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SCENARIO
FOR A LEATHER FANTASY
A Short Story in the form of a movie script
Not sure how to start this story. It’s a personal jerk-off scenario.
Putting it down on paper is something of a
self-indulgence. A chance to develop a
bit further a collection of visual
images and a dramatic situation which involve all my favourite turn-ons.
I can see the two main characters very
clearly in my mind’s eye as I mentally get them to act out an experience that I
would really like to take part in. Not
that either character is me - but they’re both part of me ... no, I mean there
is a little bit of me in each of them.
As I write I’m still trying to work out a way
to put onto paper a mental process I follow naturally two or three times a
week; that is, imagining situations that excite me sexually. I build up the action and imagery step by
step, picturing every smallest detail of their clothes and actions, listening
in on their private thoughts while they’re thinking the opposite of what
they’re saying; watching them manoeuvre when dealing with somebody they hope to
win control over ... or is it to be controlled by? I like to watch and listen
and still be a part of it all.
Maybe it’s more like watching a movie which
I’ve written. But if you’ve ever read
through a movie script you’ll know how confusing that can be; the mixture of
described action, narration, dialogue and instructions to the camera about
where to look, or when to be in close-up and when to give a broader view of the
whole scene.
Well, for the purposes of developing this
favourite fantasy of the Mind’s Eye, I guess that’s how it’s going to be. That’s the basic format.
CAST OF CHARACTERS:
LEATHERMAN:
Age between 28 and 38, masculine in
appearance and manner. Compact, athletic
body. A successful young attorney but
you’d never guess it when you see him away from his office. Untroubled by his love for leather and his
male/male sexual preferences. Relaxed
and calm personality but not lacking vitality.
An experienced gamesman in every area of man-to-man S & M and, in
particular, the subtlety of sensual bondage.
STRANGER:
Same age, size, weight as the other man (and,
secretly, similar interests) but his
experience of life has been totally different.
Circumstances have forced him to follow the red-neck route of High
School jock role models, army buddies and construction-site stereotypic
expectations. A red-blooded resolutely
blue collar type who has fought against other natural instincts which have
haunted him for twenty years or more - and the strain is beginning to show.
OTHER CHARACTERS:
Frequenters of a Leather Bar on the West Side
of Manhattan, and the streets of
SCENE ONE: ‘REVERIE’
LEATHERMAN,
dressed in well used and lived-in leathers, relaxes on a leather covered bed
smoking a hand-rolled cigarette. His
leather shirt and bikers pants with padded knees, the heavy-soled bike boots
with metal clasps up to his knees, the Langlitz
jacket and the Harley cap may be stereotypic, but they are more than a
costume. They are his leisure-wear and
sometimes night attire. Smoke curls from
his cigarette as the camera of our Mind’s Eye allows us to see the details of
his compact form and the way leather strains at the seams and where the weight
of his body bites into the leather bed-cover.
As
our camera lovingly travels across the mounds and crevasses of his body (and an
attendant microphone picks up every creak and stir of leather against leather)
an intimate narration “reads” his mind.
It is a stylized reverie or private train of thought.
Perhaps
there is a hint of a ‘B’ movie detective story.
LM: On the floor beside my bed there’s a
bundle of human meat sweating and straining inside a prison of black leather. As it tries to relieve the pressure on
immobilized limbs I listen to the air being dragged in and forced out through
the very few breathing holes in a tight-laced hood.
Sounds
of breathing grow louder as the camera pans slowly down the LEATHERMAN’S
legs and heavy boots to show the trussed-up figure on the floor.
The
intimate voice continues as the camera explores in close-up, details of the
total leather encasement and immobilization of the ‘victim’.
LM: From the soles of his cleated boots to
the top of that eyeless, mouthless featureless
helmet, it’s leather all the way. Tough
hide straps creak and groan - as he would groan if he could through a gag and
three thicknesses of solid leather. The sound and smell and sight of his
suffering body keeps me awake ... savouring a dream that might disappear if I
close my eyes.
Camera
holds the picture as the ‘Victim’ strains to find some relief inside the heavy
leather strait-jacket that wraps and straps his arms across his chest. He then subsides to rest and drag in more
air. From another angle we see the two figures.
LM: Does he know I’m here? - watching - or is
he lost in his own suffocating surreal existence - helpless, totally dependent
on me - his every sense distorted; no sight, hearing, tactile contact with the
outside world. He can smell ... leather,
taste the wedge of leather deep in his mouth.
What else is left for him?
Sudden
close shot of the featureless tight leather hood.
LM: At least his imagination is free to run
riot - or has it already switched off, not able to deal with the
situation? How much does he know about
the effects of Sensory Deprivation? Has
he read about experiments in Mind Bending; techniques for reducing even the
toughest human being to a disorganized mess of mental and physical ...
insecurity?
The
camera begins a new journey across the body of the ‘victim’, catching a
desperate flexing of an aching arm, the useless movement of fingers imprisoned
inside the closed ends of the strait-jacket sleeves.
Suddenly,
the body rolls to reveal for the first time a network of solid straps and heavy
buckles. These begin to flex and strain, tugging in different directions. The cleated soled boots jerk powerfully
against straps which hold them pulled bent towards his tightly leather-covered
ass. After a violent struggle the body subsides.
LM: The anger will soon die. What then? - despair - fear - or just
deadening physical tension. His
dependence on me is total. His very
existence depends on me ... on me being what I pretended to be when we first
met three short hours ago.
Camera
again includes the LEATHERMAN in the picture.
He still smokes what is probably pot.
We continue to hear his voice, although he is not speaking - the style
becomes slightly more consciously poetic.
LM: I am all he has in the world at this
moment. If I reach out my hand and touch
him - he will be grateful to know I’m still here. If I smack him - he will bear it - because he
will have no choice. I am the cause of
his suffering, the controller of his destiny - his only means of
salvation. (He smiles down at the
‘Victim’) His only dread - his only
hope. Without me - he would cease to
exist.
The
‘Victim’ who has been making yet another vigorous but totally ineffective
attempt to gain extra ease or comfort, suddenly seems to stop fighting.
LM: I wonder how clearly he remembers
me? Does he have any idea how long it is
since I gradually and patiently manoeuvred him into his present situation?
