Home : Knight Rider : Season 2 : Ring of Fire : Scripts : 3rd Draft

KNIGHT RIDER: RING OF FIRE

EXEC. PRODUCERS: Glen A. Larson, Robert Foster
SUPV. PRODUCER: Joel Rogosin
CO-PRODUCERS: Rob Gilmer, Stephen Downing

Production #57810
3rd Draft - May 18, 1983 (F.R.)

Teleplay: .................. Janis Hendler
Director: .................. Winrich Kolbe


                               ACT ONE

     FADE IN

     EXT. A MUDDY COUNTRY ROAD - NORTHERN LOUISIANA - DAY

     A hot afternoon sun beats down on a row of men toiling on a
     road gang.  Angle on a rifle-toting guard, Brown, leaning
     against a beat-up station wagon.  He's sipping a beer,
     laughing and talking mostly to another guard.  They turn
     and stare at the row of men.  Their attention directed pri-
     marily to:

     CHRISTOPHER "CRAY" CALLAN

     Handsome, arrogant.  Clearly a big cut above the rest of the
     boys in the gang.  Callan pokes casually at the ground with
     his shovel, barely breaking a sweat.

     WIDER ANGLE

     as Brown comes sauntering along the row, ignoring everyone
     but Callan.  He walks to Callan, his rifle in one hand, his
     beer in the other.  Brown takes another swig of his beer.
     Callan ignores him.  Brown finally reaches out, prods
     Callan with his rifle.

                               BROWN
               You ain't sweating, Callan.

     Callan glances at him.

                               BROWN
               You too important to sweat?

     Callan still doesn't respond.  Brown glares at him.

                               BROWN
               Maybe you need to get closer to the....

     With that, he slams his elbow in Callan's gut.  Callan
     drops to the ground.  We see the other prisoners smiling
     as Brown steps up to Callan.

                               HARRIS
               I brung you a libation from your 
               daddy.

     And he pours the beer onto Callan's head.

     CLOSE ON CALLAN

     as beer pours over him, followed by something small and
     metallic that drops from the can.  We see that it's a key
     as Callan palms it and jams it into the lock on his manacles
     as he struggles to his feet.  He faces the smiling Brown.

                               BROWN
               Feel like working now?

     Callan grins and lashes out with his now-free leg, kicking
     the rifle out of Brown's hands.  In a flash, Callan's
     gained the rifle and aims it at Brown.  The other guard
     leaps forward, but he's stopped short as Callan fires a
     warning shot over his head.  Callan turns to Brown, whose
     hands are up over his head.

                               CALLAN
               You overdid it just a little, 'boy.'

     He slams the butt of the rifle into Harris, knocking him 
     out.  He starts to move toward the station wagon and the
     other prisoners begin to follow.  Callan's glare stops
     them cold.

                               CALLAN
               Don't even bother to ask.

     The prisoners drop back and Callan climbs into the station
     wagon, fires it up and pulls away in a cloud of dust as we:

                                              CUT TO

     OMITTED

     EXT. F.L.A.G. FOUNDATION - DAY - STOCK

     A clear, sunshine-filled morning.

                               K.I.T.T. (V.O.)
               I really don't like this, Michael.

     INT. CONCRETE TESTING AREA - DAY

     The Trans Am sits in a cinderblock well resembling an over-
     sized oven.  Michael leans in the open front door.

                               MICHAEL
               Come on, pal.  What's a little heat?

                               K.I.T.T.
               Temperatures exceeding six hundred
               degrees is hardly a little heat.

                               MICHAEL
               Maybe baking for a couple of hours
               will give you a greater appreciation
               of roast beef.

                               K.I.T.T.
               If that's an attempt at humor, I'm
               not amused....

     ANGLE TO INCLUDE APRIL
 
     visible behind a glass wall that separates the oven from
     a control booth.  Her voice echoes through the room.

                               APRIL
               You're vulnerable to sustained heat.
               We're trying to make you invulnerable.

                               MICHAEL
               Exactly.  In theory, the pyroclastic 
               lamination April's designed ought to
               keep you cool as a cucumber in temp-
               eratures up to eight hundred degrees.
                      (beat)
               In theory.

                               K.I.T.T.
               'In theory.'  How comforting.

                               MICHAEL
               Look, Kitt, it's like taking your 
               vitamins or getting a shot.  It's for
               your own good.

     Behind Michael, we hear:

                               APRIL'S VOICE
               So's this.

     Michael turns to see April standing behind him, holding an
     asbestos suit.  She hands it to Michael.

                               APRIL
               The invitation calls for formal wear.

                               MICHAEL
               What's this?

                               APRIL
               We're testing man and machine.  Or 
               if you prefer, man in machine.

     Michael looks from April to the suit, then back to April.
     He's incredulous.

                               MICHAEL
               Wait a minute.  You expect me to play
               baked guinea pig in this oversized
               microwave?

                               K.I.T.T.
               What's a little heat, Michael?  It's 
               just like taking your vitamins....

                               MICHAEL
               I hated taking vitamins.  Forget 
               it....

     He hands the suit back to April.

     At this moment, Devon approaches.  Seeing that the asbestos 
     suit's returned to April's hands, Devon nods approvingly.

                               DEVON
               Good.  You've completed your experi-
               ments.  I trust they were successful.

                               APRIL
               We haven't even started them.  He
               won't cooperate.

                               MICHAEL
               I'm not in the mood to be pushed 
               past my boiling point.

                               DEVON
               Forgive me for interrupting this
               debate, but I have something here 
               that may postpone your experiments.

     He holds out a small cassette tape.  Seeing the tape as his
     ticket out of this sticky situation, Michael grabs it.

                               MICHAEL
               Good idea, Devon.  I'd better get
               right on it.

     He hurries toward the Trans Am.

                               APRIL
               Wait a minute....

                               DEVON
               Perhaps I'd better explain the content
               of that tape, as it's not customary
               Foundation business....

                               MICHAEL
               Don't worry.  Kitt and I'll figure 
               it out.

     He jumps into the car and backs out of the well as fast as
     possible.  April protests, tries to stop him, can't.  She's
     furious.

                               APRIL
               He's impossible.  Absolutely impossible.

     Frustrated, she heads back toward the booth.  Devon seems
     amused.

     EXT. HIGHWAY - NIGHT - STOCK

     The Trans Am moves through the darkness along a stretch of
     two-lane highway.

     INT. TRANS AM

     Michael relaxedly cruises at 120.  He's looking at the tape.

                               MICHAEL
               This cassette got us both out of some
               hot water.  Least we can do is listen 
               to it.

     He pops the cassette into the Trans Am's tape deck.  We hear
     a male voice with a Southern accent ad-lib "Are you ready?  
     Go ahead," etc.  Slowly, haltingly a small female voice
     begins speaking in a thick, odd dialect not immediately
     identifiable.

                               LAYLA
                      (cassette)
               I am Layla Charon Callan...my husband
               is Christopher Callan...they call him
               'Cray.'  I see him murder a man and I....

     She pauses and the previously heard male voice prompts her
     from the b.g.  She continues:

                               LAYLA
                      (cassette)
               ...testify against him.  He is on
               road gang and now he escapes.

     Whereas the girl's spoken almost by rote, her voice now
     fills with desperation, pleading.

                               LAYLA
                      (cassette)
               He will kill me, I know.  Please I
               never hurt nobody.  Don't let him
               kill me.  Help me, I beg you....

     And the tape clicks off.  Michael is disturbed and deeply
     moved by the plea.

                               MICHAEL
               It sounds like a little girl.  Run a
               voice analysis, Kitt.

                               K.I.T.T.
               Right away.

     Michael takes the tape out and eyes it.

     ANGLE - THE CASSETTE

     Printed neatly is the following:

                      THOMAS BAYLOR
                      Fleur Du Lac, Louisiana

     BACK TO SHOT

     as Michael places the cassette back in the deck, doesn't 
     turn it on.

                               K.I.T.T.
               The speaker is indeed female, approx-
               imate age eighteen years, limited
               educational background indicated by
               broken speech pattern.  Emotional
               timbre is sincere and indicates con-
               dition of extreme stress.

                               MICHAEL
               What kind of an accent is that?

                               K.I.T.T.
               Linguistic background is an amalgam
               of Southern American English, French,
               Spanish and American Indian dialect,
               nonspecific.

                               MICHAEL
               Very strange.  Got anything on
               Christopher Callan?

                               K.I.T.T.
               Let me interface with Omni-comp
               and see what there is.

     A beat, then:

     ANGLE ON A PHOTOGRAPH OF CHRISTOPHER CALLAN

     as it's fed to Michael.  We see the handsome countenance.

     ANGLE ON MICHAEL

     studying the photograph.

                               K.I.T.T.
               Age thirty-five, traditional Southern
               stock, no record previous to a con-
               viction for murder.
                      (beat)
               A particularly brutal murder, Michael.

                               MICHAEL
               Guess we'd better find Layla Callan
               before he makes that two murders.

     He pushes a button and Layla's tape begins to play again.

