Home : Knight Rider : Season 2 : Merchants of Death : Scripts : 3rd Draft

KNIGHT RIDER: MERCHANTS OF DEATH

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

Production #57807
3rd Draft - May 28, 1983 (F.R.) - EN Rev.

Teleplay: .................. William Schmidt
Director: .................. Alan Myerson

                              
                                ACT ONE

     FADE IN

     EXT. AAA WAR SURPLUS SALVAGE YARD - NIGHT

     A hangar sits center among a group of outbuildings and an
     open-air tent.  Under the tent are crates.  Not far from the
     tent are parts of old military equipment, an airplane tail
     section, covered military trucks and a functional tank.
     The entire compound is enclosed by a barbed-wire-topped
     mesh fence.  Two guards, Richards and Layton, patrol the
     grounds.  Each carries a sidearm.

     Above the main gate is a sign, "AAA SURPLUS", highlighted
     by a spotlight.

     ANGLE - BACK FENCE

     A shadow moves stealthily close to the fence.  Once it
     steps into the reflected light, we see that the figure is a 
     handsome woman in her late forties, her hair up in a bun.
     This is Amelia Clermont.  She carries a camera with a
     telephoto lens.  When she sees that a back gate is locked,
     she attempts to focus the camera through a fence link.
     She can't get a good shot and as she climbs atop an old
     piece of equipment lying outside the fence, slips, knocks 
     something over.

     ANGLE - THE GUARDS

     They snap to attention and run over to the back fence, just
     as Amelia races out of the light, towards the desert.

                               RICHARDS
                      (to Layton)
               Get Kragen!

     Layton complies and runs off.  Richards fires at her, but
     she disappears into the darkness.

     ANGLE - AMELIA

     hugging the ground in a gulley not far from the fence.
     Once the gunfire subsides, she crawls-runs to the road and
     climbs into her sports car hidden behind some sagebrush.

     INT. AMELIA'S CAR - NIGHT

     She guns the engine, throws the car into first, then rips
     out onto the two-lane road.

     EXT. WAR SURPLUS SALVAGE YARD - HANGAR - NIGHT

     The night quiet is suddenly torn apart by a loud thumping
     sound.  The hangar door slowly opens to reveal a metal and 
     glass cocoon.  Inside, bathed by the satanic red glow of the
     instrument panel, is Jack Kragen, a grim-faced, ruggedly
     good-looking man in his forties.  As the noise becomes
     deafening, we:

                                              CUT TO

     INT. AMELIA'S CAR - NIGHT - MOVING

     Amelia reacts to the loud, muffled sound, that begins to fill
     the car.  Amelia looks a little panicked:  flat tire?  
     Engine trouble?  Then the noise becomes deafening.  A light 
     shines above the car like a halo; Amelia reacts, frightened.

     INT. SX-411 - NIGHT - KRAGEN

     His face still aglow, now wearing a pilot's helmet as he
     presses a red button on the control stick in his right hand.

     INSERT - GATLING GUN

     as it begins to flash, spurting forth the 20mm cannon fire.

     EXT. DESERT - ROAD - NIGHT - AMELIA'S CAR

     The 20mm Gatling gun fire forces Amelia to spin the car off 
     the road.

     NEW ANGLE

     The thumping noise abates.  Amelia looks up, can hardly
     believe her good fortune, and starts to breathe a sigh of 
     relief as:

     INT. SX-411 - KRAGEN

     He presses another button on the fire control panel.

     EXT. DESERT - NIGHT

     A missile spits from the helicopter, crashes into the car
     and rips it in half.  The car becomes an inferno.  The thump-
     thump-thump of this helicopter which we have yet to fully 
     see or comprehend but will come to know as the SX-411 fades
     into the distance and leaves the desert once again to its 
     solitude, with the tiny pot of flames behind on the desert
     floor.

     EXT. FOUNDATION HEADQUARTERS - DAY - ESTABLISHING

     INT. DEVON'S OFFICE - DAY

     Devon and April are looking at the computer terminal, set
     up near the door, which is slightly ajar.

                               APRIL
               ...the primary analysis indicates
               that Kitt performed beyond expec-
               tations.

                               DEVON
                      (with a
                       smile)
               Despite his strong-willed driver?

                               APRIL
               Maybe because of his strong-willed
               driver.

                               DEVON
               I'm shocked.  You're giving Michael 
               credit?

                               APRIL
                      (half-smile)
               Only when he's not around to hear it.

     There's a slight knock at the door.  As they look over, into
     the frame of the doorway steps Camela (pronounced Pamela with
     a "C") Clermont, beautiful, reserved and sophisticated, a 
     younger version of Amelia Clermont.  April moves toward the 
     door, during:

                               CAMELA
               Excuse me...the outer office was
               empty and....

     Devon looks up and reacts, stunned with recognition, sur-
     prise.  When he doesn't respond:

                               APRIL
               May I help you?

                               CAMELA
               I'm looking for Devon Miles.

                               DEVON
               Amelia?

     And as he rises, still off balance, Camela looks past April
     to see him.

                               CAMELA
               I'm Amelia's daughter, Camela.  Are 
               you Mr. Miles?

                               APRIL
               Devon?  Are you all right?

                               DEVON
               Yes.  Yes.  Of course.
                      (to Camela,
                       warmly)
               I'm Devon.  You'll have to forgive 
               me...you look so much like your 
               mother.  Is Amelia with you?

                               CAMELA
               No.  I was hoping you might know 
               where she is.

                               DEVON
               I haven't seen Amelia in years...is
               she all right?  Camela?

                               CAMELA
               She's...disappeared.

                               DEVON
               Camela, your mother was liberated 
               when the phrase still referred to
               countries.  As I recall, it's not
               unusual for Amelia to simply pack 
               up and leave for days by herself.

                               CAMELA
               It's been three weeks.  No one's 
               heard from her....

                               APRIL
               Have you notified the police?

                               CAMELA
                      (nods)
               They filled out a report.  They said
               there was very little they could do.
                      (beat)
               Will you help me find her?  Please?
               I don't know who else to ask....

                                              CUT TO

     EXT. HIGHWAY - DAY - STOCK

     From out of the horizon comes a speeding car; the Knight
     2000.  And from O.S., we hear a few beats of a "surf" song
     by the Beach Boys, Jan and Dean, or a like group.  The
     music abruptly stops.

                               K.I.T.T. (V.O.)
               Time's up, Michael.

                               MICHAEL (V.O.)
               It's coming...flash from the past....

     INT. K.I.T.T. - DAY

     Michael is at the wheel, a beat more as he tries to 
     remember the song title; still trying, until:

                               K.I.T.T.
               'California Girls' by the Beach Boys.

                               MICHAEL
               Took the words right out of my mouth.

                               K.I.T.T.
               I beg your pardon.

                               MICHAEL
               Just a phrase, Kitt.

                               K.I.T.T.
               Michael, I fail to see the appeal of
               these songs.  They're all about surfing,
               sun, sand and women in bikinis.  Tell
               me, what exactly is the allure of 
               Southern California?

                               MICHAEL
                      (smiling)
               You just said it, pal.  And thanks to
               the Foundation, that's our next stop.

                               K.I.T.T.
               Have you ever considered broadening 
               your cultural horizons, Michael?

     Before Michael can reply, we hear Devon's tone.

                               K.I.T.T.
               Devon is calling.

                               MICHAEL
                      (pushes buttons)
               Go, Devon.

     INTERCUT - DEVON

     As he comes up on the monitor screen, April can be seen in
     the b.g. tapping on the computer console.

                               DEVON
               Michael, I have an urgent matter for
               you to attend to.  You are to reverse 
               course and head for Phoenix immediately.

                               MICHAEL
               Phoenix?  That's behind me.  The new 
               assignment is in California, remember?

                               DEVON
               California can wait.

     Michael realizes how serious and worried he is.

                               MICHAEL
               What's up?

                               DEVON
               A woman named Amelia Clermont has
               disappeared.  Her daughter, Camela,
               will fill you in.  I put her on the 
               Foundation jet moments ago.
                      (beat)
               Michael, I want you to do every-
               thing you can to find Amelia.  This 
               one is personal.  This one is for 
               me....

     EXT. HIGHWAY - DAY - STOCK

     K.I.T.T. burns a 180 and heads back the opposite way.

     EXT. HIGHWAY - VARIOUS ANGLES - DAY - STOCK - DRIVEBYS

     as desert changes to city, Phoenix, Arizona.

     EXT. AMELIA'S CONDO - DAY

     K.I.T.T. pulls to a stop in front of this pleasant condo-
     minium, a squat structure replete with small balconies on
     every floor.

     INT. AMELIA'S CONDO - DAY

     At the sound of the doorbell, Camela opens the door as far
     as the latch-chain will allow.  Michael peeks through the
     opening.

                               MICHAEL
               Camela Clermont?

                               CAMELA
               Yes?

                               MICHAEL
               I'm Michael Knight.  I work with
               Devon Miles.

     She hesitates.

                               MICHAEL
                      (continuing)
               We don't go to the same tailor.

