Beware of false prophets, which come to you in sheep's clothing, but inwardly they are ravening wolves.
St. Matthew vii.15

And so begins the 1972 film EVIL COME, EVIL GO, the pro-religiosity, anti-casual sex epic brought to us by the crazed director turned actor, Walt Davis and produced by Robert C. Chinn and Linda Adrian, the team best know for delivering many a John Holmes work and the creative team behind the persona of Johnny Wadd.

Sara Jane Butler is a semi-to-not-attractive Southern girl who has found her way to the West Coast. Sara Jane has a mission and that mission is to help spread the word of the Lord, while simultaneously stamping out something she likes to call "pleasurable sex." You know the kind "men like," the "pleasurable" kind. This is all well and good many good followers of the Christian faith have these same goals and my guess is you can name more than a gal or two who seems to want to stamp out the pleasurable sex in your life as well gentlemen (that's a whole other show) but Sara Jane has a unique modus operandi, she'll fuck their balls off then kill them. And that is just what she does all the while humming Bible hymns, singing Negro spirituals and stabbing these fornicators in the back, slicing their horny throats and ridding the world of sex havers. GOD IS LOVE, NOT SEX!

One day while Sara Jane is singing hymns and playing her accordion down in Hollywood (is that the damn Chinese Theatre she's briefly in front of?) an attractive, buxom girl drops a ten spot on Sara Jane, later when Sara Jane tries to hustle a hot dog (I'm not talking sex talk here, she tries to save 53 cents on an Oscar Mayer) after her rust bucket car breaks down, the same gal approaches her and offers to have a friend fix her car. She also offers to put Sara Jane up because she believes in Sara's mission. A quick mention of what is one of my favorite, albeit a brief, moment in EVIL COME, EVIL GO, when the hot dog vendor refuses to give Sara Jane her grub for free there is a quick shot of her turning from the counter, the audio goes blank long enough for you to see her mouth "Fuck You, You Bastard" in her patent pending Southern twang. Tis movie magic, mainly because her character is some sort of Bible Thumping, Big Dick Humping do-gooder, I guess Walt though that kind of slowed down her character development.

Back at Penny's house, Penny gets all biblical with Sara Jane (after the both indulge in a little wine, for medicinal purposes) claiming to want to follow in S.J.'s footsteps, Sara proclaims Penny her "first disciple," and promptly ties her to the bedposts, cuts her panties off and mumbles quite a few flubbed lines before engaging in some female pleasure.This just in fellas Penny has one of those extra bush nether areas that will send you hankering for some wool on your woolly-booger, man, I hate intimate shaving! In a post-coital chat, the kind girls like, about "having sex with women" Penny offers up that she is a practicing lesbian, "but I'll stop." Of course she will, she has converted to Sara Janeism.

Sara Jane is an extension of Cleo O' Hara. O'Hara doesn't seem to be much of an accomplished actress; my guess the name is a pseudonym somewhere between Cleopatra and Scarlet O'Hara. In the first sex scene of the film, Sara Jane beds down an obnoxious truck driver who boasts about screwing 4 to 5 girls a week, having kids all over and refusing to pay child support. In a moment only slightly more erotic than changing a tire, he demands "give me some head cuz your mouth'll be full and I won't have to listen to your yakking!" Sara Jane willingly obliges (for the Lord's cause) but he wants a nice piece of tail before blowing his load and he rolls Sara Jane over and as he reaches his "oh oh face" Sara Jane drives a knife right in his back. Ouch. This brief little scene is memorable if only for it's horrid dialogue and the piss poor performances from both parties. Reminiscent of BOF Hall Of Famer BATPUSSY, we get a heaping helping of misogyny with a side of corn pone Christianity. It's filling for a good ol' head scratching belly laugh, but don't expect to pull out your happily engorged wiener, just the dialogue alone is enough to wrinkle the most hardened member.

