ACT ONE
FADE IN
EXT. OFFICE BUILDING - NIGHT - ESTABLISHING - STOCK
INT. TOWERS GEM STONES - NIGHT
Jeremy Towers, a man of taste and means, enters the main
office of Towers Gem Stones. He is with Jarrett and Max,
who like Towers are wearing tuxedos. All three of the men
have glazed looks on their faces...almost as if they just
hopped off the bus from Rajneesh Puram. (Note: Establish
that all three of them are wearing the same kind of ear
clips that are used to discourage smoking, drinking and
motion sickness.) They are crossing the room toward a wall
safe when suddenly a Guard rushes in via a side door with
his gun drawn.
GUARD
Nobody move!
The three intruders stop. Jeremy Towers turns to face
the Guard, who immediately recognizes Towers -- his boss.
The Guard lowers his gun, embarrassed.
GUARD
Mr. Towers. I didn't know it was
you.
Towers moves directly past the Guard without speaking...He
heads for the safe. The two heavies follow...so does the
Guard.
GUARD
Mr. Towers, are you all right? What
are you doing?
But Towers is a man with a mission. It's as if he doesn't
even hear the Guard. The Guard pushes past Jarrett and Max.
GUARD
That's the safe.
Jarrett pushes the Guard away, like swatting a gnat.
GUARD
Mr. Towers. You know the rules --
you made them. I can't let you open
that unless you give me a good
reason. Mr. Towers! It's Friday
night, the silent alarm'll....
Max stops the Guard midsentence, by picking him up by the
collar and hurling him across the room where he lands
unconscious.
CUT TO
EXT. CITY STREET - NIGHT - STOCK
ZZ Top's "Sharp Dressed Man" plays as K.I.T.T. drives
through the downtown skyscrapers.
INT. K.I.T.T. - NIGHT (POOR MAN'S PROCESS)
Michael doesn't keep time to the music. His thoughts seem
far away. There are shopping packages in the backseat.
K.I.T.T.
What's the matter, Michael?
MICHAEL
What makes you think anything is the
matter?
K.I.T.T.
When a song like this is on the radio,
my steering wheel normally takes a
beating.
MICHAEL
I'm trying to decide whether or not
to buy that jacket I saw this after-
noon at Lorenzo's Boutique for Men.
K.I.T.T.
Do you need it?
MICHAEL
No one needs a black eel-skin bomber
jacket. That's not the point.
K.I.T.T.
What is the point?
MICHAEL
I want it. It matches my boots.
K.I.T.T.
Your boots are a long way from your
jacket -- do you think anyone will
notice that they match?
MICHAEL
Kitt...You'll never understand.
ANGLE - DASH
as a red light comes on.
K.I.T.T.
Michael, my surveillance scanners are
picking up a silent alarm.
MICHAEL
Where?
K.I.T.T.
Towers Gem Stones, Inc. It's right
around the corner. Nineteenth floor.
MICHAEL
Let's go.
INT. TOWERS GEM STONES - SAFE - NIGHT
Towers and the other two men stand in front of the vault
door. Red lights silently flash as Towers turns the dial
of the combination lock.
EXT. OFFICE BUILDING - NIGHT - STOCK
K.I.T.T. screeches to a stop.
MICHAEL (V.O.)
The police ought to be here any
minute. I'm going up.
ON TOWERS
as he places his hands on the hand-print panel next to the
safe.
ANGLE ON SAFE
as the door pops open. Towers methodically removes and
drops the contents of the safe on the floor. Beautiful
priceless necklaces, etc. Jarrett and Max barely react.
Towers opens a special drawer, and pulls out a small red
velvet bag.
Towers hands the red velvet back to Jarrett, who doesn't seem
surprised or even pleased to get it. They turn to leave.
INT. TOWERS GEM STONES - NIGHT
Michael enters and immediately notices the unconscious
Guard. Then reacts to Towers and the other two.
MICHAEL
What's going on?
The three of them say nothing. Michael notices that their
faces are expressionless, as though he isn't even there.
MICHAEL
The police are right outside, so
let's just ---
Michael bars their exit through the door.
MICHAEL
...sit down and make ourselves....
Jarrett grabs Michael by the throat and lifts him high off
the ground, pinning him against the wall. Michael tries to
speak but all he can do is choke.
MICHAEL'S POINT OF VIEW - JARRETT
He notices the ear clip.
RESUME SCENE
as Jarrett hurls Michael across the room. He crashes into
a desk, clearing it and sliding off the other side. Max
and Jarrett run from the room. Michael shakes off the fall
and gets to his feet.
MICHAEL
(into comlink)
Two of 'em are coming your way, Kitt!
Michael reacts to Towers crossing the room behind him.
MICHAEL
One of 'em's here!
Michael turns toward:
OMITTED
TOWERS
standing in front of an open window. He pauses, looking
down as if he's looking into the afterlife.
MICHAEL
Whatever it is -- it can't be that
bad.
(beat)
Hey, I don't have a gun -- let's
talk.
Towers moves closer to the window. Michael stops dead in
his tracks.
MICHAEL
Please, don't!
Towers turns and gives Michael one last look. It is a look
that will burn in Michael's mind forever. The look of the
damned. Towers turns back.
TOWERS' POINT OF VIEW - A DIZZYING THREE-HUNDRED-FOOT DROP
TO THE STREET BELOW - STOCK
BACK TO SCENE
K.I.T.T.'S VOICE
Michael, the two men are heading for
their van.
MICHAEL
Stay put. Don't move.
Michael takes a step closer to Towers and he dives out the
window. Michael lunges for him -- too late.
ANGLE - TOWERS - STOCK
falling nineteen stories.
OMITTED
BACK TO SCENE
for Michael's reaction.
CUT TO
EXT. DONALD CRANE'S HIGH RISE - NIGHT - TO ESTABLISH
INT. DONALD CRANE'S APARTMENT - MAIN ROOM - NIGHT
There are lots of pre-Columbian art objects and sculpture.
Host Donald Crane, host a little Truman Capoteish man, is
addressing guests at a small dinner party. The men dressed
in tuxedos, women in chic evening gowns.
CRANE
You all know me as a collector of
'special' people around whom I build
these intimate evenings. Fortune
tellers of every stripe. Pyromancists,
telekinetists, table-rappers, psycho-
metrists, levitationists, clairvoyants
...but in my voyage through the
borderline sciences, none has
intrigued me so much as the person
you will meet tonight ---
As Crane drones on, we go to:
CUT TO
EXT. CRANE'S HIGH RISE - NIGHT
A car pulls up at the entrance. A gruff-looking macho-
type, Claude Watkins gets out, wearing a tuxedo. Elizabeth
Wesley, hurries up to Watkins, from the shadows.
ELIZABETH
Mr. Watkins, I'm Elizabeth Wesley.
It wasn't easy to find you again, so
please, don't send me away. I know
what they say about my father isn't
true, but I have to talk to someone
who was on the expedition with him
to prove it. Towers...yourself, or
whoever the fourth man was.
