This isn't really horror, but it does feature Cronenberg's trademark fetishistic attitudes towards machines in this case, a wild-looking motor enthusiast who becomes obsessed with acquiring a rare classic model currently in possession of a rich man. In fact, he fumes at the prospect of it being used as mere decoration in the latter's house the film, then, is also a commentary on what constitutes true art (among the rich man's gallery of possessions is even a stud!).
Anyway, the motor enthusiast insinuates himself (along with a couple of associates) into the rich man's house with the excuse that they're interviewing him for some magazine; however, his uncontrollable excitement both at the sight of the machine and its owner's neglect of it almost gives the game away! Eventually, they turn to the stud who happens to be a coke addict for help: he's to persuade his 'master' to give the bike to him, which he will then trade with our protagonist for a supply of drugs!
Incidentally, the rich man's attractive young wife who, unsurprisingly, has her own use for the stud also turns her attention to their guests but it soon becomes apparent to her that all they're interested in is the titular object! The film is marked by a fair amount of humor, which isn't the most obvious element to be found in a Cronenberg film as evidenced even by THE LIE CHAIR (1975), another made-for-TV short and which followed this in quick succession
Anyway, the motor enthusiast insinuates himself (along with a couple of associates) into the rich man's house with the excuse that they're interviewing him for some magazine; however, his uncontrollable excitement both at the sight of the machine and its owner's neglect of it almost gives the game away! Eventually, they turn to the stud who happens to be a coke addict for help: he's to persuade his 'master' to give the bike to him, which he will then trade with our protagonist for a supply of drugs!
Incidentally, the rich man's attractive young wife who, unsurprisingly, has her own use for the stud also turns her attention to their guests but it soon becomes apparent to her that all they're interested in is the titular object! The film is marked by a fair amount of humor, which isn't the most obvious element to be found in a Cronenberg film as evidenced even by THE LIE CHAIR (1975), another made-for-TV short and which followed this in quick succession
