ACT ONE
FADE IN
EXT. A MUDDY COUNTRY ROAD - NORTHERN LOUISIANA - DAY
A hot afternoon sun beats down on a row of men toiling on a
road gang. Angle on a rifle-toting guard, Brown, leaning
against a beat-up station wagon. He's sipping a beer,
laughing and talking mostly to another guard. They turn
and stare at the row of men. Their attention directed pri-
marily to:
CHRISTOPHER "CRAY" CALLAN
Handsome, arrogant. Clearly a big cut above the rest of the
boys in the gang. Callan pokes casually at the ground with
his shovel, barely breaking a sweat.
WIDER ANGLE
as Brown comes sauntering along the row, ignoring everyone
but Callan. He walks to Callan, his rifle in one hand, his
beer in the other. Brown takes another swig of his beer.
Callan ignores him. Brown finally reaches out, prods
Callan with his rifle.
BROWN
You ain't sweating, Callan.
Callan glances at him.
BROWN
You too important to sweat?
Callan still doesn't respond. Brown glares at him.
BROWN
Maybe you need to get closer to the....
With that, he slams his elbow in Callan's gut. Callan
drops to the ground. We see the other prisoners smiling
as Brown steps up to Callan.
HARRIS
I brung you a libation from your
daddy.
And he pours the beer onto Callan's head.
CLOSE ON CALLAN
as beer pours over him, followed by something small and
metallic that drops from the can. We see that it's a key
as Callan palms it and jams it into the lock on his manacles
as he struggles to his feet. He faces the smiling Brown.
BROWN
Feel like working now?
Callan grins and lashes out with his now-free leg, kicking
the rifle out of Brown's hands. In a flash, Callan's
gained the rifle and aims it at Brown. The other guard
leaps forward, but he's stopped short as Callan fires a
warning shot over his head. Callan turns to Brown, whose
hands are up over his head.
CALLAN
You overdid it just a little, 'boy.'
He slams the butt of the rifle into Harris, knocking him
out. He starts to move toward the station wagon and the
other prisoners begin to follow. Callan's glare stops
them cold.
CALLAN
Don't even bother to ask.
The prisoners drop back and Callan climbs into the station
wagon, fires it up and pulls away in a cloud of dust as we:
CUT TO
OMITTED
EXT. F.L.A.G. FOUNDATION - DAY - STOCK
A clear, sunshine-filled morning.
K.I.T.T. (V.O.)
I really don't like this, Michael.
INT. CONCRETE TESTING AREA - DAY
The Trans Am sits in a cinderblock well resembling an over-
sized oven. Michael leans in the open front door.
MICHAEL
Come on, pal. What's a little heat?
K.I.T.T.
Temperatures exceeding six hundred
degrees is hardly a little heat.
MICHAEL
Maybe baking for a couple of hours
will give you a greater appreciation
of roast beef.
K.I.T.T.
If that's an attempt at humor, I'm
not amused....
ANGLE TO INCLUDE APRIL
visible behind a glass wall that separates the oven from
a control booth. Her voice echoes through the room.
APRIL
You're vulnerable to sustained heat.
We're trying to make you invulnerable.
MICHAEL
Exactly. In theory, the pyroclastic
lamination April's designed ought to
keep you cool as a cucumber in temp-
eratures up to eight hundred degrees.
(beat)
In theory.
K.I.T.T.
'In theory.' How comforting.
MICHAEL
Look, Kitt, it's like taking your
vitamins or getting a shot. It's for
your own good.
Behind Michael, we hear:
APRIL'S VOICE
So's this.
Michael turns to see April standing behind him, holding an
asbestos suit. She hands it to Michael.
APRIL
The invitation calls for formal wear.
MICHAEL
What's this?
APRIL
We're testing man and machine. Or
if you prefer, man in machine.
Michael looks from April to the suit, then back to April.
He's incredulous.
MICHAEL
Wait a minute. You expect me to play
baked guinea pig in this oversized
microwave?
K.I.T.T.
What's a little heat, Michael? It's
just like taking your vitamins....
MICHAEL
I hated taking vitamins. Forget
it....
He hands the suit back to April.
At this moment, Devon approaches. Seeing that the asbestos
suit's returned to April's hands, Devon nods approvingly.
DEVON
Good. You've completed your experi-
ments. I trust they were successful.
APRIL
We haven't even started them. He
won't cooperate.
MICHAEL
I'm not in the mood to be pushed
past my boiling point.
DEVON
Forgive me for interrupting this
debate, but I have something here
that may postpone your experiments.
He holds out a small cassette tape. Seeing the tape as his
ticket out of this sticky situation, Michael grabs it.
MICHAEL
Good idea, Devon. I'd better get
right on it.
He hurries toward the Trans Am.
APRIL
Wait a minute....
DEVON
Perhaps I'd better explain the content
of that tape, as it's not customary
Foundation business....
MICHAEL
Don't worry. Kitt and I'll figure
it out.
He jumps into the car and backs out of the well as fast as
possible. April protests, tries to stop him, can't. She's
furious.
APRIL
He's impossible. Absolutely impossible.
Frustrated, she heads back toward the booth. Devon seems
amused.
EXT. HIGHWAY - NIGHT - STOCK
The Trans Am moves through the darkness along a stretch of
two-lane highway.
INT. TRANS AM
Michael relaxedly cruises at 120. He's looking at the tape.
MICHAEL
This cassette got us both out of some
hot water. Least we can do is listen
to it.
He pops the cassette into the Trans Am's tape deck. We hear
a male voice with a Southern accent ad-lib "Are you ready?
Go ahead," etc. Slowly, haltingly a small female voice
begins speaking in a thick, odd dialect not immediately
identifiable.
LAYLA
(cassette)
I am Layla Charon Callan...my husband
is Christopher Callan...they call him
'Cray.' I see him murder a man and I....
She pauses and the previously heard male voice prompts her
from the b.g. She continues:
LAYLA
(cassette)
...testify against him. He is on
road gang and now he escapes.
Whereas the girl's spoken almost by rote, her voice now
fills with desperation, pleading.
LAYLA
(cassette)
He will kill me, I know. Please I
never hurt nobody. Don't let him
kill me. Help me, I beg you....
And the tape clicks off. Michael is disturbed and deeply
moved by the plea.
MICHAEL
It sounds like a little girl. Run a
voice analysis, Kitt.
K.I.T.T.
Right away.
Michael takes the tape out and eyes it.
ANGLE - THE CASSETTE
Printed neatly is the following:
THOMAS BAYLOR
Fleur Du Lac, Louisiana
BACK TO SHOT
as Michael places the cassette back in the deck, doesn't
turn it on.
K.I.T.T.
The speaker is indeed female, approx-
imate age eighteen years, limited
educational background indicated by
broken speech pattern. Emotional
timbre is sincere and indicates con-
dition of extreme stress.
MICHAEL
What kind of an accent is that?
K.I.T.T.
Linguistic background is an amalgam
of Southern American English, French,
Spanish and American Indian dialect,
nonspecific.
MICHAEL
Very strange. Got anything on
Christopher Callan?
K.I.T.T.
Let me interface with Omni-comp
and see what there is.
A beat, then:
ANGLE ON A PHOTOGRAPH OF CHRISTOPHER CALLAN
as it's fed to Michael. We see the handsome countenance.
ANGLE ON MICHAEL
studying the photograph.
K.I.T.T.
Age thirty-five, traditional Southern
stock, no record previous to a con-
viction for murder.
(beat)
A particularly brutal murder, Michael.
MICHAEL
Guess we'd better find Layla Callan
before he makes that two murders.
He pushes a button and Layla's tape begins to play again.
OMITTED
EXT. HOUSE - DAY
A small, ND white clapboard house. In the yard, scattering
feed to a bevy of chickens, we see:
MINISTER BAYLOR
A gentle-looking man in his early fifties. He's wearing a
minister's collar, but he's shed the dark coat. His
shirt-sleeves are turned up and he's perspiring slightly
in the hot morning sun. As he works, he clucks softly to
the chicken at his feet. He hears a noise behind him, he
turns to face Layla Callan, a delicate, beautiful girl
dressed shabbily in tight jeans and heavy boots, a man's
plaid shirt thrown over. A soft felt hat is pulled down
around her young face.
