ACT ONE
FADE IN
EXT. CHICAGO SKYLINE - DAY
A slow pan across as we hear the rasping beat of "Blues"
being sung by the famous Charley Conners, his voice
blending and adding to the feel, history, and look. The
camera moves down to:
EXT. "NEW TENEMENT" CLUB - NIGHT
In the midst of the tenements and one story taxpayers an
old theatre has been taken over...Banners designate the
Grand Opening that night. Camera moves in to the sign at
the front door..."JOSH BEVIN PRESENTS CHARLEY CONNERS...
PROCEEDS FOR THE BENEFITS OF THE NEIGHBORHOOD BUILDING FUND".
Charley's voice plays over his picture as we move in to the
rehearsal....
CLOSE ON CHARLEY CONNERS
His sweat-soaked face a natural gleaming logo half-hidden
by his dark glasses. He pours out his talent and emotions
through his voice. Camera widens to:
INT. NEW TENEMENT CLUB - DAY
Charley Conners at the piano...The camera pans the room
along the tables already setup for the evening show...
other tables, and then over the bar....
BAR
set up over to one side of the theatre. Josh Bevin, over
sixty, overweight, black tie, and very proud. The
Bartender who is setting up smiles and leans over to him
to whisper....
BARTENDER
You've always done pretty good Josh,
but I bet you never thought you'd
rebuild your old neighborhood.
Josh smiles and shushs him with a sign, but takes a moment
to look around, then turns back, gives him a nod....
JOSH
If me and Charley can just get them
started they can put it all together
again....
CHARLEY CONNERS
smiling as he sings, almost as if he heard Josh.
OMITTED
EXT. CHICAGO STREETS - DAY
Traffic at a horn blaring stand still...Charley's music
continues over and....
INSIDE K.I.T.T.
Michael smacks the steering wheel in frustration...RC3
sitting next to him enjoys the music, his thirty-two-ounce
soda cup perched precariously on his knee....
MICHAEL
I hate traffic jams.
K.I.T.T.
I don't like taking carbon monoxide
into my system either Michael. Try
to relax.
RC3
You tell him Kitt. We're air condi-
tioned, slurping cherry flavored
bubbles and tapped into a Charlie
Conners live rehearsal...Life is
sweet Michael.
Michael gives him a look, holds a beat.
MICHAEL
Try this for sweet...We're supposed
to be in Detroit but we're 400 miles
out of our way so you can visit your
old neighborhood and Bonnie can wear
out her credit cards on Michigan
Boulevard.
K.I.T.T.
And to catch the Charley Conners
opening.
MICHAEL
Who's side are you on?
K.I.T.T.
I'm also a fan of Mr. Conners.
RC3
And you're also part of the alibi if
Devon finds out.
K.I.T.T.
I don't know if I like being an alibi.
By the way, what is it?
MICHAEL
We don't know yet pal, but you're in
on it...
(smile,
beat)
Now let's talk about 'sweet'....
RC3 reaction.
INT. NEW TENEMENT CLUB - DAY
Charley Conners is coming to the end of his song....
BAR
The Bartender nods to Josh smiling.
BARTENDER
I'm headed for the store room
Josh. Stay away from my inventory.
Josh returns the smile and heads for the stage where
Charley has just finished his song...Josh applauds and then
hears the sound of another set of hands clapping. He turns
to face:
ANGLE ACROSS ROOM
Keith Lawson, young, big, and mean, is framed by three
men...Velez shorter and dark next to him and a couple of
henchmen....
JOSH
suddenly a little tense and wary.
JOSH
First show is at eight PM. We're
not open till then.
KEITH
His hard half smile.
KEITH
Or maybe not at all.
Keith nods to the rest of his group...They move forward.
CUT TO
EXT. STREET - K.I.T.T.
The traffic opens up. Michael slips out and makes a right
turn.
INSIDE K.I.T.T.
MICHAEL
This is more like it. We'll be
sitting with your friend Josh for
the next number.
Charley's V.O., the speaker isn't singing now. The sound
of the fight in the b.g.
CHARLEY'S VOICE
Josh what's going on? Where are you
Josh?
Michael and RC3 snap alert.
MICHAEL
Let's get there Kitt. Scan and
photo everything when we pull up.
OMITTED
EXT. K.I.T.T.
as it picks up speed and heads for the Club.
INT. NEW TENEMENT CLUB
The three hoods are already in action.
SERIES OF CUTS
Two of them have Josh against the bar and tattoo him with
fists and feet.
Velez flings chairs and tables across the room wrecking
whatever he can.
Keith watches a beat, then exits as the three continue....
Josh slumps unconscious to the floor...The two now move to
assist Velez in his carnage.
Charley left up on stage continues to call out in his
concern for Josh...His own frustration building.
CHARLEY
Somebody...Anybody...What's happening?
Josh are you all right..? I can help
you Josh...Tell me where you are?
THE THREESOME
They look around ignoring Charley...Their last piece of
havoc being the smashing of the bottles on the back
bar...Then they exit....
OMITTED
EXT. NEW TENEMENT CLUB - DAY - MICHAEL'S POINT OF VIEW
THROUGH WINDSHIELD
as K.I.T.T. pulls up...Velez and his two henchmen have
exited the club. They head for a car parked nearby with
Keith behind the wheel.
ANGLE ON KEITH
as he pulls from the curb his eye meets RC3 in K.I.T.T...A
flash of recognition.
ON RC3
The same flash of recognition. Then the voice of Charley
comes over the speaker again....
CHARLEY'S VOICE
Josh, sound off and I'll find you....
K.I.T.T.
as Michael and RC3 are out of the car and to the front door.
OMITTED
INT. NEW TENEMENT CLUB - DAY
Michael and RC3 rush in. The place is a mess. No one in
sight except Charley Conners who is precariously near the
edge of the stage and about to step off into a three-foot
drop. He is still calling out to Josh. (Ad-libs).
Michael rushes forward...RC3 checking the rest of the place.
STAGE
Michael reaches Charley just before he is about to step off
the stage...Charley, not knowing, is quick to throw a pretty
good punch which Michael ducks....
