Latest 'Rough Sex' updates from Pornstar Scenes (Page 56)

It's Valentine's Day, the first that Oliver Flynn, his stepmom Krissy Lynn, and Krissy's adopted daughter, Anya Olson are spending together. Anya is super into Oliver, always trying to suck his dick. When Krissy walks in on Oliver writing out Valentine's for his class at school, she insists that he make one for Oliver, too. When Oliver gives Anya the card, she gives him a huge hug and tells him he's the best brother ever.The next day, Anya gives Oliver his Valentine's gifts. She wraps up in a super soft blanket and urges Oliver to touch it. When he finally agrees, Anya makes her move and tries to get Oliver to touch her pussy next. The two are just arguing about it when Krissy walks in and presents them with couples underwear in an effort to get them to get along. Oliver gets in reluctantly with an enthusiastic sister and they stay that way together for five minutes to make Krissy happy.On Valentine's Day proper, Krissy and Anya put on matching lingerie sets and wait for Oliver in his room, which they've decorated with the soft blanket and rose petals. When he walks in, the girls both crawl across the bed to give him a BJ and they won't take no for an answer! When Oliver is nice and hard, Anya finally gets to enjoy the D as Oliver fucks her while Krissy cradles her torso. Then Anya takes a spin on Oliver's dick while Krissy rides her face. Krissy gets on her knees for her next go with Oliver, and then Oliver lays down so Krissy can ride him as he squeezes her big melons. That's as much as Oliver can take before he explodes in Krissy's mouth, giving his sister a mouthful of his salty man juice.

AMNESIAC
Amnesiac Man's Wife Hides Dark Secret From Him

SCENE OPENS from the POV of James (Tyler Nixon). His eyes are closed, so the screen is black. Suddenly, in reaction to the jarring sounds of a car crash, his eyes snap open. We hear him trying to catch his breath as he looks around, registering his surroundings. As his vision sharpens, he then notices Annie (Sovereign Syre), who sits at his bedside tending to him. She has a kindly look about her. He has amnesia and she informs him that she is his wife, pledging to take care of him until his memory returns.

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Days later, James still remembers nothing and Annie seems intent on keeping him bedridden. It is revealed that Annie discovered James on the road after he had been involved in a hit and run on one of his evening walks. Rather than take him to the hospital, Annie took him home to nurse him back to health.

Later that day after Annie leaves for work, James tries to use the internet but discovers it is not working. He sits back in his chair, puzzled. Something catches his eye: a photo of himself and Annie on the mantle nearby. They smile and look like the perfect happy couple. As he looks at it, his brow furrows quizzically. It's as if there is something off about the photo but he can't quite put his finger on it. But before he can investigate further, Annie unlocks the front door and enters.

Annie explains that the internet hasn't worked for a long period of time, normal for the isolated rural area they live in. Before his accident, she had been bugging him to call the internet provider about it. BUT, she doesn't want to bother him with this stuff now, insisting that SHE'LL call the internet company as soon as she can. She kisses him and leaves the room to get dinner started. He smiles after her, but a small glint of suspicion is in his eyes.

Later that night, James finds a suspicious receipt. He asks Annie about the receipt, which is for their wedding rings and is only two weeks old, although they've been married for ten years. She explains that they could never afford nice rings and a few weeks ago, he surprised them with brand new ones. James seems to believe her, but a growing seed of doubt has been planted.

Sometime later, James looks closely at a photo of him and Annie. It is clear that the photo has been altered in some way. James confronts Annie about the photo. She claims that there is something wrong with their printer that makes photos print out with errors.

He accepts her explanation, but his suspicion is growing.

The next day, as James searches for something incriminating, his memory suddenly comes flooding back. Clear headed for the first time in a long while, James confronts Annie, angrily telling her that he remembers everything.

James now knows exactly what Annie's been hiding from him, and he's going to make sure that she NEVER forgets the price of deceiving him...

A DAUGHTER'S LOVE: AN ALISON REY STORY
Groomed Daughter Becomes Jealous Of Mom's New Boyfriend

SCENE OPENS on Maya (Chanel Preston) and her daughter Kali (Alison Rey) sitting on the bed together in Kali's room. Maya is brushing daughter Kali's hair, fawning over her. Kali is almost doll-like and the atmosphere is unsettling.

Maya announces she has a date. Kali is surprised, then worried. She tries to hide it but doesn't do very well, commenting that her mom never told her she was interested in anyone...Kali looks hurt, betrayed, as though she truly believed they told each other everything. Kali then asks her mom how she can even THINK about dating someone after her dad and Maya's mood darkens. She snaps at Kali, insisting that Kali mind her manners, she's only 18, far too young to know what's best for the family.

Maya's hand clenches into Kali's shoulder tightly as she gets upset. Kali recoils at being snapped at and from the sharp feeling in her shoulder. Maya instantly pushes aside the anger and overcompensates with sweetness. She pulls Kali in for a tight hug and apologizes.

Kali is a little nervous as Maya puts a bow in her hair. The doorbell rings and Maya smiles.

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As Maya spends more time with the man she's dating, Sebastian (Chad Alva), Kali's jealousy grows. He's also begun hitting on Kali, which shocks her because of how he's disrespecting her mother.

One night, Kali is wearing pajamas and watching through her door, which is left slightly open. After a few moments, we see Sebastian casually walking by, presumably from Maya's bedroom to the bathroom.

Kali takes a steadying breath then hurries to the door. She opens it and leans seductively against the doorframe. She's a bit awkward with it, given her inexperience. Sebastian returns down the hallway, though is amused to see Kali standing in her doorway. She invites him into her room. Sebastian is a bit suspicious, though then grins as he steps inside.

Sebastian is rough right from the start, lifting Kali onto the bed and squeezing her perky tits. Pulling her pajamas off, he buries his face between her legs, eating her pussy as Kali moans softly.

Kali certainly has a twisted way of demonstrating her love...

TELL YOUR WIFE I SAY 'HI'
Cheating Man's Teen Mistress Refuses To End Affair

Mr. Humphries (Derrick Pierce) is a music teacher who is bored of his mundane life and his mundane wife. Things have been going downhill lately and he's desperate to find something to make him feel ALIVE again. Unfortunately, he found it in a way that's going to make him wish he'd never taken his old life for granted...

When Sally (Aria Lee) arrives for her 'music lesson,' Mr. Humphries' dread intensifies. He foolishly started having an affair with the sexy young woman to help spice things up, but now he's racked with guilt and afraid of being caught. In fact, he's tried to break it off with Sally in the past but it's clear that she hasn't gotten the memo.

Mr. Humphries tries to turn Sally away but she's insistent, playing him like a fiddle and convincing him to let her in. It's obvious she doesn't buy that he REALLY wants to end things with her... She knows he doesn't have the balls to break it off with her OR confront his wife. Because of his cowardice, she's going to have a bit of fun.

As they get down and dirty, Mr. Humphries is eased into a false sense of security... until Sally grabs his phone. She quickly dials his wife and gets her on the line. With a twisted grin, she gives Mr. Humphries the phone. For her, it's all about the thrill, but now is the moment of truth: will Mr. Humphries be bold enough to finally confront his fears?

SWAPPING GIRLFRIENDS
Woman Is Shocked To Find Her Boyfriend Has Traded Her To His Brother

April (Alex Coal) is NOT thrilled with the weekend trip her boyfriend, Andy, has planned. The thing is, they're visiting Andy's brother, Pete (Logan Pierce), who gives April the creeps. Even though Pete already has a girlfriend, April is sure that Pete is lusting for HER. Unfortunately, Andy thinks that April is overreacting and that Pete is a bit weird, sure, but harmless.

Once they arrive, Pete greets them at the door. Even though he knows how uncomfortable April is, Andy insists that he forgot the bags in the car and needs to run back out and get them. As he takes his leave, April reluctantly follows Pete inside, half-jokingly telling her boyfriend that he better not leave her with Pete TOO long!

Little does she know, the brothers have made a secret deal behind her back. As soon as Andy is behind the wheel, he drives away without looking back. He's already looking to greener pastures...

When April realizes that Andy's gone, she starts to panic, demanding to know what the hell is going on. Pete, on the other hand, is calm and collected as he tells her that sometimes guys get bored and need a little variety in their lives... So the brothers agreed to swap and share their unsuspecting girlfriends for a little bit of fun.

Although April is hurt and betrayed, wanting nothing to do with Pete, she's all alone now and has nowhere else to go...

THE LESSER OF TWO EVILS
Fear-Plagued Woman Is Given Agonizing Choice By Home Invader

Maggie (Abigail Mac) is petrified of the world outside of her home because of agoraphobia. Try as she might, she just can't bring herself to step out the front door. It's so bad that she even gets groceries delivered, although even that little bit of outside human interaction is overwhelming.

Maggie spends her days milling around the house and using forums where other people gather to talk about their phobias. She feels comforted in such spaces, able to freely discuss her experiences. She feels a kinship with these people, although she's never met any of them and might NEVER meet any of them...

Or so she thinks.

One day, she hears movement within the household. Although she's uncertain, she goes to investigate the sound, glancing nervously to the windows and doors. To her horror, a hooded man (Derrick Pierce) emerges from one of the rooms, confronting her. She's bewildered as the stranger belittles her, telling her how pathetic it is that she's kept herself cooped up for four months -- that's right, he's been WATCHING her. He despises people like her and wants her to prove that her fears are really all just in her head. If she walks out that door, she's a free woman; if she lets her FEARS rule her, then she can submit to him.

Maggie is disgusted as she realizes this stranger wants to fuck her. She flees but when she approaches the front door, her heart starts to pound. She can hardly breathe and her feet are like cement. With the stranger smirking at her back, is Maggie brave enough to step outside to save herself?

THE BUCKET LIST
Terminally Ill Man Intimidates Best Friend As Part Of Dark Bucket List

SCENE OPENS on a bathroom counter. We are looking at multiple pill bottles. We can hear a man coughing. A hand reaches out, grabbing one of the pill bottles.

We see the owner of the hand, Gary (Codey Steele). He looks sickly as he stares at himself in the mirror. He slams the pill bottle down on the counter before he chugs water directly from the tap. He takes a deep breath. His coughing ceases.

He leaves the bathroom.

Gary looks in a drawer which contains various sinister-looking items and mementos. He adds an item then writes on a mysterious piece of paper. At that moment, we hear the front door open. From the front door, we hear a female voice call 'Gary?'

Gary looks back at all the sinister items in the drawer. He takes a deep breath, sliding the drawer closed.

'I'm in here,' Gary calls.

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The visitor, Melissa (Vanna Bardot), Gary's best friend, has come to visit him. He has a terminal disease and doesn't have much time left. Gary then reveals the reason he called her over: he has a dark bucket list and fucking Melissa is one of the items on the list.

Melissa is horrified and tries to leave, but when Gary hints to her of the other, worse things he's already done on his list, she ultimately stays and agrees to do what he wants.

Nothing's going to stop Gary from crossing this off his bucket list...

NO ONE WAS SUPPOSED TO BE HERE
Terrified Maid DPed By Two Burglars Who Surprise Her During Home Invasion

SCENE OPENS on Jack (Johnny Goodluck) and Leo (Robby Echo). They are in the car looking out at a house on a residential street. Leo is nervous about what they're about to do, but Jack reassures him, stating that the door is unlocked and the family won't be home for hours. They slip ski masks over their heads and get out of the car.

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Jack and Leo cautiously approach the home and open the door, going inside. They take off their ski-masks and look around, getting a sense of the place. They are clearly there to rob the house. Thinking that they are alone, they make no effort to speak in low voices.

Just as Jack and Leo turn around to go their separate ways, they freeze, looking at something. Leo looks shocked and panicked. Jack appears shocked as well, but also a little curious, almost intrigued.

Standing in the living room is a young woman, Maggie (Candice Dare), a cleaning rag and spray bottle dropped to the floor in front of her, forgotten. She is frozen in total fear. Maggie is a maid who the men did not anticipate being home. Leo is in a panic while Jack is calm but frustrated at his partner as they try to figure out what to do with Maggie.

