ACT ONE
FADE IN
EXT. APARTMENT COMPLEX - NIGHT - JACK-O'-LANTERN
by the apartment entrance door. It's cutout face macabrely
glows. It's after midnight and two costumed musketeers and
one sexy female cave girl move up the path, laughing. They
enter the building.
INT. APARTMENT BUILDING - BONNIE'S APARTMENT - NIGHT -
BONNIE
down with the flu and fever, spooning out a creamy medicine
from a brown prescription bottle. Around the apartment are
half-opened boxes, suitcases, and furniture, not yet set in
place, evidence of a recent move. Bonnie takes the medicine,
makes a face and puts the cap back on the bottle, placing
it back on a box that serves as a temporary phone stand. A
sudden, loud disturbance is heard in the hall. She moves
to the door, looking through the peephole:
THE MUSKETEERS
duelling in the hallway for the honor of the sexy cave girl.
Distorted through the fish-eye glass.
BACK TO SHOT
Bonnie sniffles, shaking her head, about to turn off the
lights and get into bed. Abruptly, a scream is heard. She
moves to the door, unlocking it.
INT. APARTMENT BUILDING - NIGHT - SECOND FLOOR HALLWAY
A Woman, thirty, in a stylish white dress, screams as she
runs down the hall, pursued by someone in a black gorilla
costume. Bonnie steps out.
BONNIE
Please, could you keep it down...at
least until you get to the party.
The gorilla clamps a hairy paw over the screaming Woman's
mouth. As Bonnie reacts, the gorilla quickly picks the
Woman up, beats comically on his chest and carries the Woman
off. Bonnie shakes her head, bewildered.
BONNIE
(dry)
...And Halloween's still two days
away.
OMITTED
INT. BONNIE'S APARTMENT - NIGHT - BONNIE
moves unsteadily toward sliding glass doors that lead to the
balcony; starting to feel a bit woozy from the medicine.
Gets her balance and reaches for the curtains' drawstrings.
Looks out for a moment, her eyes trying to focus on:
BONNIE'S POINT OF VIEW - APARTMENT 2-H
diagonally across. A dizzying vision. In the lavishly
furnished place she can make out the gorilla, who has hold
of the Woman in white, in what appears to be an embrace.
INT. FURNISHED APARTMENT - NIGHT
The gorilla angrily shakes the Woman in the white dress,
his hands around her neck, throttling her.
WOMAN
(choking)
I...don't have it...the...
(gasps
for breath)
...apart...ment!
The gorilla listens for more, but it's too late. The Woman
slumps to the floor, pulling a lamp down with her. Dead.
INT. BONNIE'S APARTMENT - NIGHT - CLOSE ON BONNIE
her face registering her shock and horror.
BONNIE'S POINT OF VIEW - APARTMENT 2-H
The gorilla nervously looks at his victim, then turns to the
window.
GORILLA'S POINT OF VIEW - BONNIE
watches him, transfixed.
ANGLE IN BONNIE'S APARTMENT - BONNIE
as she turns away in horror and goes for the phone. Her
temperature rising as her hand wipes her brow. She begins
to dial, then swoons, collapsing on the floor.
EXT. HIGHWAY - NIGHT - ON K.I.T.T.
steering through the darkness.
K.I.T.T.
Michael, have you decided on a costume
for the Foundation Halloween party?
ANGLE IN K.I.T.T. - ON MICHAEL
MICHAEL
I was kind of thinking about Long John
Silver.
K.I.T.T.
Long John Silver! He was a brigand...
a murderer.
MICHAEL
But women love a man with an eyepatch,
pal.
K.I.T.T.
I can't imagine why.
(beat)
Devon's calling.
Michael reaches up, pushing the button.
MICHAEL
Yo, Devon.
INTERCUT - MONITOR - DEVON
in his office, looking weary.
DEVON
Good evening. I realize I'm probably
interrupting something terribly
important, but I need to know your
ETA.
MICHAEL
Nine AM. Why the long face?
DEVON
It's Bonnie. I'd like you to swing
by her new apartment on your way in.
MICHAEL
Still got the flu?
DEVON
Yes, but that's not the problem.
She just woke me with the most
fantastic story. It seems she
thinks she saw a gorilla strangling
a girl in her apartment building.
MICHAEL
Could be a bad dream...medication...
Did you notify the police?
DEVON
I debated that one until I spoke to
her doctor. He told me the medicine
she's taking, combined with her
symptoms could create very disorienting
side effects. So, for Bonnie's sake,
please handle this with...sensitivity.
MICHAEL
My bedside manner's impeccable.
DEVON
No comment. Let me know what you
think.
Devon smiles. His image fades on the monitor.
EXT. HIGHWAY - NIGHT - K.I.T.T.
zooming off, disappearing into the night.
EXT. APARTMENT COMPLEX - ENTRANCE - DAY
Michael walking up the path, seen from behind, entering the
building. Camera pans to the side. We see a man in work
overalls there. He is Norman Baines, a thin, wispy, twenty-
five year old. He watches Michael enter as he works large
hedge clippers, cutting with a vengeance.
INT. BONNIE'S APARTMENT COURTYARD - DAY - BONNIE
moving to the door, as the bell rings. A box of tissues in
her hand. She looks like she's been up all night chasing
phantoms.
BONNIE
Who's there?
MICHAEL'S VOICE
Michael.
Bonnie checks through the peephole to make sure. Then opens
the door. Michael hands her a bouquet of flowers.
MICHAEL
Happy new apartment.
He offers them to her, stepping in. Bonnie is delighted.
BONNIE
Oh...Michael...they're beautiful.
She tries to inhale the scent. But through her congestion,
it's difficult.
MICHAEL
They smell great. Take my word for
it.
She leads him into the apartment.
BONNIE
Now if I can just find a vase. The
only one I've unpacked I'm using for
a juice pitcher.
She starts to look through some boxes. Michael picks up a
large empty juice can.
MICHAEL
No problem. This should fit right
into your decorating scheme.
(off Bonnie's
laugh)
How you feeling?
BONNIE
Physically, a little better.
Emotionally...I'm really glad you
dropped by.
She takes the can from him, starts washing it in the sink.
Suddenly unnerved, her hands start to shake as she rinses
out the juice can. The can drops into the sink, rattling on
the aluminum.
MICHAEL
You all right?
She glances at him.
MICHAEL
Devon told me.
BONNIE
And you think I've lost my mind,
don't you? That's why you're being
so nice.
MICHAEL
(winces a
little)
Ouch....
Bonnie instantly regrets she said it.
BONNIE
I'm sorry. I didn't mean that. I
just keep seeing the image of that
girl....
MICHAEL
...That's why I'm here.
Where did it happen?
BONNIE
(pointing out
her window)
Apartment 2-H. I'm going with you.
MICHAEL
Don't forget your tissues.
They start out, Bonnie grabbing a box of tissues on the way.
INT. SECOND FLOOR HALLWAY - ON DOOR 2-H
Fist knocking on it. Pull back to see Michael and Bonnie.
They exchange looks. Michael tries the knob. It's open.
They step in.
INT. APARTMENT 2-H - CLOSE ON MICHAEL AND BONNIE
as they enter, stop at what they see:
THEIR POINT OF VIEW - APARTMENT
Empty of all furnishings, as if no one had recently lived
here.
BACK TO SCENE
Bonnie turns to Michael.
BONNIE
Michael! There was furniture here...
Couches, wall hangings, a lamp. She
knocked it over when she fell. I saw
it!
MICHAEL
(gently)
Bonnie, you're sure this is the
right apartment?
BONNIE
I'm positive.
(moving
over to
the window)
That's my apartment diagonally
across. It's a clear view. There
are the flowers you brought me,
wilting on the sink.
MICHAEL
(patient)
It was dark, and with the fever....
BONNIE
(interrupts,
emphatic)
Michael, I saw it!
