All language subtitles for Ray (2004) Original Subfile

Always remember your promise to me.

Never let nobody or nothing
turn you into no cripple.

All right!

Rest stop, 45 minutes.
Come on, folks. We gotta move.

We leave at 2:45 p.m. on the dot.
Can't be late.

Hot meals and bathrooms inside.

There's a window out back
for y'all to buy sandwiches.

And I suggest you make good use
of them outhouses.

Ain't nothing but bushes for you
in the Carolinas.

Sir.

- Can I help you, sir?
- Yes, sir.

Seattle?

- Who you riding with?
- Nobody. Just me.

Boy, I can't take responsibility…

for some blind nigger
traveling 3,500 miles alone.

I paid for this here ticket…

and it says that
you have to take me to Seattle.

Don't you be
smarting off to me, boy.

With all due respect, sir,
I earned the right.

I may have left my eyes
on Omaha Beach…

but I ain't asking
no charity from Uncle Sam.

I got a job waiting for me
in Seattle.

- You were in Normandy?
- Shuttling troopers to the beach.

We took a direct hit.

I'm sorry, son.

I'll keep an eye on you myself.
Come on. Take a seat in the back.

What the hell do you think
you're doing?

Don't get your feathers all ruffled.

I met this ol' boy
over at the O.C. at Clarkfield…

and he plays a mean jazz piano.

I don't care if he whistles Dixie
out his ass.

He ain't gonna do it here.

Sir.

- Boy, are you blind?
- Yes, sir. Since I was seven.

Well, let me help you out then.

This is a country band.
We don't play no boogie-woogie.

Yes, I understand.
I love country music.

All right, go on. Tell me.

What is it you love
about country music?

I love the stories.

You know, about falling in love
and having love knock you around…

and the pressures of the world
on you.

It makes you feel small.
You want to give your soul to God.

You might as well.
Your ass belongs to Him.

- Boy, are you sure you blind?
- Last time I checked.

Okay. Come on in.

Billy, I think you're outvoted.

Til, one hint of trouble,
and your blind nigra's out of here.

Damn!

Here.

I'm gonna have to
put some glasses…

before he scares somebody
half to death.

Seattle, Washington, folks. Change
bus here for all points north:

Bellingham, Mount Vernon.
Vancouver, Canada.

That's Diz. Emanon.

Yeah. But what's it spell backwards?

Come on, man. Why don't you give me
something difficult? "No Name."

- Say, daddy-o, what ax you play?
- Piano.

Just blew in from Tampa, Florida.

Me and my partner, Gossie McGee,
want to fatten up our style.

Cop some licks from some
more experienced cats. You dig?

You know what?

Why don't you let me
take you inside? Show you around.

All right. Perfect gentleman.

This is just like my place.

- So, what's your name?
- Ray Robinson.

I'm Quincy Jones.

Gerry! This here's my man, Ray.

He's here to see Gossie McGee.
I figured I'll show him inside…

Don't mess with me, Q.
He can come in, but not you.

Vice is on my ass
for letting you underage kids in.

- Get out of here.
- He's blind! I gotta show him in.

- Get out.
- Jive-ass.

Ray Robinson,
when am I gonna hear you play, baby?

That may cost you.

Welcome, all you cool cats
and fine felines.

You've come to the place where
the sophisti-cats and hipsters…

hang their bebop hats.

So snuggle up and come near…

for tonight is Talent Night
at The Rocking Chair.

Let's hear it for Dancin' AI!

Gossie's been catting around…

with one of my waitresses
since he got here.

He never told me that
his partner was a blind 'Bama boy.

Marlene, Demurs just called.
Thurmond's sick.

- What about Sassy?
- Flat tire.

Okay, 'Bama. Why don't you get on
up there and show me what you got?

I'm not prepared to do my thing
right now, tonight-

This is the only audition
you'll get.

So do it, or you and Gossie
can haul your asses back down South.

Here. Smoke some of this.

This ain't no tobacco, man.

Hold it in, it'll calm you down.

All right, Oberon.
Get on up there and introduce him.

Yes, ma'am.

Okay, 'Bama. Let's go.

Now, I got something special
for all you satin dolls.

And I don't mean
Oberon's big thunder.

That's for another show.

We got some new blood for you.

Straight off the bus from Florida…

I give you
Ray "Don't Call Me Sugar" Robinson!

- How y'all doing tonight?
- Better than you!

- Relax, Ray.
- I got it.

What do y'all want to hear?

How about some Nat King Cole?

Y'all like Nat King Cole?

- 'Bama ain't bad.
- I'd say he saved our asses.

What the hell is Ray doing up there?

Auditioning for you, Gossie.

He ain't no good without me.

How'd you and the 'Bama
like to do a week here at The Chair?

I know a good bass player.
A nice jazz trio could score big…

with the right manager.

Manager?

Don't be so small-minded.
You know you've got to give to get.

What exactly do I have to give?

Twenty-five percent.
But I'll be getting you other gigs.

All right, next question:
What do I get?

What do you need?

Double scale as leader, plus 10%.

What about the 'Bama?

He's about as green
as a blade of grass.

I can handle him.

Yeah, he's green.

You don't need to worry about
a hotel room for the 'Bama.

He can flop at my place.

You don't never change.

Ray, you coming back to bed?

I'm getting some water.

I can see that,
but mama ain't finished yet.

For the first time anywhere,
let's hear it for The McSon Trio!

- When you coming out?
- In a minute.

Mama's got some more
blackberry cobbler for you, baby.

Damn.

If you're gonna send us out on tour,
we're gonna need more than $5 a day.

Why can't we get paid after each gig?

Because you'll spend
everything you make.

The club sends the checks to me,
so as I can bank them.

I just want to see my own checks,
that's all.

You don't see, Ray. You're blind,
baby. Or did you forget?

Now, you want to go out on your own
and see how well you do?

- Where's Ray?
- He's in the back bedroom.

And wipe your feet.

Six-nine, where you at?

Lionel Hampton just asked me
to go on the road with him!

Sure he did.
Then why you still here?

And dig this:
His wife kicked me off the tour bus.

Told me to come back when
I started shaving. You believe that?

Seven-oh, could you do me a favor
and close that bag for me?

Why? You got two hands.
Close it yourself.

I got two feet, too.
Could you close it?

I got it.

Excuse me, sir!

Man, we're gonna be late.

I got to get my own place, Gossie.

Why? I mean,
you got free rent right now.

Like hell it's free rent.

Come on, Ray. Why you gonna
mess with a good thing?

All I'm saying is you keep
laying that pipe with Marlene…

and she'll make us all rich.

Sir, excuse me!

Just back from their triumphant
tour of the Yakima Valley…

The McSon Trio!

They'll be back right here,
same time, same place, next week.

Baby, you sound more like Nat
than the King himself.

- What's your name?
- Ray Robinson.

I'm Jack Lauderdale,
Swing Time Records.

Hey, Jack! How you doing, man?

How about us
making a record together?

Hell, yeah! Let's do that.

- Can I help you?
- I don't think so.

We're just talking
a little business.

Then you need to talk to me,
'cause I'm his manager.

- Whichever way the wind blows.
- It's blowing.

Jack Lauderdale, Swing Time Records.

Marlene Andres.

Gossie McGee.

Great set, baby. We're going to
talk with Mr. Lauderdale.

- Come on. I'm buying.
- I'm coming to talk to him.

You are doing a fabulous job!

Let's talk to him about this record.

We're gonna let Marlene handle that.
You get Oberon to call you a cab.

Great set, Ray.

Goss?

Hey, daddy-o, want a smoke?

I got some gage, fresh off the boat.
It's clean and seedless.

So that's how it is?

You keep me high
while they talk the business?

I ain't the one playing you, man.

Oberon, listen…

Marlene and Gossie are the ones
running the game on you, Ray.

What?

They sliced up the pie
the first night you played.

35% off the top. Plus Gossie's
double scale as leader.

Leader? If anybody's leading the
band, I'm the one that's the leader.

Forget the bo' humps.
I'm gonna go my own way.

Who's gonna book your gigs?
Marlene's got you locked up.

And she ain't gonna give up
her golden goose.

Ray Robinson, you are fantastic.

There you go. Give me some skin.

- What's that?
- Jack's card.

I got his number at the hotel.

Come on, Q. It's not that
complicated. Let's play it again.

That's a B flat, C seven,
scale it up…

and triple it off the back end.

Yeah, nigger! That's it.

Ray, what did I tell you
about cooking in the dark?

Are you trying to
burn the house down?

Think about it.
What do I need the light for?

You don't need to be cooking.
We brought you takeout from Oscar's.

Get your money back.
I got fried chicken right here.

- Come on, Seven-oh, try this.
- Yeah! About time.

That's home-cooked, right there.

- No, thanks.
- This chicken's the mostest.

Just needs a little hot sauce
and it'll be perfect.

So, what did Jack Lauderdale
have to say?

I clocked him coming out the gate.
He's a two-bit hustler.

I see.

Turns out the only hit that
Swing Time ever had…

was Open the Door, Richard,
which was a joke record.