MICHAEL
Take it easy Charley, I'm here to
help....
CHARLEY
Then find Josh....
NEW ANGLE
RC3 calls out from near the bar where he kneels over the
prone body of Josh.
RC3
Over here Michael.
Michael turns back to Charley.
MICHAEL
How do we do this?
CHARLEY
Just walk, I'll find an elbow to
hang on to....
OMITTED
ANGLE
They move towards the bar area. Michael stumbles over some
debris and Charley almost trips over him...He laughs....
CHARLEY
I can do that without your help.
They reach Josh...Charley is the first to touch him...He
examines him with his hands...feels his breathing....
CHARLEY
He's got some cracked ribs and
busted arm...How's he look....
MICHAEL
Like a concussion...
(into comlink)
Kitt, get an ambulance here....
RC3
He took a bad beating.
MICHAEL
Any idea who did it Charley?
ANGLE ON CHARLEY
His frustration again, then a soft smile....
CHARLEY
You'll have to talk to Josh...I only
see voices.
CUT TO
OMITTED
EXT. HOSPITAL - NIGHT - ESTABLISH - STOCK
MICHAEL'S VOICE
If you told that story to a mule he'd
probably kick you.
INT. HOSPITAL EMERGENCY ROOM - NIGHT
Josh Bevin is painfully stretched out on a bed. His face
is bandaged, his ribs arm and ribs giving him a lot of
trouble.
JOSH
Feels like that's what happened...
you see a mule leaving my place...?
MICHAEL
Three of them, all on their hind
legs...and I think you know who they
are....
JOSH
Look Mr. Knight. I thank you...I
thank The Foundation for Law and
Government and above all I thank
God, but I really have nothing to
say to all three of you right now.
MICHAEL
Then maybe it would be better to
hand this over to the Chicago police.
JOSH
They got enough problems without
looking into a case where there's no
complaint and nobody going to
testify.
MICHAEL
There's a squeeze on you Josh.
Josh gets a little nervous.
JOSH
If there is it's still my problem
and my choice on how to handle it....
MICHAEL
So far you're doing a lousy job.
Next time some innocent people could
be hurt.
JOSH
There are no innocent people in
the ghetto Mr. Knight. There's
victims and survivors. I call in
the cops and all these people have
to do is watch and see who wins. I
came back to help them be survivors.
They have to care, and they have to
help....
MICHAEL
You're betting people lives....
JOSH
(uncertain
beat)
Get out of my room and stay out of
my life....
Michael holds a beat, then exits the room.
HALLWAY
Bonnie and RC3 are there...They have been listening.
MICHAEL
He's a thick head.
RC3
Maybe, but I know what he's saying
and he's right. He's come back to
help rebuild this area...Thick head
or not Michael, he could use our help.
MICHAEL
It's a local police matter...I'll
fill them in on whatever I have.
BONNIE
That won't work. We owe a favor to
this neighborhood...We owe it to our
local pit crew who put K.I.T.T.
together when he was declared
D.O.A....
ON MICHAEL
He holds a beat...
MICHAEL
You're both right...I'll do what I
can...First we have to find out what
this is all about....
Bonnie smiles.
MICHAEL
Don't smile too soon...you're going
to have to explain to Devon why
we're not in Detroit....
Michael moves off on her look....
CUT TO
EXT. SEMI - NIGHT - STOCK
parked in a garage area of the city.
INT. SEMI - NIGHT
...K.I.T.T. is hooked up to one of the semi monitors. Bonnie
makes certain adjustments as RC3 and Michael study the screen.
MONITOR SCREEN
We see the film of the New Tenement Club from K.I.T.T.'s
point of view as he approached....
MICHAEL
Move in closer Bonnie.
The image is enlarged. We see Keith Lawson, at the wheel,
the others exit the club leisurely...Michael can be seen
approaching from camera and into the club.
ANGLE ON RC3
His reaction...Unsure as to exactly what's happening.
NEW ANGLE
Michael points at the screen.
MICHAEL
Let's try and identify them.
RC3
(hesitant
beat)
I know him...the driver...His name is
Keith Lawson...But he couldn't be
involved in this....
MICHAEL
You sound pretty sure....
RC3
I am...I've known Keith since I was
six. He was always sort of the
local hero....
Michael eyes RC3 for a beat, reading him.
RC3 gets a little annoyed.
RC3
Keith is a good guy.
Bonnie senses a little bit of tension building and steps in.
BONNIE
Maybe he is RC. All Michael is going
to do is check him out. I'd say the
tape warrants that.
RC3
I don't know Michael.
MICHAEL
Neither do I yet...That's why I'm
still looking into it.
RC3 holds a few thoughtful beats.
RC3
I'm part of this whole thing Michael.
Part of F.L.A.G. Part of this
neighborhood. Maybe I have to prove
something but I'll do the checking
on Keith....
Bonnie is about to interject...Michael holds her with a look.
MICHAEL
Okay RC. You've earned the right to
get more involved in F.L.A.G. busi-
ness. Just remember one thing....
RC3
What's that.
MICHAEL
This is F.L.A.G. business.
RC3 nods his understanding, turns back to the monitor
screen.
MONITOR SCREEN
The freeze frame picture of Keith Lawson.
MATCH CUT TO
CLOSE ON KEITH LAWSON
cocky, tough, but with a concerned look on his face. The
camera widens to:
INT. OFFICE
Furnished...The rest of the group is in a mood to cele-
brate. They offer Keith a drink...He refuses, gives them
an annoyed look. Velez shrugs....
VELEZ
Relax, enjoy...We got it done....
KEITH
Got what done? We just got started.
We're into big business for the first
time and the sooner we deliver that
theater to Sanford the sooner we move
on to the next neighborhood. We got
what you can call, 'an investment in
the future.'
VELEZ
What is it with you, I try and talk
to you and you spout like a business
course at Harvard....
KEITH
Joliet ain't Harvard...
(big smile)
But you're right. I could say I
graduated college. Now I'm out there
in the real world making my way into
becoming a millionaire. And as long
as Sanford keeps wanting to push
people out of this area, we keep
making money...and that's what I'm
going to do.
