ACT ONE
FADE IN
OMITTED
EXT. FOUNDATION - NIGHT - ANGLE ON TAXI
pulling up the drive and stopping in front of the
Foundation. A man garbed in cloak and hat steps out,
dragging a seaman's chest with him. He hands the driver a
twenty dollar bill, heads toward the Foundation's front door.
INT. FOUNDATION - NIGHT
as the pounding on the door escalates and Devon appears,
disturbed from some late-night studies, wearing a smoking
jacket. He approaches the door apprehensively, then:
DEVON
Who's there?
MAN'S VOICE
A shadow from the past. Charlie....
Devon stands a beat, contemplating this mysterious intro-
duction -- then, recognition and wonder cross his face.
DEVON
Charlie? Charlie Granger?
He opens the door. The man on the other side removes his
hat, revealing a face once square-jawed and bold, now
aging, tired and exhausted from his travels. A warm smile
nonetheless shines through.
MAN
From the devil's own backyard.
Devon moves to slap an old friend warmly on the back.
DEVON
And a sight for sore eyes. Come in,
you old dog, and warm yourself.
Charlie stoops to pick up the seaman's chest and we see how
difficult the effort is. Devon helps.
INT. FOUNDATION - DEVON'S OFFICE - NIGHT
Devon and Charlie are seated in the comfortable room.
April's there, dressed in a robe, pouring hot chocolate for
the men. She notices Charlie watching her and smiles; he
returns the gesture.
APRIL
Do you mind if I head up to bed?
I'm so tired I was going to ask if
you wanted your cocoa on the rocks.
DEVON
Get some sleep, April. I'm sorry we
disturbed you.
APRIL
I'm glad you did. It's quite an
honor having such a distinguished
visitor.
She leaves. Charlie watches her go with something akin to
sadness on his face.
CHARLIE
I wonder if my Katherine will look
so grown up.
DEVON
I have to admit I'm astounded to
hear that you have a daughter,
Charlie.
CHARLIE
The desire to see her again is what
kept me alive all these years.
DEVON
However did you wind up in a South
American prison? Last I heard, you
were seeking the diamond hoard of
the Chichuas....
CHARLIE
Revolution. I was caught in the
middle. Fifteen years locked away,
wishing I could at least write to
Katherine, praying I'd see her again
while the dampness chewed at my
spirit and my heart grew weak....
He reaches for his seaman's trunk, opens it, routs through
it.
CHARLIE
I have something wonderful to give
her.
He pulls out a book and hands it to Devon. As Devon takes
it:
INSERT - THE AGING BOOK
Entitled CHARLIE GRANGER -- THE MAN AND THE MYTH. As Devon
leafs through it, pausing at a topographical map inserted
between the pages, we hear:
CHARLIE'S VOICE
It started as a game, a treasure
hunt I made up for Katherine when
she was a little girl. It's quite
complicated and ingenious -- even
you'd find it a challenge, Devon.
EXT. GROUNDS NEAR GUEST COTTAGE - NIGHT
Devon and Charlie cross toward the guest cottage, Charlie
toting his seaman's trunk.
CHARLIE
What a blessing to be able to
actually give it to her on the eve
of her twenty-first birthday! What
a lucky man I am!
DEVON
Don't tell me it actually leads to
treasure.
CHARLIE
Oh, yes -- a wonderful treasure. And
she'll have the joy of discovering it.
The key is in a locket she's worn
since birth -- and reading the book
will tell her how to find that key.
DEVON
A rather clever way to entice your
daughter to read about you.
CHARLIE
She may think I've forgotten her.
She'll need all the enticement she
can get.
They reach the cottage, and Devon reaches for the door.
INT. FOUNDATION GUEST COTTAGE - NIGHT
as Devon flicks the light on, illuminating a cozy room. As
Charlie lowers the seaman's trunk to the bed:
DEVON
I'm sure you'll find the cottage
comfortable.
CHARLIE
After fifteen years in prison, any-
thing is comfortable.
DEVON
Get a good night's sleep. We'll
pick up where we left off over
breakfast.
Devon smiles, pats his friend on the shoulder and leaves.
EXT. WALL - NIGHT - CLOSE ON A DARK FIGURE
appearing over the crest of the overgrown wall, then
dropping down into the grounds below.
INT. FOUNDATION GUEST COTTAGE - NIGHT - CLOSE ON PHOTOGRAPH
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. Camera pans across
other photos of Granger through the years, and we pull back
to see that Charlie's pulling these mementos from his sea-
man's trunk, seeking a photograph which he now finds, eyes
with great affection.
EXT. GUEST COTTAGE - NIGHT - ON MYSTERIOUS FIGURE
darting out of the shadows and approaching. We can now see
him more clearly -- an imposing man in camouflage, his
identity concealed by a ski mask, moving skillfully like a
trained commando stalking his mark. He moves cautiously
toward the cottage door.
INT. COTTAGE - NIGHT - CLOSE ON CHARLIE
still gazing at the photograph, then suddenly freezing as if
he feels someone's approach.
CHARLIE
Devon? Can't sleep, old man?
As he turns, we widen and the door opens, revealing the
mysterious intruder, filling the door frame.
MAN
Welcome back, Charlie.
And the Man moves fast, lashing out with a lightning-fast
blow to Charlie's chest, like a cobra striking -- and
Charlie falls to the floor. The Man turns his attention
immediately upon the contents of the trunk. As he picks up
the Charlie Granger, The Man And The Myth book, the map seen
earlier falls to the floor. The Man picks it up, opens the
book to the inside cover and pauses a beat looking at a
written inscription:
INSERT - INSIDE FRONT PAGE OF BOOK
My Dearest Katherine,
The key to the treasure is in your locket,
close to your heart as you've been to mine.
Your loving Father, Charlie.
WIDER ANGLE - THE MAN
dropping the book to the floor, folding the map into his
pocket and quickly leaving the room. We zoom in on Charlie,
angle down to something clasped in his hands. We see that
it's a photograph of a young girl standing rigidly in a
private school uniforn -- a young Katherine Granger.
OMITTED
EXT. HIGHWAY - DAY
where 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 unfold. 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 lengthy
periods in a sedentary position.
MICHAEL
(dry)
Point that out to Devon, pal.
K.I.T.T.
In fact, I've come to the conclusion
that Homo sapiens would be much better
off had you remained crawling on all
fours.
MICHAEL
On all fours. You mean like you?
K.I.T.T.
I never crawl, Michael.
(beat)
Devon's calling.
Michael pushes the appropriate buttons and we intercut as
Devon appears on the monitor, looking upset.
MICHAEL
Hello, Devon. What's up?
DEVON
I had a visitor last night, Michael --
an old friend. He stayed in the
guest quarters. When I went to see
him this morning, he was dead.
MICHAEL
I'm sorry. What happened?
DEVON
I don't know, but I suspect foul
play. He wasn't just any visitor,
Michael -- he was Charlie Granger.
Michael reacts to this, astounded.
MICHAEL
'The' Charlie Granger?
DEVON
'The' indeed. Please hurry, Michael.
Another life may be at stake.
MICHAEL
I'm on my way.