What about him recording me?

He'll record you,
if we pay the freight.

Scratch a liar, find a thief.

- What's that supposed to mean?
- This.

I saw Jack Lauderdale tonight…

and he gave me
a $500 advance on my record.

He'll put me on the road
with Lowell Fulson…

and pay me three times what you pay.

That's a lie!

He's not gonna put some blind man
on the road. Think about it.

You need watching out for.

He ain't got the time
to look after you the way I do.

Is that what you've been doing?

Is that why you get paid
double what I do?

- Who told you that?
- It's true, ain't it?

You two have been gaming me
since I got here.

- Ray, listen-
- I ain't listening to you!

I been meaning to talk to you
about that.

Then why aren't you talking?

Ray, let's not do nothing stupid.

I might be blind,
but I ain't stupid!

Q, get my bag from upstairs.

- What?
- Get it!

- Right now?
- Now.

Ray, we done been through
a whole lot.

Ray, wait.
I can explain everything.

Think about what you're doing.

You're making a big mistake.

That clown is spouting promises
that he can't keep.

You'd be a fool to follow him.

We'll make a new deal!
Whatever makes you happy!

The deal is
you can lay the pipe now.

You'll break your neck
going down these stairs by yourself.

I ain't never seen you
do nothing like that, man. Never.

That ain't nothing, Seven-oh.

Stop cheating, Ray.

George, you can't catch me.

Aretha!

Come on, George.

Aretha Robinson,
have you lost your mind?

You promised to split every wash
basket with me, fair and square!

- I did!
- Hell, you did!

You charge white folks one thing
and pay me another.

- Who's gonna wash these?
- You can. Now pay me my money!

Okay, I'll give you your little $2.

But don't you expect
no more work from me!

I got all I need out of you.
Ray and George, come on!

That's right. Get out of my yard
and don't y'all never come back!

Y'all got to learn
to read and write real good…

so you never have to work
for people like that.

Scratch a liar, find a thief.

- Understand?
- Yes, Mama.

Smell that, Ray. Smell the success.

We're in LA, man…

the place where the Negro comes
to spread his wings.

I know my ears ain't deceiving me.
Is that Art Tatum?

It sure is, baby.
You want to meet him?

I can't. Art Tatum is the most.

So, Ray, we got to talk
about your name: Robinson.

Sugar Ray got the Robinson franchise
all sewed up.

So I'm thinking we go with
your middle name, Charles.

As in, Ray Charles.

I don't care what you call me,
as long as my name's on the record.

We're gonna toast to that.

What's the haps?

- Oh, my goodness.
- Give me some skin.

What's up, baby? How you doing?

Lowell Fulson, meet
your new piano player: Ray Charles.

Ray Charles, the blind sensation.

Damn! I'm gonna use that
on the album cover.

He's really the sensation.
I love your music, Mr. Fulson.

The man's got taste.

And the man ain't been on the road
with a band before…

so you take care of him.

Like my own brother.

- I'm gonna be right back.
- All right.

- You got the one on the left.
- Look here, let me do the talking.

Don't go inside that place.
You know what Mama said.

Go home and don't tell Mama nothing.

Go, George.

George, get out of here!

Hey, boy, who let you in?

You must be Aretha's son, huh?

Yes, sir. Ray Charles Robinson.

I've been seeing you
sneaking around here.

You like the piano?

Come on, you want to learn
how to play?

Come on over here.
Let me show you how to play.

I'm gonna teach you how to play.

What we'll do, I'm gonna teach you
three notes, right?

This is the first note, right here.

Play that.

And here's the second note,
right here.

Play that.

Here's the third note.

Now, here's the way it goes.
Listen closely, now.

Play that.

Good!

Try the other notes.

Every club we hit, it's your
responsibility to rehearse the band.

These are some lazy-ass bastards…

so you make sure
they don't slough off.

You gotta be ready and dressed
to open the show.

Lowell likes to take a nap
before he goes on.

You just do your thing
until he feels like coming out.

When Lowell's playing,
you keep the band sharp.

- Just one thing.
- What?

Did Jack tell you that
I have to be paid in singles?

You just do your job,
you're gonna get your money.

How'd you get the name Fathead?

Why do they call me Fathead?
You don't want to hear.

But this is what
I really want to know.

Any of you fine young ladies…

know where we can get
a nice steak this time of night?

You mean something big,
thick, and juicy?

Yeah, that's just what I mean.

Fathead, where you guys headed?

I ain't babysitting no blind cat.

I'm sorry, Ray, but the law says
there's only six to a cab.

Come on, ladies,
let's get out of here.

Pay up, baby!
Yeah, that's all right.

I been shooting craps
since I was 12 years old.

Don't never shoot craps
on a white woman's grave.

- Why not?
- It's bad luck.

That's for being late to the bus.

- Wilbur, you a low-down piece…
- You better move on.

Mr. One-dollar Bill.

$5, $10, $15, $20-

You like to
start counting that again?

All right, damn you.

$284, $285…

Listen, man, I ain't
no damn seeing-eye dog.

Fathead, open up.
I got to take a leak.

What you doing, man?
Close the door, Fat!

We'll be in here for a while.

Use the women's can,
down there on your right.

I don't want to use the women's can.

This way.

Oh, God!

Say, Ray, you all right?

I must have slipped on the wet.

There's a pipe broke. There's
water everywhere. You see it?

Let's go, man. Close the door.

Quit playing, Ray.
We'll be in here a while. Now go on!

- Where you from, Ray?
- North Florida.

North Florida boy.

- Your people still down there?
- No.

All right.

Pardon me for asking,
but how do you get around so good…

without a cane or a dog?

How do you get around so good
without a cane or dog?

I'm sorry. I didn't mean to pry.

My ears got to be my eyes.

Everything sounds different.

That's why
I wear hard-soled shoes…

so I can hear
my footsteps echo off the wall.

So when I pass by an open doorway,
the sound changes.

Wow. That's cool.

You got to learn pretty quick if you
want to get around on your own.

During the war, there was
a whole lot I had to learn fast…

or I wouldn't be here.

Seeing that much death
ain't natural.

Yeah, seeing death ain't natural.

Boys, get from 'round that still.
Y'all know better than that.

Come on, catch me.

Stay from 'round this fire and get
clean. Dinner will be ready soon.

Hear me, Ray?

I got you.

- No, you didn't. You missed me.
- Stop cheating, Ray.

Okay, you got me.

But I got you back.

I'm not playing no more.

Sissy!

Come on, Ray. Let's go swimming.

Let's go swim in Mama's washtub.

Ray, come on, play with me.

You better get down
before Mama sees you.

I'm a giant!

Some giant.

Come on, George.
I ain't playing this game.

That ain't funny.

Boys, I got some field peas
and rice cooking.

And there's that smothered corn
left from yesterday.

And if you're real good, I might
have two pieces of peach cobbler.

Ray, didn't I tell you
to get in this house?

Dear God, no!

- That's Aretha's boy!
- Breathe, baby, breathe.

Just breathe, baby, breathe.
Let it out!

Let it out, please!

- Breathe for your mama, now.
- Come on, George.

Why didn't you do something?

Why didn't you call me?

- Help us, Lord!
- The Lord done took him home.

All right.

Food and piss stop. Open it up.

The food is hot.
You've got 45 minutes.

- I could eat a horse. Where's it?
- Follow your nose. Right over there.

- Wilbur.
- What?

Forty-five minutes
ain't enough time.

- We need more than that, Jack.
- Not to eat, you don't.

If you got other business, choose,
because this bus is rolling on time.

Come on,
Mercedes got a washroom in the back.

And you can smell it.

- Yes, sir?
- Could you help me in there?

Sure thing, Ray.

Hey, Mercedes.

Hey, baby. I hope you wiped
your feet before you came in here.

Take that.

The bathroom's
right in front of you.

Okay.

- You want me to fix you a plate?
- No, I'm fine.

All right.

Sweet potato pie it is.

Let's go, man.

That was a long bus ride, wasn't it?

Hey, man! The can's down the hall.

I know where it is.
What y'all doing?

Do yourself a favor and leave.

I'll leave when I'm ready to leave.

Come on, Fathead, I want in.

This ain't weed, Ray.
And we ain't snorting no bitch.

This is boy.

Boy'll make your ass null and void.

- So get on out of here.
- Null and void, just like my life.

I'll be right at home.

I ain't gonna wait all night.
Hell, it's his funeral, man.

- Ray, let's go get something to eat.
- I'll leave when I get a taste.

What you gonna do?
This train's pulling out, brother.

I ain't having
nothing to do with this.

- I warned you, Ray.
- I been warned.

Sit down, Ray.
I'm gonna take you on a little ride.

It'll cost you, though.
You got some cash?

Will this do?

That'll do.

Where you been?
Where them other fools?

Come on, get it while it's hot!

You're going to feel a little pinch.

I ain't giving up on you, boy.

Feel it, baby?

Just take the ride.

It's better than sex.

There ain't nothing better than sex.

We will walk

through the streets of the city

Where our loved ones

have gone on before

We will stand on the banks

of the river

Where we'll meet

to part no more

Ray, let me put this salve on
I got from Dr. McLeod.