CLOSE ON KEITH
KEITH
Even if I have to level a neighbor-
hood and everyone in it.
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
CLOSE ON WAITER
as he delivers his silver-domed plates to a table...The
camera pulls back to:
INT. WALDORF RESTAURANT - DAY
Posh. The waiter serves the plates carefully to Keith and
RC3, then refills the coffee cups, takes away some dishes,
then departs....
RC3
Breakfast is supposed to be two
eggs, enough potatoes to fill the
plate and three bucks with tip....
RC3 takes a sip of his orange juice....
KEITH
You're sipping three bucks right
now. Better adjust your thinking RC
or you'll be eating in the old 9th
Street Diner all your life....
RC3
They told me where to find you...and
if I eat like this every morning I'd
never fit behind the wheel of the
semi.
KEITH
(serious)
...Who you working for anyhow?
RC3
An outfit called F.L.A.G.
KEITH
You selling bug spray or something?
RC3
No it's The Foundation for Law and
Government.
ON KEITH
His reaction.
KEITH
Cops?
RC3
Not exactly, sort of a support
group. We just wanted to catch the
Charley Conners' show....
SCENE
KEITH
How many more of you F.L.A.G. people
are around?
RC3
A few...You saw one of them...The
tall guy running into the club
yesterday when Josh Bevin got dumped.
To RC3 the answer makes sense, but Keith is still
annoyed.
KEITH
Sounds like you're asking a question
...You playing cop with me?...
RC3
I'm here as a friend....
KEITH
Then stay that way...I run a legiti-
mate real estate business....
RC3
Why are you sounding on me Keith??
When I was a kid you were the one
who always took care of us younger
ones...We've never had a beef....
ON KEITH
His look becomes a little easier, but hard....
KEITH
Yeah you're right...But things have
changed...I only take care of Keith
Lawson now...Everybody else is on
their own. And nobody better try
and stop me.
(beat)
Including old friends from the neigh-
borhood.
RC3 holds a beat, then nods his understanding.
CUT TO
A SINGING GROUP
Four black youths as they gesture and harmonize in a well-
rehearsed and coordinated routine...The camera widens to:
INT. NEW TENEMENT CLUB - DAY
There is a bevy of neighborhood people cleaning and restoring
the location, mostly women, but enough men to get the heavy
work done...Charley Conners sits at the piano and accompanies
the makeshift group. He's enjoying it as much as the kids and
the working audience, amongst who is now Michael.
The song comes to an end and Michael applauds, approaches
the stage and Charley Conners....
MICHAEL
I'd like to talk to you if I could
Mr. Conners.
CHARLEY
Call me Charley...I'm blind, not old.
(to the
group)
How about you put some rhythm into
brooms and clean up the outside. I
got to talk to the big fella.
The kids move off, and step to their beat. Charley turns
to face Michael. His smile lights up his face....
CHARLEY
You about six four, six five?
MICHAEL
About...How did you know?
CHARLEY
'Cause I had to reach up over my
head to hang onto your arm. That's
why they don't use giraffes for
seeing eye dogs....
Michael's laughter....
CHARLEY
Now you'll be wanting to ask me too
many questions that I don't have all
the answers for. So come on up here
and let's start....
MICHAEL
I think you already know the
questions.
Charley, a little more serious....
CHARLEY
Probably, but you still got to ask.
People born around here aren't
natural volunteers....
Michael moves up to the stage....
CUT TO
EXT. NEW TENEMENT CLUB - DAY - K.I.T.T.
The youths have already figured out how to use the cleaning
tools as musical instrument as they boogie on closer to
K.I.T.T.
NEW ANGLE
Then one of the kids starts to pick up the beat of the
improve music on K.I.T.T.'s hood....
K.I.T.T.
Now hold on a minute. Your timing
is excellent but your choice of
percussion instruments is going to
cause some conflict.
The group accepts the fact that K.I.T.T. talks with the
awareness of the electronic generation.
RALPH
We got to have percussion. We need
a beat.
K.I.T.T.
Then consider using a garbage can
cover.
MICK
The sound is too tinsel. We need
basso.
RICK
You can talk, can you sing?
K.I.T.T.
I don't know...I've never really
tried.
RALPH
Not even in the car wash?
K.I.T.T.
I'm afraid not....
The kids look at each other, then harmonize a note....
RONNIE
Try that....
K.I.T.T. does try and is awful...His voice causes the kids
to break up.
RALPH
You're a better drum than you are a
singer.
INSIDE K.I.T.T. - INTERCUT AS NEEDED
His anharmonic synthesizer lights up....
K.I.T.T.
Perhaps I can be of some help.
The sound of a percussion section blares out of the
speakers. The button flicks into the beat, then other
supporting instruments are added, the kids start to pick up
the beat...Then Kid #1 leans over top K.I.T.T.
RALPH
That's great, but could you give us
a vocal 'wa, wa'?
K.I.T.T.
Not a chance....
It doesn't slow the singing.
CUT TO
INT. NEW TENEMENT CLUB - DAY
Michael and Charley Conners at the closed bar.
CHARLEY
Josh won't tell you anything because
he's used to handling things himself
and not run to the cops.
MICHAEL
I'm not a cop.
CHARLEY
Close enough for Josh.
MICHAEL
Then he's still dancing a two step...
He's outdated....
CHARLEY
Maybe, but Josh convinced this neigh-
borhood that if they worked together
they could clean it up and breath
life back into it...He's the leader
...He's got to stay in control...He
goes to the cops and he's saying he
lost it....
ANGLE
One of the neighborhood women urgently whispers something
to Charley...He reacts. Holds for a beat as he thinks....
CHARLEY
Maybe I do have to fill you in...Josh
just snuck out of the hospital. I
hope he's not headed for trouble....
MICHAEL
To the ones responsible for last
night.
CHARLEY
Could be.
MICHAEL
Would the name be Keith Lawson?
CHARLEY
(nods)
The name would be Eastside Realty
and we better get there...Give me
that extra high arm of yours....
Michael does as he's requested and they move to the front
door and out.
