Home : Knight Rider : Season 2 : Let It Be Me : Scripts : 1st Draft

KNIGHT RIDER: LET IT BE ME

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

Production #57834
1st Draft - January 28, 1984 (F.R.)

Teleplay: .................. Robert Foster &
............................ Robert W. Gilmer
Story: ..................... William Elliott
Director: .................. Bernard McEveety

                              
                              ACT ONE

     FADE IN

     INT. CONCERT HALL - NIGHT - LONG SHOT ON STAGE

     where a rock and roll group called "Class Action" roars
     through the last number of the night.  The lead guitarist
     runs through a blistering riff while the two singers,
     Greg Noble and a striking blonde (whose face we don't
     see clearly from this distance), harmonize at a single
     mike.  The effect is breathtaking.  The crowd goes nuts,
     shouting, stomping, cheering.  The band pushes the song
     and the crowd to the breaking point, then, suddenly,
     shuts it down.  The crowd howls for more, but the house
     lights dim.  The musicians head for the wings.

     CLOSER ON THE STAGE

     where Greg and the female singer, her face hidden in the 
     shadows, exchange a few words, a kiss and a hug.  A warm
     moment before she hurries O.S.  Greg stands for a moment
     waving to the crowd, a big grin on his face.  Move close
     on Greg, and then:

                                              CUT TO

     OMITTED

     INT. DRESSING ROOM - NIGHT - CLOSE ON PAUL BLOCK

     Another smiling face, this one belonging to Paul Block, the
     manager of the group.  He's holding up a record industry 
     trade mag.

                               PAUL
               Number twelve with a bullet!  We're 
               going gold, folks...it's only a matter
               of time!

     As a roar of approval goes up, pull back to reveal a 
     post-concert party underway.  Champagne, sumptuous food,
     beautiful people.  Paul holds up a glass of champagne.

                               PAUL
               Here's to the hottest group in the 
               country...and the hottest lady on 
               the planet.  Stevie March!

     Everyone follows Paul's glance to a corner of the room 
     where we see:

     STEVIE MARCH

     the beautiful lead singer of Class Action, who we recognize
     as Stevie from White Bird.  She smiles graciously, then
     looks around.

                               STEVIE
               This isn't complete without Greg.
               Where is he?

     Various ad-libbed responses.  No one knows where he is.
     Stevie shakes her head.

                               STEVIE
               If I've gotta go through this, so 
               does he.  I'll be right back....

     Stevie turns and pushes through the crowd and out one of 
     the doors into:

     A CORRIDOR

     leading to other, smaller dressing rooms.  She moves to the 
     first one down the hall.  Knocks.

                               STEVIE
               Greg, honey?  You in there...?

     No answer.  Stevie opens the door, steps inside.

                               STEVIE
               Hey, come on...you're missing the 
               party....

     Suddenly, she screams, then screams again.

     INT. DRESSING ROOM

     On the floor of the dressing room is the reason for Stevie's
     screams.  Greg Noble's lying next to his dressing table.
     Still.  Lifeless.  Very dead.  Off this, we:

                                              CUT TO

     EXT. HIGHWAY - DAY - STOCK

     as the Trans Am cruises by.  Doing an easy ninety.

     INT. TRANS AM - DAY

     Michael's behind the wheel.  He's wearing his baseball hat
     (Dodgers, of course).  He's smiling.

                               MICHAEL
               Less than three months to opening
               day, pal.  Seventy-seven days to be
               exact.

                               K.I.T.T.
               Michael, I don't understand what
               this fascination with baseball is 
               all about.

                               MICHAEL
               Come on, Kitt...it's about spring
               and warm weather and blue skies and
               hot dogs with mustard.  Everything 
               that's American....

                               K.I.T.T.
               Grown men in funny costumes swinging
               sticks of wood at pieces of horse-
               hide is American?

     Michael shakes his head.

                               MICHAEL
               You're weird.  Are you sure you 
               weren't assembled overseas somewhere?

     There's a buzz.  Michael punches buttons.

                               MICHAEL
               Hello, Devon....

     As they talk, intercut with:

     INT. FOUNDATION - DEVON'S OFFICE - DAY

     Devon's in front of the vidscreen.  Dapper in a double-
     breasted blue blazer.

                               DEVON
               Hello, Michael...Oh, I see you've
               pulled that quaint hat out of 
               mothballs again.  It must be spring.

                               MICHAEL
               For some of us.

                               DEVON
               I never have understood that game.
               Cricket, yes, but baseball...well,
               on your way back to the Foundation,
               I'd like you to make a stop.

                               MICHAEL
               What's up?

                               DEVON
               I'm not sure.  The guitarist of a
               group called Class Action died
               recently.  The police have called 
               it an accidental drug overdose.
               His girl friend calls it murder.

                               MICHAEL
               Devon, I'm really sorry about that,
               but I've been on the road for sixteen
               days....

                               DEVON
               And as luck would have it, you're
               less than an hour from the Portland
               Civic Auditorium....

                               MICHAEL
               As luck would have it.

                               DEVON
               Where a Miss March is expecting you.
               Keep me posted.

     Before Michael can protest further, Devon fades out.

                               K.I.T.T.
               Class Action?  I'm almost afraid to 
               ask what kind of music they produce.

                               MICHAEL
               They're a hot group, Kitt.  Playing
               good old rock and roll...
                      (smiling)
               American music.

                                              CUT TO

     OMITTED

     INT. CONCERT HALL - AT ENTRANCE - DAY

     The same concert arena where we opened the show.  We see
     Michael come walking to the entrance.  His eyes catch 
     someone on the stage.  Sitting at the piano.  Fiddling with
     the keys.  A woman with blonde hair.

     CLOSE ON MICHAEL

     staring intently at her, hearing the echo of a memory.  He
     slowly walks toward the stage.  We move with him and as we 
     do, intercut with:

     FIRST FLASHBACK FROM WHITE BIRD

     Michael and Stevie are picking flowers.

     STEVIE

     not noticing Michael, lost in her thoughts.

     SECOND FLASHBACK FROM WHITE BIRD

     Michael and Stevie kissing.

     ON MICHAEL

     smiling slightly.  The smile fades as he remembers.

     THIRD FLASHBACK FROM WHITE BIRD

     Stevie, in the back of the police car, driving away.  Tears
     streaming down her face.

     BACK TO MICHAEL

     nearly to the stage.  Stopping.  Staring.  Close to tears 
     of his own.

     WIDER TO INCLUDE STEVIE

     as she senses Michael, looks up from the piano.  Their eyes 
     meet, lock.  They hold the look forever.  Then:

                               MICHAEL
               Stevie....

                               STEVIE
               Hello, Michael....

                                              CUT TO

     OMITTED

     EXT. CONCERT HALL - DAY - MOVING WITH STEVIE AND MICHAEL

     as they walk and talk, ideally along some picturesque
     hillside near the concert hall.

                               STEVIE
               When they'd arrested and convicted
               everyone I'd testified against, it
               was safe for me to 'resurface' again.
                      (beat)
               I kept my new name and just sort of 
               slipped back into life.

     Michael studies her for a beat.

                               MICHAEL
               You could've phoned.  Written.  Some-
               thing.

     Stevie looks at Michael intensely.

                               STEVIE
               You don't know how much I wanted 
               to....

                               MICHAEL
               Then why didn't you?

                               STEVIE
                      (a long beat)
               I drove to L.A., got an apartment.
               A week later I ran into Greg Noble.
               We'd gone to high school together,
               even sung a little.  He was putting 
               together his forty-seventh band and 
               was looking for a lead singer.
                      (shrugging)
               I was looking for something to hang
               a new life on.  Greg, and the group
               ...it seemed to work.

