ACT ONE
FADE IN
CLOSEUP - TABLE - DAY
as a hand-held "documentary style" camera scans the table's
contents -- an almost ceremonial arrangement of parapher-
nalia -- gloves, chest pads, shin guards, heavy leather
boots, and a streamlined custom helmet -- all color
coordinated (to stock). 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 #1 - DAY - ON KELLY TRAVIS
early twenties, blond, all-American with a boyish, friendly
face and the body of an athlete. He wears skin-tight
"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 to match stock, 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.
SABRINA
(to Kelly and
Danny)
C'mon, get your buns and bikes out
there before they start without you.
(to camera)
Is it okay to say 'buns' on tele-
vision?
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 these guys eat?
Their stomachs are going to end up in
the Smithsonian Institute.
She tosses Danny the towel.
INTERVIEWER'S VOICE
Kelly, there's been a lot of criticism
that you've been hot dogging lately.
KELLY
You 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 out-
side 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
implication 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
You're right. I don't believe it.
DEVON
When I was a boy, I made quite a
name for myself at the Tourist
Trophy Races in England.
MICHAEL
Devon, somehow it's hard to picture
you in racing gear, burning rubber
and eating dirt.
DEVON
I'll have you know I was an enthu-
siastic competitor at many a 'rough
and tumble.' They were really most
invigorating...
(snapping out
of his reverie)
Several of the riders from last June
are competing in this race. I want
you to find out if there's a murderer
among them, Michael.
As Michael heads for the door:
MICHAEL
And is there is, make sure he doesn't
strike again.
And he's gone.
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
(teasing)
It's a great feeling -- the country-
side flying by around you, the wind
in your hair....
K.I.T.T.
Dust and dirt is more like it. If you
want wind, 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 broom-
sticks 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 themselves
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 get an overview of the track,
Kitt.
Where 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 Fontaine on his jacket.
K.I.T.T.
A Wade Fontaine 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
That's right, Roger. I guess you could
call it a quasi-motocross.
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
What was that 'Quasimoto' 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
I'm known for my wit, Darlena.
DARLENA
Then you should recognize a good line
when you hear one.
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
Roger, wait. Who's going to do the
commercial tag?
Darlene smiles evilly.
ANGLE ON K.I.T.T.
as Roger burns toward the car, almost collides with it. To
vent his anger, Roger kicks poor K.I.T.T. in the bumper.
K.I.T.T.
I don't criticize your telecasts --
please don't castigate my chassis.
Roger freezes, looks around to see who spoke. His eyes fall
on the empty car -- he can't believe it spoke. He moves
slowly away, glances back once, then doubles his speed.
ANGLE ON MICHAEL
Michael approaches Wade Fontaine who's now checking over
his bike.
MICHAEL
Wade? Name's Michael Knight.
WADE
Good for you.
He continues working.
MICHAEL
I'm with one of the race's sponsors.
I'll be keeping an eye on security.
WADE
So?
MICHAEL
Some questions have come up about
the accident last June.
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,
Fontaine.
We widen as Lee Carstairs approaches with a beautiful twin
on each arm wearing 'Carstairs' T-shirts.
LEE
(to Michael)
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.
INT. CARSTAIRS MOTOR HOME - DAY - CLOSE ANGLE - LEE
Camera pulls back as:
LEE
Sure it's ridiculous, but it brings
in the bucks.
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 indicates one poster on the wall.
MICHAEL
I guess your posters have smiled off
more walls than Uncle Sam's.
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 think caused that
accident last June?
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. And
that's why I say promotion's everything.
MICHAEL
Kelly Travis and Danny Duvall were
supposed to have been best friends.
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 lazy motor-
bikes. It's positively outrageous!
MICHAEL
Maybe now you'll appreciate me that
much more, pal.
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 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.
SABRINA
...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.
ANGLE ON SIDE ROAD
as a tractor trailer pulls out, has a problem negotiating
the turn.
INT. TRANS AM
Michael reacts.
MICHAEL
Kitt, you forgot to mention a
tractor-trailer.
K.I.T.T.
He wasn't there before!
MICHAEL
He is now, pal.
He pushes turbo-boost.
ANGLE - TRANS AM
as it clears the tractor trailer.
INT. TRANS AM
as Michael and K.I.T.T. land. Michael glances back.
MICHAEL
That's one for you, pal. Couldn't have
done that on a motorcycle.
K.I.T.T.
As you'd say... 'a piece of cake....'
As Michael reacts.
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, big 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 garage. Kelly's as calm as
we've ever seen him.
MICHAEL
How can you ride when it's so
painful to even stand?
KELLY
When I'm on the bike, the pressure's
not on my legs.