EXT. K.I.T.T. - DAY
blasting away, heading toward:
EXT. HIGHWAY - DAY - ON SEMI
as K.I.T.T. approaches the lowered ramp, drives up and in.
MICHAEL'S VOICE
When I was a kid, I used to read
about Charlie Granger entering lost
tombs and discovering forgotten
cities....
INT. SEMI - DAY - ON MICHAEL AND DEVON
Behind them, April pulls the Circuit Analyzer down over
K.I.T.T.'s hood and runs a cursory road test.
MICHAEL
He was my hero -- I wanted to be
just like him when I grew up.
DEVON
We'd been friends for over thirty
years, Michael. Last night it was
as if I'd just seen him the day
before.
MICHAEL
You said he appeared to have died of
a heart attack. What makes you think
he was murdered?
DEVON
Doctor Alpert confirmed there was
damage to his chest tissues, as if
he'd recently suffered a severe blow.
Also, when he showed me the book he
intended to give his daughter, it
held a treasure map. I searched the
room thoroughly. The map was gone.
MICHAEL
So you think the murderer's after
Charlie's treasure?
DEVON
(nods)
And if he knows the key's in
Katherine's locket, he may try to
kill her to get it.
MICHAEL
Have you told any of this to the
police?
DEVON
I don't have a shred of evidence,
Michael. That's what's so infuri-
ating.
MICHAEL
I'll bring Katherine to the Foundation,
Devon. If there's going to be a
treasure hunt, at least she'll be
protected.
We angle with him as he strides to K.I.T.T. April looks up
as Michael climbs into the car.
APRIL
I've programmed Kitt with everything
we've got on Charlie Granger and his
daughter. I'll be feeding more
information in as I get it.
MICHAEL
Should be an interesting story.
APRIL
Michael -- this has upset Devon even
more than he's letting on.
MICHAEL
I hear you.
He shuts the door, starts up the car as Devon joins April,
Michael beginning to back out.
EXT. HIGHWAY - DAY - STOCK
as K.I.T.T. comes down the ramp, hits the road, does a 180
and heads away from the semi.
OMITTED
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
Michael's lost in a romantic reminiscence.
MICHAEL
...then Charlie threw open the door
to the tomb and there it was -- the
most fantastic sarcophagus ever seen
by modern man.
K.I.T.T.
According to my research, the
sarcophagus in question was made of
rotten wood and looked absolutely
appalling.
MICHAEL
It's not the look of the thing that's
important, Kitt. It's the age.
K.I.T.T.
I really don't understand, Michael.
When cars get old, they're junked.
When people get old, they're considered
quite unattractive. Why all the flap
over this old piece of wood containing
some disintegrating bones?
MICHAEL
All right, let me put it another way
-- think of a treasure as a secret
locked in some computer's data
banks, and you alone can find it.
K.I.T.T.
A mathematical secret, you mean. Yes,
that could be interesting...decoding
can be challenging. I think I'd quite
enjoy seeking that kind of treasure.
EXT. WOODGROVE SCHOOL ENTRANCE - DAY
as K.I.T.T. drives up to the gated entrance. Overhead is
an elegant sign: "THE WOODGROVE SCHOOL FOR YOUNG LADIES".
Beyond the gate is a vast, green, immaculately kept lawn
encircled by a thick forest of trees, all very idyllic.
K.I.T.T. drives through the open gates.
ANGLE TO THE TREES
We see the barrel of a long-range rifle protrude from behind
the trees, tracking the rider.
INT. K.I.T.T. - DAY - MOVING
Michael takes in the lovely greenery around him.
MICHAEL
This sure isn't anything like where
I went to school. The only thing
green there was the chalkboard.
K.I.T.T.
The Woodgrove School is a very
exclusive institution. Quite high,
academically.
MICHAEL
Must've set Charlie back a few bucks.
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.
Michael peers out.
OMITTED
EXT. K.I.T.T. - DAY
as we see a beautiful horse coming toward K.I.T.T. across
the field, moving at an easy canter. At the reins is a
woman in her early twenties, decked out in English riding
habit, complete with hat and crop. As she draws near
K.I.T.T., she deliberately cuts in front of the car, and
Michael must slam on the brakes to avoid hitting horse and
Rider.
INT. K.I.T.T. - DAY
as Michael glares out at the Rider, who's now moving toward
the trees.
MICHAEL
I'd hate to see her behind the wheel
of a car.
K.I.T.T.
Michael, there's a man directly ahead
with a gun aimed at that rider....
OMITTED
ANGLE ON RIDER
As a shot rings out and the bullet kicks up dust right in
front of the horse. At this same moment, the saddle
appears to slip and the horse panics, rears and bolts, the
Rider clinging desperately to the mane.
OMITTED
INT. K.I.T.T. - DAY
as Michael sees the out-of-control horse, bearing the
flailing Rider toward the perilous overgrowth.
MICHAEL
She needs help, Kitt! Pop the sun
roof and switch to auto drive.
He pushes the appropriate buttons.
CLOSER ANGLE - CONTROL PANEL
as "auto drive" and "sun roof open" lights go on.
EXT. FIELD - DAY - ON K.I.T.T.
as the car takes off, leaving the road and bounding across
the field after the Rider.
OMITTED
EXT. FIELD - DAY - ON K.I.T.T. AND THE HORSE
as K.I.T.T. now falls in parallel to the running animal,
drives along beside it, matching its pace. Michael stands
up on the driver's seat just as horse and car approach a
small obstacle of fallen logs. The horse jumps the logs,
as does K.I.T.T. -- Michael just managing to hold on.
Then, once again moving in close to the horse, Michael
leaps from the seat to the horse's back, landing behind the
Rider, pulling the reins back and stopping the animal.
ANGLE ON K.I.T.T.
pulling to a stop nearby, scanner flashing.
CLOSER ANGLE ON MICHAEL AND RIDER
as he jumps off, then helps her down from the horse. As
Michael strokes the horse, calming it, we see the Rider
clearly for the first time -- a striking, natural beauty,
nothing artificial in her features -- with a fiery,
independent spirit. She tugs nervously at a small gold
locket on a gold chain around her neck.
RIDER
You spooked my horse! Can't you
read? There must be a dozen
'Equestrian Crossing' signs back
there.
Michael's surprised and annoyed by her thankless attitude.
MICHAEL
What spooked your horse was some-
body taking a shot at you from those
trees.
She stares at him imperiously.
RIDER
There's a target range back there.
It's never bothered my horse before.
Michael is looking at the saddle cinch which now hangs free.
He holds it up.
MICHAEL
How about this?
He shows her the severed cinch. She stares at it, as it's
completely eaten through -- and it's clearly a brand new
cinch.
RIDER
They break sometimes.
MICHAEL
This one didn't. It was cut.
The young woman stares at him, unsure whether to believe
this contention. She decides not to, pulls herself up
haughtily.
RIDER
Thanks for your help. You're a
regular knight in shining armor.
Fortunately, I don't need one.
She starts to walk the horse away, and Michael calls after
her.
MICHAEL
Can you at least tell me how I can
find somebody? I'm looking for a
girl named Katherine Granger.
The Rider stops in her tracks. She turns back to him, her
look somewhat incredulous.
RIDER
You've found her. I'm Katherine.
This takes Michael by surprise. He's momentarily at a loss
for words.
