Original subtitles

female narrator: ATLANTA,

THE DIRTY SOUTH.

A CITY WHERE THE UNDERDOG IS

ONLY ONE MOVE AWAY FROM

MAKING IT BIG.

THE HUSTLE IS MEANEST

HERE IN THE "A,"

ESPECIALLY FOR THE LADIES.

IN THIS TOWN, YOU GOT TO FIGHT

TO GET WHAT YOU WANT...

THEN FIGHT EVEN HARDER

TO KEEP IT.

FOR SOME, THE BATTLE

IS ABOUT TRUST

IN THE FACE OF BETRAYAL.

I WANT YOU TO LOOK ME

IN MY FACE AND TELL ME,

ARE YOU [bleep] THIS GIRL?

NO, I'M NOT.

narrator: FOR OTHERS, IT'S

ABOUT FORGIVENESS...

WE'VE BEEN THROUGH SO MUCH.

JUST FROM A WOMAN'S PERSPECTIVE,

LIKE, THE CHEATING--

IT'S HARD TO JUST TRUST

AND BELIEVE.

narrator: AND HOLDING ON

TO HIM AT ANY COST.

AND WHEN YOU'RE MARRIED

TO YOUR MANAGER...

I AIN'T TALKING ABOUT

PERSONAL LIFE.

THIS IS--I'M TALKING ABOUT

[bleep] BUSINESS.

YEAH, BUT THAT [bleep]

IS DIFFERENT.

NO, IT'S ALL MASHING TOGETHER

RIGHT ABOUT NOW.

narrator: BUSINESS IS ALWAYS

PERSONAL.

THERE'S A WOMAN FIGHTING FOR

THE DREAM.

BEFORE HER STAND THE HATERS.

I MEAN, [bleep],

I KNOW YOU, [bleep].

I GOT YOU ON TAPE.

DON'T YOU EVER LIE ON ME.

narrator: BEHIND HER,

HEARTBREAK.

WHEN BUSINESS IS INVOLVED,

NO ONE CARE IF YOU HURT.

EVERYBODY WANTS YOU TO SING.

"SHUT UP AND MAKE THE MONEY."

narrator: WELCOME TO ATLANTA,

THE HEART OF THE SOUTH.

WITH EVERY BEAT, THERE'S

A BATTLE, 'CAUSE IT AIN'T ALL

FAIR IN LOVE & HIP-HOP.

* THIS IS THE LIFE

♪ THIS IS THE LIFE

* HA

♪ AIN'T NOTHING LIKE ♪

♪ HIP-HOP MUSIC

* THIS IS THE LIFE

♪ THIS IS THE LIFE

MY NAME IS MIMI, AND ONE

THING YOU CAN SAY ABOUT MY MAN

STEVIE...

WHICH STUDIO DO YOU HAVE

LINED UP?

HE'S GOT A SMOOTH TONGUE.

I'VE BEEN WITH HIM ABOUT

15 YEARS NOW, AND I'M PRETTY

SURE I HAVE HEARD IT ALL.

WE HAVE A TWO-YEAR-OLD DAUGHTER

NAMED EVA, AND IT'S TIME FOR HIM

TO BE THE MAN HE TELLS ME

HE CAN BE.

BUT SOMEHOW, THERE'S A

DIFFERENCE BETWEEN WHAT STEVIE

SAYS AND WHAT STEVIE DOES.

MY NAME IS STEVIE J.

I'M A MUSICIAN.

I'M A HIT SONGWRITER.

YOU KNOW, I'M A DAD,

AND I'M A GOOD GUY.

SO AT THE END OF THE DAY...

STEVIE HAS THREE GRAMMYS.

HE'S WORKED WITH DIDDY, JAY-Z,

ALL THE TOP PEOPLE

IN THE BUSINESS.

HE'S AT THE STUDIO WAY MORE

THAN HE'S AT HOME.

I KNOW WHAT THAT LIFE IS LIKE.

LONG NIGHTS, GIRLS, LIQUOR,

LORD KNOWS WHAT ELSE.

MEANWHILE, BACK AT THE RANCH,

I'M AT HOME TAKING CARE

OF OUR DAUGHTER.

STEVIE SAYS HE HAS A SURPRISE

FOR ME, SO HE'S GOT ME DRIVING

HIM WAY OUTSIDE THE CITY.

I DON'T LIKE SURPRISES WHEN IT

COMES TO STEVIE.

I'VE HAD TO DEAL WITH HIS B.S.

FOR WAY TOO LONG.

THIS IS CUTE.

YOU KNOW, ALL THE UPS AND

DOWNS WE'VE BEEN THROUGH,

AND I WANTED TO GIVE YOU

SOMETHING NICE.

THIS IS ALL YOU RIGHT HERE.

YOU'RE JOKING, RIGHT?

STEVIE CAN BE THE SWEETEST,

NICEST, KINDEST PERSON EVER,

AND THEN ON THE FLIP SIDE

OF IT, IT CAN BE A [bleep]

NIGHTMARE.

AT THE END OF THE DAY,

YOU'VE BEEN DOWN WITH ME FOR

A LONG TIME, AND I WANTED TO

JUST GIVE YOU SOMETHING,

FOR YOU AND EVA, SO Y'ALL HAVE

SOMETHING TO CALL HOME.

SO YOU WANT TO MOVE US

WAY OUT HERE WHILE YOU'RE...

DOING YOU IN THE CITY.

I STILL CAN'T BE AROUND

LIKE THAT, SO I NEED TO GET OUT

HERE AND GET THIS MONEY.

IF IT WAS JUST MONEY HE WAS

GETTING IN THE STUDIO,

I WOULDN'T BE MAD AT THAT,

BUT HE'S GETTING WAY MORE THAN

SOME MONEY.

SO FOR HIM TO HAVE ME IN

A HOUSE WAY OUT IS REAL

CONVENIENT FOR HIM.

THIS IS FOR YOU.

YOU KEEP SAYING ALL THE

WRONG [bleep].

YOU SHOULD BE SAYING,

"THIS IS FOR US," NOT ME.

YOU HAVEN'T SAID IT ONE TIME.

DO YOU WANT IT OR NOT?

I WANT A SITUATION WHERE

YOU CAN COME HOME AT NIGHT.

I AIN'T REALLY--

THAT AIN'T WHERE I'M AT

WITH IT.

SO I DON'T UNDERSTAND

WHAT YOU'RE SAYING.

THIS IS WHERE I'M AT.

I NEED TO HANDLE THINGS

RIGHT NOW, AND I JUST FELT THAT

THIS WAS THE PROPER THING

TO DO.

I REALLY, REALLY, REALLY,

REALLY NEED TO KNOW IF THIS

IS WHAT YOU WANT.

NOW I NEED TO WORK SOMETHING

OUT WITH THE MAN.

WELL, HOW LONG DO YOU HAVE?

I GOT A COUPLE DAYS.

ALL RIGHT, I'LL LET YOU KNOW

IN A COUPLE DAYS.

[scoffs]

'CAUSE I NEED TO--

BUT I'M SICK OF--

I NEED TO--

I'M SICK OF TRYING TO BE

NICE, AND YOU'RE BLATANTLY

UNGRATEFUL.

I'M NOT UNGRATEFUL, STEVIE.

YOU HAVE TO UNDERSTAND

WHERE I'M COMING FROM.

I LOVE YOU.

I LOVE YOU TOO.

DO YOU LOVE ME ENOUGH TO JUST

STAY HERE AND MAKE THIS WORK?

THAT MEANS STAY HERE,

SHUT THE [bleep] UP, AND BE

A GOOD DOG, AND LET YOU DO

WHAT YOU DO?

