GYPSY: 58 Atomic Boogie Hour 80

Tennessee.  Mississippi. Doing the once-over twice.  Back in '52 an engineer named Sam fancies himself a record producer.  In '46 a boy named Danny moves from Tupelo to Memphis.  In '67 a star wants to be born, and her name is Leigh Bullington.

MEMPHIS -- 1952

Inside an auditorium a big band do a sweet Glenn Miller impression into some standing mics -- a very moonlight serenade..   

As we turn away from the musicians we find the auditorium empty save for a few engineers transferring the music live from a table of doohickeys down below --

When the song ends one man at the table, a lanky white man with a red crew cut, speaks into a microphone --

DENNY DENTON

And what a way to conclude.  Good night folks --

DENNY DENTON looks over at the engineer beside him, a fella named SAM -- Sam gives him the cue that they are off the air.

OUTSIDE THE AUDITORIUM - MOMENTS LATER

Denny Denton and Sam the Engineer are walking down the street, and that street is BEALE STREET.  It is about 8pm.  Both smoking cigarettes.  (We have seen Sam before, perhaps the future).  This is dreamy Beale Street, alive with music and adventurous souls.

DENNY DENTON

Sammy, I like you.  We are -- what are we?  We're compatriots --

SAM

Buy in.

DENNY DENTON

I can't.

Only a block from where they have just broadcast, they enter another building.

INSIDE

Dingy stairs.  Black teenagers hanging about.

Sam follows Denny Denton up, up, up -- to a studio --

DENNY DENTON

Sam, there's nothing I care more for in this crazy world then American Negro music, but the answer is no.

And even as Denny says it he enters a radio studio; Sam sits on the opposite side of the glass from him..

SAM

Well ain't you just my hero, Dennis. 

Denny gets on the mic.. Sam cues him up with his middle finger --

DENNY DENTON

Good evening, Memphis!  It's bath day!  This be the Atomic Boogie Hour, and we gots every blues, boogie, woogie, and all the shoogie you ever woulda axed for!

LATER

Denny Denton and Sam the Engineer are sharing a joint on the roof of WHBQ, looking out over midnight Memphis..

SAM

I got a place.

DENNY DENTON

You got a place?  What are you gonna do there?

SAM

Make records.

DENNY DENTON

When you got somethin will move outside Memphis.

SAM

Shit.

DENNY DENTON

No need to cuss.

SAM

I'm mystified by your thought process.  Why would I want to move records out of Memphis?

CUT TO:

BACK OF THE SUPERMARKET -- TODAY, 16 YEARS LATER

Her name is LEIGH BULLINGTON.  She is seventeen years old, fat, pretty, dressed in a blue jump suit, with long black hair, and lush black eyebrows, and deep black mascara.

In her shopping cart are two dozen eggs, and two dozen beers, and a whole lot of butter.

She's smoking a long thin cigarillo.

AT THE CHECKOUT

She smiles at the nervous teenager adding up her bill on a legal pad as if she isn't a teenager herself.

OUT IN THE LOT - MOMENTS LATER

Leigh Bullington carries her swag over to a '64 Valiant, and dumps beer and eggs into the back seat.

Recognizes her own rough treatment, checks the egg cartons, finds two broken eggs, and drops them in the dirt of the market lot.

ON THE ROAD

Leigh Bullington turns the radio in the car to a fine country and western station, and sings along to Ray Price, (her favorite).

LEIGH

Please release me, let me go.

(hmm)

I don't love you anymo'

(yes)

To live together is a sin

(indeed)

So release me, and let me love again.

Leigh Bullington, it should be noted, has a remarkable singing voice.

BACK OUT BEHIND THE OLD CHURCHYARD

There is the skeleton of a fairground.  Men about the design, like archeologists in a movie, scurry and scrape, and from their work is formed a working model of a damn fair ground, with dining tables, booths, and stage, and games.

UP AT THE CHURCH

Leigh Bullington is inside the basement cutting together the beginnings of what will be baked pastry.

She's drinking as well.  And singing.

For some strange reason this church has a massive baking operation in the basement; oven, tables -- around Leigh are many other men and women working ..

Some of them sing with her:

I'm goin to Kansas City, Kansas City, here I come --

OUTSIDE AND LATE DAY SUN

A town of people are come to the churchyard, passing through the iron gate to the yard. Women coming from the church basement with fresh foodstuffs.  Music on the air.

Dogs walking in the dirt outside the yard.  And chickens.