WATKINS
Miss Wesley, I informed you by letter
and I told you countless times I have
nothing to say.
ELIZABETH
My father wouldn't kill himself.
What happened? His research was
very precise. You had to have found
Tequatl's crown. Where is it?
Watkins tries to push past her, gestures the doorman join
them.
ELIZABETH
(getting angry)
I didn't come all the way from St.
Louis to be protected from the truth!
Tell me what happened. Please!
The doorman puts a peremptory hand on her arm.
WATKINS
Keep her out of the building.
Watkins turns and enters the high rise. The doorman ushers
Elizabeth away from the entrance.
CUT TO
INT. CRANE'S APARTMENT - NIGHT
As Watkins enters and Crane reacts and greets him.
CRANE
You came after all, Claude.
WATKINS
Business is business.
Blowing smoke in Watkins' face from his ivory cigarette
holder:
CRANE
Dear boy, if it weren't for our
mutual affection for money you'd
be doomed to die of boredom.
Crane turns to the other guests ---
CRANE
Now that we're all here --
(beat)
Ladies and gentlemen, the guest of
honor, from the island of Haiti, I
bring you... Harana, Princess of
Voodoo!
ANGLE ON STAIRS
as Harana appears, immediately silencing the crowd with her
overwhelming presence and ebony beauty. She radiates sensu-
ality in her exotic primitive dress, gliding into the room,
surveying with dark and mysterious eyes.
CRANE
Harana has graciously consented to
give, those of you who wish it,
spiritual guidance...a peek into
your very own futures. Enjoy.
Applause and shrieks of delight. A few of the braver
partygoers approach Harana. Crane retreats to Watkins in a
corner drinking a martini.
CRANE
Well?
WATKINS
You've outdone yourself. She's
ridiculous. Sexy, but ridiculous.
CRANE
Sex is never ridiculous, dear boy.
WATKINS
Exactly. I want to meet her before
I leave. Where the hell is Towers
and let's get the meeting over with.
CRANE
I don't know. He was here earlier....
Crane moves off.
HARANA
surrounded by a knot of admirers, reacts, O.S. when she
sees:
JARRETT AND MAX
enter. They look around the room, the familiar glazed look
in their eyes, as they lock on:
THEIR POINT OF VIEW - HARANA
talking to the admiring group around her.
HARANA
Excuse me for a moment.
She moves off toward:
JARRETT AND MAX
as Harana joins them.
HARANA
(smiles)
Gentlemen, you have a small gift
for me.
MAX
Yes, a gift....
He looks expectantly to Jarrett who reaches into his pocket
and extracts the velvet bag, giving it to Harana.
HARANA
Thank you. I'll open it later.
As she talks she touches a strange-looking brooch on her
dress.
INSERT
She turns the top of the pin, as if winding a watch.
AS BEFORE
Jarrett and Max suddenly lose "the look" and it is replaced
by confusion and embarrassment; then that passes and it is
as if nothing untoward has occurred. Max turns to Jarrett.
MAX
Nice party. Gotta try the chopped
liver, it's nothing but great.
Max takes his arm and they start to move off, two old
friends out on the town.
CUT TO
EXT. STREET - NIGHT - STOCK
as K.I.T.T. drives past camera.
INT. K.I.T.T. - MOVING (POOR MAN'S PROCESS)
His mood is thoughtful.
MICHAEL
His name was Jeremy Towers, with a
home address on Park. See what you
can get on him, Kitt.
K.I.T.T.
I have a Jeremy Towers at that
address whose business is wholesale
jewelry. He owns, correction, owned
the building we just left.
MICHAEL
Go on....
K.I.T.T.
Towers left a considerable estate,
over half of which comprises price-
less artifacts from archaeological
expeditions abroad. The most recent
of these was on a search for the
crown of the fabled Mayan King,
Tequatl.
MICHAEL
(musing)
He had the best life can offer...must
have had a zest for adventure, too.
Why would he jump like that?
K.I.T.T.
Michael, your tone suggests that you
feel responsible.
MICHAEL
Maybe, maybe I was.
CUT TO
INT. CRANE'S MANSION - MAIN ROOM - ON HARANA
Harana is with Watkins who is more interested in his martini.
HARANA
Oh, I know many things about you,
Mr. Watkins. For example, you have
a lifelong quest that's gone
unfulfilled.
Watkins looks up from his drink, smiles, coming onto her.
WATKINS
That's usually my line, honey. Look
I don't believe in voodoo, okay?
HARANA
(nods,
unruffled)
I also know, the archeological
treasures of Atlantis are the object
of that quest.
WATKINS
Right. I'm an archaeologist.
(facetiously)
Very good. What else did Donald tell
you about me? That I've got two ex-
wives, that I bet the horses, that
I'm a connoisseur of beautiful women.
You qualify. What's your time like?
HARANA
(smiles)
What is your time like Mr. Watkins?
WATKINS
You name it.
HARANA
Tomorrow evening. Here. I think
you'll find it very exciting.
WATKINS
Wouldn't surprise me.
Smiling, he hands his martini to Crane and takes her hand,
kissing it, then moves off.
Crane appears at Harana's side.
HARANA
A stupid man who confuses sex with
business. But, no matter. He'll be
dead this time tomorrow night.
She looks at Crane and he chuckles, sharing a joke that
only they understand.
FREEZE FRAME
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
EXT. ROAD - DAY - STOCK
as the semi blows past camera.
INT. SEMI - DAY
Michael is reading the morning paper.
MICHAEL
'Jewel tycoon Jeremy Towers, fifty-two,
plunged nineteen stories to his death
last night; an apparent suicide.
Family and friends could provide no
clue as to why Towers would take his
own life.'
Michael looks up, still plagued by self-doubt. He puts the
paper aside. Devon picks it up and peruses it, as:
MICHAEL
(flat; down)
I spooked him.
RC3
Come on Michael. He was already
spooked. There's got to be some-
thing weird behind it.
Devon looks up from the newspaper.
DEVON
It says here Towers had just left
a party where the guest of honor was
-- a voodoo princess?
RC3
I had a great aunt who dabbled in
stuff like that. She was no princess,
but she was a hell of a lady.
MICHAEL
Come to think of it, those two guys
with Towers sure looked like they
were stoned on something.
DEVON
(admonishing)
Michael, really....
MICHAEL
One of them had the strength of
three men.
(to Devon)
Where was this party?
DEVON
At Donald Crane's. According to the
society page, there's another this
evening. Crane is listed on the
Board of the City Museum. His wealth
is in pre-Columbian art. He is a member
of the Parapsychological Society.
RC3
(an aside)
Whoa, Kitt, how's that in English?
K.I.T.T.
Parapsychology is the study of
phenomena not explainable by known
natural laws, RC.
RC3
Voodoo.
MICHAEL
I've got to clean this up in my mind,
Devon. I think you understand that.
DEVON
(a beat)
I suppose we could stretch a point
and make Towers' death our concern.
