Season One, Episode 19

Original Air Date March 4, 1988

Written by Virginia Aldridge

Directed by Victor Lobl

Catherine is walking down a crowded city sidewalk studying a document. She walks up to her parked car and searches in her bag for the key. Finding it she unlocks the door and gets in. She looks in her rearview mirror as she turns the car on. As she begins to drive off she hears a thud and a voice screams:

Stop! Stop the car! My leg! Help!

Catherine puts the car in park, leaps out and rushes to the back of it. She sees a young boy lying in the street clutching his leg.

Stop! My leg!

My God, I didn’t see you.

I’m sorry. Are you all right?

My leg, I think it’s broken.

All right, now be still now,

I’m going to help you

She turns to the people who have gathered around them.

Would somebody please call for an ambulance?

No, no ambulance. It hurts.

Is it just your leg?

All right, can you make it to the car?

I’ll drive you to the hospital.

No, no hospital. Just don’t touch me, lady!

All right! What’s your name?

Tony. T-Tony Ramos.

OK, Tony, I want you to tell me where

you live so I can call your family, at least…

I-I don’t have family, I don’t have

anyone. Please, just give me some

money and I’ll go to the

doctor, lady, I promise, please.

I can’t do that. You’re hurt, you need help.

Would somebody please call an ambulance?

While her head is turned to the crowd, Tony takes her wallet out of her bag and runs off.

Wait a minute!

Come back here. Hey!

She continues to chase him down the street, but gives up as he darts away down an alley.

Vincent and the children are in his chamber. He is having them read from Romeo and Juliet. Vincent is sitting on his bed.

...is as thin of substance as the air and more in…in…

Inconstant.

...inconstant than the wind,

who even now the frozen…

Frozen bosom…

This is boring, Vincent.

Why can’t we read Treasure Island?

While Vincent replies, Father enters the chamber

You find the words boring

because you’re merely reading them.

You must feel them, Kipper.

Words are nothing but cold and lifeless things.

You must use you mind

and your heart

to interpret them.

You see, Kipper, the playwright depends upon his actor

to breathe life into his words, to give them life with his passion.

Perhaps an illustration is in order.

Kipper, you play Benvolio.

Peace, peace, Mercutio, peace! Thou talkst of nothing.

He moves to a chair and signals a youngster to move out of it, then sits.

True, I talk of dreams,

which are the children of an idle brain,

begot of nothing but vain fantasy which

is as thin of substance as the air and more

inconstant than the wind, who woos,

even now, the frozen bosom of the north,

and being angered, puffs away from thence,

turning his face to the dew-dropping south.

Kipper is entranced by the two men and misses his cue until Father nods at him.

Oh…

The wind you talk of blows us from ourselves.

Supper is done and we shall come too late.

Father pats Kipper’s shoulder.

I fear too early, for my mind misgives

some consequence yet hanging in the

stars shall bitterly begin his fearful moment

with this night’s revels and expire the term

of a despised life closed in my breast by some

vile forfeit of untimely death.

But he that hath the steerage of my course,

direct my sail.

(he stands up)

On, lusty gentlemen!

The children who have been listening begin to applaude.

This is the best part: here we take a bow.

Father, Kipper and Vincent take a bow as the children applaud.

And again.

You were so good.

Wasn’t he good?

Catherine bursts through the office door into the common area, Joe starts to speak to her but she just blows past him.

How went the deposition?

That grubby little weasel…

If I ever get my hands on him again

That good, huh?

I have to cancel all my credit cards

before he charges me to bankruptcy.

You got mugged?

I was conned by a kid no more than 11 years old.

He’s lying in the gutter crying. I thought I ran over him.

Then as soon as I get out to help him,
he grabs my wallet…and runs.

Welcome to New York.

Yes, my name is Catherine Chandler.

My credit cards were stolen. I have to cancel them…

Yes, I’ll hold.

I am going to find that kid, Joe.

Oh I wouldn’t bet the family jewels on it!

