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KNIGHT RIDER: HEARTS OF STONE

EXEC. PRODUCERS: Glen A. Larson, Bob Foster
SUPV. PRODUCER: Joel Rogosin
PRODUCER: Steven E. de Souza

Production #57322
4th Draft - December 13, 1982 (F.R.)

Teleplay: .................. Robert Foster
Director: .................. Jeffrey Hayden

                              
                                 ACT ONE

     FADE IN

     INT. CATHOLIC CHURCH - DAY

     A big city church, old and grand, quiet in the late 
     afternoon.  Several women pray silently.

     REVERSE ANGLE

     Michael enters, pauses to let his eyes adjust to the 
     reflected light.  A priest passes.  Michael stops him, asks
     him something MOS.  The priest indicates another priest, up
     in one of the front pews.

     OMITTED

     ANGLE FROM PRIEST

     His name is Father Carlos Laguna.  He prays as Michael 
     approaches, moves in the same pew and kneels.  Father 
     Carlos looks at him.

                               MICHAEL
               Father Carlos Laguna?

                               FATHER CARLOS
               Yes?

                               MICHAEL
               I'm Michael Knight.

     Father Carlos has been thinking about this moment.

                               FATHER CARLOS
               Thank you for coming.

                               MICHAEL
               Devon said you might have a name for 
               me.  A contact.

                               FATHER CARLOS
               I'm seeing a man after one o'clock
               mass -- the man with the contact's 
               name.  I'll be going straight to my 
               sister's wedding and reception --
               could you meet me there?

     Michael nods.  A thought:

                               MICHAEL
               I'm on my way back from New Orleans.
               I haven't had a chance to get together 
               with Devon yet, but it sounded like 
               something the police could handle.

                               FATHER CARLOS
               The attacks are hit-and-run.  The 
               police?  They question people, they 
               take pictures, they count bullet holes.
                      (beat)
               Tuesday afternoon they shot my brother
               Miguel, two men in a car with automatic
               assault rifles.  In the middle of a gas 
               station in South Houston.  Innocent 
               people could have been killed.  They
               don't care, these 'Corazones de Piedras.'

                               MICHAEL
               Hearts of....

                               FATHER CARLOS
               That's what my family calls them --
               Corazones de Piedras.  'Hearts of 
               Stone.'

                                              CUT TO

     EXT. TWO-LANE HIGHWAY - DAY

     The Trans Am speeds by, the only car for miles.

     ANOTHER ANGLE

     The Trans Am comes over a rise.  Ahead, rolling along about 
     fifty, is the Foundation's semi.

     OMITTED

     DIFFERENT ANGLE

     The semi's hydraulic loading ramp descends and the Trans Am
     drives up and in.  The semi continues down the highway.

                               DEVON'S VOICE
               I'm afraid what we're dealing with 
               here is a kind of modern-day range 
               war....

     OMITTED

     INT. SEMI - DAY

     Bonnie adds new information banks to K.I.T.T.'s computers.

                               DEVON'S VOICE
               It's a war over territory and 
               markets, but the goods in question
               aren't cattle like the old days....

     ANGLE ON DEVON AND MICHAEL

     Devon tosses Michael a fearsome-looking automatic assault
     rifle.

                               DEVON
               This is what it's over.

                               MICHAEL
                      (examines it)
               Looks like something out of Buck
               Rogers or Star Wars.

                               DEVON
                      (continuing)
               It's called the Nunn X-19, legally 
               manufactured in Lexington, Kentucky,
               advertised as quote 'The most effec-
               tive automatic assault rifle in the 
               world today.'  Features as standard
               equipment a rocket launcher.  Rate 
               of fire 850 rounds per minute --
               more efficient than the Uzi or any-
               thing the U.S. Army has in production
               at this time.  In other words, a su-
               perior weapon in all respects.

                                              CUT TO

     EXT. DESERTED HIGHWAY - DAY

     The semi is pulled over.  Devon and Michael move away.
     Devon with the Nunn X-19.

                               MICHAEL
               You said legally manufactured.

                               DEVON
               Legally manufactured, diverted into 
               the world of black market arms by 
               various means -- weapons 'stolen,' 
               shipments 'lost,' records 'incomplete.'  
               The primary market is the turmoil in 
               Central America.
                      (tosses Michael
                       rifle)
               Here.  I want you to get the feel of 
               it.

                               MICHAEL
               There's only one way to do that.

     Devon nods.  Michael raises the rifle to his shoulder,
     touches the trigger.  It fires a dozen rounds before he can
     remove his finger, severs the trunk of a dead tree like a 
     buzzsaw.

                               MICHAEL
                      (impressed)
               Makes an M-16 feel like a black-
               powder musket.

                               DEVON
               Rather like this weapon is to combat
               rifles what Kitt is to conventional 
               cars.

                               MICHAEL
               Couldn't have said it better myself.

     They smile, start back.

                               MICHAEL
               Father Carlos is a priest -- Where 
               do the rest of the Lagunas fit into 
               this 'war'?

                               DEVON
               The Laguna family has a monopoly on
               just about anything of value that 
               crosses the border into Mexico ille-
               gally.  Has had for years.  Then 
               about six months ago that all changed.

                                              CUT TO

     INT. SEMI - DAY

     Angle on a VCR screen, a series of black and white 
     surveillance-type photos, blown-up, generally unclear,
     appear one after another.  The men pictured are tough-
     looking Anglos, big, all in their thirties.

                               DEVON'S VOICE
               No one knows exactly who these new 
               people are.  There are six of them,
               at least four of whom are veterans,
               either Special Forces, or Green Beret.

     INTERCUT MICHAEL, DEVON AND BONNIE

     They watch the unfolding photos.

                               DEVON
               The Laguna family is proud and 
               fiercely loyal.  And tough.  But 
               these gentlemen, they're different.
               They don't play by the old rules.
               They've got guns to sell and to do 
               that the Lagunas have to move over.
               The Lagunas resisted....

     INTERCUT SCREEN

     Several shots of dead bodies on sidewalks or in cars.

                               DEVON
               It's turning into war in the streets.
               As I said, they're different.  Quite 
               ruthless as a matter of fact.

                               MICHAEL
               Corazones de Piedras.

                               DEVON
                      (nods)
               Known in Anglo circles as the 'Stones.'

     Devon nods, turns on the lights, shuts the VCR off.  Michael
     likes the sound of it less and less.

                               MICHAEL
               Before you go any farther, just what 
               are you looking for from me?

                               DEVON
               Find these men.  Convince them you're 
               a black market arms dealer.  Arrange 
               a buy.  If we can catch them 'dirty'
               -- with the rifles -- we can cut the 
               pipeline into Mexico.  We'll be saving 
               lives on both sides of the border.

                               MICHAEL
               Devon, it'll take more than a name 
               from Father Carlos to sell me as an 
               arms dealer.

                               BONNIE
               We've arranged some help in that 
               area.

     She moves to the car to show him.

                               BONNIE
               Specialized data banks on Texas, 
               Mexico, ex-Special Forces and Green 
               Beret personnel, major and minor 
               figures in international arms smug-
               gling ---

                               MICHAEL
               Bonnie?  Has Kitt got it all?

                               BONNIE
                      (smiles)
               Kitt's got it all.

                               MICHAEL
                      (to Devon)
               I won't be flying blind here?

                               DEVON
               I've honed it to the final contingency, 
               my boy.

                               MICHAEL
               In that case you'd better get me out 
               of here before I change my mind.
                      (gets into car)
               Bonnie, how do you like your steaks?

                               BONNIE
               I've decided to become a vegetarian.

                               MICHAEL
               Not in Texas.  In Texas it's a sacri-
               lege not to eat steak.

                               BONNIE
                      (smiles)
               Medium rare.

