Original subtitles

["BRAND-NEW LIFE" PLAYING]

♪ There's a time for love And a time for living ♪

♪ You take a chance And face the wind ♪

♪ An open road And a road that's hidden ♪

♪ A brand-new life Around the bend ♪

[♪♪♪]

♪ Nights are long But you might awaken ♪

♪ To a brand-new life ♪

♪ Brand-new life ♪

♪ A brand-new life Around the bend ♪

["ALWAYS A FRIEND" PLAYING OVER RADIO]

♪ Always a friend ♪

♪ Someone I can talk to ♪

♪ Always a friend ♪

♪ Someone I can Always turn to ♪

♪ Time and again ♪

♪ When it seems as if... ♪

SAMANTHA: Hey.

Oh! Hey!

[TURNS MUSIC OFF] [STAMMERS]

I was just, uh-- Oh, no, no.

You were great.

Gee, there may be a career in this.

If you can only keep your voice from changing.

It works for Wayne Newton.

Hey, hey. Wait a minute, I want you to hear this song, here.

Chad McCann wrote this for Samantha.

That's Chad on the tape. Later, okay?

I've got to work on the Sturdy-Boy presentation.

What's that, what's that? That power tool thing?

Right.

Let me run an idea by you.

Uh-oh.

Now, I just want you to imagine

a man repairing a thatched roof in Ireland.

And as he saws, he sings.

♪ Oh, sturdy boy ♪

♪ Repairs, repairs are calling ♪

Now you know why her singing teacher shot himself.

Yeah.

It was an accident, Mother. He was cleaning his gun.

Hey, Mona, you want to hear the rest of the song?

So it doesn't bother you

that some kid is writing love songs to your daughter?

Mona, it's not a love song. It's a song about friendship.

And, anyway, what do you think I am?

One of those overprotective fathers?

Ha!

Hey!

Chad, arm.

Mona, did you hear Chad's song?

Well, just a little, but it sounded great.

Oh, trust me, it is.

He wrote it for me, you know.

Yeah, I just thought about Sam,

opened my heart and jammed it into my synthesizer.

Is he sensitive or what?

CHAD [OVER RADIO]: ♪ ...Since I don't know when ♪

♪ You're a shoulder I can lean on ♪

♪ Every now and then ♪

Why, hello there.

Hi.

Whoo!

Ray Charles!

You are Ray Charles!

That's what it says on my American Express.

Hey, come in, come in and have a seat.

Well, I hope I'm not interrupting.

I was just up in my agent's office there,

and I-- I heard that song.

It's a real nice sound.

Oh, I can't tell

you what a thrill this is for me, Mr. Charles.

Hey, just call me Ray.

How about Brother Ray?

You must be a real fan. What's your name?

They call me Sister Mona.

Oh, I have always dreamed of being a Raelett.

See, I have a great voice.

Oh, well, what do you look like?

I'm young, black and beautiful.

Oh, really?

Okay, you got me. So I'm not black.

[LAUGHS]

Mother, could you please get me the file for me on--

Look. Look who's here. Oh!

Well, good. I hope you know more about typewriters

than the last guy.

An-- Angela-- Well, so how about it?

Are you on a break or are you going to fix my typewriter?

Well, I-- I'll give it a shot. I'm pretty good at these things.

I certainly hope so. I'm paying good money.

All right now. Where is it?

It's to the left over there. You want me to show you?

Oh, no, no. That's-- That's okay.

[WHISPERING] Mother...

he's blind.

They sent us a blind repairman.

So what? I used to date a blind man, and I can tell you,

he was very good with his hands.

Anyway, he is not a repairman.

He's not?

All right. Here we go. What's-- What's the problem?

Well, see, the keys won't go down.

Then what's he doing here?

He is Ray Charles.

I don't care what his name is.

[LOUDLY] Ray Charles?

Yeah?

Oh.

Oh, I am so embarrassed.

Well, what about me? I'm your mother.

Uh, uh, Mr. Charles,

I just-- I feel just-- I don't know what to say.

What a faux pas.

I just-- I wasn't expecting-- I feel terrible.

Oh, that's okay, babe. Come over and try this.

All right.

Oh, my. It works.

Well, thank you. You are really talented.

Well. you know, it's always good

to have something to fall back on

in case the music just don't work out.

[LAUGHS] Yes, well...

Okay. Would you like to hear the rest of Chad's song?

Ray likes it too.

Yeah, it's-- It's a great song.

As a matter of fact, what do you guys do here?

Are you in the music business?

Oh, no. Oh, no, we're in advertising.

Oh, so that song is for a commercial.

Oh, no, no, not at all.

That song was written by a 14-year-old kid.

It's not at all the kind of thing that we would use.

Oh, that's-- That's too bad. Uh, it's kind of catchy.

