04x04 - The Way We Were

[bunniefuu]

[UPBEAT HIP-HOP MUSIC PLAYS]

♪ ♪

[GROWN KANAN]
Previously on Raising Kanan...

'Nique gonna be running sh*t out here.

This m*therf*cker?

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

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

Okay.

[g*nsh*t]

[SCREAMS]

You Jukebox, right?

Who the f*ck are you?

You ain't makin' it to rehearsal today.

Your punk-a*s friends
went home with some lumps.

They ain't sh*t.

And neither are you.

I got this bookie in Corona.

He's skimming off the top.

Just ring his bell,
see who's home.

I call the shots
while your Stepin' Fetchit-a*s

run errands, you mother...

[g*nshots]

[KRYSTAL] An "excuse me" would be nice.

[KRYSTAL] There was some
f*cked-up looking dude

comin' out the building today.

His face was all
scarred and scary.

I think you should get a new apartment.

First time?

You want to come inside?

I got a hip-hop imprint.

I want you to run it.

You only got one artist that
got that realness, B-Rilla.

B-Rilla is real, all right...
a real pain in my a*s.

Yo, you told me you was gonna
be postin' up at your cousin's.

That ain't gonna work out after all.

I'm raising your prices 20%.

You can't just drop
a increase on me like that.

I can, and I just did.

Talk to your friend from Baltimore.

Traymont still come
to the city to re-up with you?

[JOAQUIN] Always.

I still need you, André.

Yes, you do. [CHUCKLES]

So you f*cking her?

[TENSE MUSIC PLAYS]

You can be damn sure
she f*ck' you, n*gga.

- Wait, wait, wait.
- [g*nshots]

We're very, very sorry.

- Please, no!
- [SCREAMS]

[SILENCED g*nshots]

Let me see them f*ck' hands, n*gga.

Why we here?

I got cancer.

Doctors found it in my kidney.

Tried chemo.

Couldn't stop it from spreading.

It's terminal.

Please, sit down, Raquel.

f*ck this.

♪ ♪

[RILEYY] ♪ I'm a hustler, baby
I'm a hustler, baby ♪

[50 CENT] ♪ Yeah, I know
Heartbreaks, setbacks ♪

♪ b*tch, if I crap out
I'm sure I'ma get back ♪

♪ I been through the ups and
Downs, you know I get around ♪

♪ So to me
It's all a part of the game ♪

♪ If I ain't the coke man
Or the dope man ♪

♪ I'm almost for sure, man
I got to take it ♪

♪ No need to say sh*t
I'm gon' take it ♪

♪ Robberies turned homicide
It's nothin' to play with ♪

♪ Make money
Make, make, make money ♪

♪ When sh*t hit the fan
We'll take money, Southside ♪

♪ Beef with the best of 'em ♪

♪ Done shot
At the rest of 'em, yeah ♪

♪ Checks, I'm collectin' 'em ♪

♪ Check, boy I'm finessin' 'em ♪

♪ Bag Supreme
Boy, you f*ck around ♪

♪ Put a big bag on your head ♪

♪ Before the weather break
You're dead ♪

♪ Let's get to it, they
Don't do it like we do it ♪

♪ Nah, cop it, whip it
Bag it, flip it ♪

♪ Re-up, we up G'd up, what up? ♪

♪ Runnin' round this b*tch
Still not givin' a f*ck, hey ♪

♪ When it come to that paper
There'll be no complications ♪

Ha ha. That's right.

♪ Put a hole in a n*gga
Right in front of you ♪

♪ Your heartbeat pacin' ♪

[RILEYY AND 50 CENT]
♪ And it's all right ♪

[50 CENT] ♪ That's how
We do it on this side ♪

♪ n*gg*s get to it On this side ♪

♪ I know heartbreaks Setbacks ♪

♪ b*tch, if I crap out
I'm sure I'ma get back ♪

♪ I been through the ups and
Downs, you know I get around ♪

♪ So to me
It's all a part of the game ♪

♪ If I ain't the coke man
Or the dope man ♪

♪ I'm almost for sure, man
I got to take it ♪

♪ No need to say sh*t
I'm gon' take it ♪

♪ Robberies turned homicide
It's nothin' to play with ♪

[DISTANT SIRENS WAILING]

[GROWN KANAN]
Nothing change a m*therf*cker

like looking death in the face.

Even when you look up,

cheat that sh*t
before it cheat you,

you never gonna be the same.