EXT. NEW TENEMENT CLUB - DAY
The concert with K.I.T.T. and the trio continues. It is
interrupted as Michael holds the door open for Charley...One
of the kids rushes forward.
RALPH
You hear the sound out of this car
Mr. Conners?
They climb into K.I.T.T.
INSIDE K.I.T.T.
As Michael pulls away from the curb, Michael questions
K.I.T.T.
MICHAEL
What was that all about Kitt?
K.I.T.T.
I was helping out the youth of
Chicago. If you could do some back-
ground 'wa-wa' you could join in....
Charley is more than impressed by it all....
CHARLEY
What does this car do besides
harmonize?
MICHAEL
Kitt can do almost anything....
CHARLEY
Like what?
MICHAEL
Like drive us to where we're
headed. What's the location?
CHARLEY
Lake and 5th.
MICHAEL
You got that Kitt....
K.I.T.T.
Of course Michael...And I'm very
pleased to meet you Mr. Conners.
CHARLEY
Likewise Mr. Kitt...Likewise.
TIME CUT TO
EXT. K.I.T.T.
driving through.
TIME CUT TO
EXT. OFFICE BUILDING - DAY
One of the older two story locations in the city. K.I.T.T.
pulls up and has to double park next to a truck. A
uniformed traffic Cop blows his whistle and waves them
on....
INSIDE K.I.T.T.
MICHAEL
Keep circling the block, Kitt. I'll
call you if I need help.
CHARLEY
If this car can drive itself, I got
a favor to ask of you....
LONG SHOT DOWN K.I.T.T.
Michael leaning in the window...The camera pulls back to:
INT. EASTSIDE REALTY OFFICE
Velez looks down from the second floor window. He turns to
Keith.
VELEZ
We got company. RC's buddy. The big
guy.
Keith reacts, then seems pleased.
KEITH
If he starts a hassle, we have
every legal right to finish it.
Be ready.
Velez returns the smile, looks out the window.
VELEZ' POINT OF VIEW - K.I.T.T.
pulls away and Michael heads towards the entrance.
INSIDE K.I.T.T.
A smiling Charley Conners sits behind the wheel enjoying
the fantasy of driving K.I.T.T....
CHARLEY
Come on Mr. Kitt. Let's burn a
little rubber.
K.I.T.T.
zips around a corner past the traffic Cop.
TRAFFIC COP
The look on his face as he's not sure of what he saw....
CUT TO
INT. EASTSIDE REALTY OFFICE - DAY
Michael walks in to face Keith Lawson.
ANGLE
They study each other carefully for a few beats.
KEITH
You looking to move into a low rent
apartment, Mr...Mr...?
MICHAEL
My name is Michael Knight and I'm
looking to move in on you.
KEITH
What's with you. Somebody must be
playing handball with your head.
MICHAEL
Not mine, but maybe Josh Bevin's.
You're pushing on him, I don't know
why. But I'm part of Josh's play.
Deal with me....
KEITH
I don't have to deal with anyone. I
run a legitimate business. You
think different you better have a
little more going for you than a big
mouth and a neighborhood spy. Now
why did you really come here?
MICHAEL
Because there's an injured old timer
who's just man enough to try and
face you with his fists.....
KEITH
(broad smile)
So Josh Bevin busted out of the
hospital and you came here looking
for him.
(changing)
Well he's not here and I'm not about
to let you search the place. So get
out.
MICHAEL
I'll be seeing you again....
KEITH
If you keep getting in my way you
certainly will.
MICHAEL
I'm going to push you, Keith. I'm
going to push you to the breaking
point.
(beat)
Then I got you.
Michael turns and moves from the office....
ON KEITH
He reaches under the desk.
INSERT
As he hand pushes a button....
BACK
Then he moves away from his desk....
HALLWAY
Michael exits the Realty Office then freezes....
MICHAEL'S POINT OF VIEW - VELEZ AND ONE OF THE HENCHMEN
at one end of the hallway....
MICHAEL
spins and heads for the other end....
MICHAEL'S POINT OF VIEW - THE OTHER TWO HENCHMEN
have Michael bracketed.
MICHAEL
You guys wouldn't be interested in
some peaceful negotiation would you?
(beat)
Didn't think so....
Michael brings his comlink up to his mouth....
CUT TO
EXT. OFFICE - K.I.T.T.
As he drives by the traffic Cop again in convertible
mode....
INSIDE K.I.T.T.
K.I.T.T.
Now, Mr. Conners....
K.I.T.T.
Charley leans out the window to wave at the Cop....
COP
It's getting to him....
INSIDE K.I.T.T.
MICHAEL'S VOICE
Kitt, I'm going to need you. Come
around front and be ready.
K.I.T.T.
screeches a 180 and pulls around some traffic towards the
front of the office building.
INT. HALLWAY
Michael fakes towards one end of the hallway then drives
towards the other end and into two of the henchmen....
SERIES OF CUTS
Michael drops one with a flying kick, spins to take out the
other one with a elbow to the stomach.
Keith exits the office and motions to Velez to get into
it....
Velez and his sidekick are on top of Michael in a flash,
take him off his feet.
EXT. OFFICE BUILDING
K.I.T.T. screeches to a stop at the office building. The
Cop has finally lost his cool...He races after K.I.T.T.
INT. HALLWAY
Michael swings and fights his way to his feet leaving the
heavies in a heap...Keith is the only one standing halfway
down the hall. Michael yells into his comlink:
MICHAEL
Kitt!
K.I.T.T.
Double parked in front, Michael. You
can use the south window.
MICHAEL
You sure?
CHARLEY
Trust him.
EXT. STREET
The Cop reaches K.I.T.T. and looks in. His anger is
replaced by shock and uncertainty.
COP
You're Charley Conners the singer.
CHARLEY
Right.
COP
You're not driving this car....
CHARLEY
If I'm not, who is?
COP
(leaning in)
Someone made an illegal U-turn and
crossed the double line.
CHARLEY
I did it...Arrest me.
COP
Arrest you??
