ACT ONE
FADE IN
OMITTED
EXT. ROAD (OR RACEWAY) - STOCK
As a hot looking car roars around the track, running a
trial heat.
CAR - ANOTHER ANGLE - STOCK
Impressive, aggresive...pouring it on...going into a
curve...then....
INSERT - INT. CAR
The driver's foot hits the brakes...nothing!
BACK TO SCENE - STOCK
The car skids out of control, flips -- bursts into flame!
CUT TO
EXT. TRANS AM - NIGHT - STOCK
Michael is heading for a rendezvous.
OMITTED
EXT. SEMI - NIGHT
It is wheeling down the road. Its ramp descends.
EXT. TRANS AM - NIGHT
It approaches the semi and gracefully glides up the ramp.
INT. SEMI - NIGHT
Pull back from a pasted up (a la, kidnappers) note: STOP
YOUR RACE OR SOMEONE WILL DIE!
We widen, see Devon, Michael, Bonnie.
DEVON
(in midspeech)
Leslie Wendall was lucky he walked
away from that trial heat alive.
BONNIE
If his car ran on gasoline instead
of his special formula, he wouldn't
have lasted a second.
Michael takes the note, ponders it.
MICHAEL
When was the first one of these
notes delivered?
DEVON
Three months ago...the day Doctor
Kempler announced the Alternative
2000 race.
MICHAEL
Maybe there's no awesome plot here,
Devon. You've got a two hundred
thousand dollar purse, not to
mention millions in potential
profits for the winner. I'd say
that's sufficient incentive for
slipping a little boronic acid into
your neighbor's brake fluid.
DEVON
You're absolutely right, Michael.
BONNIE
All we're saying is that there are
other...forces...who would not want
to deal with an affordable alternative
to the internal combustion engine.
MICHAEL
Are you saying that the oil companies,
or Detroit, are out to sabotage this
race?
(beat)
Isn't that a little farfetched?
DEVON
Farfetched or not, our goal is to
insure that no further disruptions
occur. Therefore, you've joined
the field as my personal entry.
MICHAEL
Great. Kitt could win that race
with one booster tied behind his
back.
DEVON
Your job is not to win the race.
It's to determine if there is indeed
a saboteur. And if there is, to put
him out of business.
MICHAEL
In other words...I wait for the
other shoe to drop.
DEVON
Yes. Very simple.
MICHAEL
Very dangerous.
DEVON
Bonnie can fill you in on Kitt's addi-
tions. Good luck...and remember ---
MICHAEL
I know...Don't win....
Michael gives Devon a smile and moves over to Bonnie and the
car as Devon exits.
MICHAEL
What you got cooked up here?
BONNIE
I've augmented Kitt's scanning
system with a special infrared
Tracking Scope.
Bonnie flicks a switch on the dashboard.
INSERT - VIDEO MONITOR
We see a grid that looks like a combination radar screen/
video racing game.
BONNIE (V.O.)
By monitoring the heat from their
engines, you'll be able to track the
other cars within a ten-mile radius.
BACK TO SCENE
An impressed Michael gives Bonnie a hand as she climbs out
of the car.
MICHAEL
That's great. Now how about some
dinner when you finish up here?
BONNIE
I'd love to, Michael, but I'll be
spending the night with Kitt.
MICHAEL
Okay, I was just asking. You two
have a good time together.
BONNIE
Michael, I'm just going to convert
his engines to run on liquid hydrogen.
Then I've got to reprogram his....
MICHAEL
Hey...you don't have to explain to
me...Kitt, don't take advantage of
her.
K.I.T.T.
I won't.
BONNIE
(laughing)
Will you get out of here?
He smiles and leaves.
BONNIE
Kitt, I hope you're not picking up
his warped sense of humor.
K.I.T.T.
I'm trying my best not to.
Bonnie sits in the driver's seat.
BONNIE
Good.
Suddenly she jumps a little like she's been pinched on the
bottom.
BONNIE
Kitt! Try a little harder.
ANGLE - K.I.T.T.'S SCANNER
He flashes it devilishly.
EXT. TRANS AM - DAY - STOCK
It's the next morning and Michael is on his way to the race.
INT. K.I.T.T. - TRAVELING
Music is playing. Michael taps the wheel in time...the
music cuts out.
K.I.T.T.
Michael...if I may interrupt your
'boogying'...I can serve you better
if I'm familiar with your strategy.
MICHAEL
Good point, Kitt. Our game plan is
simple. We lie low, blend in with
the other racers. Get to know them
-- on and off the course. Wait for
the saboteur to make that fatal slip.
K.I.T.T.
In other words, Michael...as usual...
we're winging it.
Michael laughs.
EXT. STAGING AREA - DAY
The camera's sweep takes in the bustle and activity.
Mechanics, onlookers and participants mingle around the
cars. There are vendors selling junk food.
ANGLE - TRANS AM
Michael pulls into the staging area and parks near to where
Devon stands talking to Dr. Kempler, the sponsor of the race.
DEVON
(to Kempler)
Ah, they're here.
Michael gets out of the car.
DEVON
Michael, I'd like you to meet Doctor
Kempler.
They shake hands.
KEMPLER
I've heard a lot of good things
about you, Michael.
MICHAEL
I hope I can be of some help.
DEVON
Yes, we all do.
KEMPLER
Devon, we better get to that paperwork.
I still need your signature on the
entry forms.
MICHAEL
See you later.
Devon and Kempler walk away. Some of the spectators see
K.I.T.T. and come over and ogle. Among them is a bouncy
young lady in tight jeans and a racing jacket. She is
Liberty Cox, a hip twenty-five-year-old photojournalist for
New Wheels Magazine. She carries a large, well-worn,
multi-zippered leather bag slung across her shoulder.
An expensive camera dangles from her neck. Standing a few
feet away from Michael, she silently lines up a shot with
her camera. When it clicks, Michael turns around.
LIBERTY
Nice body.
Liberty runs her hand along K.I.T.T.'s fender.
LIBERTY
(smiles)
Nice car, too.
(beat)
You must be the late entry. I'm
Liberty Cox....
She extends her hand. Michael shakes it, admiring her charms.
MICHAEL
Michael Knight....
Liberty is intrigued by K.I.T.T., starts looking at the
dashboard.
They smile at each other, expressing a mutual interest.
PA VOICE
Will all drivers please report to
the main tent. All drivers to the
main tent. Thank you.
LIBERTY
It's just over there.
We see the tent nearby and the various drivers streaming
toward it. Liberty starts walking with Michael.
LIBERTY
You win the prize for wildest
dashboard, hands down.
MICHAEL
Yeah? Where do I pick it up?
LIBERTY
I'll find out and let you know.
They arrive at the tent as the last of the drivers enter.
There is a lean, authoritative man standing at the entrance
to the tent. He is Ed Shaw, the race coordinator.
MICHAEL
Hi, I'm driving for Devon Miles.
SHAW
So you're Michael Knight....
Shaw extends his hand. They shake.
SHAW
Ed Shaw. Race coordinator.
(re: K.I.T.T.;
admiringly)
I'd say whoever built your car knew
what he was doing.
MICHAEL
He sure did.
Michael starts to enter tent.
SHAW
Best of luck.
MICHAEL
Thanks.
He is about to enter the tent with Liberty right behind
him. Shaw puts out a hand, stopping her.
SHAW
Where do you think you're going?
LIBERTY
I beg your pardon.
SHAW
This meeting is for drivers only.
LIBERTY
(bluffing)
Do you happen to know who I am?
