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(bright music)

- Get your Back Bay Mainline here.

All the news behind the news,

all the hilarity behind the hilarity

and then some, could be smut.

- Thank you.
- Thank you

and have a good day.

Back Bay, Back Bay Mainline.

Back Bay Mainline, just a quarter.

Seeking Clinton fights
and X-rated persons.

Ho, ho, ho, thank you and have a good day.

Gang notes, drug referrals,
abortion hotline.

Your daughter reads it.

Back Bay Mainline, just a quarter.

(horn honking)
Hi.

- Hi.

- Hey, do you want my phone number?

Can I have your phone number?

- Sorry.

- Oh, that's okay.

That's okay, Back Bay Mainline.

The waterfront fire in
the housing stay bill

and the relationship between the two.

Thank you and have a wonderful day.

Back Bay Mainline,
mayor's press conference,

best bologna in town.

You can eat it, you can write on it,

you can put a donut on
it, you can slice it.

You can shove it.

(bright music)

(camera snapping)

- Where's Michael?

- Michael.

- So, ask me about my weekend.

How'd it go in New York, Ab?
- You wanna know

where Michael is?
- Oh, yeah I got offered

a great studio job this weekend.

- You wanna know why Michael isn't sitting

in the backseat of the
car with us this morning?

- No, I think I changed my mind
about hearing about Michael.

- Well I'll tell ya, you
see Michael is at home

sitting on his sweet ass this morning ,

feeling sorry for himself.

And you know something?

I have had it.

I am fed up.

- You gonna split?

- And you know this time I'm
gonna do something about it,

I know it, this time I actually have

the strength to do something about it.

This time I'm angry enough
to do something about it.

You know what I'm gonna do?
- You're gonna split?

- I'm gonna split.

- Did you hear an echo in here?

- Abbie, I know you
don't believe me, okay?

I mean, I know.
- [Abbie] I'm sure

it's different this time.
- But it is different

this time.

- Back Bay Mainline, good morning.

He should be here in about 1/2 an hour.

Can I have him call you?

Okay.
(phone ringing)

Back Bay Mainline, good morning.

Sure thing.

Ahmed, line four.

It's not even 9 o'clock
in the morning yet, Max.

- I know what time it is, I
just hope it's good stuff.

- You're incorrigible.
- I'm incorrigible.

- Have I ever given you
anything that was bad?

- No no, I take it back, no never.

- Wait a second, have you
ever paid me for anything?

That's a good question.

Once, once have you paid me?

- Once, once yes, I paid you once.

- Once, when?

- You don't remember?

- [Lynn] Maybe we should
write something down.

- [Max] You have my word, Lynn,

I don't know what more you want.

- [Lynn] I'll write it down.

- Good, can I have my joint please?

- I'm gonna write this down,
type it up, you can sign it.

- Good, get that off to me immediately.

- You want one, David?

- Oh, me?

- Oh no, no thank you, enjoy.

- Morning, Max.
- Hi, hi.

- You have a story for me this week?

- Yeah, a story.

Thursday night there's a rock promo party.

- Thursday night, forget it,
you'll never have it done.

- Have I ever missed a deadline?

- Constantly.
- Good morning.

- Frank?

Excuse me, Frank?
- Not now.

Jason?
- Yes?

- Now we've had enough response

to that free school piece so
I think we could use another.

Can you do it?
- Sure.

- Alright, I'm gonna need
the whatever photographs

you have left over from the first time.

- We got about four or five in the file,

I'll give it to you.
- Good, alright.

- Frank, I got two films to cover--

- I'm not ready for you
yet, I'm not ready for you.

- I'd like you to start considering

sending me to France to cover
the Cannes Film Festival.

(all laughing)

I don't see what's so ridiculous.

I think it would be a very
prestigious thing for the paper.

- I'll sell this and get you a ticket.

- Frank, I'd like you to consider

sending me out to Disneyland

for Mickey Mouse.
- You're there.

- Are you guys late?

- Someone remind me at the end of this,

I wanna get some ideas
for next month's cover.

- Michael.

- Thanks, come on, come on.

Laura?

- I wanna write a piece on the new

health clinic on Boylston.

- [Frank] Alright.

- [Laura] Can I have Abbie?

- [Frank] Yeah.

- [Abbie] Hey, wait wait
Frank, what is there to shoot?

- Well you have to go along and find out.

- [Abbie] Are you kidding?

You want me to shoot some disease?

- I already told you,
I'm doing a south side

going to be a promo party.
- Yeah.

- Yeah.

- [Abbie] Can I go out on that?

- Yeah.
- Can I go, too?

- Why don't we all go?
- Did I pick a bad time?

Well, I have an important
announcement to make.

- Uh, you died?

(all laughing)

- No, it's from advertising,
so you'd better listen.

We are going to have to cut
some of your copy this week.

We sold four full pages
to Threads and Heads

for the Fall promo campaign.

I'm just trying to save you a little time.

Now I'm doing you guys a favor

by telling you this in advance.

I mean, you can write whatever you want

and then we just have layout cuts.

- This meeting is adjourned.

Staff zone 30.

(phone ringing)

- Stanley, come here.

Closer.

Now Stanley, all of us on this paper

are either on our way
up or on our way down.

- That's for sure.
- That's the nature

of the paper, we're all
just passing through.

Now I know that one day
I'm going to leave here,

and before I leave here,
I'm gonna punch you.

Now, I'm not a violent man, Stanley,

but I'm gonna punch you very, very hard.

- Frank, this is really.

- Now, that would be an immature attitude,

I would be wrong, but I don't like you.

It's not even that I don't
like what you stand for,

but I don't like you as a human being.

(Stanley squealing)

Now, you have a job to do which is?

- I sell ads.
- Selling ads.

And I have a job to do, which is producing

copy and protecting my writers.

(banging on machine)

You tell layout that advertising
is selling four extra pages

of ads so they will have to
increase this week's issue

by four pages, that way
you can have your ads,

so we can have our copy,
everyone will be happy.

- [Stanley] I don't
think that's my decision.

- If you do not do this, Stanley,

if you cry expenses and say that this

cannot be done, then Stanley, I will quit.

And Stanley, the sooner I
quit, the sooner I punch you.

Thank you, Stanley.

Why not let advertising
take over the whole paper

and let Stanley be the editor?

- Maybe you'd learn a
lesson from all this, Frank.

This is exactly the kind of thing

I've been trying to talk to you about.

Now you've had it easy, you've had it,

believe me you've had it easy enough.

'Cause I've been
supporting you all the way

down the line, within reason.

There are publishers who would
not have been as sympathetic,

- You're gonna do it,
you're gonna sell the paper.

- What are you talking about?

I'm telling you that it's bad
business to not advertise.

- Who's buying us?

Roy Walsh?
- Frank,

we get offers every day of the week,

doesn't mean a thing.

- Stewart, yes or no?

- No.

- How's your meditating?

- Fine, thanks.

How's yours?

- You're looking well.

- Thanks, I'm sick.

- What's the matter today?

- That's right, make fun, it's my stomach.

- Well, certainly good of you

to get out of your sickbed
and come down here, Harry.

We all appreciate it.

- Okay okay, I missed
an editorial meeting.

I'm sorry.

Jesus, moving right along.

Lemme tell you what I
got for you this week,

hustling on the underbelly of Boston.

A look at the subculture of
hustlers who make their living

off of a public that wants to be conned.

I figure we can run it into a series,

exotic dancers, exotic gurus,
artists of all persuasions.

- I hope it's as good as
the piece you did last week.

Dating bar fashions.

Y'know, that's the most insipid
thing you've ever done here.

- You accepted it.

- In memory of your
better days, my friend.

- Thanks, Frank.

Thank you.

- Harry, Harry, listen.

I hate to ask you this and I know

that I'm probably the last person

in the world.
- Don't be silly,

no hard feelings.

- Well I need a place
to store my equipment.

- Oh yeah, yeah I heard you were leaving.

- Oh, for New York?

Oh no, that was just a
studio job, I turned it down.

But I am moving in with Lynn and.

- And you want a place
to store your stuff.

- Yeah, just temporarily?
- Okay, no problem.

No problem.
- If there was anyone else

I could ask.
- It's no problem,

really, no problem.

- Just for the time being.

- Don't worry, I'm not
getting the wrong idea.

(upbeat music)

- [Abbie] Hey, take it easy.

- [Harry] You wanna drive, Abbie?

- [Abbie] No, thanks.

- [Harry] Then shut up.

That's right, that's right.

- [Abbie] Hey, hey watch it.

- [Harry] I'm watching it, okay?

I'm watching it.

- Better take your jacket off,
you're getting it all dirty.