- I don't like it. It stings.
- Boy, get up here.

I paid a whole dollar for it.
It better work.

Now hold up your head,
like the doctor says.

This is gonna make you feel better.

Ray, come on in for dinner.

And stop rubbing those eyes.

I won't beat around the bush
with you. You're going blind.

The doctors can't do nothing,
so we got to do it ourselves.

Yes, I know, but…
ARETHA: Stop it.

Stop it right now.
We ain't got no time for no tears.

Nobody's gonna have pity on you
just 'cause you're going blind.

- Now wipe them eyes.
- Yes, ma'am.

I'll show you
how to do something once.

I'll help you if you mess up twice.

But the third time,
you're on your own…

'cause that's the way it is
in the world.

Now get up.

Remember, you're going blind,
but you ain't stupid.

Remember how many stairs there were?

Four.

Good. You're gonna have to learn
how to use your memory.

Now turn around.

I want you to hold out your hands…

use them as your eyes,
and find the door.

Good. That's real good, baby.

This fool makes one record…

and you'd think
he's the star of the band.

Well, he's got something.

His wax won't even hit the charts.
You're still the man.

She wasn't that fine.
There's something wrong with you.

No, man, she's fine.
You leave her alone.

Look at Ray.

You see that?

He feels her wrist and figures
that's the way to tell…

if she's good-looking or not.

You know I had my eye on you
all night long.

He's right this time.

See what a little fame does
to Null and Void?

Anybody seen that fine-looking gal
in the yellow dress?

- You hear this man?
- You snooze, you lose.

We're going to dock your pay.
That's $2 off your busride.

All right, who's next?

It's a shame, Jimmy. You're just
gonna piss this up your arm.

Don't tell me what to do
with my money.

Come on. Step up.
The one-dollar sensation.

You want to keep counting?

What's the matter with you, boy?
$50 ain't good enough for you?

That ain't $50. Keep counting.

I guess you want charity, since
that record of yours ain't selling.

Break it up!
What the hell is going on in here?

The blind sensation
don't like his pay!

- He's cheating me! I quit!
- You lying son of a bitch!

Don't be fighting nobody
that can see!

I won't run around
finding singles for this chump!

- There's $50 here.
- You see that, fool?

Shut up, Wilbur! Ray, from now on,
I'll handle your pay myself.

I'm tired of this! I'll tell Jack
to find you somebody else!

You sure? It's cold out there.

Don't worry about me,
I can take care of myself.

- Damn it, Wilbur!
- Let him go!

What are we gonna do now?

"After the death of Moses,
the Lord spake unto Joshua saying:

"'Moses my servant is dead.

'"Now therefore arise.
Go over to Jordan.

'"Be not afraid,
for the Lord thy God is with thee.'"

Mr. Charles?

Who is it?

My name is Ahmet Ertegun.
May I have a moment of your time?

What do you want? I'm at church.

I'm sorry. I'll come back later.

You're here now. What do you want?

My company, Atlantic Records…

has acquired your contract
from Swing Time.

I'd like to discuss your future.

Hold on. Don't jive me now.
I ain't for sale.

May I sit down?

You see, Mr. Charles…

Jack Lauderdale has found himself…

shall we say,
a little overextended…

and has had to unload
some of his talent.

When your name came up, I jumped
at the chance…

to work with you. I'm a big fan.

What if I want to go
to another company?

There's a guy out there
willing to pay me…

seven cents a record.
Can you do that?

Man, I could promise you
15 cents a record…

but you won't get it
any more than he'll pay you seven.

What I will do is promise you
five cents a record…

and pay you five cents a record.

If you think pennies, Mr. Charles,
you get pennies.

You think dollars…

you get dollars.

I like how you
put things together, man.

You know what?

Omelet, you're all right with me.

Ahmet.

- What kind of name is that?
- I'm Turkish.

Well, I guess Jack Lauderdale's
bad luck is my good fortune.

I knew that Atlantic Records
was bigger than Swing Time.

You guys do good music.
I dig Atlantic.

You could have fooled me.

I have to keep my eye on
you city boys.

Down home,
we call it "country dumb."

Hey, man, it ain't Turkish.

What do you think?

Nobody wants another Nat King Cole.

Ahmet, it's just like Charles Brown.

Okay, I'll talk to him.

All right, fellas, that's a cut.

Fellas!

- Band can take five.
- He just don't get it.

You either sound original,
or you got nothing.

Ahmet, what'd you think of that?

I want to tell you something,
and don't take it wrong.

Then give it to me right.

I signed you because
I sensed something special in you…

not because you sound like Nat Cole
or Charles Brown.

I thought you like what I do.

We love the timbre of your voice…

we like your virtuosity,
your energy…

- But not my music.
- Come on, I didn't say that.

Ahmet, this is what I do.

I got to make a living.
People want this.

I don't know no other way.

We got to help you find one.

Let's try a little change of pace.
You're familiar with stride piano?

You kidding? The man who taught me
piano is a stride player.

I got a song.
It's called The Mess Around.

The Mess Around. Cute title.
Who wrote it?

I did.

You wrote it.

- Well, sing it to me.
- Sing it?

I can't read the lyrics.

Okay. Well, it's the key of G.

Key of G.

But it's a kind of
Pete Johnson thing.

Yeah, that's it.

You like that? Here we go.
Two, three, four.

You can talk
about the pit barbecue

The band was jumpin',
the people, too

They're doin' the mess around

They're doin' the mess around

They're doin' the mess around
Everybody doin' the mess around

That's good.
Let me take it from here.

- Now we got something!
- That's all right.

- What do you think, Ahmet?
- Great, Ray!

- Unbelievable!
- Who's that?

Ray, I want you to meet
my new partner, Jerry.

Mr. Ray Charles, Jerry Wexler.

Don't worry, Ray.
I'm going to step back, watch…

and learn how to produce a record.
I'm in awe.

That was out of sight. That's
some running and riffing, man!

Well, this'll make you shout, man.

We're listening to Mess Around…

by Atlantic recording artist,
Ray Charles.

And we have the gentleman live here
in the KCOH studios.

So, when you're not making
your own music…

what do you listen to?

The fact is,
I really and truly love gospel.

One of my favorite groups
is from right here in Houston:

the Cecil Shaw Singers.

You heard it: Ray Charles endorses
Houston's own Cecil Shaw.

We'll be playing gospel
all day Sunday…

but right now, let's hear some more
of that Mess Around by Ray Charles.

K.B., line 1.

King Bee.

Yeah, he's right here.

Miss Delia Antwine
of the Cecil Shaw Singers.

Hello, Miss Antwine.

You sung tenor
in Jesus Is My Shepherd, right?

Yes.

How did you pick me out?

Actually, I hear like you see.

Like that hummingbird
outside the window, for instance.

- I can't hear her.
- You have to listen.

Yes.

Yes, you can.

- You hear that?
- What?

Her heart just skipped a beat.

Did you like my record?

The one that King Bee was playing?

It was very nice.

Different than the others.

I've heard a lot of your music.

Was it very nice, too?

Look, if you don't really
like the record…

you ain't got to
beat around the bush with me.

My mama never did.

It's not that
I don't enjoy your music.

It's just that I feel
I've heard it before.

I keep wondering what
the real Ray Charles sounds like.

Ray Charles? Who's he?

Nobody, if you don't know.

Sorry. I should have
kept my mouth shut.

No, then you wouldn't be you.

It's not like
I haven't heard that before.

I guess I just
never really listened, that's all.

Ain't nobody
ever put it that sweet, I guess.

You know what,
Miss Delia Bea Antwine?

You really are a country girl.

Yes. How did you know?

I could tell by the way you ordered.

"Let me get molasses
with my corn bread."

Were you raised on a farm?

My mother did a little sharecropping
in Florida.

Is she still there?

God bless her heart, she passed away
when I went to school.

Ray, I'm sorry.

She never was real healthy.

She just worked herself to death,
poor thing.

That's why she didn't want me
carrying around no tin cup.

The kids I went to school with
were doing basket weaving…

and wickerwork.

But not you. Because of your gift.

Because of my ears.

I can mimic damn near anybody…

and I make a pretty decent living
at it.

It's just, if I change my style up
and people really don't dig it…

what am I left with?

I mean,
when you're blind, Miss Antwine…

you ain't got that many choices.

Seems to me like you got
all the choices in the world.

God gave you the gift to sound like
anybody you please, even yourself.

We're here. This is where I live.

Do you think the preacher
would let me in?

I'm a sinner,
but I need a little prayer.

His wife don't like me
having male company.

Tell him there's a soul out here
that needs saving.

You know, Miss Antwine,
you really got me thinking.

About what?

About my life. About my music.

About everything.

Ray, don't you think
we're moving a little fast?

I'm going to go to New York
for a couple of weeks…

and when I get back…

you can take it as slow as you want.

All right, Mr. Charles.

All right, Miss Antwine.
I'll see you in a couple of weeks.

Hold on, let me call you a cab.

I got it. Three blocks up,
left for two, right for one.

