ACT ONE
FADE IN
CLOSEUP - PHOTO ON WALL - NIGHT
as we see a worn picture of a young Charlie Granger, square-
jawed, dashing adventurer, standing on the slopes of the
Himalayas as if he's just conquered the world. As camera
pans across other photos of Charlie through the years,
standing with great leaders of yesteryear, past yellowed
newspaper articles ("CHARLIE GRANGER -- THE MAN BEHIND THE
MYTH" and "GRANGER CONQUERS AMAZON", etc.) and past Medals
of Valor, trophies of athletic triumphs, etc., we hear in
the b.g. what sounds like sharp shots from a small pistol.
OMITTED
EXT. STREET ADJACENT TO FOUNDATION - NIGHT
as an elegant Jaguar XJS pulls up to the gates and a guard
steps out of the shadows. Recognizing the Jaguar's driver,
the guard waves him in, opening the gates. As the car enters
the Foundation grounds, we pan over to a plaque on the wall,
identifying the FOUNDATION FOR LAW AND GOVERNMENT.
EXT. FOUNDATION GROUNDS - NIGHT
as the Jaguar moves past the building we know as the
Foundation's main headquarters, back around the property
toward a Groundskeeper's quarters in the rear.
INT. CHARLIE'S QUARTERS - ON WALL - NIGHT
as we continue panning the wall, the sounds in the b.g.
continuing. We pick up carefully framed pictures of a
beautiful girl at various young ages, standing in rather
rigid poses in her private school uniform. In each picture,
she wears a small gold locket on a long chain. We stop on
a more recent article, with the headline: WHATEVER HAPPENED
TO THE GREAT CHARLIE GRANGER? We pan down to a desk, and
there, hunched over an old Underwood upright typewriter, is
Charlie -- except now he's a tired fifty-five, hair gray,
eyes dimmed -- only the square jaw remaining to remind one
of the early years. We now know that the "shots" are
actually the sounds of his two-fingered typing as he pulls
the letter he was tolling over out of the machine, slides in
an envelope. We move in on the envelope as he types out the
words: Mr. Devon Miles.
EXT. CHARLIE'S QUARTERS - NIGHT - ON JAGUAR
stopping outside, headlights still burning.
INT. CHARLIE'S QUARTERS - NIGHT - CLOSE ON CHARLIE
as, hearing the car, he quickly takes the envelope out of
the typewriter, folds the letter and puts it inside, seals
it. As we hear the car door open, then shut, the sounds of
someone approaching, Charlie hurriedly sticks the envelope
under the desk blotter.
WIDER ANGLE
The door swings open and, backlit by the Jaguar's lights,
we see a figure fill the door frame. A good-looking, well-
dressed man in his late thirties steps into the room -- he's
Christopher Stone. His voice is educated and frightening in
its assuredness. Charlie recognizes him at once, rises,
seemingly sheltering the desk and the letter hidden there
with his body.
CHARLIE
This is a surprise -- what're you
doing here so late at night?
STONE
I had to talk to you, Charlie. I
was rather surprised, myself, to
hear that you came to the bank today
and took something out of the vault.
Why didn't you talk to me about it?
CHARLIE
I didn't think I had to.
STONE
What did you take out of the vault,
Charlie? It was the map, wasn't it?
CHARLIE
Her birthday's in two days. I've
been planning this for years. I
want to give it to her myself.
Stone begins moving around the room, casually looking at
the photos and surroundings, ever closing in on Charlie.
STONE
You know, things haven't gone well
for me this year. I'm under a great
deal of financial pressure.
He now looks up at Charlie, holds out his hand.
STONE
Give me the map, Charlie.
CHARLIE
You don't understand. It's not what
you think it is.
Stone's eyes fall on the desk behind Charlie. He reaches
for the top drawer and Charlie tries to stop him, but Stone
moves faster. He lashes out with a lightning-fast blow to
Charlie's chest -- like a cobra striking -- and the older
man falls to the floor, taking the blotter and some papers
with him. Stone pulls the desk drawer open, rifles through
it, pulls out a folded map. As he unfolds it:
CLOSE ON THE MAP
A topographical layout of an area called Devil's Canyon,
with Devil's Basin circled in red. Across the top is
boldly written: KATHERINE GRANGER, THE TWENTY-FIRST YEAR.
WIDER ANGLE - STONE
smiling coldly at the map.
STONE
It's exactly what I think it is.
He folds the map and slides it into his inside coat pocket,
turns and walks quickly out of the room. We zoom in on
Charlie, then past him to the papers that have fallen from
the desk. We pick up the envelope that has fallen from
beneath the blotter, hold on the inscription: Mr. Devon
Miles.
EXT. HIGHWAY - DAY
as we see K.I.T.T. speeding down the road.
INT. K.I.T.T. - DAY - ON MICHAEL
as he leans back and stretches his arms, giving out a
relieving, stretching "yell."
K.I.T.T.
Michael, what on earth are you doing?
MICHAEL
Trying to keep from going crazy.
All I can say is that I'm glad this
assignment is over. No offense
Kitt, but one more day behind the
wheel without a rest....
K.I.T.T.
No offense is taken Michael. On the
contrary, bipedal primate mammals
were never intended to spend such
periods in a sedentary position.
Although your sacroiliac has been
showing remarkable endurance.
MICHAEL
Thank you Kitt...I think.
K.I.T.T.
In fact, I've been doing a study,
and have come to the conclusion that
you would all be much better off had
you remained crawling on all fours.
MICHAEL
I see. You mean like you?
K.I.T.T.
I never crawl, Michael.
(beat)
You'll be happy to know I've just
picked up the semi on my scanner.
We shall reach it momentarily.
MICHAEL
(looking up)
Relief at last.
EXT. HIGHWAY - DAY - ON SEMI AND K.I.T.T. - STOCK
as we pick up the semi, it's ramp down -- and K.I.T.T.
drives in.
INT. SEMI - DAY
as K.I.T.T. comes to a stop at his station. April
immediately approaches, very brisk and businesslike. She
moves the Circuit Analyzer over to K.I.T.T., pulls it down
over the hood and begins jotting down the readout from the
analyzer onto her clipboard.
APRIL
And how are you feeling?
MICHAEL
You know those red pimentos inside
of cocktail olives?
APRIL
(dry)
I was asking Kitt.
K.I.T.T.
My RTA is on scope, but the
ultraphonic gear could use some
minor tweaking.
MICHAEL
Thanks for the concern, April.
K.I.T.T.
Michael, I'm a finely tuned instrument
in need of regular, careful maintenance.
Michael looks over April's shoulder to her clipboard. He
sees what she's writing, then:
MICHAEL
Wait a minute. You're not doing a
circuit check -- that's a road test.
You're not expecting us right back
on the road...?
Devon comes up behind them, looking like the obvious
bearer of bad tidings.
DEVON
Yes, I'm afraid we are, Michael.
Michael looks over at him, sees the concern in his face.
MICHAEL
Is something wrong? What's happened
Devon?
DEVON
In your time at the Foundation, I'm
sure you've noticed our groundskeeper,
Charlie Granger.
MICHAEL
Of course I know old Charlie -- I say
hello to him every morning.
DEVON
He was found dead in his quarters at
the Foundation this morning, Michael.
MICHAEL
He died? How?
DEVON
Of an apparent heart attack. A
letter was found next to his body.
It was addressed to me. It
requested that in the event of his
death, we bring his little girl to
the Foundation and give her a sealed
letter containing her legacy.
MICHAEL
Wait a minute -- did you say Charlie
Granger? As in the great explorer?
DEVON
One and the same, Michael. He'd
fallen on hard times, and seemed to
wish to be forgotten.
MICHAEL
When I was a kid, I used to read
about Charlie Granger entering
ancient tombs and discovering lost
cities. I wanted to be just like
him when I grew up. Now I find out
he's been working in the garden all
this time and I never even talked to
him. There's something really wrong
with that.
DEVON
I feel the same, Michael.
(a beat, then)
According to his letter, he feared
for his life, as well as that of his
daughter. That's why he wanted her
brought to a safe place.
MICHAEL
You said he died of an apparent
heart attack. Do you think he
could've been murdered?
DEVON
It's a horrible thought -- on the
Foundation grounds -- but I'm afraid
we must consider the possibility.
(beat, then)
Michael, I know how tired you are.
Unlike Kitt, we can't wave a Circuit
Analyzer over you and 'tweak' back
your energy...but I do feel rather
sentimental about this gentleman.
His fall from public acclaim was
quite tragic.
MICHAEL
Say no more, Devon -- I'm on my way
to pick up a little girl.
He gets into K.I.T.T., starts up the engine.
APRIL
Hey, wait -- I've got a few more
adjustments to make....
