ACT ONE
FADE IN
EXT. AAA WAR SURPLUS SALVAGE YARD - NIGHT
A hangar sits center among a group of outbuildings and an
open-air tent. Under the tent are crates. Not far from the
tent are parts of old military equipment, an airplane tail
section, covered military trucks and a functional tank.
The entire compound is enclosed by a barbed-wire-topped
mesh fence. Two guards, Richards and Layton, patrol the
grounds. Each carries a sidearm.
Above the main gate is a sign, "AAA SURPLUS", highlighted
by a spotlight.
ANGLE - BACK FENCE
A shadow moves stealthily close to the fence. Once it
steps into the reflected light, we see that the figure is a
handsome woman in her late forties, her hair up in a bun.
This is Amelia Clermont. She carries a camera with a
telephoto lens. When she sees that a back gate is locked,
she attempts to focus the camera through a fence link.
She can't get a good shot and as she climbs atop an old
piece of equipment lying outside the fence, slips, knocks
something over.
ANGLE - THE GUARDS
They snap to attention and run over to the back fence, just
as Amelia races out of the light, towards the desert.
RICHARDS
(to Layton)
Get Kragen!
Layton complies and runs off. Richards fires at her, but
she disappears into the darkness.
ANGLE - AMELIA
hugging the ground in a gulley not far from the fence.
Once the gunfire subsides, she crawls-runs to the road and
climbs into her sports car hidden behind some sagebrush.
INT. AMELIA'S CAR - NIGHT
She guns the engine, throws the car into first, then rips
out onto the two-lane road.
EXT. WAR SURPLUS SALVAGE YARD - HANGAR - NIGHT
The night quiet is suddenly torn apart by a loud thumping
sound. The hangar door slowly opens to reveal a metal and
glass cocoon. Inside, bathed by the satanic red glow of the
instrument panel, is Jack Kragen, a grim-faced, ruggedly
good-looking man in his forties. As the noise becomes
deafening, we:
CUT TO
INT. AMELIA'S CAR - NIGHT - MOVING
Amelia reacts to the loud, muffled sound, that begins to fill
the car. Amelia looks a little panicked: flat tire?
Engine trouble? Then the noise becomes deafening. A light
shines above the car like a halo; Amelia reacts, frightened.
INT. SX-411 - NIGHT - KRAGEN
His face still aglow, now wearing a pilot's helmet as he
presses a red button on the control stick in his right hand.
INSERT - GATLING GUN
as it begins to flash, spurting forth the 20mm cannon fire.
EXT. DESERT - ROAD - NIGHT - AMELIA'S CAR
The 20mm Gatling gun fire forces Amelia to spin the car off
the road.
NEW ANGLE
The thumping noise abates. Amelia looks up, can hardly
believe her good fortune, and starts to breathe a sigh of
relief as:
INT. SX-411 - KRAGEN
He presses another button on the fire control panel.
EXT. DESERT - NIGHT
A missile spits from the helicopter, crashes into the car
and rips it in half. The car becomes an inferno. The thump-
thump-thump of this helicopter which we have yet to fully
see or comprehend but will come to know as the SX-411 fades
into the distance and leaves the desert once again to its
solitude, with the tiny pot of flames behind on the desert
floor.
EXT. FOUNDATION HEADQUARTERS - DAY - ESTABLISHING
INT. DEVON'S OFFICE - DAY
Devon and April are looking at the computer terminal, set
up near the door, which is slightly ajar.
APRIL
...the primary analysis indicates
that Kitt performed beyond expec-
tations.
DEVON
(with a
smile)
Despite his strong-willed driver?
APRIL
Maybe because of his strong-willed
driver.
DEVON
I'm shocked. You're giving Michael
credit?
APRIL
(half-smile)
Only when he's not around to hear it.
There's a slight knock at the door. As they look over, into
the frame of the doorway steps Camela (pronounced Pamela with
a "C") Clermont, beautiful, reserved and sophisticated, a
younger version of Amelia Clermont. April moves toward the
door, during:
CAMELA
Excuse me...the outer office was
empty and....
Devon looks up and reacts, stunned with recognition, sur-
prise. When he doesn't respond:
APRIL
May I help you?
CAMELA
I'm looking for Devon Miles.
DEVON
Amelia?
And as he rises, still off balance, Camela looks past April
to see him.
CAMELA
I'm Amelia's daughter, Camela. Are
you Mr. Miles?
APRIL
Devon? Are you all right?
DEVON
Yes. Yes. Of course.
(to Camela,
warmly)
I'm Devon. You'll have to forgive
me...you look so much like your
mother. Is Amelia with you?
CAMELA
No. I was hoping you might know
where she is.
DEVON
I haven't seen Amelia in years...is
she all right? Camela?
CAMELA
She's...disappeared.
DEVON
Camela, your mother was liberated
when the phrase still referred to
countries. As I recall, it's not
unusual for Amelia to simply pack
up and leave for days by herself.
CAMELA
It's been three weeks. No one's
heard from her....
APRIL
Have you notified the police?
CAMELA
(nods)
They filled out a report. They said
there was very little they could do.
(beat)
Will you help me find her? Please?
I don't know who else to ask....
CUT TO
EXT. HIGHWAY - DAY - STOCK
From out of the horizon comes a speeding car; the Knight
2000. And from O.S., we hear a few beats of a "surf" song
by the Beach Boys, Jan and Dean, or a like group. The
music abruptly stops.
K.I.T.T. (V.O.)
Time's up, Michael.
MICHAEL (V.O.)
It's coming...flash from the past....
INT. K.I.T.T. - DAY
Michael is at the wheel, a beat more as he tries to
remember the song title; still trying, until:
K.I.T.T.
'California Girls' by the Beach Boys.
MICHAEL
Took the words right out of my mouth.
K.I.T.T.
I beg your pardon.
MICHAEL
Just a phrase, Kitt.
K.I.T.T.
Michael, I fail to see the appeal of
these songs. They're all about surfing,
sun, sand and women in bikinis. Tell
me, what exactly is the allure of
Southern California?
MICHAEL
(smiling)
You just said it, pal. And thanks to
the Foundation, that's our next stop.
K.I.T.T.
Have you ever considered broadening
your cultural horizons, Michael?
Before Michael can reply, we hear Devon's tone.
K.I.T.T.
Devon is calling.
MICHAEL
(pushes buttons)
Go, Devon.
INTERCUT - DEVON
As he comes up on the monitor screen, April can be seen in
the b.g. tapping on the computer console.
DEVON
Michael, I have an urgent matter for
you to attend to. You are to reverse
course and head for Phoenix immediately.
MICHAEL
Phoenix? That's behind me. The new
assignment is in California, remember?
DEVON
California can wait.
Michael realizes how serious and worried he is.
MICHAEL
What's up?
DEVON
A woman named Amelia Clermont has
disappeared. Her daughter, Camela,
will fill you in. I put her on the
Foundation jet moments ago.
(beat)
Michael, I want you to do every-
thing you can to find Amelia. This
one is personal. This one is for
me....
EXT. HIGHWAY - DAY - STOCK
K.I.T.T. burns a 180 and heads back the opposite way.
EXT. HIGHWAY - VARIOUS ANGLES - DAY - STOCK - DRIVEBYS
as desert changes to city, Phoenix, Arizona.
EXT. AMELIA'S CONDO - DAY
K.I.T.T. pulls to a stop in front of this pleasant condo-
minium, a squat structure replete with small balconies on
every floor.
INT. AMELIA'S CONDO - DAY
At the sound of the doorbell, Camela opens the door as far
as the latch-chain will allow. Michael peeks through the
opening.
MICHAEL
Camela Clermont?
CAMELA
Yes?
MICHAEL
I'm Michael Knight. I work with
Devon Miles.
She hesitates.
MICHAEL
(continuing)
We don't go to the same tailor.
She smiles, unlatches the door.
