Innocence Lost

by Bradley Stoke

  For Innocence and Dodie to afford a bigger flat, Innocence had to earn substantially more money than she was in the wank films she was making. She wasn’t at all sure, however, that the first proper fuck film she’d star in (one where she’d participate with someone else and who she would fuck and possibly be fucked by) should be one made by Bizarre Bazaar. The director understood Innocence’s inclinations well enough not to insist that she try for a pissing, shitting, fist-fucking, sadomasochist or animal-fucking film. If Innocence wanted to make a film with some real action where she could earn several times the money and have enough for the deposit on a flat, she’d have to make a film for another company.

  It was Twelve, on one of her occasional visits to Innocence’s bedsit, who suggested the two make a film together. “We’d make a great couple!” she assented, holding Innocence’s erect penis while Dodie sucked it. “We fuck well together and I’m not in the slightest bit put off by some arsehole filming us while we do it. Look we’ll answer this ad and earn a bit of extra. I’m sure they’d love to film us once they’ve had a look at you and seen some of the videos you’ve made.”

  The advertisement said rather modestly: “Lez and TV couples wanted for Sexy Fuck Films” and Innocence could think of very few good reasons for not accompanying Twelve to the audition. Twelve was right. Quinze Cunts were very impressed by Innocence’s endowment which with Twelve’s assistance was very soon erect and shown in its fullest glory. They were also impressed by the very passionate lovemaking that the two girls staged for them on the casting couch. The director, Genevieve, was a slim girl in a conservative blouse and culottes with boyishly cut hair and a pair of wire glasses. She rather liked the idea of the two girls performing together. She had a number of opinions about what made a sexy fuck film, which was the kind that Quinze Cunts specialised in. One of these was that the characters making love with each other should genuinely enjoy it. On that basis, having the two of them cast together on a ninety minute film would be perfect.

  “At least you won’t get bored with each other,” she remarked with a grin.

  Another opinion was that sex between women was necessarily more erotic than sex between men and women. It was not that she was especially averse to men: she just didn’t believe that men’s bodies were ever particularly erotic. What she liked to make were films where the cast were either all women or men who were feminine as a result of their chosen way of dressing or radical surgery. At first it was very difficult for her to believe that Innocence wasn’t the way she was as a result of surgery, but she studied Innocence’s body and penis with great care and found none of the signs, by now so familiar to her, of silicone implanting, hormonal injection or stitching.

  Twelve had to dress rather more conservatively than usual in the film they were to make which was provisionally called Innocence’s Big Surprise. She had eyebrows painted on, and had to exchange her thong for a dress and blouse with a tie. She even had to wear knickers which she complained were very uncomfortable. She drew the line, however, at wearing a wig. “What would people think if they saw me like that!” she exclaimed. “I wouldn’t know where to fucking look!”

  The film’s plot was banal in the extreme, but as Genevieve explained the people who bought her films were more interested in shots of knickers, cleavages, young clitorises and pretty sexy bodies than on story lines or more extreme forms of sex. She did insist on a piss sequence as she knew a lot of viewers would be very keen to see Innocence’s penis used for other purposes than to release semen and Twelve was not at all bothered about having urine dripping down her face and breasts. “As long as I don’t get any in my mouth!” she remarked.

  The film began with the two girls ambling through a field in the countryside just outside the city. It was the first time since Innocence and Twelve left Labia that either had ventured so far from Congress and its nightlife, and Innocence enjoyed the rush of fresh air in her lungs and over her body. She had plenty of opportunity to enjoy this warm air, as the two girls took their clothes off in the grass and indulged in passionate lovemaking together while Genevieve and her two camerawomen watched and filmed them. Another of the director’s views was that the girls should be as natural as possible and so she gave only the briefest outline of what their sexual activity should consist of and indicated where the cameras were most likely to be positioned.