(fabric tearing)

What are you so angry about?

- Nothing.

I'm not angry at all.

Why don't you just go up and open my door?

Come on, come on, come on, this is heavy.

- I'm going as fast as I can go,

I can't even see where I'm going.

- Come on, this enlarger
is heavy, move aside.

- What's the matter?

- Nothing, I think I threw
my back out, that's all.

(Harry sneezing)

Cat fur, must have brought
it in with the boxes.

(Harry sneezing)

- Are you having an attack?

- Oh, don't worry about me.

You know, we had some good
times here, didn't we?

- Well, if you count listening
to one of your asthma attacks

a good time, then we certainly did.

- Uh huh.

Don't make fun of my asthma.

- You don't have asthma,
you never had asthma.

You probably never will have asthma.

Every day you're dying
from a different disease.

- That's just the kind of attitude

that made our relationship
such a lasting one.

- You're damn straight.

Thanks for the beer,

I'll have my stuff out
of here by the weekend.

- No hurry.

Abbie.

There's lots of good chow in the icebox.

- Hey, where's the usual tuna fish?

There's no tuna in here.

- It's in there, it's in the blue bowl.

- Shoo!
- It's a little old.

- Where do you want me to throw it?

- Don't throw it away, might
be a cure for something.

- Oh nevermind, see if I
got something in my bag.

- Sorry, wouldn't want you to think

I'm trying to hustle ya.

- You, Harry?

Never.

Hey, you really gonna quit the Mainline?

- Why not?

Why stick around?

Nothing's happening
anymore, it's not exciting.

It's over.

- [Abbie] When was it exciting?

- I don't know, for me it was exciting,

for example, when I did
a series of articles

on a nursing homes, nursing home scandals.

- Before my time.
- Yeah.

We really shook things up, y'know?

But we didn't change anything.

Some people were fired and
some other people were hired,

few more color TVs, new wallpaper.

I bumped into a doctor two weeks ago,

the nursing home called
him at two in the morning.

An old man died in the bathtub,

they wanted him to come down
and sign the death certificate.

- So?

- So what's an old man
doing in the bathtub

at 2 o'clock in the morning?

And how long had he been there?

Since six, since four,
since the day before?

- Jesus.
- That's right,

nothing changes.

- Hey, let's go down there.

Come on, I got plenty of
film, let's go check it out.

- Weren't you listening to me?

I'm telling you ,

nothing changes.
- Yeah, I'm listening to you.

That's what we're here
for, let's go down there.

- I don't wanna go down there
and take a lot of pictures.

People don't care.

- Okay, why does anybody
get up in the morning?

You don't.
- I don't.

Oh, shut it.

- I think you should quit.

If I felt like you, I'd quit.

- I am.
- Fine.

Thanks for the beer.
- You're not going.

(door closing)

- Hey Michael.
- Hey.

- Hey Michael.

- Hi Michael.

- Can I get in here?

- Well?
- Well what?

- Who bought what?

Out with it.

- No one bought anything.

Another day, another rejection letter.

But listen.

This one is from the editor
himself and he signed it Don.

- I just wanted to tell
you personally, Mike.

- Note the informality.

- Wait a minute, Mike?

Nobody calls you Mike.

It's not that this guy's being informal,

he doesn't know you.

- Even though we can't use
your article this time,

it was exceptionally well-written

and I hope you'll keep us in
mind for any future articles.

- Thank you.
- Oh, we don't get along.

- Please keep in touch, best, Don.

I think that's really
encouraging, Michael.

Which one was it?

- I just reworked some stuff
I'm not using for my book.

- Which book?

The one you were working on before?

- Or before that.
- And before that.

- [Harry] And before that.
- [Max] And before that.

- [Abbie] What's it about again?

- [Michael] It's about the
death of the counterculture.

- It's a good thing it died when it did,

or there'd be a lot of writers

out there looking for subjects.

- And don't think it died
a natural death, either.

It was done in by enemies from within.

They're everywhere, you know?

- Carla, can I have a scotch rocks?

Do you have any money left?

- (laughing) What a
carefree life the guy leads.

It's a good thing that Laura has two jobs.

- At least I work, what do you ever do?

You've been picking up
a paycheck for years

and you don't do a damn thing.

- You don't think that's work?

- Excuse me, I gotta go pee.

- Hello, hello, hello Jason, there.

Hi, hi.

- Oh no no, I was just finishing.

- Well come on over and
have a drink with us.

- I would, but--
- Will you come on?

- Take it over like
those workers in France.

- Buy the paper and run
it on a collective basis.

- We've gotta seize the Mainline.

- David, have a seat.
- And then we

could make Laura the editor

and her daddy'll buy the paper for us.

When's your birthday, Laura?

- Wheeler told Frank the
paper wasn't gonna be sold.

- That means it already passed papers.

- Also, guess who has another meeting

with Wheeler day after tomorrow?

- You're gonna love this.

- Who?

- A Mr. Roy Walsh.

- Well that's that.

- That's what?

Who's Walsh?
- Wait a minute,

I think we're jumping to conclusions here.

Just because Wheeler's meeting with Walsh

doesn't mean the paper's gonna
be bought out from under us.

- You wanna bet?
- This is it,

I can tell and the whole
thing makes me sick.

- Will somebody please tell me who he is?

- He's a rich asshole who goes

around buying up papers like ours.

- If Roy Walsh buys
this paper, I'm walking.

- Me, too.
- Me, too.

- Me, too.

Everybody in the unemployment line.

- Hey, I'd rather be on
the unemployment line

than work for that bastard.

- Exactly.

- Y'know, if you're
all serious about this,

maybe we should get something organized.

- Michael's right, we've
gotta act together.

- Take it seriously, Harry,

we could get something
going with the whole staff.

- Okay, well let me read that back to ya.

In boldface caps, hair,
there, and everywhere.

Next line, single male,
25, looking for girl

with excessive amounts of body hair,

comma especially on her arms.

Boldface caps, one,
two, three, that's 4.50

and I will need, what was it?

Bank of America or Master charge?

Okay, I'll need your number.

Thank you.

I hate it, it's the pits.

(drumming on desk)

Max?

Max?

Where's Harry?
- Just the fella

I wanted to see, good.

- Do you know when he'll be back

because I've got to speak to him?

It's important.
- What's so important?

I mean, try me.

- You don't do investigative reporting.

- What are you talking about?

I taught Harry everything he knows.

- I'd really rather talk to Harry.

- Okay fine, suit yourself.

Although you should know that Harry's

not interested in investigations anymore.

- What do you mean?

He won an award.

- Yeah, that's a long time ago.

You haven't read what he's
been writing recently?

- He's writing about culture in the '70s.

- Yeah, that's junk, pure junk.

Harry's just marking time here

til he gets enough courage
to leave and then he'll move

to Vermont and he'll write
the mediocre American novel.

Why, you wanna take his place up here?

Lots of fun, big money, romance?

No, you deny it, but you do, don't you?

Well I'll tell you what,
you got a promotion.

Right now, you can help
me with my work here.

- I can't I've got work to do myself.

- Yeah, I've got work to do myself,

so you can help me with my work.

Please take this, please take this.

Yeah, you can help me with my work.

Go, go.

(bright music)

- [David] Max, where are we going?

- [Max] I can't smoke
records, I can't eat records.

- [David] What do you mean?

- Well even I can't live
on $75 a week, David.

(bell ringing)

You struck gold, Alan.

Not fool's gold, but real gold.

The real thing, the mother lode, Alan.

Set that down, David.

- Let's take a look.

- Let's take a look.

Here they are, the gems,
what price for those?

Do you have the Alan, this
is Dave, Dave this is Alan.

Do you have the bootleg SouthSide Johnny?

Know how to tell a good
bootleg from a bad bootleg?

- No.
- I 'II tell you.

Look for two things, if it's
warped or if it's straight.

If it's warped, that's not what
you want, you want straight.

If it's black, the color,
if it's shiny black,

that's what you want, if it's
gray that's not what you want.

So, what do you look for if it's no good?

One, what do you look for?

One?
- What?

- If you see what, it's no good?

One, if you see what
one, it's no good, what?

If you see what, it's no good?

- What, one?

- One what?

What, what?

What?

- This doesn't really concern me, Max.

One.
- One, if it's one.

What if it's yeah?

- [David] One.
- One.

- One, it's illegal , Max.

And two, you can get in
an awful lot of trouble.

- I can't get in an awful lot of trouble,

the Duck'll get in an
awful lot of trouble.

That's first of all, that's one.

- Who's the Duck?

- He's a record promoter,
he rips off rehearsal tapes,

he presses them himself, and
he sells them on the side.

- He liberates collector's
items for the public.

