Quantum Leap (1989–1993): Season 5, Episode 21 - Memphis Melody - July 3, 1954 - full transcript

While impersonating the King, Elvis Presley, Sam must save a Memphis Belle from a bad marriage.

Theorizing that one could time travel
within his own lifetime,

Dr. Sam Beckett stepped
into the Quantum Leap accelerator...

and vanished.

He awoke to find himself
trapped in the past,

facing mirror images
that were not his own...

and driven by an unknown force
to change history for the better.

His only guide on this journey is Al,
an observer from his own time,

who appears in the form of a hologram
that only Sam can see and hear.

And so, Dr. Beckett finds himself
leaping from life to life,

striving to put right
what once went wrong...

and hoping each time
that his next leap...

will be the leap home.

- Get on down there! Move it!
- What's goin' on?

- Find out soon enough, boy.
- Huh?

You need a little trim, Elvis.


Oh, boy.

Uh, look, guys, I-I think if we
just discuss this,

if we, you know, uh, talk about this,
we can work it all out.

- Is that what you're thinkin'?
- Yeah.

We should take a little
off the top first.

Maybe I ought to take
some off your top first.

On your feet!

- We ain't through with you yet!
- I'm all shook up!

- Will you quit pickin' fights?
- Huh?

I-I-I didn't pick that fight.

But I want to thank you
for your help though.

- Thanks for your help?
- Yeah.

Since when don't I help you?

Well, I mean,
thanks for your help again.

- Again. All the time.
- Yeah.

Well, we gotta get out there
and... comb that hair.

It looks like a chicken
scratched in it.

Somebody ought to put that thing
out of its misery.

- Anybody got a skillet?
- Sam? Sam?

You'll never guess who's
in the waiting room.

Elvis Presley.
You're him, and he's you.

I know I'm him, and he's me.

Mmm-me-me, me-me

Just warming up a little bit.

I'll tell you one thing I
would like to know though

is what the heck I'm doin' here.

Ziggy's working on it,

but she's working with diminished
capacity because she's starstruck.

I told you you were crazy.
Thank the Lord this is only a rehearsal.

Do you know who this is?

This is Red West,
one of Elvis's best friends.

This is incredible, huh?

Oh, no.

She's gonna barf
all over the place.

I think he's right.

Poor thing.

Well, looks like we're
gonna have to move on here.

For the time being anyway.

Jus-Jus-Just take it easy now.

Just catch your breath, all right?
Just breathe, okay?

Uh, Sam, watch out.
You're gonna be wearing her lunch.

- Poor thing.
- Yeah.


- So?
- So?


I know Ziggy is working under some
kind of a diminished capacity,

but she's gotta have some idea
as to what I'm doin' here, right?

Yeah. Yeah. Oh, yeah.
You're singing in the...

Southern Salute to America.

It's a talent contest.
This here is a rehearsal.

No, no, no.
Why am I here as Elvis Presley?

Because this is a very
important time in Elvis's life.

In only two days,
he gets discovered.

He gets discovered just
fine without my help.

- You're not here to help Elvis.
- What?

Eighty-one percent chance
you're here to help Sue Anne.

- Well--
- But not now!

Al, I gotta go find her.
I may never see her again.

You'll see her again. She's a local.
She works at Taylor's Diner.

If I'm supposed to help her,
why can't I start helping her now?

- Because no matter what you do,
- Yeah?

you cannot, not, not,
not mess up for Elvis,

Or change anything,
'cause you'll change history big-time.

If I go check on Sue Anne, how is
that gonna effect Elvis's life big-time?

- Well, it is, because... you're on.
- Is Elvis Presley here?

- Huh? On?
- On!

- I'm on?
- On. You're on.

- On?
- On.

♪ Oh, I wish I were ♪
♪ in the land of cotton ♪

♪ Old times there are not forgotten ♪

♪ Look away, look away, look away ♪

- Sam--
- ♪ Dixieland ♪

- S-Sell it a little bit.
- ♪ I wish I were in Dixie ♪

- ♪ Away, away ♪
- I wish I "was" in Dixie, not "were."