     OMITTED

     EXT. HOUSE - DAY

     A small, ND white clapboard house.  In the yard, scattering
     feed to a bevy of chickens, we see:

     MINISTER BAYLOR

     A gentle-looking man in his early fifties.  He's wearing a
     minister's collar, but he's shed the dark coat.  His
     shirt-sleeves are turned up and he's perspiring slightly
     in the hot morning sun.  As he works, he clucks softly to
     the chicken at his feet.  He hears a noise behind him, he
     turns to face Layla Callan, a delicate, beautiful girl
     dressed shabbily in tight jeans and heavy boots, a man's
     plaid shirt thrown over.  A soft felt hat is pulled down
     around her young face.

                               BAYLOR
               Layla...I told you to stay with
               your family.

     Layla moves close to him, grabs his sleeves.

                               LAYLA
               Cray is here, Reverend.  I feel it.
               I hope maybe you have heard...
               something.

     Baylor rests his hand on hers, shakes his head.

                               BAYLOR
               Nothing yet.  But we can't stop 
               hoping....

                               LAYLA
                      (despondent)
               No one comes.  No one cares.

                               BAYLOR
               Layla, if you won't leave the parish,
               you've got to stay home in the bayou.
               You'll be safe there....

                               LAYLA
               I am never safe from him.
                      (beat)
               Maybe I am meant to die.

     Hold on the minister's helpless look, as Layla turns and
     hurries from the yard.

                                              CUT TO

     EXT. LOUISIANA HIGHWAY - DAY - STOCK

     The Trans Am is now soaked in warm Southern sunlight, rich
     as honey.

     INT. TRANS AM

     as Michael cruises toward Fleur du Lac.

                               MICHAEL
               How much farther to Fleur Du Lac,
               Kitt?

                               K.I.T.T.
               Four point six miles.
                      (beat)
               Michael, my cultural data bank
               indicates that smaller southern towns
               are often not favorably disposed to-
               ward strangers.

                               MICHAEL
               Relax.  This part of the country's 
               famous for it's hospitality.

                               K.I.T.T.
               Perhaps, but I hope you have some
               kind of plan for finding Layla Callan.

                               MICHAEL
               It's a small town.  It'll be a snap
               finding one little girl named Callan.
                      (smiling)
               I mean, how many Callans can there be?

                                              CUT TO

     EXT. MAIN STREET - FLEUR DU LAC - DAY - ON THE TRANS AM

     cruising slowly down the street.  Almost every business has
     the name "Callan" out front.  Over this, we hear:

                               K.I.T.T.'S VOICE
               Shall I start counting?

     INT. TRANS AM 
 
     as Michael looks to his left and right.

                               MICHAEL
               Thanks anyway, wise guy.

                               K.I.T.T.
               It occurs to me that since the escaped
               convict is a member of the Callan
               family, this town may be less than
               receptive to your attempts to help
               his wife.  Perhaps even hostile.

                               MICHAEL
               I've been thinking the same thing.

                               K.I.T.T.
               What are you going to do?

     Michael pulls over and parks the Trans Am.

                               MICHAEL
               Only thing I can do...stir up the pot
               and see what rises.

     With that, Michael gets out.

     MOVING WITH MICHAEL

     as he wanders through the town, in a montage of shots that 
     include:

     THE LOCAL GAS STATION

     as Michael talks briefly with a crusty old attendant wearing
     a painter's hat and overalls.  Nothing but a lot of head
     shaking.  Michael moves on to:

     CALLAN GROCERY

     where Michael stops to talk to a clerk who's arranging fruit
     and vegetables on a stand in front of the store.

     This time, Michael doesn't even get a response.  Quick as
     she can move, the clerk disappears inside the store.

     THE LOCAL TAVERN

     or any other spot where the locals might gather.  A couple
     of good ole boys are sitting on benches, chewing and
     whittling.  Michael stops, finally gets their attention.
     They eye Michael from head to toe, go right back to the
     business of passing the day.  Without Michael.  He turns
     and leaves, and we go to the:

     OMITTED

     TRANS AM

     Just as Michael reaches K.I.T.T., Sheriff Casey, the long
     arm of Fleur du Lac's law pulls up and parks.  About two 
     inches from Michael's foot.  Casey gets out, real slow and
     easy, crosses to Michael.

                               CASEY
               This your car?

                               MICHAEL
               That's right.

                               CASEY
               You're running around with a busted
               taillight.  That's an infraction of
               the law.

                               MICHAEL
               What taillight?

     Michael moves to the back of K.I.T.T.  Casey follows.

                               CASEY
               This one....

     With that the Sheriff leans back and kicks K.I.T.T.'s left
     taillight.  His foot bounces off.  Casey's surprised, kicks
     the light again, harder.  Still nothing.  Red-faced and 
     angry, Casey turns to Michael.

                               CASEY
               In addition to that faulty brake
               light, I'm citing you for running  
               a stop sign.

                               MICHAEL
               I haven't seen a stop sign for a 
               hundred miles.

                               CASEY
               Back there at Main and Fourth.  You
               just sorta coasted right through.
                      (beat)
               I'm gonna have to take you in.

                               MICHAEL
               For running a stop sign?  Where I come
               from, that's worth a ticket and....

                               CASEY
               You ain't where you come from, boy....

     Before Michael can respond, Sheriff Casey's escorting
     Michael into the backseat of the squad car.

     ANGLE ACROSS THE STREET ON MINISTER BAYLOR

     watching as Michael is driven away.

     ANOTHER ANGLE TO FEATURE K.I.T.T.

     as the squad car pulls past the Trans Am.

     INT. TRANS AM

     as we hear:

                               K.I.T.T.
               So much for Southern hospitality.

                                              CUT TO

     EXT. OLIVER CALLAN'S MANSION - DAY - ESTABLISHING

     an antebellum two-story on the end of Main Street.  The
     squad car is parked in the long circular drive.  Michael 
     and the Sheriff get out, head toward the house.

     OMITTED

     INT. MANSION - LIVING ROOM - DAY

     Dark, quiet, a scattering of chairs, sofa and a large white
     straw peacock chair.  And electric fan hums quietly.
     There's a knock on the door and then it opens.  Michael
     and the Sheriff step into the room.

                               SHERIFF
               I got the young fella here, Judge
               Callan.

     Michael reacts to the name Callan as the chair swivels to
     reveal a large man in Colonel Sanders white, fanning 
     himself.  The man, Judge Oliver Callan, views Michael with
     all-observing, shrewd eyes.

                               SHERIFF
               I'll be out front if you need me,
               Judge.

     The Sheriff leaves.  Michael stands before the Judge, his
     mind calculating the setup.

                               JUDGE CALLAN
               What's your name, boy?

                               MICHAEL
               Michael Knight.

                               JUDGE CALLAN
               I'm Judge Oliver Callan.  I represent the
               judiciary here in Fleur Du Lac.

                               MICHAEL
               Seem to be a lot of Callans in town.

                               JUDGE CALLAN
               Just one that counts.

                               MICHAEL
               Cray Callan must ring a bell.

                               JUDGE CALLAN
               He's my son.

                               MICHAEL
               Must be hard for you...your son being
               a murderer and an escaped convict,
               I mean.

                               JUDGE CALLAN
                      (coldly)
               I didn't see any murder and I didn't 
               convict him.
                      (beat)
               I hear you're lookin' for that little
               tramp wife of his.  Why?

                               MICHAEL
               That's personal.

                               JUDGE CALLAN
               It's my family and it's my town, boy.
               Nothing's personal.

                               MICHAEL
               Look, I was brought here because I
               ran a stop sign allegedly.  Why don't 
               I pay that off and head on my way?

     Callan studies Michael for a long beat.  Finally, he smiles.
     Too broadly.

                               JUDGE CALLAN
               I don't like visitors to leave with
               a bad opinion of Fleur Du Lac, so I
               won't charge you for that infraction.
               I'll just give you a piece of advice.
                      (hard)
               Don't go against me, boy.  Christopher
               Callan is safe as a clam in his shell
               in this parish, but you're out of the
               water, you get me?

     He swivels around in his chair, turning his back to Michael
     as an indication of dismissal.

                               MICHAEL
               Yes, sir.  I think I get you very
               well.

     With that, Michael turns and exits, and we:

                                              CUT TO

     OMITTED

     EXT. MAIN STREET - DAY

     as Sheriff Casey stops near the Trans Am.  Michael steps
     out, watches as Casey continues down the street.

     CLOSE ON MICHAEL

     as he moves toward K.I.T.T.  Suddenly, Minister Baylor
     crosses the street, passes close to Michael.  As he does,
     we hear:

                               BAYLOR
                      (sotto voce)
               I sent you the tape.  I need to talk
               to you at the church.

     Before Michael can respond, Baylor turns and hurries for
     the opposite corner.

     ANOTHER ANGLE

     as a shot rings out and a bullet catches the minister in
     the shoulder.  Michael reacts, rushes into the street,
     looks up to see:

     MICHAEL'S POINT OF VIEW - A ROOFTOP NEARBY

     A man with a rifle is visible -- Christopher Callan.  He 
     ducks out of sight.