IS THAT WHAT THAT MEANS?

IF YOU DON'T WANT THIS,

YOU GOT TO LET ME KNOW A.S.A.P.

NINE.

VERY GOOD.

MY NAME IS ERICA.

I'M A SINGLE MOTHER, AND I'VE

BEEN DATING THE RAPPER

LIL SCRAPPY ON AND OFF

ABOUT TEN YEARS.

WE HAVE A GORGEOUS SIX-YEAR-OLD

DAUGHTER NAMED EMANI.

GET THAT THING BACK IN.

MY NAME LIL SCRAPPY.

I'M THE PRINCE OF THE SOUTH.

BORN AND RAISED.

PROBABLY GONNA DIE IN THE "A."

YOU KNOW WHAT I'M SAYIN'?

WHEN WE FIRST MET, SCRAPPY

WASN'T A HOUSEHOLD NAME.

[hip-hop music]

* I GET RIGHT

♪ AND THEN I DO MY THING

♪ FOR ME

BUT IN 2006, HE MET LIL JON,

DID HIS FIRST ALBUM, AND THINGS

TOOK OFF FROM THERE.

COME ON, LET'S GO.

YOU KNOW THE STORY.

YOU HOLD A MAN DOWN,

HIS CAREER TAKES OFF, AND HE'S

ON TO THE NEXT CHICK.

THE NEW GIRL HAPPENED TO BE

AN ATLANTA RAPPER NAMED DIAMOND.

THE AFFAIR WAS PUBLIC,

AND IT HURT ME.

BUT THE TABLES TURNED WHEN

DIAMOND HAD A PUBLIC

RELATIONSHIP WITH SOULJA BOY,

AND SCRAPPY CAME LIMPING HOME

TO ME.

WE'RE TRYING TO MOVE FORWARD

WITH OUR RELATIONSHIP.

I JUST DON'T KNOW IF I'M ALL

IN THE RELATIONSHIP RIGHT NOW.

WHAT DID I TELL YOU?

I SAID NO CHEESE.

WHEN EVERYTHING WENT DOWN,

MY BABY MAMA ERICA WAS THE FIRST

PERSON I CALLED AND TOLD

THE WHOLE THING TO.

SHE SAID, "I KNOW YOU'RE

HURTING AND ALL THAT,

BUT, YOU KNOW, YOU GOT A

DAUGHTER.

SHE NEEDS YOU,

SO GET IT TOGETHER."

DO YOU THINK YOU'D BE HERE

IF DIAMOND HADN'T HAD

HER RELATIONSHIP WITH SOULJA

BOY?

I ALWAYS THOUGHT ABOUT

THAT, LIKE, "HEY, YOU KNOW,

I AIN'T GIVE MY LITTLE GIRL

A GOOD SHOT AT SEEING HER MOM

AND DAD TOGETHER AND, YOU KNOW,

SEEING THAT FAMILY HOW IT'S

SUPPOSED TO BE."

YOU KNOW WHAT I'M SAYING?

MY QUESTION IS, YOU--

LIKE, HOW DO YOU REALLY FEEL?

DO YOU WANT TO MOVE FORWARD,

LIKE YOU'RE STILL IN THIS

MOVING FORWARD, OR...

I FEEL THE LOVE, BUT IT AIN'T

CLICKING ON THAT END.

LIKE, WHAT I BE TELLING YOU,

YOU'RE NOT TOO, YOU KNOW...

AFFECTIONATE.

YOU'RE HARD TO TELL SOMETIMES.

YOU FEEL ME?

WE'VE BEEN THROUGH SO MUCH.

THE CHEATING--AND JUST FROM

A WOMAN'S PERSPECTIVE, LIKE,

IT'S HARD TO JUST TRUST AND

BELIEVE, YOU KNOW, YOUR EVERY

WORD, YOUR EVERY MOVE.

WHEN I FIRST FOUND OUT ABOUT

YOU AND DIAMOND'S RELATIONSHIP,

DO YOU KNOW HOW I FELT?

I KIND OF, SORT OF DO.

I FELT BETRAYED.

AT THIS POINT, I DON'T PUT

ANYTHING PAST SCRAPPY.

HE SAYS HE WANTS AFFECTION,

BUT HE WAS GETTING A LOT OF

THAT BEFORE HE MOVED ON

TO DIAMOND.

AND I DO WANT TO, YOU KNOW,

TRY AND MOVE FORWARD,

BUT I WANT YOU TO KNOW,

AT THE END OF THE DAY,

THIS IS ROUND TWO.

YEP, IT'S ROUND TWO.

IT'S ALL OR NOTHING.

* SO WHY DOES IT FEEL

♪ LIKE I COULD DIE

♪ BURY MY HEART

MY NAME IS K. MICHELLE.

I'M A SINGER.

I'M A SINGLE MOTHER.

I AM A PIANIST,

AND I ROCK OUT WITH MY

[bleep] OUT.

THIS SONG IS VERY IMPORTANT.

LIKE, WE ALL BEEN HEARTBROKEN,

AND YOU KNOW HOW Y'ALL MEN DO,

SO...

[laughs]

I'M NOT GONNA LET YOU SIT

IN HERE AND BEAT UP ON ME.

I FEEL WHAT YOU'RE SAYING,

THOUGH.

WE NEED THAT BREAK-UP RECORD.

I RECENTLY GOT OUT OF A NASTY

RELATIONSHIP THAT AFFECTED

MY MUSIC CAREER, BUT NOW I'M

ON MY WAY BACK UP, AND I'M

USING MY MUSIC TO TELL

MY STORY.

THAT'S WHAT THIS WHOLE THING

IS, IS YOUR TRUTH.

YOU HAVE TO TELL YOUR TRUTH

THROUGH THE SONG.

THIS RECORD IS SPECIAL,

AND I--

I CAN RELATE TO IT.

LET'S GET THAT PAIN ON IT.

GOTCHA.

ALL RIGHT, LET'S GIVE IT

ANOTHER SHOT.

* THEY SAY THAT

♪ ALL WOUNDS HEAL

♪ OVER TIME

♪ SO WHY DOES IT FEEL

♪ LIKE I COULD DIE

♪ BURY MY HEART

♪ SO I WON'T HURT AGAIN ♪

I BELIEVE IN YOU.

YOU KNOW THAT?

I KNOW YOU DO.

I JUST SEE YOU BEING A REAL

BIG INTERNATIONAL HIT.

OH, WORD?

FOR REAL?

I'M LOOKING FOR YOU.

YOU WASN'T LOOKING FOR

[bleep] IN THE CAR WITH HER.

ARE YOU [bleep] SERIOUS

RIGHT NOW?

HOLD ON.

WAIT A MINUTE; HOLD UP.

STEVIE DECIDED TO SURPRISE ME

WITH A HOUSE TODAY.

REALLY?

I WENT TO VISIT MY GIRLFRIEND

ARIANE.

WE'VE KNOWN EACH OTHER ABOUT

SEVEN OR EIGHT YEARS.

SHE KNOWS THE UPS AND DOWNS

OF WHAT I'VE BEEN GOING THROUGH

WITH STEVIE, AND SHE'S ALWAYS

BEEN THERE FOR ME.

IS THIS A HOUSE FOR

ALL OF YOU?

HE KEPT SAYING IT'S FOR ME

AND THE BABY.

SO HE WOULD KEEP A PLACE IN

THE CITY AND PRETEND LIKE HE'S

WORKING EVERY NIGHT AND NOT

COMING HOME?

WHAT JUST KEEPS YOU HANGING

ON TO HIM?

IS IT THE [bleep]?

