Today on Radio Sex: Outlaw Ladies (1981)

outlawladies“For Fearless Men and Ambitious Women!” 

Today on Radio Sex’ YouPorn on XM 102 around 2:40, I’ll be talking about Outlaw Ladies, Henri Pachard‘s vignette movie from 1981.

A tip o’ the hat to Mark Murray’s blog Adventures in Erotica, for inspiring today’s choice (and providing the poster I glommed for the article).

I haven’t seen Outlaw Ladies in forever, and it popped up on Mark’s blog, so I figured I’d revisit.  I’m glad I did.

We open with Marlene Willoughby getting herself beautiful, only to have R. Bolla throw a brief hump into her under the covers.  She’s unfulfilled, and an archetype for the movie — the rich and bored wives of the rich and straying husbands.

Bobby Astyr lets Juliet Anderson know he’s going to be working late, which is great for her so she can set up a tryst between herself and Ron Hudd, with an assist from Jody Maxwell.  Juliet explains to Jody that she wants to use the new vibrator today, so when she gives the word, Jody should apply it.

Ron gets out of the shower and Juliet directs the sex like a pro.  All dirty talk and telling him what she needs him to do (“Don’t pull my head; just hold your cock so you don’t shoot too soon…“) while she blows him, then she rides him and has Jody (clothed throughout) shove the vibrator up her bum which brings Juliet to orgasm and then she leaps off Ron and jerks him off onto her face.

We get an interlude which will set up later scenes – artist John Leslie is sketching a portrait of Samantha Fox and husband Al Greenbach (according to the credits), but she gets called away.  

Next, we see Marlene Willoughby as a high-fashion model (by day!) being photographed by Henri Pachard and Josh Andrews and then we cut to her in a bubble bath which seems to be how she transforms to high-class callgirl by night.  Bobby Astyr shows up at Marlene’s apartment (complete with African-American Maid,played by Jolet Kodet!) and she starts things off by eating his ass for a little before blowing him then riding him cowgirl.  She has panties sticking out of her netherbits which she flutters across Bobby’s cock before wrapping the panties around his cock as she kneels down to suck him to completion.  She then wipes him up using them and offering them as a souvenir.  He’s not sure what to do with them.

Veronica Hart busts into to R. Bolla‘s office exclaiming “Not guilty! That little Puerto Rican is now free! I got him free.” and they argue about the billing status of the case. He calls in Merle Michaels, his secretary, and reads her the riot act for not sending the bill to court with Veronica.  She apologizes and leaves.  Veronica is all fired up and wants to get back to work on a murder appeal for another client.  She eschews an offer of dinner with “Harry” to work late.  She calls Harry to tell him she’s working late and asks him to fix his own dinner… her desire to work on the murder appeal is quickly forgotten as she calls John Leslie to get together at the office.  Slight awkwardness as she’s chastised by the cleaning lady (Cami Graham) for working so hard, and then she gets caught leading John back to her office and by R. Bolla and Merle who are leaving together.

Veronica asks John to “put it up her backside” tonight.  He asks if she’s ever done it, she says no, so John explains that prep is necessary.  That she keeps calling it “her backside” is funny. She’s bent over her desk and he goes straight to the A.  Eventually, she relents and calls it “her ass” and as the phone rings – her husband asking where food is kept — John cums all over her ass.  She’s upset because she wanted him to cum inside, but she “tightened up and pushed [him] out.”  This scene is a little dark with Veronica’s face in a bit of shadow.

Also of note, a chorus singing “OUTLAW LA-DIES!” between each scene.

Merle and R. Bolla are at her apartment enjoying some jug wine when her mom calls.  They go back to making out post-call and we briefly cut to Samantha Fox driving down 42nd Street, eyeing Show World (in its former glory).  Back to Merle and R. he eats her out a bit, then she sucks him off and they fuck in missionary; but she gets very anxious that he not cum inside her, so she offers to suck him off and she jerks him off between her breasts and cleans him off.  What’s nice is, up until this point, the guys (except for John Leslie, and his was done for dramatic purposes) aren’t jacking themselves off.

We cut to a dive bar where Joey Silvera is drinking beers with Debbie Revenge and others (Geri AvantMargo Dumont) while Jody Maxwell looks on.  Samantha Fox walks in as it caught off-guard by Jody’s presence. Joey leads the two socialites upstairs to a small apartment where the most prominent feature is the bed.  the two girls take turns servicing Joey and the dialog is pretty tawdry, with Samanatha and Jody asking Joey about fucking the “girl downstairs” and commenting that they can taste her pussy on his dick.  They fuck him and finally he cums in Jody’s mouth as Samantha jerks him off, but they cut around the ejaculation, and it’s pretty dark, so there’s some reliance on your imagination…

Finally, the movie spends its last 10 minutes wrapping up the Merle Michaels character.  Long story short, Merle wants something more from R. Bolla, who says nix since they work together and she should be able to go out and meet some young people.  It’s perhaps the nicest brush-off on record.  He returns home to Marlene, shares the good news about the not guilty verdict, but his wife is aware something is up.  Back at the office, he asks Veronica to fire Merle.  Back in Merle’s apartment, she’s moping around and the phone rings, and it’s John Leslie (not her mother!) and he wants to go out, but she asks him to come over instead.  He says he’ll pick up some food and wine and he’ll be by.  Back in R. Bolla’s house, the phone rings and Merle gives her the message “Instead of fucking my tits, he should fuck your tits… and if he can’t fuck your tits, then he should fuck HIMSELF!”

Roll credits.

The thing that lifts this movie is the chemistry the performers have.  They’re all pros and they can all act, and it goes a long way to keeping things believable.  The final line is delivered believably, when in lesser hands it could have been painful.  The establishing scenes are all sensible and give the following sex acts some context.

This is an easy movie to watch, the sex scenes aren’t soul-crushing marathons.

Best scenes – Veronica Hart / John Leslie because they’re go great at what they do. There’s not a lot of variety in the scene – she doesn’t even blow him – but they’ve got a chemistry.  The Merle Michaels / R. Bolla scene succeeds because she’s so breathlessly enthusiastic. The other scenes are all good too.  Just watch the movie.  It’s only 85 minutes long!


Tonight on Playboy Radio: Talk Dirty To Me (1979)

Tonight on Playboy Radio Nightcalls with Debi Diamond and  Nicki Hunter (Sirius XM 102, 7:45pm Eastern)  we’re going to be talking about Anthony Spinelli‘s 1979 classic, Talk Dirty to Me.

We’ve talked about Talk Dirty to Me 2, but not the original, so let’s have at it.

