The Last Gasps of Indian Summer by Edward Drobinski - HTML preview

Ester suffers in her room, self-medicating with vodka and cigarettes while trying to work. Johan soon begins wandering around the hotel's hallways, encountering the elderly hotel porter and a group of Spanish dwarfs who are part of a traveling show. Meanwhile, Anna ventures into the city and is openly advanced upon by a waiter in a cafe. Later, she watches a show in an uncrowded theatre, and is both repelled and fascinated when a young couple begin to have sex in a seat nearby. Anna returns to the cafe, brushes past the waiter, and returns to the hotel.

Left with Johan while his mother is out, Ester attempts to form a more intimate bond with him, but Johan avoids her attempts to stroke his hair and face. On Anna's return, Ester is eager for an account of what her sister has done after seeing her soiled dress. Provoked, Anna spitefully fabricates a sexual encounter with the waiter to her sister. Anna also reveals her intention to meet him again that evening, which Ester, not wanting to be

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left alone, begs her not to do. Anna meets the man in their hotel, and Johan witnesses them kissing and entering a room down an adjacent hall. Upon returning to the room, he asks Ester, why his mother dislikes being with them, as she always departs as soon as she gets the chance. Ester tells him that she has learned a few words of the local language, and she promises to write them down for him. Johan, instinctively knowing Ester is seriously ill, embraces her in a show of concern and compassion.

After Johan has fallen asleep, Ester sobs at the door of Anna and her lover, asking to come in. Anna lets her in and turns on the lights so that Ester can fully see the two of them in bed together. Anna tells Ester that she once aspired to be like her, morally elevated, but realized that her apparent goodness was actually a reflection of Ester's hatred of Anna and all that belonged to her. Ester insists that she loves her and that Anna is wrong. Anna gets furious and asks her to leave the room. On leaving, Ester says "poor Anna," enraging her even more. Anna's lover advances upon her again. Anna is laughing hysterically, but it turns into sobs. The next morning, Anna announces that she and Johan are going to leave the hotel after breakfast.

Ester deteriorates while they are gone, having painful spasms of suffocation. She is helped by the elderly porter, who attempts to comfort her. She reveals her fear of death and loneliness but

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also her loathing for sexual contact. When Johan returns to say good bye, Ester gives him a note. After he and Anna have boarded the train, Johan reads the title; "To Johan; words in a foreign language." Uninterested, Anna opens the window and cools herself with the outside rain while Johan continues to read the letter.

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166 - Mickey Mouse in Vietnam – Hunts Point, Georgia Mickey Mouse in Vietnam

Mickey Mouse in Vietnam is a 1969 sixteen millimeter anti-war underground animated short film. The director was Whitney Lee Savage, father of Adam Savage, and the producer and head designer was Milton Glaser, who produced it independently with a total running time of one minute. The short was not endorsed by The Walt Disney Company.

The short has the satirical theme of Mickey Mouse volunteering for military service, and getting killed within moments of arriving in Vietnam to fight in the Vietnam War.

Mickey Mouse is seen walking happily until he sees a sign reading "Join the Army and See the World" before walking off screen and coming back with a helmet and gun. He then travels by boat to Vietnam during the war. However, moments after, while walking in the grass, he is shot in the head by an enemy. The short ends with Mickey lying dead on the ground, his smile turning slowly into a frown.

War Pigs

Black Sabbath

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Generals gathered in their masses

Just like witches at black masses

Evil minds that plot destruction

Sorcerer of death's construction

In the fields, the bodies burning

As the war machine keeps turning

Death and hatred to mankind

Poisoning their brainwashed minds

Oh lord, yeah!

Politicians hide themselves away

They only started the war

Why should they go out to fight?

They leave that role to the poor, yeah

Time will tell on their power minds

Making war just for fun

Treating people just like pawns in chess Wait till their judgement day comes, yeah!

Now in darkness, world stops turning

Ashes where their bodies burning

No more war pigs have the power

Hand of God has struck the hour

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Day of judgement, God is calling

On their knees, the war pigs crawling

Begging mercy for their sins

Satan laughing, spreads his wings

Oh lord, yeah!

Written by William Ward, Tony Iommi, Ozzy Osbourne, and Michael Butler.

I Am the Blues

Laura Nyro

Cigarettes

I'm all alone

With my smoke and ashes

Cigarettes

I'm all alone

With my smoke and ashes

Take me night flying

Maybe

Mars has good news

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Who?

Who am I?

I am the blues

Sooth me

Horn's warm red love making

Funky music

Move me

Night wind, red taillights

And funky music

'Cause I'm restless

In my love for sale shoes

Who?

Who am I?

I am the blues

In a world of war

I can't find my laughter

I can't see the night sun

And I can't see my freedom

I guess I can't see too much

No more

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Baby till I lose my blues

Fly

Through the sky

Like Superfly

Over the stars

We climb

Over the sweet red wine

I tell myself

Right on

Right on

Right on

Right on

Right on

Right on

Right on

Right on

Blues

Flying so high

A plane in the sky

Listen to, listen to, listen to

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the music of the night wind

Listen

To the music of the night wind

Listen

To the music of the night wind

Listen to the people

Ooh, ooh, ooh

Ooh, ooh, ooh

Ooh, ooh, ooh, ooh

Ooh, ooh, ooh, ooh

Ooh, ooh, ooh, ooh

Oh, oh, oh

Oh, oh, oh

Written by Laura Nyro.

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167 - My Dinner with Andre – Phoenicia, New York My Dinner with Andre

“My Dinner with Andre” is a 1981 American comedy-drama film directed by Louis Malle, and written by and starring André Gregory and Wallace Shawn as fictionalized versions of themselves sharing a conversation at Café des Artistes in Manhattan. The film's dialogue covers topics such as experimental theater, the nature of theater, and the nature of life, and contrasts Andre's personal spiritual experiences with Wally's modest humanism.

Struggling playwright Wally dreads having dinner with his old friend Andre, whom he has been avoiding since Andre gave up his career as a theater director in 1975 and embarked on an extended spiritual midlife crisis including synchronicity, eastern spirituality, near death experience and utopian communes.

In a fancy New York restaurant, Andre tells Wally about some of the adventures he has had since they last saw each other, which include working with his mentor, the director Jerzy Grotowski, and a group of Polish actors in a forest in Poland, traveling to the Sahara to try to create a play based on “The Little Prince”

by Saint-Exupéry, and visiting Findhorn in Scotland. The last in this string of events was when Andre and a small group of

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friends arranged Halloween themed experiences for each other, and one piece consisted of the participants being briefly buried alive.

While Andre says he needed to do all of these things to get out of the rut he was in and learn how to be human, Wally argues that living as Andre has done for the past several years is simply not financially possible for most people, and he describes how he, in his modest plebian life devoid of hits, finds pleasure in more ordinary things, like a cup of coffee or his new electric blanket. Andre asserts that focusing too much on comfort can be dangerous, and says that what passes for normal life in New York in the late 1970s is more akin to living in a dream than living in reality. While Wally agrees with many of Andre's criticisms of modern society, he takes issue with the more mystical aspects of Andre's stories, as he has a rational and scientific worldview.

After all of the other customers have already left the restaurant, the friends, each having expressed themselves openly and feeling heard by the other, part on good terms. Since Andre paid for dinner, Wally treats himself to a taxi ride, and he notices feeling a deep connection to all of the familiar places he passes on the way home. He narrates that, when he sees his girlfriend, he tells her all about his dinner with Andre.

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Jennifer Juniper

Donovan

Jennifer Juniper lives upon the hill

Jennifer Juniper, sitting very still

Is she sleeping? I don't think so

Is she breathing? Yes, very low

Whatcha doing, Jennifer, my love?

Jennifer Juniper, rides a dappled mare

Jennifer Juniper, lilacs in her hair

Is she dreaming? Yes, I think so

Is she pretty? Yes, ever so

Whatcha doing, Jennifer, my love?

I'm thinking of what it would be like

if she loved me

You know just lately this happy song

it came along

And I like to somehow try and tell you

Jennifer Juniper, hair of golden flax

Jennifer Juniper longs for what she lacks Do you like her? Yes, I do, Sir

Would you love her? Yes, I would, Sir

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Whatcha doing Jennifer, my love?

Jennifer Juniper, Jennifer Juniper,

Jennifer Juniper.

Jennifer Juniper vit sur la colline

Jennifer Juniper assise très tranquille Dort-elle? Je ne crois pas

Respire-t-elle? Oui, mais tout bas

Qu'est-ce que tu fais, Jenny mon amour?

Jennifer Juniper, Jennifer Juniper,

Jennifer Juniper

Written by Donovan Leitch.

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168 - I Love You, Alice B Toklas – Vancouver, Washington

I Love You, Alice B Toklas

Attorney Harold Fine is cornered into setting a date for marriage by his secretary/fiancée, Joyce. Because of a fender bender, he ends up driving a hippie vehicle, a psychedelically painted station wagon. When taking his hippie brother, Herbie, to the funeral of his family's butcher he encounters Nancy, Herbie's girlfriend, an attractive, free spirited, barefoot flower power lady. She takes a liking to Harold, and after they spend a night together in his home, makes him pot brownies.

However, she departs without telling him about its special ingredient, and not knowing what they are he eats them and feeds them to his father, mother, and fiancée, who dissolve in laughter and silliness. Harold considers the "trip" a revelation, and begins renouncing aspects of his "straight"

life. He leaves his fiancée at the church moments before they are to be married, starts living with Nancy, and tries to find himself with the aid of a guru.

Down By the River

Neil Young and Crazy Horse

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Be on my side, I'll be on your side, baby There is no reason for you to hide

It's so hard for me, staying here all alone When you could be taking me for a ride, yeah

She could drag me over the rainbow

Send me away

Down by the river

I shot my baby

Down by the river

Dead, ooh, shot her dead

You take my hand, I'll take your hand

Together we may get away

This much madness is too much sorrow

It's impossible to make it today, yeah, ooh, yeah

She could drag me over the rainbow

And send me away, yeah

Down by the river

I shot my baby

Down by the river

Dead, dead, oh, oh, shot her dead

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Shot her dead

Be on my side, I'll be on your side

There is no reason for you to hide

It's so hard for me, staying here all alone When you could be taking me for a ride, ooh, yeah

She could drag me over the rainbow

And send me away, yeah

Down by the river

I shot my baby

Down by the river

Down by the river

I shot my baby

Down by the river

Down by the river

I shot my baby

Down by the river

Written by Neil Young.

Ultimately he discovers the hippie lifestyle is as unfulfilling and unsatisfying as his old lifestyle. Nancy says that monogamy

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"isn't hip" and once more decides to marry Joyce. At the last minute, he again leaves her at the altar and runs out of the wedding onto a city street saying he doesn't know for sure what he is looking for but, "there's got to be something beautiful out there."

Eskimo Blue Day

Jefferson Airplane

Snow cuts loose from the frozen

Until it joins with the African sea

In moving it changes its cold and its name The reason I come and go is the same

Animal game for me

You call it rain

But the human name

Doesn't mean shit to a tree

If you don't mind heat in your river

And fork tongue talking from me

Swim like an eel fantastic snake

Take my love when it's free

Electric feel with me

You call it loud

But the human crowd

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Doesn't mean shit to a tree

Change the strings and notes slide

Change the bridge and string shift down Shift the notes and bridge sings

Fire eating people

Rising toys of the sun

Energy dies without body warm

Icicles ruin your gun

Water my roots the natural thing

Natural spring to the sea

Sulphur springs make my body float

Like a ship made of logs from a tree

Redwoods talk to me

Say it plainly

The human name

Doesn't mean shit to a tree

Snow cold water going violent

Down the end of the stream

Too much cold in one place breaks

That's why you might know what I mean

Consider how small you are

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Compared to your scream

The human dream

Doesn't mean shit to a tree

Written by Paul L. Kantner and Grace Wing Slick.

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169 - Nashville – Nashville, Tennessee

Nashville

Hal Philip Walker, Replacement Party candidate in the 1976

United States presidential election, arrives in Nashville for a fundraising gala. Meanwhile, two recording sessions are taking place in a nearby studio. In one room, country superstar Haven Hamilton records a patriotic song commemorating the Bicentennial, while next door, Linnea Reese, a white gospel singer, records a song with the Jubilee Singers of historically black Fisk University. Opal, an Englishwoman who claims to be working on a documentary for the BBC, though she never refers to them as the British Broadcasting Company, attempts to listen in on the sessions.

Stella Blue

Grateful Dead

All the years combine

They melt into a dream

A broken angel sings

From a guitar

In the end there's just a song

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Comes crying like the wind

Through all the broken dreams

And vanished years

Stella Blue

When all the cards are down

There's nothing left to see

There's just the pavement left

And broken dreams

In the end there's still that song

Comes crying like the wind

Down every lonely street

That's ever been

Stella Blue

I've stayed in every blue-light cheap hotel Can't win for trying

Dust off those rusty strings just

One more time

Gonna make em shine

It all rolls into one

And nothing comes for free

There's nothing you can hold

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For very long

And when you hear that song

Come crying like the wind

It seems like all this life

Was just a dream

Stella Blue

Written by Robert C. Hunter and Jerome J. Garcia.

Later that day, country singer Barbara Jean returns to Nashville following what the crowd believes was a burn accident, which may actually have been a nervous breakdown and stay at a mental hospital. She is greeted at Berry Field by local industry elites, including Haven and his companion, Lady Pearl, a nightclub owner. Also present are PFC Glenn Kelly, who is obsessed with Barbara Jean, and a popular folk trio consisting of married couple Bill and Mary, and guitarist Tom, who are in town to record an album. Meanwhile, Martha, a teen groupie going by the name "L.A. Joan," is picked up by her uncle, Mr. Green, at the airport. She has arrived to visit her dying aunt Esther, but covertly plans to pursue musicians. In the airport cafe, cook Wade Cooley and his co-worker, a waitress named Sueleen, discuss her aspirations to become a singer.

