- My name is Joël René Scoville and I wrote the play "Ethel and Ethel."

The premise of the play is that Ethel and Ethel are celebrating a special night.

It is their two year anniversary, but they keep getting distracted by someone.

The inspiration was that I wanted to write a fictitious love story about one of the great women from the Harlem Renaissance, which was Ethel Waters.

A lot of people know her as the big brassy singer and somewhat of a comedian and actress, but she also had a special love with one of her dancers, Ethel Williams.

And so I just wanted to write a love story showing there's so many layers to us and I just wanted to write something sweet.

[handle rattling and door closing] [footsteps tapping] - Okay.

[humming] [humming continues] [humming continues] [humming continues] [phone ringing] Oh, shoot!

Oh.

Oh, no.

Okay.

[phone ringing] Oh, oh, oh.

Thank God, okay.

[footsteps tapping] [audience laughing] Oh.

[cabinet doors thudding] Oh.

[perfume spraying] [audience laughing] [phone ringing] Oh.

Hello?

Oh, I don't know.

I can't talk about that right now.

Tomorrow?

Okay, yes, fine.

Tomorrow, now goodnight.

[phone clicks] - Girl!

You answering the door before you know who it is.

- Oh, I know those heavy feet anywhere.

- Well, that's 'cause the good Lord gave me too much to ever tread lightly.

But still, you're just answering the door.

Suppose someone saw me.

- All the people with sense have gone to bed.

- I guess I ain't got no sense.

You nervous?

- Oh, no.

I just, I wanted to get the door, since I know how paranoid you are about being seen.

And also I'm excited to see you.

[chuckling] [audience laughing] Oh, no, no, sit on the lounge chair.

- Well, the chair only fits one.

- Oh, well then sit on this side.

I'll go get the food.

I picked up some cold cuts, and I even got those little olives you like.

- Oh, you shouldn't spend your hard earned money like that.

- And why not?

It's my money, ain't it?

Besides, the last time I checked, I was 25, so I can spend it how I want.

[audience laughing] - Well, look at you acting all domesticated.

- Oh, I don't mind.

[tapping] - Well, I'm just sitting here.

I feel like I should be doing something for you.

- Mm-mm, we do for each other.

- Oh.

- Mmm [cabinet doors thudding] [footsteps tapping] [glass rattling] You see anyone after the show?

- Uh, no, I came back to get everything ready.

[liquid splashing] - You're gonna make some man a good little wife.

- Who says I wanna get married?

- Don't matter if you want it.

It still comes.

[liquid sloshing] [liquid splashing] [humming] Mm.

- Hmm?

Is your drink right?

[audience laughing] [exhales] - Yeah.

[audience laughing] Thank you, puddin'.

- And how's everything else?

- Everything is fine.

- Oh, just fine.

Well, I would've thought considering the occasion, or at least those olives would've netted me something more than on the cheek.

- All right, I ain't never met a woman as fast as you.

[lips smooch] [chuckling] Well, come sit beside me.

[chuckling] [humming] Ain't this nice?

- Yes, very.

- Like, we could do this all the time.

- If only.

- You know, remind me tomorrow to talk to Joe about that second ending.

I think it goes on a little too long.

- Uh-huh.

- Yeah, and the drums were a little too free tonight.

I almost missed my entrance.

- Uh-huh.

- Oh, and also- - You know, we can talk about work at work.

- Oh, right.

[humming] ♪ Oh, I've got stern blue since I ain't got you ♪ ♪ Oh, my man Well, what's that, puddin'?

- I'm just wondering why you sing the blues all the time when you got so much love.

- So much love, what are you talking about?

- Well, just how you always singing.

♪ Don't nobody love me - Oh.

♪ And she done took my man.

[audience laughing] - But you got a love and you don't want no man anyhow seeing as how you keep getting rid of them.

- Well, I sings what I sings 'cause that's what they want.

- Yeah, but always those sad songs and always about men.

- Oh, you want me to sing about women and get caught like Bessie?

- Well, I guess not, but I mean, it was more than singing that got her caught.

[chuckling] [lips smooching] [chuckling] - Why don't you swing those gams over here and let me rub your feet.

- Ooh.

[exhales] Mm, this is nice.

Thank you.

- Uh-huh.

Oh, you're reading one of your little gossipy books?