Fifteen giant steps, and I'm
at the Crystal White Hotel. Hello.

Mess Around was a positive step
for us, Ray. We're making progress.

Come on, Ahmet,
you've been nice to me.

But I haven't given you guys
any hits.

Atlantic has been good to me,
but if you want something special…

I'm gonna need my own band.

Oh, man. Taking a band out
on the road costs a mint, Ray.

Even Joe Morris is struggling.
His band's had a hit record.

But, Ahmet, I'm not Joe Morris.

You told me if I think pennies,
I get pennies. I'm thinking dollars.

Ruth Brown's
got a tour booked in Georgia.

- She needs a band.
- I'll take it.

I could write the charts for her, do
backup, and also be an opening act.

Okay.

But you're going to be
financially responsible.

You'll have to make it work.

I'm gonna make it do
what it do, baby.

Ray?

Miss Antwine, it's been two weeks.

It's been three.

Where's the preacher at?
And the wife?

They in Dallas till Monday.

Well, hallelujah!

Delia Bea.

Kind of like a honey bee, right?

Can I call you Bea?

Yeah, I'd like that.

There's only been two cats that
I ever really trusted in my life.

There's Jeff Brown,
he's going to be my tour manager…

Fathead Newman, my tenor man…

and now you.

But you gotta do me a favor. You
gotta always tell me the truth…

just like you did before.

Don't feel sorry for me
just 'cause I'm blind.

How could I pity someone I admire?

- Can I play something for you?
- Now?

- No, Ray.
- Yeah, right now.

It's right there. You got it.

Yeah, this will work.

Now you go ahead and play.
I'm going to close these drapes.

I don't want no neighbors
looking in.

Ray.

Ray, that's sacrilegious.

What?

It's a gospel song.

I know what it is. I wrote it.

You told me to find my own voice.
Bea, this is it.

But it ain't right to be changing
gospel music into this.

Into what? Is it devil music?

Evil music?
Do you think I'm evil, Bea?

Look, I've been performing
gospel and blues all my life.

It's who I am.

And if I'm gonna do my own thing,
I got to be natural, right?

I'm singing about
my feelings for you.

About how I love you.

What could be more natural
than that?

Tell me.

More natural than me and you.

Ray.

We bite the bullet,
cancel the tour dates.

But what will we tell Ray?

We'll tell him the truth:

Ruth Brown's pregnant,
so there's no tour.

What about LaVern Baker?
Get her to take the tour.

She has no record.
There's nothing to promote.

You and Jesse write a couple of
songs, let's get her in the studio.

It'll take a month to put that-

What'll we do?
We got to do something.

Ray's got a new band up there.

How'd he put together
a band so fast?

Boss! Boss, they're here.

Come on. Let's get together
so we can show them this.

I'll let you break this to Ray.

You're gonna let me break it to him?

- Why me?
- Because Ruth Brown was your idea.

Ruth Brown is a good idea,
was a good idea…

and still is a good idea.

- Ahmet.
- Yeah.

We got to get this on wax.

Oh, yeah.

Hear that, New York?
The sound is huge!

But there's only seven cats
on this record.

This is the new
Ray Charles, baby…

and there's nothing out there
like it!

And you heard it first
on The Moondog Show!

The Shaw Agency's the best booker
on The Chitlin' Circuit…

that's my opinion.

Milt Shaw, meet Ray Charles.

It was Milt's dad, Billy…

who first drew my attention
to a certain blind pianist…

when he was booking Lowell Fulson.

We believe in your talent. We want
to be in the Ray Charles business.

We've already booked you
on a 10-city tour…

with Roy Milton's Solid Senders…

I love Roy Milton.

…and Tangula
the Exotic Shake Dancer.

She is gorgeous.

Ray, I gotta tell you, we think
you're onto something very big here.

Nobody's ever combined R & B
and gospel before.

I've Got A Woman is a smash.

You better start thinking about
a follow-up.

This sounds good.
I gotta run to Texas…

and take care of some business,
and I'll be back.

Make it fast.
I'm ready to sell, sell, sell.

As long as you book me
in front of Tangula.

Delia, hold on! Let me get
my camera. Let me get one picture.

Y'all stay right there! Ray!

Delia, let me get one picture!
One picture, Delia! Come on.

Be careful, Ray. These are
your last steps of freedom, man.

Don't open that door.

You got to carry her
over the threshold.

To the right, Ray! To the right!

Ray, you need some help?
You sure you know what you're doing?

Ray?

Can I come in?

- Hold on.
- What's going on, Ray?

Open this door.

Why are you locking doors
on me, Ray?

You know the place is small.
We gotta have a little privacy.

What we need is a little more room.

We're gonna need some space
while we start a family.

You know I'll be on the road
for most of the year.

I'm just thinking,
what if I'm not a good father?

My daddy was never around.
He had three different families.

Well, you…

are going to have one,
starting right now.

Right now?

What do you think?

That's what I know.

Stop it! Y'all done lost your minds!
Stop all this stuff!

You need to be saved!

I can't take it no more. Stop it!

- I can't take it!
- Hold on.

Take your hands off me!

- This ain't right!
- Just let the people hear the music.

Y'all sitting here,
listening to this devil!

You're giving your money to Satan,
that's what you're doing.

- Hold on, you got a problem?
- Yeah, I got a problem!

That's gospel you're singing!
You're turning God's music into sex.

You're making money off the Lord!

Don't smile at me!
Y'all are in it, too!

All of y'all
are going straight to hell!

She's right.

No, this here's wrong.
The whole thing's wrong.

It's okay. Let him go.

You got a right to believe
in what you believe.

You can go to hell by yourself!

Boss, you want to cancel the show?

No. Just find me
a bari player by tomorrow.

I just want to
ask the folks right now:

If y'all want me to keep playing,
let me hear you say "Amen."

Amen!

While you're at it,
find me a girl…

with church-training
that can sing…

- but without the church attitude.
- All right.

Let's go, y'all. Keep it going.

- Ray, you got your watch?
- Yeah.

Good. All right, baby,
your blue shirts are on top…

the pants in between, and
the white shirts are on the bottom.

Here's your glasses. There you go.

Why don't you come
on the road with us?

Baby, what would I do on the road?

You'd do what I say you do,
that's what.

I've been trying to get
a female voice in the band, anyway.

Can't you just picture me
wobbling around on that stage…

big as a house?

Well, I can't picture you, you
know that. But I know what I can do.

Come on, now. Don't start nothing
you can't finish. Jeff is waiting.

I can't go on the road with you…

not with your baby inside me.

I'm gonna get your shaving kit.

Bea, I got it.

Bea, hold on.

Bea, let me get it.

How long you been
hiding this from me?

I'm your wife!

Bea, I was just so excited
to see you.

I forgot to leave it with the band,
that's all.

Let me get it. It's just
a little medicine, that's all, baby.

That ain't medicine to nobody.
Don't be lying to yourself.

It ain't like I'm dealing it.
I just use it to get a little taste.

You don't taste poison, Ray.
It kills you. You got to stop.

I ain't got to do a goddamn thing!

What about me? What about your baby?

It ain't like I'm new to this.

If I felt like this was
jeopardizing my music, or you…

or providing for that baby…

I'd stop in a minute.
But I know it won't.

How do you know that, Ray?

You can talk till
you're blue in the face…

it don't matter. I'm not gonna stop.

- Then I'm coming with you.
- No.

- But you just said…
- No.

You know what it is, Bea.
I think it's like you said.

I don't think that the road
is a place for you and the baby.

What are you saying to me, Ray?

What I'm saying is that
when I get home…

I hope that you're here at my house.

Your house?

- Jeff, come get this bag.
- All right, Ray.

Hey, Delia Bea.

You all right?

That's good, thank you.

- How does she look?
- Very pretty. Brown skin.

Yeah, that's great.
I really dig your sound.

What was your name again,
sweetheart?

Mary Ann Fisher.

How would you feel if
I asked you to sing a torch song…

with a gospel feel to it?

Gospel's all about love anyway,
isn't it?

Would it make you
feel like a sinner?

Mr. Charles, I love the Lord,
the Lord loves me.

But I ain't no hypocrite.

Hello. You know,
it's hard to fool me…

but it's impossible
to fool the Almighty, ain't it?

Why don't we rehearse the song
a little bit?

Okay.

Boss, we got to go.

Go ahead.
I'll be with you in a minute.

- I just really feel your spirit.
- Boss, are you sure?

Let's go.

You're amazing.

So are you, baby.
Come sit next to me.

So, what do you think?

- Ray, telephone.
- Take a message.

It's Delia Bea.

Damn it.

Tell her I'm busy.

Come on, man, I ain't lying to Bea.

- Is that the wife?
- Shut up.

I'll be there in a second.

Don't mess with this junk,
all right?

All it'll do is make you sick.

Does he have
all his fingers and toes?

Yes, he does.

Can he…

Can he see?

Yes.

- You want to hold him?
- No, I can't.

- Come on, Ray.
- I wouldn't know what to do.

That's what you came here for.

Use this hand to hold his head.

