ACT ONE
FADE IN
CLOSEUP - TABLE - DAY
as a hand-held "documentary style" camera scans the table's
contents -- an almost ceremonial arrangement of paraphernalia
-- a silver glove, body-form "ventilator" chest pads, shin
guards, heavy leather boots, and a streamlined custom helmet
-- all color coordinated in silver and reds with "Travis"
printed on each piece. As a gloved hand plucks up its mate,
puts it on an awaiting hand:
INTERVIEWER'S VOICE
These are the weapons of a modern-day
gladiator, a participant in the most
rugged sport -- motorcycle racing.
Camera pans up to:
INT. GARAGE - DAY - ON KELLY TRAVIS
early twenties, blond, all-American with a boyish, friendly
face and the body of an athlete. He wears skin-tight
silver and red "unleathers" and, as he dons all the gear,
grins right at camera.
KELLY
As far as I'm concerned, this is all
safety experts' hype. I've been
racing for five years without a bad
spill, and all I need is my trusted
helmet.
He lifts his helmet from the table, turns it over to put it
on -- and milk pours out, inundating him. As the liquid
drips down his face, without turning, he roars:
KELLY
Duvall!
Racer Danny Duvall approaches, almost laughing himself
sick. He's dressed in burgundy unleathers, is slightly
older than Kelly, with the same boyish smile.
DANNY
My buddy Kelly always wanted his
picture on a cereal box -- now he'll
know how the cereal feels!
KELLY
Try this one, cornflake.
As Kelly pours the remainder of the milk on Danny, a
beautiful, young, blond woman approaches with a towel --
Sabrina Travis, Kelly's older sister. She shrugs good-
naturedly at the camera, begins toweling off both men.
Danny kisses her affectionately.
INTERVIEWER'S VOICE
How's it feel having a big sister
around at the races to clean up
after you, Kelly?
KELLY
Have you ever tasted Sabrina's tuna
casserole? It was a matter of national
security to keep her out of the kitchen.
SABRINA
Have you ever seen my brother and
fiance eat? Their stomachs will end
up in the Smithsonian Institute.
She towels off Kelly's helmet as:
INTERVIEWER'S VOICE
Kelly, there's been a lot of criticism
that you've become a hot dog racer....
KELLY
They call it hot dogging...I call it
having an edge. I take chances --
how else're you going to win against
these guys? They're good.
Danny winks confidentially at the camera.
EXT. OAKSIDE RACECOURSE - DAY - HIGH ANGLE
as we see, still in documentary style, a final lap of a
rough-track race, as the bikes in the lead begin up an
incredibly steep dirt hill. We see Kelly and Danny
(recognizable by their colors) and a few other racers --
Lee Carstairs, Wade Fortuno and Gene Tourvald.
INTERVIEWER'S VOICE
But tragedy struck that sunny after-
noon, as the racers made their way
up Widow's Mountain, on the last
stretch of the Oakside Course.
Partway up the mountain, Kelly, who's in the lead, suddenly
hooks to the side, directly in front of Danny. Danny's
bike goes down, causing those immediately behind him to
tumble back in a landslide of metal, flesh and flames as
suddenly, the scene freeze frames:
MICHAEL'S VOICE
Wow. Makes me glad to have Kitt's
armor to protect me.
INT. FOUNDATION - DAY - DEVON'S OFFICE
where we reveal that Michael, Devon and April have been
watching this footage on an oversized television screen.
DEVON
Five riders ended up in the hospital,
Michael. And more tragic than that
-- young Danny Duvall was killed.
MICHAEL
I saw him race once. He was a great
rider.
APRIL
Since the Foundation's cosponsoring
this year's competition, we were
really worried when we received this
letter.
She hands Michael a short, typed letter on plain
stationery. Michael reads it quickly, looks up with
surprise.
MICHAEL
This says Danny Duvall was murdered.
But why? Who wrote this, Devon?
DEVON
I don't know. But if there's even
an outside chance the accident was
planned...our participation in the
race will almost be condoning
violence on the track.
APRIL
I've programmed details of the race
and its participants into Kitt, and
you can review this tape on the
monitor on your way to the Oakside
Racecourse.
Michael thoughtfully folds the letter into his pocket.
MICHAEL
I know the proceeds of the race go
to charity -- but how'd the Foundation
get involved in a tough sport like
motorcycle racing?
APRIL
You may not believe it, but Devon
happens to be a genuine fan.
MICHAEL
Oh, come on....
DEVON
When I was a lad, I made quite a
name for myself at the Isle of Man
Tourist Trophy races.
MICHAEL
What d'you know. Devon, somehow
it's hard to picture you waist-deep
in mud on top of a smoking bike.
Devon sits at his desk, thinking back nostalgically:
DEVON
Those 'rough and tumbles' were really
something....
MICHAEL
April, are a lot of the riders from
last year competing in this race?
APRIL
Several, including those who were in
the accident.
DEVON
(snapping out
of his reverie)
I want you to find out if there's a
murderer among them, Michael.
MICHAEL
And make sure he doesn't strike
again.
As Michael heads for the door, we go to:
EXT. HIGHWAY - DAY - ON K.I.T.T.
driving quickly toward the Oakside Racecourse.
INT. K.I.T.T. - DAY - ON MICHAEL
as he waves at a passing motorcyclist.
K.I.T.T.
Michael, based on the information
April gave me on motorcycle racing,
I must say I'm completely appalled.
MICHAEL
What's the problem, buddy?
K.I.T.T.
Why is so much time and money wasted
on a means of transportation that has
improved very little since the turn
of the century?
MICHAEL
I guess a lot of people like the
feeling of the open air.
K.I.T.T.
Dust and rocks is more like it. If
you want air, you can simply open a
window without getting half the
roadway in your teeth.
MICHAEL
Sounds like a little professional
jealousy to me.
K.I.T.T.
Jealous? Of those high-powered
broomsticks on wheels? Perish the
thought.
Michael laughs, then:
K.I.T.T.
Do you really think there could be
another serious accident, Michael?
MICHAEL
Well, you know what Freud said:
'There's no such thing as an
accident.'
EXT. OAKSIDE RACECOURSE - DAY - HIGH ANGLE
as K.I.T.T. drives into the area, moving toward the track
itself. Last minute adjustments to the course are in
progress, some racers are "walking the course," others
amuse themselves with bike hijinks. K.I.T.T. passes a
group of trailers and a small television news van with
antenna. CHANNEL THREE is written on the side.
CLOSER ANGLE - K.I.T.T.
stopping near the starting line, over which is hung a large
banner proclaiming: OAKSIDE CHARITY RACE. The course is
visible in the b.g. K.I.T.T.'s scanner flashes.
INT. K.I.T.T. - DAY - FAVORING MONITOR
as the track shows up on the monitor.
K.I.T.T.
Michael, I'm afraid we'll have more
accidents than we bargained for. This
track is in no shape for a race -- it's
cluttered with debris, potholes, large,
gaping crevices in the trail and numerous
deep mud puddles.
MICHAEL
Sounds like a pretty good description
to me.
K.I.T.T.
You mean that's the way it's supposed
to be?
MICHAEL
This is like an endurance test, Kitt.
They throw everything but the kitchen
sink at the drivers and see if they
can get through.
K.I.T.T.
I suppose it's just what these
overbred bicycles deserve.
MICHAEL
Think you could take the course, pal?
K.I.T.T.
I really don't care to dignify that
with an answer, Michael.
Michael smiles. Then, someone on the track catches his eye.
MICHAEL'S POINT OF VIEW - THE TRACK
where a tough-looking young man walks toward K.I.T.T.,
examining the course. His jacket reads FORTUNO.
INT. K.I.T.T. - DAY
as Michael watches the still-distant young man.
MICHAEL
The name Fortuno rings a bell....
K.I.T.T.
A Wade Fortuno was in that big
accident, Michael.
MICHAEL
Then we'll wait to talk to him,
Kitt. Who'd know more about the
crash than someone who was in it?
As he climbs out of K.I.T.T., we go to:
EXT. TELEVISION VAN - DAY
where we see two "cohosts" sitting on directors' chairs
facing a cameraman. They're Roger Floyd and Darlena
Webster, and look like they've just escaped from the top of
a wedding cake. Roger is midthirties, too many teeth,
styled hair and tanned to a crisp. The only thing natural
about the well-built Darlena is her tongue, which she can't
control. She wears a bright red tailored jumpsuit and a
five-hour hairdo. They're just brimming over with good
cheer as they talk into camera:
ROGER
Hi, this is Roger Floyd....
DARLENA
...and Darlena Webster....