     A silence.  An awkward silence, broken by:

                               STEVIE
               Greg knew how I felt about you, but
               he loved me anyway.  In a strange 
               way that gave me something to live
               for.  Now he's dead and I'm never
               going to have a chance to give that 
               back....

     Stevie's voice fades off.  She's close to tears.  Then:

                               STEVIE
               Everyone loved him, Michael...he 
               cared about his music and about this 
               group.  He gave everything he had,
               without asking for much in return.
                      (intensely)
               And he never used drugs!  He hated
               them, what they'd done to so many 
               fine musicians....

     Stevie shakes her head sadly.

                               MICHAEL
               Who could have done it, Stevie?  Who 
               might have wanted him dead?

                               STEVIE
               I don't know!  It had to be someone
               involved with the group, but I just 
               can't imagine who.

                               MICHAEL
               That makes everyone a suspect.

                               STEVIE
                      (a beat)
               When I phoned the Foundation, I was
               afraid you wouldn't come.  Then I 
               was afraid you would.
                      (another beat)
               I thought I could ask you to help.
               But, now that you're here...I don't
               know....

     A long, intense beat as they look at each other.

                               MICHAEL
               You don't have to ask if I'll help...
                      (beat)
               Just help me figure out how....

     Off Stevie's look, we:

                                              CUT TO

     EXT. FOUNDATION - DAY - TO ESTABLISH

     Over we hear:

                               MICHAEL'S VOICE
               I'm going undercover as one of the
               lead singers with Class Action.

                                              CUT TO

     INT. DEVON'S OFFICE - DAY

     Devon and April stare at Michael incredulously.

                               DEVON
               That's preposterous!

                               MICHAEL
               Look, the group's gotta replace Greg
               with someone.  Stevie's already been 
               hyping me to Paul Block, the group's
               manager.  Told him I'm an ex-patriate
               who's been playing in Australia and 
               New Zealand for the past five years.

                               APRIL
               But, you can't sing.  Can you?

                               MICHAEL
               Are you kidding?  Before I went to
               the Academy, I sang all the time.
               Even had a record company interested 
               in a demo I made.

                               DEVON
               That was years ago.  What makes you 
               think you can perform professionally
               today?

                               MICHAEL
               I'll worry about that later.  First,
               I need to put together a video tape 
               of my work in Australia -- to sell 
               me to this guy Block.

                               DEVON
               A video of your 'work'?  You've 
               never been to Australia, let alone 
               sung there.

     Michael smiles, turns to April.

                               MICHAEL
               Did you get the video equipment?

     April nods.

                               MICHAEL
               And the stock of those rock concerts?

     April nods again.  Devon interrupts.

                               DEVON
               What is going on?

                               MICHAEL
               Show biz.  We'll shoot me singing
               ...just from the neck up.  Kitt can 
               cut in some of the concert footage,
               lay down some electronic music and 
               effects and...voila!  Michael Knight 
               in concert...from Down Under.

     Devon just stares at Michael, shakes his head.

                               DEVON
               Michael, is this absolutely necessary?

                               MICHAEL
                      (totally
                       serious)
               Absolutely.

     Devon stares at Michael.  A touching moment.  He nods.

                               DEVON
               Yes.  I suppose it is.  I pray it 
               works....

     Off of Michael's reactions, we:

                                              CUT TO

     INT. LIMO - NIGHT - CLOSE ON TV SCREEN

     Michael Knight in concert.  From Down Under.  Singing a 
     solo.  Looking very hot.  As the song ends, a hand reaches 
     out, switches the set off.  Pull back to reveal Paul Block,
     sitting with Michael and Stevie.  He nods, thinks for a 
     beat, then:

                               PAUL
               Not bad.  Not bad at all...
                      (for Stevie)
               It's not Greg Noble, but, then, who
               could be?
                      (to Michael)
               Let's give it a try....

     Michael and Paul smile, shake hands.  Stevie smiles, too.
     A little nervously.  Paul turns to her.

                               PAUL
               This calls for a celebration.  Dinner?

                               STEVIE
               Count us out, Paul.  We've got twenty
               songs to learn before the concert...
                      (to Michael)
               Come on...if you're going to be on 
               the payroll you'll have to start
               working for it.

     Paul laughs as Michael and Stevie climb out of the limo.
     As they exit, he reaches over, picks up the phone, dials.

                               PAUL
               It's Paul.  It's set...this guy 
               Knight looks terrific...yeah, I'm
               sure...I said, everything's fine!
               Everything's going to proceed right
               on schedule....

     Off Paul's look, we:

                                              CUT TO

     INT. CONCERT HALL - DRESSING ROOM - DAY - MONTAGE

     During this sequence we see Michael and Stevie rehearsing
     songs, working on Michael's singing, getting ready for the
     concert.  We don't hear their voices, but rather an instru-
     mental underscores the montage.  Shots include:

     Stevie at the piano, Michael reading from sheet music,
     singing.

     MICHAEL

     mike in hands, moves across the stage, getting the feel for
     the area, working on some moves.

     MICHAEL AND STEVIE

     both at the piano.  She plays something.  He leans over,
     makes an adjustment.  She nods, smiles.

     IN THE DRESSING ROOM - MICHAEL

     is trying on his stage outfit:  something smashing, like 
     black leather pants, matching shirt.  Stevie's watching,
     making adjustments in the fit.

     ON THE CONCERT STAGE - TECHNICIANS

     make final adjustments for lights, sound.  Michael watches,
     alone.  A little nervous.  Stevie appears behind him, takes
     his hand.  They stand together at the mike, looking out 
     into the empty auditorium.  As they do, the music fades out
     and we:

                                              DISSOLVE TO

     OMITTED

     INT. CONCERT HALL - NIGHT

     The night of the concert.  Filled with people.  The concert
     is underway, and we go to a:

     MONTAGE OF SHOTS DURING THE CONCERT

     During which Michael and Stevie sing "Stay the Night."  A
     series of shots featuring:

     Michael, then Stevie, stepping up to mikes.  Bathed in a 
     single spot.  Starting to sing.

     Behind them, the band members, both individually and as a 
     group, playing.

     Paul Block standing in the wings, listening.  Pleased.

     Michael and Stevie, sharing one mike.  Singing for the 
     audience and, we sense, for each other as well.  A moving
     moment.

     A thunderous ovation at the end of the concert.  People 
     calling for more, lighters being lit, flowers tossed onto
     the stage.  As Michael and Stevie run off the stage together,
     we follow them:

     BACKSTAGE

     Normal post-concert chaos.  Lots of congratulations, slaps
     on the back, hugs.  Champagne flows.  Michael and Stevie at
     the center of attention.  Paul rushes up to congratulate 
     them.

                                              CUT TO

     ANOTHER BACKSTAGE AREA NEAR DRESSING ROOM - LATER

     Stevie and Michael come walking out of the dressing room.
     Both of them still high from the performance.

                               MICHAEL
               That was unbelievable!  What a 
               rush....

                               STEVIE
               You were good, Michael.

                               MICHAEL
               Good?  How good is good?

                               PAUL'S VOICE
               Real good.

     Stevie and Michael turn to see Paul following them.  Smiling.

                               PAUL
               Actually, you were fantastic.
                      (to Stevie)
               And you know it.

                               STEVIE
               I was working up to that.  You didn't
               give me a chance....

     Everyone laughs.

                               PAUL
               When you get back to the motel, come
               on by my room.  Party'll just be 
               starting.

     Paul slaps Michael, hurries on ahead.  Michael turns to 
     Stevie.

                               MICHAEL
               I was thinking of something a little 
               quieter....

