Original subtitles

- Previously on "American Soul"...

- There is no "Soul Train" without the dancers.

We set the trends and the fashion.

- I say who stays and who goes.

Dick Clark.

What are you doing talking to my dancers?

- They're doing "Bandstand" and the AMAs.

- The only thing you need to worry about

is staying away from the damn talent.

- We are the damn talent.

- The hell's going on over there?

- Oh, probably somebody going to get it on or something.

- Brother, is you gonna help me find my card?

- I have no idea what you're talking about.

- To your casino, man.

- You ran off to New York to chase your dreams,

and made him abandon his.

- I'm not made for this. I'm not that guy.

- You don't know who you are yet.

- ♪ The Soul Train... ♪

♪ The Soul... ♪

- What flavor you making?

- Red, baby.

- Please give a warm welcome

to one of "Soul Train"'s very own, Miss Flo Davis.

- ♪ That's the way, uh-huh, uh-huh ♪

♪ I like it, uh-huh, uh-huh ♪

♪ That's the way, uh-huh, uh-huh ♪

♪ I like it, uh-huh, uh-huh ♪

♪ That's the way, uh-huh, uh-huh ♪

♪ I like it, uh-huh, uh-huh ♪

♪ That's the way, uh-huh, uh-huh ♪

♪ I like it, uh-huh, uh-huh ♪

♪ When you take me ♪

♪ By the hand ♪

♪ Tell me I'm your lovin' man ♪

♪ When you give me ♪

♪ All your love ♪

♪ And do it, babe, the very best you can ♪

♪ Oh, that's the way, uh-huh, uh-huh ♪

♪ I like it, uh-huh, uh-huh ♪

♪ That's the way, uh-huh, uh-huh ♪

♪ I like it, uh-huh, uh-huh ♪

♪ That's the way, uh-huh, uh-huh ♪

♪ I like it, uh-huh, uh-huh ♪

♪ That's the way, uh-huh, uh-huh ♪

♪ I like it, uh-huh, uh-huh ♪

♪ When I get to be in your arms ♪

♪ When we're all, all alone ♪

♪ When you whisper sweet in my ear ♪

- I love it! I love it, Don.

Man, you got this place jumping, jack.

Look at all these black folk up in here working.

- JB, if I can't hire my own, then what's the point, right?

- Ain't no point. That's it, brother.

Man, I'm just happy to see a brother doing his thing.

You know what I'm saying?

- I hear you, brother. Listen, you're the one.

Got that tour.

You got 30 days and 30 nights all sold out.

- Yeah, brother.

Yeah, JB's been hitting it hard, man.

Yeah, Fred and Maceo. Some bad boys up there.

- Oh, yeah. I know, I know.

- Don't get me started on your girl Flo.

Man, she's something else.

- I told you she was good, right?

- Good? Good ain't the word, man.

That girl smart, sexy, talented.

Look good and smell good all the time.

[both laughing]

And how'd she go from dancing with me to dancing with you

here on "Soul Train" back to "American Bandstand," brother?

It's beyond me, man. She's super bad.

- Oh, yeah, oh yeah. That girl geRight, right, right.

JB, I'm gonna catch you later.

- You all right, brother?

- Yeah.

Never better. - All right, now.

Man, I love it. I love it.

Fred, Maceo. Thank you, brother.

One around side. [laughs]

- JB going ahead on talking about

docking somebody's pay for being late

when you late half the time your damn self.

- Yeah, well, the reason I'm late

is because I'm handling business

and setting up the next gig.

The reason you negroes are late

is because you can't handle your liquor or your damn women.

- Man, don't you worry about that.

You just worry about getting us paid

on time with your broke ass.

- What you say, Fred? - [clears throat]

Um, excuse me.

Hi, I'm Tessa. I work for the show.

- Tessa, you're beautiful. If there's I love you.-

Thank you very much. You're a cool girl.

We need some Kleenex for these brothers up here

Can you help us with that, doing alplease?crying.

- We ain't been paid in two weeks.

You'd cry, too, JB.

- Okay, I told you I'm gonna get your money tonight.

- You said that last night.

