ACT ONE
FADE IN
INT. LAWYER'S OFFICE - RECEPTION AREA - DAY
It's plush, well appointed, efficient. The secretary's desk
is empty. The phone rings and a strikingly pretty young
woman dashes in from a side room (the law library) with
several books in her arms (bookmarks sticking out here and
there). This is Stefanie Mason, law clerk for the lawyer
who resides behind the carved oak office doors. She's
dressed well -- black slacks, wool blazer. She juggles the
books and grabs the phone.
STEFANIE
(phone)
Law offices...no, she's away from her
desk right now. This is Stefanie Mason,
may I help you?..Yes, it's set for ten
o'clock Monday...Right. We'll see you
then. Bye.
She hangs up and walks to the carved oak doors with the
books. She raps lightly on the door, then walks in.
INT. LAWYER'S OFFICE - DAY
Elegant, luxurious. Original art on the walls. Obviously a
successful lawyer views the world from this high-rise.
Edward Cole matches his decor...tailor-made three-piece suit
and a touch of grey at his distinguished temples. Yet his
manner is pleasant and down-to-earth. He looks up from
paper-work, smiles easily as Stefanie enters.
STEFANIE
It's almost 5:30. Anything before I
leave?
COLE
No, I can't think of anything...wait,
if you're going down you could help a
forgetful client retrieve his briefcase.
(indicates
briefcase)
He's on his way over. Silver Cadillac,
chauffeur, the works.
STEFANIE
Sounds hard to miss. Anyone I know?
COLE
(teasing)
No, just another wealthy bachelor
with tax shelter problems.
STEFANIE
(smiles)
You're right, no one I know.
(puts the
books on
his desk)
By the way, here are the precedents
you wanted. Greyson versus Mitchell
First District Court 1980 and Tandy
versus Simms State Supreme Court 1975.
COLE
(pleased)
You don't drop a stitch, do you.
STEFANIE
(a vague
shadow)
I...like to keep busy.
She picks up the briefcase from an occasional table. Ad-lib
good-byes, see you tomorrow, etc., and she leaves. Cole
looks thoughtful.
INT. LAWYER'S OFFICE - RECEPTION AREA - DAY
Stefanie puts on her coat, takes her purse and the briefcase
and leaves.
EXT. STREET - DAY
Stefanie exits the high-rise, briefcase in hand. There are
people on the street, leaving work, window shopping. Among
them: one man reads a newspaper near a bus stop bench and
another looks at a display window. Stefanie looks for the
limo.
ANGLE - STREET
A white limo slowly approaches.
INT. LIMO - DAY
A heavyset, well-dressed man sits in the back, Anthony
Solan. As he sees Stefanie, he motions for his driver to
pull over toward her. We see Stefanie look in the
direction of the limo and start forward.
ANGLE - STREET
As the limo comes closer, the man at the bus stop and the
man at the store window move in unison, closer to Stefanie.
ANGLE INSIDE LIMO
Solan sees them.
SOLAN
It's a setup!
ANGLE - STREET
As the limo screeches away, one of the men (Carson James)
grabs Stefanie, pulls the briefcase from her hands. She's
startled, confused. The second man talks into a walkie-
talkie.
STEFANIE
What are you doing?! Let me go ---
JAMES
Calm down, miss. You're not going
anywhere.
STEFANIE
(beat)
Who are you?
JAMES
Federal agent, Department of
Justice. Right this way.
He leads her toward an unmarked car. On her reaction:
EXT. HIGHWAY - OPEN ROAD - NIGHT
The Trans Am cruises by effortlessly.
INT. TRANS AM - NIGHT - MICHAEL
relaxes, enjoying the scenery. Pop music plays. Michael
punches up another tape. It's a ballad -- a love song.
Michael starts to sing along with it, improvising here and
there in his own style.
K.I.T.T.
Michael?
MICHAEL
Yeah, Kitt.
K.I.T.T.
C is beyond your grasp, and D is
beyond your vision.
MICHAEL
(smiles)
I didn't know you had perfect pitch.
Michael spots a roadside convenience store ahead and turns
off the road.
K.I.T.T.
It's a cross I have to bear.
MICHAEL
You do it so well.
K.I.T.T.
Thank you.
MICHAEL
De nada.
Michael pulls up in front of the store and parks.
MICHAEL
(climbs out)
Can I get you something?
K.I.T.T.
Very funny.
MICHAEL
Thank you.
EXT. CONVENIENCE STORE - NIGHT
As Michael walks to the door, he glances at the evening
newspapers in a rack by the entrance. He stops...his eyes
fixing on the picture: a photograph of Stefanie. The
headline above reads: "FEDS NAB GANGLAND LINK". Michael
stares. It takes him a moment to react. He fumbles for
change, anxiously puts in a quarter and gets a paper.
INT. TRANS AM - NIGHT - MICHAEL
presses the car-com. His face is tight, drawn. Intercut
with Bonnie at Foundation office.
MICHAEL
Kitt. Get Devon for me.
K.I.T.T.
Right away, Michael.
BONNIE
Michael, this is Bonnie.
MICHAEL
Where's Devon?
BONNIE
Fine thanks, how are you?
MICHAEL
I'm sorry, Bonnie. Hi. Where is he?
BONNIE
Quebec.
MICHAEL
Quebec?! What's he doing in --
never mind. I've got to talk to him.
How do I get through?
BONNIE
You don't. He's in flight.
MICHAEL
Bonnie, as soon as you can contact
him, I need to talk to him. It's
urgent.
INT. POLICE INTERROGATION ROOM - NIGHT
Stefanie sits at a table. She looks tired, grim.
Frightened. James moves around as he talks, except now
he's not talking. There's a strained silence.
STEFANIE
(finally)
Why don't you just tell me what
we're waiting for.
JAMES
First thing you've got to learn is
to put a lid on that impatience of
yours. You're going to be spending
a lot of time looking at walls and
waiting.
STEFANIE
I told you what happened. I told
you everything I know. What do ---
She breaks off as a uniformed Cop comes in with the brief-
case. It's got an evidence tag on it. James takes it,
drops it on the table, glances at the Cop who hasn't left.
JAMES
Thanks.
COP
Sorry, I stay with it until it's
checked back into E.R.
JAMES
For my own protection, right?
COP
(smiles)
Always looking out for our fellow
officers.
Stefanie watches this with confusion, a growing sense there
really is something she's not aware of.
JAMES
You remember this briefcase....
She nods. He looks at her, pops open the briefcase. It's
full of neatly stacked bills. Stefanie can't believe what
she's seeing. She looks up at James. Their eyes hold for a
moment.
STEFANIE
I had no idea....
JAMES
She had no idea.
COP
Right.
JAMES
Give my regards to the boys in E.R.
The Cop grins, takes the briefcase and leaves. The shock
in Stefanie is giving way to anger.
STEFANIE
Believe it or not, it's true. Why
wouldn't it be true? As I've told
you a thousand times it's not my
briefcase. I don't own a brief-
case. I hate briefcases. What do
you want from me?!
JAMES
The truth.
STEFANIE
I'm telling you the truth!
JAMES
Okay.
He moves around the room. She doesn't know whether she's
gotten through or not.
JAMES
I believe you. I don't think you
know what's coming down. I'll
educate you. The money in that
briefcase is marked. It's illegal
money. It's dirty. It comes from a
man named Anthony Solan. The name
may mean nothing to you, but it's
well known in the Department of
Justice, FBI, and various other
circles. What isn't as well known
is the very special relationship
between Anthony Solan and a lawyer
by the name of Gilbert Cole.
