ACT ONE
FADE IN
EXT. MARBERRY - DAY
A lovely, tranquil little community tucked away in the
folds of low hills, flanked by evergreen mountains on one
side, expanses of high desert on the other.
EXT. MARBERRY TIMES NEWSPAPER OFFICE - DAY
Shooting past an economy four-wheel drive parked in front,
we see Jamie Downs, midtwenties, pretty, on the phone, in
the office.
JAMIE'S VOICE
It's called the 'Marberry Grand
Prix' -- I don't care how it sounds,
it's spelled P-r-i-x, not P-r-e-e.
It's French. What am I going to do
with five thousand fly sheets spelled
wrong?...Okay, thanks George. See
you in half an hour.
(beat)
P-r-i-x. Right.
She sighs, hangs up, crosses out and climbs into her four-
wheel, the misspelled fly sheets loaded in back. She pulls
away through the quiet early-morning streets.
ANGLE ON PHONE BOOTH
shooting past Jamie to a man standing at the public phone.
He picks up the receiver, deposits and dials a number.
MAN'S VOICE
She just left.
CUT TO
EXT. TWO-LANE COUNTRY ROAD - DAY
Jamie appears, the only car on the quiet road.
ANGLE ON JAMIE
Though preoccupied with a thousand details, she's never too
busy to appreciate the countryside, the pristine scenery of
the area. She turns on the radio to a local rock station.
Something ahead catches her eye.
HER POINT OF VIEW AHEAD - A LARGE SEDAN
is approaching from the opposite direction. Suddenly a
second equally large sedan pulls out from behind it as if
to pass, taking Jamie's lane.
INTERCUT - JAMIE
She honks.
INTERCUT - TWO CARS
Neck and neck, heading straight at her.
ANGLE ON JAMIE
The road is flanked by a grade on the inside, a substantial
drop-off on the other. There's nowhere to go.
ANGLE ON CARS
only yards away, side by side, eating up all available
space.
ANGLE ON JAMIE
Desperate, she whips the wheel, a scream is caught in her
throat.
SEVERAL ANGLES
as Jamie's little truck spins off the side of the road,
flips and rolls down the embankment.
ANGLE FROM BOTTOM OF EMBANKMENT
It tumbles to a stop. Nothing moves. Then, slowly, the
driver's door opens and we see Jamie, bruised, disheveled
and ghost-white. But alive. A loose fly sheet flutters to
stop near her: "FIRST ANNUAL MARBERRY GRAND PREE".
CUT TO
EXT. HIGHWAY - DAY
K.I.T.T. flashes by at a comfortable speed.
K.I.T.T.'S VOICE
Michael, you're awfully quiet this
morning.
ANGLE ON MICHAEL
at the wheel, relaxed.
MICHAEL
Just appreciating the countryside,
Kitt. Kind of reminds me of when I
was a kid...lazy days, green hills,
streams full of catfish....
K.I.T.T.
For some reason I can't visualize
you as a child. Then again I can't
visualize myself as one either.
MICHAEL
(a smile)
Probably 'cause you never were, buddy.
K.I.T.T.
As a 'child,' would I still have all
my functions? Would I still be able
to Turbo Boost?
MICHAEL
Yeah, but you'd have to start off
small. Like maybe over wagons.
K.I.T.T.
Station wagons?
MICHAEL
Toy wagons.
K.I.T.T.
In that case, I'm glad I never had
to experience 'childhood.'
Michael laughs. The com button buzzes.
K.I.T.T.
Devon's calling.
MICHAEL
(buttons)
Yo, Devon.
INTERCUT - DEVON
on monitor.
DEVON
Hello, Michael. I see you're not
far from the town of Marberry.
MICHAEL
(looks)
Couldn't prove it by me. What's up?
DEVON
The granddaughter of an old friend I
met during the war is editor-publisher
of the local paper.
MICHAEL
I'm way ahead of you, Devon. You
want me to drop by and pick up the
latest edition as a keepsake because
I've been on the road three days
straight and you wouldn't dream of ---
DEVON
(overlap)
Michael.
MICHAEL
You would.
DEVON
She's sponsoring a local event. For
some reason she's convinced someone
tried to kill her this morning. It
may be nothing...but I'd never for-
give myself if I were wrong.
MICHAEL
(sighs)
Gotcha. I'll get back to you.
Devon's image fades from the screen. Michael pushes more
buttons.
MICHAEL
Plot us a course to Marberry, Kitt.
And give me whatever you've got on
the town.
K.I.T.T.
Right away, Michael.
INTERCUT - GRAPHIC OVERLAY
A map-search appears.
K.I.T.T.
According to my data, Marberry is a
quiet, peaceful retirement community.
CUT TO
EXT. "MANNY'S DRIVE-IN" - DAY
Late Friday afternoon, "Manny's" is a thing out of the past
-- a genuine drive-in restaurant with car hops, window
trays, etc. A banner reads "Welcome! First Annual
Marberry Grand Prix!"
DIFFERENT ANGLES
Manny's has become the gathering place for the throngs of
visitors and entrants -- mostly in their late teens and
twenties. Lots of hot street cars, beefy four-wheel drive
trucks, guys drinking beer, girls bouncing around in their
tightest jeans. Lots of rock-n-roll over car stereos.
ANGLE ON REGISTRATION STAND
Jamie mans the little makeshift stand, signing up entrants.
There's a large trophy nearby. Prominent is a beefy guy in
his late twenties, Danny "Rooster" Roskovich.
ROOSTER
How much, darlin'?
JAMIE
Fifty dollars to enter. I also need
to see a valid driver's license.
He puts his money and his license down.
ROOSTER
It's valid all right -- they'd yank
it, but they can't catch me.
ANGLE ON STREET
as K.I.T.T. approaches the drive-in.
MICHAEL'S VOICE
A 'quiet, peaceful retirement commu-
nity,' huh pal?
ANGLE IN K.I.T.T.
K.I.T.T.
Michael, I don't understand it.
Bonnie meticulously revises my data
banks regularly. Is it possible
we're in the wrong Marberry?
MICHAEL
I don't think so. Looks like
Marberry's changing its image.
K.I.T.T.
None for the better if you ask me. Is
nothing sacred? Isn't there anywhere
safe from fast cars and rock 'n' roll?
MICHAEL
(smiles)
You tell me, buddy. You're the one
with meticulously revised data banks.
K.I.T.T.
Very funny.
ANGLE AT MANNY'S
K.I.T.T. pulls in, easing through the tangle of cars and
people. Michael climbs out, taking in the scene.
DAISY'S VOICE
Is that thing blown?
ANGLE TO INCLUDE DAISY DOOLITTLE
a flashy, buxom blonde protruding from her racer's coveralls.
K.I.T.T.'s scanner flashes in reaction.
K.I.T.T.
I beg your pardon.
MICHAEL
(aside)
Not now, Kitt.
