Last Days

Blake sneaks out of the rehab clinic and makes his way through a forest toward his home. He swims in a lake along the path and lights a fire to mark the night. The escape establishes his restless, impulsive mood early in the story.

The next day he arrives and changes his clothes, then wanders around the house with a shotgun, pointing it at his sleeping roommates. The weapon creates immediate danger and unsettled energy in the shared space. His actions hint at deeper struggles beneath the surface.

Thadeus A. Thomas from Yellow Pages greets Blake and talks about placing an advertisement in the upcoming book. The moment shows the intrusion of outside business into Blake's personal life. It also highlights commercial pressures surrounding his music career.

Blake receives a phone call from his record company insisting they must do another tour and keep booked dates. He refuses the pressure and hangs up, signaling his resistance to external control. The scene emphasizes the conflict between artistic desire and industry demands.

He goes upstairs and falls asleep on the floor in one of the rooms. The quiet moment contrasts with the earlier tension and foreshadows a restless state. The detail underscores his isolation within the house.

Asia awakens to find Blake sleeping in the house, just as two LDS missionaries arrive at the door. Scott and Luke answer the door and listen as the missionaries discuss their church and its teachings. The scene adds a note of intrusion and cultural clash into the living space.

After the visitors leave, Blake changes into different clothes and heads out to the shed beyond the house. The move signals a retreat from shared space and further withdrawal from the world inside the home. The shed becomes his quiet refuge for the immediate future.

Donovan and a private detective come to the house looking for Blake. He slips back inside and waits for them to search the place before re-entering, illustrating his elusive, evasive stance toward those pursuing him. The scene heightens the sense of pursuit and paranoia.

Blake experiments with guitars and drums, looping his vocals to create a persistent sound. Kim Gordon, the record executive, arrives and tries to persuade him to leave, but Blake refuses to go along with her demands. The confrontation underscores his resistance to the industry pressures.

That night he goes to a rock club where a friend begins telling him about a Grateful Dead concert. Blake leaves before the story finishes, signaling a continued withdrawal from his peers and a reluctance to engage with the outside world. The moment reinforces his isolation.

Blake returns to the house where Scott takes some of his money and Luke asks for help on a song. The domestic power dynamic shows strains in his relationships and his role within the band. The cash motive adds another layer of complicating factors.

Scott tells Luke that Donovan had a private detective; they conclude that the others should leave. The revelation raises the stakes and drives the sense of impending final separation among the group. The tension leans toward an irreversible break.

After Scott and Luke share a moment upstairs, Blake plays an acoustic piece one last time. He then walks out to the shed, where he sits quietly as his roommates depart, marking the end of his public life. The sequence closes his home life with a quiet, solitary act.

The roommates spend the night at a friend's house, separating themselves from the situation at Blake's place. They wake up to news that Blake's death has been reported, a grim shift that reframes the day. The disruption of routine emphasizes the film's tragedy.

The next morning, news reports that Blake died by suicide and that an electrician found his body. Scott, Luke, and Nicole drive away on a highway, with Luke playing his guitar in the back seat. The ending merges departure with a haunting reminder of the loss.