Friday Feature: Shia Shabazz Smith

Shia Shabazz Smith is a writer-director and educator based in Oakland, California. With over 20 years of storytelling across mediums, her work centers Black voices, cultural integrity, and emotional truth. Her directorial debut, DAWN—a love story with a kiss of a sci-fi twist—is currently in post-production. As a screenwriter, her short film Curdled offers a humorous and poignant glimpse into a prenatal support group for women over 40. Starring Keke Palmer, Robinne Lee, and Chenoa Maxwell, Curdled has screened at eight international film festivals. Shia’s writing spans narrative, documentary, and animation, including I Am a King, an animated series celebrating the brilliance of Black boys. Beyond her creative work, Shia is committed to nurturing the next generation of storytellers. She has served as a recurring speaker for BAVC Media youth programs, a mentor for BAYCAT in San Francisco, and as part of the leadership team at Black Girls Film Camp. A Cave Canem Fellow and three-time Sundance Screenwriters Lab second-round advancer, Shia continues to create intentional art that transforms, heals, and liberates. She was honored as the inaugural “Spark” artist in Torch Literary Journal, recognized by established and celebrated writers. Additional honors include being named Muse of African American Poetry for the City of Alameda and premiering her one-woman show, Moments We Know, at the John L. Warfield Center for African and African American Studies at the University of Texas at Austin. Shia’s work continues to evolve across film, literature, and performance, carrying forward her commitment to telling stories that embody depth, honesty, and liberation.

Doll

based on real people and events

EXT. TONI’S APARTMENT - BALCONY - NIGHT (1975)

TONI JUNIOR “TJ” (5, alert, observant) stilts her Barbie up the stairs of a milk crate makeshift “dream house.” The doll wears a wrap dress made of ribbons and cloth.

TJ’s mom, TONI (25, chaotic, weary) chain-smokes; peers through binoculars at a distant DRIVE-IN THEATER SCREENING of the film, MAHOGANY.

INSERT: Through binocular lenses, the scene in Mahogany plays where TRACEY (Diana Ross) screams erratically into the face of her hopeless lover, BRIAN (Billy Dee).

TONI

(mimics Tracey, fiery)

I’m gonna be a bigger success than you

can ever see!

TJ

(sighs)

You always watch this.

TONI

Shhh!

Toni scowls to portray “Brian.”

TONI (CONT'D)

(mimics Brian, intensely)

Success is nothing without someone to

share it with.

The phone rings INSIDE. Toni stamps out her cigarette in the large, ash and cigarette-butt-filled abalone shell ashtray, opens the sliding glass door, goes INSIDE, and closes the door behind her.

TJ remains on the balcony, picks up the binoculars, watches Mahogany, curiously.

INT. TONI'S APARTMENT - LIVING ROOM - CONTINUOUS

Toni races through the cluttered room, the air thick with tension and smoke. She answers the phone, paces with it.

TONI

Lead Engineer? That’s so exciting.

Congratulations!

MAN’S VOICE (O.C.)

(on phone)

We should celebrate. Maybe... Vegas?

Toni pauses, speechlessly excited for a beat.

Toni abruptly turns, remembers TJ. She marches to the sliding glass door, KNOCKS on it, GRUNTS an inaudible command with a curt finger wave. TJ puts the binoculars down, goes back to her doll play.

MAN’S VOICE (O.C.) (CONT'D)

(on phone)

Hello?

TONI

I’m here.

MAN’S VOICE (O.C.)

(on phone)

So?

Toni’s gaze floats up, lands on a framed photo of her “bougie,” disapproving mother, BOSS “NANA” WILLIS (58), and her loving father, NATHANIEL “GRAMPA” (60), looking down on her.

Toni stands taller, proudly lifts her chin.

TJ (O.S.)

(angrily)

I hate you! I hate you!

Toni suddenly turns to see TJ, ON THE BALCONY, shaking Barbie as if Barbie is a pissed-off Tracey from Mahogany.

TJ (CONT'D)

You’re a goddamn loser!

TONI

(sotto, sighs)

Fuck.

(into phone)

I’ll call you back.

Exasperated, Toni hangs up, whips the door open. TJ freezes.

TONI (CONT'D)

TJ. We gotta get packed. Everything’s

about to change!

The hope in Toni’s face brightens in TJ’s like contagion.

