Reyna Belle walks through an empty house, her spike heels click-clacking on the hard floors, meets Damon Dice. He sets down his drink, asks her, "What time will your husband be joining us?"

"He won’t be joining us today. He's still in New York. You have me all to yourself."

Seeing as hubby won't be interrupting things, they waste no time hooking up in the kitchen, making the most of the island and the high stools around it before adjourning to the nearby grey couch, where hand-held tight camerawork enhances the improvised intimacy of the scene.

"I wanted to be with another man, not emotionally but sexually," cover girl Nika Venom muses in voiceover as Danny Mountain undresses her in a sunlit bedroom. She looks Mountain resolutely in the eye before she meaningfully pulls off her emerald-green G-string. Mountain is a licensed masseur, so there's some oiled hands-on kneading before Venom, biting her lower lip, looks back at Mountain, waiting for him to make his move, finally taking the lead and teasing his crotch with her foot. The deliberately-paced scene is intercut with close-ups of her facial reactions.

On the phone, Jessie Rogers confides to her husband that she's planning to "do something—someone—different today" as the shot widens out to show Lucky Fate nose-deep in her nether regions. She even gives Fate the phone so he can thank her husband personally before they get down to business on the black leather couch.

In the closer, Charlie Forde is upset that hubby is tied up at work—"I'm all dressed up! I want to play tonight!"—but there is this kid Jay at the office, could you send him over with those papers I need to sign? When Jay arrives, she moves in on him, grabbing his crotch, unbuttoning his shirt, telling him, "It's okay with my husband," before leading him to the bedroom and assuring him, "You won't get in trouble."

In all four scenes, directors Paul Woodcrest and Alex Ladd eschew the familiar oral-oral-three-positions-pop template (and the clichéd White Couch) for improvised on-the-fly scenes, with hand-held camera following the performers as they play to each other, aware of the camera but not focusing on it.