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KNIGHT RIDER: MOUTH OF THE SNAKE

EXEC. PRODUCERS: Glen A. Larson, Robert Foster
SUPV. PRODUCER: Joel Rogosin
CO-PRODUCERS: Robert W. Gilmer, Tom Greene, Gian R. Grimaldi

Production #57831
11th Draft - March 12, 1984 (F.R.)

Teleplay: .................. Robert Foster &
............................ Robert W. Gilmer
Director: .................. Winrich Kolbe

                              
                                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