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KNIGHT RIDER: BIG IRON

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

Production #57804
2nd Draft - June 6, 1983 (F.R.)

Teleplay: .................. Julie Friedgen
Director: .................. Bernard L. Kowalski

                              
                                ACT ONE

     FADE IN

     EXT. EXCAVATION SITE - NIGHT

     Dark.  Quiet.  At first we see nothing but blackness, but
     gradually we begin to make out the shape of something
     hunched like a giant beetle in the dirt.  Suddenly, the
     sound of footsteps crunching through the dirt is heard, and
     we see:

     TWO MEN

     hurrying toward the beetle.  In the darkness, we don't see
     their faces.  A click of a flashlight and a beam of light
     cuts through the night, illuminating our beetle:  a big
     D8 tractor.  In a second, the man without the flashlight
     is on the tractor.  He snaps cable grips on the battery
     terminal, takes out a screwdriver and leans into the engine.
     A spark flashes and the D8 fires to life.  He tosses the
     cables to the second man, jumps into the driver's seat.

     ANGLE - WIDER

     as the man backs the tractor up, heads it toward a waiting
     truck.  A third man (whose face we don't see, either) joins
     them, helps guide the tractor into the bed of the truck
     where they secure it with heavy chains.  They move silently,
     quickly.  It's clear they've done this before.  Suddenly,
     light sweeps across the construction site.  The three men
     turn to see twin beams of:

     HEADLIGHTS OF ANOTHER CAR

     heading toward them.

     BACK TO SCENE

     as two of the men jump into the cab of the truck, start it.
     The third jumps into a waiting Bronco.  With a grinding of
     gears, the big rig rumbles forward, its lights off.  The
     Bronco heads in an opposite direction, disappearing into
     the night.

     ON THE RIG

     as it heads directly toward the oncoming car.  The big rig
     is riding squarely in the middle of the narrow, dusty road.

     ON THE CAR

     A small compact, dwarfed by the truck speeding toward it.
     Inside, we see Joe Graves, the night guard assigned to the
     construction site.  He leans on his horn and is answered
     by the thundering roar of the truck's air horn.

     ANGLE - WIDER

     as the truck bears down on Graves, without a possibility
     of stopping.  Another blast from the truck's horn and then
     suddenly the road is bright as day as the truck driver
     switches on his high beams.

     ON JOE

     blinded by the light of the truck as it looms over the tiny
     compact.  At the last moment, he swerves sharply to the
     right, off the road and into the ditch that parallels it.
     The big rig rumbles by, shaking the ground and leaving a
     choking trail of dust in its wake.

     ANOTHER ANGLE

     as the rig heads down the road.  Slowly, Joe struggles out
     of the battered car.  He reaches for a pill box around his 
     neck, takes a small pill out and quickly swallows it.  As
     he slides to the ground we:

                                              CUT TO

     EXT. SEMI - DAY - STOCK

     As the Trans Am pulls up to the semi and starts up the 
     ramp, we hear:

                               MICHAEL (V.O.)
               I can't believe it.  All I wanted
               was one measly jelly doughnut, and
               you act like it was a capital 
               offense.

     As the Trans Am disappears inside:

                                              CUT TO

     INT. SEMI - DAY

     as Michael parks.  He gets out and we hear:

                               K.I.T.T.
               As far as your body is concerned, it
               would have been.
                      (beat)
               I analyzed its composition...bleached
               flour, refined sugar, preservatives,
               artificial color and flavoring...in
               other words, poison.

     As they talk, April crosses to them.

                               APRIL
               How'd the ultraphonic chemical
               analyzer test out?

     Michael and K.I.T.T. respond, simultaneously:

                   MICHAEL                        K.I.T.T.
         Terrible.                     Fantastic.

                               MICHAEL
               He's like a kid with a chemistry
               set.  Everything's molecules and
               atoms...he doesn't know when to stop.

     April smiles at Michael, turns to K.I.T.T.

                               APRIL
               We'll run it for a month to get the
               bugs out....

                               MICHAEL
               A month?  I'm gonna starve to death.

                               DEVON (V.O.)
               Then before I leave for Montreal,
               I'd best give you something to
               take your mind off your stomach....

     ANOTHER ANGLE - TO FEATURE DEVON

     as he crosses to the Trans Am, speaks to Michael.

                               DEVON
               I trust you've reviewed the computer
               file on Mr. Gunderson?

     Michael turns to Devon.

                               MICHAEL
               Yeah.  I never realized there was 
               such a market for stolen construc-
               tion equipment.

     Devon smiles at Michael, moves to a computer terminal,
     punches in as he talks:

                               DEVON
               See for yourself.

     ANGLE TO INCLUDE COMPUTER SCREEN

     as a brightly colored bar graph appears, delineating
     frequency and cost of theft on a yearly, or monthly,
     basis.  Michael whistles.

                               DEVON
               Tens of millions of dollars worth of
               equipment are stolen and then
               illegally resold each year.

                               MICHAEL
               The old five-finger discount.

                               DEVON
               It's epidemic.  And the authorities
               have neither the time nor the 
               manpower to help people like Frank
               Gunderson.  That's why he contacted
               us...he's desperate.
                      (checking 
                       watch)
               Well, I've got a jet to catch.  Good
               luck, Michael....

     ANGLE - WIDER 

     as Devon heads for the exit and Michael for the Trans Am.

                               MICHAEL
               Thanks, Devon.  I'll give it my best
               shot...
                      (to April)
               But, it's a little out of my 
               league.  I mean, I hardly know the
               difference between a tractor and a...
               taco.

                               K.I.T.T.
               A taco?

                               MICHAEL
               It's a figure of speech, Kitt.
               Relax.
                      (to April)
               You've got to unplug that analyzer.
               He's going to drive me nuts.

     April crosses to the Trans Am, opens the door.

                               APRIL
               He's also going to help you tell the
               difference between a tractor, a
               three-axle semi, and a taco...he's
               fully programmed with everything I
               could think of relating to the con-
               struction industry.

     April sits in the front seat of the Trans Am, punches a
     couple of buttons.  The vidscreen lights up.

                               APRIL
               One more thing....

     INT. TRANS AM TO INCLUDE THE VIDSCREEN

     where we see a graphic representation of a ninety degree
     protractor, with the Trans Am at the base.  Michael leans
     in, looks over April's shoulder at the screen.

                               APRIL
               I've also adapted a trajectory guide
               to Kitt's turbo boost system.

     April punches buttons which adjust the angle of the 
     Trans Am on the graph.

                               APRIL
               By adjusting the angle here you 
               should be able to launch him at any
               angle within a ninety degree arc.

                               MICHAEL
               In case we have to jump over tall
               buildings, huh?

     April climbs out of the car.  She's not smiling.

                               APRIL
               Absolutely not.  This is a prototype,
               designed for normal application only.
               So, don't get any ideas....

     Michael gets into the car, smiles back at April innocently.

                               MICHAEL
               Who, me?

     Off April's very skeptical look:

                                              CUT TO

     EXT. SEMI - DAY - STOCK

     as the Trans Am backs out of the semi, pulls away.

                                              CUT TO

     EXT. MOTEL - TUCSON - DAY

     The sun's shining, the kids are cavorting in the pool and
     Mom and Dad are soaking up the rays and the gin and tonics.
     Michael comes out of the office, jumps in the car, and
     slowly pulls forward to a parking space in front of a
     room.  Michael grabs a bag from the backseat.  Before he
     gets out of the car:

                               K.I.T.T.
               Michael, you're not planning on
               swimming in that pool....

                               MICHAEL
               Hadn't thought about it.  Why?

                               K.I.T.T.
               Because it contains more bacteria
               than a petri dish.

     Michael smiles and climbs out of the car.  Next to his room
     is a soft drink machine and an ice machine.  As Michael
     fiddles with his key, the door next to his opens and we
     hear the delightful giggle of:

     A BEAUTIFUL WOMAN

     who we'll later know as Lucy Gunderson.  Right now, though,
     she's just one great-looking dame.  She whispers to a man
     in the room (we don't see his face), closes the door and
     turns to nearly bump into Michael.  Another delightful laugh
     for Michael's benefit, then she's gone.

     ON MICHAEL
 
     As he turns to go into his room, he spots the soft drink 
     machine, hesitates a beat, then opens his door and goes
     inside.  A second later, Michael emerges, heads for the soft
     drink machine like a kid raiding the cookie jar.  In a 
     second, he's got a can of something.  Glancing guiltily over
     his shoulder at K.I.T.T., he disappears back into his room.

                                              CUT TO

     EXT. EXCAVATION SITE - DAY

     The same site that opened the show.  During the day we see
     it's the site of a subdivision that's just getting started.
     The drone of one backhoe (or comparable construction equip-
     ment) is heard.  At the end of the dusty road off the highway
     is a faded white trailer, with "Gunderson Construction"
     written across the side.  The Trans Am pulls up and parks.

     ANGLE ON MICHAEL

     as he climbs out and walks toward the trailer.  The door is
     closed, so he knocks.  No answer.  Another knock, but still
     no answer.  Finally, he tries the knob.  Just as it turns,
     we hear a click behind Michael and then:

                               VOICE
               Freeze.

     Michael turns very quickly to see:

     FRANK GUNDERSON

     on the other end of a very lethal-looking shotgun.  Fiftyish,
     muscular, brown.  A day's growth of beard covers a leathered
     face.

                               FRANK
               You'd better have a real good story.

     Michael steps back, his hands in the air.

                               MICHAEL
               I'm looking for Frank Gunderson.

                               FRANK
               You found him.  What do you want?