A golden sparkling of setting sunlight through the trees casts everything with honey.

Children playing simple games.  Men crowding the booth where the kegs of beer are installed.

BACK INSIDE THE CHURCH

Leigh Bullington comes around the corner to find DOC MILTON waiting in the doorway -- a lanky, acne'd handsome man twice her age.

She makes to walk beyond him to the exit, and out to the yard, but he gently blocks her, puts his hands on her shoulders.

DOC MILTON

Whatcha got?

LEIGH

What'sit look like?

She steps out of his range. 

DOC MILTON

Been thinkin of you.

LEIGH

How's things goin up there?

With that she shakes him.  Carries her desserts outside.

LATER ON

A fine band of fiddlers on the stage playing ditties.  Lit by gas lamps.

Folks dancing.

Kids napping.

Dogs snooping for food.

Chickens nesting on the stone wall.

Old timers clustered at this table or that.

Leigh Bullington walking drunkenly down the dirt road, out of the light, with a muscle-bound man by the name of GIRK RICHARDS.

Holding his hand.  Looking up at his dullard face.

GIRK

I want to make an honest woman of you, Leigh.

LEIGH

Oh, Girk, don't worry about that.

Just down the street Leigh notices a black Cadillac parked.  Not a vehicle she recognizes.

And even as she spots the car a young feller steps out from the driver's seat.

KID JACK

Excuse me -- Hi there.

Girk squares up and stands in front of Leigh.

KID JACK

Is there a motel nearby?

For a moment no talk.

LEIGH

The Hilkins rent rooms about a mile back the way you come.  Sandy and Sue.  Big blue house.

KID JACK

Thank you.

LEIGH

'Course you could come on up to the church and have a plate of food, a cup of beer.  If you wanted.

Kid Jack looks back at the car.

LEIGH

Pleased if you do.

Girk isn't happy with her inviting him.

KID JACK

A mile back you said?

LEIGH

Blue house.  Sandy and Sue.

KID JACK

Wilkins.

LEIGH

Hilkins.

Kid Jack nods, and goes back to the Cadillac.

Leigh and Girk wait for the car to move before resuming their walk.  But the Caddy stays still.  So they walk.

GIRK

Doc'll be looking for you --

LEIGH

Let him.

And even as she says it she and Girk pass by the Cadillac.  At first she looks for the handsome young man she has just spoken to, he is there in the front, but what she sees, what she and Girk both see, of supreme interest, is what is in the back seat.

They pass beyond the car.  Look at each other.

LEIGH

Didn't that look just like Danny Fisher?

CUT TO:

WAY BACK WHEN -- TUPELO

That gravesite Huckleberry, ten years old, is back on the porch of his shit Saltillo house with his shit Woolworth's guitar.

His eyes.  Gone somewhere.

Out in the yard his Pa is talking with the authorities.

When that doesn't work his Ma talks to the authorities.

Then there's a limp scuffle.  And then Pa gets put into the police car.  And off from Saltillo Road the coppers take him. 

And Lil'Danny clutches the guitar.

SALTILLO -- THE NEXT DAY

Geneva Fisher drags her son down the hill of Old Saltillo Road.

UNDER

Under the highway she walks her son on a march.  Late day.

BUS

And to the bus stop she stops the march.  He's a bit scared by her dedication to their march.

And then the bus shows up, and they walk up in.

INSIDE THE OFFICE OF JIM BRITCHER

Here comes Geneva Fisher, with Danny in tow, right by the secretary -- into the office.

JIM BRITCHER hustles up from his desk at the intrusion.

BRITCHER

Mrs. Fisher --

GENEVA

What in the high heck are you thinking, Jim?

BRITCHER

Mam --

GENEVA

My husband never done nothin to you but give a day's work, it might not'ave been the hardest day a man ever worked, but it was honest!

BRITCHER

Mam --

GENEVA

-- Honest!

BRITCHER

Mam, He knew that check weren't his.

GENEVA

It was that brother of his.

BRITCHER

Might be so, but still --

GENEVA

Look at my boy --

BRITCHER

Mam --

GENEVA

That's my only boy.

BRITCHER

Mam --

GENEVA

My husband was fooled.

BRITCHER

He mighta been --

GENEVA

He was.

CUT TO:

BACK ON SALTILLO

Lil'Danny sitting on the porch.  And a man comes walking up the way.  It's his Pa.  He hops up excited.  Then his Ma pokes her head through the screen of the house --

And Danny sits back down, and collects himself.