SHAW
I sure do, lady. That's why you're
staying put right here.
MICHAEL
(to Liberty)
Catch you later.
ANGLE - LIBERTY
She gives Shaw a dirty look as Michael enters. Follow her
as she goes back to K.I.T.T., looks at the car for a beat,
then goes for the door handle.
INSERT - HANDLE
She is unable to open it.
BACK TO SCENE
Frustrated, but undaunted, Liberty takes her lens cap off,
focuses up close and tries to get a shot of K.I.T.T.'s
dashboard through the window. She is startled to see the
window suddenly darken, preventing her from taking a
picture. She reacts to the amazing transformation.
INT. TENT - DAY - (OR BRIEFING ROOM)
Shaw stands near a map of the race. Tighten on the map to
see the course of the race is a circle. The starting line
is the same as the finish line. The drivers are assembled
in front of the map. They eye each other distrustfully.
Michael reacts to the tension. We pick Shaw up as he
finishes diagramming the race.
SHAW
Now, remember, you'll be clocked at the
two overnight pit stops...The first day
every car is handicapped according to
its starting position and its own
specs. The next two days are a flat
out race for the flags. Two thousand
miles over all...Doctor Kempler and I
have designed this course to challenge
you. Not every road is going to be in
top notch condition. Now, I realize
what's at stake...but let's be care-
ful out there....
The drivers start for the door.
SHAW
One more thing. In case you haven't
already noticed, we have a new driver.
Meet Michael Knight.
Everyone looks at Michael, no one is elated to see a new
driver.
KEMPLER
Ed, just a second. Before you go
I'd like to introduce Clark Sellers.
If it weren't for his generous contri-
bution you'd be racing for a lot less
than two hundred thousand dollars.
ANGLE - CLARK SELLERS
SELLERS
(joking)
Yeah, about a hundred ninety-five
thousand dollars less.
The drivers laugh.
SELLERS
But seriously folks, I consider that
a bargain to get the exclusive world
wide television rights to this race.
I think it's going to be an exciting
event and the Sellers Cable Network
is proud to be broadcasting it. Now
go out there and show the world that
the future is alternative energy --
and cable television.
OMITTED
EXT. STAGING AREA
Michael is holding his piece of paper as he walks toward
K.I.T.T. He sees Dorothy giving her car a once-over and
approaches her.
MICHAEL
Hi, there. What's your starting
position?
DOROTHY
Mr. Knight, before you go any further,
I think you should know I have no
intention of making friends here. I'm
interested in two things: Finishing
first -- and doing so in one piece.
Now if you don't mind....
She gets into her car.
MICHAEL
I guess I'll see you at the finish
line.
Liberty enters the shot as Michael walks over to K.I.T.T.
LIBERTY
Nice try. But she's not your type.
Michael walks around K.I.T.T. checking to make sure he's
ready to go.
MICHAEL
Who are you anyway?
LIBERTY
I already told you. Liberty....
MICHAEL
Cox. I know. What I meant was, why
were you trying to sneak into that
meeting?
LIBERTY
I'm covering the race for New Wheels
Magazine.
She unsnaps her jacket, revealing a tee shirt embossed with
the logo-lettering of New Wheels Magazine.
LIBERTY
Ever read it?
MICHAEL
Once...or twice.
LIBERTY
Actually, I'm not going to just cover
the race, I plan to experience it.
If you know what I mean...give my
readers a little insight into what
it's like to ride in an event like
this. I imagine it's terrifically
stimulating.
MICHAEL
It is.
LIBERTY
How would you like to show me?
Michael and Liberty stare into each others' eyes as she
waits for an invitation to join him. None is forthcoming.
MICHAEL
Sorry. I travel solo.
ANOTHER ANGLE
The Prince brothers drive up in the Charger like they were
cruising Van Nuys Boulevard. Sonny pounds the side of his
door and leans out the passenger side, calling out to
Liberty.
SONNY
Hey, sweetheart, how'd you like to
ride in the lead car?
LIBERTY
No thanks, boys.
(to Michael)
Believe it or not, that car's supposed
to run on moonshine.
LESTER
Hey, sugar, you don't know what
you're missing.
MICHAEL
Sounds like they're already halfway
through their fuel supply.
Helmut Gras, in his Porsche, pulls up behind the Charger
and honks his horn loudly.
GRAS
(angrily)
Get out of the way, you fool.
SONNY
Who you calling a fool, schnitzel
breath.
As they argue, Michael gets into K.I.T.T., shuts the door.
MICHAEL
(to Liberty)
See you at the pit stop.
Michael drives away. Liberty watches him go, curses
silently, then goes over to the Japanese, Hito Osaka, who
drives a Toyota. She sticks out her thumb and Osaka
gestures for her to join him.
OMITTED
ANGLE - STARTING LINE
The cars file into line. The Charger is first. Kempler
holds the flag. Shaw has a stopwatch and clipboard.
PA VOICE
Ladies and gentleman, in car number
one, fueled by their uncle's original
recipe, Sonny and Lester Prince.
Kempler drops the flag. Shaw starts his stopwatch, and the
race begins. As the Princes drive off with a rebel yell, a
stash of balloons is released, television cameras roll and
the audience applauds.
PA VOICE
In car number two, driving what
might be the most advanced electric
automobile in the world, from West
Germany, Helmut Gras.
Kempler indicates he can start and Gras quickly accelerates,
Shaw recording his starting time. (He follows the same
procedure for all six cars, and it happens very quickly.)
Osaka pulls up to the starting line. Liberty is with him.
After the intro, each car takes off.
PA VOICE
In the third car, from Japan,
running on propane, Hito Osaka...
In a solar-powered vehicle we have
Dorothy Arnold....
OMITTED
ANGLE - TRANS AM
waiting to start.
MICHAEL
Ready, Kitt?
K.I.T.T.
Michael, do you realize that this
whole race is unnecessary?
MICHAEL
How's that?
K.I.T.T.
The car of the future is already
here. Me.
PA VOICE
From Los Angeles, running on liquid
hydrogen, Michael Knight.
MICHAEL
Let's go.
Michael takes off as the Islamic Dune Buggy drives up.
PA VOICE
Next up from the Sheikdom of Kuwait,
Hashi Al Qatar.
He takes off leaving one ND car -- that of Andy Russel --
left to start. But we....
CUT TO
EXT. RACE - VARIOUS ANGLES - DAY
The cars are bunched as they head into the open spaces. We
see that each driver is very intense as they jockey for
position. They come close to bumping each other.
ANGLE - DUNE BUGGY
Hashi has been driving particularly ferociously. As he
spins around a turn and heads up toward the highway, he
pulls abreast of the Porsche which is in the lead. As they
barrel down the road we see that two lanes narrow into one.
ANOTHER ANGLE
As the two cars come toward the camera, it's neck and neck
to see who gets the inside track on the lane and wins this
initial game of chicken.
ANGLE - PORSCHE
as it overtakes the dune buggy, gains the single lane and
causes Hashi to swerve and spin out on the side of the road.
ANGLE - HASHI
as he mutters silent oaths to the aggressive driver of the
Porsche. He watches as the other cars pass then pulls back
onto the road and joins the race.
INT. TRANS AM - DAY
Michael has just witnessed the incident.
MICHAEL
No doubt about it, these guys are
playing for keeps.
QUICK DISSOLVE TO
EXT. MOUNTAIN ROAD - DAY
From a high angle, we see the Toyota, Porsche and Charger
in the lead positions.
ANGLE - TRANS AM
by itself.
K.I.T.T.