CUT TO
INT. AMELIA'S CONDO - DINING ROOM - DAY
Begin on a small collection of elegant French ceramics which
sit on the dining room hutch. Camela's hand picks one up,
she muses over it, touches her mother's belongings as we
widen to see Michael at the table, buried in his research
of Amelia's papers, during:
MICHAEL
All right...the last letter you
got in Paris from your mother was
September 28th. She was still
working full-time at the library
on October 6th and doing volunteer
work at campaign headquarters on
that Saturday, the 11th.
(beat)
What's the date of the last call on
her phone bill?
Startled out of her reverie, she picks up the phone bill.
CAMELA
October 11th.
Michael jots the information on a pad he has started.
MICHAEL
At least we know when she...disappeared.
Camela picks up several tickets that Michael has in front
of him.
CAMELA
Look at these...tickets for plays,
symphonies, a lecture for Green Peace
...I never realized how many interests
Mama and I had in common.
MICHAEL
And we know she wasn't planning on
dropping out of sight.
(on her
confused
look)
These tickets...the theater's tomorrow
night...and the symphony series doesn't
start until next month.
It sinks in hard. She picks up one of the ticket envelopes.
Because she is staring down at it, Michael cannot at first
see that she is crying. Then she drops the envelope and
quickly wipes away a single tear that begins to spill down
her cheek.
CAMELA
Oh, Michael...the tickets...'An
evening with George Gershwin --
An American In Paris.'
MICHAEL
Camela...It's going to be okay.
We'll trace her down. It may take
some time, a lot of legwork, a lot
of dead-ends...but we'll find
answers, believe me.
She nods. He clasps his hand around hers. She takes it,
holds on tight.
EXT. AMELIA'S CONDO - DAY
Camela talks MOS to an elderly lady who is walking into the
building. The woman is animated, but, after a pause, shakes
her head "no."
CUT TO
INT. EBERSOL'S OFFICE - CAMPAIGN HEADQUARTERS - DAY
Michael speaks to a young, pretty campaign worker at the
"Ebersol for Congress" reelection campaign headquarters.
There are posters everywhere of Ebersol, captioned "Re-Elect
Albert Ebersol -- A Good Man." The girl shakes her head "no."
CUT TO
EXT. STREET CORNER - DAY
Camela stands on the corner. Michael pulls to the curb and
she hops in. The car continues down the street.
INT. K.I.T.T. - DAY - MOVING
Michael is at the wheel, Camela on the passenger side, pre-
occupied.
MICHAEL
Any luck?
CAMELA
(shakes
her head)
Everyone was sympathetic...and sweet
...but no one knew anything.
Mrs. Farrell at the library said
Mama could -- what was the phrase --
'Charm the socks off a snake.'
Michael smiles, tries to make eye contact, but it's brief.
CAMELA
When I was a little girl, Mama worked
at the central library in Paris. I
used to spend afternoons all curled
up in one of the alcoves and listen
to the echo of her footsteps. I
could always tell her footsteps...
K.I.T.T. makes a throat-clearing sound.
K.I.T.T.
Michael, aren't you going to intro-
duce me to this charming, cultured
young woman?
Camela reacts, stares. Michael shakes his head.
MICHAEL
Don't have much of a choice now,
do I?
CAMELA
Where did that voice come from?
MICHAEL
A computer.
CAMELA
It...talks?
MICHAEL
(nods)
Sometimes to a fault. Camela, meet
Kitt.
K.I.T.T.
Camela, I couldn't help overhearing
...you grew up in Paris?
CAMELA
Yes, I've lived in France most of
my life...I still do, as a matter
of fact...
(to Michael)
I feel so...strange, talking to
a car.
MICHAEL
(a smile)
It takes a little getting used to.
K.I.T.T.
(in French)
Am I correct in assuming you speak
French?
CAMELA
(in French)
Yes. Actually, I think of English
as my second language...
(realizes, to
Michael)
He speaks French!
MICHAEL
Fluently, I'm afraid.
K.I.T.T.
I've tried to interest Michael in
the romance languages, but he prefers
rock 'n' roll and girls in bikinis.
MICHAEL
(warning)
Kitt, that'll do.
(to Camela)
Hungry?
CAMELA
I hadn't thought of it. Why?
MICHAEL
I cook a mean cheeseburger.
K.I.T.T.
(to Camela)
See what I mean?
Camela laughs.
CUT TO
INT. AMELIA'S CONDO - NIGHT
Michael places two bags of groceries in the kitchen, returns
to the living room. Camela stands by the piano, absorbed in
what she holds in her hands, a scrapbook.
MICHAEL
Cheeseburgers, home fries, apple
pie...
He stops when he sees that she is staring at the book,
crosses to her.
ANGLE AT PIANO
MICHAEL
Camela?
CAMELA
When...when I was little I hated to
practice the piano. Mama used to hide
treats in here, as incentives...
(indicates the
piano bench)
I looked inside, and found this scrap-
book....
She slowly opens it. As she does, a photograph and a
technical drawing fall out.
Michael picks them up: we see that the photo is a fuzzy,
distorted area of fenced landscape and buildings, but we
cannot make out anything with specificity. The technical
drawing is a diagram of electronic circuitry which we will
later learn are blueprints for the guidance system of the
Sledgehammer missile.
MICHAEL
Hard to tell what the photograph's
of...
(re drawing)
This looks like a blueprint of
some kind...
(to Camela)
Anything else in the scrapbook?
CAMELA
Just pictures...some newspaper
clippings...oh, I almost forgot --
a bill came today. Gasoline credit
card.
She finds it, hands it to him. He opens it, rifles through
the receipts.
MICHAEL
Interesting...she bought all her gas
at a station in town...except the last
time the card was used. It's listed
as a station in Electra, Arizona.
CAMELA
I don't understand -- what difference
could that possibly make?
MICHAEL
The date is Saturday, October 11th.
CUT TO
EXT. HIGHWAY - DAY - K.I.T.T. - STOCK
K.I.T.T. flies down the highway.
K.I.T.T.'S VOICE
I fail to see the significance of
a gasoline purchase in Electra....
INT. K.I.T.T. - DAY - MICHAEL - MOVING
K.I.T.T.
...in addition to which, it sounds
like the kind of place I prefer to
avoid.
MICHAEL
Come on, Kitt -- stretch a little.
They say traveling broadens your
horizons.
K.I.T.T.
I believe they say it about places
like Champs Elysees or Trafalgar
Square. I don't believe they say it
about places like 'Elmo's Garage' in
Electra, Arizona.
Michael smiles.
K.I.T.T.
Since you haven't asked, I was quite
impressed by Camela.
MICHAEL
I figured.
K.I.T.T.
It's beyond me how you could prefer
bubble-heads in bikinis over ---
MICHAEL
Kitt, I like Camela, okay? And just
because a girl wears a bikini doesn't
mean she's a 'bubble-head.'
(beat)
Who told you that, anyway? April?
K.I.T.T.
I'm capable of drawing my own con-
clusions.
MICHAEL
It was April.
CUT TO
EXT. ELMO'S GARAGE - ELECTRA, ARIZONA - DAY
A throw-back to the Fifties, an ancient gas station as
weather-beaten as its owner, Elmo Warshaw, a reed-thin man
in his sixties. Elmo, in a greasy baseball cap, whistles
in appreciation as Michael drives up and stops.
Elmo crosses over.
ELMO
Fill 'er up?
MICHAEL
Thanks, I'm just looking for a little
information....
Michael holds out a photo of Amelia.
MICHAEL
I'm trying to find this lady. Credit
card billing says she bought gas here
on October 11th. Do you remember her?
Elmo, however, is staring past the photo to K.I.T.T.'s dash.
ELMO
What is this?
MICHAEL
Pardon? Oh, my car -- I like gadgets.
Did you see her?
ELMO
(still staring)
Must be a real thrill drivin' a car
like this.
MICHAEL
It has its ups and downs. Have you
seen this woman?
ELMO
(looks
at photo)
Matter of fact, yeah...had a sporty
little car with a chunk outta the
left front tire size of a half-
dollar. Couldn't sell her a tire,
though. Haven't sold a tire in
three years.
