A blinking red light indicates construction ahead as Toni Braxton enters the freeway. During her late night driving, she thinks about her no good ex-boyfriend. She checks her rearview mirror and then adjusts her front mirror. She remembers her ex-boyfriend sleeping with another woman in his car. She clicks her turn signal and changes lanes.
In his red Hummer, Loon flips open his cell phone and dials Braxton, explaining himself. She listens to him, rolling her eyes and closes her phone. Still speaking, he hears the dial tone and is shocked she hung up on him. He pounds the steering wheel.
Outside the railing, Loon claims he treated her well. Later, Braxton is giving him sympathy hugs and then pushes him away with her arms. She lets him know what he is missing.
At the construction zone, yellow and orange striped poles are on the ends while the dancers stay in the center. Braxton tips her black hat as the dancers wave their arms, indicating “go!” Braxton makes steering motions with her arms.
She stops at the shoulder of the road and turns on her emergency lights. She steps out of the car and waits for help. Loon sees her car and runs out. He looks inside and sees she’s not there. Braxton tips her hat for the final time.
The freeway concept is literal. There are bright yellow and black road signs. Even the dancers are wearing black outfits with yellow trim. But sadly, no fashionable hard hats. Toni Braxton ups the drama with her reactions. She allows herself one cheesy moment (making steering wheel motions) but doesn’t go over the top.
The video leans towards reality. Braxton wears a slinky, black cocktail dress for her formal wear. For casual, she sticks to tube and tank tops and denim. Loon is in a long white shirt and jeans. The freeway remains nondescript. It could be anywhere.
Other than the cars, it’s the dancers’ outfits that received the glamorous treatment. Usually, dancers get the second-tier outfits. However, in their navy blue jumpsuits with yellow trim, they could stop traffic.
Directors: Charles Infante & Dave Meyers Year: 2002