BAYLOR
Layla...I told you to stay with
your family.
Layla moves close to him, grabs his sleeves.
LAYLA
Cray is here, Reverend. I feel it.
I hope maybe you have heard...
something.
Baylor rests his hand on hers, shakes his head.
BAYLOR
Nothing yet. But we can't stop
hoping....
LAYLA
(despondent)
No one comes. No one cares.
BAYLOR
Layla, if you won't leave the parish,
you've got to stay home in the bayou.
You'll be safe there....
LAYLA
I am never safe from him.
(beat)
Maybe I am meant to die.
Hold on the minister's helpless look, as Layla turns and
hurries from the yard.
CUT TO
EXT. LOUISIANA HIGHWAY - DAY - STOCK
The Trans Am is now soaked in warm Southern sunlight, rich
as honey.
INT. TRANS AM
as Michael cruises toward Fleur du Lac.
MICHAEL
How much farther to Fleur Du Lac,
Kitt?
K.I.T.T.
Four point six miles.
(beat)
Michael, my cultural data bank
indicates that smaller southern towns
are often not favorably disposed to-
ward strangers.
MICHAEL
Relax. This part of the country's
famous for it's hospitality.
K.I.T.T.
Perhaps, but I hope you have some
kind of plan for finding Layla Callan.
MICHAEL
It's a small town. It'll be a snap
finding one little girl named Callan.
(smiling)
I mean, how many Callans can there be?
CUT TO
EXT. MAIN STREET - FLEUR DU LAC - DAY - ON THE TRANS AM
cruising slowly down the street. Almost every business has
the name "Callan" out front. Over this, we hear:
K.I.T.T.'S VOICE
Shall I start counting?
INT. TRANS AM
as Michael looks to his left and right.
MICHAEL
Thanks anyway, wise guy.
K.I.T.T.
It occurs to me that since the escaped
convict is a member of the Callan
family, this town may be less than
receptive to your attempts to help
his wife. Perhaps even hostile.
MICHAEL
I've been thinking the same thing.
K.I.T.T.
What are you going to do?
Michael pulls over and parks the Trans Am.
MICHAEL
Only thing I can do...stir up the pot
and see what rises.
With that, Michael gets out.
MOVING WITH MICHAEL
as he wanders through the town, in a montage of shots that
include:
THE LOCAL GAS STATION
as Michael talks briefly with a crusty old attendant wearing
a painter's hat and overalls. Nothing but a lot of head
shaking. Michael moves on to:
CALLAN GROCERY
where Michael stops to talk to a clerk who's arranging fruit
and vegetables on a stand in front of the store.
This time, Michael doesn't even get a response. Quick as
she can move, the clerk disappears inside the store.
THE LOCAL TAVERN
or any other spot where the locals might gather. A couple
of good ole boys are sitting on benches, chewing and
whittling. Michael stops, finally gets their attention.
They eye Michael from head to toe, go right back to the
business of passing the day. Without Michael. He turns
and leaves, and we go to the:
OMITTED
TRANS AM
Just as Michael reaches K.I.T.T., Sheriff Casey, the long
arm of Fleur du Lac's law pulls up and parks. About two
inches from Michael's foot. Casey gets out, real slow and
easy, crosses to Michael.
CASEY
This your car?
MICHAEL
That's right.
CASEY
You're running around with a busted
taillight. That's an infraction of
the law.
MICHAEL
What taillight?
Michael moves to the back of K.I.T.T. Casey follows.
CASEY
This one....
With that the Sheriff leans back and kicks K.I.T.T.'s left
taillight. His foot bounces off. Casey's surprised, kicks
the light again, harder. Still nothing. Red-faced and
angry, Casey turns to Michael.
CASEY
In addition to that faulty brake
light, I'm citing you for running
a stop sign.
MICHAEL
I haven't seen a stop sign for a
hundred miles.
CASEY
Back there at Main and Fourth. You
just sorta coasted right through.
(beat)
I'm gonna have to take you in.
MICHAEL
For running a stop sign? Where I come
from, that's worth a ticket and....
CASEY
You ain't where you come from, boy....
Before Michael can respond, Sheriff Casey's escorting
Michael into the backseat of the squad car.
ANGLE ACROSS THE STREET ON MINISTER BAYLOR
watching as Michael is driven away.
ANOTHER ANGLE TO FEATURE K.I.T.T.
as the squad car pulls past the Trans Am.
INT. TRANS AM
as we hear:
K.I.T.T.
So much for Southern hospitality.
CUT TO
EXT. OLIVER CALLAN'S MANSION - DAY - ESTABLISHING
an antebellum two-story on the end of Main Street. The
squad car is parked in the long circular drive. Michael
and the Sheriff get out, head toward the house.
OMITTED
INT. MANSION - LIVING ROOM - DAY
Dark, quiet, a scattering of chairs, sofa and a large white
straw peacock chair. And electric fan hums quietly.
There's a knock on the door and then it opens. Michael
and the Sheriff step into the room.
SHERIFF
I got the young fella here, Judge
Callan.
Michael reacts to the name Callan as the chair swivels to
reveal a large man in Colonel Sanders white, fanning
himself. The man, Judge Oliver Callan, views Michael with
all-observing, shrewd eyes.
SHERIFF
I'll be out front if you need me,
Judge.
The Sheriff leaves. Michael stands before the Judge, his
mind calculating the setup.
JUDGE CALLAN
What's your name, boy?
MICHAEL
Michael Knight.
JUDGE CALLAN
I'm Judge Oliver Callan. I represent the
judiciary here in Fleur Du Lac.
MICHAEL
Seem to be a lot of Callans in town.
JUDGE CALLAN
Just one that counts.
MICHAEL
Cray Callan must ring a bell.
JUDGE CALLAN
He's my son.
MICHAEL
Must be hard for you...your son being
a murderer and an escaped convict,
I mean.
JUDGE CALLAN
(coldly)
I didn't see any murder and I didn't
convict him.
(beat)
I hear you're lookin' for that little
tramp wife of his. Why?
MICHAEL
That's personal.
JUDGE CALLAN
It's my family and it's my town, boy.
Nothing's personal.
MICHAEL
Look, I was brought here because I
ran a stop sign allegedly. Why don't
I pay that off and head on my way?
Callan studies Michael for a long beat. Finally, he smiles.
Too broadly.
JUDGE CALLAN
I don't like visitors to leave with
a bad opinion of Fleur Du Lac, so I
won't charge you for that infraction.
I'll just give you a piece of advice.
(hard)
Don't go against me, boy. Christopher
Callan is safe as a clam in his shell
in this parish, but you're out of the
water, you get me?
He swivels around in his chair, turning his back to Michael
as an indication of dismissal.
MICHAEL
Yes, sir. I think I get you very
well.
With that, Michael turns and exits, and we:
CUT TO
OMITTED
EXT. MAIN STREET - DAY
as Sheriff Casey stops near the Trans Am. Michael steps
out, watches as Casey continues down the street.
CLOSE ON MICHAEL
as he moves toward K.I.T.T. Suddenly, Minister Baylor
crosses the street, passes close to Michael. As he does,
we hear:
BAYLOR
(sotto voce)
I sent you the tape. I need to talk
to you at the church.
Before Michael can respond, Baylor turns and hurries for
the opposite corner.
ANOTHER ANGLE
as a shot rings out and a bullet catches the minister in
the shoulder. Michael reacts, rushes into the street,
looks up to see:
MICHAEL'S POINT OF VIEW - A ROOFTOP NEARBY
A man with a rifle is visible -- Christopher Callan. He
ducks out of sight.
BACK TO MICHAEL
as he looks up at the crowd of locals gathered around him.
The people look shocked but nobody's pursuing Callan.
MICHAEL
Isn't anybody going to stop that guy?
Nobody answers. Michael looks at the minister, who's
passed out. Blood oozes from a shoulder wound.
