Home : Knight Rider : Season 2 : Big Iron : Scripts : 3rd Draft

KNIGHT RIDER: BIG IRON

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

Production #57804
3rd Draft - June 9, 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.  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 -- Sam -- 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, Junior, and jumps 
     into the driver's seat.

     ANGLE - WIDER

     as Sam backs the tractor up, heads it toward a waiting
     truck.  A third man (whose face we don't see) 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 Sam and Junior 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 Glover, 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 Glover, without a possibility
     of stopping.  Another blast from the truck's horn and then
     suddenly the road is bright as day as Sam switches on the
     truck's 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.
         It's a pain in the neck.      Extremely well.

                               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. Sanderson?

     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
               Millions of dollars worth of equipment 
               is 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
               Sanderson.  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
               April, can't we do without the 
               chemical analyzer?  I've done my
               research and I should be able to 
               tell the difference between a 
               tractor and a taco.

                               K.I.T.T.
               Quite frankly, Michael, you might be
               better off ingesting the tractor.

                               APRIL
               You may find that sooner or later,
               it'll come in handy.

     She crosses to the Trans Am, opens the door, sits in the
     front seat of the Trans Am and punches a couple of buttons.
     The vidscreen lights up.

     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 leap tall buildings
               in a single bound, huh?

     April climbs out of the car.

                               APRIL
               If that suits your purposes.  If you
               want to make me happy, just find
               some semi-reasonable way to test it.

     Michael gets into the car, smiles back at April.

                               MICHAEL
               I'm hoping I won't have to.

                                              CUT TO

     EXT. SEMI - DAY - STOCK

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

                                              CUT TO

     EXT. MOTEL - TUCSON - DAY

     A simple, sunlit family stopover.  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 to eat
               in the motel diner, are you?

                               MICHAEL
               Hadn't thought about it.  Why?

                               K.I.T.T.
               Because its kitchen 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 Sanderson.  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 "Sanderson 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 SANDERSON

     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 Sanderson.

                               FRANK
               You found him.  What do you want?

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

     A beat as Frank evaluates this, decides it must be true,
     then Frank lowers his shotgun, sets it by the front door.

                               FRANK
               Sorry.  Not exactly hospitable, I 
               guess.
                      (angrily)
               But, I don't know who to trust anymore.
               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.  Sanderson answers it, leaving the door open as he
     talks.

                               FRANK
               Hello...hello, John.  I know.  Listen, 
               I can't finish the job without equip-
               ment, 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 Glover.  He's worked 
               for me for twenty years.  He's a good
               man.  Anything you need to know,
               he'll tell you.  You can usually find 
               him down at Tulley's about now.

     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 recognize as Junior and Sam.
     Behind the bar, a pretty young woman in her twenties, Mary
     Beth, washes glasses.  Michael's sitting at the bar.

     ANGLE ON THE BAR

     as a good-looking smooth-talker, Vance Burke, moves in
     beside Michael.

                               BURKE
               Howdy.  Saw you sittin' all alone.
               Name's Vance Burke.

     He shakes Michael's hand, gives him a business card.

     INSERT - THE CARD

     reading:  VANCE BURKE, EQUIPMENT SALES

     BACK TO SHOT

                               MICHAEL
               Michael Knight.  Just passing through.

                               BURKE
               When I see a new face in town, I just
               like to let 'em know I'm here in case
               they need any big iron.

                               MICHAEL
               Sorry.  I'm not in the market.

                               BURKE
               Keep the card anyway.  You never know.

     He slaps Michael on the back and exits the bar.  Mary Beth
     crosses to Michael.

                               MARY BETH
               Get you anything else?

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

                               MICHAEL
               Maybe you could help me.  I'm 
               looking for Joe Glover, thought
               he'd be here.

                               MARY BETH
               He was, 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 Sanderson.

     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.
               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 Sanderson knows where
               he's working, the rigs he's running,
               the guard schedule...everything.

                               MICHAEL
               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 home 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 Sanderson'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 Newald.  Three years ago 
               they dissolved their partnership,
               and Sanderson's been working by
               himself ever since.

