Original subtitles

PREVIOUSLY ON "THE HAVES AND THE HAVE NOTS"...

‐WHERE IS HE? ‐I DON'T KNOW.

‐HE'S LYING. ‐YOU ARE SO PRETTY.

BUT THEY CAN MESS UP YOUR FACE SO BADLY

THAT YOUR OWN MOTHER WON'T RECOGNIZE YOU.

HE'S PISSED 'CAUSE YOU'RE KNOCKING HER OFF,

SO NOW HE'S MESSING WITH OUR BUSINESS.

SO WHAT DOES HE WANT TO GET OUR PHONES BACK ON?

[ Crying ] DAVID! OH, DAVID.

DAVID.

Your bitch is dead.

WHY DID YOU DO IT? YOU SET IT UP.

YOU TAKE ME TO YOUR SISTER'S HOUSE RIGHT NOW!

THAT SHE WOULD PUT HIM IN FOSTER CARE!

YOU TAKE ME TO HER RIGHT NOW!

[ POLICE RADIO CHATTER ]

MS. SALLISON? MS. SALLISON.

YES?

ARE YOU OKAY?

DAMN IT, BLAKE.

I KNOW.

NO. YOU DON'T.

THIS IS ALWAYS SAD.

YOU HAVE NO IDEA HOW SAD THIS IS.

WHAT DO YOU MEAN?

I GOT HIM THE MONEY, BLAKE.

WHAT?

HIS INHERITANCE. HE TOLD ME HE WAS CLEAN.

YOU HAD HIM TAKE A DRUG TEST.

YES.

JENNIFER, YOU CAN'T BLAME YOURSELF FOR KIDS LIKE THIS.

THE HELL I CAN'T!

YOU CAN'T.

WELL, THE CRYERS WILL.

LOOK, HE HAD THIS PROBLEM BEFORE YOU HELPED HIM.

NO.

I DID THIS.

DO NOT DO THAT TO YOURSELF. HE DID THIS.

I GAVE HIM THE MONEY, BLAKE.

THAT'S LIKE PUTTING THE DRUGS IN HIS HANDS.

WELL, IF YOU'RE GONNA PLACE BLAME,

BLAME HIS PARENTS FOR BEING RICH

OR BLAME THE DRUG DEALERS WHO SOLD IT TO HIM

OR BLAME THE NEEDLE MAKERS WHO MADE THE NEEDLES.

‐I GET IT. ‐DO YOU?

YES, I ‐‐ I GET IT.

YOU HAVE TO MAKE A CALL.

I KNOW. I KNOW.

WHAT DO YOU WANT US TO DO?

[ SIGHS ]

CALL THE M.E.

ARE YOU GONNA TELL HIS PARENTS?

I CA‐‐ I CAN'T DO THAT.

I CAN'T ‐‐ I CAN'T EVEN LOOK AT THEM.

OKAY. I'LL TELL THEM.

PLEASE.

I WILL.

THANK YOU.

CALL YOU LATER.

I'M FINE, BLAKE.

I'M FINE.

‐‐Captions by VITAC‐‐ www.vitac.com

CAPTIONS PAID FOR BY DISCOVERY COMMUNICATIONS

♪♪♪♪

[ ENGINE SHUTS OFF ]

MOM.

ARE YOU JUST GONNA WATCH ME WALK THE WAY OVER HERE?

I WAS TRYING TO GIVE YOU A CHANCE TO CALM DOWN.

YOU THINK YOU'RE FUNNY.

I'M NOT BEING FUNNY.

THIS IS YOUR NEPHEW, AND YOU DON'T CARE.

‐YES, I DO CARE. ‐YOU DON'T ACT LIKE IT.

MOM, IT'S CANDACE'S BABY. IT'S NOT YOURS.

MOVE.

‐CALM DOWN. ‐I AM CALM!

YOU'RE NOT GOING TO HER HOUSE LIKE THIS AGAIN.

SHE PUT THAT BABY IN FOSTER CARE, BENNY.

DIDN'T SHE SAY IT WAS TEMPORARY?

A DAY IS TOO LONG.

MOM, YOU ALREADY HAD IT OUT WITH HER.

CAN'T WE JUST SLEEP ON THIS?

WHERE'S THAT BABY SLEEPING?

‐I'M SURE HE'S FINE. ‐HOW DO YOU KNOW?

I KNOW SHE WOULDN'T LET HIM STAY IN SOME BAD PLACE. COME ON.

WHERE WAS HE WHEN I WAS LOOKING FOR HIM ALL THOSE YEARS?

HE WAS BEING ABUSED.

SHE DON'T CARE ABOUT HIM AT ALL, BENNY ‐‐ AT ALL.

YES, SHE DOES.

BOY, IF YOU DON'T MOVE OUT ‐‐

‐MOVE. ‐NO.

TAKE YOUR HANDS OFF HER. I MEAN IT.

MA'AM, I'M FINE.

ARE YOU SURE? I CAN CALL THE POLICE.

YES, MA'AM, I'M FINE.

WELL, FOR HEAVEN'S SAKES, IS HE HURTING YOU?

NO, MA'AM.

WELL, IT'S OKAY TO ASK FOR HELP.

YES, MA'AM, I KNOW. I'M ‐‐ I'M FINE, REALLY.

OLD LADY, GO TO BED, WILL YA?

BENNY, WATCH YOUR MOUTH.

