Season 2 Episode 2

[MUSIC] Bronzeville is brought to you by. [MUSIC] >> All of my dreams are dreams. Hey, hey, policy, the numbers game. >> I see the numbers game. >> The truth, the vote helping to change. >> Change the vote helping to change. We're not here just to survive. >> We're not here just to survive. >> Yes, is where we all can thrive. >> Coming in Bronzeville. >> My dreams are dreams. >> All of my dreams are dreams. >> Ladies and gentlemen, welcome to Bronzeville. [MUSIC] >> Today's winning numbers are 10, 15 and 48. [MUSIC] >> We begin at the Boogie Palace, a nightclub on the west side, formerly owned by Sammy Manetti, whose current whereabouts are unknown. [SOUND] >> What the hell was Sammy thinking? >> I don't know. >> A spook nightclub. There's one thing these spooks know how to do is sell spook music to other spooks. >> Well, Sammy fancyed himself to innovate, of course. >> Yeah, and all that fucking innovating forced him to skip town with his goddamn tail between his legs before the spooks turn him in the mulch. >> Wait a minute, what are you saying, Leon, what are you saying? >> What I'm saying Tony is, I don't know shit about spook music, all right? And I got enough of my fucking plate without learning about it. First thing tomorrow morning, you get on selling this joint. >> What about Sammy? >> What about him? >> Well, I'm asking you. >> Hey, you blew it, you got a brain in his head, you'll stay in butt fuck Arkansas wherever the hell out he is and cheat the local farmers out of their pigs and goats. >> Yeah, the Coplands aren't gonna want him, thank God I want him. >> Hey, hey, from what I know about the Coplands, they ain't stupid, not. Old eyeball, he still pulls the strings there, and that's some bitch has always put business first. As far as business is concerned, they got rid of Sammy Manetti. They're not gonna push it with us. That's what you're doing, a boss boss. >> God damn right, I am. >> We're looking for Al Grobner. Who's asking? >> Chicago PD, we need to speak to Al. >> Al. >> Yeah? >> You Al Grobner? >> Yeah. >> You used to live in the apartment building at 3416, right? >> Until the burn down, yeah. >> Where were you Monday night between 6 and 10? >> I hear man, with my sister. >> Can she verify that? >> Yeah, verify that? >> Prove it's true. >> I know what it means man. >> Emma. >> Yeah? >> Where was that Monday night? >> Right here. >> All night? >> All night. >> That good enough? >> For now. >> All right there. >> Hey, I got the question. >> Yeah? >> Y'all working to find out who killed him? You ever looking to why this was the third one of his shit hole buildings just happened to catch fire? >> I didn't think so. >> That's hardly what you call an iron clad alibi Joe. >> Did you see him? >> Yeah. >> Yeah, little guy. >> The egg was chopped up cold and stands at least six feet. >> All right, all right. >> What do you got somewhere else to be? >> No, I'm just tired of looking into these god damn darkies faces. Knowing they're all lying about something. >> Hey, there are people too, Frank. And we got a job to do. >> I just want to get this over with so I can get out of this part of town. Don't like it. >> You're like a little old lady sometimes. You afraid of these people? >> Look around you Joe. They can smell cop on us. What do you think they do to us if they got the chance? >> Come on. >> There are savages. You still got to smell a jungle on them. Look at that one over there. >> Where? >> Across the street with a god damn baseball bat. What the hell is he doing walking down the street with a baseball bat? >> I don't know. Maybe he's a little league coach. >> Real freaking funny. >> Hey Jimmy, you got a game tonight? >> Real funny, buck. [MUSIC] >> 235, 237. >> Oh, okay. >> 289. >> All right. Good girl, amazing. [MUSIC] >> All right. [MUSIC] >> Oh shit. Hey brother, sorry, sorry. I got the wrong place. I'll let myself out. >> No man. >> You ain't got the wrong place. You got the wrong idea. I'm looking for someone else. >> I know who you looking for. >> Hey, come on man. >> Put that bat down. >> Wilson, right? >> That's