MICHAEL
(smiles)
Thanks.
DEVON
Mark you, I don't relish having to
justify it to the Foundation.
MICHAEL
Could you stretch the point some
more and get me into Crane's party
tonight?
DEVON
That's a tall order, Michael. But I
have an idea or two.
On Devon's look we:
CUT TO
EXT. WAREHOUSE - DAY
INT. WAREHOUSE - DAY - WATKINS
A well-endowed and pretty secretary is making notes on a
clipboard as Watkins peruses the artifacts in the warehouse.
He looks up as Crane enters.
CRANE
(abruptly)
I got your hysterical message.
WATKINS
(to secretary)
Please excuse us, Miss Lorimar.
The secretary closes the files and moves sexily past Crane,
exiting, her physical attractions not lost on him.
CRANE
You're inexhaustible, Claude. Can she
at least type?
WATKINS
(impatient)
Towers is dead. What the hell do we
do now?
CRANE
Unless you can raise the poor fellow
from the dead, dear boy, absolutely
nothing.
WATKINS
What about his key?
CRANE
What about his key?
WATKINS
The vault requires three, remember?
Yours, mine and Towers? Without any
one of them the others are useless.
CRANE
It's merely a postponement.
WATKINS
Merely?! That's a ten-million-dollar
tiara you're talking about!
CRANE
Towers left a will in which the
purpose of the key will almost
certainly be mentioned. We'll
have ourselves a new partner,
that's all.
WATKINS
You'd better be right -- for both
our sakes. We took part in a murder
for a piece of the crown.
CRANE
And you'll have that piece.
They hold a look. Watkins breaks it off and exits in the
same direction the secretary did earlier. When he's out of
sight, Crane picks up the phone, dials ---
CRANE
It's Crane.
CRANE'S APARTMENT - INTERCUT - HARANA
HARANA
Well?
CRANE
He's nervous. But he'll be there
tonight.
She smiles, pleased by the message.
CUT TO
EXT. CRANE'S HIGH RISE - NIGHT
K.I.T.T. pulls up with Michael, who steps out, dressed for
the occasion in a tuxedo.
CLOSER - K.I.T.T. AND MICHAEL
MICHAEL
(to K.I.T.T.)
Stay close, buddy.
K.I.T.T.
Certainly, Michael.
As Michael moves toward the entrance, Elizabeth appears at
his side, takes his arm.
ELIZABETH
Hi.
MICHAEL
(stopping)
Well, hi.
ELIZABETH
(rapid
fire)
You're going to Donald Crane's
party, aren't you? Well, I noticed
you don't have a date, and I always
wanted to meet Harana and -- Would
you mind?
Michael eyes her appreciatively, offers his arm.
MICHAEL
Not at all. I'm Michael Knight.
ELIZABETH
Elizabeth Wesley.
MICHAEL
Shall we?
They enter the high rise.
INT. MAIN ROOM - ANGLE TO ENTRANCE
A small dinner party with guests dressed similar to those
at the previous party. One of them is Watkins. Michael
and Elizabeth enter and are immediately joined by Crane,
who is suspicious of them.
CRANE
This is a private party. Perhaps
you got off the elevator on the
wrong floor?
MICHAEL
One of your guests, Geoffrey
Twilliger, asked me to sit in for
him. Nasty case of the flu.
CRANE
Oh dear, poor Geoffrey. What do you
do, Mr. -- ?
MICHAEL
Knight. I'm a freelance writer.
I'm working on a series of articles
for Psychic Review with an emphasis
on para-ecclesiastical ascension to
a higher plane.
CRANE
How fascinating. I'm Donald Crane.
MICHAEL
Pleasure. This is Elizabeth, my
research assistant.
Crane gestures, they enter.
CRANE
Please, enjoy ---
Michael and Elizabeth cross toward the other guests.
ANOTHER ANGLE - WATKINS
as he spots Elizabeth; avoids her and crosses toward Crane.
WATKINS AND CRANE
WATKINS
That girl -- that's Wesley's
daughter.
CRANE
(blanches)
Wesley's daughter?!
WATKINS
Yes. She's been hounding me for
weeks. What's she doing here?
CRANE
Haven't the foggiest.
WATKINS
Who's the big guy with her?
CRANE
Quite obviously a phony.
WATKINS
(vehemently)
Get them out of here!
There is a sudden burst of applause and both men turn to
see:
HARANA'S ENTRANCE ON THE STAIRS
Everybody in the room turns to face the gorgeous Voodoo
Princess. She makes her regal entrance, immediately
surrounded by admirers.
MICHAEL AND ELIZABETH
MICHAEL
Let's go meet the guest of honor.
Michael takes Elizabeth's reluctant hand and they move off
toward Harana.
ANGLE TO HARANA
amid her coterie of admirers. Michael steps in, Elizabeth
behind him. He extends his hand.
MICHAEL
Harana, I'm Michael Knight. This is
Elizabeth Wesley.
Harana smiles at Michael, liking what she sees. She takes
his hand.
HARANA
A pleasure.
(looks down
at his hand;
seductively)
What extraordinary psychic energy,
Mr. Knight. You'd make a very good
subject for my special brand of
magic....
MICHAEL
I'd like to try it sometime. But
right now I'm concerned about a
friend of mine. Jeremy Towers.
He was here last night, and ---
Elizabeth has been kicking the back of Michael's leg for
attention. Finally, with a wince, Michael turns.
ANOTHER ANGLE
On both sides of them are Jarrett, Max and a third man.
Michael recognizes Max and Jarrett immediately. All three
wear the clips on their left ears. Crane is nearby.
MICHAEL
(to Max)
Haven't I met you fellows someplace
before?
CRANE
Pardon me. But you're both uninvited
guests and must leave immediately.
MICHAEL
We'll be happy to leave, but not
until I've asked your friends some
questions.
CRANE
(to Max)
Help them to the door.
ANGLES ON FIGHT
Max relishes the idea and winds up to deck Michael, but
Michael ducks and throws a punch into Max's middle. He
catches a punch from Jarrett and lands a haymaker knocking
Jarrett into the table of hors d'oeuvres. Then he turns to
meet the charge of the third man. They wrestle to the floor.
A crowd gathers.
ANGLE TO ELIZABETH
as the Servant comes up to her. He takes her arm and starts
to move her toward the entrance. She looks back helplessly
at:
THE FIGHT
Michael finishes off the third man and gets up off the
floor. Max is coming at Michael again as:
MICHAEL
(to Crane)
Everything they say about your
parties is true.
He turns and pastes Max one more time.
MICHAEL
(continuing)
They're a real bash.
Michael turns from Crane; scans the area ---
MICHAEL
Elizabeth?
He realizes she's gone; turns and heads for the door.
EXT. CRANE'S MANSION - NIGHT
Michael comes out, enters K.I.T.T. and drives off.
INT. K.I.T.T. - TRAVELLING
MICHAEL
A young woman left just before I did,
pal. Did you see her?