     She smiles, unlatches the door.

                                              CUT TO

     INT. AMELIA'S CONDO - DINING ROOM - DAY

     Begin on a small collection of elegant French ceramics which
     sit on the dining room hutch.  Camela's hand picks one up,
     she muses over it, touches her mother's belongings as we
     widen to see Michael at the table, buried in his research
     of Amelia's papers, during:

                               MICHAEL
               All right...the last letter you
               got in Paris from your mother was
               September 28th.  She was still
               working full-time at the library
               on October 6th and doing volunteer 
               work at campaign headquarters on 
               that Saturday, the 11th.
                      (beat)
               What's the date of the last call on
               her phone bill?

     Startled out of her reverie, she picks up the phone bill.

                               CAMELA
               October 11th.

     Michael jots the information on a pad he has started.

                               MICHAEL
               At least we know when she...disappeared.

     Camela picks up several tickets that Michael has in front 
     of him.

                               CAMELA
               Look at these...tickets for plays, 
               symphonies, a lecture for Green Peace
               ...I never realized how many interests
               Mama and I had in common.

                               MICHAEL
               And we know she wasn't planning on 
               dropping out of sight.
                      (on her
                       confused
                       look)
               These tickets...the theater's tomorrow
               night...and the symphony series doesn't 
               start until next month.

     It sinks in hard.  She picks up one of the ticket envelopes.
     Because she is staring down at it, Michael cannot at first
     see that she is crying.  Then she drops the envelope and 
     quickly wipes away a single tear that begins to spill down 
     her cheek.

                               CAMELA
               Oh, Michael...the tickets...'An 
               evening with George Gershwin -- 
               An American In Paris.'

                               MICHAEL
               Camela...It's going to be okay.
               We'll trace her down.  It may take
               some time, a lot of legwork, a lot 
               of dead-ends...but we'll find 
               answers, believe me.

     She nods.  He clasps his hand around hers.  She takes it,
     holds on tight.

     EXT. AMELIA'S CONDO - DAY

     Camela talks MOS to an elderly lady who is walking into the
     building.  The woman is animated, but, after a pause, shakes 
     her head "no."

                                              CUT TO

     INT. EBERSOL'S OFFICE - CAMPAIGN HEADQUARTERS - DAY

     Michael speaks to a young, pretty campaign worker at the 
     "Ebersol for Congress" reelection campaign headquarters.  
     There are posters everywhere of Ebersol, captioned "Re-Elect 
     Albert Ebersol -- A Good Man."  The girl shakes her head "no."

                                              CUT TO

     EXT. STREET CORNER - DAY

     Camela stands on the corner.  Michael pulls to the curb and
     she hops in.  The car continues down the street.

     INT. K.I.T.T. - DAY - MOVING

     Michael is at the wheel, Camela on the passenger side, pre-
     occupied.

                               MICHAEL
               Any luck?

                               CAMELA
                      (shakes
                       her head)
               Everyone was sympathetic...and sweet
               ...but no one knew anything.
               Mrs. Farrell at the library said 
               Mama could -- what was the phrase --
               'Charm the socks off a snake.'

     Michael smiles, tries to make eye contact, but it's brief.

                               CAMELA
               When I was a little girl, Mama worked
               at the central library in Paris.  I
               used to spend afternoons all curled
               up in one of the alcoves and listen
               to the echo of her footsteps.  I
               could always tell her footsteps...

     K.I.T.T. makes a throat-clearing sound.

                               K.I.T.T.
               Michael, aren't you going to intro-
               duce me to this charming, cultured 
               young woman?

     Camela reacts, stares.  Michael shakes his head.

                               MICHAEL
               Don't have much of a choice now,
               do I?

                               CAMELA
               Where did that voice come from?

                               MICHAEL
               A computer.

                               CAMELA
               It...talks?

                               MICHAEL
                      (nods)
               Sometimes to a fault.  Camela, meet 
               Kitt.

                               K.I.T.T.
               Camela, I couldn't help overhearing
               ...you grew up in Paris?

                               CAMELA
               Yes, I've lived in France most of 
               my life...I still do, as a matter 
               of fact...
                      (to Michael)
               I feel so...strange, talking to
               a car.

                               MICHAEL
                      (a smile)
               It takes a little getting used to.

                               K.I.T.T.
                      (in French)
               Am I correct in assuming you speak
               French?

                               CAMELA
                      (in French)
               Yes.  Actually, I think of English 
               as my second language...
                      (realizes, to
                       Michael)
               He speaks French!

                               MICHAEL
               Fluently, I'm afraid.

                               K.I.T.T.
               I've tried to interest Michael in
               the romance languages, but he prefers
               rock 'n' roll and girls in bikinis.

                               MICHAEL
                      (warning)
               Kitt, that'll do.
                      (to Camela)
               Hungry?

                               CAMELA
               I hadn't thought of it.  Why?

                               MICHAEL
               I cook a mean cheeseburger.

                               K.I.T.T.
                      (to Camela)
               See what I mean?

     Camela laughs.

                                              CUT TO

     INT. AMELIA'S CONDO - NIGHT

     Michael places two bags of groceries in the kitchen, returns
     to the living room.  Camela stands by the piano, absorbed in 
     what she holds in her hands, a scrapbook.

                               MICHAEL
               Cheeseburgers, home fries, apple 
               pie...

     He stops when he sees that she is staring at the book,
     crosses to her.

     ANGLE AT PIANO

                               MICHAEL
               Camela?

                               CAMELA
               When...when I was little I hated to 
               practice the piano.  Mama used to hide 
               treats in here, as incentives...
                      (indicates the 
                       piano bench)
               I looked inside, and found this scrap-
               book....

     She slowly opens it.  As she does, a photograph and a 
     technical drawing fall out.

     Michael picks them up:  we see that the photo is a fuzzy,
     distorted area of fenced landscape and buildings, but we
     cannot make out anything with specificity.  The technical
     drawing is a diagram of electronic circuitry which we will
     later learn are blueprints for the guidance system of the
     Sledgehammer missile.

                               MICHAEL
               Hard to tell what the photograph's 
               of...
                      (re drawing)
               This looks like a blueprint of 
               some kind...
                      (to Camela)
               Anything else in the scrapbook?

                               CAMELA
               Just pictures...some newspaper
               clippings...oh, I almost forgot --
               a bill came today.  Gasoline credit
               card.

     She finds it, hands it to him.  He opens it, rifles through
     the receipts.

                               MICHAEL
               Interesting...she bought all her gas 
               at a station in town...except the last 
               time the card was used.  It's listed
               as a station in Electra, Arizona.

                               CAMELA
               I don't understand -- what difference
               could that possibly make?

                               MICHAEL
               The date is Saturday, October 11th.

                                              CUT TO

     EXT. HIGHWAY - DAY - K.I.T.T. - STOCK

     K.I.T.T. flies down the highway.

                               K.I.T.T.'S VOICE
               I fail to see the significance of 
               a gasoline purchase in Electra....

     INT. K.I.T.T. - DAY - MICHAEL - MOVING

                               K.I.T.T.
               ...in addition to which, it sounds 
               like the kind of place I prefer to 
               avoid.

                               MICHAEL
               Come on, Kitt -- stretch a little.
               They say traveling broadens your
               horizons.

                               K.I.T.T.
               I believe they say it about places
               like Champs Elysees or Trafalgar
               Square.  I don't believe they say it
               about places like 'Elmo's Garage' in
               Electra, Arizona.

     Michael smiles.

                               K.I.T.T.
               Since you haven't asked, I was quite
               impressed by Camela.

                               MICHAEL
               I figured.

                               K.I.T.T.
               It's beyond me how you could prefer 
               bubble-heads in bikinis over ---

                               MICHAEL
               Kitt, I like Camela, okay?  And just
               because a girl wears a bikini doesn't 
               mean she's a 'bubble-head.'
                      (beat)
               Who told you that, anyway?  April?

                               K.I.T.T.
               I'm capable of drawing my own con-
               clusions.

                               MICHAEL
               It was April.

                                              CUT TO

     EXT. ELMO'S GARAGE - ELECTRA, ARIZONA - DAY

     A throw-back to the Fifties, an ancient gas station as
     weather-beaten as its owner, Elmo Warshaw, a reed-thin man
     in his sixties.  Elmo, in a greasy baseball cap, whistles
     in appreciation as Michael drives up and stops.

     Elmo crosses over.

                               ELMO
               Fill 'er up?

                               MICHAEL
               Thanks, I'm just looking for a little
               information....

     Michael holds out a photo of Amelia.

                               MICHAEL
               I'm trying to find this lady.  Credit
               card billing says she bought gas here
               on October 11th.  Do you remember her?

     Elmo, however, is staring past the photo to K.I.T.T.'s dash.

                               ELMO
               What is this?

                               MICHAEL
               Pardon?  Oh, my car -- I like gadgets.
               Did you see her?

                               ELMO
                      (still staring)
               Must be a real thrill drivin' a car
               like this.

                               MICHAEL
               It has its ups and downs.  Have you
               seen this woman?