MICHAEL
Which way did she go? Did you notice?
ELMO
(points)
That way.
MICHAEL
What's down there?
ELMO
Nothin'. Old salvage yard, but that's
all....
MICHAEL
What kind of salvage yard? Cars?
Elmo steps back, a change in his face.
ELMO
I sell gas, not information. You
want information, you come to the
wrong place.
He goes back inside. Michael studies him, thoughtful,
then leaves, turning onto the two-lane road off the highway.
CUT TO
EXT. TWO-LANE ROAD - DAY
Michael and K.I.T.T. stop on a hill overlooking the war
surplus salvage yard in the distance.
INT. K.I.T.T. - DAY
Michael peers out through the windshield.
MICHAEL
Kitt, bring up that picture from
Amelia's scrapbook.
The fuzzy picture comes up on one CRT.
MICHAEL
(looking
hard now)
All right...now give me a visual
on the surplus yard.
K.I.T.T.
I could teach you French, Michael.
The second CRT brings up the surplus yard landscape.
MICHAEL
Some other time, Kitt. Now, zoom in
a little closer, filter the fuzz out
of the photo, and we'll see if we've
got something.
K.I.T.T. zooms, the two CRTs adjust and then we see two
exact landscapes.
K.I.T.T.
Michael, this is virtually the exact
picture that Amelia Clermont took.
MICHAEL
You got that right, pal. Now the
question is why.
He pulls out.
CUT TO
INT. HANGAR - STORAGE AREA - CRATE - DAY
Hands and a crowbar pry open a crate revealing four Sledge-
hammer missiles and the Multiple Ejection Racks for launch
of the missiles. Adjust to see the handler is Kragen. He
lifts one of the racks as we adjust to see Edward Strock move
up from an outside office...His beginnings were mean streets,
but now he hopes his money, fancy cars, associates and Armani
suits will cover it all.
STROCK
Haven't you got the system installed
yet?
KRAGEN
Just got the Racks yesterday...What'd
you want, an assembly line?
STROCK
We've got a deadline to meet.
KRAGEN
We'll meet it. We always do.
EXT. AAA WAR SURPLUS SALVAGE YARD - MAIN GATE - DAY -
CLOSE ON PICTURE OF AMELIA
Pull back as Richards hands it back to Michael. In b.g. we
see Strock's Bentley.
RICHARDS
Haven't seen her. We don't get much
company out here.
MICHAEL
(studies him
a beat)
Okay, thanks for your time.
Richards nods. Michael pulls out. Hold on K.I.T.T. moving
down the road. Then follow Richards to his Jeep. He picks
up a Handi-talkie.
INT. K.I.T.T. - DAY - MOVING
K.I.T.T.
The man's voice modulation indicated
stress variables, Michael.
MICHAEL
(nods)
That leaves me with two questions,
Kitt. Why would he lie...and why
would Amelia be interested in that
place?
CUT TO
EXT. TWO-LANE ROAD - DAY
Michael and K.I.T.T. travel down the desolate road. They
pass the area where Amelia skidded off.
INT. K.I.T.T. - DAY
Michael slows as he passes the skid marks.
K.I.T.T.
Something wrong, Michael?
MICHAEL
I'm not sure, Kitt.
He throws the car into a 180 and comes back to the skid
marks.
MICHAEL
Kitt, give me a reading on those
skid marks. How long ago were
they made?
K.I.T.T.
Somewhere between two weeks and a
month ago -- Michael, my scanners
indicate the presence of copper-
jacketed twenty millimeter projec-
tiles lodged in the asphalt.
Michael, puzzled, pulls the car off the road, parks and
gets out.
EXT. INCLINE - DAY
Michael walks to the lip of the incline. When he looks
down, he reacts as we adjust to see the burned-out hulk of
a barely recognizable car.
BACK TO MICHAEL
He has a sick feeling in the pit of his stomach. He returns
to K.I.T.T., opens the door, leans in and punches up
K.I.T.T.'s X-ray capabilities.
K.I.T.T.
Michael, what happened? Are you all
right?
MICHAEL
Tell you in a minute, pal. I've
activated your X-ray mode. Give me
a reading on the...car down there.
K.I.T.T.
Goodness. That's a car?
MICHAEL
Was. Is there any trace of...human
life?
K.I.T.T.
I'm sorry, Michael...I detect only
the remains of human life....
MICHAEL
A body.
K.I.T.T.
Badly decomposed.
MICHAEL
Female?
K.I.T.T.
Affirmative.
Michael sighs, shakes his head.
MICHAEL
Better get me Devon, pal.
FEATURE A JEEP ON A DISTANT RISE
A man is looking at Michael and K.I.T.T. through binoculars.
It is Richards, the guard.
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
EXT. DESERT - DAY - MICHAEL
Michael and K.I.T.T. as before.
K.I.T.T.'S VOICE
Devon's not at the Foundation,
Michael.
CLOSER ANGLE ON MICHAEL
MICHAEL
Where is he?
K.I.T.T.
Phoenix. He flew in this morning.
MICHAEL
(reacts)
He's probably with Camela right
now....
K.I.T.T.
Do you want me to call him?
MICHAEL
Yeah...get him for me, Kitt.
ANGLE ON RICHARDS
He returns to his Jeep and leaves.
INT. AMELIA'S CONDO - DAY
Camela has the phone in her hand.
CAMELA
It's for you...it's Michael.
Angle widens to include Devon as he crosses, takes the
phone.
DEVON
Thank you.
(phone)
Hello, Michael. Camela tells me
you've introduced her to a car that
speaks fluent French and cheese-
burgers large enough to....
He doesn't finish, interrupted by Michael. As he listens
his expression changes noticeably. Camela is aware.
DEVON
(phone)
You're quite sure?..I see...yes, of
course...good-bye.
He hangs up, shaken.
CAMELA
Devon, what is it? Did he find
something?
No choice, Devon faces her.
DEVON
He found Amelia's car....
Camela stares at him, suddenly unnaturally calm.
CAMELA
She's...dead, isn't she?
Devon nods. Their eyes hold for a long moment.
DEVON
Camela....
He reaches to touch her but she abruptly moves away, stops,
her back to him.
CAMELA
I'm all right. Really, I'm
perfectly capable of....
WIDE ANGLE
Devon can see she is crying. He moves to her, gently puts
his arms around her. This time she doesn't resist. They
hold each other, Camela crying. Devon's tears still inside.
CUT TO
EXT. TWO-LANE ROAD - DAY
K.I.T.T. is parked on the road, scanner flashing, as
Michael examines the road.
MICHAEL
No cannon fire could've destroyed a
car like that -- even twenty milli-
meter.
He slowly moves back toward K.I.T.T., thinking, observing
the area.
MICHAEL
Got any ideas?
K.I.T.T.
None, I'm afraid.
MICHAEL
I'll settle for a probable location
of the weapon.
K.I.T.T.'s computers whir and flash.
K.I.T.T.
Point of impact analysis indicates
the weapon could only have been
fired from one position.
MICHAEL
C'mon, Kitt -- spit it out.
K.I.T.T.
Directly above.
Michael reacts, looks up. All he sees is sky.
INT. CONDO - NIGHT - ANGLE ON DEVON
as he comes out of a bedroom, quietly closes the door
behind him. As he crosses to the coffee table, we widen to
see Michael there, seated, waiting for him. Devon's face
shows the day's toll.
MICHAEL
Is she asleep?
DEVON
Fitfully, but she is. Thank God.
(beat)
I first met Amelia in Washington, DC.
I was hurrying up the steps of the
Capitol Building. She was hurrying
down. We collided and fell, quite
literally, in love.
(beat)
She desperately wanted to go to
Europe. After the war...I had seen
enough of it. We drifted apart, but
we never really lost touch....
Devon looks at Michael.
DEVON
The last thing Camela said before
she went to sleep was she didn't
want her mother's death to be in
vain. I told her I'd see to it.
