ACT ONE
FADE IN
OMITTED
EXT. BAY - NIGHT
On shore the lights of a city twinkle romantically. Sitting
like a diamond on a black velvet setting, we see a lavish
yacht. The sounds of laughter and music drift across the
water. A party is in progress.
EXT. YACHT - CLOSE ON TIARA - NIGHT
A ravishing woman in her midtwenties. Looking terrified.
Suddenly, a knife whistles past her shoulder, sticks in
the wall. Tiara shudders slightly. Another knife flashes
past the other shoulder. We hear applause, and pull back
to reveal:
EDUARDO O'BRIAN
Half Mexican and half Irish. Tall, dark, with a flashing
smile, piercing eyes and an animal intensity that intimidates
men and excites women. He's holding three more knives.
Tiara begs with her eyes for him to stop. O'Brian, almost
in a trance, doesn't even seem to notice her. Suddenly,
he throws the knives, one after the other. In a blur of
movement. With unerring accuracy, the knives hit their
marks around Tiara's body. The guests gasp, then applaud.
Eduardo turns, smiling, and bows to them. Tiara, white
as a sheet, grabs a glass of champagne, downs it, then
turns and hurries across the deck. We follow her, then
pan down toward the water, where we see:
A FIGURE
in the water, swimming toward the boat. He reaches the
bow, grabs the anchor chain and deftly pulls himself up the
chain. We return to:
EDUARDO O'BRIAN
as Elton Matthews, O'Brian's American business partner and
his trusted lieutenant, steps up to him.
MATTHEWS
We've just received a message.
They've got to move tonight.
O'Brian glances at Matthews, more irritated than concerned.
EDUARDO
Make the necessary arrangements.
Matthews nods, moves off through the party.
CUT TO
INT. CORRIDOR - NIGHT
where the black-clad commando appears. We glimpse his face
-- it's one we'll see again. It belongs to David Dalton.
He hesitates outside of a stateroom door, then ducks inside.
INT. STATEROOM - NIGHT
It's more an office than a stateroom. Nicely furnished
with desk, chairs, bookshelves. David moves directly to a
safe in the floor behind the desk -- as though he knew it
was there. He pulls a slip of paper out of a sleeve,
consults it as he tries to open the safe. Much to his
surprise, it doesn't budge. Then we hear footsteps
outside. David freezes.
INT. CORRIDOR
as Elton Matthews walks quickly down the corridor, past the
stateroom to the neighboring room. He steps inside. As he
does, David steps silently into the corridor, moves to the
neighboring room, presses his ear to the door. We hear:
MATTHEWS' VOICE
...in Calexico. The number's 555-4225.
Suddenly, David turns. More footsteps. David turns and
sprints in the other direction. He reaches the door, opens
it, disappears just as a guard enters at the opposite end.
OMITTED
EXT. YACHT - NIGHT - ON DAVID
coming out another hatch, running like the wind along a
walkway on the far side of the boat. In front of him, we
hear voices coming from the crew's quarters. Without a
split second's hesitation, David turns, flips over
the railing.
OMITTED
WIDER ANGLE ON THE GUARD
emerging from the hatch, pulling a gun as he moves down
the walkway. He stops, listens, his boots inches from
David hanging precariously just below the walkway. Then,
apparently satisfied, he finally moves on toward the crew's
cabin.
ON DAVID
barely hanging on. Below him is another anchor line,
several feet above the water. David inches slowly,
painfully, to his right, then drops into the water. As
he does, we go to:
OMITTED
THE STATEROOM
where Elton is still on the phone.
MATTHEWS
I don't care what time it is, Elmo!
just get your butt out there...They're
expecting delivery at Boca Culebra by
dawn....
Off this, we:
CUT TO
OMITTED
EXT. APARTMENT - NIGHT
Two blocks off the main drag in this sleepy little border
town of Calexico. Through a window, we see Elmo Elliott
on the phone. He slams it down and a beat later emerges
from the apartment wearing a heavy jacket. As Elmo gets
into his truck and heads into the night, we see the lights
from a second car following at a discreet distance.
Inside, we see Arthur Abrahms. In a sportcoat and tie,
he's clearly not from this part of the country. As he
disappears down the street:
CUT TO
EXT. WAREHOUSE - NIGHT
As a semi, lights off, pulls into a warehouse. As quickly
as it's inside, the doors are pulled shut.
INT. WAREHOUSE - NIGHT
as a handful of men converge on the truck. A forklift
is pulled up to the rear as the door is pushed open.
Inside, we see the lethal-looking front of a state-of-the-
art rocket launcher. As the forklift begins to gingerly
lift it out of the semi, we:
CUT TO
EXT. BORDER - NIGHT - CLOSE ON FIRE
somewhere on the Mexican side of the border. A dozen
Mexicans, about to become illegals, huddle around the fire.
Three vehicles appear out of the darkness: two vans and a
deuce-and-a-half. Four armed guards hang on the truck.
A Coyote steps up, douses the fire with water.
COYOTE
(in Spanish)
Let's go! Move it!
The Mexicans jump to their feet, hurry for the two vans.
As they're loaded into the van, we:
CUT TO
EXT. BORDER - CALIFORNIA SIDE - NIGHT
Nothing but black. Then we see a signal flash. There's an
answer from the other side. We hear the sound of trucks
starting, starting to roll down the road.
WIDER ANGLE - FEATURE A MAN
flashlight in hand. He lights a cigarette and the match
illuminates the man's face: it's Elmo. It also illuminates
the badge and border guard shirt he's wearing under his
jacket. His attention is on:
ANOTHER ANGLE ON THE DIRT ROAD
as the three vehicles appear and move toward the crossing,
we hear the whir of a camera and see the freeze frame of
pictures being taken. We pull back to see:
ARTHUR ABRAHMS ON A RISE ABOVE THE ROAD
taking the pictures, a telephoto lens on his camera. He
stops, takes a tape recorder out of his pocket, speaks
into it:
ABRAHMS
Friday, two thirty, AM...this is the
third crossing...same vehicles: two
vans and a heavily guarded truck...
I'm going to try and follow vehicles
to their destination....
Abrahms stuffs his recorder into a pocket, moves in a
couch along the rise. We go back to:
THE CARAVAN
as the guards peer into the surrounding darkness, watching
for any signs of danger. Suddenly, one of them spots
something, shouts in Spanish to the driver of the truck.
The driver jams on his brakes and two armed guards leap off
and run into the darkness.
ANOTHER ANGLE NEAR THE CROSSING
where we pick up Arthur Abrahms running like a scared rabbit,
his camera dangling in his hand. A blast of automatic gun-
fire hits him and he hits the pavement, his camera and tape
recorder flying, a beat later the guards run up. A booted
foot crushes the camera, then the tape recorder. As film
and tape are removed from each:
CUT TO
EXT. DESERT HIGHWAY - DAY - STOCK
The blacktop cutting across the flat, dry desert. Not much
to see in any direction. Except the sleek, black Trans Am
cruising at about ninety.
INT. TRANS AM - DAY
Michael's driving, watching the countryside.
MICHAEL
That's Mexico across the border, Kitt.
What do you think?
K.I.T.T.
I think it looks exactly like California.
MICHAEL
Some traveler you'd make.
K.I.T.T.
Michael, I really don't understand
borders and different countries. You're
all people, aren't you?
MICHAEL
Sure, but we've got different
languages, cultures, customs....
K.I.T.T.
Of course, but why compartmentalize
yourselves? Wouldn't it be easier to
just live together, without all these
artificial lines?
Michael smiles.
MICHAEL
Probably, but you'd sure put a lot of
politicians out of business.
CUT TO
EXT. STREET IN CALEXICO - DAY
as the Trans Am pulls up in front of a motel. It might be
one of the nicest in town, but it's still tacky. Michael
gets out, surveys it, leans into K.I.T.T.
MICHAEL
You sure this is the place?
K.I.T.T.
I'm positive. Upstairs...in room #17.
Michael crosses to the motel, climbs the stairs.
ANGLE ON THE MOTEL
as Michael heads for #17. The door to the room is open and
we can hear a Woman's Voice.
WOMAN'S VOICE
But, this was a silk dress. When
I asked to have it cleaned, I didn't
mean the corner laundromat.
As Michael approaches the door, a motel clerk backs out of
the room. She's followed by a beautiful woman in her
late thirties. This is Joanna St. John. She's holding
what used to be a lovely silk dress.
JOANNA
(sighing)
Thirty thousand silk worms sacrificed
their cocoons for this dress.
Joanna glances over, sees Michael. She doesn't miss a beat.
JOANNA
You must be Michael Knight....
Michael nods, Joanna turns back to the clerk, hands her the
dress. She smiles at her.
JOANNA
Why don't you keep it? It wasn't
really my color anyway....
CUT TO
INT. HOTEL ROOM - DAY - CLOSE ON NEWSPAPER ARTICLE
A picture of Arthur Abrahms, under the headline, "Prominent
Federal Lawyer Slain in Border Shootout." A subheading
reads: "Payoff Suspected." We hear:
JOANNA'S VOICE
'Payoff suspected'...Do you know what
they did? They killed him --
murdered him -- and then stuck five
thousand dollars in his pocket and
left him lying in the dust like a
cheap criminal....
Over this we've pulled back to reveal Michael leaning over
a desk covered with papers, files, newspaper clippings.
MICHAEL
You said you thought he'd been killed
because he was 'getting too close.'
Too close to what?
Joanna's pacing back and forth across the room. She shrugs.
JOANNA
I don't know. Arthur worked for the
Attorney General's office. He often
handled cases he couldn't talk about.
MICHAEL
Since this was a Federal investi-
gation, maybe you should let the
government take care of it.
Joanna turns to Michael, her eyes flashing.
JOANNA
No. The government, in its infinite
wisdom, will pursue this with the
ardor and alacrity of a hippopotamus.
(a beat)
I need an advocate. I need someone
who can function outside the bureau-
cracy. That's why I called the
Foundation.
MICHAEL
You've gone through Arthur's things.
Anything useful?
JOANNA
I'm not sure.
She reaches for her purse.
JOANNA
He scribbled this in his checkbook....
She hands Michael an open checkbook.
MICHAEL
(reading)
'Boca Culebra.'
JOANNA
'Mouth of the Snake.' I don't have
any idea of its significance. Even
if it's significant at all.
(beat)
Or this...I found it hidden under the
seat of his rental car.
She fishes into her purse, hands Michael a piece of broken
pottery, about the size of a bread plate, hollow in the
center -- as though it had held something else. Michael
studies it, feels the gritty desert sand that clings to it.
As he does, we:
CUT TO
OMITTED
EXT. BORDER - DAY
A dusty, desolate part of the border. A single dirt road
runs through the area, a second runs parallel to the border
itself. The Trans Am is parked. Michael is scanning the
desolate area, Joanna at his side.
MICHAEL
You're sure this is where they found
him?
JOANNA
I came out with the police. Why?
MICHAEL
Because there hasn't been much traffic
through here...
(pointing)
Except for those tracks and they run
parallel to the border, not across it.
Michael turns to K.I.T.T. Joanna watches, more than a
little curious.
MICHAEL
Kitt, what can you tell me about
those tire tracks?
JOANNA
Are you talking to me?
MICHAEL
No, my car. Actually it's a computer
...my partner. He's a terrific guy.
JOANNA
That's what I was afraid of.
Joanna looks at Michael like he's a little nuts as:
K.I.T.T.
Thank you, Michael. The feeling's
mutual.
(beat)
The size of the tracks indicates a
smaller tire, probably on a four-
wheel vehicle. The treads indicate
newer tires.
JOANNA
Michael, Arthur's rental was a new
four-wheel drive.
MICHAEL
Then let's see where those tracks
come from.
Michael and Joanna jump back into the Trans Am, follow the
tracks down the dusty road.
CUT TO
OMITTED
EXT. ANOTHER PART OF BORDER - DAY
The spot the nighttime crossing took place. We see the
tracks of several trucks. The Trans Am pulls up. Michael
and Joanna get out.
MICHAEL
Looks like an army moved through here.
Joanna nods, then gasps as she sees something near the
crossing area. She hurries over and picks up a dusty,
broken piece of pottery.
JOANNA
Michael!
Michael hurries over, inspects the piece.
MICHAEL
It's the same kind of pottery you
found in Arthur's car.
Joanna nods. Michael leads her over to K.I.T.T.
ANGLE ON K.I.T.T.
as Michael leans in, puts the two pieces of pottery into
K.I.T.T.'s analyzer. Joanna reacts.
MICHAEL
Kitt, give me a reading on this.
K.I.T.T.
The material is composed of fine
particles of hydrous aluminum
silicates....
MICHAEL
In other words, clay. I know that....
K.I.T.T.
There is also an unusual concentration
of gold flakings on the inside of
each piece of material.
MICHAEL
Gold?
K.I.T.T.
Yes. My guess is the clay was molded
around a rather substantial core of
pure gold.
Michael and Joanna share an astounded look. Michael
straightens up, glances over at the crossing. Off his
look, we:
CUT TO
OMITTED
EXT. JOANNA'S MOTEL - DAY
as the Trans Am pulls up and Michael and Joanna get out.
It's clear she's not happy.
MICHAEL
Look, odds are I won't find a thing
out there tonight. But, if I do,
it's not going to be anything you
should be involved with.
JOANNA
Thanks for the concern, but I already
am involved. And I've never cared
much for the sidelines...
(a beat)
Michael, I respect your professional
judgement. But Arthur was my husband.
I'm not going to just stand by and
hope someone finds his murderer.
(takes a
deep breath)
I'll abide by your decision this
time. Fair warning, though...once
is my limit.
Joanna turns and starts toward her motel room. Michael
follows her.
ANGLE ON JOANNA'S ROOM
as she reaches the room, hunts for her key. Michael joins
her, takes her arm.
MICHAEL
Okay...you've had your say. Now it's
my turn....
Joanna starts to protest, but Michael won't let her.
MICHAEL
Joanna, I've never been married, but
I've been in love and I know how
hard it was to lose that. I can
only guess what you must be going
through right now, but I know it's
the hardest thing you've ever had to
face...
(beat)
I can see it in your eyes, I can feel
it in your arm. You're stretched
tighter than a drum.
(softer)
It's all right to grieve, Joanna.
It's all right to cry....
A beat as they share a look. Joanna unlocks the door. As
she and Michael enter, a figure bolts past them, knocking
Michael against the wall. He's moving so fast he's just a
blur.