(to Daisy)
Blown as in 'blown a gasket'?
DAISY
No, blown as in supercharged.
MICHAEL
Ah. Does it matter?
DAISY
Only if you want to win.
MICHAEL
I'll let you know. Any idea where I
can find the sponsor?
DAISY
(points)
Right over there.
(then)
It's winner take all. In case you're
interested, that was my nickname in
high school.
MICHAEL
Winner?
DAISY
All.
Michael smiles, easing away.
MICHAEL
The wisdom of youth. Catch you later.
ANGLE ON ROOSTER
having spotted K.I.T.T. and now moving up to him. In b.g.
several people pause to admire K.I.T.T.
ROOSTER
Ain't seen you around before, dude.
Let's have a look at your horses.
K.I.T.T.
I beg your pardon.
Rooster glances inside. Sees no one. Shakes his head.
He tries the door to open the hood, can't.
ROOSTER
Okay, there's more than one way to
open a tin can.
As he moves to some tools lying nearby ---
K.I.T.T.
We'll see about that.
Rooster returns with a tire iron, shoves it under
K.I.T.T.'s hood:
ROOSTER
Open sesame.
He puts all his weight on the tire iron, and it snaps in
two. He takes it out, looks at it, back to K.I.T.T.
K.I.T.T.
Who do you think you are, Ali Baba?
And K.I.T.T. peels backwards, turns and slides into another
space. Rooster only looks at him, scratches his head:
ROOSTER
I ain't through with you yet.
ANGLE AT REGISTRATION STAND
Jamie works as Michael approaches. She finishes with an
entrant, sees she's got a momentary lull and pauses, grateful.
MICHAEL
Business looks good.
JAMIE
Want to sign up?
MICHAEL
Maybe later. Are you Jamie Downs?
JAMIE
Yes. Why?
MICHAEL
I'm Michael Knight. Devon Miles
asked me to drop by.
She looks a little surprised, but pleased, relieved.
JAMIE
That was fast. Thanks.
MICHAEL
Can we go somewhere and talk?
JAMIE
I didn't expect you until later.
There's no one to relieve me....
MICHAEL
Tell you what. I'll go find a
motel, clean up, and we can meet
when you're finished.
JAMIE
That sounds fine, except you'll
never find a motel.
MICHAEL
Filled already?
JAMIE
No. They won't rent to racers.
MICHAEL
(smiles)
No problem, I'm not a racer. Where
can we meet?
JAMIE
How about my place? Say, nine
o'clock?
MICHAEL
All I need's an address.
She jots down the address. Michael notices her hand is
trembling. He touches her shoulder.
MICHAEL
It'll be okay. Whatever it is,
we'll work it out.
CUT TO
EXT. MARBERRY MOTEL - DAY
A fairly modern, good-sized motel. Despite a prominent
"No Vacancy" sign, the parking area is deserted, except for
a big limo with darkened windows. Parked nearby is K.I.T.T.
MOTEL CLERK'S VOICE
The sign says 'No Vacancy'.
INT. LOBBY - DAY
It's fairly spacious, a small bar and restaurant off to one
side. The Motel Clerk looks resolute.
MICHAEL
If you're filled up, where are all
the cars? Look, if it makes any
difference, I'm not a racer. No
pets, no wild parties.
ANOTHER ANGLE
Over this a man and a woman cross out from the bar. The
woman is young and pretty, flashily dressed. The man is
in his early forties, swarthy, a dark quality about him.
His name is Joey Rome. He carries a brown attache case.
MANAGER
Read my lips.
He mouths an exaggerated "No Vacancy."
MANAGER
Now leave before I call the police.
MICHAEL
What is it about your attitude I
don't like? I know. It's your
attitude.
Rome moves in front of Michael, scarcely looking at him.
ROME
Take off, punk.
(to Manager)
Transfer my calls to the ladies room.
MANAGER
Yes, Mr. Rome.
He starts past with his woman, shoulders Michael aside,
suddenly stops, staring at him.
ROME
I said take off, punk.
MICHAEL
I heard you.
ROME
You're still here.
MICHAEL
I've got some unfinished business
with the Manager.
Like a trigger on a gun Rome suddenly grabs Michael by the
throat of his shirt, his face dark with explosive anger.
ROME
You got any unfinished business,
it's with me. One more word outta
you and you'll wish you were never
born.
His eyes bore into Michael. Just when it appears Michael
won't react he suddenly twists, executes a perfect karate
move.
ANOTHER ANGLE
Michael has Rome off balance, suspended, the palm of his
hand on Rome's chin.
MICHAEL
One more word out of you and you'll
wish I never was either.
Point made, Michael lets him drop. The woman looks like
she can't believe her eyes. The Manager stares.
MICHAEL
(to Manager)
On second thought, I don't like your
motel either.
Michael turns and goes outside.
ANGLE ON ROME
He gets up, watching Michael leave, his eyes white with
rage.
CUT TO
EXT. JAMIE'S HOUSE - NIGHT
A neat little house near the outskirts of town. Kitt is
parked in front.
JAMIE'S VOICE
More French fries?
INT. KITCHEN - NIGHT
Michael and Jamie share a meal.
MICHAEL
No, thanks. I'm fine. Go ahead.
JAMIE
That's about it. When I found out
I'd inherited the Marberry Times,
I took a week off to come out and
sell it. And instead, I fell in
love.
MICHAEL
With Marberry.
JAMIE
(a laugh)
Does that sound strange? I guess it
does.
MICHAEL
Not to me. What sounds strange is
what's been happening to you. When
did the threats begin?
JAMIE
The day after I announced I was going
to stage the first Marberry Grand Prix.
I'd contacted the Racing Association
of America, they'd given me their
blessings -- they even agreed to help
underwrite the cost of building a
permanent course if the first race
was successful.
(beat)
Michael, the town could use the
business, believe me. I thought
they'd be enthusiastic. At first I
thought it was just a crank caller....
MICHAEL
Until this morning.
She nods.
MICHAEL
Who owns the Marberry Motel?
JAMIE
I don't know, I never thought about
it. Why?
MICHAEL
I had a strange little incident
there today, that's all. Some hard
guy with an attache case and one
too many women.
(beat)
Any idea why someone would be
willing to kill to stop this race?
She shakes her head.
JAMIE
I've asked myself that question a
thousand times.
The phone rings. She crosses to answer it.
MICHAEL
Just a minute.
(comlink)
Kitt, stand by to trace this call --
just in case.
K.I.T.T.'S VOICE
Yes, Michael.
JAMIE
You don't think ---
MICHAEL
I don't know. Go ahead.
She answers it.
JAMIE
(into phone)
Hello....
Her face pales. Michael is on his feet.
MICHAEL
(comlink)
Kitt, were on!
INTERCUT - K.I.T.T.
Systems alive. We hear:
MAN'S VOICE
...your last chance. Cancel the
race before it's too late...or it'll
be cancelled for you tomorrow.