INT. TONI’S APARTMENT - BEDROOM - NIGHT

In their shared room, a queen bed in the center, Toni and TJ race around to get dressed and pack. Toni’s energy is chaotic; TJ’s, excited. As they talk, a MONTAGE of their life generally together flashes.

- ONE NIGHT. The Two asleep in the SHARED BED.

TJ (V.O.)

What should we bring?

- ANOTHER NIGHT. Toni exits their bedroom nearly naked. A sliver of light in the dark BEDROOM falls on TJ’s face as she watches Toni entertain a MALE GUEST IN THE LIVINGROOM.

TONI (V.O.)

Just enough for the weekend.

- A DIFFERENT DAY. TJ sits on the floor between Toni’s legs as Toni combs TJ’s hair into ponytails adorned with BALLS and BARETTES.

TJ (V.O.)

(confused)

So, my jumpsuit? Some shorts...?

- ANOTHER NIGHT. TJ picks up beer bottles from IN THE LIVING ROOM around Toni who lays passed out on the couch in her COSMETOLOGY UNIFORM.

TJ (V.O.)

(confused)

My purple clogs!

- The Two laugh, eat bowls of sugary cereal at the BREAKFAST TABLE.

TONI (V.O.)

(harried)

Yeah. Sure.

Montage ENDS.

TJ pauses, notices Toni fixes her hair, dresses up. TJ immediately brushes her unruly fro in random strokes.

TONI

No, Babe. Keep your jammies on.

TJ

Where we going?

EXT. APARTMENT BUILDING - CORRIDOR - CONTINUOUS

Toni’s “disco queen” ensemble is a stark contrast to TJ’s long quilted robe jacket and jammies. TJ trails in fits and skips to keep up with Toni’s brisk pace. TJ carries her Barbie and lugs a trash bag of clothes behind her.

TONI

You’re gonna be where I tell you to be.

TJ’s expression saddens.

TJ

But where’re you gonna be?

They stop in front of a door. Toni rolls her eyes, abruptly KNOCKS.

The door swings open. CANDI (50s), a brick house, transwoman, dressed like DONNA SUMMER, checks them out.

CANDI

Nope. Sorry, Love. Can’t. I’m on a double

shift. It’s “She Works Hard for the

Money” Friday which means closeted frat

boys and triple tips.

TONI

But... Come on, Candi.

Toni nudges TJ.

TJ

Come on Candi.

TJ smiles her sweetest smile.

CANDI

(to Toni)

No...

(to TJ)

And no.

(to Toni)

Don’t teach her that. Sorry, I can’t.

Candi closes the door.

INT. TONI'S APARTMENT - NIGHT

TJ plays with her doll on the couch as Toni paces, makes call after call.

TONI

Hey! Shell. I know it’s last minute. But,

well, TJ needs somewhere to stay for the

weekend. I need to-- oh... okay. No, it’s

cool. I understand.

She hangs up, paces, makes ANOTHER CALL.

TONI (CONT'D)

Hi Miss Wolfe...

TJ

(under her breath)

She’s mean.

TONI

(scowls, to TJ)

Shhh!

(into receiver)

Hi Ma’am. It’s Toni Willis. TJ’s mom...

from preschool. I need to run out of town

real quick. I was wondering if you could

keep TJ. I need to know pretty quickly so

please call me back if you can.

ANOTHER CALL.

TONI (CONT'D)

Jenny! What’s up, Girl? What? Nothing.

I’mma get it to you when I-- hello?

(sotto)

Bitch.

Toni slams the receiver down, hangs up.

TJ

(pensively)

I could come with you.

Toni abruptly stops, her body convulsing fitfully before she drops to the floor. TJ races to her, shakes her.

TJ (CONT'D)

Mama? Mama... stop. It’s not funny. Okay,

I don’t have to go.

Toni’s limp body draws TJ to curl herself next to her mom until TJ weeps inconsolably.

Suddenly, Toni bursts with laughter.

TONI

You are such a drama queen. Get up.

They get up, sit on the couch.

TONI (CONT'D)

You’re such a serious kid. Lighten up.

You don’t like to have fun. That’s why I

need time by myself sometimes.

After a beat, Toni looks again at the image of her PARENTS. She rolls her eyes, takes a deep breath.

TONI (CONT'D)

Grab your bag.

EXT. SAN DIEGO - NIGHT

Toni’s Volkswagon Beetle travels the HIGHWAYS, SHORELINE, STREETS of the city...