Suddenly the apartment door suddenly slams shut. Bonnie
shrieks. Michael comforts her, arm around her. He glances
over to the drapes, billowing by the screened balcony door.
MICHAEL
Take it easy...it's just a cross draft.
C'mon, let's go back to your place.
Gently, he guides her out.
INT. APARTMENT BUILDING - SECOND FLOOR HALLWAY
Michael and Bonnie reach her apartment.
BONNIE
Is this it? You quitting on me?
MICHAEL
(looks at
her)
You know me better than that. Where
was the party?
She smiles.
BONNIE
One-B.
He starts off.
BONNIE
Michael?
He turns, nods with a grin:
MICHAEL
A black gorilla suit. Gotcha.
As they part, camera holds on a service door, slightly ajar.
Through the cracks we see a pair of eyes watching Michael
and Bonnie and hear the sound of heavy breathing.
INT. FIRST FLOOR HALLWAY - APARTMENT 1-B
Michael rings the bell, waits a beat. The door partially
opens. The pretty face of Denise appears.
MICHAEL
Hi. I'm Michael Knight. I
understand there was a party here
last night.
DENISE
Party? Now where'd you ever hear
that?
A balloon floats out. Michael catches the string, smiles.
MICHAEL
The Great Pumpkin told me.
(returns
the balloon)
Can I come in?
DENISE
Any friend of the Great Pumpkin is a
friend of mine.
Denise lets Michael in.
INT. DENISE'S APARTMENT
Michael and Denise enter the living room, amidst major
party debris.
DENISE
As you can see, it was just an
intimate affair.
MICHAEL
(looking
around)
Six or seven of your closest friends.
DENISE
(beat)
Right. What can I do for you?
MICHAEL
Well, I've got a good friend who
just moved into the building. Last
night she thought she saw something
really strange.
DENISE
I saw some strange things myself.
MICHAEL
Did you have any trouble here?
DENISE
You mean, like running out of ice?
MICHAEL
No...like a gorilla going ape. Maybe
hurting someone.
Denise turns, thinking. She toys with some streamers.
DENISE
Hmmm. Let me see. We had at least
a dozen Boy Georges, a couple of break
dancing mummies and one John De Lorean,
but no one came as a gorilla. That I'd
remember, 'cause I like hairy guys.
Her phone rings.
DENISE
That's either rave reviews for the
party or my landlord asking me to
move.
(lifts the
phone, holds
it close)
You'll excuse me.
MICHAEL
Thanks for the help. I can find the
door.
DENISE
(to phone)
Hello? Harry? Yes, I had a ball,
too.
ON MICHAEL
On his way out, he suddenly notices:
A CLUMP OF BLACK HAIR
snagged on the entrance air-conditioning vent.
BACK TO SHOT
Michael unsnags it carefully, considers it closely, then
exits.
EXT. APARTMENT BUILDING - DAY
as Michael moves to K.I.T.T. with the patch of hair ---
ANGLE ON ESMERELDA
hurrying to catch up with him. Esmerelda is twenty-seven,
sultry, dressed in black, and a bit vampish. She also
carries a black cat. Why not? Re K.I.T.T. ---
ESMERELDA
It's a dream!
ANGLE TO INCLUDE MICHAEL AND K.I.T.T.
K.I.T.T. flashes his scanner:
K.I.T.T.
I think she means nightmare.
(softer)
Michael, if she's trick-or-treating
tell her she's a day early.
Esmerelda reaches Michael. Re K.I.T.T. ---
ESMERELDA
Exactly what I need for the Witches'
and Warlocks' Ball. I'm Esmerelda,
top witch of the Northern Hemi. Are
you a warlock by any chance?
MICHAEL
I...don't think so.
ESMERELDA
A pity. It's so hard to find a good
warlock these days.
K.I.T.T.
Have you tried warlocks anonymous?
ESMERELDA
(casually)
And it talks, but then so does my
broom. Well? Can I use him for my
witch-mobile tomorrow night or not?
K.I.T.T.
Witch...mobile?
MICHAEL
(amused)
I'm afraid he already has other
commitments.
ESMERELDA
(to Michael; simply)
I'll put a curse on you you'll never
forget.
(to cat)
Come, Voodoo, time to take the newts
out of the oven.
And she heads back to the apartment, or wherever she came
from.
K.I.T.T.
If you ask me, Michael, she has newts
in her belfry.
MICHAEL
Let's just hope she keeps them there.
Run this through your analyzer, pal.
Michael reaches in, placing the clump of hair in the
analyzer tray.
INSERT - K.I.T.T.'S MONITOR
Graphics and picture confirm: "Gorilla."
BACK TO SHOT
Michael reacts, as does K.I.T.T.
K.I.T.T.
It's hair from a real gorilla. Oh,
why did Bonnie have to choose one of
these singles' buildings?
MICHAEL
Relax. This monkey probably hasn't
peeled any bananas lately. Kitt,
there can't be too many places in
town that rent real gorilla hair
suits. Check it out.
K.I.T.T.
Right away.
Michael starts off.
OMITTED
ANGLE ON APARTMENT BALCONY
We see hands, shifting a heavy cement flower planter atop a
small pedestal, too close to the balcony railing.
RESUME ON MICHAEL
about to enter Bonnie's apartment wing. A scraping is
heard. Instinctively, Michael glances up.
MICHAEL'S POINT OF VIEW - THE HEAVY CEMENT PLANTER
plummeting down, right for him.
MICHAEL
leaps aside, dodging it at the last instant. It crashes on
the pavement, inches away. Michael looks up to see:
A FIGURE
just a glimpse, disappearing into the apartment.
ANGLE - MICHAEL
off and running. Into comlink:
MICHAEL
Apartment 2-H?
K.I.T.T.'S VOICE
Exactly.
Michael dashes through the doors.
INT. APARTMENT 2-H - DAY - MICHAEL
charges into the same apartment he and Bonnie searched.
There's no one in sight. Michael checks the apartment,
opening doors. As he opens one, Norman Baines springs from
another, racing for the exit. Michael leaps for him, grabs
him, spins him around.
NORMAN
Please...don't hurt me.
MICHAEL
Hurt you? Buddy, you almost potted
me into the pavement.
NORMAN
I...I was just putting flowers in
that planter and the pedestal....
MICHAEL
...just fell over by itself. Come
on, you can do better than that.
NORMAN
No, no, I bumped into it, but...it
was an accident. Why would I want to
hurt you?
MICHAEL
You tell me. Who are you anyway?
NORMAN
I'm Norman Baines, custodian of the
building.
Michael relaxes his grip, still suspicious.
NORMAN
Uh...You're a friend of Bonnie
Barstow's, aren't you?
MICHAEL
How did you know that?
NORMAN
I saw you bring her some flowers. I
hope she'll be happy here.
MICHAEL
So do I. How long has this place
been vacant?
NORMAN
Three, four months.
MICHAEL
Which is it, Norman?
Before Norman can answer:
INCLUDE EDWARD GRANT
sixty, dressed smartly, a gruff air of power and confidence
about him. He speaks right up as he moves in from the
doorway.
GRANT
Four, and who wants to know?
MICHAEL
Michael Knight. Excuse me, but I
didn't catch your name.
GRANT
Grant. This is my building. You
interested in renting?
MICHAEL
(fishing)
Someone told me this was a furnished
apartment.
GRANT
Someone told you wrong. The
furnished apartments are in the other
wing. Well?
MICHAEL
(studies
him a beat)
I'll get back to you.
With that, Michael exits, leaving Norman and Grant. We
hold on them as they share a glance.
INT. BONNIE'S APARTMENT - DAY - BONNIE
trying to keep busy. She stands on a box dusting walls
with a feather duster. Suddenly, unbeknownst to Bonnie, a
key is dislodged from atop the door chimes. It falls to
the carpet. Bonnie finishes dusting, steps off the box,
and notices the key for the first time, but not where it
came from.