                                              CUT TO

     EXT. HIGHWAY - DAY

     The semi's lift slowly lowers and the Trans Am rolls down 
     backwards and hits the pavement moving.  It accelerates,
     arcing past the semi and shooting down the highway.

     OMITTED

     INT. TRANS AM - DAY

     Michael drives, glances at K.I.T.T.'s monitor.  On the screen
     are shots of two men, Ricky and D.D.

                               K.I.T.T.
               This is the suspected leader, known
               only as 'Ricky.'  No other firm ID.

     Picture changes.

                               K.I.T.T.
               This is Ricky's chief lieutenant,
               Danny Dwight, no last name.  Known 
               as 'D.D.'  No other firm ID.

                               MICHAEL
                      (shakes his 
                       head)
               I've seen files on shoplifters with
               more information.

                               K.I.T.T.
               Shall I continue, Michael?

                               MICHAEL
               Give me all you've got, Kitt.

                                              CUT TO

     EXT. RENTED HALL - DAY

     The wedding reception is in progress inside.  Parked
     outside are several dozen cars, Cadillacs, Mercedes and 
     Jaguars.  Outside, loosely grouped in two's and three's,
     are heavily armed young men, drinking and joking between 
     themselves in English and Spanish.  From time to time 
     guests arrive and go in or come outside for fresh air.
     Despite the noise, the sense of celebration, there's an 
     undercurrent of tension.

     ANGLE ON TRANS AM

     It appears, starts to turn into the parking lot when a hot
     muscle car pulls alongside, revs its engine.

                               DRIVER
                      (yells to Michael)
               You're lookin' at the fastest car in 
               Houston, the mean machine.  Blow that 
               black bucket right off the street.

                               MICHAEL
               Maybe some other time.

     The driver laughs victoriously, peels away.  The Trans Am 
     parks with the other cars.

     ANGLE IN CAR

     Michael puts K.I.T.T. in surveillance mode.

                               MICHAEL
               Don't fall in love with one of these
               beauties and run off on me.

                               K.I.T.T.
               I wouldn't dream of it.  Michael, 
               you haven't finished reviewing my 
               new data banks.

                               MICHAEL
               Something I should know?

                               K.I.T.T.
               Don't drink the water.

                               MICHAEL
                      (smiles)
               We're not in Mexico, Kitt.  Just
               outside of Houston, Texas.

                               K.I.T.T.
               I hear mariachis.

                               MICHAEL
               I'll have to talk to Bonnie about 
               your Spanish.  It's mar-i-ach-is.

     He leaves, taking a wedding present in with him.

                                              CUT TO

     ANGLE OUTSIDE FRONT OF HALL

     Father Carlos Laguna comes out for a cigarette, exchanges 
     ad-lib comments with several of the young men as Michael
     approaches from the parking area.  They greet each other,
     ad-lib hellos.  Father Carlos puts an arm over Michael's 
     shoulder and moves him away from the others.

                               MICHAEL
               Did you get it?

                               FATHER CARLOS
               The contact's name is Angie.

                               MICHAEL
               I expected a man.

                               FATHER CARLOS
               In this business it pays to expect 
               the unexpected.

                               MICHAEL
               Who is she?

                               FATHER CARLOS
               All I know is she's a cocktail 
               waitress at a place called 
               The Embers in downtown Houston.

                               MICHAEL
               This is hard for you, isn't it.

     Father Carlos nods.  A figure suddenly appears from behind,
     grabs Father Carlos, pinning his arms to his side.

                               ROBERTO
               A thousand Hail Marys or your life!

     Father Carlos smiles, bends one knee and executes a perfect
     judo move, throwing Roberto off balance.  They laugh,
     obviously very close.

                               FATHER CARLOS
               Roberto, I want you to meet a friend 
               of mine, Michael Knight.

     They smile, shake hands and ad-lib hellos.

     OMITTED

     INTERCUT - FIVE TON TRUCK

     several blocks away, approaching.

     BACK TO SCENE

                               FATHER CARLOS
               Roberto is my youngest brother --
               youngest and craziest.  Vato loco.

                               ROBERTO
                      (laughs)
               To be Catholic is hard enough, but 
               to have a brother who's a priest --
               Que Dios tenga misericordia.

     INTERCUT - TRUCK

     Closer, we can see two men in the cab.

     OMITTED

     ANGLE ON K.I.T.T.

     His surveillance picks it up.

     ANGLE ON MICHAEL, FATHER CARLOS AND ROBERTO

     They start inside.

                               K.I.T.T.'S VOICE
                      (comlink)
               Michael, there's a truck approaching
               with men hidden in the bed ---

     Michael turns, sees the truck, now less than fifty yards 
     away.

                               MICHAEL
                      (comlink)
               Kitt, over here -- between us and 
               them.
                      (to others)
               Look out!

     OMITTED

     ANGLE ON TRANS AM

     It barrels over from the parking area, positioning itself 
     between the guests and the street as the truck speeds up.
     Michael dives on Father Carlos, knocking him down.  People 
     scream and hit the pavement as the truck's tarp lifts and 
     two men with X-19's rise and strafe the area.  K.I.T.T.
     deflects most of the bullets.  Pandemonium.  Michael starts
     for K.I.T.T. but Father Carlos grabs his arm.

                               FATHER CARLOS
               Roberto's been hit -- he's bleeding
               bad -- please ---

     Torn, wanting to pursue the truck, Michael helps Father 
     Carlos load Roberto into the Trans Am.

     LONG SHOT

     It speeds off.

                                              CUT TO

     EXT. MEMORIAL HOSPITAL - NIGHT - TO ESTABLISH

     INT. HOSPITAL HALL - NIGHT

     Michael waits alone, a distance from other family members.
     Father Carlos comes out of Roberto's room, pauses with 
     Michael before continuing to the family.

                               FATHER CARLOS
               The bullet tore up an artery in his
               leg.  With rest and care he'll be 
               all right.

                               MICHAEL
               Good.  I'll be in touch.

                               FATHER CARLOS
               Be careful.

     Michael nods, starts away.  Father Carlos watches him.

                                              CUT TO

     EXT. HOUSTON - NIGHT - UP ANGLE FEATURING HOUSTON'S 
     DRAMATIC NEW SKYLINE

     twenty and thirty-story buildings reaching for the sky.

     INT. THE EMBERS - NIGHT

     It occupies the top floor of a new hotel, a circular bar 
     that slowly revolves, providing a spectacular view of the 
     city below.  Michael enters, weaves his way through well-
     dressed guests to the bar.

     ANGLE AT BAR

     Michael sits, looks around, acclimating himself.

                               BARTENDER
               What'll it be?

                               MICHAEL
               Draft.  Whatever's coldest.

     He draws a draft, places it in front of Michael.  Michael 
     puts a twenty on the bar.

                               MICHAEL
               Keep the change.

                               BARTENDER
                      (surprised)
               Thank you, pardner.

                               MICHAEL
               I'm looking for someone.  A cocktail
               waitress named Angie.

                               BARTENDER
               Who wants her?

                               MICHAEL
               A friend of a friend.

     He nods, moves around the circular bar to where several 
     cocktail waitresses are.  One is an extraordinarily attrac-
     tive young woman.  A brief MOS conversation and the young
     woman moves to where he sits.

                               ANGIE
               Looking for me?

                               MICHAEL
               Are you 'Angie?'

                               ANGIE
               I'm whoever you want me to be.  You
               want me to be Angie, I'm Angie.
               Who're you?

                               MICHAEL
               Michael.

                               ANGIE
               What can I do for you, Michael?

                               MICHAEL
               I'm a gun collector.  An acquaintance
               of mine told me you might be able to
               steer me in the right direction.

                               ANGIE
               What direction is that?

                               MICHAEL
               I'm looking for some rifles.  Auto-
               matic Assault rifles.

     Her eyes narrow, her face changes.

                               ANGIE
               I don't know what you're talking 
               about.

