ACT ONE
FADE IN
EXT. STREET - DAY
We pick up a well-worn van, smoking and wheezing, as it
winds through the midmorning traffic. On the side of the
van, a faded sign introduces "The Amazing Banducci Brothers
-- World's Smallest Circus".
ANGLE ON THE VAN
Inside, we get a glimpse of three men, all of them are
wearing outlandish clown masks: big red noses, white
faces, oversized mouths, curly orange hair. To all the
world, it looks like the Banducci Brothers, but we'll know
them as Casey, Skip and Paolo. As the van coughs past
camera, we go to:
EXT. BANK - DAY - ON ARMORED TRUCK
An armed guard stands watch at the rear of the truck as his
two partners unload the truck.
WIDER ANGLE TO REVEAL A BANNER
stretched across the front of the bank heralding a "Grand
Opening." Balloons and bunting add to the festive feel.
An anxious Assistant Branch Manager poses, checking his
watch. Then, a smile breaks out on his face as he sees:
THE AMAZING BANDUCCIS
as they round a corner, head for the bank. The manager
steps forward to greet them. The van skids to a halt, the
doors fly open and the clowns, wearing gas masks over their
clown masks, hit the street. Before the manager or the
startled guards can react, tear gas grenades hit the ground
at their feet, enveloping them in choking smoke. One of
the clowns leaps into the truck, begins tossing out bags.
A second clown disarms the guards while the third tosses
the bags into the van. The operation goes like clockwork
and in seconds the transfer has been made.
CLOSER ANGLE
As Skip reaches down to grab a last bag from the grip of
one of the guards, he spots a gold watch on his wrist,
kneels and begins to pull it off. Casey shouts at him:
CASEY
What're you doing?
SKIP
I've always wanted a gold watch
...always.
Skip grabs the watch as Casey grabs him by the collar,
yanks him to his feet.
CASEY
Wadda you, nuts? You can buy a
million watches...later!
Skip shoves the watch into his coat pocket and he and
Casey jump into the car. The third clown, Paolo, is behind
the wheel. Doors slam and the van lurches off, tires
squealing.
CUT TO
EXT. FUNERAL PARLOR - DAY - CLOSE ON DOOR
At first, we see nothing but a beautiful Christmas wreath
adorning the front door. Then, as we pull back, we see
it's the front door of a funeral parlor. At the same time,
we pick up a scruffy-looking gypsy kid, about fourteen,
walking down the sidewalk. This is Tino. He stops outside
the funeral parlor, stares at the wreath for a beat. Then,
he takes the gum he's chewing out of his mouth, sticks it
to the underneath of the funeral sign and walks inside.
INT. FUNERAL PARLOR - VIEWING ROOM - DAY
Dark, somber and quiet. Organ muzak plays softly in the
b.g. In the middle of the room stands a casket. It's
open and the body, though not quite visible, is covered
with a variety of untraditional funeral offerings: coins,
beads, pictures, race stubs, flowers.
ON TINO
as he walks into the room, steps up to the casket and stands
for a long beat. He reaches deep into his coat pocket,
comes up with a single coin, stuffs it disgustedly back into
his pocket. He takes a chain and religious medal from around
his neck, kisses it lightly, then places it on the hands of
the deceased. A beat, then:
TINO
Sorry, but that's all I got.
(beat)
But, I'm gonna get some money, I'm
gonna make sure Marta's okay, then
I'm getting outta the city.
(defiantly)
So I can be a real gypsy. You'll see
...you'll be proud. I promise....
Tino steps back, turns to leave. At the door, he hesitates,
turns back to the casket:
TINO
Bye, Papa.
With that, he turns and leaves. As he does, we:
CUT TO
EXT. STREET - DAY - ON THE TRANS AM
traveling through the city. Hopefully, we can see some
kind of Christmas decorations along the way. We hear a
Christmas carol playing, and:
MICHAEL'S VOICE
I love Christmas...the lights and
trees and music. The whole spirit
of the season makes me feel great....
INT. TRANS AM - DAY
Michael's smiling, humming along with the carol.
K.I.T.T.
It confuses me. What could a
paunchy man in a red suit possibly
have to do with the birth of a
religious leader?
Michael laughs.
MICHAEL
Lots. Christmas is a time for
giving, Kitt...and Santa Claus is
the greatest giver of them all.
Speaking of which, we've only got...
(checking watch)
...seven days until he loads up his
sled.
K.I.T.T.
And three days before the Foundation
Conference. I trust you haven't
forgotten.
Michael glances at K.I.T.T., shakes his head.
MICHAEL
You're getting more like my mother
everyday, you know that.
K.I.T.T.
I'm simply reminding you, Michael.
MICHAEL
It's been on my calendar for months.
Besides, I promised Devon....
K.I.T.T.
You promised Devon last year, and
the year before. This year, you're
actually going to be there...
(beat)
Because I promised Devon.
MICHAEL
You promised Devon?
K.I.T.T.
Well, one of us has to be respon-
sible. Now, about your tux...
I've already located several formal
wear shops.
On the monitor, we see a grid of city streets, with blinking
red lights signifying the stores. Michael stares at it a
beat.
MICHAEL
Yep. Just like my mom....
Off Michael's look:
CUT TO
EXT. STREET - UPTOWN NEIGHBORHOOD - DAY
where we pick up Tino wandering aimlessly down the street.
He stops now and then to test the doors of the several cars
parked on the street, but nothing gives. He checks the
coin returns in a row of pay phones. Empty. As he turns
away in frustration, we see:
THE BANDUCCI VAN
as it roars past Tino, pulls down an isolated side street
and parks in front of a white convertible. Paolo, Skip and
Casey, without their clown masks jump out and begin
transferring canvas bags from the van into the convertible
trunk.
ANGLE - CLOSER ON THE MEN
completing their work. Skip bends over to toss the last
bag into the trunk. As he does, the gold watch slips,
unnoticed, out of his pocket. As the three men jump into
the convertible and take off, we see:
TINO
round the corner and come walking, head down, up the
street. The convertible spins a U-turn, roars past him.
The heavies don't even notice the kid, but Tino notices the
man, intrigued by it.
Off this:
CUT TO
INT. CONVERTIBLE - DAY
as Casey, Paolo and Skip cruise through town. Casey turns
to Skip in the backseat, snaps his fingers.
CASEY
Gimme the watch, Skip.
SKIP
What're you talking about, Casey.
It's mine.
CASEY
The guard's gonna tell the cops you
lifted it...which makes it the one
thing that links us to the robbery.
(snapping
fingers)
Come on, banana-for-brains...the
watch.
Skip mutters to himself, reaches for the watch. Can't find
it. Pales.
SKIP
It's gone!
CASEY
Wadda you mean, gone?
SKIP
I must have dropped it when we were
making the switch.
CASEY
It's covered with your prints! The
cops get a hold of it and it buys us
twenty years...
(to Paolo)
Get back there!
Paolo spins a U-turn, roars off in the other direction.
CUT TO
EXT. DESERTED STREET - DAY
where we pick up Tino wandering down the street. He stops
by the Banducci van, fascinated by the circus signs and
decoration. Something catches his eye in the gutter. He
bends over, picks up the gold watch. He stares at it,
wide-eyed in wonder at his good luck. Behind, the screech
of tires turns his head and he spots the white convertible
speeding toward him. Casey half stands in the front seat,
yells at Tino:
CASEY
Hey, you! Come here...!
Tino's no dummy. He turns, watch in hand, and sprints down
the street. As the convertible speeds after him:
CUT TO
EXT. TRANS AM - DAY
Driving down the street, Michael's looking to either side
trying to find a place to park.
ANGLE DOWN THE STREET
Tino comes racing out of an alley, frantically looking for
an escape route. He glances over his shoulder at the
heavies gaining on him, then sees the Trans Am heading
toward him.
INT. TRANS AM - DAY
Michael's shaking his head.
MICHAEL
There's no place to park, Kitt.
Maybe we'd better forget it....
K.I.T.T.
Absolutely not, Michael. My sensors
indicate...
(alarmed)
Michael, in the road...look out!
Michael looks up just as Tino darts into the street, slams
on the brakes.