THE RAMOS AUTO REPAIR SHOP - EXTERIOR DAY

Tony is there trying to get in to see his Grandfather, but his Uncle Vic stops him.

I want to see him; you can’t stop me.

I want to see my Grandfather.

You don’t want nothing and nobody.

Nobody here wants to see you, including

your Grandfather.

Now you get out!

I gotta tell him what happened.

Look, he know…he knows. It don’t

change nothing, you understand?

You’re dead, marime, banished.

Now get out!

You framed my father. When

Grandpa finds out what you did…

Look, what’s done is done. It can never

be changed. Now you get out of here!

Grandma, Grandpa, it’s me!

Nobody wants you; get out!

You framed my father and I’m gonna prove it,

I got proof right here.

When Grandpa sees this, he’ll know what you did.

What proof?

I’ll be back and you’ll be marime!

Hey, I don’t want to see you around

here no more. Go back to Chicago.

(Chases Tony off the premises)

What if somebody listens to him, Vic?

He’s dead.

Tony’s Grandmother had been watching from the window.

A BEDROOM in the living quarters above the auto repair shop - INTERIOR DAY

Eva, what…what was all the shouting?

Just a boy. Here… take your medicine.

Milo is lying in bed; she fills a spoon with a liquid and gives it to him.

 Catherine comes in, plops down on her couch, removes her shoes and rubs her feet. There’s a knock on the door and she goes to answer it.

Hello.

She opens the door, still on the security chain, to see Tony standing there.

Hi, lady.

You!

Catherine closes the door briefly to take the chain off, then opens it again.

Yeah. I found your wallet on the street.

Guess it must have fallen out of your purse.

Nice place. You must do all right.

Where is my wallet?

I don’t suppose there’s a reward?

That’s okay.

I just want you to know I feel real sorry

for what I did. You’re such a pretty lady, it made me feel bad.

Oh, try again.

It’s true.

Do you know what I went through today?

I just spent two hours getting another driver’s license.

I had to cancel all my credit cards.

Well you should carry cash.

(Sits down on the couch)

That’s what I do.

Yeah, I know. Mine!

Hey I had to eat.

And what else do you do when

you’re not staging phony accidents?

Said I was sorry. Gotta admit, it was a pretty good act.

Go!

I can’t, I don’t have anywhere to go.

Oh, don’t try the orphan bit. It doesn’t work.

It’s true. My parents were killed in a car accident.

I came all the way here from Chicago to find

my Grandfather, but he doesn’t

want me. He won’t even see me!

That doesn’t make any sense. Why won’t he see you?

You in some kind of trouble?

I’m dead.

Aww…that’s it. Hit the road!

Catherine grabs Tony to pull him up.

Wait. Okay, it sounds weird, but I’m a Gypsy, lady,

and when the Kris says you’re marime, you’re dead…

banished forever.

Gypsy? Is this another con?

My Grandfather’s King of the Gypsies.

My father was gonna be the next king,

but my uncle set him up, framed him at the Kris.

Well, that’s a Gypsy trial. They banished us all.

My uncle’s gonna pay for what he did. I’ve got proof.

What proof?

What proof?!

Uh…forget about it.

Maybe this is all just a con, huh?

Look, let me sleep here tonight

and then I’m out of your life.

You can trust me, you know.

I trust nobody.

He starts for the door, then turns back to her, the bravado gone and with tears in his eyes.

Please, lady, I don’t know anyone but you.

My lucky day.

Look, I’ll make a deal with you.

Tonight you can sleep on the couch, but tomorrow

morning I want the whole story.

And now, a bath.

No, no woman gives me a bath.

She marches him toward her bathroom.

Wrong! I am not having

my couch all covered with dirt.

Catherine pushes Tony into the bathroom and turns on the light.

Now off with it.

No…no, I can do it myself!

Okay, but I want results.

Use the soap. Don’t steal it.

She leaves and Tony gets undressed. He has a piece of paper taped to his side. He peels it off and puts it in his jacket pocket.