♪ In Dixieland
I'll take my stand to live ♪

- ♪ And die in Dixie ♪
- Sam, you're not trying.

- ♪ Away, away ♪
- Oh, boy.

- Oh, boy.
- ♪ Away down south in Dixie ♪

♪ Away, away ♪

♪ Away down sou-outh ♪

- Ow.
- ♪ In Dixie ♪

Sam, I know you
can do better than that!

Just have Ziggy get me
outta here fast, okay?

All righty, here now.
Who's next here?

Just remember, you're a legend.

Uh, where's that square dancin'group,
the Hicks Hoppers?

Now, what happened to you
up there, Elvis?

I-I just was having
kind of an off day, you know?

- Ain't that the truth.
- Yeah.

Miss, we're ready to
order over here.


When did you start
callin' Sue Anne "miss"?

I'm just kiddin' around, you know?

- You say you're ready to order?
- Yes. Let's see. Uh--

I hope she can stand
the sight of food.

I heard that, Red.

Aw, come on, Sue Anne.
Now, I was just kiddin'.

Don't go takin' it to heart.
Wait. I'll handle it, okay?

I'm-I'm really sorry.

W-We don't mean
to hurt your feelings.

You know, I-I came here
especially just to see you.

Elvis, the two of you been comin' here
long as I can remember,

and you never paid me
no never mind before.

Well, that was before.
But now, it's different.

I mean, we used to come here
for different reasons.

I-I-I-I'm sorry. My--

My head's a little shook up
from the rehearsal still.

I-I-I was pretty scared.
Yeah. I know the feeling.

But, you know, stage fright
can be a good thing.

Because once your, you know,
knees start to knockin',

it kinda gets you moving.

Yeah, well, I don't-I don't
worry much about my knees.

Oh, yeah.

I guess I'll never
make it to the Opry.

- Why not?
- Why not? You just saw why not.

- Julie, honey, order's up.
- Yeah.

- Julie!
- I heard you the first time!

- I'll see ya.
- See ya.

That child's such a dreamer, she'd lose
her head if it wasn't screwed on tight.

You know, there-there's nothing
wrong with being a dreamer.

It hurts too much
when you wake up.

You'll never know
unless you try.

- Now, what's it matter to you?
- Uh, it just matters.

You matter. Look,

everybody should be a dreamer.

You gotta reach for the stars,
not for the ceiling.

But the ceiling keeps you
outta the rain. Excuse me.

What kind of music
do you like the most?

Uh, gospel, I guess.

- Give me this.
- What are you doin'?

- Sing something.
- What? Here?

- Right now.
- I'll get fired.

No, you won't get fired. Come on.
Sing something right now. Sing with me.

I can't.


All right! All right!

- All right!
- Yeah!

You sing like an angel.
Aw, go on.

No, you do. It's true.
You got a lot of talent.

Well, then the good Lord must've
been smilin' down on me.

You must've been
reachin' for the stars,

'cause I don't think he could
see you through the ceiling.

Come on! Let's do another
one! Come on! Let's go!

Don't stop. Let's do
another one. Come on.

- Let's do another one.
- I can't. I'm all sung out.

Come on.

You wanna do another one?
Let's do another one.

You wanna hear
'em do another one?

- Yeah!
- Here we go!

- All righty.
- Oh!


Sue Anne?

What in God's earth is goin' on here?

We're just havin' some fun.

You're a lady, Sue Anne, and you will
comport yourself properly in public.

Ooh, apple pie!

- Look, we were just singing a song.
- Elvis's favorite. Mmm!

- Gospel, as a matter of fact.
- I wish I could taste it.

Well, our type of people save
gospel singin' for Sunday mornin'.

- I sing it whenever I can.
- That so, boy?

My name is Elvis Presley.

- And you are--
- I know who you are.