OMITTED
CLOSER ANGLE
Confused, Bonnie picks the key up. Looks it over, then
tries it in a nearby cabinet. It doesn't fit. She shrugs,
clips it to her key ring, lying on a nearby table. Abruptly,
the sound of water running is heard from her bathroom.
Alarmed, Bonnie starts toward it.
INT. BATHROOM - DAY - ANGLE TOWARD SHOWER ROOM DOOR
Bonnie crosses to it. The water running sound ceases as
abruptly as it started. She pushes the door open, stepping
inside.
ANGLE IN SHOWER ROOM
Bonnie looks around. Everything seems as it should. She
sighs, shakes her head, and turns as if to walk out. Then
turns back and looks at the closed door of the shower stall.
She grabs the handle, waits a beat, then pulls it open. Her
face fills with horror as:
WHAT SHE SEES - THE STRANGLED WOMAN
in the white dress, slumped against the tile walls, dead.
BONNIE
screams, rushes out.
INT. APARTMENT HALLWAY - DAY - ON MICHAEL
Hearing the screams, he breaks into a run, turns a corner.
ANOTHER ANGLE
Bonnie and Michael almost collide as she rushes from her
apartment.
MICHAEL
Bonnie, what is it?
BONNIE
(hysterical)
The girl from last night...She's in
my shower!
Michael takes off into the apartment.
INT. BONNIE'S APARTMENT - DAY
Michael races from the living room into:
INT. BATHROOM - DAY
Michael enters, looks into the shower, reacts.
WHAT HE SEES - THE SHOWER
is empty and dry. The girl has vanished.
BACK ON MICHAEL
Bonnie moves in behind him, afraid to look.
BONNIE
She's dead, isn't she? Michael?
MICHAEL
(very gently)
Bonnie, look.
Bonnie looks to see the empty shower. She reaches out to
touch the dry tile. She turns to Michael, desperate.
BONNIE
It can't be dry. I heard the water
running! And I saw her, right down
there!
(breaks
into tears)
Michael, am I going crazy?
MICHAEL
No, but someone sure wants you to
think so.
Bonnie reacts, Michael draws her close, gently putting his
arms around her.
MICHAEL
Easy, Bonnie. It'll be okay. I
promise you...and I promise we'll
find out who's doing this...who and
why.
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
EXT. STREETS - DAY - K.I.T.T.
driving, moving with a purpose through a pleasant urban
setting.
MICHAEL'S VOICE
Kitt, you're sure Central Costume is
the only place that rents real gorilla
suits?
ANGLE IN K.I.T.T.
K.I.T.T.
According to my information, Michael.
And by the way, I've been giving some
thought to your party costume.
MICHAEL
Lay it on me, pal.
K.I.T.T.
Since you intend to interest a lady
in the birds and the bees...might I
suggest -- St. Francis of Assisi.
MICHAEL
You do and you're going as a witch-
mobile.
OMITTED
EXT. CENTRAL COSTUME AND PROPS - DAY - SIGN
It reads: "CLOSED". Under it "HALLOWEEN HOURS, 9:00 to
noon, 3:00 to Midnight." Camera pulls back to reveal a huge
warehouse -- dark and uninviting. K.I.T.T. cruises slowly
to the front.
K.I.T.T.'S VOICE
It's closed for another few hours.
ANGLE IN K.I.T.T.
as Michael scopes the place out.
MICHAEL
Good. It'll be easier to look
around. Can you see a way in?
INTERCUT - K.I.T.T.'S MONITOR
Showing a window.
K.I.T.T.
There's a window with a broken latch
in back.
ANGLE ON K.I.T.T.
Michael steers into the alley, next to the building.
INT. CENTRAL COSTUME - DAY - ON A WINDOW
It slides open and Michael clambers in, then drops to the
floor. The place is cavernous, dark and old, and filled
with rack upon rack of costumes of all shapes, colors, and
sizes.
FOLLOWING MICHAEL
He moves catlike through the racks, looking left and right.
He rounds a corner and reacts as he sees:
AN EXECUTIONER
complete with black hood and a nasty-looking axe, looming
right in front of him. Michael drops to a defensive posture
by reflex, then realizes he's looking at a well-dressed
mannequin.
K.I.T.T.
(comlink)
Are you all right? Your pulse and
respiration are racing.
MICHAEL
I'm fine. Just a little too much
Halloween.
ANOTHER ANGLE
Michael turns into a new row of costumes, this time taking
note of a complete suit of armor standing upright on a
rolling base. He passes it, then spots what he's looking
for: a rack containing several gorilla suits and heads.
He hurries to it, flips through them until he finds:
CLOSER ANGLE
A black gorilla suit matching the color of the hair he
found. He holds the comlink close to it, whispers:
MICHAEL
Is this the genuine article?
K.I.T.T.'S VOICE
(comlink)
A perfect match.
He pulls the suit from the rack and notes a tag receipt
dangling from the hanger. He reads it. Slight reaction.
MICHAEL
Well, what do you know?
Footsteps are heard approaching.
ANGLE ON A DOOR
as it opens, admitting a shadowy Figure.
MICHAEL
grabs the gorilla suit and disappears into the racks of
costumes.
VARIOUS ANGLES - INTERCUT - MICHAEL AND SHADOWY FIGURE
A gun drawn, the Figure moves cautiously, stalking his prey.
Michael crouches beside some costumes, seeing the feet
passing under the rack. Eventually, Michael is forced into
a corner where he hides.
FIGURE
(quietly;
threatening)
I know you're back there.
MICHAEL
stays frozen, whispers into his comlink:
MICHAEL
Kitt, I could really use a Knight in
shining armor.
EXTERIOR - ANGLE ON K.I.T.T.'S SCANNER - DAY
flashing, making its characteristic sound.
INT. CENTRAL COSTUME - DAY - ROW OF COSTUMES
The Figure, gun poised, is suddenly distracted by a rumbling
behind him. He whirls to see the suit of armor bearing
down on him rapidly, sword arm waving. He fires and the
suit's head flies off and rolls away. The Figure screams
and runs off, spooked. Only now do we see he's a security
guard.
ANGLE ON MICHAEL
appearing out of the racks, gorilla suit in hand.
MICHAEL
Looks like we just rented ourselves
a gorilla suit.
He heads for the window.
CUT TO
INT. APARTMENT HALLWAY - CLOSE ON DOOR "1-B"
A hand raps insistently and the door is opened by Denise.
Widen to reveal Michael, all business, holding the gorilla
suit at her door. Her eyes widen, but she quickly covers
her surprise, smiles.
DENISE
Oh, good, you found one. You'll make
a great King Kong.
MICHAEL
I need to talk to you.
DENISE
Come on in. You like brie or gouda?
She opens the door and he crosses into the apartment.
ANGLE IN DENISE'S APARTMENT
Michael's hard, determined as he follows Denise toward the
living room.
MICHAEL
Cut the tap dance, Denise. You lied
to me.
SIMON'S VOICE
Is something wrong?
ANOTHER ANGLE TO REVEAL SIMON
early thirties, tanned, handsome, and athletic, rises to
help Denise meet Michael's intrusion. With him, to
Michael's surprise, is Bonnie. She reacts, both to him
and to the gorilla suit.
BONNIE
Michael....
DENISE
(still the
hostess)
Oh, good, you know each other. I'll
open another bottle.
BONNIE
(a little
awkward)
Michael, this is Simon. He and Denise
were nice enough to throw me a little
'Welcome to the Building' party.
SIMON
Nothing fancy...cheese, a little
Beaujolais....
DENISE
I thought these two should meet.
MICHAEL
Very nice, but I didn't come to
party. I'll go back to the beginning.
Denise, you'll never guess where I
found this gorilla suit.
DENISE
Central Costume.
MICHAEL
With your name on it.
DENISE
(cheerfully)
I took it back today.
MICHAEL
(still tough)
I asked you this morning....
