Tonya Goodson in Suicide Blonde (1999)

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Even the lowliest servant among us is only one twist of fate away from intimate interactions with personages far out of our leagues. The valet-parking attendant of Suicide Blonde (1999) is resigned to another night of drudge work just like all the other dreary shifts before it. He might have welcomed a touch of excitement, but misplacing a mobster’s prize wheels and then succumbing to a sudden and total infatuation with a downhearted blonde who is exercising an active and imaginative death wish is twice as much agitation as the valet is prepared to deal with. But deal he must. Fate has twisted, and fate never twists back.