                               ELMO
                      (looks
                       at photo)
               Matter of fact, yeah...had a sporty
               little car with a chunk outta the 
               left front tire size of a half-
               dollar.  Couldn't sell her a tire, 
               though.  Haven't sold a tire in 
               three years.

                               MICHAEL
               Which way did she go?  Did you notice?

                               ELMO
                      (points)
               That way.

                               MICHAEL
               What's down there?

                               ELMO
               Nothin'.  Old salvage yard, but that's
               all....

                               MICHAEL
               What kind of salvage yard?  Cars?

     Elmo steps back, a change in his face.

                               ELMO
               I sell gas, not information.  You 
               want information, you come to the 
               wrong place.

     He goes back inside.  Michael studies him, thoughtful,
     then leaves, turning onto the two-lane road off the highway.

                                              CUT TO

     EXT. TWO-LANE ROAD - DAY

     Michael and K.I.T.T. stop on a hill overlooking the war
     surplus salvage yard in the distance.

     INT. K.I.T.T. - DAY

     Michael peers out through the windshield.

                               MICHAEL
               Kitt, bring up that picture from 
               Amelia's scrapbook.

     The fuzzy picture comes up on one CRT.

                               MICHAEL
                      (looking
                       hard now)
               All right...now give me a visual
               on the surplus yard.

                               K.I.T.T.
               I could teach you French, Michael.

     The second CRT brings up the surplus yard landscape.

                               MICHAEL
               Some other time, Kitt.  Now, zoom in
               a little closer, filter the fuzz out 
               of the photo, and we'll see if we've
               got something.

     K.I.T.T. zooms, the two CRTs adjust and then we see two 
     exact landscapes.

                               K.I.T.T.
               Michael, this is virtually the exact
               picture that Amelia Clermont took.

                               MICHAEL
               You got that right, pal.  Now the 
               question is why.

     He pulls out.

                                              CUT TO

     INT. HANGAR - STORAGE AREA - CRATE - DAY

     Hands and a crowbar pry open a crate revealing four Sledge-
     hammer missiles and the Multiple Ejection Racks for launch
     of the missiles.  Adjust to see the handler is Kragen.  He
     lifts one of the racks as we adjust to see Edward Strock move
     up from an outside office...His beginnings were mean streets, 
     but now he hopes his money, fancy cars, associates and Armani 
     suits will cover it all.

                               STROCK
               Haven't you got the system installed
               yet?

                               KRAGEN
               Just got the Racks yesterday...What'd
               you want, an assembly line?

                               STROCK
               We've got a deadline to meet.

                               KRAGEN
               We'll meet it.  We always do.

     EXT. AAA WAR SURPLUS SALVAGE YARD - MAIN GATE - DAY -
     CLOSE ON PICTURE OF AMELIA

     Pull back as Richards hands it back to Michael.  In b.g. we
     see Strock's Bentley.

                               RICHARDS
               Haven't seen her.  We don't get much
               company out here.

                               MICHAEL
                      (studies him
                       a beat)
               Okay, thanks for your time.

     Richards nods.  Michael pulls out.  Hold on K.I.T.T. moving 
     down the road.  Then follow Richards to his Jeep.  He picks 
     up a Handi-talkie.

     INT. K.I.T.T. - DAY - MOVING

                               K.I.T.T.
               The man's voice modulation indicated
               stress variables, Michael.

                               MICHAEL
                      (nods)
               That leaves me with two questions,
               Kitt.  Why would he lie...and why 
               would Amelia be interested in that
               place?

                                              CUT TO

     EXT. TWO-LANE ROAD - DAY

     Michael and K.I.T.T. travel down the desolate road.  They
     pass the area where Amelia skidded off.

     INT. K.I.T.T. - DAY

     Michael slows as he passes the skid marks.

                               K.I.T.T.
               Something wrong, Michael?

                               MICHAEL
               I'm not sure, Kitt.

     He throws the car into a 180 and comes back to the skid 
     marks.

                               MICHAEL
               Kitt, give me a reading on those
               skid marks.  How long ago were
               they made?

                               K.I.T.T.
               Somewhere between two weeks and a
               month ago -- Michael, my scanners
               indicate the presence of copper-
               jacketed twenty millimeter projec-
               tiles lodged in the asphalt.

     Michael, puzzled, pulls the car off the road, parks and
     gets out.

     EXT. INCLINE - DAY

     Michael walks to the lip of the incline.  When he looks
     down, he reacts as we adjust to see the burned-out hulk of
     a barely recognizable car.  

     BACK TO MICHAEL

     He has a sick feeling in the pit of his stomach.  He returns 
     to K.I.T.T., opens the door, leans in and punches up 
     K.I.T.T.'s X-ray capabilities.

                               K.I.T.T.
               Michael, what happened?  Are you all
               right?

                               MICHAEL
               Tell you in a minute, pal.  I've 
               activated your X-ray mode.  Give me 
               a reading on the...car down there.

                               K.I.T.T.
               Goodness.  That's a car?

                               MICHAEL
               Was.  Is there any trace of...human
               life?

                               K.I.T.T.
               I'm sorry, Michael...I detect only 
               the remains of human life....

                               MICHAEL
               A body.

                               K.I.T.T.
               Badly decomposed.

                               MICHAEL
               Female?

                               K.I.T.T.
               Affirmative.

     Michael sighs, shakes his head.

                               MICHAEL
               Better get me Devon, pal.

     FEATURE A JEEP ON A DISTANT RISE

     A man is looking at Michael and K.I.T.T. through binoculars.
     It is Richards, the guard.

                                              FADE OUT

                         END OF ACT ONE

                             ACT TWO

     FADE IN

     EXT. DESERT - DAY - MICHAEL

     Michael and K.I.T.T. as before.

                               K.I.T.T.'S VOICE
               Devon's not at the Foundation, 
               Michael.

     CLOSER ANGLE ON MICHAEL

                               MICHAEL
               Where is he?

                               K.I.T.T.
               Phoenix.  He flew in this morning.

                               MICHAEL
                      (reacts)
               He's probably with Camela right
               now....

                               K.I.T.T.
               Do you want me to call him?

                               MICHAEL
               Yeah...get him for me, Kitt.

     ANGLE ON RICHARDS

     He returns to his Jeep and leaves.

     INT. AMELIA'S CONDO - DAY

     Camela has the phone in her hand.

                               CAMELA
               It's for you...it's Michael.

     Angle widens to include Devon as he crosses, takes the
     phone.

                               DEVON
               Thank you.
                      (phone)
               Hello, Michael.  Camela tells me
               you've introduced her to a car that
               speaks fluent French and cheese-
               burgers large enough to....

     He doesn't finish, interrupted by Michael.  As he listens
     his expression changes noticeably.  Camela is aware.

                               DEVON
                      (phone)
               You're quite sure?..I see...yes, of
               course...good-bye.

     He hangs up, shaken.

                               CAMELA
               Devon, what is it?  Did he find 
               something?

     No choice, Devon faces her.

                               DEVON
               He found Amelia's car....

     Camela stares at him, suddenly unnaturally calm.

                               CAMELA
               She's...dead, isn't she?

     Devon nods.  Their eyes hold for a long moment.

                               DEVON
               Camela....

     He reaches to touch her but she abruptly moves away, stops,
     her back to him.

                               CAMELA
               I'm all right.  Really, I'm
               perfectly capable of....

     WIDE ANGLE

     Devon can see she is crying.  He moves to her, gently puts
     his arms around her.  This time she doesn't resist.  They
     hold each other, Camela crying.  Devon's tears still inside.

                                              CUT TO

     EXT. TWO-LANE ROAD - DAY

     K.I.T.T. is parked on the road, scanner flashing, as
     Michael examines the road.

                               MICHAEL
               No cannon fire could've destroyed a 
               car like that -- even twenty milli-
               meter.

     He slowly moves back toward K.I.T.T., thinking, observing 
     the area.

                               MICHAEL
               Got any ideas?

                               K.I.T.T.
               None, I'm afraid.

                               MICHAEL
               I'll settle for a probable location
               of the weapon.

     K.I.T.T.'s computers whir and flash.

                               K.I.T.T.
               Point of impact analysis indicates 
               the weapon could only have been
               fired from one position.

                               MICHAEL
               C'mon, Kitt -- spit it out.

                               K.I.T.T.
               Directly above.

     Michael reacts, looks up.  All he sees is sky.

     INT. CONDO - NIGHT - ANGLE ON DEVON

     as he comes out of a bedroom, quietly closes the door
     behind him.  As he crosses to the coffee table, we widen to
     see Michael there, seated, waiting for him.  Devon's face
     shows the day's toll.

                               MICHAEL
               Is she asleep?

                               DEVON
               Fitfully, but she is.  Thank God.
                      (beat)
               I first met Amelia in Washington, DC.
               I was hurrying up the steps of the 
               Capitol Building.  She was hurrying
               down.  We collided and fell, quite 
               literally, in love.
                      (beat)
               She desperately wanted to go to
               Europe.  After the war...I had seen
               enough of it.  We drifted apart, but
               we never really lost touch....

