ACT ONE
FADE IN
EXT. STREET - DAY
We pick up a well-worn van as it winds through the mid-
morning 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.
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.
Across the street we see a Santa Claus ringing a bell for
charity. In front of the bank 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, brandishing automatic weapons hit
the street. Across the street, Santa pulls out a gun and
races toward the bank. A crack of gunfire sends the guards
and the manager ducking to the ground. One of the clowns,
Skip, stands guard over them, while the other two start
loading bags from the truck to the van. The operation goes
like clockwork and in seconds the transfer has been made.
CLOSER ANGLE
As Skip spots a gold watch and fob the Manager is wearing.
He kneels, pulls off his heavy gloves and starts to take it
off the manager. Casey shouts at him:
CASEY
What're you doing?!
SKIP
I've always wanted a gold watch ---
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, 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
Hey. 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
Christmas Banquet.
Michael glances at K.I.T.T., shakes his head.
MICHAEL
You're getting more like my mother
everyday.
K.I.T.T.
I'm simply reminding you.
MICHAEL
It's been on my calendar for months.
Besides, I promised Devon....
K.I.T.T.
You promised Devon last year, too.
This year, you'll actually be there...
(beat)
Because I promised him.
MICHAEL
You promised?
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 - DAY
as it roars past Tino, turns down a side street.
INT. BANDUCCI VAN - DAY
In the back, Skip's putting the finishing touches on a pile
of Christmas presents -- all of them obviously stuffed with
money since the canvas money bags next to him are empty.
Paolo, behind the wheel, pulls over and stops. In a
second, the guys have the van doors open and they start
unloading.
EXT. VAN - DAY
The packages are being loaded into a brown Camero parked
behind the van. The guys are working fast, silently. In
the b.g., walking down the street toward them, we see Tino.
He's watching them curiously. He's particularly interested
in Skip, who's closest to the sidewalk, and standing with
his back toward Tino.
ANGLE ON TINO
Moving more quickly, he comes hurrying up to where the men
are working, his head down, seemingly lost in thought.
And walks right into Skip. Looks up, startled, very
apologetic.
TINO
Oh, hey, sorry. Excuse me, mister.
Skip just growls at Tino, turns back to his work. Tino
glances at the other men, then turns and keeps walking.
ANGLE ON THE MEN
As the last package is loaded, Casey turns to Skip, holds out
his hand, snaps his fingers.
CASEY
Gimme the watch.
SKIP
What're you talking about, Casey.
It's mine...I stole it.
CASEY
Yeah...from the bank manager. Which
makes it the one thing that links us
to the robbery. Come on, banana-
brain...gimme.
Skip hesitates, then reaches in his coat pocket. No watch.
He tries his other pocket. Nothing. First, a look of
surprise, then confusion.
SKIP
It's gone....
Then he realizes and looks down the street toward Tino.
Tino, walking at a normal pace so he's not suspicious, isn't
yet to the corner.
SKIP
That kid...he musta lifted it.
Hey...! You...! Kid...!
ON TINO
hearing Skip yelling at him. He glances over his shoulder,
sees Skip and Casey waving at him, then running after him.
Without missing a beat, he turns and runs.
ANOTHER ANGLE
as Paolo jumps into the Camero, fires it up and roars down
the street.
OMITTED
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. Suddenly, he bolts into the street, right into
the path of the oncoming car.
EXT. TRANS AM - DAY - FEATURE MICHAEL
as he looks to his right just in time to see Tino streaking
in front of him. He jams on the brakes.
OMITTED
ANGLE - CLOSER ON THE TRANS AM
as Tino hits the car, slides across the hood and lands on
the ground. Michael jumps out of K.I.T.T., hurries to
Tino's side. Tino's moaning, holding his leg. In the b.g.
Skip and Casey stand, panting for breath, listening and
watching to the exchange.
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. As the Trans Am
pulls out, Paolo drives up to Skip and Casey. He's
excited.
PAOLO
Casey, I've seen that kid before!
He's one of the gypsies who live in
the neighborhood.
CASEY
Yeah, well, the good samaritan's
taking him to the hospital. We
gotta stop him.
SKIP
Hey, why not forget the kid...in two
hours, we can be out of the state.
Gone.
CASEY
Listen, the minute that kid tries to
hock that thing, the cops'll grab
him. He ID's us and in twenty-four
hours your ugly face is in every
post office in the country...right
next to ours!
Skip blanches. Casey shoves him into the car and it takes
off.