CUT TO:

THE STUDIO

Redhead Denny Denton is back, about '54, working the mic --

DENNY DENTON

And who don't like a song'bout a Cadillac!

Up the stairs, and bursting into the studio is our man Sam, with a newly pressed record!

He nods at Denny. Denny takes the record and puts it on --

DENNY DENTON

And now we got something brand new, straight outta Mem-phis boogie comin your way!!  This is --

(nods at Sam)

SAM

Rufus Catchcat!

DENNY DENTON

Rufus Catchcat comin at'cho wit --

(nods)

SAM

I'ma Lovin You!

DENNY DENTON

I'ma Loving You!

And he plays it.

The song plays:  Rufus sounds like a deep basso black doing a slow-ass blues standard, about as dull and respectable and legitimate as the sound of crickets.

Denny Denton looks at Sam --

DENNY DENTON

Come on, Sam.

SAM

If that ain't a hit, I'm a one-armed monkey with two peckers.

CUT TO:

NOW, MISSISSIPPI --

Girk Richards is unzipping Leigh Bullington's blue jumpsuit.  Heavy kissing.

They're upstairs of the church.  Through the window the sounds of the town festival can still be heard.

GIRK

They're ain't no girl like you --

LEIGH

I know.

GIRK

Leigh --

She sighs, and looks out the window, his hands on her sizable breasts.

GIRK

I ain't got a ring yet --

LEIGH

That's okay --

GIRK

You're mother asked to see the ring --

LEIGH

She's a fool.

GIRK

(he kisses her cheek)

I love you.

LEIGH

Do you?

GIRK

I do.

LEIGH

Why?

Poor Girk has to think about it.  He even lets go of the tits.

GIRK

Because.  Because I.. I

(beat)

First of all I put these things in God's hands..

And as he says it music from down in the yard -- It's a Danny Fisher song -- 'Please Be Mean'

Leigh hears it.  She looks out the sweet empty blackness of night right out that window..

LEIGH

The thing is, Girk, God's hands are pretty full right now.

She looks at him.  Not much there.

CUT TO:

1952 -- HUMES HIGH SCHOOL

This is the first day of school.

Danny Fisher walking.  A new Danny.  His hair is greasy.  He's dressed in black slacks, black jacket.  Not tugging a lunch like the other kids.  He's fourteen years old.

Look at all them kids walking up the walk.

Every one of them with a crew cut.

And a lunch.

And they'all know each other.

Danny gets caught up in the logjam to get in the front doors.

SOME KID

Nice hair.

YOUNG DANNY

Thanks.

ANOTHER KID

It's a joke, ya idiot.

YOUNG DANNY

Oh.

SOME KID

Where you from, Gypsy?

YOUNG DANNY

Me?

ANOTHER KID

Me? 

SOME KID

You ain't from Memphis.

YOUNG DANNY

I live up Saltillo.

Now they're pushing into the school --

SOME KID

Figures

The kids walk on by.  A GIRL comes up to Danny --

GIRL

They ain't liking you on account them's nigger clothes.

CUT TO:

LATER ON THAT NIGHT

Young Danny is back at home.  Eating with his Ma and Pa.  His Ma heavier, sadder since last we've seen her, his Pa gone white-haired --

A potato for each of them.  And canned meat stuff.

Danny daydreaming.

GENEVA

You ain't hungry?

YOUNG DANNY

Not really.

GENEVA

How was school?

YOUNG DANNY

Fine.

(he's daydreaming)

Can I turn on the radio?

A look between the parents.

GENEVA

Yes.

He does.

DENNY DENTON (on the radio)

-- Atomic Boogie Hour, and our boy Sam has brung us anutter fine fixin of good lo-Memphis boogie!  --

CUT TO:

THE STUDIO - CONTINUOUS

Denny Denton looks over at Sam, and covers the mic --

DENNY DENTON

Who's it this time?

SAM

Big Mama Reardon.  'Who Scratchin The Kitty'

Denny Denton just shakes his head.

BACK TO:

THE SALTILLO FISHER HOUSE - CONTINUOUS

The Fishers listen on to Denton on the radio --

DENNY DENTON (on radio)

Big Mama Reardon with Who Scratchin The Kitty!

Geneva Fisher looks at her husband.  He smirks.

The song starts, and a lady singer belts: 

'Who dat scratchin the kitty, the kitty, the kitty?!