  The art of fuck films, Innocence believed, was not only to perform sex well (which involved a certain amount of exaggeration of the pleasure Twelve gave her as her tongue and fingers probed around her lower regions), but also to ensure that the action was fully visible to the camera. This in itself required a little bit of attention, particularly as the area of penetration was one very easily obscured from the camera. This involved Innocence and Twelve contorting their bodies somewhat unnaturally so that the camera could see when Innocence entered one of Twelve’s orifices and exactly which one it was.

  The film then moved to the interior of Genevieve’s large country house, where quite a few of the rooms had lighting set up specifically to make films and very comfortable beds, sofas and carpets for the fucking to take place. Some action took place in the kitchen where Twelve pushed her fingers and then a cucumber inside Innocence’s anus while her penis was being actively sucked. More action took place in the very plush bathroom where the pissing happened in the bath so that the urine could be washed away and the enamel swiftly wiped down with cleaning fluid. Innocence couldn’t understand what pleasure Twelve was supposed to get as piss splashed over her face, trickled down her cheeks, cascaded over her chin and dribbled down her slim breasts. Twelve later assured her that the warmth of the urine and the knowledge of where it came from was precisely what gave her such joy, but Innocence wasn’t convinced that it gave her nearly as much as she so ecstatically expressed.

  “Still under an hour of usable film,” Genevieve commented disappointedly after all the planned scenes had been filmed. “I think we’re just going to have to improvise. Do you mind if we make it a threesome for a garden lawn scene?”

  “Of course we don’t!” Twelve answered before Innocence had an opportunity to object. “As long as it’s you who makes up the threesome.”

  “You think so?” wondered Genevieve curiously coyly for someone who made a living from making fuck films. “Do you think Innocence wouldn’t mind fucking me?”

  “A beautiful girl like you!” smiled Twelve kissing the director fondly on the cheeks and unbuttoning her blouse. “How could she mind? And I wouldn’t mind fucking you myself if it comes to that!”

  When Genevieve was undressed by the other two girls in the full glare of the cameras, it was clear that her expertise and experience in fuck films hadn’t been gained as a performer. But her slim body with round breasts and largish nipples and the thin bush of pubic hair was more attractive than Twelve’s pale freckly body, and she showed genuine enthusiasm when Innocence’s erect penis was guided into her cunt. She clung passionately to Innocence’s body, making it rather difficult for the camerawomen to position themselves for the crucial shots of anal and vaginal penetration. It was with obvious reluctance she let Innocence remove her penis when she was about to ejaculate and let the semen spray over her breasts and mouth rather than inside her body. The cries of ecstasy she gave when Twelve and Innocence returned to her body were unfeigned, and she was very flushed after the event.

  “This will make a great film!” Genevieve reflected. “It’ll be out fairly soon, I can assure you. But it will probably still be less than ninety minutes long. While you’re here, I insist you join me and my camera staff for dinner. You will join us, won’t you?”

  “You fucking bet!” said Twelve, attaching her thong to her waist and pointedly leaving her other clothes on the grass just by the sundial. Dinner was very pleasant and cooked by Genevieve’s lover, a young looking girl with long straight blonde hair and blue eyes. Inevitably dinner had barely finished when Genevieve and her lover invited the camerawomen, Innocence and Twelve to their la
rge bed where the evening ended in a mass of writhing bodies in which Innocence’s now quite weary penis was very much appreciated.

  XXIV

  In Which Innocence prevails upon Dodie to perform and Griffin is reacquainted to the virtues of Innocence.

  Dodie enjoyed hearing about Innocence’s new job. She loved listening to Innocence’s accounts of the sex she had in the series of Quinze Cunts and Bizarre Bazaar films she appeared in, and where there was any particular activity she found especially erotic she would persuade Innocence to join in similar activity with her in their tiny bedsit. However, Dodie was quite reluctant to get involved in fuck films herself. “It’s just not me,” she assented, although she never gave any very good reasons as to why this should be so.

  However, it was Dodie who suggested that they should star together in a series of Radical fuck films that were being made by someone she knew. “These films are different,” she claimed. “They aren’t just fuck films for people to wank to in the privacy of their own homes while watching them on video. These are more challenging, more radical films.”