We first meet smooth-talker Jack (John Leslie) and his slow-witted sidekick Lenny (Richard Pacheco) at the beach as they watch hang gliders under the opening credits.  (Fun trivia, editor Tim McDonald  would later direct Talk Dirty to Me 2.) Jack and Lenny go get some coffee and Cracker Jacks from a truck run by Herbie (Anthony Spinelli) and Patty (Holly McCall).  Holly gets all up in Jack’s grill, asking him when they can get together again and he says she needs to exercise a little more.  Lenny chimes in and says that Jack promised that Lenny could fuck her, but that really sets her off and she pushes Lenny down a sand dune.  The overly protective side of Jack comes out, physically shoving Patty aside to get to Lenny’s aid.  He brings Lenny to a doctor.

Cut to the doctor’s office, and the doctor (Cris Cassidy) is filling out some paperwork. She explains that Lenny’s leg isn’t broken, just sprained.  Jack then gets right in with the dirty talk. “You’re a damned good looking woman, you know that? … I wouldn’t pay you shit, but I bet some heavy dude would pay big bucks to get into your pants.  Big bucks…”  He gets in close, smells her up … She retorts “I want you to know you’re not impressing me with your hot mouth!”  and so it goes — he asks to suck on her tits (she pulls her blouse shut) and he leans in, and she gets all upset and he really turns on the charm and whips his cock out right there.  “My cock wants you.  Look!  Give it a little touch.. please?” and she’s on the hook.  Jack tells her to get to his apartment after her last patient and he goes in the back to get Lenny.

Lenny is worried that the coffee-truck girl doesn’t like him, but Jack assures him she does.  The doctor returns and tells Jack she can’t make it later, and Jack tells Lenny to go wait in the car.  Lenny puts up a faint protest, and Jack ravages the doctor.  He pulls her hair out of its bun, and she drops to her knees and inhales his dick.  He leans her back on a couch and eats her out for a while (big bush alert!) before fucking her missionary.  He pulls out and cums on her face.

A quick note on the women, none of them are really HAWT by today’s standards, but that doesn’t make them any less sexually arousing.  They’re attractive, but not stunningly so.  They actually seem like women you’d see on the street.

We then meet Jesie St. James who is helping her husband, Frank (Aaron Stuart), pack for a business trip. She comes into the room in a thin nightgown, poses in the doorway and quotes “To Have and Have Not” (“put your lips together and blow…“)  She then tells him they have an hour to spare before his trip, and she wants some.  She tells him what to do, and he’s resistant with her choice of language.  “I love your breasts” he says.  “Can’t you say tits?  Call them tits!  Say you want to suck my tits!  Say you want to suck my pussy!  Goddamn it, Frank!  I want to hear it.  I need to hear it!” he says he loves her, but he just can’t do it.  So she blows him anyway.

A quick note on Frank.  Frank is not HAWT by any standard, but he is absolutely the correct look for the businessman husband who has fallen into a rut and would make his wife wander.  He’s physically fine, good cock, not fat, but he’s got a pronounced receding hairline…

Jesie looks older than she is – she was only 25 when she made this, but looks early 30s.   She’s got some serious tan lines, and really gets into the fucking.  Frank throws a vigorous hump into her, and she squeals and bucks around until he cums on her ass.

Back on the beach, Lenny is girl watching and hands Jack the binoculars and has him look at Jesie who is strolling down the beach.  Jack says he can “fuck her to death” in three days, and the game is afoot.

They boys follow her to a movie theatre, and Jack strikes up a conversation about classic 1941 movies.  She’s cool to his conversation; he complains about ticket prices ($5.00!) and gas ($2!) and parking ($5!) and she leaves.  The boys follow her home and they find the house next door is empty and up for sale, so they squat in it to stay close… and so they can spy on her prancing around her room in her bra and panties.

The next day, Jack shows up at her house, offering his handyman services.  She’s skeptical enough of the coincidence to give him a series of fake names (Mrs. Miniver, Mrs. Dietrich) and they discuss Casablanca, and he’s got himself a job cleaning the house.

Cut to Aunt Peg as a realtor and and Carl Regal as her client, and she tries to make the sale by licking her fingers, running them across his lips and then across her pussy lips.  The client freaks out and gets out of there.  Jack is watching from the second floor and tells her blew the sale, and she’s taken aback that he’s squatting.  He tells her to not cover up as he likes a nasty pussy.  She says she’ll call the cops, and he says if she does, he’ll “rape the shit out of her.”  He puts his hands on her shoulders and slowly pushes her to her knees.  He kneels too and gives her a kiss.  The opens her blouse and she’s ready to play. She tells him what to do, and they get right down to fucking on the landing. As Jack fucks her, we see Lenny watching from the second floor, and we’re not sure how he feels about it.  Aunt Peg tells Jack not to come inside her, as she wants to suck him to climax, and she goes absolutely crazy sucking his cock until he cums all over her tongue.  She laughs and grins through the whole thing, which might be the sexiest part.    She continues to flick the head of his cock with her tongue, causing Jack to fall apart in laughter.  Lenny looks forlorn and leaves.  She tells Jack that he needs to be out of the house by Friday.

Jack does some shirtless work in the yard which drives Jesie crazy.  They talk more about movies as she dips her legs in the pool, and after work, she gets him a beer.  He asks to use her phone — “Do you have a date?”  she asks “Something like that.” — and he calls Rose (Sharon Kane) and talks dirty to her on the phone as Jesie listens in on the extension. (Try doing that with a cel phone!)  Jesie ends up in the shower touching herself a little, thinking about what she overheard.

Lenny comes upstairs with Rose and Jill (Dorothy Lemay) who are looking for some fun.  Jill would really like to get it on with Jack, but Rose won’t let her.  When Lenny says they’re out of beer, he and Jack run off, leaving the girls to groom their pubic patches (seriously).

When Jack gets back, he brings Rose into Jesie’s house and they fuck doggie style outside her bedroom door as she sleeps.  Couple funny bits as Jack pulls Rose’s hair, she swats him away and as she’s cumming, Jack has her bite/suck on his finger to keep her from waking up Jesie.  It’s a pretty hot scene as they try to keep quite while fucking like bunnies.

Jesie’s sex dreams are driving her crazy and she fires Jack in the morning. He lays some more dirty talk on her and she asks him “Is that the only way you know how to talk?  Dirty?”  “To you,” he says with a devilish grin and she runs back into the house.

He follows her into her room, comes up behind her and says “You know, there’s 13 places a man should kiss?” and as he runs down the list, she melts like butter.