Michael, why do you have my engines
on half-throttle?
MICHAEL
Because we're gonna lay low in the
middle of the pack and wait for the
saboteur to tip his hand.
K.I.T.T.
Of course, your infamous 'plan.'
MICHAEL
What's wrong with it?
K.I.T.T.
Nothing, if your intention is to tie
the hands -- so to speak -- of the
world's most remarkable automobile.
MICHAEL
Take it easy, Kitt. We're under
strict orders from Devon not to
flaunt it. Now hit the data banks
and give me a rundown on the
competition.
K.I.T.T.
As you wish, Michael. Beginning
with the letter 'A' there's Dorothy
Ackridge, the woman you attempted to
pick up....
INSERT - VIDEO MONITOR
We see a photo of Dorothy Arnold.
MICHAEL (V.O.)
Kitt, I was just trying to be
friendly.
K.I.T.T.
Whatever. She is the daughter of
Henry Ackridge.
BACK TO SCENE
MICHAEL
Henry Ackridge? The President of
Ackridge Automotive?
K.I.T.T.
Incorporated.
MICHAEL
Hmm, kind of makes you wonder why
she's driving a solar-powered car.
(beat)
Do you have a read on her?
Michael pushes a button on the dash.
INSERT - VIDEO MONITOR
We see the tracking scope in action.
K.I.T.T. (V.O.)
She's approximately two miles behind
us. I'll decrease my speed so she
can catch up to us.
BACK TO SCENE
MICHAEL
Good idea.
EXT. SOLAR CAR
Dorothy is tooling along.
OMITTED
ANGLE - TRANS AM
It passes in front of a hill. We pull back to a vantage
point from atop the hill. Presently a rifle enters the
shot. (The camera is over the shoulder and we can't see
who's holding the gun.)
ANOTHER ANGLE THROUGH A TELESCOPIC LENS
The sniper is lining up the Trans Am. As it enters the
center of the target and the sniper is about to fire....
FREEZE FRAME
END OF ACT ONE
ACT TWO
FADE IN
EXT. MOUNTAIN ROAD - DAY - ANGLE TRANS AM
It is racing down the road when a shot rings out.
INSERT - K.I.T.T.'S TIRE
A bullet hits the indestructible tire and ricochets.
MICHAEL (V.O.)
Kitt, what was that?
K.I.T.T.
A bullet. We're being shot at
Michael.
ANGLE - GUNMAN - OVER THE SHOULDER
Seeing that the Trans Am has not been damaged, the gunman
spots the solar car, takes aim and fires.
ANGLE - TRANS AM
Michael stops the car.
K.I.T.T.
Michael, there's been another shot.
INSERT - VIDEO MONITOR
The dot representing Dorothy's car swerves.
K.I.T.T. (V.O.)
The solar car's been hit.
ANGLE - SOLAR CAR
Dorothy is fighting to regain control of her vehicle. She
is unable to and the car swerves to the right, then does a
quick, out-of-control three-sixty. She continues to spin
out, crossing the highway and crashing through a protective
barrier and off the side of the road.
ANGLE - CAMERA CREW
Tucked along the side of the road two men have their camera
set up to record the action. When they see Dorothy in
jeopardy, the Director excitedly points to the scene and
exhorts his partner to get it on film.
DIRECTOR
Are you getting all of this? Zoom
in on the solar car. Damn. This is
better than the French Connection.
And it's for real. I love it!
The operator swings the camera and films Dorothy's spin-out.
OMITTED
EXT. TRANS AM
It arrives on the scene, pulls to a stop. Dorothy's car
is teetering on the edge.
OMITTED
ANGLE - K.I.T.T.
The grappling hook shoots out and ---
ANGLE - SOLAR CAR
The hook wraps around the rear bumper.
THE SCENE
Michael backs K.I.T.T. up, pulling the solar car back up
the hill.
INSERT - K.I.T.T.'S WINCH - STOCK
winding up cable, smoking from the effort.
BACK TO SCENE
The solar car reaches the security of the plateau. Michael
jumps out of K.I.T.T., helps Dorothy out.
MICHAEL
You gonna be okay?
DOROTHY
Yeah. As soon as I stop shaking.
Thank you. After the way I acted
before...You're very kind.
MICHAEL
You'd do the same for me.
Dorothy knows she wouldn't, so she doesn't respond.
MICHAEL
Wait here. I want to take a look at
your car.
OMITTED
ANGLE - MICHAEL
He goes to the tire of her car and sees a gaping hole.
Michael removes something from the mangled tire.
INSERT - MICHAEL'S HAND
He cups the remnants of a bullet.
OMITTED
EXT. FURNACE SPRINGS SPA PARKING LOT - DAY
All the drivers except Michael have arrived. There is much
commotion and activity in the parking area. Shaw is getting
all the times recorded, the cameras are running. The mechanic
crews check out each car. A banner proclaiming "Welcome
Alternative 2000" is strung above the site (or lettered on
the hotel marquee).
OMITTED
ANOTHER ANGLE
The Trans Am enters the parking lot. Michael passes Shaw,
who records his time, then pulls up next to the semi where
Bonnie is waiting along with Clark Sellers. Liberty, a
camera crew and various curious onlookers rush over as
Michael and Dorothy get out.
LIBERTY
There she is!
As Dorothy gets out of K.I.T.T., she is mobbed.
LIBERTY
Dorothy, can I ask you a few questions.
ANGLE - SELLERS
He fights through the crowd to get to Dorothy.
SELLERS
Can I get through. Will you clear a
path...Thank you.
He arrives just as Liberty is about to finish her question.
SELLERS
Stop this at once.
Liberty backs off. Sellers is indignant. Kempler joins
the crowd.
SELLERS
How can you hound her like that
after what she's been through?
LIBERTY
Hey, I'm just trying to find out....
SELLERS
Your questions can wait.
KEMPLER
Come on, Dorothy. They're ready for
you at the first aid station.
DOROTHY
I'm all right. I'm really more
concerned about my car.
KEMPLER
Your crew's already working on it.
They'll have you back in the race
tomorrow.
As Kempler directs Dorothy to the hotel, Sellers taps his
Director on the shoulder.
SELLERS
As soon as she comes out, get some
quotes to go with that footage. And
make it big. Milk her for all she's
worth.
The Director gives him the okay sign.
ANOTHER ANGLE
Michael and Bonnie watch the carnival-like atmosphere of the
group surrounding Dorothy.
BONNIE
How's Kitt holding up?
MICHAEL
Fine. But you might want to run a
check on his grappling winch.
BONNIE
That's probably a good idea.
Michael takes the bullet from his pocket and discreetly
places it in Bonnie's hand.
MICHAEL
And while you're at it, run a check
on this.
As Bonnie looks at the bullet and then at Michael with
uncertainty....
DISSOLVE TO
EXT. HOTEL BUILDING - NIGHT - ESTABLISHING
INT. HOTEL BAR
As the camera pans the room, we see Michael at a table with
Gras, Hashi and Osaka. At another table Devon sits with
Kempler. Through the glass we see Liberty and the Prince
brothers in an outdoor Jacuzzi.
OSAKA
You have to be disappointed with
your time today.
MICHAEL
Don't worry about me. I'll catch up.
GRAS
(smiling)
I'm sure you'd have finished sooner
if you hadn't stopped to help poor
Miss Arnold.
HASHI
We know you would never have stopped
to help her.
GRAS
(irked at
the Arab)
Accidents are a part of every race.
OSAKA
The question is, will they continue
to happen in this race.
