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, she slips and
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 brings a Handi-talkie to his lips.
RICHARDS
It's that prowler again. What d'you
want to do?
INTERCUT - JACK KRAGEN
A grim-faced, ruggedly good-looking man in his forties. He
stands by a workbench in a hangar.
KRAGEN
(Handi-talkie)
I'll take care of it.
And he picks up a pilot's helmet, sitting on the workbench.
ANGLE - AMELIA
She runs past a gulley 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. The quiet of the desert soon
envelopes the car and she is able to breathe a sigh of
relief.
EXT. WAR SURPLUS SALVAGE YARD - NIGHT - ANGLE ON HANGAR
A loud thumping sound is heard from inside the hangar.
INT. HANGAR - NIGHT - ANGLE IN SX-411 COCKPIT
The noise is much louder. The cockpit is a metal and glass
cocoon, the main section of a helicopter which we will not
see in its entirety now, but which we will come to know as
the SX-411. Inside the cockpit, in his pilot's helmet, is
Jack Kragen, his face bathed by the satanic red glow of the
instrument panel.
INT. AMELIA'S CAR - NIGHT - MOVING
Amelia reacts to the loud, muffled sound. The panic comes
back: flat tire? Engine trouble? Then the noise becomes
deafening. A light shines above the car like a halo.
Amelia reacts, now very frightened.
INT. SX-411 - NIGHT - KRAGEN
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 gunfire forces Amelia to spin the car off the road.
EXT. CANYON - NIGHT
The sports car goes over an embankment and comes to a stop.
The helicopter's spotlight goes out, but the thumping sound
is still close by. Amelia is terrified.
INT. SX-411 - KRAGEN
He presses a black 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 the helicopter fades into the distance,
leaving the desert to its solitude. The orange flames from
the car continue to burn in the black night.
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
...and in the tests involving the
prototype ultra-magnesium charges,
Kitt performed beyond expectations.
DEVON
(with a smile)
Despite his strong-willed driver?
APRIL
Maybe because of his strong-willed
driver.
DEVON
I'm shocked. You're actually giving
Michael credit?
APRIL
(half-smile)
Only because 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. When Camela pronounces
the word "Mama," the accent is on the second syllable.
April moves toward the door, during:
CAMELA
Excuse me...the outer office was
empty and....
Devon looks up and reacts, disbelieving. When Devon doesn't
respond:
APRIL
May I help you?
CAMELA
I'm looking for Devon Miles.
DEVON
I'm Devon...do we know each other?
CAMELA
I'm Camela Clermont. I believe you
know my mother, Amelia.
DEVON
Yes...yes, of course.
(warmly)
You'll have to forgive me...you look
so much like Amelia. Camela, this
is April Curtis.
They shake hands, ad-lib hellos.
DEVON
Where is Amelia? Is she with you?
CAMELA
I live in Paris with my grandmother.
I was supposed to visit Mama after I
graduated from the University. We
had everything planned. Then her
letters stopped. When I couldn't
reach her on the phone, I flew to
Phoenix...She's disappeared.
DEVON
Camela, your mother was liberated
when the phrase still referred to
countries. As I recall, it wasn't
unusual for her to simply pack
up and leave for days at a time.
CAMELA
It's been three weeks.
She looks close to tears.
APRIL
Have you contacted the police?
CAMELA
They took a report...I'm sorry to
bother you, but I don't know who
else to turn to....
Devon comforts her.
DEVON
You've come to the right place...
don't worry, we'll straighten this
out.
(beat)
Camela, how did you get my name?
She takes a packet of letters from her purse.
CAMELA
These...your love letters to my
mother.
On April's surprised reaction, we:
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.
Michael, I fail to see the appeal of
these songs. They're all about surfing,
sun, and girls in bikinis. 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? Perhaps we
could start with something in Baroque,
and segue to....
We hear Devon's tone. Michael quickly pushes the buttons
on the roof.
MICHAEL
Sorry, Kitt, duty calls. Go, Devon.
INTERCUT - DEVON
As he comes up on the monitor screen, April can be seen in
the b.g. 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? The new assignment's in
California, land of ---
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. She'll meet you in
Phoenix.
(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
and doing volunteer work for
Congressman Ebersol on Saturday,
October 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.
Camela picks up several tickets.
CAMELA
Look at these...tickets for a play, a
symphony, a lecture for Green Peace
...I never realized how many interests
Mama and I had in common.
MICHAEL
At least we know she wasn't planning
on dropping out of sight.
(on her
confused look)
The tickets...the theater's tomorrow
night...and the symphony isn't until
next month.
(beat)
Camela, why did you go to school so
far away?
CAMELA
It's where I live. My mother and
my father divorced when I was nine
...My father's family is very rich
...it was decided I stay with them
in Paris.
Michael nods. She looks back at the envelope, then takes
out the tickets.
CAMELA
Oh, Michael...these tickets were to
celebrate my arrival. 'An evening
with George Gershwin -- 'An American
In Paris.''
Because she is staring down at the tickets, Michael cannot
at first see that she is crying. Then she drops the tickets
and quickly wipes away a single tear.
MICHAEL
Camela...there's got to be a logical
explanation for this...It may take
some time...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 outside
a glass-partitioned office at the "Ebersol for Congress"
reelection campaign headquarters. Inside the office is
Albert Ebersol, a distinguished-looking man in his forties.