Never gonna remember
what it feel like

to not have that sh*t creepin'
up over your shoulder.

Once death touch you,
that hand always there.

Don't never leave.

But you can't let
that sh*t shake you,

because the n*gga
who's scared of dying

don't know how to live.

[WHISTLING]

[TENSE MUSIC]

♪ ♪

[ELEVATOR DINGS]

[WHISTLING]

Who tell they kids that they dyin'

over collard greens and cornbread?

Got us all together
so you could have your moment.

All eyes on you.

Don't matter how we feel
about it, though, right?

'Cause our feelings don't never
mean sh*t to you.

I wasn't trying to hurt
nobody's feelings, Raquel.

Just thought it was time you all know.

How long you been keeping this from us?

That don't matter.

All that matter is, I'm dyin'.

That's what I need you to know.

You quitting, just like you did
when Daddy died.

Throwing up your hands,
saying nothing can be done,

and tossing that sh*t in our laps

for us to figure it out.

Your father k*lled himself.

All of a sudden,
I'm a widow with three babies.

I was scared.

I didn't know what I was doing.

I didn't know what needed to be done.

Daddy was gone. We needed a mother.

You blamed me for what he did, still do.

All I could do was
make it through the day.

Sometimes I couldn't even do that.

Who you think handled sh*t on them days?

Hmm?

Hell, who am I kidding?
I handle sh*t every day.

Ask Marvin, he'll tell you
he handled everything.

Or talk to Lou,
he'll say he was all alone.

We all got our own version
of what happened.

Then what's yours?

'Cause I want to know.

I wasn't perfect, Raquel.

[RAQ] Perfect?

Who the f*ck asked for perfect?

We just wanted a mother
who cared about us

as much as she did herself.

If I didn't care about me,
no one else would.

Who was gonna care about me,
Raquel, you?

I'm not sayin'
I don't deserve some of this.

I wasn't a great wife.

Most days, I wasn't much of a mother.

But when I tried to do better,
it was too late.

Y'all had washed your hands of me.

You know what that feel like?

When you dyin',
all you got is time to think.

You know what I think about most days?

I'm gonna be gone,

and nobody even gonna miss me.

[SOFT DRAMATIC MUSIC PLAYS]

♪ ♪

I can't do this with you right now.

You can't ever do it.

You want forgiveness,
and I can't give that to you.

♪ ♪

[DOOR SLAMS]

[GRUNTS, COUGHS]

[GROANING]

Just... just tell me
what you want, Marvin.

[WHEEZES]

I'm getting' what I want right now.

[GROANING]

Anything, man...
money, product, whatever.

Just tell me, man.

[COUGHS]

[TENSE MUSIC PLAYS]

♪ ♪

[RAPPER] ♪ Mo' money
Mo' dollars ♪

[O-CEE] Yo, we still makin' up
for the hit.

[HIP-HOP MUSIC PLAYING]

Better not catch none of them
bike n*gg*s over there

bullshitting in that stoop.

They either droppin' off cash
or they pickin' up product.

That's it.

Gotta keep this sh*t movin', man.

Folks is workin'
around the clock right now.

[RAPPER] ♪ Money, money, money
All I want to make ♪

♪ Get the green, you know
Cash rules every day ♪

♪ You the rain man ♪

♪ Tell me what
The weather bring ♪

Got up out that dusty-a*s
apartment just in time.

No, "just in time" would have been

if we bounced right after I walked in

on the n*gga who robbed me.

You gotta keep business
out of here, Kanan.

O-Cee make his money drops
to you, and that's it.

That was the whole point of you moving.

This a home.

I got you.

[KNOCK ON DOOR]

It's her.

It's gonna be okay.

She hates me, Kanan.

[KANAN SCOFFS]

♪ ♪

What's up?

Oh!

This is nice.

[KANAN] Me and Krystal gonna
make it even better.

[JUKEBOX] Huh.

You out?

I have some business.

I thought we was kickin' it.

I thought you two could catch up.

You know, harmonize and sh*t.

[JUKEBOX LAUGHS]

Well, I'll roll through
when you got time.

[KANAN] Nah.

Krys, you wanna give her the tour?

Yeah, let me show you, Juke.

[TENSE MUSIC]

♪ ♪

[TRAYMONT]
Come on. Come on, Marvin.

Please, please.

