ACT ONE
FADE IN
EXT. DESERT ARCHEOLOGICAL DIG SITE - DAY
A barren landscape of sand and excavated dirt. Sounds of
metal hitting rock, not far away. A sign that reads,
"COUNTY MUSEUM ARCHEOLOGICAL SITE #32, DR. JAMES LITTON,
FIELD SUPERVISOR."
Near the sign a lizard makes its way to an unseen burrow.
Suddenly, it stops when it hears a sound from o.s., an
approaching car. The lizard scurries for safety.
EXT. KNIGHT 2000 - DAY
The car tears around a bend near the sign and starts down
the bumpy, unpaved road.
K.I.T.T.'S VOICE
Michael, I hope it won't be much
longer. This dirt is beginning to
clog a few of my more sensitive
instruments.
INT. KNIGHT 2000 - DAY
Michael has his hands firmly on the wheel and he takes the
jars and jolts effortlessly.
MICHAEL
We're almost there. And, anyway,
this isn't just dirt -- it's the
stuff of ancient Indian civilizations....
K.I.T.T.
Perhaps. But the stuff of ancient
Indian civilizations is wreaking havoc
on my turbines.
MICHAEL
Sorry, Kitt, but Devon said it was
urgent.
Michael takes a bend in the road abruptly. K.I.T.T. groans.
MICHAEL'S POINT OF VIEW
Michael spots three pretty women in khaki clothing,
archeology students, chipping at some rocks on a bench at
the side of the road.
OMITTED
IN K.I.T.T.
Michael starts to pull K.I.T.T. off the road when, from
behind the tent, a Jeep roars out, nearly sideswiping the
car.
MICHAEL
Hey!
K.I.T.T. automatically jerks back to avoid the hit and we
get a good look at the driver of the Jeep -- a wild-eyed,
bespectacled man in his fifties.
K.I.T.T.
According to my visuals, Michael --
that's Doctor Litton.
Michael, puzzled, takes the controls and goes after the
Jeep, which swerves wildly from one side of the road to
another.
ON THE TENT
as a brawny young man, also dressed in khaki, steps outside.
Brawny and intelligent looking, this is Peter Stark. He
intently stares up the road at the chase, then hurries
towards the dig site.
ROAD
as Michael pulls abreast of the Jeep, Dr. Litton ignores
Michael's hand motion to pull over -- and he slams the Jeep
into K.I.T.T. The impact does nothing to K.I.T.T., of
course, but it badly damages the right wheel of the Jeep.
IN K.I.T.T.
Michael keeps K.I.T.T. close to the Jeep.
K.I.T.T.
I estimate that in less than fifteen
seconds, the Jeep's right wheel will
spin off. At his rate of speed....
MICHAEL
I can imagine.
LITTON
suddenly takes his foot off the gas and slumps against the
steering wheel, sending the car into a spin.
EDGE OF ROAD
Michael slams on his brakes, missing the Jeep by inches.
The Jeep slides into a ditch. Michael pulls K.I.T.T. over,
hops out and runs to the Jeep.
BY THE JEEP
Litton is out cold. Michael starts to lift him out of the
Jeep, when Litton's eyes open very wide, staring at some
invisible monster.
LITTON
No. No! No!
Litton leaps on top of Michael, but Michael has no trouble
subduing the older man. Michael jumps up and Litton tries
to stand. He gets halfway up -- then collapses. Michael
catches him to break his fall.
Litton mumbles something unintelligible to Michael, his eyes
glazed.
MICHAEL
Doctor Litton -- I'm Michael
Knight. You called Devon Miles
asking for help....
There's a glint of recognition in Litton's eyes. With what
seems his last ounce of strength, Litton grabs something
under his lapel. He yanks it off and presses it into
Michael's hand. Michael opens his hand -- to a pin.
INSERT - PIN
A very small black pin with a gold sun emblazoned on it.
BACK TO SCENE
Litton shakes his head "yes," then passes out. Michael
stares at the pin, bewildered.
CUT TO
INT. OFFICE - DAY
Absolutely pitch black. Nothing can be made out until we
hear a click and a flickering of light from a TV screen
illuminates the room. The sound is off, and there's nothing
but static on the screen. We now see five people sitting
in chairs facing the screen. Near the screen, in the
shadows, is a speaker, a woman in her midforties who we'll
come to know as Ellen Sullivan.
SULLIVAN
What you are about to see will astound
even you. This is truly one of the
engineering wonders of our time.
She presses a tape cassette into a VTR machine, flicks it
in and hits a button.
CUT TO
OMITTED
INT. KNIGHT 2000 - DAY - TRAVELING
With Michael driving, the car is going back up the unpaved
road as quickly as possible. Litton is slumped in the
passenger's seat, out cold.
K.I.T.T.
What's wrong with him, Michael?
MICHAEL
I'm hoping you can tell me, pal.
Michael hits a button on the dash and a tray marked, "BLOOD
ANALYZER", opens under the dash to reveal a velcro-like piece
of cloth, connected by wires. Michael puts K.I.T.T. on
automatic and wraps the Blood Analyzer around Litton's wrist.
CLOSE ON K.I.T.T.'S MONITOR SCREEN
as the number "340 over 140" flashes on the screen.
K.I.T.T.
His blood pressure is 340 over 140
-- this man is in extreme danger.
Another picture flashes on the screen, a thermal X-ray of
Litton's arm.
K.I.T.T.
And I detect the presence of a very
potent drug.
On the screen comes the word, "UNKNOWN."
MICHAEL
Unknown? I thought you had every
possible drug -- something like
three thousand.
K.I.T.T.
Five thousand eight hundred seventy-
five to be exact. And I have records
of each chemical within the drug...
but this particular combination of
chemicals is unknown.
LITTON
His face is white, tortured, his features misshapen by some
chemical devil.
INT. OFFICE - DAY
The people still cannot be made out, their faces reflecting
a rainbow of lights from the TV screen. Sounds of cars
screeching and tires squealing can be heard.
SULLIVAN
And so, in terms of pure speed...The
question isn't how fast this vehicle
will go -- the question is how fast
do you want it to go?
ON THE TV SCREEN
We now see that the tape is of -- K.I.T.T., performing
terrific stunts, going over cars with his turbo-boost, out-
running other vehicles at amazing speeds, going through
solid brick walls and taking hits, with no damage, from
machine guns.
SULLIVAN
...As you know, this is our missing
link. All that is left is to separate
the car from its driver. A pleasant,
but unremarkable young man by the name
of Michael Knight.
CUT TO
EXT. KNIGHT FOUNDATION HEADQUARTERS - NIGHT - TO ESTABLISH
INT. DEVON'S OFFICE - NIGHT - ON MIRROR
Devon is trying to knot his tie, gazing into a mirror built
into a closet door in the office. He grimaces -- when he
straightens his tie, it comes out all askew.
TO INCLUDE BONNIE
Pretty, stylishly dressed. She watches Devon with bemuse-
ment.
DEVON
Why is it when one is rushing, one's
tie refuses to be knotted?
She comes over and begins to tie it for him.
BONNIE
I think it's called 'Devon's First
Law of Nervousness.'
She finishes the tie.
DEVON
I'm glad you're here to share this
moment with me, Bonnie.
(with a hint
of mischief)
I only wish Michael were here, too.
There's a knock at the door. Devon and Bonnie share a look
of excitement and she holds up crossed fingers. Devon
crosses and opens the door.
NEW ANGLE
A distinguished, portly man, Graham Deauville, enters and
clasps hands with Devon. Deauville is a John Houseman
look-alike, with a preoccupied, worried air.
DEVON
Graham, it is good to see you....
DEAUVILLE
You're looking well, my friend.
(to Bonnie)
And it is always a pleasure to be
graced by your beauty, my dear.
He crosses to her, bows courtly, then takes her hand and
kisses it. She blushes. When he looks back to Devon, he
is grave.
DEAUVILLE
Devon, I have something very impor-
tant to discuss with you.
DEVON
(smiles)
I certainly hope so.
Deauville is a little confused. After a beat, it dawns:
DEAUVILLE
Oh, yes, your Helios scores.