STEFANIE
I don't believe that.
JAMES
You don't have to. We've had your
boss under investigation for six
months. We've known about the
connection between him and Solan,
but we've never been able to prove
it. Now we can. That briefcase
proves conspiracy.
STEFANIE
If that's true, why don't you arrest
him?
JAMES
We will -- after you testify at a
Federal Grand Jury hearing that
Gilbert Cole gave you the briefcase
with specific instructions on who to
deliver it to. Once you do that,
it's over for you.
STEFANIE
But he didn't give me the briefcase --
not physically. I picked it up.
And he didn't tell me specifically
who to deliver it to -- he just said
a man in a silver sedan.
JAMES
He's a smart lawyer. You wouldn't
want to see a guilty man go free just
because he's smart, would you?
(beat)
I'll spell it out for you. Our con-
spiracy case will rest on your testi-
mony. You've got to say he gave you
the briefcase and he gave you specific
instructions.
STEFANIE
What if I refuse?
JAMES
If you refuse, and there's insuffi-
cient evidence to prove the briefcase
is Cole's, there's only one person
left to hang it on, and I'm looking
at her.
On Stefanie's reaction:
EXT. COUNTY JAIL/COURTS AREA - DAY
Michael appears from a building, quickly crosses to where
the Trans Am is parked, climbs in.
INT. TRANS AM - DAY
as Michael slides in. He looks worried.
MICHAEL
Get me Bonnie, Kitt.
K.I.T.T.
Right away.
Lights flash.
BONNIE'S VOICE
Michael?
INTERCUT - BONNIE AT FOUNDATION
on the phone with Michael.
MICHAEL
Hi, Bonnie. Any luck reaching Devon?
BONNIE
I've got messages all over Quebec.
Michael, are you all right? What's
going on?
MICHAEL
A friend's in trouble. She's been
arrested on a Federal conspiracy
charge, and I want to post her bail.
BONNIE
(concerned)
I don't know who this...friend is,
but I can't authorize posting bond
unless it's a Foundations project.
MICHAEL
(sharp)
Then make it one.
BONNIE
I can't do that, Michael. Only
Devon can and ---
MICHAEL
Devon's not available! What
happens, Devon goes away and the
world stops?
(beat)
I'm sorry. Look, Bonnie the friend
is Stefanie Mason. Devon knows
about her. If he were there he'd
approve this, believe me. I need to
put up ten percent of her bond and I
need programming for Kitt on every-
thing you can get on a lawyer named
Gilbert Cole -- his clients and cases,
business connections, political
affiliations, family, friends....
BONNIE
Michael?
MICHAEL
Yeah?
BONNIE
How much is the bail?
MICHAEL
(hard to say)
Half a million dollars.
Silence.
INT. COUNTY JAIL BOOKING AREA - DAY
Michael paces back and forth, jumping every time the doors
open and someone comes out. Then Stefanie comes through.
Michael impulsively starts forward a few steps then stops him-
self. He can't stop looking at her. She's tired, showing the
strain of what she's been through. Carries a small bag con-
taining her personal possessions. She looks around expecting
to see Edward Cole. Michael takes a few steps closer.
MICHAEL
(softly)
Stefanie.
Stefanie turns to his voice. Michael stares at her. A
fleeting trace of confusion crosses Stefanie's face as they
make eye contact.
STEFANIE
Yes?
MICHAEL
My name is Michael Knight. I
arranged for your bail to be posted.
STEFANIE
(a long look)
Do I know you?
MICHAEL
No.
STEFANIE
Do you work for Mr. Cole?
MICHAEL
No. I'm with the Foundation for Law
and Government.
STEFANIE
I'm sorry. I don't know anything
about them...
(realizes)
Why would some foundation I've never
heard of post bail for me?
MICHAEL
We're...interested in your case. We
help people we're interested in.
STEFANIE
I'm not sure that answers my question.
MICHAEL
Maybe I can fill you in on the way.
STEFANIE
(cautious)
On the way where?
MICHAEL
Your apartment. Unless you want to
hang around here.
STEFANIE
(a smile)
No.
It's the first time he's seen her smile and it unlocks a
flood of memories. He covers. They start out together.
INT. TRANS AM - DAY
Michael drives. Stefanie looks preoccupied. A thought
strikes her, and she looks at Michael.
STEFANIE
How did you know I live in an
apartment?
MICHAEL
Your address was on the arrest
report.
She seems satisfied. Then looks at him again.
STEFANIE
How did you get a hold of the arrest
report?
MICHAEL
The Foundation has friends.
STEFANIE
Everyone seems to have friends in
high places except....
MICHAEL
You?
STEFANIE
I'm sorry, that's just a little
self-pity slipping through.
MICHAEL
You're entitled. But you have
friends too -- if you choose.
STEFANIE
You and this Foundation you work for?
Michael nods. Their eyes meet and hold.
STEFANIE
Thank you. Really. But my boss is
going to help me. In fact he's
probably arranging bail right now.
She sees the troubled look on his face.
STEFANIE
What's wrong?
MICHAEL
I...appreciate your sense of
loyalty. And trust. But the facts
of the case so far indicate Gilbert
Cole may be more than an innocent
bystander. If that's true, helping
you and helping himself may not be
one in the same.
STEFANIE
(bristles)
Everyone seems so convinced he's
guilty of...I don't know, some major
tie-in with the underworld. I don't
believe it.
MICHAEL
I'm not asking you to. All I'm
saying is that until we can develop
more information, I think you'd be
wise not to lock yourself into a
particular defense...or a particular
person.
She considers what he's said, troubled.
EXT. HER APARTMENT - DAY
The Trans Am pulls up and they get out. Michael puts
K.I.T.T. into surveillance mode, walks Stefanie to her
apartment.
MICHAEL
(finally)
What do you think?
STEFANIE
I don't know what to think.
MICHAEL
I'll make you a deal. Do it my way
for twenty-four hours. If you're
not convinced by then, you're free
to handle it any way you choose.
They've reached her door. It's a door Michael remembers
well. They pause.
STEFANIE
Why are you doing all this?
MICHAEL
I told you....
STEFANIE
I know, the Foundation and all of
that...but it seems like there's
something more. Is there something
more?
MICHAEL
(beat)
No.
STEFANIE
You seem...familiar to me. Your
voice. The way you move....
Michael wants to leave before his feelings get the better
of him.
MICHAEL
Do we have a deal?
STEFANIE
All right.
MICHAEL
I'll be back in a couple of hours.
She nods, smiles. Ad-libs good-byes and he leaves. She
watches him until he's gone from sight, then unlocks her
door.
INT. BOOKING AREA - DAY
Edward Cole is at the booking Officer's window.
COLE
I want to post Stefanie Mason's bond.
OFFICER
Stefanie Mason?
(checks
his sheet)
Her bond's already been posted.
COLE
(reacts)
What do you mean?
OFFICER
I mean somebody bailed her out.
COLE
There must be a mistake. She
doesn't have a family here -- she
doesn't have anyone.
OFFICER
No mistake. We don't make mistakes
on a half-million dollar bond.
INT. TRANS AM - DAY
Michael is heading for the semi, fast. He's anxious, deep
in thought.
K.I.T.T.
Michael?
MICHAEL
Yeah, Kitt?
K.I.T.T.
Are you all right? I took the
liberty of scanning your vital
signs. Your blood pressure is
190 over 120 and your pulse is
one hundred four.
MICHAEL
Good.
K.I.T.T.
Not according to my information on
the human body.