                               MICHAEL
               A silver anniversary and then they
               split up.  What's Newald 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 Newald finally split
               up?

                               FRANK
               Simple.  Newald 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, Newald 
               remembered another.  It got real 
               sticky...
                      (frowning)
               Newald even started talking about how 
               I'd cheated him.  That's died down now, 
               but Newald'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?

     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
     tries the knob -- the door opens a crack.

                               MICHAEL
               Joe?  Joe Glover?

     No answer.  Michael pushes the door open, enters the cottage.

     INT. COTTAGE - NIGHT

     where we see Joe Glover 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.

                               MICHAEL
               Oh, no....

     Something O.S. catches Michael's eye.  He crosses to a 
     couch not far from the body, kneels and retrieves some-
     thing from beneath it.  He holds the thing up and we 
     recognize the small pillbox that hung around Joe's neck.
     The chain's broken but the pills are intact.  Michael
     encloses the pillbox in his fist, turns back to Joe, and
     we hold on Michael staring at the lifeless body as we:

                                              FADE OUT

                         END OF ACT ONE

                             ACT TWO

     FADE IN

     OMITTED

     EXT. ROAD - DAY - ON THE TRANS AM - STOCK

     as the Trans Am moves slowly toward the outskirts of the 
     city.

                               MICHAEL'S VOICE
               I don't know, buddy.  Something just 
               doesn't wash.

     INT. TRANS AM - DAY

     Michael's lost in thought, fingering Joe Glover's pillbox
     on its broken chain.

                               K.I.T.T.
               The medical examiner's report states
               the cause of Joe Glover's death as 
               cardiac arrest.

                               MICHAEL
               I know, no sign of a struggle, nothing
               out of the ordinary.  Very convenient.
               What about the pills?

     Scientific figures and data flash through the chemical 
     analyzer, appearing on K.I.T.T.'s screens.

                               K.I.T.T.
               Glyceryle trinitrate, or a form of
               nitroglycerine, commonly used as a 
               vasodilator.

                               MICHAEL
               The kind of thing you'd keep real
               close if you had a heart condition
               ...maybe even wear around your neck 
               in case of an attack, right?

                               K.I.T.T.
               Most certainly.

                               MICHAEL
               But the chain that held them was
               broken and somehow Joe's pills ended
               up all the way across the room when
               he was having an attack.  Sounds 
               like somebody could've kept Joe from 
               getting to them, doesn't it?

                               K.I.T.T.
               That doesn't necessarily follow,
               Michael.

                               MICHAEL
               Maybe, but something in my bones
               tells me I'm right.

     More visuals flash on K.I.T.T.'s screens -- anatomy diagrams
     of human bone structures.

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

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

     More visuals, this time of internal organs, intestinal
     systems.

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

                               MICHAEL
               Okay, okay, let's drop it.  We'll
               just follow the only lead we've got
               -- to Lloyd Newald's.

     As Michael steps up the speed, we:

                                              CUT TO

     EXT. NEWALD 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 Newald.

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

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

                               NEWALD
               I'll take care of this, boys.

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

                               NEWALD
               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 Newald.

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

                               NEWALD
               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....

                               NEWALD
               I'll give you some:  Sanderson's not
               the only guy around here losing 
               equipment -- lots of guys are.
               Practically everybody gets hit once
               in a while.  I lost two pieces in the 
               last six months, and I've got the 
               police reports to prove it.

                               MICHAEL
               Frank's lost over twice that many.  
               And whoever's hitting him knows his 
               operation inside and out.

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

                               NEWALD
               Meaning me, right?  Is that what
               Sanderson 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 Newald the paint on his fingers.

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

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

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

                               NEWALD
               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 Sanderson, 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...
                      (giggles)
               I can't...you know that....

     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 for the
               party, not...
                      (regaining 
                       her composure)
               Frank's still at the site....he's 
               always at a site somewhere...
               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. Sanderson....

                               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. Sanderson, 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.

     Lucy doesn't like the accuracy of Michael's implication,
     changes the subject.