EXT. NANA AND GRAMPA’S HOUSE - NIGHT

... parks curbside at a beautiful Spanish-style bungalow with its manicured lawn, floral landscaping, and shiny 1970 PLYMOUTH FURY parked in the driveway.

INT./EXT. TONI’S VOLKSWAGON BEETLE - NIGHT

Tony glances at TJ, sound asleep in the backseat.

EXT. NANA AND GRAMPA’S HOUSE - NIGHT

On the porch, Toni holds TJ in one arm, carries her clothes bag in the other. She sets the bag down and rings the doorbell, BREATHES DEEPLY.

Nana, regal in her PEIGNOIR SET, chiffon lace long robe and nightgown, opens the door, SIGHS. Her cinnamon skin is flawless with the glow of nighttime moisturizer.

Nana’s lips curl into the obligation of a smile. Her brow raises with expected disappointment.

Retired Navy man Grampa, a fit good-looking “good cop” to Nana’s “bad cop,” slides past Nana, takes TJ from Toni’s arms, kisses Toni on the cheek before disappearing back into the house, TJ cradled against his chest.

Toni and Nana’s conversation occurs as their SLO MO transaction happens.

NANA (V.O.)

What time can we expect you back?

TONI (V.O.)

Sunday. By six P.M.

NANA (V.O.)

Not a second later. Your father has work.

TONI (V.O.)

I know, Mah. I’ll be back.

Nana takes, inspects the bag scornfully. She and Toni “air kiss” cheeks then Toni heads back for her car, tugging at her clothes, smoothing her hair insecurely. Nana watches until she gets into the car.

Toni sits in her car. The light on the porch goes out. Toni weeps, then musters the energy to start the car.

INT. NANA AND GRAMPA’S HOUSE - VARIOUS ROOMS - DAY

A song like “April in Paris” by Ella Fitzgerald and Louis Armstrong plays as LIGHT pours through windows of the immaculate home that exudes care.

NANA (V.O.)

(dreamy whisper)

Doll...

Montage BEGINS

- IN THE LIVINGROOM: A white SOFA sits on lush white CARPET under two large METAL PEACOCK wall hangings.

- Porcelain and wooden Japanese STATUETTES and FIGURINES sit on the large mahogany credenza where the integrated record player sits. Framed wedding photos of the YOUNGER NANA AND GRAMPA, and various others with TONI and TJ.

- IN NANA AND GRAMPA’S BEDROOM: Beautiful quilts on an IRON FRAMED bed. A large wooden dresser holds fancy PERFUME and COLOGNE BOTTLES, and an ORNATE JEWELRY BOX.

NANA (V.O.)

(dreamy whisper)

Doll...

- IN THE KITCHEN: while batter pours onto a hot GRIDDLE into perfectly circular hotcakes, coffee PERCOLATES.

- COFFEE IS POURED; slightly creamed in one teacup and

heavily creamed and sugared in the other.

Montage ENDS.

INT. NANA AND GRAMPA’S HOME - GUEST ROOM - CONTINUOUS

Nana sits on the edge of the bed, rouses TJ from sleep.

NANA

(dreamy whisper)

Good morning, Doll.

Her Barbie tucked in next to her, TJ awakens to see Nana, sitting gracefully on the edge of the bed like a dream.

NANA (CONT'D)

(softly)

Go ahead and get changed. We have lots to do today. The day is waiting.

Nana exits to reveal a petite pink PEIGNOIR SET in her size with matching SLIPPERS.

TJ gasps, quietly squeals with excitement.

INT. NANA AND GRAMPA'S HOME - TV ROOM - DAY

Nana and TJ sit in matching BARCALOUNGERS. TJ’s Barbie tucked in the cushion at her hip.

Grampa delivers breakfast to them; fine China served on TV trays; Nana’s floral and TJ’s with cartoon characters. He turns the TV on to their favorite GAME SHOW.

TJ

I hope someone wins the trip to Mazatlán.

NANA

Yes, Doll.

They clink coffee-filled teacups, daintily.

INT. BEAUTY SALON - DAY

The timer DINGS and the large DRYER HOODS are lifted from Nana’s and TJ’s roller-stacked heads.

TJ

Is it your birthday? It just feels like a

special day.

CLIENTS (30s-50s, Black women) in the shop SMILE.

NANA

You can make any day feel special.

TJ

YOU make every day feel special.

NANA

No, Doll. YOU are the one that makes

special, special.

STYLIST #1

We ready?

