Whip out that cyanide-and-straight-razor stash, 'cause the ever-sunny David Aaron Clark is back to spread his special brand of cheer. Shot is a style reminiscent of Breaking the Waves, this existential brainfucker presents stripper/escort Annabel Chong's descent into madness and suicide. Chong and her lesbian lover (Ever Rae) perform a nightly strap-on act a strip club owned by the sleazy, corpulent Big Daddy (Clark) and his midget wife, Ma Barker (Bridget Powerz). Clark may cadge reluctant blowjobs from the dancers at every opportunity, but he's not averse to sticking it in his wife's mouth to pacify her when she catches him —although it's an essentially masturbatory experience for them both. Such is the path of nuptial bliss.
Chong and Eden understand; each turn kinky tricks behind the other's back. Eden gets the standout scene, when she helps hustler Jack Hammer verbally abuse and assfuck rich bitch Amia Moré voyeuristic husband (Steve Austin). When Austin —who becomes increasingly miserable observing his wife's enjoyment— finally jacks off onto her face, he repeatedly breathes "I fuckin' hate you" as his orgasm peaks. Powerful, effective stuff. Chong, similarly client-bound, barely manages to keep her contempt in check as she services wheelchair-confined nurse fetishist Scott Lee. He takes her temperature rectally and administers an enema (we don't see any water); she slurps away at his dick and leaves as quickly as she can.
The foundation of the story concerns Chong's visions of a homicidal stalker (Hatman). Whether he's a real persona, a figment of Chong's increasingly disturbed mind, or a physical manifestation of her inner torment (c'mon, you remember The Brood) is up for interpretation. Working girl Porsha's asshole sings a sweet, breathy song when Hatman invades it; she even squirts. While the entire story shows flashes of Clark's ironic sense of humor, it's this scene that provides the broadest demonstration: "You poor, abused, nasty little girl," moans Hatman, blowing all over Porsha's upturned visage.
As Chong's relationship with Eden deteriorates (symbolically enough, during their last sex together Chong is viciously anally assaulted), she finally meets up with Hatman and quietly accepts her fate —or, for the pseudo-intellectuals: She comes to a sanity crossroads and chooses the abyss.