K.I.T.T.
Yes. She drove off in a VW
convertible. She's out of scanner
range by now. She seemed quite
upset.
MICHAEL
That makes two of us.
K.I.T.T.
I thought I detected a lack of hospi-
tality in there.
MICHAEL
That's putting it mildly, buddy. But
it had its rewards.
Michael reaches into his pocket and comes up with an ear-
clip he grabbed during the fight.
MICHAEL
(continuing)
Let's see what Devon can tell us
about these things.
EXT. CITY STREET - K.I.T.T. - STOCK
zooms past camera.
INT. MAIN ROOM - NIGHT - FULL
A servant is cleaning up the mess and the party has
returned to normal. The guests surround Harana. We see
Crane making his way back to Watkins.
CLOSER - CRANE AND WATKINS
Crane keeps a happy face to his guests, as:
WATKINS
Who was he?
CRANE
He called himself Michael Knight.
He was asking Harana about Towers.
Harana moves into shot.
CRANE
(continuing)
Ah, Harana, darling.
HARANA
So many questions, so many lost souls
seeking guidance. It saps my psychic
energy....
CRANE
You two whisk off someplace cozy
while I man the barricades.
(to Harana)
Why don't you show Claude 'The Room of
Dreams'?
He winks at Watkins. Harana smiles, and Watkins smiles
back.
WATKINS
Sounds promising.
HARANA
Come....
She moves off, Watkins following.
CUT TO
EXT. ANOTHER CITY STREET - NIGHT - PARKED SEMI - STOCK
MICHAEL'S VOICE
Both guys were wearing one behind
their ear....
INT. SEMI - MICROSCOPE SHOT - THE CLIP
A tiny grid of wires comes into focus.
ON DEVON AND MICHAEL
Devon is adjusting the focus on the microscope. Widen to
include RC3 in b.g. as:
MICHAEL
(continuing)
...same as last night, only this time
they didn't act like sleepwalkers and
they didn't pack the same punch.
DEVON
(looking up)
They appear to be receivers of some
kind. See for yourself.
(as Michael
moves in)
Given a certain frequency, they could
create electrochemical responses in
the brain.
RC3
People wear those for seasickness.
My uncle used one to quit smoking.
DEVON
I have a suspicion, RC, that these
stimulate an overproduction of the
brain's neurotransmitters.
MICHAEL
Like endorphin...It kills pain.
DEVON
They could also produce a surge of
Adrenalin and any number of other
responses.
RC3
Which explains the way that guy threw
you across the room last night.
MICHAEL
Devon, if these clips work the way
you describe, wouldn't it take an
outside source to activate them?
DEVON
Indeed.
MICHAEL
So if you fed whatever you've got on
this thing into Kitt's CPU he could
monitor that source.
DEVON
It could take some time.
MICHAEL
How about ten minutes? I've got to
get back to that party.
DEVON
(teasing)
Anything else?
MICHAEL
As a matter of fact, yes. I ran
into a girl at the party but by the
time the smoke cleared, she was gone.
RC3
Story of his life.
MICHAEL
That's enough, RC.
(to Devon)
Name's Elizabeth Wesley. See what
you can find out about her.
INT. THE ROOM OF DREAMS - NIGHT - HARANA AND WATKINS
It is decorated exotically, like an Aubrey Beardsley drawing.
It is semilit with candles and incense smoke lies heavily in
the air. Harana and Watkins are seated face to face on a
tasseled pillow. Harana's eyes are closed, her voice is
honeyed and sensual, and Watkins has a condescending smile
on his face.
HARANA
I see you on an expedition.
WATKINS
That's past history. Let's get to
the present. You and me.
HARANA
No. What I see is yet to come. You
are in a world of untold treasure.
A world no one has touched in many
centuries. The Lost City....
WATKINS
Atlantis?
HARANA
I can lead you there because it is
your destiny.
WATKINS
(chuckles)
You have a map?
Harana opens her eyes and stares levelly at him.
HARANA
There is no need for one. I see it
very clearly. And so may you. With
this....
She produces one of the ear clips and holds it out to
Watkins.
HARANA
Just put it on your left ear and you
will see what I see.
WATKINS
Anything you say....
He puts the clip on his left ear, amused.
WATKINS
(continuing)
Now what?
HARANA
(smiles)
Now I turn this....
She reaches for her brooch and turns the top of it. Watkins'
eyes glaze over. Harana slaps Watkins sharply across the
cheek, looking for a response. There is none.
MAX AND JARRETT
enter, eyes also glazed. They lead Watkins from the room.
Harana smiles triumphantly.
EXT. CITY STREET - NIGHT - K.I.T.T. - TRAVELING - STOCK
INT. K.I.T.T. - NIGHT - MOVING (POOR MAN'S PROCESS)
MICHAEL
Okay, back to the party....
K.I.T.T.
Michael, what makes you think you'll
be any more welcome now than before?
MICHAEL
I'll worry about that when I get
there.
He presses a button on the dash.
INSERT - SCREEN
The ear clip appears as a three-dimensional hologram graphic.
AS BEFORE
MICHAEL
Devon established the frequency and
sync rate of the clip. Let me know
if anything like it is activated
within two miles of us.
EXT. CRANE'S HIGH RISE - NIGHT - FULL
Watkins exits along with Max and Jarrett. They enter a car,
Jarrett behind the wheel, and pull away. A moment later,
Elizabeth's VW pulls out of a parking place and follows.
EXT. CITY STREET - NIGHT - K.I.T.T. - STOCK
speeds toward the party.
INT. K.I.T.T. - NIGHT - TRAVELLING (POOR MAN'S PROCESS)
An electronic warning sounds.
K.I.T.T.
Michael...three of the clips have
been activated and are within the
two mile radius.
MICHAEL
Locate them on your grid map.
GRID MAP GRAPHIC
shows a pulsing light moving toward the industrial section.
AS BEFORE
MICHAEL
They're all three in one vehicle.
K.I.T.T.
My monitors detect a four-cylinder,
foreign vehicle following them....
MICHAEL
So much for the party. Let's get on
their tail.
EXT. CITY STREET - NIGHT - K.I.T.T. - STOCK
takes a sharp right and picks up speed.
EXT. WATKINS' WAREHOUSE - NIGHT
Jarrett's car pulls up.
INSERT - AUTOMATIC DOOR OPENER
as the button is depressed.
THE VEHICLE ENTRANCE DOOR
rolls aside, fully opening.
RESUME JARRETT'S CAR
He, Max and Watkins get out and enter the warehouse. A
moment later, Elizabeth's car ghosts up beside the building.
CLOSER - ELIZABETH
as she cases the building, gathers up her courage and enters.
INT. WAREHOUSE - NIGHT - ELIZABETH
as she enters the cavernous interior. It is dark and spooky.
From a distance, she hears the footsteps of Watkins, Max and
Jarrett making their way to Watkins' office. She follows,
and in her effort to see where they're going, knocks over
an antique vase.