When Jack asks Maggie what she's doing there, since she usually only comes in later, she says that she came to the house last night and stayed over. She does this once a month to do a big clean-up.

In a desperate attempt to get herself out of this precarious situation, she offers to fuck both of them. Leo is reluctant, but after some convincing from Jack, he gets on board.

Even though no one was supposed to be there, it doesn't mean Jack and Leo can't have a little fun...

'Grief has limits, whereas apprehension has none. For we grieve only for what we know has happened, but we fear all that possibly may happen.'
- Pliny The Elder

THE NIGHT THEY CAME FOR LACY
Last Survivor Of Car Crash Is Haunted By Vengeful Ghosts

SCENE OPENS ON Lacy Lennon as she rounds a corner and enters a cemetary. She looks utterly devastated. She visits some graves, her eyes filling up with tears as she passes the headstones of Joanna Angel, Katrina Jade, and Aaron Hands.

As she says a silent prayer, we flash back to one year earlier. Lacy drives her car while her boyfriend Aaron (Small Hands) sits in the passenger seat and Lacy's friends Joanna and Katrina are in the back.

They're on their way back from a night out. The girls want to hit another local nightspot, but Aaron, annoyed with the rowdy antics of Joanna and Katrina, insists that Lacy take him home. The girls argue back that Aaron has no sense of fun as Lacy tries to convince him to come out. With the music blaring and everyone talking at once, the atmosphere in the car quickly becomes chaotic. As Lacy takes her eyes off the road for a moment, the unthinkable happens.

The car is totaled, everyone but Lacy glassy eyed, the life drained from their bodies...

Back in the present day, Lacy is at home, wracked with grief and guilt. Suddenly, disembodied ghostly whispers begin to fill her home. A candle is mysteriously blown out. Lacy tries to doze, but is roused by a terrifying sound coming from under her bed. Scared, she investigates. To her terror, she finds Aaron's necklace.

Desperate for answers, Lacy goes to the cemetery. In frustration, she throws the necklace on the ground. Suddenly, a hand reaches out from the ground, from the depths, grasping the necklace. As Lacy shrieks in terror, two more hands shoot out of the dirt and a moment later, Aaron, Katrina, and Joanna emerge from their graves.

Her friends are back, but they are now something...else, and they've come for Lacy...

FROM AFAR: A WHITNEY WRIGHT STORY
Woman Confronts Her Stalker In Unexpected Way

Jamie (Whitney Wright) is an ordinary housewife living an ordinary life. But little does she know, someone other than her husband also thinks she's extraordinary...

An obsessive man named Barry (Michael Vegas) watches Jamie from afar, collecting keepsakes when she isn't looking. Whether it's a picture or a napkin with her lipstick, each item makes him feel closer to her. After each candid encounter, he returns home to add the keepsakes to his shrine. As he gazes at all the pictures of a smiling Jamie, while her acquaintances' faces are all scratched out, Barry's hunger for her only intensifies. He MUST have her. Only one thing stands in Barry's way: her husband. However, he's about to change that...

One day, as Barry is watching Jamie through a window, he reaches his snapping point as her husband prepares for a romantic night. BARRY is the one that's supposed to be romancing Jamie -- not THIS tool. Tonight's the night that he's going to make Jamie HIS... Fortunately, once he's inside the house, taking out the husband is pretty easy. Now NOTHING is standing in the way...

When Barry steps into the bedroom, Jamie is dressed in sexy lingerie with a sheer robe. He knows the lingerie is meant for her husband but he has fun imagining that she's wearing it for HIM alone. But when Jamie sees him standing in the doorway, she's not afraid of him... In fact, as she lets her sheer robe drop to the floor, she tells Barry that she's been waiting for this day to come...

THE REAL ME
Teen Meets Online Crush For First Time And He Isn't Who He Claimed To Be

SCENE OPENS on Kelly (Gia Derza). She is in her kitchen when she hears the 'ding' of a message being received on her laptop. She looks at the screen curiously. Someone named Brent, who found her through a dating site, has messaged her. Despite some initial skepticism, she feels an early, shared connection with him when he mentions that, just like her, he's 18 and his father died when he was young. She smiles to herself, excited about the new guy in her life.

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Over the next few weeks, Kelly and Brent bond. Soon, Kelly is falling hard for her online crush and Brent seemingly reciprocates her feelings.

A few days later, Kelly, nervously debates whether or not to take nude photos for Brent. Deciding that she trusts him, she takes the photos and sends them to him.

A week later, Kelly nervously gets ready to meet Brent for the first time. She chats with her friend Janice on the phone and talk turns to one of their teachers, a creepy man named Mr. Hughes who seems to have a weird attitude about sex.

Later that night, Kelly arrives at Brent's house to meet him. Kelly goes into the house tentatively. Brent? She calls softly. A male voice says 'Hi, Kelly.' Kelly turns toward the voice and her eyes widen in shock. Standing there is an older, meek-looking man (Dick Chibbles).

'Brent' is not who he seems, and when Kelly finds out what he has planned for her, she'll NEVER be the same...

POWER PLAY
Cutthroat Woman Outsmarts Co-Worker When He Confronts Her About Office Misdeeds

SCENE OPENS ON Madison (Eliza Ibarra). She is in her kitchen, making a smoothie. She pours fruit juice over the ice cubes in the blender. Her moves are very graceful and purposeful. She is about to turn the blender on when her doorbell rings. She looks as if she's not expecting anyone. She wipes her hands on a nearby hand-towel and leaves to go answer the door.

Madison answers the door and greets her colleague Jordan (Lucas Frost). She invites him in and leads him to the kitchen. As Madison makes her smoothie, Jordan reveals why he's come to see Madison, accusing her of engineering the departure of various co-workers through shady means to further her career. He asks her what she's willing to offer him in exchange for his silence.

Madison smiles thinly, not a hint of worry showing on her face. She turns on the blender. The ice is loudly crushed into oblivion.

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Madison implies that she has dirt on Jordan too. Jordan thinks she's bluffing, but Madison gives Jordan concrete examples of his various misdeeds. Jordan laughs humorlessly, shaking his head. He looks at Madison with something almost approaching admiration.

Madison feels that she has a kindred spirit in Jordan and suggests that they fuck. Jordan laughs in an effort to appear incredulous, but it's obvious that he's interested. 'Not a chance,'' he says.

'Oh please, you can't tell me our little 'confrontation' didn't feel more like foreplay than fighting? What exactly did you think I was gonna offer you for your silence? Money? Neither of us needs it. THIS is what you came here for,' she retorts.

'FINE, hope you can handle me,' Jordan says.

'Bring it on,' Madison responds, flashing a wicked grin.

Jordan may think he knows what's in store for him, but he has no idea what Madison is REALLY capable of...

A fiery twosome clad in tight jeans make some sparks when they jump in the pool. Their jeans are split open and the goods spill out to be fucked. The specialty is the large ass that protrudes from the white jeans. Perfection!

NICE GIRLS FINISH LAST
Bully Corrupts Victim's Father Into Fucking Her & Bullying His Own Daughter

SCENE OPENS on Dave Wilkins (Charles Dera). He is washing dishes when his daughter Libby (Laney Grey) bursts through the front door, distraught and crying. She drops her knapsack and runs right to him, throwing herself into his arms. Almost on the verge of panic, Libby frantically tells Dave that a bully was terrorizing her at school today.

Dave is supportive and sympathetic and asks her if it's the same bully that's always on her case. Libby confirms it is, a girl named Katrina. Dave has one of his fists clenched in anger as he tells his daughter not to worry, he'll take care of it.

Later that day, Dave's front doorbell rings. He takes a deep, steadying breath before he opens the door. Standing there is Katrina (Jane Wilde), looking confident and mildly inconvenienced. They regard each other for a moment. Dave looks at her sternly. 'You must be Katrina,' he says. She looks at him another moment before her lips curl into a mean smile.

'I am... it's so nice to FINALLY meet you, Mr. Wilkins.'

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Dave warns Katrina to stop bullying Libby, but Katrina begins to manipulate Dave, drawing his attention to the fact that Lilly plays the victim and is constantly craving attention. Katrina's words seem to be getting to Dave, particularly when she brings up the fact that Lilly wants to dominate HIS attention.

Katrina then makes her move and tries to seduce Dave. He is reluctant, but when Katrina encourages him to do something for himself for once and not for Libby, Dave can resist no longer. He goes in for a hungry kiss. Katrina slides down to her knees and takes Dave's cock out of his pants, spitting on it as she takes it down her throat.

Libby's in for a RUDE awakening when she comes home...

Story inspired by an original submission by Pure Taboo member, foobarnick!

QUID PRO QUO
Teacher Entices Lesbian Student Into Seducing His Daughter While He Watches

SCENE OPENS on Mr. Jennings (Steve Holmes), who answers his door. Michelle (Naomi Swann) stands there. She looks nervous and reluctant. Ah, Michelle! Mr. Jennings says with a pleasant smile. Come in, please, he says. Michelle enters the house wordlessly. 'SO glad you're here. I can't TELL you how much I appreciate you coming!' Mr. Jennings says brightly. 'Well... it's not like you gave me much of a choice,' Michelle says, an edge of contempt in her voice. 'Oh come on now Michelle, I'm only your TEACHER. I can't control what you do! You're 18, you make your OWN decisions,' Mr. Jennings says. 'Although a decision that you made...a BAD one, I might add, is really what brought you here today.' Mr. Jennings says. 'WELL! In any case, it is lucky for you, then, that we've figured out a way for you to make up for that bad decision,' he continues, in a very stern-teacher way. 'So! What do you say we get my beautiful daughter down here? I just can't WAIT for you to meet her!' Mr. Jennings says. Holly! Mr. Jennings calls.

After a moment, Holly (Emily Willis) comes into the living room. Hi! She must be Michelle? Holly says enthusiastically. Yeah...hi, Michelle says, smiling. Ready to get started? Holly asks. Um, yeah, sure, and...and thanks again for doing this, Michelle says. 'Yeah of course! Dad's never asked me to tutor one of his students before, so I hope I do ok!' Holly says with a little chuckle, taking a seat next to Michelle at the table. 'Oh, I'm sure you'll do GREAT honey,' Mr. Jennings says in a sickly-sweet tone. Thanks, Dad, Holly says happily. Mr. Jennings is about to walk out of the room but turns back. 'And be good, you two!' he says seemingly jokingly. 'Don't worry about us, Dad,' Holly laughs. 'Oh I'm not worried. In fact, I think the two of you are going to get along...JUST FINE,' he says with a smile, but a hint of something darker, something...unknown lurks under his grin.

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As Holly shows Michelle something on a shared paper, circling something with a pen, she pauses and looks up at Michelle. So...what's it like having him as a teacher? Holly asks, sincerely curious. 'Your dad? Well, he's um, he's...' Michelle says, seemingly unsure of how to answer as she glances at the room's entranceway. We don't see what she's looking at. Actually he's her STEP-dad, Holly clarifies. Oh...she didn't know that, Michelle says. Yeah, he married her mom a few years back, Holly responds. 'I'm 18 now, so I guess it was about...3 years ago?' Holly muses aloud. Oh ok, that's cool, Michelle says noncommittally. But, her mom died last year, so...now it's just the two of them, Holly says, a hint of sadness in her voice. Oh, she's...she's so sorry, Michelle says sincerely. That's ok, Holly says, snapping back to her bubbly self. So? What IS he like as a teacher? Holly presses. Um...Michelle says, fidgeting nervously. She glances again at the room's entranceway warily, but Holly doesn't seem to notice the look. We now see what Michelle is looking at: Mr. Jennings, who is spying into the room, unbeknownst to his daughter. When Michelle glances at him, they lock eyes and he gives her a glare through gritted teeth. He's...he's really nice, Michelle says finally. Holly laughs. 'Don't worry, you can say it,' Holly says. S-say what? Michelle asks cautiously. That he's a goof, Holly laughs. With all his corny sayings and cheesy jokes, Holly says. Oh...yeah, Michelle says, giving a phony laugh and glancing again at the living room entranceway. Aware that Mr. Jennings is watching, Michelle becomes slightly flirty with Holly. Mr. Jennings watches impatiently.

