The End of the Pale Hour

Lipsky is dismayed to hear that David Foster Wallace has died by suicide in 2008. The film frames this moment as a prompt to revisit the recordings from their earlier interviews. It underscores how Wallace's work and memory linger in Lipsky's thoughts.

Lipsky persuades his editor to let him profile Wallace during the book tour. He travels to Wallace's home near Bloomington-Normal, Illinois, and begins recording their conversations. Wallace agrees to be taped but insists some material stay 'off the record' for now.

Wallace appears unassuming and almost convivial, yet guarded about himself. He agrees to tape the interview and shares small, intimate topics from dogs to fame and self-identity. He tacitly hints at alcoholism but offers few details.

Lipsky brings up Wallace's past brief institutionalization under a suicide watch, causing tension between them. Wallace makes it clear some parts of the conversation should not be quoted or published. The exchange reveals Wallace's sensitivity to how his experiences might be used.

Wallace invites Lipsky to stay in the unused guest room, stacked with his books. The interview stretches late into the night as they discuss a range of topics. The next morning, they resume their conversation in a more relaxed mode.

They pick up where they left off, with Wallace offering more candid thoughts. The pace slows into a sustained dialogue about writing, fame, and identity. The room and walls of books remain a constant frame for their exchange.

Lipsky accompanies Wallace to the final appearance of the tour in Minneapolis-St. Paul. They meet two women friends of Wallace—Betsy from grad school and Julie, a literary critic. The group spends the night and next day at the Mall of America.

Back from the mall, Wallace grows angry when he sees Lipsky flirting with Betsy. The moment exposes his vulnerability around trust, fame, and how others perceive him. It deepens the strain between the journalist and the author.

Back at Wallace's home, Lipsky asks about rumors of heroin use, seeking a sensational angle. Wallace denies the allegations and accuses Lipsky of chasing a stereotype for his article. The exchange underscores the friction between journalism and the subject's privacy.

Before the trip ends, they spend a morning together as friends rather than journalist and subject. Lipsky gathers the nerve to hand Wallace a copy of his own novel, and they agree to stay in touch afterward. The scene marks a shift from interrogation toward mutual respect.

Their road trip through the Midwest crystallizes the bond between Lipsky and Wallace, and Lipsky returns with a deeper sense of possibility and loneliness. The conversations cover fame, writing, and personal identity, giving Lipsky material for later reflection. The travel itself becomes a lens on their friendship.

Fourteen years after their 1996 meetings, Lipsky is on his own book tour and reads from his memoir Although of Course You End Up Becoming Yourself (2010). He recounts the trip with Wallace and the conversations that shaped his writing and sense of loneliness. The final frame ties Wallace's influence to Lipsky's life and career.