     Stevie is about to reply when a roadie named Jimmy passes
     Paul and walks up to them.  He's carrying a canvas bag.  In
     the b.g. we see Paul slow, listening to this exchange:

                               JIMMY
               Excuse me, Stevie, but I thought you 
               might want this stuff.

                               STEVIE
               What is it?

                               JIMMY
                      (glancing
                       at Michael)
               Some of Greg's things...I found the
               bag stuffed behind a seat on the bus.

                               STEVIE
               Thanks, Jimmy.

     Jimmy splits.  Stevie opens the bag.  Inside are several
     audio cassettes, a couple of video cassettes, a song
     notebook, a paperback and a pair of dark glasses.  Stevie
     stares at the contents.

                               STEVIE
               Not much to remember him by....

     There's an unmistakable sadness in Stevie's voice.

                               MICHAEL
               Are you okay?

     Stevie starts to say something, can't.  Just nods.  Then:

                               STEVIE
               Look, I'll meet you at Paul's later,
               okay?  I sort of feel like being alone
               ...for awhile.
                      (beat)
               You understand?

     Michael nods.  He turns and walks down the corridor.  Stevie,
     her head bowed and lost in thought, slowly follows after him.

                                              CUT TO

     EXT. MOTEL - MORNING

     Just after sunrise.  Quiet.

     INT. STEVIE'S MOTEL - NIGHT - CLOSE ON TV

     where we see Greg Noble, a youthful man in his late 
     twenties, roaring through a guitar riff.  The tape stops,
     reverses, stops and then goes forward again.  As it does,
     we pull back to see Stevie hunched forward, studying the 
     tape.

     ANOTHER ANGLE

     As she advances the tape frame by frame, we see something
     flash onto the TV screen.  Stevie isolates it and we see:

     ON THE TV SCREEN

     A seemingly random series of ones and zeros, filling the 
     TV screen.

     BACK TO STEVIE

     studying the numbers, obviously confused, troubled.  She 
     switches off the set, moves to throw on a coat.  She 
     hurries out the door.

                                              CUT TO

     EXT. MOTEL - MICHAEL'S ROOM - DAY

     as Stevie hurries up, knocks on the door.  A beat, then
     Michael, half asleep, opens it.  He's pulling on a shirt.

                               MICHAEL
               Stevie...what's wrong?

                               STEVIE
               Michael, I've got to show you some-
               thing.  Right now.  Hurry...!

     Michael's pulling on his boots, looking worried.

                               MICHAEL
               What's wrong?

     He follows Stevie down the corridor.

     OMITTED

     EXT. MOTEL - CORRIDOR - DAY - MOVING WITH STEVIE AND
     MICHAEL

                               STEVIE
               I found a video tape in Greg's bag.
               Something we did for American Music
               Hall...the cable TV music program.
               For two days before he died, Greg 
               must have looked at it forty times.
               I couldn't figure out why he was 
               so obsessed with it.

     ANOTHER ANGLE ON MICHAEL AND STEVIE

     as they approach her room.

                               STEVIE
               I found it in that bag of his things.
               I've been up all night looking at 
               it.  There's something very strange 
               on it.

                               MICHAEL
               What do you mean...strange?

                               STEVIE
               Look at it...see for yourself.

     Stevie and Michael arrive at Stevie's room, and Stevie 
     opens the door.  Screams.

     INT. MOTEL ROOM - DAY

     Ransacked.  Stevie and Michael hurry inside.  Just as they 
     get into the room, two guys, both wearing ski masks, hit 
     Michael from either side.  Stevie screams as the guys over-
     power Michael, send him crashing against a wall, then split.
     Groggily, Michael struggles to his feet.

                               MICHAEL
                      (comlink)
               Kitt, give me a hand!

     OMITTED

     INT. TRANS AM - DAY

     as K.I.T.T. comes to life:  shifts into drive, hits the 
     pedal.

     EXT. MOTEL - DAY

     An ND sedan squeals out of the parking lot.  K.I.T.T. drives
     up as Michael staggers out of Stevie's room.  The door pops 
     open and Michael jumps inside.

     INT. TRANS AM - DAY

     as the Trans Am roars onto the street.

                               MICHAEL
               How far are they ahead of us, Kitt?

                               K.I.T.T.
               Nearly two blocks.

                               MICHAEL
               Then let's step on it!

     EXT. STREET - DAY 

     as the Trans Am roars down the street, gaining on the sedan.

     ANOTHER ANGLE

     as the sedan approaches a cross street, screeches down a 
     narrower residential street.  A couple of beats later, the 
     Trans Am makes the same turn.

     ON THE STREET

     as K.I.T.T. closes the gap.  Suddenly, from a driveway of
     one of the houses, a van begins backing into the street.
     The sedan swerves sharply to the left, bumps up partially
     onto a curb, barely missing the van.  Which continues 
     backing into the street.

     ANGLE ON K.I.T.T.

     roaring toward the van.

     INT. TRANS AM - DAY

     Michael reacts.

                               MICHAEL
               Kitt, we gotta go over, pal....

                               K.I.T.T.
               Michael, there are wires overhead.
               We can't jump.

     Michael slams on the brakes.  Tires smoke and the Trans Am 
     slides toward the van.

     EXT. STREET - DAY - FEATURE THE TRANS AM

     as the Trans Am skids to within an inch of the van.  And 
     finally stops.  In the van, a little old lady waves her 
     fist at Michael as she pulls off down the street.  Hold on 
     Michael's white face, and then:

                                              FADE OUT

                         END OF ACT ONE

                             ACT TWO

     FADE IN

     EXT. MOTEL - DAY

     The Trans Am is parked outside Stevie's room.

     INT. MOTEL ROOM - DAY

     Michael and Stevie are sorting through the ransacked room.

                               STEVIE
               That's all they took, I'm sure of
               it...every video cassette I had.

                               MICHAEL
               You said there was something strange
               on that one tape.  Can you describe it?

                               STEVIE
               It was some kind of mathematical 
               gobbledy gook.  A bunch of numbers
               ...zeros and ones, I think.

                               MICHAEL
               Sounds like some kind of binary
               computer code.

                               STEVIE
               But, how'd it get on the tape?

                               MICHAEL
               Good question...probably the same
               one Tommy had.
                      (thinking)
               The best way to answer them is to 
               get a look at a copy of that tape...
               or the master.  Who's responsible
               for those things?

                               STEVIE
               Paul produces them, handles all the 
               contacts with the cable people.  A 
               woman named Barbara Bellingham does 
               all the video work at a studio in 
               L.A.

                               MICHAEL
               Then she's either got the tape or 
               knows where to find it.  How do I 
               get inside that studio?

                               STEVIE
               Easy.  The band's scheduled to start
               taping our next video at eight tonight.

                               MICHAEL
               Perfect!  If that tape's in the studio,
               Kitt can find it.

     Stevie glances around the room, shivers slightly.

                               STEVIE
               Michael, can you give me a ride to 
               L.A.?  I can't ride back on the 
               bus...not after this.

                               MICHAEL
               I wasn't going to let you anyway.

     Stevie smiles at Michael.  Off this:

                                              CUT TO

     OMITTED

     EXT. HIGHWAY - DAY - SEVERAL SHOTS - STOCK

     The Trans Am appears, heading for Los Angeles.

     EXT. QUAINT APARTMENT - DAY

     The Trans Am pulls up and parks, Michael and Stevie getting
     out.  K.I.T.T. pops the trunk, filled with her luggage.

     INT. STEVIE'S APARTMENT - DAY

     The door opens and they enter, Stevie first, followed by
     Michael with the luggage.  She opens windows.  He looks 
     around, takes the place in; it's small but homey, imagina-
     tive.  It's what he'd imagine her place to be like.  She
     notices.

