Original subtitles

Alright! Hold on. Hold on!

- Damn! - Hey, hey! Whoo!

- Hey! Whoo! - Hey! Oh-ho!

Hey, hey, hey, hey Pam.

You're not dressed yet?

Cover up, girl. Come on, man.

You'll make us late for the Super Bowl.

That's Super Fess, fool.

Super Bowl, Super Fess, Super Glue, it don't matter.

I ain't going.

Okay, oh, okay, okay. Come on, come on, Pam.

Look, companies downsize all the time.

Sweetheart, you are not the first person

to ever lose their job.

Tommy ain't even got a job.

You don't see him bugging.

You know what? You're supposed to be helpful.

Not make it seem worse.

Pam, Come on, come on, girl.

You know you wanna go to that Super Fess.

Hey...I bet baby face make you feel better.

Hell, he may even pay your rent.

I'm gonna get it.

Oh!

What's happening, Climp Eastwood?

I'm gonna let that one slide 'cause we got company.

Kevin Jane Bryce.

Whatever. Just get out.

- Hey. - Hey.

- How you doin'? Um...Pam. - Right.

Sorry about that door thing.

Oh, don't even sweat it, sister.

I'm Trey Foster, I went to high school with the fellas.

Yeah, yeah. Trey is the one who hooked us up

with Super Fess tickets.

And the back stage passes but you know that ain't no

thang for the top man on man at Keep It Real Records.

Hold up, hold up, hold up. You work for Keep It Real Records?

That's always been a dream of mine

to work for a record company.

I can't believe this. So, you really Italian, huh?

Eh, you know, huh?

Y'all make root beer and records.

You know what? It is, it's real funny

running into you because currently I'm looking

for a more challenging career opportunity 'cause--

Trey, Trey, in other words she's unemployed to Halloween.

Aha. The goobs and the goblins come out on Halloween.

- Now is not the time. - Okay.

So, uh, how can I be down with this record thing, man?

No problem. Just drop by my office any time.

- I'll try to look out for you. - Oh, cool. How about tomorrow?

Eh, look, look. Pam, you all could talk about all that later.

Right now, why don't you go shave

so we won't be late for the concert.

And lose our seats. Now, go, please!

They don't know me up in here.

Keep It Real Records.

Hi, Madonna, what's up, girl?

Thank you so much for the baby pictures.

Yeah, it's the first time I've ever seen

an infant wearing a push up bra.

Hello, this is Sweets.

Do you wanna remake that?

Ah, well, hold on. Let me check with my computer.

Donna, who recorded

" Ain't Gonna Bump No More With No Big Fat Woman?"

Joe Tex, 1977, Epic Records.

It made it to number 17 on the charts.

Oh, yeah, we can do that.

Trey was supposed to handle this two weeks ago.

Hey, don't worry about it. I'll handle him.

Yeah. Ciao bella. Alright.

Listen. When Trey gets here send him my office right away.

Right, boss.

I was just on the elevator with Chaka Khan.

I was just on the elevator with Chaka Khan.

Great! And you are?

Uh, Pamela James.

Are you here to interview for the A&R job?

A&R job? Am I here to interview for the A&R job?

It's not an essay question.

Right, right, right, um..

Of course I'm here to interview for the A&R job.

They're not gonna ask for any references, are they?

We spend a half a mil on this music video.

I'm the Creative Director.

When I say I want a guy floating down the space ship

I want a real freaking space ship.

Go take your shoes for walk.

Oh, you must be here for the video.

Hey, go throw your bikini on, honey.

We'll do the audition in the back.

First of all, I'm not your honey.

And secondly, I only work with my clothes on.

Thank you.

Well, that's too bad.

Don't mind Tony. He acts like a hit man.

But he cried like a baby during "The Little Mermaid."

- Got you. - I'm Donna.

- Hey, Donna. Is Trey Foster in? - No, he's late as usual.

But you can have a seat and wait for him if you want.

- Chillin in the cut. - Okay.

