The sun gleamed on a fusion of naked flesh, yellow bronze and gleaming white, The slender blond woman's head rolled back ecstatically as she swayed to and fro straddling the body of the Vietnamese lying beneath her, on the outdoor airbed, his rigid cock plowing her pussy.
Gi Rao Ramh exulted in fucking women of every description but there was no pleasure like sinking his amber hard-on into the sweet softness of white women!
This one was an Australian model named Denise Strough – "rhymes with 'boff'!" – and her vertical position, Ramh could touch her clitoris (her jiggling breasts were out of reach) but he sensed that she wanted him to keep his hands on hers.
Denise glanced down on Ramh's smiling face, as the sensual swaying and pumping of the color-contrasted bodies went on, My first time with him, Denise thought, and he already knows what to do with for my hands and arms.
Slowly, Ramh pulled Denise's hands forward and began kissing them, then licking them. She felt the first of what would be several orgasms ...
Ramh, like many Vietnamese, was a good-looking young man who wore a perpetual smile, sometimes lovably guileless and sometimes leeringly lecherous. Sexual fulfillment and things related was his main interest and the chief use of his wealth and talents.
One of the things related was his enthusiasm for "saucy" entertainment. He had created a new kind of cabaret – burlesque theater that featured sightly women in salacious and provocative song, dance, and skit that was daringly erotic in tone and often had the women "losing" clothes in the course of the act.
Audiences loved the suspense of wondering "how far will they go?"
The mostly Asian male audience especially loved the skit comedies involving white women and Asian men. Sometimes, these playlets would have a horny man seducing an anxiously reluctant woman. Sometimes, the man would play timid and shy and the woman would exaggeratedly "come on to" him.
Denise was in the East to "star" in this bawdy new variety entertainment. Like many Western women tempted by the money and excitement, Denise believed that, in the absence on international media, what she did in the far pavilions. would never become embarrassing "news" back home.
Denise was to do, among other naughty things, a skit in which she walks provocatively (abundant intentional "upskirting") about the stage, awaiting the arrival of an unknown Asian man, while talking about her scandalous checkered past. Prominently mentioning the lurid details of what she liked and disliked about some of her white and black male lovers (fictitious but highly titillating). She is also to make diparaging comments about the unattractiveness of Asian men (calculatedly annoying the mostly Asian male audience).
When the man arrives, he turns out to be magnificently tall and handsome – portrayed by Ramh's adonic friend, Nguyen Lok Ly – and Denise pretends to make a fool of
herself, throwing herself at him! As she "loses her clothing", flatters him and attempts to hug and kiss him, the audience wonders if she will strip completely nude or the two of them will fuck onstage! (They don't – Ly is irrevocably gay, though skilled in simulating passion for females.)
Thinking of the skit and thinking how he'd love to "stand in" for Ly at "rehearsal" always gave Ramh a impacable erection – like the one with which Denise was now riding on the airbed. She was on her back, her long legs bent over Ramh's shoulders, her down-under accented groans complementing his huffing and puffing, as his stiff cock prodded her oozing pussy toward a second ejaculation. Denise loved the way his reddened face still held that licentious smile.
Ramh was deeply impressed with his country's history of overcoming foreign invaders: Imperial Japanese, colonial French, anti-revolutionary Americans. At age 28, even the most recent of these wars was long before his time, yet his vivid imagination of them overran into perverse fantasies that influenced his mind and hardened his penis: Rather than merely driving the foreign incursors back into the sea, Ramh envisaged his country's conquest of Japan, France and especially America, with the women of those countries becoming his very own submissive sexual "subjects"! Ramh especially loved the idea of a gathering of white women, whom he would order to go outdoors and there make them awkwardly raise their skirts and blouses, lower pants, and hold open their pussies as Ramh went from one to another, sliding his enthusiastic hard penis into each of them!
(Ramh had been delighted to learn that, in English, his name Rao Ramh, sounded like "raw" and "ram" an excellent, if inadvertent, description of his approach to women!)
