Venom
07-15-2008, 03:19 PM
Today we are allowed to have a first look onto the script of the newest erotic movie planned by Eternal Restrains Productions. Unfortunately, some details are still objects of an dispute between director, screenplay writer and producer...
Please notice:
For better readability this passages are not strictly following the style and format of professional motion picture scripts. Thank you.
DIRECTOR: Okay, hotshot; let's see what you have for me...!
WRITER: Of course, sir. Since this is going to be a High Quality project, I took the liberty to create a luxury setting...
Scene One:
Outside: a black and burgundy Maybach 62 on a nocturnal noble boulevard. Metropolitan flair; expensive boutiques, lifestyle shops and restaurants; upper class people on the pavement...
PRODUCER: Wow, wow, wow! Am I looking like Onassis? Does oil gush out of my arse? A Maybach! I can get an old 80's stretch limousine from "Miami Vice"; and we take the shot inside a garage. Location shootings are expensive like hell!
DIRECTOR: Bullshit! I stand for 1A quality, so none of that 80's crap!
PRODUCER: But Don Johnson drove it...!
DIRECTOR: Yeah, in a peach jacket and white slippers! Maybach outside is permitted; continue, my son...
WRITER:
Metropolitan flair; expensive shops and restaurants; upper class people on the pavement. The car stops in front of a first-class hotel. The hotel page opens the rear passenger’s door for a woman waiting at the building's entrance. She's wearing a sinfully short red dress and semi-slutty high-heel sandals. But she gets into the back of the car very ladylikely, without revealing the fact that she doesn't wear panties...
DIRECTOR: Why?
WRITER: Pardon?
DIRECTOR: Why doesn't she reveal this 'fact'?
WRITER: Well, I tried to build up the scene in a more subtle way.
DIRECTOR: What kind of movie do you think we are making here? If our faithful customers don't see a pussy during the first thirty seconds, they'll throw the DVD into the next rubbish bin. Change it!
WRITER:
When she gets into the back of the car, she feels the seat's cool leather caressing her bare vulva. A moan escapes her sensual lips, and she opened her firm thighs a little more, letting the young page know her naughty secret.
Scene Two
Inside the car: the chauffeur sitting behind the steering wheel, dressed in a black suit and tie. He observes her via the mirror.
Chauffeur: Good evening, Miss Stark.
Mia Stark: Good evening, Tom. You may start.
Chauffeur/Tom: As you wish, Miss.
Outside: the limousine smoothly accelerates and get in lane.
Inside the car: Mia is looking out of the window, absent-minded. Then, with a groan, she turns her head towards the chauffeur. Mia: You know, Tom, I'm just not in the mood to go to this silly party. There are only fat producers with short arms in long pockets...
PRODUCER: What?!
WRITER:
...and envious colleagues. Latter will tell me once again how great my new movie is, but behind my back they run me down. No, thanks!
Tom: Well, you don't have to - I will drive you wherever you want to. And please allow me to tell you that your last movie indeed is great. You are a wonderful actress.
DIRECTOR: Is this meant to be some kind of movie-in-movie affair?
PRODUCER: I don't pay two movies!
WRITER: Well, at least it's a moviestar-in movie affair.
Mia: Oh, thank you, Tom. You are so nice! Hey...
She slides forwards on her seat, lowering her voice to a conspiratorial whisper.
Mia: ..., I've got an idea: you know the castle from my movie? It's less than twenty minutes away - I want to show you something there!
PRODUCER: Wait! You surely don't want to have a real castle? We always got such a nice mediaeval atmosphere with that electric fireside and a knight's armour!
DIRECTOR: What part of 'High Budget Production' don't you understand? You have to invest money to make money.
WRITER:
Scene Three
Inside a vault. Mia and Tom enter through an old heavy wooden door with iron fittings.
DIRECTOR: We'll have to rent the whole building, so use all of it if you don't mind.
