All language subtitles for EPORNER.COM - [mQpnvPoj11Q] JW, Private Eye (USA 1971, Sandy Dempsey) (360)

My name is Johnny Ward.

I'm a private detective.

It was one of those slow days where
there was very little action, very

money, and very little pussy.

A fog was coming in from the ocean and
settling over the beach.

Everything was dismal and quiet.

Little did I know that in a few minutes,
a phone call would begin the hottest

and most dangerous case of my career.

Hello. Johnny what?

Yes, lady.

Yeah, I'm a private dick.

Right. For hire.

Yes, I'm available.

Girlfriend, huh?

How long has she been missing?

Alright.

Okay. Yeah, I'll be here all day. Come
on over anytime.

See, Mr. Watt, it's my girlfriend.

She's been missing for about a week.

We were supposed to have a very
important luncheon engagement, and she

show up.

And what's her name?

It's Jeannie Hamilton.

Jeannie Hamilton.

And how about her family? Does she have
any?

Well, yes, she has a mother and sister,
but they don't seem to care.

They don't do anything about it.

They haven't called the police after a
whole week?

No, nothing.

That's why I have reason to believe that
she's been kidnapped.

How tall is she?

She's about 5 '4". Do you have a recent
photograph of her? Oh, yes, I do.

Very effective.

You realize, of

course I can find her, but...

I'm going to be very expensive.

Well, money's no object, really.

Let me see.

What about thousands of retainer fees?

I can see we're going to get along all
right.

And you yourself are a

very attractive girl.

Well, thank you, Mr. Watt, but I'm sure
you'd find all girls attractive.

Well, our reputations aren't really as
bad as TV makes us out to be.

Well, I wouldn't know about that. I
imagine you meet a lot of immoral women

criminals lead an exciting life.

Well, not really, but if I had a little
bit of personal incentive, I believe I

could work on the case a lot faster.

Mr. Wong, really, I hardly know you.

That's all right. It only takes a little
while. We can be great friends.

But I don't know.

Isn't that better without having your
coat on?

Yes, I'm still a little nervous.

Well, let me take care of that.

I want something to break the ice.

Give me a little pet.

Oh, nice.

Yeah.

Oh.

Mr. Wodge, you're so big.

Yes, but it feels so good.

I don't know. It might split me in two.

You're not scared.

There's nothing to worry about at all.

I don't know.

Come on, I'll show you. Come on.

I still don't believe it.

Are all detectives this bad?

I don't know. I'm the only detective I
know about.

I hope not. The competition's bad enough
as it is.

You do that so well.

This is my first try.

First try.

Don't you believe me? Yes, I believe
you. Yes.

It's natural talent.

I'm afraid.

So be it. Don't be afraid.

Just relax.

I may be a rough detective, but I'm a
very gentle lover. And I'm

always prepared.

Thank you.

What's so bad is... I don't know.

Yes, sir. Yes.

Now don't you worry about a thing.

You go on home and just sit by the phone
and I'll give you a ring, okay?

All right, I will.

I'll be waiting to hear from you.

And thank you for that little incentive.

My pleasure.

After Ms. Bellamy left, I got on the
phone and started calling some of my

contacts.

One of them, a junkie named Mickey the
Mooch, told me he saw a girl answering

her description last week being pushed
into a black car by a dark -haired young

man. It wasn't much to go on, but it was
all I had. He needed a fix.

He told me he needed some money, so I
told him I'd meet him in a few minutes

down at the marina.

Come in.

Hello. Are you Johnny Wade?

Yes, I am.

Well, I'm Sandy Hamilton.

Oh, are you by any chance related to
Jeannie Hamilton?

Yes, she's my sister. I understand
you're looking for her. I've been hired

find her, yes.

I didn't want you to.

How much did she pay you?

A thousand dollars.

to offer you $2 ,000.

The name is Wad.

I'll take the $2 ,000, but that wasn't
all she gave me.

She gave me some incentive, too.

What kind of incentive?

A piece of ass.

Well, I'm sure I'm much better.

Really?

Were her breasts as beautiful?

Well, no.

That her bird is beautiful?

No, it wasn't.

Now, doesn't that juicy cunt turn you
on?

I want to give you some head. Did she
give you head?

Mm -hmm.