He opens his leather valise and takes out some papers.
BONNIE
You didn't grade mine, did you? I
just took it to keep Devon company.
Deauville finally manages a small smile. He looks from her
to Devon.
DEAUVILLE
As you know, the Helios test is more
than just an entrance examination --
it's widely acknowledged as the most
accurate measure of native intelli-
gence.
Devon beams.
DEAUVILLE
It scores mental ability -- and the
capacity to grasp the higher planes
of thought we use to solve the
important problems facing our
world. So...
(a dramatic pause)
I am pleased to announce the newest
member of Helios -- Miss Barstow!
Bonnie's face lights up; Devon's face falls.
BONNIE
Me? Are you sure?
DEVON
Yes, are you quite sure?
DEAUVILLE
(with an
impish grin)
We at Helios don't make mistakes,
remember?
BONNIE
I don't know what to say...I even
had a cold that day....
This isn't what Devon wanted to hear.
DEAUVILLE
We're having our induction ceremony
this weekend at the estate.
(to Bonnie)
You'll be there of course. And, my
dear Devon, I'm very pleased to invite
you to our reception Saturday -- and
to announce that, for your years of
friendship and support, we're making
you an honorary member.
DEVON
Honorary. Of course. I am most
pleased.
He isn't. Deauville takes something out of his coat pocket
and reaches for the lapel of Bonnie's blouse. He clips on
a pin.
CLOSE ON PIN
The same small black pin with the gold sun emblazoned on as
before.
BACK TO SCENE
Bonnie is beaming. Devon's phone rings and he crosses to
answer it.
DEVON
(into phone)
Michael, where are you?
INT. HOSPITAL - CORRIDOR - NIGHT
Michael is at a pay phone.
MICHAEL
At Physician's Hospital. Devon,
I've got some bad news. When I
found Doctor Litton, he was having
some kind of fit. Now he's in a
coma...the doctors don't know
anything, yet...there's some kind of
drug in his system but Kitt has no
record of it....
ANGLE ON DEVON
DEVON
I'll be right there, Michael.
Devon hangs up the phone.
DEAUVILLE
What is it?
DEVON
Something happened. Jim Litton is
in a coma.
Deauville looks as if he's been stricken.
DEAUVILLE
Oh, my God!
(a beat)
This is the reason I came today,
Devon. In the past month, two of
our Helios members have died --
mysteriously.
Off Devon's alarmed reaction, as we:
CUT TO
OMITTED
EXT. HOSPITAL - NIGHT - TO ESTABLISH
An imposing structure.
INT. HOSPITAL CORRIDOR - NIGHT - MOVING
Deauville, flanked by Michael and Devon, walks down the
stark, white hallway. This is the mental ward, but could
just as easily pass for a jail. Deauville talks in a
subdued, wistful voice.
DEAUVILLE
Jim and I go all the way back to
Princeton together.
(a beat)
I remember one professor, in partic-
ular Doctor Whitehead, who took us on
a dig -- and said the folklore about
Indian gods protecting their graves
was...superstition. So, one night,
Jim and I dressed up in hideous masks
and sneaked into Whitehead's tent...
I never saw a man so frightened --
or run as hard as he did!
Michael and Devon smile.
BY HOSPITAL DOOR
They stop in front of a door with a tiny window.
DEAUVILLE
Last year's find of the Aztec gold,
just outside of Mexico City, was Jim's
greatest triumph...as much as the
gold is worth, it's historical value
is incomparable. Now, to think of
Jim Litton -- at the peak of his
career...as you described him....
He trails off. Then they all enter the room.
INT. HOSPITAL ROOM - HIGH ANGLE SHOT - DAY
A padded cell with one bed. Strapped on is Dr. Litton, who
is sleeping.
ANGLE BY BED
Deauville looks ashen, as if he's viewing a corpse.
Litton's raspy breathing tells us he isn't. Deauville
approaches his friend very slowly and getting around the
straps as best as he can, hugs him tightly. When he looks
up, he can see that Litton's eyes are fluttering open.
DEAUVILLE
(choked with
emotion)
Jim...
(a beat)
Jim, it's going to be all right.
As Litton's eyes focus, they bug out at Deauville.
LITTON
(screaming)
No. No! No!
Deauville jumps back as if he's been bitten.
DEAUVILLE
Jim, it's me -- Graham.
LITTON
No! No!
Then he issues a terrifying, piercing scream. A nurse
hurries into the room to try and calm Litton. Michael and
Devon escort a very shaken Deauville out of the room.
ANGLE IN CORRIDOR
They all collect their wits. When Deauville speaks, it is
full of emotion and anger.
DEAUVILLE
That...isn't Jim Litton in there. I
don't know who...what...is inside
him, but it isn't the Jim I know.
(a beat;
to Devon)
I hate to ask...such a big favor.
DEVON
Anything Graham. Anything we can
do....
DEAUVILLE
Come to Helios this weekend...and
find whoever's responsible...for....
He indicates Litton's room.
MICHAEL
Why do you think it's someone in
Helios?
DEAUVILLE
I don't know what to think. But if
it isn't someone inside our organiza-
tion -- I'm at a total loss....
DEVON
We'll be happy to come...and do what
we can.
OMITTED
EXT. DEVON'S CAR - DAY - MOVING
as it pulls inside the main gate of the Helios estate, a
massive, ornate metal structure, with intricate grill
work. The gate opens as they approach.
EXT. HELIOS MANSION - DAY
Devon pulls to a stop in front of the mansion. He and
Bonnie get out of his car and walk towards the front
steps. She carries a weekend travel bag.
BONNIE
This is...beautiful. I don't believe
it. I've always dreamed of belonging
to something like this, but....
DEVON
Helios is a fine organization, Bonnie.
They made an excellent choice. I'm
proud of you.
BONNIE
Thank you.
(a beat)
I'm sure if you took the test again....
DEVON
It's not that important. Really. I
was just...surprised, that's all.
BONNIE
This wouldn't be the same if you
were upset. And anyway, it's not as
though you've been left out. You're
an Honorary Member.
She smiles and he keeps his stiff upper lip frozen into a
smile. When she looks away, the smile fades.
ANGLE ON STEPS
As they come to the base of the steps, Deauville comes out
of the front door to greet them. On the steps, he and
Devon shake hands.
DEAUVILLE
Thank you so much for coming, my
friends....
DEVON
I hope we're not too late....
DEAUVILLE
(smiling
at Bonnie)
We would never begin without our
loveliest new member.
Deauville takes the bag from Bonnie, then extends his other
arm to her. She takes it and they all walk through the main
front door into the mansion.
INT. KNIGHT 2000 - DAY - TRAVELING
pulling off the main road not far behind Devon's car.
Michael looks very bored.
K.I.T.T.
...and Helios, the Greek sun god,
the God of Brilliance, rode to his
palace in a chariot of gold....
MICHAEL
Kind of like a Rolls Royce, right?
A beat.
K.I.T.T.
I fail to see the logic of that
statement.
MICHAEL
Forget it.
K.I.T.T.
Had you used a more domestic brand
as your model....
Michael pulls to a stop near the main door of the mansion.
MICHAEL
Just a figure of speech. Did you
do a scan on the data banks Bonnie
added on Helios?
K.I.T.T.
Yes, I did. I find no connection
between Doctor Litton and the two
deceased Helios members.
MICHAEL
Great. Maybe I can organize a game
of tackle football or something here.
Michael starts out of the car.
K.I.T.T.
By the way, Michael, can a Rolls Royce
do computer scans?
Michael laughs, getting the gist of K.I.T.T.'s argument.
MICHAEL
Not a one. And, listen -- you're as
good as gold to me, buddy.
K.I.T.T.
Thank you.
Michael gets out of his car by the front steps.
HIS POINT OF VIEW OF THE HOUSE
In a window by the front door of the mansion, Michael spots
a pretty woman in her twenties staring out at him. This is
Charlene Hanover. After a beat -- she disappears.
ON MICHAEL
not sure if he saw anything at all. He continues up the
steps.