EXT. STREET - DAY
As the Trans Am follows the signs to the hospital.
INT. TRANS AM - DAY
as Michael drives toward the hospital. 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 CAMERO
racing forward, veering toward the Trans Am, then falling
back. Threatening, challenging, but not attacking.
OMITTED
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? Are they
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, you two...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 Camero.
EXT. STREET - DAY
as the Trans Am turbos over the Camero.
ANGLE IN THE CAMERO
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 wired. He can't believe what he's just seen.
TINO
Wow! How'd you do that?
MICHAEL
Got the tires inflated with helium.
Who are those men?
Tino hesitates, then:
TINO
Those guys are Bombers. They say
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.
Michael, perhaps you should ask about
the gold watch he has 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. You didn't happen to
steal it, did you?
Tino's starting to sweat a little, but he covers it with
righteous indignation.
TINO
Look, the watch happens to be a family
heirloom.
K.I.T.T.
Michael, I've just monitored a police
band broadcast...there was a bank
robbery blocks from here. In addition
to a great deal of money, a gold watch
was stolen. The criminals are still
at large.
Tino suddenly tries to escape. The door won't budge.
TINO
Lemme out of here! This is kid-
napping! You can't keep me here....
MICHAEL
Give me a rundown on the robbers, Kitt.
TINO
I didn't rob no bank!
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...the dude I lifted
the watch from....
Tino bites his tongue, glances guiltily at Michael, shrugs.
TINO
...he was unloading this crazy van
that belonged to a circus.
(thinking)
And there were three of them....
MICHAEL
In that case, we'd better pay the
local police a little visit.
TINO
(groaning)
The cops? That's the last thing I
need.
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 concerned.
MICHAEL
There's got to be something you
can do to protect him.
WEBER
I wish we could.
MICHAEL
Look, the robbers know Tino stole
the watch, and they know he can ID
them. If they find him, they could
kill him.
WEBER
I wish we had the manpower to provide
some kind of adequate protection.
I'm sorry.
MICHAEL
So, what're you going to do? Just
turn him loose on the streets?
WEBER
The kid's got a sister. Maybe he
can stay with her.
Michael glances over at Tino, shakes his head.
MICHAEL
A fourteen year old and his sister
aren't going to be much of a match
for three bank robbers.
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.
Then he covers with:
TINO
Piece of cake. I'm outta here.
With that, Tino casually walks out the front door.
MICHAEL
Hey, not so fast.
OMITTED
EXT. POLICE STATION - DAY
as Michael catches up with Tino and walks with him as they
talk.
MICHAEL
In case you don't know it, you're a
ticket straight to prison for those
guys?
TINO
So?
MICHAEL
So maybe it's not such a hot idea
to go strolling down the street in
broad daylight.
TINO
(shrugging)
I'm not afraid.
MICHAEL
You ought to be. You're just a kid.
Tino turns to Michael, puffs up his chest dramatically.
It's all for show and not very effective.
TINO
I'm a gypsy! I can take care of
myself....
With that, he turns and starts across the parking lot.
Then, to Michael's surprise, he stops at the Trans Am.
TINO
Besides, I'm not walking. I told
the badge inside you were giving me
a ride to my sister's.
With that, he climbs into the car. Michael hides a surprised
smile as he crosses to the Trans Am. Tino's already punching
buttons on K.I.T.T.'s dash, and we hear:
TINO
Hey, which one's the radio, man?
K.I.T.T.
Would you mind keeping your grubby
little hands to yourself?
Off Michael's smile, we:
CUT TO
EXT. FLOWER SHOP - DAY
A cute little shop in a nice part of town.
INT. FLOWER SHOP - 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, Nick.
MARTA
I can't. I'm sorry.
NICK
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. SHOP - DAY
as the Trans Am pulls up and parks. Michael and Tino
climb out, and Michael follows Tino into:
INT. FLOWER SHOP - DAY
As Tino comes into the store, he and Nick exchange a look
of mutual dislike. Marta looks at Tino. In an instant,
we know that she fears the worse. When Michael comes in,
Marta knows it's a problem.
MARTA
Oh, Tino...what's wrong now?
TINO
Nothing, Marta, nothing. I'm
innocent until proven guilty, all
right?
Marta looks to Michael.
MICHAEL
My name's Michael Knight. There was
a bank robbery this morning....
MARTA
(stunned)
A robbery?
MICHAEL
(a smile)
Don't worry, Tino wasn't involved.
