If Beale Street Could Talk_2018

IF BEALE STREET COULD TALK
    Written for the Screen and Directed by
    Barry Jenkins Based on the Book by James Baldwin First, OVER BLACK, before anything else, we HEAR... "Of course, I must say I don't think America is God's gift to anybody.... If it is, God's days have got to be numbered." FADE IN: ...on a young man and young woman, both black, both twenties, both smiling.

EXT. RIVERSIDE PARK - DAY
    It would be twilight, the sound of the city winding down around this couple, nothing but their footsteps and the muted hum of this secluded eden above the city. The couple winds along the slope of a descending path, find themselves on a landing overlooking the Hudson River. A gentle embrace.
    YOUNG MAN
    You ready for this?
    YOUNG WOMAN
    Yes.
    (and)
    Ain't nothin' else in the world I'm more ready for.
    And as they draw closer, locked in a kiss... ...the sound of metal clanging, of feet shuffling and mens' voices filling a tinny room, then...

INT. NEW YORK CITY CORRECTIONAL FACILITY - DAY
    The same young couple eyeing each other across glass, the young man on the one side in the jail smocks with tired eyes. On the other, a thin girl, a gentle wonder about her. This is TISH (19, black, warm), the voice heard "before anything else" and Alonzo "FONNY" Hunt (22, also black, breakable).
    TISH
    Alonzo...
    Fonny's eyes startled at the sound of his proper name, something sharp, a warning in its use: she never calls him Alonzo.
    TISH
    Alonzo... we're going to have a baby.
    Fonny going blank, completely blank as that news washes over him, just across that glass and yet, instantly so far away from here.
    TISH
    I'm glad Fonny, I'm glad. Don't you worry.
    FREEZE FRAME: ...on Fonny's face, still frozen in contemplation, the look of a life changing. "I should have said already: we're not married. That means more to him than it does to me, but I understand how he feels. Fonny is twenty-two. I'm nineteen." RESUMING: Fonny closing his eyes, just a moment to himself, then:
    FONNY
    You sure?
    TISH
    No. I ain't sure, I'm just trying to mess with your mind.
    Fonny smiling now, coming back to her:
    FONNY
    What we goin' to do?
    TISH
    Well... we ain't goin' to drown it. So I guess we'll have to raise it.
    Fonny throwing his head back, a big, shocking laughter, a joy in his face initially unfathomable:
    FONNY
    Did you tell my daddy?
    TISH
    Not yet.
    FONNY
    You tell your folks?
    TISH
    Not yet. But don't worry about them, I just wanted to tell you first.
    FONNY
    Well, I guess that makes sense. My daddy and 'nem can't keep nothin' to theyselves, better this way.
    (and now)
    A baby.
    Something in this repetition carrying Fonny away from here, away to that place beyond Tish. His eyes cast down:
    FONNY
    What you gonna do?
    TISH
    I'm going to do just like I been doing. I'll work up to just about the last month. And then, Mama and Sis will take care for me, you ain't got to worry. And anyway, we have you out of here before then.
    FONNY
    You sure about that?
    TISH
    Of course I'm sure. I'm always sure about that.
    A man coming up behind Fonny, doesn't even bother to touch him, from his dress, clearly a guard. Fonny's eyes going down at the man's presence, looks through that glass again at his lover. His eyes coming back, that overwhelming smile again. Tish matching it, the two of them standing in unison on either side of the glass. Fonny raises his fist to the glass. Tish does the same. Off Tish watching Fonny move away, disappear through a door on the other side...

INT. TISH'S HOME - DAY
    A simple Harlem apartment, modest but expansive as far as these things go, a proper living room, kitchen big enough to fit a small dining table. At the end of a hall running through the kitchen and away from the living room, three bedrooms. Tish sitting before a cup of tea, staring at the wispy steam rising off it. A beat, then... ...the sound of the front door opening, of footsteps on wood flooring and...
    VOICE (O.S.)
    (calling out)
    How you doin' Lil' Bit?
    A moment later, SHARON (40s but could pass for younger) enters, a shopping bag at her side. Just in the way she looks at her, Tish's mother.
    SHARON
    How is he?
    TISH
    He's just the same. He's fine. He sends his love.
    SHARON
    Good. You see the lawyer?
    TISH
    Not today. I have to go on Monday, after work.
    SHARON
    He been to see Fonny?
    TISH
    No.
    A sigh from Sharon as she places a bag of groceries on the counter, begins unloading things. Tish watches as Sharon goes about her work, rinsing and placing and setting things here and there. The two sharing this space in silence a moment, Sharon humming as she alternates the spray of water rinsing vegetables, when...
    TISH
    Mama...?
    SHARON
    Yeah, Lil' Bit?
    Tish not going further and Sharon not pressing. Sharon turning off the tap, turns and looks at her daughter. Watches her a long beat. A very slow realization, then:

INT. TISH'S HOME, TISH'S BEDROOM - DAY
    A simple bed and bed-side table, dresser-drawer at the foot of the bed with an oversized mirror atop it. Heavy curtains in here. It's day but cool and dark. Just stillness a moment, Sharon and Tish sitting in silence. The news Tish just relayed... hit Sharon like a ton of bricks. A muted ton of bricks, like a wave. As it passes through her, Sharon puts a hand to Tish's forehead, gentle. That same hand on Tish's shoulder now:
    SHARON
    Tish, I don't think you got nothing to cry about.
    (and now)
    You tell Fonny?
    TISH
    I just told him today. I figured I should tell him first.
    SHARON
    You did right. And I bet he just grinned all over his face.
    TISH
    (laughing)
    Yes.
    (wipes a tear)
    He sure did.
    SHARON
    You must be - let's see - you about three months gone?
    TISH
    Almost.
    SHARON
    What you cryin' about?
    Sharon pulling Tish fully in, the curiosity over, all mothering now.
    SHARON
    Now listen, you got enough on your mind without worrying about being a bad girl and all that jive-ass shit. I sure hope I raised you better than that.
    SHARON
    If you was a bad girl you wouldn't be sitting on this bed, you'd long been turning tricks for the warden.
    Tish picking her head up, wiping more tears, getting herself back together:
    SHARON
    Now you and Fonny be together right now, married or not, wasn't for that damn white man. So, let me tell you what you got to do. You got to hold on to that baby, don't care what else happens or don't happen. You got to do that, 'cause we gonna get Fonny out. And that baby be the best thing that ever happened to him. It's going to give him a whole lot of courage.
    (beat)
    You hear me?
    TISH
    Yes, Mama.
    SHARON
    Now, when your Daddy and Ernestine get home, we going to sit at the table together, and I'll make the family announcement. I think that might be easier, don't you?
    TISH
    Yes.
    Sharon rises from the bed.
    SHARON
    Take off them streets clothes and lie down for a minute. I'll come get you.
    Sharon opens the door.
    TISH
    Mama?
    TISH
    Thank you.
    SHARON
    (smiles)
    I don't know what you thanking me for. This a family, ain't it?
    CUT TO:

INT. TISH'S HOME - DAY - CONTINUOUS
    Sharon in the hallway just outside Tish's door, closing the door gently behind her. She moves to take a step down the hallway but... ...stops -- a hand to her chest, the facade of control gone, takes a moment to process: Tish... is having a baby. A beat, then... CUT TO: Light under a door, a shadow along the floorboards. REVERSE ANGLE:

INT. TISH'S HOME, TISH'S BEDROOM - DAY - SAME
    Tish staring at that door, watching her mother's shadow, neither of them breathing. The light beneath the door shifts, moves on down the hall. Tish takes off her coat, her shoes -- slowly, all that tiredness overtaking her again. As she gets her shoes to the floor... ...the doorbell rings. From somewhere out there, we can hear Sharon yell:
    SHARON (O.S.)
    Be right there!
    And yet, the SOUND of feet approaching, Sharon at this bedroom door again. A quick knock and she's entering.
    SHARON
    Here. Drink this.
    Sharon carrying a saucer, has a small water glass and a shot glass beside it. Sharon takes the brown liquid of the shot glass, pours it into the water. And then... she's gone again, out that door, feet clicking along the hall that leads to the front door. From the SOUND of the banter, a man entering, in a good mood:
    MAN (O.S.)
    Forgot my keys, Tish home yet?
    CUT TO: THE HALLWAY From just outside Tish's bedroom door, through the kitchen, a view of Sharon and this "man" (Tish's father, JOSEPH) having a hushed conversation at the edge of the living room.
    SHARON
    (sotto voce)
    Shhhh, she's taking a little nap.
    JOSEPH
    She see Fonny?
    CUT BACK TO: TISH -- listening from behind that bedroom door. INTERCUT:
    SHARON
    Yeah. She saw him. She saw the inside of the Tombs, too. That's why I made her lie down.
    JOSEPH
    What about the lawyer?
    SHARON
    She going to see him Monday.
    Sound of feet moving throughout the house now, of the fridge door opening and closing. Tish downing her water and brandy.
    JOSEPH
    How much you think them damn lawyers is going to cost us before this thing over?
    SHARON
    Joe, you know damn well ain't no point in asking me that question.
    JOSEPH
    Well. They sure got it made, the rotten motherfuckers.
    SHARON
    Amen to that.
    Tish lying back on the bed, looking up and into those curtains. Somewhere out there, the sun setting. As she rubs her belly, lets her thoughts wonder... CUT TO BLACK.: "Fonny used to go to a vocational school where they teach kids to make all kinds of shitty things..."

INT. HARLEM VOCATIONAL SCHOOL - DAY - MONTAGE 1
    See a "slightly" younger Fonny working at a table-saw, a raw piece of timber split down the trunk atop his work station. "...like card tables and hassocks and chests of drawers which nobody's ever going to buy."

INT. HARLEM VOCATIONAL SCHOOL - NIGHT - MONTAGE 1
    "But Fonny didn't go for it at all and he split, taking most of the wood from the workshop with him." Looking out through the open shop-gate, a worn-out pickup truck illuminated in flash light beams as Fonny wonders the empty shop floor.

INT. RESTAURANT KITCHEN - NIGHT - MONTAGE 1
    Fonny wiping sweat from his face as smoke fills the air. "He started working as a short-order cook - so he could eat - and he found a basement where he could work on his wood and he was at our house more than he was at his."

INT. BASEMENT APARTMENT - DAY - MONTAGE 1
    Simple, at best seems a squatter's refuge, a pallet in the corner of the room, a handmade dining table. "Fonny gave Mama one of his first sculptures." In the center of the space, Fonny working at two saw-horses, sanding a suggestive piece. CLOSE ON: a small, wooden sculpture there. "It seemed a strange figure for him to do, or, at least, it seemed strange until you thought about it." ANGLE ON: Fonny. "You see, Fonny had found something that he wanted to do, and this saved him from the death that awaited the children of our age. And though it took many forms..." CUT TO: STILL IMAGE SERIES ...period, still photography of the drug fueled, post-Civil Rights era blight that will come to plague America's inner- cities for decades on end. "...the death itself was very simple and the cause was simple, too: the kids had been told that they weren't worth shit... and everything they saw around them proved it." CLOSING STILL IMAGE: Gordon Parke's "Ellen Crying." END MONTAGE 1.:

INT. TISH'S HOME, LIVING ROOM - NIGHT
    A woman we've not seen before entering the apartment now, slender, taller, a few years older than Tish but still young. This is Tish's sister, ERNESTINE.
    ERNESTINE
    Where's Tish?
    Sharon and JOSEPH (a little older than Sharon, a large, yet subtle presence) over near the kitchen, Joe nursing a beer looking in on his wife preparing supper. Both their faces opening at the sight of Ernestine.
    SHARON
    She's home. She's lying down.
    Ernestine setting her purse down, continuing over to...
    THE KITCHEN
    ERNESTINE
    She all right?
    SHARON
    She's tired. She went to see Fonny.
    ERNESTINE
    How's he taking it?
    SHARON
    Taking it.
    ERNESTINE
    Lord, let me make myself a drink. You want me to cook?
    SHARON
    No. I'll get into the pots in a minute.
    ERNESTINE
    She see Hayward?
    SHARON
    No. She's seeing him on Monday, after work.
    ERNESTINE
    You going with her?
    SHARON
    I think I better.
    ERNESTINE
    Yeah. I think so, too, I'll call him from work, before you all get there.
    JOSEPH
    You know... Tish says she thinks that lawyer wants more money.
    ERNESTINE
    Daddy, we paid him his retainer, that's why ain't none of us got no clothes. And I know we got to pay expenses, but he ain't supposed to get no more money until he brings Fonny to trial.
    SHARON
    He says it's a tough case.
    JOSEPH
    Shit. What's a lawyer for?
    SHARON
    To make money.
    JOSEPH
    You got that right.
    ERNESTINE
    Well. Anybody talk to the Hunts lately?
    SHARON
    They don't want to know nothing about it, you know that. Mrs. Hunt and them two camellias is just in disgrace. And poor Frank ain't got bail no money.
    ERNESTINE
    Well. Let's not talk too much about it in front of Tish. We'll work it out somehow.
    JOSEPH
    Shit. We got to work it out. Fonny's like one of us.
    SHARON
    He is one of us.
    All heads turning here at a bit of light out in the living room, the sound of footsteps approaching. A moment later and Tish appears, hair mottled and cajoled, just woke up:
    ERNESTINE
    Well hello there, baby sister.
    A kiss on the cheek and a hug between Tish and Ernestine: these too clearly love each other.
    SHARON
    You want a lil' snack, baby?
    TISH
    No thank you, I'm okay.
    SHARON
    Well alright then, if y'all want to eat, better get your behinds out of my kitchen, this food ain't gon' fix itself. Come on now, take your business into the living room.
    Tish and Ernestine shuffling away from here, leaving their mother to her kitchen. Sharon looking to Joe there, the man shrugging a "what'd I do" face:
    SHARON
    Do I come down to your job and watch you work?
    Joe smiling as Sharon turns away from him, all sly eyes and persuasive hips as we CUT TO... A RECORD NEEDLE ...lowered deftly to the third cut on a pristine LP.