- All right, well, you'll get it tonight.

Man, now, Maceo, come on, brother.

You're raising up my pressure.

Don't raise my pressure. I'll bring it.

You'll get it tonight.

- JB, you need to stop taking us for granted, man.

Playing us cold like this--

we bring a lot to the table, too.

- A whole lot to the table.

And we trying to eat, just like you, JB.

- Brother, Fred, you look like you pushing about 300 pounds.

It look like you're eating real good to me, brother.

It must be real good.

Smothered steak, crackling bread,

grits and gravy.

Come on, now.

[cackling]

- Whoo! Okay, it is getting hot out there.

- Tessa, what is this about Flo dancing on "Bandstand"?

Dancing for the enemy?

- And obviously, it's getting hot in here, too.

Yes, Don, Flo dances on "Bandstand."

- And you let her do it?

- Let her? She is grown.

Bottom line, she is the most popular dancer on the show.

She was bound to get plucked at some point.

- Yeah, and she's bound to get fired if she doesn't quit,

like, yesterday.

- Okay, let me get this straight.

You have no contract for her, you don't pay her,

and now you want to fire her?

- Yes, damn straight.

The only reason that she is popular

is because of me, Tessa, because of "Soul Train."

I gave her that platform.

- Yes, Don, you gave her that platform,

but you did not give her the talent.

- And talent doesn't mean shit

if you don't have a place to showcase it.

This is about brand, Tessa. It is about loyalty.

And if she does not understand that,

then she does not need to be here, period.

This is my show.

- I think that everyone is aware

that this is your show, Don. We get it.

But wings don't make you fly,

and a crown don't make you a king.

- You want to bet?

[dramatic music]

- Let it slide, my brother.

I got you.

[laughs]

All right, now.

♪ ♪

[chorus vocalizing]

♪ ♪

- Come in.

- Hey, man.

I started not to come in,

but I think we need to clear the air here.

- The air was pretty clear before you walked in.

- So this what we doing now?

You not gonna let me explain about the casino?

- No need to explain.

I just need it to stop.

- And it will.

Just not now.

All right, I just need a little more--

Gerald, is that what you need, is time?

See, I finish your sentences

'cause I've already read this book before,

and I don't give a damn.

- You don't understand, Don.

There are a lot of moving parts to this,

most of which I don't have control over.

All right, I'm trying to get a grip on it.

I'm trying to settle it. - Mm-hmm.

And while you're busy doing that,

I still got an illegal casino taking place at my club.

- It's only ours if you got something to lose, Gerald.

- Oh, I got plenty to lose, Don.

You forget I put up most of the money for this club, not you.

Hell, if anything, the only thing you contributed

was your damn name.

- That's right. My name.

In case you hadn't noticed,

my name carries a lot of weight.

And your name ain't shit.

- By the way most people treat you

outside of your little fiefdom, your name ain't shit, either.

[phone ringing]

You should get that.

- This is Don.

- So when you get to Union Station,

no unnecessary pit stops, no chasing tail,

buying gum at the gift shop, none of that.

You gotta take a leak, tie a knot in it.

Bag in the box first. Got me?

[knock at door] - Got it.

- Go on.

[knocking] Yeah.

Oh, Mr. Brown! [laughs]

- Light skin, what's going on?

- Look at you.

I see you're still hanging on to that comb.

- Ain't no shame in my game, brother.

You know I'ma keep it

fried, dyed, laid to the side till the day I die.

[laughter]

What you say there, young blood?

- Fine. - This is my new trainee, JT.

Excuse his mouth for being open.

- I dig all your music.

I mean, all of it. Everything.

"Talkin' Loud and Sayin' Nothing,"

I promise I listened to that song almost every day.

The way you keep that low percussive in the b.g.

with that bass thumping that... [vocalizing]

Masterful.

- Somebody got a good ear.

- Yeah.

- [laughs]

- Union Station?

- Be good.

- So...

how much am I staking you for?

- How much you got, brother?

My money mands. just walked out the door.

- Say what?

- I'm messing with you.

[laughs] I got you.

Come on, have a seat.

Let me pour you a drink. You still drink, don't you?

