Showing posts with label sadomasochism. Show all posts
Showing posts with label sadomasochism. Show all posts

Wednesday, 19 October 2016

Double Entry

This is a short story I wrote back in 2011. It was turned down by 9 magazines and accepted by one, an online pubication called Oysters and Chocolate which then shut down. It's a pretty graphic tale, so be warned.

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Double Entry

Richard stands in all-black, his back against the unlit street wall, his breath misty in the night air, and watches her.

She's across the adjoining street, walking on the footpath on the other side of the junction, the clip-clop of her stilettos reverberating off the houses. When she walks past him, a few metres away, Richard's lust overwhelms him.

Who wears a denim skirt that short, he thinks, on a night like this? Are you serious, woman?

He finds himself following her, a few paces behind on the other side of the road. He clenches his fists. He can't make himself stop what he's going to do. There were times when he couldn't stop himself before. Tonight is no different. Hands shaking, he rolls down his balaclava.

And that's when she turns and looks right at him.

His heart leaps. Decision time. Walk away now? She's not got much to tell the police. Act on instinct?

She looks nervous, which excites him more. He has made up his mind. She trots on a few more paces, quicker now, her wrists out for balance, and stops at a door. She fumbles in a handbag, shakily drawing out a key. Then she bends forward, checking the lock with a strange intensity, and pushes the key in slowly, her butt stuck out.

When she's got the door open, Richard is already running at her.

She walks in and doesn't even put her hand on the door to close it. Richard has already darted across the road and slammed his way into her corridor, breathing heavily. She has turned to face him, waiting, standing very still, her chin down, her breath shaky.

Then Richard dives at her. He drops to one knee and grips the back of her ankles, taking her legs out towards him. It's a move he'd planned beforehand. She lands on her arse and Richard scrabbles forward, panting, out of control.

“No,” she whimpers, terrified. “No.” Then, in a strangely authoritarian voice, like a mother disciplining an infant, “No. You've got to do it from behind.”

He takes his hands off her skirt, fingers twitching. What? he thinks.

“Look,” she says, gripping his hands and impatiently pressing them on her hips. “Turn me over. I don't want to see you.”

Richard still doesn't move.

Bang.

Richard turns himself- they are both facing the door, and the figure in the corridor.

Hey, thinks Richard. His balaclava's just like mine.

“What the fuck is this?” asks The Figure. To the woman, he says, “The dating agency said it would just be me and you!”

There's a second-long silence in the room, but in Richard's brain there's a whirring sound, as if an old projector and its audio have just been kicked back into life.

Think.

“That's what they told me too,” Richard says, although he has no idea what he's talking about himself.

“For fuck's sake,” says the woman. “All right. Shut the door. We'll talk this through.”

Richard's lust has drastically ebbed. She sounds bored, like most women did when he could be bothered to actually date them.

“Listen,” she says, rolling her skirt back down. “You're gonna have to tell me your names, so I can straighten this out with the agency.”

“No!” barks The Figure. He's nervous. “I'm not telling you my name; I'm not taking my balaclava off.”

“Why not?” She asks.

He sighs, looks at the bottom of the room, as if he'll find the answer there. “I run an accounts business in town,” he says. “I've got adverts all over the place with my face on. No way.”

“Fair enough,” Richard says quickly, feeling claustrophobia kick in. He just wants to get out of there. He thinks of an advert he saw in a bar above a urinal:

RAPE: SHORT WORD, LONG SENTENCE.

“Just... so we don't cross paths”, the woman says, turning to Richard, “you go out the back door.” Turning to the figure, she says, “You, out the front.”

The Figure stands, staring at them both.

Richard guesses that The Figure is thinking he's being ripped off, that Richard is getting more out of this than him. Well, he thinks, Maybe I kind of already have. Under his balaclava, he smiles to himself.

“Fuck!” The Figure turns marches out of the front door and slams it, hard, behind him.

The woman steps to Richard. “Stay for a drink,” she says, a hand on his chest.

He smiles. What a dumb bitch, he thinks, and starts to wonder when's the best moment to pounce.

She walks him back to the couch. He steps back until his heels hit the seat and he falls back into it.

“SoCo and Coke?” She turns, looks at him over her shoulder, smiling, flirting.

“Yeah,” he says, thinking it's weird that she actually wants him here.

She walks into the kitchen, out of sight.

