After Hours (Scorsese, 1985) : who can tell me the end of the story ?...?!
Question:
After Hours (Scorsese, 1985) : who can tell me the end of the story ?...?
... cause I've failed to stay awake at my second attempt to watch it in full. First one was YEARS ago, but I could still recall how boring it was at the time.
Answers:
...after fighting so hard in attempting to escape from the dangerously eccentric area of New York's Soho district (i.e., no cab fare, suicidal one-night stands, encountering Miss Beehive with the hairdo, being pursued by vigilante mobs, getting a mohawk, etc.), Paul finally finds peaceful solice in a beautiful lone patron in an abandoned punk rock club; forging a quick and intriguing rapport with each other, the girl, who herself is an eccentic Soho artist, hides Paul from the relentless vigilante mob by incasing him in a plaster-of-paris paper mache sculture (not unlike that resembling the sculpture shown at the beginning of the film, a three-dimensional rendition of "The Scream", as constructed by Kiki Bridges, another artist, and roommate of the previously mentioned suicide). After the vigilante mob leaves, satisified that Paul 'was not there', the scuptress turns off the lights of her studio and leaves the room; with the plaster of paris having hardened by now, Paul ponders on his inescapable situation. Suddenly, the hapless burglers, Neil and Pepe (Cheech and Chong), who previously attempted to steal Kiki's original 'Scream' sculpture, earlier in the film, break into the artist's studio, for some random theft. Originally disdained about losing the previous sculpture, Neil is overjoyed to find the similar 'sculpture' (with Paul inside) in the studio, and quickly loads it up in the van. Neil and Pepe quickly take off, speeding out of the Soho District, and through New York's business district. Racing around the corner of Paul's office building, the back doors of the van fly open, and the ensculptured Paul falls out of the back, crashing into the street. It is morning, and the looming steel front doors of Paul's office building slowly swing open; Paul picks himself up, brushing the larger pieces of plaster-of-paris from his heavily white-dusted suit and hair, steps through the front doors of his office building, takes the elevator to his floor, walks up to the computer in his office cubicle, and turns it on....
...."Good Morning, Paul", reads the monitor...
*****THE END*****