AND YOU CANNOT PARK HERE.

WE HAVE RULES IN THIS NEIGHBORHOOD.

SHOW SOME RESPECT.

I'M SORRY, MA'AM.

ALL RIGHT? I WON'T BE HERE TOO LONG.

YEAH, YOU'VE ALREADY BEEN HERE TOO LONG.

MA.

‐BENNY, MOVE. ‐YOU'RE NOT GOING OVER THERE.

YOUNG MAN, WHY DON'T YOU STOP HARASSING THIS YOUNG LADY

AND GO ON OVER THERE TO THAT LADY OF ILL REPUTE'S HOUSE.

WELL, I KNOW WHAT SHE IS.

‐WHAT? ‐BENNY.

YES, I SEE THESE MEN COMING IN AND OUT

AT UNGODLY HOURS OF THE NIGHT, ALL NIGHT LONG.

AND I'VE SEEN YOU OVER THERE, TOO.

‐THIS OLD WOMAN. ‐SHH!

SHE HAS THESE PEOPLE COMING IN ALL THROUGH THE NIGHT,

AND IT'S NOT RIGHT.

YOUNG LADY LIKE THAT

SHOULDN'T HAVE THAT MANY GENTLEMEN CALLERS.

AND YOU HAVE TO MOVE YOUR TRUCK.

I WANT YOU TO MOVE YOUR TRUCK RIGHT NOW,

OR I'M GONNA CALL THE POLICE.

LOOK ‐‐

AND I HAVE A LOT OF POLICE OFFICERS IN MY FAMILY.

LOOK, LADY, I'LL MOVE MY DAMN TRUCK

WHEN I'M READY TO MOVE MY TRUCK ‐‐

BENJAMIN YOUNG, YOU BETTER SHOW SOME RESPECT!

WHAT?

YOU APOLOGIZE NOW.

DO IT.

I'M SORRY.

SHE SAID MOVE YOUR TRUCK. MOVE IT.

‐DON'T GO OVER THERE. ‐MOVE YOUR TRUCK!

DON'T GO OVER THERE.

MOVE YOUR TRUCK.

DON'T GO OVER THERE.

[ ENGINE STARTS ]

WELL, THANK YOU, YOUNG LADY.

AT LEAST SOMEBODY HAS SOME RESPECT.

I'M SORRY.

WELL...

[ SIGHS ]

YOU SHOULDN'T GO OVER THERE. SHE'S TROUBLE.

‐IS SHE? ‐OH, YES.

I SAW A MAN GO IN THERE, AND HE NEVER CAME OUT.

‐IS THAT RIGHT? ‐OH, YES.

YES.

I TOLD MY SON ABOUT IT, BUT HE DIDN'T BELIEVE ME.

OH, SHE IS TROUBLE.

YOU KNOW, SHE HAS VISITORS COMING IN AND OUT OF THAT HOUSE

ALL DAY AND ALL NIGHT.

I NEVER WILL UNDERSTAND WHY IN THE WORLD

SOMEBODY BUILT THAT BIG, MODERN HOUSE IN THIS NEIGHBORHOOD.

WELL, IT STICKS OUT LIKE A SORE THUMB.

JUST LOOK AT IT. DON'T YOU THINK?

YES, MA'AM, IT DOES. [ CHUCKLES ]

DO YOU KNOW HER?

SHE'S MY DAUGHTER.

YOUR DAUGHTER?

MM‐HMM.

OH, I AM SORRY.

DON'T APOLOGIZE. SHE'S A HANDFUL.

NO, I'M REALLY SORRY.

YEAH, I AM, TOO.

YOU DO KNOW THAT SHE'S TROUBLE, DON'T YOU?

ABSOLUTELY.

I'M PEARL.

I'M HANNA.

YOU KNOW, I DID SEE A MAN GO IN THERE,

AND HE NEVER DID COME OUT.

‐IS THAT RIGHT? ‐OH, YES, YES.

YEAH, AND HE WAS DRIVING A WHITE CAR, TOO.

THE LICENSE PLATE WAS Y‐U‐000‐125.

YEAH, AND HE HAD A HAT ON, TOO.

YEAH, HE HAD A HAT ON, AND HE WAS C‐‐

AFRICAN‐AMERICAN.

DARKER SKIN THAN YOURS, THOUGH.

WELL, AND, UH, HE DID HAVE A HAT ON.

AND HE HAD AN AFRO, LIKE IN THE '70s,

ONLY IT WAS SHORTER.

AND HE HAD A TERRIBLE PRESENCE.

IT WAS EVIL. IT WAS REALLY SCARY, YOU KNOW?

AND HE HAD BIGGER CLOTHES.

YOU KNOW, BIG ‐‐ TOO BIG FOR HIM.

THAT'S CAMOUFLAGE, THOUGH.

AND HE HAD AN INSANE LOOK IN HIS EYES.

AND I PRINTED OUT A PICTURE OF HIM FROM MY CAMERAS.

‐YOU DID? ‐OH, I DID. YES, I DO.

I HAVE A LOT OF CAMERAS AROUND HERE,

AND THEY'RE ON HER HOUSE.

‐THEY ARE? ‐OH, YES.

I'LL HAVE YOU KNOW I HAVE A LOT OF CAMERAS.

SO YOU TELL YOUR DAUGHTER

THAT IF ANY OF HER VISITORS WANT TO COME OVER HERE,

I AM BEING MONITORED BY A LOT OF MEN IN BLUE.