MICHAEL
Listen, April, if I don't get
tweaked, neither does Kitt.
Off April's look, as Devon joins her, Michael begins to
back out.
OMITTED
EXT. HIGHWAY - DAY - STOCK
as Kitt backs out, then once on the road, does a 180 and
heads away from the semi.
EXT. DEVIL'S CANYON - DAY - ANGLE ON STONE'S XJS
driving along the dust road leading into Devil's Basin.
There, we see a pickup truck with a hauling rig carrying a
small tractor/drill. A work-clothed, sun-bronzed young
man, Micky, is preparing to lower the drill from the rig
when the Jaguar approaches, pulls to a stop nearby. As
Stone climbs out:
MICKY
You Mr. Stone? I'm Micky. Where
do you want me to start?
Stone approaches, unfolding what we see is Charlie
Granger's map. Stone holds the map out for Micky.
STONE
Right here.
Micky looks over the map, shakes his head.
MICKY
There's a lot of area to cover.
STONE
Then you'd better start digging.
He folds the map, obviously not intending to leave it.
STONE
I've got one more piece of business
to attend to....
As he heads back toward the Jaguar, Micky strips off his
shirt, preparing to work.
EXT. TREE-LINED STREET - DAY
The leaves have that warm glow of autumn as we see K.I.T.T.
driving down the Eastern-looking street.
INT. K.I.T.T. - DAY
as Michael looks at the monitor.
MICHAEL
Okay, Kitt, we're looking for a
little girl named Katherine
Granger. Did Devon give you any
more info on her?
K.I.T.T.
Just that she's at the Briarwood
School, a rather exclusive private
institution. Quite high,
academically.
(then)
Michael, I must ask you something.
MICHAEL
What is it, Kitt?
K.I.T.T.
I don't quite understand what this
'legacy' is all about -- this gift
that Katherine's father left her.
MICHAEL
Well, a legacy is usually something
you've had all your life that you
give to the person who is closest to
you.
K.I.T.T.
But wouldn't it mean more if one
gave such a gift while one was still
alive?
MICHAEL
For a lot of people, the only time
they have the nerve to do something
nice is after they're gone.
K.I.T.T.
You know, people are a lot more
complicated than they look.
MICHAEL
(with a laugh)
Tell me about it.
EXT. BRIARWOOD SCHOOL ENTRANCE - DAY
as K.I.T.T. drives up to the gated entrance. Overhead is
an elegant sign: "THE BRIARWOOD SCHOOL FOR YOUNG LADIES."
Beyond the gate is a vast green, immaculately kept lawn
with a thick forest of trees, all very idyllic. K.I.T.T.
drives through the open gates.
INT. K.I.T.T. - DAY
as Michael looks around, they drive.
MICHAEL
Not like where I went to school.
The only thing green there was the
chalkboard.
K.I.T.T.
Michael, my sensors are picking up
something coming toward us due
south, with increasing speed.
MICHAEL
A car?
K.I.T.T.
Not exactly....
Before K.I.T.T. can finish, we see a beautiful white
Arabian horse coming toward us at an out-of-control
gallop. At the reins is a woman in her early twenties,
decked out in English riding habit, complete with hat and
crop, holding on for dear life.
EXT. K.I.T.T. - FULL
as K.I.T.T. stops "on a dime" and the horse jumps right
over the very end of K.I.T.T.'s hood, heading down the
field.
INT. K.I.T.T. - DAY
as Michael swings the car off the road and heads after the
horse.
MICHAEL
Kitt, pop the sun roof and switch to
auto drive.
CLOSER ANGLE - CONTROL PANEL
as we see the "auto drive," and "sun roof open" lights go
on.
EXT. FIELD - DAY
as K.I.T.T. catches up with the out-of-control horse and
drives along beside it, matching its pace. Michael stands
up on K.I.T.T.'s seat, then leaps up onto the back of the
horse behind the girl, pulling the reins back and stopping
the animal.
CLOSER ANGLE - MICHAEL AND THE GIRL
Michael jumps off, then helps the girl down. We see her
for the first time. She's a striking, natural beauty --
nothing artificial in her features -- with a fiery,
independent spirit. Her name is Katherine.
KATHERINE
You probably think that was real
dashing, don't you?
Michael's surprised by her coldness.
MICHAEL
No, I just thought it would save you
from breaking your neck.
KATHERINE
(dry)
I'll run right out and buy you a
medal. Now if you'll excuse me.
MICHAEL
Wait. If you can't say thanks, at
least maybe you can tell me where
I'd find a girl named Katherine
Granger.
Katherine looks at him for a moment, then:
KATHERINE
You're looking at her.
This surprises Michael, then:
MICHAEL
Your father said you were a little
girl.
KATHERINE
My father? What do you know about
my father? Who are you?
MICHAEL
My name is Michael Knight and I work
with Charlie. I'm supposed to....
KATHERINE
If you know my father, you'll enjoy
talking to him. He'll be here within
the hour, for the Father/Daughter Tea.
Now, I'd love to stay and chat, but the
dorm turns into Grand Central before
a social.
Katherine jumps up on the horse and before Michael can say
anything, gallops off. Michael walks back to K.I.T.T.
K.I.T.T.
What's wrong Michael?
MICHAEL
It's very hard to find a good place
for bad news, Kitt.
EXT. BRIARWOOD LADIES' DORMITORY - DAY
as K.I.T.T. drives up and stops a few hundred yards from
the dorm lobby entrance. As Michael climbs out and
approaches, we see a bust of a lion on a marble pedestal,
guarding the entrance to the right, and Michael pats it on
the head as he passes en route to the lobby.
INT. DORM LOBBY - DAY
as Michael comes in, crosses to a board listing tenant's
names; then, out of the corner of his eye, he sees
Katherine, still in her riding outfit, crossing the
lobby.
MICHAEL
Katherine ---
She hears him, but keeps going, heading for the stairs.
Michael catches up with her, stops her.
MICHAEL
(firm; to
Katherine)
I'm not working my way through college
selling subscriptions, so don't slam
the door in my face. I just have to
talk to you. It's important.
Katherine looks at him for a moment.
KATHERINE
Let's go over here.
Katherine leads Michael to a small table near the stairs.
There's an arches window showing the grounds behind them.
CLOSER ANGLE - MICHAEL AND KATHERINE
as she turns to him.
KATHERINE
It's about my father, isn't it?
He's not coming.
MICHAEL
(carefully)
Katherine. Your father is dead.
Katherine looks down for a moment, then turns and looks out
the window. She begins to play with a gold locket around
her neck as she thinks. Then, her back still turned:
KATHERINE
Pretty out there isn't it? I've
always liked this time of year. It
has the smell of colors.
She turns back to Michael, her face holding back any
emotion.
KATHERINE
I never really knew my father. It's
no big deal, okay? You don't have
to handle me like I'm an eggshell.
Nothing makes me crack anymore.
She turns toward the stairs and Michael stops her.
MICHAEL
I'm supposed to take you to the
Foundation to give you a letter
your father left for you.
KATHERINE
Some other time. Right now, I'm
going to the tea -- father or not.
She turns and runs up the stairs.
MICHAEL
(calling out)
Katherine!
Michael's thrown by Katherine's seeming indifference, but
knows he can't stop her as she disappears onto the upstairs
landing.
He turns and walks out of the lobby.
ANGLE - KATHERINE ON LANDING
We push in on her face and see another side: tears welling
up in her eyes, inching down her cheeks as the news of her
father's death affects her more than she'd ever want anyone
to know. Struggling to compose herself, she moves to a
nearby house phone, dials.
CLOSE ON KATHERINE
as she leans against the wall, the house phone to her ear.
As other girls walk by -- many already in their dresses for
the tea -- Katherine ad-libs hellos, and tries to stay calm.
As she talks, she plays with her locket, and becomes increas-
ingly upset.
KATHERINE
(into phone)
Hello? Mr. Stone? It's Katherine
Granger. Why didn't you tell me about
my father?
CLOSEUP - BACK OF A MAN'S HEAD - DAY - INTERCUT WITH
KATHERINE
The man is talking on a modular phone. We don't pay off
exactly where he is.
MAN
I was about to come out and see
you. It was such a shock. Where
did you hear about it?
KATHERINE
A stranger told me. A man named
Michael Knight. He said he had a
letter from my father....
The Man reacts to this, but his voice remains cool.
MAN
Listen carefully, Katherine. First,
I want you to calm down. Then go out
and see if this, what's his name...?
KATHERINE
...Michael Knight....
MAN
...this Mr. Knight is still outside.
Tell him you want to see some
credentials. I'll be there as
soon as I can. But you go outside
now, Katherine. Have you got that?