- Well, that's the other
way of looking at it.

Did you read in the paper

where he's running for City Council?

- Kevin Austin on the City Council?

- Sorta shocking, isn't it?

- You mean Kevin Austin is the Duck?

- Who said that?

I didn't say that.
- The guy with the big

sound studio over on 10th Ave?

- Be generous, be generous, wait a minute.

Where are the prices for this?

I see 50 cents for the first one,

are you writing down the albums

or you writing down the prices?

- I'll be writing down
the prices afterwards.

- [Max] You just wanna write down

the type first, is that it?

I'd like to see the
prices as you go along.

- [Alan] You'll see them.
- Oh, I'll see them?

Oh.
- I'll give you a whole total.

It's a good price.
- A whole?

A good price?
- Best price in town.

- Oh, that's all in?
- How can you do better?

- How can I do better?

That's why I come to you.

- Your book's going along well.

- My book.

I don't even know if it is a book anymore.

It just seems to me like a lot

of newspaper articles strung together.

- I thought the chapter you
showed me was pretty good.

- Did you?

- Yeah, I told you already.

- Yeah.

You didn't think it was slick?

- No, I didn't think it was slick.

- Really?

- Okay, it was a little slick.

What difference does it?

What does your agent say?

Doesn't she help you?
- Yes she does,

she likes it, she's been a big
help, she's really supportive

y'know she calls me all the time.

I don't know what I'd do without her.

- I bet.

Y'know, I've been thinking
about getting an agent myself

and I don't know where to begin.

Trying to get a book together.

What kind of material
does your agent handle?

What's your agent's name?

- Just general stuff, y'know?

- Yeah, but what's her name?

If I could get an introduction to somebody

to give me a few pointers,
it would really help.

What's the matter?

- Do you know what I went
through to get my agent?

- No.
- Man, I made

a lot of phone calls and
knocked on a lot of doors.

I got rejected by a lot of people,

I had a lot of secretaries hang up on me

or tell me to call back next month.

- Well so what, man?

- I'm just trying to
tell you how it works.

It's not that easy.
- Just tell me her name.

All I wanna know is a name.
- Just a second,

have you got anything written?

Have you got anything?
- No.

- Well if you don't have
something to show her.

- But that's my point, I just
wanna know what her name is.

- She won't give you the time of day

if you don't have a
couple chapters written,

I'm just telling you how it works.

- Okay okay okay, forget it.

I don't wanna know her name,
don't tell me her name.

Last thing on Earth you
should do is tell me her name.

Don't be a sucker, I'll
call you up late at night

and say what's her name,
don't tell me her name.

I'll get my own agent, she'll
be better than your agent.

A lot better, nicer.

(funky music)

♪ We're number one ♪

(girls screaming)

- Give me five.

Hey, what happened to all
the things you promised us?

How about the groupies?

- Glitter?

- Yeah, male dancers.

(upbeat music)

- Are you thinking of leaving?

- Sure, if something better comes along.

- Abbie.
- Look, I'm finally getting

really good at what I do
and I wanna get better.

I don't think I can at the Mainline.

I mean, I'm down there in the basement

and the equipment keeps
breaking down and it's crap.

- I wish I still loved my writing

as much as you love your photography.

- [Lynn] I don't understand you people.

- Now I just get my stories out.

I miss how much

I used to care.
- Listen Laura,

it seems like you have the
best of two worlds here,

you have your talent and
something to use it for.

For the spirit of, y'know
for the what the Mainline is.

- [Laura] What the Mainline used to be.

- No, we are still
about telling the truth.

We are still about something big here,

and not many people can say that now.

And I envy you two because you have

something incredible to contribute.

- [Abbie] And you don't
have anything to contribute?

- Well, you know what I mean,

I don't have a special talent
like writing or photography.

- [Abbie] You're a lover, and what you are

and how you make people feel,

without that the Mainline
would be nothing.

- [Laura] Don't you see
how important you are?

- I know, I'm a walking example of my art.

- [Abbie] You are.

("You to Me Are Everything"
by The Real Thing)

♪ I would take the stars ♪

♪ Out of the sky for you ♪

♪ Stop the rain from falling ♪

♪ If you asked me to ♪

♪ I'd do anything for you ♪

♪ Your wish is my command ♪

♪ I could move a mountain ♪

♪ When your hand is in my hand ♪

♪ Words cannot express
how much you mean to me ♪

♪ There must be another
way to make you see ♪

♪ If it takes my heart and soul ♪

♪ You know I'd pay the price ♪

♪ Everything that I possess ♪

♪ I'd gladly sacrifice ♪

♪ Oh you to me are everything ♪

♪ The sweetest song I never sang ♪

♪ Oh baby, oh baby ♪

♪ To you I guess ♪

♪ I'm just a clown ♪

♪ Who picks you up each time you're down ♪

♪ Oh baby, oh baby ♪

♪ You give me just a taste of love ♪

♪ To build my hopes upon ♪

♪ You know you got the power girl ♪

♪ To keep me hanging on ♪

♪ So now you got the best of me ♪

♪ Come on and Take the rest of me ♪

♪ Oh baby ♪

(crowd applauding)

- Danielle, how did
you get into stripping?

- I don't know, I just
sorta drifted into it.

- Do you find your work glamorous?

- Glamorous, no way.

I mean this isn't my idea of glamour.

- What's your idea of glamour?

- Jacqueline Onassis, yeah.

All those clothes and everything.

- Oh, your costumes are terrific.

Where do you get them?

- [Danielle] My mother makes them.

- You're kidding.

- When you first got started--

- Is it erotic, I mean
does it turn you on?

- Yeah, sometimes.

Sometimes when I think about all the men

and y'know I'm up there

and I'm the most important
thing on their minds.

- What do you think about
when you're up there?

- Excuse me?

Sorry, Abbie can I talk to you

for a second about the photography?

Excuse us.
- Sure.

- Look, you're the photographer,
take the photographs.

If you wanna ask questions, set
up an interview of your own.

- I can't take pictures in
here, the cops'll take the film.

- Take 'em secretly, do that.

- I'll take 'em in the dressing room.

- Abbie, you have done it before.

- Well there's no choice,

this isn't exactly Watergate, you know?

- Look, just quit
butting in then, alright?

You're upsetting my line of questioning.

- [Danielle] Can I have a light?

- Sure.

Sorry, I didn't know she's
not allowed to shoot in here.

- No, that's alright.

At least you're polite about it.

Some of these punk little writers,

they don't even treat you
like you're a real person.

How's your sex life?

As if it's any of their fucking business.

- Well, there goes that.

You say they don't treat
you like a real person,

but isn't your whole act

presenting yourself as a sex object?

- I see myself as a stripper.

- [Abbie] Alright.

- Six bills a week, so I must
be pretty good at it, okay?

- Hey, you're terrific at it.

I mean, you're not just
good, you're terrific.

(camera snapping)

- Good.

That's good, that's beautiful.

- Yeah?
- Yeah.

- Cute guy, Harry.

- Yeah, sometimes.
- Is he your man?

(camera snapping)
Wrong question, huh?

- No, not really.

Honestly, I don't know.

- Oh, on again, off again.

- Exactly.

- Hey, you use two pair?

- Oh, just on the upper lids.

- Oh my God.

- There.

Sexy, whoo.

- Honestly?
- Don't you love it?

- I don't know, I look
like a whole nother person.

- Yeah, but that's the idea.

- Thanks.
- Oh, you know what I mean.

Listen, don't take this wrong

but is that the way you always dress?

I mean, it's really sweet and all

but you look like you're
ashamed of what God gave you.

- Well, he didn't exactly
give me what he gave you.

- Well.

- [Abbie] What are you doing?

- Oh, you'll see.

- Oh, excuse me.

Abbie?

(Harry laughing)

- Abbie, wait til you see this.

Oh, that's great, you spoiled it.

- You got it, Harry just spoiled it.

- Look, let me explain
something to you, alright?

- I don't wanna talk about it.

- Let me just explain
to you that I was not

laughing at you because you looked silly.

- I know damn well why
you were laughing at me.

- Why?

- You were getting back at me.

- What?
- For butting in

on your precious interview.

I really had a rapport with her

and you were so threatened it's pathetic.

- You're crazy.

- The questions you were asking.

If I hadn't gotten in there,

you wouldn't have gotten anything.

I really saved your ass.

(bright music)

- Michael.

I'm late for work.

- I need this towel.

- I need this towel.

Why always when I'm about to go to work?

Why?

Let me get dressed.

- A huge dance floor, a place
upstairs where you can eat,

and a room in the back
if you wanna smoke up.

It is incredible.

Matter of fact, it's got a live--

- Ahmed.

