Eyes bruised, a disoriented G-Eazy wakes up in a dumpster. He moves some trash bags and notices a chicken eating some food next to him. A woman with pale blue painted nails closes the door to the building. He looks to the left and walks inside. Charlie Puth sits on the roof of the building.
Filmed through a sepia filter, he wears a suit as he enters the bar. Three female dancers dance on stage. He sips his beer. A young woman, with a veil over her eyes, receives some whiskey from the bartender. Puth drinks some beer with a large group of friends.
In the 1950s, G-Eazy stands against the wall in his kitchen while his wife waits for him by the sink. She pulls at her blouse. He lifts her up to the sink. They take off their clothes. He zips up his pants and drinks his beer as he walks back to the family room to watch television.
Living in a commune, he smokes as he dances in the family room. A young woman laughs at him. People come in and out of the house while he drinks a beer on the couch. A second young woman kisses him and puts acid on his tongue. The room turns backwards, its colors changing from a lime green or electric blue. A man plays guitar on the couch and he continues to make out with the woman. He passes out on the floor.
Continuing with the neon into the 80s, G-Eazy answers the phone in his office. The security camera films the topless woman coming inside and dancing beside him. He leaves through a sequined curtain and enters a bar. He plays a game of pool with some regulars. He snorts cocaine off a woman’s breast, the table and another woman’s butt. He and his friends toast to their good fortune. G-Eazy’s friend breaks through a door.
Lights flash as Puth and G-Eazy party at a rave in the 90s. He makes out with a woman. Two burly men spot him and punch him in the face. They drag him. He gets up and security follows him to the rooftop.
In present time, he walks up to the ledge, picks up the liquor bottle and drinks. He falls backwards.
The cocaine running through G-Eazy’s veins and into his heart, causing a continuous loop through several decades of partying. Each year ups the standard of indulgence and excess.
A politician in the 1940s, G-Eazy visits the local bar and drinks with some of his constituents. He meets with the female performers and flirts with one of them, starting an affair. His drinking is kept to a minimum. At around last call, he’ll stumble and thank the owner for the good evening. The owner pats him on the back and drives him home. In the mail, the owner receives some cash and a contract, stating he has to keep quiet.
In the 1950s, he is a disillusioned husband, bored with his wife who stays home all day while he works at the factory. A burgeoning alcoholic, his wife ignores the warning signs. Divorce isn’t an option. She relies on his income and believes she’s pregnant.
By the 60s, his mind has begun to deteriorate from the acid. In the commune, he preaches women’s rights with his eyes closed in a chaotic family room. No one is listening. He left home months, or was it years ago. There is no sense of time anymore. His wallet is empty. He has to work tomorrow. Maybe he’ll ask his boss, the commune leader, for more hours.
He’s a Wall Street bad boy in the 80s, inviting women into his office while making deals on the phone. A cocaine vial sits in his in desk while glasses of whiskey remain out in the open on his desk. He’s the golden boy at the firm and expects to be promoted soon. Although some of his co-workers have experienced overdoses, he believes it won’t happen to him.
At a rave in the 90s, he walks around the dance floor in a fog, unable to distinguish people from objects. He runs into two men who beat him. As he’s dragged, he calls out for help. He’s able to break free of their grasp and climb the stairs, evading security along the way.
He runs to the ledge, knowing the building is a figment of his imagination. Falling is the only hope he has to make it stop. Regardless of the decade, he would’ve been trouble. However, as he jumps, he believes he’ll wake up in a hospital bed, breathing on his own.
Director: N/A Year: 2018
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