The line goes dead.
BACK TO MICHAEL AND JAMIE
She looks at Michael, shaken.
JAMIE
He hung up.
MICHAEL
(comlink)
Kitt? Did you get it?
INTERCUT - K.I.T.T.
K.I.T.T.
I'm tracing it now -- Michael,
there's a man in a car slowing up
outside.
MICHAEL
Let's check him out.
(to Jamie)
I'll be right back.
Michael heads for the front door.
EXT. HOUSE - NIGHT
As Michael comes out, heading for K.I.T.T., passing Jamie's
four-wheel drive parked in the driveway, we see taillights
of a dark sedan swing past.
ANGLE FROM K.I.T.T.
The door pops open as Michael reaches K.I.T.T. He jumps
in and accelerates.
ANGLE FROM STREET
The sedan races by, a dark figure inside. As it passes
we see K.I.T.T., accelerating.
ANOTHER ANGLE
The sedan rounds a corner on two wheels, K.I.T.T. gaining
rapidly.
ANGLE IN K.I.T.T.
Michael is intent behind the wheel.
K.I.T.T.
I've completed the trace, Michael.
The call came from a pay phone at
the Marberry Motel.
MICHAEL
My favorite place. Let's find out
who this guy is, Kitt.
He accelerates.
ANGLE IN SEDAN
The driver picks up a device on the seat, presses a button
or switch.
ANGLE IN K.I.T.T.
K.I.T.T.
Michael, my sensors detect an
electronically activated device!
MICHAEL
Where?!
K.I.T.T.
The undercarriage of Jamie's truck!
Michael slams on the brakes.
WIDER ANGLE
K.I.T.T. does a 180, heads back toward Jamie's house.
ANGLE AT JAMIE'S HOUSE
K.I.T.T. slides to a stop and Michael leaps out, springs
toward her as she's parallel to her truck.
MICHAEL
Jamie, down!
JAMIE
What?
No time to explain, he tackles her just as her truck
explodes in a blinding flash.
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
EXT. MOTEL ROAD - DAY - ON K.I.T.T.
heading toward the motel on the way into town. As a black
limo pulls in front of them and into the motel area:
MICHAEL'S VOICE
Welcome to the Marberry Motel.
ANGLE IN K.I.T.T.
Jamie is seated next to Michael, who continues observing
the motel as they pass. Sees he's troubled:
JAMIE
Michael, what is it about that place
that bothers you so much?
MICHAEL
The clientele -- that and the fact
that's where the call came from last
night.
She looks back at the motel with renewed interest.
JAMIE
Are you saying whoever wants to stop
this race is staying there?
MICHAEL
I don't know.
JAMIE
You don't know, or you just don't
want to tell me?
MICHAEL
Jamie, the call was made from a public
phone. It could've been a guest...it
could've been a passerby. You let
me worry about that. You worry about
making Marberry's First Grand Prix a
success...okay?
She meets his smile, nods...and then glances back at the
motel in the distance, intrigued.
ANGLE ON K.I.T.T.
continuing toward town.
OMITTED
ANGLE ON MARBERRY MOTEL - DAY
as the same black limo pulls up in front. The doorman
almost collides with the tough-looking chauffeur as each
hurries to open the back door. A thin man gets out. He's
Benji Bomper, fifty, silk-suited, somber and carries an
oversize attache case, similar to the ones we've seen
before, and the ones we'll see later. No sooner does he
get out than he's met by Rome, coming from the lobby. The
two men shake hands, then embrace, kissing each other on
each cheek, with absolutely no affection.
ROME
Welcome, Benji.
BOMPER
It's been a long time, Joey.
As they head for the entrance:
ROME
Too long, my good friend.
BOMPER
Is Mr. C. here yet?
ROME
No...but soon. Soon.
They're about to enter when they react to the sound of two
powerful and roaring engines. They turn, look.
THEIR POINT OF VIEW - TWO RACE CARS
flashing by the motel.
BOMPER
What's that?
ROME
A race of some kind. But don't worry,
we're dealing with it.
BACK TO SCENE
BOMPER
The nineteenth hole, huh, my friend?
ROME
(smiles)
Yes, the nineteenth hole.
They both laugh and enter, but they're not having any fun.
EXT. MANNY'S DRIVE-IN - DAY - ON K.I.T.T.
as Michael pulls in. A number of the drivers are working
on their cars as they wait for their qualifying heats.
There's the same excitement and fun as the day before.
K.I.T.T.'S VOICE
Michael, really, asking me to qualify
for a car race is like asking Reggie
Jackson if he knows how to throw a
forward pass.
OMITTED
ANGLE IN K.I.T.T.
MICHAEL
Kitt, remind me to have Bonnie check
out your sports chip.
K.I.T.T.
Besides, I don't understand why
we're entering in the first place.
MICHAEL
Because my guess is, having failed
to discourage the sponsor, they're
going to go to work on the contes-
tants. And when they do, I want
to be close enough to try to keep
anyone from getting hurt. Keep
your eyes open.
K.I.T.T.
All right, Michael. But it would
certainly help if I knew what I was
looking for.
Getting out:
MICHAEL
Don't worry, pal, just as soon as I
find that out you'll be the first to
know. In the meantime, give me hard
copies on the racers, and run them
through your Image Data Bank.
K.I.T.T.
Whatever you say, Michael.
ANGLE TO INCLUDE DAISY
seeing Michael as he moves from K.I.T.T. and hurrying to
him. She has a clipboard with her, and several entry
numbers.
DAISY
Michael!
He stops.
DAISY
If you're looking to enter the race,
I can sign you up. All you need is
a valid driver's license and fifty
bucks.
MICHAEL
Just so happens I've got 'em both
right here.
As he hands her the license and money, and she begins
entering the information on her clipboard ---
ANGLE TO INCLUDE ROOSTER
under the hood of his car, and causing it to blow out tons
of black exhaust. He spots Michael and moves to him. Re
K.I.T.T.
ROOSTER
That T-top of yours looks a little
light in the horses.
MICHAEL
That's because he's a jumper.
Daisy finishes, hands him his heat number:
DAISY
Number eleven. It'll be at least an
hour yet, but with any luck you and
I might be in the same qualifying
heat.
MICHAEL
I can't think of anyone I'd rather
be in a heat with.
She smiles at him and goes off. He looks to Rooster who's
green with envy.
MICHAEL
It's not whether you win or lose,
Rooster, but how gracious you are
when you pick up your trophy.
Michael grins and heads to a nearby public phone. As he
picks up the receiver:
ANGLE ON ROOSTER
eyeing K.I.T.T., picking up a power cutter from a toolbox,
and heading his way.
ANGLE ON K.I.T.T.
his scanner flashing as he photographs the various contes-
tants.
K.I.T.T.
Oh, no, I do hope this Rooster
doesn't damage my X.K. One Hundred
Thermal Printer.