                               MICHAEL
               My name's Michael Knight.  Devon Miles,
               from the Foundation sent me....

     A beat, then:

                               FRANK
               The Foundation?  Then you guys actually
               do exist....

                               MICHAEL
               We sure do.
                      (gestures
                       to the gun)
               You mind?

     Gunderson sets it by the front door.

                               FRANK
               Sorry.  Not exactly hospitable, I 
               guess.
                      (angrily)
               But, I don't know who to trust anymore,
               dammit!  They hit me again two nights
               ago...nearly killed my guard, and drove
               off with a brand new D8.  The cops have
               been out, but they've only got one
               guy for the whole county....

     Before Michael can respond, a telephone rings inside the
     trailer.  Gunderson answers it, leaving the door open as he
     talks.

                               FRANK
               Hello...hello, John.  Don't ask...
               listen, if you're that sorry, what
               about the loan?...Dammit, I can't
               finish the job without equipment,
               but I can't pay you back without the
               job...look, I'm coming over to talk
               ...now...fifteen minutes, that's all
               I want.

     Frank slams down the phone, stands in the doorway of the
     trailer.  Finally, slowly, he takes a battered hat and
     walks down the stairs.  Michael's moved away from the
     trailer, but he's overheard everything.  Frank knows it.

     ON FRANK

     as he crosses to Michael.  He suddenly looks ten years
     older.  He shakes his head.

                               FRANK
               Worked thirty years.  About all I've 
               got left is memories...
                      (beat)
               They get you between a rock and a
               hard place, and there's no place to
               move....

     Frank's voice fades away.  He stands, surveying his
     building site, then turns to Michael.

                               FRANK
               Look, I don't mean to sound ungrate-
               ful, but at this point nothing less
               than a miracle's gonna help me.

                               MICHAEL
               I'm not strong on miracles, but you
               mentioned a guard.  I'd like to talk
               to him.
                      (beat)
               It's a start....

     Frank looks at Michael, long and hard, then smiles.  Sticks
     out his hand.

                               FRANK
               His name's Joe Graves.  You can
               usually find him down at Tulley's
               about now.
                      (smiling)
               I've been trying to figure him for
               twenty years.  Maybe you'll have
               more luck.

     Frank turns to head for his pickup, turns back to Michael.

                               FRANK
               I'd be pleased to have you to dinner
               tonight.  Like you to meet my wife,
               Lucy.
                      (smiling)
               Best cook in the whole state.

     With that, Frank turns and climbs into his pickup truck, 
     fires it up and drives off.  Hold on Michael watching him
     go, then:

                                              CUT TO

     EXT. TULLEY'S BAR - DAY

     An ND neighborhood bar.  A couple of dusty trucks are parked
     outside.  We see the Trans Am parked in the street in front
     of a meter reading "Violation."  A meter maid pulls up in
     her wagon, stops, gets out and prepares to write a ticket.
     We hear:

                               K.I.T.T.'S VOICE
               Please don't do that...I'm allergic 
               to tickets.

     The meter maid looks up, startled, sees no one, and goes 
     back to writing her ticket.

     ANGLE ON K.I.T.T.

     as the Trans Am silently creeps forward into the next spot
     directly in front of him where the meter shows fifteen
     minutes left.

     ON THE METER MAID

     finishing with her ticket, looking up and finding the 
     Trans Am parked in the other spot.  She stares at the
     Trans Am, checks the meter, looks around trying to figure
     out what's going on.  Finally, she tears the ticket she's
     written in half, stuffs it in her pocket.  As she does, we
     hear:

                               K.I.T.T.'S VOICE
               There...don't you feel better?  I
               certainly do....

     By this time, the poor meter maid's convinced she's been
     in the sun too long.  She quickly climbs into her cart
     and hurries down the street.  As she does:

                                              CUT TO

     INT. TULLEY'S BAR - DAY

     A funky bar, with pool table, pinball and neon bear signs.
     A handful of customers are visible, drinking beer, watching
     the tube.  At a table near the bar a raucous domino game is
     being played by two men we'll later know as Junior and Sam.
     Behind the bar, a pretty young woman in her twenties, Mary
     Beth Graves, washes glasses and talks to a man in his late
     thirties.  His name is Vance Burke.  Michael's sitting at 
     the bar.

     ANGLE ON THE BAR

     as Michael catches Mary Beth's eye.

                               MICHAEL
               Excuse me....

     Mary Beth crosses to Michael.  Behind them, the domino game
     rages, with raucous laughter, shouting.  Mary Beth grimaces,
     shakes her head.  Michael smiles sympathetically.

                               MICHAEL
               Wonder if you could help me...I'm 
               looking for Joe Graves.

                               MARY BETH
               He was in, but he's gone home.  Feeling
               pretty rotten....

                               MICHAEL
               Yeah...I heard about the accident.

                               MARY BETH
               Some accident.  He was run off the road,
               nearly killed...
                      (suspiciously)
               You from that insurance company?

                               MICHAEL
               No way.  Just a friend of a friend...
               Frank Gunderson.

     Behind Michael, Sam and Junior exchange a glance.  Mary
     Beth wipes the bar with a vengeance.

                               MARY BETH
               I've got nothing against Frank, but
               I told Joe to quit that job months
               ago...when all the trouble started.

                               MICHAEL
               When was that?

                               MARY BETH
               It's got to be a year ago...
                      (beat)
               But, you think he'd listen?  To me or
               anyone else?  No way.  He's been out
               there every night, in the cold...with
               his bad heart and arthritis.  Like a 
               sitting duck.

                               MICHAEL
               Sitting duck?

                               MARY BETH
               Sure.  Joe said it himself...whoever's
               stealing from Gunderson knows where
               he's working, the rigs he's running,
               the guard schedule...everything.

                               MICHAEL
               Just between you and me, I'm working
               with Frank Gunderson on this thing.
               I'd like to talk to Joe.

     Mary Beth's suddenly a little distant, standoffish.  She
     doesn't respond.

                               MICHAEL
               Look, if I can help Frank, it's going
               to make Joe's job a lot safer, right?
                      (beat)

     Mary Beth nods.

                               MICHAEL
               But you don't trust me, right?
               Never seen me before, don't know
               exactly what I'm up to, don't
               particularly care for my after-
               shave....

     Mary Beth blushes, smiles in spite of herself.

                               MARY BETH
               I didn't even notice it.

                               MICHAEL
               Good, 'cuz I don't wear any.  Just
               testing you.

     Mary Beth laughs, grabs a pencil, writes down an address
     on the back of a napkin.

                               MARY BETH
               You can always catch him here after
               eight.  That's the easy part....

                               MICHAEL
               What's the hard part?

                               MARY BETH
               Getting him to talk.  I'd bring a 
               little hair of the dog if I were
               you....

                               MICHAEL
               Got it.  And thanks....

     With that, Michael pays for the beer, gets up and leaves.
     As he passes the table where Sam and Junior are playing
     dominoes, both of the men turn to stare after him.  Hold on
     them and then:

                                              CUT TO

     EXT. STREET - DAY

     As the Trans Am drives by, we hear:

                               MICHAEL
               Kitt, give me what you've got on
               Frank Gunderson's company history.

     INT. TRANS AM - DAY - ON MICHAEL

                               K.I.T.T.
               Right away, Michael.
                      (beat)
               It's rather brief, actually.  In
               1956, he went into partnership with
               a Lloyd Newell.  Three years ago 
               they dissolved their partnership,
               and Gunderson's been working by
               himself ever since.

                               MICHAEL
               A silver anniversary and then they
               split up.  What's Newell up to these
               days?

                               K.I.T.T.
               Working independently also.  Very
               successfully, I might add.
                      (beat)
               I'm not sure whether it's relevant 
               but the volume of legal documents
               accompanying the end of the partner-
               ship indicates a rather acrimonious
               separation.

                               MICHAEL
                      (nodding)
               Sounds like a lot of divorces.
                      (beat)
               Wonder if they argued over community
               property.

                                              CUT TO

     EXT. FRANK'S HOUSE - NIGHT - TO ESTABLISH

     We see the Trans Am parked outside.  Over this, we hear:

                               FRANK'S VOICE
               Of course we argued.  Like cats and
               dogs....

                                              CUT TO

     INT. FRANK'S HOUSE - NIGHT

     A comfortable, nicely furnished Western house.  Michael and
     Frank are in the living room.  Frank comes into the room
     with chips, dip and cheese on a tray.

                               FRANK
               We couldn't agree on anything.  But,
               after twenty-five years, that's normal
               ...isn't it?

     Frank looks at Michael, half-expecting an answer.  Finally,
     he pops open a beer, hands it to Michael.

                               FRANK
               Afraid this is gonna be it for 
               dinner...I didn't think to phone
               Lucy, and she'd made plans.  You
               know how women are today.

                               MICHAEL
                      (grabbing
                       a chip)
               No problem.
                      (beat)
               Why did you and Newell finally split
               up?

                               FRANK
               Simple.  Lloyd got this crazy bug to
               start speculating in real estate.  I
               wouldn't go along.

                               MICHAEL
               Any money problems because of the 
               split?

                               FRANK
               Big ones.  I'd put more money into
               the company when we started, but we'd
               never thought about writing anything
               down.

                               MICHAEL
               And twenty-five years later it's
               real hard to remember....

                               FRANK
               Remembering was easy.  Problem was, I
               remembered one figure, Lloyd remembered
               another.  It got real sticky...
                      (frowning)
               Lloyd even started talking about how I'd
               cheated him.  That's died down now, but
               Lloyd's like an old pit bull.  Once he
               gets his teeth into something, he just
               can't let go...
                      (shaking 
                       his head)
               We haven't said two words to each other 
               since we split up....

