ACT ONE
FADE IN
EXT. DESOLATE AREA - EARLY MORNING
The stillness of the area, serenity, then the silence
suddenly broken by a roaring sound of a powerful engine
that builds and then:
K.I.T.T. - SUPER PURSUIT MODE
speeds along the empty expanse of road taking the turns in
a well-controlled and coordinated effort.
INSIDE K.I.T.T.
Michael enjoying the freedom of an unencumbered high-speed
drive.
MICHAEL
Kitt, you're the greatest....
K.I.T.T.
Thank you Michael, and I must admit
that this test run was quite
exhilerating...Could we do another?
MICHAEL
It's okay with me buddy but we
better check with the boss....
ON MONITOR
Bonnie smiling....
BONNIE
Don't call me boss...Sometimes the
two of you behave like a couple of
kids....
MICHAEL
Yes Mama....
BONNIE
Okay, one more run...Let's check the
Emergency Braking System on turns.
MICHAEL
You ready Kitt?
K.I.T.T.
Anxious would be the proper word....
K.I.T.T.
as he speeds into a turn.
INSERT
Michael hits the Emergency Braking System button.
K.I.T.T.
The flaps and roof panel flap outward...K.I.T.T. skids to a
dead stop.
K.I.T.T.'S VOICE
Bonnie, there's a two-degree pull to
the right.
INSIDE K.I.T.T.
driving off.
BONNIE
...We'll adjust the stabilizers....
MICHAEL
Let's leave it alone Bonnie...It adds
a little flair to the stops....
K.I.T.T.
(beat)
Could we Bonnie??
Michael's laugh.
K.I.T.T.
As it passes an ND van going in the opposite direction...
Camera stays with:
THE VAN
as it continues on and then turns into a road leading to --
we see a driver and one passenger.
EXT. GOVERNMENT DATA CENTER - ISOLATED AREA - EARLY MORNING
Floodlights surround this windowless cement building which
sits back from a single-lane roadway. Charged electrical
fences, with their security locks, cross checks, and
warning signs in bright red, protect it from any intruders.
To the side of the electronically controlled entrance gate
is a guard shack. Establish this, then:
ANGLE
The van, slows to a stop in front of the guard shack. The
Guard moves to the passenger's side of the van. The
lab-coated passenger has a full beard and wears thick,
steel-rimmed glasses. He is the Falcon.
GUARD
Good evening...Doctor Hanson...Sorry
but I have to see your ID card.
As Falcon hands the Guard an ID card.
NEW ANGLE
A bull of a man, Santini, appears. In a blur, a knotted
rope is around the Guard's throat! The killing act is
performed as the Guard is pulled back, hidden from view by
the guard shack. Santini reaches into the shack, activates
the gates, races to and into the van as the gates start to
open.
THE VAN
barrels through the open gates with accelerated speed,
telling us that its engine has been turbo-charged. It
reaches the loading dock of this huge, gray building,
screeches to a halt.
EXT. LOADING DOCK
In a flash, the three men are out of the van. The driver,
Stocker, now has a Mach Ten in his hands positioned and
ready to fire. Santini is carrying a small aluminum
attache case. The three men move onto the dock.
They reach a door requiring an identifying hand impression
for it to open. Falcon places a plastic charge behind the
blocking lever. Stepping back, he plays out the battery-
controlled wires. On the move:
FALCON
Remember...we have six minutes
before backup security responds.
Falcon activates the charge. The explosion rips the door
open.
INT. DATA CENTER - CORRIDOR
An alarm system starts blaring. Two security guards, their
automatics drawn, come racing from an adjoining corridor.
As they make their turn:
STOCKER
opens fire and empties his thirty-round clip into the
onrushing guards!
K.I.T.T. - MONITOR
Graphics flash across the screen....
K.I.T.T.'S VOICE
Michael, I'm receiving a silent alarm
from the Government Data Center...
There's no evidence of immediate
Police response....
INSIDE K.I.T.T.
MICHAEL
Let's get there buddy...Plot a direct
course....
EXT. K.I.T.T.
Already in S.P.M., it spins a 180 and screeches off....
CUT TO
INT. DATA CENTER - RELAY STATION
Row after row of communication panels stand in silent duty.
We pan to discover the three men at an open panel. Angle
adjusts and we find Santini removing a section of the
switching panel. He then takes a pair of tweezers and
picks up a minute chip (a bugging device) and connects its
two wires to a section of this panel. As he starts to
replace the panel:
CUT TO
EXT. GATE - K.I.T.T.
soars through the gate, and speeds towards the data center.
EXT. LOADING DOCK - K.I.T.T.
spins to a stop, using E.B.M., blocking the van's exit and
pinning it against the dock.
MICHAEL
vaults from the car and races towards the dock, shouting
back at K.I.T.T.
MICHAEL
Keep the van pinned and your scanners
peeled. I'll try to keep them inside
'til backup gets here!
K.I.T.T.
Right, Michael.
INSERT
as K.I.T.T. converts back to normal mode.
INT. DATA CENTER - CORRIDOR
Falcon, his steel-rimmed glasses removed, is racing down
the corridor, leading Santini and Stocker. Santini is
carrying his aluminum case...Stocker's Mach Ten is
positioned to fire.
EXT. DATA CENTER - ON MICHAEL
moving carefully through the blown-away door. His eyes go
wider.
INT. DATA CENTER - CORRIDOR
Michael and the three men are a step away from a head-on
collision. Michael, in a flash, recovers from the shock.
He lunges at Falcon. His hands, grabbing hold of Falcon's
beard. The beard rips away...as Falcon spins away, covering
his face.
ANGLE
Santini swings his aluminum case at Michael...the blow
finds its mark, knocking Michael backwards.
STOCKER
in an instant, reacts -- blasting away at Michael with the
Mach Ten....
EXT. DATA CENTER - LOADING DOCK - ON MICHAEL
Bursts of gunfire from inside the data center find their
mark -- hurling him backwards and off the dock.
K.I.T.T.
Michael!!
INT. K.I.T.T.
K.I.T.T. jams his gear shift to reverse. As he starts to
spin out:
FALCON, SANTINI AND STOCKER
stand over Michael's bullet-ridden body. Michael's eyes
fight to focus on Falcon's face. Santini holds the
aluminum case to his chest...Stocker stands ready to fire.
Falcon gives his command:
FALCON
Finish him!
SCENE
Suddenly they are bathed in the light from K.I.T.T.'s head
lamps. Stocker panics, swings his Mach Ten...firing...
emptying the rest of his clip at K.I.T.T.
K.I.T.T.
streaks towards the fallen Michael, as bullets bounce off
his hood and fenders.
FALCON
hiding his face with his arm, breaks for the van...Santini
and Stocker follow.
K.I.T.T.
skids to a halt over Michael's fallen body, protecting him
from further harm.
INT. K.I.T.T.
He gains contact with a paramedic unit.
K.I.T.T.
This is an emergency! Dispatch a
unit to the Data Center -- twenty-two
thousand Hill Mount...Man in need of
immediate life support systems!
EXT. K.I.T.T. - ON MICHAEL
His life ebbing away...His eyes try to focus as he stares
up at K.I.T.T.'s red scanning lights. We hear, through his
comlink:
K.I.T.T.
Move Michael, move any part.
(beat)
Please Michael....
THE RED SCANNING LIGHTS
blur out of focus as Michael slips into a coma.
CUT TO
THE BLURRED RED LIGHTS
Stay for a beat...and then refocus and find the rotating
red lights, atop the paramedics' ambulance, flashing into
the night. Pull back and reveal:
EXT. DATA CENTER - CRIME AFTERMATH SCENE - DAY
Black and whites have arrived on the scene. Uniformed
officers comb the area as Michael's body is strapped to a
gurney by two paramedics. IV tubes are held steady as the
gurney is wheeled to and loaded into the rear of the
ambulance. The medic climbs inside. As the driver races
towards the front, the rear doors are slammed shut.
ANGLE
The ambulance pulls out...K.I.T.T. follows.
INT. AMBULANCE - DAY - MOVING SHOT
Wires lead from Michael's chest to an EKG monitoring
system. The medic squats beside Michael, placing a blood
pressure cuff on his arm.
CUT TO
EXT. ROADWAY - DAY
K.I.T.T. trailing behind the speeding ambulance. (Blind
drive.)
INT. K.I.T.T. - DAY - MOVING SHOT
The interior of the ambulance is on K.I.T.T.'s screen. As
the medic places an oxygen mask over Michael's face:
K.I.T.T.
