We start out with Reba somewhere at night, looking kind of shady with dark sunglasses and a designer, all-black outfit covering her from head to toe. (She makes sure that a lock of her trademark red hair is showing, so we don’t get confused and wonder if this is really her.) Reba is staring at a train-crossing signal that is currently activated, with the gates down. She seems to be waiting for said train to cross, and when it rolls through, she scurries across the street. Apparently Miss Reba is about to do something that needs a loud and rumbling distraction.
Reba and her high heels enter some building, and as she works her way through the hallways, she keeps glancing around furtively so you know she’s not here to sing in a gospel choir. The music starts just as Reba rounds a corner while ripping off her outerwear, and she looks smoking hot, so even if she’s up to no good the tabloid photos of her arrest will probably land on the cover.
Reba enters some room with a variety of boom boxes lining some metal shelves, stacked all over the place. Even though this seems like plenty of equipment to do whatever she needs to do, Reba is not satisfied and takes a fancy knife out of her satchel so she can open cartons with even more sound ware. (While doing this, she makes sure that we see her interesting designer bracelets. Reba is always a professional, even when banging around in an unknown warehouse.)
Reba fiddles with a few knobs, then turns to an old-timey microphone stand and starts belting out the song. It seems that her audience consists of just one man in a chair, and considering the way she’s spitting the lyrics at him, he done her wrong in some way. But he’s super cute, so she really needs to prove her case or we’ll just have to forgive him, based on his beard stubble alone.
Reba gets to her prosecution, slowly walking around the man while warbling, and managing to tie him to the chair with the microphone cord as she does so. (She does caress his face a few times, which seems to dispute her anger, but we can forgive her for that.) She does this for a while, looping the cord around him several times, although she does pause back near the microphone stand when she gets to really interesting parts of the song that require her to make flamboyant country-diva hand gestures.
After she sings the rousing chorus, Reba scampers over to some of the boom boxes and turns up the volume, but this isn’t really necessary because we can hear the song just fine. (Maybe she’s still being a professional and is keeping in mind the fans with crappy seats.) Then Reba gets back to taunting Stud Boy in his little prison chair, doing some more arm choreography and jewelry-waving. She also likes to smirk at Stud like he’s in really big trouble now, but I believe he may already have the message.
More shots of Reba caressing various body parts on Stud, because she is a woman with needs after all, but now that Stud has figured out he might be late for dinner, he seems a bit standoffish with his response to the physicality, turning his head to the side so we can learn that his profile is just as appealing as the front view. (This is one prop that Reba better keep for her own after the video shoot is done.)
Reba circles Stud some more, wrapping him in more loops, so that must be one really long microphone cord. (I guess Reba is not really invested in those new-fangled wireless microphones, probably because you can’t tie people up with something that doesn’t exist.) Oh, and Reba continually flounces over to the boom boxes and jacks up the sound, probably not realizing that the dang train out there is not going to do its crime-covering work if she doesn’t settle down.)
During the “oh oh OH” part of the song, Reba performs a nifty high kick toward Stud, but he doesn’t even flinch, since it’s really hard to do so when you can’t move. Reba is proud of her footwork, and seems to be waiting on a compliment from Stud, but chances are that he’s not really going to be supportive of her athleticism at this point in time. Dissatisfied with his response, Reba loops some more cord around Stud (singing the whole time, because that’s her first love and no cheatin’ man can take that away from her), then she tosses the old-timey microphone into his lap.
Done with her performance and her kidnapping, Reba takes Stud’s keys and then gathers up all of her couture (that stuff is too expensive to just leave lying around a warehouse). Once properly covered to venture into the seamy night, Reba marches back down one of the hallways, doing a flippant diva wave as she rounds a corner. (For his part, Stud Boy squirms around in his chair and looks distraught.)
We close it out with Reba scampering back across the street, her signature red hair glowing lovingly despite the darkness of the night. She gets distracted when she spies what is apparently Stud Boy’s SUV parked nearby, marching toward it while whipping out a smart phone of some kind. Apparently Reba does have a soft spot for new technology after all, because she uses her toy to program her song into Stud Boy’s radio so that it will play over and over. And over.
But she’s not bitter…
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