Walt Davis, the director best known for THE DANISH CONNECTION which featured running buddy, horse-dicked, junkie John Holmes (Holmes take a credit as Assistant Director of EVIL COME EVIL GO) as Johnny Wadd gets my applause of an earlier effort SEX PSYCHO which never even got a run because at a early screener for buyers they ran fleeing from the overt gore and violence mixed with explicit sex. Davis picked up and continued with EVIL COME, EVIL GO on the cocktail of cheap effects and cheaper sex. Davis definitely drew inspiration from H.G. Lewis and Dave Friedman's tactics of grue and of course, their success in the South, and he, along with Chinn and Adrian, were trying to mix a stouter brand of sexploitation by adding the unabashed porn elements. Davis left the porn side of the biz around 74-75 with his last known credit in the genre being the writer of the classic crazy, DEEP JAWS, exploitation's marriage of mermaids, Candy Samples and a "going broke" movie studio. He went on though to make a living as a journeyman on TV and in film. He had bit parts in THE SHAGGY D.A. and F.I.S.T. as well as a couple dozen more fairly mainstream features. Davis is a classic example of a guy who got his start in the strange and sometimes lucrative heyday of sleaze in the early 70s and then when on to a career in the picture business legit. Rick Cassidy another of Davis's pals shows up in the best sex scene of EVIL COME, EVIL GO. Cassidy had parts in almost all of Davis's early 70s productions, best known for his bodybuilder build, Cassidy had a porn career which lasted over 15 years delivering his brand of on camera spooge to productions as varied as THE ADVENTURES OF RICK QUICK, PRIVATE DICK and early roughies like THE CHEATERS. When Sara Jane catches Rick and a nubile young thing having relations in the bark yard in broad daylight, she, with the help of disciple Penny, shoos them away screaming, "How dare you beget in front of me!" I have to start using that one. "Beget off, Mutha Begetta!" I like that.

Sara Jane and Penny become like sisters with the same goal in mind, and it's not long before Sara Jane convinces Penny to lure a scumbag home for fornication with the outcome of course being murder. Penny brings home a weathered old piece of man meat who weighs in at about 133 lbs. most of which is public hair, and his version of sexing her up looks like a retarded kid trying to mount an inflatable Barney Floaty at the public swimming pool. Penny is not as prepared as she thought for murder (but she does get her nut) and when Sara Jane hacks into the victim and splatters blood all over Penny, Penny goes into a freak out. Sara Jane finally calms her by reminding her of all the innocent girls that they saved from his stinking, sweaty body. They are providing a service for the Lord and the sweet innocents of North Hollywood, what a noble cause. This scene is the best of the Davis gore moments, he goes a little crazy with the fake blood and the terrifying screams form Penny, well they are what horrible horror are made of. Sara Jane takes on a demented Piper Laurie form CARRIE persona for a split second and it is shot all wockerjawwed and goofy just like I like. A standout sequence for sure.

Penny's lesbian lover, Junnie, shows up to reclaim Penny from Sara Jane. Sara Jane is quite peeved given Penny was just on the cusp of financing her new TV pilot, a religIous program where she wears that white Marilyn Monroe dress from THE SEVEN YEAR ITCH. Man, this Junnie girl is the one hot body in the whole work. Unfortunately, she is there only briefly, our pair of righteous babes strangle her during the lesbo love act and loudly chortle hymns as they dispose of her body in the hills of Southern Cali. Well hills maybe too stron a word, actually under a Dogwood, in someone's backyard, but they cover the body with some Dogwood petals, so I'm sure it's okay. As EVIL COME, EVIL GO rolls to some sort of conclusion it becomes apparent that Davis ran short of film stock or just ideas and the ending delivers with a triumphant "what?" being groaned by all. But you do get that classic theme song. "Sara Jane, Sara Jane, Sister Sara, you're insane." Thank you Mister Davis, we owe you one, what would I have done with those 66 minutes had it not been for EVIL COME, EVIL GO? If you can't find this gem (believe me fans of weird cinema, you need to) email me.

Penny's muff and stuff.

Strangled in the throws of psssion.

Junnie's dead body goes under the Dogwood.

This is our take home message dammit!