                               STEVIE
               Like it?

                               MICHAEL
                      (nods)
               It's you.  How long have you been 
               here?

     She takes some things, crosses into the bedroom over:

                               STEVIE
               Three months -- no, four.

     He sees a framed photo, picks it up.

     CLOSER ANGLE

     It's a picture of Stevie and Tommy, smiling, looking into 
     each other's eyes.  He thought he was prepared for something
     like this, but it catches him like an unexpected punch.

                               STEVIE'S VOICE
               It's finally starting to feel like 
               home.

     He puts the photo down, moves away from it, restless.

                               MICHAEL
               Where do you want this stuff?  The
               garment bag.

                               STEVIE
               The closet's fine.  Thanks.

     He picks up the garment bag, crosses to the closet and 
     opens it.  Reacts.

     ANOTHER ANGLE

     Hanging there is a pair of pants and a silk shirt, decidedly
     masculine.  He thought he was over the hump with the photo,
     but this is somehow more intimate, more suggestive.  It hurts.

                               STEVIE'S VOICE
               I'm sorry.

     This time her voice isn't from the bedroom, it's close.  He
     turns.  She's behind him, only a few feet away.  Michael
     turns to her.

                               STEVIE
               Michael ---

                               MICHAEL
               It's okay.  It makes me crazy but I 
               can't expect you to never be with 
               another man.  Never fall in love 
               again....

                               STEVIE
               I won't lie to you, Michael.  Yes, I
               loved him.

     He nods, again surprised by how unprepared he is.

                               STEVIE
               He was a wonderful man.  I loved 
               him.  But when I went to sleep at
               night I dreamed of you.

     He sees tears begin to form in her eyes.

                               STEVIE
               I tried not to, I tried to forget 
               about you....

     It is, finally, no longer possible to stay apart.  They 
     meet in an embrace, holding each other as if some alien 
     force threatens to separate them again.  He turns her face 
     up to his, kissing away her tears.  As their mouths meet in 
     a kiss....

                                              CUT TO

     EXT. RECORDING STUDIO - NIGHT

     The Trans Am pulls in and parks.  Michael helps Stevie out,
     leans back in and activates X-ray mode.

                               MICHAEL
               Okay, pal, if that master video's
               here, I need the location....

                               K.I.T.T.
               I'll do my best, Michael, but there 
               could be literally thousands of 
               tapes in there.

                               MICHAEL
               Good.  It'll keep you from getting
               bored.

                               K.I.T.T.
               Very funny.

     Michael and Stevie laugh, head toward the studio, and we:

                                              CUT TO

     INT. VIDEO STUDIO - NIGHT

     Video technicians prepare the equipment.  Paul and Barbara
     huddle away from the others.

                               BARBARA
               I don't like it.

                               PAUL
               What could we do?  Forget this video?

                               BARBARA
               But, who is Knight?  Where's he from?

                               PAUL
               Look, Barbara, it's very simple.  We
               use him, then we dump him.
                      (intense)
               We don't have any choice.  We've got 
               to have the video ready.
                      (smiling)
               Besides, I think you're going to 
               like him.  Very much.

     Paul nods across the room.  Barbara glances over to see
     Michael and Stevie come in.  She does like what she sees.

                               BARBARA
               Introduce me.

     Paul leads Barbara across the studio.

     ANOTHER ANGLE

     as Paul and Barbara come up to Michael and Stevie.

                               PAUL
               Michael, meet Barbara Bellingham.
               She handles all our video work.

                               MICHAEL
               Hi.  I've heard good things about you.

                               BARBARA
               Took the words right out of my mouth.
               Maybe we should exchange notes....

     Barbara slips her arm through Michael's, walks him away 
     from Paul and Stevie.  We follow them.

                               BARBARA
               Paul tells me you've been in 
               Australia.

                               MICHAEL
               Nearly five years.

                               BARBARA
               How exciting!  There's so much 
               happening down there culturally --
               music, film, theatre...especially in 
               Sydney.

                               MICHAEL
               Sydney's a beautiful city.

                               BARBARA
               We shot a video down there last 
               year...at the Golden Palace.  Did
               you ever play there?

                               MICHAEL
                      (nodding)
               A couple of times.  Great club.

     Over the PA we hear Paul's voice:

                               PAUL
               Let's go, Barbara....

                               BARBARA
               Well, time to mix a little business
               with pleasure.

     She smiles at Michael, crosses the studio.  As he follows 
     to join Stevie, we:

                                              CUT TO

     INT. STUDIO - LATER

     Barbara huddles in MOS dialogue with a camera person.
     Stevie and Michael are standing in front of a backdrop,
     mikes in front of them.  Paul, with an engineer, waits in 
     the booth.

                               BARBARA
                      (to Paul)
               All right...we're set....

     Barbara crosses to Michael and Stevie.  All business now.

                               BARBARA
               Okay, kids.  Relax...have fun with 
               it.

     The instrumental track begins.  Michael and Stevie begin
     the duet.

     OMITTED

     ANGLE IN BOOTH

     Paul supervises the engineers, the song booming out on the 
     huge speakers.

     INTERCUT - MICHAEL AND STEVIE

     Barbara, the cameraman, the board, tape recorders, etc.

     ANGLE IN K.I.T.T.

     X-ray mode searches the studio, the results reproduced on 
     the monitor.  We see volumes of tapes, row after row.

                               K.I.T.T.
               Bored indeed.

     BACK IN STUDIO

     Michael and Stevie finish the song.  Barbara applauds,
     crosses to them with kisses and hugs.

                               BARBARA
               Fabulous!  I love it -- heat!  Just
               what the song needs.  If I didn't 
               know better I'd swear you two were 
               star-crossed lovers.

     Over this Paul has entered from the booth.

                               PAUL
               Wait'll you see what we've got cooked
               up for you tomorrow.

                               MICHAEL
               Tomorrow?  There's more?

     Barbara and Paul share knowing smiles with Stevie as if to
     say, isn't he wonderfully naive?

                               BARBARA
               Honey, if I produced a video with
               only one location in today's market
               it would be my last.  Yours too.

                               PAUL
               Where's this guy from, Australia?

     They laugh, but Michael senses something in the way
     Barbara's eyes linger on him, probing, searching.

                                              CUT TO

     EXT. STUDIO - NIGHT

     Michael and Stevie cross and climb into K.I.T.T.

                               MICHAEL
               How'd you do?

                               K.I.T.T.
               See for yourself.

     ANGLE ON MONITOR

     A blueprint of the studio appears.  The monitor zooms into
     one particular room.

                               K.I.T.T.'S VOICE
               The office.

     A red dot pulsates on one wall.

                               MICHAEL'S VOICE
               What's that?

     BACK TO THEM

     watching.

                               K.I.T.T.
               A wall safe.  The master tape in
               question is inside.

                                              CUT TO

     INT. STEVIE'S APARTMENT - NIGHT

     The door opens and they come in, continuing a discussion 
     they've been having all the way back.

                               STEVIE
                      (upset)
               ...but what if they're waiting for
               you?  What if it's a trap?

     She doesn't respond, crosses to the kitchen and busies 
     herself preparing tea.

                               MICHAEL
               Stevie, we need to know what's on
               that tape.  Why it's so important to
               them.

     She doesn't respond.  He moves to her, but she won't face him.

                               MICHAEL
               If these are the people who killed
               Tommy, don't you want to know?

     He tries to turn her to face him, but she refuses.

                               MICHAEL
               Are you worried about me?  Is that
               it?

                               STEVIE
                      (finally)
               I've learned to live without you...
               I didn't think I could, but then I 
               discovered a way...as long as I know
               you're out there somewhere, we could
               meet again.  I could turn around in 
               a supermarket and there you'd be.
               That's how I do it.  I don't know 
               how I'd do it if....