He is on the phone and is signing some papers at the same
time. 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 gets in.
INT. K.I.T.T. - DAY - MOVING
Michael is at the wheel, Camela on the passenger side, pre-
occupied.
MICHAEL
Any luck?
CAMELA
Everyone was very nice...but no
one's heard from her in three
weeks...Mrs. Farrell at the library
told me that Mama was the 'most
cultured lady in Phoenix.' She
said everyone liked her.
Michael smiles, tries to make eye contact, but it's brief.
CAMELA
When I was growing up, 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...
(preoccupied;
looks at dash)
What an...unusual car. Are all
American cars like this now?
MICHAEL
Not quite. Camela, meet Kitt.
K.I.T.T.
I was wondering when you were going
to introduce me to this charming,
cultured young woman. Hello, Camela.
CAMELA
Where did that voice come from?
MICHAEL
A computer.
CAMELA
It...talks? All by itself?
MICHAEL
To a fault sometimes.
K.I.T.T.
(in French)
Camela, 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
things like 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 dynamite cheeseburger.
K.I.T.T.
(to Camela)
See what I mean?
Camela laughs.
CUT TO
INT. AMELIA'S CONDO - NIGHT
Michael comes in the door, carrying two big bags of
groceries and the mail. Camela looks up from the piano,
absorbed by what she's found -- a diary.
MICHAEL
Cheeseburgers, home fries, apple pie
...as they say, 'When in Rome....'
He puts the bags and mail down on a table.
CAMELA
When I was little I hated to prac-
tice...Mama used to hide treats in
the piano bench, as incentives...
(indicates
the bench)
I found this. Her diary....
MICHAEL
That could be the break we've been
looking for.
CAMELA
Michael, this has my mother's private
thoughts...what she liked, what she
didn't...What she thought of things.
Of me.
(beat)
I can't just...read it.
MICHAEL
Camela, if there's anybody in the
world your mother would want to share
it with, it's you.
She nods, then 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 photo's of...
(re drawing)
This is a blueprint of some kind...
I'll see what we can come up with.
In the meantime, a bill came today.
Gas credit card.
He picks it up, tears it open, rifles through the receipts.
MICHAEL
She bought all her gas at a station
in town...except the last time the
card was used. It was in Electra,
Arizona. A place called Elmo's Garage.
CAMELA
I don't understand -- what difference
could that possibly make?
MICHAEL
I'm not sure, but the date was Saturday,
October 11th.
CUT TO
OMITTED
EXT. HIGHWAY - DAY - K.I.T.T. - STOCK
K.I.T.T. flies down the highway.
K.I.T.T.'S VOICE
Elmo's Garage sounds like the kind
of place I was programmed to avoid.
INT. K.I.T.T. - DAY - MICHAEL - MOVING
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 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.
She's a very nice girl, Michael.
MICHAEL
I know that, Kitt.
A beat.
K.I.T.T.
Frankly, 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, it
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
You goin' to the moon?
MICHAEL
What? Oh, my car -- I like gadgets.
Did you see her?
ELMO
(still staring)
Must be a real thrill drivin' a car
like this, TV and all.
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
Did you notice which way she went?
ELMO
(points)
That way.
MICHAEL
What's down there?
ELMO
Let's see...There's a salvage yard.
If you really want to see something
nice, go see 'Big Buck's Roadside
Zoo.' Now that's really something.
MICHAEL
Sounds terrific. Thanks.
Elmo waves, as Michael pulls out.
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.
K.I.T.T.
Big Buck's Roadside Zoo was an
experience I do not care to repeat.
That ugly gila monster slithered
all over my hood while you were
in there 'jawing' with Big Buck.
MICHAEL
See if you can bury that gila monster
in your microchips, pal, and bring
up that picture from Amelia's diary
for me.
The fuzzy picture comes up on one of the monitor screens.
Michael looks hard out of the windshield.
MICHAEL
All right...now give me a visual on
the surplus yard.
K.I.T.T.
Oui. That's French for 'yes.'
MICHAEL
Kitt?
K.I.T.T.
Yes, Michael?
MICHAEL
I don't want to learn French. Not
today.
K.I.T.T.
But Michael ---
MICHAEL
Kitt, remember one thing. The Beach
Boys are only a button away.
Now the second monitor screen brings up the surplus yard
landscape. K.I.T.T. zooms and adjusts the monitor screen
pictures and we see two exact landscapes.
K.I.T.T.
Michael, this is virtually the exact
picture that Amelia took.
MICHAEL
You got that right. Now the question
is why.
He pulls out.
CUT TO
EXT. AAA WAR SURPLUS SALVAGE YARD - MAIN GATE - DAY -
CLOSE ON PICTURE OF AMELIA
Pull back as Richards hands it back to Michael.
RICHARDS
Haven't seen her. We don't get much
company out here.
MICHAEL
(studies him
for a beat)
Okay, thanks for your time.
Richards nods. Before Michael pulls out, he takes note of
a Bentley automobile parked by the hangar. Hold on K.I.T.T.
moving down the road. Then follow Richards to his Jeep.
He picks up the Handi-talkie.
INT. HANGAR - STORAGE AREA - CRATE - DAY
Hands and a crowbar pry open a crate revealing a Sledge-
hammer missile. Adjust to see the handler is Kragen.