OMITTED
ON HARD COPY DISPENSER
as Rooster's photo comes out.
ON ROOSTER
reaching K.I.T.T. He has a small power cutter with him.
ROOSTER
Okay, dude, let's open 'er up.
He turns on the cutter, puts it to the bottom of the hood,
where it meets the fender, and the cutter blades break off.
K.I.T.T.
Back to your barnyard, Rooster. I
have work to do.
And once again K.I.T.T. goes off, his scanner flashing
photos. Rooster scratches his head, and looks at his
broken power cutter.
ANGLE ON MICHAEL
hurrying from the phone to K.I.T.T.
K.I.T.T.
Michael, what's wrong?
Michael slides in:
MICHAEL
I just tried to call Jamie -- her
service said she went to the
Marberry Motel!
K.I.T.T. peels out in a scattering of pebbles and dust.
OMITTED
EXT. MARBERRY MOTEL - DAY
Another limo pulls up in front. As before, the chauffeur
and doorman race to do the honors. A large man gets out,
wearing an expensive suit that doesn't quite fit, and a
diamond ring the size of a golf ball. He also carries the
oversize attache. And he, too, is met by Rome. They shake
hands, kiss:
ROME
Welcome, Nick...it's good to see
you, my good friend.
NICK
And you, too, Joey. It's been too
long. But what are all those race
cars doing in our town?
ROME
Don't worry, my good friend, it's
being taken care of.
He exchanges looks with Nick, smiles, then puts his arm
around his "old friend" and continues for the entrance.
Suddenly:
OMITTED
START - STOP ACTION
as both men are seen through a camera lens, and we hear the
clicking away of the shutter. They enter the motel.
Camera pulls back:
REVERSE ANGLE - TO SEE JAMIE
standing across the street, and safely behind some bushes.
She has an old, and not very expensive, camera with her,
that she puts inside a large purse. Then, thinking like
a reporter on the trail of a hot story, she crosses and
starts for a service entrance of the motel.
EXT. MOTEL - SERVICE AREA - DAY
Nothing more than a large corridor leading to various
service departments. A couple of employees, delivery
people enter first, and then we see Jamie coming in.
ANGLE TO INCLUDE ORGANIZATION SOLDIER
keeping an eye on the area, leaning against a wall. He
spots Jamie, not sure about her. The soldier wears a
rather shiny suit.
ANGLE ON JAMIE
Thinking fast, she follows a couple of the girls to the
time clock, grabs a card, any card, and punches in. And as
she passes the still-curious soldier:
JAMIE
Goota morgan! Goota morgan!
A lovely smile, and she goes on her way.
INT. BANQUET ROOM - DAY
There's little more than a very large, boardroom type table,
chairs and a few arrangements of flowers. In fact, the whole
thing looks more like a funeral parlor than a banquet room.
The drapes are drawn and there's even something surreal about
it all. Rome is present along with Benji, while Nick stands
a short distance away, feeling out the place, or whatever it
is he's doing. Three bodyguard/chauffeurs are also in
evidence. And there's even someone who could be an FBI agent
checking out the phones, chandeliers and anything else that
might conceal a "bug" or camera. For this he uses an elec-
tronic device. The attache cases rest on the table.
ROME
(to Benji)
Benji, my good friend, you will sit
here, to Mr. C's right. And you,
Nick, will sit there on Mr. C's left.
Both men seem pleased.
INT. MOTEL CORRIDOR - DAY - ON JAMIE
Moving along the corridor, toward the banquet room, she
suddenly reacts to something she sees up ahead.
JAMIE'S POINT OF VIEW - NICK AND BODYGUARD
leaving the banquet room. With the attache case.
BACK TO SCENE
As they move toward her, she hides behind a potted plant.
NICK
Remember, any trouble -- the 19th
hole.
They pass. And she continues on.
ANGLE ON BANQUET ROOM
Jamie hesitates...then slowly reaches for the doorknob...
only to have the door spring open, and Benji step out.
BENJI
What do you want?
Jamie is truly caught off guard, fights panic ---
JAMIE
I...I....
Benji grabs her by the arm.
BENJI
Who are you?!
But before she can think who she is, or should be:
MICHAEL'S VOICE
Honey! There you are!
OMITTED
ANGLE TO INCLUDE MICHAEL
hurrying toward her. A big smile:
MICHAEL
I've been looking all over for you.
(to Benji)
Just got married, and...she thought
this was the honeymoon suite. First
time....
ANGLE ON ROME INSIDE THE BANQUET ROOM
and slowly recognizing the voice. He moves toward the
still open door:
MICHAEL'S VOICE
...you know how it is.
BACK TO SCENE
Benji hasn't cracked a smile.
MICHAEL
Maybe you don't know how it is.
(takes her
arm from
Benji's grip)
Honey, tell the nice man how it is.
JAMIE
Uh...happiest day of my life.
As Michael starts to lead her away:
MICHAEL
We'd like to invite you up for a
drink...but well, you understand.
ANGLE TO INCLUDE ROME
reaching the open doorway, reacting:
ROME
Get him!
As two of the soldiers burst from the banquet room:
MICHAEL
Maybe another time.
And Michael yanks Jamie off down the corridor.
VARIOUS ANGLES
Michael and Jamie turn a corner. The soldiers follow.
Michael then spots a serving cart outside one of the rooms,
loaded with the remains of breakfast for two. He grabs
hold of it, and pushes it with all his strength toward the
two charging soldiers. A strike! And as they regain their
balance, wipe the eggs and cereal off their silk suits ---
MICHAEL AND JAMIE
turn a corner leading for the lobby. Into comlink:
MICHAEL
Kitt...we're coming out. In a hurry.
EXT. MOTEL - DAY - ON K.I.T.T.
auto-starting, and picking Michael and Jamie up right
outside the entrance. Needless to say, the doorman's a bit
shocked. K.I.T.T. peels off.
SMASH CUT TO
EXT. K.I.T.T. - DAY
pulling up in front of the Marberry Times.
JAMIE'S VOICE
It was incredible!
INT. K.I.T.T. - DAY
JAMIE
Every time I turned around there was
another limo pulling in -- and the
faces! Michael, it was like watching
an old gangster movie come to life.
I wonder what was in those attache
cases.
MICHAEL
Jamie, listen to me. I'm serious.
I don't want you taking any more
chances like that.
JAMIE
Michael, come on! I'm a trained
reporter!
MICHAEL
You're also a lady who's been run
off the road and had her car blown
up! Last night you were scared to
death!
JAMIE
And the reason I was scared to death
has something to do with what's
going on at that motel. I'm sure of
it!
MICHAEL
Okay, but until I find out what that
is, I want you to promise me you won't
go back there again. Not alone.
JAMIE
(beat)
Michael -- where did you come up
with that honeymoon idea?
MICHAEL
(shakes his
head, realizing
he's getting
nowhere)
Just...the product of a fertile
imagination.