[g*n CLICKS]

[BREATHING HEAVILY]

Not many m*therf*ckers
as lucky as you, Traymont.

Chamber keep comin' up empty.

How many more rounds
you got in you, Traymont?

I'll give y'all anything.

You just need to f*cking
tell me what you want.

[RAQ] What I want

is to even the score, n*gga.

But I'll settle for you tellin' me
who's supplyin' your horse.

You just want my heroin connect?

Why the f*ck you didn't just ask?
Why we got to go through all this?

Because you deserve it.

- [g*n CLICKS]
- [GASPING]

Okay. All right.
I'll give you the f*ck' name.

[RAQ] I know, n*gga.

[DRAMATIC MUSIC PLAYS]

♪ ♪

- [MARVIN LAUGHS]
- We just having fun.

Punk-a*s m*therf*cker
damn near sh*t hisself.

Thought you Baltimore n*gg*s
had more heart.

Now give me the f*ck' name,
or I'ma load this sh*t up.

It's nice.

I like it.

Definitely better than that other spot.

I'm gonna go, though,
let you do your thing.

I'm sorry, Juke,

for all that sh*t that
went down when we was in Butta.

You had your peoples jump me, Krystal.

They tried to f*cking cut me.

But you f*cked them weak-a*s b*tches up.

Mm.

Okay, wait, I know I was wrong.

It ain't funny.

That sh*t was mad ill, and I am sorry.

I had some f*cked-up sh*t
goin' on at home, Juke.

I needed a way out,
and Butta was it for me.

It was all I had.

So... now Kanan's your way out?

[SCOFFS] It ain't even like that.

I love Kanan.

And Kanan loves you,

more than he ever gonna love me
or anybody else.

I want you and me to be cool, Juke.

Because if you matter to him,
you matter to me.

And I know it sounds f*cked up

I want us to be cool 'cause of my man.

And I don't ever really expect
you to get past what I did.

I'm not sure I would.

But I'm just asking
for us to be cool for Kanan.

Maybe we can build from there.

Yeah, maybe.

[SOMBER MUSIC PLAYS]

♪ ♪

[SIGHS]

[B-RILLA]
♪ I feel like Malcolm X ♪

♪ I get it by any means ♪

♪ I do this sh*t often ♪

♪ Let a shot off in ♪

♪ Somebody parent
The kid is left a orphan ♪

♪ You know what the deal is ♪

♪ You know who the ill is ♪

♪ You know Who a trigger squeezer ♪

♪ And who the k*ller is ♪

♪ I leave a m*therf*cker
No choice but to feel this ♪

♪ The name is B and I'll
Always be the realest ♪

♪ You know I ain't playin' ♪

♪ g*ns start sprayin' ♪

♪ Everybody dead ♪

♪ It go without sayin' ♪

♪ When them g*ns get to wavin'
And bodies start layin' ♪

♪ Everybody dead
It go without sayin' ♪

♪ Your mama be prayin' ♪

♪ Ambulance on the way in ♪

♪ But that n*gga dead ♪

♪ It go without sayin' ♪

♪ When the g*ns Start sprayin' ♪

♪ I come to where you stayin' ♪

♪ A b*llet to your head ♪

♪ It go without sayin' ♪

♪ Look, it go without sayin' ♪

♪ You dying, b*ll*ts flyin' ♪

♪ I come on the scene
n*gg*s start hidin' ♪

♪ Show up right to your door
Your mother cryin' ♪

♪ One thing I hate is
A n*gga not complyin' ♪

♪ If you stop me from what
I want or what I need ♪

New sound for Rilla.

I like it.

Um, who are you?

Imani Okoye,

new product manager for B-Rilla.

Lowell just slid me over to hip-hop.

Been working in pop the last few years.

Hey, relax, man.

[LOU-LOU] Come take a break.

What does hip-hop got to do with pop?

Good music is good music.

And pretty soon, hip-hop's gonna be pop.

I sure as hell hope not.

I'm not here to step
on any toes, just support.

[B-RILLA] Support what?

You.

I was just telling Lou, I'm Imani Okoye.

I'm gonna be working with you
to amplify and manage

your presence and position
in the marketplace.

f*ck all that mean?

I'm gonna help you sell records.

[LOU-LOU] B-Rilla don't got
no records to sell yet.

That's why we in here recordin'.

At least we were until you stepped in.

And I'm not here
to get in the way of that.