That's correct...oxygen...now check
pressure and vitals.
MONITOR
We see the ambulance driver look back over his shoulder
with a questioning look. The Medic responds with:
MEDIC
The patient is in extremeness -- I
think we're going to lose him.
K.I.T.T.'s monitor flashes to the ambulance's EKG screen.
Michael's heartbeat is barely registering.
INT. AMBULANCE - HOLD ON MICHAEL
then pan in tight to his eyes...his eyelashes barely flicker
-- and then...no movement at all...A beat of this and then
the screen starts to destroy and over Michael's face we:
NURSE MILLER (V.O.)
(echoing)
Code blue...code blue!!
DISSOLVE TO
OMITTED
INT. HOSPITAL CORRIDOR - DAY - CEILING LIGHTS
as they roll by...widen to reveal all the controlled
madness of hospital personnel administering aid to a
patient nearing death is taking place as Michael is being
wheeled down the hospital corridor by the paramedics. An
old warhorse, Nurse Miller, is racing alongside the gurney.
Miller continues to yell to an approaching doctor.
NURSE MILLER
Code blue, doctor...We have a
clearance in the operating room!
As the doctor joins in the race to the operating room:
DISSOLVE TO
OMITTED
THE BEING OF LIGHT
white, clear...and of an indescribable brilliance.
MATCH CUT TO
INT. HOSPITAL OPERATING ROOM - THE LIGHT
positioned above the operating table.
REVERSE ANGLE
and see a team of doctors, huddled, working on Michael. The
two monitors beside the operating table show strong, steady
lines and beeps.
At some point, the Head Surgeon turns to the others and nods.
He walks from the operating table, crosses the room, and
out the double doors.
INT. HOSPITAL CORRIDOR - NIGHT
Devon and Bonnie stand, waiting and watching, as the Head
Surgeon approaches. Reaching them, he nods.
HEAD SURGEON
I don't know how...but he made it.
Tears start to well up in Bonnie's eyes. Devon wraps his
arm around Bonnie, comforting her as he covers his emotion.
BONNIE
I didn't think he had a chance....
DEVON
Of course he did...
(beat)
He wouldn't have had it any other way.
EXT. K.I.T.T. - HOSPITAL PARKING LOT - NIGHT
on K.I.T.T.'s screen. The EKG monitor...The heartbeat
grows stronger.
K.I.T.T.
Well done Doctor...and thank you.
On this:
LONG DISSOLVE TO
EXT. FALCON'S ESTATE - DAY - ESTABLISH THIS LUXURIOUS
ESTATE
with its iron gate, manicured grounds, and the four-story
Victorian situated on the summit of the property. Then pan
to the swimming pool area, with its panoramic view of the
ocean in the distance, and find a long-stemmed beauty
swimming laps in the pool. Continue to pan past the beauty
to poolside, then move in to:
FALCON
sitting in a lounge chair working on a small model motor
with delicate jewelers tools....
This is our first clear look at Falcon. He is in his late
forties, with cold, dark eyes and a bearing of elegance.
We sense an inward anger in Falcon that could explode at
any moment.
WIDER
Stocker exits the house and crosses to Falcon's lounge
chair. Falcon continues to work on the tiny motor....
STOCKER
It's working like a charm....
Falcon maintains his concentration on the model as he
talks....
FALCON
Of course it is...It was designed
to...Within the next five days we
could be selling information for
millions.
STOCKER
This is the score of a lifetime.
FALCON
For you maybe, not for me...The access
into the government computers should
be worth six, eight million...After
overhead there'll be less than two
million for me...That's a year to
two of this lifestyle and not nearly
enough....
STOCKER
It's a lot more than that to me....
Falcon finally looks up at him....
FALCON
Different tastes Stocker...Perhaps
you'll develop more of them as you
realize you can afford them...As for
me, I'm easily bored...
(points)
Like her...She's been here too
long....
STOCKER
A day?
FALCON
Too long...Handle it...I've got more
important problems. Is Santini back?
STOCKER
In the computer room.
Falcon, as he moves away from the pool area and into the
house....
INT. DEN - HOBBY ROOM - DAY
As Stocker enters, we get a view of this room -- models of
all kinds...Planes...Boats...Trains...hang from the ceiling,
are placed on shelves and tables. On a large work table is
Falcon's latest project, in the final stages of construction
-- a Cox Cessna 182 Skyline model airplane.
Falcon moves to his desk where a small minicomputer sits.
Falcon's fingers play across the number panel as he selects
a code of seven digits. Then, from behind the massive
walnut-shelved walls of the room, crammed with rich,
leather-bound volumes, we hear the hum of a motor and watch
one of these panels swing open to reveal a stainless steel
door. Falcon moves to it, pushes it open.
INT. COMPUTER ROOM - DAY
We see that this is an advanced, complete, high-tech
computer control center. A computer expert, Klus, sits at
the controls of a complex machine that has a coded message
on its screen. Santini is at the far side of the room.
The computer expert turns to Falcon, indicating the
computer readout:
KLUS
It's from our contact in East Germany
...They're ready to transfer funds....
Falcon stops him with a hand gesture, looks at Santini.
FALCON
What did you come up with?
SANTINI
The guy that busted in on us, his
name is Michael Knight...He's still
in the hospital.
(beat)
Works for some organization called
'F.L.A.G.' What the hell is that?
Falcon's eyes tighten....
FALCON
The Foundation for Law and Government
...A group of specialists.
Falcon turns back to the computer operator.
FALCON
Tell the buyers there'll be a delay
in the final transfer.
At the door, Stocker reacts.
STOCKER
What do you mean delay?
FALCON
Michael Knight has to be eliminated
first. He's seen my face.
STOCKER
That's your problem....
Falcon turns to face Stocker, who cannot hold his gaze....
FALCON
Yours also Stocker...There'll be no
money for any of us till I know
Michael Knight is dead....
Reactions....
CUT TO
INT. HOSPITAL ROOM - NIGHT - ON MICHAEL
lying in his hospital bed, staring out towards the window,
watching the night close in. His thoughts are miles away
as we hear:
DEVON (O.S.)
We found the remains of a false beard
with traces of makeup. Whoever it
was, he disguised himself as one of
their scientists....
WIDER
Bonnie and Devon are in the room.
DEVON
Nothing seems to be missing. So, now
the data people are checking for
access devices, but...Michael, are you
listening to me?
Michael, still staring out the window, nods "yes." Bonnie
takes hold of Devon's arm.
BONNIE
I think we should go...
(to Michael)
Rest...Rest, Michael -- for as long
as it takes....
Michael doesn't respond. Bonnie leads a troubled Devon out
of the room.
HOSPITAL CORRIDOR
Two paces out of Michael's room and Devon stops, turns, his
eyes lock on Michael through the open door.
DEVON
His wounds are healing, he's not....
BONNIE
It could be just a temporary after
effect...Mental scars take longer to
disappear....
DEVON
Michael's walked away from death
before. His withdrawal is not
because of that -- I believe it goes
far deeper....
They move off. Camera moves to:
TIGHT ON MICHAEL
His eyes, now staring at the ceiling, start to mist with
tears.
CUT TO
INT. K.I.T.T. - HOSPITAL PARKING LOT - NIGHT
Find Michael's hospital room on K.I.T.T.'s screen.
K.I.T.T.
Michael, are you all right?...
INT. MICHAEL'S HOSPITAL ROOM - INTERCUT AS NEEDED
Michael composes himself, then speaks into his comlink:
MICHAEL
Kitt, where are you?
K.I.T.T.
In the parking lot, Michael. Dirty,
dusty and humiliatingly wedged in
between a foreign disaster and a
Detroit mistake!
MICHAEL
How long have you been there?
K.I.T.T.
Nine days, Michael...216 hours of
sitting and waiting. You have no
idea how many baby carriages and
wheelchairs have bumped into me...So,
if for no other reason -- other than
my dignity -- please get up from that
hospital bed....
MICHAEL
(a sad
smile)
Soon, Kitt...soon.
K.I.T.T. becomes compassionate.
K.I.T.T.
Michael...we both know you're strong
enough to leave now. If you're going
through an emotional crisis having
trouble resuming your life again, I
may not be able to solve it but I'm
ready to listen....
Michael digs deep into himself, trying to explain -- as much
to himself as to K.I.T.T. but remains silent.
MICHAEL
The problem is...I'm not sure what
life I want to resume again -- if any.
Michael reacts to the sound of someone coming into his
room. A beat...and Nurse Miller comes into frame. In her
hand is a paper cup with two tablets. She shakes her head.