CUT TO
OMITTED
INT. HOSPITAL CORRIDOR - DAY
An orderly -- in white hospital clothes -- wheels a linen
cart down the corridor. We only see the orderly from his
back.
INT. HOSPITAL ROOM - DAY
The orderly enters the room and closes the door behind him.
He wheels the cart to the foot of Litton's bed. Litton wakes
up from a fitful sleep.
LITTON
When his eyes focus, he looks up at the orderly -- and
opens his mouth to scream.
REVERSE ANGLE
The orderly -- actually Peter Stark -- stuffs a towel in
Litton's mouth. Then he takes a bottle from his coat
pocket, opens it, and spills some of its contents onto a
towel. Litton, his eyes wide with terror, is strapped in
and thus can do nothing. Stark covers Litton's nose with
the towel. Litton struggles...fights against the drug...
then -- stops struggling. His body goes slack. As Stark
removes the towel and wheels the cart out of the room, we:
FREEZE FRAME
AND
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
EXT. HELIOS MANSION - DAY
More cars arrive with members, guests and inductees.
OMITTED
INT. MANSION - HALLWAY - DAY
Michael, Bonnie and a handful of other Helios members and
guests are being given a tour by Ellen Sullivan, the woman
we saw earlier in the dark office. The house is expensively
furnished with many old paintings and antiques. The archi-
tecture is Gothic in period, with many interesting nooks and
crannies, side rooms and blind hallways. Strolling the hall-
way are two museum guards.
Sidling next to Michael and Bonnie is Irving Farber. He has
huge glasses, a receding hairline -- and an obvious crush on
Bonnie.
SULLIVAN
The mansion was purchased in 1952 by
the Helios trustees. Many of our
members live on the premises while
working on projects and....
As she drones on, Farber nudges Bonnie. Michael watches
the following exchange with bemusement. Farber points to a
piece of artwork.
FARBER
(whispering)
That one was done by the famous Genoan
artist, Renaldo Sofo. It took him
twelve years to complete it.
Trying to put him off without hurting his feelings:
BONNIE
Isn't...that amazing?
FARBER
My name is Irving Farber. My notes
on the Renaissance are particularly
stirring. Perhaps we can get together
and discuss them sometime.
BONNIE
That...certainly sounds exciting,
Irving.
Farber smiles, ecstatic at this major victory. He gives
Michael a knowing manly nod and follows the tour.
MICHAEL'S POINT OF VIEW - DOWN THE HALLWAY
A door opens -- and out steps Charlene Hanover. She seems
distraught. They make fleeting eye contact, but she hurries
away down the hall. She turns a corner -- and almost runs
into Devon. They ad-lib apologies.
BACK TO SCENE
Devon comes up to Michael. He is very grave.
DEVON
Michael -- Doctor Litton is dead.
MICHAEL
Dead?
DEVON
The doctors still don't know the
cause. I've asked to see the results
of the autopsy as soon as possible.
MICHAEL
Three dead men...no clues...Devon,
when I was a cop, they'd call this
kind of thing a 'Blind Man's Bluff.'
DEVON
Have you seen anything odd or peculiar?
MICHAEL
Besides most of the Helios members --
no.
DEVON
They're not odd, Michael, they're
different.
MICHAEL
Let's just say this isn't my kind
of place.
DEVON
I'm well aware of that, my dear fellow.
Devon smiles at him and moves away down the hall. Michael
laughs, then heads to the door Charlene came out of.
AT DOOR
Michael tries the handle, but it's locked. He checks the
hallway, sees that it's empty, then talks into the comlink.
MICHAEL
Kitt, I need a schematic reading of
this lock. Can you do it?
INTERCUT - K.I.T.T.
K.I.T.T.
Certainly. I can also describe the
make, model and serial number of the
device in question. I can order you
a like item. And I can also unlock
it, with my microwave jammers.
MICHAEL
Kitt, you are a full-service car.
A humming sound comes from K.I.T.T.'s hood. Then -- the
lock springs open.
INT. STORAGE ROOM - DAY
A room lined with metal shelves that hold boxes marked,
"CANNED TOMATOES," "CANNED CHOPPED BEEF," "CANNED PRUNES,"
etc. At the end of one aisle of boxes is something covered
by a large tarp.
ANGLE ON MICHAEL
He walks towards the tarp and starts to lift it -- when....
TO INCLUDE DEAUVILLE
Deauville enters the room. Michael spins around, dropping
the tarp.
DEAUVILLE
I see you've found our storeroom.
(indicating
boxes)
These are for our food distribution
program for the poor.
(ushers him out)
If one is wealthy in spirit, one
cannot ignore the less fortunate,
don't you agree?
MICHAEL
Sure do.
INT. HALLWAY - DAY
They come back out into the hallway where Devon greets
them.
DEAUVILLE
(to Michael)
I can see you're rather bored by our
tours and activities...I have an idea:
why don't you take our test?
Devon flashes a wide grin, eager to have company in defeat.
DEVON
What a splendid idea.
MICHAEL
I don't think it's all that splendid....
Before Michael can finish, Deauville ushers him into a room.
Deauville catches Devon's eye and winks; great fun.
INT. ND ROOM - DAY
Just a chair, a table -- and a number two pencil and the
test.
DEAUVILLE
You will have forty-five minutes to
complete the test. You may begin
once the door is closed.
DEVON
Do your best, old boy -- use every
resource at your disposal. And good
luck!
ANGLE ON MICHAEL
They leave. Michael picks up the test, thinks for a second,
then turns on his comlink.
MICHAEL
(reading from
the test)
Kitt, given the unbalanced electron
composition of zirconium, would its
atomic mass increase or decrease
with a change in molecular valance?
INTERCUT - K.I.T.T.
K.I.T.T.
Michael, isn't this cheating?
MICHAEL
Nah, it's called using every resource
at my disposal.
K.I.T.T. sighs. They continue on....
CUT TO
INT. MANSION - BALLROOM - DAY
A large room which connects to an outside patio area,
replete with a large pool. Near the pool, by the dance
area, plays a four-piece combo. Crowded in the room and on
the patio are Helios members and guests, in informal wear.
A few couples are dancing.
Irving Farber, looking even more sad in a loud sports coat,
stands by a punch bowl-refreshments table. He smiles at
every woman who walks by. When they see him smiling, they
walk by even faster.
DEVON AND DEAUVILLE
standing at the edge of the crowd.
DEVON
Shall we rescue the poor fellow?
DEAUVILLE
(checking
his watch)
In thirty seconds his agony will have
lasted exactly forty-five minutes.
Chuckling, they go in.
CUT TO
OMITTED
INT. ROOM - DAY
As Devon opens the door, his face is full of anticipation.
But when he looks inside, his face falls -- Michael has his
feet up, chair back, arms behind his head. He looks up,
yawns and smiles.
MICHAEL
Actually it was easier than I thought
it'd be....
Deauville crosses to the table and picks up the test,
astounded.
DEAUVILLE
You finished each and every question!
Devon grabs the test and looks it over. Michael winks at
him and heads out. They watch him go, amazed.
CUT TO
INT. MANSION - BALLROOM - DAY
The party is in full swing. Michael, in a sports coat, comes
up to the punch bowl. Farber is still there, ogling women.
MICHAEL
Nice jacket.
FARBER
(smiles brightly)
Look your best and you'll look best
to her, that's my motto.
Something at the ballroom entranceway catches Michael's eye.
Farber follows his gaze.
ANGLE ON BONNIE
entering on Devon's arm. Michael walks towards them, but
Irving Farber hurries over, getting to her first.
FARBER
Why, Miss Barstow. Your attire is
most becoming and fits you in all
the right...er...it is very well
tailored. Would you care to....
MICHAEL
Bonnie, excuse me, but Kitt's electro-
transformer has been acting up. Can
we discuss it?
BONNIE
We'd better.
(to Farber)
Excuse us....
Michael wisks Bonnie outside to the veranda. Farber is
chagrined. Devon smiles.
DEVON
I do admire a woman with such
dedication...don't you?
Farber nods, glum.
VERANDA - DANCE FLOOR
Michael and Bonnie glide around the floor surrounded by a
few other couples.