- Only on days that end in Y.

[both laughing]

Ain't nothing changed but the time.

What you got, brother?

- Go on. Get in there.

There it is. - [laughs]

- Yes, sir!

- Hey.

- Hi.

- Listen, about the... - JT, I just want to...

Listen, I know what happened the other night

was kind of awkward.

I didn't mean for that to happen.

- Mm-hmm.

- Okay, that's a lie.

I want...

Maybe too much.

I know we can't go back.

We may not ever even be friends again,

but the one thing I am sure about is your music, JT.

- Simone, just leave it.

- You're a great writer.

A great writer with a lot of talent,

and you're not using it.

- Music consumed you.

Not me.

It's not my life anymore.

Like I've said, I moved on.

- To what?

Nice suit.

[funky music]

♪ ♪

- See you later, man.

I love you, man. Come on, brother.

Who loves you?

[indistinct chatter]

- Can you believe his mama said she don't like me?

[laughter]

And he got that nose thing.

- Morning.

- Something wrong, Mr. Cornelius?

- No, just need to have a word with Flo.

See you in there.

- What's up?

- How's life treating you?

- Pretty good until you stopped me.

what's the problem? I know it must be something.

- Well, I heard that you've been dancing on "Bandstand."

- There it is.

Look, just 'cause you hate Dick Clark

doesn't mean I have to.

- I don't really care how you feel.

You can't dance for "Bandstand" and dance for me.

- He pays. You don't.

And mama ain't raise no fool.

- Good.

Because hopefully she also told you that the only reason

that you're not swinging from some pole

or pushing groceries at Safeway is because of "Soul Train."

Because of me and the opportunity that I provide,

like dancing on tour with James Brown.

I made that happen. Me, not you.

So for you to throw that away to dance

on some vanilla show is stupid.

But you already knew that.

'Cause mama didn't raise no fool.

- You drive a cool car.

Jazzy threads, big house.

From the looks of it, you sure as hell ain't missing no meals.

But what do I get?

A two-piece box and a whole lot of lip?

- And an opportunity to dance in the spotlight.

Either let "Bandstand" go,

or you won't even get a chance to sniff

that chicken ever again.

Think on that.

Have a good show.

[dramatic music]

♪ ♪

- ♪ Baby, I remember you ♪

[vocalizing]

♪ It blows my mind ♪

[humming]

♪ Baby, I remember you ♪

[humming]

- That's nice. - [screams] Oh, Lord.

Oh, my God.

[both laughing]

- I'm sorry. I didn't mean to scare you.

- Whew.

You about to make me run up out of here, girl.

- Sorry.

It's just that song. I didn't want to stop you.

My fault. - Whatever.

You about to catch a pot upside the head.

[laughs]

- This smells good.

- Oh, it's ready. Grab a plate.

- So what's the song you were singing?

I mean, is it something new?

- Kind of. JT wrote it for me.

- JT wrote it for you?

- Mm-hmm.

- He wrote you a song?

- Yeah, it was a while ago.

He knew I was about to start singing at the Soul Train Club,

so he said he would write me something.

- Well, aren't you special?

Ex writes you a whole stinking song,

but he can barely give me the time of day.

What's that about?

- That's not about anything.

He was grateful that I helped him get better.

Song's just a way of saying thank you.

- How sweet.

- Tell you the truth,

I think he wrote it for himself.

Trying to work through some things in his life.

- Like what, me leaving?

- You know, most things aren't about you, Simone.

The boy lost his mother to heroin.

You watched him give her a fix.

He gets stabbed.

It took him over a year to recover,

and CPS just comes in and makes things worse

by taking his sister.

She's the only family he has left.

Give the boy the break he deserves.

- He never told me Aiya was taken.

- And you probably never asked.

[dramatic music]

♪ ♪

- I need to talk to you.

- Simone, I'm working.

- Okay, then, I'll just talk.

I know you may think

I'm some sort of spoiled, selfish,

superficial little brat that only thinks about herself.

And you're right.

I have been all of those things,

and then some.

And I want you to know that I'm sorry.

- Simone, I can't do this right now.