Everybody knows
you're bad news, boy.

This nozzle
would be Frank Begley.

I'm not sure I like being called a boy.

And I don't like your type
hangin' around this establishment.

That's a shame, 'cause, you know,
I-I was just gettin' ready...

to sit down over here
and have some lunch.

Would you care to join us?

I don't eat with
barnyard animals.

Let's go, Sue Anne.

Well, what about the rest of my shift?

Your sister can cover your shift.
Isn't that right, Julie?


Now, you keep a distance
from my fiance, ya hear?

Enjoy your food.

He treats her like he owns her.

Well, leave it alone, Elvis.
There's a lot more fish in the sea.

- Frank Begley's a good catch.
- Do tell.

His family owns the biggest
shoe factory in Louisville.

Well, then, there now.

Can you beat that?
The biggest shoe factory in Louisville.

Sam, Julie's right.
Sue Anne marries Frank.

They live in Louisville
where he runs the family business.

- I guess she'll never go barefoot.
- Say what?

Uh, nothin'. Nothin'.
Look, uh, you go on.

I'm gonna make a phone
call, okay?

All right.

- See ya later, Red.
- See ya.

- Did you hear her sing, Al?
- No.

- How is she?
- She's great.


It's gotta be what
she was meant to do.

I don't know about that.
Ziggy says Sue Anne Winters...

really didn't do anything
with her singing.

She married Frank,
and he left her after two years.

And he was kinda free and easy
with the back of his hand too.

Well, we can't let that happen.

Look, both of us know you're
here to help Sue Anne,

but you can't mess up
anything for Elvis.

All right. Look,
you just tell me what Elvis did,

and I'll make sure that
I don't mess it up.


In the morning, you gotta go into
the recording studio at Sun Records...

and cut a record
for your mother's birthday,

and at the same time
impress Marion Keisker.

She works at Sun Records, and she
will play the record for Mr. Phillips,

and the rest is history.

You just gotta cut the
record tomorrow morning.

All right. I'll be there.

Now, what about Sue Anne?

Uh, well, you're gonna see her at
the talent contest tomorrow night.

She was going to drop
out, but you changed that.

Okay. Good.

Well, I gotta go.
I don't wanna be late here.

Late for what?

Elvis is gonna give a private little
concert for us in the waiting room.

- What?
- Standing room only.

I don't wanna be late.

- What about me?
- What about you? Uh--

Oh, you're late too.
You're late for dinner.

- What?
- Yeah.

Your mama's gonna be very unhappy.

Hi. How y'all doin'?

Elvis Aaron Presley.

I'm fit to be tied,
that's what I am.

You better have a darn good excuse
for bein' late, young man.

I'm sorry, ma'am, but I don't.


I guess an apology's
better than an excuse.

- Just see it don't happen again.
- Yes, ma'am.

- You forgettin' somethin'?
- Hmm?

Oh, yeah.
I probably should wash my--

Uh, for what we are
about to receive,

may the good Lord
make us truly grateful.

- Amen.
- Amen.

- How was your rehearsal?
- Mmm.

Pretty good.
But it's gonna get better.

I'm going to get better.
Much better.

In fact, I think it's what
I'm meant to do.

Be a singer, I mean.

Is that what the
good Lord told ya?

Well, in a way, yeah.
As a matter of fact, he did.

Well, since you and he
are on such good terms,

maybe you could ask him to take care
of that stack of bills on the counter.

I'll tell you what, Mama.

Someday, I'm gonna take care
of all that for ya.

What? You gonna rob a bank?

No, ma'am.
I'm going to become a famous singer.

- Oh, like, uh, Perry Como?
- No.

Not like Perry Como.
Um, bigger than Perry Como,

and even bigger than that,
uh-- that Pat Boone guy.

Bigger than Pat Boone
and Perry Como put together.

You wait and see, Mama.

Just start whenever you're ready.

- There's nothing to worry about.
- Oh, I'm not worried.

Don't worry about me.