Lowell told me that the two
of you were in the studio today,

and I just wanted to stop by
and introduce myself.

Introduction done.

And we got to get back to work.

Do your thing.

I'll be in touch soon.

Good meeting you both.

[B-RILLA] Likewise.

What you think?

She's talking about givin' you
presence and positioning

in the f*ck' marketplace.

Don't nobody give you that sh*t.

You got to take it.

Hell yeah.

Now get back in the booth.

That's the only position you need to be
thinkin' about right now.

Get the f*ck out of here.

I've seen her around before
with some of the other acts.

She is actually kind of a big deal.

Oh, yeah?

I'm kind of a big deal too.

Bump that track.

♪

[B-RILLA]
♪ It go without sayin' ♪

♪ Look, it go without sayin'
You in danger ♪

♪ You're dealing
With a stone-cold gangster ♪

♪ b*llet in the chamber ♪

♪ When I start knockin'
On your door ♪

♪ They can't save you ♪

♪ Erase you, don't care
If you family or stranger ♪

[SMOOTH MUSIC PLAYING]

[SINGER] ♪ Stand up ♪

♪ Hold your head high ♪

♪ 'Cause you did
what had to be done ♪

Take care.

♪ ♪

♪ Don't think twice ♪

Y'all really do f*ck
with everybody, huh?

We f*ck with them
so they don't f*ck with us.

♪ Celebrate ♪

[KANAN SIGHS]

♪ You did what had to be done ♪

Sit down.

♪ ♪

You're a little light.

Drop spot got hit.

You don't keep reserves?

Hmm?

'Cause your losses ain't
our losses, young buck.

Our dividends stay the same

no matter how you get taxed.

How much they take you for?

Enough.

This is a variable business, Kanan.

You can't predict much
except for trouble.

Trouble is a constant.

And you always got
to be prepared for that.

Heads think you vulnerable now.

You need to make 'em think different.

Raq get hit, too?

Ask her.

He asked you.

It's like you said, trouble everywhere.

Mm.

I think it's time I show my face
up in this m*therf*cker, man,

let n*gg*s know the king
is back to take his crown.

Know what I'm sayin'?

This n*gga the invisible f*ck' man,

you tryin' to give all that sh*t up.

You see me, n*gga. I see me.

And all I see is me doin' nothin'

while Raq out here takin'
my f*ck' money, man.

sh*t, if n*gg*s thought I was dead,

I'd be living life like
I ain't never lived it before.

[MARVIN] Yo, Early, it's Marvin.
Where you at?

Yo, you want to show your face,
you can do it now.

[CLEARS THROAT] On the throne, n*gga.

Be right out.

A'ight, I'ma stay dead
another minute, then.

[EARLY] Get the f*ck out of here.

You wash your hands?

From what?

You said you was takin' a sh*t.

Oh, right.

No doubt.

I scrubbed them shits
like I'm going into surgery.

[CHUCKLES]

[CAR HORN HONKS]

Yo, um, you still takin' book
around the way?

Yes, sir.

Where you tryin' to put your money?

I'm givin' seven tonight
on Knicks and Celtics.

So check it out.

I'm grateful for you connecting
me with your aunt on that ACS sh*t.

And to show my appreciation,

I might have an opportunity for you
doing that work up in Corona.

f*ck' with some heavy hitters, though.

Yo, that's a good look, brother.

Really appreciate it.

You'll be givin' me
a piece of your piece.

Not too tough, just enough
to remind us that...

that we're friends.

Okay.

Friendship that need reminding
is the best kind of friendship.

Only kind that matters.

[EARLY] Mm-hmm.

[BLUESY MUSIC PLAYING]

We'll let the money slide.

Just this once.

But you got to understand
that how people see you now

is how they're gonna see you forever.

How you want people to see you, Kanan?

I want 'em to see me as me.

Not who I'm next to,
not who my mother is,

not my father, my uncles, none of that.

I want me to be about me.

♪ ♪

Quân been asking after you.

Want to put a face to the name.

Now, if you're interested,

we could make that parlay happen.

That sound a'ight.

The sh*t we do,
it's built on relationships.

It's all about who you know.

And if you want people
to see you as you,

you got to let them know who you are.

'Cause as long as you wrapped up in Raq,

you gonna always be tied to her.

[TENSE MUSIC PLAYS]

[SNAPS] You hearing
what we saying, Kanan?

Does it resonate for you, son?

It resonate.