MICHAEL
(nods)
I read you.
For a moment, it looks as if Devon might cry, but he
doesn't, turns; back to the business of it. He picks up
the technical drawings Michael discovered in Amelia's
scrapbook, puzzled.
DEVON
I still can't imagine how Amelia
could get her hands on a document
like this...I called a friend at the
Pentagon. He said the guidance
system for the SX-411 is as top
secret as the missile itself.
Michael is struck by a thought.
MICHAEL
Devon...this SX-411 missile...what's
it fired from?
DEVON
It's adaptable to either a fighter
or an attack helicopter. Why?
MICHAEL
(beat)
I think I know what Amelia was after
out there...and what destroyed her.
DEVON
Michael, what on earth are you
talking about?
CUT TO
EXT. HIGHWAY - NIGHT - STOCK
K.I.T.T. flashes by.
INT. K.I.T.T. - NIGHT
Michael drives, alone with his thoughts.
K.I.T.T.
You're awfully quiet tonight.
MICHAEL
Guess I am, pal...got things on my
mind.
K.I.T.T.
Camela?
MICHAEL
In a manner of speaking.
K.I.T.T.
She could be the one, Michael.
MICHAEL
The one what?
K.I.T.T.
Don't you ever think of marriage?
MICHAEL
Marriage? Kitt, let's get one thing
straight. Right now, I do not want
to get married and I don't want to
learn French, either.
K.I.T.T.
Aren't we testy.
MICHAEL
If I'm right about what's in that
hangar, you'd be testy too.
CUT TO
EXT. WAR SURPLUS SALVAGE YARD - NIGHT
Layton and Richards patrol on foot.
ANGLE ON K.I.T.T.
He rolls to a silent stop some distance from the main
gate. Michael slips out silently.
ANGLE ON MICHAEL
He runs across the gulley to the back gate. At the fence,
he talks into the comlink.
MICHAEL
Kitt, I need a locksmith. Fast.
INTERCUT - K.I.T.T.'S MONITOR SCREENS
K.I.T.T.
That's a digital variation lock,
Michael. It may take some time to
determine all the mathematical prob-
abilities to find the correct
combination.
MICHAEL
In other words, back off.
K.I.T.T.
Precisely.
On one CRT comes the lock, as K.I.T.T. infrarays it. On
the other CRT, combinations of numbers speed by.
EXT. SALVAGE YARD - ANGLE ON GUARDS BY GUARD GATE
Richards starts toward the back fence area and motions
Layton off towards the other direction.
ANGLE ON MICHAEL
MICHAEL
(comlink)
Kitt, someone's coming.
Suddenly, the gate pops open. Michael creeps inside the
fence.
ANGLE WITH MICHAEL
He moves quietly to a stack of empty crates ten yards
inside the fence. He checks around a corner at Richards,
who has turned back to the guard gate, oblivious to Michael.
Michael checks inside the crates, then spots the hangar
about fifty yards away. Midpoint to the hangar is another
pyramid of crates and, beyond it, the tank. As Michael
starts forward, he bumps an exposed plank of wood.
ANGLE ON RICHARDS
His head snaps around at the noise, and he edges over to
the stack of crates. He pauses, then jumps behind the
crates, rifle ready to fire. He sees nothing....
ANGLE ON MICHAEL
hiding in the shadow of the pyramid of boxes, midpoint to
the hangar. Richards looks around, then walks back to the
guard gate. Michael beats a fast track to the hangar.
INT. HANGAR - NIGHT
Michael comes through a back door and is bathed in an
eerie blue light. He stops and stares up in awe.
HIS POINT OF VIEW
At the far end of the hangar is the SX-411, an advanced
attack helicopter presently in production. It's awesome,
frightening. Kragen and a technician work on ladders,
installing missile guidance systems.
ANGLE TO INCLUDE MICHAEL
He can't take his eyes away.
K.I.T.T. (O.S.)
(comlink)
Michael, a guard is approaching.
MICHAEL'S POINT OF VIEW - LAYTON
carrying a flashlight, stops at the window and points the
beam inside.
NEW ANGLE
Michael backs up tight against the wall. Layton stands in
the doorway and moves his flashlight's beam across the floor.
It misses Michael by inches. Layton leaves. Michael waits
a moment, inhales, slips out the door.
EXT. SALVAGE YARD - NIGHT - ANGLE WITH MICHAEL
Michael exits the hangar and moves from shadow to shadow,
getting closer to the back gate -- when Richards comes into
view. He sees the open lock, locks it, suspicious.
Michael hides behind the stack of crates ten yards from the
fence.
MICHAEL
(comlink)
Kitt, I need some help. Create a
diversion at the west end and then
come get me.
K.I.T.T. (O.S.)
Anything in particular?
MICHAEL
Use your imagination.
ANGLE ON TANK
Silent and unmoving.
INT. K.I.T.T. - NIGHT - ON MONITOR SCREENS
The microwave jammer goes to work.
ANGLE ON TANK
The engine growls to a start.
ANGLE AT BACK GATE
Both Richards and Layton react, move towards the west end.
ANGLE ON TANK
It rumbles along, smashing things. Layton appears, jumps
on it, struggles to control it.
ANGLE AT OPPOSITE END
K.I.T.T. appears out of the darkness, turbo boosting over
the fence. He skids to a stop, the door pops open and
Michael jumps in.
ANGLE ON TANK
Layton shuts it off. Richards, approaching, thinks he
hears something. He turns.
HIS POINT OF VIEW - K.I.T.T.
leaps over the fence, into the night.
CLOSE ON RICHARDS
He stares in disbelief. And alarm.
CUT TO
INT. CONDO - NIGHT - DEVON AND MICHAEL
trying to keep their voices down despite the sense of
excitement and tension.
MICHAEL
I saw it....
DEVON
I don't doubt you, Michael. The
point is without a serial number or
some kind of firm ID, a Federal
judge isn't likely to issue a search
warrant.
MICHAEL
Devon, it's there now. If we're
right about the yard being a front
to sell illegal weapons, it might
not be there long.
DEVON
(thinking)
I do know a U.S. Attorney based in
Phoenix.
(looks for
number
in book)
Perhaps with his help....
He finds the number, begins to dial.
DEVON
You're positive you weren't seen?
MICHAEL
As positive as I can be.
DEVON
(phone)
Hello, Jim? Devon Miles. Pardon
the hour, Jim, but I need your help
on a matter of extreme urgency.
CUT TO
EXT. SALVAGE YARD - DAY
Richards appears, stops, looking off.
HIS POINT OF VIEW - A PROCESSION OF CARS
arrive, two Federal sedans lead by K.I.T.T. They pull in
and park.
INCLUDE RICHARDS
He watches, expressionless. Michael and Camela join Devon
and two Federal Marshals as they reach the gate.
MARSHAL
Federal Marshal. I'd like to see
the owner.
RICHARDS
He's not here.
MARSHAL
You'll do. I have a warrant to
search these premises. Open up.
Richards shrugs, unlocks the gate.
RICHARDS
Help yourself. Unless you like to
live in the past, you won't find much.
Michael indicates the hangar to Devon. Devon nods, leads
the Marshal toward it. Michael puts his arm around Camela,
hugs her in support. Richards catches Michael's eye; to
Michael's surprise, Richards smiles. Michael doesn't like
the smile, doesn't know what it means.
DEVON'S VOICE
Michael? Come here a moment, please.
ANGLE AT HANGAR DOOR
Devon has a peculiar expression on his face. Puzzled,
Michael looks inside.
INT. HANGAR - HIS POINT OF VIEW
Except for scattered pieces of old military equipment, the
hangar is empty.
CLOSE ON MICHAEL
He is stunned.
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
INT. HANGAR - DAY
Michael, Devon and Camela are incredulous. The Marshals
are perplexed and angry. Richards can barely conceal his
gloating.
RICHARDS
Maybe you were seeing things. The
desert can do that to a man.
Devon, livid, pulls Marshal #1 outside.