     BACK TO MICHAEL

     as he looks up at the crowd of locals gathered around him.
     The people look shocked but nobody's pursuing Callan.

                               MICHAEL
               Isn't anybody going to stop that guy?

     Nobody answers.  Michael looks at the minister, who's
     passed out.  Blood oozes from a shoulder wound.

                               MICHAEL
               Somebody get help!

     He gets up, runs after Callan.

     ANGLE ACROSS THE STREET

     Hidden in the shadows of a building, we see Layla Callan.
     She watches, wide-eyed with horror and grief, as several
     of the locals finally go to the aid of the minister.  With
     tears streaming down her face, she finally turns and races
     down an alley.  As she does, we go to:

     MICHAEL

     racing around a corner, where he spots two deputies sitting 
     inside a coffee shop.  A squad car is parked out front.
     Rifle still in hand, Callan is running toward the squad car.
     Michael stares in disbelief at the two indifferent cops,
     then shouts:

                               MICHAEL
               Hey, you!  Stop!

     Callan turns, sees Michael and fires at him.  Michael leaps
     out of the way, rolls behind a parked car.

                               MICHAEL
                      (comlink)
               Kitt!  I need you!

     EXT. CALLAN GROCERY - DAY

     A few kids are peering at the car, tapping it and staring
     in the windows when the Trans Am bursts to life.  The kids
     jump away, staring with awe.  K.I.T.T. backs up fast,
     executes a 180 and tears up the street toward Michael,
     leaving a gaping gathering of kids behind.

     EXT. INTERSECTING STREET - DAY

     as the Trans Am roars around the corner.  Callan reaches
     the squad car, jumps in and with a squeal of tires, tears
     off.  The Trans Am reaches Michael and the door flies open.

                               MICHAEL
               Did you get a visual on him, Kitt?

                               K.I.T.T.
               It's Christopher Callan, Michael.

                               MICHAEL
               Just what I figured.

     WIDER ANGLE

     as the Trans Am squeals away, heading in pursuit of the
     squad car as it disappears around the corner, we:

                                              FADE OUT

                         END OF ACT ONE

                             ACT TWO

     FADE IN

     EXT. TWO-LANE HIGHWAY - LOUISIANA - DAY

     The squad car carrying Cray Callan tears down the road with
     the Trans Am gaining quickly.  Suddenly, the squad car
     veers off the highway onto a dirt road and heads across a
     field toward a dense wall of trees ahead.  Kicking dust,
     the Trans Am follows.

     INT. TRANS AM

     Determined, Michael stays on Callan's tail.

                               K.I.T.T.
               Michael, we are approaching a very 
               unorthodox environment.

                               MICHAEL
               So's Callan.  We'll have the edge
               on him.

                               K.I.T.T.
               The area we are entering is a dense
               swampland with irregular solid
               surfaces....

                               MICHAEL
               The bayou.  Hold your breath, pal....

     EXT. THE TWO CARS

     as around them, the ground becomes muddier, wetter.  The
     squad car hits a thick, oozing puddle and fishtails, nearly
     losing control as the Trans Am gains.  Callan speeds toward
     a fallen tree, jerking the wheel sharply, skids almost out
     of control again but clears the tree.  Behind him, the
     Trans Am barrels toward the tree, Michael hits the turbo
     boost, and the Trans Am jumps the fallen tree.

     OMITTED

     ANOTHER PART OF THE BAYOU

     as the squad car reaches the heavily treed area of the 
     bayou.  The Trans Am is right on its tail.

     INT. TRANS AM

     Michael maneuvers K.I.T.T. through the growing morass.

                               K.I.T.T.
               I am not programmed for an under-
               water obstacle course, Michael.

                               MICHAEL
               Neither am I, but I'm learning.

     EXT. THE SQUAD CAR

     as it angles off to the side, hits a small bank, soars up
     into the air, then comes down again beyond the thick brush.

     NEW ANGLE

     as the Trans Am easily clears the same turn, rises over the
     bank and, in slow motion, comes down with a sucking splash
     in swamp water.  Nearby is the squad car, already sinking 
     into the mire.

     INT. TRANS AM - ANGLE ON MICHAEL

     peering out through the mud-spattered windshield.

                               MICHAEL
               Where's Callan?

     MICHAEL'S POINT OF VIEW - CALLAN

     climbing onto a seemingly forgotten trapper's fan boat.
     He activates the engine, and roars away, quickly swal-
     lowed up by the swamp.

     ANGLE ON THE TRANS AM

     as the engine revs, strains, sputters.  The Trans Am's
     wheels spin, sinking further.

     INT. TRANS AM - ANGLE ON MICHAEL

     pressing the accelerator to the floor, to no avail.

                               MICHAEL
               We gotta get moving, Kitt.

                               K.I.T.T.
               Michael, we've got absolutely no
               traction.

     Michael activates the turbo boost, nothing happens.

                               MICHAEL
               C'mon, buddy...turbo boost.

                               K.I.T.T.
               Some foreign element in the liquid has
               neutralized several of my functions
               including turbo boost.  I'm quite 
               incapacitated.

                               MICHAEL
               We'll see....

     And Michael pulls one of the dashboard levers.

     EXT. TRANS AM

     A grappling hook at the end of the long steel rope shoots
     out the back of the car and lodges in one of the large,
     thick-based trees on the bank.  The engine revs and the 
     Trans Am begins to move slowly out of the water, toward
     land.  Then, suddenly, with a creak, the entire tree pulls
     out of the ground and falls, roots and all, onto the squad
     car.  With an unattractive gloop, the squad car vanishes
     beneath the surface of the muck.

     INT. TRANS AM

     Michael reacts to the demise of the squad car.

                               MICHAEL
               What's keeping us from going under,
               Kitt?

                               K.I.T.T.
               In my opinion, extremely good luck.

     Suddenly, from O.S., Michael hears the approaching sound of
     dogs barking.

                               MICHAEL
               Dogs!  There might be someone with 
               them!

     EXT. TRANS AM

     as Michael climbs out the pop top and wades toward the bank,
     calling:

                               MICHAEL
               Hey!  Over here!  Help!

     OMITTED

     CLOSE ON MICHAEL

     as he reaches the bank.  Suddenly, three dogs burst through 
     the brush, knock Michael to the ground.  In a second,
     they're on top of him.

     ANGLE ON TWO MEN

     Tall, weather-worn and grim-visaged; the hunters, ap-
     proaching behind the dogs, pausing in the cover of trees 
     to watch as the dogs continue ripping.

     ANGLE ON MICHAEL

     struggling to free himself from the jaws of the furious
     beasts.  It's a battle he can't win.  He shouts out:

                               MICHAEL
               Kitt!  Kitt, help me...!

     ON K.I.T.T.

     as the engine turns over, sputtering and missing badly.  It
     catches, then fails, then catches again.  Finally, it
     sputters to a halt.

     ON MICHAEL

     battling with the dogs.  He's fading badly.

     MICHAEL'S POINT OF VIEW - THE DOGS

     Snarling, their huge teeth flashing, they continue the
     attack.  We hear Michael's cries, a scream of pain.  Then,
     slowly, everything begins to blur, slip out of focus:  the
     dogs, the bayou, the two men watching.  As we go to black
     and total, terrifying silence:

                                              DISSOLVE TO

     OMITTED

     EXT. CHARON CABIN - DEEP IN THE BAYOU - DAY - ESTABLISHING

     A rudely built, swamp-encrusted cabin.  Two black hunting
     dogs doze on the porch.

     INT. CABIN - ANGLE ON MICHAEL

     lying on a rough-made bed, his wounds bandaged.  He awakens
     drowsily.  He struggles to sit up, grimacing with pain.  As
     soon as he moves, we hear the low, threatening growl of:

     A BLACK HUNTING DOG

     lying at the foot of the bed.  He bares his fangs, growls 
     more loudly.

     ANGLE ON MICHAEL

     remembering those teeth, recoiling.  He glances around the 
     room, and we widen to reveal one of the two men we saw with
     the dogs.

     The dogs growl again.  The man, who we'll know as Jacques,
     finally speaks.

                               JACQUES
               Emile...allez dehors.  Vite!

     With that, the dog turns and meanders out of the cabin.
     Michael breathes a big sigh, relaxes for the first time.

                               MICHAEL
               My name's Michael Knight.  I...I've
               come here...to Fleur du Lac...on
               business.  To see someone.  A man 
               was shot and I was chasing the guy
               who did it...Callan.  Cray Callan.

     As Michael talks, Jacques gets up, opens a door leading to
     a bedroom.  A beat, then Layla Callan steps into the room.
     She faces Michael.

                               LAYLA
               I am Layla.  Layla Callan.

     Michael reacts.

                               LAYLA
               I think maybe you come for me....

     Michael nods yes.  Layla looks at him, then away.  She
     crosses to a table, takes a small transistor radio in her
     hand, holds it closely to her chest.  She turns to Michael,
     looks at him simply, openly.