In the living room, Catherine is on the couch reading a magazine. A smile plays across her lips as Tony’s singing and sounds of splashing drift from the bathroom.

DISSOLVE TO:

CATHERINE’S BEDROOM - NIGHT

Catherine is sleeping.

CATHERINE’S LIVING ROOM - NIGHT

Tony lies on the couch. He’s not asleep. He gets up, and tiptoes toward Catherine’s bedroom.

CATHERINE’S BEDROOM - NIGHT

Tony makes his way inside, he finds what he wants, a jewelry box. He opens it... Catherine wakes up.

What are you doing?

Tony grabs for whatever jewelry he can get and runs. Cathy stumbles from her bed and gives chase.

Tony…Tony, don’t!

Tony bolts for the front door with Catherine close behind. He swings open the door just as she grabs for him, but only manages to get hold of a chain around his neck. It breaks loose and Tony races down the hall.

Tony!

She can’t catch him. She sighs, then looks at the chain and the attached medallion in her hand; it’s obviously very old.

There is a violin concert being held in Father’s study. Many of the tunnel dwellers are there enjoying the music. Vincent and Catherine are sitting together. She is distracted, staring at Tony’s medallion. Vincent notices.

What concerns you so?

A boy. He claims to be a Gypsy.

He’s lied to me, he stole from me and

yet I can’t help caring about him and

feeling that somehow he wants my help.

Vincent stands up and takes her hand, leading her to his chamber. He examines the medallion.

It’s very old. It talks of tradition.

It’s all I have to go on. I don’t now how much

of his story I believe, but his pain is very real.

He’s touched you deeply.

I suppose he has. If I could just find him and talk to him.…

The world of the Gypsies is a secret one,

closed to all gaijen, as they call outsiders.

We have a Gypsy helper Above who may be of help to you.

As Catherine walks to the shop that is run by the Gypsy helper, a young black-haired woman is talking to a customer.

I’ll take 25 for it. Not a penny less.

Something I can show you?

Are you Maria?

I don’t know you.

Vincent said you might be able to help me.

Come with me.

Watch the front, Sal.

Sal steps outside.

Tony is just a boy. He has no one.

How could his Grandfather abandon him like that?

In Milo’s eyes his grandson no longer exists.

It was a judgment of the Kris.

Well, couldn’t Milo call a new Kris to hear Tony out?

You don’t understand our ways.

Tony’s father stole from his own family.

That can never be forgiven.

A boy’s entire future is at stake here.

What’s done is done.

Maybe if I talk to Milo, I….

You’d never get to see him.

Tony’s Uncle Vic will make sure of that.

It’s worth a try.

I’ll give you the address, okay?

Just be careful. Vic’s a bad one. If he

thinks you’re trying to help Tony…

If you hear from Tony, will you give me a call?

Yeah.

Thank you.

Catherine pulls her car into the Ramos shop parking lot. There are two men with their heads under the raised hood of a car, Vic is one of them. He notices Catherine and walks over to her as she gets out.

You got a problem there, pretty lady?

I don’t know, it just started making this

funny noise and I’m late for an appointment.

What kinda noise it making?

A sort of a grinding noise? And then

bam! Bam! Bam! And then more grinding.

Grinding, yeah, that sounds bad.

Hey, pop the hood.

Let me take a look at it.

She does as he asks and he raises the hood, looking over the engine, tugging at things.

Well, can you fix it?

Ahh…lady, this looks bad, real bad.

Damn it! Do you have a phone so I can call my hairdresser?

Is it a local call?

Yeah.

We got one inside to the left.

Thanks.

Vic watches her as she goes into the shop. Inside, Catherine looks around to make sure no one’s paying attention to her, then goes upstairs to the living quarters. She knocks on the door twice. Tony’s grandmother Eva opens it.

Mrs. Ramos? Eva Ramos?

My name is Catherine Chandler.

I’m a friend of you grandson Tony’s.

Please, listen to me. Tony needs you

and his Grandfather right now.

Don’t you care what happens to him?

I have no grandson. Go.

