Things aren’t always what they seem in this collection of three-ways.

Matty Mila Perez pep-talks herself before stepping through a beaded curtain: "Just lay still ... you're doing it for the tips." She's a naked sushi platter for Milan Ponjevic and Jonathan Jordan, who propose a game as she lies there: "Trial by fire. If she moves, or talks, she's out." Ponjevic says, "I hear she's dying to try two cocks at once," eliciting a gasp, but when he follows up with, "I don’t like passive women," she doesn’t react. At meal's end, when they hand her their tip money, she smiles, "I'm not passive" and proves it.

Hazel Moore luxuriates in bed in lingerie and stilettos, smoking a cigarette, before calling Parker Ambrose and cooing, "Careful ... maybe I'll find a new daddy," like Christian Clay, standing bedside as she caresses his hard-on through his pants. They’ve worked their way to doggie when Ambrose stalks in, kisses her, then opens his pants to get in on the action. She equal-handedly divides her attention between the two, right to the double pop, when she tells Ambrose, "Thank you, daddy," and Clay, "Thank you, sir."

In her girly pink bedroom, Demi Hawks reflects, "I always like to keep guys guessing," as she sucks on a lollipop. In a dolled-up gym, she walks up to a tuxedoed Parker Ambrose with Dan Damage in tow. "He's my chaperone."

"More like your dad."

She hands Ambrose a folded note and walks away. It says, "Dan's meeting me under the bleachers. I guess you can come too." When Ambrose shows Damage the note, he agreeably says, "Yeah, man ... I'm down for whatever." When they get together, Hawks plays the coquette, kissing Damage as she swats Ambrose's hand away and then kissing Ambrose as she lets him finger her, leading to an energetic three-way scene that ends with a twist that looks like it was planned all along ... or was it?

In the closer, Hollywood Cash stops kissing Gal Ritchie long enough to ask, "Don’t you want to know my name?" When she shakes her head, he persists: "Can I at least know your husband's name?" "Hollywood. He's tall, dark and handsy. How about your wife?" "She likes to experiment."

A knock on the door. "Did you order room service?" "Something like that."

Enter Isiah Maxwell. "Whoa. You didn't tell me your husband was gonna be here." "He's not my husband. He's somebody else's husband."

Cash gets up to leave. Maxwell stops him. "It's cool, we can share. I just didn't want to do this in front of her old man. Might be weird."

"Yeah, might be," Cash agrees, as Ritchie removes his wedding ring and drops it on the floor. In the scene that follows, it's never entirely clear who is her husband and who's the interloper, but it doesn’t matter.

Well-shot scenes with solid production value and some ambiguity to keep the viewer engaged.