3
" There is something powerful in the whispering of obscenities, about those in power. There's something delightful about it, something naughty, secretive, forbidden, thrilling. It's like a spell, of sorts. It deflates them, reduces them to the common denominator where they can be dealt with. In the paint of the washroom cubicle someone unknown had scratched: Aunt Lydia sucks. It was like a flag waved from a hilltop in rebellion. The mere idea of Aunt Lydia doing such a thing was in itself heartening. So now I imagine, among these Angels and their drained white brides, momentous grunts and sweating, damp furry encounters; or, better, ignominious failures, cocks like three-week-old carrots, anguished fumblings upon flesh cold and unresponding as uncooked fish. "
― Margaret Atwood , The Handmaid's Tale (The Handmaid's Tale, #1)
5
" I know you’re in there, Mercedes,” Faye says. “I can see your dirty Converse shoes. You really should get a new pair.”
“Did you see it?” I croak. “If you saw it, you probably saw a lot more of me. You probably shouldn’t be seen talking to me. And I should probably switch schools.”
“That’s the thing,” Faye says, stopping right outside the stall door and rapping on the metal with her fist.
“What’s the thing?” I say, pushing my shoe against the toilet paper dispenser, making no move to let her in.
“I never was any good at doing what people tell me.”
And like that, her head appears under the stall door, followed by her body. She pulls herself in and wipes her hands on her jeans.
I raise my eyebrows. “You know how disgusting that floor is?” I say. “Janitorial service at this school leaves a lot to be desired.”
She cocks her head and puts her hands on her hips. She looks like what I imagine a stern parent would look like, not that I know from experience. I wonder if she got that posture from Lydia.
“First of all, you didn’t let me in, so I had no choice. "
― Laurie Elizabeth Flynn , Firsts
10
" As I finished my rice, I sketched out the plot of a pornographic adventure film called The Massage Room. Sirien, a young girl from northern Thailand, falls hopelessly in love with Bob, an American student who winds up in the massage parlor by accident, dragged there by his buddies after a fatefully boozy evening. Bob doesn't touch her, he's happy just to look at her with his lovely, pale-blue eyes and tell her about his hometown - in North Carolina, or somewhere like that. They see each other several more times, whenever Sirien isn't working, but, sadly, Bob must leave to finish his senior year at Yale. Ellipsis. Sirien waits expectantly while continuing to satisfy the needs of her numerous clients. Though pure at heart, she fervently jerks off and sucks paunchy, mustached Frenchmen (supporting role for Gerard Jugnot), corpulent, bald Germans (supporting role for some German actor). Finally, Bob returns and tries to free her from her hell - but the Chinese mafia doesn't see things in quite the same light. Bob persuades the American ambassador and the president of some humanitarian organization opposed to the exploitation of young girls to intervene (supporting role for Jane Fonda). What with the Chinese mafia (hint at the Triads) and the collusion of Thai generals (political angle, appeal to democratic values), there would be a lot of fight scenes and chase sequences through the streets of Bangkok. At the end of the day, Bob carries her off. But in the penultimate scene, Sirien gives, for the first time, an honest account of the extent of her sexual experience. All the cocks she has sucked as a humble massage parlor employee, she has sucked in the anticipation, in the hope of sucking Bob's cock, into which all the others were subsumed - well, I'd have to work on the dialogue. Cross fade between the two rivers (the Chao Phraya, the Delaware). Closing credits. For the European market, I already had line in mind, along the lines of " If you liked The Music Room, you'll love The Massage Room. "