     Devon looks at Michael.

                               DEVON
               The last thing Camela said before
               she went to sleep was she didn't 
               want her mother's death to be in 
               vain.  I told her I'd see to it.

                               MICHAEL
                      (nods)
               I read you.

     For a moment, it looks as if Devon might cry, but he
     doesn't, turns; back to the business of it.  He picks up
     the technical drawings Michael discovered in Amelia's
     scrapbook, puzzled.

                               DEVON
               I still can't imagine how Amelia
               could get her hands on a document
               like this...I called a friend at the 
               Pentagon.  He said the guidance 
               system for the SX-411 is as top
               secret as the missile itself.

     Michael is struck by a thought.

                               MICHAEL
               Devon...this SX-411 missile...what's 
               it fired from?

                               DEVON
               It's adaptable to either a fighter
               or an attack helicopter.  Why?

                               MICHAEL
                      (beat)
               I think I know what Amelia was after 
               out there...and what destroyed her.

                               DEVON
               Michael, what on earth are you 
               talking about?

                                              CUT TO

     EXT. HIGHWAY - NIGHT - STOCK

     K.I.T.T. flashes by.

     INT. K.I.T.T. - NIGHT

     Michael drives, alone with his thoughts.

                               K.I.T.T.
               You're awfully quiet tonight.

                               MICHAEL
               Guess I am, pal...got things on my
               mind.

                               K.I.T.T.
               Camela?

                               MICHAEL
               In a manner of speaking.

                               K.I.T.T.
               She could be the one, Michael.

                               MICHAEL
               The one what?

                               K.I.T.T.
               Don't you ever think of marriage?

                               MICHAEL
               Marriage?  Kitt, let's get one thing
               straight.  Right now, I do not want 
               to get married and I don't want to 
               learn French, either.

                               K.I.T.T.
               Aren't we testy.

                               MICHAEL
               If I'm right about what's in that 
               hangar, you'd be testy too.

                                              CUT TO

     EXT. WAR SURPLUS SALVAGE YARD - NIGHT

     Layton and Richards patrol on foot.

     ANGLE ON K.I.T.T.

     He rolls to a silent stop some distance from the main 
     gate.  Michael slips out silently.

     ANGLE ON MICHAEL

     He runs across the gulley to the back gate.  At the fence,
     he talks into the comlink.

                               MICHAEL
               Kitt, I need a locksmith.  Fast.

     INTERCUT - K.I.T.T.'S MONITOR SCREENS

                               K.I.T.T.
               That's a digital variation lock,
               Michael.  It may take some time to 
               determine all the mathematical prob-
               abilities to find the correct 
               combination.

                               MICHAEL
               In other words, back off.

                               K.I.T.T.
               Precisely.

     On one CRT comes the lock, as K.I.T.T. infrarays it.  On 
     the other CRT, combinations of numbers speed by.

     EXT. SALVAGE YARD - ANGLE ON GUARDS BY GUARD GATE

     Richards starts toward the back fence area and motions
     Layton off towards the other direction.

     ANGLE ON MICHAEL

                               MICHAEL
                      (comlink)
               Kitt, someone's coming.

     Suddenly, the gate pops open.  Michael creeps inside the
     fence.

     ANGLE WITH MICHAEL

     He moves quietly to a stack of empty crates ten yards
     inside the fence.  He checks around a corner at Richards,
     who has turned back to the guard gate, oblivious to Michael.

     Michael checks inside the crates, then spots the hangar
     about fifty yards away.  Midpoint to the hangar is another 
     pyramid of crates and, beyond it, the tank.  As Michael
     starts forward, he bumps an exposed plank of wood.

     ANGLE ON RICHARDS

     His head snaps around at the noise, and he edges over to 
     the stack of crates.  He pauses, then jumps behind the 
     crates, rifle ready to fire.  He sees nothing....

     ANGLE ON MICHAEL

     hiding in the shadow of the pyramid of boxes, midpoint to
     the hangar.  Richards looks around, then walks back to the 
     guard gate.  Michael beats a fast track to the hangar.

     INT. HANGAR - NIGHT

     Michael comes through a back door and is bathed in an 
     eerie blue light.  He stops and stares up in awe.

     HIS POINT OF VIEW 

     At the far end of the hangar is the SX-411, an advanced 
     attack helicopter presently in production.  It's awesome,
     frightening.  Kragen and a technician work on ladders,
     installing missile guidance systems.

     ANGLE TO INCLUDE MICHAEL

     He can't take his eyes away.

                               K.I.T.T. (O.S.)
                      (comlink)
               Michael, a guard is approaching.

     MICHAEL'S POINT OF VIEW - LAYTON

     carrying a flashlight, stops at the window and points the 
     beam inside.

     NEW ANGLE

     Michael backs up tight against the wall.  Layton stands in
     the doorway and moves his flashlight's beam across the floor.
     It misses Michael by inches.  Layton leaves.  Michael waits 
     a moment, inhales, slips out the door.

     EXT. SALVAGE YARD - NIGHT - ANGLE WITH MICHAEL

     Michael exits the hangar and moves from shadow to shadow,
     getting closer to the back gate -- when Richards comes into 
     view.  He sees the open lock, locks it, suspicious.
     Michael hides behind the stack of crates ten yards from the 
     fence.

                               MICHAEL
                      (comlink)
               Kitt, I need some help.  Create a 
               diversion at the west end and then 
               come get me.

                               K.I.T.T. (O.S.)
               Anything in particular?

                               MICHAEL
               Use your imagination.

     ANGLE ON TANK

     Silent and unmoving.

     INT. K.I.T.T. - NIGHT - ON MONITOR SCREENS

     The microwave jammer goes to work.

     ANGLE ON TANK

     The engine growls to a start.

     ANGLE AT BACK GATE

     Both Richards and Layton react, move towards the west end.

     ANGLE ON TANK

     It rumbles along, smashing things.  Layton appears, jumps
     on it, struggles to control it.

     ANGLE AT OPPOSITE END

     K.I.T.T. appears out of the darkness, turbo boosting over
     the fence.  He skids to a stop, the door pops open and
     Michael jumps in.

     ANGLE ON TANK

     Layton shuts it off.  Richards, approaching, thinks he 
     hears something.  He turns.

     HIS POINT OF VIEW - K.I.T.T.

     leaps over the fence, into the night.

     CLOSE ON RICHARDS

     He stares in disbelief.  And alarm.

                                              CUT TO

     INT. CONDO - NIGHT - DEVON AND MICHAEL

     trying to keep their voices down despite the sense of
     excitement and tension.

                               MICHAEL
               I saw it....

                               DEVON
               I don't doubt you, Michael.  The 
               point is without a serial number or 
               some kind of firm ID, a Federal 
               judge isn't likely to issue a search 
               warrant.

                               MICHAEL
               Devon, it's there now.  If we're 
               right about the yard being a front 
               to sell illegal weapons, it might 
               not be there long.

                               DEVON
                      (thinking)
               I do know a U.S. Attorney based in
               Phoenix.
                      (looks for
                       number
                       in book)
               Perhaps with his help....

     He finds the number, begins to dial.

                               DEVON
               You're positive you weren't seen?

                               MICHAEL
               As positive as I can be.

                               DEVON
                      (phone)
               Hello, Jim?  Devon Miles.  Pardon
               the hour, Jim, but I need your help 
               on a matter of extreme urgency.

                                              CUT TO

     EXT. SALVAGE YARD - DAY

     Richards appears, stops, looking off.

     HIS POINT OF VIEW - A PROCESSION OF CARS

     arrive, two Federal sedans lead by K.I.T.T.  They pull in
     and park.

     INCLUDE RICHARDS

     He watches, expressionless.  Michael and Camela join Devon
     and two Federal Marshals as they reach the gate.

                               MARSHAL
               Federal Marshal.  I'd like to see 
               the owner.

                               RICHARDS
               He's not here.

                               MARSHAL
               You'll do.  I have a warrant to 
               search these premises.  Open up.

     Richards shrugs, unlocks the gate.

                               RICHARDS
               Help yourself.  Unless you like to 
               live in the past, you won't find much.

     Michael indicates the hangar to Devon.  Devon nods, leads
     the Marshal toward it.  Michael puts his arm around Camela,
     hugs her in support.  Richards catches Michael's eye; to 
     Michael's surprise, Richards smiles.  Michael doesn't like 
     the smile, doesn't know what it means.

                               DEVON'S VOICE
               Michael?  Come here a moment, please.

     ANGLE AT HANGAR DOOR

     Devon has a peculiar expression on his face.  Puzzled,
     Michael looks inside.

     INT. HANGAR - HIS POINT OF VIEW

     Except for scattered pieces of old military equipment, the
     hangar is empty.

     CLOSE ON MICHAEL

     He is stunned.

                                              FADE OUT

                            END OF ACT TWO

                               ACT THREE

     FADE IN

     INT. HANGAR - DAY

     Michael, Devon and Camela are incredulous.  The Marshals 
     are perplexed and angry.  Richards can barely conceal his 
     gloating.