NURSE MILLER
I've had patients that talk to walls
...but never to a watch...Take these
pills before I do.
She hands Michael the tablets and a paper cup of water.
Michael downs the tablets. She flips on the TV monitor
that baby-sits the patients....
INT. K.I.T.T. - NIGHT - ANGLE TO INCLUDE WINDSHIELD
We see Nurse Miller on K.I.T.T.'s screen as she tucks
Michael in. Angle adjusts and, through the windshield, we
see the "changing of the guard" of the hospital's personnel
...nurses, orderlies and doctors headed to, and into, the
Personnel entrance directly in front of K.I.T.T.
K.I.T.T. (O.S.)
(softly)
Good night, Michael....
CUT TO
INT. HOSPITAL - PERSONNEL ENTRANCE AREA - NIGHT - CLOSE ON
MAN IN ORDERLY'S UNIFORM
He moves down the corridor with those entering...then as he
breaks from the main group, we recognize his face -- it is
Santini.
INT. MICHAEL'S HOSPITAL ROOM - ON MICHAEL
in that "twilight zone," slipping into a troubled sleep.
Hold a few beats...then hear the sound of the door to
Michael's room quietly being opened.
SCENE
In the shadows of Michael's darkened room, see the form of a
man in an orderly's uniform, groping his way towards
Michael's bed. His face becomes recognizable as he stops
and takes, from his jacket pocket, his knotted rope. It is
Santini.
NEW ANGLE
Santini wraps the strangling cord around his hands as he
stares across the room at Michael, sleeping the troubled
sleep.
Santini starts to move towards Michael's bed, slowly, pur-
posefully. He is a step away from the head of the bed...He
lunges towards Michael, and his thigh smashes into the
corner of the nightstand...A plastic water pitcher is
knocked off the stand. As it falls to the floor:
CUT TO
INT. K.I.T.T. - NIGHT - MONITOR
Michael's hospital room is still on K.I.T.T.'s screen.
K.I.T.T. sees Santini start to lunge at Michael. Emergency
signals flash across the screen.
K.I.T.T.
Michael! Code Blue...Code Blue!
K.I.T.T. activates the "Code Blue" emergency alarm in
Michael's room.
INT. MICHAEL'S HOSPITAL ROOM - NIGHT
A loud, gonging sound echoes through Michael's room --
shattering the stillness. Santini is frozen with shock --
Michael is startled into an awakened state.
Santini recovers, starts to attack Michael, as the sound of
the alarm continues....
INT. HOSPITAL CORRIDOR
The nurses and orderlies react to the sound -- start to race
towards Michael's room.
MICHAEL'S ROOM
Michael and Santini, bathed in shadows, wrestle on the
bed, crash to the floor. Santini has Michael in a choke
hold...Michael, reaching...reaching...for a weapon with
which to free himself from Santini's death clutch...He
finds it -- a bed pan. With his last breath of strength,
Michael swings out and bashes the bed pan into Santini's
face. We hear the sound of hard metal hitting flesh...and
the lights are flipped on.
Standing at the open door is Nurse Miller...behind her,
hospital personnel. An exhausted Michael and the
unconscious Santini are on the floor. The sound of the
alarm ends. Michael, into comlink:
MICHAEL
Thanks, pal.
K.I.T.T.'S VOICE
I'm sorry they don't allow cars in
hospitals. I would have been a lot
closer.
MICHAEL
I know you would have buddy....
ON NURSE MILLER
Her reaction....
CUT TO
EXT. MICHAEL HOSPITAL ROOM TERRACE - DAY
Bonnie and Devon with Michael. Michael, dressed in a robe,
staring out. It's obvious that he's in a deep state of
depression.
MICHAEL
It's final, Devon...I'm leaving The
Foundation.
DEVON
(compassionately)
You've just gone through a series of
harrowing experiences and I don't
believe you're thinking clearly....
MICHAEL
I've had days to think clearly and my
decision is made.
Michael turns and faces Devon.
MICHAEL
I've had one incomplete life already
-- as Michael Long. My life as
Michael Knight -- may not be the
answer.
DEVON
(again,
compassionately)
It won't be that easy to leave,
believe me, I know.
(beat)
You've seen too much -- you've
witnessed the violence -- the
injustices...You've seen the good
that we can do -- you've been part
of it too long to walk away.
(beat)
Michael, certain men are chosen to
enjoy a little and endure much...
You're that breed of man....
MICHAEL
(beat)
No, Devon...you're that breed of man.
I want to be the kind with no
responsibility.
(beat)
I don't want to be involved in any
of the so-called 'great' schemes of
this world.
DEVON
Michael, I don't think you mean
that....
MICHAEL
I'm tired, Devon. It seems as if
it's been one long process of getting
tired. I think I'm finally there.
Michael turns away from Devon and Bonnie. Bonnie is about
to say something. Devon stops her with the shake of his
head. Then, to Michael:
DEVON
Even though there's someone out
there who wants you dead....
Michael doesn't respond. Devon, after a beat....
DEVON
...We'll be back in the morning....
We hold on Michael as Bonnie and Devon exit from frame. A
beat...then Michael moves, once again, to the window and
stares catatonically, into the night.
EXT. HOSPITAL ENTRANCE - DAY
The door swings open...RC3 is standing there...He eyes
Devon and Bonnie....
RC3
You people are looking like he's
dead....
BONNIE
No, but he's not really alive either.
RC3
Where I come from breathing is alive
...the rest is up to you....
DEVON
(beat)
Thank you RC...You've said something
that's basically brilliant...Michael
needs a will to live...a reason to care.
I'll have to find that for him....
Reactions.
CUT TO
EXT. INTIMATE RESTAURANT - NIGHT
that overlooks the ocean in a quaint beach community. We
hear the sound of a female voice singing a tender love
ballad. The ballad continues as we move:
TIGHT ON PLACARD
adjacent to the entrance door, with Stevie Mason's photo on
it and an announcement reading: "APPEARING TUESDAY THROUGH
SATURDAY."
INT. INTIMATE RESTAURANT - NIGHT
It is nearing closing time. The patrons who half fill the
room are totally engrossed as the ballad continues. The
pianist moves his fingers over the piano keys as Stevie
Mason, looking her loveliest and totally involved in the
love song, sings it to its conclusion.
The patrons respectfully applaud. Stevie takes her "bow."
She is about to say something in acknowledgement...Her eyes
lock on something across the room -- she freezes as she
sees:
DEVON
standing on the far side of the room.
NEW ANGLE
as Stevie, her body tense with emotion, crosses the room.
reaching Devon, she stares up into his eyes...Forcing the
words:
STEVIE
...You've come to tell me Michael's
dead, haven't you?
DEVON
No. He's alive...But something in
Michael has died...and he needs you.
Play the moment....
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
EXT. HOSPITAL PARKING LOT - DAY
Michael is crossing the lot, carrying his suitcase, moving
towards K.I.T.T. Reaching K.I.T.T., he leaves the suitcase
out on the pavement, opens the door, moves in.
INT. K.I.T.T. - DAY
Michael leans back in the driver's seat, trying to find a
way to say "good-bye" to K.I.T.T...A beat...then:
MICHAEL
Kitt...there's something I have to
tell you....
K.I.T.T.
I had you on my monitor and I don't
understand...this is your life --
you're programmed the same way I am.
Michael, with a sad smile:
MICHAEL
Think of it this way...my computer
bank has been overtaxed...
(absently)
There comes a point when you can't do
any more -- when all your energies
are used up....
K.I.T.T.
Michael, will that happen to me?
MICHAEL
No, Kitt, you don't have to worry
about that...Now, I have to say
'good-bye' friend.
K.I.T.T.
-- Michael -- I may not be flesh
and blood, but I am a friend...and
I wish you happiness.
(beat)
But I still don't understand.
MICHAEL
In a way, neither do I.
MICHAEL
his emotions rising to the top, takes off his comlink,
places it in the glove compartment...gently shuts the door,
then exits K.I.T.T.
EXT. HOSPITAL PARKING LOT - DAY
Camera stays as Michael picks up his suitcase, moves away
from K.I.T.T. and heads across the parking lot.
EXT. STREET - DAY - ON MICHAEL
exiting the lot, moving onto the sidewalk. He stops in his
tracks...A puzzled look registers on his face.
NEW ANGLE
Michael is face to face with RC3, who stands next to the
limo, its rear door open.
RC3
Come on, Michael, you're not getting
away that easy. You've got a
'good-bye' party to go to.