MM‐HMM.

DID I TELL YOU I HAVE A LOT POLICEMEN IN MY FAMILY?

YEAH, WELL, MY CAMERAS ARE TRAINED RIGHT ON HER HOUSE.

'COURSE, I DIDN'T MEAN TO SET IT UP THAT WAY.

BUT YOU KNOW, I HAD TO HAVE THEM RIGHT HERE ON MY DRIVEWAY

BECAUSE I HAVE TO WATCH MY CAR.

WELL, YOU UNDERSTAND.

YES, YES, I SEE.

WOULD YOU LIKE TO SEE IT?

THE PICTURE?

YES, YEAH.

YES, I WOULD.

OKAY, I'LL GO GET, BUT DON'T SHOW IT TO HIM.

WHO?

HIM.

WHOEVER HE IS.

WELL, THAT'S MY SON.

YOUR SON?

YES, MA'AM.

OH.

MS. PEARL?

[ DOOR CLOSES ]

HOLD ON, WHOA. HOLD ON, HOLD ON.

ARE YOU CALM YET?

YES.

SO, LET'S GO HOME.

SO I'M SUPPOSED TO GO TO YOUR HOUSE AND SLEEP.

DO YOU KNOW WHAT TIME IT IS?

NO.

AND I DON'T KNOW WHERE YOUR NEPHEW IS.

MOM, JUST ‐‐

THANK YOU.

[ KNOCK ON DOOR ]

[ DOORBELL RINGS ]

[ SIGHS ] WHAT?

SO, YOU PUT YOUR BABY IN FOSTER CARE?

WHAT CONCERN IS THAT OF YOURS?

YOU WOULDN'T LET ME HAVE HIM.

[ SIGHS ]

I'M TIRED.

CANDACE.

I'M GOING TO BED.

CANDACE.

BENNY, TAKE HER HOME.

IS IT BECAUSE QUINCY WAS HERE?

‐WHAT? ‐WHAT ARE YOU TALKING ABOUT?

I KNOW HE WAS AT THIS HOUSE.

MOM, WHAT ‐‐

THAT LADY ACROSS THE STREET JUST TOLD ME.

SHE SAID QUINCY CAME HERE?

MM‐HMM.

SHE IDENTIFIED HIM TO A "T."

SHE EVEN SAID SHE HAD A PICTURE OF HIM.

IS THAT WHY YOU PUT YOUR BABY IN TEMPORARY FOSTER CARE?

'CAUSE YOU'RE SCARED?

THEN LET ME AND BENNY TAKE HIM, PLEASE.

GOOD NIGHT.

CANDACE.

DO YOU AT LEAST KNOW WHERE HE IS?

OF COURSE I DO. WHO DO YOU THINK I AM?

DON'T ASK ME THAT.

YOU SEE? GOOD NIGHT.

WAIT. WAIT, WAIT, WAIT.

ARE THEY GOOD PEOPLE?

GOOD NIGHT.

CANDACE, JUST TELL HER THAT, PLEASE.

PLEASE. SO I CAN SLEEP.

YES.

YOU'LL BE HAPPY TO KNOW

IT'S A PASTOR OF A CHURCH AND HIS WIFE.

THEY HAVE SEVERAL FOSTER CHILDREN.

THEY DO THIS ALL THE TIME.

THEY CAME HIGHLY RECOMMENDED, AND I'VE MET WITH THEM.

HE'LL ONLY BE WITH THEM FOR... A SHORT PERIOD OF TIME.

FOR HOW LONG?

LONG ENOUGH.

QUINCY KNOWS WHERE YOU LIVE.

YOU KNOW HE'S GONNA COME BACK HERE.

YOU HAVE TO LET US TAKE THAT BABY, PLEASE.

PLEASE.

PLEASE.

GOOD NIGHT.

CANDACE. GOOD NIGHT.

‐CANDACE! ‐COME ON, MOM.

‐NO! BENNY. ‐LET'S GO.

NO.

LOOK, NOW YOU KNOW HE'S FINE.

OKAY? COME ON.

‐BENNY, SHE ‐‐ ‐JUST COME ON.

LET'S GO HOME. PLEASE.

‐ALL RIGHT. ‐THAT'S ENOUGH FOR ONE DAY.

ALL RIGHT.

ALL RIGHT, ALL RIGHT, ALL RIGHT.

[ VEHICLE DOOR OPENS, CLOSES ]

"SHE WAS AT HER BEST FRIEND, VERONICA HARRINGTON'S, HOUSE

HAVING TEA WHEN THEY INTERRUPTED AN INTRUDER,

WHO SHOT HER FIVE TIMES.

AN OFFICER WAS PRESENT."

THIS IS SUCH BULL.

WAIT. THIS HAPPENED AT MY MOM'S?

YES. WHAT?

AND YOU KNOW SHE DID IT.

WHA ‐‐ HEY, CAN I SEE THAT FOR A SECOND?

READ IT.

HEY, UH ‐‐ WAIT! I WASN'T FINISHED READING THAT.

LANDON, COME ON.

WELL, GET YOUR OWN PHONE.

I DON'T HAVE A PHONE YET, LANDON.

‐I'M WAITING TO GET ONE. ‐WELL, I NEED MINE.

WHAT IS WRONG WITH YOU?