[SINGER]
♪ I don't wanna take it ♪

♪ I'll leave it at my door ♪

♪ Close your eyes ♪

♪ Let me surprise you ♪

♪ With butterflies ♪

♪ I'm getting my big
and bright wings of blue ♪

♪ Patience ♪

I think you have an admirer.

[LAUGHS]

[SINGER] ♪ I'm on my knees ♪

♪ I don't wanna play around
Anymore ♪

I'm Jackie.

Laverne.

Can I buy you a drink, Laverne?

I'm-I'm good, but thanks.

All right, if you say so.

[SINGER]
♪ I'll leave it at my door ♪

[LAUGHTER]

- What?
- [MARA] Aww.

You remind me of me when
I first started coming here.

All of this, it can be
a lot in the beginning.

But after a while,
you get to know everyone.

It kind of starts to feel like home,

like some weird version of family.

sh*t, this ain't nothing like my family.

[CHUCKLES]

Come to think of it,
it's not like mine either.

My family sucks.

[SINGER] ♪ I am out ♪

♪ I'm a goner, goner ♪

♪ Patience ♪

[SUSPENSEFUL MUSIC PLAYS]

♪ ♪

[KNOCKING FORCEFULLY]

What the f*ck, man?

I heard you was 6 feet under.

How they say it?

Rumors of my death have been
greatly exaggerated, my n*gga.

f*ck you want, man?

You already took my business.

I ain't got sh*t else to take.

n*gga, that was Raq, not me.

I know how you move.

I know who you are, man.

I like that you out here
in New Jerz, away from all that

Southside Jamaica, Queens bullshit.

What that got to do with anything?

It ain't like me and you
even done business before.

Raq k*lled both of us, my n*gga.

I just figured you want
to live again like me.

If you about yours,

hear a n*gga out for a hot minute.

♪ ♪

[BACKGROUND CHATTER]

Bye

[MARA] Bye, honey. Have fun.

You hungry?
There's a diner up the block.

Hash browns is stupid.

Mm, I don't pass
on potatoes in any form.

[JUKEBOX] I-I think it's over here.

[TENSE MUSIC PLAYS]

Actually, what about pizza?

There's a place a few streets over.
They got a great slice.

Yeah, but-but these hash browns...

[AARON] Mara.

[JUKEBOX] Is that guy creepin'?

[MARA] Ignore him.

Wait, you know him?

He's my husband, technically.

[SCOFFING] You're married?

- [AARON] Mara!
- Run!

[JUKEBOX GRUNTS]

[AARON] Is that your new wh*re?

[HIGH-PITCHED RINGING]

Humiliating me.

[MARA] Aaron, stop.
You're hurting me.

[AARON] You hurt me! I'll k*ll you!

[MARA GROANS]

- [ENGINE REVVING]
- [TIRES SQUEALING]

My whole network is already set up,

and we under the radar.

Nobody seeing 'cause
there ain't nothin' to look at.

Discretion is always good.

How much would you want?

More than your friend Traymont, I hope.

His needs are small.

I can offer a better price for bulk.

I'ma be clear with you, Ishaq.

I'm not looking to be supplied.

I'm looking to be the supply.

I want a direct link. Wholesale.

My product, my rules.

That's a very different
kind of arrangement.

And I'm lookin' to be in
a different kind of business.

Can't have nobody between us
and the dope no more.

But we're gonna make sure

that you're taken care of real good.

Come back tomorrow, same time, alone.

[LOWELL] Imani says you were dismissive

when she came by the studio.

That isn't what I said.

I said that Lou and Rilla
were distracted

and didn't really have time
to talk to me.

Dismissive, distracted.

You say "tomato." I say "to-mah-to."

And just so you know,
I didn't go running to Lowell.

He called me, asked me how it went,

and I told him.

Well, Lowell's right, though.

I was dismissive.

I am dismissive.

I don't need her help.

I stand corrected then.

You brought me in here
to run this whole sh*t

the way I want to run it.

Whole sh*t means everything from A&R

to production to marketing

to the color
of the f*cking carpet.

I know what I'm doing, Lowell.

I can do it all.

You can do everything.

But you can't do everything well, Lou.

Teamwork is the difference
between good and great,

and we are aiming for greatness.

You and Imani will work together.

Look, you're both brilliant,

so you already have that in common.

I need you two on the same page.

You two get together tonight.

Talk, laugh, cry, figure it out.