                               LUCY
               What'd you want to talk to Frank about,
               anyway?

                               MICHAEL
               Bad news, I'm afraid.
                      (beat)
               Joe Glover died last night.  I think 
               he was murdered.

     The news stuns Lucy, shakes her up.  Off her reaction, we:

                                              CUT TO

     INT. FRANK'S HOUSE - NIGHT

     Frank and Michael are in the living room.  Michael paces the 
     floor.  Frank is clearly disturbed.

                               FRANK
               Kill Joe...I just can't believe it.

                               MICHAEL
               Someone must've been afraid Joe
               recognized him the night your place
               was hit...someone Joe could identify.

                               FRANK
               I know what you're thinking.  Newald.
                      (beat)
               There's a part of me just can't believe
               he could be involved...
                      (beat)
               And there's a part of me knows he could.
               It's that damn pride of his....

                               MICHAEL
               Joe worked for you and Newald nearly 
               twenty years.  Developed loyalties...
               to both of you.

                               FRANK
               You think he was protecting Newald?

                               MICHAEL
               Maybe....

     Frank thinks for a moment, then shakes his head.

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

                               MICHAEL
               Frank, Newald'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.

                               MICHAEL
               You're not finished yet, Frank.

                                              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, K.I.T.T. 
     following behind him like a loyal puppy, Michael 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 much 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
               Well, let's check it out.

     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 backs away from the warehouse, toward the car.

     EXT. RED AND WHITE PICKUP TRUCK - DAY

     moving toward the warehouse.

     INT. RED AND WHITE PICKUP TRUCK

     Sam's at the wheel.  Junior's gaze is on the warehouse.

                               JUNIOR
               Looks like we got company.

     EXT. TRANS AM

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

     INT. TRANS AM

                               K.I.T.T.
               Michael, it would be wiser to use
               this time to effect a strategic 
               departure.

                               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 Newald'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.
               It's impossible to tell.  The granite 
               composition of the soil around us has 
               rendered my sonar useless.

                               MICHAEL
               How much air have we got in here, Kitt?

                               K.I.T.T.
               Twenty minutes, with a half-hour
               reserve.

                               MICHAEL
               Then we've only got 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 guide should 
               fail, you would not have enough 
               oxygen left to survive.

                               MICHAEL
               I'm not going to survive sitting here
               waiting for a miracle...let's go for 
               it.

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

                               MICHAEL
               Yeah...well, if anyone asks, you can
               blame it on me.

     Michael 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.  The supply is
     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 stumbles out.

                               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.

                               MICHAEL
               That pickup truck...any idea where
               it is?

                               K.I.T.T.
               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.

     INT. TRUCK - ON SAM AND JUNIOR

     too engrossed in making tracks to notice the Trans Am behind
     them.

     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.
               To put it in your terms, Michael, 
               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.
               Q17425.

                               MICHAEL
               Run a DMV check.

     A beat, then:

                               K.I.T.T.
               According to the information in the
               Arizona Motor Vehicles Division,
               that truck is registered to
               Lloyd Newald.

     On Michael's reaction, we:

                                              CUT TO

     EXT. FOUNDATION SEMI ON THE MOVE - DAY

     K.I.T.T. goes up 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.
               Don't forget the ultraphonic 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.  You'll never 
               hear me say another bad word about 
               it.

                               APRIL
               I'll believe it when I see it.

                               MICHAEL
               I mean it...I love that thing.
                      (pats K.I.T.T.'s
                       hood)
               And you're the greatest.
                      (smiles)
               So, if you could get Kitt ready to
               roll as soon as possible.  We've got 
               our first lead.

                               APRIL
               As soon as possible?  Look at Kitt.
               How can you expect me....

                               MICHAEL
               Like I said...you're the greatest.
               I'm going to grab a shower.  Fifteen
               minutes?

     Another smile and he heads toward the semi's inner quarters.
     We hold on April's glare, 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 Newald, sitting at a table across
     the room.  Enroute to Newald, he passes Sam and Junior, who
     are kibitzing with Mary Beth at the bar.  They're shocked, 
     dismayed.

