02x06 - It's a Business, Man

[bunniefuu]

[UPBEAT HIP-HOP MUSIC PLAYS]

♪ ♪

[GROWN KANAN] Previously
on Raising Kanan...

Pack some sweaters and your big coat.

- Why?
- We're going campin'.

We got some action goin' on over here.

Zisa is about to blow the f*ck up.

[LOU-LOU] I'll put our girl up
against anybody.

You stole my song.

I didn't steal anything.
That song was given to me.

That was my song, and you stole it.

That bitch ass n*gga Crown
told you, didn't he?

[FAMOUS] Look, I know you
probably still twisted

over that situation
with Jessica and Crown,

but I ain't even know
they was kickin' it like that

till after she left.

[CROWN] You know, the best salesman,
they the ones who f*ckin'...

You know, just 'cause
you make gangster music

doesn't make you a gangster.

[MARVIN] Look who done
came up in the world.

I told Mr. Stevens you were my daughter,

and he wants to see
if we share the same voice.

He doesn't share
nothing personal with me.

Well, you're sleeping with him.

It doesn't really get
more personal than that.

[ANDREA] She threatened
to call child welfare

and have them take my kid away.

- What you say?
- I mentioned the thing

- about your son.
- What the f*ck?

[RAQ] You the heir to this
throne, Kanan,

- if you want it.
- I want it, Ma.

- Leave the kid alone.
- Scout's honor.

[TENSE MUSIC PLAYS]

Drop the g*n.

[HIP-HOP MUSIC PLAYING]

[GROWN KANAN] When the block get hot,
n*gg*s get nervous,

fingers get all itchy
and sh*t on that trigger...

always looking over they shoulders
to see if trouble coming.

But the real ones, the sh*t callers,

they know the trouble always comin'.

So ain't no reason to look,
ain't no reason to be nervous

'cause how the f*ck you gonna
be scared a somethin'

that's always there?

That's like being scared
of the f*ckin' moon.

The moon ain't going nowhere
n*gga, and neither is trouble.

[RAQ] I'ma make this sh*t short
and sweet for y'all.

We ain't bendin' over for them Italians.

I know who the f*ck they are,

but I also know who the f*ck
we are and where we headed.

Now, our sh*t is way bigger than Jersey.

That's just a store.
We a f*ckin' business.

And I don't know about you
n*gg*s, but I ain't no punk.

Not in New York,
not Jersey, not nowhere.

So we gonna figure this sh*t
out with these m*therf*ckers,

but you could be g*dd*mn sure
that we in Newark to stay.

'Cause when you buildin' like we are,

plantin' our flags in new territories,

ain't no hill too small to die on.

Now, if we let them
body us outta Jersey,

it's gonna be open season
on our sh*t everywhere.

Look, this sh*t's gonna get
settled and we gonna be a'ight.

Jersey's just a proof of concept.

We about to be national, brothers.

So get back at it, 'cause we growin',

and growin' muhfuckers need to get fed.

That's it.

[LOW CHATTER]

Newark ain't nearly
worth all this trouble.

What I just say, Lou?

[MARVIN] Lou got a point, though.

Them Jersey n*gg*s are
all about the heron anyway.

[RAQ] You know, just once I wish

I had somebody up in here who
understood what I'm buildin'.

Okay, if you don't think big,
you gonna stay small.

Look, Kanan gettin' back in the mix.

I want him to see every piece of
the business from the ground up.

Need at least one of the men
in this family

to appreciate this damn work.
To see this vision.

[WORRELL] Raq,

can I holler at you right quick?

[EDGY MUSIC PLAYS]

♪ ♪

Yo, give me a minute.

You still f*ckin' with this sh*t?

This what we do, Uncle Lou.

No.

It's what she do.

Been meaning to
mention this for a minute.

It's delicate and sh*t,

and I don't wanna overstep
and I'm not sure

you'd even wanna f*ck with this.

f*ck you got, Worrell? Speak.

[MARVIN] So, um...

I heard Toni up
in Westchester, you know,

livin' happily ever after and sh*t.

So... who's the sucka she roped?

I heard she skipped town,
showed back at the Limelight one night,

met some rich guy blowing lines,
and then she started blowing him.

Huh. [LAUGHS]

Tried and true path for that bitch.