EXT. STREET - DAY - ON THE TRANS AM
as the car skids to a halt, inches from Tino. What Michael
can't see and we can, is Tino hitting the side of the car
with his hand, then collapsing on the ground as though he's
been hurt. Michael jumps out of K.I.T.T., hurries to
Tino's side. Tino's moaning, holding his leg.
TINO
My leg! You broke my leg...
You gotta get me to a hospital....
MICHAEL
You're going to be okay. Just calm
down.
Michael helps Tino to his feet and into the Trans Am. He
hurries to the driver's side, jumps in.
INT. TRANS AM - DAY
as Michael fires up the Trans Am and starts driving. Tino
stares with fascination at K.I.T.T.'s dash, while feigning
pain.
MICHAEL
Kitt, give me a readout....
K.I.T.T.
Michael, I find no broken bones, no
abrasions, no physical trauma what-
soever. Which isn't surprising,
since I didn't touch him.
Tino sits up as though he's been kicked.
TINO
You got a talking car?
K.I.T.T.
In other words, this little con
artist is lying through his teeth.
TINO
Who you calling a liar?
K.I.T.T.
You.
(urgent)
Michael, more importantly, my sensors
indicate a problem...directly to our
right.
Michael and Tino look over to see:
THE WHITE CONVERTIBLE
racing forward veering toward the Trans Am, then falling
back. Threatening, challenging, but not attacking.
RESUME SCENE
Michael doesn't get a good look at them, but Tino does. He
flinches. Michael notes his reaction.
MICHAEL
What's the problem? Those guys
hassling you?
TINO
No. Yeah. Well, sort of...look,
I'll make you a deal. Lose those
creeps and I'll forget about the
hospital, the lawsuits, everything....
K.I.T.T.
Michael, I don't think this is a
good idea.
TINO
Who asked you?
MICHAEL
Calm down, guys...looks like they're
leaving.
EXT. STREET - ON THE CONVERTIBLE
as it speeds ahead of the Trans Am, then suddenly skids
broadside across the street, blocking both lanes.
INT. TRANS AM - DAY
as Michael sees what's happening. He doesn't care for it.
MICHAEL
Those guys sure don't have the
Christmas spirit.
(punching
buttons)
Let's make like Donner and Blitzen,
Kitt....
K.I.T.T.
Michael, I hardly think that is an
appropriate response....
MICHAEL
Come on, pal...it's Christmas.
(to Tino)
Hold on....
Michael punches the turbo boost as the Trans Am races
toward the convertible.
EXT. STREET - DAY
as the Trans Am turbos over the convertible.
ANGLE ON THE CONVERTIBLE
as Paolo and the others stare, open-mouthed, as the Trans
Am sails over them and roars down the street.
INT. THE TRANS AM - DAY
Tino whoops with excitement. He can't believe what he's
just seen.
TINO
Wow! How'd you do that?
MICHAEL
Got the tires inflated with helium.
More the point...who are those guys?
Tino hesitates, then:
TINO
Punks. Real punks. Think they own
the town. I'm out cruising, right?
Minding my own business, doing a
little window shopping. I'm wearing
my 'Tino' jacket, like always....
Tino leans forward, points to the Tino stitched on the back.
TINO
Those guys were Bombers. Supposedly
this is their turf. They start
hassling me, and I tell 'em....
K.I.T.T.'s lights blink, and we hear:
K.I.T.T.
I show no record of any local gangs
called the Tinos or the Bombers.
TINO
Wadda you know! You're a car....
K.I.T.T.
I'm a computer! Michael, I think
you should ask our young friend
about the gold watch he's carrying
in his right front pants pocket....
Tino glares at K.I.T.T.
TINO
Hey, that's an invasion of privacy!
MICHAEL
A gold watch, huh?
K.I.T.T.
Eighteen carat gold. With a value
in four figures.
MICHAEL
Not exactly the kind of watch I'd
figure you for....
Tino's starting to sweat a little, but he covers it well.
TINO
Look, it's none of your business,
but the watch happens to belong to
me...to my family, actually. See,
those creeps cheated my brother
Mario, who's sorta slow in the head,
outta lots of money in a crooked
card game. Mario got scared and
stole that watch so he could pay 'em
back...
(sniffling)
Broke Papa's heart. On his deathbed,
he made me swear I'd get that watch
back, no matter what...and I did.
The creeps weren't happy.
Michael studies Tino for a beat.
MICHAEL
That's some story.
TINO
Look, you don't believe me? Fine.
Thanks for the lift....
He tries to get out. The door won't open. We hear:
K.I.T.T.
Michael, I've just monitored a police
band broadcast...there was a bank
robbery just ten blocks from here.
In addition to a great deal of money,
a gold watch was stolen from a guard.
The criminals are still at large.
Now, Tino's really working to get out. He pounds on the
door.
TINO
Lemme out of here! This is kid-
napping! You can't keep me here....
MICHAEL
Kitt, give me a rundown on the guys
who knocked over the bank....
TINO
Wait a minute! I didn't rob no
bank...honest!
K.I.T.T.
Any bank. For once, he seems to be
telling some fraction of the truth.
Though they were wearing clown
masks, witnesses said the three
robbers were older and bigger than
this little delinquent....
Tino brightens, pounds the dash excitedly.
TINO
Clowns! Yeah...that's right where I
found this...
(pulls
out watch)
Right next to this crazy van that
belonged to a circus.
MICHAEL
I thought the watch was your dad's....
Tino looks sheepish, for about a second, then:
TINO
Look, I found the watch, okay?
That's no crime. Finders keepers,
right? And then you and the
computer start talking like you're
gonna take it...
(intensely)
Look, man, I need this watch....
MICHAEL
So do the police.
TINO
(groaning)
The police? You gotta be kidding....
MICHAEL
Nope. And if those guys chasing you
were the bank robbers, you're gonna
need their help.
Off Tino's dismayed look, we:
CUT TO
EXT. POLICE STATION - DAY - STOCK
Your basic stock police station, with black-and-whites
parked in front.
INT. POLICE STATION - DAY
Michael's talking with a Lt. Weber. In the b.g., through
a glass partition, we can see Tino being interrogated by
another officer. Michael's upset.
MICHAEL
But, there's got to be something you
guys can do to protect him.
WEBER
Not really.
MICHAEL
Look, those guys figure Tino's got
the watch, can maybe even ID them.
If they find him....
WEBER
I know, and I wish we had the man-
power and the bucks to take care of
the kid. Fact is, we're under-
budgeted and understaffed -- have
been for years.
MICHAEL
But, you can't just turn him loose
on the street.
WEBER
The kid's got a sister...a Marta
Petro. He'll have to stay with her.
Michael glances over at Tino, shakes his head.
MICHAEL
A fourteen-year-old kid and his
sister aren't going to be much of a
match for those guys....
As Michael speaks, the door opens and Tino comes walking
out, trying to look cool and together. But, for a moment,
we can see him as he really is: a young, scared kid.
WIDER ANGLE - FEATURE MICHAEL
seeing the same thing, and it touches him. Tino walks up
to him, once again on top of it. He smiles.
TINO
Piece of cake. Just like I knew it
would be.
(snapping
his fingers)
I'm out of here. See you around.
MICHAEL
Hey, hold on. You're going to your
sister's place. I thought I'd give
you a lift.
Tino frowns.
TINO
I don't want Marta to get involved
with this...it's my business.
MICHAEL
It's not that easy, Tino....
Tino stiffens.
TINO
I'm a gypsy. I can take care of
myself.
MICHAEL
Maybe, but the police department has
rules and regulations they've got to
follow.
(beat)
Look, I've cleared it with them.
You can ride over with me...or in
the back of a black-and-white. It's
up to you.
Tino considers the alternatives, hesitates and then nods.
TINO
Let's go.
With that, he turns and splits. Michael follows him out
the door. As they exit, we:
CUT TO
EXT. POLICE STATION - DAY - ON THE TRANS AM
as Michael and Tino cross to the Trans Am, climb inside.
K.I.T.T.'s not pleased.
K.I.T.T.
Michael, perhaps we should let the
police handle this.
MICHAEL
Kitt, Marta's store is three blocks
from the nearest tux shop. Right on
our way. Besides, it's....
K.I.T.T.
I know...it's Christmas. But, there
must be a limit to good will somewhere.
Tino, meanwhile, is busy with K.I.T.T.'s dash. Loves it.
Twisting knobs, pushing buttons.
K.I.T.T.