ANOTHER ANGLE
as the figure races down the corridor, leaps onto the
railing and vaults into the air, catching the lip of the
roof and swinging himself up onto the roof. Without
missing a beat, he races across the roof, comes to the edge
and, with a tremendous leap, disappears.
ON MICHAEL
as he races out of the room, down the stairs and toward the
front of the motel. As he rounds a blind corner he nearly
runs over the only person around. It's David Dalton.
MICHAEL
You see a guy come running out here
a second ago?
DAVID
Nope...you've got the whole track to
yourself.
With that, David turns and continues down the street.
Michael turns, watches him go.
MICHAEL
(comlink)
Kitt, keep an eye on the guy in
front of the motel. If he's got a
car, trace it.
ON DAVID
as he crosses the street, climbs into a rental sedan, takes
off.
INT. TRANS AM
K.I.T.T.'s dash lights come on. His radar screen blinks to
life. The form of a person is seen on the screen.
K.I.T.T.
I've got him in my sights.
ANGLE ON JOANNA'S ROOM
as Michael climbs the stairs. Joanna's standing in the
door. She looks very shaken.
MICHAEL
You all right?
JOANNA
(nodding)
And I was worried about having to
idly stand by...
(beat)
I'm fine. Thanks. Did you catch
him?
Michael shakes his head, concerned.
CUT TO
OMITTED
EXT. WAREHOUSE - NIGHT - TO ESTABLISH
INT. WAREHOUSE - NIGHT - CLOSE ON ROCKET LAUNCHER
Two technicians are hard at work on the weapon. We see a
number of the rockets which fit the launcher, then pull
back to reveal:
EDUARDO O'BRIAN
watching with a look of rapture on his face. Next to him
is Elton Matthews.
EDUARDO
Years ago a Yaqui Shaman told me,
'the history of mankind is a history
of war.' If that's true -- and I
believe it to be -- you and I will
soon stand shoulder to shoulder with
the great warriors of the past.
Surprised and charmed by his own eloquence, he laughs.
Matthews smiles, a little nervous.
MATTHEWS
You can have the notoriety, I'll
settle for the money.
EDUARDO
I'll settle for nothing less than
both.
CUT TO
OMITTED
INT. TRANS AM - NIGHT
Michael's got Devon on the screen.
MICHAEL
I'm not sure what's going on down
here, but it's a lot more than
illegal aliens and a lawyer framed
to look like he was on the take.
As they talk, intercut with:
INT. FOUNDATION - DEVON'S OFFICE - NIGHT
Devon's at the screen.
DEVON
The gold you mentioned would certainly
confirm that. I'll see what I can turn
up.
MICHAEL
Kitt ran a trace on a guy we saw
outside Joanna's motel. Any luck?
DEVON
So far, very little. His name is
David Dalton. His latest address
is Washington, DC. Other than that
there's very little.
MICHAEL
What does he do for a living?
DEVON
That's one of the many blanks. We're
working on it, Michael.
MICHAEL
Keep me posted, Devon.
Michael punches out.
MICHAEL
So...the plot thickens. You can bet
this guy Dalton's not down here looking
for the world's greatest burrito.
K.I.T.T.
And what are we looking for?
MICHAEL
We're going back to that border
crossing pal...to see if lightning
strikes twice.
CUT TO
OMITTED
EXT. BORDER - NIGHT
First, we hear, then see, the trucks slowly moving toward
the crossing. As before, there are three vehicles: two
vans and a heavily guarded truck. A flashlight signals
to them, their lights flash back.
ANOTHER ANGLE
on a rise near the crossing. In the darkness we see Michael
watching the crossing. Into his comlink, softly:
MICHAEL
Kitt, can you get a reading of
what's inside those trucks?
Intercut with:
K.I.T.T.
He responds.
K.I.T.T.
Yes, Michael. The vans are carrying
people. The truck is filled with
crates of...pottery.
Michael nods, watching the truck carefully.
MICHAEL
Just what I figured. Make like a
decoy, pal...I want to get on that
truck and have a closer look....
K.I.T.T.
(alarmed)
Michael, you can't be serious.
MICHAEL
Couldn't be more so. Now make a
spectacle of yourself and get those
guards out of the way....
K.I.T.T.
Michael....
MICHAEL
Just do it, Kitt! Lose them, then
follow me....
OMITTED
ANGLE ON K.I.T.T.
as K.I.T.T. suddenly comes to life, engine roaring, lights
on. He drives onto the road. The guards fire at the car,
then leap off the truck into one of the vans, which speeds
after K.I.T.T. As it does, we see:
OMITTED
MICHAEL
racing for the truck and jumping on the back. He nearly
misses, drags for a beat in the dirt, then pulls himself on
board.
ON MICHAEL
hanging on the back of the truck. He finds a way under the
canvas cover and climbs inside the truck.
OMITTED
ANGLE ON K.I.T.T.
heading down a dusty road. Behind him, we see the van in
pursuit. They seem to be closing in on him. We hear
gunshots.
INT. K.I.T.T. - NIGHT
We hear:
K.I.T.T.
I think this has gone far enough
...adios, amigos.
On the dash, we see the "pursuit" button light. On the
floor, the pedal hits the metal as K.I.T.T. jumps on it.
EXT. K.I.T.T. - NIGHT
As the Trans Am roars away, leaving the van quite literally
in the dust, we go back to:
INT. TRUCK - NIGHT
filled with crates. Michael pries one open, pulls out a
piece of cheap Mexican pottery. Exactly like the piece he
and Joanna found. He breaks it open.
ON THE POTTERY
inside, glittering in the pale light, is gold.
ON MICHAEL
taking in the sight. Off his look, we:
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
OMITTED
EXT. CONSTRUCTION YARD - DAWN
as the semi pulls into the yard, then into a warehouse. As
the doors slam shut behind it, go to:
INT. WAREHOUSE - DAWN
The driver is joined by four guards and another man whose
name is Frank. He's carrying a rifle.
FRANK
All right, let's get 'em unloaded!
Come on....
One of the guards jumps on a forklift, fires it up.
ON THE TRUCK
We see Michael. He is silently climbing out of the truck
and then darting for the cover of a stack of pallets in the
rear of the room. Suddenly, we hear a low growl, a snarl,
and then see:
A WATCHDOG
All fangs, charging toward Michael, knocking him to the
ground, and trying to rip him apart. In a second, the men
have responded, pulled the dog off Michael and surrounded
him. Frank steps up to him.
FRANK
On your feet.
When Michael doesn't move fast enough, Frank prods him with
the rifle.
FRANK
Who are you?
MICHAEL
A hitchhiker. Is this San Diego?
FRANK
Not exactly.
MICHAEL
Sorry.
He tries to bluff it through, turn to leave, but Frank
gestures to the others. They grab Michael, pin his arms
behind him and pull him across the room where they push
him up against a wall. They hold him there as Frank steps
up, slowly takes aim. The men quickly move away from
Michael. Suddenly, from nowhere, we see a figure come
racing across the floor.
OMITTED
ON THE FIGURE
Leaping through the air, kicking the rifle out of Frank's
hands, somersaulting to his feet and taking out another of
the men with a second kick. Michael gets to his feet,
joins his benefactor in handling the six men.
OMITTED
ON THE FIGHT
The figure, face obscured, takes on four men, spinning,
kicking, landing a lightning-fast chop to one, flipping a
second, doing a back flip in midair to take out a third.
Next to him, Michael is also handling himself beautifully.
Finally, combining a flip with a powerhouse right, he takes
out his last opponent. Gasping for breath, he turns to his
partner.
OMITTED
WIDER ANGLE
But all he sees are four prone bodies and his erstwhile ally
streaking for a window on the far side of the warehouse.
MICHAEL
Hey...wait a minute!
The guy doesn't break stride. He bounds onto a stack of
pallets, swings up to the window and is gone. Michael
turns, races for the door, shouting into his comlink as
he runs:
MICHAEL
Kitt, if you're out there, I need
you...now!
EXT. WAREHOUSE - DAY
As Michael comes running out of the warehouse, we see
K.I.T.T. come roaring down the road toward him -- just as
the masked man comes sprinting across the road -- right in
K.I.T.T.'s path.
ANGLE ON THE TRANS AM
For an instant, it looks as though the Trans Am is going to
hit him. But in one fluid, incredibly graceful movement,
the man leaps, clears the speeding car as easily as Edwin
Moses clearing a high hurdle, and keeps on running.
ON MICHAEL
as K.I.T.T. roars up, pops a door, and Michael jumps into
the car.
INT. TRANS AM - DAY
as Michael roars after the fleeing masked man through the
industrial park.
K.I.T.T.
Michael, who, or what, is that?
MICHAEL
That's what I'm going to find out.
K.I.T.T.
It's quite extraordinary. I've
never seen a human being move like
that.
EXT. YARD - DAY - ON THE MAN
as he sprints between two buildings. Suddenly, the Trans
Am's rounding the corner, heading for him.
He sees a rope hanging from the building. Running at full
speed he leaps, grabs the rope and starts climbing it like
a spider going up a web.
OMITTED
ON THE BUILDING ROOF
as the man sprints across it. In front of him is a yawning
gap between one building and the next. He doesn't hesitate
for a moment. In fact, he seems to gain speed as:
ANGLE FROM THE GROUND - SHOOTING UP - SLOW MOTION
We see him soar into the air, seeming almost to float, as
he leaps to the second building.
ON THE ROOF
He sprints for the far edge, looks over. A drainage pipe
angles to the ground below. He grabs the pipe and shimmies
to the ground, lands on his feet running.
ANOTHER AREA OF THE YARD
As the masked man breaks into the open, the Trans Am rounds
a corner and is on him. It's open space, no place to go,
no place to hide. All he can do is run, and he does. Fast.
CLOSER ANGLE
As the Trans Am pulls up alongside, we see Michael climbing
out of the car (via window or roof), getting ready to bull-
dog the man. Michael leaps, hits him and the two men roll
to the ground.
ANGLE
as they roll, come to their feet, square off. Panting,
gasping for air, the man strikes a lethal-looking martial
arts stance. Michael holds up his hands.
MICHAEL
Hey, not so fast. I think we're on
the same side....
The hooded man slowly lowers his hands. Michael extends
his hand.
MICHAEL
My name's Michael Knight.
The man reaches up, takes off his hood. It's David Dalton.
Off of Michael's totally surprised look, we:
FLIP TO
EXT. YARD - DAY
A very wary David is watching Michael, who's leaning into
K.I.T.T.
MICHAEL
Kitt, get Devon. Tell him to send
someone out to this warehouse ASAP.
I want those guards busted and salted
away where no one's going to find
them. I'll stand by until they get
here.
K.I.T.T.
I'll get right on it, Michael.
Michael nods, turns to find David looking into the car.
Michael smiles.
MICHAEL
Computer. It's replacing the dog as
man's best friend.
David nods, his face a blank. He and Michael turn, start
to walk back toward the warehouse. K.I.T.T. follows them at
a distance. David hears the car, stops, turns and stares
at it. Michael smiles again.
MICHAEL
Don't worry...he doesn't bite.
DAVID
It's not that, I just don't have
much use for 'em. All they've ever
done for me is screw up my bank
account and send me mail I don't
want.
K.I.T.T.
I beg your pardon.
MICHAEL
Not now, Kitt.
(to David)
Somehow I knew it wasn't an accident
seeing you outside that motel in
Calexico.
David doesn't respond. Michael shrugs.
MICHAEL
Look, you just saved my skin and,
like it or not, we seem to be
nibbling at the same piece of cheese.
Why not pool our resources?
DAVID
I work alone.
MICHAEL
Me too. But I don't make a religion
out of it.
(beat)
All right, cards on the table. Your
name's David Dalton. You live in
Washington DC...you're seldom home
...you have a quote 'unofficial'
relationship with a former Justice
Department VIP named Archibald
Hendley...you disappear for weeks
at a time doing things you couldn't
discuss at cocktail parties.
(slight smile)
Those are the highlights. I'm
working on the details....
David's eyes never leave Michael. A beat, then:
DAVID
Michael Knight. Work for the
Foundation for Law and Government,
with an Englishman named Miles.
You've been there nearly three years.
Who or what you were before that
seems to be a real mystery. Probably
not the kind of thing you could
discuss at fancy fund raisers.
(beat)
I'm working on the blank spots, too.
Michael and David stare at each other, assessing, analyzing.
By now, they've reached the warehouse.
MICHAEL
Speaking of blank spots, we've got
more than enough right here...a ware-
house full of gold, a lawyer named
Abrahms who was killed, something
called 'boca culebra' that he
stumbled onto...it's all part of the
same puzzle. I still think we could
help each other out.
DAVID
Thanks. Maybe some other time.
A small smile and David turns, starts away. Hold on
Michael, watching him leave, intrigued.
CUT TO
OMITTED
EXT. JOANNA'S MOTEL - DAY
as we pick up the Trans Am pulling up and parking outside
of Joanna's motel.
INT. JOANNA'S MOTEL - DAY
where we see David busily going through the pile of papers
on the desk, totally absorbed in what he's doing. He hears
a noise, glances up.
EXT. MOTEL - DAY - ON JOANNA'S DOOR
Michael knocks. No answer, but the door's slightly ajar.
MICHAEL
Joanna? It's me...Michael.
No answer. Michael pushes open the door, steps tentatively
into the motel room. He freezes when he sees:
DAVID
sitting, his feet on the bed, apparently reading a newspaper.
He glances over the paper, nods to Michael, who's staring
at him incredulously.
MICHAEL
What are you doing here?
DAVID
I could ask you the same question.
MICHAEL
You could, but I'd still want an
answer from you. Do you know Joanna?
David nods.
MICHAEL
From where?
DAVID
DC. Her old man and I used to play
racquetball. A terrific lawyer, but
a lousy backhand.
David tosses the paper aside, casually gets up, starts to
move past Michael, toward the door. Joanna steps into the
room, carrying a paper bag and newspaper. She glances from
David to Michael, totally surprised.
JOANNA
Michael? How'd you get in here?
(re David)
Who's he?
MICHAEL
Good question. He says he and
Arthur used to play racquetball.
JOANNA
Arthur didn't play racquetball.
(to David)
Who are you? What are you doing
here?
DAVID
Among other things, trying to find out
who killed your husband. And why.
