Do not spread false rumors, and do not help a guilty person by giving false testimony.
Exodus 23:1
"I want you to know that it was difficult talking to Anton after…well…planning to marry you," Jabari confesses.
"Why was it so difficult? He made the mistake, not you," Zora says.
"Yes, but you are making the mistake of not telling him."
"…I…I'll tell him."
"When, Zora?"
"Eventually."
"When is "eventually"? After the baby's birth? The baby's high school graduation?"
"Jabari! Stop it!"
"…You know that he still loves you and he wants to be with you."
Zora begins to feel sentimental but she gets over it very quickly.
"…He can no longer be with me," Zora says, "He is getting married to another woman and now, we are getting married to each other. Besides, according to his family, I am not worthy to be part of his family."
"The Lord thinks you and Anton are worthy to be together and that baby is proof."
"Jabari, I know I agreed to it earlier but this time, I feel marriage is the right decision for us. I hope our mothers feel the same way. I cannot imagine going to another college other than Holy Chalice. It's a great school."
"Zora…are you sure that's the only reason you want to stay?"
"Of course!"
"So…you're over Anton, right?"
"…yeah…"
Jabari can sense the uncertainty in her voice.
"It's okay. Besides, the only reason we are getting married is for you to stay in Holy Chalice and graduate. After graduation, we will get an annulment and go our separate ways."
"Sure…that sounds like a plan to me."
'…or maybe not,' she thinks to herself, 'Zora, what is wrong with you? Are you falling for Jabari, too?'
When Zora and Jabari finally reach the front door, Zora goes for her keys and unlocks the door. When she successfully unlocks the door, she calls out to her mother.
"Mommy, are you home," Zora calls out to her mother?
Zora brings Jabari to her home to get Mrs. Grant's approval to get married.
"Hey, kids," January says, "How was your day?"
"It was good."
"So…what's going on? Why are two standing in front of me like a couple of statues?"
"We need to talk to you about something very important," Jabari says.
"What happened? Did something happen in school," January asks with worried?
"No, school is fine. It's just that well…considering the circumstances…I would like your daughter's hand in marriage."
"You what?"
"Ms. January, your daughter and I have known each other for a long time. It pains me to see her in this predicament. It's not fair that she has to raise her unborn without a father figure. I want to be that man who takes care of her and her baby."
"…That was beautiful, Jabari. However, you and Zora are too young and naïve for marriage. It takes work, communication, and compromise. Plus, it seems to me that you want to marry my daughter out of pity."
"No! Not at all. I…I'm in love with Zora," Jabari says to January while holding Zora's hand, "We have a wonderful friendship that has to evolve into a blooming relationship. When Tony broke her heart…I felt for her. I comforted her. I wanted Zora to get on with her life and start anew."
"So you want to marry my daughter, while she is on the rebound?"
"No. Ms. January…the truth is…I do want to marry your daughter and I do love her. I love her enough to keep her in Holy Chalice College. She deserves a decent college education just like anyone else. It's not fair that she has to sacrifice her education for motherhood. If I marry your daughter, she could have both!"
January is moved by Jabari's words…but not completely.
"I cannot allow this to happen."
"…but mommy---"
"----No, Zora. I will not allow you to use marriage as a solution to your problems."
"Out of curiosity, what does your mother say about this," January asks Jabari.
"Um…well…she objects to it."
"I see. Then, it settles it. No wedding. No marriage."
"Sorry Zora," Jabari says apologetically, "I…I tried. I guess I better go home, now. My mother can't handle the triplets on her own for a long time."
With heavy hearts, Zora walks Jabari to the front door and bit him "goodbye." When she closes the door behind him, she turns and sees the anger on her mother's face.
"Mama, please to be mad at Jabari," pleads Zora.
"I am not mad at Jabari. I'm mad at you! I raised you better than that."
"Mommy, HE asked ME!"
"…and you agreed to it. Zora, I want is the best for you. I want you to get married for the right reasons. I told you that we will get through this. You and I. No one else."
"I want to get married because I love Jabari."
"I know that you love Jabari but you're not in love with Jabari. You're still in love with your ex-boyfriend. I don't understand why."
"YES! YES, I AM…but what difference does it make? His family, his fiancé's family, and fiancé will not allow it…pregnant or not. I have realized that it is over between Tony and me. I am never getting him back. As far as Jabari is concerned…he wants to be there for me and the baby."
"He can be there for you without saying "I DO." Marry for love, not out of pity."