Edward Strock, a man in his fifties, steps in with a
Handi-talkie. Strock's beginnings were mean streets, but
now he hopes his fancy car and Armani suits will cover his
origins.
STROCK
There was a guy out there looking
for Amelia Clermont.
KRAGEN
Don't worry about it. He'll poke
around, find her missing and that'll
be that.
STROCK
It better be. It's bad enough your
little 'target practice' delayed
delivery.
KRAGEN
It was a good test...Now I can per-
sonally guarantee the effectiveness
of the Sledgehammer to the General.
STROCK
He'll be here Thursday.
KRAGEN
We'll be ready.
CUT TO
OMITTED
INT. K.I.T.T. - DAY - MOVING
K.I.T.T.
The guard's voice modulation indicated
stress variables, Michael.
MICHAEL
That leaves two questions. Why would
he lie...and why would Amelia be
interested in a war surplus yard?
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.
He throws the car into reverse 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 -- however, 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. 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.
MICHAEL
I've activated your X-ray mode, Kitt.
The car down there...is there any
trace of...human life?
K.I.T.T.
I'm sorry, Michael...I detect only
the remains of human life.
Michael sighs, shakes his head. This will be difficult.
MICHAEL
Better get me Devon, pal.
OMITTED
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
(punches
buttons)
Yeah....
OMITTED
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 cheeseburgers
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. DESERT - DAY
K.I.T.T. is parked on the road, scanner flashing, as
Michael tries to piece it all together.
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
Finally. Thank God.
Devon sits down next to Michael.
DEVON
Amelia, I wonder what it is you
found this time.
MICHAEL
This time? There were others?
Devon smiles, in remembrance.
DEVON
She was the most inquisitive woman I
ever knew. She had a childlike
curiosity to know people, to know
the world.
MICHAEL
You loved her, didn't you.
DEVON
(beat)
Yes. Yes, I did. I think I always
had it in the back of my mind that
someday...
(doesn't finish,
pauses)
I first met her in Washington, DC.
On the steps of the Capitol Building.
We were both hurrying somewhere. We
collided on the steps. And fell,
quite literally, in love.
(beat)
But she desperately wanted to go to
Europe. After the war...I had seen
quite enough of it. We both knew the
timing wasn't right. We wouldn't see
each other for years, and yet when we
did it was as though we'd never been
apart.
There's a long beat. Devon looks at Michael:
DEVON
When you're young, you think your-
self invincible. We were. For
a time.
For a moment, it looks as if Devon might cry, but he
doesn't. He turns back to the business of it. He picks up
the technical drawing Michael discovered in Amelia's diary,
puzzled.
DEVON
I called a friend in the State
Department...He said this diagram
appears to be the guidance system
for a Sledgehammer missile. Michael,
do you realize what this means? The
Sledgehammer is a high priority top-
secret weapon.
MICHAEL
Devon...this Sledgehammer...what's it
fired from?
DEVON
...A helicopter called the SX-411.
The most advanced attack helicopter
in production today. Why?
Michael thinks for a beat. Disturbing thoughts.
MICHAEL
I think I know what Amelia was after
out there...and what destroyed her.
CUT TO
EXT. HIGHWAY - NIGHT - STOCK - RUNBY
K.I.T.T. flashes by, into the desert evening.
INT. K.I.T.T. - NIGHT
Michael drives, pensive, 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.
A French lesson might cheer you up.
MICHAEL
Kitt.
K.I.T.T.
Perhaps not.
A moment of silence as they drive.
K.I.T.T.
It must be very difficult to...erase
people...from one's memory banks.
MICHAEL
That's the problem, you don't. You
can't.
K.I.T.T.
If that's true, they become a per-
manent part of you.
MICHAEL
The best of them do, Kitt. The best
of them do just that.
CUT TO
EXT. WAR SURPLUS SALVAGE YARD - NIGHT
Layton and Richards patrol on foot.
OMITTED
ANGLE ON K.I.T.T.
K.I.T.T. drives up to the gulley near the back 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
On one monitor screen comes the lock, as K.I.T.T. infrarays
it. On the other monitor screen, combinations of numbers
speed by.
By the fence, Michael spots Richards and Layton on their
rounds, walking towards him. Into the comlink:
MICHAEL
Kitt, hurry up.
Suddenly, the gate pops open. Michael creeps inside the
fence. Michael runs to the hangar.
ANGLE ON GUARDS
Layton listens, taps Richards on the arm.
LAYTON
I hear something. Check out the
back. I'll go up front.
Richards hurries stealthily to the back gate. Layton
starts towards the hangar.
OMITTED
INT. HANGAR - NIGHT
Michael comes through a back door and is bathed in an eerie
blue light. He stops and stares up in awe.
ANGLE ON RICHARDS
He sees the back gate unlocked.
ANGLE ON LAYTON
as he sneaks around to the front of the hangar.
ANGLE ON MICHAEL
as he views the different parts of the SX-411. The design,
the technology. He is awed. Then, to one side, under a
single bright light, is a new Sledgehammer missile in the
process of being fitted to an MER (Multiple Ejection Rack).
K.I.T.T. (O.S.)
(comlink)
Michael, a guard is approaching.
Michael listens.
ANGLE ON LAYTON
outside the hangar, carrying a flashlight. He starts to
turn the knob to the front door.
MICHAEL
Kitt, create a diversion.
K.I.T.T. (O.S.)
