ACT ONE
FADE IN
OMITTED
ANGLE - BANNER
It reads: ALTERNATIVE 2000. Pull back to reveal we are at
the site of a three-day cross-country race for alternative
energy vehicles. As the camera pans the area, we see
several cars going through their practice runs, workers
putting the finishing touches to temporary grandstands that
will accomodate the spectators, and cocktail waitresses
distributing drinks to members of the press. We also see
the trucks which service each car and act as home base for
the mechanic crews.
ANOTHER ANGLE
Devon is shaking hands with Dr. Gordon Kempler, the
promoter of the race. A fuzzy, idealistic man, Kempler has
summoned his friend, Devon.
KEMPLER
It's good to see you, Devon. Thank
you for coming.
DEVON
What was so urgent?
Kempler reaches into his pocket, takes out an envelope.
KEMPLER
We've received one every day for the
last two weeks. And it's always the
same message...your race is doomed.
Devon takes the envelope and examines the letter.
DEVON
Have there been other threats?
Kempler shakes his head no.
DEVON
Have any of the drivers received a
similar letter?
KEMPLER
Nothing's been reporter.
DEVON
Perhaps this is nothing more than a
contemptible hoax.
KEMPLER
I hope you're right. I just thought
you should be aware of it.
DEVON
I'm glad you told me. I'm here to
help any way I can. The Foundation
believes very strongly in the devel-
opment of alternative energy.
KEMPLER
You don't have to remind me. If it
weren't for your support, staging
this race would have been impossible.
A waitress comes by. The guys help themselves to some
champagne.
ANOTHER ANGLE
A car passes nearby, heading out toward the practice area.
It's a sleek, streamlined vehicle that impresses Devon.
DEVON
(impressed)
Who's that?
KEMPLER
Leslie Wendall. From what I've seen
in the trials, he's the man to beat.
ANGLE - CAR
As Leslie Wendall puts it through a high-speed test run.
He loops around the run and is picking up more speed as he
approaches a turn.
INT. CAR
Wendall applies his foot to the brakes. They go straight
to the floor. His face reflects sudden panic as he
furiously pumps the brake pedal to no avail.
EXT. CAR
as it crashes through a barrier, does a flip and cannon roll
before coming to a halt off the side of the road. A fire
erupts under the hood and Wendall struggles to climb out of
his car.
OMITTED
ANGLE TO INCLUDE DEVON, KEMPLER
as Wendall sprints to safety, the car explodes.
DEVON
Omigod!
Devon rushes toward the inferno, followed by Kempler.
EXT. TRANS AM - NIGHT - STOCK
Michael is heading for a rendezvous.
OMITTED
EXT. SEMI - NIGHT
It is wheeling down the road. Its ramp descends.
EXT. TRANS AM - NIGHT
It approaches the semi and gracefully glides up the ramp.
INT. SEMI - NIGHT
Michael is discussing the mission with Devon. Bonnie opens
K.I.T.T.'s door and begins fiddling under the dash.
MICHAEL
Sounds to me like one of the drivers
got a little overly competitive.
DEVON
I agree that's a possibility.
MICHAEL
A possibility? Devon, You've got a
two hundred thousand dollar purse,
not to mention millions in potential
profits for the winner. I'd say
that's sufficient incentive for
slipping a little boronic acid into
your neighbor's brake fluid.
DEVON
You're absolutely right, Michael.
BONNIE
All we're saying is that there are
other...forces...who would not want
to deal with an affordable alterna-
tive to the internal combustion
engine.
MICHAEL
You're not suggesting that the oil
companies, or Detroit, are out to
sabotage this race?
(beat)
Are you?
DEVON
At this point our goal is to insure
that no further disruptions occur.
Therefore, you've joined the field
as my personal entry.
MICHAEL
Great. Except for one thing. Kitt
could win that race with one booster
tied behind his back.
DEVON
Your job is not to win the race. It's
to determine if there is indeed a
saboteur. And if there is, to put
him out of business.
MICHAEL
I think I can handle that.
DEVON
Good. Bonnie can fill you in on
Kitt's additions. I suggest you get
some rest, Michael. The race begins
at six am tomorrow morning.
MICHAEL
Don't worry, Devon. I'll be fresh
as a daisy.
Michael gives Devon a smile and moves over to Bonnie and the
car as Devon exits.
MICHAEL
What you got cooked up here?
BONNIE
I've augmented Kitt's scanning
system with a special infrared
Tracking Scope.
Bonnie flicks a switch on the dashboard.
INSERT - VIDEO MONITOR
We see a grid that looks like a combination radar screen/
video racing game.
BONNIE (v.o.)
By monitoring the heat from their
engines, you'll be able to track the
other cars within a ten-mile radius.
BACK TO SCENE
An impressed Michael gives Bonnie a hand as she climbs out
of the car.
MICHAEL
That's great. Now how about some
dinner when you finish up here?
BONNIE
I'd love to, Michael, but I'll be
spending the night with Kitt.
(beat)
It's going to take a while converting
his engines to run on liquid hydrogen.
Then I've got to reprogram his....
MICHAEL
(stopping her)
Okay, okay, I was just asking. You
two have a good time together.
(to K.I.T.T.)
And don't take advantage of her.
K.I.T.T.
I won't.
BONNIE
(laughing)
Will you get out of here?
He smiles and leaves.
BONNIE
Kitt, I hope you're not picking up
his warped sense of humor.
K.I.T.T.
I'm trying my best not to.
Bonnie sits in the driver's seat.
BONNIE
Good.
Suddenly she jumps a little like she's been pinched on the
bottom.
BONNIE
Kitt! Try a little harder.
ANGLE - K.I.T.T.'S SCANNER
He flashes it devilishly.
EXT. TRANS AM - DAY - STOCK
It's the next morning and Michael is on his way to the race.
EXT. STAGING AREA - DAY
The camera's sweep takes in the bustle and activity.
Mechanics, onlookers and participants mingle around the
cars. The grandstands are filling up at the starting line.
There are vendors selling junk food, a high school marching
band (with majorettes) and as much hoopla as possible.
ANGLE - TRANS AM
Michael pulls into the staging area and parks. Some of the
spectators see K.I.T.T. and come over and ogle. Among them
is a bouncy young lady in tight jeans and a racing jacket.
She is Liberty Cox, a hip twenty-five-year-old photojournalist
for New Wheels Magazine. She carries a large, well-worn,
multi-zippered leather bag slung across her shoulder.
An expensive camera dangles from her neck. Standing a few
feet away from Michael, she silently lines up a shot with
her camera. When it clicks, Michael turns around.
LIBERTY
Nice body.
Liberty runs her hand along K.I.T.T.'s fender.
LIBERTY
(smiles)
Nice car, too.
(beat)
You must be the late entry. I'm
Liberty Cox...with an 'X'.
She extends her hand. Michael shakes it, admiring her
charms.
MICHAEL
Michael Knight...with a 'K'.
Liberty is intrigued by K.I.T.T., starts looking at the
dashboard.
LIBERTY
You win the prize for wildest
dashboard, hands down.
MICHAEL
Yeah? Where do I pick it up?
LIBERTY
I'll find out and let you know.
They smile at each other, expressing a mutual interest.
PA VOICE
Will all drivers please report to
the main tent. All drivers to the
main tent. Thank you.
LIBERTY
It's just over there.
We see the tent nearby and the various drivers streaming
toward it. Liberty starts walking with Michael.
LIBERTY
Mind if I ask you a question?
MICHAEL
That depends on the question.
LIBERTY
How does a guy like you get his
hands on a machine like this?
Michael doesn't want to answer that.
MICHAEL
I won it in a poker game.
LIBERTY
You must be some kind of card player.
They arrive at the tent as the last of the drivers enter.
There is a lean, authoritative man standing at the entrance
to the tent. He is Ed Shaw, the race coordinator.
MICHAEL
Hi, I'm driving for Devon Miles.
SHAW
So you're Michael Knight....
Shaw extends his hand. They shake.
SHAW
Ed Shaw. Race coordinator.
(re: K.I.T.T.;
admiringly)
I'd say whoever built your car knew
what he was doing.
MICHAEL
He sure did.
Michael starts to enter tent.
SHAW
Best of luck.
MICHAEL
Thanks.
He is about to enter the tent with Liberty right behind
him. Shaw puts out a hand, stopping her.
SHAW
Where do you think you're going?
LIBERTY
I beg your pardon.
SHAW
This meeting is for drivers only.
LIBERTY
(bluffing)
Do you happen to know who I am?