I'M GETTING OUT OF HERE. YOU PEOPLE IN THIS TOWN...

WHAT? WHAT? WHERE ARE YOU GONNA GO?

FAR AWAY.

NO, LANDON, JUST ‐‐

‐JUST GET OUT, O‐KAY? ‐LANDON, WAIT, WAIT, WAIT.

GET OUT, JEFFERY.

WAIT! WHAT'S WRONG WITH YOU, MAN?

I DON'T TRUST YOU.

I DON'T TRUST CANDACE.

I DON'T TRUST YOUR MOTHER, ANY OF YOU.

YOU PEOPLE ARE ALL CRAZY.

SHE KILLED HER.

AND ‐‐ AND ALL OF YOU ARE UP TO SOMETHING.

EVERY ONE OF YOU IS ALWAYS UP TO SOMETHING, JEFFERY.

SO JUST GET OUT OF HERE.

PEOPLE IN THIS TOWN ARE NUTS.

LANDON, JUST WAIT. CAN YOU ‐‐

NO. OKAY, JUST GET OUT, OKAY?

GET OUT.

‐IT'S JUST ME. ‐GET OUT OF HERE NOW!

OKAY.

[ SIGHS ]

YOU KNOW, SHE SAID SOMETHING.

WHO?

PEARL.

WHO?

THAT LADY WHO LIVES ACROSS THE STREET FROM CANDACE.

WHAT?

SHE SAID SHE SAW QUINCY GO IN, BUT SHE DIDN'T SEE HIM COME OUT.

THAT LADY ‐‐ THAT OLD LADY DON'T KNOW QUINCY.

SHE DON'T KNOW WHAT SHE'S TALKING ABOUT.

THAT WOMAN'S CRAZY.

SHE DIDN'T SEEM CRAZY TO ME.

EH. BUT I DON'T KNOW, MOM.

HOW'D SHE SEE HIM GO IN, BUT SHE DIDN'T SEE HIM COME OUT?

UH, MAYBE SHE MISSED HIM. YOU KNOW, I MEAN, SHE'S OLD.

ON A VIDEO?

WHAT?

SHE HAS CAMERAS.

I KNOW THAT.

HOW DO YOU KNOW?

I SAW THEM.

WELL, HOW'D SHE MISS IT ON A VIDEO?

I DON'T KNOW. MAYBE SHE DID.

SOMEBODY LIKE THAT?

OLD AND AIN'T GOT NOTHING TO DO.

THAT'S ALL THEY DO IS SIT AROUND AND WATCH EVERYTHING

INCLUDING VIDEOS OF THEIR HOUSE.

HOME SURVEILLANCE.

WHAT?

BEFORE I WORKED FOR THE CRYERS,

I WORKED FOR AN OLD LADY LIKE THAT.

THAT'S ALL SHE'D EVER DO IS WATCH HER NEIGHBORS,

WATCH EVERYTHING.

I'M TELLING YOU,

IF SHE HAD CAMERAS, SHE'D BE IN HEAVEN.

WELL, UH, MAYBE HE WENT OUT THE BACK.

BUT WHY WOULD YOUR SISTER EVEN LET HIM IN?

I DON'T KNOW.

YOU DON'T SEEM UPSET.

WHAT DO YOU MEAN?

YOU'RE NOT.

BECAUSE I KNOW CANDACE WOULDN'T LET HIM IN.

I MEAN...

I DON'T KNOW, BENNY.

MOM, GO TO BED.

MNH‐MNH. THIS DOESN'T MAKE SENSE TO ME.

WELL, I DON'T KNOW.

WHY YOU KEEP LOOKING AT YOUR PHONE?

WHY? ARE YOU A DETECTIVE?

I'M JUST ASKING.

LOOK, I TEXTED SOMEBODY, AND I'M WAITING ON A CALL.

WHO?

IT'S INFORMATION FOR A TOW.

WOULD YOU GOT TO BED?

YOU KNOW, DAVID HARRINGTON CAME TO SEE ME.

HE DID?

YES.

ABOUT WHAT?

ABOUT YOU.

OH, YEAH?

YES.

HE TOLD ME HE WENT TO SEE YOU.

‐IS THAT RIGHT? ‐YES.

IS THERE SOMETHING YOU WANT TO TELL ME?

NO.

ARE YOU STILL MESSING AROUND WITH THAT WOMAN, BENJAMIN?

NO.

ARE YOU LYING TO ME?

NO, I'M NOT. AND I'M NOT LYING.

OKAY.

THAT'S ALL YOU GONNA SAY?

YEAH.

AND ALL I'M GONNA SAY IS THIS.

YOU ARE IN THE MIDDLE OF FIRE

IF YOU ARE STILL MESSING AROUND WITH THAT WOMAN.

SHE'S A LIAR, A MANIPULATOR,

AND SHE IS PLAYING GAMES TO MAKE THAT MAN JEALOUS.

AND SHE WILL USE YOU UP TO DO IT.

YOU HEAR ME?

YES.

SHE'LL STOOP TO ANYTHING, BENJAMIN.

I HEAR YOU, MA.

SHE'S LIKE YOUR SISTER.

I THOUGHT YOU SAID YOU WANTED TO TALK ABOUT ONE THING.

ALL RIGHT, I'M NOT TALKING ABOUT MRS. HARRINGTON.

I'M TALKING ABOUT YOUR SISTER.