Michelle begins to seduce Holly as Mr. Jennings watches with increasing pleasure. The seduction is successful and Michelle leans in to kiss Holly. Holly returns her kiss tentatively, but as she gets swept up and lost in the moment, Holly kisses Michelle back with increasing passion. From the room's entranceway, we see Mr. Jennings. His eyes are lit up as he watches, licking his lips.

Swept up in the moment, the girls makeout increases in intensity as Mr. Jennings watches, fondling himself over his pants. Realizing she got carried away, Holly stops the makeout and rushes out of the room in embarrassment, running into her father. Holly realizes that he saw the whole thing. To her shock, Mr. Jennings reveals that he caught Michelle dealing on school property and she agreed to seduce Holly in exchange for his silence.

Holly is disgusted, but not wanting Michelle's life to be ruined, agrees to continue. Holly and Michelle begin to kiss again, tentatively and nervously. No...he's seen THIS already, let's move this along, Mr. Jennings says impatiently. 'Take off her clothes...and do it SLOWLY,' Mr. Jennings says to Michelle. Angry and disgusted, Michelle starts to take off Holly's clothes. Holly continues to be nervous, but Michelle tries to calm her down, leading her through the humiliating experience. Michelle begins to eat Holly's pussy. Holly seems ashamed that her dad is watching, but can't help but enjoy it. After a while, Mr. Jennings says 'now it's YOUR turn, sweetie,' and directs Holly to eat Michelle's pussy.

Mr. Jennings wanted to watch, but soon enough, WATCHING'S not going to be enough.

HEALTH, WEALTH & UNHAPPINESS
MAN GROWS PARANOID THAT HIS NEW BRIDE IS TRYING TO KILL HIM FOR HIS MONEY

SCENE OPENS on Jeff (Jake Adams). He sits nervously in his car. He taps the steering wheel, looking at his watch impatiently. His phone rings. He answers it, putting it on speaker. Hey man, he says to the phone. Hey little bro, his brother Bobby greets him. 'So did you pick her up yet?' Bobby asks. No not yet, he's actually at the airport now, her plane's already landed so now he's just waiting for her to get through customs, he says. IF she gets through customs, who KNOWS what she's hiding, Bobby says with a little laugh. That's not funny, Jeff says. He knows how he feels about this whole thing, but he doesn't need to constantly be taking little shots at him, Jeff says crossly. 'Sorry, it's just...I'm worried about you. She's a MAIL ORDER BRIDE for fuck's sake,' Bobby says. Jeff sighs, exasperated. Yeah, he knows that he sounds like a broken record, but really: how much does he ACTUALLY know about this girl?, Bobby asks, concerned. 'We've been over this a million times now Bobby. She's a 22-year-old girl from a small town. She's never even been on a PLANE before. She's just looking for a better life. And I can GIVE her that life,' Jeff says. Bobby sighs. They have a connection, Jeff adds. It's really easy to fake a connection with someone when they're MILES away and you've only ever talked to them on the phone, Bobby continues.

'Let's face it, Jeff. When Dad died he left us A LOT of money, and there are certain people who would want to...take advantage of that. You're a good guy Jeff. You're one of the most trusting people I know. But YOU'VE NEVER met this person. You don't know who she really is. I DON'T want to see you get hurt, man' Bobby says. 'I hear you, Bobby, but I DO know her. The things we've shared in our conversations...look, I love you, but I'm a big boy, I can take care of myself,' Jeff says. Before Bobby can respond, Jeff looks out the window of his car. She's here! He's gotta go, he says excitedly. Bobby seems to be about to say something, but Jeff seemingly ends the call and tosses the phone on the passenger seat as he hops out of the car. He didn't end the call properly and Bobby can be heard saying 'Hello? Jeff? Think you forgot to hang up the call, bud.' Bobby sighs loudly. 'Goddammit, just be careful, Jeff,' Bobby says worriedly to himself, ending the call with a click.

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Anna (Izzy Lush) is now in the car beside Jeff as he drives them back from the airport. Anna looks nervous, wide-eyed and a bit overwhelmed as she looks out the window at the passing sights. So is she ready to see her new house?, he asks, pulling the car to a stop. She nods, her nervousness giving way to excitement.

Almost a year passes since the couple has married. In the bedroom one evening, Anna gets Jeff his regular pills after telling him that she filled his prescription yesterday. Jeff realizes that they are the wrong pills and doesn't take them, wondering aloud what they would have done to him if he had. Suddenly, Jeff is gripped momentarily by suspicion towards his wife since he just added her to his will the week before. He dismisses these suspicions immediately, kissing her before settling into bed.

Days later, Jeff comes home with a bandage on his forehead, injured because the brakes on his car failed. His paranoia growing, he calls the mechanic, who tells him that it's possible that a puncture they found in the brake line could have been done on purpose. This sends Jeff over the edge and he is completely suspicious of his wife now.

The next day, Jeff rifles through Anna's things trying to find something incriminating. He discovers a brochure for a funeral parlor. When Anna walks in, he confronts her and accuses her of trying to murder him for his money.

She denies his accusation. Enraged, he is determined to show her that he is not someone to be trifled with. He begins to unbutton his shirt. What is he...doing?, she asks with trepidation. 'WHAT?! Is there something WRONG with a husband wanting to be with his LOVING wife?' he asks. Anna looks at him, taking a deep breath and gulping down her fear. 'N-no, of course not, t-there's nothing wrong with that...that's...fine,' she says softly. He takes off his shirt and begins to take his pants off. He shakes his head disgustedly. 'You think I'm some IDIOT that you can just do this to?!' he spits, getting in her face. 'Well, I'm NOT FUCKING stupid,' he says, his words seething as his eyes burn with heartache and rage.

Jeff is about to find out whether or not he can TRULY trust his beautiful young wife.

FAMILY BARBECUE
Seedy Uncle Lures Teen Niece Into Gangbang At Creepy Family Gathering

It's the Fourth of July and Penny (Whitney Wright) is ready to celebrate with her Uncle Jonas (Steve Holmes) and his family (Small Hands, Nathan Bronson, Jake Adams). Jonas has only recently married into Penny's family, so she's never met relatives from his side but is eager to do so. Although she's nervous, Jonas assures her that everyone's REALLY looking forward to meeting her, too, and that she should start mingling...

With his coaxing, Penny leaves her uncle's side to greet the other partygoers. As she mingles, oblivious to the hungry stares from the surrounding guests, she soon realizes that there are no other women at the party. Every time she asks about her absent family relatives, the men brush her off, making lame excuses.

It's only now that she is aware of how vulnerable she is amongst these strangers. Freaked out, she rushes to her Uncle Jonas' side for comfort, only to learn that there's a family tradition of all the men on his side sharing new female family members!

Although Penny's initially reluctant, her uncle seduces her by building up her confidence and curiosity. He especially preys on her insecurities as a virgin, which he knows is a weak spot for her. Eventually, Penny tentatively agrees that it WOULD be nice to get some... experience... as long as her family promises to take good care of her.

THE DADDY INTERVIEW
Kinky Mom & Daughter Interview Potential Daddy To Join Their Twisted Family

Roxy (Kenzie Taylor) is relaxing on the couch, lovingly cuddled up to her step-daughter, Chelsea (Carolina Sweets). As she glides her fingers affectionately through Chelsea's hair, she admits that it's time to start dating again. It's been awhile since she divorced Chelsea's dad... Roxy can only give Chelsea so much, needing a man to do the rest for her dear, sweet daughter... Chelsea needs a daddy.

Although Chelsea is worried at first, she soon eagerly helps Roxy set up an online date with a doctor named Marc (Tommy Gunn). If all goes well, their little family will be complete, and Chelsea will have the daddy she sorely craves...

When Marc arrives, he is entranced by Roxy, yet unnerved when she introduces him to Chelsea. While Marc thinks it's unusual to introduce Chelsea so soon, Roxy argues that getting formalities out of the way will just make things easier for them. They need a family man in their life, and he's a family man, right?

As they settle for dinner, Marc begins to suspect that something is amiss with the women. Roxy is exuding raw sexual energy in front of Chelsea and Chelsea herself doesn't look so innocent either. Things only get more unsettling as Roxy heavily comes onto him by groping him under the table.

Or at least he THINKS it's Roxy feeling him up until he sees that it's Chelsea! When Roxy coyly asks how he'd punish Chelsea if she were his own daughter, the date only becomes more twisted. Roxy declares that Chelsea needs a new daddy and they think Marc could be the one. Although Marc is hesitant, his resolve crumbles under the sultry gaze of the mother-daughter duo...

Story inspired by an original submission by Pure Taboo member, S P I N K I N G!

PATERNITY TESTED
WOMAN TRIES TO TRAP MAN WHO MAY BE LYING ABOUT BEING HER BIRTH FATHER

SCENE OPENS to a man named Charles (Mr. Pete) showing up at a beautiful house. Kelly (Jill Kassidy) has been waiting for this moment her whole life, so she eagerly invites him in when he makes himself known.

Kelly's been on the hunt for her birth father for years, with many disappointments along the way because of dishonest people. She's doubled her efforts since her mother passed away, desperate for more family, but she doesn't want to have her heart broken again.

Charles seems nice enough, though Kelly has her suspicions. She doesn't want yet another con man weaseling his way into her life just to get hold of her mother's estate. While she remains pleasant, she begins sussing Charles out by asking him misleading questions, trying to determine if he's lying or not. When did he and her mother first meet? Where was their first vacation together? What was her favorite hobby? It quickly becomes a game of cat and mouse as Kelly's suspicions about him grows... Sometimes Charles says the right things, but everything seems TOO convenient for Kelly. The alarms sound in her head as tension between them builds.

Finally, Kelly has no choice but to outright confront Charles, needing to know the truth once and for all.

BREAKING THE VOW
Serial Cheating Husband Lures Online Hookup Into Lewd Sex Acts

A beautiful, young woman, Vanessa (Keira Croft), is preparing for a date night. She's texting back and forth with a man named Tony (Steve Holmes), who she'll soon be meeting up with. She seems eager to please, changing her appearance based on what he's expressed that he likes. He likes the red lingerie she wore in a profile picture, so she changes from black to red... He normally prefers brunettes, so she dyes her hair from blonde to brown...

Then it's time for the date.

When Vanessa arrives, one of the first things she learns is that Tony is married. Although she's uncomfortable with the hookup now, Tony assures her that everything is fine and that there's nothing to worry about! Sure, his wife doesn't know about his cheating ways, but she doesn't need to! He gives her everything she needs, so he doesn't feel guilty getting what HE needs on the side as well. He needs to fuck -- and fuck a lot! He also craves variety, needing things to be kinkier than his sweet wife can handle.

Although Vanessa is still shy and uncertain, Tony eventually convinces her to go ahead with the fun they had planned. Yet, Tony has no idea that Vanessa is soon going to give him the surprise of his life...

Nominated - Best Non-Sex Performance: Dick Chibbles, XBIZ 2020

MY DAUGHTER, THE WHORE
FATHER WHORES OUT HIS FIRSTBORN DAUGHTER TO PAY OFF HIS DEBTS

SCENE OPENS on a man sitting in a chair in his living room, casually reading a newspaper as the sounds of sex can be heard from an adjacent room. The man, Roger (Dick Chibbles), doesn't seem to pay any mind to the noises. Soon, there is a loud grunt from the man in the other room as he cums. A few moments later, a man exits the adjacent room, closing the door behind him. He zips up his fly as he exits the room.

Hearing him, Roger looks up from his newspaper with a wide grin. Everything was satisfactory?, he asks the other man. Oh yeah, as beautiful as always, but....the man hesitates, before continuing,...she did seem a bit...tired today, he finishes. Oh, she did?, Roger asks, subconsciously gripping the newspaper hard enough to crumple the paper. Yeah, the client replies, not as eager as usual.