SHAW
I sure do, lady. That's why you're
staying put right here.
MICHAEL
(to Liberty)
Catch you later.
ANGLE - LIBERTY
She gives Shaw a dirty look as Michael enters. Follow her
as she goes back to K.I.T.T., looks at the car for a beat,
then goes for the door handle.
INSERT - HANDLE
She is unable to open it.
BACK TO SCENE
Frustrated, but undaunted, Liberty takes her lens cap off,
focuses up close and tries to get a shot of K.I.T.T.'s
dashboard through the window. She is startled to see the
window suddenly darken, preventing her from taking a
picture. She reacts to the amazing transformation.
INT. TENT - DAY - (OR BRIEFING ROOM)
Shaw stands near a map of the race. Tighten on the map to
see the course of the race is a circle. The starting line
is the same as the finish line. The drivers are assembled
in front of the map. They eye each other distrustfully.
Michael reacts to the tension. We pick Shaw up as he
finishes diagramming the race.
SHAW
Now, remember, you'll be clocked at
the two overnight pit stops. Best
total time for the three days
wins...Doctor Kempler and I have
designed this course to challenge
you. Not every road is going to be
in top notch condition. Now, I
realize what's at stake...but let's
be careful out there....
The drivers start for the door.
SHAW
One more thing. In case you haven't
already noticed, we have a new
driver. Meet Michael Knight.
Everyone looks at Michael.
SELLERS (v.o.)
Ed, can I say a few words?
ANGLE - CLARK SELLERS
Standing by the door, dressed in a safari coat and
sunglasses, Sellers has the look of a self-made mogul,
which he is. He owns the Sellers Cable Network which has
the exclusive TV rights to the race. Sellers wants to say
a few words. The drivers stop to listen.
SELLERS
I'm Clark Sellers and I just want to
tell you how excited the Sellers
Cable Network is to be broadcasting
this race. Go out there and show
the world that the future of al-
ternative energy -- and cable TV
-- is now.
OMITTED
EXT. STAGING AREA
Michael is holding his piece of paper as he walks toward
K.I.T.T. He sees Dorothy giving her car a once-over and
approaches her.
MICHAEL
Hi, there. What's your starting
position?
DOROTHY
Four.
MICHAEL
(holds up
his number)
I'll be right behind you.
DOROTHY
What a reassuring thought. Before
you go any further, Mr. Knight, I
think you should know I have no
intention of making friends here.
I'm interested in two things.
Finishing first -- and doing so in
one piece. Now if you don't mind....
She gets into her car.
MICHAEL
I guess I'll see you at the finish
line.
Liberty enters the shot as Michael walks over to K.I.T.T.
LIBERTY
Nice try.
Michael walks around K.I.T.T. checking to make sure he's
ready to go.
MICHAEL
Thanks. I didn't get a chance to
ask Ed Shaw who you were. Want to
tell me?
LIBERTY
I already told you. Liberty Cox.
With an....
MICHAEL
'X'. I know. What I meant was, why
were you trying to sneak into that
meeting?
LIBERTY
I'm covering the race for New Wheels
Magazine.
She unsnaps her jacket, revealing a tee shirt embossed with
the logo-lettering of New Wheels Magazine.
LIBERTY
Ever read it?
MICHAEL
Once or twice.
LIBERTY
Actually, I'm not going to just
cover the race, I plan to experience
it. If you know what I mean...give
my readers a little insight into what
it's like to ride in an event like
this. I imagine it's terrifically
stimulating.
MICHAEL
It is.
LIBERTY
How would you like to show me?
Michael and Liberty stare into each others' eyes as she
waits for an invitation to join him. None is forthcoming.
MICHAEL
Sorry. I travel solo.
ANOTHER ANGLE
The Prince brothers drive up in the Charger like they were
cruising Van Nuys Boulevard. Sonny pounds the side of his
door and leans out the passenger side, calling out to
Liberty.
SONNY
Hey, sweetheart, how'd you like to
ride in the lead car?
MICHAEL
There you go.
LIBERTY
No thanks, boys.
LESTER
You don't know what you're missing.
Helmut Gras, in his Porsche, pulls up behind the Charger
and honks his horn loudly.
GRAS
(angrily)
Get out of the way, you fool.
SONNY
Who you calling a fool, schnitzel
breath.
As they argue, Michael gets into K.I.T.T., shuts the door.
MICHAEL
(to Liberty)
See you at the pit stop.
Michael drives away. Liberty watches him go, curses
silently, then goes over to the Japanese, Hito Osaka, who
drives a Toyota. She sticks out her thumb and Osaka
gestures for her to join him.
OMITTED
ANGLE - STARTING LINE
The cars file into line. The Charger is first. Kempler
holds the flag. Shaw has a stopwatch and clipboard.
PA VOICE
Ladies and gentleman, in car number
one, fueled by their uncle's original
recipe, Sonny and Lester Prince.
Kempler drops the flag. Shaw starts his stopwatch, and the
race begins. As the Princes drive off with a rebel yell, a
stash of balloons is released, television cameras roll and
the audience applauds.
PA VOICE
In car number two, driving what
might be the most advanced electric
automobile in the world, from West
Germany, Helmut Gras.
Kempler indicates he can start and Gras quickly accelerates,
Shaw recording his starting time. (He follows the same
procedure for all six cars, and it happens very quickly.)
Osaka pulls up to the starting line. Liberty is with him.
After the intro, each car takes off.
PA VOICE
In the third car, from Japan,
running on propane, Hito Osaka...
In a solar-powered vehicle we have
Dorothy Arnold....
OMITTED
ANGLE - TRANS AM
waiting to start.
MICHAEL
Ready, Kitt?
K.I.T.T.
Michael, do you realize that this
whole race is unnecessary?
MICHAEL
How's that?
K.I.T.T.
I am the car of the future.
MICHAEL
I know, Kitt. But I don't think
you'd want to be mass produced.
K.I.T.T.
You've got a point there.
PA VOICE
From Los Angeles, running on liquid
hydrogen, Michael Knight.
MICHAEL
Let's go.
Michael takes off as the Islamic Dune Buggy drives up.
PA VOICE
Next up from the Sheikdom of Kuwait,
Hashi Al Qatar.
He takes off leaving two ND cars left to start. But we....
CUT TO
EXT. RACE - VARIOUS ANGLES - DAY
The cars are bunched as they head into the open spaces. We
see that each driver is very intense as they jockey for
position. They come close to bumping each other.
ANGLE - DUNE BUGGY
Hashi has been driving particularly ferociously. As he
spins around a turn and heads up toward the highway, he
pulls abreast of the Porsche which is in the lead. As they
barrel down the road we see that two lanes narrow into one.
ANOTHER ANGLE
As the two cars come toward the camera, it's neck and neck
to see who gets the inside track on the lane and wins this
initial game of chicken.
ANGLE - PORSCHE
as it overtakes the dune buggy, gains the single lane and
causes Hashi to swerve and spin out on the side of the road.
ANGLE - HASHI
as he mutters silent oaths to the aggressive driver of the
Porsche. He watches as the other cars pass then pulls back
onto the road and joins the race.
INT. TRANS AM - DAY
Michael has just witnessed the incident.
MICHAEL
No doubt about it, these guys are
playing for keeps.
QUICK DISSOLVE TO
EXT. MOUNTAIN ROAD - DAY
From a high angle, we see the Toyota, Porsche and Charger
in the lead positions.
ANGLE - TRANS AM
by itself.
MICHAEL
Kitt, I think it's time you gave
me a rundown of the rest of the
field.
K.I.T.T.
As you wish, Michael. Beginning
with the letter 'A' there's Dorothy
Arnold, the woman you attempted to
pick up....
INSERT - VIDEO MONITOR
We see a sketch of Dorothy Arnold.
MICHAEL (v.o.)
Kitt, I was just trying to be
friendly.
K.I.T.T.
Whatever. She is the daughter of
Henry Arnold.
BACK TO SCENE
MICHAEL
I hope you're going to tell me who
he is.
K.I.T.T.
The President of Arnold Automotive,
Incorporated.
MICHAEL
Hmm, kind of makes you wonder why
she's driving a solar-powered car.
(beat)
Do you have a read on her?
Michael pushes a button on the dash.
INSERT - VIDEO MONITOR
We see the tracking scope in action.
K.I.T.T. (v.o.)
She's approximately two miles behind
us. I'll decrease my speed so she
can catch up to us.
BACK TO SCENE
MICHAEL
Good idea.
EXT. SOLAR CAR
Dorothy is tooling along.