right, that's right. >> I'm just-- >> Listen, shut up a minute. >> I can put this bat down, but then you wouldn't get upon it to exercise. >> No man, I get it. >> I get it. >> Maybe he's my friend. >> Then I don't like when people mess with my friends. Especially big dopey looking sons of bitches. >> I understand. >> I do. >> Listen, I mean it, shut up. >> Stop talking. >> Now, my name is Jimmy Tillman. And if you ain't heard of me, ask around. People will tell you, Jimmy Tillman always looks out for his people. >> I hear you. >> I hear you. >> Man, it's been a while since that's one mistake. >> Damn, man. >> No, come on. Look, I get the picture. >> No, I will see. >> You only get a tiny piece of the picture. So let me fill it in for you, all right? I hear anything from Maisie. Hell, I see her looking particularly sad one day. I'm coming to see you. And I'm going to bring more than this here Louisville slug up. >> I got you, brother. I hear you. I hear every word. >> Yeah? >> Yeah. You tell Maisie she ain't going to never see me or hear a peak from me. >> Are you sure about that? >> Oh hell, yeah, I'm sure. All right, then. Not you. >> Yep, yep. >> I'm gone. Man, I am gone. >> Don't be son of a bitch. [ Background Music ] >> That was landing blues from a new kid out of Detroit, John Lee Hooker. Up next is Lonnie Johnson with Tomorrow Night. Here on WVCF, the Sound of Bronzeville. [ Background Music ] >> You know, one of these nights, I'ma just walk through that front door. >> Hope you're ready for my brothers to cut your damn full head off. >> I know, I know. Come here. >> Mm. >> Mm. >> Mm. >> Mm. >> I missed you. Everything go all right? >> Probably nothing I want to know about, right? >> Yeah. >> Okay. >> So what else is going on? >> I met a lady guitar player today. >> Mm. >> Just walking down the street. She was playing in front of that appliance doing 35th Street. >> Oh, yeah. She good? >> Well, she, and she could sing too. >> No reason ladies can't do both, I guess. >> Aren't you four thinking? >> You know what I meant. Her music really moved me. She's new here, just playing for pennies. I want to do something for her. People need to hear her. >> Oh, you should get Zeke to give us a spot out the right half. >> I was thinking that. >> You like it that much? She must be good. >> Damn good. Come over here. >> You don't have to tell me twice, baby. >> Mm. Mm. (soft piano music) - The next day. (camera clicking) - Yeah. - Is Curtis? - Hey Curtis, what is it? - I'm worried about this Colton situation. - You mean that landlord that got murdered? - Mm-hmm. This potential is some real fireworks that this doesn't go well. - You mean because it's gonna turn out you got murdered by a colored man? - You see any other outcome to it? - I don't. That wasn't the first time that son of a bitch burrowing one of his places down for the money. - Never killed anyone before though. - Someone James Colton, because he's most definitely got to come in. And that's someone's one of us. - So white folks are gonna be up in arms. Over the dead white man, not the dead black baby. - Of course. Black folks gonna be deeply invested in seeing that whoever did it doesn't hang for it. And white folks are gonna be deeply invested in seeing that he does. - Yeah, so recipe for some bad shit. - Yeah, it is. And with that project we're working on Jesse. - Yeah, yeah. We don't need the attention right now. - Exactly. And it's really important that bad shit stays contained. - And then we got the wild card. - Manetti. - Yeah. - I don't think he's that stupid. That new guy they sent in? - Yeah, cross the rally. - He knows the score here. Manetti makes up peeping bronzeville. He knows Curtis Randolph and the Copeland boys will bring everything they have down on him. - Will we? - Every morning I wake up Jesse. And I see my Hannah isn't there with me. I gotta take about 10 minutes to come up with reasons not to go find Manetti and cut him into tiny little pieces very slowly. Then I hear my Hannah telling me what she made me into. What she wanted me to be that bronzeville's more