MICHAEL
No way, RC. I've already said my
good-byes.
RC3
Hey, man, I haven't known you that
long, but everything I've seen about
you and heard about you tells me you
don't take the easy way out...You've
got two people waiting that have
been to hell and back with you. They
want to say good-bye. If I have to
throw a flying tackle, you ain't
leaving them cold.
Michael glares a warning at RC3.
RC3
(smiles)
...You're still hurting...I may even
be able to take you....
Michael holds a beat, then a half smile...RC3 lets out a
grateful breath, smiles back...opens the limo door.
RC3
Let me hold the door open...I think
you just saved my life.
CUT TO
INT. INTIMATE BEACH TOWN RESTAURANT - ALCOVE - DAY
Devon and Bonnie stand next to the maitre d' at the entrance
to the dining room. Michael and RC3 are approaching...
Michael, reaching Devon:
MICHAEL
...This isn't going to change anything....
BONNIE
We know that, Michael....
DEVON
We're not trying to. We've accepted
your decision.
(smiles)
Now, let's enjoy ourselves.
Devon motions to the maitre d' to lead the way, indicates to
Michael that he should follow. Camera holds:
TIGHT ON MICHAEL AND MAITRE D'
as they move through the dining room to an intimate, corner
booth set for two. A silver ice bucket stands chilling a
bottle of champagne. Michael reacts to the setting.
MICHAEL
This can't be our table....
NEW ANGLE
as he turns back towards where Devon and the others should
be. But, instead, Stevie stands there alone with a broad
smile.
STEVIE
I'm allergic to whip cream, or I
would have come out of a cake.
Michael stands there, dumbfounded.
STEVIE
Are you going to stand there with
your mouth open, or are you going to
offer a lady your well-scarred body
for a warm hug.
MICHAEL
I don't understand....
STEVIE
You're not supposed to...All you
have to do is tell me how wonderful
I look....
She loses her bravado and is in his arms...he holds her,
kisses her....
STEVIE
(mocked
scolding)
Devon told me you've always known
where I was...every club I've worked
...I always expected a call....
MICHAEL
It would have just ended in another
good-bye...Stevie, why are you here?
STEVIE
Over the last few years the only
times we've spent together have been
when I was in some sort of crisis.
A long beat...Then:
STEVIE
This time Devon said you needed me.
But you have to say it -- I have to
hear it from your lips.
Michael stares into her eyes, all of his pent-up emotions
rising to the top. His eyes start to well with tears.
MICHAEL
I don't know if I can, right now....
STEVIE
(smiles)
Okay. I'll hang around and wait a
while, I'm a very patient lady....
Michael takes her face in his hands, then embraces her with
a need beyond passion.
DISSOLVE TO
EXT. BEACH TOWN RESTAURANT - DAY
Michael and Stevie exit the building hand in hand. The
glow of their encounter is still evident. Suddenly, O.S. we
hear the sounds of "Let It Be Me." Michael and Stevie do a
double take and we go:
WIDE
and find K.I.T.T. parked in front of the restaurant, the
music is emanating from K.I.T.T.
NEW ANGLE
puzzled, Michael and Stevie cross to K.I.T.T., reaching his
open window.
MICHAEL
Kitt, what are you doing here?
K.I.T.T.
I'm on 'R and R.' Bonnie said my
computer bank is overtaxed.
MICHAEL
Don't put me through this. Saying
'good-bye' wasn't that easy.
K.I.T.T.
Michael, the Foundation has no need
for me until they find a replacement
for you. For once, Michael -- just
once -- be practical...You're out of
work...and you need free transporta-
tion!
Michael turns to Stevie for the answer. Stevie smiles,
shrugs. As they start to move into K.I.T.T.:
CAMERA ZOOMS BACK TO
INT. HIGH-POWERED SEDAN - DAY - ON STOCKER
behind the wheel of the sedan, equipped with a car phone,
parked within viewing distance of the restaurant.
Stocker's eyes are riveted in K.I.T.T.'s direction.
INT. K.I.T.T. - DAY - MOVING SHOT
Pulling away from the front of the restaurant. Michael
looks across at Stevie and asks:
MICHAEL
For the first time we have something
new....
STEVIE
What's that?
MICHAEL
Time...and no deadlines.
CUT TO
EXT. BEACH - DUNES - DAY - ON TWO SAND BUGGIES
flying through the air, clearing a sand dune. A beat...and
then see K.I.T.T. flying faster and higher, sailing over the
dune.
INT. K.I.T.T. - DAY - MOVING SHOT
Stevie, in a bathing suit, Michael, in jogging shorts and
sweat shirt, loving it as K.I.T.T. goes sailing over
another sand dune.
K.I.T.T.
Stevie, I really don't think this is
what The Foundation perceived when
they designed me!
STEVIE
Kitt, remember -- you're on 'R and
R!'
MONTAGE - BEACH
K.I.T.T. moves into frame, his tires splashing the water of
the shoreline...Then we see Stevie balancing herself on a
skid boogie board, skimming the water, being pulled by a
rope attached to K.I.T.T.'s back bumper; Michael, jogging
alongside. (From screen right to left.)
K.I.T.T., towing; Michael, now on the skid boogie board;
Stevie, jogging alongside. (From screen left to right.)
K.I.T.T., his tires spraying water into the air, soaking
Stevie and Michael as they hang out the passenger's window,
holding onto the string of a kite that soars high above in
the sky.
We pan up to close on the kite doing loops in the sky.
Hold for a few beats...then the kite moves out of frame as
we pan down to:
EXT. SHORELINE - DAY - ON STEVIE AND MICHAEL
Michael and Stevie, framed in the beauty of the shoreline...
the ocean behind them, the sky above...Joy is bursting out
on their faces. Music heard over....
STEVIE
(with a broad
smile)
Michael, not that I'm complaining,
but don't you think that music is a
touch too much?
MICHAEL
(gestures)
Hey, whatever works for you...You
want mariachis? You got it!
The words are barely out of Michael's mouth when we hear a
Mariachi band playing a Mexican hat dance.
WIDE
and see that K.I.T.T. is on the shoreline, trailing ten
paces behind them. The music is blaring out of his sound
system.
Stevie raises her hand in surrender.
STEVIE
(laughing)
I surrender! Enough!
The music of the "Mexican Hat Dance" stops, and we hear
K.I.T.T. come over through Michael's comlink.
K.I.T.T.
This was Michael's choice, Stevie...
I prefer the classics.
STEVIE
Play something soft, Kitt...
something soft and easy....
The music begins. Stevie takes Michael's hand and they
start walking the beach.
BEACH
As they walk.
STEVIE
This is a little too perfect to be
happening.
MICHAEL
No, it's the way I'll always keep it
for you....
STEVIE
There's a thing called reality
Michael....
MICHAEL
Not yet, Stevie, not yet....
They hold each other....
CAMERA ZOOMS BACK TO
EXT. HIGH GROUND - BEACH AREA - DAY
Stocker is standing next to his sedan, with a pair of
binoculars to his eyes, focused on Michael and Stevie
below. Stocker lets the binoculars drop from his eyes,
then moves to and into his car.
INT. STOCKER'S SEDAN - DAY
Stocker picks up the car phone, dials a number.
EXT. FALCON'S ESTATE - DAY
INT. FALCON'S HOBBY ROOM - DAY - INTERCUT STOCKER AS NEEDED
Falcon is sitting at his worktable, with the phone to his
ear. (Directly in front of him is the Cox Cessna 182
Skyline model airplane, finished and ready for flight.)
STOCKER
After the limo took off -- out of
nowhere -- Knight's high-tech car
appeared...apparently, remote-
controlled.
Falcon, becoming impatient:
FALCON
Never mind the Saturday morning
cartoons, get to Michael Knight.
STOCKER
He's with this girl...looks like
they've known each other a long
time....
FALCON
(annoyed)
Now it's evening soap opera time...
if you can see him you can get a
shot at him....
STOCKER
It'd be a long shot and not a
positive...there's also that car of
his....
FALCON
(beat)
Then we'll have to handle it another
way....
Falcon places the phone back in its cradle and then starts
to fondle the Cessna model.
CUT TO
EXT. STEVIE'S BEACH HOUSE - TERRACE - NIGHT (GOLDEN HOUR)
The sun is setting; the sky, multicolored...as Michael
and Stevie lean over the railing of Stevie's rented beach
cottage, staring out at the view. K.I.T.T. is parked on the
sand below the terrace. Michael keeps staring at the
sunset.