     She turns to leave but he grabs her arm.

                               MICHAEL
               I'll make it worth your while.

                               ANGIE
                      (beat)
               I don't know you.

                               MICHAEL
               I'm a businessman.  My business just 
               happens to be weapons.

                               ANGIE
               Who gave you my name?

                               MICHAEL
               A man you've never heard of.  A man 
               who used to do business with the 
               Lagunas.  He said the Lagunas are on
               their way out, and you might be able 
               to introduce me to the people on 
               their way in.
                      (beat)
               Look, Angie, all I'm asking you for 
               is an introduction.  If I'm not for 
               real your people will know.  That's 
               their job, not yours.

     She hesitates.

                               MICHAEL
               I usually give a five-percent 
               commission.  In your case I'll make 
               it ten.  Take it or leave it.

     Her eyes hold him for a long moment.

                               ANGIE
               I'll make a call.  If the answer is 
               yes, I'll meet you in front in five 
               minutes.  If the answer is no, I 
               don't want to ever see you again.

                                              CUT TO

     OMITTED

     EXT. SOUTH HOUSTON - NIGHT

     The Trans Am leaves the city.

     INT. TRANS AM - NIGHT

     They drive in silence.

                               ANGIE
               Mind if I turn on the radio?

     He shakes his head.  She turns it on.

                               ANGIE
               What a strange looking dash.

     Michael smiles, anticipating K.I.T.T.'s reaction.  The
     music is Mexican.  She changes the station, more Mexican
     music.

                               ANGIE
               Doesn't this radio play anything
               beside Mexican music?

                               MICHAEL
               It's a strange radio.  Fits in
               with dash.

     She turns it off, glances at him.

                               ANGIE
               These people are bad.  I just hope
               you're who you say you are.

                               MICHAEL
               Are you always this suspicious?

                               ANGIE
               No.  Just when it comes to this kind
               of business.  I hate it.

                               MICHAEL
               Then why are you in it?

                               ANGIE
               I'm not 'in' it.  I happen to know 
               these people, that's all.

     She looks out the window.  Michael studies her, thoughtful.

                                              CUT TO

     EXT. DESERT AREA - NIGHT

     The Trans Am turns off the highway onto a small two-lane 
     road, leaving civilization behind.  It heads into the 
     darkness.

     OMITTED

     INT. TRANS AM - NIGHT

     As if for the first time she becomes aware the car she's in
     is different, radically different.

                               ANGIE
               What kind of car is this?

                               MICHAEL
               Special.  Had it custom-made.  How 
               much farther?

                               ANGIE
               We're there.

     MICHAEL'S POINT OF VIEW - AHEAD

     The car comes over a rise and ahead, out of the darkness, 
     is an oasis of light.

     EXT. DESERT HOUSE - NIGHT

     The house is large and all the more impressive because it's 
     so unexpected.  Country and Western music from inside, loud,
     several dozen cars scattered about the front.  Pan to the 
     Trans Am as it approaches, pulls to a stop.

     ANGLE AT TRANS AM

     Michael puts K.I.T.T. in Surveillance Mode.  He and Angie
     start for the house.  Michael stops, as if having forgotten
     something.

                               MICHAEL
               Forgot to lock up.  I'll be right 
               back.

     He returns to the car.

                               MICHAEL
                      (sotto voce)
               Kitt, get the license plate number 
               of every car here.

                               K.I.T.T.
               I don't have a 'strange looking 
               dash.'  I'm proud of my dash.

                               MICHAEL
                      (smiles)
               Don't take it personally.
                      (beat)
               I just hope that name you gave me 
               will work in there.

                               K.I.T.T.
               I simply selected the name least 
               likely to be traceable with the 
               information Bonnie added to ---

                               MICHAEL
               Okay.  Sorry I mentioned it.

                               K.I.T.T.
               De nada.
                      (beat)
               How's that?

                               MICHAEL
               Not bad, not bad.

                                              CUT TO

     INT. HOUSE - NIGHT

     The house is surprisingly tasteful, beautifully furnished.
     The people present are an interesting mixture of nomadic
     high-rollers and their women, Texas chic, jeans and $300
     boots, lots of cleavage.  People dance, talk and drink,
     make moves on one anothers' dates.

     ANGLE ON MICHAEL AND ANGIE

     They enter, Angie pausing for MOS words with a big bodyguard 
     in a cowboy hat at the door.  They come in.

                               ANGIE
               I'll tell Ricky we're here.

     Michael nods.  She weaves her way through the crowd, disap-
     pears down a hall.  Michael looks around, trying to get a 
     feel for the place, the people.  Hard to get a fix on.  He 
     takes a beer from an iced tub, pops it open and drinks.

     A Girl in tight jeans and boots passes, pauses.  Smiles.

                               GIRL
               Howdy, stranger.  What brings you
               out this way?

                               MICHAEL
               A little of this, a little of that.
               How 'bout you?

                               GIRL
               Same thing, only a lot of this and 
               a whole lot of that.
                      (smiles)
               I hope to see you later.  Don't you 
               run off, y'hear?

     She slides on by, wiggles her jeans for him.

     EXT. HOUSE - NIGHT 

     A new Cadillac pulls out.

     INT. TRANS AM - NIGHT

     A picture of the car appears on K.I.T.T.'s monitor.  The 
     license plate, the numbers 573 XKY appearing in digital 
     print, immediately processed.

     INT. HOUSE - NIGHT - ON MICHAEL

                               ANGIE'S VOICE
               Michael.

     He looks as she appears.  She gestures for him to follow her.

     INT. BEDROOM - NIGHT

     The door opens and Michael steps in.

     QUICK CUTS

     Two big men grab him and slam him up against the wall.
     They are Ricky and D.D.  Ricky holds a Magnum on him.

                               RICKY
               Blink and I'll put your brains all 
               over this wall.

                                              FADE OUT

                         END OF ACT ONE

                            ACT TWO

     FADE IN

     INT. BEDROOM - NIGHT

     Ricky holds the gun on him while D.D. searches him for 
     weapons.

                               MICHAEL
               Last fella tried this got kicked in
               the face.

                               D.D.
                      (face to face)
               Yeah?  By who?

                               MICHAEL
               I'm a professional.  I have a 
               reputation.  I didn't come in here 
               patting you down, and I expect the 
               same courtesy.

                               RICKY
               You're either real good or real 
               foolish.  I'll find out which.
                      (calls)
               Angie, get in here.

     She comes in, not wanting to.

                               ANGIE
               I'd rather wait outside.

                               RICKY
               You brought him, you stay.

     Finished searching him, D.D. moves away.  Ricky puts his 
     arm around Angie.  She doesn't like it but she doesn't move
     away.

                               RICKY
               Angie tells me you're lookin' for
               some guns.

     Michael nods.

                               RICKY
               Who said we had 'em?

                               MICHAEL
               Fella named Pavlon told me to look 
               you up.  Emile Pavlon.

     Ricky and D.D. study him.

                               RICKY
                      (to Angie)
               Go get us a coupla cold beers.

     Relieved, she leaves.

                               RICKY
               You know Emile, huh?  How's he doing
               these days?

                               MICHAEL
               He's in Torreon Federal Prison in 
               Guatemala.

                               D.D.
               Yeah, that's what we heard.  Too bad.
               That where you met him?

                               MICHAEL
               Nope.  Met him in a little town 
               called Sabana Grande, Puerto Rico,
               in '79.  He was running Thompsons by
               the thousands to Belize.  We did 
               some business.  He told me about you.

                               RICKY
               What'd he say?

                               MICHAEL
               Your prices are too high.

     Beat.  Ricky doesn't show an attitude.

                               MICHAEL
                      (continuing)
               Other than that, he said you had 
               access to the best automatic assault 
               rifles around.

                               D.D.
               Emile still have that tattoo on his 
               arm?