Give me a break, huh?

It's the beginning of the work day,

you have some responsibilities here

and now you have to produce, huh?

I'm by myself in there.

- Okay Stanley, I'll talk to you later.

- What was that all about?

- We're just making some
plans for the weekend.

We're gonna do dancing.

Do you like to dance?

- Yeah sure, sometimes.

What, you and Ahmed?

- Well if you can find somebody,

why don't you come along with us?

- Yeah, sure, if I'm not too busy.

Listen, I think that
there could have possibly

have been a misunderstanding
over last week.

- That's possible.

- Uh huh, yeah, well okay.

I thought, I wanted you to know

that I just wanted a nice,
quiet, comfortable place to sit.

Y'know, and to talk.

- That's what you wanted?
- I did, I did.

- Incredible, Stanley, I had no idea

that was what you wanted.

- Yeah, well you see I
didn't want you to feel

that there was any kind of
innuendo or sexual connotation.

- I'm sorry, I forgot my paper.

That's a beautiful tie, Stanley.

You're such a lovely person, yes you are.

- You know, Stanley--
- You know,

I can't stand that guy, y'know?

I mean, what is it me?

I just can't stand that guy.

- You know, Stanley, I can't accept

that you didn't want any sexual innuendo.

Stanley, you literally
jumped on top of me.

- No no, you see, I knew that you

had interpreted it that way.

- Stanley, you did, you were
there you were, on my body.

- Well what can I say?

It's your perception
and it's my perception

and they're both different.
- Stanley, listen,

you were there, I was, I couldn't get up.

- Well look, y'know, if
that's what you thought,

I guess an apology is in the making.

- It's okay, really.

- I mean, let me tell you,

I'm very sexually attracted to you.

Y'know, nobody in their
right mind wouldn't be.

I had a great time.

- You're an incredible person, Stanley.

- [Stanley] And so are you,
you're an incredible person

as well and listen, we'll
do it again sometime, okay?

- Okay.
- Great.

Ahmed, could I have your attention

for a couple seconds, please?

- A whale of a tale.

- Now let me tell you about that title.

I know that it's corny,
but I want it to be corny.

I want them to look at it and think

that it's some kind of fluff.

- They will.

The other day while I was
walking down Mass Avenue,

I spotted a gentleman
with a very interesting

button on his lapel.

Being a button freak like most people,

I immediately inquired about
the button and its origins.

Sounds like it's a story about a button.

- No, it's not, it's about whales

and how they're being slaughtered.

- First off, what is a whale?

How about little whales?

What happens to a whale?

I don't know, I don't know,
I don't know, I don't know.

I mean, it's a little cute, isn't it?

It's fine, but I mean it's a little cute.

I mean, it seems to me
that if you wanna do good

investigative reporting ,
you have to make more

of an emotional investment
in your material.

Like, for instance, you have to assume

some kind of a viewpoint and
attack it from that viewpoint.

Let's say maybe from the
viewpoint of the whale itself.

I don't think that's ever been done.

Y'know, like how does a
whale feel being harpooned?

How does a whale feel being
harpooned in the head?

Y'know, like an explosive
headache in your head.

How does he feel when he has to service

all those remaining females
with a headache all day?

How does she feel having
to hang around someone

who is worried all the time
about being harpooned to death

so that when they go home,
they try a little inny outty,

the guy's looking over his shoulder a lot?

Stuff like that.

How does a whale feel?

And then, like for a
final objective point,

you could maybe jump into
the sea and interview

like a dolphin or something,
an objective bystander

who's had a chance to see
all these things go by.

I don't know.

- Right.

I understand what you're saying.

Right, well I'm gonna go rewrite this

and I'll try and be more
emotionally involved with my work.

And I'll try to assume things

from the whale's point of view.

Okay, thank you very much
for your time, Harry.

- Sure.

- I just want you to remember
that I'm the one who has

to report to someone higher
than the two of us, okay?

You get my drift?

- Oh yeah, we're talking about God, huh?

- No, we're not talking about God, Ahmed.

We're talking about my
immediate superiors,

the people who keep this organization

from crumbling into complete disarray.

- Who is that?

Now I've always wanted to know,
who do you go to, Stanley?

- Well , I'm not going to tell you.

- Oh come on, Stanley, you can tell me,

who is it?
- No, no,

I'm not even going to tell you.

I'll let you go around and
figure that out for yourself.

And sitting here and talking here

for as much time as we're taking

is a drain on company resources.

- Well Stanley, I mean you're the one

who precipitated this
conversation, I didn't.

- That's right, hoping
for an understanding.

But I can see that an
understanding is not in the making,

and I had hoped that we
could have a dialogue.

- I demand that my entire
family be flown here

for most of the big
important Jewish holidays,

especially Pesach because you know,

me running around my apartment

trying to find the afikoman
all by myself is sad.

- Max, is this going to take long?

I have a meeting in five minutes.

- Sorry, okay, I'll get
down to specific figures.

- [Stewart] Specific figures for what?

- For what, for my raise.

What do you mean?

I take home $75 a week, Stewart.

- [Stewart] You're unhappy here.

- No, it's not that I'm unhappy
here, I'm fucking broke.

- Max, this is a question
of editorial budgeting,

you should bring it up with Frank.

- Yeah, Frank my ass,
I've got a following here.

See you know that, I'm worth more

than a goddamn $75 a
week, you know that, too.

- Well, if you have a better offer,

I would never wanna stand in your way.

- I'd never leave you,
Stewart, you're too cute.

So no money, then?

- I told you, bring it up with Frank, Max.

It's not my problem.
- You tell me to bring

it up with Frank, Frank tells
me to bring it up with you.

(buzzer beeping)

- Yeah?
- [Woman] Mr. Walsh

to see you.

- Great, send him right
in, please, thank you.

- Okay, well I'll have
to steal, take a bribe,

payola, corruption, that's
how it gets started.

- Have a good day, Max.

How are you?
- Then I'll be exposed

and maybe find a rival paper,
then it will be your problem.

See, you're not thinking ,
it'll be your problem.

(door slamming)

- You know who just went in there?

- What is this, a quiz show?

I'm broke, you wanna play guessing games.

- Aw, you didn't get your raise.

- I wouldn't accept his first offer

because he wouldn't go
for the paid vacation.

His will is crumbling, though.

Within a week, he'll be
eating out of my hand.

Here, have a cigar.

(bell dinging)

- Zodiac Sound?

Is Mr. Duck, is Mr. Austin in?

David Entwhistle from the Mainline.

Is Mr. Austin?

Oh, oh okay.

Well , could you tell him I called

and that I 'II call back later?

Okay, thank you.

(train approaching)

- Abbie.

Look, fancy running into you.

I gotta sit down.

- Are you okay?
- I'm having a heart attack.

- Everything alright now?

- Yeah.

Your photos in there?

- Yep, office enlarger
is broken down again,

gotta go use a print studio.

- Well why don't you come over
and use your own enlarger?

We can set it up and
use it in the bathroom.

- No thanks.

- Which friend?

- Just someone I know.

- Yeah, I didn't know you knew anybody.

Well when you get done,
why don't you come on by

and we'll go out and have some dinner?

- I think I'll just grab a
sandwich and work on through.

- Well after you grab a
sandwich and work on through,

why don't you come on by
and we'll go out to dinner?

Come on, you can bring your friend.

We'll take him out, we'll get

him drunk, we'll work him over.

- Harry, I gotta work,
I've got to work tonight.

- Well how about tomorrow night?

How about if I go out and get an enlarger

and walk around like Bozo the Clown?

How about next week?

How about, I don't know,
how about Halloween?

How about if I dress up?

- That's my car, I gotta go.
- And I walk

around with an enlarger.

(doors hissing)

I suddenly get the feeling you
don't wanna go out with me.

Am I correct in that assumption?

You do wanna go out with me?

I'm a good looking guy?

You're falling in love with me?

When?

No, I can't go out that night.

No, I gotta work.

Tough, tough break.

- What girls, girls, girls?

What are we talking about, here?

We're talking about the artist.

And what does the artist do?

He does precisely that, to do.

The verb to act, coming from the Latin.

(speaking in foreign language)

But the point here is,
let me give you an example

to illustrate what I'm talking about.

In Blackbird, when The Beatles sing

blackbird fly into the light
of the dark black night,

how different is that, really,

from Wallace Stevens' 13 Ways
of Looking at a Blackbird?

Where he says a man and a woman are one?

A man and a woman and a blackbird are one.

How different are those things, really?

Hands.

I'll tell you the answer, then.

The answer is that
they're a lot different.

There's virtually no connection.

Except they're both about a blackbird.

