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A few days later Paul absentmindedly strolls into the path of a speeding truck, only to be saved from certain death by the quick reactions of Rashid Cole (Harold Perrineau). A young black kid, Rashid is on the run from an unspecified problem and, in gratitude, Paul offers him a place to stay for a few nights. At first Rashid refuses then, later, unexpectedly turns up and crashes out on the floor. Initially there's a tangible distance between the two, a product of their differing races and background. Gradually a mutual understanding is attained, although Rashid has to move out after a few days because his presence disturbs Paul's writing. However, when Rashid's aunt appears at the door it turns out that circumstances weren't quite what they seemed. Primarily, Rashid's real name is Thomas Jefferson Cole and he lives with his aunt and uncle, not his parents. In fact Rashid's mother is long dead while his father, Cyrus Cole (Forest Whitaker), is absent, though information has recently come to light on his whereabouts.
Meanwhile Auggie is visited by an ex-girlfriend whom he hasn't seen in almost two decades, Ruby McNutt (Stockard Channing). While their conversation is vituperative, they obviously held deep feelings for each other and, in a certain way, still do. Ruby has arrived out of the blue because she needs help; their daughter Felicity (Ashley Judd) is living in Brooklyn, strung out on crack and pregnant. It's news to Auggie that he has a daughter and, understandably, he feels that this is all just another ploy for money. Rashid finds Cyrus and, instead of revealing his secret, arranges a job at the service station. When Cyrus is shown to have a whole new family, while he carries the scars of his previous one, Rashid returns to Brooklyn and it becomes clear why he's on the run. The friendship between Paul and Rashid deepens as the parallel stories draw closer together.
The essence of Smoke is that it provides an element which so many movies are just crying out for; strong, complex, interesting and difficult characters. Everyone in the film has something to say, which doesn't imply that their speech is always articulate, and reveals a little of themselves with every sentence. The corner cigar shop is central to these inter-linking stories, a window into the daily life of Brooklyn and an anchor which stretches far into the past. The acting is really pretty good overall, never once giving the impression that these are film stars slumming it. The slow release of background on each character gives us time to grow with them and appreciate their good and bad qualities, rather than swamping us with information in the first ten minutes. However, this approach leads to a measured pace which occasionally becomes leaden and laboured. The script is unable to continually flow smoothly, through the deliberate chopping of the film into sections and the contrived details which serve to bring storylines together. In the end everything holds together, a testament to scriptwriter Paul Auster and the solid work of Keitel.
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