0068 THIS LEGEND–OBEDIENCE TO THE KEY-SATISFACTION
0069 VISUAL–ERECT PENIS
0070 VISUAL–ERECT PENIS
0071 VISUAL–ERECT PENIS
0072 THIS LEGEND–OBEDIENCE TO THE KEY-SATISFACTION
0073 THIS LEGEND–OBEDIENCE TO THE KEY-SATISFACTION
0074 VISUAL–WOMAN SMILING AT ERECT PENIS
0075 VISUAL–WOMAN SMILING AT ERECT PENIS
0076 VISUAL–WOMAN SMILING AT ERECT PENIS
0077 THIS LEGEND–OBEDIENCE TO THE KEY-SATISFACTION
0078 THIS LEGEND–OBEDIENCE TO THE KEY-SATISFACTION
0079 VISUAL–DOG STYLE INTERCOURSE
0060 VISUAL–DOG STYLE INTERCOURSE
0081 VISUAL–DOG STYLE INTERCOURSE
0082 THIS LEGEND–OBEDIENCE TO THE KEY-SATISFACTION
0083 THIS LEGEND–OBEDIENCE TO THE KEY-SATISFACTION
0084 VISUAL–MALE DOMINANT INTERCOURSE
0085 VISUAL–MALE DOMINANT INTERCOURSE
0086 VISUAL–MALE DOMINANT INTERCOURSE
0087 THIS LEGEND–OBEDIENCE TO THE KEY-SATISFACTION
0088 THIS LEGEND–OBEDIENCE TO THE KEY-SATISFACTION
0089 VISUAL–WOMAN’S FACE EXPRESSING ECSTASY
0090 VISUAL–WOMAN’S FACE EXPRESSING ECSTASY
0091 VISUAL–WOMAN’S FACE EXPRESSING ECSTASY
0052 THIS LEGEND–OBEDIENCE TO THE KEY-SATISFACTION
0093 THIS LEGEND–OBEDIENCE TO THE KEY-SATISFACTION
0094 VISUAL–EJACULATION ON WOMAN’S PUBIC HAIR
0095 THIS LEGEND–OBEDIENCE TO THE KEY-SATISFACTION
0096 VISUAL–EJACULATION ON WOMAN’S PUBIC HAIR
0097 THIS LEGEND–OBEDIENCE TO THE KEY-SATISFACTION
0098 VISUAL–WOMAN’S FACE EXPRESSING ECSTASY
0099 THIS LEGEND–OBEDIENCE TO THE KEY-SATISFACTION
0100 VISUAL–EJACULATION ON WOMAN’S PUBIC HAIR
Klinger said, “The penis doesn’t become erect until the viewer is to]d that obedience to the key equals satisfaction.”
“That’s right. And you’ll notice that both the man’s and woman’s orgasms are represented. This program would be effective with either sex.”
“Was all this taken from some porno movie?”
“It was shot especially for me by a professional pornographic-film maker in New York City,” Salsbury said, pushing his glasses up on his nose and wiping his damp forehead. “He was instructed to use only the most attractive performers. He shot everything at regular light intensity, but I used a special process to print below the recognition threshold. Then I intercut the sex footage with the block-letter messages.” He unfolded some of the print-out. “This first sequence lasts another forty seconds. Then there is a two-second pause, and another message is presented in the same fashion.”