‐MA. ‐NO, LISTEN, BENNY.

LISTEN, THE WAY QUINCY WAS LOOKING FOR HER.

‐IF HE DONE FOUND HER... ‐WHAT?

...THERE'S NO WAY HE WOULD HAVE BEEN ABLE TO ‐‐

WHAT DO ‐‐ WHAT?

YOU THINK...

YOU THINK SHE DID SOMETHING TO HIM?

NOW YOU'RE TALKING CRAZY.

BENNY.

CANDY?

I'M SERIOUS.

SHE DON'T WEIGH BUT A BUCK 20.

I MEAN, HOW IS SHE EVEN GONNA...

I KNOW.

MA, THAT OLD WOMAN ACROSS THE STREET

DON'T KNOW WHAT SHE'S TALKING ABOUT, OKAY?

YOU NEED TO LET THAT GO.

SHE GOT YOU TALKING CRAZY NOW. I MEAN...

GUESS YOU'RE RIGHT.

NOW GO TO BED.

I HOPE SHE'S TELLING THE TRUTH.

UGH, THAT OLD LADY'S CRAZY.

I'M TALKING ABOUT CANDACE ‐‐ SAYING THE BABY IS SAFE.

SHE LIES SO MUCH YOU NEVER KNOW WHEN SHE'S TELLING THE TRUTH.

I MEAN, IT'S HER BABY, THOUGH.

YOU KNOW?

SHE LIES WHEN THE TRUTH WILL DO.

I KNOW. YOU ALWAYS SAY THAT.

I JUST HOPE HE'S SOMEWHERE SAFE.

OH, MY GOD.

‐MA. ‐WHAT?

STOP.

LISTEN, DO YOU THINK MAYBE SHE GAVE THAT BABY TO QUINCY?

OH, MA, YOU ‐‐ I'M GOING TO BED.

NO, NO, WHAT IF SHE DID?

SHE DIDN'T DO THAT.

HOW DO YOU KNOW?

BECAUSE I KNOW.

HOW DO YOU KNOW?

LOOK, GIVE CANDACE SOME CREDIT, ALL RIGHT?

I MEAN, THAT'S HER CHILD.

YEAH, BUT THAT DOESN'T MAKE HER A MOTHER, BENNY.

LOOK, I DON'T WANT TO HEAR THIS, ALL RIGHT?

I'M GOING TO BED. GOOD NIGHT.

I HOPE YOU'RE RIGHT.

I AM, ALL RIGHT?

HE'S FINE.

OKAY?

GOOD NIGHT.

[ CELLPHONE RINGING ]

YO.

WHAT THE HELL?

IT'S THAT OLD BROAD ACROSS THE STREET.

I KNOW, SHE'S ‐‐

I knew she was watching everything.

CANDACE, I TOLD YOU SHE HAD CAMERAS POINTED ON THAT HOUSE.

I TOLD YOU.

I GOT TO FIND OUT WHAT SHE KNOWS.

WELL, HOW YOU GONNA DO THAT?

I'VE GOT MY WAYS.

CANDACE.

[ SIGHS ]

DON'T DO NOTHING STUPID.

I WON'T, BUT I NEED TO FIND OUT.

WELL, DO THAT 'CAUSE SHE COULD GET US BUSTED ‐‐ FOR REAL.

I KNOW.

WE GOT TO GET THAT BODY OUT OF THERE.

I KNOW THAT.

How?

BENNY, I DON'T KNOW.

ALL RIGHT, UH...

LET ME, UH... LET ME THINK OF SOMETHING.

SURELY, HE SMELLS. WE CAN'T MOVE HIM.

We have to wait.

WELL, FOR HOW LONG?

UNTIL HE STOPS SMELLING.

How long's that gonna take?

I ‐‐ I DON'T KNOW. MONTHS?

ALL RIGHT, I'LL, UH... I'LL LOOK IT UP.

NO, DON'T LOOK IT UP.

WHAT, DO YOU THINK I'M CRAZY?

I'LL LOOK IT UP AT THE LIBRARY OR SOMETHING.

NO, I'LL DO IT.

From where?

HER HOUSE.

WHAT?

YEAH, DON'T WORRY ABOUT IT.

I'LL ‐‐ I'LL DO IT.

WELL, WHAT ARE YOU GONNA DO?

WHAT I KNOW HOW TO DO.

CANDACE.

OKAY, I'LL TALK TO YOU LATER.

HEY.

YEAH?

Is your baby with that preacher?

HE'S FINE.

IS HE WITH HIM?

HE'S FINE, OKAY? GOOD NIGHT.

CANDACE.

GOOD NIGHT.

YOU'RE STILL LYING TO ME.

BYE.

[ CELLPHONE BEEPS ]

YOU SEE...

[ BUZZER ]

GUARD!

JIM, I CAME TO APOLOGIZE.

YOU GO TO HELL.

DAVID, YOU GO STRAIGHT TO HELL.

I THOUGHT YOU PUT A HIT OUT ON MY WIFE.

I DID.

AND YOU CALLED IT OFF.

NO.

I DID NOT.

YES, JIM, YOU DID.

I KNOW YOU DID.

ALL RIGHT, I DID.

WHY?

SURE AS HELL ISN'T

BECAUSE I'M AFRAID OF YOU OR ANY OF YOUR THREATS.

I CAN TELL YOU THAT.

I KNOW THAT IT WASN'T OUT OF FEAR.

