ACT ONE
FADE IN
EXT. THE OCEAN BREEZES HOTEL - NIGHT - ESTABLISHING A LUXURY
RESORT HOTEL
somewhere on the coast.
INT. CABARET THEATRE - NIGHT
The lights go down. The audience hushes in anticipation.
BONNIE AND RC3
are seated at a table with Dr. Ian Browning, forty-five, a
bespectacled, pleasantly mannered computer scientist, and
Maxwell Henderson, fifty, a wealthy dynamic businessman.
Bonnie leans to RC3 for ---
BONNIE
Magic shows are for kids RC. I don't
know how I let you talk me into this.
RC3
You're going to thank me. This
Templeton dude is something else.
Bonnie's look says, "that'll be the day." They react to ---
ARIEL (O.S.)
Ladies and gentlemen, the Ocean
Breezes is proud to present the
incomparable, the world famous, the
Amazing -- Templeton!
ON THE STAGE - A PIN SPOT
A match lights -- lights a cigarette -- a spotlight reveals
Templeton, a handsome, charming, hypnotic fellow of thirty-
five, on stage in top hat and tails. Applause. Suddenly,
he vanishes in a blinding flash of smoke.
RESUME BONNIE AND RC3
Bonnie's mouth drops when she sees Templeton. She's
clearly but pleasantly stunned when she recognizes him.
BONNIE
Hey, it's him.
RC3
You know the dude?
BONNIE
(nods)
I met him on the tennis court
today. Pick-up doubles game.
(clearly
taken by
him)
He's really --
(catches
herself)
-- got a great backhand.
RC3 smiles knowingly. The audience's reaction directs
their attention to ---
THE SPOTLIGHT
swings to the rear of the cabaret, where the magician
miraculously reappears in another flash of smoke. As the
audience applauds enthusiastically.
TEMPLETON
wanders toward the stage, shaking hands with guests, bowing
to the ladies. When he reaches the stage he talks to the
audience as if he were casting a spell.
TEMPLETON
Thank you my friends and good evening.
My name is (The Amazing) (Austin)
Templeton, and tonight I am going to
change your life! Indeed, before
the evening is over, you will never
again trust that which allows you
to perceive this world, your very
own senses.
He makes a dramatic gesture.
TEMPLETON
(continuing)
And now, may I have a volunteer from
this illustrious gathering?
BONNIE
shoots up her hand.
TEMPLETON
Someone with a car in the parking
lot?
Bonnie drops it in disappointment.
ON THE STAGE
A young lady, Pam, volunteers. Nancy, Templeton's
attractive assistant, leads her into the wings. Templeton
crosses to Gary, Pam's date, placing a hand on his shoulder.
TEMPLETON
Have no fear, sir. The lady is in
no danger. I may even return her to
you.
The crowd chuckles. Templeton moves away, then spins back
to Gary.
TEMPLETON
Your name is Gary Shaw, is it not?
Gary nods in astonishment. Templeton hands him his wallet,
followed by other personal articles.
TEMPLETON
Your wallet, I believe -- ah, your
handkerchief -- your watch.
The audience applauds with delight as Templeton moves to:
BONNIE'S TABLE
Templeton establishes eye contact and a familiar tone with
Bonnie.
TEMPLETON
The red rose whispers of passion --
(drawing a
red rose out
of the air)
And the white breathes of love --
(a white rose,
with his
other hand)
O, the red rose is a demon but the
white rose is a dove.
He places the two roses together and they change into a
silk handkerchief.
ON THE HANDKERCHIEF
as a white dove flutters into view and flies off above the
audience. The crowd goes wild.
TEMPLETON
materializes a dozen red roses which he gallantly presents
to Bonnie. He whispers to her.
TEMPLETON
Until later.
Then he moves through the audience giving back the articles
he 'took' from them earlier: necklaces, earrings, watches,
etc. The crowd loves it.
BONNIE
(delighted)
Looks like he wants to play singles
this time.
RC3
Hey, you're kinda hung up on the guy
aren't you?
Bonnie nudges RC3 in the ribs though she's clearly delighted
at Templeton's attention. Browning and Henderson are amused.
TEMPLETON
arrives back on the stage and holds up a lady's brassiere.
TEMPLETON
And who might this belong to?
Silence for a second, then everyone starts to laugh.
Templeton flings the brassiere into the wings as Pam drives
her car onto the stage. She gets out.
TEMPLETON
As you can see, the car is now
perfectly empty.
CUT TO
EXT. HOTEL - MAIN ENTRANCE - NIGHT - K.I.T.T.
arrives and parks.
MICHAEL
Plot a course for the airport while
I fetch Henderson, pal.
We hear K.I.T.T.'s monitor come to life. A few electronic
sounds before:
K.I.T.T.
Done, Michael.
MICHAEL
Oh, and patch into the airline's
computer, make sure he has a
reservation.
K.I.T.T.
That's already been taken care of.
Michael grins, gets out and enters the lobby.
CUT BACK TO
INT. CABARET THEATRE - NIGHT - TEMPLETON
is now wearing a monk's robe over his tuxedo. He spreads
a large plastic cover over Pam's car. Nancy is not onstage.
As Templeton pulls the hood of the robe over his head.
TEMPLETON
Pam, would you please draw back the
cover on your car -- Now!
ON THE CAR
as Pam removes the cover revealing a large tiger inside,
peering out through the windshield. The crowd applauds.
The applause doubles as:
THE HOODED MONK'S ROBE
drops to reveal, not Templeton but -- Nancy! A beat before:
THE CAR'S TRUNK LID
pops open and Templeton rises out of it. The audience is
on its feet in appreciation. As Templeton basks in the
adulation ---
MICHAEL
enters and crosses to Bonnie's table. A few ad-libbed
greetings. The applause is so loud, Michael had to lean in
to Henderson to be heard.
MICHAEL
I'm sorry to interrupt, Mr. Henderson.
Devon wants you to fly back
immediately.
HENDERSON
Oh, what's the problem?
MICHAEL
There's been a legal snag with the
Curtis Foundation.
HENDERSON
I'll need a little time to pack my
things, Michael.
MICHAEL
(nods)
Meet you at your room in ten minutes.
ANOTHER ANGLE - BONNIE'S TABLE
Henderson starts to leave. Browning catches his sleeve.
BROWNING
Anything wrong?
HENDERSON
Devon wants me back in town. Some
problem with the bequest.
As Henderson moves off:
TEMPLETON
reacts and watches out of the corner of his eye, as:
HENDERSON
slips out of the theatre. The audience applauds wildly.
RESUME TEMPLETON
as he steps to Nancy and whispers as they go into another
bow.
TEMPLETON
I'm changing the sequence. We'll do
the escape next.
Nancy looks surprised. He nods firmly. She moves off.
He turns to the audience ---
TEMPLETON
I would like two male volunteers,
please.
As two men get to their feet ---
CUT TO
OMITTED
INT. HOTEL CORRIDOR - NIGHT
Henderson opens a door and enters his room.
INT. HENDERSON'S ROOM - NIGHT
He crosses to his suitcase, places it on the bed and starts
packing.
CUT TO
INT. CABARET THEATRE - NIGHT
Templeton has been placed in a straitjacket, festooned with
padlocks. The volunteers help him get into a black bag.
Then help him onto:
A TABLE
positioned on the stage. A bed of vicious two-foot-long
spikes hangs directly above it.
TEMPLETON
Many thanks, gentlemen. I would
shake your hands, but ---
Nancy places a silk hood, with a sequined monogram
(important for later) over his head. The bag is tied shut.