KATHERINE
Yes.
MAN
Good. And don't worry, I'm going to
take care of everything.
We lose intercut as the Man hangs up the phone and pull
back to see that he's Christopher Stone, and he's inside
his Jaguar, as he reaches over to the passenger side and
opens up a thick "briefcase." Inside is a high-powered
rifle.
EXT. JAGUAR - DAY
revealing it parked inside the entrance of Briarwood
School, as Stone climbs out with the rifle, moves behind
some nearby bushes.
EXT. DORM - DAY - ON SMALL GOLF CART
towing catering supplies, such as flowers, linens,
candelabras, etc., pulling up in front of the dorm. We
angle past it to see K.I.T.T. still parked across the way.
INT. K.I.T.T. - DAY - FAVORING THE MONITOR
where we see Devon.
DEVON
Michael, you must try to convince
her that we have her best interests
in mind.
MICHAEL
I can't force her to leave, Devon....
Michael stops. He catches something in the rearview mirror.
MICHAEL'S POINT OF VIEW - REARVIEW MIRROR - ON KATHERINE
as she walks out of the dorm.
MICHAEL
as he smiles.
MICHAEL
Luckily, I may not have to. I'll
get back to you.
Michael turns off the monitor, when:
K.I.T.T.
Michael, my sensors are picking up
an armed man nearby -- and the gun is
aimed at the dormitory entrance.
Michael looks out the window.
ANGLE - KATHERINE
spotting K.I.T.T. moving toward Michael.
OMITTED
ANGLE ON K.I.T.T.
as Michael slams the car into reverse and it roars back-
wards toward the dorm and the small golf cart blocking
K.I.T.T.'s access to Katherine.
INT. K.I.T.T. - ON CONTROL PANEL
Michael quickly pushes the turbo boost button.
EXT. DORM - LOW ANGLE
as K.I.T.T. turbo boosts backwards up and over small golf
cart.
EXT. K.I.T.T. - DAY - SLOW MOTION
sailing backwards in the air, a bullet rings out and
ricochets off the molecular bonded shell.
ANGLE - LION STATUE
as the bullet hits the statue, causing the head to burst
off.
ANGLE - KATHERINE
startled by the approaching car, she falls.
ANOTHER ANGLE - K.I.T.T. - SLOW MOTION
landing to the right of the dorm's entrance.
ANGLE - STONE'S JAGUAR
as he jumps into the car and tears away from Briarwood,
disappearing from view.
EXT. DORM - FULL
as a few girls run out, stare.
ANGLE ON MICHAEL
as he leaps out, runs to the fallen Katherine, helps her to
her feet. Around them, students stare and point at the
decapitated stone lion, then quickly go about their
business.
MICHAEL
Are you all right?
KATHERINE
What happened?
MICHAEL
Somebody tried to shoot you.
KATHERINE
Shoot me? You mean you tried to run
me down.
MICHAEL
I know how it looks, but believe me,
Katherine...a shot was fired. That's
why I'm here -- your father said in
his letter that you might be in
danger....
KATHERINE
My father said? What would he know?
MICHAEL
Look, regardless of what you think of
Charlie, I'm trying to help you....
Katherine stares him right in the eye.
KATHERINE
Look, I never wanted a knight in
shining armor -- not you, not my
father -- not anybody!
She whirls around, heads for the dorm.
MICHAEL
Where are you going?
KATHERINE
To the Father/Daughter Tea. Alone.
Just like I've always been.
As Katherine disappears into the dorm.
Michael turns and runs to K.I.T.T., starts to climb in.
MICHAEL
Let's see if we can nail our
marksman, pal.
K.I.T.T.
Negative, Michael. I'm afraid he's
no longer in the vicinity.
Frustrated, Michael slams his fist against the dash.
MICHAEL
Charlie knew somebody'd try to kill
Katherine. I wish I knew who and
why.
K.I.T.T.
Perhaps it's tied in with the legacy
we spoke of.
MICHAEL
That's what I figure. If it is,
there's one thing we know for sure
-- whoever fired that shot'll try
again. We've got to get Katherine
out of here -- one way or another.
As he pulls the door shut and starts the engine, moving the
car off the sidewalk, we:
FREEZE FRAME
AND
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
EXT. DEVIL'S CANYON - DAY - ANGLE ON STONE'S XJS
parked amidst numerous small excavations. The tractor/
drill's now at work, and shuts off as Micky climbs out of
the newest pit. He crosses to Stone, shaking his head.
STONE
Looks like we're experiencing an
exercise in futility.
Micky wipes sweat off his brow, leans against the drill.
MICKY
Listen, it's all the same to me,
Mr. Stone. I can dig up the whole
canyon if it'll make you happy. But
I'm telling you, we got a real needle
in a haystack situation here. If
you can't get me the key to this
treasure of yours, you'll never find
it.
STONE
I think you've put your finger on
it, Micky. I need the key.
Fortunately, I have a pretty good
idea where it is.
He reaches into his pocket, takes out a wallet and peels
off some money for Micky, hands it to him.
STONE
You may as well take off until I get
that key.
CLOSE ON STONE
to show a cruel, hard smile crease his aristocratic face.
STONE
And I will get it.
OMITTED
EXT. TERRACE - DAY
A string quartet plays sweetly in a large area filled with
good-looking fathers escorting their lovely daughters,
mingling with more preppy males from nearby men's colleges.
The ladies wear chiffon dresses, the men wear well-
tailored suits. Some dance to the lilting music.
ANGLE ON KATHERINE
literally surrounded by young preppys. She's beautifully
dressed but nervously fingers her ever-present locket,
virtually ignoring the men around her -- her wistful eyes
follow the daughters with their adoring fathers.
PREPPY #1
C'mon, Katherine, this is strictly
stuffed shirt material. Let's take
a real breather -- I've got the top
down.
PREPPY #2
Cool down, hotwheels, I've got the
first drive.
We move in on Katherine's face -- she seems almost
mesmerized by something O.S.
KATHERINE'S POINT OF VIEW - A FATHER AND DAUGHTER
dancing nearby, laughing and enjoying each other. The
father catches Katherine's stare, smiles. His daughter
glances up, catches the friendly exchange. She whispers
something in her father's ear that causes his smile to fade
away.
ANGLE ON KATHERINE
obviously hurt by this. She looks very isolated and
lonely, despite the admirers surrounding her, ad-libbing
offers.
ANGLE ON MICHAEL
as he enters across the room, out of place in his leather
jacket and jeans. Ignoring the critical looks of the
patrons, Michael scans the room and spots Katherine. He
heads directly toward her.
ANGLE ON KATHERINE
Seeing Michael coming, she quickly catches the arm of
Preppy #1.
KATHERINE
Let's dance.
And she leads the surprised Preppy onto the dance floor,
just at the moment that Michael would have reached them.
Michael reacts briefly to the whispering around him, then
moves after Katherine.
ANOTHER ANGLE - CLOSER TO INCLUDE MICHAEL AND KATHERINE
as Michael taps the Preppy dancing with Katherine on the
shoulder.
MICHAEL
May I cut in?
The Preppy starts to protest, then notices how much larger
Michael is than he. Instead, he eyes Michael with distaste.
Katherine's stare holds even less affection.
KATHERINE
What are you doing here? How dare
you come in dressed like that!
MICHAEL
Whether you believe it or not,
you're in great danger. I've got to
get you out of here, now.
KATHERINE
I'm in the middle of a dance.
PREPPY #1
The lady doesn't want to talk to you.
KATHERINE
You stay out of this.
The Preppy clams up. As the argument grows in volume,
the music stops and people really begin to pay attention.
Katherine looks around, her humiliation and anger building.
KATHERINE
I'll say one thing for my father --
he was consistent to the end. He
always sent something else in place
of himself. It was usually money.
Now it's you.
MICHAEL
I've got a responsibility to Charlie
and I'm taking you out of here...either
nicely, or not so nicely.
KATHERINE
You wouldn't dare.
MICHAEL
Oh, yes I would.
And he grabs her by the waist, throws her over his shoulder
fireman-style, as she ad-libs screams of protest.
PREPPY #1
Hey, now, wait a minute....
WIDER ANGLE
as ad-libbing "excuse me's," Michael pushes through the
crowd, leaves the ballroom.
ANGLE ON PREPPY #1
glaring after Michael, as he's joined by two friends.
PREPPY #2
Who does this guy think he is?
PREPPY #3
I don't know, but he's on our turf
now.
The men exchange a silent agreement, then hurry after Michael.
EXT. BRIARWOOD SOCIAL CENTER - DAY - ON MICHAEL
still carrying Katherine, as they head toward K.I.T.T.
KATHERINE
Put me down! I'll get you for this.