She sadly looks at her mother and goes into her room. She lays on her bed thinking of Anton…Jabari…school. Zora is overwhelmed. The love of her life leaves her to marry another woman yet he does not know that she is carrying his baby. However, a good friend volunteers to step in to be husband and father yet the parents object to the marriage, even though the intentions are good. What is she going to do? She fears that without a college education and as a single parent, she is not as successful. She is scared.
Argentina, Mandela, and Corinthian are sitting in the living room, watching their afternoon cartoons. Times like this are a reprise from the mourning over their father. Meanwhile, in the kitchen, Hyacinth slightly leaning back on the countertop, takes a pull from a cigarette and slowly exhaled as if she was releasing the negativity of her soul into the air. With every pull, she backtracks on the series of events that has happened in the past few months with her family: Nevin drinking himself to death, her reckless daughter, Sabine, her grandchildren coping with Nevin's death, and now, a disturbing phone call from January Grant. Her train of thought breaks from the triplets' laughter for the living room; it brings a tear to Hyacinth's eye.
'I knew it,' Hyacinth thinks to herself, 'I saw a bad moon rising from the start…at now…'
Without completing her thinks to herself, Hyacinth takes a deep breath. She then takes another pull from her cigarette and exhales. Suddenly, she hears the back door unlock; she becomes so startled, she stands straight and puts her arm down, trying to hide the cigarette which is still between her fingers. When she see Jabari walking through the back door, Hyacinth goes back to her casual stand, smoking her cigarette. She does not care about her son's reaction.
"…Mama…you're…you're smoking," Jabari says in shock.
"Yes…yes I am…" replies Hyacinth nonchalantly.
She flicks the ash from her cigarette into the empty sink. Then, Hyacinth takes another pull. Jabari is very concerned for his mother; not only for her health but for her state of being. He knows when his mother becomes very upset or very stressed over a situation, she smokes.
"What's wrong," he asks with concern?
"I am tired, Jabari. I…I am very tired."
"…So…go upstairs and get some rest. I'll babysit the triplets."
Hyacinth becomes so angry, she blurts out, "Who are you? "Captain Save-A-Hoe"?"
"No…No mama. You said that you were tired and I figured----"
"----You figured what? What Jabari? You can go behind my back and ask this girl's mother for her daughter's hand in marriage…after I said, "NO"."
"But mama---"
"Mama what? Mama what? I recently buried a good man who I consider my child. I am trying to comfort my grandbabies because my other child is too wrapped in herself to do it, and now…"
Hyacinth feels she had to take another pull from her cigarette and continues.
"…you want to marry a girl who is having someone else's baby!!!!"
"Mama…mama…"
"You know what? Do whatever you want, Jabari! Get married! I don't care. Do you want to know why?"
"…why?"
"I…AM…TIRED!!!!"
Hyacinth puts out her cigarette in the sink and walks out of the kitchen, leaving Jabari completely bewildered.
After serving her table, Orchid goes to check on her order of drinks.
"Hey, Valentine, are those drinks ready," Orchid asks?
"Right here, sugar-pie," Valentine replies.
"Thanks. Where is Isham?"
"I wish I knew."
"I hope everything is well."
"Me too. Oh! When you're done, the boss wants to talk to you about something."
"…ok."
Orchid begins to worry. Does he now know that she is a teenage runaway, living on the streets? If so, what will she do? How will she survive? After serving her table, she takes a deep breath and walks to Christopher's office. As she walks towards the office door, Orchid's heart beats faster than usual. She begins to tremble with fear. She knocks on the door.
"Who is it," Christopher asks from behind the door.
"It's Orchid. Do you want to see me?"
"Yes. Come into my office."
She slowly turns the knob and opened the door. Christopher sits casually at his desk, eating Chinese food. He motions her to come closer. Orchid closes the door behind her. When he finally swallows his food, Christopher asks her to sit in one of the chairs. Orchid sits slowly in one of the chairs; her heart is so full of fear.
"So, how are you," Christopher asks casually.
"…confused…scared…."
"Why do you feel this way?"
"I was in the middle of working and suddenly, you want to see me."
"So?"
"So…why did you wish to see me?"
Christopher takes a deep breath.
"I want you to know that I am hearing from you. Whatever is bothering you, we will solve it together, okay?"
"…ok."
"…Are you in some kind of trouble?"
Orchid's fears begin to heighten.
"Trouble. I…I am not in trouble."
"Are you sure," Christopher asks with concern?
"…yes…"
Christopher is growing tired of being around the bush.
"So why were you going into a motel yesterday?"
"…what motel?"
"I saw you go into a motel. Are you doing anything illegal?"
"NO! No. Why would you say something like that?"