     We hear the sound of footsteps from the hall and Lucy's
     voice:

                               LUCY (O.S.)
               Frank, I'm leaving.

     Frank and Michael stand as Lucy steps into the living room.

     ANGLE ON THE DOORWAY

     framing Lucy, the same beautiful woman we saw outside of
     Michael's motel room.  Michael and Lucy recognize each other
     at the same moment.  A spark of recognition that Frank misses
     completely.  He's looking at Lucy with the proprietary pride
     a man might have for a fine bird dog.

                               FRANK
               Michael, my wife Lucy.  Lucy, Michael
               Knight.  He's out here on business....

     Michael and Lucy exchange ad-libbed hellos.  Lucy avoids
     Michael's eyes, turns quickly to Frank and gives him a
     cursory peck.

                               LUCY
               Don't wait up, hon....

                               FRANK
               Are you kidding?  I'll be sawing logs
               by ten.

                               LUCY
                      (a beat)
               I know.  Nice to meet you, Mr. Knight.
               Hope you can take a rain check on dinner.

                               MICHAEL
               Be glad to.  Thanks....

     Very proper, very cool.  Lucy exits.  Frank watches her go,
     a smile playing across his face.

                               FRANK
               She's a beauty, isn't she?
                      (another smile)
               Haven't regretted a single day since
               I married her ten years ago.
                      (beat)
               Best deal I ever made.

     Michael nods, but doesn't respond.  Off his troubled look:

                                              CUT TO

     OMITTED

     EXT. STREET - NIGHT

     as the Trans Am pulls up in front of an ND little cottage.
     Obviously not the high-rent part of town.  Michael gets out,
     walks to the front door.

     ANGLE ON THE FRONT DOOR

     He knocks.  There's no answer in the house, though a light 
     is burning.  He knocks again.  Still no answer.  Michael
     peers through a front window, stiffens, then turns and
     bolts through the front door.

                               MICHAEL
               Mr. Graves....

     INT. COTTAGE - NIGHT

     where we see Joe Graves sprawled on the living room floor,
     obviously quite dead.

     ANGLE ON MICHAEL

     as he rushes to the body, leans over, searches for a pulse,
     doesn't find one.  Hold on Michael, staring at the lifeless
     body, and then:

                                              FADE OUT

                         END OF ACT ONE

                             ACT TWO

     FADE IN

     EXT. HIGHWAY - ON THE SEMI - DAY - STOCK

     as the Trans Am pulls up the ramp and into the semi.

                                              CUT TO

     INT. SEMI - DAY

     As Michael parks the Trans Am, gets out.  April crosses to
     Michael.

                               APRIL
               Michael, I just got the medical
               examiner's report on Joe Graves...
               the cause of death was cardiac
               arrest.

     Michael nods, thinking.

                               MICHAEL
               Yeah...I'd heard he had a heart problem.
               Anything else?

                               APRIL
               No.  There was no sign of a struggle,
               nothing stolen...nothing out of the
               ordinary.

                               MICHAEL
               So...case closed.  Over and out.
               It's all real convenient.

                               APRIL
               The M.E.'s report was cut and dried.

                               MICHAEL
               Maybe, but something in my bones 
               tells me it's not so cut or dried.

                               K.I.T.T.
               Michael, the ultraphonic analyzer
               indicates there's absolutely nothing
               unusual about your bones.

                               MICHAEL
               I'm talking about a feeling, Kitt,
               a gut reaction.

                               K.I.T.T.
               And I'm showing no unusual activity
               in your gastro-intestinal system.

                               MICHAEL
                      (beat)
               Besides, how could a GI response
               have anything to do with feelings?

     Michael turns to April.

                               MICHAEL
               You see what I've got to live with?
               Twenty-four hours a day...
                      (pleading)
               Turn that thing off.  Please.

                               APRIL
                      (smiling sweetly)
               No.

     Michael shakes his head, climbs back into the Trans Am.

                               APRIL
               Leaving already?

                               MICHAEL
               Yeah...I'm going to pay my last 
               respects to Joe Graves.

     As Michael fires up the Trans Am.

                                              CUT TO

     EXT. SEMI - DAY - STOCK

     As the Trans Am backs out of the semi, hits the road and
     takes off.

                                              CUT TO

     OMITTED

     EXT. JOE'S COTTAGE - DAY

     as the Trans Am pulls up and parks.  Michael jumps out of
     the car, heads for the cottage.  We watch as he opens the
     front door and goes inside.

                                              CUT TO

     INT. JOE'S COTTAGE - DAY

     As Michael begins to look around the small, cluttered
     room.  Dishes, books, clothes are everywhere.  A bed and an
     old dresser are against one wall.

     ANGLE ON MICHAEL

     as he begins to search through the room, finally moving to
     the dresser.  He pulls out a couple of drawers, finds
     nothing, and then is attracted by something on the floor
     beside the dresser.  He gets down on his hands and knees,
     reaches in and pulls out a small antique silver locket on a
     silver chain.

     ANGLE - CLOSE ON MICHAEL

     studying the locket.  He opens it, finds a dozen small pills
     inside.  He turns and hurries out of the cottage.

                                              CUT TO

     EXT. COTTAGE - DAY - ON THE TRANS AM

     as Michael hustles down the walk to K.I.T.T., opens the
     door and sits down.

     INT. TRANS AM - DAY

     Michael opens the silver locket, takes one of the pills out.

                               MICHAEL
               Okay, buddy, time to strut your
               stuff.  Tell me what this is....

     Michael puts the pill into a compartment on the dash.
     Appropriate lights flash, and we hear:

                               K.I.T.T.
               The pills are glyceryl trinitrate,
               or a form of nitroglycerine,
               commonly used as vasodilator....

     Michael takes the pills out, looks at it.

                               MICHAEL
               Meaning it's used for people with
               bad hearts, right?

                               K.I.T.T.
               That's correct....

                               MICHAEL
               The kind of thing you'd keep real
               close, maybe even wear about your
               neck...in case of an attack, right?

                               K.I.T.T.
               Most certainly.

                               MICHAEL
               Then what were these doing all the
               way across the room, behind a
               dresser, when Joe had his attack?

     Michael looks at the locket and the chain.  He examines the
     chain more carefully, then puts it in the analyzer
     compartment.

                               MICHAEL
               Kitt, have a look at this chain.
               Where it's broken....

                               K.I.T.T.
               Yes.  The configuration of the link
               indicates it was torn apart...with
               some force.

                               MICHAEL
               And then thrown across the room...
               out of the reach of a dying
               man...
                      (beat)
               So much for natural causes.

     Michael fires the Trans Am up.

                               K.I.T.T.
               Michael, I'm monitoring increases in
               your levels of epinephrine and
               norepinephrine.  I'm concerned.

                               MICHAEL
               You're concerned?  What've I got?

                               K.I.T.T.
               A high level of stress.

                               MICHAEL
               Oh...that.  Comes with the job,
               pal.  Let's go...I've got another
               hunch.

                               K.I.T.T.
               I was afraid of that.

     As the Trans Am takes off:

                                              CUT TO

     EXT. NEWELL CONSTRUCTION - DAY

     Compared to Frank's lone trailer, this is the big leagues.
     An attractive building, a yard with impressive equipment.
     We see the Trans Am parked out front.

     ANGLE ON MICHAEL

     moving through the machines, casually inspecting them.  He
     stops near a D8 (same kind of machine we saw stolen in the
     opening sequence), shiny with a new coat of paint.  Michael
     runs his finger over it.  The paint's wet.  Behind him, we
     hear:

                               SAM'S VOICE
               You looking for something, mister?

     Michael turns to see Sam and Junior glaring at him.  He
     smiles, wipes the paint off his finger.

                               MICHAEL
               Lloyd Newell.

                               JUNIOR
               This ain't Mr. Newell's office...and
               you're trespassing.

     Just then, Lloyd Newell arrives.  Like Frank, he's in his
     fifties, tanned, muscular.  He nods at Sam and Junior.

                               NEWELL
               I'll take care of this, boys.

     Sam and Junior reluctantly back off, but don't leave.
     Newell turns to Michael.

                               NEWELL
               What can I do for you, Knight?
                      (off
                       Michael's look)
               Word gets around pretty quick.

     Michael glances over at Sam and Junior.  They glare right
     back.  He turns back to Newell.

                               MICHAEL
               Then I'll get right to the point...
               I'm trying to find out what's been
               happening to Frank Gunderson's
               equipment.

                               NEWELL
               So you've come to talk to me.
                      (with an
                       edge)
               I don't like the implication.

                               MICHAEL
               None intended.  I'm just trying to
               get some information....

                               NEWELL
               I'll give you some:  Gunderson's not
               the only guy losing equipment around
               here...I lost two pieces the last
               six months, and I've got the police
               reports to prove it.

                               MICHAEL
               Frank's lost nine pieces.  And who-
               ever's hitting him knows his operation
               inside and out.

     Newell stares hard at Michael.  He's getting pissed.

                               NEWELL
               Meaning me, right?  Is that what
               Gunderson said?  Because if he did,
               he's a liar!  I'm making enough
               running my business...I don't have
               to steal from his.

     Michael shows Newell the paint on his fingers.

                               MICHAEL
               Gunderson lost a D8 last week...a
               lot like the one you just painted.

                               NEWELL
                      (flaring)
               That's his problem not mine.  I'd
               suggest you and Gunderson get that
               straight.  Real soon...
                      (beat)
               ...or you're both gonna have some
               real trouble on your hands.