Roger politely apologizes, he's so sorry about that, the client can expect a better time on his next visit, Roger says. 'I will PERSONALLY...make sure that this does not happen again,' Roger adds with a tone of menace. The man tells him he appreciates it, and Roger walks him out the door. He waves the man off with a smile and closes the door behind him. As soon as the man has gone, Roger turns around, his smile replaced with a look of fury.

He opens the door of the bedroom to reveal a naked girl, Lucy (Athena Rayne), who is on the bed hugging her knees. She looks exhausted and spent, staring off into space. When Roger comes in, she is startled out of her daze and looks at him. What the fuck Lucy?!, Roger asks angrily, standing over her on the bed. He said she seemed...TIRED?, he continues. That guy is one of their best clients, has really fallen in love with her, so they need to make sure to keep him happy no matter what, Roger continues with barely contained rage. 'I know, I just...I really AM so...SO tired...tired of all of this...he was the third guy today,' Lucy says wearily. 'I don't give a shit if you're tired! You know how serious our situation is,' Roger says. She knows, she just...she can't do this anymore, it needs to stop, Lucy says numbly.

Roger takes a deep breath to steady his anger, closes his eyes for a moment. He sits on the edge of the bed next to Lucy, adopting a more patient caring tone to try to reason with her. 'Lucy... you know what they'll do to me if we don't square things away, right? You don't want me to go away, right? Then it's up to you to fix this.'

Lucy nods along with him, resigned. 'Good, so clean your fucking self up, you look disgusting, and you've got another appointment arriving in a few minutes...and you can't greet a client looking like...this,' he says, gruffly, his tender demeanor instantly vanishing as he waves a hand disgustedly at her. 'I raised you better than that, didn't I?' he adds. Lucy looks up at him with tired eyes. 'Yes Daddy,' she says.

CUT TO TITLE

The doorbell rings and Roger goes to answer it. He smiles as he opens the door to greet his daughter's latest client, John (Tommy Pistol). The client says hello coldly, not smiling. Roger invites him in. So this is his first time here right? Roger asks amiably. Yes, the man says curtly. Ok, so he'll explain the ground rules, Roger says.

Cut to Lucy's room as Roger explains the ground rules, muffled behind the door. Lucy is almost done cleaning up. We watch as she finishes reapplying her makeup in a compact mirror and puts on some sexy lingerie. She looks good and well put-together, but her eyes betray an exhaustion that is soul-deep. She sits down on the edge of the bed and stares off into space.

Cut back to Roger and John. Roger has just finished explaining the ground rules. So does he understand?, Roger asks. The man pauses. Yes, everything's clear, he says quietly. 'Also, I should mention that there are some...activities...I'm interested in that may...not EXACTLY be what she's used to...' John says. 'I'm sure there's something that we can work out,' Roger responds.

Cut back to Lucy in her room, who is still staring blankly, lost in thought. There is a knock on the door, which startles her out of her reverie. She shakes her head, trying to pull herself together. Just one sec, she calls to the person who knocked on the door. Lucy looks in the mirror. She takes a deep breath, and with effort, her blank expression of exhaustion turns to a seductive, flirty expression, as her eyes brighten and she pouts her lips. Where she was weary and spent a few moments ago, she now appears younger, youthful and vibrant: Lucy's game-face is on. She lies down on her stomach on the bed, resting her head in her hands as she smiles up at the door. She kicks her legs absentmindedly behind her in an energetic, innocent way. She tells the visitors to come in.

Roger opens the door and invites John in, introducing him to Lucy. John says hello stiffly. 'You're just in time, I was starting to get lonely,' Lucy says flirtatiously. 'There's been a...change in plans Lucy,' Roger says, closing the door so that the three of them are in the room together. Lucy's eyes widen in horrified shock. 'What are you...?' she asks.

Well, John has asked him to stay...and watch, Roger says casually, without a hint of trepidation in his voice. 'Yes, I love an...audience, and there's really no better audience than a loving father watching his precious daughter get defiled in front of his very eyes,' John says.

Roger coughs to clear his throat, clearly a bit put off by the request but trying his best to keep it hidden. That's not a problem...IS IT, Lucy?, Roger asks in a vaguely threatening tone. Lucy hesitates for the briefest of moments before she buries her horror down deep.

No...of course not, she's up for whatever he wants.

IMMERSION THERAPY: A JAY TAYLOR STORY
WOMAN AGREES TO INTENSIVE DP THERAPY SESSION TO CURE PHOBIAS

Scene opens on Erin (Jay Taylor), a 25-year-old woman, as she sits on a couch immersed in herself. She's dressed in loose loungewear, her body language nervous and uncomfortable, while her therapist, Daniella (Angela White), talks to her. But Erin isn't listening. She's more engrossed in her own thoughts, her foot tapping, her fingers scratching an itch on her arm. Daniella addresses her more clearly, 'Erin?' The woman snaps to attention, but still remains closed off. The therapist continues, 'I really need you to pay attention and work with me today. If I'm being honest, I'm running out of ideas on how to continue. Now, did you do the homework I assigned last session?' Erin frowns.

CUT to a flashback. Erin stands in front of a mirror and slowly undresses. Her naked body elicits no response from her. While she dutifully starts to run her hands over herself, she looks away as though trying to pretend something else more interesting is happening on the wall. She clumsily squeezes her own breasts, but when she tries to explore between her legs she recoils as if disgusted.

CUT back to the therapist's office. Erin slowly responds to the question, 'Um... I went as far as I could.' Daniella is almost at a loss, and though her words are measured, she is frustrated, 'Okay ... What is it about your own body that repulses you?' Erin stiffens, she doesn't want to answer this question again. 'It's not MY body. It's anyone's body! They're so messy, so bestial. The way they look, feel, smell, sound...' Daniella interrupts her almost absent-mindedly, 'And taste? Erin, this is becoming almost beyond what I can help you with in my practice. I have one more technique we could try, but it is going to be more intensive than our other methods so far. So, I would need you to commit wholeheartedly.' Daniella's offer intrigues Erin. She sits up, focused. 'I don't want to go to anyone else. I'm willing to do whatever you think we need to do.' Daniella smiles, 'Excellent. I'll prepare the consent forms.'

CUT TO TITLE PLATE

Erin sits on the floor of the therapist's office, the desk pushed back, and a selection of pillows and blankets now artfully arranged around her. She seems curious but apprehensive, clutching the consent form in her hand as Daniella finishes laying out the space. 'Excellent, this should give us the comfortable setting we require,' she says, motioning to Erin to hand over the form. The patient does so, and Daniella scans it to confirm all the fields are complete. 'Good,' She says, putting it on the desk. 'Now, I need you to trust me. You want to get better, yes?' Erin nods, and Daniella continues, 'Good. Why don't we get a little more comfortable? Take your sweater off, and I'll do the same.' Erin hesitates for just a moment, before both women remove an outer layer of clothing. This leaves Erin in a tank top and Daniella in a bra. Erin tries not to stare at her breasts. She feels incredibly anxious but Daniella smiles, 'Wonderful. Look at how far you've come already. Now, just mirror what I do.' She starts caressing her own body, starting benignly with her arms and waist, then moving to her breasts. Every time Erin pauses or panics, she encourages her. They continue touching themselves, first their legs, then between them. Erin finally relaxes into this and they masturbate without touching each other. When they begin getting close to climax, a young man (Seth Gamble) enters the room silently and slips behind Daniella to fondle her breasts.

Erin is startled, but Daniella quickly calms her, 'Don't mind him! He's just my assistant. An extra pair of hands. Focus on me!' Erin's eyes lock back onto hers and she continues cautiously masturbating. After a few moments of this, Daniella asks Erin to undress from the waist down. Erin complies and slips her leggings and panties off. She resumes masturbating as Daniella bends over and the man starts to go down on Daniella from behind. Erin is completely focused on Daniella and continues to masturbate. Erin can imagine what is happening to her therapist, but she can't see it, so Daniella describes it to her ... building up to asking Erin if she wants to know what it feels like too. Erin nervously says yes. Daniella gracefully crawls over to Erin. She spreads Erin's legs, eating her pussy as Erin shudders with pleasure. At the same time, the man begins to fuck Daniella from behind. Soon, all three of them are moaning with ecstasy when another young man (Codey Steele) enters. He walks up to Erin and asks if he can remove her top. Daniella reassures her again that he is another assistant, here to support them during their session. She should continue to focus on her and relax. Erin slowly says yes. The second assistant removes Erin's top, squeezing her tits.

The first assistant slides his cock out of Daniella and she begins to suck it. When the second assistant walks around to face Erin, Daniella again instructs Erin to mirror her. Erin starts to suck the second assistant's cock, and Daniella talks her through it, getting her in touch with her carnal side, but their focus remains on each other.

As Erin continues to suck the second assistant's cock, Daniella gets on top of her assistant and begins riding him as she faces Erin. She coaxes Erin down to get on all fours, close enough where the two women can almost kiss. The second assistant gets behind Erin and slides his dick into her.

The second assistant fucks Erin as she squeals loudly. But unbeknownst to Erin, his dick isn't going to be the only cock penetrating her body today. Is Erin ready for the FINAL phase of her immersion therapy?

Nominated - All-Sex Release of the Year, XBIZ 2020

Nominated - Best Cinematography, XBIZ 2020

Nominated - Best Art Direction, XBIZ 2020

'Anytime your boss tells you yes or no, you have to respect their decision.'
-Unknown

THE SECRETARY

We open with the secretary (Jill Kassidy) laying on the floor with her ass up, looking sexy in her white blouse, pencil skirt, and high heels. Her fingers glide along the keys of the typewriter as she types 'YES BOSS' over and over again. In the background, her boss (Derrick Pierce) watches from his desk, hungrily admiring the view.

Once the secretary is done, she brings her boss the sheet of paper, eager for his praise. The boss calmly uncaps his pen and corrects her work. He's dissatisfied, handing her back the paper and telling her, 'Again.'

The secretary grins to herself as she hurries off.

CUT TO the secretary returning with another sheet of paper, with the handwritten words 'PLEASE BOSS' scrawled across. When the phone rings, the boss orders her to answer it while laying across his desk. As she obediently does so, he corrects her work by holding the paper against her ass. After she hangs up, he gives her the corrected paper, ordering, 'Again.'

The secretary's almost giddy at his stern tone, biting her bottom lip as she clutches the paper close to her chest.

CUT TO the secretary knocking on the boss' door. Once she's allowed in, she folds the sheet of paper and holds it in her mouth while getting down on all fours. She slowly crawls to her boss' desk, acting submissive as he stands tall before her. When he takes the paper from her mouth, we see the words 'FUCK ME BOSS, PLEASE!!' written in large, desperate letters.

Finally satisfied with her work, the secretary's wildest fantasy is about to come true as her boss orders her to bend over his desk.

'Do I go out of my way to help others?
Am I sincere in what I say and do?
Have I a good memory for names and faces?
Can I put people at their ease?
Can I take care of all my boss' needs?
Then, one day, I will be a good secretary.'

Nominated - Best Three-Way Sex Scene - G/G/B: Casey Calvert, Whitney Wright & Seth Gamble, AVN 2020

Nominated - All-Sex Release of the Year, XBIZ 2020

Nominated - Best Cinematography, XBIZ 2020

Nominated - Best Art Direction, XBIZ 2020

'Submission is a choice, born of free will and made from a place of strength. It is a deep-seated need to serve the one who has earned your obedience through patience, respect and trust.'
-Unknown

We watch a beautiful, submissive housewife (Casey Calvert) getting ready for her husband (Seth Gamble) to get home from work. She is dressed in a retro floral dress and apron with white stockings that highlights her purity. The house is ultra-modern, which contrasts with the woman's pinup style and old-fashioned accessories, as if she was transplanted from the 1950s into the modern world.