Not directly, at least. 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
See, like I said...no big deal.
Nick gets up, heads for the front door.
NICK
You're right about that, kid...You're
no big deal.
TINO
Look who's talkin'.
Nick shoots Tino a look, then exits the door, slamming it
behind him. Marta turns to Tino, close to tears.
MARTA
Tino, what am I going to do with you?
TINO
Nothing. I can take care of myself,
okay?
Tino turns and wanders toward the back of the store as
Michael and Marta continue to talk.
MICHAEL
I was at the police station with him.
The only problem is ---
MARTA
The police station? Are you a police-
man?
MICHAEL
No, I'm with the Foundation for Law
and Government. It's a private
organization.
(beat)
The only problem with Tino is the
bank robbers may know who he is.
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. SHOP - 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
Good riddance.
ON TINO
disappearing over the fence. In a second, he's gone.
EXT. STREET - DAY
Same neighborhood, different street. We pick up Nick
walking slowly down the street. Suddenly, a car stops next
to him. It's the Camero. Paolo leans across the window to
Nick.
PAOLO
Hey, Nick...come here.
Nick cautiously approaches the car, glances warily at Casey
and Skip.
PAOLO
We're looking for someone. A kid.
Fourteen, fifteen. Dark hair. Curly.
One of the gypises. He took my friend's
watch...it's worth some money.
Nick studies them, knowing it's Tino they're after.
NICK
How much?
Paolo exchanges a look with the others.
CASEY
It's worth a grand to you.
Nick doesn't respond.
PAOLO
You hang out with their people.
Maybe you heard something, huh?
Nick hesitates a beat, then:
NICK
Twenty-five hundred.
Another look between the guys. Casey pulls out a wad of
bills. As he starts counting, we:
FREEZE FRAME
AND
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
EXT. FLOWER SHOP - DAY
Marta's standing in front of the store as Michael comes
walking up the street. He shakes his head.
MICHAEL
I've got a feeling he could hide away
for months if he wanted to.
MARTA
That's Tino...you can't do a thing
to help him, even when he's in
danger.
MICHAEL
Which he is...whether he believes it
or not. Marta, isn't there someplace
else he could go until the police
catch the robbers? Some place away
from here with friends or relatives?
Marta shakes her head, then brightens.
MARTA
Uncle Stephano! Papa's brother. He
still lives the gypsy life. He and
his people are camped out near Lockett
for the winter. Tino's been dreaming
for years about going to live with
him.
(smiling)
Like a gypsy....
MICHAEL
Sounds like it might be the answer. If
you can find him.
MARTA
He's built a shack on a vacant lot
over on Butte. That's probably
where he is.
Michael smiles, nods, starts towards K.I.T.T. Michael
hesitates, then continues.
MARTA
Michael you've already done so much,
I hate to ask...but I just can't
leave the shop...not now, during
Christmas. If you could find Tino,
take him to Stephano's...I have a
little money and I could pay for your
gas and time.
Michael tries to think of an excuse, sees the look in her
eye...decides what the hell.
MICHAEL
Well, I'm going that direction any-
way. Kind of. I'll be glad to drop
Tino off. No charge.
Marta smiles.
MARTA
Thank you, Michael.
MICHAEL
Consider it a Christmas present.
Marta and Michael smile warmly at each other, then Michael
turns and heads for the Trans Am.
MICHAEL
I'll give you a call before we leave.
And don't worry...everything'll be
okay. He's a good kid...basically.
Marta nods her head, waves. As Michael drives off in the
Trans Am:
CUT TO
INT. TRANS AM - DAY
Michael drives.
K.I.T.T.
I heard that.
MICHAEL
He is a good kid, Kitt. He's just a
little...uneven around the edges.
K.I.T.T.
Michael, in case you've forgotten,
you have a command performance at
the Foundation -- and a tuxedo to
rent.
MICHAEL
Kitt, it's going to take half an
hour, forty-five minutes at the
most. Besides....
Michael laughs, reaches over and turns on some more Christmas
music.
MICHAEL
...it's Christmas. This'll be our
good deed for the season.
K.I.T.T.
(dryly)
Your good deed for the season is
appearing at the Christmas banquet
...which is probably the subject of
the call coming through.
MICHAEL
Uh-oh....
Michael punches up. We intercut with:
INT. FOUNDATION - DEVON'S OFFICE - DAY
We see April speaking into the monitor. Michael breathes a
sigh of relief.