As Nana and TJ move to styling chairs, TJ studies posters of BLACK MODELS with beautiful diverse hair and styles.

STYLIST #1 (CONT'D)

So, what’re we doing today, Boss?

NANA

Let’s see. It needs to last until

tomorrow so keep it simple and smooth.

STYLIST #1

Soft sophistication.

NANA

Exactly.

TJ

(whispers)

Why does she call you, Boss?

NANA

That’s my name.

TJ

So is my name, Doll?

NANA

I call you Doll because you’re precious

to me. Boss is the name I was born with.

TJ

Like, your name-name?

NANA

Yep, it was sort of a trick of my

Mother’s.

Nana winks at TJ as Stylist #2 hands TJ back her Barbie with newly styled hair.

STYLIST #2

We can’t have you looking like a star and

your little friend looking a mess.

TJ’s eyes widen with awe at Barbie’s newly styled hair. The shop buzzes with LAUGHTER and CONVERSATION.

EXT. AFFLUENT NEIGHBORHOOD - CHILDREN’S BOUTIQUE - DAY

Nana parks the Plymouth at the curb.

INT./EXT. PLYMOUTH FURY - DAY

Nana removes her large sunglasses, turns to TJ in the backseat. Both have newly, beautifully coiffed hair.

NANA

So, Doll, Grampa and I were supposed to

go to the theater for a matinee

performance tomorrow but you being here

is a good excuse for him to not go. So,

how about it? You and me?

TJ

Yes!

NANA

Then we should get you something to wear.

TJ’s expression fills with excitement before she releases herself into tears.

NANA (CONT'D)

Come, come... Just climb over.

TJ crawls over the seat, scoots in close for Nana’s hug.

NANA (CONT'D)

What’s this about?

TJ

I feel like Mama’s gonna be mad if I get

new clothes.

NANA

Why would she be mad?

TJ

I don’t know. But she is.

NANA

You let me deal with your mama. No matter

what happens in your life, remember

this... You’re good because you’re God’s.

You’re beautiful because you’re mine. And

I get to spoil you because I don’t get to

see you as much as I’d like, AND, because

you deserve it, okay? So, let’s go find

something that makes you see what I

already see in you. Okay?

TJ

Okay.

TJ nods. They hug.

INT. CHILDREN’S BOUTIQUE - DAY

Fine clothes and shoes line displays. Petit MANNEQUINS sport high-end clothing.

Nana sashays with confidence. TJ follows in awe.

SALES CLERK (50s, white and entitled) watches from a distant rack. As customers MOTHER (30s, white), and DAUGHTER (8, white) enter, Clerk greets them.

CLERK

Welcome in. Let me know if you need

anything.

Mother and Clerk exchange pleasant nods. Nana smirks as she peruses the racks, pulls items, holds them up to TJ.

Clerk finally approaches.

CLERK (CONT'D)

Is there something I can help you with?

NANA

Not right now. I will let you know.

CLERK

We have a few of last season’s items on

the sale rack in the back in case you are

interested.

NANA

We’re not.

Nana holds a beautiful dress up to TJ.

NANA (CONT'D)

Actually, you can take this to a dressing

room. Oh, and this... and this...

Nana pulls other garments from the rack, stacks them in Clerk’s unsuspecting arms before Clerk can object.

Nana sits on the settee in front of the dressing room as TJ floats in and out, OUTFIT after OUTFIT. They make APPROVING and DISAPPROVING gestures while having a blast.

Finally, arms filled with garments, Nana whispers into the dressing room as TJ puts her clothes back on.

NANA (CONT'D)

We’re getting these. Be right back, Doll.

TJ

Okay, Nana.

AT THE REGISTER, arms filled with clothes, Nana spots something behind Clerk on a shelf.

NANA

Oh, and I’d like... that.

Nana points to a child’s SUITCASE on a shelf.

CLERK

Ma’am, I won’t object to her trying on

the clothes but I don’t want to go

through the trouble of getting that very

expensive bag if you haven’t the money to

pay for it.

NANA

And put it in a nice gift box.

Nana hands Clerk a credit card.

CLERK

Is this a joke?

INSERT: Credit card reads “BOSS WILLIS”

EXT. AFFLUENT NEIGHBORHOOD - CHILDREN'S BOUTIQUE - DAY

Large GIFT BOX in one hand and shopping bags in the others, Nana exits the shop haughtily. TJ strides identically in tow.