Elvis sings like
nobody you ever heard.

Are you ready?

Uh, just-just a second.
I'm almost ready.

I just have a last couple things to tune
up here, and I'll be right with you, okay?

Oh, good. I got here
just in time looks like.

You sure did. I'm about to give Marion
Keisker the concert of a lifetime.

- Great. What songs you gonna sing?
- Sun Records.

Well, "Amazing Grace"
worked pretty good.

No, no, no, no, no.

You gotta sing exactly
the same tunes that Elvis sang.

What were they?
Uh, My Happiness...

and That's When
Your Heartaches Begin.

- I never heard of those songs.
- You're the one...

that programmed Ziggy's data banks
with all of Elvis Presley's hits.

You know 'em backwards and forwards.
You used to sing 'em for days in a row.

- Drive me crazy with 'em.
- Is he all right?

You okay?

Yeah, I'm fine.

Um, well--

Actually, I got a little bit of a--
Frog in my throat.

Let me just get a little water.
I'll be right with ya, okay?

Sam, don't panic.
Those are great songs for him.

That's all wonderful, except
I'm not Elvis, and he's not here.

Okay, I'll sing the songs,
and you repeat after me.


I'm afraid we need to
start, Mr. Presley.

Come on.
Come on, come on, come on.


Okay. Okay.
Key. What key?

"C." "C."

Here we go.

Why'd you stop?

- Sam. Sam.
- That's Jingle Bells.

- Huh? Come on, Sam.
- That's Jingle Bells.

- Take it from the top. Come on.
- No, no, no!

Would you like to reschedule
your appointment?


I'm gonna sing another song.
No, Sam.

You've been practicing
this one for weeks.

I know. I'm tired of it. That's because
I've been practicing so much.

whats wrong with Jingle Bells.


Sam, Elvis recorded a whole
album of Christmas music!

- No! No! I don't care what he--
- Oh, geez.

- Blue Christmas.
- Blue Chri--

Okay. "Blue"-- Wait, wait.
I thought it was white.

Yeah, well, Elvis had a big hit
with blue! Okay, I'm ready now.

Thank God.

Seventy-five, one dollar.

You can pick up your
record tomorrow.

Thank you.

Wait. She's gotta play it for
Phillips. Tell her.

Listen, is there any chance
Mr. Phillips might like to hear this?

You're crazy.

It's hard to be in the mood
for Christmas carols in July.

- Well, I know that but, uh--
- You can't leave,

'cause Ziggy's projecting
that Elvis never meets him.

Let me ask you this.

You think he might be
at the talent show tonight?

Oh, Mr. Phillips is far too busy
for talent shows.

- Well--
- Tell her it's a regional show.

- Really big!
- It's a big, regional talent show,

and there are gonna be a
lot of fine performers there

that he might want
to take a look at.

Plus the fact that I understand
that there are going to be

some talent scouts
from Nashville there.

- You're full of it.
- The odds are going up now.

Marion's thinking about going.

Actually, I usually screen
the new acts around here.

I have a real eye for talent.

Is that so?

Touch down. I'm gonna run this by
Ziggy, but I think we're back in the game.

Uh, well, uh, does that mean
that I'll see you tonight?

- Are you going to sing?
- It's what I do best, ma'am.

Oh, Sam. Good news.

Ziggy says 90% chance that if you go on
tonight, you're gonna win Marion over.


Now, come on.
Let's give a big hand...

To little Billy C.,
all the way from Hope, Arkansas.

Nice job.

Good job, kid. Yeah.

Al, I'm after the pig
caller, okay?

It shouldn't be
much competition.

Yeah. It depends on how good he is.

- Oh, no.
- What?

Oh, no.
Oh, she's gonna blow chunks again.

Somebody get a mop.
I can't stand it.

No! Sam! Sam!
You're not on yet, Sam!

- Uh--
- Oh, no.

Miss Sue Anne Winters
and Mr. Elvis Presley!