MICHAEL
Stevie, I love you.
ON K.I.T.T.
The music starts to play.
MICHAEL
smiles, but yells over to K.I.T.T.
MICHAEL
Kitt stop listening....
The music stops....
STEVIE
What did you say?
MICHAEL
I said I want to marry
you...now...right away....
Stevie steps over to him. A serious look....
STEVIE
I don't know Michael....
MICHAEL
What do you mean you don't know...?
STEVIE
You've chosen something that you
find higher and more important than
happiness or unhappiness...and
that's the gap between us.
Michael, shaking his head "no."
MICHAEL
That's the gap behind us...I'm never
going back to The Foundation.
STEVIE
Are you sure?
MICHAEL
Positive....
Stevie stares deeply into Michael's eyes, trying to find
the truth...She does, and starts nodding her head "yes."
Then she initiates an embrace...Michael glances over her
shoulder to K.I.T.T.
MICHAEL
Now Kitt....
The music starts, Stevie laughs.
DISSOLVE TO
EXT. FALCON'S ESTATE - POOL AREA - EARLY MORNING
A sleepy-eyed Beauty #2 is having breakfast at poolside.
We hear the sound of a model airplane in flight overhead...
Beauty #2 tilts her head up towards the direction of the
sound.
EXTERIOR - SKY - EARLY MORNING - TIGHT ON MODEL AIRPLANE
(Cox Cessna 182 Skylane -- 36-inch wingspan)...Going
through a series of maneuvers in the sky. A beat of this
...and then the "182" banks, descends, and comes in for a
landing.
NEW ANGLE
as the "182" taxies across the back lawn of Falcon's estate.
ANOTHER ANGLE
and we see Falcon at the controls of a two channel remote
control radio. Standing next to him is Stocker. The "182"
comes to a stop. As Falcon removes a set of small weights
from inside the body of the "182":
FALCON
It maneuvers perfectly with the
weight....
Stocker hands Falcon a packet containing the plastic
explosives:
STOCKER
That's enough plastique to flatten a
three-story building....
FALCON
I like to be sure...gambling is the
only vice I've never acquired....
CUT TO
EXT. STEVIE'S BEACH HOUSE - TERRACE - EARLY MORNING
K.I.T.T., still parked below on the sand, as Stevie, in
shorts and a blouse, crosses the terrace, carrying soiled
breakfast place settings from the table as Michael, wearing
a jogging outfit, comes out of the house. He moves to
Stevie, gives her a "good morning" peck in passing and
continues to run...Stevie moves into the house....
ANGLE
We stay with Michael as he moves to and down the terrace steps,
crosses the sand to where K.I.T.T. is stationed. Reaching
K.I.T.T. in the b.g.
We start to hear the sound of the "182" flying somewhere in the
distance.
MICHAEL
How you doing, pal?!
K.I.T.T.
Fine, Michael. But I was just
wondering -- do you think the lack
of activity and the salt air will
corrode my chassis?
The sound of the "182" becomes more prominent.
MICHAEL
(smiles)
Kitt, I have never known you not
to cover your backside.
The sound catches Michael's ear as he looks out over the
water.
MICHAEL'S POINT OF VIEW - THE "182"
far out over the water as it banks and starts its descent.
EXT. CLIFF - DAY
Stocker and Falcon stand on high ground overlooking the
ocean and cottages below. Falcon's eyes are tight and
purposeful as he works the controls of the two-channel
remote-controlled radio.
MICHAEL AND K.I.T.T.
at the water's edge. Michael's eyes are glued in the
direction of the "182." Puzzled, but not alarmed:
MICHAEL
Kitt, am I nuts, or is that plane
headed towards us?
INT. K.I.T.T. - MONITORING SCREEN - DAY
K.I.T.T. begins to scan the "182" as it levels out twenty
feet above the ocean's surface, and sets a direct course
for Stevie's beach house.
K.I.T.T.
Michael, if its course remains set
-- it will impact with the cottage....
EXT. BEACH - ON MICHAEL
MICHAEL
Check it out...Give me a scan....
K.I.T.T.
Michael, I detect explosives on that
craft!
Michael's eyes widen with shock as he breaks into a full
out run for the cottage. Through his comlink:
MICHAEL
Microjam its controls....
K.I.T.T.
Even if I do his glide path will
continue.
SERIES OF INTERCUTS
Stevie in the kitchen, preparing breakfast.
The "182" in flight, locked on its target.
Michael, racing across the sand.
K.I.T.T., scanning channels.
The "182," closing in on the shoreline.
Michael, bounding up the stairs to the cottage.
INT. STEVIE'S BEACH HOUSE - DAY - ON STEVIE
at the stove.
MICHAEL (O.S.)
(shouts)
Stevie!!!
She turns, wide-eyed, totally confused, as Michael bursts
into the room, grabs Stevie's arm, half dragging her, as he
races through the cottage.
EXT. SHORELINE - SKY - DAY - ON "182"
The "killing machine" en route to its target....
EXT. STEVIE'S BEACH HOUSE - TERRACE - DAY
as Michael and Stevie burst through the open doors!
SERIES OF INTERCUTS
Michael and Stevie racing across the terrace -- The "182"
about to kamikaze into the beach house! At that moment of
truth, Michael and Stevie leap over the railing of the
terrace!
THE "182"
crashes into the beach house...A deafening explosion as the
cottage shatters and bursts into flame!
ON STEVIE AND MICHAEL
clutched in each other's arms, on the sand...The tears
stream down Stevie's face.
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
EXT. BEACH TOWN - BLUFF - DAY
overlooking the ocean and the smoldering, burnt-out remains
of Stevie's beach cottage. Michael and Stevie stand a few
paces away from K.I.T.T., staring down at the scene below.
Stevie is still emotionally shaken as Michael tells her:
MICHAEL
It was meant for me, Stevie...They
tried to kill me when I was in the
hospital...they tried now...and
they'll try again....
Suddenly, K.I.T.T. interrupts with:
K.I.T.T.
Michael, Devon is calling ---
Michael and Stevie, stunned, exchange glances...Then Michael
moves to and enters K.I.T.T. Stevie stands outside,
peering in.
INT. K.I.T.T. - DAY - MONITOR
Devon, sitting behind his desk at The Foundation, is on
K.I.T.T.'s screen.
DEVON
Michael, I can't say how sorry I
am...Word just came to us that
Santini let it be known, in prison,
that the 'Falcon' has put a hold on
all activities until Michael Knight
is dead.
Michael's eyes go wide.
MICHAEL
(flares)
What have I got to do with the Falcon!
Half the agencies in the world are
looking for him and he singles me
out?!
DEVON
The 'Falcon' thinks you have seen
his face. He was with Santini at
the Data Center. You're the only
witness that can tie him into a
murder.
MICHAEL
(stunned)
Everything 'came down' in a blur --
I didn't have time to ID him.
DEVON
We know that...But, apparently the
'Falcon' is obsessed with the
thought that you can identify him.
MICHAEL
You've got Santini. Let him ID
Falcon and sew him up....
With a weak gesture:
DEVON
Santini is as much of an enigma as
the 'Falcon.' Since his discharge
as a communications expert there's
absolutely no data on him to form
the 'link.'
MICHAEL
(cold)
No one is that hidden!
Furious, Michael breaks the connection...The screen goes
blank.
K.I.T.T.
Michael....
Michael, cutting him off:
MICHAEL
Kitt, not now!
Michael slams open the door and exits K.I.T.T.
NEW ANGLE
Michael, still furious, moves to the edge of the cliff and
glares out. Stevie moves to his side and, after a long
beat:
STEVIE
Michael...Marry me.
Michael, jolted, turns to her.
STEVIE
Marry me as soon as it's physically
possible....
MICHAEL
Stevie, we'll be looking over our
shoulders the rest of our lives....
Shaking her head "no":
STEVIE
We're going back to the Foundation.
You're going to help Devon get what-
ever information he needs on that
man -- Falcon...Then we walk away and
leave it in Devon's hands.
MICHAEL
Stevie, let me go back alone and
finish this.
STEVIE
...Michael, until that day you're my
husband, I'll never be certain that
you'll leave the Foundation.
(beat)
Leave alone, Michael, and you're gone
again.
As Stevie awaits his answer:
CUT TO
INT. FOUNDATION - DAY
Stevie, Devon, Michael and K.I.T.T. are present -- eyes all
glued on Bonnie at the control panel, finishing another
data search on Santini. Exasperated, Bonnie turns to
Michael.