- I'm sorry for everything.

For not being there when you needed me the most.

Lost your mom.

Aiya.

- Simone, go home.

- Please. Forgive me.

Know that I still care about you.

I care about you very much.

- Simone-- - Come on, man.

She said she was sorry.

- Listen, I can't do this right now.

- Why not? Your mouth's working.

- JT, I need you.

I need you in my life.

[sighs]

- Look, I don't know why you're doing this.

- Because I have to.

- Man, you better go ahead and kiss that girl.

- Classic. Men want forgiveness,

but they sure can hold a grudge.

- Please, JT.

Give me another chance.

Let me make this right.

- Blake. - Yeah?

- Can you take over for me? - You got it.

- Appreciate it.

- JT, wait.

- I'll treat you right.

So can a...

brother get your digits?

[indistinct chatter]

- [sighs] - Did I say something wrong?

[upbeat disco music]

♪ ♪

- All right, there you go.

Yes.

- Go ahead, mama.

- There you go.

Okay, I see you.

And you. Okay, nice.

Very nice.

Uh-huh.

Glad you could join us.

Wait, what is wrong?

- Nothing. Don't worry about it.

- Flo, what is going on?

- It's just...

I don't have to put up with this crap.

Really, I don't.

I have options.

- Flo, what happened?

- Don.

He ain't right, Tessa. Nothing about him.

- Okay, okay.

[funky music]

♪ ♪

- Tessa, what the hell are you doing?

- Where is it?

- Where is what? What are you talking about?

- Flo's money for dancing with James Brown on tour,

and don't tell me you don't have it,

because I just saw him pay his band.

- It's none of your business.

- The dancers are my business, Don.

Sun up to sun down.

Flo went to James to see about getting paid for the tour,

and he said that he's been paying you,

that you told him to, like you're her manager

or something.

That poor girl has not been paid

since that tour started.

Now, what kind of bullshit is that?

- It's not bullshit. It's real shit.

Her money is my money.

Flo is a "Soul Train" dancer.

She's a part of my brand.

My brand, my profit.

She gets paid in fame, not finance.

- Man, I need a damn drink. Where's that bottle?

- James, come on, brother. Not right now.

I can't.

- Don, I need a damn drink,

or either I'm gonna go get my damn pistol.

Now, you choose.

- What happened? What's going on?

Fred and Maceo are gone, man. They been poached.

- Poached?

- Yeah.

Man, they didn't show up at sound check,

and their instruments are gone and everything, man.

And then I'm told that

they don't want to gig with me no more,

and they said they going over to George's.

- Who is George?

- Clinton, that's who. Or Starchild.

Or some outer space nonsense babbling foolishness.

He's a thief. A damn thief is what he is.

I was trying my best not to go to jail this year.

- Replace Fred and Maceo?

That can't be done, brother.

- There's other good horn players out there.

Dime a dozen.

- All right, Don, I'll tell you what.

How about we take all your "Soul Train" dancers

and replace them with ballerinas?

Huh? Don't work quite the same, does it, brother?

- Man, I'm just saying. The people come out to see you.

James Brown, the Godfather of Soul.

There's no show without you.

- Brother, I'd like to believe that,

but I'm not so sure.

You know, I've played with a lot of musicians

throughout the years, brother.

Hundreds of cats I've mixed it up with,

and I've never clicked as hard as I have

with Fred and Maceo, brother.

This group I got here is a bunch of talented players, man.

It's magic.

They get them horns going, brother,

it's something special.

Ain't no replacing that.

- I hear you.

But the show is tomorrow and you gotta figure out something

other than kill George Clinton.

- I never said I wanted to kill George.

Just beat the living daylights out of him.

- They're at Highlife Studios on Sunset.

- Who? - Who do you think?

And like you said,

they're with George and Parliament Funk.

Shall we plow?

- I already left, brother.

- J--JB.

Why would you do that?

Why would you tell him where they were?

- Wasn't like he wasn't gonna find out.

- I'm trying to save tomorrow's show, Gerald,

and I can't do that with JB locked up in county.

- Don, I'm trying to see a crazy-ass scrap, so...