HASHI
(pointing
angrily at Gras)
They will the way he drives.
The German and the Arab glare at each other. Michael gets
up to leave, raises his glass and toasts.
MICHAEL
Guys, here's to good sportsmanship.
No one drinks.
MICHAEL
Adios.
He walks toward the outdoor area.
OMITTED
ANGLE - HOT TUB
LESTER
Hey, what's with all the questions?
We thought you wanted to party.
LIBERTY
Wrong.
Liberty sees Michael. She rises out of the tub wearing a
clinging tank suit. She grabs a towel.
SONNY
Hey, you don't have to get out.
LIBERTY
Oh, I do. You guys are so unbearably
sexy I don't think I can control myself
much longer.
She heads over toward Michael who has come outside.
SONNY
I told you she's got the hots for us.
LESTER
Then why's she going over to him?
ANGLE - MICHAEL AND LIBERTY
He smiles as she walks up to him. During their conversation
he sips a beer while she dries herself and puts on a robe.
LIBERTY
You seem rather calm for a man who
may be the next one to go.
MICHAEL
I take it you're referring to Dorothy
Arnold's accident.
LIBERTY
Call it a journalistic hunch, but I
think someone's out to win this race
by whatever means it takes...like by
eliminating the competition.
OMITTED
ANGLE - ED SHAW
He enters the bar, looks around, sees Kempler and heads for
the table.
ANGLE - DEVON AND KEMPLER
The doctor looks like he's under major stress.
KEMPLER
Devon, in light of what your driver
discovered...I'm in a total quandry.
I'm afraid I'm going to have to....
DEVON
...Call off the race?
KEMPLER
You disapprove?
DEVON
That's not for me to say, Gordon.
But I'd hate to see your dream die
this easily. Give Michael a little
more time.
KEMPLER
Can we afford to do that?
Shaw arrives.
SHAW
Doctor Kempler, I have to speak to
you. In private.
KEMPLER
Ed, I'm not going to keep any
secrets from Devon. Sit down and
let's hear what you have to say.
SHAW
I think you better come with me.
Both of you.
The men exchange looks, then get up from the table.
ANGLE - MICHAEL AND LIBERTY
They see the three men exit.
LIBERTY
Ah, ha. I knew it. Something's up.
CUT TO
INT. HOTEL ROOM - NIGHT
Devon, Kempler and Shaw stand solemnly around the bed. A
nervous Spanish chambermaid figets nearby. On the bed is a
small, unopened rifle case.
SHAW
(to the maid)
You can go now.
The maid nods and hastily makes her exit.
SHAW
She said she found it under the bed.
Shaw flips open the case.
INT. HOTEL HALLWAY - NIGHT
The maid comes out of the door.
LIBERTY
Senora, uno momento, por favor.
Liberty motions for the maid to join her and they duck into
the supply room.
INT. HOTEL ROOM - NIGHT
The case is now open, revealing a disassembled rifle, the
one we saw fire at the solar car.
KEMPLER
What is it?
DEVON
A collapsible Rexman. A highly
sophisticated, long-range sniper's
rifle. Not at all common.
KEMPLER
Devon, could this rifle be the one
that shot at Dorothy's car?
DEVON
According to the test Bonnie ran...
definitely.
ANOTHER ANGLE
Hashi enters the room. He stops dead in his tracks.
HASHI
What is the meaning of this? What
are you doing in my room?
DEVON
We're wondering what this is doing
in your room.
Shaw points to the gun. Hashi sees the weapon and gasps in
surprise.
EXT. HALLWAY - NIGHT
Michael is talking to Devon but we cannot hear what they
are saying. After a beat, Devon pats Michael's shoulder,
smiles and leaves. Michael walks down the hallway.
INT. MICHAEL'S ROOM - NIGHT
Liberty is lying on the bed writing in a notebook when the
door opens and Michael enters. She smiles excitedly.
LIBERTY
(talking fast)
You can breathe easy again. The
ordeal is over. Naturally my hunch
was right on target. Turns out it
was the Arab, though I kind of
thought it might be the German....
She writes something on her pad.
LIBERTY
Anyway they just found the smoking
gun in his room so it looks like
the crisis is over. And I've got
a hell of a story...the dark side
of competitive ---
MICHAEL
(interrupting)
What are you doing in my room?
LIBERTY
(looks up)
I thought I'd surprise you. I hope
you don't mind.
MICHAEL
As a matter of fact, I do.
LIBERTY
Hey, I was just trying to be
spontaneous. I figured this would
be a great opportunity to find out
what makes a man like you tick.
MICHAEL
I don't think your readers would
find me all that interesting.
Liberty closes her notebook, gets off the bed and
approaches Michael seductively.
LIBERTY
Who cares about my readers. I think
you're very interesting.
She puts her hands on Michael's waist.
LIBERTY
Are you going to be mad at me all
night?
MICHAEL
Unless you give me a reason not to
be.
She puts her arms around him and kisses him passionately.
LIBERTY
Is that reason enough?
MICHAEL
No, but it's a start.
Michael returns the kiss.
INT. BAR - NIGHT
Devon stands with Kempler and Sellers as they watch two
policemen lead Hashi through the lobby. Hashi is visibly
enraged.
HASHI
(screaming)
This is an outrage. I've never seen
that rifle before in my life. You
can't do this to me. I warn you.
If I'm jailed my country will lodge
a formal protest.
As the drivers in the bar watch, Hashi is taken out the
door.
SELLERS
(to Kempler)
I wish you would have told me. I
could have gotten this on film.
KEMPLER
It's bad enough publicity as it is.
SELLERS
Doctor, there's a fine line between
publicity and news.
DEVON
Call it what you will...I think we
can all finally breathe a sigh of
relief.
KEMPLER
I hope so. All this commotion is
making me a nervous wreck.
DEVON
You can relax now. I think it's
safe to say this case is closed.
INSERT - HOTEL PARKING LOT - NIGHT - CLOSE ON AN ENGINE
All we can see is the engine of a car. We don't know which
car. A pair of hands enter the shot and place a small
device, obviously some kind of compact explosive, inside
the motor. Hold on the unidentified hands doing their
dirty work and....
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
EXT. MOTEL STAGING AREA - DAY
The cars are being rolled into position, Shaw supervising
the crews, giving last minute instructions to the drivers
etc. The assembled press is being rounded up and forced to
gather behind a rope barricade.
OMITTED
INT. SEMI - MICHAEL AND DEVON
DEVON
The police did ballistics tests on
the rifle and the bullet. They
matched.
MICHAEL
That still doesn't mean Hashi pulled
the trigger.
DEVON
No, but just because he was driving
doesn't mean he didn't, either. He
could have pulled off the road, as-
sembled the rifle, fired, and in the
confusion slipped back into the race.
Don't forget, he comes from one of
the leading petroleum exporting
countries in the world.
MICHAEL
It's too perfect, Devon. I should
stay in the race until we're sure
that all the shoes have dropped.
DEVON
Are you sure it's not because you
want to win?
MICHAEL
Devon! Don't you know me?
DEVON
(smiling)
I certainly do. That's why I asked.
Michael grins, exits.
EXT. SEMI - LODGE PARKING LOT
Michael heads towards K.I.T.T.
LIBERTY'S VOICE
Michael!
ANGLE TO INCLUDE LIBERTY
She bounds over from the staging area, tote bag over her
shoulder, looking lovely and fresh in her T-shirt and
jeans.
MICHAEL
Good morning.
Liberty kisses Michael, joins him.