Not as good as I can.

Show me.

You like that, huh?

That's really good.

Did she make you blow your wand, Johnny
Wand?

Mm -hmm.

And if you keep that up, so will you.

Ooh.

More money and better head.

Oh.

You sure know how to tempt a man.

Suck it, baby.

Like that?

Yeah, like that.

I can't believe it.

We're made for each other.

Ugh.

Even rich girls like it dog style, huh?
Oh, yeah.

But we're all bitches.

Oh, come on.

After a few days' legwork and talking to
about five million people, I had it

figured that there's only one person who
could possibly be involved, and that

was Jeannie Hamilton's mother.

I called her on the phone and asked her
to come over.

Although she was reluctant, after some
fast talking, I convinced her that it

important for her to come over and see
me.

Look, Mrs. Hamilton, just between you
and me, I know you're involved in the

kidnapping. So you've got exactly 30
minutes to get your ass over here.

I've never been so insolvent in my life.

After all, this is my own daughter. I
raised her since she was three years

I couldn't possibly do a thing like
that. I love her.

After all, with all these pearls that I
have and all these diamonds and

everything else, why would I do a thing
like that to my own daughter?

Listen, Mrs. Hamilton, there's only one
way it could have been done, and that's

if you would have had her ripped off.
The evidence points that way. The

insurance and the way the will was set
up. You're the only person that could

have had it done.

You and your daughter.

Are you kidding?

Why would I do it? I'm Mrs. Hamilton.

I'm worth millions.

I wouldn't ever think of doing this to
my own daughter. Well, let me put it to

you this way.

After a day like I've had today, One
person comes in and gives me $1 ,000 and

has sex with me to look for your
daughter. Another one comes in and gives

,000 and has sex with me not to look for
your daughter.

I'll tell you what you do.

How much did you say you were going to
offer me?

I will give you $5 ,000.

And what else? Here.

Here it is.

And what else, Mrs. Wendell? Johnny,
what?

And a little head? If that doesn't do
it, well, I'm not so hard to take.

There's always me.

After all, every time I walk down the
street, somebody wants me.

Somebody offers me a lift.

All right, Mrs. Hamilton, give me a
little head.

I'll show you what I can give you.

I'll show you what I can give.

Oh.

That's a nice one.

That's a nice one.

Did you ever have anyone do this to you?

No, but there's only a first.

You're almost as good as someone else I
know.

Oh?

I don't believe it.

Are you sure?

Take that.

What were you saying?

What were you saying?

What were you saying, Johnny Walk?

You're very, very good, Mrs. Hamilton.

I thought I would be.

My husband taught me when I was 15.

After that, his best friend taught me.

And how's that?

This is Hamilton.

You're really not going to turn me in,
are you?

I don't think so, Mrs. Hamilton.

It would be a shame to put you away
where you couldn't do your best good.

I knew I'd make you see the light.

Oh, that's nice.

Shall we take these off?

It makes things so much nicer and
comfortable.

There.

Oh, baby.

Honey.

You weren't really thinking of turning
me in, were you?

If I was before, I'm not now.

Bless you, Annie. Did you ever see a
woman turn herself on with a bottle?

This is what I do sometimes when I'm
home.

Did you ever see such a nice pussy?

Have you ever seen this before?

Sometimes when there's not a man around,
this comes in real handy.

Johnny.

Oh, Johnny.

Do it more. Oh.

Oh, Johnny.

Oh, Johnny.

Oh, Johnny. It's wonderful.

Oh.

Oh, Johnny.

Oh, it fills me up so nicely. It fills
my pussy just nice.

I'd much rather that you were doing it.

I'm coming. I'm coming.

Oh.

Oh, Johnny.

Oh, Johnny.

Oh.

Oh.

Oh.

That's wonderful.

Oh.

Oh,

Johnny.

Promise me something.

What? Promise me that you'll drop the
case.

Well, I, uh... I can't make you any
promises, but I will think about it, all

right?

Well, that's not very good. That's not
good enough.

Jenny, right over here. Just sit down
and relax.

Just tell me, just tell me, what
happened?

This awful man, I went shopping and he
picked me up and threw me in his car and

he took me to a house and he kept me
locked up in his room and every once in

while he'd come over and he'd beat me up
and he raped me and I just don't

understand why he did that to me.