KATHERINE
Who are you? What do you want?
MICHAEL
My name's Michael Knight, and I work
for the Foundation for Law and
Government. I want to talk to you
about your father.
KATHERINE
My father? I don't have much to say
about him. I haven't seen my father
in fifteen years.
MICHAEL
(carefully
choosing
his words)
Katherine...he died last night.
Katherine looks at him for a moment, looks down, then over
at the trees nearby. She begins to stroke the horse and we
can see that her hands are suddenly trembling. She steadies
her hand by holding onto her locket.
KATHERINE
It's pretty out here, isn't it?
I've always liked this time of
year. It has the smell of colors.
MICHAEL
I'm sorry I had to tell you like
this.
KATHERINE
It doesn't matter. I never really
had a father, so I guess I can't
really lose one, can I?
She takes a cube of sugar out of her pocket, feeds it to
the horse. Michael watches her, unable to understand or
gauge her emotions.
MICHAEL
He left something for you. Some
kind of treasure. I'm supposed to
take you to the Foundation and give
it to you.
KATHERINE
To tell you the truth, I'm really
not interested in anything my father
left.
She starts to climb onto the horse and Michael grabs her
arm, stopping her. She whirls to face him.
MICHAEL
Listen to me. You may not be
interested in your father's
treasure, but somebody else is.
KATHERINE
Are you trying to tell me that this
-- person -- cut my saddle cinch?
MICHAEL
I'm trying to tell you I've been
sent here to protect you and that's
what I'm going to do. I want you to
come with me, now.
KATHERINE
You can't force me to go with you.
MICHAEL
If it'll save your life, I don't
have a choice.
She looks up at him, then at the desolate area around
them. She knows that Michael could easily overpower her;
she has very few options.
KATHERINE
If I agree, will you let me stop at
the dorm and pack my things?
MICHAEL
Sure.
EXT. WOODGROVE LADIES' DORMITORY - DAY
as K.I.T.T. drives up and stops across from the entrance
and Katherine climbs out, crosses quickly into the dorm.
INT. K.I.T.T. - DAY
Michael watches her go.
MICHAEL
Kitt, did you get anything on who
fired that shot?
K.I.T.T.
Negative, Michael. Only that it was
a high-powered weapon. In pursuing
the girl, we unfortunately let the
marksman escape.
MICHAEL
I'm not sure which one of us got the
better end of the deal.
EXT. K.I.T.T. - DAY
as Scott, a well-dressed, college-age preppy, pulls up
beside K.I.T.T. in a Porsche 911 convertible. He revs
the car, makes a lot of noise. Michael notices.
SCOTT
What you got under that hood, Ace?
Two squirrels and a rubber band?
MICHAEL
Yeah, and it runs on peanuts.
Scott guffaws and tears off with a screech of wheels.
K.I.T.T.
Squirrels and peanuts, indeed.
Really, Michael.
INT. WOODGROVE LADIES' DORMITORY - LOBBY - DAY
- ON KATHERINE
standing in a secluded corner, a house phone pressed to her
ear as she dials. She waits a beat, then:
KATHERINE
Mr. Stone? This is Katherine Granger.
(beat, this is
painful for her)
Why didn't you tell me about my
father? You're the only person who
knows me, who cares about me -- I
had to hear he died from a complete
stranger.
INTERCUT WITH KATHERINE - DAY - CLOSEUP - CHRISTOPHER
STONE
An impeccably dressed, handsome man in his early forties,
talking on a modular phone. He's in his moving car, a
Cadillac Seville, and we see attractive countryside flashing
by outside.
STONE
I was on my way out to see you, and
tell you myself. It was such a
shock. Who told you?
KATHERINE
Someone named Michael Knight. He
says my father left me some kind of
treasure...I don't know what to do.
I didn't know who else to turn to.
STONE
I'll be there soon, Katherine. Don't
leave Woodgrove before I get there.
KATHERINE
I'll be here.
She hangs up the phone and we lose intercut as Stone also
hangs up and we see his eyes dart to his rearview mirror,
where a car's visible right on his bumper. The driver seems
to be waving Stone over. Recognizing the vehicle, Stone
pulls off the road.
EXT. HIGHWAY - DAY - ON STONE'S CADILLAC AND AN ND CAR
as a businesslike young man in dark glasses, Korris, climbs
out and approaches Stone. Stone appears nervous at the very
sight of him, despite the fact that Stone's a physically
stronger-looking man.
STONE
I don't like you following me,
Korris. I'm in a hurry....
KORRIS
And I don't like you leaving town,
Stone. It's my responsibility to
see that you pay back a lot of money
and you've got very little time left.
STONE
I'm about to get my hands on more
money than you ever dreamed.
KORRIS
I hope you have better luck than
you've had in your investments.
See, after today, it's out of my
hands. There'll be a different kind
of contract out on you, Stone -- one
a little more permanent.
He returns to his car, climbs in and drives away. Stone
watches him go, controlling his anger, then her crosses to
his Cadillac and climbs in.
INT. STONE'S CADILLAC - DAY - ON STONE
as he takes a deep breath, then feels his coat pockets, as
if looking for something to reassure himself. He finds
what he's looking for, pulls a sheet of paper out of his
pocket and unfolds it, looks at it confidently. We pull
into the paper and see the map stolen from Charlie Granger
-- the map to his treasure, and we:
FREEZE FRAME
AND
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
EXT. DORM - DAY - ON THE TRANS AM
still parked in front of the dorm. Michael checks
his watch.
ANGLE ON MICHAEL
shaking his head.
MICHAEL
What's taking her so long?
K.I.T.T.
I understand women are famous for
packing more than they need, Michael.
MICHAEL
We're not exactly going to Europe for
the summer.
K.I.T.T.
Speaking of Europe, I've done some
further research on the subject of
treasures. Did you know there are
nearly two thousand documented trea-
sures that have been lost on the
Continent and another fifteen hundred
in the Mediterranean?
MICHAEL
Is that right? That's a lot of
insurance claims.
K.I.T.T.
And if those treasures were
recovered, Michael, their combined
monetary value would be in excess of
twenty million dollars.
MICHAEL
(whistling)
Sounds like we're in the wrong
business, buddy.
(checking watch
again)
And at this rate, we'll be in it
forever. I'll be right back.
With that, Michael gets out of the Trans Am, walks toward
the dorm.
ANGLE ON SCOTT
Walking by, he spots K.I.T.T. parked alone. He approaches
the car, looks around and, seeing no sign of Michael, tries
the driver's door.
K.I.T.T.
If you're looking for nuts, you're
shaking the wrong tree.
Scott jumps, stares at the car, then backs away and
generally decides to evacuate the area.
OMITTED
EXT. TERRACE - DAY
filled with fathers and their lovely daughters. The fathers
are in suits, the girls in elegant dresses. Several of the
couples are dancing to the waltz being played by a string
quartet. A few young men, in white shirts and bow ties, are
handling hors d'oeuvres. We pan across the terrace, past
the smiling couples, and stop on:
KATHERINE
standing near the bar where a couple of good-looking prep-
pies, Chip and Skipper, are handing out punch. Katherine's
gorgeous in a stunning dress, but her radiant beauty is
marred by the wistful, almost sad look on her face. Chip
leans over, hands her a cup of punch, smiles at her.