LIBERTY
No, a glorious morning! A double-
header -- I get you and a ride in
that mysterious black beauty. I've
arranged for sandwiches, a cooler,
fried chicken, iced tea ---
MICHAEL
(pained)
Liberty...I'm sorry, but you can't
ride with me today.
LIBERTY
What?!
She stops in her tracks. Michael inhales.
MICHAEL
It's not my decision, it's my sponsor
...Mr. Miles'. Insurance...you know.
LIBERTY
I don't believe you.
MICHAEL
It's true. He ---
LIBERTY
Didn't last night mean anything to
you? Don't answer that.
She storms off to the staging area.
MICHAEL
Liberty ---
LIBERTY (O.S.)
I don't beg rides, Michael Knight.
Rides beg me.
The door to the Charger pops open and Lester and Sonny jump
out. Lester falls to his knees in a begging position.
ANGLE - FEATURING MICHAEL
crossing to K.I.T.T., he can't help but watch. He sees
Sonny and Lester do their MOS act to persuade her. She
looks defiantly at Michael and joins them. Lester lets
out with a rebel yell.
INT. K.I.T.T. - DAY
Michael slides in, surprised to see Bonnie under the dash.
She comes up, smiles. Ad-lib hellos.
BONNIE
All set. I wanted to see if I could
extend the Tracking Scope's range.
MICHAEL
Did you?
BONNIE
No. But I see you extended yours.
She glances in the direction of Liberty, climbing into the
Charger. Michael laughs.
She leaves. Michael starts K.I.T.T.
K.I.T.T.
Busy morning?
MICHAEL
You could say.
K.I.T.T.
Did Liberty Cox ever find out what
makes you tick?
Michael double takes his comlink, then K.I.T.T.
MICHAEL
Kitt, didn't anyone ever tell you not
to eavesdrop?
K.I.T.T.
I had no choice. After all, I was in
Surveillance Mode.
MICHAEL
Then you should have noticed...she
left and I went to bed.
Michael pulls over to the starting line.
ANGLE AT STARTING LINE
The various cars gear their engines. Ed Shaw stands facing
them, waving a starting flag in the air. At his signal the
cars roar off in a cloud of dust.
CUT TO
EXT. RURAL ROADS - DAY - VARIOUS ANGLES
The race is going full tilt through the rustic terrain. From
a high angle we see the Toyota, the Charger and the Porsche
vying for the lead. The Trans Am places itself strategically
between the lead cars and the rest of the pack.
OMITTED
ANGLE IN TRANS AM
Michael is keeping pace. He presses K.I.T.T.'s computer
console button.
MICHAEL
Let's run profiles on the remaining
drivers and key personnel.
K.I.T.T.
Does the phrase 'key personnel' include
Miss Liberty Cox?
MICHAEL
Good idea, Kitt. Let's start with
Miss Cox.
The computers whir and flash.
K.I.T.T.
Shall we begin with personal data or
criminal activities?
MICHAEL
(reacts)
Criminal activities? Surely you
jest. The lady may be many things,
Kitt, but she's no criminal...is she?
K.I.T.T.
You tell me. June, 1980, breaking
and entering. Bailed out by her
editor. September, 1980, malicious
mischief. Bailed out by her
publisher....
EXT. RACE - DAY
The Trans Am continues, moving away from camera. The
litany continues.
K.I.T.T.'S VOICE
January, 1981, invasion of privacy.
Bailed out by her father. May,
1981, breaking and entering again....
Continuing, the voice fades.
CUT TO
EXT. CHARGER - DAY
It rattles and bangs over the bumpy road, the sound of
laughter over.
ANGLE IN CHARGER
The Prince brothers are having a great time in the front
seat. Lester is at the wheel. Liberty rides shotgun. A
discontented Sonny is in back, which is a makeshift bed-
room on wheels.
Sonny hoists a plastic fuel can and drinks from it, offers
it to Liberty. She stares, appalled. Lester isn't
drinking.
SONNY
Sure you don't want a pull? Gets
your motor running, that's for sure.
They howl at her reaction.
LIBERTY
It's people like you who give some-
thing serious like alternative fuel
a bad name.
LESTER
Bad name hell -- we love it.
They drink more from the fuel can. Sonny tries to sneak a
kiss.
LIBERTY
Okay, that's it. Stop the car.
LESTER
Are you kidding? After we win this
race and get all that publicity, we're
goin' to Hollywood. Gonna get us our
own TV show.
At the mention of the word they emit earsplitting rebel
yells. Lester keeps a close eye in the rearview mirror.
SONNY
Pucker up, pretty.
With that Sonny lunges for her, wet mouth all over her face
and neck. She fights back.
LIBERTY
I'll have you busted for abduction!
SONNY
What's that?
LIBERTY
Kidnapping, you moron!
OMITTED
ANGLE IN TRANS AM
Michael sees what's happening ahead.
MICHAEL
Looks like little Liberty bit off more
than she can chew.
K.I.T.T.
If you have any thoughts of rescuing
her, Michael, I'd advise you to
check my schematic visuals.
The road narrows drastically just ahead.
MICHAEL
I see what you mean. In that case,
we'd better step on it.
He does.
THE TRANS AM AND CHARGER - MOVING SHOT
The Trans Am leaps forward. Lester floors the Charger,
Liberty inside trying to fight off Sonny.
HIGH SHOT
The road narrows to one lane a hundred yards ahead. The
Trans Am barrels past the Charger, swerves in ahead and
slows. The Charger bangs into it but the Trans Am
continues to slow, forcing the Charger to do the same.
Lester and Sonny yell and curse.
ANOTHER ANGLE
The Trans Am stops. Lester throws the Charger into
reverse, backs up, the passenger door opens and Liberty
comes flying out. Michael gets out but before he can reach
the Charger it's in motion, Sonny throwing her tote bag
out, which spills on the ground. The Charger speeds off
with rebel yells, leaves them in a rain of dust.
ANGLE ON LIBERTY
Furious, she quickly gathers her stuff. Michael approaches,
her back to him.
LIBERTY
(angry)
I don't need your charity!
MICHAEL
Looks like you need somebody's.
Unless you want to sit here and
eat more dust.
ANGLE AHEAD
We see the Charger coming, Lester's foot on it all the way.
Camera pans to reveal a camera crew just ahead, filming this
particular leg of the race. Camera continues panning past
the camera crew, zooming in on something high on the hill
above. It's the figure of a man, his back to us, unclear.
He's got something in his hand.
CLOSE ON HIS HANDS
The man presses a button on the small unit.
ANGLE ON CHARGER
A rebel yell for the camera crew as the Charger passes.
Then a blinding flash of light and a thunderous explosion.
The Charger becomes a ball of flame.
ANGLE ON MICHAEL AND LIBERTY
They react.
LIBERTY
My God...!
Michael grabs her and pulls her to the Trans Am. They leap
in and leave with tires spinning.
OMITTED
ANGLE AT CHARGER
It burns out of control as the Trans Am barrels in, slides
to a stop, Michael leaping out, Liberty not far behind,
camera clicking off photos.
OMITTED
ANOTHER ANGLE
Michael tries to approach, but the flames are too intense.
He backs off, realizing there's no hope anyway.
LIBERTY'S VOICE
A little to your left.
Michael turns, sees Liberty busily taking photos. He
stalks past her, slides into the Trans Am, pushes the
auto phone button.
MICHAEL
Devon, it's Michael. You'd better
get a wrecker and a coroner's van
out here. There's been another
'accident.'
He starts back out, is stopped by K.I.T.T.'s voice.
K.I.T.T.