Would you mind keeping your grubby
little hands to yourself?
TINO
(ignoring
K.I.T.T.)
Hey, which one's the radio, man?
Off Michael's bemused smile, we:
CUT TO
EXT. BOUTIQUE - DAY
A fancy little dress shop in a nice part of town.
INT. BOUTIQUE - DAY
where we find Tino's sister, Marta, putting the finishing
touches on a display. She's pretty, carefully, if inexpen-
sively dressed, in her midtwenties. Right now, she's
frowning, shaking her head, as she talks to a man in his
thirties, David.
MARTA
I just can't do that, David I'm
sorry.
DAVID
Sorry. You're always sorry. Come
on, Marta...a hundred bucks. Seventy-
five then. Until the weekend. It's
important, baby....
MARTA
No, and don't call me 'baby.'
That's over....
CUT TO
EXT. BOUTIQUE - DAY
as the Trans Am pulls up and parks. Michael and Tino
climb out, and Michael follows Tino into:
INT. BOUTIQUE - DAY
As Tino comes into the store, he and David exchange a look
of mutual dislike. Marta smiles at Tino, but her smile
fades as Michael comes into the store.
MARTA
Oh, Tino...what's wrong now?
TINO
Nothing. Don't go getting all
upset, Marta....
Marta looks to Michael.
MICHAEL
My name's Michael Knight. There was
a bank robbery this morning....
MARTA
(stunned)
What?
MICHAEL
Tino wasn't involved with it...he
found a watch stolen during the
robbery. It's become an important
piece of evidence....
Tino paces around the room, clearly uncomfortable with
everything that's happening.
TINO
Look, I said it's no big deal. It's
all over....
David snickers, turns and heads for the front door.
DAVID
Robbing banks is a big deal.
Especially for a punk kid....
TINO
I didn't rob any bank! Can't you
hear...?
But David's not listening. He's out the door, slamming it
behind him. Marta turns to Tino, close to tears.
MARTA
Tino, Tino...what am I going to do
with you?
TINO
Nothing. I can take care of myself
but nobody believes me! You, him,
the cops...nobody.
Tino turns and wanders toward the back of the store as
Michael and Marta continue to talk.
MICHAEL
Marta, I was with Tino at the police
station today. It's going to be all
right....
MARTA
At the station? Are you a policeman?
MICHAEL
No...I'm with the Foundation for Law
and Government....
ANGLE - FEATURE TINO
glancing over his shoulder as Michael and Marta talk. They
don't notice as he slips into the back of the store and
exits.
EXT. BOUTIQUE - DAY
as Tino comes racing around from the back of the store,
hits the sidewalk and then tears down the street.
K.I.T.T.'s scanner lights flash, and we hear:
K.I.T.T.'S VOICE
Michael! Michael, Tino's escaping...!
ON TINO
disappearing over the fence. In a second, he's gone.
EXT. STREET - DAY
Same neighborhood, different street. We pick up David
walking slowly down the street. Suddenly, a car stops next
to him. It's the white convertible. Paolo leans across
the window to David.
PAOLO
Hey, David...come here.
David cautiously approaches the car, glances warily at
Casey and Skip.
PAOLO
We're looking for someone. It's
very important. Worth some money....
David nods, shrugs.
PAOLO
A kid. Fourteen, fifteen. Dark
hair. Curly. One of the gypises.
Took my watch....
David studies them, not showing a thing.
PAOLO
You hang out with their people.
Maybe you heard something, huh? We
want the watch...real bad.
Paolo takes out a thick wad of bills, waves it under
David's nose. Hold on David, watching the cash move back
and forth, and then:
FREEZE FRAME
AND
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
EXT. BOUTIQUE - DAY
Marta's standing in front of the store as Michael comes
walking up the street. He crosses to her.
MICHAEL
He's nowhere in the neighborhood.
MARTA
That's just like him. You can't do
a thing to help him...even when he's
in danger.
Marta's talking angry, but it's easy to see she's upset,
close to tears.
MICHAEL
Look, we're going to find him...I
promise you.
Marta turns and looks carefully at Michael.
MARTA
Why are you doing this? I mean, you
hardly know us....
MICHAEL
(smiling)
Better than you think actually, Tino
reminds me a lot of another kid
about his age.
MARTA
Your brother?
MICHAEL
No...me. A few years back. Couldn't
do a thing for me, either.
(thinking)
Look, lots of kids have a place they
go to where they need some time alone
...what about Tino?
Marta nods, shaking her head.
MARTA
Are you kidding? Ever since our
father died, Tino's been dreaming
about leaving the city and living
like a real gypsy -- with our Uncle
Stephano.
(beat)
Until he can, he insists on living
like a gypsy right here in the city.
MICHAEL
Where?
MARTA
There's a vacant lot over on Butte...
about a mile from here. He built a
shed there...that's been 'home' for
months.
Michael listens, fascinated by the story. He smiles.
MICHAEL
I had a place up in the attic over
the garage. Once I spent a whole
week up there. My mom thought I was
nuts....
MARTA
Tino's not crazy, Michael. He just
wants to be a gypsy more than any-
thing in the world....
MICHAEL
That can't be easy.
MARTA
He doesn't want to know that....
Michael nods, understanding.
MICHAEL
I'll find him. Don't worry....
With that, Michael turns and leaves. Hold on Marta,
watching him leave, and then:
CUT TO
INT. TRANS AM - DAY
as Michael drives.
K.I.T.T.
I don't want to sound like your
mother, Michael, but we shouldn't
have gotten involved.
MICHAEL
Probably not, but it's kind of a
touching story.
(smiling)
Marta told me a lot about Tino...all
he ever talks about is heading to
the country to be a real gypsy, just
like his Uncle Stephano.
K.I.T.T.
How very...quaint. And, Michael,
speaking of stories, good luck with
yours.
MICHAEL
Mine?
K.I.T.T.
Yes...Devon's calling.
Michael punches the necessary buttons.
MICHAEL
Devon...Season's Greetings!
Intercut with:
INT. FOUNDATION - DEVON'S OFFICE - DAY - ON DEVON
speaking into the monitor.
DEVON
Same to you, Michael. I trust
you're en route back to the
Foundation.
MICHAEL
(hesitating)
Heading in that direction.
DEVON
Good...what's your estimated time of
arrival?
Michael thinks about this for a beat, then:
MICHAEL
That's kinda difficult to say. See,
something's come up. Sort of....
DEVON
Something? Sort of? Precisely what
do you mean?
(beat)
If this has to do with a woman....
MICHAEL
No! No women. Devon, I ran across
this gypsy kid. Actually, he ran
into me, at first that is...anyway,
he's become a material witness in
that big bank robbery. Problem is
the robbers are looking for him,
and....
DEVON
(interrupting)
Michael, none of this sounds like it
warrants Foundation attention. Why
not let the police handle it?
MICHAEL
I tried that. They don't have the
time or the money. Meanwhile, this
kid and his sister are pretty much
all alone.
DEVON
His sister? As I suspected, there
is a woman.
(firmly)
Michael, the Foundation Ball is at
two o'clock Sunday. I've decided to
seat you between Lady Cornwall and
the Duchess of Chipstead. I am
depending on you. Is that clear?
MICHAEL
It sure is and I'll be there, Devon.
You can trust me.
DEVON
I wish it were that simple. Oh, one
more thing...the dress is black tie.
MICHAEL
Right. Tuxedo. No problem, Devon.
Devon doesn't bother to dignify this last comment with a
response. As he fades out:
K.I.T.T.
There is one problem, Michael...you
still don't have a tuxedo.
MICHAEL
I'll get one, I'll get one. Trust
me.
K.I.T.T.
Where have I heard that before?
Off Michael's smile:
CUT TO
EXT. VACANT LOT - DAY
where we see Tino's ramshackle shack. Not much more than
four walls and a scanty roof creating one room. Coming
from inside the tiny building, we hear the tiny sound of a
cheap portable radio. Suddenly, the music clicks off and
we see Tino peering through a crack in the door at:
MICHAEL
climbing out of the Trans Am which is parked at the curb,
and starting to cross the cluttered lot toward Tino's shack.
K.I.T.T.'s scanner flashes.
ANGLE ON THE SHACK
as Tino makes an unobtrusive escape out the back of the
building, hiding in the shadows of the neighboring
buildings. Michael doesn't see him leave as he walks up,
knocks on the front door.
