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Hard Core Logo: Why the End Is Right


If you want to talk about Noel Baker's book on HCL and the question-mark bubbles that appeared above your head as you read it...or penetration (a. contrived, b. consensual, c. non-consensual, d. Noel Baker's lack of interest in...) scroll down in my journal to the OTHER HCL post and join us!  Three posts down.  We love it when people join the conversation and we track like you wouldn't believe.  Try us. 

If you'd like to talk about The End and the events leading up to it, come in here.  But I Am Telling You...

...this is the Spoiler Supreme with a side of spoily fries.

Late at night Hugh comes into our suite and tells us he has a new idea for the end of the film, to do with his character.  I’m thinking oh pleeeese go to bed and learn tomorrow’s lines.  But Hugh’s just dying to get this off his chest, so we sit and listen.  It takes about ten minutes for him to get to the end of his thought.  Which leaves us kind of stunned.  We know Hugh’s onto something, something that gives the story a much stronger sense of closure than anything I’ve written.  It’s a shocking ending.  It’s huge.  It changes everything….It’s an ending we never would have considered without seeing two days of Hugh’s performance.  Now we know who Joe Dick really is, we know this will work, we know there is no other ending to the film.
 
From Hard Core Road-Show, by Noel S. Baker.

 

Normally, I’m not a big fan of a movie killing a character that I love.  (Two fingers at you, Joss Whedon.)  But I think Joe’s death is essential to the movie.  It informs the scenes that come before it, which gives the viewer a weird and intense feeling of satisfaction.  As if you’re experiencing the movie in one piece, as opposed to a string of events laid out over time. 

 

BTW, this is NOT some kind of resistance to any sequel which reverses the ending.  I love HCL for what it is, on its own.  Bruce McDonald, if you have figured out a sequel, I’m very happy.  You want to bring Joe Dick back?  Bring him.  Please.

 

While I’m in the Land of Asides, I should acknowledge that...you know, I’m 12 years late to this party and that this is well covered ground.  I think lots of other people have had similar thoughts about the movie --- in fact, I just found some great discussions that address this topic, from brooklinegirl and lyra_sena.  This is just my take.  These are the scenes that, for me, link so perfectly to the final scene and give magnificent shape and resonance to the movie.  Ok, so…

 

1.  In the opening, Joe describes the attack on Bucky --- the lie that inspired the concert.  Joe says Bucky Haight was merely wounded, as opposed to other rock heroes, who have died.  Joe says Bucky was “robbed” --- what he means is not that he was robbed of his legs (was it both legs? J), but that he was robbed of  his rightful status as a martyr of rock ‘n’ roll.  According to Hard Core Road-Show, this was even clearer in the script than in the scene, as shown.

 

The correct end for a rock hero is a violent death.

 

2.  As Billy enters the movie, enters the club where the benefit is held, Joe stands against a wall.  He doesn’t approach Billy.  He doesn’t even look at him that much, as Billy greets the others.  He doesn’t look particularly happy.  This is one of those moments where what comes after helps you understand what comes now.  Because, later in the movie, we hear and see that all Joe’s energy is focused on getting Billy back and keeping him here.  Yet Billy walks in, after five years, and Joe just stands there. 

 

But god, you know that feeling, right?  When the person you want most comes into the crowded room.  Everything feels too big.  You can’t move right anymore.  You don’t know what to say or do.  It’s a little bit hard to even look at the person.  It’s fear and hope, suffocating you for a minute.  Everything’s too loud.  Can’t think.  Whatever, act normal...  That kind of thing.  That's what I see when I look at Joe.

 

After five years, there’s Billy.  Joe's other half.  The reason Joe invented this enormous contrivance of a concert, involving dozens of musicians, hundreds of people, thousands of dollars and one Bucky Haight.  It was all for this moment, but he didn’t quite believe it would happen until now.  He has what he wanted.

 

3.  Joe and Billy at the tiki bar.  

 

First, the discussion is Joe trying to get Billy to go on tour.  Billy says, “I’ll go.”  (Actually, he says, quite awesomely, “I’ll go go go go.” )  Joe is happy.  Billy lists some conditions but Joe’s just doing a happy dance and not listening.  Billy points out that Joe is not listening.  Joe says, “I lost you after ‘I’ll go’.  That’s what I liked.”  (Note that he really should have said, “You lost me after ‘I’ll go’.”  Instead he says “I lost you.”  An interesting slip of the tongue. J)  Billy tries to extract a promise that it’ll be one tour.  “When I get back, I’m done.  Say it.”  Joe:  “When I get back, I’m done.”  Joe doesn’t quite give Billy permission to leave.

