Key & Peele 5x11

Directed by

Mecca Vazie Andrews as Negrotown Dancer • K.D. Aubert as Passed Out Woman • Malcolm Barrett as Harrassed Passenger • Anthony Carr as Negrotown Dancer • Colton Dunn as Negrotown Cab Driver

Ray Parker Jr. has some new songs; a man can't stop saying "deez nuts"; Keegan has to call 911; a young man learns about Negrotown.

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Subtitle languages: English • Spanish • Brazilian Portuguese

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1. Who you gonna call?

2. Hi. I'm Ray Parker, Jr.,

3. writer and performer of the Academy Award-nominated

4. hit single Ghostbusters

5. from the major motion picture Ghostbusters.

6. But that's just one song.

7. I've written so many other major motion picture theme songs

8. and submitted 'em throughout the years.

9. Now they're available and together

10. for one specially priced compilation.

11. Songs like...

12. These songs have only been heard by the highest level

13. of industry decision makers,

14. but now you can feel like a Hollywood executive

15. in your own home.

16. All right, white people.

17. Whoops!

18. There's one thing I know.

19. It's that persistence makes perfection.

20. Ha ha.

21. Sure, Hollywood missed out,

22. but that doesn't mean you have to.

23. (male announcer) Order now to receive your free copy

24. of Bobby Sings the Twos:

25. theme songs to sequels that were never made.

26. What was the very first sketch we ever did?

27. I think we started with Bitch.

28. Did we start with Bitch?

29. Oh.

30. In history, I mean...

31. In that moment.

32. The greatest comedy

33. or otherwise show ever made.

34. Okay, well, I-I— I do enjoy our show.

35. You think it's the best show ever made?

36. Pure classic.

37. It's us...

38. then, like, Dallas, then The Twilight Zone.

39. There's a list out there.

40. Key & Peele,

41. Dallas,

42. - Twilight Zone. - Just talking influential.

43. Huge. I'm a visionary.

44. I think that it's very possible, like,

45. we'll go down like the...

46. like the Wright brothers.

47. Like, they're gonna be—

48. It's gonna be one of these things where we're—

49. Am I—am I going too far?

50. - Am I overblowing it? - Overblowing it a little bit.

51. I really just wanted to know what the first scene was.

52. Oh.

53. Vince, I, uh,

54. I have that quarterly analysis that you asked for.

55. I had a quarter of these nuts on your chin.

56. Right.

57. It's just that I wanted to review

58. some of these numbers with you.

59. It seems like our earnings are low

60. against our original projections.

61. These nuts were low against your chin.

62. You know, Vince,

63. if you ever need to talk to me about something,

64. I'm more than happy to listen.

65. These nuts would be more than happy to rest against your chin.

66. Hey, look, you've been doing this for about a week now,

67. and it was kind of funny at first.

68. These nuts were kind of funny against your chin.

69. Vince, I'm worried about you.

70. I was worried about these nuts on your chin.

71. Vince, seriously.

72. These nuts were seriously on your chin.

73. Mr. Graham, I just got a call from St. Mary's Hospital,

74. and your parents were in a serious car accident.

75. I'm so sorry, but your mother is dead,

76. and your father is on life support.

77. These nuts were supporting life on your chin.

78. Oh, my God.

79. - Sorry, Amber.

80. Vince, you got to stop it.

81. Your mother just passed away.

82. These nuts passed away on your chin.

83. No, they didn't. They didn't.

84. Vince, listen,

85. you got to leave here right now and go be with your dad.

86. This could be the last time that you get to see him.

87. This could be the last time I get to see my nuts on your—

88. God damn it, Vincent.

89. Your father might be dying.

90. These nuts might be dying on your chin.

91. God damn it, Vince!

92. Snap the out of it!

93. Your mother is dead.

94. Right. You're right.

95. - You okay? - I'm okay.

96. You—you're back.

97. I don't know what came over me.

98. - It's all right. - It was so good.