MICHAEL
Tino...hey, Tino....
No answer, but Michael probably didn't really expect one.
He tries the door, opens it and steps inside. As he does,
we go to:
K.I.T.T. AT THE CURB
His scanners are picking up something. Down the block we
see exactly who.
K.I.T.T.'S VOICE
I think we have company.
THE WHITE CONVERTIBLE
heading toward the empty lot. It screeches to a spot near
the Trans Am. Inside, we see our three heavies. They
check out K.I.T.T. Casey nods to Paolo who's behind the
wheel.
CASEY
They gotta be inside. Go for it....
PAOLO
You're sure...?
CASEY
I said, hit it!
Paolo exchanges an uneasy look with Skip, throws the con-
vertible in gear and floors it. The big white car jumps
the curb, heads across the lot toward the shack.
INT. TRANS AM
We hear:
K.I.T.T.
Michael, get out of that shack!
ON THE SHACK
as Michael comes to the front door of the shack, looks out
to see:
THE CONVERTIBLE
bearing down on him. There's no time to run. Michael
slams the flimsy door shut.
ON TINO
watching, wide-eyed in terror, as the convertible roars
toward his shack.
WIDER ANGLE
as the big car hits the shack, ripping through the left
side of the building and collapsing it. Wood, dust and
glass fly everywhere. The convertible hits the alley
behind the vacant lot and disappears.
ON THE SHACK
or what's left of it. Tino comes running out of the
shadows, hurries to the pile of debris.
TINO
Michael! Michael...!
No answer. Tino starts frantically digging through the
rubble. Suddenly, an arm appears, pushing off boards.
It's followed by a battered, dusty and very shaken Michael.
Tino rushes to his side, grabs his arm, helps him out of
the mess.
TINO
Michael you okay?
MICHAEL
I don't know. It's the first time
the roof's ever really fallen in on
me....
Michael looks around, speaks into his comlink:
MICHAEL
Kitt, get over here....
ON K.I.T.T.
firing to life, backing up and bumping over the curb and
across the field. As he does, a surf punk on a skate-
board wipes out in the middle of the sidewalk as he stares
in totally blown-away amazement at the driverless Trans Am.
ON MICHAEL AND TINO
as K.I.T.T. comes roaring across the field to them.
Michael leans inside.
MICHAEL
(to K.I.T.T.)
You get anything on that convertible,
buddy?
K.I.T.T.
I've run the plates, Michael.
Unfortunately, they were stolen from
another car yesterday...
(beat)
Are you all right?
MICHAEL
Yeah. Except those jokers are
starting to take some of the thrill
out of Christmas for me.
Michael turns to Tino.
MICHAEL
You finally getting the message from
those guys? They thought you were
inside there with me.
Tino nods without speaking. He glances at the remains of
his shack. He's suitably impressed. Without Michael
telling him, Tino crosses to the Trans Am, climbs inside,
then leans out the window.
TINO
Well, what're you waiting for?
Let's get out of here.
Michael hides a smile as he gets into the Trans Am. As the
car bounces back onto the street and takes off, we pan in
the other direction and see:
THE WHITE CONVERTIBLE
with the guys watching. They don't look happy.
CUT TO
EXT. BOUTIQUE - DAY
The Trans Am is parked in front, and we go into:
INT. BOUTIQUE - DAY
where we find Michael talking with Marta and Tino.
MICHAEL
Tino gave the police a good descrip-
tion of those guys. Plus, they
probably lifted some prints off that
watch....
TINO
So, their goose is cooked, right?
MICHAEL
Sure. But, until they're safely
behind bars, it's your goose I'm
worried about.
Tino starts to respond, but Marta cuts him off.
MARTA
Enough, Mr. Smart Guy. You listen
for a while....
Tino grumbles to himself as Michael continues.
MICHAEL
What we need is someplace where
you're going to be safe.
(to Marta)
Is there any place he could go to?
Friends? Relatives?
Marta thinks for a beat, shakes her head. Tino lights up.
MARTA
Not really....
TINO
Yeah! Uncle Stephano's!
MARTA
Tino, don't be silly. You hardly
know Stephano. Besides, I'm not sure
he's the best....
TINO
Sure I know him...he's my uncle!
And he always tells me to come see
him. This is the perfect time,
Marta, it is!
Marta looks doubtful. Michael thinks for a moment.
MICHAEL
Actually, it's not a bad idea.
Where is Stephano?
MARTA
Right now, they're camped for the
winter out by Lockett...about five
hours east of here.
MICHAEL
Sure would be a good place for Tino
to keep a low profile...and you
could stay in touch in case the
police need him.
TINO
Yeah! A gypsy Christmas! Then it's
all set...?
Before Marta can respond, Tino throws his arms around her,
gives her a big hug.
TINO
You're the greatest, Mart...
(to Michael)
You're not bad, either.
Michael and Marta look at Tino. His enthusiasm is
infectious.
MICHAEL
If you'd like I can drop Tino
off...I'm heading that direction
anyway.
MARTA
But, you've done so much for us
already.
MICHAEL
It's no problem. Really....
Marta looks from Michael to Tino, then nods.
MARTA
All right. But, only until this
thing is cleared up.
Tino shouts with excitement, runs to the Trans Am and
jumps inside. Marta turns to Michael.
MARTA
You really are being sweet.
MICHAEL
I'm happy to help. We'll swing by
Tino's, pick up some clothes and
head out to Lockett. I'll phone
when we arrive.
Marta nods, bends over to wave to Tino, then gives Michael
a quick, spontaneous kiss. Then, embarrassed, she turns
and leaves. Michael smiles to himself, gets into K.I.T.T.
As he does:
CUT TO
EXT. VACANT LOT - DAY - ON THE TRANS AM
parked at the curb next to Tino's lot. The trunk is open,
and Michael is crossing the lot with an armful of --
things -- clothing, books, a frying pan, an old
basketball. As he dumps them in the back of the Trans Am,
we hear:
K.I.T.T.
Michael, this really is the last
straw....
Michael smiles, moves over to the passenger's side, opens
the door and sits down.
MICHAEL
Come on, Kitt. Where's your Christmas
spirit?
K.I.T.T.
Gone! I'd like to see you 'deck the
halls' if some mud-covered moppet was
filling your trunk with junk.
MICHAEL
Shhh...you're going to hurt his
feelings. It's not junk...it's his
personal belongings.
K.I.T.T.
It's still junk. Also, Michael, you
still have an outstanding obligation....
MICHAEL
How could I forget?
K.I.T.T.
Very easily. The stores are closing
in less than an hour.
MICHAEL
(pleased)
Guess we'll have to stop somewhere
tomorrow.
K.I.T.T.
Tomorrow? Michael, you're
incorrigible. Worse than the boy.
No wonder you're so fond of him.
MICHAEL
He kind of grows on you.
K.I.T.T.
So does fungus....
In the b.g. we see Tino, with the final load, come
staggering across the lot under a big load. He dumps it
unceremoniously in the trunk, tries to close it. The
back's too full, so Tino tries to cram it shut.
K.I.T.T.
Gently, you little barbarian.
Gently!
With Michael's help, Tino closes the trunk. As he and
Michael get into the Trans Am, we:
CUT TO
EXT. MARTA'S DRESS SHOP - DAY
The door is shut. A sign reading "closed" sits in the
front window.
CUT TO
INT. DRESS SHOP - DAY
as a mannequin is knocked to the ground, hits with a thud.
We hear a frightened little scream, and pull back to reveal
Marta flattened against the wall, facing Casey, Paolo and
Skip. She looks terrified.
CASEY
That could've been you, lady. You
want it that way? Huh?
Marta doesn't respond. Paolo steps up to her.
PAOLO
Your brother, he's a thief. He
steals things, see? What good's it
gonna do you, letting a little thief
hide behind your skirts?
Still, Marta doesn't respond. Casey shakes his head.
CASEY
I'm getting tired of asking her to
help. She needs some encouragement....
As Casey moves toward Marta, the door suddenly flies open
as David hurls himself against it and into the room. He
glances at the men, then quickly crosses toward Marta,
stands near her almost protectively.
DAVID
I told you to leave her alone.
CASEY
(shrugging)
We don't listen too good.