 

Second, the time travel.  (Which might be one of the most delightful things I’ve ever seen in my whole life.)  During which Joe lays out their dynamic, explicitly.  Billy “disappears.”  Joe:  “Where’d Billy go?  Billy’s gone; uh-oh.”  Billy re-appears.  “Man, you scare the shit out of me when you time-travel like that!  It’s good to see you back.  You scared me.”  Joe “disappears.”  Billy gets up to leave.  Joe:  “I’m right here!  You don’t’ even care when I’m gone.  When you’re gone, I look for you.  I make an effort.  That’s not a fun game.”  

 

The amazing thing is that, if you read Hard Core Road-Show or listen to the commentary, they say that this scene veered completely off-script and ended up largely improvisation.  Hugh, left to his own devices, and with perfect collaboration from Callum, simply and playfully lays out an allegory for Joe and Billy’s main struggle.

 

Billy wants to go away.  These are the parts they play:  Billy is the one who goes away and Joe is the one who wants Billy back.

 

4.  “Which way you goin’, Billy?”  Over two of the diner scenes, the music is that old song, “Which Way You Goin’, Billy?”  It plays twice.  Then, the morning after Joe loses their cash to the hookers, Billy’s walking down the street to the ATM.  Pipe catches up to him and says, “Where you goin’, Billy?” 

 

I mean, seriously, listen to this. 

Song:  http://www.youtube.com/watch?v=n8SPVEhZN5E

Lyrics:  http://www.kovideo.net/lyrics/p/Poppy-Family/Which-Way-You-Goin-Billy.html

 

The song, and Pipe, are the greek chorus --- Billy will leave like he did before.

 

5.  Driving the van, the movie game.  Joe can’t think of a good movie that begins with Y until he comes up with “Young at Heart.”  Billy asks, and Joe explains that Frank Sinatra plays a “drunk, depressed singer” who loves Doris Day, but “thinks he doesn’t deserve her love” and intentionally crashes his car.  Billy:  “Does he die?”  Joe:  “Of course…no, no he lives…” happily ever after, with Doris as his wife.  In the HCL script, Billy calls this “bullshit.”   In the scene, Billy makes that “incorrect” game-show buzzer sound in response to what Joe says. 

 

Joe reaches into his mind and what he comes up with is a movie with a happy ending between a messed-up singer and his beautiful blonde partner. But, as Noel Baker says, Billy is on some level warning Joe not to expect things to turn out well for them.

 

6.  The lyrics of “Something’s Gonna Die Tonight”.   First of all:  "I've got a bullet in my pocket like a Barney Fife.  And I'm saving it up for the right occasion."  Ok, that’s just a fantastic line. J

 

More to the point, (Sorry… more to the point than the bullet?  Yes.  The break.)  “Yeah, what do you do man, when you get beat up and your heart’s crushed in and you get let down by a person or a place or something you trusted.  Well you put up a fight, till what’s lost is found.”  

 

Joe lost Billy once.  Joe’s solution is to fight to get him back.  Not “fuck you”, not move on.  Get it back.

 

7.  At Bucky’s ranch.  Bucky is Joe’s musical hero.  As Billy points out, Joe’s ONLY musical hero.  Joe lied about Bucky’s tragedy --- Bucky is completely un-shot.  Bruce asks why Joe lied.  “Billy wouldn’t have gone for any of this shit if I hadn’t….”   And it turns out Bucky knows that Joe has used him.  Bucky severs his relationship with Joe. 

 

Joe has now traded Bucky for Billy – to get Billy back in his life.  He’s all in.

 

8.  At the next club, Joe asks Billy to stay for good.  “What about me and you? …What are we gonna do?  You and me?”  Not Hard Core Logo, not John and Pipe, necessarily.  Joe and Billy.  Joe asks Billy to stay with him, play with him. 

 

Billy:  “So you want you, me, you, me.”  Joe:  “Bingo.”  Billy agrees.  During a moment where Billy is turned away, Joe quickly moves a gun to his pocket.   

 

Joe wants Billy, and only Billy, for good this time.  What’s the gun about, at this point?  I don’t know.  Maybe on some level, he knows these are his options:  Billy or the gun.  Maybe that's a stretch.  But he does have a gun...