Okay, little rich girl, get down there.

Don't move too much.

Why do you have me here? I've never done
anything to you.

You're going to be here for quite a
while.

As long as necessary. And then... But
why?

It's none of your business. Just shut
up.

You're not bad looking, you know that?

Cute little rich girl like you.

I want to see that body of yours.

Don't move around so much.

Okay?

I'm not going to hurt you. Yet.

Not bad.

Here, take it off.

Shut up.

Beautifully, aren't we?

Who are you? Open those legs.

Who am I?

None of your concern, you little bitch.

What?

Spread those legs.

You'll be sorry.

Sorry about what?

You won't be able to get away with it.

Oh, no?

I hate you.

Yeah, well, I figured that much.

What are you going to do?

Come on.

are getting.

And finally this afternoon, I hit him
over the head and escaped and ran on the

beach. And I'm glad you were there to
rescue me.

What is your name?

Johnny Wad.

Private Dick.

Well, Jenny, I have some bad news for
you.

Your mother had you kidnapped.

My mother?

Your mother.

And that, I can't believe it.

Well, you see, when your father died, he
left the whole estate to you.

With the only stipulation that if you
should die, the whole fortune would go

your mother and sister.

Oh, no, that's too horrible. I just, I
can't believe that, really.

I don't know what to do.

Mr.

Wade, I'm so thankful for you, for
helping.

That's all right, Jimmy.

What can I do to repay you?

Oh, you'll think of something, Jimmy.

Just put your mind to it.

Hmm.

Genie.

That's beautiful.

I was a film student at UCLA.

I worked in plays, directing plays,
dramas, things like that.

Actually, after graduating from UCLA, I
got work in the

industry building sets as a hammer,
which was the only kind of work I could

to get, even with a degree from UCLA in
film.

At that time, there was an adult film
industry beginning, which shot softcore

features. And I managed to get work in
that industry, which was on the fringes

of Hollywood, so to speak, as a
cameraman.

And that's where I started, basically as
a cameraman in the softcore film

business, exploitation film business.

The first movie that I actually directed
was called...

that I put together was called The
History of Pornography.

There was a distributor on Western
Avenue who distributed these softcore

features for the little mini theaters
around the country.

And they were shot in 16mm and 35mm for
the bigger theaters.

But the small mini theater market was
growing that showed 16mm prints.

And so it was just a project.

We put together a bunch of loops, shot
some footage of

hardcore pictures and things like that,
shot at Canyon Films,

offices on Western Avenue, laid the
stills down on the floor, got a 16

-millimeter camera and shot it.

It was a lot of stills. There's a lot of
stills and things like that.

The idea for it came when a Danish
documentary film with

scenes of actual pornography managed to
play theaters.

And so at that time you couldn't really
show explicit sex.

It was pushing the envelope to show
Beaver or, you know, things like that.

And we thought since a Danish
documentary got away with it, if we put

something in the guise of a documentary,
we could get away with it. And we did.

Yes, it was illegal to shoot in L .A.

The consequences were arrest, possible
jail time, especially

if you were a director or a producer.

For the talent, I believe it was a
misdemeanor.

But for the director or producer, it was
a conspiracy charge, which was a

felony.

Conspiracy to commit prostitution or
conspiracy to commit... oral

both of which were illegal at the time.

The exciting things were to stay away
from the law,

so we had to do all kinds of interesting
things to prevent them from knowing

where we were shooting.

We didn't inform the cast or crew where
we were shooting until we actually, you

know, until right before the shoot. Then
we caravaned to the shoot, hoping we

weren't followed.

We picked up shots in the street, you
know, airports, anywhere.

We just took the camera. As long as we
didn't set it on a tripod, we usually

away with it.

And also, you know, when we were
shooting, as soon as a roll of film was

it was out of the house, out of the
location in case.

Because if they do bust you, they have
to have proof of what you were doing.

And if the film wasn't there, they had
no proof. We shot these early films on a

16mm film stock called Ektachrome, which
is a reversal original.

And it's a hard emulsion film stock, so
it allowed us to cut it, edit the

original, which we cut and make prints

directly from the original with an
electro -printed soundtrack.