DAVID
The kid's split. He told one of the
punks at the park he's going to his
uncle's.
CASEY
Where's that?
DAVID
Stephano's got a caravan of gypsies.
They spend every winter camped out
by Lockett....
The heavies smile, head for the door. Casey stops, tosses
David a wad of money.
CASEY
A deal's a deal, David. Thanks....
They leave. Marta stares at David, furious. He fumbles
with his money, avoiding her eyes.
MARTA
How could you, David?
David doesn't answer.
Marta grabs her purse and keys, rushes past David out the
front door. Hold on him, and then:
FREEZE FRAME
AND
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
EXT. OPEN HIGHWAY - DAY - ANGLE ON TRANS AM
gliding along at a nice, even speed of about ninety-five mph.
INT. TRANS AM - DAY
Michael's driving and Tino's checking out the various
controls in K.I.T.T.'s interior.
TINO
What's this?
K.I.T.T.
None of your business.
MICHAEL
That's a chemical analyzer.
TINO
Oh. Yeah....
MICHAEL
You put things in and the computer
tells you what they are.
TINO
I could tell you by just lookin' at
'em.
K.I.T.T.
(very droll)
Bully for you.
Tino cocks his head toward the dash.
TINO
I don't think you like me, car.
K.I.T.T.
I live in mortal terror of what you
might do next.
TINO
You're scared of me, huh? That's
pretty funny.
K.I.T.T.
A boy named David killed Goliath with
one rock.
TINO
(to Michael)
I don't know those guys. What's he
talking about?
MICHAEL
It's from the Bible. Haven't you
ever read anything?
TINO
Sure. But, I don't have to brag
about it....
Michael grins, pulls a map out of the backseat and offers
it to Tino.
MICHAEL
Speaking of reading, take a look at
this and tell me where we're going.
K.I.T.T.
Michael, surely I can do that....
TINO
(quickly)
So can I.
He grabs the map, unfolds it and spreads it out, eyes it
intently. It's obvious he can't read. Michael sees this.
MICHAEL
It probably looks better this way....
Michael turns the map right side up. Tino, caught and
hating it, glares at Michael, tosses the map away.
TINO
Who cares about an old map, anyway?
Tino stares out the window, pouting, then starts fiddling
with K.I.T.T.'s dash.
MICHAEL
You know, to use all these buttons
and stuff, you've got to know a
couple of things. Like how to read.
TINO
I could handle this baby with my
eyes closed.
K.I.T.T.
Perish the thought.
MICHAEL
It's not as easy as it looks.
TINO
Try me.
EXT. TRANS AM - DAY
as it screeches to a stop by the side of the highway.
Michael climbs out and a suddenly hesitant Tino and he
exchange seats.
K.I.T.T.
This is a truly terrible idea,
Michael. He can't possibly drive....
As the doors close, the Trans Am blasts away with a scream
like an off-the-line drag racer, fishtailing up the highway.
ANGLE ON A FARMER
some distance ahead, driving a very old pickup truck across
the highway. He hears a roaring sound approaching and turns
toward it, shading his eyes from the sun.
ANGLE ON THE TRANS AM
still seemingly out of control, barrelling up the highway.
ANGLE ON THE FARMER
Realizing the car's heading straight for him, he jams the
accelerator to the floor and the truck tears from fifteen mph
to a death-defying twenty-five mph.
INT. TRANS AM - DAY
Tino's like a madman at the wheel. Michael spots the farmer
up ahead.
MICHAEL
Tino! Watch out...!
TINO
No problem. I've got it totally
under control.
Michael doesn't share his confidence, and reaches for the
turbo boost.
EXT. TRANS AM - DAY
as the car's nearly on the poor farmer and he leaps out of
the truck. Even as he hits the dirt, the Trans Am turbo
boosts and leaps over him, heads on up the highway.
ANGLE ON THE FARMER
curled up in bomb-alert position, realizing he's still
alive. He looks after the vanishing Trans Am, then back to
his truck, which is now driving off the highway, alone,
plowing through someone else's field. The farmer leaps to
his feet and takes off after the truck.
EXT. GYPSY CAMP - DAY
A collection of trailers, trucks and old Cadillacs, camped
in an open field, near a stream if possible. A collection
of scroungy dogs, kids and adults moves through the camp
which is centered around a scruffy trailer larger than the
others. All in all, not an impressive sight.
ANOTHER ANGLE FEATURING THE TRANS AM
as it skids into the camp and stops. Several gypsies look
up, stare at the car.
INT. TRANS AM - DAY
Michael looks like he's in the process of recovering from
near heart failure. Tino stares at the gypsy camp around
them.
TINO
Look at them -- real gypsies! I'm
going to find Uncle Stephano!
Tino bolts out of the car.
K.I.T.T.
I hope you're satisfied. He probably
destroyed my entire transmission.
MICHAEL
Yeah. I'm a little concerned about
mine, too.
Michael climbs out of the car.
EXT. GYPSY CAMP - DAY - MOVING WITH MICHAEL
following the path Tino took through the camp, toward the
large trailer. He attracts a lot of attention -- dogs
bark, people stare, some kids follow in his footsteps,
mimicking his long stride. Good-natured laughter from the
adults. Michael turns, sees the kids, smiles, too. Mean-
while:
ANGLE ON K.I.T.T.
also attracting a lot of attention, namely from a handful
of young gypsy teenagers, who descend upon the fancy black
car like a swarm of locusts. Two of them go for the
hubcaps, one tries to pry open the hood, another the door.
Needless to say, no one's having any luck. Finally:
K.I.T.T.
I've got a fortune for you
fellows....
They all stop in midsteal.
K.I.T.T.
I see police, iron bars and bread
and water, unless you get your hands
off me, now!
Everyone jumps away from the car, turns and hustles back to
the camp as we go to:
EXT. STEPHANO'S TRAILER - DAY
The big one. As Michael approaches, Tino comes out with
Uncle Stephano. Stephano is in his early fifties, small,
slightly stooped. He's got a slight limp and a persistent
cough.
TINO
This is my pal, Michael.
STEPHANO
You bring my nephew to me. From the
bottom of my heart, I thank you!
Stephano grabs Michael's hand with both of his, holds it as
he talks.
MICHAEL
Nice to meet you.
STEPHANO
(coughing)
My brother never tells me he has
such a big boy. Now, Tino is here,
where he belongs -- with his people.
MICHAEL
Good...that's where he wants to be.
Tino is watching Uncle Stephano carefully as the older man
talks. We can see the surprise and disappointment in the
boy's eyes.
STEPHANO
(to Michael)
Come, we are about to eat. You are
the guest of honor at our table
today.
MICHAEL
I'd like to, but -- you wouldn't
believe how late I am getting to
work.
STEPHANO
Of course, of course.
(to Tino)
I leave you to say good-bye.
And Stephano strides off, leaving Michael and Tino alone.
Confronted with the reality of parting with his newfound
friend, Tino finds it hard to look in Michael's eyes.
CLOSER ON MICHAEL AND TINO
as Tino does a close inspection on his shoes, the ground....
MICHAEL
Are you going to be all right here,
Tino?
TINO
(without
much
conviction)
Sure, all my life I want to be
here. It's...great.
MICHAEL
You sure you're okay?
Tino shrugs, nods.
TINO
You gonna come visit me?
MICHAEL
If I can, sure...
(beat)
You keep your hands off other
people's watches, okay?
The boy appears to be fighting back tears.
TINO
Don't run down any little kids.
Michael grins, ruffles Tino's hair. Then, he crosses to
the Trans Am, climbs in. Tino watches him drive off, more
than a little sadly. Finally, he turns and walks toward
the communal dining table where many of the gypsies have
gathered. Suddenly, he stops in his tracks when he sees:
ANGLE ON PAOLO
standing in front of him. In a flash, Tino turns to run
and nearly collides with Skip. Tino tries to wriggle out
of Skip's grip, but Paolo's on him, wrestling him back
between the trailers, out of view of the other gypsies.
EXT. HIGHWAY - DAY - ANGLE ON TRANS AM
quickly leaving the gypsy camp behind.
INT. TRANS AM - DAY
as Michael drives in silence, seemingly lost in thought.
K.I.T.T.
I think at the very least, you could
have stayed for dinner, Michael.
MICHAEL
What happened to the desperate
search for a tux?
K.I.T.T.