Meanwhile, Rose is with Lenny in some room decorated with Raggedy Ann dolls all over the walls.  She’s pissed that Jack is “probably getting laid right now… and he won’t even give me the signal!”  Lenny sticks up for his friend saying “igf Jack said he’ll give you a signal, he’ll give you a signal.”  “You really trust him?” she says. “You bet!”

Back in Jesie’s room, Jack strips naked and lies on the bed.  She asks “Will you speak dirty to me, like you did to that girl on the phone?” and she gets undressed.  She gets on the bed and starts wriggling like a spider dropped on a hot frying pan.  She asks Jack to do the things she asked Frank to do, and he complies.  He’s more than happy to eat her pussy, and tell her about it as he does it.

Back with Lenny and Rose, she notes that he’s been wearing the same shirt for two weeks and helps him out of it.  She asks him if he’s ever been kissed, and he says “A little bit” and then she asks “Would you like me to kiss you right now?” and he nods.  The sweet kiss is defanged by an odd intercut of Jack nose deep in pubic hair.

Then Rose tells Lenny how to eat her pussy and we get cross cutting between the two meals.

Jack crawls up her body and thrusts his cock in her mouth, “do you want me to fuck your mouth?  Say so!  Say it!”  “I want you to fuck my mouth!

In the other room, there’s no talking going on; ; just Rose gently working on Lenny’s cock.

Finally, both couples start fucking in missionary — Jack and Jesie loud and vocal, Lenny and Rose very quiet and tender until finally, Lenny cums inside Rose and Jack thrusts out and does the patented John Leslie No Hands Cumshot ™ on Jesie’s belly.

Lenny asks Rose if he made her happy, and when she says yes, he starts excitedly bouncing up and down on her like a little kid.

YogaGirl describes the last scenes as:

Jesie wakes up in a foul mood the next morning, but John seduces her via the “13 places a man should kiss when he makes love to a woman.” They tease each other with racy language and roughhouse passionately in her bed. John dives into the oral with boyish enthusiasm and then happily fucks her mouth when she requests it. John makes Jesie scream with pleasure by pumping her hard and fast in missionary. He slides his cock along the crease between her abdomen and thigh as he creams. This entire scene is intercut with footage of Richard losing his virginity to Sharon. Some viewers dislike intercut footage, but in this case, the contrast between John and Richard’s experiences is essential to the story. Sharon first coaxes Richard to explore her pussy with his tongue and then caresses his cock in her mouth. He enters her shyly in missionary, constantly kissing her while he finds his rhythm. There’s no cumshot, yet Richard’s orgasm is surprisingly convincing. The eroticism lies in their realistic facial expressions and his tender query, “Did that make you happy?”

Afterwards, Jack is dressed and says “Here’s looking at you, kid” while a ragtime variation of As Time Goes By plays on the soundtrack, and he’s gone, leaving her to ponder the events of the last three days.

And there you have it.  A classic from the word go, and deservedly so… tho I really wish Dorothy LeMay did more than walk around pantless and brush her pubic hair.

The movie is at a much slower pace than today’s porn.  I think it’s erotic as opposed to pornographic.  Scenes are shorter since it was expected you’d be watching in a theatre, and a 35 minute scene doesn’t play well in a theatrical setting.  (It plays great at home, because through the magic of the FF button, you can make it into a 10 minute scene.)

 Imperator makes an excellent point in his review of the movie:

And John Leslie is pretty damn effective. He’s so seductive he almost charmed the pants off me :-). Jessie is a damn fine actress too and perfectly manages the rather difficult task of showing the gradual yielding to his charms. Many on-screen seductions -and that holds for mainstream too- are botched by what I call the “activation energy effect”. The lady is stone cold, no matter what the fella does and then, all of a sudden, she just becomes putty. Bull, I say. Women are people (though IMHO a different species of the genus homo:-)), and people don’t behave like that. Read Christopher Hampton’s exquisite theatrical adaptation of Laclos’ “Les Liaisons Dangereuses” for a well-made seduction, and the pathetic melting of Turandot in Puccini’s otherwise brilliant opera to see how it should NOT be done. Da Ponte’s Don Giovanni lies somewhere in between I think.


The Imperial verdict. You saw it coming. Flawless. Riveting and erotic, Spinelli’s masterpiece can justly breathe along with its “Sex World” brethren that rarefied air of perfection.

CJ Lines sums up the movie thusly:

The film overall has it’s flaws, no doubt, and the plot falls apart a little in the last few minutes, but it’s got a wonderful Summery vibe, some smooth, laid-back humour, excellent acting, hot sex and a sense of real enjoyment flowing through it, all of which helps elevate it to the status of a genuine XXX legend.

And be on the look out for John Leslie’s Jimmy Stewart impression… pretty great stuff!

Here’s the opening credit sequence with the hang-gliders.  According to the YouTube description: “An adult film company came to Fort Funston in 1980 to shoot their opening sequence. They filmed Dan Racanelli and Tom Low flying state-of-the-art gliders. Unfortunately, neither of the pilots were asked for further involvement in the film. ;-)”


Tonight on Playboy Radio: Blonde Heat (1985)

We were supposed to do this a few weeks back, but got put off, so (finally) tonight on Playboy Radio Night Calls (not sure what time, probably around 7:30-7:45pm eastern, SiriusXM 102), we’ll be discussing Blonde Heat: The Case of the Maltese Dildo, Tim McDonald‘s comic noir.

In 36 BC, Julius Ceaser of Rome, paid trouble to Cleopatra of Egypt, by giving her a jeweled dildo endowed by the high priests with macival erotic powers —- but invading hordes sacked alexandria carrying off this priceless token and the fate of themaltese dildo remains a mystery to this day —-

This is the kind of film that porn did so well — the comic private eye.  John Leslie plays Mark Lowe, a Hollywood Boulevard gumshoe who speaks in the same voiceovers of his ancestors, Philip Marlowe and Sam Spade. We meet Mark as he’s alone in his office, the staff has they day off, and he’s just wrapping up a missing persons case, with his faithful beagle on the couch beside him.

Every noir detecive needs a femme fatale client, and we waste no time meeting Mona La Pierre (Seka), a cool platunum blonde who slips Lowe a “Monroe” (a $5000 bill) to find The Maltese Dildo.  Instead of going into the details of the case in his place of business, Seka insists on having him come out to her house that evening:

MONA: Come to my home this evening, I’ll give you all the information you need to know. Do you need directions to find it?

LOWE: No… I think I can find my way.  What time?

MONA: Let’s say 10:00?

LOWE: (looks over at the dog on the couch) Well,my dog goes to bed at 10:00, can we make it earlier?

MONA: You name the time.

LOWE: 8:37?