BONNIE
Believe me, I've run data search
after data search on Santini, with
the same result -- a blank.
MICHAEL
(frustrated)
Try it once again.
Bonnie shoots a look to Devon, Devon nods his head "yes."
As Bonnie reinitiates the process:
CUT TO
INT. FALCON'S COMPUTER ROOM - DAY
The computer expert, Klus, sits watching the screen before
him. As its information rolls by, he turns to address the
passing Falcon:
KLUS (COMPUTER EXPERT)
The Foundation is running another
series of checks on Santini through
their banks.
FALCON
They'll discover nothing...There are
no ties back to me. And Santini
will sit and do his time -- quietly.
KLUS
You're sure....
FALCON
I'll bet his life on it....
He walks on....
CUT TO
INT. SEMI - DAY
Stevie, Devon, and Michael are still present. Bonnie turns
away from the control panel, turns to Michael and gestures
"nothing." Michael, after a long beat of thought, forms his
conclusion, then he gently reaches out and touches Stevie's
cheek.
MICHAEL
Stevie, why don't you let Devon show
you the grounds.
Stevie hesitates, momentarily. Then, sensing that Michael
wants her to go, she doesn't resist. Devon leads her away.
ANGLE - MICHAEL
crosses to Bonnie and draws up a stool.
MICHAEL
Bonnie, I'd like to see Kitt's view
of what happened that night I was
shot....
K.I.T.T.'s voice displays a bit of concern:
K.I.T.T.
Michael, it won't be pleasant....
MICHAEL
I know, but I have to see it.
K.I.T.T.
Very well.
ANGLE ON BONNIE'S LARGE COMPUTER SCREEN
The blank screen starts to flicker...then shows a reenact-
ment, from K.I.T.T.'s point of view, of the scene at the
Data Center in Act One:
Michael reaching the blown-away door leading into the
Data Center, then moving, carefully, through the door.
Michael disappears for a beat...and we hear the blasting of
the Mach Ten...and we see Michael's body hurling, backwards,
out of the door, crashing onto the dock -- and then to the
ground below.
Then the screen flickers again and we see Falcon, Santini
and Stocker standing over Michael's bullet-ridden body.
Note: Santini is holding the aluminum case to his chest.
Michael's eyes fight to focus on Falcon's face. Falcon
gives his command:
FALCON
Finish him!
We freeze on this.
Michael studies the frozen frame before him.
MICHAEL
Kitt, enlarge by five.
THE SCREEN'S PICTURE
is enlarged as if a camera was zooming in on the subjects.
BACK TO SCENE
Michael studies this picture....
MICHAEL
Kitt, transfer the image of the man
directly over me to a separate channel.
A second screen displays the lone figure of Falcon.
Michael looks at this image...and then back to the blowup.
Michael studies the blowup for a beat...Then:
MICHAEL
There's an image...a reflection on
Santini's metal case. Kitt, zero me
in on it -- on another screen....
A THIRD MONITOR
now shows the blurred image of Falcon's reflected face.
BACK TO SCENE
Michael studies the screens.
MICHAEL
Okay, Kitt, now I want you to compute
the reflectory angles and build an
image from those two points of view.
K.I.T.T.
I understand the request. But,
Michael, I will need a little time
-- these are not simple calculations
and evaluations.
MICHAEL
Whatever it takes, buddy.
As the screen starts to scramble:
CUT TO
EXT. FOUNDATION GROUNDS - DAY
Stevie and Devon are walking the grounds, their thoughts
centered on Michael. After a long beat:
DEVON
Stevie, I can understand your
hostility towards the Foundation,
but I'd like us to remain friends....
STEVIE
I'm not hostile Devon, but I am
uncomfortable. We're two people
fighting for the same man....
Devon looks at her, questioningly.
STEVIE
I'm a woman fighting to have the
'small dream' with the man she
loves...And you're fighting for him
to fall in love with an 'ideal.'
DEVON
Wisely put -- but incomplete. I
love Michael as a man would love his
son.
(sad smile)
Stevie, I woke up one day and found
that life was 'duty.' Then Michael
came to us and brought with him...
not only his dedication...but his joy
of life.
STEVIE
And you can watch him face death
every day...caring for him the way
you do? He wants it to end.
DEVON
I know...It's difficult for me to
let go -- but it's time...And I will
-- for Michael's happiness.
Stevie senses the truth of Devon's statement. Suddenly
they both react as:
ANGLE
Michael and Bonnie come hurrying toward them; in Michael's
hand, a print-out of Falcon's face...Michael extends the
print-out for Devon to see.
DEVON
Michael, what is it?...
MICHAEL
A print-out of Falcon's face.
As Devon studies the print-out, his eyes widen in
disbelief....
DEVON
I thought he was dead...it was
confirmed.
BONNIE
You know him?
DEVON
(nodding)
His name was Kurt Rolands...an explo-
sives expert, a double agent, and one
of the top European connections...An
explosion fifteen years ago was
supposed to have killed him and three
others.
ON STEVIE
excluded from Michael's and Devon's conversation...We sense
her awareness of Michael's inextricable involvement. She
starts to tense....
DEVON (O.S.)
He was licensed to kill by both sides.
I believe he enjoyed that....
RESUME ANGLE - ALL
Michael's eyes shift towards Stevie for a beat...and then
back to Devon. He hands Devon the print-out.
MICHAEL
It's your ball game, Devon. Play it
to win.
(to Stevie)
We're getting married.
Michael puts his arm around her....
BONNIE
Stevie, as a wedding gift, I'd like
to be the one who makes the
arrangements....
Stevie, joy in her eyes, nods then turns to Devon.
STEVIE
Devon...would you do me the honor of
giving away the bride?
ON DEVON
who, for one of the rare times in his life, loses his
composure.
EXT. COUNTRY INN - DAY
K.I.T.T. sits, parked, in front of the entrance and under
the overhang, with ribbons streaming from front to rear. A
string of old shoes and a few tin cans are there as
finishing touches...RC3, dressed in a tuxedo, looks back
at his handiwork.
K.I.T.T.
RC, this is embarrassing.
RC3
You think you got problems, look at
me...
K.I.T.T.
I see your point.
RC3 laughs, moves in to:
INT. COUNTRY INN - FOYER - DAY
RC3 enters and skips down to the lower level, nodding as he
passes Bonnie, who is dressed in a long, flowing, pink
chiffon, bridesmaid's gown. Bonnie is addressing Mildred
Thames -- forty and dignified. We hold on these two.
BONNIE
Thank you, Mildred...Everything is
lovely...Now, I have to get back
to the bride.
Mildred smiles and accepts the compliment. Bonnie turns and
starts her move to the bride's dressing room. Camera
tracks with:
BONNIE
as she crosses the foyer, dropping her hands, checking her
dress and its flow and, at some point, she enters a narrow
hallway. As Bonnie passes a closed door, camera holds,
moves:
TIGHT ON DOOR HANDLE
It turns, slowly...the door opens, revealing the obscure
figure of a man, from the waist down, exiting the room.
His hand reaches out and pulls the door closed behind him.
CUT TO
INT. BRIDE'S DRESSING ROOM - DAY - ON STEVIE'S MIRRORED
IMAGE
reflecting her beauty, as she stands in her white, beaded
lace wedding gown.
NEW ANGLE
Stevie, in front of a full-length mirror, places her veil
over her long, flowing, blonde hair. A beat...and then
Bonnie moves into frame.
BONNIE
I hope I look half as beautiful on
my wedding day.
Stevie takes a very deep breath and slowly lets it escape.
STEVIE
Bonnie...it's here...it's happening.
So, why am I so nervous?
Bonnie smiles as she moves to correct the flow of Stevie's
train.
CUT TO
INT. GROOM'S DRESSING ROOM - DAY
Michael stands in front of his mirror adjusting the collar
of his tuxedo shirt, as RC3 stands by enjoying Michael's
tension. A beat...and then, from Michael's comlink, we
hear:
K.I.T.T.
Michael, do I really have to drag
old shoes behind me?
Michael shoots a look at RC3.
MICHAEL
Kitt, it's traditional.
RC3
If he doesn't wear the shoes I ain't
wearing this monkey suit....
MICHAEL
Kitt please, you're going to start a
revolution....
RC3
It's time Michael....
Michael makes one final adjustment, then follows RC3 out
the door.
EXT. LAWN PATH - WEDDING AREA - DAY
RC3 leads Michael to the crest of the path where Devon
stands, dressed in proper attire. The three eye each other
and Michael smiles, nervously, then stares down towards the
ceremonial canopy approximately thirty yards away.