The volunteers snap padlocks securing chains already in
place around the bag. Nancy gestures grandly to the
audience.
Nancy gestures to a large sweep-hand clock set at 3:00.
NANCY
The countdown will begin the instant
I light this candle. The Amazing
Templeton will have exactly three
minutes to escape before it burns
through the rope and the spikes
plummet onto the table.
An intake of breath from the audience as:
OMITTED
MICHAEL
looks at his watch and leans across to Bonnie, RC3 and Browning.
MICHAEL
I'd better go fetch Henderson. Catch
you guys when I get back.
Michael gets up from the table and leaves.
NANCY
strikes a long fireplace match and lights the candle. The
clock starts. The seconds tick away loudly.
CUT TO
INT. HENDERSON'S HOTEL ROOM - NIGHT
Henderson straightens his tie in a mirror, pausing suddenly
when he notices (in the mirror) that someone is standing
right behind him. He turns and we go to:
ANOTHER ANGLE
we see Templeton. He wears gloves, and the silk hood
from the performance is half-stuffed into a pocket. He
"magically" produces a silk handkerchief.
HENDERSON
My God! What -- what are you doing
here?
TEMPLETON
Improvising. Your last-minute change
of plans makes it necessary ---
Templeton pulls a dagger from the handkerchief and he lunges
toward Henderson, and we:
CUT TO
INT. HOTEL STAIRCASE
that leads from the lobby up to a row of balcony rooms as
Michael bounces up the stairs.
CUT TO
RESUME HENDERSON'S ROOM
Templeton crouches over the body removing Henderson's
wallet and papers. Then he purposely opens drawers and
suitcase, scattering the contents, and exits.
INT. HOTEL CORRIDOR - NIGHT
as Templeton leaves the room. A Maid comes around the
corner, seeing only Templeton's back. He does not see her
as he walks briskly to the emergency stairs and goes
through the door.
CUT TO
CLOSE ON CANDLE
The flame burning through the rope; a few strands part.
INT. CABARET THEATRE - NIGHT
The clock's sweep-hand counting down, 2:02, 2:01, 2:00 ---
NANCY
Two minutes!
The audience is getting nervous.
RESUME CANDLE
as the strands of the rope continue to burn and unravel.
INT. HOTEL CORRIDOR - NIGHT
Michael is approaching Henderson's room when he hears a
scream. He runs around the corner to find the Maid
staggering out of Henderson's room in hysteria. Michael
grabs her as he looks in and sees Henderson's corpse.
MICHAEL
Henderson!
INT. HENDERSON'S ROOM - NIGHT
As Michael enters and quickly checks the corpse for life
signs. Finds none. As he passes the Maid on the way
out ---
MAID
(pointing
to stairs)
A man -- He went that way!
Michael runs out of the room to:
THE EMERGENCY STAIRWELL
As Michael comes through the door and looks over the
railing.
MICHAEL'S POINT OF VIEW - THE STAIRWELL
A glimpse of a fleeing figure several floors below.
MICHAEL
races in pursuit. He calls K.I.T.T. on the comlink.
MICHAEL
Kitt, I'm chasing someone down the
emergency stairs.
EXT. HOTEL PARKING LOT - NIGHT - K.I.T.T.
K.I.T.T.
On my way, Michael.
K.I.T.T. auto-starts and takes off.
K.I.T.T.'S MONITOR - INTERCUT AS NEEDED
a graphics display of the hotel area. Suddenly a blip
moving in the alley appears on screen.
EXT. ALLEY BEHIND HOTEL - NIGHT
as Templeton comes off the stairs and takes off on a dead
run into the alley. The silk hood is stuffed half into his
pocket, flapping in the breeze.
ON THE STAIRCASE - NIGHT
Michael is in pursuit, taking two steps at a time.
K.I.T.T.
I have him on my scanners.
MICHAEL
Way to go! Keep on him!
ONSTAGE
The clock reaches 0:00 and buzzes loudly.
CLOSE ON THE ROPE
as the last few strands burn through and part.
THE BED OF SPIKES
crashes onto the coffin, the points visible as they punc-
ture through the bottom of it.
THE AUDIENCE
gasps. Some leap to their feet.
IN THE ALLEY
as K.I.T.T. comes in and screeches to a stop, ostensibly
blocking Templeton's escape, as Michael runs out of the
stairwell door.
MICHAEL
Hit the floods, pal. Let's
illuminate this place.
K.I.T.T.'s headlights pop-up come on, revealing:
THE ALLEY
bathed in light, no sign of Templeton -- and a dead-end
wall.
RESUME THE STAGE
As the bed rises withdrawing the spikes from the coffin,
Nancy and Ariel run to the coffin and unlock the chains as
fast as they can. Templeton suddenly bursts from the
coffin, quite unharmed, and acknowledges the tumultuous
applause.
IN THE ALLEY
Michael kicks a garbage can in frustration.
K.I.T.T.
One second he was on my scanner, the
next he was gone.
MICHAEL
But it's a dead end. The only way
out of this alley was past you.
K.I.T.T.
I'm sorry, Michael, there was no one.
THE AUDIENCE
on their feet, applauding.
ONSTAGE
Templeton and Nancy take another bow. They whisper.
NANCY
They really thought you'd gone too
far this time ---
TEMPLETON
Always keep them guessing, my dear.
He notices:
MICHAEL
reenters the theatre, baffled, unnerved as he crosses
toward Bonnie and RC3.
TEMPLETON
TEMPLETON
Always keep them guessing.
CUT TO
OMITTED
EXT. FOUNDATION - DAY - TO ESTABLISH
INT. FOUNDATION - DEVON'S OFFICE - DAY
He is on the phone, distraught at the news of Henderson's
death.
DEVON
I'm stunned, Michael. I don't know
what to think.
INT. SEMI - DAY - INTERCUT
Michael, Bonnie, RC3 and Browning are gathered around the
monitor.
MICHAEL
The police think he surprised a
burglar when he went back to his
room to pack.
DEVON
And you concur? There were no
unusual circumstances?
MICHAEL
Well, one thing -- I chased the guy
and he vanished into thin air. Why
do you ask?
DEVON
Of the four Curtis Bequest trustees,
Henderson is the second in recent
months to die unexpectedly.
MICHAEL
Too much of a coincidence ---
As Michael considers the implications, Browning moves closer
to the monitor.
BROWNING
Devon, I know this isn't foremost in
our minds, but the deadline is near.
Considering Max didn't sign those
papers, can just you and I award the
grants?
DEVON
Of course, Ian. I thought you were
aware, power of attorney reverts to
the surviving trustees. I'll be on
the next flight. Will you be able
to pick me up, Michael? -- Michael?
Michael has been turning an idea over in his head. A beat
before Devon's query brings him back.
MICHAEL
Oh, sure Devon, no problem.
Devon clicks off. Michael turns thoughtfully to Bonnie
for ---
MICHAEL
Bonnie, the killer was on Kitt's
scanner one second, and gone the
next. Check his systems, will you?
Bonnie turns to her console and begins to encode.
BROWNING
A malfunction in any number of them
could have that effect.
RC3
(impressed)
You know your electronics, Doc.
BONNIE
Doctor Browning developed many of
Kitt's systems, RC.
(beat)
And they're all working perfectly.
MICHAEL
(stymied)
We had the guy trapped in a dead end
alley too. This looks more and more
like a well-planned escape. Devon
may be onto something.
BROWNING
How could it be a premeditated
killing, Michael? Henderson wasn't
supposed to be in his room.