     ANGLE ON SAM AND JUNIOR

     Intercut as they warily watch the discussion between Michael 
     and Newald.

     ANGLE ON NEWALD'S TABLE

     as Michael crosses to the table, stands over Newald.  The
     older man glares up at Michael, nods curtly.  Michael stares 
     back at him, barely controlling his anger.

                               MICHAEL
               We've got a lot to talk about, Newald.

     Newell looks up at him, annoyed.

                               NEWALD
               I seriously doubt that.

                               MICHAEL
               I think you'd better listen.  Real
               carefully...I just found a whole
               collection of stolen equipment out
               in the Silverbell Mountains.

     Newald straightens up.

                               NEWALD
               That a fact?  I'll bet some of it's 
               mine....

                               MICHAEL
               I seriously doubt that.
                      (beat)
               Someone driving one of your trucks
               tried to kill me out there.

                               NEWALD
               One of my trucks?  That's impossible!

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

                               NEWALD
               Then it was stolen.  It had to be.

                               MICHAEL
               That's what Frank would say.  He thinks
               you're an honest man.  Me...I'm not so 
               sure.

     This enrages Newald and he jumps to his feet, collaring
     Michael.  He spits out his words in a soft, menacing 
     voice that only Michael can hear.

                               NEWALD
               You ain't lived long enough to sit
               there an judge me, kid.  We may not 
               see eye to eye, but I'd stop breathin' 
               before I'd steal a penny from Frank
               Sanderson...before I'd lend a hand in
               taking away everything he's worked for
               in his life.
                      (beat)
               If he's nothing else, he's a man...and
               something plenty rare in this world.

     Newald releases Michael, sits down.  Michael stands, staring
     at him, and knowing beyond a shadow of a doubt he's telling 
     the truth.

     ON SAM AND JUNIOR

     not liking the turn the conversation between Newald and 
     Michael has taken.

                               SAM
               They're talking too much.  Let's get
               that guy out of here.

     Sam and Junior move quickly across the floor.

     WIDER ANGLE

     as the two men approach Michael from behind.  Neither 
     Newald or Michael see them coming.

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

                               NEWALD
               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, Newald sees
     Frank joining the crowd and heads for him.

     VARIOUS ANGLES ON THE FIGHT

     Michael takes on Sam and Junior and, with a minimum of
     punches, neatly dispatches them.  As he fights Frank and
     Newald 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 Newald, misses him.  Newald
     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 across the floor,
     prying them apart.

     ON MICHAEL

     standing between the huffing, wheezing middle-aged men.

                               MICHAEL
               All right...knock it off.

     Frank and Newald stare warily at each other.

                               NEWALD
               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 guys are up the same creek.

     Frank and Newald stare each other.  They don't buy this for
     a moment.  Michael stands between them like a referee.

                               MICHAEL
               Let's find a quiet place and try and
               figure out how we can get you down.

     Off Frank and Newald's distrustful looks:

                                              CUT TO

     EXT. FRANK'S HOUSE - DAY

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

     INT. FRANK'S HOUSE - LIVING ROOM - DAY

     As Michael, Frank and Newald step into the living room, we
     hear the sound of music coming from the backyard, and we 
     see a number of people, in bathing suits and summer clothes,
     dancing and talking on the back lawn.  As they stare, sur-
     prised, we see:

     VANCE BURKE

     the guy Michael met in the bar.  He comes in from the back-
     yard, crosses toward the kitchen.  He sees Frank, smiles.
     Frank scowls.

                               FRANK
               Burke...what're you doing here?

                               BURKE
               Same thing as everyone else, Frank
               ...enjoying the party.  Come on out....

     Burke passes Frank, nods to Newald and Michael, disappears 
     into the kitchen.  Michael and Newald exchange an uneasy
     look.

                               NEWALD
               Look, maybe we should've gone to my
               place.

                               FRANK
               My place is just fine.
                      (suddenly
                       yelling)
               Lucy!