INT. TISH'S HOME - NIGHT - LATER
    Ernestine lowering that needle, a freshly lit cigarette in her left hand as something soulful and heavy overcomes the room (Nina Simone, etc.). The lights dimmed now, vibe changed as Ernestine looks back at the family gathered at the dining table, Joe, Sharon and Tish, the remnants of dinner laid out before them. Ernestine closing her eyes, swaying to the rhythm as though somewhere else altogether:
    ERNESTINE
    (sotto)
    Sing to me Nina, sing.
    Sharon rising from the dining table as Ernestine approaches, gets to collecting dishes as Ernestine sits back to the table. Joe drifting into the kitchen as well, the music pacing everything. Sharon reaches up to an obscure cupboard, just above the stove, kind of cupboard that's rarely opened. Fetches a dusty, ornate bottle from there.
    JOSEPH
    What you doin' with that?
    SHARON
    What you think? Get the good glasses.
    Sharon moving back over to the dining table with Tish and Ernestine, sets that bottle of French Brandy to the table. Ernestine's eyes going from Sharon's to Tish. Ernestine's eyes... smiling. Ernestine's eyes never leaving Tish.
    SHARON
    (at Joe)
    You the man of the house, start pouring.
    JOSEPH
    (faux accent)
    But of course, Madame.
    Joe setting a nice enough snifter before each of them, goes around the table in turns and pours a little brandy into each. As he bends to pour Tish's...
    SHARON
    Just a lil' bit for Tish, now.
    JOSEPH
    Alright, what's the deal?
    Sharon looking to Joe, then at Ernestine, then at Tish. She smiles at Tish:
    SHARON
    This... is a sacrament. And no, I ain't gone crazy. We're drinking to a new life.
    (beat)
    Tish is gonna have Fonny's baby.
    The air heavy in here for a beat, no one moving. Sharon reaches a hand to Joe's shoulder.
    SHARON
    (softly)
    Drink.
    Joe staring at Tish, frozen in the moment of that news. Tish staring back, holding his gaze, only openness. Joe puts his glass down. Then he picks it up again. He's trying to speak but he can't. A moment more of this awkwardness, then... ...a smile more sweet than bitter developing in Joe's face.
    JOSEPH
    That's a hell of a note.
    Joe takes a drink of his brandy, a good, deep swallow:
    JOSEPH
    Ain't you going to drink to the little one, Tish?
    Tish nodding, takes the lightest sip of that brandy, still rouses a cough in her, Ernestine patting her on the back.
    JOSEPH
    How long this been going on?
    SHARON
    About three months.
    ERNESTINE
    Yeah. That's what I figured.
    JOSEPH
    Three months!?
    TISH
    Since September.
    JOSEPH
    While you two was running around looking at places?
    Joe asking this question as much to himself as to anyone else. The women understanding, allowing that question the proper space to drift out, refract. After a moment, after a few more long sips:
    JOSEPH
    You sure you want this baby?
    TISH
    Yes, and Fonny wants it too. It's our baby, don't you see? And it's not his fault that he's in jail, it's not like he ran away.
    (pleading)
    And we've always been best friends, ever since we were little, you know that. And we'd be married now, if-if--
    SHARON
    Your father know that. He's only worried about you.
    JOSEPH
    Don't you go thinking I think you a bad girl, or any foolishness like that. I just asked you that because you so young, that's all, and--
    ERNESTINE
    (raising her glass)
    Un-bow your head sister.
    SHARON
    To the newborn.
    JOSEPH
    I hope it's a boy, that'd tickle old Frank to pieces, I bet.
    (a thought grabbing him)
    Tish, do you mind... if I break the news to him?
    TISH
    No daddy, I don't mind.
    ERNESTINE
    (with attitude)
    I sure would like to be the one to tell them sisters.
    SHARON
    Joe, why don't you just call up and ask them all over here? Hell, it's Saturday night and it ain't late and we still got a lot of brandy in the bottle. And now that I think about it, it's really the best way to do it, call they asses on over here, Joe.
    Joe looking to his wife, had already started for his coat, but... considering Sharon's proposal:
    JOSEPH
    You know you right love, let's get them over here.
    Joe turning down that long hall adjoining the bedrooms. As his footfalls pad away, we stay here, with these women listening to Joe on the phone down that hall. Beat. Joe coming back down that hallway now, re-enters the living room, takes a seat at the one recliner in here:
    JOSEPH
    Mrs. Hunt... is getting dressed.
    (smiles at Tish)
    Come on over here, daughter.
    Tish rising from her spot on the couch, moves from mother to father, sits beside Joe, head rested to his shoulder:
    JOSEPH
    You're a good girl, Tish. I'm proud of you. Don't you forget that.
    ERNESTINE
    She ain't going to forget it. I'll whoop her ass if she do.
    SHARON
    But she's pregnant!
    A big, way deep down laugh from all of them at this, Ernestine and Sharon both throwing their heads back. As the laughter subsides...
    ERNESTINE
    Shall we dress for Mrs. Hunt?
    Another laugh now, something in the room spreading.
    JOSEPH
    Look. We got to be nice, okay?
    ERNESTINE
    Oh we'll be nice; Lord knows we'll be nice, you raised us right. It's just you didn't never buy us no clothes. But Mrs. Hunt and them sisters, they got wardrobes. Ain't no sense in trying to compete with them.
    JOSEPH
    I didn't run no tailor shop.
    ERNESTINE
    Well who's fault is that?
    Ernestine rubbing her father's head playfully as she moves on from the living room, Joe smiling at her touch. Head resting at Joe's shoulder, eyes lingering across this room, Tish appears to be somewhere else, lost in the drift: "The very first time Fonny and I made love was strange."

EXT. TISH'S HOME - DAY - MONTAGE 2
    Sharon at the top of the stairs at Tish's stoop, Fonny at the bottom of the steps, Tish between the two. "It was the day he gave Mama that sculpture."

EXT. HARLEM, SIDEWALK - DAY - MONTAGE 2
    Tish and Fonny moving down the sidewalk, hand in hand. "I dumped water over Fonny's head and scrubbed Fonny's back in the bathtub, in a time that seems so long ago."

INT. TISH'S HOME, BATHROOM - DAY - MONTAGE 2
    A sunlit glow through the curtained window, two children together in a bubble strewn bathroom -- YOUNG TISH and YOUNG FONNY, five and seven years old, respectively. "I don't remember that we ever had any curiosity concerning each other's bodies. Fonny loved me too much." Innocent -- the bathroom door wide open -- the children playing just as Tish described.
    LATER
    The children toweling off, casual, oblivious.
    "And that meant that there had never been any occasion for shame between us."

INT. C TRAIN - DAY - MONTAGE 2
    Just a beat this moment, this downtown train packed as they are bound to be. The couple standing, wedged together in the center aisle of this train, oblivious to everything around them, Tish fully leaned into Fonny's embrace. "We were a part of each other, flesh of each other's flesh - which we so took for granted that we never thought of the flesh." Just the shimmy of the train, that rocking side to side. Tish's eyes distinctly, noticeably staring at Fonny's lips, looking up into them. "And yet, it was no surprise to me when I finally understood..." As he parts his lips to speak... FREEZE FRAME: "That he was the most beautiful person I had seen in all my life." RESUMING: Fonny continuing whatever it is he's saying here, can't make it out above the howl of the tracks and chatter of the crowd. Off Fonny repeating himself... and Tish not responding, still lost in those lips...

EXT. STUYVESANT PARK - NIGHT - MONTAGE 2
    The light falling, getting on to dusk. Fonny and Tish moving, slowly tracing the paths of this park, passing the wayfarers so integral to the charm of this place. Somehow, the two not touching here: Tish's arms folded about herself, Fonny's hands clasped behind his back.
    FONNY
    I've slept in this park sometimes.
    (off her look)
    No, it's not a good idea.
    Fonny reaching into his coat pocket now, retrieving a cigarette. Gestures to Tish:
    TISH
    No thank you.
    (and innocently)
    Why did you sleep in the park?
    Fonny taking a quick beat to get his cigarette lit:
    FONNY
    It was late. Didn't want to go home. Didn't want to wake up none of you neither.
    Check's Tish's response: clearly she's never assumed someone she loves has had to sleep in this park.
    FONNY
    But I got me a pad down here now. I'll show it to you, you want to see it?
    TISH
    (after a nod)
    I'd like that.
    These two still walking, circling a path around the park. Fonny reaches an arm out, pulls her in close:
    FONNY
    You all right?
    TISH
    Yeah.
    FONNY
    Good.
    (and)
    FONNY
    You want to eat down here or you want to wait till we get back uptown? Or you want to go to the movies or you want a little wine or you want a little pot or a beer or a cup of coffee?
    (and, a smile)
    Or you just want to walk a little more before you make up your mind?
    Fonny's grinning now, warm and sweet, brings his arm back from around her and takes her hand in his, swinging it like a little boy; a happy little boy. END MONTAGE.:

INT. TISH'S HOME, FRONT DOOR - NIGHT
    The doorbell ringing, resounding throughout the apartment. Seems no one's here at first, then... ...Ernestine appearing, dressed the same as before, didn't bother to change. Gets to that door and...
    ERNESTINE
    Alice, how do you do, only way to get to see you people is to call an emergency summit, now you know that ain't right?
    A hollow kiss on the cheek from MRS. HUNT (50 but attempting to look younger... and it shows). As she passes, reveals two young women, similar to Tish and Ernestine in age. The girls moving past Ernestine with a look, something middle school about it all. Coming up behind them is FRANK (50s, handsome but tired). He and Ernestine share a genuine hug, move together into...
    THE LIVING ROOM
    ...enter the space and find an odd bit of domestic spacing: Sharon with a hand on her hip, watching from near the kitchen. Joe standing with Tish in his embrace at his side. Mrs. Hunt and her girls stand on the opposite side of the room, a semi-circle with their hands doing various awkward things.
    The Hunt women are all over-dressed.
    FRANK
    So you saw my big-headed boy today?
    TISH
    Yes. He's fine. He sends his love.
    FRANK
    They ain't giving him too hard a time, is they? I ask you like that because, you know, he might say things to you he won't say to me.
    VOICE (O.S.)
    Lovers' secrets.
    Tish's eyes cutting to the source of that voice: ADRIENNE, the older of the two Hunt sisters (with SHEILA being the other), sitting on the couch now, crossing her legs and folding those arms with a shit-eating smirk.
    TISH
    Well. He hates it, you can see that. And he should. But he's strong. He'll be alright... but we've got to get him out of there.
    SHEILA
    If he'd done his reading and his studying when he should have, he wouldn't be in there.
    FRANK
    What you know about it you--
    JOSEPH
    You bring that six-pack man?
    JOSEPH
    Or I got some gin and we got whiskey and we got some brandy. Ain't got no Thunderbird though--
    (and, to Mrs. Hunt)
    I'm sure you ladies won't mind?
    MRS. HUNT
    Mind? Frank does not care if we mind.
    SHARON
    Mrs. Hunt, what can I get you, sugar? I can offer you some tea, or coffee; and we got ice cream, and Coca Cola.
    ERNESTINE
    Yeah Mrs. Hunt, I can make you an ice-cream soda. Come on Sheila, you want to help me?
    (grabbing Sheila)
    ERNESTINE
    Sit down Mama, me and Sheila got it.
    Sharon taking Sheila's place now, Mrs. Hunt having sat beside her daughters on the couch there:
    SHARON
    Lord, the time sure flies. We ain't hardly seen each other since this trouble started.
    MRS. HUNT
    Don't say a word. I have been running myself sick, all up and down the Bronx, trying to get the very best legal advice I can find. I just pray and pray and pray that the Lord will bring my boy to the light. That's all I pray for, every day and every night.
    A long pause from Mrs. Hunt here, moment of reflection:
    MRS. HUNT
    And then, sometimes I think that maybe this is the Lord's way of making my boy think on his sins and surrender his soul to Jesus.
    SHARON
    You might be right. The Lord sure works in mysterious ways.
    MRS. HUNT
    Oh yes. Now he may try you. But he ain't never left none of His children alone.
    SHARON
    What you think of the lawyer Ernestine found, this boy Hayward?
    MRS. HUNT
    I haven't seen him yet.
    (defensive)
    I just have not had time to get downtown. But I know Frank saw him--
    SHARON
    What you think Frank?
    FRANK
    (shrugs)
    It's a white boy who's been to law school and he got them degrees. I ain't got to tell you what that mean: it don't mean shit.
    MRS. HUNT
    You're talking to a woman.
    FRANK
    I'm hip, and it's a mighty welcome change.
    (pause)
    Like I was saying, it don't mean shit and I ain't sure we're going to stay with him. On the other hand, as white boys go, he's not so bad: he's young and hungry, so he's not as full of shit now as he may be when he's full.
    MRS. HUNT
    But I keep trying to tell you, that it's that negative attitude, you're so full of hate. If you give people hatred, they will give it back to you. Every time I hear you talk this way my heart breaks for my son, sitting in a dungeon which only the love of God can bring him out of.
    SHARON
    He's not talking hatred, Alice. He's just telling the truth.
    MRS. HUNT
    I trust in God, I know He cares for me.
    Beat.
    ADRIENNE
    Mr. Rivers, exactly what is the purpose of this meeting? You haven't called us all the way over here just to watch my father insult my mother?
    TISH
    Why not? It's Saturday night. You can't tell what people won't do if they get bored enough.
    TISH
    Maybe we just invited you over to liven things up?
    ADRIENNE
    I can believe that you're that malicious... but I can't believe you're that stupid.
    Off Tish, CUT TO...

INT. SPANISH RESTAURANT - NIGHT
    At a table more to the side than the back - none of that shit - find Fonny and Tish, a continuation of their date begun in the previous "Montage 2."
    FONNY
    (calling out)
    Pedrocito, que pasa? ¿Podemos tener algún servicio, por favor?
    Tish looking on wide-eyed, has never seen him speak Spanish. A server (PEDROCITO, 20s) approaching, a smile on his face:
    PEDROCITO
    (mocking)
    "Servicio, servicio."
    (and at Tish)
    Senorita, how may I help you, I'm sorry your company tonight is less than desirable but this can't be helped.
    FONNY
    No se puede evitar, mi culo.
    Laughter from the two of them:
    PEDROCITO
    Oye, estás con una mujer, encantadora!
    Tish in heaven here, eyes fixed on Fonny, roving from him to Predocito and back. As the men continue their banter, jostling and joking like old friends, their voices drift off the soundtrack: "I had never seen Fonny outside the world in which I moved. I had seen him with his father and his mother, and I had seen him with us."
    ANGLE ON: FONNY
    ...face spread wide in a smile, looking from Predocito to Tish and back, from Pedrocito to us - right at us - his eyes alight with some mixture of joy and pride.
    "I had certainly never seen him in the world in which he moved."
    CUT TO: TISH AND FONNY ...leaving the restaurant, the meal finished, Pedrocito and a few other Spanish men gathered near the exit to see them off. As Tish looks on... "Perhaps it was only now I was able to see him with me, because even though he was turned away from me, laughing... he was holding my hand." As Fonny leads Tish out onto the sidewalk...
    PEDROCITO
    (calling out)
    A very good night Señorita! You are always welcome here.

EXT. MINETTA LANE - NIGHT - MOVING
    The holding of hands, a knowing smile playing about Fonny's face as he watches Tish. Anticipation.
    FONNY
    Tish....
    TISH
    Yes?
    FONNY
    Come and see my place, won't you?
    TISH
    But... it's late.
    FONNY
    It ain't far.
    Tish looking at him as they continue walking, studying his face for a clue, then:
    TISH
    Okay, Fonny.
    (and again)
    Okay.

