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KNIGHT RIDER: THE SCENT OF ROSES

EXEC. PRODUCERS: Glen Larson, Robert Foster
PRODUCER: Gino Grimaldi
SUPV. PRODUCERS: Burton Armus, Bruce Lansbury

Production #60212
2nd Draft - October 28, 1985 (F.R.)

Teleplay: .................. E. Nick Alexander
Director: .................. Sidney Hayers

                              
                                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