Listen, girls, frauleins, senoritas,

the only real answer to the question

with a rock and roll is hither.

Some misguided people think
that the answer is thither,

they're wrong, those theories are passe.

Y'know they say that rock is here to stay,

you've heard them say
that rock is here to stay.

They never say where,
certainly not in my house.

I don't have the room.

My telephone number is 462-0702.

("Blackbird" by The Beatles)

(bright music)

(typewriter clacking)

- Hi.

- Where have you been?

- Shopping.
- This late?

- Yeah, I mean I had to
finish up his fortunes,

then I had to go all the way over

to the supermarket, pick up the groceries.

Hi , Ruth.

Do you have a daughter?

Oh shit, Michael, I forgot the dog food.

Would you run out and get her some?

She's starved.

- Look, I'm trying to work.

- I know, Michael, but she's
your dog and she's hungry.

- For Christ's sake, Laura.

- I've been working 12 hours
straight and I'm exhausted.

- And what do you think I've been doing?

- You are so fucking spoiled.

What are you doing?

- Feeding the dog, what
does it look like I'm doing?

- You've been feeding that to your dog?

- Yeah.
- That's my breakfast Michael.

- Yeah that's right, every
day for the past six months,

I've been feeding the dog Rice
Chex when you're not around.

She loves Rice Chex.

Before that, you know what it was?

Cheerios.

Before that, it was a
goddamn crunchy granola.

(bells dinging)

- [Abbie] Harry, it's me.

- Alright, alright.

- Hi, did I wake you up?

- Oh no, no, I was just waxing the floor.

What are you doing here?

What time is it?
- About 2 o'clock.

I finished up the pictures of Danielle,

I thought you might like to see them.

- Yeah, I would like to see those.

- Want some cake?

- Chocolate cake at 2
o'clock in the morning?

- I can leave them here and you can

go over them tomorrow if you want.

- No, I'll look at 'em now.

These are good.

These are really good.

You got a good eye.

- Yeah, I think they came out nicely.

- You know, I know a guy in New York City

if you ever want to exhibit any of this.

- Oh no, I don't want to exhibit.

- Why not?

You could, you should.

- I don't wanna be judged,
I just like taking pictures.

- You're a coward.

- I'm not out to win any prizes,

I just like to take the pictures.

So which ones do you think we should use?

- This one's good.

But this one, this one,
I think, definitely.

- Yeah, I think this one's
the best in the bunch.

- Sorry.

- What for?

- Well, I don't want you to think

that I'm moving too fast, y'know?

- Just drying your lips.

- (laughing) I gotta put some pants on.

- What?

- No, I'm cold.

- Stay here.

- Wait a minute, wait a
minute, wait a minute.

Hey, wait a minute.

What are your intentions, huh?

I mean I've got a right to know,

a guy's got a right to know, right?

I got a little self-respect for myself,

I'm not just a one night stand.

Did you bring any protective devices?

What are your intentions?

- What are yours?

- I'll go make the bed.

(upbeat music)

(both laughing)

Not bad.

(romantic music)

Abbie?

- Hm?

- I want you to stay.

- I'm not going anywhere.

- No, I don't mean just tonight.

No?

Okay, the reason I brought it up.

I love you.

Abbie?

- Hello?

This is Johnny Jones over
here at the radio station,

WBOZ, and I'm calling Mr. Kevin Austin

in regards to some
airplay we're considering

giving Southside Johnny
and the Asbury Jukes.

Thank you.

Mr. Austin?

This isn't Johnny Jones,

this is David Entwhistle
from the Mainline.

Don't hang up, please.

- Michael, fabulous.

Wonderful.

- You're tellin' me.

- A couple of bucks, I think you

can lend me a couple of bucks now.

- What's happening?

- Michael sold his book, he's an author.

- Congratulations.

And will we see riches in your future?

- I don't know, but they're
sending me an advance.

And I gotta go to New York and
start work on the rewrites.

Is Frank in?

Good, I wanna give him my notice

and then we're gonna go in
and piss on Wheeler's desk.

- Wait a second, you're quitting?

- Well yeah, this is a book.

No more reporting crap.
- Reporting crap, 25 cents.

75 cents, we start with a dollar.

Then, maybe if you could lend me

just like a dollar and a quarter.

- Sorry.

How do you get somebody
to come to the phone?

- Maybe if you woulda dialed.

- Hey David, did you hear?

Michael sold his book.

- That's wonderful.
- Yeah, did you hear

what he said before, and crap?

Guy's got no memory,
he's really gonna go far.

- Hi , can I help you?
(door slamming)

(typewriter smashing)

- You have just witnessed the work

of conceptual art by Herbert Fisk.

- I call that end of communication.

I wanna be interviewed by Harry Lucas.

(board slamming)

- I call that paper in flight.

(machine smashing)

(Ahmed laughing)

- Kicked coffee machine with punches.

(wall smashing)

- Wall removed,

with fist and fingers.

- Wait a second, you can't do that.

- Hey, come on, now wait a minute.

- Dead coffee machine.

- What the hell?

Holy Jesus.

- Stanley exposed.

- Amateurs.

(door slamming)

- He calls himself an artist.

("Sweeter Than Honey")

♪ Sweeter than honey, believe it ♪

♪ Better than blue skies or morning dew ♪

♪ I spend all my money, I don't need it ♪

♪ Just as long as I've got you ♪

♪ You know where it is
with just one look ♪

♪ I don't need movies or a picture book ♪

♪ You know I'm talking
about love, love, love ♪

♪ Ain't nothing but love, love, love ♪

- Excuse me, aren't you Kevin Austin?

- Right.

- I'm Stanley Velnap, I'm the head

of advertising for the Mainline.

- Hi.
- How are ya?

I think that we've even
talked on the phone.

- Well the contract covers
more than just the publishing.

See, we're negotiating
potential movie rights, as well.

- Really?

♪ That kind of love don't come easy ♪

- Lynn, have you seen Abbie?

- What?
- Have you seen Abbie?

- She's around here somewhere.

♪ Warmer than sunlight, my baby ♪

♪ I didn't live 'til I felt her touch ♪

♪ Now I'm feeling weak
and strong and crazy ♪

- Mr. Austin, David Entwhistle.

- Hi.
- Back Bay Mainline,

hi, how are ya?

I was trying to get in touch with--

- Excuse me.

- What's it about?

- It's about the '60s being--

- It's about all of us.

It's about the life and times
of our entire generation,

in and out of the fire, so to speak.

I guess I like to think of
it as a kind of a perverse

romance, actually, because
if you think about it.

- Hi.
- Hi.

- How do you do?
- How do you do?

- My name's Annie.
- Hi, Annie.

- Hi, I'm Annie, too.
- Hello, Annie too.

- I'm Annie and she's Annie, too.

- You're Annie, too?

- And we're best friends.
- You're best friends?

- Isn't that far out?
- Far out, yes.

Oh, you have a secret, you two?

- We're both from Oregon.

- Oh, you speak at the same time.

- (giggling) No.

- Isn't it far out?

I mean, we're both best friends,

we're both named Annie,
we're both from Oregon.

- That is far out, my name's Max.

- Oh, we know.

- People from Oregon must giggle a lot.

- Oh, everybody we know so far.

- My piece will be entitled
The Life and Times of the Duck.

- Is that some sort of code?

- Come on, Mr. Austin,
everybody knows that you're--

- Everybody knows that flaky kids

that stick their noses
where they don't belong

are in for a lot of trouble, now get lost.

♪ And honey, I'm talking
about the real thing ♪

♪ And that kind of love don't come easy ♪

♪ Ain't much of it in
the world around you ♪

♪ That kind of love don't come easy ♪

- And we're all grown up all of the sudden

and we don't have the war to worry about.

Do you know what I mean?
- Yeah, they give

you money or something?

- Yeah, a little, I got an advance.

- How much?

- Well, you know,

it's a nice figure.
- $3,000?

- Well , you're in the ballpark.

I mean it's

a comfortable amount.
- $2,500.

♪ And that kind of love don't come easy ♪

♪ And that kind of love don't come easy ♪

♪ And that kind of love don't come easy ♪

(crowd cheering)

- Can I talk to you for just a second?

I tried calling you all day.

- Yeah, well I was shooting.

- You were out all day?
- Yeah, I was out shooting

and I had to get over.
- You didn't get my message?

- I got it.

- Fuck this.

What about last night?

- Last night was wonderful, but
it sure isn't wonderful now.

- Is this the way it's gonna be?

Sometimes yes, sometimes
no, sometimes you see me,

sometimes you don't,
whenever you feel like it,

is that the way you want it?

Is that your idea of a good time?

- You want it straight?
- Yeah.

- Okay, okay, I'll give
it to you straight.

