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, Danny's fiancee.
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
(to Kelly
and Danny)
Come on, get your buns and bikes out
there before they start without you.
(to camera)
Can you say 'buns' on television?
She tosses Danny the towel.
INTERVIEWER'S VOICE
Kelly, there's been a lot of criticism
that you've been hot dogging lately.
KELLY
They call it hot dogging...I call it
having an edge. I take chances --
how else're you going to win against
guys like this? They're good.
DANNY
The best.
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.
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, and bodies 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 a television monitor.
DEVON
Several riders ended up in the hospital,
Michael. And 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. And there's no way to
trace it. But if there's even an
outside chance the accident was
planned...we have our work cut out
for us.
APRIL
He means you do.
DEVON
Yes. Particularly since there's an
inference the killer might strike
again.
APRIL
I've programmed Kitt with details of
the race and its participants. You
can review everything on your way to
the Oakside Racecourse.
Michael thoughtfully folds the letter, hands it to Devon.
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 Invitationals.
MICHAEL
What d'you know. Devon, somehow it's
hard to picture you in racing gear,
burning rubber and eating dirt.
DEVON
Is that so? I'll have you know that
'Dusty Miles' was a well-known fixture
at events all over the British Isles....
MICHAEL
Dusty Miles?!
DEVON
(snapping out
of his reverie)
Several of the riders from last year
are competing in this race, Michael.
I want you to find out if there's a
murderer among them, Michael.
APRIL
And make sure he doesn't strike again.
As Michael reacts, heads for the door.
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 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 dirt is more like it. If you
want air, you can simply open a window
without getting half the roadway in
your face.
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:
EXT. OAKSIDE RACECOURSE - DAY - HIGH ANGLE
as K.I.T.T. drives into the area, moving toward the course
itself, where last minute adjustments are being made,
some racers are "walking the course," others amuse them-
selves with bike hijinks. K.I.T.T. passes a group of
trailers and a small television news van with CHANNEL THREE
written on the side.
CLOSER ANGLE - K.I.T.T.
scanner flashing, stopping near the start/finish line, over
which is hung a large banner proclaiming: OAKSIDE CHARITY
RACE.
INT. K.I.T.T. - DAY - FAVORING MONITOR
MICHAEL
Let's have a look, pal.
He punches a button and 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, and numerous 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
There's a guy walking the track with
the name Fortuno on his jacket.
K.I.T.T.
A Wade Fortuno was involved in that big
accident, Michael.
MICHAEL
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:
OMITTED
EXT. TELEVISION VAN - DAY
where two "cohosts" sit 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 the
cameraman cues them and they talk into camera:
ROGER
Hi, this is Roger Floyd....
DARLENA
...and Darlena Webster....
ROGER
...inviting you to 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 event.
It'll be a frantic race over this
incredibly tough track...not an
Enduro, not a motocross....
DARLENA
I guess you could call it a quasi-
moto-cross.
ROGER
(a look)
I had a hunch you'd say that.
(to camera)
We'll be back after this word.
They give each other shallow smiles as the cameraman gives
the "cut" sign and lowers his camera. Roger immediately
loses his smile and glares at his "cohost."
ROGER
And what was that quasi-moto business?
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
Look. I'm trying to be civil....
DARLENA
Why bother, Roger? It doesn't
become you.
ROGER
But it didn't make sense.
DARLENA
Funny is funny, Roger.
ROGER
I give up....
He rockets out of his chair and storms away. She moves off
in the other direction.
CAMERAMAN
Hey, wait. Who's going to do the
commercial tag?
Darlene smiles evilly.
ANGLE ON MICHAEL
Michael approaches Wade Fortuno as he checks over his bike.
MICHAEL
Hi. Name's Michael Knight.
WADE
Good for you.
He continues working.
MICHAEL
I'm with one of the sponsors of the
race. I'll be keeping an eye on
security.
WADE
What's that supposed to mean?
MICHAEL
Among other things, some questions
have come up about that accident.
WADE
Last June? That's old news, man.
MICHAEL
Maybe to you, but I'm still learning.
LEE'S VOICE
Tell him how you caused the
accident, greasy gears.
We widen as Lee Carstairs approaches with beautiful twins
on each arm wearing 'Carstairs' T-shirts.
LEE
(to Michael)
Wade Fortuno. They call him the
Trickster. Know why? 'Cause he
knows every dirty trick in the book
and uses 'em all on the course.
WADE
Soak your head, Carstairs.
LEE
He has a way with words, doesn't
he girls?
He moves off with the twins.
MICHAEL
(dry; to Wade)
It's been a real pleasure talking
to you.
Michael heads for K.I.T.T. as Wade looks after him.