ANOTHER AREA - ON WATKINS, MAX AND JARRETT
as the three react to the sound. Max and Jarrett exchange a
hard look and start back toward Elizabeth, Watkins following.
ON ELIZABETH
as the trio approaches her. She takes cover behind a crate.
EXT. WAREHOUSE - K.I.T.T.
pulls up.
INT. K.I.T.T.
MICHAEL
That's an odd place to rendezvous
after a party....
K.I.T.T.
My scanners show four people in the
building, three of them wearing the
transmitters. The fourth is the girl
who entered the party with you.
MICHAEL
Elizabeth? You're sure?
K.I.T.T.
Unless she has a twin with identical
DNA structure. And Michael, her
heart rate is above normal. She's
frightened.
INT. WAREHOUSE - NIGHT - ON ELIZABETH
hardly daring to breathe. The three men are lurking on
the other side of the crate.
MAX
looks down and sees:
POINT OF VIEW - ELIZABETH'S PARTY SHOES
are reflected in an antique mirror at one side of the crate.
AS BEFORE
The three move around the crate, discovering Elizabeth.
She smiles bravely.
ELIZABETH
I know, I know. 'Break it, you've
bought it.' Listen, Watkins, it
doesn't do you any good to run away
from me. I'll keep coming and ---
Max and Jarrett grab her roughly.
EXT. WAREHOUSE - K.I.T.T.
Michael gets out, starts toward the building.
INT. WAREHOUSE - ON MICHAEL
as he enters the dark interior, via the vehicle entrance,
pausing to get his bearings. He hears Elizabeth scream.
MICHAEL
(shouts)
Elizabeth!
He starts to run toward its source. Another scream is cut
off, as:
ELIZABETH
has been gagged by Jarrett and is bound to a pillar. Jarrett
hears Michael's approach and moves off into the shadows.
Elizabeth is struggling, trying to talk through her gag.
Intercutting:
MICHAEL
following these sounds, trying to locate her in the huge
interior.
INT. WATKINS' OFFICE - NIGHT
Watkins removes a piece from an intricately carved artifact
that looks like a Chinese puzzle. A tiny door snaps open,
out of which recess he takes a small velvet bag, producing
the key. He gives both to Max, who pockets them. They exit.
MICHAEL
finally locates Elizabeth a short distance away. He is
moving toward her when Jarrett suddenly appears in the aisle
ahead of him. He recognizes Jarrett's glazed look.
MICHAEL
Oh-oh...All pumped up again?
Jarrett charges, grabbing Michael like a rag doll and
throwing him onto a nearby crate, which breaks his fall.
SHOT - MICHAEL
picks up one of these and hurls it at Jarrett. The big man
is still unfazed. Michael dodges his next charge and grabs
a 2X4.
SHOT - JARRETT
He charges at Michael who sidesteps, swings the 2X4 and
belts Jarrett over the head with it. The wood snaps and
Jarrett shakes his head, unaffected. He is about to charge
again when he sees:
WATKINS AND MAX
marching like automatons toward the exit, mission accomp-
lished. Jarrett ignores Michael and falls into step with
them. He and Max take off running and leave Watkins behind.
MICHAEL
moves quickly to Elizabeth, releasing the gag and the ropes,
as:
MICHAEL
(into comlink)
Kitt...I need you!
EXT. WAREHOUSE - K.I.T.T.
starts up, screeches toward the vehicle entrance, passing
Max and Jarrett on their way towards the exit.
INT. WAREHOUSE - K.I.T.T.
careens through the aisles of crates, coming finally to:
MICHAEL AND ELIZABETH
who clamber into the car. Michael takes the wheel and turns
toward the exit.
INT. K.I.T.T.
K.I.T.T.
They're escaping, Michael.
MICHAEL
Keep the car on your scanners.
Silent Mode. I want to shadow them,
pal.
ELIZABETH
(confused but
excited)
This is your pal?
EXT. WAREHOUSE - NIGHT
as Max and Jarrett emerge on the run; get into Jarrett's car
and drive off.
INT. WAREHOUSE - NIGHT
K.I.T.T. wheels around and heads for the entrance door.
Michael reacts to something up ahead and slams on the
brakes when he sees ---
POINT OF VIEW THROUGH WINDSHIELD - WATKINS
is standing in the entrance blocking their way.
RESUME INSIDE K.I.T.T.
ELIZABETH
That's Watkins! That's the man I
have to talk to!
MICHAEL
That makes two of us.
They get out of K.I.T.T.
THE SCENE
as Michael and Elizabeth approach Watkins, who stands like a
zombie in the doorway.
MICHAEL
Mr. Watkins ---
Michael bites off the sentence when ---
WATKINS
slowly pulls a gun from inside his jacket. He holds it to
the side, looking at it mysteriously.
MICHAEL
reacts; knows what's coming.
MICHAEL
Not again. No! Mr. Wa ---
Michael's words are drowned out by a gunshot that echoes in
the warehouse interior.
WATKINS
is on the ground, gun in his hand, dead.
ON MICHAEL AND ELIZABETH
as they react, horrified, aghast. Hold a beat, and:
FREEZE FRAME
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
INT. POLICE STATION - CORRIDOR - NIGHT
as Michael and Elizabeth come out of the Lieutenant's
office and walk down the corridor toward some vending
machines.
ELIZABETH
Poor Mr. Watkins. It was all my
fault. I kept after him and after
him. But I had to know what
happened to Dad.
Michael puts his arm around her, comforting.
MICHAEL
(gently)
Hey...You're making the same mistake
I did, blaming yourself. He wasn't
in control, any more than those
other two guys. Maybe you'd better
tell me how you got involved in the
first place.
ELIZABETH
They were on an expedition together.
My father, Watkins, and two other men.
MICHAEL
One of them being Jeremy Towers.
ELIZABETH
Yes. And a fourth. No one has been
able or willing to tell me who that
was. Towers said my father committed
suicide, drowned in rapids deep in
the jungle, his body never recovered.
Dad wouldn't have done that, Michael.
He had too much to live for.
MICHAEL
You're saying he was murdered.
ELIZABETH
(nods)
Dad was certain they would find
Tekatal's crown. The expedition was
founded on his research. It was his
dream to give it to the museum, but
the others were against that. They
found the crown, I just know it.
Michael pops some change into one of the machines; hands
her a coffee.
MICHAEL
And killed your father to keep it
for themselves. Kitt, find out if
Tequatl's crown turned up recently
in any museum or private collection.
K.I.T.T.
I find the last major acquisition of
that kind recorded in June of last
year, Michael. The crown of Santa
Isabella was donated to the Chicago
Museum by a Mrs. Darla Blackman.
MICHAEL
(to Elizabeth)
If your theory is correct, the fourth
man has it all to himself now.
ELIZABETH
(determinedly)
I'm going to find him. When I do,
I'll find the crown, too, and fulfill
Dad's dream.
MICHAEL
(smiles)
Judging past performance, I've got a
sneaking hunch you'll get your way.