- It is not gossip if it's true.

- True?

[audience laughing] All right.

As long as our truth ain't in there.

- We've been very careful.

- I know.

- And I hardly ever see you as it is.

- Girl, what?

I see you every night and twice on Saturdays on that stage.

Well, unless I'm no longer Ethel Waters and you're no longer Ethel Williams, I'm just saying we could be more careful somehow.

- Well, how much more careful could we be?

- Well, I was thinking... [phone ringing] [phone ringing continues] You gonna answer that?

- No.

- But he's waiting for you.

- Who?

- Oh, don't you who me.

I've had enough husbands to know when I'm being made a fool, and I didn't have that phone installed for other people to use it.

- Ethel- - I saw that garden you're trying to hide over there.

Answering the door all winded.

Oh, but you was all, "I'm excited to see you."

and I know how paranoid you are.

- Well, sugar, I am- - Don't sugar me.

We're not performing right now, so let's talk straight.

- Straight about what?

- That big gummed tap dancing fool.

- Well, I already told you I don't care about him.

- But it doesn't matter 'cause he's still waiting, so you must have given him a reason to.

And eventually, he's gonna get tired of being nice about it.

I know all too well how men start out as angels and end as devils.

- Ethel, I- - He asked you to marry him again, didn't he?

- I am not thinking about him right now.

[Ethel Waters groans] - You nevermind about all that, just yet anyhow.

Are you gonna marry him?

- Well, I'm not getting hitched tonight.

And besides, I don't see why it matters anyway.

- Because what God joined together let no man- - God don't care about Negroes.

And even less about Negro women.

- Now, don't you blaspheme, little girl.

- And don't you ruin our night.

I already told you I am not thinking about him.

I am thinking about you and us.

- But at some point, we're gonna have to talk about it.

- Fine.

- But not now, not tonight.

I mean, can't we just be in our own little world for a while away from everybody watching and notes for the band and even that big gummed fool?

Please, Ethel.

It's our anniversary.

- I know it's our anniversary.

Two years, in fact.

Two years since I first saw them thick legs shaking on that stage.

And I thought you was smiling so much because of me, but it was because you was nervous.

But it didn't matter.

I knew then and I ain't forgot.

Not at all.

[footsteps tapping] - What's this?

- Well, since you're not getting married, well tonight, it's a key to our own little world.

- But what about getting caught?

- Well, they gonna have to get past the doorman first.

And I got two bedrooms just in case.

- A doorman?

- Uh-huh.

- Two bedrooms?

- And a big old cupboard for when I get your flowers.

- Oh no, those won't ever go in the cupboard.

- Oh, they won't, huh?

- No, not ever.

- Oh.

[chuckling] - Thank you, Ethel.

- What are you doing?

- I am walking those heavy mules over here to dance with me.

- Oh, dance?

- Uh-uh.

It is our anniversary and I wanna celebrate.

[chuckling] - Ain't you fast?

- Yes, I am, so you better try to keep up.

[chuckling] [phone ringing] Not tonight, Satan.

[audience laughing] [chuckling] [audience applauding and cheering] - [Speaker] Thanks, everyone.

[upbeat music] [gentle music] [gentle music continues] [gentle music continues] [gentle music continues] [footsteps tapping] [footsteps tapping continues] [phone whirring] [phone whirring continues] - Kid, it's me.

[ laughing] Nah, I think he's asleep.

Come on and get me, baby.

Let's go on down to the rooster, coo-coo!

[ laughing] Oh baby, I'm going on down to the rooster whether you come or not, you ain't the only ride in town.

I ain't never been above [indistinct] on the city bus.

Child!

And we'll be the baddest thing on four wheels, okay?

Come on now.

[ laughing] Okay, okay, okay.

Do a honk when you get here, do it loud.

We five floors up, okay?

I'll see you soon.

[footsteps tapping] [Dot gasping] - Wouldn't be cold if you had come to supper.

- Don't do that.

- At seven.

- Oh, don't do that.

I don't like folks sneaking up on me.

- Oh, this is my house.

I don't gotta sneak and I say supper at seven.

I know Madea taught you that.

- Except she would've thrown it in the garbage.

- Yeah, well we evolve as people generation after generation.

Give it here.

I'll pop it in the heater.

- Ain't no need.

I'm going out tonight.