     With that, Newell wheels and stomps away, gesturing to Sam
     and Junior:

                               NEWELL
               I want him out of this yard...now!

     Michael turns to see Sam and Junior approaching him.  They
     don't look happy.  Michael stops, smiles.

                               MICHAEL
               No problem, guys...I can find my own
               way....

     Sam and Junior stare hard at Michael as he walks past them
     to the Trans Am.  Hold on them, and then:

                                              CUT TO

     EXT. FRANK'S BACKYARD - LATE AFTERNOON

     A beautiful garden, with flowers, plants, shrubs.  In the
     midst of this, we see Lucy Gunderson, in an attractive
     bathing suit, sitting by the pool.  She's talking into a
     cordless telephone.  Her tone is playful, almost seductive.

                               LUCY
               Would you stop it...no, I will not...
                      (giggles)
               I can't...you know that...of course
               I do...last night wasn't enough for
               me, either, but we're just going to
               have to....

     At this point, Lucy glances over to see Michael standing
     uncomfortably in the b.g.  She blanches.

                               LUCY
               Look, someone's just come in.  I'll
               have to phone back.  Bye....

     Lucy sets down the cordless phone, stands to face Michael.

                               MICHAEL
               Sorry...I thought Frank would be home
               by now.  I saw your note on the door...
               so I came around....

                               LUCY
               I was expecting the caterer, not...
                      (regaining 
                       her composure)
               Frank's still at the site....

     Michael studies Lucy for a beat, nods.

                               MICHAEL
               I'll drive out there.  Thanks.

     Michael turns to leave.  Lucy calls after him:

                               LUCY
               He's always at a site somewhere....

     Michael stops, turns to face Lucy.

                               LUCY
               Fourteen hours a day, six days a
               week, fifty two weeks a year.
               That's Frank's life.  That's all he
               ever talks about.
                      (a little
                       bitter)
               We took a vacation about three years
               ago...went to Vegas for a weekend.
               There just happened to be an equipment
               show going on....

                               MICHAEL
               Look, Mrs. Gunderson....

                               LUCY
               Frank's idea of a night on the town
               is chicken fried steak at the truck
               stop cafe, a beer at Tulley's, and the
               late movies on TV.

     Lucy looks around at the lush backyard.

                               LUCY
               This yard's my little oasis...it
               keeps the dust and the dirt and the
               desert out...there.
                      (fiercely)
               I'm not going to dry up and wither
               away.  I love Frank.  He's my 
               husband.  But...
                      (beat)
               A thirsty person's got to have
               water.  That's basic.

                               MICHAEL
                      (beat)
               Mrs. Gunderson, what you do with
               your life is your business, not
               mine.  But, I'd be real careful
               about drawing your water from
               someone else's well.

     Their conversation is interrupted as Frank comes into the
     backyard.  He sees Michael, crosses to him, looking
     concerned.

                               FRANK
               Michael, I've been in the field all
               day.  I just got your message...
               what's this about Joe Graves?

                               MICHAEL
               He died last night, Frank.
                      (beat)
               I think he was murdered.

     Frank's stunned.  Lucy's shaken.  Off their reactions we:

                                              CUT TO

     INT. FRANK'S HOUSE - NIGHT

     Frank and Michael are in the living room, talking.  Michael
     paces the floor.  Frank looks shaken.

                               FRANK
               This is a tough one.  There's a part
               of me just can't believe Lloyd could
               be involved...
                      (beat)
               And there's a part of me knows he 
               could.  It's that damn pride of his....

                               MICHAEL
               Someone was afraid of Joe talking...
               someone Joe could identify.

                               FRANK
               Joe Graves knew half this town.

                               MICHAEL
               But, he worked for you and Lloyd 
               nearly twenty years.  Developed
               loyalties...to both of you.

                               FRANK
               You think he was protecting Lloyd?

                               MICHAEL
               Maybe....

     Frank thinks for a moment, then shakes his head.

                               FRANK
               I don't know, Michael...I really don't.

                               MICHAEL
               Frank, Lloyd's nursing a big grudge.
               Against you.  And he happens to 
               spread so thin he's about to rip.

                               FRANK
               What?

                               MICHAEL
               I did some digging.  He's lost his
               shirt in real estate, and he's in
               big trouble....

     In the hallway, the phone's been ringing.  Frank answers it
     and we hear one end of a muffled conversation.  A beat, 
     then Frank returns.  He's totally shaken.

                               FRANK
               He just got another one.  The most
               expensive grader I own.

     Frank sinks onto the sofa, a beaten man.

                               FRANK
               Without that piece, I'm paralyzed.
               Finished.

                               MICHAEL
               No you're not, Frank.  Not yet.

                                              CUT TO

     EXT. EXCAVATION SITE - DAY

     The Trans Am pulls slowly down a dirt road somewhere near
     the excavation site that opened the show.  Michael pulls to
     a stop.

     INT. TRANS AM - DAY

     as Michael surveys the surrounding countryside.

                               MICHAEL
               The guard Frank hired to replace Joe
               was checking out another site...
               didn't see a thing.

                               K.I.T.T.
               It doesn't appear there's much to 
               see....

                               MICHAEL
               Hold on....

     EXT. TRANS AM - DAY

     Michael jumps out of the car, walks down the road, carefully
     examining the road.  He stops over a deeply embedded tire
     track.  He turns to K.I.T.T., whose surveillance lights are
     flashing.

                               MICHAEL
               Kitt, check out these tire tracks
               ...they're fresh.

     Michael walks back to the Trans Am, opens the door, and
     sits down.

     ANGLE ON MICHAEL

     waiting for K.I.T.T.'s response.  In a second, it comes:

                               K.I.T.T.
               Michael, I've found something rather
               interesting....

                               MICHAEL
               What is it?

                               K.I.T.T.
               Silicon dioxide in the tracks....

                               MICHAEL
               Silicon dioxide.  You mean sand?
                      (impatiently)
               In case you haven't noticed, buddy,
               we're in the middle of a desert.

                               K.I.T.T.
               If you'd let me continue...I've also
               detected a miniscule amount of horiz-
               onthal onium...better known as echino
               cactus...which only grows in one small
               section of the state:  The Silverbell
               Mountains a few miles west of our 
               present location.

     Michael slams the door shut, fires up the Trans Am.

                               MICHAEL
               And if that's where the truck came 
               from, that's probably where it
               went....

                               K.I.T.T.
               A logical conclusion...so much nicer
               than one of your gastro-intestinal
               responses....

                               MICHAEL
               Yeah, but not nearly as fun.

     As the Trans Am spins in the dust and takes off, we:

                                              CUT TO

     EXT. DESERT - DAY

     A stretch of open desert, near a range of foothills.  The
     Trans Am races across the desert floor, kicking up a plume
     of dust behind it.

     INT. TRANS AM - DAY

     as Michael steers down the narrow, dusty road.

                               MICHAEL
               You sure you know where we're going?

                               K.I.T.T.
               Of course.  The flora and fauna of
               an area can be read like a road map.

                               MICHAEL
               Then keep reading, pal, 'cuz I'm
               lost.

                               K.I.T.T.
               Michael, my ultraphonic analyzer is
               detecting an extraordinary amount of
               iron, with smaller amounts of
               carbon, manganese, coal....

                               MICHAEL
               Speak English....

                               K.I.T.T.
               Steel.  At approximately forty-
               seven degrees north by northwest.

                               MICHAEL
               Aye, aye, captain.

     Michael takes a sharp right turn up an even smaller road,
     leading into the hills.  As he does:

                                              CUT TO

     EXT. QUARRY - DAY

     An abandoned quarry pit, with a large warehouse-type
     building which stands on the edge of the pit.  At the front
     of the building, we should see a pair of sliding double
     doors.  The Trans Am roars down the road and parks in front 
     of the warehouse.

     ON MICHAEL

     as he gets out of the Trans Am and moves to the double
     doors.  They're locked, so Michael moves to one of the
     windows further down the wall, and peers inside.  He lets
     out a long, low whistle, as he sees:

     INT. WAREHOUSE - DAY

     A nice collection (as much as our money can buy) of heavy
     equipment.

     BACK TO MICHAEL

     as we hear K.I.T.T.:

                               K.I.T.T.
               My sensors indicate a vehicle
               approaching...approximately a
               quarter of a mile away.

     Michael hustles over and jumps into the car.

     INT. TRANS AM

     as Michael fires it up, quickly drives to the rear of the
     warehouse.

                               K.I.T.T.
               Michael, it would be wiser to use
               this time to effect a strategic 
               departure.
                      (beat)
               In more contemporary terms...split!

                               MICHAEL
               Sit tight, Kitt.  I want to see
               who's behind this operation.

                               K.I.T.T.
               We could always observe from a 
               distance.
                      (beat)
               Too late...the vehicle is directly
               in front of the warehouse.

                                              CUT TO

     EXT. WAREHOUSE - DAY

     as Sam and Junior jump out of a red and white pickup truck
     with Newell's name on the side.  They both disappear inside
     the warehouse.  As they do:

                                              CUT TO

     EXT. REAR OF WAREHOUSE - DAY

     as Michael starts to get out of the Trans Am.

                               MICHAEL
               I'm going to have a look around 
               front.

     Just then, we hear the pulsing growl of diesel engines
     firing up.  Michael stops, listens.

                               MICHAEL
               What's that?

                               K.I.T.T.
               I believe it's two D8 tractors...
               and they're coming this way.

                               MICHAEL
               This way?  There's no door back 
               here....