MICHAEL
Somebody get help!
He gets up, runs after Callan.
ANGLE ACROSS THE STREET
Hidden in the shadows of a building, we see Layla Callan.
She watches, wide-eyed with horror and grief, as several
of the locals finally go to the aid of the minister. With
tears streaming down her face, she finally turns and races
down an alley. As she does, we go to:
MICHAEL
racing around a corner, where he spots two deputies sitting
inside a coffee shop. A squad car is parked out front.
Rifle still in hand, Callan is running toward the squad car.
Michael stares in disbelief at the two indifferent cops,
then shouts:
MICHAEL
Hey, you! Stop!
Callan turns, sees Michael and fires at him. Michael leaps
out of the way, rolls behind a parked car.
MICHAEL
(comlink)
Kitt! I need you!
EXT. CALLAN GROCERY - DAY
A few kids are peering at the car, tapping it and staring
in the windows when the Trans Am bursts to life. The kids
jump away, staring with awe. K.I.T.T. backs up fast,
executes a 180 and tears up the street toward Michael,
leaving a gaping gathering of kids behind.
EXT. INTERSECTING STREET - DAY
as the Trans Am roars around the corner. Callan reaches
the squad car, jumps in and with a squeal of tires, tears
off. The Trans Am reaches Michael and the door flies open.
MICHAEL
Did you get a visual on him, Kitt?
K.I.T.T.
It's Christopher Callan, Michael.
MICHAEL
Just what I figured.
WIDER ANGLE
as the Trans Am squeals away, heading in pursuit of the
squad car as it disappears around the corner, we:
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
EXT. TWO-LANE HIGHWAY - LOUISIANA - DAY
The squad car carrying Cray Callan tears down the road with
the Trans Am gaining quickly. Suddenly, the squad car
veers off the highway onto a dirt road and heads across a
field toward a dense wall of trees ahead. Kicking dust,
the Trans Am follows.
INT. TRANS AM
Determined, Michael stays on Callan's tail.
K.I.T.T.
Michael, we are approaching a very
unorthodox environment.
MICHAEL
So's Callan. We'll have the edge
on him.
K.I.T.T.
The area we are entering is a dense
swampland with irregular solid
surfaces....
MICHAEL
The bayou. Hold your breath, pal....
EXT. THE TWO CARS
as around them, the ground becomes muddier, wetter. The
squad car hits a thick, oozing puddle and fishtails, nearly
losing control as the Trans Am gains. Callan speeds toward
a fallen tree, jerking the wheel sharply, skids almost out
of control again but clears the tree. Behind him, the
Trans Am barrels toward the tree, Michael hits the turbo
boost, and the Trans Am jumps the fallen tree.
OMITTED
ANOTHER PART OF THE BAYOU
as the squad car reaches the heavily treed area of the
bayou. The Trans Am is right on its tail.
INT. TRANS AM
Michael maneuvers K.I.T.T. through the growing morass.
K.I.T.T.
I am not programmed for an under-
water obstacle course, Michael.
MICHAEL
Neither am I, but I'm learning.
EXT. THE SQUAD CAR
as it angles off to the side, hits a small bank, soars up
into the air, then comes down again beyond the thick brush.
NEW ANGLE
as the Trans Am easily clears the same turn, rises over the
bank and, in slow motion, comes down with a sucking splash
in swamp water. Nearby is the squad car, already sinking
into the mire.
INT. TRANS AM - ANGLE ON MICHAEL
peering out through the mud-spattered windshield.
MICHAEL
Where's Callan?
MICHAEL'S POINT OF VIEW - CALLAN
climbing onto a seemingly forgotten trapper's fan boat.
He activates the engine, and roars away, quickly swal-
lowed up by the swamp.
ANGLE ON THE TRANS AM
as the engine revs, strains, sputters. The Trans Am's
wheels spin, sinking further.
INT. TRANS AM - ANGLE ON MICHAEL
pressing the accelerator to the floor, to no avail.
MICHAEL
We gotta get moving, Kitt.
K.I.T.T.
Michael, we've got absolutely no
traction.
Michael activates the turbo boost, nothing happens.
MICHAEL
C'mon, buddy...turbo boost.
K.I.T.T.
Some foreign element in the liquid has
neutralized several of my functions
including turbo boost. I'm quite
incapacitated.
MICHAEL
We'll see....
And Michael pulls one of the dashboard levers.
EXT. TRANS AM
A grappling hook at the end of the long steel rope shoots
out the back of the car and lodges in one of the large,
thick-based trees on the bank. The engine revs and the
Trans Am begins to move slowly out of the water, toward
land. Then, suddenly, with a creak, the entire tree pulls
out of the ground and falls, roots and all, onto the squad
car. With an unattractive gloop, the squad car vanishes
beneath the surface of the muck.
INT. TRANS AM
Michael reacts to the demise of the squad car.
MICHAEL
What's keeping us from going under,
Kitt?
K.I.T.T.
In my opinion, extremely good luck.
Suddenly, from O.S., Michael hears the approaching sound of
dogs barking.
MICHAEL
Dogs! There might be someone with
them!
EXT. TRANS AM
as Michael climbs out the pop top and wades toward the bank,
calling:
MICHAEL
Hey! Over here! Help!
OMITTED
CLOSE ON MICHAEL
as he reaches the bank. Suddenly, three dogs burst through
the brush, knock Michael to the ground. In a second,
they're on top of him.
ANGLE ON TWO MEN
Tall, weather-worn and grim-visaged; the hunters, ap-
proaching behind the dogs, pausing in the cover of trees
to watch as the dogs continue ripping.
ANGLE ON MICHAEL
struggling to free himself from the jaws of the furious
beasts. It's a battle he can't win. He shouts out:
MICHAEL
Kitt! Kitt, help me...!
ON K.I.T.T.
as the engine turns over, sputtering and missing badly. It
catches, then fails, then catches again. Finally, it
sputters to a halt.
ON MICHAEL
battling with the dogs. He's fading badly.
MICHAEL'S POINT OF VIEW - THE DOGS
Snarling, their huge teeth flashing, they continue the
attack. We hear Michael's cries, a scream of pain. Then,
slowly, everything begins to blur, slip out of focus: the
dogs, the bayou, the two men watching. As we go to black
and total, terrifying silence:
DISSOLVE TO
OMITTED
EXT. CHARON CABIN - DEEP IN THE BAYOU - DAY - ESTABLISHING
A rudely built, swamp-encrusted cabin. Two black hunting
dogs doze on the porch.
INT. CABIN - ANGLE ON MICHAEL
lying on a rough-made bed, his wounds bandaged. He awakens
drowsily. He struggles to sit up, grimacing with pain. As
soon as he moves, we hear the low, threatening growl of:
A BLACK HUNTING DOG
lying at the foot of the bed. He bares his fangs, growls
more loudly.
ANGLE ON MICHAEL
remembering those teeth, recoiling. He glances around the
room, and we widen to reveal one of the two men we saw with
the dogs.
The dogs growl again. The man, who we'll know as Jacques,
finally speaks.
JACQUES
Emile...allez dehors. Vite!
With that, the dog turns and meanders out of the cabin.
Michael breathes a big sigh, relaxes for the first time.
MICHAEL
My name's Michael Knight. I...I've
come here...to Fleur du Lac...on
business. To see someone. A man
was shot and I was chasing the guy
who did it...Callan. Cray Callan.
As Michael talks, Jacques gets up, opens a door leading to
a bedroom. A beat, then Layla Callan steps into the room.
She faces Michael.
LAYLA
I am Layla. Layla Callan.
Michael reacts.
LAYLA
I think maybe you come for me....
Michael nods yes. Layla looks at him, then away. She
crosses to a table, takes a small transistor radio in her
hand, holds it closely to her chest. She turns to Michael,
looks at him simply, openly.
LAYLA
I pray someone will come. For a
long time. Now, you come...and I am
afraid.
Michael tries to stand, can't.
MICHAEL
Layla, don't be afraid. I'm here to
help you. To take you out of here
...away from Callan. All I need
is my car, then we can leave....