                               LAYLA
               I pray someone will come.  For a 
               long time.  Now, you come...and I am
               afraid.

     Michael tries to stand, can't.

                               MICHAEL
               Layla, don't be afraid.  I'm here to
               help you.  To take you out of here
               ...away from Callan.  All I need 
               is my car, then we can leave....

     Layla studies Michael for a long beat, both fascinated and
     frightened by this man.

                               LAYLA
               My brothers get your car....

                               MICHAEL
               How long will that take?

     No response.

                               MICHAEL
               Soon?

     No response.

                               MICHAEL
               How far is it to town?  To a road?

     Still, Layla doesn't respond.  She switches on her radio 
     and we hear the faintest sound of music, voices.  Layla
     turns to Michael.

                               LAYLA
               You rest now.  Get stronger before
               you go....

     Before Michael can respond, Layla exits.  Michael tries to
     stand and follow her, but a wave of dizziness pushes him
     down on the bed.  As he lays down, we:

                                              CUT TO

     OMITTED

     EXT. BAYOU - DAY

     A panorama of gray, hanging silence unfolds, thick trees
     reaching beyond the realm of vision, gray lichen draped
     like dry beards from the sky.  Into the dank world comes
     Cray Callan, piloting the Charon's fan boat, clutching his
     rifle.

     ANGLE ON A CLUMP OF UNDERGROWTH

     as Callan's boat glides past.  Something moves behind the 
     plants.

     ANOTHER ANGLE

     as another figure, half-seen, lopes along keeping pace with
     Callan's boat.

     ANOTHER ANGLE

     of a third watcher, thickly-bearded and dressed in heavy, 
     dark clothing.

     ANGLE ON CRAY CALLAN

     aware of the watchers, increasingly uneasy, his fingers
     twitching on the rifle.  He steers the fan boat up against
     a sloping bank joined by a rickety pier.

                               CALLAN
               Je suis Callan.  Come on out, you
               swamp ghosts.  I know you're there.

     WIDER ANGLE

     A man appears from the camouflaging surroundings.  He's 
     hard-faced, bearded, scarred, mean looking -- it is Henri
     Lecroix.  He faces Callan, speaks with a thick Cajun accent.

                               LECROIX
               What you want?

                               CALLAN
               I want Layla Charon.  She's here, in
               the bayou.

     Lecroix shrugs.

                               CALLAN
               No one knows the bayou like a Cajun.
                      (beat)
               I'll make it worth your while.  Just 
               name it.

     Lecroix looks around at the invisible figures, as if only
     his eyes can pierce the shadows that veil them.

                               LECROIX
               Sheriff Casey stop our poaching minks.
               We want no more trouble from him.

                               CALLAN
               Done.

     Lecroix looks around again, then slowly nods at Callan.

     EXT. CHARON CABIN - NIGHT

     The silver glow of a full moon creeps through the thick
     tree cover, dropping a muted sheen onto the quiet cabin.

     INT. CABIN - NIGHT

     A single kerosene lamp lights the cabin.  We see Michael
     sitting on the edge of the bed.  He's using his comlink.

                               MICHAEL
               Kitt...Kitt, can you read me?  Kitt,
               where are you?  Do you read me?

     Nothing.  Michael turns in the direction of the front
     porch, where we can hear Layla's radio.  Slowly, Michael
     stands, crosses to the front door.

     EXT. CABIN PORCH - NIGHT

     Layla is sitting, staring out at the bayou.  The night is
     alive with a symphony of sounds:  crickets, frogs, owls.
     Under this, we hear music from Layla's radio.  She starts,
     turns quickly as Michael steps onto the porch.

                               MICHAEL
               Sorry.  Didn't mean to startle you.

                               LAYLA
               I know all the sounds here.  You are
               not from the bayou....

     Michael moves and sits next to Layla.

                               MICHAEL
               Neither was Cray.  But you married
               him.  Why?

     Layla looks at Michael, hesitates for a moment, then:

                               LAYLA
               I got to Fleur du Lac.  To sell
               fish.  I am very young -- thirteen.
               Cray Callan sees him, wants to buy 
               me from my father.  When he says no,
               Cray threaten Papa.  Says Lecroixes
               will take everything.

                               MICHAEL
               Lecroixes?

                               LAYLA
               Bad Cajuns.  Poachers.  They steal
               our game, tear our nets.  Callans own
               them.  We feud with them for years.
                      (very quietly)
               It kill Papa when I go with Cray.

     There's a beat of silence.

                               MICHAEL
               Who did Cray kill, Layla.

     Another silence as Layla fiddles with her radio.

                               LAYLA
               A man.  A stranger.  From the north
               ...like you.

                               MICHAEL
               Why?

                               LAYLA
               He look at me.  With hungry eyes.
               Cray was crazy.  Like an animal....

                               MICHAEL
               Doesn't sound like he's changed much.
                      (urgently)
               Layla, I've got to find my car.

                               LAYLA
               Jacques et Arnaud...they find.
               Bring to you.

                               MICHAEL
               Good.  I want to get you out of here
               as soon as possible.  Then I can take
               care of Cray....

     Michael stops talking as he notices a look on Layla's face.
     He studies her.

                               MICHAEL
               What's wrong?  You do want to leave,
               don't you?

                               LAYLA
               This place...the bayou...it is my
               home.  It is all I know.

     No response.

                               MICHAEL
               Look, Cray's going to try to kill you
               ...you said that on the tape you
               sent....

                               LAYLA
               Minister Baylor sent tape.  He try
               to help and he is shot.  Now you
               come, and maybe you are hurt, too.
                      (desperately)
               This is not right.  I cannot allow....

     Layla fights back a tear.

                               MICHAEL
               Look, I'm already here, so I'll take 
               my chances.  But, it's going to be a
               lot safer...for both of us...when
               we've got a few miles between 
               ourselves and this place.

     Layla holds up her radio, shows it to Michael.

                               LAYLA
               From this, I hear songs about places.
               Big cities, many people...
                      (beat)
               Here, I know how to live, but in the
               cities....
 
                               MICHAEL
               Layla, Cray Callan's gonna find you 
               here.

     Layla looks at Michael, her eyes calm and clear.

                               LAYLA
               I am Cajun.  If I leave the bayou, I 
               will die.

                               MICHAEL
                      (frustrated)
               But, if you stay....

     Michael's voice trails off.  He knows she's not listening.
     Then she turns to him.

                               LAYLA
               Tomorrow, you go.  Please.

                               MICHAEL
               Not without you.

     Layla stares at Michael, shakes her head, then smiles at
     him for the first time.  Michael smiles back.  A warm
     moment.  In the silence all we hear is the bayou and
     Layla's little transistor.

                                              CUT TO

     EXT. CALLAN HOUSE - DINING ROOM - MORNING

     A long table made for a dozen people.  This morning it's
     set for one:  Judge Callan.  He's finishing a big breakfast
     as he thumbs through the morning paper.  A door opens and
     we hear:

                               CALLAN
               Hello, Daddy.

     Judge Callan lowers his paper, quickly cloaks his surprise
     at seeing his son.

                               JUDGE CALLAN
               You all right, boy?

                               CALLAN
               None the worse for wear.  Thank you
               for gettin' me off that road gang,
               Daddy.

                               JUDGE CALLAN
               I didn't do it so you could shoot
               the minister, Cray.

                               CALLAN
               He took my wife from me.  Now, that
               ain't right, even in the eyes of 
               the church.

                               JUDGE CALLAN
               That is over and done with.  You
               hear me?

     Deliberately, Callan circles the table, punctuating his
     words with each step.

                               CALLAN
               Every shovel of Louisiana mud I dug
               reminded me of the people who hurt
               me.

     The Judge rises, crosses to lay his hands on his son's
     shoulders.

                               JUDGE CALLAN
               Forget about the girl.  She's just
               Cajun trash.  She'll crawl back into 
               the bayou and be forgotten.

                               CALLAN
               Not by me, Daddy.  Never by me.

     He starts to move away but the Judge stops him, hard.

                               JUDGE CALLAN
               Now, you listen to me, Cray.  You're
               the only son I got, and I brought 
               you back to help you put what you've
               done behind you, safe from the out-
               side law.  But don't push too hard,
               understand?  'Cuz you keep bendin'
               the law and you're gonna find me on
               the other end of it.
                      (beat)
               You stay outta that bayou.

     The flare of anger that's appeared in Cray's eyes during
     this speech softens and he leans in to kiss his father's
     cheek.

                               CALLAN
               I'll be a good boy.

     As Cray disappears into the night:

                                              CUT TO

     EXT. CHARON CABIN - DAY - EARLY MORNING

     Michael steps onto the porch, moves cautiously around the 
     hunting dog sleeping there and then crosses toward a 
     rough-hewn lean-to next to the house.

     ANGLE ON THE LEAN-TO

     where we see the Trans Am.  It's been meticulously
     cleaned.  Michael hurries to the front door, opens it.

                               MICHAEL
               Kitt!  Am I ever happy to see you.

     A beat, then:

                               K.I.T.T.
               The feeling is mutual, Michael.  How
               are you?