Unless, of course, we could get the right person to sing it.

Um...

Mr. Charles.

Oh. Oh, baby. It's-- It's not my bag.

Oh, well, isn't there anything I could do

to put it in your bag?

[LAUGHS] Well, it--

It would have to be the kind of thing I could really get behind.

Oh. Oh, well, then I think we are really in business here,

because we're talking about a product

that brings friends and families together,

helps them build a better tomorrow.

Sturdy-Boy power tools.

This is usually where she sings

"The Battle Hymn of the Republic."

[LAUGHS]

Well, that's one of my favorites.

Truth is, Sister Mona,

I-- I dig Sturdy-Boy power tools.

Really? You--

You use power tools?

Oh, sure. I build a lot of things:

tables, chairs, bookcases.

Of course, God only knows what they look like.

[ALL LAUGH]

[APPLAUSE]

Just think, Ray Charles is going to sing his song

in a commercial.

[SQUEALS]

Who's Ray Charles?

This whole thing is so incredible.

What can I say? Chad and I make a great songwriting team.

Like Hall & Oats, Ashford & Simpson...

Irving and Berlin.

I thought Chad wrote the song.

The words and the music, but I was the inspiration.

The poor guy's crazy about me.

Chad!

Sam.

Uh, it's not what it looks like.

She means nothing to me.

Take it easy, Sam. You don't want to make a scene.

Bonnie, please, I'm a mature woman.

I know how to handle these things.

Ow! Oh!

Oh, Samantha...

How could he do that to me?

With Susie Sherman of all people.

She has a huge behind.

Maybe he couldn't see it from the side he was kissing.

Why'd he have to write that song for me?

He made me think I was special.

Oh, hey, now, Samantha, this may not help much,

but I think you're special.

Hey, forget about think. I know you're special.

You're the most special person in the whole world.

You're right. It doesn't help.

Boy, this-- This sure was easier when you were small.

I mean, you'd come in with a scraped knee or something,

and all I had to do to fix it was...

[IN DOPEY VOICE] What's the matter, Samantha?

[SPEAKING GIBBERISH]

[IN NORMAL VOICE] Hey, look at that. It still works, huh?

All right, honey, look, I got to go get dinner ready.

You okay?

Sure. Okay.

Love you. Love you too.

[IN DOPEY VOICE] Hey, Samantha, look at this.

Don't press it, Dad.

♪ Always a friend... ♪

Oh, Angela, please.

What? Is my voice that bad?

Your voice is fine.

It is, isn't it?

My late voice teacher told me

that it was not unlike Petula Clark.

I just don't ever want to hear that song again.

Well, why not?

Because Chad McCann is a toad.

Well, honey, what-- What happened?

I caught him kissing Susie Sherman.

Why that pubescent little philanderer.

How dare he treat you like that.

So you really understand?

Of course I do.

I'm a woman too.

And you'll stand by me?

Hey, we're sisters.

Oh, good.

I was afraid you'd still want to use Chad's song.

[SIGHS]

Pardon me?

Just...part of me dies every time I hear it.

Sam, sweetheart,

I feel terrible about what happened,

but you know it's not healthy to dwell on these things.

And as hard as is,

you've just got to pull yourself together

and get over it.

I will.

By 7:00?

That's when Ray Charles is going to be here.

See, he's done a new arrangement of the song, and he just--

He can't wait to run it by me.

Ray Charles is going to ask you about music?

Well, it is my commercial,

and we just have to make sure that we're simpatico.

Angela, I don't want him singing that song.

Samantha, there's a lot at stake.

Please try to understand.

I do. You care more about your business than you care about me.

That is not true.

♪ Always a friend... ♪

Jonathan, shut up!

Samantha, I know you're upset,

but that's no reason to take it out on him.

Yeah!

I said shut up, squirt.

Don't talk to him like that.

I can talk to him any way I want to.

Samantha, go to your room.

You are not my mother! You can't tell me what to do!

Samantha, go to your room!

Hey, oh, whoa. Oh, hey, hey.

What's going on?

Angela told me to go to my room.

Then go to your room.

You said we were sisters.

We're not sisters.

We're not even friends.

Oh, Angela, here.

Now, look, I'm sure she didn't mean that.

She loves you. I know she does.

She's just had a very rough day.

Which-- Which is still no excuse to talk to you that way.

She doesn't want me to use Chad's song.

Well, can you blame her?

I mean, can't you just get another one?

No, that's the song that Sturdy-Boy wants.

And what am I supposed to tell them,

that their multi-million dollar campaign is off

because Chad McCann kissed Susie Sherman?

[SIGHS]

They wouldn't understand, huh?

Tony. All right, all right.

I'll talk to her. I'll talk to her.

What are you going to tell her?

Oh, Angela. You don't tell teenagers anything.