Camera
begins to close in on the LEATHERMAN’s strong,
masculine face.
Can he still formulate a rational image in his Mind’s
Eye? Who and what am I to him? Am I - any sort of reality?
SCENE
TWO: ‘ENCOUNTER’:
A
familiar
LM: In a New York Leather Bar nothing is very
real. Everybody putting on a show -
stylized costumes - every cliché in the book ...
Camera
continues to pick up details - hands caressing leather thighs. Studded wristbands, handcuffs hanging from a
broad belt.
LM: Cliché after cliché, - stereotype on
stereotype, - they’ve all read the bible - The Leatherman’s
Handbook. How many of these guys are for
real?
Camera
pulls back to reveal that the handcuffs belong to the LEATHERMAN. He stands alone by the bar. His narration continues but he is not talking
as the camera includes him in the scene. He relaxes, a casual observer dressed
as usual in full leather but with chaps added over leather pants for this
sequence - and the handcuffs there but not ostentatiously displayed.
LM: This is a world for playing scenes in,
perhaps playing parts we’re not suitably cast for - other times pretending to
be somebody we’re not - like chameleons blending into the background waiting to
pounce on some unsuspecting insect.
A
STRANGER enters the bar, a rugged regular guy.
He doesn’t belong. Perhaps the
action freezes and the camera snatches a series of detailed close-ups of
him: frozen shots from different
angles. Every eye in the bar seems to be
drawn towards him - not because of any spectacular good looks. Is it just because he is out of his
territory.
LM: Now he was for real. Not of this world. What is it that exposes somebody from the
real world when they first walk into a place like this? Why is he here? First time in a
Background
noise and action bursts into life again as the STRANGER crosses to the bar and
orders a beer. The LEATHERMAN stands
watching from further down the bar.
LM: I take careful note of every detail,
every sign. Why is he here?
STRANGER
notices the LEATHERMAN watching him - and looks away again - without any sign
of embarrassment.
LM: Not looking for a Leather Master. Then what?
Young
LEATHER QUEEN brushes close to the STRANGER - but he isn’t buying what’s being
offered - pretends not to notice.
LM: He’s here for some purpose - some
mission. He didn’t get that army jacket
at a Surplus Store - but the insignia’s been stripped off - including sergeants
stripes. Who or what ... he could be a
cop ... no, too obvious. I watch him close as he watches the Scene - like he’s
looking in through a window.
The
crime-watch type commentary continues.
From out-of-town, definitively blue collar - and
married - perhaps divorced - ex-’
The
STRANGER again catches the LEATHERMAN watching him - and this time deliberately
doesn’t look away. He holds the
contact. There is no resentment, no
challenge, no invitation. The STRANGER’s face just registers “I know you’re watching - so
what?”
LM: I play a gambit that doesn’t always work.
LEATHERMAN
points a gloved hand directly at the STRANGER - and then turns the finger to an
unmistakable beckoning motion. It is a command;
‘Get over here’. The STRANGER considers alternatives - then with deliberate
casualness picks up his beer can - and makes his way over. Obviously this guy can deal with almost any
situation. He stands before the
LEATHERMAN. This becomes the first dialogue sequence:-
STR: You want something?
The
question is not belligerent - but carries a hint of warning. The LEATHERMAN nods gravely.
LM: I want to know why you’re here - and what
you’re looking for.
The
STRANGER considers the approach and takes his time before asking:-
STR: You a cop?
LEATHERMAN
acknowledges the handcuffs hanging from his belt.
LM: If I said yes - I don’t think it would
phase you. Would it interest you? (STRANGER gives a
noncommittal shrug) These cuffs do not mean
that I’m into crime prevention. Let’s
say I’m a student of human nature. You
are a stranger in our midst - I am a native of this scene - but I do have an
existence in the Real World.
STR: School teacher?
This
is a challenge, a provocation, a criticism which the LEATHERMAN acknowledges.
LM: Lawyer
- but I enjoy teaching.
STR: OK - Your Honour - or do I have to call you Sir?
LM: I’m,
not into Master/Slave relationships - just for the record - Sergeant
STR: Ex - and you?
LM: Ex ... Sergeant Instructor.
The
STRANGER smiles - end of dialogue sequence.
The
live action around the bar continues as the two men chat and finish their beers
and order more. Instead of hearing them
talk - we hear the voice of the LEATHERMAN pick up the narration. The voice is now more natural - and urgent.
LM: (voice only) The link is forged - the path is open. My role-play adjusts to the situation. I know the key that will open the door
that’ll lead to where he’s at.
They
take their beers to a quieter corner away from the music.
LM: How long does it take for a man to
explain for the first time things that have bugged him on and off for
years? My most favourite of favourite
scenes - a solid regular guy ready to Come Out - and I’m in the right spot at
the right time. I become everything he
needs me to be. A buddy he can trust.
The
STRANGER talks earnestly. The camera
studies his ruggedly masculine face.
After a short time his story is interrupted by the entrance of a SLAVE
loaded down with manacles accompanied by a LEATHER-MASTER. It’s a situation that makes the STRANGER
uncomfortable. He is embarrassed, but
tries not to show any judgmental reaction. The LEATHERMAN reassures him.
LM: Don’t believe everything you see in
here. The Master runs a photocopy shop
and the slave calls all the shots. Let’s
talk about you.
The
STRANGER turns his attention back to the LEATHERMAN and resumes his story. The voice of the LEATHERMAN introduces a new
sequence.
LM: He explains his situation clearly enough,
without embarrassment - but with a sort of determination that gave me the
feeling I was the first person he’d ever told.
The
voice of the STRANGER launches into a long and careful explanation:
STR: I guess I’m a kinda - tourist. Live way out around
We
hear the voice of the LEATHERMAN comment to himself (or us)
LM: (voice only) Not a time to make sexual jokes.
STR: I come down here to see a leather bar because I’d heard about ‘em - read about ‘em - and thought
as how I’d like to see the inside of one.
He
pauses, is getting into difficult territory.
Takes a pull at his beer as he tries to decide how to continue.