MICHAEL
Isn't there some kind of surgery
that can help you?
KELLY
Sure, if I want to take two years
out of my life. Stay away from
racing that long, you might as well
hang it up.
(beat, then)
Anyway these legs are the price I'm
paying for killing the best friend I
ever had.
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
Make a deal with you. Cool the
hotdogging and I'll try to find out
exactly 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.
I feel like a common beast of burden.
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 K.I.T.T.
Pulling to a stop in front of the Hotel we angle with
Michael as he climbs out, crosses toward the hotel with
other racing personnel in party attire. As Michael enters,
we hold on Roger, Darlena and their cameraman. 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
that their audiences know and love as Lee Carstairs
approaches with two new twins.
ROGER
(to camera)
Welcome back to Talkabout. This is
Roger Floyd....
DARLENA
...And Darlena Webster....
ROGER
And we're talking to you from the
Oakside prerace party. Look Darlena,
here comes my very good friend,
Lee Carstairs. Lee, 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.
ANGLE WITH ROGER
as he approaches K.I.T.T., fuming. Recognizing the car,
he hesitates.
K.I.T.T.
It's most disconcerting when a
partner treats you with less than
respect.
ROGER
You can talk. I'm not losing my
mind.
K.I.T.T.
No, but I suspect you may if you
continue your ill-fated relation-
ship with Miss Webster.
ROGER
Do you think I chose that female flake
in a flak-suit? Do I have my say in
anything? Of course not! I just get
up there every night in front of
millions of viewers and make a fool
of myself.
Suddenly Roger stops. He looks at the car.
ROGER
I don't believe this. I'm telling
my life story to a car.
He quickly hurries away, praying nobody's seen him.
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 Fontaine, 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 because if you don't
get some air and dry out, we're going
to have to pour you onto your bike
tomorrow.
Wade starts to make a move at Michael.
MICHAEL
Don't....
Changing his mind, Wade gives Michael 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, Travis -- you're breaking up
the party.
KELLY
You've been hanging around my sister
again. Lay off, Wade, or 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, man. Save it for the
course.
Wade straightens himself, walks away. Michael can see that
Kelly's having difficulty standing.
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, Kelly?
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. It's what
you owe yourself. Like not trying to
punish yourself so much.
Kelly looks at Michael for a moment, then:
KELLY
You're beginning to sound just like
my third grade 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
I wrote the letter.
(then)
How'd you know?
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
awhile. 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 time....
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 some
friends who work nights.
He gives Sabrina a smile. She tries a smile back as we:
CUT TO
EXT. HIGHWAY - DAY - ON FOUNDATION SEMI
moving steadily through the darkness.
INT. FOUNDATION SEMI - DAY - ON K.I.T.T.'S MONITOR
where we see a replay of the final stages of last year's
race in painful slow motion.
K.I.T.T.'S VOICE
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.
We widen to see that Michael's inside K.I.T.T., looking
intensely at the monitor. The driver's door is ajar.
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. Kitt,
I've seen him ride with a physical
handicap and he handles that bike
like an ace. Without that handicap,
nothing could've shaken him.
(beat)
There is something wrong with his
bike. I can't seem to put my finger
on it, but....
April approaches the open door, looks in as Michael runs
back the tape.
APRIL
Michael, it's morning. Why don't you
sleep on it -- get a fresh start.
MICHAEL
The answer's right there in front of
me, I can't quit now....
APRIL
Maybe it'll look different if you get
some rest.
Michael looks up at her suddenly.
MICHAEL
That's a good idea, April -- I need
a new way of looking at it.
(to K.I.T.T.)
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.
Michael fires up K.I.T.T.'s engine.
APRIL
Where are you going?
MICHAEL
To make sure Kelly's bike is all right
this time.
APRIL
But what about sleep?
MICHAEL
I left it at the races.
EXT. FOUNDATION - SEMI - DAY - ON HIGHWAY
awash with pale morning light as K.I.T.T. drives down the ramp,
hits the highway, does a 180 and speeds toward Kelly's garage.
OMITTED
EXT. KELLY'S GARAGE - MORNING
We see the garage door open, hear muted noises from inside.
EXT. K.I.T.T.
approaching Kelly's garage.
INT. K.I.T.T.
K.I.T.T.
(beat)
Michael, I'm picking up an intruder
inside Kelly's garage.
MICHAEL
Let's do a little intruding of our own.
INT. KELLY'S GARAGE - DAY - ON SHADOWY FIGURE
moving through the darkness, helmet-clad and slight, now
leaning over to take off the bike's gas cap. Suddenly,
hearing the approaching roar of K.I.T.T.'s engine, the
figure looks up, dropping the cap.