I'VE NEVER MET A [bleep]

IN MY LIFE THAT MADE ME

DO CARTWHEELS, EVER.

WHAT IS IT ABOUT STEVIE THAT

KEEPS ME WITH HIM?

WHEN THINGS ARE GOOD,

THEY'RE REALLY GOOD.

I JUST DON'T WANT YOU TO

CONTINUOUSLY MAKE EXCUSES

FOR HIM, AND I FEEL LIKE

SOMETIMES THAT'S WHAT YOU DO.

I'M NOT MAKING EXCUSES,

BUT I DO UNDERSTAND THAT LIFE.

I FEEL LIKE SOMETIMES SHE'S

AFRAID TO LEAVE.

I WANT HER TO GET OVER IT,

'CAUSE YOU CAN.

BUT YOU'RE STILL ACCEPTING

HIS BEHAVIOR.

YOU'RE ACCEPTING CERTAIN THINGS

THAT HE DOES WITH ALL OF THESE

WOMEN.

FOR THE PAST TWO YEARS,

MY DAY-TO-DAY HAS BEEN

MOMMY MODE.

MY FOCUS IS NOT, "[bleep],

WHAT THE [bleep] ARE YOU DOING?"

YOU'RE A WOMAN WITH SO MUCH

POTENTIAL.

IT HURTS TO KNOW THAT HE EVEN

CAN SAY, "I'MA STILL DO THE

[bleep] I'M DOING."

TO ME, I FEEL LIKE STEVIE J.

DOESN'T CARE ABOUT WOMEN.

COME ON.

THIS IS THE MOTHER OF YOUR

CHILD.

HE DOESN'T HAVE A REASON TO

FIGHT FOR YOU, BECAUSE YOU'VE

GIVEN HIM EVERYTHING.

AND THAT'S NOT FAIR.

I KNOW.

I BELIEVE WHAT HE TELLS ME

WHEN HE TELLS ME HE WANTS

HIS FAMILY AND HE LOVES ME

AND HE LOVES HIS DAUGHTER

AND THIS IS WHAT HE WANTS.

I BELIEVE HIM.

AT THIS POINT RIGHT NOW,

WHERE DO YOU THINK HE IS?

PROBABLY IN THE STUDIO.

HEY.

WHAT'S UP, BABY?

WHAT'S UP?

WHAT'S GOING ON?

HOW YOU DOING?

MY NAME IS JOSELINE

HERNANDEZ.

I AM A RAPPER-ACTRESS-DANCER,

JUST AN ENTERTAINER ALL THE WAY

ACROSS THE BOARD.

YOU GOT ME WORKING HARD, BABY.

YOU'RE LOOKING AMAZING.

YOU LIKE MY SHORTS?

YEAH, THAT'S CRAZY.

WHAT'S UP, BABY?

WE'VE BEEN WORKING TOGETHER

FOR FOUR MONTHS.

I BELIEVE WE HAVE THE SONGS THAT

WE NEED TO START, YOU KNOW,

GETTING YOU OUT THERE AND

SHOWCASING, YOU KNOW, THE REAL

YOU.

I JUST SEE YOU BEING A REAL BIG

INTERNATIONAL HIT.

WITH JOSELINE, FOR SURE

I GOT A WINNER.

WITH HER BEAUTY, HER SWAG,

MY COACHING, SHE'S BOUND TO GO

TO THE TOP.

YOU GOT ME WORKING OUT

LIKE AN ANIMAL.

YOU'VE NEVER LOOKED LIKE

THAT.

NO?

WHO DID THAT?

YOU DID THAT,

BUT AT THE SAME TIME--

WHO DID THAT?

DADDY.

STEVIE GAVE ME SO MUCH MORE

THAN YOU'RE THINKING HE JUST

WANT TO [bleep] ON ME.

HE JUST EVERYTHING TO ME.

BUT HE'S NOT ABOUT THE SEX.

I BELIEVE IN YOU.

YOU KNOW THAT?

I KNOW YOU DO.

IF YOU KEEP DOING WHAT

YOU DOING, IT'S NOTHING CAN

STOP YOU.

I DON'T WANT TO GO BACK

TO THE CLUB.

I'M TIRED OF [bleep] STRIPPING.

SO, BABY, PLEASE, PLEASE,

PLEASE, PLEASE, PLEASE,

LET'S MAKE THIS WORK.

PLEASE, PLEASE.

EVERYBODY THINK, YOU KNOW,

"SHE'S A BAD BITCH.

HE GET ALL THE BITCHES."

IT'S NOT REALLY ABOUT STEVIE

GETTING IN MY PANTS.

YOU KNOW WHAT I'M SAYING?

I WANT STEVIE FOREVER.

IS YOU RIDING WITH ME?

IS YOU DOWN?

YOU KNOW I'M DOWN.

IT AIN'T ABOUT [bleep]

OR SEXY.

IT'S FOR EVERYTHING WITH

STEVIE AND I.

HE [bleep] MY BRAINS.

I WANTED TO HEAR WHAT WE DID

LAST NIGHT.

OKAY.

[electronic pop music playing]

♪

HEY.

[electronic club music]

♪

[singing in Spanish]

♪

[knocking]

WHO IS IT?

ME.

WOW.

I'M MOMMA DEE.

I'M THE MOTHER OF THE FAMOUS

RAP STAR LIL SCRAPPY.

I'M THE TYPE OF MOTHER THAT I'M

VERY LOVING, CARING, AND SHARING

BUT OVERPROTECTIVE.

THAT'S HOW IT IS, AND IT'S GONNA

ALWAYS BE THAT WAY,

AND IN THAT ORDER.

NOT REALLY FINISHED

WITH IT YET.

AND AMENITIES ARE NOT EVEN IN.

AND I DONE GAVE THEM

A [bleep] STACK.

I SAID, "WHAT Y'ALL GOT,

CRACK SMOKERS WORKING

FOR Y'ALL?"

WHAT THEY DOING WITH THIS?

THEY SAND THIS DOWN,

AND THEN THEY SUPPOSED TO

SHELLAC IT OVER AND [bleep].

AND THE [bleep] AIN'T DONE.

LIKE, I JUST FEEL LIKE

A MOTHER[bleep] BENT ME

THE [bleep] OVER, DONE [bleep]

ME WITHOUT NO GOD DAMN GREASE.

HOW THE [bleep] YOU GONNA

PIMP A PIMP?

THING ABOUT MY MAMA,

IT POP OFF, SHE JUST POP OFF.

SHE DON'T THINK ABOUT IT.

SHE JUST GO.

SHE TRAINED TO GO--TTG.

WHEN IS THE DATE FOR THEM TO

HAVE EVERYTHING READY?

HE TALKING ABOUT TOMORROW,

BUT YOU SEE THAT'S NOT TRUE.

WELL, LET'S JUST WAIT

TILL TOMORROW.

IF HE DON'T DO IT TOMORROW,

THEN WE GONNA HOLLER AT HIM.

AND IN THAT ORDER.

SHE GOT THIS THING WHERE

THE WHOLE WORLD AGAINST HER.

LIKE, SHE STILL IN HER

PIMPISH WAYS, 'CAUSE SHE USED TO

PIMP AND SELL DOPE

BACK IN THE DAY.

I HAD TO BECOME VERY

HARDCORE, BECAUSE I HAD TWO

SMALL KIDS THAT DEPENDED ON

MOMMA TO SEE THEM THROUGH,

AND THAT'S WHAT I DID.

REMEMBER THAT CONVERSATION

I SAID I WAS GONNA HAVE

WITH ERICA?

YEAH.

I HAD THAT THE OTHER DAY.

WHAT?