In those days, ectochrome film stock was
used by

the news, TV news stations, because it
had a high speed

and they could shoot available light
pretty much with it, have very little

supplemental light.

So because of that, because it was used
by all the TV news stations,

there was a lab on Santa Monica
Boulevard.

across the street from one of the major
news stations that processed the stuff

all night.

All day and all night, their lab was
running, processing the news footage.

And so when I finished the porno film, I
just took it to the lab, and they

tacked it on to the end of the news
footage and ran through the processor,

an hour or two later, I had my film.

If I had to name a favorite of my films,
it's one that the critics least liked,

and that was a film called Tropic of
Desire, which was set in a

whorehouse just outside of

Honolulu around the end of World War II.
I really liked that.

Nobody else did, but I did.

There's a fight scene in it, though. Is
that right?

I had a couple of stuntmen from Los
Angeles up there watching the shoot, and

said, hey, let's do a fight scene.

It wasn't in the script.

So we worked it in really quickly, and
they choreographed it for me, and it was

good. I mean, you know, it's the end of
World War II.

Soldiers and sailors together in a
whorehouse don't mix.

And I just loved it.

We had a lot of fun.

John, how I first met John.

John came into the office I had on
Western Avenue looking for work as a

crewman.

But I told him, we already had our crew.

We're pretty set with the crew.

which was about three people, including
me.

Myself, a sound man who also held the
boom, and a cameraman. That's all it

to shoot a film in those days.

So John said, well, I'm also an actor.

And I said, well, I took one look at
him.

He didn't look like much to me.

So I said, okay.

Here, my partner, Alain, who did the
camera work, the shooting for me, will

interview you. So Alain took him into
the main office, and I went back

to editing the film I was working on.

And then Alain comes out, taps me on the
shoulder and says, you ought to take

a look at this.

You ought to take a look at this guy's
cock.

And I said, that's the last thing I want
to do right now. Take a look at

somebody's cock.

And he says, no, no, come on.

So I went in the office, and sure
enough, what I saw surprised me.

And I immediately got the idea for a
detective film I'd been wanting to make.

You know, private detective, film noir
type thing.

And so I said, hey, let's put him in the
next one.

And I could do this idea I've had all
this time.

So we set him for the next shoot, which
was, I believe, we were shooting it on

Sunday.

And I got an envelope and wrote the
script for the first Johnny

Wadd film.

My name is Johnny Wadd.

I'm a private detective.

It was one of those slow days where
there was very little action, very

money, and very little pussy.

A fog was coming in from the ocean and
settling over the beach.

Everything was dismal and quiet.

Little did I know that in a few minutes,
a phone call would begin the hottest

and most dangerous case of my career.

We tried to make Johnny Watt different
from most of the product that was coming

out at that time by having some kind of
a story to it.

Not much of a story. Obviously, for a
film shot in one day for $750,

I mean, how much story can you get?

Mr. Wade, I'm willing to offer you $2
,000.

The name is Wad.

I'll take the $2 ,000, but that wasn't
all she gave me.

She gave me some incentive, too.

What kind of incentive?

A piece of ass.

Well, I'm sure I'm much better.

At that time, our method of shooting was
not to write scripts and hand out

scripts. It was just, you know, we had
the scene set up, I knew the situation,

and then we told the actor, well, you
say this.

And then the girl, you say this.

And you say this, and you say this. And
they pretty much remembered.

And that was it. That's how we did it.

So, you know, on the back of one little
envelope, we had the whole script for

the first Johnny Watt movie.

After Miss Bellamy left, I got on the
phone and started calling some of my

contacts.

One of them, a junkie named Mickey the
Mooch, told me he saw a girl answering

her description last week being pushed
into a black car by a dark -haired young

man. It wasn't much to go on, but it was
all I had. He needed a fix.

He told me he needed some money, so I
told him I'd meet him in a few minutes

down at the marina.

Well, I believe we met John on Friday,
and we shot him on a Sunday, so,

you know, pre -production was almost
nil. Getting the rest of the cast

together was, you know, just took a few
phone calls.

In the original Johnny Watt, I know
Sandy Dempsey starred in it.

I believe Andrea Bellamy was in it.

In those days, the girls were happy to
receive $50 for a day's work.

John, on the other hand, didn't want
$50. He wanted $75, which we found out

he got to the set.