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
Yeah. Looks like there's a lot of
unfinished business floating around.
CLOSE ANGLE - LEE
Camera pulls back as:
LEE
Sure it's ridiculous, but it brings
in the bucks.
The girls still beam up at him as we now see Michael standing
with Lee in his flashy motor home. The walls are papered
with Lee's endorsements -- product ads, more T-shirts,
posters, public service campaigns, etc.
MICHAEL
I've seen you race. I don't know how
you do it, year after year.
LEE
Clean living.
Michael moves to look at a poster.
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, what do you know about that acci-
dent a few months ago. What do you
think caused it?
Lee nods to the twins, who take the signal and leave.
LEE
Not a what -- a who.
MICHAEL
Wade?
LEE
No. A clown named Kelly Travis who
was busy hot dogging his way up the
mountain.
(beat)
Y'know what gets me? These show-
boaters're the ones who get the dolls
and electronic games named after 'em.
That's where the big bucks are.
MICHAEL
I thought Kelly was a friend of Danny
Duvall.
LEE
Hey, when you're competing, and you ride
like Kelly, anything goes. But take it
from me -- 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 move to
the door, and exit.
ANGLE ON A STEP VAN
as its back doors spring open and a silver and red-clad
figure on a motorcycle flies out, trailing colored smoke,
hits the dirt, pops a wheelie, 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 you'll just
be kicking over when I'm waving at
you from the top of Widow's Mountain!
With that, he pops another wheelie and sails 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 RENTED 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 a couple of 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 positively outrageous.
MICHAEL
Maybe now you'll appreciate me that
much more.
He pats K.I.T.T. and heads toward Kelly's garage.
INT. GARAGE
as Michael comes in. The place is empty, except for the
usual equipment and supplies, and a couple of bikes
someone's been working on. Michael looks around. Suddenly:
SABRINA'S VOICE
Who are you?
NEW ANGLE
to reveal her in mechanic's coveralls, with a becoming
smudge of grease on her cheek.
MICHAEL
Hi, Sabrina.
SABRINA
I don't know you.
MICHAEL
Michael Knight. I work for F.L.A.G.
The Foundation for Law and Government.
She wipes her hands on a rag, they shake. He holds her
hand for a moment.
SABRINA
(a smile)
I'm glad to meet one of our sponsors.
But you could've knocked.
MICHAEL
I did.
She begins working on one of the bikes.
MICHAEL
Lot of work, racing bikes.
SABRINA
Lot of work, lot of time -- lot of
commitment...why are you here?
MICHAEL
Actually, I was looking for Kelly.
SABRINA
(a little tight)
What is it you want?
MICHAEL
Just to talk.
SABRINA
About what?
MICHAEL
Danny Duvall.
She stops working for a moment.
SABRINA
Danny's dead. There's nothing to
talk about.
MICHAEL
I know you were all friends. I'm
sorry.
SABRINA
Danny and I were engaged. No one's
sorrier than I am.
MICHAEL
I was hoping you could help me
understand what happened that day.
SABRINA
Why? What right do you have to be
bothering us?
MICHAEL
We received an anonymous letter that
said Danny's death wasn't an accident.
SABRINA
That's ridiculous.
MICHAEL
Does Kelly think so?
SABRINA
Leave him out of this!
MICHAEL
I've seen him ride. I'd say he can
take care of himself. At least when
he's on his bike. Do you know where
he is?
She hesitates, then:
SABRINA
He's out on the highway someplace.
She returns to her work.
MICHAEL
Thanks.
He turns and exits. She watches him go.
OMITTED
EXT. HIGHWAY - DAY - K.I.T.T.
tooling along briskly.
INT. K.I.T.T. - MICHAEL
keeping his eyes peeled.
K.I.T.T.
Michael, I'm picking up a truck and
two compact cars, but no motorcycles.
MICHAEL
He's out here somewhere.
EXT. HIGHWAY - DAY - ANGLE ON KELLY
popping wheelies and sidewinding the entire length of the
road. K.I.T.T. appears 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 Michael roars past Kelly, then about twenty feet in front
of him, pulls the car to a stop, 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, hot shot?
KELLY
I thought it was pretty cool.
MICHAEL
Well, it wasn't, and neither are you.
Get up!
Kelly just continues to laugh, as if goading Michael.
MICHAEL
Are you getting up, or am I going to
have to pull you up?
Kelly looks at him a moment, as his laughter turns dark.
KELLY
Guess you're going to have to pull me
up, partner, 'cause I can't make it
alone. Haven't been able to...ever
since that accident on the mountain.
CLOSE ON MICHAEL
as he reacts to the news, stunned.