INT. TISH'S HOME, LIVING ROOM - NIGHT - RESUMING
    Ernestine and Sheila returning from the kitchen carrying platters of drinks; the smile on Ernestine's face is pure delight, the one on Sheila's? Not so much. Ernestine setting down her tray, raising her glass:
    ERNESTINE
    Happy landings.
    Everyone going quiet now. Everyone... waiting and, in the space of this waiting, everyone's eyes slowly, definitively drawing themselves to...
    TISH
    All eyes on Tish, for once alone in the room, neither her parents nor Ernestine beside her.
    Tish rises, nervous hand running down her waist to smooth her dress. She takes a step, just a small one, symbolic, toward Frank:
    TISH
    I called this meeting. I had Daddy ask you all to come over so I could tell you what I had to tell Fonny this afternoon.
    Mrs. Hunt setting down her ice-cream float. Sharon taking a sip of her Brandy. Ernestine... smiling.
    TISH
    (deep breath)
    What I had to tell Fonny this afternoon is... that Fonny's going to be a father.
    (and)
    We're going to have a baby.
    All at once in this room, several things: Mrs. Hunt's eyes leaving Tish, lowering, eyes to the floor; Frank and Joe turning to one another, holding each other's gaze in silence; Sheila and Adrienne rolling their eyes in contempt; Sharon and Ernestine making eye contact, a wink, a sip.
    FRANK
    (to Joe)
    You and me? We fixin' to go out and get drunk.
    A huge laugh of joy from Frank, the clasping of hands between these two.
    FRANK
    (at Tish)
    I'm glad. Don't you worry, I'm mighty--
    MRS. HUNT
    And who is going to be responsible for this baby?
    TISH
    The father and the mother.
    Mrs. Hunt staring, something smoldering in her.
    FRANK
    You can bet that it won't be the Holy damn Ghost.
    Mrs. Hunt shooting Frank a look of disgust, then rising, begins slowly crossing the room:
    MRS. HUNT
    I guess you call your lustful action love. I don't. I always knew you'd be the destruction of my son. The Bible says: "Put to death therefore what is earthly in you: sexual immorality, impurity, passion, evil desire and covetousness."
    (and)
    That child is borne of sin, the Holy Ghost will cause it to shrivel in your womb. But my son will be forgiven. My prayers will--
    WOMP! From nowhere and everywhere, Frank here standing over Mrs. Hunt having knocked her senseless, sprawled to the floor.
    ADRIENNE
    Her heart!
    FRANK
    I think you'll find it's still pumping. But I wouldn't call it no heart.
    Frank does not look remorseful, more sad than anything, sad over everything.
    FRANK
    Joe, let the women take care of her and come on with me.
    Joe hesitating, still shocked by the violence:
    FRANK
    Please man, come on.
    SHARON
    Go on with him, Joe. Go on.
    Ernestine moving past Sharon, has a bottle of rubbing alcohol and a hand full of cotton balls.
    SHARON
    Go on. We don't need you here.
    Joe nodding at his wife in ascent, eyes on Mrs. Hunt as he rounds the living room, takes his coat from a chair-back, a hand to Frank's shoulder just ahead of him. The women all watching as the men exit, the door slowly closed behind them. Coming back to the living room, an undeniably potent image: these six women alone now in this house, having bared witness to the past moment's events. Mrs. Hunt getting to her feet slowly, free hand bracing herself as she lowers to the couch.
    TISH
    That was a terrible thing you said to me. It was the most terrible thing I've heard in all my life.
    ADRIENNE
    My father didn't have to slap her.
    SHEILA
    She's got a weak heart.
    SHARON
    She's got a weak head, the Holy Ghost done softened y'all brain, child: did she forget it was Frank's grandchild she was cursing? I know some men would have cut that weak heart out of your body and gladly gone to hell to pay for it.
    SHEILA
    I don't think you have the right to sneer at my mother's faith.
    ERNESTINE
    Oh don't give me that bullshit, you so shamed you got a Holy Roller for a mother, you don't know what to do. Y'all make me sick.
    ADRIENNE
    You make me sick. Maybe my mother didn't say it exactly like she should have, but he didn't have to--
    TISH
    My father doesn't hit my mother.
    SHARON
    Baby your mother a lot smarter than hers.
    ADRIENNE
    And who do you funky niggers think you are? She only asked one question: 'Who's going to raise this baby?' And who is? Tish ain't got no education and God knows she ain't got nothin' else. And Fonny ain't never been worth a damn, so who is going to take care of this baby?
    TISH
    I am, you dried up yellow cunt, and you keep on talking, I'm going to take mighty good care of you.
    Adrienne putting her hands on her hips in response, in Harlem an unmistakable challenge. Ernestine pounces:
    ERNESTINE
    Adrienne? Baby? May I tell you something, Sweetie-pie?
    Ernestine puts one hand very lightly against Adrienne's cheek.
    ERNESTINE
    Oh, sugar. From the very first day I laid eyes on your fine person, I got hung up on your Adam's apple. I been dreaming about it; it's delicious.
    ERNESTINE
    I just can't tell, Sweetie, if I want to tear it out with my fingers... or my teeth. It is a thing of beauty. And if you touch my sister, I'm going to have to make up my mind pretty quick, so...
    Ernestine moves away from Adrienne, gestures at Tish.
    ERNESTINE
    ...touch her. Go on, please.
    SHEILA
    I knew we shouldn't have come.
    ERNESTINE
    My. I must have a dirty mind, Sheila. I didn't know that you could even say that word.
    SHARON
    Ernestine.
    ADRIENNE
    Come on Sheila, let's go.
    Adrienne moving and Sheila following, the two of them helping Mrs. Hunt to her feet.
    MRS. HUNT
    I sure hope...
    (dramatic sigh)
    ...that you're pleased with the way you raised your daughters.
    Sharon just staring at Mrs. Hunt here, says nothing, the whole thing a wonderful spectacle now:
    MRS. HUNT
    My girls won't be bringing me no bastards to feed, I can guarantee you that.
    ERNESTINE
    That's because won't nobody fuck 'em.
    SHARON
    Ernestine.
    Sharon cocking her head now, finally perplexed by all this. Stares at Mrs. Hunt a long moment:
    SHARON
    But the child that's coming... is your grandchild. I don't understand you, it's your grandchild. What difference does it make how it gets here? The child ain't got nothing to do with that; don't none of us have nothing to do with that.
    MRS. HUNT
    That child....
    Looks from Sharon to Tish, starts for the door:
    MRS. HUNT
    (moving)
    That child....
    Tish and family watching as the Hunts make their way out silently, everything different now. As we watch them go... "It's astounding the first time you realize a stranger has a body."

INT. BANK STREET FLAT - NIGHT
    Fonny and Tish standing in this basement apartment. From their dress, a continuation of their dinner at the Spanish restaurant. "The realization that he has a body makes him a stranger." We take the place in as Tish does: a small, low room, but for a fireplace. Just off the room is a tiny kitchenette and a bathroom. There's a wooden stool and a couple of hassocks and a large wooden table and a smaller one. On the small table, a few empty beer cans and on the large one, tools. The room smells of wood; there's raw wood everywhere. In the far corner, a mattress on the floor covered with a Mexican shawl. Fonny's pencil sketches are pinned on the wall. The only other item: a photograph of Frank. "We were to spend a lifetime in this room." Fonny standing across the room from Tish. She's watching him; they both know she's watching him. Fonny crossing to the palette there, takes up that Mexican shawl, walks over to Tish, drapes it over her head and shoulders. Grins and steps back:
    FONNY
    I be damned, there's a rose in Spanish Harlem.
    Tish smiling, blushing, girlish, how could she not?
    FONNY
    Next week, I'm going to get you a rose for your hair.
    Just a foot of space between them, eyeing each other as they no doubt have many times before. Something different about this time, though. Fonny spells it out:
    FONNY
    We're grown up now.
    Tish nods, can't speak right now, too much going through her mind to get there.
    FONNY
    And you've always been mine, no?
    Again that nod.
    FONNY
    And you know... that I've always been yours, right?
    Tish thinking, so much thinking right now:
    TISH
    I never thought about it that way.
    FONNY
    Think about it now.
    TISH
    I just....
    Tish's lips quivering now, whatever emotion this is it's coming upon her fast and heavy, pushing and pulling:
    TISH
    I just know that I love you.
    She's crying now, Fonny closing the space between them, removing that shawl and pulling her into him.
    FONNY
    I love you too... but I try not to cry about it.
    Fonny laughing, a sweet laugh, a smile and then another kiss, harder this time, the passion of it removing that lightness.
    FONNY
    (serious)
    I want you to marry me.
    (at her shock)
    That's right. I'm yours and you're mine and that's it.
    Fonny holding Tish away from him now, a bit of space to take her in, to read her. She's processing.
    FONNY
    Now, I've got to try to explain something to you.
    Fonny leads Tish (gently) over to his worktable:
    FONNY
    This is where my life is, my real life.
    Fonny picks up a small piece of wood. There's the hope of an eye gouged into it, the suggestion of a nose.
    FONNY
    This might turn out all right one day, it might not. I don't know a thing about it yet.
    He puts it down again, very gently, looks at Tish with his little smile.
    FONNY
    Now, listen, I ain't the kind of joker going to give you a hard time running around after other chicks and shit like that. I smoke a little pot but I ain't never popped no needles and I'm really just a square, but....
    Fonny taking a moment to gather his thoughts, looks at her very quietly, very hard.
    FONNY
    I live with wood and stone. I got stone in the basement and I'm working in here all the time and now I'm looking for a loft where I can really work. So, all I'm trying to tell you is... I ain't offering you much.
    FONNY
    I ain't got no money and I work at odd jobs just for bread because I ain't about to go for none of their jive-ass shit. And that means that you going to have to work, too. And when you come home most likely I'll just grunt and keep on with my chisels and maybe sometimes you'll think I don't even know you're there. But don't ever think that, not ever. You're with me all the time -- without you, I don't know if I could make it at all. And when I put down the chisel, I'll always come to you. I'll always come to you, 'cause I need you, understand?
    (and)
    Is that all right?
    TISH
    Yes. Of course it's alright. I love you.
    Fonny not smiling, instead just watching her, the openness of their eyes here. He pulls her in close, kisses her, with more feeling than before. Tish gives herself over to him. Fonny taking her hand, leading her away from the center of the room, over to that palette. Turns his back to it, sits on the edge before pulling Tish down to him, a bit awkward at first but settling in, her body at his feet, head at his lap. Fonny caresses her cheek, leans down over and kisses her, the heat between them mounting. His hands finding their way, undoing Tish's blouse, exposing her, the shock of everything at first a start on Tish's face, then an agreement, a joining. Fonny pulling Tish onto the bed, undressing her, carefully, gently, kissing her the whole way. Fonny rising, scans the room and retrieves that shawl. Moves back to the bed, takes a warm look at Tish there, covers her with the shawl. Disappears away from the room. Beat; a beat here with Tish as she listens to Fonny in the bathroom , the sound of him pissing, the toilet flushing, quickly running water. A brief moment of quiet then... Fonny reappearing, Tish watching him as he moves through the space, approaches the one lamp in this room and...
    DARKNESS
    ...but not BLACK, the street light through the windows there, a generous angle in this basement apartment, a muted quality to the light, just enough to make them out.
    Fonny over in the corner now, sifting through a crate. Lifts the needle on a record player, triggers a lilting, sparse bit of jazz.
    He drifts over to her now, slips beneath the shawl, his body atop hers but bearing his own weight. Looks down to her:
    FONNY
    Now don't be scared.
    (and)
    Don't be scared. Just remember that I belong to you. Just remember that I wouldn't hurt you for nothing in this world. You just going to have to get used to me. And we got all the time in the world
    Tish meeting his eyes, nodding without moving. Fonny looking down at her now, down her body as he maneuvers beneath that shawl:
    FONNY
    Hold onto me.
    Off a clinched, guttural exhale from Tish's lips, her throat, her gut... CUT TO: A RECORD SPINNING -- the needle spinning listlessly at the end of the groove.

INT. BANK STREET FLAT - NIGHT - MOMENTS LATER
    Breaths, all breaths and pants and sighs from somewhere deep, a thirst for air to keep from drowning in release. Fonny holding himself just above Tish, both shaking, both sweating, from the shape of Tish's back, everything tense, pushed to its limit. That shawl gone now, wadded in a ball in some impossible location away from them. Fonny looking down at the space between their naked bodies. He can be such a little boy, that guilty smile:
    FONNY
    (sotto)
    I'm sorry to have made such a mess. But I guess you don't want to have no baby right away and I didn't have no protection.
    TISH
    (whispered)
    I think I made a mess too. Isn't there supposed to be blood?
    (a flash of shyness)
    It was my first time. Did you know?
    From Fonny's endearing look: of course he did.
    FONNY
    (sotto)
    I had a hemorrhage. Should we look?
    TISH
    (whispered)
    I don't mind.
    (and)
    Why are we whispering?
    That smile again:
    FONNY
    (sotto)
    It's what people do when they screw.
    Even Tish not naive enough to go for that, smacks him playfully, Fonny laughing it away:
    TISH
    I like lying here like this.
    FONNY
    I do too. Do you like me?
    (and)
    I mean - when I make love to you - do you like it?
    TISH
    You just want to hear me say it.
    FONNY
    That's true.
    (and)
    So....
    TISH
    So what?
    FONNY
    So why don't you go ahead and say it?
    Fonny kisses her. Clearly he's a man in love.
    TISH
    Well... it was a little bit like being hit by a truck...
    (and)
    ...but it was the most beautiful thing that ever happened to me.
    A long, silent beat, then...
    FONNY
    Yeah.
    (and)
    For me, too.

INT. C TRAIN - NIGHT
    Despite the lack of a crowd, Fonny and Tish standing at the center of this car, wedged against one another, Fonny holding, protecting Tish.

EXT. TISH'S HOME - DAY (DAWN)
    Fonny and Tish arriving on her stoop, hand in hand, the sun rising over Harlem. We see these quick beats as Tish describes them: "I thought Fonny would leave me there, but he took me by the hand and said...." Fonny, directly at us, all mouth and lips:
    FONNY
    I'll see you in.

INT. TISH'S HOME - DAY
    Ernestine on the couch, nursing a cup of coffee. At the SOUND of a key in the front door... a delicious smile on her face.
    ERNESTINE
    You're just in time for coffee.
    Tish and Fonny enter -- Tish leading, removing her key from the lock but... Fonny quickly stepping past her, faces up on Ernestine with purpose.
    TISH
    We was--
    FONNY
    Good morning, Miss Rivers, I'm sorry we comin' in so late. Can I speak to Mr. Rivers, please? It's important.
    These two standing side by side, hand in hand, a unit. That smile in Ernestine's eyes again:
    ERNESTINE
    It might be easier to see him if you come inside out that hall.
    TISH
    Sis, we--
    FONNY
    --want to get married.
    Both Ernestine and Tish looking at Fonny with wild eyes, his heart racing, that blurted out, forced its way out of him:
    ERNESTINE
    Then you better have some coffee, come on in here.
    Ernestine turning, leading the two of them into the apartment. From somewhere inside:
    SHARON (O.S.)
    Now where have you two been 'till this hour of the morning?
    CUT TO: THE KITCHEN ...Ernestine at the dining table nursing a cup of coffee, Sharon at the pot preparing another, by the looks of things preparing quite a few. As Fonny and Tish edge closer:
    SHARON
    Don't you know better than to be behaving like that? I declare, we was just about to call the police.
    Sharon looking across the kitchen at Ernestine, the two exchanging a look that makes this clear: they are not upset, having a good time with this. That lost on Fonny though, he's nervous as hell:
    FONNY
    I'm sorry Mrs. Rivers, it's all my fault.
    Tish inching closer to Fonny, right on his hip...
    FONNY
    I hadn't seen Tish for a few weeks and we had a lot to talk about; I had a lot to talk about, I kept her out.
    SHARON
    Talking?
    ...Tish inching away from Fonny.
    FONNY
    (nervous)
    We....
    The room dead quiet. In Sharon's eyes, expectation:
    FONNY
    We... want to get married.
    (all downhill now)
    That's how come I kept her out so late. I love Tish. That's why I stayed away so long. I even....
    (looks to Tish, a pain)
    ...I even went to see other girls and, I did all kinds of things, to kind of get it out of my mind.
    (checks Tish: still down)
    But I could see I was just fooling myself. I didn't love nobody else but her. And then I got scared that maybe she'd go away or somebody else would come along and take her away and so I came back.
    (squeezes her hand)
    I came runnin' back. And I don't have to go away again. She's always been my girl, Mrs. Rivers -- you know that. And... I'm not a bad boy. You know that. And you're... you're the only family I've ever had.
    A long, pronounced silence.
    SHARON
    Now see, that's why I can't figure out why you callin' me Mrs. Rivers all of a sudden.
    (and at Tish)
    I hope you realize, Miss, that you ain't but eighteen years old.
    ERNESTINE
    That argument and a subway token will get you from here to the corner.
    SHARON
    (at Ernestine)
    What do you think about all this?
    ERNESTINE
    Me? I'm delighted to be rid of the little brat. I never could see what all the rest of you saw in her, I swear. Take some sugar Fonny, you're going to need it if you intend to tie yourself up with my sweet little sister.
    SHARON
    (calling out)
    Joe! Come on out here, lightning's done struck the poorhouse! Come on now, I mean it!
    Fonny taking Tish's hand, as much to protect himself as to comfort her. Sound of Joe approaching, Tish and Fonny opening their stance to face him.
    JOSEPH
    (measured)
    I'd like you to tell me exactly what you mean young lady by walking in here this hour of the morning. If you want to leave home, then you leave home, you hear? But as long as you in my house, you got to respect it. You hear me?
    Joe's gaze shifting to Fonny. Fonny immediately releasing Tish's hand, takes a deep breath:
    FONNY
    Mr. Rivers, please don't scold her. It's all my fault, sir.
    FONNY
    I kept her out. I had to talk to her. I asked her to marry me. That's what we were doing out so long. We want to get married. That's why I'm here. You're her father. You love her. And so I know you know - you have to know - that I love her. I've loved her all my life. You know that. And if I didn't love her, I wouldn't be standing in this room now - would I? I could have left her on the stoop and run away again. I know you might want to beat me up. But I love her. That's all I can tell you.
    Joe looking at the boy, that same poker face as Sharon:
    JOSEPH
    How old are you?
    FONNY
    I'm twenty-one, sir.
    JOSEPH
    You think that's old enough to get married?
    FONNY
    I don't know sir, but it's old enough to know who you love.
    JOSEPH
    You think so?
    FONNY
    I know so.
    JOSEPH
    How you going to feed her?
    FONNY
    How did you?
    Joe's jaw tightening. Ernestine pushes a cup of coffee in his direction.
    JOSEPH
    You got a job?
    FONNY
    I load moving vans in the daytime and I sculpt at night. I'm a sculptor. We know it won't be easy.
    They stare at each other again. Joseph picking up his coffee without looking at it, sips it without tasting it.
    JOSEPH
    Now, let me get this straight. You asked my little girl to marry you, and she said--
    FONNY
    Yes.
    JOSEPH
    And you come here to tell me or to ask my permission?
    FONNY
    Both, sir.
    Both men measuring each other. Joe puts his coffee down.
    JOSEPH
    What would you do in my place?
    FONNY
    I'd ask my daughter. If she tells you she don't love me, I'll go away and I won't never bother you no more.
    Joe looks hard at Fonny, a long look, as though he wants to knock Fonny down, as though he wants to take him in his arms.
    JOSEPH
    (at Tish)
    You love him, Tish?
    TISH
    Yes.
    Joe looking from Fonny to Tish, the two of them joining hands, Tish to the side of but just behind Fonny, likely the first time Joe has ever seen a man between him and his daughter. A weighted, but lovely silence around the room. All of them slipping into the inevitability of this moment as we... CUT TO BLACK. And OVER BLACK, super-impose a period specific case-file, frame within the frame against BLACK: yellowed paper with brown horizontal lining, a hand written police report. We see this text as Tish narrates: "Mrs. Victoria Rogers, née Victoria Maria San Felipe Sanchez, declares that on the evening of October 5, between the hours of eleven and twelve, in the vestibule of her home, she was criminally assaulted by a man she now knows to have been Alonzo 'Fonny' Hunt, and was used by the aforesaid Hunt in the most extreme and abominable sexual manner, and forced to undergo the most unimaginable sexual perversions." CUT TO: A PHOTO ...still this frame within the frame against BLACK, a photo of Victoria Rogers, not crime related. Dressed simply, looking right at us. A portrait. We'll cycle through a series of these portraits as Tish continues: "I have never seen her. I know only that an American-born Irishman went to Puerto Rico six years ago and there, met Victoria, who was then eighteen. He married her and brought her to New York." IMAGE 2: Victoria and her Irishman, standing in front of the New York courthouse. "Having pumped three children out of her, he left." IMAGE 3: A simple establishing image of Orchard Street. "Her 'home' is on Orchard Street; Orchard Street, if you know New York, is a very long way from Bank Street." IMAGE 4: An establishing image of Bank Street. "Orchard Street is damn near in the East River and Bank Street is practically in the Hudson." IMAGE 5/SERIES: Alternating stills of Orchard and Bank streets to illustrate their distance from one another. "It is not possible to run from Orchard to Bank Street, particularly not with the police behind you. Yet, Officer Bell swears he saw Fonny 'run' from the scene of the crime." IMAGE 6: Rather than Victoria, a face we've not seen before, a red-headed, blue-eyed officer staring right at us. "This is possible only if Officer Bell were off duty, for his "beat" is on the West Side, not the East." IMAGE 7: Fonny in cuffs, being forced into a squad car by the aforementioned Bell. "And yet it is now up to the accused to prove - and pay for proving - the irregularity and improbability of this sequence of events." END SEQUENCE.:

INT. LAW OFFICE - DAY
    Tish and Sharon sitting beside one another in a very typical, very oak strewn law office. Across from them, a man who's name we've heard but not met: HAYWARD (30s, white), Fonny's lawyer.
    HAYWARD
    Well, as you know, this is a very difficult case.
    TISH
    That's why my sister hired you.
    HAYWARD
    And you're beginning to think that her confidence was misplaced?
    TISH
    No. I wouldn't say that.
    SHARON
    We miss him, that's all. This is... it's getting to us.
    HAYWARD
    I can certainly understand that, and I'm doing all I can to get him back to you just as fast as I can. But Mrs. Rogers' refusal to reconsider her testimony has left us in a very tough place.
    (beat)
    And now she's disappeared.
    TISH
    Disappeared? But...
    SHARON
    How can she just disappear?
    HAYWARD
    This is a very big city, a very big country, for that matter -- people disappear. I don't think she's gone very far, they certainly don't have the means for that. But her family may have returned her to Puerto Rico. In any case, in order to find her, I'll need special investigators, and--
    SHARON
    That means money.
    HAYWARD
    Unfortunately....
    TISH
    (sotto)
    That filthy bitch.
    Sharon reaching a hand to Tish's back:
    SHARON
    How much money?
    HAYWARD
    I'm trying to keep it as low as possible, but... special investigators are... special. And they know it.
    SHARON
    Puerto Rico?
    HAYWARD
    We don't know for sure, but it's a strong possibility. Anyway, she and her new man disappeared some days ago from the apartment on Orchard Street.
    TISH
    But doesn't it make it look bad for her story, to just disappear like that? She's the key witness.
    HAYWARD
    Yes. But she's... 'a distraught, ignorant, Puerto Rican woman, suffering from the aftereffects of rape. So her behavior is not incomprehensible.'
    (beat)
    You see what I mean?
    Hayward watching Tish, makes sure she gets what he's saying.
    HAYWARD
    And she's only one of the key witnesses in this case. You have to remember this Officer Bell; his was the authoritative identification of the rapist. It's Bell who swears he saw Alonzo running away from the scene of the crime. And I have always been of the opinion - we discussed this when your sister first brought me on - that it's his testimony which Mrs. Rogers continually repeats--
    TISH
    If he saw Fonny at the scene of the crime, then why did he have to wait and come and get him out of the house?
    SHARON
    Tish.
    (and to Hayward)
    You mean - let me get you straight now - that it's that Officer Bell who tells her what to say?
    HAYWARD
    Exactly.
    TISH
    You're saying--
    SHARON
    That there's no way of getting at the truth in this case?
    Off both their nonplussed faces:
    HAYWARD
    If I didn't believe in Alonzo's innocence, I would never have taken the case.
    TISH
    Call him Fonny.
    HAYWARD
    Excuse me?
    TISH
    Call him Fonny. When you call him Alonzo, I see the judge and bars and chains. I know you're doing my sister a favor and this is a very fancy law office, but... if you're doing this, you've gotta be family, call him Fonny, please.
    Hayward digests this, accepts it -- ingests the burden.
    HAYWARD
    I understand.
    (and)
    Now, you and Fonny insist that you were together, in the room on Bank Street with an old friend, Daniel Carty, that's the alibi. Your testimony, as you can imagine, counts for nothing, and Daniel Carty has just been arrested by the DA's office and I've not been allowed to see him, they're holding him incommunicado.
    Hayward rummages through the papers on his desk, a nervous tick.
    HAYWARD
    What they're doing is really against the law, but... Daniel has a record. They obviously intend to make him change his testimony. And, I do not know this, but I'm willing to bet that that's why Mrs. Rogers has disappeared. So. You see. I'll do the best I can, but... the situation is bleak.
    SHARON
    How soon do you need the money?
    HAYWARD
    We're already tracing Mrs. Rogers. I'll need the money as soon as you can get it. I'll also force the DA's office to allow me to see Daniel Carty, but...
    HAYWARD
    they'll throw every conceivable obstacle in my way.
    SHARON
    So... we're trying... to buy time.
    HAYWARD
    In a word... yes.

INT. NEW YORK CITY CORRECTIONAL FACILITY - DAY
    Fonny and Tish across that familiar divide.
    FONNY
    The fuck we going to do about Mrs. Rogers? Where the fuck did she go?
    TISH
    (calming)
    I don't know. But we'll find her.
    FONNY
    How you going to find her?
    TISH
    We're sending people to Puerto Rico. We think that's where she went.
    FONNY
    And suppose she went to Argentina? Or Chile? Or China?
    TISH
    How's she going to get that far?
    FONNY
    They can give her the money to go anywhere!
    TISH
    Who?
    FONNY
    The DA's office, that's who!
    TISH
    Fonny--
    FONNY
    You don't believe me? You don't think they can do it?
    TISH
    I don't think they have.
    FONNY
    How you going to get the money to find her?
    TISH
    We're all working, all of us.
    FONNY
    Yeah. My Daddy's working in the garment center, you're working in a department store, your Daddy's working on the waterfront--
    TISH
    Fonny, listen--
    FONNY
    Listen to what? What we going to do about that fucking lawyer? He don't give a shit about me, he don't give a shit about nobody! You want me to die in here? You know what's going on in here? You know what's happening to me? To me in here?
    Fonny's head going down to that desk, has to hide the moisture we clearly see falling to the table-top before him, wiped as quick as it falls, gotta stay a man.
    FONNY
    I'm sorry, baby. I don't mean none of that for you. I'm sorry. I love you. You know that, I'm sorry.
    TISH
    I do. And I understand what you goin' through, I'm with you baby.
    Fonny nodding that in, convincing himself. That smile again.
    FONNY
    How's the baby coming?
    TISH
    It's growing. I'll start showing more next month.
    Eye each other across this glass, Fonny trying to hold it together, but...
    FONNY
    Get me out of here, baby. Get me out of here, please.
    TISH
    I promise, baby, I promise.
    FONNY
    I'm sorry I yelled. I wasn't yelling at you.
    TISH
    (a tear forming)
    I know.
    FONNY
    Please don't cry. Please don't cry... it's bad for the baby.
    (and a smile now)
    Make they skin all wrinkled, come out lookin' like a old man, be givin' birth to a baby Red Foxx.
    Something between a laugh and a cry at that, tear and the laugh at once:
    FONNY
    That's right, give us a smile.
    Tish wiping another tear, composing herself, a nice smile:
    TISH
    Is that all right?
    FONNY
    You can do better than that.
    Tish sticking out her tongue, crossing her eyes.
    TISH
    Is this better?
    FONNY
    Yeah, you nut, give us a kiss.
    Tish's palm to her lips, placed flat against the glass. Fonny meeting it with his palm, then carrying it back to his lips.
    FONNY
    You still love me?
    TISH
    I'll always love you.
    FONNY
    I love you, baby. I miss you. I miss everything about you, I miss everything we had together, everything we did together, walking and talking and making love; baby, get me out of here.
    TISH
    I will. Hold on.
    FONNY
    I promise. You take care of yourself out there.
    TISH
    I will Fonny, you know I will.
    Fonny raising his fist to the glass, Tish meeting it. CUT TO BLACK.: "Fonny had been crossing Lenox Ave when he ran into Daniel. They had not seen each other since their days at the vocational school."

EXT. LENOX AVE - DAY
    Fonny and the aforementioned DANIEL standing on the sidewalk. A lot of laughing and high-fiving from the two but we don't hear any of it, instead, Tish's narration: "Time had not improved Daniel."
    ANGLE ON: DANIEL
    "He was still big, black, and loud; at the age of twenty- three, a little older than Fonny, but he was already running out of familiar faces. So... they grabbed each other on the avenue."
    DANIEL
    Wow! What's happenin'?
    FONNY
    Why you asking me, man?
    DANIEL
    Because, like the man says about Mt. Everest: 'You're there.'
    Fonny laughing at that, we can quickly tell he loves this cat.
    FONNY
    Come on. We got some beer at the pad. You remember Tish?
    DANIEL
    Skinny little Tish?
    FONNY
    Yeah. She's still my girl. We going to get married, man. Come on and let me show you the pad. And she'll fix us something to eat, I told you we got beer at the house.
    Fonny throwing a hand behind Daniel's neck jovially. "And though he certainly shouldn't be spending the money, he pushes Daniel into a cab and they roll on down to Bank Street: where I am not expecting them."

INT. BANK STREET FLAT - DAY
    Tish looking on with surprise as Fonny and Daniel push into the apartment still laughing their asses off. JUMP CUT TO: MOMENTS LATER Daniel and Tish exchanging hugs of greeting, Fonny gesturing and explaining this run in but, again, we hear none of it, instead: "But I could not be indifferent to Daniel because I realized, from Fonny's face, how marvelous it was for him to have scooped up from the swamp waters of his past, an old friend." CUT TO:

EXT. BANK STREET - DAY - MOVING
    Moving with Tish as she walks along the sidewalk, shopping bag at her shoulder. CUT BACK TO:

INT. BANK STREET FLAT - DAY
    Daniel and Fonny with fresh beers before them. A record player going as the two squat on the floor.
    DANIEL
    (both wishful and mocking)
    So, you really going to get married?
    FONNY
    Well, yeah, we looking for a place to live; we looking for a loft because that don't cost no whole lot of bread, you know, and that way I can work without Tish being bugged to death. This room ain't big enough for one, ain't no question about its being big enough for two, and I got all my work here and in the basement.
    Fonny lights a cigarette as he speaks:
    FONNY
    They got lofts standing empty all over the East Side, man, and don't nobody want to rent them, except freaks like me. And they all fire traps and some of them ain't even got no toilets. So, you figure like finding a loft ain't going to be no sweat.
    He takes a drag, hands it to Daniel.
    FONNY
    But man, this country really do not like niggers. They do not like niggers so bad, man, they will rent to a leper before they'll rent to a nigger, I swear.
    Fonny lights another cig, keeps this one for himself. Daniel takes a sip of his beer.
    FONNY
    Sometimes Tish and I go together, sometimes she goes alone, sometimes I go alone. But it's always the same story, man. And now I can't let her go alone no more because, dig, last week we thought we had us a loft, the cat had promised it to her. But he had not seen me. And he figures a black chick by herself, way downtown looking for a loft, well, he know he going to make it with her.
    FONNY
    He thinks she's propositioning him, that's what he really thinks. And she comes to tell me - just so proud and happy - and we go on over there. And when the cat sees me, he says there's been some great misunderstanding, he can't rent the loft because he's got all these relatives coming in from Rumania like in half an hour and he got to give it to them. Shit. And I told him he was full of shit and he threatened to call the cops on my ass.
    Fonny looking away, up at that small window looking up out at the sidewalk from this low vantage:
    FONNY
    (to himself)
    I'm really going to have to try to figure out some way of getting some bread together and getting out of this fucking country.
    DANIEL
    How you going to do that?
    FONNY
    I don't know yet.
    (beat)
    Tish can't swim.
    Fonny and Daniel whoop and rock with laughter. After a moment:
    DANIEL
    (soberly)
    Maybe you could go first.
    FONNY
    Nah.
    (and)
    I don't think I want to do that. I'd be too scared.
    DANIEL
    Scared of what?
    A long, long beat. The cigarette and the record are finished. There's nothing to hide behind.
    FONNY
    Just scared.
    DANIEL
    Scared of what might happen to Tish?
    FONNY
    Yeah.
    (then)
    Scared of what might happen to both of us - without each other. Like Tish ain't got no sense at all, man, she trusts everybody. She walk down the street, swinging that little behind of hers, and she's surprised, man, when some cat tries to jump her. She don't see the world like everybody see it.
    And silence falls again, Daniel watching Fonny:
    FONNY
    I know I might seem to be a weird kind of cat. But I got two things in my life, man - I got my sculpting and I got Tish. If I lose them, I'm lost. I know that. You know, whatever's in me I didn't put there. And I can't take it out.
    DANIEL
    I don't know if you so weird. I know you lucky. I ain't got nothing like that. Can I have another beer, man?
    FONNY
    Hell yeah you can.
    Fonny up and over at the icebox, opens two more cans.
    DANIEL
    I just come out the slammer, baby. Two years. They said - they still say - I stole a car.
    (beat)
    I mean I had a little pot on me when they grabbed me but man, I can't even drive a car.
    Fonny returns, hands one of those beers to Daniel, Daniel taking a long swallow, a devious smile:
    DANIEL
    But, then, it sounded a whole lot better than that marijuana charge.
    Daniel laughs and sips his beer.
    DANIEL
    (to himself)
    Two God damn years.
    FONNY
    By the balls.
    DANIEL
    Yeah. By the balls.
    The loudest and longest silence, then CUT TO:

EXT. BANK STREET FLAT - DAY
    Tish moving along sidewalk, the same as before, returning now with a paper sack of goods.