JAMIE
They're the best kind.
Her smile says the rest.
JAMIE
Have a safe race.
A quick kiss from her and she leaves. Michael smiles, and
peels out.
EXT. MANNY'S DRIVE-IN - DAY
We're on Michael in K.I.T.T., Red Rooster in his car, at
the starting line, waiting for the starter to drop the
flag. Rooster calls over:
ROOSTER
Take a good look, dude...only thing
you're gonna see from here on is my
exhaust.
He blows out a cloud of black exhaust.
MICHAEL
Sure a whole lot better than seeing
your face.
K.I.T.T.
That's telling him, Michael.
ROOSTER
(if looks
could kill)
You get in my way...and they're goin'
to be pickin' T-top out of your hide.
Michael has to admit that's tellin' it like it is.
MICHAEL
Kitt...I don't think he likes you.
K.I.T.T.
Me...Michael?
The starter drops the flag. Rooster grins at Michael and
peels out.
MICHAEL
I've got my passive laser restraint
seat belts on, pal, so let's make it
safe. For everyone.
K.I.T.T.
Do you think the heat will be sabotaged?
MICHAEL
According to the call last night it
will be. Let's be ready for anything.
K.I.T.T. peels out, and even though Rooster now has a
pretty good head start, he quickly catches him.
VARIOUS ANGLES AND CUTS OF RACE
as the two cars trade lead positions. It quickly becomes
clear that Rooster wants to win, even if it means pushing
Michael off the road.
MICHAEL'S VOICE
What did you find out about our
competition?
INT. K.I.T.T. - DAY
K.I.T.T.
They're not exactly what you'd call
pillars of the community, Michael,
but except for a few outstanding
traffic citations, and one or two
arrests for disturbing the peace,
none of them has ever been in any
serious trouble with the law.
MICHAEL
I'll try to hide my disappointment,
Kitt, but I was hoping for something
a little more.
ANGLE ON RACE
Michael and Rooster side by side, when Rooster suddenly
pulls in front, almost causing Michael to go off the road
to keep from running into him. Rooster smiles to himself,
and floors the pedal.
OMITTED
EXT. RACE COURSE - DAY
Rooster takes a sharp corner onto a straightaway. Michael
follows, keeping a good distance between them. Suddenly:
K.I.T.T.'S VOICE
Michael! The road up ahead.
ANGLE IN K.I.T.T.
MICHAEL
What about it?
ANGLE TO INCLUDE MONITOR
The proper graphics will appear.
K.I.T.T.
There's a high-voltage wire stretched
across it.
MICHAEL
Any chance of neutralizing it?
K.I.T.T.
Negative, Michael. And if Rooster's
car hits that wire he'll surely be
incinerated.
MICHAEL
Then we've gotta hit it first.
He floors the throttle. The speedometer clicks upward.
VARIOUS ANGLES AND CUTS
as Michael races to reach the wire before Rooster hits
it. Intercutting with Rooster, we see him becoming all the
more determined as Michael closes the gap.
K.I.T.T.
He's in our way, Michael, we can't
get around him.
MICHAEL
Then that leaves only one thing to
do....
K.I.T.T.
You're not going to try turbo boost
at this speed?!
MICHAEL
(pushes
Turbo-Boost)
No choice, pal.
ANGLE ON K.I.T.T.
Turbo-boosting over Rooster, and cutting through the
high-voltage wire. The T-top becomes a dazzling display
of dangerous sparks, before the current is finally shorted
out.
ANGLE ON ROOSTER
not even bothering to stop. Instead, he whizzes by,
calling out:
ROOSTER
See you around, dude!
And he blows out a cloud of black exhaust.
ANGLE ON K.I.T.T.
Michael slides out.
MICHAEL
Good work, Kitt.
As he looks over the terrain:
Camera pulls back:
REVERSE ANGLE TO SEE A MAN
on a distant hill watching through binoculars. We're
far enough away that it's next to impossible to make out
his features. As we ---
OMITTED
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
OMITTED
EXT. MARBERRY TIMES OFFICE - DAY
K.I.T.T. is parked in front.
JAMIE'S VOICE
Michael, do you golf?
INT. OFFICE - DAY
Michael is with Jamie, following her as she bustles around
the office, waiting for photographs to come out of an
automatic developer.
MICHAEL
Jamie, stop. Slow down. Take a deep
breath. You're not listening to me.
JAMIE
Yes I am. Do you?
MICHAEL
(exasperated)
Why?
JAMIE
I heard them talking about 'the
nineteenth hole.'
MICHAEL
I'll check it with Devon.
JAMIE
You're not taking me seriously.
MICHAEL
Wrong. You're not taking the situation
seriously. The danger. You suddenly
smell a story and everything else
vanishes.
JAMIE
Michael, you don't understand! When I
left Chicago to come here I made a
trade-off. I gave up every journa-
list's dream, the chance of hitting
the mother lode -- The big story.
Don't you see? I gave it up and now
here it is, knocking on my door!
As the negatives come out of the developer, she excitedly
holds them up -- then reacts, disappointed; they're generally
out of focus, obscured by leaves in the f.g., backs of heads,
etc...and are underexposed.
JAMIE
Oh, no...they're all underexposed!
MICHAEL
What kind of camera did you use?
She holds up an ancient 35mm camera.
JAMIE
The best. My grandfather used it in
the war.
MICHAEL
(looking it
over)
What war?
JAMIE
Very funny. If it was good enough for
the Battle of the Bulge, I figured it
would be good enough for the Marberry
Motel.
MICHAEL
Tell you what. I'll run them through
Kitt's system, see if there's some-
thing salvageable. On one condition.
JAMIE
I was afraid of that.
MICHAEL
You stay away from the motel for
now. I've got an appointment with
Devon. I'll meet you back here in a
couple of hours. Deal?
JAMIE
You drive a hard bargain.
EXT. OFFICE - DAY
Michael slides into K.I.T.T., puts the negatives into the
analyzer compartment.
MICHAEL
Need a little help, buddy.
K.I.T.T.
That's an understatement, Michael.
I don't care how sophisticated my
Image Enhancement software program
is, there are limits. I can't reach
sufficient recognition threshhold on
any of these negatives.
MICHAEL
(looking closer)
Maybe not Kitt, but one thing's in
focus...The brown attache case.
(beat)
I've got an idea.
He pulls away.
MICHAEL'S VOICE
Let's find the nearest leather goods
store.
K.I.T.T.'S VOICE
I was afraid of that.
OMITTED
EXT. MARBERRY MOTEL - DAY
K.I.T.T. pulls in and parks in a safe spot, where he won't
be hollered at by an attendant. Michael reacts to the
change: There are now half-a-dozen limos in the parking
area, and two attendants poised to park any new arrivals.
MICHAEL'S VOICE
Looks like business is booming.
ANGLE IN K.I.T.T.
Michael punches buttons.