BONNIE
Thanks for saving me.
MICHAEL
I should thank you. After all, I
didn't know whether you'd still talk
to me since you're smart now.
BONNIE
Never stopped me before....
MICHAEL
Very funny.
They continue to dance until the song ends. The split-
second it does, Farber heads for Bonnie. But Devon steps
in just ahead of him and takes Bonnie by the arm. They
dance.
MICHAEL
(to Farber)
That was gentlemanly. What a guy.
Farber shrugs, tries to smile.
BY PUNCH BOWL
Michael heads to the punch bowl. Charlene Hanover, very
tense, is already there.
CHARLENE
I suppose congratulations are in
order...
(off his look)
You're a new inductee, aren't you?
MICHAEL
(laughs)
No -- no way. I'm just a guest.
CHARLENE
I thought so. You don't look like a
Helios member to me.
MICHAEL
I'll take that as a compliment.
They both smile.
CHARLENE
I'm Doctor Charlene Hanover.
MICHAEL
I'm Michael Knight.
CHARLENE
The man who found Doctor Litton?
MICHAEL
Did you know him?
A beat.
CHARLENE
My field is also archeology. I
visited him at the dig site. Quite
a large dig, considering....
MICHAEL
I didn't get a good look at it, but
it didn't seem all that large to me.
(beat)
'Considering'? Considering what?
She is about to reply, when something catches the corner of
her eye. Michael looks to where she is staring.
THEIR POINT OF VIEW - DEAUVILLE
standing with Devon, smiles at them.
BACK TO SCENE
When Michael turns back -- Charlene's gone. He starts to
look for her, when his comlink beeps.
MICHAEL
(into
comlink)
What is it, Kitt?
INTERCUT - K.I.T.T.
K.I.T.T.
Michael, my sensors have picked up
some animal cries coming from a room
at the far end of the mansion.
MICHAEL
(puzzled)
Thanks, pal.
INT. HALLWAY - DAY
Michael nods to the two guards that patrol the hall and
walks past guests and inductees, staring at some of the
Helios artwork. When he gets to the end of the main hall-
way, he turns right.
SECLUDED HALLWAY
dark, oak doors and dim lights. Michael sees a light
burning in one room and, as the songs from the ballroom
recede, faint terrified cries take over. In the desolate
hallway, Michael's footsteps make eerie echoes and the
interesting nooks and crannies of the mansion's architecture
become strange shadows. As Michael stops by the lighted
room, the shrieks are much louder and the melodies from the
ballroom sound like whispers of ghosts.
INT. LABORATORY - DAY
Michael swings open the door -- to a laboratory -- and a
handful of cages populated by rhesus monkeys.
A lab worker, in a white coat turns quickly around from one
of the cages. The lab worker is Peter Stark.
As they talk, Michael checks out the lab, and the lab tables
of test tubes, chemicals, vials and beakers full of oddly
colored liquids. At a far wall is a door marked "Office -
Authorized Personnel Only."
MICHAEL
Sorry...party got a little dull.
You, too?
Stark stares at him weirdly.
STARK
Sometimes animals are more...friendly
than people.
MICHAEL
Yeah, but, they usually make pretty
rotten dancers.
Stark doesn't crack a smile.
MICHAEL
Well, nice talking to you.
Michael smiles, leaves. Stark stares after him.
OMITTED
INT. HELIOS ESTATE - HALLWAY - DAY
Devon and Michael walk towards the front door, as Deauville
and Bonnie come down the hallway to meet them.
DEVON
Thanks for a marvelous time, Graham.
Sorry I can't stay longer, but my
schedule won't permit it.
DEAUVILLE
Perhaps next time, my friend. And
do phone when the autopsy report is
completed.
EXT. HELIOS MANSION - DAY
at the bottom of the steps Deauville and Devon clasp
hands and ad-lib good-byes. Devon gets into his car
and pulls away.
DEAUVILLE
(to Michael)
I trust you can amuse yourself.
Bonnie still has a few more rites to
go through.
(with a wink)
Very secret stuff, you understand.
MICHAEL
I think I'll take a drive...stretch
my legs....
DEAUVILLE
Don't be too long -- we have a
gourmet meal planned for seven
thirty.
OMITTED
INT. HELIOS MANSION - HALLWAY - DAY - MOVING
Deauville puts a paternal arm around Bonnie's waist.
DEAUVILLE
And now, my dear, for the next phase
of your indoctrination....
BONNIE
(smiles)
I can't wait.
ANGLE TO INCLUDE STARK
who greets them in the hall.
DEAUVILLE
Bonnie, this is Peter Stark. He
will show you our laboratory
facilities. I trust you will find
them most interesting....
BONNIE
I'm sure I will.
She smiles, starts away with Stark. Stark looks back at
him, and Deauville nods.
DEAUVILLE
(to himself)
You've no idea, my dear. None
whatsoever....
OMITTED
HIGHWAY - DAY - LONG SHOT
K.I.T.T. tears down the desert highway, towards the dig site.
K.I.T.T. (V.O.)
By the way, how did we do on the
test, Michael?
MICHAEL (V.O.)
It hasn't been scored yet. But I'll
bet I get the highest score ever
recorded by a human.
K.I.T.T. (V.O.)
Or the lowest score ever recorded by
a computer.
MICHAEL (V.O.)
Come on, I had to answer a few -- or
we would've been done in twenty
minutes.
K.I.T.T. (V.O.)
But the '42 Cubs, Michael? Really.
Everyone knows it was the '27
Yankees. Never the Cubs.
MICHAEL (V.O.)
Nah, the Cubs. I know my baseball.
OMITTED
EXT. DIG SITE - DAY
Michael passes the sign, then continues up the dirt road.
MICHAEL'S POINT OF VIEW - OFF TO THE WEST
He sees a fenced-in area, something he had no time to
notice before. Leading into a gate in the fence are
bulldozer tracks.
OMITTED
ANGLE IN K.I.T.T.
Michael stares out towards the fence.
MICHAEL
Okay, Kitt, let's see what Doctor
Charlene Hanover seemed so mysterious
about....
K.I.T.T.
My sensors have detected an electronic
cable from the fence to the power
lines up the road.
MICHAEL
They've got the place wired...okay,
let's use your infra-rays and see
what the big mystery is....
CLOSE ON K.I.T.T.'S MONITOR SCREENS
The graphics show the outline of the field...then, beyond
the field, the outline of a huge pit.
K.I.T.T.
I detect a large pit and sizeable
deposits of fresh earth inside.
ANGLE IN K.I.T.T.
MICHAEL
Dirt -- a dumping ground? Why would
there be a dumping ground at an arche-
ological site?
K.I.T.T.
Perhaps some Indian artifacts were
discovered while excavating the dump
site.
Michael is puzzled. He starts to back K.I.T.T. up,
when....
CLOSE ON CLAY POT
smashed by K.I.T.T.'s wheel.
ANGLE IN K.I.T.T.
K.I.T.T. stops suddenly.
K.I.T.T.
Speaking of artifacts, Michael, I
believe I just ran over one....
Michael opens the door and gets out.
ANGLE AT CAR
Michael picks up a fragment.
CLOSE ON FRAGMENT
A small piece of the pot, flecked with drab brown paint.
ON MICHAEL
as he gets back into K.I.T.T.
ANGLE IN K.I.T.T.
MICHAEL
This thing must be hundreds of years
old...I wonder what it's doing over
here....
K.I.T.T.
I could date it for you if you like.
CLOSE ON DASH
A compartment opens and Michael puts the fragment inside.
The compartment closes.
ANGLE IN K.I.T.T.
Michael waits a second, then:
K.I.T.T.
Michael, this fragment is less
than a month old.
MICHAEL
A month?!
He thinks a beat, taking the fragment from the dash,
holding it, wondering.
MICHAEL
Doctor Litton was a world-reknown
archeologist. He wouldn't have been
involved in something like this....
K.I.T.T.
Then who do you think is?
MICHAEL
Good question, Kitt. Who...and why.
EXT. K.I.T.T.
as Michael turns the car back towards the dirt road.