MICHAEL
Everything is just...just so right....
MICHAEL'S POINT OF VIEW - WEDDING AREA
Magnolias grace an arched trellis; on each side, white
wicker fonts hold huge bouquets of roses. A small, white,
chest-high pulpit, for the minister, stands back from the
opening in the trellis.
Behind this, completing the picture, are greenery, foliage,
and a rock grotto, with a waterfall cascading down its face.
A gray-haired minister wearing a mustache and glasses,
stands back by the stream, reading his marital book. A
small party of guests, standing on the lawn under the
trees, suddenly turns to look up the slope, as the
beginning bars of the "Wedding Song" are heard permeating
the scene.
RESUME ANGLE - MICHAEL, DEVON AND RC3
Devon's eyes lock on Michael. He places his hand on
Michael's shoulder. A moment between two friends when no
words are needed...and then Michael follows RC3 down the
long path to the side of the trellis...stops and stares
back up the slope.
Devon checks his attire and stands there, alert and ready.
ANGLE - THRESHOLD OF WEDDING PATH
Bonnie appears, taking the "step, pause, step" cadence down
the walk. She glances at Devon as she passes him. He nods
his reserved greeting back and then turns to await the
bride.
Through the open doors, Stevie steps out into the sunlight.
She radiates beauty as she glides to where Devon stands.
Stevie and Devon proceed down the path....
THE MINISTER
turns and crosses to the pulpit...There is something
familiar about his manner.
MICHAEL
totally caught up in the moment, has his eyes riveted on
Stevie.
ANGLE - MILDRED
standing in the open door at the threshold of the wedding
path, satisfied that all is going well, heads back into the
interior of the Inn.
ANGLE - STEVIE AND DEVON
reaching the halfway point of the wedding path.
ANGLE - BONNIE
moving into her position, across from Michael and RC3.
ANGLE - MINISTER
moving to the pulpit. As he places his book on the stand.
ANGLE - FAVORING MICHAEL
including Devon and Stevie, nearing.
INT. INN - DAY - ON MILDRED
moving towards her nearby office.
ANGLE - MICHAEL AND RC3
Their eyes are on the vision approaching them.
ANGLE - THE MINISTER'S HAND
as it drops to the pulpit's shelf -- to a cloth-covered
object. His hand slides under the cloth and starts to take
from it a PK10 automatic....
ANGLE - TIGHT ON STEVIE
tears misting her eyes.
ANGLE - TIGHT ON MICHAEL
eyes locked on Stevie.
ANGLE - MINISTER
Falcon, in a disguise of gray hair and mustache, starts to
bring the automatic up from the pulpit's shelf.
CUT TO
INT. MILDRED'S OFFICE - THROUGH THE OPEN DOOR - ON THE DEAD
BODY
of a gray-haired minister with a mustache. The air is
shattered with the piercing scream of Mildred's voice as
she looms up, horrified, before the camera's eye.
CUT TO
EXT. THE WEDDING PARTY AND GUESTS
as they react to the sound of Mildred's horrified screams
which echo, shattering the serenity of the moment.
FALCON
as his automatic comes into view.
STEVIE
as she screams:
STEVIE
Michael!!!
SCENE - SIMULTANEOUSLY
Mayhem breaks loose as Falcon opens fire...Michael hurdles
through the air -- hits the ground -- tumbles -- Falcon's
first volley grazing his forehead.
Devon tries to protect Stevie with his body, but she smashes
him aside and races towards Michael.
RC3 starts to make a move towards Falcon -- Falcon kicks
the pulpit, crashing it into RC3 as he continues to fire
away, maniacally.
Michael comes off the ground as Stevie nears. He dives
through the air at Stevie -- his arms spread -- trying to
cover her body with his as bullets cascade around him.
A bullet finds its mark as it rips a hole, just under the
bodice of Stevie's wedding gown, an instant before
Michael's body hits Stevie, covering her -- pulling her to
the ground.
NEW ANGLE
as Falcon makes his break, firing back towards the
onrushing RC3 and Devon. He races past the waterfall,
towards a low fence that separates the property. He leaps
the fence and, suddenly, Stocker's van screeches onto the
lawn area behind the fence.
Klus, driving, spins the van to a momentary halt as Stocker,
at the van's open door, opens fire with an Uzi.
Devon and RC3 are forced to hit the ground as Falcon leaps
into the van...Another volley from Stocker, and the van
screeches away.
CUT TO
ANGLE - MICHAEL AND STEVIE
surrounded by Bonnie and the wedding guests. Michael,
still on the ground, has Stevie cradled in his arms.
Overwhelmed with emotion, refusing to believe what is
happening, he stares down at Stevie, whispering:
MICHAEL
No...no....
Stevie, her life slipping away, makes that last effort to
reach her hand up and touch Michael's tear-stained cheek.
STEVIE
...Remember only...how much I love
you....
Her eyelids flicker...then close. Michael, his eyes
drenched with tears, pulls Stevie's body to his chest,
starts rocking her, slowly and gently in his arms. Back and
forth...back and forth...as we:
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
EXT. STREET - DAY - LONG SHOT - FOUNDATION
An early morning mist prevails as Devon's limo winds its
way to and onto the grounds of The Foundation. It stops,
and RC3, Bonnie, Devon and Michael exit. All are dressed
in dark mourning clothes. They move in solemn cadence into
The Foundation. It is obvious that they have just returned
from Stevie's funeral.
INT. FOUNDATION - MICHAEL'S ROOM - DAY
Michael is in the final stages of changing from his dark
suit to his street clothes. The fire in Michael's eyes
that was love has now been replaced with a burning far
deeper and deadlier. Michael turns as Devon enters the
room. Without acknowledging Devon's presence, he continues
to dress...Devon, sensing Michael's intent:
DEVON
Michael, no! The Foundation is
working in conjunction with every
law enforcement agency in the
country.
Stone cold and deadly:
MICHAEL
Tell them to stay out of the way.
DEVON
Michael. You can't do that...There's
a judicial system!
MICHAEL
I don't need judges and juries on
this one....
Michael brushes past Devon and is out of the room.
CUT TO
INT. PRISON INTERROGATION ROOM - DAY - ON SANTINI
Santini is being shoved into the room by a guard...The
guard slams the door shut behind him. Santini's eyes go
wide with fright.
SANTINI
Nobody...nobody can make me talk to
you....
WIDE
and we find Michael, his eyes burning into Santini from
across the room.
MICHAEL
Then don't talk...but you're going
to listen....
Michael moves closer to Santini, nose to nose.
MICHAEL
(deadly)
Get word back to your boss, Falcon.
I know what he is -- who he is --
and what he looks like.
SANTINI
Man, you're talking to a wall -- I
don't know from nothin'.
Grabbing him by the shirt collar:
MICHAEL
His name is Rolands -- when he
killed my wife, he issued his own
death certificate.
SANTINI
(terrified)
...I don't know nothin' about
killing your lady. All I do is
plant bugs.
MICHAEL
Santini, we can nail you for the
murder of one of the guards at the
Data Center -- but we're not going to
do that.
Santini stares at him, stunned.
MICHAEL
You're going in a 'stoolie's room'
-- and the word is going to be
passed...that you gave us Rolands.
SANTINI
(coming apart)
You do that and you're reading me my
'last rites'...you're giving me a
'death sentence'!
MICHAEL
(cold)
You got it.
Michael starts to exit the room. Santini stops him cold with:
SANTINI
What do you want from me?!
MICHAEL
The Falcon.
SANTINI
He could be in twelve different
places now -- you have to trace the
'bug'!
Michael shoots him a questioning look.
SANTINI
The chip I wired into the main
communications panel at the
Data Center -- it's on the satellite
relay board.
Michael reads the terror in Santini's eyes -- and believes
he's telling the truth...He starts to open the door to
leave.
SANTINI
Hey, I can't walk out of this room
clean!
Michael turns back and stares at him.
SANTINI
Please! You got to mark me up or
else word's gonna get back to Falcon
that I 'dropped the dime'...Please,
you gotta!
Michael, his eyes locking on Santini for a long beat...Then
he turns, walks out, closing the door on Santini's life.
CUT TO
EXT. INFORMATION DATA CENTER - DAY - ON K.I.T.T.
parked off the roadway next to the Data Center's protective
fence.
INT. K.I.T.T. - DAY
Michael, steely eyed, watches as K.I.T.T.'s screen
scrambles. A beat...Then:
K.I.T.T.
