A GOOD KNIGHT'S WORK
by
Richard Okie
________________
ACT ONE
FADE IN
EXT. BAR - DAY - ESTABLISHING
We see a little urban watering hole that has seen better
days. Music splashes from the inside as patrons enter and
exit through the front doors.
CLOSER ANGLE - THE ENTRANCE
as a Man named Brummel, better dressed than the bar's
regular denizens emerges from the entrance carrying a
briefcase. He looks around furtively, then starts away
from the place.
MICHAEL'S VOICE
He's coming out, Kitt.
EXT. PARKING LOT - DAY
Within sight of the bar entrance, but in a place of
concealment, is Michael Knight. He's been staked out and
waiting for Brummel, and he's talking to K.I.T.T. via
comlink.
MICHAEL
He's heading for his car, buddy. Let's nail him.
OMITTED
WIDE SHOT - PARKING LOT
K.I.T.T.'s engine roars and the Trans Am springs to life,
screeching toward Brummel, who freezes momentarily, then
starts to run.
MOVING WITH MICHAEL
as he sprints from his hiding place.
MICHAEL
Hold it, Brummel!
In his pursuit, Michael races right past the entrance of
the bar.
BRUMMEL
reaches his car and guns the engine, but before he can go anywhere:
K.I.T.T.
screeches in behind him, blocking his car from any possible
escape.
MICHAEL
reaches Brummel's car and pulls him out from behind the
wheel.
OMITTED
MICHAEL AND BRUMMEL
Brummel struggles, but Michael is more powerful and has him
firmly in hand. He pulls Brummel to his feet, spins him
around and places his hands inside K.I.T.T.'s open driver's
window.
MICHAEL
He's all yours, pal.
INSERT - K.I.T.T.'S WINDOW
as the glass powers up and catches Brummel's wrists,
holding them tight. Better than handcuffs.
MICHAEL
Now, tell us who’s got the girl.
BRUMMEL
I don’t know what you’re talking about.
MICHAEL
How about I ask you one more time and you tell me? OK?
BRUMMEL
Go to hell, Stretch! I'm not saying anything!
MICHAEL
(incredulous and growing angrier as he speaks)
What did you call me? (beat) Listen, fat ass, how about
you tell where the girl is or else you won’t be able to
use your hands to call a lawyer?
K.I.T.T.
Michael, if he doesn’t answer I could break his wrists.
MICHAEL
(sarcastic)
Wow! Great idea, Einstein. I was going to run to Sears,
buy a hammer, run back, have you release him and then
smash his wrists. Thank God you’re here!
K.I.T.T.
Sorry, Michael.
MICHAEL
No shit.
(pause – checks watch)
Damn it, Brummel! Are you going to tell me or not?
BRUMMEL
Go to hell, Stretch!
MICHAEL
K.I.T.T.?
(no response)
K.I.T.T.?
K.I.T.T.
(reluctant)
Yes, Michael.
MICHAEL
Kill him.
K.I.T.T.
(disbelief)
What? I thought Devon said –
MICHAEL
Well, Devon’s not here right now is he?
K.I.T.T.
But –
MICHAEL
Is he?
K.I.T.T.
Michael, I –
MICHAEL
Is he?
K.I.T.T.
Are you –
MICHAEL
Is he?
K.I.T.T.
But –
MICHAEL
Is he?
K.I.T.T.
I don’t –
MICHAEL
Is he?
K.I.T.T.
Isn’t –
MICHAEL
Is he?
K.I.T.T.
Why do you always –
MICHAEL
Is he?
(beat)
Well?
BRUMMEL
What the hell?
K.I.T.T.
No, Michael.
MICHAEL
So who is in charge?
K.I.T.T.
You are, Michael.
MICHAEL
That’s right. Now, I said kill this fat bastard and I meant
it.
K.I.T.T.
Yes, Michael.
BRUMMEL
falls to the ground, without a sound, dead.
MICHAEL
Good.
(beat)
gets into the Trans Am.
I feel like fried chicken. Plot a course for the
nearest chicken stand, buddy.
(7 pages missing). . .
GINA
Oh, don't tell me I fainted....
MICHAEL
You fainted.
K.I.T.T.
Her pulse is returning to normal,
Michael. Vitals looks fine.
GINA
You saved my life. You shielded me
with....
MICHAEL
What about that sniper, Kitt?
K.I.T.T.
He's out of range to the north.
Michael, those bullets were very
unusual. I'm analyzing the one
that struck my door.