MICHAEL
His name is David Dalton. He
saved my neck this morning.
JOANNA
That's nice, but it doesn't explain
what he's doing in my room. Or
why he lied about knowing Arthur.
(to David)
I think you owe me an explanation.
DAVID
With all due respect, I think you'd
be better off back in DC at one of
your society luncheons or bridge games.
JOANNA
(angry)
For your information, the only
'society luncheons' I attend are
for charity and I haven't played
bridge in years.
(to Michael)
Why am I explaining myself to
this...whatever he is?
DAVID
(to Michael)
She gets more coverage than the
Redskins.
Michael shakes his head, hides a smile.
MICHAEL
Hey, you two. Hold on. Time out.
Before this gets out of control,
let's try to remember we're all
after the same thing.
JOANNA
I'm not sure that's the case at all.
(to David)
All right, you say you're trying to
find out who killed my husband. Why?
DAVID
Let's put it this way. I think I
know who killed him. What I want to
find out is why.
JOANNA
Really? You know who killed him?
Who?
DAVID
A man named Eduardo O'Brian.
JOANNA
Then why don't you call the police
and have him arrested?
David gives Michael a look that says, "this is hopeless."
DAVID
If I could get what I need, I would.
JOANNA
What exactly is it you need?
DAVID
More information. Proof.
JOANNA
And how do you intend to get it?
DAVID
That's the hard part. Eduardo
O'Brian travels in very select
circles. He's not easy to get to.
JOANNA
Maybe you just don't know the right
people.
DAVID
(bristles)
I suppose you do.
JOANNA
Maybe.
MICHAEL
Wait a minute...let's not go by that
so fast.
(to Joanna)
David's been on this for a while.
He knows more than we do.
(to David)
If we need to get close to O'Brian,
Joanna might be able to help.
DAVID
I don't think they travel in the
same circles.
JOANNA
Don't be so sure.
MICHAEL
Who's O'Brian's contact in the
States?
DAVID
A businessman named Elton Matthews.
He owns a construction firm in LA.
MICHAEL
(to Joanna)
Ring any social bells?
JOANNA
Not right off the bat....
David looks to Michael with an "I told you so" expression.
JOANNA
But if you want to meet me in Los
Angeles, I'll bet I can turn some up.
Off of David's very skeptical look, we:
CUT TO
OMITTED
EXT. HIGHWAY - DAY
A long stretch of isolated highway in the desert. We see
the semi rolling down the road, right past a weight station
and a sign that directs "All Trucks Pull into Station."
ANGLE AT THE WEIGHT STATION
where a highway patrol car is parked. The officer, jawing
with the station attendant, sees the semi roar past. He
shakes his head, dumps his coffee, roars after the maverick.
ON THE HIGHWAY
The semi roars past camera. A beat later, the highway
patrol car, its red lights flashing, pulls into frame.
ANGLE ON THE SEMI
not slowing down, not even considering pulling over to the
side of the road. No response, except:
CLOSE ON THE REAR OF THE SEMI
The tailgate of the big truck slowly begins to lower,
revealing the rocket launcher -- pointed directly toward
the highway patrol car.
CLOSE ON THE OFFICER
as he sees the gun, first stunned, then terrified.
CLOSE ON THE LAUNCHER
There's a flash of fire and a rocket fires forward.
ON THE CAR
as it disintegrates in a ball of flame and smoke. Off this
stunning sight:
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
EXT. HIGHWAY - HEADING TOWARD LOS ANGELES - DAY
as the Trans Am cruises by.
INT. TRANS AM - DAY
David and Michael talk.
DAVID
Eduardo O'Brian's been one of the
biggest independents in Mexican crime
for years. The stories about what he's
done to people he doesn't like would
turn your stomach...
(beat)
He's got this thing for weapons. They
say he's one of the best....
Michael contemplates this information for a beat. Then:
MICHAEL
There was a small fortune in gold on
that truck. Any idea where that
fits in?
DAVID
He's been smuggling a lot of it across
the border. Once it's in the States,
he turns it into cash as fast as he
can. That's all we know so far.
MICHAEL
Just another piece in the puzzle,
huh? Big puzzle.
DAVID
You'd be surprised how big. Six
months ago, O'Brian got a hold of
some stolen DOD documents. The guy
who sold them ended up floating in
the Potomac before anyone could find
out what they were.
(beat)
An agent was put on the case. He
got as far as a combination to a
safe on O'Brian's yacht when they
discovered him.
David takes a breath before continuing. This isn't easy.
DAVID
Someone used an African skinning
knife on him. It took the coroner
three days to ID the poor guy...
(angrily)
They figured it took him forty-eight
hours to die.
Another pause.
DAVID
By the time I got to the safe they'd
changed the combination...That's how
it's been with O'Brian. Just when
you think you've got a lead you come
up empty-handed.
MICHAEL
Maybe Joanna will change your luck.
DAVID
Don't hold your breath. You don't
just walk into town, 'make a few
calls,' and get invited to dinner
with Eduardo O'Brian.
CUT TO
OMITTED
EXT. MIRAMAR HOTEL - DAY - TO ESTABLISH
Over, we hear:
JOANNA'S VOICE
The party's at eight tonight. At
Elton Matthew's beach house....
CUT TO
INT. SUITE - DAY
The best money can buy. Joanna's ravishing in an elegant
dress, pouring tea. Michael's in a chair, David pacing
the room, never sitting. Checking latches on windows,
locks on her doors, always aware of exits. He casually
glances at her.
DAVID
Tonight. Just like that...?
If David's impressed, he's hiding it well. For her part,
Joanna talks to Michael, as though David isn't in the room.
JOANNA
Well, Prissy Ragsdale and I were
neighbors in Georgetown for years
before she and John moved to Los
Angeles. He's an entertainment
lawyer, so, of course, they know
everyone....
As she talks, Joanna pours tea, hands a cup to Michael.
David's staring at a plate of cookies. Disapprovingly.
Joanna notices his look, tries to ignore it. Can't.
MICHAEL
It sounds like a fantastic
opportunity....
DAVID
It's a start. Now, let me think how
I can use this....
JOANNA
You won't have to worry about 'using'
this. You're not invited...I am.
And it's black tie. Somehow, I don't
think you'd fit in...
(frustrated)
Would you mind not staring at the
cookies like that....
DAVID
Poison.
JOANNA
They happen to be English butter
biscuits....
DAVID
Yeah, and stuffed with preservatives,
artificial colors, artificial flavors,
additives....
JOANNA
They've been eating these in England
for five centuries....
DAVID
Right, and look what happened to the
Empire....
Michael sees this getting out of hand, jumps in.
MICHAEL
Joanna, what do you think the
chances are of O'Brian being at the
party?
DAVID JOANNA
Terrible. Quite good.
David shoots her a look.
DAVID
O'Brian's in Mexico.
JOANNA
Was. This is a birthday party for
him.
David just stares at Joanna. At a loss for words. He
checks his watch, turns to Michael.
DAVID
Let's take a drive. There's
something I want to show you.
David heads for the door, studiously ignoring Joanna.
JOANNA
Michael, I'm going to need an escort
tonight....
MICHAEL
You've got one.
JOANNA
About seven-thirty?
Michael nods, exits, and we:
CUT TO
EXT. WAREHOUSE - DAY
An isolated warehouse in a isolated industrial complex.
It's quiet, deserted. Except for:
MICHAEL AND DAVID
running fast and low toward the warehouse. We move with
them as they reach a rear door. They stop. As David works
the lock on the door:
DAVID
This place is also part of Matthews'
construction business. Two nights
ago I saw a whole caravan of dump-
trucks leave. Empty. Six hours
later they returned. Full.
MICHAEL
In the middle of the night. Strange.
DAVID
Yeah. Especially since Matthews
doesn't have a job anywhere in this
part of the state right now.
David gets the door and he and Michael slip inside.
INT. WAREHOUSE - DAY
A big place. Stock of boxes, crates. As Michael and David
move through the area, Michael spots a number of wooden
crates that resemble the boxes the pottery was in. He
crosses to them.
ON MICHAEL
as he manages to pry open one of the crates. Instead of
pottery, he sees:
THE CRATE
Inside, we see several large rockets. Big, ominous looking.
David joins them, whistles.
DAVID
These things are big enough to knock
a house down....
Michael nods, but before he can respond, the comlink buzzes.
K.I.T.T.
Michael, a truck is approaching.
David and Michael turn, race across the warehouse, manage
to hide behind a stack of construction material just as the
doors open and a five-ton pulls into the warehouse.
ON THE TRUCK
as it pulls directly over to the pallet of crates. Two men
jump out. One lowers the hoist on the rear of the truck,
the other brings a forklift over to the pallets.
BACK TO DAVID AND MICHAEL
taking it all in. Very softly:
MICHAEL
I'd sure like to know where those
rockets are going.
CUT TO
INT. JOANNA'S SUITE - NIGHT
The bell rings. Joanna crosses, in a beautiful evening
dress.
JOANNA
Right on time, Michael....
Joanna opens the door, freezes when she sees:
DAVID
wearing a slightly wrinkled tan sport coat, open collar and
chinos. With jogging shoes. Not exactly formal wear.
DAVID
Michael got busy. I'm your date.
ANGLE TO INCLUDE JOANNA
not quite believing what she's seeing or hearing.
JOANNA
That's impossible...it's black tie.
DAVID
I know, but, I didn't think black
would go with this sport coat.
Joanna stares at him for a moment, then crosses to the
phone, picks it up and dials.
JOANNA
Give me the valet, please....
As she turns and fixes David with a withering stare, we:
OMITTED
EXT. DESERTED ROAD - NIGHT
The five-ton we saw at the warehouse roars past camera. A
long beat later, sans headlights, we see the Trans Am.
INT. TRANS AM - NIGHT - ON MICHAEL
driving.
K.I.T.T.
Michael, my research indicates those
rockets are capable of piercing four-
inch reinforced steel.
MICHAEL
You sound a little nervous, buddy.
K.I.T.T.
(nervous)
Nervous? Certainly not...
(beat)
But, the thought of what a weapon
like that might do to me is rather
perplexing.
MICHAEL
Let's make a point of not finding out.
CUT TO
EXT. BEACH HOUSE - NIGHT
A valet parks the expensive cars pulling up to the house.
A limo pulls up and David and Joanna get out. Joanna's
wearing an elegant evening dress, David's got on a tux.
As they move toward the house, we hear:
DAVID
I'll bet they developed these things
during the Inquisition...the rack
and the tux.
CLOSER ANGLE
as they approach the front door. Joanna suddenly stops
David.
JOANNA
Wait! I just realized I don't have
any idea what we're planning to do.
DAVID
'We're' not planning anything. You're
going to circulate and make charming
conversation. Somehow, I'm going to
get into Matthews' study upstairs.
JOANNA
You're wasting a valuable resource.
(to his
blank
look)
Me. There's got to be something I can
do.
DAVID
Just do whatever the 'right' people
do at parties like these....
As they head inside:
CUT TO
OMITTED
JOANNA AND DAVID
as they move into the room. Joanna recognizes someone,
waves. In an aside to David:
JOANNA
The Ragsdales.
DAVID
Right. John and Prissy.
We follow David and Joanna as they greet the Ragsdales.
John looks academic, greying at the temples. Priscilla
looks well-maintained.
JOANNA
Priscilla, John, how nice to see you!
The normal round of kisses, hugs, pleasantries. Priscilla
notices David, stares. John notices David, frowns. Joanna
scrambles to make introductions.
JOANNA
Oh, this is David Dalton.
David shakes hands with John, smiles at Priscilla, who's
obviously quite taken by David. John's still frowning.
PRISCILLA
It's wonderful to see you, Joanna.
How long are you in town?
JOANNA
I don't really know. It depends on
so many things....
John and Priscilla both stare at David. Wondering. The
moment's broken by applause, reactions from the guests
across the room. Everyone turns to see:
WIDE ANGLE
A beautiful birthday cake which has been brought out. One
lit candle adorns it. We see Eduardo O'Brian, flanked by
Tiara and Matthews, stepping up to the cake. Laying next
to the cake, we notice a samurai sword. The guests move
toward the table. In the b.g., we see Joanna and David
watching.
ANGLE ON THE RAGSDALES
watching David and Joanna, John arches an eyebrow in
disapproval.
PRISSY
Oh, John, stop being so Nineteenth
century. What's she supposed to
do? Dry up and blow away?
JOHN
Priscilla, Arthur's been dead less
than a week.
PRISCILLA
Six days.
(beat)
Not a bad week's work.
ON EDUARDO
turning to his guests. His eyes catch Joanna, hold on her
for a beat. He smiles at everyone, but his eyes return to
her.
EDUARDO
It's been said a man's wealth is
determined by the number of friends
he has. Frankly, I prefer money.
(laughter)
Thank you all for joining me on this
special day.
With that, he turns to the cake, reaches for the sword. He
stands back, sword in both hands, studying the cake. Then,
in a flurry of movement, the sword flashes down on the
cake again and again, cutting it into a series of perfect
pieces. One piece holds the candle, still lit. There's a
gasp from the crowd, then applause. Eduardo turns and
beams at the crowd, wipes the sword off with a flourish.
ON DAVID AND JOANNA
Very impressed, even a little shaken. Joanna stops a
passing waiter, grabs a glass of champagne. Her hands are
shaking.
JOANNA
Would you like some champagne?
DAVID
Thanks, I don't drink.
JOANNA
That was unbelievable.
David nods, his glance still on Eduardo. He stiffens
slightly as Eduardo, lead by Matthews, heads in their
direction. Tiara trails behind Eduardo.
DAVID
They're coming over here. Just relax.
Let me handle it.
OMITTED
WIDER ANGLE
as the entourage approaches. Before David can react, Joanna
smiles charmingly, extends her hand to Matthews.
JOANNA
You must be the host of this
fabulous party....
MATTHEWS
Elton Matthews. I'm delighted to
meet you, Miss....
JOANNA
St. John. Joanna St. John. You
know, I was just admiring some of
your pre-Columbian pieces. They're
really exquisite.
Eduardo steps up between Joanna and Matthews.
EDUARDO
Are you a collector?
JOANNA
Of sorts. Mr...?
EDUARDO
O'Brian. Eduardo O'Brian. Perhaps
I could show you some of my favorites.
JOANNA
I'd like that very much, Mr. O'Brian.
EDUARDO
Please...call me Eduardo.