EXT. HANGAR - DAY
Devon and Marshal talk in hushed emphatic voices.
DEVON
Somebody tipped them off. That man
knows the truth -- arrest him and
we'll get at it.
MARSHAL #1
I'm as sorry as you are, Mr. Miles
but I have no grounds for an arrest.
Devon sighs, frustrated. He watches as a grinning Richards
fingers his rifle.
Camela strides outside, towards the guard gate. Michael
hurries to catch up with her.
ANGLE ON MICHAEL AND CAMELA
MICHAEL
Camela....
As she turns, there are tears in her eyes.
CAMELA
That's it, Michael. We worked so
hard to fit in the last piece of
Mama's puzzle...but they're too
smart....
MICHAEL
For now, maybe, not forever.
CAMELA
No? Look at him, grinning...
(indicates
Richards)
They'll be watching us, now,
waiting...until we give up.
MICHAEL
Camela, your mother was a fighter.
I don't think it was any fluke that
she and Devon were once in love.
After a pause, she nods. They watch as Marshal #2 hurries
towards the guard gate and his car.
CUT TO
EXT. WAR SURPLUS SALVAGE YARD - GUARD GATE - DAY - LATER
Michael and Camela stand by K.I.T.T. Devon and Marshal #1
stand with a nervous Richards at the guard gate.
RICHARDS
You guys searched the place. A
warrant doesn't give you permission
to move in.
MARSHAL #1
Take it easy, Richards. We'll go
when we're ready to go.
Marshal #2 walks up from his car to the guard gate.
MARSHAL #2
Sir, the gun checks out. It's
registered.
(beat)
However, Richards here is an ex-con.
Now it's Marshal #1 and Devon's turn to smile.
MARSHAL #1
Richards, you are aware that the
carrying of arms by a felon is a
violation of the law?
Before he can react, Marshal #2 has the rifle and Marshal
#1 has spun him around into "the position."
RICHARDS
You can't do this...I'll call
Mr. Strock.
They handcuff him. When he and Devon are face-to-face:
RICHARDS
You're going to be sorry, Miles.
Strock's lawyers are going to take
you apart.
DEVON
They're going to have their hands
filled working on getting you out of
prison, Richards. That helicopter's
not the only thing that's going to
be hard to find.
With that, the Marshals hustle him to their car. Devon
walks over to Michael and Camela.
DEVON
Meet you back at the condo in twenty
minutes.
He gets in his car, Michael and Camela get in K.I.T.T.
CUT TO
INT. AMELIA'S CONDO - DAY
Michael, Devon and Camela are in the living room. The mood
is decidedly gloomy.
CAMELA
What could have happened to that
helicopter? How could they have
known we were coming out there?
DEVON
It's obvious they spotted Kitt.
MICHAEL
Not necessarily...They might have
sold it already.
A look of alarm crosses Camela's face.
CAMELA
If that's true -- our evidence is
gone.
DEVON
That evidence -- helicopters are not
the only commodity those men deal in.
(a beat)
Michael, I want you to go undercover
-- as an arms buyer.
Michael's somewhat taken aback.
MICHAEL
I'm willing to do it, Devon, but
what about Richards? He'll tip off
Strock and his men.
DEVON
The Marshals are prepared to move
him from prison to prison to keep
him away from Strock's lawyers.
MICHAEL
How much time does that buy us?
DEVON
Twenty-four hours. I have the
Marshal's personal guarantee on that.
CAMELA
Twenty-four hours...isn't much time.
DEVON
I have April standing by now...she's
getting together a fool-proof cover.
A pause as they all contemplate the dangers involved.
MICHAEL
Then...I guess the next step is...
good-bye.
CAMELA
And this....
She crosses to him and gives him a tight hug.
CAMELA
Good luck.
He smiles. Devon walks him to the door.
NEW ANGLE
at the door of the condo.
DEVON
Michael, you know I'd go myself if I
could.
Michael grins.
MICHAEL
I wouldn't let you...
(off Devon's
look)
You'd be too tough for those guys.
They share a smile. Michael exits.
CUT TO
EXT. HIGHWAY - DAY
K.I.T.T. speeds down the highway to the awaiting semi. He
shoots up the ramp inside.
EXT. SEMI - DAY - RUNBY
INT. SEMI - LOUNGE AREA - DAY - LATER
Michael is staring at one of the TVs, something it's obvious
he's been doing for a while. He's dressed in an old fatigue
jacket and scruffy clothes. April steps up to him.
APRIL
How's it going?
MICHAEL
Okay. There's a lot to learn...
battles, regiments, slogans...The
entire history of Dan Hutchinson's
Black Snake Commandoes....
She presses a button on the console. On the TV comes a
picture of Jack Kragen. Michael is suprised.
MICHAEL
That's the man I saw installing the
MERs.
APRIL
He's also the only black market arms
dealer in town right now. His name
is Jack Kragen.
MICHAEL
The circle closes.
(beat)
Did he and Hutchinson ever fight
together?
APRIL
Considering they've both fought more
wars than some countries, surprisingly
no. They do have a mutual friend in
common...Machete Tom Merton. Use
his name as your contact.
Michael clicks off the TV set, stands.
MICHAEL
Do you have any idea how much one of
these MERs is supposed to run?
APRIL
The FBI recently arrested some arms
merchants in Florida. They were
selling them for $80,000 a piece.
MICHAEL
Then I'll offer $150,000.
APRIL
Michael, won't that make you look a
little...green?
MICHAEL
Hopefully, it'll make Kragen a
little hungry. Maybe hungry enough
to get me an MER off the helicopter
-- if it's still around.
She nods and follows him to K.I.T.T.
K.I.T.T.
April, do I get a cover?
APRIL
You don't need one, Kitt, you're
already classified information.
K.I.T.T.
Merci beaucoup.
APRIL
Very good, you're utilizing your
French program.
MICHAEL
Ad nauseum.
APRIL
Latin, too?
MICHAEL
Good-bye, April.
APRIL
Do well, Hutchinson.
With a final smile, he backs K.I.T.T. out.
CUT TO
DRIVEBYS - STOCK
as highway changes to city streets and day fades into night.
EXT. CITY STREET - NIGHT - ANGLE IN K.I.T.T.
One of the worst areas of Phoenix, a street of strip-joints
and rundown hotels.
K.I.T.T.
Michael, why is it everytime you go
undercover, you dress in the
grungiest outfits imaginable? Why
is it you never go as a count or
financier?
MICHAEL
I don't know, Kitt. I guess it's
because royalty rarely commit crimes.
They slowly drive past the Hillside Bar, an ND with no
windows.
K.I.T.T.
I'll bet not a soul in there speaks
French.
Michael pulls K.I.T.T. into a dark, dank alleyway next to
the bar. Parked, or rather abandoned, not far away is a
totally stripped car.
K.I.T.T.
And look at this alley. Look at the
last car that was left here.
Michael looks at the abandoned car, smiles.
MICHAEL
Keep your headlights open, pal.
K.I.T.T.
I hope they're still there when you
get back.
Michael clicks on Surveillance Mode and gets out of the car.
INT. HILLSIDE BAR - NIGHT
As Michael walks into the bar, most conversation stops.
The bar itself is not large, but most of the clientele are.
Many wear old service jackets. Above the bar is the reason
for the bar's moniker: painted in fancy calligraphy is a
rendition of the poem, The Charge of the Light Brigade.
("Into the Valley of Death rode the 600....")
Michael spots Kragen playing darts near the bar. As
Michael goes to the bar, conversation starts again, in low,
hushed tones. The bartender, Roscoe, a ragged man with a
permanent scowl, looks up at Michael, then goes back to
washing out some glasses. Michael cools his heels for a
second, then:
MICHAEL
Hey, I'm not interrupting anything,
am I?
Roscoe reluctantly steps over.
ROSCOE
What do you want?
MICHAEL
A beer -- and some conversation with
a man named Kragen. Is he around?
ROSCOE
Don't know anyone with that name. I
think you'd be happier at the 'Tick
Tock Cafe' down the road.