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On the tarmac, Barbara Jean collapses from heat exhaustion, and those in attendance depart the airport only to become stranded after a vehicle pile-up occurs. During the commotion, Winifred, an aspiring country singer, runs away from her husband Star.

Star then gives a ride to Kenny Frasier, who has just arrived in town carrying a violin case. Opal takes advantage of the traffic jam to interview Linnea, as well as Tommy Brown, a country singer. That night, Sueleen performs at an open mic at Lady Pearl's club, demonstrating no singing ability. Meanwhile, Linnea's husband Del has John Triplette, Walker's political organizer, over for dinner. Throughout the meal, Linnea mainly focuses on communicating with her two deaf children. Tom, who crossed paths with Linnea earlier that day, phones the house to ask Linnea on a date, but she dissuades him. Glamorous singer Connie White performs that night, in lieu of Barbara Jean at the Grand Ole Opry. Mary misses Connie's performance to Bill's dismay, instead having sex with Tom at the hotel. At the hospital, Barbara Jean argues with her manager husband Barnett over Connie replacing her, and he accuses her of having another nervous breakdown.

On Sunday morning, Lady Pearl, Wade, and Sueleen attend a Catholic mass, while Linnea sings in the choir of a Baptist church. In the hospital chapel, Barbara Jean sings "In the

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Garden" from her wheelchair while Mr. Green, PFC Kelly, and others watch. Opal wanders through a massive auto scrapyard, recording observations on a tape recorder. Haven, Tommy, and their families attend the stock car races, where Winifred unsuccessfully attempts to sing on a small stage. Bill and Mary argue in their hotel room and are interrupted by Triplette, who recruits them to perform at the gala, while Tom tries to get chauffeur Norman to score him drugs.

After Barbara Jean is discharged, she gives a performance at Opryland USA that ends in her being pulled off stage as she rambles between songs.

After Barbara Jean semi-finishes singing “Dues,”

It's that careless disrespect

I can't take no more, baby

It's the way that you don't love me

When you say that you do, baby

It hurts so bad, it gets me down, down, down I want to walk away from this battleground This hurtin' life, it ain't no good

I'd give a lot to love you the way I used to do Wish I could .........

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You've got your own private world

I wouldn't have it no other way

But lately you've been hidin' your blues Pretendin' what you say

It hurts so bad, it gets me down, down, down I want to walk away from this battleground This hurtin’ life, it ain’t no good

I’d give a lot to love you the way I used to Wish I could .........

Writin' it down kinda makes me feel better Keeps me away from them blues

I want to be nice to you, treat you right But how long can I pay these dues?

It hurts so bad, it gets me down, down, down I want to walk away from this battleground This hurtin’ life, it ain’t no good

I’d give a lot to love you the way I used to Wish I could .........

she starts talking. “Thank you. I wanna tell you all a little secret which you might not know, and that is that last night I thanked my lucky stars that I could be here at all to sing for

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ya. I heard on the radio this little boy, nine years old.

Sometimes a deejay'll play a tune and ask everybody to phone in and say how they like it. I was listenin', and this little nine year old called in. The song had voices in the background, like the way they use backup voices these days, soundin' like little munchkins. He called up, the deejay said; "How old are you, son?" The boy said; "I'm nine, and I think it's gonna be a hit.”

The deejay said; "Why?" "Because it had those chipmunks in it."

And I thought that was so cute, because, well, I can sing like a munchkin myself. I'm real fond of The Wizard of Oz. Plus, I live out, you know, just a ways off of Interstate on the road to Chattanooga. So you can see why I kinda related to that. I think me and the boys are gonna strike up another tune for you now.

Let's go, boys. I think there's a storm ... seems like it's a-brewin'. That's what my grandaddy used to say before he lost his hearin'. Once he got deaf, he never talked much no more. 'Cept sometimes he'd say "Oh, gosh" or "Durn it" or "My word!" My granny'd go around clickin' her teeth to the radio all day. Boy, was she a lot of fun, and cooked my favorite, roast beef. She was a sweetheart. She raised chickens too. She, um ... Did you ever hear a chicken sound? You know how chickens go? Here, chick, chick, chick. Here, chick, chick, chick. Anyway, I guess we'd better strike up this tune before it's too late. Okay, boys. The first job I ever really got ... Grandma ... She's the

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one who clacked her false teeth to the radio. She taught my mama how to sing, and my mama taught me. One time she took me, 'cause we was gonna get a new Frigidaire. She took me to the Frigidaire store where the man was advertisin'. This record was goin'

'round, and Mama told him I knew how to sing. He said, "If she learns this tune, I'll give y'all a quarter." So Mama and I went home ... And then what happened? Let's see, I think ... Uh, yeah. We went home and I learned both sides of the record in half an hour. We went back and told him that I'd learned 'em, and he said; "Let me hear," so I sang both sides of the record instead of just one. So he gave us cents, and we went across the street and had us a soda. Ever since then I been workin'. I don't ... I think ever since then I been workin' and doin' my

... - Come on, come on. - Supportin'myself. Anyway ... “

Barnett comes up on stage and starts to pull her from the microphone, saying; “Hey, hey. Hey, hey.”

Barbara Jean: “Am I all right? Am I all right?”

Barnett: “Oh, you're fine, darlin'.”

He guides her offstage.

Barnett: “Do I tell you how to sing, darlin'? Hmm? Have I ever told you how to sing a song?”

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Barbara Jean: “That ain't the point. I know why you're goin'

over there.”

Barnett: “Don't tell me how to run your life. I been doin'

pretty good with it.”

To remediate her poor performance, and responding to loud audience complaints saying; “You don’t mean that,” Barnett pledges her to perform at Walker's gala. Martha meanwhile agitates Kenny, who is renting a room in her uncle's house, when she attempts to investigate his violin case. At Lady Pearl's club that night, Linnea, Martha, Bill, Mary, Opal, Norman and Wade are among those attending an open mic. Tom sings "I'm Easy"

and Linnea, moved, goes back to his room, where they have sex.

Tom is accustomed to women becoming clingy and emotional after trysts but Linnea is polite but detached afterwards. She leaves Tom's room oblivious to his blatant attempts to rattle her and make her jealous, frustrating him. Meanwhile, at an all-male Walker fundraiser, Sueleen is booed off stage for singing poorly. Del and Triplette convince her to perform a striptease in exchange for a slot at the gala. A drunken Del later comes onto Sueleen, but Wade rescues her. He tells her that she cannot sing and attempts to persuade her to come to Detroit with him.

She refuses, determined to "sing with Barbara Jean."

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The next morning, the performers and audience converge at the Parthenon for Walker's gala concert. The lineup consists of Haven, Barbara Jean, Linnea and her choir, Mary and Tom, and Sueleen. Winifred arrives, hoping to sing. Meanwhile, Mr. Green and Kenny arrive at the gala searching for Martha, who has failed to attend her aunt Esther's funeral, and finds her accompanying Bill.

Barbara Jean is in a hospital bed and singing a song “For Momma and Daddy.”

Barnett is also in Barbara Jean's hospital room, and says; “Now, where's Barnett goin'? Where am I goin'? Hmm?”

Barbara Jean: “King of the Road.”

Barnett: “Why am I goin' there?”

Barbara Jean: “To see Connie.”

Barnett: “And why am I doin' that?”

Barbara Jean: “To thank her for singin' at the Opry.”

Barnett: “Now, who am I doin' that for?”

Barbara Jean: “You're doin' it for me.”

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Barnett: “That's right. Now, I'm walkin' out now. What do you say as I walk out? You say bye-bye.”

Barbara Jean: “Bye.”

Barnett: “Bye-bye.”

Barbara Jean: “Bye-bye ... “

He leaves her.

Barbara Jean: “ ... Barnett?”

Later at the concert Barbara Jean is on stage and says; “I'd like to thank you for comin' out to greet me today. It's great to be home. It's hot as a firecracker. And me and the boys are gonna be out at the Opry this week. And like my granddaddy always used to say, ‘If you're down to the river, I hope you'll drop in.’

Look who's here, Mr. Brown. How do you do? Nice to see you. You look very beautiful, as a big butterfly.”

Barbara Jean and Haven Hamilton singing together; “One, I love you, Two, I'm thinking of you, Three, I'll never let you go, And four, I miss you, Five, I wanna kiss you, Six, I won't leave you no more .......................... “

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During Barbara Jean's alone set, Kenny produces a gun from his violin case, and begins shooting at the stage. A bullet grazes Haven's arm, but it is Barbara Jean who is seriously injured.

Kelly disarms Kenny as chaos breaks out. Barbara Jean is carried from the stage, bleeding and unconscious, while Haven tries to calm the crowd by exhorting them to sing, asserting that "This isn't Dallas.” Winifred is handed the microphone in the melee, and begins singing "It Don't Worry Me," joined by Linnea's gospel choir.

The price of bread may worry some

But it don’t worry me

Tax relief may never come

But it don’t worry me

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Economy’s depressed, not me

My spirit’s high as it can be

And you may say that I ain’t free

But it don’t worry me

It don’t worry me

It don’t worry me

You may say that I ain’t free

But it don’t worry me

They say this train don’t give out rides Well, it don’t worry me

The whole world is taking sides

But it don’t worry me

'Cause in my empire life is sweet

Oh, just ask any beau you meet

And life may be a one-way street

But it don’t worry me

It don’t worry me

It don’t worry me

You may say that I ain’t free

But it don’t worry me

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It don’t worry me

It don’t worry me

You may say that I ain’t free

But it don’t worry me

It don’t worry me

It don’t worry me

You may say that I ain’t free

But it don’t worry me

It don’t worry me

It don’t worry me

You may say that I ain’t free

But it don’t worry me

Written by Keith Carradine.

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170 - Radical Chic ..... – White Plains, New York Radical Chic and Mau-Mauing the Flak Catchers

“Radical Chic and Mau-Mauing the Flak Catchers” is a 1970 book by Tom Wolfe. The book, Wolfe's fourth, is composed of two essays; "These Radical Chic Evenings," first published in June 1970 in New York magazine, about a gathering Leonard Bernstein held for the Black Panther Party, and "Mau-Mauing the Flak Catchers," about the response of many minorities to San Francisco's poverty programs. Both essays looked at the conflict between black, economic rage and white, life-style-oriented guilt; though they do not really coincide.

"Radical Chic"

The first piece is set in the duplex on Park Avenue in Manhattan inhabited by conductor Leonard Bernstein, his wife the actress Felicia Cohn Montealegre, and their three children. Bernstein assembled many of his wealthy socialite friends to meet with representatives of the controversial Black Panthers and discuss ways to help their cause. The party was a typical affair for Bernstein, a longtime Democrat, who was known for hosting civil rights leaders at such parties.

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The Bernsteins' usual staff of white South Americans served the party. Some of the Bernsteins' typical friends in the arts and guests in journalism, including Oscar nominated director Otto Preminger and television reporter Barbara Walters, are labeled the "radical chic," as Wolfe characterizes them as pursuing radical ends for social reasons, partially because organizations like the National Association for the Advancement of Colored People had become mainstream. Wolfe's criticism is implicitly of the general phenomenon of white guilt and armchair agitation becoming facets of high fashion.

When Time magazine later interviewed a minister of the Black Panthers about Bernstein's party, the rather parochial, humorless official said of Wolfe; "You mean that dirty, blatant, lying, racist dog who wrote that fascist disgusting thing in New York magazine?"

"Mau-Mauing the Flak Catchers"

The second part of Wolfe's book is set at the Office of Economic Opportunity in San Francisco, which was in charge of administering many of the anti-poverty programs of the time.

Wolfe presents the office as corrupt, continually gamed by hustlers diverting cash into their own pockets. The essay centers on the irony of these failed programs fortifying not the

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diets but the resentment and contempt of the black, Chicano, Filipino, Chinese, Indian, and Samoan communities of San Francisco.

Wolfe describes hapless city bureaucrats, the Flak Catchers, whose function has been reduced to taking abuse, or "mau-mauing," in reference to the intimidation tactics employed in Kenya's anti-colonial Mau Mau Uprising, from militant young blacks and Samoans, who are depicted as reveling in the newfound vulnerability of "the Man." The Flak Catchers smile pathetically, allowing their tormentors to indulge themselves in abuse. The process is seen as a farcical but useful expedient, condescending toward the opportunistic resentment of these communities. Wolfe describes one mau-mauer who would show up at the offices and hand over icepicks, switchblades and straight razors that he said were taken from gangs, in exchange for payments from the program. As a result, much of the money of these programs failed, for one reason because funds were not reaching its intended recipients, rendering the entire programs largely ineffective.

Uncle Remus

Frank Zappa

Whoa, are we movin' too slow?

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Have you seen us

Uncle Remus?

We look pretty sharp in these clothes

Yes, we do

Unless we get sprayed with a hose

It ain't bad in the day

If they squirt it your way

'Cept in the winter, when it's froze

An' it's hard if it hits

On your nose

On your nose

Just keep your nose

To the grindstone, they say

Will that redeem us

Uncle Remus?

I can't wait 'til

my Fro is full-grown

I'll just throw away

my doo rag at home

I'll take a drive to Beverly Hills

Just before dawn

An' knock the little jockeys

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Off the rich people's lawn

An' before they get up

I'll be gone, I'll be gone

Before they get up

I'll be knocking

the jockeys off the lawn

Down in the dew

Written by George Duke and Frank Zappa.

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171 - William Wilson – Vienna, Austria

William Wilson

In the early 19th century when Northern Italy is under Austrian rule, an army officer named William Wilson rushes to confess to a priest, in a church of the "Città alta" of Bergamo, that he has committed murder. Wilson then relates the story of his cruel ways throughout his life. After playing cards all night against the courtesan Giuseppina, his doppelgänger, also named William Wilson, convinces people that Wilson has cheated. In a rage, the protagonist Wilson stabs the other to death with a dagger. After making his confession, Wilson commits suicide by jumping from the tower of "Palazzo della Ragione," but when seen his corpse is transfixed by the same dagger.