Just listen to me. Let me talk to your husband.

Tony says he has proof of his father’s innocence.

Just hear him out.

Eva?

Eva begins to cry and shuts the door. As Catherine turns to go, the door opens again.

I love him. Tell him!

Lady? Lady!

Go!

Catherine hurriedly goes down the stairs.

What were you doing up there?

Trying to find the phone. He charges me

if I don’t show up for my appointment.

How’s my car?

It’s a time bomb, lady. Transmission’s shot,

the belts are bad, the alternator is gone.

Now, we’re talking hundreds just to put it right.

You know what your best bet is? Call a cab,

you leave it here, you come pick it up next week, huh?

I’ll chance it, thanks.

She leaves.

When she enters her apartment she picks up the mail from the floor and is startled to see Tony sitting on the couch.

How did you get in?

Gypsy pass key. I came for my medallion.

Where is my jewelry?

I hocked it.

Well, I hocked your medallion.

She sits on the couch opposite Tony and begins to open the mail.

I don’t believe you.

Would I lie to someone like you?

You don’t understand!

My father gave me that medallion

before he died. It’s all I have left of him!

If it’s gone…

I’ve lost everything.

Catherine is stunned by his outburst. She goes to her purse where she has kept the medallion and gives it to him. Tony smiles as he takes it.

It was your grandfather’s?

He nods, then reaches into his pocket and gives her back the jewelry he had taken. She smiles as she takes it.

Now we’re even, lady.

The name is Catherine.

He smiles, putting the medallion back on. He lifts it up, looking at it happily.

LATER THAT NIGHT

Tony is tucked up on the couch, flipping through the pages of a book. Catherine comes in from the kitchen with a glass of milk, which she sets down on the table. She joins him on the couch, slipping under the blanket. Tony puts the book on the table.

Do you like Kipling?

I don’t know him.

Why don’t you read one to me anyway.

She hands him the book and smiles expectantly. He holds the book upside down and stares at the pages a moment. Catherine watches, concerned.

My eyes are too tired.

You can’t read, can you, Tony?

So what!

So, how do you get through school?

Gypsies don’t go to school. We teach ourselves

everything we need to know. So why do I need books?

Well, books are wonderful things. They teach you,

they give you new ideas.

Well, I talk to people. I know life. I understand everything

My father used to read me to sleep with this book.

No TV, huh?

In the high and far off times the elephant,

oh, best beloved, had no trunk.

He had only a blackish, bulgy nose

as big as a boot that he could wriggle

about from side to side. But he couldn’t

pick things up with it.

But there was one elephant, a new elephant,

an elephant’s child, who was full of satiable curiosity,

and that means he asked ever so many questions…

Tony settles himself, his eyelids growing heavy as Catherine continues reading... We see that Vincent is on the balcony, listening.

…And he lived in Africa,

and he filled all Africa

with his ’satiable curiosities.

He asked his tall aunt, the ostrich…

…And ever since that day, oh best beloved,

all the elephants you will ever see,

besides all those that you won’t,

have trunks precisely like the trunk

of the ’satiable elephants child.

Tony is now fast asleep; she smiles down at him, puts the book on the table, and arranges the blanket over him. Vincent taps lightly on the glass of the door and she goes to him, looking over her shoulder to ensure Tony is still asleep.

THE TERRACE - NIGHT

How beautifully you read.

I remember the first time you read to me,

how safe I felt, the comfort I found

in your voice. I wanted to share that.

Maria helped you find him?

He picked the lock on my front door.

Beneath the bravado is a very frightened little boy.

I can’t imagine what his life is like.

When I was his age, my big decisions were

what dresses to wear. Maria helped me find

his grandparents. They won’t see him.

How can their hearts be so hardened?

If I could just talk to his Grandfather,

have him call a new Kris for Tony…

If they won’t take him back into the family,

I’ll have to turn Tony over to child welfare

for foster placement. I’m afraid that

would just break his spirit.

Then his Grandfather must be convinced.

Milo awakens to see Vincent; he sits up, startled.