     ANOTHER ANGLE TO INCLUDE LUCY

     as she steps inside, hears Frank's voice and looks up,
     obviously startled to see him.

                               LUCY
               What are you doing home so early?

                               FRANK
               This is my house.  What are you 
               doing?

                               LUCY
               I'm having a party.  This is my house,
               too.

     Frank stares past Lucy at the party.  Back to her:

                               FRANK
               Without telling me?

                               LUCY
               I mentioned it...lots of times.  You
               weren't interested.  In the party,
               or my friends....

                               FRANK
               Friends?  I've never seen any of them.

                               LUCY
               Of course not, Frank.  You never wanted
               to meet any of them.  Ever.  I got 
               tired of waiting.

     Lucy turns and runs outside, slamming the door behind her.  
     Frank glares after her, then ashamedly over at Michael and 
     Newald.  Newald comes to the rescue.

                               NEWALD
               You got a beer in this dump?

     Frank glances back at the party, then nods and moves toward 
     the kitchen as we:

     INT. KITCHEN - DAY

     Frank, Newald and Michael are standing in the kitchen.
     Newald and Frank are still uneasy in each other's presence,
     staying to opposite sides of the room.

                               NEWALD
               I said this to the kid, and I'll say
               it to you, Frank...I don't like being
               accused of stealing.  Especially 
               behind my back....

                               FRANK
               Funny thing.  I never like being
               accused of cheating...behind my back.

     The two men glare at each other, each remembering past
     hurts, past injustices.  Newald finally turns to Michael.

                               NEWALD
               You said you wanted to talk.  About
               what?

                               MICHAEL
               Getting the rest of the equipment...
               and the guys who stole it.
                      (beat)
               I'm going to need you guys...working
               together.

                               NEWALD
               Look, I'm not particularly interested
               in helping him.

                               FRANK
               And I don't need the help.

                               NEWALD
               You give me half an hour with my crew 
               and I'll find out who's been using my 
               truck.  Guaranteed.

                               FRANK
               Stop puffin', Newald.  It's not that 
               easy.

     Newald 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 ware-
               house, figuring it was money in the 
               bank.  Now, we've taken away his goods.  
               He's going to be real anxious 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.

                               NEWALD
               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 Newald 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 excava-
     tion site.  Devon moves past the equipment, consulting an 
     auction book.  He shakes his head.

     ANOTHER ANGLE - WIDER

     as we pull back to reveal the auction site.  A dozen pros-
     pective buyers, wearing everything from cowboy hats to
     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.  And the opening bid is mighty
               inflated.

                               SAM
               They get big money at these auctions.

                               DEVON
               Not from me, I'm afraid.  Which is a 
               disappointment, because I am in the 
               market for a decent skip grader.

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

                               SAM
               That's tough to find.  Course, if you 
               got the right contacts, you can get 
               the right piece...at the right price.

                               DEVON
               Unfortunately, I'm from out of town.
               And I don't have time to shop around....

                               SAM
                      (beat)
               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 the vidscreen.

                               K.I.T.T.
               Michael, I hope you don't mind me
               pointing this out, but Devon's res-
               piration rate and heartbeat are 
               increasing, as is the secretion of 
               water through his pores...
                      (beat)
               He appears to be lying.

                               MICHAEL
               He's acting, pal.  Sweaty palms and 
               butterflies are occupational hazards.

                               K.I.T.T.
               I've scanned the area, and there don't
               appear to be any type of lepidoptera
               for miles.  I'm afraid I don't under-
               stand what they have to do with acting....

     Michael glances at the dash, grits his teeth a little.

                               MICHAEL
                      (slightly
                       exasperated)
               Look, Kitt....

                               K.I.T.T.
               Oh, my...you're getting angry.  I 
               never should have opened my voice
               module about any of this.

                               MICHAEL
                      (too loudly)
               Look, I'm not...
                      (catching
                       himself)
               ...mad.  This just isn't the time 
               or the place....

     Michael suddenly leans over the vidscreen.