ROGER
Join us this weekend on Talkabout as
we go behind the scenes at the Oakside
Charity race. We'll see fast bikes....
DARLENA
...and racing hunks....
ROGER
...competing for the one hundred
thousand dollar winner-take-all.
It'll be a frantic race over this
incredibly tough track, not an
Enduro, not a motocross....
DARLENA
That's right, Roger...I guess you
could say it's going to be sort of a
quasi-motocross race.
ROGER
I had a hunch you'd say that.
They give each other shallow laughs as the cameraman gives
the "cut" sign and lowers his camera. Roger immediately
loses his smile and glares at his "cohost."
ROGER
What was that? You're supposed to
stick to the script.
DARLENA
That was a funny ad-lib. You're
just mad 'cause you didn't think of
it.
ROGER
It didn't make any sense.
DARLENA
Funny is funny, Roger.
ROGER
I give up....
He rockets out of his chair and storms away. Darlena
smiles evilly.
ANGLE ON MICHAEL AND K.I.T.T.
Michael's standing beside the Trans Am as Wade Fortuno
walks by.
MICHAEL
Wade Fortuno? Name's Michael Knight.
WADE
Good for you.
He continues walking and Michael stops him.
MICHAEL
I work with one of the sponsors of
this race. I want to talk to you
about last year's accident.
WADE
You said the magic words, man --
last year. That's old news.
MICHAEL
Maybe to you, but I'm still learning.
GENE'S VOICE
(European accent)
Tell him how you caused the accident,
greasy gears.
We widen as Gene Tourvald moves beside Michael. She's a
tall, strongly-built Slavic woman racer, pretty but tough
as any of the men.
GENE
Gene Tourvald. They call me the
Trickster.
WADE
Know why they call her that? 'Cause
she knows every dirty trick in the
book and uses 'em all on the course.
GENE
Except last year, when I didn't have
to, 'cause you psyched Danny out so
good.
(to Michael)
He wanted to take Sabrina Travis
away from Danny. He still wants her.
WADE
Soak your head, Tourvald.
GENE
You have such a way with the English
language, Fortuno.
As their quibbling escalates, Michael, who can't get a word
in anyway, heads for K.I.T.T.
ANGLE ON MICHAEL AND K.I.T.T.
as Michael approaches, out of earshot from the racers.
K.I.T.T.
Both those racers were injured in
the accident, Michael. And I can
see why. They're still fighting.
MICHAEL
Think I'll go talk to a man who takes
racing a little more seriously....
CLOSE ANGLE - A WELL-ENDOWED LADY'S CHEST
in a T-shirt reading CARSTAIRS! We widen to see that she's
one of a set of twins in the T-shirts, and Lee Carstairs
has his arms around them both. Lee's a dark-haired,
handsome man in good shape -- but, at thirty-four -- old
for a racer -- he's beginning to show signs of wear. He
has a professional smile and a smooth patter from years on
the circuit. He smiles now at Michael:
LEE
Promotion's the name of the game,
right, girls?
The girls beam up at him as we now see Michael standing
nearby in Lee's flashy motor home. The walls are papered
with Lee's endorsements -- product ads, more T-shirts,
posters, public service campaigns, etc.
MICHAEL
I used to watch you race when I was
in high school. Even had a Lee
Carstairs poster in the garage over
the workbench.
LEE
No money in posters any more -- it's
T-shirts now. I sold almost as many
as E.T. last year -- came in second
by only ten thou.
MICHAEL
And he can't even ride a bike.
LEE
The fans don't seem to care.
MICHAEL
Lee, you were in that accident a year
ago. What do you think really caused
it?
Lee nods to the twins, who take the signal and leave.
LEE
Not a what -- a who. A hotshot
rider named Kelly Travis who was busy
hot dogging his way up the mountain.
(beat)
Y'know what gets me? Those showoff
kids're the ones that get the dolls
and electronic games named after 'em.
That's where the big bucks are. And
that's why I say promotion's everything.
MICHAEL
And you really think it was the way
Kelly rode that wiped out Danny
Duvall.
LEE
You bet. But take it from me -- it's
the end of a cycle. Showboating's
on its way out.
As if on cue, we suddenly hear a roar from outside the
motor home. Michael and Lee exchange a look, then go to
the door, open it to look out and see:
ANGLE ON A STEP VAN
Revving its engines as the back doors spring open and a
silver and red-clad figure on a motorcycle flies out, hits
the dirt and begins speeding around the trailers. We angle
with the motorcyclist as he pops a wheelie, executes a
small jump over the empty directors' chairs, then does a
sideways slide, stopping in front of Michael and Lee. We
see he's Kelly Travis.
KELLY
Carstairs, you may as well stay in
your hotel room, 'cause your
'dustbuggy'll' just be kicking over
when I'm waving at you from the top
of Widow's Mountain!
With that, he races toward the back of the van, popping
another wheelie and sailing up and into the van. The doors
close as the crowd roars approval.
ANGLE FAVORING MICHAEL AND LEE
who're not amused. As the step van now drives past Lee's
motor home, we see his lovely sister, Sabrina, at the
wheel. Her eyes meet Michael's for a moment, then she
drives on.
MICHAEL
That's Kelly Travis, isn't it?
LEE
Who else? He'll never learn. Never.
He goes back inside and we hold on Michael, then:
EXT. KELLY'S GARAGE - NEAR RACEGROUNDS - DAY - ANGLE ON
K.I.T.T.
pulling to a stop near Kelly's step van, which is parked in
front. As Michael climbs out, we see, parading by, several
rather beat-up cars hauling shiney, powerful bikes in
trailers. K.I.T.T.'s scanner flashes indignantly.
K.I.T.T.
Really, Michael, look at that --
those cars are dead on their wheels
and yet they're forced to pull those
motorbikes. It's one thing for
these 'racers' to have turned back
the clock to 1910 -- it's quite
another to bring back slavery!
MICHAEL
Maybe now you'll appreciate me that
much more.
He pats K.I.T.T. and heads toward Kelly's garage.
ANGLE ON MICHAEL
as Sabrina Travis suddenly comes out of the van, nearly
colliding with Michael.
SABRINA
You startled me! I thought none of
the other racers were using these
garages.
MICHAEL
I'm not a racer. I'm just a fan
here to talk to Kelly Travis.
SABRINA
About what?
MICHAEL
About his pretty sister, Sabrina,
who drives his van.
Sabrina can't help herself -- she smiles. There's a strong
mutual attraction.
SABRINA
I'm afraid his mind's on preparing
his bike for the race tomorrow.
MICHAEL
He may welcome the distraction.
As he starts toward the garage's door:
SABRINA
Wait a minute, you can't go in
there....
INT. GARAGE - DAY
We see Kelly seated on his racing bike, making an adjustment
to the hand brake mechanism. In the b.g. are a couple more
bikes, including a small gadabout; tools and accessories
are neatly laid out within Kelly's reach. He looks up
as Michael enters the garage, a worried Sabrina behind him.
SABRINA
I told him you were busy, Kelly....
KELLY
Sis, get me a cold drink, will ya?
Sabrina nods and leaves as Michael approaches, offers Kelly
a hand to shake.
MICHAEL
I'm Michael Knight.
Kelly's about to shake, then sees that his hand's covered
with grease. He pulls it back, grinning.
KELLY
We'll be friends longer if we don't
shake. What can I do you for?
Michael kneels beside him, eyeing his bike admiringly.
MICHAEL
You build this thing?
KELLY
Pretty much. You know bikes?
MICHAEL
Enough to know a good one when I see
it.
KELLY
Not good. The best. Did you really
come out here to talk about my bike?
In the b.g., we see Sabrina returning with a can of soda.
As Michael rises:
MICHAEL
Actually, I wanted to talk a little
bit about Danny Duvall.
Sabrina freezes in her tracks, clearly upset.
SABRINA
Danny's dead. There's nothing to
talk about.
KELLY
Sabrina and Danny were engaged.
MICHAEL
I heard that. I'm sorry about the
accident. I was hoping you could
help me understand what happened that
day....
SABRINA
Why are you asking about this? Who
are you? What right do you have to
be bothering us?
MICHAEL
I work for the Foundation for Law
and Government.
This shuts Sabrina up abruptly.
MICHAEL
Somebody sent us a letter that said
that Danny's death wasn't an accident
...that somebody killed him.
KELLY
Somebody did. And I know who it was.
SABRINA
Kelly....
Kelly suddenly kicks the motorcycle to life. As the engine
growls:
KELLY
I killed Danny Duvall. My best
friend....
