Plot
The Rider arrives on his advanced motorcycle with its artificial intelligence computer Einstein. He crashes but manages to pass through the 'wall of illusion' and is found and brought back to health by the Enlightened Elders. They have chosen him to lead their fight against the evil Omega, an Orwellian state run by the evil Prossor. The Elders are allied with the resistance movement, the Outsiders. The Rider first helps Nastasia and the other Outsiders by rescuing McWayne, Nastasia's father and leader of the Outsiders. While the Rider and McWayne successfully escape, Nastasia is captured and tortured by Prossor.
The Rider gains acceptance from various Marginals (amazons, martial artists, truckers, punks, soldiers, Omega defectors) by winning in the ritual brawl which determines who is the strongest. The Rider and the Outsiders launch their final attack on Prossor's regime, but are intercepted by the Omegas and a giant armored truck, called Megaweapon. As the rebels destroy the Omega patrols with their cars (Ford Taunus TCs), helicopters and tankers, the Rider manages to destroy the Megaweapon by short circuiting it, but not before his speedcycle is destroyed under the truck's wheels. The Rider and McWayne storm Prossor's headquarters where they face the dictator and a brainwashed Nastasia. She wounds the Rider, but when ordered to kill her father, she rebels, turning on Prossor and shooting him instead. The Omega has been overthrown, and the Outsiders and Marginals celebrate, as the Rider prepares to move on with his repaired speedcycle.
In a last-minute twist, it is revealed that the man Nastasia shot was actually a cyborg clone and the real Prossor is still alive. He flies away with an unnamed traitor of the New Way (Fred Williamson), plotting revenge against the "animals" that defeated him.
Read more about this topic: Warrior Of The Lost World
Famous quotes containing the word plot:
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)
“The westward march has stopped, upon the final plains of the Pacific; and now the plot thickens ... with the change, the pause, the settlement, our people draw into closer groups, stand face to face, to know each other and be known.”
—Woodrow Wilson (1856–1924)
“But, when to Sin our byast Nature leans,
The careful Devil is still at hand with means;
And providently Pimps for ill desires:
The Good Old Cause, reviv’d, a Plot requires,
Plots, true or false, are necessary things,
To raise up Common-wealths and ruine Kings.”
—John Dryden (1631–1700)