Anything in particular?
MICHAEL
Use your imagination.
OMITTED
ANGLE ON TANK
silent and unmoving.
INT. K.I.T.T. - NIGHT - ON MONITOR SCREENS
The microwave ignition sensor goes to work.
ANGLE ON TANK
The engine growls to a start.
ANGLE AT HANGAR DOOR
Layton has opened the door, but now he shuts it and runs to
the tank.
ANGLE ON RICHARDS
He does the same, hurrying from the back gate.
OMITTED
ANGLE ON TANK
It rumbles along, smashing things. Layton appears, jumps
on it, struggles to control it.
OMITTED
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.
OMITTED
INT. CONDO - NIGHT - DEVON AND MICHAEL
trying to keep their voices down despite the sense of
excitement and tension.
MICHAEL
Devon, I saw it....
DEVON
(paces)
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
Look, 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 here...
(looks for
number in
book)
Perhaps with his influence....
He finds the number, begins to dial. Pauses.
DEVON
The last thing Camela said before
she went to sleep was she couldn't
bear to think her mother's death
had been in vain. I told her I'd
see to it. With your help, it's a
promise I intend to keep.
He finishes dialling.
CUT TO
EXT. SALVAGE YARD - DAY
Richards stands by the guard gate with Strock, who is fuming.
His Bentley is parked nearby. A Federal sedan with two
Federal Agents and Devon stops at the gate.
INT. K.I.T.T. - DAY
K.I.T.T. is parked on the hill overlooking the yard. On
K.I.T.T.'s monitor screens we see pictures of the sedan
being let in, of the Agents and Devon getting out of the
car, and of Strock angrily talking to them.
In a taut, emotionally drained voice:
CAMELA
This is where Mama...searched....
Michael takes her hand.
CAMELA
And that's the man....
Indicates Strock on the TV monitor screen.
MICHAEL
One of them...I have a feeling this
thing's like crabgrass. It has a
lot of runners.
CUT TO
OMITTED
EXT. HANGAR - DAY
Strock, livid, stands with Richards, Devon and the two
Federal Agents.
STROCK
I want to know what grounds you've
got for a search warrant.
DEVON
I assure you the grounds are both
sufficient and legal.
FEDERAL AGENT #1
Please open the hangar now.
STROCK
(to Devon)
I don't know who you are, but I plan
to find out.
As Strock starts to open the door, he smiles, ever so slightly,
at Devon. Devon's puzzled. He and the Agents step inside.
INT. HANGAR - DAY
Except for scattered pieces of old military equipment, the
hangar is empty.
CLOSE ON DEVON
He is stunned.
FREEZE FRAME
AND
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
EXT. HANGAR - DAY
Devon is incredulous. The Federal Agents are perplexed and
angry. Strock and Richards look self-satisfied.
DEVON
Who was on duty last night?
RICHARDS
I was. Why?
Devon takes Federal Agent #1 aside. Strock and Richards
exchange a puzzled look.
ANGLE WITH DEVON AND THE FEDERAL AGENT
They huddle. Devon speaks in a hushed tone, barely control-
ling his anger.
DEVON
I did a routine check on Strock's
employees. If you run a make on the
guard I believe you'll find he's an
ex-convict.
FEDERAL AGENT #1
So?
DEVON
Unless I'm mistaken, he's carrying
a weapon.
CUT TO
EXT. HILL ABOVE YARD - DAY - ANGLE IN K.I.T.T.
Michael and Camela are getting impatient, watching the
monitor screens.
CAMELA
What's going on?
MICHAEL
I don't know.
CAMELA
Why aren't they arresting anyone?
MICHAEL
I don't know that, either.
They continue to stare at the screens. Michael senses some-
thing is wrong.
CUT TO
EXT. HANGAR - DAY
Strock and Richards are getting fidgety. Federal Agent #2
stands with them. Federal Agent #1 comes from his car.
FEDERAL AGENT #1
(to Devon)
You're right.
Devon crosses to face Strock and Richards, followed by the
Agent.
DEVON
Mr. Richards, you are aware that the
possession of a firearm by a felon
is a violation of the law?
Before he or Strock can react, Federal Agent #2 has spun
Richards around into the "position."
STROCK
What is this?!
(to Richards)
I'll have you out on bail before they
finish their paperwork!
The Federal Agents start to lead Richards away. Strock
faces Devon.
STROCK
This is harrassment. When my lawyers
are through with that Foundation of
yours, we're going to own it -- and
you.
DEVON
We'll meet again, Mr. Strock. Good
day.
Devon stalks away. Strock watches him, furious.
CUT TO
OMITTED
INT. AMELIA'S CONDO - DAY
Michael, Devon and Camela enter in the living room from
outside.
DEVON
I'm afraid the only option remaining
is to force their hand.
(beat)
Michael, I want you to go undercover.
MICHAEL
Devon, come on -- if you're right
about Richards spotting Kitt last
night, my cover wouldn't last an hour.
DEVON
I've made some arrangements in that
area. I have it on excellent authority
that Sam Richards will be shuttled
from jail -- 'salted' as it were --
for at least twenty-four hours.
He smiles. Michael shares it.
MICHAEL
You never cease to amaze me.
CAMELA
(concerned)
Michael, I want to see those men
arrested and finished more than
anything...but I don't want any
more...deaths.