He slams a helmet over his head, hits the gas and tears out
of the garage. Michael looks over at the distraught Sabrina,
then runs out after Kelly.
EXT. OAKSIDE RACEGROUNDS - DAY - ANGLE ON A STRAIGHTAWAY
separate from the course, marked off for the elimination
heats. There's a lineup of perhaps a dozen racers facing
the straightaway, including Wade Fortuna and Gene Tourvald.
As they rev their engines:
ANGLE ON ROGER AND DARLENA
standing behind the lineup, smiling at their cameraman.
Darlena's now in a lemon yellow jumpsuit with an extra-
ordinary set of pigtails springing from her head.
ROGER
Hello again from Oakside, where
Darlena and I are ringside for the
final heat eliminations.
DARLENA
That's right, Roger. At the sound
of the gun, there they run!
In the b.g., the gun sounds and the racers take off. As
the cameraman turns his lens to the final heat, Roger turns
to Darlena, with a sick look:
ROGER
'There they run?'
ANGLE TO KELLY AND K.I.T.T.
as Kelly rides across the grounds toward the straightaway,
K.I.T.T. close on his tail. Kelly flies into the heat and
K.I.T.T. skids to a stop at the starting line.
ANGLE ON THE STRAIGHTAWAY
where Kelly pulls up behind Wade Fortuna, deliberately
riding hard on his rear tire. Gene Tourvald, who was
neck-and-neck with Wade, now salutes and rides ahead.
Whatever Wade does to avoid Kelly, Kelly stays on him.
Finally, Wade slams to a stop and Kelly circles back to
join him. The two men rip off their helmets.
WADE
Buzz off, Travis -- I was just riding
this heat for fun. I'm already in the
race.
KELLY
Stay off that mountain. You don't
deserve to ride on the ground Danny
died on.
INT. K.I.T.T. - DAY - FAVORING K.I.T.T.'S MONITOR
where the racers appear, Gene Tourvald in the lead.
K.I.T.T.
Michael, the brakes on the lead bike
have just locked -- the rider's losing
control!
Even as K.I.T.T. says this, Gene's bike suddenly goes
tailpipe over handlebars, throwing her directly into the
path of oncoming racers. The other riders now lose
control, bikes flying.
MICHAEL
Let's get down there, Kitt!
EXT. K.I.T.T. - DAY
The Trans Am roars away from the line, tearing toward the
accident, darting around the still-bickering Kelly and Wade
who are just becoming aware of the crash.
INT. K.I.T.T. - DAY
as they're approaching several downed bikes, between them
and Gene Tourvald. As Michael reaches for Turbo Boost:
MICHAEL
Prepare for a short stop, pal.
EXT. K.I.T.T. - DAY
The car takes off, flies over the fallen bikes and comes to
a tight stop beyond, where Gene's already surrounded by
spectators, track officials. Michael jumps out, but stays
out of the officials' way.
MICHAEL
Kitt, you said her brakes locked --
were they tampered with?
K.I.T.T.
It's quite possible, Michael.
Wade Fortuna's bike pulls in beside K.I.T.T. and he stares
at the fallen Gene. He actually looks upset. Michael
looks around -- Kelly's gone. As he slips back into
K.I.T.T.:
MICHAEL
Nice of Kelly to leave at a time
like this. I'm beginning to think
what he said about Danny was true.
And as K.I.T.T. pulls away from the scene of the crash, we:
FREEZE FRAME
AND
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
EXT. HIGHWAY - DAY - ANGLE ON KELLY
popping wheelies and sidewinding the entire length of the
road. K.I.T.T. appears up the road and quickly overtakes
Kelly, pulls up beside him. Michael calls out:
MICHAEL
All right Kelly, pull over, I want to
talk to you.
With that Kelly jams his bike into high gear and hightails
it down the road.
ANGLE - HIGHWAY - DAY
as we see Michael roar past Kelly, then about twenty feet
in front of him, pull the car to a stop at a ninety degree
angle, creating a roadblock. Kelly races right toward
K.I.T.T., and instead of stopping, jumps his bike over the
Trans Am and to the highway beyond. There, Kelly "lays the
bike down" and skids into the side of the road. He looks
up, unharmed, and begins to laugh. Michael leaps out of
K.I.T.T. and runs toward the fallen rider.
ANGLE - MICHAEL AND KELLY
as Michael reaches Kelly.
MICHAEL
What're you trying to pull,
speedball?
KELLY
I thought it was a pretty good
stunt.
MICHAEL
Yeah, it was just about as mature as
that scene you pulled back at the
track. Now get up!
Kelly just continues to laugh, as if goading Michael.
MICHAEL
Are you getting up, or am I going to
have to give you a little 'help?'
Kelly looks at him a moment, as his laughter turns dark.
Then:
KELLY
Guess you're going to have to give
me some help, partner, 'cause you
see, I can't walk. Haven't been
able to for a year...ever since that
accident on the mountain.
He starts to laugh again and we can now see that there are
more than tears of good humor behind the laughter.
CLOSE ON MICHAEL
as he reacts to the news.
INT. K.I.T.T. - DAY - ON HIGHWAY
as they drive towards the hotel. Kelly is sitting in the
passenger seat, staring straight ahead, soberly. He's as
calm as we've ever seen him. We hold a moment, then:
MICHAEL
How can you ride a motorcycle if you
can't walk?
KELLY
My legs work and all, but they're
so messed up from the accident, it's
like walking across hot coals. I
could do it if I had to, but...well,
that's what it's like.
MICHAEL
Isn't there some kind of surgery
that could help you?
KELLY
Right, if I had the money...and two
years out of my life. Stay away
from racing that long, you might as
well hang it up.
(then)
Maybe it's for the best. I've
destroyed enough people for one
lifetime.
MICHAEL
You really think you caused Danny's
death don't you? What if it wasn't
your fault? Ever think of that?
Kelly looks out the window for a moment, then:
KELLY
I had a third grade teacher named
Mrs. Tinto, used to yell at me for
leaning back in my chair. But I'd
do it anyway, you know, showing off.
And I've been tilting that chair
ever since...except last year, when
I leaned back too far and took my
best friend with me.
MICHAEL
What if Danny fell off his own chair?
KELLY
No way. Danny was the best. I lost
control...something I've never done
before.
MICHAEL
Seems like you lose control of your
temper pretty regularly.
KELLY
You mean with Wade? Hey, he was
glad Danny was killed...thinks it
put him in the running for my sister.
I just couldn't take his attitude
anymore.
MICHAEL
Make you a deal. Keep that temper
under control, and I'll try to see
just who's tilting the chairs.
As Kelly nods his agreement, K.I.T.T. chimes in.
K.I.T.T.
Michael, this situation is deplorable.
Where's Abraham Lincoln when I need
him?
Before Kelly can react to the proverbial talking car, we
cut outside to:
EXT. K.I.T.T. - DAY
as K.I.T.T. comes to a stop in front of Kelly's garage, we
can see what he's complaining about -- Kelly's bike is
strapped to his trunk.
CUT TO
EXT. K.I.T.T. - DAY
as the dark shadows of late afternoon fall, K.I.T.T. passes
the Foundation Semi, heading in the opposite direction,
ramp down. K.I.T.T. is now sans his "extra passengers"
-- he's left Kelly and his bike at the garage. He cuts a
180, speeds up and into the Semi.
INT. SEMI - DAY
as Michael climbs out of K.I.T.T.
DEVON'S VOICE
Well? What do you think of old
'Dusty Miles' now?
WIDER ANGLE
to include Devon, wearing a rather impressive old motor-
cycle helmet.
MICHAEL
'Dusty Miles?'
Devon moves past Michael to admire his reflection in
K.I.T.T.'s window.
DEVON
That's what they called me in '39.
I could cut through the dust as if
it were butter. This is the very
helmet I wore.
K.I.T.T.
I shudder to think that you've been
bitten by this bike bug, too.
Devon looks quite offended.
DEVON
(to K.I.T.T.)
That's exactly what my dear late
mother said about motorcycle racing.
It infuriated me then, too.
April comes over and pulls the circuit analyzer down over
K.I.T.T.'s hood, Devon shoots him a dirty look, then walks
with Michael toward the computer module area where we see
Michael's sports jacket and tie hanging on a wooden valet.
As they talk, Michael dons the tie and jacket. Devon takes
off the helmet and looks over to Michael.
DEVON
Have you had any luck routing out
our potential murderer, Michael?
MICHAEL
The racers're all trying so hard to
create images for the media that
it's almost impossible to get behind
the hype. It's a whole other world
since you were there, Devon.