                               RICHARDS
               Maybe you were seeing things.  The 
               desert can do that to a man.

     Devon, livid, pulls Marshal #1 outside.

     EXT. HANGAR - DAY

     Devon and Marshal talk in hushed emphatic voices.

                               DEVON
               Somebody tipped them off.  That man
               knows the truth -- arrest him and 
               we'll get at it.

                               MARSHAL #1
               I'm as sorry as you are, Mr. Miles
               but I have no grounds for an arrest.

     Devon sighs, frustrated.  He watches as a grinning Richards
     fingers his rifle.

     Camela strides outside, towards the guard gate.  Michael
     hurries to catch up with her.

     ANGLE ON MICHAEL AND CAMELA

                               MICHAEL
               Camela....

     As she turns, there are tears in her eyes.

                               CAMELA
               That's it, Michael.  We worked so
               hard to fit in the last piece of 
               Mama's puzzle...but they're too
               smart....

                               MICHAEL
               For now, maybe, not forever.

                               CAMELA
               No?  Look at him, grinning...
                      (indicates
                       Richards)
               They'll be watching us, now,
               waiting...until we give up.

                               MICHAEL
               Camela, your mother was a fighter.
               I don't think it was any fluke that
               she and Devon were once in love.

     After a pause, she nods.  They watch as Marshal #2 hurries
     towards the guard gate and his car.

                                              CUT TO

     EXT. WAR SURPLUS SALVAGE YARD - GUARD GATE - DAY - LATER

     Michael and Camela stand by K.I.T.T.  Devon and Marshal #1
     stand with a nervous Richards at the guard gate.

                               RICHARDS
               You guys searched the place.  A 
               warrant doesn't give you permission
               to move in.

                               MARSHAL #1
               Take it easy, Richards.  We'll go 
               when we're ready to go.

     Marshal #2 walks up from his car to the guard gate.

                               MARSHAL #2
               Sir, the gun checks out.  It's 
               registered.
                      (beat)
               However, Richards here is an ex-con.

     Now it's Marshal #1 and Devon's turn to smile.

                               MARSHAL #1
               Richards, you are aware that the 
               carrying of arms by a felon is a 
               violation of the law?

     Before he can react, Marshal #2 has the rifle and Marshal
     #1 has spun him around into "the position."

                               RICHARDS
               You can't do this...I'll call 
               Mr. Strock.

     They handcuff him.  When he and Devon are face-to-face:

                               RICHARDS
               You're going to be sorry, Miles.
               Strock's lawyers are going to take
               you apart.

                               DEVON
               They're going to have their hands
               filled working on getting you out of
               prison, Richards.  That helicopter's
               not the only thing that's going to 
               be hard to find.

     With that, the Marshals hustle him to their car.  Devon
     walks over to Michael and Camela.

                               DEVON
               Meet you back at the condo in twenty
               minutes.

     He gets in his car, Michael and Camela get in K.I.T.T.

                                              CUT TO

     INT. AMELIA'S CONDO - DAY

     Michael, Devon and Camela are in the living room.  The mood
     is decidedly gloomy.

                               CAMELA
               What could have happened to that 
               helicopter?  How could they have 
               known we were coming out there?

                               DEVON
               It's obvious they spotted Kitt.

                               MICHAEL
               Not necessarily...They might have 
               sold it already.

     A look of alarm crosses Camela's face.

                               CAMELA
               If that's true -- our evidence is
               gone.

                               DEVON
               That evidence -- helicopters are not 
               the only commodity those men deal in.
                      (a beat)
               Michael, I want you to go undercover
               -- as an arms buyer.

     Michael's somewhat taken aback.

                               MICHAEL
               I'm willing to do it, Devon, but 
               what about Richards?  He'll tip off
               Strock and his men.

                               DEVON
               The Marshals are prepared to move
               him from prison to prison to keep 
               him away from Strock's lawyers.

                               MICHAEL
               How much time does that buy us?

                               DEVON
               Twenty-four hours.  I have the 
               Marshal's personal guarantee on that.

                               CAMELA
               Twenty-four hours...isn't much time.

                               DEVON
               I have April standing by now...she's 
               getting together a fool-proof cover.

     A pause as they all contemplate the dangers involved.

                               MICHAEL
               Then...I guess the next step is...
               good-bye.

                               CAMELA
               And this....

     She crosses to him and gives him a tight hug.

                               CAMELA
               Good luck.

     He smiles.  Devon walks him to the door.

     NEW ANGLE

     at the door of the condo.

                               DEVON
               Michael, you know I'd go myself if I 
               could.

     Michael grins.

                               MICHAEL
               I wouldn't let you...
                      (off Devon's
                       look)
               You'd be too tough for those guys.

     They share a smile.  Michael exits.

                                              CUT TO

     EXT. HIGHWAY - DAY

     K.I.T.T. speeds down the highway to the awaiting semi.  He
     shoots up the ramp inside.

     EXT. SEMI - DAY - RUNBY

     INT. SEMI - LOUNGE AREA - DAY - LATER

     Michael is staring at one of the TVs, something it's obvious
     he's been doing for a while.  He's dressed in an old fatigue
     jacket and scruffy clothes.  April steps up to him.

                               APRIL
               How's it going?

                               MICHAEL
               Okay.  There's a lot to learn...
               battles, regiments, slogans...The 
               entire history of Dan Hutchinson's
               Black Snake Commandoes....

     She presses a button on the console.  On the TV comes a 
     picture of Jack Kragen.  Michael is suprised.

                               MICHAEL
               That's the man I saw installing the 
               MERs.

                               APRIL
               He's also the only black market arms 
               dealer in town right now.  His name 
               is Jack Kragen.

                               MICHAEL
               The circle closes.
                      (beat)
               Did he and Hutchinson ever fight 
               together?

                               APRIL
               Considering they've both fought more 
               wars than some countries, surprisingly
               no.  They do have a mutual friend in 
               common...Machete Tom Merton.  Use 
               his name as your contact.

     Michael clicks off the TV set, stands.

                               MICHAEL
               Do you have any idea how much one of 
               these MERs is supposed to run?

                               APRIL
               The FBI recently arrested some arms
               merchants in Florida.  They were 
               selling them for $80,000 a piece.

                               MICHAEL
               Then I'll offer $150,000.

                               APRIL
               Michael, won't that make you look a 
               little...green?

                               MICHAEL
               Hopefully, it'll make Kragen a 
               little hungry.  Maybe hungry enough 
               to get me an MER off the helicopter 
               -- if it's still around.

     She nods and follows him to K.I.T.T.

                               K.I.T.T.
               April, do I get a cover?

                               APRIL
               You don't need one, Kitt, you're 
               already classified information.

                               K.I.T.T.
               Merci beaucoup.

                               APRIL
               Very good, you're utilizing your 
               French program.

                               MICHAEL
               Ad nauseum.

                               APRIL
               Latin, too?

                               MICHAEL
               Good-bye, April.

                               APRIL
               Do well, Hutchinson.

     With a final smile, he backs K.I.T.T. out.

                                              CUT TO

     DRIVEBYS - STOCK

     as highway changes to city streets and day fades into night.

     EXT. CITY STREET - NIGHT - ANGLE IN K.I.T.T.

     One of the worst areas of Phoenix, a street of strip-joints
     and rundown hotels.

                               K.I.T.T.
               Michael, why is it everytime you go
               undercover, you dress in the 
               grungiest outfits imaginable?  Why
               is it you never go as a count or 
               financier?

                               MICHAEL
               I don't know, Kitt.  I guess it's 
               because royalty rarely commit crimes.

     They slowly drive past the Hillside Bar, an ND with no 
     windows.

                               K.I.T.T.
               I'll bet not a soul in there speaks 
               French.

     Michael pulls K.I.T.T. into a dark, dank alleyway next to
     the bar.  Parked, or rather abandoned, not far away is a 
     totally stripped car.

                               K.I.T.T.
               And look at this alley.  Look at the 
               last car that was left here.

     Michael looks at the abandoned car, smiles.

                               MICHAEL
               Keep your headlights open, pal.

                               K.I.T.T.
               I hope they're still there when you 
               get back.

     Michael clicks on Surveillance Mode and gets out of the car.

     INT. HILLSIDE BAR - NIGHT

     As Michael walks into the bar, most conversation stops.
     The bar itself is not large, but most of the clientele are.  
     Many wear old service jackets.  Above the bar is the reason
     for the bar's moniker:  painted in fancy calligraphy is a 
     rendition of the poem, The Charge of the Light Brigade.
     ("Into the Valley of Death rode the 600....")

     Michael spots Kragen playing darts near the bar.  As
     Michael goes to the bar, conversation starts again, in low, 
     hushed tones.  The bartender, Roscoe, a ragged man with a 
     permanent scowl, looks up at Michael, then goes back to
     washing out some glasses.  Michael cools his heels for a 
     second, then:

                               MICHAEL
               Hey, I'm not interrupting anything,
               am I?

     Roscoe reluctantly steps over.

                               ROSCOE
               What do you want?

                               MICHAEL
               A beer -- and some conversation with 
               a man named Kragen.  Is he around?