STR: Leather ... it’s always made me kinda
... look twice somehow. You know what I
mean? In Westerns ... I always felt sorta cheated if one of the main characters didn’t wear
leather chaps ... the shiny kind ... not suede side out. When I was a kid I got me a genuine old Air
Force Bomber Jacket ... wore it through hell and high water ... then grew out
of it ... er, too small, I mean ... Couple of years
back I bought me a leather jacket ... for work ... but it didn’t feel right ...
or should I say ... it made me feel ... that I shouldn’t feel the way I did
when I’d got it on. I had the feeling
... people knew ... that ... well, leather gives me a kinda
spooky feel, y’know? Well now, I know these days just
about everybody wears leather ... women and guys ... don’t mean nothing. Streets are full of people ... but ... well
something inside’a me ... won’t let me near it.
He
laughs with the last of his breath, having admitted his weakness.
LM: Won’t let you near it - but here you are
in a Leather Bar.
STR: Well yes. The time came
when I just had to face up to ... to things ... to myself. Hell ... I started buying them Leather
Magazines. Told myself I was trying to
find out what’s wrong with me. Hell ...
some of them books really scared the shit out of me. I know guys screw guys but well ... hell I
don’t need ... I ain’t thought about that sort of
crap since High School when I was finding out about things ... and in the Air
Force ... it went on a lot ... just as a sort of substitute. Anyway ... AIDS and all that ... do you know
what the fuck I’m talking about? I’m not
sure I do.
LM: You’re turned on by leather - but you’re
not Gay. Queer!
The
STRANGER does not reply immediately - a fact that worries him.
STR: I’ve been married for eleven years ... even had a couple of
women on the side - regular. But all my
leather fantasies ... and I do think about it ... a lot of the time ... it’s
men in leather, not women!
LM: (voice only) His eyes travel down my leather from jacket
collar, over well used jacket, down leather legs to Bike boots - and he seems
to retreat behind a defensive shield.
STR: But I don’t want to fuck men!
LM: But
you do want to wear leather? (No response) For fucks-sake man! - so do it. Easy.
STR: Easy!
LM: This
bar’s full of guys who spend more than they can afford on leather. Some of them eat, sleep and dream leather -
it’s not a disease! ... though I guess it can become one - but I think it’s not
too late to save you - save you from yourself.
The
STRANGER smiles for the first time - but is then unsure of the implications.
LM: Look
around you - you think you’re peculiar?
Do you think you’re ...’Queer’?
STR: No!
LM: You
think you’re ‘Kinky’?
STR: I ... guess so.
LM: You
guess so - you don’t know?
STR: I guess yes ... I’m kinky for leather ... but I’ve never done
nothing about it.
LM: Except
resist it. Do you think you’re the only
guy in the world turned on by leather?
STR: Well no ...
LM: Exactly
- but you do think you’re something - unusual.
STR: Yes, I guess so.
LM: Buddy
- you may think you’re something special in
They
shake hands, traditional gesture of masculine trust. The STRANGER is genuinely
grateful, and perhaps doesn’t notice the look of quiet satisfaction in the LEATHERMAN’s eyes.
STR: How about another beer?
LM: Plenty of time. It’s only midnight. The bars are open for hours yet.
We
hear the voice of the LEATHERMAN warning himself ...
LM: (voice only) Easy does it.
Play it slow and easy. This one
is too good to lose. (Aloud to the STRANGER) How’d you like to look in on a real Leather
Bar? (The STRANGER looks
around the
STR:
LM: Coward. Come on.
Got to get you into gear.
STR: Come on where?
The
LEATHERMAN has moved before the question is asked. The STRANGER hesitates - and then pushes his
way through a wall of smoke and bodies to follow the LEATHERMAN.
SCENE
THREE:
‘
A
patchwork of imagery which dramatizes the sleaze of night-time
Outside
the bar, West Street is busy. Men stand
around singly and in groups. STRANGER
leaves the bar in time to see the LEATHERMAN disappearing around a corner. Somebody whistles appreciatively to attract
the STRANGER’s attention as he walks by. Could be mocking or a serious
invitation. The STRANGER is tempted to
stop and confront the whistler - but follows after the LEATHERMAN.
Around
the dark corner two crash helmets are being unlocked from the LEATHERMAN’s powerful bike.
One is held out to the STRANGER as he arrives. He handles it like an unfamiliar object. The LEATHERMAN, having put on his own helmet,
loops the bike security chain round his neck - and waits.
The
STRANGER hesitates before making a decision, puts the helmet on - and fiddles
with the strap which he can’t see. The
LEATHERMAN helps out - and in close shot we see the gloved hand tighten the
strap. The LEATHERMAN smiles (Is it a
smile of reassurance or achievement?)
before getting astride the bike.
Again
hesitation before the STRANGER approaches the leather-clad back. Then the problem of climbing on without
making any physical contact with the leather.
Awkwardly he lifts his leg over the high pillion seat, but as the bike
is revved the STRANGER’s hands have to choose between
holding onto the LEATHERMAN’s waist or somewhere
else. We see his high lace-up work boots
finding the foot rests close to the LEATHERMAN’s
heavy buckled biker’s boots. As the bike
moves away, the STRANGER’s hands grab for the
tail-frame.
EXHILARATING
MUSIC as, in a series of mixed still and moving images, the camera follows the
motorcycle across
The
STRANGER sees a solitary army vet. sitting in a doughnut shop as they wait at a
stop light before crossing
The
LEATHERMAN swiftly takes off his helmet, leaving the STRANGER struggling to do
the same. As the bike is made safe to
leave, the STRANGER struggles more determinedly with the helmet strap. The LEATHERMAN leaves him still trapped
inside the black and solid prison, and moves away to unlock the door to the
building.
The
STRANGER at last manages to escape from the helmet. Slightly dishevelled and off-balance he
follows, but then hesitates before the open door.
LM: You want to get into leather. Mine should fit you. There’s a stack of it upstairs ... No strings
(smiles
suddenly) - if you know what I mean.
The
STRANGER enters the building and the LEATHERMAN has won another point in the
game.
SCENE
FOUR (a) ‘INTO LEATHER’
Apartment
interior, comfortable, not cheap but not ostentatious. Walls show a good selection of
leather/bondage artwork - no obvious cock and ball imagery.
The
two men enter and the STRANGER waits as the door is re-locked from the
inside. He looks for somewhere to put
his helmet while the LEATHERMAN goes through the routine of lights on, blinds
closed and two beers from the kitchen.