[LAUGHS]

[WORRELL] I just want you to know

that I'm down with you
and whatever you doin'.

I'm loyal.

Yeah, well, fools
who tell you they loyal,

they the exact fools
you gotta worry about.

Get the sh*t out already.
I ain't got all day.

'Nique got connect with them Italians.

He in with the old man's son.
They known each other for a minute.

And I suppose you know this
'cause you and 'Nique

bumped into each other on the A train?

I ran with the n*gga for years.

We connect from time to time.

But I work for you.

Just saying 'Nique might be
able to smooth this sh*t out.

And from where I'm standin',

he owes you.

[EDGY MUSIC PLAYS]

♪ ♪

[BACKGROUND CHATTER]

You ready to order?

Oh, you can give me some time.
I'm waiting for someone else.

[RAQ] So now you see.

Ninety-five percent of what I
do is calmin' these fools down.

- Pshh.
- Keepin' they eyes on the prize.

Now, look, your grandmother
she used to say,

"God gave men dicks so they
have somethin' to play with

while they women did all the work."

- Your ma talked like that?
- Boy...

[HUFFS] you don't know?

Don't let the church noise fool you.

Your grandmotha, she got a mouth on her.

[KANAN LAUGHING]

But you not gonna be
like these other brothers.

You gonna be a leader.

A general.

You gonna handle your business.

[ENGINE TURNS]

[BURKE] Thanks for pulling these.

[CLERK] Wasn't a whole lot
of heavy lifting involved.

I found that any lifting at all
seems to be a problem around here.

- [LAUGHS]
- My, uh...

my dad sends his best.

No, he doesn't.

- [BURKE] You got me.
- [CHUCKLING]

Plus, my dad's best is
everybody else's worst anyways.

[CLERK] You said it, I didn't.

[BURKE] What's this gap
between ' and ' ?

He take a leave of absence or something?

He could've if he sh*t someone,

but this file'd be about ten
times thicker if that happened.

Could be undercover work.

That wouldn't go in his
regular employment file.

They keep that information real close.

I didn't know he worked undercover.

[MUFFLED BACKGROUND CHATTER]

[EDGY MUSIC PLAYS]

[WAITRESS] More coffee?

Okay.

[MUFFLED HIP-HOP MUSIC PLAYS]

♪ ♪

[BELL JINGLES]

[RICARDO] We're closed.

[UNIQUE] I don't think they
here for alterations, Ricardo.

Take a break.

If it isn't the muhfuckin' g*ng
who couldn't sh**t straight.

To what do I owe the pleasure?

Matter of fact,
I been meanin' to ask you,

how you miss this big n*gga
with a Tec- ?

While his head in between
his bitch's legs

and his back turned towards you?

I thought you was
a professional, Brother Lou.

Wasn't Worrell's time.

[LAUGHS] You know what?

I got a different theory.

You missed that n*gga on purpose.

I mean, it's clear to me.

You just ain't got the heart
for this no more, kid.

Your head's out the game.

I mean, I could smell it on you.

That's your stank-ass breath, n*gga.

Look, enough of the bullshit.

[UNIQUE] I don't know, Raq.
This one shaky.

Can't seem to keep
a steady hand no more.

f*ck you, 'Nique.

I got Italian problems, 'Nique.

Bosellis.

Now, what the f*ck you
doin' out in New Jeruz, Raq?

I got interests out there.

And the Bosellis, they in the way.

And I'm hearin' that
you got connects to them.

Hmm. Well, I'm not sure
how much help I could be.

I mean, I guess you could say
Marco Boselli is a friend.

After all, I did
help him outta some sh*t

when I was in Queens County,

but ain't like him
and I got bidness or nothin'.

Sound like to me he owe you.
And you owe me.

Add that up, and it looks like we gonna

be takin' a trip out to Jersey together.

No. I ride solo, Raq.

No, we carpoolin', n*gga.

[UNIQUE] It's cool.
As long as I get to sit next to you.

[BELL JINGLES]

Yo, uh, I know you don't
trust this m*therf*cker.

[RAQ] No, of course not.

Don't trust that one neither.

We ain't got no choice right now,

'cause if 'Nique's links
to the Italians is legit,

then he our best sh*t at squashing
this sh*t without bodies droppin'.

I need you to set-up a parley
with the Bosellis.