21st Century Schizoid Man

King Crimson

Cat's foot, iron claw

Neuro-surgeons scream for more

At paranoia's poison door

21st century schizoid man

Blood rack, barbed wire

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Politician's funeral pyre

Innocents raped with napalm fire

21st century schizoid man

Death seed, blind man's greed

Poets starving, children bleed

Nothing he's got he really needs

21st century schizoid man

Written by Robert Fripp, Peter John Sinfield, Ian Mcdonald, Michael Rex Giles, and Greg Lake.

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172 - Saturday Night ... – Nottingham, England, UK

Saturday Night and Sunday Morning

Arthur Seaton is a young machinist at the Raleigh bicycle factory in Nottingham. He is determined not to be tied down to living a life of domestic drudgery like the people around him, including his parents, whom he describes as "dead from the neck up." He spends his wages on weekends of drinking and having a good time.

Row Jimmy

Grateful Dead

Julie catch a rabbit by his hair

Come back step, like to walk on air

Get back home where you belong

And don't you run off no more

Don't hang your head, let the two time roll Grass shack nailed to a pine wood floor Ask the time? Baby I don't know

Come back later, we'll let it show

And I say row, Jimmy row

Gonna get there?

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I don't know

Seems a common way to go

Get down, row, row, row

Row, row

Here's my half a dollar if you dare

Double twist when you hit the air

Look at Julie down below

The levee doin the do-pas-o

And I say row, Jimmy, row

Gonna get there?

I don't know

Seems a common way to go

Get down, row, row, row

Row, row

Broken heart don't feel so bad

Ain't got half a what you thought you had Rock your baby to and fro

Not too fast and not too slow

And I say row, Jimmy, row

Gonna get there?

I don't know

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Seems a common way to go

Get down, row, row, row

Row, row

That's the way it's been in town

Ever since they tore the juke box down

Two bit piece don't buy no more

Not so much as it done before

And I say row, Jimmy, row

Gonna get there?

I don't know

Seems a common way to go

Get down, row, row, row

Row, row

Written by Robert C. Hunter and Jerome J. Garcia.

Arthur is having an affair with Brenda, the wife of an older colleague. He also begins a more traditional relationship with Doreen, a beautiful single woman closer to his age. Doreen, who lives with her mother and aspires to be married, avoids Arthur's sexual advances, so he continues to see Brenda as a sexual outlet.

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Brenda becomes pregnant by Arthur, who offers to help raise the child or terminate the unwanted pregnancy. Abortion was not legal in Britain at the time of the film. Arthur takes her to see his Aunt Ada for advice. Ada has Brenda sit in a hot bath and drink gin, which does not work. Brenda asks Arthur for £40

to get an abortion from a doctor.

After Doreen complains about not going anywhere public with Arthur, he takes her to the fair where he sees Brenda. Arthur pulls Brenda aside, and she reveals that she has decided to have the child. As Arthur clings to her, she wriggles free because she is at the fair with her family. Arthur follows her on to an amusement ride and gets in a car with her. Brenda's brother-in-law and his friend, both soldiers, notice her enter the ride and follow her, shocked to see Arthur riding with his arm around Brenda. Arthur escapes the ride, but he later is caught and beaten.

Arthur spends a week recovering and is visited by Doreen. They later have sex. After recovering, Arthur returns to work and realizes his affair with Brenda is finished after her husband tells him to stay away from Brenda. Arthur decides to marry Doreen. The film ends with Arthur and Doreen discussing the prospect of a new home together, with Arthur showing that he still has mixed feelings about settling into domestic life.

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Send In the Clowns

Judy Collins

Isn't it rich?

Are we a pair?

Me here at last on the ground

You in mid-air

Send in the clowns

Isn't it bliss?

Don't you approve?

One who keeps tearing around

One who can't move

Where are the clowns?

Send in the clowns

Just when I'd stopped

Opening doors

Finally knowing the one that I wanted was yours Making my entrance again

With my usual flair

Sure of my lines

No one is there

Don't you love farce?

My fault, I fear

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I thought that you'd want what I want

Sorry, my dear

But where are the clowns?

Quick, send in the clowns

Don't bother they're here

Isn't it rich?

Isn't it queer?

Losing my timing this late

In my career

But where are the clowns?

There ought to be clowns

Well, maybe next year

Written by Stephen Sondheim.

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173 - Apocalypse Now – Dubuque, Iowa

Apocalypse Now

In 1969, during the Vietnam War, US Army Special Forces Colonel Walter E. Kurtz is waging a brutal guerrilla war against NVA and PLAF forces without permission from his commanders. At an outpost in Cambodia, he commands American and Montagnard troops, who see him as a demigod. He has achieved a de-facto truce, wherein each side holds their own ground with no skirmishes.

Burnt out MACV-SOG operative Captain Benjamin L. Willard is summoned to I Field Force headquarters in Nha Trang. He is ordered to "terminate Kurtz's command ... with extreme prejudice".

The End

The Doors

This is the end, beautiful friend

This is the end, my only friend, the end Of our elaborate plans, the end

Of everything that stands, the end

No safety or surprise, the end

I'll never look into your eyes again

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Can you picture what will be?

So limitless and free

Desperately in need of some stranger's hand In a desperate land

Lost in a Roman wilderness of pain

And all the children are insane

All the children are insane

Waiting for the summer rain

There's danger on the edge of town

Ride the king's highway, baby

Weird scenes inside the gold mine

Ride the highway West, baby

Ride the snake

Ride the snake

To the lake

The ancient lake, baby

The snake is long

Seven miles

Ride the snake

He's old

And his skin is cold

The West is the best

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The West is the best

Get here and we'll do the rest

The blue bus is calling us

The blue bus is calling us

Driver, where you taking us?

The killer awoke before dawn

He put his boots on

He took a face from the ancient gallery And he Walked on down the hall

He went into the room where his sister lived and Then he

Paid a visit to his brother and then he He walked on down the hall

And he came to a door

And he looked inside

"Father?"

"Yes, son?"

"I want to kill you"

"Mother, I want to ... "

Come on, yeah

Come on, baby, take a chance with us

Come on, baby, take a chance with us

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Come on, baby, take a chance with us

And meet me at the back of the Blue bus Doin' a Blue rock, on a Blue bus, doin' a Come on yeah!

Fuck, fuck-ah, yeah

Fuck, fuck

Fuck, fuck

Fuck, fuck, fuck, yeah!

Come on baby, come on

Fuck me baby, fuck yeah

Fuck, fuck, fuck, fuck, yeah!

Fuck, yeah! come on baby

Fuck me baby, fuck, fuck

Whoa, whoa, yeah, fuck, yeah

Come on, yeah

Alright

Kill, kill, kill, kill, kill

This is the end, beautiful friend

This is the end, my only friend the end It hurts to set you free

But you'll never follow me

The end of laughter and soft lies

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The end of nights we tried to die

This is the end

Written by Baptiste Trotignon .

Ambivalent, Willard joins a US Navy river patrol boat (PBR) commanded by Chief Petty Officer Phillips, with crew men Lance,

"Chef" and "Mr. Clean" to quietly navigate up the Nùng River to Kurtz's outpost. Before reaching the coastal mouth of the Nùng, they rendezvous with the 1st Squadron, 9th Cavalry Regiment; a helicopter borne air assault unit commanded by Lieutenant Colonel Bill Kilgore, to discuss safe passage. Kilgore is initially uncooperative, as he has not received word about their mission through normal channels, but he becomes more engaged after discovering that Lance is a well-known surfer. The commander is an avid surfer himself and agrees to escort them through the Nùng's Viet Cong held coastal mouth. The helicopter squadron, playing "Ride of the Valkyries" on loudspeakers, raids at dawn with a napalm strike. Before Kilgore can lure Lance out to surf on the newly conquered beach, Willard gathers the sailors to the PBR to continue their mission. “Charlie don’t surf. ........ I love the smell of napalm in the morning.”

Tension arises as Willard believes himself in command of the PBR, while the Chief prioritizes routine patrol objectives over

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Willard's. Slowly making their way upriver, Willard partially reveals his mission to the Chief to assuage his concerns about why his mission should proceed. As Willard studies Kurtz's dossier, he is struck by the mid-career sacrifice Kurtz made by leaving a noted educational background and prestigious Pentagon assignment to join Special Forces, with no prospect of advancing beyond the rank of colonel.

At a remote US Army outpost, Willard and Lance seek information on what is upriver and receive a dispatch bag containing official and personal mail. Unable to find any commanding officer, Willard orders the Chief to continue. Willard learns via the dispatch that another MACV-SOG operative, Special Forces Captain Richard Colby, was sent on an earlier mission identical to Willard's and has since joined Kurtz.

Lance activates a smoke grenade while under the influence of LSD, attracting enemy fire, causing Mr. Clean's death. Further upriver, Chief is impaled by a spear thrown by Montagnards and attempts to kill Willard by forcing the spear point at him protruding from his own chest before Willard subdues him.

Willard reveals his mission to Chef, who is now in charge of the PBR.

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The PBR arrives at Kurtz's outpost, an abandoned Ankor temple teeming with Montagnards and strewn with remains of victims.

Willard, Chef and Lance are greeted by an American photojournalist, who praises Kurtz's genius. They encounter a near catatonic Colby. Willard sets out with Lance to find Kurtz, leaving Chef with orders to call in an airstrike on the outpost if the two do not return.

In the camp, Willard is bound and brought before Kurtz. After which he is locked in a bamboo cage. Kurtz comes to place Chef's severed head onto Willard's lap, preventing the airstrike.

Willard is released and Kurtz lectures him on his theories of war, praising the ruthlessness of the Viet Cong. Kurtz discusses his family and asks that Willard tell his son about him after his death.

That night, as the Montagnards ceremonially kill a water buffalo, Willard kills Kurtz with a machete. All in the compound see Willard departing, carrying a collection of Kurtz's writings, and bow down to him. Willard gathers Lance, boards the PBR, and heads back down river, away from the beaten Montagnards.

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174 - Metzengerstein – Glethoorn, Netherlands Metzengerstein

At the age of 22, Countess Frédérique inherits the Metzengerstein estate and lives a life of promiscuity and debauchery. While in the forest, her leg is caught in a trap and she is freed by her cousin and neighbor Baron Wilhelm, whom she has never met because of a long standing family feud. She becomes enamored with Wilhelm, but he rejects her for her wicked ways. His rejection infuriates Frédérique and she sets his stables on fire. Wilhelm is killed attempting to save his prized horses.

Truckin’

Grateful Dead

Truckin', got my chips cashed in

Keep truckin', like the doo-dah man

Together, more or less in line

Just keep truckin' on

Arrows of neon and flashing marquees out on Main Street Chicago, New York, Detroit and it's all on the same street Your typical city involved in a typical daydream

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Hang it up and see what tomorrow brings

Dallas, got a soft machine

Houston, too close to New Orleans

New York got the ways and means

But just won't let you be

Most of the cats that you meet on the streets speak of true love

Most of the time they're sittin' and cryin' at home One of these days they know they gotta get goin'

Out of the door and down to the street all alone

Truckin', like the doo-dah man

Once told me, "You got to play your hand"

Sometimes the cards ain't worth a dime

If you don't lay 'em down

Sometimes the light's all shinin' on me Other times I can barely see

Lately it occurs to me

What a long, strange trip it's been

What in the world ever became of sweet Jane?

She lost her sparkle, you know she isn't the same

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Livin' on reds, vitamin C, and cocaine

All a friend can say is, "Ain't it a shame?"

Truckin', up to Buffalo

I been thinkin', you got to mellow slow Takes time, you pick a place to go

And just keep truckin' on

Sittin' and starin' out of the hotel window Got a tip they're gonna kick the door in again I'd like to get some sleep before I travel But if you got a warrant, I guess you're gonna come in

Busted, down on Bourbon Street

Set up, like a bowlin' pin

Knocked down

It get's to wearin' thin

They just won't let you be

You're sick of hangin' around and you'd like to travel Get tired of travelin' and you want to settle down I guess they can't revoke your soul for tryin'

Get out of the door and light out and look all around

Sometimes the light's all shinin' on me

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Other times I can barely see

Lately it occurs to me

What a long, strange trip it's been

Truckin', I'm a goin' home

Whoa whoa baby, back where I belong

Back home, sit down and patch my bones

And get back truckin' on

Written by Robert Hunter, Philip Lesh, Bob Weir, and Jerome Garcia.

One black horse somehow escapes and makes its way to the Metzengerstein castle. The horse is very wild and Frédérique takes it upon herself to tame it. She notices at one point that a damaged tapestry depicts a horse eerily similar to the one that she has just taken in. Becoming obsessed with it, she orders its repair. During a thunderstorm, Frédérique is carried off by the spooked horse into a fire caused by a lightning strike.

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175 - Choose Me – Boston, Massachusetts

Choose Me

After Mickey is released from a mental hospital, where his stories are perceived as lies, he returns to Los Angeles in search of a woman named Eve. When he arrives at the bar that bears her name, he is immediately attracted to the new owner, a former call girl also named Eve. She tells Mickey she bought the bar after the old owner killed herself, "over some guy." The bar is a popular spot for patrons looking for one night stands, as well as prostitutes looking for potential clients. Although Eve is also attracted to Mickey, she refuses to commit to any one man, confessing to French radio talk show host Dr. Nancy Love that she ruined too many marriages to have one of her own. That night, Eve rebuffs Mickey's advances and sleeps with the bartender who has a crush on her, while avoiding the wealthy married man she is having an affair with.

That same night, Dr. Nancy Love answered Eve's ad for a roommate to share her house, and moves in the next day. Nancy conceals her identity and begins to observe Eve's romantic entanglements even as she counsels Eve through her radio show. When Eve's married lover, Zack, calls looking for her, Nancy asks penetrating questions and begins dispensing relationship advice,

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despite the fact that she herself has been unable to maintain a successful relationship. Zack in turn resumes his pursuit of Eve, although his wife, Pearl, has begun to haunt Eve's bar hoping to catch him with her, unbeknownst to Eve.