MICHAEL
You go right ahead and do that.
K.I.T.T. pops the passenger door as they reach it and Michael
pushes Katherine in, shuts the door, circles to the driver's
side and climbs in.
ANGLE ON THE THREE PREPPYS
coming out of the social center as Michael starts the car
and pulls away. They stare at K.I.T.T. with disdain.
PREPPY #2
Look at that piece of domestic
aluminum. Does he really think he
can lose us in that?
PREPPY #1
I think this guy needs to be taught
a lesson.
He and his friends laugh. Then, they dash to three separate
obscenely expensive sports cars, climb in and take off after
K.I.T.T.
EXT. BRIARWOOD GATES - DAY
as we see K.I.T.T. drive out, followed a few beats later by
the sports cars.
EXT. ROAD NEAR BRIARWOOD - DAY - ANGLE ON K.I.T.T.
moving briskly up the road. After K.I.T.T. passes, we wait
a beat, then see the three sports cars in pursuit.
INT. K.I.T.T. - DAY
Katherine sits, head held high, sulking.
K.I.T.T.
Michael, we're being pursued by
three low-slung vehicles.
Michael glances in the rearview mirror, nods. Katherine
doesn't even react to K.I.T.T.'s voice. Michael notices
this.
MICHAEL
You don't impress her, Kitt.
K.I.T.T.
Well, pardon me.
There's a roar of engines coming up fast and Michael
glances out his window.
EXT. K.I.T.T. - DAY
as the three sports cars now pull up close behind K.I.T.T.,
make a lot of noise, honking horns and revving engines.
The car bearing Preppy #1 pulls up on the left of Michael
and Preppy #2 tries to pass on the right, bouncing off the
dirt shoulder. The three vehicles are weaving all over the
street, taking up both lanes, darting in and around one
another.
ANGLE ON A STATION WAGON
coming up the highway toward K.I.T.T., suddenly confronted
with a highway filled with vehicles. To avoid collision,
the driver slams on his brakes, bounces off into the field
and comes to a stop, as the sports cars continue dodging
K.I.T.T.
INT. K.I.T.T. - DAY
Katherine looks smugly at Michael, obviously rooting for
the Preppys outside. Michael, on the other hand, is no
longer amused.
MICHAEL
Those guys're becoming a menace,
Kitt. We've got to stop them before
somebody gets hurt.
K.I.T.T.
We're approaching a railroad crossing,
complete with a freight train in
transit. They'll be forced to stop.
Michael glances over at Katherine.
MICHAEL
They will....
EXT. K.I.T.T. - DAY
Michael floors the accelerator and K.I.T.T. takes off as
if shot from a cannon, leaving the Preppys behind.
ANOTHER ANGLE - K.I.T.T.
tearing up the road, the sports cars in the b.g. As K.I.T.T.
shoots past us, we angle with him to see:
ANGLE - A FREIGHT TRAIN
traversing the road up ahead, lights flashing, signs up.
ANGLE - K.I.T.T. AND SPORTS CARS
struggling to catch up with the Trans Am, then suddenly
slowing as eyes spot train and feet hit brakes.
INT. K.I.T.T. - DAY
For the first time, Katherine reacts, seeing the train
looming ahead. She grabs at Michael.
KATHERINE
Stop the car! Stop the car!
Michael grins and reaches for turbo boost.
EXT. ROAD - DAY - ON K.I.T.T. AND THE FREIGHT TRAIN
as an open boxcar passes directly in front of the speeding
Trans Am and the car suddenly takes off, leaving the
ground, soaring upward and passing directly through the
open boxcar. We stay with K.I.T.T. landing on the other
side and continuing up the highway.
ANGLE ON THE SPORTS CARS
as the three Preppys straggle out and stare with awe and
astonishment after the Trans Am.
INT. K.I.T.T. - DAY
Katherine is glued to her seat, holding on for dear life.
Michael's high from the success of the jump.
MICHAEL
Wow! Great work, Kitt!
(to Katherine)
How about that! Want to do it again?
KATHERINE
No. I want you to take me back.
Now.
MICHAEL
I'm sorry, Katherine. I can't do
that.
KATHERINE
Who are you, anyway? How do I know
that you even work for the Foundation?
I want to see your credentials.
Michael pulls out a wallet, offers it to Katherine.
MICHAEL
Help yourself. Just leave me a dime
for the telephone.
She turns her head away, ignoring him, steaming.
K.I.T.T.
I don't think she really wants to
see your credentials, Michael.
MICHAEL
Haven't you been angry long enough,
Katherine? Your father wasn't what
you wanted him to be, okay -- maybe
you've got a right to be mad at
him. But I'm really trying to help
you. So how about giving me a
break, huh?
She sits in silence for a moment, then:
KATHERINE
Would you please stop the car?
MICHAEL
Why?
KATHERINE
Ladies sometimes have reasons, and
gentlemen don't ask.
EXT. HIGHWAY - DAY - ON K.I.T.T.
as Michael pulls the car off the highway and Katherine
climbs out, holding her chiffon skirts away from the brush
as she heads away from the highway. Michael climbs out,
stretching.
K.I.T.T.
I realize I shouldn't judge people
-- but I think Katherine Granger is
a spoiled brat.
MICHAEL
As you pointed out, humans are a lot
more complicated than they look.
K.I.T.T.
In light of her rather difficult
personality, I simply question why
anybody would wish to leave her a
legacy.
MICHAEL
She was Charlie's daughter, Kitt.
Blood's thicker than water.
K.I.T.T.
So is my motor oil, but he didn't
leave me anything.
Michael laughs.
K.I.T.T.
Michael, where is she going?
MICHAEL
Ladies sometimes have reasons, and
gentlemen don't ask.
He glances over in the direction Katherine took.
MICHAEL'S POINT OF VIEW - KATHERINE
She's now broken into a run and is quickly vanishing across
a field.
BACK TO MICHAEL
as he realizes she's escaping.
MICHAEL
But gentlemen are not necessarily
stupid.
And he takes off after her.
ANGLE ON THE FIELD
where we see Katherine running awkwardly, glancing back to
see Michael coming after her, and doubling her pace. She
tries to climb a grassy knoll, but it's too slippery and
she slides back down, into a muddy pool. As Michael
catches up with her, she struggles to her feet. Her
chiffon dress is torn and covered with mud.
KATHERINE
Now look what you've done! You've
ruined my dress!
MICHAEL
I've ruined it? I didn't tell you
to take off like a wild poodle.
KATHERINE
A wild what? Why you ---
She takes off her shoe to throw at Michael and finds the
heel's broken off. Michael sees it, stifles a laugh.
KATHERINE
Even my shoes are ruined!
MICHAEL
C'mon, we'll get you a change of
clothes.
KATHERINE
We will not!
MICHAEL
Have it your own way.
He heads back toward K.I.T.T. Katherine puts her shoe back
on, takes a few impossible steps away from Michael, then
turns and hobbles after him.
ANGLE ON K.I.T.T.
as Michael reaches the car, opens the back, goes through a
duffle bag there and pulls out one of his own shirts and a
pair of jeans. As Katherine approaches, Michael holds the
clothes out to her.
MICHAEL
Here. They're not the latest, but
they'll keep you warm.
She glares at the clothes, and up at Michael; but his
expression sincere. She snatches the clothes, climbs into
K.I.T.T. She looks back out at Michael before closing the
door.
KATHERINE
Don't look.
She shuts her door.
MICHAEL
Give her some privacy, Kitt.
K.I.T.T.
But of course.
ANGLE ON K.I.T.T.'S WINDSHIELD - STOCK
as the windshield and windows go dark.
INT. K.I.T.T.
Katherine reacts to the darkening of the windows, then we
move in close to show only her face and shoulders as she
unzips her dress, changes into Michael's clothes.
K.I.T.T.
Katherine...may I call you Katherine?
KATHERINE
I don't care what you call me.
K.I.T.T.
You seem to dislike Michael. I
understand that people sometimes
react to other people this way. But
why do you dislike me?
KATHERINE
You're a computer. I don't trust
computers. I was raised by them.
K.I.T.T.
Really? How was that?
KATHERINE
A bank computer sent me my checks
every month and paid my bills. It
okayed my report cards and analyzed
my scholastic development. It did
everything but tuck me into bed at
night.
K.I.T.T.
Which for people is more important.
KATHERINE
You do understand a little, don't
you?
She seems to suddenly grow very sad, as if the fight's
momentarily gone out of her.
KATHERINE
I don't have a friend in the world,
Kitt. I had dreams about my father
being my friend, but now he's dead
and I don't have anybody.
(beat)
I wish my father'd given me a chance
to tell him that. It's all I ever
really wanted from him.
She straightens; she's dressed now. She opens the door.