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
INT. K.I.T.T. - DAY - ON HIGHWAY
as they drive towards the hotel. Kelly's as calm as
we've ever seen him.
KELLY
I don't know anything about a letter,
but whoever sent it was right. Some-
body did kill Danny. Me.
MICHAEL
You were friends.
KELLY
I wanted to win. I was careless....
MICHAEL
What if you didn't kill him?
Kelly reacts, looks out the window for a moment, then:
KELLY
My third grade teacher, used to yell
at me for leaning back in my chair.
But I'd do it anyway, you know,
showing off. I've been tilting that
chair back ever since...that day, 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.
As Kelly nods his agreement, K.I.T.T. chimes in.
K.I.T.T.
Michael, this situation is deplorable.
Kindly unhitch me immediately.
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 -- he's been towing
Kelly's bike.
CUT TO
OMITTED
EXT. OAKSIDE HOTEL - DAY - ON ROGER AND DARLENA
Racing personnel in party attire pass behind the cohosts,
heading into the hotel. Roger waits impatiently for
Darlena, now in a baby blue jumpsuit, to touch up her
hairdo.
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
Ladies and gentlemen, we're rolling.
With that, the cohosts slip into the sugary relationship
with their audiences know and love as Lee Carstairs
approaches with two new twins.
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 friend, 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 dance
floor which is crowded with race people rocking out to
piped-in music. Lee is in evidence with his two girls, as
are Roger and Darlena, socializing.
ANGLE ON SABRINA TRAVIS
standing by the buffet table, obviously not wanting to be
there. It doesn't help that standing in front of her is
Wade Fortuno, dressed in designer jeans and windbreaker.
He has a drink in his hand. It's not his first.
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 slips an arm around her, Michael suddenly appears
dressed in sports clothes.
MICHAEL
I don't think she's going to ever
get that chance. But right now, 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.
MICHAEL
(quietly)
Don't.
Changing his mind, Wade gives him a strong look, and moves
away.
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...but before she can
respond, we hear a roar from the entrance.
FULL
as we see Kelly, dressed handsomely, on one of his smaller
motorcycles. He rides into the room and people move out of
his way as he rides right out onto the center of the dance
floor.
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 seem to enjoy
the prank, except for Wade who comes forward and grabs
Kelly's handlebars, stopping him.
WADE
Go home, Kel -- you're breaking up
the party.
KELLY
I hear you been nosing around my sis-
ter again. I'm gonna be breaking you
up on that hill tomorrow!
He shakes Wade's hand off the handlebars, starts "dancing"
again. Wade's getting angry.
WADE
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. Then, Kelly
lunges off the bike, grabbing Wade, and the two men fall to
the dance floor as people cry out and duck out of the way.
SABRINA
Kelly, no!
Michael pushes his way through the crowd surrounding the
dance floor, gets between the two men, helps Kelly get
up, supports him. Wade moves after him and Lee stops him.
LEE
Cool down, friend. Save it for the
course, man.
Wade straightens himself, walks away. Michael can see that
Kelly's unable to gain his footing.
MICHAEL
(to Kelly)
Had a little too much 'celebrating,'
huh?
Still supporting him, Michael moves Kelly away from the
dance floor. Sabrina grabs the downed bike and walks it
behind them.
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 lets go of Michael and jumps to his bike, which
Sabrina relinquishes.
SABRINA
You okay, Kel?
KELLY
It hurts, like when Danny's bike hit
me. It's my body's way of remem-
bering what I did to him.
(to Michael)
Thanks for covering back there. I
owe you one.
MICHAEL
You don't owe me anything. You just
have to stop looking for trouble.
Kelly looks at Michael for a moment, then:
KELLY
You're beginning to sound just like
my teacher.
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 walk together.
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)
Why'd you write it?
SABRINA
After the accident, Kelly promised to
give up racing. I believed him for a
while 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 that something
would happen to him again this year....
MICHAEL
It sounds like you think someone was
after Kelly that day.
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 promise to find out
the truth about what happened, and I
don't go back on my promises.
SABRINA
Michael, 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 overtime.
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 glances at the monitor.
MICHAEL
It looks to me like Kelly's doing
fine, having fun -- then he loses
control.
K.I.T.T.
Isn't losing control par for the
course 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)
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.
(beat)
Michael, I'm picking up an intruder
in Kelly's garage.
MICHAEL
Let's do a little intruding of our
own, Kitt.
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 it 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. K.I.T.T. follows, moving
nearly parallel to the ground. 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, we're slipping....
K.I.T.T.
I told you, Michael, I'm not
equipped....
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. Still, there's
no movement from within and we angle up as the motorcyclist
disappears from view, 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.