DEVON
I'm sorry to hear that.
MICHAEL
After last year's accident did anyone
check Danny Duvall's bike for evidence
of sabotage?
DEVON
A thorough check is routine. Nothing
was found.
MICHAEL
That's what I was afraid of. Any-
thing out of the ordinary about
Gene Tourvald's?
DEVON
I spoke to her from the hospital. She
feels that the brakes could have been
sabotaged by an expert. On the other
hand, it's rather common for them to
malfunction purely from the beating
they take on the course.
MICHAEL
In other words, that 'anonymous'
letter may have us looking in closets
for skeletons that don't even exist.
April joins them overhearing Michael's last conjecture.
APRIL
You think the letter is a hoax?
MICHAEL
I wish I did...especially since the
race is tomorrow.
Michael, now dressed, heads for K.I.T.T.
EXT. SEMI - DUSK - ANGLE ON K.I.T.T.
backing down the ramp, hitting the pavement and tearing off
past the Semi, up the highway toward:
EXT. OAKSIDE HOTEL - NIGHT - ON ROGER AND DARLENA
Motorcycle racers, girl friends and enthusiasts, all in
semiformal attire, are passing behind the cohosts, heading
into the hotel. Roger waits impatiently for Darlena, now
in a baby blue jumpsuit, to preen her overdone hair.
ROGER
I've never in my life seen a person
brush her hair one strand at a time.
DARLENA
You're just being catty 'cause you're
losing yours.
CAMERAMAN
We're rolling.
With that, the cohosts slip into the sugary relationship
with their audiences know and love. Lee Carstairs
approaches with two new twins. Roger sees him and forces
a smile.
ROGER
(to camera)
Welcome to the Oakside prerace
party...and here comes my very good
friend, Lee Carstairs. Anything
you'd like to say about tomorrow's
race?
LEE
Sure is. I'd like to announce that
when I win, I'm turning the entire
proceeds over to charity.
ROGER
Which means both the gate and the
purse will be given to a good cause.
LEE
You bet. It's the spirit of giving
that's made this country great, Ralph.
Lee waves to the camera, then escorts his girls into the
party. Darlena begins to laugh.
DARLENA
Good friends, huh? He called you
Ralph!
With that, Roger's fuse blows.
ROGER
That's it. Stop the camera. I
can't take any more of this. The
woman's a complete idiot!
He turns and stomps away. Darlena is still laughing.
INT. HOTEL RECREATION AREA - NIGHT
A buffet table with a large figure of a motorcyclist in the
middle is set up by the far wall. In the center is a
portable dance floor which is somewhat overcrowded with
race people dancing to rock music coming from large
speakers behind them. Lee makes an impressive entrance
with his two girls and takes them right up to the dance
floor.
ANGLE ON SABRINA TRAVIS
standing somewhat apart from the celebrants, by the buffet
table, obviously not wanting to be there. It doesn't help
that standing in front of her is Wade Fortuno, dressed down
in street jeans and windbreaker. He has a drink in his
hand. It's not his first. Wade's doing most of the
talking.
WADE
I just think it's time we 'kissed
and made up.'
SABRINA
Wade, there's no reason to 'make
up.' I'm not fighting with you, I
just don't like you.
WADE
That's 'cause you never really got
a chance to know me.
As he moves in closer, Michael suddenly appears behind him,
grabs Wade's shoulders and pulls him back.
MICHAEL
And I don't think she's going to
get that chance, because if you
don't get some air and dry out,
we're going to have to pour you onto
your bike tomorrow.
Wade makes a move at Michael, then, changing his mind,
gives him a strong look, and begins out the door.
SABRINA
Thanks. He just doesn't know when
to quit.
MICHAEL
A lot of people have that problem.
Me, for example.
SABRINA
What do you mean?
MICHAEL
Sabrina, I have a feeling you wrote
that letter to the Foundation.
Sabrina looks at Michael, taken aback...then, before she can
recover we suddenly hear the roar from the recreation areas'
entrance.
FULL
as we see Kelly, dressed handsomely in a black suit and
tie, on one of his smaller motorcycles. He rides into the
room and people move out of his way as he drives by Michael
and Sabrina, then rides right out onto the center of the
dance floor. Even Lee and his two girls have to move off.
KELLY
C'mon everybody, don't be shy --
let's boogie!
He puts his bike into a rear wheelie and begins "dancing,"
moving the bike in time to the music. People clear space
for him and generally seem to enjoy the prank, except for
Carstairs, who comes forward and grabs Kelly's handlebars,
stopping him.
LEE
Go home, kid -- you're breaking up
the party.
KELLY
Taking away your spotlight, huh,
Lee? I'm gonna be taking it away on
that hill tomorrow, too.
He shakes Lee's hand off the handlebars, starts "dancing"
again. Lee's getting angry.
LEE
You've got a lot of guts talking
about that hill, considering it's
where you killed your best friend.
Kelly freezes, a silence falls over the room, even the
music stops. Then, Kelly lunges off the bike, grabbing
Lee, and the two men fall to the dance floor as people cry
out and duck out of the way.
SABRINA
Kelly, no!
Michael rushes away from her, then pushes his way through
the crowd surrounding the dance floor, goes between the two
men. Kelly tries to get up, but collapses to the floor
again. Lee moves after him and Michael stops him.
MICHAEL
Cool down, friend. Save your energy
for the course.
LEE
Yeah -- a fight to the death, right,
Travis?
Michael can see that Kelly is unable to gain his footing.
He runs to him, and supporting him, begins to move him from
the dance floor.
MICHAEL
(to Kelly)
Had a little too much 'celebrating,'
huh?
EXT. HOTEL - NIGHT - ON MICHAEL, KELLY AND SABRINA
as they move from the reception building, we hear the party
resume in the b.g. Once out of the line of vision of the
guests, Kelly suddenly collapses and Michael helps him onto
his bike.
KELLY
It hurts just like that moment when
Danny's bike hit me. It's my body's
way of remembering what I did to him.
(to Michael)
Thanks for covering back there. I
owe you one.
MICHAEL
(strong)
You don't owe me anything. You owe
yourself some facing up. I'm beginning
to think there's more than just show-
boating to those stunts of yours. Ever
think maybe you've got some kind of
death wish? You know what I mean, the
coward's way out of a problem?
Kelly looks at Michael for a moment, then:
KELLY
(soft smile)
You're beginning to sound just like
Mrs. Tinto.
MICHAEL
Could be she was smarter than you
give her credit for.
KELLY
Maybe.
With that, Kelly roars off.
ANOTHER ANGLE - NIGHT - MICHAEL AND SABRINA
As Kelly drives away, they begin down one of the garden
paths.
SABRINA
I can start breathing again. I was
so afraid you were going to tell Kelly
about the letter.
(then)
How'd you know I wrote it?
MICHAEL
I didn't. But after reviewing all
the 'players' it didn't take a
psychic to see who lost the most
when Danny died.
(a beat)
Now will you tell me why you wrote
it?
SABRINA
After the accident, Kelly promised
to give up racing. I believed him
for a few months, then he started
practicing late at night. Next
thing I knew, he'd entered this
race, like he was driven by demons
-- speed demons. You don't know how
scared I was. Who else could I turn
to?
MICHAEL
Wait a minute. It sounds like you
think someone was after Kelly...and
is going to try again.
SABRINA
I know how Kelly rides. That day on
Widow's Mountain, he was different
right before the fall, like something
was wrong with his bike. I could
never prove it because Kelly had the
bike scrapped right after the race.
She begins to break down. Michael stops and turns to her.
MICHAEL
Look...I made a deal with your
brother to find out the truth of
what happened, and I don't go back
on my deals.
SABRINA
The race is less than twelve hours
away. I don't think anyone could do
much in that little time.
MICHAEL
Tell you a secret. I've got a friend
who works nights.
He gives Sabrina a smile. She tries a smile back as we:
CUT TO
EXT. K.I.T.T. - SUNRISE - ON HIGHWAY - APPROACHING KELLY'S
GARAGE
as the golden rays of the morning sun fill the highway, we
see K.I.T.T. on the road, scanner flashing.
INT. K.I.T.T.
where we see a replay of the final stages of last year's
race in painful slow motion.
K.I.T.T.
I can't imagine what you expect to
find, Michael. We've been over this
footage all night, and it's not
getting any prettier.
WIDER ANGLE - INCLUDING MICHAEL
as he stares at the monitor. It's obvious he's been up all
night.
MICHAEL
It looks to me like Kelly's doing
fine, having fun -- then he loses
control.
K.I.T.T.
Losing control is standard practice
on a steep incline.