MICHAEL
April...Season's Greetings!
APRIL
Same to you, Michael. I hope you and
Kitt are on your way back to the
Foundation.
MICHAEL
(hesitating)
Heading in that direction. You bet.
APRIL
(senses it)
Michael, what are you up to?
MICHAEL
Nothing. Not much, at least. See, I
ran into this gypsy kid who's a
witness to a robbery. He and his
sister....
April interrupts:
APRIL
His sister? I should have known.
MICHAEL
April, I know how that sounds, but....
APRIL
And you know how seriously Devon takes
this banquet. He's seated you
between Lady Pinwall and the Duchess
of Wellington. He's counting on you.
MICHAEL
(nodding)
And I'll be there. Sure as Saint Nick.
APRIL
For your sake, I hope you are...
Saint Nick.
With that, April punches out, and we:
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 CAMERO
heading toward the empty lot. It screeches to a spot near
the Trans Am. Inside, we see our three heavies.
INT. CAMERO
as they check out K.I.T.T. Casey nods to Paolo.
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 car
in gear and floors it.
INT. TRANS AM
We hear:
K.I.T.T.
Michael, look out!
ON THE SHACK
as Michael comes to the front door of the shack, looks out
to see:
THE CAMERO
jumping the curb, roaring across the lot toward the shack.
BACK TO MICHAEL
into his comlink:
MICHAEL
Kitt, gimme some help!
K.I.T.T. roars to life, starts across the lot. It's clear
he's not going to make it.
OMITTED
WIDE ANGLE - ON THE SHACK
as the Camero roars toward the shack. Michael's got nowhere
to run. Tino watches in horror as the car hits the shack,
ripping through the side of the building sending wood, glass
and dust flying everywhere. The Camero hits the alley
behind the 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 just as K.I.T.T. roars up.
TINO
Michael you okay?
MICHAEL
I don't know. It's the first time
the roof's fallen on me....
Michael turns to K.I.T.T., leans inside.
K.I.T.T.
I'm terribly sorry, Michael, but he
had such a headstart.
MICHAEL
It's okay, pal. What did you get
on that car?
K.I.T.T.
It's out of scanner range, but I did
run the plates. Unfortunately, they
were stolen from another car yester-
day...
(beat)
Michael, are you all right?
MICHAEL
Yeah. Except those jokers are
starting to take some of the thrill
out of Christmas for me.
OMITTED
ON MICHAEL AND TINO
as Michael turns to the boy.
MICHAEL
You finally getting the message?
They thought you were in there with
me.
Tino looks from Michael to the wrecked shack, and then
back to Michael. For the first time, we see him subdued,
shaken, and more than a little afraid.
TINO
Too much.
MICHAEL
Yeah, way too much.
Michael turns, gestures to shack.
MICHAEL
Grab anything in there that's
important -- and still in one piece.
You're taking a trip.
TINO
(still
stunned)
Where?
MICHAEL
Uncle Stephano's.
Tino looks at Michael, not quite understanding him at first.
Then a big smile spreads across his face.
TINO
Uncle Stephano's? Yeah? Really?
Michael nods and before Tino realizes what he's doing, he's
giving Michael a hug. Only a quick one, though, cuz it's
extremely uncool. He backs off, regains his composure.
TINO
That's great. Thanks.
Before Michael can respond, Tino's digging through the debris.
Michael starts to help him.
MICHAEL
You got much?
TINO
Nah...hardly anything.
CUT TO
OMITTED
EXT. LOT - LATER - DAY - CLOSE ON TRANS AM
crammed to the brim with junk: clothes, pots and pans, a
skateboard, a 'One Way' sign, dirty sneakers, several
cardboard boxes, etc. A musty old sleeping bag is added to
the pile. We pull back to reveal Michael stuffing it into
the trunk and we hear:
K.I.T.T.
Really, Michael, this is simply out-
rageous.
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.
Tino staggers toward Trans Am carrying a black pay phone,
complete with wires dangling. Suddenly, K.I.T.T. slams the
trunk closed.
K.I.T.T.
Absolutely not! I must draw the line
somewhere -- and that monstrosity is it.
Tino stares at K.I.T.T., miffed.
TINO
What're you talking about? This is
an art object.
K.I.T.T.
That is a phone and I am not a booth.
TINO
Open up...it's the last thing I'm
taking.
K.I.T.T.
It's the last thing you're not taking.
Tino stares at K.I.T.T., then turns to Michael.