And Seka does a dry take as she confirms the time that is really spectacular.  The scene sets up the off-kilter tone and rhythms of the movie perfectly.  If you don’t like the first 3 minutes of the movie, you probably won’t like the rest.

He brings his dog to the bar for a beer and gets his messages from the bartender (Misha Garr), who tells him he needs to see “the boss.”  So he’s off to the back room to see The Boss, a frumpy lady in a housecoat and curlers who just wants a little action (“If it isn’t my favorite dick — both public and private! Mama’s missed you!  Got time for a quickie? Your dick is like a sweet juicy pickle just waiting to have its juices sucked; your balls are like two cherries just ready to be plucked!;your bones are like two fresh cinnamon buns … your cock or your cash, Lowe; you know which I prefer!“)

So he drives up to Mona’s house, past porno theatres playing Memphis Cathouse Blues and Every Which Way She Can and into her driveway.  He waits for her, looking at her pictures (Liberace!?) until she enters. Seka’s line readings are purposefully flat, and we realize within two line readings that she’s channeling Norma Desmond after he points out he now recognizes her as an old porn star, she retorts  “I am still a big star, Mr. Lowe… it’s the cocks that got small.”

After some pleasantries she has drinks delivered by her own Chippendale’s waiter (Chris Chase) and she reveals it to be a potent aphrodisiac and that brings us into our first (and arguably strongest) sex scene. (Before the sex, we learn that she bought the dildo at auction, but it was never delivered, and she needs Lowe to find it).  Dissolve to Lowe sitting naked in an armchair, stroking his cock.  We get a bit of a nice tease as she taunts him while he’s jerking off, and then he says “C’mon… you gotta let me fuck you just a little bit…” and she says “I might let you fuck me” and then we get a good dose of the patented John Leslie dirty talk and then finally, about 14 minutes in, they make sexual contact as Mona slips off  her bra revealing some SERIOUS tan lines across her breasts.  He does what he’s told — sucks her nipples, eats her out, and then finally fucks her on the couch, and then in doggie (while she sips more aphrodesiac) and it ends with him tit fucking her as she jerks him off onto her tits.

He goes to see museum curator Dr. Ana Benninger (René Lovins) and he asks about the dildo and she tells him that he’s not the first guy to look for it in recent weeks, btu she couldn’t help him since “the computers were down” (a nifty scapegoat for 27  years!) and he as he tells her about the dildo, he finds its a real panty dropper of a story as she drops her panties and they’re off —  jerking each other off.  Then he fucks her on the desk, then doggie with her on the desk, and finally she jerks him wildly as she blows him and then he finishes off with a slight drop to her chin.

After his tryst, he stumbles upon Wally (Richard Pacheco) spying on him on behalf of Mr. Glutman (legendary exploitation producer Dave Friedman) and he forces Wally to call his boss on the nearby payphone.  “I don’t have a dime…” Wally says, so Lowe fishes one out.  He put the dime in, waits a beat… “It’s 20 cents…”  (Ah, pay phones!)  Funny stuff this. He goes to meet Glutman who says he wants the Dildo for his collection, since he too paid the same art dealer for the dildo…

He gfoes tback to his office and in walks his secretary, Kate (Gina Carrera), who asks him for a raise as she’s standing on his desk in a short skirt watering plants.  “Why don’t you wear panties?” he asks. “On my salary, who can afford them?” and then they’re fucking on his couch in reverse cowgirl which really shows off Gina’s lithe body.  Then it’s missionary and he jerks off on her bush.

Cut to Billy Dee getting a blowjob in the back of a limo from hooker Ericka Idol and he cums more or less in her mouth as his driver (Jon Martin) looks on.  We don’t know who these characters are, until they burst into Lowe’s office as he’s on his way out to follow a lead about Mr. Glutman. We find out he’s Howie Mann (nee Mendoza) who is now a “bad man” on the Strip and he tries to shake him off the case, to stay away from Mona.

Some more plot happens (can’t give it all away!) and we follow Wally into a tryst with apair of call girls Laurie Smith and Jill Jason. Laurie keeps her pussy to herself and lets Jill do all the fucking, but she sucks Wally off at the end until he cums.  It’s a pretty short scene.

Lowe meets with Glutman and he hears a story about Cleopatra (Joy Cummings) and her handmaiden (Cindy Carver) having some fun together, and then Cleo blows Maximus, her guard (Dan T. Mann) who cums all over her face while she’s being eaten out…

Finally, he runs into Lori Edwards (Angel), some more plot ensues and they end up having a spirited romp on the bed (highlight: she bouncing on his cock as they’re both sitting up on the bed) and then  we see him cum face but no cumshot, so I have to assume by this time, JL was shooting dust…

The movie ends with him snuggling with Angel and musing that “Anything can happen in Hollywood…”

Then there’s a funny little tag “Somewhere in South America…” and the credits roll.

The trailer is told from the point of view of the beagle, Louie Lowe, and it occurs to me only now, that Leslie’s nom de producing, Louis T. Beagle is obviously an homage to his pooch in this movie.


Tonight on Playboy Radio: The Chameleon (1989)

Tonight on Playboy Radio, we’re going to be discussing John Leslie’s The Chameleon, starring Tori Welles and Tom Byron, with a special appearance by our own Debi Diamond!

I picked this movie because it appears that Tori is on her way back to the business, teaming up with Tom Byron to form “Hall of Fame Management” (Facebook / Twitter) and I thought it might be fun to look back on one of their many movies together… and it certainly didn’t hurt that Debi is in it, and it’s a pretty awesome movie, to boot!

The plot goes more or less like this: Tori plays a woman who is able to change her appearance (i.e. a chameleon).  As the movie opens, we see a moody party going on and April West is being jerked off by Alex Horn while Scott Irish looks on; the boys change position and Scott fucks her.  We then see that she’s telling her story to her psychiatrist, played by Richard Pacheco.

She’s married to Tom Byron who does not like her changing shape, since she usually goes out and fucks people while she’s not herself, and that makes him feel bad.  To make it up to him, she turns herself into Debi Diamond and has him fuck her while she’s not looking like herself.

(Fun fact from the show: Debi and Tori never had a scene together, but Tori did end up ravishing Debi on the floor of a karaoke bar one night…)

Some time later, they go to dinner and Tori sees Victoria Paris and Peter North slinking away into a back room, so she joins them and has a torrid three-way.

Afterwards, Victoria Paris runs into a tuxedo-clad Buck Adams who takes her to a party.  There, she sees Pamela Rose and Lynn Franciss take on Ray Victory; and while they fuck Ray, she fucks Buck.

The next day, Tori arrives home and Tom is pissed that she stood him up at the restaurant.  So she gives him a gift and then they fuck a bit.

