ACT ONE
FADE IN
INT. CATHOLIC CHURCH - DAY
A big city church, old and grand, quiet in the late
afternoon. Several women pray silently.
REVERSE ANGLE
Michael enters, pauses to let his eyes adjust to the
reflected light. A priest passes. Michael stops him, asks
him something MOS. The priest indicates another priest, up
in one of the front pews.
OMITTED
ANGLE FROM PRIEST
His name is Father Carlos Laguna. He prays as Michael
approaches, moves in the same pew and kneels. Father
Carlos looks at him.
MICHAEL
Father Carlos Laguna?
FATHER CARLOS
Yes?
MICHAEL
I'm Michael Knight.
Father Carlos has been thinking about this moment.
FATHER CARLOS
Thank you for coming.
MICHAEL
Devon said you might have a name for
me. A contact.
FATHER CARLOS
I'm seeing a man after one o'clock
mass -- the man with the contact's
name. I'll be going straight to my
sister's wedding and reception --
could you meet me there?
Michael nods. A thought:
MICHAEL
I'm on my way back from New Orleans.
I haven't had a chance to get together
with Devon yet, but it sounded like
something the police could handle.
FATHER CARLOS
The attacks are hit-and-run. The
police? They question people, they
take pictures, they count bullet holes.
(beat)
Tuesday afternoon they shot my brother
Miguel, two men in a car with automatic
assault rifles. In the middle of a gas
station in South Houston. Innocent
people could have been killed. They
don't care, these 'Corazones de Piedras.'
MICHAEL
Hearts of....
FATHER CARLOS
That's what my family calls them --
Corazones de Piedras. 'Hearts of
Stone.'
CUT TO
EXT. TWO-LANE HIGHWAY - DAY
The Trans Am speeds by, the only car for miles.
ANOTHER ANGLE
The Trans Am comes over a rise. Ahead, rolling along about
fifty, is the Foundation's semi.
OMITTED
DIFFERENT ANGLE
The semi's hydraulic loading ramp descends and the Trans Am
drives up and in. The semi continues down the highway.
DEVON'S VOICE
I'm afraid what we're dealing with
here is a kind of modern-day range
war....
OMITTED
INT. SEMI - DAY
Bonnie adds new information banks to K.I.T.T.'s computers.
DEVON'S VOICE
It's a war over territory and
markets, but the goods in question
aren't cattle like the old days....
ANGLE ON DEVON AND MICHAEL
Devon tosses Michael a fearsome-looking automatic assault
rifle.
DEVON
This is what it's over.
MICHAEL
(examines it)
Looks like something out of Buck
Rogers or Star Wars.
DEVON
(continuing)
It's called the Nunn X-19, legally
manufactured in Lexington, Kentucky,
advertised as quote 'The most effec-
tive automatic assault rifle in the
world today.' Features as standard
equipment a rocket launcher. Rate
of fire 850 rounds per minute --
more efficient than the Uzi or any-
thing the U.S. Army has in production
at this time. In other words, a su-
perior weapon in all respects.
CUT TO
EXT. DESERTED HIGHWAY - DAY
The semi is pulled over. Devon and Michael move away.
Devon with the Nunn X-19.
MICHAEL
You said legally manufactured.
DEVON
Legally manufactured, diverted into
the world of black market arms by
various means -- weapons 'stolen,'
shipments 'lost,' records 'incomplete.'
The primary market is the turmoil in
Central America.
(tosses Michael
rifle)
Here. I want you to get the feel of
it.
MICHAEL
There's only one way to do that.
Devon nods. Michael raises the rifle to his shoulder,
touches the trigger. It fires a dozen rounds before he can
remove his finger, severs the trunk of a dead tree like a
buzzsaw.
MICHAEL
(impressed)
Makes an M-16 feel like a black-
powder musket.
DEVON
Rather like this weapon is to combat
rifles what Kitt is to conventional
cars.
MICHAEL
Couldn't have said it better myself.
They smile, start back.
MICHAEL
Father Carlos is a priest -- Where
do the rest of the Lagunas fit into
this 'war'?
DEVON
The Laguna family has a monopoly on
just about anything of value that
crosses the border into Mexico ille-
gally. Has had for years. Then
about six months ago that all changed.
CUT TO
INT. SEMI - DAY
Angle on a VCR screen, a series of black and white
surveillance-type photos, blown-up, generally unclear,
appear one after another. The men pictured are tough-
looking Anglos, big, all in their thirties.
DEVON'S VOICE
No one knows exactly who these new
people are. There are six of them,
at least four of whom are veterans,
either Special Forces, or Green Beret.
INTERCUT MICHAEL, DEVON AND BONNIE
They watch the unfolding photos.
DEVON
The Laguna family is proud and
fiercely loyal. And tough. But
these gentlemen, they're different.
They don't play by the old rules.
They've got guns to sell and to do
that the Lagunas have to move over.
The Lagunas resisted....
INTERCUT SCREEN
Several shots of dead bodies on sidewalks or in cars.
DEVON
It's turning into war in the streets.
As I said, they're different. Quite
ruthless as a matter of fact.
MICHAEL
Corazones de Piedras.
DEVON
(nods)
Known in Anglo circles as the 'Stones.'
Devon nods, turns on the lights, shuts the VCR off. Michael
likes the sound of it less and less.
MICHAEL
Before you go any farther, just what
are you looking for from me?
DEVON
Find these men. Convince them you're
a black market arms dealer. Arrange
a buy. If we can catch them 'dirty'
-- with the rifles -- we can cut the
pipeline into Mexico. We'll be saving
lives on both sides of the border.
MICHAEL
Devon, it'll take more than a name
from Father Carlos to sell me as an
arms dealer.
BONNIE
We've arranged some help in that
area.
She moves to the car to show him.
BONNIE
Specialized data banks on Texas,
Mexico, ex-Special Forces and Green
Beret personnel, major and minor
figures in international arms smug-
gling ---
MICHAEL
Bonnie? Has Kitt got it all?
BONNIE
(smiles)
Kitt's got it all.
MICHAEL
(to Devon)
I won't be flying blind here?
DEVON
I've honed it to the final contingency,
my boy.
MICHAEL
In that case you'd better get me out
of here before I change my mind.
(gets into car)
Bonnie, how do you like your steaks?
BONNIE
I've decided to become a vegetarian.
MICHAEL
Not in Texas. In Texas it's a sacri-
lege not to eat steak.
BONNIE
(smiles)
Medium rare.
CUT TO
EXT. HIGHWAY - DAY
The semi's lift slowly lowers and the Trans Am rolls down
backwards and hits the pavement moving. It accelerates,
arcing past the semi and shooting down the highway.
OMITTED
INT. TRANS AM - DAY
Michael drives, glances at K.I.T.T.'s monitor. On the screen
are shots of two men, Ricky and D.D.