OMITTED
ANGLE - TRANS AM
It passes in front of a hill. We pull back to a vantage
point from atop the hill. Presently a rifle enters the
shot. (The camera is over the shoulder and we can't see
who's holding the gun.)
ANOTHER ANGLE THROUGH A TELESCOPIC LENS
The sniper is lining up the Trans Am. As it enters the
center of the target and the sniper is about to fire....
FREEZE FRAME
END OF ACT ONE
ACT TWO
FADE IN
EXT. MOUNTAIN ROAD - DAY - ANGLE TRANS AM
It is racing down the road when a shot rings out.
ANGLE - K.I.T.T.'S TIRE
A bullet hits the indestructible tire and ricochets.
MICHAEL (v.o.)
Kitt, what was that?
K.I.T.T.
We're being shot at.
ANGLE - GUNMAN - OVER THE SHOULDER
Seeing that the Trans Am has not been damaged, the gunman
spots the solar car, takes aim and fires.
ANGLE - TRANS AM
Michael stops the car.
K.I.T.T.
Michael, there's been another shot.
INSERT - VIDEO MONITOR
The dot representing Dorothy's car swerves.
K.I.T.T. (v.o.)
The solar car's been hit.
ANGLE - SOLAR CAR
Dorothy is fighting to regain control of her vehicle. She
is unable to and the car swerves to the right, then does a
quick, out-of-control three-sixty. She continues to spin
out, crossing the highway and crashing through a protective
barrier and off the side of the road.
ANGLE - CAMERA CREW
Tucked along the side of the road two men have their camera
set up to record the action. When they see Dorothy in
jeopardy, the Cameraman excitedly points to the scene and
exhorts his partner to get it on film.
CAMERAMAN
Are you getting all of this? Zoom
in on the solar car. Damn. This is
better than the French Connection.
And it's for real. I love it!
The operator swings the camera and films Dorothy's spin-out.
OMITTED
EXT. TRANS AM
It arrives on the scene, pulls to a stop.
K.I.T.T.
Michael, I'm picking up her vital
signs. I don't think seriously
injured.
MICHAEL
No, but she's probably scared to
death.
Michael jumps out, goes to the side of the road, looks down.
OMITTED
MICHAEL'S POINT OF VIEW - ANGLE OFF SIDE OF ROAD
The solar car is wrapped around a tree a short way down a
steep canyon. Dorothy is climbing out of the twisted wreck.
MICHAEL
(yelling)
Stay there. I'll throw down a line.
Dorothy acknowledges Michael with a wave.
MICHAEL
Kitt, we're going to need the
grappling hook.
ANGLE - K.I.T.T.
The grappling hook shoots out and flies down the canyon
wall.
ANGLE - SOLAR CAR
The hook lands near the car. Dorothy moves to it.
MICHAEL
Start climbing.
Dorothy starts pulling herself up on the rope. Michael
goes down about halfway and pulls her up to safety.
ANGLE ON THE ROAD
DOROTHY
Thank you.
(long beat)
I don't know what else to say.
MICHAEL
That's okay.
DOROTHY
I mean after the way I acted before
...You're very kind.
MICHAEL
You'd do the same for me.
Dorothy knows she wouldn't, so she doesn't respond.
MICHAEL
What happened here? How did you lose
control?
DOROTHY
It must have been a blowout. At
least that's what it sounded like.
MICHAEL
You gonna be okay?
DOROTHY
Yeah. As soon as I stop shaking.
MICHAEL
Wait here. I want to take a look at
your car.
OMITTED
ANGLE - MICHAEL
He quickly climbs the rope to the damaged car while Dorothy
waits on top. He goes to the tire and sees a gaping hole.
Michael removes something from the mangled tire.
INSERT - MICHAEL'S HAND
He cups the remnants of a bullet.
ANGLE TO INCLUDE DOROTHY
DOROTHY
Was I right?
MICHAEL
(lying)
Yeah, you must have run over
something.
Michael looks at his hand pensively.
OMITTED
EXT. FURNACE SPRINGS SPA PARKING LOT - DAY
All the drivers except Michael have arrived. There is much
commotion and activity in the parking area. Shaw is getting
all the times recorded, the cameras are running. The mechanic
crews check out each car. A banner proclaiming "Welcome
Alternative 2000" is strung above the site (or lettered on
the hotel marquee).
ANGLE - LIBERTY
She is in a crowd of mechanics and reporters, and the
Cameraman with his operator. They are crowded around Helmut
Gras. Liberty holds her tape recorder and tries to get his
attention.
LIBERTY
Helmut, congratulations. Are you
surprised that you won the first leg?
GRAS
Winning never surprises me. I'm
used to it.
Hashi, standing away from the crowd, but overhearing,
replies.
HASHI
Just as you must be used to cheating.
GRAS
Racing is a contact sport, my friend.
HASHI
Is that so?
Hashi stalks away.
CAMERAMAN
Helmut, some of the drivers say they
heard a gunshot before Dorothy Arnold's
tire blew out....
LIBERTY
Really?
CAMERAMAN
Did you hear anything?
HELMUT
I was not in the vicinity of the
accident.
ANOTHER ANGLE
The Trans Am enters the parking lot. Michael passes Shaw,
who records his time, then pulls up next to the semi where
Bonnie is waiting along with Clark Sellers. Liberty, a
camera crew and various curious onlookers rush over as
Michael and Dorothy get out. Sellers gives her a hand.
LIBERTY
There she is!
As Dorothy gets out of K.I.T.T., she is mobbed.
LIBERTY
Dorothy, can I ask you a few
questions. We just heard there
might have been a gun....
ANGLE - SELLERS
He fights through the crowd to get to Dorothy.
SELLERS
Can I get through. Will you clear a
path...Thank you.
He arrives just as Liberty is about to finish her question.
SELLERS
Stop this at once.
Liberty backs off. Sellers is indignant.
SELLERS
How can you hound her like that
after what she's been through?
LIBERTY
Hey, I'm just trying to find out....
SELLERS
Your questions can wait, Miss Cox.
Come on, Dorothy, they're waiting
for you at the first-aid station.
DOROTHY
I'm all right. Really.
SELLERS
Just a precaution. Right this way.
He directs Dorothy to the hotel, taps his Cameraman on the
shoulder.
SELLERS
As soon as she comes out, get some
quotes to go with footage.
The Cameraman gives him the okay sign.
ANOTHER ANGLE
Michael and Bonnie watch the carnival-like atmosphere of
the group surrounding Dorothy.
BONNIE
How's Kitt holding up?
MICHAEL
Fine. But you might want to run a
check on his compressors.
BONNIE
That's probably a good idea.
Michael takes the bullet from his pocket and discreetly
places it in Bonnie's hand.
MICHAEL
And while you're at it, run a check
on this.
As Bonnie looks at the bullet and then at Michael with
uncertainty....
DISSOLVE TO
EXT. HOTEL BUILDING - NIGHT - ESTABLISHING
INT. HOTEL BAR
As the camera pans the room, we see Michael at a table with
Gras, Hashi and Osaka. At another table Devon sits with
Kempler. Through the glass we see Liberty and the Prince
brothers in an outdoor jacuzzi.
OSAKA
You have to be disappointed with
your time today.
MICHAEL
Don't worry about me. I'll catch up.
GRAS
(smiling)
I'm sure you'd have finished sooner
if you hadn't stopped to help poor
Miss Arnold.
HASHI
We know you would never have stopped
to help her.
GRAS
(irked at
the Arab)
Accidents are a part of every race.
OSAKA
The question is, will they continue
to happen in this race.
HASHI
(pointing
angrily
at Gras)
They will the way he drives.
The German and the Arab glare at each other. Michael gets
up to leave, raises his glass and toasts.
MICHAEL
Guys, here's to good sportsmanship.
No one drinks.
MICHAEL
Adios.
He walks toward the outdoor area.
OMITTED
ANGLE - HOT TUB
LESTER
Hey, what's with all the questions?
We thought you wanted to party.
LIBERTY
Wrong.
Liberty sees Michael. She rises out of the tub wearing a
clinging tank suit. She grabs a towel.
SONNY
Hey, you don't have to get out.
LIBERTY
Oh, I do. You guys are so un-
bearably sexy I don't think I can
control myself much longer.
She heads over toward Michael who has come outside.
SONNY
I told you she's got the hots for us.
LESTER
Then why's she going over to him?
ANGLE - MICHAEL AND LIBERTY
He smiles as she walks up to him. During their conversation
he sips a beer while she dries herself and puts on a robe.
LIBERTY
(charming smile)
Hey, I remember you.