INT. BANK STREET FLAT - DAY - MOMENTS LATER
    Tish entering, setting those goods to the counter, the little kitchenette off the entrance.
    FONNY (O.S.)
    You need some help in there?
    TISH
    No thank you, I'm fine.
    (and)
    Y'all good?
    Tish leans to the left, around the curtained partition separating this kitchenette from the rest of the place. She can see them through the sheer but the gesture of this leaning out, Daniel and Fonny both send a put on smile and a wave. She rolls her eyes, returns to the sink. As she watches them through the curtain, CUT BACK TO:
    FONNY AND DANIEL
    More hushed tones now.
    FONNY
    How long you been out?
    DANIEL
    About three months.
    (and)
    Man, it was bad. Very bad. And it's bad now.
    DANIEL
    Maybe I'd feel different if I had done something and got caught. But I didn't do nothing. They were just playing with me, man, because they could. And I'm lucky it was only two years, you dig? Because they can do with you whatever they want. Whatever they want. And they dogs, man. I really found out, in the slammer, what Malcolm and them cats was talking about. The white man's got to be the devil. He sure ain't a man. Some of the things I saw... I'll be dreaming about until the day I die.
    Fonny puts one hand on Daniel's neck.
    FONNY
    That's alright, man. You out now, it's over, you young.
    DANIEL
    Man, I know what you're saying. And I appreciate it. But you don't know, the worst thing, man, the worst thing, is that they can make you so fucking scared. Just... scared, man.
    Beat. The heaviest beat, then...
    TISH
    (calling out)
    You cats hungry?
    FONNY (O.S.)
    (joking)
    Yeah, we starvin'. Move it!
    CUT TO:

INT. BANK STREET FLAT - NIGHT - LATER
    The three of them caught mid-laugh, gathered around the lone wood table in this space. A few open bottles of beer about. And little Tish has made a feast: ribs and cornbread and rice, gravy and green peas.
    DANIEL
    It's nice to see you, Tish. You sure ain't gained no weight, have you?
    TISH
    You hush. I'm skinny because I'm poor.
    DANIEL
    Well, I sure don't know why you didn't pick yourself a rich husband. You ain't never going to gain no weight now.
    TISH
    Well, if you skinny, Daniel, you can move faster and when you in a tight place, you got a better chance of getting out of it. You see what I mean?
    DANIEL
    You sound like you got it all figured out. You learn all that from Fonny?
    (at Fonny)
    Maybe she can't gain no weight, but you sure will. You folks mind if I drop by more often?
    FONNY
    Feel free.
    (winks at Tish)
    Tish ain't very good looking, but she can sure get the pots together.
    TISH
    I'm happy to know I have some use.
    Tish curling her lips at Fonny across the table. He smiles, starts chewing on a rib. They all do, letting the talk subside for a beat as they enjoy this meal, then... ...Fonny and Tish locking eyes across the table, absent Daniel, away from Daniel and... "In complete silence, without moving a muscle, we are laughing with each other. We are together somewhere where no one can reach us, joined." ANGLES ON: TISH AND FONNY

..alternating, both of them looking directly at us as Tish continues:
    "We are happy, even, that we have food enough for Daniel, who eats peacefully, not knowing that we are laughing, but sensing that something wonderful has happened to us... which means that wonderful things happen... and that maybe something wonderful will happen... to him." CUT TO BLACK. And OVER BLACK, the sound of footsteps, hollow and reverberating, as though echoing down a long, slender hall. As these footsteps continue to sound... ...a figure taking shape, like shoulders, the silhouette of something. The entire image brightening now as, at the end of this hallway, a point of light emanating from the center. Those shoulders approaching the light, as they near it, another sound rising, most similar to a wail; a child's wail. The shoulders moving with more purpose now, picking up speed, furiously attempting to reach that light. A wall of noise, the clatter of feet in this hallway, the ever present wail and, that point of light, no matter how fast we move or how loud those footsteps, never growing closer, an infinite, futile scramble as... SMASH CUT TO: SHARON ...standing above us, a wet towel in her hand, the look on her face one of concern.

INT. TISH'S HOME, BEDROOM - NIGHT
    Tish's eyes closed, heavily asleep. But her body clinched with tension, hand gripping at the sheet, feet kicking atop the covers. A guttural, muted sound rising from Tish's chest as Sharon sits to the bed beside her, gently lays a hand to Tish's brow, caresses her head. Slowly, Tish's eyes opening, drifting into consciousness. Sharon dabs the wet towel at Tish's temples, looks down at her lovingly:
    SHARON
    I know I can't help you very much right now - God knows what I wouldn't give if I could. But I know about suffering.
    SHARON
    And I know that it ends. I ain't going to tell you no lies, like it always ends for the better. Sometimes it ends for the worse. You can suffer so bad that you can be driven to a place where you can't ever suffer again. And that's the worst. That's so much worse than any suffering.
    Sharon setting that towel down, taking Tish's hands and enveloping them in her own.
    SHARON
    Try to remember that.
    (and)
    I know a lot of our men have died in prison: but not all of them. You remember that. And you ain't really alone in that bed. You got that child beneath your heart and we're all counting on you, Fonny's counting on you, to bring that child here safe and well. You the only one who can do it. But you one of us. Which mean you made of tough stuff. You understand?
    TISH
    Yes, Mama.
    SHARON
    Are you all right now? Can you sleep?
    TISH
    Yes.
    SHARON
    I don't want to sound foolish. But remember, love brought you here. If you trusted love this far, don't panic now, trust it all the way.
    Sharon leans down, kisses her daughter on the forehead. Another caress with that towel then she rises, heads for the door. Turns off the light behind her as we... CUT TO: LATER ...and brighter, Tish waking in bed, having slept through the night.

INT. TISH'S HOME, KITCHEN - DAY
    Tish dressed now, Ernestine already at the dining table thumbing through some paperwork, Sharon at the counter pouring a cup of coffee as Tish enters.
    ERNESTINE
    (without looking up)
    Hey, Jezebel.
    Tish sticking her tongue out at her sister as she passes, comes up behind Sharon and gives her mother a hug. "Sis started calling me Jezebel after I got my job at the perfume counter. She said..."
    ANGLE ON: ERNESTINE
    ERNESTINE
    (with a wicked smile)
    You smell like a Louisiana whore.

INT. C TRAIN, DOWNTOWN - DAY - MOVING
    The first time we've seen Tish take the train by herself. Crowded as the car is, she's incredibly alone. And visibly pregnant. "The store thought that it was very progressive to give this job to a colored girl."

INT. BERGDORF GOODMAN - DAY - MOVING
    Entering hurriedly through the main show-floor with Tish, passing her coworkers - her white coworkers - as she hustles to clock in...

INT. BERGDORF GOODMAN - DAY - LATER
    Tish a bit more "made-up," standing behind the perfume counter. "I stand behind that counter all day long, smiling till my back teeth ache." As we draw closer to Tish, see the strain to keep that outward face... "And it isn't only old white ladies who come to that counter to smell the back of my hand." QUICK VIGNETTE: Tish and an aforementioned Old White lady, Tish's smile false as the color of this women's wig. "Very rarely does a black cat come anywhere near this counter, and if he does, his intentions are often more generous and always more precise." QUICK VIGNETTE: Tish at the counter, one of the aforementioned "Black Cats" approaching the perfume counter but not stopping, moves past it with a cautionary look thrown Tish's way. "Perhaps for a black cat, I look like a helpless baby sister. And he doesn't want to see me turn into a whore." QUICK VIGNETTE: Tish behind the counter as a different "Black Cat" approaches, comes right up to the counter. "And yet some black cats come closer, just to look into my eyes, to check out what's happenin'. And they never smell the back of my hand." QUICK IMAGE SERIES: Just as Tish describes it... "A black cat puts out his hand, and you spray it, and he carries the back of his own hand to his own nostrils." BACK TO TISH: At the counter as a plain, middle-everything white man approaches. "But a white man?"
    QUICK IMAGE SERIES:
    Just as Tish describes it...
    "A white man will take your hand, he will carry your flesh to his nostrils... and he will hold it there."
    Hold on this image, and on Tish looking without feeling, a forced smile to obscure, then...
    "He will hold it there for a lifetime."

INT. SPANISH RESTAURANT - DAY
    Tish and Ernestine together in a corner, the same table we've seen Tish and Fonny occupy countless times before (and Tish still dressed from her shift at Lord and Taylor's).
    ERNESTINE
    Well don't you smell nice.
    Off Tish's rolled eyes:
    ERNESTINE
    You want the good news or the bad news first?
    TISH
    Bad news.
    ERNESTINE
    See that's how you know we family.
    (and)
    Bad news is, they found Mrs. Rogers, she's in Puerto Rico. Somebody's gonna have to go there to talk to her.
    TISH
    Which we'll have to pay for.
    A nod yes from Ernestine.
    TISH
    Okay, what's the good news?
    ERNESTINE
    That... they found her, I guess?
    TISH
    How she get to Puerto Rico?
    Ernestine shrugging, a sip of her beer:
    TISH
    I can't go to Puerto Rico.
    Another look from Ernestine, more biting: obviously.
    TISH
    So Hayward?
    ERNESTINE
    Hayward's got to deal with Bell and the DA. Anyway, you can see that, for many, many reasons, Hayward can't go. He'd be accused of intimidating a witness.
    TISH
    But that's what they're doing--
    ERNESTINE
    It would take us until your baby is voting age to prove that.
    ERNESTINE
    Look, mama and daddy don't know, I haven't talked to them yet, wanted to talk to you first.
    Tish nodding at that, taking it all in. She goes cold:
    TISH
    Do you think she really was raped?
    ERNESTINE
    Tish... I don't know what's going on in that ingrown mind of yours, but that question don't mean a thing. As far as our situation is concerned baby, she was raped. That's it.
    Ernestine takes a sip of her drink.
    ERNESTINE
    I think, in fact, that she was raped and that she has absolutely no idea who did it, would probably not even recognize him if he passed her on the street. I may sound crazy, but the mind works that way. She'd recognize him if he raped her again. But then it would no longer be rape, if you see what I mean?
    TISH
    I see what you mean. But why Fonny?
    ERNESTINE
    Because he was presented to her as the rapist and it was much easier to say yes than to try and relive the whole damn thing. This way, it's over for her.
    TISH
    And for us, too?
    ERNESTINE
    No. Not even. It won't ever be over for us.
    Tish taking a beat before this next part, fixes Ernestine in her sights:
    TISH
    What about Puerto Rico?
    ERNESTINE
    That's one of the reasons I wanted to talk to you. Before we talk to Mama and Daddy. Look. You can't go, no way you can. For one thing, without you, Fonny will panic. I don't see how I can go, I've got to keep lighting firecrackers under Hayward's ass. Daddy can't go, and God knows Frank can't go. That leaves Mama.
    TISH
    Mama?
    A nod from Ernestine:
    TISH
    She don't want to go to Puerto Rico.
    ERNESTINE
    And she hates planes. But she wants your baby's father out of jail. She'll go.
    TISH
    And what do you think she can do?
    ERNESTINE
    She can do something no special investigator can do: she may be able to break through to Mrs. Rogers. Maybe not, but if she can, we're ahead. And if not, well, we haven't lost anything, and at least we'll know we've tried.
    TISH
    And what about Daniel? Daniel can vouch for us, Daniel knows Fonny was with him.
    ERNESTINE
    I told you. Hayward is seeing him tomorrow. He may have been able to see him today.
    Tish nodding it all in, confirming it all in her head.
    TISH
    Some shit.
    ERNESTINE
    Yeah. But we in it now.

INT. SHOWMANS JAZZ CLUB - DAY
    Lot of regulars at the bar hovering over sad drinks. As we take it all in, a pair of familiar faces appearing there in the back: Joe and Frank, each nursing what appear to be rocked up whiskey.
    FRANK
    What we going to do?
    JOSEPH
    Well, the first thing we got to do is to stop blaming ourselves. If we can't do that, man, we'll never get the boy out because we'll be so fucked up. And we cannot fuck up now, baby, and I know you hear where I'm coming from.
    FRANK
    I hear that but man, what we going to do about the money?
    JOSEPH
    You ever have any money?
    Frank looks up at him and says nothing, merely questions him with his eyes.
    JOSEPH
    You ever have any money?
    FRANK
    No.
    JOSEPH
    Then why you worried about it now?
    Frank looks up at him again.
    JOSEPH
    You raised them somehow. You fed them somehow, didn't you? If we start to worrying about money now, man, we going to be fucked and we going to lose our children. That white man, baby, he want you to be worried about the money. That's his whole game.
    JOSEPH
    But if we got to where we are without money, we can get further. I ain't worried about they money -- they ain't got no right to it anyhow, they stole it from us -- they ain't never met nobody they didn't lie to and steal from. Well, I can steal, too. And rob. How you think I raised my daughters? Shit.
    But Frank is not Joseph. He stares down again, into his drink.
    FRANK
    What you think is going to happen?
    JOSEPH
    What we make happen.
    FRANK
    That's easy to say.
    JOSEPH
    Not if you mean it.
    There is a long silence into which neither man speaks. Even the jukebox is silent.
    FRANK
    I guess... I love Fonny more than I love anybody in this world. And it makes me ashamed, man, I swear, because he was a real manly little boy, wasn't scared of nothing, except maybe his Mama. He didn't understand his Mama. And I don't know what I should've done. I ain't a woman. And there's some things only a woman can do with a child.
    Frank sips his drink, tries to smile.
    FRANK
    I don't know if I was ever any kind of father to him - any kind of real father - and now he's in jail and it ain't his fault and I don't even know how I'm going to get him out. I'm sure one hell of a man.
    JOSEPH
    Well, he sure think you are. He loves you, and he respects you;
    JOSEPH
    now you got to remember that I might know that better than you. Tell you something else: your son is the father of my daughter's baby. Now, how you going to sit here and act like can't nothing be done? We got a child on the way here, man. You want me to beat the shit out of you?
    He says this with ferocity but, after a moment, smiles.
    JOSEPH
    Now I know some hustles and you know some hustles and these are our children and we got to set them free. So, let's drink up man and go on in. We got a whole lot of shit to deal with in a hurry.
    CUT TO BLACK.: "The date for Fonny's trial keeps changing. This fact, of course, forces me to realize that Hayward's concern is genuine."

INT. HAYWARD'S OFFICE - DAY - MONTAGE 3
    Hayward standing behind his desk, looking down on stacks upon stacks of paperwork. "I don't think that he very much cared in the beginning. He'd never taken a case like Fonny's before, but... once into it, the odor of shit rose too high -- he had no choice but to keep stirring it."

INT. DOWNTOWN ASSOCIATION - DAY - MONTAGE 3
    Hayward caressing a snifter of cognac surrounded by other lawyer types, a good old boy feel to it... with Hayward appearing out of place. "It became obvious at once, for example, that the degree of his concern for his client placed him at odds with the keepers of the keys and seals."
    ANGLE ON: HAYWARD
    "He had not expected this and at first it bewildered... then frightened and angered him."

INT. TISH'S HOME - NIGHT - MONTAGE 3
    The family engaged in what appears to be a spirited discussion, inaudible the whole of it, all Tish: "It didn't help that I distrusted him, Ernestine harangued him, Mama was laconic and, for Joseph, he was just another white boy with a college degree."

INT. C TRAIN - DAY - MOVING - MONTAGE 3
    Tish looking substantially more pregnant than we've seen her previously. "And so... mama begins letting out my clothes..."

INT. UPPER WEST SIDE APARTMENT - DAY - MONTAGE 3
    Ernestine sitting before a well appointed desk in the foyer of the most monied domicile we'll see all film, a young, pretty white woman pacing before her. "Ernestine takes a second job as a part-time secretary to a rich and eccentric actress whose connections she intends to use." CUT TO: SPLIT SCREEN: the docks on one side, the garment district on the other. "And Joseph and Frank are coldly stealing from the docks and the garment center, selling the hot goods in Harlem or in Brooklyn."