SO WHY?

WHEN I SAW THE LOOK ON YOUR FACE

AND HOW YOU PROTECT THAT ‐‐

THAT WIFE...OF YOURS,

ALL I COULD SEE WAS THE LOOK ON MY FACE

WHEN I THINK OF AMANDA.

HMM.

SO, YOU CAN THANK ME ANYTIME.

ANYTIME.

HMM.

MAGGIE DAY IS DEAD.

WHAT?

YES.

SHOT TO DEATH.

AT VERONICA'S.

APPARENTLY, THEY ‐‐ THEY INTERRUPTED AN INTRUDER.

BURGLARY.

AT LEAST THAT'S THE STORY

THAT VERONICA'S TELLING THE POLICE.

DAVID, YOU NEED TO SLEEP FULLY CLOTHED

WITH YOUR KEYS IN YOUR HANDS

AND BOTH EYES WIDE OPEN FROM NOW ON.

NO NEED.

WHY?

I FILED FOR A DIVORCE.

WELL, THEN, IT'S ALL THE MORE NEED

FOR YOU TO BE CAUTIOUS, MY FRIEND.

YOU KNOW THAT YOUR WIFE DOES NOT LIKE TO BE SHAMED,

ESPECIALLY NOT PUBLICLY.

YOU KNOW WHAT, JIM?

AT THIS POINT, I REALLY DON'T GIVE A DAMN.

I NEED TO ASK YOU A QUESTION.

DID YOU LOVE MAGGIE DAY?

DID YOU LOVE MAGGIE DAY?

NO.

DID YOU SLEEP WITH MAGGIE DAY?

I NEVER CHEATED ON MY WIFE.

YOU'RE A STRONG MAN.

YOU'RE A VERY STRONG MAN,

BUT I CERTAINLY WISH YOU WOULD FIND SOME OTHER WAY

TO VENT YOUR...FRUSTRATION.

[ CHUCKLES ]

I AM SORRY.

I'VE BEEN TOLD I HAVE A MEAN RIGHT.

YOURS ISN'T TOO BAD, EITHER.

YOU DON'T HAVE MARKS ON YOUR FACE, DAVID.

MY RIBS ARE PRETTY BAD.

HOW ARE YOUR TOES?

[ BOTH LAUGH ]

WHERE DOES THAT LEAVE US?

I SUPPOSE WE'RE...

FRENEMIES.

FRENEMIES?

YES.

[ CHUCKLES ] OKAY, I LIKE THAT.

FRENEMIES ‐‐ WE'RE FRENEMIES.

[ LAUGHS ]

UH...

I'M GONNA WORK ON GETTING YOU OUT OF HERE.

YEAH, SON OF BITCH, HE GAVE ME NO BAIL

AND 30 DAYS FOR CONTEMPT OF COURT.

YEAH, I KNOW.

YOU HAVE ANYTHING ON HIM?

I DON'T, BUT I WILL INQUIRE.

QUICKLY, PLEASE.

YES, YES. YEAH, AND, DAVID...

FRENEMIES OR NO,

I OWE YOU A SERIOUS ASS KICKING.

THAT IS ONE DEBT I WILL DO MY BEST NOT TO BE REPAID.

ALL RIGHT.

[ CHUCKLES ]

TAKE CARE. YEAH.

YOU TOO.

[ BUZZER ]

[ TELEPHONE RINGING ]

[ RINGING CONTINUES ]

[ Line ringing ]

[ TELEPHONE RINGING ]

HELLO?

Hanna.

MRS. CRYER?

Do you know what time it is?

GOT A PHONE CALL.

WHAT?

I GOT THAT PHONE CALL.

WHAT ARE YOU TALKING ABOUT?

NOBODY CALLS THIS LATE, HANNA.

WHAT'D THEY SAY?

I...

I DIDN'T ANSWER IT.

MRS. CRYER.

[ TELEPHONE RINGING ] IT'S RINGING AGAIN, HANNA.

ANSWER IT.

NO.

MRS. CRYER.

I CAN FEEL IT.

ANSWER IT. IT ‐‐ IT MAY BE NOTHING.

NO. NO.

What's the number that's calling you?

[ WHIMPERING ]

MRS. CRYER?

[ RINGING CONTINUES ]

[ CRYING ]

[ TELEPHONE BEEPS ]

IT'S 912‐555‐4016.

OKAY, I'LL CALL YOU BACK.

Call it and I'll call you right back.

OKAY.

[ Line ringing ]

[ CELLPHONE RINGING ]

GOT TO TAKE THIS.

HELLO?

YES, THIS IS HANNA YOUNG CALLING.

YES?

DID SOMEONE JUST CALL MRS. KATHERYN CRYER?

YES.

YES, WHO AM I SPEAKING WITH?

This is Detective Blake.

YES, UM, WHAT IS THIS ABOUT?

IS SHE AROUND?

NO, WHAT IS IT ABOUT?

HER SON.

IS HE ALL RIGHT?

I NEED TO TALK TO HER.

IS HE OKAY?

WHO ARE YOU, MA'AM?

A friend.

I NEED TO SPEAK WITH HER.

SHE'S NOT GONNA TALK TO YOU, SO YOU NEED TO TELL ME.

I'M SORRY, MA'AM. WE HAVE TO TELL HER.

SOMEONE'S ON THE WAY TO HER HOUSE RIGHT NOW.

