one in the circular.... MICHAEL (interrupting) I know, I know. Like the Godfather, buddy...they made you a puzzle you couldn't refuse. (picks up another prize) Silk curtains? K.I.T.T. Ohh, Michael -- where did I go wrong? And on this happy, laughing note, we: FREEZE FRAME FADE OUT THE END