TIME

LYRICS

Lyrics not necessarily sung aloud.
{Not sung aloud, or instrumental.}

ACTION

SHOT

0:00

FADE IN ON --

1. NEW YORK, EXT. SKYLINE NIGHT

0:08

{beat comes in}

New York hovers on the edge of twilight. It is cold but seasonless, not raining but perhaps the streets are slick. There is the hint of a sunset but no horizon visible from between the tall buildings on narrow streets. The pace is rhythmic but not hurried.

0:24

0:26

0:28

0:30

Traveling through galaxies

On telepathic roads

Seeing in the distance clouds of

Breath out in the cold

JC is walking down an old crooked street, cobblestone mixed with new concrete sidewalks. He is wearing a long black wool coat, collar pulled up around his neck. The shot widens and street scenes blend together: First, the hustle and bustle of the financial district, bumping against execs with briefcases and secretaries in nylon blouses.

0:32

0:34

0:36

0:38

All of my desires waiting

For someone to hold

So come to me

So come to me

Then crowded, pre-Disney Times Square, skirting desperate hustlers and hookers and XXX-rated marquees. There are obvious come-ons from all kinds, but he is not interested, barely notices.

0:40

Then the TriBeCa of the '80s, when it was still considered unsafe, not edgy. There are only industrial, yellow taxis and sleek black town cars gliding by, no doormen, no one to dodge.

CUT TO --

2. APARTMENT BUILDING, INT. HALLWAY, BADLY LIT

0:56

0:58

Lying here pretending that

You're closer than you are

He opens a big metal door and walks through a narrow, scarred hallway, quick cuts up several flights of stairs and the landings between.

CUT TO --

3. LOFT, INT. KITCHEN, NIGHT

0:59

1:01

Swear I heard you whispering

Would someone break my fall

He unlocks the door and steps into the apartment. It's a vast expanse of glass and chrome and black leather, Kandinsky and ebony-trimmed Japanese screens, and in the center of the loft is a large, low-slung bed with a simple iron frame.

CONTINUOUS --

4. LOFT, INT. WINDOWS, NIGHT

1:04

1:05

1:07

1:08

Memories of kisses fill my

Dreams until the dawn

So come to me

So come to me

There's a wall of windows overlooking the very lower edge of Manhattan and the Hudson River beyond it. White blinds hang over half of the window, pulled down but levered open, and JC's profile and the room are flooded with moonlight.

CONTINUOUS --

5. LOFT, INT. KITCHEN, NIGHT

1:11

1:15

The nights when you don't call

My life is a catastrophe

He shuts the door behind him and the first thing he looks to is the answering machine, a black and metal box the size of a phone book. The red LED display is flashing zero, zero, zero to the beat of the song.

1:19

1:23

I need to feel you close to me

I'm waiting out the storm

There are two clean, empty wineglasses in a chrome dish rack set on a black marble countertop.

CONTINUOUS --

6. LOFT, INT. BED, NIGHT

1:26

1:30

Cause when I'm all alone

I imagine lying face to face

He crosses the apartment, stripping off his clothes. Under the coat is a gray charcoal heather double-breasted narrow-cut suit, a white button down shirt and a thin black tie with diagonal white cross-hatches.

1:35

1:39

Inhaling every breath you take

I'm waiting out the storm

He loosens the tie and pulls it off, and then yanks the shirt over his head, still half-buttoned, and leaves them on the floor behind him.

1:43

I'm waiting out the storm

He stands still, bare back to the room, looking out the window.

1:46

We see his pants fall slowly down his thighs and cut to them pooling around his ankles. Cut back to see the waistband of Calvin Klein white briefs. His fingers slide beneath the elastic on the underwear and push them down and out of the shot.

2:00

2:02

Conversation hotter than a

Fireman engulfed

He turns and walks back towards the kitchen, naked and facing the camera, but only seen from the waist up.

CUT TO --

7. LOFT, INT. KITCHEN, NIGHT

2:04

2:06

Sweeping through my body

Causing temperatures to smoke

He flips off the lights and grabs the big black plastic cordless phone from the counter.

CUT TO --

8. LOFT, INT. BED, NIGHT

2:08

2:09

Every second passing

Makes it hard for me to cope

He is lying on his back on the bed, lit only by the moon through the levered blinds, and as he moves he shifts in and out of the horizontal stripes this creates.

2:12

2:14

So come to me

So come to me

He pushes the comforter down and off the foot of the bed, and he slips under soft white sheets that hang around his waist.

2:16

2:18

2:20

2:22

Walking with my fingers and

I'm creeping down there slow

Reaching for the places that

No one could ever go

There are smooth, fleshy edits of his fingers on his chest, on the line of his neck, tracing his open mouth.

2:24

2:26

2:27

Pushing me to ecstasy

You touch my very soul

So come to me

Sweat gathers on his forehead and on his collarbone.

2:29

2:31

So come to me

Yeah...

His hand slides down under the sheets, which move in moonlit shadows. On "yeah," he opens his eyes and almost glares, as if he's been interrupted.

2:32

His knees come up, stretching the fabric tight across them. His shoulder moves slowly up and down, and his hand bumps the underside of the sheet. It's smooth, not jagged, though.

3:07

3:11

3:15

Thinking of you

What can I do

I'm thinking of you

Then the edits blur together and the movement is artificially, exponentially quicker, double the bpm, then four times faster.

3:20

His skin quivers, the bed shakes.

3:35

3:39

Cause when I'm all alone

I lie awake and masturbate

Still moving his hand, he turns his head, and his eyes flutter open as if by accident and then float over into a direct look.

3:43

I love to hear the sounds you make

Then his eyes unfocus --

3:47

3:51

Baby, here I come

Baby, here I come

-- drifting away as he arches his body all the way off the bed.

3:56

He is breathing hard with his mouth open as he falls back down.

CUT TO --

9. NEW YORK, EXT. NIGHT

4:08

{beat comes in}

Cut back to JC walking through the city, searching, looking everywhere, almost guilty but mostly desperate, Tom Cruise's walk of shame in Eyes Wide Shut. The pace is faster than the earlier street scenes but close to what it was in the bed. He seems harried, almost chasing himself in circles. It becomes obvious that he does this every night -- there are slight variations in lighting and time of day and location and his clothes, but what changes is that he never finds what he's looking for.

4:24

4:28

4:32

4:35
4:37

Calling, calling

Waiting, waiting

I know, I know

You'll come to me

You'll come to me

The camera is a step ahead of JC, and in a close headshot he is singing, speaking, quite clearly and almost fiercely. He is determined to make things happen the way he wants.

4:40

He strides down the street, never breaking his stare or looking down. People cross in front of him, behind him, and he doesn't notice.

4:56

{Doo...}

He's daring you to tell him it won't happen.

5:07

5:09

So come to me

So come to me

He blinks as if surprised to still be the center of attention, and sings intently at the camera, and keeps walking.

SLOW FADE TO --

10. LOFT, INT. BED, NIGHT

5:12

{Doo...}

Dissolve back to JC lying in bed. He doesn't sing in this section except where there are words, and even then he barely moves his lips, and his eyes don't really open.

5:23

5:25

So come to me

So come to me

He is slowly curling up onto his side, pulling the sheet up around his ribs.

5:27

He reaches his hand out to the cordless phone, which is lying on the other pillow. He touches the plastic tenderly and stares at it as if he can make it ring.

5:50

FADE OUT