Who dat makin her purrrrrrrrrrrrrr!!!   

Young Danny looks at his parents, they seem to get something about the song.  He doesn't get it.

CUT TO:

OUT IN THE DARK OF MISSISSIPPI -- 1967

'Who dat scratchin the kitty, the kitty, the kitty! 

Leigh Bullington has extricated herself from Girk Richards, and is passing through the final drunkards in the courtyard of the church -- 

She passes beyond the stone wall, and looks up at the moonlit hills of her county: 

-- the blue house!  The Hilkins!  (Sandy and Sue)

She takes the first step to her destiny, and --

Doc Milton grabs her wrist --

LEIGH

Let go of me, Doc!

He does.

DOC MILTON

So sorry.

LEIGH

You're drunk.

DOC MILTON

You hold on --

He tugs her wrist back to him.

DOC MILTON

Leigh?  You going to marry that dumb-dumb?

LEIGH

Maybe I'll just walk on down that road.

DOC MILTON

(he lets go of her wrist)

Go ahead.  Where you gonna go?

Something ferocious about her.  He doesn't like it.

LEIGH

Who knows?

And as she walks away, he watches.  Watches until she disappears into the dark.

CUT TO:

THE STUDIO -- 1955

Denny Denton is sipping a flask.  Between the black kids he sees Sam coming up the stairs..

Denny waves him off --

Sam ignores Denny's dismissal, and enters the studio.

SAM

This is it.

DENNY DENTON

Sam --

SAM

You don't get it, this is the one!

DENNY DENTON

Sam --

SAM

Blue Moon of Kentucky --

DENNY DENTON

Christ in Hell, Sam --

SAM

No, no, no!  This time's different!  This is Danny Fisher.

DENNY DENTON

And who in the fuck's shit is Danny fucking Fisher?

CUT TO:

TONIGHT, OUTSIDE OF THE BLUE HOUSE --

Leigh Bullington, tiptoeing through the pig shit, calling up at lit windows --

LEIGH

Danny?

Walks on to the next window ---

LEIGH

Mr. Fisher?

Behind her.  She turns as she hears it --

Doc Milton steps out from the trees --

He is expressionless, but he walks on towards her --

LEIGH

Go home. 

Ten feet from her Leigh gets scared --

Before she can scoot a .38 comes out of the dark, and up on Doc Milton's temple --

He turns into the barrel, sees the weapon is a weapon, and freezes.

Out of the dark steps Kid Jack.

KID JACK

Hi.

DOC MILTON

Hi.

KID JACK

How are you?

DOC MILTON

Fine.  On my way home.

A long quiet.

KID JACK

In that case, let me apologize for aiming this piece at you.  You need to say something to her?

DOC MILTON

Nope.

KID JACK

Good night.

DOC MILTON

Good night.

Kid Jack pulls his piece.

Doc walks on back the way he come.  Through the trees.

Which leaves Leigh and Jack.

KID JACK

He seems peculiar.

She nods.  Looking at the pistol.

KID JACK

It ain't loaded.  I don't even like carrying it.

LEIGH

I suppose you coulda thrown it at him. 

He puts the gun away.

KID JACK

I heard your bird calls.

LEIGH

What's he doing here?

He no-sells her. 

She doesn't move.  Neither does he.

KID JACK

Tonight ain't the night.

LEIGH

Yes it is.

INSIDE THE BLUE HOUSE - MOMENTS LATER

Danny Fisher.  Sitting on a love seat.  Sweating. 

Music.  Music in the room.

SANDY HILKINS.  The woman who rented the room is at a piano.  She's sweet for an eighty-year old lady..

SANDY HILKINS

'I'm a goin straight to hell -- lest Jesus saves me now' --

Thankfully a knock on the door.

SANDY HILKINS

Come in.

The door opens, and in comes Kid Jack.  With him is Leigh.

SANDY HILKINS

Leigh!

LEIGH

Mam.

SANDY HILKINS

Come.  Sing with me.

Leigh looks at Danny Fisher: he's sweating all over his pretty self.

SANDY HILKINS

I'm workin on a building?

LEIGH

Sure.

And they begin --

LEIGH AND SANDY

'Im'a workin on a buildin -- It's a true foundation -- I'm holdin up the bloodstains -- ready for my lord -- well I never get tired, tired, tired of working on the building -- I'm going up to heaven to get my reward'

DANNY

Stop.

Sandy Hilkins stops playing piano --

SANDY HILKINS

Sir?