DENISE
...if anyone at the party wore a
gorilla suit, and I said no. I
never took that thing out of the
closet.
MICHAEL
(skeptical)
Oh, I see. You just rented it,
brought it home, then took it back.
DENISE
That's right. I changed my mind.
Really...do I look like the gorilla
type to you?
MICHAEL
If you didn't wear it, why'd you take
it to be cleaned before you returned
it?
DENISE
Now you're hallucinating. I'm not
that conscientious.
MICHAEL
For your sake, you'd better be telling
the truth, 'cause if I find out you're
not....
Bonnie and Simon have grown more and more uncomfortable
during this exchange. Bonnie moves to Michael and tugs his
sleeve.
BONNIE
Thanks a lot for the party, you
guys. And don't mind Michael. He's
just being...brotherly.
Bonnie and Simon exchange smiles, and she leaves with
Michael.
EXT. APARTMENT BUILDING - DAY - ON K.I.T.T.
Scanner light flashing warily:
K.I.T.T.
Really, Esmerelda, I think you're
going a bit too far.
FULLER ANGLE
to see Voodoo the cat resting on K.I.T.T.'s hood, while
Esmerelda completes a pentagram completely around K.I.T.T.,
made with a pretty purplish powder of bat.
K.I.T.T.
And will you kindly get that black
fur ball off my hood.
ESMERELDA
Voodoo's my medium, Kitt. He helps me
with my magic.
K.I.T.T.
Then see if he'll help you make him
disappear.
The pentagram completed, Esmerelda picks Voodoo up in her
arms.
K.I.T.T.
Thank you.
Then she steps out of the pentagram and begins chanting:
ESMERELDA
'Bat wings and toad tails,
Lizzard tongues and snake scales...'
K.I.T.T.
I'm getting sick to my transmission.
As she goes into a humming trance ---
BONNIE AND MICHAEL
They move out of Denise's entryway and cross to Bonnie's
entrance, unable to see K.I.T.T. from their angle.
BONNIE
Do you really think Denise is
involved?
MICHAEL
You don't?
BONNIE
I don't know, she seems so nice. Not
my image of a murderess.
MICHAEL
That's what they said about Lizzie
Borden. I had Kitt run a check on
the suit for foreign matter: Blood,
hair....
BONNIE
(cringing)
And?...
MICHAEL
Nothing. But he did find fresh
evidence of dry cleaning chemicals.
Either a very conscientious person
...or someone with something to hide.
I'd guess the latter.
BONNIE
If I had a couple weeks I could
program Kitt to analyze the mixture.
MICHAEL
I'm way ahead of you. It's Premiere
Cleaners on Wilson. We're on our way
there now.
BONNIE
How could you trace it so fast?
MICHAEL
(winks)
I read the ticket on the hanger.
They stop at her entrance. She begins looking for a key on
her key ring. We'll notice the one she found in her drapes.
MICHAEL
You going to be okay?
BONNIE
If I can find the right key to my
apartment. This building has more
locks than a Federal Reserve Bank.
See you later.
Bonnie enters the building. Michael heads back toward Kitt
when he suddenly reacts to what he sees.
ANGLE TO INCLUDE K.I.T.T. AND ESMERELDA
as Michael hurries to them. She's begun her chanting again.
ESMERELDA
'Prince of Darkness, Angel of the
Bottomless Pit,
Devil, Satan, let's all welcome Kitt!'
With this the pentagram ignites and burns a blazing
ultraviolet until it flashes out. Very impressive.
ESMERELDA
You're one of us now, Kitt.
K.I.T.T.
As long as I don't have to buy a cat.
Esmerelda looks at Michael:
ESMERELDA
You're next.
And goes off.
K.I.T.T.
Funny, Michael, but I don't feel any
different.
MICHAEL
Between you and me, Kitt, I think
one of the newts got out.
He smiles, slides in and they peel off.
OMITTED
INT. EDWARD GRANT'S MANSION - DAY - LIVING ROOM
Open close on an expensive phone chiming discreetly. Widen
to reveal Edward Grant in casually elegant lounging attire.
We hear only his side of a brief phone conversation.
GRANT
Yeah.
(beat;
expression
darkening)
Knight again...too bad. That
costume's your problem...'Course I
still want the key.
(another beat)
Just try not to do anything stupid.
He hangs up, shakes his head. He pulls a bottle out of a
cabinet and pours himself a drink.
CUT TO
EXT. SMALL SUBURBAN SHOPPING CENTER - DAY
A convenience store, a video arcade, and a small shop
reading "Premiere Cleaners" surround a simple parking lot.
OMITTED
ANGLE PAST K.I.T.T. INTO CLEANERS
where Michael is conversing with a clerk, who looks at the
suit, nods, checks a book and shows the page to Michael.
INT. ND SEDAN - DAY
A large, hairy hand rests on the steering wheel. Widen to
reveal a hairy arm and shoulder. Sounds of heavy breathing
over.
ANGLE AT CLEANERS
Michael comes out, crosses behind K.I.T.T. with the suit.
MICHAEL
Trunk, por favor.
Thr trunk pops open.
K.I.T.T.
I hope that monstrosity doesn't shed.
MICHAEL
You'll never guess who brought it
in. Norman Baines.
K.I.T.T.
Norman? But Michael, how?
MICHAEL
He probably took it out of Denise's
closet. Think about it. He can go
anywhere, do anything -- he's got
keys to every lock in that building.
K.I.T.T.
Michael, look out!
Michael turns, reacts.
WIDER ANGLE
The sedan driven by the gorilla swings into the center,
heading directly for Michael; caught outside K.I.T.T.,
Michael dives just in time as the sedan arcs past, narrowly
missing him.
DIFFERENT ANGLE
The sedan shoots out the other driveway, hitting the
street. Michael dives into K.I.T.T.
MICHAEL
Let's hit it, buddy!
He fires K.I.T.T. up, slams it into reverse, burns out,
then punches it into gear, tires squealing.
OMITTED
EXT. ADJACENT STREET - DAY
Flanked with buildings under construction. The sedan
screeches a hard right and cuts into a narrow delivery
alley between the sites.
ANOTHER ANGLE
Michael and K.I.T.T. round the corner just as the sedan
disappears into the alley.
ANGLE IN ALLEY
The sedan rockets through just before a loaded glass truck,
delivering mirrors to the site, backs up, blocking the
alley, and K.I.T.T.
ANGLE IN K.I.T.T.
Michael looks left and right. There's no room to pass. He
reaches for turbo boost.
K.I.T.T.
We can't clear it, Michael, we're
too close.
MICHAEL
No choice now. Hang on!
Michael presses turbo boost regardless.
K.I.T.T.
Michael!
DIFFERENT ANGLES - THE JUMP
The glass truck blocks the driveway...K.I.T.T. turbos,
arcing up but not able to fly over the truck; he crashes
through the mirrors, sending an explosion of glass every-
where.
REVERSE ANGLE
K.I.T.T. lands, brakes. The sedan is nowhere to be seen.
ANGLE IN K.I.T.T.
Michael's eyes search the area.
MICHAEL
Kitt, can you pick him up?
K.I.T.T.
No Michael. Wherever he is, he's
out of scanner range.
Michael's jaw muscles flex in frustration. He sighs,
shakes his head.
MICHAEL
(beat)
Got a broom?
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
EXT. BONNIE'S APARTMENT COMPLEX - NIGHT
Late Saturday night, only a few lights on. An old car
appears, turns in and parks.
ANGLE AT CAR
The driver is Norman. He climbs out, glances around, and
slips a large knife into one of his rubber boots, then pulls
out a sack that looks suspiciously like body parts. Heads,
to be more precise. He slings the sack over his shoulder,
hurries toward his apartment.
INT. NORMAN'S APARTMENT - NIGHT
The door unlocks and Norman slips in, double bolts it
behind him. Sighs relief. Then he jumps, startled.