CUT TO
OMITTED
EXT. HELIOS MAIN GATE - NIGHT
Michael pulls K.I.T.T. to a stop behind some trees near the
main gate, out of sight of the mansion.
ANGLE IN K.I.T.T.
The sunroof is open. Michael stands up on the passenger seat.
MICHAEL
All right, Kitt, pop me up.
K.I.T.T.
Michael, you are an invited guest.
May I suggest the front door?
MICHAEL
Not this time, buddy. This time I
want to visit without anyone knowing
I'm here. Go ahead.
There's a click.
WITH MICHAEL
as the ejection seat boosts him up -- and over to a tree.
He grabs a branch and holds on. Then he shimmies down the
tree and races to the mansion.
DISSOLVE TO
INT. MANSION - NIGHT
Michael crosses to a bedroom door. He opens it, looks in.
MICHAEL
Sorry....
And he closes it.
DISSOLVE TO
HALLWAY - NIGHT - LATER
Michael looks ragged. He slumps against a wall, rubbing
his eyes. Into comlink:
MICHAEL
How much longer do we have?
K.I.T.T.
It's less than thirty minutes until
dawn.
INT. HELIOS MANSION - LAB - NIGHT
The lab is dark. Michael enters from a window, holding
a flashlight, and is greeted by the beady little eyes and
outraged cries of the monkeys. He tries to "shh" them and
they eventually quiet down.
He moves quickly to the door marked "OFFICE - AUTHORIZED
PERSONNEL ONLY." The door is locked.
INTERCUT - K.I.T.T.
MICHAEL
(into comlink)
Kitt....
K.I.T.T.
I detect a lock in front of you,
Michael. Would you like this one
picked too?
MICHAEL
I'd appreciate it.
There's a hum from K.I.T.T. and the door pops open.
INT. OFFICE - NIGHT
A bare office with some file cabinets, a clean desk, some
floor plans tacked on one wall and a TV set.
He crosses to some file cabinets and finds dossiers on each
Helios member. He leafs through some until he finds
Litton's.
LITTON'S FILE
very old, with a snapshot of a much younger Litton clipped
on. There's nothing else in the file but the test, marked
"176 - PASSED", and some newspaper clippings about the
Aztec gold find. One headline reads, "Dr. Litton Discovers
Aztec Gold Find." Another reads "Gold to be Kept in Ultra-
Secure Exhibit at County Museum."
BACK TO MICHAEL
He puts the file back and closes the drawer. He opens
another and pulls out a file. He looks in the file -- does
a double-take -- and pockets a piece of paper. Then he
goes through the file carefully.
THE FILE
marked "New Members" on top of a fuzzy Polaroid of Irving
Farber, who looks like he was caught just stepping out of
the shower. His test score reads, "187 - PASSED." Michael
comes to Bonnie's which has stamped on it: "137 - FAILED."
BACK TO SCENE
Michael puzzles this out and looks around the room. He
spots the TV set. On the top of the set he spies a
cassette and picks it up.
INSERT - CASSETTE
whose label reads, "K.I.T.T."
ON MICHAEL
as he quickly turns on the set and inserts the cassette.
ON TV SCREEN
The tape of K.I.T.T., performing the fantastic maneuvers
that are K.I.T.T.'s stock-in-trade.
CLOSE ON MICHAEL
His face bathed in flickers of colored light, shocked and
unnerved.
OMITTED
ANGLE - MICHAEL
MICHAEL
(into comlink)
Kitt, I don't know exactly what's
going on here, but I don't like it.
We've got to find Bonnie.
INTERCUT - K.I.T.T.
K.I.T.T.
My sensors detect Bonnie on the
second floor, in the south wing --
and Michael? Hurry. The sun is
rising.
He hurries to an elevator at the end of the hall.
NEW ANGLE - AT ELEVATOR
Michael presses the up button and, when the elevator
arrives, he jumps inside.
HALLWAY
as Michael steps out of the elevator and runs down the dark
hallway.
INT. BEDROOM - NIGHT
Michael opens the door. The shaft of light from the hall-
way shines on the bed. Bonnie, still in her clothes, lies
on top of the covers. Michael crosses and shakes her,
trying to wake her.
MICHAEL
Bonnie, wake up! We've got to get
out of here....
He shakes her again and she stirs, groggy.
MICHAEL
(into comlink)
Kitt, in exactly thirty seconds be
at the front door.
He grabs her overnight bag and helps her up. She seems
foggy, unsteady.
OMITTED
EXT. MANSION - ON K.I.T.T.
K.I.T.T. revs up, then -- it smashes through the front
gate, sparks flying.
OMITTED
EXT. HELIOS MANSION - DAY
as K.I.T.T. pulls to the front steps, Michael appears with
Bonnie. He helps her in. Then K.I.T.T. burns asphalt.
OMITTED
INT. K.I.T.T. - DAY - MOVING
as it races down the road that ribbons down the mountain.
After they pass the front gate Bonnie eases her hand into
her overnight bag.
BONNIE
Michael, go back.
When he looks over at her, he's astonished -- she's pulled
a pistol out of the bag and has it aimed at him.
MICHAEL
Bonnie, it's me, Michael!
BONNIE
(cocks
trigger)
Go back!
It's a command and a shout. And as Michael searches her
eyes, he finds no recognition whatsoever and we:
FREEZE FRAME
AND
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
EXT. HELIOS MANSION - DAY
K.I.T.T. slowly pulls up past the destroyed gate to the main
drive.
INT. K.I.T.T. - DAY - ON BONNIE AND MICHAEL
K.I.T.T. is in automatic. Bonnie has the gun trained on
Michael.
MICHAEL
(desperate)
...Bonnie, it's me -- Michael -- I
don't know what they've done to you
but ---
BONNIE
(overlap)
Shut up! Pull over in front, Kitt.
K.I.T.T.
Bonnie, I agree with Michael. This
is highly irregular and disconcerting.
BONNIE
It's okay, Kitt. Trust me. I'll
explain later.
OMITTED
INT. HELIOS MANSION - HALLWAY - DAY
Bonnie prods Michael at gunpoint. As they enter the
mansion, Deauville, Stark and Sullivan greet them.
DEAUVILLE
(to Stark
and Sullivan)
Chemicals are indeed the magic of
our time.
(to Bonnie)
Good work, my dear. Excellent.
(to Michael)
One word of protest -- a plea for
help -- anything out of the ordinary
and you will be shot on the spot. I
trust that's clear.
MOVING WITH THEM
as they walk down the hall. Deauville talks softly,
smiling at the other Helios guests on their way to
breakfast. Stark takes the gun from Bonnie and sticks
it surreptitiously in Michael's side.
DEAUVILLE
You see, Mr. Knight, in addition to
highly toxic, intraceable drugs, we've
also perfected mind control chemicals.
Deauville takes a key and unlocks the door to the storage
room. They all enter.
Near the door, behind a piece of sculpture, is Charlene
Hanover, watching intently.
INT. STORAGE ROOM - DAY
Deauville leads them to the tarp, past the metal shelves of
food.
DEAUVILLE
Normally, I wouldn't do this...but
after all, if your death is the
result of our Master Plan, I think it
only fitting for you to behold its
brilliance. You see, the truth of
our time is that nuclear holocaust is
inevitable. Maybe not tomorrow,
maybe not next week -- but someday,
and probably someday soon.
(a beat)
Common wisdom states that even if
anyone should survive, the nuclear
aftermath would decimate the popu-
lation. But those doomsayers have
quite forgotten their Darwin....
MICHAEL
You're insane.
DEAUVILLE
All great thinkers have been so labeled
-- from Copernicus to Darwin to Freud.
No, not insane. Advanced intelligence.
And who better to survive than the most
intelligent people on Earth....
Deauville flings off the tarp -- to reveal a vast scale
model of an underground city -- underneath the archeological
dig site. There are rooms for every conceivable facility --
housing, dining rooms, concert halls, etc. Michael is
incredulous.
DEAUVILLE
The dig site was our perfect cover
-- until poor James Litton started
nosing around and became suspicious.
He was a far better archeologist than
detective.
MICHAEL
Why have you done this to Bonnie?