Katherine takes the punch, manages a small "thank you."
KATHERINE
You guys are finally working for
a living, huh?
CHIP
Are you kidding? This is the only
way we could get into the dance...
(looking around)
So, when's the party start?
Katherine gives Chip a small smile, then turns back to the
dance floor. Again, the poignant look crosses her face as
she follows:
A FATHER AND DAUGHTER
gliding across the floor, laughing, enjoying each other's
company.
BACK TO KATHERINE
alone. Wanting so badly to be that young woman, but knowing
she can't. Suddenly, something else attracts her attention,
and she stiffens as she sees:
MICHAEL
entering the room, totally out of place in his leather
jacket and jeans. He scans the room, ignoring the stares
of both fathers and daughters. He spots Katherine, heads
directly across the room toward her.
ON KATHERINE
as she turns to Chip, grabs his arm.
KATHERINE
Chip, please dance with me.
CHIP
I'm supposed to be working.
KATHERINE
That never stopped you before.
Off his surprised look, Katherine pulls him out onto the
dance floor with her.
ANGLE ON THE DANCE FLOOR
as Katherine and Chip start to dance. In the b.g. we
see Michael moving through the crowd toward them. Katherine
deftly turns away from him, avoiding his look. Michael
steps up, taps Chip on the shoulder. As the kid looks
over his shoulder at Michael, surprised:
MICHAEL
You mind?
Katherine cuts Chip off before he can answer.
KATHERINE
I mind. What do you think you're
doing?
MICHAEL
I thought I'd help you with your
packing.
KATHERINE
Don't bother. I decided not to go.
CHIP
(to Michael)
In case you didn't notice, we're in
the middle of a dance.
Michael moves between Chip and Katherine. Already, they're
beginning to attract considerable attention.
MICHAEL
What does it take to crack that
shell of yours, Katherine? Your
father died. Doesn't that mean
anything to you?
KATHERINE
What it means to me is none of your
business. I'll say one thing for my
father -- at least he's consistent.
He always sent something in place of
himself. It was usually money. Now
it's you.
MICHAEL
Look, you're my responsibility, and
I'm taking you out of here...one way
or another.
KATHERINE
You wouldn't dare.
Michael gives her a look, then in one quick move grabs her
by the waist and tosses her over his shoulder. Katherine
kicks, ad-libs a protest. Chip stands, open-mouthed, as
Michael pushes past him and starts for the exit with
Katherine.
WIDER ANGLE
as Michael moves through the stunned crowd toward the
steps. Everyone's too shocked to make a move to stop him.
ANOTHER ANGLE - FEATURING CHIP
joined by Skipper. Both are clearly disturbed by Michael's
appearance and subsequent disappearance.
CHIP
I think our friend needs a lesson in
manners.
With that, the two preppies turn and hurry toward the steps.
EXT. WOODGROVE SOCIAL CENTER - DAY
as Michael carries the protesting Katherine toward K.I.T.T.
K.I.T.T. pops the door and Michael puts Katherine inside,
slams the door, then walks around and climbs into the Trans
Am. Michael fires it up and starts away from the Social
Center. As he does:
ANOTHER ANGLE
Chip and Skipper run down the steps from the terrace and
are met by Scott -- they all stare at the Trans Am pulling
away. Scott, of course, recognizes the car at once. He
smiles smugly.
SCOTT
We're not going to have any trouble
catching that domestic piece of
aluminum.
With that, they run up to their sports cars, get in, and,
starting them up, squeal after Michael.
OMITTED
EXT. ROAD - NEAR WOODGROVE - DAY
as the Trans Am roars past camera. A beat, then we see
the three preppies in pursuit.
INT. TRANS AM - DAY
Katherine's sitting as far as possible away from Michael,
staring straight ahead, refusing to even acknowledge his
presence. Michael glances in the rearview mirror, sees the
preppies in their sportscars catching up.
MICHAEL
Looks like the Preppy Patrol wants
to pull us over.
He looks over at Katherine; she doesn't answer.
K.I.T.T.
Michael, we're approaching a
railroad crossing with a freight
train in transit. We'll be forced
to stop.
Katherine reacts to this with vague interest, catches
herself and decides to ignore K.I.T.T., too.
MICHAEL
They will.
With that, he punches the "pursuit" button.
EXT. ROAD - DAY
as the Trans Am explodes in a burst of speed, quickly
leaving the sports cars behind.
ANGLE - A FREIGHT TRAIN
traversing the road up ahead, lights flashing, signs up.
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 leaves 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.
INT. K.I.T.T. - DAY - ON MICHAEL
as he gives off an exhilarated whoop for joy. He looks
over at Katherine -- her face shows abject terror. He
grins.
ON THE SPORTS CARS
as Scott, Ship and Skipper pull over to the side of the
road, climb out to stare in awe at the Trans Am as it fast
becomes a memory.
SCOTT
I never saw anything move like that.
I don't get it.
CHIP
Maybe he doesn't use unleaded gas.
EXT. WOODGROVE SOCIAL CENTER - DAY - ANGLE ON CHRISTOPHER
STONE'S CADILLAC
as it drives toward the steps to the terrace, where we see
a buzz of activity -- fathers and daughters have finally
become activated, seem to be pouring out of the tea in
response to Katherine's abduction. Stone stops the Cadillac
nearby, climbs out and finally catches Stacey, a young
coed, as she rushes past.
STONE
What happened?
STACEY
A tall dark stranger came into the
dance and carried Katie Granger out
like Scarlett O'Hara. It was so
romantic.
Stone releases Stacey and she rushes off to whisper to
the other girls. We pull in on Stone's dismayed look.
EXT. ANOTHER PART OF ROAD - DAY - ON THE TRANS AM
now leisurely cruising down the road at about ninety.
INT. TRANS AM - DAY
Katherine's still glued to the far door.
MICHAEL
Are you going to sit there and sulk
all the way to the Foundation?
Katherine looks over for the first time, then:
KATHERINE
You've got your 'dashboard' to keep
you company.
K.I.T.T.
Michael, I think I'm being insulted.
Michael gives K.I.T.T. a smile.
Katherine glances at K.I.T.T.'s voice box but still refuses
to acknowledge it. Michael sees this, and in a parody of
the usual response:
MICHAEL
'Hey -- you've got a talking car!'
He looks over at Katherine. Still no response.
MICHAEL
(to K.I.T.T.)
Sorry, pal -- she's just not impressed.
(to Katherine)
Look, I'm sorry for what I had to do
back at the dance. But there was no
other way to get you out of there.
It's for your own good.
KATHERINE
(dry)
It's just wonderful how everyone
seems to know exactly what's 'good'
for me. Even perfect strangers.
MICHAEL
Katherine, do you have any idea why
your father never saw you?
KATHERINE
Sure. He wasn't interested. It
doesn't take much to figure that out.
MICHAEL
You were right about one thing --
you really don't know anything about
him. To me and a lot of other
people, Charlie Granger was a hero.
(remembering,
smiling)
I used to read about him all the
time -- discovering new worlds in the
South Pacific, Africa, South America....
Katherine looks at Michael, listening with veiled curiosity
for the briefest instant. Her emotions begin to gain
strength, then she reins them in.