When she's done vacuuming and dusting, the housewife fills a crystal bowl with milk and saunters to the bedroom with a doting smile. Her pet (Whitney Wright), a young woman dressed in tight leather with a crystal collar clasped around her neck, stirs on the bed. As the housewife sets the bowl on the floor and sits with her pet, the pet nuzzles in close before crawling off the bed to lap at the milk.

The housewife admires her darling, obedient pet before leaving the room, with the pet crawling on all fours after her. It's almost time for the husband to arrive, and they're both eager to greet him after his long day at work.

When the husband steps in through the door, wearing a handsome suit and fedora, he is greeted by his pretty housewife and pet. Once he makes himself comfortable on the sofa, he's in heaven as he strokes his pet's hair while his housewife makes sure he has everything he needs. Of course, there's just one more thing he needs to really take away the stress of the day... and both his housewife and pet are all too willing to deliver.

'My will is yours.
My mind is yours.
My body is yours.
My heart is yours.
My fears belong to you.
My desires belong to you.
My release belongs to you.
My surrender belongs to you.
I submit to you.
I am yours.
But know this...
You are also mine.'

IMPREGNATING THE SITTER
GRIEVING HUSBAND IMPREGNATES TEEN TO FULFILL LATE WIFE'S LAST WISH

April (Alina Lopez), a teen babysitter, climbs the front steps of a residential home. For her, this is just another day. Another job and a few more dollars in her pocket, which she really needs. However, it looks like the man living in this home is well off because the place is HUGE!

She knocks on the door and a pleasant man (Dick Chibbles) greets her. 'Mr. Perry?' April greets with a smile. 'Yes, that's me. You must be April, welcome!' Trent says. April beams, saying that she's pleased to meet him and that she can't wait to meet the boys.

April moves into the living room with Trent, making some small talk where it's revealed that she's raising her younger brother. Her parents passed away, so it's all on her now. Trent is sympathetic, though he moves onto asking her questions that seem a little beyond small talk. What nationality is she, is she a gymnast, how's school going?

April politely answers all the questions the best she can, even if she's uncomfortable. When it comes to school, she admits that she wants to go into fashion, though money's a bit tight since she didn't get a scholarship. Trent seems intrigued and says, well, there's no shame in working for it!

April then asks where the kids are and he says they're in the playroom. He's just going to be gone for a few hours, so hopefully she won't have issues with them. When April asks when the wife will be home, though, Trent gets a bit dodgy. He simply says that she won't be coming home. She's at work and has a deadline, so... Anyway, is April ready to meet the kids? April smiles and says that she is and heads off down the hall where she's directed.

As she does, Trent walks behind her with a longing gaze. 'One hell of a mother...' he says under his breath.

TITLE PLATE

CUT TO hours later, and April is tidying up the living room after having put the kids to bed. She picks up a few toys then moves to a table where there are crayons and a drawing. She sets the toys aside and smiles to herself. 'Aw, I wonder what they drew...?' she says to herself as she picks up the drawing. As soon as she gazes at it, her brows furrow with confusion.

It's a picture with stick figures, very much a child's drawing. There's a man labeled 'Dad' and a woman next to him labeled 'Claire.' They are surrounded by three kids, the boys. They all look happy. There's another woman off to the far side labeled 'Mom.' She is smiling too but a dark crayon has scribbled her out. The picture has a disturbing vibe.

'What does this mean?' April murmurs to herself as she tries to make sense of the picture. She's a little unnerved, putting the paper back down on the table.

Curious, she takes out her phone and does some research. She pulls up a search engine and searches Trent Perry's name. She quickly finds an obituary for his wife.

She hears movement behind her and whirls around. Trent is looming in the doorway, looking menacing. April's startled, demanding to know what the hell is going on in this house? She points to the page on her phone with his wife's obituary -- why is he lying?! Trent looks devastated as grief washes over him, though he shakes it off. 'Listen, I can explain...' he starts, begging for her to just hear him out.

April hurries to get out of there, but before she's out the door, Trent blurts, 'Have you ever had someone just DIE on you?'

April pauses, painfully remembering her parents' deaths, and remains, letting him have a chance to explain himself. He begins to tell her a sad story about how he and his wife had been trying to have a baby for YEARS. Then one day, they finally got lucky, though the doctor told her not to take the baby to term. She did, anyway, but died during childbirth, giving Trent their firstborn son. Even though he loves his son, he wished he'd been given a daughter because that's what they've always wanted.

April is wary, but moved by his plight, and says she's sorry for his loss. She was so confused by the picture... But who's Claire? Trent explains that Claire, the sweet young woman in that drawing, was a wet nurse for his son in that first year, someone he came to know very well in those dark days, and like April, she was someone with great maternal instincts. Desperate to rebuild his family, they made an arrangement in hopes of Claire giving him a daughter, but he got two other sons instead.

And now? Claire is gone...

When April asks where Claire is now, Trent dismisses the question. Instead, he says that he hopes that April can be the one to give him a daughter.

April is freaked out, flat-out refusing him, though Trent quickly assures her that she doesn't need to be in LOVE with him! He's just asking her to be the vessel for his daughter. Listen, April needs to pay for college, right? He can take care of that for her! Her younger brother? Trent can make sure he gets into the best private school. Money isn't an issue for him, he just needs a womb. It's just 9 months of April's life. Plus, she'd be fulfilling his wife's last wish...

April needs a few moments to think it over, conflicted. This is a lot to ask of someone, but she needs the money. She has to provide for her brother and she has big dreams for herself as well. Finally, she asks how much Trent can offer her, signaling that she's open to the deal.

Trent is relieved as he approaches April and takes her by the arm, their eyes meeting. Without saying a word, although there is a mutual understanding, he slowly leads her upstairs.

Nominated - Best Actor - Featurette: Michael Vegas, AVN 2020

FACE TO FACE
WOMAN USES JOB AS REPORTER TO GET CLOSE TO AN ACCUSED PSYCHOPATH

Scene opens on the interior of a car. A young woman, Lois Brown (Whitney Wright), is the sole occupant and driver, and we watch over her shoulder as she pulls up to a house. She stops the car and turns it off. The camera pans down to see that her hands are shaking. She takes a deep breath, steadies herself. 'You can do this,' she says to herself and gets out of the car. She walks up the driveway to the door of the house and hesitates another moment before ringing the doorbell. After a second, the door opens and a man, James Stinson (Michael Vegas), stands there. He looks at her, appraising her in an almost predatory way. 'You must be Lois?' he asks with a tone of wary caution. Yes, and he must be Mr. Stinson, Lois says with a polite and professional smile. Oh, she can call him James, he says. A bit young for a reporter, no? She flashes him a polite, detached smile and says maybe, she's 22 but people always say she has an old soul. He nods and then realizes he's still blocking the doorway - But where are his manners? Please, come in, he says, waving her in. She follows him into the house, a modest, clean and well-kept abode.

So where does she want to do this?, he asks, a hint of discomfort creeping into his voice. Wherever he feels comfortable, she says politely but not warmly... how about the living room?, she suggests. He agrees and they sit down in the living room. He takes a seat and she sits in a chair across from him with a table between them. She takes out her cell phone and opens up a voice recording app. Does he mind if she records this?, Lois asks. No, please do, he doesn't want to be misquoted, he's had enough of that - he chuckles, not because it was funny but to fill the awkward silence following his comment. Great, she says after a pause, pressing the record button on the app and places the phone on the table between them. 'So let's start with the obvious: why now? Why grant your first face-to-face interview to a small college newspaper after all this time not speaking to the press?' Lois asks. He considers the question. Well, it's simple: in all this time, she's not the first reporter to call him on the anniversary of the crime, but she IS the first reporter to call him and tell him that she believes he's not guilty, and offer to tell his side of the story, he says. But he WAS acquitted of the crime he was accused of, so what guilt is he referring to?, Lois probes. As she knows, the case was all over the news, day and night, and even though he was found not guilty, most people believe that he is guilty and the verdict was wrong, James says. Guilty until proven innocent in the public eye, he says bitterly. And he's never been able to shake that stigma, people just don't look at him in the same way since then, he adds resentfully. It's a lonely existence. 'Maybe we can try to dispel some of that stigma once the public hears your side of the story. So I ask you, on the record: Are you guilty?' Lois asks. He smiles sadly back at her. 'Am I guilty?' he asks her. He takes a deep sigh. There is a tense moment of silence. Once again, something dark and predatory flashes across his face. 'Yes...I am,' he says, his smile gone.

CUT TO TITLE PLATE

Resuming the interview, Lois looks stunned at James's admission. 'I am guilty...guilty of being in the wrong place at the wrong time,' James clarifies. He happened to be at the club that night, and he happened to be the last person seen with... James says, trailing off, blanking at the victim's name. 'Darlene Davis,' Lois says, enunciating the name carefully. Yes that's right, it was a long time ago...and he has tried to put the whole episode behind him, being at the club that night, being at the wrong place at the wrong time...that ruined his life, James says. So how does he explain Darlene's DNA on his shirt?, Lois probes, adding that the police claim that this happened during the crime. The same way he explained it to the police, with the truth: she had a nosebleed when she was dancing with him, James says. But the press got a hold of that and used that to assume his guilt, he continues. What they didn't bother to report was that she was a known substance user prone to nosebleeds, he says.

'When they came to interview you because they saw you on the club's security footage, you consented to them searching your home, where they discovered the shirt with DNA evidence, which then led to your arrest and trial. If the DNA on the shirt was from an innocent nosebleed as you claim, why didn't you just tell the police about it instead of hiding the shirt for them to find, and for that matter, why did you consent to the search in the first place if you had evidence hidden away that would incriminate you?' Lois asks. Well, because he didn't feel that he had anything to hide, James says smoothly, for example why would he even think that shirt was evidence to a crime at the time unless he was the one who committed it? When he left the woman, she was still alive. But, she continues, if he had nothing to hide, why did he initially lie to the police about where he was after the club that night?, Lois asks skeptically. He didn't have an alibi that night, he just came home alone, and he's seen enough movies to know that it's really easy for cops to pin something on someone who can't account for their whereabouts, so he told them he went to get a burger instead, James says. Stupid mistake, he says regretfully. A stupid mistake that he's replayed over and over in his mind every day since then, he adds. But he can see why that story sounds a little thin right?, Lois asks. Especially since the route he claims to have taken home from the club that night is the least direct way to get home and HAPPENS to be one that doesn't have traffic cams in that area of town, she adds. He looks at her silently. Can she turn off the recording for a moment please?, he asks softly. Oh um, yes, sure, Lois stutters, caught off guard. She turns it off. Lois...he thought that this interview was going to give him the opportunity to shed some light on his innocence, so why does this feel like the same old assumption of guilt that he's used to?, he asks, leaning close to her, resting his elbows on his knees in a vaguely threatening way. 'Because if this is just about pushing my guilt, if you're hiding something from me...we're going to have...a problem,' James says, that same carnivorous look crossing his features again. Lois shifts in her chair nervously. No...it's not about that at all, even though she believes in his innocence, she still has to do her job and ask all the tough questions, she says anxiously. There is a tense moment while he considers her answer. Ok..let's keep going then, he says finally. Lois exhales sharply and resumes recording.

So getting back to the night of the crime: to help clear up any misconceptions, why doesn't he recount that night for her?, Lois suggests gently. Well, he was in the mood to go out, but all of his friends were busy, so he decided to go to the club alone and that's where he met Darlene; they danced for a little while, and then he went home, alone, James says quickly. There's really not much more to explain other than that, he adds. And what was Darlene like?, asks Lois, He doesn't really remember, he only danced with her for a short time and didn't really get to know her, he answers. So he didn't get a sense of her AT ALL?, a sense of what...Darlene was like?, Lois asks. Was she kind, did she seem happy? Why the great interest in Darlene?, James asks, his brow furrowed in suspicion. Just trying to get a sense of the victim is all, Lois says quickly. Hmmm, well he can't really help her there because like he said, he didn't get to know her, James says. But she did have a reputation around the neighborhood, she was known as kind of...he doesn't want to be rude here but...kind of a whore who would do ANYTHING for a fix, he says offhandedly. Upon hearing this, Lois looks a little rattled. At the time, some people were even saying that she...got what she deserved, James says softly. Lois looks a little sick when she hears his last answer and abruptly excuses herself, saying that she has to use the bathroom.