Joanna smiles beautifully at Eduardo, completely ignoring
David. As does Eduardo. As he takes Joanna's arm to lead
her away, he hands David his empty champagne glass.
ON DAVID
He fights down an impulse to punch Eduardo. He looks up,
finds himself staring into the eyes of Tiara, who's been
left behind by Eduardo. They share a moment and then she
turns and hurries away. David watches her go, then turns
and bumps into:
PRISSY RAGSDALE
wearing a knowing smile.
PRISCILLA
You and Joanna are such a striking
couple. Have you known each other
long?
DAVID
Not really. Actually it seems like
hours.
PRISCILLA
I know what you mean. At least, I
used to...before John's clock
started to slow down.
(smiling)
I'll bet yours doesn't miss a
beat....
David smiles uncomfortably, turns and moves quickly through
the party heading toward the stairs.
ANGLE ON JOANNA ACROSS THE ROOM
talking with O'Brian. She sees David moving toward the
stairs. Her smile fades. She looks worried. She quickly
turns to O'Brian, takes his arm, and leads him in the
opposite direction.
ON DAVID
Glancing over his shoulder to make sure he's not being
watched. When he turns around he nearly runs into a very
big man in a dark suit who's now standing in the doorway.
Glowering down at David. Quick smile, quick thinking:
DAVID
Uh...the men's room?
The big guy sticks out a hand as big as a ham, points across
the room. David turns, heads in that direction, and sighing
a big sigh of relief as he does. Off that, we:
CUT TO
OMITTED
EXT. ROAD - NIGHT
as the five-ton pulls to a stop in the middle of the
desolate stretch of road. It blinks its lights twice.
In the darkness, we see an answering blink. The five-ton
continues down the road until it comes to the big semi.
ANOTHER ANGLE - FEATURE THE TRANS AM
parked a good distance down the road, but within sight of
the two trucks.
INT. TRANS AM - NIGHT
Michael is peering through the darkness at the trucks.
MICHAEL
They're transferring the rockets to
the semi. Let's have a look inside.
INSERT - MONITOR
as K.I.T.T.'s X-ray penetrates the shell of the semi.
Inside, we see the outline of the rocket launcher.
BACK TO SCENE
as Michael stares at the monitor, then down the road.
MICHAEL
They're ready to leave.
K.I.T.T.
I can't imagine where they're going
with that horrible thing.
MICHAEL
With a little luck, you won't have
to imagine.
K.I.T.T.
That's what I was afraid of.
As Michael heads out after the semi, we go to:
THE MONITOR
where the X-ray of the launcher is still visible. Move in
on it, until it fills the screen, and then:
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
OMITTED
EXT. MATTHEWS' HOUSE - NIGHT
We hear the sounds of music and laughter from inside the
house. We see David moving through the darkness. He
stops, studies the balcony on the second story of the
house. With no easy access up the sheer wall. He glances
around, sees a small exercise trampoline.
ON DAVID
He moves over to the trampoline and steps onto it. He
bounces once, then again, then a third time, gaining height
with each bounce. Finally, a tremendous fourth bounce sends
him flying into the air. He twists to his side, reaches out
and grabs the railing on the balcony. In a second, he's
flipped himself onto the balcony, opened the doors and
stepped into:
INT. STUDY - NIGHT
A large, tastefully furnished room, dominated by a large
desk. To the right of the desk is a computer terminal,
monitor (screen) and printer. David moves silently along
the wall to the desk, pulls out a small black box. He
pulls an antenna out, presses a button. A small red light
blinks on. He kneels, secures the box under the desk.
OMITTED
CLOSER ON DAVID
as he straightens, starts to rummage through the desk.
Suddenly, a buzzer sounds from the computer terminal, the
screen blinks on. David turns to the screen.
ON THE SCREEN
The beginnings of a transmission: among other things, we
should see: "Data Transmission." Under that: "Subject:
Material Inventory Adjustment." Below that: "File:
BOCA." And below this:
M-19X: 540
AMR-10: 330
AMP-X: 670
LGMS-Series X: 120
As more figures and letters appear, we go back to:
DAVID
His face bathed in the eery green glow of the screen. He
searches for a pencil, finds one, grabs a piece of scrap
paper out of the wastebasket. As he hurriedly jots down
the information on the screen, we go to:
OMITTED
EXT. GROUNDS - NIGHT
Joanna and Eduardo stand, admiring the night, the ocean,
the stars.
JOANNA
Mr. Matthews has a beautiful home.
EDUARDO
And you are the perfect compliment
to it.
Joanna smiles at Eduardo, moves discreetly away from his
hand which is touching her arm. He follows.
JOANNA
So is the lovely young woman you're
with.
Eduardo laughs.
EDUARDO
Tiara? She is beautiful, yes. Like
champagne. Perfect for parties. You,
on the other hand, are like a deep,
rich Burgundy.
Joanna turns, meets Eduardo's direct, and sensual, look.
JOANNA
Metaphors aside, I can't imagine how
a man like you could ever be without
anything he wanted. Particularly a
woman.
EDUARDO
I rarely am. When I see something I
want, I pursue it until it's mine.
Again, Eduardo moves toward Joanna. She turns, gracefully
eludes him, turns toward the house.
JOANNA
Shall we?
EDUARDO
If you wish. But I'm reluctant to
share your company with even one
more person.
(beat)
Perhaps you would be my guest sometime
...in less crowded circumstances.
JOANNA
Perhaps.
Off her dazzling smile, she turns and walks inside. Eduardo
follows her. As he does, we adjust focus to see:
TIARA
watching the exchange from the shadows of the grounds. Not
happy. Hold on her, and then go to:
OMITTED
INT. STUDY - NIGHT
David finishes copying the information off the screen. He
stuffs the paper in his pocket, starts to move across the
room toward a book shelf crammed with official-looking
folders. As he does, he crosses through:
A THIN RED LIGHT
The laser beam of an alarm system. As David reacts, go to:
OMITTED
INT. LIVING ROOM - NIGHT
as O'Brian and Joanna move through the room. Her attention
is distracted by two security people, reacting to their
beepers. Joanna takes in the room, doesn't see David, and
knows intuitively he's in trouble.
ON JOANNA
Without a hesitation, she moves to take a glass of
champagne from a passing waiter, moving as she does
directly into the path of the two security men who're
hustling toward the stairs. The glass of champagne goes
flying out of her hand, she screams slightly. In the con-
fusion, she manages to hook her foot about the ankle of one
of the men, bumps up against him and sends him stumbling.
O'Brian is furious as he hurries to Joanna's side.
EDUARDO
Idiots! This woman is a guest!
(to Joanna)
Are you all right?
JOANNA
Yes...yes, I think so, thank you.
It was really all my fault....
As O'Brian scowls at the guard, we:
CUT TO
OMITTED
EXT. BALCONY - NIGHT
as David slips onto the balcony, surveys the situation below.
He hears noise inside. Without missing a beat, he leaps
over the railing.
ON DAVID
hitting the ground below, tucking and rolling and somehow
coming up on his feet. A light goes on and David disappears
into the darkness around the edge of the pool.
OMITTED
INT. LIVING ROOM - NIGHT
Elton Matthews comes hurrying up to O'Brian and Joanna.
EDUARDO
What's the problem?
MATTHEWS
We've had a little disturbance upstairs.
All of our guests are accounted for
-- except Miss St. John's young
escort.
JOANNA
David?
Behind Joanna we hear:
DAVID
You called?
Everyone turns to see David walking toward them, a glass of
champagne in his hand. Casual, not a hair out of place.
He raises his glass to them.
DAVID
Cheers.
He drains the glass. Joanna stares at him, surprised. In
an aside:
JOANNA
I thought you didn't drink.
DAVID
Only on special occasions. Shall we?
He offers Joanna his arm, then turns to leave. Eduardo
stops him.
EDUARDO
Excuse me.
David freezes, ready for anything.
DAVID
Is there a problem?
Joanna smiles charmingly, steps between the two men.
JOANNA
Eduardo's invited me to have a
nightcap....
David looks from Joanna to Eduardo, who smiles thinly at
him, a look that's both a challenge and a dismissal.
DAVID
In that case, I'll see you later.
David turns to leave. As he does, he hands his empty
glass to Eduardo. Off Eduardo's look of pure hatred, we:
CUT TO
OMITTED
EXT. DESERT - DAY - (DAWN)
Sunrise over the desert, distant peaks casting long shadows
into the flatlands.
ANOTHER ANGLE
The big semi appears, rolling past camera. We hold as it
thunders down the road, growing smaller.
REVERSE ANGLE
Silence. Then the Trans Am appears over the lip of the
hill.
ANGLE IN K.I.T.T.
Michael is at the wheel. He's tired, stiff.
K.I.T.T.
Michael, this is becoming a career.
MICHAEL
What?
K.I.T.T.
That was a joke.
MICHAEL
Oh. Guess my sense of humor needs a
tune-up.
(silence)
That was a joke.
K.I.T.T.
Oh.
MICHAEL
(a smile)
Hang in there, buddy. They can't
run forever.
K.I.T.T.
I certainly hope not.
CUT TO
OMITTED
INT. SUITE - DAY - CLOSE ON DAVID
hanging upside down (in gravity boots) from a frame he's
set up in the middle of the room. He's doing sit-ups,
grunting with the effort. Joanna appears, pulling a robe
on over pajamas. She stares at him, totally surprised.
He sees her, stops.
DAVID
Oh, sorry. Didn't mean to wake you.
To Joanna's amazement he seems incredibly matter-of-fact.
He unhooks himself, grabs a towel. Around the room we see
a couple of bags, boxes, some clothes.
DAVID
Do you always sleep this late?
Day's half over.
JOANNA
(slowly)
What are you doing here? With that
...that...thing in the middle of my
living room?
DAVID
Moving in. I tried to get another
room, but they're all booked.
(shrugs)
Where's the kitchen? I grow sprouts,
and they prefer a southern exposure.
He crosses. Joanna heads him off. She's furious.
JOANNA
Are you crazy? Get out of here.
Get out of here right now!
David stops, looks at her. Shakes his head.
DAVID
I can't.
JOANNA
You can.
He shakes his head.
DAVID
Not without blowing everything we've
done. They think we're lovers. How's
it gonna look, you living here in
luxury and me living like a dog at
the Tri-Way Motel for twelve dollars
a night?
JOANNA
'They think we're lovers' -- who
thinks we're lovers?
DAVID
Your friends. Priscilla in parti-
cular. They were saying things like,
'I hear you and Joanna are quite
close;' and 'how long have you two
been together?' What could I say?
JOANNA
What did you say?
DAVID
I said you were a wonderful woman
and....
JOANNA
And what?
DAVID
(shrugs)
Women smile. Men winked.
Joanna groans, mortified.
DAVID
Look, if this is difficult for you ---
JOANNA
It's not difficult, it's unacceptable.
DAVID
I've always hated that word.
(faces her)
You and I'd better get a few things
straight. First, I'm here to conduct
an investigation, not play social
doormat and empty-glass-holder to
you and your high-brow, low-minded
friends. Second, I've got my own
life. I don't need to push my way
into other people's.
Joanna's slightly taken aback. She recovers, softens a bit.
JOANNA
Look, I'm sorry. I guess I thought...
I don't know what I thought. This
is all so new to me.
DAVID
I'm not exactly a veteran myself.
They regard one another, not sure where to go from here.
DAVID
I've got an idea.
JOANNA
Me too.
DAVID
I could leave a few things here for
appearance sake. What's your idea?
JOANNA
You could leave a few things here
for appearance sake.
They smile. He glances over her shoulder.
DAVID
Shame to let a spare bedroom go to
waste.
(to her
reaction)
Just kidding.
(then)
You and O'Brian seemed to hit it off
last night.
JOANNA
Yes. We speak the same language.
DAVID
It figures. Well, while you two were
exchanging social pleasantries, I
found something incredible.
He crosses, rummages through a bag stuffed with clothes,
books, tennis balls, protein powder. He tosses it all over
his shoulder. Joanna watches the pile grow. She doesn't
like it. Finally, David finds what he's looking for: a
crumpled piece of paper. He holds it up. She's not
impressed.
JOANNA
Incredible.
DAVID
I copied this list off of Matthews'
computer...it's from the 'Boca' file.
JOANNA
As in 'boca culebra?'
David nods. Joanna examines the paper.
JOANNA
What do these numbers and letters
mean?
DAVID
I don't know. But there's a bunch
of classified papers that could
probably tell us.
JOANNA
Where are they?
DAVID
I'm almost positive they're locked
in a safe...on O'Brian's yacht.
Which is a lot like being locked in
Fort Knox.
JOANNA
Even Fort Knox opens...with the
right combination.
DAVID
Sure. What are you going to do...
make another call and ask Eduardo
for it?
JOANNA
Not exactly.
Off her enigmatic smile, we:
CUT TO
EXT. DESERT - DAY
as the semi continues through the desert. At a respectable
distance, we see the Trans Am. The semi disappears over a
rise in the road.
ANGLE ON K.I.T.T.
Michael's bent over the wheel. Looking very tired. We
stay on K.I.T.T. as the Trans Am comes up to the rise,
goes over the top. Michael suddenly sits upright, shocked.
More than a little scared.
HIS POINT OF VIEW - THE SEMI
has cut its speed in half, is in full view a hundred yards
down the road. Its rear door swings open to reveal the
rocket launcher inside.
BACK TO MICHAEL
He stares at the incredible sight.
K.I.T.T.
Michael!
MICHAEL
Gotcha, pal.
He hits the brakes and twists the wheel.
ON THE TRANS AM
as it spins a one-eighty.
ON THE SEMI
as the launcher fires a rocket.
ANGLE ON THE ROAD
as the rocket whistles past the Trans Am, narrowly missing,
and blowing a crater-sized hole just to the left of
K.I.T.T.
INT. K.I.T.T.
Michael's bent over the wheel.
K.I.T.T.
Michael, that launcher's still got
us in its sights.
MICHAEL
Then we're gonna have to outrun 'em,
pal. Hit it!
Michael hits the "pursuit" button.
ON THE LAUNCHER
as it tilts slightly, adjusting. A beat, then another
tremendous blast as another rocket is fired.
ANGLE - CLOSE ON K.I.T.T.
As the rocket explodes just behind K.I.T.T., the Trans Am
bursts forward.
INSERT - SPEEDOMETER
The numbers click rapid-fire: 100, 110, 120, 130....