I've located several stores nearby,
all open until six o'clock. We have
plenty of time.
MICHAEL
You're worried about Tino, aren't
you.
K.I.T.T.
I'm not programmed to worry.
(beat)
But the boy was distressed by our
departure. His vital signs were
highly elevated.
The Foundation "hotline" buzzes.
MICHAEL
Speaking of elevated vital signs,
here comes Devon.
Devon appears on the vidscreen.
DEVON
Well, Michael, I was half hoping to
see you coming out of a formal wear
shop.
MICHAEL
Don't worry, Devon. We've wrapped
things up here and Kitt's plotting a
direct route to patent leather shoes
even as we speak.
DEVON
Yes. Well, in the event that his
routes lead astray, allow me to show
you this.
Devon holds up perhaps the worst-looking rental tuxedo in
the world. Michael grimaces.
MICHAEL
Did somebody die in that?
DEVON
No, but somebody might. It's what
you will wear, if you're unable to
find a suit on your own.
Devon fades from the vidscreen. Off Michael's reaction we:
CUT TO
EXT. GYPSY CAMP - BEYOND THE TRAILERS - DAY
where Paolo and Casey have Tino cornered. His clothes are
torn, dishevelled. He's been roughed up pretty badly.
PAOLO
He doesn't have it. He must've
ditched it someplace.
Casey grabs Tino by the face, squeezes his cheeks.
CASEY
Come on, you little punk. Where's
the watch...open your mouth....
Which Tino does, biting Casey hard. Casey yells, lets go of
Tino and he takes off. Runs directly into the arms of
Uncle Stephano as he appears between the trailers. Tino
grabs the older man, holds onto him tightly.
TINO
Uncle Stephano, help!
Before Stephano can respond, Skip appears right behind him,
a gun in his hand. Stephano shakes his head sadly.
STEPHANO
We cannot help...these men, with
their guns....
Tino looks at his uncle, shaken, disbelieving.
TINO
But, there's fifty of you and three
of them....
Stephano just shakes his head. Casey laughs harshly.
CASEY
What he's saying, kid, is he's
afraid to fight. Isn't that right,
old man?
Casey crosses to Stephano, laughs in his face. The laugh
turns to a snarl as he turns to Tino.
CASEY
So don't think you can hide behind
Uncle Stephano's skirts, kid...
(grabbing him)
Now, where's that watch?
TINO
On your mother's grave....
Casey pulls back his hand to slap Tino, but Stephano grabs
it. They wrestle for a moment, but Casey pushes the older
man to the ground. Paolo steps up to Casey.
PAOLO
I bet he left it with his sister.
TINO
(alarmed)
No!
The men look at Tino. Casey smiles.
CASEY
Guess that rang a bell, huh?
He pats Tino's cheek, turns to the others.
CASEY
Let's take the kid home.
TINO
I told you, she doesn't have it. I
gave it to the cops.
That stops Casey in his tracks.
CASEY
For your sake, that better not be
true. Without that watch, you're
dead, kid.
He grabs Tino roughly by the arm, starts to drag him
kicking and squirming, toward the convertible. Uncle
Stephano and several other gypsies watch helplessly.
ANGLE ON TINO
as he turns, glances over his shoulder at Stephano. His
eyes are filled with tears of disappointment. As Casey
tosses him into the convertible, we:
CUT TO
EXT. HIGHWAY - DAY - ANGLE ON TRANS AM - STOCK
as it cruises along. Again, we hear the strains of a
Christmas carol, hopefully "Frosty the Snowman" or "Jingle
Bells."
INT. TRANS AM - DAY
Michael's enjoying the music. We hear:
K.I.T.T.
Michael, I've noticed that so many
of the Christmas songs we've been
hearing mention snow.
MICHAEL
Sure. Snow, sleds, snowmen...
Christmas is in December, after all.
K.I.T.T.
In case you didn't notice, there's
no snow in sight and the temperature
outside is nearly seventy degrees.
It must be difficult to get in the
mood....
Michael laughs, nods.
MICHAEL
That's part of the price we pay for
living in this part of the country.
(beat)
Of course, there're some advantages
...like being able to surf all year.
K.I.T.T.
Surfing. Oh, goodness, let's not
get started on that....
Michael's attention is distracted by a car parked at a
small gas station, its hood up.
EXT. GAS STATION - DAY
We see a woman talking anxiously to a station attendant.
It's Marta.
BACK TO MICHAEL
craning over his shoulder to see the woman.
MICHAEL
Kitt, wasn't that Marta?
K.I.T.T.
And a very uncomfortable automobile.
EXT. GAS STATION - DAY - TRANS AM
as it whirls around on the highway and pulls into the
station, stopping beside the overheating car. As Michael
climbs out, Marta looks up from beneath the hood. She's
very surprised to see Michael.
MARTA
Michael!
She rushes over to him.
MARTA
Those men -- they came to my store,
looking for Tino. David told them
you were taking him to the gypsy
camp.
Michael stiffens as the gravity of the situation hits him.
He immediately moves toward the Trans Am. She follows,
grabbing the handle of the passenger door.
MARTA
I'm coming with you.
MICHAEL
Let's go.
They climb in.
WIDER ANGLE
as the Trans Am screeches backward out of the gas station,
screeches a one-eighty in the middle of the highway and
roars back in the direction of the gypsy camp.
ANGLE ON THE STATION ATTENDANT
watching the Trans Am in awe, then looking back at the
overheating clunker. He realizes the car's been ditched on
him and starts to run after the Trans Am; quickly realizes
it's useless and turns back to the clunker. He gives it a
good kick and the bumper falls off. He looks disgusted.
EXT. GYPSY CAMP - DAY
or what's left of it. Everyone's packed up and moved on,
leaving little more than the ashes of the early dinner
fires. In the b.g., the Trans Am comes roaring down the
road, onto the field.
ANOTHER ANGLE FEATURING THE TRANS AM
as Michael pulls the car to a stop where the camp should
have been. He and Marta climb out, look around.
MARTA
Are you sure this is where they were?
MICHAEL
Positive. They must've moved on
right after I left.
MARTA
But what about Tino?
MICHAEL
We'll find him, Marta, I promise.
But from the look on Michael's face, we can see he's not so
sure they will. Hold on the two of them and then:
FREEZE FRAME
AND
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
EXT. GYPSY CAMP - DAY
Michael and Marta are walking slowly through the gypsy
camp, looking for anything that might tell them Stephano
and the others have gone.
MICHAEL
I've been over this place three
times...they didn't leave a thing
behind.
MARTA
Gypsies have learned to move
quickly, and quietly.
(beat)
Their lives often depend on it.
MICHAEL
Right now, it's Tino's life I'm
worried about.
Michael's attention is suddenly diverted to a small puddle
of something on the ground. He kneels, gets a finger full,
smells it. He stands up, thinking hard.
ANGLE ON K.I.T.T.
as Michael turns, hurries to K.I.T.T., sits down in the
driver's seat.
MICHAEL
Kitt, you got any idea what this is?
K.I.T.T.
My chemical sensors indicate a
petroleum-based product of
relatively high viscosity....
MICHAEL
In English that means oil, right?
K.I.T.T.
Yes. An inexpensive commercial
grade...and filthy, I might add.
MICHAEL
Think you could follow a trail of
this stuff?
K.I.T.T.
Goodness, yes...the stench is enough
to twist my turbine.
Michael starts to get out of K.I.T.T., only to find a
thoroughly dumbfounded Marta staring over his shoulder into
K.I.T.T.
MARTA
Tino was right...it does talk.
MICHAEL
Yeah, I know...it's pretty
incredible. But, it works. And
he's got a nose sharper than a
bloodhound's....
Marta's now confused beyond explanation.
MICHAEL
Climb in...we're going after
Stephano.
Marta nods, hurries around to climb into the Trans Am.
Michael slams the door, fires the car up.
MICHAEL
All right, buddy, sic 'em! Or fetch
or whatever the appropriate phrase
is.
As the Trans Am roars off, we hear:
K.I.T.T.'S VOICE
I don't believe there is an
appropriate phrase...although you
might consider 'please.'
CUT TO
EXT. HIGHWAY - DAY - ANGLE ON CONVERTIBLE
moving along in the sunlight -- with the top up.