In the bathroom, she splashes water on her face and pats it down with a towel, regaining her composure. Keep it together, almost there, just this one last thing to do, she says to herself, breathing heavily. She takes another moment to steady herself, draws in a deep breath and exits the bathroom. Back in the living room, she goes to sit beside James on the couch. She apologizes for rushing out like that, adding that it must have been something she ate. He tells her not to worry about it. She smiles. What she would like to do now is shift gears and get...inside his head a bit, she says. Is that why she came to sit next to him, because things are about to get...personal?, he asks, with a slightly nervous edge as he looks away from her. Would that be ok?, she asks. He's not sure if getting personal is...a good idea, he says, looking back at her as a sinister expression invades his features for a moment. It passes quickly. Lois clears her throat. She's sure that this is best for the interview, so...is it ok if she continues?, she asks patiently. He nods. Ok, so when he was accused of this horrible crime, how did that make him feel?, she asks. Well...he felt...scared...angry...alone, James says slowly. She can relate, her mother passed away when she was a little girl and she can remember the intense feelings of isolation, like she was the only one in the world who felt these things, Lois says sympathetically. He is surprised to see her turn off the recording. And there were other feelings, other, more...disturbing thoughts that she had that made her feel even more alone, she continues. It was like a...darkness growing inside of her, and it scared her, but she didn't want to run away from it, she wanted to run towards it, she continues. She looks at James in the eyes. 'I think you know exactly what kind of...darkness I'm talking about,' Lois continues softly. 'You share that same darkness inside of you, don't you James?,' she asks. And he acted on that darkness, Lois says. James finally catches on. Does she think that he IS guilty?!, he asks looking betrayed. He thought---James starts, but Lois cuts him off. She doesn't THINK anything: she has ABSOLUTELY no doubt in her mind that he is guilty of this crime, Lois says.

What the fuck--he knew this had to be bullshit, she's just like all the other reporters, James says, getting up from the couch in frustration. That's just it, she's NOT like all the other reporters, Lois says... in a sense, she became a reporter just to get to this moment. To speak with him. Sure, she lied to him about believing that he didn't commit the crime, but she knew that was the only way he'd agree to meet her, and she NEEDED to meet him face to face, she feels that there is a connection, a...bond between them, Lois continues. He didn't- he begins. She waves him off. There's no need to put on any masks anymore, he can be his true self around her. She's here because she wants him to tell her---no, SHOW her, everything about that night, Lois continues breathlessly. She seems to be getting turned on as she speaks, but she exhales sharply as she finishes her last sentence, betraying a nervousness underneath her bluster of passion. This nervousness passes almost immediately, and James is too distracted to notice the subtle inconsistencies in Lois's demeanor. What kind of a sick fucking fantasy is this?! James asks incredulously. It's no fantasy, it's what she came here to share with him, Lois says. No, he can't do that, James says, shaking his head. Please!, Lois says fiercely, grabbing at his shirt. She needs to know!, Lois says feverishly, practically banging on his chest. He pulls her hands away from him. Stop this!, he says, resisting. 'SHOW. ME.' she enunciates firmly, bringing her face inches away from his. He can't resist anymore. 'Is this what you want?! Is THIS WHAT YOU WANT?!' James yells, ripping her blouse open roughly, the buttons hitting the floor. 'Yes, oh god yes,' gasps Lois.

As he tears her clothes off and buries his face hungrily in Lois' pink pussy, Stinson unleashes his inner-maniac. Will Lois get more than she bargained for? Maybe...but what James doesn't know is that Lois has a secret of her own...

WHY ARE YOU DOING THIS!?
SADISTIC BOYFRIEND MAKES GIRLFRIEND SEDUCE HER STEPMOM UNDER THREAT OF EVICTION

Scene opens on Alison (Emma Hix), who is in her living room, pacing nervously. She is clearly worried about something. She hears a knock at the door and hurries to answer it. Her boyfriend Bradley (Lucas Frost) is there. He greets her, kissing her on the cheek as he walks into the house like he owns the place. He loudly sits down on the couch and puts his feet on the coffee table obnoxiously. So tonight's the night huh?, Bradley leers at Alison. 'I don't think I can do this,' she says worriedly, still standing. Baby, come here, he says, motioning for her to sit on the couch next to him. When she moves to sit down, he instead grabs her around the waist and pulls her onto his lap. She lets out a surprised gasp. 'Baby, you know I love you right?' he asks smoothly. She says 'yeah' quietly. And he's not making her do anything she doesn't want to do, right?, he says. It's her choice, but she knows what's going to happen if she doesn't do it, he continues, raising his eyebrow. Her eyes go wide as she stares at him, frozen. 'I don't want that to happen, but if you don't do what we agreed on, I WILL make sure it happens', Bradley says icily. But don't even worry, she's going to love it, he adds. She nods, still extremely nervous but clearly acquiescing to his demands. He looks her up and down like she's an object he's appraising. 'You look like a nice little slut,' he says, his formerly kind tone completely replaced by one that is vaguely sinister. He kisses her hard. 'Are you my little slut?' he asks her. Yeah baby, she responds. 'And you're gonna eat her fucking pussy right, aren't you?' he asks, reaching around and grabbing her ass. 'Yes baby,' she says, gasping. 'Fuck yeah you are...and I'm gonna watch you do it,' he says. Just then, they hear a key being inserted into the lock. 'And there she is now. She has no idea what we have planned for her tonight,' he says, a sleazy grin plastering his face. The door opens and Connie (Sarah Vandella) walks in. Immediately, Bradley separates himself from Alison and his sleazy grin transforms into a polite and welcoming smile. Connie smiles and says hello. 'Hi...Mom,' Alison says.

CUT TO TITLE PLATE

Cut to the dinner table, where the three have just finished eating dinner. 'That was delicious, Connie,' Bradley says. 'Oh thank you Brad,' Connie returns his grin. 'It's Bradley,' he corrects her, the agreeable and positive image he projects faltering for a moment as an edge of anger creeps into his voice. Oh, she's sorry, she forgot, Connie says, somewhat taken aback by the glimpse of what lies beneath Bradley's surface. That's ok!, Bradley says, flashing her a charming grin as he snaps back to his friendly appearance. Alison seems distracted, perhaps focused on the task that lays ahead of her. 'And how's the house? Everything good here?', Bradley asks, waving his hand around the room. Connie tells him that it's wonderful and thanks Bradley again for everything he's done. It was so tough after the accident, with her husband gone...and of course she couldn't work anymore...,Connie says sadly. Bradley nods, pretending to be sympathetic. So when Bradley came along, she was just so happy that Alison had someone, Connie continues. And then he arranged for his dad to help them with this place...Connie continues. 'You've really been a godsend,' Connie says to Bradley, smiling warmly at him. Oh it's really nothing, Bradley says with false modesty. 'It's not nothing. There's no way we'd be able to afford this place if your dad didn't own it and hadn't given us a discount on the rent,' Connie says appreciatively.

'It's no problem at all,' he says, with a faux sweet smile. 'Anything for my girl,' he adds, kissing Alison on the cheek but then leaning in close to her ear and whispering 'Do it now.' Alison looks at Bradley pleadingly. Connie begins to clear her plate, putting her napkin and cutlery on it, so is too distracted to see the exchange between Connie and Bradley. Bradley, through gritted teeth, motions her to get on with it. Alison takes a deep breath. 'Mom...there's something I wanted to talk to you about...something...private,' Alison says hesitantly. Sure, what's going on honey?, Connie asks brightly. Well..., Alison clears her throat, trailing off. Bradley, playing his part, steps in. Why don't they go to Connie's bedroom, where they can speak privately and he can wash the dishes while they talk?, Bradley suggests. That's so nice, thank you Bradley, Connie says. Connie and Alison get up and leave the room. Bradley pretends to shuffle the dishes around, watching Alison and Connie as they leave. He listens for a moment, and once he's satisfied that they're in Connie's bedroom, he leaves the kitchen. Cut to an over-the-shoulder shot of Bradley as he quietly creeps down the hall, arriving at the open door of Connie's bedroom.

We see Alison and Connie talking as he watches. They are sitting on Connie's bed together. So what is it honey?, Connie asks. Alison is frozen in nervousness. 'I've been having these...thoughts lately Mom,' Alison says, looking up at her mom. What kind of thoughts?, asks Connie. 'Thoughts about...you,' Alison says slowly. 'Thoughts about me? What does that mean exactly?' Connie asks, a little wary. 'I've just started to...look at you differently. I mean, you're so...beautiful,' Alison says. 'I just....I think I love you,' Alison says. 'I love you too honey. Even though I'm not your biological mom, you don't ever need to doubt that,' Connie says tenderly. 'No no I mean...I'm IN love with you,' Alison says. Here we go, Bradley whispers to himself, fondling his crotch in anticipation, seal the deal baby.

'Oh my god,' Connie says softly, her mouth wide in shock. 'I know I'm your stepmom Alison, but for all intents and purposes, I'm still your MOM, and there are boundaries that mothers and daughters don't cross,' Connie says patiently and firmly. 'You do understand that, don't you honey?' Connie asks. 'I know Mom, I'm not a kid. I'm 18-years-old, I get how these things work, but I just...I can't deny how I feel. I had to tell you: I want to be with you,' Alison says, putting her hand on Connie's knee. Oh no, no Connie laments, they can't do this, it's completely inappropriate. Connie softly removes Alison's hand from her leg. 'I know how lonely you've been since my dad died,' Alison says, sliding her hand under Connie's skirt between her legs. Connie removes Alison's hand from under her skirt. 'Alison, stop this right now! What's gotten into you?! Your boyfriend is right downstairs!' Connie says fiercely. 'I don't care,' Alison whispers desperately and again slips her hand between her mom's legs. Despite her misgivings, Connie is clearly thirsting for human touch and doesn't resist this time. She gasps as Alison rubs her pussy while she kisses Connie's neck. However, she seems just about to come to her senses and push Alison away when seeing this, Bradley chooses this moment to make his entrance, pretending that he just stumbled upon the scene by accident. 'Just wanted to---oh my god!,' he exclaims.

Connie snaps her eyes open, abruptly moving away from her daughter. Connie looks horrified. Alison doesn't look surprised to see Bradley since this was all part of the plan. Connie exhales loudly, smoothing out her skirt. 'Bradley this isn't---' she stammers. 'Oh please. I know exactly what this is,' he says with a smarmy tone and plops down into the chair that faces the bed. 'Carry on,' he says with a dismissive wave of his hand. 'C-carry on?! Nothing was happening, I swear to you Bradley, we were just talking and then suddenly...,' Connie says frantically. Bradley insists that he knows what he saw. Connie and Alison are going to get back to what they were doing when he came in, Bradley says. 'And I'm going to sit right here. And I'm going to watch,' Bradley says. 'Just like we talked about, right baby?' he asks Alison. Alison doesn't answer, instead looking down at her lap, deeply ashamed. Connie looks at her daughter. 'You...knew about this?! So all that talk about being in love with me,...that was all to get me to do this with you...for HIM?!' she asks Alison. Alison looks up from her lap to her mom. 'Please Mom I--,' Alison begins, but Bradley cuts her off. Fucking right she knew about it, he wanted them to put on a little show, so he told Alison that she needed to make it happen, Bradley says. 'And Alison does what I say. Because she knows exactly what the consequences will be if she doesn't,' Bradley says threateningly. 'You're disgusting, get the fuck out of my house!' Connie yells at Bradley angrily.