MICHAEL
Not for someone like Kelly. There
is something wrong with his bike. I
can't seem to put my finger on it,
but...
(then)
Wait a minute. Give me an ECU on
the bike. Then step it forward
slowly.
The image on the monitor changes to an extreme magnification
of the bike, then moves forward, one frame at a time. The
dust around the bike flies, then back wheel moves -- but
the front wheel appears to remain frozen.
MICHAEL
That's what's been bothering me --
Kelly's front wheel isn't moving.
Doesn't that defy the laws of
physics?
K.I.T.T.
It does to my data banks.
MICHAEL
If something jammed the wheel, Kelly
couldn't handle the bike, no matter
how good he was.
K.I.T.T.
Quite true.
MICHAEL
So the person who tried to sabotage
Kelly's bike might just try it again.
K.I.T.T.
Michael, he may already be trying.
I'm picking up an intruder in Kelly's
garage.
MICHAEL
Let's pay him a visit, pal.
EXT. KELLY'S GARAGE - EARLY MORNING
as Michael screeches to a halt by the garage, the side
door suddenly bursts open and a helmet-clad rider on a
motorcycle zooms out. Michael does a 180 and chases after
the motorcyclist.
EXT. OAKSIDE RACEGROUNDS - EARLY MORNING
Only minutes from the garage, the motorcyclist shortcuts
directly to Widow's Mountain. Speeding across the dirt,
the bike seems to skid and almost fall a few times.
K.I.T.T. is right on its tail as they head toward the
ominous-looking mountain.
INT. K.I.T.T. - ON MICHAEL
as he continues to fight to keep the Trans Am on the
"slippery", sandy grade at the foot of the mountain.
K.I.T.T.
Michael, I'm afraid I'm not equipped
for this terrain. I have inadequate
traction....
MICHAEL
Nothing we can do about that at the
moment, buddy.
EXT. WIDOW'S MOUNTAIN - EARLY MORNING - ON THE MOTORCYCLE
as it blasts up the grade. The incline is obviously
treacherous for the bike -- it suddenly veers off, racing
parallel to the desert floor, having trouble keeping on
the dirt. K.I.T.T. follows, moving up the hill, nearly
perpendicular to the ground. Then, like the motorcycle,
K.I.T.T. veers off at an angle. Immediately, the car
begins to lose traction and slip -- and worse, to angle
precariously.
INT. K.I.T.T. - ON MICHAEL
struggling with K.I.T.T.'s controls, as the motorcycle
gains ground.
MICHAEL
Kitt, what's happening? We're
slipping....
K.I.T.T.
I told you before, Michael, losing
control is standard practice....
But before he can finish the sentence:
EXT. K.I.T.T. - EARLY MORNING
as the car angles on its side, then tumbles over. K.I.T.T.
rolls, bottom to top, falling down the mountain -- and
finally coming to a rest right side up on the desert
floor. Still, there's no movement from within and we angle
up as the motorcyclist disappears from view across the
desert, and we:
FREEZE FRAME
AND
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
EXT. WIDOW'S MOUNTAIN - EARLY MORNING - CLOSE ON K.I.T.T.
still stationery at the base of the mountain, covered with
dust.
INT. K.I.T.T. - EARLY MORNING
Michael stares straight ahead, as if afraid to move.
MICHAEL
Speak to me buddy.
K.I.T.T.
It wasn't my fault, Michael. I told
you my tires had no traction.
MICHAEL
We may as well have been going uphill
on banana peels.
K.I.T.T.
I've never been so humiliated in my
life, watching that two-wheeled
tarantula run circles around me.
MICHAEL
We'll talk to April about it, pal.
What about the 'tarantula?' Anywhere
in the vicinity?
K.I.T.T.
I'm afraid he's quite literally left
us in the dust.
Michael activates the monitor, and in a beat, Devon
appears. We intercut between them:
DEVON
Michael, is something wrong? Where
are you?
MICHAEL
Kitt and I just took a little
unexpected trip up and down Widow
Mountain. Listen, Devon, I think
somebody just tried to tamper with
Kelly's bike.
DEVON
Did you catch the culprit?
MICHAEL
No, and Kitt's pretty upset about
it. We're on our way in. Tell
April to be ready to offer Kitt a
little TLC.
DEVON
'TLC?'
As his image vanishes from the monitor, we:
CUT TO
EXT. HIGHWAY - EARLY MORNING - ANGLE ON FOUNDATION SEMI
ambling along the road, backlit by a crimson sunrise.
INT. SEMI - EARLY MORNING - CLOSE ON APRIL
kneeling beside K.I.T.T.'s tail end; high-tech tools in
hand.
APRIL
I hope this'll do the trick, Kitt.
Don't use them unless it's absolutely
necessary.
K.I.T.T.
If it'll save me from further embarass-
ment, it's necessary.
ANGLE ON MICHAEL AND DEVON
Devon's pacing, Michael drumming his fingers on the computer
module, deep in thought.
MICHAEL
At least we now know it was Kelly
someone was after last year. Danny
was an innocent victim. Now all
I've got to figure out is how that
wheel was frozen -- and who did it.
DEVON
I don't understand it. We all wanted
to win the 'Rough and Tumbles' back
in '39, but not enough to kill for
them.
MICHAEL
Somebody's obviously more desperate
than you were, Devon. Somebody who
was desperate last year, too.
DEVON
Who's under your suspicion at this
point, Michael?
MICHAEL
Well, two of the racers definitely
still hate Kelly -- Wade Fortuno and
Lee Carstairs. But I'm not sure
either one has a motive for murder.
DEVON
Carstairs was badly injured in last
year's race, and he also lost. I
doubt a murderer would include
himself in the package.
MICHAEL
And he's giving the money from this
one to charity, so the money's not
what he's after.
April approaches.
DEVON
And Fortuno?
MICHAEL
He thinks Kelly stands between him
and Sabrina. Of course, he probably
thinks I do, too.
APRIL
(teasing)
Then you'd better stay off a motorcycle
when he's around.
Michael gives her a wry look as April's attitude becomes
businesslike.
APRIL
All right, the high-traction drop-
downs are ready. But I haven't had
a chance to test them....
MICHAEL
The best test is using them, April.
And as he heads for K.I.T.T., we:
CUT TO
EXT. HIGHWAY - MORNING - ANGLE ON K.I.T.T.
cruising along briskly in the general direction of the
Oakside Racegrounds.
INT. K.I.T.T. - MORNING
Michael's lost in thought as he drives.
MICHAEL
Something about Widow's Mountain and
what Sabrina said keeps coming back
to me, Kitt.
K.I.T.T.
Rather like bad food, no doubt.
MICHAEL
I'm serious. It's the idea that
every motorcyclist has distinctive
moves. I noticed something about
that rider last night.
K.I.T.T.
How quickly he lost us, I suppose.
MICHAEL
Because we weren't ready for the
mountain. But he didn't seem too
sure of himself.
K.I.T.T.
I'm afraid I don't understand your
point.
MICHAEL
That rider was not a pro.
As the piece drops into the puzzle, he accelerates to:
EXT. KELLY'S GARAGE - MORNING - ANGLE ON K.I.T.T.
pulling up behind Kelly's van. Michael climbs out, goes
into the garage.
INT. KELLY'S GARAGE - MORNING
where we see Kelly seated by the motorcycle, making final
adjustment. He looks up as Michael enters, and grins.
MICHAEL
How's the bike?
KELLY
A-One. Somebody tried to play the
old sugar game on my tank last night.
Good thing he changed his mind.
MICHAEL
Sure is. Where's Sabrina?
KELLY
She'll be over soon. She's getting
pretty for the race. What's up?
MICHAEL
I've got to ask you a few more
questions, Kelly.
Kelly returns his attention to the bike.
MICHAEL
Just before the accident last year,
do you remember your front wheel
jamming?
KELLY
(looking up)
Don't you know it's bad luck to talk
about accidents before a race?
MICHAEL
It's worse luck having them.
KELLY
All I remember is seeing Danny go
down. And I see it over and over
again.
MICHAEL
Have you ever heard of one rider
causing another rider's wheel to
stop turning?
KELLY
Sure. You shoot a little aluminum
rod out of a CO2 air target pistol,
right into the spokes -- stops
everything cold, then disintegrates.
MICHAEL
Does that happen a lot?
KELLY
Bicycle racers did it all the time
in Europe. It's dirty, but it does
win the race. Why're you asking,
anyway? You gonna throw the race?
MICHAEL
No. And I'm going to see that
nobody else does, either.