KATHERINE
I'll make a deal with you. I'll go
anywhere you want if you'll stop
talking about my father. I really
don't want to hear it.
(beat)
Could you please stop the car for a
minute? I need some air.
Michael glances over at her.
MICHAEL
Sure.
And he turns toward the side of the road.
OMITTED
EXT. SIDE OF HIGHWAY - DAY - ON THE TRANS AM
The Trans Am is parked by the side of the road. Katherine
has gotten out and is standing, staring across the sur-
rounding countryside. Inside, we see Michael.
INT. TRANS AM - DAY
Michael is watching Katherine, as:
K.I.T.T.
Michael, that young lady is such a
brat, I can't help but wonder why
anyone would leave her a good-bye
note, let alone a treasure.
MICHAEL
She was Charlie's daughter. Blood's
thicker than water.
K.I.T.T.
So is my motor oil, but he didn't
leave me anything.
(beat)
When Katherine does seek her trea-
sure, I think I could contribute
to the search.
MICHAEL
How's that, buddy? You handy with a
pick axe?
K.I.T.T.
No, but Devon spoke of deciphering a
key which is hidden in her locket.
I have a feeling I'd be a natural
at that particular aspect of the
hunt.
MICHAEL
I'll keep that in mind.
Michael glances over, then sits up.
MICHAEL
Uh oh...jailbreak!
MICHAEL'S POINT OF VIEW - KATHERINE
She's suddenly bolted from the car and headed straight
across the field.
ON MICHAEL
jumping out of the car and running after her.
ANGLE ON THE FIELD
as Katherine sprints away, 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 dress is torn and covered with mud.
KATHERINE
Look what you've done! You've
ruined my dress!
She takes off her shoe to throw at Michael and finds the
heel's broken off. Michael sees it, stifles a laugh.
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 don't have designer
labels, but they'll keep you warm.
We'll get you some shoes later.
She glares at the clothes, and up at Michael; but his
expression is sincere. She takes the clothes, climbs into
K.I.T.T., then shuts the 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?
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
(a beat)
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. A pause, then she gathers
herself together and 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.
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 at Michael. Their eyes catch. Suddenly,
she grins. It's the first time we've seen her grin and
it's delightful -- and infectious. Michael grins right
back, then they both laugh. Off this, we:
CUT TO
EXT. FOUNDATION - DAY
seemingly peaceful and serene, as afternoon shadows fall.
In contrast to the quiet, we hear:
DEVON'S VOICE
Please understand it was a
protective measure....
EXT. FOUNDATION PATIO - DAY - CLOSE ON A MAN'S BACK
The tension in the air is thick as the man whirls to face
us -- and we see he's Christopher Stone.
STONE
You call kidnapping -- perhaps even
assault -- a 'protective measure?'
We widen to see Devon nearby.
DEVON
Michael Knight is a trusted employee
of this Foundation, Mr. Stone. He
is not an assailant.
STONE
As executor of Charlie's estate and
guardian of his daughter for the
last twenty years, I have a legal
and moral responsibility to take
care of the dispensation of any
treasure to Katherine.
DEVON
Treasure? I didn't mention a
treasure.
This throws Stone for a beat; but he recovers quickly.
STONE
We're talking in circles. My demand
is very simple -- I want to know
where Katherine is. Now.
DEVON
Under the circumstances, I'm afraid
I can't tell you. An attempt was made
on her life today, Mr. Stone.
STONE
That's ridiculous! Katherine
doesn't have an enemy in the world.
DEVON
Didn't. Apparently, thanks to the
treasure, she now does.
(beat)
Mr. Stone, I agreed to talk with you
because your credentials have
checked out. But until a lot of
questions have been answered to my
satisfaction, I am not changing my
position.
STONE
Nor am I changing mine.
With that, Stone turns and storms out.
ANGLE - CLOSE ON DEVON
staring after Stone, unflinching, firm...and just a little
worried. We hold on his face, then:
FREEZE FRAME
AND
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
EXT. FOUNDATION - NIGHT - ON K.I.T.T.
pulling up the driveway toward the main building, which is
aglow with lights.
INT. K.I.T.T. - NIGHT
as Michael stops the car and Katherine's about to climb out.
KATHERINE
I'd like to get this over with as
soon as possible.
Michael reaches out and catches her arm, stopping her.
MICHAEL
Just a minute, Katherine.
KATHERINE
I thought you were in a big hurry to
get me here.
MICHAEL
There's something I want you to see
first.
Off her confused look, Michael drives around toward the
back of the Foundation.
EXT. FOUNDATION GUEST QUARTERS - NIGHT
as Michael walks Katherine toward Charlie's last quarters.
KATHERINE
Where are we going?
MICHAEL
I think it's about time you met
someone.
He opens the guest quarters' door, leads Katherine in.
OMITTED
INT. GUEST QUARTERS - NIGHT
Michael walks in, Katherine stands tentatively by the
door. Michael crosses to the bed and pulls Charlie's
steamer chest out from under it. He opens the seaman's
chest and begins pulling out photos and articles ("Charlie
Granger Conquers Amazon" and "Granger's Shangri-la", etc.)
He arranges the mementos on the bed, pores over them.
Katherine remains standing her ground by the door.
MICHAEL
Look at this -- there must be a
hundred crocodiles in that river
with him.
(holding photo
closer)
It looks like he's serenading them
with a harmonica.
Katherine's interest is piqued. She takes a few steps
toward him. Michael's now got another photograph.
MICHAEL
Here he is on an all-white camel.
He's got a cute little girl with him.
That's a pretty locket she's wearing.
I think you know her, Katherine.
By now, Katherine has drawn close.
KATHERINE
May I see that?
He hands her the photograph. She looks at it, sits on the
bed beside Michael, mesmerized by the photo in her hands.
MICHAEL
Katherine, I'd like you to meet your
father.
He hands Katherine more of the photos of Charlie Granger
that we saw earlier -- his moments of glory, the famous
international leaders. As she looks at these:
MICHAEL
This is what I was trying to tell
you before. Don't cheat yourself of
the honor of being Charlie Granger's
daughter. He was a great man. He
was the last of a breed they don't
make anymore.
Katherine now reaches into the seaman's chest, pulls out
a handful of pictures of a young Katherine.
KATHERINE
These are all pictures of me. I
wonder why he kept them all these
years.
MICHAEL
He loved you, Katherine. You were
never out of his thoughts.
KATHERINE
Then why didn't he come see me all
those years? Why didn't he write me?
MICHAEL
According to the information I have,
he couldn't. He was a prisoner. He
wanted desperately to see you.
Katherine fingers the locket around her neck.
KATHERINE
This was all I ever had of my father,
Michael -- his picture in a locket.
I used to hold onto it all the time,
to make me feel like he was close by.
It's like running into your parents'
room late at night when the thunder
gets too loud -- except I had nobody
to run to.
MICHAEL
I'm sure he wanted to be with you,
he tried to give you everything he
could....
KATHERINE
Then why did he send me away like
some dog at a kennel? I would've
given up everything just to be with
him -- to sit on his lap and have
him hold me. Do you think I would've
chosen the schools and the clothes
over my father's love?