What's up, Donna? The man of the hour is here, baby.

Oh, well that's good.

'Cause the man in the office wants to see you.

Oh, damn. He must have found out about the Mariah Carey thing.

Alright, look. Just tell him I called in sick, alright?

Yo, Trey! What's up?

Hey, Pams. What are you doing here?

Oh, you told me to drop by.

I'm dropped! Come here for a minute.

Um, I heard there's like a job opening around here.

- Yeah, that's true. - That job is for me.

I mean I love music. I know every last song

that Gladys Knight ever recorded.

I know all The Pips moves.

You know they were smooth. They took it.

You know they took it.

They rock it.

That's-that's good. Look here, I'll call Don Cornelius

to get you on the "Soul Train" Now, right now I gotta go.

Go on, I'll go with you. Trey, I'm telling you I'm perfect

for this job, man. Hey, I come from a musical family.

- You know "Black Street?" - Yeah.

Yup. I used to live on that street.

Clyde, take this package over to the recording

session at sound works.

Oh, now I'm supposed to just run out over there like I'm

some type of hand boy, huh?

You are the messenger.

Sure that.

But I won't be for long see 'cause my Uncle Sweets.

Oh he gonna hook me up with this A&R job.

Clyde, I don't even want that job and I have a better chance

of getting it than you.

You don't believe me? You don't know a damn!

Excuse me. Um, but who do you sing with?

"Booty and the Blowfish?"

Hey, listen. Tony, we need to get Sweets a birthday gift.

I was thinking we could all chip in and buy him golf clubs.

What are you? Made of money?

Okay, what do you suggest?

Why don't you just buy him a box of balls?

So anyway, I get Stevie Wonder's home telephone number

and he actually answered the phone. I get so nervous.

All I could do was, say "Yo, Stevie!"

I just called to say I love you, man!

Maybe I can get you a little receptionist gig, okay?

No, no, no, sweetie. I'm talking about the A&R job.

A&R, Pam, you're tripping.

Come on, you can't just walk in here and get a job like that.

Uh, Trey, I hate to interrupt, but if you don't see Sweets

right now, there's gonna be two A&R jobs open.

Pam, look. I gotta go. If I hear about anything.

- I'll let you know, alright. - But, Trey, I just want--

- Peace! - Hey, Trey!

Now would be a good time to kick in for Sweets' birthday gift.

Donna, please, I'm broke, alright.

I got bills, we're in a recession.

Oh, look here. Eh, Donna, you know what?

Here's a 100 for my man Sweets' birthday present alright.

I wish it could be more but you know how it is.

Gimme that.

What about all the good things

I've done for the company, Sweets?

I mean, I got Taylor Reed to leave her label

and she won Platinum for us.

That was last year, Trey.

But like Janet Jackson said

now "What Have You Done For Me Lately?"

Okay, girl. Alright.

Ah-halo. Alright, bye.

Are you still here, Pam?

Hey! Hey, Trey. I just got off the phone with TLC.

Well, actually, I don't know if it's TNL

but Miya Siya have the same hair dresser.

I get he might be changing labels. Here's the number.

So, what's up with the job, Trey?

What's up with the job?

For the last time, I told you what I do is an art.

Well, I'm not just making deals here, I'm guiding careers.

Every one of my artists loves me.

- Yo, Trey. - Yeah.

I got Iceberg on the phone.

He said something about whopping your ass

because he don't like his album cover.

Tony, just tell him I'm not here, man.

Oh, why don't you tell him yourself?

- He's on the speaker phone. - Tony!

Yo, Berg! What's up, man?

'Wassup is, I hate my album cover.'

'I'm a gangster rapper, man. How is my cover that have'

'two white people chilling on the beach?'

'What's wrong with you, man?'

Berg, come on, man, that's cross over.

Trust me, baby. White folks are loving you.

'Man, look. Change the cover or I'm changing labels.'

Okay. Trey, check this idea out. Okay.

Iceberg is a gangster rapper, right?

You give him a blank album cover

with the word "Sinster" stamped all on it.