important than one, two, three or a hundred of us. And I stand down. Because it won't bring her back and it won't do nobody no good at all. - So you, um, you talked to him? - Mm. Does he talk back? - Jesse, I'm not crazy. It's a figure of speech. Okay, yeah, I knew that. It's making sure. - I'm all right here. You don't have to worry about me. - Nothing. All right. You take care, Jesse. Bronzeville will return after a brief word from our sponsors. And now back to Bronzeville. Joe. Frank. - What are you doing? You ready to hit the bricks? - In a minute. I'm going over these old insurance files. - Copen? - Yeah. Son of a bitch has a long history of unfortunate fires that just happened to go off right before his premiums go up. Nobody ever gave a shit because it's Bronzeville. And no one died. This time, people died. - Two women and a baby, Frank. - Three niggas. - Don't say it, partner. Just don't. Babies are babies, Goddamn it. - What? You saying the guy had a common? - If anyone did, yeah, it's this prick. But that's not all the law works. So now we gotta go find the guy, did this. - Surviving family members? - Got a filamated out that lost his wife and kid. The name of Harry Davis, it says. - Sounds like a suspect to me. - Yeah, I guess he does. Let's check him out. (suspenseful music) - At a may? - Who is it? - Lisa. Lisa Copen. - Lisa. - Oh, you. Hey. - Can I come in? - Sure. Hey much, you can sit on that box. - Thank you. - How are you? - You know, same as ever. - I can't stop thinking about the song you played the other day. You're so good. I don't think I've ever heard anything like it. - Oh, thank you. Okay, that's nice to hear. - No, I mean it. You can make real money doing this. - I get by. - I'm not talking about pennies on the street girl. I'm talking money. I'm talking before men, record it. - Oh, you mean famous, like Ella. - I don't think Ella can play guitar, at least not like you. - Well, like I said, I get by. - I think you can do better. A lot better. - How'd you find me anyway? - I asked around. - And people just told you. - My last name gets me through a lot of doors. - Copeland, huh? Seems I heard that name around. That's you. - My brothers, mostly, but yeah. - Uh-huh. And you got something in your bag there going to make me famous? - No, but you do. - And you just want to help me? - I do. - Well, okay, thank you. But I'm doing just fine here, and that all sounds like more than I need in my life. - You like making music? - I love making music. - And you need to make money. - Don't everybody? - But you don't want to make more money with your music? - Sounds like you got it. - I have to ask, why not? - Miss Lisa, I do appreciate you, enthusiasm for what I do, but do I come to where you live and ask why you do how you do? - I guess you don't. - Oh, you know I don't. - I'm sorry. You're right. It's not my business. - I appreciate your reasonableness. And I do appreciate your appreciation. A lot of folks jumping with you offering. I just can't be one of them. - Can I, do you need anything? Can I give you anything? - I'm just fine. I do want to know though. - Yes? - Why? - Why are you so interested? - Because you're really, really good. So are a lot of people. - Maybe, but you're a woman. - Yeah, well, you got a man. - Yes, I guess I do. - You guess? - It's complicated. - Oh, that ain't good. - No, it's good. He's a really good man. It's just, like I said, complicated. - If you say so. Listen, nice lady, I appreciate what you say in, but I'm where I need to be, where I wanna be. I see you, I see you comfortable in the world being up on top of it. I'm not so sure that's a place I wanna be anywhere near. You don't gotta understand it. It's just what I need. Okay? - Okay. But I can't promise I won't come back. - Okay, but next time you bring some whiskey, all right? Bring me some whiskey and maybe I'll sing you a song. - Okay. - All right. You got yourself a deal. (gentle music) Hey Frank, check it out. - What? - Isn't that the guy we saw the other night, one with the baseball bat? - I don't know, where? - Talking to the newsy over