 

9.  Bruce hears about Billy’s firm offer from Jenifur.  Bruce tells Joe that Billy’s leaving.   After the last song, Joe punches Billy and they fight on the floor.  Joe stops and pulls back, not sure what to do with himself.  He grabs a bottle (And two glasses.  That’s, like, one of the saddest things I’ve ever seen.) and goes outside.  He asks whether Bruce had a good time – whether he got everything he needed.  (Nice.  Because we hate Bruce right now.)  Joe shoots himself in the head.

 

Joe has lied and gambled and pleaded and asked for promises and gotten promises and now he has lost.  Joe, through the entire movie, has done everything he possibly could to achieve one thing:  Billy permanently in his life.  Now, instead, Joe is losing Billy again.  He either can’t stand the pain in this moment, or thinks he won’t be able to tolerate living without Billy.  He’s a rock singer.  Death is an option.  He takes it.

 

The movie relentlessly shows Joe pursuing Billy, in small ways and huge ways.  This is done so effectively, so organically, that the conclusion, though shocking and as much as you HATE it, feels right.  And as the movie seeps into your head, the death reaches back to touch the other scenes.  Watch Joe watch Billy.  Watch Joe kiss Billy onstage.  Watch Joe grab Billy like a mannequin and take him.  “He’s mine.”  Watch Joe tilt his head as Billy laughs.  Hear Joe say, “I love you.”  Watch Billy close behind Joe’s shoulder as Joe sings. “…In the shape of a heart in the middle of my name”.

 

Yeah, I’m sappy and I’m cramming all the sweet bits together in one ball of cookie dough.  But it is sad.  It’s very fucking sad and very right at the same time.

 

And I love how it works both ways.  The death doesn’t work if the stakes aren’t that high.  And the movie, previous to the death, sort of jolts to more vivid life, once Joe dies.  It’s a great ending.


 

Comments

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mary_the_fan
Sep. 10th, 2008 12:52 am (UTC)
1. So Tom, you were saying? About the ending. You had some thoughts on my other thread.

2. Why don't we also throw this discussion open to whatever. Like, what is your favorite scene and why? And things like that. Either that, or I'm going to find like seven more angles on HCL for seven more posts, and nobody wants that. :-)

3. I really recommend repeat viewing. Really recommend it. Those within spitting distance (heh) of my house may borrow my copy. Or buy it. Apparently Netflix and libraries in Boston (or so I've heard) are low on copies of HCL.
tomfoolery815
Sep. 10th, 2008 07:11 pm (UTC)
So Tom, you were saying? About the ending. You had some thoughts on my other thread.
Ah, this is what you meant. I didn't know you meant a new thread, and I only saw this about an hour ago.

What follows is a copy/paste from the other HCL-specific thread:

So I laughed when Joe, in describing the "attack" on Bucky Haight, first said "We don't know if it was some kind of Chapman/Lennon thing." Seemed like Spinal Tap-esque myopia and grandiosity all at once.

But from a whole-movie perspective, it appears as though Joe knew, even at the sham charity gig, that if Billy didn't rejoin the band permanently, he didn't want to go on living. At least twice more, he talks about "Lennon: Rock 'n' roll assassination. Cobain: Rock 'n' roll suicide." HCL was never that big, but that's obviously what he aspires to.

Even Pipe and Billy are Cult of Kurt sympathizers, as we see in the hot dog scene. ("Sorry, Kurt, wherever you are.") Probably because it's only '96 (right?), so the memory is still fresh. Maybe Billy was just humoring Pipe, but it looked as though he's sincere in his Cobain reverence.

I wonder if suicide was Joe's way of obtaining the rock immortality that he craved. Lord knows we've seen never-were-huge artists have their status elevated simply because they died young. The fact that these people died doesn't make their music better, IMO.

Baker lets Joe have what he craves, though, with the credits revealing that Joe's corpse went missing.
mary_the_fan
Sep. 10th, 2008 08:10 pm (UTC)
It's very interesting that you put this comment on the other thread, before I posted this, and it's my very first point in this post! Great minds.... :-D
(no subject) - tomfoolery815 - Sep. 10th, 2008 09:14 pm (UTC) - Expand
(no subject) - mary_the_fan - Sep. 10th, 2008 09:29 pm (UTC) - Expand
(no subject) - tomfoolery815 - Sep. 10th, 2008 09:41 pm (UTC) - Expand
tomfoolery815
Sep. 10th, 2008 07:13 pm (UTC)
He asks whether Bruce had a good time – whether he got everything he needed. (Nice. Because we hate Bruce right now.)
We do? Mary, is this about the callous way Bruce revealed to Joe what he knew?
mary_the_fan
Sep. 10th, 2008 07:33 pm (UTC)
We do? Mary, is this about the callous way Bruce revealed to Joe what he knew?