Do it somewhere out in the open
so they don't

blast the f*ck outta us
before we start talkin'.

It's real convenient

how this sh*t made 'Nique
useful all of a sudden.

[MUZAK PLAYS OVER SPEAKERS]

♪ ♪

[SIGHS]

Now you're startin'
to look like my daughter.

[LAUGHS]

Ohh... yes.

No more work boots, sweatshirts.

A young woman should
look like a young woman.

Now turn around
so I can get the full effect.

There.

You are stunning.

[SALESPERSON] Here's the green.

All right, try this one on.

This the last one?

The last one at this store.

[MARVIN]
My job is... is high stress, man.

Lots of employees
who all got complaints,

customers who all got complaints.

Then we got these competitors,

[LAUGHS] muhfuck...

Fools.

Fools who...

who always want what we got.
They always on our ass.

Did everyone notice
that Marvin just modified his language?

He was about to say a word,

and he stopped himself because he felt

like maybe it wasn't...

the appropriate forum.

Words matter, my friends.

In here and out there.

And sometimes our words
themselves can be angry,

and they can cause others to feel...

att*cked or defensive.

Yo, I... yo, I been
trying to use, you know,

what we been learnin'
from this class at work,

you know, th-the breathing and whatnot,

but it don't always take.

[RENEE] Well, the fact that
you're trying is all that matters.

Just remember, giving in to your anger

is the easy way out.

That is so true.

'Cause I be wantin' to slap
the sh*t out of a guy.

You remember.

[SCATTERED LAUGHS]

But being angry is just not a good look.

You know, I-I'm openly,
uh, a-attractive.

- Aggressive.
- [RENEE] Something like that.

[LAUGHS]

Thank you, everyone. Great work today.

Great work today, Marvin.

[MELLOW HIP-HOP PLAYS]

♪ ♪

Should we stop and get something to eat?

I know shopping makes me hungry.

[TWIN-LO] Yo, Juke!

Where you been girl?

Been around. Just doin' what I do.

[TWIN-LO] Yeah? What's up with the gear?

[JUKEBOX] Just...

switchin' it up
a little bit, that's all.

[TWIN-LO] That ain't no lil' switch.

You payin' for sh*t now?

I'm Laverne's mother.

Laverne? Who the f*ck Laverne?

[KENYA] What's your name, young man?

I'll get wit' you later, Juke.

Yo, we out. Hey, who knew Juke fine?

[KENYA] Friend of yours?

- Just a guy I know.
- Oh.

I think I'm hungry after all.

[RAQ] So what happened
to being in Jersey?

[LOU-LOU] He told me there's a
pizza place he likes out here.

- [RAQ] Pizza?
- [LOU-LOU] Mm-hmm.

[RAQ] Psshh.

Have you heard from Unique at all?

[MARVIN] Left word a few times.
Ain't hear sh*t back.

[RAQ] Fix is in, n*gg*s. Get ready.

[LOU-LOU] Speaking of...

[SPANISH RAP MUSIC PLAYS]

♪ ♪

I never have
the same conversation twice,

but when Unique asked me
to do it as a favor to him,

I couldn't refuse.

He's a close friend of the family.

- [RAQ] Yeah, ours too.
- [SAL] Yeah.

Prince among men, this one, huh?

[RAQ] This drama between you
and me has gotten out of hand.

Look, the only reason you and The Pips
are still breathin'

is because Jimmy here told me
what happened in the Catskills.

That's not how we conduct ourselves.

We don't f*ck with kids.
Not yours or anyone else's.

And now that our friend
is vouching for you,

I've decided to do
something I never do...

Revisit settled business. Walk wit' me.

Come on, join us.

Unique was tellin' me that, uh,

the two of you have tangled in the past?

[UNIQUE] Yeah,
I was telling Sal that, uh,

we were competitors at a point.

Now we work together.

Something like that.

Yo, let me ask this.

You live near Eddie Murphy in Jersey?

Yo, Lou, w-what's Eddie's spot
out there called again?

I mean, Eddie's so rich,

his house got a name and sh*t.

I mean, like, he birthed the muhfucker.

- What's it called?
- Bubble Hill.

Bubble Hill.

Yo, man, I drove by there
a few times just to peep it.

sh*t's bananas. I ain't even know

they let n*gg*s live
in a area like that.