there, with that other one. - How the hell would I know? These spooks all look alike. - Is this the building? - Yeah. - Well, let's do it. - Yep. - The spook kids jumpy, I'm gonna knock 'em down. - We have to be ready for anything. But you walk into this thing thinking you're gonna shoot the guy, it's not gonna go well. - I'm gonna do what I gotta do. I ain't dying in this shit hole. (gentle music) (gentle music) - Yeah. - Mrs. Davis, we're looking for you. Are you looking for your cousin, Harry? Oh. We're the-- Holy. Yes, I know. He's been expecting you. Harry Davis? Yeah. We're the-- Yeah, I know. You hear about Colton and the fire? Yes. Careful, Joe. It's all right. Can you account for your-- I was there for the fire, you know? Sarah. My Sarah and my little Gloria. I was right there, man. I couldn't do nothing. I just watched him burn up in front of me. Oh, my sweet Jesus. I just want to be with them. Why don't you take me instead of them? I'm-- I'm sorry, Mr. Davis. I really am. It was my whole life. I'll love it. Just going up in fire. Do you have any idea what that's like? I'm really very sorry. We need to ask-- You see, that's why I went to see Mr. Colton. Sorry? Bernard Colton. I went to see him to kill him. You murdered Bernard Colton. That man deserved to die. For what he'd done to my family and them other people. I wish I could have killed him twice. Holy shit. So I've been sitting right here, I've been sitting here waiting for you to come and get me. I got nothing else to live for. So let's go. You're saying you killed Bernard Colton? He did, Amy. All right. Well, Mr. Davis, we were arresting you for the murder of Bernard Colton. Will you turn around, please? No need, no cuffs. I'll go peacefully. Turn around. Come on, pal. Let's get you downtown. Bronzeville, the next morning. Man there, arrested Harry. Harry Davis? He's one color of that white landlord. The one with that fire? That's the one. Shit. Watched his wife and daughter burn alive. They got to take that into account. They know account when a black man kills a white man. I don't want to say someone had it coming. But that white man had it coming. And that's the truth. Yeah. Do I need an appointment to see you these days? Curtis. No, of course not. Come on in. Good to see you, Jesse. Anytime you want to come by, I would have come to you. No, no, it's all right. Nice to stretch my legs plus keeps you on your toes. Yeah, I'm always on my toes. Got to be in this job. Oh, man, who I remember. Happy to have passed that mantle along to you, Jesse. Thank you, Curtis. Now, what can I do for you today? Well, it's about Harry Davis. What about him? Normally, I'd expect one of our best attorneys to be taking on Davis's case, make sure he doesn't get the maximum penalty here. Yeah, I was going to talk to Zeke this afternoon about who to put on it. I'd appreciate it if you didn't do that, Jesse. Hey, we can't let him hang for this. I agree. I agree entirely. But it's also essential he go to jail for it. That's a hell of a needle to thread, Curtis. It is. You have any idea how to achieve that? Well, I might. Yeah. Yeah. Tell your brother to have that new kid come see me. Jimmy Tillman? Jimmy Tillman. Yes. One hour later. Jimmy Tillman, to see you? Send them in. Mr. Randolph? Jimmy, come on in. Have a seat. Oh, yes, sir. How you doing? I'm good. I'm good, thanks. Good. Good. I have a job for you, Jimmy. It's for the family. It's for the community. And it's not going to be easy on you. All right. I understand you were friends with Harry Davis. Yeah, you're a good man. Come from Arkansas like me. I heard what happened. Probably done the same thing. I would myself. While I certainly don't condone his actions, I do want to make sure that Mr. Davis gets the best possible defense. Me, too, absolutely. So here's our problem, Jimmy. We cannot be seen to be connected with that. I need to be able to remain above the phrase, so to speak. It's best for our business and for Bronzeville, in fact. I can see that I will be. But I'm also very concerned with making sure that Harry gets the proper representation. You