CHARLEY
I didn't see no signs and I always
wanted to go to Traffic Court and
plead guilty with an explanation.
The Cop's reaction.
INT. HALLWAY
Michael takes off down the hall, bowls over Keith....
ANGLE
Velez takes out his automatic and follows Michael's trail
with series of squibs.
MICHAEL
on his way to the window....
MICHAEL
Here I come....
K.I.T.T.
parked in position.
MICHAEL
crashes through the second floor window....
SLOW MOTION
as Michael sails through the air....
NEW ANGLE
Michael lands on the roof of the parked truck, jumps down
into the passenger seat of K.I.T.T.
K.I.T.T.
pulls away....
COP
He stands there stunned...Then simply turns and walks away.
K.I.T.T.
speeds around the corner.
OFFICE DOOR
Keith and the group out onto the street, hold up as they
see the Cop...They can do nothing but watch K.I.T.T. speed
off....
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
EXT. NEW TENEMENT CLUB - DAY - ESTABLISH
INT. NEW TENEMENT CLUB - CLOSE ON MICHAEL
He winces as he places a cold compress to his marked face.
The camera widens to include Josh Bevin sitting next to him
also showing the signs of his past combat. They resemble
bruised book ends...Josh eyes Michael, shakes his head as
he has to smile.
JOSH
If you were bound and determined to
butt in, the least you could have
done was win the fight.
Michael has to return the grin.
MICHAEL
That's what I figured when I went
there.
JOSH
Charley talked to me. You went
there to save my butt again.
RC comes over with some fresh ice and a handful of bandages.
His manner is serious, not quite sure on how to handle the
situation. He keeps his mouth shut and listens.
MICHAEL
Now that I paid my dues with scraped
skin you want to tell me exactly what
I'm into.
JOSH
I get a feeling you've got a pretty
good idea.
ON JOSH
He holds a few thoughtful beats....
JOSH
Keith Lawson wants this property.
MICHAEL
I thought he could be looking for
a piece of your action, a shakedown,
but what's he going to do with an
old theatre?
JOSH
Make it vanish like all the old
sections...I'm trying to keep it
alive...rebuild around here...if
this club makes it it's a start.
New energy...new money can come in.
(beat)
But the neighborhood stays.
MICHAEL
Keith is in no position to stop
that. He's muscle straight and
simple.
JOSH
(rubbing
ribs)
But pretty good at it...and it's
happened before across town....
MICHAEL
He still can't have the finances and
the connections to level two city
blocks and build a shopping center.
That takes banking connections, poli-
tical power. This may be a 'Block-
busting' operation but there has to
be someone behind it a lot bigger
than Lawson....
JOSH
I can't help you out with that one.
ON MICHAEL
as he moves from towards the exit.
MICHAEL
Maybe I can help you out.
Michael moves off....
ON RC
He is puzzled, unsure, and starting to show anger.
CUT TO
EXT. NEW TENEMENT CLUB - DAY
Michael exits to the sound of the musical group with the
b.g. sound of a major symphony. He reacts as he sees:
MICHAEL'S POINT OF VIEW - K.I.T.T.
He's no longer just part of the group, he's in the middle
of it...He has the singers using him as a stage, K.I.T.T.
accompanying them with full percussion and his own voice
enjoying his off-key "wa-wa". The sound is unique and
entertaining and the few passersby are a delighted
audience.
ANGLE
Michael moves to K.I.T.T. and politely moves one of the
singers to get in...The kid never misses a beat.
INSIDE K.I.T.T.
The music still going but reaching its finale.
MICHAEL
Kitt....
K.I.T.T.
(whisper)
One moment Michael....
Michael's reaction...The song finishes with K.I.T.T.
totally involved in the last of the "wa-wa's".
EXT. STREET
The kids pass the hat as the spectators applaud and donate
some money.
ANGLE IN K.I.T.T.
K.I.T.T.
Yes, Michael.
MICHAEL
Kitt, what are you doing?
K.I.T.T.
I'm just helping to raise some money
for the neighborhood clean up fund.
We've already got eighty-four dollars
and that was only our second set.
THROUGH WINDSHIELD
The happy faces of the kids peer in. They bang on the
window to get some attention.
RONNIE
Where you going?
RALPH
We need you Kitt or we ain't got
no...no...dimension....
MICK
What do you say mister, can we
borrow Kitt?
MICHAEL
I'll see what I can do about
bringing him back.
Michael starts the car and the kids hop off. K.I.T.T.
speaks out to them.
K.I.T.T.
Remember, know your lines, hit your
mark, and don't bump into the
furniture.
As Michael pulls away:
MICHAEL
Kitt old buddy, Spencer Tracy said
that and it had to do with acting,
not music.
K.I.T.T.
Oh...Well advice from a great
performer is always educational.
Michael smiles, has to agree....
MICHAEL
Okay pal, but I need your advice on
a official business now.
K.I.T.T.
Of course....
MICHAEL
Map out this neighborhood...about
two-square blocks ought to be
enough.
INTERCUT - MONITOR AS NEEDED
Graphic...The map of the section.
MICHAEL
Mark off those buildings that have
been demolished or evacuated.
(beats)
Now tap into the Municipal records
and give me the owners of those
locations.
As the monitor goes through it's functions....
K.I.T.T.
Michael they're all owned by the
same company. G. Sanford
Enterprises.
MICHAEL
Back check everything else that
Sanford owns.
K.I.T.T.
It's quite a list. Six shopping
centers, three industrial malls,
and two office complexes all in
the older Chicago areas.
MICHAEL
A real civic leader.
K.I.T.T.
It certainly looks that way, Michael.
MICHAEL
Unless he's getting that property by
buying into a neighborhood and strip
out the people then sell quick or
build...it could be called redevelop-
ment if it didn't smack of block
busting.
K.I.T.T.
You think that's what's happening
with Josh Bevin?
MICHAEL
Looks like it...Let's push a few
nerve endings and see if I'm right.
Where can I find G. Sanford?