"Nothing good happens there. If you are doing something illegal, you are not only putting yourself in danger but everyone else at Newkirk's in danger."
"I am not doing anything wrong."
"Orchid, as crazy as this may sound, you being there is wrong. Not many nice people go to a motel."
"Well, now that you mention it…scary things have happened. When I am in my room, I hear noises. Scary noises. I hear…mostly shouting…just like home."
Orchid puts her head down and places hands over her ears. The echoes of the screams, yells, and cries haunt and taunt her…
"No," Orchid cries, "Father, I am sorry. Please stop yelling at me, father. I will be a good Christian. I would not be disobedient…."
Suddenly, Orchid starts to cry. Christopher is a little scared by this sudden behavior but he can put his fears aside to comfort the young woman.
He gently takes her hands from her ears and says, "Hey. Hey. Orchid. Orchid, relax. Relax."
As Orchid looks into Christopher's eyes, she sees concern and comfort. She suddenly feels a wave of tranquility wash over her.
"It's going to be okay. We will get through this," Christopher assures Orchid, "Whatever you are going through, I will do my best to help you."
Christopher looks around his office to spot a box of tissue. He cannot find it.
"Stay here. I will get something to clean your face," he advises.
It does not take long for Christopher to return with some tissue.
"Here," Christopher said, handing Orchid some tissue.
"Thank you," Orchid replies.
The bar owner watches the young waitress clean her face. Orchid is so gentle and dainty as she puts her face dry from her tears.
"Okay, Orchid," Christopher starts, "You…you do not seem the type to do anything illegal. So explain to me what are you doing there?"
"…I am homeless," Orchid confesses.
"You're homeless? Orchid, how did you…why did you leave your home? Were you evicted?"
"…Not really."
"What happened?"
"I left my parent's home. I have been sheltered by them all my life. They were overprotected and…they hurt me. My mother and father hurt me a great deal. I could not take it anymore so I left."
"If you don't mind me asking…how did your parents' hurt you?"
Orchid takes a deep breath and hesitantly starts, "…my parents are heavily religious. They use the bible as a form of…educating me to be a Christian and…a form of discipline when I…stray the righteous path. They would…make me smack me, punch me…One time…when I was a little girl…I drew a picture of my mother, my father, and myself. I was so proud, I went to show the picture to my mother…"
"Okay …then what happened?"
"She looked at the picture for a very long time as if she was scrutinizing it. Then she became offended…"
"This picture looks nothing us," my mother exclaimed, "You made us look like an abomination to the Lord. You turned this family unholy and unwholesome."
"No mother. I do not. I love you and your father very much, which is the reason I drew the picture," I explained.
"You love us. Is this your way LOVE???? The Devil must have gotten you…and you let that Devil corrupt you," my mother continued to yell.
"No mother, please."
"The Lord is not pleased …and neither am I…"
"Next thing I know she grabs me by the arm and made me go into this dark, scary closet to pray until my father returned home from work…which was two hours later. When my father returned home, my mother not only told him about the picture but she showed him. He was so furious…he grabbed me out of the closet by my arm and threw me on the floor. He picked me up and shook me so hard. So hard, I passed out on the floor. When I woke up…I found myself still on the floor."
"Wow! I'm so sorry. Did you think…perhaps…they are looking for you?"
Orchid looks at Christopher, eye to eye.
"As far as they are a concern, I belong to the world of sin," Orchid concludes, "They will never allow me in their home, now."
"That's okay," Christopher assures her, "You should not be in that kind of environment. Besides, I can already see the damage it has done to you."
"Damage? Am I damaged? Is there something wrong with me?"
"I didn't mean it in a bad way. I mean…you need someone to talk to and help you to…overcome these horrible memories of the past. It is obvious that you have had a traumatic experience with child abuse and you need appropriate help to resolve these issues."
"Who do you think can help me?"
"…I know!"
"Who?"
"Okay. I need to make a few calls. I will let you know the outcome before we lock up Newkirk's for the night. In the meantime, you need to go back to work."
"Okay. Thank you, Chris."
Orchid rises from her seat and walks towards the door; she is concerned about Christopher's observation of her past yet relieved that he is clueless to her real age.
Sabine rushes into Saint Philomena Children's Hospital in a total panic; she scans for the triplets frantically. She receives a disturbing phone call about her son, Mandela Nereid, being in the hospital. Sabine is frantic, as she makes her way to the front desk.
"Excuse me," Sabine starts.
"Yes," replies the nurse.
"I'm Mrs. Sabine Nereid. I looking for my son," Sabine continues.