She turns into him and looks up.
ELIZABETH
Thank you for being my friend,
Michael.
She kisses him. Then Michael kisses her. On the break:
MICHAEL
To be on the safe side, you'd better
plan on staying with me tonight.
ELIZABETH
(flirtatiously)
How safe will that be?
They hold a look and we:
DISSOLVE TO
EXT. CITY ROAD - DAY - THE SEMI - STOCK
parked.
MICHAEL'S VOICE
Crane has to be the common denominator
in this, Devon....
INT. SEMI - DAY - MICHAEL, ELIZABETH, RC3, AND DEVON
enjoying an early morning cup of coffee. Devon works at
the computer.
MICHAEL
It's more than coincidence that both
Towers and Watkins died after one of
his parties....
RC3
And those two jokers who threw you
around must have been his boys for
sure.
MICHAEL
Right. Which brings us to Harana.
If she's a voodoo princess for real,
she's created a couple of zombies.
We know they can't be for real....
DEVON
Nor is Harana. I ran her profile
through the physiognomy banks last
night....
He punches buttons on the console.
INSERT - THE MONITOR - INTERCUTTING
shows Harana's likeness, then various police mug shots with
appropriate legends beneath them.
DEVON
Her real name is Bonita Vance. She
has a brilliantly inventive mind
which she turned to crime. Mostly
confidence schemes. Last year they
arrested her in Miami for imperson-
ating a North African empress.
RC3
Man, that lady doesn't shoot low.
MICHAEL
Any results on that ear clip?
DEVON
I'm afraid not. It's in the analyzer.
I'll let you know as soon as some-
thing comes through.
MICHAEL
Devon, I've got to see this thing
through. Not just for myself....
He looks across at Elizabeth, and their attraction is not
lost on Devon.
DEVON
Doctor Wesley intended Tequatl's
crown for the city museum. I think
that makes it Foundation business.
MICHAEL
Thank you, Devon. Now, it's time I
had a heart-to-heart with Mr. Crane.
He starts for K.I.T.T.
CUT TO
EXT. CRANE'S HIGH RISE - DAY - TO ESTABLISH
INT. ROOM OF DREAMS - DAY - ON CRANE
entering, carrying a briefcase. He looks across at Harana.
CRANE
It was just confirmed on the radio.
Claude Watkins shot himself last
night.
HARANA
Then it's time to settle our accounts.
Crane hefts the briefcase with a smile, moves to place it
on a low table.
CRANE
It's been a very fruitful collabora-
tion, Harana. I detest the act of
murder. Still do. Induced suicide
is so much more civilized.
He snaps open the briefcase in such a way the lid obscures
its contents from Harana.
INSERT - INTERIOR OF BRIEFCASE
empty except for a pearl-handled nickel-plated .38. Crane's
hand reaches for it, as:
CRANE'S VOICE
A million dollars was our arrangement,
I believe....
BACK TO CRANE
as he brings the gun up and levels it at Harana.
CRANE
...which I've decided is too steep a
price. Now if you'll hand over the
two keys, I'll thank you to leave the
premises. And take your Neanderthal
bullies with you. Any tricks, and
you'll have to explain to the police
about Towers and Watkins.
Crane puts out his other hand for the keys, but Harana
simply smiles at him, and looking past him ---
HARANA
He's not aware of his destiny,
gentlemen.
CRANE
(angrily)
Don't test my patience, Harana!
Max and Jarrett suddenly appear behind Crane and quickly
disarm him. He struggles in their grip, as:
HARANA
You'll pay a heavy price for your
greed, Donald.
She produces one of the ear clips and moves toward him.
EXT. CITY STREET - DAY - K.I.T.T. - STOCK
moves past.
INT. K.I.T.T. - DAY - MICHAEL
is deep in thought.
K.I.T.T.
And when this is all over, she'll
probably go back to St. Louis.
MICHAEL
Yeah, I suppose so.
K.I.T.T.
Is this what they call fate, Michael?
MICHAEL
Yeah, buddy. The downside of fate.
INT. CRANE MANSION - THE MAIN ROOM - DAY
Crane has a clip on his ear. He is glassy-eyed. Harana,
Sebastian, Max and Jarrett follow him across the room to:
ANOTHER ANGLE - A PAINTING
Crane swings it aside to reveal a wall safe.
INT. K.I.T.T. - ANGLE - MONITOR
as Devon's image burns into view.
DEVON
Michael, I finally have some results
on the ear clips.
ON MICHAEL
MICHAEL
Great. What have you got?
DEVON
I've found they can be deactivated
with a high-frequency tone, but ---
MICHAEL
Okay. Patch it through to Kitt.
DEVON
I'm still running a series of combi-
nations through the banks. When
I have it, you'll have it.
MICHAEL
Thanks.
INT. MAIN ROOM - DAY - CRANE
has the safe open. He removes a small red velvet bag and
hands it to Harana.
HARANA
Take your car and go to 121 Wall
Street. Enter the basement and
there you will find....
INT. K.I.T.T. - TRAVELLING
A warning beeper goes off from the dash.
K.I.T.T.
I'm reading three of those activated
clips within a two-mile radius,
Michael.
MICHAEL
Locate them on the grid.
INSERT - STREET GRAPHIC
Three flashing lights are clustered at the location of
Crane's high-rise.
AS BEFORE
MICHAEL
That's Crane's high-rise. Let's move
it!
K.I.T.T.
Michael, it would be less than
rational for you to go against three
such anthropomorphic robots....
MICHAEL
No choice. If the pattern holds and
they leave the house, there's likely
to be another murder.
EXT. CRANE'S HIGH-RISE - DAY
Crane exits the building; gets in his car and pulls away
as K.I.T.T. approaches.
INT. K.I.T.T.
MICHAEL
That was Donald Crane!
K.I.T.T.
He was 'under the influence,' Michael.
MICHAEL
Give me a reading in the house.
K.I.T.T.
Two of the activated clips remain
there with a woman.
MICHAEL
Harana...She's the key. If I can get
to her, maybe we can prevent more
mayhem.
K.I.T.T. pulls up near the front entrance. Michael gets
out.
INT. CRANE'S APARTMENT - MAIN ROOM - DAY
as Michael comes through the door. The room is empty. He
spots the open safe and moves toward it.
HARANA'S VOICE
You might at least have called first,
Michael Knight.
Michael swings around as Harana, Max and Jarrett appear
nearby. Harana moves sultrily toward him.
MICHAEL
Just the lady I wanted to see.
She runs her fingers lightly over Michael's face.
HARANA
Correct me if I'm wrong. It was not
my charm that brought you back.
MICHAEL
You know it wasn't.
HARANA
Pity.
MICHAEL
Tell me about those ear clips, Harana.
Donald Crane just left here hell-bent
for something, and I'll lay money he
was wearing one of them.
HARANA
Donald has an appointment with destiny.
MICHAEL
You mean an appointment with murder,
don't you? Harana, stop him now,
while there's still time.