TINO
Tell you what...I'm gonna make you
a deal.
MICHAEL
This is my car. You're making me a
deal to ride in it?
TINO
Sure. You let me drive the car once
we get out of town and I'll forget
about the lamp.
Before Michael can respond:
K.I.T.T.
Deal.
MICHAEL
(surprised)
Kitt, you're sure you want Tino behind
the wheel?
K.I.T.T.
I'm sure I don't want any more of his
'objects d'art' in my trunk.
Tino beams, tosses the lamp away, and climbs into the
Trans Am. As Michael smiles to himself, we:
CUT TO
EXT. FLOWER SHOP - DAY
The door is shut. A sign reading "closed" sits in the
front window.
CUT TO
INT. SHOP - DAY
We hear a frightened little scream, and pull back to reveal
Marta flattened against the wall, facing Casey, Paolo and
Skip. She looks terrified.
PAOLO
Your brother's a thief. He steals
things, see? What good's it gonna
do, 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 Nick hurls himself against it and into the room. He
glances at the men, then quickly crosses toward Marta,
stands near her almost protectively.
NICK
I told you to leave her alone.
CASEY
(shrugging)
We don't listen too good.
NICK
The kid's split. He told one of the
punks at the park he's going to his
uncle's.
MARTA
That's not true!
Casey looks at Marta, chuckles.
CASEY
Sure, it's not.
(to Nick)
Where's that?
NICK
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
Nick a wad of money.
CASEY
A deal's a deal, pal. Thanks....
They leave. Marta stares at Nick, furious. He fumbles with
his money, avoiding her eyes.
MARTA
How could you....
Nick doesn't answer. Marta grabs her purse and keys, rushes
past him 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 - STOCK
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 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 stone.
TINO
(to Michael)
I don't know those guys. What's he
talking about?
MICHAEL
It's from the Bible. You've read
the Bible, haven't you?
TINO
Sure. But, I don't have to brag
about it....
Tino stares out the window, pouting, then starts fiddling
with K.I.T.T.'s dash. Michael knows he can't read.
MICHAEL
To use a computer like this, you've
got to know a couple of things. Like
how to read.
TINO
I could handle this baby with my
eyes closed.
(then)
When can I drive? You promised me
I could, an' you're goin' back on
your word already!
Before Michael can respond:
K.I.T.T.
Michael?
MICHAEL
Yeah, Kitt?
K.I.T.T.
Allow me. Please.
Michael senses what K.I.T.T. has in mind, begins to pull
over.
MICHAEL
Whatever you say, pal.
EXT. TRANS AM - DAY
as it screeches to a stop by the side of the highway.
Michael climbs out and Tino hops into the driver's seat.
Michael leans in:
MICHAEL
You sure you know what you're doing?
In answer, Tino stomps on the accelerator and the Trans Am
blasts away with screaming tires, fishtailing up the highway.
Michael shakes his head, watching as the car becomes a speck.
INT. TRANS AM - DAY
Tino is hunched behind the wheel, terrified and exhilerated.
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.
K.I.T.T.
In case you hadn't noticed, there's a
truck ahead.
TINO
No problem. I got it totally
under control.
They're almost on top of it.
K.I.T.T.
Allow me.
Turbo boost is depressed automatically.
EXT. TRANS AM - DAY
The Trans Am turbo boosts and leaps over the truck, heads
on down the highway.
ANGLE ON THE FARMER
He can't believe his eyes.
ANGLE ON HIGHWAY
K.I.T.T. does a 180, heading back.
ANGLE AT MICHAEL
as K.I.T.T. appears with Tino at the wheel, hits the
brakes; it broadsides up to Michael. Tino looks small and
shaken behind the wheel.
MICHAEL
How'd it go?
TINO
(bravado)
I been in faster, but not bad...not
bad....
Michael grins, gets in.
MONTAGE - NIGHT
A. Shots of K.I.T.T. winding through beautiful countryside,
music over.
B. Intercut with a shot of Michael and Tino stopped at a
roadside fruit stand, eating fresh fruit, talking and
laughing MOS.
C. Intercut with Michael and Tino in the car, Tino finally
dropping off to sleep.
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 rolls into the camp and stops. Several gypsies look
up, stare at the car.
INT. TRANS AM - DAY
Tino stares at the gypsy camp around them.
TINO
Look at them -- real gypsies! I'm
gonna find Uncle Stephano!
Tino bolts out of the car.
K.I.T.T.