Layla studies Michael for a long beat, both fascinated and
frightened by this man.
LAYLA
My brothers get your car....
MICHAEL
How long will that take?
No response.
MICHAEL
Soon?
No response.
MICHAEL
How far is it to town? To a road?
Still, Layla doesn't respond. She switches on her radio
and we hear the faintest sound of music, voices. Layla
turns to Michael.
LAYLA
You rest now. Get stronger before
you go....
Before Michael can respond, Layla exits. Michael tries to
stand and follow her, but a wave of dizziness pushes him
down on the bed. As he lays down, we:
CUT TO
OMITTED
EXT. BAYOU - DAY
A panorama of gray, hanging silence unfolds, thick trees
reaching beyond the realm of vision, gray lichen draped
like dry beards from the sky. Into the dank world comes
Cray Callan, piloting the Charon's fan boat, clutching his
rifle.
ANGLE ON A CLUMP OF UNDERGROWTH
as Callan's boat glides past. Something moves behind the
plants.
ANOTHER ANGLE
as another figure, half-seen, lopes along keeping pace with
Callan's boat.
ANOTHER ANGLE
of a third watcher, thickly-bearded and dressed in heavy,
dark clothing.
ANGLE ON CRAY CALLAN
aware of the watchers, increasingly uneasy, his fingers
twitching on the rifle. He steers the fan boat up against
a sloping bank joined by a rickety pier.
CALLAN
Je suis Callan. Come on out, you
swamp ghosts. I know you're there.
WIDER ANGLE
A man appears from the camouflaging surroundings. He's
hard-faced, bearded, scarred, mean looking -- it is Henri
Lecroix. He faces Callan, speaks with a thick Cajun accent.
LECROIX
What you want?
CALLAN
I want Layla Charon. She's here, in
the bayou.
Lecroix shrugs.
CALLAN
No one knows the bayou like a Cajun.
(beat)
I'll make it worth your while. Just
name it.
Lecroix looks around at the invisible figures, as if only
his eyes can pierce the shadows that veil them.
LECROIX
Sheriff Casey stop our poaching minks.
We want no more trouble from him.
CALLAN
Done.
Lecroix looks around again, then slowly nods at Callan.
EXT. CHARON CABIN - NIGHT
The silver glow of a full moon creeps through the thick
tree cover, dropping a muted sheen onto the quiet cabin.
INT. CABIN - NIGHT
A single kerosene lamp lights the cabin. We see Michael
sitting on the edge of the bed. He's using his comlink.
MICHAEL
Kitt...Kitt, can you read me? Kitt,
where are you? Do you read me?
Nothing. Michael turns in the direction of the front
porch, where we can hear Layla's radio. Slowly, Michael
stands, crosses to the front door.
EXT. CABIN PORCH - NIGHT
Layla is sitting, staring out at the bayou. The night is
alive with a symphony of sounds: crickets, frogs, owls.
Under this, we hear music from Layla's radio. She starts,
turns quickly as Michael steps onto the porch.
MICHAEL
Sorry. Didn't mean to startle you.
LAYLA
I know all the sounds here. You are
not from the bayou....
Michael moves and sits next to Layla.
MICHAEL
Neither was Cray. But you married
him. Why?
Layla looks at Michael, hesitates for a moment, then:
LAYLA
I got to Fleur du Lac. To sell
fish. I am very young -- thirteen.
Cray Callan sees him, wants to buy
me from my father. When he says no,
Cray threaten Papa. Says Lecroixes
will take everything.
MICHAEL
Lecroixes?
LAYLA
Bad Cajuns. Poachers. They steal
our game, tear our nets. Callans own
them. We feud with them for years.
(very quietly)
It kill Papa when I go with Cray.
There's a beat of silence.
MICHAEL
Who did Cray kill, Layla.
Another silence as Layla fiddles with her radio.
LAYLA
A man. A stranger. From the north
...like you.
MICHAEL
Why?
LAYLA
He look at me. With hungry eyes.
Cray was crazy. Like an animal....
MICHAEL
Doesn't sound like he's changed much.
(urgently)
Layla, I've got to find my car.
LAYLA
Jacques et Arnaud...they find.
Bring to you.
MICHAEL
Good. I want to get you out of here
as soon as possible. Then I can take
care of Cray....
Michael stops talking as he notices a look on Layla's face.
He studies her.
MICHAEL
What's wrong? You do want to leave,
don't you?
LAYLA
This place...the bayou...it is my
home. It is all I know.
No response.
MICHAEL
Look, Cray's going to try to kill you
...you said that on the tape you
sent....
LAYLA
Minister Baylor sent tape. He try
to help and he is shot. Now you
come, and maybe you are hurt, too.
(desperately)
This is not right. I cannot allow....
Layla fights back a tear.
MICHAEL
Look, I'm already here, so I'll take
my chances. But, it's going to be a
lot safer...for both of us...when
we've got a few miles between
ourselves and this place.
Layla holds up her radio, shows it to Michael.
LAYLA
From this, I hear songs about places.
Big cities, many people...
(beat)
Here, I know how to live, but in the
cities....
MICHAEL
Layla, Cray Callan's gonna find you
here.
Layla looks at Michael, her eyes calm and clear.
LAYLA
I am Cajun. If I leave the bayou, I
will die.
MICHAEL
(frustrated)
But, if you stay....
Michael's voice trails off. He knows she's not listening.
Then she turns to him.
LAYLA
Tomorrow, you go. Please.
MICHAEL
Not without you.
Layla stares at Michael, shakes her head, then smiles at
him for the first time. Michael smiles back. A warm
moment. In the silence all we hear is the bayou and
Layla's little transistor.
CUT TO
EXT. CALLAN HOUSE - DINING ROOM - MORNING
A long table made for a dozen people. This morning it's
set for one: Judge Callan. He's finishing a big breakfast
as he thumbs through the morning paper. A door opens and
we hear:
CALLAN
Hello, Daddy.
Judge Callan lowers his paper, quickly cloaks his surprise
at seeing his son.
JUDGE CALLAN
You all right, boy?
CALLAN
None the worse for wear. Thank you
for gettin' me off that road gang,
Daddy.
JUDGE CALLAN
I didn't do it so you could shoot
the minister, Cray.
CALLAN
He took my wife from me. Now, that
ain't right, even in the eyes of
the church.
JUDGE CALLAN
That is over and done with. You
hear me?
Deliberately, Callan circles the table, punctuating his
words with each step.
CALLAN
Every shovel of Louisiana mud I dug
reminded me of the people who hurt
me.
The Judge rises, crosses to lay his hands on his son's
shoulders.
JUDGE CALLAN
Forget about the girl. She's just
Cajun trash. She'll crawl back into
the bayou and be forgotten.
CALLAN
Not by me, Daddy. Never by me.
He starts to move away but the Judge stops him, hard.
JUDGE CALLAN
Now, you listen to me, Cray. You're
the only son I got, and I brought
you back to help you put what you've
done behind you, safe from the out-
side law. But don't push too hard,
understand? 'Cuz you keep bendin'
the law and you're gonna find me on
the other end of it.
(beat)
You stay outta that bayou.
The flare of anger that's appeared in Cray's eyes during
this speech softens and he leans in to kiss his father's
cheek.
CALLAN
I'll be a good boy.
As Cray disappears into the night:
CUT TO
EXT. CHARON CABIN - DAY - EARLY MORNING
Michael steps onto the porch, moves cautiously around the
hunting dog sleeping there and then crosses toward a
rough-hewn lean-to next to the house.
ANGLE ON THE LEAN-TO
where we see the Trans Am. It's been meticulously
cleaned. Michael hurries to the front door, opens it.
MICHAEL
Kitt! Am I ever happy to see you.
A beat, then:
K.I.T.T.
The feeling is mutual, Michael. How
are you?
MICHAEL
A little raw around the edges, but
I'll live. How about you?
K.I.T.T.
Well, I fail to understand the
appeal of those so-called mud baths.
MICHAEL
I see your sense of humor's still
intact.
INT. TRANS AM
as Michael climbs inside.