Well, he guesses he'll have to tell her about those consequences then, Bradley says. 'You see, that's just it. This ISN'T your house,' Bradley says calmly. Connie's brow furrows as she contemplates the implications of his question. 'That's right, it's not, it's my father's property,' Bradley continues. And his father loves him very much, so if Bradley asks him to, he'll evict Connie and Alison so fast that it'll make their fucking heads spin, Bradley says. 'So I suggest...that you both...Take. Off. Your. Fucking. Clothes,' Bradley says menacingly. There is a long silence. 'You seemed so...nice,' Connie says, almost to herself as she shakes her head in disbelief. He is nice, he just gets...bored sometimes, Bradley says absently. 'You're doing this because you're BORED?! How can you be so cruel?' Connie asks softly, horrified. Who knows really?, Bradley asks rhetorically. Maybe it's because he's rich and entitled?, or because he likes being in control?, or because his mommy left him when he was a little baby?, Bradley asks gleefully, mock crying as he mentions his mommy. Or maybe it's just because...why the fuck not? laughs Bradley sadistically. 'So you have a choice: Are you going to hit the sheets or hit the streets?' Bradley asks. 'Hit the streets or hit the sheets? That's pretty good huh? I came up with it while I was driving over here!' Bradley laughs. So what's it gonna be?, he asks, his laughter stopping abruptly. Connie looks at Bradley with pure rage and terror. Realizing that she only really has one option, she turns to Alison. She puts her hand on her daughter's knee and leans in reluctantly for a kiss. 'No, stop. I need to hear you say it, otherwise, it's no fun. Is this what you want?' Bradley asks. Yes, Connie says quietly through gritted teeth. Yes baby, Alison says numbly. 'Good choice,' Bradley says. 'Now, Connie? Fuck your fucking slut daughter please,' Bradley says evenly. Flashing Bradley a look of hatred, Connie turns to her daughter. They begin to kiss and Alison slides down between her mom's legs, slipping her panties off. Alison licks Connie's clit hungrily as her mom gasps, unable to conceal her pleasure while Bradley watches.

But they'll find out soon enough that Bradley wants to do a lot more than just watch, and Bradley ALWAYS gets what he wants...

AND ALL THROUGH THE HOUSE
UNHINGED MALL SANTA GETS BACK AT EX-BOSS BY FUCKING DAUGHTER

Larry (Derrick Pierce) is being escorted down a hallway by security. He is wearing a Santa Claus outfit. He is nervous as he tries to make small talk with security, asking if they've finished their Christmas shopping yet, but he's ignored.

There is not a smile to be seen on Mr. Willis's face as the mall manager directs Larry to take a seat, gesturing to the chair across from the desk. Larry tries to start with small talk, spotting the framed picture of Mr. Willis's teenage daughter, Carrie Ann (Emily Willis), on the desk. He smiles and asks Mr. Willis how the daughter's doing? She just turned 18 a few weeks ago, right? Mr. Willis curtly responds with 'Yeah, she's 18, but I don't see what that has to do with anything,' and rotates the picture away from Larry, seemingly eager to end the conversation there.

Mr. Willis sternly tells Larry that he's been called in for more pressing matters. There's been a lot of complaints about his behaviour, particularly around female teenagers... Larry looks anxious as he watches Mr. Willis leisurely suck on a candy cane. He tells Mr. Willis that you can't believe anything that teenagers say, really -- they lie! He's sure that some of them were even purposely trying to get a rise out of him! He's been doing a GREAT job! The little ones love him -- there's no denying that. Their faces light up so much when he asks them what they want for Christmas...

Mr. Willis is not moved by Larry's attempts to sway the manager. The manager firmly asserts that they can't keep Larry as a mall Santa for any longer. It's a family establishment and the mall is not going to risk a scandal for some replaceable loser.

Where's Mr. Willis's Christmas spirit, Larry insists, begging for sympathy. Has has a family to provide for, too. It's right before Christmas! The boss tells Larry again that he needs to leave immediately. If he doesn't, Mr. Willis has no issue getting the cops involved.

'Oh, what, the MALL cops?' Larry mocks. He then tries to attack Mr. Willis, but the same security guard grabs him. Larry argues and shouts the whole time as he's dragged out, looking more and more unhinged, telling Mr. Willis that they're going to pay.

TITLE PLATE

CUT to outside later that day, when Mr. Willis returns home from work. When Mr. Willis is gone, Larry emerges from the backseat of the car with a crowbar.

Larry is decked in his full Santa suit except the beard, Larry himself looking slightly dirty and disheveled, and is slowly dragging a crowbar at his feet as he approaches Mr. Willis's house. He sees Mr. Willis and Carrie Ann through a front window. They look happy as they hang the last few decorations on a Christmas tree. They are talking to one another but we only see their lips moving. Carrie Ann is the main focus now, looking so cute and innocent in her Christmas PJs. Now he just has to wait...

When it becomes dark, Larry makes his move. To his surprise, the door is left unlocked and ajar, so he lets himself inside. He carefully creeps through the house, his eyes lingering on anything Christmas-related that paints the household as happy and normal. He stops by the Christmas tree and plucks a candy cane off a branch. Larry then continues stealthily through the house. He pauses briefly as he sees Mr. Willis sleeping in his bedroom, then continues on.

He still has his crowbar with him the whole time, lightly smacking it against his palm or tapping it against his leg as he walks. He continues down a hall, then reaches a door with girly decorations on it, which signals that it belongs to the daughter. He seems to deliberate for a moment - continue down the hall, or change his plans? - then seems to have a change of heart and turns, slowly opening Carrie Ann's door.

Carrie Ann is in a state of deep rest tucked away in bed and is wearing Christmas PJs. Larry slowly approaches her bed, setting the crowbar quietly down. He looms menacingly over her, gazing over her body with the male gaze POV as he slowly pulls down her blanket to get a look at her full body. Even though she's wearing innocent PJs, her shirt's pulled away from her shoulder a bit, showing bare skin. His gloved fingers twitch with anticipation as he slowly reaches out as if to touch her, though he doesn't quite.

She stirs, groggy and disoriented, seemingly confused about the presence of someone else in her room, though she can't see clearly. She rubs at her eyes and sees Larry, squinting at him. 'Santa? Wait, am I dreaming?' she questions. Larry shushes her, saying, 'Yeah, sure, sweetheart. This is a dream, why not?' Now that she's up, he sits down on the bed beside her and runs a hand over her leg, telling her that Santa came to check up on her. She's still a bit groggy and trying to get her bearings. If this is a dream, why does he have a crowbar? Larry pauses a moment and mentions that Santa had to do some emergency repairs on his sleigh, so... Even as he says this, he moves closer to her, being slow and methodical. Although Carrie Ann lightly tries to back away into the bed's headrest at first, admitting that this is a really weird dream, she tells Santa that she thought he'd look... different. He looks... handsome. Larry gives a sleazy disgusting grin and says Santa likes how she looks too in her cute little PJs.

She asks why Santa's here and not downstairs - he tells her that her parent Mr. Willis has been very bad this year and is on Santa's naughty list, but he wanted to give Carrie Ann the chance to prove she belongs on the nice list. Carrie Ann mumbles groggily that she wants to be on the nice list. Larry says that that means she has to do what Santa says, does she understand? Santa has a very special present for her this year but only if she behaves...

Nominated - Best Three-Way Sex Scene - B/B/G: Emily Willis, Charles Dera & Danny Mountain, AVN 2020

Nominated - All-Sex Release of the Year, XBIZ 2020

Nominated - Best Sex Scene -- All-Sex: Emily Willis, Charles Dera & Danny Mountain, XBIZ 2020

Nominated - Best Cinematography, XBIZ 2020

Nominated - Best Art Direction, XBIZ 2020

'Being your slave, what should I do but tend
Upon the hours and times of your desire?
I have no precious time at all to spend,
Nor services to do till you require.'
- William Shakespeare

THE DATE

We watch a beautiful young woman (Emily Willis) in her apartment getting ready for the evening. She showers, lotions up her body, puts on expensive perfume, and dresses -- first into expensive black satin lingerie, stockings, garters, and heels and then slipping into a beige rain jacket. She looks like she just walked off a runway. The camera voyeuristically watches her, almost like a reverse striptease.

CUT TO the woman, in her jacket, bare legs and heels, as she exits her building and steps into a black town car. A man waiting for her shuts the door and gets into the driver seat.

CUT TO a car mount shot, looking in at the silent driver in a black suit and ray bans, and the girl who sits in the middle of the back seat. To her right is a very handsome man (Danny Mountain) in an expensive suit. A second man (Charles Dera), equally handsome and dressed the same, sits on her left.

CUT TO the road. As they drive, the man in the back asks the woman if she is ready. Obediently, she says 'yes.' He asks if she will give herself over completely. She says 'yes.' He strips her out of her jacket, exposing her bare skin. She quivers. He takes a brown paper bag and puts it over her head, before holding her arms to keep her still. They ride for a moment with her body writhing. The men look cool and collected, staring straight ahead. All you can hear are the light gasps and moans from the submissive woman as she is being driven, eagerly awaiting what's to come.

'My only submission is complete submission.
I will kneel before you, naked and unashamed,
My eyes down, my chin up.

'I will do as you say and be rewarded.
Always saying please and thank you,
Accepting my punishments like a good girl,
Never touching myself until you have given permission,
And always swallow, never spit.

'I will surrender to your will
And always remember who I belong to.'

What Happened To My Sister?
BROTHER COMES HOME FROM TRIP TO DISCOVER STEP-SISTER IS FUCKING DAD

SCENE opens inside a taxi cab, as it pulls to a stop. A young man named Rick (Small Hands) stands waiting on the curb, his backpack and a gift bag in hand. He has just arrived home from a trip across the US to 'discover himself,' as his father (Steve Holmes) puts it. He gets inside the cab. After giving the address and setting off, Rick and the driver small talk about his trip along the way: places he went, things he saw, and where he's headed now -- back home to his family before starting a job at his father's company in the fall. The driver makes a joke about having to go home to mom and Rick laughs. No, no mom. It's just his dad, his dad's wife, and his step-sister Josie (Jill Kassidy). He really missed her, and it was just her birthday, so he is excited to give her the gift he found on his travels! The taxi driver says that it's always good to be a big brother while Rick stares off into the distance.

When he enters his home, he is surprised to find it empty. He calls out to his dad, to Deena, his dad's wife, and to Josie. But nobody replies. Mildly concerned, he walks through the house until he starts to hear sounds coming from his father's bedroom. Assuming it's his father and step-mom, he makes a face and turns to leave when, suddenly, he hears his step-sister's voice. 'Daddy .... Daddy please,' she moans from behind the door. Rick freezes. In horror, he slowly opens the door to reveal Josie bent over the bed being penetrated by his father! The father grunts and thrusts as Josie takes him all in, moaning with pleasure and calling him daddy. Rick can't believe what he is seeing ... yet he can't look away. Where is his step-mom? What the fuck is his dad thinking? He spies on them for a few moments, trying to take it all in, when suddenly Josie makes eye contact with him. The step-siblings stare at each other. But, instead of reacting, Josie just keeps getting fucked until Rick feels so uncomfortable that he turns away and storms out of the hallway.

CUT TO TITLE PLATE

Rick sits, arms folded, on the couch when his father enters the room. 'Son,' he exclaims, surprised. 'I didn't realize you were coming home today.' He tries to give Rick a big hug, but his son is standoffish. 'Where's Deena?' he asks curtly. His father makes a face, struggling to think of how to respond, when Josie enters the room. Acting normal, she rushes up and hugs her big brother, giving him a kiss on the cheek and saying how much she missed him. Is that gift bag for her?! He pulls away. 'Where's Deena?' he asks again accusingly. Josie and his father exchange knowing looks before his father smiles and pats his son on the shoulder. 'A lot has happened while you were away, son,' he says.'Josie has made a lovely dinner! How about we all sit down and talk about it like a family?'

CUT to Josie putting a bowl of pasta on the table, as Rick's father tries to engage his son in awkward small talk about Deena. Josie takes out some napkins and unfolds one in her step-father's lap, her fingers grazing his crotch, which makes Rick snap. 'Are you fucking kidding me? Sit down!' Josie slumps down meekly while Rick's father bites his lip and struggles to keep calm. He tells his son that, after much consideration, he and Deena have decided to separate. 'Why?' Rick asks. 'Does it have anything to do with the fact you're fucking my little sister?' He yells, standing up. Josie begs him to sit down. 'Josie is your step-sister, Rick,' his father corrects him. Did the father even wait until she was 18? Yes, of course he did. They both agreed to wait until she was a grown woman. They love each other!