0143 VISUAL–WOMAN FINGERING CLITORIS
0144 VISUAL–WOMAN FINGERING CLITORIS
0145 VISUAL–MAN STROKING DETUMESCENT PENIS
0146 VISUAL–MAN STROKING DETUMESCENT PENIS
0147 VISUAL–MAN STROKING DETUMESCENT PENIS
0148 THIS LEGEND–SUBMISSION TO THE KEY-FREEDOM FROM FAILURE
0149 THIS LEGEND–SUBMISSION TO THE KEY-FREEDOM FROM FAILURE
0150 THIS LEGEND–SUBMISSION TO THE KEY-FREEDOM FROM FAILURE
0151 VISUAL–WOMAN SMILING AT ERECT PENIS
0152 VISUAL–WOMAN SMILING AT ERECT PENIS
0153 VISUAL–WOMAN SMILING AT ERECT PENIS
0154 THIS LEGEND–SUBMISSION TO THE KEY-FREEDOM FROM FAILURE
0155 THIS LEGEND–SUBMISSION TO THE KEY-FREEDOM FROM FAILURE
0156 VISUAL–WOMAN DOMINANT INTERCOURSE
0157 VISUAL–WOMAN DOMINANT INTERCOURSE
0155 VISUAL-WOMAN DOMINANT INTERCOURSE
0159 THIS LEGEND–SUBMISSION TO THE KEY- FREEDOM FROM FAILURE
0160 THIS LEGEND–SUBMISSION TO THE KEY- FREEDOM FROM FAILURE
0161 VISUAL–DOG STYLE INTERCOURSE
0162 VISUAL–DOG STYLE INTERCOURSE
0163 VISUAL–DOG STYLE INTERCOURSE
0164 THIS LEGEND–SUBMISSION TO THE KEY- FREEDOM FROM FAILURE
0165 THIS LEGEND–SUBMISSION TO THE KEY- FREEDOM FROM FAILURE
0166 VISUAL–WOMAN’S FACE EXPRESSING ECSTASY
0167 VISUAL–WOMAN’S FACE EXPRESSING ECSTASY
0168 VISUAL–WOMAN’S FACE EXPRESSING ECSTASY
0169 THIS LEGEND–SUBMISSION TO THE KEY- FREEDOM FROM FAILURE
0170 THIS LEGEND–SUBMISSION TO THE KEY -FREEDOM FROM FAILURE
0171 VISUAL–EJACULATION ON WOMAN’S BUTTOCKS
0172 THIS LEGEND–SUBMISSION TO THE KEY- FREEDOM FROM FAILURE
0173 VISUAL–EJACULATION ON WOMAN’S BUTTOCKS
0174 THIS LEGEND–SUBMISSION TO THE KEY- FREEDOM FROM FAILURE
0175 VISUAL–WOMAN’S FACE EXPRESSING ECSTASY
“I see the pattern,” Klinger said. “How many of these ‘legends’ were there?”
They were standing at one of the computer consoles. Saisbury’ leaned over and used the keyboard.
One of the screens mounted on the wall began a line-print:
KEY/LOCK STAGE ONE BLOCK-LETTER MESSAGES, IN ORDER OF
APPEARANCE, AS FOLLOWS:
01 OBEDIENCE TO THE KEY-SATISFACTION
02 SUBMISSION TO THE KEY-FREEDOM FROM FAILURE
03 SUBMISSION TO THE KEY-FREEDOM FROM FEAR
04 SUBMISSION TO THE KEY-FREEDOM FROM GUILT
05 SUBMISSION TO THE KEY-FREEDOM FROM WORRY
06 SUBMISSION TO THE KEY-FREEDOM FROM MORAL CODES
07 SUBMISSION TO THE KEY-FREEDOM FROM RESPONSIBILITY
08 SUBMISSION TO THE KEY-FREEDOM FROM DEPRESSION
09 SUBMISSION TO THE KEY-FREEDOM FROM TENSION
10 SUBMISSION TO THE KEY-CONTENTMENT
11 SUBMISSION TO THE KEY-HAPPINESS
12 SUBMISSION TO THE KEY-YOUR GREATEST DESIRE
Salsbury touched a tab on the console.
The screen went blank.
“The series was repeated three times through the film.”
“The same thing the second night?” Klinger asked. “No.” He picked up another folded print-out from the seat of the console chair and exchanged it for the stage one analysis. “The first minute is spent securing the. subjects’ undivided attention, as it was in the first film. The difference between stage one and stage two becomes evident starting with the second minute.”