Okay. Right there.

That's your daddy.

He ain't no bigger
than a loaf of bread.

Thank you.

He's not my gift to you, Ray.

He's your son.

You know I'm gonna take care
of both of you, right?

I love you.

I love you, too, Ray.
But there's something I got to say.

I know you're a working musician…

but don't bring the road
into our home again.

The home I'm making for you
and our children.

Bea, I promise I won't do that.

- It's just there's some things…
- Don't say no more.

I ain't no fool.

You know, you're the only woman
I'll ever love.

Mama! Mama, help!

Mama, help, please!

I need you!

Mama, help!

I hear you, too, Mama.
You're right there.

Yes, I am.

Why are you crying, Mama?

'Cause I'm happy.

It's Uncle Jeff!

Got my camera!

Sarah! Come on in.

Put the flowers
right there behind them.

All right, big smiles, everybody.

Hi, Junior.

Come on, Ray, let's
get this boy home so he can eat.

I have those cookies you like.

We try to make it through these
cracker speed traps…

we'll be a little late.

- Yeah, just stay within the limits.
- All right.

Why don't we
get that spot in Memphis?

We could have our own place.

Baby, I'm not leaving Houston.

I bet she don't do this.

Baby, hold on.

Goodbye don't mean gone, okay?
I'm not gonna leave my family.

Okay, baby, okay.
No need to get sore.

How about we give me
a little more to do in the show?

How about a solo?

You just don't stop, do you?

Look, I'm going up to New York
to do some publicity.

You stay here, find some material…

and when I get back,
we can talk about it.

Okay.

I dig New York. Everybody here's
making their own sound.

They loved it. Ray, they loved you.

We're gonna
get the cover of Billboard.

I want to do a session
while I'm here. How about tomorrow?

- You got the band here?
- Yeah.

Everybody except Mary Ann…

because I need
a different background.

I've been hearing this thing
in my head…

like a dance between
a man and three women.

Sounds fun. Can I watch?

It's a dance of voices, Ahmet.

What do you have in mind?
Like three Mary Anns?

No. That's too smooth.
I need something that's more raw.

The Cookies. What about The Cookies?

Yeah, Cookies are sweet.

Jesus, he's on fire.

Maybe we should sign these girls up.

If I know Ray,
we won't get a chance.

- It doesn't get better than that.
- I love it!

We gonna put it out like that.

I never got a record
in one take before!

You Cookies sound sweet.

When it's happening, baby,
it just feels right.

I know what you mean. I got
the shivers in this studio tonight.

That's 'cause
they ain't paid the heating bill.

I have a question for all of you:

How would you like to
go on the road with me?

How much you gonna pay us?

- Ahmet takes care of all of that.
- You mean he don't listen to you?

You better know he does.
Don't worry about it.

Brother Ray'll take care of you.

My mama taught me
to take care of myself.

Is your mother here?

- No, she's not, but I speak for us.
- No, you don't.

Okay, Speak for Us,
how about $20 a week?

- $20 a week is good.
- We'll take $40. Each.

- $40 each?
- You heard me.

No. How about $25?

We'll take $30.

I have to say yeah before you
talk me out of my drawers.

$30 a week!

Deal?

Oh! Yeah.

Margie, right?

Look, Margie, from now on…

you guys are going to be called
The Raelettes.

Does that mean we have to "Let Ray"?

- What am I going to do with you?
- I'm sure you'll think of something.

$30 a week!

We're going to be The Raelettes!

Fathead, come on,
you're on the clock.

Come on, Bob, you're late.

Hold on, Jeff. Listen up.

From now on, we're gonna sing
four-part harmony.

Ethel, you sing alto.

Margie, you sing tenor.
Pat, soprano, and Mary Ann, bass.

I ain't no bass. I'm a soprano.

I'll sing bass. Where we come from,
we can sing anything.

We're talking about singing, sugar,
not hog calling.

That's cold.

Who are you calling a hog?

If the corncob fits…

You better shut your mouth
before you get-

What is all the cackling for?

Mary Ann, sweetheart, I wrote
something special for you: a solo.

A solo?

Come on down here,
let me play it for you.

Ethel! Come here and see
this new piano Ray got.

- It's called a Wurlitzer.
- A what?

You got to see this thing.
It's out of sight.

Baby, I got your drink here for you.

- Don't play that.
- She want me to play something else.

We got some hell
going on, gentlemen!

Now, this is a car. This is a car!

Looks like a damn Wieniemobile!

Lookie here!

Let's take it for a spin.

Since I'm the boss,
you got to let me drive.

Don't hit nothing, Ray.

- You okay?
- Yeah.

- What room are you in?
- 69.

Honey, you are so nasty.
That's what I love about you.

No, seriously,
what room are you in?

I'm in 626.

624.

Baby, I can't wait
till we get to your room.

Here's 626. Right here.

- Where's the key?
- You have to get it.

I have to find it?

- Is that it?
- It might be.

I'm not going to unbuckle
your pants yet. Let's get you in.

Miss Mary Ann Fisher,
ladies and gentlemen.

Wait till you see
what's in the goodie bag.

Goodie bag?

Gonna fly you to the moon, baby.
Let me get your hand, Ray.

There go three. That's for you.

I thought you was my friend.
The weight is off.

Don't start with me, Ray.

- The weight is off.
- It ain't off.

When you get high and try to cop…

dealers will spank your ass.
You need discipline.

You know what? I ain't messing up
my high tonight…

sitting here with you,
arguing about nothing.

Look, Fathead, just tie me off.

Come on, Fathead.

Take care of your bad self,
you know so damn much.

Later, Margie.

Bye, Fathead.

Damn.

Ain't nothing free in the world
but Jesus.

Yeah? What do you want?

Do me a favor, sweetheart,
and pick that up for me.

You're going to have to get me off.

I'll do it, if you let me try some.

This ain't for no little girls.

I ain't no little girl!

I understand. It's just that
this stuff will take you places…

you don't want to go.

I want to share that with you.

Listen to me! If I ever
hear about you doing drugs…

you're through, you hear me?

You believe that
more than you believe in Jesus!

Don't say that, Ray.

I watch your show
every single night.

And every night is new to me.
Maybe because it's new to you.

It's like
you live every single word…

and then you bend some crazy note…

and damn if you don't break
my heart. You got genius, baby.

I just want to be a part of that.

Look at him. Look at his knees
shaking. He's got that junkie itch.

He's totally hooked.

But listen to that sound.
He's brilliant.

You can never trust a junkie.

What do you want me to do?
Listen to him.

- Happy birthday!
- Happy birthday, Ray.

You know what to do.

Take a deep breath. Go ahead.

- He blow them out?
- Every single one.

I want to thank you so very much.

Please, another round of applause
for Miss Margie Hendricks.

Thank you so much, and good night.

- You see what time it is?
- What's the problem?

The problem is on the contract.

Ray! You still got 20 minutes left.

What you want to do?

That fool's holding us
to every second of the contract.

Go baby-sit him.
I'll take care of it.

It's okay.

They say we got
a little more work to do.

That was the last song in the book.

It's never the last song.

Band, follow me and do what I do,
say what I say

This is how we gonna do it.

Where can I get that record from?

I don't know. It doesn't exist yet.
I'll tell Ray he should record it.

Yeah, that's it.

I'm telling you,
that is out of sight. That's a hit.

It's fantastic.
But what are we gonna do…

with this? It's too damn long.

Every night we play this,
we bring the house down.

It's guaranteed.

Tom, cut the playback!

Come on out here.

Ray, you're probably right.
I'm sure you're right.

I've never heard a sound like this
before. But how do we market it?

We could cut the second verse,
pop back into the chorus.

You cut that, I'll cut you in half.

All right, all right.

We could split it up.

Do a Side A/Side B type of thing.

It's been done before.
What the hell, right?

It's sexual.
It's just too damn sexual for kids.

Let's do it.

Yeah! That's why I love y'all.

All right. What the hell?
It's Atlantic, right?

We'll release it in the summer.
There's less censorship.

School's out.
The kids are ready to kick loose.

Tom, let's see if we can
cut this pumpkin in two.

Show me what your genius
is all about.

You got it, boss.

You put one on Side A, another
on Side B. That's out of sight.

How you feeling?

I feel groovy, baby.

I'm talking about the junk.

It's starting to show.

You're scratching all the time.
You can't sit still.

Have I ever missed a date?

No, you never have.

Who's the one who delivers
a record in one take?

You deliver better than
anybody I know…

but I'm not talking to you
as a businessman.

Now come on, listen to me.

I'm worried about you.

As a friend, I'm telling you, man,
your slip is hanging.

"Your slip is hanging."

You been hanging out
with us country boys too much.

Don't worry about this. If this
monkey gets too heavy on my back…

I'll get an organ grinder
and put him to work.

He's off the Chitlin' Circuit.

Down Beat voted him Best Male Jazz
Vocalist by a 2-to-1 margin.

If you want him in Philadelphia…

you're going to find him
a bigger venue.

What'd I Say!

Forget second billing. Ray Charles
headlines at $1,000 per…

or no deal.

Terrific.

