Spotlight · 2015 — Chapter 12 of 21 · 1'39" · C1

Robby Confronts Macleish, Explained: cottage industry

Robby corners the lawyer Eric Macleish in a parking lot and refuses to take no for an answer: "the hell he can't." He lays out the choice - a story about "degenerate clergy" or one about lawyers turning abuse into a "cottage industry" - and asks which the paper should write.

What happens

In a parking lot, the reporters catch up with the lawyer Eric Macleish, who says he is too busy to talk. Robby refuses to accept it and tells him that if he does not hand over the names of priests and victims, the paper will run one of two stories: corrupt clergy, or lawyers profiting from abuse.

AccusationsThreatsThreateningConfrontingRivalsC1fastamerican
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Listen for

cottage industrygo after someonehave reason to believethe hell he can't

00:00 / 01:39
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  1. ❝ MonologueRobby's two-story ultimatum5 linesPractice page ↗
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Phrase of the scene

cottage industry

a small home-based business; here used to mock how abuse cases became a profit line

罗比在停车场堵住麦克利什,把两篇稿子摆在对方面前,其中一篇就是讽刺律师们把虐童案做成一门生意。

Litigation has quietly turned into a cottage industry around this town.

Also in this scene

  • go after someone

    to pursue or hold someone accountable; to chase a goal

  • have reason to believe

    to have grounds to think that something is true

  • the hell he can't

    an emphatic, informal way to contradict a refusal

Everything marked in this scene

21 notes across 31 lines

Phrase · B1be all booked upRobby, Macleish's assistant said he's all booked up, he can't see us.
Phrase · C1the hell someone can/can't

an emphatic, informal way to contradict a refusal

Told Macleish is fully booked, Robby snaps back that the excuse will not stand.

Yeah. Well, the hell he can't.
Phrase · B1catch up with someoneYou know what, I'll catch up with you, okay?
Soundcatch up with you

liaison

You know what, I'll catch up with you, okay?
Phrase · B2have reason to believe (that) ...

to have grounds to think that something is true

Mr. Macleish, we have reason to believe
Phrase · B1someone's gotta be kidding meDoes that number sound right to you? You gotta be kidding me.
Soundgotta be kidding me

elision

Does that number sound right to you? You gotta be kidding me.
Slang · B2crapI just told you I don't have time for this crap right now.
Phrase · B2settle (a case / a claim)Eric. How many priests did you settle?
Grammar · B1did you settle

past simple question with did

Eric. How many priests did you settle?
Sounddid you

liaison

Eric. How many priests did you settle?
Phrase · B1can't tell someone thatRobby, you know I can't tell you that.
Grammar · B1can't tell you that

can't for inability

Robby, you know I can't tell you that.
Phrase · C1degenerate (clergy / morals)We've got a story about degenerate clergy,
Phrase · C1turn something into a cottage industry

a small home-based business; here used to mock how abuse cases became a profit line

and we've got a story about a bunch of lawyers turning child abuse into a cottage industry.
Grammar · B2we're writing one of them

reason clause with 'cause

'Cause we're writing one of them.
Phrase · B1what are you talking aboutWhat're you talking about? To whom?
Phrase · B1go after someone

to pursue or hold someone accountable; to chase a goal

but I couldn't go after them without the press.
Grammar · B2couldn't go after them without the press

without as a condition

but I couldn't go after them without the press.
Slang · B2goddamnCheck your goddamn clips, Robby.
Phrase · B2big surprise (ironic)Yeah. Big surprise.

Robby Confronts Macleish, explained

What's really going on

The parking lot is the point: no office, no appointment, no escape. Robby's opening line, "the hell he can't," sets the tone - this is not an interview but a shakedown with a deadline. What makes it work is that the threat is framed as a choice, not a threat: "which story do you want us to write?" The two options are both damaging, one aimed at the Church and one at Macleish's own profession, so silence is not a safe answer. Macleish's counter is the real wound: he claims he already sent a list of names years ago and the paper buried it, which turns the confrontation into an indictment of the Globe itself.

Theme

CorruptionThe scene shows how abuse became business, with lawyers and the Church each protecting their own interests.
PowerRobby uses the paper's leverage as a threat, trading one damaging story for the names he needs.

Listen for

  • catch up with you — liaison
  • gotta be kidding me — elision
  • did you — liaison
Now, which story do you want us to write?

The ultimatum in question form: cooperate, or the paper prints the version that hurts you.

'Cause we're writing one of them.

The line that closes the choice: there is no option in which nothing gets published.

So I sent you guys a list of names, and you buried it.

Macleish's counterattack, accusing the Globe of having ignored his list years earlier.

I want those names tomorrow.

Robby's deadline, turning the confrontation into a demand with a clock on it.

Questions about this scene

Why do the reporters confront Macleish in a parking lot?

He is too busy to meet them anywhere else, so they catch him on his way, refusing to accept his brush-off.

What are the two stories Robby offers?

One is about degenerate clergy, the other about lawyers who turned child abuse into a lucrative cottage industry - both damaging, whichever gets printed.

What does Macleish accuse the Globe of?

He says he sent a list of names to the paper years ago and it buried the story, which is why he could not pursue the cases without the press.

Is Robby threatening Macleish?

It is a pressure tactic framed as a choice: give up the names of priests and victims, or the paper runs one of two damaging stories.

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