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.
I've never been so humiliated in my
life, watching that two-wheeled
tarantula run circles around me. I
told you my tires had no traction.
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 in the semi. 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's
Mountain. Listen, Devon, I think
somebody just tried to tamper with
Kelly's bike.
DEVON
You were unable to catch him?
MICHAEL
Yeah, 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
next to K.I.T.T., high-tech tools in hand. K.I.T.T.'s
raised up.
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.
She reaches into the dash, pushes a button. K.I.T.T.
lowers.
ANGLE ON MICHAEL AND DEVON
Devon's pacing, Michael drumming his fingers on the computer
module, deep in thought.
MICHAEL
I've got a feeling the murderer was
after Kelly last year, and 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,' 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 do you suspect 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
June's race. 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 approaches.
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.
I'd rather we forget the whole inci-
dent.
MICHAEL
Well, we can't. It's the idea that
every motorcyclist has distinctive
moves. I noticed something about
that rider this morning.
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 at the motorcycle, making final adjust-
ments. He looks up as Michael enters, and grins.
MICHAEL
How's the bike?
KELLY
A-One. Somebody tried to play the
old sweetening game on my tank last
night -- Feeding sugar into the gas
tank to foul up the engine. Good
thing I checked it out.
MICHAEL
Sure is. Where's Sabrina?
KELLY
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 June,
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
How could one rider cause another
rider's wheel to stop turning?
KELLY
Easy. 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 do it some times in
Europe. Why're you asking, anyway?
You gonna throw the race?
MICHAEL
No. And I'm going to see that
nobody else does, either.
Kelly moves away, limping, stumbles. Michael extends his
hand and Kelly lets Michael help him. He leans against a
work bench, 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.
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. She smiles pleasantly at Michael.
SABRINA
I figured you were 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 suggest
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 fair, 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
I've got to win this race for
Danny. You can't stop me, Sabrina.
Not if you love me.
Sabrina hesitates, moves to Kelly and embraces him. He
looks over at Michael, then awkwardly strokes his sister's
hair, then turns and goes inside.
MICHAEL
(a beat)
See you at the track?
SABRINA
At the finish line.
He moves off, climbs into K.I.T.T. As he pulls away, we
move in on Sabrina, her concerned expression returning.
OMITTED
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 to a stop near the red, white and blue CARSTAIRS!
motor home. As Michael climbs out:
OMITTED
EXT. LEE CARSTAIRS' MOTOR HOME - DAY - ANGLE ON LEE
as he comes down the steps, in racing gear, a third set of
twins with him. He spots Michael.
LEE
How's the security business, Knight?
MICHAEL
Alive and well. How's the racing
business?
LEE
Just talked to my agent. Got a new
promotion. Carstairs cycle. Great
idea, huh?
MICHAEL
I get the feeling you could sell
just about anything.
LEE
Well, you can't make a living just
winning races. Believe me, it's
those endorsements that count.
Well, I'll see you. I've got to
beat the crowds to the track so I
can walk the course before the race.
MICHAEL
Good luck.
Lee and the girls move off.
WADE'S VOICE
Hey, stringbean -- I've got a bone
to pick with you.
Michael 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, 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. Wade's nearby, ready for action.
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 Wade, and to Lee, who glances coldly at
Kelly. All the engines screech at a deafening pitch as the
official fires 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.
OMITTED
INT. K.I.T.T. - ANGLE ON MICHAEL
as Michael slides in and 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.
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's bumped by Wade, who wipes out 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 pours
over 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
taking off, tearing 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 astounded 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,
Hart 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 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, gliding 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 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 over the water and 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. Kelly's concentrating on his
riding, 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
aiming a weapon at Kelly.
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' kill again. 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, then swerves toward
him, forcing Lee off the path.
ANGLE ON LEE
suddenly realizing he's headed directly toward a large pool
of water. Lee leaps off the bike, rolls across the dirt as
the motorcycle flies into the pool.
CLOSE ON THE BIKE
disappearing beneath the surface of the water.
CLOSE ON LEE
slamming his fist against the ground, clearly foiled.
INT. K.I.T.T. - ON MICHAEL
as Michael grins out at the fallen Lee.
MICHAEL
Carstairs'll be out of commission
without his bike. It's a long walk
back.
K.I.T.T.
Michael, my scanner shows that Kelly
has stopped at the foot of Widow's
Mountain.
MICHAEL
He must've 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.
With determination, Kelly revvs his bike and begins up
the treacherous mountain.
INT. K.I.T.T. - ON MICHAEL
Michael reaches for a newly installed button marked DDHT.
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 Kelly 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