- Excuse me?

- Out.

Going out with some, a friend.

[audience laughing] Charles, I'm not gonna eat that.

I'm going to The Rooster.

- [Charles] Mm-hm.

You want water or juice?

I got red drink.

- Charles.

- Water it is.

[dinnerware thudding] Sit down.

We gonna have to come to some understandings here.

- About what?

I ain't gotta be here.

- Yeah, but you is here.

You here and I want you here, but everywhere got rules.

- Rules are for people who need to be taken care of.

I don't need no looking after.

- I know Madea raised you- - Yes, Madea raised me.

I'm raised.

[audience laughing] You are not my parent.

- I know now she gone, you think you free, huh?

I've been out her house almost 17 years.

Let me tell you something, miss Dottie.

You ain't going to be free.

You ain't literally never going to be free.

- You know, she was right about you.

- Wasn't wrong about much.

- She said you sad, when I asked about you.

She just say that boy a sad case.

[car honking] I'll be back.

I shouldn't be too late.

[shoes rustling] Thanks for not throwing my food in the garbage.

[footsteps tapping] [door thudding] [footsteps tapping] [upbeat music] [upbeat music continues] [upbeat music continues] [Charles exhales] [lighter flickering] [footsteps tapping] [phone whirring] [phone thuds] [Charles exhales] [phone ringing] - I shouldn't have called.

Oh girl, it's you.

I told you not to call.

[audience laughing] No, of course I didn't call Phil.

Don't worry about what I meant.

I didn't call him.

Nope, don't you, don't you- [phone thuds] I got you.

[Charles humming] Ooh, okay.

[audience laughing] [Charles groans] Shake, shake.

[liquid sloshing] - Oh, oh, oh.

Yeah.

Where is she?

- [Charles] She just left.

- What do you mean 'left?'

- Went out and said she'd be back hours ago.

- She's 16.

- I know.

- It's 3:00 AM.

You never let me stay out till 3:00 AM.

- Yes, well, I knew what you'd get into if I did.

[Billy purrs] [audience laughing] - You put her back here.

- Leave her stuff, Billy.

- Oh my god, mama!

You did not tell me she was a 'lil queen.

Oh, you think I can fit in this?

Girl, oh mama.

Oh, oh!

Her waist.

It's just centimeters.

- She's a model.

She really is.

- Must have got her look from her mother.

- You actually not wrong.

- Oh Mary.

Come on, tell me everything.

- Overheard her calling some piece named Kid.

Called him baby.

Must have had a car 'cause he came by here and honked for her like she was a sweet Saturday night, child.

Overheard her say they was going down to the Rooster.

- Oh, not the Rooster.

- Yeah, the Rooster.

- Remember the Rooster?

- Hm, how could I forget?

That's where I found yo' ***.

- Barely 17, high as a flag on the 4th of July.

Hanging on some man twice my age.

The Rooster.

- Mm-hm.

- Oh, you just let her go?

- What could I do?

- Well, you snatch her *** up out of there like you did me.

I don't know why you never acting like you didn't raise a degenerate.

- Yeah, well, that's different.

- Yeah, the other difference is you didn't know me from Adam when you picked me up and took me in.

You're her father.

- Well, she's made it abundantly clear that I am not.

- I don't think that's something she gets to decide.

- Well, it's definitely not something I get to decide either.

- Oh, Mary, 16 years ago you did.

[Billy grunting] [audience laughing] - Well, I'm sorry.

We can't all be purists like you.

- Yes.

[Billy gasps] And that's the real difference between me and you.

Yeah, I don't fault you for loving who you love, but you seem to get a kick out of it.

- She was coming to live with me for the first time in her life.

Never even spent the night before.

- And so, me and Phillip just gets wiped out?

- Nobody got wiped out.

- His picture ain't even on the wall no more!

- I asked him to give me some time to work it out with her.

- And then what?

I mean, it's not like she doesn't know about you.

I mean, uh.

[audience laughing] That's not the problem.

The problem is she doesn't know about him.

- What am I supposed to do?

Say, 'Hey, I know Madea dying is the second time in your young life you done lost a mama.

I know just the thing.

Hey, here are two papas.'

'Here's two people who love each other.

Who will love you, who will take care of you.

Here's your big sister, Billy.

She's the best.'

That's what you say.