K.I.T.T.
This is the suspected leader, known
only as 'Ricky.' No other firm ID.
Picture changes.
K.I.T.T.
This is Ricky's chief lieutenant,
Danny Dwight, no last name. Known
as 'D.D.' No other firm ID.
MICHAEL
(shakes his
head)
I've seen files on shoplifters with
more information.
K.I.T.T.
Shall I continue, Michael?
MICHAEL
Give me all you've got, Kitt.
CUT TO
EXT. RENTED HALL - DAY
The wedding reception is in progress inside. Parked
outside are several dozen cars, Cadillacs, Mercedes and
Jaguars. Outside, loosely grouped in two's and three's,
are heavily armed young men, drinking and joking between
themselves in English and Spanish. From time to time
guests arrive and go in or come outside for fresh air.
Despite the noise, the sense of celebration, there's an
undercurrent of tension.
ANGLE ON TRANS AM
It appears, starts to turn into the parking lot when a hot
muscle car pulls alongside, revs its engine.
DRIVER
(yells to Michael)
You're lookin' at the fastest car in
Houston, the mean machine. Blow that
black bucket right off the street.
MICHAEL
Maybe some other time.
The driver laughs victoriously, peels away. The Trans Am
parks with the other cars.
ANGLE IN CAR
Michael puts K.I.T.T. in surveillance mode.
MICHAEL
Don't fall in love with one of these
beauties and run off on me.
K.I.T.T.
I wouldn't dream of it. Michael,
you haven't finished reviewing my
new data banks.
MICHAEL
Something I should know?
K.I.T.T.
Don't drink the water.
MICHAEL
(smiles)
We're not in Mexico, Kitt. Just
outside of Houston, Texas.
K.I.T.T.
I hear mariachis.
MICHAEL
I'll have to talk to Bonnie about
your Spanish. It's mar-i-ach-is.
He leaves, taking a wedding present in with him.
CUT TO
ANGLE OUTSIDE FRONT OF HALL
Father Carlos Laguna comes out for a cigarette, exchanges
ad-lib comments with several of the young men as Michael
approaches from the parking area. They greet each other,
ad-lib hellos. Father Carlos puts an arm over Michael's
shoulder and moves him away from the others.
MICHAEL
Did you get it?
FATHER CARLOS
The contact's name is Angie.
MICHAEL
I expected a man.
FATHER CARLOS
In this business it pays to expect
the unexpected.
MICHAEL
Who is she?
FATHER CARLOS
All I know is she's a cocktail
waitress at a place called
The Embers in downtown Houston.
MICHAEL
This is hard for you, isn't it.
Father Carlos nods. A figure suddenly appears from behind,
grabs Father Carlos, pinning his arms to his side.
ROBERTO
A thousand Hail Marys or your life!
Father Carlos smiles, bends one knee and executes a perfect
judo move, throwing Roberto off balance. They laugh,
obviously very close.
FATHER CARLOS
Roberto, I want you to meet a friend
of mine, Michael Knight.
They smile, shake hands and ad-lib hellos.
OMITTED
INTERCUT - FIVE TON TRUCK
several blocks away, approaching.
BACK TO SCENE
FATHER CARLOS
Roberto is my youngest brother --
youngest and craziest. Vato loco.
ROBERTO
(laughs)
To be Catholic is hard enough, but
to have a brother who's a priest --
Que Dios tenga misericordia.
INTERCUT - TRUCK
Closer, we can see two men in the cab.
OMITTED
ANGLE ON K.I.T.T.
His surveillance picks it up.
ANGLE ON MICHAEL, FATHER CARLOS AND ROBERTO
They start inside.
K.I.T.T.'S VOICE
(comlink)
Michael, there's a truck approaching
with men hidden in the bed ---
Michael turns, sees the truck, now less than fifty yards
away.
MICHAEL
(comlink)
Kitt, over here -- between us and
them.
(to others)
Look out!
OMITTED
ANGLE ON TRANS AM
It barrels over from the parking area, positioning itself
between the guests and the street as the truck speeds up.
Michael dives on Father Carlos, knocking him down. People
scream and hit the pavement as the truck's tarp lifts and
two men with X-19's rise and strafe the area. K.I.T.T.
deflects most of the bullets. Pandemonium. Michael starts
for K.I.T.T. but Father Carlos grabs his arm.
FATHER CARLOS
Roberto's been hit -- he's bleeding
bad -- please ---
Torn, wanting to pursue the truck, Michael helps Father
Carlos load Roberto into the Trans Am.
LONG SHOT
It speeds off.
CUT TO
EXT. MEMORIAL HOSPITAL - NIGHT - TO ESTABLISH
INT. HOSPITAL HALL - NIGHT
Michael waits alone, a distance from other family members.
Father Carlos comes out of Roberto's room, pauses with
Michael before continuing to the family.
FATHER CARLOS
The bullet tore up an artery in his
leg. With rest and care he'll be
all right.
MICHAEL
Good. I'll be in touch.
FATHER CARLOS
Be careful.
Michael nods, starts away. Father Carlos watches him.
CUT TO
EXT. HOUSTON - NIGHT - UP ANGLE FEATURING HOUSTON'S
DRAMATIC NEW SKYLINE
twenty and thirty-story buildings reaching for the sky.
INT. THE EMBERS - NIGHT
It occupies the top floor of a new hotel, a circular bar
that slowly revolves, providing a spectacular view of the
city below. Michael enters, weaves his way through well-
dressed guests to the bar.
ANGLE AT BAR
Michael sits, looks around, acclimating himself.
BARTENDER
What'll it be?
MICHAEL
Draft. Whatever's coldest.
He draws a draft, places it in front of Michael. Michael
puts a twenty on the bar.
MICHAEL
Keep the change.
BARTENDER
(surprised)
Thank you, pardner.
MICHAEL
I'm looking for someone. A cocktail
waitress named Angie.
BARTENDER
Who wants her?
MICHAEL
A friend of a friend.
He nods, moves around the circular bar to where several
cocktail waitresses are. One is an extraordinarily attrac-
tive young woman. A brief MOS conversation and the young
woman moves to where he sits.
ANGIE
Looking for me?
MICHAEL
Are you 'Angie?'
ANGIE
I'm whoever you want me to be. You
want me to be Angie, I'm Angie.
Who're you?
MICHAEL
Michael.
ANGIE
What can I do for you, Michael?
MICHAEL
I'm a gun collector. An acquaintance
of mine told me you might be able to
steer me in the right direction.
ANGIE
What direction is that?
MICHAEL
I'm looking for some rifles. Auto-
matic Assault rifles.
Her eyes narrow, her face changes.
ANGIE
I don't know what you're talking
about.
She turns to leave but he grabs her arm.
MICHAEL
I'll make it worth your while.