Take a bow, you two. Come on.
Ain't that somethin'else?

Boy, those are two special people
right there. What a performance.

- Do you hear that? They loved us!
- Yes, they did.

- You were great! You were--
- Congratulations.

Thank you.

I want to see you at Sun
Records tomorrow at noon.

And don't be late. Mr. Phillips
leaves for Nashville in the afternoon.

Okay. All right.

- I'm so happy for you.
- Honey, you're half the act.

Now, y'all be on time, you hear?

- Yes, ma'am.
- Yes, ma'am.

Half the a--

Oh, my gosh.
This is the happiest day of my life!

- Not mine.
- It's all because of you.

No. No, it wasn't just me.
You were out there too, right?

- I couldn't have done it without you.
- Oh, come on.

Sam, you're not supposed
to be a duo, Sam!

Sam, you're turning the king of
rock and roll into Donny and Marie!

Oh, Elvis, I--

I love you, Elvis.

According to Ziggy, the odds of the
two of you getting a recording contract

are a lousy 19-to-1.

Al, news flash.
Ziggy has been wrong before.

- Mmm.
- Right?

Yeah, but in 1954, the world was
just not ready for Sonny and Cher.

As a matter of fact, the world
was never ready for Sonny and Cher.

Al, Sue Anne is special. I mean,
there's something unique about her.

I mean, she's innocent
and-and-and vulnerable, and--

Yeah, I know.

Elvis has a soft spot for her, too,
but the Hollywood publicists...

did not want him
to have a girl back home, so--

So he forgot about her.

I don't know if he forgot about
her, but he never went back for her.

So don't think
what you're thinking.

How do you know
what I'm thinkin'?

Because I know you. In three
years, he's gonna meet Priscilla.

They're gonna get married and have a baby.
You don't want to jeopardize that.

- You don't want to jeopardize any of it.
- I don't know.

I mean, what about what happened
to Elvis later on, right?

I mean, maybe if he'd
been with Sue Anne,

then things would've ended
differently than they did.


Aw, great.

I need to have a few
words with you, boy.

How about, "Have a nice day"?

Look, let's just call it a
truce, okay?

I don't soil my hands with trash.

Yeah, well, Frank,
what do you want?

I think he-he wants
to punch you out.

You've compromised
a lady's honor.

I don't take kindly to that,
especially when the lady's mine.

Yeah, but she's not yours.
She doesn't belong to you.

- That a fact?
- That's a fact.

Did you see her up there
on that stage tonight?

- She's got talent.
- She has a delicate condition.

Well, her condition
seems just fine to me.

Good, Sam.

Break it up! Break it up!
Break it up!

- Stay out of this, Red!
- Break it up now!

Good, Sam.

Break it up!

Left! Use the left!

- Hey, that's dirty!
- Okay. You wanna fight dirty?

I know how to fight dirty.
You want a lesson in fightin' dirty?

How about it, Elvis?

Let him go. Stop it!

- Let him go.
- Get up. Go!

Shame on the both of you!
Are you all right, Frank?

"Are you all right, Frank?"
What about the Pelvis?

How could the two of you
gang up on him like that?

We didn't gang up on him.

He started the whole fight.

Red here was comin' to help me out.
He started kickin' me.

Don't lie. I know what I saw.
Lyin' ain't gonna do you any good.

He ain't lyin'.

- Hush up!
- Look, we didn't gang up on him.

I said hush! I don't know.
Maybe Frank's right.

I didn't want to believe the
things I heard about you,

but maybe they really are true.

Come on. You think you can walk?

I'll try.

Easy. Easy.

Ooh, I'd like to give
him one more pop!

Come on.

You stay away from that man,
ya hear?

You're always gettin' into scrapes these
days. I don't know what to do with you.

Look, I didn't start the fight.

It don't matter who started it.
It takes two to finish it.

What's so special
about this girl anyhow?

How'd you know it
was about a girl?

'Cause I'm your mama.

You gotta stop this fightin', honey.
Last fight cost you your job.

