Plot
The first episode begins with an extended scene showing a man desperately running through an urban landscape, before coming to a dead end in a dark backstreet ally. When he hears approaching footsteps, he attacks his presumed pursuer with a metal bar. He is shocked to find that he has instead killed a young woman.
However, the woman comes back to life, and sings and dances with the man in the style of a musical film, telling him how they were fated to meet and how tragic it is that their love has to be so short. Once again she dies, and while the man grieves over her body, his pursuer appears and shoots him. The man's and woman's bodies lie next to each other on the tarmac.
The second episode also begins with a fleeing man who gets trapped in a dead end, where he becomes involved in a protracted Mexican stand-off with another man. The scene is intercut with a similar stand-off involving two different armed men in the same location. Both stand-offs end with the two protagonists laughing at their predicament and entering a friendly embrace, before trying to shoot the other man. All the men receive gunshot wounds and die, their bodies falling in positions similar to the couple in the first episode of the film.
The third episode starts with three police officers chasing a suspect. The suspect flees to the top of a tall building, where a young woman is sitting. The edge of the roof is, in effect, a dead end. The suspect takes the woman hostage. After a stand-off, she manages to take the suspect's gun, and to everyone's surprise points it at her own head, threatening suicide. When the suspect tries to knock the gun out of her hand, they fall together from the roof. Although they expect to die, they actually land in a lorry carrying a cargo of feathers. The episode ends with the couple lying together in a similar physical position to the couples in the previous episodes, except that this time both characters are still alive.
Read more about this topic: Dead End Run
Famous quotes containing the word plot:
“After I discovered the real life of mothers bore little resemblance to the plot outlined in most of the books and articles I’d read, I started relying on the expert advice of other mothers—especially those with sons a few years older than mine. This great body of knowledge is essentially an oral history, because anyone engaged in motherhood on a daily basis has no time to write an advice book about it.”
—Mary Kay Blakely (20th century)
“The plot was most interesting. It belonged to no particular age, people, or country, and was perhaps the more delightful on that account, as nobody’s previous information could afford the remotest glimmering of what would ever come of it.”
—Charles Dickens (1812–1870)
“Morality for the novelist is expressed not so much in the choice of subject matter as in the plot of the narrative, which is perhaps why in our morally bewildered time novelists have often been timid about plot.”
—Jane Rule (b. 1931)