CUT TO
OMITTED
CLOSE ON MICHAEL
A speculative look as he hands his card to:
REVERSE ON G. SANFORD
A well-dressed and attractive female...She carries her
well-tailored clothes like she's used to them, her approxi-
mate age of forty held in the same way. She is totally in
control and reeks of success...She tucks the card into a
jacket pocket and faces Michael calmly...The camera widens
to:
EXT. CONSTRUCTION SITE - DAY
The activity in the b.g.
SANFORD
Just what is this F.L.A.G. and what
has it got to do with me?
MICHAEL
The last two words are Law and
Government. It's about helping
some little people keep their
neighborhood together because that's
what they have a right to do...and
it's about some people with wealth
and power trying to push them out....
SANFORD
Mr. Knight, I build. I take out rot
and cleanse it with new concrete and
steel. My methods are all above board.
Quite legal. If I have to answer to
them I can.
MICHAEL
You can answer right now if you want
to. Are you involved in the push on
Josh Bevin and his old theatre?
Sanford studies Michael a few beats.
SANFORD
I own a great deal of property in
that area....
MICHAEL
Didn't think you'd admit that....
SANFORD
And I don't think you'd be here if
you hadn't checked already...It's a
matter of record....
Sanford turns towards her limo parked nearby.
MICHAEL
You can walk away from me now but if
I end up connecting you to Keith
Lawson and any conspiracy to block-
bust or steal that land, all your
money and your power won't save
you...
(beat)
You can believe that.
ON SANFORD
She turns back as she is about to get into the limo...
studies Michael a few beats.
SANFORD
Why is it I believe you Mr. Knight?
MICHAEL
He meets Sanford's look.
MICHAEL
Because you know I mean just what I
say....
Sanford nods, gets into the limo....
CUT TO
EXT. WALDORF RESTAURANT - DAY - ESTABLISH
INT. WALDORF RESTAURANT - DAY
Keith is at his regular table. Velez approaches, sits
down....
VELEZ
Sanford wants to see you outside
right away.
KEITH
One of these days she'll be coming in
here to eat with me....
Keith flips his napkin on the table. Gets up to suddenly
face:
ANGLE ON RC3
His purposeful look.
KEITH
Hey kid, nice to see you but I have
an appointment...Sit down and eat
something...It's on me....
RC3
I have to talk to you now, Keith...It
won't take that long....
KEITH
Anything is too long right now.
Catch you later....
RC3
No, Keith. It's got to be now! I
have to know why you're behind the
hassle at Josh Bevin's.
NEW ANGLE
Keith yanks RC3 over to the side and away from the activity
in the restaurant....
KEITH
You know I'm not about to answer
questions whether I know what you're
talking about or not.
RC3
Stop playing street with me Keith...
Just give me an answer...And you can
tell me why you worked over Michael
Knight.
ON KEITH
The rage in him starting to build...Velez moves into a
position behind RC3.
KEITH
We go back a long way...You're out
of line....
RC3
Answer me....
KEITH
Knight came into my office and tried
to push me around. I didn't like
his questions either.
RC3
And I don't like what you're doing
stealing from your own people, your
own neighborhood.
KEITH
(flaring)
Don't tell me what I can do or not
do...You better make up your mind
boy...Either you're on my side or
you're part of that F.L.A.G.
thing....
ON RC3
His face sets.
RC3
I'm with F.L.A.G. Now you're the
one who better make a choice Keith...
You go against Michael and Josh and
you can add me to that list....
Keith edges RC3 closer to the exit and then out.
EXT. RESTAURANT
KEITH
Then I might as well get it done.
He turns away then spins back and drives his fist into
RC3's stomach.
SERIES OF CUTS
RC3 doubles over and Velez hits him from behind.
RC3 is dazed but gets in a couple of shots before he is
caught by blows from both Keith and Velez....
They drag the semiconscious RC3 from the restaurant.
They drag RC3 to a waiting cab and shove him inside...Keith
hands the driver some bills and the cab pulls away....
OMITTED
NEW ANGLE
Keith turns and looks across the street to:
SANFORD LIMO
Sanford watching the scene.
SCENE
Keith moves across the street, gets into the rear of the
limo...Velez slides into the front along with the driver.
INT. LIMO
Keith settles in next to Sanford who looks at him silently
for a beat.
SANFORD
You do have a flare for handling
your problems....
KEITH
The guy pushed the wrong button.
SANFORD
I see. Well, Keith unless you can
clean up this business with Josh
Bevin in the next twenty-four hours
our arrangements will have to be
terminated.
KEITH
(reacting)
You can't do that, we made a deal!
There's millions involved here....
Sanford's voice is calm and pleasant, but her eyes are
cold, hard, almost bored....
SANFORD
Whatever, the figure is unimportant.
What is important is that so far you
have mishandled it. I am suddenly
under scrutiny and I don't like it.
KEITH
You can't pull that on me. Maybe
you can afford to walk away, but I
can't.
SANFORD
That's your problem Keith. You should
never enter into a deal without
sufficient capital to sustain a loss.
I'm prepared to accept mine and
continue in business. However if
you can culminate your end of it in
twenty-four hours we can continue in
business.
KEITH
I can't get it done that quick....
SANFORD
Then you'll have to change your
lifestyle and accept poverty.
Keith tenses, leaps towards her dangerously...Sanford holds
her position remaining calm, but her voice flattens out:
SANFORD
Don't even consider it. You're not
the first renegade that I've done
business with and you're not the
only one I can rent. You have
twenty-four hours.
Sanford opens the door of the limo, motions Keith out...he
exits.
EXT. STREET
Keith and Velez watch as Sanford drives off.
KEITH
We get them out of that theatre
now, before they ever open...get me
the right people....
CUT TO
INT. NEW TENEMENT CLUB - DAY
Michael and Bonnie are in conversation with Josh Bevin.
MICHAEL
As long as you have the deed I'll
guarantee that you'll keep this
place.
JOSH
That's big talk.
(to Bonnie)
How's he going to back that up?
BONNIE
I haven't the slightest idea...But
you can believe him.
Josh looks from one to another...He is about to say
something when he is interrupted by an outside Chicago
voice.
CABBY'S VOICE
Hey, any of you people Michael Knight?