MICHAEL
What I mean is it's not as bad as I
thought.
INT. STEFANIE'S LIVING ROOM - DAY
An average size apartment living room but with nice touches
of her own. It's light and airy...afghan over the couch,
lots of plants. Stefanie paces nervously looking at her
phone. She starts to pick it up, hesitates, then picks it
up. She dials, slowly. It rings....
COLE'S VOICE
Gilbert Cole...hello?..Stefanie, is
that you?
She starts to answer but hangs up and sinks into a chair,
filled with frustration and indecision. Now that she's
alone, the tears she's been holding back fill her eyes and
roll down her cheeks.
EXT. HIGHWAY - DAY - STOCK
The Trans Am approaches the semi. The ramp lowers and the
Trans Am disappears inside.
INT. SEMI - DAY
Bonnie is in the midst of programming K.I.T.T. Michael
paces.
MICHAEL
Did he say 'no?'
BONNIE
Michael, if Devon said 'no' I
wouldn't be here.
MICHAEL
Well, what did he say?
BONNIE
He said he was taking an early
flight back. He wants to talk to you
in person.
(beat)
Who is Stefanie Mason?
Michael debates it, decides there's no point in keeping it
from her.
MICHAEL
In my...other life, before I had
this face, this identity...when I
was Michael Long, Stefanie and I
were engaged to be married.
She looks at him for a long moment.
BONNIE
I'm sorry. I didn't know....
MICHAEL
No one knows except Devon. And now
you.
Finished, Bonnie rises. Pauses.
BONNIE
I've programmed Kitt with everything
I could get on Cole. I hope it
helps.
MICHAEL
Me too. Thanks, Bonnie.
He starts to get into K.I.T.T.
BONNIE
Michael?
He pauses. She gives him a hug.
BONNIE
Be careful.
EXT. HIGHWAY - DAY - STOCK
The ramp lowers and the Trans Am rolls out, hits concrete
and does a 180.
EXT. STEFANIE'S APARTMENT - DAY
The Trans Am pulls up, parks, Michael getting out and
hurrying to her apartment.
ANGLE AT HER DOOR
Michael starts to knock but sees the door's lock has been
broken. The door swings open when he pushes.
INT. STEFANIE'S APARTMENT - DAY
Michael enters slowly. It's dark inside. Suddenly, from
behind the door someone lunges at him, swinging a baseball
bat. Instinctively he ducks but it catches him on the
shoulder. He falls but reaches up and grabs his assailant
by the legs. They fall to the floor, struggling. Then
Michael stops. It's Stefanie. She tries to free herself.
MICHAEL
Stefanie! It's me!
For the first time, she looks at him.
STEFANIE
Oh, Michael!
She falls into his arms, shaking and frightened.
STEFANIE
I thought they'd come back. I
didn't know....
MICHAEL
Who? What happened?!
STEFANIE
Two men came while you were gone.
They tried to break in when I
wouldn't open the door...I ran
out the back....
MICHAEL
(holds her)
It's okay. Stevie, it's okay. I'm
here now. It's all right.
She relaxes in his arms a moment, then looks at him,
something in her eyes.
STEFANIE
Why did you call me that?
MICHAEL
What?
STEFANIE
Stevie. No one calls me that any
more....
Michael realizes he's slipped, tries to cover.
MICHAEL
Guess I'm too thorough. I must've
read it in the Foundation's research.
(helps
her up)
We've got to get out of here, get
you someplace safe. Go put some
clothes together.
She turns and walks to the bedroom, pauses, looks at him.
It's so strange...this feeling I know you. Michael doesn't
respond, can't. She goes into the bedroom. Hold on him.
EXT. HER APARTMENT - DAY
They exit the building and climb into the Trans Am, Michael
tossing her suitcase in back. Pan as they pull out and down
the street, then pan back to a car parked half a block away,
two men inside. They pull out, following the Trans Am.
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
EXT. STEFANIE'S APARTMENT - DAY
The Trans Am disappears down a cross street. The sedan
follows at a discreet distance.
INT. SEDAN - DAY
The driver's name is Blake. The man on the passenger side,
Donner, is ten years Blake's senior, late forties or early
fifties. They both look seasoned. Donner talks on the car
phone.
DONNER
(phone)
They just left the apartment.
INTERCUT - ANTHONY SOLAN
on a phone in his study. We remember his face from the
opening scenes.
SOLAN
Find out where they go. Right now
that's all I want.
DONNER
Who's the guy with her?
SOLAN
Some cowboy named Knight. He works
for one of those foundations with a
long name. I got people looking into
'em. Call me if things change.
INT. TRANS AM - DAY
Michael and Stefanie drive. There's a silence between
them. Stefanie looks more closely at the car.
MICHAEL
What are you looking for?
STEFANIE
The microwave oven and the sunlamp.
Michael laughs.
STEFANIE
Really. I've never seen anything
like this. I'm still amazed if a
person has a phone in their car.
MICHAEL
Might as well deal with this right
now. Stefanie, meet my car, Kitt.
She gives him a strange look.
MICHAEL
Kitt, say something. She's going to
think I'm crazy.
K.I.T.T.
Hello, Stefanie.
She stares.
K.I.T.T.
Michael isn't crazy -- not in the
clinical sense, at least.
MICHAEL
Thanks, pal.
(to Stefanie)
He talks.
STEFANIE
How can a car...talk?
MICHAEL
Computers. Don't ask me how, I
don't know. I don't ask.
(beat)
How do you feel? Better?
STEFANIE
Aside from trying to adjust to being
in a car that talks...yes, better.
Thanks. In fact, the farther we get
away the better I feel.
(suddenly)
Where are we going?
He sees the undercurrent of alarm in her face.
MICHAEL
The Foundation has a retreat in the
mountains north of here. What's
wrong?
STEFANIE
I just realized I hadn't asked
you...that scares me.
MICHAEL
What scares you?
STEFANIE
That I'd trust a stranger that much.
Again their eyes catch. Michael doesn't know how long he
can keep everything in.
STEFANIE
I think the reason I did is this
feeling I have. The feeling I know
you....
She unconsciously fingers a gold heart-shaped necklace she
wears.
K.I.T.T.
Since you haven't bothered to look
in the rearview mirror, Michael, I
suppose it's my duty to inform you
there's a car following us.
Stefanie reacts, startled by K.I.T.T.'s voice.
MICHAEL
(eyes in
rearview)
Which car?
K.I.T.T.
The blue sedan.
MICHAEL
Thanks, pal. Appreciate it.
STEFANIE
Do you think it's the men who came to
my apartment?
MICHAEL
That'd be my guess. Kitt, I want
the car's license number and visuals
on both men inside.
Lights flash.
K.I.T.T.
The car is registered to a corporation,
Amtec Inc. by name. The visuals will
take a moment longer.
EXT. MOUNTAIN ROAD - DAY
The Trans Am passes.
MICHAEL'S VOICE
Kitt, got what you need?
K.I.T.T.'S VOICE
Yes, Michael. Now you can do what
you've been aching to do for the
last five minutes.
MICHAEL'S VOICE
You got that one right.
He floors the Trans Am.
ANGLE ON SEDAN
It accelerates.
EXT. MOUNTAIN ROAD - DAY - VARIOUS ANGLES
The Trans Am flies along the road, leaving the sedan in its
wake.
EXT. NARROW ROAD OF HIGHWAY - DAY
The Trans Am locks into a ninety degree turn, comes in off
the highway fast. A large pile of dirt from roadwork con-
struction blocks the road. The Trans Am bursts through
it like papier-mache. A nearby backpacker sees this and
reacts amazed.
