After Hours Page #12

Synopsis: A meek word processor impulsively travels to Manhattan's Soho District to date an attractive but apparently disturbed young woman and finds himself trapped there in a nightmarishly surreal vortex of improbable coincidences and farcical circumstances.
Genre: Comedy, Crime, Drama
Director(s): Martin Scorsese
Production: Warner Bros. Pictures
  Nominated for 1 Golden Globe. Another 3 wins & 8 nominations.
 
IMDB:
7.7
Metacritic:
90
Rotten Tomatoes:
88%
R
Year:
1985
97 min
$10,600,000
3,069 Views


...want...

1078

01:
23:45,946 -- 01:23:48,221

...to live.

1079

01:
23:49,306 -- 01:23:50,739

Live.

1080

01:
23:57,786 -- 01:24:00,300

Come downstairs with me, Paul.

1081

01:
24:02,386 -- 01:24:03,899

Come on.

1082

01:
24:52,146 -- 01:24:53,499

[BANGING]

1083

01:
24:54,106 -- 01:24:55,744

- They got in!

- What is it?

1084

01:
24:55,906 -- 01:24:59,865

I have to tell you, I'm in big trouble.

Those people up there wanna kill me.

1085

01:
25:00,026 -- 01:25:01,175

- Is there a way out?

- No!

1086

01:
25:01,346 -- 01:25:02,574

- Is there a way out?

- No!

1087

01:
25:02,826 -- 01:25:05,784

- What is this?

- No, don't go in there!

1088

01:
25:06,066 -- 01:25:08,819

- Oh, what's this?

- No, don't touch that!

1089

01:
25:09,106 -- 01:25:11,666

No, don't touch that vat!

1090

01:
25:15,346 -- 01:25:17,462

Oh, God.

1091

01:
25:17,626 -- 01:25:20,823

[PAUL GROANING]

1092

01:
25:21,586 -- 01:25:22,985

- Come with me, Paul.

- What?

1093

01:
25:23,146 -- 01:25:25,535

Come with me. Come on.

1094

01:
25:25,706 -- 01:25:28,823

You're closed, you wanna go home.

It's only gonna take a minute.

1095

01:
25:28,986 -- 01:25:32,820

- I'm telling you no one's in here.

- You cannot reason with this man.

1096

01:
25:35,506 -- 01:25:38,737

Don't move, I don't wanna

stick you with this stuff. Okay.

1097

01:
25:39,066 -- 01:25:41,500

I just gotta put this piece here.

1098

01:
25:41,666 -- 01:25:43,896

GAIL:

Hold up! No! Hold up!

1099

01:
25:45,666 -- 01:25:47,816

Do you at all sense the pressure here?

1100

01:
25:49,626 -- 01:25:51,742

This is very good for the pores.

1101

01:
25:51,906 -- 01:25:53,862

GAIL:

Come on, it's a total search!

1102

01:
25:54,346 -- 01:25:55,335

All right.

1103

01:
25:56,386 -- 01:25:58,741

Good. No, no, no.

1104

01:
25:58,946 -- 01:26:00,664

Now, pick this up.

1105

01:
26:00,906 -- 01:26:03,215

BARTENDER:
Hey.

- Where's this lead to?

1106

01:
26:07,666 -- 01:26:08,985

No. It's a private apartment.

1107

01:
26:09,146 -- 01:26:11,023

- Fine. Knock on the door.

- Wait, wait.

1108

01:
26:12,226 -- 01:26:13,864

I'll knock.

1109

01:
26:15,546 -- 01:26:18,583

- June. June?

- Yeah, what is it?

1110

01:
26:18,746 -- 01:26:21,897

BARTENDER:
Sorry. Some people

wanna look around your place.

1111

01:
26:22,106 -- 01:26:25,064

- Something about a robbery.

- I'm working! Can't you see that?

1112

01:
26:25,266 -- 01:26:27,177

BARTENDER:
I'm sorry...

GAIL:
Tough titty.

1113

01:
26:28,106 -- 01:26:29,619

Excuse me.

1114

01:
26:29,906 -- 01:26:31,578

Excuse me. Have you seen this guy?

1115

01:
26:52,106 -- 01:26:53,824

Doesn't look so hard.

1116

01:
26:55,706 -- 01:26:59,062

- Is there another way out of here?

- No. That's it.

1117

01:
27:01,586 -- 01:27:03,338

GAIL:

All right, we're moving out!

1118

01:
27:04,066 -- 01:27:05,385

Come on.

1119

01:
27:05,546 -- 01:27:08,822

Look, we're sorry we disturbed you,

lady, but we were sure that...

1120

01:
27:08,986 -- 01:27:10,897

Okay, let's boot it!

1121

01:
27:11,386 -- 01:27:13,456

Wasting time here.