MICHAEL
Neither do I, Camela. But thanks to
Devon we've got one more shot --
and twenty-four hours. We can't let
it slip away.
After a beat, she nods.
CAMELA
A few days ago, you two were strangers.
And now you're willing to risk your
lives...
(to Devon)
I can see why Mama loved you so.
They all share the moment.
OMITTED
EXT. HIGHWAY - DAY
K.I.T.T. speeds down the highway to the awaiting semi. He
shoots up the ramp inside.
INT. SEMI - DAY
As Michael gets out of the car, April steps up to him. She
has in her arms a load of clothes. They ad-lib greetings.
She hands him the clothes.
MICHAEL
What's this?
APRIL
A complete mercenary's outfit. It
comes presoiled.
He smiles, then follows her to the lounge area.
NEW ANGLE
She presses a button on the TV console.
APRIL
I have something interesting to show
you....
On the screen comes a picture of Jack Kragen, in military
garb, holding a rifle, in some jungle.
APRIL
We were able to dig up three names of
black market arms dealers in the Phoenix
area. One of them turned up on the list
of employees at Strock's Surplus Yard:
Jack Kragen.
MICHAEL
The circle closes.
(a beat)
Then he's where I start.
APRIL
After you learn the cover I've
prepared for you. I've got names,
dates, battles, slogans....
MICHAEL
Not to mention dirty laundry....
She smiles.
CUT TO
EXT. SEMI - DAY - RUNBY
INT. SEMI - LOUNGE AREA - DAY - LATER
Michael, dressed in his mercenary outfit -- fatigue jacket
and scruffy clothes -- rubs his eyes, then clicks off the
TV set.
APRIL
How's it going, Hutch?
MICHAEL
All right. A lot to learn -- the
entire history of Dan Hutchinson's
Black Snake Commandoes. The only
question I have left is how these
guys get their hands on things like
state-of-the-art attack helicopters
and missiles.
APRIL
I'm still working on that one. The
conventional answer -- military
theft -- doesn't adequately explain
it. By the way, Devon's called three
times since you arrived. I've never
seen him so...driven.
MICHAEL
Amelia Clermont was a bridge that
crossed a lot of years and a lot of
memories. I think he always expected
to cross that bridge...but not like
this.
A beat more, then Michael walks to K.I.T.T. Before he gets
in the car:
K.I.T.T.
April, do I get a cover too?
APRIL
You don't need one, Kitt. You're
already classified information.
MICHAEL
By the way, did you tell Kitt some-
thing about 'bubble-heads in bikinis?'
K.I.T.T.
I told him you didn't, April, but he
refuses to believe me.
APRIL
Kitt's right, Michael. I'd never say
something like that. After all, I
wear a bikini.
MICHAEL
Yeah? When?
APRIL
(a smile)
Off-duty.
MICHAEL
Wouldn't you know.
And he gets into K.I.T.T. and backs out. On her amused
reaction:
CUT TO
STOCK - DRIVEBYS
EXT. STREET - NIGHT - ANGLE IN K.I.T.T.
A rundown area.
K.I.T.T.
Michael, why is it every time you go
undercover, you dress in the least
attractive outfits imaginable? Why
is it you never go as an aristocrat
or a count?
MICHAEL
Good question, Kitt. Gonna have to
ask Devon about that.
They slowly drive past the Hillside Bar, an ND bar 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
Keep your headlights open, pal.
Michael smiles, clicks on Surveillance Mode and gets out of
the car.
INT. HILLSIDE BAR - NIGHT
As Michael walks into the bar, conversation becomes muted.
Eyes on him. The bar itself is not large, but most of the
clientele are. Michael spots Kragen playing darts near a
back booth. Conversation starts up again, in low, hushed
tones. Michael taps Kragen on the shoulder. He turns around.
MICHAEL
Jack Kragen?
KRAGEN
Who wants to know?
MICHAEL
Machete Tom Merton.
KRAGEN
You ain't him.
MICHAEL
No -- but he sent me. My name's
Hutchinson. We're old friends -- we
fought together against the Rebels
in San Victoria.
Kragen eyes Michael.
KRAGEN
Black Snake Commandoes, huh? Machete
made up a saying. I liked it a lot.
If you fought in San Victoria, you
know it.
Some of the bar patrons begin to gather around Michael and
Kragen, waiting, probably hoping for a fight. Michael
looks around the room, clears his throat, then:
MICHAEL
'Good luck is a fantasy for fools
who expect it. Don't expect it,
don't need it.'
A beat. No one responds. Michael begins to think he made
a fatal mistake.
KRAGEN
Buy you a drink, Hutch?
Michael nods, relieved.
CUT TO
EXT. ALLEYWAY - NIGHT - ON K.I.T.T.
A shabbily dressed Derelict stumbles into the alleyway.
He holds a bottle of whiskey. He looks at K.I.T.T. then
tries to sleep on his hood. K.I.T.T. backs away. The
Derelict stumbles, but maintains his precarious balance.
K.I.T.T.
Shoo. Shoo.
DERELICT
Who said that?
K.I.T.T.
I did. Kindly remove yourself.
The Derelict tries again to cuddle up to K.I.T.T. This
time K.I.T.T. pulls back even further. The Derelict goes
down to the ground with a thud.
CUT TO
INT. HILLSIDE BAR - NIGHT
Michael and Kragen are drinking beers at a back booth. The
booth is secluded; you can't easily see who is at this
table from the front bar area.
