Without thinking, I step a little closer, reaching out slowly to slide a fingertip over the largest petal of the lily tattoo on her lower back. Instantly a vibration moves up my arm and I swear the mark on my hand burns against my skin.I clench my fingers into a fist, but I don’t step away.Did you feel that? she asks.I shake my head. I don’t know. I feel so much, always so much.She takes my hand and brings it to her side again, resting it on the violets. I look at thepurple flowers between my fingers and feel the heat of her skin, the way it slides beneath my palm, soft as silk. And that vibration moves through my arm again.Her breath quickens.I find myself moving closer as her blue eyes go wide with wonder. My heart stutters and my chest aches with some unknown need.Are you doing this? I ask. Is she making me want this?No, she breathes. The smell of her turns to spice, sharp and warm and I know I’m sensing her now, even through the block in the house.We stand like that for an eternity, still as statues on the outside, but inside I’m running, running toward a place I’ve never been. I should be terrified. But all I feel is strength. Rightness.And then Kara moves, her hands skimming up my chest, testing the boundaries. Her palms slide to my shoulders, her fingers tracing the line of the muscles in my arms, down to my waist. She grips my shirt, stretching it a little, waiting for me to tell her to stop. But I watch her lift it, let her pull it up, raising my arms and I even take the last of it off myself, dropping it to the floor.We breathe, staring at each other.The vibrations move between us. My left arm buzzes with them. I think she’s doing it. Whatever’s happening, it’s her.I reach up and brush my marked knuckles across her cheek, amazed at the feel of her, the way her eyes seem to see everything, the way she pulls me into her. I can’t seem to remember why I shouldn’t kiss her. And kiss her. And . . .I kiss her, taking her face in both hands, skimming my thumb over her jaw as she leans into the touch, reaching out to curl her fingers around the back of my neck. I have to remind myself to breathe. I need more of her. The emotions roll over me in a rush, a tangle of sensation and movement, heat and sugar and heady aromas.I grip her tighter.Her nails dig into my shoulders. My hands slide down her spine. The kiss deepens, goes on forever, until I can barely see sense. I explore her shape, the feel of her ribs, the textures and taste of her skin on my tongue as I kiss her neck, her shoulders, her chest. As I draw trembling gasps from her lips, she grips me so hard it hurts.Our bodies mesh. Our breath mingles in frenzied desperation. Nothing else exists except her. Her warmth. Her spice. Her.
Rachel A. Marks
I don't have to tell you things are bad. Everybody knows things are bad. It's a depression. Everybody's out of work or scared of losing their job. The dollar buys a nickel's worth, banks are going bust, shopkeepers keep a gun under the counter. Punks are running wild in the street and there's nobody anywhere who seems to know what to do and there's no end to it. We know the air is unfit to breathe and our food is unfit to eat and we sit watching our TV's while some local newscaster tells us that today we had fifteen homicides and sixty-three violent crimes, as if that's the way it's supposed to be. We know things are bad - worse than bad. They're crazy. It's like everything everywhere is going crazy, so we don't go out anymore. We sit in the house and slowly the world we are living in is getting smaller and all we say is, . Let me have my toaster and my TV and my steel-belted radials and I won't say anything. Just leave us alone.' Well, I am not gonna leave you alone. I want you to get mad! I don't want you to protest. I don't want you to riot - I don't want you to write to your congressman because I wouldn't know what to tell you to write. I don't know what to do about the depression and the inflation and the Russians and the crime in the street. All I know is that first you've got to get mad. You've got to say, 'I am a HUMAN BEING, God damn it! My life has VALUE!' So I want you to get up now. I want all of you to get up out of your chairs. I want you to get up right now and go to the window. Open it and stick your head out and yell, 'I'M AS MAD AS HELL, AND I'M NOT GOING TO TAKE THIS ANYMORE!' I want you to get up right now, sit up, go to your windows, open them and stick your head out and yell - 'I am as mad as hell and I am not going to take this anymore!' Things have got to change. But first, you've gotta get mad!... You've got to say, 'I am as mad as hell and I am not going to take this anymore!' Then we'll figure out what to do about the depression and the inflation and the oil crisis. But first get up out of your chairs, open the window, stick your head out and yell and say it: I'M AS MAD AS HELL, AND I'M NOT GOING TO TAKE THIS ANYMORE![Screenplay]
Paddy Chayefsky