MICHAEL
I've been meaning to ask you, how
did you ever get a name like Liberty?
LIBERTY
My father wanted a belle.
Michael chuckles a little.
MICHAEL
Sorry.
LIBERTY
You seem rather calm for a man who
may be the next one to go.
MICHAEL
I take it you're referring to the
gunshot rumors.
LIBERTY
(nods)
Call it a journalistic hunch, but I
think someone's out to win this race
by whatever means it takes...like by
eliminating the competition.
MICHAEL
Am I a suspect?
LIBERTY
I don't know. Are you?
OMITTED
ANGLE - ED SHAW
He enters the bar, looks around, sees Kempler and heads for
the table.
ANGLE - DEVON AND KEMPLER
The doctor looks like he's under major stress.
KEMPLER
Devon, in light of what your driver
discovered, the only sane thing to
do is call off the race.
DEVON
Is that what you want to do?
KEMPLER
Of course not, but if there is a
saboteur out there....
DEVON
We don't know that for sure yet.
Give Michael a little more time.
KEMPLER
Can we afford to?
Shaw arrives.
SHAW
Doctor Kempler, I have to speak to
you. In private.
KEMPLER
Ed, I'm not going to keep any
secrets from Devon. Sit down and
let's hear what you have to say.
SHAW
I think you better come with me.
Both of you.
The men exchange looks, then get up from the table.
ANGLE - MICHAEL AND LIBERTY
They are sitting at an outdoor table. She sees the three
men exit.
LIBERTY
Look, I've got to go up and change.
Can we continue this conversation
later?
MICHAEL
How about over a nightcap?
LIBERTY
Sounds perfect. My room number is
207.
She walks away.
CUT TO
INT. HOTEL ROOM - NIGHT
Devon, Kempler and Shaw stand solemnly around the bed. A
nervous Spanish chambermaid figets nearby. On the bed is a
small, unopened rifle case.
SHAW
(to the maid)
You can go now.
The maid nods and hastily makes her exit.
SHAW
She said she found it under the bed.
Shaw flips open the case.
INT. HOTEL HALLWAY - NIGHT
The maid comes out of the door.
LIBERTY
Senora, uno momento, por favor.
Liberty motions for the maid to join her and they duck into
the supply room.
INT. HOTEL ROOM - NIGHT
The case is now open, revealing a disassembled rifle, the
one we saw fire at the solar car.
KEMPLER
What is it?
DEVON
A collapsible Wheatherby 850. A
highly sophisticated, long-range
rifle. You don't see many of these
nowadays.
KEMPLER
Devon, is it capable of firing the
bullet that was in the tire?
DEVON
Yes, it is.
ANOTHER ANGLE
Hashi enters the room. He stops dead in his tracks.
HASHI
What is the meaning of this? What
are you doing in my room?
SHAW
Trying to figure out what this is
doing in your room.
Shaw points to the gun. Hashi sees the weapon and gasps in
surprise.
EXT. HALLWAY - NIGHT
Michael is talking to Devon but we cannot hear what they
are saying. After a beat, Devon pats Michael's shoulder,
smiles and leaves. Michael walks down the hallway.
INT. MICHAEL'S ROOM - NIGHT
Liberty is lying on the bed writing in a notebook when the
door opens and Michael enters. She smiles excitedly.
LIBERTY
(talking fast)
You can breathe easy again. The
ordeal is over. Naturally my hunch
was right on target. Turns out it
was the Arab, though I kind of
thought it might be the German...
Anyway they just found the smoking
gun in his room so it looks like
the crisis is over. And I've got
a hell of a story.
She writes something on her pad.
MICHAEL
Weren't we supposed to meet in your
room?
LIBERTY
(looks up)
I thought I'd surprise you. I hope
you don't mind.
MICHAEL
(angrier)
As a matter of fact, I do.
LIBERTY
Don't get so upset.
MICHAEL
I can't help it. I always get upset
when someone breaks into my room.
LIBERTY
Hey, I was just trying to be
spontaneous. I figured this would
be a great opportunity to find out
what makes a man like you tick.
MICHAEL
I don't think your readers would
find me all that interesting.
Liberty closes her notebook, gets off the bed and
approaches Michael seductively.
LIBERTY
Who cares about my readers. I think
you're very interesting.
She puts her hands on Michael's waist.
LIBERTY
Are you going to be mad at me all
night?
MICHAEL
Unless you give me a reason not to be.
She puts her arms around him and kisses him passionately.
LIBERTY
Is that reason enough?
MICHAEL
No, but it's a start.
Michael returns the kiss.
INT. BAR - NIGHT
Devon stands with Kempler and Sellers as they watch two
policemen lead Hashi through the lobby toward their
waiting car. Hashi is visibly enraged.
HASHI
(screaming)
This is an outrage. I've never seen
that rifle before in my life. You
can't do this to me. I warn you.
If I'm jailed my country will lodge
a formal protest.
As the drivers in the bar watch, Hashi is taken out the
door.
SELLERS
How do you like that? There
actually was a saboteur.
(to Kempler)
I wish you would have told me. I
could have gotten this on film.
KEMPLER
It's bad enough publicity as it is.
SELLERS
Well, you're right about that.
KEMPLER
Devon, will you let me buy you a
drink? God know, I need one.
DEVON
Well, I certainly think there's
reason to celebrate.
KEMPLER
I hope so. All this commotion is
making me a nervous wreck.
DEVON
You can relax now. I think it's
safe to say this case is closed.
EXT. HOTEL PARKING LOT - NIGHT - CLOSE ON AN ENGINE
All we can see is the engine of a car. We don't know which
car. A pair of hands enter the shot and place a small
device, obviously some kind of compact explosive, inside
the motor. Hold on the unidentified hands doing their
dirty work and....
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
EXT. MOTEL STAGING AREA - DAY
The cars are being rolled into position, Shaw supervising
the crews, giving last minute instructions to the drivers
etc. The assembled press is being rounded up and forced to
gather behind a rope barricade. Pan from this activity to
the motel where we see Michael appear, coming toward the
staging area. He's joined by Devon.
MICHAEL AND DEVON - MOVING SHOT
Ad-lib hellos.
DEVON
All set for another day of dust and
dirt?
MICHAEL
Dust, dirt and destruction.
DEVON
Let's hope not. Mr. Qatar
has been disqualified. Not to
mention, arrested.
MICHAEL
I don't think he did it, Devon.
DEVON
The police are doing ballistics
tests on the rifle and the bullet.
MICHAEL
Even if they match it doesn't mean
Hashi pulled the trigger.
DEVON
No, but just because he was driving
doesn't mean he didn't, either. He
could have pulled off the road,
assembled the rifle, fired, and in
the confusion slipped back into the
race. Don't forget, he comes from
one of the leading petroleum
exporting countries in the world.
MICHAEL
I still think I should stay in the
race.
DEVON
Are you sure it's not because you
want to win?
MICHAEL
(smiling)
You know me better than that.
DEVON
By the way, I phoned your room last
night.
MICHAEL
That was you?
DEVON
You were there? Why didn't you
answer?
MICHAEL
I was engaged in a little...research.
DEVON
(smiles)
Really? With whom?
LIBERTY'S VOICE
Michael!
ANGLE TO INCLUDE LIBERTY
She bounds over from the staging area, tote bag over her
shoulder, looking lovely and fresh in her T-shirt and
jeans. Devon smiles.
DEVON
(to Michael)
Discussing neo-journalism, no doubt.
MICHAEL
I'm a man of insatiable curiosity.
DEVON
Indeed.
Devon smiles and veers off toward the staging area.
DEVON
If you'll excuse me, I have a few
details to tend to.
Liberty kisses Michael, joins him as he continues to the
staging area where the Trans Am waits with the other cars.
LIBERTY
What a glorious day! A double-header
-- I get you and a ride in that
mysterious black beauty. I've
arranged for sandwiches, a cooler,
fried chicken, iced tea ---
MICHAEL
(pained)
Liberty...I'm sorry, but you can't ride
with me today.
LIBERTY
What?!
She stops in her tracks. Michael inhales.
MICHAEL
It's not my decision, it's
Mr. Miles'.
LIBERTY
I don't believe you.
MICHAEL
It's true. He ---
LIBERTY
Didn't last night mean anything to
you? Don't answer that.
She storms off to the staging area.
MICHAEL
Liberty ---
LIBERTY (o.s.)
I don't beg rides, Michael Knight.
Rides beg me.
The door to the Charger pops open and Lester and Sonny jump
out. Lester falls to his knees in a begging position.