Mickey returns to the bar the next night when he is unable to pay for a bus ticket home to Las Vegas. Pearl asks his opinion of a poem, and when she argues his interpretation, Mickey reveals that he taught poetry, as well as being a photographer and a former soldier. Eve is intrigued but cool, and Mickey leaves when Pearl offers to get him into a hot card game where he can obtain the money for a ticket home. When she drops him off, Mickey kisses Pearl and asks her to marry him, but she just laughs, calling him crazy, although she invites him to drop by her place, and gives him Eve's address and phone number. At the game, Mickey wins big, earning the ire of Pearl's husband Zack.

Zack warns Mickey not to come back, before he goes to meet Eve, but Eve in turn sends Zack away, telling him their affair is over.

Mickey goes to Pearl's apartment to crash, and when he wakes up begins taking pictures as she sleeps. She is just waking up when Zack walks in, still stinging from Eve's rejection, and he attacks Mickey, pulling a gun and taking back the money he lost.

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He slaps Pearl after Mickey runs out, assuming they slept together.

Mickey calls Eve's house, and when Nancy answers pleads to come over and crash, hanging up before he realizes who she is. When he arrives, Nancy tells him Eve is not home, and while he is confused he welcomes the chance to bathe and eat when she allows him in. She snoops in his suitcase while he bathes, finding memorabilia showing the truth of his stories and travels. As he eats they talk about Eve, but sensing her loneliness he sweeps her into bed, then asks her to marry him and go with him to Las Vegas. Nancy laughs, but tells him she does not believe he is crazy. Then she tells him to leave before she goes to work.

Eve calls into Nancy's radio show from the office above her bar, torn between her attraction for Mickey and her fear of making another mistake. Nancy's post-coital euphoria overcomes her normal intellectual approach, and she encourages Eve to give in to, rather than resist, her feelings. So when Mickey comes looking for Eve that night, she is almost ready to give in when Zack appears and assaults Mickey again. Eve takes off while they are fighting, and when she gets home is suddenly confronted by Nancy, who tells her everything. Eve is devastated when Nancy proposes that they "share" Mickey's affection, and she tells Nancy she can have him, before rushing out.

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Mickey goes back to Eve's house to recover his suitcase, and Zack finds him there and assaults him again. Mickey prevails, recovering the money and leaving with his suitcase. He tries to cadge a ride to the bus station, but spies Eve on the roof of the bar, and races up to see her. She pulls a gun and threatens to kill herself until he does the same; then she breaks down and they embrace.

Soon they are on a bus, on their way to Las Vegas, and when a fellow passenger asks if they are gambling, Eve reveals they are on honeymoon.

Lazy Susan

Laura Nyro

Lazy flower, my you've grown so tall

I have lost and loved him, you have seen it all Lazy Susan, lazy through

Hasn't got a think to do

Oh, but to sit there and light up the hillside Sun-fried, black-eyed Sue

Lazy Susan, lazy through

All the hills in love with you

Courted and cradled by heaven and hillside

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Sun-fried, black-eyed Sue, black-eyed Sue, black-eyed Black-eyed Sue, how happy you must be

Once, I too had someone loving me

Johnny, Johnny, warm and true

That's how I remember you

This morning, just as I found you, up there on the hillside With sun-fried, black-eyed lazy Susan, Susan

Written by Laura Nyro.

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176 - Trouble in Mind – Seattle, Washington Trouble in Mind

Former Rain City police officer John Hawkins, Hawk to his friends, has just been released from prison where he served eight years for murder, a crime to which he readily admits. He killed Fat Adolph, a mobster, untouchable through “legitimate”

police channels, in an effort to clean up the streets and protect the ones he loved.

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In the mysterious, dark, metropolis of Rain City, Hawk limps with the prison in the background, and a cop there, who was familiar with him, asked him what happened. Hawk says; “Some guy dropped five hundred pounds on my leg.” When the cop begins sympathizing Hawk adds; “You wouldn’t recognize him today.”

Strange troops, seemingly military, repressive, and intimidating patrol the streets of Rain City, and as many people speak Korean as English. In the metropolis of Rain City which is run under a military state, Wanda's Café is the meeting point for several individuals, who, in the words of Lieutenant Gunther of the police department, are converging on "the shit they're wallowing in."

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The movie does not take place in the 1940s, but its characters dress and talk and live as though it did. Could this movie have been made if there had never been any movies starring Richard Widmark, Humphrey Bogart, Jack Palance or Robert Mitchum? Yes, but it probably wouldn't have had any style.

The characters, the mysteries and especially the doomed romances are all generated by old films, by remembered worlds of lurid neon signs and deserted areas down by the docks, of sad cafes where losers linger over a cup of coffee and lonely rooms where the light bulb is a man's only friend. This is a world for which the saxophone was invented.

Hawk is dressed in black, has a beard and wears a black hat and the first place he goes when he arrives in town is Wanda's Cafe, where Wanda keeps a few rooms upstairs for her old lovers to mend their broken dreams. Instinctively Hawk returns to his former hangout, Wanda's Cafe, run by his former lover, Wanda.

Hawk has returned to Wanda's; Wanda who was his former lover, to restart his life. Straightforward Wanda still loves Hawk, but is not in love with him, and as such offers him a place to stay with no strings attached.

Other new arrivals in town are the down on his luck Coop, his naive wife Georgia and their baby boy, Spike. In desperate need

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of money, they left their rural trailer home, Coop being unfairly rejected from jobs, once being told; “The way I see it.

You’re the early bird who doesn’t get the worm.” The young couple turn up in Rain City in a broken down camper. Coop knows he always gets into trouble when he comes to the city, but he thinks that he needs to make some money to support his little family. His girlfriend, Georgia, looks way too young to have a baby, but there it is, bawling in her arms. She's a blond with a look in her eyes that makes the Hawk's heart soar.

Coop falls into partnership with the wrong man, a black man named Solo who sits in a back booth at Wanda's and recites poems about anger and hopelessness. Before long, Coop and Solo are involved in a life of crime, and Hawk is telling Georgia she's living with a loser. Wanda stands behind the counter and watches all this happen with eyes that have seen a thousand plans go wrong. She hires Georgia as a waitress.

That turns Hawk into a regular customer. Wanda knows Hawk is in love with Georgia, because Wanda and Hawk used to be in love with each other, and once you learn to hear that note in a man's voice, you hear it even when he's not singing to you. Hawk does begin to develop a protective and even romantic attachment to Georgia. One day, Hawk pushes Wanda for sex, and when they’re

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through, he apologetically tells her; “A man gets hungry sometimes.” She slaps him and tells him to never do that again.

Coop and Solo are trying to independently sell hot wristwatches.

Hilly Blue, the Rain City crime kingpin, doesn't like that, as he wants to control all the crime in the area. Hilly is the boss of the local rackets, and lives in a house furnished like the Museum of Modern Art. Hilly Blue is played by the transvestite Divine, but he is not in drag this time, though his appearance is very effeminate and chubby. Mix them together, light them with neon reds and greens, and add a blond child-woman and a black gangster whose shades are his warmest feature, and perhaps you can begin to understand why it never really rains in Rain City.

The best way to describe Hilly Blue is to say that if Sydney Greenstreet could have reproduced by parthenogenesis after radioactive damage to his chromosomes, Hilly would have been the issue.

Wanda’s cafe is on a worn out old brick street down at the wrong end of Rain City. It's the kind of place that doesn't need to advertise, because its customers are drawn there by their fates.

Coop isn't very good at his new job, though he spends virtually all his time attending to it and its ancillary diversions,

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including visiting prostitutes. When he shows up Georgia objects and Coop, who has taken on an increasingly bizarre appearance with makeup and fucked up hair, tells Georgia; “You push me and then when I go there, you complain,” which isn’t true. He is the one who decided to go to Rain City while holding Spike and saying; “Spike deserves better.”

It's Alright, Ma (I'm Only Bleeding)

Bob Dylan

Darkness at the break of noon

Shadows even the silver spoon

The handmade blade, the child's balloon Eclipses both the sun and moon

To understand you know too soon

There is no sense in trying

Pointed threats, they bluff with scorn

Suicide remarks are torn

From the fool's gold mouthpiece

The hollow horn plays wasted words

Proves to warn that he not busy being born Is busy dying

Temptation's page flies out the door

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You follow, find yourself at war

Watch waterfalls of pity roar

You feel to moan but unlike before

You discover that you'd just be, one more person crying

So don't fear, if you hear

A foreign sound to your ear

It's alright, ma, I'm only sighing

As some warn victory, some downfall

Private reasons, great or small

Can be seen in the eyes of those that call To make all that should be killed to crawl While, others say don't hate nothing at all except hatred

Disillusioned words like bullets bark

As human gods aim for their mark

Can make everything from toy guns that spark To flesh-colored Christs that glow in the dark It's easy to see without looking too far Their not much is really sacred

While, preachers preach of evil fates

Teachers teach that knowledge waits

Can lead to 100 dollar plates

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Goodness hides behind its gates

But even the president of the United States Sometimes must have to stand naked

And all the rules of the road have been lodged It's only people's games that you got to dodge And it's alright, ma, I can make it

Advertising signs that con you, into thinking you're the one That can do what's never been done

That can win what's never been won

Meantime life outside goes on all around you

You lose yourself, you reappear

You suddenly find you got nothing to fear Alone you stand with nobody near

When a trembling distant voice, unclear Startles your sleeping ears to hear

That somebody thinks they really found you

A question in your nerves is lit

Yet you know there is no answer fit

To satisfy ensure you not to quit

To keep it in your mind and not forget

That it is not he or she or them or it that you belong to

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Although the masters, make the rules

For the wise men and the fools

I got nothing ma, to live up to

For them that must obey authority

That they do not respect in any degree

Who despise their jobs, their destinies Speak jealousy of them that are free

Do what they do just to be nothing more than something they invest in

While some on principles baptized

To strict party platform ties

Social clubs in drag disguise

Outsiders they can freely criticize

Tell nothing except who to idolize

And say God bless him

While one who sings with his tongue on fire Gargles in the rat race choir

Bent out of shape from society's pliers Cares not to come up any higher

But rather get you down in the hole that he's in

But I mean no harm, nor put fault

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On anyone that lives in a vault

But it's alright ma, if I can't please him

Old lady judges watch people in pairs

Limited in sex, they dare

To push fake morals, insult and stare

While, money doesn't talk, it swears

Obscenity, who really cares

Propaganda, all is phony

While, them that defend what they cannot see With a killer's pride, security

It blows the minds most bitterly

For them that think death's honesty

Won't fall upon them naturally

Life sometimes must get lonely

My eyes collide head-on with stuffed graveyards False gods, I scuff at pettiness which plays so rough Walk upside-down inside handcuffs

Kick my legs to crash it off

Say, "Okay, I have had enough

What else can you show me?"

And if my thought-dreams could be seen

They'd probably put my head, in a guillotine

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But it's alright, ma, it's life and life only

Written by Bob Dylan .

When Coop and Georgia arrive at Wanda’s Diner they are cased by Solo, a sly, black thug who quotes passages from literature as he sips his coffee. Solo immediately attaches himself to the needy Coop and the two enter into a crooked deal to obtain stolen jewelry to resell to a local gangster, Hilly Blue. Hawk immediately sees how Solo is using the impressionable Coop to further his shady crime activities and what it is doing to the vulnerable Georgia and her young baby. The power and money associated with this new criminal life changes Coop. His and Solo's main problem is that their criminal activities are impinging on that of a more ruthless criminal named Hilly Blue, who will not sit idly by without getting what he considers his fair share of the activity; all of it. As the duo of Coop and Solo get more deeply involved in their crime activities, Hilly Blue manipulates those around him to control the forces that govern the gangsters in Rain City.

Georgia knows that Coop is in trouble, and while Hilly Blue is thinking of killing his competition, Solo sends Coop to Hilly Blue’s house, as a sort of sacrifice, though Coop isn’t bright enough to detect that. Georgia is through with Coop, but asks

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that Hawk save him. After prodding from Wanda, the disillusioned Hawk, seeking some value in his own life, intervenes in order to help the young girl Georgia and is immediately attracted to her sensitivity. Hawk starts to fall for Georgia, who is torn between the love she felt for the man she married as opposed to who Coop has become, and the support provided by Hawk, who wants to care for her and Spike. Hawk has to decide what to do to help Georgia while getting what he wants for his renewed life.

Hawk meets with Hilly who offers him a job, saying that the other side is not treating him well. When Hawk declines saying;

“I could hurt you if I worked for the other side,” Hilly complains of life, saying; “No matter how much I get, it is never enough. Sadness is my realm, my fate.”

Coop’s presence at Hilly’s mansion leads to a wild, extremely surreal shootout at the unique house. Hawk saves Coop, they walking out unscathed while bullets fly all around them. In the confrontation between Hawk, Coop, Hilly Blue, and minor shooting others a kind of philosophical denouement is achieved that shows to all involved what value they have in their lives.

Coop is next seen sitting on the back of a pickup truck, washing off his makeup and returning his hair to normal, saying; “I’m

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going off to war.” When asked “What war?” he shrugs and says;

“There’s always a war going on somewhere.”

Hawk, Georgia, and Spike drive a convertible off into the sunset.

To really get inside the spirit of "Trouble in Mind," it would probably help to see "Choose Me" - 1984 first. Both films are the work of Alan Rudolph, who is creating a visual world as distinctive as Fellini's and as cheerful as Edward Hopper's. He does an interesting thing. He combines his stylistic excesses with a lot of emotional sincerity, so that we believe these characters are really serious about their hopes and dreams, even if they do seem to inhabit a world of imagination.

You might look at it this way. In Woody Allen's "The Purple Rose of Cairo," a character stepped out of a movie and off the screen and into the life of a woman in the audience. If that had happened in "Trouble in Mind," the woman would have asked the character why he even bothered.

Sometimes the names of movie actors evoke so many associations that further description is not necessary. Hawk is played by Kris Kristofferson. Coop is Keith Carradine. Wanda is Genevieve

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Bujold. Hilly Blue is played by Divine, effeminate, but not in drag.

