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The two original Black Beauty cars from The Green Hornet television series are believed to survive. Black Beauty No. 1 is associated with the Petersen Automotive Museum’s Vault in Los Angeles, while Black Beauty No. 2 is privately owned by Karl Kirchner in Upstate South Carolina. Neither is the 1965 Imperial built for the 2011 film, and neither should be confused with later replicas or show cars.
It was an Imperial Crown sedan, not a factory limousine
The famous car began as a standard 1966 Imperial Crown sedan. Imperial was a separate Chrysler Corporation marque in 1966, so “1966 Imperial Crown” is the technically precise description, although “Chrysler Imperial” remains common in popular accounts.
Dean Jeffries transformed the stock sedan for the television production. He reshaped the body, visually lengthened the roof, fabricated a new grille and front end, altered the headlamp assemblies, concealed much of the original brightwork and installed the fictional weapons, scanners and communications equipment that made it recognizable as Black Beauty.
The conversion was not a single-car experiment. Production commissioned two hand-built television cars: a primary car and a second car that could cover breakdowns, damage and promotional appearances. Because the cars were built separately, they were not identical.
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Why there were two original television cars
Black Beauty No. 2 was reportedly completed shortly after No. 1. Jeffries had more time on the second build, so it received additional detailing. Differences included grille construction, steering-wheel configuration, weapon-door geometry and other trim.
Stock footage and “day-for-night” photography further complicate identification. A particular shot cannot always be assigned confidently to No. 1 or No. 2 simply by watching an episode.
| Car | Documented history | Current association |
|---|---|---|
| Black Beauty No. 1 | Left on a studio backlot after the series ended in 1967; later restored by Dean Jeffries in 1993 after J.R. Goodman returned it to him; purchased by Robert and Margie Petersen in 2003 | Associated with the Petersen Automotive Museum Vault in Los Angeles |
| Black Beauty No. 2 | Stayed with the production organization until approximately 1969; passed through several museums and private owners; acquired by Karl Kirchner on June 12, 2001 and delivered June 16, 2001 | Latest public evidence places it in Kirchner’s private collection in Upstate South Carolina |
Black Beauty No. 1: the deteriorated car restored for the Petersen collection
From a backlot prop to a major collection
After the series ended in 1967, No. 1 was reportedly abandoned on a studio backlot, where the California sun allowed it to deteriorate. It subsequently passed through private ownership. J.R. Goodman eventually returned the car to Dean Jeffries, who completed a comprehensive restoration in 1993.
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Why the restored finish looks different from the television car
The studio had used a near-flat satin black finish because glossy paint produced reflections that interfered with filming. Jeffries restored No. 1 to a glossy black appearance, so photographs of the restored car do not exactly reproduce the low-reflection finish seen during production.
Its Petersen status
Robert and Margie Petersen, founders of Petersen Publishing Company, bought the restored car in 2003. Petersen’s published description identifies its Black Beauty as the specially modified 1966 Imperial used in the television series.
The Petersen Vault remains an active collection space holding more than 300 historically significant vehicles. Access is available through Vault admission or guided tours. The museum’s accessible information does not provide a permanent, vehicle-by-vehicle display schedule, so the careful description is that No. 1 is associated with the Vault collection—not that it is guaranteed to be on the main museum floor on any particular day.
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Black Beauty No. 2: the privately restored television survivor
The ownership trail
No. 2 remained with the production organization until about 1969. It then passed through Jack Button and J.J. Born’s Chicago Historical Antique Automotive Museum. After that museum closed, ownership moved through Constantine “Dino” Tatooles, Nick Dieter’s Vintage Motorcars Showplace and Opal Wall.
Karl Kirchner purchased the car from Wall’s estate on June 12, 2001; delivery took place on June 16. Kirchner’s documented ownership history lists him as the owner from 2001 onward. A 2018 South Carolina Living profile reported that the restored car was kept in Upstate South Carolina and shown at car events. Later accessible references continue to identify Kirchner as the owner, although no newer authoritative public transfer record establishes what may have happened privately after those reports.
What Kirchner found
When Kirchner acquired No. 2, much of its specialized interior equipment remained, but several exterior doors were missing and the car had display-related damage. The restoration aimed to recover Dean Jeffries’ television-era configuration rather than preserve later George Barris show-car alterations.
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- Body and trim were corrected.
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The restored No. 2 can reproduce the distinctive half-lit “cat’s-eye” headlamp effect. It also retains studio-authentic details that are not present on No. 1.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.Which of Black Beauty’s gadgets really worked?
The car’s fictional equipment included concealed rocket or projectile tubes, a front gas outlet, a rear oil-slick or related device, green headlamps, a trunk-mounted scanner, communications equipment and hidden controls.
Those features did not all have the same status. Some were mechanical display pieces or usable special effects; others were described as part of the concept but were never shown or operated in the broadcast episodes. Restoration documentation for No. 2 is especially valuable because it separates surviving hardware from features that were merely intended or portrayed in fiction. It is therefore misleading to describe every listed gadget as a routinely operational weapon.
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- ✅【Replacement Reason:】Commonly Replaced When The Joint Becomes Worn, The Dust Boot Is Torn, Or Threaded Ends Show Looseness Or Noise Indicating End-Of-Life.
- ✅【Construction Or Material:】Constructed From Stamped Steel With Treated Plating And A Formed Rubber/Synthetic Dust Boot; Male-Threaded Ends Match Factory Connection Style.
- ✅【Testing Or Installation:】Quality-Checked For Fit And Thread Engagement; Installs With Common Hand Tools Follow Factory Torque Specifications And Inspect Mounting Hardware During Installation.
Why replicas are often mistaken for the originals
George Barris and other customizers built replicas and later show cars. A sunroof-equipped Imperial associated with Barris is not automatically one of the two television cars. No. 2 itself was modified by Barris after its television service, which blurred the line between authentic production alterations and later show-car work. Kirchner’s restoration removed those later changes to recover the Jeffries design.
The 2011 Seth Rogen film used a separate fleet. Heritage Auctions described the car sold on September 29, 2015, for $76,800 as an original screen-used hero car built by Dennis McCarthy’s Vehicle Effects for Sony’s 2011 movie. That film car was based on a 1965 Chrysler Imperial, not either 1966 Imperial used by the television series.
Where the original cars are now
No. 1
Black Beauty No. 1 is publicly associated with the Petersen Automotive Museum in Los Angeles and its Vault collection. Its exact public display location and schedule can change, so visitors should confirm access arrangements with the museum before planning a trip.
No. 2
The latest public evidence places Black Beauty No. 2 with Karl Kirchner in Upstate South Carolina, where it has been displayed at car shows. It is a private-collection vehicle, so public access is event-dependent rather than guaranteed.
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The strongest present-day conclusion is that both original television Black Beauties survive in separate hands: one associated with an institutional collection and one with a private South Carolina collection. They are not lost or scrapped, and they are not merely represented by replicas.
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