ANGLE - FEATURING MICHAEL
crossing to K.I.T.T., he can't help but watch. He sees
Sonny and Lester do their MOS act to persuade her. She
looks defiantly at Michael and joins them. Lester lets
out with a rebel yell.
INT. K.I.T.T. - DAY
Michael slides in, surprised to see Bonnie under the dash.
She comes up, smiles. Ad-lib hellos.
BONNIE
All set. I wanted to see if I could
extend the Tracking Scope's range.
MICHAEL
Did you?
BONNIE
No. But I see you extended yours.
She glances in the direction of Liberty, climbing into the
Charger. Michael laughs.
MICHAEL
We all contribute according to our
capabilities.
BONNIE
(smiles)
I wouldn't touch that with a ten-foot
pole. Incidentally, I've added some
updated profiles...should you find
yourself in the mood. Good luck.
She leaves. Michael starts K.I.T.T.
K.I.T.T.
Busy morning?
MICHAEL
You could say.
K.I.T.T.
Did Liberty Cox ever find out what
makes you tick?
MICHAEL
(reacts)
Kitt, didn't anyone ever tell you not
to eaves drop?
K.I.T.T.
I had no choice. After all, I was in
Surveillance Mode.
Michael winces, remembering. Wondering how much K.I.T.T.
heard. He pulls over to the starting line.
ANGLE AT STARTING LINE
The various cars gear their engines. Ed Shaw stands facing
them, waving a starting flag in the air. At his signal the
cars roar off in a cloud of dust.
CUT TO
EXT. RURAL ROADS - DAY - VARIOUS ANGLES
The race is going full tilt through the rustic terrain.
From a high angle we see the Toyota, the Charger and the
Porsche vying for the lead. The Trans Am places itself
strategically between the lead cars and the rest of the
pack.
OMITTED
ANGLE IN TRANS AM
Michael is keeping pace. He presses K.I.T.T.'s computer
console button.
MICHAEL
Let's run Bonnie's updated profiles
on the remaining drivers and key
personnel.
K.I.T.T.
Does the phrase 'key personnel'
include Miss Liberty Cox?
MICHAEL
Good idea, Kitt. Let's start with
Miss Cox.
The computers whir and flash.
K.I.T.T.
Shall we begin with personal data or
criminal activities?
MICHAEL
(reacts)
Criminal activities? Surely you
jest. The lady may be many things,
Kitt, but she's no criminal...is she?
K.I.T.T.
You tell me. June, 1980, breaking
and entering. Bailed out by her
editor. September, 1980, malicious
mischief. Bailed out by her
publisher....
EXT. RACE - DAY
The Trans Am continues, moving away from camera. The
litany continues.
K.I.T.T.'S VOICE
January, 1981, invasion of privacy.
Bailed out by her father. May,
1981, breaking and entering again....
Continuing, the voice fades.
CUT TO
EXT. CHARGER - DAY
It rattles and bangs over the bumpy road, the sound of
laughter over.
ANGLE IN CHARGER
The Prince brothers are having a great time in the front
seat. Lester is at the wheel. Sonny rides shotgun. A
discontented Liberty is in back, which is a makeshift bed-
room on wheels.
LIBERTY
Can't you go any faster?
LESTER
What, and miss all the scenery?
They laugh, enjoying themselves immensely.
LIBERTY
Don't you want to win the race?
SONNY
What for?
Liberty shakes her head. Sonny hoists a plastic fuel can
and drinks from it, offers it to Liberty. She stares,
appalled.
SONNY
Sure you don't want a pull? Gets
your motor running, that's for sure.
They howl at her reaction.
LIBERTY
It's people like you who give
something serious like alternative
fuel a bad name.
LESTER
Bad name hell -- we love it.
They drink more from the fuel can. Sonny tries to sneak a
kiss.
LIBERTY
Okay, that's it. Stop the car.
SONNY
What for?
LIBERTY
I want out.
SONNY
Listen, we're only foolin' with you.
We're gonna win this race, no doubt
in my mind. We got the fastest car.
We're just layin' back so we can make
a spectacular come-from-behind win.
LESTER
Yeah, and then, after we get all
that free publicity, we're goin' to
Hollywood. Gonna get us our own TV
show.
At the mention of the word they emit earsplitting rebel
yells. Lester keeps a close eye in the rear-view mirror.
LESTER
He's gainin'.
SONNY
(to Liberty)
See, what we're really doin' here
is layin' back for the Trans Am.
Road narrows up ahead. We're gonna
show him once and for all who's
king of the road in these parts.
LESTER
Here he comes.
SONNY
And here I come. Pucker up, pretty.
With that Sonny lunges for her, wet mouth all over her face
and neck. She fights back, appalled.
LIBERTY
Stop! I'll have you busted for
abduction!
SONNY
What's that?
LIBERTY
Kidnapping, you idiot!
Sonny pays no attention, pinches her in a semi-intimate
spot. She screams.
OMITTED
ANGLE IN TRANS AM
Michael sees what's happening ahead.
MICHAEL
Looks like little Liberty bit off more
than she can chew.
K.I.T.T.
If you have any thoughts of rescuing
her, Michael, I'd advise you to
check my schematic visuals.
Michael presses the computer. The visual shows the road
narrowing into one lane ahead.
MICHAEL
I see what you mean. In that case,
we'd better step on it.
He does.
THE TRANS AM AND CHARGER - MOVING SHOT
The Trans Am leaps forward. Lester floors the Charger,
Liberty inside trying to fight off Sonny.
HIGH SHOT
The road narrows to one lane a hundred yards ahead. The
Trans Am barrels past the Charger, swerves in ahead and
slows. The Charger bangs into it but the Trans Am
continues to slow, forcing the Charger to do the same.
Lester and Sonny yell and curse.
ANOTHER ANGLE
The Trans Am stops. Lester throws the Charger into
reverse, backs up, the passenger door opens and Liberty
comes flying out. Michael gets out but before he can reach
the Charger it's in motion, Sonny throwing her tote bag
out, which spills on the ground. The Charger speeds off
with rebel yells, leaves them in a rain of dust.
ANGLE ON LIBERTY
Furious, she quickly gathers her stuff. Michael approaches,
her back to him.
LIBERTY
(angry)
I don't need your charity!
MICHAEL
Looks like you need somebody's.
Unless you want to sit here and
eat more dust.
ANGLE AHEAD
We see the Charger coming, Lester's foot on it all the
way. Camera pans to reveal a camera crew just ahead,
filming this particular leg of the race. Camera continues
panning past the camera crew, zooming in on something high
on the hill above. It's the figure of a man, his back to
us, unclear. He's got something in his hand.
CLOSE ON HIS HANDS
The man presses a button on the small unit.
ANGLE ON CHARGER
A rebel yell for the camera crew as the Charger passes.
Then a blinding flash of light and a thunderous explosion.
ANGLE ON MICHAEL AND LIBERTY
They react.
THEIR POINT OF VIEW - THE CHARGER
is a ball of flame.
LIBERTY
My God...!
Michael grabs her and pulls her to the Trans Am. They leap
in and leave with tires spinning.
ANGLE AT CHARGER
It burns out of control as the Trans Am barrels in, slides
to a stop, Michael leaping out, Liberty not far behind,
camera clicking off photos.
CLOSER ANGLE AT CHARGER
Michael tries to approach, but the flames are too intense.
He backs off, realizing there's no hope anyway.
LIBERTY'S VOICE
A little to your left.
ANOTHER ANGLE
Michael turns, sees Liberty busily taking photos. He
stalks past her, slides into the Trans Am, pushes the
auto phone button.
MICHAEL
Devon, it's Michael. You'd better
get a wrecker and a coroner's van
out here. There's been another
accident.
He starts back out, is stopped by K.I.T.T.'s voice.
K.I.T.T.
Michael, that was no accident.
MICHAEL
What? How do you know?
K.I.T.T.
My electronic sensors picked up a
detonation signal two milliseconds
before the explosion.
Michael assimilates it, climbs out.
MICHAEL
Thanks, Kitt.
He moves to where Liberty stands, the camera to her face
but no longer taking pictures.
MICHAEL
Is that all this is to you? An
eight-by-ten glossy?
She lowers the camera, turns to face him, and he sees the
tears running down her cheeks. She starts to say something,
can't find the words. He relents, puts his arms around her
and comforts her.
ANGLE ON CAMERA CREW
Excited, they film every moment.
ANGLE ABOVE CAMERA CREW
The unidentified man packs up his gear and slips away,
unnoticed.
