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 Class Action -- the band,
Stevie March and Greg Noble!
Applause and cheers. 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: no Greg.
STEVIE
It's not like Greg to miss champagne.
Hold the toast, I'll get him.
Stevie turns and pushes through the crowd and out one of
the doors. Entering from another door or room is a huge
man called Ivory.
A CORRIDOR
leading to other, smaller dressing rooms. She moves to the
first one down the hall. Knocks.
STEVIE
Greg?
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).
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 grins.
MICHAEL
Just like apple pie and motherhood.
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 Twin Cities
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
INT. CONCERT HALL - ENTRANCE - DAY
Michael comes through the entrance, stops to ask an MOS
question of a stage hand. He nods, points toward the:
OMITTED
CONCERT HALL
The same arena where we opened the show. Michael enters,
stands squinting into the dim light. His eyes catch some-
one 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. PARK - DAY - MOVING WITH STEVIE AND MICHAEL
as they walk and talk.
STEVIE
So, 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 hesitates, then nods, puts his arm around her.
Decides it's better to stay away from that for now.
MICHAEL
So, you're a singer. A hot band and a
hot record.
(a smile)
I couldn't believe it. I still can't.
How'd it happen?
STEVIE
By accident. I drove to L.A., got
an apartment. A week later I ran
into Greg. We'd gone to high school
together, even sung a little. He was
putting together his forty-seventh band
and was looking for someone to sing with.
(shrugging)
I was looking for something to hang
a new life on. It all happened so
fast....
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, and
never asked for anything in return.
(intensely)
And he never used drugs never. Someone
killed him, Michael. Murdered him....
MICHAEL
Who could have done it? Who might have
wanted him dead?
STEVIE
I don't know. It's been driving me
crazy. I hate to say it, but it has
to be someone involved with the group.
MICHAEL
That makes everyone a suspect.
STEVIE
(nods)
That's the worst part. Nothing's the
same. Everyone looks at everyone
else now, and you know what they're
thinking...
(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....
MICHAEL
Stevie, I'll help. You know that. I
just can't figure out how to get on
the 'inside' without everyone knowing
exactly what I'm doing.
STEVIE
I do.
He looks at her. There's a small, mischevious smile at the
corner of her mouth.
CUT TO
EXT. FOUNDATION - DAY - TO ESTABLISH
Over we hear:
MICHAEL'S VOICE
I'm going undercover with Class Action.
I'm going to replace Greg Noble.
CUT TO
INT. DEVON'S OFFICE - DAY
Devon and April stare at Michael incredulously.
DEVON
That's preposterous!
MICHAEL
Look, the group needs 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.
DEVON
How is she, Michael?
MICHAEL
(beat)
As beautiful as ever.
DEVON
Give her my love....
Michael nods, exits. Hold on Devon and April, then:
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...
(beat)
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. Michael's 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 they pull up in front of the motel. 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's got potential...yeah, I'm
sure...I said, everything's fine!
We'll proceed 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. Materializing
nearby is Ivory, a dark, mysterious presence. 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 - NEAR DRESSING ROOM
Normal post-concert chaos. Lots of congratulations for
Michael and Stevie. Alone for a moment, Michael grabs
Stevie, picks her up, twirls her. She laughs.
STEVIE
You were good, Michael.
PAUL'S VOICE
You were fantastic....
Stevie and Michael turn to see Paul following them. Smiling.
PAUL
(to Stevie)
And you know it.
STEVIE
I was working up to that. You didn't
give me a chance....
Everyone laughs. When a roadie named Jimmy walks up to
them. He's carrying a canvas bag. In the b.g. we see
Ivory again.
JIMMY
(to Stevie)
Excuse me, but I thought you might
want this.
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 note-
book, a paperback and a pair of dark glasses. Stevie stares
at the contents. Paul realizes it's personal, ad-libs
good-byes and leaves.
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
I'll see you later, okay? I feel like
being...alone for awhile.
Michael nods.
CUT TO
OMITTED
INT. MOTEL CORRIDOR - NIGHT
(Production Note: This scene can play as indicated or
in Michael's motel room.)
The corridor is deserted. Michael appears, on his way to
his room. As he passes an intersecting hall (or any point
where someone could be concealed) a huge figure suddenly
appears, blocking him. It's Ivory.
IVORY
I want to talk to you.
MICHAEL
I figured you would.
IVORY
Greg hired me to protect the band and
Stevie. He didn't think he needed pro-
tection and now he's dead. And now
here you are all of a sudden, taking
his place with his band and his woman.
I'd hate to think you had anything to
do with his death.
MICHAEL
I didn't.
IVORY
Yeah. Well, somebody did. If I find
'em, you're looking at their judge, jury
and executioner.
He turns and leaves, moving quickly for a big man. Hold on
Michael, thoughtful.
CUT TO
EXT. MOTEL - MORNING
Just after sunrise. Quiet.
INT. STEVIE'S MOTEL - MORNING - 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.
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 day before he died he must
have run it a hundred times. He wouldn't
tell me why, but I know he was worried
about something.