I TOLD HER THAT I DO LOVE

HER; I DO LOVE EMANI.

YOU KNOW, I'M TRYING

TO MAKE THAT WORK,

BUT IT'S, LIKE, A LOT OF

IRRITATING STUFF SHE DO.

SHE WANTS A FAMILY UNIT,

AND I CAN'T BLAME HER

ON THAT PART.

SHE HAD A MOTHER DIDN'T RAISE

HER THAT WAS ON CRACK COCAINE.

SO PEOPLE IN LIFE TRY TO GO

AT THE THINGS THAT THEY WERE

DENIED OR DIDN'T HAVE WHEN THEY

WERE GROWING UP, BUT SHE CAN'T

MAKE YOU GIVE THAT TO HER.

NO, ESPECIALLY IF SHE DON'T

ACT LIKE SHE WANT IT

GIVEN TO HER.

SHE DOES.

NO, SHE DON'T ACT LIKE IT.

SHE DON'T EVEN KNOW HOW TO

BE AFFECTIONATE, YOU FEEL ME?

SO IT'S LIKE--

YEAH, BECAUSE SHE NEVER HAD

THAT MOTHER'S LOVE, THAT LOVE

THAT I GIVE YOU.

AFFECTIONATE DON'T HAVE

NOTHING TO DO WITH YOUR MAMA.

BABY.

WHEN YOU FIND SOMEBODY WASN'T

RAISED BY THEIR MOTHER, THEY

TEND TO NOT SEE THINGS EXACTLY

THE WAY, YOU KNOW, THAT MY KIDS

WERE RAISED.

AT THE END OF THE DAY, WHEN THE

[bleep] BROKE OUT BETWEEN

YOU AND DIAMOND, ERICA

STEPPED IN.

SO SHE'S THERE FOR YOU.

Y'ALL DATED FOR A FEW YEARS,

AND THEN Y'ALL SEPARATED.

YOU GOT DOWN WITH DIAMOND,

WITH THAT GOD DAMN [bleep].

YOU KNOW WHAT I'M SAYING?

AND AS REALITY, THE BITCH DON'T

NEED A RECORD DEAL; SHE NEED

MASKING CARE DEAL, WHEN IT WAS

STINKING LIKE IT WAS.

SCRAPPY LOVED HIMSELF

SOME DIAMOND.

SHE MADE ME FEEL LIKE I SHOULD

HAVE CAME OUT OF EARLY

RETIREMENT.

I SHOULD HAVE TOOK THAT BITCH

TO THE TRACK, YOU FEEL ME?

SO I COULD GET SOME MONEY OFF

THAT ASS, SINCE SCRAPPY PAID

FOR THAT ASS.

DON'T [bleep] WITH MY DAMN

BABIES.

NOW YOU HAVE MADE ME MAD.

NOW I'M RELIVING THIS [bleep].

AND IN THAT ORDER.

MAYBE A LOT OF PARENTS, SAY,

LIKE, YOU KNOW, YOUR KIDS

ARE GROWN, AND, YOU KNOW,

LET THEM GO, BUT...

THAT'S WHAT I SAY.

YOUR KIDS ARE GROWN,

LET THEM GO.

AND THEN YOU WON'T HAVE SO MUCH

STRESS ON YOU.

AT THE END OF THE DAY,

I WANT YOU TO BE HAPPY.

YEAH, THAT.

IT IS WHAT IT IS.

SCRAPPY MERLOT JONES.

IF YOU WANTED TO SPEND TIME

WITH US, YOU WOULD HAVE GOTTEN

US A PLACE CLOSER IN THE CITY.

COME HOME A LITTLE BIT MORE.

A LITTLE BIT--

I'LL COME HOME FOR OFTEN.

YOU STEP OUT OF LINE

AS A MAMA.

SHE PUT DRUGS IN FRONT

OF YOU!

I WOULD NEVER DO THAT!

MY MAMA DIDN'T DO NONE

OF THAT!

MIMI...

YOU BETTER ACT LIKE [bleep].

THE LAST THREE YEARS WERE

REALLY CRAZY FOR ME.

I GOT OUT OF A RECORD DEAL.

I LOST THE LOVE OF MY LIFE.

AND I LOST A LOT OF FRIENDS

IN THE PROCESS.

SO OVER THE PAST COUPLE OF

WEEKS, I'VE BEEN MEETING WITH

SOME FRIENDS TO RECONNECT.

HEY, HOW ARE YOU?

GOOD TO SEE YOU.

TODAY I'M CATCHING UP WITH

RASHEEDA, WHO IS A FELLOW

ARTIST.

ARE YOU STILL ON JIVE?

I HAVE GONE THROUGH, I THINK,

THE LONGEST BATTLE TRYING

TO GET OFF OF THE LABEL.

REALLY?

I WAS SIGNED TO JIVE RECORDS,

TO A GUY WHO WAS FROM

MY HOMETOWN.

HE WAS GORGEOUS.

I MEAN, HE HAD HUGE ARMS,

TATTOOS, AND HE GAVE ME MY DREAM

THAT I ALWAYS WANTED,

AND THAT WAS A RECORD DEAL.

ABOUT SIX MONTHS LATER,

WE STARTED TO DATE, AND IT

WASN'T A BAD RELATIONSHIP,

UNTIL ONE DAY.

HE FLIPPED.

AND HE BEAT MY ASS.

ALL I CAN REMEMBER IS JUST

SCREAMING, SAYING, "IT'S ME."

LIKE, "IT'S ME.

I LOVE YOU.

IT'S ME, K.

IT'S ME."

HE WASN'T THERE.

PEOPLE BEHIND THE SCENES

FROM THE RECORD LABELS

AND EVERYWHERE,

THEY KNEW THE TRUTH.

WHEN BUSINESS IS INVOLVED,

NO ONE CARE IF YOU HURT.

EVERYBODY WANTS YOU TO SING.

"SHUT UP AND MAKE THE MONEY."

HE BOUGHT CHAINS, RINGS,

EVERYTHING OUT OF MY RECORDING

BUDGET.

IT WAS OVER $2 MILLION,

WITH NOTHING TO SHOW FOR IT,

NO ALBUM, NO MUSIC, NO ANYTHING.

SO YOU GOT YOUR FANS LIKE,

"WHERE IS THE MUSIC?"

"OH, SHE'S A FLOP."

"WHAT'S GOING ON?"

NOBODY UNDERSTANDS.

SO I'M CAUGHT IN THE MIDDLE

RIGHT NOW, YOU KNOW, WORKING

WITH NEW PEOPLE.

I STILL HAVE TO FIGHT DOWN

THIS STEREOTYPE THAT K. MICHELLE

IS OUTRIGHT CRAZY.

MY LAST COUPLE YEARS ON THAT

LABEL, I WAS CRAZY AS [bleep].

I GOT BEAT UP.

NOBODY'S GONNA HELP ME?

NOBODY HELPED ME.

I EVENTUALLY GOT OUT,

AND I'M HERE WHERE I AM NOW,

AND I'M GRATEFUL TO STILL BE

IN THE BUSINESS.

I'M BACK.

YOU KNOW, NEW PLACE.

JUST WANT A FRESH START

FROM THE SITUATION, YOU KNOW?

[knocking]

HELLO, IT'S ME.

WOW, WHAT'S UP, GIRL?

I FIXED MY NEW PLACE UP.

IT'S LOOKING GOOD.

AND SO I CALLED ERICA

TO HAVE A CHAT WITH HER

ABOUT HOW SCRAPPY FEELS

ABOUT HER, HOW SHE FEELS ABOUT

MY SON, AND WHERE THIS IS

REALLY GOING.