MICHAEL
Interface with the motel's computer,
Kitt. I want to know what room
'Mr. Rome' is in.
K.I.T.T.
Yes, Michael. I just hope you know
what you're doing.
The interface appears on K.I.T.T.'s monitor.
K.I.T.T.
Room one-sixteen.
MICHAEL
Thanks, pal.
Michael climbs out, taking the brown attache case with him.
OMITTED
INT. MOTEL SERVICE ENTRANCE - DAY
Michael slips in unnoticed.
INT. MOTEL HALLWAY - DAY
As Michael appears, heading for one-sixteen.
INT. ROOM ONE-SIXTEEN - DAY
Pan from Joey Rome, asleep, to the door as Michael slips
in with the aid of a lock pick.
ANOTHER ANGLE
Michael quietly comes in, looking for an attache case.
Doesn't see one. Then he does.
ANGLE ON THE ATTACHE CASE
It's on the sofa with Rome, his arm resting on it. Michael
tiptoes over, carefully tries to lift Rome's arm up, reveals a
.38 in a shoulder holster. But Rome stirs, and Michael is
forced to stop. He looks around.
THE BATHROOM - HIS POINT OF VIEW - A CLOCK RADIO
rests on the sink top.
BACK TO MICHAEL
He has an idea. He quietly crosses back to the door.
ANGLE IN HALL
Michael comes out, leaving the door just slightly ajar.
MICHAEL
(comlink)
Need a little help, pal.
INTERCUT - K.I.T.T.
His systems activate.
MICHAEL
See if you can activate his clock
radio.
K.I.T.T.
I'll do my best, Michael.
The clock radio's schematic appears on the monitor. We see
it electronically activated.
ANGLE IN ROME'S BATHROOM
The clock radio's hands move, activating the alarm set for
4:00 PM. Loud rock music blasts out.
ANGLE ON ROME
He jumps up out of a sound sleep, disoriented. He mumbles
an inaudible curse, charges into the bathroom. Camera
angles over to the door as Michael slips in with the
attache case.
ANGLE IN BATHROOM
Rome punches the "Alarm Off" button but it continues to
play loud music. He hits it again.
ANGLE IN ROOM
Michael darts over to the sofa, aware that if Rome turns
he's a goner. He switches the attache cases.
ANGLE IN BATHROOM
Furious, Rome finally picks the radio up and yanks the plug
out of the socket.
ANGLE IN ROOM
Michael hurries across the room, slips out the door just as
Rome returns, grumbling. He looks at the door, as if
sensing a presence. He shrugs, returns to the sofa.
CUT TO
EXT. TWO-LANE ROAD - DAY
The semi moves along through the countryside.
DEVON'S VOICE
Michael, I fail to see what a brown
attache case has to do with anything.
INT. SEMI - DAY
Michael pops it open.
MICHAEL
Look.
ANGLE ON ATTACHE CASE
It is full of high denomination bills.
WIDER ANGLE
Devon reacts. Behind them Bonnie is finishing up a
thorough check of K.I.T.T.'s system.
DEVON
That's a staggering amount of money.
But what possible connection could
there be between this 'convention'
at the motel and the incident on the
race course?
MICHAEL
Good question, Devon. I don't know
what it is, but I know it's there.
(to Bonnie)
How's he coming?
ANOTHER ANGLE
Bonnie crosses over from K.I.T.T.
BONNIE
He's finished. I had to recalibrate
his Suspension Synchronizer, but other
than that he's fine.
MICHAEL
(preoccupied)
Thanks.
(then)
Do me a favor -- update his data banks
on Marberry. All the prominent busi-
nesses, starting with the motel -- who
owns what, financial history, the works.
BONNIE
I'll get right on it. Anything else?
MICHAEL
(thoughtful)
Yeah...
(to Devon)
You're an old golfer -- ever hear
the phrase 'the nineteenth hole?'
DEVON
I prefer the word 'seasoned golfer.'
Yes, it's a phrase for the bar or
club.
MICHAEL
Kitt, punch up your schematic on the
golf course.
Intercut K.I.T.T.'s monitor as a graphic appears.
MICHAEL
Does it have a bar or club?
K.I.T.T.
Negative, Michael.
DEVON
Is it important?
MICHAEL
I don't know. Something else to add
to the list.
He crosses to K.I.T.T.
DEVON
Be careful, Michael. When the owner
of the brown attache case discovers
what's happened, I imagine he'll be
quite distressed.
MICHAEL
Gotcha. Couldn't happen to a nicer
guy.
EXT. TWO-LANE - DAY
The semi's ramp lowers and K.I.T.T. rolls out, hitting the
road.
CUT TO
EXT. MOTEL - DAY
The parking area is filled with limos.
ANGLE AT SERVICE ENTRANCE
A figure appears, pauses. It's Jamie. She cautiously moves
forward, toward the rear of the motel, a shoulder bag slung
across her. The soldier seen earlier appears, regards her.
She smiles.
JAMIE
(accent)
Goota dayen.
She hurries past.
JAMIE
(accent)
Goota bye.
He watches her, unsure.
INT. BANQUET ROOM - DAY
The side door opens and Jamie enters.
HER POINT OF VIEW - A LONG TABLE
is laid out for a formal dinner. No expense has been spared.
ANGLE ON JAMIE
She moves across the room, heading for the door to the
rooms when she hears voices approaching. She hides at the
nearest available place -- under a serving cart draped with
a linen tablecloth.
ANGLE UNDER CART
She cautiously peeks out.
HER POINT OF VIEW - BENJI AND NICK
entering with a half-dozen other men talking quietly among
themselves. They have the unmistakable look of gangsters.
Each of the men carries a brown attache case. There are no
women present.
BENJI
Where's Joey?
NICK
Prob'ly asleep. I'll give him a call.
BENJI
Tell him to hurry. Mr. C.'ll be here
any minute.
BACK TO JAMIE
She opens her bag, takes out her new Minox camera and micro-
cassette recorder, ready for anything.
INT. ROOM TWENTY-TWO - DAY
The phone rings. Rome stirs, answers it.
ROME
(phone)
Hello...yeah...I'll be right there.
He hangs up, rises, crosses to the bathroom. The brown
attache case waits for him on the sofa.
INT. BANQUET ROOM - DAY
The room is filling up; more men, more attache cases.
ANGLE ON JAMIE
She carefully peers out from underneath the table cloth and
begins snapping pictures. Then the informal tenor changes.
She hears voices..."He's coming...Mr. C.'s on his way," etc.
ANGLE IN BANQUET ROOM
All present stand as Mr. C. enters. Everyone applauds.
Mr. C. is sixtyish, small, silk-suited, and beneath a
benevolent facade -- deadly.
ANGLE ON JAMIE
Busily snapping pictures, she reacts to the face, stunned.
She activates her tape recorder, begins taking more pictures
-- pictures of Mr. C.
