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 was having in the series of Quinze Cunts and Bizarre Bazaar films that she appeared in, and where there was any particular activity that 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 did suggest to Innocence that they should star together in a series of Radical fuck film which 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 they be that?" 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, but the rates were only slightly less than Innocence was becoming 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 unhoovered, radiators that clanked noisily and gave off very little heat and where the walkways were covered in puddles and urine. There was however a story-line to the events which framed the lovemaking that Innocence and Dodie were going to indulge in together, with the assistance of several other women who were mostly dressed pretty much like the clientéle of the Hard Core Nights at the Fierzehn. This was quite a novelty to Innocence who had become 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 people involved were both argumentative and painfully serious. It seemed to Innocence that far more time was spent on discussing what was to be filmed than in actually doing it. It seemed that nothing could be done until there was consensus as to exactly what was being filmed, what it was meant to symbolise and whether the fucking was ideologically correct. It seemed that 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 the from? to? via? and? (or whatever else they represented) and each girl while being fucked was obliged to recite a radical quotation. Fortunately Innocence wasn't expected to fuck continuously. She didn't have anything like the stamina of a Null, and 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 her mouth - would actually be shown, it would be 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 even she wouldn't sacrifice her pubic hair to look sufficiently young. 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 Innocence felt sure could have been quite beautiful if they'd allowed themselves some hair and make-up. She much preferred those sequences involving Dodie because she felt much more comfortable inside a familiar cunt than in some of the others. Sometimes they 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 other 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 seemed quite 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, would wander 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 quite 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 totally in the film (perhaps while she would be 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 felt herself 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 that she'd hoped had happened considerably earlier. But she knew that it was Dodie's first and probably only fuck film and so, for her sake, she made no complaint and encouraged her as much as possible with the film-making.