1122

01:
27:18,426 -- 01:27:19,939

JUNE:

It's okay. They're gone.

1123

01:
27:20,106 -- 01:27:22,574

PAUL:

Great. Great.

1124

01:
27:22,906 -- 01:27:25,136

Okay, will you let me

out of this thing now?

1125

01:
27:25,306 -- 01:27:28,343

JUNE:
No, you're safe like this.

They could still come back.

1126

01:
27:28,506 -- 01:27:32,260

PAUL:
Look, lady, you've been great.

Terrific. But can you let me out of here...?

1127

01:
27:32,426 -- 01:27:34,735

JUNE:
Listen, you know,

I'm involved in this too now.

1128

01:
27:34,906 -- 01:27:38,262

I gotta keep working on you.

They could still come back.

1129

01:
27:38,426 -- 01:27:42,339

PAUL:

Lady, let me out of this thing. Now.

1130

01:
27:42,506 -- 01:27:44,701

- Do you hear me? Let me out...

- Shh! Shh!

1131

01:
27:49,626 -- 01:27:52,060

Okay, that's it.

1132

01:
27:52,346 -- 01:27:55,065

I just wanna go upstairs

and check if they're still there.

1133

01:
27:55,226 -- 01:27:56,705

Be right back.

1134

01:
28:01,946 -- 01:28:05,302

[CLANGING]

1135

01:
28:29,946 -- 01:28:33,621

Didn't I tell you, man?

Check it out.

1136

01:
28:33,826 -- 01:28:37,501

- Check it out.

- Man, this is junk.

1137

01:
28:37,986 -- 01:28:41,103

What are you talking about?

This is antiques, man. This is old.

1138

01:
28:41,266 -- 01:28:44,895

It's plastic. Let's call it a night, man.

We got enough stuff already.

1139

01:
28:45,066 -- 01:28:46,181

[SPEAKS IN SPANISH]

1140

01:
28:48,066 -- 01:28:49,465

It's my sculpture!

1141

01:
28:49,626 -- 01:28:51,696

Hey, man, be careful with it. All right.

1142

01:
28:51,866 -- 01:28:53,777

NEIL:

Man, is it worth taking this thing?

1143

01:
28:53,946 -- 01:28:56,744

PEPE:

What, are you crazy, man? This is art.

1144

01:
28:57,466 -- 01:28:59,502

Art sure is ugly, man.

1145

01:
28:59,906 -- 01:29:04,343

Yeah, that's how much you know.

The uglier the art, the more it's worth.

1146

01:
29:04,506 -- 01:29:07,782

NEIL:
This must be worth a fortune.

- That's right.

1147

01:
29:07,946 -- 01:29:10,141

- It's by that famous guy, Segal.

- Yeah?

1148

01:
29:10,306 -- 01:29:13,218

You see him on the iCarson Show./i

Plays the banjo all the time.

1149

01:
29:13,386 -- 01:29:15,024

I never watch Carson.

1150

01:
29:15,186 -- 01:29:18,144

Yeah, well, that's how much

you know about art.

1151

01:
29:19,626 -- 01:29:22,823

I don't know, man.

I'd take a stereo any day.

1152

01:
29:23,346 -- 01:29:27,658

Yeah, what do you know, man?

A stereo's a stereo. Art is forever.

Rate this script:4.0 / 1 vote

Joseph Minion

Joseph Minion (born 1957 in Teaneck, New Jersey) is an American film director and screenwriter, best known for Martin Scorsese's After Hours (1985). Born in New Jersey in 1957, Minion briefly attended NYU Film School before finishing his studies at Columbia University, then renowned for its screenwriting program. In 1984, Minion's script for After Hours was optioned by Griffin Dunne and Amy Robinson, the latter a former actress who'd appeared as Harvey Keitel's damaged girlfriend in Scorsese's Mean Streets (1973). Robinson sent Minion's screenplay to Scorsese, whose Last Temptation of Christ had recently fallen through; production on After Hours started shortly afterward. Later, it surfaced that Minion had plagiarized portions of After Hours from radio host Joe Frank, who sued and settled for an undisclosed sum.Minion continued his screenwriting career with 1987's Julia and Julia starring Kathleen Turner; 1989's Vampire's Kiss, starring Nicolas Cage; Motorama (1991); and On the Run (1999). He also worked again with Martin Scorsese in 1986 for an episode of Amazing Stories, "Mirror, Mirror".As a director, Minion made his debut for producer Roger Corman with 1987's Daddy's Boys, said to have been thrown together at the last minute to make use of standing sets for Big Bad Mama II. His last outing as director was for another low-budget feature, Trafficking (1999). more…

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Submitted on August 05, 2018

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    "After Hours" Scripts.com. STANDS4 LLC, 2025. Web. 10 Jan. 2025. <https://www.scripts.com/script/after_hours_2287>.

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