LOW ANGLE OVER RISE
as K.I.T.T. flies past, safe. Pan as he quickly becomes a
black speck on the desert road, and then:
FADE OUT
END OF ACT FOUR
ACT FIVE
FADE IN
EXT. OCEAN BLVD. - DAY
We find Michael and David moving through the park.
DAVID
It was like she was talking about a
recipe for brownies, or something.
I said I needed the combination to
the safe, and she said, 'I'll see
what I can do.'
MICHAEL
Just like that?
DAVID
Yeah. It's always 'just like that'
with her.
MICHAEL
She's a natural.
DAVID
She's an amateur. She doesn't know
what she's dealing with...or who.
(beat)
We're on to a fortune in gold, a
rocket launcher hidden inside a
semi...and Eduardo O'Brian.
(shakes head)
This thing's like an octopus...
every time we turn around there's
a new tentacle.
MICHAEL
Maybe you shouldn't have let her go.
DAVID
I tried to talk her out of it. She
said it was her constitutional right,
or something like that....
David checks his watch.
MICHAEL
How long have they been gone?
DAVID
What? Oh, about an hour.
(shrugging)
Look, it's her life, right? I just
hope she doesn't blow everything sky
high.
Michael hides a smile.
MICHAEL
Look, I want to check out those dump
trucks you mentioned. Want to come?
DAVID
Uh, no. I'd better hang around
here...just in case.
MICHAEL
Right. Just in case.
David catches the note in Michael's voice, starts to say
something, doesn't. Michael smiles, leaves. David watches
him go, then checks his watch. Worried. As he does, we:
CUT TO
OMITTED
EXT. YACHT - DAY
Joanna and Eduardo are on deck. Joanna is looking out at
the water.
JOANNA
When you said 'picnic,' I pictured
grassy slopes.
EDUARDO
The ocean is more romantic.
JOANNA
It'll take me a minute or two to get
my sea legs.
The boat rolls and she grabs him to steady herself. He
capitalizes on the opportunity.
EDUARDO
We have all the time in the world.
JOANNA
I can see you meant what you said
about the ocean.
EDUARDO
I always mean what I say.
Before she can gracefully escape, he kisses her.
CUT TO
OMITTED
INT. BEACH HOUSE STUDY - DAY
Two security people enter the study with a bug detector,
begin to scan the room. The detector buzzes, needles jump.
One of the men reaches under the desk, finds the bug.
SECURITY MAN
Get Mr. Matthews.
The other man nods, hurries out of the room.
CUT TO
EXT. YACHT - DAY
A waiter serves crab salad, quietly leaves. Eduardo seems
to be studying Joanna underneath the casual conversation.
EDUARDO
I know so little about you.
JOANNA
No less than I know about you. You
seem...a study in contrasts. Even
your name, Eduardo O'Brian. Are you
Mexican or Irish?
EDUARDO
Both. My mother was Mexican, my father
Irish. They had two things in common,
Catholicism and sex. Neither were
enough.
JOANNA
I'm sorry.
EDUARDO
Never be sorry. People come together,
they share, they learn and then they
part. Life is like water. If it
stays in one place too long, it goes
bad. I sense you know that.
JOANNA
You're very intuitive. So am I.
EDUARDO
Yes? What do you sense in me?
JOANNA
Let's see...you pride yourself on your
skill with weapons...and you're a
gambler. You can't resist a challenge.
He laughs, charmed.
EDUARDO
You are intuitive.
JOANNA
Also logical. Logic tells me if I
challenged you to a skeet shoot at
say a thousand dollars a disc, you
couldn't say no.
ANGLE ON CLAY PIGEON
It arcs out over the blue Pacific. A shotgun fires and the
disc disintegrates.
ANGLE ON STERN DECK
Joanna lowers her gun. Eduardo nods, impressed.
EDUARDO
You shoot well.
JOANNA
A family tradition.
Another disc arcs away. Eduardo fires. The disc shatters.
They exchange a smile.
CREWMAN
Mr. O'Brian, Mr. Matthews is on the
phone. He says it's important.
EDUARDO
(to Joanna)
Excuse me.
He leaves with the Crewman. Joanna waits until they're gone,
then picks up Eduardo's gun, places the barrel between two
posts of the railing and then leans against it. Just enough
to bend it slightly.
ANGLE IN CABIN
Eduardo is on the phone with Matthews. He's frowning
blackly.
EDUARDO
(into phone)
Destroy it, then check the rest of
the house...every inch of it! I
want a full report when I return.
He slams down the phone, stands. His face is a rigid mask
of anger.
ANGLE ON CLAY PIGEON
It sails over the water. A gun fires, missing.
ANGLE ON EDUARDO AND JOANNA
Eduardo lowers his gun, shocked. He smiles, but it's a
thin disguise for the fury inside.
EDUARDO
Incredible. I've never missed seven
in a row.
JOANNA
(smiles)
Eight.
EDUARDO
Eight? Yes, of course. Well, a bet
is a bet. Will you excuse me,
please?
JOANNA
Of course.
He goes below. Joanna crosses to her bag, takes out her
makeup kit. She positions herself carefully, holds up the
mirror, as if touching up her makeup.
HER POINT OF VIEW - REFLECTION FROM MIRROR
In the mirror we see Eduardo in the stateroom below. He
reaches the safe, begins to dial the combination.
CUT TO
EXT. MIRAMAR - DAY
DAVID'S VOICE
You told him what?
INT. JOANNA'S SUITE - DAY
Joanna is taking a shower, her figure obscured by frosted
glass. David paces in the living room.
JOANNA
I had no choice.
DAVID
Yeah, but everything you said was a
lie.
JOANNA
What did you want me to do, tell him
the truth?
DAVID
No.
JOANNA
All right. You can't have it both
ways.
DAVID
What if he decides to check?
JOANNA
I'm convinced he will.
DAVID
We're dead.
JOANNA
Not necessarily. I had a nice little
talk with Priscilla. She'll cover
for me.
David shakes his head at her reasoning.
DAVID
I never should've let you go.
JOANNA
You didn't. I went on my own.
DAVID
That's what I mean. Joanna, a man
like Eduardo O'Brian isn't limited
to checking with personal friends.
JOANNA
You're the professional. You told me
you had ways to take care of things.
DAVID
'Things', yeah. But a whole life
invented over crab legs and skeet
shooting...Why did you tell him a
Caribbean island?
JOANNA
You'll have to talk louder.
DAVID
I said 'Why did you have to tell him
you were married to a treasure hunter
on a Caribbean island?'
JOANNA
Would it have made it easier if I'd
said a shoe salesman in Des Moines?
DAVID
I guess not.
JOANNA
Thank you.
ANGLE AT PHONE - LATER
David is on the phone, Joanna nearby, in a robe. She is
writing on a note pad as he talks.
DAVID
(phone)
Listen, Archibald, I need a little
help. You know that woman I men-
tioned?...No, not that one, the one
who got me into Elton Matthews'
place...Well, it's a long story,
but Eduardo O'Brian cornered her
about her past. She did the only
thing she could, she lied. I need
you to cover it in case he checks.
(listens)
I know it's a lot to ask, but we've
got no other choice.
(listens)
Thanks. I appreciate it. Hang on a
minute.
Joanna hands him a page of notes, continues writing on the
pad.
DAVID
(dismayed)
There's more?
JOANNA
It was a long lunch.
DAVID
(phone)
Arch, you may need a pencil. First
of all, she's been married twice,
once to a treasure hunter and once
to a South African diamond broker.
A sharp response on the other end and David lowers the
phone, regards her.
JOANNA
What did he say?
DAVID
You don't want to know.
JOANNA
Maybe this will help soothe the pain.
She hands him a slip of paper with numbers written in
lipstick.
DAVID
What's this, your dress size?
JOANNA
The combination to the yacht's safe.
CUT TO
OMITTED
EXT. WAREHOUSE - NIGHT
At first all we see is darkness. Then, one by one, headlights
come on and engines are fired up.
CLOSER ANGLE
The lights and engines belong to a fleet of dump trucks. A
yard man opens the gate and one by one they pull out,
disappearing into the night.
ANOTHER ANGLE
A short distance away we see Michael in K.I.T.T., his red
scanner flashing in the dark. As he pulls out to follow
the dump trucks:
CUT TO
EXT. MARINA - NIGHT
The yacht rests peacefully, only a few lights on.
ANGLE ON ANCHOR ROPE
Out of the calm water a figure appears. It's David.
He begins climbing up the anchor rope, silent, hand
over hand.
ANGLE ON DECK
A crewman passes, yawns, crosses toward the aft deck.
David appears over the bow, steals silently on board.
CUT TO
EXT. DESERT ROAD - NIGHT
At first, silence and tranquility. Then, far below, we see
the convoy of dump trucks rumble down a deserted road.
CLOSER ANGLE
One by one they pass, heading out into open country.
ANOTHER ANGLE
A safe distance behind we see the red glow of K.I.T.T.'s
scanner.
CUT TO
INT. YACHT - NIGHT
A crewman passes through the narrow corridor, takes stairs
to go above deck.
ANOTHER ANGLE
We see David pressed into the shadows. He crosses to the
door to the stateroom, quietly opens it and darts inside.
CUT TO
OMITTED
EXT. DESERT - NIGHT
The dump trucks rumble further into the desert.
ANGLE ON K.I.T.T.
He and Michael continue to follow the strange procession.
OMITTED
ANGLE IN K.I.T.T.
Michael stares ahead into the night, careful not to get too
close.
K.I.T.T.
How peculiar.
MICHAEL
The dump trucks?
K.I.T.T.
This entire case. It has so many
strange pieces. How do they tie in
with dump trucks making secret
forays into the desert at night?
MICHAEL
Good question, pal. I'll feel a
lot better when we have some answers.
CUT TO
INT. YACHT STATEROOM - NIGHT
David is hunched over the safe, dialing the last numbers
of the combination. He carefully opens it, removes its
contents piece by piece. At first it appears there's
nothing but money; stack after stack of high-denomination
bills. Then an official-looking file with a seal labeled
"Department of Defense." Below it the words "Top Secret."
ANOTHER ANGLE
David unsnaps a small waterproof case from the belt around
his waist, produces a tiny Minox camera. He opens the file
and begins snapping pictures.
ANGLE ON DECK
Tiara appears alone, restless. She crosses toward the
stern deck when something catches her eye.
HER POINT OF VIEW - DAVID
Through a porthole David is visible hunched over the files,
snapping photos.
ANGLE ON TIARA
She takes it in, silent, thoughtful.
CUT TO
OMITTED
EXT. DESERT - NIGHT
The convoy of dump trucks rolls to a stop.
ANOTHER ANGLE
A scoop loader fires up its diesel engine.
ANGLE ON K.I.T.T.
He slows to a stop behind a knoll off the road. Michael
slips out, silently edges closer.
HIS POINT OF VIEW
He sees the Drivers climb out of their trucks, stretch their
legs. They move off, talking.
ANGLE ON MICHAEL
He moves closer, keeping low.
HIS POINT OF VIEW - THE SCOOP LOADER
It begins methodically lifting huge scoops of earth from a
pile into the lead truck.
ANOTHER ANGLE
Michael darts along the backside of the trucks, trying to get
closer to where the men are gathered talking. Suddenly a
truck door opens right in front of him, a Driver climbing
down. Michael freezes. The Driver steps down, yawns and
stretches. His arm almost touches Michael's face.
DRIVER (O.S.)
Hey Charlie, when's this thing gonna
be finished?
DRIVER'S VOICE
Don't ask me. At five hundred a
load, I hope they dig to China.
Men laugh. The Driver moves off to join them. Just as
Michael starts forward again there's a sharp sound off
to his left. Men yell.
HIS POINT OF VIEW THROUGH TRUCKS
Fifty feet beyond the line of trucks three threadbare figures
sprint out of what appears to be a huge hole, pursued by
several guards with automatic weapons. They fire at the
men's feet.
GUARD
(in Spanish)
Keep going and you're dead!
The men stop, whispering among themselves in Spanish. The
guards grab them and haul them back.
ANGLE ON MICHAEL
He watches, motionless. Another piece in the strange
puzzle.
CUT TO
OMITTED
INT. MARINA BAR/RESTAURANT - NIGHT
David is on a pay phone, leafing through the photos he took.
DAVID
They're the same numbers I saw on the
computer in Elton Matthews' study....
Over this angle widens to include Joanna, listening.
DAVID
(thumbs through
photos)
M-19X...AMR-10...AMP-X...LGMS-Series
X -- according to these specs, the
LGMS-Series X is a laser-guided
missile system that's adaptable to
a conventional assault rifle...
(listens;
reacts)
Yeah?..Where?..What time?..Arch, the
nineteenth is tomorrow...Okay...I will
...Bye.
He hangs up, a little dazed by the assault of information.
JOANNA
Well? What did he say?
DAVID
He said these weapons don't exist.
At least not officially. C'mon.
They start out.
ANGLE OUTSIDE RESTAURANT
We see David and Joanna weave their way through drinkers,
heading outside.
JOANNA'S VOICE
Anything else?
DAVID'S VOICE
Yeah. Elton Matthews just bought a
plane -- a C-141. One of the biggest
cargo planes ever built. One point
seven million cash.
JOANNA'S VOICE
Could that be what the gold was used
for?
DAVID'S VOICE
Probably. The mystery unfolds. The
kicker is a flight plan's been filed
already -- it leaves from a private
airfield outside Dallas at 1:00 P.M.
tomorrow.
A sobering thought. Joanna takes it in as they come
outside. Camera moves with them as they cross past the
marina, boats in the b.g.
JOANNA
Does that mean...Boca Culebra
happens tomorrow afternoon?
DAVID
That's Arch's guess.
JOANNA
What's yours?
DAVID
Boca Culebra happens tomorrow
afternoon.
Troubled, feeling the pressure, he glances off at the boats.
JOANNA
What exactly is it he expects you to
do?
DAVID
Find it first.
JOANNA
Who is he? Archibald.
DAVID
My boss.
JOANNA
I know, but who is he? Who does he
work for?
DAVID
(hesitates)
The Department of Justice.
She reacts, surprised.
JOANNA
Somehow I never thought of you as a
government employee. A 'Fed.'
DAVID
I'm not. Not officially.
JOANNA
You sound like the guns. All right,
what are you 'officially?'
DAVID
Just a guy who shows up here and
there.