The
visitor has placed the helmet carefully on a low table which also displays a
piece of bondage sculpture. He is
fascinated - and then turns his attention to bondage artwork on the walls as
the LEATHERMAN returns.
STR: This really is your lifestyle.
LM: I’ve
reached the time I can take or leave it.
STR: Is that good or bad?
LM: There’s
a lot of it I can do without - but for tonight - strictly a tourist guide. Scout’s honour.
STR: I’m not quite convinced you’re for real.
LM: Am
I a figment of my own imagination - or of yours?
LEATHERMAN
has taken off his jacket. Holds it out
to the STRANGER.
LM: Try
this for size. What boot size?
STR: Ten - eleven.
He
tries on the leather jacket - likes it - grins.
LM: If
your wife could see you now.
STR: Her worst suspicions would be confirmed. When we were first married I bought her a
leather coat. She hated it. Gave it to her kid brother.
LM: She
has a kid brother? Is he into leather?
STR: I’ve never been into him.
I’ve told you I don’t screw guys - guys do not screw me. No way.
LM: Except
at High School - and in ... exceptional circumstances with the marines -
overseas.
STR: I didn’t tell you that to build up your hopes
LM: I’m
glad you told me. Bring your drink. The bedroom’s this way.
STRANGER
becomes defensive.
LM: The leather is in there for Christ
sake. It’s called a closet!
LEATHERMAN
goes into bedroom. STRANGER admits the
humour of the situation and starts to follow.
Catches sight of himself in a mirror and likes the jacket. Moves towards the bedroom but goes back to
get his combat jacket, removes billfold and stuffs it into his pants pocket.
SCENE
FOUR (b)
‘INTO LEATHER’
Bedroom
is same as scene one. LEATHERMAN checks
out the room, slides chains (that are attached under foot of bed) out of sight
under the leather cover. We hear his voice although he doesn’t actually speak.
LM: Whoops.
Don’t want to panic him. This is
more fun than playing a salmon - maybe a marlin if things get really rough.
The
STRANGER enters carrying combat jacket.
Lays it on the leather-covered bed which he then acknowledges.
LM: Leather
all the way, that’s me.
STR: What does your cleaning woman think of all this?
LM: He
- thinks it’s great.
STRANGER
retreats into his beer can but when the wardrobe door is opened he is
impressed. Wide variety of leather
motorcycle suits and jackets, plus harnesses, belts and boots.
LM: Take your pick - Cinderella, you shall go
to the ball.
The
host settles back in an arm chair with his beer and savours the sight of a
blue-collar, regular guy being obviously turned-on by leather and boots.
At
first he’s too self-conscious to actually touch but gradually he begins taking
hangers out to look more closely at various jackets, one-piece suits. The camera acts as his eye, roving over
leather surfaces, metal snaps, zips with close scrutiny. The eroticism of this sequence is in watching
a man gradually being seduced by his own natural instincts.
The
STRANGER finds a full-length leather bodysack and then a heavily riveted leather
strait-jacket. He refers this to the
LEATHERMAN, who watches impassively.
Next the visitor turns his attention to the boots: loggers boots, western boots, police boots,
work boots, rubber waders. Eventually he
turns to the LEATHERMAN for guidance or suggestions. All he gets is a noncommittal shrug. The STRANGER humorously mimics the shrug.
LM: Cat
got your tongue?
STR: Speechless! Do you really
get to use all these?
LM: You
mean other than in the bedroom? (STRANGER is embarrassed) Sure I’ve used them - over the years. I’ve been on fishing trips, back-packing,
hunting parties.
STR: Oh yea? Ever get to catch
any fish or shoot any game?
LM: Oh
- games that’d make your innocent heart flutter. I know how to hook a fish - and snare a stag.
STR: I bet you do.
LM: But
it’s my guess you could teach me a few new wrinkles in the rough-and-tumble
department. You wrestle?
STR: Have done.
LM: Me
too - when I get the chance. Well, what
are you going to wear?
STR: You tell me.
LM: If
that’s how you want to play it.
He
gets up - picks out a pair of bikers pants with padded knees and hips, and
slings them at his guest.
LM: Climb into those for a start.
As
the LEATHERMAN chooses boots and finds socks the STRANGER looks over the pants,
lays them on the bed and prepares to strip down. He decides he should take the leather jacket
off for the moment. He then sits on the
bed to unlace his boots, and notices the chains attached to each corner of the
bed-frame.
LEATHERMAN
notices the discovery.
LM: All
tastes catered for. Don’t worry
Sergeant, I’m not into rape.
STR: I’m glad - Lieutenant.
LM: Sergeant
Instructor - sergeant. (The STRANGER nods
acceptance) If we’re going to get out on the town again
you’re going to have to move your ass - time wise, that is.
The
STRANGER unzips pants, strips off shirt - picks up leather vest which has been
thrown down for him and then decides that his tee shirt must go. As he stands in jockey shorts finding his way
into the leather vest the LEATHERMAN coughs discretely and points to the underpants.
LM: Under leather - (he shakes his head)
STRANGER
shrugs - finishes his beer in one long pull - then peels off, ending with a
quietly humorous movement of a stripper dropping a garment.
LEATHERMAN
walks towards him - and then picks up the empty beer can.
STR: Oh - are you trying to get me - get me.
LM: Bet
your ass, baby.
Winks
before disappearing into the kitchen.
The STRANGER stands for a moment - before pulling on the leather pants -
which just about fit. But pulling up the
zipper becomes something of a problem because he is becoming aroused. He mutters “Oh shit” before quickly heading
towards the bathroom.
The
LEATHERMAN returns in time to see the bathroom door close. He speculates what
next - picks up combat jacket and quickly searches through pockets -
nothing. Puts jacket back on bed - then
decides to change its position - putting it close to bedside table. Unhooks handcuffs from his belt and puts them
on table close to coat. Surveys effect -
repositions handcuffs to make them look as if they were casually left
there. From bedside table drawer he
takes tin tobacco box of smokes and puts them within easy sight and reach.
STRANGER
returns wearing leather pants and vest.
LM: How
do they feel?
STR: Tight
LM: They’re
supposed to feel tight. They look good
STR: They feel great.