No, no, no, don't do that.

PLEASE, SHE CAN'T TAKE IT.

COULD YOU JUST WAIT AT LEAST TILL I GET THERE.

MA'AM, WHO ARE YOU AND ‐‐

PLEASE, LISTEN. SHE JUST LOST ONE CHILD.

COULD YOU JUST HAVE THEM WAIT UNTIL I GET THERE?

I'M ON MY WAY. I'M ON MY WAY OVER THERE NOW.

OKAY.

[ CELLPHONE BEEPS ] BENNY.

BENNY.

[ KNOCK ON DOOR ]

BENNY?

BENNY?

BENJAMIN?

BENNY.

BEN.

BENNY, I WAS LOOKING FOR Y‐‐

HI, LITTLE HANNA.

WHERE YOU GOING?

HUH?

[ ENGINE STARTS ]

‐VERONICA. ‐AREN'T YOU LISTENING?

YOU SEE?

NOW SHE GONNA THINK SOMETHING'S GOING ON.

LET HER THINK IT.

VERONICA.

I'M SO GLAD YOU CALLED ME.

I WANT YOU SO BAD.

DON'T YOU MISS ME?

THE ONLY REASON ‐‐

‐DON'T YOU MISS ME? ‐NO.

HMM.

THE ONLY REASON I'VE BEEN CALLING YOU

IS BECAUSE I NEED TO TALK.

OKAY. GREAT. LET'S TALK IN YOUR ROOM.

COME ON. SHOW ME YOUR NEW HOUSE.

‐COME ON. ‐NO.

MRS. HARRINGTON, OKAY, THIS IS ‐‐ THIS IS OVER.

‐YOU UNDERSTAND? ‐HMM.

NOW WHAT I NEED YOU TO DO IS TALK TO YOUR HUSBAND.

‐WHAT? ‐YEAH.

HE CAME BY LOOKING FOR ME,

AND HE DID SOMETHING TO MY PHONES.

‐REALLY? ‐YEAH.

AT MY TOW YARD.

NOW I'M NOT GETTING NO CALLS OVER THERE, AND I NEED MY MONEY.

AND NOW HE'S STARTING TO INTERFERE WITH MY BUSINESS.

‐IS THAT RIGHT? ‐YEAH.

WHAT MAKES YOU THINK IT'S HIM?

WELL, BECAUSE HE WENT BY THERE LOOKING FOR ME.

WHAT DID HE SAY WHEN HE CAME BY?

KEPT ASKING ABOUT ME AND YOU.

HMM.

YOU KNOW, WHAT WENT DOWN BETWEEN US, THINGS LIKE THAT.

AND WHAT DID YOU SAY?

I TOLD HIM TO TALK TO HIS WIFE.

GOOD FOR YOU.

LISTEN, I'M NOT PLAYING.

YOU BETTER HANDLE THIS.

WHAT DO YOU WANT ME TO DO, BENJAMIN?

WELL, TELL HIM NOTHING'S GOING ON SO HE CAN LEAVE ME ALONE.

OKAY, I WILL.

[ CHUCKLES ]

THIS STUNT OF ME IN THE PAPER ‐‐

I HAD NOTHING TO DO WITH THAT.

DID YOU KNOW SOMEBODY WAS TAKING PICTURES?

NO, I DID NOT.

YOU SURE?

I SAID NO.

LET ME ASK YOU SOMETHING ELSE.

GO AHEAD.

THIS, UH, SOME LITTLE GAME YOU OLD CHICKS PLAY?

"OLD CHICKS"?

YEAH, WHERE YOU TRY TO MAKE YOUR MAN JEALOUS

BY SCREWING SOME YOUNG DUDE.

HUH?

"SCREWING SOME YOUNG DUDE"?

THAT'S WHAT I SAID, YEAH.

IF I WANTED TO MAKE MY HUSBAND JEALOUS,

I WOULD NEED A MAN, NOT A BOY.

IF I WANTED TO MAKE MY HUSBAND JEALOUS,

I WOULD NEED SOMEONE THAT KNEW HOW TO CONJUGATE A VERB.

I WOULD NEED A MAN WHO HAD SOME DEGREES BEHIND HIS NAME.

I WOULD NEED A MAN

THAT KNEW HOW TO FIND HIS WAY AROUND THESE PARTS

WITHOUT ASSISTANCE FROM AN EXPERIENCED WOMAN.

IF I WANTED TO MAKE MY HUSBAND JEALOUS,

I WOULD NEED A MAN WITH SEVERAL ZEROS

IN FRONT OF THE DECIMAL POINT IN HIS BANK ACCOUNT.

YOU SEE, I COULD NEVER USE YOU, SON,

TO MAKE MY HUSBAND JEALOUS.

BUT I DID USE YOU.

HMM.

FOR SEX.

AND IT WASN'T GOOD SEX.

WELL, THEN WHY YOU WANT IT NOW?

DON'T FLATTER YOURSELF.

HMM.

YOU KNOW WHAT?

GET YOUR OLD ASS AWAY FROM AROUND HERE,

AND DON'T COME BACK.

[ Imitating Benny ] YOU KNOW WHAT?

GET YOUR OLD ASS AWAY FROM AROUND HERE,

AND DON'T COME BACK.

[ Normal voice ] YOU SEE WHAT I MEAN?

AND YOU BETTER TELL YOUR HUSBAND TO LEAVE ME ALONE.