You get fired from
Crown Electric--

I'll find something
better to do.

Doin' what?
Sweepin' sunshine off the sidewalk?


- Now, don't worry, okay?
- Oh, Elvis.

- Everything's gonna work out.
- How do you know?

I just know. Like I know
about-about other things.

- Like what?
- Well, like--

like I know about my singing.

Elvis, honey, I keep tellin' you,
you have to be realistic.

You want realistic? All right.
I'll give you realistic.

You are gonna live in the biggest house
you can ever imagine.

You are gonna have the most
beautiful clothes and drive a new car.

And you are gonna be the mother
of the most famous singer who ever lived.

I don't know whether to kiss
you or slap some sense into you.

I'll go for the kiss.

- Oh, honey. Mmm!
- Ow!

- Oh, I'm sorry.
- That's okay.

1954 was an age of innocence,

a time when people still believed
in the American Dream.

I realized that I had leaped
into a man who personified that dream,

a man who went from being a truck driver
to a superstar overnight.

Walking a mile
in Elvis Presley's blue suede shoes...

before he became
the idol of millions...

made me realize he was
Just a normal person.

I kept wondering if he would have been
happier had he stayed that way.

Maybe I couldn't change
things for Elvis,

but at least I had a
chance to help Sue Anne.

Hi, Julie.
Will you tell your sister I'm here?

Sue Anne didn't come in
this morning.

What? Wait. Wait.

Whoa. Wait a second.
Is something wrong?

Is it stage fright?

No, Sam. It's not stage
fright. Not this time.

- Where is she?
- I can't tell.

She's home, Sam.

How can she be home?
We got an audition in half an hour.

Frank is picking her up at 2:00,
and they're leaving for Louisville.

They're gonna stop by the courthouse
and pick up a marriage license.

All right. Okay.
Where does she live?

She lives, a-at 42 Elm Street.

- That's 12 blocks north of here.
- Okay.

No. Sam, no!
You gotta let her go.

What do you mean,
I gotta let her go?

Ziggy said that I'm
supposed to be here

to stop her from
throwing her life away.

That doesn't mean you can
mess everything up for Elvis.

You've got an audition
in half an hour!

What about Sue Anne?

You can't get from here to her place
and back in time for the audition.

I have to.

Look, Phillips is leaving
for Nashville this afternoon.

You can't mess up this
audition, Sam!

I won't.

- Sam, Ziggy says--
- Forget Ziggy.

You don't have to look at me,
you don't have to talk to me,

but you have to,
in a half an hour, sing with me.

- The heck I do.
- Look, it's your dream.

You waited your
whole life for this.

I-I told you,
I don't believe in no dreamin'.

Yeah, well, I do. And I got
enough dreams for the both of us.

I'm 19 years old.
It's time for me to settle down.

What are you talkin' about?
It's time for you to shake things up.

Take a chance for a change.

If I get mixed up
with the likes of you,

then it could cost me marryin'
a decent man like Frank.

You think about this.
Think about 20 years from now.

You wake up one morning,

all of a sudden you're wondering
what might have happened today.

Sue Anne, you get in this house!

- Comin', Mama.
- What have you got to lose?

You come with me,
you audition for Mr. Phillips,

he doesn't sign you,
you come back, you marry Frank.

But what if he likes us?

Wouldn't that be a
wonderful choice to have?

- I'll go get my music.
- All right.

Here we go.

Mr. Phillips?
Miss Keisker?

Hello? It's Elvis Presley.

Oh, no. They gotta be in there.

- It wasn't meant to be, Elvis.
- It was.

No. If the good Lord
wanted me to be a singer,

then Mr. Phillips
would still be here.

Maybe the good
Lord's testing you.

You know, it isn't easy
reaching for those stars.

Look, I have no business
tryin' in the first place.

No, Sue Anne, wait a second now.

- Will you listen to me?
- I listened to you plenty.

I listened to all
your crazy dreamin',

and I gave it a chance.