[LOU-LOU] They do if you Eddie Murphy.

Yeah, well, I don't live in Jersey.

I'm in Westchester.

Scarsdale.

Scarsdale.

Word.

I'm willing to carve off
a few points in my interest

in your business in Newark.

There will be no negotiation,
though, Raquel.

I appreciate you workin'
with me, Mr. Boselli.

We good?

One amendment to our agreement.

Unique gonna run
the operation in Newark.

I want someone there I know and trust.

No Unique, no deal.

Well, like I said...

'Nique family.

Ah. Let's go to Totonno's.

[RAQ] You and Worrell
cooked this whole sh*t up.

His cousin out in Jersey,
your connects to these pizza n*gg*s.

Vito Corleone here forcin' you
on me and my business?

sh*t just a happy accident, Raq.

There ain't nothin' happy about it.

It's a long game, 'Nique.

Ain't about who startin'.
It's about who finishes.

I ain't gonna lie.

Feel like I just hit
the buzzer beater, though.

Excuse me.

We're going to Totonno's.

[TENSE MUSIC PLAYS]

♪ ♪

[BACKGROUND CHATTER]

[MUFFLED HIP-HOP MUSIC PLAYS]

♪ ♪

[SINGER] ♪ Speedin' slow,
Green light go ♪

♪ You know I'm down for whatever, yo ♪

♪ Uhh, whatever,
Drinkin' s on the benches ♪

♪ I'm with the business ♪

♪ Right or wrong, make no difference ♪

- ♪ Never mingle ♪
- [KANAN] What up yo?

[BORN READY] Peace.

[SINGER] ♪ Raise the stakes
Like a wager out in Vegas ♪

They expectin' you at the bodega.

♪ ♪

[RAP CONTINUES IN BACKGROUND]

Damn. How much in here?

Yo, the brown bag guy
don't ask questions.

He just move sh*t
from one spot to another.

I'm supposed to be learnin', Ready.

And I'm teachin', n*gga.

They waitin' on you
at the bodega, brown bag guy.

You wanna stop
with this brown bag guy sh*t.

I'll catch y'all later.

[SINGER] ♪ Speedin' slow,
Green light go ♪

♪ You know I'm down for whatever, yo ♪

Pshh.

Yo, I had some fine biddies

- come to the crib last weekend.
- [LAUGHING]

On some Benetton United
Colors of the world sh*t too.

- Pshh...
- White, Asian.

Even had some Indian bitch
pull up to the spot.

But you and your moms gonna be

too busy huntin' bears
in the f*cking forest.

[KANAN] Famous,
when you goin' home, man?

[FAMOUS] The f*ck
I'm going back home for?

I got my own sh*t.
You're not listening to me.

Fly-ass necklace, Famous.

That's why it's on my neck, n*gga.

- Not no more, it ain't.
- [FAMOUS] Hey, man.

[KANAN] Get the f*ck outta here, Freddy.

You know this sh*t ain't right.

I don't give a f*ck about you,
your family or nothin', Kanan.

That's right. I'm that n*gga.

The n*gga you need to be scared of.

So you gonna die for that rope?

Run the rest of his sh*t. Grab that bag.

Hey, hey. What the f*ck?

Tellin' you, Freddy,
you f*ckin' up, man.

[FREDDY] Been hearin' that
my whole life.

But I'm still out here perpetratin'
and gettin' this money.

That's how sh*t works, my n*gg*s.

Street math. Don't take it personal.

[LAUGHING]

[KANAN] f*ck!

f*ck!

f*ck!

I mean, my sh*t
was gold-plated anyway, K.

n*gga, the money was in that bag.

Raq's money?

First day on the job
and I'm already out here getting taxed.

This n*gga's got me lookin'
like a straight f*ckin' clown.

That's a'ight though.

We're gonna go get that sh*t back.

I don't know. Freddy don't play, K.

I mean, maybe he right
about all this sh*t.

It's just the way the world works.

Hey, we got took.
The sh*t happens to everybody.

Not to me.

Not no more.

[CARTIER] So even if I take a loss

on a piece here and there,
it still cleans my money.

Just like the one I just bought, right?

I mean, if it never appreciates,
I'm okay with that.

I won't be cryin' in my champagne.

