A Cross to Bear

Where are you going?

I thought you said we could go shopping today.

-I ain't say that. -You did.

Okay, maybe I did, but we can't go today.

Now, go on in the house!

You going with him?

He's gonna give Mama some money so I can take you shopping.

That's why I got all dressed up today. Look.

When will you be back?

I'll be back in a couple of days.

Take this, put it in the house.

JOAN It's amazing how life can form patterns

that have a way of showing up in the behavior of our offspring.

Erica Moses was a beautiful girl,

raised in Washington, D.C.

Before I met Erica,

she had dreams of one day being an acclaimed ballerina.

But quickly found that the classical arts

didn't always cater to girls like her.

She had used her mother's attitude

as a way of transforming herself.

"Use what you got to get what you need, Erica."

Those were the echoes of her mother.

And that was the start of her metamorphosis.

Desperate to fit in, she traded tights for miniskirts

and ballet slippers for stilettos and...

Black skirt, step forward.

Eventually, a star was born.

She thought she scored big

when she snared a hot, talented artist with plenty of money.

I'm Trey.

Hi.

And you are?

Erica.

Well, it's nice to meet you, Erica.

I look forward to working with you.

Me, too.

In Erica's mind, her mother would have been so proud of her.

Erica became a leading lady

-in the world of music and entertainment. -(RAP MUSIC PLAYING)

The lights flashed and cameras rolled

and...and the people never slept.

What Erica came to realize

was that she was becoming a reflection of how she really felt on the inside.

Broken, discouraged and living out a revised dream

full of fantasy and disappointments.

Hi.

I'm sorry, the card is declined.

Okay.

Uh, try this one.

I'm sorry, that one's not working either.

Okay, can you...can you try this one again please?

Tyiese Studio.

Uh, excuse me. You need to sign in.

I'm Trey's girlfriend.

I've heard that before. You still need to sign in.

Trey!

Trey, I need to talk to you.

-Trey! -(MUSIC STOPS)

I need to talk to you. It's important.

Okay. My cards were declined today.

That's what happens when you don't pay the bills.

You been drinkin' or somethin'?

Have you?

Look, are we in trouble?

Oh, it's "we" now?

Hold on, dawg. I'll be right back.

Come with me.

What's the point of coming out here?

You couldn't say it in front of everybody else?

I don't want everybody in my business.

Whatever.

Come here!

So, it's "we" now, huh?

It wasn't "we" when you spent up all my money.

You said I didn't have to work!

What can you do? Huh?

I...

I can find something to do.

Well, go find it then. Bye.

I got to go to work.

I wasn't through talking to you!

I'm done listening.

Excuse me, I need some money.

Cue the track, dawg.

Cue the track!

-I need some money. -(MUSIC PLAYING)

I'm hungry, I need some money.

-You know what? -Whoa, whoa, whoa. I got this.

Look...

Here, just take this and go.

Thank you.

You know, I'm getting sick of this, Erica.

You ain't nothing but a gold digger anyway!

Trey. Trey, I do care.

It's not about the money.

I promise, I'll do better, please.

What do you want me to do?

I just need you out by tomorrow.

But I have to tell you something!

Erica, I'm done.

You're gonna grow up to be a pretty girl

and you can use that pretty to get yourself a good man.

And make sure he's got money.

A man with no money ain't no man at all.

Remember that.

Hey.

-What's up? -Oh, what's up with you?

Uh, nothing much. (SNIFFLES)

Uh, you...you doing okay?

Not really.

I mean, you know me and Trey broke up.

Oh.

Oh, I really just need to talk to him.

If I... If I hear from him, I'll tell him to give you a call.

If you need anything just... just call me, okay?

-(SHUSHING) -(LALA CRYING)

No.

Quiet now.

I'm trying as fast as I can.

Don't cry for Mommy.

Don't cry.

I'm trying. I'm trying real hard.

I'm gonna find us somewhere to sleep tonight, okay?

Oh.

We're over capacity. We can't take any more.

I was here last night. Remember me?

Look, somebody is in there holding my space.

We're over capacity. I'm sorry.

We have nowhere to sleep and we have no more food.

Okay, I got... I got... I got some money. You can have it.

Okay, it's not enough for a hotel.

Please. I have a baby.

So do half the women in here. I'm sorry.

You got to get here early. Sorry.

You looking for a place to squat?

Come on, I know a place.

It's a real clean place, too.

Come on!

It's all right. It's all right.

Come on.

Excuse the place. I didn't get a chance to clean up.

Hey, hey, hey, hey! That's my corner.

I'm just kidding with you.

You're new around here, ain't you?

Charlie, leave her alone. She's having hard times.

I'm gonna take care of her.

I'll even share my private stash.

It's okay. He's harmless.

An apple a day keeps the doctor away.

Charlie, get on out of here.

Listen, you and your baby is gonna be all right, I promise.

You're gonna be fine.

You just got one night, okay?

Hey, little girl.

You wouldn't happen to have any change, would you?

A couple of dollars?

Thank you.

It's for your rent. (CHUCKLES)

Well, make yourself comfortable.

We're at home.

We are at home.

See, you got a crib.

Uh-huh. Uh-huh.

Go to sleep. Go to sleep.

Go to sleep. Okay?

Go to sleep. Okay?

Go to sleep.

I ain't never seen nobody sleep for two days straight!

Yesterday, I thought you were dead.

I put a glass on your nose and you fogged it up.

I left you alone.

You hungry?

I got big boxes.

Big boxes.

No?

That's fine. More for me.

What's your name?

You got legs like a dancer.

I used to be a dancer.

A backup dancer.

I took ballet and everything.

Uh, we got a dance group here. Stacy over it.

But I guess you'll meet her one day.

Yeah.

I heard they found you out by that old cotton mill.

What you was doing out there?

You homeless?

Hello?

Hello?

Hello!

You don't talk?

You slow?

That's all right, dancer. You ain't got to talk to me.

I talk to you.

This is Joan's house.

Take in homeless girls and runaways.

She cool.

But she got a lot of rules.