                               MICHAEL
               A little raw around the edges, but
               I'll live.  How about you?

                               K.I.T.T.
               Well, I fail to understand the
               appeal of those so-called mud baths.

                               MICHAEL
               I see your sense of humor's still 
               intact.

     INT. TRANS AM

     as Michael climbs inside.

                               MICHAEL
               I was afraid something was wrong.  I
               couldn't reach you on the comlink
               last night.

                               K.I.T.T.
               I heard you, Michael, but I appar-
               ently can't transmit.

                               MICHAEL
               If that's all that's bothering you,
               we're in good shape.
                      (punches buttons)
               Let's get a readout from your self-
               diagnostic analyzer.

                               K.I.T.T.
               Apparently it's not functioning,
               Michael.

                               MICHAEL
               Terrific.  This is like being a 
               doctor with a patient who can't tell
               him where it hurts.

                               K.I.T.T.
                      (a trifle
                       defensive)
               I would if I could, Michael.

                               MICHAEL
               Yeah, I know.  Sorry, pal.

                               K.I.T.T.
               Besides, even if I could, I'm not 
               certain you'd be able to utilize the
               data.

                               MICHAEL
               Wait a minute.  I'm not exactly all
               thumbs.

                               K.I.T.T.
               Not exactly....

     Michael thinks, nods.

                               MICHAEL
               Right.  We've gotta try and reach
               April.

                               K.I.T.T.
               Precisely what I had decided.  I'll
               do the best I can.

     Michael turns to the video screen.  The monitor comes to 
     life, but it's fuzzy.  We are able to make out Devon and 
     April, but not well.  The sound transmission crackles and
     pops with static.

     As Michael talks, we intercut with:

     INT. F.L.A.G. HEADQUARTERS - DAY - ON APRIL AND DEVON

                               DEVON
               Michael, we've been worried sick.
               Where are you?

                               MICHAEL
               I'll brief you later, Devon.  Right 
               now, I need to talk to April.

                               APRIL
               Is there a problem?  How's Kitt?

                               MICHAEL
               A little soggy....

                               APRIL
               Soggy?  Michael Knight, what have 
               you done...?

                               MICHAEL
               Look, April, we're stuck in the 
               middle of a swamp.  I can't have
               this discussion right now.  I need
               your help.  Kitt needs your help....

     April exchanges a glance with Devon, takes a big breath.

                               APRIL
               What precisely is the problem?

                               MICHAEL
               We don't know.  That's the problem.
               Kitt's diagnostic indicator's out.

                               APRIL
               It's probably a short.  I'll punch
               in a schematic of the circuitry.
               You'll have to make the repair 
               yourself.  You can do that, can't 
               you?

     Michael leans forward, staring at the video screen.  The 
     picture's growing dimmer, April's voice fading.

                               MICHAEL
               I can do it, but you're going to
               have to hurry.  Our connection's
               going....

                               APRIL
               What?  Michael...?

     Just then, the picture on the video monitor goes completely
     fuzzy.  No picture.  No sound.  They're off the air.

                               MICHAEL
               Kitt....

                               K.I.T.T.
               I'm sorry, Michael.  We've lost 
               contact.

                               MICHAEL
                      (exasperated)
               Great....

     OMITTED

     ANGLE ON THE CHARON PORCH

     as the hunting dog suddenly raises his head, hearing
     something beyond the range of human hearing.  The
     hair starts to bristle on his neck, and he growls softly.

     ON THE BAYOU - VARIOUS ANGLES
 
     In the lush foliage surrounding the Charon cabin, we see
     the vague outlines of figures moving with total silence,
     closing in on the cabin.  Hold on them, and then:

     OMITTED

                                              FADE OUT

                         END OF ACT TWO

                            ACT THREE

     FADE IN

     EXT. CHARON CABIN - DAY

     As the hunting dog climbs to his feet, his low growls grow
     louder, become barks.  He strains at the rope tying him to
     the porch as Layla comes hurrying through the front door,
     quickly turning off her radio.

     ON LAYLA

     sensing the danger the dog has felt.  She strains to see
     into the bayou.  She tenses as she sees:

     LAYLA'S POINT OF VIEW - FIGURES

     moving through the brush.

     OMITTED

     BACK TO LAYLA

     hesitating only a second before she rushes from the porch,
     across the yard.

     ANGLE - WIDER TO INCLUDE MICHAEL

     coming out of the lean-to.  Layla comes rushing past him.

                               MICHAEL
               Layla...Layla!

                               LAYLA
               Go now, Michael!  No more deaths....

     Before Michael can respond, Layla runs into the clearing.
     A split second later, a shot rings out.  Layla continues
     on, unhurt, scrambling into the bayou brush, clinging to 
     her portable radio.

     ANOTHER ANGLE

     across the clearing as Henri Lecroix becomes visible, still
     aiming his rifle.  He shouts to his hidden brothers:

                               LECROIX
               After her!

     And everywhere, shadows begin to move.

     ANGLE ON MICHAEL

     leaping into the Trans Am, firing the car to life.

     INT. TRANS AM

     as the car prepares to move out.

                               MICHAEL
               Let's hope this works, Kitt....

     EXT. CLEARING 

     The Trans Am blasts out of the lean-to, roars across the 
     clearing, shots sparking off of K.I.T.T.'s body.  The car
     tears into the greenery beyond the clearing and several
     Lecroixes dive for safety as the car pursues Layla.  The
     Lecroixes fan out and rush into the bayou, still shooting.

                                              DISSOLVE TO

     OMITTED

     EXT. BAYOU - DAY - VARIOUS ANGLES - THE LECROIXES

     as they individually make their way through the swamp
     brush, searching for Layla.

                                              DISSOLVE TO

     ANGLE - PAUL LECROIX

     moving quickly, he trips a concealed rope which lifts a
     net and Paul is yanked off the ground, moving up and out
     of frame.

     EXT. BAYOU - DAY - ANGLE ON LAYLA

     pushing her way through the swamp brush, gasping for breath
     as she runs.  Then the Trans Am rolls into scene.  She runs
     blindly, oblivious to the Trans Am until it's beside her.
     The passenger door opens and Michael reaches toward Layla,
     shouting:

                               MICHAEL
               Get in!

     Without losing pace, Layla grasps Michael's hand and is
     pulled into the car.  she drops her radio, pulls away from
     Michael to get it.

                               LAYLA
               My radio....

                               MICHAEL
                      (shouts)
               Layla forget it...they're coming.
               Get back here!

     A figure emerges a distance away, a shot rings out.  Layla
     grabs her radio as another shot puffs dust up around it.
     She jumps into the car.

     NEW ANGLE

     as the door shuts and as the pursuing Lecroixes become
     visible in the surrounding greenery and the shots
     intensify, the Trans Am blasts off, disappearing into the
     bayou.

     ANGLE ON THE LECROIXES

     as they gather in the clearing left by the Trans Am.  There
     are five of them, silent and mean, all armed.  They stand
     beside Henri, awaiting commands, but instead hear the
     outside shouts from the snared Paul.  The men react to
     another O.S. cry for help and then run in that direction.

     ANOTHER ANGLE

     as the five men move through more brush and pause beneath a
     large tree.  Above their heads, hanging from his heels by a
     stout rope, is Paul.

                               LECROIX
               Cut him down!

     The men approach the tree, help the trapped man down and we
     angle to a concealing clump of brush nearby, where Jacques
     and Arnauld Charon, carrying the remaining piece of rope,
     watch the peril of the Lecroixes with amusement.  Arnauld
     turns in the direction the Trans Am took and speaks softly.

                               JACQUES
               Bon chance, Layla.

     He and Jacques head back toward their cabin.

     EXT. ANOTHER PART OF THE BAYOU - DAY - ANGLE ON THE
     TRANS AM

     moving slowly through faceless, gray swampland.

     INT. TRANS AM

     Michael and Layla peer out at the void around them.
     Michael studies her a beat.

     She nods, shyly holds it.

                               MICHAEL
               Who were those men, Layla?

                               LAYLA
               The poachers.  The Lecroixes.  The
               best hunters in the bayou.  They 
               will find us.

                               MICHAEL
               We've got to get out of here.  Do
               you know where we are?

                               LAYLA
               This is Lecroix land.  I have not 
               been here for many years.

     Michael hesitates to communicate directly with K.I.T.T. in
     front of Layla, but knows he must.

                               MICHAEL
               Can you give me a visual on our
               location, Kitt?

                               K.I.T.T.
               I'll most certainly try.

     Layla reacts to the talking car.

                               LAYLA
               Mon Dieu!

                               MICHAEL
               It's a computer, Layla.  It's very
               complicated.

                               LAYLA
               I never see car like this.  You will
               explain this...this computer?

                               MICHAEL
               In time.  Right now....

                               K.I.T.T.
               I have it for you, Michael.

     Out comes a blank sheet.  Michael realizes that K.I.T.T.'s
     malfuntioning again.

                               MICHAEL
               Can you at least tell me what 
               direction we're going in?

                               K.I.T.T.
               I gather the visual was inadequate.