MICHAEL
A lot of people saw him leave the
cabaret. One of them could have
followed him. RC?
RC3
(shakes no)
According to the Usherettes, nobody
else left during the show. Sorry.
MICHAEL
(muses)
There was one person who did.
Everyone swings Michael a puzzled look.
BONNIE
You just lost me. Who?
MICHAEL
Templeton.
BONNIE
Templeton? Michael, he was in a
straight jacket inside a sealed bag
and then in chains! You said your-
self the police think it was a
burglary.
(beat,
pointedly)
I think maybe you malfunctioned this
time.
She forces a smile, then leaves. Michael swings a look to
RC3.
MICHAEL
What'd I say?
RC3
The magic word.
(off Michael's
look)
Templeton -- She's having lunch with
him.
Michael and RC3 hold a look and we:
CUT TO
INT. TEMPLETON'S DRESSING ROOM - DAY
Templeton is before a mirror primping prior to meeting
Bonnie. Satisfied, he heads for the door, then turns back
when the phone rings.
TEMPLETON
Yes? -- No, that's not how I work.
You decide who. I pick when and
where -- That degree of risk doubles
my fee.
(writes
on pad)
Yes, I have it.
Templeton hangs up, then tears the sheet from the pad. We
move in to reveal Templeton has written the name "Devon
Miles" on it.
FREEZE FRAME
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
EXT. THE OCEAN BREEZES HOTEL - DAY
EXT. ALLEY BEHIND HOTEL - DAY
K.I.T.T. slowly cruising.
INSIDE K.I.T.T.
MICHAEL
There's got to be another way out of
here, Kitt.
K.I.T.T.
I'm still reading negative on all
systems.
MICHAEL
Maybe Bonnie's right. Maybe I did
malfunction.
K.I.T.T.
Wait, I've just found a concealed
fire door.
MICHAEL
Probably covered over when they gave
the hotel a face-lift. But I'll bet
it still works.
Michael gets out of K.I.T.T. and we go to:
OMITTED
EXT. ALLEY
Michael approaches the wall and begins to examine it.
K.I.T.T.
I still don't know why I missed it
last night.
MICHAEL
Because you weren't analyzing the
structure, you were scanning for
personnel.
Michael finds a loose brick in the wall -- a veneer face
that hinges open revealing a control button. Michael pushes
it. Appropriate sound effects and the door rolls open.
MICHAEL
Abracadabra, buddy. See you later.
Michael slips through the open panel and we go to:
INT. HOTEL PASSAGE - DAY
Dark and forbidding. Michael gropes his way along the
passage, which finally opens into:
THE HOTEL BASEMENT - DAY
Damp, silent, dim. Several corridors lead off in different
directions. Michael is uncertain which to take. He moves a
few steps to his left, then does a little take when he sees:
MICHAEL'S POINT OF VIEW
something glittering in the darkness.
RESUME MICHAEL
as he changes direction and moves between the old wooden
supports beneath the hotel and finds:
TEMPLETON'S SILK HOOD
snagged on a nail that protrudes from one of the supports.
The glitter comes from the sequined monogram.
THE SCENE
as Michael studies the hood, smiles, feeling vindicated.
He moves off into the area where he found the hood.
ANOTHER ANGLE
as Michael comes forward out of the darkness and comes upon
a ladder. O.S. laughter from above grows louder as Michael
climbs up to:
A TRAP DOOR
As Michael reaches the top of the ladder, he pushes up the
hinged panel slightly and peers through the narrow opening
to see:
MICHAEL'S POINT OF VIEW - THE CABARET
Bonnie is sitting on a chair amidst some of the props from
Templeton's act, watching him shuffle a deck of cards with
great dexterity. She's having a wonderful time.
BONNIE
You are incredible! How do you do
that?
Templeton hands her the cards and moves behind her chair.
Leaning forward, he takes her hands in his.
TEMPLETON
Keep this thumb on the top of the
deck and then feed the cards into
your other hand. Like this ---
Bonnie does as instructed but the cards fly everywhere.
She laughs and turns to Templeton. Their faces are very
close together as:
MICHAEL
comes up through the trap door and joins them.
MICHAEL
Excuse me. Up to some old tricks,
Mr. Templeton?
BONNIE
(surprised)
Michael.
MICHAEL
Sorry to intrude.
(off
Templeton's
look)
I found a hidden door in the alley
where I lost Henderson's murderer
last night. It led me here.
TEMPLETON
This is a very old hotel. Its base-
ment is a labyrinth that leads many
places. Now, Miss Barstow and I were
about to leave for our luncheon. So,
please get to the point.
MICHAEL
I'll show it to you.
Michael pulls the silk hoos with the sequined monogram from
a pocket and hands it to Templeton. As he examines it ---
MICHAEL
It is the hood you use in your act.
TEMPLETON
Indeed, I'm afraid it is.
MICHAEL
The killer left it behind last night.
Michael flicks a vindicated look to Bonnie. She reacts
with concern. The moment is broken by Templeton, who makes
a grand, distracting gesture with his arms; snaps his
fingers and picks up a tube that is clearly empty.
ON THE TUBE
as he uses his thumb and forefinger to pluck an identical
silk hood from inside it, and then another and another,
flamboyantly tossing each into the air.
THE SCENE
The air around Templeton, Bonnie and Michael filled with
diaphanous silk hoods that settle gently to the floor.
TEMPLETON
(smiles)
I suppose I should have said, one of
them ---
BONNIE
(relieved;
conciliating)
See, Michael? Anybody could have
taken that hood.
TEMPLETON
Oh, I assure you, I'm working on it,
Mr. Knight. But, to date, being in
two places at the same time is a
state of being that has eluded me.
(to Bonnie)
Shall we?
He and Bonnie move off. Templeton pauses, turns back to
Michael as if he's forgotten something.
TEMPLETON
Oh -- interesting little toy ---
He holds Michael's comlink between thumb and forefinger.
TEMPLETON
(continuing)
-- but not to my taste.
He tosses the watch at Michael, who stares after them in
frustration.
CUT TO
EXT. HOTEL ENTRANCE - DAY - K.I.T.T.
K.I.T.T. is parked in the drive.
A luscious, busty Blonde is being escorted out the door by a
burly, cigar-chomping Harry. She's the Judy Holliday type.
He's the William Frawley type. He's grabbing her by the
elbow as she reluctantly follows, leading her to his parked
Buick Electra.
BLONDE
But Harry, I only asked him for his
autograph!
HARRY
You want a movie star's autograph?
You do like everyone else -- you
hand him a piece of paper. Not your
underwear!
BLONDE
But I didn't have any paper!
HARRY
If I didn't stop you, you wouldn't
have had any underwear!
He opens his car and gives her the keys.
HARRY
Now you be a good girl and wait in
the car. I gotta go back and pay
the bill.
BLONDE
But who will I talk to?
HARRY
Talk to the radio! Just don't wear
out the battery!
Harry leaves.
BLONDE
(under her
breath)
I wore out your battery a long time
ago....
She notices K.I.T.T. parked near her. She goes over to
him, admiring him.
BLONDE
Now this is my kind of car. Tough.
Sleek. Sexy.
K.I.T.T.
Thanks. You're not so bad yourself.
The Blonde looks inside K.I.T.T.
BLONDE
Hey, you must've left your car phone
off the hook. Where you calling
from?...
K.I.T.T.
From within my central terminal
brimming with the freshest software,
megabytes and silicone chips.
BLONDE
Oh, you're calling from the
supermarket.
She leans into K.I.T.T.'s window, revealing her ample
cleavage.