Everybody and their mom will buy that album.

Sister, with all due respect, that's whack.

Trey! Tony tells me Iceberg is upset about

his album cover again. Can't you solve this?

Yeah, yeah, yeah. Oh, Sweets. I-I already got this solved.

Look here, I was gonna say, um..

Let me talk to you for a sec.

Um...we gonna do a blank album cover, right.

With the word " Sinster" stamped all over it.

Man, everybody and their mom will buy that album.

Mm-hmm. Now that's feeling better.

But now, don't forget, you're still on thin ice.

I know about that Mariah thing.

Sweets, I wasn't stalking, I was just trying to sign her.

In the Jacuzzi?

Trey, you always got an excuse.

All I know is you better bring me some talent.

Sweets, I'm on it.

I...I'm going to a club

tomorrow night to check out some new talent.

Good, because if you don't bring me somebody soon..

...you're not gonna be working in A&R.

You'll be working in KFC.

So, I see you like my idea for the album cover, huh?

Girl, that's just how we do in the business. You understand?

We probably won't even use that.

Cut the bull, Trey. I heard what your boss said!

You got problems, man!

- You're right. - Hah.

Man, I'm falling off.

I used to sign people left and right. I was a talent magnet.

Now, where am I gonna find another singer?

Singer? I got a great singer.

Yeah, right. Pam, what do you know about finding talent?

Well, all I know is that I got a girl.

I got a girl that sings way better than Tony Braxton.

Mm-hmm.

Fine, Trey. Fine.

You don't wanna hear my idea, I'll just walk across the

street and talk to Mocktown cos I'm sure they'll hear me out.

Wa-wa-wait! Wait. Wait. Wait!

Who is she?

You help me get that A&R job and I'll get you the girl.

- Alright. You got a deal. - See!

That's what I'm talking about, Trey.

All I need is a foot in the door.

Damn it! Give me a toe.

Now, where am I gonna find a singer?

- Hey, Dante! What's up? - Hey, Pam. What's up?

Thank you so much for bringing that stuff from the office.

No problem. How are the auditions going?

Uhh, I've screened over a 100 people so far

and the one with the best voice was Scruffy The Shih Tzu.

I gotta find somebody by tomorrow night, man.

Excuse me.

Hello.

I have the club for my show case?

No! That's great, that's great.

No, I'll bring my deposit down there right away!

Thank you.

This is good.

Well, Pam. Good luck on your show case. I'll see you around.

Ooh. Hold up. I'm leaving too.

Just give me a chance to grab my coat.

Boy!

I didn't know you could sing like that!

Yo. I-I saw the piano. I-I, you know.

No! No, no, no, no. You got skills.

Now, now when you do that one, just put it like a

Just like gospel it up.

I didn't know you could blow like that.

Oh, I don't know I can blow.

It's just that I'm trying to be behind the scenes.

That's why I'm trying to make this A&R thing happen.

Come here. Come here for a minute.

Now, let me see if you really got what it takes.

See if you can follow my lead.

Yeah!

Dante! You are just the one I've been looking for.

Pam, I'm sorry. I already have a girl.

No, no. No. Not that.

I think you might have what it takes to be a star.

For real?

I'll show you how real I am.

Cancel all your plans for tonight, brother.

Serenade me.

Ready to do this, Pam?

Oh, hey, hey, hey, Trey. No doubt, no doubt, no doubt.

Um, it's just been a slight change in the program, yeah, um.

- This sista I told you about. - Mm-hmm.

Is a brother.

So, what is this?

Like a Rupaul, Dennis Rodman kind of act?

No, no. Actually he was my assistant slash typist.

- And-- - Whoa, whoa, whoa, wait.

He's a typist?

I'm risking my whole career on a damn cross-dressing typist?

I'm pretty sure he doesn't cross-dress but, but, Trey.

He can blow. The boy can definitely blow.

I hope you're right sister 'cause I gotta show

somebody to Sweets tomorrow.