[upbeat music]

♪ ♪

[dramatic music]

♪ ♪

- [sighs]

♪ ♪

- What if I would've walked in here with somebody?

What would you have done?

- I would've politely asked the young lady

if I could have a minute of your time,

talked to you, and left.

- Liar.

- Okay, so I would've scratched the bitch's eyes out.

You happy?

- Yes.

- [laughing]

Hey.

Forgive me for not asking you about this before.

But your mom. You okay?

- I mean, it took a while, but yeah, I'm okay.

She's not hurting anymore.

Obviously, I wish things were different, but...

she tried her hardest to bounce back, and...

hey, that's all I could ask for.

She just couldn't quite do it.

- And Aiya.

Have you seen her?

- Uh, yeah, yeah. I've seen her.

on the foster family I got she's staying with.ation

Some married couple in Baldwin Hills.

The man's a professor at UCLA,

and the wife's an interior decorator of something.

- That sounds great.

- Yeah, well, I guess.

Well, she looked happy when I saw her.

It's like I could barely recognize her.

I mean, Simone, she had gotten so big and beautiful.

Just by looking at her, you couldn't even tell

the life that she had, what she had to endure.

I thought about walking up to her and saying,

"Hey, your big brother will be looking out for you, always."

♪ ♪

- You're gonna get her back.

- I don't know.

I mean, should I even try?

They can give her everything I can't.

I have nothing, Simone.

What could I give her?

- You.

You can give her you.

You're gonna get your sister back.

We're gonna get your sister back.

I promise you.

- Hey, gimme more ride to the boogie.

[funky music]

♪ ♪

- Wait.

Went over to a friend's house.

His son was having a bar mitzvah.

That "Hava Nagila" sounds great.

- I stacked four Moog tones.

Got 50 tracks, minimum. Does work great.

- No, we vaulting that.

- The hell you are.

It's my song, George.

Wizard, hit it.

[keyboard playing] - Hey.

I say we vaulting that.

You just don't release music because you have it.

You got to be strategic.

- [sniffs]

- Damn.

Smell like that Nam bush up in here.

- Yeah, talk about high off of contact.

- They smoking so much,

you can't even see where they at, brother.

- Oh, JB, hold--

[overlapping chatter]

- Wait a minute.

Something's wrong in the universe.

Mr. James Brown.

Hey, baby. What it is?

- Ain't about nothing, George.

I just came for Fred and Maceo.

- Oh. They lost?

You must drive a cab now.

- Is that fool wearing a diaper?

- Try to look away.

- Listen here, George.

I'm gonna beat your ass if you don't stop poaching my people.

Traitors.

- Hey, now.

What's with the hostility? We don't need none of that.

Boots, why is James so mad?

- I don't know.

Maybe he needs a massage or something.

- Gary.

Why don't you do that shiatsu thing you do on everybody?

- You better back up before I act up, sucker.

- All right, now, hang on, fellas.

There has to be a way that we can settle this.

- Gigging on "Soul Train."

I'm with that.

- This ain't about you, Clinton.

Look here, man, I'm done messing around with you clowns.

All right, look, if you ain't outside in five minutes,

you can kiss my black ass.

- Don't do it, man.

When I worked for JB, his ass tasted like shit.

[laughter]

- [laughs] Yeah, very funny, Bootsy.

Glad you're having a good time.

Man, you know what? I was good to you, man.

You had sold out gigs, private planes,

the whole works.

[plays bass riff]

- Way I remember it, I made you look good.

- Listen, JB, we're coming back, man.

We just came to let loose with George for a little while.

- Well, why didn't you say that then, brother,

instead of making everybody think that you're leaving?

- Because you need to be afraid sometimes.

Afraid of what you might lose. Everything ain't about you, JB.

- It's your band, JB.

But damn, we all need some time in the light.

all: ♪ Everybody's got a little light ♪

♪ Under the sun ♪

♪ Under the sun ♪

♪ Under the sun ♪

[playing keyboard]

- I'm telling you. That's a hit.

- And I say just put it away for now.

- I'ma take it for the Parliament album, Boots.

- The hell you say?