I CALLED YOU OVER HERE

BECAUSE SCRAPPY IS USED TO

THE LOVE, OVERBEARING MOTHER.

I KNOW.

NOTHING AGAINST YOU, BUT HE'S

SAYING HE'S MISSING THAT

IN THE RELATIONSHIP.

I'M COMING TO YOU AS A WOMAN,

A BLACK WOMAN.

NOW, IF YOU WANT HIM, I SUGGEST

YOU SHOW LITTLE MORE LOVE,

A LITTLE MORE COMFORT,

BECAUSE THAT'S WHAT HE'S

EXPECTING.

I DO SHOW HIM LOVE.

WHAT DO YOU CALL TAKING HIM BACK

AFTER DIAMOND KICKED HIM

TO THE CURB?

MOMMA DEE IS SO INTO SHELTERING

SCRAPPY THAT SHE CAN'T SEE ME

SHOWING HIM LOVE.

YOU STEP OUT OF LINE

AS A MAMA.

YOU DON'T KNOW NOTHING

ABOUT THAT.

WHAT YOU MEAN I DON'T KNOW

NOTHING ABOUT THAT?

YOUR MAMA DIDN'T RAISE YOU.

YOU WERE RAISED BY AN ADDICT.

SO WHAT?

THAT WAS STILL MY MAMA--

BECAUSE YOU DON'T KNOW.

YOU DON'T KNOW ABOUT [bleep]

REALIZATING ABOUT A MOTHER

AND HER CHILD.

I STILL HAD A MOTHER FIGURE.

YOU DON'T KNOW HER.

BUT SHE PUT DRUGS

IN FRONT OF YOU.

I WOULD NEVER DO THAT!

MY MAMA DIDN'T DO

NONE OF THAT.

YOU DON'T KNOW NICK ABOUT

WHAT I'VE BEEN THROUGH.

IT'S ALL I SAID

ABOUT YOUR MAMA.

YOU NEED TO REFLECT

ON YOURSELF.

I GUESS SHE FORGETS WHERE SHE

COMES FROM.

SHE WAS A PIMP.

I'M IN A RELATIONSHIP

WITH SCRAPPY.

THAT MEANS ME AND SCRAPPY,

SO MOMMA DEE NEEDS TO MIND

HER OWN BUSINESS.

YOU WANT HIM TO BE LIKE YOU?

YOU 48 AND...

YOU'RE ALONE.

NO, I DON'T WANT HIM ALONE.

SO YOU WANT TO SEE BOTH

YOUR KIDS HAPPY, REGARDLESS

OF WHO THEY WITH?

YES, BUT I GOT TO TELL YOU

AN EXCEPTION TO THE RULE.

OH, MY GOD...

BUT YOU JUST SAID...

UNTIL I KNOW...

THAT IT CAN BE DONE RIGHT.

MOMMA DEE CAN BE CRAZY

WHEN IT COMES TO HER SON.

IT MAKES THINGS DIFFICULT

FOR ME, BUT IT'S HARD NOT TO

FEEL SORRY FOR HER SOMETIMES.

YOU TOOK YOUR MEDICINE TODAY?

NO I HAVEN'T HAD IT

IN FIVE DAYS.

OKAY, ALL RIGHT.

BUT I DO KNOW THIS.

WHATEVER IS GOING ON BETWEEN

YOU AND SCRAPPY,

TRY TO FIX IT.

I CALLED STEVIE TO DISCUSS

IF HE INTENDED ON SHARING THIS

HOME WITH EVA AND I

AS A FAMILY.

I'M NOT INTERESTED IN LIVING

OUT IN THE STICKS WITH ME AND

MY DAUGHTER WHILE HE'S IN THE

CITY LIVING IT UP.

I DON'T CARE IF WE'RE IN TWO

BEDROOM, IF WE'RE IN A STUDIO

APARTMENT, AS LONG AS WE'RE

TOGETHER.

THAT'S WHAT MATTERS TO ME.

IF YOU WANTED TO SPEND TIME

WITH US AND COME HOME

EVERY NIGHT, YOU WOULD HAVE

GOTTEN US A PLACE CLOSER

IN THE CITY, BECAUSE THAT'S

WHERE YOU ARE.

I RESPECT THAT.

LET'S SAY I COME HOME AS SOON

I FINISH WORKING.

WHAT DOES THAT MEAN?

SOMETIMES DAYS REQUIRE

MORE HOURS.

I'M JUST GETTING BACK TO LOVING

MUSIC AGAIN.

OKAY.

SO, YES, I'LL COME HOME

WHEN I FINISH WORKING.

HOW ABOUT YOU SET UP

A STUDIO IN THE HOUSE?

I KNEW YOU WAS

GONNA GO THERE.

HOW ABOUT THAT?

BUT LOOK, IT'S LIKE THIS.

[laughs]

IT'S DIFFERENT FROM BEING

CREATIVE IN A HOUSE THAN

OUTSIDE IN THE STUDIO.

WHAT'S THE DIFFERENCE?

IT'S JUST A DIFFERENT--

IT'S JUST A DIFFERENT VIBE.

SO WHAT ARE YOU SAYING?

I'M SAYING THAT I CAN COME

HOME A LITTLE BIT MORE.

A LITTLE BIT--

I'LL COME HOME MORE.

I'LL COME HOME MORE OFTEN.

IT'LL BE OUR HOME.

AND HOME IS WHAT?

WHERE THE HEART IS.

[both laughing]

IT'S HARD TO STAY MAD

AT STEVIE.

HE HAS THIS ABILITY TO ALWAYS

MAKE ME SMILE AND LAUGH.

SOMETIMES I WISH I DIDN'T LOVE

HIM SO DAMN MUCH.

IT'D BE A WHOLE HELL OF A LOT

EASIER.

MAKING CAN LOVE ALL NIGHT

TILL THE SUN COME UP.

LET'S GET TO THAT.

WELL, YOU GOT TO COME HOME

FOR THAT.

AND BREAKFASTES?

YEAH?

DUDGY SAUCES.

[bleep].

SO YOU GUYS ARE...

OH, HE'S MY MANAGER.

YOU'RE MAN-AGER?

YEAH.

[laughter]

JOSELINE IS A REAL CHICK.

SHE RIDE OR DIE FOR HER MAN.

HER MAN IS STEVIE J.

I'M SORRY, NO, IT'S NOT.

THAT'S HER MAN.

IF YOU WALK THE [bleep]

OUT OF HERE AND GET IN THAT CAR

WITH THAT BITCH AND GO

TO THE STUDIO, YOU'RE SHOWING ME

WHAT THE [bleep] YOU'RE DOING.

STEVIE HAD A MEETING WITH

AN INDUSTRY FRIEND, SO HE ASKED

ME TO TAG ALONG WITH HIM,

AND I'M LIKE, "OF COURSE,"

'CAUSE I JUST LOVE SPENDING

TIME WITH STEVIE.

HE'S JUST SO SEXY.

YO, MY BROTHER.

MY BROTHER.

WHAT'S THE WORD?

HI, HOW ARE YOU?

YOU ALL RIGHT?

YEAH.

YEAH?

I'M KARLIE RED,

AND I SING AND RAP.

I'M ORIGINALLY FROM TRINIDAD,

AND MY BOYFRIEND IS ANTONIO

REID.

HE IS THE SON OF LEGENDARY

RECORD EXECUTIVE L.A. REID.

HE WAS ABLE TO GET ME A MEETING

WITH STEVIE J., WHO I'VE BEEN

WANTING TO WORK WITH

FOR A VERY LONG TIME.

I NEED THAT HIT.