     ON THE SCREEN

     As the conversation between Devon, Sam and Junior finishes,
     and the two men walk off.  Devon takes out a handkerchief,
     wipes his brow.  In the b.g., we see Sam cross to a pay
     phone, begin to dial a number.

     ANGLE ON MICHAEL

     noticing the signal, and the call being placed.

                               MICHAEL
               We got a nibble, pal.  There's a 
               call going out.  Trace it, Kitt.

     ANGLE ON THE VIDSCREEN

     as K.I.T.T. zooms in on the phone.  We hear a series of 
     beeps, and a blur of digital numbers begin flashing on the
     screen, finally falling into place like cherries on a 
     slot machine.

                               K.I.T.T.
               Elementary.  Though there is no 
               number listed, the address for this 
               number is....

                                              CUT TO

     OMITTED

     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.

     ANGLE ON THE TRANS AM

     cruising slowly past a condo with 2031 clearly visible on
     the front.

     INT. TRANS AM - DAY

     as Michael pulls over and parks across the street.

                               K.I.T.T.
               Michael, I'm still not certain why 
               we're here.  What are you looking for?

                               MICHAEL
               A connection, Kitt.  The final piece
               in this puzzle.

     Just then:

                               K.I.T.T.
               Then this should be of interest.  The
               car heading this way...my monitors 
               indicate it belongs to Frank Sanderson.

                               MICHAEL
                      (surprised)
               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

     EXT. FRANK'S HOUSE - DAY

     The Trans Am is parked across the street.  We hear:

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

                                              CUT TO

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

     standing in the living room.  Livid.

                               LUCY
               How much is Frank paying you?

     ANGLE - WIDER TO REVEAL MICHAEL

     standing in front of Lucy.

                               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
               Look, whatever's going on with Vance
               and me is my business.  But, to
               think I'd steal from Frank...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.
                      (beat)
               Vance loves me.  And I've never told
               him anything about Frank's business.
               He never asked.

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

                               MICHAEL
                      (gently)
               But, you two had to arrange time
               to be together...and that meant
               discussing Frank's schedule...where 
               he was working, 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!  I told you...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
               19 toward Nogales.  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, still on the phone. 

                               LUCY
               No, I understand...it's okay.
               Tomorrow night, maybe...okay...bye.

     Lucy slowly hangs up the phone, avoiding Michael's look.
     There's a long beat, then the front door opens and slams.  A
     second later, Frank enters the living room, heads directly
     for Michael.  He barely notices Lucy.

                               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
                      (delighted)
               Well, this calls for a celebration.
               Lucy, how about getting us something...?

     Lucy looks at Frank for a long beat.

                               LUCY
               Frank, we've got to talk.  Right
               now....

                               MICHAEL
               I'm going to head down to Tulley's...
               Catch you later, Frank.

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

                               FRANK
               What's going on?  Lucy...?

     We move in close on them as we:

                                              CUT TO

     EXT. FRANK'S HOUSE - DAY

     as Michael walks out of the house, crosses to the 
     Trans Am.  Gets inside.

     INT. TRANS AM - DAY

     Michael just sits, staring at the house.

                               K.I.T.T.
               Michael, at the risk of being too
               inquisitive....

                               MICHAEL
               What is it, Kitt?

                               K.I.T.T.
               Well, now your palms are clammy, your
               heartbeat, blood pressure and respira-
               tion rate is up.  Does this mean you're 
               lying?  Or acting?  Or...I'm terribly
               confused.

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

                               K.I.T.T.
               But, there's no detonating device in 
               the vicinity.

                               MICHAEL
               Sure there is...a shaky marriage is 
               about to blow...sky high.

     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

     EXT. TULLEY'S BAR - DAY

     The Trans Am parked in front of the bar, basically the 
     same place we saw it parked before.  Again, the meter 
     shows "violation."  And, again, the same meter maid
     comes walking down the sidewalk, checking meters.

     ANGLE ON THE METER MAID

     as she spots the Trans Am, stops in her tracks.  Almost
     reluctantly, she checks the meter, sees the little red 
     flag.  She starts to take out her ticket book, hesitates,
     and instead, digs into her pocket and comes up with a
     quarter.  Looking both right and left, she steps up to 
     the meter, deposits the coin.