                               MICHAEL
               Which arm?  He's got 'em on both.

     Ricky and D.D. exchange a look, seem satisfied for the 
     moment.

                               RICKY
               Got anything particular in mind?

                               MICHAEL
                      (nods)
               The Nunn X-19.

                               D.D.
               Good choice.  Good gun.  How many 
               you looking for?

                               MICHAEL
               How many you got?

                               RICKY
               Twenty boxes, eight to a box.

                               MICHAEL
               How much?

                               RICKY
               Fifteen hundred a copy.  You want 
               'em all, two hundred forty thousand.
               Cash.

                               MICHAEL
               When can we do it?

                               RICKY
               When can you have the money?

                               MICHAEL
               Tomorrow.

                               RICKY
               We'll be ready.  When you're ready,
               contact Angie.

     ANGLE IN HALL

     The bedroom door opens and Michael comes out alone.

     ANGLE IN BEDROOM

     Ricky puts his arms around Angie, pulls her up against him.

                               RICKY
                      (to D.D.)
               See if you can get a line on Pavlon.
               I want to know if this guy's who he 
               says he is.

                                              CUT TO

     EXT. HOUSTON MEMORIAL HOSPITAL - DAY

                               FATHER CARLOS' VOICE
               'The wages of sin is death.'

     INT. HOSPITAL ROOM - DAY

     Father Carlos is visiting Roberto, who is recovering from 
     his wound, heavily bandaged.

                               ROBERTO
               I know what the Bible says, Carlos.
               Mira mano, if you want to talk to me
               talk to me as a brother, not as a 
               priest.  Please.

                               FATHER CARLOS
               I can't separate the two, Roberto.  No
               Christian can.  You can't go on living
               with a foot in each world -- church on 
               Sunday, business-as-usual on Monday.

                               ROBERTO
               Why not?  The rest of the world does.

                               FATHER CARLOS
               Roberto, listen to me.  You're the 
               youngest.  You can change.  You can
               leave this craziness behind you.

                               ROBERTO
               How?  By becoming a priest like 
               you?  Carlos, one priest is enough
               for any family.  Someone has to fight.

                               FATHER CARLOS
               Why?

                               ROBERTO
               Because if we don't fight we'll be 
               killed -- you know that.  Carlos,
               it's one thing to sit in church and 
               talk about violence and death and 
               how it must end, but it's another 
               thing when you can't drive down the 
               street without wondering if they're 
               behind you.  It's another thing when 
               you can't go to your own sister's 
               wedding without being shot.
                      (beat)
               You talk about me changing.  Leaving.
               What about the family?  What should I
               do, turn my back while they shoot my 
               brothers?  I don't think so.

                               FATHER CARLOS
                      (gently)
               They're my brothers, too.  Because I
               won't fight and shoot and kill, does 
               that mean I've turned my back?  No,
               not to my family.  But to violence, yes.
               To sin and death, yes, I have turned 
               my back.  They're different things,
               Roberto.

     Roberto looks away, troubled.  Father Carlos touches his 
     forehead, slowly rises.

     EXT. HALL - DAY

     The door opens and Father Carlos leaves.  Camera pans the 
     opposite way and we see Angie, waiting.  With F.C. gone she
     slips into the room.

                                              CUT TO

     EXT. MOTEL - DAY

     The Trans Am is parked in front.  Devon's classic,
     meticulously restored car pulls in and parks.  He carries a 
     briefcase in.

     INT. MOTEL ROOM - DAY - CLOSE ON A BRIEFCASE

     full of cash as it's opened.

                               MICHAEL'S VOICE
               You never cease to amaze me.

     WIDER ANGLE

     Michael and Devon, briefcase open on the table.

                               DEVON
               You almost made me out a liar on 
               this one, Michael.  I believe I told 
               you I had every contingency covered.

                               MICHAEL
               Looks to me like you did.

                               DEVON
               By the skin of my teeth.  Two 
               hundred and forty thousand dollars
               is a lot of money to raise overnight.
               I had to borrow from several accounts,
               one being the Annual Charity Benefit 
               Fund.

                               MICHAEL
                      (smiles)
               I'll be careful.

                               DEVON
               Please do.

     He produces a receipt and a pen for Michael to sign.

                               DEVON
               A receipt for the money.

                               MICHAEL
               Don't you trust me?

                               DEVON
               A formality, dear boy.

     Michael signs it.  Devon looks pleased.

                               DEVON
               Very good.  I can read it.
                      (beat)
               How's Kitt?

                               MICHAEL
               Practicing Spanish every chance he 
               gets.  By the way, I had him run a 
               make on every car there last night.
               Interesting collection of people -- 
               two from Peru, one from Canada, a 
               couple from Florida....

                               DEVON
               Doesn't surprise me.  These 'stones'
               are nomads.  They have no permanent
               address, no families, no roots.
               They'll rent a house, stay for a week
               or two and suddenly disappear.  It
               seems they've adopted the tactics of
               guerilla warfare and brought it home.
               The Lagunas are sitting ducks.
                      (beat)
               When will you know if it's on?

                               MICHAEL
               When the phone rings.

                               DEVON
               Don't take any chances.  The serial
               numbers on those bills have been 
               recorded.  When you take possession 
               of the weapons, phone me.

     Michael nods, preoccupied.  The phone rings and they react.

                                              CUT TO

     EXT. RURAL ROAD - DAY

     The Trans Am flashes by.

     INT. TRANS AM - DAY

     Michael and Angie.  She looks troubled, tense.

                               MICHAEL
               We meeting them at the house?

                               ANGIE
               Somewhere else.
                      (beat)
               I'm sorry about last night.  The way 
               they treated you....

                               MICHAEL
               All in a day's work.  But thanks.

                               ANGIE
               You seem...different.

                               MICHAEL
               From what?

                               ANGIE
               The other people in this business.

                               MICHAEL
               So do you.

     He smiles.  She looks at him for a moment then glances 
     away, keeping her thoughts to herself.

     EXT. RURAL ROADS - DAY - SEVERAL SHOTS

     as the Trans Am barrels through the quiet countryside.

     INT. CAR - DAY

     They drive into raw outlands.

                               ANGIE
               Turn left on that little road.

     Michael slows, turns left on a rutted dirt road.

     EXT. ABANDONED WAREHOUSE - DAY

     The Trans Am pulls in, parks fifty yards from a windblown
     old warehouse.  They get out of the car, Michael with the 
     briefcase.  He unobtrusively puts K.I.T.T. in Surveillance 
     Mode.

                               ANGIE
                      (suspicious)
               What's that?

                               MICHAEL
               Computerized auto alarm.  Just got
               it the other day.

     They get out.  Michael looks around, concerned.

                               MICHAEL
               I thought you said they'd supply 
               transportation for the guns.

                               ANGIE
               They did.  It's probably in the 
               warehouse.

     OMITTED

     ANGLE FROM WAREHOUSE 

     A loose corrugated tin door creaks in the dry breeze.
     Spooky.  Michael and Angie come toward it, two lone figures
     against a barren landscape.

     ANGLE ON THEM

     Angie stops.  Michael turns, puzzled.

                               ANGIE
               Go ahead.  They're waiting for you.

                               MICHAEL
               I like company.

                               ANGIE
               They don't.

     Michael debates it, continues toward the hangar with the
     briefcase.  He feels naked.

     MOVING SHOT WITH MICHAEL

     The wind blows his hair.  A raven caws overhead.

     ANGLE AT WAREHOUSE

     He reaches the door, pauses.  Inhales, opens it.

     INT. WAREHOUSE - DAY

     Dark.  Michael steps in.

     HIS POINT OF VIEW 

     Dirt floor, an abandoned washing machine, old mattresses.
     Otherwise, it's empty.

                               ANGIE'S VOICE
               Drop the briefcase.