Michael, that was no accident.
MICHAEL
What? How do you know?
K.I.T.T.
My electronic sensors picked up a
detonation signal two milliseconds
before the explosion.
Michael assimilates it, climbs out.
MICHAEL
Thanks, Kitt.
He moves to where Liberty stands, the camera to her face
but no longer taking pictures.
MICHAEL
Is that all this is to you? An
eight-by-ten glossy?
She lowers the camera, turns to face him, and he sees the
tears running down her cheeks. She starts to say something,
can't find the words. He relents, puts his arms around her
and comforts her.
ANGLE ON CAMERA CREW
Excited, they film every moment.
OMITTED
EXT. PLUSH DESERT MOTEL - CIMARRON LODGE - DAY
The staging area is the parking lot, banners flying in the
late afternoon breeze. Because of the accidents there's
noticeably more interest, more people, national coverage,
trucks from several networks present, lots of technical
people running around intermixed with various spectators.
VOICES
Here they come! Look -- over there.
Where? Who's leading? (etc.)
People push forward for a better view.
ANOTHER ANGLE
Devon and Dr. Kempler appear, Kempler looks depressed.
KEMPLER
What a disaster. Look at this --
not a sober journalistic face to be
seen. Not a scientific quarterly
writer for miles. It's turned into
a blood and guts destruction derby,
a car-crash carnival ---
Sellers appears behind them, hurries over.
SELLERS
Doctor, you're not going to cancel
the race....
KEMPLER
I don't know what else to do.
SELLERS
There's got to be another alternative.
If you cancel now, it'll be interpreted
as the failure of alternative energy.
The entire concept will be set back
ten years.
DEVON
Gentlemen, may I make a suggestion?
Since our primary concern is the
safety of the drivers, why not let
them decide?
QUICK CUT TO
OMITTED
INT. BANQUET ROOM - NIGHT
The room has a step-up stage with a microphone, several
dozen metal folding chairs, an accordion-like screen that
serves as a room divider. Present are Devon and Sellers,
who flank Dr. Kempler at the mircophone. All drivers are
present, including Michael. Ed Shaw stands to one side.
KEMPLER
(into mike)
Thank you for coming, gentlemen...
As you can imagine, there's been a
considerable amount of concern over
what's happened. And a variety of
opinion as to whether or not the
race should be allowed to continue.
Devon Miles came up with what I
believe to be the best solution --
since it's really your race, and
certainly your lives, he suggested
you be the ones to decide whether we
continue or not.
A buzz of reaction between the drivers. Kempler waits
until it subsides.
KEMPLER
All right, gentlemen. Those in
favor of continuing, please raise
your hands.
Virtually all hands go up.
KEMPLER
(to the rest)
All right, we'll continue as
scheduled. All drivers at the
staging area at seven am sharp for
the last and final leg of the race.
Good luck.
ANGLE OUTSIDE BANQUET ROOM
The drivers exit, talking quietly among themselves.
Michael and Devon appear.
DEVON
We need to talk.
MICHAEL
Just let me catch a quick shower.
Devon nods. They go their separate ways.
ANGLE IN BANQUET ROOM
The room is empty except for Sellers and Shaw, who is
leaving.
SELLERS
Where do you think you're going?
ANGLE BEHIND ACCORDION SCREEN
Liberty is hiding there with a tape recorder, ready to
leave herself when she hears Seller's voice. She stops,
puts her recorder on record.
ANGLE ON SELLERS AND SHAW
Shaw turns to face him, not intimidated.
SHAW
Out. Why?
SELLERS
Why? Shaw, how can you act like it's
business as usual?
(exploding)
You killed two people today!
SHAW
Keep your voice down.
SELLERS
To hell with my voice! I hired you
to arrange an accident or two, a near
miss, a little excitement so I'd at
least walk away with a promotable show.
Not death! Not murder and mayhem!
SHAW
(face-to-face)
You know what's wrong with guys like
you, Sellers? You want to have your
cake and eat it too. You want acci-
dents and explosions and thrills and
chills so you can sell what would've
been a turkey and keep your sinking
little cable network alive. But you
don't want any part of the responsi-
bility when --
(react)
What was that?
He looks in the direction of the accordion screen.
ANGLE ON LIBERTY
Her tape recorder has run out of tape. It clicks, and the
record button pops up. She's afraid to breathe. She hears
movement.
INTERCUT - SHAW
He whips the screen back. She's close enough to touch.
ANOTHER ANGLE
She gasps and runs but Shaw grabs her from behind, claps a
hand over her mouth. She struggles to no avail.
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
EXT. CIMARRON LODGE
The remaining five or six race cars are being tuned up and
primed for the next leg of the race. K.I.T.T. is notable
for its absence.
PA VOICE
Ladies and gentlemen, the final leg
of the Alternative 2000 will begin
in thirty minutes. Please check the
starting line up.
OMITTED
INT. LIBERTY'S ROOM - DAY
We hear a knock.
MICHAEL'S VOICE
Liberty.
He knocks again. The door swings open.
MICHAEL
Liberty, where are you? I've been
looking for you all ---
He stops, having made the rounds of room, bath and
kitchenette. No one's home.
He shrugs, starts to leave...then stops. His eye has fallen
on the night stand. He crosses to the drawers, opens them
...and is surprised to find them empty.
Michael goes to the closet...also empty. But Liberty's
single piece of luggage -- the soft-sided over-the-shoulder
thing we saw earlier -- is on the floor. He picks it up,
puts it on the bed...rummages through it...stops as he finds
something unusual.
CLOSER SHOT
It's a grey piece of electronic equipment with a collapsible
antenna...the same transmitter that blasted the Prince brothers
to Confederate heaven (although Michael doesn't know that.)
As Michael reacts, intrigued, we:
CUT TO
INT. CIMARRON LODGE - SHAW'S ROOM - TIGHT ON LIBERTY
as a wide band of adhesive tape is placed across her mouth.
We widen, see that her wrists and ankles are bound and she's
laying on a bed.
Ed Shaw rolls her roughly over, checks the binding on her
wrists. Clark Sellers pours himself a very high highball,
wipes perspiration from his forehead. He chugs the drink,
pours another.
Liberty makes some muffled cries, beats her still-mobile
calves and feet against the bed. Shaw rises from the bed.
SHAW
I honestly think she makes more
noise with her mouth shut than she
did with it open....
CLARK
Shaw...what do we do with her? We
can't leave her like this forever....
SHAW
We won't. We have to get rid of
her....
CLARK
(aghast)
Three deaths? Ed, no ---
SHAW
Damn it, Clark, will you face
reality? She can burn us!
CLARK
Yeah? The reality is she's practically
a celebrity herself! There'll be
questions...an inquiry! The woman
can't just disappear from the face of
the earth...!
During Clark's speech, above, Liberty has been making
grunts and thuds akin to "right on! You tell him!" etc.
SHAW
She won't just 'disappear'...they'll
find her...or what's left of her...
at the site of the next 'accident.'
Clark is puzzled. Liberty's SFX become downright indignant.
CLARK
You can't be serious.
Shaw comes closer to Clark, intent. He's spitballing.
SHAW
Listen. Everyone's looking for a
mysterious saboteur, right? Well...
we're going to give them one...a dead
one.
SELLERS
You think the police are that stupid?
SHAW
I think we don't have a lot of options.
This lady's already had a few scrapes
with the law...The police will come to
the only conclusion possible: She made
a mistake setting a bomb...a fatal
mistake.
SELLERS
(thinking
about it)
Some evidence would help....