ANGLE IN ROOM
Mr. C. is ushered to his chair by Benji and Nick. Someone
pours him wine.
MR. C.
(accent)
Sit, please...all of you....
They sit.
MR. C.
Wine for my dear friends.
Wine is poured.
MR. C.
I got a nice toast I made up myself....
They all stand.
MR. C.
But first...I believe there are some
presents. Sit.
They sit. He chuckles.
MR. C.
Philly.
Benji rises, crosses to him and places the attache case in
front of him. Mr. C. pops it open: it's full of cash. He
smiles. Everyone applauds.
ANGLE ON JAMIE
She busily snaps more pictures.
ANGLE IN ROOM
The door opens and Rome hurries in, just as:
MR. C.
Very nice, very nice...I always liked
Philly, I got a nice toast about Philly.
I made it up myself.
(to Joey)
Joey, my friend, you're just in time.
I wanna see my nice present from
Detroit....
Rome crosses to him, puts his attache case in front of Mr. C.
ROME
You're gonna be pleased, Mr. C.
MR. C.
I better.
He smiles and opens it. A spring-loaded clown pops out.
He stares. Rome goes white. The room is deathly silent.
MR. C.
Is this a joke? I don't like jokes
from Detroit.
ROME
Mr. C....I don't know what to say....
MR. C.
Think of something, Joey. Think of
something.
In the silence someone sneezes. Everyone looks; no one at
the table sneezed.
ANGLE ON JAMIE
It was her. She fights off another one, can't, sneezes
again.
ANGLE ON ROME
He rushes to the cart, others behind him.
ANGLE ON JAMIE
She jams her camera and tape recorder in the brace of a
folding leg.
WIDER ANGLE
As Rome shoves the cart, Jamie is exposed. Rome sees her.
Everyone sees her.
ANGLE ON JAMIE
She runs desperately for the door but several lieutenants
grab her.
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
EXT. MARBERRY ROAD - DAY - ON K.I.T.T.
heading toward the motel.
K.I.T.T.'S VOICE
Michael, I do hope you're wrong
about Jamie going back to that motel.
ANGLE IN K.I.T.T.
MICHAEL
That makes two of us, pal. But that
receipt for a new minicamera and
microcassette I found in her office
tells me I'm not.
K.I.T.T.
But why wouldn't she leave word with
her service, as she did the last
time?
MICHAEL
Because the last time I found her,
remember?
K.I.T.T.
And you might also have saved her
life.
(slight beat)
I only hope we're not too late now.
EXT. MARBERRY MOTEL - DAY - ON K.I.T.T.
pulling up to a safe spot.
K.I.T.T.'S VOICE
Be careful, Michael.
As he slides out:
MICHAEL
Thanks, buddy.
He starts toward the entrance.
OMITTED
INT. MOTEL LOBBY - DAY - ON MICHAEL
He looks around, gets his bearings, making sure the desk
clerk doesn't see him. Then he spots a nearby house phone,
and dials front desk.
ANGLE TO INCLUDE CLERK
having to turn away from the front to answer it. As he
does, Michael sneaks past him, and heads for the banquet
room.
OMITTED
INT. BANQUET ROOM - DAY
It's empty of people. Michael looks about the leftovers,
then takes to comlink:
MICHAEL
Kitt, how about scanning the banquet
room for me, see if they left anything
that might help us behind.
INT. K.I.T.T. - DAY
Graphics as needed, until:
K.I.T.T.
Michael, there's something under that
serving cart....
INT. BANQUET ROOM - DAY
Michael searches beneath it and finds the minicamera and
microcassette.
MICHAEL
She was definitely here, Kitt...and
we better find her fast!
He hurries out.
EXT. ROAD - DAY - ON K.I.T.T.
CAESAR'S VOICE
'Get rid of her.'
ANGLE IN K.I.T.T.
The tape is playing.
ROME'S VOICE
'The nineteenth hole?!'
CAESAR'S VOICE
'Do what has to be done.'
Michael turns off the tape. Thoughtfully:
MICHAEL
The nineteenth hole...the nineteenth
hole...
(slight beat)
Kitt, punch up your schematic on the
golf course again.
K.I.T.T.
Right away, Michael.
ANGLE TO INCLUDE SCHEMATIC ON MONITOR
Michael studies it a beat:
MICHAEL
What's directly behind the course?
K.I.T.T.
A small housing tract, recreation
area, shopping center....
Michael touches the monitor and it turns red to his touch.
MICHAEL
What about this area here -- it looks
undeveloped.
K.I.T.T.
It is, Michael.
MICHAEL
Who owns it?
K.I.T.T.
The city. But here's something inter-
esting. If the Racing Association of
America does build a permanent course
in Marberry, the city has offered that
piece of land for its clubhouse.
MICHAEL
Kitt -- I think we've found the
nineteenth hole...Let's see what else
we can find.
Michael hits the accelerator.
EXT. ROAD - DAY
as K.I.T.T. peels off:
K.I.T.T.'S VOICE
Michael, you know the race is starting
now. If they're really intent on
stopping it....
MICHAEL'S VOICE
(interrupting)
I hear you, Kitt...I hear you.
The Trans Am eats up the road.
OMITTED
EXT. ROAD - DAY - ON K.I.T.T.
approaching the undeveloped area, which is really little more
than a wooded area, with a small shack far back in the
distance.
K.I.T.T.'S VOICE
This is it, Michael.
ANGLE IN K.I.T.T.
MICHAEL
See anything unusual?
INTERCUT - MONITOR AS NEEDED
K.I.T.T.
There's a shack hidden within those
trees.
MICHAEL
(sees it)
Check out the terrain, Kitt...top
and bottom.
ANGLE ON K.I.T.T.
leaving the road and heading for the distant shack.
EXT. RACE COURSE - DAY - VARIOUS ANGLES
as Rooster vies with Daisy for the lead.
OMITTED
EXT. WOODED AREA - DAY - ON K.I.T.T.
The shack is still a good distance off. Suddenly:
K.I.T.T.'S VOICE
Michael, a short distance up ahead...
there's something buried beneath the
ground.
INT. K.I.T.T. - DAY
as Michael sees a subterranean graph of a series of oblong
boxes.
MICHAEL
What are those?
K.I.T.T.
They're wooden boxes, measuring
seven by four-by-four.
MICHAEL
See what's inside them.
K.I.T.T. pushes in on the graphics.
K.I.T.T.
Oh, no, Michael...human remains.
According to the chemical and mineral
analysis, some of the bodies have been
here for as long as twenty-five years.
Michael is stunned, concerned:
MICHAEL
And...the most recent one, Kitt?
K.I.T.T.
It's not Jamie...it's been here
for almost six months.
Michael relaxes, but just a bit.
MICHAEL
The nineteenth hole. The place they
bury those who get in their way.
K.I.T.T.
No wonder they're so determined to
keep this land undeveloped.