I'm having second thoughts
about this.

I don't know nobody in L.A.

Bea, I don't want my kids growing up
in the South.

L.A. is where a Negro
can spread his wings and fly.

- Ray, my whole family's in Texas.
- That's why we're moving to L.A.

Tell the boys they can go ahead
and start their vacation right now.

All right, boss.
Once I get you inside.

Look at that huge coconut tree!

That ain't no coconut tree.
That's a palm tree.

There's thousands of them.

Here's the keys to your life,
a brand-new life.

Oh, Ray.

Ray, this is too much.

Have you seen the dining room?

But, baby, it's October.

I wanted to celebrate early,
because the band will be playing…

during the holidays.

- You're unbelievable.
- Look at your presents.

Baby, look at what Santa brought
you. You must have been good.

Go ahead! Christmas is early, baby!

Go get it.

- What's he taken?
- A guitar.

- A musician like your daddy.
- Can you play?

- What else you got?
- Hello?

How'd you get this number?

How do you think I got it?
Put Ray on the phone.

Ray, telephone.

Deal with it, man.

Ray, it's important. Telephone.

- I'll be right back.
- All right.

Who is it?

It's Margie.

Junior, come help your mama
change your brother's diaper.

I don't want to go.
I want to stay and open my presents.

I don't want to go.

I don't care.
Don't let me tell you twice.

- Hello.
- Hey, baby

Surprise! I came to L.A.
to surprise you.

Surprise me? Are you out of your
mind? I'm with my wife and kids.

On the road, I'm Mrs. Ray Charles.

That's on the road.

But, baby, come on,
I got everything set up for us.

Did you hear
what I just said to you?

Wait a minute,
I got a bottle of Bols, and…

Shut up.

Listen, we record in two weeks.
I'll see you then.

- Wait a minute, Ray!
- Bye.

Ray!

Hold on, wait.

Cut. You know that sounds off.

The three-part harmony is off.

Let's start it all over
from the top with the band.

Whoa, pardner! What was that?

I knew you'd like that.
It's an eight-track.

We can record each part separately.

Whoa, Nellie!
I can't wait to see that.

- What's so funny?
- Nothing, "pardner."

Margie's drunk. Jeff?

Go home and sleep it off.

Let me take you home.

No. I'll leave
when I'm good and ready!

She's good and ready right now.

Why don't you make me leave, sucker!

Teach you to treat me
like some piece of meat!

I ain't shutting up!

- Should we get in there?
- No.

Get them all out, now.

You'll have to make me leave!

You know what?
Get all of them out of here.

You're a cold-ass bastard!
Let go of me, Jeff!

You're a cold-ass bastard!

He wouldn't spit on me
if my ass was on fire!

Damn right I wouldn't.

Put me down, Jeff! Damn it!

You dropped your shoe.

Come on, let's get back to work.

Tom, this is what I want.
We'll lay my vocals down…

and finish the harmony parts.

How will we do the harmonies, Ray?
You sent the girls home.

I know what I did.
Let me take care of that.

Turn that eight-track on,
and I'll do the girls' parts myself.

And go out and find me
an "Oh, Johnny" girl.

One minute.

What the hell's
an "Oh, Johnny" girl?

I think I've got an idea.

The sky's the limit, Ray
I got you a $5,000-a-night raise.

They'll up you to 15 per.

Rehearsal in 10 minutes.

Jeff, could you
get me some cigarettes?

Okay, boss.

Fifteen per?

Your contract with Atlantic
is expiring in four months.

I got the contract with me. They're
going to double my royalties.

Before we jump back in that pond…

I thought I'd find out
what else was out there.

I had a very productive chat
with ABC-Paramount yesterday.

ABC? Who told you to do that?

Atlantic is family,
just like the Shaw Agency.

My job is to get you the best deal
possible. ABC is very interested.

No.

How interested?

How about a $50,000 advance
each year for three years?

You produce your own records.

They'll deduct recording costs
and give you…

75%.

Ahmet and Jerry
are flying in tonight so…

will you put them off until I can
talk things out with ABC?

My mama said,
ain't nothing wrong with talking.

Enough of the formalities.
Let's go back into the office, Ray.

I hope I can call you Ray.
I want you to be comfortable here.

I'll tell you something, everything
is gonna be better at ABC.

Moving from an indie to a major…

means you can
sell a lot more records…

as well as attract much larger
crowds, both white and Negro.

Mr. Clark, I've been
at Atlantic for so long…

I just want to give them a chance
to at least match the offer.

Certainly.

But I doubt they'll be able to.

We're giving you
a state-of-the-art deal.

Since I'm producing my own records,
I was wondering if I could…

own my masters, too.

Ray, we've never done that before.
No record company has.

I think I'm going to
have to have it that way…

for me to leave Atlantic Records.

Ahmet and I believe we're family
at Atlantic. Obviously, you don't!

Ahmet wouldn't believe it.

You know what he said? He said…

you would never
turn your back on us.

Never for a schlockmeister
like Sam Clark!

That's rich.
Sam Clark's a corporate slug…

who wouldn't know the difference
between Earl Hines and Art Tatum!

We let you grow here, Ray.

Nobody's taking credit for
your talent, but we nourished it.

We let you do your thing.

God damn it!
We deserve better than this.

Don't think I don't appreciate
everything you guys have done.

I'm very proud of the work
that we've done here together.

Atlantic has done pretty good
money-wise on my records, right?

Yes, we've done very well.

You were the ones that taught me
that making a record is business…

and find the best business deal
you can.

Seventy-five cents of every dollar,
and owning…

my own masters
is a pretty damn good deal.

Can you match it?

Ray, we would love to match it,
but we just can't.

That's a better deal
than Sinatra gets.

I'm very proud of you.

Looks like those boys are going
to get a taste of country dumb.

He'll be all right.

You guys always do find the best.

Listen to that crap.

Thought you said that ABC wasn't
going to force nothing on him.

They didn't.

It was Ray's idea.

Something new.

What are we then, Jeff?
Something old?

Yeah, what about us?
We got to eat, too.

It's a hit record.
What is wrong with that?

Critics say you've gone
middle-of-the-road.

The orchestra, the choir,
The Perry Como Show?

If I feel the music,
that means it's real.

No, it ain't.
Ray Charles is a sellout.

The blind Liberace, leaving those
Rocking Chair roots behind.

Quincy Jones.
Can we get a picture of these two?

- Six-nine!
- Hey, boy.

Look, this interview is over.

- I'd love to get you two together.
- Some other time.

Look at you. How's it going, man?
You look good.

Let me look at you.
You look good, too.

You hear what they're saying
about me?

That I can't do it no more.
I've gone middle-of-the-road.

So crank out another hit.

Let me tell you something, it ain't
easy to keep on being greezy, kid.

Where you blow in from?

Paris.

- Bonjour.
- Yeah, man. France is where it's at.

Yeah. All that stuff you've
been playing is really out of sight.

We gotta record something together.

People will really dig it.
Where you going after the Festival?

I go to D.C.,
Richmond, Virginia, Georgia.

Once you get the record out there,
you gotta sell It.

The South, man?

I'm not doing that no more.

Come on, kid,
that's where the money is, baby.

When I left Seattle with Hamp…

we went down there. It felt like
I walked into a prison cell.

A black man is a "boy"
in Mississippi, right?

Even if he's 80 years old.

I'm never playing to
Jim Crow again. Ever.

If that's what you feel, baby.

I'm serious, Ray.
We gotta do something.

Well, you know, what the hell, man.

You're just going to leave a lot
more money on the table for me.

You're welcome to it, man.

You ready to work?

Work on what?

Get over here,
you gotta help me with this.

Percy just sent me some new music.

Know what they're saying about me?

Said I've lost something,
I've gone middle-of-the-road.

They may as well
say the same about you.

You were the soul of this band.

Now every time you're around,
you're drunk.

Drunk soul of a blind junkie.
What a lovely couple.

Why don't you just get out of here?

I ain't drunk, Ray.

I'm pregnant.

That's right. I'm having your baby.

You ain't really…
You can't do that.

I'm gonna have to talk to
the doctor. You gotta get rid of it.

My God! What, because I'm not
your precious Bea?

I'm not good enough
to have this baby?

You lay up in my bed
every night. My bed!

I'm gonna have this baby, Ray.

No, Ray! No!

Just listen to me.

You know I care about you.
I won't let nothing happen to you.

- I'll pay for everything.
- No!

It'll cost you more than money.

I want you to leave her, Ray.
Come be with our baby.

You out of your damn mind. You knew
the rules when you got into this.

You know goddamn well
I ain't gonna leave my family.

Leave your family?

You are a damn fool, you know that?

Between the dope
and the music and me…

you already
done left your damn family!

And the sad part about it is,
Ray, you don't even know it.

You know what?

From now on, it's strictly business
between you and me.

That's it. Keep that anger.

Ray, it's Sam.

Can you hear me? It's Sam!

Hit the Road
is our second number one.

Yeah. ABC is taking out ads
in all the trades.

And Congrats
on your Grammy nomination.

No, I know you're going to win.