ANGIE
(beat)
I don't know you.
MICHAEL
I'm a businessman. My business just
happens to be weapons.
ANGIE
Who gave you my name?
MICHAEL
A man you've never heard of. A man
who used to do business with the
Lagunas. He said the Lagunas are on
their way out, and you might be able
to introduce me to the people on
their way in.
(beat)
Look, Angie, all I'm asking you for
is an introduction. If I'm not for
real your people will know. That's
their job, not yours.
She hesitates.
MICHAEL
I usually give a five-percent
commission. In your case I'll make
it ten. Take it or leave it.
Her eyes hold him for a long moment.
ANGIE
I'll make a call. If the answer is
yes, I'll meet you in front in five
minutes. If the answer is no, I
don't want to ever see you again.
CUT TO
OMITTED
EXT. SOUTH HOUSTON - NIGHT
The Trans Am leaves the city.
INT. TRANS AM - NIGHT
They drive in silence.
ANGIE
Mind if I turn on the radio?
He shakes his head. She turns it on.
ANGIE
What a strange looking dash.
Michael smiles, anticipating K.I.T.T.'s reaction. The
music is Mexican. She changes the station, more Mexican
music.
ANGIE
Doesn't this radio play anything
beside Mexican music?
MICHAEL
It's a strange radio. Fits in
with dash.
She turns it off, glances at him.
ANGIE
These people are bad. I just hope
you're who you say you are.
MICHAEL
Are you always this suspicious?
ANGIE
No. Just when it comes to this kind
of business. I hate it.
MICHAEL
Then why are you in it?
ANGIE
I'm not 'in' it. I happen to know
these people, that's all.
She looks out the window. Michael studies her, thoughtful.
CUT TO
EXT. DESERT AREA - NIGHT
The Trans Am turns off the highway onto a small two-lane
road, leaving civilization behind. It heads into the
darkness.
OMITTED
INT. TRANS AM - NIGHT
As if for the first time she becomes aware the car she's in
is different, radically different.
ANGIE
What kind of car is this?
MICHAEL
Special. Had it custom-made. How
much farther?
ANGIE
We're there.
MICHAEL'S POINT OF VIEW - AHEAD
The car comes over a rise and ahead, out of the darkness,
is an oasis of light.
EXT. DESERT HOUSE - NIGHT
The house is large and all the more impressive because it's
so unexpected. Country and Western music from inside, loud,
several dozen cars scattered about the front. Pan to the
Trans Am as it approaches, pulls to a stop.
ANGLE AT TRANS AM
Michael puts K.I.T.T. in Surveillance Mode. He and Angie
start for the house. Michael stops, as if having forgotten
something.
MICHAEL
Forgot to lock up. I'll be right
back.
He returns to the car.
MICHAEL
(sotto voce)
Kitt, get the license plate number
of every car here.
K.I.T.T.
I don't have a 'strange looking
dash.' I'm proud of my dash.
MICHAEL
(smiles)
Don't take it personally.
(beat)
I just hope that name you gave me
will work in there.
K.I.T.T.
I simply selected the name least
likely to be traceable with the
information Bonnie added to ---
MICHAEL
Okay. Sorry I mentioned it.
K.I.T.T.
De nada.
(beat)
How's that?
MICHAEL
Not bad, not bad.
CUT TO
INT. HOUSE - NIGHT
The house is surprisingly tasteful, beautifully furnished.
The people present are an interesting mixture of nomadic
high-rollers and their women, Texas chic, jeans and $300
boots, lots of cleavage. People dance, talk and drink,
make moves on one anothers' dates.
ANGLE ON MICHAEL AND ANGIE
They enter, Angie pausing for MOS words with a big bodyguard
in a cowboy hat at the door. They come in.
ANGIE
I'll tell Ricky we're here.
Michael nods. She weaves her way through the crowd, disap-
pears down a hall. Michael looks around, trying to get a
feel for the place, the people. Hard to get a fix on. He
takes a beer from an iced tub, pops it open and drinks.
A Girl in tight jeans and boots passes, pauses. Smiles.
GIRL
Howdy, stranger. What brings you
out this way?
MICHAEL
A little of this, a little of that.
How 'bout you?
GIRL
Same thing, only a lot of this and
a whole lot of that.
(smiles)
I hope to see you later. Don't you
run off, y'hear?
She slides on by, wiggles her jeans for him.
EXT. HOUSE - NIGHT
A new Cadillac pulls out.
INT. TRANS AM - NIGHT
A picture of the car appears on K.I.T.T.'s monitor. The
license plate, the numbers 573 XKY appearing in digital
print, immediately processed.
INT. HOUSE - NIGHT - ON MICHAEL
ANGIE'S VOICE
Michael.
He looks as she appears. She gestures for him to follow her.
INT. BEDROOM - NIGHT
The door opens and Michael steps in.
QUICK CUTS
Two big men grab him and slam him up against the wall.
They are Ricky and D.D. Ricky holds a Magnum on him.
RICKY
Blink and I'll put your brains all
over this wall.
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
INT. BEDROOM - NIGHT
Ricky holds the gun on him while D.D. searches him for
weapons.
MICHAEL
Last fella tried this got kicked in
the face.
D.D.
(face to face)
Yeah? By who?
MICHAEL
I'm a professional. I have a
reputation. I didn't come in here
patting you down, and I expect the
same courtesy.
RICKY
You're either real good or real
foolish. I'll find out which.
(calls)
Angie, get in here.
She comes in, not wanting to.
ANGIE
I'd rather wait outside.
RICKY
You brought him, you stay.
Finished searching him, D.D. moves away. Ricky puts his
arm around Angie. She doesn't like it but she doesn't move
away.
RICKY
Angie tells me you're lookin' for
some guns.
Michael nods.
RICKY
Who said we had 'em?
MICHAEL
Fella named Pavlon told me to look
you up. Emile Pavlon.
Ricky and D.D. study him.
RICKY
(to Angie)
Go get us a coupla cold beers.
Relieved, she leaves.
RICKY
You know Emile, huh? How's he doing
these days?
MICHAEL
He's in Torreon Federal Prison in
Guatemala.
D.D.
Yeah, that's what we heard. Too bad.
That where you met him?
MICHAEL
Nope. Met him in a little town
called Sabana Grande, Puerto Rico,
in '79. He was running Thompsons by
the thousands to Belize. We did
some business. He told me about you.
RICKY
What'd he say?
MICHAEL
Your prices are too high.
Beat. Ricky doesn't show an attitude.
MICHAEL
(continuing)
Other than that, he said you had
access to the best automatic assault
rifles around.
D.D.
Emile still have that tattoo on his
arm?
MICHAEL
Which arm? He's got 'em on both.
Ricky and D.D. exchange a look, seem satisfied for the
moment.
RICKY
Got anything particular in mind?