ON MICHAEL
He turns to face the voice and reacts....
MICHAEL'S POINT OF VIEW - A CAB DRIVER
supports a damaged RC3 under one arm.
CABBY
Some guy paid me fifty bucks and
told me to deliver him here.
Michael and Bonnie move forward and take RC3 from him, sit
him down....
CABBY
For fifty bucks you get more message.
MICHAEL
Go ahead....
CABBY
The guy's name was Keith. He said
he'd be down to visit....
Michael's reaction....
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
EXT. CHICAGO TENEMENT AREA - DAY - PAN
The sound of opera, the bell line purity of a classical
tenor backed up by the sound of a symphony orchestra. The
camera moves down to:
EXT. NEW TENEMENT CLUB - K.I.T.T.
Parked in front, the singing group sitting like students on
the curb and listening, some spectators doing the same.
The music building to its dramatic crescendo.
CLOSER ON KIDS
One of them whispers to the other.
RALPH
The guy has range and the music
ain't bad, but what's it got to do
with bumping into furniture?
RICK
Forget it man, you don't want to
get the car 'tee'd off.
The other kids agree. The camera continues in to:
INT. NEW TENEMENT CLUB - DAY - ON BONNIE
as she casts a critical eye on what sits before her....
BONNIE'S POINT OF VIEW
Camera pans from RC3 and his freshly injured face...then to
Michael, then to Josh Bevin.
BONNIE
This looks like the graduating class
of the Tex Cobb school of boxing.
SCENE
Mixed feelings come from the trio....
RC3
Not funny.
JOSH
I don't know, I'd give it about a five.
MICHAEL
We have enough Mercurochrome on us to
paint a barn red...I think it's time
to stop being victims.
JOSH
Sounds good, but now you found out
that we're going against big
development money. They can throw
a lot of muscle against us.
MICHAEL
Okay. I agree you can't fight a
political or financial battle. But
let's say I can bring it down to the
neighborhood against Keith and his
muscle men.
(beat)
How much guts does this neighborhood
have?
JOSH
(flaring)
All they need.
RC3
You say that to anyone in my family
and you'll be sitting down and
looking up at a pair of size twelve
work shoes.
MICHAEL
He eyes Josh and RC3 with a satisfied smile.
MICHAEL
Then why don't we do something about
it?
JOSH
You want to go to war?
MICHAEL
Not without an army. Get your people
together....
Michael moves off, takes Bonnie by the arm leaving a
puzzled RC3 and Josh behind.
CUT TO
CLOSE ON DEVON
His stunned reaction.
DEVON
You're asking F.L.A.G. to step into
the middle of a street riot and I
would still like to know one thing....
INT. SEMI - DAY - INTERCUT MONITOR AS NEEDED
Bonnie and Michael at the monitor.
DEVON
What you are all doing in Chicago?
When you're supposed to be in Detroit?
Michael looks over to Bonnie for help...She ignores him....
MICHAEL
Would you believe I got lost?
DEVON
Only out of loyalty and affection.
MICHAEL
(reacting)
...You know I can't lie to you.
DEVON
(sly smile)
...With age comes wisdom.
MICHAEL
And maybe just a little charity...I
need a favor Devon....
DEVON
For Josh Bevin?
MICHAEL
And a lot of little people who meant
to keep their homes...They're being
pushed out by a real estate tycoon.
A G. Sanford....
DEVON
Sanford Enterprises, G&S Development,
and a half dozen others. Quite pro-
minent in the field....
MICHAEL
I want you to check out all their
transactions...if the name Eastside
Realty or Keith Lawson pops up I
think we can tie them together on
extortion, block busting, assault and
an assortment of felonies.
DEVON
I'll get into it immediately and I
hope the results are what you need....
MICHAEL
You might say I'm betting on it....
The monitor clicks off on Devon's look.
Michael turns to Bonnie....
MICHAEL
We're lucky....
BONNIE
Lucky?
MICHAEL
You didn't have to lie to Devon either
...He always catches you....
On the move:
CUT TO
EXT. NEW TENEMENT CLUB - DAY
Michael parks K.I.T.T. in front of the location...There are
neighborhood people we have seen earlier, and Josh Bevin...
We see more men in work clothes present than previous...
Michael exits the car. Josh moves forward.
JOSH
This don't look like much of an army
Michael but they're willing.
MICHAEL
There's no need for any of them to
get hurt. They just have to do as I
asked.
JOSH
They're not afraid...Well maybe they
are a little but they're feeling good
about themselves.
MICHAEL
They have a right to...You set up
everything like I asked.
JOSH
Exactly. You going to be here to
start it off....
MICHAEL
Got a special man handling that.
CUT TO
EXT. STREETS - DAY
A sound truck moving through and the voice of RC3 blaring
out:
RC3'S VOICE
The show will go on. Tonight at the
New Tenement Club...Charley Conners
will appear tonight for the benefit
of the Neighborhood Building Fund...
Charley Conners....
INSIDE SOUND TRUCK
RC3 drives as he talks into a hand microphone.
RC3
...at the New Tenement Club...Come
out and support your neighborhood.
RC3 pulls up and stops outside:
EXT. EASTSIDE REALTY
Keith looking down from his second floor office...His face
a mask of rage...A garbage truck goes through the block,
stops to listen to the announcement as RC3 steps from the
car, the mike still in his hand...He looks up at Keith at
the window, his eyes lock with Keith's.
RC3
The neighborhood is here to stay.
Cleaner and better and stronger than
ever...So come down and show your
support...
(beat)
We'll be there Keith...We ain't
going nowhere else.
RC3 gets back into the sound truck and drives away....
INT. EASTSIDE REALTY
Keith turns from the window in a rage...Velez and his two
henchmen are in the office....
KEITH
How many men did you get....
VELEZ
Enough...more coming if we need it.
KEITH
...We're going down there now.
We'll take that place apart....
VELEZ
It sounds like they'll be waiting
for us at the theater....
Keith spins and stares out the window looking down....
KEITH
If they are we'll blow right through
them.
VELEZ
You got a tank I don't know about?
ON KEITH
A cold half smile on his face.