     He'd considered it, but he'd grown to like her.  Even trust
     her within this limited framework.  He was wrong.  He turns,
     sees her standing in the doorway, a .32 pointed at him.

                               ANGIE
               Drop it or so help me I'll shoot you
               where you stand.

     He drops it.

                               ANGIE
               Step back.

     He steps back.  She takes the briefcase.

                               MICHAEL
               Is this the way the stones do 
               business.

                               ANGIE
               They don't know anything about 
               this.  If you try to follow me I'll
               shoot.  I'm sorry, Michael.

     She steps outside, locks the door and disappears.

                               MICHAEL
                      (comlink)
               Kitt, activate your scanners!  Is
               there a car in back?

                               K.I.T.T.'S VOICE
               No, Michael, but there is a 
               helicopter.

     The sudden roar of an engine startles him.

                               MICHAEL
                      (comlink)
               Kitt, get in here!

     ANGLE ON K.I.T.T.

     He shoots forward, tires squealing.

     ANGLE ON WAREHOUSE

     K.I.T.T. goes through it like it was papier-mache,
     corrugated walls flying with impact.

     ANGLE IN WAREHOUSE

     K.I.T.T.'s driver door pops open and Michael, running,
     leaps in.

     ANGLE AT REAR OF WAREHOUSE

     A Bell two-saater helicopter is lifting off as the Trans Am
     bursts through the wall.  The helicopter lifts up and away.

     ANGLE IN TRANS AM

                               MICHAEL
               Kitt, we've got to catch that copter!

                               K.I.T.T.
               I'll do my best, Michael.

     WIDER ANGLE

     The helicopter rises in the sky and the Trans Am, smoking 
     rubber, sets off after it.

                                              FADE OUT

                         END OF ACT TWO

                            ACT THREE

     FADE IN

     EXT. AIRFIELD AREA - DAY

     Trans Am races after the helicopter.

     INT. TRANS AM - DAY

     Michael activates K.I.T.T.'s full array of electronic
     surveillance capabilities.

                               MICHAEL
               Kitt, I'm activating your surface to
               air surveillance mode and the Microwave 
               Jammer.

                               K.I.T.T.
               Michael?

                               MICHAEL
               Yeah?

                               K.I.T.T.
               She's got Devon's money, doesn't she?

                               MICHAEL
                      (heavy)
               Yeah.

     INSERT - MONITOR

     A radar-like blip shows the helicopter slowly pulling away
     from the Trans Am.

     BACK TO MICHAEL

                               K.I.T.T.
               Do you know who The Foundation's 
               Annual Charity Benefit is for?

                               MICHAEL
               Don't tell me.

                               K.I.T.T.
               Widows and orphans.

                               MICHAEL
                      (winces)
               Like I said, Kitt -- we've got to
               catch that copter.

     EXT. ROAD - DAY

     The Trans Am hurtles past, a blur.

     EXT. MOUNTAIN - DAY

     The helicopter rises to clear the mountain, its engine
     coughing and sputtering from insufficient electricity.

     INT. HELICOPTER - DAY

     Angie and the pilot look concerned.

     EXT. MOUNTAIN ROAD - DAY

     The Trans Am zooms up a narrow mountain road.

                               MICHAEL'S VOICE
               It's working, Kitt!  She'll have 
               trouble clearing that peak.

     INTERCUT - TRANS AM

     The Microwave Jammer glows.

                               MICHAEL
               Give me everything you've got on the 
               Jammer.  Pull enough juice from her 
               coil to bring her down and I'll
               erect a monument in your name.

     EXT. PEAK - DAY

     The helicopter, sputtering, struggles to clear the peak.
     The Trans Am is right behind it, now under it.

     INSIDE CAR

     Michael pops the sun roof, puts K.I.T.T. on Auto Drive and 
     starts to climb out.

                               MICHAEL
               Steady, Kitt....

                               K.I.T.T.
               Michael!

     The car comes to an abrupt stop.

                               MICHAEL
               What happened?!

                               K.I.T.T.
               I was forced to activate my retro
               rockets.  Michael, look.

     He looks, reacts.

     EXT. PEAK - DAY

     The car is half-suspended over a cliff.  Below lies a steep
     gorge which is impassable.

     BACK TO MICHAEL

     If K.I.T.T. could make it, it would take more time than 
     they've got.  Michael looks at the monitor, sees the bleep
     of the helicopter go off the screen.  It's suddenly silent.

                               K.I.T.T.
               Widows and orphans, Michael.

                               MICHAEL
               Kitt?

                               K.I.T.T.
               Yes, Michael?

                               MICHAEL
               No monument.

     EXT. PEAK - DAY

     The Trans Am slowly starts back the way it came.

     EXT. CATHOLIC CHURCH - DAY

     The Trans Am speeds in, screeches to a stop.  Michael jumps
     out, hurries inside.

     INT. CHURCH - DAY

     Michael is with Father Carlos, who's equally distraught.

                               FATHER CARLOS
               I don't know anything about her.

                               MICHAEL
               You gave me her name!

                               FATHER CARLOS
               It was given to me.

                               MICHAEL
               By who?

                               FATHER CARLOS
               I can't tell you.

                               MICHAEL
               You've got to tell me -- she robbed 
               me, she's got two-hundred and forty-
               thousand dollars I'm responsible for!

                               FATHER CARLOS
               It was given to me in the sanctity 
               of the confessional.  I'd be 
               violating my vows if I told you.
                      (beat)
               I'm sorry, Michael.  Please try to 
               understand.

     The tension draws from Michael, dismay replacing it.

                               FATHER CARLOS
               Roberto's disappeared.

                               MICHAEL
                      (reacts)
               I thought he was in the hospital.

                               FATHER CARLOS
               He checked out an hour ago --
               against medical advice.  No one's 
               heard from him.

                               MICHAEL
               You don't think the Stones....

                               FATHER CARLOS
               I don't know what else to think...
               do you?

     Michael pauses before answering, struck by a thought.

                               MICHAEL
               I'll let you know.

     He hurries out.

                                              CUT TO

     INT. HOSPITAL ROOM - DAY

     A Nurse prepares the room for a new patient being wheeled
     in.  Michael appears behind the patient.

                               NURSE
               I'm sorry, visiting hours are over.

                               MICHAEL
               I'm not visiting, I'm here to 
               inquire about the patient who was in 
               this room -- Roberto Laguna.

                               NURSE
               You'll have to check with Admissions.

                               MICHAEL
               I've checked with Admissions, they 
               don't know -- were you on duty when 
               he left?

                               NURSE
               I'm really not authorized to answer
               these questions ---

                               MICHAEL
               Miss, this could be a matter of life 
               and death.

                               NURSE
               Whose?

                               MICHAEL
               Mine among others.

                               NURSE
                      (beat)
               It was kind of strange...They hurried
               out, like someone was after them.

                               MICHAEL
               'They?'  Who was he with?

                               NURSE
               A girl.

                                              CUT TO

     EXT. HOSPITAL PARKING LOT - DAY

     Michael and the Nurse sit in the Trans Am, doors open.

                               MICHAEL
                      (to K.I.T.T.)
               I need a visual on Angie -- lets 
               see, brunette hair, blue eyes ---

                               K.I.T.T.
               I can do better than that.

                               NURSE
                      (reacts)
               What's going on here?  What kind of 
               car is this?

     A photo-like image of Angie appears on the monitor.

                               MICHAEL
               Is that her?

                               NURSE
               My God, it's amazing....

                               MICHAEL
                      (urgent)
               Is it?

                               NURSE
               Yes.

     ANOTHER ANGLE - THE TRANS AM

     speeds out, leaving the Nurse staring after it.

                               MICHAEL'S VOICE
               Give me all you've got on Angie --
               full name Angeline Martin.

                               K.I.T.T.'S VOICE
               Devon is calling.

                               MICHAEL'S VOICE
               Tell him I'm...in transit.