                               K.I.T.T.
               I don't think that matters...Michael,
               get in here...quickly!

     The sound of the tractors grows louder.  Michael leaps for 
     K.I.T.T., just as the two tractors come barreling through
     the rear wall of the warehouse.

     INT. TRANS AM - ON MICHAEL

     as the big tractors loom over him, their blades smashing
     into K.I.T.T. and pushing the Trans Am toward the edge of
     the quarry.

                               MICHAEL
               Come on, Kitt...let's go!

                               K.I.T.T.
               I'm afraid that's out of the question,
               Michael.

     EXT. TRANS AM - DAY

     as the tractors push it over the edge and into the quarry
     pit, skidding backwards down the walls of the pit to the
     bottom.

     ANGLE - CLOSE ON THE TRANS AM

     Michael, knocked dizzy by the fall, struggles to gain
     consciousness.  As he lifts his head and looks through the
     windshield, he sees:

     MICHAEL'S POINT OF VIEW - THE TRACTORS

     pushing an avalanche of dirt into the quarry.  In an
     instant, the Trans Am is buried under tons of dirt.  As
     the screen goes black, we:

                                              FADE OUT

                            END OF ACT TWO

                               ACT THREE

     FADE IN

     EXT. QUARRY - DAY

     K.I.T.T. is nowhere to be seen, buried under a tremendous
     mound of earth.  Sam and Junior gaze down from the edge of
     the pit, then get into their pickup and leave.

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

     But it looks like night, pitch-dark night.  Michael is lit
     only by the faint glow of K.I.T.T.'s dash.

                               MICHAEL
               Give me a systems check, Kitt.  Is
               everything functioning?

                               K.I.T.T.
               It's hard to tell, Michael.  My
               systems have never gone underground
               before.

                               MICHAEL
               Neither have mine, and I don't like it.
               What's our depth?

     On K.I.T.T.'s monitor screens, sonar waves start to measure
     the quarry's depth.  Then they begin to bounce back and
     forth, running into each other, a jumbled mess.

                               K.I.T.T.
               The granite composition of the soil
               around us has rendered my sonar use-
               less.  To paraphrase, everything is
               not functioning.

                               MICHAEL
               So we could be five feet under or 
               fifty.  How much air have we got in
               here, Kitt?

                               K.I.T.T.
               One hour existing with a four-hour
               reserve.

                               MICHAEL
               There's not much time.  We've got only
               one chance -- April's new gadget.

                               K.I.T.T.
               I don't believe the Trajectory Guide
               was designed with excavation in mind.

                               MICHAEL
               And I wasn't designed with being
               buried alive in mind, pal.

     ANGLE TO INCLUDE THE DASH

     as Michael presses another button and the Trajectory Guide
     appears on the screens.  It's a ninety degree protractor
     with K.I.T.T. at its vertex.  Michael maneuvers the button
     until it reads "60 degrees."

                               MICHAEL
               Keep your microchips crossed.

     He pauses, then he hits turbo boost.  K.I.T.T. begins to
     shake -- the lights on the dash flicker -- but nothing
     happens.  K.I.T.T. goes nowhere.

                               K.I.T.T.
               There does not appear to be enough
               oxygen to achieve combustion for
               turbo boost.

                               MICHAEL
               What if we tap into the reserve 
               supply?

                               K.I.T.T.
               I can't do that, Michael.  In the
               event the Trajectory should fail, you
               would not have enough oxygen left
               to survive.

                               MICHAEL
               If we don't get out of here, that
               five hour's worth'll go pretty fast,
               anyway.

                               K.I.T.T.
               I cannot willingly endanger human life,
               Michael.  You know that.

                               MICHAEL
               I'm already in danger, Kitt.  You know
               that.

                               K.I.T.T.
               I must protest this action....

                               MICHAEL
               Save your breath, pal -- we're going to
               need it.

     Michael takes a deep breath, holds it -- then hits the
     turbo boost.  The car shakes violently -- the lights on the
     panel flicker.  Nothing is happening.

     ANGLE ON MICHAEL

     holding his breath, tense, the shaking continues.

     ANOTHER ANGLE TO INCLUDE THE DASH

     as Michael punches up an oxygen reading, depleting rapidly.

     CLOSE ON MICHAEL

     beginning to strain for breath, sweat pouring down his face,
     the darkness beginning to close in.  Suddenly....

     EXT. QUARRY PIT - DAY

     The mound of earth explodes and K.I.T.T. flies up.  The car
     barely clears the sheer granite wall and comes to a stop by
     the bulldozers.

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

     As the car, covered with dirt, settles, and K.I.T.T. springs
     open the doors.  Michael gasps for air, taking it in huge
     gulps.

                               K.I.T.T.
               Michael, are you all right?

                               MICHAEL
               Yeah...good job, Kitt.

                               K.I.T.T.
               As a machine, I believe I'm quite 
               fortunate not to have your human
               dependency upon oxygen for survival.

                               MICHAEL
               As a human, I'm pretty lucky to have
               a machine like you for a friend.

     This seems to take K.I.T.T. aback.  It takes a beat for 
     him to respond.

                               K.I.T.T.
               Thank you, Michael.
                      (beat)
               By the way, that pickup truck...my
               sensors indicate it's still on a road
               east of us, moving away at a rapid 
               rate.

                               MICHAEL
               Yeah?  Well, let's head 'em off at
               the pass.

     Michael shuts the door, starts K.I.T.T. up, hits the
     "Pursuit Mode" button on the dash.  K.I.T.T. lurches and
     almost stalls out.

                               MICHAEL
               What's wrong?

                               K.I.T.T.
               I'm not certain.

     Then K.I.T.T.'s engines begin to purr normally.  K.I.T.T.
     reaches Pursuit Mode speed.

                               K.I.T.T.
               Apparently a temporary dysfunction.

     VARIOUS ANGLES - THE CHASE

     K.I.T.T. picks up amazing speed -- quickly closing the gap
     over the desert roads.  On a rise we see the pickup truck.
     K.I.T.T. is still sufficiently behind it, however, so Sam
     and Junior do not see the Trans Am.

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

     The speedometer reads "125...130...135...";  then, oddly, it
     begins to read "135...130...125...."

                               MICHAEL
               We're losing them!

                               K.I.T.T.
               My diagnostic scanner indicates a
               plethora of mechanical malfunctions.
               In the current vernacular:  I'm
               trashed.

     Michael watches, frustrated, as the pickup truck heads down
     the road.

                               MICHAEL
               Can you catch the license plate?

                               K.I.T.T.
               776 GFE.

                               MICHAEL
               Run a DMV check.

     A beat, then:

                               K.I.T.T.
               According to the information in the
               Arizona Department of Motor Vehicles,
               that truck is registered to two
               parties...Newell Construction and
               Lloyd Newell.

     On Michael's reaction, we:

                                              CUT TO

     EXT. FOUNDATION SEMI ON THE MOVE - DAY

     K.I.T.T. goes up the ramp and into the semi.

     INT. SEMI - DAY

     As Michael climbs out of the car, April hurries up, staring
     at K.I.T.T.  He's dirty, dusty -- a wreck.  So, for that
     matter, is Michael.  April only has eyes for K.I.T.T.

                               APRIL
               What in the world....

                               MICHAEL
               April!

     April spins angrily to face Michael.

                               APRIL
               I don't want excuses, stories or
               explanations....

     Michael grabs April and gives her a big hug.  She backs
     away, flustered and embarrassed.

                               APRIL
               Michael, what...why...I mean....

                               MICHAEL
               I just wanted to thank you for saving
               our skins.  You and your Trajectory
               Guide....

                               K.I.T.T.
               And the chemical analyzer.

     April eyes Michael unsurely, trying to determine whether or
     not there's a punchline coming.

                               APRIL
               He'll never thank me for that.

                               MICHAEL
               Oh, you're wrong.  We couldn't have 
               found the stolen D8s without the
               chemical analyzer.  I love it.  I
               want Kitt to use it from now on.
               You'll never hear me say another
               bad word about it.

                               APRIL
               I'll believe it when I see it.

                               K.I.T.T.
               He appears to be telling the truth,
               April.  I detect no change in blood
               pressure, pulse, breathing or per-
               spiration....

     April glances questioningly at Michael.  He grins, pats
     K.I.T.T.'s hood.

                               MICHAEL
               Love it.

     And he heads toward the semi's inner quarters.  We hold on
     April's bemused expression as we:

                                              CUT TO

     EXT. TULLEY'S BAR - DAY

     Michael parks the newly cleaned Trans Am and heads inside.

     INT. TULLEY'S BAR - DAY

     Michael enters, and spots Newell, sitting at a table across
     the room.  Enroute to Newell, he passes Sam and Junior, who
     are kibitzing with Mary Beth at the bar.  Seeing Michael,
     they're shocked, dismayed.

     ANGLE ON NEWELL'S TABLE

     as Michael sits beside him, lounging comfortably.

                               MICHAEL
               Well, Newell, I've got some good 
               news and bad news for you.

     Newell looks up at him, annoyed, trying to remain casual.

                               NEWELL
               That a fact?

                               MICHAEL
               The good news is I found a warehouse
               full of stolen equipment.  I figure
               some of it could be yours.

                               NEWELL
               I'm mighty pleased to hear that.

                               MICHAEL
               The bad news is someone tried to
               kill me out there.  Someone driving
               one of your trucks.

                               NEWELL
               One of my trucks?  That's impossible.

                               MICHAEL
               I've got the license plate and a DMV
               identification.