What can you possible want from her?
DEAUVILLE
(smiles)
Kitt. That car will make an impossible
crime impossibly easy. Does it surprise
you we'd conceive the perfect crime to
finance this project?
MICHAEL
From you, Deauville -- nothing sur-
prises me.
DEAUVILLE
Good. Then we understand one another.
You see, our city is already one-
quarter excavated, under the dig site.
When it is finished, it will be the
perfect society, built on the ashes
of civilization. Where we can live,
survive...and procreate....
He winks at Michael as he motions Bonnie over from the
doorway.
DEAUVILLE
The most brilliant people on earth...
and the most beautiful.
He puts his arm around her, stroking her hair suggestively.
MICHAEL
Sorry to disappoint you, Deauville, but
you can't use Kitt. He's programmed to
listen only to me.
DEAUVILLE
(smiles at
Bonnie)
Not for long. Peter, please take
care of Mr. Knight.
Stark pushes Michael toward the door.
DEAUVILLE
Oh, by the way: you did quite well
on the test. Too well, in fact.
You missed only one question: The
correct answer was the '27 Yankees.
Never the Cubs.
MICHAEL
Sorry, but I think I'll decline
joining Helios. With you in charge,
it won't be around for long.
DEAUVILLE
That's the trouble with lower-order
minds. Confusion. It's you who won't
be around for long.
EXT. HELIOS MANSION - DAY
Stark walks Michael to a parked car. Suddenly, Michael
throws an elbow to the big man's face and Stark deftly
ducks the blow. He shifts the gun in his hand and knocks
Michael out. He looks quickly around, sees no one, and
drags Michael to the car.
CUT TO
INT. GARAGE - ON ESTATE - DAY
Deauville and Bonnie stand next to K.I.T.T. She's now
dressed in mechanic's overalls.
DEAUVILLE
Do you have everything you need, my
dear?
BONNIE
Yes, I do, Graham.
DEAUVILLE
Then let's begin.
With that, Bonnie touches a button inside the car -- and
K.I.T.T.'s hood pops open.
CUT TO
EXT. DUMP SITE - DAY
Stark's car pulls up close to the bulldozer and parks. He
drags Michael out of the car.
IN PIT
Stark rolls Michael over the edge. Still unconscious,
Michael falls to the bottom, about nine feet down.
ON BULLDOZER
Stark pilots the machine to push dirt over the edge.
ON MICHAEL
He spits out dirt, now fully awake.
MICHAEL
(into comlink)
Kitt...Kitt, it's me, Michael. Kitt,
are you there? Kitt!
All he hears is static.
CUT TO
INT. GARAGE - DAY
Sparks fly under K.I.T.T.'s hood as Bonnie makes some
adjustments.
CUT TO
EXT. PIT - DAY
Michael looks up -- just as another load of dirt falls.
He's knocked to the ground, but gets up quickly -- and
makes a leap for the edge of the shovel as it pulls back
from the pit. He misses.
Another load comes down -- and Michael hugs the pit wall,
to avoid getting hit. When he leaps again -- he grabs the
edge of the shovel. The excruciating pain is evident on
his face -- but the shovel lifts him up and out.
INT. CAB OF BULLDOZER - DAY - ON STARK
When he hears a sound behind him, he turns -- to Michael,
who punches him. They grapple, Stark is the bigger of the
two, but Michael is a bundle of fury. At first chance,
Stark leaps out of the bulldozer and runs to his car, for
the gun.
ANGLE ON CAR
Stark jumps in....
ANGLE ON BULLDOZER
Michael takes the controls and goes straight for the car.
OMITTED
ANGLE ON CAR
as Michael slams the bulldozer head-on into the car.
He pushes the car back...back...and over...the side of
the pit.
ANGLE ON STARK
as he climbs out of the wreckage at the bottom of the pit.
ANGLE ON BULLDOZER
as Michael pushes a load of dirt into the pit. He shuts
the motor off and runs over to the edge.
OMITTED
MICHAEL'S POINT OF VIEW OF THE PIT
The car is demolished -- and Stark is buried up to his head
in dirt. He's trapped.
BACK ON MICHAEL
He catches his breath.
MICHAEL
Hey, Stark -- Stick around awhile.
(into comlink)
Kitt, can you hear me? Come on, buddy!
(more static
from comlink)
Kitt, where are you?
Still more static.
CUT TO
INT. GARAGE - DAY
More sparks fly under K.I.T.T.'s hood as Bonnie keeps
working.
K.I.T.T.
Ooh, Bonnie, that was quite a jolt.
BONNIE
A little more, Kitt, and you're
going to feel like a whole new car.
K.I.T.T.
That does sound invigorating.
ANGLE TO INCLUDE DEAUVILLE
He touches her on the shoulder. She looks up, startled,
then smiles.
DEAUVILLE
How lovely you look...even in
overalls.
She laughs.
DEAUVILLE
Is our information ready yet?
ANGLE IN K.I.T.T.
Bonnie crawls into the driver's seat. She hits a button
and a computer print-out appears from K.I.T.T.'s dash. She
hands it to Deauville.
DEAUVILLE
The entire operation should take
no more than seventeen minutes.
Excellent.
K.I.T.T.
Bonnie, you said you'd explain about
Michael. Where is he?
Bonnie and Deauville share a look of concern.
BONNIE
He...kind of went underground.
K.I.T.T.
Underground? I have no record of
such a mission.
Bonnie starts to hit some buttons in the dash.
K.I.T.T.
Bonnie?
Suddenly, K.I.T.T.'s dash lights up like it's the Fourth of
July. Loud clicking noises begin to sound. Deauville
smiles at Bonnie.
OMITTED
EXT. HIGHWAY - DAY
Michael is on the highway, thumbing. Every so often a car
will pass. Dirty and scruffy from his fight with Stark and
the climb up the pit, he is unable to entice any takers.
CUT TO
OMITTED
INT. GARAGE - DAY - IN K.I.T.T.
Bonnie is sitting in the driver's seat next to Deauville.
K.I.T.T.'s lights are still blinking wildly.
BONNIE
Now for the security system....
She leafs through some papers on the seat.
K.I.T.T.
Bonnie, I hesitate to bring this up
again, but I've done a complete search
of my records, and still find no record
of Michael's underground mission.
BONNIE
(aggravated)
All right, Kitt, I can fix that.
She reaches near the bottom of the dash and begins to hit some
buttons. Through K.I.T.T.'s next speech, his normal, calm
voice slowly becomes more and more insistent and demanding.
K.I.T.T.
(calm)
Bonnie?
(a little
insistent)
Bonnie!
(calm)
I still cannot find...
(insistent)
I have no record...
(calm)
Of Michael's...
(barely
audible)
Of Michael's....
Bonnie looks up from the dashboard at Deauville. They are
both very pleased.
EXT. HIGHWAY - DAY - HIGH ANGLE SHOT ON MICHAEL
A hot blistery day. The heat waves are almost palpable.
ON MICHAEL
MICHAEL
(into comlink)
Kitt! Kitt, are you there?! Are
you okay?...
Static. Like a constant busy signal, the sound is nerve-
wracking.
CUT TO
OMITTED
INT. GARAGE - DAY - ON K.I.T.T.'S MONITOR SCREENS
The transformation is now complete. K.I.T.T.'s voice is
all insistent.
K.I.T.T.
I am to obey Graham Deauville!
WIDER ANGLE
Bonnie and Deauville are in the front seat. Sullivan and
the two guards are gathered around the car, all dressed in
identical black commando costumes.
DEAUVILLE
Splendid -- please play back the
plan now.
EXT. GARAGE - DAY - ON CHARLENE HANOVER
Clipboard in hand, she walks to the door -- until she
hears voices. Then she stops at the door, and listens.
CLOSE ON K.I.T.T.'S MONITOR SCREENS - SERIES OF SHOTS
A) -- of newspapers with the headlines, "LITTON DISCOVERS
ANCIENT AZTEC GOLD IN DESERT" and "AZTEC GOLD TO BE KEPT
IN THEFT-PROOF CASE AT COUNTY MUSEUM."
K.I.T.T.