Like I said, we're all on the same team.

So let's play ball.

[TENSE MUSIC PLAYS]

♪ ♪

My friend Marvin says that, um,

you might be a good candidate

to run my sporting interests in Corona.

He says you've got a, uh, track record

in this particular field.

I f*ck with all kind of fields

and all kind of courts, Mr. Marchetti.

Basketball, baseball, football,
I'm on all that.

And uh, it's my understanding
that Lump Maxwell has been

backing your current operation.

I've been with Lump since he was
running numbers in St. Albans.

Yeah, Lump's a gentlemen.

Always been a gentleman
in a... in a business

full of f*cking rapscallions.

[EARLY] Lump good.

He at that age where he finally
kicking his feet up, though.

Got hisself a little spot in Sag Harbor,

helping raise his grandkids.

Early called Lump and told him

that he might be
f*cking with you on this,

and he was good with it.

Lump don't get in the way of a man
making a honest living.

[CHUCKLES] Yeah, or a dishonest.

- [CHUCKLES]
- That too.

Alright look, as uh, Marvin
has probably told you,

I got a nice piece
of business in Corona.

It's been in my family
since before the Dutch

overpaid the f*ck' Indians
for Manhattan.

It's run out of a pool hall
I own on Roosevelt Avenue.

All you would have to do
is take the action,

keep the books.

Early, he know how to do all that sh*t.

I mean, he's done every hustle
there is, even some that ain't.

Just so we're clear,

you are vouching for your friend here,

and that shouldn't be taken lightly.

Because any mistakes,

I'll be looking at you, Marvin.

Yeah, you're not gonna have to look far.
I'm right here.

Yeah, that's good.

All right, so here we go.
Hey, to success and prosperity.

[EARLY] That's what I'm
f*cking talking about.

To success and prosperity.

[APPLAUSE AND CHATTER]

Kanan Stark.

A pleasure.

You've accomplished
quite a lot at a young age.

Seem to me like I'm right on schedule.

How's that price hike been for ya?

It's not lost on me that 20% is steep.

It's all good.

You just work harder, that's all.

Look, if it's ever a time
when some sh*t come up

that you need to discuss,

you don't need to go
through my moms, man.

She just complicate sh*t.

♪ ♪

My business is my business.

♪ ♪

[ENGINE TURNS OVER]

[SUSPENSEFUL MUSIC PLAYS]

♪ ♪

Put down any n*gga you can.

This ain't about nothin' else
but hurtin' Raq

every which f*ck' way.

[DAMON] You know me.

Down for whatever.

♪ ♪

[g*nshots]

[SHOUTING]

♪ ♪

[JAZZY MUSIC PLAYING]

[IMANI] So this is yours?

I got partners, including my brother.

But it's mostly mines.

Feels authentic.

Feels like you.

Don't know if that's a compliment.

It's a compliment.

[CLEARS THROAT]

So if you trying to help Rilla,

what does that help look like?

It looks like working with both of you

to create a brand, an image that feels

representative and evocative

of the music you two are making.

I always start with the sound, Lou,

because if the message
doesn't match the music,

it doesn't work.

Well, we're still figuring all that out.

And I'm not trying
to get in the way of that.

But I'd be lying if I didn't say

that Rilla needs a single,

something that reinvents him
a little bit.

The audience knows who he is already,

and they didn't engage before.

We need to show them that he's more

than what they think they know.

You got opinions.

I have experience.

Look, I'm not telling you
anything that you don't know.

Obviously, you've done this
before with Famous.

That song we put out for him was a hit,

and people responded.

It didn't matter that they were
familiar with him already.

That track grabbed people's attention

and redefined him.

Frankly, I thought
that Famous was gonna be

our first big hip-hop act,

the artist we could build off of.

But Lowell tells me that
he's vanished into thin air.

Famous is collecting his thoughts.

He's figuring his sh*t out.

So you've spoken to him?

Don't need to talk to him.
I know who he is.

I understand why he doin'
what he doin' right now.

Hopefully he'll be back soon.

I got to go check out
an artist across the river.

Any interest in joining me?

R&B act from East Orange.

No thanks. I'm good.

This is an industry of adversaries,

even within the same company sometimes.

I hope you see me as an ally, Lou.

♪ ♪

You was smart to call me first, Terry.

Police only gonna make this sh*t worse.

I do not want to go to prison.

Look, my people is gonna
take care of it.