She studies him, intrigued.
JOANNA
What's the Department of Justice's
interest in this?
DAVID
Eduardo O'Brian. He usually operates
out of the country. This time he's
here in the flesh. Archibald sees it
as, quote, 'a rare and unique
opportunity.'
JOANNA
How do you see it?
DAVID
It's a long story.
JOANNA
I don't have a plane to catch.
(beat)
Do you do it for money?
DAVID
No.
JOANNA
Love of country?
DAVID
No.
JOANNA
You're trying to forget a tragic
love affair.
He shakes his head.
DAVID
I got into a little trouble in
Guatemala. It's a long story.
JOANNA
You keep saying that. Give me the
Reader's Digest version.
DAVID
I don't think they'd be interested.
JOANNA
You're being coy.
DAVID
I just don't want to talk about it.
JOANNA
Were you in prison?
A beat passes.
JOANNA
Did Arch get you out? Is that why
you do it?
He turns to face her, his face tight, his eye with a look
she hasn't seen before.
DAVID
What did you do, run a jacket on me?
JOANNA
No.
DAVID
People don't guess things like that.
JOANNA
You'd be surprised.
After a long, searching look he seems somewhat reassured,
but still not comfortable with what she knows.
DAVID
He wanted someone to kick-off a pet
project of his, and I wanted out of
Guatemala. We made a deal and here
I am. Did you love him?
JOANNA
(taken aback)
What?
DAVID
Your husband -- did you love him?
JOANNA
Yes. Of course I loved him. Why?
DAVID
He's only been dead a week.
JOANNA
Eight days. Why do you want to know
if I loved him?
He shakes his head, turns back to look at the black water.
She tries to let it pass, can't.
JOANNA
You asked that question for a
reason. What are you trying to say?
DAVID
Forget it. It's none of my business.
JOANNA
You're damn right it isn't, but that's
not the point. What did you mean?
When he doesn't immediately turn to face her, she puts her
hands on his shoulders and forces him to.
DAVID
All I meant was, it must be hard for
you.
JOANNA
What?
DAVID
Looking into the eyes of the man who
killed your husband and smiling.
Whatever she expected, it wasn't this. It's so true and
raw and intense that she feels stripped and exposed. She
feels tears pop into her eyes. He gently puts his arms
around her. She gives herself over to her grief, all the
unshed tears, sobbing in his arms.
DISSOLVE TO
OMITTED
EXT. BEACH - SUNRISE
It's dawn, the first light of day just edging up over
distant mountains. We see a figure running along the
deserted beach. It's David.
ANOTHER ANGLE - LATER
David does push-ups on a grassy slope overlooking the beach.
ANOTHER ANGLE - LATER
David moves through a T'ai Chi ritual, a study in grace and
control.
ANOTHER ANGLE - LATER
He sits in a Yoga position doing "Breath of Fire."
CUT TO
ANGLE FROM NEARBY AREA
A figure raises a pair of binoculars.
POINT OF VIEW THROUGH BINOCULARS
David continues his yoga workout.
CUT TO
ANGLE FROM DAVID'S CAR
Workout finished, he crosses for his car. Passing an
outcropping of shrubs and trees he suddenly turns,
sprinting.
ANGLE ON FIGURE WITH BINOCULARS
The figure runs, but David is too quick. He dives and they
crash to the ground together. David spins the figure
around, reacts: It's Tiara.
TIARA
Please, don't be angry....
DAVID
I'm not angry, just kinda...
surprised. Here, c'mon.
He rises, helps her to her feet.
TIARA
I saw you last night. On Eduardo's
yacht.
He's not prepared for this. He decides to say nothing.
TIARA
Please, I'm not what you think I am.
I hate Eduardo.
DAVID
You travel with him. Live with him.
TIARA
He won't let me go. I'm a citizen
of Nicaragua, but I can't go there
now. Without Eduardo, I have no
country, no place to go.
DAVID
Why are you telling me this?
TIARA
He'll kill me if I try to leave him.
He kills people with those weapons
of his and watches them die. Will
you help me get away from him?
DAVID
(beat)
If I can.
TIARA
He's suspicious of you. Be careful.
Help me and I will help you.
Before he can reply she darts off, disappearing. David
watches her go, thoughtful.
CUT TO
INT. JOANNA'S SUITE - DAY
Pan the suite, empty, to the door as someone knocks. When
there's no response we hear a key in the lock and the door
opens, revealing Eduardo O'Brian and a hotel bellman.
Eduardo carries a bouquet of roses.
EDUARDO
If she says 'yes,' you're invited to
the wedding.
He hands the bellman a crisp one hundred dollar bill. The
bellman smiles, convinced he's helping cupid. Eduardo
closes the door, crosses into the living room. He pauses
at David's exercise equipment, regards it for a moment, then
puts the roses down.
MONTAGE - A SERIES OF CUTS
As Eduardo thoroughly and systematically searches the suite,
room by room, item by item. He is deft and quick,
practiced.
ANOTHER ANGLE
Finished, having found nothing of interest, he pauses,
about to leave. Then he sees a wastebasket he missed,
carefully empties it. At the bottom is an innocuous-
looking piece of wadded paper. He opens it.
INSERT - PAPER
It's the paper Joanna copied the combination in lipstick.
ANGLE ON EDUARDO
He recognizes the numbers. He knows. Hold on his face....
FADE OUT
END OF ACT FIVE
ACT SIX
FADE IN
EXT. MIRAMAR HOTEL - DAY
David crosses through the courtyard, returning from his
work-out.
INT. JOANNA'S SUITE - DAY
A key in the door and it opens, David coming in. He reacts.
REVERSE ANGLE
Eduardo is sitting on the sofa, the flowers in his hand.
He regards David coolly.
DAVID
What're you doing here?
EDUARDO
Waiting for Joanna.
DAVID
She's not here?
EDUARDO
If she were I wouldn't be waiting.
He rises, smiling slightly. David crosses to stand in
front of him, angry.
DAVID
If she's not here, how did you get
in?
EDUARDO
The door was ajar.
(hands David
the roses)
Please give these to her for me.
Without water they die quickly.
Without waiting for a reply he crosses for the door,
pausing at David's equipment.
EDUARDO
You believe in keeping fit.
DAVID
The body's a tool.
EDUARDO
A tool, or a weapon?
DAVID
I'll tell Joanna you brought the
flowers.
EDUARDO
As magnificent a weapon as the body
can be, it's limited by its design.
A finely designed weapon, however,
has no limits.
DAVID
I'll remember that. Thanks for
dropping by.
He pointedly crosses to the door and opens it, waiting for
Eduardo to leave. Eduardo smiles, takes his time moving to
the door.
EDUARDO
Joanna is an extraordinary woman in
so many ways. You seem anything but
extraordinary. I can't imagine what
she sees in you.
DAVID
A real mystery.
EDUARDO
Pardon?
DAVID
Human relationships.
Eduardo fixes him with a cold, lethal look.
EDUARDO
You hide behind your woman's skirts.
Someday, when she isn't around to
protect you, we'll meet again.
He turns to go out but something in David has been pushed
past a point; in one motion, he grabs Eduardo and pulls
his face close to his.
DAVID
You may be a big man to people
impressed by yachts and young
girls, but that doesn't include
me. And one more thing -- I don't
hide behind Joanna's skirts. I'm
not hard to find. You ever want
me, I'm right here.
David releases him. For a moment, it looks as if Eduardo
will take him up on his offer, but he abruptly turns and
leaves. David closes the door behind him, thoughtful.
Suspicious. He moves back into the room, begins looking
at things, checking to see if there are signs of the place
having been searched. He can't find any, but he's still
not convinced. He reaches for the phone, dials a number.
CUT TO
OMITTED
EXT. HIGHWAY - DAY
The Trans Am passes.
MICHAEL'S VOICE
'Boca Culebra' is a perfect
description....
ANGLE IN K.I.T.T.
Michael is talking to David.
Intercut:
MICHAEL
The 'mouth' looks like an abandoned
mine shaft -- a hole where the dirt
comes out. The 'snake' is an under-
ground tunnel dug by forced labor.
DAVID
The illegal aliens you saw at the
border.
MICHAEL
That's my guess.
DAVID
It doesn't make sense -- a tunnel to
where? To what?
MICHAEL
All I could see was desert. I've
got Devon checking on it. Anything
on those weapons?
DAVID
Not yet. All we know for sure is
the C-111 leaves Dallas at one this
afternoon. Figure it's a two hour
flight -- whatever's gonna happen
will happen in less than six hours.
CUT TO
EXT. MIRAMAR - DAY
A taxi pulls up and Joanna gets out with an armful of
packages, pays the driver.
CUT TO
EXT. BEACH HOUSE TERRACE - DAY
Below, on the sand, we see Tiara sunning herself in a
bikini.
EDUARDO'S VOICE
Eight shots in a row.
REVERSE ANGLE
Eduardo is toying with a boomerang. Elton Matthews paces,
nervous and tense.
EDUARDO
I should have known then.
ELTON
Maybe we can postpone it.
EDUARDO
No.
ELTON
Eduardo, they're onto us!
EDUARDO
A little information is like a little
power. You always want more.
Hold on his face, thoughtful and shrewd.
CUT TO
INT. JOANNA'S SUITE - DAY
The door opens and Joanna comes in with her packages.
DAVID'S VOICE
Joanna just came in....
ANOTHER ANGLE
David is on the phone as she crosses, dumps the packages on
the sofa over:
DAVID
(on phone)
I'll get back to you.
He hangs up, glances at her.
DAVID
How was shopping?
JOANNA
Fun. It got my mind off everything
for awhile.
There's a curious undercurrent between them, a result of
what happened last night. David seems a little uncertain
with the change but Joanna appears buoyed by it, freer, in
a sense released. She crosses into the bedroom over:
JOANNA
I picked up a few things for you.
DAVID
(surprised)
For me? What?
JOANNA'S VOICE
Just a few things.
(beat)
Oh, David...they're beautiful.
He's about to tell her when she appears at the doorway,
smiling, a vase with the roses in her hand.
JOANNA
Thank you.
DAVID
Actually....
JOANNA
(moving to him)
Actually, you are a very special
person who I misjudged.
She puts the vase on the coffee table, then kisses him
gently on the cheek and hugs him.
JOANNA
Thank you for last night. I hadn't
been able to cry, I couldn't...I
didn't know how badly I needed to.
She smiles up at him grateful and warm, and he's surprised
by how beautiful she is. It's as if he's seeing her for
the first time. She senses something in him.
JOANNA
What's wrong?
DAVID
Nothing.
JOANNA
I can feel it. You're tense. What
is it?
He inhales, crosses away, pauses.
DAVID
We're running out of time. I've got
to get back in the beach house, get
to that computer in the study. It's
our last chance to figure out 'Boca'
before it's too late.
JOANNA
You don't know anything about
computers.
DAVID
No, but Michael does. If I can get
into the study I can get the computer
to 'interface' with the computer in
Michael's car. I don't know how it
works, but everything in their
computer will be transferred to
Kitt.
JOANNA
Is there something you want me to
do?
He glances away, unwilling to say it.
JOANNA
It's all right. I'll call him.
DAVID
Who?
JOANNA
Eduardo. That's what you want,
isn't it?
He doesn't answer. She knows it is. She moves to him,
touches his arm.
DAVID
He was here earlier. Eduardo. He's
suspicious. It could be dangerous.
JOANNA
I figured that out. What I can't
figure out is you.
(off his look)
Every time I touch you I can feel
you flinch.
DAVID
Habit I guess.
Uncomfortable, he starts to move away but she stops him.
JOANNA
I don't want to pry, but you helped me
last night...I'd like to help you if I
can. I don't know anything about
you -- where you're from, how you
grew up, what your life was like --
but I know it was hard.
(beat)
David, whatever hurt you, whatever
was denied you, it's over. It's in
the past. You can trust me. You
don't have to keep fighting wars
that ended years ago.
Their eyes hold and for the first time she feels he is
letting her in. The moment is broken by the jarring ring
of the phone. No choice, she answers it.
JOANNA
(phone)
Hello...yes. I was just going to
call you, Eduardo....
David reacts. On their look:
CUT TO
OMITTED
EXT. QUIET ROAD - DAY
The rented car pulls up.
ANOTHER ANGLE TO REVEAL K.I.T.T.
parked by the side of the road.
ANGLE IN K.I.T.T.
Michael glances over at David and Joanna.
MICHAEL
All set?
DAVID
Ready when you are.
MICHAEL
Let's do it.
OMITTED
ANGLE IN RENTED CAR
David hands her the blueprint of the house.
DAVID
I've circled the security system's
power source.
She studies it, nods.
JOANNA
My heart feels like a ball in my
throat. How can anyone do this for
a living is beyond me.
DAVID
Me too. Pay's lousy.
JOANNA
So are the hours.
They smile, tense. David starts to climb out.
JOANNA
Will you tell me later?
DAVID
Tell you what?
JOANNA
What your life's been like.
He hesitates, nods.
OMITTED
EXT. AREA ADJACENT TO BEACH HOUSE - DAY
David climbs out, bids Joanna good bye MOS. She slides over
and takes the wheel, pulls out. David watches her leave,
then starts carefully down toward the beach house.
EXT. BEACH HOUSE - DAY
The rented car pulls in and parks. Joanna gets out and
crosses to the house, passing a station wagon with two dogs
in the rear.
OMITTED
INT. BEACH HOUSE - DAY
The doorbell rings. Eduardo crosses in from the terrace
idly playing with the boomerang. He opens the door and
Joanna enters. Ad-lib greetings.
EDUARDO
Joanna, you're more beautiful than
ever.
JOANNA
Thank you, Eduardo.
EDUARDO
I trust the flowers please you.
Joanna blinks. Then smiles, barely missing a beat.
JOANNA
The flowers...yes, they're beautiful.
David was kind enough to put them in
a vase for me.
EDUARDO
I imagine he's good at that sort of
thing. Please, join me on the
terrace.
JOANNA
I'd love to -- oh, may I use the
powder room first?
EDUARDO
Of course. Down the hall, second
door on the right.
She smiles, crosses toward it. He watches her, smile
fading.
OMITTED
EXT. GROUNDS NEAR BEACH HOUSE - DAY
Pan from a wired chain link fence to David, crouched
nearby, waiting. He glances at his watch.
INSERT WATCH
It's 1:27.