EXT. AFFLUENT NEIGHBORHOOD - CAFE - CONTINUOUS

Nana surveys the ALL WHITE DINERS occupying the outdoor PATIO tables. She smirks.

NANA

Hungry, Doll?

TJ notices the GLARES of the Mother and Daughter from the Boutique. When Daughter looks away from TJ with a snide arrogance, TJ clings to Nana’s arm.

Nana notices TJ and the Daughter’s interaction.

NANA (CONT'D)

Doll?

TJ

Yes, Nana?

NANA

Remember, you’re good because...

TJ

I’m God’s.

NANA

You are beautiful because...

TJ

I’m yours.

They take a deep breath and enter the Cafe. HOSTESS, 20s, greets them cheerfully.

HOSTESS

Welcome. Two? Indoor or outdoor...?

INT. NANA AND GRAMPA'S HOME - BATHROOM - NIGHT

In their matching peignoir sets, TJ stands on a stepstool next to Nana, mimics Nana as they wipe AVOCADO MASKS from their faces with washcloths, their hair neatly pin-curled and tucked under satin scarves.

NANA

Make sure the towel is a little warm and

that you clean all of the parts of your

face.

(supportively)

That’s it... Yes, Doll.

Then, they gently smooth MOISTURIZER on their faces.

NANA (CONT'D)

Moisturizing is very important.

Nana and TJ look at each other fondly, playfully as they finish the facial regimen.

INT. PERFORMANCE VENUE - VARIOUS - DAY

Fancily dressed, Nana and TJ wade confidently, audaciously through throngs of richly dressed THEATER-GOERS (white, all ages and genders). Many watch them with the disdain of privilege, self-importance.

At their seats, Theater-Goers whisper INAUDIBLY. TJ’s oblivious wonder shields her from the hostility of glares around them. Nana ignores them, watches her Granddaughter look around the hall in awe.

HOUSE LIGHTS DIM.

As the ORCHESTRA plays, Nana watches the performance as much as she watches TJ’s unbridled enjoyment of it.

EXT. NANA AND GRAMPA'S HOME - DAY

Grampa waters the flowers as Nana pulls the car into the driveway. TJ bounds from the backseat for Grampa, who drops the hose just in time to catch her.

TJ

Grampa! You missed it! It was so fun.

GRAMPA

Fun? Are you sure you went to the ballet?

TJ

There was a girl and she went to sleep

and she got a doll like mine but hers

came to life. She was dancing!

GRAMPA

You wanna show me?

Nana watches adoringly as the Two prance around the lawn.

EXT. NANA AND GRAMPA'S HOME - PORCH - NIGHT

Toni’s claw-like red painted nail presses the DOORBELL.

INT. NANA AND GRAMPA'S HOME - LIVINGROOM - CONTINUOUS

The front door opens.

ON THE PORCH, Toni stands giddy in a long white form-fitting dress, dramatic shimmering makeup, and voluminous curly wig. Her new beau, LUTHER, a suit-clad Goliath, towers behind her in all white; shirtless leather vest and pants with white boots.

TONI

Here comes the bride!

Toni throws her hands in the air a la Diana Ross in her greatest performance. Fingers splayed, she lowers her left hand, arm outstretched to show off a gaudy WEDDING RING.

INT. NANA AND GRAMPA'S HOME - KITCHEN - NIGHT

Grampa swigs the last of his scotch; carries serving dishes of STEAKS, POTATOES, and PEAS to the DINING ROOM.

INT. NANA AND GRAMPA'S HOME - DINING ROOM - CONTINUOUS

Grampa places the serving dishes in the center of the circular table where ALL sit for dinner. Toni dominates conversation. Luther eats loudly throughout the escalating exchange.

TONI

And when he said Vegas, I couldn’t

imagine a more romantic place to spend a

weekend. Everything was so perfect that

he, well, you tell ‘em that part.

LUTHER

I asked her to marry me.

TJ side-eyes Luther, pushes her food around her plate.

TONI

(to TJ)

Eat.

TJ looks at Nana’s plate; an adult serving of her own. TJ places her fork in her hand identical to Nana’s, sits up tall, and, from then on, eats when Nana eats.

NANA

I’m sorry, Luther, is it? Did it occur to

you to ask her father, first.

Nana forks a bite of potatoes, eats it. TJ does the same.

TONI

Oh, Mah, cut it out. We did that last

time. You see how that worked out.

LUTHER

Food’s delicious.