Yeah! Well...it's even about the FACT that Bruce revealed to Joe what he knew. First of all, he had no right AT ALL to do it.

Second,...imagine a scenario where they do the final show, go to bed, wake up the next day and Billy breaks it to Joe over coffee. Still really, really bad, but maybe not ending in suicide. That's a huge maybe --- I still think it might only have bought a little time. But dramatically different.

Bruce told Joe shortly before they went onstage. That environment, the music, the bottle of booze he was drinking, the fact that it was their last time on stage together. That's a lot converging on Joe at once and I think you could make a case that it mattered to the outcome.

Plus, Bruce did that out of spite. It wasn't unintentional, it wasn't unavoidable, it wasn't some misguided idea of a better way to let Joe know. The guys pissed Bruce off, and he decided as soon as he heard Billy on the radio that he was going to spill to Joe. (Don't know whether you caught that...after Billy says to Bruce, "Are we cool?" Bruce says, to himself, "Yeah, we're cool, Billy boy. We're going to show you just how cool we are."

Now, we all understand that this is Bruce McDonald the Character, right? I don't know the real Bruce, but everything I've read and heard says he's a nice guy. :-)

Edited at 2008-09-10 11:44 pm (UTC)
mary_the_fan
Sep. 10th, 2008 07:41 pm (UTC)
On your other comment...I see that we agree that the rock touchstones they mention do factor into Joe's decision. I think that's definitely true.

...it appears as though Joe knew, even at the sham charity gig, that if Billy didn't rejoin the band permanently, he didn't want to go on living.

I wonder if suicide was Joe's way of obtaining the rock immortality that he craved.


I guess we differ only in degree. I wouldn't say that suicide was a means to that end, for Joe. I think what he craved was a life, on the road, with Billy. And I think he absolutely thought he could get it! I don't think he had the gun in his pocket the whole time...I think he felt like this was gonna happen for them.

His attitude of reverence for the rock legends who had died --- and how salient they seem to be for him --- sorta gave him that idea, that option. Like, if not Billy, then what? My wank is that he just didn't want to be alive anymore --- didn't want to live in anything other than the one world he knew and wanted. But maybe the "status" it might give him was a bonus? I don't know. I feel the limb creaking under me. :-)

Baker lets Joe have what he craves, though, with the credits revealing that Joe's corpse went missing.

I absolutely did like that, and you're spot-on to point it out. :-) IMO, Joe would have liked that, so it made me smile a little.
tomfoolery815
Sep. 10th, 2008 08:53 pm (UTC)
Now, we all understand that this is Bruce McDonald the Character, right?
Yeah, of course! :-) This is all about the Bruce character in the movie.

(Don't know whether you caught that...after Billy says to Bruce, "Are we cool?" Bruce says, to himself, "Yeah, we're cool, Billy boy. We're going to show you just how cool we are."
I did. And yes, what Bruce did was out of spite or revenge. Not qualities I seek out in friends or business associates. :-)

But here's my issue: Joe used everybody -- with the exception of the two girls who took all the money -- to get what he wanted, which (obviously) was Billy. He used Bucky Haight. He used the anti-gun lady. He used Bruce. He even used Pipe and John. They get chucked overboard because Joe, for the moment, has what he wants.

Not unlike Bucky Haight, Bruce is pissed off at being treated this way, probably moreso because Joe acts like the money (funding for the film) makes the massive lie he was told OK.

I think you could make a case that it mattered to the outcome.
Someone could, but I'd disagree. :-) I think Joe was going to kill himself regardless of who told him about Billy leaving. His emotional state ("goodbye to Billy Tallent, because it's the last fuckin' night of his life," I think, is the line) was about Billy leaving him, and whenever he found out, that was going to be his response.

(This post will get far too long if I don't start another one.)
tomfoolery815
Sep. 10th, 2008 09:10 pm (UTC)
I think it's possible that Joe finding out from Bruce, or the DJ, was how Billy wanted it to happen.

There's that first scene of Billy talking to Bruce in the bathroom.