TELL HIM TO STOP PLAYING WITH MY PHONE LINES

AND STOP MESSING WITH MY PLACE OF BUSINESS,

OR IT'S GONNA BE ME AND HIM.

DO YOURSELF A FAVOR, LITTLE BOY.

DON'T GET INVOLVED IN A MAN'S GAME.

YOUR LITTLE PENIS CAN'T REACH THAT FAR.

TRUST ME.

I KNOW.

[ CHUCKLES ]

WELL, THAT AIN'T WHAT YOU SAID LAST TIME.

YOU REMEMBER THAT?

MATTER OF FACT...

WHY DON'T YOU LOOK AT IT?

[ ZIPPER UNZIPPING ]

GO ON, LOOK AT IT.

LET YOUR MOUTH WATER.

IT'S GONNA BE THE LAST TIME YOU SEE THAT.

YOU BELIEVED ME, DIDN'T YOU?

YOU'VE NEVER HEARD A WOMAN FAKE IT BEFORE.

I KNOW.

NEVER HEARD IT.

OH.

[ MOANING ]

OH, BENJAMIN!

[ MOANS ]

OHH, PLEASE DON'T STOP.

OHH, PLEASE D‐‐ PLEASE DON'T STOP!

OH, PLEASE.

‐GET YOUR ASS OUT OF HERE. ‐[ CHUCKLES ]

GO ON.

MY HUSBAND'S GONNA RUIN YOU, SON.

OKAY. WELL, YOU TELL HIM TO KEEP MESSING WITH ME.

OKAY.

IF I WERE YOU, I'D STAY AWAY FROM HIM.

HE'S DANGEROUS.

‐OKAY. GO ON. ‐OKAY?

ALL RIGHT. BYE‐BYE, LITTLE BOY.

DO LIKE I TOLD YOU TO DO AND GET OUT OF HERE.

‐GOODBYE LITTLE, BENNY BOY. ‐OH, THAT'S FUNNY, RIGHT?

GET YOUR OLD ASS AWAY FROM AROUND HERE.

‐SEE YOU LATER, SUGAR PIE. ‐YEAH, ALL RIGHT.

[ VEHICLE DOOR CLOSES ]

[ POLICE RADIO CHATTER ]

‐ARE YOU THE DETECTIVE? ‐YEAH.

‐THANK YOU FOR WAITING. ‐SURE.

SHE'S NOT GONNA OPEN THE DOOR. I'M GONNA CALL HER.

[ TELEPHONE RINGING ]

MRS. CRYER?

Hanna?

YES.

What is it?

YOU NEED TO COME AND OPEN THE DOOR.

Are you here?

YES.

Why are you here?

YOU NEED TO OPEN THE DOOR.

Why are you here, Hanna?

MRS. CRYER.

Hanna, I am not coming to open the door.

MRS. CRYER, YOU ASKED ME TO BE HERE,

AND I'M HERE NOW.

YOU NEED TO COME AND OPEN THE DOOR.

No.

MRS. CRYER, COME ON NOW.

No, no, no.

WE'RE COMING IN.

YOU NEED TO BE DRESSED, OKAY?

Hanna, no, no, no.

WE'RE COMING IN WITH THE EXTRA KEY.

YOU NEED TO COME DOWNSTAIRS, OKAY?

OKAY?

Okay.

OKAY.

[ DOOR UNLOCKS ]

SHE'S COMING DOWN.

OKAY.

IS IT BAD?

I'M AFRAID SO.

HOW BAD?

BAD.

[ EXHALES DEEPLY ]

LORD JESUS.

WHO ARE YOU TO HER?

I'M A FRIEND.

SHE'S NOT GONNA TAKE THIS WELL.

[ SNIFFLING ]

I DON'T WANT YOU HERE.

I DON'T WANT YOU HERE.

YOU WERE HERE WHEN MY DAUGHTER DIED.

WHY ARE YOU HERE?

WHY ‐‐ WHY ‐‐ WHY ARE YOU HERE?

[ CRYING ]

MA'AM, I'M SORRY.

IS MY SON DEAD?

IS HE?

IS HE?

IS HE?

HANNA.

IS MY SON DEAD?

YES, MA'AM, HE IS.

♪♪♪♪

[ SCREAMING ]

♪♪♪♪

[ SCREAMING CONTINUES ]

[ SCREAMING CONTINUES ]

NEXT ON "THE HAVES AND THE HAVE NOTS"...

IT'S A HAPPY TIME. HAPPY, HAPPY.

COME ON, HAPPY TIME, HAPPY TIME. LET'S GO.

HOW MUCH ARE YOU SUING ME FOR, HANNA?

ARE YOU GONNA TAKE IT ALL? IS THAT IT?

WHY YOU HAVING SEX WITH HIM? IS HE RAPING YOU FOR THAT MONEY?

WE'RE MEN, AND I'M NOT ‐‐

YOU'RE NOT GAY.

‐MRS. CRYER, I CAN'T DO THAT. ‐YES.

DON'T ASK ME TO DO THAT.

HANNA, THERE'S NO ONE ELSE.

I'M JUST WARNING YOU, DUDE. THIS IS A BAD DUDE.

THAT'S A GOOD MAN.

YOU CAN'T TELL ME NOTHING BAD ABOUT HIM.

WHEN THAT CLOCK STRIKES 5:00, HE DEAD.