understand? OK. I guess I just don't see how I figure into all this. Well, if I recall rightly, when you first came here to Chicago, Jimmy, you had a friend, a white man. Ben Faulkner? A communist, also, correct? Yeah, but how did you know that me and Ben was-- The party has some very good lawyers working for them. They're very big on the rights of poor folks and the rights of colored folks. OK. I'd like them to take this case on. But we need to make sure that there's no way to trace it back to myself or to the Copeland family. Do you understand? It's all right if it's you. Acting on your own to help a friend, but it can't be official business. Yeah. I just-- What? Man Ben didn't leave it on best terms. He's going to be real mad at me, probably right to feel that way. What I understand, you are very resourceful young man, Jimmy. And I'm sure you'll figure it out. I see this is important. exceedingly. I'll do what I can, Mr. Randolph. Good. Brown'sville will owe you and I myself will be very grateful. OK. I got to ask, though. Yes? I was about to ask how you knew about me and Ben, but that's why they call you out, ball, ain't it? You see everything. You better hope I don't. Yeah, I guess, guess you right. Everything OK, Anna? Yeah, do free. Everything's good. Well, Mr. Randolph wanted you, especially. Yeah. That's a big deal. Yeah, yeah, bro. This about the Buggie Palace? No, no. It's a mother's stuff, all right? But you know our ball. That man sees everything. But I just wish he had seen what happened back there with Everett. Yeah, shame you didn't. So what we going now? You know oldest Clemens? So, we're on the right, a bit longer than the two. That'd be him. What we seeing him about? He's making some trouble. We need to straighten them out. Well, all right. What do you do? Sounds like he'd been holding on to some winners. No shit. No shit. Bunch of folks have been telling me. Someone came up to me after the funeral. So I thought, maybe it's time I take a look. But he's one of us, right? All the more reason to make sure he doing right by folks. Let's check the pool hall. This time of day, he's there. Oh, hell. - Oh yeah. - Woo-hoo, woo-hoo, woo-hoo, woo-hoo. - Put it down, put it down. That's five bucks you and me. - All right, all right. Here, thank you, thank you, thank you, thank you. - Hmm, hmm, say that Otis. - Who that? - Jimmy, tell me. What's he doing here, you looking for lessons? - No, no, no, no, I'm no good at this game, man. - Is that Willie's boy? - Mm-hmm. - Is that Dupree? Hey Otis, how you been? - Just fine, Dupree, just fine. - Say Otis, let's talk over there. I got something I wanna discuss with you. - Oh, we can talk right here. - No, no, no, no, this is a sensitive subject. - All right. All right. - So, what's so sensitive, Jimmy? - People been coming to me, Otis. People on your route. - Oh yeah? - Yeah. - What, why are they doing that? - Yeah, they been telling me you ain't paying off when they went. - Well, they lying is what's going on. (laughing) - Except the people talking to me, Otis, they could people. And I came for the life of me, figure out why they get together and make this story that they tellin' me. You know, they all owe to, they weak. The folks least likely to kick. - Mm-hmm, mm-hmm, mm-hmm. What of it, then? - What, what was that? - I said, what of it, then? - What you gonna do, gonna wrap me out? - Hmm? - Zeke and Jesse way too busy to deal with any penny andy shit. And you ain't gonna step to me because I make money for them. Plus, they don't want that kind of trouble gettin' out. Undermines people's belief in the organization. A few old people complainin'. Old folks always complainin' about something. Who come listen? - I am. - (coughs) You ain't gonna start nothin' with me. Their word against mine. Jesse know me a long, long time. How you think that's gonna go? Seven ball, side. You may be the new fish. Everybody's all worked up about. But I put in my time with this family. You start a beef with me over some wild claims. It ain't gonna go good for you. - Yeah, come on. It's just gon' cause trouble. Nobody