Alright, they gonna clean this sh*t up,

and they gonna move this work
up out of here.

This was not part of the agreement.

Space on the trucks,
that's what you said.

This is something else entirely.

It's just an occupational hazard.

Not in my occupation.

You're in a different
occupation now, though.

Small price to pay, Terry, really.

Yo, David here is right.

Y'all got this big new spot.

That sh*t wouldn't happen for you
without our business together.

I heard about the Golden Pavilion.

It seems like those of us
in business with you

are now being attacked.

I'ma handle it,
just like I'm handling this.

No need. We are done.

What?

No, we're not.

We never discussed
ending things altogether.

The kid who got put down here
was somebody we knew,

somebody who used to work for us.

We takin' care of it.

Some salty ex-employee sh*t.

I'm sure you know how that go.

Our ex-employees do not return
with g*ns and m*rder people.

And he was not alone.
There was someone else with him.

And how is it so easy
for them to find us?

I'ma get to the bottom of all of that.

All your other people here, they
know how to keep a secret, right?

They're all Chinese nationals.

They won't say a word to anybody.

[RAQ] In the meantime,
it's for your troubles.

That's not nearly enough
for our troubles.

Oh, yes, it is.

[RAQ] We got you, Terry.

You just need to take a breath.

Can't be overreacting.

Toughen the f*ck up, Charlie Chan.

[SIGHS]

We need to know who was f*ck'
with Damon on this, Marvin,

because he ain't never been
the brains behind no operation

in his whole f*ck' short life.

Whoever it is, it's gotta be
that they hit the restaurant

and Kanan's too.

I've been askin' around,
but everybody's sayin'

they don't know nothin',
and I believe 'em.

Keep asking.

And spread some money behind that sh*t.

[DOOR SLAMS]

[ENGINE TURNS OVER]

[ITALIAN OPERA MUSIC PLAYING]

♪ ♪

[INDISTINCT WHISPERING]

[KANAN] Well I thought you
worked out the fish shop.

Well, I'm mixing things up a little bit.

You know, predictability is
the enemy of security.

I appreciate you meeting with me.

Oh, well, the only reason
why I agreed to see you

is out of respect for Quân
and our business together.

I work with your mother, kid, not you.

That's why...

Hey, and your mother,
she loves you so much

that she borrowed a half
a million dollars from me

just so you could be
standing here today.

And I gotta tell you something,
I got two kids of my own,

and I don't love either of them enough

to borrow more than a-a g*dd*mn C-note

on their behalf.

And yet, here you are

behind your mother's back.

Nah, I just wanted to introduce myself.

- I want you to know me.
- [STEFANO] Mm.

Yeah, well, I don't want to know you,

and I don't need to know you.

Go home, kid, and thank
your lucky f*cking stars

you got a mother who loves you.

Come on, get him out of here.

♪ ♪

Yo, uh, what the f*ck happened to you?

[SIGHS]

[TENSE MUSIC PLAYS]

♪ ♪

Somebody put hands on you?

♪ ♪

[INDISTINCT CHATTER]

[CAR HORN HONKS]

[ISHAQ] Come.

♪ ♪

What's this?

If you want what we discussed,
you'll get in.

If not, we can part ways now.

♪ ♪

[ENGINE TURNS OVER]

Same person responsible for putting

your son and husband in the ground

got my blood on they hands too.

Guess what I'm trying to say is,

we got common enemies, Mrs. Boselli.

Call me Teresa.

Well, common enemies can make

for some real good friends, Teresa.

My husband never discussed
business with me.

And I was never the kind
of girl who got my hands dirty.

Sally always said
I was too pretty for that.

But you are right.

Someone has got to pay
for what they did to my men,

God rest their souls.

I want you...

you go talk to him.

You tell him Sal's wife sent you.

He's gonna know what to do with you.

I'm gonna make them pay
for what they did

to you and me, Teresa.

♪ ♪

That's my word.

[TERESA] Thank you.

That's my word.

♪ ♪

[DISTANT SIRENS WAILING]

[DRAMATIC MUSIC PLAYS]

♪ ♪

Green tea with cardamom.

Reminds me of home, which Ishaq tells me

you have a particular interest in.

[RAQ] I do.

I'm looking to get
into the import business.

Most of my exportable goods
are spoken for.

To work with a new vendor like you,

I'll have to cultivate a new source

and hire new workers.

Work is good.