- Everything is always so simple for you, so easy.

It ain't that simple for me.

- Simple, for me?

- You know what I mean.

- You like suffering, Charles.

You love it.

It makes you feel good.

But just because the rest of us don't want to join your pity party don't make us the bad guy.

Now you got this girl living here now.

Her mama dead, her grandmama dead.

You all she got.

And she gonna need somebody to remind her that the sun still shines if you open up those tacky *** velvet curtains I been beggin you to get rid of.

Because what I won't do is stand by here as she sinks into your chosen darkness with you.

You being stuck in your mama's house growing up all gay and alone is what made you this way in the first place.

And I know you thought she was doing what was best, but leaving her there to be stuck with that woman is what made her what she like.

So if you think I'm gonna let you turn this house that you and papa Phil built together into a museum of suffering like the one you grew up in, you got another thing coming.

- Why are you the way you are?

- Because you need for me to be.

Oh.

So make me another and tell me about your plan.

- My plan?

- You ought to have a plan.

Got this girl living here.

Must have a plan of attack, mama.

- Yeah, well, it ain't a war.

- I know it's been a few decades, but you can still remember when you were hiding [indistinct] teenager.

It is battle, honey, and she is winning.

[Billy gasping] - Where have you been?

- Why are you up?

- Oh my God.

This is everything.

- Who are you?

- I'm the lady Billy Holliday with two Ls in both.

It's kind of my signature.

- Billy!

- I'm your big sister...I can't.

- Okay, this was something.

I'm going to bed.

- Hey- - Look, just please stop!

I'm in one piece.

That means you have achieved your duties as parent.

10 fingers, 10 toes.

Congratulations, it's a girl.

- Dot Marie.

- I'm very glad that you are home.

I'm glad that you are in one piece.

And I love you very much.

I'm sorry I wasn't there when you was growing up.

The problem was I was growing up too.

Me and your mama was about your age when we first met and had you.

And you see how that turned out.

In this house at a decent hour from now on and invite Kid over for supper tomorrow.

That's your fellow, right?

I wanna meet him.

And I want you to meet my fellow too.

Phil, his name is Phillip.

And he's going to adore you as much as I do.

- Phillip, with two Ls.

[audience laughing] We're family.

- You have a family now.

I know how lonely it was growing up in Madea's, but you're not alone anymore if you'll have us.

Such as we are.

- Such as we is.

Which is ****** great.

- She's not wrong.

We're ****** great.

[audience laughing] - Kid's a vegetarian.

- Oh, okay.

[audience laughing] - Goodnight, Charles.

- Goodnight.

[Billy giggling] - We'll work on it.

[Charles and Billy cheering] [Charles crying] Oh, oh, mama, it's all right.

[Charles crying] It's all right.

[Charles crying] [audience applauding] - [Speaker] Thank, everyone.

[upbeat music] - Hi, my name is LeeLee Jackson and I wrote "What's Love Got to Do With It?"

"What's Love Got to Do With It?"

is a fantasy about a woman putting her desires above someone else's desires for her.

It's a farce and it's also very imaginative.

And I have had a lot of encounters with people who would tell me, "LeeLee, but I love you.

I love you so much."

And I'm like, I appreciate your love.

However, I wanna talk about how you hurt me because love has nothing to do with that.

I have to think about that question.

We all should be.

[man exclaiming] - You good?

[audience laughing] [man exclaiming] - You put it on me, babe, woo.

- I did?

[audience laughing] - We finna sleep good tonight, woo.

God damn!

I needed that.

[man exclaiming] Yeah, you know, I know we supposed to go out to dinner, but you got me all tired.

I'm finna order something.

What you think about tacos?

- This getting old.

[audience laughing] - [Man] What?

- I said this getting old!

- [Man] What you mean?

- Nothing.

[audience laughing] - Ugh.

We don't gotta do tacos.

I can look to see what else is open.

Why you putting your clothes on?

- I'm gonna head out.

- I thought you were staying the night.

That was just the first round.

That was just a warm up.

- Not for me, it wasn't.

[audience laughing] - Girl, you playing too much.

Come on, ugh.

Come back to bed, baby.

- Oh my God.

[man groans] You are so childish.

- You know, you real funny acting sometimes.

You know that, right?

- I'm not funny acting.

I'm unsatisfied.

- Baby.