[LAUGHS]

[ARTIST] Hey, I'm gonna need a hand

loading that painting into your car.

Uhh...

Well, there's your hand, bitch.

What you want, another one?

Now, when I paid for this sh*t,
packing was included.

So you get that m*therf*cker,
and you take it down to my car

right now and never interrupt me again.

[MELLOW POP MUSIC PLAYS]

[CARTIER HUFFS]

Well, there is a small step

between insubordination
and insurrection.

Now, you always gotta keep
the people who work for you

in check, Raq.

Jesus.

So where the sh*t
you cleaning come from?

New York is all spoken for,
Jersey mad crowded too.

[CARTIER] Ah, Tri-State
is way too competitive.

It's just too much supply.

That's why the margins
are always gettin' squeezed.

No, I look to greener pastures,

places where the market
isn't so glutted.

D.C., Baltimore,

Norfolk.

They have nowhere near
the access to product

that heads have here,

and that's why they're
willing to pay multiple

on what you get in New York.

See, down there, I'm what they
call vertically integrated.

Not only am I the supplier,

but my people handle distribution.

Catchin' every piece of the business.

So I got a whole network of n*gg*s

who will pay whatever the price I set.

It's turnkey like a m*therf*cker.

I am a one-man monopoly.

[ARTIST] Uh... it's loaded.

[CARTIER] My man.

Shall we?

[MOODY HIP-HOP PLAYS]

♪ ♪

You ever not in the studio?

Ain't sh*t out there for me.

I'm out there.

Cartier's pissed he hasn't
heard the song on the radio yet.

He ain't the only one.

He said if he doesn't hear it soon,
he's taking me somewhere else.

Tell Cartier I'm on that sh*t.

Keep his radio on and his ears open.

How come you never told me that
that song you gave me was your niece's?

She stepped to me outside
my parents' house.

She was crazy upset.

She sing it better than me?

It ain't about better.

Y'all sing it differently.

When I sing, I imagine
I'm singing to someone.

Just me and somebody.

Mm-hmm.

Alone. And I'm singing to him.

Who you singin' to, Zisa?

Who you think, Lou?

[SOFT MUSIC PLAYS]

♪ ♪

[KANAN] The f*ck, man?

What?

You ain't got a Kn*fe around here?
A bat? Nothin'?

I don't cook and I don't play baseball.

I'm sorry. I'm not that Spanish, n*gga.

[HUFFS] Unfuckin-believable.

Matter of fact,

think I know who got somethin'.

[RAP MUSIC PLAYS]

What you need a Kn*fe for?

Just gettin' our cook on
in Fame's spot, Corinne.

Y'all don't look like no chefs to me.

Who the hell are chefs
supposed to look like?

Not you.

And what... you just need a Kn*fe?

What about spoons and spatulas
and all that other sh*t?

Oh, so Corrine's a chef, now?

Look, you got a couple of
knives we could use or not?

Oh, so now it's two.

[PALOMAR] Corinne?

You don't ever get in the way of a man

who wants to put in work in the kitchen.

I think I have exactly
what you need, Kanan.

Follow me.

[SINGERS] ♪ All the n*gg*s chasin' her ♪

♪ Got the whole herd chasin' her ♪

♪ You know what I'm sayin',
She keep a little somethin... ♪

See? Your mother know what's up.

When n*gg*s wanna sauté, grill and sh*t,

you learn how to step out the damn way.

Shut up, Famous.

Sounded to me like this
might be just what you need

for whatever you two cookin'.

It gets real hot in that kitchen, Kanan.

[SINGERS] ♪ We gots gangsters ♪

♪ All the n*gg*s chasin' her ♪

♪ Got the whole herd chasin' her... ♪

I wouldn't want you to get b*rned, baby.

♪ ♪

[PALOMAR SIGHS]

[SINGERS] ♪ All the n*gg*s
Chasin' her... ♪

[KEITH] Oh, f*ck!

It's time to do that street math, n*gga.

Hope your punk-ass know how to subtract.

Grab that sh*t.

Grab the bag.

Make sure the money is in there.

- [KANAN] We good?
- Soon... soon as we peeped

that sh*t,
we was gonna give it back, man.

That ain't the business we in.

That ain't the kind of trouble
we looking for.