"What is the child's name?"
"Mandela Nereid."
"Oh yes. He is in the room down the hall."
Sabine rushes down the hall until she is approached by two police.
"Now hold on, Miss," the police commands, stopping her in her tracks, "I cannot allow you to go in there because there is a conference in progressed."
"I don't care! My son is in that room and I need to be in there," Sabine exclaims.
"The caseworker gave me strict directions to not allow you in the room."
"The Hell I will not!"
All of a sudden, a woman comes out of the hospital room. Her hair is pinned back in a fish braid. She is well-groomed and sharply dressed in a three-piece suit laced with classic pearl jewelry.
"What is the commotion going in here," a woman asked, as she emerged from her office.
Sabine snaps, "You tell me, Miss..."
"Cooper. Miss Ashlynn Cooper, a social worker for Saint Philomena's Child Crusade Services, first and foremost," says the woman, "Second, judging from your ranting and raving, you must be Mrs. Nereid."
"You damn right I'm ranting and raving. I want to see my baby.
"Mrs. Nereid, I need you to calm down."
"Calm down? You and this "cracker-jack" staff won't allow me to take my son home and you have to nerve to tell me to calm down?"
"Judging from your behavior, you're giving me a valid reason to keep your son away from you. Plus, your son cannot leave this hospital because he has been suffering from chronic headaches and vomiting."
"Where are my girls? Are you hiding them too?"
"They are in the care of your mother, Hyacinth Montague."
"… Okay," Sabine replied calmly, "Let's discuss this, Miss Cooper."
"Come with me, Mrs. Nereid, we will discuss the issue in private."
"Fine."
Miss Cooper and Sabine walk down the hall, away from Mandela's room.
"Mrs. Nereid, it is my duty to protect the welfare of every child in this city," Miss Cooper, "If there is an issue, I must act upon it. Therefore, it has been brought to my attention that the children are being abused and neglected---"
"Okay …um…who brought this information to your attention," Sabine ask sternly.
"I cannot say because it is confidential."
"Miss Cooper, I want to make something clear. Despite my late husband's passing, I take very good care of my children. I always make sure that they are properly dressed and properly fed."
"Oh yes. I am well aware of that. I am also aware of the fact that…um…Mandela…your son…has been complaining about chronic headaches."
"Headaches? That's impossible."
"Not according to Mandela. He was very thorough about the issues that have been going on in that household. Tell me. How are you handling your late husband's death, these days?"
"Fine. I handle it one day at a time."
"Do you get sad…maybe upset sometimes?"
"No…"
"Perhaps frustrated…"
Before she could answer the social worker, Sabine saw her mother, Hyacinth, walking down the hall towards them.
"Hello. I'm Mandela's grandmother, Hyacinth Montague," Hyacinth greets, "I was told that he might be here."
Sabine is shocked.
"Mama, what are you doing here," Sabine asks, "Who has Argentina and Corinthian?"
"They are in my home with Jabari."
"Jabari," Miss Cooper asks?
"Jabari is my son," Hyacinth clarifies.
"I was just discussing with your daughter the welfare of the triplets," Miss Cooper interrupts.
"I don't understand," Hyacinth replies.
"Miss Cooper is implying that I have or have knowledge that someone is abusing my children," Sabine intercepts.
"Abuse," Hyacinth asks?
"…I never mentioned the word "abuse", Mrs. Nereid…," Miss Cooper says, somewhat suspicious.
"You did not have to mention it. You implied it," exclaims Sabine.
"Mrs. Nereid, I simply asked you if things were okay, despite your late husband's passing," the social worker explains.
"Why would you accuse that," ask Hyacinth.
Sabine feels she is being backed into a corner by the social worker and her mother.
"You know something? I don't know what is going on here but I don't like it. I came to see my baby in the hospital and no one will allow me," Sabine replies, feeling frustrated.
"I am protecting your son," fires back Miss Cooper.
"Hold on," exclaims Hyacinth, "Miss Cooper, I need to speak to my daughter, alone."
"Sure," agrees Miss Cooper.
When the social worker walks away, Hyacinth turns her attention to Sabine.
"…Sabine…," Hyacinth says, "have you been taking your frustration out on those babies?"
"No, mama."
"Really? So tell me this. Why did your brother call me about the belt marks on Tina's back?"
"He's lying!!! Mama, M.J. is a liar. I never hurt those triplets."