MICHAEL
I'm happy here....
ROSCOE
You don't understand me, pal....
Michael grabs Roscoe by the shirt. Many of the patrons
start to gather round.
MICHAEL
I'm an American. I've fought and
bled for this country. If I want to
drink here, I'll drink here. Now
get me a beer...pal.
He lets Roscoe go. Roscoe heads off. Kragen steps up to
the bar.
KRAGEN
You looking for a man named Kragen?
MICHAEL
You know him?
KRAGEN
Maybe.
MICHAEL
You're lying.
Kragen tenses. Michael suddenly breaks into a grin, points
to an eagle tattoo on his forearm.
MICHAEL
This says I'm talking to him...and
right now I'd like to make it
business talk.
KRAGEN
That would depend a whole lot on who
you are.
MICHAEL
Hutchinson. Machete Tom Merton
gave me your name.
KRAGEN
Hutchinson, huh? I've always liked
that saying from your Black Snake
Commandoes. Oblige us by repeating
it, please.
Most of the bar patrons begin to gather around Michael and
Kragen. Michael looks around the room and clears his
throat.
MICHAEL
'Good luck is a fantasy for fools
who expect it. Don't expect it,
don't need it.'
A beat. The men all applaud and Kragen slaps Michael on
the back. Michael grins, relieved as hell.
KRAGEN
Let me buy you a drink, friend.
CUT TO
INT. HILLSIDE BAR - NIGHT
Michael and Kragen are drinking beers at a back booth.
The booth is secluded, high backs. You can't easily see
who is at this table from the bar area.
KRAGEN
So talk business.
MICHAEL
I need a couple Multiple Ejection
Racks...MERs. $150,000 a piece.
Kragen eyes him carefully.
KRAGEN
That's a lot of money.
MICHAEL
I've got a plane fueled up, ready to
go from a ranch in Texas. I need
them by noon tomorrow.
KRAGEN
Don't pressure me. I'll let you
know.
MICHAEL
Hey -- no pressure. Just if I get
them by tomorrow, I get a bonus.
(beat)
When the time comes, let's handle
the transaction at your place. I'm
staying at a motel with some very
nosy neighbors.
Kragen eyes him for another beat.
KRAGEN
If the time comes, my friend. I
have a lot of checking to do.
It's Michael's turn to eye him now. Then Michael nods,
hands him a slip of paper and gets up from the table.
MICHAEL
I'll be at this number. If I don't
hear from you by noon, you'll have
lost a sale.
And he exits. Kragen watches him go, then looks at the
paper.
EXT. HILLSIDE BAR - ALLEY - NIGHT - ANGLE IN K.I.T.T.
Michael climbs in the car.
MICHAEL
Kitt, there should be a call going
out on a pay phone in the bar.
Trace it.
K.I.T.T.
There should be? You're not sure?
MICHAEL
It's just a hunch. Intuition.
K.I.T.T.
According to my data banks,
intuition is knowledge based on
supposition. That seems a rather
weak premise on which...
(beat)
However, there is a call going out
to 7113 Church Street. It's a
business listing under two names:
Edward Strock and AAA Surplus, Inc.
MICHAEL
Bingo, pal. Let's go home.
He starts the car up and pulls out.
INT. K.I.T.T. - NIGHT - MOVING
Michael turns K.I.T.T. out onto the street.
K.I.T.T.
Michael, I don't understand. Shouldn't
we follow Kragen and catch him with
the helicopter?
MICHAEL
Let's let them do our work for us.
One MER is as good as the helicopter
-- and that'll give us the leverage
we need to bring in Kragen's
compatriots.
(beat)
Because if there's one thing a
professional soldier hates -- it's
fifteen years solitary confinement.
CUT TO
INT. AMELIA'S CONDO - DAY - CLOSE ON TELEPHONE
As we pull back, we see Devon and Camela at the dining room
table. They glance occasionally at the phone. On the
table is a tea service and a plate of croissants.
CAMELA
Another cup of tea?
DEVON
No, thank you. I've had four --
three over my limit.
She smiles, picks at a croissant.
CAMELA
We're even then -- I've had about as
many croissants...I'm a nervous
eater.
He smiles.
CUT TO
INT. SEMI - LOUNGE AREA - DAY
Michael and April are seated at the table. On the table
is a phone.
MICHAEL
You're sure this number is safe?
APRIL
Positive. You were right not to use
Amelia's phone -- this one is
guaranteed untraceable.
MICHAEL
We won't get a phone bill?
APRIL
I didn't say that.
They are startled by the ringing of the phone. They share
a look of concern, then Michael picks it up.
MICHAEL
Is it on?
INTERCUT - KRAGEN
at the surplus salvage yard, in the hangar.
KRAGEN
I'll meet you at eleven.
MICHAEL
Eleven? I have to get it to my
people by twelve.
KRAGEN
(tense)
I'll meet you at eleven, Hutchinson.
Then he hangs up.
Lose intercut.
APRIL
Is it a go?
MICHAEL
I guess so.
APRIL
You're not sure?
MICHAEL
He said he'd meet me. That's all.
As he walks to K.I.T.T.:
APRIL
Good luck.
MICHAEL
'Good luck is a fantasy for those
who expect it...Don't expect it....'
APRIL
'...Don't need it.'
And he gets in K.I.T.T. and backs up. We hold on April's
concerned look.
EXT. SEMI - DAY
K.I.T.T. goes from the ramp to the highway, makes a 180 and
heads to town.
CUT TO
EXT. HILLSIDE BAR - DAY
K.I.T.T. is parked in the alleyway.
INT. HILLSIDE BAR - DAY
Michael is seated at the bar as Kragen walks in. Kragen
smiles.
KRAGEN
Let's have a drink before we
conclude our business. I have
someone I want you to meet.
Hold on Michael's reaction:
CUT TO
INT. AMELIA'S CONDO - DAY
Devon is looking out of the window as Camela straightens
up. The phone rings and she answers it.
CAMELA
Yes?
She holds it up for Devon. He crosses and takes it.
DEVON
Hello?
As he listens, his face goes white. Camela notices the
look.
DEVON
I see.
He hangs up and quickly dials a number.
CAMELA
What is it, Devon? What's wrong?
DEVON
Forty-five minutes ago...Richards
walked out of prison.
We hold on their reaction of fear and we:
FREEZE FRAME
AND
FADE TO BLACK
END OF ACT THREE
ACT FOUR
FADE IN
INT. AMELIA'S CONDO - DAY
Devon is on the phone. Camela stands close by. They are
both filled with worry.
DEVON
April, Michael may be in great
danger. Have Kitt call him
immediately.
INTERCUT - APRIL
in the semi.
APRIL
But if we use the comlink, we could
be jeopardizing the entire sale.
DEVON
It's a chance we have to take, I'm
afraid.
CUT TO
INT. HILLSIDE BAR - DAY
Michael and Kragen are still at the bar. Kragen finishes
his beer, very slowly.
MICHAEL
Kragen, I don't want to lose that
bonus.
KRAGEN
Calm down.
He sets the mug down, gets up from the bar. He motions
Michael to the back booth.
CUT TO
EXT. HILLSIDE BAR - DAY - ANGLE IN K.I.T.T.
April is on the monitor screens.
APRIL
Call him, Kitt, now.
K.I.T.T.
Right away, April.
CUT TO
INT. HILLSIDE BAR - DAY - ANGLE AT BACK BOOTH
As soon as Michael sees who is in the back booth, he
freezes. It's Richards, who smiles up at him.
KRAGEN
(with a sneer)
I believe you two know one another,
Hutchinson.
Michael turns when he hears the sound of the front door
being bolted shut. Roscoe turns back and approaches
Michael with a sap. The back door is bolted, too. A huge
man comes at Michael with a gun tucked under his belt.
Just as they all converge, the comlink goes off. The four
are all distracted by it.
MICHAEL
Forget that bonus.