     She doesn't finish, doesn't have to.  Michael puts his arms
     around her.

                               MICHAEL
               Don't worry, Stevie.  I'll be 
               careful.
                      (beat)
               That's how I do it, too.

                                              CUT TO

     OMITTED

     EXT. STUDIO - NIGHT

     K.I.T.T. is parked outside, scanner flashing.

     OMITTED

     INT. OFFICE - NIGHT

     The door opens and Michael enters, turns on a small desk
     lamp.  He crosses to the safe.

                               MICHAEL
                      (comlink)
               I'll need a little magic, buddy.

     ANGLE IN K.I.T.T.

     A schematic of the lock appears.  Random mathematical 
     possibilities flash by.

                               K.I.T.T.
               Magic has nothing to do with it.

                               MICHAEL'S VOICE
               Just an expression.

     ANGLE IN OFFICE

     The safe opens.  Michael searches inside, finds the tape.

     ANGLE FROM VCR

     He crosses to it, turns it on and slips in the tape.

                               MICHAEL
                      (comlink)
               Hope your heads are clean.

                               K.I.T.T.'S VOICE
               My heads are always clean.

                               MICHAEL
                      (comlink)
               Fast-forward?

                               K.I.T.T.'S VOICE
               The fastest.

     ANGLE IN K.I.T.T.

     We see the tape speed by on K.I.T.T.'s monitor.

     BACK TO MICHAEL

     checking his watch.

                               MICHAEL
               Like taking candy from a baby.  Good
               work, buddy.
                      (smiling)
               And no one's going to be any the 
               wiser....

     Off this, we:

                                              CUT TO

     EXT. STREET - NIGHT

     as the limo glides by.  Inside, we see Paul and Barbara.

     INT. LIMO - NIGHT

     Barbara's on the car phone.

                               BARBARA
               I see...you're absolutely positive?..
               all right.  Thanks for the help.

     Barbara hangs up the phone.  Paul's watching her nervously.

                               PAUL
               Well?

                               BARBARA
               You idiot!  No one in Australia's
               ever heard of Michael Knight.  I 
               knew he was phony the second he
               thought the Golden Palace was in 
               Sydney, not Melbourne.

     Paul slumps back in his seat.  Shocked.

                               PAUL
               Then they're on to us.  We've gotta 
               pull the plug on this whole operation....

                               BARBARA
               No!  If they've got anything, it's
               suspicions and that's it...and we've
               only got a half day's work to finish
               the new video.

                               PAUL
               Are you crazy?

                               BARBARA
               Paul, the work we've got planned for 
               tomorrow...it's very dangerous.
                      (beat)
               People can get killed doing this 
               kind of thing.

     Barbara leans back, thinking.  She turns, smiles at Paul,
     pats him on the knee reassuringly.

                               BARBARA
               I have a terrible feeling that's 
               exactly what's going to happen....

     Off Barbara's look, we:

                                              FADE OUT

                         END OF ACT TWO

                            ACT THREE

     FADE IN

     EXT. FOUNDATION - DAY - TO ESTABLISH

     We hear the vocal from the tape over:

                               DEVON'S VOICE
               Aside from an intense dislike of 
               rock 'n roll, Michael, I fail to 
               see ---

     INT. DEVON'S OFFICE - DAY

     Michael is grouped around a VCR with Devon and April.

                               MICHAEL
               There!

     He hits stop, then reverse.  Then stop.

                               MICHAEL
               Now a little slow motion.

     ANGLE TO INCLUDE VCR

     The tape continues in slow motion.  Michael suddenly hits
     stop again.  They react.

     INSERT - VCR

     The equivalent of one frame is isolated.  What we see is a 
     series of apparently random numbers.

     BACK TO THEM

     Devon and April exchange looks, intrigued.

                               DEVON
                      (to April)
               Your area of expertise, I believe.

                               APRIL
               It looks like a binary code.
                      (to Michael)
               What was Kitt's diagnosis?

                               MICHAEL
               The same.

     Michael paces, charged.

                               MICHAEL
               This is it, Devon -- This is what 
               the two rock 'n roll 'overdoses'
               were all about.  To keep this secret.

                               DEVON
               What 'secret'?  You have no idea
               what this is.

                               MICHAEL
               No, but whatever it is there are 
               people who think it's important 
               enough to kill for.

     Devon crosses to his desk.

                               DEVON
               All right, for the moment assume
               that's true -- Why put it on a video
               tape?  Why take the chance of 
               discovery?

                               MICHAEL
               Mass communication.

                               DEVON
               Of what?  To whom?

                               APRIL
               He's right, Devon.  We won't know 
               the answer to your questions until 
               we break the code, but it's an 
               ingenious wau to transmit a message.

                               MICHAEL
               To anyone watching a rock video 
               broadcast it's just another group,
               but to people who know what to look
               for it's a telegram.  All they have 
               to do is record it and then play it
               back, just like we did.

     Devon ponders it for a moment.

                               DEVON
                      (to April)
               How long will it take to break the 
               code and decipher the message?

                               APRIL
               It's all based on mathematical
               probabilities.

                               DEVON
               Translation, please.

                               APRIL
               Anywhere from an hour to a week.

     Michael awaits Devon's decision, tense.

                               MICHAEL
               Well?

                               DEVON
                      (to April)
               Then I suggest you begin at once.

                                              CUT TO

     EXT. COUNTRY ROAD AND HILLS - DAY

     Pan from idyllic green sloping hills to a narrow dirt road 
     where there's a beehive of activity:  several vans and 
     station wagons unloading video camera equipment and musical
     instruments; a dozen people going about their chores.

     ANOTHER ANGLE

     The Trans Am pulls in and parks, Michael and Stevie climbing
     out.

                               MICHAEL
                      (to K.I.T.T.)
               No siestas.

                               K.I.T.T.
               Perish the thought.  This binary 
               code is quite a challenge.

                               MICHAEL
               That's what I was afraid of.  We 
               need that code broken, pal.

                               STEVIE
               Michael, don't pressure him.  I'm
               sure he's doing the best he can.

                               K.I.T.T.
               Thank you, Stevie.  I'm glad someone
               understands.

     Over this Barbara appears in b.g.

                               BARBARA
               Hey, you two, let's go.  We've got a 
               video to finish.

                                              FLIP TO

     ANGLE AT GRASSY AREA

     A safari motif has been set-up; a tent, Jeep, etc.  The 
     band, dressed in safari clothes, is grouped around its 
     instruments.

     ANOTHER ANGLE

     Barbara is with Michael and Stevie, also in safari garb, as
     they cross to the Jeep.  Paul joins them over:

                               BARBARA
               ...The band mimes to the playback,
               you two climb into the Jeep and pull 
               out as the second verse begins.

                               PAUL
               Camera cars ready.

                               BARBARA
               Good.  Where's make-up?
                      (calls off)
               Make-up!

     ANGLE ON K.I.T.T.

     parked as before, the monitor processing numbers, searching
     for the numerical key to unlock the binary code.

     ANGLE ON SAFARI SITE

     The playback begins.  Michael and Stevie cross to the Jeep,
     climb in and pull away, lead by the camera car.

     MOVING SHOT

     In the camera car, Barbara crouches behind the video 
     operator.

     ANGLE IN JEEP

     Michael and Stevie lip-sinc to the playback.

     WIDER ANGLE

     The Jeep follows the camera car down a narrow road
     boardered by a steep drop off.  Both cars are picking up 
     speed.

     ANOTHER ANGLE

     As the playback ends Barbara signals.  The camera car pulls
     off to the side of the road.