And now I'll never
wonder what I missed,

cause I didn't miss nothin'.

- I gotta go.
- Sue Anne--

Goodbye, Elvis.

I don't know whether to feel sorry
for you or say, "I told you so."

- She left.
- I know.

Al, I know I was here
to help Sue Anne.

- Ziggy even agreed with me.
- You did help.

Then why haven't I leaped?

Ziggy says it's because you've
gotta make things right for Elvis.

How can I make things
right with Elvis?

Right? I mean, Mr. Phillips has
gotta be on a plane to Nash--

to Nashville right now.

Uh, he left the studio
20 minutes ago.

I was on the way to
the waiting room.

I was gonna break the news to the kid.
I chickened out.

Maybe I can still meet
him at the airport.

- He's not at the airport.
- Where is he then?

I don't know.
This damn thing is--

- Come on, Ziggy!
- Hold on now. Just hold on.

Maybe he's still here. Maybe he
didn't hear me, and there's time.

Mr. Phillips?

- Mr Phillips, it's me, Elvis Presley!
- Sam--

- I'm here for my audition! Mr. Phillips!
- Sam!

Save your voice, will you?

Something's coming up.

Okay. He's, um--
He's at a dinner.

- He's at a dinner?
- Yeah.

In the middle of the
afternoon, he's at a dinner?

He's at a dinner having diner.


Oh, he's at the
diner having dinner.

- Make it lunch.
- Al--

Oh, and get this! Get this! He's meeting
with the deejay that made Elvis a star,

and the guy that first put him
on the radio.

- Isn't that great? Wow!
- You tell Ziggy I have to know exactly...

what songs Elvis sang
for Mr. Phillips.

Okay. Okay. Um--

- Blue Moon of Kentucky and...
- Okay.

That's All Right, Mama.

Please, please tell me
you know these songs, Sam.

Better than Jingle Bells.

Better than Jingle Bells.

Excuse me, Mr. Phillips?
I'm Elvis Presley.

Well, that and a nickel'll
get you a phone call.

Keep talking, Sam.

Uh, I was-- Well, I had an appointment
to audition for you this afternoon.

Couldn't be. I'm leaving for Nashville
just as soon as I finish my lunch.

No, not for later this afternoon.
Uh, it was at noon, but I was late.

Oh, yeah. I had a 12:00 no-show.
A team. Brother and sister act.

Something like that.
Yeah, that's me. I mean, I-I'm them.

- Um, you were supposed to see me.
- No--

Yeah, well, look, son,
I would like to help you out,

but I'm right in the middle
of a business meeting here.

Five minutes, Sam.
Five minutes-- Say--

Couldn't you just
give me five minutes?

I promise you,
you won't regret it.

Do you know how many times
I hear that in one day?

- I'm sorry, son.
- But he's the best.

I don't believe this pretty
young thing knows how to lie.

- Do you, sweetheart?
- No, sir.

You and the guys go ahead.
I got some phone calls to make.

All right, son.
You got yourself five minutes.

Thank you, Mr. Phillips.

Ah, boys.
Let's go make some music.


So, what are you going
to sing for us, Elvin?

Uh, it-it's Elvis, sir.

And I'm gonna sing, uh,
Blue Moon of Kentucky

and That's All Right, Mama.

This is an audition, son, not a concert.
You pick one or the other.

Yeah. But you-you said
that I had five minutes, right?

- Pick one or the other.
- Oh--


This is not supposed to happen
I'm supposed to get to sing those songs

You changed the circumstances of
the audition. Anything can happen.

Yeah, well, uh-- Tell me which song
impressed Mr. Phillips the most

♪ Song impressed
Mr. Phillips the most ♪

- We don't know.
- You all right in there, buddy?

Yeah. I'm just having a
little trouble pickin' a song.

That's All Right Mama
or Blue Moon of Kentucky.

Here's the best odds.

That's All Right, Blue Moon.