CUT TO
EXT. PLUSH DESERT MOTEL - CIMARRON LODGE - DAY
The staging area is the parking lot, banners flying in the
late afternoon breeze. Because of the accidents there's
noticeably more interest, more people, national coverage,
trucks from several networks present, lots of technical
people running around intermixed with various spectators.
VOICES
Here they come! Look -- over
there. Where? Who's leading?
(etc.)
People push forward for a better view.
ANOTHER ANGLE
Devon and Dr. Kempler appear, headed for a wood platform
with a microphone on it. Kempler looks depressed.
KEMPLER
What a disaster. Look at this --
not a sober journalistic face to be
seen. Not a scientific quarterly
writer for miles. It's turned into
a blood and guts destruction derby,
a car-crash carnival -- fodder for
the six o'clock news.
DEVON
Have you made a decision?
KEMPLER
What choice do I have?
Sellers appears behind them, hurries over.
SELLERS
Doctor, you're not going to cancel
the race....
KEMPLER
I don't know what else to do.
SELLERS
There's got to be another alternative.
If you cancel now, it'll be interpreted
as the failure of alternative energy.
The entire concept will be set back
ten years.
DEVON
Gentlemen, may I make a suggestion?
Since our primary concern is the
safety of the drivers, why not let
them decide?
Calmed for a moment, they consider it. Devon doesn't want
to let them consider too carefully.
DEVON
(smiles)
Good. I'll make the announcement.
ANGLE AT STAGING AREA
Some entrants have just arrived, struggle out of their cars
with dirty faces, remove goggles, etc. Others can be seen
arriving, their times meticulously recorded by Ed Shaw on a
clipboard.
ANGLE AT TRANS AM
It pulls in and stops, Michael and Liberty climbing out.
Shaw approaches, notes Michael's arrival time.
SHAW
(to Michael)
No comments to the press without a
PR clearance. Please join the other
drivers at the staging stand.
Michael nods, puts his arm around Liberty's waist. She
looks exhausted by the day's ordeal.
MICHAEL
You okay?
LIBERTY
(nods)
All I can think of is a hot bath and
ten hours sleep.
MICHAEL
(a smile)
No journalistic forays tonight?
LIBERTY
Not tonight.
ANGLE AT STAGING STAND
Michael and Liberty join the other drivers, assembled in
front of the stand. Devon steps up, takes the microphone.
DEVON
(into mike)
Your attention please...Thank you.
I know you're all tired, and I know
you all have questions to ask.
Doctor Kempler and I request your
attendance for a brief meeting in
the banquet hall at 7:30 sharp.
Thank you.
CUT TO
INT. BANQUET ROOM - NIGHT
The room has a step-up stage with a microphone, several
dozen metal folding chairs, an accordion-like screen that
serves as a room divider. Present are Devon and Sellers,
who flank Dr. Kempler at the microphone. All drivers are
present, including Michael. Ed Shaw stands to one side.
KEMPLER
(into mike)
Thank you for coming, gentlemen...As
you can imagine, there's been a
considerable amount of concern over
what's happened. And a variety of
opinion as to whether or not the
race should be allowed to continue.
Devon Miles came up with what I
believe to be the best solution --
since it's really your race, and
certainly your lives, he suggested
you be the ones to decide whether we
continue or not.
A buzz of reaction between the drivers. Kempler waits
until it subsides.
KEMPLER
All right, gentlemen. Those in
favor of continuing, please raise
your hands.
Virtually all hands go up.
KEMPLER
Those opposed.
One driver raises his.
KEMPLER
(to driver)
You're free to leave. I'm sorry we
couldn't have provided a safer
testing ground for your entry.
Thank you.
The driver leaves.
KEMPLER
(to the rest)
All right, we'll continue as
scheduled. All drivers at the
staging area at seven am sharp for
the last and final leg of the race.
Good luck.
ANGLE OUTSIDE BANQUET ROOM
The drivers exit, talking quietly among themselves.
Michael and Devon appear.
DEVON
We need to talk.
MICHAEL
Just let me catch a quick shower.
Devon nods. They go their separate ways.
ANGLE IN BANQUET ROOM
The room is empty except for Sellers and Shaw, who is
leaving.
SELLERS
Where do you think you're going?
ANGLE BEHIND ACCORDION SCREEN
Liberty is hiding there with a tape recorder, ready to
leave herself when she hears Seller's voice. She stops,
puts her recorder on record.
ANGLE ON SELLERS AND SHAW
Shaw turns to face him, not intimidated.
SHAW
Out. Why?
SELLERS
Are you crazy? Psychopathic? You
killed two people today!
SHAW
Keep your voice down.
SELLERS
To hell with my voice! I hired you
to arrange an accident or two, a near
miss, a little excitement so I'd at
least walk away with a promotable
show. Not death! Not murder and
mayhem!
SHAW
(face-
to-face)
You know what's wrong with guys like
you, Sellers? You want to have your
cake and eat it too. You want
accidents and explosions and thrills
and chills so you can sell what
would've been a turkey and keep your
sinking little cable network alive.
But you don't want any part of the
responsibility when --
(react)
What was that?
He looks in the direction of the accordion screen.
ANGLE ON LIBERTY
Her tape recorder has run out of tape. It clicks, and the
record button pops up. She's afraid to breathe. She hears
movement.
INTERCUT - SHAW
He whips the screen back. She's close enough to touch.
ANOTHER ANGLE
She gasps and runs but Shaw grabs her from behind, claps a
hand over her mouth. She struggles to no avail.
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
EXT. CIMARRON LODGE
The remaining five or six race cars are being tuned up and
primed for the next leg of the race. K.I.T.T. is notable
for its absence.
PA VOICE
Ladies and gentlemen, the final leg
of the Alternative 2000 will begin
in thirty minutes. Please check the
starting line up.
INT. LODGE CORRIDOR - DAY
Michael comes striding down the hallway, intent. He stops
at a room, knocks.
MICHAEL
Liberty.
He knocks again. The door swings open.
INT. LIBERTY'S ROOM - DAY
MICHAEL
(entering)
Liberty, where are you? I've been
looking for you all ---
He stops, having made the rounds of room, bath and
kitchenette. No one's home.
He shrugs, starts to leave...then stops. His eye has
fallen on the night stand. (Ideally, it's similar to, and
positioned like, Michael's night stand at the first oasis.)
Michael thinks...shrugs. Why should he be different than
her? He crosses to the drawers, opens them...and is surprised
to find them empty.
Michael goes to the closet...also empty. But Liberty's single
piece of luggage -- the soft-sided over-the-shoulder thing we
saw earlier -- is on the floor. He picks it up, puts it on
the bed...rummages through it...stops as he finds something
unusual.
CLOSER SHOT
It's a grey piece of electronic equipment with a collapsible
antenna...the same transmitter that blasted the Prince brothers
to Confederate heaven (although Michael doesn't know that.)
As Michael reacts, intrigued, we:
CUT TO
INT. CIMARRON LODGE - SHAW'S ROOM - TIGHT ON LIBERTY
as a wide band of adhesive tape is placed across her mouth.
We widen, see that her wrists and ankles are bound and she's
laying on a bed.
Ed Shaw rolls her roughly over, checks the binding on her
wrists. Clark Sellers pours himself a very high highball,
wipes perspiration from his forehead. He chugs the drink,
pours another.
Liberty makes some muffled cries, beats her still-mobile
calves and feet against the bed. Shaw rises from the bed.
SHAW
I honestly think she makes more
noise with her mouth shut than she
did with it open....
CLARK
Shaw...what do we do with her? We
can't leave her like this forever....
SHAW
We won't. We have to get rid of
her....
CLARK
(aghast)
Three deaths? Ed, no ---
SHAW
Damn it, Clark, will you face
reality? She can burn us!
CLARK
Yeah? The reality is she's practically
a celebrity herself! There'll be
questions...an inquiry! The woman
can't just disappear from the face of
the earth...!
During Clark's speech, above, Liberty has been making
grunts and thuds akin to "right on! You tell him!" etc.
SHAW
She won't just 'disappear'...they'll
find her...or what's left of her...
at the site of the next 'accident.'
Clark is puzzled. Liberty's SFX become downright indignant.
CLARK
What?
Shaw comes closer to Clark, puts his arm around him.
SHAW
Everyone's looking for a mysterious
saboteur, right? Well...we're going
to give them one...a dead one. It'll
look like she made a mistake setting a
bomb...a fatal mistake.
Pause.
CLARK
Will it work?
SHAW
(smiling)
I already planted the first clue.