It's too late for that, Freddy.

- You done found it.
- No.

[FAMOUS] f*ck!

sh*t, K!

[DARK MUSIC PLAYS]

♪ ♪

Yo, yo, K, yo. n*gga, let's go!

Yo!

We gotta go. Let's go.

Let's f*cking go.

[FAMOUS] You went hard on that n*gga.

Yeah, that way the m*therf*cker
thinking about getting payback,

he remember what the f*ck we do.

n*gga, what you do.

- [KANAN] sh*t, the five-O!
- [FAMOUS] f*ck!

- [OFFICER] Hey!
- [FAMOUS] f*ck!

- [OFFICER] Stop right there!
- [FAMOUS] Ow...

[OFFICER] Don't f*ckin' run!

[POLICE SIREN WAILING]

[FAMOUS] What the... sh*t!

I ain't do sh*t. f*ck. I ain't do sh*t.

[DISPATCH ON RADIO] Ten-thirty
four as*ault in progress.

PBSQ responding.

- [HANDCUFFS CLICKING]
- Let's go.

You got him?

- One seventeen Adam.
- f*ck!

We have one other.

Please notify patrol supervisor.

- [SIREN WHOOPS]
- We're headin' in.

[QUIET R&B PLAYS]

♪ ♪

[MARVIN] So...

So aside from the Italian craziness...

...how'd sh*t go with, uh, with
Kanan up in the woods and all?

You mean other than
these Mafia m*therf*ckers

trying to k*ll me, how was sh*t
around the campfire?

[CHUCKLES] I'm just asking.

I mean, did you two connect at all?

Kanan at a age
where he keeps to himself.

You know, he used to tell me everything.

No secrets.

Now he just got me guessing.

It's like he havin' a whole conversation
about me in his head

and I ain't got no kind of say in it.

[MARVIN] At least Kanan
having a conversation.

Juke done wrote me off.

I don't even try to...

figure into what the f*ck she thinking.

Far as she concerned, she an orphan now.

No mama or daddy no more.

Look...

there's some sh*t you need to know.

Before I speak on it,
I need to say my piece.

And I wasn't gonna say nothin'
outta respect for Juke

and I was gonna let y'all handle it.

But how the f*ck you knock
around your daughter

like she a n*gga from the neighborhood?

What was you thinkin'?

You think Daddy ever put
his hands on me like that?

Hell no.

Look, I helped raise Jukebox.

As far as I'm concerned, she mine too.

So when you put your hands on her,
you put your hands on me.

And you do the sh*t again,
I'll k*ll you myself, n*gga.

Yeah, I know. I-I...

- I f*cked up.
- [RAQ] Yeah. You did.

Juke in touch with Kenya.

What the f*ck you just say?

Kenya is here, Marvin.
She living up in Harlem.

Juke's mom is... is uptown
and she talking to her?

Yeah, she went looking for her mama.

This on you.

She went looking
for what you wasn't givin'.

When you find out?

[RAQ] Other day.

How long this been going on?

Not long.

This bitch Kenya
wanna show up years later

to a party already bought and paid for

so she can blow out
the f*cking candles on a cake?

Ma, Ma, we gotta go, a'ight?

Look... look... look,
they... they grabbed Famous.

They threw him in the back of a car.

All right, just take a breath. Breathe.

What... what... who grabbed up Famous?

Five-O, Ma... they took him,
a'ight? We gotta go.

Well, what-what for? What'd he do?

I don't know... he probably
had weed in his pocket

or somethin'... it don't matter.
We gotta go now.

No, that sh*t ain't on us.

Famous is my boy, Ma.
I can't leave him in there.

We don't pay to take on
other people's problems.

Famous... that's on his family.
Not ours.

Uncle Marv.

What she said.

[KANAN WHISPERS] sh*t.

He's got a son, Adina. A f*cking kid.

And he's never mentioned it to anyone.

This pro could be lying.

She gives you something juicy
that gets you to leave her alone.

No, she's not lyin'. I can tell.

And Howard worked undercover,
by the way.

For a couple of years.

So he's used to keeping secrets.

So what if...

Yeah?

[MELLOW MUSIC OVER SPEAKERS]

What if I wanted to stay the night?

Are you asking me if I'm okay with it

or are you asking yourself
if you're okay with it?