EXT. K.I.T.T. - DAY
as Katherine climbs out, and we see how incredibly huge
Michael's clothes are on her. The legs are at least six
inches too long -- likewise, the shirt looks like she stole
it from a gorilla. As Michael sees her, it's all he can do
to keep from laughing. Katherine sees this and her old
defenses pop up again.
KATHERINE
I hope you're happy. I look
horrible.
MICHAEL
Yeah, you do.
She frowns, turns back toward the car, then stops.
OMITTED
ANGLE ON K.I.T.T.'S WINDOW
where we see Katherine's reflection. So does she.
KATHERINE
Yeah, I do.
ANGLE ON MICHAEL AND KATHERINE
as she looks up from her reflection and her eyes meet
Michael's. Suddenly, she grins -- it's the first time
we've seen her smile, and it's infectious. Michael grins,
too. Then, they both burst out laughing.
EXT. FOUNDATION - DAY - STOCK
Peaceful and serene, as afternoon shadows fall.
INT. FOUNDATION LIBRARY - DAY - CLOSE ON A BOOK
On the library shelf, we see the title: ADVANCED MARTIAL
ARTS, SNAKE STYLE. We widen to see Devon removing the book
from the shelf, opening it and searching for something.
Even as he becomes absorbed in the book, April enters,
looking somewhat rattled.
APRIL
Devon, I'm sorry to bother you, but
you have a visitor.
DEVON
Is something wrong, April?
APRIL
He says his name is Christopher
Stone.
Devon reacts to this, astounded. He thinks, then:
DEVON
Send him in. I'll be most interested
in hearing what he wants.
April exits. Devon quickly scans the article he's found,
then closes the book, marking the place with his finger. A
beat, then Stone enters, impeccably dressed, very cool.
STONE
Mr. Miles? I understand that a man
named Michael Knight works for you.
DEVON
He works with me. What about him?
STONE
I'm the executor of Katherine
Granger's trust fund, and I've
learned that this man Knight pulled
Katherine out of a school dance
this afternoon, and abducted her.
DEVON
I haven't communicated with Michael
recently, but I'm certain that the
word 'abduction' is a bit strong.
STONE
He removed her against her will, by
force. In legal terms, that's
kidnaping.
DEVON
If you know the law, Mr. Stone, I'm
sure you'll understand that I have a
legal right to ask what you were
doing on the Foundation grounds the
night of Charlie Granger's death.
STONE
I was visiting him to discuss his
daughter's trust. I've done that
regularly for several years now. I
believe there's no crime in that.
DEVON
The crime is that he died.
STONE
Yes, it's most unfortunate. He was
so alive when I saw him.
DEVON
Was he alive when you left?
Stone stares at him, doesn't answer. Devon holds up the book
he found earlier.
DEVON
Charlie's heart attack may have been
stimulated by a very strong blow to
the chest. I've done a bit of
research on that type of blow --
it's called a cobra strike. You
wouldn't know how to administer a
cobra strike, would you, Mr. Stone?
STONE
I'm not here to discuss snake
charming, Mr. Miles. I demand
Katherine's return immediately.
DEVON
As long as Katherine Granger is
within the Foundation's jurisdiction,
she remains under my protection.
Don't demand of me, Mr. Stone.
Stone's cool crumbles like a plaster mask. His anger
flares, but Devon's not about to back down. Stone turns
and leaves and we push in on Devon's worried look, as we:
OMITTED
FREEZE FRAME
AND
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
EXT. CITY STREET - NIGHT - ANGLE ON K.I.T.T. - STOCK
Briarwood and its soothing environs are now far behind as
K.I.T.T. moves amid glittering city lights.
INT. K.I.T.T. - NIGHT
Katherine sits silently beside Michael, tensely fingering
her locket. He glances over at her.
MICHAEL
Are you all right? You haven't said
a word in twenty miles.
KATHERINE
I guess I'm used to being alone.
MICHAEL
You feeling nervous about hearing
your father's last words?
KATHERINE
It'll be no worse than reading the
sad story of someone else's life.
Michael senses the veil of sadness surrounding her.
K.I.T.T.
Michael, Katherine's elevated blood
pressure and rapid pulse indicate
she's extremely nervous.
KATHERINE
What are you, a conscience?
K.I.T.T.
Sometimes.
Michael smiles, as we see outside.
EXT. STREET ADJACENT TO FOUNDATION - NIGHT - ANGLE ON
K.I.T.T.
pulling up to the gates. The guard we saw in the opening
recognizes the car and opens the gates, waves K.I.T.T. in.
ANOTHER ANGLE - PANNING WITH K.I.T.T.
moving across the grounds, toward the late Charlie
Granger's quarters.
INT. K.I.T.T. - NIGHT
as Katherine stares out, wide-eyed, at the moonlit wonder-
land around them.
MICHAEL
Would you like to see where your
father lived?
KATHERINE
I...I don't know.
(beat)
Yes. Yes, I would.
EXT. FOUNDATION GROUNDS - NIGHT - ON K.I.T.T.
K.I.T.T. stops and Katherine looks up at the beautiful main
building and Michael and Katherine climb out. She looks
over at what we know as the Foundation.
KATHERINE
It's just like I pictured it. When
I used to meet girls in school, I'd
describe the house my father lived
in. I always described it exactly
like this house.
MICHAEL
Your father didn't live there,
Katherine.
KATHERINE
I know.
And she heads on foot for Charlie's quarters, Michael
following.
OMITTED
INT. CHARLIE'S QUARTERS - NIGHT
Michael and Katherine enter and Michael finds a light
switch, flicks it on. The room's exactly as we saw it in
the opening, with one omission -- Charlie Granger.
KATHERINE
This is exactly like I pictured it,
too.
She crosses to the wall of photos, moves alone, scanning
the aging images with a slight smile on her lips. Michael's
face, as he takes in the photos, is filled with wonder.
MICHAEL
You know, I've never set foot in this
house before. It's like finding a
locked attic you never knew was there
-- and finding a gold mine of memories
inside.
KATHERINE
Memories. I guess my father preferred
them to the present.
She pauses in front of the WHATEVER HAPPENED TO THE GREAT
CHARLIE GRANGER article and photo.
KATHERINE
Yes, whatever did happen to him?
(with an
ironic smile)
This is how I remember my father
looking. Of course, I was only five
last time I saw him.
She moves on to the next group of photos, which include
several of her as a young girl.
MICHAEL
Why didn't he ever come visit you at
school?
KATHERINE
I think he was ashamed. Here I was
in this fancy place and he was just
an old grounds keeper.
MICHAEL
Why'd he send you away to begin with?
Katherine reaches for her locket, holds it out for Michael,
opening it. As Michael takes the delicate gold oval,
looking at its contents:
INSERT - THE LOCKET
Two aging photographs, one of a handsome Charlie Granger
and the other of a pretty woman who strongly resembles
Katherine.
ANGLE - MICHAEL AND KATHERINE
as Michael eyes the locket.
KATHERINE
That was my mother. My father was
already in his forties when they got
married. He was out on one of his
treasure hunts when I was born.
(beat)
My mother died in childbirth. They
never even saw each other again.
MICHAEL
That must've broken his heart.
KATHERINE
No, it just made him feel guilty.
He gathered up all the treasures of
his lifetime and put them into my
trust fund. Then, he sent me away.
She looks up at Michael with eyes brimming with tears.
KATHERINE
Do you know what I would've given
just to sit on his lap in this
crummy little house and have him
hold me? Do you think I would've
chosen the schools and the clothes
over my father's love?
She starts to cry. Michael's deeply moved, tries to take
her into his arms. She pulls away from him.
MICHAEL
Katherine, just because he disap-
pointed you, don't close out everyone
else who tries to care for you.
She holds her head high, trying to control her emotions;
but she can't. She falls into Michael's arms and he holds
her, rocks her, kisses the top of her head. She angles her
face up toward him and he takes her face in his hands, kisses
her. As they break from the kiss:
MICHAEL
They're not expecting us until
morning, you know.
KATHERINE
I'm glad. I'd like some time
here....
She looks at Michael, reaches out to touch his face.
KATHERINE
You remember I said I wasn't looking
for my knight in shining armor?
MICHAEL
I remember.
KATHERINE
It wasn't true.
And as they kiss again, we pan down to the locket, still
clutched in Michael's fingers, showing the photos of
Katherine's parents and:
EXT. FOUNDATION PATIO - DAY - ANGLE ON MICHAEL AND DEVON
standing on the covered veranda, overlooking the serenic
reflective pool.
DEVON
I only hope that what Charlie's left
her somewhat makes up for the loneli-
ness she's felt.