                               MICHAEL
               I'm afraid so.

                               K.I.T.T.
               We're going northeast, Michael.

                               MICHAEL
               Are you sure?

                               K.I.T.T.
               Under other circumstances the
               question would be insulting,
               Michael.  But, due to organic
               contamination of my integrated
               micronetic navigational....

                               MICHAEL
                      (over)
               You're not sure.

                               K.I.T.T.
               In a word...no.

                               MICHAEL
               Your best is all we can ask for, pal.
                      (then)
               What's at the northeast end of the 
               bayou, Layla?

                               LAYLA
               Cajun settlement.  Northwest belongs 
               to the Lecroixes.

     Hold a beat on their reactions.

     MONTAGE

     1)  ANGLE ON THE TRANS AM - just as the car turns more to
         the east and continues on.

     2)  ANGLE ON FOUR OF THE LECROIXES - omitting Henri and
         the man who was caught in the trap, tracking the Trans
         Am.  Its course through the bayou is fairly clear --  
         tire tracks in the mud, broken brush -- the men are
         confident.

     3)  ANGLE ON MICHAEL AND LAYLA - as she attempts to guide
         them, pointing the way.

     4)  ANGLE ON THE TRANS AM - moving deeper and deeper into 
         the bayou.  Time seems suspended, as it becomes occasion-
         ally denser, then dryer; sometimes there are black pools
         or the occasional whisper in dry brush of some living
         thing.

     5)  ANOTHER ANGLE OF THE TRANS AM - as it's about to cross
         a shallow pool of muddy water.  A bear trap suddenly
         lashes out of the pool and clamps onto K.I.T.T.'s tire.

                               MICHAEL
               Wha....

                               LAYLA
               Trap.

     Michael and Layla alight from the car, look at the trap
     locked onto K.I.T.T.'s tire.

                               K.I.T.T.
               This is humiliating.

                               MICHAEL
               I'll get you unlocked, pal.

     Michael picks up a log and begins to pry the trap free,
     while:

                               MICHAEL
               This isn't the only thing we have to 
               look forward to out here, is it?

     Layla looks around, shakes head.

     OMITTED

     BACK TO SHOT

                               LAYLA
               More traps.  Quicksand.  Much danger.

     Michael pulls the trap aside.  She and Michael climb back 
     into the Trans Am.

     INT. TRANS AM

     as Michael carefully steers around the traps.

                               K.I.T.T.
               I've failed you again, Michael.  I
               should have scanned that ugly device.

                               MICHAEL
               To err is human, pal.  We'll find
               our way.

     Layla looks at Michael with alarm.  He comfortingly squeezes
     her hand.

     EXT. ANOTHER PART OF THE BAYOU - DAY

     The bank and pier where Cray Callan previously recruited
     Henri Lecroix.  Now, Callan waits here again, fingering his
     rifle.  We see a hunting knife strapped to his thigh, and
     he's dressed for the hunt.  A beat, then Henri Lecroix
     approaches from the brush.

                               CALLAN
               Where's Layla?

                               LECROIX
               My brother is caught in Charon trap.
               Now is our fight, Callan.

                               CALLAN
               My wife?  Where is she?

                               LECROIX
               L'etranger with black car get her.
               We track.

                               CALLAN
               You bet we track.

     Callan moves out, Henri and Paul follow.

     MONTAGE

     1)  ANGLE ON THE TRANS AM - moving deeper into nothingness,
         keeping as direct a course as possible.

     2)  ANGLE ON LAYLA - pointing through the windshield at a
         thick cord draped with animal pelts, as the Trans Am
         passes beneath it.

     3)  ANGLE ON THE HIGH SUN - flickering visible above the 
         trees.

     INT. TRANS AM

     as suddenly, Layla waves excitedly, pointing.

                               LAYLA
               The shack!  The poachers' shack!
               I know this place.

     And we angle toward a small shack, looming ahead through
     the bushes.

     INT. SMALL SHACK - DAY

     Michael and Layla enter and Michael finds a small lantern,
     lights it.  The shack is cluttered with crates and checking
     their contents, Michael whistles.

                               MICHAEL
               There's enough dynamite here to 
               flatten Manhattan.

     He turns to see a collection of canned goods.  He moves to
     them, grabs a can of peaches, an opener.

                               MICHAEL
                      (continuing)
               Food...Get something in your stomach.

     She takes the can and begins to open it as he examines the
     cabin further.

                               MICHAEL
               This dynamite...the poachers use it
               for fishing?

                               LAYLA
                      (nods)
               And gators.  We stay here, Michael?
               Rest?

                               MICHAEL
               The Lecroixes know about this place,
               don't they?

                               LAYLA
                      (nods)
               Everybody knows.  My father built it.
               Then, the poachers take it away.  Now,
               is their dynamite, their food.

                               MICHAEL
               Then we don't stay....

     He picks up a tarp, fills it with cans of food.

                               MICHAEL
               You know the way out of here now?

                               LAYLA
               Like your car, Michael...I can make
               good guess.

     He gives her a warm smile.  She returns it shyly.  He blows 
     out the lantern, scoops up the food.

                               MICHAEL
               Like my car, you're nice to have
               around.

     A beat between them and they exit.

     EXT. BAYOU - MERGING POINT - DAY

     Callan and Henri Lecroix merge with the other four Lecroix
     trackers, they converse, (MOS) a beat, one points to 
     K.I.T.T.'s tracks and they all move out.

     EXT. CAJUN SETTLEMENT - DAY

     The Trans Am moves slowly into Cajun civilization.  Out
     here, forgotten in the middle of the bayou, is a colorless,
     wood-structure town.  Cajun locals mill about.  As the 
     Trans Am pulls into the center of the settlement, we hear
     that the car's engine is missing badly.  Finally, the car
     dies, and the hum of its engine is replaced by strange Cajun
     music wafting out of a nearby barn.  A few Cajuns stroll by
     carrying beer and foods, laughing; there's a festive air
     amidst the gloom.

     INT. TRANS AM

     as Michael tries uselessly to restart the engine.

                               MICHAEL
               What is it, Kitt?

                               K.I.T.T.
               The juncture between my accelerator
               and fuel injection has deteriorated,
               Michael.  I am unable to correct the
               problem.

                               MICHAEL
               I'll see what I can do.

     EXT. TRANS AM

     Michael and Layla climb out and Michael crosses to open
     the Trans Am's hood, tinker with the complicated engine.
     Layla is very tense as Cajuns stroll by, ad-libbing
     greetings to Layla, during:

                               LAYLA
               We must go, Michael.  Lecroixes
               come.  I feel them.  They will hurt
               these people, too.

     Michael glances at the festivities going on around them.

                               MICHAEL
               What's going on?

                               LAYLA
               Life in the bayou is hard.  We
               celebrate when we can.

     She moves away from Michael, to peer worriedly up the road
     from which they entered the village.  Michael turns back to
     K.I.T.T.

     ANGLE ON MICHAEL

     ungracefully working on the engine.

                               K.I.T.T.
               I must say...April does have a more 
               delicate touch, Michael.

                               MICHAEL
               Get her on the phone.  I'll be happy
               to sit in the shade.

                               K.I.T.T.
               Point well taken, Michael.

     ANGLE ON LAYLA

     as two Cajun men rush up to her.  One man sweeps her off
     the ground in a genial hug.

                               CAJUN MAN
               Layla, allons!

     The second man twirls Layla around, responding to the music;
     then the two men pull Layla toward the nearby barn.

                               LAYLA
               No, no, je n'ai pas le temps...
                      (crying out)
               Michael ---

     ON MICHAEL

     Michael comes up from under the Trans Am's hood just as,
     pulled by well-meaning friends, Layla disappears into the
     barn.  Michael starts after her, then instead shuts the
     car's hood and slides into the driver's seat.

                               K.I.T.T.
               Despite your inexperience, I do
               believe you've done the trick.

                               MICHAEL
               Don't take April off the payroll yet.

                               K.I.T.T.
               I assure you...the thought never 
               entered my memory.

     He turns the ignition and the car's engine growls, doesn't
     connect.  It growls again, turns over, then dies.  It
     growls a third time, turns over and begins to idle.

                               K.I.T.T.
               Given adequate time to warm up, I 
               should now be able to filter out the
               most troublesome impurities.

                               MICHAEL
               Time's the one thing we haven't got,
               Kitt.  I'm putting you on surveillance
               until I get back.

     Michael climbs out, K.I.T.T. increases the rpms.  Michael
     hurries toward the barn.

     OMITTED

     EXT. POACHERS' SHACK - DAY

     Cray Callan waits outside with the four Lecroix trackers.
     Henri Lecroix exits the shack, holding an empty can.  The
     Lecroixes set off on foot from the shack, Callan following.

     EXT. CAJUN BARN - DAY - ANGLE ON MICHAEL

     as he approaches the celebration, where several Cajuns are
     eating, dancing.

     ANGLE ON MUSICIANS

     Older men, a singer of words both alien and recognizable, a 
     fiddle player, bottleneck guitar player, Cajun accordian.