With my microwave jammers and surveil-
lance capabilities, Phase Two, at the
County Museum should take no more than
one minute and ten seconds.
B) -- of an overall map of the museum, outlined in white.
A gold sun signifies the gold exhibit.
K.I.T.T.
Once the Aztec gold is reached....
C) -- on the map. The gold sun begins to pulsate.
K.I.T.T.
Phase Three will commence.
D) -- Photo of the gold. The gold is dazzling: gold
furniture, gold cooking utensils, crowns, pots and more.
K.I.T.T.
Once secured and melted down, the
gold at current international prices,
will be worth 25.7 million dollars.
E) -- Over the photo flashes the numbers, "$25,700,000.00"
over and over.
ANGLE ON CHARLENE HANOVER
in the shadows, by the door. She is frightened...and
quietly steals away.
CUT TO
OMITTED
EXT. HIGHWAY - DAY - CLOSE ON MICHAEL
He is sweaty, exhausted, still filthy. Beyond misery.
CUT TO
OMITTED
EXT. MANSION - IN FRONT OF GARAGE - DAY
A large flatbed truck is parked in the lot. As K.I.T.T.
drives towards the truck, the Helios members -- Deauville,
Bonnie and three others -- trail behind like so many apostles.
K.I.T.T. stops and the guards slide a ramp down from the
rear of the truck. K.I.T.T. drives up the ramp.
The guards then take a huge tarp and cover K.I.T.T. They
secure the tarp with a rope, tightly. They all position
themselves around the car.
Deauville and Bonnie stand near the truck with Sullivan,
also dressed in a black costume.
ANGLE ON DEAUVILLE AND BONNIE
He stares up at the truck, proud. He slips his arm around
Bonnie.
SULLIVAN
There's still no word from Stark.
DEAUVILLE
We can't wait any longer.
She salutes, then climbs in the cab of the truck. Bonnie and
Deauville climb onto the back with K.I.T.T. and the guard.
DEAUVILLE
Let us begin.
Sullivan turns the motor over. It roars and she starts the
truck down the main drive.
CUT TO
EXT. HIGHWAY - DAY - ON MICHAEL
Michael is moving slowly. From off in the horizon, he
hears a car approaching. Or does he? He listens....
MICHAEL'S POINT OF VIEW
It is a car -- a red foreign sports car.
MICHAEL
starts to flag it down.
ANGLE IN SPORTS CAR
Driving is Charlene Hanover. She stares as if she's just
seen an apparition.
SCENE
The sports car is about 200 yards away from Michael -- and
it begins to slow down.
Michael is ecstatic -- he starts to run to the car.
CLOSE ON CHARLENE
She is wracked with indecision. Then ---
SCENE
She takes off and roars past a startled Michael, missing
him by inches.
CLOSE ON MICHAEL
as his last hope becomes a dot in the distance, we:
OMITTED
FREEZE FRAME
AND
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
OMITTED
EXT. HIGHWAY - DAY
Just as Michael is about to turn back towards Helios, the
brake lights of Charlene's car go on. She reverses the car
back to him. He runs up, gets in.
ANGLE AT CHARLENE'S CAR
On the backseat is a suitcase. She is obviously upset.
MICHAEL
Thanks for stopping -- I've got to
get back to Helios -- fast!
CHARLENE
(reacts)
Helios -- no, I won't go back there!
MICHAEL
You've got to -- Deauville's
brainwashed Bonnie and they're
planning to use my car in some kind
of incredible robbery to finance ---
CHARLENE
(overlap)
It's too late! They've already left ---
MICHAEL
Are you sure?
CHARLENE
I overheard them -- That's why I
left. Why I'll never go back ---
MICHAEL
Where! You said you overheard them
-- where were they going?!
She seems frozen in indecision. Michael grabs her.
MICHAEL
Charlene, listen to me -- forget the
crime, forget what Deauville's
'Master Plan' will do to Helios --
he's got Bonnie! What if it was you?
CHARLENE
(torn)
You don't understand -- he's mad!
If he finds out I helped you he'll
kill me like he killed the others!
MICHAEL
(beat)
I'm sorry, Charlene -- there's no
time left. Where were they going?
CHARLENE
The County Museum.
MICHAEL
(face-to-face)
Then that's where I'm going. Either
you drive me or I'll drive myself.
It's up to you.
CHARLENE
You'd...take my car?
Michael nods. She sees he's deadly serious. She sighs,
puts the car into gear and they peel out, disappear down
the highway.
OMITTED
EXT. HIGHWAY - DAY - ON HELIOS TRUCK
The Guard -- plus Bonnie and Deauville -- sit in the back
of the truck, concealed from view from the road. Under the
tarp, K.I.T.T. waits.
LOW ANGLE SHOT FROM ROAD
as the flatbed truck roars past. A silent missile, heading
to its target.
OMITTED
INT. CHARLENE'S CAR - DAY
flying down the highway.
EXT. COUNTY MUSEUM - DAY
The flatbed truck pulls into the parking lot (it's late
Sunday -- and the museum is closed). When it comes to a
stop:
ANGLE ON RAMP
as the guards slide it down from the truck to the ground,
noiselessly.
ANOTHER ANGLE - MOMENTS LATER - ON HANDS
undoing the rope that holds the tarp.
ANOTHER ANGLE - ON TARP
A pair of hands grab one side of the tarp.
ANOTHER ANGLE - ON TARP
Another pair grabs the other side -- and they both pull.
ANGLE ON K.I.T.T.
unsheathed, the tarp removed.
ANOTHER ANGLE - MOMENTS LATER - DOWN ON RAMP
K.I.T.T. backs down the ramp to the parking lot.
EXT. HIGHWAY - DAY - ON CHARLENE'S CAR
It roars by.
OMITTED
EXT. MUSEUM PARKING LOT - DAY
The museum is a modernistic structure. K.I.T.T. is parked
at one end of the parking lot. At the other end is a solid
wall. The Helios members surround K.I.T.T. Deauville
stands with Bonnie.
BONNIE
Phase One, Kitt.
CLOSE ON K.I.T.T.'S MONITOR SCREENS
A map of the building flashes on: the outline of the
museum is one solid white line. Inside that are two solid
red lines. A gold sun signifies the gold. A humming sound
comes from somewhere inside the car.
CLOSE ON GRAY SECURITY SYSTEM CONTROL BOX - DAY
marked "Security System Control Box." It starts to smoke
and then spark -- then the door flies open and the wires
inside burn up.
CLOSE ON K.I.T.T.'S MONITOR SCREENS
One of the red solid lines fades out. On the screen
flashes the message: "PRIMARY SECURITY SYSTEM -
DEACTIVATION COMPLETED"
CLOSE ON SMALL BLACK SECURITY SYSTEM CONTROL BOX - DAY
marked "Auxiliary Security System Control Box." Same as
the gray box -- it smokes, sizzles -- then burns out.
CLOSE ON K.I.T.T.'S MONITOR SCREENS
The other solid red line fades out. On the screen flashes
the message "AUXILIARY SYSTEM - DEACTIVATION COMPLETED"
A flashing white light blinks by an entranceway.
DEAUVILLE (O.S.)
The locks, Kitt -- Phase Two.
CLOSE ON DOOR OF MUSEUM
and a massive steel lock.
ON K.I.T.T.
as his microwave jammers begin to hum.
CLOSE ON LOCK
There are some squeaking sounds, then some movement -- as
the lock is being picked open by K.I.T.T.
EXT. PARKING LOT
As the Helios members all run to the museum entrance --
Charlene tears into the parking lot. Michael jumps out of
her car by the wall.
MICHAEL
Call the police!
She tears out, tires squealing.
OMITTED
HIGH ANGLE SHOT
K.I.T.T. and Michael face off, at either end of the parking
lot.
ON MICHAEL
as he starts to walk towards K.I.T.T.
MICHAEL
Kitt, it's me, Michael.
INTERCUT - K.I.T.T.
The scanning light flashes.
INTERCUT - LOW ANGLES - DEAUVILLE
to Sullivan and the guards:
DEAUVILLE
Start the operation. I'll take care
of our stubborn friend.