KEITH
Something like that.
KEITH'S POINT OF VIEW - DOWN THE GARBAGE TRUCK
as it moves to its next stop.
CUT TO
EXT. NEW TENEMENT CLUB - DAY
Empty, nothing moving. It looks like a ghost town...A
garbage truck pulls next to a stack of cans a distance down
the street. One of the workers gets out and starts to dump
the cans into the hopper....
CLOSER ANGLE
We see that it is Velez in the uniform dumping the cans...
Keith is behind the wheel...Velez looks around and checks
out the neighborhood, not happy with what he sees...He
moves to the cab of the truck.
VELEZ
It don't look right...Too quiet.
KEITH
The street is smart enough to know
something is coming down and they
don't want no part of it....
VELEZ
I ain't so sure Keith.
KEITH
Then make sure while you pick up the
next couple of houses, then we call
the other cars in.
Velez nods, moves to the next stoop. The camera moves down
the street to:
AN ALLEY - K.I.T.T.
Parked. Michael inside.
ANGLE IN K.I.T.T.
Michael keeping his eyes on the street next to the club.
MICHAEL
Keep those scanners going Kitt.
Keith isn't going to plan on us
going of old age.
K.I.T.T.
There's nothing in the block but the
garbage pick up.
MONITOR - INTERCUT AS NEEDED
Some signals.
K.I.T.T.
Michael there's something odd going
on near the garbage truck.
...The street map of the block....
K.I.T.T.
There are three cars lined up around
the corner with the motors running.
MICHAEL
This could be it. Patch me over to
RC.
Michael hits some buttons.
MICHAEL
RC on your toes...I think we have
company.
RC3
secreted in a street hallway...He hears Michael from his
hand radio...looks upward to:
EXT. ROOFTOP
A couple of neighborhood men look over the roof at RC3.
RC3
We're ready Michael.
RC3 lifts his hand, preparing to signal.
ANGLE IN STREETS
The three cars zip around the corner and head down the
block towards the club....
RC3
He signals.
SERIES OF CUTS
Suddenly a couple of garbage cans fly from the roofs of the
buildings.
One of them lands in front of the lead car, the second hits
right on the hood.
The lead car spins sideways and the second car collides
into the side of it.
The last car screeches to a safe halt....
Now the barrage of garbage cans, bricks, building blocks
and an assortment of debris flies from the roof and down
onto the cars....
INSIDE K.I.T.T.
Michael watching the play on the monitor.
K.I.T.T.
Are we going to help them Michael?
MICHAEL
Not if they can do it by themselves
pal. The more they do the more they
care.
K.I.T.T.
I think I understand.
STREET
The heavies empty out of the cars and look around in fury.
ROOF
RC3 yells. Starts to race towards them....
STREET
A swarm of neighborhood people exit from the buildings on
the block and move towards the group of heavies who have
compressed to a smaller circle and look around fearfully....
ANGLE
The neighborhood people falter for a beat, the heavies
feeling a little surer when off to one side....
RC3
launches himself at the heavies....
NEIGHBORHOOD PEOPLE
pushed into it...They charge forward to come to RC3's
aid....
GARBAGE TRUCK CAB
Velez looking unsure, Keith in a rage. Keith revs the
motor and drops it in gear....
VELEZ
Where you going?
KEITH
Right through the middle of that
club....
He picks up speed.
K.I.T.T.
His monitor flashing alert....
K.I.T.T.
Michael, that garbage truck is part
of the assault....
MICHAEL
Got it, buddy.
INSIDE K.I.T.T.
The gear shift, monitor lights, gas pedal, the screeching of
tires....
ALLEY
K.I.T.T. shoots out of the alley....
STREET
The garbage truck barrels to the group on the street.
ANGLE - THE PEOPLE
scatter as the truck nears them and drives through. It
heads directly for the front of the club.
SCENE
K.I.T.T. out of the alley and sees....
K.I.T.T.
The truck is headed for the club....
MICHAEL
It's not going to make it...Give me
everything you can....
The truck crossing perpendicular to K.I.T.T.
MICHAEL'S POINT OF VIEW - THE TRUCK
crossing perpendicular to K.I.T.T.
OMITTED
ANGLE - MICHAEL
cuts parallel to the truck, then sweeps in front.
OMITTED
TRUCK
jumps the curb and screeches to a forced stop....
OMITTED
CLOSE ON CAB SECTION
Keith and Velez, stunned, climb from the truck, take off
running....
MICHAEL
takes down Velez and dispatches him effectively. Turns to
see....
KEITH
surrounded by the neighborhood people...RC3 in the
front...Keith has lost all semblance of tough now and looks
at all of them fearfully.
SCENE
Michael moves forward...holds a beat, then turns to the
crowd...picks out Josh as part of the group. Smiles at him.
MICHAEL
I guess now we can call the cops.
FREEZE FRAME
FADE OUT
END OF ACT FOUR
TAG
FADE IN
EXT. NEW TENEMENT CLUB - DAY
The sounds of Charley Conners....
INT. CLUB - DAY
Charley at his piano...The singing group filling in the
background for him. The music is upscale, happy, giving
sound to the celebration of the neighborhood....
CAMERA PANS
around the room showing Bonnie, RC3, Josh, and some
neighborhood people...The sound goes on....
THE STAGE - INTERCUT AS NEEDED
And the performance.
EXT. ALLEY
and continues as we see K.I.T.T. parked there....
INSIDE K.I.T.T. - MONITOR
Charley performing...K.I.T.T. whispers.
K.I.T.T.
You didn't have to stay here with me
Michael.
WIDER
Michael leaning back in the drivers seat with his eyes
closed....
MICHAEL
My pleasure buddy. Can't think of
anyone I'd rather be with for this
concert....
K.I.T.T.
Thank you Michael...We do share this
one taste in music...It's very exciting
and does get one involved....
MONITOR
The lights keep beat with the music...Then the end of the
song and then:
K.I.T.T.
His finishing sound of the "wa-wa-wa"....
MICHAEL
His reaction....
FREEZE FRAME
FADE OUT
THE END