99. It was—it just—

100. It worked in every situation, and then it was—

101. I know. I know.

102. And it was always— it was just so funny.

103. Well, it wasn't— it wasn't that funny.

104. It was funny.

105. It really wasn't that funny, Vince.

106. It was... really funny.

107. I would not go so far as to say it was really funny, Vince.

108. It was funny.

109. But it wasn't.

110. It was.

111. It wasn't.

112. Agree to disagree.

113. - It was funny. - Okay.

114. - It was funny. - One more time.

115. I'm just gonna go on record

116. as saying it wasn't really that funny.

117. I'm gonna go see my dad.

118. It was funny.

119. It wasn't that funny.

120. Dad.

121. Stay with me.

122. Dad, I love you.

123. And I love...

124. These nuts on your chin.

125. These nuts on your chin.

126. This is all about Susie Diaz.

127. It's Suzie Diaz's party.

128. Susie Diaz is running the show. I'm just gonna show up.

129. If she needs me to bring beer or something,

130. I'm more than happy to do it.

131. Oh, dude. Oh, my God.

132. A woman just fainted. I'm gonna have to call you back.

133. Ma'am.

134. Ma'am.

135. Oh... um...

136. 911. What is your emergency?

137. Yes, yeah. I'm at the corner of Fifth and Metropolitan,

138. and I just came up across this woman,

139. and she just—she just passed out on the sidewalk here.

140. Okay. And is she responsive, sir?

141. Um...

142. Okay, sir? Is she responsive?

143. Sir? Sir?

144. Um, no, she's— she's not responsive.

145. She's... beautiful.

146. That is not relevant to this emergency, sir.

147. An ambulance is on its way.

148. In the meantime, I need you to check her pulse.

149. Check her pulse. Right, check her pulse.

150. Okay.

151. Does she have a pulse, sir?

152. Oh, she does,

153. but her skin is so soft.

154. Sir...

155. She doesn't have on a ton of makeup,

156. but she's the kind of girl

157. - that just doesn't need it. - Sir—

158. You can see that she put a lot of thought into her outfit,

159. but not like she's trying too hard.

160. She's perfect.

161. Sir, may I remind you

162. that you have not spoken a word to this woman?

163. I need you to see if she's breathing.

164. Is she breathing? Yeah, okay. Hold on.

165. Sir, I need you to stay on track.

166. Oh, God. Oh, God, she's not breathing!

167. The love of my life is not breathing.

168. You got to save my baby!

169. Do you know how to give mouth-to-mouth resuscitation?

170. Yes, I do.

171. Okay. I need you to administer that now.

172. Okay, okay.

173. No, no. I ca—I can't.

174. I can't do it. I can't—I can't do it.

175. It just— it's disrespectful.

176. I have to be respectful for her.

177. Sir, this is the only time it's okay to put your mouth

178. on an unconscious woman. Do it.

179. I just didn't picture it happening this way,

180. and there's butterflies in my stomach, and I'm just—

181. I don't want to mess this up.

182. - It's so rare to find— - Sir, if you can hear me,

183. an ambulance is on its way.

184. - I'm sorry. I'm sorry. - I need you to calm down.

185. - Oh, gosh, my head. - Sir?

186. - I'm so light-headed. - Sir, stay with me.

187. If this is what it feels like to be in love,

188. this is what it must feel like when you—when you find the one.

189. Sir, are you there?

190. Oh, God.

191. 911. What is your emergency?

192. There's an attractive, confident, well-to-do black man.

193. He just passed out right here on the street.

194. Okay. Ma'am, listen very carefully.

195. I'm going to need you to marry him.

196. O-okay.

197. Shouldn't I give him, like, mouth-to-mouth first?

198. Yeah, girl. Get you some.

199. Shoot.

200. What would this country be like if black people—

201. say we were brought over as slaves,

202. and then early on, black people revolted, took over the country,

203. and said these evil motherare now—

204. are the lower class, these slavers.

205. Do you know what'd happen then?

206. Then the song Chocolate City by Parliament Funkadelic

207. would be our national anthem.

208. - That's right. - That's what it would be.

209. And white people would have a song talking about vanillas.

210. "Vanilla Village."