ANGLE AT NARROW ROAD
The sedan turns off the highway, desperately trying to
follow. It tries to barrel through like K.I.T.T. did,
gets bogged down, tires spinning.
EXT. RAVINE - DAY
The road is washed out. The Trans Am appears, accelerates
and leaps the ravine. It lands on the far side, on
pavement, accelerates away.
OMITTED
ANGLE AT RAVINE
The sedan approaches, slams on its brakes, skids to a stop
just before the ravine.
ANGLE IN K.I.T.T.
as they race along.
MICHAEL
Any reading on them?
K.I.T.T.
None. I'm hoping that means we'll
soon be returning to more conven-
tional surfaces.
MICHAEL
In due time, Kitt. In due time.
STEFANIE
Not only does he talk, he's got a
sense of humor.
MICHAEL
I wouldn't go that far.
K.I.T.T.
I beg your pardon.
They laugh.
ANGLE ON SEDAN
heading back toward the highway. Donner is on the phone,
defending himself.
DONNER
(phone)
Look, the guy's got a car that's
twice this car, what am I supposed
to do?
INTERCUT - SOLAN
on the phone with him.
SOLAN
All right, forget it. I think I
know where they're going. This
Foundation...
(looks at
paper)
The Foundation for Law and
Government -- according to tax
roles, they've got a place in the
mountains another forty or fifty
miles north.
EXT. HIGHWAY - DAY
The sedan reaches the highway and turns, heading north.
EXT. MOUNTAIN CABIN - DAY
A peaceful mountain hideaway with panoramic vistas of pine
trees, valleys and meadows. Sunlight filters through the
trees casting a warm glow on the cabin. The Trans Am pulls
up in front and stops.
ANGLE - TRANS AM
They get out, stretch, look around.
MICHAEL
Well, here we are.
Stefanie can hardly believe her eyes.
STEFANIE
It's beautiful! A fireplace too?
MICHAEL
You want it to have a fireplace?
STEFANIE
Yes.
MICHAEL
Then, it's got a fireplace.
STEFANIE
(laughs)
Thank you.
Michael gets her suitcase and his bag.
ANGLE AT DOOR
Michael unlocks the door, swings it open and they both
freeze.
REVERSE ANGLE - THEIR POINT OF VIEW
The cabin is perfect -- beam ceilings, comfortable
furnishings, stone fireplace. On the couch, cipping a hot
cup of tea, is Devon.
DEVON
You're late. I thought you'd be
here at least an hour ago.
STEFANIE
(to Michael)
Who is he?
MICHAEL
My boss.
STEFANIE
Oh.
Devon crosses to where they stand.
DEVON
Since Michael seems to have lost the
power of speech, allow me to introduce
myself. My name is Devon Miles. I
assume you are Stefanie Mason.
STEFANIE
Yes.
DEVON
Please, make yourself at home. The
tea is quite delicious. If you will
excuse me while I speak with Michael
outside?
STEFANIE
Sure, of course. I'll unpack.
Devon gives Michael a look and walks out past him.
Michael, with a touch of apprehension, follows.
EXT. CABIN - DAY
They walk down the steps and move slowly along as they talk.
MICHAEL
Look, I know this is a little...
unorthodox, but I can explain it all.
DEVON
There's no need. I know who Stefanie is
-- what she meant to you in the past.
What I don't know is what she means
to you now.
MICHAEL
Devon, the point is the Foundation's
purpose is to help people in trouble
and she's in trouble.
DEVON
Does she know who you are?
MICHAEL
(beat)
No.
DEVON
Good. Keep it that way. Michael,
you're not thinking clearly. No
matter how you deny it, you have an
emotional involvement that could be
dangerous, both to yourself and the
Foundation.
MICHAEL
I'd never jeopardize the Foundation,
you know that.
DEVON
Not intentionally, no. Unfortunately,
not all risks are intentional.
(beat)
What do you know of her recent past?
How do you know she's not involved?
MICHAEL
Because I know her. She couldn't be!
DEVON
That's an emotional answer. Your
life has changed in the past year.
Her's could have as well.
MICHAEL
For God's sake, Devon, I was going
to marry her!
DEVON
That alone doesn't make her innocent,
my boy.
A beat, then:
MICHAEL
(simply)
I have to do this.
DEVON
(beat)
This may surprise you, but I do
understand...better than you think.
They pause.
MICHAEL
Then you'll help?
DEVON
I'll do what I can.
(beat)
You know she's been scheduled to
testify at a Federal Grand Jury
hearing next Tuesday.
MICHAEL
No, I didn't.
(digests
this, then)
Devon, the Department of Justice is
squeezing her. Either she testifies
and implicates her boss or they'll
try her on conspiracy charges.
Whoever's behind this knows that
if she testifies they're in big
trouble. I think they want to take
her out of the picture before she
ever gets to the Grand Jury.
DEVON
I'll see what I can do, starting
with the car that followed you.
(pauses)
Michael? You've chosen the most
difficult thing a man in your posi-
tion can choose -- to help someone
you love. If this were anyone other
than you -- and that girl in there
anyone other than who she is -- I'd
forbid it.
They hold a moment. Then ad-lib good-byes and Devon
starts toward his car, behind the cabin. Michael watches
him, then goes to the cabin.
INT. CABIN - DAY
Michael comes in. A warm fire crackles casting a rosy glow
on the room. Stefanie comes over from the kitchen area. She
has a plate of sandwiches.
STEFANIE
Hungry? Please say yes, I'm starved
and I don't want to feel guilty.
She puts the food down on the rug before the fire. Michael
walks over, very pleased with this surprise.
MICHAEL
Yes.
She stops and looks at him, puzzled.
MICHAEL
What?
STEFANIE
(quietly)
Did you ever have the feeling you've
been someplace before, said the same
things, to the same person...I know
it can't be true, but that's how it
feels.
MICHAEL
You're just tired.
STEFANIE
I guess. I've been working so hard
...trying to get my life together,
take care of myself...
(derisive
smile)
And look at me now. I can't go
home. I can't do anything I'm...
dependent on you.
(beat; looks
at the fire)
The last time I depended on someone
I lost him...His name was Michael,
too...Michael Long.
She looks deeply into his eyes, as if she'll find the
answer there...and again unconsciously fingers her necklace.
Michael wants to tell her the truth so bad it hurts.
There's a long, somber silence between them.
STEFANIE
Don't listen to me. It's beautiful
outside -- c'mon, let's take a walk.
MICHAEL
(laughs)
I thought you were hungry.
STEFANIE
I am. You grab the sandwiches, I'll
grab the drinks!
EXT. MOUNTAINSIDE - DAY
They walk through the lush landscape, finishing eating.
She's tired, expansive, a little heady with it all and
captivating. She's in the midst of a story.
STEFANIE
...so these boys always tried to
scare us on the way home. Anyway,
one time...I remember...it was
winter. They broke my sled and
chased us down the street. We were
terrified! We tried to hide behind
the snowbanks but they found us.
Michael listens to every word, sees every nuance on her
face.
MICHAEL
I'm on the edge of my seat. What
did you do?
STEFANIE
We fought them off with snowballs.
MICHAEL
Snowballs?
STEFANIE
Each one had a rock the size of an
egg in it.
They laugh, their eyes holding again.
STEFANIE
So when are you going to tell me?
MICHAEL
(guarded)
Tell you what?
STEFANIE
About you. You know all about me, I
know nothing about you. It's not
fair.