Tori then tries to seduce her analyst who wants no part of it, so she goes to a bar and transforms into Selena Steele, who is being a stalked a bit by Joey Silvera, so she bangs him to keep him at bay.

Finally, Tori ends up in the arms (and between the legs) of Buck Adams, who may not be who he seems…

There’s lots to like about this movie.  I like that has a lot of people from John Leslie’s past in it. In addition to Joey Silvera, with whom Leslie worked quite a bit both as an actor and as a colleague at Evil Angel, there’s Richard Pacheco who did the Talk Dirty to Me / Nothing To Hide movies with him; Lynn Franciss had a scene with JL in Talk Dirty to Me 2… I know the porn world is a small one, but the presence of these “older” performers just made the endeavor feel a bit more special to me.

Also notable, the Debi Diamond / Tom Byron scene won the 1990 AVN Award for Best Sex Scene Coupling: Video , and Tori and Victoria tied that year for Best New Starlet.

Roger T. Pipe over at says of our pal DD:

Debi shows the sort of sexual talent that would later win her Preformer of the Year as she takes Tom all the way to the root. No small task even by this scuz guzzling blonde bim’s high standards. This sex scene is perfectly shot, well lit and just the right mix of sexy close ups and beautiful full shots as Debi uses her whole body to make love to Tom as if her life depends upon it. Her hair still dripping from the shower, she rides Tom’s cock, not screaming like a stuck pig, but moaning softly to encourage his strokes deep into her body. This may not be the super slutty Debi Diamond that raincoaters worship, but she is plenty sex in a more subduded manner here, and still manages to sound classy saying “Fuck my mouth.” Something he does with absolute glee until he cums all over her face. Then, just as the post climax lull kicks in, Tom is in the arms of Tori once again.

Rieekan over at Adult DVD Talk has this to offer:

The Chameleon is a 1989 porn classic directed by John Leslie and starring the insatiable Tori Welles. I have it on loan from a friend considerably more versed in 80s pornography than myself, but was still quite interested to see it. Unlike other classics I’ve reviewed, this one actually turned out OK and succeeded in stimulating body and brain with its eroticism. Definitely a good choice for couples if they can get past the funky hairstyles.  Hairstyles aside, the women were natural-looking �” the only departure from that department being Tori’s breasts (which were still a sight to behold). The sex wasn’t as hot as contemporary offerings but the eroticism was right up there, and there were merits for this film in not just being about inter-genital reciprocation. Tori really carries the day with her performances and voracious appetite. Not only that, but she and most of the other cast also acted quite well and the interesting and original story worked nicely.

Also over at Adult DVD Talk, Goldmember (while labeling this an Official Selection of the Goldmember Masterpiece Collection) says:

Now this is a rare example of the kind of plot that actually does work in porn! The plot creates excellent scenarios for interesting sex, is always directly related to the sex, is short & sweet, and is often arousing on its own. It turns out Tori’s character can transform herself into different women. Talk about a perfect girlfriend. The plot runs with the idea very nicely, throwing in a nice twist ending. Tori and most of the cast do a surprisingly solid job acting. I hate it when adult movie try to perform story lines that call fore extensive non sexual acting segments. This film really hits a nice balance.

Hands down, the best scene in the movie is a three-way between Peter NorthTori Welles and Victoria Paris. (Sorry, AVN…)

Corey Thomas at Adult DVD Talk:

The best and probably most memorable scene, however, is a threesome that takes place in the backroom of the restaurant between Tori Welles, Victoria Paris, and Peter North. The lighting and photography in this scene is especially good and the performers are entirely into it. North drenches Tori in one of his usual full-force cumshots.

Of the scene Rog says:

A quick glance at Tori’s body is impossible. You have to just stare in amazement at absolute feminine perfection as she disrobes and shows Victoria that she eats pussy as well as she sucks cock. Speaking of steak swallowing, Victoria does an admirable job trying to fit a good amount of Peter’s peter into her tiny mouth. Poor Tom is stuck at the table, while the love of his life is taking a huge cock from behind. By the way, Tori in her thigh high stockings is a very pretty picture. As is Victoria, who was not always known as a nasty girl, sucking Tori’s juices from Peter’s rod as he pulls out. Make no mistake, the two women here dominate the scene, with Peter just providing the meat between them. Tori’s RC is one of the most sensuous things I have ever seen in my life, she is absolutely perfect. To finish things off, Tori gets down to some serious two fisted cocksucking and tit fucking (YES, tit fucking. Horray!) With her face so perfectly located, what can Peter do,. But decorate that pretty face with thick, white cum. Tori never stops sucking and stroking, instead just leaning here head back to catch the spray as if she were showering in sperm. This is an amazing facial that must go in the all time hall of fame.

Goldmember says:

Mr. North is the third member of this historic threeway. I can remember quite a few critics in the past pointing to this scene an one of the all time threesomes. The scene gets started once Tori walks in on North and Paris, she quickly joins in and helps the Victoria deal with the “Loadman.” You can really notice the North and Paris are living in the days of big hair, it is almost comical. However Welles still looks every bit the sexpot I remember. She is one of the women with an extremely fit fuller body, but a body that is in absolutely perfect shape, allowing the light to display every seductive womanly curve. The three of them go on to create some serious heat. Watching Tori grind away on North with that kind of passion is an entertaining site. The scene ends well with Tori enthusiastically trying to finish Peter of with some tit fucking and cock sucking until the “Loadman” does cometh. Historic!

I will add a few observations on the Tom / Tori scene, in there’s a bit towards the beginning where they’re both on their backs, and he’s eating her and she’s jerking him off which is really a great piece of staging.  There can never be enough “handjob as foreplay” in my book.  This was also done in the beginning where Alex Horn is jilling April West while she’s reaching behind her to jerk him off.  Good good stuff.

Finally, to sum up, Joey Markham of the dear departed RAME newsgroup posted:

This movie is a definite must see. A definite for fans of Tori Welles and John Leslie. One of 1989’s highly acclaimed features, this movie has a lot to offer. Check it out, you won’t be disappointed.

Lastly, I’ll leave you with the talky parts of the movie, courtesy of someone over on YouTube… to see the naughty bits, get your own copy!

Oh, and here’s a picture of modern day Tom and Tori as part of their new venture:

Tonight on Playboy Radio: Desires Within Young Girls (1977)

Tonight on Playboy Radio (4:40 Pacific / 7:40 Eastern) I’ll be talking with Debi Diamond and Nicki Hunter about Ramsey Karson’s 1977 classic, Desires Within Young Girls.  (This is another casualty of 70s morals not syncing up with the morals of the early 21st century, as the film has been cut from it’s original running time of 103 minutes to 87 minutes due to some implications of how young the titular “young girls” really are. . . by way of example, you’ll note most series from the early 2000s all suddenly were branded as “College Girls. . . ” instead of just “Girls. . .”)