Katherine's facade utterly shatters and the tears she hid
from Michael earlier come back now. Michael reaches out to
her -- but she backs away.
MICHAEL
Katherine, your father didn't mean
to reject you. But just because he
disappointed you, don't close out
everyone else who tries to care for
you.
KATHERINE
I have to. When you shut them out,
they can't hurt you.
MICHAEL
They also can't love you.
Michael reaches for her again and this time she allows him
to gently take her into his arms. Michael just rocks her
gently as she continues to have a good, long overdue cry.
OMITTED
EXT. FOUNDATION - NIGHT - ESTABLISHING SHOT
as we pan to Devon's office window.
INT. DEVON'S OFFICE - NIGHT
Devon is at his desk going over a file. Michael is
standing, he also has a folder of papers that he's going
over.
MICHAEL
When did he come to see you?
DEVON
This afternoon. Michael, there's
something about this Mr. Stone.
It's not only what he said...but
something more. Something in his
eyes. They were the eyes of a
desperate man.
MICHAEL
Devon, if he's the only other person
who knew about the treasure, then he
may also know the key's in Katherine's
locket and he may have tried to kill
her to get it.
DEVON
That's what I fear, Michael.
April comes into the office.
APRIL
I finally got Katherine to sleep.
Any luck?
Devon slaps the files down on his desk in frustration.
DEVON
All these files show is that Stone's
a man with impeccable credentials.
There's neither motive nor evidence....
MICHAEL
The map stolen from Charlie's book
would be a start, wouldn't it?
As Devon's look confirms this....
EXT. CHRISTOPHER STONE'S ESTATE - NIGHT - ANGLE ON K.I.T.T.
pulling up outside the high-walled private property of a
man who once obviously ran a financial empire.
OMITTED
INT. K.I.T.T. - ON MICHAEL
as he pushes buttons and Stone's estate appears on the
monitor.
MICHAEL
Kitt, if you were Stone, where would
you hide a treasure map?
K.I.T.T.
One of the greatest treasure hunters,
Stephen de Blois, used to hide his
maps in imitation cannons by his
bedroom window.
MICHAEL
Maybe we should look for something
more conventional -- like a safe.
K.I.T.T.
You're just not a romantic.
Michael laughs.
ANGLE - FAVORING MONITOR
showing a schematic of the inner rooms, searching.
Suddenly, a red light flashes in one room.
K.I.T.T.
Michael, there's a call going out
from an upstairs bedroom.
MICHAEL
I think I'll do some eavesdropping.
Patch me into that call, Kitt.
ANGLE - FAVORING MICHAEL
as Stone's and Korris' voices come through the monitor, via
a phone filter.
STONE
Don't lean on me, Korris. I'll get
your money.
KORRIS
I don't think you understand your
problem, Stone. See, there's nowhere
in the world for you to hide that we
won't find you....
K.I.T.T.
I've found the safe, Michael. It's
built into an end table on the second
floor.
MICHAEL
Record the rest of this conversation,
pal. We've found our motive.
K.I.T.T.
Roger. Oh, and Michael, you might
also check the drapery. Albert the
Second of Austria used to weave his
treasure maps into the material.
MICHAEL
I don't think Stone's that clever
with a needle. Ready?
K.I.T.T.
Anytime.
Michael pushes the "eject button" and we see Michael
propelled up and out of the car.
EXT. K.I.T.T. - BY WALL - NIGHT
as Michael soars up, out of K.I.T.T. and over the wall to
the other side.
EXT. STONE'S FRONT GROUNDS - NIGHT
as Michael lands on the grass, then sprints over to the
house. He looks up at the second-story window, grabs an
ivy covered trellis and begins climbing up.
OMITTED
INT. STONE'S ESTATE - SECOND FLOOR - GYMNASIUM/TROPHY ROOM
- NIGHT
Michael climbs in through the window, walks carefully
through the dimly lit room, locating the end table.
CLOSER ANGLE - MICHAEL
as he opens a slide drawer exposing the metal door of the
safe. On the face of the door is a six-button panel, above
it is a digital readout window.
MICHAEL
(into
comlink)
Kitt, it's an electronic lock. Can
you open it?
K.I.T.T.'S VOICE
I can, but Michael -- the phone
conversation has terminated.
MICHAEL
Then let's move fast, pal.
The digital readout window is suddenly ablaze with numbers,
then it stops on three numbers and we hear a click. Michael
opens the safe -- it's empty.
K.I.T.T.'S VOICE
Michael, there's someone entering
the room....
Michael turns even as a figure lunges at him, striking out
in a now familiar cobra punch which Michael avoids just in
time -- he's only grazed by it. The room lights go on.
WIDER ANGLE
The room, now lit, is a large "den-like" room, filled with
athletic trophies, mounted guns, animal heads on the walls.
Stone's about to strike Michael again.
MICHAEL
Whoa -- slow down. I'm not armed.
STONE
I could've killed you. Breaking and
entering -- it would've been justi-
fiable homicide.
MICHAEL
You're an expert on that, aren't you?
STONE
(moving for a
nearby phone)
I'm calling the police.
MICHAEL
Number's nine-one-one. Go ahead...
what're you afraid of? Got something
to hide? Like Charlie Granger's map?
STONE
I don't know what you're talking about.
Michael looks around the room for the first time, sees all
the trophies and plaques.
MICHAEL
This room's quite an education. Lot
of trophies for fighting. Earned a
medal in the Green Berets, huh?
He points up at the mounted animal heads on the walls.
MICHAEL
Marksmanship, too? You're a regular
man for all seasons. Ever try taking
a shot at a young coed?
STONE
Just try to prove it, Knight.
MICHAEL
You know my name. That's good.
Because I want you to know who's
standing between you and Katherine
Granger.
STONE
Get out!
As Michael moves toward the door, we hold on Stone's cold
glare.
EXT. FOUNDATION - DAY - CLOSE ON KATHERINE'S OPEN LOCKET
showing aging photographs of Charlie Granger and a lovely
woman who strongly resembles Katherine.
KATHERINE'S VOICE
But I've looked in this locket a
million times. What could possibly
be hidden there?
We widen to see Michael, Devon, April and Katherine gathered
near the water lily-covered reflecting pond. As Katherine
hands Michael the locket, Devon refers to the inscription
in the Charlie Granger -- The Man And The Myth book.
APRIL
He said the book would provide the
answer.
DEVON
He adored puzzles and mysteries.
Seeking out their hidden meanings
was his passion.
Michael moves close to Katherine.
MICHAEL
Katherine, your father wanted this
treasure to be your twenty-first
birthday present. Can you forgive
him and grant him this one last wish?
Katherine takes Michael's hand, which holds the locket.
KATHERINE
You don't have to convince me. Just
help me find it.
DEVON
I'm afraid we're not the only ones
looking for it. That treasure's become
very important to Christopher Stone.
KATHERINE
Mr. Stone? What do you mean? I've
known him for years....
MICHAEL
He's changed, Katherine, you've got
to believe me. He's become a dangerous
man.
Katherine looks from Michael to Devon, confused. Then:
KATHERINE
Could you excuse me for a while?
I'd like to be alone....
She heads into the house. Michael and Devon watch her go,
concerned, then Michael opens his hand, revealing the locket.