                               ROSCOE
               Don't know anyone with that name.  I
               think you'd be happier at the 'Tick
               Tock Cafe' down the road.

                               MICHAEL
               I'm happy here....

                               ROSCOE
               You don't understand me, pal....

     Michael grabs Roscoe by the shirt.  Many of the patrons
     start to gather round.

                               MICHAEL
               I'm an American.  I've fought and 
               bled for this country.  If I want to 
               drink here, I'll drink here.  Now 
               get me a beer...pal.

     He lets Roscoe go.  Roscoe heads off.  Kragen steps up to 
     the bar.

                               KRAGEN
               You looking for a man named Kragen?

                               MICHAEL
               You know him?

                               KRAGEN
               Maybe.

                               MICHAEL
               You're lying.

     Kragen tenses.  Michael suddenly breaks into a grin, points 
     to an eagle tattoo on his forearm.

                               MICHAEL
               This says I'm talking to him...and 
               right now I'd like to make it 
               business talk.

                               KRAGEN
               That would depend a whole lot on who 
               you are.

                               MICHAEL
               Hutchinson.  Machete Tom Merton
               gave me your name.

                               KRAGEN
               Hutchinson, huh?  I've always liked
               that saying from your Black Snake
               Commandoes.  Oblige us by repeating
               it, please.

     Most of the bar patrons begin to gather around Michael and
     Kragen.  Michael looks around the room and clears his 
     throat.

                               MICHAEL
               'Good luck is a fantasy for fools
               who expect it.  Don't expect it,
               don't need it.'

     A beat.  The men all applaud and Kragen slaps Michael on 
     the back.  Michael grins, relieved as hell.

                               KRAGEN
               Let me buy you a drink, friend.

                                              CUT TO

     INT. HILLSIDE BAR - NIGHT

     Michael and Kragen are drinking beers at a back booth.
     The booth is secluded, high backs.  You can't easily see 
     who is at this table from the bar area.

                               KRAGEN
               So talk business.

                               MICHAEL
               I need a couple Multiple Ejection 
               Racks...MERs.  $150,000 a piece.

     Kragen eyes him carefully.

                               KRAGEN
               That's a lot of money.

                               MICHAEL
               I've got a plane fueled up, ready to 
               go from a ranch in Texas.  I need 
               them by noon tomorrow.

                               KRAGEN
               Don't pressure me.  I'll let you 
               know.

                               MICHAEL
               Hey -- no pressure.  Just if I get
               them by tomorrow, I get a bonus.
                      (beat)
               When the time comes, let's handle 
               the transaction at your place.  I'm
               staying at a motel with some very 
               nosy neighbors.

     Kragen eyes him for another beat.

                               KRAGEN
               If the time comes, my friend.  I
               have a lot of checking to do.

     It's Michael's turn to eye him now.  Then Michael nods,
     hands him a slip of paper and gets up from the table.

                               MICHAEL
               I'll be at this number.  If I don't 
               hear from you by noon, you'll have 
               lost a sale.

     And he exits.  Kragen watches him go, then looks at the 
     paper.

     EXT. HILLSIDE BAR - ALLEY - NIGHT - ANGLE IN K.I.T.T.

     Michael climbs in the car.

                               MICHAEL
               Kitt, there should be a call going 
               out on a pay phone in the bar.
               Trace it.

                               K.I.T.T.
               There should be?  You're not sure?

                               MICHAEL
               It's just a hunch.  Intuition.

                               K.I.T.T.
               According to my data banks,
               intuition is knowledge based on 
               supposition.  That seems a rather 
               weak premise on which...
                      (beat)
               However, there is a call going out
               to 7113 Church Street.  It's a 
               business listing under two names:
               Edward Strock and AAA Surplus, Inc.

                               MICHAEL
               Bingo, pal.  Let's go home.

     He starts the car up and pulls out.

     INT. K.I.T.T. - NIGHT - MOVING

     Michael turns K.I.T.T. out onto the street.

                               K.I.T.T.
               Michael, I don't understand.  Shouldn't
               we follow Kragen and catch him with 
               the helicopter?

                               MICHAEL
               Let's let them do our work for us.
               One MER is as good as the helicopter
               -- and that'll give us the leverage
               we need to bring in Kragen's 
               compatriots.
                      (beat)
               Because if there's one thing a 
               professional soldier hates -- it's 
               fifteen years solitary confinement.

                                              CUT TO

     INT. AMELIA'S CONDO - DAY - CLOSE ON TELEPHONE

     As we pull back, we see Devon and Camela at the dining room
     table.  They glance occasionally at the phone.  On the 
     table is a tea service and a plate of croissants.

                               CAMELA
               Another cup of tea?

                               DEVON
               No, thank you.  I've had four --
               three over my limit.

     She smiles, picks at a croissant.

                               CAMELA
               We're even then -- I've had about as 
               many croissants...I'm a nervous 
               eater.

     He smiles.

                                              CUT TO

     INT. SEMI - LOUNGE AREA - DAY

     Michael and April are seated at the table.  On the table 
     is a phone.

                               MICHAEL
               You're sure this number is safe?

                               APRIL
               Positive.  You were right not to use 
               Amelia's phone -- this one is 
               guaranteed untraceable.

                               MICHAEL
               We won't get a phone bill?

                               APRIL
               I didn't say that.

     They are startled by the ringing of the phone.  They share 
     a look of concern, then Michael picks it up.

                               MICHAEL
               Is it on?

     INTERCUT - KRAGEN

     at the surplus salvage yard, in the hangar.

                               KRAGEN
               I'll meet you at eleven.

                               MICHAEL 
               Eleven?  I have to get it to my 
               people by twelve.

                               KRAGEN
                      (tense)
               I'll meet you at eleven, Hutchinson.

     Then he hangs up.

     Lose intercut.

                               APRIL
               Is it a go?

                               MICHAEL
               I guess so.

                               APRIL
               You're not sure?

                               MICHAEL
               He said he'd meet me.  That's all.

     As he walks to K.I.T.T.:

                               APRIL
               Good luck.

                               MICHAEL
               'Good luck is a fantasy for those
               who expect it...Don't expect it....'

                               APRIL
               '...Don't need it.'

     And he gets in K.I.T.T. and backs up.  We hold on April's 
     concerned look.

     EXT. SEMI - DAY

     K.I.T.T. goes from the ramp to the highway, makes a 180 and 
     heads to town.

                                              CUT TO

     EXT. HILLSIDE BAR - DAY

     K.I.T.T. is parked in the alleyway.

     INT. HILLSIDE BAR - DAY

     Michael is seated at the bar as Kragen walks in.  Kragen
     smiles.

                               KRAGEN
               Let's have a drink before we 
               conclude our business.  I have 
               someone I want you to meet.

     Hold on Michael's reaction:

                                              CUT TO

     INT. AMELIA'S CONDO - DAY

     Devon is looking out of the window as Camela straightens 
     up.  The phone rings and she answers it.

                               CAMELA
               Yes?

     She holds it up for Devon.  He crosses and takes it.

                               DEVON
               Hello?

     As he listens, his face goes white.  Camela notices the 
     look.

                               DEVON
               I see.

     He hangs up and quickly dials a number.

                               CAMELA
               What is it, Devon?  What's wrong?

                               DEVON
               Forty-five minutes ago...Richards 
               walked out of prison.

     We hold on their reaction of fear and we:

                                              FREEZE FRAME

                                              AND

                                              FADE TO BLACK

                        END OF ACT THREE

                            ACT FOUR

     FADE IN

     INT. AMELIA'S CONDO - DAY

     Devon is on the phone.  Camela stands close by.  They are
     both filled with worry.

                               DEVON
               April, Michael may be in great 
               danger.  Have Kitt call him 
               immediately.

     INTERCUT - APRIL

     in the semi.

                               APRIL
               But if we use the comlink, we could
               be jeopardizing the entire sale.

                               DEVON
               It's a chance we have to take, I'm
               afraid.

                                              CUT TO

     INT. HILLSIDE BAR - DAY

     Michael and Kragen are still at the bar.  Kragen finishes 
     his beer, very slowly.

                               MICHAEL
               Kragen, I don't want to lose that 
               bonus.

                               KRAGEN
               Calm down.

     He sets the mug down, gets up from the bar.  He motions 
     Michael to the back booth.

                                              CUT TO

     EXT. HILLSIDE BAR - DAY - ANGLE IN K.I.T.T.

     April is on the monitor screens.

                               APRIL
               Call him, Kitt, now.

                               K.I.T.T.
               Right away, April.

                                              CUT TO

     INT. HILLSIDE BAR - DAY - ANGLE AT BACK BOOTH

     As soon as Michael sees who is in the back booth, he 
     freezes.  It's Richards, who smiles up at him.

                               KRAGEN
                      (with a sneer)
               I believe you two know one another,
               Hutchinson.

     Michael turns when he hears the sound of the front door
     being bolted shut.  Roscoe turns back and approaches
     Michael with a sap.  The back door is bolted, too.  A huge
     man comes at Michael with a gun tucked under his belt.
     Just as they all converge, the comlink goes off.  The four 
     are all distracted by it.