That was just round one.

You know I'm fitting to put it down.

Put it down.

- Sure, okay.

- Come on, baby, just come back to bed.

It's late and you're doing a little too much right now.

Are you really trying to leave?

Wait, wait, wait.

Where do you think you going?

- Out.

- Out where?

- With my girls.

It's barely 10:30.

- Yeah, it's 10:30.

We normally asleep by now.

Look, I don't know what's gotten into you tonight or what's making you acting all... - [Woman] Oh, Jesus.

- So what?

You fitting to go out tonight and be a hot girl?

Huh?

Go to the club, huh?

Hook up with some college students or something.

Is that what you want tonight?

- [Woman] Well, yeah, if that's what I feel like doing.

Why?

You getting in your feelings or something?

- Yeah, because you being immature and insensitive.

If I did that to you, oh, good lord.

Would never hear the end of it.

Oh, oh, good lord.

[Man exclaims] - Oh, please.

Nigga stay doing **** like this all the time.

Quit playing with me.

- Oh, oh, I'm niggas now?

Oh, all right.

Bet, uh-huh.

Yeah.

Yeah, you know what?

I ain't been out in a minute.

Yeah.

I could use a drink anyways.

- Where are you going?

- What you mean?

I'm going with you.

- No, you ain't.

- Uh- yes, I am.

- Uh-uh, you better hit up Tyrone and them 'cause you ain't coming with me.

- You gonna see.

- They're not gonna let you in.

- We finna see.

- It's a lesbian bar.

They not gonna let you in.

I'm going with Crystal and her new boo, Lorde.

That's her name, Lorde.

She's like some kind of artist or something.

Been together two months and already they've been camping.

They went on a cruise.

Next week, they're going to Italy to learn how to make pasta or some ****.

Pasta!

- You don't even like pasta.

- That's not the point.

- What, do you wanna go to Italy now?

- No, I want a nut now.

And I wanna be with somebody who makes me feel special without me having to ask for it.

Crystal said they ****** in the woods.

- Oh my God.

- No, no, not in a tent or nothing like that.

Like on a tree in the woods.

Lorde said she just couldn't resist.

She had to pull splinters out the girl's back and everything.

- Oh, well, that sounds romantic.

- See, you don't even get it.

- I get it, I do.

You want to explore your sexuality.

- No- - It's all right, I give you permission.

Go on out tonight with your friends tonight and have fun.

Do whatever.

But when you come back- - Come back?

- Get it outta your system so we can move on with business as usual.

- Yeah, ain't no business as usual.

I'm not coming back.

- Are you serious?

Why are you doing this to us, why now?

- I'm doing this for me.

And to be honest, I should have did this a while back 'cause at some point, you just got way too comfortable for me.

- But I'm a good *** man.

I don't be out there like these other niggas do.

And I could be if I wanted to.

But I'm not like that, you know that.

- You are a good *** man and you've been really good to me.

But I mean, I guess good just ain't good enough no more.

- I left my white girl for you.

[audience laughing] - And now I'm leaving you.

And hopefully I'll find a girlfriend of my own if I'm lucky.

It's kind of funny when you think about it.

- Oh, you think it's funny, huh?

Just messing with a man's heart like that.

What's wrong with you?

- Well, you're satisfied with me.

Why can't I feel good too?

- You should feel good with me.

Most women would be happy to call me their man, but oh, oh, you too good for me, huh?

- I did not, I did not say that.

- My feelings, my manhood.

It's all a joke to you, huh?

I'm out here being vulnerable and **** and I ****** love you.

- Oh my God.

Please don't try me with this love ****.

- This love ****?

Wow.

Okay, okay.

Yeah, you know what?

I'm gonna go with you after all, yeah.

See what you think you leaving me for.

Huh, huh, you owe me that much at least.

- Owe you?

I owe you?

- Yes, you owe me.

- What do I owe you for?

- For wasting my time!

- Bro, you wasted my time!

That is the whole point.

I am so sick of tired *** niggas walking around here like y'all God's gift to women.

And you can't even make us *** with the very **** he allegedly blessed you with.

Now look, I told you from jump, I don't do complacency because it is a step above desperation.

And it is clear to me that you're comfortable.

And it's cool if that's what works for you.

You should have what you're looking for, but that is never gonna work for me.