INT. CONVERTIBLE - DAY
Casey's at the wheel, Skip's beside him. Paolo's in the
back with Tino. The windows are rolled up and it's
sweltering inside.
PAOLO
It must be a hundred and fifty in
here.
CASEY
Keep that window shut! I'm not
giving the kid one shot at making
more trouble.
TINO
I don't feel so good. I think I'm
getting carsick....
The men exchange ominous looks of dread. Paolo hurriedly
rolls down the back window a crack.
PAOLO
Here, kid...suck up some air.
TINO
I gotta have something to drink.
SKIP
You had two sodas already.
TINO
I'm still thirsty.
CASEY
We're not stopping again.
TINO
(groaning)
I don't think I can make it....
Skip and Paolo exchange another look.
CASEY
I'm sick of listening to that brat.
He turns on the radio, flicks channels, as:
TINO
I gotta get to the bathroom, I'm not
kidding....
Casey reaches a news station and as Tino groans in back, he
turns up the volume so that we hear:
NEWSCASTER'S VOICE
The watch recovered by the police
department was definitely identified
today as that stolen from Richard P.
Henzer, driver of the Securvan that
was robbed in broad daylight in one
of the most daring armored truck
robberies this year....
Casey snaps off the radio. Tino's stil ad-libbing groans
and gripes as Casey turns to Skip.
CASEY
The cops do have the watch.
SKIP
I heard.
CASEY
Then what do we need this pain in
the neck in the backseat for?
Skip shrugs; he has no answer. Tino hears Casey, suddenly
stops groaning.
EXT. CASEY'S SEDAN - DAY - A SMALL TRUCK STOP CAFE
as Casey pulls the sedan off the highway, has to wait for
an incredibly slow driver parking a very rundown pickup
truck in front. As the driver of the truck climbs out, we
recognize the beleagured farmer who Tino drove off the
highway earlier. He enters the cafe and we angle to:
CASEY'S SEDAN
as Casey and Skip climb out, followed by Paolo. Tino
starts to climb out and Casey stops him.
CASEY
This is a private conversation.
TINO
You're gonna be real sorry when I
get sick.
Casey pushes him back into the car and locks the doors. He
pockets the keys and he and his partners move away from the
car. We hold on Tino as he begins fighting the doors,
trying to open them. When they don't open, Tino jumps into
the front seat, starts fiddling under the dash.
ANGLE ON CASEY, SKIP AND PAOLO
forming a huddle some distance from the sedan.
SKIP
You talking about killing him?
We're not murderers.
PAOLO
Yeah...besides, the cops have the
watch.
CASEY
The watch is one thing. The kid can
ID us. It's a lot safer if he can't
talk. Do I make myself perfectly
clear?
As Skip and Paolo contemplate this, we hear the sound of
the engine igniting, turning over, then catching. They
turn to see:
THE CONVERTIBLE
whipping out backwards, right toward them. They have to
jump out of the way as the car screeches past, and they get
a very good look at Tino as he flicks his hand across his
chin and takes off up the highway. Casey pulls his gun and
runs after the fleeing sedan, sees it's hopeless. Paolo
and Skip amble over to him.
PAOLO
What do we do now?
CASEY
What do you think? We steal a car!
As they turn toward the line of parked cars, we:
CUT TO
EXT. HIGHWAY - DAY - TRANS AM
moving along the highway, still scanning the oil spots,
approaching the outskirts of a small town.
INT. TRANS AM - DAY
Michael scans the road ahead. Marta's all nerves.
MICHAEL
You're doing great, Kitt.
K.I.T.T.
I'm glad someone thinks so.
(beat)
The density of these oil spots seems
to be growing rather than diminishing,
Michael.
MICHAEL
Just keep your nose to the hardtop,
pal.
K.I.T.T.
And to think some poor animals are
forced to do this for a living.
(beat)
Thank goodness...we seem to have come
to the end of the line.
EXT. TRANS AM - DAY
as it pulls off the road, into a gas station. A "closed"
sign sits in the window and an old, faded car with charms
and doodads decorating the rearview mirror and windows sits
on the apron of the station. The Trans Am stops beside the
car and Michael and Marta climb out. Michael peeks under
the car, to see a very large oil spot.
MICHAEL
Looks like the end for this fella,
all right.
MARTA
We'll never find Tino.
Michael puts a comforting arm around her shoulders.
MICHAEL
I don't think your uncle and his
people would leave a car far behind.
Let's head into town.
As they start to climb into the Trans Am:
K.I.T.T.
Precisely where in town, Michael?
MICHAEL
Just follow your nose, pal.
K.I.T.T.
I beg your pardon.
MICHAEL
Kitt, just go!
As the Trans Am roars off, toward town, we:
CUT TO
EXT. ANOTHER STRETCH OF HIGHWAY - DAY
as Tino, behind the wheel of the convertible comes speeding
past camera.
INT. CONVERTIBLE - DAY
The radio blares rock 'n roll, Tino's beating out the
rhythm on the dash, having a ball. Although Tino doesn't
notice, we have a look at:
THE GAS GAUGE
riding heavy on "E."
BACK TO TINO
smiling, singing to himself. Off this, we:
CUT TO
EXT. TRUCK STOP CAFE - DAY
The place Tino escaped from. Out comes the farmer,
carrying armloads of take-home food. He walks over to
where his truck was parked, then stops -- the truck's gone.
The farmer stands, staring at the empty space. He finally
nods his head tolerantly and starts up the highway on foot.
EXT. HIGHWAY - DAY - THE FARMER'S PICKUP TRUCK
somewhere behind Tino, moving slowly along, smoking,
sputtering.
INT. TRUCK - DAY
Our three heavies are crammed in, earlobe to elbow, each
with the same look of silent fury on his face. Casey's
driving. The speedometer reads just over thirty.
CASEY
Of all the stupid cars to take, we
gotta nab one that died ten years
ago.
SKIP
The rest were locked.
CASEY
We'd catch that kid faster if we
walked, which is what you're gonna
do if I hear another dumb word outta
either one of you.
Paolo and Skip exchange a hurt look.
EXT. STREET IN SMALL TOWN - DAY
The Trans Am cruises through a suburban neighborhood.
INT. TRANS AM - DAY
Michael and Marta peer anxiously through the windows.
MICHAEL
Picking up anything promising, Kitt?
K.I.T.T.
Noxious is more like it. The air in
this town is simply rampant with
hydrocarbons, being heated to
approximately....
MICHAEL
Straight goods, Kitt.
K.I.T.T.
Asphalt, Michael...the sort of
material used in paving streets.
MARTA
Or driveways -- repaving driveways
is one of Uncle Stephano's favorite
scams!
MICHAEL
Then that's it! Let's sniff out
Uncle Stephano, Kitt.
K.I.T.T.
And this time, we can follow your nose.
Michael hits the accelerator and the car darts away, to:
EXT. ANOTHER STREET - DAY
where a handful of gypsy men are hard at work on a driveway,
laying down the cheapest, skimpiest layer of asphalt
imaginable. Nearby is Stephano's trailer, canopy billowing
in the breeze. Stephano sits imperiously at a table,
watching the work. The Trans Am screeches up and Michael
jumps out, hurries over to Stephano. Marta stays near the
car, unwilling to confront her uncle.
ANGLE ON THE TRAILER
as Michael pushes past two of Stephano's people, confronts
the older man.
MICHAEL
Where's Tino? What happened to him?
Stephano regards Michael for a beat, then shakes his head.
MICHAEL
Don't give me that...he was here.
Suddenly, Stephano looks very guilty and ashamed.
STEPHANO
He was here, yes. Then three men
came and took him from us.
(beat)
They had guns, and we do not. There
was nothing we could do....
MARTA
Did you phone the police, Stephano?
STEPHANO
Gypsie learned long ago not to
bother with the police...unless we
want more trouble than we already
have.
MICHAEL
Where'd these guys take Tino?
STEPHANO
North. They seemed to be heading
back toward the city....
MICHAEL
(to Marta)
Let's go.
As Michael and Marta turn to leave, Stephano takes
Michael's arm.
STEPHANO
Perhaps we can come with you, help
somehow...?
MICHAEL
No, I don't think that's....
But before Michael can finish his sentence, most of the
gypsy men are piling into a couple of old trucks. As
Stephano shuffles over to one of them, Michael and Marta
jump in the Trans Am and lead the small caravan down the
street.