LM: (Handing him white
socks) Boots. Any preference.
STR: Surprise me. (They exchange looks)
LM: Is
that a challenge?
STRANGER
sits pulling on socks tucking pants leg into them carefully. He shakes his head.
STR: I think I’d be out of my league.
As
the second sock is tucked into pants his hand roams over the leather on his
calf and then thighs.
LM: Does that feel good?
STRANGER
nods, slightly embarrassed. LEATHERMAN
shows high motorcycle boots with seven buckles down the side. He kneels before the STRANGER, placing boots
in front of him. The camera watches in
close-up as each foot finds it’s way in.
LEATHERMAN
begins to buckle the boot from the top.
STRANGER accepts this help, looking down at the broad shoulders of the
LEATHERMAN kneeling before him.
When the LEATHERMAN lifts the boot and places it
in his leather-covered crotch, it is a logical move to enable him to strap the
lower buckles - but neither man looks the other in the eye.
The
STRANGER forces his attention away from the boot and he sees the handcuffs on
the table beside him. He picks them up
with deliberate casualness as the LEATHERMAN confines his attention to the
second boot.
STR: You use these?
LM: They
ain’t earrings.
You ever been arrested?
STR: Couple of times. Nothing
serious.
LM: Case
of mistaken identity?
STR: Case of too much alcohol.
You like to get shit-faced?
LM: I
like to stay in control of the situation.
STR: (picks up smokes) You like to get high?
He
smells the tobacco tin. Boots are now
on. LEATHERMAN stands, takes tin and
opens it. Offers a ready-rolled joint to
STRANGER.
LM: I
find it helps when things get a little tense.
STR: (Looking at joint) Is that a challenge?
LEATHERMAN
lights up and inhales. Offers it to
STRANGER - who takes it. He is no
stranger to the procedure.
STR: What time do these bars close?
LM: We
have time enough. How do they feel? (The boots)
STRANGER
stands and feels them out.
STR: They feel good.
LM: They
look good - you look good - but incomplete.
He
begins to search among leather jackets hanging on rail. Pulls out and considers
jacket with coloured leather racing flashes.
Rejects. Produces heavy
continental Police Bike coat. Takes down
leather strait jacket - shows it, straps dangling in all directions. Smiles and throws it aside casually (rather
than hanging it back on the rail).
Brings out a standard Langlitz bike
jacket.
The
STRANGER accepts this and immediately tries it on. As he zips it closed the LEATHERMAN adjusts
the side laces, pulling them tighter and knotting them expertly (the camera
watches in close-up) LEATHERMAN draws on joint as the STRANGER looks at himself
in the mirror.
LM: Well, do you turn you on?
Hands
him a Harley cap - which the STRANGER refuses.
STR: Too much man.
LM: Too
much! Sir is only wearing basic
black. The accessories are essential if
you don’t want to get lost in the crowd.
(turns
to select accessories)
STR: These bars - I guess they’re pretty - er
- up-front.
LM: Up
front, up back. Where we’re going it’s
no holds barred. Even in this day and
age the action gets definitely - up front.
But don’t worry, I’ll protect you. (STRANGER looks dubious) You’re not going to chicken out, are you?
Offers
him a studded wristband and the joint.
The STRANGER smiles and accepts both.
As he smokes he studies the double-studded wristband.
LM: Here
- (he
straps it on the STRANGER’s wrist)
STR: Is this symbolic?
LM: Just
an accessory. I promised you the leather
experience. Might as well try it all
on. See how you feel (Hands him heavy gauntlet gloves.)
STR: I get the feeling I’m getting in over my head.
LM: Come
on in, the waters fine.
As
the LEATHERMAN straps the wrist of the gauntlet, the STRANGER wonders if he can
get them off again. He inspects the two
snaps - and then makes a fist and punches into his own palm.
LM: Gives you a feeling of power, doesn’t it.
Turns
to drawer looking for something else.
STRANGER stands looking himself over.
He watches in the mirror as the other man opens his epaulet and hangs a
metal cockring there
LM: Think of it like a tree-trimming
ceremony.
The
STRANGER doesn’t smile - and the LEATHERMAN drops his joking manner. We hear his private comment.
LM: (Voice only) The scene isn’t developing the way I
wanted. This dumb-ass is too uptight for
his own good. (Aloud)
Look man, I’m not trying to make you - or trap
you or rob you. You wanted to get the
feel of leather. If it’s not working out
the way you thought it would - I’m sorry.
I’m not a sex therapist. My life
motto is “If it turns you on - do it, if it doesn’t - fuck it.” Well, I’ve enjoyed watching you adventure
into leather-land. I can get my rocks
off watching other guys get turned on, - just watching them. And don’t try to kid me - or fool
yourself. You are turned on by
leather. Now, if you want to see the
real hot spots - strictly as a tourist - there are still a few places where the
really committed leathermen congregate if you know where to look - and I know
them all. But, if you’ve decided you’ve
gone about as far as you can allow yourself to go - OK - fine. Disappear into the bathroom and shoot another
load - have another beer and go on back home to the wife and kids. If you want to stick around here and rap
some more - good. I’d like that. (The STRANGER is about to speak but he isn’t
allowed) If you’re afraid that I’ll jump you or
slip you a mickey - (holds up handcuffs) you can make sure I don’t get the chance.
The
STRANGER accepts the cuffs. LEATHERMAN
turns and puts his hands behind his back and waits. Suddenly he remembers keys. He unclips the heavy bunch from his belt and
holds it out.
STR: (Takes keys) Aren’t you taking a big risk.
LM: You’ve
got to take risks. You’ve got to take
risks.
STR: I - I guess - I guess I could use another beer - and we’ll stay
here - not go out to the bars.
LM: Anything
you say.
As
the LEATHERMAN goes to the kitchen the camera picks up his look of triumph.
Left
alone the STRANGER inspects handcuffs - reassures himself that cuff key is on
the ring. (He knows exactly which key it
is.) Positions the handcuffs on the
bedside table - shifting the position to make them look casually placed much as
the other man did.
Looks
into drawer and sees leg-irons, blindfolds, leather hoods. Checks that leg-irons have a key with
them.
LEATHERMAN
returns with two cans.
LM: I
didn’t open yours - so you’re quite safe
STR: I guess you think I’m a bit of a prick.