Play along, Richard thinks to himself. “Gonna have to have words with that agency,” he says. I didn't even know there were places that set up deals like this, what, rape fantasy? I wish I could ask her. I'd love it.

“I bet you are,” she says, and because she's raising her voice there's something that sounds like sarcasm in her tone.

He doesn't question it, though, as he realises he wants to play along, to consent. He can't remember the last time a woman did.

She steps back into the lounge and hands him the fizzing, black drink.

He takes a big gulp as she sits down next to him. This is going to be easy, he thinks.

“It's been kind of a strange night, hasn't it?” she asks, stroking his thigh.

His skin tingles, and he can't figure out if it feels good or not. One thing he has figured out: bad people get what they want. He's proved it before with women, and he's proving it again.

“You could say that,” he says, smiling to himself. You have no idea, woman.

He takes another sip as her hand slides up to his crotch. Something is wrong, though. He can't get hard, and his stomach has started to hurt.

“Come here,” she says, and starts to peel back his balaclava.

He lifts his hand up to stop her, but it feels heavy. He realises he can taste something dusty on his tongue. His face feels moist and cold, exposed to the room's air, as she throws the balaclava on the carpet. He's slumped, exhaling shallowly through his nose.

“I know you're not from the agency, boy,” she says, still flirting.

Richard recognises something sinister. This isn't just a come-on.

“I asked for a man in black. Those trainers aren't black.”

He looks down, cursing his white Nikes, then looks up to his glass. Dusty residue has gathered on the surface where his lips were. That's what I can taste, he thinks. “Bitch,” he mumbles, and lifts his arm to throw the glass at her. It bounces off her bare legs, soaking the carpet.

“Correct,” she states, turning, and unzips her denim skirt and pulls it down. She walks away.

Still leaning forward after the throw, his balance is off and he lands on his hands and knees, panting. He can see her at the back of the room, bent forward like when she unlocked the door. She's looking in a cupboard, reaching right to the back of it. She pulls out something purple and long, with straps hanging off it. She lays it on the linoleum, the dildo pointed at Richard's grounded face, and steps into it. His lips, squashed between the floor and his teeth, look like they are puckering up for a kiss.

As she fixes the straps around her waist, he growls in frustration and tries to lift himself up.

“You've brought this on yourself, boy,” she says, and he recognises lust in her voice.

I couldn't stop myself, he thinks, balancing on his knees.

She walks past him, the dildo eye-level to him, her heels clip-clopping on the linoleum, sounding like when he first saw her. Then he feels one of those stilettos dig into his spine, forcing him face-down again, and her firm hands grip his hips.

Sunday, 2 October 2011

The Mix




EXT. CITY CENTRE STREET-NIGHT
CCTV FOOTAGE- B/W- NO DIGETIC SOUND
WALTER, 18, steps up to the camera in a checked shirt and stonewashed jeans- smart but trend-less. The camera appears to be in a doorway of some kind. He wants to get in, gesturing inside, trying a little charm. He's not doing well. As he steps closer to the camera, a DOORMAN'S FIST slams into his face. He staggers off.

Over the scene, CHRIS gives a V/O.

CHRIS
That's Mark, the doorman. He told me this cocky little fraggle stepped up saying “I know Chris Hulston.” Mark was like, “Don't use that name around here.”

INT. POSH HOUSE- DAY

Chris sits with IAN, his right-hand man, strangely close on the small couch. Ian has a scratch on his nose. They're watching the footage on a big-screen TV. To the left of the TV, his video rack holds the films Batman Returns, Blue Velvet, Maitresse, A Taste of Honey, Salo, 8mm, Philadelphia, Deliverance, Midnight Cowboy, WWF Wrestling and Spartacus.

IAN
What's his name?

CHRIS
Walter. I can't go back in there now because of him. You beat the shit out of him and I guarantee he'll go to the press. The club's door staff will see the article. They'll know I sorted it out.

Ian leans back and notices something sticking out from between the cushion and the armrest of the couch- a small riding whip.

Chris pulls out an unmarked audio tape.

CHRIS
Just so I know it happened. I'll be at a business meeting, so post it through the box and I'll check it when I get back. How's it going with this Charlotte, then?

IAN
Well, y'know. Can't believe I got tied down to this shit. If she didn't argue with everyone she meets, and she didn't punch grown men in bars, and she didn't drink pints and belch in strangers faces, meaning you've gotta wade in and protect her, and if she didn't get so wasted that going out with her was like looking after a fucking infant... she'd be a nice girl.