MICHAEL
Later.
STEFANIE
Tonight?
MICHAEL
(smiles)
Maybe tonight.
(beat)
Stefanie, we've got a lot more to talk
about than me. We've got to talk
about Gilbert Cole....
STEFANIE
(glances away)
Not now. Later.
(teases)
Maybe tonight. In the meantime, I
refuse to let this day go by without
picking some flowers.
(hesitates)
Is it all right?
MICHAEL
Just don't go too far.
She sticks out her tongue at him, prances away. Michael
laughs, watches her every move.
EXT. BRUSH COVERED MOUNTAINSIDE - DAY
Donner and Blake struggle up, reach a ridge overlooking the
cabin. Donner carries a scoped high-powered rifle. Blake
is huffing and puffing.
DONNER
Quit smoking, you might be able to
walk a hundred yards without dying.
BLAKE
Will you get off my back?
THEIR POINT OF VIEW - STEFANIE
runs down the hill. Michael sits and watches as she makes
her way through the flowers, picking and choosing and
holding up her "finds" for Michael to see.
ANGLE ON THEM
K.I.T.T.
(comlink)
Michael, I'm picking up two men on
the ridge above you -- one has a
rifle.
MICHAEL
(yells)
Stefanie, get inside the cabin!
Hurry!
She looks at him. She doesn't question it. She runs
toward the cabin.
ANGLE ON MICHAEL
He runs for K.I.T.T.
MICHAEL
(comlink)
Kitt, try and cover her!
ANGLE ON K.I.T.T.
His systems come to life. Tires spinning, he starts toward
the area where she runs for the cabin. A shot rings out,
then another. Stefanie falls, hit.
OMITTED
ANGLE ON DONNER AND BLAKE
They plunge back down the hill, convinced she's dead.
MICHAEL AND STEFANIE
He runs to her side. She's lying on the ground, unconscious,
bloodstains on her blouse. Michael falls by her side and
cradles her in his arms.
MICHAEL
(a whisper)
Stevie, no, no...It'll be okay, I
promise...
(comlink)
Kitt, as close as you can!
He gently lifts her in his arms and runs for K.I.T.T.
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
EXT. PRIVATE HOSPITAL - NIGHT - ESTABLISHING SHOT
Small, exclusive and secluded.
INT. PRIVATE HOSPITAL - HALLWAY - NIGHT
Bonnie and Michael outside the recovery room. Michael
waits anxiously.
MICHAEL
She should have been out hours ago.
Something's wrong.
BONNIE
If something was wrong we'd be the
first to know. It's just taking a
little longer than they thought,
that's all.
MICHAEL
You're right, I know...
(paces)
I feel so useless just waiting
around.
BONNIE
Michael, you're not just waiting
around. You're here! And you'll be
here when she comes out of this.
You're all she's got right now, and
if waiting is all you can do, it's
all you can do.
Michael digests this, nods. Tries a tired smile.
MICHAEL
Look, she'll be okay. I'm okay.
Why don't you go home and get some
sleep?
Before Bonnie can reply. Dr. Carlysle comes out of
recovery. Michael collars him.
MICHAEL
How is she? Is she okay?
DR. CARLYSLE
She will be, I'm reasonably assured
of that.
MICHAEL
(reacts)
What's the matter? What happened?
You said ---
DR. CARLYSLE
Michael, I know what I said. The
bullet wound isn't the problem --
The problem is she hasn't regained
consciousness yet and we're not sure
why. She sustained a blow to the
head, probably when she fell...right
now, all she has is a mild concussion.
If anything changes I'll let you know.
Dr. Carlysle walks on down the hall. Michael watches for a
moment, undecided, then he goes into the recovery room.
INT. RECOVERY ROOM - NIGHT
Michael walks into the dimly lit room and sits beside
Stefanie. The only sounds come from the machines which
monitor her continually -- heartbeat, respiration, pulse,
brain waves. He stares at the array of equipment, then
looks at Stefanie's face. She looks beautiful, strangely
peaceful. He reaches over and touches her hand, holds it
in his.
EXT. FOUNDATION GROUNDS - TERRACE - DAY
Michael sits at a table on the patio. He's lost in
thought, picking at the breakfast that sits before him.
Devon walks out to join him. A cup of tea in his hand.
DEVON
Come now, Michael, it's unlike you
not to eat. Just look at the break-
fast I had prepared for you. Steak
and eggs, potatoes appropriately
greasy...Michael, she'll be fine.
You have Doctor Carlysle's personal
assurance on that.
Michael nods, pushes the food away, restless.
MICHAEL
I've gone over Kitt's programs
twice. Nothing. You have any luck?
DEVON
Some.
MICHAEL
(looks at him)
Well? What?
DEVON
Regarding Edward Cole? He's
apparently everything the Department
of Justice says he is.
MICHAEL
Which is exactly what?
DEVON
Among other things, a 'business
partner' of Anthony Solan's.
Apparently his primary contribution
to said partnership is the
laundering of Solan's money.
MICHAEL
Strange world we live in, Devon.
The Department of Justice can know
Cole is breaking the law, and I can
know he's behind Stefanie being
shot, but nobody can move a damn
finger against him.
DEVON
Calm down, Michael. You're serving
no one's purpose when you react from
emotion.
MICHAEL
(angry)
I'm not reacting, Devon, I'm feeling.
Is it all right to feel? Does the
Foundation permit it? Do you?
Angry, upset with himself, Michael moves off, walks down
the steps to the grounds. He pauses, staring off. Devon
joins him.
DEVON
Come. Let's take a walk.
MOVING SHOT
as they walk the grounds.
DEVON
(after a
moment)
Michael, I'm not concerned about
Stefanie dying. I'm frankly more
concerned with her living.
MICHAEL
What does that mean?
DEVON
Have you thought about afterwards?
When this is over? What are you
going to do then?
He stops, looks at Devon.
MICHAEL
All I know is I want her with me.
DEVON
How do you propose to accomplish
that? Tell her who you really are?
Set up hosekeeping and, as the
phrase has it, 'live happily ever
after'?
MICHAEL
I don't know. Why? Are you saying
that's impossible?
DEVON
Michael, you know better than to ask
that. You have too many enemies in
the real world. You can't go back.
You can't even afford to look.
Michael is quiet. After a beat, Devon continues thoughtfully.
DEVON
Perhaps loving her means making
another kind of choice. When I was
with the O.S.S. in France I met a
young lady...a very special young
lady.
(smiles
to recall)
I met her in a little cafe outside
of Paris. She was wearing a white
dress. She looked like an angel.
We were young. Time was short. We
fell very much in love...I soon
realized I had a choice to make. I
too was in a very dangerous occupation.
MICHAEL
What did you do?
DEVON
What do you think?
Beat. Michael digests this. It doesn't sit well.
MICHAEL
Do you ever regret it?
DEVON
(trace of
a smile)
There are times.
MICHAEL
(beat)
Devon, I love her. Are you saying I
can't ever love anyone?
DEVON
Everything changes, Michael. I have
no idea what the future holds. But
right now, you have a choice to make.
A decision. I trust it will be the
right one.
(beat)
Before I go, there's one more thing.
I don't like having to tell you this,
Michael, but I feel I must. Stefanie's
been arrested twice. Represented by
Edward Cole in both cases.
MICHAEL
For what...jaywalking?
DEVON
Solicitation. I'm sorry, Michael.
Devon turns and leaves, knowing it's the best thing to do.
Hold on Michael, it's like a blow to the solar plexis.