NANA

Nathaniel was a chef in the Navy. I’m

glad you can appreciate a good meal.

TONI

What is that supposed to mean?

GRAMPA

Toni. She didn’t mean anything by it.

Nana and TJ cut their steaks; eat a bite.

TONI

She always means something.

Nana chews quickly as not to speak with a full mouth.

NANA

Respectfully, when we got married--

TONI

Respectfully, we ain’t in Arkansas and I

ain’t no first time virgin-bride that

you’re giving away in some arranged

courtship. We’re going with the flow.

NANA

(to Luther)

What do you know about raising children?

TJ eyes Luther until Toni snaps, startles TJ.

TONI

(hisses)

That’s my job. Luther’s job is to provide

for our family. Like Daddy does. Luther

is a good provider. You know, you got so

much to say but I don’t see you around

here doing your job. Daddy was in the

Navy. Gave you all the things you got and

you just sit up here and wait for him to

wait on you hand and foot...

GRAMPA

Toni...

NANA

No, let her finish.

Nana puts her fork down. So does TJ.

TONI

You’re just mad because I never caved to

your highness. Never begged for your

attention. “Please, Bossa, make me like

you. Yassa Bossa-Momma, whatever you

want.” You can sit up there and keep

looking down on me from your high horse.

Luther is gonna be a successful engineer.

He married ME because success is nothing

without someone to share it with.

NANA

(guffaws)

Mahogany. Hah!

(earnestly)

Honor your father an mother, that your

days may be long in the land that the

Lord your God is giving you. Exodus

twenty twelve.

TONI

Exodus. No problem. WE’RE a family now.

Let’s go.

Toni gets up, eyes Luther to do the same.

LUTHER

Thank y’all for this evening. It was...

an evening.

TONI (O.S.)

(yells)

TJ!

TJ’s eyes well with tears. Defiantly, she cuts her steak, eats another bite.

Before she can cut another cube, Nana puts her hand on TJ’s, nods softly. TJ drops the knife and fork, weeps.

INT. NANA AND GRAMPA'S HOME - GUEST ROOM - NIGHT

Nana packs TJ’s new suitcase with TJ’s things.

Nana kneels, straightens TJ’s coat, smooths her curls; a final shield of dignity. Their eyes intensely lock.

NANA

You’re good... and you’re beautiful.

Eye to eye, they share a brave, tearful nod.

EXT. WILLIS' HOME - PORCH - NIGHT

In her purple clogs, TJ wheels her new suitcase into the darkness of the walkway, to Luther’s monstrous CADDY.

From the lit porch, Nana and Grampa watch her, Toni, and Luther load into the car.

INT./EXT. LUTHER’S CADDY - NIGHT

From the front seat, Toni turns around, scolds TJ in the backseat.

TONI

And no more of that “Doll” shit, either.

Toni Junior. TJ. That’s your name.

LUTHER

Toni her daddy?

TONI

(snaps, guffaws)

How you smart and stupid at the same

time. It’s me. Short for Antoinette.

Toni rummages through her purse, finds her packet of cigarettes. Takes one out as she looks in the rearview mirror, sees Nana and Grampa peering from the porch.

TONI (CONT'D)

Go!

Luther takes the cigarette from her, winks, tucks it behind his ear.

LUTHER

Antoinette. That’s beautiful.

Toni gasps dreamily. She and Luther kiss passionately.

TJ scowls, looks away.

TONI

TJ. This is LUTHER. Your new Dad.

Luther fixes the rearview on TJ.

LUTHER

You ready?

Luther GUFFAWS as TJ turns to look out the rear window. He repositions the mirror for driving. TJ cries softly.

TONI

Turn around and sit down! Stop all that

crying or I’mma give you something to cry

about. It’s rude.

(to Luther)

See? What I tell you?

(to TJ)

When we get home, you gon’ take all that

shit off you. Got you looking like you

should be in a curio cabinet.

Luther and Toni laugh at TJ as he finally starts the car.

ON THE PORCH, Nana waves back as the car pulls away. Before anyone notices, Nana quickly wipes a tear from her face. Her body stiffens, quiet dread washes over her as the car disappears around the corner.

TONI (CONT'D)

TJ... You should see his apartment. It’s

so nice...

Toni continues her doting rant in the b.g.

TJ turns around, sits forward in the seat, clutches Barbie tightly against the Nutcracker program. She straightens the collar on her coat and smooths her curls as the car drives on.

FADE TO BLACK

THE END

###

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