The movie starts right off with a blowjob backlight by a fireplace as Madeline Stone (Georgina Spelvin) and her husband Charlie (a disguised-to-be-older John Leslie) are going at it.  She narrates her sex in a rapid fire beat chick cadence yelling “Ride me!  Ride me!”, and John over-exaggerates his southern accent.  They got at it, and John starts wheezing, and he jokes that he’s getting old.  She says that he’s not old judging by the evidence that she’s riding, and then shortly after he falls out of her, prompting the admonition: “Ah, look what you done.  You broke the stride.  Put my evidence back where it was. . .” as she remounts him. . . when she finally cums, she leaps off and jerks him off, and we see cum flying in silhouette behind the fireplace. . . and then he dies, leaving Maddie to ponder her fate with a succinct “Oh, shit.”  Smash cut to the credits.

The credits are rolled over a static shot of a limosuine, after which we get the first cut of the DVD.

There’s a dialogue scene between Maddie and Marty, the Chauffeur (John Seeman) that isn’t in the DVD (the first line is left in):

MADDIE: And Marty, and don’t forget, it’s “Mrs. Stone” when we get there, all right?”

MARTY: I’m not going to forget, Maddie. I couldn’t if I tried; you only told me that six times since we left town 20 minutes ago.

MADDIE: Well, I’m sorry.  (tries to light cigarette) Martin, please light me a cigarette, I guess I’m just a little nervous.

MARTY: That’s no guess, Maddie.  You’re a lot more than a little nervous

MADDIE: Well, how the hell would you feel, going to pick up your own two daughters whom you hardly seen in years and now they’re coming to live with me.

MARTY: Well, it’s got to be a lot better than that prison you sent them to.

MADDIE: Ballantines may be a very strict school, but it happens to be the best girls boarding school in this country

MARTY: Aw, c’mon Maddie, they’ll love you!

MADDIE: When you get on the other side of the big 4-0 you find people start loving you a little less —

MARTY: Jesus Christ, Maddie!  You’re not exactly ready to be put out to pasture —

MADDIE: Oh, I don’t kid myself, Marty.  Sure, I had it once, but — hell, I’m out of practice; Charles has spoiled me

MARTY: Well, as far as I’m concerned you still got it.

MADDIE: You’re sweet.  But you know, fond memories don’t pay the liquor bill or YOUR salary for that matter.  That’s the thing about life, it keeps happening. . . the first of every goddamned month. . .

At which point, the car pulls into the boarding school, which is where the DVD picks up.

(I can’t tell what is offensive in that scene that you’d want it cut out of the movie. . . that it establishes the girls as her daughters and not her step-daughters?)

Cecelia (Annette Haven) and Penelope (Clair Dia) exit the school with Maddie and head towards the car.  We get a shot of Cissy coquettishly smiling at Marty.

Then there’s another dialogue scene in the car that’s been cut from the DVD.  The girls and Maddie are in the back seat, driving back home:

MADDIE: (awkwardly clears throat) I think there’s one thing we ought to get straight, right off the bat, girls.  My name is Maddie, to everyone it’s Maddie — people I like, people I don’t like, people I love and to loathe; everyone calls me Maddie.  It’s short for Madeline, not for Mother. So please, call me Maddie, never Mother.  Don’t misunderstand me — it’s not that I don’t love the idea of being a mother, I love being a mother, it’s just the name I can’t live with.  So Maddie it is, alright girls?

PENELOPE: Maddie is fine with us.

CECILIA: Jinx! You owe me a Coke.

MADDIE: What did you say?  Is that some sort of pig latin or something?

CECILIA: “Jinx, you owe me Coke?” It’s a game you play when you start to say something at the same time as someone else.

MADDIE: Do you have any idea what she’s talking about?

PENELOPE: She’s just a little nervous; we both are.

MADDIE: Oh. Well, then I think it’ll be a good idea if, uh, when you get nervous, both of you endeavor to keep your mouths tightly  shut.  You see, there’s nothing more annoying than a chattering woman.

Again, it’s not clear why this scene was cut; perhaps because it makes them seem younger than 18, playing a childish game like “Jinx” ?

In the DVD as well as the movie, we then cut to the girls in their rooms — Annette is looking at Playgirl, Clair is writing in her journal and talking on the phone, then Annette is trying on a variety of outfits; watching her not fit into a jumpsuit is one of life’s small pleasures.  Then the girls apply their makeup with the score bouncing back and forth between two themes, one for each girl.

And another scene that’s not on the DVD between the two girls, sitting on their beds, reading dirty magazines.

PENNY: This is absolutely impossible.  Nobody.. NO-body can do this in a car like that.  (She shows Cissy the magazine)

CISSY: I bet Marty can. . . (she looks thru her magazine) Huh.  You think that’s impossible?  Take a look at this!

We see a close up of the article — black and white photos  of people fucking in odd poses under the headline “COITAL POSITIONS:  The Erotic Acrobatics”

We get dreamy harps, and the scene dissolves to a field and Cissy is running out of the back of the limo, clad only in a Fredericks of Hollywood cupless underwire bra and panties and stockings as Marty chases her.  We quickly dissolve back to the bedroom and then back to the car where Marty is spread eagle in the open hood as Cissy is blowing him. . . then they’re on the roof of the car fucking. . . cut to the room and more black and white photos of fellatio, and back to the field where Cissy is blowing Marty some more, and then they’re back on the roof of the car fucking in missionary.  Cut to the magazine then back to Marty who is eating Cissy out as she’s holding herself in the driver’s side door.  More magazine and they’re fucking doggie style in the back seat.  End of scene, no pop shot.

We cut to Maddie who is on the phone, only the last part of her line is on the DVD before it cuts to a scene that’s not in the original cut (but more on that in a second)

MADDIE: That’s right, tomorrow.  And Friday, Penny.  Oh, and Mark — kind of watch it with Cissy, she’s a bit prone towards puppy love . . . that wasn’t funny, Mark.  You can leave your sense of humor home, with your cocker spaniel.

Next we have a scene in the kitchen with the girls and Maddie, which seems to be missing a bit on my tape as well, as the context of Penny’s line at the beginning doesn’t make much sense. . .

PENNY: Even my newspapers. . .

CISSY: Even my birth control pills!

MADDIE: Oh God! You didn’t take one, did you?

CISSY: (weakly) I think so. . .