CUT TO
INT. K.I.T.T.'S SEMI - DAY
Pull back from the electronic device, again in Michael's
hand. Devon and Bonnie look on, interested, as Michael
presses the button in front of K.I.T.T.'s scanner. A light
goes on on the device and we hear an electronic "humm."
MICHAEL
Well?
K.I.T.T. makes some computing sounds, then:
K.I.T.T.
No doubt about it, Michael. That is
identical to the signal I monitored
two milliseconds before the Prince
brothers were...what is the phrase...?
BONNIE
Blown to smithereens?
Devon looks at Michael expectantly. Michael averts his eyes.
DEVON
Michael...it appears we've found our
saboteur.
MICHAEL
(sarcastic)
Really? Then who's she working for?
Detroit? The Mid East? Give me a
motive...and then ask me what I think.
DEVON
I'll give you one, Michael...and it's
not nearly as Byzantine as the ones
we've considered.
Devon turns, makes his point like a debater.
DEVON
When this race started, it was of in-
terest only to idealists and dreamers
...but thanks to the events of the past
few days, it's news...and Miss Cox has
a camera bag chock full of negatives
that could command a fortune from maga-
zines and newspapers all over the world.
MICHAEL
I'm not sure, Devon. It's too easy
...it's Hashi Al Qatar and the rifle
all over again.
Outside, we hear a klaxon-like signal. Devon sees Michael
is adamant, takes another tack.
DEVON
The racers are lining up...Michael,
whether we're right or wrong about
Miss Cox, our saboteur may be planning
more surprises for the last leg of the
race...you'd better go.
MICHAEL
So that you can issue an APB for
Liberty after I leave?
DEVON
What would you do?
A moment. Michael sighs.
MICHAEL
The same thing.
It's almost an apology. Devon extends his hand.
DEVON
Good luck.
BONNIE
Be careful, Michael.
He kisses her on the cheek, hops into K.I.T.T.
EXT. SEMI - IN CIMARRON LODGE PARKING LOT
K.I.T.T. backs out, makes a U-turn. Camera adjusts as
K.I.T.T. fills an open space in the line up.
Shaw appears, takes a flag from an aide.
A CAMERA CREW
panning, covers the action....
The racers rev their engines...Michael. Andy Russell.
Laura Switzer. Hito Osaka. Helmut Gras.
DEVON AND BONNIE
outside the semi, watching....
CLARK SELLERS
steps out of the main doors of the Cimarron Lodge, catches
Shaw's eye...nods his head upwards as if to remind Shaw of
their problem...Clark points nervously to his watch....
SHAW
nods confidently at Sellers, and then sweeps the flag
towards the ground....
THE SCENE
as the five remaining cars leap away from the starting line.
EXT. DESERT - RACE FOOTAGE
Each car jockies for position.
Andy Russell and Laura Switzer are neck and neck...Laura
finally pulls ahead....
K.I.T.T. appears behind her, passing Russell....
In the lead, Osaka and Gras duel, neither giving an inch.
K.I.T.T. comes behind them, allows Laura to pass and fight
it out with them.
CUT TO
EXT. CANYON - DAY
Where a narrow defile is the only route through.
Camera tilts up to show a SCN van approaching the rim of the
canyon.
CLOSER SHOT
Sellers and Shaw get out of the van, go to the back.
Inside is a laundry bin...your basic hotel type. And
inside the laundry bin is Liberty. As she mutters barely
audible expletives, they haul her from the van and Shaw
cuts the bindings on her feet with a pocket knife. Shaw
grabs a canvas bag of gear and then he and Sellers manhandle
her towards some boulders.
SHAW
Move it honey....
She resists. Shaw adjusts his grip...She suddenly kicks
out. Shaw dodges just in time, laughs.
SHAW
You're a hot one, sweetheart. If
we had a little more time I'd help
you work off that energy.
He puts her down behind a large boulder...reties her legs.
Then he starts on the bomb.
SHAW
(working)
I'm setting this one with a fuse...
When the dust settles they'll
figure she screwed up and couldn't
get out of the blast area in time....
Liberty squirms, yells through the gag. Shaw takes out
dynamite, attaches a fuse to the sticks.
SELLERS
We have to hurry...I told the camera
crew to get some runbys, but they'll
be here in ten minutes.
SHAW
Twenty minutes. I took care of it.
SELLERS
You took care of it? Who do you
think you are?
SHAW
The new Vice President of Sellers
Cable Network. Hand me that roll of
adhesive tape, will you?
Sellers sputters, but complies.
CUT TO
EXT. DESERT - RACE ACTION
Runbys of all our vehicles...K.I.T.T. in the middle of the
pack.
CUT TO
EXT. CANYON RIM - DAY
Pull back from the dynamite, which is wedged well up under
a rock. We continue widening, see that a long fuse runs
from the dynamite to Liberty, who is a good ten-feet from
the charge.
Shaw lights a match. Liberty cringes. Shaw touches it to
the fuse, which immediately burns upwards.
SHAW
Come on, let's go! Nice knowing
you, sweetheart.
Liberty mutters something the program standards won't pass
if we heard it. Shaw and Sellers run to the truck, drive
away.
OMITTED
EXT. DESERT - DAY
More race runbys...then....
LIBERTY
struggling futily against her bonds, eyeing the fuse...
and suddenly reacting to the roar of an engine.
OMITTED
EXT. BLUFF
The camera crew is setting up.
CAMERA MAN
Here they come...!
The camera pans to shoot ---
OSAKA, GRAS, K.I.T.T.
entering the canyon in above order.
LIBERTY
Hearing the cars below her, she tries to call for help....
K.I.T.T.
roars through the canyon.
LIBERTY
Her head sags in despair. The fuse burns on.
OMITTED
INT. K.I.T.T. - TRAVELING
K.I.T.T.
Osaka has taken the lead, Michael.
He's just crossed Apache Wash and
entered the final stretch.
MICHAEL
Kitt, somehow, I know we've missed
something. Run the stats on everyone
left in the race...the race course...
everything.
K.I.T.T.
Very well.
Data begins appearing on the screens (all a replay of what
we saw in Act Two).
EXT. FINISH LINE
(Note: As indicated earlier, this is the same place the
circular race began, and also the same place where the
scribe began.)
Red, white and blue bunting is on the grandstand. A high
school band plays. A big "ALTERNATIVE 2000 FINISH LINE"
banner waves over the grandstand.
The SCN van with Shaw and Sellers arrives. They get out.
Shaw goes to his pit crews and aides. Sellers climbs up
the grandstand, shaking hands repeatedly as he goes up.
CLOSER - SELLERS
as he greets Kempler, Devon and Bonnie.
PA VOICE
The racers have just turned into the
final stretch. Helmut Gras is in
the lead, followed by Hito Osaka and
Michael Knight.
DEVON
(aside to
Bonnie)
Uh-oh.
BONNIE
What's wrong?
DEVON
I just realized...I told Michael not
to win...but I don't think I said
anything about 'place' or 'show....'
CUT TO
OMITTED
INT. K.I.T.T. - TRAVELING
as a map of the race course appears. Several green lights
mark all the acute turns and hills.
MICHAEL
Kitt, I think you made a mistake
here. There's only been three
accidents...not....
K.I.T.T.
Michael, I was about to say that this
is a readout of all the SCN camera
positions.
Michael sits up alert. Points.
MICHAEL
But...this one...this one...and this
one...they're all in the same places
the accidents took place...That's
why I thought....
He stops, getting an idea.
MICHAEL
Kitt!..give me an overlay of the
accident sites...and leave up the
camera positions.
K.I.T.T.
Right away.
On K.I.T.T.'s screens, three red blips blink near three
green ones.
MICHAEL
Kitt, every accident has been right
in front of a camera crew!
K.I.T.T.
Really? Michael, the odds against a
freak accident being synchronistic
with a random deployment of cameras
is ---
MICHAEL
I know what it is...suspicious!
Remember what Devon said...about why
Liberty might have sabotaged the
race?
K.I.T.T.
To make her film more valuable?
MICHAEL
Well, the same theory applies to our
friend Mr. Clark Sellers...in spades!
Where's the nearest camera position?
K.I.T.T.
We just passed it...Apache Canyon.
Michael throws the car in a U-turn, roars away.
OMITTED
LIBERTY
The fuse burns shorter...shorter....
INT. K.I.T.T.
approaching canyon.
MICHAEL
Kitt...give me a readout on this
canyon with all your scanners...
visual...infrared...chemical
detectors...the works!
K.I.T.T.'s screens zoom in on the canyon...one screen is
normal telephoto, the other a graphic.
K.I.T.T.