MICHAEL
What worries me is your feeling that
this guy Stone's going to try to take
away whatever it is.
DEVON
She trusts Stone, and after all she's
been through, we can't afford to shake
that trust now.
MICHAEL
Yes, we can. We have to....
OMITTED
ANGLE ON APRIL AND KATHERINE
As they come toward Michael and Devon. Katherine's now
nicely dressed, still looks very nervous.
APRIL
Sorry we took so long. I lent
Katherine one of my outfits. I
thought she'd be more comfortable.
KATHERINE
Could I see the letter, Mr. Miles?
Devon reaches into his inside coat pocket and pulls out the
sealed envelope. Katherine takes it with shaking hands and
opens it. She begins to read silently.
ANGLE ON MICHAEL, DEVON, APRIL
watching Katherine as she reads, wondering....
WIDER ANGLE TO INCLUDE KATHERINE
as a strange smile touches the corners of her lips. She
begins to laugh softly.
MICHAEL
What does he say?
Katherine looks up from the letter. She unclasps the locket
and removes it from her neck, holds it out.
KATHERINE
This is my entire legacy.
MICHAEL
The locket?
Katherine nods, very tight. It's hard to tell if she's hurt
or angry. Michael gently takes the letter from her, scans it
and finally begins to read.
MICHAEL
'I bequeath you the greatest treasure
I ever encountered, on that day twenty-
one years ago when you were born.
You're now old enough to value it.
The key to the treasure is in the
locket you've worn since birth.
Katherine, you were always the treasure
in my eyes. Please forgive me.
Charles Granger.'
Michael now looks up from the letter and all eyes go to
Katherine, who speaks very carefully, controlled....
KATHERINE
So that's the end of Charlie Granger.
That's all there was.
MICHAEL
The letter says there is a treasure....
KATHERINE
You've seen what's in the locket.
Ghosts. Just ghosts.
The locket slips from her fingers, falls with a splash into
the reflective pool. Katherine doesn't move to retrieve
it. Instead:
KATHERINE
If you'll excuse me, it's been a
very tiring day.
And she walks out of the room. Michael fishes the locket
out of the pool starts after Katherine, but Devon stops him.
DEVON
Let her go, Michael.
MICHAEL
Okay. But I'm going to find that
treasure, Devon. And Katherine's
going to have it.
EXT. CHRISTOPHER STONE'S HOUSE - DAY - STOCK
A very attractive, expensive ranch-style home.
INT. STONE'S GYMNASIUM/TROPHY ROOM - DAY - CLOSE ON STONE
working out on a pair of gymnastic rings, wearing gray sweats.
He's in excellent shape, is very physically adept. We widen
as he drops from the rings and moves toward the door, to
grab a towel, and we see a good-sized room filled with athle-
tic trophies, for boxing, martial arts, etc. We also see
two large, mounted animal heads on the walls.
As Stone dries himself with the towel, a shadow falls across
his back and we hear:
MICHAEL'S VOICE
Stone....
Stone whirls and strikes even as we see Michael for the
first time. It's the same cobra-like strike he used on
Charlie Granger and the blow catches Michael in the shoulder
as he leaps aside, knocking him back against the wall. As
Stone comes after him again, Michael holds up his hands.
MICHAEL
Slow down -- I just want to talk.
Stone stops. He smiles coldly.
STONE
You shouldn't walk into a man's home
uninvited.
MICHAEL
I'll bet Charlie Granger said the
same thing.
STONE
You and Devon Miles seem to think I
killed Charlie. But you don't have
a shred of evidence to prove it.
MICHAEL
I've got one --
(indicates where
Stone hit him)
That was a pretty professional blow
for a banker. Could've killed a
slower man. Or an older one.
He crosses toward the wall where Stone's trophies and
plaques are lined up. He reads:
MICHAEL
Boxing. Karate. Taekwondo.
He points up at the mounted animal heads.
MICHAEL
Marksmanship, too? You're a regular
man for all seasons. Ever tried
taking a shot at a young coed?
STONE
I've had enough of your conversation,
Knight.
MICHAEL
You know me. That's good. Because
I want you to know who's standing
between you and Katherine Granger.
He moves toward Stone, his face hard.
MICHAEL
I don't get you, Stone. You've
taken care of her for twenty years.
Why would you trade her for a
treasure now?
STONE
I really don't know what you're
talking about.
MICHAEL
Leave her alone. The treasure's
hers.
Stone suddenly smiles.
STONE
Not until she finds it.
MICHAEL
Just one word of caution. I've
taken a few trophies, too.
And, fast as lightning, Michael slams Stone in the solar
plexus, doubling him over. Michael smiles congenially.
MICHAEL
That one's for Charlie.
And he leaves as Stone looks up, fury burning in his eyes.
Across the gym, a telephone rings. Still bent with pain,
Stone crosses to the telephone, answers it.
STONE
Hello?..Katherine?..Where are you?
No, I can't meet you there...why
don't you go to the corner of
Grayline and Sands in fifteen
minutes -- I'll pick you up. Don't
worry, dear, I'll take care of
everything.
EXT. STREET - DAY - ANGLE ON K.I.T.T.
moving away from Stone's neighborhood.
INT. K.I.T.T. - DAY - CLOSE ON KATHERINE'S LOCKET
open to the two photos, then closing, then slipped into the
chemical analyzer. As the locket vanishes into the
computer, we pull back to see Michael stretching his
shoulder, still aching from Stone's blow.
K.I.T.T.
Michael, I detect a trauma to your
upper right pectoral and deltoid
tie-in. Did something unpleasant
occur in Christopher Stone's house?
MICHAEL
Yeah, but I think the worst injury
was to Stone's ego.
K.I.T.T.
Well deserved, as I understand it.
The chemical analyzer pops open, revealing Katherine's
locket.
K.I.T.T.
There's nothing particularly unusual
about it -- gold filled, ordinary
photographic paper, simulated
crystal protectors.
Michael picks up the locket, looks at it closely.
MICHAEL
The key to the treasure's supposed
to be in this locket, but we can't
see it. Must be a pretty important
treasure, to be so well hidden.
K.I.T.T.
Sounds as if we need a key to find
the key.
MICHAEL
Something in Charlie's letter keeps
coming back to me. It was kind of
strangely worded. He said, 'you
were the treasure in my eyes'....
A beat, as Michael thinks. He carefully taps the little
crystal cover off the photograph of Charlie Granger and
removes the small photograph.
MICHAEL
Kitt, if you were to take a picture
of me looking at you, and then
enlarge just my eyes, what would you
see?
K.I.T.T.
My image, reflected in your eyes,
most likely.
Michael places Charlie's photo in the computer.
MICHAEL
Give me a blowup of Charlie Granger.
INSERT - THE MONITOR
showing the photograph of Charlie, enlarged.
MICHAEL'S VOICE
Now go into his eye.
We now see the eye, and the image of something vaguely
reflected there.
MICHAEL'S VOICE
Bigger, Kitt. Much bigger.
We see the pupil, and emblazoned across the blackness, the
same map as Christopher Stone stole from Charlie's quarters
-- except there are two exes on Devil's Basin, with dotted
lines leading away from them, crossing at a particular
juncture. Written above this juncture is the word NOON.
ANGLE ON MICHAEL
staring wide-eyed at the map revealed on the monitor.
MICHAEL
The key. Looks like two shadows
crossing at noon on Katherine's
birthday, which is today. We've
found it, Kitt!
Michael glances at his watch.
MICHAEL
And we've got about an hour to make
it. Let's do it!
EXT. K.I.T.T. - DAY
as Michael floors the accelerator and the car blasts
forward, heading away up the street.
EXT. CORNER OF GRAYLINE AND SANDS - DAY - ANGLE ON
KATHERINE
standing nervously on the corner, watching for approaching
cars.
ANGLE - STONE'S JAGUAR
pulling up the street, approaching Katherine. As the car
reaches her, its passenger window glides down, revealing
Stone at the wheel.
STONE
Katherine?
She moves toward the car almost timidly.
STONE
I'm so glad to see you. The school
contacted me regarding your
disappearance and I was worried
about you.
KATHERINE
I'm sorry I didn't call you before,
Mr. Stone. Everything just happened
so fast....
STONE
Have you seen your father's letter?
KATHERINE
Yes. That's what I wanted to talk
to you about.
(beat)
Why did my father leave the letter
to Devon Miles instead of sending it
to you? You've always handled my
affairs.
STONE
I've got many things to explain to
you, Katherine. But first, why
don't you show me the letter?
KATHERINE
I don't have it, Mr. Stone...
(beat)
Why is it so important to you?
STONE
Where is it, Katherine?
His insistence is beginning to make Katherine uncomfortable.