[man mumbling] - So what, you finna just, just end us, huh?

[person chuckles] - Yo, what the **** is wrong with you?

- What's wrong with you?

- Don't ever put your hands on me again.

Nigga, what?

- I'm bleeding, am I bleeding?

God damn it.

[person groaning] - Let me see.

It's just a scratch.

- Yeah, on my good side.

[audience laughing] [person groaning] [audience laughing] [Man winces in pain] - Sorry, I shouldn't have grabbed you.

Don't leave me, please.

- Get off the floor.

- I just need more time.

I'm not ready.

- Crystal is waiting for me.

I gotta go.

- I just love you so much.

You said you love me too.

- I do.

But what's love got to do with it?

[person sobbing] [audience applauding] - [Speaker] Thanks, everyone.

[upbeat music] - Hello, I'm Monique Pappas-Williams and I am the writer of the play "The Mural."

"The Mural" is a love story, not just between two broken people, but it is the love story for art.

You know, it expresses the love of art.

I'm not a visual artist, but I wanted to see that on stage.

And what does that look like for two artists to be in love?

It also deals with mass incarceration and what that homecoming looked like and embracing them and how they dealt with the injustice and how you heal from that.

[door clicks] [Riz grumbling] [Nia breathing shakily] [Nia breathing shakily continues] [Nia screaming] - Nia, Nia, Nia.

- Riz, what are you doing here?

How did you get in here?

- I still got a key.

I thought you changed the lock, but knowing you, it's still the same.

I was right.

[Riz chuckling] - Well, you could have called.

- I tried several times.

You didn't answer.

- I don't answer phone numbers that I don't know.

I thought that was one of them fake auto warranty people.

- Fake auto warranty people?

- Nevermind.

What are you doing here?

Where are you gonna stay?

- I don't know.

I thought I could stay here.

- Well, you can't.

A lot has changed.

And besides all that, I'm waiting on an important phone call, so you have to go.

- Oh, a phone call, huh?

- It's business.

- Oh.

- Not that this is your concern.

- I bet.

A lot has changed, huh?

Well, you ain't changed the locks, but you sure did change a lot about this place.

- Tried to make it peaceful after you went away.

- Looks good.

Kind of like a rainbow threw up.

[audience laughing] But, it suits you so... - Look, I know you have some friends who would be more than happy to put you up.

- Okay, yeah.

Yeah, I'm sure there's somebody... Everybody loves Riz.

- I taught you everything you know.

- You taught me everything I know.

[siren wailing in distance] Nia, why didn't you come see me?

[phone ringing] - I have to get this.

Hello?

No, I thought I told you to put me on the do-not-call-no-more list.

[Riz mumbling] Yeah, nigga!

I'm waiting to see if I got this commission.

- Oh, yeah?

- It's a dope opportunity.

- Wow, what you working on?

- A mural, "The Fallen Angels."

- Another political piece.

Yeah, we heard about what the pigs is doing now.

Ain't nothing changed.

- After I did the Floyd, Breonna and Ahmaud piece in Fort Greene, I got nominated to do another commission, but this time in Lower Manhattan.

- I taught you everything you know.

- You taught me everything I know.

- What is this?

I ain't teach you this ****.

What were you trying to say with that piece?

Where's your unique perspective as an artist?

You have to have a unique voice.

You can't just jump on the bandwagon.

You can't just create because someone told you to.

It has to come from the heart.

- What?

What do you mean?

- It means that I don't see your unique voice in the piece.

I don't see the situation through your eyes.

- I have a perspective.

- Nevermind, my bad, my bad.

You know what?

I'm proud of you, from hobby artist to commissions.

That's what's up.

- It's not about the recognition, Riz.

I wanted to inspire people in our community to activism.

- It's good, it's good.

Look at you, Nia, working artist.

- Look, Riz, what do you mean by that?

I want the truth.

- No you don't.

You just want me to tell your **** is good.

That's it.

- The truth.

- It's about the interpretation of the work.

People will get the message if you paint from the heart, you know, create through the pain and the loneliness.

People will get the message.

You like one of those loud preachers acting like nobody can't hear 'em.

It ain't reaching nobody's soul.

Be real and people will get the message.

So Nia the activist.

Why all of a sudden?

- It's not all of a sudden.

What happens in the world has always mattered to me.

