Using a direct-camera style, Lech Kowalski takes an intimate behind-closed-doors approach: the first shot, Cutie's face, Walter's face, the first kiss. Walter, an elderly potbellied man, welcomes this young nineteen-year-old woman for a night of paid love. He is an important figure of the New York art world, a painter and patron of the arts, who financed Pull My Daisy by Robert Frank. Their games of seduction are charming, the ritual of the purification of Cutie's body is gracious. Their dance prolongs into a striptease, then an adolescent embrace on the carpet. And when the young nymph comes out of the bath, Walter venerates her on bended knee. The gestures of the lovers are filled with a cajoling insouciance and their conversation is in full swing. She evokes the pornographic films that employ her and the friendly sex she sometimes shares with women. Then suddenly, Lech Kowalski joins in the conversation, asks questions about the reasons for the popularity of pornographic films. We never see the filmmaker on-screen, apart from his hand giving Cutie a cigarette and lighting it in a gentlemanly fashion. It is he who organized this meeting and paid 150 dollars for the young woman to be present.
Walter and Cutie ends with the Edenic tableau of the couple lying on a bed upon which fruit, no longer forbidden, are laid out. Walter has snuggled his head up against Cutie's breast in childlike abandon. Their pleasurable chance encounter is shared devoid of any sense of guilt.