KATHERINE
I've got to go back to the
Foundation. I left without telling
anyone. They'll be looking for
me....
STONE
I have your best interest in mind,
Katherine, you know that.
KATHERINE
I'm not sure anymore. I think maybe
there's a reason why my father didn't
want you to have the letter.
STONE
We can discuss this more easily if
you come into the car.
KATHERINE
No, I don't think I want to do that.
She starts away, but a click from within the car stops
her. She turns back to see a gun in Stone's hand, aimed
directly at her.
STONE
It's not really a question of what
you want, my dear. Get in. We're
going on a treasure hunt.
Katherine climbs into the car and Stone pulls the door shut
behind her. As the Jaguar pulls away, we follow it, then:
OMITTED
FREEZE FRAME
AND
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
EXT. FOUNDATION - ESTABLISHING - DAY - STOCK
Everything appears peaceful, normal....
INT. DEVON'S OFFICE - DAY
April and Devon are tense and worried as Michael comes in
like the autumn wind, full of energy and excitement.
MICHAEL
Devon, April -- Kitt and I found the
key to the treasure. It was right
in front of our noses. Or actually,
our eyes....
Devon hangs up the telephone, looks up.
DEVON
Katherine's gone, Michael.
MICHAEL
Gone? Where? When?
APRIL
We don't know. She left everything
in her room, so she must have meant
to come back....
DEVON
We've notified the police and are
trying every means of tracking her
down. We'll find her.
MICHAEL
What if Stone finds her first? He
wants the treasure. He thinks she
knows where it is.
DEVON
I'm afraid we've already thought of
that.
MICHAEL
Well, this is one trophy he's not
going to stick in his gymnasium.
He turns and rushes out the door.
EXT. ROAD - ABOVE DEVIL'S CANYON - DAY - ON JAGUAR
as it speeds toward the canyon. We see Stone driving, with
Katherine beside him.
INT. JAGUAR - DAY
An edge of nervousness is beginning ot crumble even Stone's
confident facade. Beside him, Katherine watches him, fright-
ened.
KATHERINE
How can you do this to me? I never
hurt anyone...I thought you were my
friend.
STONE
Your friend was a voice on the phone
and an expense check once a month.
KATHERINE
You've just been planning and
waiting all these years....
STONE
No, not all these years -- just
since my financial status changed
for the worse. Then, sitting there
was the answer to my prayers --
Charlie's treasure. And no one knew
about it but Charlie and me.
KATHERINE
(horrified)
And you killed my father.
STONE
Yes, the perfect crime. Perfect --
except for a letter your father left
to the dispensation of the Foundation.
She suddenly leaps at him, trying to grab the steering
wheel. They struggle and he ultimately pushes her aside,
pulls the gun out of his pocket and aims it at her.
STONE
Don't try that again, Katherine.
I know the key was in the letter and
that you've read the letter. But
that won't stop me from hurting you,
please believe me.
CLOSE ON KATHERINE
reacting to this, knowing he means it.
EXT. HIGHWAY - DAY
as we pick up K.I.T.T. racing toward us.
INT. K.I.T.T. - DAY - FAVORING MONITOR
as Michael looks at the blowup of Charlie's map.
MICHAEL
Devil's Canyon is twenty miles east
of here. Have you picked up Stone's
car in the area?
K.I.T.T.
Nothing yet, Michael. And it's less
than five minutes before noon. Even
if we catch up with Stone and find
Katherine, I don't see how there's
going to be enough time....
MICHAEL
We'll find her, Kitt. And we'll
make the time.
EXT. K.I.T.T. - HIGHWAY - DAY
picking up speed and roaring past us. We pan up to the
afternoon sun.
EXT. DEVIL'S BASIN - DAY - ANGLE ON THE JAGUAR
as it moves into the basin and stops. The drill/tractor is
still there, lying dormant, along with crates of dynamite
and the dozens of holes which almost mock Stone's last
attempts at finding the treasure. Stone climbs out and
crosses to Katherine's door, gun in hand. Katherine climbs
out. We can see that Stone's gradually losing more of his
cool, and it makes him that much more frightening.
STONE
Here we are, Katherine -- Devil's
Basin. This is where your legacy
lies. All we have to do is find
it....
Stone cocks the trigger of the gun.
EXT. ROAD ABOVE DEVIL'S CANYON - DAY
as K.I.T.T. pulls into a view and screeches to a halt.
Michael gets out and looks down.
MICHAEL'S POINT OF VIEW - DEVIL'S BASIN BELOW
where we see Stone holding his gun on Katherine.
ANGLE ON MICHAEL
turning to K.I.T.T.
MICHAEL
We can't go rushing down there like
the Charge of the Light Brigade, or
he'll kill her. I'm going to climb
down and try to get behind him.
I'll need a distraction....
K.I.T.T.
You'll have to hurry, Michael. We
have less than three minutes before
noon.
Michael begins down the side of the canyon.
EXT. DEVIL'S BASIN - ON STONE AND KATHERINE
as the sun beats down on them. Stone wipes the perspiration
from his brow, never lowering the gun from Katherine.
KATHERINE
I told you before there was nothing
in the letter. Only words -- kind
words -- words of love.
STONE
No man would have gone to that much
trouble for words.
KATHERINE
Please believe me, -- I don't want
to die over a treasure. I don't
know anything.
STONE
You simply aren't aware of what you
know. Think, Katherine.
ANGLE ON MICHAEL
as he reaches the basin floor and crouches behind some
rocks.
K.I.T.T.'S VOICE
(on comlink)
Michael, three and a half minutes.
MICHAEL
Kitt, you're not helping.
He spots the mining drill looming behind Stone.
MICHAEL
(into comlink)
There's a mining drill near Stone.
Can you activate it?
K.I.T.T.
With pleasure Michael.
K.I.T.T.'S SCANNER
as it oscillates back and forth.
DRILL/TRACTOR
suddenly coming to life.
WIDER ANGLE TO INCLUDE STONE AND KATHERINE
as Stone, startled by the drill, turns toward it. At that
moment, Michael leaps out and tackles Stone, knocking the
gun from his hand and into the churning dirt. Stone regains
his feet and as he and Michael face off:
STONE
I think it's my turn this time,
Mr. Knight.
Stone throws his lethal punch at Michael, but to his surprise,
Michael grabs his arm and flips him backwards, into one of
the open excavations. Stone looks up in a daze.
MICHAEL
If you're going to show someone your
weapon, you better use it. Otherwise,
next time you try, he'll be way ahead
of you.
Stone falls back, out cold. The drill deactivates and
Katherine runs to Michael.
MICHAEL
It's not over, Katherine. We've only
got seconds to find your legacy.
(into comlink)
Kitt, come down. We need you.
INT. K.I.T.T. - ON CONTROLS
as the panel comes to life, switches to auto drive, the
gears shifting....
EXT. K.I.T.T. - DAY
taking off, blind driving, racing down the canyon road
toward Devil's Basin.
EXT. DEVIL'S BASIN - ON MICHAEL AND KATHERINE
He's leading her out to the center of the basin.
MICHAEL
Your father waited twenty-one years
to give you a once-in-a-lifetime
present.
He points at the canyon walls above them.
MICHAEL
See that rock formation?
ANGLE ON ROCKS
like fingers jutting from the fairly flat wall.
MICHAEL'S VOICE
It's man-made.
ANGLE ON MICHAEL AND KATHERINE
as she looks out at the rocks.
MICHAEL
Your father put it there to create a
shadow that would fall in a certain
direction and point to the spot
where the treasure's buried, today
only, at noon.
KATHERINE
He did all this for me?
ANOTHER ANGLE
as K.I.T.T. approaches fast, comes to a quick stop beside
them. Then:
K.I.T.T.
Michael, it's twelve noon. On the
dot.
Michael turns around.
MICHAEL
Katherine, look -- behind us.
Katherine also turns around.
MICHAEL'S AND KATHERINE'S POINT OF VIEW
as we see the sun strike behind the rock finger and a
shadow stretch like a snake across the basin.
ANGLE ON MICHAEL, KATHERINE AND K.I.T.T.
staring in awe at the almost mystical configuration.
K.I.T.T.
Michael, look. At the foot of the
mountain.
Michael and Katherine turn around. There, on a large mound
of sand pressed up against the mountainside, we see the
point of the shadow stop moving.
MICHAEL
'X' marks the spot.
They climb into K.I.T.T. and drive to the mound, stop so
that the shadow now falls cross K.I.T.T.'s roof.
INT. K.I.T.T. - DAY - FAVORING MONITOR
Where we see vectors crossing, indicating they're on the
exact spot. We widen to see Michael's and Katherine's eager
faces.
K.I.T.T.
Michael, twenty-one years of erosion
have covered the spot over with sand.