REVERSE ANGLE
Michael is there, waiting. Watching. He slowly rises.
MICHAEL
Hello, Norman.
NORMAN
What are you doing here? How did
you get in? That's trespassing!
MICHAEL
No, it's breaking and entering.
What's in the sack?
Norman holds the sack away from Michael, who slowly advances.
He notices the knife handle.
NORMAN
Get out of here!
MICHAEL
The sack, Norman. And the knife in
your boot.
NORMAN
No!
MICHAEL
You did it, didn't you.
NORMAN
I want a lawyer! You can't do this
if I don't have a lawyer.
MICHAEL
I'm not a cop. There'll be plenty
of time for lawyers.
Norman's shoulders slump.
NORMAN
All right, I confess. I knew I
shouldn't have done it, but I
couldn't stop myself. I've been
doing it for years....
Norman dumps the contents on the floor. Michael steals
himself, ready for anything but the six pumpkins which roll
out. Michael stares.
MICHAEL
Pumpkins....
NORMAN
I always raid a patch the night
before Halloween. Are you going to
turn me in?
MICHAEL
For now, I'll settle for a few
straight answers. Did you go to
Denise's party wearing a gorilla
suit?
NORMAN
No, I couldn't make Denise's party.
MICHAEL
Then why did you take a gorilla suit
to the cleaners?
NORMAN
As a favor for Denise. She offered
me five dollars, but I refused the
money.
MICHAEL
Because she's your friend....
NORMAN
Yes. If you don't believe me, you
can ask her yourself.
MICHAEL
I think I'll do that.
He starts to leave.
NORMAN
She's not there.
MICHAEL
Where is she, Norman?
NORMAN
She's gone away.
MICHAEL
You make it sound permanent.
NORMAN
No, just until tomorrow. I know
because she asked me to keep an eye
on her place.
MICHAEL
Another favor?
NORMAN
Yes.
He smiles. Michael glances at the pumpkins, leaves.
ANOTHER ANGLE
Norman crosses back over to a pumpkin and begins cutting.
Slowly, and with a look of great pleasure on his face....
CUT TO
EXT. FOUNDATION - DAY
MICHAEL'S VOICE
Kitt ran the sedan's plates through
the DMV computer....
INT. BALLROOM - DAY
Michael is helping Bonnie string decorations somewhat
against his will. The room is half decorated. Devon
stands with them, occasionally ducking or dodging Bonnie's
bunting. Other workers bustle in b.g.
MICHAEL
They were stolen.
DEVON
(beat)
If we only had a viable suspect....
MICHAEL
What d'you mean? We do.
DEVON
Denise Reynolds? What could she have
against Bonnie?
MICHAEL
I'll ask when I find her.
BONNIE
Aside from motive, I don't think
Denise is strong enough to have
overpowered that woman.
MICHAEL
Not normally. But under pressure,
who knows?
(beat)
Let's go back to your apartment. I
want to see if Miss Halloween is
home.
They start out.
OMITTED
EXT. APARTMENT COMPLEX - DAY
K.I.T.T. pulls up, Michael and Bonnie climbing out.
ANOTHER ANGLE
as they approach Bonnie's apartment Simon appears from the
adjacent complex in full tennis attire, a racquet in his
hand. Ad-lib hellos.
SIMON
You don't feel like some tennis, do
you?
BONNIE
Thanks, but I think that might be
pushing it.
SIMON
I just got stood up. Denise and I
had a date for noon.
MICHAEL
(a reaction)
She's not in?
SIMON
(shakes head)
Knowing Denise, she forgot all about
it. Knowing Denise, she could be
gone for days.
MICHAEL
Excuse me.
He starts for Denise's apartment across the way.
SIMON
You can save yourself a trip.
MICHAEL
I can use the exercise.
Simon looks back to Bonnie, smiles.
SIMON
C'mon, I'll walk you in.
ANGLE FROM MAILBOX DEPOT
as they cross toward it, heading for Bonnie's apartment:
SIMON
I've been calling you all morning.
Want to go to a costume party with
me tonight?
BONNIE
I'd love to, but I can't. My boss
is having a Halloween party.
Reaching the depot, Bonnie produces her key ring. Simon
watches as she selects the right one and opens the mail
slot for her apartment. We notice once again the key she
found in the drapes.
BONNIE
(an idea)
Hey, how'd you like to take me to my
party?
Simon smiles, delighted.
SIMON
Now you're talking. You've got a
date.
ANGLE AT DENISE'S APARTMENT
Michael knocks. There is a throwaway local advertiser
near the door. No one is home. Michael leaves.
ANGLE ON BONNIE AND SIMON
As Michael crosses back to join them Bonnie darts ahead,
moving toward her apartment. Simon hangs back as Michael
approaches.
SIMON
(to Bonnie)
We'll catch up.
He falls into step with Michael as they follow Bonnie.
SIMON
That's one terrific lady. Bright,
funny, great looking....
MICHAEL
Weak backhand.
SIMON
(smiles)
All the better.
(beat)
Let me ask you a question. These
hallucinations....
MICHAEL
I'm working on it.
SIMON
I'd hate to see anything happen to
her. Sometimes you meet a girl that
pushes all the right buttons.
As they reach the stairwell they hear:
BONNIE'S VOICE
Michael!
They bolt up the stairs.
ANGLE AT BONNIE'S FRONT DOOR
They reach her standing there, limp and shaken. Ad-libs
over "What is it?" "What's wrong?" etc.
POINT OF VIEW INTO ROOM
It has been ransacked, destroyed, turned upside down.
ANGLE INSIDE APARTMENT
Michael pushes in, Simon staying behind to comfort Bonnie.
He quickly checks, makes sure the intruder's gone.
SIMON
I'll call the police.
He reaches for the phone.
MICHAEL
Not from here.
SIMON
Right. There could be prints.
(looks)
Who would do something like this?
BONNIE
Excuse me.
She crosses to the bathroom.
MICHAEL
When did you last see Denise?
SIMON
(a take)
You don't think....
MICHAEL
Put it this way. If they hung people
for circumstantial evidence, Denise
would be twisting slowly in the wind.
ANGLE IN BATHROOM
Bonnie comes in to wash her face. She instinctively glances
at the bathtub. Nothing there.
ANGLE ON MIRROR
as Bonnie rinses her face and looks into the mirror. She
freezes.
A HIDEOUS GREMLIN
staring at her in the mirror. The Gremlin talks rapidly in
a sing-song gibberish. Bonnie screams, bolts out.
ANGLE FROM LIVING ROOM
Michael and Bonnie almost collide, Simon not far behind
Michael.
BONNIE
(hysterical)
In the mirror! Michael, quick!
ANGLE IN BATHROOM
Michael rushes in, looks.
ANGLE IN MIRROR
The image of the gremlin is still there, repeating the
gibberish, fading, then gone.
ANOTHER ANGLE
Michael pops open the medicine chest behind the mirror;
nothing. He turns, examining the bathroom, reacts to a
vent fan unit in the ceiling. He stands on the bathtub,
reaches up and pops off the vent face.
ANGLE INSIDE VENT
Michael pulls down a cigar box-sized unit.
SIMON'S VOICE
What's that?
WIDER ANGLE
Simon and Bonnie stand at the door, Bonnie still shaking.
MICHAEL
Proof.
SIMON
Proof?
MICHAEL
That Bonnie wasn't hallucinating. A
hologram projector and a minicassette
recorder.
He punches "rewind", then hits "play" on the tape recorder.
The sound of a shower is heard under:
MICHAEL
There's your running water, Bonnie.
BONNIE
Thank God.
SIMON
But why?
MICHAEL
To scare Bonnie. To make her think
the one frightening thing she really
saw was all in her head.
Abruptly the shower sound ends and the gremlin's gibberish
starts again. Bonnie winces. Michael frowns.
BONNIE
Great. If we only spoke gremlin....
MICHAEL
Kitt might.