                               MICHAEL
               Forget that bonus.

     And Michael lifts the booth up and topples it over.  It 
     crashes into Richards and Kragen and knocks them both to 
     the floor.  Michael swings and knocks out the man with the 
     gun with one punch.

     Roscoe tries to hit Michael, misses, and is pushed into the 
     booth.  As he falls, he grabs at Michael's arm, and rips 
     off the comlink.

     Michael starts for the door but Kragen tackles him.  They 
     trade missed punches.  Richards grabs Michael from behind
     and pins him.  As Kragen's punch comes towards camera:

                                              CUT TO

     INT. K.I.T.T. - DAY

     And the plaintive cry:

                               K.I.T.T.
               Michael!  Michael!

                                              CUT TO

     INT. AMELIA'S CONDO - DAY

     Camela opens the door to Michael.  His clothes are torn, his 
     face is bruised; the aftermath of his battle.

                               DEVON
               Michael, dear boy....

     Michael stumbles inside.  He goes to the couch and gently 
     lays down.

                               DEVON
                      (to Camela)
               Call a doctor.

                               MICHAEL
               I'm...okay.  Nothing's broken...
               just sore.  Real sore.
                      (beat)
               I have one question, Devon:  how did 
               he get out of jail?

     Devon sits on a chair close to him.  Camela crosses to the 
     kitchen.

                               DEVON
               You're going to be surprised, 
               Michael.  The Marshals told me a 
               very powerful man got him out --
               Albert Ebersol.

                               MICHAEL
               The congressman?

     Camela reenters with an ice pack.  She places it on 
     Michael's forehead.

                               CAMELA
               That's the congressman Mama worked 
               for.

                               MICHAEL
               What would a congressman want with a 
               man like Richards?

                               DEVON
               I'm not sure.  But Ebersol coauthored 
               a Congressional Investigative 
               Subcommittee Report recently -- on 
               illegal arms shipments.  A report
               that has no trace of Edward Strock's 
               name.

                               MICHAEL
               A cover-up?

                               DEVON
               Possibly.  Apparently, Amelia dis-
               covered a connection between Ebersol 
               and Strock....

                               MICHAEL
               Wait a minute....

     He starts to get up, winces in pain and sits back down.

                               MICHAEL
               The scrapbook....

     Camela grabs it from a coffee table.  She gives it to him
     and he turns it to the last page -- and the newspaper 
     clipping of Ebersol, Strock and Amelia.  Camela gasps.

                               MICHAEL
               There -- Strock is Ebersol's leading
               financial backer.

     A beat, then:

                               CAMELA
               That gives us all the pieces....

                               DEVON
               And with the helicopter gone, no 
               clear way to connect them, I'm 
               afraid.

     Michael rests back down.  Camela crosses to the bedroom.

                               DEVON
               I'm so sorry, Michael.  I feel that 
               this is my fault.

                               MICHAEL
               It's no one's fault, Devon.

                               DEVON
               That's kind of you...but I can't 
               help but feel responsible.

                               CAMELA
               No.  It's my responsibility.  And I 
               know a way to make the pieces fall 
               into place.

     We hold a beat on Michael's and Devon's reactions.

                                              CUT TO

     INT. EBERSOL'S OFFICE/HEADQUARTERS - DAY

     A hectic place of ringing phones and hurrying people.  In a 
     glass-partitioned office are Ebersol and Strock, going over
     some papers.  Outside the office, Camela enters, dressed
     and made up to look exactly like Amelia.  She hands a 
     letter to a campaign worker and waits as she delivers it to 
     Ebersol.  The worker points up at Camela, and Ebersol and 
     Strock stare, transfixed in shock.

     With a wisp of a smile, Camela vanishes.  Ebersol and Strock
     move out after her, trying not to attract attention to 
     themselves.  They see a back door close.

     EXT. ALLEY WAY - DAY

     Camela gets in an awaiting K.I.T.T. and Michael speeds down 
     the alley.  When Ebersol and Strock come out of the door, 
     all they see is the departing Trans Am.

                               EBERSOL
               You said she was dead.

                               STROCK
               Kragen said so.

                               EBERSOL
               Did he see the body?

                               STROCK
               No one could have escaped that inferno.

                               EBERSOL
               Did he see the body?!

     All Strock can do is shake his head, "no."  Ebersol looks 
     at, opens the letter and peruses it quickly.

                               EBERSOL
               She says she's been hiding out until
               she had more evidence.  Now she has 
               it.
                      (reading)
               'Mine isn't going to any Federal
               Marshal -- it's going to the press.'

     Strock takes the letter.

                               STROCK
                      (reading)
               'I want $500,000 delivered to the 
               Village Restaurant in Saunders.'
               That's ten miles from here.

                               EBERSOL
               I know that -- this is still my 
               district, remember?

                               STROCK
               What if it's a trap?

                               EBERSOL
               Why worry about that?  At this 
               point, I don't think we have many 
               options left, do we?

     With that, Ebersol disappears back inside.  Strock continues 
     to stare at the letter.

                                              CUT TO

     EXT. SEMI - DAY - MOVING

     INT. SEMI - DAY

     April is inside K.I.T.T., working on the dash.  Michael 
     stands outside the car.

                               MICHAEL
               We're not going to need the SX-411
               -- hopefully, we'll get them on 
               attempted murder.

                               APRIL
               I'm not taking any chances.  I've
               increased the microwave jammer
               capabilities three-fold to one
               hundred fifty yards.  It'll be a 
               strain on Kitt, so use it sparingly.

     She gets out of the car, pops the hood.

                               APRIL
               I've also outfitted him with prototype
               Ultra Magnesium Charges....

                               MICHAEL
               What are those for?

                               APRIL
               Basically, what any magnesium flare 
               is for -- emergencies.  Just in case
               you're caught in a canyon or off the 
               road.  They can be seen for close to 
               a mile around.
                      (sotto;
                       to Michael)
               Michael, those Sledgehammer missiles
               ...well, they're potentially quite 
               hazardous.

                               K.I.T.T.
               How hazardous, April?

                               MICHAEL
               Don't worry about it, pal.  That 
               helicopter is probably long gone.

                               K.I.T.T.
               For once, Michael, I believe I'll
               bank on your intuition.

     Michael and April share a grim smile.

                                              CUT TO

     EXT. AMELIA'S CONDO - DAY - LATER

     An ND car pulls up behind and down the street from the 
     parked Trans Am.  Richards is in the driver's seat, Layton 
     is in the passenger's seat.  The car is equipped with a CB.  
     Camela, still dressed as Amelia, steps outside and walks to 
     K.I.T.T.

     INT. K.I.T.T. - DAY

     Camela climbs in the driver's side.

                               CAMELA
               Bienvenu, Kitt.

                               K.I.T.T.
               Bienvenu, Camela.  Sit back and 
               leave the driving to me.

     K.I.T.T. pulls out.  The ND car pulls out behind K.I.T.T.

                               K.I.T.T.
               Would you like me to play a 
               Beethoven symphony?  What about
               something by Brahms?

                               CAMELA
               How about...Bach's well-tempered 
               clavichord?  I love that piece.

     The music instantly comes through K.I.T.T.'s sound system.

                               K.I.T.T.
               Isn't that a coincidence?  Michael 
               asked for the same thing just this 
               morning.

                               CAMELA
               Really?

                               K.I.T.T.
               Oh, yes.  Michael is what's called a 
               'diamond in the rough.'  He's 
               forever carrying on about museums 
               and ballets....

                               CAMELA
                      (surprised)
               I didn't know that he was interested 
               in cultural activities....

                               K.I.T.T.
               Camela, you've no idea....

                                              CUT TO

     EXT. STREET - DAY - ANGLE ON K.I.T.T.

     as K.I.T.T. approaches an intersection, we see the Knight 
     semi lumbering out.

                               K.I.T.T. (O.S.)
               Hold on, Camela.

     And K.I.T.T. quickly accelerates, cutting in front of the 
     semi, which, moving slowly, causes the ND car to stop.

     ANGLE ON DEVON AND MICHAEL IN A RENTED CAR

     parked at the curb on the opposite side of the semi as
     K.I.T.T. pulls to an urgent stop.  Michael exits the rented
     car, Camela exits K.I.T.T.  Both enter the other car,
     quickly, and move out down the street, as:

     THE SEMI

     clears the intersection, Richards screams out after
     K.I.T.T., passing, and taking no note of the slower moving 
     rental car driven by Devon.

     EXT. HIGHWAY - DAY

     A largely deserted road.  K.I.T.T. and the ND car are the
     only two vehicles on the highway.  Then the ND car begins
     to fall back.

     INT. K.I.T.T. - DAY - MOVING

     As the ND car drops out of sight, K.I.T.T. is alone on the 
     highway.

                               K.I.T.T.
               Michael, I believe we're losing our 
               tail.

                               MICHAEL
               I believe you're right, pal.

     Suddenly, a loud muffled sound is heard.