Thank goodness. Being a Good Samaritan
isn't all it's cracked up to be.
MICHAEL
Now, now. 'Tis the season to be jolly.
Give me two minutes.
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, immediately.
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, large,
physically capable.
TINO
(beams)
This is my pal, Michael.
STEPHANO
You bring my nephew to me. From the
bottom of my heart, I thank you!
Stephano bear hugs Michael.
MICHAEL
Nice to meet you.
STEPHANO
My brother never tells me he has such
a big boy. Now, Tino is here, where
he belongs -- with his people. 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 be-
lieve 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
Well, here you are. Safe and sound
and on the road with gypsies...just
what you've always wanted.
TINO
(without much
conviction)
Sure, all my life I want to be here.
It's...great. You gonna come visit
me?
MICHAEL
If I can, sure...
(beat)
You keep your hands off other
people's watches, okay?
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 Michael drive off,
more than a little sadly. Finally, he turns and walks
toward the communal dining table where many of the gypsies
have gathered.
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. TWO-LANE HIGHWAY - DAY - ANGLE ON TRANS AM - (STOCK)
It speeds past.
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 breakfast Michael.
MICHAEL
(smiles knowingly)
You're worried about Tino, aren't
you.
K.I.T.T.
(defensively)
Well, 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 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 formal wear 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. Wrinkled, hopelessly out-of-fashion, too large.
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
Tino, what choice do I have? They
have guns.
Tino looks at his uncle, shaken, disbelieving.
TINO
But, there's twenty of you and three
of them....
Stephano just shakes his head. Casey laughs harshly.
CASEY
Don't think you can hide behind your
uncle, kid...
(grabbing him)
Now, where's that watch?
TINO
On your mother's grave.
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?
TINO
I told you, she don'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 Camero. Uncle Stephano
watches 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 Camero:
ANGLE ON STEPHANO AND PAOLO
Paolo crosses back, hands Stephano a wad of bills. An old
crone, passing, sees the exchange.
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...It's
that time of the year, Kitt.
K.I.T.T.
In case you hadn'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
Well, yes and no. Snow's nice, but
what's important about Christmas is
the state of mind....
Michael's attention is distracted by a car pulled over to
the side of the road, hood up.
EXT. SIDE OF ROAD - DAY
We see a woman anxiously staring at the engine. It's Marta.
BACK TO MICHAEL
craning over his shoulder to see the woman.
MICHAEL
Kitt, that's Marta.
ANOTHER ANGLE
The Trans Am whirls around on the highway and pulls up
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
Thank God -- those men who're after
Tino -- they came to my store. Nick
told them you were taking him to
Stephano's!
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 a one-eighty and roars back in
the direction of the gypsy camp.
OMITTED
EXT. GYPSY CAMP - DAY
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. He and Marta look,
stunned.
THEIR POINT OF VIEW - THE GYPSY CAMP
It's deserted. The gypsies have moved on. All that's left
is some trash and the smoking embers of their fires....
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
They didn't leave any clues behind.
MARTA
They never do....
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.
ANGLE ON K.I.T.T.
as Michael turns, hurries to K.I.T.T.
MICHAEL
Kitt, 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
One of their cars has an oil leak.
Think you could follow a trail of
it?
K.I.T.T.
It depends on how frequent the
drops are. It's certainly worth a
try.
Michael turns to find a thoroughly dumbfounded Marta
staring over his shoulder into K.I.T.T.
MARTA
Tino was right...it does talk.
MICHAEL
Yeah, he talks and he's got a nose
sharper than a bloodhound's. Jump
in. We're going after Stephano.
Marta hurries around to climb into the Trans Am. Michael
slams the door, fires the car up.
CUT TO
EXT. HIGHWAY - DAY - ANGLE ON CAMERO
moving along a two-lane highway.
INT. CAMERO - 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.
TINO
I don't feel so good. I think I'm
getting sick....
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.
CASEY
We're not stopping.
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
...and, in a more recent development,
the watch recovered by the police
department was definitely identified
today as belonging to Richard P.
Henzer, manager of the bank that
was robbed in broad daylight in one
of the most daring armored truck
robberies this year....
Casey snaps off the radio. Tino's still 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 for?
Skip shrugs; he has no answer. Tino hears Casey, suddenly
stops groaning.
EXT. A SMALL TRUCK STOP CAFE - DAY
as Casey pulls the sedan off the highway.
ANGLE ON CAMERO
as Casey and Skip climb out, followed by Paolo. Tino
starts to climb out and Casey stops him.