Ramh's most recent brainstorm had come when he idly did an Internet search on a favorite American actress, Sheila Bronwyn. He'd happened to discover a sickening example of "fan fiction", detailing an anonymous pervert's fantasy of Ms. Bronwyn being murdered and devoured by a secret cannibal cult! This revolting theme was manifest mostly in the concluding one-third of the story. The first part of the text concerned the actress being tricked and entrapped by what appeared to be perfectly normal people living on an idyllic tropical estate.
That is, the to-be-murdered celebrity is still alive two-thirds of the way through the story and Ramh found himself pervesely fascinated by the elaborate details of how the evil "anthropophages" duplicitously "get the best" of Sheila Bronwyn (improbably depicted as an easily-deceived naif).
Ramh was especially fascinated by a passage in which the bikini-clad Sheila has a photo session with one of the seemingly affable bad guys, who tells her exactly how to pose. This matched Ramh's fantasies of colonially commanding white American women before boning them!
The big idea: Finance a movie version of the twisted "snuff" story, in which Sheila Bronwyn portrays her fictionalized alterego menaced by the cannibals, except, except, except she is not killed but rescued at the last minute by a handsome, heroic Asian – played, of course, by Nguyen Lok Ly – so that the film is centered on a hot and sexually explicit romance between white woman and Asian man!
And Ramh would cast himself as that dictatorial photographer!
Although Ramh had imagined the movie as primarily erotic – an unheard-of torrid love story between Asian male and white female – his initial discussions with a Hollywood screenwriter disclosed that, notwithstanding the rescue of the heroine, such a film could offer much to the "violence audience". "Flashbacks could show the cannibal cult's earlier victims, fantasy sequence in which Sheila could still be shown getting killed; and, to be sure, the audience would want to see the hero slaughtering the cannibals".
The movie financier's casting himself in a supporting role met with a firm but diplomatic response from the director. He would shoot the scene with Ramh but if the Vietnamese "entertainment" tycoon proved to be unsatisfactory as actor, the director reserved the privilege to reject it and reshoot with a regular actor. To which Ramh delightedly agreed – He would not only get to shoot the wonderful scene with the luscious Sheila, he might have the pleasure of watching another version!
Different woman, different location, same airbed – Ramh's enthusiasm for white females' variety of hair, eyes and hair color found a new example in Suzanne Hilliard. He hair and eyes were the same shade of rich brown and her skin was `fabulous in its lustrous softness and smoothness!
She wanted Ramh to take her and the airbed – now an al fresco "casting couch" – to an area on the Mekong River bank which had been, in 1967, the site of an especially bloody battle.
Suzanne face Ramh's feet and she gripped his ankles as she did all the fornicating work, pumping her hips up and down on his hard-on. Ramh's idly fondled her shining white buttocks, as she thrilled herself raving about her projected role. "I'm gonna get beheaded! My head chopped off! God, I love it!" Multiple orgasms followed.
When Suzanne had heard Ramh's introduction to his brand of "entertainment":
"Asian men love to see white women indecently expose your sweet, fair bodies but we also want to see your wanton lust and desire!"
She had not reddened in the face but Sheila had.
Ramh was thrilled with the love scenes between Sheila Bronwyn and the Nguyen Lok Ly. The unedited footage showed them naked from head to toe, but in the scenes the movie audiences would see, the director had emphasized extreme close-ups of their forceful kisses, their passionate facial expressions and the beautiful skin contrast of Ly's gold, and Sheila's pearl flesh!
This would truly delight every fan of Asian male – white female love!
After an agonizingly long session in the make-up chair, making him look "Polynesian", Ramh was dressed in guayabera, shorts and sandals and arrived on set to make his debut as screen actor. He was momentarily paralyzed by his first sight of the beauteous and statuesque Sheila Bronwyn, in white string bikini, wild-haired and wet, like she'd just finished a swim (as her character had, according to the script).
Ramh and Sheila stood in a tropical Hawaiian garden, surrounded by what seemed to be a film crew of thousands. Ramh recovered and began to fumble with his "prop" camera, as Sheila greeted him, "Mister Ramh! That is you under all that make-up, isn't it?"