MADDIE: Will you two, please remember to forget to take your pills, from here on in?  Penny, will you run and see if Martin has the car ready?

CISSY: I will!

Cissy runs out on the errand.

MADDIE: Oh, God — I’m afraid I’ve made my own little Frankenstein’s Monster.  You know, Penny, you’re going to have to help me keep an eye on Cissy.  From what Mark says, she’s as horny as she is scattered.

PENNY: That’s what you wanted, isn’t it?

MADDIE: Now,we are NOT going to get into that again.  I spent three years putting this little expedition together, and I am in no mood for last minute aggravations.

PENNY: Perish the thought, if there’s anything I would not want to be it’s a “last minute aggravation.” (spitefully) Besides, we’re only here for you to use us, like you do everyone else. . .

MADDIE: Three years, the last of my bank account and all of my energy have been used up, getting you two little ingrates prepared to find suitable husbands; and that’s not “using you,” it’s called “collecting interest on old investments.”  Three months it’s taken me to get these invitations together; now if you were just half as smart as your mouth, young lady, you’d realize that you can’t make someone sexy, it’s just the way Cissy is.

PENNY: Lucky her. . .

Cut to the exterior of the house, and Penny calls over to Mark, who is dribbling a basketball.

PENNY: Mark!  Come here!

MARK: You decided to check up on me huh?  (He takes a mouthful of water from a nearby water fountain and then spits it out)  Play some basketball?

Cut to them sitting in a grassy area, Mark seems a little dejected; he doesn’t want to say goodbye.

PENNY: So, we’re going to this guy’s big mountain ranch in, uh, I don’t know, Big Sur, or something like that. . .

MARK: All right, look.  You’ll probably meet a nice man, you’ll have plenty of money, and houses and boats and cars — he’ll buy you everything you need want, and you’ll probably live happily ever after.

PENNY: That’s the way it’s supposed to be, isn’t it?

MARK: Yeah (sigh) That’s the way it’s supposed to be. . .

Cut to the girls and Maddie in the back of the car again driving to see the Blanchards.

Now, in place of the above scenes on the DVD, they’re replaced by a scene between Penny and Mark, and his attempt to teach her how to seduce a man, since she’ll need those skills for husband-hunting.  They’re in her bedroom; she’s half-naked under the covers, he sits on the side of the bed.  Nothing is rushed.

PENNY: Well, how would you feel?  Maddie has kept us as far removed from men as possible. And suddenly. . .

MARK: All of a sudden: me.

PENNY: I hadn’t meant that personally.

MARK: Maybe we’re going about this all wrong.  If you think this is a first for you. . . I mean. . . before you can make love to someone, you need to seduce them. And, um, you don’t know the first thing about seducing somebody.

PENNY: Oh! Seduction is very big around here.  It’s just one man after another.

MARK: Let’s make it a game.

PENNY: What do I win?  How about a vacuum cleaner?  Or a cruise to Tijuana?

MARK: Look, first of all, let’s figure that we’re really at a party, and, uh, you picked me up downstairs.  (She giggles) And you got me to meet you up here.

PENNY: Were you easy?  (Giggles)

MARK: I’m not supposed to be; but for you. . . I was a push over.  One smile. . .

PENNY: OK. . .

MARK: (indicating her being more undressed than he is)  You seem to have a head start. Why don’t you help me catch up.  You can’t seduce me Penny unless you get to me.

PENNY: Am I doing it right?

MARK: It might be a little more fun if you’ve investigated. . .

At which point he has Clair undress him, making sure to have her spend time playing with his chest hair and his nipples.  He returns the favor, spending quite some time on her breasts before having her remove his pants.  This is a pretty languid scene with lots of kissing.  He works his way down her body, spending more time on her nipples (like little erasers they are!) and spends some time orally pleasing her.  (It should be noted the print this transfer came from is pretty badly damaged with surface noise, but it does not affect the hotness of the scene.)

Finally they get down to the fucking, and he mounts her in missionary, and there’s still a lot of kissing going on, and then he ever so easily sits her up and do a little sitting cowgirl before he lies down for the full ride-on.  He flips her back around onto her side and he goes at it side-saddle for a few strokes before finishing with the doggie.  The sex cuts around at this point, some cocksucking, some fucking, she’s on top, he’s on top and it finally ends with the patented John Leslie “pull out with the no-hands cumshot” even tho Penny lends a helping hand a little which he then guides her hand, to finish her lesson.

Now, we’re back to the scene where the girls and Maddie are heading to see the Blanchards.  The goal is to try to seduce his son (Jason Blanchard, but he prefers Jace)  in the hopes of landing him and ensuring their continued financial stability.  Annette is dressed like a farmer’s daughter in a gingham top that can barely contain her breasts (lots of underboob!) and cut-offs.

The rancher (Ralph Jenkins) is admonishing his son (Ray Wells) to treat the girls right lest he be sent off to agricultural college in the city.  When Annette steps out of the car, there are harps and rainbows surround the boy.  No sooner do they walk around back that they’re tearing at each other, and they end up in the stables.  He flatters her figure, saying “You’re build like a heifer in heat!” which makes her giggle.  He struggles to get her top off, and as soon as he does, he’s all over her tits.  She has an equally hard time trying to get his cock out of his pants, but finally works the button fly free so she can start sucking, while there’s fiddle and banjo playing on the soundtrack, and horses look on curiously.  Doesn’t take long for Jace to mount her doggie style (horsey style?) forcing her into the hay which causes her hay fever to flare up and she starts sneezing after while which must get him going because he starts getting ready to cum and saying things like “I’m going to put my number on you!” and then finally exclaiming “This is it! The big round-up!  Yippee!”

This is a pretty funny scene.  Not a lot going on sexually (brief cocksucking, one position) but what is there is spirited, and we get to spend most of our time looking at Annette’s fine fine ass.  (Tho, all I could think about was how much that hay probably poked at her belly.)

As they cuddle post-coitus, he lays out their great life. . . her getting up at 5 to milk the cows, having a bunch of kids, every Sunday having the whole family over for fried chicken that they’ll cook themselves. . . “we’ll slaughter them ourselves! It’s easy! I’ll teach ya!  You just grab em by the neck. . .”” and Annette screams and runs away, thus ending their hopes with the cattlemen.

Next up, they attend a high-class party — on the steps Georgina lays it out “Girls, don’t forget.  We’re here to get a proposal or pregnant or ELSE.”

As they approach, our eyepatch clad host, Harrison (Frank Hollowell), is told:

“Harrison, it looks like your final guests are coming. . .”

“Baroness, before the night is over, ALL my guests will be cumming.”