Kelly tries to rise, fumbles -- Michael extends his hand
and Kelly lets Michael help him to his feet. He leans
against the bike, the pain in his legs obvious.
KELLY
If you don't mind, I'd like to gear
up in private. I don't do it as
easily as I used to.
Michael again offers his hand to Kelly.
MICHAEL
I'm counting on you, buddy.
Kelly shakes his hand and Michael leaves.
EXT. KELLY'S GARAGE - MORNING
Michael exits as Sabrina's climbing out of the back of the
step van. As Kelly said, she looks extra pretty for the
day's upcoming event. She smiles pleasantly at Michael.
SABRINA
I heard you inside with Kelly. I
thought I'd wait 'til you came out
before I thanked you.
MICHAEL
Thanked me? For what?
SABRINA
Chasing away the person who tried to
wreck Kelly's bike. Kelly told me
all about it.
MICHAEL
Kelly didn't know I chased anybody.
Sabrina seems flustered. She laughs nervously.
SABRINA
Well, we knew someone came to our
rescue....
Michael stops her.
MICHAEL
Why'd you do it, Sabrina?
SABRINA
I don't know what you're talking
about, Michael....
MICHAEL
Don't play games with me. What is
it you really want? First you write
to the Foundation that somebody
murdered Danny, then you tell me
that Kelly was really supposed to be
the victim, and now you try to knock
him out of the race yourself. What's
going on?
She looks away a beat, then, strongly:
SABRINA
I want my brother, alive. I begged
you to catch the murderer -- well,
you haven't. And if Kelly goes out
on that trail, he's fair game. I'm
not just going to sit by and let
somebody kill him....
MICHAEL
You're not in charge of his life,
Sabrina. He's a big boy. If this
race means so much to him, you have
no right to stop him.
SABRINA
I have the right that loving him
gives me.
KELLY'S VOICE
That's not enough, Sis.
WIDER ANGLE
As Michael and Sabrina turn to see Kelly, standing shakily
in the door to the garage. Seeing her brother, Sabrina
appears stricken.
KELLY
Michael saw through me -- I have
wanted to die. Now, I feel like
I've got something to do first --
I've got to win this race for
Danny. You can't stop me, Sabrina.
Not if you love me.
Sabrina rushes to Kelly and embraces him. He looks over at
Michael, then awkwardly strokes his sister's back.
KELLY
Hey, c'mon -- you'll ruin your
mascara. All that preparation'll
have been for nothing.
Sabrina nods, releases Kelly.
KELLY
Michael's going to keep an eye on
me. You heard him say that. And
he's got what it takes, believe me.
That guy can drive.
MICHAEL
I can even do wheelies.
Sabrina looks over at Michael, just has to smile.
SABRINA
You're both crazy.
KELLY
And I'm still not dressed.
He moves back into the garage, and Sabrina crosses to
Michael.
CLOSE ON MICHAEL AND SABRINA
She looks up at him, then down at the ground.
SABRINA
I feel like a real jerk.
Michael tilts her face up toward his.
MICHAEL
But your mascara's still in place.
He gently kisses her lips.
MICHAEL
See you at the track?
SABRINA
At the finish line.
He moves away from her, climbs into K.I.T.T. As he pulls
away, we move in on Sabrina, her concerned expression
returning.
EXT. OAKSIDE RACEGROUNDS - DAY
now in the stages of pre-race preparation.
ANGLE ON ROGER AND DARLENA
walking in the sunlight together, looking from a distance
like a contented couple. As they come closer, we hear
their discussion:
DARLENA
Roger, you're out of your polyesters
if you think I'm going to spend the
entire race at the monitor.
ROGER
It's not a matter of what I think,
my dear. It's simply in my contract.
DARLENA
Contracts were made to be burned.
ROGER
But you keep forgetting, Darlena --
you're a replacement, and I've got
seniority.
For once, Darlena doesn't have a comeback. Roger smiles
sweetly.
ROGER
So brush up on your color, sweet-
meats -- we'll all be expecting a
titillating blow-by-blow.
He walks off arrogantly.
ANGLE ON K.I.T.T.
pulling into the racegrounds, passing Darlena and heading
toward the red, white and blue CARSTAIRS! motor home.
INT. K.I.T.T. - DAY
Michael stops the car outside the colorful vehicle.
K.I.T.T.
I can't tell you how glad I'll be
when this is all over. I'm being
blinded by all this cheap metal.
MICHAEL
How come when it's a car lot, it's
the salt of the earth, and when it's
motorcycles, it's rats with the
plague?
K.I.T.T.
We all see the world the way we want
to, don't we, Michael.
MICHAEL
Maybe we do at that, Kitt.
And he climbs out, heads for Lee's motor home.
INT. LEE CARSTAIRS' MOTOR HOME - DAY - CLOSE ON LEE
He's on the telephone, slipping on his racing gear while
talking into a mobile phone.
LEE
Marty, when I win this race, and
kids see my name on their ten-
speeds, they'll know they can
ride 'em home from school over the
rooftops.
We widen to see Michael across the motor home, inspecting
some of the endorsements on the walls, while an entirely
new set of beautiful twins in CARSTAIRS! T-shirts watches
him appreciatively. Catching Michael's eye, Lee shrugs to
show how hopeless this phone call is.
LEE
I'm going to win, Marty. Trust me.
Lee hangs up the phone, shaking his head.
LEE
Carstairscycle. A great idea, huh?
MICHAEL
I get the feeling you could sell
just about anything.
LEE
Well, you can't make a living winning
races -- which is something I haven't
done lately, anyway. Believe me,
it's those endorsements that count.
MICHAEL
Lee, have you ever heard of a guy's
front wheel jamming in a race?
Lee freezes. He looks at Michael.
LEE
What do you mean?
MICHAEL
I was looking at some footage of
last year's race, and it looked like
Kelly's wheel suddenly stopped
turning.
Lee resumes dressing, but avoids Michael's gaze.
LEE
I've never heard of it, but I
suppose it could happen.
Now, Lee grabs his helmet, faces Michael with a smooth
smile.
LEE
Hey, I hate to throw you out, but
I've got to beat the crowds to the
track so I can walk the course
before the race.
MICHAEL
Sure, I understand.
Michael walks to the door, pauses before exiting.
MICHAEL
Good luck.
As he leaves, we pull in on Lee's frozen expression.
EXT. LEE CARSTAIRS' MOTOR HOME - DAY - ANGLE ON MICHAEL
as he comes down the steps, and a voice rings out:
WADE'S VOICE
Hey, stringbean -- I've got a bone
to pick with you.
Michael stops and faces Wade as he approaches, dressed in
his racing unleathers and looking mean as only a hangover
can make a man feel.
MICHAEL
Glad to see you had a chance to
sleep it off, Fortuno.
WADE
What's between Sabrina and me is
none of your business.
MICHAEL
I don't think it's any of your
business, either. She's not
interested.
WADE
She was until you came along.
MICHAEL
I doubt that.
Michael starts toward K.I.T.T. and Wade grabs his arm.
WADE
I think you need to learn some
manners, Stretch.
And Wade hauls off to punch Michael. Michael simply steps
aside and Wade's fist slams into the side of Lee's motor
home. It's a terrific impact that hurts considerably.
MICHAEL
Gee, I sure hope you can still ride
a bike with that bad hand of yours.
Wade glares at him, then hurries off and vanishes between
the trailers. Michael grins, then suddenly, from across
the grounds comes the blare of Kelly's step van's horn.
ANGLE ON KELLY
as he makes his grand entrance. Red smoke billows from his
tail pipe, blue smoke pours from each handlebar. As Kelly
pops the bike into a wheelie, Roman candle-like rockets blast
from the skid plate.
CLOSE ON MICHAEL
grinning, shaking his head at Kelly's audacity, as he
crosses to climb into K.I.T.T.
EXT. OAKSIDE RACEGROUNDS - DAY
now filled with color, life and noise -- all the excitement
of a major sporting event.
ANGLE ON THE RACETRACK
now readily visible in the broad daylight, a tortuous
assembly of moguls, mud pits, streams, and, across the long
range, partially obscured by the distance, Widow's Mountain,
tall and ominous.
ANGLE ON THE RACERS
preparing for competition, we move between the trailers and
crowd, singling out riders adjusting their racing togs,
testing their bikes, making final adjustments, psyching up
for combat.
CLOSE ON ONE RACER
whom we see only from the knees down, as gloved hands reach
down and unzip one of the leggings. Then, those same hands
appear holding a strange weapon -- a CO2 air target pistol.