                                              CUT TO

     INT. TRANS AM - DAY

     Computer lights flash and whir.

                               K.I.T.T.
               Angeline Martin, Texas driver's 
               license number F 10762B.  No regis-
               tered vehicle.  No current address.
               Father, deceased.  Mother, where-
               abouts unknown.

                               MICHAEL
               Great.

                               K.I.T.T.
               I'm not finished.

                               MICHAEL
               Sorry.

                               K.I.T.T.
               Sister, Monica Johnson, divorced.
               Angie used her address for mail until 
               two months ago.

                               MICHAEL
               If they're looking to lay low for a 
               day or two it's worth a shot.  Where's 
               she live?

                               K.I.T.T.
               Gatesville, Texas, thirty-nine miles
               west, southwest of Waco.

                               MICHAEL
               If Angie doesn't own a car, what 
               about Roberto Laguna?

                               K.I.T.T.
               A light green sedan, license plate 
               375 RKJ.

                               MICHAEL
               Kitt, plot me the most likely route 
               from here to Gatesville.

                               K.I.T.T.
               Si.

     Lights flash and a route appears on the monitor.

                               K.I.T.T.
               Devon's calling again.

                               MICHAEL
               Tell him....

                               K.I.T.T.
               Michael, I'm not constitutionally 
               constructed to lie.

                               MICHAEL
               None of us are, Kitt.  Think of it 
               as a temporary condition for a good 
               cause.

                               K.I.T.T.
               What cause?

                               MICHAEL
               My hide.

     EXT. HIGHWAY - DAY

     The Trans Am shoots by.

     INT. TRANS AM - DAY

     Michael is discouraged.

                               MICHAEL
               They could be heading for Mexico for 
               all I know.
                      (beat)
               Activate scanners, Kitt.

                               DEVON'S VOICE
               Michael?  It's Devon.  Are you there?

                               K.I.T.T.
               You might as well face up to it.

                               MICHAEL
               Thanks, pal.

     He's ready to push the com-button when:

                               K.I.T.T.
               I've got a reading!  License plate 
               375 RKJ.

     EXT. HIGHWAY - DAY

     The Trans Am accelerates, passing more cars.

                               MICHAEL'S VOICE
               Tell Devon, 'No en casa.'

                                              CUT TO

     EXT. MOTEL - DAY

     A light green sedan pulls in and parks, Angie getting out 
     with an armful of take-out food and the briefcase, Roberto
     with her, limping on crutches.  They go to their door, open
     it.

     INT. MOTEL ROOM - DAY

     Angie comes in, freezes.

     REVERSE ANGLE - MICHAEL

     is sitting on the sofa.

                               MICHAEL
               Buenos dias.

     Roberto goes for a gun but Michael is across the room in 
     three steps, takes it away from him.

                               ANGIE
                      (stares)
               How did you find me?  I can't 
               believe you found me....

                               ROBERTO
               What do you want?

                               MICHAEL
               We can start with the money.

     He holds out his hand.  Reluctantly Angie hands him the 
     briefcase.  He opens it on the coffee table, checks to make 
     sure it's all there.  It isn't.

                               MICHAEL
               How much is gone?

                               ANGIE
               Four hundred dollars and some 
               change.  Helicopters aren't cheap.

                               MICHAEL
               Not much is these days.  Except maybe
               promises.
                      (beat)
               Don't just stand there.  Come on in.
               Make yourselves comfortable.

     They close the door and sit, uncomfortable.

                               ROBERTO
               You got your money back.  What do you
               want from us?

                               MICHAEL
               For a change of pace the truth.
               Why did you set me up?

                               ANGIE
               I had no other choice.

                               MICHAEL
               I don't know what that means.

                               ANGIE
                      (beat)
               I don't know where to start...all
               right, you want the truth, Roberto 
               and I met at The Embers three months
               ago.  We fell in love.  We didn't mean 
               to, it just happened...then we real-
               ized we couldn't be in love, not in 
               Houston, not in Texas as long as the 
               Lagunas and the Stones are at war.
               We wanted to leave but we had no 
               money...and then you came along with 
               a briefcase full of cash.  It seemed 
               like providence.

                               MICHAEL
               It wasn't.

     She looks away, not proud of herself.

                               ROBERTO
               Who are you to talk?  To judge?  You
               deal illegal weapons.

                               MICHAEL
               No, Roberto.  I say I deal illegal 
               weapons.  There's a difference.

     They look at him.

                               ANGIE
               Who are you?

                               MICHAEL
               That doesn't matter.  What matters 
               is I'm here to stop this warfare.
               Stop the X-19s from going to 
               Central America or anywhere else...
               and I still need your help.

                               ANGIE
               You'd trust me after all that's 
               happened?

                               MICHAEL
               I didn't say that.

                               ANGIE
                      (beat)
               What do you want me to do?

                               MICHAEL
               Come back to Houston with me....

                               ANGIE
               Why?

                               MICHAEL
               You said you did what you did on your
               own.  If that's true, Ricky and D.D.
               still have twenty cases of Nunn 
               X-19s for sale.

     Angie is torn, undecided.

                               ANGIE
               This is our chance!  If we don't get 
               out now....

                               MICHAEL
               There's more than you and Roberto 
               at stake here.  There's other people,
               other lives.  You can't make a new 
               start until you can walk away from 
               this clean, once and for all.
                      (beat)
               Come back with me.  I need your help,
               Angie.

     EXT. MOTEL - DAY

     The door opens and Michael comes out with the briefcase, 
     pauses.  In the doorway, Angie and Roberto embrace.

                               ANGIE
               I'll be back as soon as I can, I 
               promise.

                                              CUT TO

     EXT. HIGHWAY - DAY

     The Trans Am speeds by, headed for Houston.

                                              CUT TO

     INT. MOTEL ROOM - DAY

     Roberto paces, wrestling with himself.  He picks up the 
     phone and dials the desk.

                               ROBERTO
                      (into phone)
               I want to call Houston.  Bill it to
               the room.

     He gets a line, dials the phone.

                               ROBERTO
                      (phone)
               Eduardo, es Roberto.  Como esta?  Bien?
                      (pause)
               Eduardo, something's happened.  I 
               know how we can find Corazones de 
               Piedras....

                                              CUT TO

     EXT. PHONE BOOTH IN HOUSTON - DAY

     Camera pans from Angie making a call to the Trans Am, 
     where Michael waits.

                               MICHAEL
                      (car-com)
               Look, Devon, it's all right now ---

     INTERCUT - DEVON

     in the Foundation office with Bonnie.

                               DEVON
               Michael, don't tell me you lost the
               money.

                               MICHAEL
               I didn't lose the money.

                               DEVON
               Then why have you been avoiding me?

                               MICHAEL
               I ran into a few problems.

                               DEVON
               You lost the money.

                               MICHAEL
               Well, I misplaced it, but I got it 
               back.

                               DEVON
               I knew it.  Michael, the Charity 
               money is for....

                               MICHAEL
                      (finishes 
                       with him)
               Widows and orphans.
                      (sees Angie 
                       returning)
               Devon, I've got to go.  I'll call you
               as soon as I know what's happening.
               Give my love to Bonnie.

     He disengages the car-com as Angie gets in.

                               MICHAEL
               What did you say?

                               ANGIE
               I told them you'd been delayed, but 
               everything was all right now.

                               MICHAEL
               Are we on?

                               ANGIE
               Because we didn't show up today, they
               want to see the money first, this 
               time.  In person.

     INT. DEVON'S OFFICE - DAY

     He sighs.

                               BONNIE
               Is he all right?

                               DEVON
               For the moment.

                               BONNIE
               What did he say?

                               DEVON
               He said to give you his love.

                               BONNIE
               Are you sure he's feeling all right?