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177 - Diner – Baltimore, Maryland

Diner

In 1959 Baltimore, friends Modell, Eddie, Shrevie, Boogie, and Fenwick attend a Christmas dance before driving to their usual late night haunt, Fell's Point Diner. On the way, Fenwick stages a fake car accident, to his friends' annoyance. Boogie, a hairdresser and law student, has laid a $2,000 bet on a basketball game, and declines his family friend Bagel's offer to call off the bet. Modell accepts a ride home from Eddie while the others pick up another friend, Billy, in town to serve as Eddie's best man for his New Year's Eve wedding.

The next morning, Billy reunites with Eddie at his mother's house, and they visit their old pool hall. Shrevie, married to Beth and working as an appliance store salesman, learns from Fenwick that Boogie is taking a date to the movies. At a screening of “A Summer Place,” with his friends watching, Boogie tricks his date, Carol, into groping him through the popcorn box on his lap. She runs from the theater, but the smooth talking Boogie convinces her it was an accident and their date continues. Afterward, Billy punches an old high school enemy.

Billy visits Barbara, a friend working at the local TV station.

At the diner, Shrevie discusses married life with Eddie, who is

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preparing a test of football knowledge for his fiancée Elyse, to determine if they will marry. Having lost his basketball bet, Boogie wagers with his friends that he can have sex with Carol.

The group parts ways in the morning, and Boogie and Fenwick encounter an equestrienne named Jane. Meeting Barbara at church, Billy learns she is pregnant, the result of an unexpected night they spent together. She tries to dissuade him from feeling obligated to marry her.

Watching College Bowl, Fenwick is surprisingly knowledgeable and offers to help pay Boogie's debt. Shrevie loses his temper at Beth for disturbing his record collection, and storms out.

Boogie consoles her, and Fenwick goes to ask his brother for money, but he refuses. Shrevie pulls Eddie and Billy from a screening of “The Seventh Seal” to corral Fenwick, who has drunkenly occupied the church's Nativity scene in his underwear, leading to their arrest.

In the holding cells, Eddie reveals that Elyse is taking his test the following night, and Billy faces down a belligerent drunk. Eddie, Shrevie, and Billy are bailed out by their fathers, but Fenwick's leaves him overnight. They meet Boogie at the diner, and he deduces Eddie is still a virgin, while Billy and Barbara discuss their predicament at the TV station. A lonely Beth visits Boogie at the hair salon, and he is

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threatened by his bookie, Tank. Learning Carol has the flu, which jeopardizes his bet, Boogie reminisces with Beth about their own past relationship, and they make plans for a tryst while everyone is busy with Elyse's test.

Shrevie, Fenwick, Billy, and Modell, along with Eddie's and Elyse's parents, await the results of the football test: Elyse fails by two points, and Eddie calls off the wedding. Boogie brings Beth a wig, secretly planning to disguise her as Carol to win the bet, and drives her to Fenwick's apartment. There, Fenwick and Shrevie hide in the closet to verify the encounter, but Boogie tells Beth the truth, urging her to work things out with Shrevie. Eddie and Billy visit a strip club, and Boogie arrives at the diner, where Shrevie and Fenwick warn him Tank is waiting. Boogie is ready to accept the consequences, but Tank reveals that Bagel has paid off the debt.

Billy commandeers a piano to lead the entire strip club in a rousing number, to Eddie's delight. There, Eddie decides to marry Elyse after all, and Billy assures Barbara he genuinely loves her. The wedding proceeds, themed around Eddie's beloved Baltimore Colts. Shrevie and Beth reconcile; Boogie, Billy, and Fenwick bring Jane, Barbara, and Diane; and Modell delivers a heartfelt speech. The movie ends as Elyse, whose face is never

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seen throughout the movie, tosses the bouquet, which lands on the friends' table.

Wedding Song

Bob Dylan

I love you more than ever,

more than time and more than love

I love you more than money

and more than the stars above

Love you more than madness,

more than dreams upon the sea

I love you more than life itself,

you mean that much to me

Ever since you walked right in,

the circle's been complete

I say goodbye to haunted rooms

and faces in the street

To the courtyard of the jester

which is hidden from the sun

I love you more than ever

and I haven't yet begun

You breathed on me

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and made my life a richer one to live

When I was deep in poverty,

you taught me how to give

Dried the tears up from my dreams

and pulled me from the hole

I love you more than ever

and it minds me to the soul

Gave me, babies, one, two, three,

what is more, you saved my life

Eye for eye and tooth for tooth,

your love cuts like a knife

My thoughts of you don't ever rest,

they kill me if I lie

But I sacrifice the world for you

or watch my senses die

The tune that is yours and mine

to play upon this earth

We'll play it out the best we know,

whatever it is worth

What's lost is lost, we can't regain

what went down in the flood

But the happiness to me is you,

and I love you more than blood

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It's never been my duty

to remake the world at large

Nor is it my intention

to sound a battle charge

'Cause I love you more than all of that with a love that doesn't bend

And if there is eternity,

I'll love you there again

Oh, can't you see that you were born

to stand by my side?

And I was born to be with you,

you were born to be my bride

You're the other half of what I am,

you're the missin' piece

And I love you more than ever

with that love that doesn't cease

You turn the tide on me each day

and teach my eyes to see

Just bein' next to you

is a natural thing for me

And I could never let you go,

no matter what goes on

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'Cause I love you more than ever

now that the past is gone

Written by Bob Dylan.

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178 - A Thousand Clowns – Cleveland, Ohio A Thousand Clowns

Unemployed television writer Murray Burns lives in a cluttered New York City studio apartment with his 12 year old, precocious nephew, Nick. Murray has been happily unemployed for five months after quitting his previous job writing jokes for a children's television show called Chuckles the Chipmunk, which he hated and considers as insipid as the jerk who plays Chuckles. Nick, the son of Murray's unwed sister, was left with Murray seven years earlier.

A Thousand Clowns

Judy Holliday

A thousand clowns I’ll bring you

I can make you laugh

A blue baboon

And a red raccoon

A lavender giraffe

A thousand stars I’ll string you

To weave into a crown

And pale perfume

From a rose’s bloom

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And a peacock-feather coat

A thousand songs I’ll sing you

To help you with your dreams

Of rainbow’s ends

And loving friends

And sparkling silver streams

A thousand years I’ll love you

Our love will never die

And when a thousand years from now

They’re looking at the sky

They’ll see two stars together

As close as they could be

One star will be you my love

The other will be me

Written by Judy Holliday

When Nick writes a school essay on the benefits of unemployment insurance, his school requests that New York State send social workers visit to investigate his living conditions.

Investigators for the Child Welfare Board Sandra Markowitz and

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her superior and boyfriend, Albert Amundson, threaten Murray with removal of the child from his custody unless he can prove he is a capable guardian, which actually means him getting a job.

Yes Sir, That's My Baby

Murray Burns singing and on ukulele

Yes sir, that's my baby

No sir, I don't mean maybe

Yes sir, that's my baby now.

Yes, ma'm, we've decided

No ma'm, we ain't gonna hide it

Yes, ma'm, you're invited now.

By the way, by the way

When we walk up to the preacher I'll say

Yes sir, that's my baby

No sir, I don't mean maybe

Yes sir, that's my baby now.

By the way, by the way

When we run into the preacher I'll say

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I'll say yes sir, that's my baby

No sir, I don't mean maybe

Yes sir, that's my baby now, mm

Written by Gus Kahn and Walter Donaldson.

Charmed by Nick and Murray, Sandra argues with Albert, who goes off without her to their next case. Sandra spends the night with Murray. She urges Murray to find a job so that he can keep his nephew, and Murray agrees to look. But he walks out of his job interviews, treating them as a joke, because he feels that work would make him conventional and conformist and make every day the same.

For example, he currently enjoys spending his days with Nick at the docks, waving “bon voyage” to people they don’t know, off on a journey, “another auspicious beginning.”

He apologizes to Sandra, but she is so disappointed in him that she walks out. Yet he knows that if he wishes to keep his nephew, he must swallow his pride and go back to work.

Murray also feels that he cannot let go of Nick until the boy shows some "backbone." In a confrontation with his brother, lawyer, and agent Arnold, Murray expounds his nonconformist

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worldview; that a person must fight at all costs to retain a sense of identity and aliveness and avoid being absorbed by the homogeneous masses. Arnold retorts that by conforming to the dictates of society, he has become "the best possible Arnold Burns I can be."

Murray agrees to meet with his former employer, the detested Chuckles host Leo Herman, who is now suffering from exhibiting lousy humor, “and the kids stare. Do you know what it’s like to have them just staring at you after you told a joke?” When Nick does not laugh at Leo's subsequent, pathetic display of comedy, Leo insults Nick, who quietly but firmly puts Leo in his place.

Nick becomes upset with Murray for tolerating Leo's insults, and Murray sees the boy has finally grown a backbone. Realizing that Nick has come of age, Murray resigns himself to going back to his old job. Sandra returns, and the next morning Murray joins the crowds of people heading off to work.

Pictures of Matchstick Men

Status Quo

When I look up to the sky

I see your eyes, a funny kind of yellow I rush home to bed, I soak my head

I see your face underneath my pillow

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I wake next morning, tired, still yawning See your face come peeping through my window

Pictures of matchstick men and you

Mirages of matchstick men and you

All I ever see is them and you

Windows echo your reflection

When I look in their direction now

When will this haunting stop?

Your face, it just won't leave me alone

Pictures of matchstick men and you

Mirages of matchstick men and you

All I ever see is them and you

You in the sky, you with this guy

You make men cry, you lie

You in the sky, you with this guy

You make men cry, you lie

Pictures of matchstick men and

Pictures of matchstick men and you

Pictures of matchstick men

Pictures of matchstick men

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Written by Francis Rossi and Dominic Nicholas Michael.

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179 - Wild Angels – Mecca, California

Wild Angels

Heavenly Blues is the leader of the Angels motorcycle gang from San Pedro, California. Loser is his best friend.

Loser has his motorcycle stolen, and in between sprees of sex, drugs, rock and roll, booze, loud revving Harley chopper motorcycle engines, bongo drums and fights, the Angels ride out to Mecca, California in the desert to look for the motorcycle.

One of the Angels finds a brake pedal, which he says is a piece of Loser's motorcycle, in a garage that is the hang out of a Mexican group. The two groups brawl, with the Angels apparently winning. The police arrive and the Angels escape but Loser gets separated from the others and is left behind. He steals a police motorcycle but eventually one of the officers shoots Loser in the back, putting him in the hospital.

Blues leads a small group of Angels to sneak Loser out of the hospital. A nurse hears a noise and comes into the hospital room. One of the Angels assaults her. Blues pulls the Angel away, forcing him to stop. The nurse, having seen Blues, identifies him to the police. The Angels take Loser to a biker bar and safe house run by “Momma,” a friend of the gang, but without proper medical care, Loser dies.

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The Angels forge a death certificate for Loser and arrange for a church funeral in Sequoia Grove, Loser's rural hometown. The Angels arrive at the church and carry in Loser's casket which is draped with a Nazi flag.

The funeral preacher arrives at the church and starts the funeral sermon, a eulogy consisting entirely of funeral oratory cliches which angers Blues and he interrupts the preacher and the Angels decide to have a party in the church, with alcohol, dancing and reckless destruction of the church fixtures. They remove Loser from his coffin, they sit him up as a guest of honor and place a joint in his mouth. They beat and tie up the preacher and put him into the casket. Gaysh, the Loser's girlfriend, is drugged and raped by several members of the gang.

Blues has sex with Momma, while Mike, Blues' girlfriend, is kissed by another biker until Blues confronts them and slaps her. Blues then tells his gang that it is time to bury Loser.

The Angels move through the town in a funeral procession to the Sequoia Grove Cemetery, where the townspeople show up outside the gate and provoke a brawl between the Angels and the townspeople. Police sirens are heard approaching in the background. Everyone scatters, the Angels mounting their bikes, and Mike begs him to leave but he tells her to get on the bike of another member of the gang and go. Blues, left alone in the

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graveyard, slowly begins shoveling dirt into the open grave to bury his friend Loser.

Born To Lose

Johnny Thunders and the Heartbreakers

That's the way it goes

This city is so cold

And I'm, I'm so sold

That's why I know

I said hit it

Born to lose

We're born to lose

We're born to lose

Oh baby, I'm born to lose, oh

Nothing to do

Nothing to say

Only one thing that I want

It's the only way

I said hit it, born to lose

I said hit it, born to lose

I said hit it, born to lose

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Oh baby, I'm born to lose

Baby, I'm born to lose, oh

Livin' in a jungle

It ain't so hard

Livin' in a city

It will eat out, eat out your heart

I said hit it, born to lose

I said hit it, born to lose

I said hit it, born to lose

Oh baby, I'm born to lose

Baby, I'm born to lose

Baby, I'm born to lose

Baby, I'm born to

I said hit it, born to lose

I said hit it, born to lose

I said hit it, born to lose

Baby, I'm born to lose

Oh Baby, I'm born to lose

I said hit it, born to lose

I said hit it, born to lose

I said hit it, born to lose

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Oh baby, I'm born to lose

Baby, I'm born to lose

Baby, I'm born to lose

Baby, I'm born to lose

Baby, I'm born to lose

Baby, I'm born to lose

Baby, I'm born to lose

Baby, I'm born to lose

Baby, I'm born to lose

Baby, I'm born to lose

Written by Ted Daffan.

Thunder Road

Bruce Springsteen

The screen door slams, Mary's dress sways Like a vision she dances

across the porch as the radio plays

Roy Orbison's singing for the lonely

Hey, that's me and I want you only

Don't turn me home again

I just can't face myself alone again

Don't run back inside, darling

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You know just what I'm here for

So you're scared and you're thinking

That maybe we ain't that young anymore

Show a little faith, there's magic in the night You ain't a beauty, but hey, you're alright Oh, and that's alright with me

You can hide 'neath your covers

and study your pain

Make crosses from your lovers,

throw roses in the rain

Waste your summer praying in vain

For a savior to rise from these streets

Well now, I'm no hero, that's understood All the redemption I can offer, girl,

is beneath this dirty hood

With a chance to make it good somehow

Hey, what else can we do now?

