Her heel on the bars of the railing, a young woman (Annie Lennox) watches her driver (Dave Stewart) pull up the limousine up to the curb. Wearing her fur coat, she puts some makeup in her purse and leaves her apartment.
In a blonde, curly wig and red painted lips, she sits in the backseat. A puppet’s eyes dart back and forth. She takes out her compact and checks her reflection. She catches her driver glancing at her from the rearview mirror. She takes off her wig and throws her head back. He lets her out and she walks on the sidewalk.
She rings the bell of a man’s apartment and makes a call from the stairs. Wearing a black wig and black leather, she twists scissors in her fingers as she stands in a bathroom.
Against a black background, the driver sits on a chair and looks at the puppet. With her wig off, she lies on the tile. Black-and-white photos of Hollywood legends scatter the floor.
Her driver turns on the television in his limousine and watches footage of her in the bathroom. He picks her up. Wearing a tuxedo, she gets in the backseat and combs her hair.
Entangled in negatives, she screams on the bathroom floor.
Her driver watches as her points with her finger, her limbs turned to wood.
The young woman serves each man with their own personalized service. The lonely men ask her to keep her fur coat on and prefer little lipstick. They request to see her natural hair. Sometimes, they pay her to talk to them all night. A stand-in wife for the night, she provides the illusion of emotional intimacy. She offers them discounts. They mean little harm. Her driver warns her not to get comfortable. They could strike out at her at any time.
Decked in black leather, she shouts out orders to the powerful executives. She puts her spiked leather boot near their chins and threatens them. They plead for their lives and she throws them on the bed. They hand over their money, mumbling apologizes. They invite her to social events. She says yes to the extra pay. Her driver tells her she has made her profit for the month and can turn down the jobs.
However, she lives for the night. The day hides a person’s stories, covering them up with mundane chatter and tidy cubicles. Every so often, she’ll meet the gaze of a former client at the grocery store or with their wives. She is their skeleton with bits of their history in her bones.
Director: Mike Brady Year: 1983