And Michael lifts the booth up and topples it over. It
crashes into Richards and Kragen and knocks them both to
the floor. Michael swings and knocks out the man with the
gun with one punch.
Roscoe tries to hit Michael, misses, and is pushed into the
booth. As he falls, he grabs at Michael's arm, and rips
off the comlink.
Michael starts for the door but Kragen tackles him. They
trade missed punches. Richards grabs Michael from behind
and pins him. As Kragen's punch comes towards camera:
CUT TO
INT. K.I.T.T. - DAY
And the plaintive cry:
K.I.T.T.
Michael! Michael!
CUT TO
INT. AMELIA'S CONDO - DAY
Camela opens the door to Michael. His clothes are torn, his
face is bruised; the aftermath of his battle.
DEVON
Michael, dear boy....
Michael stumbles inside. He goes to the couch and gently
lays down.
DEVON
(to Camela)
Call a doctor.
MICHAEL
I'm...okay. Nothing's broken...
just sore. Real sore.
(beat)
I have one question, Devon: how did
he get out of jail?
Devon sits on a chair close to him. Camela crosses to the
kitchen.
DEVON
You're going to be surprised,
Michael. The Marshals told me a
very powerful man got him out --
Albert Ebersol.
MICHAEL
The congressman?
Camela reenters with an ice pack. She places it on
Michael's forehead.
CAMELA
That's the congressman Mama worked
for.
MICHAEL
What would a congressman want with a
man like Richards?
DEVON
I'm not sure. But Ebersol coauthored
a Congressional Investigative
Subcommittee Report recently -- on
illegal arms shipments. A report
that has no trace of Edward Strock's
name.
MICHAEL
A cover-up?
DEVON
Possibly. Apparently, Amelia dis-
covered a connection between Ebersol
and Strock....
MICHAEL
Wait a minute....
He starts to get up, winces in pain and sits back down.
MICHAEL
The scrapbook....
Camela grabs it from a coffee table. She gives it to him
and he turns it to the last page -- and the newspaper
clipping of Ebersol, Strock and Amelia. Camela gasps.
MICHAEL
There -- Strock is Ebersol's leading
financial backer.
A beat, then:
CAMELA
That gives us all the pieces....
DEVON
And with the helicopter gone, no
clear way to connect them, I'm
afraid.
Michael rests back down. Camela crosses to the bedroom.
DEVON
I'm so sorry, Michael. I feel that
this is my fault.
MICHAEL
It's no one's fault, Devon.
DEVON
That's kind of you...but I can't
help but feel responsible.
CAMELA
No. It's my responsibility. And I
know a way to make the pieces fall
into place.
We hold a beat on Michael's and Devon's reactions.
CUT TO
INT. EBERSOL'S OFFICE/HEADQUARTERS - DAY
A hectic place of ringing phones and hurrying people. In a
glass-partitioned office are Ebersol and Strock, going over
some papers. Outside the office, Camela enters, dressed
and made up to look exactly like Amelia. She hands a
letter to a campaign worker and waits as she delivers it to
Ebersol. The worker points up at Camela, and Ebersol and
Strock stare, transfixed in shock.
With a wisp of a smile, Camela vanishes. Ebersol and Strock
move out after her, trying not to attract attention to
themselves. They see a back door close.
EXT. ALLEY WAY - DAY
Camela gets in an awaiting K.I.T.T. and Michael speeds down
the alley. When Ebersol and Strock come out of the door,
all they see is the departing Trans Am.
EBERSOL
You said she was dead.
STROCK
Kragen said so.
EBERSOL
Did he see the body?
STROCK
No one could have escaped that inferno.
EBERSOL
Did he see the body?!
All Strock can do is shake his head, "no." Ebersol looks
at, opens the letter and peruses it quickly.
EBERSOL
She says she's been hiding out until
she had more evidence. Now she has
it.
(reading)
'Mine isn't going to any Federal
Marshal -- it's going to the press.'
Strock takes the letter.
STROCK
(reading)
'I want $500,000 delivered to the
Village Restaurant in Saunders.'
That's ten miles from here.
EBERSOL
I know that -- this is still my
district, remember?
STROCK
What if it's a trap?
EBERSOL
Why worry about that? At this
point, I don't think we have many
options left, do we?
With that, Ebersol disappears back inside. Strock continues
to stare at the letter.
CUT TO
EXT. SEMI - DAY - MOVING
INT. SEMI - DAY
April is inside K.I.T.T., working on the dash. Michael
stands outside the car.
MICHAEL
We're not going to need the SX-411
-- hopefully, we'll get them on
attempted murder.
APRIL
I'm not taking any chances. I've
increased the microwave jammer
capabilities three-fold to one
hundred fifty yards. It'll be a
strain on Kitt, so use it sparingly.
She gets out of the car, pops the hood.
APRIL
I've also outfitted him with prototype
Ultra Magnesium Charges....
MICHAEL
What are those for?
APRIL
Basically, what any magnesium flare
is for -- emergencies. Just in case
you're caught in a canyon or off the
road. They can be seen for close to
a mile around.
(sotto;
to Michael)
Michael, those Sledgehammer missiles
...well, they're potentially quite
hazardous.
K.I.T.T.
How hazardous, April?
MICHAEL
Don't worry about it, pal. That
helicopter is probably long gone.
K.I.T.T.
For once, Michael, I believe I'll
bank on your intuition.
Michael and April share a grim smile.
CUT TO
EXT. AMELIA'S CONDO - DAY - LATER
An ND car pulls up behind and down the street from the
parked Trans Am. Richards is in the driver's seat, Layton
is in the passenger's seat. The car is equipped with a CB.
Camela, still dressed as Amelia, steps outside and walks to
K.I.T.T.
INT. K.I.T.T. - DAY
Camela climbs in the driver's side.
CAMELA
Bienvenu, Kitt.
K.I.T.T.
Bienvenu, Camela. Sit back and
leave the driving to me.
K.I.T.T. pulls out. The ND car pulls out behind K.I.T.T.
K.I.T.T.
Would you like me to play a
Beethoven symphony? What about
something by Brahms?
CAMELA
How about...Bach's well-tempered
clavichord? I love that piece.
The music instantly comes through K.I.T.T.'s sound system.
K.I.T.T.
Isn't that a coincidence? Michael
asked for the same thing just this
morning.
CAMELA
Really?
K.I.T.T.
Oh, yes. Michael is what's called a
'diamond in the rough.' He's
forever carrying on about museums
and ballets....
CAMELA
(surprised)
I didn't know that he was interested
in cultural activities....
K.I.T.T.
Camela, you've no idea....
CUT TO
EXT. STREET - DAY - ANGLE ON K.I.T.T.
as K.I.T.T. approaches an intersection, we see the Knight
semi lumbering out.
K.I.T.T. (O.S.)
Hold on, Camela.
And K.I.T.T. quickly accelerates, cutting in front of the
semi, which, moving slowly, causes the ND car to stop.
ANGLE ON DEVON AND MICHAEL IN A RENTED CAR
parked at the curb on the opposite side of the semi as
K.I.T.T. pulls to an urgent stop. Michael exits the rented
car, Camela exits K.I.T.T. Both enter the other car,
quickly, and move out down the street, as:
THE SEMI
clears the intersection, Richards screams out after
K.I.T.T., passing, and taking no note of the slower moving
rental car driven by Devon.
EXT. HIGHWAY - DAY
A largely deserted road. K.I.T.T. and the ND car are the
only two vehicles on the highway. Then the ND car begins
to fall back.
INT. K.I.T.T. - DAY - MOVING
As the ND car drops out of sight, K.I.T.T. is alone on the
highway.
K.I.T.T.
Michael, I believe we're losing our
tail.
MICHAEL
I believe you're right, pal.
Suddenly, a loud muffled sound is heard.
K.I.T.T.
And, Michael...I believe your
intuition was wrong.
MICHAEL'S POINT OF VIEW - THE SX-411
seems to appear out of nowhere, filling the screen with
its huge presence. In the daylight, out in the open, it
is awesome, a full-blown attack helicopter, the K.I.T.T.,
as it were, of helicopters.