MATCH CUT TO
ANGLE IN K.I.T.T. - CLOSE ON DIGITAL CLOCK
It reads 1:27.
ANGLE ON MICHAEL
behind the wheel, also waiting. Also tense.
MICHAEL
Thanks, pal. Two more minutes and
David should be inside the grounds.
K.I.T.T.
Once he's inside, he'll be out of
scanner range.
MICHAEL
I know.
It troubles him. He inhales, resigned to waiting.
CUT TO
INT. BEACH HOUSE HALL - DAY
Joanna looks at her watch. It reads 1:28.
ANOTHER ANGLE
She quickly checks the blueprint, tucks it back in her
purse and opens a door, peers inside.
ANGLE IN ADJOINING ROOM
Once a closet, its been converted to a utility room which
houses the air conditioner, water heater, etc. Joanna
steps in, sees the surveillance system's central unit on
one wall. She grabs the breaker arm and pulls.
ANGLE ON TERRACE
A warning is broadcast on the intercom system. Eduardo
smiles to himself.
ANGLE ON FENCE
David climbs up and swings over, jumps to the ground and
runs toward the house.
ANGLE IN LIVING ROOM
Joanna crosses toward the terrace where Eduardo waits.
ANGLE AT REAR OF HOUSE
David scales up a drain pipe to the second floor.
ANGLE ON TERRACE
Joanna sips a glass of club soda while Eduardo shows her
the boomerang.
EDUARDO
A fascinating weapon, the boomerang.
Are you familiar with it?
JOANNA
No.
EDUARDO
It was developed by the Aborigines
in Australia centuries before the
English came. They called it 'baja
dara' -- stick of life.
He turns and hurls it into the sky. It almost disappears,
then suddenly returns, smashing into a post near her. She
screams, startled.
EDUARDO
Don't be frightened. Baja dara is
what they say. It's like life.
What you put out will return to you.
ANGLE IN STUDY
David's face appears at the window. He silently opens it
and slides in.
ELTON'S VOICE
Freeze.
ANGLE ON ELTON
Hidden by the big chair behind the desk he swings around,
facing David. A .357 magnum in his hand.
OMITTED
ANOTHER ANGLE
He rises, facing David.
ELTON
Too bad your bug didn't work.
DAVID
I don't know what you're talking
about.
ELTON
I'm talking about 'Boca Culebra.'
It must be frustrating, so
close...yet so far away.
Having stepped to the computer, he punches in the access
code. A program appears on the screen. David feigns
ignorance, glances from Elton to the screen as if puzzled.
DAVID
'Boca...' what was that other word?
My Spanish isn't so good.
ELTON
Compared to your cover, I'm sure
it's quite good.
(gestures with
gun)
This way.
David shrugs, crosses toward the door. As he passes within
arm's length of the computer, he suddenly reaches out and
hits the "transmit" key. Elton pushes him away, switches
off the computer.
ELTON
Consider that the final nail in your
coffin.
CUT TO
ANGLE IN K.I.T.T.
Michael watches the monitor as K.I.T.T.'s computer drains
the Boca file.
MICHAEL
He did it!
K.I.T.T.
He certainly did.
MICHAEL
(punches buttons)
Okay, buddy, let's see what we've
got.
CUT TO
ANGLE ON TERRACE
Eduardo is now demonstrating a crossbow. It's a modern
version of the classic, made of the finest materials.
EDUARDO
...and although the longbow is
credited with changing the face of
war, the introduction of the crossbow
in the early Thirteenth Century truly
revolutionized war. It made killing
efficient.
Joanna steals a glance at her watch.
EDUARDO
Are you bored?
JOANNA
No...no, just curious.
EDUARDO
A common trait among felines.
JOANNA
So I've heard. Did you invite me
here for a refresher on ancient
weapons?
EDUARDO
No.
(glances off,
smiles)
This is why I invited you.
She looks, reacts.
ANOTHER ANGLE
Elton leads David at gunpoint out onto the terrace.
Joanna's legs feel weak.
CUT TO
OMITTED
ANGLE IN K.I.T.T.
Michael studies the information on K.I.T.T.'s monitor.
MICHAEL
It looks like the objective is a
top-secret U.S. Army weapons depot.
(then)
Kitt, run me the specs on those
weapons.
K.I.T.T.
They're highly classified
prototypes, Michael. The most
sophisticated and lethal
conventional weapons in the world
today.
MICHAEL
But where's the depot? Kitt, give
me everything you can find on 'the
snake' -- the tunnel.
K.I.T.T.
Right away, Michael.
Computers whir.
CUT TO
ANGLE IN BEACH HOUSE
Tiara appears from the beach, glances outside and freezes.
ANGLE ON TERRACE
While Elton holds the gun on them Eduardo straps on a
quiver of steel-tipped bolts.
EDUARDO
(continuing)
...so, you see, I know everything.
I even know you took credit for the
roses I brought Joanna.
He smiles, cocks the crossbow and points it at David.
EDUARDO
A small matter, but added to your
account nevertheless. Now the time
has come to pay the piper.
(to Elton)
How much time do we have?
ELTON
(checks watch)
Fifteen minutes.
EDUARDO
(to Joanna)
I'll deal with you later.
(to David)
I'll deal with you now. You have
one minute. You have a choice
between the beach house or the
wooded area north of the house. If
I were you, I'd try the wooded
area. There's more cover.
David and Joanna glance at one another, a thousand things
in their minds.
DAVID
I don't know what you're talking
about.
EDUARDO
I'm talking about you. Your life.
If you want to keep it, you'd better
start running.
JOANNA
Eduardo, stop it! If this is your
idea of a joke, it's in poor taste.
EDUARDO
Elton?
ELTON
Fifty seconds.
EDUARDO
Run, David whoever-you-are. Don't
you see? This foolish game of yours
is over.
(beat)
You described your body as a 'tool.'
I want to see how good you are. I want
to see what it is that attracts this
woman to you.
DAVID
You're insane.
EDUARDO
If I were you, I'd be more concerned
with my accuracy than my sanity.
ELTON
Forty seconds.
David makes a decision.
DAVID
Joanna the real reason I didn't tell
you about the flowers is ---
JOANNA
David, go!
DAVID
-- is because I wanted them to be
from me.
ELTON
Thirty seconds.
David turns and in one motion runs to the railing and
leaps.
ANGLE FROM BELOW
He lands on a lawn umbrella, breaking his fall. He tucks
and rolls, comes up running.
FADE OUT
END OF ACT SIX
ACT SEVEN
FADE IN
EXT. BEACH HOUSE TERRACE - DAY
Elton holds Joanna at gunpoint.
ELTON
Forget about your friend. He's dead.
This is Eduardo's favorite game.
OMITTED
ANGLE IN BEACH HOUSE DRIVEWAY
Tiara runs to the station wagon, takes the keys from the
ignition and locks the doors. Hearing a noise she turns
and runs.
ANOTHER ANGLE
Eduardo appears, crosses to the station wagon and tries to
open the rear door. It's locked. He curses to himself,
hurries to the passenger door; it's also locked. Furious,
he scans the area, finds a loose brick (or stone), crosses
back and breaks a window. He opens the rear door, opens
the cage inside and two well-trained hunting dogs charge
out ready for the hunt.
ANGLE IN K.I.T.T.
K.I.T.T.
...according to the information
here, the angle of the tunnel would
indicate ---
MICHAEL
(a sudden thought)
Kitt -- what time is it?
The monitor flashes 1:49.
K.I.T.T.
Michael, what's wrong?
MICHAEL
David -- he should've been back by
now.
K.I.T.T.
Maybe he found more information.
MICHAEL
Maybe. I just hope he didn't find
more than he bargained for.
CUT TO
EXT. WOODED AREA - DAY
David darts through the woods, a study in grace and
agility. Behind him we hear the sound of dogs.
ANGLE ON EDUARDO
He pursues David with his crossbow, aided by the hunting
dogs who point out David's trail.
ANGLE ON DAVID
He sprints across an open patch.
EDUARDO
He spots David and fires.
DAVID
The deadly arrow pierces a tree not a foot ahead of him.
He dives, rolls and continues running.
OMITTED
ANOTHER ANGLE
David runs through dense woods, trying to lose the dogs.
Suddenly an arrow lands ahead of him.
HIS POINT OF VIEW - EDUARDO ON A HILLSIDE
He laughs and reloads.
DAVID
He keeps running, the barking dogs not far behind.
ANGLE AT TREES
David appears, slows, breathing hard. He has an idea.
He grabs onto a tree branch and hoists himself up.
ANGLE ON EDUARDO
He follows the dogs into the heart of the woods.
ANGLE AT TREES
The dogs appear, followed by Eduardo. The dogs bark
aimlessly, confused.
EDUARDO
What is it? Where is he?
The dogs circle in frustration. Eduardo sees the low
limbs, realizes what David has done. He looks up.
HIS POINT OF VIEW - SUNLIGHT THROUGH THE TREES
No David in sight.
BACK TO EDUARDO
He yells.
EDUARDO
You made a fatal mistake, Tarzan.
This isn't the jungle. There are
no vines. You'll be easy to find
now.
ANGLE IN TREES
David appears on a branch, pauses, looks; it's too far to
jump to the next tree. He quickly pulls a length of nylon
rope from inside his jacket, fashions a lariat and throws
it. It catches on a limb and David swings to the next
tree.
EDUARDO'S VOICE
I'll find you!
CUT TO
EXT. TERRACE - DAY
Elton holds a pistol on Joanna. He glances at his watch
nervously. We hear the faint sound of a helicopter.
CUT TO
ANGLE ON EDUARDO IN WOODS
He is running through the woods now, eyes searching the
trees above him.
ELTON'S VOICE
(PA system)
Eduardo, they're here. The helicopter
is here!
ANGLE ON DAVID
He clings to branches high in a tree.
HIS POINT OF VIEW - EDUARDO
is coming toward him.
ELTON'S VOICE
Eduardo, please! It's not worth it!
Eduardo comes still closer, looking everywhere. He finally
stops just below David.
EDUARDO
(yells)
You haven't won! Do you hear me?
I'll have you in my sights again!
A last, desperate look around and he leaves.
ANGLE ON DAVID
He watches as Eduardo disappears into the woods. His heart
pounds in his ears. He breathes deeply.
CUT TO
EXT. BEACH - DAY
A helicopter lands on the sand.
ANOTHER ANGLE
Elton, pulling Joanna with him, runs toward it.
DIFFERENT ANGLE
From the wooded area Eduardo appears, crossbow still in his
hands. He too heads for the waiting helicopter.
EDUARDO
Where's Tiara?
(calls to
house)
Tiara! We're leaving!
ANGLE ON BEACH HOUSE WINDOW
We see Tiara's face, peering out. She slowly closes
the blinds.
OMITTED
EXT. BEACH - DAY
The helicopter takes off with Eduardo, Elton and Joanna
aboard.
EXT. WOODS - DAY
David estimates the chopper's direction, has an idea. He
coils the lariat.
ANGLE ON CHOPPER
It flies low over the trees.
ANGLE ON DAVID
He carefully judges its movement as it approaches. he
readies the lasso...waits...waits...then throws it.
ANOTHER ANGLE
As the chopper passes overhead we see the lasso catch the
landing gear.
ANGLE ON CHOPPER
as it passes over the trees David appears below, climbing
slowly up the rope. He grabs onto the chopper's landing
gear with every fiber of his being.
LONG SHOT - THE CHOPPER
It lifts above the trees, David's figure dangling precar-
iously beneath it.
CUT TO
OMITTED
ANGLE IN K.I.T.T.
Worried, Michael starts the engine.
MICHAEL
That's it, Kitt. He's in trouble.
K.I.T.T.
Michael! You won't believe what my
scanner just picked up. Look above
you, two o'clock.
Michael looks.
HIS POINT OF VIEW - THE CHOPPER
with David clinging to it as it disappears over a hill.
BACK TO MICHAEL
He stares, incredulous.
MICHAEL
Don't tell me that's David!
K.I.T.T.
Who else?
MICHAEL
Let's go!
He hits the gas, does a 180 and they're off.
CUT TO
EXT. HILLSIDE AREA - DAY
The chopper passes overhead, David hanging on.
ANGLE INSIDE CHOPPER
The Pilot, Eduardo and Elton, Elton with the pistol on
Joanna.
EDUARDO
Five more minutes and I would have
had him.
ELTON
It's okay. It doesn't matter now....
EDUARDO
It matters.
ANGLE ON DAVID
He hangs on for dear life as the chopper continues to
accelerate. He glances down.
OMITTED
ANGLE IN K.I.T.T.
The countryside flashes by as K.I.T.T., in Pursuit, races
to keep the chopper in view.
K.I.T.T.
Michael, how long can he hang on
like that?
MICHAEL
I don't know. I just hope long
enough.
CUT TO
EXT. REMOTE DESERT ROAD - DAY
Though we probably don't recognize it, this is where Michael
followed the dump trucks the other night. Pan from the
pristine landscape to the tarp-covered dump trucks as they
approach, pull to a stop in front of the abandoned mine.
ANGLE ON WOOD DOOR
Part of the site, the huge door opens, revealing several
guards armed with automatic weapons. They climb out from
the "mouth" of Boca Culebra.
ANGLE ON DUMP TRUCKS
The drivers roll back the tarps and a dozen commandos with
automatic weapons jump out, cross to the hole and climb in.
OMITTED
EXT. SEMI - DAY
as the big truck roars down the road, crosses a bridge over
a dry wash and continues out of frame.
EXT. DESERT ROAD - DAY
The semi appears over a rise, brakes and pulls into a
sheltered turn out off the road. The driver maneuvers the
truck so that the trailer faces the valley below, a steep
cliff above.
REVERSE ANGLE
In the valley below we see the dump trucks, now empty.
Beyond that, barren hills.
ANGLE ON TRAILER
The rear door slowly opens, revealing the rocket launcher.
The scene is set, though the purpose is still a mystery.
Now we hear the sound of a chopper.
CUT TO
EXT. DESERT HILLSIDE - DAY
The chopper approaches, David still glued to the landing
gear. As the chopper slows and begins to descend, it
comes within twenty feet of the ground before it drops off
to the cliff behind the semi.
ANGLE ON DAVID
Seeing the ground so close, the cliff directly ahead, David
realizes this is his chance. Timing his move to the last
possible second, he drops.
ANGLE FROM GROUND
He falls, lands in desert scrub which helps cushion the
impact, then rolls.