KRAGEN
...all right, say I've got the
contacts to deliver...What you got
in mind?
MICHAEL
Two MERs -- Multiple Ejection Racks
-- adapted to handle Sledgehammer
missiles.
Kragen regards him for a long moment.
KRAGEN
You saying you've got Sledgehammers?
MICHAEL
I didn't say that. What my contact
has or doesn't have, I don't ask. I
take orders. He ordered two MERs.
Machete Tom said you might have...
access.
(beat)
If I can deliver 'em by tomorrow
noon, I get a fifty thousand dollar
bonus.
KRAGEN
Don't pressure me.
MICHAEL
Hey, no pressure. Just want to let
you know if you help me meet my dead-
line, I'll split the bonus with you.
KRAGEN
I'll let you know.
Michael nods, gets up from the table. He hands Kragen a
slip of paper.
MICHAEL
This is my girl friend's number.
Tell her if it's on. She'll tell me.
He exits. Kragen watches him go.
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 from the bar. Trace it.
After a beat:
K.I.T.T.
You're right, Michael. The call is
to a phone at 7113 Church Street.
MICHAEL
Church Street? That's where Ebersol's
Reelection office is....
K.I.T.T.
Shall we go there?
MICHAEL
No. We can't risk being spotted. But
this sure opens up some interesting
questions, pal.
(a beat)
Let's call it a night.
CUT TO
EXT. EBERSOL'S CAMPAIGN HEADQUARTERS - NIGHT
STROCK'S VOICE
He has a buyer for a couple of
Multiple Ejection Racks....
INT. EBERSOL'S CAMPAIGN HEADQUARTERS - NIGHT
The office is empty, save Ebersol and Strock, who are
talking in the glass-partitioned office.
EBERSOL
I don't want to know the details --
That's your end.
(beat)
Does the buyer check out?
STROCK
Kragen's working on it now.
EBERSOL
Tell him not to make a move unless
he's absolutely sure the buyer's
straight. Somebody's salting your
guard, Richards...until we find out
why, I want to be doubly careful.
CUT TO
OMITTED
INT. AMELIA'S CONDO - DAY - CLOSE ON TELEPHONE
As we pull back, we see Michael, Devon and Camela in the
living room, waiting around the phone.
CAMELA
What if he doesn't call? Do we have
any other options?
Neither of them want to deal with that possibility.
MICHAEL
Let's give it more time. He still
has over an hour.
She sighs, anxious, nods. She picks up the diary from the
table and glances through it. Devon sees the love letters.
He carefully looks through them.
CAMELA
Devon, may I ask you a personal
question?
DEVON
Of course. What is it?
CAMELA
Why didn't you and Mama marry?
Devon and Michael exchange a look of surprise.
DEVON
Amelia was the perfect woman for that
time of my life...a wonderful time
of discovery and excitement...As I
told Michael, I always felt that
someday ---
He breaks off, startled by the phone ringing. Michael grabs
it.
MICHAEL
April?...
INTERCUT - APRIL
in the semi.
APRIL
He said he'd meet you at 11:30 at
the Hillside Bar.
MICHAEL
Are you sure the call wasn't traced?
APRIL
Positive. He even asked me how long
we've been dating.
MICHAEL
Thanks, April.
APRIL
Good luck, Michael.
MICHAEL
'Good luck is a fantasy for fools....'
APRIL
(smiles)
Well said, Hutch.
He puts the phone back in its cradle. To Devon and Camela:
MICHAEL
It's on.
CUT TO
OMITTED
EXT. HILLSIDE BAR - DAY
K.I.T.T. is parked in the alleyway not far from the
abandoned vehicle. His scanner light flashes.
K.I.T.T.
Oh, no.
NEW ANGLE
From inside the abandoned vehicle comes a groan. The
Derelict sits up, yawns, and rubs his eyes. He squints,
trying to adjust to the morning light. Then he spots
K.I.T.T.
He grabs his bottle of booze, climbs out of the car and
approaches the Trans Am, looks it over, starts to say some-
thing, shakes his head, walks off, stops; can't stand it,
has to ask.
DERELICT
I gotta know somethin' -- I mean I
know cars don't talk, but did you
talk to me last night?
No response.
DERELICT
See -- I was right. I'm okay. I
know cars don't talk.
Satisfied, the Derelict starts away. He uncaps his bottle,
brings it to his lips, as:
K.I.T.T.
You really should give up the sauce,
sir.
The Derelict spins around and sees no one but K.I.T.T.
Eyes wide, he pours out the contents of his bottle onto the
ground. He carefully disposes of it in a garbage can, then
walks, straight as he can, quickly away.
INT. HILLSIDE BAR - DAY
Michael is seated at the bar when Kragen enters. They
ad-lib greetings.
MICHAEL
I'm ready when you are.
A pause.
KRAGEN
I have someone I want you to meet
first.
He motions Michael to a back table. Michael follows.
ANGLE AT TABLE
As they approach, we see a man waiting there, seated, his
back to us. As if on cue, he rises, turns, smiling at
Michael. Hold on Michael's reaction: the man is Richards.
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
INT. AMELIA'S CONDO - DAY
The phone rings and Camela answers it.
CAMELA
Hello?
(to Devon)
It's for you.
