The intro starts, the song begins to rev up. We see the beautiful intimate images of a young girl laying semi-clothed on a bed in a motel room. She is lit by a single light source that travels with the camera. The rest of the room falls to darkness. In super hyper close-up detail we see the curves of her body, her lips, her eyes, her fingertips, her eyelashes.

Although we never see him, we also see the hands of a guy moving up the side of her back, her hands through his hair. This is all languid and slow. It's a cross between a surveillance camera and the most beautiful photography you've ever seen. It's hot and sensual.

The song begins. The imagery is fluid and slow like molasses. Adam is sitting on the back of a black Cadillac convertible. He's dressed in a very cool dark suit. We get the sense he is in a parade, the kind you see when the Yankees win the Series. But Adam is the "hero." It's very sexy and slow, and lit at times with the same lighting we saw in the motel room.

Camera's dolly in towards the car, as it drives from a multitude of angels. We see dark silhouettes of the crowd at the side of the street. Sometimes confetti falls from the sky. Birds fly up past building parts.

Adam stops singing and looks down at a small television screen that sits in the palm of his hand. On the screen we see the girl in the motel room alone. It looks like a video she's made for Adam in better times. She moves sexy as ice and sultry, and in every way to die for.

Adam looks over and sees the girl walking along behind the crowd. He is distracted and gets off the car while it's moving (it's only going five miles an hour). We see this from six different angles, the motion like a ballet. He pushes through the crowd.

But our film is more like a French movie that travels not in this plain but on some other level with our passion. And people in the crowd also hold onto these small monitors. Very "Brazil"- like, we see Adam in performance in everybody's hands.

Adam now walks the same streets of the town where the parade was, only it's abandoned and lightless now.

The girl walks alone down the street as well. We see her through the windows. She looks in an empty hairdressers shop. She sees Adam on a TV set left on in the corner. The room is dark except for the "camera light" and the images of Adam in performance on the old television. She gently leans her head on the glass as if she knows what she lost.

During the parade I'll shoot Adam's performance in slow-motion. I see angles low in the car looking up with just sky and building tops going by. Other shots look from over his shoulder catching only the side of Adam's mouth and the "spy" screen in his hands. But most of the angles are intimate and surreal.
I see a couple of little girls running next to the car, trying to touch Adam's hand or get an autograph. There are no marching bands or floats in this parade. Just Adam.

Adam walks to the motel we saw earlier. I'll film Adam in performance walking the length of the motel walkway, slowly going by every door. Will he catch her and his friend in the act? A foot seems like a mile.

We see the door open. And then we see Adam in the motel room. Only it's empty now, just disheveled sheets. I see shooting Adam's performance in this motel room with great "editorial"- like mid shots and close-ups, lit by a "ferris wheel" of lights, placed like spokes on a wheel around the camera.

I know a perfect girl for this. We need someone world class. I filmed a girl in L.A. out in the salt flats near Palm Springs, and on the roof of the Rosallyn Hotel. I shot the footage with an old crank camera. I could use this imagery in the video as well. She is with I.M.G. in New York, but is hanging around Canada until September.

All in all, this piece is very cinematic and slowed, sometimes to a crawl. It's lush and if color were black and white that's what this would be. I see the transfer transcending the obvious and having lots of vibe. Perhaps at times it could seem almost warm monochromatic, but with voices of color creeping in.

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