Billy, a young man (Jerry Butler plays a strictly dramatic role, which he pulls off quite successfully), enters a small-town bar in the heart of America, where the bartender immediately strikes up a conversation with him, telling him the story of the Blair family, whose mansion is steeped in all sorts of legends, especially those related to the hypersexuality of its members over the past three generations. When the kid says goodbye, having gathered the information he was looking for, he goes into a phone booth to inform Damiano himself (he asks for "Mr. D") who, in an unusual cameo, then shows us the start of filming for his new movie, of course related to Billy's report on the Blair family. His conversation with Candida Royalle (the other cameo) borders on misogyny and is an example of the prevailing sexism of the time. Impossible loves, toxic romance, sex addiction... these are the pillars upon which Damiano builds a well-written story (perhaps one of his best works, albeit forgotten), well-directed (providing different textures depending on the narrative), and very well-acted (aside from its explicit sexual roles) by a truly brilliant cast that offers realism and drama in equal measure. Even a box office flop from a talent as influential as Gerard Damiano is more important than any of the best works of his lesser contemporaries. At times, it evokes the best of Damiano's work, with purple-prose dialogue (often disturbing in its explicitness) and performances that push the lead actors to their limits. Edwards, as the Blair patriarch, suffers from the affliction of satyriasis, which he passes on to his offspring in the form of nymphomania. The seriousness with which Damiano treats this subject is astonishing, and the three talented actors deliver performances that deserve to be admired.