BLONDE
Would you be a honey and pick me up
some of them silicone chips? They
sound yummy.
K.I.T.T.
Believe me, if anyone needs them, it
isn't you.
BLONDE
Whoever you are, you sure have a
sexy voice. I'd love to see what
you look like.
K.I.T.T.
Actually, I'm right under your ---
She's still leaning in the window.
K.I.T.T.
...nose.
BLONDE
I'll bet you're tall, dark and
handsome.
K.I.T.T.
I'm definitely dark and handsome. I'm
only tall when I'm climbing a steep
incline.
BLONDE
You sound real classy. I can picture
you all decked out in black tie.
K.I.T.T.
Try black top.
EXT. PARKING LOT - DAY
After K.I.T.T. is summoned by Michael, his motor comes to
life. The rear wheels smoke as they spin backwards. The
Blonde jumps aside.
BLONDE
Hey! Where you going?!
K.I.T.T.
You'll have to excuse me, but duty
calls.
BLONDE
Wait! How about a phone number?
K.I.T.T.
It's on my license plate!
K.I.T.T. speeds away.
BLONDE
This guy thinks of everything!
OMITTED
INT. K.I.T.T.
electronically chuckling.
CUT TO
INT. BACKSTAGE - DAY
Nancy, in jeans, casual top, is checking some props for the
evening performance as Michael crosses to her.
MICHAEL
Excuse me. You're Templeton's
assistant, aren't you?
NANCY
Yes, Nancy Marston.
MICHAEL
Michael Knight. I caught the show
last night. I was hoping you could
answer some questions about how
Templeton -- does it.
NANCY
I'm sorry, I grew up in this world
but I never got into it. I spend
most of my time working on an M.B.A.
I'm just helping out my dad.
MICHAEL
If you're Templeton's daughter, his
youth is his greatest illusion.
NANCY
(laughs)
No, no, that's my father over there.
His name's Ariel. He's the one you
should talk to. He taught Templeton
everything he knows.
(calls out)
Daddy.
Ariel sets down the prop he's checking. As they move
together.
NANCY
Daddy, this is Michael Knight. He
has some questions for you.
ARIEL
(anticipating)
More questions? I told the last fel-
low from the Humane Society the tigers
are never drugged, they get plenty of
exercise and the doves are always ---
MICHAEL
Excuse me, but I just wanted to know
if the coffin is constructed so
Templeton stays someplace inside? Or
so he can get out and go back in
after the spikes are withdrawn?
ARIEL
You're not the first to wonder,
Mr. Knight. That escape is brilliant,
isn't it. The supreme expression of
Austin's genius. But one magician
never reveals the mystique de mode
of another. It's an unwritten code.
(eerily)
A pact among sorcerers with unspeak-
able consequences for those who break
it.
Ariel lets the moment play, then picks up a prop and heads
off toward the stage.
NANCY
Why do you want to know?
MICHAEL
Let's just say I'm a fan. By the
way, it looked like the escape went
right to the wire last night. Did
it take longer than usual?
NANCY
No, no, it didn't, all part of the
act.
(beat)
But Austin did move it up all of a
sudden. It's usually his finale.
MICHAEL
It may have been somebody else's too.
Off Nancy's reaction, we:
CUT TO
EXT. CITY AIRPORT - DAY - TO ESTABLISH
EXT. ROAD - DAY
as K.I.T.T. comes from the airport and heads for the hotel.
INSIDE K.I.T.T. - TRAVELLING
Devon is sitting next to Michael.
DEVON
(surprised)
You suspect Austin Templeton, the
magician?
MICHAEL
Yeah, more and more.
DEVON
I don't understand. What would he
have to gain by the deaths of the
Curtis Trustees?
MICHAEL
I don't know. But with fifty
million dollars at stake, I'm sure
he's thought of an angle.
(beat)
Who was the first trustee to die
unexpectedly?
DEVON
A gentleman in Tucson, Arizona named
Jason DeSylva.
MICHAEL
Let's see if Templeton's played any
dates in Tucson recently.
Michael pushes some buttons on his console.
K.I.T.T.'S MONITOR - INTERCUT AS NEEDED
as a search of hotel bookings scrolls up the screen, then
stops on one that is highlighted by a rectangle.
K.I.T.T.
He performed there the entire month
of July.
Michael swings a look to Devon, who nods grimly in response.
DEVON
July eighteenth. I'll never forget
it.
They hold a look. K.I.T.T. blasts down the road and we go
to:
EXT. OCEAN BREEZES HOTEL ENTRANCE - DAY
K.I.T.T. pulls up outside the entrance. Michael and Devon
get out and unload Devon's suitcase.
MICHAEL
Wait for me in the parking lot, pal.
THE DOORMAN
does a double take when he sees:
K.I.T.T.
auto-start and take off driverless down the circular drive,
leaving Devon and Michael on the sidewalk outside the lobby.
As they wait for a bellman they react to the screech of
tires and turn to see ---
A HEARSE
turning into the hotel drive and accelerating right towards
them. (Note: All windows are tinted.) Michael grabs
Devon and shoves him out of the way just as:
INSIDE THE HEARSE
Templeton stomps on the accelerator, whips the wheel and:
THE HEARSE
rockets onto the sidewalk, missing them by inches as they
dive out of the way.
THE SCENE
As bystanders react, Michael helps Devon to his feet and
the hearse makes a tire-smoking one-eighty in the drive and
comes back at them.
MICHAEL
(into comlink)
Kitt! We're under attack!
K.I.T.T.
On my way.
Michael bear hugs Devon and lunges with him through the
lobby doors.
ANOTHER ANGLE
as the hearse swerves past the doors just as they make it
inside the hearse plows into luggage, planters and almost
clips the doorman who dives out of the way. The hearse
rockets down the drive as:
K.I.T.T.
screeches to a stop at the entrance. Michael comes from
the hotel and jumps behind the wheel. K.I.T.T. takes off
in pursuit of the hearse.
POINT OF VIEW THROUGH K.I.T.T.'S WINDSHIELD
to see a car coming toward them in the narrow drive.
INSIDE K.I.T.T. - TRAVELLING
K.I.T.T.
Oh, dear, this could be a problem.
MICHAEL
We need some fancy footwork!
Michael pushes some buttons on his console.
K.I.T.T.
goes up on two wheels and just shaves past the car in ski
mode.
ANOTHER ANGLE
as K.I.T.T. settles down and comes out of the drive into
the street in pursuit of the hearse.
EXT. CITY STREET - DAY
The hearse sails down the street, fishtailing out of sight
around a corner. K.I.T.T. appears, in hot pursuit.
INSIDE K.I.T.T. - TRAVELLING
Michael pushes some buttons on his console.
MICHAEL
Try to get an ID on the driver.
K.I.T.T.
It's impossible at this range,
Michael.
ON AN INTERSECTION
A real funeral procession is making a left turn. A hearse
in front and several cars right behind it.
A TRUCK
blasts through the intersection. The other cars in the
procession are forced to wait. When the way is clear:
TEMPLETON'S HEARSE
streaks across the intersection in the opposite direction.
INSIDE FIRST PROCESSION CAR
The members of the Smith family, dressed in black, watch
the hearse speed by in amazement. Smith throws up his hands,
then proceeds to turn the wheel.
THE SMITH CAR
makes a right after Templeton's hearse. The other cars in
the procession follow.
K.I.T.T.
races down the street. The real hearse is travelling
towards him at a sedate and proper speed.
INSIDE K.I.T.T. - TRAVELLING
MICHAEL
He one-eightied on us!
K.I.T.T.