INT. COLE'S OFFICE - DAY
Cole is working at his desk when Michael comes bursting
through the door. Cole's secretary, Claire, is right
behind him.
MICHAEL
I want to talk to you.
Cole jumps to his feet.
COLE
Who the hell do you think you are?!
MICHAEL
My name's Michael Knight.
Cole's expression changes. A touch of wariness.
CLAIRE
I tried to tell him you don't ---
COLE
It's all right, Claire. I'll handle
it.
Relieved, she leaves. Michael is outwardly calm but his
fury is like a heartbeat in his body.
COLE
All right, you're here. What do you
want?
MICHAEL
Did you defend Stefanie Mason on
criminal charges?
COLE
(beat)
Do you have her? Is she with you?
MICHAEL
I didn't ask you what you want, you
asked me. What I want is my question
answered.
COLE
Get tough with me and I won't answer
anything.
Michael steps so close their noses are touching.
MICHAEL
Stefanie Mason was never arrested
for solicitation. So when it's
popped up on a computer, I start
asking some serious questions. The
first question I ask is who salted a
phony bust on her and why. The
second question I ask is who
represented her. I'm still working
on number one, but I got my number
two. You. My plan to find out
number one is simple. I'm going to
start rattling cages and I'm going
to keep rattling cages until the
monkeys fall. So get a good grip.
Michael waits to see if Cole will challenge him. When he
doesn't Michael leaves, slams the door behind him. Hold on
Cole, shaken.
INT. OFFICE BUILDING CORRIDOR - DAY
Michael exits from Cole's office, pauses.
MICHAEL
(comlink)
Kitt, if I'm right a call should be
going out from Cole's office. See
if you can pick it up.
K.I.T.T.
Right away, Michael.
INT. COLE'S OFFICE - DAY
Cole finishes dialing. The phone rings. Intercut call
with Solan.
SOLAN
Yeah.
COLE
He was just here -- that Michael
Knight character -- he was hot, he
was raging on about Stefanie never
being arrested and how he was going
to find out who salted her record.
SOLAN
Good. Let him spin his wheels on
that for a while. Buy us a little
time until we find out where they're
keeping her.
COLE
How many choices do they have?
What's the problem?
SOLAN
The problem is she's not in a public
hospital. We're checking the
private ones now. We'll find her.
INT. TRANS AM - DAY
Michael gets in.
MICHAEL
Kitt, how'd we do?
K.I.T.T.
We drew a blank, Michael. A call
went out on his private line, but he
has a scrambler on it.
MICHAEL
Terrific.
Michael starts the car, frustrated, peels out.
EXT. FOUNDATION RETREAT - DAY
quiet, peaceful. Camera pans as the Trans Am appears,
pulls in and stops. Michael looks troubled, thoughtful.
K.I.T.T.
Why have we come back here, Michael?
MICHAEL
I don't know, Kitt. I guess I just
need some time to think....
K.I.T.T.
Maybe Bonnie could give you a tune-up.
MICHAEL
(a smile)
Yeah, I'll have to talk to her about
that.
He climbs out, stretches, steps past K.I.T.T.'s hood,
taking in the scene, remembering Stefanie, all that's
happened in such a short period of time.
K.I.T.T.
Michael?
MICHAEL
Yeah, Kitt?
K.I.T.T.
My comprehension of human emotions is
somewhat limited...however, in light
of your recent behavior, I feel
compelled to ask you a question.
MICHAEL
I think I'm fresh out of answers,
pal...but ask away.
K.I.T.T.
Why are you so sad?
Said with the direct innocence of a child, it takes Michael
aback.
MICHAEL
Kitt...I don't know if you can under-
stand this, but there's a thing called
love, and....
K.I.T.T.
According to my information, love is
an emotional condition which produces
happiness, not sadness.
MICHAEL
Well, that's true, Kitt, only some-
times...Kitt?
K.I.T.T.
Yes, Michael?
MICHAEL
Could we go into this later? It's a
little complicated.
K.I.T.T.
Of course, Michael.
MICHAEL
(smiles)
Thanks, pal.
He climbs back in, starts the engine and leaves.
INT. FOUNDATION COMPUTER CENTER - DAY
Devon and Bonnie are at work. Devon, for the first time in
recent memory, is without his tie. His jacket is off and
his sleeves are rolled up.
DEVON
Bonnie, I think we're on to something
here. Cross reference the union case.
BONNIE
Coming right up.
Michael comes in and walks over to where Bonnie and Devon
are programming the computer. Michael looks at Devon, then
takes off his jacket, rolls up his sleeves. Devon looks at
Michael curiously. Michael smiles.
MICHAEL
Just trying to blend in with the
dress code.
BONNIE
(pulls out
a run)
Look at this.
(hands Devon
a read-out)
Those two cases Cole recently lost...
in one of them he represented a
splinter group of a large labor
union. They were trying to form an
independent bargaining unit and
lost. Guess whose name pops up on
the winning side...Anthony Solan.
Michael takes the computer read-out.
DEVON
The name keeps popping up. Solan
was also a behind-the-scene
principal in Cole's other major
defeat -- a zoning dispute over a
shopping mall site.
BONNIE
I'll bet a little more digging will
turn up a connection.
MICHAEL
You need more, I'll get more.
He starts out.
DEVON
Michael? The Grand Jury convenes
day after tomorrow.
Michael nods, leaves.
INT. LAWYER'S OFFICE BUILDING CORRIDOR - NIGHT
Michael walks down the hallway toward Cole's office. It
takes him about five seconds to open the door with skeleton
keys.
INT. COLE'S OFFICE - NIGHT
Michael goes directly to the desk. He flips through the
desk calendar. Solan's name shows up three or four times.
He tries the desk drawers. Locked. He moves quickly to
the files. He thumbs through and pulls out two files.
"UNCO vs. Reynolds" and "Land Lease - Adamston Mall."
MICHAEL
Gotcha.
K.I.T.T.
(comlink)
Michael, my sensors detect the
electronic signal of a silent alarm.
Michael goes to the window.
MICHAEL
(comlink)
That gives us about two minutes.
Okay, Kitt give it your best infrared
shot.
He holds up the pages of the files to the window and flips
them both through like the pages of a book.
K.I.T.T.
(comlink)
One minute, Michael.
MICHAEL
Right.
Michael moves fast. He puts the files back in the cabinet,
takes a last look around and heads for the door.
EXT. BUILDING CORRIDOR - NIGHT
Michael looks out. All clear. He locks and closes the
door behind him and starts down the hall.
K.I.T.T.
(comlink)
Security guard approaching!
ANGLE
Michael ducks around a corner just as the security guard
approaches. The guard checks Cole's door. Then unlocks it
and goes inside. Michael waits until the door closes then
slips past the door and out.
INT. PRIVATE HOSPITAL CORRIDOR - NIGHT
outside of Stefanie's room. Michael approaches a Nurse who
has just come out of her room.
MICHAEL
How is she?
NURSE
She's showing signs of improvement.
She ---
Michael brushes by the Nurse and heads for Stefanie's
room. The Nurse shrugs.
INT. STEFANIE'S HOSPITAL ROOM - NIGHT
It's dimly lit, silent...except for the continual
monitoring of the machines. Stefanie lies still. Michael
comes in and goes to her bedside. He's quiet a moment,
touches her face.
MICHAEL
Hey Stevie.
Stefanie stirs.
MICHAEL
It's me, Michael.
STEFANIE
(faint)
Michael? Where are you?
MICHAEL
I'm here. Right here.
She opens her eyes.
STEFANIE
(groggy)
I woke up...I was alone....