Hey, you feeling all right?

Come on, baby, be happy.
You're doing good.

Thank you, Sam.
I really am happy about that.

Yeah.

I'll stop by Jeff's room
and get my money on my way out.

Ray.

Margie, you ain't gotta leave, baby.

I'm on your hit record.

If I'm ever going to go solo,
then now's the time.

I don't want you…
I don't want you to go solo.

Ray, for once,
I'm doing something for me.

You remember the hummingbird?

What?

The hummingbird, Bea.

I don't want you to go.

Somebody'll fetch you
when your bus gets to St. Augustine.

When you get there,
show them this sign…

and tell them
you're Ray Charles Robinson.

And don't eat them sandwiches I made
all at once.

Don't make me go away.
I'll keep up with the normal kids.

I'll be good, just like George.

This ain't got
nothing to do with George.

I've taken you as far as I can.

Them teachers at that blind school
can teach you things I can't.

You need an education.

- I don't want no education!
- Don't say that!

I don't! I want to stay with you!

Stop it! I won't have you living
hand-to-mouth like me, you hear?

If you want to do something
to make your mama proud…

promise me you'll never let nobody
turn you into no cripple.

You won't become no charity case.
You'll stand on your own two feet.

I promise.

I love you, baby.

I'm so proud of you.

No more segregation!

Welcome back to Augusta, Ray!
Good to see you.

Do you believe in the protest, Ray?

Get out of here!

Ray, I'm sorry about this.
Hurry on up inside.

We got refreshments waiting.

Mr. Charles!

You know tonight's show
is segregated?

The dance floor is whites only.
Negroes can't leave the balcony.

That's how it is, man.
This is Georgia.

You think we don't know that?

Negroes are persecuted in this state
every day!

Ain't nothing I can do about that.
I'm an entertainer.

We all play Jim Crow down here.

Right. Now get out of here, boy.

It doesn't have to be that way.
You could change things…

right here and now!

I'm sorry, son.
Ain't nothing I can do.

You hear that, boy?
That's the way things are.

Now get your black ass out,
and take that trash with you!

Hold on. He's right.
Get them on the bus.

- You sure?
- Get them back on the bus!

Y'all heard Ray!

Back on the bus!

Are you serious?

Get them on the bus.
I can't do nothing here.

Ray, you know me.

I'm not gonna lose money just
because you suddenly got religion.

Ain't nothing I can do.

We have a contract.
You break it, I'll sue you!

- I'll win!
- You gotta do what you gotta do.

I'll win big!
I'll own your ass, Ray!

Thank you, Mr. Charles.
You could be the first.

No, thank you, son. You were right.
You're right.

You'll never work Georgia again!

He filed a lawsuit
and it's more than a fine, Ray.

This guy's got juice.
He can get you barred from…

ever playing Georgia again.

But he's willing to drop the suit
if you'll make up the gig.

Not if it's segregated.

I admire what you're doing,
but you can't afford this.

Georgia is
our highest-grossing state.

I'm not playing any Jim Crow joints
ever again, you got that?

Yeah. I got it.

Jeff, get those people in here
so we can rehearse.

Go ahead and dance!

Let's dance, everybody!

Let's dance now!

- You okay?
- Yeah. What's going on?

Just kids onstage dancing.

Let them dance.
That's what they're here for.

Please don't hurt them!
Just keep dancing!

Keep going!

Mr. Charles, it's Western Union!
We have a telegram for you.

- You have to sign for it, sir.
- I'm coming.

Indianapolis police. Got a report
of loud music coming from here.

Where do you think
you're going, pal?

I'm just going to the bathroom.

Handcuff this son of a bitch.

Recognize this, Ray?
Heroin's a felony.

It ain't like I'm dealing it, man.
I'm not hurting nobody.

You're hurting everybody.
Your jungle music is poisoning…

our kids' minds. I'm gonna
put your black ass away forever.

You have to understand.

I got a wife, kids.
I got responsibilities.

Why don't you tell that story
to these people. Bring them in!

- Was it a setup?
- How long you been on heroin?

Come on.
What did they charge you with?

- Hi, baby.
- David.

- Bea, he can stay.
- No. Baby, come on.

- Bea?
- What?

- Since I got back…
- Since you got out.

Since I got here, you haven't said
more than two words to me.

Ray, what am I supposed to say?

My words don't mean much to you
anymore. Maybe they never did.

- Come on, Bea, you know I love you.
- Are you gonna stop then?

Bea, what you don't understand…

is there's a lot of
mean-spirited people out there.

Yeah.

Ray?

I had to bring Junior home
from school today…

because of what the other kids said.

They got mean-ass kids here.
We should move to Beverly Hills.

No, Ray, we're not moving.

It's not about where we live. It's
about what you're doing to yourself.

Those boys worship you.

You want them to end up
using that poison, too?

Bea, that's not fair.

What's not fair, Ray?

That's a low blow.

Don't jive me, Milt.
Don't jive me, man!

Really? Good.
Tell Sam I said thank you.

All right, then.

What, Ray? What? Come on, now.
Tell me what happened.

ABC got the case dropped.
The police didn't have a warrant.

They bought them off.

Damn it, Bea,
do you want me to go to prison?

No. I want you
to stop lying to yourself…

and they are making that impossible.

You don't understand.

Then make me understand!

When I walk out that door,
I walk out alone in the dark!

I'm trying to do something
nobody's ever done…

in music and business.

But I can't do it if I'm alone
everywhere I go.

I don't want to be alone here, Bea.
Not in my own home.

Bea, if you don't understand me…

then who will?

I don't know, Ray.

David? I'm coming!

Mama's coming!

Ray, we pull you out of the fire,
and you want country music?

I've sung country music all my life.

I used to play
with the Florida Playboys.

We made a big investment in you and
it's paying off handsomely.

For both of us.

We don't want to lose your fan base.

You got a point there,
but I actually think…

that we have more to gain…

than we do to lose.

Ray, it's a bad idea.

When I came to ABC,
you put in the contract…

that I can choose my own music.

You want to read that paragraph?

It's on Page 3.

I don't need to see it.

Good evening, Saint Louis.

It's time for the main attraction.

The innovator of soul.
The genius himself.

Ray Charles!

Thank you so much. I know that
a lot of y'all don't know…

that I was brought up in the South.

Every time you turn on the radio
there, you hear the Grand Ole Opry.

That's what I grew up singing,
so I hope you don't mind…

I want to sing something to give you
a taste of my country roots.

Unchain My Heart!

Georgia On My Mind!

The lights up top
and on the mezzanine…

let's take everything down
and hit Ray with a follow spot.

Do it on my count.

In five, four…

Jeff's here.

Dad, if you can't see, how can you
choose the right color socks?

I'll show you.
Let me show you something.

See? Right here?

The two, I got it sewn in thick,
so I can feel it.

Two is brown.

One is black. Three is blue.

Where's four?

Nowhere.

There ain't no four. You're right.

Guys, we got 10 minutes to load out!
Change back at the hotel.

They bought that country jive
hook, line and sinker.

Ray, man, you're amazing.

You know why they like
country music?

The stories. They got great stories.

Hey, Joe.

Ray, meet Joe Adams.
Hal Ziegler hired Joe…

as the announcer
for the rest of the tour.

I know you, Mayor of Melody.

I listened to your radio show
in L.A. in the '50s.

We've both come a ways since then.

What was that counting
you were doing back there?

Cueing down the lights.
That shuts up the audience…

so you can sing your ballad
instead of having to scream it.

I'll be damned.
Who told you to do that?

No one. It just needed to be done.

That's what I'm talking about.
I like to hear a person say:

"It needed to be done"…

as opposed to a person saying,
"It ain't my job."

Tell me about Central Avenue.
I know you know Jack Lauderdale.

Hello, New York!

Hello, Boston!

Hello, Saint Louis!

Good evening, San Francisco!

Ray, I got some good news for you.
We got the cover of Cash Box.

"The nation's hottest album:
Modern Sounds of Country & Western."

- You are hotter than hell.
- That's what they say.

Your albums
are going through the roof…

your concerts
are always selling out.

You'll need shelters for your money.
You're in a new tax bracket.

Keep your drawers on, Fathead!
I got the instruments!

Jeff, Joe was
in the film Carmen Jones.

Who was the director again?

Otto Preminger.

He was also on Broadway
with Lena Home.

She was the star. I was supporting.

Is that a fact?

Prepare for an extraordinary
evening of music.

Perhaps the most innovative, unique
and energetic musical voice today.

Please welcome to the stage…

It is my pleasure…

Please welcome the one-of-a-kind…

I present Mr. Ray Charles!

There's a park
at the end of the street.

You can see the L.A. basin
from there.

Even Beverly Hills
doesn't have these views.

How does it look, Bea?
Do you like it?

- I don't know. I haven't seen it.
- You got to like it.

Voila.

This foyer is designed to impress
anybody who walks through the door.

It has a big winding staircase,
just like Gone With the Wind.

We should get our portraits painted,
like Rhett and Scarlett.

Bea, bring him in here.

Wait till you hear
what's waiting in the living room.

