Hi Rob,
I don't know if this is what you have in mind,but here goes.

The dawn came slowly over the town of Santa Ana Tepititlan Jalisco Mexico, turning the wet black stones of the street to gold. Nineteen year old Jose Luis Mendoza,apprentice seller of drugs,and part time laboror for his alcoholic father forced his eyes open,and reached to embrace his wife Lupe. She was gone,and the baby was gone too. He drank stale beer from a can left on the floor. I hit her too hard he thought, looking at the early morning light passing through the thin curtain Lupe had hung. He knew Lupe was at her mother's small block house,his mother-in-law was examining Lupe's face under the light bulb hung from the kitchen ceiling. She was examining the bruse over Lupe's eye, her swollen lip,and her ribs where Jose had kicked her,causing his shoe to fly off.

Jose knew his mother-in-law prayed for the day she would throw dirt on his grave. He also knew Lupe and her mother would cry,argue,fight,and Lupe would return with the baby. Knowing this he finished the beer,and slept fully clothed...except for one missing shoe.
Steve

First, do you prefer Stephen or Steve?

Second, what you wrote is entirely in Jose's POV, and perfect. In your scene, however, if you had told the reader what Lupe's mother-in-law's thought about Jose, thereby expressing her POV, there would an improper shift, since, again, the piece was written in Jose's POV. Here is a line that reflects an improper POV shift if it were incorporated in your short narrative: She was examining the bruise over Lupe's eye, wondering how much more her daughter-in-law was going to put up with from her son before she put him in the ground. In this instance, the mother-in-law could ask Lupe the question I just posed, but not think it. Make sense? Oratory is fine; thought isn't, if the POV of the scene is established via another character.

If a writer wishes to shift POV, sometimes, depending on the amount of exposition in the narrative, as little as a paragraph or two is adequate to serve as a buffer.

As I stated in the article, the problem with a POV shift is when it occurs in the same scene; and 1) it becomes difficult for the reader to determine who is speaking; or 2) another character's POV is interjected so the reader becomes confused as to whom or what the scene is written around. There can be other issues, but those are the primary concerns as I know them. Just keep in mind that when a shift is established, that entire scene should then be written around this "new" character's thoughts. Jumping back and forth in a scene never works, any more than expressing a half-dozen characters' POV's in a scene.

If you would like to read a novel in which there is no POV via a particular character in the entire narrative, since all the interior monologue is in an omniscient voice, read (or reread, now that you would be parsing POV issues), THE MALTESE FALCON.

Got to run. Hope this helps.

Hi Rob,
Point of view is becoming clearer,thanks to you,and your kindness to a stranger. Regarding my name,I do prefer Stephen. But most of my friends call me Steve.