CASEY
It's a private conversation.
TINO
You're gonna be real sorry when I
get sick.
Paolo pushes him back into the car and slams the door,
stations himself nearby. Tino feigns sickness, hunches
under the dash -- and surreptitiously begins to hot-wire
the ignition.
ANGLE ON CASEY AND SKIP
forming a huddle some distance from the sedan.
Closer to the car, Paolo stands watch.
SKIP
Casey, c'mon -- we kill the kid an'
it just means that much more heat on
us.
CASEY
The kid can ID us. Without him,
there's no way to tie the watch to
us.
Suddenly, they hear the sound of the engine igniting, turning
over, then catching. They turn to see:
THE CAMERO
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. Casey and
Skip run over to him.
CASEY
What happened?!
PAOLO
You got the keys -- he must've hot-
wired it!
SKIP
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. TWO-LANE HIGHWAY - DAY - TRANS AM
moving along the highway, still scanning the oil spots.
INT. TRANS AM - DAY
Michael scans the road ahead. Marta's all nerves.
K.I.T.T.
The frequency of the oil spots seems
to be growing rather than diminishing,
Michael.
MICHAEL
Just keep your nose to the blacktop,
pal.
K.I.T.T.
And to think some poor animals are
forced to do this for a living.
CUT TO
OMITTED
CUT TO
EXT. ANOTHER STRETCH OF HIGHWAY - DAY
as Tino, behind the wheel of the Camero, comes speeding
past camera.
INT. CAMERO - 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.
CUT TO
OMITTED
EXT. HIGHWAY - DAY - AN OLD 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 outa
either one of you.
Paolo and Skip exchange a look.
EXT. TWO-LANE HIGHWAY - DAY
The Trans Am cruises by, turns off onto a dirt side road
and disappears over a rise in the road.
INT. TRANS AM - DAY
Michael and Marta peer anxiously through the windows.
MICHAEL
(reacts ahead)
Bingo!
THEIR POINT OF VIEW - ON THE DIRT
The gypsy caravan lumbers on ahead.
BACK TO THEM
MARTA
That's them?
MICHAEL
(nods)
The big trailer's Stephano's.
He hits the gas.
ANGLE ON HIGHWAY
as the Trans Am approaches, pulls alongside the big trailer
and forces it to the side of the road. The other cars in
the caravan pull over to see what's going on.
ANGLE ON TRAILER
Stephano climbs down, angry, as Michael and Marta jump out.
Michael pushes past two of Stephano's people, confronts the
older man.
MICHAEL
Where's Tino?!
Stephano regards Michael and Marta. Gypsies gather round,
potentially threatening.
STEPHANO
(shrugs)
Gone.
MICHAEL
Gone where? What happened?
STEPHANO
Some men came -- policemen. They
said he stole a watch....
MICHAEL
How do you know they were policemen?
STEPHANO
They showed me badges. Who are
you? Why do you care what happens
to a poor gypsy boy?
MARTA
(to Michael)
He's lying.
Michael grabs the big man, face to face.
MICHAEL
He trusted you. He worshipped you.
Those men weren't policemen and you
know it. You sold him down the
river, didn't you?
STEPHANO
Take your hands off me or I'll break
every bone in your body and feed you
to the dogs. I am honorable man --
the great Stephano, king of the
gypsies.
OLD CRONE
Liar! I saw them give you money!
The crowd, about to devour Michael, suddenly shifts its
attention to Stephano.
STEPHANO
Shut up, old woman!
OLD CRONE
I saw you, swine! You sold your own
nephew!
Michael tightens his grip on Stephano.
MICHAEL
I'll let your own people deal with
you. All I want is which way they
went.
STEPHANO
(beat)
North. Toward the highway.
CUT TO
OMITTED
EXT. TWO-LANE HIGHWAY - DAY - ANGLE ON THE CAMERO
sputtering to a stop by the side of the road. A cornfield
with a threshing machine is the only sign of civilization.
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:
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 cornfield.
CUT TO
EXT. TRANS AM - DAY
tearing down the highway, headed north.
EXT. CORNFIELD - DAY
Looking around desperately for a place to hide, Tino sees
nothing but the field of corn. He races for it, stumbles,
twists his ankle badly. He pulls himself to his feet and,
limping, staggers toward the field and disappears into the
tall stalks as the truck pulls up and the heavies pile out.
ANGLE ON THE HEAVIES
seeing Tino vanish into the field.