MICHAEL
(nods)
The Nunn X-19.
D.D.
Good choice. Good gun. How many
you looking for?
MICHAEL
How many you got?
RICKY
Twenty boxes, eight to a box.
MICHAEL
How much?
RICKY
Fifteen hundred a copy. You want
'em all, two hundred forty thousand.
Cash.
MICHAEL
When can we do it?
RICKY
When can you have the money?
MICHAEL
Tomorrow.
RICKY
We'll be ready. When you're ready,
contact Angie.
ANGLE IN HALL
The bedroom door opens and Michael comes out alone.
ANGLE IN BEDROOM
Ricky puts his arms around Angie, pulls her up against him.
RICKY
(to D.D.)
See if you can get a line on Pavlon.
I want to know if this guy's who he
says he is.
CUT TO
EXT. HOUSTON MEMORIAL HOSPITAL - DAY
FATHER CARLOS' VOICE
'The wages of sin is death.'
INT. HOSPITAL ROOM - DAY
Father Carlos is visiting Roberto, who is recovering from
his wound, heavily bandaged.
ROBERTO
I know what the Bible says, Carlos.
Mira mano, if you want to talk to me
talk to me as a brother, not as a
priest. Please.
FATHER CARLOS
I can't separate the two, Roberto. No
Christian can. You can't go on living
with a foot in each world -- church on
Sunday, business-as-usual on Monday.
ROBERTO
Why not? The rest of the world does.
FATHER CARLOS
Roberto, listen to me. You're the
youngest. You can change. You can
leave this craziness behind you.
ROBERTO
How? By becoming a priest like
you? Carlos, one priest is enough
for any family. Someone has to fight.
FATHER CARLOS
Why?
ROBERTO
Because if we don't fight we'll be
killed -- you know that. Carlos,
it's one thing to sit in church and
talk about violence and death and
how it must end, but it's another
thing when you can't drive down the
street without wondering if they're
behind you. It's another thing when
you can't go to your own sister's
wedding without being shot.
(beat)
You talk about me changing. Leaving.
What about the family? What should I
do, turn my back while they shoot my
brothers? I don't think so.
FATHER CARLOS
(gently)
They're my brothers, too. Because I
won't fight and shoot and kill, does
that mean I've turned my back? No,
not to my family. But to violence, yes.
To sin and death, yes, I have turned
my back. They're different things,
Roberto.
Roberto looks away, troubled. Father Carlos touches his
forehead, slowly rises.
EXT. HALL - DAY
The door opens and Father Carlos leaves. Camera pans the
opposite way and we see Angie, waiting. With F.C. gone she
slips into the room.
CUT TO
EXT. MOTEL - DAY
The Trans Am is parked in front. Devon's classic,
meticulously restored car pulls in and parks. He carries a
briefcase in.
INT. MOTEL ROOM - DAY - CLOSE ON A BRIEFCASE
full of cash as it's opened.
MICHAEL'S VOICE
You never cease to amaze me.
WIDER ANGLE
Michael and Devon, briefcase open on the table.
DEVON
You almost made me out a liar on
this one, Michael. I believe I told
you I had every contingency covered.
MICHAEL
Looks to me like you did.
DEVON
By the skin of my teeth. Two
hundred and forty thousand dollars
is a lot of money to raise overnight.
I had to borrow from several accounts,
one being the Annual Charity Benefit
Fund.
MICHAEL
(smiles)
I'll be careful.
DEVON
Please do.
He produces a receipt and a pen for Michael to sign.
DEVON
A receipt for the money.
MICHAEL
Don't you trust me?
DEVON
A formality, dear boy.
Michael signs it. Devon looks pleased.
DEVON
Very good. I can read it.
(beat)
How's Kitt?
MICHAEL
Practicing Spanish every chance he
gets. By the way, I had him run a
make on every car there last night.
Interesting collection of people --
two from Peru, one from Canada, a
couple from Florida....
DEVON
Doesn't surprise me. These 'stones'
are nomads. They have no permanent
address, no families, no roots.
They'll rent a house, stay for a week
or two and suddenly disappear. It
seems they've adopted the tactics of
guerilla warfare and brought it home.
The Lagunas are sitting ducks.
(beat)
When will you know if it's on?
MICHAEL
When the phone rings.
DEVON
Don't take any chances. The serial
numbers on those bills have been
recorded. When you take possession
of the weapons, phone me.
Michael nods, preoccupied. The phone rings and they react.
CUT TO
EXT. RURAL ROAD - DAY
The Trans Am flashes by.
INT. TRANS AM - DAY
Michael and Angie. She looks troubled, tense.
MICHAEL
We meeting them at the house?
ANGIE
Somewhere else.
(beat)
I'm sorry about last night. The way
they treated you....
MICHAEL
All in a day's work. But thanks.
ANGIE
You seem...different.
MICHAEL
From what?
ANGIE
The other people in this business.
MICHAEL
So do you.
He smiles. She looks at him for a moment then glances
away, keeping her thoughts to herself.
EXT. RURAL ROADS - DAY - SEVERAL SHOTS
as the Trans Am barrels through the quiet countryside.
INT. CAR - DAY
They drive into raw outlands.
ANGIE
Turn left on that little road.
Michael slows, turns left on a rutted dirt road.
EXT. ABANDONED WAREHOUSE - DAY
The Trans Am pulls in, parks fifty yards from a windblown
old warehouse. They get out of the car, Michael with the
briefcase. He unobtrusively puts K.I.T.T. in Surveillance
Mode.
ANGIE
(suspicious)
What's that?
MICHAEL
Computerized auto alarm. Just got
it the other day.
They get out. Michael looks around, concerned.
MICHAEL
I thought you said they'd supply
transportation for the guns.
ANGIE
They did. It's probably in the
warehouse.
OMITTED
ANGLE FROM WAREHOUSE
A loose corrugated tin door creaks in the dry breeze.
Spooky. Michael and Angie come toward it, two lone figures
against a barren landscape.
ANGLE ON THEM
Angie stops. Michael turns, puzzled.
ANGIE
Go ahead. They're waiting for you.
MICHAEL
I like company.
ANGIE
They don't.
Michael debates it, continues toward the hangar with the
briefcase. He feels naked.
MOVING SHOT WITH MICHAEL
The wind blows his hair. A raven caws overhead.
ANGLE AT WAREHOUSE
He reaches the door, pauses. Inhales, opens it.
INT. WAREHOUSE - DAY
Dark. Michael steps in.
HIS POINT OF VIEW
Dirt floor, an abandoned washing machine, old mattresses.
Otherwise, it's empty.
ANGIE'S VOICE
Drop the briefcase.
He'd considered it, but he'd grown to like her. Even trust
her within this limited framework. He was wrong. He turns,
sees her standing in the doorway, a .32 pointed at him.