                                              CUT TO

     EXT. HOUSE IN DESERT - NIGHT

     The Trans Am pulls in, Michael and Angie getting out.  No
     party tonight, only one other car visible, an off-road 
     truck.

     INT. LIVING ROOM - NIGHT - CLOSE ON BRIEFCASE

     as it is popped open.

     WIDER ANGLE - RICKY AND D.D.

     count the money while Michael and Angie watch.  The mood is 
     tense.

                               D.D.
               It's all here.

     Ricky nods, closes the briefcase.  Looks at Michael.

                               RICKY
               What happened today?

                               MICHAEL
               Ran into a few problems.

     Ricky nods slowly, studying him.

                               D.D.
               You expecting any problems tomorrow?

                               MICHAEL
                      (shakes
                       head)
               I'll be here with the money.  You be
               here with the guns.

                               RICKY
               Twelve noon.

                               MICHAEL
               That's good with me.

                               RICKY
               This is your last chance.  You screw 
               up tomorrow, find somebody else.  If 
               you can.

                               MICHAEL
               I'll be here.

     D.D. hands him the briefcase and they start for the door.

                               D.D.
               Hold on a minute.

     They stop, Michael with an uneasy feeling.

                               D.D.
               Almost forgot.  A fella stopped by,
               knows an old friend of yours.

     As if on cue a Man appears from one of the other rooms.
     He's older, late forty's, a friendly if crafty face.  He 
     speaks with a slight French accent.

                               MAN
               My friends here tell me you know 
               Emile Pavlon.

                               MICHAEL
                      (beat)
               Yeah...yeah, I do.  You know Emile?

                               MAN
               One of my closest friends.  Then he 
               went to Guatemala and...
                      (smiles)
               I'd visit him, but I have an 
               aversion to prison.

     He smiles.  Michael smiles, uneasy.

                               MICHAEL
               I know what you mean.

                               MAN
               Nice to meet a friend of Emile's.
               Good luck.

                               MICHAEL
               Take it easy.

     They leave.  There's a silent moment, then Ricky and D.D.
     look to the Man.

                               RICKY
               You know him?

                               MAN
               I've never seen him before.  Do you
               think he's with the Lagunas?

                               RICKY
               That'd be my guess.  They been
               trying to get a fix on us for months.

                               D.D.
               We'll have a few surprises for 'em 
               tomorrow.

     D.D. peels off five thousand dollar bills, hands them to 
     the Man.

                               D.D.
               Always a pleasure doing business 
               with you, Emile.

                                              FADE OUT

                        END OF ACT THREE

                            ACT FOUR

     FADE IN

     EXT. ROAD - NIGHT

     The Trans Am heads back toward Houston.

     INT. TRANS AM - NIGHT

     Silence in the still countryside.  Angie looks at him.

                               ANGIE
               Don't be too angry with me.

                               MICHAEL
               Right now, I'm more concerned with 
               who that fella back there was.

                               ANGIE
               Who do you think he was?

                               MICHAEL
               I don't know, that's the problem.
                      (looks at her)
               Do you know?

                               ANGIE
                      (hurt)
               No.  I lied to you, Michael.  I'm
               not asking you to excuse it, just 
               try to understand it.
                      (beat)
               I won't do it again.

                               MICHAEL
               I'd like to believe that.

                               ANGIE
               You can.

     A moment passes.

                               MICHAEL
               I just hope Roberto stays where he 
               is.

                               ANGIE
               He's waiting for me -- why wouldn't 
               he stay?  He loves me.

                               MICHAEL
               I don't doubt that.

                               ANGIE
               Then what do you mean?

                               MICHAEL
               He's been in love with you for 
               months, but he's been a Laguna all
               his life.

                                              CUT TO

     EXT. MOTEL - NIGHT

     The Trans Am pulls in and parks, Michael getting out.

     INT. MOTEL ROOM - NIGHT

     Camera pans the dark room, Michael's clothes over a chair,
     reaches the bed where he lies.  Camera moves in and we 
     realize he's awake.  Sleepless.  Now footsteps, pausing at 
     the door.  Michael leaps out of bed and moves behind the 
     door.  A knock.

                               MICHAEL
                      (making voice
                       sound sleepy)
               Who is it?

                               DEVON'S VOICE
               Devon.

     Relieved, he opens the door, turns on the light.  Devon
     steps in, reacts to Michael's appearance.

                               DEVON
               Going out?

     Michael realizes he's nude except for shorts, smiles, gets 
     his pants and puts them on.

                               MICHAEL
               What's up?

                               DEVON
               I was in the neighborhood.

                               MICHAEL
               Right.  And I'm a high-wire walker
               on my way to the circus.

     Devon smiles, sits down.  Looks at him.  Michael can tell 
     he's got something important on his mind.

                               MICHAEL
               What?

                               DEVON
               I've been in constant touch with 
               Guatemalan authorities.

                               MICHAEL
               I appreciate that.

                               DEVON
               Emile Pavlon escaped from Torrean 
               Prison day before yesterday.

     Their eyes catch.  Michael feels the news in his stomach.
     Devon rises, moves to Michael.

                               DEVON
               I want you to cancel the buy 
               tomorrow.

                               MICHAEL
               Why?

                               DEVON
               Michael, he had help!  Somebody paid
               off the guards.

                               MICHAEL
               It could've been someone else.

                               DEVON
               It could've been someone working with 
               the Stones, too.  Emile Pavlon had 
               been in prison over two years.  Doesn't
               it strike you as peculiar he escaped 
               the day after you used his name to fit 
               your cover?

     Michael paces.

                               DEVON
               Michael, I appreciate your 
               dedication.  I admire your courage.
               I do not, however, want to mourn 
               your death.

                               MICHAEL
               What about the other deaths, Devon?
               The innocent people caught in the 
               crossfire in Houston.  The peasants 
               in Central America.

     A moment between them.

                               DEVON
               As always, it's your decision.

     He moves to the door, pauses.

                               DEVON
               If you decide not to take the 
               chance, call me.

                               MICHAEL
               If I don't call?

                               DEVON
               I'll be waiting on standby as 
               agreed.  Whatever you decide, I'm
               behind you all the way.

                                              CUT TO

     INT. TRANS AM - DAY - MOVING SHOT

     Michael and Angie drive in silence.  The tension is 
     palpable.

                               ANGIE
               Michael?  I don't know what it is....

                               MICHAEL
               What?

                               ANGIE
               I'm so scared.  I have this awful 
               feeling...It's going to be okay, 
               isn't it?

                               MICHAEL
               It'll be okay.

                                              CUT TO

     EXT. ROAD TO HOUSE - DAY

     The Trans Am comes over the rise.

     INT. TRANS AM - DAY

     They look.

     THEIR POINT OF VIEW - THE SAME AS BEFORE - THE OFF-ROAD 
     TRUCK

     parked where it was.  Nothing has changed.

     BACK TO THEM

     Angie starts to get out but Michael stops her.  He activates 
     the scanner.

                               ANGIE
               What're you doing?

                               MICHAEL
               I'll explain later.

                               K.I.T.T.
               There's no one inside.

                               ANGIE
               What is that -- that voice ---

                               K.I.T.T.
               Michael, there are four cars 
               approaching.

                               MICHAEL
               How far away?

                               K.I.T.T.
               Two hundred yards and closing fast.
               I've also detected movement in the 
               ravine by the road.

     Michael activates the radar probe.

                               MICHAEL
               Pinpoint it for me.

     OMITTED

     ANGLE ON MONITOR

     The radar probe reveals the Stones half a dozen strong, lead
     by Ricky and D.D., lining either side of the road.  They are 
     fully armed, combat-ready.  In addition to the Nunn assault 
     rifles, there is an antitank bazooka and other assorted weapons.

                               MICHAEL
               Ambush.  Notify Devon ---

                               K.I.T.T.
               Michael?  Over the rise.