"Maybe…but I see the look on their faces when they are with you or around you. They are not happy. Your behavior has gotten worse, since Nevin's death. You have a family who is willing to help you but no…not you. You always think someone has nothing but cruel intentions towards you, especially your children. It is not fair that those children have to suffer because you wallow in your anger and bitterness. You have to let it go. Otherwise, it is going to bite you with a vengeance. Now, I'm going to see what is going on with my grandson."
Hyacinth walks off to tend to Mandela. She knocks on the door and is invited to come into the hospital room. Miss Cooper stands by Mandela's bedside. She walks to Mrs. Montague to discuss the situation further.
"Mrs. Montague, are you well aware of the situation," the social worker ask?
"Um…well…I think so," replies Hyacinth.
"Well, your grandson and I had a long talk. It has been brought to our attention that only he but also his sisters are in a dangerous environment and their mother happens to be the "X" factor."
"X" factor?"
"She is the cause of the problem. These children have undergone years of verbal and physical abuse by their mother."
Hyacinth is stone-faced and paralyzed by the news.
"They are scared to be around her," said the caseworker, "In fact, when I asked him, 'Do you love your mother?' He said, 'sometimes.' I also asked Mandela, 'when you do not love your mother, what do you feel?' He said, 'He feels scared.' I would also like to speak to the girls, as well. However, in the meantime, I strongly feel that children should not be with their mother."
Hyacinth is in shock. When they are finish talking, they walk back to Mandela's bedside. A tear rolls down Hyacinth's face. Mandela looks at his grandmother.
"Grandma, why are you crying," Mandela ask?
Through her sadness, Hyacinth replies, "I crying because I am happy."
"Happy? People cry when they are sad," Mandela replies.
Miss Cooper says, "People cry for many reasons. Sad. Happy. Angry. The tears your grandmother is shedding are tears of joy because…no one will hurt you or your sisters' again."
"Is that true, grandma," Mandela asks.
"…Yes, baby," Hyacinth replies, "You and your sisters are going to stay with grandma."
"Now…I'm crying like grandma," the boy said with tears in his eyes.
"Great," says Ms. Cooper, "I will let the mother know your decision."
"Okay," agrees Hyacinth.
When Sabine and the social worker leave the hospital room, Sabine eagerly rushes to her.
"Ms. Cooper, what's going on," Sabine, "Can I take my son home?"
"No, Mrs. Nereid," Miss Cooper replies, "Your son will be going home with Mrs. Montague."
"WHY IS…my son going home with his grandmother?"
"It is evident that the child, as well as his sisters, are not safe under your care."
"This is ridiculous! I have never harmed my children in any way. I take very go care of my children."
"Oh, I bet you do…when they don't make you angry?"
"Let me tell you something. My children want for nothing in this world."
"Yeah…except love, tenderness, and understanding. Be that as it may, the children will remain with your mother. You will be entitled to weekly visits to our facility. Each visit will be an hour long. You are also entitled to phone calls to Mrs. Montague's residence whenever you like. However, that will be up to Mrs. Montague."
"You are making this sound like this is jail."
"This is not a sentence for you or the triplets. This is our way of protecting children who cannot protect themselves."
"I don't give a damn! My babies are staying with me!"
"…You know something, Mrs. Nereid, the more you show your true colors, the more it gives me a reason to keep your children out of your care. Now, we, at Saint Philomena's Child Crusade Services, feel that children should stay with a relative as opposed to a stranger. If you do not wish to have the triplets with your mother or any other relative, we could have their place in a foster home."
"UNTIL WHEN???!!!!"
"Until you fulfill court orders."
"What are they?"
"I don't know. It's the city court's decision. If by chance the city court feels that your mother's home is unfit, we will send the children to foster homes."
"Together or separate?"
"It depends on the situation."
"What the hell does that supposed to mean?"
"Some foster homes are overcrowded. In a case like yours, your children are most likely to be placed in separate foster homes."
Sabine feels boxed in a corner. She cannot let that happen to her children.
She takes a deep and says with surrender, "…Please…if you feel that my children should not be with me FOR AWHILE…they can stay with their grandmother. I will be damn if my children get placed with a stranger or strangers. Most of all, separated from each other."
"Very well," Miss Cooper agrees, "The last thing I need from you is to sign the papers to get your consent."
Although she is very upset, Sabine signs the papers as instructed; they are papers stating the welfare of the children, Argentina Nereid, Mandela Nereid, and Corinthian Nereid.
"Thank you for your cooperation, Mrs. Nereid," says Ms. Cooper.
Just when Ms. Cooper is about to walk away from Sabine, Ms. Cooper says one last thing, "You know…I find this ironic."
"What's ironic?"
"You have a shred of mercy for those children. Good day, Mrs. Nereid."