     Newell stares at Michael, stunned.  He shakes his head.
     In the b.g., we see Sam and Junior watching this exchange.

                               NEWELL
               Then it was stolen.  It had to be.

                               MICHAEL
               That's what Frank would say.  He thinks
               you're an honest man.

     This enrages Newell and he jumps to his feet, collaring
     Michael and nearly pulling him out of his chair.  He spits
     out his words in a soft, menacing voice that only Michael
     can hear.

                               NEWELL
               You ain't lived long enough to sit
               there an judge me and Frank Gunderson,
               kid.  We may not see eye to eye, but
               I'd stop breathin' before I'd steal
               a penny from him.  Six months ago, he
               was gonna lose everything.  The bank
               was takin' over his house and just
               like you, they thought I'd hate him
               enough to help 'em do it.  You
               think I'd lend a hand in takin'
               away everything a man's worked for
               all his life?  No.  I put up the
               money and the bank didn't foreclose
               -- and I did it because he's a man,
               kid -- and that's something plenty
               rare in this world.

     He releases Michael, points a finger at him.

                               NEWELL
               You tell him any of this and I'll 
               kill you myself.

     WIDER ANGLE

     as behind Michael and Newell, Sam and Junior make a decision
     and approach to try to hustle Michael toward the door.

                               SAM
               C'mon, fella, we don't want any trouble.

                               NEWELL
               Let him go, Sam.

                               MICHAEL
               Hold on, boys, I'm not finished
               talking....

     They're not listening.  A scuffle develops as they pull
     Michael across the room.  Michael breaks free, swings on
     Sam, decks him, then finds himself facing Junior who's
     holding a chair.  A second later, Sam picks himself up
     and joins Junior.

     ANOTHER ANGLE

     as Frank enters the bar, sees the two-on-one in progress
     and hurries to Michael's aid.  Across the room, Newell sees
     Frank joining the crowd and heads for him.

     VARIOUS ANGLES ON THE FIGHT

     as Michael takes on Sam and Junior and neatly dispatches
     them.  Meanwhile, Frank and Newell are circling each other
     like two old grizzlies.  Neither's throwing a punch, but
     they look like they're ready to.  Suddenly, Frank lunges
     for Newell, misses him.  Newell throws a blow that whistles
     past Frank's ear.  They grab each other and stagger around
     the floor, knocking over tables and chairs, but never really
     hurting each other.  Before they're able to do that,
     Michael's prying them apart.

     ON MICHAEL

     standing between the huffing, wheezing middle-aged men.

                               MICHAEL
               All right...knock it off.  You've
               been fighting long enough.

     Frank and Newell stare warily at each other.

                               NEWELL
               Look at you -- wheezing and puffing 
               like an old goat.

                               FRANK
               Look who's talking.  You're lucky 
               the kid broke us up.

                               MICHAEL
               I broke it up because I want you
               guys talking.  Not fighting.
                      (beat)
               Whether you know it or not, I think
               you need each other.

     Frank and Newell stare at Michael, confused, as we:

                                              CUT TO

     EXT. FRANK'S HOUSE - DAY

     The Trans Am's parked among several cars in front of Frank's
     house.  Michael and Newell wait as Frank starts to unlock
     the front door, finds it open.

     INT. FRANK'S HOUSE - DAY

     as Michael, Frank and Newell step into a disaster that used
     to be Frank's living room.  The remnants of a party are
     everywhere -- largely empty food bowls, empty, crushed beer
     and soda cans, the furniture in a state of disarray.  There
     are a few stragglers who stare at Frank, exchange looks
     that say they'd better leave.  Rock music still blasts from
     the stereo.

     NEW ANGLE

     as a tall, good-looking man who we'll learn is Vance Burke
     steps into the living room, enroute to the front door.  He
     and Frank stare at each other -- then Burke grins, grabs a
     coat off the couch and pushes past Newell, heading out of
     the house.

     ANGLE ON MICHAEL, FRANK AND NEWELL

     We see that Newell almost feels Frank's embarrassment,
     humiliation.  He speaks with uncharacteristic kindness.

                               NEWELL
               Maybe we better come back another 
               time....

     Frank pushes away from Michael and Newell, yelling:

                               FRANK
               Lucy!

     He heads for the stereo, snaps it off as Lucy enters the
     room, wearing a pretty suit.  She's obviously been drinking;
     seeing Frank at the stereo angers her.

                               LUCY
               What do you think you're doing?

                               FRANK
               I'm coming home from work.  What the
               hell are you doing?

                               LUCY
               I was having a party.

     The few remaining guests beat a hasty retreat.  Frank slams
     the door behind them.

                               FRANK
               Without telling me?

                               LUCY
               I told you several times.  You
               weren't interested.  You never are.

     Frank looks around his demolished living room, aims a sturdy
     kick sending a plastic dip bowl across the room.

                               FRANK
               This is my house!

                               LUCY
               It's mine, too.  And those were my
               friends.

                               FRANK
               Friends!

                               LUCY
               That's right, Frank.  You just never
               wanted to meet any of them.  Ever.
               I got tired of waiting.
                      (beat)
               You don't like the way the house looks?
               You clean it up!

     And she turns and runs out of the room, slamming a door
     behind her.  Frank glares after her, then ashamedly over
     at Michael and Newell.  Newell comes to the rescue.

                               NEWELL
               You got a beer in this dump?

     Frank aims his glare at Newell and the anger seems to flow 
     out of him.  Nodding, he moves toward the kitchen as we:

                                              CUT TO

     INT. KITCHEN - DAY

     where we find Michael and Newell sitting around the kitchen
     table while Frank paces, occasionally tilting his head as
     if listening for sounds from Lucy in the other room.

                               MICHAEL
               Sure, we got some of the equipment
               back.  But we don't have the guys
               who stole it.

                               NEWELL
               You give me half an hour in the yard
               with my crew and we'll find out who's
               been using my truck.  Guaranteed.

                               FRANK
               Oh, stop puffin', Newell.  It ain't
               that easy.

     Newell starts to retort, but Michael's faster.

                               MICHAEL
               There's more to this operation than 
               the guys that're doing the leg work.
               We need whoever's pulling the strings.

                               FRANK
               You got a plan?

     Michael nods.

                               MICHAEL
               Somebody was sitting on that warehouse
               figuring it was money in the bank.  Now,
               we've taken away his goods.  He's going
               to want to get his hands on some new 
               merchandise, soon.
                      (beat)
               If we dangle some bait in front of
               his nose, chances are he'll go for it.

                               NEWELL
               What kind of bait you got in mind?

                               MICHAEL
               A buyer, with a wad of money he's
               willing to spend, and a piece of equip-
               ment he wants real bad.

     Frank and Newell look at each other, back to Michael.

                               FRANK
               The equipment's no problem.  Where're 
               we going to find a buyer?

     Off Michael's knowing smile:

                                              CUT TO

     EXT. AUCTION YARD - DAY - CLOSE ON DEVON

     A weekend auction for construction equipment being held in
     a field that, surprisingly, looks somewhat like our
     excavation site.  Devon stands before a monstrous piece
     of equipment, consulting an auction book.  He shakes his
     head and moves toward another piece of equipment.

     ANOTHER ANGLE - WIDER

     as we pull back to reveal the auction site.  A dozen pros-
     pective buyers, wearing everything from cowboy hats to
     pin-stripped suits, check out the equipment.  Devon looks 
     very demure and very wealthy by comparison.  In the b.g.,
     eyes locked on Devon, are Sam and Junior.

     ANGLE FOLLOWING DEVON

     as he moves to another piece of equipment.  He studies his
     booklet again, jots down some notes.  As he does, we hear:

                               SAM'S VOICE
               That's a mighty nice piece of
               equipment.

     Devon turns to Sam, nods.

                               DEVON
               Yes.  The opening bid is also nicely
               overpriced.

                               SAM
               They get big money at these auctions.

                               DEVON
               Not from me, they don't.  But I need
               these machines....

     He starts to move away as Sam and Junior exchange a look,
     then Sam moves in close to Devon.

                               SAM
               Of course, if you got the right
               contacts, you can get the right
               prices....

                               DEVON
               Unfortunately, I'm from out of town.

                               SAM
               I could tell.  Look, maybe I could
               help you out....

     As Devon and Sam talk, we go to:

     EXT. TRANS AM - DAY

     parked on a hill overlooking the auction site, invisible
     from below.

     INT. TRANS AM - DAY

     as Michael watches Devon via projection on K.I.T.T.'s
     screens.

                               K.I.T.T.
               Michael, Devon's respiration rate
               is increasing regularly, as is the
               excretion of water through his pores.
               Despite my knowledge of his habits --
               Devon appears to be lying.

                               MICHAEL
               We call it acting, Kitt.

                               K.I.T.T.
               I've analyzed performers before,
               Michael, and they display none of 
               these chemical reactions.

                               MICHAEL
               That's because they feel good about
               what they're doing.  Devon happens 
               to be a lousy liar.

                               K.I.T.T.
               But a very good actor.

     Michael grins and we angle to the screens.  There's a moment
     of intense discussion between Sam and Devon, then Devon
     nods.  As Sam and Junior turn and walk off, Devon takes
     out a handkerchief, wipes his brow.

     ANGLE ON MICHAEL

     noticing the signal.

                               MICHAEL
               We got a nibble, pal.  Let's go.

     Michael fires up the Trans Am and heads down the hill.

     ANOTHER ANGLE

     as Sam and Junior pass by in their pickup; then, the
     Trans Am slowly follows.

     EXT. HIGHWAY - DAY - ON THE TRANS AM

     passing a tiny gas station/motel.  The pickup's parked by
     a pay phone.  We see Sam starting to dial.