After a beat, all but Bonnie and Deauville enter the museum.
DEAUVILLE
Kitt -- kill Michael Knight. Kill
him!
K.I.T.T. revs up, tires burning, like a bull ready to
charge. The noise is almost unbearable. It's a Western-
style face off. Michael keeps coming towards K.I.T.T.,
slowly.
MICHAEL
No, Kitt -- you belong to me.
K.I.T.T.
I have my orders!
MICHAEL
You're my car....
K.I.T.T.
I obey Graham Deauville!
As Michael continues forward, so does K.I.T.T.
MICHAEL
What does Kitt stand for?
No answer.
INTERCUT - BONNIE
She looks increasingly confused by all this and follows the
exchange like she's watching a tennis match.
MICHAEL
Knight Industries Two Thousand. I
know that because you're my car, Kitt.
K.I.T.T. revs up again, like he's furious at Michael's
statement.
DEAUVILLE
You obey me! You've been programmed
to obey me! Tell him, Bonnie!
BONNIE
That's right, Kitt....
MICHAEL
No, Kitt. I am Michael Knight....
K.I.T.T. starts to shake.
MICHAEL
You are the Knight 2000....
K.I.T.T. starts to shake more.
MICHAEL
You are my car.
K.I.T.T. suddenly revs up...and starts for Michael.
K.I.T.T.
I...obey...Graham Deauville!
K.I.T.T. tears up to Michael -- and stops an inch away.
MICHAEL
You'll have to kill me to stop me,
Kitt.
The shaking now becomes violent. Sparks fly from under the
hood.
DEAUVILLE
Kitt, kill him!
MICHAEL
You're mine, Kitt -- remember, the
Cubs.
K.I.T.T.
Everyone knows it was the '27 Yankees
...Never the Cubs.
A frightening shudder -- then silence. Deauville shakes
Bonnie.
DEAUVILLE
Do something -- make him obey me!
ANGLE ON MICHAEL
as he walks towards them.
MICHAEL
You made two mistakes, Deauville:
The first was your arrogance...and
the second was ignoring that Kitt
is programmed never to take human
life....
Deauville looks from Michael to Bonnie -- then he runs to
the flatbed truck, Bonnie reacts, running after him.
BONNIE
Graham!
Michael catches up to her as Deauville starts the truck and
pulls out.
MICHAEL
Bonnie, it's all over....
She pulls back from him, distrustful.
BONNIE
No...!
MICHAEL
Bonnie, listen to me! You're part of
us -- we're a team -- You and me and
Kitt and Devon!
BONNIE
No!
MICHAEL
Yes! We work together...not to hurt
people, to help people....
Michael reaches out his hand to her.
MICHAEL
Bonnie, take my hand...remember...
the Foundation...You and me, Kitt,
Devon...take my hand, Bonnie...
remember....
She doesn't pull away. Tears stream down her face.
MICHAEL
We're a team, Bonnie...we love each
other....
OMITTED
CLOSE ON THEIR HANDS
as her reaches out -- and grabs his.
BACK TO SCENE
Michael grabs her and hugs her fiercely. She falls into
his arms, sobbing.
MICHAEL
(to Bonnie;
quietly)
It's okay...it's okay now...call
Devon, tell him what's happened.
Bonnie nods.
OMITTED
NEW ANGLE - ON MICHAEL AND K.I.T.T.
Michael comes up close to the car. After a beat, K.I.T.T.'s
door pops open.
INT. K.I.T.T. - DAY
Michael smiles, relieved.
MICHAEL
It's good to be home, pal.
K.I.T.T.
Thank you, Michael. I feel strangely
...relieved.
(beat)
The remaining Helios members are
still inside the museum.
MICHAEL
All right, Kitt -- let's do something
different this time. This time let's
lock the door.
CLOSE ON MUSEUM DOOR LOCK
as the tumblers click -- and the door locks.
OMITTED
MUSEUM - ON K.I.T.T.
as Michael turns the car around and pulls out of the
parking lot.
INT. K.I.T.T.
Michael maneuvers the car down the city street, hits
surveillance mode.
MICHAEL
Kitt, see if you can give me a
location on the truck.
CLOSE ON K.I.T.T.'S MONITOR SCREENS
which flash a map of the area. A blinking red dot sig-
nifies the Helios truck as it moves a few blocks through
town.
K.I.T.T. (O.S.)
3.7 miles to the west, Michael.
Shall we pursue?
ON MICHAEL
MICHAEL
You bet, buddy....
ON K.I.T.T.
as it accelerates....
EXT. CITY STREET - DAY - ON FLATBED TRUCK
The truck rips down a deserted city street, past ware-
houses and lots. It weaves jerkily.
INT. TRUCK - DAY - ON DEAUVILLE
This is the first time he's ever driven the truck -- and
it shows. He is trying his best to control the truck.
When he checks his rearview mirror....
ANGLE ON REARVIEW MIRROR
The Knight 2000 appears in the mirror, getting close.
ANGLE ON DEAUVILLE
panicked. He swings around a block....
ANGLE ON TRUCK
as it takes the corner abruptly, crashing into some gar-
bage cans and nearly sideswiping some cars. Deauville
steers the truck down an alleyway.
ANGLE ON K.I.T.T.
in hot pursuit.
ANGLE IN ALLEYWAY
as K.I.T.T. comes right behind the truck, then, pulls to
the left -- and goes up on two wheels...and passes the
truck!
ANGLE ON STREET
as K.I.T.T. comes out of the alleyway and comes to a stop.
ANGLE ON DEAUVILLE
absolutely panic-stricken. He turns the wheel to try to
avoid K.I.T.T., but turns it too fast....
ANGLE ON TRUCK
as it screeches to a halt -- then jack-knifes over.
ANGLE ON MICHAEL
as he jumps out of K.I.T.T. and runs to the cab of the
overturned truck.
ANGLE ON TRUCK
as Michael pulls Deauville out of the wreckage, we:
OMITTED
FREEZE FRAME
AND
FADE OUT
END OF ACT FOUR
TAG
FADE IN
INT. DEVON'S OFFICE - DAY
Bonnie, wearing a robe, is escorted in by Devon. Michael
is putting the finishing touches on a tray of food set up
at Devon's desk. Bonnie's overnight bag and jacket rest
on the desk.
BONNIE
What's this?
MICHAEL
This is eggs -- scrambled, toast --
light, coffee, orange juice, straw-
berries in cream -- Devon's idea.
BONNIE
And a single yellow rose?
DEVON
Michael's idea.
Devon brings her to the desk and she sits down. They stand
on either side of her. She picks up a magazine from the tray
and reads its cover.
BONNIE
Automotive Today?
From Michael's comlink:
K.I.T.T. (O.S.)
My idea, Bonnie. I hope you like it.
BONNIE
(laughs)
It's great, Kitt. Just what I needed.
MICHAEL
He's been nice to me all morning. I
think he feels guilty.
K.I.T.T. (O.S.)
Michael, guilt is an emotional -- a
human -- response. However, I could
order you a subscription of Automotive
Today, too.
MICHAEL
That's okay, Kitt. I'll read
Bonnie's.
(a beat)
Oh, I almost forgot. A little some-
thing I ran across in the Helios files.
He pulls the paper he found at Helios out of his pocket.
He hands it to Devon.
DEVON
(awestruck)
I passed!
They all laugh. When Michael and Devon look over at Bonnie,
she is staring at her jacket on the desk.
DEVON
What is it?
She carefully holds up the Helios pin.
CLOSE ON HER HAND
It's the Helios pin.
BACK TO SCENE
Michael and Devon share a look of concern as she stares
at it. Then -- she looks up, smiles -- and hands the
pin to Devon.
BONNIE
I think this should be yours.
They all let out laughs of relief. Michael looks at the
tray of food. He picks out a strawberry and bites into it.
BONNIE
Hey!
MICHAEL
Just a small one....
Devon reaches over and snatches another strawberry.
DEVON
These do look rather delicious.
BONNIE
Wait a minute!
As they all grab for strawberries, we:
FREEZE FRAME
AND
FADE OUT
THE END