EXT. KELLY'S GARAGE - DAY - ON K.I.T.T.
Easing to a stop by the garage, Michael gets out, approaches
the garage as the helmet-clad rider zooms out past him on a
second motorcycle.
ANGLE ON MICHAEL
reacting, racing toward K.I.T.T. He gets in.
MICHAEL
Looks like we're not the only ones
interested in Kelly's bike. Let's
get him, Kitt!
ON K.I.T.T.
squealing away from the garage, in pursuit of the myster-
ious figure.
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 treach-
erous 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, finishing an
adjustment to his wheels. 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
Michael's pacing, Devon's drumming his fingers on the com-
puter module, deep in thought.
MICHAEL
I've got a feeling the murderer was
after Kelly last June, 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 June, too.
DEVON
Who do you suspect at this point?
MICHAEL
Well, two of the racers still hate
Kelly -- Wade Fontaine 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 Fontaine?
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
Now it's A-one. But somebody tried
to play the old sweetening game on
my tank -- feeding sugar into the gas
line 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.
Kelly returns his attention to the bike.
KELLY
What's up?
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 sometimes in
Europe. Why're you asking, anyway?
You gonna sabotage 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 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 race course, 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
back.
KELLY
Hey, c'mon. You'll ruin your mascara.
Sabrina nods and moves back. Kelly smiles at Michael and
goes back into the garage. Michael turns to Sabrina.
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.
Upset, Darlena storms off.
ANGLE ON K.I.T.T.
pulling to a stop. As Michael climbs out, starts off.
ANGLE ON CAMERAMAN
as he joins Roger, craning after Darlena.
CAMERAMAN
Boy, what's eating Darlena? She gave
me a look that made my watch stop.
Roger has spotted K.I.T.T. He takes the Cameraman's arm
and in a very chummy manner, walks him toward the Trans Am.
ROGER
We're going to scoop that tinseled
termagent once and for all, you and
I. Meet the eighth wonder of the
world!
They now stand before K.I.T.T. as Roger indicates the car.
The Cameraman looks at K.I.T.T., then at Roger.
CAMERAMAN
The discovery of the car occured
some years ago, Roger.
ROGER
Yes, but this car talks.
He approaches K.I.T.T. like an old friend.
ROGER
Say a few words to my Cameraman.
K.I.T.T. says nothing.
CAMERAMAN
Guess it's not in a talkative mood.
ROGER
(desperate)
C'mon, metalhead, say something.
No response from K.I.T.T. Cameraman looks sadly at Roger,
shakes his head and walks away.
Roger turns angrily to K.I.T.T.
ROGER
Traitor!
As Roger storms away, is out of earshot:
K.I.T.T.
That's show biz.
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 approahcing.
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
You can't make a living just winning
races. Believe me, it's those endorse-
ments 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. Michael continues toward the
starting line.
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
Nothing like a good night's sleep to
mellow you right out....
WADE
Oh yeah? Listen, 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 off 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 a parked car.
It's a terrific impact that hurts considerably.
MICHAEL
Thanks for the lesson...I sure hope
you can still ride with that bad
hand of yours.
Wade glares at him, then hurries off.
ANGLE ON KELLY
as he makes his grand entrance doing a "wheelie" towards
the start/finish line. Red smoke billows from his tail pipe,
blue smoke pours from each handlebar. As Kelly reaches the
line, Roman candle-like rockets blast from the skid plate.
CLOSE ON MICHAEL
grinning, shaking his head at Kelly's audacity. He moves to
a vantage point.
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
as gloved hands reach inside a jacket. 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 behind the
tool kit on the bike. The gloved hands then zip the pants
up. The legs climb on the bike, the engine revvs 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.
He moves off.
MICHAEL
'Dusty' Miles seems to be having the
time of his life.
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
Kelly's got to do things a little
bigger than everyone else, maybe
because he feels so much smaller
inside.
(with a smile)
It's his style, April. Getting
attention.
APRIL
Seems like a 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. as
Devon rejoins April, looking after him.
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 drops the flag, a bomb goes off, and they all fly
forward, right over camera.
ANGLE - TRACK - ON LARGE HAY BALE WALL
as the racers reach their first obstacle, a large pile of
hay bales. Creating an impenetrable wall as high as a
hay wagon, and six bales deep. Kelly, already in the lead,
flies over the obstruction, 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 hay, 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
Right now, I need your attention
on something a little less hairy. I
want you to access Lee Carstair's
agency contracts.
K.I.T.T.
Every time I interface with agency
computers, I come away wanting to count
my circuits. Must I?
MICHAEL
I think I've found a motive, Kitt.
K.I.T.T.