Every week you're gonna quit,

you're gonna go off and
write your goddamn book,

and every week you find
an excuse not to do it.

- What does writing have to do with it?

- You don't wanna write,
you wanna find excuses.

- What does writing a
book got to do with it?

- I'll just be one more
thing to blame if you don't.

Is that what you want?

You want me to follow you off to Woodstock

or wherever the hell
writers with hay fever go?

Then you'll be a great
writer and I'll bake bread.

Maybe I'll get to take
pictures of my bread,

maybe I'll get to take pictures
of you being a great writer.

- Ha ha that's real funny.
- Well forget it.

♪ 'Cause I'm havin' such a good time ♪

♪ Dancin' with my baby ♪

♪ Everybody's swingin' ♪

♪ Sally's doin' the twist now ♪

- 'Cause she's a terrific
writer, let's face it.

- [Woman] Oh, I know
she's a terrific writer.

I was thinking you do now have a publisher

and that should make it a
little bit easier for her, too.

- I would hope so.

- Well.

- What?

- Well I don't really need his publisher.

- Well of course, that's
not what she's saying.

- No, I know, I'm just saying

that I don't.
- She's just saying

it might make it a little bit easier,

y'know what's wrong with that?

♪ 'Cause we're havin' a party ♪

♪ Everybody's swingin' ♪

♪ Dancin' to the music ♪

♪ On the radio ♪

- What are you afraid
of, are you afraid of me?

I mean, are you afraid
you're gonna fall in love

with somebody like me, an asshole like me?

Man, a swell chick like you

is gonna hang around with a fool like me?

Is that what you're worried about, Abbie?

You don't have to worry about that

because you're never gonna find

anybody you love as much
as you love yourself.

("Having a Party")

♪ Everybody's swingin' ♪

♪ This little lady right
here's doin' the twist now ♪

♪ If you take requests I've ♪

♪ Got a few for you ♪

♪ Don't forget the soul twist ♪

(David quacking)

- You have to move on.

I mean, you do, I think if
Laura were writing a column

for New York and set it first
as a New York-based column

for the Mainline is the kind of thing

I think the Mainline needs,
it needs to expand like that.

And I think that's the kind of thing

Laura can really handle well, don't you?

♪ So Mr, Mr DJ ♪

♪ Keep those records playin' ♪

♪ 'Cause I'm havin' such a good time ♪

♪ Dancin' with my baby ♪

♪ We're havin' a party ♪

♪ Everybody's swingin' ♪

(David quacking)

- Get off my back.

- Please talk to me, it'll
only take a few minutes.

It'll be totally anonymous, I swear.

- Alright, you want an interview.

Tomorrow, 5:30, at South Wharf.

- 5:30.

I have a dentist appointment at 5:30,

couldn't you make it, 5:30 it is.

Thank you.
- Now shove off.

♪ We're havin' a party ♪

♪ Everybody's swingin' ♪

♪ Dancin' to the music ♪

♪ On the radio ♪

♪ So Mr, Mr DJ ♪

♪ Keep those records playin' ♪

♪ 'Cause I'm havin' such a good time ♪

♪ Dancin' with my baby ♪

♪ 'Cause I'm havin' such a good time ♪

♪ Dancin' with my baby ♪

- Hey Laura.

What's the matter?

- Nothing.

- Nothing?

Great party, huh?
- Yeah, great.

- Me too.

Well, you must be happy
about Michael's book.

- I'm overwhelmed.

- When are you going to New York?

- Look, just because
Michael's going to New York

doesn't mean that I'm going to New York.

(Laura crying)
- Hey,

come on, we'll go for a walk.

- Harry, wake up.

Look, the rally.

Were you there?
- What?

- I was.

- Oh, yeah I was there,
everybody was there.

- I was looking for something to read

and I found this box on your bookshelf.

You don't mind me looking
through these, do you?

- Uh uh.

Oh God, the office on Hammerschmidt.

- Look, there's Max.

I don't remember him being there then.

- Oh sure, he was there, he
was there when I was there.

Right from the very start.

And look at this, this is you.

You look really happy there.
- I was.

I loved it, then.

Remember how we used to
do everything ourselves?

Lay out paper for the printers.

- Yep, remember when
we had to do that thing

called the Mainline shuffle
at 2 o'clock in the morning?

Everybody used to line up and
go yeah, yeah, yeah, yeah.

- Remember how the cops used to bust us

for peddling paper without a license?

- We were dangerous then.

Sowing the seeds of dissent, muckraking.

- It's true.

When did Frank come, '70?

- No no, Apley was there
for all the big stuff,

Cambodia, Penn State, Jackson State.

And then Frank came in '71.

- Right.
- Same time Lynn did,

who is also in that picture.

- Right.

It was so much better then, wasn't it?

- Yeah.

(funky music)

- Great jam session.

- No what, wait what are you doing?

- Excuse me.
- What are you doing?

- Excuse me.
- Excuse you for what?

- A jam session.

- No no, Max, I'm just trying.

- Ahmed, where's Ahmed?

- I just wanna play a little by myself.

Ahmed, forget it.
- Do you know F Blues?

- No Ahmed, forget it.
- [Ahmed] Do I know F Blues?

- This guy sings.
- I don't wanna play.

Max, I don't wanna.

- Come on, man.
- This guy sings.

Ready, go.

(jazzy music)

♪ It's Flag Day at Fenway Park ♪

♪ I lost my baby out in the dark ♪

♪ Tryin' to find my way home ♪

♪ Feelin' so down and lonely ♪

♪ All alone, all alone, all alone ♪

(Ahmed scatting)

- What are you doing?

What are you doing, what are you doing?

Is this your guitar?

Is this your guitar?
- Keep going.

- Oh, I got the roadies here.

(Ahmed scatting)

- Fellas, you gotta go home.

- What are you doing?
- You got to go.

- Got to go, cows come
home, say goodnight.

- Why are you turning that off?

- Some party.

- Oh yeah, great party.

Best night of my life, she blows it.

Goddamn bitch.

- Great party.

- What's the matter?

- Nothing, what could be the matter?

- Where's Laura?

- Where's Laura?

Interesting question.

Right at the moment, she's
probably out wiggling

her ass under your friend Harry.

Like that, huh?

- It's none of my business.

- Or does Harry prefer
being on the bottom?

That would be interesting,
does Harry like that?

- Stop it, Michael, you're not funny.

- No, I'm not.

You know, we're alike.

You know that, Ab?

Artists among pygmies,
here's pygmy number one.

- Have you seen my jacket?

- What jacket?

- What do you mean what jacket, my jacket.

I can't write without it.

- Well that's no great loss.

You think it's here?

You think I'm hiding it or
something , it's not here.

It's not here.

I don't have your jacket, Max.

- Give me your jacket.

- I don't have it.

- Please stop, stop it.

Your jacket isn't here, Max.

- I've looked all over for
it, can't find your jacket.

- Bunch of thieves.

- Can I ask you something?

Personal question?

Why Harry?

What is so great about Harry?

I've never understood why
you hung out with him anyway.

- Michael , why don't you just go home?

- Wanna come with me?

No?

Yeah, that's right, chase after Harry.

(chairs clanging)

- You looking for something?

- Yes Stanley, I'm looking for my jacket.

- Well maybe it's with
my shirt that you tore.

You know, you do have to
pay me for that, y'know?

- That shirt, yes, I'm
returning it, it was torn.

I sorta like the one you have on, though.

It's kind of a powder blue, isn't it?

- Yeah, you just stay away from me.

You, you.

- Lunatic, vandal, madman?

What are you looking for?

- Get away from me.

- You know, I'll bet you took my jacket,

I'll bet you have it hidden away

to sniff, don't you?
- Just stay away from me.

Stay away from me.

- Back, Stanley, back, back, back.

- Alright, get all your laughs now

because I'm the one
who's gonna be laughing

when Roy Walsh takes over,

because then you'll toe the line, you nut.

Because Walsh won't put
up with any of your crap.

Didn't know that we had
a new publisher, did you?

Well, it doesn't surprise me.

(bells dinging)

- Laura?

Laura, Laura, Laura?

(bells dinging)

- Hi.
- Hi.

- How you doin'?

- Oh God, am I wiped out.

Hell of a party, huh?

- Yeah, what do you want?

- Can you make me a cup of
coffee or something , Harry?

Really tied one on.

- Yeah, well look, I was asleep, man.

- Oh, it's no problem, no problem.

Go back to bed, I'll make it myself.

- No listen, Michael , really.

- No look, I just, I'm just
tired, man, just tired.

Would you mind if I sack out here?

- Well look, y'know.

- No, it's okay, it's okay.

I just gotta lie down for a minute.