     THEIR POINT OF VIEW - THE FOUR CARS

     appear, one behind the other, loaded with men.  The lead 
     car we remember from before -- Roberto's light green sedan.

     BACK TO THEM

                               ANGIE
                      (reacts)
               Roberto!  Oh, God, no....

     Before Michael can grab her she's out of the car and 
     running toward the road.

                               MICHAEL
               Angie!

                               ANGIE
               He'll be killed!  They'll all be 
               killed!

     She continues running, waving her arms wildly in hopes of 
     alerting the Laguna cars.

     ANGLE IN RAVINE

     D.D. points out the Laguna cars to Ricky.

                               D.D.
               Just like we figured -- the whole 
               bunch of 'em.

     Ricky raises field glasses.

                               RICKY
               They think we gave 'em hell in Houston,
               wait'll they see what we got waiting 
               for 'em here --
                      (reacts to some-
                       thing off)
               What's that?

     THEIR POINT OF VIEW - THE TRANS AM

     is speeding toward the road, toward Angie.

     ANGLE IN CAR 

     Michael behind the wheel.

                               MICHAEL
               Hang on to your fenders, pal, this 
               one could be tough.

                               K.I.T.T.
               Michael, surely you don't expect me
               to....

     ANGLE ON ROAD

     A land mine explodes beneath the car, rocking it violently.

     ANGLE ON ANGIE

     Fifty feet ahead of the car, running, waving to the 
     approaching Laguna cars, screaming.

     INTERCUT - STONES

     Dismayed the mine hasn't taken out the Trans Am, they train
     all their firepower on it.

     ANGLE IN CAR

     Michael accelerates, pushes Auto Drive.

                               MICHAEL
               Keep it steady, Kitt, and open the 
               door...now!

     ANGLE FROM ROAD

     The passenger door opens just as the car parallels Angie.
     Michael reaches out with both hands, half-suspended 
     out the car, grabs ger as they pass.

     ANGLE IN CAR

     He hauls her in like a sack of potatoes.

                               MICHAEL
               Full speed, Kitt!

     INTERCUT - STONES

     Desperate to stop the car, determined, they rise from their 
     bunker-like positions and open up with every weapon in 
     their arsenal.

     INTERCUT - CAR

     It is hit from all sides in a withering assault.  More land 
     mines explode beneath it.  The body shudders and shakes, is 
     literally lifted off the road by the land mines, progress 
     impeded but never stopped.

     INTERCUT - STONES

     They attack with a vengeance as the Trans Am passes, run 
     out onto the road to continue firing.

     WIDER ANGLE - THE TRANS AM

     succeeds in running the gauntlet just as the Laguna cars 
     arrive.  He lets Angie out, hits the accelerator.

                               MICHAEL
               Got an idea, Kitt.  A little tear gas....

     ANGLE ON LAGUNAS

     They screech to a stop, one car behind the other, forming a 
     rough half-circle.  The men leap out and begin firing at 
     the Stones.  The Trans Am appears, moves in between them.

     ANGLE IN TRANS AM

     He pushes the Smoke Release button and turns the steering
     wheel violently.

     ANGLE OUTSIDE CAR

     The Trans Am spins in circles, smoke billowing out, filling
     the air, spreading.

     INTERCUT - LAGUNAS

     Unable to see, they begin to stop firing.

     INTERCUT - STONES

     also unable to see.  Some of the men start coughing, stop 
     firing.

     ANGLE ON RICKY

     Unseen by the others, he sprints away, back toward the 
     house, taking an X-19 with him.

     ANGLE FROM OFF-ROAD TRUCK

     Ricky leaps in, fires it up and pulls away, headed for open
     country.

     ANGLE ON RISE APPROACHING HOUSE

     The sound of sirens approaching and half a dozen police cars
     appears, one after the other.

     INTERCUT - LAGUNAS

     They drop their weapons.

     INTERCUT - STONES

     They drop theirs as well.

     ANGLE ON SMOKE

     It fills the screen and then the Trans Am appears, coming
     from nowhere, leaping the ravine.

     ANGLE ON OFF-ROAD TRUCK

     Ricky is driving, convinced he's escaped.  The Trans Am 
     suddenly appears behind him, accelerates over a little rise 
     and lands in the truck bed.

     ANOTHER ANGLE

     Michael grabs at Ricky in the cab.  Ricky slams on the 
     brakes, jumps out with the X-19, but Michael leaps on him.
     They trade punches until Michael connects with a solid 
     right.  Ricky crumples and goes down.

     OMITTED

     ANGLE AT TRANS AM

     Michael appears with Ricky slung over his shoulder.  He 
     lays him over the hood, as one might a bagged deer.

     OMITTED

     EXT. ROAD TO HOUSE - DAY

     The police are searching and handcuffing the Lagunas and
     the Stones when the Trans Am rolls up, Ricky unconscious 
     across the hood.  Everyone stares.

     ANGLE ON DEVON AND ANGIE

     waiting.

     ANGLE ON TRANS AM

     Michael gets out, crosses to them.  Angie sees Roberto, 
     starts to run toward him but an officer stops her.

                               MICHAEL
               He wouldn't be here today if I 
               hadn't brought Angie back.

                               DEVON
               I'll see what I can do.
                      (to officer)
               I think perhaps an exception is in 
               order here.

     Michael turns to Angie, watching Roberto.

                               MICHAEL
               It's okay...when this is over, you'll
               be free, you and Roberto.

     Devon looks at her, nods it's okay.  Angie hugs Michael and 
     runs to Roberto.

     OMITTED

     ANGLE ON MICHAEL AND DEVON

     watching, they smile.

                               MICHAEL
               Need a lift?

                               DEVON
               You don't expect me to hoof it, do
               you?

     Michael smiles.  They move for the cars.

                               MICHAEL
               I see you're picking up the local
               vernacular.

                               DEVON
               All I need to learn now is The Texas 
               two-step.

     LONG SHOT

     Before anyone can ask how, or who, the Trans Am leaves. 
     Camera rises above the scene, the devastation, staying on 
     the car until it's a black dot on the horizon.

                                              FADE OUT

                         END OF ACT FOUR

                               TAG

     FADE IN

     EXT. DESERTED HIGHWAY - DAY

     The same area where Michael and Devon first met.  The semi
     is pulled over to one side, ramp down, Bonnie waiting.

     ANOTHER ANGLE

     The Trans Am appears over a rise, glides to a stop at the 
     ramp, Michael and Devon inside.  Smiles, ad-lib hellos.
     Devon gets out.

                               K.I.T.T.
               Bonnie, ai-yee!  Ay que chula.

                               BONNIE
                      (laughs)
               Why thank you, Kitt.

                               MICHAEL
               Show off.

     They laugh.  Michael starts to pull K.I.T.T. in when 
     there's a screech of tires behind them.

     ANOTHER ANGLE

     It's the hot car from the wedding.  The Driver revs the 
     engine.

                               DRIVER
                      (grins)
               Well, look who's here.  You did say
               'some other time,' didn't you?

                               K.I.T.T.
                      (before Michael
                       can answer)
               I believe those were your exact 
               words.

     Michael smiles, pulls back off the ramp.

                               BONNIE
               Wait a minute, you owe me a steak.

                               DEVON
                      (laughs)
               She's got you there, Michael.

                               MICHAEL
               One steak, medium rare.  Give me 
               five minutes?

                               DEVON
               Only if you buy me one too.  Medium
               well.

                               MICHAEL
               You got it.
                      (to Driver)
               Okay, mean machine.  Pedal to the 
               metal.

     HIGH ANGLE

     The hot car is floored, tires spinning.  It shoots ahead
     like a jack rabbit.  Then, Michael stands on K.I.T.T.

     The Trans Am closes the gap within seconds, flies by the 
     hot car and flashes down the road like the hot car is still
     in low gear.

                                              FADE OUT

                             THE END