HARANA
You force me to do something I know
I'll regret.
She steps back, nodding at Jarrett and Max, who move quickly
toward Michael.
MICHAEL
My favorite tag team, Hulk Hogan and
Sergeant Slaughter....
They're on him in a flash. Michael throws a punch at Jarrett
that could drop a horse, but he is unfazed. Max comes up
behind and wraps his arms around Michael, holding him power-
less against Jarrett's knockout blow.
EXT. MANSION - DAY - K.I.T.T.
K.I.T.T.
Michael...I'm reading diminished
functions in your vital signs....
INT. MAIN ROOM - AS BEFORE
Max and Jarrett watch as Harana, kneeling, attaches an ear
clip to Michael. She turns the dial on her brooch, as:
K.I.T.T.
Donald Crane has gone out of the two-
mile radius, but now I'm reading a
third activated clip in the house....
Harana takes off the comlink and examines it curiously.
K.I.T.T.
Michael?
She smiles, then puts it on the floor and Max stomps on it,
smashing it.
ON MICHAEL
as he comes to. His eyes are blank. Harana comes in close,
stroking him with her long fingernails.
HARANA
Such a shame, Michael. We would
have had a glorious destiny together.
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
INT. CRANE'S APARTMENT - DAY
Michael stands in the middle of the room. Harana walks
around him, giving him orders.
HARANA
You will take your car and go to 121
Wall Street.
Michael barely nods.
HARANA
There you will join Donald Crane in
the basement and wait for further
orders.
Michael turns to leave. Harana looks regretfully after
him, then turns abruptly to Max and Jarrett.
HARANA
We've earned a bonus. Take the
cream of Crane's collection --
whatever we can carry. Then we go
for the crown.
EXT. DONALD CRANE'S MANSION - DAY
Michael climbs into K.I.T.T.
INT. K.I.T.T. - DAY
as Michael starts the engine.
K.I.T.T.
Michael, I was worried sick.
Michael does not respond...only drives away.
EXT. DONALD CRANE'S MANSION - DAY
Michael drives carefully out of the driveway onto the
street.
INT. K.I.T.T. - DAY
Michael's eyes are fixed on the road ahead. He is a man
with a mission.
K.I.T.T.
Where to, Michael?
MICHAEL
(stonily)
121 Wall Street, pal.
K.I.T.T.
We lost contact. Did something go
wrong with the comlink?
Nothing from Michael.
K.I.T.T.
I still read three activated clips.
Michael...
(beat)
Michael, didn't you hear me? What's
the matter. Why won't you answer me?
INSERT - DASH
K.I.T.T. scans all of Michael's vital signs, spots the ear
clip.
K.I.T.T.
Michael! You've become one of them!
RESUME SCENE - STOCK
as Michael drives. Not reacting to K.I.T.T.
EXT. CITY STREET - THE SEMI - STOCK
parked.
K.I.T.T.
(urgently)
Devon...come in....
INT. SEMI - DEVON
crosses to the console. Behind him are RC3 and Elizabeth.
DEVON
Yes, Kitt, what is it?
K.I.T.T.
Michael has one of those clips on.
ELIZABETH
Is he all right?
K.I.T.T.
Well, physically, he's all there
Elizabeth. But technically he's non
compus mentis.
RC3
Hey, stop with technical! What's
wrong with him?
DEVON
(concerned)
Kitt means that Michael doesn't have
all his mental faculties. Where are
you headed Kitt?
K.I.T.T.
121 Wall Street. I took the liberty
of checking the location and that
building is scheduled for demolition.
RC3
Holy ---
RC3 starts to move toward his motorcycle.
DEVON
Where are you going?
RC3
Sorry, boss. I can't just sit here
and listen when Michael's in that
kind of trouble!
He hops on the bike, donning the helmet.
EXT. STREET - DAY
as RC3 turns a corner on his bike and roars past camera.
INT. SEMI - DEVON AND ELIZABETH
Devon is still punching keys on the computer.
DEVON
What in heaven's name does he think
he's going to do?
ELIZABETH
I don't know. But I feel a lot
better knowing he's trying....
Devon turns his attention back to the computer; a few beats
before ---
DEVON
Kitt, I've got a frequency for you.
I was testing it now, but I guess we
don't have time for the results.
Hold on....
EXT. BUILDING - 121 WALL STREET - DAY - STOCK
An abandoned building awaiting destruction.
INT. SUBTERRANEAN GARAGE - DAY - CRANE
Dark and musty. A sign reads "Keep out. This building is
scheduled to be demolished. Trespassers will be prosecuted".
Another sign reads, "High Explosives Present...Hard Hat Area.
Hudson Demolition Company". We see many stanchions sup-
porting the building. Crane, in trancelike state, is seated,
awaiting his explosive demise.
INT. K.I.T.T. - DAY - INTERCUTTING SEMI
Devon is on the monitor.
DEVON
Set your electronic Field Disrupter
at a frequency of sixty-four mega-
hurtz.
K.I.T.T.
Done.
DEVON
Two nano second blasts followed by
one long one...approximately 2.978
seconds.
Elizabeth is wringing her hands.
We hear the sound of two short blasts and one long one.
Michael's head snaps back and his eyes close, when they
open he is back to normal. Michael reacts to his new
location.
MICHAEL
How'd we get here, buddy?
K.I.T.T.
A new kind of auto pilot.
DEVON
Michael, check your left ear.
Michael pulls the clip off.
MICHAEL
Harana must have sent me on another
of her murderous errands.
He reacts; hits the brakes. K.I.T.T. screeches to a stop
in the street outside the building.
MICHAEL
Scan the building.
INTERCUT AS NEEDED - K.I.T.T.'S MONITOR - DONALD CRANE
sitting calmly. Unaware he is about to die.
K.I.T.T.
There's one person inside....
MICHAEL
Donald Crane, I'll bet.
K.I.T.T.
...and a massive deployment of
explosives. Michael, this building
isn't scheduled for demolition today,
but the system has just been primed.
MICHAEL
Locate the detonator and neutralize
it, buddy.
K.I.T.T.
I can't. It's at a remote location.
The countdown is already started and
is irreversible from here!
MICHAEL
If Crane dies, so does Elizabeth's
dream of vindicating her father....
K.I.T.T.
We're going in?
MICHAEL
Yep.
K.I.T.T.
I was afraid of that. Forty seconds
and counting, Michael.
He tromps on the accelerator, and K.I.T.T. surges toward
the garage entrance.
OMITTED
EXT. ABANDONED BUILDING
as Michael drives K.I.T.T. directly toward the entrance to
the underground garage.
K.I.T.T.'S VOICE
Here goes.
EXT. BUILDING - DAY - STOCK (1985)
as K.I.T.T. smashes through the door into the underground
garage.
INT. GARAGE - CRANE
doesn't bat an eyelash as K.I.T.T. screeches to a stop.
Michael gets out and runs to Crane.
MICHAEL
Come on. We have to get out of here.
