The Fact and Fantasy of Gi Rao Ramh

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?"

"Yes, it is," Ramh replied, "Good morning, Ms. Bronwyn!"

The director asked them individually about their readiness for the scene, emphasizing the way Ramh was to give detailed orders, which Sheila would leap to obey, down to placing her head on the "chopping block".

As "action" was called, Ramh sharply said, "Lift your arms straight over your head – Like an 'I surrender' gesture and look straight into the camera with a sort of bewildered expression ... " Sheila followed the script , raising her arms overhead, with her elbows slightly flexed.

This was Ramh's most dramatic moment. He barked, "I said straight over your head!" Sheila straightened her elbows.

"Now that's better," Ramh said, "Hold that pose."

As in the gruesome story, the "I surrender" pose lifted Sheila's breasts and pushed them out against her damp bikini top. Ramh loved it and wanted to keep her so posed for a long time, but followed the script and said "Drop the pose and relax for a moment," then delivered his longest speech, never taking his delighted eyes off Sheila's largely exposed body.

"Listen to me ... Now I want you to do exactly as I say because these images will determine whether you are accepted for this project ..." Ramh's voice took an even more commanding tone, "Exactly as I say ..."

"Just tell me what you want me to do. Okay?" Sheila spoke the prescribed words that Ramh loved.

After a long pause, Ramh began issuing his character's scripted orders, and Sheila painstakingly complied.

"Sit down – Stand up – Turn around – Stand on your right foot and put your left foot on the bench – Stand on your left foot and put your right foot on the bench – Put your hands on your lower back – Rub your hands up and down your thighs ... "

The director was astonished. Ramh was perfect, Sheila was on a roll, seemingly enjoying her submissively obedient characterization. Was he going to get this long scene in one take?

Ramh's pulse quickened as he decided to initiate something not in the screenplay. "Turn your back to me ..."

Sheila immediately realized that Ramh was deviating from the script but instantly obeyed.

"..Bend forward ..." Again, Sheila complied, the moist bikini bottom going tight as she pointed her butt straight at Ramh.

" ...Lift your head ..." Sheila's eyes went skyward.

Ramh retained his character's dictatorial inflexibility but inwardly he trembled with the thrill that he had "made" his favorite actress assume his favorite "white woman" pose!

A male actor, playing another of the "treacherous Polynesians" stood by awaiting his cue. Ramh reverted to the script and said, "Now stand up straight, face the camera and put your hands behind your back ..."

The new actor entered the scene and began to bind Sheila's arms, not at the wrists but at the elbows. Sheila grimaced and exclaimed, "Goddamn! That hurts!"

The cinematographer looked toward the director, expecting a "cut" command but the director signaled to continue filming.

"Sorry, Sheila," said the director, " but this is the only way to make this your boobs' biggest scene ever." And indeed, her pointed breasts stood out spectacularly.

"Kneel down at the 'chopping block'," Ramh intoned. Sheila obeyed and the other actor helped her lower herself into the "beheading position".

"Cut," cried the director. "Perfect!"

Sheila's assistant dashed forward to untie her arms and help her to her feet.

"This is where the hero comes to the rescue," announced the director. "We shoot that tomorrow morning. Ramh and Jack, you're all done, great job!

"Sheila, stay with me. I want to shoot some angles on the 'just tell me what you want moment' and that improvisation where you stick your ass in the air. I love that!"

"Are my tits and ass the whole point of this scene?" Sheila asked, with mock irritation.

"Frankly, yes," the director answered.

Ramh looked on, beaming ecstatically. As much as he loved the sight of Sheila's "tits and ass", they were not the whole point. What a triumph that he had "made" Sheila Bronwyn submissively obey him!

Rumors about the film spread uproariously well before its premiere.

"New vistas in 'sex and violence'! ... 'Bikini beheadings! ... Flesh and blood like never seen before yet, at another level, a romantic comedy with Sheila Bronwyn in the steamiest love scene of her career!"

The actors were studiedly coy in their interviews, except to endorse the sensational rumors. "The audience is going to be blown away by the daring of the film," said Sheila. "Sex and violence like you never thought you'd see!" agreed Suzanne.

Yet they withheld details. Suzanne was asked, "I hear your character is decapitated several times. How is that possible?" She replied "You'll just have to see it to find out!"

Sheila contemplated her feelings on the day before the film was to have its spectacular premiere in Tokyo.

Ramh had summoned her to a boardroom in the Palace Hotel that had a huge screen – Her first view of the film's "final cut".

Ramh had said, "Wear your premiere gown – I want to see what you look like."