MICHAEL
Can’t you do anything right? I
thought you were supposed to help
me solve problems. Great. What am
I going to do with unusual bullets?
Forget it, let's get this lady home.
He helps Gina into the car.
(19 pages missing)
CUT TO
EXT. RURAL ROAD - DAY - ON K.I.T.T. DRIVING - STOCK
Michael is tearing up the curves, troubled by Devon's news.
INT. TRANS AM - ON MICHAEL
K.I.T.T.
Perhaps you'd better let me drive
for a while. Your pulse is racing.
MICHAEL
So is my mind, buddy.
K.I.T.T.
By the way, I completed analysis on
the sniper's bullets, and I must say
I'm puzzled.
MICHAEL
Lay it on me.
K.I.T.T.
They were made of a waxy substance
containing a very exotic tranquilizer
called morbadine. The Defense Depart-
ment is still experimenting with it
and it isn't available commercially.
MICHAEL
Sounds like Cameron Zachary all right.
(beat)
But, that means he wanted me alive....
K.I.T.T.
Michael?
MICHAEL
Yeah, Kitt?
K.I.T.T.
I want you alive, too.
MICHAEL
Easy, Gaylord Perry. I don’t play for that team.
Michael smiles. They drive off.
(11 pages missing)
INT. GINA'S APARTMENT - NIGHT
As she moves to answer his knock at the door.
GINA
Michael?
MICHAEL
It's me.
She undoes the locks and lets him in. She starts as if to
hug him, but then stops herself. They move to the couch.
MICHAEL
No puppets this time?
GINA
I guess I feel a little less playful.
What have you been up to?
MICHAEL
Well, Devon wasn't too happy about
our afternoon, but I wouldn't let
him pull me off your case.
GINA
You're a real bulldog, aren't you?
MICHAEL
Comes with the job, I guess.
GINA
How'd you get into this line of work?
MICHAEL
It's a long story. Gina, I'm going
back to the toy factory tonight,
alone. I need you to fill me in on
exactly what I'm looking for.
GINA
Michael, I don't want that respons-
ibility. This afternoon really
scared me.
MICHAEL
Look, no one's twisting my arm. I'd
also like to know whatever you can tell
me about Triple-M that might help.
She starts to object again, but he stops her with a hand on
her arm.
MICHAEL
I was the one who thought this wasn't
important, remember? But, I don't
scare easily and there are some things
I won't put up with. One of those is
seeing people I like get hurt.
We see something go out of Gina. Michael has touched her.
MICHAEL
Tell you what. Just give me Big
Mouth Bear. Kitt can scan his
schematics well enough to identify
them for me in the factory. You
just sit tight here until I get back.
She looks at him gratefully, moves to a shelf and takes
down the Teddy bear.
GINA
When I left Wisconsin, my mom told
me to watch out for city boys. I
wish she could meet you.
He kisses her lightly, and leaves. When he's gone, she
moves to the telephone and dials a number. Her softness
gives way to a more efficient demeanor.
GINA
(into phone)
It's Gina. The toy factory.
CUT TO
EXT. GINA’S APARTMENT – NIGHT – ON K.I.T.T.
He'll be there in
CUT TO
INT. TRANS AM - NIGHT
half an hour.
K.I.T.T.
That bitch! This will teach Michael for
using me like some play toy. We’ll see
who’s so tough now.
INT. TRANS AM – NIGHT – ON MICHAEL
getting into Trans Am.
MICHAEL
What’s up, Buddy? Any new information?
K.I.T.T.
No, Michael. But we better hurry to the toy
factory. Do you think I can get there in half
an hour?
MICHAEL
(smiling)
You’re on, Pal. GO!
(19 pages missing)
MICHAEL
Devon, I’m sorry. How was I supposed to
know that he would actually kill her?
DEVON
Because that’s what the ransom note said!
MICHAEL
Oh.
(pause)
I thought we had him. K.I.T.T. fucked up.
K.I.T.T.
Shut up, Michael. Was I supposed to
disrupt the tractor beam, disarm the
launcher AND chase him up the stairs?
(pause)
Whatever…just shut up.
(distracted)
Devon…what should we tell her family?
DEVON
Nothing! Dear God! Nothing! We
should pretend we were never
involved. Rule number 3: If we
screw up, just pretend you were
never there.
K.I.T.T. and MICHAEL
(cheerfully, in unison)
Right!
FREEZE SHOT AND FADE OUT on K.I.T.T., MICHAEL and DEVON laughing.
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