OMITTED
INT. MOTEL ROOM - DAY
Stevie and Michael hurry inside. Just as they get into
the room, someone hits Michael and sends him crashing
against a wall, then splits. Groggily, Michael struggles
to his feet.
MICHAEL
(comlink)
Kitt, get ready to move!
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.
EXT. STREET - DAY
The chase continues, with the Trans Am going rapidly.
ON THE SEDAN
taking the next corner on two wheels, racing toward an
intersection (with lights, traffic).
ON THE TRANS AM
sliding through the turn, racing after the sedan.
ANGLE ON THE INTERSECTION
The sedan heads for the intersection as the light turns
red. Not slowing, it plunges into the cross traffic. A
loud crash as it clips the tail end of a car, sending it
spinning in a 180 degree skid. A second car slams on its
brakes, barely missing the spinning car. The sedan con-
tinues down the road.
ON THE TRANS AM
racing toward the intersection, now blocked by the two cars.
The car that was hit is beginning to smoke.
INT. TRANS AM
Michael prepares to turbo.
MICHAEL
We're going over the top, pal.
K.I.T.T.
Michael, my sensors indicate that
smoking car may explode....
Michael jams on the brakes.
ANGLE ON THE INTERSECTION
The Trans Am skids to a stop. Michael leaps out, hurries
to the smoking car, rips open the door and pulls the stunned
driver out. As Michael pulls him to safety:
THE CAR
explodes (if possible) in a ball of fire.
ON MICHAEL
shielding the driver, his face reflecting the golden glow
of the flames. Hold on him.
OMITTED
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 he took, I'm sure of
it...every video cassette I had.
MICHAEL
Including the one with the strange
numbers on it.
Stevie nods. They exchange a nod.
STEVIE
What could it be?
MICHAEL
I don't know -- maybe a binary code
of some kind. Whatever it is, it's
important enough to steal. Maybe even
kill for.
(beat)
If it was on Greg's copy, it's got to
be on the master tape. Who makes the
videos?
STEVIE
Barbara Bellingham.
MICHAEL
How do I meet her?
STEVIE
We're scheduled to begin taping our
next video in L.A. tonight.
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 Greg, 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. STEVIE'S APARTMENT - DAY
as a funky van pulls up and parks behind K.I.T.T. Bumper
stickers, front and rear, read "CLASS ACTION". A
disheveled, long-haired kid in his late teens stumbles out
of the van. He's wearing a "CLASS ACTION" T-shirt and is
carrying a midsized ghetto blaster blaring rock and roll.
This is Roscoe (think Sean Penn in Ridgemont High) one of
the world's great Class Action fans. He checks an address
on a piece of paper, smiles to himself.
ROSCOE
This is her place. All I gotta do
is wait....
He pulls a folding chair out, sets it up on the sidewalk,
sits down, adjusts the volume on the portable radio.
Louder. We see K.I.T.T.'s scanner flash.
INT. K.I.T.T.
reacting to the music.
K.I.T.T.
That music simply will not do....
BACK TO ROSCOE
thumbing through a music mag. Suddenly the music stops and
we hear K.I.T.T.'s voice coming through Roscoe's ghetto
blaster:
K.I.T.T.
I can't tell you how much I hate
that music....
Roscoe stares at the ghetto blaster, wide-eyed.
ROSCOE
What're you talking about? That's
rock and roll...it's the greatest.
K.I.T.T.
It's garbage...it's unmelodic, crass
and infantile.
ROSCOE
(getting pissed)
Hey, man, I get this at home. I
don't need it....
K.I.T.T.
Neither do I. That's why I refuse
to play it.
Roscoe pushes the "play" button on the blaster. Nothing.
He twirls the dial for the radio. Nothing.
ROSCOE
Look, you don't want to play, then
don't. There're plenty more where
you came from....
Roscoe gets up, tosses his folding chair into his van,
along with the ghetto blaster. He jumps inside, drives
off. Again, we see K.I.T.T.'s scanner flash.
INT. K.I.T.T.
reacting with pleasure.
K.I.T.T.
Good riddance....
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. RECORDING STUDIO - NIGHT
Video technicians prepare the equipment. Paul and Barbara
huddle away from the others. Across the studio, we see
Ivory. Even standing still, he's got menace.
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 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. Ivory
steps up to Stevie, never taking his eyes off of Michael.
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 a couple
of years ago...at the Golden Palace.
Did you ever play there?
MICHAEL
(nodding)
Sure. One of my last gigs was there.
But, the Palace is in Melbourne,
not Sydney.
Barbara reacts, smiles.
BARBARA
Oh, right. Of course.
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, "Our First Night Together."
OMITTED
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 in
today's market with only one location
it'd 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.
MICHAEL'S VOICE
What's that?
BACK TO THEM
watching.
K.I.T.T.
A safe. It's concealed in the end
table near the desk. 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
Greg, 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
The Trans Am pulls up. Michael gets out.
MICHAEL
Keep your eyes open, pal.
K.I.T.T.
Of course, Michael.
Michael turns, heads into the recording studio. Leaving
K.I.T.T. alone. For a beat. We see headlights.