No, that isn't the hearse we're ---
Too late, as Michael whips the steering wheel.
ON K.I.T.T. AND THE REAL HEARSE
which is forced to stop as K.I.T.T. intersects the hearse's
path. The Driver rolls down his window.
HEARSE DRIVER
You maniac! This is a funeral!
MICHAEL
Sorry!
K.I.T.T. peels off in pursuit of the other hearse.
INSIDE K.I.T.T. - TRAVELLING
K.I.T.T.
I tried to warn you.
MICHAEL
Just keep scanning.
ON TEMPLETON'S HEARSE
as it tears down a street. The funeral procession is trying
to keep up with it. Templeton just manages to weave his
way across an intersection, but the pursuing cars are
forced to break suddenly, swerving left and right to avoid
a series of rear-end collisions.
K.I.T.T.
weaves between the swerving cars.
MICHAEL (O.S.)
There he is!
INSIDE TEMPLETON'S HEARSE - TRAVELLING
Templeton looks in his rearview mirror.
TEMPLETON'S POINT OF VIEW
K.I.T.T. is closing the gap.
ON THE HEARSE AND K.I.T.T.
as they tear down the street. Suddenly the hearse does a
one-eighty.
K.I.T.T.
He's coming at us head on!
MICHAEL'S POINT OF VIEW - THE STREET AHEAD
as the hearse comes straight at them.
THE HEARSE
rockets toward K.I.T.T. Michael waits till the last
instant then whips the steering wheel, right, left, right.
K.I.T.T. swings around the hearse with a centimeter
to spare. The hearse spins wildly out of control.
A BRICK WALL
as the hearse slams into it and bursts into flame.
K.I.T.T. swings around and pulls up nearby.
MICHAEL
Hit the CO2!
K.I.T.T.
No need to, Michael.
MICHAEL
No vital signs?
K.I.T.T.
None whatsoever -- as a matter of
fact, there's no one in that vehicle.
Michael looks at the hearse in astonishment. We hold a
beat on his expression, as we:
FREEZE FRAME
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
EXT. HOTEL - MAIN ENTRANCE - DAY
as K.I.T.T. comes up the drive at high speed and screeches
to a stop. Michael jumps out.
MICHAEL
Cover the back alley.
K.I.T.T. auto-starts and takes off. Michael heads into the
hotel.
OMITTED
INT. HOTEL LOBBY - DAY
as Michael moves through quickly.
K.I.T.T.
turns into the alley and screeches to a stop.
K.I.T.T.
No sign of him, Michael.
MICHAEL
Hold your position.
OMITTED
INT. BACKSTAGE CORRIDOR
Michael is making a beeline for Templeton's dressing room.
We follow him down the corridor. He arrives at the door
and blasts right through it.
INT. TEMPLETON'S DRESSING ROOM
Templeton is now seated at a makeup table, in smoking
jacket, a makeup bib around his neck, feigning he's been
here all along. He whirls in reaction. He keeps his left
hand in the pocket of the jacket throughout the following.
TEMPLETON
This is becoming a daily event,
Mr. Knight.
MICHAEL
And it's going to continue until I
prove you killed Henderson.
TEMPLETON
(sigh of
distress)
I thought you'd gotten that out of
your system.
MICHAEL
Getting out of things is your
specialty -- a straightjacket and
chains, a flaming hearse.
TEMPLETON
You do have a vivid imagination,
Mr. Knight. You think I can escape
from anything.
MICHAEL
Not solitary confinement.
Michael burns him with a look, turns and exits slamming the
door behind him. A beat before Templeton grimaces in pain
and pulls his left hand from his pocket revealing blood
running down onto his hand from beneath the cuff of his
jacket.
INT. BACKSTAGE CORRIDOR - DAY
as Michael comes down the corridor from Templeton's
dressing room and crosses to Nancy who is feeding two caged
tigers.
MICHAEL
I need to talk to you for a minute.
NANCY
Sure, soon as I'm finished. Better
stay back, she tends to be ---
Nancy is interrupted by the roar of:
THE TIGER
teeth bared in a deep-throated roar, lunges at Michael
several times with a massive paw that pounds against the
mesh of the cage.
THE SCENE
as Michael lurches backwards to escape the swiping claws.
NANCY
Michael! Are you okay?
MICHAEL
Yeah. Always been allergic to cats.
That's one angry tiger to use in a
magic act.
NANCY
Oh, we've been using the other cat
this week. This one's in heat. And
take my word for it, you never get
close to a tigress in heat.
MICHAEL
I thought that was the whole idea.
NANCY
(smiles)
An interesting one.
MICHAEL
I agree. But that's not what's
really on my mind at the moment.
(beat)
Did you see Templeton go into his
dressing room in the last five or
ten minutes?
NANCY
No, I haven't seen him at all. I've
been here for over an hour.
Michael digests this a beat and scans the area filled with
props.
MICHAEL
I'm looking for the props he uses
for the escape.
NANCY
Oh, they're taken away and stored
after each performance. Austin
really goes off the deep end when
someone tries to examine them.
MICHAEL
I'll bet. You know where they're
kept?
NANCY
No. But it isn't here because they
go by truck. Ask Dad. He might
know.
She gestures to the stage. Michael nods, moves off. Nancy
turns back to the cage, jumps back as:
THE TIGER
roars and lashes through the bars with a paw. We hold on
the bared teeth, the crazed eyes for a few beats and go to:
THE STAGE
Michael is with Ariel who is setting up a prop.
ARIEL
Oh, I'm afraid I can't tell you that.
MICHAEL
I don't understand. You just told
me they're taken to a warehouse.
But you won't tell me where it is?
ARIEL
(nods)
I told you I can't betray him.
Like all those who have sold their
souls to the devil, Austin Templeton
must be left to destroy himself.
MICHAEL
You don't believe that.
ARIEL
What I believe isn't important.
Austin believes he's a true sorcerer.
And if you're going to catch him,
Mr. Knight, you'll have to 'catch him
in the act' so to speak.
Michael digests Ariel's reply, an idea forming, then:
MICHAEL
(nods,
emphatically)
I intend to.
EXT. SEMI - DAY - TO ESTABLISH
INT. SEMI - DAY
Bonnie, Devon, RC3 and Dr. Browning are with Michael who has
just brought them up to date.
BONNIE
That's twice you've been positive it
was Austin and proven wrong, Michael.
MICHAEL
No one else could have pulled a stunt
like that. That hearse was an inferno.
RC3
I think it's time to start looking
someplace else.
MICHAEL
Not until I'm positive there's no
way Templeton can get out of that
coffin during the act. Either his
alibi holds up or it doesn't.
DEVON
I agree, Michael. In the meantime,
Doctor Browning and I have fifty
million dollars in grants to award.
Shall we, Ian?
BROWNING
It will take me a few hours to pull
my papers together, Devon. How about
over dinner?
DEVON
(settling)
Well, I do have some Foundation
matters that need attention.
MICHAEL
Keep an eye on 'em, RC.
RC3
You got it. You going to check out
that 'table of death' routine?
MICHAEL
That was my plan but Templeton trucks
it out of here after every performance.
So ---
BROWNING
Not surprising. As we've all seen,
he's a cunning adversary. I assume
you have a plan of some kind.
MICHAEL
Yeah, I'm going to catch his act
again tonight.
(beat)
I'm taking Kitt with me.
The group questions Michael with looks. He ignores them
and continues.
MICHAEL
I could use an observer in the
audience, Bonnie.
BONNIE
(mysteriously)
Oh, I'll be there.