MICHAEL
Don't talk. You're not alone
anymore.
STEFANIE
(weak)
Michael, don't go away again...Don't
leave me...please....
MICHAEL
(holds her)
I won't...I won't.
INT. FOUNDATION COMPUTER CENTER - DAY
Michael and Bonnie are working. She pulls off a computer
print-out and hands it to Michael.
Devon comes in. He carries a newspaper. Michael sees him,
turns.
MICHAEL
Devon. Look at this -- Cole's scholar-
ship to Harvard was funded by UNCO,
the labor union Solan's involved with.
This connection goes back over twenty
years.
Devon is oddly under-enthused. He shows Michael the paper.
MICHAEL
What's the matter?
DEVON
Frontal assault. And we're running
out of time....
Michael sees the headlines: LAWYER NAMES LAW CLERK IN
GANGLAND CONSPIRACY. Hold on Michael....
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
EXT. FOUNDATION TERRACE - DAY
Stefanie's reading the newspaper article. She puts it down
and looks up at Michael, dumbfounded.
STEFANIE
It's a lie...everything in there is
a lie.
(beat)
Why? What does he hope to accomplish?
Does he really think a Grand Jury will
believe I'm a money courier for the
underworld?
MICHAEL
Don't be so sure they won't. It's a
matter of credibility. Your word
against his.
STEFANIE
I'll take that chance. My
credibility's intact.
She sees him glance away, uncomfortable.
STEFANIE
Isn't it? Michael?
MICHAEL
I didn't want to have to deal with
this until I could prove otherwise....
STEFANIE
What are you talking about?
MICHAEL
A routine computer run shows you
have a record.
STEFANIE
What?!
MICHAEL
Two arrests in Las Vegas.
STEFANIE
Las Vegas? That's ridiculous. I've
never been arrested in Las Vegas or
any place else...What was I
supposedly arrested for?
MICHAEL
(hard
for him)
Solicitation.
She stares at him, face coloring.
STEFANIE
That's a lie! How can they do that?
You can prove that's a lie, can't
you?
MICHAEL
We're working on it.
STEFANIE
(beat)
Do you believe me?
He meets her look, the intensity of it. He touches her
hand, nods.
MICHAEL
I believe you. It's the Grand Jury
I'm worried about.
Bonnie appears from inside.
BONNIE
Michael? Devon wants you.
INT. FOUNDATION COMPUTER CENTER - DAY
Michael and Devon are at the computer terminal.
DEVON
Stefanie's arrest record. Watch.
COMPUTER READ-OUT
Stefanie Mason. Las Vegas. June 10, 1982. Solicitation.
Arresting officer - William Donner. Las Vegas. July 13,
1982. Solicitation. Arresting officer - William Donner.
MICHAEL AND DEVON
MICHAEL
The same arresting officer. That's
interesting.
DEVON
And look at this.
Devon punches up another run. He reads.
DEVON
William Donner. Ten years on the
police force. Last fall he was
indicted in a police scandal, but it
didn't stick. Then he disappeared...
(punches
up a
picture
on the
screen)
And here he is.
Michael moves in for a closer look.
MICHAEL
I've seen that face...wait a minute.
The car that tailed us to the cabin.
(comlink)
Kitt, the visuals on the two men who
tailed us to the cabin. Can you
patch them through?
K.I.T.T.
Right away, Michael.
Two pictures emerge. One of Blake and one of William
Donner. It's a match.
MICHAEL
That's our man. This is proof,
Devon! Proof they salted a phony
record on Stefanie, proof they ---
DEVON
Hold on, Michael. It's enough to
question the veracity of Stefanie's
record, but it doesn't touch Edward
Cole. Not yet.
MICHAEL
What will?! Devon, we're running
out of time....
STEFANIE
I know a way.
They turn and see her in the doorway. Bonnie is with her.
INT. DEVON'S OFFICE - DAY
Stefanie picks up the telephone and dials. When she speaks
it's in an anxious, hushed voice.
STEFANIE
(phone)
Edward, it's me -- Stefanie. I need
your help...no, they've got me at the
Foundation, but I heard them talking.
They're taking me back to some cabin
in the mountains. They're coming --
I'll try to call you from there.
She hangs up. Pull back to see Michael and Devon.
DEVON
I still don't like it. Too risky.
BONNIE'S VOICE
Well, how do I look?
ANOTHER ANGLE
as Bonnie enters wearing a Stefanie look-alike wig.
DEVON
If I may say so, you look like
Bonnie Barstow in a wig.
MICHAEL
He's right, Bonnie.
BONNIE
C'mon. A little makeup, the right
clothes. They'll never know the
difference.
STEFANIE
What if they do?
No one has a ready answer.
STEFANIE
We won't get another chance. This
is it.
(beat)
Thanks, Bonnie, but it's my life, my
future. It has to be me.
Michael and Bonnie exchange looks. Devon doesn't like it,
but he knows she's right.
EXT. MOUNTAIN ROAD - DAY
The Trans Am maneuvers the curves.
INT. TRANS AM - DAY - MICHAEL AND STEFANIE
They're both on edge, both trying not to show it.
MICHAEL
No matter what happens...you stay
with Kitt.
STEFANIE
I will.
MICHAEL
Promise me.
STEFANIE
(smiles)
I promise.
MICHAEL
Devon's arranging a roadblock, so
all we have to do is bait the trap.
STEFANIE
Me.
Michael nods, tense.
EXT. MOUNTAIN CABIN - DAY
The Trans Am approaches slowly, sensors alert, surveillance
mode flashing.
INT. TRANS AM - DAY - MICHAEL
scans the terrain.
MICHAEL
Kitt. Scan the cabin....
K.I.T.T.
There's no one inside, Michael.
Michael drives up beside the cabin and stops. He starts to
get out.
MICHAEL
I'm going to look around. Take care
of her, Kitt.
K.I.T.T.
Like she was a Ferrari, Michael.
MICHAEL
She is.
EXT. TRANS AM - DAY
Michael slowly gets out and walks around the far side of
the cabin.
K.I.T.T.
(comlink)
Michael! A vehicle is approaching
at high speed.
ANGLE - MICHAEL
MICHAEL
(comlink)
Got it!
He runs for K.I.T.T.
ROAD TO CABIN
The sedan squeals around the curves and bears down when the
cabin comes into view.
DARK SEDAN
Two men inside. Blake is driving. On the passenger side
is William Donner. He sports a submachine gun, opens fire
through the car window.
MICHAEL
dives and rolls on the ground. Bullets splatter around him.
MICHAEL
(comlink)
Kitt, over here!
ANGLE ON TRANS AM
K.I.T.T. lunges forward, swinging between Michael and the
sedan. The door pops open and Michael jumps in as bullets
pound at them in a fierce barrage.
ANGLE ON CABIN
It takes some of the random hits, a window shattering.
ANGLE ON SEDAN
The sedan circles, leveling its entire arsenal at K.I.T.T.
-- to no apparent effect.
ANGLE IN SEDAN
They're starting to panic.
DONNER
I've hit it with everything I've
got! Ram him!
ANGLE IN TRANS AM
MICHAEL
Here they come, Kitt.
K.I.T.T.
Surely you don't expect me to just
stand here, Michael.
MICHAEL
Just a second longer.
FULL ANGLE
K.I.T.T. surges forward at the last moment and the sedan
plunges past them, careens over an embankment and nosedives
into a ravine.
ANGLE IN K.I.T.T.
K.I.T.T.
How was that?
MICHAEL
Perfect, buddy. Now call Devon.