MICHAEL
We've found Charlie's gift -- now
we've got to unwrap it. Let's dig
in.
K.I.T.T.
I'm not programmed to be a gopher.
MICHAEL
Call this a new program.
He puts K.I.T.T. in neutral, then steps on the accelerator.
EXT. K.I.T.T. - DAY
as the wheels begin spinning, kicking up loose sand.
CLOSE ANGLE - WHEELS
as their speed becomes incredible and the sand flies, and
the wheels begin to sink steadily downward in the sand,
vanishing from view.
EXT. K.I.T.T. - HIGH ANGLE
as the Trans Am, under the massive power of the spinning
wheels, literally sinks into the sand, disappearing.
INT. K.I.T.T. - MICHAEL'S POINT OF VIEW THROUGH WINDSHIELD
Sand fills our view. Then, suddenly, the car hits hard ground
and the windshield fills with pitch darkness. We angle to see
Michael and Katherine staring out into the utter blackness,
lit by the dash lights.
KATHERINE
What is it?
MICHAEL
I don't know. Kitt, give us some
light.
The headlights flash on, illuminating an opening to a natural
cavern, just large enough for K.I.T.T. to pass through.
MICHAEL
Let's go.
And the car moves forward into the cavern.
EXT. DEVIL'S BASIN - DAY - ON STONE
coming to, crawling out of the excavation. He looks around,
bewildered -- then looks across at the newly cut hole leading
to the cavern. Struggling to his feet, he limps toward the
opening and looks down. The access is too steep for him to
climb down, but he stops, hearing the echoing sounds of
K.I.T.T. from inside. He listens....
INT. K.I.T.T. - CLOSE ON MICHAEL AND KATHERINE
Their faces seem to light up in a dazzlement of color.
KATHERINE
(in awe)
Michael, it's so beautiful. It's
like being inside a glass of
champagne.
THEIR POINT OF VIEW - END OF TUNNEL
We see what has them in awe: the entire end of the tunnel
is ablaze with clear, giant crystals that jut out from
every conceivable corner. It looks like the center of a
massive, brilliant geode. The crystals act like giant
prisms, as they break K.I.T.T.'s lights into multi-colored
rainbows.
EXT. K.I.T.T. - ON MICHAEL AND KATHERINE
as they climb out, layers of colors spilling over their
faces as the crystals sparkle like the milky way.
K.I.T.T.
I've analyzed every foot of this
cavern and there is no sign of any
precious metal or mineral deposits.
In other words, there's no treasure.
MICHAEL
Yes there is, it's all around us.
KATHERINE
(realizing)
The greatest legacy my father could
think of to leave me...the gift of
beauty!
ANGLE ON STONE
standing at the cavern's mouth, as K.I.T.T.'s voice echoes
up to him.
K.I.T.T.
Regardless, technically, there's no
treasure whatsoever.
This hits Stone hard. He's uncertain whether or not to
believe it. He yells into the cavern:
STONE
Knight! There's nothing in there!
We all fought to the death for
nothing!
INT. CAVERN - ANGLE ON MICHAEL AND KATHERINE
Michael turns away from the captivating beauty, toward the
cavern's mouth. He, too, shouts out:
MICHAEL
It's not for nothing, Stone -- it's
for something you can never hope to
understand.
STONE
Then enjoy your meaningless treasure
-- it's the last thing you'll ever
see.
MICHAEL
Stone!
OMITTED
EXT. FOOT OF MOUNTAIN - DAY
as we see Stone running away from the foot of the mountain
where he's planted two sticks of dynamite, fuses lit. With
a flash, they explode.
INT. CAVERN - ON MICHAEL AND KATHERINE
as he pushes her behind K.I.T.T., and the Trans Am protects
her from the force of the blast.
EXT. MOUNTAINSIDE - LOW ANGLE
as the force of the explosion causes rock and debris to fall
down, dealing the opening.
ANGLE ON STONE
standing by his Jaguar, satisfied, climbing into the car.
INT. CAVERN - DAY - FULL SHOT
Michael and Katherine are covered with dust as he helps her
to her feet.
KATHERINE
What happened?
MICHAEL
Stone found out he lost the game, so
he decided to tip over the whole
board.
KATHERINE
We're sealed in, aren't we?
MICHAEL
Not for long.
He helps Katherine into the Trans Am, then climbs in
himself.
INT. K.I.T.T. - DAY - ON MICHAEL AND KATHERINE
K.I.T.T.
Michael, I know what you're
thinking, but there's no room for me
to turn around. A reverse turbo
boost is not powerful enough to
jettison us out of here.
Michael thinks for a moment, then:
MICHAEL
It's wider a few yards from the mouth
of the cavern. If I turn right
before the boost....
K.I.T.T.
We've never done that before,
Michael.
MICHAEL
That's what 'first times' are for.
(to Katherine)
Hold on...tight.
Michael pushes the Trans Am into reverse, then accelerates.
ANGLE - FULL - CAVERN
as K.I.T.T. roars toward the sealed opening in reverse,
then, at the last moment, does a sharp 180.
INT. K.I.T.T. - ON CONTROLS
Michael hits turbo boost.
ANGLE ON K.I.T.T.
now facing toward the sand wall, blasts off, leaving the
ground.
EXT. FOOT OF MOUNTAIN - DAY - SLOW MOTION
as K.I.T.T. penetrates right through the sealed cavern and
lands.
ANOTHER ANGLE - INCLUDING JAGUAR
as K.I.T.T. races after the fleeing XJS. Pulling up beside
the astonished Stone, Michael forces the Jaguar parallel to
the mountain, then in a quick move, turns sharply, cutting
Stone off.
CLOSER ANGLE - STONE AND MICHAEL
as we see Stone, pinned inside the car: the mountain on his
driver's side, K.I.T.T. to his left. He has nowhere to
go. Stone just glares at Michael, defeated.
INT. K.I.T.T. - ON MICHAEL AND KATHERINE
as Michael looks over at Katherine.
MICHAEL
Happy Birthday, Katherine.
FREEZE FRAME
AND
FADE OUT
END OF ACT FOUR
TAG
FADE IN
CLOSEUP - LARGE CLUSTER OF CRYSTALS
as they are turned slowly, they shimmer with multi-colored
bands of light. As we pull back, we find we are in:
INT. FOUNDATION - DEVON'S OFFICE - DAY
as Devon holds the crystals, Michael, April and Katherine
watch its magic.
DEVON
It is really most extraordinary,
Katherine. I've never seen anything
quite like it.
KATHERINE
It's the only crystal I'm ever removing
from the cavern. The rest is going to
stay there so that everyone can
experience what my father and I did.
Katherine turns to Michael.
KATHERINE
This is for you.
She hands him a gift-wrapped box.
Michael looks over to Devon and April, then unwraps the box.
He opens it up and takes out an obviously handmade medal:
a white horse with a rendition of Katherine and Michael on it.
Michael laughs in recognition.
KATHERINE
You don't have to pin it on if you
don't want to.
MICHAEL
Are you kidding? I'll never take it
off.
KATHERINE
Yes you will. Here, let me help you.
She goes over to Michael and pins it on his shirt.
KATHERINE
(quietly; to Michael)
You will always be my knight in shining
armor, Michael. You rescued me from
more than just a runaway horse.
MICHAEL
I've got something for you, too.
He takes Katherine's locket out of his pocket, slips it
around her neck.
MICHAEL
There's more than ghosts in this
locket. There's love.
They share a moment, then:
DEVON
All right you two...out. I have
work to do. Michael, I've promised
you that long awaited vacation, and
I suggest you go now, before I change
my mind.
MICHAEL
I'm going...I'm going.
He gives Katherine a wink, and leaves. We hold on her
look, then:
INT. K.I.T.T. - DAY - ON MICHAEL
as he drives down the highway. He is still wearing the
medal.
MICHAEL
You seem awful quiet today.
K.I.T.T.
Well, something's bothering me,
Michael. Katherine's 'legacy'
caused quite a bit of trouble. I
think I'll have dust in my intake
valve for years.
MICHAEL
So what are you worried about, buddy?
K.I.T.T.
Michael...you don't intend to leave
me one of those 'legacy's', do you?
MICHAEL
I really haven't given it much
thought Kitt. I plan to stick
around awhile.
A beat, then:
K.I.T.T.
Well, if you do decide to leave me a
legacy, will you do me a favor?
MICHAEL
Sure...anything.
K.I.T.T.
Will you kindly just leave it on
the backseat.
MICHAEL
No problem, champ...will do.
Michael begins to laugh.
EXT. HIGHWAY - DAY
as a much more relieved K.I.T.T. races away, we:
FREEZE FRAME
AND
FADE OUT
THE END