You know, you start lecturing a teenager,

they get this glazed look in their eye, you know what I mean?

You're talking about the meaning of the universe,

and they're thinking,

"Gee, I need a yellow blouse."

You know what I mean?

Oh, Sam-- I'm not out of my room,

I just came down to get my books.

Now that my social life is ruined,

I might as well be a brain.

Um, why don't I just leave you two alone.

Now, Sam... Uh-oh,

I feel a lecture coming on.

Oh, hey, what do you mean a lecture?

I don't lecture you, do I?

Yes. Oh, well...

Well, this isn't a lecture.

Look, Sam, I'm not going to lay a bunch of stuff on you

about how sometimes you got to look at the bigger issues,

and sometimes in life you have to make sacrifices

for the people you love.

You need a yellow blouse?

Sorry, I must have drifted off.

Look, Sam, I know you're mad at Angela,

but she loves you.

She loves you like you're her own daughter.

And I don't think you want to throw away

a friendship like that.

I can't believe you're taking her side.

Sweetheart, it is not a question of sides.

It's a question of doing the grown-up thing.

I know this is not a lecture, but is it over?

I guess.

Thank you.

Well, next time I'll just stick with the funny faces.

[IN DOPEY VOICE] What's wrong, Samantha?

I don't know...

This should be plenty.

Hi, Mona. Where you off to? Bible class?

I am not going anywhere.

I wouldn't miss this dinner tonight for all the world.

Yeah? Well, I should make leftover meat loaf more often.

It's good. What?

You are going to serve leftover meat loaf to Ray Charles?

Ray Charles is coming here for dinner?

Yeah, in about 20 minutes.

I don't believe this! Why didn't Angela tell me?

Oh, Angela didn't call you from the office?

No, she didn't! [GASPS]

That's right, she told me to.

Well, isn't this better?

A phone is so impersonal.

Mona! I could kill you, Mona.

Tony, I had a million things to do.

Look, I had to get my nails done.

I had to rent a piano today.

And do you know how hard it is to find a gardenia

this time of year?

No jury in the land would convict me.

Come here!

[♪♪♪]

[PANTING]

Can I help? No, you might get hurt.

Let me know when he gets here.

[DOORBELL RINGS] He's here.

[WHIMPERS]

Well, it seems like Tony has everything

under control in the kitchen.

Can I get it? Of course you can, sweetheart.

Uh, Sam, are you okay?

Hello. Hi, Mr. Charles.

Oh, hi, there. And, uh, who are you?

I'm my mother's son.

Oh, well, what a coincidence.

So am I.

[ALL LAUGH]

Uh, this is Dave Hunt,

my driver and all-around good guy.

And this is Angela Bower.

Hello. It's a pleasure.

Well, I'll see you later. Okay.

Oh, well, you're welcome to join us.

Do you have cable TV?

No. Compact disc?

No. Hot tub?

No.

I'll wait in the limo.

[LAUGHS] Hey, hey, hey.

What it is, Brother Ray!

Hey, there she is. Yeah.

You remember Sister Mona.

Yeah, who could forget?

[LAUGHS]

All right, you come with me.

All right. Come over here and sit down.

RAY: Okay. ANGELA: Oh, Ray,

there is-- Come right here.

There is someone else I'd like you to meet.

All right. This is my housekeeper

and all-around good guy, Tony Micelli.

Hello, Ray. Hi, Tony.

Oh, boy, I am a big fan of yours.

A big-- I mean, you know,

we've spent a lot of romantic evenings together.

You mean, just the two of us?

[BOTH LAUGH]

Well, only when I struck out.

[LAUGHING]

Well, I never had that problem.

Ray, there's someone else I'd like for you to meet.

This is Samantha, Tony's daughter.

Hi. Oh. Hi, there.

It's nice to meet the lady behind the song.

I'll bet you it makes you feel pretty good, huh?

Yeah. Mm-hmm.

Well, what do you say? How about a drink?

Make it a double.

I was talking to Ray.

Oh, no. No, thank you.

I promised Dave I'd drive back tonight.

I got you.

[MONA LAUGHS]

Mr. Charles, would you sign my album?

Oh, sure. Which album is it?

Well, actually, it's not one of yours.

It's Simon the Singing Whale.

But he does "Georgia On My Mind."

Hey, Ray, it's a great rendition.

You know, Simon is one of the great blues whales of all time.

You get that? Oh, yeah.

Well, I-- I'm sure I can't compete with him,

but I can try.

Would you like to hear my arrangement

of "Always a Friend"?

Yeah! Oh, yes.

All right, show me that baby grand.

Oh! Oh!

I could sing along.

No, you couldn't.