EXT. HARLEM SIDE STREET - DAY - MONTAGE 3
    Frank and Joe standing at the rear doors of a van we've not seen before, the two of them in conversation with other men as they gesture into the bed of the van. "They don't tell me any of this, of course. But I know it. I know it." CUT BACK TO: HAYWARD -- a look in his eyes, at once present and far away.

INT. DOWNTOWN ASSOCIATION, MENS ROOM - DAY
    We begin in the Barbershop, Hayward just completing a simple trim, then... ...he rises, moves through a hallway. As he does, we see more of this place -- old school, marble counter-tops, the finest wood, understatedly immaculate in that "old NY money" way. Hayward lands at one of the many empty sinks -- there's no one else here. Or is there? As he hovers above the basin, notes his finely coifed hair... a figure in the periphery catches his eye, Hayward looking up and to the right, locks eyes with a reflection in the mirror: An elderly black man watching from the wings: dress shirt, a tie slipping beneath a black vest, the RESTROOM ATTENDANT. The restroom attendant reaches past Hayward, turns on the tap. After a moment for Hayward to properly rinse his hands, the restroom attendant extends a towel, stands at the ready as Hayward dries. Hayward returns the towel to the attendant. The evidence of things not seen.
    RESTROOM ATTENDANT
    Have a good day, sir.
    Hayward heads for the exit as we... CUT TO BLACK.: And OVER BLACK, a new SOUND rising, like the city through a window, distant and present at once. "I remember the night the baby was conceived. It was the day we found our loft."

INT. CANAL STREET LOFT, STAIRWELL - DAY
    Fonny and Tish following a third man we've not seen before (LEVY, tall, lanky, white). Bare, industrial this place, looks more like a heavy machinery operation than residential housing. And yet... here Tish is, holding Fonny's hand as they climb these stairs, this strange white man glancing back at them with a smile. Levy reaches the landing, waits for them. He keys the lock, but...
    LEVY
    So... you read the ad, right?

INT. CANAL STREET LOFT - DAY
    Levy leading Tish and Fonny into a massive, barren space -- cement floors, chipped paint, windows stained a thousand different colors by the weight of sun and time.
    LEVY
    Okay lady and gentleman, here we are.
    Levy turns back to them as he moves deeper into the space, Fonny still following but Tish frozen, a mix of surprise and dread on her face.
    LEVY
    I know it's not much to look at but we're not done with it, see... you gotta imagine there's walls like over here...
    (jogs a few feet away)
    And here, see?
    FONNY
    Yeah Tish, it's not done, they still workin' on it.
    Tish opens her mouth to speak, but... the sight has left her speechless.
    TISH
    Fonny...
    (and)
    I'm sorry, but... how we gonna make a home outta this?
    Fonny comes back over to her, takes her by the hand:
    FONNY
    With love baby, I know we can. Look here....
    Fonny guides her back over near Levy, the three of them sharing the same vantage point now, looking directly toward the windows.
    FONNY
    Imagine we got walls here and here, running all the way to the back, right?
    He moves away, into the center of the apartment, looks back to Tish and Levy:
    FONNY
    See, it won't be all this, we'll have our own space, it'll be us here and maybe some other young folks over there and there, like a community, right?
    LEVY
    Yeah, a community.
    TISH
    But... where we supposed to cook and sleep and bath, I mean... where my mama and 'nem gonna sit?
    FONNY
    Easy, we'll put a couch over here--
    Fonny hustles over to the spot where the couch will go.
    FONNY
    --and the bed? We'll put the bed right back here so I can see you in that pretty light when the sun rises.
    He's made his way near the window, arms wide to gesture just about where that sunlit bed is going to lay.
    FONNY
    And eatin'? Well, I think we should have the dining table over here--
    (moves there)
    --and really the only thing left is the fridge but, I ain't tryna throw out my back before we even had time to make a kid so Levy, help me with this fridge man.
    Fonny runs back over to them, pantomimes opening a door. Game, Levy follows, the two of them moving past Tish, out that fictional door, then...
    FONNY
    1... 2... 3.
    Fonny and Levy pantomiming as though they've just taken up opposite ends of that fridge, Levy backing through the imaginary door and past Tish, Fonny following with his "end."
    FONNY
    (straining)
    I tell you what it was a load getting up those stairs, but what a man won't do for love, eh Levy?
    LEVY
    Amen, brother.
    They sit the "fridge" down in its place, the two of them huffing and puffing. Fonny locks eyes with her, expectant. Tish tries her best to fight it, but... she smiles.
    TISH
    You're quite crazy, you know that?
    Fonny drifts over to her, takes her hand again:
    FONNY
    Why yes, my dear, I do.
    TISH
    But also...
    (beat)
    Quite cute.

EXT. CANAL STREET, ROOFTOP - DAY - MOMENTS LATER
    The three of them standing on the roof of this building.
    LEVY
    Don't worry about the neighbors. After five or six o'clock, you won't have any. All you got down here is sweatshops; place on the ground floor is legit.
    (and)
    Common decency requires I tell you that, the stairwell we came in on? Allows access to the building interior, not the sidewalk, so... in case of a fire...
    FONNY
    ...our best bet is to come on up, hop to another building or ride it out up here?
    A nod in the affirmative from Levy, looking from Tish to Fonny, expectant. The two of them dumbfounded, no telling how many places they've seen at this point, none of them yielding this result.
    FONNY
    Other than it being a firetrap, what's the catch?
    LEVY
    What's that?
    Fonny pausing a moment, debating, then...
    FONNY
    No offense Levy, but we been lookin' a long time. Don't seem to me like it's a reason for you to treat two Negros so nice like, clearly we ain't got a pot nor much of a drink to make piss with; pardon my French.
    Levy looking away from Fonny here, briefly at Tish and then, for just a moment, at their hands joined there.
    LEVY
    Look, with me, it's simple: I dig people who love each other. Black, white, green or purple, doesn't matter to me, just spread love, you know?
    FONNY
    So you a hippie? I didn't take you for no hippie.
    LEVY
    Nah, I'm just my mother's son. Sometimes that's all what makes the difference between us and them.
    Fonny pulling Tish into his side, the two of them lovely together. And from the look on Levy's face, this loveliness is exactly why the place will be their's.
    LEVY
    Keep in touch about getting that deposit together, you hear?
    A nod from Fonny, earnest.
    FONNY
    Will do, Levy. Will do.

EXT. BLEECKER STREET - DUSK - MOVING
    Walking with Tish and Fonny, this path from Soho to the Village. Twilight out, the sun below the horizon, nearly night. That energy in the street when the day is ending; and peacefully. It would be a Friday, the feel of the eminent weekend and all that it promises. A quiet, lazy pace these two, Tish leaned into Fonny as she's wont to do. No place in particular to hurry to; what else could possibly matter? A beat of this walking then... Fonny stops; no reason, just stops walking mid-stride. Looks to the ground, and then to the sky. Throws his head back and shouts, yells to the heavens. He's still holding Tish's hand. And from the smile on his face, this is a joyous shout. Tish looking into his face, the smile now spreading to her. Not a word spoken between them. Without thinking, Tish throws her head back as well, shouts the same as Fonny. Those smiles wider between them as they pick up their walk again, looking from one to the other. Tish catching Fonny's eye. Throws her head back once more and, again, yells to the sky. Fonny stops, takes Tish by the hand, pulls her into him, a hand to her chin, speaks softly:
    FONNY
    You ready for this?
    TISH
    Yes.
    (and)
    Ain't nothin' else in the world I'm more ready for.
    Fonny smiling, big, bright, a child's face. He is as happy as any man could be. They're walking again, approaching a corner up ahead, an intersection with a small grocer on the corner.
    TISH
    I'm gonna grab some things for dinner.
    A delay from Fonny, just watching her. Leans over to kiss her on the forehead:
    FONNY
    I'm'a grab me some smokes across the street.
    Fonny splitting off, moving into the crosswalk, a small cigar shop just across the way. We stay here with Tish, watch Fonny go a moment, then...

INT./EXT. VEGETABLE STAND - NIGHT
    Tish just inside the entrance of this place, a selection of Italian home goods set just onto the sidewalk, a full bakery with low-slung aisles of groceries and produce inside. She's at the tomato stand, rummaging through it when we hear:
    VOICE (O.S.)
    I can sure dig a tomato who digs tomatoes.
    Tish turning to that voice, finds herself face to face with a small, greasy ITALIAN PUNK. His hand on Tish, caressing her behind. He licks his lips, smiles.
    ITALIAN PUNK
    Hey, sweet tomato. You know I dig tomatoes.
    And now people are watching. Tish searching them, looking for help but people only stare, no one moves. Tish goes to move past him, leaves the tomatoes there but the boy grabs her arm. Instinctively, she slaps him - BAP! And at this moment, Fonny enters the store, grabs the boy by the hair, knocks him to the ground and kicks him something fierce. Takes him by the lapel and drags him out onto the sidewalk, tosses him in the gutter. Tish screaming Fonny's name and, at first, we're not sure why, Tish grabbing a hold of him and, oddly, turning her back to Fonny's chest, reaches behind her and pulls him close to her, his chin at the crown of her head. And then we see him: a uniformed officer hurrying across the intersection, eyes flaring, billy-club at the ready. As he nears, we recognize him: this is the aforementioned, blue-eyed officer from Tish's remembrances, OFFICER BELL. Tish holding the back of her head against Fonny's chest, both his wrists clutched in her two hands.
    TISH
    (to Bell, frantic)
    That man there attacked me. Right in this store. Right now. Every- body saw it.
    No one says a word. Bell looking at them all, still staring but nobody speaking. Then he looks back at Tish. And Fonny. There is no pity in Bell's face.
    OFFICER BELL
    (at Fonny)
    And where were you, while all this...
    Bell's eyes drifting over Tish in exactly the same way the boy's had...
    OFFICER BELL
    ...while all this was going on between junior there and your girl?
    TISH
    He was around the corner, buying cigarettes.
    OFFICER BELL
    Is that so, boy?
    Tish's body jerking as Fonny's hands clench in her grasp:
    TISH
    (sharp)
    He's not a boy, Officer.
    Bell taking another look at Tish and Fonny as someone in the crowd gets the Italian Punk to his feet.
    OFFICER BELL
    You live around here?
    The back of Tish's head is still on Fonny's chest, but he's released his wrists from her hands.
    FONNY
    Yes, on Bank Street.
    OFFICER BELL
    We're going to take you down, for assault and battery.
    VOICE (O.S.)
    Oh no you're not.
    Tish, Fonny, Bell, everyone's eyes going to the shop now, a small, elderly ITALIAN LADY standing there with one hand on her hip, the other pointing sharply at Bell:
    ITALIAN LADY
    I know both these young people. They shop here very often. What the young lady has told you is the truth. I saw them both when they came. I was busy, I could not get to her right away; her tomatoes are still on the scale. And that little good-for-nothing over there attacked her. What would you do if a man attacked your wife? If you have one.
    The crowd snickers. Bell flushes.
    ITALIAN LADY
    I saw exactly what happened. I am a witness. And I will swear to it.
    OFFICER BELL
    Funny way to run a business.
    ITALIAN LADY
    You will not tell me how to run my business. I was on this street before you got here and I will be here long after you are gone.
    The Italian lady reenters the store and takes Tish's tomatoes off the scale and puts them in a bag.
    OFFICER BELL
    (to Fonny)
    Well... ...be seeing you around.
    FONNY
    You may... ...and then again, you may not.
    A beat of these two holding eyes as the crowd disperses. There's a dark, heavy promise in these eyes. It runs both ways.

EXT. BLEECKER STREET - NIGHT - MOVING
    Tish and Fonny moving quietly down the sidewalk. Fonny holds the bag of tomatoes in the crook of one hand; the other arm he entwines through Tish's. They walk slowly.
    FONNY
    Tish...
    TISH
    Yes?
    FONNY
    Don't ever try to protect me.
    TISH
    But you were trying to protect me.
    FONNY
    (heavy; quiet)
    It's not... ...the same... ...thing.
    Fonny takes the bag of tomatoes... and smashes them against the nearest wall. They make a beautiful, chiaroscuro mess of streaking red. But, mercifully, they hardly make a sound. The two of them standing apart now, Fonny with his hands in his pockets, looking down at his feet, disgusted. Tish with a hand covering her mouth, the other wrapped about herself. Fonny closing the space, takes her hand in his:
    FONNY
    Don't think I don't know you love me. You believe we going to make it?
    Tish embracing him, a hand to his cheek, a very full kiss. She draws back, starts to say something, but... he puts a finger to her lips. Smiles his little smile.
    FONNY
    Don't say a word. I'm going to take you out to dinner. At our Spanish place, you remember?
    Tish nodding yes, holds his gaze. A beat of this, then...

INT. SPANISH RESTAURANT - NIGHT
    Fonny and Tish escorted to their table in Pedrocito's restaurant, holding hands as they follow him.
    FONNY
    We have no money, but we are very hungry. And I will have some money in a couple of days.
    PEDROCITO
    In a couple of days, that is what they all say. And, furthermore, I suppose that you would like to eat sitting down!
    FONNY
    Why, yes, if you could arrange it, that would be nice.
    PEDROCITO
    (over shoulder)
    And now, no doubt, you would like two margaritas?
    FONNY
    (as he sits)
    Caught me again.
    A wink and a laugh from Pedrocito as he disappears into the rear of this place. Fonny takes Tish's hand atop the table there. All eyes; holding eyes, speaking with eyes, loving with eyes. And from this look, a plea, a promise, a thirst within... CUT TO:

INT. BANK STREET FLAT - NIGHT
    Fonny and Tish on the palette, making love. No need for any details beyond this: making love, making it all the way to and through the point of release, Tish holding on to Fonny, keeping him here, keeping him in. Both their breaths subsiding after the act, Fonny's mouth close at Tish's ear, all whispers and...
    FONNY
    Tish.
    (and)
    Oh Tish.
    CUT TO BLACK.: "We are beginning to have a somewhat acrid dialogue, this thing and I."

INT. TISH'S HOME, KITCHEN - DAY
    Tish standing at the stove, preparing a simple meal, by the looks of her belly, very pregnant, a sign of the present.
    QUICK IMAGE SERIES:
    Just as Tish describes it...
    "It kicks, and I smash an egg on the floor."
    ANGLE ON: egg hitting the kitchen floor.
    "It kicks, and suddenly the coffeepot is upside down on the table."
    ANGLE ON: coffee spilling across the dining table, Ernestine jumping to avoid the burn as Tish doubles over.
    "It kicks, and the perfume on the back of my hand brings salt to the roof of my mouth and my free hand weighs on the glass counter with force enough to crack it in two."
    ANGLE ON: Tish at the perfume counter, doubled over in pain as a coworker rushes over.
    TISH
    Goddammit!
    (and sotto)
    Be patient. I'm doing the best I can. Please.
    Tish gripping that perfume counter again, a guttural grunt. "And then it hauls off again, like Muhammad Ali, and I'm on the ropes."

INT. TISH'S HOME - NIGHT
    Empty, at least visually so, just the furniture and a muted light from the kitchen hitting the floor. That hallway running towards the bedrooms directly before us, empty like the rest of this place. And yet, a sound echoing off the floors and walls here. Distinct: it's the sound of vomiting. A beat more of this sound and then a toilet flushing, running water. A moment later... ...Tish appears, clutching her stomach and forehead at once, approaching down that hall, holding onto the wall as she goes, moves past us and turns for the dining table. Sits and, within moments, Joseph appearing from just inside the kitchen, had no idea he was there, sets down a warm mug of something, a wedge of lemon and bottle of honey beside. He takes a seat opposite her, watches as she squeezes the lemon into the water, hangs her head over that cup a beat. His eyes, all sympathy: he'd carry it himself if he could.