                               K.I.T.T.
               And, Michael...I believe your 
               intuition was wrong.

     MICHAEL'S POINT OF VIEW - THE SX-411

     seems to appear out of nowhere, filling the screen with 
     its huge presence.  In the daylight, out in the open, it 
     is awesome, a full-blown attack helicopter, the K.I.T.T., 
     as it were, of helicopters.

                               K.I.T.T.
               Oh, my.

     VARIOUS ANGLES - THE CHASE

     K.I.T.T. pours on the gas.  Kragen unleashes the fury of 
     the mighty Gatling gun on the car, but the bullets merely 
     spark off.

     ANGLE ON K.I.T.T.

     Michael steers the car off the road into an open field,
     surrounded on three sides to form a canyon.  Halfway into
     the canyon, the sides are no more than fifty feet across.

     INT. SX-411 - COCKPIT - DAY

     Kragen, wearing a pilot's helmet, presses a red button on
     the fire control display panel.

     SLEDGEHAMMER MISSILE

     spits from the underbelly of the SX-411.

     INT. K.I.T.T. - DAY

     Michael races the car away, but the missile stays on his 
     tail.  It's coming closer...closer...Michael not sure what 
     to do, then, he hits a button on the dash.

     EXT. K.I.T.T. - DAY

     An Ultra-Magnesium Charge drops from K.I.T.T. -- and the
     Sledgehammer smashes into the ground where the charge fell.

     INT. K.I.T.T. - DAY

     Michael slows K.I.T.T. down, starts to drive him in a 
     circle.  The SX-411 hovers above, the Gatling gun pounding 
     away, with the same non-results.  Michael hits the 
     microwave jammer button.  On the monitor screens, we see
     the jammer go to work.

     INT. SX-411 - COCKPIT - DAY

     Kragen listens as one of his engines starts to sputter.
     Reflexively, he pulls the helicopter up.  Once out of
     K.I.T.T.'s jammer range, the turbines purr normally.
     Kragen hits the red button again.

     SLEDGEHAMMER MISSILE

     as it heads toward K.I.T.T.

     INT. K.I.T.T. - DAY

     Michael hits the Ultra-Magnesium Charge button again.  A 
     beat as sparks begin to fly from under the dash.

                               K.I.T.T.
               Overload, Michael.

     Just as the rocket is about to hit, Michael presses the 
     "turbo-boost" button.  The jump is not spectacular, but the 
     rocket does miss, by inches.  It hits the ground under
     K.I.T.T., nearly causing the car to turn over.

                               MICHAEL
               Kitt, what's the matter?

                               K.I.T.T.
               The increased jammer frequency
               coupled with the dropping of the 
               charges seem to have knocked my 
               system for a loop.

                               MICHAEL
               Can you get them to work again?

                               K.I.T.T.
               The charges seem to be permanently
               out of commission.  The microwave 
               jammer is back to normal strength.

                               MICHAEL
               Then we have to get closer than 
               one hundred fifty yards.

                               K.I.T.T.
               A lot closer.

     Michael maneuvers the car to the area of the canyon where 
     the sides are no more than fifty feet across.

     ANGLE ON SX-411

     It makes another wide pass and hovers above K.I.T.T.

     INT. K.I.T.T. - DAY

     Michael hits a button on the dash -- the "smoke screen."

     ANGLE ON K.I.T.T.

     A billow of smoke envelopes the car.  Kragen heads for the 
     car.

     INT. SX-411 - COCKPIT - DAY

     Kragen lines up the smoke screen in the electronic
     crosshairs, hits the red button and a rocket fires....

     ANGLE ON SMOKE SCREEN

     The Sledgehammer hits its mark!  The explosion is loud and 
     blinding.  Kragen lets out an ecstatic shout.

     ANGLE ON K.I.T.T.

     climbing up a side road to the top of the canyon where the
     sides are no more than fifty feet across.  Michael revs the
     car up, starts it to the canyon wall....

     INT. K.I.T.T. - DAY

     ...and hits the "turbo-boost" button.  The car heads up, up
     and over the canyon and the SX-411...Then Michael hits the 
     microwave jammer button.

                               MICHAEL
               Give me everything you got, Kitt!

     On the monitor screen, the jammer appears, goes weak, appears 
     again, as sparks fly from under the hood.

     INT. SX-411 - COCKPIT - DAY

     As the turbines sputter, Kragen tries to take the chopper
     up -- but it won't go.  Panicked, he hits every emergency
     switch, but nothing works.

     ANGLE ON K.I.T.T.

     As it lands on the other side of the canyon, safe, Michael
     starts the car back down to the bottom of the canyon.

     ANGLE ON SX-411

     The chopper auto rotates and lands at the canyon floor with
     a thud.

     EXT. CANYON'S FLOOR - DAY

     Kragen jumps out of the SX-411 and starts to run.  Michael
     and K.I.T.T. scream alongside.  Michael cuts him off, jumps
     out of the car and tackles Kragen.  They both get to their
     feet, circle -- and Kragen brings up his fists.

                               MICHAEL
               Let's see how you do with these
               odds, pal.

     Kragen swings, Michael deflects it.  Kragen attacks again,
     Michael ducks, grabs his arm, spins him in a judo throw, 
     once, twice and he lands flat on his back, whipped.  Michael
     picks him up by his shirt.

                               MICHAEL
               It looks like I get my bonus afer all
               ...I've got the murderer, the murder 
               weapon...and now we're going to talk
               about another kind of deal, Kragen.
               One that's going to save your life.

                                              CUT TO

     INT. EBERSOL'S OFFICE - CAMPAIGN HEADQUARTERS - DAY

     Ebersol and Strock are looking over some papers, when they
     hear a knock at the door.  Devon enters.  Ebersol and
     Strock stand up.

                               DEVON
               I'm sorry to disturb you, but there's
               someone I'd like you to meet.

     He opens the door to reveal Camela, dressed as Amelia.  She
     undoes her hair and takes off her glasses so they see that 
     it is, indeed, Camela.

                               DEVON
               Camela Clermont, Amelia's daughter.

     As the two Federal Marshals appear with Michael outside the 
     office:

                               DEVON
               She'll be testifying at the trial.
               Don't worry, Congressman:  your
               campaign will be over long before 
               then -- that I can assure you.

     We hold on Ebersol's and Strock's shocked reaction and we:

                                              FREEZE FRAME

                                              AND

                                              FADE OUT

                         END OF ACT FOUR

                               TAG

     FADE IN

     EXT. AMELIA'S CONDO - DAY

     Michael, Devon, April and Camela step outside.  A cabbie
     grabs Camela's suitcase and loads it in his taxi, which is
     parked a few car lengths from K.I.T.T.  Camela is dressed
     in her traveling best.

                               DEVON
               I got a call from the Federal
               Marshals this morning:  not only
               have they rounded up Richards and 
               the other guards -- they were able 
               to corral some of Strock's 'customers.'

                               APRIL
               What happens now, Camela?

                               CAMELA
               I'm going back to Paris, where my
               grandmama lives and finish school.
               Then I'll come back to the States.  
               Mama never lost her fascination with 
               America.  Mine is just beginning.
                      (to Michael)
               Besides, we have symphonies to go
               to, not to mention plays, museums,
               ballets, the opera....

                               DEVON
               Looks like you're going to have a 
               very full social calendar when she 
               returns, Michael.

     With a smile and a look towards K.I.T.T.:

                               MICHAEL
               C'est la vie.

     They all laugh.  She gives Michael a kiss on the cheek. 
     Then she steps up to April and Devon.  She hugs April, 
     then turns to Devon.  They hug, tightly, then kiss,
     a father's kiss for a daughter.

     They break apart.  Before she gets in the cab:

                               CAMELA
                      (calling)
               Au revoir, Kitt!

                               K.I.T.T.
               Au bientot, Camela!

     The cabbie wonders what the hell is going on.

     ANGLE AT K.I.T.T.

     Michael, April and Devon watch as the cabbie gets in and
     starts the taxi.

                               DEVON
               Giving up the past is very difficult.
               But...not so difficult when some of 
               it lives on in the present.

     They wave one last time to Camela.  The cab turns a corner
     and is gone.

                               MICHAEL
               Why don't the two of you follow us
               to Southern California?

                               APRIL
               Hey, that's a terrific idea, I can
               work on my tan.

     EXT. K.I.T.T. - DAY

     Michael climbs in.  April and Devon lean into the other 
     window.  Suddenly, a "Beach Boys" tune starts to play
     through K.I.T.T.'s dash.

                               DEVON
               What on earth is that?

                               K.I.T.T.
               A Southern California song, Devon.  
               It extolls the attractions of that 
               particular area:  surfing, sun, sand
               and women in bikinis.

     Michael starts the motor.  April likes it.  Devon, however,
     does not.

                               DEVON
               My dear boy, I think for the next
               case, I'll send you to Paris.

                               MICHAEL
               You'll get no argument from me there ---

                               K.I.T.T.
               If we go to Paris, Michael, can we
               stop at Le Mans?

     As they all laugh, we:

                                              FADE TO BLACK

                             THE END