CHRIS
You'll figure it out with her.

IAN
I will.

Ian looks at the tape.

IAN (CONT)
I have a plan.

INT. COUNCIL HOUSE-DAY

WALTER sits on a couch. Puffing the herb, he stares at the TV. We can't see what's on-screen, but we can hear it.

TV VOICE
Unless you want to die a slow, painful death... Stop smoking now.

TV VOICE 2
New McBain chips! They go with everything! These kids just can't get enough!

There's a KNOCK at the door.

Classical music fills the room. Walter stands and slumps to the door.

TV VOICE 3
Order now for Classical Vibes. Relax to this serene collection...

Walter opens the door. A large leather-gloved FIST slams into Walter's face. He flies back into the corridor.

WALTER
No- no-

IAN pushes Walter onto his arse and begins laying into him. Walter's protests are heard over the music. It's a totally unfair fight. By the time the advert finishes, the man has left and has closed the door behind him.

EXT. WALTER'S HOUSE
Walking briskly down the road, Ian pulls a tape recorder out of his back pocket. He rewinds. The device SQUEAKS, then Ian presses PLAY. For a couple of seconds we can hear Walter getting the shit beaten out of him.

INT. IAN'S FLAT- DAY
CU- TWO-TAPE STEREO PLAYER
A tape marked THE CORRS is inserted into PLAYER A. A blank tape is inserted into PLAYER B. Fingers hit the record buttons.

The Corrs song “What Can I Do to Make You Love Me” plays over the scene, and over the following FLASHBACK MONTAGE:

INT. PUB- NIGHT
Ian and a girl, CHARLOTTE, sit together. He goes to hold her hand. She pushes his hand away and sneezes into her own hand. Then she picks his hand up and smiles at him.

INT. IAN'S FLAT- NIGHT
Ian's asleep on the couch. Charlotte carefully places some sandpaper into his outstretched hand. She tickles his nose with a pen. He reacts, scratching his face. She finds it hilarious. He does not.

MONTAGE/MUSIC ENDS

Ian takes the two tapes, marked BEATING and SONG, and puts one in each coat pocket.

EXT. CHARLOTTE'S HOUSE- DAY
Ian pops the tape through the letterbox. He strokes a local cat on his way out.

EXT. CHRIS'S HOUSE
Ian pulls out the other tape. As he shoves it through the waist-height letterbox he sees the markings: SONG. He freezes. The tape has fallen inside. He starts to breathe heavily. He looks through the letterbox flap.

INT. CHRIS' HOUSE
The cassette is on the floor. Ian reaches through the letterbox, his arm no-where near.

EXT. CHRIS' HOUSE
Ian hesitates, and then backs away.

INT. IAN'S HOUSE- LATER
Ian's topless, doing press-ups on his knuckles.

The doorbell RINGS. Ian stands. He looks around the room.

IAN
Hang on…

He picks up a belt and stretches it out, like he might strangle someone with it. It's the only thin he can find to defend himself with.

Ian opens the door. Chris is in the hallway, smiling flirtatiously.

IAN
Chris. Listen. Fucking hell-

Chris brings a finger up to Ian's lips.

CHRIS
Shhh... Wow. I can't believe it took us so long.

Ian's face changes from controlled panic to blank confusion.

Chris holds up the tape marked SONG.

CHRIS
Ian... Ian... I would never have put you down as the romantic type. Well, Mr. Creative. You don't have to do anything to make me love you. Nothing at all.

Chris pushes Ian back into his corridor, just using the finger still pressed to Ian's lips.

Ian panics and pushes Chris' finger away.

IAN (FIRM)
Out.

CHRIS
Yes. Yes, I am out. I'm out at last. You noticed, and I'm free because of you. I owe this freedom to you.

Chris pops the buttons on his own shirt.

CHRIS
Now do what you want with me.

Ian's BIG RIGHT HAND lands in his boss' face. Chris stumbles out. Ian slams the door shut. Undeterred, Chris hammers on the door.

CHRIS
Don't fight it, Ian! Accept your feelings darling!

MONTAGE
Shower dial being turned to the coldest point.
Water bursting out of shower head
Ian reacting to the cold.
Ian drying off. The doorbell RINGS.

IAN
Oh, fuck, here we go again.