Except roll down the window

And let the wind blow back your hair

Well, the night's busting open

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These two lanes will take us anywhere

We got one last chance to make it real

To trade in these wings on some wheels

Climb in back,

heaven's waiting down on the tracks

Oh, come take my hand

We're riding out tonight

to case the promised land

Oh, Thunder Road, oh, Thunder Road

Oh, Thunder Road

Lying out there like a killer in the sun Hey, I know it's late, we can make it if we run Oh, Thunder Road, sit tight

Take hold, Thunder Road

Well, I got this guitar

and I've learned how to make it talk

And my car's out back if you're ready

to take that long walk

From your front porch to my front seat

The door's open but the ride ain't free

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And I know you're lonely

for words that I ain't spoken

Tonight we'll be free,

all the promises will be broken

There were ghosts in the eyes

of all the boys you sent away

They haunt this dusty beach road

In the skeleton frames

of burned out Chevrolets

They scream your name

at night in the street

Your graduation gown lies

in rags at their feet

And in the lonely cool before dawn

You hear their engines roaring on

When you get to the porch

they're gone on the wind

So Mary, climb in

It's a town full of losers

I'm pulling out of here to win

Written by Bruce Springsteen.

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180 - Wanderlust – Cumming, Georgia

Wanderlust

George and Linda Gergenblatt are an urban married couple who purchase a micro-loft in New York after much hesitation. George is expecting a promotion while Linda is trying to sell a documentary to HBO. Soon after purchasing their home, George learns that his company has folded, overnight, while PBS rejects Linda's documentary. With both out of work, they are forced to sell their apartment at a loss and drive to Atlanta to live with George's arrogant brother Rick and his wife Marisa after Rick offers George a job.

Buy and Sell

Laura Nyro

Cocaine and quiet beers,

sweet candy and caramels.

Pass the time and dry the tears

on a street called buy and sell.

Life turns like the endless sea.

Death tolls like a vesper bell.

Children laugh and lovers dream

on a street called buy and sell.

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Ladies dress calico style,

beware your heart when they smile.

And the men walk shamelessly,

aimlessly by.

Cinders in the daylight,

junkyards in the sky,

buy and sell.

Sell my goods to buy my roof,

my bed, my bed.

Two pennies will buy a rose.

Three pennies and who can tell

On a street that comes and goes

by the name of buy and sell?

Buy and sell,

sell my goods to buy my roof,

my bed.

Written by Laura Nyro.

After many hours on the highway, Linda demands they stop to rest. The closest place to stop appears to be a bed and breakfast hotel named Elysium. After exiting the highway, as they approach, they are surprised to see a naked man walking ahead of them. He approaches them. Startled and apprehensive,

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George tries to back up to the highway, but accidentally flips the car over. The nude man, Wayne Davidson, helps them out of the car, and they are forced to stay at the hotel. They meet several colorful guests, and then go to bed. While trying to sleep, they are distracted by noises downstairs. When they go to investigate, they learn that Elysium is a hippie commune. They meet various eccentric residents of Elysium, including Seth, Eva, and Elysium's owner Carvin. George and Linda spend the night feeling more alive than before. In the morning, everyone helps flip the car back upright so they can leave, as Seth urges them to stay, but they continue on to Atlanta.

George and Linda arrive at Rick's house and find the atmosphere chaotic. George quickly reaches a breaking point with Rick and takes Linda back to Elysium, where they are welcomed back.

George is excited about the simpler lifestyle while Linda is hesitant. They decide to stay and give the place a two week trial run. After a few days, Linda starts feeling enlightened after drinking some drug laced tea in the truth circle, while George begins having second thoughts. George and Linda soon learn that “free love” is strongly encouraged as Seth and Eva want to seduce Linda and George, respectively. Both George and Linda rebuff the notion of free love, and several crazy situations arise during that period, bizarre and otherwise.

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At the same time, Elysium is being targeted by property developers to build a casino on the property, as title to the property is disputed, and Carvin has misplaced the deed to the land. After the developers arrive with a bulldozer, to make a television reporting crew take more interest, Linda scares them off by flashing them her breasts, and many of the other residents join her, which gets sensationalized coverage, and halts the proceeding. Linda is lauded as a hero by the commune.

The two weeks are up, and George demands that they leave, saying that if they stay, they would have to give in to “free love.”

Linda wants to stay and has sex with Seth. George is pressured to have sex with Eva, but he becomes uncomfortable and drives her away with his awkward and bizarre behavior. The next morning, George reaches a breaking point, again, stating that he dislikes the rules of Elysium and wants to leave. Linda wants to stay, so George goes back to Rick's house alone.

Seth believes he has found his soul mate in Linda and searches for the deed to Elysium, which he finds and sells to the property developers, for $11,000, to start a new life with Linda, betraying the commune. A child from the commune witnesses the burning of the deed by Seth and the man that wants to build the casino. Seth tells Linda he wants them to leave Elysium

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behind, together, and that the others can look after themselves.

Linda refuses.

In the meantime, George realizes he loves Linda and comes back to find her, getting into a fight with Seth while the commune looks on and tries to help “non-violently.” The child that witnessed the burning of the deed by Seth tells the commune what happened and George punches Seth in the jaw.

In the aftermath, the news show that visited Elysium does a follow up story about the commune. George and Linda start a publishing company, with their first book being a political thriller novel written by Wayne. The novel is then fast tracked into a film adaptation starring Ray Liotta. Carvin reclaims his rights to Elysium after he is reunited with all the original founders of Elysium, one of whom had another copy of the deed.

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181 - If – Tintagel, England, UK

If

The pupils return after the summer for a new Michaelmas term at a traditional British public school for boys in the late 1960s.

Mick Travis arrives hiding his moustache, which he quickly shaves off. He, Wallace, and Knightly are three non-conformist boys in the lower sixth form, their penultimate year. They are watched and persecuted by the "Whips," upper sixth formers given authority as prefects over the other boys. The junior boys are made to act as personal servants for the Whips, who discuss them as sex objects.

Epistle to Dippy

Donovan

Look on yonder misty mountain

See the young monk meditating rhododendron forest Over dusty years, I ask you

What's it's been like being you?

Through all levels you've been changing Getting a little bit better, no doubt

The doctor bit was so far out

Looking through crystal spectacles

I can see I had your fun

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Doing us paperback reader

Made the teacher suspicious about insanity Fingers always touching girls

Through all levels you've been changing Getting a little bit better, no doubt

The doctor bit was so far out

Looking through all kinds of windows

I can see I had your fun

Looking through all kinds of windows

I can see I had your fun

Looking through crystal spectacles

I can see I had your fun

Looking through crystal spectacles

I can see I had your fun

Rebel against society

Such a tiny speculating whether to be a hip or Skip along quite merrily

Through all levels you've been changing Elevator in the brain hotel

Broken down but just as well-a

Looking through crystal spectacles, ah

I can see I had your fun

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Dum dum dum, dum dum, dum dum dum

Dum dum dum, dum dum, dum dum dum

Dum dum dum, dum dum, dum dum dum

Dum dum dum, dum dum, dum dum dum

Dum dum dum, dum dum, dum dum dum

Written by Donovan Phillips Leitch .

The headmaster is remote from the boys and the housemasters. The protagonists' housemaster, Mr. Kemp, is easily manipulated by the Whips into giving them free rein in enforcing discipline.

Some schoolmasters are shown behaving bizarrely.

Mick and Johnny sneak off the school grounds and steal a motorbike from a showroom. They ride to a café staffed by an unnamed girl, about whom Mick fantasizes wrestling naked.

Meanwhile, Wallace spends time with a younger boy, Bobby Philips, and later shares his bed.

The three boys drink vodka in their study and consider how one man holds the potential to "change the world with a bullet in the right place." Their clashes with school authorities become increasingly contentious. Eventually, a brutal caning by the Whips spurs them to action.

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During a school Combined Cadet Force military drill, Mick acquires live ammunition, which he, Wallace, and Knightly use to open fire on a group of boys and masters, including Kemp and the school chaplain. When the latter orders the boys to drop their weapons, Mick assaults him and cows him into submission.

As punishment for their actions, the trio are ordered by the headmaster to clean out a large storeroom beneath the main school hall. They discover a cache of firearms, including automatic weapons and mortars. Joined by Philips and the girl from the café, they commit to revolt against the establishment.

On Founders' Day, when parents are visiting the school, the group starts a fire under the hall, smoking everyone out of the building. They then open fire on them from the rooftop. Led by a visiting General who had been giving a speech, the staff, students, and parents break open the Combined Cadet Force armory and begin firing back. The headmaster tries to stop the fight, imploring the group to listen to reason. The girl shoots him between the eyes. The battle continues, and the camera closes in on Mick's face as he keeps firing.

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182 - The Trip - Burbank, California

The Trip

Paul Graves, a television commercial director, takes his first dose of LSD while experiencing the heartbreak and ambivalence of divorce from his beautiful but adulterous wife. He starts his trip with a "guide," John, but runs away and abandons him out of fear.

Eye of the Needle

Ten Wheel Drive

Sharp edged summertime

Sits on my shoulder

Cutting deeply into my skin

I’ve been ending for so long

I can’t remember what it’s like to begin I’ve been wasting my time

I’ve been trying to climb

Through the eye of the needle.

Dog eared pages

Of phone books and diaries

Dusty leftover pieces of failures

Sit there smiling under my broom

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And they keep feeding the fire

That keeps driving me higher

Through the eye of the needle

Watch the shadows circle

Watch them circle ‘round the ceiling

Waiting for conclusion’s sake

Without a trace of feeling

Waiting for the sun to set

And tumble into China

I got to break loose

Long years wasted

In closets and corners

Looking for a future to wear

Been through hell

Looking so hard for heaven

Who knows what

I’ll find if it’s there

And I know I should quit

But I still try to fit

Through the eye of the needle

Kiss of the twilight

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I have felt it, baby

Taking the last light

And to melt it, baby

Somebody is talking to me

Through the eye of the needle

Sharp edged summertime

Sits on my shoulder

Cutting deeply into my skin

I’ve been ending for so long

I can’t remember what it’s like to begin I’ve been wasting my time

I’ve been trying to climb

Through the eye of the needle.

Improvised chants

Tending toward a scream

Written by Michael Zager and Aram Schefrin Experiencing repetitive visions of pursuit by dark hooded figures mounted on black horses, Paul sees himself running across a beach.

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As Paul experiences his trip, he wanders around the Sunset Strip, into nightclubs, and the homes of strangers and acquaintances. Paul considers the roles played by commercialism, sex, and women in his life. He meets a young woman, Glenn, who is interested in people who take LSD. Having learned from Paul recently that he would be taking LSD, she has been looking out for him. Max is another friendly guide to his trip.

Glenn drives Paul to her Malibu beach house, where they make love, interspersed in his mind with a kaleidoscopic riot of abstract images intercut with visions of pursuit on a beach.

Driven into the surf by his pursuers, Paul turns and faces them, and they reveal themselves to be his wife and Glenn.

As the sun rises, Paul returns to his normal state of consciousness, now transformed by the trip, and steps out to the balcony to get some fresh air. Glenn asks him whether his first LSD experience was constructive. Paul defers his answer to

"tomorrow."

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183 - Knife in the Water – Krakow, Poland Knife in the Water

Andrzej and Krystyna are driving to a lake to go sailing when they come upon a young man hitchhiking in the middle of the road. After nearly hitting him, Andrzej invites the young man along. When they arrive at the lake, instead of leaving the young man behind, Andrzej invites him to go sailing with them.

The young man accepts the offer, and not knowing much about sailing, must learn many hard lessons from Andrzej.

Meanwhile, tension gradually builds between Andrzej and the hitchhiker as they vie for the attentions of Krystyna. The title refers to the major turning point in the film when Andrzej taunts the young man with the latter's treasured pocket knife, which is accidentally lost overboard. A fight ensues between Andrzej and the hitchhiker and the latter falls into the water.

Andrzej and his wife search for him, but cannot find him and assume that he has drowned, since earlier he said that he could not swim. Andrzej and his wife quarrel about what to do, and Andrzej swims to shore to fetch the police. When the young man realizes that Andrzej has gone he comes out from hiding behind a buoy on the lake and swims to the yacht. There he sees Krystyna naked drying off. He boards the yacht and Krystyna tells him he

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is as bad as Andrzej but sexual attraction wins out and they have sex, off screen.

Krystyna sails back to the dock and the man jumps off and goes on his way before Andrzej appears and takes charge again. He wants to go to the police to report the young man missing.

Krystyna tells him that the young man returned and she was unfaithful. Andrzej does not know what to believe and at the road junction, where they would turn one way to return home and another to go to the police station, the car does not move.

Strange Brew

Cream

Strange brew, killin' what's inside of you She's a witch of trouble in electric blue In her own mad mind, she's in love with you With you, now what you gonna do?

Strange brew, killin' what's inside of you

She's some kind of demon messin' in the glue If you don't watch out, it'll stick to you To you, what kind of fool are you?

Strange brew, killin' what's inside of you

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On a boat in the middle of a raging sea She would make a scene for it all to be ignored And wouldn't you be bored?

Strange brew, killin' what's inside of you

Strange brew, strange brew

Strange brew, strange brew

Strange brew, killin' what's inside of you

Written by Felix Pappalardi, Gail Collins, and Eric Patrick Clapton.