OMITTED
INT. FOUNDATION - KATHERINE'S ROOM - DAY
We see Katherine on the telephone.
KATHERINE
Hello? This is Katherine. I'm
sorry I didn't call you before, but
so much has happened...I just learned
about my father's treasure.
INT. STONE'S ESTATE - TROPHY ROOM - DAY
as he talks to Katherine on the phone, controlling his
surprise at hearing from her. He listens a beat, his mind
going a million miles a second. Then, arriving at an idea:
STONE
Listen carefully. I had a visit
last night from Michael Knight. He
threatened me, demanded some map he
thinks I have. He's after the
treasure, Katherine...
(listens, then)
Please don't panic. I think he
may have killed your father.
(beat)
You've got to get out of there,
now. Don't let them know you're
going. I'll meet you at the corner
of Aberdeen and Vermont in ten
minutes.
INT. KATHERINE'S ROOM - DAY - CLOSE ON KATHERINE
as she slowly lowers the phone, her eyes brimming with
tears. She's clearly torn, unsure who to believe. Then,
decisively, she heads for the door.
OMITTED
EXT. CORNER OF ABERDEEN AND VERMONT - NEAR FOUNDATION
- DAY - ANGLE ON STONE'S CADILLAC
as it pulls up the street toward the corner. We see
Katherine standing there, half-hidden by foliage. She comes
forward as the car pulls to a stop. The passenger door opens.
STONE
I'm glad I got to you in time,
Katherine.
KATHERINE
What you said about Michael -- I
don't believe it.
STONE
People will do incredible things if
the stakes are high enough. Come on,
let's get away from here.
Katherine looks very indecisive. Her glance turns in the
direction of the Foundation, and suddenly, her hand goes to
her throat.
KATHERINE
My locket! I left it behind.
From inside Stone's car, we hear a small "click."
STONE'S VOICE
But you no longer need it, now that
you know what's in it.
Katherine turns back toward the car, to see:
ANGLE ON STONE
He has a gun trained on Katherine.
STONE
Please get in, Katherine. We're
going on a treasure hunt.
ANGLE ON KATHERINE
as she looks down at the gun, horrified, and slowly climbs
into the car, we:
FREEZE FRAME
AND
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
EXT. FOUNDATION - DAY
Everything appears peaceful.
INT. DEVON'S OFFICE - DAY
Devon's examining Katherine's locket under a magnifying
glass without much luck, while Michael thumbs through
Charlie's books.
DEVON
(as he studies
locket)
Charlie really was a master of
concealment.
MICHAEL
(reading)
'The key to the treasure is in
your locket, close to your heart as
you've been to mine....'
They turn as April bursts in.
APRIL
Katherine's gone!
MICHAEL
What?!
APRIL
I've looked everywhere for her --
she's nowhere on the grounds.
MICHAEL
Devon -- if Stone's got her, he'll
kill her. He thinks she's got the
key to the treasure.
DEVON
And Stone's got the map.
APRIL
We don't even know where to start
looking.
MICHAEL
But we've got the book, the locket
-- and Kitt.
On their reactions:
CUT TO
EXT. ROAD - DAY
Stone's Cadillac speeds toward open country.
INT. CADILLAC - DAY
Stone is driving, Katherine's beside him, frightened.
KATHERINE
How can you do this to me? 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, just since my financial status
changed for the worse. And sitting
there was the answer to my prayers
-- Charlie's treasure. Charlie
showed up and all I had to do was
take it away from him.
She stares at him, as she realizes:
KATHERINE
(very softly)
You killed my father.
Stone doesn't reply, continues driving. Katherine stares
at him, horrified.
EXT. HIGHWAY - DAY
The Foundation semi passes.
INT. K.I.T.T. - DAY - CLOSE ON MONITOR
where we see the pages of Charlie's book flipping by at
incredible speed.
K.I.T.T.'S VOICE
It's not very well written.
INT. SEMI - DAY
Michael, Devon and April are clustered around K.I.T.T.
MICHAEL
Critique the writing some other time,
Kitt.
APRIL
How far along are you?
K.I.T.T.
Granger has just crossed the Yaqui
River, narrowly avoiding being eaten
alive by piranha.
DEVON
I believe April means what chapter,
Kitt.
K.I.T.T.
'The End.'
MICHAEL
Kitt, in all Charlie's adventures,
was there any mention of finding a
treasure in a locket or a picture or
anything like that?
K.I.T.T.
In one case, he found a small chest
of jewels behind the portrait of a
Portuguese king.
APRIL
I looked on the back of the photos.
Nothing.
DEVON
What else, Kitt?
K.I.T.T.
In another instance he found an
inscription etched on the glass eye
of a gold sphinx.
MICHAEL
Etched on the eye...
(snapping
his fingers)
That could be it!
Devon and April look at him, perplexed, as Michael circles
K.I.T.T., climbs in. He pulls the locket out of his pocket,
slips it into K.I.T.T.'s computer.
MICHAEL
Kitt, blow up Charlie's face.
ANGLE FAVORING MONITOR
as the photo of Charlie appears on the monitor. We see
Devon and April approach behind Michael, to peer in at the
monitor.
MICHAEL
Bigger, Kitt. Much bigger.
K.I.T.T.
We'll lose most of the face, Michael.
MICHAEL
Give me just the eyes.
We see the eyes fill the monitor screen, and can vaguely
make out something blurring the right eye.
MICHAEL
The right eye -- I need to get in
closer.
The right eye fills the monitor screen and superimposed over
it, we see a grid, on top of which is the following: NR -
19336 - 24987.
ANGLE ON MICHAEL, DEVON AND APRIL
all staring wide-eyed at the monitor.
APRIL
What is it?
DEVON
Ingenious, indeed! That's a military
grid with ten place coordinates.
MICHAEL
With this information, Charlie could
pinpoint the treasure's location to
within one square meter. Kitt, do
you speak ten place coordinates?
K.I.T.T.
The location is in an area known as
Devil's Basin, Michael.
MICHAEL
C'mon, Kitt -- let's beat the devil.
And as he pulls the driver's door shut, ignites the engine:
EXT. HIGHWAY - DAY
The semi's ramp comes down and K.I.T.T. backs out, sparks
flying, does a 180 and heads back in the opposite direction.
EXT. DEVIL'S BASIN - DAY - ANGLE ON STONE'S CADILLAC
as it moves into the desolate area of sand, sage and
mountains. There's nothing here to mark it as an important
spot to anyone. Stone climbs out and crosses to Katherine's
door, gun in hand. Katherine climbs out. We see Charlie's
map in Stone's free hand, and he holds it out to Katherine.
STONE
Here we are, Katherine, Devil's
Basin -- just like Charlie's map
said. Now...where's the treasure?
KATHERINE
I told you, I don't know. I left
the locket at the Foundation...I
don't have any idea....
STONE
Think, Katherine. Think very hard.
He cocks the gun.
EXT. HIGHWAY - DAY
under crank as K.I.T.T. speeds by in excess of 100 mph.
EXT. ROAD ABOVE DEVIL'S CANYON - DAY
as K.I.T.T. pulls into 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 the gun on Katherine.
ANGLE ON MICHAEL
turning to K.I.T.T.
