Shot in the style of a short-film for festivals and internet. Presented as a triptych; three music videos that combine to make a three-act Short Story to the music of Peter Lake.
Part 1: Past Lives
An old motel, hazy light. A young man, Peter Lake, tosses and turns in his sleep. He dreams of a strange young woman in distress in a forest that feels like another dimension (San Jacinto). In the dreams the woman is trying to give him a set of numbers, a code. She speaks them to him. He can’t remember the sequence. The young man wakes from the dream; he enters the incomplete code/co-ordinates into a computer. The random number seem to be nothing. He forces himself to sleep more to get the other coordinates. When he has all the numbers the digits are revealed to be g.p.s coordinates – the map points to Idyllwild. Curious, he takes off on his old triumph motorbike to the desert/mountains. I own the bike. The bike goes as far as the road will take him. He walks, hikes and camps in the forest in a remote region of San Jacinto. He makes camp and waits. At night a light appears in sky above the trees – an aerial drone fitted with a light – a ufo. The
light source scares him but he has been called here. The light descends to ground level; with some vfx enhancement. Peter stares fascinated – something appears – a figure in the light. He approaches her the figure who lays in a fetal position on the forest floor. Her skin glows luminescent with a blue tinge. Her head turns and looks at Peter – strange eye contact lenses – she is other worldly. We end with aerial shots of the motorbike on the landscape with her on the back and Peter riding off the mountain back towards L.A.
Part 2: 6 Seconds
Peter applies make up to her face in his motel apartment to dim her blue skin. A new set of numbers emerge from her. The numbers point to where she needs to be taken — a location in downtown LA. They jump on the bike and ride it to DTLA at night; she rides on the back. Amazing city shots and aerial imagery. As they ride the bike we reveal they are being followed by a black gov-style SUV. They manage to lose the SUV and hide the motorbike in a dark alleyway in downtown. They duck into a seedy bar to hide; a punk-band plays. We see an alter-ego teenage Peter Lake singing the song with the punk band in the bar. The girl and Peter dance to the music, jumping up and down with the small crowd. They drink. They meet a strange man, alien, his prosthetic enhanced face concealed. The strange man passes her a device; prop, something electronic, alien that we catch just a glimpse of only. Two Men in Suits from SUV arrive at the bar. Peter and the GIRL escape out the back door. They steal an old Cadillac, parked in the alley, and flee LA.
Part 3: Blue Flower Blue
The old Cadillac drives in the sunrise desert. The guitar catches the epic aerial Americana feel. Inside the old car the the GIRL puts the radio on. BFB plays is on the radio and she sings along, lip-syncs. Peter drives. We have a fear and loathing vibe. The old car runs out of GAS and overheats, smoke machine for steam. They are alone on the highway. Peter walks for gas. She sleeps in the car. When he returns her make up is wearing off. Peter questions the device she
was given. She explains it is not the reason for her coming to earth – it is just a device to get her back home. You Peter are the reason for me coming here. They make love in the back of the car – shot discreetly and with love. This is a real connection these two have. At sunset he walks her out to the middle of the desert playa – the final GPS coordinate she has given him. She wears the bracelet/necklace device. A beam comes from sky and zap, she is gone. Peter returns to the car. He gets in and slams the door. He drives, hears a noise. He looks in the backseat, there is an infant lying naked on the seat. A blue sparkle in his eye. Peter pulls over and holds the child. He gets out and looks to the sky. We see the stars during the day in the desert blue.
Directed by Paul Boyd (USA)