     ANGLE ON MICHAEL AND STEVIE

     Michael steps on the brake.

     INSERT - BRAKE

     It goes to the floor.

     BACK TO THEM

     Michael reacts, pumps it:  nothing.

                               STEVIE
               Michael, slow down.

                               MICHAEL
                      (comlink)
               Kitt, I've lost the brakes!

     ANGLE IN K.I.T.T.

     His systems activate.

                               K.I.T.T.
               Hold on, Michael!

     His tires spin, dig in and he shoots away.

     OMITTED

     ANGLE ON MICHAEL AND STEVIE

     Michael uses all his skill as a driver, but the twisting 
     road is treacherous and the Jeep continues to pick up speed.

                               STEVIE
                      (terrified)
               Michael!

     HER POINT OF VIEW DOWN THE DROP OFF

     It's a virtual cliff now, a hundred-foot drop.

     ANOTHER ANGLE

     Behind them, coming around a curve at seventy, is K.I.T.T.

     ANGLE IN K.I.T.T.

                               K.I.T.T.
               Stay with it, Michael!  Five more 
               seconds....

     Turbo boost is depressed.

     LOW ANGLE FROM ROAD

     as K.I.T.T. lifts off and soars into the air.

     VARIOUS ANGLES

     K.I.T.T. sails over the Jeep.

     ANOTHER ANGLE

     He lands just ahead of it, slows, makes contact with the 
     front bumper and begins to slow it down.

     ANGLE ON MICHAEL AND STEVIE

     The tension gives way to relief.  Michael squeezes her hand.

                               MICHAEL
               It's okay...we're all right now.

                               STEVIE
               Thank God...what happened?  Can 
               brakes just go out like that?

                               MICHAEL
               They can.  Whether they did or 
               whether they had help is the 
               question.
                      (comlink)
               Thanks, pal.  Get a complete 
               analysis on the brake system --
               master cylinder, wheel cylinders,
               the works.

                               K.I.T.T.
               Right away, Michael.

     Stevie takes Michael's wrist.

                               STEVIE
                      (comlink)
               Thank you, Kitt.  I don't know
               where we'd be without you.

                               K.I.T.T.
               I suspect at a somewhat lower 
               elevation.

                               STEVIE
                      (laughs)
               I think you're right.  Thanks again.

     Stevie looks at Michael, smiling.

                               STEVIE
               I wish I had a friend like Kitt.

                               MICHAEL
               You do.

     ANGLE ON BARBARA

     Paul joins her as she watches the activity below.

                               PAUL
               What happened?

                               BARBARA
               It appears the Jeep didn't go over 
               the cliff.  Nice try, Goodwrench.
               What do we do now -- Send them up in 
               a hot-air balloon and shoot arrows at
               it?

                               PAUL
               You're the one who said we couldn't 
               chance another 'drug overdose.'  If
               you've got any terrific ideas spit 
               'em out.

     Barbara starts to turn away, stops, looks back at him.

                               BARBARA
               I talked to Donny this morning.  He 
               said 'Pegasus' lead singer is sick 
               and they're pulling out of the 
               concert at the Amphitheater tonight.

                               PAUL
               So?

                               BARBARA
               Do him a favor and plug in 'Class
               Action.'

                               PAUL
               It's a live telecast.  How's that 
               going to help us?

                               BARBARA
               We can project a video behind them.
               By the time they figure it out, it'll 
               be too late.

     OMITTED

     ANGLE AT STAGING AREA

     Michael and Stevie ad-lib good-byes to the band, cross to 
     where K.I.T.T. waits.  Barbara hurries to join them.

                               BARBARA
               Stevie...Michael...I've got some 
               good news.

                               MICHAEL
               Next time we get a Jeep with brakes 
               that work.

                               BARBARA
               I'm sorry about that, really.  I don't 
               know what else to say.  Paul's checking
               into it.  In the meantime, cancel any 
               plans you have for tonight.

     They exchange a look, puzzled, wary.

                               MICHAEL AND STEVIE
               Why?  What's up?

                               BARBARA
               A coup.  'Pegasus' had to pull out
               of the big concert at the Amphitheater
               tonight.  It took a lot of phone calls
               and arm-twisting, but guess who's 
               filling in for them?

     Off their surprised reactions:

     ANGLE IN K.I.T.T.

     As they leave, Michael punches buttons.

                               MICHAEL
               How'd we do, buddy?  Got the 
               analysis on the brakes?

                               K.I.T.T.
               The master cylinder ruptured.

     INSERT MONITOR

     A schematic of the brake system appears indicating a faulty
     master cylinder.

     BACK TO THEM

                               MICHAEL
               Any idea why?

                               K.I.T.T.
               It's quite simple.  Someone neglected 
               to include the piston return when the 
               cylinder was rebuilt.

                               MICHAEL
               Neglected...or intentionally removed
               it.
                      (to Stevie)
               Until we find out which, I don't 
               want you out of my sight.

                               STEVIE
               But what about the concert tonight?

                               MICHAEL
               What about it?

                               STEVIE
               I always do a sound check.  If I 
               don't, they'll be suspicious.

                               MICHAEL
               I'll come with you.

                               K.I.T.T.
               Excuse me, Michael, but Devon and 
               April are awaiting the pleasure of 
               your company in the mobile unit.

                               MICHAEL
               They are?  Why?

                               K.I.T.T.
               While you were lip-sincing rock-n-roll.
               I broke the binary code.

                                              CUT TO

     EXT. HIGHWAY - DAY

     The Foundation semi appears.  It's tailgate begins to lower.

     ANOTHER ANGLE

     The Trans Am appears coming the opposite way.  Michael 
     executes a 180, accelerates and pops up the ramp.  Hold on 
     the semi for:

                               MICHAEL'S VOICE
               The suspense is killing me.  What've
               we got?

                               DEVON'S VOICE
               Look for yourself.

     INT. SEMI - DAY

     Michael joins Devon and April at the computer.  Devon hits 
     buttons.

     ANGLE ON COMPUTER SCREEN

     The binary code breaks into neat columns of numbers and 
     letters.  It begins, "AR SB F19 8145P 1K."  The next line:
     "AR LV F19 930P 2.5K."

     BACK TO THEM

     Michael looks puzzled.

                               MICHAEL
               I hope somebody's got this figured
               out, because I sure don't.

                               DEVON
               We have April to thank.

     He gestures for her to do the honors.

                               APRIL
               I'd like to say it's a result of 
               computer wizardry, but it's not.
               One summer I worked at a travel 
               agency.
                      (points)
               'AR' is the abbreviation for 'arrive.'
               'LV' is short for 'Las Vegas.'  If 
               this is a schedule, 'F 19' could be 
               'Friday the nineteenth.'

                               MICHAEL
               Was the nineteenth on a Friday?

                               APRIL
                      (nods)
               The '845P' is the time -- 8:45 PM.

                               MICHAEL
               The last symbol is a number and a 
               'K.'  The numbers vary but there's 
               always a 'K.'
                      (realizes)
               'K' is short for 'kilogram.'  Is
               this some kind of drug delivery 
               schedule?

                               DEVON
               That would be my guess.  If you look
               at the first two letters preceding
               AR you can plot a flight across the 
               country.  'SB' is San Bernardino,
               'LV' is Las Vegas and so on.

                               MICHAEL
               This is all we need.

                               DEVON
               I wish that were the case.  One of 
               the reasons this is so effective is 
               its immediacy.  Guess when this 
               particular video was aired.

                               MICHAEL
               The nineteenth.

     Devon nods.  Michael paces, frustrated.

                               MICHAEL
                      (to Devon)
               What do we need to nail them the 
               next time out?