SHAW
(smiling)
I already planted some.
CUT TO
INT. K.I.T.T.'S SEMI - DAY
Pull back from the electronic device, again in Michael's
hand. Devon and Bonnie look on, interested, as Michael
presses the button in front of K.I.T.T.'s scanner. A light
goes on on the device and we hear an electronic "humm."
MICHAEL
Well?
K.I.T.T. makes some computing sounds, then:
K.I.T.T.
No doubt about it, Michael. That is
identical to the signal I monitored
two milliseconds before the Prince
brothers were...what is the phrase...?
BONNIE
Blown to smithereens?
Devon looks at Michael expectantly. Michael averts his eyes.
DEVON
Michael...it appears we've found our
saboteur.
MICHAEL
Really? Then who's she working for?
Detroit? The Mid East? It just
doesn't track -- motive, for one thing.
DEVON
I'll give you motive, Michael...and
it's not nearly as Byzantine as the
ones we've considered.
Devon turns, makes his point like a debater.
DEVON
When this race started, it was of in-
terest only to idealists and dreamers
...but thanks to the events of the past
few days, it's news...and Liberty has
a camera bag chock full of negatives
that could command a fortune from maga-
zines and newspapers all over the world.
MICHAEL
I'm not sure, Devon. It's too easy
...it's Hashi Al Qatar and the rifle
all over again. And why wasn't her
bag unpacked? Or her bed slept in?
Where did she go?
Outside, we hear a klaxon-like signal. Devon sees Michael
is adamant, takes another tack.
DEVON
The racers are lining up...Michael,
whether we're right or wrong about
Liberty Cox, our saboteur may be
planning more surprises for the last
leg of the race...you'd better go.
MICHAEL
So that you can issue an APB for
Liberty after I leave?
DEVON
What would you do?
A moment. Michael sighs.
MICHAEL
The same thing.
It's almost an apology. Devon extends his hand.
DEVON
Good luck.
BONNIE
Be careful, Michael.
He kisses her on the cheek, hops into K.I.T.T.
CUT TO
OMITTED
EXT. CIMARRON LODGE
Ed Shaw drops the flag. The five remaining cars leap away
from the starting line.
EXT. DESERT - RACE FOOTAGE
Each car jockies for position...we follow the action,
then....
CUT TO
EXT. CANYON - DAY
Where a narrow defile is the only route through.
Camera tilts up to show a SCN van approaching the rim of the
canyon.
CLOSER SHOT
Sellers and Shaw get out of the van, go to the back.
Inside is a laundry bin...your basic hotel type. And
inside the laundry bin is Liberty. As she mutters barely
audible expletives, they haul her from the van and Shaw
cuts the bindings on her feet with a pocket knife. Shaw
grabs a canvas bag of gear and then he and Sellers manhandle
her towards some boulders.
SHAW
Don't make it any harder, okay?
She resists. Shaw adjusts his grip...She suddenly kicks
out. Shaw dodges just in time, laughs.
SHAW
You're a hot one, sweetheart. If
we had a little more time I'd help
you work off that energy.
He puts her down behind a large boulder...reties her legs.
Then he starts on the bomb.
SHAW
(working)
I'm setting this one with a fuse...
When the dust settles they'll
figure she screwed up and couldn't
get out of the blast area in time....
Liberty squirms, yells through the gag. Shaw takes out
dynamite, attaches a fuse to the sticks.
SELLERS
We have to hurry...I told the camera
crew to get some runbys, but they'll
be here in ten minutes.
SHAW
Twenty minutes. I took care of it.
SELLERS
You took care of it? Who do you
think you are?
SHAW
The new Vice President of Sellers
Cable Network. Hand me that roll of
adhesive tape, will you?
As Sellers reacts, we:
CUT TO
EXT. DESERT - RACE ACTION
Runbys of all our vehicles...K.I.T.T. in the middle of the
pack.
CUT TO
EXT. CANYON RIM - DAY
Pull back from the dynamite, which is wedged well up under
a rock. We continue widening, see that a long fuse runs
from the dynamite to Liberty, who is a good ten-feet from
the charge.
Shaw lights a match. Liberty cringes. Shaw touches it to
the fuse, which immediately burns upwards.
SHAW
Come on, let's go!
Liberty mutters something the program standards won't pass
if we heard it. Shaw and Sellers run to the truck, drive
away.
OMITTED
EXT. DESERT - DAY
More race runbys...then....
LIBERTY
struggling futily against her bonds, eyeing the fuse...
and suddenly reacting to the roar of an engine.
OMITTED
EXT. BLUFF
The camera crew is setting up.
CAMERA MAN
Here they come...!
The camera pans to shoot ---
OSAKA, GRAS, K.I.T.T.
entering the canyon in above order.
LIBERTY
Hearing the cars below her, she tries to call for help....
K.I.T.T.
roars through the canyon.
LIBERTY
Her head sags in despair. The fuse burns on.
OMITTED
INT. K.I.T.T. - TRAVELING
K.I.T.T.
Osaka has taken the lead, Michael.
He's just crossed Apache Wash and
entered the final stretch.
MICHAEL
Kitt, somehow, I know we've missed
something. Run the stats on everyone
left in the race...the race course...
everything.
K.I.T.T.
Very well.
Data begins appearing on the screens (all a replay of what
we saw in Act Two).
EXT. FINISH LINE
(Note: As indicated earlier, this is the same place the
circular race began, and also the same place where the
scribe began.)
Red, white and blue bunting is on the grandstand. A big
"ALTERNATIVE 2000 FINISH LINE" banner waves over the
grandstand.
CLOSE ON DEVON AND BONNIE
PA VOICE
The racers have just turned into the
final stretch. Helmut Gras is in
the lead, followed by Hito Osaka and
Michael Knight.
DEVON
(aside to
Bonnie)
Uh-oh.
BONNIE
What's wrong?
DEVON
I just realized...I told Michael not
to win...but I don't think I said
anything about 'place' or 'show....'
CUT TO
OMITTED
INT. K.I.T.T. - TRAVELING
as a map of the race course appears. Several green lights
mark all the acute turns and hills.
MICHAEL
Kitt, I think you made a mistake
here. There's only been three
accidents...not....
K.I.T.T.
Michael, I was about to say that this
is a readout of all the SCN camera
positions.
Michael sits up alert. Points.
MICHAEL
But...this one...this one...and this
one...they're all in the same places
the accidents took place...That's
why I thought....
He stops, getting an idea.
MICHAEL
Kitt!..give me an overlay of the
accident sites...and leave up the
camera positions.
K.I.T.T.
Right away.
On K.I.T.T.'s screens, three red blips blink near three
green ones.
MICHAEL
Kitt, every accident has been right
in front of a camera crew!
K.I.T.T.
Michael, the odds against a freak
accident being synchronistic with a
random deployment of cameras is ---
MICHAEL
I know what it is...suspicious!
Remember what Devon said...about why
Liberty might have sabotaged the
race?
K.I.T.T.
To make her film more valuable?
MICHAEL
Well, the same theory applies to our
friend Mr. Clark Sellers...in spades!
Where's the nearest camera position?
K.I.T.T.
We just passed it...Apache Wash.
Michael throws the car in a U-turn, roars away.
OMITTED
LIBERTY
The fuse burns shorter...shorter....
INT. K.I.T.T.
approaching canyon.
MICHAEL
Kitt...give me a readout on this
canyon with all your scanners...
visual...infrared...chemical
detectors...the works!
K.I.T.T.'s screens zoom in on the canyon...one screen is
normal telephoto, the other a graphic.