- Look.
- Oh, come on Harry,

just let me lie down
for a second, will ya?

(Harry stuttering)

- Oh God, I'm gonna be sick.

I'm sorry, I.

- You wanna go to the bathroom?

- No, no, just let me
sit down for a second.

Have you got any Alka Seltzer?

- Alka Seltzer, just get some air.

- Oh no, I couldn't make it down there.

Just get me some Alka Seltzer
if you got any, please.

- Alka Seltzer.

Oh fuck, I knew it.

- Hi Laura, thank goodness you're alright.

I mean I was really worried,
I didn't know what happened.

I looked all over for you,

I just wish you'd told me you were going.

I mean you really should
have at least told me

because I was frantic, I
mean I thought you went home

and I looked there, and the
dog really had to go out

and that was your responsibility
tonight, remember?

Yeah, you said you were
gonna take the dog out.

I mean, the least you could
have done was take the dog out.

- Do you still want your Alka Seltzer?

- You may shove it up your ass.

- [Laura] Oh Michael, stop.

- I mean, I took her out but
it was your responsibility.

- Christ's sake.

- Would you keep out of this?

I'm trying to talk to Laura about our dog ,

if you don't mind.
- Ow.

Michael , this is sick.

- Do you really think
you're a better writer?

I mean, really?

- I think that this is a
very unfortunate situation.

- Why?

I mean, you're in your element here.

And I mean you been sniffing
at my heels for years.

- Look, if we're gonna fight,
can I at least get dressed?

- But I'm the one with a book contract

so you go ahead and tell
me how important you are.

Go ahead, charm your way out of this one.

- I don't even know what the
fuck you're talkin' about.

- Look, you're jealous of me,
just admit it, you're jealous.

- Okay fine, I'm jealous, alright?

- That's right, you've
always been hostile.

It's the grasshopper and the ant, buddy,

that's what it is, the
grasshopper and the ant.

- That's right, it's the grasshopper

and the ant.
- Michael , I wanna go home.

- Look, don't patronize me.

If you don't think it's the
grasshopper and the ant,

then don't just say it's
the grasshopper and the ant.

- [Laura] Michael.

- I don't even know what the fuck

the grasshopper and the ant is.

- [Laura] I wanna go home.

- I mean I don't need to be patronized.

Well go on, say something clever.

- [Laura] I'm saying something.

- Say something.
- I'm saying something.

I wanna go home now.

- We're leaving for New York next week.

- Michael , I'm not going
to New York with you.

No, I'm not.

- Oh, yeah well that's
right, you've got your.

- What am I supposed to do in New York?

My work is here, my friends are here.

- Look, can we just go home?

- Back Bay schmeckle.

- How can I South Wharf from here?

(phone ringing)

Max, South Wharf, how can
I get there from here?

- Hold the line, I'll be right with ya.

I don't know, ask Harry.

He's a walking atlas.
- Right, Harry.

- A walking asshole, he is.

- Bitter.

- Well , he really bums me out.

- Back Bay drainpipe, hold please.

The Monongahela backwash.

Hold please.

Certainly took you long
enough in there, didn't it?

- My God, five minutes, Jesus Christ Max,

you can't just put everyone
on hold and leave them there.

- They deserve it.

- Let me see if I got this.

I get to Atlantic Avenue
and I make a right.

- Yeah, and the wharf's right
there and you can't miss it.

- Right, got it, okay bye bye.

("Heat Treatment" by
Graham Parker & The Rumour)

- So you knew where South Wharf was, huh?

- Yeah.

But I don't know why he wants
to go down there, do you?

There's nothin' down there.

Except that he said something

about doing something
about a duck or ducks.

Oh, he did a thing about whales,

now I guess he's doin'
something about ducks.

- Yeah, I read the whale piece.

Come with me.

- Why?

- Come on, come on!

(tires screeching)

(cars crashing)

- Are you alright?

- What the hell's the matter with you?

Don't you stop when a man
takes a right hand turn?

- Can you move the car, please?

- I'm turning right.
- You're blocking my car.

- You're supposed to have your blinker

on when you make that turn.

- This is an emergency, can
you please move the cars?

- You shouldn't be
making a right hand turn.

- I'm not moving my car til the police

see I was within my rights.

- Asshole, move the car.

(door collapsing)

I think you guys now know
who you're dealing with.

("Heat Treatment" by
Graham Parker & The Rumour)

- Can you move?

I got a cramp in my leg.

- Where do I turn?
- Just keep going.

Look, can you move?

And why'd you have to come along , anyway?

- For the sheer pleasure
of sitting on your lap.

- Where do I turn?
- Just keep going.

(horn honking)

- You're so busy fucking around.

- Right.
- Aw, shut up.

- What do you think is
gonna happen to him?

- I don't know, I don't know.

- Something died in here.

- I'm nervous.

("Heat Treatment" by
Graham Parker & The Rumour)

(engine revving)

(horn honking)

- Excuse me, pal, do you have the time?

- 5:30.

- Thanks very much, my
friend here forgot his watch.

- Are you gentlemen from Mr. Austin?

Oh God.

(tires screeching)

(David grunting)

- Cowards, cowards.

- Max, fall back.

- You wanna fight, fight with me?

Couldn't shove it out.

You're so brave, you wanna fight in twos.

- David?
- You can't crush

the seas of truth, you bullies.

Poor, dumb bastards, let me go.

Pernicious eel shits.

- David?

David, are you alright?

- You okay?

Jesus, they beat the shit
outta you, didn't they?

You got a lot of guts, man.

You're gonna make a great reporter.

You'll nail those punks with your story.

Can you move?
- Yeah, I'm alright.

- Can you walk?
- Yeah, I'm fine.

- Take you to the hospital.

- No, it's okay.

- You sure?

(knocking on door)

- Hi, Laura.
- Hi.

Where's Lynn?

- She's at the movies.

What's that?

Look like your living room curtains.

Listen, I was gonna call you tonight,

you in the market for a roommate?

Course, this place is small
and I gotta set up my darkroom,

and if you don't have anybody else

and you think you can stand me.

What's the matter?

- We gave up the apartment.

- What'd you go and do that for?

- Because I'm going to
New York with Michael.

- What?

- Don't say anything, Abbie, please?

I changed my mind, okay?

And you always liked
those striped curtains.

If you don't want 'em, just throw 'em out.

- Listen, if it's what you want.

- It is, I mean it is.

I've thought it over and
it's really the right thing

for now, just don't say anything, okay?

Okay, I know I shouldn't be going , okay?

But I'm going.

And I'm kind of excited about it.

Hey, Michael wants to sell the Bacati rug,

and if you want it, I would
be willing to give it to you

out of the generosity
of my heart, of course,

for about 15 or $20,
complete with dog hair.

- You want a drink?

- Yeah.

- Are you finished?

I don't wanna interrupt.

- I'm done.

- Well let me try to respond

to some of the questions you're raising.

To start with, we bought the Mainline

not for what it can
be, but for what it is.

We studied all the back issues,

and I mean all the back
issues, seven years' worth.

From the time this paper
was a radical underground

right up through the
counterculture boom to the present.

And we're impressed,
the natural progression

this paper's making, your
own growth as writers,

it's been all to the good--

- You're not answering my question.

- Well, if you'll just
let me finish my thoughts.

- Could you be more specific?

- Harry, let him finish.

- No no, I just a little more specific.

I mean, for instance, I'd like to get

a straight answer about a few things

like if and how you plan
to change the paper.

For example, are we all gonna be kept on?

Simple question.
- Well I'm afraid

it's not as simple as that.

I don't know at the present moment.

What I do know is that
raw stock costs are up,

printing costs are up,
and spending money's down.

Which means, quite pragmatically,

we need a broader based readership

in order to get a larger
number of advertisers.

- Money, money, money.

- Well, that's simple business,

and that's a fact that
we've all got to live with.

- It's not a fact that
I have to live with,

it's a fact that you have to live with.

- [Roy] We've all got to live with it.

Now, I'm not gonna make any rash promises.

What I can promise you is that one,

your copy will not be cut for advertising.

- [Frank] Good.

- We would rather expand
the size of the paper.

And when that leads to
expanded circulation,

we hope to be paying
you expanded salaries.

- Bravo.

- And in response to
your earlier question,

it's a good staff and we
wanna keep it together

to the greatest degree possible.

- Boardroom boardroom.

- Frank, can I see you for a minute?

Shut the door, will you please?

- Hey, I'm sorry about the meeting.

Y'know, things got a
little bit out of hand

but that's the way it happens around here.

- Well, you know, I've met
sons of bitches like him before

and it's been my experience that,

well they're more trouble
than they're worth.