Elvis-- started,
and he did the "Moon" thing.

And that got Phillips's attention, and that
made Phillips want to have him play more,

That made Elvis choose another tune,
then he did the "Mama" thing.

Okay, guys. Blue Moon.


- Great, Sam.
- Thanks, guys.

That was great.
It was really great.

- You've got a lot of talent.
- Thank you, sir.

I would like to hear some more.

- Yes!
- That's All Right, Mama. Here we go.

Not now.

You make an appointment, and we'll set up
a session when I get back from Nashville.

But I'm ready right now.

I'm not. Come on now.
I got a meetin' to finish, son.

No. Wait a second. If you could
just wait a minute and listen to me-

- I already don't like it.
- You pushed him too hard, Sam.

You take care now, son.
I'll see you next week. Okay.

Thank you.

But, no, no, no. He doesn't.
He cancels out on Elvis.

- Aw, this is awful, Sam!
- What?

Well, Ziggy says now Elvis
doesn't even get discovered.

And Heartbreak Hotel is
recorded by the Monkees.


And Jailhouse Rock is recorded
by Tony Orlando and Dawn.

- Gag me with a spoon.
- Oh, no!

All right, Al.

Tell me what one of Elvis' hits
are after That's All Right, Mama.

Uh, uh, he recorded, Baby,
Let's Play House in September,

and you programmed it into Ziggy's
memory, so you remember it, don't you?

- I remember.
- Good.

Oh! Tony Orlando and--

Oh, uh, Sam, they're still
sittin' in the booth.

Um, now, listen,
don't hold anything back now.

Just really belt it out!

Oh, my Lord!

A white man with a black voice.

That's it, Sam!
Rock it out!



All right!

- Where on God's earth did you learn
a song like that?

Well, I just kind of, uh,
made it up.

Well, I don't know what you just did,
son, but you keep on doing it.

You mean-- You mean,
you're gonna sign me?

Does a chicken have feathers?

Consider yourself signed,
sealed and delivered.

Sam-Sam, this is great.
You got Elvis started.

Thank you.

You even inspired one of his first
hit tunes over there, so, uh--

Thank you.

So how come you haven't leaped?

Well, that's the last of it.

You go and you tell your mama
we're ready to leave.

Sue Anne! Sue Anne!

I got you your own audition,
all by yourself.

- I thought the audition was at noon.
- Well, mine was. And guess what.

Mr. Phillips signed me. I got a contract.
See? And I got you your own audition.

- And look. I did it.
- Oh!

- You can too.
- She'll do no such thing.

Oh, what harm could it to, Frank?

A lady don't work for a living.

And she most surely
don't sing for a livin'.

But it's what I wanna do.

Sue Anne--

I just don't cotton to the idea
of my wife bein' a circus act.

Oh, Frank, it's not like that.

Is-Is Doris Day a circus act?

Is-Is-Is Debbie Reynolds a circus act?

Oh, Frankie, there's nothing wrong
with singin'.

Don't you see?

What I see...

is a fine young lady who wants somethin'
from life that I can't give her.

Maybe some man can, but I can't.

You can, if you want to.

It's got to be the way
it's got to be.

Now, either you get in this
car, you come away with me now,

or you don't come at all.

Well, I guess that's all
the answer I need.

I owe you an apology.


Mmm, Sam, listen to this.
Sue Anne here signs a recording contract.

She doesn't have a big career,
but she gets to perform on the Opry.

And she starts one of Elvis Presley's
first fan clubs.

I'm so scared.

There's nothing to be afraid of.

But what am I gonna do now?

Well, you're gonna
reach for the stars.

And you're gonna keep
right on reaching until you touch 'em.

What do you got on tap?

- Schlitz.
- Schlitz?

Got Iron City,
Duquesne and Fort Pitt in bottles.


- Yeah. Sch-Schlitz'll be fine.
- Regular... or schooner?


What do I owe you?
Fifteen cents.

Fifteen cents.

There you go.

Oh, boy.