K.I.T.T.
Michael! There's an explosive
charge there...and a person too!
MICHAEL
What? Go to maximum enlargement!
(beat)
Wha...It's Liberty!
K.I.T.T.
Michael, at the rate that fuse is
burning...we have less than twenty
seconds to stop it!
OMITTED
LIBERTY
She's lost all hope...then she looks up, hearing ---
HER POINT OF VIEW - K.I.T.T.
appearing turning, and ---
THE SCENE
Slamming to a halt. Michael jumps out, reaches for the
fuse...just as it burns so short under a rock that he
can't reach it!
MICHAEL
Kitt! I need some help!
NEW ANGLE
As K.I.T.T. rolls forward and the front bumper makes contact
with the boulder. We hear K.I.T.T.'s motor strain, then
the boulder rolls aside. Michael brakes the fuse off the
charge with seconds to spare.
Liberty watches all this, amazed.
EXT. FINISH LINE - DAY
The SCN van with Sellers and Shaw arrives here, parks.
Sellers and Shaw get out and climb up the bandstand,
shaking hands with various people as they do...including
Devon and Bonnie!
PA VOICE
All the cars have made it through
Apache Wash...they're now entering
the final leg of the race.
OMITTED
INT. K.I.T.T. - TRAVELING
Liberty is struggling without success to untie her hands
enough to remove her gag.
K.I.T.T.
Michael, I'm monitoring the signal
from the SCN cameras.
CLOSER SHOT - SCREEN
We see Sellers there...and Shaw, in the f.g.
K.I.T.T.
Clark Sellers is waiting there.
Liberty pounds excitedly on the screen, pointing with her
pinky at Shaw.
MICHAEL
Huh? What? Shaw? Shaw was in on
it, too? Thanks, Liberty.
Liberty mumbles, gestures.
MICHAEL
Huh? Oh, yes...the car talks...I
guess Sellers caught you snooping
around, huh? What? Oh, you want me
to take off the gag?
(smiling)
I don't think so. This is the first
conversation I've ever had with you
where I got a word in edgewise. Kitt,
Sellers and Shaw will head for the
hills the minute they see us. Give
me some overdrive.
Camera tightens on Michael.
MICHAEL
We're gonna give Mr. Sellers a real
big finish!
EXT. DESERT
As K.I.T.T. becomes a blur, passes Andy Russell...then
Dorothy Ackridge.
OMITTED
EXT. FINISH LINE - DAY
PA VOICE
And there they are! Osaka and Gras
are neck and neck....
Shaw has joined Sellers near Devon and Bonnie. Devon and
Bonnie share a pair of binoculars...Sellers has another
pair.
PA VOICE
No, wait...Osaka has taken the lead...
two lengths...three lengths...he's way
out in front! The Japanese entry is
going to take the gold!
Sellers nods approvingly, passes the binoculars to Shaw.
SELLERS
That's another ten million in the
Pacific market right there.
PA VOICE
(suddenly)
No...wait...another car is coming
up...the speed is...off the scale...!
It's number eight....
Devon and Bonnie react, startled; Sellers and Shaw (and
everyone else) react as interested fans.
PA VOICE
Michael Knight...he's passing Helmut
Gras...He's passing Osaka! Michael
Knight is in the lead!
DEVON
I'll kill him!
Shaw looks through his binoculars, makes a strangled cry.
SELLERS
What's wrong?
BINOCULAR SHOT - SHAW'S POINT OF VIEW - LIBERTY
is clearly visible in the passenger seat.
BACK TO SCENE
SHAW
He -- He's got the girl!
The two men look at each other, suddenly scramble down the
grandstand, knocking people aside.
Sellers and Shaw run to a SCN vehicle, jump in. They roar
out of the parking lot, swerve around the grandstand....
OMITTED
INT. K.I.T.T.
All of the above is visible on the screens.
K.I.T.T.
Michael, they're getting away.
MICHAEL
Then we'll cut them off!
K.I.T.T.
But the grandstand is in our way!
INSERT - CONTROLS
"Turbo Boost" is hit....
MICHAEL'S VOICE
Not any more...!
K.I.T.T. - SLOW MOTION
leaps into the air, tears down the "FINISH LINE" banner,
sails over the grandstand with room to spare and ---
NEW ANGLE - K.I.T.T.
lands in front of the escaping van, immediately throws a
ninety...The van swerves to avoid a collision and ---
SCN VAN - SLOW MOTION
It skids and rolls into a refreshment stand. Soda pop and
orangeade turn into liquid firework.
THE SCENE
Sellers and Shaw are dazed. Michael jumps out of K.I.T.T.
as the crowd surges forward. Liberty is finally unbound.
She rips the tape off her mouth.
LIBERTY
Ow!
Michael runs to the van, pulls Shaw and Sellers out. Shaw
falls to the ground, dazed. Michael holds Sellers up by
the lapels...and then suddenly Michael is surrounded by
well wishers...a trophy cup is pushed into his hands.
Liberty grabs a camera from someone.
LIBERTY
Mr. Sellers! Mr. Sellers!
Sellers turns, a bit dazed.
LIBERTY
Say 'Levenworth'.
As her flash illuminates the scene we:
FREEZE FRAME
END OF ACT FOUR
TAG
FADE IN
INT. DEVON'S OFFICE - DAY - TIGHT ON THE TROPHY
from the Alternative 2000. Widen to reveal Michael behind
it, standing proudly. Bonnie is at his side. Liberty is
taking pictures. The phone rings.
LIBERTY
Hold it. One more.
Bonnie picks up the phone.
BONNIE
(into phone)
Hello...No. It's Bonnie...Oh, hi,
Doctor Kempler....
She beginstaking notes as Devon enters the room not at all
pleased by the presence of the trophy -- or Liberty, for
that matter.
MICHAEL
Well, Devon, what do you think?
Michael indicates the impressive trophy.
DEVON
(grumpy)
It goes against my grain to see a
man rewarded for insubordination.
BONNIE
(into phone)
Can you run that by me one more
time, Doctor. I'm not sure I heard
you right.
MICHAEL
Okay, Devon. I apologize for
winning the race. But how else was
I supposed to nail Sellers and Shaw?
DEVON
I have no intention of discussing
the case any further. Now would you
please tell me what she's doing here?
LIBERTY
I came to find out what you told my
editor. I had the world's greatest
racing scoop. Murder, mayhem and a
talking car to the rescue.
DEVON
I simply told him that we are
involved in sensitive areas here and
that publicity is something that we
could all do without.
LIBERTY
That explains why he killed my story.
BONNIE
(cupping phone
in her hand)
It's alive again.
She hands Devon a note.
LIBERTY/MICHAEL/DEVON
What?
Devon reads the note, keeping Michael at arm's length.
DEVON
(pleased)
Well, well, it seems Hashi Al
Qatar's ambassador got in touch with
the State Department and they agree
since his disqualification was
somewhat illegal, the race will have
to be run over again.
MICHAEL
You mean I have to give back the
trophy?
DEVON
Looks that way.
LIBERTY
What a shame.
Devon pats Michael on the back with dubious comaraderie.
DEVON
Sic transit gloria mundi.
MICHAEL
You took the words right out of my
mouth.
BONNIE
(into phone)
Hold on, I'll ask him.
(to Devon)
Doctor Kempler wants to know if
Michael's entering the race again.
Michael and Devon look at each other and reply.
MICHAEL DEVON
Yes. No.
On their adamant reactions and ad-libs....
FREEZE FRAME
THE END