I just, I finally discovered a way to express that.

- Nah, you ain't never been political.

You was cool with your little sipping paint pictures.

[audience laughing] Well, you trading your red bottom heels for this little Erykah Badu look you got going on now?

[Riz laughing] - You don't know me, and that was the problem.

- I know you ain't gonna rock the boat.

- How do you know that?

- Why didn't you come see me while I was away, Nia?

- I wanted to.

- I wanted to and doing it is different.

Why didn't you?

- I figured you would be home a lot sooner than you were.

I didn't know that you would sit there all them years just waiting for a trial.

- You know, when I was in, I saw this newspaper article about you.

Imagine how shocked I was to see your face in the paper.

"Artist makes mark with controversial piece in Fort Greene."

Ah, you blowing up.

- You know that I've always wanted to make a difference.

- Then why didn't you come?

- I don't know.

- You know, of all people, I never thought you'd be one of them.

- One of who?

- One of those artists who talk the talk, but don't walk the walk.

Make it because it's fashionable.

- I'm at every protest.

I have dedicated my work to making a difference.

- Making a difference to who, hm?

You never came to see me.

Your chance to make a difference was right in front of you.

- I was busy, Riz, I was busy doing the work.

- All of this.

I was away.

And you never even thought of coming to see me.

You're just like all them other artists.

You think that this is the work?

But can't look at the person right next to them, right in their family.

I was alone, Nia!

Now you never even came to see me.

Like... - Do you hear yourself?

Because it's all about you.

I did the time too.

You left me, all those sleepless nights wondering if and when you were ever coming home.

You don't think that I didn't suffer too?

Oh, I was supposed to put my life on hold?

I had to move on.

You made a choice.

- I was innocent.

- I told you not to be hanging around with those people you were running with.

- Hey, I didn't know what the kind of **** they was into.

- What then?

What did you think they were doing?

- I didn't know he had it on him at the time.

- I told you, 'Don't go.'

- I know.

I should have stayed with you.

It don't matter.

I'm just peeping how much you changed in four years.

You just like one of those people we used to joke about making art as a political statement, but don't know nothing about the struggle.

You can paint about it, but you can't actually get your hands dirty.

As long as it's over there somewhere, not in your face.

- You mad that I got that commission?

- Ugh.

- What was I supposed to do?

It was an opportunity of a lifetime for any artist.

Look, I wanted to come, all right, but you weren't exactly boyfriend of the year.

First, I wasn't even sure if you had just ghosted me or not, you know, your inconsistencies.

Yeah, I needed you to man up, but you couldn't do that.

- Look, I know I wasn't perfect, but you could have come on some humanity ****.

Not even some relationship ****.

- It was painful.

The activism, the art, it was comforting at the time.

It was all I had, all right?

I had to find myself without you.

I tried.

You don't know how many times that I did come down there, but I couldn't go through with it because the thought of seeing you locked up.

- You look beautiful.

- You can't stay here.

[phone ringing] Hello, yes, this is Nia James.

Yes, yes.

I'm so excited too.

Oh, I see.

Well, thank you for the opportunity to review my work.

Yes, yes.

Thank you, next time.

Now what?

- Hey.

[Nia crying softly] You're no less of an artist or an activist without that work.

I am gonna go and let you...

Wait.

Whoa, what's this one?

- I don't know, it's incomplete.

I was just freestyling in the moment.

- No, this is it.

A man's hand coming out of the water with a shackle around his wrist.

That's dope.

Is he drowning?

A woman, that look on that woman's face.

Is she watching that nigga drown?

- No, Riz, she feels helpless.

She can't save him.

- I see.

It's powerful.

Finish it.

- I am not in the mood for painting right now.

- Mm-mm, You so full of ****.

You an artist!

You supposed to stay ready.

- What are you doing?

- This is where the real work begins.

- No, stop, stop.

Wait, stop.

Riz, stop, stop.

Stop, you're ruining my work?

What are you doing?

- This is where the real work begins, out of the uncertainty, the pain, the confusion.

This is it.

Whatever you're feeling in the moment.

The stuff we don't talk about.

No persona, no preconceived messages.

Just your heart on the canvas.

And the truth.

The truth, Nia.

- But sometimes pain suffocates creativity.

[audience applauding] [upbeat music] [upbeat music continues] [upbeat music continues]