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184 - Once Upon a Time in Hollywood – Hollywood, California

Once Upon a Time in Hollywood

In February 1969, Hollywood actor Rick Dalton, star of the 1950s TV Western series Bounty Law, fears his career is fading, with his recent roles being guest appearances as villains. His agent Marvin Schwarz advises him to make spaghetti westerns in Italy, which Dalton considers beneath him. Dalton's best friend and stunt double, Cliff Booth; a war veteran who lives in a trailer with his pit bull, Brandy, drives Dalton around due to his DUI arrests and driver's license suspension. Booth struggles to find stunt work because of rumors he murdered his wife. Actress Sharon Tate and her husband, director Roman Polanski, have moved next door to Dalton, and Dalton dreams of befriending them to revive his career. That night, Tate and Polanski attend a celebrity filled party at the Playboy Mansion.

Helter Skelter

The Beatles

When I get to the bottom

I go back to the top of the slide

Where I stop and I turn and I go for a ride

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'Til I get to the bottom and I see you again Yeah, yeah, yeah, ha-ha-ha!

Well do you, don't you want me to love you?

I'm coming down fast, but I'm miles above you Tell me, tell me, tell me, come on tell me the answer Well, you may be a lover, but you ain't no dancer Now, helter-skelter

Helter-skelter

Helter-skelter

Yeah

Ooh!

Oh will you, won't you want me to make you? (Ah) I'm coming down fast, but don't let me break you (ah) Tell me, tell me, tell me the answer

Well, you may be a lover, but you ain't no dancer Look out!

Helter-skelter

Helter-skelter

Helter-skelter

Ooh

Look out!

'Cause here she comes

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When I get to the bottom

I go back to the top of the slide

And I stop, and I turn and I go for a ride And I get to the bottom and I see you again Yeah, yeah, yeah!

Well do you, don't you want me to make you?

I'm coming down fast, but don't let me break you Tell me, tell me, tell me your answer

Well, you may be a lover, but you ain't no dancer Look out!

Helter-skelter

Helter-skelter

Helter-skelter

Well, look out! Helter-skelter

She's coming down fast

Yes, she is

Yes, she is

Coming down fast

Oh yeah, helter-skelter

Ooh

I got blisters on my fingers

Written by Paul McCartney and John Lennon.

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The next day, Booth recalls a sparring contest he had with Bruce Lee on the set of “The Green Hornet” resulting in Booth's firing. Meanwhile, Charles Manson stops by the Polanski residence looking for Terry Melcher, who used to live there, but is turned away by Jay Sebring. As Tate runs errands, she stops at the Fox Bruin Theater to watch herself in “The Wrecking Crew.”

Dalton is cast as the villain in the pilot for the TV western

“Lancer” and strikes up a conversation with eight year old co-star Trudi Frazer. During filming, Dalton struggles to remember his lines and suffers a breakdown in his trailer. He subsequently delivers a strong performance that impresses Frazer and the director, Sam Wanamaker.

Booth picks up a hitchhiker, "Pussycat," and takes her to Spahn Ranch, where he once worked on the set of “Bounty Law.” He observes the many hippies living there. Suspecting they may be taking advantage of the ranch's elderly owner, George Spahn, Booth insists on checking on him despite "Squeaky"'s objections.

Booth speaks with the nearly blind Spahn, who dismisses his concerns. Upon leaving, Booth discovers that "Clem" has punctured a tire on Dalton's car. Booth beats Clem and makes him

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change the tire. "Tex" is summoned to deal with the situation, but arrives as Booth is driving away.

After watching Dalton's guest performance on an episode of “The F.B.I.”, Schwarz books him as the lead in Sergio Corbucci's spaghetti western “Nebraska Jim.” Dalton takes Booth with him for a six month stint in Italy, during which he films three additional movies and marries Italian starlet Francesca Capucci.

By the end of their stay, Dalton can no longer afford Booth's services.

Returning to Los Angeles on August 8, 1969, Dalton and Booth go out for drinks to commemorate their time together, then go back to Dalton's house. Meanwhile, Tate and Sebring go out for dinner with friends, then return to Tate's house. Booth smokes an LSD

laced cigarette purchased earlier and takes Brandy for a walk while Dalton prepares drinks. Tex, "Sadie," "Katie," and

"Flowerchild" arrive outside in preparation to murder everyone in Tate's house, but Dalton hears the car's muffler and orders them off the street. Recognizing him, the four change their plans and decide to kill him instead, after Sadie reasons that Hollywood has "taught them to murder." Flowerchild deserts them, speeding off with their car.

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Breaking into Dalton's house, they confront Booth and Capucci.

Tex aims his pistol at Booth. Now high on the LSD, Booth chats with the intruders, remembering them from Spahn Ranch. Booth signals Brandy to attack Tex. Sadie lunges at Booth with a knife. Booth throws a can at her face and signals Brandy to attack her. Capucci punches Katie and runs away. Katie dives at Booth after he fights and kills Tex. Realizing a knife is stuck in his thigh, Booth kills Katie by smashing her face against household decor then passes out. A wounded and crazed Sadie stumbles outside into the pool firing Tex's pistol. Dalton, floating in the pool, listening to music on headphones, oblivious to the chaos inside, is alarmed. He retrieves a flamethrower retained from his earlier film “The 14 Fists of McClusky” and incinerates Sadie. The police arrive and Booth later regains consciousness and is taken away in an ambulance.

After promising to visit Booth in the hospital, Dalton is invited by Sebring and Tate to their house for a drink, which he accepts.

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185 - The Devils – Loudun, France

The Devils

In 17th-century France, Cardinal Richelieu is influencing Louis XIII in an attempt to gain further power. He convinces Louis that the fortifications of cities throughout France should be demolished to prevent Protestants from rising up. Louis agrees, but forbids Richelieu from carrying out demolitions in the town of Loudun, having made a promise to its Governor not to damage the town.

Meanwhile, in Loudun, the Governor has died, leaving control of the city to Urbain Grandier, a dissolute, proud and popular priest. He is having an affair with a relative of Father Canon Jean Mignon, another priest in the town. Grandier is, however, unaware that the neurotic, hunchbacked Sister Jeanne des Anges, the abbess of the local Ursuline convent, is sexually obsessed with him. Sister Jeanne asks for Grandier to become the convent's new confessor. Grandier secretly marries another woman, Madeleine De Brou, but news of this reaches Sister Jeanne, who becomes jealous. When Madeleine returns a book by Ursuline foundress Angela Merici that Sister Jeanne had earlier lent her, the abbess attacks her and accuses her of being a

"fornicator" and "sacrilegious."

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The Devil Went Down to Georgia

Charlie Daniels

The Devil went down to Georgia

He was lookin' for a soul to steal

He was in a bind 'cause he was way behind And he was willin' to make a deal

When he came across this young man

Sawin' on a fiddle and playin' it hot

And the Devil jumped upon a hickory stump And said, "Boy, let me tell you what"

"I guess you didn't know it,

but I'm a fiddle player, too

And if you'd care to take a dare,

I'll make a bet with you

Now you play pretty good fiddle, boy,

but give the Devil his due

I'll bet a fiddle of gold against your soul

'Cause I think I'm better than you"

The boy said, "My name's Johnny,

and it might be a sin

But I'll take your bet, you're gonna regret

'Cause I am the best that's ever has been

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Johnny, rosin up your bow and play your fiddle hard

'Cause Hell's broke loose in Georgia

and the Devil deals the cards

And if you win,

you get this shiny fiddle made of gold

But if you lose,

the devil gets your soul

The Devil opened up his case and he said,

"I'll start this show"

And fire flew from his fingertips

as he rosined up his bow

And he pulled the bow across the strings and it made an evil hiss

And a band of demons joined in,

and it sounded somethin' like this

When the Devil finished

Johnny said, "Well, you're pretty good ol' son But sit down in that chair right there

And let me show you how it's done"

"Fire on the Mountain", run, boys, run The Devil's in the house of the risin' sun Chicken in the bread pan pickin' out dough

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Granny, does your dog bite? No, child, no

The Devil bowed his head

because he knew that he'd been beat

And he laid that golden fiddle

on the ground at Johnny's feet

Johnny said, "Devil, just come on back if you ever wanna try again

I done told you once, you son of a bitch I'm the best that's ever been" he played

"Fire on the Mountain", run, boys, run The Devil's in the house of the risin' sun The chicken in the bread pan pickin' out dough Granny, will your dog bite? No, child, no

Written by Charles Fred Hayward, Charlie Daniels, William J.

DiGregorio, Fred Edwards, James W. Marshall, and John Crain.

Baron Jean de Laubardemont arrives with orders to demolish the city, overriding Grandier's orders to stop. Grandier summons the town's soldiers and forces Laubardemont to back down pending the arrival of an order for the demolition from King Louis. Grandier departs Loudun to visit the King. In the meantime, Sister Jeanne is informed by Father Mignon that he is to be their new confessor. She informs him of Grandier's marriage and affairs,

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and also inadvertently accuses Grandier of witchcraft and of possessing her, which Mignon relays to Laubardemont. In the process, the information is pared down to just the claim that Grandier has bewitched the convent and dealt with the Devil.

With Grandier away from Loudon, Laubardemont and Mignon decide to find evidence against him.

Laubardemont summons inquisitor Father Pierre Barre, a

"professional witch-hunter," whose interrogations involve depraved acts of "exorcism," including the forced administration of enemas to his victims. Sister Jeanne claims that Grandier has bewitched her, and the other nuns do the same. A public exorcism erupts in a church, in which the nuns remove their clothes and enter a state of "religious" frenzy. Duke Henri de Condé, actually King Louis in disguise, arrives, claiming to be carrying a holy relic which can exorcise the "devils" possessing the nuns. Father Barre then proceeds to use the relic in

"exorcising" the nuns, who then act as though they have been cured, until Condé/Louis reveals the case allegedly containing the relic to be empty. The possessions and the exorcisms then continue unabated, descending into a massive orgy in which the nuns remove the crucifix from above the high altar and masturbate with it.

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During the chaos, Grandier and Madeleine return. Grandier denies bewitching the nuns and condemns Sister Jeanne, but he and Madeleine are arrested nonetheless. The nuns are returned to the convent, where Sister Jeanne attempts to hang herself, but is cut down before she dies. After being given a show trial, Grandier is shaven and tortured. The judges sentence Grandier to death by burning at the stake. Laubardemont has also obtained permission to destroy the city's fortifications. Despite pressure to confess to the charges, Grandier refuses, and is taken to be burnt at the stake. His executioner promises to strangle him rather than let him suffer death by fire, but Barre starts the fire himself, and Mignon, visibly panic stricken about the possibility of Grandier's innocence, pulls the noose tight before it can be used to strangle Grandier. As Grandier burns, Laubardemont orders for explosive charges to be set off and the city walls are blown up, causing the revelling townspeople to flee.

After the execution, Barre leaves Loudun to continue his witch hunting activities elsewhere in the Vienne region of Nouvelle-Aquitaine. Laubardemont informs Sister Jeanne that Mignon has been put away in an asylum for claiming that Grandier was innocent, and that "with no signed confession to prove otherwise, everyone has the same opinion." He gives her

The Last Gasps of Indian Summer Page 1207

Grandier's charred femur and leaves. Sister Jeanne kisses and masturbates with the bone. Madeleine, having been released, walks over the rubble of Loudun's walls and out of the ruined city.

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186 - The Misfits – Evanston, Wyoming

The Misfits

In Reno, Nevada, thirty year old Roslyn Tabor files for a quickie six week residency divorce from her inattentive husband, Raymond. Afterward, Roslyn's landlady Isabelle takes her to a cocktail lounge at Harrah's for drinks. They meet an aging cowboy named Gaylord Langland, and his tow truck driver best friend, Guido. The friendly Guido tells Roslyn and Isabelle about his unfinished house in the country. Later that day, the group goes to the unfinished house Guido has built for his late wife. After drinking and dancing, Roslyn has had too much to drink, so Gaylord drives her home to Reno.

Tales of Brave Ulysses

Cream

You thought the leaden winter

Would bring you down forever

But you rode upon a steamer

To the violence of the sun

And the colors of the sea

Bind your eyes with trembling mermaids

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And you touch the distant beaches

With tales of brave Ulysses

How his naked ears were tortured

By the sirens sweetly singing

For the sparkling waves are calling you To kiss their white laced lips

And you see a girl's brown body

Dancing through the turquoise

And her footprints make you follow

Where the sky loves the sea

And when your fingers find her

She drowns you in her body

Carving deep blue ripples

In the tissues of your mind

Tiny purple fishes

Run laughing through your fingers

And you want to take her with you

To the hard land of the winter

Her name is Aphrodite

And she rides a crimson shell

And you know you cannot leave her

For you touched the distant sands

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With tales of brave Ulysses

How his naked ears were tortured

By the sirens sweetly singing

Tiny purple fishes

Run laughing through your fingers

And you want to take her with you

To the hard land of the winter

Written by Eric Patrick Clapton and Martin Sharp.

Eventually, Roslyn and Gaylord move into Guido's half-finished house and work on it. One day, Gaylord tells Roslyn how he wishes he were more of a father to his children, whom he has not seen for years. Later, he discovers rabbits have been eating the lettuce in the garden they have planted. Gaylord wants to kill the rabbits with his shotgun, an idea that Roslyn opposes.

Everybody Must Get Stoned

Bob Dylan

They'll stone you when you're trying to be so good They'll stone you just like they said they would They'll stone you when you're trying to go home

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They'll stone you when you're there all alone But I would not feel so all alone

Everybody must get stoned

They'll stone you when you're walking on the street They'll stone you when you're trying to keep your seat They'll stone you when you’re walking on the floor They'll stone you when you’re walking to the door But I would not feel so all alone

Everybody must get stoned

They'll stone you when you're at the breakfast table They'll stone you when you are young and able They'll stone you when you're trying to make a buck They'll stone you and then they'll say good luck But I would not feel so all alone

Everybody must get stoned

Well they'll stone you and say that it's the end They'll stone you and then they'll come back again They'll stone you when you're riding in your car They'll stone you when you're playing you guitar Yes But I would not feel so all alone

Everybody must get stoned

Alright

The Last Gasps of Indian Summer Page 1212

Well They'll stone you when you are all alone They'll stone you when you are walking home They'll stone you and then say they're all brave They'll stone you when you're sent down in your grave But I would not feel so all alone

Everybody must get stoned

Written by Bob Dylan

When Guido and Isabelle show up, Guido suggests that they round up wild mustangs to sell. They go to a local rodeo in Dayton to hire a third man. They run into Perce Howland, a cowboy friend of Gaylord's, who wants to compete in the rodeo. Gaylord offers to pay the broke Perce's $10 entry fee if he will help round up mustangs the next day. Guido, Perce, Roslyn and Gaylord go to a bar and nearly get into a fistfight when a drunk spanks Roslyn's bottom.