(comlink)
Kitt, play this in reverse for me,
will you?
EXT. K.I.T.T. - ANGLE ON HIS SCANNER
flashing..."whoop-whoop."
BACK TO SHOT
The tape recorder reverses and an eerie voice is heard.
TAPE VOICE
36 Fairview Road...36 Fairview
Road....
MICHAEL
(to Bonnie)
Sounds like the place to be. You
coming?
BONNIE
Try and stop me.
CUT TO
EXT. TWO-LANE HIGHWAY - DAY
The Trans Am drives past, slows, turns off on to a smaller
road: Fairview.
ANOTHER ANGLE
The Trans Am passes.
EXT. PSYCHO HOUSE - DAY
A dilapidated house on the hill. Boy, this place looks
familiar. K.I.T.T. appears, pulls up to a chain strung
across the drive with a 'No Trespassing' sign on it, and
stops.
K.I.T.T.
This is it, Michael.
Michael and Bonnie get out. Bonnie shudders.
MICHAEL
Want to wait here?
BONNIE
Are you kidding?
Michael smiles, and they continue on by foot.
ANOTHER ANGLE
They walk hand-in-hand up the creepy stairs. A crow flies
overhead. Or is it a raven? Bonnie grips Michael's hand
tighter. Suddenly a sound nearby, a rush of frenzied move-
ment. Bonnie gasps.
THEIR POINT OF VIEW
A startled covey of quail takes to flight.
ANGLE FROM HOUSE
An old rusty swing sways in the wind. Michael and Bonnie
reach the front porch, cautiously step up. Michael's eyes
are everywhere. They pause.
MICHAEL
(beat)
Whoever it is has a morbid sense of
humor.
BONNIE
I wouldn't go that far.
MICHAEL
Morbid?
BONNIE
Sense of humor.
MICHAEL
Gotcha. Let's take a look inside.
They step for the door. Suddenly the world seems to
disappear. More to the point, they do; the floor beneath
them collapses.
ANGLE FROM PIT
shooting up as, in slow motion, their figures tumble down
into this dark abyss like rag dolls.
CLOSER ANGLE
They land on top of each other in a tangle of arms and legs.
MICHAEL
Are you okay? Bonnie? Bonnie!
BONNIE
(slowly)
I think so...yes. What happened?
MICHAEL
Looks like a trap door.
He collects himself, stands, helps Bonnie to her feet. Looks
up at the patch of light above. Suddenly an object behind
Michael moves, a white yard-long item flopping out to rest
on his shoulder. Bonnie screams. Michael turns.
MICHAEL
Bonnie, easy, it's just...
(reacts;
finishes
slowly)
...An arm.
It is. Bonnie flattens herself against the opposite wall,
trembling. Michael forces himself to investigate; the arm,
attached to a female body, is rolled up in canvas. She
wears a white dress.
BONNIE
It's her! Michael, the girl I saw
murdered -- That's her!
Now a strange new sound: a hissing from somewhere close by.
MICHAEL
(reacts)
Gas!
(comlink)
Kitt, are you there?!
K.I.T.T.'S VOICE
Yes, Michael. The question is where
are you?
MICHAEL
In a trap, buddy. Beneath the
porch. Hurry! Somebody's trying to
put us to sleep -- permanently!
ANGLE ON K.I.T.T.
He self-activates, crashes through the chain.
WIDER ANGLE
He drives up the steps, brakes as he reaches the porch.
INTERCUT - MICHAEL AND BONNIE
fighting to stay conscious.
MICHAEL
(comlink)
Kitt, hurry....
ANGLE ON K.I.T.T.
He activates the grappling hook.
DIFFERENT ANGLES
It ejects, shoots past the hole. K.I.T.T. begins to
retrieve it...and it drops into the hole.
ANGLE IN PIT
Michael grabs it with one hand, holds onto Bonnie tightly
with the other.
MICHAEL
(comlink)
Okay...slowly...easy....
As they start up.
OMITTED
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
EXT. PSYCHO HOUSE - DAY
Police cars. Flashing lights. A covered body being loaded
into a morgue van. Devon is comforting a very shaken
Bonnie, while Michael is a short distance away getting some
information inside K.I.T.T.
DEVON
It's small consolation, but at least
you know you weren't hallucinating
about the murder. I'll never doubt
you again.
BONNIE
(fighting tears)
That...poor girl. Do you have any
idea who she is?
As Michael moves toward them:
DEVON
According to the police, her name
was Linda Ramsden.
MICHAEL
And according to Kitt, her last
known address was Greenview Terrace,
Apartment 2-A.
BONNIE
(stunned)
That's my apartment.
MICHAEL
Which may explain why your place was
ransacked. Linda must have hidden
something there...something the
killer wants very badly.
BONNIE
The place was completely empty when
I moved in. What could it be?
MICHAEL
That's what I'm going to ask Edward
Grant, your landlord.
Michael starts back to K.I.T.T.
DEVON
Isn't that reaching a bit, Michael.
MICHAEL
(gestures to
the house)
Not when you consider he also owns
this cozy little hideaway.
(off their
reactions)
It used to belong to his mother.
Michael slides in and peels away from the Psycho House. As
Bonnie and Devon watch him leave ---
ANGLE ON SHADOWY FIGURE - THE BREATHER
hidden behind some dense brush, he takes in the scene, then
settles on Bonnie.
EXT. GRANT ESTATE - DAY - K.I.T.T.
pulls into the driveway of the magnificent house.
MICHAEL'S VOICE
Looks like Mr. Grant has the Midas
touch.
ANGLE IN K.I.T.T.
MICHAEL
What are his other holdings?
K.I.T.T.'s dash beeps.
K.I.T.T.
A chain of grocery stores and a
company that's a major supplier to
the movie industry.
MICHAEL
Don't tell me...'special effects,'
as in hologram projectors?
K.I.T.T.
Michael, sometimes I wonder if you
really need me.
MICHAEL
Couldn't do without you, pal. Keep
your scanners peeled.
FOLLOWING MICHAEL
He climbs out and moves to the front door where he pounds
the shiny brass knocker. Beat, then it opens. Michael
reacts to see Denise standing there. She's a bit surprised
herself.
MICHAEL
We have to stop meeting like this.
DENISE
It's not the impossible dream.
MICHAEL
Oh, by the way, Norman told me all
about the gorilla suit.
DENISE
(not overly
concerned)
Norman has a big mouth.
He enters without being asked.
INT. ENTRANCE HALL - DAY
The crystal chandelier, the curved staircase and all.
Michael shows his appreciation of the finer things by
moving into:
INT. LIVING ROOM - DAY
It's grand, and Michael takes it all in.
MICHAEL
I like it. Maybe I'd add a Tina
Turner poster, but that's all.
She's no longer amused.
DENISE
Mr. Knight, just what are you doing
here?
MICHAEL
Hey, come on, Denise, yesterday it
was Michael. And assuming you don't
always pay your rent in person, I
could ask you the same thing.
GRANT'S VOICE
She belongs here, Knight....
Michael turns. Grant enters from an inner room.
GRANT
She's my daughter...and you have no
manners.
Michael quickly overcomes the surprise.
MICHAEL
I never do when it comes to murder.
Grant studies Michael a beat; then turns to Denise.
GRANT
Honey, would you excuse us? This
won't take long.
She gives her father a nervous look, then steels herself
for Michael:
DENISE
It's a pity...you had such promise.
MICHAEL
The story of my life.
Denise leaves. Grant crosses to the bar, pours a Scotch.
GRANT
Like a drink?
MICHAEL
This isn't a social call.
GRANT
When you reach my position in life,
you can afford to mix business with
pleasure.
He drinks.
MICHAEL
As in the case of Linda Ramsden, huh?
Grant looks at him hard, then softens just a beat.
GRANT
What about...Linda Ramsden?
MICHAEL
She's dead. In case you didn't know.
Grant covers beautifully.