LM: (Looking at his crotch)
Well, maybe yes, maybe no. Sorry.
No sexual innuendoes. You don’t
fuck or get fucked.
STR: (He sits on the bed and stares at his beer
can) I don’t do much at all.
LM: Now
don’t get maudlin!
STR: I jack off, speculate, fantasize and do - nothing!
LM: You
walked into that bar tonight.
STR: I’ve done that before - had two drinks and gone to a movie.
LM: Dirty
movie?
STR: No.
LM: Jack
off over what fantasy?
STR: Leather - rope (with some effort) - bondage (He drinks deep).
LM: Wash
your mouth out! Men or women?
STR: Men.
LM: Are
you tying or being tied.
STR: Both.
LM: Now
that is not easy!!
STR: Either.
LM: OK
sergeant, this is the time in your life when you either do or you don’t. I am not going to make it easy. You either want to push yourself a step
further or you don’t. I can’t
double-guess what you’d like to happen next.
I’m not your fucking shrink.
LEATHERMAN
picks up a leather collar with a padlock and key. Stands in front of the seated STRANGER and
throws the collar into his leather clad
lap.
LM: OK
man, decision time. Either put that on -
put it on me - or fuck off home.
STR: I want to ...
LM: No
more talk until you’ve made that choice.
Free choice. Then we’ll talk, I
promise. You can even switch and try the
other side of the coin later - but for this moment - take a risk - make a
decision. (Heavy choice. LEATHERMAN waits). I’m not going to make this easy for you,
guy. Make your move.
Indicates
his own neck, the STRANGER’s neck and the door. The STRANGER hesitates further but eventually
buckles the collar on his own neck before looking up at the LEATHERMAN ... who
offers him the padlock.
LM: You lock it on. You’re still making choices.
After
watching him lock the padlock the LEATHERMAN picks up the handcuffs, indicating
that these are next.
LM: Stand up.
(He
does so) Turn around.
Without
further instruction the STRANGER places his hands together behind him, palms
out. The camera watches closely as the
cuffs are locked onto heavy gloved wrists.
LM: Your
choice, friend, - no force - no tricks.
If you want to know more about what I do - what I like. If you want to know what some of these things
you’ve fantasized about feel like when they happen for real - I’m the man to
make them happen ... but you are going to be making free choices at every stage
of the game. (He takes the STRANGER’s face between his gloved hands and brings it
close to his own) We’re talking games, friend - man to man
games. Maybe a little rough, some of the
games - but no more rugged than clawing up a rock face or wrestling with a
buddy who doesn’t think you’re made of cut-glass. Sex isn’t necessary to me. My kicks come from control - or being
controlled - but for now you are calling all the shots. OK?
The
STRANGER nods - but the other man’s eyes tell him this is not enough.
STR: OK.
LM: You
have to say the words. (Picks up leg-irons) OK?
STR: Yes - OK.
The
camera savours the sight and every sound of the irons closing around the
heavily booted feet. The LEATHERMAN
stands and faces the STRANGER who, with great effort, manages to look him in
the eye.
LM: What
now? (The other man doesn’t
know) Nervous?
STR: Of course I’m fucking nervous.
LM: Good. I like to see a guy off-balance and
sweating. (Touches the other mans
face - and the STRANGER stands firm) Got a
hard on?
As
the LEATHERMAN feels down towards the STRANGER’s
crotch he pulls back instinctively).
LM: Just
checking. You have a hard-on.
STR: I’ve had a hard-on since you pointed at me and called me over in
that bar.
LM: Right.
Kneel down.
The
STRANGER kneels without hesitation. This
brings his face close to the crotch of the heavy bikers pants. The camera studies his face and its closeness
to the bulging crotch.
LM: I could force you to suck my cock - and I
could fuck your virgin ass.
STRANGER
begins to shake his head, but gloved hands suddenly clamp the head, totally
preventing the movement. He opens his
mouth to speak and one hand quickly releases the head and a knuckle is inserted
between the teeth. These do not bite the
fingers. The knuckle moves touching
first the top and then the bottom teeth - until the mouth is wide open. The gloved finger continues to move around,
indicating that the mouth is open of its own free will.
LM: Don’t
say “No” yet - not at this stage of the game.
Because if you say “No” at any point - the game stops - it’s over - and
won’t restart. Think about that. That’s your insurance - but also a danger for
you. Understand? (He nods reluctantly.) So - now we talk. Have you ever been fucked? (The STRANGER is about to say “No” but settles
for a shake of the head) In a
couple of hours I could have you begging me to stop what I’m doing to you and
fuck your ass instead - do you believe that?
Do you? (This question receives a
nervous nod) But I would rather
fuck with your mind, buddy. Would you
like that? (He won’t say “Yes” or
“No”) You have to choose,
buddy. You’ve been pressing your nose
against the window for too long. You
enjoy a good work-out at the gym, don’t you?
STR: Yes sir.
The
LEATHERMAN slaps him quite hard across the side of the head.
LM: None
of that ‘Sir’ shit. We’re equals -
buddies - trust is the name of the game.
Whatever I do to you - you can do to me after - if you want to - if
you’re man enough. But if you’re ever
going to find out what it feels like you’ve got to learn to say ‘Yes’. If you one time say ‘No’ - the merry-go-round
stops - and you get flung off. Savvy?
STR: Yes
LM: So
- you agree to let me indulge my particular fancies (STRANGER nods) Even if it involves torturing your tits -
your balls?
STR: If I get to do the same to you - or worse.
LM: Worse!? Good!
But you agree that it’s my turn to call the shots - and a “No” lets you
out if it gets too tough? (The STRANGER nods) OK my friend - let’s party.
He
begins to unlock the handcuffs. STRANGER
is surprised - disappointed?
LM: Unlock the other cuff.
Manipulating
the small key with a heavily gloved hand takes all the STRANGER’s
attention. Camera moves in to watch the
process. When he’s opened the cuff, sees
that LEATHERMAN is holding the heavy leather strait-jacket.
LM: Some
of the things I have in mind may drive you crazy. A strait-jacket is meant to prevent the
patient from injuring himself or his ‘controller’. Yes?
STRANGER
nods and begins to unzip his bike jacket.