Michael! There's an explosive
charge above us, on that wall...
there's a person there, too!
MICHAEL
What? Go to maximum enlargement!
(beat)
Wha...It's Liberty!
K.I.T.T.
Michael, at the rate that fuse is
burning...we have less than twenty
seconds to stop it!
OMITTED
EXT. CANYON FLOOR
Michael swings the car around in a 180.
INT. K.I.T.T.
MICHAEL
Kitt! Prime the forward retros!
INSERT - CONTROLS
Michael hits "Forward Retros" and....
EXT. K.I.T.T. - STOCK FROM "PLUSH RIDE"
K.I.T.T. flies upwards, propelled by the retro rockets.
LIBERTY
She's lost all hope...then she looks up, hearing ---
HER POINT OF VIEW - K.I.T.T.
appearing over the rim of the canyon, turning, and ---
THE SCENE
Slamming to a halt. Michael jumps out, reaches for the
fuse...just as it burns so short under a rock that he
can't reach it!
Immediately, he whips out a knife, cuts the rope holding
Liberty's ankles.
With her hands still bound, and her mouth still taped, he
pulls her into the car...as he does....
MICHAEL
Kitt...burn rubber
K.I.T.T. takes off while they're still half out.
NEW ANGLE
The charge blows up!
CANYON - STOCK
Rocks roar down the slope.
INT. K.I.T.T.
Debris rains down on them. Liberty is struggling without
success to untie her hands enough to remove her gag.
K.I.T.T.
Michael, I'm monitoring the signal
from the SCN cameras.
CLOSER SHOT - SCREEN
We see Sellers there...and Shaw, in the f.g.
K.I.T.T.
Clark Sellers is waiting there.
Liberty pounds excitedly on the screen, pointing with her
pinky at Shaw.
MICHAEL
Huh? What? Shaw? Shaw was in on
it, too? Thanks, Liberty.
Liberty mumbles, gestures.
MICHAEL
Huh? Oh, yes...the car talks...I
guess. Sellers caught you snooping
around, huh? What? Oh, you want me
to take off the gag?
(smiling)
I don't think so. This is the first
conversation I've ever had with you
where I got a word in edgewise. Kitt,
Sellers and Shaw will head for the hills
the minute they see us. Give me some
overdrive.
Camera tightens on Michael.
MICHAEL
We're gonna win this race!
EXT. DESERT
As K.I.T.T. becomes a blur, passes Andy Russell...then
Laura Switzer.
OMITTED
EXT. FINISH LINE - DAY
PA VOICE
And there they are! Osaka and Gras
are neck and neck...no, wait...Osaka
has taken the lead...two lengths...
three lengths...he's way out in front!
Shaw has joined Sellers near Devon and Bonnie. Devon and
Bonnie share a pair of binoculars...Sellers has another
pair.
PA VOICE
No, wait...Osaka has taken the lead...
two lengths...three lengths...he's way
out in front! The Japanese entry is
going to take the gold!
Sellers nods approvingly, passes the binoculars to Shaw.
SELLERS
That's another ten million in the
Pacific market right there.
PA VOICE
(suddenly)
No...wait...another car is coming
up...the speed is...off the scale...!
It's number eight....
Devon and Bonnie react, startled; Sellers and Shaw (and
everyone else) react as interested fans.
PA VOICE
Michael Knight...he's passing Helmut
Gras...He's passing Osaka! Michael
Knight is in the lead!
DEVON
I'll kill him!
Shaw looks through his binoculars, makes a strangled cry.
SELLERS
What's wrong?
BINOCULAR SHOT - SHAW'S POINT OF VIEW - LIBERTY
is clearly visible in the passenger seat.
BACK TO SCENE
SHAW
He's got Cox!
(A matronly woman beside Shaw reacts, shocked.) Sellers'
reaction is equally startled. The two men look at each
other, suddenly scramble down the grandstand, knocking
people aside.
Sellers and Shaw run to a SCN vehicle, jump in. They roar
out of the parking lot, swerve around the grandstand....
OMITTED
INT. K.I.T.T.
All of the above is visible on the screens.
K.I.T.T.
Michael, they're getting away.
MICHAEL
Then we'll cut them off!
K.I.T.T.
But the grandstand is in our way!
INSERT - CONTROLS
"Turbo Boost" is hit....
MICHAEL'S VOICE
Not any more...!
K.I.T.T. - SLOW MOTION
leaps into the air, tears down the "FINISH LINE" banner,
sails over the grandstand with room to spare and ---
NEW ANGLE - K.I.T.T.
lands in front of the escaping van, immediately throws a
ninety...The van swerves to avoid a collision and ---
SCN VAN - SLOW MOTION
It skids and rolls into a refreshment stand. Soda pop and
orangeade turn into liquid firework.
THE SCENE
Sellers and Shaw are dazed. Michael jumps out of K.I.T.T.
as the crowd surges forward. Liberty is finally unbound.
She rips the tape off her mouth.
LIBERTY
Ow!
Michael runs to the van, pulls Shaw and Sellers out. Shaw
falls to the ground, dazed. Michael holds Sellers up by
the lapels...and then suddenly Michael is surrounded by
well wishers...a trophy cup is pushed into his hands.
Liberty grabs a camera from someone.
LIBERTY
Mr. Sellers! Mr. Sellers!
Sellers turns, a bit dazed.
LIBERTY
Say 'Levenworth'.
As her flash illuminates the scene we:
FREEZE FRAME
END OF ACT FOUR
TAG
INT. DEVON'S OFFICE - DAY - TIGHT ON THE TROPHY
from the Alternative 2000. Widen to reveal Michael behind
it. Liberty is snapping flash pictures of Michael and the
trophy, and she's climbing up and over the furniture as she
does.
Bonnie sits nearby, amused...Devon rushes to catch
something fragile before Liberty knocks it over.
LIBERTY
Great...great...now look proud...now
humble...humble...can't you do humble
...stop laughing...perfect perfect....
Devon puts his hand over Liberty's lens.
LIBERTY
Hey!
DEVON
Miss Cox...please...I think you've
wasted enough of your time....
LIBERTY
I haven't even started to...wait a
minute, what do you mean 'wasted'?
Michael rises, crosses to Liberty.
MICHAEL
Well...what he means is...uh....
BONNIE
(gravely)
Michael, you have to tell her sooner
or later.
LIBERTY
Tell me what?
MICHAEL
Uh ---
Bonnie puts her arm around Michael.
BONNIE
About us.
LIBERTY
You...?
BONNIE
We're involved.
MICHAEL
Bonnie!
He breaks out of her grasp, approaches Liberty.
MICHAEL
What she means is...we're involved
here...all of us...in some sensitive
work. And publicity is something
that....
DEVON
We could all do without, I'm afraid.
(a glare
at Michael)
It's bad enough that Michael won the
race, but that's water under the
bridge.
LIBERTY
Please. Don't say 'bridge.'
DEVON
In any event, any further limelight
for Mr. Knight could cause him
severe problems...
(beat)
Not to mention the cessation of
his pay checks.
Michael reacts.
LIBERTY
You mean...?
DEVON
(extending
his hand)
Your film must be surrendered.
(as she
hesitates)
Voluntarily, I hope...otherwise...
well, there are seventy lawyers
alone in this building.
(softening)
In return we could allow an
exclusive interview with the winner
of the race...discreetly done, of
course.
Liberty brightens, turns over the film. Any further
discussion is ended bu the rather boisterous entry of Hashi
Al Qatar and Dr. Kempler.
QATAR
Where is it? Where is it? Ah...
there it is....
Qatar grabs at the trophy. Michael hangs on.
MICHAEL
What's going on here?
DEVON
Gordon...?
KEMPLER
This is rather embarrassing, Devon,
Mr. Knight...but since Mr. Qatar was
disqualified in uh, manner that
was...Somewhat...uh....
QATAR
Illegal! Let go, please....
KEMPLER
The uh, ambassador from his country
has been in touch with the State
Department and uh....
QATAR
You want another oil embargo?
Knight, let go!
MICHAEL
Wait a minute...are you saying...He
won?
KEMPLER
Of course not.
He steps forward, yanks the trophy from both Michael and
Kempler.
KEMPLER
Patience, Hashi.
(to Devon)
But I'm afraid we're going to have
to run the race all over again.
Mr. Knight, are you entering?
MICHAEL DEVON
Yes! No!
Ad-lib remarks from everyone. Liberty starts flashing
pictures again. Michael and Hashi get in a new tug-of-war
over the trophy and we:
FREEZE FRAME
THE END