                               DEVON
               The delivery schedule before the 
               drops are made.

                               MICHAEL
               If we can do it, is the D.E.A. ready 
               to move?

                               DEVON
               At a moment's notice.

                                              CUT TO

     EXT. AMPHITHEATER - DAY - TO ESTABLISH

     INT. AMPHITHEATER - DAY

     Stevie checks the mikes on the huge stage, crosses to talk
     MOS with a roadie.

     ANGLE AT BACKSTAGE AREA

     An expensive late-model car pulls in and stops.  Barbara 
     and Paul climb out, Paul carrying a briefcase.  They hurry 
     inside.

     ANGLE ON STAGE

     Stevie finishes talking with the roadie, crosses toward 
     backstage.

     ANGLE - BACKSTAGE

     Stevie appears, leaving, coming down a long silent corridor.
     As she passes a door she hears voices, indistinct at first,
     then identifiable.

                               PAUL'S VOICE
               What difference does it make who he 
               is?  He's on to us.  So's Stevie.

     She stops, listening.

                               BARBARA'S VOICE
               Being 'on to' us and being able to 
               prove something are two different 
               things.

                               PAUL'S VOICE
               For the moment, yeah.  We've been 
               lucky.  For God's sake, Barbara,
               we're rich.  We don't have to keep 
               doing this.  Why take the chance?
               Why keep ---

     The door opens and suddenly there are their faces.  Stevie
     bolts.  Paul runs after her, grabs her and wrestles her 
     into submission, a hand clasp over her mouth.

     ANOTHER ANGLE

     Barbara reaches them, a pistol in her hand.  Stevie is 
     terrified.

                               PAUL
               I hope you're satisfied.

                               BARBARA
               Will you shut up?
                      (to Stevie)
               All right, Stevie, the charade's 
               over.  No more cat-and-mouse, no more
               pretenses.  I'll make it real simple
               for you.  The concert goes on as 
               planned tonight.  You and Michael 
               sing.  You smile.  You make him think
               this conversation never took place.
               If you succeed, you two can walk out 
               of here afterwards.  If you don't, if 
               you try to warn him, there will be a 
               man with a gun in the crowd.  One 
               false move and you're both dead.

                                              FADE OUT

                        END OF ACT THREE

                            ACT FOUR

     FADE IN

     EXT./INT. UNIVERSAL AMPHITHEATER - NIGHT - STOCK

     Crowds of young people stream in.

     INT. AREA BEHIND AMPHITHEATER - NIGHT

     Lots of activity, crews working on last minute checks, big
     amplifiers being moved, etc.

     ANOTHER ANGLE

     The Trans Am pulls in and parks.

     ANGLE IN K.I.T.T.

     Michael pauses before climbing out.

                               K.I.T.T.
               Michael?

                               MICHAEL
               Yeah, Kitt.

                               K.I.T.T.
               Is something wrong?

                               MICHAEL
               I don't know, pal.  When I talked to 
               Stevie, she sounded...strange.

                               K.I.T.T.
               Frightened?

                               MICHAEL
               No, cheerful.  Almost too cheerful.
                      (then)
               Prob'ly my imagination.  Keep your
               eyes open.

     The scanner flashes.  Michael climbs out, crosses toward
     the backstage entrance.

                                              CUT TO

     OMITTED

     INT. AMPHITHEATER BACKSTAGE AREA - NIGHT

     Members of the band, friends and roadies drift in and out.
     We hear rock music O.S., cheers from the large crowd.  Pan
     to Michael entering.  The guitarist, Don, pauses in passing.

                               MICHAEL
               Don -- where's Stevie?

                               DON
               I don't know, she was here with Paul
               a minute ago -- Hey, did you hear 
               about the video?  Hot stuff, huh?

                               MICHAEL
               What video?

                               DON
               Barbara's got it all set up -- They're
               gonna run a video on a big screen 
               behind us during the show.  How's that
               for promotion?

     He hustles off, pleased.  Michael frowns, thinking, then 
     hurries back outside.

     ANGLE IN DIFFERENT BACKSTAGE AREA

     Perhaps a dressing room.  Stevie sits, dressed, ready to go
     on.  She looks pale, tense.  Barbara sits across from her.
     The door opens and Paul sticks his head in.

                               PAUL
               Five minutes.

     Barbara nods.

                               BARBARA
               She'll give the performance of her 
               life.

     ANGLE IN K.I.T.T.

     Michael punches buttons, preparing K.I.T.T., talking with 
     Devon on the monitor at the same time.

                               DEVON
               I don't like it, Michael.  They 
               suspect you're onto them.  They're 
               breaking their usual pattern ---

                               MICHAEL
               Devon, this is our chance.  Broken
               pattern or not, we may not get another
               one.  You handle the D.E.A., Kitt'll
               handle the code and I'll handle Paul
               and Barbara.
                      (to K.I.T.T.)
               All set?

                               K.I.T.T.
               I'm prepared for everything except
               another onslaught of rock-n-roll.

                               MICHAEL
                      (grins; to Devon)
               He's all set.

     Don comes running out in b.g.

                               DON
                      (calls)
               Michael, we're on!

                               MICHAEL
                      (to Devon)
               Gotta go.

     He punches Devon off, climbs out.

     INT. AMPHITHEATER - NIGHT - VARIOUS SHOTS - STOCK

     Over:

                               PA VOICE
               And now a warm Southern California
               welcome for...Class Action!

     The crowd applauds, whistles.

     ANGLE BACKSTAGE NEAR WINGS

     Michael arrives, looking for Stevie.  She appears,
     beautiful, moving toward him, ethereal.  We see Paul and 
     Barbara behind her, watching.

                               MICHAEL
               Hi.

                               STEVIE
               Hi.

     They smile and kiss lightly.  On stage, the band is striking
     the first notes of the first song.  Michael looks at her 
     more closely.

                               MICHAEL
               You okay?

                               STEVIE
               I'm fine.
                      (listens off)
               I think that's our cue.

     MOVING SHOT

     as they walk toward the big stage.  Michael is struck by an 
     overwhelming feeling.

                               MICHAEL
                      (sotto voce)
               What's wrong?

                               STEVIE
               Nothing.

     They're about to go on stage.  Michael makes a decision,
     grabs her arm.

                               MICHAEL
               Stevie, talk to me!

     She reacts, pulls away from him, terrified, glancing back 
     in the direction of Paul and Barbara.

                               STEVIE
               Michael, please!  We're on.

                               MICHAEL
                      (sotto voce)
               They know, don't they?  Did they 
               threaten you?

                               STEVIE
                      (sotto voce)
               There's a man with a gun in the 
               audience.

     ANGLE ON STAGE

     It's dark...The last chords of the introduction finish and 
     the lights come on, revealing the band in place.  Cheers
     and applause over as:

     OMITTED

     ANOTHER ANGLE

     Stevie appears, moving to the music, Michael coming in
     behind her.  The timing is perfect.  The crowd goes wild.
     They begin their duet from opposite sides of the stage,
     singing to one another, moving to the music, slowly coming
     closer and closer.

     INTERCUT - CROWD - STOCK

     They're hooked, captured.  Some people stand and sway to 
     the beat, hands outstretched above them.

     ANGLE ON STAGE

     Instead of meeting centerstage Michael and Stevie move past
     each other, as if flirting and teasing, an ageless male/female
     ritual.  Stevie glances back at him with a toss of her head
     and Michael begins to move toward her, pursue her.  The crowd
     roars its approval.

     ANGLE ON SCREEN BEHIND THEM

     The video is projected behind them, move for move, on the 
     huge screen.

     ANGLE IN K.I.T.T.

     The performance continues on the monitor, the video behind 
     it.  It suddenly freezes, then slowly reverses.  Then stops.
     We see, isolated, a binary code.