CUT TO
EXT. REMOTE DESERT ROAD - DAY
K.I.T.T. flashes by on the same road used by the dump
trucks.
ANGLE IN K.I.T.T.
Michael is tense behind the wheel, trying to keep the
chopper in sight.
MICHAEL
Kitt, can you pick it up?
K.I.T.T.
There, Michael -- it's just coming
over that cliff.
MICHAEL'S POINT OF VIEW
Far ahead, up and to the right, we see the chopper descending,
landing next to the semi.
K.I.T.T.'S VOICE
And there's the semi with that
horrible rocket launcher!
BACK TO MICHAEL
MICHAEL
I see it, pal.
(worried)
What I don't see is David.
K.I.T.T.
Michael, look again. On my monitor.
MICHAEL'S POINT OF VIEW - THE MONITOR
High on the cliff above the chopper and semi a tiny figure
appears, arms waving.
OMITTED
BACK TO MICHAEL
Michael grins.
MICHAEL
He made it!
K.I.T.T.
I just hope we're as fortunate.
MICHAEL
Yeah, why?
K.I.T.T.
Look ahead.
MICHAEL'S POINT OF VIEW DOWN THE ROAD
We see the dump trucks lined up in front of Boca Culebra.
BACK TO MICHAEL
He takes it in, along with the semi and the chopper in the
hills to the right.
MICHAEL
There it is -- the mysterious
'Boca Culebra.'
K.I.T.T.
Michael, I'm picking up a large
airplane on my sensor.
MICHAEL
Let's have a look.
He punches buttons.
INSERT - MONITOR
A radar-like blip appears on the screen.
BACK TO MICHAEL
concerned.
MICHAEL
That could be the C-111 David
mentioned. Can you ID it?
K.I.T.T.
It is a C-111.
MICHAEL
Let's get Devon.
OMITTED
ANGLE ON CLIFF ABOVE
David peers down.
HIS POINT OF VIEW - EDUARDO
With the help of several technicians, Eduardo is fine-tuning
the big gun's position for firing.
BACK TO DAVID
He carefully drops over the lip of the cliff.
ANGLE FROM BELOW
as David slowly begins making his way down the sheer
granite wall. One slip, one miscalculation, and it's all
over.
CUT TO
ANGLE IN K.I.T.T.
Devon's image appears on the monitor.
DEVON
Michael, why haven't you kept in
touch?
MICHAEL
No time to explain now, Devon. We
found out what 'Boca' is -- a major
assault on a secret U.S. Army weapons
depot. How's your relationship with
General Maddux these days?
DEVON
Why?
MICHAEL
Eduardo O'Brian's using a C-111 cargo
plane to transport the weapons out of
the country. If the Air Force could
make sure the plane never touches
ground we'll handle the rest.
DEVON
'The rest?' What on earth are you
talking about?
MICHAEL
Gotta go. Got a rocket launcher to
knock out. Good luck with Maddux.
He punches Devon off.
K.I.T.T.
Michael, surely you're not serious.
MICHAEL
Couldn't be more serious, buddy.
The pieces are falling into place.
They're going to use that gun to
bombard the armory.
He hits Pursuit.
FADE OUT
END OF ACT SEVEN
ACT EIGHT
FADE IN
EXT. HILLSIDE - DAY
Technicians finalize the firing position. Eduardo watches
something through binoculars.
TECHNICIAN
(to Eduardo)
We're ready, sir.
EDUARDO'S POINT OF VIEW THROUGH BINOCULARS
We see the object of his attention: K.I.T.T. on the road
below, just starting up the hill.
BACK TO SCENE
Eduardo lowers the glasses.
EDUARDO
Fire three rockets on the primary
target, then knock out the bridge
on the road up here.
TECHNICIAN
Yes, sir.
The gunner fires the first round. The roar is deafening,
the recoil shakes the big semi like an earthquake.
ANGLE ON ARMY WEAPONS DEPOT
A bunker-like group of buildings made of reinforced steel.
Several Jeeps, cars, a handful of soldiers doing routine
duty. Suddenly the first rocket lands, shatters the main
building. Sirens, smoke and general pandemonium.
ANGLE IN TUNNEL
The commandos are grouped just below ground. They wait for
the sound of the second shell.
INTERCUT - MICHAEL AND K.I.T.T.
racing up the narrow road toward the semi. The second
shell explodes.
INTERCUT - DAVID ON CLIFF
coming down inch by inch, foot by foot.
INTERCUT - JOANNA AND ELTON
He watches, a gun trained on her. The third shell explodes.
ANGLE AT WEAPONS DEPOT
Smoke and confusion, sirens. Suddenly the ground opens and
commandos with gas masks and automatic weapons pour out.
ANGLE ON SEMI
The rocket launcher is now aimed at the bridge.
TECHNICIAN
Ready, sir.
EDUARDO
Fire.
It fires.
ANGLE ON ROAD UP
Michael and K.I.T.T. are halfway up the road, approaching
the bridge, when the rocket lands. The bridge goes up in a
confusion of splintered wood and fragmented concrete.
ANGLE IN K.I.T.T.
They react to the disintegration.
K.I.T.T.
Michael, the bridge is gone!
MICHAEL
Better the bridge than us.
He reaches for the Turbo Boost button.
K.I.T.T.
The chasm is over fifty feet!
MICHAEL
Give me everything you've got!
DIFFERENT ANGLES
K.I.T.T. sails up and over the chasm.
INTERCUT - EDUARDO
He's furious.
EDUARDO
Fire on him directly! Take him out!
TECHNICIAN
Yes, sir.
They adjust the rocket launcher.
ANGLE IN WEAPONS DEPOT
The commandos load case after case of weapons down into the
tunnel.
ANGLE IN TUNNEL
The cases are loaded onto electric carts.
ANGLE ON CLIFF
David is thirty feet above the semi on the cliff.
ANGLE ON ROCKET LAUNCHER
It fires.
ANGLE ON K.I.T.T.
A rocket explodes, narrowly missing.
K.I.T.T.
We'll never survive a direct hit!
MICHAEL
No choice now, pal.
ANGLE ON SEMI
They prepare to fire another round.
ANGLE ON DAVID
He sees there's little hope for Michael and K.I.T.T.'s
frontal assault. He jumps just as the rocket launcher
fires again.
ANGLE ON K.I.T.T.
This shell explodes closer still, the power of the blast
rocking K.I.T.T. violently.
ANGLE ON SEMI CAB
A guard watches. David suddenly appears, knocks him out
with a karate chop. He climbs in and releases the emergency
brake.
ANGLE BY ROCKET LAUNCHER
The gunner is ready to fire again when the Technician feels
something peculiar.
TECHNICIAN
We're moving!
EDUARDO
Fire! Fire!
But the big rig is already picking up speed, making sighting
impossible. The Technician jumps clear, then the gunner and,
finally, Eduardo.
ANGLE IN K.I.T.T.
K.I.T.T.
Michael, look!
MICHAEL'S POINT OF VIEW - THE SEMI
it rolls down the narrow road toward them, trailer first,
swaying from side to side.
BACK TO MICHAEL
MICHAEL
One more time, Kitt.
He hits Turbo Boost.
DIFFERENT ANGLES
as the semi careens down the slope, heading directly for
them, K.I.T.T. propels up with Turbo Boost, sailing up and
over the tractor and trailer.
ON THE SEMI
as it careens down the hill, skidding off the narrow road
and plunging into canyon below. A beat, then a tremendous
explosion is seen and heard, as the semi goes up in a ball
of flames.
ANGLE ON EDUARDO
He runs back up the hill, heading for the chopper, when
David suddenly appears in front of him. Eduardo stops.
They stare at each other, ten feet apart.
Eduardo pulls a knife.
EDUARDO
Of all weapons, the knife is my
favorite. I killed my first man
with a knife.
He slowly advances. David readies himself.
ANGLE NEAR CHOPPER
Elton pulls Joanna along with him, running for the chopper.
He forces Joanna inside, climbs in after her.
ANGLE IN K.I.T.T.
Michael swings onto the pad where the semi was as the chopper
lifts off the ground.
MICHAEL
Kitt, let's jam her!
He punches buttons.
INTERCUT - CHOPPER
The engine begins to sputter, preventing the chopper from
lifting more than fifteen feet off the ground.
ANGLE ON DAVID AND EDUARDO
Eduardo lunges at David with the knife, slashing, but David
skillfully avoids each thrust, waiting for the right moment
to counter.
ANGLE IN K.I.T.T.
MICHAEL
C'mon, buddy...bring her down.
WIDER ANGLE
The chopper, misfiring, comes back to earth.
ANGLE IN CHOPPER
Elton aims the gun at Michael but Joanna grabs his arm.
Michael coldcocks him with one punch. Joanna points the
gun at the Pilot.
JOANNA
Don't move.
Their eyes catch. Terrified, Joanna nevertheless manages
a smile.
JOANNA
Hi.
MICHAEL
(grins)
Hi.
ANGLE ON DAVID AND EDUARDO
Eduardo lunges again. This time David adroitly sidesteps,
turns and catches him with a lightning-fast series of
punches.
ANGLE ON CHOPPER
Michael and Joanna climb out, the Pilot hauling Elton down.
MICHAEL
(looking off)
Look.
OMITTED
THEIR POINT OF VIEW - AIR FORCE FIGHTER JET - STOCK
It roars overhead, tips its wings.
BACK TO THEM
MICHAEL
That's what I call perfect timing.
JOANNA
Where's David?
ANOTHER ANGLE
Over the lip of the pad a strange sight appears. It's David
with Eduardo draped over his shoulders.
Joanna runs and throws her arms around him, relieved,
impulsively kisses him. David looks at Michael and grins.
DAVID
Amazing what a few flowers'll do.
JOANNA
Dog.
On their laughter:
FADE OUT
END OF ACT EIGHT
TAG
FADE IN
INT. JOANNA'S SUITE - DAY
Joanna and David are packing. Michael has dropped by
before he leaves.
DAVID
Sure you can't hang around for a day
or two?
MICHAEL
(shakes head)
Gotta be in Denver by tomorrow.
DAVID
Boss keeps you jumping, huh? Mine
never leaves his office.
MICHAEL
Speaking of Archibald, was he able to
help Tiara?
DAVID
(nods)
A couple of phone calls and she was
on a plane to Nicaragua.
Joanna appears from the bedroom with suitcases.
JOANNA
Is the bellman here?
(sees Michael,
smiles)
Oh. Hi.
MICHAEL
Hi. Just dropped by to say good-bye.
She crosses to him and they embrace fondly.
JOANNA
I can't believe it's been -- what --
four or five days since we met in
Calexico?
MICHAEL
Three.
JOANNA
Thank you, Michael.
MICHAEL
Did it help?
JOANNA
Finding the people responsible for
Arthur's murder? Yes and no. Mostly
yes. I think what I need now is
time....
Michael nods. A last hug and he turns to help David with
his exercise gear as someone knocks at the door.
DAVID
C'mon in. The bags are by the door.
MAN'S VOICE
How thoughtful.
David reacts to the voice.
ANOTHER ANGLE
The man is Archibald Hendley. David stares.
DAVID
Archibald...what are you doing here?
ARCHIBALD
Contrary to popular belief, I do get
out once in a while.
He ignores David and Michael, crosses directly to Joanna.
ARCHIBALD
You must be Joanna St. John.
Before she can reply he kisses her hand, the epitome of
charm. It's a side David's never seen before.
ARCHIBALD
When David told me about you I was
mildly curious. When he phoned me
with the incredible past you'd
invented, I knew I had to meet you.
JOANNA
(smiles)
I'll assume that's a compliment.
Thank you.
With a gesture he skillfully guides her toward the terrace.
ARCHIBALD
What I find even more intriguing is
the reality of you equals the fantasy.
Archibald's power in full focus is such that even Joanna
feels its spell. She laughs, charmed.
JOANNA
A rare occurrence in the work-a-
day world.
ARCHIBALD
Rare indeed. And so full of promise.
Another gesture and they're moving into the terrace.
Archibald pauses only momentarily at the door, the briefest
of glances at David.
ARCHIBALD
The bags are by the door.
They're gone, out onto the terrace. David watches, amazed.
Michael grins.
MICHAEL
Never leaves the office, huh? C'mon,
I'll give you a hand with the bags.
ANGLE ON TERRACE
Archibald continues, looking out over the ocean.
ARCHIBALD
...as far as the objectives, they're
quite simple. We live in an
international world limited by
national boundaries. Too frequently
people fall between the cracks.
People like Eduardo O'Brian. Our
job is to catch them.
JOANNA
That sounds reasonable enough. What
I don't understand is why you're
interested in me.
Archibald turns to look at her.
ARCHIBALD
I took the liberty of filling in
some blanks.
JOANNA
Blanks?
ARCHIBALD
Information about you. I hope you
don't mind. What I found was a fas-
cinating combination -- a beautiful,
well-respected woman with every
social contact imaginable. Flawless
credentials. And a woman standing
at a major intersection in her life.
A woman who just lost her husband.
A woman, pardon the expression,
with a full tank of gas and nowhere
to go.
Joanna laughs.
EXT. MIRAMAR HOTEL - DAY
Michael and David pause by K.I.T.T.
DAVID
You always work alone?
MICHAEL
Always.
K.I.T.T.'s scanner flashes.
K.I.T.T.
I beg your pardon.
MICHAEL
(smiles)
In a manner of speaking.
DAVID
Me too. But if I ever needed a
partner, I can't think of anyone I'd
rather have.
MICHAEL
That goes for me, too. Tell that
terrific lady good-bye for me.
They shake hands and Michael climbs into K.I.T.T. David
watches as they pull away.
ARCHIBALD'S VOICE
I want you to meet a new member of
the team.
David turns, sees Archibald with Joanna. He doesn't know
what to think.
DAVID
Arch, I work alone....
ARCHIBALD
You used to work alone. Flexibility
is the key to success, never forget
that. Speaking of which, you're due
in New Orleans tomorrow.
DAVID
New Orleans?
ARCHIBALD
(to Joanna)
Do you happen to know anyone
important in New Orleans?
JOANNA
What field?
ARCHIBALD
Politics.
JOANNA
I went to college with the District
Attorney's wife.
Archibald beams, turns to David.
ARCHIBALD
Just as I suspected. An imperfect
pair, but a perfect match.
Off their looks:
FADE OUT
THE END