PAOLO
We'll never find him in there --
it's too thick.
Casey looks around, sees the thresher.
CASEY
There's more than one way to skin a
gypsy.
He runs to the thresher, jumps up and fires it up as Paolo
and Skip pull guns.
ANGLE ON THE THRESHERS
Big, noisy and very lethal looking. As the giant blades
start to hack through the cornstalks, we see:
TINO
crouched in the middle of the field. He rises at the
sound, sees the thresher 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.
FEATURE THE THRESHER
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, worried. Michael's glancing out the
window, toward the field.
MARTA
They could be anywhere by now....
MICHAEL
Don't give up yet. If I know Tino,
he's made it tough on them.
Michael glances at the thresher as they pass.
MICHAEL
Kitt, that's corn out there...isn't
it a little late for harvesting?
K.I.T.T.
I'll check, Michael.
Lights flash on the dash.
K.I.T.T.
You're right. My data banks indicate
harvest in this region was completed
two months ago.
EXT. TRANS AM - DAY
as it cuts a screaming 180 and heads back toward the field.
INT. TRANS AM - DAY
Michael's drawing closer to the field.
K.I.T.T.
Michael, my sensors are picking up
someone hidden in the field --
it's Tino! He's directly in the
path of that machine!
OMITTED
ANGLE ON THE FIELD
where Tino's running awkwardly, the limp crippling him.
The thresher is nearly upon him, and as he glances back
at the attackers, he trips, falls to the ground. He des-
perately crawls away from the onslaught of blades.
ANGLE - WIDER
as the Trans Am heads into the corn stalks. Paolo and Skip
see the car open fire on it. Bullets harmlessly bounce
off. They empty their guns. They stare. Skip takes off,
running for the highway.
OMITTED
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,
between the thresher 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.
WIDER ANGLE
As the Trans Am screeches to a halt and Michael jumps out,
runs after Casey. When he catches him, they tumble to the
ground, but Paolo suddenly appears, joining the fight.
It's two against one.
OMITTED
ANOTHER ANGLE
Michael flips Paolo with a judo toss, only to find that
Casey's got him in a bear hug from behind. Paolo'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 Casey, turns and drops him with a
solid right. Then drops Paolo, struggling with Tino, with
a blow to the solar plexis.
ANGLE - WIDER
Tino whoops with excitement. They're both breathing hard,
grinning. In b.g. we see Marta come running toward them.
MICHAEL
Thanks for the help. You okay?
TINO
Okay? I'm a gypsy. We know how to
take care of ourselves.
Marta reaches them, throws her arms around Tino. They hug
wildly.
TINO
(to Michael)
Hey, whatsa matter with you? It's
Christmas. You got something
against gypsies?
They open their embrace to include him. He laughs, joins
them.
HIGH SHOT
The three of them embracing, K.I.T.T. nearby, scanner
flashing.
FADE OUT
END OF ACT FOUR
TAG
FADE IN
EXT. MARTA'S SHOP - DAY
The Trans Am's parked in front, the passenger door's open.
Michael hoists a large box out of the back, filled with
Tino's stuff, carries it to the 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 been thinking. You know,
school's for kids and all -- but I
really think I could do okay with com-
puters...after I learn to read. Then
I'm gonna buy a car! A big one with
fuel injection, four on the floor, AM/FM
cassette 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 such a
good idea.
(dramatically)
Women...they don't understand what a
man needs.
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. Merry Christmas.
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, just as a car pulls to a stop.
ANOTHER ANGLE
It's Devon's car. He and April climb out, Devon carrying a
covered garment on a hangar.
K.I.T.T.
Oh oh.
MICHAEL
You can say that again.
(to them,
feigning
cheerfulness)
Devon! April! Merry Christmas.
DEVON
For the rest of the civilized world,
yes. For you, I'm not so sure....
Whereupon he whips off the garment cover, revealing the
awful tux seen earlier.
APRIL
(sympathetic)
I tried to talk him out of it.
DEVON
Quite. To no avail.
MICHAEL
(retreating)
Devon, I'll be there. I promise.
DEVON
Indeed you will. Cocktails at
seven, dinner at eight. In this.
Tonight. Between Lady Pinwall and
the Duchess of Wellington.
And he crosses to get in the passenger seat.
MICHAEL
(grimaces)
He's coming with me?
APRIL & MICHAEL
I tried to talk him out of it....
On Michael's hapless look:
FADE OUT
THE END