MICHAEL
I'll climb down and try to get behind
him. I'll need a distraction, pal.
K.I.T.T.
Just say the word.
Michael begins down the side of the canyon.
EXT. DEVIL'S BASIN - ON STONE AND KATHERINE
The sun beats down on them. Stone wipes the perspiration
from his brow, never lowering the gun.
STONE
Katherine, I don't believe you fully
understand. I'm not leaving without
the treasure.
KATHERINE
(imploring)
I don't know where it is!
STONE
I hope that's not the truth, Katherine.
Because if it is, you'll die right
here -- and I'll go on digging until
I find it on my own.
ANGLE ON MICHAEL
as he reaches the basin floor and crouches behind rocks.
MICHAEL
(comlink)
Kitt, this guy's got a car phone.
Let's give him a call.
K.I.T.T.'S SCANNER
It oscillates back and forth.
OMITTED
ANGLE ON CADILLAC
as its phone suddenly begins to ring off the hook.
WIDER ANGLE TO INCLUDE STONE AND KATHERINE
as Stone, startled by the ringing phone, turns toward the
Cadillac. At that moment, Michael leaps out and tackles
him, knocking the gun from his hand. Stone regains his
feet and as he and Michael face off:
MICHAEL
It's my turn, Stone.
Michael punches Stone, knocking him to the ground. Stone
kicks Michael back against the Cadillac, throws his lethal
cobra punch, missing Michael but cracking the car's window.
The fight continues, Stone using all his martial skills,
Michael deploying with judo moves and good old American
punching. Finally, Stone throws his lethal punch at Michael,
but to his surprise, Michael grabs his arm.
MICHAEL
If you show a secret weapon, you'd
better use it. Otherwise the next
time your opponent's way ahead of you.
He flips Stone and Stone again slams into the Cadillac,
dizzily moves toward Michael again.
MICHAEL
This one's for Charlie.
(to comlink)
Pop the door, pal.
The Cadillac's door pops open and Michael hauls off and
roundhouses Stone, knocking him into the car. Michael
slams the door shut, sealing the cold-cocked Stone in.
Katherine runs to him and they embrace.
MICHAEL
Let's find your treasure.
(comlink)
Kitt, I 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 as K.I.T.T.
arrives. They move to the car as the door pops open.
KATHERINE
Have you found the key?
MICHAEL
We have.
(to K.I.T.T.)
Have you pinpointed those coordinates?
K.I.T.T.
Coming up, Michael.
ANGLE ON MONITOR
to show the grid superimposed over Devil's Basin, the
coordinates falling into line. A red "X" flashes on the
exact spot on the side of a mountain.
K.I.T.T.
'X' marks the spot.
ANGLE ON MICHAEL, KATHERINE AND K.I.T.T.
as Michael and Katherine look toward the mountain.
THEIR POINT OF VIEW - THE MOUNTAIN
A fairly sheer rise, showing no distinction at the spot
indicated by K.I.T.T.'s monitor.
ANGLE ON K.I.T.T., MICHAEL AND KATHERINE
the disappointment shows on Katherine's face.
KATHERINE
There's nothing there.
MICHAEL
If Charlie hid the treasure as
carefully as he plotted the hunt, he
made sure it wasn't easy to see. How
about it, buddy?
K.I.T.T.
Twenty-one years of erosion have
covered the spot over with sand.
But you're right, Michael -- there's
a landfall at that spot, which seems
much less dense than the surrounding
walls.
MICHAEL
We've found Charlie's gift -- now
we've got to unwrap it.
They climb in.
K.I.T.T.
I'm programmed to be a treasure
hunter, not a caveman.
MICHAEL
Consider it a new program.
He puts K.I.T.T. in gear, backs the car away from the
mountain. Then, Michael revs the engine.
ANOTHER ANGLE
as K.I.T.T. bursts forward, heading directly toward the spot
indicated on the monitor.
INT. K.I.T.T. - DAY
Michael and Katherine brace themselves as Michael hits the
Turbo Boost.
EXT. K.I.T.T. - DAY
as the car blasts up, leaving the ground directly into the
mountain, penetrating in.
OMITTED
INT. K.I.T.T. - MICHAEL'S POINT OF VIEW THROUGH WINDSHIELD
as 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 as the car moves forward into the cavern.
OMITTED
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 diamond....
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 multicolored 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, Michael. In
other words, there's no treasure.
MICHAEL
Yes, there is -- it's all around
us. The beauty of this cavern is
what Charlie wanted you to have,
Katherine. This is the treasure.
KATHERINE
I think you're right, Michael.
Looking at the mountain from the
outside, I would've missed what's
inside, just like I missed all the
beauty in my father all those years.
She looks up at Michael.
KATHERINE
I have a feeling that's what he
wanted me to know.
OMITTED
CLOSE ON MICHAEL AND KATHERINE
Michael puts his arm around Katherine, and says sincerely:
MICHAEL
Happy Birthday, Katherine.
She smiles back warmly and we:
FREEZE FRAME
AND
FADE OUT
END OF ACT FOUR
TAG
FADE IN
EXT. WOODGROVE LADIES' DORM - DAY - ANGLE ON K.I.T.T.
pulling to a stop in front. We pull in on Michael and
Katherine as they climb out and Katherine looks up at the
dorm like a visitor back from a long vacation.
KATHERINE
It feels like I've been away for a
million years.
MICHAEL
You brought a lot back with you.
And by the way, I've got something
for you.
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, too.
She's deeply moved by this.
KATHERINE
Michael, remember when I told you I
didn't need a knight in shining
armor?
MICHAEL
I sure do. Why?
KATHERINE
I was wrong.
She kisses him and they ad-lib good-byes as she goes into
the dorm. Then, behind Michael comes the cound of a sports
car revving and he turns to see Scott leaning out at him.
SCOTT
Okay, speedball -- I've made some
big modifications on this baby and
I'm ready for you this time. Park
it behind that wheel of yours and
let's drag.
MICHAEL
Well, okay....
He sighs and climbs into K.I.T.T.
ANGLE ON THE TWO CARS
as K.I.T.T. moves in beside the sports car. Scott revs,
then:
ANGLE ON K.I.T.T.
as Michael hits the accelerator and K.I.T.T. takes off,
undercranked, like a rocket off the launching pad.
ANGLE ON SCOTT
He hasn't even pressed the accelerator to the mat. He
looks utterly bewildered.
OMITTED
INT. K.I.T.T. - DAY - ON MICHAEL
as he drives down the highway.
MICHAEL
You seem awfully quiet, Kitt.
K.I.T.T.
Charlie Granger's treasure caused
quite a bit of trouble. I may have
dust in my intake valves for years.
MICHAEL
That's not what's bugging you, is
it, buddy?
K.I.T.T.
Michael, you don't intend to leave
me a treasure, do you?
MICHAEL
I really hadn't given it much thought,
Kitt. I plan to stick around awhile.
K.I.T.T.
Well, if you do decide to leave me
something, will you do me a favor?
MICHAEL
Name it.
K.I.T.T.
Will you kindly just leave it on the
backseat?
Michael laughs.
EXT. HIGHWAY - DAY
as they disappear toward the horizon.
FREEZE FRAME
AND
FADE OUT
THE END