I'd already hired him, already set it,
so I had to pay him $75.

It threw me over budget by $25.

I tried to keep the drug use on my set
non -existent, but, of course, it's

pretty much impossible.

I really never had any problems with
drugs on my set.

Everybody knew how I felt about it.

And John was fine until maybe the last
film I did with him,

Prisoner of Paradise, a Gail Palmer
production. He and Gail did not get

all.

Here's a weapon.

I started in the sex film business when
it was soft core.

And gradually, what we did was we tried
to keep pushing the envelope.

The first things I shot were called...
Well, actually, they were little loops

in which a girl was in a bedroom or
something like that, and she was on a

and she was...

supposedly playing with herself, only we
could not show what's called beaver,

you know, pubic hair. We couldn't show
that.

So we had to do all kinds of things to
look terrible. They moved their legs.

They, you know, did this and do that.

We just could not show it. I mean, the
girl could be completely naked, but the

pubic area didn't exist at that time.

So what I did was I started doing
flashes.

And I found out the films where I did
little flashes of pubic hair sold

So then we started showing more, a
little more, a little more.

And we were getting away with it because
I think a ruling came down that the

human body was not obscene.

So could we get away with it in films?
That's something else.

So what we did was...

One day I said, let's show it all. I
mean, spread your legs and

let's see it all.

And got away with it.

So then I went to spread your legs and
play with yourself a little.

And, you know, we got away with it. I
was shooting those things like crazy.

know, they were just one reel of 16mm
film.

When the camera ran out, it was over.

And we put together...

You know, six of them, and a theater had
a feature for the week.

Okay, from there, we were also making
features with stories, but softcore,

softcore features.

We decided, well, you know, what we can
do is maybe throw in

one hardcore scene, since the
documentaries had gotten away with it.

We could throw in one hardcore scene,
and the theater would have the option of

chopping it out if they want.

They were chopping out the hardcore
portion. So we started doing that, and

got away with it.

Because in most areas, some areas of the
country, we couldn't get away with it,

and the theater owners cut it out.

But that's the way it sort of started.

And then all the scenes were hardcore
eventually.

The producers don't seem to want stories
anymore because they just want action.

They just want gonzo. They just want,
you know, whatever. And the whole reason

started making these and was interested
in making them was because of the

stories.

So that's why I don't do them anymore.

It's a lot easier to shoot on video,
that's for sure.

We had a lot of restrictions with film
cameras.

with regard to lighting and film run
out. With video cameras, you

stick in, you can shoot for an hour if
you want.

And it's inexpensive.

Film was very expensive.

Even 16mm was expensive.

So there are a lot of pros to it.

Unfortunately, the type of...

direct -to -video stuff that they want
you to shoot now is not the kind of

that I really like to do.

From what I've seen, I really don't
know. I haven't kept up with the

think they're sort of cutting their
throats by lowering the prices of DVDs

everything, you know, and putting the
product out, flooding the market.

I really don't know. I guess there'll
always be a demand for this, for sex.

for sex films, for sex entertainment.

And I guess that the mainstream movies
are

eventually working, seem to be working
hardcore into their product.

The whole thing is, I don't know why, I
don't know why, but

as film progressed, as we went from
these one -reelers to features,

to eventually we were, you know, by the
time I stopped shooting film, we were

shooting in Panavision 35mm.

And these were playing bigger theaters
because now not only the storefronts

showing hardcore monography, but big
theaters like the Pussycat Chain and a

of regular 35mm movie houses were
showing hardcore films, hardcore feature

films, which were expensive to make.

And so, you know, budgets ran $100 ,000
or around there.

But when video came in, it sort of
killed the whole film industry because

wants to buy a ticket and go to a
theater when you can buy a video and go

and watch it in privacy?

So with the demise of theaters came the
demise of the story film pretty much

because eventually just...

boiled down to, if you want to see sex,
you're going to see sex.

And that really wasn't what I wanted to
make. So that's why I got out of the

business for many years, moved to
Hawaii, raised my children.

And, you know, after they graduated from
college, I

came back just to see what it was like.

I wanted to see what it was like.

I think I worked in the business for a
couple of years and shot a bunch of

things the way I wanted to shoot them
pretty much and enjoyed it, enjoyed

myself.