SO YOUR SOUND IS LIKE,

YOU GOING FOR THE TRINI SOUND?

NO, I'M GOING FOR THAT SWAG,

R&B SWAG, 'CAUSE, YOU KNOW,

THAT'S, LIKE, MY WHOLE STYLE.

I CAN DO A WHOLE JAMAICAN RAP

FOR YOU.

DEFINITELY HAVE TO MIX THAT

INTERNATIONAL REALM OF IT

IN THERE.

ABSOLUTELY.

[rapping in Jamaican]

OH, SHE'S HOT.

YOU DEFINITELY GOT TO GET

TO WORK WITH HER,

'CAUSE SHE'S HOT, BABY.

SHE IS A BALL OF ENERGY,

AND THE MUSIC SAYS THAT.

COMING FROM YOU, IN GENERAL,

YOU KNOW WHAT I'M SAYING,

I KNOW IT'S SERIOUS.

YOU KNOW THE BAR'S HIGH.

YEAH, I'M STEPPING TO

THE PLATE, AND I'M GONNA GIVE

YOU EXACTLY WHAT YOU NEED,

YOU KNOW WHAT I'M SAYING?

HE'S THE BEST.

THANK YOU.

STEVIE J. INTRODUCED JOSELINE

AS HIS ARTIST.

SHE WAS ALL OVER HIM.

I MEAN, WHATEVER THEY GOT

GOING ON, THAT'S BETWEEN

THEM TWO.

ALL I KNOW IS, I'M TRYING TO GET

IN THE STUDIO WITH STEVIE J.

HE LOVES TO WORK WITH

BEAUTIFUL WOMEN TOO, SO...

HE'LL DEFINITELY PUT IN EXTRA

HARD WORK.

AS LONG AS YOU LET HIM PUT IN

THAT HARD WORK FOR ME, I'M GOOD.

I BE RIGHT THERE WITH HIM.

DON'T YOU WORRY ABOUT IT.

AND I'LL BE RIGHT THERE

WITH YOU.

I LIKE HOW THAT SOUND.

WAIT, WAIT, WAIT.

AS LONG AS WE RIGHT THERE.

WE'LL MAKE THIS A FOURSOME.

OKAY, ALL RIGHT, SO YOU GUYS

ARE...

OH, HE'S MY MANAGER.

YOUR MAN-AGER?

[laughter]

I HANDLE THINGS.

IT'S PRETTY OBVIOUS

HOW HE HANDLES JOSELINE.

BUT I'M WONDERING, WHAT DOES HE

HAVE IN MIND FOR ME?

IS IT WORK OR PLEASURE?

STEVIE, I WILL SLEEP IN THE

STUDIO IS MUCH AS YOU NEED

ME TO.

WE GOT TO GET US A TREADMILL

RIGHT HERE SO WE CAN GO RUNNING,

'CAUSE WE GOT TO KEEP

THIS BODY TOGETHER, SO...

OH, YEAH, DEFINITELY,

GOT TO GET THIS, LIKE--

OH, Y'ALL SHOWING OUT.

Y'ALL SHOWING OUT FOR REAL.

I'M NOT MAD.

HOW YOU THINK THIS WOULD

LOOK TOGETHER, TO DO A SONG

TOGETHER?

OH, MY GOD.

THAT WAS ACTUALLY MY NEXT

TOPIC OF CONVERSATION,

WAS FIGURING OUT HOW TO PUT

Y'ALL ON A RECORD TOGETHER.

I'M READY TO DO THAT, YEAH.

WHAT DO YOU THINK, BABY?

I THINK THAT'S AN EXCELLENT

IDEA.

TO SUCCESS AND MONEY.

HEY, LET'S DO IT.

CHA-CHING.

NOBODY'S MAD ABOUT THAT.

DADDY, I'M GONNA TURN AROUND

AND LOOK AT YOU, 'CAUSE YOU KNOW

IF I DON'T TOAST AND LOOK AT

YOU IN YOUR EYES,

SEVEN YEARS OF BAD SEX.

AND WHY ARE YOU NOT LOOKING

ME IN MY EYES?

I HAVEN'T TOUCHED YOUR

GLASS YET.

I WOULDN'T WANT THAT.

I WOULDN'T WANT THAT EITHER.

MY BEEFCAKE GAME CRAZY.

[laughter]

* YEAH

[intense synth music]

♪ WE GONNA PARTY

♪ LIKE IT'S YOUR BIRTHDAY ♪

♪ WE GONNA PARTY

TONIGHT IS MY BIRTHDAY PARTY,

AND I INVITED ALL MY GIRLS SO

WE COULD DANCE OFFBEAT AND

GET US A MAN, AND WE JUST GONNA

HAVE A GOOD TIME.

OKAY, FIRST OF ALL...

I'M DIGGIN' THE DIAMOND.

HOLD ME THE SHOE.

GIRL, YOU DON'T--

WAIT, WAIT.

SHOW ME THE MOTHER[bleep] SHOE!

[indistinct speech]

HAPPY BIRTHDAY.

HI.

YOU LOOK BEAUTIFUL.

YOU LOOK AMAZING.

OH, [bleep]!

MIMI...

GET THE [bleep] OUT.

WHAT YOU DOING HERE?

FOR REAL?

BITCH!

I HAD NO IDEA THAT MIMI

KNEW K. MICHELLE.

WE WAS TIGHT BACK IN THE DAYS

WHEN WE BOTH LIVED IN L.A.

WE LOST TOUCH,

BUT THAT'S MY GIRL.

[all cheering]

CAN I TOUCH?

UH-OH.

HEY, HEY, HEY, HEY.

THIS THING'S NOT LIT.

LIGHT 'EM, LIGHT 'EM UP.

OH, [bleep].

MAKE IT WORK.

OH, WOW.

THANK Y'ALL.

HAPPY BIRTHDAY.

[all cheering]

HAPPY BIRTHDAY.

I GIVE A TOAST TO K. MICHELLE.

HAPPY BIRTHDAY, RIGHT?

AND YOU GOT TO LOOK EACH OTHER

IN THE EYE, BECAUSE IT'S SEVEN

YEARS OF BAD SEX.

OH, YEAH, YOU DIDN'T KNOW THAT?

BAD SEX?

I'M JUST TRYING TO PASS ALONG

THE GOOD WORD THAT JOSELINE

TAUGHT ME YESTERDAY.

I MEAN, I KNOW SHE'S CRAZY,

BUT, YOU KNOW, I'M NOT TRYING

TO TAKE NO CHANCES.

JOSELINE IS A REAL CHICK.

SHE'S REAL.

DID YOU SAY JOSELINE?

YES, I SAID JOSELINE.

SHE RIDE OR DIE FOR HER MAN.

HER MAN IS STEVIE J.

I'M SORRY, NO, IT'S NOT.

NO, IT'S NOT.

THAT WOULD BE MY MAN.

NO, IT'S NOT; THAT'S HER MAN.

WHO TOLD Y'ALL THAT?

STEVIE J. IS HER MAN.

HER MANAGER.

THAT'S HER MAN.

MANAGER.

THEM TWO TOGETHER IS LIKE

SOME INSEPERABLE TYPE [bleep].

YOU WAS THERE TOO?

OH, YEAH.

YOU GOT TO EXPLAIN TO ME

WHAT YOU'RE TALKING ABOUT.

SHE SAID, "THAT'S MY MAN"?

I SEEN IT.

YOU DON'T HAVE TO TELL ME.

I SEEN IT.

I'M CONFUSED.

TONIGHT WAS SUPPOSED TO BE ABOUT

ME AND MY GIRLFRIENDS

KICKIN' IT, BUT ONCE AGAIN,

STEVIE'S GOT ME ALL [bleep] UP.

