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