In that case, I'll take a chance.
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 as
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 studies
the monitor. 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 said it himself. 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 no advertiser is
going to need him. Kelly's the only
rider equal to him. I'll bet you Lee
got caught in his own sabotage last
June. And Danny got the worst of it.
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!
He punches a button labeled DDHT. K.I.T.T. raises up so
that he's far off the ground.
EXT. K.I.T.T. - DAY
taking off, tearing toward the starting line, his "high-
traction drop-downs" churning.
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 SABRINA
reacting.
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 strange 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
hay bales with the mud trench behind them.
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 all right, Michael. It's for
charity.
EXT. K.I.T.T. - DAY - ON HAY BALE WALL
as K.I.T.T. penetrates right through the thick hay wall,
sending pieces in all directions, gliding over the narrow
mud trench.
INT. K.I.T.T. - ON MICHAEL
as he settles back down. Hay is flying off the windshield.
MICHAEL
That was great, Kitt! Maybe we do
have a future as a racing team.
K.I.T.T.
Heaven forbid, Michael.
EXT. RACECOURSE - NEAR TREES - DAY
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 from behind the tool kit.
EXT. K.I.T.T. - DAY
as Michael continues down the course, passing more racers,
reaching the river.
INT. K.I.T.T. - DAY - FAVORING MONITOR
showing a sonar depth analysis.
K.I.T.T.
Michael, my sonar indicates that
water 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 - OTHER SIDE OF TREES
Kelly and Lee, still alone, race almost neck and neck.
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.
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 what about the trees, Michael?
MICHAEL
We're a team, right? Let's act like
one!
With that, Michael flips the left side booster switch.
EXT. TREES - DAY - ANGLE ON K.I.T.T.
suddenly lifting onto his two right wheels, skiing between
the trees without touching a leaf.
OTHER SIDE OF TREES
as K.I.T.T. settles back on all fours. 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. As the motorcycle flies into the pool, Lee's
thrown off the bike.
CLOSE ON THE BIKE
disappearing beneath the surface of the water.
CLOSE ON LEE
slamming against the ground, knocked unconscious.
INT. K.I.T.T. - ON MICHAEL
as Michael grins out at the fallen Lee.
MICHAEL
Carstairs'll be out of commission
for awhile.
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 beside him. Kelly talks, never taking his eyes off
the mountain.
MICHAEL
(through open
window)
You've got to get up that mountain.
KELLY
I can't.
MICHAEL
Listen to me. What happened last year
wasn't your fault. It was Carstairs'!
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
Okay, Kitt, let's see what those high-
traction drop-downs can really do.
K.I.T.T.
It will be a pleasure to show this
mountain who's boss.
EXT. K.I.T.T. - DAY - ANGLE ON WHEELS
as Michael accelerates, we see the tires 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. START/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. 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. HOTEL - DAY - CLOSE ON RACE BANNER
Various race participants are leaving. After a moment,
April and Michael come out. K.I.T.T.'s parked nearby.
APRIL
Well, Michael, the race was a complete
success. The proceeds far exceeded
Devon's expectations.
MICHAEL
That's great. Except that Kelly had
to forfeit his win because he had
help.
APRIL
I think he won more than a race
yesterday, Michael.
MICHAEL
Yeah. 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.
Kelly's step van drives up, Sabrina at the wheel, Kelly
beside her. Michael moves to the van. Kelly holds his
custom helmet in his lap. Sabrina smiles from the driver's
seat.
SABRINA
We want to thank you Michael -- for
everything.
Kelly hands his helmet to Michael.
KELLY
And I want you to have this. I decided
that I'm going to have that surgery.
Then I'm gonna find something else to
put my energies into besides racing.
MICHAEL
Whatever it is, I hope it can stand
you. That's a lot of energy.
Sabrina smiles and they drive off. As Michael turns back
to April, Devon returns riding a small, dignified Honda
250 motorcycle, wearing a jacket, gloves, and helmet.
DEVON
These races have sparked my taste
for the open air once again. I'll
see you back at the Foundation.
He rides off, popping a "wheelie," as Michael and April
react, climb into K.I.T.T.
INT. K.I.T.T. - DAY - MICHAEL AND APRIL
K.I.T.T.
Honestly, 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 after Devon, and a mischievous smile crosses
his face. He starts the engine.
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 punches the "pursuit" button.
OMITTED
EXT. K.I.T.T. - DAY - CLOSE ON DEVON
responding to the roar of K.I.T.T.'s engine behind him,
looking back over his shoulder, appalled, as:
DEVON
Michael, no!
And before K.I.T.T. leaves the ground, we:
FREEZE FRAME
AND
FADE OUT
THE END