My damn song is going on my first album.

Man, you worse than JB.

Snatching up all the credit, hogging the spotlight,

hijacking material.

- Come on, now.

Next time we gig, I'ma drop your single.

- [laughs]

Ain't so easy being in charge, is it, George?

- JB, we can't grow unless you let us show.

Man, you gotta let us show, bruh.

- Tell you what.

Don, tomorrow, we gonna need the full hour

on "Soul Train" to showcase the band.

- We already got the show scheduled.

- The man say he need the whole hour,

and the Mothership gonna need another three and half

if you want us to funk that little train of yours up,

ya dig?

- GC, I appreciate it, but maybe next time, all right?

- Well, hell, George, the Soul Train Club

could use a little funk.

There's a spot open tonight. Pays your rate.

- Well, that ain't nothing but a thing.

Pay our rate, it's a date.

- Mm.

- All right, what's going on, now?

- The Mothership is landing. You better get on board.

Oh, funk me!

[upbeat funk music]

♪ ♪

- ♪ Flashlight ♪

- ♪ Red light ♪

- ♪ Neon light ♪

- ♪ Ooh, spotlight ♪

- It's, uh--it's good to see you, JT.

How are things?

- Good.

I really didn't come here to talk about myself.

You said you had news?

How's my sister?

- Well, she--she's doing well in her new home.

This family seems to be a great fit.

They've started adoption proceedings.

- No.

- JT, they are a stable and loving family.

- No, no, listen, I can't lose Aiya, too.

Just let me put together some custody paperwork.

I just need a little bit more time.

I know what's best for my sister.

- Look, she doesn't even remember you.

JT, I know you love your sister.

But you're a single man with a spotty job history.

You barely make ends meet.

I mean, do you really want to put her back

into an unstable home life,

worrying about the roof over her head,

or food on the table?

- [stammers] I can put something together,

and I can work something out.

I at least have to try.

- If you care about your sister's well-being,

give her what your file says you never had--

loving parents and a safe place to grow up.

- Listen, you don't know my life.

All right, and nothing on that piece of paper

will ever give you the full story.

- Okay.

Okay, um...

in order to complete your application,

you must show proof of steady income,

provide personal and professional references,

agree to a background check,

health and welfare visits to your home and your work.

Okay?

[melancholy music]

♪ ♪

- ♪ We need the funk ♪

- Y'all get ready! - ♪ We gotta have that funk ♪

- ♪ Oh, we need the funk ♪

♪ Give up the funk ♪

- ♪ Oh, we need the funk ♪ - Let me hear you!

- ♪ We gonna have that funk ♪

- Come on, let me hear you.

- [singers vocalizing]

- I got to hear y'all.

- [vocalizing]

- You got funk, you got stack.

We have come to pump you up.

Yeah! Say, funk!

- ♪ You've got a real type of thing ♪

♪ Going down, gettin' down ♪

♪ There's a whole lot of rhythm going round ♪

- Tell it again!

- ♪ You've got a real type of thing ♪

♪ Going down, gettin' down ♪

♪ There's a whole lot of rhythm going round ♪

♪ Oh, we want the funk ♪

- Get up off your ass now.

- ♪ Give up the funk ♪

♪ Oh, we need the funk ♪

- ♪ We gotta have that funk ♪

- We want... - ♪ Oh, we want the funk ♪

♪ Give up the funk ♪

♪ Oh, we need the funk ♪

♪ We gotta have that funk ♪

- We have come to party.

- [vocalizing]

- Give it to me now.

- [vocalizing]

- Everybody say it now.

♪ ♪

- We gonna give you that, oh, no! You feel?

Ow!

- ♪ We're gonna turn this mother out ♪

♪ We're gonna turn this mother out ♪

♪ You've got a real type of thing ♪

♪ Going down, gettin' down ♪

♪ There's a whole lot of rhythm going round ♪

- A whole lot of rhythm.

- ♪ You've got a real type of thing ♪

♪ Going down, gettin' down ♪

♪ There's a whole lot of rhythm going round ♪

♪ You've got a real type of thing ♪

♪ Going down, gettin' down ♪

♪ There's a whole lot of rhythm going round ♪

♪ You've got a real type of thing ♪

♪ Going down, gettin' down ♪

♪ There's a whole lot of rhythm going round ♪

- Have mercy now.