GRANT
I was wondering why I haven't heard
from her recently.
Pours himself another drink. His hand not quite as steady
as before.
MICHAEL
Then I'll really make your day. Her
body was found in your 'guest house'
on Fairview Road. What was it,
Grant? A winter-spring romance that
turned to blackmail?
GRANT
You're pushing me, Knight.
MICHAEL
Was she getting too greedy, maybe
threatening to tell your wife?
GRANT
(exploding)
You keep my wife out of this!
MICHAEL
What did Linda hide in Bonnie's
apartment? Letters? Photographs,
a tape? What did she have that you
wanted so badly you murdered her for
it?
GRANT
She was bleeding me dry, that little
tramp! She was taking money that
belonged to my family, my children
...but I didn't kill her...and you
can't prove I did! Now get out of
here!
MICHAEL
Grant, some of your illusions are
more convincing that you are. But
I've got some special effects of my
own. Like making you disappear for
about twenty years. See ya.
Michael leaves.
CUT TO
EXT. FOUNDATION - NIGHT - ESTABLISHING SHOT
INT. FOUNDATION BALLROOM - NIGHT - ON DEVON
dressed as Louis XIV, wig and all, and beaming as he greets:
DEVON
Miss Scarlett...how nice of you to
come.
ANGLE TO INCLUDE BONNIE
dressed as Scarlett O'Hara. Her date is dressed as a
pumpkin, complete with pumpkin head. A Southern accent:
BONNIE
What else is a lady to do when she
receives an invitation from Louis
the Sixteenth?
DEVON
(clears his
throat)
That's the fourteenth, Bonnie --
Louis the Sixteenth was beheaded for
his tyrannical treatment of his
subjects, his insensitivities to his
fellow man, his blind arrogance, his....
Noticing that Bonnie has been nodding her head through
this, he quickly gets her message and changes the subject:
DEVON
And this must be the young man you've
told me so much about -- Simon.
But the pumpkin removes his head and we see it's Norman.
BONNIE
Simon left a message on my service
saying he couldn't make it, something
about business, so I brought Norman
Baines instead.
Norman grins.
DEVON
How...nice.
(raises
eyebrow)
Well, enjoy yourselves.
Norman leads the way in. Bonnie stops a beat:
BONNIE
Is Michael here, yet?
DEVON
No, but now that that horrible
murder is solved, I'm sure he's on
his way.
Devon smiles, straightens his wig, and Bonnie goes off with
Norman.
EXT. STREET - NIGHT - ON K.I.T.T.
moving through light traffic.
K.I.T.T.'S VOICE
Michael, I thought Rhett Butler was
supposed to be dashing and carefree.
You're acting like Hamlet.
ANGLE IN K.I.T.T. - NIGHT
Michael is dressed to look like Rhett Butler/Clark Gable.
But there's something disturbing him.
MICHAEL
I know how important this party is
to Devon, but I just can't stop
thinking about this case.
K.I.T.T.
I'm sure it's just a matter of time
before you get the evidence you need
to put Grant away.
MICHAEL
But that's just it, pal. As much as
I don't like the guy, I'm not
convinced he's guilty either.
K.I.T.T.
Michael, he did have a motive....
MICHAEL
...and a lot more imagination than
to bury the body in a house he owns
and then lead us right to it. Give
me what you have on Grant's personal
history.
K.I.T.T.
Coming right up, Michael.
ANGLE TO INCLUDE MONITOR
as Grant's bio appears. K.I.T.T. reads:
K.I.T.T.
'Born Edward Joseph Grant, 1924,
married 1950, one child, Denise....'
BACK TO SHOT
MICHAEL
(interrupting)
One child? That's strange. He
talked about children. There's got
to be another somewhere.
K.I.T.T.
Michael, you're right! There was
another child by a first marriage.
A son. Between stints in the family
business, he's been in and out of
mental institutions.
MICHAEL
What's his name, Kitt?
The name flashes on the O.S. monitor.
MICHAEL
Ohhh, nooo.
K.I.T.T.
I'm afraid so, Michael.
MICHAEL
See if you can reach Devon...we've got
to get to Bonnie before it's too late.
Michael hits the throttle.
EXT. STREET - NIGHT - ON K.I.T.T.
A surge of power and the sleek Trans Am cuts through the
night.
INT. FOUNDATION BALLROOM - NIGHT
Norman is attempting to drink punch through his pumpkin
head. No easy task. Bonnie is with him at the refreshment
table.
BONNIE
Norman, I'm sure no one would care
if you took your mask off just to
drink your punch.
NORMAN
It's quite all right, Bonnie...I've
been practicing for this all year.
And he tosses the drink inside. But soon afterwards begins
to cough. Choke.
BONNIE
You all right, Norman?
NORMAN
(stops coughing,
breathless)
Yes...but...if I could rest a minute.
BONNIE
(thinks)
Come on, there's a couch in the
hallway.
She leads the way.
CLOSE ON NORMAN
to hear his "breathing" under the pumpkin mask, as he
watches her, then follows.
EXT. FOUNDATION - NIGHT - ON K.I.T.T.
pulling up. Michael jumps out:
MICHAEL
You know who to look for, buddy.
He makes a dash for the entrance.
INT. FOUNDATION HALLWAY - NIGHT
It's empty except for Bonnie and Norman, who move toward a
couch.
BONNIE
You can lie down over here.
She turns toward him. And even with the mask, she senses a
certain look on his face. He stares at her, and we hear
his breathing.
BONNIE
Norman...is something wrong?
Norman, what is it? Norman!
But he still doesn't reply. Instead, he simply begins
walking toward her. Frightened, she begins to back up.
INT. FOUNDATION BALLROOM - NIGHT
Michael finds Devon, escorted by a beautiful lady. Seeing
Michael, Devon moves to him.
MICHAEL
I've been trying to reach you.
DEVON
Nothing came in over the remote
communication system.
MICHAEL
Have you seen Bonnie?
DEVON
Yes, she was right over....
THEIR POINT OF VIEW - THE BUFFET AREA
But no Bonnie.
BACK TO SCENE
MICHAEL
We've got to find her.
They begin their search.
INT. FOUNDATION HALLWAY - NIGHT
Bonnie has backed into a dark corner, with nowhere else to
go. Norman continues moving toward her.
NORMAN
I...don't want to hurt you, Bonnie,
I...just think you're so nice, and...
beautiful.
Summoning up all her strength, she manages to push Norman
away, and makes a dash to Devon's office.
INT. DEVON'S OFFICE - NIGHT
Bonnie enters. Locks the door, rests against it to catch
her breath. The lights are off, and the only illumination
comes from the moon.
SIMON'S VOICE
(deeply resonant)
Hello, Bonnie.
Bonnie spins about.
WHAT SHE SEES
Standing there, almost glowing in the darkened room, is a
Star-Warish character, complete with a gleaming, high-tech
steel sword, and amplified breathing. Beat, and he lifts
up his mask; it's Simon.
SIMON
Hope I didn't frighten you.
ANGLE TO INCLUDE BONNIE
She's very relieved to see him, but:
BONNIE
Simon, what are you doing in here?
I thought you were tied up with
business?
SIMON
The remote communication system is
in here, Bonnie...and my business is
you.
BONNIE
What? I don't understand. Is this
some kind of a Halloween joke?
SIMON
Do you think I've risked all this for
a joke?!
(slight beat)
No, Bonnie -- I want that key.
BONNIE
What key? What are you talking
about?
He doesn't answer. Instead, rips the purse from off her
wrist. She's too petrified to scream out. He begins going
through it.
INT. FOUNDATION BALLROOM - NIGHT
Norman is about to hurry out when Michael comes from
another corridor -- with Devon -- and catches hold of him.
MICHAEL
Norman, where's Bonnie?
NORMAN
I didn't hurt her. I just wanted to
tell her how much I liked her.
DEVON
For heaven's sake, where is she?!