We hold on her enigmatic smile and:
CUT TO
EXT. HOTEL PARKING LOT - DAY
K.I.T.T. is waiting.
The Blonde approaches K.I.T.T. as he scans her.
K.I.T.T.
Well hello, there.
The Blonde smacks the side of the car with her purse.
BLONDE
Creep!
K.I.T.T.
Please, it's "Kitt."
The Blonde looks inside the car and sees no one is there.
BLONDE
He's gone again! What's the matter
with you? You afraid to face me or
something?
K.I.T.T.
On the contrary. I'm always
delighted to take in your ample --
personality.
BLONDE
Well what was the big idea of tearing
off like that the other day?!
K.I.T.T.
I had other priorities.
BLONDE
Oh yeah? Like your wife?!
K.I.T.T.
I'm not married.
BLONDE
Or maybe your girl friend?!
K.I.T.T.
No, I don't have one of those, either.
BLONDE
You high-class guys think you can
just take advantage of a pretty girl
just because you got the right
lines --
(considers what
he said)
Did you say you're not married?
K.I.T.T.
That's right.
BLONDE
Why not?
K.I.T.T.
You might say I haven't yet met my
match.
BLONDE
(coy, primping)
Oh yeah? Well what kind of match
you looking for?
K.I.T.T.
Oh, something very stylish,
preferably in red, loaded with
sophisticated software, total
artificial intelligence, fully
padded seat, removable top with an
adaptive megabyte system that can
interface for hours.
BLONDE
You animal! What kind of girl do
you think I am!
She kicks K.I.T.T. in the tire and storms off.
K.I.T.T.
What did I say?
OMITTED
EXT. INDUSTRIAL AREA - DAY - WIDE
as we pan across and move in to a warehouse. A car pulls
up. A man, whose identity is concealed by the angle and
the distance, gets out and crosses toward the entrance.
INT. WAREHOUSE - DAY
gloomy, deserted, darkened. The man's silhouetted figure
comes through the door and moves between rows of abandoned
scenery, props, etc.
ANOTHER ANGLE
as the man moves into an area littered with magician's
equipment: two halves of a box, a huge saw, oversized
playing cards, a large circular board with straps and
throwing knives stuck into it. Suddenly there is a loud
splash. The man whirls to see:
A LARGE GLASS TANK
filled with water and ostensibly a human head bobbing in it.
THE MAN
screams, horrified, turns into camera revealing it's
Dr. Browning. His momentum carries him right into Templeton,
who appears suddenly, and fishes the (prop) head from the
water.
BROWNING
You almost gave me a heart attack.
TEMPLETON
That would have been a very costly
mistake. I'd lose five million
dollars if I kill the wrong trustee.
BROWNING
We're both out five million until you
kill the right one. You're supposed
to be the best. Why isn't Devon Miles
dead? What happened?
TEMPLETON
(rhetorically)
What happened?
(beat, twisted)
I planned and executed the escape of
the century this afternoon. It was
brilliant, beyond your wildest con-
ception. Hades brought to life.
(beat, saddened)
No one was there to see it --
(coming back)
-- except Michael Knight. Miles
would be dead if it wasn't for him
and that car. I have to deal with
them first.
BROWNING
That won't be easy. That car contains
state-of-the-art technology. Knight
plans to use it tonight to disprove
your alibi.
TEMPLETON
That is a problem --
(muses,
brightens)
-- and perhaps also the solution.
BROWNING
I'm not sure I understand what you
mean.
TEMPLETON
Remember, Ian, I'm not only a master
assassin but a truly great conjurer
capable of hanging an adversary not
only with a rope but with his own
logic as well.
BROWNING
Knight is quite capable of hanging
you, believe me.
TEMPLETON
(pointedly)
Hanging both of us, Ian.
(off Browning's
reaction)
I'm going to need your help this time.
Browning questions him with a look. Templeton moves closer
to explain his plan, and we:
CUT TO
EXT. HOTEL - NIGHT - TO ESTABLISH
INT. CABARET STAGE - NIGHT
as Templeton finishes his opening monologue.
TEMPLETON
Indeed before the evening is over you
will never again trust that which
allows you to perceive it -- your
very own senses.
He makes a dramatic gesture.
TEMPLETON
And now may I have a volunteer from
this illustrious gathering? One
with a car in the parking lot.
Michael is up and moving toward the stage before anyone
else.
MICHAEL
Right here.
TEMPLETON
Ah, Mr. Knight.
(to audience)
I must tell you, this gentleman and
I met earlier today, but he is in no
way part of my act.
MICHAEL
You can say that.
TEMPLETON
(continuing)
As a matter of fact, he's a bit of a
magician himself.
MICHAEL
(into comlink)
Okay, pal, you're on.
The backstage doors to the parking lot open and:
K.I.T.T.
drives on stage, clearly no one behind the wheel. As the
audience reacts.
TEMPLETON
Now, Mr. Knight, please make sure
your car is empty and the doors
locked.
As Michael does so, Nancy hands Templeton the robe and
exits while he puts it on. To Michael's surprise ---
BONNIE
comes from the wings wearing a "playmate tux" like Nancy as
she throws the cover over K.I.T.T., and Michael helps her
position it.
MICHAEL
What are you doing up here? I
thought you were ---
BONNIE
Austin thought it would be fun if I
got into the act.
MICHAEL
We'll see if he's still laughing
after Kitt analyzes it.
TEMPLETON
Mr. Knight, you may pull the cover
off the car -- Now!
Michael grabs the cover, holds a beat, then whisks it off,
revealing:
K.I.T.T.
the tigress sits behind the wheel, her head sticking
through the open T-top.
THE ROBE
drops to reveal Nancy.
TEMPLETON
climbs out of K.I.T.T.'s trunk. During the wild applause:
K.I.T.T. AND MICHAEL
whisper.
K.I.T.T.
This is very undignified.
MICHAEL
Hang in there. Did your scanners
pick up how he did it?
K.I.T.T.
No, I'm afraid not.
Michael swings a puzzled look to Bonnie and we:
CUT TO
INT. HOTEL RESTAURANT - NIGHT
RC3 reads a magazine at a table by himself. There are just
a few late diners. Devon and Browning are several tables
away from RC3.
They sit across from each other, their table littered with
papers, computer print-outs and the remnants of their meal.
DEVON
This is getting us nowhere, Ian.
These are perfectly reputable
companies and you've vetoed them all.
BROWNING
With good reason. Now, here's my
list.
As Devon reads the list, his jaw drops.
DEVON
Ian, everyone in the business com-
munity knows these are all inactive
corporations; shells that produce
nothing. Surely you're not serious.
BROWNING
Oh, but I am. You see, I'm getting a
considerable fee for awarding forty
of the fifty million to them.
DEVON
(livid)
You're retaining ten million dollars?
Is that what has made you ---
Devon bites off the sentence as Browning slides his brief-
case between them and he hears a click.
BROWNING
There is a gun here. If I let go of
the handle, it will go off. Do you
understand?
DEVON
(nods)
What do you want?
BROWNING
Send RC on an errand. Now.
Devon looks over at RC3 and makes a difficult decision.
DEVON
Reginald --
(as RC3
approaches)
Be a good feelow and get a file on
Rigg Electronics from the semi, would
you? It's on my desk.
RC3
Sure. You ought to be okay in here for
a couple of minutes. Be right back.
As RC3 leaves, Devon glares defiantly at Browning.
CUT BACK TO
INT. CABARET STAGE - NIGHT
The bed of spikes drops onto the table as previously. The
audience gasps as the spikes are withdrawn and Nancy and
Ariel run to undo the chains.