     INT. TRANS AM - DAY

     Michael drives right by the pickup.  To K.I.T.T.:

                               MICHAEL
               Let's trace that call.

                               K.I.T.T.
               Elementary.  The number being dialed
               is listed under a Vance Burke.
                      (beat)
               The address is....

     EXT. RESIDENTIAL STREET - DAY - CLOSE ON AN ADDRESS

     reading:  "2031 Casa Buena."  Just as we see it, we hear:

                               K.I.T.T.'S VOICE
               2031 Casa Buena.

     ANOTHER ANGLE ON THE TRANS AM

     cruising slowly past 2031 Casa Buena, stopping across the
     street.

     INT. TRANS AM - DAY

     as Michael confirms the address.

                               K.I.T.T.
               I'm sorry, Michael, but there appears
               to be no Vance Burke on any of Frank's
               or Newell's payrolls, past or present.

                               MICHAEL
               They must be related somehow....

                               K.I.T.T.
               A reasonable deduction, insofar as
               Frank's car is heading this way.

                               MICHAEL
               Frank?

     Michael watches as the car rounds the corner, pulls to a
     stop down the block from 2031.  Out of the car steps Lucy.
     She hurries to 2031, rings the bell.  When Vance Burke
     opens the door, they embrace.

                               MICHAEL
               I think we've just discovered the
               connection, pal.

     We hold on his troubled reaction, as we:

                                              FREEZE FRAME

                                              AND

                                              FADE OUT

                        END OF ACT THREE

                            ACT FOUR

     FADE IN

     INT. FRANK'S LIVING ROOM - DAY - CLOSE ON LUCY

     She's huddled on the sofa, struggling with her tears.

                               LUCY
               So this is how you really make your
               living, Mr. Knight...spying on
               people.

     ANGLE - WIDER TO REVEAL MICHAEL

     standing behind Lucy.  She whirls to face him, angry.

                               LUCY
               How much is Frank paying you?

                               MICHAEL
               Frank doesn't know anything about
               this.

     Lucy stares at Michael, surprised.

                               LUCY
               Then what're you following me around 
               for?  You going to blackmail me?

     Michael sits beside Lucy, locks eyes with her.

                               MICHAEL
               Your relationship with Burke wouldn't
               be any of my business if it wasn't for 
               the fact that he's been stealing your
               husband's equipment.

                               LUCY
                      (incredulous)
               What are you...?

                               MICHAEL
               What I want to know is how...and
               why...you're helping him.
                      (beat)
               Do you really hate Frank that much?

     Lucy shakes her head, unable to clearly understand or
     believe what Michael's saying.  She doesn't speak for a
     moment, then:

                               LUCY
               Vance and I...we're friends, you know
               ...it's not much more than that.  But,
               stealing from Frank...no, that's
               ridiculous.

                               MICHAEL
               Is it?  Vance Burke sells heavy equip-
               ment.  He knows Frank, but not that well
               ...his operation depended on knowing
               everything he needed to know about
               your husband's business.  Things only
               Frank...or you...would know.

     Lucy is listening intently to what Michael's saying.  She's
     suddenly gone white.  She shakes her head.  Tears well up
     in her eyes.

                               LUCY
               Why would I steal from Frank?  He
               gave me all the money he made...
                      (laughing 
                       bitterly)
               Which is funny, 'cause all I ever
               wanted was someone who loved me.
               That's all....

     Michael watches her carefully, believes what she's saying.

                               MICHAEL
                      (gently)
               But Burke asked questions about the
               business.  About the equipment Frank
               had...where he was using it...when....

     Lucy shakes her head again, as though she can shut out
     Michael's voice and the implication of his words.

                               MICHAEL
               He may have been using you, Lucy....

                               LUCY
               No!  He loves me....

     Michael hesitates, then rises, picks up a phone, hands it 
     to Lucy.

                               MICHAEL
               There's only one way for you to be sure.
               Call Burke, tell him Frank's going to
               be moving his skip loader tonight down
               390 toward Henderson.  Tell him you'll
               be free to see him.  I'll be surprised
               if he can get away.

     Lucy hesitates before taking the phone, stares at Michael,
     a mixture of defiance and fear in her eyes.  Then, she
     dials.  As she does:

                                              CUT TO

     EXT. FRANK'S HOUSE - DAY

     as Frank parks his truck in the driveway.  He notices the
     Trans Am parked across the street, heads into the house.

     INT. FRANK'S HOUSE - LIVING ROOM - DAY

     Lucy sits, the phone still in her lap, her eyes even more
     red from crying.  She jumps as the door slams.  A second
     later, Frank enters the living room.  Seeming to notice
     neither Lucy nor her tears, he heads directly for Michael.

                               FRANK
               How'd we do?  Any bites?

                               MICHAEL
               A big one.  I think we're all set for 
               tonight.

     He glances at Lucy, who looks away.  Frank ignores this ex-
     change, grins and slaps Michael on the back.

                               FRANK
               Well, this calls for a celebration.
               Lucy, get us some beers.

     Lucy turns to stare at Frank for a long beat.  Michael jumps
     in.

                               MICHAEL
               Some other time.

     Michael glances at Lucy, heads toward the front door.  Frank
     finally catches on that something's amiss.

                               FRANK
               What's going on here?

                               LUCY
               We've got to talk, Frank.

     We move in close on them as we:

                                              CUT TO

     INT. TRANS AM - DAY

     parked where we saw it before.  Michael's watching the house
     intently, as we hear:

                               K.I.T.T.
               Michael, your palms are clammy, your
               heart beat and blood pressure are
               higher than normal and you haven't
               moved for fifteen minutes.  May I
               inquire what sort of emotional
               sensation you are experiencing?

                               MICHAEL
               It's called anticipation, Kitt.  I'm
               waiting for an explosion.

                               K.I.T.T.
               I detect no detonation device in this
               area.

                               MICHAEL
               It's a marriage blowing apart....

     Through the windshield we see Frank come storming out of
     his house, stomp toward his truck.

                               MICHAEL
               And we better try to stop it.

     Michael fires up the Trans Am.

     EXT. STREET - DAY

     As Frank's backing down his driveway, Michael roars up,
     blocking his path.  Michael jumps out, crosses to Frank.

                               FRANK
               Get out of the way.

                               MICHAEL
               Maybe you'd better hear the whole
               story.

                               FRANK
               I'm not in the mood.  Now, move...
               before I knock you across the street.

                               MICHAEL
               Go ahead, if it'll make you feel better.

     Frank stares at Michael for a beat, then nods his head,
     defeated.  He slumps back against the truck and we:

                                              CUT TO

     INT. TULLEY'S - DAY

     Frank and Michael sit at one of the tables, nursing beers.
     Frank's numb with pain, anger, confusion.

                               FRANK
               The funny thing is, it doesn't really
               hurt.  It's just kind of numb.

                               MICHAEL
               You're better off that way.  It gives
               you a chance to think.

                               FRANK
               About what?  This is out of the blue.
               Everything's fine, then....

     A beat as Michael thinks, then:

                               MICHAEL
               Frank, what color does Lucy look
               pretty in?

                               FRANK
               Huh?  I don't know....

                               MICHAEL
               What's her favorite song?  Her favorite
               perfume?  Where's she like to go when
               you take her out to dinner?

     Frank stares at Michael like he's lost his mind.

                               FRANK
               How should I know?  What're you
               getting at?

                               MICHAEL
               I'm saying that maybe it's not out 
               of the blue for Lucy.  Maybe she's
               been unhappy for a long time, and
               you just haven't noticed.

     Frank thinks for a moment, then shakes his head.

                               FRANK
               She could've told me.  We've been
               married ten years -- she's had
               plenty of time.
                      (angrily)
               I never did anything to deserve this.

                               MICHAEL
               Maybe that's the problem...maybe you
               didn't do enough.

                               FRANK
               Didn't do enough?  I worked my 
               fingers to the bone making that
               business grow, so that I could buy
               her things -- the house, the pool
               -- all the things she wanted.
                      (beat)
               I was married before, when I was
               young.  She ran off with a guy that
               had more money, so she could have
               pretty things.
                      (beat)
               I swore that wouldn't happen with
               Lucy -- that I'd give her everything.

                               MICHAEL
               Too bad that wasn't what she wanted,
               huh, Frank?
                      (beat)
               You know you can't turn your back on
               a construction site, or the weeds'll
               grow in and take over.  Same thing
               happens with a marriage.

     Frank doesn't respond.  He sips his beer thoughtfully.
     Michael watches him, waiting for a response but none
     comes.  Finally, Michael checks his watch.

                               MICHAEL
               It's about time to toss out our bait.

                               FRANK
               I wouldn't miss this for anything.

     He polishes off his beer, as Michael heads for the door
     and hurries after him.  He stops Michael at the door.

                               FRANK
               You're okay, kid.

     He pats Michael's shoulder, Michael grins and they exit.

     EXT. EXCAVATION SITE - NIGHT

     as Frank drives a big piece of equipment up the ramp of a
     low bed truck.  Michael and Newell quickly move to secure
     the machine with chains.  Frank jumps down to help.

                               FRANK
               What makes you so sure Burke's gonna
               hit this particular run?

                               MICHAEL
               I'm gambling on his greed.  It's been a
               pretty strong motivation so far.
                      (smiling)
               And I had some help.

                               NEWELL
               What's this help you won't tell us
               about?

                               MICHAEL
               I'll explain everything if my plan
               works.
                      (checking 
                       his watch)
               You guys ready?