- ♪ We want the funk ♪

- With me! - ♪ Give up the funk ♪

♪ Oh, we need the funk ♪

♪ We gotta have that funk ♪

♪ Oh, we want the funk ♪

♪ Give up the funk ♪

♪ ♪

[cheers and applause]

- Yeah!

We are here to funk you out.

Yeah.

[keys clacking]

- What's the matter?

Too much good music out there for you?

- Music?

Is that what you call it?

Sounds like a bunch of garbled nonsense,

if you ask me.

- See, that's the thing, Don. Nobody's asking you.

Most of those cats out there played with James Brown.

They put his show on blast,

just like his dancers, and he don't appreciate you

withholding wages from one of them.

- Flo works for me.

- Yeah, sometimes, but when she works with JB,

that's his reputation.

You really want to risk that relationship by being petty?

- And "Soul Train" is my reputation, Gerald.

The casino has got to go.

- I know. - No, I mean now.

- Right now. - Don, listen--

- No, you listen, man.

Either you kill it now, or "Soul Train"'s name

comes off the club, off the building immediately.

Come on, man.

I stand to lose everything if you get caught.

- Don, you ever heard of Mickey Cohen?

- I heard of him.

So what you saying? We mobbed up now?

[dramatic music]

Jesus, man. You know, Ruby was right.

You are a damn snake.

- Did she tell you that before or after she killed Willie?

♪ ♪

Yeah.

Stabbed him right in the heart right where you're standing,

and smiled about it.

Your girl Ruby.

So you gonna believe what she says...

don't turn your back on her.

♪ ♪

[laughter]

[upbeat music]

♪ ♪

- I remember the last time that I was...

[laughter]

Now what?

- I just came to say good job.

You looked good out there tonight.

- [sighs heavily]

May I?

- You got something to say?

- It's all there.

From the tour and earlier today

and a little extra for your troubles.

Look, Flo, I just wanted to say that I'm sorry.

JB and I just got our wires crossed

about how you're supposed to get paid.

Honest mistake.

- You don't have to apologize.

I should've been handling my business

with JB from the start.

Lesson learned.

- You do understand why I don't want you dancing

on "Bandstand," right?

Why it's a conflict of interest for me?

- Of course.

You believe that since "Soul Train" gave me my start,

made me who I am, that I should be loyal to it,

to you in essence.

- It just seems right, doesn't it?

- It does.

I mean, where would I be without this show?

- Well...

- According to you, nowhere.

I'd be dropping ass for dollars, right?

- Did I say that?

Look, I was just upset.

Looking for a little gratitude. That's all.

- But I am grateful, Mr. Cornelius.

Really, I am.

The past few years on this show have meant everything to me.

It made me who I am.

And I would never want to stop being part

of the "Soul Train" family. Ever.

- Well, as far as I am concerned, Flo...

you never will.

- We'll see.

I'm going over to "Bandstand."

Dick Clark just hired me as his new choreographer.

Cool, right?

I'll tell him you said hello.

- [chuckling]

♪ ♪

- Coming up on "American Soul"...

- What kind of games you playing, Don?

You better come up with the goods on Aims,

or "Soul Train" is next.

- What are you talking about? What do you know?

- Police! Nobody move! Hands in the air!

I got you, Aims.

- I didn't rat you out.

Maybe you should check your own backyard.

- You still love me?

- Did you really think it'd be that easy to get rid of me?

[screams]

- The longer you keep working with them,

the harder it's gonna be to regain your credibility.

- If they don't show up for the taping,

I will sue your ass for breach of contract.

You hear me?

- What is wrong now?

- My main act pulled out, that's what.

- You think this is payback?

- [grunts]

- Any idea why a notorious Chicago mob hitter's in LA?

[people screaming]

- To make the kind of money you need to make

to really help your sister,

you might have to get your hands dirty.

[gunshots]

Everybody's got limits, Don.

[gasps]

- Man down! Help!