  “How can that be?” wondered Innocence. “They’re still films where the actors take their clothes off and fuck each other.”

  “It’s not what they do. It’s why they do it,” Dodie insisted.

  However, the rates were only slightly less than Innocence had become accustomed to and Dodie was very insistent. Innocence agreed to star with Dodie, but she stated categorically that she had no intention of shaving any part of her body or of piercing it either.

  The filming took place in a series of very dingy rooms in a derelict housing estate, on beds that were uncomfortable, floors that were bare and unswept, radiators that clanked noisily and gave off very little heat and where the walkways were covered in puddles and urine. There was, however, a storyline to the events that framed the lovemaking Innocence and Dodie were going to indulge in, with the assistance of several other women who were mostly dressed pretty much like the clientèle of the Hard Core Nights at the Fierzehn. This was quite a novelty to Innocence who was accustomed to the idea of fuck films as being nothing more than a series of implausible encounters and sexual passions in which ninety per cent of the action was concentrated around the groin.

  The film company was known as Shit for the Workers, and most of the cast were both argumentative and painfully serious. Far more time was spent on discussing what was to be filmed than in actually doing it. Nothing could be done until there was consensus as to exactly what was to be filmed, what it was meant to symbolise and whether the fucking was ideologically correct. Any action - pissing, bondage, anal intercourse, even rape - was justified in the film as long as it could be seen as having a deeper significance. Innocence wasn’t at all sure what the film’s plot actually was and her lines seemed both tedious and irrelevant.

  In one scene, she was expected to fuck a series of women each of whom had a letter painted on their forehead in the Greek alphabet: twenty-four in all. She had to fuck each of them from a to w via o and i (or whatever else they represented) and, while being fucked, each girl was obliged to recite a radical quotation. Fortunately, Innocence wasn’t expected to fuck continuously. She didn’t have anything like the stamina of Null, in any case, there weren’t really as many as twenty-four actresses actually involved in the film. Dodie played a number of different Greek characters, but since only parts of her - like her cunt or mouth - would actually be shown, it was impossible to tell that it was the same person being fucked on different occasions.

  Another scene involved Innocence pissing on Dodie while another girl pissed on her and Dodie pissed on someone else. Innocence became aware that this apparently endless stream of people pissing on different people was meant to be symbolic, judging from the fact that the only person in the series who pissed and wasn’t pissed on was the only man in the series and he was particularly fat and ugly.

  Another scene, near the beginning of the film, involved Innocence apparently depriving Dodie of her virginity. For this scene, Dodie was made to seem rather younger than she was - but she wouldn’t sacrifice her pubic hair. The cunt that was intercut to look like a young Dodie’s was of another girl who was probably not very much older than the supposed youngster she was playing. The radical aspect of this was apparently the tawdry, unappealing state of the room in which the filming took place: wallpaper peeling off the wall, horrible patches of damp soaking through the plaster and a bare mattress with a quite dangerous spring protruding through.

  The other cast were not especially attractive, although one or two of them had faces and figures that could have been quite beautiful if they’d allowed themselves some hair and make-up. Innocence much preferred those sequences involving Dodie because she felt much more comfortable inside a familiar cunt. Sometimes the others felt just a little too tight and in one case almost too loose - nearly as much so as Une’s cunt.

  The filming took much longer than most of the films Innocence had starred in (indeed she made several films for her other company on the days Shit for Workers dedicated to discussion seminars and discovery sessions). It didn’t seem that the final film was actually very much better than those she’d made for Quinze Cunts. The film used was black and white, some of the camera angles were wilfully obscure, the editing seemed quite random and distracting and the sex was really no different. There was also an annoying sequence running through the film where the director, a fat woman in her late thirties with a lisp and a slight stutter, wandered naked through a rubbish heap, or along a suburban housing estate, or outside an abattoir, passing comment on such matters as women’s rights, homosexual separatism, the dictatorship of the proletariat, racism and hypocrisy. Whether Innocence would have found this interesting in another context was difficult to tell as the editing was rather random and she often lost the point of the dialogue as it had been inserted somewhere else in the film (perhaps while she was placing a cucumber deep inside her anus or sticking her erect penis into a rusty exhaust pipe).