                                              CUT TO

     INT. DEVON'S OFFICE - NIGHT - CLOSE ON COMPUTER

     A transmission signal flashes.

     WIDER ANGLE

     Devon and April react.  April moves to the computer as 
     Devon reaches for his phone.

                               APRIL
               It's Kitt.

                               DEVON
                      (into phone)
               Yes, get Charles Elliott in Washington,
               DC, please.  Ring his private line,
               he's expecting me.

     INSERT - COMPUTER

     The binary code transforms into a list of numbers and letters 
     similar to the previous one.

                               DEVON
               Hello, Charles.  Devon Miles.  We're
               on ---

                                              CUT TO

     INT. AMPHITHEATER - NIGHT - STOCK

     The closing notes of the song come over and the audience 
     rises to its feet.

     ANGLE ON GUNMAN

     off to one side, half hidden.  He pulls a long-barrelled
     pistol from his jacket.

     ANGLE ON STAGE

     Michael and Stevie are into the last verse of the song.
     Michael waits for the right moment, turns, speaks into the 
     comlink.

                               MICHAEL
                      (comlink)
               Kitt, there's a sniper in the crowd.

     ANGLE IN K.I.T.T.

                               MICHAEL'S VOICE
               I need a blackout when the song ends.

     K.I.T.T.'s systems activate.  Microwave jammer pulsates.
     Offstage, the song is concluding.

     ANGLE ON GENERATOR

     Sparks begin to fly.  Smoke appears.

     ANGLE ON STAGE

     As they finish the final verse the auditorium suddenly goes 
     black.  People scream.

     ANGLE ON GUNMAN

     Ready to fire he pauses, frustrated, unable to see.

     ANGLE ON STAGE

     Michael finds Stevie, grabs her hand.

                               MICHAEL
               C'mon, quick!

     The comlink buzzes.

                               MICHAEL
                      (comlink)
               This better be important.

                               K.I.T.T.'S VOICE
               What do you think I am, an autograph
               hound?  Paul and Barbara are leaving.

                               MICHAEL
                      (comlink)
               Don't let 'em get away.

     ANGLE BEHIND AMPHITHEATER

     Paul and Barbara climb into their car.

     ANGLE ON K.I.T.T.

     His systems come alive.  The gear shift shifts, the acceler-
     ator is depressed.

     ANGLE NEAR EXIT

     As Paul heads for the exit, K.I.T.T. suddenly appears,
     stops, blocking his path.  Paul leans on the horn but 
     K.I.T.T. doesn't move.

                               PAUL
                      (yells)
               Hey -- outta the way!

     K.I.T.T. doesn't move.  Furious, Paul jumps out of his car
     and crosses to K.I.T.T.

                               PAUL
               I don't know who you think you are
               but ---

     He breaks off, staring inside:  there's no one behind the 
     wheel.

                               BARBARA
               Do something!  Hit him!

                               PAUL
                      (stunned)
               There's nobody there!

     K.I.T.T.'s scanner flashes.

                               K.I.T.T.
               I resent that.

     Paul stares in disbelief, turns and runs for his car.

     ANOTHER ANGLE

     Out of the darkness we see motion.  It slams into Paul,
     knocking him against his car.  It's Michael.

     DIFFERENT ANGLES

     Paul swings, hits Michael, kicking him back.  He tries to 
     climb into his car before Michael recovers but he doesn't
     make it;  Michael grabs him from behind, spins him around
     and catches him with one good punch.  Barbara screams.
     Paul slumps to the ground.

     ANGLE ON PASSENGER DOOR

     It pops open and Barbara comes out running, the floppy disc
     used to transmit the binary code in her hand.  Michael
     catches her, wrests it from her grip.

                               BARBARA
                      (furious)
               What do you think you're doing!  Give
               that back, it's mine!

                               MICHAEL
               Got that, Kitt?

     K.I.T.T.'s scanner flashes.

                               K.I.T.T.
               Affirmative, Michael.

                               MICHAEL
                      (to Barbara)
               A good lawyer could've argued
               insufficient proof of possession.
               Thanks for the statement.

     She tries to hit him but he grabs her arm.

                               MICHAEL
               Don't tempt me, lady.

                                              DISSOLVE TO

     INT./EXT. AMPHITHEATER - NIGHT - STOCK

     It's dark and late, deserted.

                               STEVIE'S VOICE
               Michael, this is crazy....

     ANGLE ON STAGE

     He leads her out by the hand.  The seats that stretch out
     in front of them are empty.

                               MICHAEL
               There are a thousand songs that make 
               me think of you.  But since I couldn't
               pick a thousand songs, I had to pick 
               one worth a thousand.

     ANGLE IN K.I.T.T.

     He knows his cue.  He activates Microwave Jammer and Tape.

     INSERTS - DIFFERENT SHOTS

     Amplifiers come to life, sound systems are switched on.

     ANGLE ON STAGE

     From the huge speakers surrounding the stage the instrumental
     track of "Let It Be Me" fills the empty Amphitheater.  Stevie
     reacts, incredulous.  Michael begins the vocal.

     DIFFERENT ANGLES

     He sings to her across the empty stage.  She begins to 
     dance as before, slowly, magically, at one moment a young 
     girl, the next a woman.  When his vocal ends, hers begins,
     and she sings to him, her voice more beautiful than he's 
     ever heard it before.

     LONG SHOT

     Across row after row of empty chairs they sing their love
     song to one another.

                                              FADE OUT

                         END OF ACT FOUR

                               TAG

     FADE IN

     EXT. STEVIE'S APARTMENT - DAY

     The band's bus is parked in front.  Pan to the apartment as
     the members of the band exit, one after another, each loaded 
     down with something of Stevie's -- clothes, suitcases, a 
     framed print or two, a potted plant, etc.  They carry the 
     stuff to the bus, load it in.

     ANOTHER ANGLE

     Michael pulls up in K.I.T.T., parks, crosses toward her
     apartment.  She appears, coming down.  They smile, pause,
     not sure how to handle it.

                               MICHAEL
               Hi.

                               STEVIE
               Hi.

                               MICHAEL
                      (gestures re
                       moving)
               You don't let the grass grow.

                               STEVIE
                      (shrugs)
               We'll be on the road for three months
               ...it just didn't make sense to keep
               it.

                               MICHAEL
               Need a hand?

                               STEVIE
               A hug.

     Michael smiles, moves to her.  She drops whatever she's 
     carrying and they embrace.

                               STEVIE
               It seems like we're always saying
               good-bye.

                               MICHAEL
               I haven't.  Not this time.  This time 
               you're saying good-bye.

                               STEVIE
                      (beat)
               One of us has to.

                               MICHAEL
               Why?

                               STEVIE
               Michael, you know why.  My life may
               have changed, but yours hasn't.

                               MICHAEL
               I could leave the Foundation....

                               STEVIE
               That's too high a price to pay.  At
               least right now.
                      (beat)
               Maybe someday it won't be.

                               MICHAEL
               We'll be together again.

                               STEVIE
               I know.

     She kisses him, tears in her eyes.

                               STEVIE
               See you in the supermarket.

     She turns, grabs her stuff and hurries toward the waiting bus.

     ANGLE ON MICHAEL

     He watches her leave, turns, slowly crosses back toward
     K.I.T.T.  The sound of the bus pulling away, and he can't 
     help himself.  He looks.

     HIS POINT OF VIEW - STEVIE

     Her face appears in the rear window.  She waves, trying to 
     cover her tears with a smile.

     ANGLE ON MICHAEL

     He waves back.

                                              FREEZE FRAME

                                              AND

                                              FADE OUT

                             THE END