ANGIE
Drop it or so help me I'll shoot you
where you stand.
He drops it.
ANGIE
Step back.
He steps back. She takes the briefcase.
MICHAEL
Is this the way the stones do
business.
ANGIE
They don't know anything about
this. If you try to follow me I'll
shoot. I'm sorry, Michael.
She steps outside, locks the door and disappears.
MICHAEL
(comlink)
Kitt, activate your scanners! Is
there a car in back?
K.I.T.T.'S VOICE
No, Michael, but there is a
helicopter.
The sudden roar of an engine startles him.
MICHAEL
(comlink)
Kitt, get in here!
ANGLE ON K.I.T.T.
He shoots forward, tires squealing.
ANGLE ON WAREHOUSE
K.I.T.T. goes through it like it was papier-mache,
corrugated walls flying with impact.
ANGLE IN WAREHOUSE
K.I.T.T.'s driver door pops open and Michael, running,
leaps in.
ANGLE AT REAR OF WAREHOUSE
A Bell two-saater helicopter is lifting off as the Trans Am
bursts through the wall. The helicopter lifts up and away.
ANGLE IN TRANS AM
MICHAEL
Kitt, we've got to catch that copter!
K.I.T.T.
I'll do my best, Michael.
WIDER ANGLE
The helicopter rises in the sky and the Trans Am, smoking
rubber, sets off after it.
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
EXT. AIRFIELD AREA - DAY
Trans Am races after the helicopter.
INT. TRANS AM - DAY
Michael activates K.I.T.T.'s full array of electronic
surveillance capabilities.
MICHAEL
Kitt, I'm activating your surface to
air surveillance mode and the Microwave
Jammer.
K.I.T.T.
Michael?
MICHAEL
Yeah?
K.I.T.T.
She's got Devon's money, doesn't she?
MICHAEL
(heavy)
Yeah.
INSERT - MONITOR
A radar-like blip shows the helicopter slowly pulling away
from the Trans Am.
BACK TO MICHAEL
K.I.T.T.
Do you know who The Foundation's
Annual Charity Benefit is for?
MICHAEL
Don't tell me.
K.I.T.T.
Widows and orphans.
MICHAEL
(winces)
Like I said, Kitt -- we've got to
catch that copter.
EXT. ROAD - DAY
The Trans Am hurtles past, a blur.
EXT. MOUNTAIN - DAY
The helicopter rises to clear the mountain, its engine
coughing and sputtering from insufficient electricity.
INT. HELICOPTER - DAY
Angie and the pilot look concerned.
EXT. MOUNTAIN ROAD - DAY
The Trans Am zooms up a narrow mountain road.
MICHAEL'S VOICE
It's working, Kitt! She'll have
trouble clearing that peak.
INTERCUT - TRANS AM
The Microwave Jammer glows.
MICHAEL
Give me everything you've got on the
Jammer. Pull enough juice from her
coil to bring her down and I'll
erect a monument in your name.
EXT. PEAK - DAY
The helicopter, sputtering, struggles to clear the peak.
The Trans Am is right behind it, now under it.
INSIDE CAR
Michael pops the sun roof, puts K.I.T.T. on Auto Drive and
starts to climb out.
MICHAEL
Steady, Kitt....
K.I.T.T.
Michael!
The car comes to an abrupt stop.
MICHAEL
What happened?!
K.I.T.T.
I was forced to activate my retro
rockets. Michael, look.
He looks, reacts.
EXT. PEAK - DAY
The car is half-suspended over a cliff. Below lies a steep
gorge which is impassable.
BACK TO MICHAEL
If K.I.T.T. could make it, it would take more time than
they've got. Michael looks at the monitor, sees the bleep
of the helicopter go off the screen. It's suddenly silent.
K.I.T.T.
Widows and orphans, Michael.
MICHAEL
Kitt?
K.I.T.T.
Yes, Michael?
MICHAEL
No monument.
EXT. PEAK - DAY
The Trans Am slowly starts back the way it came.
EXT. CATHOLIC CHURCH - DAY
The Trans Am speeds in, screeches to a stop. Michael jumps
out, hurries inside.
INT. CHURCH - DAY
Michael is with Father Carlos, who's equally distraught.
FATHER CARLOS
I don't know anything about her.
MICHAEL
You gave me her name!
FATHER CARLOS
It was given to me.
MICHAEL
By who?
FATHER CARLOS
I can't tell you.
MICHAEL
You've got to tell me -- she robbed
me, she's got two-hundred and forty-
thousand dollars I'm responsible for!
FATHER CARLOS
It was given to me in the sanctity
of the confessional. I'd be
violating my vows if I told you.
(beat)
I'm sorry, Michael. Please try to
understand.
The tension draws from Michael, dismay replacing it.
FATHER CARLOS
Roberto's disappeared.
MICHAEL
(reacts)
I thought he was in the hospital.
FATHER CARLOS
He checked out an hour ago --
against medical advice. No one's
heard from him.
MICHAEL
You don't think the Stones....
FATHER CARLOS
I don't know what else to think...
do you?
Michael pauses before answering, struck by a thought.
MICHAEL
I'll let you know.
He hurries out.
CUT TO
INT. HOSPITAL ROOM - DAY
A Nurse prepares the room for a new patient being wheeled
in. Michael appears behind the patient.
NURSE
I'm sorry, visiting hours are over.
MICHAEL
I'm not visiting, I'm here to
inquire about the patient who was in
this room -- Roberto Laguna.
NURSE
You'll have to check with Admissions.
MICHAEL
I've checked with Admissions, they
don't know -- were you on duty when
he left?
NURSE
I'm really not authorized to answer
these questions ---
MICHAEL
Miss, this could be a matter of life
and death.
NURSE
Whose?
MICHAEL
Mine among others.
NURSE
(beat)
It was kind of strange...They hurried
out, like someone was after them.
MICHAEL
'They?' Who was he with?
NURSE
A girl.
CUT TO
EXT. HOSPITAL PARKING LOT - DAY
Michael and the Nurse sit in the Trans Am, doors open.
MICHAEL
(to K.I.T.T.)
I need a visual on Angie -- lets
see, brunette hair, blue eyes ---
K.I.T.T.
I can do better than that.
NURSE
(reacts)
What's going on here? What kind of
car is this?
A photo-like image of Angie appears on the monitor.
MICHAEL
Is that her?
NURSE
My God, it's amazing....
MICHAEL
(urgent)
Is it?
NURSE
Yes.
ANOTHER ANGLE - THE TRANS AM
speeds out, leaving the Nurse staring after it.
MICHAEL'S VOICE
Give me all you've got on Angie --
full name Angeline Martin.
K.I.T.T.'S VOICE
Devon is calling.
MICHAEL'S VOICE
Tell him I'm...in transit.
