He is based on, thematically, Bruce Wayne, Batman and Michael Jackson.

He is an obviously successful business man, within a Western sense, as this is indicated by the materialism that surrounds him. But whilst there is much in the way of decadent capitalist excess. All is artifice. He feels isolated, devoid of any real identity or meaning when removed from his architectural context. He is as much a product of the objects around him as the art that he, in turn, creates. He needs and covets the unobtainable notion of control. And, due to a fragmented disposition, he is deeply tortured.

LEWIS was, during the late 1980's, a successful visual artist, directing pop videos for innumerable International stars. He met ELEANOR at a mutual friend's party, in London. He was fascinated and allured by her admiration of him. In many ways she served as a 'living' mirror to his vanity. If she could become the most beautiful thing in the world, would that mean that he was the greatest artist that ever lived? Without peer...

LEWIS married her, but the relationship ended due to his own selfish vanity. He couldn't control his moods.

All these sociological factors have culminated in Lewis becoming an incredibly vulnerable and ambivalent individual. So he turns back to art as a form of explanation for his identity and history. He subsequently rejected and abandoned his show biz existence and took up teaching art. A therapist / spiritualist friend - 'a plastic surgeon of the soul', suggests that he meet up with ELEANOR. This could be facilitated by her joining LEWIS' art class. Whilst LEWIS is aware of ELEANOR'S condition. He hopes, obsessively, that he can reach her again. Through this carefully orchestrated masquerade.

When ELEANOR re-enters his life. He is forced to face, head on, his own, darkly problematic, past. And in doing so attempt to redeem her and himself...