MICHAEL
I was afraid something was wrong. I
couldn't reach you on the comlink
last night.
K.I.T.T.
I heard you, Michael, but I appar-
ently can't transmit.
MICHAEL
If that's all that's bothering you,
we're in good shape.
(punches buttons)
Let's get a readout from your self-
diagnostic analyzer.
K.I.T.T.
Apparently it's not functioning,
Michael.
MICHAEL
Terrific. This is like being a
doctor with a patient who can't tell
him where it hurts.
K.I.T.T.
(a trifle
defensive)
I would if I could, Michael.
MICHAEL
Yeah, I know. Sorry, pal.
K.I.T.T.
Besides, even if I could, I'm not
certain you'd be able to utilize the
data.
MICHAEL
Wait a minute. I'm not exactly all
thumbs.
K.I.T.T.
Not exactly....
Michael thinks, nods.
MICHAEL
Right. We've gotta try and reach
April.
K.I.T.T.
Precisely what I had decided. I'll
do the best I can.
Michael turns to the video screen. The monitor comes to
life, but it's fuzzy. We are able to make out Devon and
April, but not well. The sound transmission crackles and
pops with static.
As Michael talks, we intercut with:
INT. F.L.A.G. HEADQUARTERS - DAY - ON APRIL AND DEVON
DEVON
Michael, we've been worried sick.
Where are you?
MICHAEL
I'll brief you later, Devon. Right
now, I need to talk to April.
APRIL
Is there a problem? How's Kitt?
MICHAEL
A little soggy....
APRIL
Soggy? Michael Knight, what have
you done...?
MICHAEL
Look, April, we're stuck in the
middle of a swamp. I can't have
this discussion right now. I need
your help. Kitt needs your help....
April exchanges a glance with Devon, takes a big breath.
APRIL
What precisely is the problem?
MICHAEL
We don't know. That's the problem.
Kitt's diagnostic indicator's out.
APRIL
It's probably a short. I'll punch
in a schematic of the circuitry.
You'll have to make the repair
yourself. You can do that, can't
you?
Michael leans forward, staring at the video screen. The
picture's growing dimmer, April's voice fading.
MICHAEL
I can do it, but you're going to
have to hurry. Our connection's
going....
APRIL
What? Michael...?
Just then, the picture on the video monitor goes completely
fuzzy. No picture. No sound. They're off the air.
MICHAEL
Kitt....
K.I.T.T.
I'm sorry, Michael. We've lost
contact.
MICHAEL
(exasperated)
Great....
OMITTED
ANGLE ON THE CHARON PORCH
as the hunting dog suddenly raises his head, hearing
something beyond the range of human hearing. The
hair starts to bristle on his neck, and he growls softly.
ON THE BAYOU - VARIOUS ANGLES
In the lush foliage surrounding the Charon cabin, we see
the vague outlines of figures moving with total silence,
closing in on the cabin. Hold on them, and then:
OMITTED
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
EXT. CHARON CABIN - DAY
As the hunting dog climbs to his feet, his low growls grow
louder, become barks. He strains at the rope tying him to
the porch as Layla comes hurrying through the front door,
quickly turning off her radio.
ON LAYLA
sensing the danger the dog has felt. She strains to see
into the bayou. She tenses as she sees:
LAYLA'S POINT OF VIEW - FIGURES
moving through the brush.
OMITTED
BACK TO LAYLA
hesitating only a second before she rushes from the porch,
across the yard.
ANGLE - WIDER TO INCLUDE MICHAEL
coming out of the lean-to. Layla comes rushing past him.
MICHAEL
Layla...Layla!
LAYLA
Go now, Michael! No more deaths....
Before Michael can respond, Layla runs into the clearing.
A split second later, a shot rings out. Layla continues
on, unhurt, scrambling into the bayou brush, clinging to
her portable radio.
ANOTHER ANGLE
across the clearing as Henri Lecroix becomes visible, still
aiming his rifle. He shouts to his hidden brothers:
LECROIX
After her!
And everywhere, shadows begin to move.
ANGLE ON MICHAEL
leaping into the Trans Am, firing the car to life.
INT. TRANS AM
as the car prepares to move out.
MICHAEL
Let's hope this works, Kitt....
EXT. CLEARING
The Trans Am blasts out of the lean-to, roars across the
clearing, shots sparking off of K.I.T.T.'s body. The car
tears into the greenery beyond the clearing and several
Lecroixes dive for safety as the car pursues Layla. The
Lecroixes fan out and rush into the bayou, still shooting.
DISSOLVE TO
OMITTED
EXT. BAYOU - DAY - VARIOUS ANGLES - THE LECROIXES
as they individually make their way through the swamp
brush, searching for Layla.
DISSOLVE TO
ANGLE - PAUL LECROIX
moving quickly, he trips a concealed rope which lifts a
net and Paul is yanked off the ground, moving up and out
of frame.
EXT. BAYOU - DAY - ANGLE ON LAYLA
pushing her way through the swamp brush, gasping for breath
as she runs. Then the Trans Am rolls into scene. She runs
blindly, oblivious to the Trans Am until it's beside her.
The passenger door opens and Michael reaches toward Layla,
shouting:
MICHAEL
Get in!
Without losing pace, Layla grasps Michael's hand and is
pulled into the car. she drops her radio, pulls away from
Michael to get it.
LAYLA
My radio....
MICHAEL
(shouts)
Layla forget it...they're coming.
Get back here!
A figure emerges a distance away, a shot rings out. Layla
grabs her radio as another shot puffs dust up around it.
She jumps into the car.
NEW ANGLE
as the door shuts and as the pursuing Lecroixes become
visible in the surrounding greenery and the shots
intensify, the Trans Am blasts off, disappearing into the
bayou.
ANGLE ON THE LECROIXES
as they gather in the clearing left by the Trans Am. There
are five of them, silent and mean, all armed. They stand
beside Henri, awaiting commands, but instead hear the
outside shouts from the snared Paul. The men react to
another O.S. cry for help and then run in that direction.
ANOTHER ANGLE
as the five men move through more brush and pause beneath a
large tree. Above their heads, hanging from his heels by a
stout rope, is Paul.
LECROIX
Cut him down!
The men approach the tree, help the trapped man down and we
angle to a concealing clump of brush nearby, where Jacques
and Arnauld Charon, carrying the remaining piece of rope,
watch the peril of the Lecroixes with amusement. Arnauld
turns in the direction the Trans Am took and speaks softly.
JACQUES
Bon chance, Layla.
He and Jacques head back toward their cabin.
EXT. ANOTHER PART OF THE BAYOU - DAY - ANGLE ON THE
TRANS AM
moving slowly through faceless, gray swampland.
INT. TRANS AM
Michael and Layla peer out at the void around them.
Michael studies her a beat.
She nods, shyly holds it.
MICHAEL
Who were those men, Layla?
LAYLA
The poachers. The Lecroixes. The
best hunters in the bayou. They
will find us.
MICHAEL
We've got to get out of here. Do
you know where we are?
LAYLA
This is Lecroix land. I have not
been here for many years.
Michael hesitates to communicate directly with K.I.T.T. in
front of Layla, but knows he must.
MICHAEL
Can you give me a visual on our
location, Kitt?
K.I.T.T.
I'll most certainly try.
Layla reacts to the talking car.
LAYLA
Mon Dieu!
MICHAEL
It's a computer, Layla. It's very
complicated.
LAYLA
I never see car like this. You will
explain this...this computer?
MICHAEL
In time. Right now....
K.I.T.T.
I have it for you, Michael.
Out comes a blank sheet. Michael realizes that K.I.T.T.'s
malfuntioning again.
MICHAEL
Can you at least tell me what
direction we're going in?
K.I.T.T.
I gather the visual was inadequate.
MICHAEL
I'm afraid so.
K.I.T.T.
We're going northeast, Michael.
MICHAEL
Are you sure?
K.I.T.T.
Under other circumstances the
question would be insulting,
Michael. But, due to organic
contamination of my integrated
micronetic navigational....
MICHAEL
(over)
You're not sure.
K.I.T.T.
In a word...no.