(to Stefanie)
You okay?
She nods, shaken. He climbs out.
ANGLE AT SEDAN
Donner and Blake are struggling out of the car as Michael
slides down the embankment. Blake sees him, tries to pull
a pistol but Michael coldcocks him with one punch.
ANOTHER ANGLE
Donner searches frantically for the machine gun. Michael
grabs him from behind, slams him against the hood of the
car.
MICHAEL
Where's Cole?!
DONNER
I don't know what you're talking
about ---
Michael is ready to slam his head against the hood again
when:
DEVON'S VOICE
Michael?
ANGLE TO INCLUDE DEVON AND POLICE OFFICERS
above him, looking down. The cops' guns are drawn.
DEVON
Do you need any assistance?
MICHAEL
Thanks, just a little privacy.
Devon smiles, nods, gestures and the cops move away with
him. Donner looks frightened for the first time as Michael
turns his full attention back to him.
DONNER
Wait a minute...We can work some-
thing out. We can talk.
MICHAEL
Last chance. Where's Cole?
DONNER
He's with Anthony Solan -- they went
to the airport. If they don't hear
from us they're gonna take off....
ANGLE FROM CABIN
as Michael leads Donner up the embankment to the waiting
cops. Several others start down after Blake.
ANGLE AT K.I.T.T.
Bonnie and Devon stand with Stefanie, who's still weak from
the ordeal, from her stay in the hospital. Michael
approaches.
MICHAEL
How do you feel?
STEFANIE
A little wobbly, but all right...
Thanks.
MICHAEL
I shouldn't be too long.
STEFANIE
(smiles)
I'm not going anywhere.
Michael jumps into the Trans Am, spins around and starts
down the road.
EXT. AIRPORT - DAY
A Cessna 150 waits at a terminal near the commercial air-
lines. It's ready to go. Nearby, Solan paces, nervously
checks his watch.
ANGLE - STREET
The Trans Am speeds toward the terminals.
ANGLE - CESSNA
Cole hurries toward Solan from the terminal.
COLE
No call. I checked with the operator.
The car phone's dead.
SOLAN
Something's gone wrong. Let's get
out of here.
ANGLE - AIRPORT PARKING LOT
The Trans Am speeds through the airport parking lot. When
it reaches the last row of cars, Michael hits the boosters
and K.I.T.T. sails over the cars and the airport fence.
ANGLE - CESSNA
Cole and Solan see the Trans Am racing toward them. They
climb into the Cessna, its engines running, ready to take
off.
ANGLE - THE TRANS AM
as it bears down on the Cessna.
ANGLE - CESSNA
It picks up speed as it heads down the tarmac and onto the
taxiway, passing other planes waiting to take off.
ANGLE - TRANS AM
full throttle after the plane.
FULL ANGLE - THE CESSNA
angles for the runway as the Trans Am races past them, out-
pacing them. Then Michael spins K.I.T.T. in a 90 slide
and they head directly for the Cessna, closing the angle.
ANGLE IN CESSNA
Solan sees the Trans Am barreling toward them. He veers
sharply.
COLE
What is he doing?! He's crazy!
INTERCUT - TRANS AM
charging straight for the side of the plane.
ANOTHER ANGLE
K.I.T.T. leaps forward, smashing into the rear section of
the fleeing plane, sheering off the tail. The plane
careens on blindly, skids and slides to a halt on its side.
Cole and Solan struggle free of the wounded craft as the
Trans Am skids to a stop in front of them. We hear the
sound of distant sirens.
ANGLE ON MICHAEL AND THE TWO MEN
Michael walks over to Cole as K.I.T.T. waits, surveillance
mode flashing. Behind them, two police cars close in and
squeal to a stop. Cole tries to run but Michael grabs him.
MICHAEL
(to Cole)
I run across a lot of scumbags, Cole,
but compared to you they're royalty.
Before Cole can respond, Michael throws a hard right,
lifting Cole off his feet. The officers emerge, guns
drawn. Solan's hands shoot into the air. Cole doesn't
move.
EXT. MOUNTAIN CABIN - DAY
Michael and Stefanie stand talking by the edge of the
mountain clearing looking at the meadow below. They both
find it hard to talk, yet there is a need to.
STEFANIE
I talked to the Federal Attorney.
He said after I testify I'll be in
the witness relocation program...
a new place to live...a new identity
...Sometimes it doesn't seem like
any of this ever happened.
MICHAEL
It's all behind you now. The night-
mare's over.
STEFANIE
(softly)
And the dream.
She puts her hand to her neck unconsciously. The necklace
isn't there. Michael notices this.
MICHAEL
You lost your necklace.
STEFANIE
No, I gave it back.
A flicker of confusion on Michael's face.
STEFANIE
It's going to be strange becoming
someone else. Leaving my life
behind....
Their eyes meet, the implied question unanswered.
She looks away, fighting to keep back the tears that are
filling her eyes. She looks out at the mountains, the
trees, the sky.
STEFANIE
(softly)
There's a bird I read about once a
long time ago. The swift. It eats
...sleeps...spends it's whole life
in flight. It never lands. That's
its purpose, its destiny...to fly
forever....
Michael gently turns her to him. They look at each other a
long moment. He kisses her softly.
STEFANIE
Good-bye, Michael.
MICHAEL
Good-bye...Stevie.
There are tears in her eyes.
She turns and walks back toward the cabin. Devon stands on
the porch. K.I.T.T. is parked out front and a police car
waits for her.
ANGLE - MICHAEL
He watches her go, fighting back tears of his own -- for
her, the love he feels for her, and for himself -- for the
past is, finally, forever sealed.
FULL ANGLE
Michael stands by the edge of the clearing, watching as
Stefanie reaches the car. She turns, looks at him one more
time, then gets in. The car drives away. Michael watches
as it slowly disappears.
END OF ACT FOUR
TAG
FADE IN
INT. MOUNTAIN CABIN - DAY
Michael and Devon are working -- picking up debris, broken
glass, shattered souvenirs.
MICHAEL
I'll make it up to you...Name it
...anything.
Devon doesn't answer.
MICHAEL
What do you want me to do?
DEVON
I don't think it's within your power.
MICHAEL
Devon, I didn't know they were going
to shoot up the place.
Devon moans as he picks up some pieces of wood.
DEVON
Do you know what this was? A clock.
MICHAEL
Maybe I can fix it.
Devon holds up the hopelessly shattered pieces.
MICHAEL
I guess not.
Devon drops the clock remnants and walks transfixed across
the room.
MICHAEL
Say, Devon, maybe I'll take a drive.
I'll come back in an hour or so when
you've added up all the damages
and....
He backs out the door, relieved, disappears.
EXT. MOUNTAIN CABIN - DAY
Michael closes the door behind him. He takes a deep
breath and walks to the Trans Am.
INT. TRANS AM
Michael gets in. He's about to start up but then he stops,
leans back. Long pause.
K.I.T.T.
What is it, Michael?
MICHAEL
I wonder if she really knew.
K.I.T.T.
She left something for you.
MICHAEL
What? Where?
K.I.T.T.
Look in the glove compartment.
Michael opens the glove compartment.
INSERT - THE GOLD NECKLACE
is there.
MICHAEL
He takes the necklace, stares at it for a long moment.
K.I.T.T.
Why did she leave it for you?
MICHAEL
A mutual friend gave it to her a
long time ago. He's dead now...I
think she wanted me to remember him
with this.
K.I.T.T.
What was his name?
MICHAEL
Michael Long.
FADE OUT
THE END