I now have it, Michael -- I'm
connected. Any information I
transmit through the Data Center
computer will reach the Falcon....
MICHAEL
Blank out the Foundation. Keep them
shut down, Kitt. Keep all currents
to F.L.A.G. shut off.
(beat)
I need you just a little longer --
then you can return to the Foundation.
K.I.T.T.
No...Michael, I don't believe what
you're doing is right, but, I'll
stay with you.
TIGHT ON MICHAEL
moved by this. A beat...then the deadly burning returns to
his eyes.
MICHAEL
Transmit.
(beat)
'You've tried twice, Falcon. Maybe
the third time will be the charm...
Tell me where and when -- I'll be
waiting.'
CUT TO
INT. FALCON'S COMPUTER ROOM - DAY
Klus is at the console; Falcon, standing directly behind
him. Falcon's eyes tighten:
TIGHT ON SCREEN
It reads: (Michael's message)
KLUS
Do you understand what it means?
FALCON
Yes -- that Michael Knight wants a
grave site next to his bride. Send
this message: 'Accepted. Start that
wonderful machine of yours.'
As Klus starts to type:
CUT TO
EXT. DESERTED CITY STREET - INDUSTRIAL AREA - DAY
K.I.T.T. moves slowly down the street. It comes to a dead
end. K.I.T.T. pulls up to the curb to stop.
INT. K.I.T.T. - DAY
Michael scans the area...nothing.
K.I.T.T.
Michael, now I have been instructed
to wait here for the next location...
Are we going to continue this game?
MICHAEL
Yes...It's what I expected.
EXT. CITY STREET - DAY - ON K.I.T.T.
weaving through the traffic, picking up speed.
EXT. BRIDGE - DAY - ON K.I.T.T.
slowing as it crosses the bridge.
INT. K.I.T.T. - DAY - MOVING SHOT
Michael's anger is still mirrored in his face as:
K.I.T.T.
We are being monitored. I believe
Falcon thinks we're being followed.
MICHAEL
Send him this message: 'I'm alone.
Let's get to it!'
K.I.T.T. activates his modem...There is a pause...and then
K.I.T.T.'s monitor screen starts to scramble.
CLOSE ON SCREEN
The message: "LAT: 117, 58', 16" WEST; LON: 34, 3', 58"
NORTH"
EXT. CITY STREETS - DAY - MOVING SHOTS ON K.I.T.T.
at an accelerated speed, working his way through the
traffic.
CUT TO
EXT. OLD FIRESTONE BUILDING - DAY - ESTABLISH THIS HUGE,
FIVE-BLOCK STRUCTURE
then find K.I.T.T. pulling to a stop at the east entrance to
the building.
INT. K.I.T.T. - DAY
The panel lights rotate and then:
K.I.T.T.
I am monitoring several guidance
systems, Michael. This is an obvious
trap.
Michael nods in agreement, but we sense the feeling of
relief...At last he is going to meet the "enemy."
MICHAEL
Yes....
EXT. STRUCTURE - DAY - ON K.I.T.T.
as he passes through a wide entrance.
INT. STRUCTURE - DAY
We examine this massive structure. Row upon row of
enormous concrete pillars stretch away to the shadows of
the burned-out and desolate interior, lit by the smoked
skylight and broken windows.
INT. K.I.T.T. - DAY
The screen is alive with readouts:
K.I.T.T.
(alarmed)
Michael, we're facing a gauntlet...
There are three men on that catwalk
at the far end of the building.
MICHAEL
Compare them to the photo you have
...I want Falcon.
Michael lays his hands on the top of the steering wheel and
nods. Now we'll see that this man's mind and this machine
are united into a single unit....
INT. STRUCTURE - DAY
As K.I.T.T. sits at the far end, the camera views the
gauntlet they must run to reach the end. Attached to each
pillar is a rocket-launching device holding four rockets.
These rockets are on pivots, and can be directed and fired
to cover the entire area. Camera pans up to the tower.
FALCON, KLUS AND STOCKER
stand behind a control panel. As Falcon lays his hands on
the controls:
FALCON
Come on...Come on....
INT. STRUCTURE - DAY - ON K.I.T.T.
K.I.T.T. starts forward at a creep....
INT. K.I.T.T. - DAY - MOVING SHOT
Michael jams his foot down on the accelerator and whips the
wheel to the left.
INT. STRUCTURE - DAY
A cloud of dust erupts from the rear, and K.I.T.T. leaps to
the left as the first rocket is launched...It hits, in a
burst of phosphorus flames, where K.I.T.T. should have been!
ANGLES
Now, other rockets are launched and K.I.T.T., under
Michael's control, swerves left and right, avoiding their
impact!
INT. K.I.T.T. - DAY - MOVING SHOT
Michael spins the wheel, then accelerates, and yells:
MICHAEL
Lock the front brakes!
INT. STRUCTURE - DAY - ON K.I.T.T.
as he does a sliding "180" and avoids two rockets -- spins
away as another rocket hits where K.I.T.T. was, momentarily,
stopped!
INT. K.I.T.T. - DAY - MOVING SHOT
K.I.T.T.'s panel is flashing.
K.I.T.T.
These rockets are being fired by
hand -- no guidance systems are in
use.
Michael looks up at the end of the run.
MICHAEL'S POINT OF VIEW THROUGH WINDSHIELD - TOWER
He is almost halfway there....
K.I.T.T.
as a rocket explodes within inches of its mark!
INT. K.I.T.T. - ON MICHAEL
as he spins the wheel and hits the brakes and then the
accelerator.
INT. STRUCTURE - DAY - ON K.I.T.T.
spinning -- sliding -- tires screeching -- avoiding rocket
after rocket as they explode around him!! Always maneu-
vering forward toward his goal -- the tower!
INT. K.I.T.T. - DAY
Michael activates K.I.T.T.'s turbo charge!!!
K.I.T.T.
vaults upward -- his afterburner ignited!!
NEW ANGLE
as K.I.T.T. smashes into the tower's catwalk supports!!!
ANOTHER ANGLE
as the tower sways and topples -- crashing to the ground!!!
We look through the dust and debris...Then:
FALCON
staggers up from the debris to his feet....
MICHAEL
bolting out of K.I.T.T. -- racing towards Falcon.
WIDER
Falcon regains his legs, starts to race towards a door
leading out of the building...Michael, full out, cutting the
distance between them...gaining -- gaining -- gaining!!!
As Falcon reaches the parking area, Michael dives through
the air -- finds his mark!! Michael and Falcon crash to
the ground. A brief exchange...Michael's uncontrollable
rage makes it no contest. Slamming Falcon's head against
the ground, Michael starts to choke the life out of the
Falcon....
K.I.T.T. (O.S.)
(shouts)
Michael!!..Michael, stop it! You
wouldn't be able to live with your-
self!!
ANOTHER ANGLE
K.I.T.T. has neared the fray. Michael, jolted back to his
senses, debates this for a moment...and then he reaches
down and drags Falcon to his feet.
MICHAEL
(cold)
Falcon, you're not going to die
today -- it's too easy...
(beat)
I want you to watch your life waste
away...in the mirror of a prison
cell.
As Michael begins to drag Falcon towards K.I.T.T., we pan
to:
TIGHT ON MICHAEL'S FACE
There is no sign of satisfaction on his face -- no signs of
a purpose fulfilled -- just the numb look of a man who's
won, but lost.
FADE OUT
END OF ACT FOUR
TAG
FADE IN
EXT. BEACH - EARLY MORNING
Michael, showing the effects of a sleepless night, walks
the lonely beach with K.I.T.T. trailing...At some point, he
stops, picks up a stone and flings it out into the ocean.
CLOSE ON MICHAEL
as he watches the stone skip...and then disappear.
TIGHT ON MICHAEL'S FACE
A beat...then dissolve to a series of shots of Stevie
taken from this episode, ending with:
ANGLE - STEVIE AND MICHAEL - FILTERED
at the ocean's edge:
STEVIE
I read something when I was very young
...'You may break, you may shatter the
vase...but the scent of the roses will
hang 'round it still.'
Stevie gently places her hand on Michael's cheek.
STEVIE
...The scent of the roses will linger,
Michael...always.
We come back to the present as:
MICHAEL
walks to and into K.I.T.T. with a new resolve.
INT. K.I.T.T. - DAY - TIGHT ON MICHAEL
As Michael fires the engine:
K.I.T.T.
Where are we going, Michael?
MICHAEL
Where else. Home, family...
(beat)
The Foundation.
FADE OUT
THE END