At the rodeo, Roslyn becomes somewhat upset when Guido tells her how the horses are made to buck with an irritating flank strap.

Perce is thrown by a bucking horse, and Roslyn begs him to go to a hospital, but he insists on riding a bull he had already

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signed up and paid to ride. He gets thrown again, sustaining a head injury.

Later, he passes out in a Dayton back alley. When he regains consciousness, he sees Roslyn crying over him. He says that he never had anyone cry for him before and that he wished he had a friend to talk to. He tells her how his mother changed after his father died, giving his stepfather the ranch Perce's father wanted to leave to Perce. A drunken Gaylord then fetches Roslyn, telling her that he wants her to meet his kids, claiming he unexpectedly ran into them. When Gaylord discovers his children have already left Dayton, he causes a public scene.

Later on, during the drive home, a drunken Guido asks if Roslyn has left Gaylord and offers to take his place. Back at Guido's house, Guido attempts to finish the patio he started. Later, Gaylord asks Roslyn if a woman like her would ever want to have a child with him. She avoids the issue.

The next day, Gaylord, Guido and Perce go after the mustangs, with Roslyn reluctantly tagging along. Roslyn becomes upset when she learns that they will be slaughtered for dog food. Gaylord tells Roslyn that he did things for her that he never did for any other woman, such as making the house a home and planting the garden. After they catch a stallion and four mares, Roslyn

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begs Gaylord to release the horses. He considers it, but when she offers to pay him $200, it angers him. Guido tells Roslyn that he would release them if she would leave Gaylord for him.

She rebuffs him. Perce asks her if she wants him to set the horses free, but she declines because she thinks it would only start a fight. Perce frees the stallion anyway. After Gaylord chases down and subdues it by himself, he lets it go and says he just did not want anybody making up his mind for him. As they are driving away in Gaylord's truck, Roslyn tells Gaylord that she will leave the next day. He stops the truck to pick up his dog and watches her joyfully untethering it. They realize that they still love each other and drive off into the night.

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187 - The Searchers – Abilene, Texas

The Searchers

In 1868, Ethan Edwards returns after an eight year absence to the home of his brother Aaron in West Texas. Ethan fought in the Civil War on the side of the Confederacy, and in the three years since that war ended, he also apparently fought in the Second Franco–Mexican War. He has a lot of gold coins of uncertain origin in his possession, and a medal from the Mexican campaign that he gives to his eight year old niece, Debbie. As a former Confederate soldier, when he is asked to take an oath of allegiance to the Texas Rangers, he refuses.

Shortly after Ethan's arrival, cattle belonging to his neighbor Lars Jorgensen are stolen, and Reverend Captain Samuel Clayton leads Ethan and a group of Rangers to recover them. After discovering that the theft was a Comanche ploy to draw the men away from their families, they return and find the Edwards homestead in flames. Aaron, his wife Martha, and their son Ben are dead, while Debbie and her older sister Lucy have been abducted.

After a brief funeral, the men set out in pursuit. When they find the Comanche camp, Ethan recommends a frontal attack, but Clayton insists on a stealth approach to avoid killing the

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hostages. The camp turns out to be deserted, and further along the trail, the men ride into an ambush. Despite fending off the attack, the Rangers are left with too few men to fight the Comanche effectively. They return home, leaving Ethan to continue his search for the girls with only Lucy's fiancé, Brad Jorgensen, and Debbie's adopted brother, Martin Pawley. Ethan finds Lucy murdered and, it is implied, raped in a canyon near the Comanche camp. In a blind rage, Brad rides directly into the camp and is killed.

"I figure on gettin' myself un-surrounded," insists Captain Clayton to Ethan as they realize they are caught in a trap and must run for their lives.

When winter arrives, Ethan and Martin lose the trail and return to the Jorgensen ranch. Martin is enthusiastically welcomed by the Jorgensens' daughter Laurie, and Ethan finds a letter waiting for him from a trader named Futterman, who claims to have information about Debbie. Ethan, who would rather travel alone, leaves without Martin the next morning, but Laurie reluctantly provides Martin with a horse to catch up. At Futterman's trading post, Ethan and Martin learn that Debbie has been taken by Scar, the chief of the Nawyecka band of Comanches.

A year or more later, Laurie receives a letter from Martin describing the ongoing search. Reading the letter aloud, Laurie

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narrates the next few scenes, in which Ethan kills Futterman for trying to steal his money, and Martin accidentally buys a Comanche wife who runs away when she hears Scar's name. Later, she is among the dead when the two men find a portion of Scar's band killed by soldiers.

In New Mexico, they find Debbie after five years, now an adolescent, living as one of Scar's wives. She says that she has become a Comanche and wishes to remain with them. Ethan would rather see her dead than living as a savage, and tries to shoot her, but Martin shields her with his body and a Comanche wounds Ethan with an arrow as they escape. Although Martin tends to Ethan's wound, he is furious with him for attempting to kill Debbie. Later, they return home.

Meanwhile, Charlie McCorry has been courting Laurie in Martin's absence. Ethan and Martin arrive home just as Charlie and Laurie's wedding is about to begin. After a fistfight between Martin and Charlie, a nervous Yankee soldier, Lieutenant Greenhill, brings news that Ethan's friend Mose Harper has located Scar. Clayton leads his men to the Comanche camp, this time for a direct attack, but Martin is allowed to sneak in ahead of the assault to find Debbie, who welcomes him. Martin kills Scar to save Debbie, and Ethan scalps him. Ethan then finds Debbie, and pursues her on horseback. Martin chases them

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desperately, fearing that Ethan will shoot her. Instead, Ethan sweeps her up into his arms and takes her to the Jorgensen ranch, where Martin reunites with Laurie. While everyone else enters the house, Ethan watches, then walks out.

Go Now!

The Moody Blues

We've already said, "Goodbye"

Since you've got to go

Oh, you'd better go now

Go now, go now, (go now, ooh)

Before you see me cry

I don't want you to tell me

just what you intend to do now

'Cause how many times do I have to tell you, darling, darling

I'm still in love with you, now whoa

We've already said, "So long"

I don't want to see you go

Oh, you had better go now

Go now, go now, (go now, ooh)

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Don't you even try

Telling me that you really

don't want me to end this way, 'ay

'Cause darling, darling

Can't you see I want you to stay? yeah yeah

Since you've got to go

Oh, you had better go now

Go now, go now, (go now, ooh)

Before you see me cry

I don't want you to tell me

just what you intend to do now

'Cause how many times do I have to tell you?

darling, darling

I'm still in love, still in love with you now (Ooh, ooh, ooh, ooh)

I don't wanna see you go

But, darling, you'd better go now

Written by Larry Banks and Milton Bennett.

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188 - Movie - Movie - Corrales, New Mexico Movie - Movie

Bobby said; “I know a movie theatre five miles away that plays old films. Let’s go sit in the dark for a while.”

Kelly responded; “Anywhere with you is great with me. I like old movies anyway. I might fall asleep, though.”

They took her Mercedes and she drove silently to the appointed spot. They parked in the small dirt lot, which looked as if it had not been maintained or repaired for some time. It contained no other cars. They saw the plastic lettered marquee indicating that “All That Heaven and Earth Allow” was playing. Neither of them knew the film. As they walked to the ticket booth they noticed that the stills were in black and white.

Bobby said; “The title suggests that this is going to be a long one.”

Kelly looked at him, with a bit of an incredulous posture and deadpanned; “Not if it had a good editor.”

Bus Stop

The Hollies

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Bus stop, wet day, she's there, I say

"Please, share my umbrella"

Bus stop, bus goes, she stays, love grows Under my umbrella

All that summer, we enjoyed it

Wind and rain and shine

And that umbrella, we employed it

By August, she was mine

Every mornin', I would see her waiting at the stop Sometimes she'd shopped and she would show me what she bought All the people stared as if we were both quite insane Someday my name and hers are going to be the same

That's the way the whole thing started

Silly but it's true

Thinkin' of a sweet romance

Beginning in a queue

Came the sun, the ice was melting

No more sheltering now

Nice to think that that umbrella

Led me to a vow

Every mornin', I would see her waiting at the stop Sometimes she'd shopped and she would show me what she bought

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All the people stared as if we were both quite insane Someday my name and hers are going to be the same

On bus stop, wet day, she's there, I say

"Please, share my umbrella"

Bus stop, bus goes, she stays, love grows Under my umbrella

All that summer, we enjoyed it

Wind and rain and shine

That umbrella, we employed it

By August, she was mine

Written by Graham Keith Gouldman.

The ticket booth was empty when they got there, so they walked right inside. They shuffled around the lobby looking at the stills on the wall, keeping an eye out for help. When none came in a few minutes, they decided to walk right in. As he was opening the door a woman of about sixty entered the lobby from another door, trailed by a man of similar age. She had long gray hair and dressed younger than her years. His countenance was more of a disheveled acquiescence to his time, wearing proper attire that was maintained as well as the parking lot. He also had long gray hair, though much of the middle was now missing.

The Last Gasps of Indian Summer Page 1223

He seemed somber. The old woman smiled at the venturesome couple and said; “It’s already started, so go right in and enjoy it.”

Kelly said; “We really should pay you something, shouldn’t we?”

The older woman replied; “No. It’s already playing and it’s too much trouble for me to start handling money right now. We’ve got other things to do.” She looked at her companion and smiled. He silently followed her out through the same door previously used as the entry.

Bobby and Kelly simultaneously said “Thanks” and continued through the door which led to the screening room. No one else seemed to be there, though they couldn’t be sure in the dark.

He followed her down the center aisle to furry seats about 10

rows from the screen, right in the middle of it.

The movie was at a point where the actions and dialogue made no sense to them. If there were any way to succinctly describe what they saw and heard, it would probably be worry, combat and randomness, with no obvious logic. They leaned heads and shoulders against each other and both quickly fell asleep.

They woke up to a crescendo of classical music, apparently the end. Still half asleep they watched the two lovers on the screen hold each other. As it was early in their awakening, they could have been wrong, but visually, it seemed that the two screen

The Last Gasps of Indian Summer Page 1224

characters merged. He became her and she him. Kelly and Bobby both had the same thought. The merger could be an illusion caused by their dreary state, but they would have bet their lives, that at the very least, her eyes became his and vice-versa.

The movie did end right there and the two stood up to leave.

Each knew the thoughts of the other, so they exchanged questioning and knowing looks as they walked. Neither knew the right thing to say and didn’t want to ruin the mood. They slowly walked back to her car, the bright sun shocking them back to the reality of the moment.

They didn’t realize that there was a double feature.

Days of Heaven

In 1916, Chicago manual laborer Bill knocks down and kills a boss in the steel mill where he works, then flees to the Texas Panhandle with his girlfriend Abby and his young sister Linda.

Bill and Abby pretend to be siblings to prevent gossip. The three are hired as part of a large group of seasonal workers by a wealthy, shy farmer. Bill overhears a doctor telling the farmer he has only a year to live, although the nature of the illness is not specified.

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When the farmer falls in love with Abby, Bill encourages her to marry him so they can inherit his money. They thus marry, and Bill stays as her "brother." The farmer's foreman suspects the scheme. The farmer's health unexpectedly remains stable, foiling Bill's plans. Eventually, the farmer discovers Bill's true relationship with Abby. Meanwhile, Abby has begun to fall in love with her husband. When a locust swarm and fires destroy his wheat fields, the incensed farmer chases Bill with a gun, but Bill kills him with a screwdriver and then flees with Abby and Linda.

The foreman and police pursue and eventually find them. Bill is shot and killed while running. Abby inherits the farmer's estate and leaves Linda at a boarding school. Abby leaves town on a train with soldiers departing for World War I. Linda runs away from school with a friend from the farm.

Ventura Highway

America

Chewin' on a piece of grass, walkin' down the road Tell me, how long you gonna stay here, Joe?

Some people say this town don't look good in snow You don't care, I know

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Ventura Highway in the sunshine

Where the days are longer

The nights are stronger than moonshine

You're gonna go, I know

'Cause the free wind is blowin' through your hair And the days surround your daylight there Seasons crying no despair

Alligator lizards in the air, in the air

Wishin' on a falling star, waitin' for the early train Sorry boy, but I've been hit by a purple rain Aw, c'mon Joe, you can always change your name Thanks a lot son, just the same

Ventura Highway in the sunshine

Where the days are longer

The nights are stronger than moonshine

You're gonna go, I know

'Cause the free wind is blowin' through your hair And the days surround your daylight there Seasons crying no despair

Alligator lizards in the air, in the air

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Written by Dewey Bunnell.

Who Do You Love

Quicksilver Messenger Service

I walked forty-seven miles of barbed wire Got a cobra snake for a necktie

I got a brand new house by the road side Made out of rattlesnake hide

Got me a chimney made on the top

Made from a human skull

Come on, take a little walk with me

Now who do you love?

Who do you love?

Who do you love?

Who do you love?

Who do you love?

Come on, Arlene, take me by my hand

Let me know that'll you understand

Who do you love?

Who do you love?

Who do you love?

Who do you love?

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Ride nine times on a midnight train

Through the fire and cold rain

Who do you love?

Who do you love?

Who do you love?

Who

A graveyard hand in the tombstone mine

Just twenty-two and I don't mind dying

Who do you love?

Who do you love?

Who do you love?

Who

Written by John Cipollina and Nicky Hopkins.

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189 - Doctor Zhivago – Phoenix, Arizona

Doctor Zhivago