CUT TO
INT. TRANS AM - DAY
Computer lights flash and whir.
K.I.T.T.
Angeline Martin, Texas driver's
license number F 10762B. No regis-
tered vehicle. No current address.
Father, deceased. Mother, where-
abouts unknown.
MICHAEL
Great.
K.I.T.T.
I'm not finished.
MICHAEL
Sorry.
K.I.T.T.
Sister, Monica Johnson, divorced.
Angie used her address for mail until
two months ago.
MICHAEL
If they're looking to lay low for a
day or two it's worth a shot. Where's
she live?
K.I.T.T.
Gatesville, Texas, thirty-nine miles
west, southwest of Waco.
MICHAEL
If Angie doesn't own a car, what
about Roberto Laguna?
K.I.T.T.
A light green sedan, license plate
375 RKJ.
MICHAEL
Kitt, plot me the most likely route
from here to Gatesville.
K.I.T.T.
Si.
Lights flash and a route appears on the monitor.
K.I.T.T.
Devon's calling again.
MICHAEL
Tell him....
K.I.T.T.
Michael, I'm not constitutionally
constructed to lie.
MICHAEL
None of us are, Kitt. Think of it
as a temporary condition for a good
cause.
K.I.T.T.
What cause?
MICHAEL
My hide.
EXT. HIGHWAY - DAY
The Trans Am shoots by.
INT. TRANS AM - DAY
Michael is discouraged.
MICHAEL
They could be heading for Mexico for
all I know.
(beat)
Activate scanners, Kitt.
DEVON'S VOICE
Michael? It's Devon. Are you there?
K.I.T.T.
You might as well face up to it.
MICHAEL
Thanks, pal.
He's ready to push the com-button when:
K.I.T.T.
I've got a reading! License plate
375 RKJ.
EXT. HIGHWAY - DAY
The Trans Am accelerates, passing more cars.
MICHAEL'S VOICE
Tell Devon, 'No en casa.'
CUT TO
EXT. MOTEL - DAY
A light green sedan pulls in and parks, Angie getting out
with an armful of take-out food and the briefcase, Roberto
with her, limping on crutches. They go to their door, open
it.
INT. MOTEL ROOM - DAY
Angie comes in, freezes.
REVERSE ANGLE - MICHAEL
is sitting on the sofa.
MICHAEL
Buenos dias.
Roberto goes for a gun but Michael is across the room in
three steps, takes it away from him.
ANGIE
(stares)
How did you find me? I can't
believe you found me....
ROBERTO
What do you want?
MICHAEL
We can start with the money.
He holds out his hand. Reluctantly Angie hands him the
briefcase. He opens it on the coffee table, checks to make
sure it's all there. It isn't.
MICHAEL
How much is gone?
ANGIE
Four hundred dollars and some
change. Helicopters aren't cheap.
MICHAEL
Not much is these days. Except maybe
promises.
(beat)
Don't just stand there. Come on in.
Make yourselves comfortable.
They close the door and sit, uncomfortable.
ROBERTO
You got your money back. What do you
want from us?
MICHAEL
For a change of pace the truth.
Why did you set me up?
ANGIE
I had no other choice.
MICHAEL
I don't know what that means.
ANGIE
(beat)
I don't know where to start...all
right, you want the truth, Roberto
and I met at The Embers three months
ago. We fell in love. We didn't mean
to, it just happened...then we real-
ized we couldn't be in love, not in
Houston, not in Texas as long as the
Lagunas and the Stones are at war.
We wanted to leave but we had no
money...and then you came along with
a briefcase full of cash. It seemed
like providence.
MICHAEL
It wasn't.
She looks away, not proud of herself.
ROBERTO
Who are you to talk? To judge? You
deal illegal weapons.
MICHAEL
No, Roberto. I say I deal illegal
weapons. There's a difference.
They look at him.
ANGIE
Who are you?
MICHAEL
That doesn't matter. What matters
is I'm here to stop this warfare.
Stop the X-19s from going to
Central America or anywhere else...
and I still need your help.
ANGIE
You'd trust me after all that's
happened?
MICHAEL
I didn't say that.
ANGIE
(beat)
What do you want me to do?
MICHAEL
Come back to Houston with me....
ANGIE
Why?
MICHAEL
You said you did what you did on your
own. If that's true, Ricky and D.D.
still have twenty cases of Nunn
X-19s for sale.
Angie is torn, undecided.
ANGIE
This is our chance! If we don't get
out now....
MICHAEL
There's more than you and Roberto
at stake here. There's other people,
other lives. You can't make a new
start until you can walk away from
this clean, once and for all.
(beat)
Come back with me. I need your help,
Angie.
EXT. MOTEL - DAY
The door opens and Michael comes out with the briefcase,
pauses. In the doorway, Angie and Roberto embrace.
ANGIE
I'll be back as soon as I can, I
promise.
CUT TO
EXT. HIGHWAY - DAY
The Trans Am speeds by, headed for Houston.
CUT TO
INT. MOTEL ROOM - DAY
Roberto paces, wrestling with himself. He picks up the
phone and dials the desk.
ROBERTO
(into phone)
I want to call Houston. Bill it to
the room.
He gets a line, dials the phone.
ROBERTO
(phone)
Eduardo, es Roberto. Como esta? Bien?
(pause)
Eduardo, something's happened. I
know how we can find Corazones de
Piedras....
CUT TO
EXT. PHONE BOOTH IN HOUSTON - DAY
Camera pans from Angie making a call to the Trans Am,
where Michael waits.
MICHAEL
(car-com)
Look, Devon, it's all right now ---
INTERCUT - DEVON
in the Foundation office with Bonnie.
DEVON
Michael, don't tell me you lost the
money.
MICHAEL
I didn't lose the money.
DEVON
Then why have you been avoiding me?
MICHAEL
I ran into a few problems.
DEVON
You lost the money.
MICHAEL
Well, I misplaced it, but I got it
back.
DEVON
I knew it. Michael, the Charity
money is for....
MICHAEL
(finishes
with him)
Widows and orphans.
(sees Angie
returning)
Devon, I've got to go. I'll call you
as soon as I know what's happening.
Give my love to Bonnie.
He disengages the car-com as Angie gets in.
MICHAEL
What did you say?
ANGIE
I told them you'd been delayed, but
everything was all right now.
MICHAEL
Are we on?
ANGIE
Because we didn't show up today, they
want to see the money first, this
time. In person.
INT. DEVON'S OFFICE - DAY
He sighs.
BONNIE
Is he all right?
DEVON
For the moment.
BONNIE
What did he say?
DEVON
He said to give you his love.
BONNIE
Are you sure he's feeling all right?
CUT TO
EXT. HOUSE IN DESERT - NIGHT
The Trans Am pulls in, Michael and Angie getting out. No
party tonight, only one other car visible, an off-road
truck.