MICHAEL
(glances toward
the shack)
Put yourself on silent mode and let's
take a look at that shack.
EXT. WOODED AREA - DAY - ON K.I.T.T.
moving closer to the shack.
EXT. RACE COURSE - DAY
Rooster is still in the lead.
EXT. SHACK - DAY
K.I.T.T. is approaching in b.g.
INT. SHACK - DAY
Jamie is tied up, seated in a chair. Rome stands in
front of her:
ROME
I'm going to ask you one last time
where's my money?!
JAMIE
I told you, I don't know.
ROME
(slams his
fist on the
table)
You know!!
(points his
finger at
her)
And believe me...one way or the other
...you're going to tell.
EXT./INT. K.I.T.T. - DAY
moving closer to the shack, but staying within the safe
cover of the trees. Rome's car is seen parked at the
side. Michael pulls to a stop.
MICHAEL
Scan the inside, pal.
INTERCUT - MONITOR
as we see graphs of a couple of empty rooms, before:
K.I.T.T.
Michael!
A different graph representing Jamie and Rome.
MICHAEL
What've you got?
K.I.T.T.
There is a man and woman inside.
From her vital signs she's obviously
under some stress.
MICHAEL
She's obviously Jamie.
K.I.T.T.
How are we going to get her out with
that gorilla in there?
MICHAEL
We're not, pal...but Mr. C. is. Think
you can imitate his voice?
K.I.T.T.
Once it's on my polyphonic synthesizer,
no problem.
MICHAEL
Then let's give Joey boy a call.
INT. SHACK - DAY
The phone rings, and Rome answers it.
ROME
Yeah.
INTERCUT - AS NEEDED
K.I.T.T./MR. C.
Joey, Mr. C. I want you to bring the
girl back to the motel.
ROME
But I thought you wanted me to plant
her.
K.I.T.T./MR. C.
What I want, I tell you I want. And
right now, I want you to bring her back
to the motel.
ROME
Sure, Mr. C., we're on our way.
K.I.T.T./MR. C.
Oh, one more thing, Joey -- you're
sure the race is being taken care of.
ROME
Don't you worry, Mr. C....the drivers
won't make it beyond Roads End. See
you in a little while.
He hangs up.
ROME
I wish he'd make up his mind.
(untying Jamie)
Come on!
Leads her out.
EXT. SHACK - DAY - ON ROME AND JAMIE
coming out and moving toward the car.
ANGLE ON MICHAEL
appearing from nowhere. A quick knockout punch, and at the
same time dragging him to Rome's car and stuffing him into
the open trunk, slamming the hood. Jamie runs to him.
JAMIE
Oh, Michael!
He embraces her.
MICHAEL
Are you all right?
JAMIE
I am now.
MICHAEL
How far is Roads End from here?
JAMIE
About five miles.
MICHAEL
Let's go.
As they hurry to meet K.I.T.T., who's come out of hiding to
pick them up:
JAMIE
Michael, the racers should be coming
up to Roads End any minute now.
MICHAEL
That's what I'm afraid of.
As they get in:
MICHAEL
Kitt, have Devon make arrangements
to pick Joey up.
K.I.T.T.
Right, Michael.
And Michael peels out in a spray of dirt.
OMITTED
VARIOUS ANGLES
as Michael races at top speed to Roads End.
EXT. ROADS END - DAY
This is a flat stretch of road, and we see Rooster, Daisy
and another racer heading down it.
VARIOUS ANGLES OF RACERS
Rooster with a good lead.
ANGLE ON K.I.T.T.
coming at the racers from the opposite direction, head on.
JAMIE'S VOICE
This is the area known as Roads End,
Michael.
ANGLE IN K.I.T.T.
MICHAEL
See what you can find, Kitt.
ANGLE TO INCLUDE MONITOR
as red lights begin flashing on the proper graphic.
K.I.T.T.
Michael, there's a bomb buried up ahead,
powerful enough to destroy a half-dozen
cars and then disintegrate without
leaving any trace.
MICHAEL
Any way to stop those race cars from
hitting it?
K.I.T.T.
Negative, Michael.
MICHAEL
That means we're going to have to
trigger it first.
K.I.T.T.
Michael, even with my molecular
bonding I don't know if I can with-
stand a bomb of that magnitude.
MICHAEL
For all our sakes, pal...give it
all you've got.
VARIOUS ANGLES - INTERCUTTING WITH ROAD, BURIED BOMB,
MONITOR
as Michael turns over the bomb neutralizing it in an
array of explosions and fireworks.
ANGLE ON RACE CARS
making it safely through.
ANGLE IN K.I.T.T.
MICHAEL
I knew you could do it, pal. Now
let's turn over all our evidence to
the FBI, and let them take care of
the rest.
K.I.T.T.
With pleasure, Michael...with pleasure.
OMITTED
FADE OUT
END OF ACT FOUR
TAG
FADE IN
EXT. MANNY'S DRIVE-IN - DAY
The racers are gone, but the signs proclaiming the First
Annual Marberry Grand Prix still remain. Michael is coming
from the drive-in window with hamburgers and fries for all
-- meaning Jamie, Devon and Bonnie. K.I.T.T. is parked
nearby, with Devon's red Mercedes in the b.g.
MICHAEL
Hamburgers, French fries, and malts...
just like the good old days.
DEVON
Speaking of good old days, Michael,
did I ever tell you I used to do some
driving myself?
Michael winks to Bonnie:
MICHAEL
Really?
DEVON
Formula cars, mostly. The Strasbourg
Grand Prix, Monte Carlo, the Tour de
Versailles. Just to name a few.
BONNIE
Very impressive, Devon. Someday you
have to show us your trophies.
DEVON
Well...I never really took home any
trophies. The cars, you know, are
very small. But ahhh, the memories
...the wonderful memories.
JAMIE
And maybe next year you can enter
the second annual Marberry Grand
Prix.
DEVON
Yes...we'll...see.
Suddenly the sound of a race car.
K.I.T.T.
Oh, no, not again.
They look.
ANGLE TO SEE ROOSTER
roaring in, and getting out. He pats the trophy on his
seat.
ROOSTER
Didn't I tell you the big red Rooster
could do it?!
MICHAEL
You sure did.
ROOSTER
Yeah...and now you know what I want
-- you!
MICHAEL
Me?
ROOSTER
One on one. Horses to horses. Winner
take all. Well? You think you got
what it takes?
Michael looks to Devon, Bonnie, then shrugs, innocently:
MICHAEL
I don't know, Rooster...but I'll sure
give it my best.
He slides into K.I.T.T., Rooster slides into his car.
Michael looks over:
MICHAEL
Whenever you're ready.
Rooster savors the moment, clutches, shifts:
ROOSTER
Now!
And before he even takes his foot off his clutch:
UNDERCRANK ON K.I.T.T.
peeling off, off and away. As we ---
FREEZE FRAME
FADE OUT
THE END