It reminded her of the scene in the movie: She's just had a swim and is asked by telephone to come to the photo session, "So we can see you in swimwear." Sheila couldn't imagine any woman choosing to swim in any of those awful string bikinis she and Suzanne had had to wear through most of the film.

Ramh already well knows what the gown looks like, Sheila thought, he picked it out. It's me he wants to see. Will there be others present? Sheila wondered as she pulled the basically cylindrical garment over her head. It left her arms bare to the shoulders and was high-cut on both sides, her legs visible to well above the knee, when she moved.

Sheila didn't bother with wrist or ankle adornments or an outer garment. She took the elevator from the sixth floor suite to the second floor boardroom.

The first thing to meet her eyes was her own image on the giant video screen. She saw herself in that damn white string bikini and heard her own voice say, "Just tell me what you want me to do. Okay?"

Ramh was reclined on the mahogany conference table, repeatedly watching his favorite scene. Denise Strough sat on a luxurious upholstered chair beside him.

"Sheila!" Ramh rose to greet her. "You look so wonderful in that gown!" He beamed as his gaze went up and down her body several times.

Denise rose and waved, "Hi. Sheila."

"I've been trying to persuade Denise to accompany me to the premiere ..." Ramh said.

"My regrets," Denise smiled wanly. She was far from proud of her 'career' in the East and wanted to keep as low a profile as possible. "Thank you for the preview, Ramh," she continued, "Nice to see you, Sheila."

As Denise edged toward the door, Sheila considered their height. Denise, at five-nine had about the same altitude advantage over Ramh that Sheila's own six feet had over Denise. Ramh certainly was unself-conscious about linking arms with taller women. She thought of mentioning that Suzanne, who was five-six and with whom Ramh might have stood eye-to-eye if she wore "flats" and he "Elevators" but decided not to call attention to the height differentials.

Ramh switched off the video just as the scantily-clad on-screen Sheila obeyed the command to "rub your hands up and down your thighs".

Ramh assisted Sheila in making herself comfortable in the chair vacated by the departing Denise. The movie began from the top and Sheila settled in to watch, not without anxiety. She knew that she wouldn't like the "bikini beheading" and "cannibalism" scenes and wasn't sure how she'd respond to her "love scene" with Nguyen Lok Ly.

As Sheila watched the film, Ramh would watch her.

She was impressed by the dialogue correlated and balanced with the vivid images:

A law enforcement agent closing in on the cannibal cult says,

"They seem to be harmless, even droll, little folks," as the viewer sees the smiling faces of the Polynesians, "but they are monsters!"; and

The viewer hears the cannibals say such things as "I love that whistling, splattering sould as a whizzing blade slices through a woman's neck!" and "What a delicacy is the soft meat of inner thighs, where the legs join the inner side of the buttocks!" as the same gruesome scenes are actually shown.

(Ramh watched Sheila put her hands over her eyes.)

A provocative example of the dialogue-image coordination was the early scene in which Sheila's and Ly's characters first meet and she is incensed by his smug effrontery. He tells her, "I look forward to running my fingertps over your nipples," and, in the concluding love scene, the viewer sees Ly's fingertips on Sheila's nipples.

Ramh's eyes remained on Sheila. He watched unblinkingly and noticed her every response, alert to any sign of excitement.

As "his" scene began, he was delighted to see her breathing become heavier. Was she becoming stimulated at Ramh's command, " ... Exactly as I say ..." and her own reply, " ... Just tell me what you want me to do ..."?

As the film approached is conclusion, the explicit love scene between Sheila and Ly unfolded. Ramh was excited to see her reaction to the rocking rhythms of the bodies, Ly's bronze flesh rubbing frictionfully against her own pearly skin. Ramh watched her hands flutter above her lap and was thrilled when her body jolted in response to her "orgasm" on screen!

There was a tremor in Sheila's voice as she commented on the "exciting ... daring ... audacious," film.

Ramh quickly "rewound" to his favorite scene. "What do you think of my acting?" he asked as he replayed his commands, "Do exactly as I say ... Sit down ... stand up ... turn around ..." and Sheila's body, well-exposed in the white string bikini "moving in obedience ...

"I love it," Sheila answered. Ramh felt his hard-on becoming more urgent as Sheila seemed to become excited in repeatedly watching herself being ordered about by Ramh.

Suddenly the action moved from screen to viewers.

"Stand up," Ramh said, and Sheila rose from her chair.

"Take off your gown," and Sheila dropped the elegant garment to the floor.

Ramh began pulling off his suit as he lustfully looked at Sheila's bare breasts and the little lycra g-string binding her hips.

"Take your panties off," Ramh said, "and hand them to me ... between two fingers of your left hand."

Ramh loved the way the beige band slid slowly down Sheila's long, long legs ...