She holds it for Devon. He crosses and takes it.
DEVON
Devon Miles here....
As he listens, his face goes white.
DEVON
What happened! You guaranteed he'd
be incommunicado for twenty-four
hours!
(listens)
Find out who arranged it.
He hangs up and quickly dials a number over:
CAMELA
What is it, Devon? What's wrong?
DEVON
The guard -- Richards -- he's been
released on bail.
She reacts, frightened.
CAMELA
Oh, Michael....
DEVON
(into phone)
April, I can't go into details --
contact Kitt immediately. Get
Michael out of that bar.
CUT TO
OMITTED
INT. HILLSIDE BAR - DAY - ANGLE ON DOOR
The bartender bolts the door shut.
ANGLE AT BACK BOOTH
Kragen and Richards watch Michael carefully.
KRAGEN
I don't know who you are, 'Hutch' --
but I'm gonna show you what I do to
people who set me up. And if I ever
see your face again, I'll kill you.
Just as they both move towards Michael, the comlink beeps a
distress signal, distracting them. Michael makes a run for
the door, but it's blocked by the bartender. He swings.
Michael ducks, connects and knocks the bartender to the
floor.
Kragen and Richards rush Michael. Michael tosses a barstool
at Richards, knocking him down. Kragen swings and misses.
The bartender gets up, grabs at Michael, ripping off the
comlink. Michael's knocked off balance. He scrambles to
his feet, reacts.
MICHAEL'S POINT OF VIEW - THE THREE MEN
come towards him. He is trapped against the bar.
INT. K.I.T.T. - DAY
K.I.T.T.
Michael, please respond! This is
an emergency. Are you there?!
Michael...?
No response.
OMITTED
CUT TO
INT. AMELIA'S CONDO - DAY
Camela opens the door and Michael enters. He's a mess. His
clothes are torn, his face is bruised.
DEVON
Michael...!
CAMELA
My God, are you all right?
They help him to the couch.
MICHAEL
I'm okay...just sore. Real sore.
(a beat)
I have one question, Devon: What
happened?!
DEVON
I don't know. All the Federal Agent
could tell me was that whoever arranged
it had a great deal of clout...I'm
sorry, Michael.
Something clicks.
MICHAEL
Clout...someone like Congressman
Ebersol?
DEVON
Why Ebersol?
MICHAEL
A call went out from Kragen last night
-- to Ebersol's campaign office.
CAMELA
Ebersol was the coauthor of the
Congressional Report on illegal
arms sales!
MICHAEL
I'll bet you won't find Strock's
name in that report.
CAMELA
Then that's what Mama must have
found -- something that linked
them together.
DEVON
That might explain the technical
drawing of the Sledgehammer's
guidance system. Maybe she found
out how Strock gets his top-priority
weapons....
MICHAEL
If you're right, it's with Ebersol's
help.
A silent, thoughtful moment.
CAMELA
My mother had the courage to risk
her life to get evidence against
them. And you did, too. Isn't
there something more we can do?
Michael considers it.
MICHAEL
There's something we can try. But
it's a longshot, a real longshot...
and it could be dangerous.
CAMELA
What do you want me to do?
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 out at Camela, and Ebersol and Strock stare,
transfixed.
With a wisp of a smile, Camela vanishes. Ebersol and Strock
move out after her, trying not to attract attention to them-
selves. They see a back door close.
EXT. ALLEY WAY - DAY
Camela gets into 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
That's what Kragen told me!
EBERSOL
Did he see the body?
STROCK
No one could have escaped that
inferno. Kragen hit her with a
Sledgehammer missile.
EBERSOL
Did he see the body?!
All Strock can do is shake his head. He opens the letter.
EBERSOL
What does she want?
STROCK
$500,000 dollars. Cash.
They look at each other, considering options.
STROCK
I've got an idea how to solve
this problem...once and for all.
CUT TO
EXT. SEMI - DAY - MOVING
INT. SEMI - DAY
April is working on K.I.T.T. Michael is preparing himself
for the job ahead.
APRIL
Do you think they'll take the bait?
MICHAEL
I wish I knew.
APRIL
I hope Camela will be all right. Of
course, she'll be in good hands --
right, Kitt?
K.I.T.T.
As am I, April.
She smiles.
APRIL
I'm increasing the microwave jammer
three times its normal strength,
Michael. If they use the SX-411
helicopter, it should knock out the
coils in the turbines.
K.I.T.T. AND MICHAEL
Should?
APRIL
The only problem is you'll have to
get considerably closer than you
normally would.
MICHAEL
How do we do that without getting
blown up in the process?
K.I.T.T.
A very good question, Michael.
APRIL
Unfortunately, I don't have a very
good answer. I've outfitted Kitt with
those prototype ultramagnesium charges
we tested. They weren't designed
to deflect heat-seaking missiles but
if all else fails they might work.
MICHAEL
Might?
APRIL
It's the best I can do on short
notice.
MICHAEL
Why don't I feel reassured?
APRIL
Good luck, Michael.
She impulsively kisses him on the cheek.
MICHAEL
(climbing
into K.I.T.T.)
You know what the Black Snake
Commandoes say about luck....
APRIL
Yes, but they didn't have Kitt.
She smiles, bravely, but the worry is there. Michael
backs the car out of the semi.
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,
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. She nervous, fright-
ened, but determined.
K.I.T.T.