INT. NEW YORK CITY CORRECTIONAL FACILITY - DAY
    Fonny alone at the glass this time, phone at the ready, looking on as Tish waddles across the room.
    FONNY
    Here she come! Big as two houses!
    Tish smiling as she sits to a stool, one of the few instances she won't mind folks calling out her weight.
    FONNY
    You sure it ain't twins? Or triplets?
    (shit eating grin)
    Shit, we might make history.
    Fonny throwing back his head at his own joke, laughing loud enough the sound travels through that glass.
    TISH
    (at her belly)
    Your daddy figure hisself a comedian.
    Fonny calming, smiles at his love.
    FONNY
    You look good baby.
    TISH
    Thank you, honey.
    FONNY
    Better than anybody over here, don't care how big you get.
    TISH
    Well as soon as that ain't the truth somethin' wrong, you tell me 'cause I'm outta here then.
    Tish settles on her stool there, head lolling slightly to the side. She's relaxed now. And in that relaxed state, takes him in, sees him better:
    TISH
    How you doin', husband?
    FONNY
    I'm good, wife.
    (and)
    You here now. I'm all good now. You know I love you.
    TISH
    You know I love you.
    A nod from Fonny.
    TISH
    No matter what happen with all of this sh--
    Tish's hand going to the glass, palm flat, the stool scooting back as she leans forward, all her weight going there. Fonny shocked, his hand going to the glass as he shoots upright, helpless.
    TISH
    I'm alright.
    FONNY
    Tish.
    TISH
    I'm okay.
    She looks up, manages a smile, a smile streaked through with pain and clipped breaths. Fonny's hand still on the glass, was aligned perfectly with Tish's. Hers removed now, always a lady: smoothing her hair, looks to the guard who's appeared over her left shoulder.
    TISH
    (at guard)
    I'm okay.
    (and at Fonny)
    I'm fine.
    Fonny settling, something about this moment revelatory for him, the physical evidence of things he'd only assumed before. If that.
    TISH
    You alright?
    FONNY
    Me? I'm not the one just got punched by a midget inside they belly.
    Tish and Fonny holding eyes a beat. A second beat. A third beat, and, finally... Tish cracking, a smile at the corner of her lips and then, a laugh, a hand to her belly to support the shaking and now, an all-out gutbuster of a laugh. Fonny doing the same on the other side of that glass, the two of them laughing so hard together the others around them, on both sides of the glass, noticing. The couple holding eyes as the laugh subsides, even as it fades the presence of it steady, all there in the lines at the corner of their mouths, same smiles they've exchanged since bathing together as kids. Hold here a beat, a noticeable beat. If they never have another moment, they'll have had this. And like every moment, it'll have all been worth it. CUT TO BLACK.: "Mama gets to Puerto Rico on an evening plane."

EXT. SAN JUAN INTERNATIONAL AIRPORT - NIGHT
    A majestic, period-appropriate Pan-Am jet freshly parked off the runway, unloading directly to the tarmac. Dozens of travelers in some form of deplaning, descending down portable stairs. Just a beat of this to recognize Sharon de-boarding amongst the others.

INT. SAN JUAN INTERNATIONAL AIRPORT - NIGHT
    From the first frame: loud, a cacophony of voices pushing an aggressive brand of Spanish in here. Families and their many possessions throughout this space, few people talking, everyone shouting. With her overly done-up clothes and hair, Sharon sticking out, the darkest, most American figure in view. We find her at the front of a line, engaged with an AIRPORT STAFFER.
    SHARON
    Do you speak English?
    A smile from the staffer, friendly, but no answer.
    SHARON
    I'm sorry but I don't speak any Spanish and I've had to come here unexpectedly. And I don't drive, you see?
    More silence from the staffer and, it must be noted: for a black woman raised in the Jim Crow South, this is one of the few moments in Sharon's life she can be said to emit privilege.
    SHARON
    (desperate)
    You see?
    AIRPORT STAFFER
    One moment Señora.
    Sharon waiting, watching as the girl rounds this Hertz desk, moves off into the throng. Watching her as Sharon does, we get a good look at the terminal: many peoples of various shades - and all atop one another, hard to breathe - with all the possessions they could carry here staged without the promise of leaving or going, just... here.
    VOICE (O.S.)
    Señora...
    Sharon turning, finds the airport staffer approaching, a shy, humble boy of about eighteen following close.
    AIRPORT STAFFER
    This is Jaime, your driver, he will take you to your hotel, tell him.
    Sharon digging into her small clutch, retrieves a small piece of paper and hands it to the boy. He meets her eyes.
    JAIME
    It will be my pleasure, Señora.

INT. JAIME'S CAB - NIGHT - MOVING
    Sharon in the backseat, staring out at this alien landscape, the sound of the paved but worn road beneath them. She and Jaime eyeing each other in the rearview, each of them on the sly. Nervous, curious. Finally:
    JAIME
    It is okay, Señora. You are safe with me.

INT. HOTEL DEL RICO, SUITE - NIGHT
    Sharon's suitcase atop the bed, its contents spilled over. Takes a moment to take it all in. Reaches down and grabs one item: a stylish, Cotton Club-esque hat. Turns to the mirror behind her, sizes herself up, puts on the hat. Indifferent. Sharon takes the hat off, comes back to her reflection again. She's thinking, considering. She puts the hat on again. Beat.

INT. HOTEL DEL RICO, ELEVATOR - NIGHT - DESCENDING
    Just a beat here with Sharon and the mirrored elevator door. She's staring into her own eyes. She is not wearing that hat.

INT. JAIME'S CAB - NIGHT - MOVING
    More sound, more jostling at these worn roads. Sharon looks... ridiculous, like the American tourist she is in a club dress and black shawl wrapped about her head. More eyes in that rearview, from Jaime that same curiosity. When Sharon meets his gaze this time, neither looks away.
    SHARON
    Thank you for waiting.
    JAIME
    Of course, Señora.
    Sharon holding this boy's eyes in the rearview, dumbstruck. The air thick with something, chaste, a connection. Out the window, every now and then what's best described as a shanty-town arising in the distance. A small flame, a single light. The sound of the car's movement wed to these images, then...

INT. LA PIAZZA RESORT, LOBBY - NIGHT
    Sharon standing in the foyer of a San Juan Resort Hotel, the lobby behind her, entrance of the subterranean nightclub before her. The entry to the club runs clear through to a dance-floor, at the lip of the dance-floor a raised band-stand.

INT. DISCOTECA LA PIAZZA - NIGHT
    Sharon sitting alone in a nightclub booth, the music louder now, much more ridiculous, a Puerto Rican cover of something wild and propulsive. Sharon taking in the scene. It's early, not many people in this place, the other booths mostly empty. A man approaching now, a clear cocktail held aloft.
    SERVER
    Your drink Señorita.
    SHARON
    Thank you.
    And as the man turns to move away:
    SHARON
    Excuse me.
    SERVER
    Yes, Señorita?
    The man stepping closer.
    SHARON
    Well... I'm supposed to meet a friend here, but the flight I meant to take was overbooked, so I was forced to take an earlier one, I'm not sure he's here yet.
    SERVER
    Who is your friend?
    SHARON
    It's actually more the nature of business. I'm waiting for Señor Alvarez; Pietro Alvarez. I'm Mrs. Rivers. From New York.
    A reaction from the server. Clearly something Sharon said struck a chord.
    SERVER
    Yes, Señorita. I will tell Señor Alvarez.
    The man leaves. Sharon takes up her screwdriver, downs the balance of one half it. Beat. Sharon waits. In this waiting, a realization: this is the first time Sharon's been alone in a very long time. By herself at this booth, an older woman, a black, American woman, so alien to this place. Sharon reaching into her clutch, retrieves a tasteful compact- looking contraption, it's contents a surprise: a row of immaculate Virginia Slims. As she brings the first cig to her lips, lights it:
    MAN (O.S.)
    You Mrs. Rivers?
    (and)
    You waiting for me?
    Sharon looking up from that cig, a slender, Latino man with a strained mustache standing before her. This is PIETRO, Victoria's boyfriend.
    SHARON
    Pietro? Pietro Alvarez?
    PIETRO
    Maybe. What you want to see him about?
    SHARON
    I don't especially want to see Mr. Alvarez. I want to see Victoria Rogers. I'm the mother-in-law of the man she's accused of rape.
    Pietro shifting at that, Sharon the last person he assumed would walk into his club tonight. He takes a seat.
    PIETRO
    Well lady, you got one hell of a son-in-law, let me tell you that.
    SHARON
    I also have one hell of a daughter, let me tell you that.
    PIETRO
    Look, she's been through enough; more than enough. Leave her alone.
    SHARON
    A man is about to die for something he didn't do, can we leave him alone.
    VOICE (O.S.)
    Another drink, Señor Alvarez?
    Both Sharon and Pietro looking up at that, the server returned.
    PIETRO
    It's on me, give the lady what she wants. And give me the usual.
    On the bandstand, the Puerto Rican rockers launch into Esta Bien Mi Nena. The server moves away.
    SHARON
    Do you believe I love my daughter?
    PIETRO
    Frankly lady, it's hard to believe you got a daughter.
    That said as a come-on. To her shock, Sharon is empathizing with Victoria.
    SHARON
    Do you think I would marry my daughter to a rapist?
    PIETRO
    You might not know.
    SHARON
    Son, listen: I know that she was raped, and I know... I know what women know. But I also know that Alonzo did not rape her.
    PIETRO
    Why you comin' to me? Shit, I ain't nothin': Indian, wop, spic, spade, that's me baby. I got my little thing here and I got Victoria and lady, I don't want to put her through no more shit, I'm sorry.
    Pietro pushing back from the table:
    SHARON
    No, please.
    Sharon grabbing a hold of Pietro's hand. With her free hand, Sharon reaching into her clutch, digging frantically. Retrieves a photo from there, a photo of Fonny and Tish, thrusts it toward Pietro.
    SHARON
    Look at them.
    (and)
    Look at them.
    The music louder, more propulsive now, those kids on the bandstand letting into that song.
    SHARON
    Take this photo home; take it to Victoria. Take it and you ask her, you show it to her and you ask her, ask her to study it. Hold her in your arms; do that. I'm a woman, I know what women know, I know that she was raped. But I also know, I know that Alonzo did not rape her.
    Beat. Not a long beat though - a quick one - just enough for Pietro to glance at that photo, then... ...free his hand from Sharon's, leaves that photo with her as he disappears across the dance-floor. Off Sharon watching him go, defeated, broken and embarrassed all at once... CUT TO:

EXT. RESORT LAPIAZZA - NIGHT
    Jaime waiting, pops to attention as... ...Sharon approaches, blows right past him, shocks him as she marches on. Jaime frozen to the spot, watches as Sharon reaches the gravel lot, plumes of light dust behind her, reaches the cab and lets herself into the back seat. Jaime watching his cab for a beat, unsure what to do. Slowly, tentatively, he begins towards the cab. Reaches the passengers side door and... stops.

INT. JAIME'S CAB - NIGHT - SAME
    Sharon in the backseat here. Slouched down, cradled into herself, sobbing. Jaime outside the window, allowing her this moment.

INT. HOTEL DEL RICO, SUITE - DAY
    Bright, bright daylight, peaceful and quiet. Sharon gazing out of her hotel window at Puerto Rican sun. Below her, in the parking lot, that familiar cab and Jaime. "When Mama wakes in the morning, Jaime is there waiting for her. She has become his responsibility because, as the man said about Mt. Everest: 'You're there.'"

INT. JAIME'S CAB - DAY - MOVING
    The sound of rough gravel beneath tires, Sharon looking out the window of Jaime's cab at the passing slum. Desolate out there, the San Juan found between resort towers, a cross between rural, hood and everything in between. A beat of travel, then:
    JAIME
    I think it might be here. You say she is blond, yes?
    Sharon nodding, focusing on the slum appearing up ahead, a sight to see even for a woman who's seen her share of hard places.

EXT. BARRIO - DAY
    Jaime standing beside his cab, looking on as Sharon approaches what can only be described as poor, wretched, squalor. From the look on his face, he does not want to allow her to make this walk alone and yet, Sharon continues on.

EXT. BARRIO APARTMENT BUILDING - DAY
    Sharon reaching the third level of this makeshift walk-up, rounds a banister and finds herself in a dim corridor, apartment doors on either side running back toward the sunlight. She begins down the hall, the doors of all these places ajar to various degrees, Sharon peeking into each cautiously. At the end of the hall, Sharon easing toward a cracked door. With care, she places her foot within the threshold, nudges the door wide as the space of her shoulders. SHARON'S VIEW: within the room, a thin, blonde-haired girl going about cleaning. Sharon is staring. The girl is pregnant. VICTORIA turns, feels Sharon watching. A brief beat of them facing one another, ten, twelve feet between them. From her indifferent look, Victoria has no idea who Sharon is.
    SHARON
    Mrs. Rogers?
    Victoria's eyes narrow.
    VICTORIA
    No, Señora. You are mistaken. I am Sanchez.
    They watch each other. Sharon is still leaning in the entry. Victoria makes a movement toward the door, as though to close it, but stops. She touches the crucifix at her throat.
    VICTORIA
    Excuse me, Señora, but I have work to do. I don't know any Mrs. Rogers. Maybe in one of the other places around here?
    She looks at Sharon with bitterness. Sharon straightens and, for the first time, they are looking each other in the eye.
    SHARON
    I have a photograph of you.
    Sharon takes out the photograph of Victoria and holds it up. Victoria walks toward the door. As she advances, Sharon moves from the threshold, meets her in the room.
    VICTORIA
    Señora, I have my work to do. What do you want with me? I don't know you.
    SHARON
    I know you don't know me. Maybe you never even heard of me.
    Victoria shifting, something resigned in her stance. A deep sigh, a dig into her pocket, reveals a pack of cigarettes:
    VICTORIA
    Do you smoke?
    She extends the pack toward Sharon. There is a plea in Victoria's eyes and Sharon, with a shaking hand, takes the cigarette and Victoria lights it for her. She puts the pack back into the pocket of her housecoat.
    SHARON
    I know you don't know me. But you must have heard of me.
    Victoria looks briefly at the photograph of herself in Sharon's hand; looks at Sharon.
    VICTORIA
    Look. I ain't got nothing against nobody. But I got to ask you to get out of here.
    SHARON
    I'm here to try to get a man out of prison. That man is going to marry my daughter. And he did not rape you.
    Sharon takes out the photograph of Tish and Fonny.
    SHARON
    Look at this.
    Victoria turns away, sits on the unmade bed. Sharon approaches her.
    SHARON
    Look at it, please. This is my daughter. The man with her is Alonzo Hunt. Is this the man who raped you?
    Victoria will not look at the photograph, or at Sharon.
    SHARON
    Is this the man who raped you?
    Victoria looks down at the photograph, briefly, then up at Sharon.
    VICTORIA
    It looks like him.
    (and, coldly)
    But he wasn't laughing when he was raping me.
    That taking the air out of Sharon, her breath going shallow at its utterance, can feel Victoria calcifying in the moment.
    SHARON
    May I sit down?
    Victoria says nothing. Sharon sits beside her, on the bed. After a beat:
    VICTORIA
    Look, lady, before you go any further, just let me tell you, you can't do nothing to me, I ain't alone here, I got people.
    SHARON
    I'm not trying to do anything to you. I'm just trying to get a man out of jail. An innocent man.
    VICTORIA
    Lady, I think you in the wrong place. Ain't no reason to talk to me. Ain't nothing I can do.
    Sharon looks away from her, out the window, the scramble of her thoughts wrought clear on her face.
    SHARON
    (cautious)
    How long were you in New York?
    VICTORIA
    Too long.
    SHARON
    Did you leave your children there?
    VICTORIA
    Listen. Leave my children out of this.
    It's hot, Sharon takes off her jacket.
    SHARON
    Why did you come back here?
    Victoria rises and walks to the window. Sharon follows, the two of them staring out at the sea together. A prolonged silence, a fleeting truce inspired by this view.
    SHARON
    Daughter... in this world, terrible things happen to you, and we can all do some terrible things.
    Sharon is careful; she's close, watching Victoria.
    SHARON
    I was a woman before you was a woman - remember that. And I know, I know, you pay for the lies you tell.
    She stares at Victoria. Victoria stares at her.
    SHARON
    You've put a man in jail, a man you've never seen. He's twenty-two years old, he wants to marry my daughter.
    She releases Victoria's gaze, turns back to the window.
    VICTORIA
    I did see him.
    SHARON
    You saw him in the police lineup. That's the first time you saw him, the only time.
    VICTORIA
    What makes you so sure?
    SHARON
    Because I've known him all his life.
    Victoria looking back to Sharon, huffing with a scorn that runs deep, runs certain and heavy.
    VICTORIA
    One thing I can tell, lady: you ain't never been raped.
    That statement registering viscerally: Victoria has been raped. By someone.
    VICTORIA
    They took me down there and they asked me to pick him out and that's what I did, I picked him out.
    SHARON
    But you were... it happened in the dark. You saw Alonzo in the lights.
    VICTORIA
    There's lights in the hallway, I saw enough.
    Sharon grabs her again, and touches the crucifix.
    SHARON
    Daughter... in the name of God.
    Victoria looks down at Sharon's hand on the cross... and screams: a piercing, impossible sound. She breaks away from Sharon, runs to the door (which has remained open all this time).
    VICTORIA
    Get out of here! Get out!
    Victoria is screaming in Spanish. Doors open. People begin to appear. Sharon hears the horn of Jaime's taxi. One of the older women in the hall comes to the door, and takes Victoria in her arms. Victoria collapses, weeping, into this woman's breasts; and the woman, without a look at Sharon, leads her away into the hall. Everyone else is staring at Sharon. An interminable silence. Off the sound of Jaime's horn... HARD CUT TO:

INT. BANK STREET FLAT - NIGHT
    Or is it day? Hard to tell, the light, the sound, the tone of everything here suspended in that in-between place, neither night nor day, present nor past. Fonny is working on the wood. It is a soft, brown wood, it stands on his worktable. The wall is covered with sketches. His tools are on the table. He walks around the wood, terrified. He does not want to touch it. He knows that he must. But he does not want to defile the wood. He stares and stares, almost weeping. He is waiting for the wood to speak. Until it speaks, he cannot move. He picks up a chisel, he puts it down. He lights a cigarette, sits down on his work stool, stares, picks up the chisel again. He puts it down, goes into the kitchen to pour himself a beer. Comes back with the beer, sits down on the stool again, stares at the wood. The wood stares back. He picks up the chisel again, and approaches the waiting wood. Touches it very lightly with his hand, caresses it. He listens. He puts the chisel, teasingly, against it. The chisel begins to move. Fonny begins, and...

INT. NEW YORK CITY CORRECTIONAL FACILITY, CELL - DAY
    Fonny lying here, eyes wide, staring at the ceiling. A beat of him lying this way, unblinking, looking far off and away to that vision, then...

INT. NEW YORK CITY CORRECTIONAL FACILITY - DAY
    Tish at the glass, waiting as Fonny approaches from the other side. Seeing him in the light now, he looks different than we've seen him previously, decidedly worse: gaunt, thinned and bruised. Fonny looks to Tish, looks into her as he takes up the phone:
    FONNY
    You all right?
    TISH
    Yes. I'm all right.
    FONNY
    The baby all right?
    TISH
    Yes. The baby's fine.
    He grins. It is, somehow, a shock to Tish.
    TISH
    We got to get some meat on your bones, Lord, have mercy.
    FONNY
    Speak up. He can't hear you.
    That playful, said with a smile, the best of Fonny.
    TISH
    (hesitant)
    But listen... there's something I gotta tell you.
    Fonny nodding, readying himself:
    TISH
    Mama came back from Puerto Rico. She found Victoria, but... the girl went crazy, they don't know where she is now.
    Beat.
    TISH
    So the trial might get postponed.
    Fonny holding Tish's gaze here, knows she's watching him, does everything in his power to keep it together, to not break, the strain on that receiver in his hand palpable.
    TISH
    Fonny...
    FONNY
    I'm fine.
    A deliberate beat as Fonny changes before her, something warm seeming to drift away from him, drain from his face.
    TISH
    Hayward's not charging us no more, we almost got the money to bail you out.
    Takes a moment, just enough for the delay to read:
    FONNY
    I figured you would.
    Every word out of Fonny's mouth here bittersweet.
    FONNY
    Listen, I'll be out soon.
    Tish's face, at once shocked and yet trying hard to mask it:
    FONNY
    I'm coming home because I'm glad I came, can you dig that?
    Beat.
    FONNY
    See now? I'm an artisan. Like a cat who makes tables. I don't like the word artist. Maybe I never did. I sure the fuck don't know what it means. I'm a cat who works from his gut, with his hands. I know what it's about now. I think I really do. Even if I go under. But I don't think I will now. I know I won't.
    He's far from her. Here with her, yes. But very far away.
    FONNY
    Baby, I love you. And I'm going to build us a great big table and our family gonna be eatin' off it for a long, long time to come.
    (and)
    And I'm all right, too. Don't you worry. I'm coming home. I'm coming home, to you. I want you in my arms. I want your arms around me. I've got to hold our baby in my arms. It's got to be. You keep the faith.
    Fonny grinning now, something bringing him back:
    FONNY
    Don't you worry. I'll be home.
    Fonny grins again, stands and extends his fist to the glass as always. A moment of those fists there, as though transferring the warmth through that barrier, then... ...Fonny bends to kiss the glass. CUT TO BLACK.: "I saw Bell everywhere... and all the time. We spoke once."

EXT. GREENWICH VILLAGE - DAY
    A very pregnant Tish moving down the sidewalk, a large Salvation Army bag of secondhand clothing and goods clutched at her chest. She's a bit frantic, in a hurry as she double-checks where she is, gets her bearings. A half a block with her this way, this hurried gate, then... ...she hits the corner, a stop sign at the crosswalk. The streets full with the mid-afternoon rush. Tish taking it all in, glad for a brief respite here at the corner when... ...she looks across the roadway, sees a familiar face: Officer Bell. Approaching up the avenue, taking his time, not a hint of hurry to him, the spitting image of "whistling Dixie." Tish glancing down the block, could hang a left, walk the long way around but... rather than avoid him, she continues across the intersection, walks directly toward Bell. That smile of his. That ridiculous fucking smile.
    OFFICER BELL
    Can I carry that for you?
    TISH
    No.
    (and)
    No thank you.
    Tish looks into his eyes. There is something passing between them, deliberate and fierce. Bell watching and Tish not looking away, nor betraying herself: gives him no emotion, just the veil.
    OFFICER BELL
    Well, you ain't got far to go. Sure wish I could carry it for you, though.
    Bell steps closer now, close enough that Tish looks about herself, looks as though to see if anybody's watching:
    OFFICER BELL
    I ain't a bad guy. You ain't got to be afraid of me.
    TISH
    I'm not afraid.
    Beat. An extended, unbearable beat.
    OFFICER BELL
    A good day to you, then, miss lady.
    Tish holds her ground, watches Bell as he eases back along the walk from whence he came.

INT. BANK STREET FLAT - DAY
    Tish entering, sitting in her chair, looking up out the small window, the sun faint, nearly night out. That bag she was carrying sitting on the table beside her. She reaches for it and... lurches fully, doubles over like something strong and full of purpose just socked her. The moment passing, Tish checking her watch and looking at the door again. A resigned sigh and she stands, looks down into that bag and begins pulling things from it. A few small items at first and then, surprisingly, a block of wood. Takes the wood, walks it over to Fonny's work table, goes to set the block there. She sits again. Tish's hand at her belly as the soft rain outside echoes through the room. Beat. A considerable beat, long enough to feel uncomfortable, disorienting. As something seems to shift in Tish, an awakening... CUT TO:

EXT. BLEECKER STREET - DUSK - MOVING
    Moving with Tish and Fonny, this path from Soho to the Village again. The light, the sound, all of it familiar: we're back with our couple in one their purest moments again, yelling to the sky. As Tish bounds and leaps into Fonny's arms, we HEAR...
    FONNY (V.O.)
    I want to be in your arms...
    CUT TO: WATER Looking up and through water -- submerged in water, the image refracted and reflecting a bright, white light.
    FONNY (V.O.)
    I want to hold you in my arms.
    And a child -- a beautiful, brown child.
    FONNY (V.O.)
    I've gotta hold our baby in my arms. It's gotta be.
    The baby's back to us, buoyed gently at the surface of the water by a pair of hands, hands we come to see are Sharon's as she appears above that water, lifts the baby...
    FONNY (V.O.)
    It's gotta be.
    OUT OF THE WATER And us with it, the image fixed to this baby, to its back -- equidistant, as though connected. Water streaks and obscures our view, dripping from the child's back as we follow it up, up and over to... Tish -- exhausted, laid back against the edge of that very simple bathtub. Sharon hands the child to Tish. It wails like hell as we CUT TO...

EXT. RIVERSIDE PARK - DAY
    The beginning as ending, where this all started: two young lovers holding each other's gaze, looking right at us. "We're still not married. After all that's happened, neither of us cares what that means. Fonny was once 22. I was 19. CUT TO:

INT. TISH'S HOME, BATHROOM - DAY
    Tish and Fonny as children, innocently playing in a bubble bath. "But neither of us is young anymore. We can't afford to be. Instead, we must live the life we've been given..." CUT TO: A child's face, staring wide-eyed and free.

INT. PENITENTIARY, VISITATION ROOM - DAY
    "...And live it so that our children can be free." A low hanging ceilinged room, hard light through the window reflecting off a poorly buffed floor. That child still gazing plaintively, innocently at us. As he does, we CUT TO: A MONTAGE OF STILL IMAGES Of black men under systemic aggression and duress. Tish underscores the imagery. "There aren't enough hours in the day or judges on the bench to try all the cases brought against these men. The game has been rigged and the courts see it through: a trial is your right. But to bury you beneath the prison for forcing the judge and prison is the court's right to." CUT BACK TO:

INT. PENITENTIARY, VISITATION ROOM - DAY
    "And so... like many of these poor men, Fonny took a plea." Tish standing before a vending machine, holding the hand of the child we saw gazing plaintively. The same girl, but... a woman now -- from the look and feel of her, four, five years on from the main thrust of the story that's come before. Which, of course means that child is... Fonny and Tish's son, ALONZO JR. Alonzo tugs at Tish's hand again, gestures across this room as... approaching from across the way, escorted by a guard we SEE... Fonny -- like Tish, a little older here, but... unlike her, looks somehow younger than we last saw him. Less hair up top, clean shaven. A quick, chaste hug and he sits opposite them --
    TISH
    I see you been eatin', good.
    FONNY
    (at Alonzo Jr.)
    Look like I ain't the only one.
    TISH
    Nope: the apple don't fall too far from the tree.
    Fonny gestures at the table, an assortment of vending machine items spread there -- Honey Buns, Salt and Vinegar Potato Chips, powered donuts, etc.
    FONNY
    Who all this for?
    TISH
    Who you think?
    ALONZO
    For you, daddy.
    FONNY
    Where you get the money to pay for all this? You got a job now, man? You runnin' numbers?
    TISH
    (to Alonzo)
    Say dollar straight, dollar box.
    ALONZO
    Dollar straight, dollar --
    FONNY
    Hey don't be teachin' him that mess.
    A smile between them as the moment passes, nervous energy. Fonny takes in his son, notices the boy scribbling something furiously on a piece of drawing paper.
    FONNY
    (getting closer)
    What's that?
    He reads something scribbled many times across the paper, hard to make out in the child's handwriting.
    ALONZO JR
    That's wen you come home daddy.
    Like a sledgehammer that, Fonny's eyes failing to mask the shock.
    TISH
    Ever since I told him... he just writes it everywhere.
    Fonny goes dark at that, an acknowledgement. Fonny runs his hand warmly atop Alonzo's head with one hand. With his other, reaches for one of those snacks.
    FONNY
    Well, I don't know about y'all but, I'm starving.
    As he goes to open a bag of chips... Alonzo stops him, takes his hand.
    ALONZO
    No, you gotta say grace.
    Fonny looks across at Tish with raised eyes, a smile.
    FONNY
    Well alright then.
    Tish reaches across the table, takes Fonny's hand in hers. The child between them, they each take either of the child's hands in theirs. Alonzo looks to his father:
    ALONZO JR.
    Close your eyes, daddy.
    A playful smile from Fonny as he does as told. The three of them holding hands across this table, eyes closed, plates of simple food before them. The child leads them in saying grace:
    ALONZO JR.
    Thank you, God, for the food we are about to eat. And for all of your blessings that we have received. And for my daddy.
    (beat)
    In Jesus name, Amen.
    TISH & FONNY
    Amen.
    The child opens his eyes, releases his parents' hands and begins to eat. Fonny's eyes locked on the child, oblivious, one with his meal. Across the table though, Tish returning Fonny's gaze, the two of them locked into a silent exchange. As the moment passes, the two of them taking up bags of junk food to begin this meal, we... ...quietly, patiently... FADE TO BLACK.:

Summary: Note: The film's structure is non-linear, but this plot summary is written in a linear fashion. Clementine "Tish" Rivers and Alonzo "Fonny" Hunt have been friends their whole lives. They become romantically involved when they get older. In the 1970s, they struggle to find an apartment, as most New York landlords would not rent to black people. Eventually, they find a place in a warehouse being converted to loft apartments; Levy, the Jewish landlord, rents it to them at a good rate because he enjoys seeing couples who are in love, regardless of race. That night, Tish is harassed by a man while in a mostly white grocery store. He begins to assault her, so Fonny physically throws him out of the store. A white policeman nearby, Officer Bell, attempts to arrest Fonny for it, but reluctantly lets him go when the Jewish woman who runs the grocery store vouches for them and chastises Bell for his racism. Fonny is later arrested and accused of raping a woman named Victoria Rogers. Although nearly impossible for him to have gone from the scene of the crime to the apartment where he was arrested in the time between the rape and the arrest, the case against Fonny is considered strong due to Officer Bell's testimony. The claim is he saw Fonny fleeing the scene, and Victoria identified Fonny in a lineup as her rapist. Tish, as well as Fonny's friend Daniel Carty, were with him at the time of the rape, but it is considered an unreliable alibi due to Tish's romantic relationship with Fonny and Daniel's previous conviction for grand theft auto (he had been arrested for marijuana possession but was offered a plea for auto theft, a lesser charge at the time). Tish visits Fonny in jail as he awaits trial and reveals to him that she is pregnant with their baby. Fonny is excited to be a father, but saddened that the birth might be while he is still behind bars. Later, Tish tells her parents, Sharon and Joseph, and sister, Ernestine, about her pregnancy. Though worried for her, Tish's family is supportive and decide to invite Fonny's family over to share the news. Frank, Fonny's father, is excited, however, Fonny's highly religious mother declares that as the child was conceived out of wedlock, Tish and her child are damned. As Mrs. Hunt begins to leave with her daughters in disgust after Frank hits her, Sharon reminds her that she has just condemned her own grandchild, leaving her emotionally distraught as she is escorted away. In a bar, Frank and Joseph discuss how the former is worried about paying for a child and Fonny's legal expenses, but Joseph convinces him that they will be able to provide for their grandchild the same way they provided for their own children. Sharon travels to Victoria's native Puerto Rico to plead with her to change her testimony. She tries to convince her she mistakenly identified Fonny as her rapist, but Victoria refuses. Questioning whether Victoria could have seen her rapist's face in the dark, Victoria says the police told her to identify Fonny in a line-up, and she did so. When Sharon gently touches her, Victoria begins to scream. An elderly woman overhears the commotion and comes to take Victoria away. Discouraged by the seeming hopelessness of his case and the constant trial delays, Tish gives birth to her son without Fonny, who eventually accepts a plea deal. Tish and their child, Alonzo Jr., visit Fonny in prison. They share dinner together from the vending machines, while looking forward to Fonny's eventual release.