DANNY

Please, mam.  Just shut.

Behind Danny is that painting.

SANDY HILKINS

Shut?

DANNY

The.. the fucking door.  Please.

SANDY HILKINS

Daniel.

DANNY

Yes, Mam?

SANDY HILKINS

Are we in Mississippi?

DANNY

Yes.

SANDY HILKINS

Then I'd appreciate you cleaning up your language.

DANNY

Mam, yes.  I apologize.

SANDY HILKINS

Because the last time the fuck-word was a part of my vocabulary I was in France.  Here me, boy?

DANNY

Yes.

SANDY HILKINS

Now then.. Leigh --

LEIGH

Mam?

SANDY HILKINS

Pick a song.

LEIGH

Swing Down Sweet Chariot --

SANDY HILKINS

I said, a song.

Sweaty Danny laughs.  Everyone looks at him.

DANNY

I'm like a one eyed cat.

Looks.

DANNY

A one-eyed cat,

(laughing)

Peein in the seafood store.

SANDY HILKINS

Peeping.

DANNY

And then peeing.

Laughter.

SANDY HILKINS

You're all idiots.

Danny's woke up and all.  His eyes have life.

SANDY HILKINS

I have five children.

DANNY

Yes, mam.

SANDY HILKINS

Leigh.

LEIGH

Mrs. Hilkins, I don't know -- you know Slippin and Slidin?

Well.

SANDY HILKINS

Idiots. 

LATER

Mrs. Hilkins has retired.  Kid Jack, Leigh, and Danny Fisher remain.

Jack on piano.  Playing well without accompaniment.

Leigh Bullington watches on as Danny seems to be sleeping awake.

LEIGH

I want to be a singer.

KID JACK

That's not what I let you up here for.

LEIGH

Tough.  I'm here now.

Danny's sort of in and out.  Of conciousness.

LEIGH

Danny.

He opens his eyes.

LEIGH

Are you stoned?

He opens his eyes.  A little smile.  Closes his eyes.

DANNY

Why?  You got anything?

CUT TO:

MEMPHIS STUDIO -- BACK THEN, '56

Up the stairs.  More than just a few teenagers.

Through the door, into the studio.

Denny Denton is there.  Standing.  Welcome arms.

REVEAL: Engineer Sam has brought with him a nineteen year old Danny Fisher.

DENNY DENTON

Son.

DANNY

Sir.

DENNY DENTON

You know what's happening out there?

DANNY

Not really.

DENNY DENTON

I'm Denny Denton.

DANNY

I know that.  I been shopping at Lansky's, just like you say.

Danny shows off his bolero jacket.

Denny looks at Sam.

DENNY DENTON

Boy, we been trying to figure out who you sound like.

DANNY

I don't sound like nobody.

DENNY DENTON

Yeah.  

(beat)

I know.

CUT TO:

BACK TO TODAY -- MEMPHIS -- '67

Morning.  At Danny Fisher's famous house.

A long black '66 Continental pulls through the gate, and up to the house.  Parks behind a white Cadillac.

The driver scurries out, and opens the back door.  A husky middle-aged man in a grey suit and white cowboy hat gets out.

As he gets out, a YOUNG WOMAN is escorted from the house by a HULKING MAN; both pass by on their way to the Cadillac.

YOUNG WOMAN

Morning.

COLONEL

Good morning, Rhonda.

She smiles.  As she climbs into the back of the Cadillac, she smiles and waves.

The Caddy drives down the way.  The Colonel resumes. 

The doors of the house open for him.  In the hall a group of men are waiting in a neat row.

In this group are Red and Fat Phil, who last we saw were driving home in the first car, with Danny and Jack in car two.

Fate is a chunky old Dutchman..

COLONEL

Where is he?

RED

Don't know.

COLONEL

Don't know?

(looks at Fat Phil)

Do you know?

FAT PHIL

No.

The Colonel looks at the other flunkies.  He's got them all bent over.

COLONEL

Swell.  Swell.  This boy he got a girl lives here two years he promise to marry, she just left for high school.  He got the whole lot of you playing grab ass, and I'm footing the bill.  He got a movie that starts yesterday.  Yesterday!  And he's up and run.

RED

Sir.

The Colonel looks into Red's eyes.

RED

We think he's in Mississippi.

COLONEL

Why's that?

RED

I don't know really.  We just talked it over, and that's what we think.

COLONEL

I'm surrounded by clowns.