A short metal bar is fed into the gun, the mechanism is
checked; then the gun is safety-ed and slipped into the
unzipped legging. The gloved hands then zip the pants up
over the gun and it appears only as a bulge visible to the
very discerning eye. The legs walk away, toward an awaiting
bike, climb on; the engine revs to life. As the bike rides
away, toward the starting line, we:
FREEZE FRAME
AND
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
EXT. OAKSIDE RACE GROUNDS - DAY - ON ROGER AND DARLENA
Behind them, we see that everything's in full swing for the
big day. Roger and Darlena (who's in a bright green
jumpsuit) stare straight ahead -- they've given up talking
to each other. The cameraman gives the "go" sign and they
turn on their plastic smiles.
ROGER
Welcome back to Talkabout. We're at
the Oakside Charity race, which is
about to begin any minute....
DARLENA
...yes, and Roger will be giving you
a blow by blow while I race myself
to the finish line to give the lucky
first-placer a great big victory kiss.
Roger looks at her for a moment, confused, then:
ROGER
Ahhh, no, Darlena, I'm scheduled to
be at the finish line.
DARLENA
Roger, do you really think these awe-
some athletes are going to want a
victory kiss from you?
ROGER
You've gone too far this time,
Webster!
CAMERAMAN
Whoa, slow down -- cut, cut!
DARLENA
Tough donuts, Floyd. It's done, and
now the whole country's expecting me
at the finish line.
She turns and walks toward the trailers.
ROGER
You're going the wrong way, bimbo-
brain.
DARLENA
I've got to change my attire. You
don't think I'm going to be seen in
this old thing.
Roger sits down again...defeated.
ROGER
(to his
cameraman)
I was doing Shakespeare before this!
EXT. STARTING LINE - DAY
as we see the racers lining up, decked out in their finest
unleathers, revving engines, checking out each other's
bikes. Lee and Kelly are in the center, vying for the
spectators' attention. Devon and April reach the starting
line, Devon watching the racers with obvious nostalgia. As
Michael approaches:
DEVON
(to April)
The equipment may have changed, but
the raw excitement remains the same.
I quite miss it.
April looks up as Michael joins them.
APRIL
You still look worried, Michael.
Maybe we should postpone the race.
MICHAEL
All I've got is a feeling, and that's
not enough to cancel all the work that's
gone into this.
DEVON
Then I think it's time to give the
officials the green light.
As Devon approaches the officials' table, Michael looks at
the racers, unevenly lined up, looking like eager bloodhounds
straining on their leashes. Kelly keeps lifting his front
wheel off the ground, making a lot of noise.
APRIL
Why's Kelly doing that?
MICHAEL
(with a smile)
It's his style, April. Getting atten-
tion. Kelly's got to do things a
little bigger than everyone else,
maybe because he feels so much
smaller inside.
APRIL
Seems like an awful lot of trouble.
MICHAEL
They call it promotion. It's the
name of the game around here. With-
out it, you're...wait a minute --
'promotion.' That just might be it.
APRIL
What do you mean?
MICHAEL
I'll talk to you later.
With that, Michael turns and hurries toward K.I.T.T.
EXT. STARTING LINE - DAY - LOW ANGLE ON RACERS
Camera starts on Kelly as he takes his place in the line,
then pans over to Lee who looks over to Kelly with a cold
stare. All the engines are screeching at a deafening pitch
as the official shoots off his starting pistol and they all
fly forward right over camera.
ANGLE - TRACK - ON LOG WALL
as the racers reach their first obstacle, a large pile of
logs. Kelly, already in the lead, flies over the logs,
managing to miss the narrow mud trench directly in front
of it. Lee is right on his tail.
Behind them, the other racers aren't so lucky, as we see
some spin out into the logs, while others make direct hits
into the mud trench.
EXT. K.I.T.T. - DAY
as Michael reaches him, then gets inside.
INT. K.I.T.T. - ANGLE ON MICHAEL
Michael immediately turns on the monitor.
K.I.T.T.
Michael, I've been watching this race
and have come to the conclusion that
there is very little difference
between motorcyclists and lemmings
jumping off cliffs.
MICHAEL
At the moment, I need your attention
on something a little less hairy. I
want you to access Lee's management
contracts.
K.I.T.T.
I hope you're not thinking of repre-
senting him. Every time I interface
with agency computers, I come away
wanting to count my circuits.
MICHAEL
I think I've found a motive, Kitt.
No wonder Carstairs pretended not to
know about CO2 guns.
With that we angle to the monitor where the contracts begin
flashing on the screen. Michael pours over them.
EXT. TRACK - DAY - ANGLE ON KELLY
as he roars over a huge mud pool, and onto open road. Lee
is right behind him. Camera pushes in as we see Lee reach
down to his unleathers and begin to unzip the legging --
but he is bumped by Wade, who falls into the mud. Lee
continues racing neck and neck with Kelly.
INT. K.I.T.T. - DAY - FAVORING MONITOR
as we hear the drone of the racing outside, Michael continues
to look through the contracts. Then:
MICHAEL
Just what I thought. Kitt, every
one of Lee's endorsement contracts
ends this year.
K.I.T.T.
I don't understand the connection.
MICHAEL
Lee told me himself he doesn't live
off the race money. The endorsements
are his bread and butter. Without
them he can't make ends meet.
K.I.T.T.
What does that have to do with this
race?
MICHAEL
Lee has to win to reestablish himself
as a champion or there's not an adver-
tiser in town who's going to need his
name or mug shot. Kelly is the only
rider equal to him. I'll bet you, Lee
got caught in his own sabotage last year.
Michael starts up K.I.T.T.
K.I.T.T.
Are you going to stop the race?
MICHAEL
That's like stopping a stampede. No,
Kitt, you and I have just become the
first four-wheel motorcycle team in
history!
EXT. K.I.T.T. - DAY
as Michael jams the Trans Am in gear and they tear toward
the starting line.
EXT. STARTING LINE - DAY - ANGLE ON K.I.T.T.
racing across the line and onto the track, to the shocked
astonishment of spectators, officials, and Channel Three
camera crew.
ANGLE ON DEVON AND APRIL
utterly shocked by Michael's actions.
ANGLE ON ROGER
sitting in his director's chair, camera in front, looking
into a monitor which shows the race in progress.
ROGER
...and it looks like there's no
separating Travis and Carstairs as
they continue to share the lead...as
they have since the beginning of the
race. Bringing up the rear are McNamer,
Adair and...a big black car.
Roger stops for a moment, then does a double take.
EXT. TRACK - FULL
as we see the very strange sight of K.I.T.T. "rough and
tumbling" it down the track, passing by some very surprised
racers. Michael is coming up to the first big obstacle:
the log wall with the mud trench behind it.
INT. K.I.T.T. - ON MICHAEL
as he's holding fast on the rocky course.
K.I.T.T.
Michael, I'm developing a modicum of
respect for these motorcycles. This
is rather hard on the frame.
MICHAEL
The bones don't have it any easier,
pal.
(then)
Looks like we've got a little challenge
coming up. I hate to do this to you.
K.I.T.T.
That's okay, Michael. It's for
charity.
EXT. K.I.T.T. - DAY - ON LOG WALL
as K.I.T.T. penetrates right through the log wall, sending
splintered wood in all directions. His speed sends him
gliding right over the narrow mud trench.
INT. K.I.T.T. - ON MICHAEL
as he settles back down.
MICHAEL
That was great, Kitt! Maybe we do
have a future as a racing team.
K.I.T.T.
Heaven forbid, Michael.
EXT. RACECOURSE - STRAIGHTAWAY - DAY
A strip of smooth roadway, as Kelly and Lee, with a
tremendous lead, burst between two trees and race onto it.
CLOSER ANGLE - LEE
With no one behind him, and a clean ride ahead, he unzips
his legging and pulls out the CO2 air target pistol.
EXT. K.I.T.T. - DAY
as Michael continues down the course, passing more racers,
reaching the giant mud pool.
INT. K.I.T.T. - DAY - FAVORING MONITOR
showing a sonar depth analysis.
K.I.T.T.
Michael, my sonar indicates that
pool is much deeper than it looks.
MICHAEL
Let's not find out how deep, Kitt.
As Michael hits the turbo button:
EXT. K.I.T.T. - DAY - LOW ANGLE - SLOW MOTION
flying all the way over the pool, the racers...landing on
the other side.
ANGLE - ROGER AND CAMERAMAN
as he continues to stare at the monitor, unable to believe
what he's seeing.
CAMERAMAN
Uh, Roger? Roger, we're on the air.
Realizing that the camera is still on him, Roger turns to
it...rather tongue-tied.