211. Here's my question to you.

212. Would, then...

213. white people being the oppressed race,

214. would they have the soul?

215. Would they have invented the blues?

216. Would there be black people who are trying to act cool

217. like white people called "blonkies"?

218. Man, look at these blonkies.

219. And you what the crazy thing is?

220. Barack Obama would still be president.

221. He would still be president.

222. Got some change?

223. Sorry, man. I ain't got nothing.

224. All right.

225. Hold it right there.

226. - Let's see some ID.

227. I wasn't even doing anything, man.

228. - Are you talking back to me? - No. I was just walking, man.

229. Look, there is no reason for you to get upset, sir.

230. - I'm not. I'm not. - All right, that's it.

231. - Put your hands on your head. - Put my hands on my—

232. Put your hands on your head, yes!

233. You had your chance.

234. Listen, man,

235. can I just ask you, like, politely, what it is that I did?

236. Think I was born yesterday?

237. - Come on, man, I— - Get in the car.

238. Duck your head.

239. Oh!

240. Ah.

241. All right, officer.

242. I'll take it from here.

243. Well, hi, Wally. Good to see you.

244. He's all yours.

245. All right.

246. - What?

247. - Y'all have a good night. - All right.

248. Thanks, man, but where are we going?

249. I'm glad you asked.

250. Follow me.

251. Through there? Aah!

252. Whoa. Look at this place.

253. Where are we?

254. Just be patient, and I'll show you.

255. Your suit changed.

256. Negrotown? What, like Atlanta?

257. Almost.

258. Now, be quiet while I sing.

259. I think I'm getting it.

260. It's like a utopia for black people.

261. Yeah. But seriously, shut the up.

262. This is amazing.

263. I know, right?

264. This sounds too good to be true.

265. It does, doesn't it?

266. But can a finish a song?

267. Oh.

268. I mean, can a finish?

269. I'm sorry. I'm sorry.

270. (man) Sir?

271. Sir?

272. Sir?

273. Sir?

274. - What? - All right, get up.

275. Let's go. Get up.

276. Wait a sec. Wait. What—Hold on. What?

277. I thought I was going to Negrotown.

278. Oh, you are.

279. - Can I give you an acting note? - Sure, yeah.

280. I mean 'cause, we're, you know, actors.

281. We need to get notes from one another.

282. - We need to grow. - Try acting a character

283. a little bit less.

284. I'm sorry. I'm sorry.

285. Whoo! Okay, here we go.

286. All right, I'm—

287. - I'm sorry. - Get it. Get it.

288. Get that laugh. Get it out.

289. This is, like, an exercise laugh.

290. Working them gigs.

291. Got to get them gigs.

292. Got to get them gigs.

293. Okay, —

294. it! it! I'm here. !

295. My name's Wendell, and I, too, am a sexual.

296. It is true, though.

297. - Oh, yeah. Thanks, man. - Did you just call me "man"?

298. That's how comfortable I am with you.

299. But if you were a guy, I'd still jam my fork

300. in those roast beef—

301. Is there a Cyrano de Bergerac behind you?

302. I like how you're getting my side.

303. God, it's like you have three hands.

304. There it is.

305. No, Papi. No, Papi. No, Papi. No!

306. You're talking about no Papi?

307. I will skewer you with my dick!

308. Yeah?

309. - Oh, yeah! - I'll take it!

310. What else do you—

311. Destination wedding, baby— Acapulco, June 27th.

312. All right.

313. I wish them terrorists would try to even think

314. about just dropping straight—

315. Ah,

316. I'm gonna stay in this long, though.

317. And now I clinch.

318. Snap.

319. You snap that dick off!

320. Oh!

321. Hold on a second. I'm over here—

322. Wait a second. got caught up.

323. I'm caught up. Hold up.

324. We were talking about breakfast.

325. So that's what I'm gonna do...

326. Mark with a K.

327. - Is this the place? - This is the place.

328. (both) I said, "Bitch"!

329. - Oh!

330. - You want to go back? - Yeah. My girl's expecting me.

331. Oh, yeah.

332. This mother.