BRUCE: Joe didn't think you were going to show up.
BILLY: Yeah, well ... he's a bitch.
A door opens and Billy snaps his head around quick, just in case it's Joe.

Then there's the interview with the fanzine writer (the young woman told to fuck off) where Billy abruptly stops talking because he senses Joe's approaching. Billy's much more comfortable talking about Joe to others than to Joe.

In support of this position, I throw these questions out there: Why did Billy let some random DJ know before Billy? Why did he do so with Bruce's documentarian camera rolling? Before that, why does Billy tell Bruce, and not Joe, that (unlike Joe) he's not angry anymore?

Wouldn't the right thing have been for Billy to leave the DJ booth without telling the DJ, to not tell Bruce (or anyone) before telling Joe?

The coffee-conversation scenario is a nice thought, Mary. That's the way it should have been handled. But the nature of their relationship from Billy's POV suggests to me that he knew what he was setting in motion when he spilled to the DJ.
mary_the_fan
Sep. 10th, 2008 09:12 pm (UTC)
But here's my issue: Joe used everybody -- with the exception of the two girls who took all the money -- to get what he wanted, which (obviously) was Billy. He used Bucky Haight. He used the anti-gun lady. He used Bruce. He even used Pipe and John. They get chucked overboard because Joe, for the moment, has what he wants.

Yeah, I don't disagree that Joe used everybody. I think the ways in which he used everybody are not relevant. That's their issue. (Bucky severed the friendship, Billy forgave him, gun lady might sue...) What's relevant is the way he used Bruce.

And I guess...ok, how is Bruce so bad off? I know he's mad that he was lied to, but he got this movie made because of it. Because of the lie, Joe had the benefit and talked Billy into the tour, so Bruce gets money to make his movie. No, to your question, I don't think that makes the lie ok. But I fail to see his damage. If anything, the movie is better with a big reveal right in the center of it. And, at the end, he reveals himself enough of a shithead that I think that might be great with him.

So I get that Bruce is pissed when he finds out about the lie, but I think Bruce is more upset over the treatment from the guys, in general. Whenever he interjects himself into the conversation (the movie game, the kitchen table read of John's journal) and even sometimes when he doesn't, the guys (all of them except John) treat him with disdain. They laugh at him. They cut him off and ignore him. They even mock his previous movies at one point. What I took away was that Bruce was feeling picked on, and that was his main motivation.

The other problem I have with Bruce the Character is that he's sorta breaking a cardinal rule of documentary filmmaking, isn't he? It's a little through-the-lookingglass at this point in the conversation, because the movie, as finished, is not strictly a documentary. But that's mostly post-production, IMO. (Except for the filming of the tiki bar scene.) Whether you think it's Bruce the Character making the movie or Bruce McDonald making the movie...

I'm saying I think Bruce was, ostensibly, filming a documentary. At the end of the documentary shoot, he messes with the lives of his subjects! Aside from what a massive overreaction that is to what's been done to him, isn't that just unprofessional?
mary_the_fan
Sep. 10th, 2008 09:23 pm (UTC)
In support of this position, I throw these questions out there: Why did Billy let some random DJ know before Billy? Why did he do so with Bruce's documentarian camera rolling?

But the nature of their relationship from Billy's POV suggests to me that he knew what he was setting in motion when he spilled to the DJ.

I wrote a whole thing on this in my other post, so I won't repeat it here. You can pop over there, if you want. Really, it's long. Umm...ok, Billy just got the fax, he's excited and the DJ is asking about the future of HCL. He wants to tell somebody and, at the same time, realizes that there's really nothing else he can say that's truthful, without really hurting and humiliating Joe, so he leaves.

Yeah, seems like we fundamentally disagree on Billy. Which is fine...many ways to view him. In my other post, I talk about where Billy's coming from. Which, IMO, is trying to balance his own survival with his love for Joe.

I don't view him that harshly as you do --- actually not even Noel Baker does. Noel was more puzzled about why Billy would show the fax. He didn't say that Billy knew what would happen as a result. As for me, I don't think Billy would ever have wanted Joe to find out from Bruce and I disagree that he knew that Bruce would tell Joe. But as always, YMMV. :-)

Edited at 2008-09-11 01:48 am (UTC)
tomfoolery815
Sep. 10th, 2008 09:35 pm (UTC)
I think the ways in which he used everybody are not relevant.
Agreed in re: Bruce's callousness. I brought up all the using more to illustrate how I arrived at "Huh? We hate Bruce?" Because I was seeing Bruce as just the latest in a line of people who were nothing more than a means to an end for Joe.

