He is a muscular and dark-complexioned man who -- through the lens and the location of the cameraman -- is pounding away on top of us. A hard, mechanical, unfeeling kind of sex that is only interrupted, briefly, when the nameless dealer arises from bed -- naked, glistening with sweat -- to sell drugs through a small opening in his door and returns to find Caroline eying the syringes and dope packets in his bag. He smiles knowingly and then proceeds to inject her with the product, and in doing so introduces her to the world of injection drug use. Once sex with the Black dealers has happened, the quick descent into hell officially begins for the two females.
Both Marion and Caroline lose what they used to have of their identities and cease to understand their own boundaries. Big Tim becomes a kind of pimp to Marion and arranges for her to have sex with another female coke addict in front of a room of horny, rich white businessmen.
Her first experience freebasing cocaine with a rich boyfriend happens just as her father has assumed his transitional responsibilities to his new governmental post.
Yet they are representations that demand dissection, from all possible angles.
Dating back to the early days of American cinema -- most notably with D. Griffith's Birth of a Nation in 1915 -- there has often been a harsh, oversexed, white-flesh-desiring component to the portrayal of African American male sexuality on screen.
From that point forward, from the 1970s-era Blaxploitation movies to more recent pictures written and/or directed by Euro-Americans and some African Americans -- films including Booty Call and The Player's Club -- have continued to present African American men in an entirely hypersexualized manner.
In Caroline's case, it seems implied that the dealer with whom she had sex has arranged for her to start having sex with other men.
When her father finally tracks her down -- lifts her out of the pit into which she has sunk with no help from the same gun-wielding dealer to whom he first turns for help -- he finds her prostituting herself to a white businessman. They are, in the classic Hollywood scenario, in desperate need of rescue.
She needs drugs, and we're to believe that there's just no other way for her to get them than to enter into the Black man's 'drug lair.' The ensuing scenes of sexuality are filmed entirely devoid of affection , as if to say, "See how cold and cruel and heartless the sex is?