needs. Seems like you've doin' just fine right here at this pool hall. Find some other way to make an extra buck Otis. Now I wanna hear about this no more. Yeah. Yeah, yeah. All right, big man. I hate you. I hate that. All right, then. Come on, Dupree. Let's get outta here. See ya around Otis. Bye, Dupree. (laughs) (light piano music) Bronzeville will return after a brief word from our sponsors. And now, back to Bronzeville. Hey Jesse. Hey Ray, time to go. You said come get you a six. Call ready. Out front. All right. What are you hearing down the station about this situation with Harry Davis? Guy killed his landlord. That's the one. What I'm hearing is, you didn't offer any kind of resistance. Just up and told him he wish he could have done it again. Damn. Going to G&G, Zoddy. All right, Mr. Copeland. I need to stay tonight. I hear that. Hey, it sounds like they're gonna fry 'em, Harry Davis. I expect so. What do you think? Me? I think folks can go around killing folks. But if they got to, some folks deserve killing more than others. And that is the truth of it. What's that? Huh? Who is this fool? He's waving a badge, Mr. Copeland. He what? These guys cops? I think so. No way, those are cops. State's attorney police. Doubtful. What the hell is going on? This stinks, Jesse. You're telling me if they're not cops. They're here to kill you. And if they are. If they are, it's probably not a good idea to shoot them. Ordy, take us down that alley over by Prairie. Yes, sir. What are you gonna do, Jesse? I'm gonna make an executive decision. Yeah? These ain't no cops. Yeah, that's it. Right down here. You ready, Ray? As I'll ever be. Let me see your badges. It's not already. That couldn't have been anything. You might have bought that at a toy store. Come on, Jesse. We just need to take you downtown for some questions. All right, you leave. I'll follow you. You gotta come with us. That's not how this works. It is today, Copeland. Definitely not cops. Yeah, I'm getting that impression. OK, we're coming over there, Jesse. Everything's got pathetic, right? Oh, you're sure? Sure, come on over. There it is. [GUNSHOTS] Jesse, you OK? I'm fine. You? All right, here. Arti? All right, here, Jesse. Well, ain't this some shit? Who would he chuckle at? Bob? Oh, no, that don't make sense. I don't see Costco really coming after us, not now. Shit. Goddamn it, Ray. You gotta get out of here. My job's here, Jesse. Your job is a policeman. It's just a sidekick, fool. I can weather it. All right, you don't care about you. But I lose a man on the inside. What good does that do me? Now, go on, Ray. Hit the bricks. All right. I'm gone. But if you need me, I know where you are. That's right. You stay low, Arti. Call my wife, huh? She'll be wondering where I am. You're surmised, Copeland. [MUSIC PLAYING] Hey, he's a nice to see you out. Hey, Zeke. Joins happen. Huh, is it night time? Is it the Royale? Joins always happen. Good point. Uh-oh, you got purpose in your eyes, little sis. Ha, I love it if you were wrong. What can I do you for? This is a new one. Oh, yeah? I want you to book a guitar player for me. A good guitar player. Singer too. Blue? Yeah, some of the best I've ever heard. I know this fella. No, Zeke, you do not know this fella. Why do I feel like there's a catch-com? Yeah. This fella is a lady. Wow, lady blue singer. And guitar player. Well, you know we mostly play dance music here. I know, but maybe end of the night when everyone's winding down. Are you quitting the van looking for a new career, huh? Because you know the music business, and they know way to make a living sense. No, I just-- she's really good, Zeke. There's something about her music. I think people will love it. I have a say no to you. Just that one time, when I asked you to kill Jessie for me, you were six, girl. What can I say? He just pleased me. All right, bring her around. Let me see her. I want to hear for myself to go out of best with this guy. You're sweethearted. Don't let that get around, okay? Hey Z, phone call for you in the back. Yeah, who is it? It's Jess. Alright. Hey, we good