NORMAN
She...locked herself in one of those
rooms down that hallway!
DEVON
My office.
They leave Norman and head for Devon's office.
INT. DEVON'S OFFICE - NIGHT
Simon has found the key, shows it to Bonnie.
SIMON
This is what it's all about, Bonnie --
Linda's key to her safety deposit box.
It holds a very revealing video tape.
BONNIE
Linda's key? You...killed her.
SIMON
I had to...and now I'm going to have
to kill you.
As he is about to take hold of her throat with his strong
free hand ---
INT. HALLWAY - NIGHT - ON MICHAEL
kicking the door open.
INT. DEVON'S OFFICE - NIGHT
Simon, his mask over his face again, looks toward Michael;
and in this moment's distraction Bonnie breaks away, and
runs to Devon, who stands outside. It's between Michael
and Simon now.
MICHAEL
It was the money, wasn't it? Every
month seeing a little more of your
inheritance going to the old man's
mistress.
With this, Simon slices at Michael with his sword. Michael
ducks and electrical sparks fly from the blade as the
weapon decapitates one of Devon's statues. The fight
continues as:
SIMON
That money was meant for me!
MICHAEL
And then you saw a way to get it
all. Kill the lady friend and frame
your father for murder.
Another sparking slice severs the top of a lamp.
SIMON
He should have retired long ago.
That business should be mine.
Simon strikes and Michael ducks the electrical blade as it
slices through several more objects in Devon's office.
MICHAEL
I suppose Denise was next. I wonder
how you planned to get rid of her?
Suddenly Michael finds himself trapped.
SIMON
Your wondering days are over, Knight.
He lifts the sword that will cut Michael in two. But as he
brings it down:
OMITTED
FAVORING MICHAEL
Michael sidesteps with a deft karate kick, catching the
sword's handle and sending it spinning across the room
where it lands in a hail of sparks.
MICHAEL
It's a little more even now, isn't
it, Simon.
As Michael moves toward him, Simon turns over a chair
blocking Michael's path, then disappears through the
French windows. It takes Michael a second to get around
the chair and he follows.
EXT. SIDE OF FOUNDATION - NIGHT
Michael sees Simon racing for his car, takes to the comlink.
MICHAEL
Kitt, pick me up outside Devon's
office.
K.I.T.T.
On my way, Michael.
INT./EXT. K.I.T.T. - NIGHT
starting up and peeling out.
EXT. SIDE OF FOUNDATION - NIGHT
Simon roars away in his car, disappearing into the night.
ANGLE ON K.I.T.T.
pulling up. Michael jumps in.
MICHAEL
Pick him up on your scanner, buddy!
Hard on the throttle and the chase is on.
VARIOUS ANGLES - MICHAEL AND SIMON
Simon has a good head start, turns up one street then down
another. Michael races to catch up.
NEW ANGLE - SIMON
turns a corner and heads up a commercial street.
ANGLE IN K.I.T.T.
as Michael tries to spot Simon's car.
MICHAEL
Where is he, Kitt?
K.I.T.T.
He's headed south on Jefferson.
MICHAEL
I want that guy!
The Trans Am does a fishtail, then turns down the street.
ANOTHER ANGLE - SIMON'S CAR
runs alongside the drive-in, then crashes through a railing
behind the screen.
ON TEENAGER'S CONVERTIBLE
as they watch from behind their 3-D glasses, eating munchies.
TEENAGE BOY
See? Fake City? I can't believe we
paid for this.
TEENAGE GIRL
Baa-ry...Shhh....
ANGLE IN K.I.T.T.
Michael spots Simon's car inside the drive-in ---
MICHAEL
There he is, Kitt!
K.I.T.T.
I see him, Michael.
They go in through the same railing simon crashed through.
EXT. DRIVE-IN - ANGLE ON SCREEN
A maniac, brandishing his knife, chases a nurse through a
hospital parking lot. The nurse reaches her car, a black
Camero, and fumbles with her keys.
ANGLE ON TEENAGERS
He's still bored by the movie and makes the old "stretch
out the arm and put it around her shoulder move"...She
watches intently through the 3-D glasses.
TEENAGE GIRL
Not now, Barry. Here comes the good
part....
ANGLE ON SCREEN - NURSE
manages to get into her car and slam it into drive. As in
any good 3-D movie, she drives straight at the audience.
ANGLE ON SIMON'S CAR
racing along the various cars parked in front of the screen,
and heading for a way out.
ON K.I.T.T.
still in back of the screen, giving chase, but suddenly he
finds himself cut off by a couple of cars driving out.
Michael has to brake or else.
K.I.T.T.
Michael, we have to abort the chase.
MICHAEL
He's a murderer, Kitt, I'm not going
to lose him now!
He turns toward the back of the screen, reaches out and
hits turbo boost. The Trans Am lifts off....
ANGLE ON SCREEN
As the nurse drives towards the audience, K.I.T.T. bursts
through the drive-in screen in sync with the nurse's black
Camero.
ANGLE ON THE TEENAGERS
The Boy spits out a mouthful of popcorn and spills his
Coke. Both kids pull off their glasses in amazement.
TEENAGE GIRL
Woww...!
TEENAGE BOY
Now that's gnarly...hey!
He's lost in a dust cloud kicked up by:
K.I.T.T.
landing and picking up the chase after Simon.
VARIOUS ANGLES
As K.I.T.T. pulls in front of Simon, forcing Simon's car to
crash into an immovable object. Simon jumps out.
FAVORING MICHAEL
also jumping out and going after Simon. Rhett Butler going
after Darth Vadar.
VARIOUS ANGLES OF FIGHT
It's brief, before Michael decks him.
MICHAEL
Show's over, Kitt...let's take him
in.
As Michael looks up, he suddenly reacts.
WHAT HE SEES
The cars have turned away from the screen and are facing in
his direction. To show their appreciation, the fans begin
to applaud and whistle as we ---
FREEZE FRAME
AND
FADE OUT
END OF ACT FOUR
TAG
FADE IN
EXT. BONNIE'S APARTMENT BUILDING - DAY
Michael pulls up in K.I.T.T. Devon is there waiting for him,
having just come in his own car. As Michael gets out ---
ANGLE TO INCLUDE BONNIE
coming to meet them.
BONNIE
Glad you guys could make it.
DEVON
Bonnie, are you sure you want
company so soon? You've hardly had
time to get settled.
BONNIE
Company's exactly what I want. In
fact I even invited one of my
neighbors for you to meet, Michael.
(sees her
coming O.S.)
Jean....
Michael turns. Reacts.
OMITTED
ANGLE TO INCLUDE JEAN
It's really Esmerelda, only dressed in bright colors and
looking fantastic. She also carries a covered cooking pot.
MICHAEL
Jean? What ever happened to
Esmerelda?
ESMERELDA/JEAN
(laughs)
That was just for Halloween. I
mean, you didn't really believe that
nonsense about being a witch, did
you?
MICHAEL
You? A witch? You gotta be kidding.
K.I.T.T.
Not for a minute.
BONNIE
Well, shall we go upstairs?
DEVON
I'm looking forward to seeing your
new apartment.
Bonnie leads the way, followed by Devon and Esmerelda.
Michael hangs behind. Softly:
MICHAEL
Kitt...how 'bout scanning what's
inside the pot?
K.I.T.T. does.
MICHAEL
Well?
K.I.T.T.
Michael...You don't want to know.
Michael gives K.I.T.T. a strange look, then glances back
toward Esmerelda. Reacts.
WHAT HE SEES
As she heads for the entrance door...a number of flowers
and plants whither in her wake. Esmerelda stops, turns and
gives Michael a beautiful smile.
BACK ON MICHAEL
forcing a smile in return.
MICHAEL
Keep an eye out for newts, pal.
And he heads toward the beautiful Esmerelda, K.I.T.T.'s
light flashing, we:
FREEZE FRAME
AND
FADE OUT
THE END