MICHAEL
Your best is all we can ask for, pal.
(then)
What's at the northeast end of the
bayou, Layla?
LAYLA
Cajun settlement. Northwest belongs
to the Lecroixes.
Hold a beat on their reactions.
MONTAGE
1) ANGLE ON THE TRANS AM - just as the car turns more to
the east and continues on.
2) ANGLE ON FOUR OF THE LECROIXES - omitting Henri and
the man who was caught in the trap, tracking the Trans
Am. Its course through the bayou is fairly clear --
tire tracks in the mud, broken brush -- the men are
confident.
3) ANGLE ON MICHAEL AND LAYLA - as she attempts to guide
them, pointing the way.
4) ANGLE ON THE TRANS AM - moving deeper and deeper into
the bayou. Time seems suspended, as it becomes occasion-
ally denser, then dryer; sometimes there are black pools
or the occasional whisper in dry brush of some living
thing.
5) ANOTHER ANGLE OF THE TRANS AM - as it's about to cross
a shallow pool of muddy water. A bear trap suddenly
lashes out of the pool and clamps onto K.I.T.T.'s tire.
MICHAEL
Wha....
LAYLA
Trap.
Michael and Layla alight from the car, look at the trap
locked onto K.I.T.T.'s tire.
K.I.T.T.
This is humiliating.
MICHAEL
I'll get you unlocked, pal.
Michael picks up a log and begins to pry the trap free,
while:
MICHAEL
This isn't the only thing we have to
look forward to out here, is it?
Layla looks around, shakes head.
OMITTED
BACK TO SHOT
LAYLA
More traps. Quicksand. Much danger.
Michael pulls the trap aside. She and Michael climb back
into the Trans Am.
INT. TRANS AM
as Michael carefully steers around the traps.
K.I.T.T.
I've failed you again, Michael. I
should have scanned that ugly device.
MICHAEL
To err is human, pal. We'll find
our way.
Layla looks at Michael with alarm. He comfortingly squeezes
her hand.
EXT. ANOTHER PART OF THE BAYOU - DAY
The bank and pier where Cray Callan previously recruited
Henri Lecroix. Now, Callan waits here again, fingering his
rifle. We see a hunting knife strapped to his thigh, and
he's dressed for the hunt. A beat, then Henri Lecroix
approaches from the brush.
CALLAN
Where's Layla?
LECROIX
My brother is caught in Charon trap.
Now is our fight, Callan.
CALLAN
My wife? Where is she?
LECROIX
L'etranger with black car get her.
We track.
CALLAN
You bet we track.
Callan moves out, Henri and Paul follow.
MONTAGE
1) ANGLE ON THE TRANS AM - moving deeper into nothingness,
keeping as direct a course as possible.
2) ANGLE ON LAYLA - pointing through the windshield at a
thick cord draped with animal pelts, as the Trans Am
passes beneath it.
3) ANGLE ON THE HIGH SUN - flickering visible above the
trees.
INT. TRANS AM
as suddenly, Layla waves excitedly, pointing.
LAYLA
The shack! The poachers' shack!
I know this place.
And we angle toward a small shack, looming ahead through
the bushes.
INT. SMALL SHACK - DAY
Michael and Layla enter and Michael finds a small lantern,
lights it. The shack is cluttered with crates and checking
their contents, Michael whistles.
MICHAEL
There's enough dynamite here to
flatten Manhattan.
He turns to see a collection of canned goods. He moves to
them, grabs a can of peaches, an opener.
MICHAEL
(continuing)
Food...Get something in your stomach.
She takes the can and begins to open it as he examines the
cabin further.
MICHAEL
This dynamite...the poachers use it
for fishing?
LAYLA
(nods)
And gators. We stay here, Michael?
Rest?
MICHAEL
The Lecroixes know about this place,
don't they?
LAYLA
(nods)
Everybody knows. My father built it.
Then, the poachers take it away. Now,
is their dynamite, their food.
MICHAEL
Then we don't stay....
He picks up a tarp, fills it with cans of food.
MICHAEL
You know the way out of here now?
LAYLA
Like your car, Michael...I can make
good guess.
He gives her a warm smile. She returns it shyly. He blows
out the lantern, scoops up the food.
MICHAEL
Like my car, you're nice to have
around.
A beat between them and they exit.
EXT. BAYOU - MERGING POINT - DAY
Callan and Henri Lecroix merge with the other four Lecroix
trackers, they converse, (MOS) a beat, one points to
K.I.T.T.'s tracks and they all move out.
EXT. CAJUN SETTLEMENT - DAY
The Trans Am moves slowly into Cajun civilization. Out
here, forgotten in the middle of the bayou, is a colorless,
wood-structure town. Cajun locals mill about. As the
Trans Am pulls into the center of the settlement, we hear
that the car's engine is missing badly. Finally, the car
dies, and the hum of its engine is replaced by strange Cajun
music wafting out of a nearby barn. A few Cajuns stroll by
carrying beer and foods, laughing; there's a festive air
amidst the gloom.
INT. TRANS AM
as Michael tries uselessly to restart the engine.
MICHAEL
What is it, Kitt?
K.I.T.T.
The juncture between my accelerator
and fuel injection has deteriorated,
Michael. I am unable to correct the
problem.
MICHAEL
I'll see what I can do.
EXT. TRANS AM
Michael and Layla climb out and Michael crosses to open
the Trans Am's hood, tinker with the complicated engine.
Layla is very tense as Cajuns stroll by, ad-libbing
greetings to Layla, during:
LAYLA
We must go, Michael. Lecroixes
come. I feel them. They will hurt
these people, too.
Michael glances at the festivities going on around them.
MICHAEL
What's going on?
LAYLA
Life in the bayou is hard. We
celebrate when we can.
She moves away from Michael, to peer worriedly up the road
from which they entered the village. Michael turns back to
K.I.T.T.
ANGLE ON MICHAEL
ungracefully working on the engine.
K.I.T.T.
I must say...April does have a more
delicate touch, Michael.
MICHAEL
Get her on the phone. I'll be happy
to sit in the shade.
K.I.T.T.
Point well taken, Michael.
ANGLE ON LAYLA
as two Cajun men rush up to her. One man sweeps her off
the ground in a genial hug.
CAJUN MAN
Layla, allons!
The second man twirls Layla around, responding to the music;
then the two men pull Layla toward the nearby barn.
LAYLA
No, no, je n'ai pas le temps...
(crying out)
Michael ---
ON MICHAEL
Michael comes up from under the Trans Am's hood just as,
pulled by well-meaning friends, Layla disappears into the
barn. Michael starts after her, then instead shuts the
car's hood and slides into the driver's seat.
K.I.T.T.
Despite your inexperience, I do
believe you've done the trick.
MICHAEL
Don't take April off the payroll yet.
K.I.T.T.
I assure you...the thought never
entered my memory.
He turns the ignition and the car's engine growls, doesn't
connect. It growls again, turns over, then dies. It
growls a third time, turns over and begins to idle.
K.I.T.T.
Given adequate time to warm up, I
should now be able to filter out the
most troublesome impurities.
MICHAEL
Time's the one thing we haven't got,
Kitt. I'm putting you on surveillance
until I get back.
Michael climbs out, K.I.T.T. increases the rpms. Michael
hurries toward the barn.
OMITTED
EXT. POACHERS' SHACK - DAY
Cray Callan waits outside with the four Lecroix trackers.
Henri Lecroix exits the shack, holding an empty can. The
Lecroixes set off on foot from the shack, Callan following.
EXT. CAJUN BARN - DAY - ANGLE ON MICHAEL
as he approaches the celebration, where several Cajuns are
eating, dancing.
ANGLE ON MUSICIANS
Older men, a singer of words both alien and recognizable, a
fiddle player, bottleneck guitar player, Cajun accordian.
ANGLE ON LAYLA
in the middle of the dancing, being spun around, obviously
adored by locals who are unaware of her anxiety. She sees
Michael, calls out to him.