MICHAEL
in the audience.
MICHAEL
(into comlink)
Are you getting any readings, Kitt?
INTERCUT - K.I.T.T.
in the wings, looking onstage.
K.I.T.T.
I started scanning the 'table of
death' the instant Templeton got
into it. I'm having the same problem
I had with the tiger.
MICHAEL
(incredulous)
Nothing? No scan at all?
K.I.T.T.'S MONITOR - INTERCUT AS NEEDED
to see a field of zigzagging interference lines.
K.I.T.T.
That's correct. My systems are
going haywire for some reason.
Michael is puzzled. Reacts as:
OMITTED
TEMPLETON
leaps out of the coffin to a standing ovation.
MICHAEL
is the picture of frustration.
CUT TO
INT. HOTEL RESTAURANT - NIGHT
RC3 returns with some files to find Devon and Browning
gone. He looks around, puzzled; crosses to the maitre d',
who shrugs, shakes no in response to RC3's question.
CUT TO
INT. BACKSTAGE AREA
The performance is over. Michael crosses to K.I.T.T.
poised in front of the doors that lead to the parking lot.
MICHAEL
Let's go, pal. Bonnie's meeting us
in the semi to run a check on your
scanners.
K.I.T.T.
The sooner the better. I still have
no idea why ---
ON K.I.T.T.'S DOOR
as Michael pulls it open. The growl of a tiger from inside
the car interrupts K.I.T.T.'s reply.
MICHAEL
reacts and lurches backward when:
OMITTED
THE TIGER
lets out a mighty roar and lunges at Michael from inside
K.I.T.T.
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
BACKSTAGE - NIGHT - K.I.T.T.
The tiger explodes out of K.I.T.T. in pursuit of Michael.
ANOTHER ANGLE - NANCY
responds to the commotion and arrives on the run.
THE TIGER
reacts; stops; changes course and heads across the back-
stage area toward her.
NANCY
No! Simba no!! Heel!! Heel!!
The cat keeps coming.
MICHAEL
grabs a tied-off rope; pulls it loose and swings through
the air on it, passing in front of the tiger. He sweeps
Nancy out of its path. They run like crazy. The tiger
chases after them with a roar.
OMITTED
INT. BACKSTAGE CORRIDOR
as the tiger pursues Michael and Nancy. She slips. The
tiger almost gets her. Michael grabs her arm, drags her
into Templeton's dressing room. Michael slams the door an
instant before the tiger lunges at it.
THE TIGER
She starts to paw at the door furiously.
INT. TEMPLETON'S DRESSING ROOM
Nancy screams as the door begins to give way under the
tiger's rage.
MICHAEL
(into comlink)
Kitt! -- Kitt!
K.I.T.T.'S MONITOR - INTERCUT AS NEEDED
K.I.T.T.
Michael, where are you?
The dressing room door splinters.
MICHAEL
In deep trouble. Why didn't you
warn me about the tiger?
K.I.T.T.
I don't know. My scanners didn't
detect her presence.
THE TIGER
bashes a huge paw through the door; keeps clawing wildly.
RESUME SCENE
MICHAEL
(still on
comlink)
Yeah, I noticed. What do you know
about tigers?
K.I.T.T.
Not much I'm afraid.
The tiger fianlly breaks down the door and explodes into the
room. Michael grabs a chair to protect Nancy and himself.
MICHAEL
Now would be a good time to learn.
Can you synthesize the mating call
of a male tiger?
K.I.T.T.
I'll check my enharmonic data bank.
The tiger snarls and gets ready to pounce.
K.I.T.T.
enharmonically synthesizes the mating call.
INT. TEMPLETON'S DRESSING ROOM
The tiger loses interest in the humans, lets out a terrific
roar and pads out of the room.
NANCY
(to Michael)
Looks like Kitt's equipment's doing
the job.
INT. BACKSTAGE AREA
Simba sniffs around K.I.T.T. She roars now and then.
K.I.T.T.
I may be able to reproduce the
tiger's mating call but, after that,
she's on her own.
(to tigress)
Go away! Shoo!
INT. DRESSING ROOM CORRIDOR
Michael and Nancy escape.
MICHAEL
(into comlink)
We'll get help. In the meantime,
just keep her happy.
K.I.T.T.
Keep her happy!?
NANCY
The only thing that works is Mozart,
the 'Eine Kleine Nachtmusic.' It
really calms her down.
MICHAEL
You hear that?
INT. BACKSTAGE AREA
K.I.T.T.
Thank you. At least the tiger has
taste.
K.I.T.T. suddenly bursts with music. As the Mozart piece
plays, the tiger quiets down; settles on K.I.T.T.'s hood
and goes to sleep.
K.I.T.T.
There's a good kitty.
CUT TO
EXT. WAREHOUSE - NIGHT
Browning and Devon arrive in Browning's car. Browning prods
Devon with his gun. They enter.
INT. WAREHOUSE - NIGHT
Browning and Devon move along the darkened rows of scenery
until they arrive at an illuminated area where Templeton
waits.
TEMPLETON
Welcome Mr. Miles. I understand your
Foundation is heavily involved in
research of all kinds.
DEVON
I don't see what research has to do
with this.
TEMPLETON
You're about to give your life to it.
He materializes a pair of handcuffs and snaps them on
Devon's wrists. On Devon's reaction, we:
CUT TO
INT. SEMI - NIGHT
Bonnie is setting up at her console to run tests on K.I.T.T.
who has yet to arrive. A concerned RC3 is with her.
BONNIE
I haven't seen either of them, RC.
Have you checked the cabaret?
RC3
Yes, I looked everywhere. I ---
He is interrupted as the tailgate lowers and Michael drives
K.I.T.T. into the Semi. He pulls to a stop and gets out,
reacting to RC's presence.
MICHAEL
I thought you were keeping an eye on
Devon and Doctor Brown?
RC3
Devon sent me to get a file. When I
got back to the restaurant they were
both gone. I can't find them
anywhere.
BONNIE
I don't like this Michael. What are
we going to do?
MICHAEL
For openers, check out Kitt's
scanners. I have a feeling I may be
needing them.
Bonnie turns back to her console, starts encoding.
BONNIE
None of his sensory circuits have
been damaged.
Bonnie continues to encode.
MICHAEL
Which leaves his program.
BONNIE
I'm checking it now.
(beat)
Look, it's been revised. His
scanners have been deactivated.
MICHAEL
Only two people could have done that.
You're one -- Doctor Browning's the
other.
RC3
That means he's got Devon, Michael.
I blew it. I'm sorry.
MICHAEL
It's not your fault, RC. I'm going
to need your help.
RC3
What you need is a place to start.
MICHAEL
That we've got.
Off Bonnie and RC3's reactions, we:
CUT TO
OMITTED
INT. CABARET BACKSTAGE AREA - NIGHT
Nancy is removing props from the stage. Ariel is testing
a small device (size of a golf ball) that creates the
"vanishing puffs of smoke" used during the act. As he
sets it off. They hear a screech of tires; turn to see
K.I.T.T. roar onto the stage and screech to a stop next
to them. RC3 remains in K.I.T.T. Michael gets out and
crosses to Ariel.
MICHAEL
Ariel, you have to tell me where
that warehouse is located.
Ariel stares at him, stonewalls it.
NANCY
Daddy, it's a matter of life and
death. Two people have been killed.
More are going to die.
Michael picks up one of the smoke devices. Gestures with
it, then slips it into his pocket as he talks.
MICHAEL
This problem isn't going to vanish in
a puff of smoke, Ariel. These two are
two greedy killers who'll stop at
nothing.