[HAFIZ] Indeed.

I only surround myself
with people that are serious.

And thoughtful.

And prudent.

♪ ♪

But this is an interesting opportunity.

I'll be in touch.

♪ ♪

[HIP-HOP MUSIC PLAYS]

♪ ♪

Yeah, I'm running this imprint
that's gonna be

exclusively hip-hop.

Rilla is the first artist
that we f*ck' with.

[KANAN] That's dope.

Congratulations, yo.

I ain't done nothin' yet,
but I appreciate the thought.

Yo, I'm about to hit the shower.

You ain't gotta update me
on your personal hygiene, n*gga.

I'm just saying, when I'm done,

I'll be ready to make moves
to the studio.

Yo, stay up, Kanan.

[KANAN CHUCKLES]

This...

So what, you two
living together and some sh*t?

I been trying to get this n*gga
to move the f*ck out.

He say he don't like being alone.

Says when he by hisself,
he get into drama.

And I can't have no dramatics
with this n*gga right now.

Speakin' of, I'm guessin' you
ain't heard of sh*t from Fame.

Nothin'.

[LOU-LOU] I spoke to his sister.

She promised me he ain't out in LA.

Now, she could be
bullshittin' to protect,

but that's not really Jess way.

She sounds scared, Kanan.

She said they moms went to the police,

trying to get help to find him.

What you think?

On the real, I'm tryin'
not to think about it.

'Cause everything I'm thinkin'
right now is real f*cked up.

Damn.

The f*ck happened to you, Fame?

[TENSE MUSIC]

♪ ♪

[KNOCK ON DOOR]

Yeah?

[WALTON] Raquel Thomas?

Detective Walton, NYPD.

This is my partner, O'Leary.

[O'LEARY] We're here to talk
to you about André Barnes.

He's my attorney. What's up?

Could we speak inside?

Mr. Barnes' body was found
in his apartment.

They take anything?

Was it a robbery?

Not as far as we could tell.

We checked his schedule,
and it looks like

he had dinner with you
shortly before he was k*lled.

This ain't got sh*t to do with me.

Alright, we went to dinner,
and then we went our own ways.

[WALTON] Whoa, whoa, whoa, whoa.

We're not suggesting
you're a suspect in any way.

We're just wondering
if Mr. Barnes mentioned

meeting anyone after his time with you.

If he might have expressed
any concerns about his safety.

André was my lawyer.

We talk shop, that's all.

[WALTON] I must say, we're
aware of your past, Ms. Thomas.

Your name always seems
to pop up at the wrong times.

Like I said, what happened to André

don't got nothing to do with me.

And I ain't got nothing else
to say to you.

Time to go.

If you happen to think
of anything relevant,

no matter how small,
please give us a call.

♪ ♪

Thanks for your time.

[DOOR CLOSES]

f*ck!

♪ ♪

[KEYS JINGLE]

[MARVIN] This it?

That's what she said.

Third floor.

[g*n c*ck]

Yo, this sh*t can't get wild.

I'm takin' this so sh*t don't get wild.

Leave it here, please.

All right.

A'ight. I hear you.

This ain't gonna take long.

You stay put.

[SUSPENSEFUL MUSIC PLAYS]

♪ ♪

[FORCEFUL KNOCKING]

[AARON] Who is it?

I said, who the f*ck is it?

[GRUNTS]

What the f*ck?

♪ ♪

[AARON GRUNTING]

[AARON COUGHING AND GROANING]

[GRUNTING]

Leave her alone, or I'ma be back.

♪ ♪

[AARON GRUNTING]

♪ ♪

[MARVIN SCREAMS]

[BOTH GRUNTING]

♪ ♪

[g*nsh*t]

[DRAMATIC MUSIC PLAYS]

[GROWN KANAN]
There's a thousand ways to die

while you still breathin'.

[MARVIN GROANING]

[GROWN KANAN]
sh*t that eat at you,

f*ck with your head,
f*ck with your soul.

k*ll you a little bit every day.

And then one day,
you look in the mirror,

and you don't even recognize
who's starin' back at you.

- Juke...
- Go!

[GROWN KANAN] But every now
and then, you get a n*gga

who see theyselves
in that mirror.

And they know who lookin' at 'em.

And they like that n*gga.

They think that all that death
look good on 'em.

And them's the m*therf*ckers
you gotta fear the most,

'cause they dead already.

They just don't know it yet.