LM: Leave the jacket on.
As
the STRANGER puts his gauntleted hands down into the heavily riveted long
leather sleeves of the strait-jacket the LEATHERMAN talks reassuringly while
starting the elaborate process of buckling the many straps.
LM: I like nothing better than seeing a guy
with balls buckled and strapped and sweating and helpless.
Straps
rattle closed and leather creaks as the jacket is made progressively more
secure and pressure on the STRANGER’s bulging padded
arms and chest becomes tighter and more totally confining. He spreads his feet further apart to
withstand the tugging on the solid leather straps.
LM: All
that strength and power - boiling and seething but completely powerless. Power is something we grow up with - take for
granted - until it’s taken away from us - and then the feeling of helplessness
creeps up - inside our bones. It’s there
before we realize it - recognize it. The
mind and the muscles don’t accept it at first - powerlessness. I bet you still feel you have the power to
resist - at least put up a fight - but the time for fighting the way you’re
used to fighting is already gone. No
arms to use to defend yourself - no feet even
.
Camera
watches the shackled booted feet shift instinctively.
LM: How
long is it since you were physically totally helpless? You ever been in the hospital? In splints or bandages? (STRANGER shakes his head, very tense) Maybe you will be before the night’s over;
bandaged from head to feet - just your balls out in the open - maybe the crack
of your ass accessible. You may not like
the idea but if all goes the way I expect it to go, you won’t have any say in
the matter. Do you think you can deal
with reaching a point where it’s no longer your decision? (No immediate
response) Do you think you
can deal with that possibility? (Eventually
the STRANGER allows himself to nod)
Good man. Good decision. You’ll survive it even if you don’t
particularly enjoy it at the time. You
can have confidence that you’ll be able to have your revenge - if that’s what
you want when the time comes.
The
LEATHERMAN smiles and suddenly the sweating STRANGER laughs nervously, his
breath restricted by the tightness of the strapping around his chest and arms.
STR: Too fucking right!!
LM: That’s
what I like to hear. Now - the time for
making decisions is almost over, buddy - for the present, anyway. Even the time for saying ‘No’ in this
particular phase. Do you think you can
handle it? (STRANGER nods,
determined to go along with the situation) Have you ever tried a leather hood? (The other man is about to say ‘No’ but
hesitates) Sorry, I’ll rephrase that - are you willing
to try a hood that shuts out all light - and makes you totally unable to speak
- even to say ‘No’? Are you willing?
STR: (Looking down at his strapped arms) Even if I said I wasn’t, I guess you could
force me into it.
LM: That’s
not the name of the game this time round, buddy. I’d get a hell of a kick out of fighting you
into some sort of restraint. In the
right place where there were no lamps to smash and furniture to destroy I’d get
one hell of a charge out of wrestling you until one of us was overpowered - but
that’s not the game tonight, right?
Tonight it’s my pleasure to make you not only agree to - but ask for
being completely - taken over. Now - are
you willing to have an eyeless, mouthless hood over
your head with a gag in your mouth? (The STRANGER nods, but
the LEATHERMAN is not satisfied) You
want me to put you into an eyeless mouthless leather
hood with a gag that will totally prevent you from complaining or even saying
‘No’? (STRANGER nods again but is
getting more nervous) Then
say it, fellar.
I want to hear you ask for it.
Tell me what you want me to do to you, man. (The other man licks his lips
nervously) Say it!
STR: What?
LM: I
want you to put me into an eyeless, mouthless leather
hood with a gag in my mouth that won’t allow me to say “No” if the going gets
tough.
STR: (With supreme effort) I - want you to put me into an eyeless, mouthless leather hood ... with a gag in my mouth ... that
won’t allow me to say ‘No’.
LM: (Smiling) Good man.
Again,
as the LEATHERMAN prepares the next stage of the game, he talks reassuringly to
his ‘victim’.
LM: I’ve
tried a lot of different ways of silencing somebody I’m playing around
with. These are gum-shields - got ‘em from a sport store.
I guess you’ve used them - I bet you’ve done some boxing sometime.
Too
late for the STRANGER to reply because the flexible plastic mouthpiece is in
and seated, encasing his top and bottom teeth and the LEATHERMAN is ready to
drop the efficient-looking leather hood over his head.
LM: This
hood is my favourite. OK there’s no
mouth-hole for any cock-sucking or boot-licking - but that’s not the name of
the game tonight, buddy-boy. Can you
still hear me? (The hood nods). Good, I could have used earplugs to really
cut you off from reality - but I want to be able to communicate with you now
and then. (Begins to lace the hood
expertly and super-tightly as he talks)
You see, I’ve screwed around with guys of every shape and style until
it’s all distilled down to the feel and smell and taste of leather over a
powerful but powerless hunk of - real man.
Standing
behind the hooded STRANGER the LEATHERMAN puts out his tongue and licks the
broad leather shoulder. Teeth gently
bite into the leather and the shoulder tenses.
He then talks into his prisoners ear.
LM: Only
your cock and balls and your mind will be mine to play around with. You won’t be able to see or speak - or scream
- but you won’t really care because you’ll begin to float in your own dark -
safe world - because you will be safe, buddy-boy. All the sensations you ever dreamed of will
be yours, whatever your name is. All the
things you ever wanted to happen to you - this hood will free you to experience
them - knowing that there’s somebody outside who will keep you safe - and calm
- and secure - because you have no decisions to make any more. You can just float and forget the real
world. Open your mind to all those
images and fantasies and pictures that have excited you for all those
years. Even things you’ve resisted and
rejected. I wonder what they are? What people and what situations have
attracted you - and scared you because they attracted you? I wish I could see the pictures that’ll
begin to float through your head now you don’t have any other powers or
decisions or senses to distract you from your innermost self.
FANTASY
SEQUENCE
Logically
this should be the beginning of a dreamlike sequence of images from the past of
a jock who was turned-on by man-to-man bondage. Covers from
We
see that the LEATHERMAN is gently directing the helpless bundle down onto the
floor beside his bed. When this is
achieved extra straps are produced to secure the booted, manacled feet tightly
up to one of the many strong straps at the back of the strait-jacket. The strap rattles closed and the boots almost
touch the leather-covered ass.