  The biggest debate of all was what to entitle the film, which thankfully Innocence was excused from. She didn’t care if it was called The Coitus Manifesto, The Female Bollocks or Fuck is a Feminist Issue. She was just happy to get paid at the end of it. Dodie, however, was unreservedly enthusiastic. “Isn’t it good to know that what you’re doing is art and will outlast all the fuck films you’re usually in.”

  Innocence wasn’t at all sure that this last assertion was at all likely. The film at nearly four hours was far too long and self-indulgent she thought. The opening credits went on for nearly half an hour, interspersed with so many themes that she had no idea what was meant to be achieved. Women running around with dildos inserted up their arses. Men fucking dead chickens. Cars driven slowly round in circles with numbers like 15 or 9 written on top. The sudden ending, which left her both frustrated and relieved at the same time, was a poor joke she only wished had happened considerably sooner. But it was Dodie’s first and probably only fuck film and so, for her sake, Innocence made no complaint and encouraged her as much as possible with the film-making.

  For most of the time she was working with Shit for Workers her mind was focused on finding a flat. She eventually found one which was a compromise between Dodie’s wish to be in the town centre and Innocence’s desire for a relatively quiet night’s sleep. It was with some sadness, however, that Innocence moved out of her tiny bedsit. It was, after all, the only place she’d ever lived in by herself and much as she loved Dodie she also missed the freedom and solitude she’d enjoyed there.

  Innocence felt rather sorry for Gryphon when she observed her relationship with Chastity in Labia. She knew her sister was exploiting her and that, despite her proud musculature, the teacher was very vulnerable. She never expected to see Gryphon again after she left the college, and was even more surprised to see her picture on the cover of a video for Sex and Physical Exercise, Keep Pumping, on the shelf of the wall of the offices of Sexual Fitness Ltd., the company where she was being
interviewed to appear in one of their many sex education tapes. Innocence had been exposed to enough of these videos to know what these films generally involved.

  Gryphon’s performance was no different in Keep Pumping and its sequel Keep On Pumping. They were mostly solo performances with others merely following the instructions Gryphon gave them. Her experience as a teacher came through in the authoritativeness of her voice and the tone in which she gave her instructions. “Yes, deeper! That’s right! As far inside as you can get!” she cried as her tutees thrust curiously shaped dildos deep inside their vaginas or anuses. She would first of all show techniques for lubricating her vagina with a finger or a vibrator and then showed how to maximise the pleasure it gave her and the length of time an exercise could last. “After thirty minutes of continual thrusting your vagina is now loose and moist enough to give hours of satisfaction to the most demanding of lovers,” she would say on the voice-over while the more impassioned film of her masturbating was on show.

  Innocence was pleased to discover she was to be auditioned for a sex fitness video with Gryphon. She knew the teacher well enough for there to be no surprises. She guessed from her memories of Gryphon’s intense pleasure on their one previous lovemaking that the teacher wouldn’t need to feign any of her passion.

  “We just need someone like you who is physically attractive to our star and has a fully operational penis,” explained the director, who was a slim woman in a track suit and with long hair tied back in a ponytail. “We’ve tried to film Gryphon with men, but these attempts have never been successful and we’ve never been able to market them. They would not enhance the reputation of Sexual Fitness at all. Some of our competitors may be satisfied with film of Gryphon looking bored or distressed while being buggered, but we would hope to market an altogether better product. We want to project a positive image of sexual intercourse. We’ve seen some of the work you’ve done for Bizarre Bazaar and Quinze Cunts, and we think you may have just the enthusiasm for sex with women that would fit with Gryphon’s own similar tastes.”