[PLAYING NOTES]

♪ You are always A friend ♪

♪ Someone I can talk to ♪

♪ Always a friend ♪

♪ Someone I can Always turn to ♪

♪ Time and again ♪

♪ When it seems as if My whole world ♪

♪ Is caving in ♪

♪ You are always A friend ♪

♪ Someone I can Believe in ♪

♪ Always a friend ♪

♪ Someone I've been Needing so ♪

♪ I don't know when ♪

♪ A shoulder I can lean on ♪

♪ Every now and then ♪

♪ We've been friends ♪

♪ From the beginning ♪

♪ I love the way you always Smile at me ♪

♪ Oh, can't you see ♪

♪ I'm winning ♪

♪ Now my only wish ♪

♪ Is that someday I will be ♪

♪ Always a friend ♪

♪ Someone who will always Love you ♪

♪ Always a friend ♪

♪ Someone who'll be Worthy of you ♪

♪ Right from the start ♪

♪ You and me together ♪

♪ The two of us forever ♪

♪ I see in you the love ♪

♪ I wish you could See in me ♪

♪ Baby ♪

♪ Let it be ♪

♪ Always your friend ♪

♪ Let me be Always your friend ♪

TONY: Oh, Ray, that was great!

Whoo!

Ray, that was just-- Just beautiful.

But I'm afraid we won't be able to use the song.

Oh, honey, I can do it better.

[LAUGHS] No!

No, no, it's-- It's not you.

It's just that it's a little too painful for Samantha.

Uh, how's that?

It reminds me of someone I care about very much.

Yeah, it's the boy who wrote the song--

No, Angela.

Not him.

You.

Me?

You've been a real friend to me,

and I said some really bad things before.

I'm sorry.

It's okay, it's okay. It's okay,

I know you didn't mean it.

Oh, no, I really didn't. I was just so mad at Chad.

I know, I know.

I want you to use the song.

No, it's okay, I really can do without it.

No, it's important to you, and I want you to use it.

Really, I can find another one.

Angela, use the song.

Are you sure?

She's sure.

Hey, Ray, what do you say, how about an encore?

Hey, what about if I play something I wrote myself?

Sounds good to me, huh? Okay, here we go.

A one, a two, and a one, two, three, four...

five and a six and a seven, eight nine...

Isn't-- Isn't that how you do it, Ray?

Yeah, but I just wanted to see how high you can count.

[PLAYING "HALLELUJAH, I LOVE HER SO"]

[RHYTHMIC CLAPPING]

TONY: Oh, yeah!

♪ Let me tell you About a girl I know ♪

♪ She is my baby And he she lives next door ♪

♪ Every morning Before the sun comes up ♪

♪ She brings my coffee In my favorite cup ♪

♪ That's why I know Whoa, I know ♪

♪ Hallelujah I just love her so ♪

♪ When I'm in trouble And I have no friends ♪

Yeah! ♪ I know she'll go with me ♪

♪ Until the end ♪

♪ Everybody asks me "How I know?" ♪

TONY: Yeah? What do you say?

♪ I smile at them And say she told me so ♪

♪ I know, oh, Lord ♪

♪ Hallelujah I just love her so ♪

♪ Now if I call her On the telephone ♪

Yeah? What do you say?

♪ And tell her That I'm all alone ♪

What happens next?

♪ By the time I count From one to four ♪

Where is she?

♪ I hear her on my door ♪ [TAPPING]

♪ In the evening When the sun goes down ♪

♪ When there is nobody Else around ♪

♪ She kisses me And she hold me tight ♪

TONY: Yeah, yeah.

♪ And tell me Daddy, everything's all right ♪

♪ That's why I know Whoa, I know ♪

♪ Hallelujah I just love her so ♪

♪ Oh, hallelujah I just love her so ♪

♪ Whoa, hallelujah I just love her so ♪

♪ One more time ♪

♪ Hallelujah I just love her so ♪

Whoo!

[EXCLAIMING]

♪ They say... ♪

Whew.

Pretty good, huh?

Mmm. [LAUGHS]

You know, Ray, I never get tired of listening to your stuff.

Yeah, neither do I, babe.

[BOTH LAUGH]

Ah.

Let me think here.

What's the first time I heard this song?

Let's see... was it Annie?

[LAUGHS]

No, no, wait, wait. No, I think it was Cindy.

Yeah.

No, it was Tracey.

Uh-huh.

Thank you, Ray.

Hey, you got it, brother. Anytime.

♪ When the sun goes down ♪

♪ When there ain't Nobody else around ♪

♪ She kisses me She hold me tight ♪

TONY: Yeah, yeah.

RAY: ♪ And tell me, Daddy everything's all right ♪

♪ That's why I know Whoa, I know ♪

♪ Hallelujah I just love her so ♪

♪ Oh, hallelujah I just love her so ♪

♪ Whoa, hallelujah I just love her so ♪

♪ One more time ♪

♪ Hallelujah I just love her so ♪