CUT TO
EXT. HIGHWAY - DAY - ANGLE ON THE CONVERTIBLE
sputtering to a stop by the side of the road. An old barn
with two grain threshing machines outside is the only sign
of habitation. On either side of the road, grain fields
high with oats or wheat stretch toward the horizon.
CLOSER ANGLE ON THE CAR
as Tino frantically tries to start it. No luck. It's bone
dry. Tino climbs out, gives the car a kick -- then he
looks around and starts walking. Behind him, he hears the
sound of a backfire, turns to see:
AN OLD PICKUP TRUCK
coming up the highway toward him like a slow-moving mirage.
ANGLE ON TINO
starting toward the approaching truck, grinning and waving
his arms. As the truck comes closer, Tino stops and stares.
ANGLE ON THE TRUCK
with Casey, Paolo and Skip inside, now bearing down on Tino.
ANGLE ON TINO
realizing his salvation's turned to a nightmare, breaking
into a run away from the highway, toward the barn, as we:
CUT TO
EXT. TRANS AM - DAY
tearing down the highway away from the small town. In the
distance, we see Stephano and his people.
EXT. BARN - DAY
as Tino races toward it, tries to get inside -- it's locked.
He turns to see the old truck rumbling toward him. Looking
around desperately for a place to hide, he sees nothing but
the field of wheat. He races for it, stumbles, twists his
ankle badly. He pulls himself to his feet and, limping
badly, staggers toward the field and disappears into the
tall grain as the truck pulls up and the heavies pile out.
ANGLE ON THE HEAVIES
seeing Tino vanish into the field.
CASEY
We'll never find him in there --
it's too thick.
Casey looks around, sees the threshers.
CASEY
There's more than one way to skin a
cat.
He and Skip run to the threshers, jump up and fire them up
as Paolo pulls a gun. At that moment, the barn doors fly
open and the farmer we've met twice before comes out,
holding a pitchfork. Paolo whirls toward him, aiming the
gun, and the astonished farmer stares, then jumps back into
the barn, locking the door.
ANGLE ON THE THRESHERS
Big, noisy and very lethal looking. As the giant blades
start to hack through the wheat, we see:
TINO
crouched in the middle of the field. He rises at the
sound, sees the threshers coming toward him. He starts to
run and the top of his head becomes visible -- Paolo spots
him and fires a shot. Tino ducks back into the field.
WIDER - FEATURING THE THRESHERS
mowing through the field, heading for Tino. Then, in the
b.g., we see:
THE TRANS AM
streaking along the highway past the field.
INT. TRANS AM - DAY
Marta stares ahead, shaking her head worriedly. Michael's
glancing out the window, toward the field.
MARTA
We should've seen something by now.
ANGLE - WIDER
as the Trans Am nears the barn. Paolo sees the car, opens
fire on it. Bullets harmlessly bounce off K.I.T.T. and
Paolo turns to run, just as the farmer opens the barn door
to peek out at the action. The door slams into Paolo,
knocking him to the ground as the Trans Am slides sideways,
avoiding the barn and doubling back toward the field.
ANGLE ON THE FARMER
looking at the car, at the dazed Paolo struggling to his
feet -- then quickly going back into the barn, locking the
door again.
ANGLE ON THE TRANS AM
nearing the field. The threshers are ahead, Tino is
invisible.
INT. TRANS AM - DAY
as Michael punches turbo boost.
MICHAEL
Let's do a little harvesting of our
own....
EXT. FIELD - ON TRANS AM
lifting into the air and soaring over the crushed field,
bumping down just feet in front of the startled Casey and
Skip, between the threshers and Tino.
ANGLE ON TINO
still on the ground, realizing he's being saved. He cheers.
CLOSER ANGLE
as Casey tries to drive his thresher through or over the
Trans Am. Bad choice -- the thresher's blades grind and
the machine seems to crumble, as Casey leaps to safety in
the grain. Skip, deciding he's no dummy, leaps from his
thresher and takes off on foot.
WIDER ANGLE
As the Trans Am screeches to a halt and Michael jumps out,
runs after the escaping Skip and Casey. When he catches
them, it's two against one. And these guys know how to
fight.
ACROSS THE FIELD
We see the gypsy caravan pull up. The gypsies pile out
and head across the field toward the fight. One of them
stops to handle Paolo on the way, and the others, led by
Stephano, head for:
MICHAEL
who's grappling with Skip and Casey. Michael flips Skip
with a judo toss, only to find that Casey's got him in a
bear hug from behind. Skip's on his feet, moving toward
the helpless Michael when suddenly Tino's on his back,
riding him like a bucking bronco. Michael jerks free from
Skip, turns and drops him with a solid right. Meanwhile,
the gypsies have surrounded Skip and with Tino's help have
him on the ground.
ANGLE - WIDER
as Tino hops off Skip, whooping with excitement. He sees
Stephano and runs to give his uncle a big hug. Tino's
beaming when Michael crosses to them.
MICHAEL
You guys all right?
TINO
All right? We're gypsies...we know
how to handle ourselves.
As Marta comes running up to join them.
TINO
Don't ask...we're doing just fine.
Tino laughs, throws his arm around Stephano and then one
around Marta. As they all grin back at Michael, we:
FREEZE FRAME
AND
FADE OUT
END OF ACT FOUR
TAG
FADE IN
EXT. MARTA'S DRESS SHOP - DAY
The Trans Am's parked in front, the passenger door's open.
Michael hoists a large box out of the back, carries it to
the dress shop as Marta comes out to take it. Even as they
struggle with the box, Tino comes out, brushing his hands
and rubbing his back as if he's done all the work.
MARTA
Not so fast! Carrying the stuff
inside's only half the job...putting
it away comes next.
She smiles at Michael, then goes inside. Tino eyes her
skeptically.
TINO
I'm still not sure moving in with my
sister's such a great idea.
MICHAEL
Hey, you're the man of the family --
Marta needs you.
Tino likes this. Expansively ---
TINO
Yeah, that's right.
MICHAEL
So, what're you going to do with all
that reward money, bigshot?
TINO
Well, I've been thinking. You know,
I think school's for kids and all --
but I really think I could do okay
with computers...after I buy me a
car! A big one with fuel injection,
four on the floor, an AM/FM cassette
player and....
MARTA'S VOICE
...that's not going to happen for
years.
Michael and Tino turn to see Marta walking out of the store.
TINO
(to Michael)
See? I told you this wasn't a good
idea.
(dramatically)
Women...they don't understand what a
man needs.
MICHAEL
(smiling)
Yeah, well, when you're old enough
to know, you be sure and tell her....
Tino frowns at Michael for a beat, then breaks into a grin.
Marta and Tino turn to Michael.
MARTA
Thanks for everything, Michael.
Without you....
MICHAEL
Hey, Tino saved my neck....
Tino beams proudly. Marta gives Michael a little kiss and
hug. Michael turns to Tino, sticks out his hand.
MICHAEL
See you later, pal.
TINO
(shaking his hand)
Yeah. If you're ever stuck again
and need a hand....
MICHAEL
You'll be the first to know.
Tino hesitates, then gives Michael a big hug. Michael
loves it. He smiles, waves good-bye, then crosses to the
Trans Am, climbs inside.
INT. TRANS AM - DAY
as Michael starts it up.
K.I.T.T.
They're very nice people.
MICHAEL
Yeah, they sure are.
K.I.T.T.
I've been thinking about fortune-
telling, Michael. I think it can be
done, with some accuracy.
MICHAEL
Listen to you -- we've got a believer.
K.I.T.T.
For instance, I can predict with
absolute certainty what's going to
happen to you when Devon sees you.
MICHAEL
Devon! I forgot all about him!
K.I.T.T.
I'm afraid all the tux shops are now
closed.
Just as K.I.T.T. says this, the lights on the dash start to
blink.
MICHAEL
Don't answer it!
K.I.T.T.
Michael, I'm shocked!
MICHAEL
Give me a prediction on how far we
can get before he finds us....
EXT. TRANS AM - DAY
As it roars away from camera, into the sunset, we hear:
K.I.T.T.'S VOICE
My crystal ball seems to be clouding
over.
MICHAEL'S VOICE
Kitt...!
On this plaintive cry, we:
FREEZE FRAME
AND
FADE OUT
THE END