You a ghost?

Do not fear. I mean you no harm.

Then leave me in peace.

Vic…Eva!

Please… listen to me.

Who are you?

Someone who cares about your grandson.

He needs you, yet you turn him away.

I-I have no grandson.

Yes, but Tony has a grandfather. He’s a brave boy.

He’s come a long way…alone and at great risk.

It was the judgment of the Kris. He’s dead to us.

Is he dead in your heart?

It… was the judgment, the law.

Is there no room in your law for compassion?

Must the child be condemned

for the deeds of the father?

Tony wants only to prove that a great wrong

has been done. You are the King of the

Gypsies. Call a new trial; let him speak.

It is dangerous to change what has been done to the dead.

You have a chance to give a boy back his life.

If the outcome is the same, I will lose everything.

If Tony can change the judgment, you’ll have

your grandson back. Can there be a greater treasure?

Catherine is just coming out of her bedroom, dressed for work.

Tony!

(Coming out of the kitchen with a tray)

What’s the problem?

I smell smoke.

Yeah, well the bread caught fire;

same with the bacon, and

while I was dealing with that, the eggs went up.

Come on, eat.

You made me breakfast.

You need some meat on your bones,

you’re too skinny. Got some coffee here, some oatmeal….

Oh….

Gypsy coffee. Strong, huh?

Strong.

Eat before it sets.

Delicious!

Last night…it was nice.

My mama used to read to me.

You must miss her terribly.

Still with me in here.

Papa, too. I take care of myself.

Being alone makes you tough.

Well, sometimes tough doesn’t make loneliness

go away. I lost my mother when I was very

young and I still cry for her sometimes.

Yeah?

Yeah.

Well, so do I. Anyway…I like that story.

Me too.

Oh, Lord, I’m gonna be late.

Oh, I’ll be clearing out like I promised.

Oh, no, you don’t. I want you here where

I can keep an eye on you.

You stay right here until I come home.

You trust me here alone with all your stuff?

I mean, I could clean you out!

Well, friends don’t steal from each

Other, and we are friends, right?

Yeah.

Okay.

Don’t go wild on me here.

She straightens and heads for the door.

Lock the door after me.

If you need me, my phone

number’s by the phone in the kitchen.

Vincent is sitting in his chair lost in thought. Father comes in with a map in his hand.

Vincent, Mouse tells me we have problems

with one of our entry points in Chelsea.

It looks like you haven’t slept.

Did you go Above last night?

Yes…to plead with a man who denies

the existence of his own grandson.

Ah, yes, the Gypsy boy you spoke of.

He’s only a child and yet they judge

him as a man, as if he had committed the crime

his father is accused of.

A boy, rejected by his own flesh

and blood for the sake of a tradition.

The law and tradition is the only permanence

in a Gypsy’s life. They are a people without a

country and they depend upon their laws

and their traditions to maintain their culture.

Yes, but the cost, Father. The old man grieves

for his lost grandson, yet he feels bound

to uphold this heartless law, a law which

already cost him his son.

To be abandoned by those

you love…that pain would be unbearable.

Well, I’m glad you made your plea, and

perhaps your words will be enough

to make him change his mind.

Vic is working on a car with Eva enters and calls to him

Vic! Vic!

What, mama?

Something wonderful has happened!

Your father is calling a new Kris for Tony.

A new Kris?

Vic, what if the kid can prove something?

The kid can’t prove nothing,

Aw, the old man must be getting senile.

Vic hurries up the stairs to talk to his father.

CUT TO:

GARAGE’S PARKING LOT - EXTERIOR DAY

Tony is slipping between the parked cars. He picks up some small stones and throws them at the windows of the living quarters.

Grandma! Grandma! Grandma!

You shoulda stayed dead, huh, kid?

Shut up!

He throws Tony into a supply room, grabs him again and shakes him.

Now, where is it? Where’s the letter?

What letter? What letter? What am I, a postman?

Where is it? Where is it, I said?

Someplace you’ll never get it.