Ian opens the door wrapped in a towel. CHARLOTTE stands in the doorway holding the tape marked BEATING.

IAN
Charlotte. I can explain, don't-

She SHOVES him back into his corridor and closes the door behind her.

IAN
There's something I need to tell you. I, er-

Charlotte SLAPS Ian, hard.

IAN
Argh! What the fuck?

She grabs him, ready to slap him again.

CHARLOTTE
I know you like this, you little bitch!

Charlotte rips off her blouse to reveal a black PVC catsuit.

CHARLOTTE
I can't believe it took you so LONG!

She slaps him so hard it brings a tear to his eye.

IAN
You fucking psycho!

CHARLOTTE
Oh... keep talking baby. Keep talking.

She kisses him hard on the mouth. He pushes her away, HARD, mid-kiss. He slaps her face. She's laughing now.

CHARLOTTE
Come on, you wuss. Is that it?

Ian runs out, still in the towel.

IAN (Shouting back at her)
Don't speak to me again, you crazy bitch!

Charlotte is still stood in Ian's flat, breathing heavily, staring at the door.

CHARLOTTE
You know you liked it... come on... prove it.

She roots through his wardrobe- shirts, trousers, jeans- no PVC. No whips. No chains. No leather. No rubber.

She goes through his drawers: elastic bands, paper-clips, a pack of cards that have come loose at the bottom and have spread across the drawer. She plucks out a scrap of paper.

CHRIS
0798064

It's not just a scrap- it's an envelope. Charlotte opens the tucked-in flap. It's stuffed with £20 notes- a few hundred quid-deep. She checks the drawer for more. She pauses and pulls out what looks like- from the back- a white rectangular card. From Charlotte's side, it's a photograph. It's Chris and Ian. They're both drunken, shirts untucked, outside a bar at closing time. They're hugging, looking somewhat gay.

FLASH FRAME- CHARLOTTE'S THOUGHTS:
Chris and Ian locked in a kiss.

EXT. CHRIS' HOUSE
Chris opens the door in a dressing gown, eyes full of sleep.

CHRIS
Who are you?

Charlotte stands on the doorstep with the photograph in one hand and the envelope in the other.

CHARLOTTE
I'm your boyfriend's girlfriend. Soon to be ex-girlfriend.

CHRIS
Er, what?

He looks at her outfit.

CHRIS
Okay. I can roll with this.

Charlotte puts the photo in his face.

CHARLOTTE
You turned my boyfriend gay, you bastard.

CHRIS
I wish I had. I AM bisexual, but Chris just works for me.

CHARLOTTE
You're a pimp?!

CHRIS sighs.

CHRIS
No. There's something I want to show you.

INT. CHRIS' HOUSE

Chris and Charlotte sit on the small couch. Chris is showing Charlotte a scrapbook that he's assembled, stuffed full of newspaper clippings.

CHRIS
Look. This is all me and Ian. But you didn't see this here, okay?

CASH GUARDS ROBBED
SHOTGUN RAIDERS HUNTED
LANDLORDS WARNED AFTER PUB RAIDS
STREET RIOTS WERE “PLANNED”
PIRATE VIDEO DEALERS HUNTED
LOCAL COCAINE NOW CHEAPER THAN A CAPPUCCINO
EAR FOUND ON PAVEMENT
MAN GETS HEAD STUCK IN RAILINGS AFTER DRUNKEN NIGHT OUT

Chris shrugs.

CHRIS
Might need to blackmail him one day. You never know.

CHARLOTTE
Wow, I had the wrong end of the…

She finds the same riding crop that Ian found, down the sofa.

CHARLOTTE
Stick. Is this yours?

Charlotte and Chris smile at each other.

INT. IAN'S FLAT
Ian sits at his desk in his lounge, filling in an RSPCA job application form. He's on the phone. An answer machine beeps.

IAN
Chris, it's Ian. Being a gangster is gay. I'm out. Out of the game, I mean, not... Well. Enjoy your life.

On the form, under MARITAL STATUS, Ian ticks the box SINGLE.

INT. CHRIS' HOUSE
Chris' ANSWER MACHINE blurts out Ian's message, but there's no-one around.

INT. CHRIS' BASEMENT
Chris is gimped up and chained to the wall. Charlotte stands in her catsuit in front of him. She WHIPS Chris hard. He loves it.

CREDITS ROLL.