     ANGLE - WIDER

     Avoiding looking at K.I.T.T., our little meter maid turns
     and briskly walks down the street.  Hold on her, and then:

                                              CUT TO

     INT. TULLEY'S BAR - DAY

     where we find Michael and Frank sitting at one of the tables.
     Michael's got a coke, Frank's nursing a cup of coffee.

                               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
               That maybe this didn't happen over-
               night for Lucy.  That 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, building the house,
               putting in the pool...and this is
               what I get.
                      (shaking 
                       his head)
               I was married before, when I was a
               kid, to a woman who ran off with a 
               rancher rich enough to buy her every-
               thing she wanted.  With Lucy, I've 
               busted my back making sure she had 
               everything, and it still wasn't 
               enough.

                               MICHAEL
                      (gently)
               It wasn't enough of what she really 
               wanted.
                      (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 to 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 Newald quickly move to secure
     the machine with chains.  Frank jumps down to help.

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

                               MICHAEL
               I'm not that sure.  Call it an 
               educated guess.
                      (smiling)
               Besides, I've got someone on the 
               inside....

                               FRANK
               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 Newald 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 Newald
     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 an ND 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 Newald 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 Newald inside the truck.

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

     The other door opens and Newald 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.

                               NEWALD
               Well, Sam and Junior decided to go
               into business for themselves...
                      (with an edge)
               That's gonna be the last dumb thing
               you boys do....

                               SAM
               Shut up....

     Sam pulls off his mask and cocks his rifle, points it at 
     Newald with shaking hands.  Junior looks at him, scared.

                               JUNIOR
               Wait a minute...you said no more
               killing.  You said the old man was 
               it....

                               SAM
               Yeah, well, now we've got two more 
               witnesses we don't need....

     As they talk, the door to the Bronco opens and Burke leans
     out.

                               BURKE
               Let's go...move it!

     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 as if out of nowhere.  
     Michael hits the dirt, slams on the brakes, and slides toward 
     the thoroughly frightened Sam and Junior who leap out of 
     the way.

     ANGLE ON BURKE

     as he slams the door, fires up the Bronco and roars down
     the highway.

     ANOTHER ANGLE

     as Sam and Junior bolt, Newald and Frank are on them.
     Newald knocks the rifle out of Junior's hand, then tackles 
     him when he tries to make a break for the desert.  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
               Burke....

     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 shoots 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.

     ON MICHAEL

     as he jumps out of the Trans Am, hustles over to the Bronco
     just as Burke jumps out and tries to run for it.  Michael 
     tackles him, they roll in the dirt and, with two solid 
     punches, Burke's under control.  As Michael picks him up
     and props him against the Bronco, we:

                                              FADE OUT

                         END OF ACT FOUR

                               TAG

     FADE IN

     EXT. STREET - DAY

     as the Trans Am moves through traffic.  Inside, we see 
     Michael and Frank.

     INT. TRANS AM - DAY - MOVING

     Frank's doing most of the talking, a smile occasionally
     playing across his face.

                               FRANK
               It was just like it was twenty years
               ago...almost.
                      (smiling)
               Me and Lloyd, we could've taken on 
               a bar full of truckers and come out 
               on top.

                               MICHAEL
               I can believe it.

                               FRANK
               'Course, we were younger then, but we 
               made a helluva team.

                               MICHAEL 
                      (beat)
               You probably still would.

     Michael and Frank exchange a glance.  Just as they do,
     Michael pulls up in front of Frank's house.

     OMITTED

     EXT. FRANK'S HOUSE - DAY

     A taxi's parked in front of the house.

     INT. TRANS AM - DAY

     Frank states 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
               Frank, you asked who helpedme...
                      (beat)
               Lucy did.  She phoned Burke, and
               helped set the whole thing up.
                      (another
                       beat)
               She could've told him what was 
               happening, but she didn't.  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 still 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