Vic takes Tony’s bag, looking through it, then throwing it to the floor when he can’t find the letter.

It won’t do you no good now, ‘cause

you got your new Kris but you ain’t

gonna be there for it, you understand?

You’re a loser, kid; you’re a loser just like your old man.

He leaves the supply room locking Tony in. Tony bangs and kicks ineffectually at the door.

Maria is on the phone.

Catherine Chandler, please.

CUT TO:

D.A.’S OFFICE - CATHY’S DESK

The telephone rings

Catherine Chandler.

We intercut Maria at her shop during the conversation.

Have you found Tony yet?

I’ve asked around; no one’s seen him.

Don’t worry he’s safe and sound.

Oh, thank God.

What is it, Maria? What’s happened?

It’s some kind of a miracle.

Nothing like this ever happened before.

It’s all over the streets.

Milo’s called a new Kris for Tony.

Oh, that’s wonderful!

Tonight, eight o’clock, at the social

Hall, 86^th and Wilbur.

He’s got to be there!

We will be there.

And watch your back, Cathy.

If Vic’s got something to lose, he’ll

do anything to stop Tony from showing up.

We’ll be careful. Thank you, Maria.

Okay, bye.

Joe approaches Catherine’s desk

Hey, Radcliffe, be a hero?

Help me with these Martin briefs?

Oh, I’m sorry, Joe. First thing in the morning, I promise.

Hey, what’s the big emergency?

I have got to give a little boy some very good news.

Tony! Tony?

Vic!

She runs out of the apartment.

Catherine tries the gate to the parking lot, but it’s locked. She throws her jacket over the barbed wire on the top of the fence and climbs over. As she walks deeper into the lot, two dogs chase her. She tries opening the doors of the parked cars and finds one that’s unlocked. Quickly she gets inside and slams the door. The dogs throw themselves at the window, cracking it. Suddenly she hears a roar and sees Vincent leap down from the roof of the building. The dogs turn to him and Vincent stares them down. Catherine gets out of the car and hugs him, then they hurry to the buildings, calling out for Tony.

Tony! Tony!

CUT TO:

int. storage room

I’m in here…in here.

CUT TO:

GARAGE YARD

Catherine and Vincent follow his distant voice and move to the door of the room Tony’s locked in

CUT TO:

int. storage room

Help me, Catherine!

(Through the door)

Tony, stand back from the door.

We’re gonna get you out.

Okay, okay!

Vincent breaks through the door. Tony stares at him, shocked.

It’s all right, Tony, Vincent is a friend of mine.

Catherine’s told me much about you.

I-I’ve never s-seen anyone like you before.

There’s never been anyone like me before.

Listen, your Grandfather has called

a new Kris, but we have to hurry.

There’s a- an entry not far from here.

We can travel faster below ground.

Vic, Milo and Eva are talking as Gypsies begin to file into the room.

Papa, please, you still have time to stop this.

The boy will have his chance to speak.

He’s too cowardly to show himself.

He’s not a coward.

Vincent is Catherine and Tony run down a tunnel. Tony falls.

I can’t make it. I’m too tired!

Tony will be here. He has not come

all this way to…to run and hide.

Their laughter…their laughter’s gonna

burn in your ears, Papa. Now stop this!

Vincent is carrying Tony piggy-back through the tunnels. Both he and Catherine are running.

He must come. He must!

We wait. Sit down, Eva, sit down.

It’s a curse on all of us!

The dead should be left buried.

It’s time to start, Papa. What are you waiting for?

Let’s go!

Come on!

Get it over with!

What are we waiting for?

Quiet! Quiet down, quiet down.

My friends, we call this Kris to consider the

case of Tony Ramos, but he is late.

We will give him a few more minutes.

Why wait for the dead?

No! I say, what’s done is done.

Right!

I say we wait, let the boy have a chance to speak.

Shut up! You shut up! Nobody

cares what you got to say, woman!

A general argument ensues.

Vincent stops by a ladder.

Is this the way?