- Yeah, but not Harry.

He may cause a ruckus here and there

but he's a terrific writer.

Y'know, he's the moving
force on this paper.

- Well, it strikes me he's

a moving force in the wrong direction.

I think we should get rid of him.

- (laughing) That's insane.

I mean, you come in here on your first day

and you fire Harry or
you ask me to fire him.

The whole office is just
gonna get up and walk out,

and you'll lose your
investment in 24 hours.

- Well, that's a chance I'll have to take.

I want him out.

And what I'm trying to say
is it's been my experience

that there's certain people
who are gonna leave anyway.

And if they stay around,
we just prolong the thing.

And quite frankly, if the
whole staff wants to leave,

I would just as soon it
happened on the first day

rather than three weeks
or a month from now

when things really get rolling.

- [Frank] You can't run a
newspaper unless you have a staff.

And if you don't have a staff.

- Frank, I run several newspapers.

I can have staff in here
tomorrow, as far as that goes.

- I can't fire Harry,
he's the best I've got.

Better than any 10 writers you'll find.

- I want him out.

Now, if you can't fire him, I will.

Now get rid of him, he's out.

- Harry's right, there's something

about this guy you just can't trust.

- Could you type this up for me?

What's your name again?

- Lynn.
- Lynn,

it'll take me awhile
to learn all the names.

I hope you'll bear with me.

- You don't have to
learn my name, Mr. Walsh.

I know the Mainline means
a good business deal

to you and a lot of money,

but to a lot of us it
means something else.

A lot of us want to work for the Mainline,

not some communications empire.

And,

well what I mean is that.

- Listen, Mr. Walsh, I think
what Lynn is trying to say

is that she just wants
to find out what changes

are gonna be made here
and think about how--

- No, that's not it.

Boy, we really stick together, don't we?

Well, I don't wanna work here anymore,

so you don't have to learn
my name because I quit.

- Lynn?

- [Frank] Yeah, I just talked to Walsh.

He called me in there.

- I know, I was too hard
on the guy, you were right.

I was all over him, wasn't ready for me.

I'll apologize to him, it'll
be okay, I'll apologize.

- He wants you out, Harry.

He said that if I don't fire you myself,

then he will so I'm firing you.

- Wait a minute, whoa, he wants me out?

- He doesn't want anybody
challenging his authority.

- Wait a minute, wait a minute.

- [Frank] You freaked out.

There was a one man courage
you threw on Friday.

- Let me get this straight, I'm fired?

- Yes!

Well, what do you want me to do?

- I don't believe it.

- You set yourself up for
it, Harry, I'm very sorry.

And I could've thrown my own job in,

but I didn't see it and I
didn't think you'd want it.

And you threw this whole
leave as a party scene

and it didn't, hey Harry?

(door slamming)

I'm sorry.

(bell ringing)

(somber music)

(upbeat music)

- Guess I came too late, that's all.

- Good afternoon, Mr. Walsh.

- Hello, Harry.

- You!
(gun firing)

See ya, pal.

(somber music)

(can banging)

- Hi, I can give you Mr. Matilnger.

- What are you doing?

- Stanley, please.
- You mean you're just

going to take off?
- I just want

to get my stuff together and go home

and take a nice, hot.
- No notice,

you don't even take the time

to find somebody else.
(phone ringing)

That's very nice, that's very, very smart.

- Good afternoon, Back Bay.

What?

Stanley, please?
- The company goes and buys

you a Royal 440.
- What?

(phone ringing)
- So what are you gonna do?

You're just gonna leave us in the lurch?

Well before you go, you give me a list

of where everything is.
- Stanley, shut up.

- I wanna know where the
billing envelopes are.

- Stanley, shut up!
- And the stationary.

- Who do you wanna talk to?
- I wanna know where.

- It's for you.

(Stanley gasping)

- There's a lot of legwork involved

and a lot of careful, methodical research.

Am I going too fast for you?

I was lucky, I had a lot of help

from people like Max
Arloft and Harry Lucas.

And I learned a valuable
lesson, you can't play it safe.

In this business, there just
isn't any room for people

who wanna work nine to five
and go home to a soft bed.

You gotta be on the job 24 hours.

Will I be able to get a copy of this?

- Well, yeah.

- Lynn and Laura and Michael
and you, everybody's leaving.

It's such a downer.

- I don't see it that way.

- What are you going to do?

And why do you look so happy, anyway?

- I don't know, I'll do some freelancing.

I'm good, remember?

- [Abbie] Where, Vermont?

- No, I think I 'II hang
around the Boston area.

- There you are, I've been
looking all over for you guys.

Where you been?

I came to say goodbye.

- Oh, I'm not goin' anywhere.

- I am.

- Where you goin'?

- Oregon.

- [Abbie] To do what?

- Write a book.

About the loss of innocence
and alienation, corruption.

- You kidding?

- Yeah.

I had you goin' there
for a second, didn't I?

- Come on.
- Where you going?

- Bye, Max.
- Where you goin'?

- Bye bye, Max.
- Where you going?

I came to join you for a drink.

- Bye Max.

- At least if I have to drink alone,

lend me a couple of bucks,

that way you'll be here in
spirit, where you going?

Excuse me, I think I know you.

Have I seen you here before?

- I don't think so.
- You look very familiar.

- No, I've been here a couple
of times in the last year.

- Really?

I come here all the time,
maybe I've seen you then.

My name's Max, what is your name?

- Doug.
- Doug what?

- Henkel.
- Henkel, Max Arloft.

- Nice to meet you.
- Henkel.

- Yeah?
- Is that a German name?

- No, it's Dutch.
- Really?

- What'll you have?

- I'll have a beer, what are you drinking?

- Nothing, I gotta get
out in five minutes.

- You sure?
- Yeah.

I gotta get down the road.

- Okay, yeah, thank you.

I don't believe this.

I don't believe it, I do this every time.

Why do I do this to myself?

- That's tough.
- Why didn't you

go to the bank?

- It's past three, I think.

- Uh, you don't mind, thank you.

- It's a buck and a quarter, Max.

- Okay, keep the change.

- Listen, that's.

- What is your name, I'm sorry?

- Doug.
- Doug what?

- Henkel.
- Do you read the Mainline?

- Yeah, I read it.
- You do?

- Yeah, I read the Mainline

but I was just.
- Do you read

the rock column on the Mainline?

- Yeah.

Oh.

You're.
- Max Arloft.

- Doug Henkel, nice to meet you.

That's amazing, I've been reading

your stuff for three years now.

- Really?
- I just can't believe it.

You wrote that article that I read still

about boarding Cascades, right?

- The Cascades article, you read that?

- Yeah, that was amazing,

I thought you were a black
guy or somethin' to get in.

What you were writing about,
you were talking about.

- I like you, Doug , do
you want another drink?

- Yeah, sure.
- Rum and coke.

- [Jim] You got it, Max.

- Do you know Jim?
- No.

Hi, Doug.
- Yeah, Doug Henkel.

- Nice to meet you.

- He's German.
- Wow, yeah I'm Dutch.

- Half German.

- That's amazing, I can't believe

that I'm sitting here with you.

You wrote that article about.

- The Cascades.
- The Cascades.

- Have you heard their last album?

- No I heard it was good, though.

- They're talented but they're not good.

- Yeah, I can see that when you say that.

Because like you were talking about,

the good track that they sang.

- I love this place.

I love this place, I
come here all the time.

I had a couple of friends,

they just had to leave unexpectedly,

well I meet new friends all the time here,

I meet new people just like yourself.

Y'know, every time I come here,

I meet new people all the time.

Oh come on, I'm just like everybody else.

(" I Don't Want to Go Home")

♪ Said I don't want to go home ♪

♪ In their mind, I know they want to go ♪

♪ I don't want to go home ♪

♪ I know the words to the song I feel ♪

♪ I don't want to go home ♪

♪ I know it's talking
about the way I feel ♪

♪ And I don't want to go home ♪

♪ Listen baby ♪

♪ I know we had to try ♪

♪ To reach up and touch the sky baby ♪

♪ What ever happened to you and I ♪

♪ That I don't want to go home ♪

♪ I want to hear people laughing ♪

♪ And having a good time ♪

♪ I want to know why she
told me she had to go ♪

♪ Why did she leave me lonely ♪

♪ I know that it's time to go ♪

♪ But I don't want to go home ♪

♪ You don't play the blues soft and low ♪

♪ Cause I don't want to go home ♪

♪ Listen baby ♪

♪ I know we had to try ♪

♪ To reach up and touch the sky baby ♪

♪ What ever happened to you and I ♪

♪ That I don't want to go home ♪

♪ I don't want to go home ♪

♪ I don't want to go home ♪