ROGER
Oh, hi...uh...it seems that a car
has sort of entered the race and is
flying over...things, so...we'll be
right back after this commercial.
EXT. COURSE - DAY - STRAIGHTAWAY
Kelly and Lee, still alone, speeding on the straightaway.
CLOSER ANGLE - LEE
Keeping the air pistol close to his side, he aims it down
at Kelly's front wheel. We can see the metal rod, with the
"flower hook" sticking out of the barrel of the gun. Kelly
is totally concentrating on his riding, and doesn't even
notice Lee's presence.
INT. K.I.T.T. - ON MICHAEL
as he drives toward trees and the straightaway beyond.
K.I.T.T.
Michael, I've picked up Lee and he's
holding some kind of weapon.
MICHAEL
Not for long.
K.I.T.T.
But the trees, Michael -- the opening
between them isn't wide enough....
MICHAEL
There's no way I'm letting that
'soap salesman' get away, Kitt.
We're a team, right? Then let's act
like one!
With that, Michael flips the left side booster switch.
EXT. STRAIGHTAWAY - BY TREES - DAY - ANGLE ON K.I.T.T.
suddenly lifting onto his two right wheels, driving between
the trees without touching a leaf.
OTHER SIDE OF TREES
as K.I.T.T. settles back on all fours, onto the straightaway.
Kelly and Lee are still some distance ahead.
ANGLE ON KELLY AND LEE
Lee's about to shoot the metal rod into Kelly's front
wheel when suddenly, K.I.T.T. seems to tear out of nowhere
at incredible speed, cutting between the two motorcycles,
just as Lee fires the pistol.
CLOSEUP - K.I.T.T.'S SIDE
as the rod bounces off and falls to the ground.
ANGLE ON KELLY
turning and noticing K.I.T.T. for the first time. At first
he's surprised, then, with a smile, he gives Michael a
thumbs up and accelerates forward off the straightaway.
ANGLE ON LEE
as he drops his gun, now angles away from Kelly, hoping to
shake the pursuing car.
WIDER ANGLE
as K.I.T.T. drives parallel to Lee and Michael pops the
sunroof. Michael stands on the driver's seat and reaching
out, pulls the renegade racer off his bike and into the
car. Lee's bike continues on its own for a few feet, then
crashes to the ground.
INT. K.I.T.T. - ON MICHAEL AND LEE
as Michael slams Lee over to the passenger side. As they
struggle:
MICHAEL
Give me a hand, Kitt.
K.I.T.T. drops the sunroof down, hitting Lee on the head
and knocking him out. He slumps down peacefully in the
passenger seat.
MICHAEL
Thank you. I couldn't have done it
better myself.
(then)
Looks like Kelly's home free now.
K.I.T.T.
Not unless his home's at the foot of
the mountain. Michael, my scanner
shows that Kelly has stopped his
bike.
MICHAEL
He's lost his nerve, Kitt.
K.I.T.T.
He's also losing his lead. I'm
detecting four racers less than a
hundred yards behind Kelly.
MICHAEL
Come on, let's give him a little
boost.
EXT. FOOT OF WIDOW'S MOUNTAIN - DAY
as we see Kelly, sitting on his bike, staring up at the
mountain...terrified. Michael races over to him, then
stops. Kelly talks, never taking his eyes off the mountain.
MICHAEL
You've got to get up that mountain.
You've got to win.
KELLY
I can't go up there.
MICHAEL
Kelly, listen to me. What happened
last year wasn't your fault. Lee
shot a rod into your front wheel to
make you fall. And there's no way
he's going to do it this time.
K.I.T.T.
Michael, the other racers are only
fifty yards behind now.
KELLY
I'm sorry, but without Danny, I just
feel too alone going up there.
MICHAEL
You won't be alone, Kelly. I'm
going with you.
Kelly looks over to him for the first time and smiles,
gives Michael the thumbs-up sign. Michael returns the sign
as, with determination, Kelly revvs his bike and begins up
the treacherous mountain.
INT. K.I.T.T. - ON MICHAEL
as he also starts up the mountain.
MICHAEL
Okay Kitt, let's see just what those
drop-down high-traction wheels can
do.
K.I.T.T.
I thought you'd never make the
suggestion, Michael.
EXT. K.I.T.T. - DAY - ANGLE ON BACK WHEELS
as large, high-traction wheels drop down, covering the
standard wheels which then retract up into K.I.T.T.'s
shell. As Michael accelerates, we see them spin for a
beat, then catch the dirt, push the Trans Am up the
mountain with surging power.
EXT. WIDOW'S MOUNTAIN - DAY
as K.I.T.T. overtakes Kelly and, side by side, car and
motorcycle tear up the steep slope.
EXT. TOP OF MOUNTAIN - DAY
as Danny on his bike and Michael in K.I.T.T. come over the
crest, and fly down the other side toward the finish line.
EXT. FINISH LINE - DAY
where a finish banner flips in the breeze. Sabrina is
nearby, waiting anxiously. Darlena is at the finish line,
wearing a rainbow colored jumpsuit, and yet another
hairdo. She is yelling at a remote cameraman.
DARLENA
This is my show, buster, so don't
tell me what to do. I want to be
right at the line so that I can be
the first to see the winner.
ANOTHER ANGLE
Devon and April join Sabrina, as the crowd cheers. Kelly
glides across the finish line, followed immediately by
K.I.T.T. Darlena tries to get to Kelly, but he's already
surrounded by Sabrina, Devon, April and a horde of well-
wishers. Without warning, four other bikes roar across the
line spewing mud...and covering Darlena's new jumpsuit and
hairdo. All she can do is look around in shock.
ROGER
at the base camp watching the "attack" on Darlena on his
monitor. He smiles, then to camera:
ROGER
Let's see that on instant replay.
TOP OF MOUNTAIN - FULL
as Michael comes out, and runs to Kelly. He gives him a
brotherly hug.
MICHAEL
You did it, kid!
KELLY
No -- we did it.
Camera cranes up and over as we:
FREEZE FRAME
AND
FADE OUT
END OF ACT FOUR
TAG
FADE IN
EXT. ENDURO RACETRACK GROUNDS - DAY - CLOSE ON RACE BANNER
as two race officials take it down, then widen to see the
surrounding area, which is now almost completely cleared.
Devon and April are talking to Michael -- K.I.T.T.'s behind
them.
DEVON
Well, Michael, the race was a complete
success. The proceeds far exceeded our
expectations.
MICHAEL
That's great. I guess our little
last minute entry didn't hurt.
APRIL
No, in fact, I've had dozens of
calls from promoters begging for
Kitt's services.
MICHAEL
Don't tell him that -- it'll go to
his head.
Devon walks away as Kelly's step van drives up and the back
doors pop open. Seeing this:
APRIL
Oh, no, not again.
This time, though, when Kelly rolls down the ramp, it's in
a motorized wheelchair, small red and blue "smokers" attached
to the armrests. He skids up to Michael, grinning. He holds
his custom helmet in his lap. Sabrina smiles from the
driver's seat.
SABRINA
Pretty sharp, huh? Once he masters
the wheelies, he's all set.
Kelly hands his helmet to Michael.
KELLY
I want you to have this. I decided
that when I'm walking again, I'll
give up racing...find something else
to put my energies into.
MICHAEL
Whatever it is, I hope it can stand
you. That's a lot of energy.
Sabrina smiles as Devon now returns walking a small, digni-
fied Honda 250 motorcycle. On the seat are a jacket, gloves
and helmet. He smiles proudly as he dons jacket and gloves.
DEVON
I've decided to dust off 'Dusty Miles'
one more time, and take a spin. I'll
see you back at the Foundation.
He puts on the helmet, climbs onto the bike...and to every-
one's amazement, rides out of the race grounds. Michael
shrugs, climbs into K.I.T.T. and follows Devon toward the
highway.
INT. K.I.T.T. - DAY - ANGLE ON MICHAEL
as they move in behind Devon, who's riding cautiously.
K.I.T.T.
Honestly, Michael, the fact that
Devon would choose that two-wheeled
can opener over the comfort of an
automobile is immensely insulting.
MICHAEL
You may have a point there.
Michael looks out at Devon, and a mischievous smile crosses
his face.
MICHAEL
In fact, I think we should demonstrate
the superiority of a four-wheeled
machine.
K.I.T.T.
Michael, you wouldn't....
As Michael reaches for turbo boost....
EXT. HIGHWAY - DAY - ANGLE ON K.I.T.T. AND DEVON
Just as the car's about to lift off the road, we:
FREEZE FRAME
AND
FADE OUT
THE END