What is it?

I had them build you a solid marble
fireplace, two stories high.

Hot damn! How do you like it?

It's awful big.

- Sure is: 8,500 square feet.
- Biggest house in the neighborhood.

So, does this meet
with your approval?

Man, this is a palace.

You think this is big?

Wait until you see 30,000
square feet of RPM Incorporated.

Yeah, headquarters!

This is it, Ray.
Your brand-new recording studio.

Did you get everything I asked for?

Totally state-of-the-art.
Tom Dowd built…

an eight-track mixing console,
two recorders, the works.

This room is bigger than
most people's houses.

Your private bathroom
is to your left.

Behind you is my adjoining office.

Your private bar is to your left.
Bottle of Bols in the center.

You know me pretty good.

If you run out, shout,
I'm right next door.

This is nice, right here.

- It's the house that Ray built.
- Yes, it is.

Ray Junior, slowdown!
This ain't no baseball diamond!

Charles residence.

Mr. Charles?

Bring that boy over here!
I got a hot dog with his name on it!

Hello.

Yes, I know who you are.

What? Oh, God, no.

I'll get on a plane and be there
as soon as I can.

What happened?

Margie's dead.

Oh, God! How?

She overdosed.

I didn't start her, Bea.

I didn't let her do dope around me.
I wouldn't let that happen.

I'm sure, Ray.
I'm sure you set a fine example.

What about her baby?

You knew?

His name is Charles Wayne.

He was born October 1,
in New York City. He's 3 years old.

The baby's fine.

He's at her sister's.

I'll start sending them some money.

You don't have to.
I send them money every month.

In five minutes, Mr. Charles will
be here. He'll be ready to go.

The charts Jeff is handing out…

should be turned in
at the conclusion of…

You're late, that's a $50 fine.

I ain't late.

I give them
a 10-minute grace period, Joe.

2:05. He's late.
He'll be charged $50.

What? Where's Ray?

You don't have to talk to Ray,
you're talking to me.

I'll talk to whoever
I damn well please…

and it sure as hell ain't you.

Jive jerk.

Ray, this fool Joe Adams
is trying to fine me for being late.

What time did you get here?

What? Just now.
The band's still setting up.

- Jeff don't…
- I'm not Jeff.

That's a fact, Jack!

Ray, you said the band was my thing.

It is.

Then, Fathead,
go on back to rehearsal.

You know how it is,
you've been there.

Go on now. Let me handle this.

Fathead, go on now.

What the hell is going on, Ray?

I'm not doing anything
I haven't been asked to.

Ray's running a business.

He shouldn't have to waste time
hearing why people were late.

I'm not talking to you, Joe.
I'm talking to Ray.

I know you think
I'm soft on the band…

but those cats would do
whatever I ask.

If you come in with this
"running a business" crap…

you'll lose some good people.

There are musicians waiting in line
to play with Ray.

Not for long,
once they get a taste of you.

Ray, you're the leader.
Be one! Come on.

Things have changed, Jeff.

It ain't like the days of
The Chitlin' Circuit.

If you weren't busy building
a bowling alley, you'd see that.

So you know about that?

I know about everything.

I'm just trying to figure out
how you did it.

You think I'm stealing from you?

If the Shaw Agency gives you a cut
of the 10% I pay them…

I might as well keep
the goddamn money in my pocket.

Leave us alone. We need to talk.

Ray?

You can step outside, Joe.

I'll be in my office.

I know that jealous bastard planted
that lie in your head…

but I have never stolen
from you, Ray, and I never will.

I got a small business loan…

and Milt Shaw gave me
a little extra, but I'm no thief.

Then what about that?

A promoter swearing you did side
deals with him to split my overages!

How could you do that to me?

We've been through so much,
we're like brothers.

You know what?

If we were like brothers…

why are you paying Joe
more than you're paying me?

Damn that! You broke my heart.

You know what, Ray? You broke mine
a long goddamn time ago!

Well, then there it is.

You know something, Ray?
You're going to get yours one day.

And I pray God has mercy
on your soul, you son of a bitch!

Everything all right, Ray?

How the hell do you think it is?

Go tell him. Tell him!

Dad, I made the all-star team!
The game's on Thursday.

That's great. Damn! I'm not gonna
be in town. I'm on tour.

What if I buy you guys new uniforms?

Tell the coach I don't care
how much they cost.

- Okay.
- All right.

Take your dad's briefcase inside.

The plane to Montreal leaves
at 11:00. I'll pick you up at 8:30.

Did you hear
what Ray Junior said to you?

You know how much making
the all-star team means to him?

I know, but I got things on my mind.
We had to fire Jeff.

- What?
- He was stealing.

Jeff? I don't believe it.

We're better without him.

Excuse me!

U.S. customs!

We'll need identification, please.

You just arrived from Montreal?

Is there a problem?

We were alerted there might be drugs
on this plane.

That's outrageous!
I'm calling our lawyer.

No lawyers
at international checkpoints.

We'll have to search everyone
on this plane.

Mr. Charles,
we'd like to start with you.

I'd like to see your overcoat.

- I don't mind.
- Don't say anything.

What's this?

Ray, this isn't some judge
in Indiana.

It's federal.
A charge of smuggling…

can mean real prison time.

Our lawyers
will do what they can, but…

Hello.

You can't hide out in here forever.

It's my house.
I'm not in prison yet.

No, it's my house. You ain't
been here more than six days…

since we moved in.

No, Ray, no! A needle
ain't gonna solve this!

Only thing that can help you is God.

God? Do you know how it feels
to go blind…

and still be afraid of the dark?

Every day, you pray for just
a little light, and you get nothing.

- God don't listen to people like me.
- Stop it.

As far as I'm concerned, me and God
is even and I do what I please.

If I want to shoot up,
I'll shoot up.

Then go ahead!
But you walk out that door…

and I'm doing something
I should have done a long time ago.

I'm taking my boys and leaving!

You are not.
You have no place to go.

- No place?
- No.

You think I'm scared of losing this?

The only thing I was
ever scared of losing was you.

Because where was I ever gonna find
another Ray Robinson?

So I put up with
some terrible stuff.

Maybe that makes me part to blame.

But I ain't scared no more.

You know I love you and those boys
more than anything.

That is a damn lie and you know it!

You ever look at this?

Really look at it, Ray!

Ray Charles Junior's
"Most Valuable Player."

He was so proud this day…

until you came home too loaded
to go to his banquet.

No! There is something you love
more than me and them boys…

more than all the women
you ever slept with on the road…

more than all the dope
you ever took.

- What are you talking about?
- Your music.

And if you don't stop
using that needle…

they're gonna take away your music
and put you in jail.

Is that poison
worth losing everything?

Mr. Charles?

Mr. Charles.

You don't have to go through this.

We have a substitute
that can help wean you off heroin.

I have to do it on my own.
I can do it.

Don't touch me.

All right.

We'll do it your way.

Doctor?

Mr. Charles, I'm coming.

He's got no fluids left.
Get an I.V. in him right away.

- I'll insert the needle.
- No needles.

Yes. It's very important.
You need this.

I've got a runner!

Get him on the bed.

Put those restraints on him.

No needles.

George, I miss you.
I miss you, George. I miss you.

You might be in trouble
right there, Doc.

Hot damn, you whupped my ass again!

I won't lose again
the same way twice.

I spoke with the judge in Boston,
and he'll agree to probation.

He was impressed
with your attorney's arguments…

and he believes
you deserve one more chance.

Oh, that's great.

But you must complete
our program…

and agree to take
periodic drug tests.

I'll do it.

I know people don't believe I'm done
with this dope, but I'm finished.

Who's George?

Ray…

you've come through
the worst of the physical reactions.

We should begin
psychotherapy sessions.

Look, forget the headshrinking, Doc.
I can handle this.

Mr. Charles, you're not the first
celebrity junkie I've treated.

Junkie? What-

- Nobody cons me at any price.
- I'm not trying to do that.

If you want me to give that judge
a positive report…

you will have to earn it.

Doc?

Dr. Hacker?

Ray, come on, play with me!

He ain't there.

Talk to me, son.

I ain't no bad dream.
I'm a part of you.

Even all that dope
couldn't keep me away.

Mama, I kept my promise.

You got strong all right.
Went places I never dreamed of.

But you still became a cripple.

Come here, baby. Come here.

Ray?

It wasn't your fault.

Now promise us…

you'll never let nobody or nothing
turn you into no cripple ever again.

That you'll always stand
on your own two feet.

Promise.

We're here to right a wrong done to
one of our own 20 years ago.

In 1961…

Ray Charles
was banned from performing…

in the state of Georgia…

because he refused to play before
a segregated audience.

Thankfully,
we've come a long way since then.

Some of us have fought for equality
through the political process…

but Ray Charles
changed American culture…

by touching people's hearts.

So on this day, March 7, 1979…

we, the duly elected representatives
of the state of Georgia…

not only proclaim Georgia On My Mind
our official state song…

we also offer Mr. Ray Charles
a public apology…

and welcome him back home.

If only your mama was here.

She's here.

She ain't never left.