WIDER ANGLE TO FEATURE MICHAEL
as he tries to make his way to Layla, but is caught by a
young Cajun woman who pulls him playfully into the
dancing. Michael tries to resist, but he's quickly swept
along with the other dancers. He and Layla glance at each
other over the heads of the dancers. Meanwhile:
ON K.I.T.T.
His surveillance lights flashing. Behind him, moving
toward the celebration, we see one of Lecroixes men moving
toward the celebration.
INT. K.I.T.T.
as he tries to contact Michael on the comlink.
K.I.T.T.
Michael, can you hear me? Michael,
those trappers are here...Michael...
Michael....
EXT. BARN - DAY
as the party continues. Michael and Layla are still
dancing.
ANOTHER ANGLE
revealing a second Lecroix man watching the festivities
from near the crayfish pot.
ON MICHAEL
In the midst of the crowd, he spots the hostile Cajun near
the crayfish pot. He turns, glances hurriedly around.
ON LAYLA
following his glance, and stopping when she sees the other
Cajun who just passed K.I.T.T.
ANGLE - WIDER
as Michael fights to get to Layla. It's a struggle, but he
reaches her, takes her by the arm and turns to escape.
MICHAEL
Come on...it's getting hot around
here.
They turn to escape, but are stopped short by:
HENRI LECROIX
looming up in front of him, with a good-sized knife in his
hand. He waves it slowly, menacingly, at Michael, who
pushes Layla to the side.
MICHAEL
Layla, run...get out of here.
LAYLA
Michael...be careful.
ON MICHAEL AND HENRI
as Henri grins at Michael, beckons him forward with the
knife, then lunges, barely missing Michael, who leaps to
the side and catches Henri with a sharp jab. Lecroix
stumbles, turns and advances on Michael. Around them, the
Cajuns have stopped dancing. The musicians have stopped
playing.
ANOTHER ANGLE FEATURING THE TWO LECROIX HENCHMEN
moving closer to the action, ready to jump in if Henri
needs a hand.
ON CALLAN
as Cray Callan steps out of the barn, quickly crosses
through the crowd to Layla's side. He grabs her by the
arm. She screams as he begins to drag her, kicking and
struggling through the crowd.
ON THE FIGHT
as Michael continues to elude the knife. He hears Layla's
scream, turns to see her in Callan's grasp. As he does,
Henri rushes him. Michael ducks under the knife, comes up
swinging and connects with Henri's jaw. The big Cajun
staggers back and Michael connects again, knocking the
knife out of his hand as Henri falls through the picnic
table near the barn. Michael turns to K.I.T.T., shouting
into the comlink:
MICHAEL
Kitt, down here...quick!
ON K.I.T.T.
coming to life, roaring toward the barn. In front of him,
we see the two Lecroix men racing forward to help Henri.
ON MICHAEL
watching K.I.T.T., and seeing the two heavies barreling
toward him. Into his comlink:
MICHAEL
I'm gonna need some pass inter-
ference on those guys, buddy....
WIDER ANGLE TO FEATURE K.I.T.T.
as he comes up behind the heavies, both doors fly open and
smash into them from behind, knocking them sprawling into
the dust. K.I.T.T. stops in front of Michael, who jumps
behind the wheel and roars into the barn.
THE OTHER SIDE OF THE BARN
as the Trans Am comes flying out, and disappears around the
corner in a cloud of dust.
MOVING WITH THE TRANS AM
as Michael speeds toward the edge of the bayou, screeches
to a halt. He jumps out and peers frantically around.
Nothing and no one in sight. A beat, then Michael sits
dejectedly on the front seat of the car.
OMITTED
INT. TRANS AM
Michael stares out into the bayou.
MICHAEL
They've got her....
Michael looks down to see Layla's radio sitting on the seat
of the car.
MICHAEL
Back inside their world.
Hold on Michael's worried face, then:
OMITTED
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
OMITTED
EXT. BAYOU - DAY
as Michael and K.I.T.T. slowly make their way through the
soggy bayou. We hear K.I.T.T. starting to miss, cough and
sputter. Off this, we:
CUT TO
INT. POACHERS' SHACK - DAY - ANGLE ON A TERRIFIED LAYLA
lit by flickering lantern's glow, hunched against crates of
dynamite. We widen as Callan steps into the shack,
silhouetted by the daylight behind him.
CALLAN
It's nice to be alone like this
again, isn't it, Layla?
LAYLA
Let me go, Cray. You know I do only
what is right.
We move closer as Callan slowly approaches Layla.
CALLAN
You shouldn't have betrayed me.
LAYLA
You should not kill a man.
Callan leans over and takes a whisp of Layla's hair, fondles
it almost lovingly.
CALLAN
I couldn't stand the way he looked
at you, mon cherie. When he touched
you....
LAYLA
He meant nothing!
Callan kneels beside Layla, grabbing her chin, tilting her
face up toward his.
CALLAN
Remember when it was good between us?
LAYLA
It was never good between us.
He tightens his grip on her chin, squeezing until it
hurts. Layla fights back the tears that well in her eyes.
CALLAN
Cajun memories are short. You need
to be reminded....
And he kisses her, pressing her back against the crates of
dynamite. Her body goes almost limp beneath his passion,
but her hand moves toward his thigh, her fingers wrap
around the hunting knife ensheathed there. As she care-
fully slips the knife out, he suddenly grabs her hand,
pulling the knife away, slamming her back against the
crates. He pulls out the knife, holds it up to her face.
LAYLA
Please, Cray....
CALLAN
You Cajuns really are nothing but
animals. Just not as loyal as dogs.
And he slams the knife down into the crate, missing Layla's
cheek by a fraction of an inch. The tears she's been
holding back begin to fall. He grabs her bound wrist,
twisting her so that he can see her hands.
CALLAN
Where's your wedding ring, Layla?
You sell it?
LAYLA
No, no....
He shoves her away. She strikes her head against the
floor, doesn't get up again.
CALLAN
That wedding ring I gave you belonged
to my late mommy. It bound you to
me and now a ring's gonna tie you
to death.
He rises, a smile tickling the corners of his mouth.
CALLAN
A ring of fire.
And he moves toward the burning lantern, the firelight
playing evilly across his face as we:
CUT TO
EXT. BAYOU - DAY - ANGLE ON THE TRANS AM
moving slowly through faceless terrain, the engine coughing
and missing again.
INT. TRANS AM
as K.I.T.T. continues to cough and sputter.
MICHAEL
Come on, Kitt. You can make it.
K.I.T.T.
This is all so frustrating, Michael.
MICHAEL
Listen, champ, you're doing fine.
K.I.T.T.
I dislike feeling inadequate.
MICHAEL
Hey, we're all in the same boat.
We'll find her buddy. We've got
to....
OMITTED
EXT. BAYOU SURROUNDING POACHERS' SHACK - DAY - ANGLE ON
CRAY CALLAN
moving in a large circle around the shack, swinging the now-
open lantern into the lichen draped from the trees bordering
the area, lighting dry brush, moss, etc., forming a huge
ring of flames around the shack. Then, closing the circle
behind him, Callan vanishes into the undergrowth.
EXT. BAYOU - DAY - ANGLE ON THE TRANS AM
The car's engine is still missing, moving slower than ever.
INT. TRANS AM
Michael's frustration is growing as the area outside begins
to darken. He notices K.I.T.T.'s CRT begin to dance with
an unusual scan readout.
MICHAEL
Your scan is showing something again,
Kitt.
K.I.T.T.
Yes, it seems to be a radical increase
in temperature ahead. I can't quite
compute it, Michael.
MICHAEL
Temperature...
(then)
Fire? Is it a fire?
K.I.T.T.
You're quite right, Michael. It is
a fire. A large one. I also detect
a wooden structure...and someone
inside.
MICHAEL
Layla!...Keep those cylinders popping,
buddy...and pray.
EXT. TRANS AM
as the car now picks up speed, struggling against its
engine malfunctions, following a direct course.
EXT. BAYOU SURROUNDING POACHERS' SHACK - DAY
as the Trans Am draws closer, the threat of fire grows --
dark smoke wafting through the air as the flames whip up a
wind, the crackling of flames in dry brush, an occasional
tongue of fire visible between the dense trees. Soon, the
Trans Am is approaching a veritable wall of flames.