INT. LIVING ROOM - NIGHT - CLOSE ON BRIEFCASE
as it is popped open.
WIDER ANGLE - RICKY AND D.D.
count the money while Michael and Angie watch. The mood is
tense.
D.D.
It's all here.
Ricky nods, closes the briefcase. Looks at Michael.
RICKY
What happened today?
MICHAEL
Ran into a few problems.
Ricky nods slowly, studying him.
D.D.
You expecting any problems tomorrow?
MICHAEL
(shakes
head)
I'll be here with the money. You be
here with the guns.
RICKY
Twelve noon.
MICHAEL
That's good with me.
RICKY
This is your last chance. You screw
up tomorrow, find somebody else. If
you can.
MICHAEL
I'll be here.
D.D. hands him the briefcase and they start for the door.
D.D.
Hold on a minute.
They stop, Michael with an uneasy feeling.
D.D.
Almost forgot. A fella stopped by,
knows an old friend of yours.
As if on cue a Man appears from one of the other rooms.
He's older, late forty's, a friendly if crafty face. He
speaks with a slight French accent.
MAN
My friends here tell me you know
Emile Pavlon.
MICHAEL
(beat)
Yeah...yeah, I do. You know Emile?
MAN
One of my closest friends. Then he
went to Guatemala and...
(smiles)
I'd visit him, but I have an
aversion to prison.
He smiles. Michael smiles, uneasy.
MICHAEL
I know what you mean.
MAN
Nice to meet a friend of Emile's.
Good luck.
MICHAEL
Take it easy.
They leave. There's a silent moment, then Ricky and D.D.
look to the Man.
RICKY
You know him?
MAN
I've never seen him before. Do you
think he's with the Lagunas?
RICKY
That'd be my guess. They been
trying to get a fix on us for months.
D.D.
We'll have a few surprises for 'em
tomorrow.
D.D. peels off five thousand dollar bills, hands them to
the Man.
D.D.
Always a pleasure doing business
with you, Emile.
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
EXT. ROAD - NIGHT
The Trans Am heads back toward Houston.
INT. TRANS AM - NIGHT
Silence in the still countryside. Angie looks at him.
ANGIE
Don't be too angry with me.
MICHAEL
Right now, I'm more concerned with
who that fella back there was.
ANGIE
Who do you think he was?
MICHAEL
I don't know, that's the problem.
(looks at her)
Do you know?
ANGIE
(hurt)
No. I lied to you, Michael. I'm
not asking you to excuse it, just
try to understand it.
(beat)
I won't do it again.
MICHAEL
I'd like to believe that.
ANGIE
You can.
A moment passes.
MICHAEL
I just hope Roberto stays where he
is.
ANGIE
He's waiting for me -- why wouldn't
he stay? He loves me.
MICHAEL
I don't doubt that.
ANGIE
Then what do you mean?
MICHAEL
He's been in love with you for
months, but he's been a Laguna all
his life.
CUT TO
EXT. MOTEL - NIGHT
The Trans Am pulls in and parks, Michael getting out.
INT. MOTEL ROOM - NIGHT
Camera pans the dark room, Michael's clothes over a chair,
reaches the bed where he lies. Camera moves in and we
realize he's awake. Sleepless. Now footsteps, pausing at
the door. Michael leaps out of bed and moves behind the
door. A knock.
MICHAEL
(making voice
sound sleepy)
Who is it?
DEVON'S VOICE
Devon.
Relieved, he opens the door, turns on the light. Devon
steps in, reacts to Michael's appearance.
DEVON
Going out?
Michael realizes he's nude except for shorts, smiles, gets
his pants and puts them on.
MICHAEL
What's up?
DEVON
I was in the neighborhood.
MICHAEL
Right. And I'm a high-wire walker
on my way to the circus.
Devon smiles, sits down. Looks at him. Michael can tell
he's got something important on his mind.
MICHAEL
What?
DEVON
I've been in constant touch with
Guatemalan authorities.
MICHAEL
I appreciate that.
DEVON
Emile Pavlon escaped from Torrean
Prison day before yesterday.
Their eyes catch. Michael feels the news in his stomach.
Devon rises, moves to Michael.
DEVON
I want you to cancel the buy
tomorrow.
MICHAEL
Why?
DEVON
Michael, he had help! Somebody paid
off the guards.
MICHAEL
It could've been someone else.
DEVON
It could've been someone working with
the Stones, too. Emile Pavlon had
been in prison over two years. Doesn't
it strike you as peculiar he escaped
the day after you used his name to fit
your cover?
Michael paces.
DEVON
Michael, I appreciate your
dedication. I admire your courage.
I do not, however, want to mourn
your death.
MICHAEL
What about the other deaths, Devon?
The innocent people caught in the
crossfire in Houston. The peasants
in Central America.
A moment between them.
DEVON
As always, it's your decision.
He moves to the door, pauses.
DEVON
If you decide not to take the
chance, call me.
MICHAEL
If I don't call?
DEVON
I'll be waiting on standby as
agreed. Whatever you decide, I'm
behind you all the way.
CUT TO
INT. TRANS AM - DAY - MOVING SHOT
Michael and Angie drive in silence. The tension is
palpable.
ANGIE
Michael? I don't know what it is....
MICHAEL
What?
ANGIE
I'm so scared. I have this awful
feeling...It's going to be okay,
isn't it?
MICHAEL
It'll be okay.
CUT TO
EXT. ROAD TO HOUSE - DAY
The Trans Am comes over the rise.
INT. TRANS AM - DAY
They look.
THEIR POINT OF VIEW - THE SAME AS BEFORE - THE OFF-ROAD
TRUCK
parked where it was. Nothing has changed.
BACK TO THEM
Angie starts to get out but Michael stops her. He activates
the scanner.
ANGIE
What're you doing?
MICHAEL
I'll explain later.
K.I.T.T.
There's no one inside.
ANGIE
What is that -- that voice ---
K.I.T.T.
Michael, there are four cars
approaching.
MICHAEL
How far away?
K.I.T.T.
Two hundred yards and closing fast.
I've also detected movement in the
ravine by the road.
Michael activates the radar probe.
MICHAEL
Pinpoint it for me.
OMITTED
ANGLE ON MONITOR
The radar probe reveals the Stones half a dozen strong, lead
by Ricky and D.D., lining either side of the road. They are
fully armed, combat-ready. In addition to the Nunn assault
rifles, there is an antitank bazooka and other assorted weapons.
MICHAEL
Ambush. Notify Devon ---
K.I.T.T.
Michael? Over the rise.
THEIR POINT OF VIEW - THE FOUR CARS
appear, one behind the other, loaded with men. The lead
car we remember from before -- Roberto's light green sedan.
BACK TO THEM
ANGIE
(reacts)
Roberto! Oh, God, no....