Catherine begins climbing. Vincent lowers Tony to the ground and bends down to talk to him face to face.

The truth makes you strong.

Go now.

Tony follows Catherine up the ladder.

A close-up on a pocket watch shows time has passed.

Come on, how long are we gonna wait?

Milo, where is this kid?

Papa, how long do we gotta wait?

How long? Come on!

Milo is sitting at a table with three other older Gypsy men.

Quiet. Quiet down! I have no choice.

I must declare this Kris…

Tony and Catherine come through the door. Vic stands and stares in surprise.

Come forward, Tony Ramos.

As Tony passes his Grandmother, she hugs him, then he continues on to stand before his Grandfather, glancing at Vic briefly.

Do not be afraid.

You are only a child, but

you know how serious this is. You…you know,

if you lie to us here, you are no longer a Gypsy.

I don’t lie. And my father didn’t lie. He lies!

He stole the money from the body shop

and framed my father for it. He knew that

if my father was banished, that he was next in line to be king.

Ha! Children got such wild stories, huh?

It’s true. My father told me before he died.

Oh, oh! I’m condemned by a ghost, huh?!

I’m condemned….

Does this Kris take the word of a boy,

a marime, over mine?

I call for a verdict, now.

There is general shouting.

Let the boy talk.

Will you shut up?

Your word is not enough

for the verdict. You must have proof.

He got no proof. He’s got nothing. He’s a liar!

I have proof…a letter.

Where is the letter?

She has it.

Tony, I don’t have any letter!

In your purse. I put it there last night.

I knew Vic would try and get it away from me.

Aw, she can’t be heard here. She’s gaijen.

She’s not even supposed to be here!

Come forward, please.

She’s got no right here.

Where’s the letter?

The side pocket; the one with the zipper.

Catherine finds a piece of paper and pulls it out. Tony takes it from her.

My father gave me this letter.

He told me on his deathbed

To bring it here, to clear his name

and to punish the guilty.

Dear Eric,

I am writing you this letter

because I am afraid for my life.

Me and Vic stole the money

from the body shop and we split it up.

We put some of the stuff in your house

so that you’d get blamed. Now I think Vic’s

gonna kill me for my share of the loot.

Fool!

I didn’t write no letter, Vic.

You said nobody could prove nothing.

No!

Vic tries to hit Joe. Men in the crowd hold him back.

Now you’ll pay for what you did!

You’ll be marime!

Tony, let me read the letter.

Tony hands the paper to his Grandfather. Milo opens it, looks it over and stares at Vic and then Eva.

Vic, come forward and read the

letter which has condemned you.

Vic shakes off the hands of the men who were holding him and walks to his father. Tony moves away to stand by Catherine. Vic looks at the paper, which has nothing but scribbles on it.

No, no, it’s nothing. It’s just marks!

I read pretty good, huh?

No!

The men at the table with Milo point their thumbs down.

You were my son. Now you are no more.

No!

Now you walk in death.

The others in the room turn their backs on Vic and leave as he speaks.

No, please, Papa.

No! No, Papa, please don’t do this. No!

CUT TO:

The room is empty of the crowd. Tony hugs his Grandmother, then walks over to Milo.

Grandpa…I have something for you.

You gave this to my father. He gave it

to me and now I give it to you, so you have

something to remember him by.

And one day you will give it to your son, eh, Tony?

As Catherine turns to leave, Tony calls out.

Hey, lady.

I owe ya…and a Gypsy never forgets.

Thank Vincent for me, huh?

I will. Maybe I’ll see you around, huh?

Count on it.

Tony walks back to his grandparents. They hug as Catherine smiles, then leaves.

Catherine climbs back down the ladder to Vincent, who is waiting for her.

It went well.

Tony has a family again.

Good.

I think he stole a piece of my heart.

And you will always keep a part of his.

You helped him find his way home again, Catherine.

No one could ever give a child a better gift.

It came from both of us.

Vincent pulls her toward him with an arm around her neck and hugs her. Hand in hand they walk down the tunnel to home.

THE END