Rick looks at his sister and asks how she could betray her own mother like that? How could she destroy their family like that? How could she do this to him? Josie, who has been growing emotional throughout the entire fight, ends up storming out of the room in tears. The men are left alone to stare at each other. Rick's father looks very disappointed. 'Are you happy now, making your sister cry? She and I have chosen to be together. Whether you like it or not, this is our family now!' He storms off too, leaving Rick alone. He can't help but feel guilty for making his sister cry.

CUT to Josie's bedroom. She lays hugging a pillow when Rick knocks on the door and asks to come in. He is holding the gift bag which he gently rests on the dresser. At first, she gives him the cold shoulder, but crumbles as soon as he sits down beside her to apologize. She buries herself in his arms and pleads with him not to be mad at her. It's been a very overwhelming summer and he doesn't know how many times she just wished he had been home to help her through it. Rick asks Josie to explain what's really going on. It seems as if he's come home to a madhouse.

Josie wipes her eyes and tells him that, over the past few months, things between her and her mom have been bad. She kept getting jealous of Josie, especially the way his father looked at her. She began to accuse Josie of being flirtatious and trying to steal her man. Finally, it got to a point where Josie was so angry, she decided to just do it. To prove a point. Rick's father has always been pushover, it didn't take much to get his dick out. Then one day, Deena walked in on them having sex. It was a joke. 'But Deena didn't take it as a joke, did she?' Rick asks. Josie shakes her head. 'I thought it'd be funny! I didn't think she'd actually leave us,' she replies. 'It doesn't sound very funny to me,' Rick says as he puts his head in his hands. 'So, are you in love with my dad?' He asks. She shrugs. 'I mean, I love him. He's like my dad too.' She nudges closer to her step-brother. 'But I really just want to stay here so I can be close to you!'

They look at each other, their lips inches apart. Rick shakes his head and tells her that he is feeling very fucked up. Although he feels betrayed, with the way she gazes at him pleadingly, something wells up inside of Rick. He finally jumps her, unable to contain his feelings for her any longer -- no matter how angry he is.

THE LOVE HOTEL
ROBOT SELF-DESTRUCTS AFTER A NIGHT OF SEX WITH HER CLIENTS

SCENE opens on a dark bathroom. From a birds-eye angle over the tub, the lights in the room turn on as a woman known only as unit #30562 (Emily Willis) floats in the milky bath water. She opens her eyes, calmly getting out of the tub and drying herself off. She has a perfectly proportioned body. She walks over to a large mirror and, pressing her fingertips in the lower right corner, causes the mirror to illuminate before it turns into a smart screen. A message pops up, thanking unit #30562 for signing in. 'Are you ready for your next shift?' The mirror asks in a soft female voice. #30562 says yes and the screen loads her itinerary for the evening. It explains that her first guest will be a returning client: John Doe, 57 years old, solar sales manager, 6'0'' tall, 165 lbs, brown hair, blue eyes. His kinks include school girls, anal sex, ass worship, rimming, ATM. Past crypto tips include 8000 tokens: extra rough, 10000 tokens: novelty take home, and 500 tokens: kissing on the mouth. Accept client? 'Accepted,' says #30562. As the smart screen processes the order and a confirmation appears, the door buzzes.

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#30562 opens the door and John Doe (Steve Holmes) enters, breezing into the room in a silver bomber jacket and matching wraparound mirrored glasses. He looks her up and down lustfully before pulling out a card and inserting it into the reader. A hologram screen pops up and confirms that the tokens have been accepted. #30562 takes a deep breath, puts on a big smile, and guides John over to the bed. She bends over, and he buries his face in her perfect ass, before sliding his cock inside her tight hole. After he pulls out and cums on her ass, she asks if he would like to kiss and he eagerly agrees. The room flashes green and replies to confirm the extra gratuity. They make out for a few moments before John Doe happily puts his clothes back on and leaves the room.

#30562 goes back to the mirror and stares at herself for a moment, emotionless. She presses the tips of her fingers against the glass and the smart screen wakes up. It explains that her next guest is also a returning client: Richard Roe, 30 years old, space tourism guide, 5'10'' tall, 170 lbs, auburn hair, blue eyes. Kinks include rough sex, breath play, collaring, fisting, and golden showers. Note from management: client is limited to rough sex after last session resulted in damages. Accept client? 'Accepted,' says #30562. As the smart screen processes the order and a confirmation appears, she stares at herself blankly and the door buzzes.

CUT to the door opening. Richard (Charles Dera) enters briskly. He backs #30562 in a corner and places his hand around her throat, his lips curling up in a sneer to reveal shiny gold teeth. 'Remember me?' He growls. She smiles and advises him to scan his card. The man backs off slowly, places his card into the reader, and a hologram screen pops up to confirm his tokens have been accepted. #30562 takes a deep breath and walks over to him. He hoists her over his shoulder and goes to the bed. Throwing her onto the bed, he licks her tight pussy, getting it nice and wet before he fucks her hard. At a certain point, he is about to pee on her when the room flashes red and reminds him that this activity has been blocked. Frustrated, he shoves his dick back in #30562's pussy and keeps fucking her till he pulls out and cums on her face. While the woman catches her breath and wipes the cum from her eyes, Richard gathers his things and leaves without a word.

When #30562 stands up, she finds herself very dizzy. The room beeps red and instructs her to return to her charging station. She crawls to a corner of the room and stands on a white platform to recharge. As soon as her feet plant on top of the station, she becomes still while her body powers up.

CUT to an hour later. #30562 is still charging, eyes closed, when the door buzzes. She opens her eyes and steps off the platform, walking to the mirror in the bathroom to accept the next client but discovers the screen is off. The room buzzes again. #30562 goes and opens the door anyway. A naked woman (Penny Pax) steps inside, clutching a holographic bag. #30562 has never seen another woman before and she is awestruck. 'Please scan your card here...' she says to the woman. The woman looks at her for a long time and feels #30562's face, trying to hold back tears, before reaching into her bag and pulling out a coin. 'Is this accepted?' She begs. #30562 takes the coin into her hand and stares at it. She's never seen anything like it before. She places it on the counter beside the card reader. 'What would you like to do to me this evening?' She asks the woman. Biting her lip and trying to contain her nervous energy, the woman reaches back into her bag and pulls out a shiny silver dildo. 'I want you to fuck me as hard as you can.' She says. #30562 takes the dildo and puts on a big smile, leading the woman to the bed. Unit #30562 may be programmed to please, but this latest client of The Love Hotel is not who she seems, and by the time she's done with #30562, the sexbot's world will never be the same.

DAUGHTER SLUT-SHAMING
FATHER DISCIPLINES BRATTY STEP-DAUGHTER FOR HAVING SEX WITH STRANGERS

SCENE OPENS on a vestibule in the early hours of the morning, where 18-year-old teen Veronica (Emily Willis) is trying not to make any noise as she sneaks through the door. After a night of partying, evident by her slightly disheveled look and party clothes, the teen is being careful not to wake her dad. She holds her heels in her hands to make less noise, and starts tiptoeing into the hallway. She makes her way into the kitchen, where she grabs some headache pills for her already developing hangover. Rounding the corner, she's shocked to see her stepfather Hugo (Steve Holmes), holding a cup of coffee. He has a stern look on his face and a rigid posture. Veronica is embarrassed to have gotten caught but tries to play things cool -- 'hi daddy,' she says sweetly, 'uhh, how long have you been up?' He says long enough to see that she didn't rest in her bed last night. She tells him that she was studying at a friend's house and slept over. Skeptical, he picks up the bottle of pills, saying that apparently math gives her a headache. Veronica sticks to her story, but Hugo isn't having it, and slams the pill bottle onto the counter angrily as he demands to know what's going on. Reluctantly, Veronica admits that she was out late at a party.

Uncomfortably, clearly not eager to say what she has to say next, she says that she needs a ride to the pharmacy. He asks what for. She winces. She confesses she needs to buy some morning-after pills -- she got a little wild at the party today. Hugo takes a deep breath, trying to keep his cool. Who was the boy? Veronica is very nervous, and admits she doesn't exactly know... some guy at the party, she didn't get his name. Hugo looks furious, and starts yelling at her - she lost her virginity at a party to a complete stranger?! That's incredibly irresponsible! Veronica begrudgingly corrects him, 'well.... not exactly... I sort of... well, I didn't lose my virginity tonight, that is.' Hugo looks at her stone-faced and incredulous. 'How many times have you had sex?!' he asks. She turns her head and doesn't answer. He grabs her by the wrist and insists she looks him in the eye. 'How many guys have you slept with?!' he repeats. Humiliated and close to tears, she reluctantly meets her step-father's glare. 'I've sort of... lost count.' Something snaps inside Hugo. He takes a deep long angry breath through his nose, and then exhales. He grips Veronica's throat and starts walking away, pulling her along with him. She resists being pulled -- 'what are you going to do to me, daddy?!' she cries out. Throwing her onto the living room couch, he leans in menacingly. 'I'm going to treat my step-daughter like the slut she is.'

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Standing above her, he looks her up and down for a moment. He tells her that she's been acting like a brat so he's going to treat her like one, and discipline her just like when she would act bratty when she was younger. He asks patronizingly if she remembers what that means. 'You want to SPANK me?!' she says in alarm, shrinking from his angry glare. She's 18 years old now, she pleads, he can't do that anymore, she's an adult. It's weird. It's GROSS. Hugo argues back, she certainly isn't acting like an adult. She's acting like a brat who needs to be taught a lesson. If she wants to live under his roof, she has to abide by his rules. She does want to keep living under his roof, right? Reluctantly, she says yes. She doesn't want to be kicked out, right? Begrudgingly, she answers back no. Then she's going to do what he says, right? Through gritted teeth and holding back tears, she says yes, she'll do whatever he says.

He tells her to take off her pants, it's time for her punishment. He instructs her to turn around. She does, and we watch from a male gaze POV as she takes off her pants slowly and reluctantly. She looks back at him with a betrayed look before also taking her panties off slowly. She stands there for a moment uncomfortably. Finally, he coldly instructs her to come bend over on daddy's lap.Lying across her step-father's lap, ass up in the air, Veronica winces and braces herself for the spanking. Hugo starts first by taunting her, rubbing his palm in circles across the circumference of her ass for several seconds, before starting off with a sharp smack. Veronica lets out a yelp from the pain. He rubs more circles with his palm before slapping the other cheek once as well. Incredulous at the size of her skimpy panties, he rips them off and proceeds to mercilessly spank his daughter while she begs for his forgiveness. He is cruel and taunting, insulting her while expressing his disappointment in her. He tells her that her mom would be appalled if she was still with them. He tells her that he didn't raise his daughter to be a disgusting slut and demands to know how many men she's fucked, spanking her ass hard for every man she's been with.

As he spanks her furiously, Hugo spreads her ass cheeks and repositions her legs to get better views of her pussy and asshole on his lap. At this point she feels something hard pressing into her body, and squeals with disgust 'Ew, are you hard right now, dad?!' She struggles on his lap and protests that it's sick that he's getting hard from spanking his own daughter. He hasn't gotten laid since her mother died, and he could use a warm hole. Hugo tells his step-daughter that she's going to be his warm hole now, whipping out his hard dick. Veronica is shocked -- no fucking way! He's taking it too far, it's disgusting. Hugo points out that just earlier, she was asking him to treat her as an adult. What could be more adult than fucking? She starts to protest, but he reminds her that she should think twice about standing up to him if she still wants a home to come back to after her nights of partying. Hurt and reluctant, she asks what she has to do, and begrudgingly agrees to do it. Veronica's about to find out that her stepfather is just getting started shaming his slut daughter.