Sudden
cutaway to a black limbo, where we see the STRANGER, wearing western boots and
chaps, being hog-tied with rope by somebody in cowboy boots, spurs and leather
chaps.
Scene
changes back to the present, where the LEATHERMAN is finishing hog-tying the
STRANGER in his bikers leathers and boots.
He stands straight, towering over the trussed figure, and nudges him
gently with his heavy boot.
LM: Can
you move any? Let’s see a bit of life in
there, buddy. I like to see a bit of
struggle and straining.
The
movement the strait-jacketed bundle can produce is minimal.
LM: OK
don’t wear yourself out. Time’ll come when you’re more desperate to move or change
position. Not that time will mean
much. Who knows. You may be there for two hours or twelve. Nobody knows where you are. I could keep you here for a night or a week. You’ve read stories about people being kept
chained up in private dungeons around the
In
the black void the STRANGER sees himself dressed in a thick army cold-weather
parka, chained and manacled in a cellar space.
LM: People
saw us talking together in that bar - but we didn’t leave together - and nobody
would connect us. If you just happened
to disappear for a month or more. Geez, I bet I could make you real angry and eager for
revenge by then. Wonder what sort of
retribution you might dream up. Tempting
idea - to get you so pissed off, you’d show your real nature.
Chained
to a wall in a dank cellar the STRANGER goes berserk, tearing at his manacles
as, at a distance, a faceless leather-clad observer jerks himself off.
Suddenly
back to the present:
LM: Well,
friend, don’t worry about it for now.
You get let out before daylight - but that’s a long time in the position
you’re in. Your muscles will scream and
you’ll lose a couple pounds in sweat, and for a week you’ll feel as if you’ve
been put through a washing machine.
You’ll try to hang onto your mind for as long as you can - but my advice
is to just switch off and watch the picture show that takes over your
head. All those favourite images you’ve
jerked off over for years - enjoy them the way your guilt wouldn’t allow you to
enjoy them before. You’ve got no
responsibilities here - not moral or family.
You don’t need to prove anything or hide anything - perhaps for the
first time in your life. You’re free, man - free to enjoy - free to lose
yourself in the scrapbook of your own mind.
As
the LEATHERMAN settles back onto his leather-covered bed and lights another
joint the camera closes in on the hooded head of the STRANGER and the montage
of bondage imagery resumes.
SEQUENCE ‘BONDAGE FANTASY’
LM: As
this is my personal jerk-off fantasy I know all the images I would like to cram
into the climax (although I’ve already shot my bolt giving details of so many
of my favourite sights and scenes). If
this really was a movie scenario, the fantasies of the character are what would
matter. Well, I know this guy, ‘The
Stranger’. OK he’s been looking at KAKE and TOM OF FINLAND, but hiding behind his ‘straightness’ - so, let’s
give him a real review of the sort of images that have turned him on, secretly,
all through his life. To hell with the
budget and problems of filming so many different sequences in so many different
locations - let the man enjoy himself with a regular festival of erotic film
footage.
...
the black void inside the hood begins to fill with erotically appealing sights
and sounds punctuated by violent physical action ...
HIGH
SCHOOL JOCKS
indulge in changing-room and shower horseplay.
Suddenly, muscular arms grab an athletic neck and soon, in close-up, we
see white adhesive tape fixing struggling wrists and ankles to wall bars or
other gymnasium equipment. New imagery
imposes itself as the location changes ...
BOXING
RING
with two well-matched young fighters sparring.
They wear protective helmets and padded crotch covers. Suddenly, in close-up, boxing glove strings
are being laced to ropes of the corner post of a boxing ring and silk shorts
are being dragged down or torn away. An
exotic bird screeches ...
ARMY
GUYS
in full battle gear on patrol in jungle or woodland terrain are jumped by
others who proceed to bind them with khaki webbing straps and torment their
prisoners. The situation could be either
actual battle conditions or an army training exercise ... but suddenly the
victim is in civilian hunting clothes - perhaps being tied or teased by
cammo-clad hunters or back-packing buddies.
The pumping hand on the crotch suddenly sounds like a pneumatic
hammer/drill and the locations is changed to a construction site ...
CONSTRUCTION
WORKER
in an unfinished building or warehouse approaches another, and through menace
or after a fight binds with wire or duct tape.
The bound man watches as ...
A
LASSO is thrown
and in a violent struggle across dusty earth or in a stable, boots and leather
chaps are roped elaborately and securely.
As the aggressor cinches the final knots ...
A
COPS PISTOL
nuzzles into the ear of a leather-jacketed hoodlum. Two cops hold the prisoner at bay. Cuffs are applied - and (surprisingly)
leg-irons are produced by the arresting officers. Once in place, the officers smile and produce
less official equipment - like leather thongs and a substantial gag. The protesting hoodlum is carried down into a
secret domestic cellar by the two smiling cops.
Maybe,
in this very special sequence of imagery, the STRANGER features as the
aggressor at the beginning of the various sections - but then miraculously each
time assumes the role of the victim - if the cinematography is up to it. The more confused and illogical the
collection of mind’s-eye images, the more it will represent the STRANGER’s attitude to his attraction to erotic bondage.
In
any event the climax could certainly be a crescendo of erotic excitement. If anybody has got any energy left - the
final sequence of this scenario should be a return to the bedroom.
FINAL
SEQUENCE
Situation
is almost as it was at the beginning of the film (or story) - The
leather-strait-jacketed figure is still lying on the floor - but his cock is now
exposed and there are cum-stains around his leather thighs.
One
last time the camera travels lovingly over the strapped boots and up onto the
leather bedspread, where booted feet and leather-clad thighs are again
traversed. Once again we hear the voice
of the LEATHERMAN.
LM: The
idea of tough, powerful bodies encased, restrained, held prisoner and
completely in my power and powerless to resist ... is the main theme of erotic
fantasy for me every time. I like to see
men writhe - but writhe in enjoyment rather than agony. The sound and smell and sight of his
suffering body on the floor beside my bed keeps me awake ... savouring a dream
that might disappear if I close my eyes.
At
last we see the face of the figure on the bed through a haze of cigarette smoke. It is not the LEATHERMAN but the STRANGER, now wearing the LEATHERMAN’s clothes, enjoying his cigarettes and smiling
down at the tr
END
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