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The Goodfellow he would have done it quite cheerfully if he had detected the slightest sign of interest from the man, but nothing like that had happened.
Nothing.
The carny is now fully aroused, and Danny is standing up. Over three or four shots, Danny strips to the skin. He turns and braces his hands on the edge of the feed trough, his legs spread.
For another dozen shots, the carny sodomizes Danny. The camera angle shifts slightly from istanbul travesti shot to shot, moving in closer, altering its angle. Danny's face is a picture of abandon, his mouth open, slack, his eyes half closed, unfocused. In some shots the carny's hips are pressed against Danny's butt, mashing the pale flesh. In others, he has pulled out so that only the head of his dick is still inside, and the greasy shaft is visible between the two istanbul travestileri bodies, like a bridge. A clear red handprint appears on Danny's butt between one photo and the next, and a pair of images shows Danny bending backward, the carny's rough, avid face buried in the side of his neck, the hard hands gripping the photographer's hips hard enough to leave red fingermarks.
One photo shows the carny gritting his big white travesti istanbul teeth, his eyes closed, his whole body rigid, his hands dragging at Danny's shoulders, pulling the smaller man back onto his dick. The carny's hard, skinny butt is clenched like a fist, and the intensity of his climax is visible in his shoulders and neck.
In the next sequence, the carny steps back, pulls up his jeans and fastens them, and Danny dresses and moves toward the camera and then out of the frame.
From this point on, everything is exactly as Danny remembered, ending with the carny looking toward the camera as Danny tells him that he has everything he needs.
Forty-eight shots. Four dozen images. Of which he can explain only about sixteen.