I guess both.

I've missed you.

Yeah, I've missed you too.

I can't get hurt again, Shannon.

I'm not gonna hurt you.

[MELLOW POP SONG CONTINUES]

♪ ♪

Ha ha. Ain't seen you in a dress, um...

since Easter when you were
two years old.

[LOU-LOU] Yo, K, pass the potatoes, man.

And the salt.

What you tryin' to say
about my potatoes?

I ain't say nothin' about the potatoes.
Said somethin' about the salt.

[KANAN] Uncle Lou,
Famous got arrested today.

And Mom just lettin' him sit there.

Look, we already talked about it, Kanan,
and ain't nothin' left to say.

It ain't right to just
let him sit there though.

That's my brother.

Yeah, well, your brother
got a different mother.

So she gonna have to deal with that.

[BACKGROUND NOISE, CHATTER]

[FAMOUS] ♪ They got me in lock-up ♪

♪ 'Cause I pick my Glock up ♪

♪ These n*gg*s get they talk up ♪

♪ They body getting chalked up ♪

♪ Movin' on this rock up ♪

♪ To beam your ass like Spock up ♪

Mm.

[CELLMATE] Yo.

You don't want none a this, n*gga.

"Streets Need a Body."

That's you, right?

[LAUGHS] sh*t, yeah.

Yeah, that's me. sh*t's dope, right?

I don't listen to that noise.

And I seen a g*ng a your
tapes in the trash, anyway.

sh*t must be garbage.

[LAUGHING]

[MEN MURMURING]

[SINGER] ♪ I, I, I'm
Comin' far, baby... ♪

Juke.

Um... catch it with you later.

Wanna hear about what you been doin'.

Night, Kanan.

♪ ♪

[SINGER] ♪ I can't control that you ♪

♪ Movin' down the line ♪

♪ I come apart, baby ♪

♪ But that's okay ♪

♪ Trouble man comin' my way ♪

[QUIETLY] The police got the money.

Wait... what?

The cops took the money, man.

The sh*t you was moving from Baisley?

We was on our way down to the bodega

and then outta nowhere,
some fools jacked us.

- Who?
- And it don't matter who.

The point is we got the money back.

That's when Five-O rolled up.

They snatched Famous and
the bag with the money in it.

Your mom count
every f*cking penny, Kanan.

Best you give her a heads up
before she do the math.

What the hell? No.
That's why I need to get Famous out...

The money get out with him.

You think them dirty-ass cops
gonna give up all that loot?

Hell no. They already
splitting that sh*t up

between 'em to go pay for some
p*ssy over at Hunt's Point.

And don't look at me for no assist.

Your mom all up
in Lou-Lou's ass right now,

just how I like it...
I need her eyes off me.

She always stand
in your direction, n*gga.

[SINGER] ♪ You got me singin' ♪

♪ Yeah yeah ♪

So was it true what 'Nique said?

That you missed Worrell
on purpose that night?

I don't know.

I told you I don't wanna do
that type of work no more.

Maybe it got in my head.
Some subconscious type sh*t.

But I'll tell you that Tec- did jam.

sh*t real.

Seems like your subconscious
f*cking you up

on your other job too.

Your boy came to talk to me.

Crown.

He said he was looking
for a way to get out

from underneath all y'all's bullshit.

He asked me to help him move you.

Said you wasn't no good
at the music sh*t.

Ha. That you was just
gettin' in the way.

Why you telling me this, Raq?

Pssh.

Hell if I know.

You know, maybe it's my
subconscious speaking to me,

tellin' me that I should just accept
that you ain't down no more.

That I should just let you go after all.

In fact, maybe it's not my subconscious.

Maybe it's my conscious.

[SINGER] ♪ I come apart, baby ♪

♪ But that's okay ♪

♪ Trouble man comin' my way ♪

♪ I come apart, baby ♪

♪ ♪

♪ I been for real, baby ♪

♪ Gonna keep movin' ♪

♪ Gonna blow this town ♪

[WATER RUNNING]

[KENYA] Hello?

Marvin.

[BUZZER]

Hi, Marvin.

Bad enough you left.

Even worse...

you never looked back.

Then you just show up after
all the real work's been done

and think you can collect a damn check.

I ain't looking for no check.

I just want a relationship
with my daughter.