DID YOU NOT KNOW THAT THEY

WERE TOGETHER--OR THEY WERE

SEEING EACH OTHER, OR YOU JUST

KNOW THAT WAS THE ARTIST?

I KNOW THEY WORK TOGETHER

BECAUSE HE'S HER MANAGER,

BUT THE WHOLE INTERTWINED,

LIKE--IT'S [bleep] ME UP.

GIRL, I'M GONNA

GO ON OUT OF HERE.

HONEY, I AM OUT OF HERE.

WHAT JUST HAPPENED?

I JUST KNOW, WHEN THEY THROW

DRINKS, DRINKS DON'T HAVE NO

NAME ON IT, AND I JUST GOT

MY HAIR DONE, AND I DIDN'T WANT

WANT TO BE AROUND IT.

I IMMEDIATELY GOT OUT

OF HARM'S WAY.

YOU LOOK AMAZING TONIGHT.

ARE YOU SERIOUS?

YEAH.

[stuttering]

WHAT?

DID YOU MEET--

YOU SAY HI TO--

NO.

SHOULD I--

SHOULD YOU...

COME ON.

MIMI STARTED LOOKING AT ME

WITH THOSE EYES, YOU CAN KNOW

WHEN YOU DONE [bleep] UP.

YOU KNOW WHAT I MEAN?

YOU CAN FEEL IT.

I JUST FELT THAT IT WAS

A PROBLEM--CODE RED.

SO...

THE NIGHT BEGAN TO BE

INTERESTING.

WE KISSED?

ABSOLUTELY.

DAMN, WOW.

OH, WORD?

FOR REAL?

I'M LOOKING FOR YOU.

YOU WASN'T LOOKING FOR

[bleep] IN THE CAR WITH HER.

ARE YOU [bleep] SERIOUS

RIGHT NOW?

HOLD ON, WAIT A MINUTE.

NOW, HOLD UP.

YOU GOT TO UNDERSTAND,

I DONE BEEN THROUGH SO MUCH

[bleep], AND MY TRUST FACTOR

IS REAL LOW.

SO I KNOW HOW THAT STUDIO LIFE

IS, LATE NIGHTS, [bleep] LIQUOR,

THIS, THAT, AND THERE.

I ALREADY KNOW WHAT THE [bleep]

IT IS.

OKAY, BUT DO YOU NOT TRUST

HIM; YOU DON'T TRUST HIM?

IS THAT A TRICK QUESTION?

I MEAN, MIMI, YOU AIN'T GOT

TO GET OUT OF LINE.

THE THING IS, MEN GONNA BE MEN,

AND YOU'RE GONNA HAVE TO JUST

GET THAT THROUGH YOUR HEAD.

THAT DON'T MEAN I'M [bleep] HIM

WHEN I'M AT WORK WITH HIM.

WHERE DOES STEVIE FIND

THESE TRASH BAGS?

SERIOUSLY, SHE LOOKS LIKE

A [bleep] CLOWN.

AND I AIN'T GONNA STOP

WORKING WITH HIM.

TILL YOU CATCH US, YOU CAN'T

REALLY BLAME ME FOR NOTHING.

TILL YOU SEE US KISSING,

TILL YOU SEE US SEXY,

DON'T COME AT ME WITH THAT.

I CAN'T HELP THAT I'M BEAUTIFUL,

AND I CAN'T HELP THAT

HE BEAUTIFUL, AND YEAH,

WHEN WE STEP IN THE BUILDING,

WE LOOK REAL GOOD TOGETHER.

BUT STEVIE AND I HAVE

GREAT CHEMISTRY, SO I CAN'T

HELP THAT.

I'M SO WORRIED ABOUT

YOU RIGHT NOW.

I'M COOL.

LOOK AT ME; LOOK AT ME.

DO I HAVE TO MAKE A CHOICE?

I WOULD NEVER PUT YOU IN THAT

POSITION, NEVER.

IF YOU WEREN'T [bleep],

WHY YOU CALL HIM DADDY?

WHY YOU TELLING HIM THAT YOU

GONNA TAKE CARE OF HIM

WHEN HE GETS HOME..."DADDY"?

CAN WE ASK KARLIE HOW SHE GOT

THE FACT THAT THEY WERE

TOGETHER.

THEY'LL ASK YOU QUESTIONS

THAT'S GONNA [bleep] YOU UP

AT THE END, AND THEY GONNA

BE CHILLIN', BUT YOU GONNA BE

LOOKING STUPID.

YOU GOT TO BE SMARTER THAN THAT.

I'M LEAVING.

YOU ASKED ME A QUESTION:

"HAVE YOU SEEN THEM TOGETHER,

KISSING?"

SO, WHATEVER, I'M GONNA

KEEP IT REAL.

YES, I HAVE.

WE KISSED?

ABSOLUTELY.

WE KISSED IN THE LIP?

WOW.

I DON'T THINK KARLIE SHOULD HAVE

CAME AT MIMI LIKE THAT

WITHOUT THE FULL SCOPE

OF EVERYTHING.

IT'S JUST LIKE--IT'S MESSY.

KARLIE IS A RAT.

YOU'RE LOOKING LIKE YOU'RE

READY TO KILL ME.

YEAH, YOU'RE RIGHT.

YOU'RE NOT LISTENING TO ME.

I WANT TO KNOCK YOUR [bleep]

HEAD OFF YOUR SHOULDERS

RIGHT NOW, [bleep] RIGHT.

ALL RIGHT, ALL RIGHT.

WE'RE NOT GONNA BE VIOLENT.

SHE SAW Y'ALL KISSING?

I DIDN'T KISS HER.

WHAT DID YOU DO?

I DIDN'T KISS HER.

YOU GETTING A KICK

OUT OF THIS [bleep], AIN'T YOU?

NO, I'M TRIPPIN'.

SHE GETTING A KICK OUT OF IT.

SHE GETTING A REAL

KICK OUT OF IT.

OUT OF SEEING [bleep].

WHAT HAPPENED?

SHE SAW THEM KISSING.

LAST NIGHT?

THAT'S WHAT SHE SAID.

LET'S GO.

PLEASE, STEVIE, LET ME GO.

COME ON, MIMI, NO.

I'M GOING HOME.

LET ME JUST TALK TO YOU--

SHE GOT TO GO FOR SECOND.

I'M GOING HOME.

LET ME HOLLER AT YOU

FOR A MINUTE.

MIMI, GET UP, COME ON.

GIVE ME THIS PURSE,

AND LET'S GO.

MIMI IS DEFINITELY AN ENABLER

WHEN IT COMES TO SITUATIONS

LIKE THAT.

SHE SHOULD HAVE PUNCHED HIM

IN HIS [bleep] FACE.

I WOULD HAVE.

I WANT TO SEE HER DO BETTER.

MIMI.

YOU BETTER--YOU BETTER ACT

LIKE YOU [bleep] KNOW.

ACT LIKE I KNOW WHAT?

ACT LIKE YOU [bleep] KNOW.

ACT LIKE I KNOW WHAT?

SHE CALLIN'.

WHO'S CALLIN'?

I DON'T GIVE A [bleep].

HELLO?

ARE YOU [bleep] SERIOUS

RIGHT NOW?

YOU GOT TO GIVE ME

A SECOND.

ARE YOU [bleep] SERIOUS

RIGHT NOW?

YO.

YOU FOLLOWING HER, RIGHT?

GO FOLLOW HER.

WHAT, WHAT.

HE THREW A DRINK AT ME

AND MESSED UP MY FUR THAT

I GOT FROM NIEMANS.