here, little sis. We're great here. Love you. Love you too. Hello Z. Hey, Mary Ann. How you doing? You know, good is our way. Alright. See, long time man, long time. Hey, hey, my man. Good to see you. Jesse? You what? Shit! You alright? What about Rayman? Alright, good, good, good, good, okay. I'll call Clark right now. Damn man. I'm glad you alright. Just sit tight brother, I got this. Damn. Damn. Damn. Hey, Clark, see Copeland. Yeah, I'm fine. Look, we got a problem. Jesse down at 11 this day. Ah, he's fine. They came at him. Yeah, I don't know, but I need you to get down there now and bell him out. Alright, thanks. Well, shit. Goddamn, Jesse. Yeah. One of these nights, I'm going to open this window and it won't be you. Mm-hmm, one of these nights, I'm going to come knocking at your front door. Tough day. I figured you could use some company. Well, you figured right. Want to talk? Nope. I just want to lie here in the dark and listen to the blues. That's what I'm talking about. ♪ Stay tuned after the credits for a preview of the next episode of Bronzeville. This episode of Bronzeville was brought to you by Cinema Gypsy Productions, Tateman Entertainment, and Global. This episode of Bronzeville is directed by Laurence Tate, written by Josh Olson, and featured the following performances. Laurence Fishburne as Curtis Eyeball Randolph. Laurence Tate as Jimmy Tillman, Tika Sumter as Lisa Copeland, Lamar Tate as Zeke Copeland, Makai Pfeiffer as Jesse Copeland, Barton Fitzpatrick as Dupree Leila Hathaway as Edom A. Jackson, Oba Bavatoon Day as Harry Davis, Michael Norey as Leo Coscarelli, Paul Ben Victor as Tony Federici, Harold Perano as Otis Clemens, Atheon Crockett as Ray Waters, Rin T Brown as Naira Rae, Matthew Glaive as Detective Joe Parkson, Alex Scooby as Detective Frank Inley, Rodney Salisbury as Dunbar Hamilton, Kevin Phillips as Wilson, Art Kimbrough as Al Groven, Denise Dowes as Emma, Erica Lutrelle as Sherry, John Catherine Jr as Arti, Iona Morris as Mrs. Davis, additional voices by Solar Bannis, Michael Binier, Denise Dowes, Jovonne Green, Kevin Hunter, Leonard Earl Howles, Jamie Lujan, Oba Olanahee, Tim Russ, Ashford J. Thomas, Roger J. Timber, L. T. Talaba, Sherry Vanden Heuvel, Harry Williams. Executive producers for the series are Lawrence Fishburr, Lorenz Tate, Helen Sugglin, Laurent Tate, Matt Cutair and Jeff McCarthy. Co-executive producers are Melissa Jellano and Lamar Tate, produced by Casey Whalen, associate producer Audrey Kendrick, composer, 1500 or nothing, theme song, living in Bronzeville, written by Larry Tate, Lewis Price and Laurent Tate, produced by Lawrence Dopson, lead vocal by Lewis Price, background vocals, Cherine Dopson, Alexandria Dopson and Lawrence Dopson, story and history consultant, Michael Feeabold. Our production team includes casting directors, Jamie Rudolfski and Christy Faisal, CSA, sound design and editing by Charlie Magdalena at Whalen Productions Studios, vocal coach, Denise Dowes, production sound mixer, Carlos Soto Longer, still photographer, Celeste T. Holmes, videographer, Dana Rice, graphic designer, Mari Sasser, digital media management, Alexia Klincy, first assistant director, Roger J. Timber, second assistant director, Charlie Magdalena, post-production assistant, Katie Whalen, executive assistant to Mr. Fishbur, Greg Haines, production assistants, Autumn Tate, Amari Woods and Corey Wright, Caterer, Rose Mary and sweet team. Bronzeville was recorded at LA Studios in Los Angeles, California. This has been your narrator, Ren T. Brown. From all of us in Bronzeville, thank you for listening to this audio theater for them on. Next time on Bronzeville. Zeke, what's going on is something wrong? Yes, Jesse, he's been arrested. It was Sammy's man, Jesus. Yeah, yeah, and since he missed. He's gonna try again. God damn it. Folks are real happy to have Jesse locked up. That figures. No, I mean more than usual. More than you think. So, what can I do for you today, Loretta? I know what you were never working on before he died. Oh. I'm looking for someone who works here. Well, worked here. Name's Ben Faulkner.