K.I.T.T.
Oh, my.
VARIOUS ANGLES - THE CHASE
K.I.T.T. pours on the gas. Kragen unleashes the fury of
the mighty Gatling gun on the car, but the bullets merely
spark off.
ANGLE ON K.I.T.T.
Michael steers the car off the road into an open field,
surrounded on three sides to form a canyon. Halfway into
the canyon, the sides are no more than fifty feet across.
INT. SX-411 - COCKPIT - DAY
Kragen, wearing a pilot's helmet, presses a red button on
the fire control display panel.
SLEDGEHAMMER MISSILE
spits from the underbelly of the SX-411.
INT. K.I.T.T. - DAY
Michael races the car away, but the missile stays on his
tail. It's coming closer...closer...Michael not sure what
to do, then, he hits a button on the dash.
EXT. K.I.T.T. - DAY
An Ultra-Magnesium Charge drops from K.I.T.T. -- and the
Sledgehammer smashes into the ground where the charge fell.
INT. K.I.T.T. - DAY
Michael slows K.I.T.T. down, starts to drive him in a
circle. The SX-411 hovers above, the Gatling gun pounding
away, with the same non-results. Michael hits the
microwave jammer button. On the monitor screens, we see
the jammer go to work.
INT. SX-411 - COCKPIT - DAY
Kragen listens as one of his engines starts to sputter.
Reflexively, he pulls the helicopter up. Once out of
K.I.T.T.'s jammer range, the turbines purr normally.
Kragen hits the red button again.
SLEDGEHAMMER MISSILE
as it heads toward K.I.T.T.
INT. K.I.T.T. - DAY
Michael hits the Ultra-Magnesium Charge button again. A
beat as sparks begin to fly from under the dash.
K.I.T.T.
Overload, Michael.
Just as the rocket is about to hit, Michael presses the
"turbo-boost" button. The jump is not spectacular, but the
rocket does miss, by inches. It hits the ground under
K.I.T.T., nearly causing the car to turn over.
MICHAEL
Kitt, what's the matter?
K.I.T.T.
The increased jammer frequency
coupled with the dropping of the
charges seem to have knocked my
system for a loop.
MICHAEL
Can you get them to work again?
K.I.T.T.
The charges seem to be permanently
out of commission. The microwave
jammer is back to normal strength.
MICHAEL
Then we have to get closer than
one hundred fifty yards.
K.I.T.T.
A lot closer.
Michael maneuvers the car to the area of the canyon where
the sides are no more than fifty feet across.
ANGLE ON SX-411
It makes another wide pass and hovers above K.I.T.T.
INT. K.I.T.T. - DAY
Michael hits a button on the dash -- the "smoke screen."
ANGLE ON K.I.T.T.
A billow of smoke envelopes the car. Kragen heads for the
car.
INT. SX-411 - COCKPIT - DAY
Kragen lines up the smoke screen in the electronic
crosshairs, hits the red button and a rocket fires....
ANGLE ON SMOKE SCREEN
The Sledgehammer hits its mark! The explosion is loud and
blinding. Kragen lets out an ecstatic shout.
ANGLE ON K.I.T.T.
climbing up a side road to the top of the canyon where the
sides are no more than fifty feet across. Michael revs the
car up, starts it to the canyon wall....
INT. K.I.T.T. - DAY
...and hits the "turbo-boost" button. The car heads up, up
and over the canyon and the SX-411...Then Michael hits the
microwave jammer button.
MICHAEL
Give me everything you got, Kitt!
On the monitor screen, the jammer appears, goes weak, appears
again, as sparks fly from under the hood.
INT. SX-411 - COCKPIT - DAY
As the turbines sputter, Kragen tries to take the chopper
up -- but it won't go. Panicked, he hits every emergency
switch, but nothing works.
ANGLE ON K.I.T.T.
As it lands on the other side of the canyon, safe, Michael
starts the car back down to the bottom of the canyon.
ANGLE ON SX-411
The chopper auto rotates and lands at the canyon floor with
a thud.
EXT. CANYON'S FLOOR - DAY
Kragen jumps out of the SX-411 and starts to run. Michael
and K.I.T.T. scream alongside. Michael cuts him off, jumps
out of the car and tackles Kragen. They both get to their
feet, circle -- and Kragen brings up his fists.
MICHAEL
Let's see how you do with these
odds, pal.
Kragen swings, Michael deflects it. Kragen attacks again,
Michael ducks, grabs his arm, spins him in a judo throw,
once, twice and he lands flat on his back, whipped. Michael
picks him up by his shirt.
MICHAEL
It looks like I get my bonus afer all
...I've got the murderer, the murder
weapon...and now we're going to talk
about another kind of deal, Kragen.
One that's going to save your life.
CUT TO
INT. EBERSOL'S OFFICE - CAMPAIGN HEADQUARTERS - DAY
Ebersol and Strock are looking over some papers, when they
hear a knock at the door. Devon enters. Ebersol and
Strock stand up.
DEVON
I'm sorry to disturb you, but there's
someone I'd like you to meet.
He opens the door to reveal Camela, dressed as Amelia. She
undoes her hair and takes off her glasses so they see that
it is, indeed, Camela.
DEVON
Camela Clermont, Amelia's daughter.
As the two Federal Marshals appear with Michael outside the
office:
DEVON
She'll be testifying at the trial.
Don't worry, Congressman: your
campaign will be over long before
then -- that I can assure you.
We hold on Ebersol's and Strock's shocked reaction and we:
FREEZE FRAME
AND
FADE OUT
END OF ACT FOUR
TAG
FADE IN
EXT. AMELIA'S CONDO - DAY
Michael, Devon, April and Camela step outside. A cabbie
grabs Camela's suitcase and loads it in his taxi, which is
parked a few car lengths from K.I.T.T. Camela is dressed
in her traveling best.
DEVON
I got a call from the Federal
Marshals this morning: not only
have they rounded up Richards and
the other guards -- they were able
to corral some of Strock's 'customers.'
APRIL
What happens now, Camela?
CAMELA
I'm going back to Paris, where my
grandmama lives and finish school.
Then I'll come back to the States.
Mama never lost her fascination with
America. Mine is just beginning.
(to Michael)
Besides, we have symphonies to go
to, not to mention plays, museums,
ballets, the opera....
DEVON
Looks like you're going to have a
very full social calendar when she
returns, Michael.
With a smile and a look towards K.I.T.T.:
MICHAEL
C'est la vie.
They all laugh. She gives Michael a kiss on the cheek.
Then she steps up to April and Devon. She hugs April,
then turns to Devon. They hug, tightly, then kiss,
a father's kiss for a daughter.
They break apart. Before she gets in the cab:
CAMELA
(calling)
Au revoir, Kitt!
K.I.T.T.
Au bientot, Camela!
The cabbie wonders what the hell is going on.
ANGLE AT K.I.T.T.
Michael, April and Devon watch as the cabbie gets in and
starts the taxi.
DEVON
Giving up the past is very difficult.
But...not so difficult when some of
it lives on in the present.
They wave one last time to Camela. The cab turns a corner
and is gone.
MICHAEL
Why don't the two of you follow us
to Southern California?
APRIL
Hey, that's a terrific idea, I can
work on my tan.
EXT. K.I.T.T. - DAY
Michael climbs in. April and Devon lean into the other
window. Suddenly, a "Beach Boys" tune starts to play
through K.I.T.T.'s dash.
DEVON
What on earth is that?
K.I.T.T.
A Southern California song, Devon.
It extolls the attractions of that
particular area: surfing, sun, sand
and women in bikinis.
Michael starts the motor. April likes it. Devon, however,
does not.
DEVON
My dear boy, I think for the next
case, I'll send you to Paris.
MICHAEL
You'll get no argument from me there ---
K.I.T.T.
If we go to Paris, Michael, can we
stop at Le Mans?
As they all laugh, we:
FADE TO BLACK
THE END