Bienvenu, Camela. Put your hands on
the wheel, sit back and leave the
driving to me.
K.I.T.T. pulls out. The ND car pulls out behind them.
K.I.T.T. tries to calm her.
K.I.T.T.
Would you like me to play a Beethoven
symphony? Perhaps something by
Brahms....
CAMELA
(preoccupied)
Thank you, Kitt.
The music instantly comes through K.I.T.T.'s sound system.
K.I.T.T.
This is Bach's well-tempered clavicord.
It's one of Michael's favorites.
CAMELA
Really? I thought he liked rock-
n-roll and girls in bikinis.
K.I.T.T.
I just like to tease him, sometimes.
Actually, Michael's a man for all
seasons. He's forever carrying on
about museums and ballets....
CUT TO
EXT. STREET - DAY - ANGLE ON K.I.T.T.
As K.I.T.T. approaches a four-way intersection, we see the
Knight semi lumbering out.
K.I.T.T. (O.S.)
Hold on, Camela.
K.I.T.T. 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 abrupt 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
as it clears the intersection, Richards screams out after
K.I.T.T., 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.
DAY - RUNTHROUGHS
The ND car stays behind K.I.T.T. The desert becomes much
more desolate.
INT. ND CAR - DAY
Richards talks into his Handi-talkie.
RICHARDS
We're clear. She's all yours.
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've lost our tail.
MICHAEL
I believe you're right, pal. What-
ever they've got planned for us
shouldn't be long now....
Suddenly, a loud muffled sound is heard.
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 awe-
some, 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. hits pursuit and Kragen unleashes the fury of the
mighty Gatling gun on the car. The bullets merely spark off.
K.I.T.T. zig-zags on the road.
OMITTED
INT. SX-411 - COCKPIT - DAY
Kragen, wearing a pilot's helmet, presses a black 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 hits a button on the
dash.
EXT. K.I.T.T. - DAY
An ultramagnesium charge is ejected from K.I.T.T. Drawn
by its heat, the Sledgehammer smashes into the ground where
the charge fell and explodes in a wrath of fire.
INT. K.I.T.T. - DAY
Michael slows K.I.T.T. off the road into the canyon, and
starts to drive him around in a circle. The SX-411 hovers
above, the Gatling guns pounding away with cannon fire.
MICHAEL
Okay, buddy, let's knock out his
coils.
He hits the microwave jammer button and on the monitor
screens, they 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.
INT. K.I.T.T. - DAY
Michael races K.I.T.T. towards the chopper.
MICHAEL
Kitt, we're not bringing him down!
K.I.T.T.
I gave it everything I had, Michael.
We simply must get closer.
MICHAEL
Easy for you to say.
INT. SX-411 COCKPIT - DAY
Kragen hits the black button again.
SLEDGEHAMMER MISSILE
comes straight at K.I.T.T.
INT. K.I.T.T. - DAY
At the last minute, Michael hits the "turbo boost" button --
and K.I.T.T. jumps out of the way, just in time. The
Sledgehammer explodes under the car, nearly causing it
to turn over.
Michael maneuvers the car towards the edge of the canyon.
MICHAEL
All right, pal -- let's give him
some smoke.
Michael hits the "smoke screen" button on the dash.
OMITTED
ANGLE ON K.I.T.T.
A billow of smoke envelopes the car. Kragen heads for the
car.
INT. SX-411 - COCKPIT - DAY
Kragen hits the black button and a rocket fires....
ANGLE ON SMOKE SCREEN
The Sledgehammer smashes into the smoke screen. The
explosion is loud and blinding.
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....
MICHAEL
This is as close as we're going to
get, Kitt. Give me everything
you've got!
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. 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.
Kragen swings, Michael deflects it. Kragen attacks again,
Michael ducks, then smashes him with one punch. Kragen
goes down, out cold. Motionless.
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, takes off her glasses so they see that it
is, indeed, Camela.
DEVON
Gentlemen, meet Camela Clermont,
Amelia's daughter.
The two Federal Agents enter the office and grab Strock.
Before they can take him out:
DEVON
It was only a matter of time, Strock.
And it will be again -- in your case,
I would think about twenty years.
The Agents take him out. Ebersol is very shaken, pale.
CAMELA
I'm not the only one in disguise,
Congressman: people believed in you
...my mother believed in you...I'm
going to make sure your disguise
comes off, too. Publicly.
DEVON
We don't have all the pieces yet, but
sooner or later we will. And when
we fit them all together, you'll join
Strock in federal prison. That's our
campaign promise to you, Congressman.
We hold on Ebersol'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.
CAMELA
I want to thank all of you. I came
here to find my mother...and even
though I lost her, you helped me
discover who she really was.
APRIL
What are your plans now?
CAMELA
I'm going back to Paris, tie up a few
loose ends. 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
It looks as though you're going to
have a full social calendar when
Camela 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, a
warm hug. 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. As she moves toward the
waiting 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 she gets into the cab.
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 you two follow us to
Southern California?
APRIL
Hey, that's a terrific idea.
MICHAEL
With a little luck, I'll get to
see you in a bikini.
APRIL
You know what they say about luck.
EXT. K.I.T.T. - DAY
Michael laughs, 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 California song, Devon. It extolls
the attractions of that particular
area: surfing, sun, and girls in
bikinis.
Michael starts the engine. 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 OUT
THE END