Before Michael can grab her she's out of the car and
running toward the road.
MICHAEL
Angie!
ANGIE
He'll be killed! They'll all be
killed!
She continues running, waving her arms wildly in hopes of
alerting the Laguna cars.
ANGLE IN RAVINE
D.D. points out the Laguna cars to Ricky.
D.D.
Just like we figured -- the whole
bunch of 'em.
Ricky raises field glasses.
RICKY
They think we gave 'em hell in Houston,
wait'll they see what we got waiting
for 'em here --
(reacts to some-
thing off)
What's that?
THEIR POINT OF VIEW - THE TRANS AM
is speeding toward the road, toward Angie.
ANGLE IN CAR
Michael behind the wheel.
MICHAEL
Hang on to your fenders, pal, this
one could be tough.
K.I.T.T.
Michael, surely you don't expect me
to....
ANGLE ON ROAD
A land mine explodes beneath the car, rocking it violently.
ANGLE ON ANGIE
Fifty feet ahead of the car, running, waving to the
approaching Laguna cars, screaming.
INTERCUT - STONES
Dismayed the mine hasn't taken out the Trans Am, they train
all their firepower on it.
ANGLE IN CAR
Michael accelerates, pushes Auto Drive.
MICHAEL
Keep it steady, Kitt, and open the
door...now!
ANGLE FROM ROAD
The passenger door opens just as the car parallels Angie.
Michael reaches out with both hands, half-suspended
out the car, grabs ger as they pass.
ANGLE IN CAR
He hauls her in like a sack of potatoes.
MICHAEL
Full speed, Kitt!
INTERCUT - STONES
Desperate to stop the car, determined, they rise from their
bunker-like positions and open up with every weapon in
their arsenal.
INTERCUT - CAR
It is hit from all sides in a withering assault. More land
mines explode beneath it. The body shudders and shakes, is
literally lifted off the road by the land mines, progress
impeded but never stopped.
INTERCUT - STONES
They attack with a vengeance as the Trans Am passes, run
out onto the road to continue firing.
WIDER ANGLE - THE TRANS AM
succeeds in running the gauntlet just as the Laguna cars
arrive. He lets Angie out, hits the accelerator.
MICHAEL
Got an idea, Kitt. A little tear gas....
ANGLE ON LAGUNAS
They screech to a stop, one car behind the other, forming a
rough half-circle. The men leap out and begin firing at
the Stones. The Trans Am appears, moves in between them.
ANGLE IN TRANS AM
He pushes the Smoke Release button and turns the steering
wheel violently.
ANGLE OUTSIDE CAR
The Trans Am spins in circles, smoke billowing out, filling
the air, spreading.
INTERCUT - LAGUNAS
Unable to see, they begin to stop firing.
INTERCUT - STONES
also unable to see. Some of the men start coughing, stop
firing.
ANGLE ON RICKY
Unseen by the others, he sprints away, back toward the
house, taking an X-19 with him.
ANGLE FROM OFF-ROAD TRUCK
Ricky leaps in, fires it up and pulls away, headed for open
country.
ANGLE ON RISE APPROACHING HOUSE
The sound of sirens approaching and half a dozen police cars
appears, one after the other.
INTERCUT - LAGUNAS
They drop their weapons.
INTERCUT - STONES
They drop theirs as well.
ANGLE ON SMOKE
It fills the screen and then the Trans Am appears, coming
from nowhere, leaping the ravine.
ANGLE ON OFF-ROAD TRUCK
Ricky is driving, convinced he's escaped. The Trans Am
suddenly appears behind him, accelerates over a little rise
and lands in the truck bed.
ANOTHER ANGLE
Michael grabs at Ricky in the cab. Ricky slams on the
brakes, jumps out with the X-19, but Michael leaps on him.
They trade punches until Michael connects with a solid
right. Ricky crumples and goes down.
OMITTED
ANGLE AT TRANS AM
Michael appears with Ricky slung over his shoulder. He
lays him over the hood, as one might a bagged deer.
OMITTED
EXT. ROAD TO HOUSE - DAY
The police are searching and handcuffing the Lagunas and
the Stones when the Trans Am rolls up, Ricky unconscious
across the hood. Everyone stares.
ANGLE ON DEVON AND ANGIE
waiting.
ANGLE ON TRANS AM
Michael gets out, crosses to them. Angie sees Roberto,
starts to run toward him but an officer stops her.
MICHAEL
He wouldn't be here today if I
hadn't brought Angie back.
DEVON
I'll see what I can do.
(to officer)
I think perhaps an exception is in
order here.
Michael turns to Angie, watching Roberto.
MICHAEL
It's okay...when this is over, you'll
be free, you and Roberto.
Devon looks at her, nods it's okay. Angie hugs Michael and
runs to Roberto.
OMITTED
ANGLE ON MICHAEL AND DEVON
watching, they smile.
MICHAEL
Need a lift?
DEVON
You don't expect me to hoof it, do
you?
Michael smiles. They move for the cars.
MICHAEL
I see you're picking up the local
vernacular.
DEVON
All I need to learn now is The Texas
two-step.
LONG SHOT
Before anyone can ask how, or who, the Trans Am leaves.
Camera rises above the scene, the devastation, staying on
the car until it's a black dot on the horizon.
FADE OUT
END OF ACT FOUR
TAG
FADE IN
EXT. DESERTED HIGHWAY - DAY
The same area where Michael and Devon first met. The semi
is pulled over to one side, ramp down, Bonnie waiting.
ANOTHER ANGLE
The Trans Am appears over a rise, glides to a stop at the
ramp, Michael and Devon inside. Smiles, ad-lib hellos.
Devon gets out.
K.I.T.T.
Bonnie, ai-yee! Ay que chula.
BONNIE
(laughs)
Why thank you, Kitt.
MICHAEL
Show off.
They laugh. Michael starts to pull K.I.T.T. in when
there's a screech of tires behind them.
ANOTHER ANGLE
It's the hot car from the wedding. The Driver revs the
engine.
DRIVER
(grins)
Well, look who's here. You did say
'some other time,' didn't you?
K.I.T.T.
(before Michael
can answer)
I believe those were your exact
words.
Michael smiles, pulls back off the ramp.
BONNIE
Wait a minute, you owe me a steak.
DEVON
(laughs)
She's got you there, Michael.
MICHAEL
One steak, medium rare. Give me
five minutes?
DEVON
Only if you buy me one too. Medium
well.
MICHAEL
You got it.
(to Driver)
Okay, mean machine. Pedal to the
metal.
HIGH ANGLE
The hot car is floored, tires spinning. It shoots ahead
like a jack rabbit. Then, Michael stands on K.I.T.T.
The Trans Am closes the gap within seconds, flies by the
hot car and flashes down the road like the hot car is still
in low gear.
FADE OUT
THE END