     ANGLE ON LAYLA

     in the middle of the dancing, being spun around, obviously
     adored by locals who are unaware of her anxiety.  She sees
     Michael, calls out to him.

     WIDER ANGLE TO FEATURE MICHAEL

     as he tries to make his way to Layla, but is caught by a
     young Cajun woman who pulls him playfully into the 
     dancing.  Michael tries to resist, but he's quickly swept
     along with the other dancers.  He and Layla glance at each
     other over the heads of the dancers.  Meanwhile:

     ON K.I.T.T.

     His surveillance lights flashing.  Behind him, moving
     toward the celebration, we see one of Lecroixes men moving
     toward the celebration.

     INT. K.I.T.T.

     as he tries to contact Michael on the comlink.

                               K.I.T.T.
               Michael, can you hear me?  Michael,
               those trappers are here...Michael...
               Michael....

     EXT. BARN - DAY

     as the party continues.  Michael and Layla are still 
     dancing.

     ANOTHER ANGLE

     revealing a second Lecroix man watching the festivities
     from near the crayfish pot.

     ON MICHAEL

     In the midst of the crowd, he spots the hostile Cajun near
     the crayfish pot.  He turns, glances hurriedly around.

     ON LAYLA

     following his glance, and stopping when she sees the other
     Cajun who just passed K.I.T.T.

     ANGLE - WIDER

     as Michael fights to get to Layla.  It's a struggle, but he
     reaches her, takes her by the arm and turns to escape.

                               MICHAEL
               Come on...it's getting hot around
               here.

     They turn to escape, but are stopped short by:

     HENRI LECROIX

     looming up in front of him, with a good-sized knife in his
     hand.  He waves it slowly, menacingly, at Michael, who
     pushes Layla to the side.

                               MICHAEL
               Layla, run...get out of here.

                               LAYLA
               Michael...be careful.

     ON MICHAEL AND HENRI

     as Henri grins at Michael, beckons him forward with the
     knife, then lunges, barely missing Michael, who leaps to
     the side and catches Henri with a sharp jab.  Lecroix
     stumbles, turns and advances on Michael.  Around them, the
     Cajuns have stopped dancing.  The musicians have stopped
     playing.

     ANOTHER ANGLE FEATURING THE TWO LECROIX HENCHMEN

     moving closer to the action, ready to jump in if Henri
     needs a hand.

     ON CALLAN

     as Cray Callan steps out of the barn, quickly crosses
     through the crowd to Layla's side.  He grabs her by the
     arm.  She screams as he begins to drag her, kicking and
     struggling through the crowd.

     ON THE FIGHT

     as Michael continues to elude the knife.  He hears Layla's
     scream, turns to see her in Callan's grasp.  As he does,
     Henri rushes him.  Michael ducks under the knife, comes up
     swinging and connects with Henri's jaw.  The big Cajun
     staggers back and Michael connects again, knocking the
     knife out of his hand as Henri falls through the picnic
     table near the barn.  Michael turns to K.I.T.T., shouting
     into the comlink:

                               MICHAEL
               Kitt, down here...quick!

     ON K.I.T.T.

     coming to life, roaring toward the barn.  In front of him, 
     we see the two Lecroix men racing forward to help Henri.

     ON MICHAEL

     watching K.I.T.T., and seeing the two heavies barreling
     toward him.  Into his comlink:

                               MICHAEL
               I'm gonna need some pass inter-
               ference on those guys, buddy....

     WIDER ANGLE TO FEATURE K.I.T.T.

     as he comes up behind the heavies, both doors fly open and
     smash into them from behind, knocking them sprawling into 
     the dust.  K.I.T.T. stops in front of Michael, who jumps 
     behind the wheel and roars into the barn.

     THE OTHER SIDE OF THE BARN

     as the Trans Am comes flying out, and disappears around the 
     corner in a cloud of dust.

     MOVING WITH THE TRANS AM

     as Michael speeds toward the edge of the bayou, screeches
     to a halt.  He jumps out and peers frantically around.
     Nothing and no one in sight.  A beat, then Michael sits 
     dejectedly on the front seat of the car.

     OMITTED

     INT. TRANS AM

     Michael stares out into the bayou.

                               MICHAEL
               They've got her....

     Michael looks down to see Layla's radio sitting on the seat 
     of the car.

                               MICHAEL
               Back inside their world.

     Hold on Michael's worried face, then:

     OMITTED

                                              FADE OUT

                        END OF ACT THREE

                            ACT FOUR

     FADE IN

     OMITTED

     EXT. BAYOU - DAY

     as Michael and K.I.T.T. slowly make their way through the
     soggy bayou.  We hear K.I.T.T. starting to miss, cough and
     sputter.  Off this, we:

                                              CUT TO

     INT. POACHERS' SHACK - DAY - ANGLE ON A TERRIFIED LAYLA

     lit by flickering lantern's glow, hunched against crates of
     dynamite.  We widen as Callan steps into the shack,
     silhouetted by the daylight behind him.

                               CALLAN
               It's nice to be alone like this
               again, isn't it, Layla?

                               LAYLA
               Let me go, Cray.  You know I do only
               what is right.

     We move closer as Callan slowly approaches Layla.

                               CALLAN
               You shouldn't have betrayed me.

                               LAYLA
               You should not kill a man.

     Callan leans over and takes a whisp of Layla's hair, fondles 
     it almost lovingly.

                               CALLAN
               I couldn't stand the way he looked
               at you, mon cherie.  When he touched
               you....

                               LAYLA
               He meant nothing!

     Callan kneels beside Layla, grabbing her chin, tilting her
     face up toward his.

                               CALLAN
               Remember when it was good between us?

                               LAYLA
               It was never good between us.

     He tightens his grip on her chin, squeezing until it
     hurts.  Layla fights back the tears that well in her eyes.

                               CALLAN
               Cajun memories are short.  You need 
               to be reminded....

     And he kisses her, pressing her back against the crates of
     dynamite.  Her body goes almost limp beneath his passion,
     but her hand moves toward his thigh, her fingers wrap
     around the hunting knife ensheathed there.  As she care-
     fully slips the knife out, he suddenly grabs her hand,
     pulling the knife away, slamming her back against the
     crates.  He pulls out the knife, holds it up to her face.

                               LAYLA
               Please, Cray....

                               CALLAN
               You Cajuns really are nothing but
               animals.  Just not as loyal as dogs.

     And he slams the knife down into the crate, missing Layla's
     cheek by a fraction of an inch.  The tears she's been
     holding back begin to fall.  He grabs her bound wrist,
     twisting her so that he can see her hands.

                               CALLAN
               Where's your wedding ring, Layla?
               You sell it?

                               LAYLA
               No, no....

     He shoves her away.  She strikes her head against the
     floor, doesn't get up again.

                               CALLAN
               That wedding ring I gave you belonged 
               to my late mommy.  It bound you to
               me and now a ring's gonna tie you  
               to death.

     He rises, a smile tickling the corners of his mouth.

                               CALLAN
               A ring of fire.

     And he moves toward the burning lantern, the firelight
     playing evilly across his face as we:

                                              CUT TO

     EXT. BAYOU - DAY - ANGLE ON THE TRANS AM

     moving slowly through faceless terrain, the engine coughing
     and missing again.

     INT. TRANS AM

     as K.I.T.T. continues to cough and sputter.

                               MICHAEL
               Come on, Kitt.  You can make it.

                               K.I.T.T.
               This is all so frustrating, Michael.

                               MICHAEL
               Listen, champ, you're doing fine.

                               K.I.T.T.
               I dislike feeling inadequate.

                               MICHAEL
               Hey, we're all in the same boat.
               We'll find her buddy.  We've got 
               to....

     OMITTED

     EXT. BAYOU SURROUNDING POACHERS' SHACK - DAY - ANGLE ON
     CRAY CALLAN

     moving in a large circle around the shack, swinging the now-
     open lantern into the lichen draped from the trees bordering
     the area, lighting dry brush, moss, etc., forming a huge
     ring of flames around the shack.  Then, closing the circle
     behind him, Callan vanishes into the undergrowth.

     EXT. BAYOU - DAY - ANGLE ON THE TRANS AM

     The car's engine is still missing, moving slower than ever.

     INT. TRANS AM

     Michael's frustration is growing as the area outside begins
     to darken.  He notices K.I.T.T.'s CRT begin to dance with
     an unusual scan readout.

                               MICHAEL
               Your scan is showing something again,
               Kitt.

                               K.I.T.T.
               Yes, it seems to be a radical increase
               in temperature ahead.  I can't quite
               compute it, Michael.

                               MICHAEL
               Temperature...
                      (then)
               Fire?  Is it a fire?

                               K.I.T.T.
               You're quite right, Michael.  It is
               a fire.  A large one.  I also detect
               a wooden structure...and someone 
               inside.

                               MICHAEL
               Layla!...Keep those cylinders popping,
               buddy...and pray.

     EXT. TRANS AM

     as the car now picks up speed, struggling against its
     engine malfunctions, following a direct course.