She stopped being your daughter

the day you up and bounced

to become some bootleg Anita Baker.

She never stopped being my daughter.

And I never stopped bein' her mother.

Ain't nobody need you back here, Kenya.

[KENYA] I should've been here.
And I wasn't.

I'm sorry, Marvin.

You left.

Stay gone.

[SOMBER MUSIC PLAYS]

♪ ♪

[SINGERS] ♪ Take it all in ♪

♪ Whoever come again get this call in ♪

♪ Take it all in ♪

♪ Whoever come again, get this call in ♪

Ain't gonna make more
of this than necessarily.

'Nique gonna be running sh*t out here.

Now, it's nothing personal.
It's just that's change gotta be made.

This muhfucker?

I don't get it.

Well, you don't need to.

Now, you can either be his lieutenant
or you could find other work.

But we're grateful
for you and your time.

This sh*t don't feel like grateful.

It ain't about you
and your f*cking feelings.

It's business.

Raq, this muhfucker ain't been around.

He don't know how sh*t work out there.

You reading from the book I wrote, son.

f*ck this and f*ck y'all.

Best of luck then, brother.

[DAMON] f*ck you.

You a guest here, n*gga.

Don't be puttin' your feet up
on the f*cking furniture.

[RAP MUSIC CONTINUES]

[SINGERS] ♪ Take it all in ♪

♪ Whoever come again, get this call in ♪

- ♪ Take it all in ♪
- [DOOR CLOSES]

♪ Whoever come again, get this call in ♪

♪ Take it all in ♪

♪ Whoever come again get this call in ♪

[OFFICER] All right, come on.

- Got him?
- Yep.

[OFFICER] Let's go.

Can't never say Fame
never did time again, n*gga.

Hard time, at that. We good.

Hard time? You was in a holding cell.

[FAMOUS] It felt hard to me.

Plus, I got some real sh*t
to rhyme about now.

[KANAN CHUCKLES]

- Yo.
- [KANAN] What's up?

Everything is in here.
Your mans made sure of that.

Good lookin' out.

[HOWARD] Let me holler at you
right quick.

Want you to read what's in there.

What's this?

The answers to questions
you still might have.

I'll check it out later.

[HOWARD] Hey, yo.

I'm treading lightly 'cause it's
still early in this thing between us.

But when we make a plan
to meet somewhere,

I expect you to show up.

sh*t.

[HOWARD] Don't have me sitting
around waiting on your ass.

You right. It's my bad.

[FAMOUS CHATTERING IN BACKGROUND]

We even have a car.

That's my... that's my sh*t right there.

Your man's a clown, by the way.

[GIRLS GIGGLING]

[FAMOUS] You should hang out with us.

- [GIRL] Mm-mm.
- [FAMOUS] Popularity gonna be

through the roof... sh*t you not.

That's just Famous.

[KANAN] Come on, now.

[FAMOUS] I got my own f*cking crib.

- [KANAN] The f*ck is you...
- [FAMOUS] My own crib, n*gga.

[KANAN] You just got out,
and you over there

tryin' to talk to girls?

You know, it was one thing

when I heard that you was
smashing Jess behind my back.

But I ain't one to let b*tches
get in the way of business.

The f*ck you know about business, Lou?

You in over your head.

So deep, you don't even know
which way is up, n*gga.

You and I know you can't do this sh*t.

Not without me. Everybody know.

That why you went around me?

To my sister? You want me out the label?

All you are is Raq's baby brother.

That's all you ever gonna be.

Hmm.

[CROWN GRUNTING, GASPING]

[GROWN KANAN] n*gg*s say
this sh*t's all business.

That it's never personal.

Yeah, f*ck that.

[CROWN GRUNTING]

Sometimes it gets personal.

[CROWN GRUNTING]

Real personal.

[DARK MUSIC PLAYS]

♪ ♪

And when that sh*t happens,
bodies start droppin'.

Fast and f*cking hard.

[DARK, DRAMATIC MUSIC PLAYS]

♪ ♪

[CROWN] Aah... [GAGS]

[WHEEZING] Uhh... uhh...

Hurt n*gg*s hurt n*gg*s.

[GLASS CRUNCHING]

[ZISA] So what we gonna do with him now?

[DRAMATIC CHORDS]

♪ ♪