EXT. POACHERS' SHACK - DAY
The shack is blurrily visible amidst the smoke and flames.
The fire is rapidly approaching.
INT. POACHERS' SHACK - DAY - ANGLE ON LAYLA
unconscious at the foot of the dynamite crates, smoke
filling the air around her.
EXT. BAYOU - ANGLE ON TRANS AM
as it idles just outside the wall of flames, engine
sputtering.
INT. TRANS AM
Michael peers out at the conflagration ahead.
MICHAEL
We're gonna have to make a run
through it.
K.I.T.T.
The technical malfunctions I've been
experiencing have made me crucially
aware of my -- shall we say --
mortality, Michael.
MICHAEL
At least we've got April's heat
resistant glaze.
K.I.T.T.
I don't believe this is a propitious
time to try something new. If it
fails....
MICHAEL
You'll melt down and I'll be a crispy
critter...but there's no other way
to get her out of there, Kitt.
K.I.T.T.
Unfortunate, but true.
MICHAEL
Hang onto your microchips, pal.
EXT. TRANS AM
as the car's engine coughs, sputters -- and the car moves
forward, directly into the flames.
ANOTHER ANGLE
As the Trans Am moves through the fire, as fast as possible,
we intercut Layla in the cabin as flames lick closer and
closer to the dynamite.
NEW ANGLE - K.I.T.T.
punching a hole through the inferno, streamers of burning
lichen clinging to the automobile's body, the engine
coughing but making progress. The entire car seems
engulfed in flames, then the shack is in sight, already
covered with sizzling tendrils of fire.
INT. POACHERS' SHACK
Layla lies, overcome by the thick smoke fumes, not far from
flames licking through the walls, sending hungry trailers
toward the awaiting crates of dynamite. We widen as
Michael dashes into the shack, spots Layla and runs to her.
As Michael lifts her into his arms, Layla stirs, looks up
at him with blurry eyes.
LAYLA
You come...Michael....
And Michael runs with her out of the shack.
EXT. POACHERS' SHACK
The waiting Trans Am appears to glow, reflecting the flames
which surround it. Carrying Layla, Michael runs to the
car, climbs in.
INT. TRANS AM
Layla is limp but conscious. Michael glances out at the
shack, as its walls dissolve in flames.
MICHAEL
That dynamite's gonna go! I'm trying
turbo boost, Kitt.
K.I.T.T.
An excellent idea, Michael, but....
Michael pulls out, reaches for the turbo boost, punches the
button, nothing. He hits it again.
MICHAEL
Nothing. Zip. We're not gonna make
it...
(an idea)
Unless....
He quickly punches overhead buttons, dripping with sweat
from the heat.
K.I.T.T.
Michael, what are you doing?
INTERCUT - FLAMES AT DYNAMITE BOXES
MICHAEL
Transferring all source energy
systems to turbo.
INTERCUT - DYNAMITE BOXES
igniting.
K.I.T.T.
My logic systems make it highly
remote that it will work, Michael.
INTERCUT - DYNAMITE BOX
growing with flames.
MICHAEL
It's all we've got, Kitt.
Finished punching the overhead, he reaches again for turbo,
hits it. Nothing. Intercut dynamite boxes fully enveloped
now. Michael hits turbo again, we hear a whine start to
work up.
MICHAEL
Come on, baby...come on....
EXT. TRANS AM IN FIRE
The turbo whines up to a pitch and then ignites. K.I.T.T.
leaps from the area of the cabin with a blasting roar as:
THE CABIN
begins to explode, first small pops, a stick, two sticks
going off, while:
OMITTED
EXT. TRANS AM
still moving through the flames, explosions in the b.g.,
then, suddenly -- bursting into clear, unburning turf. The
car stops and Michael and Layla half-climb, half-fall out,
gasping for air. Behind them, the dynamite explodes again,
a giant explosion, and the bayou erupts, shooting debris
high into the air.
OMITTED
CLOSE ON MICHAEL AND LAYLA
as she instinctively burrows against Michael and he pro-
tectively hugs her to him, stroking her hair. We move in
on them in this tender moment; then, Layla's expression
changes as she sees something behind Michael.
LAYLA
Cray, no!
ANOTHER ANGLE
Layla pushes away from Michael as a shot rings out. Michael
grabs her and rolls out of the clearing, into the surround-
ing brush.
ANGLE ON CRAY CALLAN
across the clearing, holding his rifle, trying to see where
Michael and Layla have rolled to. Crouching, he moves
around the clearing, keeping under cover.
ANGLE ON MICHAEL AND LAYLA
Michael comforts Layla, who indicates silently that she's
all right. Michael speaks softly into the comlink.
MICHAEL
Kitt, can you distract him?
ANGLE ON THE TRANS AM AND CALLAN
as he moves past the car and suddenly K.I.T.T. begins to
move.
Startled, Callan opens fire on the Trans Am and Michael
leaps out of the bushes at him, knocking Callan to the
ground. The men struggle with the rifle and it fires, then
falls free of Callan's hands.
NEW ANGLE
as Layla crawls out of the brush, groping toward Callan's
rifle. Callan grabs Michael by the throat, oblivious to
Layla.
CALLAN
You know what, boy? Your problem is
you just don't have the killing
instinct.
Michael doubles Callan over with a blow to the midsection.
Moving forward, he punches, once, twice, three times and
Callan goes down, beaten, struggling for breath, done.
MICHAEL
You know what, boy? You're damn
lucky I don't.
And he rises, pulling Callan to his feet, pushing him
toward the Trans Am as we:
FADE OUT
END OF ACT FOUR
TAG
FADE IN
EXT. FLEUR DU LAC STREET - DAY - ANGLE ON CRAY CALLAN
handcuffed, being led by two State Policemen toward an
awaiting State Patrol car. Callan looks up as he passes
Sheriff Casey and Judge Callan. Seeing his father,
Callan's face shines with relief.
CALLAN
Daddy! Don't let them take me away.
You can stop 'em.
The Judge looks sadly at Callan, turns and walks away.
Callan watches him in disbelief.
CALLAN
Daddy, you can't do this to me.
Daddy!
The State Policemen "help" Callan into the squad car and it
pulls away, moving out of town.
NEW ANGLE - ON DOCTOR'S OFFICE
visible as the squad cars vanish in the distance. Michael,
Layla and Minister Baylor, his arm in a sling, exit the
office.
BAYLOR
We appreciate all you've done,
Mr. Knight.
Michael nods, shakes hands with him. Then they both look
to Layla who looks to Michael, her eyes glistening with
tears.
CLOSE ON MICHAEL AND LAYLA
as the minister moves down the street giving them their
moment of privacy.
MICHAEL
Sure you want to stay?
LAYLA
This is my home, Michael.
Michael reaches into his back pocket and pulls out her
portable radio, presses it into her hands.
MICHAEL
Someday your outside world here is
gonna get your curiosity up...when
it does, don't be afraid to go out
and take a look for yourself.
LAYLA
You teach me not to be afraid...
maybe someday.
MICHAEL
If you ever decide to leave, you
know where I'll be.
Layla nods, stands on tiptoes to kiss his cheek, then runs,
childlike, after the minister.
NEW ANGLE
As Michael strides across the street, toward the awaiting
Trans Am, which is still covered with bayou mud, another
State Patrol car approaches and stops nearby and Devon
alights.
DEVON
Since we lost communication we got
here as soon as we could.
April emerges, sees Michael and hurries toward him.
APRIL
My God, what've they done to you?
Michael is pleasantly surprised by this concern.
MICHAEL
Well, it wasn't really that bad....
But April runs right past him, directly to the Trans Am.
APRIL
Oh, Kitt...I've been so worried.
K.I.T.T.
You've no idea the harrowing ordeal
I've been through, April.
And as April begins to fret over K.I.T.T., Michael, hands
on hips, shakes his head.
MICHAEL
You?!
Intercut their reactions. Pull to a high shot and:
OMITTED
FADE OUT
THE END