The Baroness (Joan Devlon) and Maddie have their claws out upon introductions:

Harrison: Maddie used to be quite a game player —

Baroness: Before my time, I’m sure.

Maddie: Oh Baroness, I’m sure nothing was before your time. . .


Maddie introduces the girls to Charles Dancer the Third (Turk Lyon), and they blush and run off to the powder room.  Maddie explains that there are some games to be played, and they should just follow the instructions on the cards they’ll be given.

“Darling, there’s no more sincere compliment in the world than a hard-on . . .  I know he’s insufferable, but he’s rich Rich RICH! The rich only get richer, and its the obligation of the poor to do something about it!  You have no idea about poverty. Poor people have a very unattractive odor and bad teeth. ”

There’s a little scene between Marty and Cissy, where they smoke a little pot, but nothing comes of it beyond Annette looking divine.

There’s some small talk around the dinner table which culminates in discussion of The Game, and its goal: “Knowing and showing that he or she is the most versatile sexual athlete in this gathering of renowned superstars. . .”  There are two games, and you have to win both. . . Maddie bets Harrison she can predict the winner, if so, he’ll pay her $5,000, if not, she has to have a candlelight dinner with an old friend. . .

The first card we see reads: “You are a ravishing lesbian.  Ravish and enjoy.

So the Barroness and the Fashion Model (Bonnie Holiday) go at it.  (“I’ve never made it with royalty before!” / “I’ve never been with a fashion model before!”) and we cut back to Harrison and Maddie watching the action on a closed-circuit TV.

The scene cuts back and forth from the room to the TV and back.  Bonnie eats out Joan, as Joan grips the headboard in delight.  It’s a pretty short scene, only about two minutes.  The model hands another card to the Baroness who reads it: “Your next encounter awaits behind the door.  YOUR turn to be ravished!”  Enter the black butler who pulls out his flaccid cock and as she sees it, she yells “Oh god, no way!  Dammit, Harrison!  You motherfucker!”

Cut to Maddie watching the Baroness on TV, saying to  Harrison “All class, that one.”

“You know Maddie, if I hadn’t rigged this game, I would have thought you had. . .” and he presses another button on the cable box (standing in for a remote) and we see another card:

“You have strong sadistic tendencies.  Within this room, someone will provide you pleasure in this area.”

We enter the room and see Cissy chained naked but for a garter belt against a stone wall in a room feeling queasy after the dinner.  (Goddamn does she look great.) The General (Chesley Noone) is desperate to use some clamps on her, but she just wants Alka-Seltzer.  She cockblocks the General at every turn, she’s not having any of it; she just gives him mouth, and he almost breaks down and cries. . .. so she just masturbates and has the quickest orgasm on record. . . knocking The General out of the game.  An entertaining scene, if only for Annette’s insolence and disinterest.

Next room has Jon Martin as a shy fella who walks in on Abigail Clayton and Stacy Evans dressed in old-timey undergarments, and Abby is pushing a cloth up inside herself and has him pull it out with his mouth as Stacy undresses him and he moves on to full blown cunnilingus and then Stacy moves on to fellatio.  Stacy throws him onto the bed, wriggles out of her panties and climbs next to him as Abby pulls her stockings off and gets in bed with them.  She starts kissing down his legs and sucking on his toes as Stacy pays attention to his nipples and then they meet at his soft cock, which has the cloth wrapped around it.  They suck him off to get him hard, then Abby climbs on as he eats out Stacy.  He flips Abby over and starts fucking her as Stacy licks her tits.  Finally he takes Stacy doggie style as she sucks on her thumb and briefly thereafter launches a slo-mo Peter North-esque blast across her back.

Then Dominique (Sabrina) comes in and puts her high heel right into Jon’s cock, and he wants to go home, so he loses the game. . .

Next, Harrison hits a button and we see Charles and Penelope on a water bed, and after some horrible pillow talk, and as he starts sucking her tit, she asks him to “be careful of the lump. . . even tho I’m sure its not cancerous” which isn’t as much of as turn off as you might thin; but she continues to make up ailments until he finally stops.  (“It’s down!  It hasn’t been down since I was eight!“) Enter Cissy and she gets him hard again (“My God!  It came back to life!“) and we cut immediately to her sucking him off and him covering her in kisses ended up with him eating her out.  She rides him reverse cowgirl and on the last stroke lifts herself off him and jerks him off onto her belly.  It’s an amazingly hot end to a short-ish scene.  “I may have blown the game with your sister, but at least this was really hot!. . . wasn’t it?”  Cissy says it wasn’t and she runs out.

Maddie tells Harrison she’s expecting payment when Harrison says he has one more trick up his sleeve, and he sends Dominique to “cut [Cissy] down to size”   “Oh, fuck this!” says Cissy as she runs out.  Maddie is all pleased with herself for winning the game and Harrison hands over a check.

Maddie and Cissy are in the car and Marty tells them that Penny left some time ago in a taxi.  She goes to meet Mark at the waterfront and tells him that she’s not like Cissy and can’t be what Maddie wants her to be.  She feels Mark is the only person she can talk to, and they kiss and pledge their love for each other.  It’s a nice scene, well played between the two. . . and it foil’s Maddie’s plan, to boot.

So Maddie bring Cissy to a Yacht Party in a further attempt to land a rich suitor.  As they approach the boat, Cissy catches a glimpse of the host’s son, Clark Dayton, Jr. (Paul Thomas) and she hears the harps and sees the rainbows and promptly falls into the bay.  Clark, Jr. jumps in after her and he brings inside to wash off and dry clothes. As these things often do, they end up fucking in the shower, in an awesome scene that’s also all slow and soapy; and then, as she’s grabbing for his cock while his fingers are exploring her nether region. . . he hears the harps and sees the rainbows and they know they’re made for each other.  However, there’s an AWESOME shot taken from the ceiling looking down on them entwined in the tub, with them each on their backs, and her straddling his cock. . . then as he’s eating her out, she starts asking him a bunch of questions about their future, and she’s forcing his head around, nodding or shaking depending on the question. . .

Maddie gets introduced to Clark, Sr. (Carl Irwin) and whole plying her charms, she finds out that Junior has been disinherited years ago because he’s a drunk with no ambition. . . so she’s left high and dry again. . . but maybe Clark Sr. is showing some interest in her?

So ends a delightful movie.  It’s a take on “How To Marry a Millionaire” and the movies like it where marrying a rich guy is all a girl could want.  The sex scenes support the story, not the other way around as it usually is.

This is one of those movies everyone should see, to see how movies were made back then, how hot they can be even in modern times, and how porn has yet to see a beauty as natural as Annette Haven.