ARIEL
(thinks;
decides)
It's about five miles south of here ---
EXT. HOTEL - NIGHT
as K.I.T.T. rockets out of the stage exit, and takes off
across the parking lot.
ARIEL (V.O.)
(continuing)
-- 4660 Industrial Boulevard.
INSIDE K.I.T.T.
MICHAEL
Okay, pal. Plot me a course and
super pursuit mode!
(beat)
Hang on, RC.
Michael pushes some buttons on his console.
RAPID-FIRE SEQUENCE OF SHOTS - K.I.T.T.
as he deploys his spoilers, elongates his nose cowling,
etc., and takes off down the street in SPM.
RESUME INSIDE K.I.T.T.
as Michael and RC3 are slammed back in their seats by the
acceleration.
THE SPEEDOMETER
climbs rapidly to 250, 300 MPH and past.
K.I.T.T.
blows past camera in SPM and disappears over the horizon.
INT. WAREHOUSE - NIGHT
Devon is still handcuffed and stands next to the water-
filled tank. Browning watches as Templeton wraps a long chain
around Devon's legs.
TEMPLETON
As I said, all in the spirit of
research, Mr. Miles. You see, in
this escape, the audience must
believe I'm drowning. After
watching you die, my performance
will be frighteningly authentic.
BROWNING
I don't like this, Austin. Get it
over with, quickly.
DEVON
It's one thing to order an execution
but quite another to witness it.
Isn't it, Ian?
Browning turns away as Templeton places a hood over Devon's
head and pulls the drawstring tight around his throat.
CUT TO
INSIDE K.I.T.T. - NIGHT - TRAVELING
blasting down a street in an industrial area in SPM.
K.I.T.T.
The warehouse is at the end of this
street, Michael.
Michael pushes buttons on his console.
MICHAEL
Okay give me cruise and silent modes,
pal.
RAPID SEQUENCE OF SHOTS - K.I.T.T.
transforms from Super Pursuit Mode to Cruise Mode and
drives to a noiseless stop beside the warehouse.
RESUME INSIDE K.I.T.T. - INTERCUT AS NEEDED
MICHAEL
Who's in there?
K.I.T.T.
Three men. My metal scan indicates
one of them is bound in chains.
MICHAEL
Okay, let's move.
Michael and RC3 slip out of K.I.T.T.
EXT. WAREHOUSE - CONTINUOUS
MICHAEL
You cover the back, RC.
RC3
You got it.
MICHAEL
Kitt, you're going to announce our
arrival.
As the two men run into the darkness.
MICHAEL
dashes up close to the door of the warehouse.
MICHAEL
(into
comlink)
Okay, now!
INT. WAREHOUSE - NIGHT
Templeton and Browning put Devon (hooded and in chains)
into the water-filled glass tank. As he tries to surface,
Templeton slams the lid on the tank and padlocks it. The
magician watches as Devon writhes to free himself.
TEMPLETON
Fascinating. So dynamic!
The noise of a car engine revving O.S. Templeton and Browning
spin around in time to see:
K.I.T.T.
crash through the main door of the warehouse and speed
towards them. Scenery, packing crates, etc. go flying.
Templeton holds his ground. Browning runs.
BROWNING
Look out!
DEVON
hooded, spinning helplessly in the water.
OMITTED
BROWNING
runs between the rows of scenery only to find RC3 in his
path. RC3 grabs him.
RC3
Where's Devon Miles?! Where is he?!!
BROWNING
Inside. Inside dying.
RC3 rears back and decks Browning with one punch.
RESUME K.I.T.T.
As he pursues Templeton and stops within inches of smashing
into him in an attempt to pin him against a wall. Suddenly,
Templeton vanishes in a cloud of smoke and reappears right
in front of:
MICHAEL
who is dashing toward the tank to free Devon. He puts on
the brakes, staring right down the barrel of a gun
Templeton levels at him.
TEMPLETON
A valiant attempt, Mr. Knight. But
all for ---
THE SMOKE DEVICE
in Michael's hand, as he sets it off and a cloud of smoke
explodes in Templeton's face. He is interrupted by:
RESUME THE SCENE
Michael's foot flashes with blinding quickness and knocks
the gun from Templeton's hand in a karate kick.
ANOTHER ANGLE
as Michael comes out of the spinning kick, grabs Templeton,
spins him around and shoves him toward RC3 who's running
into the area from his run-in with Browning.
MICHAEL
He's yours, RC!
As Michael dashes to the water tank, we go to:
ANOTHER ANGLE
as Templeton spins right into RC3's fist that comes out of
nowhere. He blocks the punch. Tries to throw one of his
own. RC3 blocks it and decks him.
THE WATER TANK
Devon, bubbles rising in a steady stream from the silk
hood, as Michael climbs atop it, reacting to the pad lock.
MICHAEL
(into
comlink)
Kitt, I need some help with this
lock!
THE PADLOCK
on the tank cover snaps open.
THE SCENE
as RC3 joins Michael at the tank. They pull off the top,
drag Devon up out of the water and remove the silk hood.
Devon gasps for air for a moment.
MICHAEL
(into
comlink)
Now, the cuffs.
K.I.T.T. opens the cuffs. They pop off Devon's wrists.
MICHAEL
Devon?! Devon? Are you okay?
DEVON
Right as rain, thank you -- But this
was my best silk suit.
As they all smile with relief, we:
FADE OUT
END OF ACT FOUR
TAG
INT. STAGE - DAY
A cleanup of Templeton's paraphernalia is in progress.
Devon, Bonnie and RC3 are on the stage, Devon inspecting
Templeton's hood curiously as K.I.T.T. glides up behind him.
MICHAEL
Thinking of getting into the act
Devon?
As Devon drops the hood and turns to K.I.T.T.
DEVON
No thank you. I've had enough magic
to last me a lifetime. Michael?
Turning to K.I.T.T., Devon's puzzled to find K.I.T.T.
driverless. Instantly we hear the trunk pop in the back --
and with a puff of smoke, Michael leaps out of the car.
ON BONNIE, DEVON AND RC3
at most, mildly impressed.
DEVON
Amusing. But hardly mystifying.
MICHAEL
(playing
it up)
Then perhaps I can dazzle your
senses with the help of a simple
handkerchief.
Devon finds it all a bit much, but still obligingly reaches
into his breast pocket -- and there's nothing there.
DEVON
I had one right here. I ---
MICHAEL
This one?
Michael produces Devon's handkerchief from beneath his
jacket.
MICHAEL
Must have flown my way.
And he parts the handkerchief to reveal a fluttering white
dove. Now the group smiles, and even Devon applauds.
Michael hands the dove to Bonnie.
BONNIE
(touched)
Maybe I'm the one who should be
making a peace offering.
(apologetic)
Not even a master illusionist should
make you doubt your friends.
MICHAEL
Bonnie, he even had me under his
spell for awhile. But two can play
the escape game.
At that tender moment, a synthesized coo echoes through the
room. The dove flies away and perches on K.I.T.T.
K.I.T.T.
I believe that's three, Michael.
Counting your assistant.
RC3
Yeah, you've got to give K.I.T.T.
his moment in the spotlight, too.
MICHAEL
You're right, RC. Now that
Templeton's history, we've got an
unemployed tiger on our hands. Kitt
can perform his famous Seduction and
Sedation of a Tigress in Heat -- all
by himself.
K.I.T.T.
On second thought, Michael, I think
the only magic I'll perform is a
disappearing act.
Off the other's laughter:
FREEZE FRAME
THE END