And I guess...ok, how is Bruce so bad off? ... Bruce gets money to make his movie. I fail to see his damage.
Certainly the big lie was beneficial to Bruce's work. Can't be denied.

So I get that Bruce is pissed when he finds out about the lie, but I think Bruce is more upset over the treatment from the guys, in general.
Yes. It's the lie plus the treatment by the guys that cause Bruce to be so callous. It's fair to say that Bruce knows how Joe feels about Billy -- God, who doesn't, right? :-) -- which means his actions are deliberately hurtful.

The other problem I have with Bruce the Character is that he's sorta breaking a cardinal rule of documentary filmmaking, isn't he? ... At the end of the documentary shoot, he messes with the lives of his subjects!
Hmm. I guess it depends on how everyone feels about what Michael Moore does in his films. He's been on camera in, I believe, every one of his films, and he's won the Best Documentary Oscar.

I don't know that there are cardinal rules. I've seen fly-on-the-wall documentaries, i.e., no interviewing the subjects and just let the cameras roll. But those seem pretty rare anymore.
mary_the_fan
Sep. 10th, 2008 09:45 pm (UTC)
Yeah, you make a great point about Michael Moore. Maybe it just felt wronger to me because it stands out. Bruce had been pretty much just letting the camera roll up until then. He very rarely opens his mouth unless he's doing an interview segment. He's not on camera at all. He seems to be just shooting. Then, all of a sudden...."How do you feel about. Billy. Leaving. Hard. Core. Logo?"

God, just typing those words makes me mad again. :-)

Yes, he was asking a question in the context of an interview piece. But it was SO much more than that. And, as you point out, he knew it. He knew exactly what kind of pain he was inflicting when he said that. He was using the opportunity to do something totally personal and shockingly mean. And, as we know, Mean People Suck. I read that somewhere.
tomfoolery815
Sep. 10th, 2008 09:49 pm (UTC)
I guess we differ only in degree. I wouldn't say that suicide was a means to that end, for Joe. I think what he craved was a life, on the road, with Billy. And I think he absolutely thought he could get it! ... His attitude of reverence for the rock legends who had died --- and how salient they seem to be for him --- sorta gave him that idea, that option. Like, if not Billy, then what?
Sure. Death was on his mind, but Option A was Billy. I do agree that he thought he and Billy were gonna be the Lennon and McCartney of punk, that with Billy he would graduate from the Western Canada circuit. But when Billy left him, he turned to Option B; we're shown that in Joe's mind that's a rock 'n' roll to go out.

Maybe Option B wasn't his means to achieve immortality, but after Billy left him it was, in his eyes, his only option.

IMO, Joe would have liked that, so it made me smile a little.
Oh, he would have loved that. That's Jim Morrison territory.
tomfoolery815
Sep. 10th, 2008 09:52 pm (UTC)
He was using the opportunity to do something totally personal and shockingly mean.
Unquestionably. One might even say, given what Bruce knows, that it's a $5,000 punishment for a fifty-buck crime.
tomfoolery815
Sep. 10th, 2008 11:33 pm (UTC)
Yeah, seems like we fundamentally disagree on Billy.
Maybe. I think you're right about Billy's desire to strike a balance between taking care of himself and his love for Joe.

I do like Billy. I find him more likeable than Joe. Joe gets credit from me for being direct about what he wants, but his ends-justifies-the-means approach makes it hard for me to like him.

I don't mean to suggest, if it sounds that I am, that Billy wanted word to get to Joe through a third party for mean reasons. I meant more that he wouldn't mind if Joe found out without him having to tell Joe himself. I just see all the changing of the subject, and hushing up, indicative of Billy avoiding confrontation with Joe. And that there could be no greater confrontation than "Chasing your dream won't be including me."

I also really like the time travel bit at the bar. "You don't even look for me!" Hello, central metaphor. :-)
mary_the_fan
Sep. 10th, 2008 11:36 pm (UTC)
it's a $5,000 punishment for a fifty-buck crime.

Ha! Outstanding. :-)

Tom, this is like the 18th comment and it's only the two of us. And we're just getting started. I wonder whether people approach my threads with a sigh. :-)

Or maybe bottles of water and power bars?
tomfoolery815
Sep. 10th, 2008 11:38 pm (UTC)
I'd say the latter. ;-)
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