You might not have to wait till tomorrow.

What are you talking--

What the hell is Sweets doing here?

I don't know. He's your boss.

Okay. Whatever. Just get the singer up on stage, alright.

Small problem, bruh.

He ain't here.

- Well, where the hell is he? - I don't know.

I don't know. But you're stressing me out.

I can't think. Just let me think.

Look, look, come on.

We gotta be cool about this.

- Alright. Alright, sure. - Alright.

We got to be cool.

So, what are we gonna do?

You find the singer and I'll stall Sweets.

- Okay. - Alright.

Hey, Sweets! What's goin', what are you all doing here, man?

Well, you said you had the bomb talent.

I came to check it up for myself.

Oh! No doubt, no doubt. He'll definitely bomb.

Now, I'll be the judge of that.

When's the show gonna get started?

Right now.

Come on, Dante, answer the phone.

Pam, come on. We gotta get this thing started.

He's getting impatient.

I, you burned my neck. You burned my neck.

Alright. I got it together.

Oh! Hey!

Thank you. Alright.

Okay, you all know why you're here.

I'm giving this little showcase for Keep It Real Records

and um, I'd just like to take this time to, to recognize

the CEO, Mr. Sterling Sweets.

Yo, don't forget about the crazy Clydes, ha.

Chillin up in the hills and quite out of diss up.

Boy, seize it, disown.

Um, so, uh, be uh, before we go on, um, uh, I just like to know

is Brooklyn in the house?

Yo.

We, we'll be right back!

Oh, God. You're here.

Pam, sorry I'm late.

That's okay. That's okay. Just save your voice.

I'm just happy you're here.

Yeah, yeah, but I can't, I came to tell ya

I can't sing in front of all these people.

And I hope you understand that.

Oh...of course, I understand.

Ladies and gentlemen, give it up for Dante!

Come on, Dante. Please, just do it like we rehearsed. Remember?

Come on, come on.

That's it. Now, I've heard enough.

Trey, meet me in my office.

- Now? - No. Right now.

Let's roll.

Hey, Sweets, look, I can explain if you just give me the chance.

- What's she doing here? - I can explain that too.

Look, that brother that you saw singing, that was Pam's idea.

Whoa, whoa, hold up.

You're the one responsible for that singer?

I tried to tell her the kid was whack.

Whack? That brother was bang.

That boy was bad.

I'm gonna sign him to a deal.

What are you talking about whack?

Whack. No, no, no, no. I said black.

The brother was young, gifted and black.

So you discovered Dante, huh?

I sure did. I worked with him on the song.

I picked out his gear and everything.

Well, technically she discovered Dante but you know

I discovered Pam, so if you really want to get technical

I discovered Dante too.

No?

Look, Mr. Sweets, you might hire somebody else for this A&R job

with more experience than I have.

But, I'm telling you, nobody has music in their heart like I do.

I can recognize talent.

I was born to do this.

Pam.

If I gave you that A&R job, when could you start?

Yesterday.

I like that.

Whoa, whoa, okay, hold, hold up, Sweets. I mean, you know.

For her brother's hard work and everything, you know.

What did brother get out of all this?

Her brother get to keep his job.

That's cool too. I hear you.

Pam, Monday mornin', 8 o'clock.

I'll be here.

Congratulations, Pam! Welcome to--

Thank you so much, Donna!

Oh, I wasn't listening. No, I ju--

Come in, guys!

Happy Birthday, Sweets!

Hey, hey, now! A golf club.

Uh, where's the rest of them?

There ain't no rest of them. That's it.

See, we-we-we peg it like this here.

And we work for you another 12 years..

...you'll have a whole set.

Ah, welcome to Keep It Real, Pam.

And, hey, don't worry about a thing, baby.

I will take you into my wing.

- Hey, Trey. - Mm-hmm.

If you don't get your ashy arm off my shoulder

you'll have a broken wing.

Oh yeah, this little combination is going to be very interesting.

So...I guess I'll see you all Monday.

8 o'clock.

Yes!