     Frank and Newell nod.

                               MICHAEL
               Okay.  You go ahead, I'll follow in
               the car.  Soon as we get some action,
               I'll be there.

     Frank makes a thumbs-up sign to Michael as he and Newell
     climb into the big truck.  Michael hops in the Trans Am and
     the two vehicles start up and move into the night.

     EXT. HIGHWAY - DAWN

     as the lights from the low bed cut through early light of
     morning.  We can't see the Trans Am.

     INT. TRANS AM - MORNING

     Michael's hunched over the wheel of the Trans Am.  Next to
     him is a paper bag from which he removes a styrofoam cup
     of coffee.  As he takes off the top:

                               K.I.T.T.
               The substance you are about to consume
               contains enough benzosulfimide to
               remove the enamel from your teeth,
               Michael.

     Michael peers into the coffee, then lowers it in disgust.

                               MICHAEL
               Kitt, I'd like to make a deal with you.

                               K.I.T.T.
               If you wish to protest my use of the
               chemical analyzer, please remember 
               your comments to April in the semi.

                               MICHAEL
               I remember.  And I want you to feel
               free to analyze tire tracks and cactus
               and even evaluate human emotions in
               terms of chemical imbalances -- but
               please leave the state of my stomach
               to me, okay?

                               K.I.T.T.
               I'm merely trying to be helpful.

                               MICHAEL
               I appreciate it, pal, but...don't.

     Michael raises the coffee to his lips and drinks.

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

                               MICHAEL
               I don't care if it's made of paint,
               I'm drinking it.

                               K.I.T.T.
               My sensors are picking up two addi-
               tional vehicles coming onto the highway
               from a sideroad.

                               MICHAEL
               Where?

     EXT. HIGHWAY - MORNING

     as two vehicles, a high-rise Bronco we saw at the original
     excavation site, and a red and white pickup, race to
     overtake the truck.

     ANGLE ON THE TRUCK

     as the Bronco pulls directly in front of the truck, forcing
     it to slow down.  Frank blasts his air horn, but the Bronco
     doesn't budge.  Suddenly, the pickup pulls up alongside the
     truck.

     ON THE PICKUP

     Inside, Sam and Junior are wearing ski masks.  Junior's
     riding shotgun and he leans out the window, a rifle in his
     hand.  He fires a warning shot over the hood of the truck,
     waves the truck toward the side of the road.  From his
     perspective, he can't see Newell riding next to Frank.

     IN THE TRUCK

     Frank begins downshifting and pulling toward a wide turn-
     about area off the road.

     EXT. TRANS AM

     racing toward the scene.  K.I.T.T.'s scanner glowing red in
     the early morning light.

     EXT. TURNABOUT - DAY

     The Bronco is parked in front of the truck.  Sam and Junior
     meet Frank as he opens the door and slowly climbs down.
     Junior cranes his neck, half-seeing Newell inside the truck.

                               JUNIOR
               Hey, buddy, you get out of there, too.

     The other door opens and Newell climbs out, partially hidden
     by the door until he hits the ground.  He steps around the
     front of the truck, and faces Sam and Junior.  He glares at
     them.  They exchange a startled look.

                               NEWELL
               Well, so Sam and Junior decide to go
               into business for themselves.  Shouldn't
               have used my truck.

     He moves toward Sam and Junior and Junior suddenly cocks
     his rifle, aiming it at Newell with shaking hands.  Sam
     pulls off his mask, moves close to Junior, frightened.

                               SAM
               What're you gonna do?

                               JUNIOR
               I'm tired of him pushing us around.
               And we don't need no witnesses....

                               SAM
               Now, wait a minute....

     Suddenly, we hear a blast from K.I.T.T.'s horn, loud enough
     to split an eardrum.  Sam and Junior turn to see:

     ANGLE ON THE TRANS AM

     bearing down on them at high speed.  Michael hits the dirt,
     slams on the brakes, and slides toward the thoroughly
     frightened Sam and Junior who leap out of the way.

     ANOTHER ANGLE

     as Sam and Junior bolt, Newell and Frank are on them.
     Newell knocks the rifle out of Junior's hand, then tackles 
     him when he tries to make a break for the desert, rips his
     mask off.  Frank's got Sam in a bear hug and he's squeezing 
     the air out of him.  In a second, the younger man's lying
     on the ground, gasping for breath.  Michael jumps out of
     the car, and Frank yells to him.

                               FRANK
               We've got this under control.  Get
               the Bronco....

     Which, by now, has headed down the long stretch of highway.
     Michael jumps into K.I.T.T. and goes after the Bronco.

     EXT. HIGHWAY - MORNING

     as the Trans Am roars after the Bronco, steadily, easily
     gaining on the truck.

     ANGLE ON THE BRONCO

     as Burke jockeys back and forth across the road, keeping
     Michael from pulling even with him.

     INT. TRANS AM

     as Michael rides the Bronco's tail.

                               MICHAEL
               He's not being very cooperative.

                               K.I.T.T.
               Understandable, but not practical.

                               MICHAEL
               Yeah.  Well, I hate to do it, but
               sometimes you've gotta go over
               people's heads to get something
               done....

     Michael reaches for the dash, punches the turbo boost.

     EXT. HIGHWAY

     as the Trans Am lifts off the highway, sails over the top
     of the Bronco, lands in front of it.

     ON BURKE

     Gasping with surprise, he nearly loses the Bronco as it
     swerves wildly.

     INT. TRANS AM

     as Michael checks him out in the rearview mirror.

                               MICHAEL
               Let's spread some oil on Mr. Burke's
               troubled waters, buddy.

     EXT. TRANS AM - CLOSE ON REAR FENDER

     as oil shoot out of a series of jets.

     ANGLE - WIDER

     The Bronco hits the oil slick and goes into a spin, doing
     a three sixty off into the flat desert land and coming to
     rest in a shallow ditch.

     EXT. TURNABOUT - DAY

     Two State Troopers' cars are parked on the side of the
     road.  Sam and Junior sit in the back of one while Burke's
     being handcuffed and hustled into the back of the other by
     the two Troopers.  Michael stands talking with Frank and
     Newell.

     ANGLE ON MICHAEL, FRANK AND NEWELL

     Frank and Newell are laughing, feeling very good.

                               FRANK
               It was just like twenty years ago....

                               NEWELL
               Almost like it was.

                               FRANK
               Me and Lloyd, we could've taken on a
               bar full of truckers, and come out
               on top....

                               NEWELL
               Course, we were a lot younger then.

                               FRANK
               We did make a helluva team, didn't we.

                               MICHAEL
               You probably still would.

                               NEWELL
               Yeah, maybe....

     He and Newell look at the ground, almost afraid to think of
     a reconciliation.  Then, Frank looks up at Michael.

                               FRANK
               Funny.  I thought I'd want to tear
               Burke limb from limb when I saw him.
               Then, it just didn't seem worth it.
                      (beat)
               You said you'd tell me who helped you
               set this up.

                               MICHAEL
               Lucy made a phone call...she talked 
               to Burke.

     Frank stares at Michael, taking in his words.

                               FRANK
               Lucy...?

     Michael nods.  Hold on Frank's face, and then:

                                              FADE OUT

                         END OF ACT FOUR

                               TAG

     FADE IN

     EXT. FRANK'S HOUSE - DAY

     A taxi's parked in front as the Trans Am pulls up.  Michael
     stops across the street.  Frank's in the passenger seat.

     INT. TRANS AM - DAY

     Frank stares at the taxi.  He doesn't make a move to get out.

                               FRANK
               Maybe it's for the best.

                               MICHAEL
               Whose best?

                               FRANK
               Lucy's.

     Through the window, we see the taxi driver come out the
     front door with three big suitcases.  Lucy, nicely dressed,
     follows him.  She turns, glances back sadly at the house,
     then closes the door, heads for the taxi.

                               MICHAEL
               She could have told Burke what was 
               happening, but she didn't.  The
               question is...why?

                               FRANK
               More questions, huh?

                               MICHAEL
               Yeah...but I've got a hunch you
               already know the answer to this one.

     Frank looks at Michael, hesitates for a second, then
     extends his hand.

                               FRANK
               You ever find a woman and need a 
               nice house built, you call me.

     Michael shakes his hand, gives Frank the thumbs-up sign.
     Frank gets out of the car.

     EXT. FRANK'S HOUSE - DAY

     as Frank walks to the taxi, opens the passenger door.  Taken
     completely by surprise, Lucy slowly gets out of the cab.

     INT. TRANS AM - DAY

     as we watch with Michael, through the windshield of the car.
     Though we can't hear the words, it's clear what's being
     said.  Frank takes Lucy's hand, she shakes her head, tries
     to hide her sudden tears.  Frank says something to her and
     she leans against him, burying her face against his chest.
     He wraps his arms around her and holds her.  Michael smiles
     a big smile, starts the car.

                               K.I.T.T.
               This is very intriguing....

                               MICHAEL
               What's that?

                               K.I.T.T.
               I'm picking up a radical fluctuation
               in your friends' hormone levels very
               similar to that experienced when they
               were quite angry; and yet all indi-
               cations are that they have formed a
               reconciliation.

                               MICHAEL
               I'm picking that up, too.

     As Michael starts down the street:

                               K.I.T.T.
               If the chemical reactions to both
               happiness and anger are similar, how
               do you know which you are experiencing?
               I'm quite confused.

                               MICHAEL
               All it proves is that you can't analyze
               everything, pal...some things you've 
               got to just feel.

     And we hold on Michael's smile, as we:

                                              FADE OUT

                             THE END