ANOTHER ANGLE
Roscoe's van pulls up and parks. Roscoe hops out, an
even larger ghetto blaster in his hand. Blaring music.
He stands in the empty lot, staring at the darkened studio.
ROSCOE
Where is everyone? Ther were
supposed to be recording here
tonight...I must be outrageously
late...
(checking
his watch)
Unless it's tomorrow night...in
which case I'm like really early.
Roscoe smiles broadly, nods to himself, reaches into his
van for his folding chair. As he's about to get settled,
the music is interrupted and we hear K.I.T.T. again through
the radio's speakers:
K.I.T.T.
You just don't learn, do you?
Roscoe freezes, glances over at his ghetto blaster. He
shakes his head. Unbelieving.
ROSCOE
Wait a minute, now....
K.I.T.T.
No...you wait a minute. That music
is going to rot your brain...and
take years off your life.
ROSCOE
You're out of your gourd.
K.I.T.T.
Am I? Do you know why there are so
few rock fans over thirty?
ROSCOE
Why?
K.I.T.T.
Because they're all in retirement
homes or mental hospitals....
ROSCOE
(shocked)
Oh, wow...
(beat)
I've been into rock for years.
What am I gonna do?
K.I.T.T.
There's only one antidote...classical
music.
ROSCOE
Classical, huh? You mean, like
Dylan?
K.I.T.T.
Try Vivaldi.
Roscoe nods, throws everything back into his van, drives
slowly off.
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.
OMITTED
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
I don't know who Michael Knight is,
but he's not a singer who just got
back from Australia. The Golden
Palace burned down a year ago....
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
Finish the video? What about Knight
and Stevie?
BARBARA
As soon as we're done tomorrow, we're
going to have to take care of them.
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
Greg Noble's 'overdose' was 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. The
omnipresent Ivory watches the proceedings stoically. We
see:
OMITTED
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 car 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 off to the side. Inside, we see his 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 these had some
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.
ANGLE ON BARBARA
Paul joins her as she watches the activity below; the car
being towed by one of the station wagons.
PAUL
What happened?
BARBARA
It appears the car 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
Barbara, it's a live telecast. We
can't use the video.
BARBARA
We won't need it.
(smiling)
The Amphitheater's got a closed circuit
system that feeds the action on the
stage to those big screen monitors.
We'll tap into that system and transmit
the message through them.
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 car 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 snap ring on the clevis pin
failed.
INSERT - MONITOR
A schematic of the brake system appears indicating a faulty
clevis pin.
BACK TO THEM
MICHAEL
Failed...or was intentionally removed.
(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 - STOCK
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 heaven'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. Ivory moves through. His
attention is diverted by:
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. As he does, he passes:
OMITTED
ROSCOE
moving through the lot, heading for the front entrance to
the Amphitheater. He's gone through some changes: his
hair's shorter (or combed), his clothes are more conven-
tional. Generally, he looks more subdued. He's carrying
his ghetto blaster, though. The tune, however, is playing
Vivaldi ("Four Seasons"). As he passes the Trans Am,
K.I.T.T.'s scanner flashes, he interrupts the music and
we hear K.I.T.T.'s voice through the speakers:
K.I.T.T.
Nice music isn't it?
ROSCOE
Yeah...I guess.
(beat)
I think I'm going through with-
drawals though....
K.I.T.T.
It's all for the best, believe me.
Roscoe nods, obviously not totally sold on the idea.
K.I.T.T. brings the music back up and Roscoe continues
on.
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 roadie, Jimmy, pauses in passing.
MICHAEL
Jimmy -- where's Stevie?
JIMMY
I don't know, she was here with Paul
a minute ago -- Hey, did you hear
about the big screen they're using
tonight?
MICHAEL
Big screen?
JIMMY
Barbara's got it all set up -- They're
gonna project the show on a big screen
behind us during the show. You're gonna
be twelve feet tall, man. Gigantic....
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.
Jimmy comes running out in b.g.
JIMMY
(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
You look fabulous....
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, Drug
Enforcement Administration. 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'S VOICE
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)
Yeah, Kitt!
K.I.T.T.'S VOICE
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. In b.g. we see Stevie appear,
coming out. She stops, watching.
K.I.T.T.
Affirmative, Michael.
MICHAEL
(to Barbara)
A good lawyer could've argued insuf-
ficient proof of possession. Thanks
for the statement.
Barbara grabs for the gun in her purse but Michael disarms
her.
MICHAEL
Don't tempt me.
K.I.T.T.
Michael! There's a man with a gun!
ANGLE ON REAR OF AMPHITHEATER
The man seen earlier suddenly appears, the long-barrelled
gun in his hand. Intent on Michael, he doesn't notice
Stevie. She grabs a length of two by four and clobbers
him. The man, only slightly stunned, turns on Stevie.
Michael reacts, races to help. Suddenly, out of the shadows
Ivory appears and with one meaty fist knocks out the gunman.
He and Michael exchange their first smile.
MICHAEL
It's nice having you around. Thanks....
Michael extends his hand. Ivory nods silently, takes
Michael's hand in a bone-crunching shake. Off Michael's
reaction:
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
