Open to black and white of what at first appears like two silhouette, paper, cutout, mirror-reflections staring at each other; like a still image from a Busby Berkley film
the one on the right has a 1920’s flapper-like hairstyle and the other on the left wears a Gatsby hat; the two silhouettes stare at each other.
From black and white, the tone changes to a deep, dark purple and for several beats, and frames, it stays like that before it softens to natural tones of shadows with surreal interruptions of tones caused by the lights from the city outside that spill and color their nearby shadows in a lunar blue; the blue glow reaches and illuminates their skin tones
Like voyeurs watching we see from slightly behind this view and slightly above looking down, the hand of the one wearing the Gatsby hat on the left, moves to touch the other, leans over and pushes the one with the flapper hairstyle back, and leans over in a deep kiss
it is awhile before the shadows make sense of the features and the shapes to distinguish who is the male until more light is introduced.
the smooth, white, shiny satin that glows in the light worn by the flapper, cling to broad shoulders and the unmistakable outlines of well-built muscles as each acts out their role; a silent pact between them.
Until, both caught in the heat of this, the flapper decides to change tactics, and suddenly shifts position to the dominate position which, lends a kind of perversity with the shimmer of the satin chemise and the feminine elegance of his make up as his hair falls across her like a curtain, as the Gatsby hat gets tossed across the room
which closes with an outline view of them through a keyhole as her hands are seen removing his chemise going up the muscles of his back
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