I COULD HAVE KILLED HIM.

OH, BUT DON'T WORRY.

HE'S GONNA BUY ME A NEW ONE.

[bleep] HIM.

HE LEFT.

I'M DONE WITH THIS [bleep].

CAN'T EVEN DEAL WITH HIS

BITCH AND HER [bleep] EMOTIONS.

WHAT?

WHAT'S UP, HUH?

IS THIS REALLY HAPPENING

RIGHT NOW?

OH, WORD, REALLY?

OH, WORD?

YOU WASN'T LOOKING FOR

[bleep] IN THE CAR WITH HER.

ARE YOU [bleep] SERIOUS

RIGHT NOW?

WAIT A MINUTE, NOW, HOLD UP.

GO HOME, DEAL WITH YOUR

EMOTIONS.

LET HIM GO TO THE STUDIO WITH

HIS ARTISTS THAT'S GONNA MAKE

HIM A BILLION [bleep] DOLLARS,

AND LET US GET TO WORK.

I'M NOT WITH THIS LIMBO

[bleep].

I'M TIRED OF YOU JUST TELLING

ME--

THIS IS NOT NO LIMBO [bleep].

TALKING ABOUT MY LIFE.

YOU'RE NOT TALKING ABOUT NO--

THIS IS MY--NO, YOU'RE

TALKING ABOUT MY [bleep] LIFE.

I'M NOT THE ONE PLAYING

[bleep] GAMES; YOU ARE.

YOU HAVING A GOOD [bleep] TIME

AROUND THIS BITCH.

I AIN'T REALLY HAVING

A GOOD TIME.

WELL, I CAN'T [bleep] TELL.

I DON'T GIVE A [bleep]

WHAT YOU THINK.

IT AIN'T THAT.

I'M NOT CHASING THIS

MOTHER[bleep].

WHAT HE'S TRYING TO DO

IS PLAY ME AND PLAY HER

AND HAVE IT ALL AND DO IT ALL,

AND YOU CAN'T.

IT JUST--LIFE DOESN'T WORK

LIKE THAT.

IT'S ALL ABOUT WORKING.

THAT'S IT, PERIOD.

POINT BLANK.

BUT YOU KISSING BITCHES.

THAT BITCH AIN'T SEEN

NOTHING.

OKAY.

JUST MAKING [bleep] UP.

WHY WOULD SHE MAKE SOME

[bleep] UP?

WHY WOULD SHE MAKE THAT UP?

[phone ringing]

SHE CALLING.

WHO'S CALLING?

I DON'T GIVE A [bleep].

HELLO?

ARE YOU [bleep] SERIOUS

RIGHT NOW?

YOU GOT TO GIVE ME A SECOND.

ARE YOU [bleep] SERIOUS

RIGHT NOW?

GO.

I WANT YOU TO COME TOO.

I'M NOT GOING NO [bleep]

WHERE.

IT'S THAT [bleep] IMPORTANT

TO YOU, GET THE [bleep]

OUT OF HERE.

GROW UP.

LET HIM GO TO WORK.

WE GOT MONEY TO MAKE.

IF I DON'T GET IN THE STUDIO,

I CAN'T MAKE NO MONEY,

HE CAN'T MAKE NO MONEY,

YOU WON'T HAVE NO MONEY.

SO WHAT ARE YOU DOING?

THAT'S WHAT WE DOING.

IT'S 1:00.

YEAH, THAT'S WHERE HE'S GOING.

NO, WE ALL CAN'T GO

NO [bleep] WHERE.

SHE SURE CAN'T,

NOT WITH THAT ATTITUDE.

YOU [bleep] RIGHT.

YOU NOT [bleep] UP MY VIBE

TONIGHT.

[bleep].

IF YOU WALK THE [bleep]

OUT OF HERE AND GET IN THAT CAR

WITH THAT BITCH AND GO

TO THE STUDIO, YOU'RE SHOWING

ME WHAT THE [bleep] YOU'RE

DOING.

I HAVE NO IDEA WHY JOSELINE

IS SO ANGRY.

IF ANYBODY SHOULD BE

[bleep] ANGRY, IT SHOULD BE ME.

THE BITCH JUST NEED TO GO AHEAD

WITH HER LIFE.

HER AND STEVIE CAN GO

[bleep] THEMSELVES, HONESTLY.

WOW.

IS THIS REALLY HAPPENING

RIGHT NOW?

THIS SEASON ON

LOVE & HIP-HOP: ATLANTA...

HAVE YOU EVER REALLY LOVED

ME, STEVIE?

ARE YOU SERIOUS?

I WANT YOU TO LOOK ME

IN MY FACE AND TELL ME,

ARE YOU [bleep] THIS GIRL?

NO, I'M NOT.

AT THE END OF THE DAY,

I WANT MIMI HAPPY TOO.

YOU GOT TO BE MONOGAMOUS,

MY BROTHER.

SAY IT TOGETHER.

[both] MONOGAMOUS.

ACTION.

YOU'RE TWO HOURS LATE.

I'M HERE, BUT I'M REALLY

NOT HERE, AND ME AND YOU AIN'T

HERE.

DUDE, WHAT ARE MY RECORD LABELS

SUPPOSED TO DO?

HOW ABOUT THAT?

I JUST WANT TO MAKE SURE

YOUR INTENTIONS ARE STILL GOOD

AS FAR AS OUR RELATIONSHIP.

I'D RATHER KICK IT WITH

A MILLION CHICKS AND GET THAT

FROM A MILLION CHICKS THAN NOT

GET THAT FROM ONE.

"GIMME A KISS."

GONNA GIVE ME A KISS.

WHAT HAPPENED?

I SAID EXACTLY

WHAT YOU JUST SAID.

YOU KNOW WHAT YOU'RE

UP AGAINST?

BOO...

I'M NOT YOUR BOO.

YOU AIN'T THAT [bleep]?

NOT [bleep], THAT'S FOR REAL.

OKAY.

HE WAS LIKE, "NO, BITCH,

WHAT THE [bleep] DID YOU SAY?"

BITCH?

CHECK HIM.

FOCUSED?

I'M FOCUSED.

YOU READY FOR WAR?

IF I CUSS YOUR BITCH OUT

RIGHT NOW--

[all shouting]

JOSELINE HERNANDEZ, BABY.

WHO--OH, IRRELEVANT.

I KNOW WHO THAT BITCH IS.

TALK, TALK, TALK.

YOU SUCKA BITCH!

AIN'T NOBODY GETTING A CHECK

IN THE "A" NOW.

BELIEVE THAT [bleep]!

IT'S JUST ALL ABOUT ME AND

YOU HAVING DINNER, DESSERT,

AND SOME MORE DESSERT.

YOU WILL NOT SEND ME BACK

TO THE STRIP CLUB, 'CAUSE I'M

NOT GOING BACK.

I GOT TO GET MY HOUSE BACK,

YOU FEEL ME?

YOU ALWAYS WANT TO [bleep]

BITCHES, BUT YOU NEVER WANT

TO HANDLE [bleep] AFTER

THE FACT.

I'M NOT TRYING TO ARGUE.

'CAUSE YOU DON'T HAVE

NO [bleep] ARGUMENT.

GO WITH YOUR STANK-ASS WHORE

AND HAVE A GOOD [bleep] LIFE.

STEP OUT; STEP OUT.

SHE WALKS UP TO MY PRODUCER

AND SAY, "YOU MESSING WITH

THE WRONG ARTIST."

THIS BITCH IS SHAKING

THE TABLE.

DON'T SHAKE UNLESS YOU READY

TO GET SHOOK.

[crying]

WHOSE BABY IS IT?