Crane looks glassily at him.
K.I.T.T.
Thirty seconds, Michael.
EXT. BUILDING - DAY
as RC3 approaches on his motorcycle, zips through the
opening K.I.T.T. blasted in the fence earlier and roars
toward the entrance to the garage.
RESUME MICHAEL AND CRANE
Michael is pulling him to his feet; reacts to the screech of
tires and roar of an engine as:
RC3
rockets into the garage on his motorcycle and screeches to
a stop next to Crane and Michael.
MICHAEL
What are you doing here?!
RC3
Helping you.
MICHAEL
Let's get him in the car. This
place is going up.
RC3
Or coming down, man. I'm not sure
which.
Michael and RC3 grab Crane and lead him to K.I.T.T.
INSIDE K.I.T.T.
as they put Crane in the back and Michael and RC3 get in.
Michael looks back at Crane, who sits expressionless.
MICHAEL
Can you bring Crane out of that, pal?
K.I.T.T.
Devon has provided me with a
decoder. It worked on you, and --
Ten seconds to go, Michael -- nine
-- eight ---
MICHAEL
We better go.
RC3
I sure second that motion.
Michael slams K.I.T.T. in gear and stomps on the accelerator.
K.I.T.T.
takes off like a rocket and heads for the entrance.
INSIDE - ON ENTRANCE TO GARAGE - STOCK (1985)
as K.I.T.T. rockets out of the building toward the street.
K.I.T.T.
Five -- four -- three ---
RC3
suddenly reemerges.
RC3
Hey, wait a minute! My bike!!
RC3 looks back in agony to see:
EXT. ABANDONED BUILDING - 121 WALL STREET - DAY - STOCK
Charges detonate; the sound of numerous explosions that
rock the building. It crumbles into itself like a house of
cards. Then a huge cloud of dust rises, billowing through
the air.
EXT. STREET - DAY
as K.I.T.T., shrouded by dust and smoke from the explosion
and demolition of the building screeches to a stop.
INT. K.I.T.T.
Smoke and dust from the explosion outside his windows.
RC3
All right, Kitt!
K.I.T.T.
No applause...just a wash and wax,
please.
MICHAEL
Let's bring Mr. Crane back from Oz.
The sound of two short blasts then one long blast.
ON DANIEL
as his eyes click open...he is back to himself. Daniel
looks around. Sees the building, the look of the car and
Michael staring at him.
CRANE
To quote Blanche DuBois, 'I've
always depended on the kindness of
strangers.'
MICHAEL
You're welcome. Just tell me where
Tekatal's crown is.
CRANE
I'm afraid, I don't know what you're
talking about.
MICHAEL
Can it, Crane. Harana just tried
to kill you. You want her to have
it?
Daniel thinks a moment. He looks at the building, pulls
the ear clip off his ear.
CRANE
The private vault company on South
Ridge Drive.
OUTSIDE K.I.T.T.
as Michael peels out, through the hole in the fence and
onto the street.
STREET - DAY - K.I.T.T. - STOCK
as K.I.T.T. blasts past camera.
EXT. PRIVATE VAULT COMPANY - DAY
K.I.T.T. screeches to a stop in front of the building.
ANOTHER ANGLE
Harana comes out of the building carrying the box that
contains the crown and starts down the steps. Jarrett and
Max wait at their car.
MICHAEL'S VOICE
There they are!
Harana sees Michael and K.I.T.T. She turns the brooch pin
and says something to Jarrett and Max, who head straight for
K.I.T.T.
MICHAEL
Let's try that decoder again, pal.
The sound of two short blasts and one long blast.
ANGLE TO JARRETT AND MAX
as the decoder works. They pass through that momentary
confusion, then start toward K.I.T.T. again.
AT K.I.T.T.
MICHAEL
(getting out,
to Crane)
Consider yourself in protective
custody.
Michael and RC3 close the doors. Daniel vainly tries to
get out.
THE FIGHT
as Michael and RC3 meet Max and Jarrett head on. The clips
being ineffective, the latter are no match for Michael and
RC3. They are quickly put away.
ON HARANA
Seeing this, she runs for her car, climbs in, and starts
the motor.
MICHAEL
runs to K.I.T.T. and gets in, gunning after Harana's car.
ANGLE ON ACTION
as K.I.T.T. catches up to Harana's car and pulls in front
of it, forcing Harana to screech to a dead stop.
ON HARANA'S CAR
She is slumped defeatedly over the wheel as Michael gets
out of K.I.T.T. and crosses. He opens the door and helps
Harana out, taking the box from her. He opens it.
OMITTED
INSERT - THE BOX
as the lid opens revealing the fabulous, jewel-encrusted
crown.
ON MICHAEL
admiring the crown.
MICHAEL
Now I can understand what all the
fuss was about. Sorry, Harana, but
a stolen crown never made a man a
king, nor a woman a princess....
HARANA
Shakespeare? Richard Nixon?
MICHAEL
No -- Michael Knight.
FADE OUT
END OF ACT FOUR
TAG
FADE IN
EXT. SEMI - STOCK
parked.
RC3'S VOICE
I had to lay some bread on the
demolition guys, but at least they
found it in one piece....
INT. SEMI - CLOSE ON RC3'S BIKE
in one piece, all right. But it is a horrendous specter of
blackened, mangled metal, hardly recognizable. Widen to
see a glum, but hopeful RC3 hunkered down beside it, with
Michael and Elizabeth trying to cheer him up, as:
MICHAEL
You did say last week that the
timing was giving you trouble.
RC3
Yeah, true.
MICHAEL
(brightly)
Well, now you can fix it.
RC3
(unconvinced)
Right. It'll take a little work,
but she'll be good as new in no time.
Devon enters, sees the bike.
DEVON
Great Scott. What's that?
The others flash warnings. Devon takes a closer look.
DEVON
Oh, sorry.
(grimly)
That is what it is, isn't it? But
cheer up, all of you. I've come from
the museum, and they plan to feature
Tekatal's crown in a special Mayan
exhibit next month.
(to Elizabeth)
Your father would be very pleased,
my dear.
Elizabeth smiles and kisses Devon on the cheek.
ELIZABETH
Thank you so much, Devon.
MICHAEL
And proud...of his daughter.
Elizabeth turns to Michael.
ELIZABETH
Oh, Michael. How can I ever thank
you enough?
MICHAEL
Hey, this isn't good-bye, is it?
DEVON
(coughs)
I've booked a flight for you,
Elizabeth. As you asked.
Michael looks at Devon, then at Elizabeth, disappointed.
DEVON
An early plane seemed a trifle
premature. The police will have
further questions, after all...
and -- well, I thought --
(lamely)
-- three days?
MICHAEL
(brightening)
Why, Devon. I think that shows
incredible insight.
He takes Elizabeth's hand. She's smiling, too.
ELIZABETH
Yes, incredible.
They embrace. The others share their happiness, as we:
FREEZE FRAME
FADE OUT
THE END
