The Greatest Lie Part 13

Virtual_xx: o it's not for art?

AlleninaW: ha ha. Fucking for art's sake. But I'm not doing any more porns this year.

Virtual_xx: But I really need u 2.

AlleninaW: Allenina should be a new wave filmmaker, cover both porn and other interest, although she made her name first in porn.

Virtual_xx: please direct me.

AlleninaW: she will take bring porn out and meet the mainstream

Virtual_xx: OK I will make my scripts more mainstream.

AlleninaW: but cheesy 2.

Virtual_xx: OK, I will rewrite my scripts.

AlleninaW: Later.

Allenina had disappeared into the digital forest, leaving me alone and baffled.

Was I to put part of myself and Tran into the scripts that I was writing as vehicles for our sexual exhibition? That had been the model of my script in 'Transsexual Hookers,' where I had leveraged the unwelcome appearance of my high school ravager, Miguel, into the hook for an emotionally compelling story and performance. But writing about my family, my friends, or even my transsexual sex worker subjects would only turn out badly. Either the story could be realistic, but too banal to bear watching, or, if I exaggerated the action to the extremes of violence and cruelty needed to be pornographic, the story would be so inhumane that I could not bring myself to write, or act in it .

I stared into my computer screen, torn between the need to personalize my expression and to distance myself from it. I was almost relieved when the time I had allotted ran out and I returned to my studies: a comparison of Spenser's "The Faerie Queen" to Chaucer's "Canterbury Tales."

I was mulling over the point that one had to be familiar with the concept of the seven deadly sins to really understand both "The Parson's Tale" and "The Faerie Queen," when a flash of inspiration hit me. My screenplay would frame a transsexual's achievement of perfect femininity in terms of a series of encounters with personifications of each of the seven deadly sins.