     EXT. BAYOU SURROUNDING POACHERS' SHACK - DAY

     as the Trans Am draws closer, the threat of fire grows --
     dark smoke wafting through the air as the flames whip up a
     wind, the crackling of flames in dry brush, an occasional
     tongue of fire visible between the dense trees.  Soon, the
     Trans Am is approaching a veritable wall of flames.

     EXT. POACHERS' SHACK - DAY

     The shack is blurrily visible amidst the smoke and flames.
     The fire is rapidly approaching.

     INT. POACHERS' SHACK - DAY - ANGLE ON LAYLA

     unconscious at the foot of the dynamite crates, smoke
     filling the air around her.

     EXT. BAYOU - ANGLE ON TRANS AM

     as it idles just outside the wall of flames, engine
     sputtering.

     INT. TRANS AM

     Michael peers out at the conflagration ahead.

                               MICHAEL
               We're gonna have to make a run 
               through it.

                               K.I.T.T.
               The technical malfunctions I've been
               experiencing have made me crucially
               aware of my -- shall we say --
               mortality, Michael.

                               MICHAEL
               At least we've got April's heat
               resistant glaze.

                               K.I.T.T.
               I don't believe this is a propitious
               time to try something new.  If it
               fails....

                               MICHAEL
               You'll melt down and I'll be a crispy
               critter...but there's no other way
               to get her out of there, Kitt.

                               K.I.T.T.
               Unfortunate, but true.

                               MICHAEL
               Hang onto your microchips, pal.

     EXT. TRANS AM

     as the car's engine coughs, sputters -- and the car moves
     forward, directly into the flames.

     ANOTHER ANGLE

     As the Trans Am moves through the fire, as fast as possible,
     we intercut Layla in the cabin as flames lick closer and
     closer to the dynamite.

     NEW ANGLE - K.I.T.T.

     punching a hole through the inferno, streamers of burning
     lichen clinging to the automobile's body, the engine
     coughing but making progress.  The entire car seems
     engulfed in flames, then the shack is in sight, already
     covered with sizzling tendrils of fire.

     INT. POACHERS' SHACK

     Layla lies, overcome by the thick smoke fumes, not far from
     flames licking through the walls, sending hungry trailers
     toward the awaiting crates of dynamite.  We widen as
     Michael dashes into the shack, spots Layla and runs to her.
     As Michael lifts her into his arms, Layla stirs, looks up
     at him with blurry eyes.

                               LAYLA
               You come...Michael....

     And Michael runs with her out of the shack.

     EXT. POACHERS' SHACK

     The waiting Trans Am appears to glow, reflecting the flames
     which surround it.  Carrying Layla, Michael runs to the
     car, climbs in.

     INT. TRANS AM

     Layla is limp but conscious.  Michael glances out at the
     shack, as its walls dissolve in flames.

                               MICHAEL
               That dynamite's gonna go!  I'm trying
               turbo boost, Kitt.

                               K.I.T.T.
               An excellent idea, Michael, but....

     Michael pulls out, reaches for the turbo boost, punches the
     button, nothing.  He hits it again.

                               MICHAEL
               Nothing.  Zip.  We're not gonna make 
               it...
                      (an idea)
               Unless....

     He quickly punches overhead buttons, dripping with sweat
     from the heat.

                               K.I.T.T.
               Michael, what are you doing?

     INTERCUT - FLAMES AT DYNAMITE BOXES

                               MICHAEL
               Transferring all source energy
               systems to turbo.

     INTERCUT - DYNAMITE BOXES

     igniting.

                               K.I.T.T.
               My logic systems make it highly
               remote that it will work, Michael.

     INTERCUT - DYNAMITE BOX

     growing with flames.

                               MICHAEL
               It's all we've got, Kitt.

     Finished punching the overhead, he reaches again for turbo,
     hits it.  Nothing.  Intercut dynamite boxes fully enveloped
     now.  Michael hits turbo again, we hear a whine start to
     work up.

                               MICHAEL
               Come on, baby...come on....

     EXT. TRANS AM IN FIRE

     The turbo whines up to a pitch and then ignites.  K.I.T.T.
     leaps from the area of the cabin with a blasting roar as:

     THE CABIN

     begins to explode, first small pops, a stick, two sticks
     going off, while:

     OMITTED

     EXT. TRANS AM

     still moving through the flames, explosions in the b.g.,
     then, suddenly -- bursting into clear, unburning turf.  The
     car stops and Michael and Layla half-climb, half-fall out,
     gasping for air.  Behind them, the dynamite explodes again,
     a giant explosion, and the bayou erupts, shooting debris
     high into the air.

     OMITTED

     CLOSE ON MICHAEL AND LAYLA

     as she instinctively burrows against Michael and he pro-
     tectively hugs her to him, stroking her hair.  We move in
     on them in this tender moment; then, Layla's expression
     changes as she sees something behind Michael.

                               LAYLA
               Cray, no!

     ANOTHER ANGLE

     Layla pushes away from Michael as a shot rings out.  Michael
     grabs her and rolls out of the clearing, into the surround-
     ing brush.

     ANGLE ON CRAY CALLAN

     across the clearing, holding his rifle, trying to see where
     Michael and Layla have rolled to.  Crouching, he moves
     around the clearing, keeping under cover.

     ANGLE ON MICHAEL AND LAYLA

     Michael comforts Layla, who indicates silently that she's
     all right.  Michael speaks softly into the comlink.

                               MICHAEL
               Kitt, can you distract him?

     ANGLE ON THE TRANS AM AND CALLAN

     as he moves past the car and suddenly K.I.T.T. begins to
     move.

     Startled, Callan opens fire on the Trans Am and Michael
     leaps out of the bushes at him, knocking Callan to the 
     ground.  The men struggle with the rifle and it fires, then
     falls free of Callan's hands.

     NEW ANGLE

     as Layla crawls out of the brush, groping toward Callan's
     rifle.  Callan grabs Michael by the throat, oblivious to
     Layla.

                               CALLAN
               You know what, boy?  Your problem is
               you just don't have the killing 
               instinct.

     Michael doubles Callan over with a blow to the midsection.
     Moving forward, he punches, once, twice, three times and
     Callan goes down, beaten, struggling for breath, done.

                               MICHAEL
               You know what, boy?  You're damn
               lucky I don't.

     And he rises, pulling Callan to his feet, pushing him
     toward the Trans Am as we:

                                              FADE OUT

                         END OF ACT FOUR

                               TAG

     FADE IN

     EXT. FLEUR DU LAC STREET - DAY - ANGLE ON CRAY CALLAN

     handcuffed, being led by two State Policemen toward an
     awaiting State Patrol car.  Callan looks up as he passes
     Sheriff Casey and Judge Callan.  Seeing his father,
     Callan's face shines with relief.

                               CALLAN
               Daddy!  Don't let them take me away. 
               You can stop 'em.

     The Judge looks sadly at Callan, turns and walks away.
     Callan watches him in disbelief.

                               CALLAN
               Daddy, you can't do this to me.
               Daddy!

     The State Policemen "help" Callan into the squad car and it
     pulls away, moving out of town.

     NEW ANGLE - ON DOCTOR'S OFFICE

     visible as the squad cars vanish in the distance.  Michael,
     Layla and Minister Baylor, his arm in a sling, exit the
     office.

                               BAYLOR
               We appreciate all you've done,
               Mr. Knight.

     Michael nods, shakes hands with him.  Then they both look 
     to Layla who looks to Michael, her eyes glistening with
     tears.

     CLOSE ON MICHAEL AND LAYLA

     as the minister moves down the street giving them their 
     moment of privacy.

                               MICHAEL
               Sure you want to stay?

                               LAYLA
               This is my home, Michael.

     Michael reaches into his back pocket and pulls out her
     portable radio, presses it into her hands.

                               MICHAEL
               Someday your outside world here is
               gonna get your curiosity up...when
               it does, don't be afraid to go out
               and take a look for yourself.

                               LAYLA
               You teach me not to be afraid...
               maybe someday.

                               MICHAEL
               If you ever decide to leave, you
               know where I'll be.

     Layla nods, stands on tiptoes to kiss his cheek, then runs,
     childlike, after the minister.

     NEW ANGLE

     As Michael strides across the street, toward the awaiting
     Trans Am, which is still covered with bayou mud, another
     State Patrol car approaches and stops nearby and Devon
     alights.

                               DEVON
               Since we lost communication we got 
               here as soon as we could.

     April emerges, sees Michael and hurries toward him.

                               APRIL
               My God, what've they done to you?

     Michael is pleasantly surprised by this concern.

                               MICHAEL
               Well, it wasn't really that bad....

     But April runs right past him, directly to the Trans Am.

                               APRIL
               Oh, Kitt...I've been so worried.

                               K.I.T.T.
               You've no idea the harrowing ordeal
               I've been through, April.

     And as April begins to fret over K.I.T.T., Michael, hands
     on hips, shakes his head.

                               MICHAEL
               You?!

     Intercut their reactions.  Pull to a high shot and:

     OMITTED

                                              FADE OUT

                             THE END