WRITER:
Scene Three
Outside a mediaeval castle: massive stone walls and towers are indirectly illuminated by hidden floodlights. The limousine turns into the large courtyard, gravel crunches under it's broad tyres. It stops in the middle of the area and the engine becomes silent. The headlights are still turned on. Tom jumps out and circles the car to open Mia's door. She gets out and heads straight for the entrance. Tom closes the door and follows her. Both disappear in a large archway. In the foreground the illumination by the car's headlights is fading away automatically.
Scene Four
Inside the old building: the camera follows Mia and Tom through corridors with Romanesque pillars, cellars and vaults. Finally they arrive a heavy wooden door with iron fittings.
Mia (seductively smiling): You go first!
Tom opens the door and steppes in, Mia follows him. They are in some kind of ancient torture chamber. Torches are sending their flickering light across rough stone walls and historical instruments of torment.
DIRECTOR: Why is the castle open at night? And why are the torches already burning?
WRITER: Of course we can create the role of a guard or something like that who is bribed by Mia to arrange all this - but for that we need an additional actor...
PRODUCER: No, no! It's perfect the way you wrote it! Great atmosphere!
WRITER:
Tom: Wouha! That's the place from the dungeon scene of your movie! And there is the rack where the Arch Inquisitor has questioned you!
Mia: I already guessed that you love that sequence.
Tom (blushing): Well, you're looking really beautiful in this scene.
Mia: You mean: I'm looking really naked in this scene...
She approaches him.
Mia: ...stretched out on the rack, my skin glistening with sweat...
She steps very close to him and with a gracious move she slips off her dress. It lands around her feet - Mia is nude now except her high-heels.
PRODUCER: Finally...!
WRITER:
Tom's hands glides over the small of her back while Mia puts her head on his shoulder to whisper into his ear.
Mia (whispering): Are you searching for heretics, Eminence?
Tom smiles, recognising her word as a quote from the movie. He decides to play her game.
Tom: This is my holy duty, and I will find each and every of your companions.
He grabs her upper arms and pushes her down.
Tom: On your knees, witch!
Mia eagerly gets onto her knees while Tom walks behind her. He uses his foot to make her spread her legs, tipping against the insides of her calves and thighs. Eventually, her ankles are forty centimetres, her knees sixty centimetres apart. Next to each ankle and knee a ring with a crude iron shackle is embedded into the stone floor. Tom fixes her body to them, rendering her legs useless.
From an old wooden table he takes two sets of ancient cuffs, both without a chain between the manacles. Guiding Mia's arms behind her back, he first restrains her wrists, palms facing outwards. The second pair he uses as elbow shackles and forces her arms neatly together.
Mia hisses as this latest bondage immediately starts to stress her shoulders. She utters her pain and lust in a deep, sensual moan. Tom gets rid of his jacket, tie and shirt and continues his work. A rope is knotted to Mia's wrist bonds, then Tom makes her bend backwards, supporting her with his hand against her back. Eventually her shoulders are resting on the stone floor, her stiletto heels are digging into her buttocks.
Next he leads the rope through between her spread legs and to another iron ring in a pillar nearby. Tightening the rope, Tom pulls Mia's arms away beneath her body and forces her to arch her back. She is helpless now, and the stress caused by this precarious position is visible on her tensed body.
Tom (using theatrical voice): Before the investigation will start, I'm going to warm you up a little bit. This way, the undeserved mercy of fainting will be excluded during the higher degrees of your questioning.
Mia, evidently aroused by his words and the imaginations behind them, gives a sample of her talent.
Mia: Please, Eminence, have pity!
Tom approaches with a large iron gag, a rough and unyielding contraption that uses a forged, horse-shoe-shaped device to depress the victim's tongue.
Tom (with played anger): You will wear this to spare me your heretic speech!
Mia (stepping out of her character): No, wait, Tom! It's only a requisite from the museum! That thing really hurts!
She falls silent when she feels the cold metal against her lips. Tom does not force the item in, just holds it in position. Mia hesitates for some moments, then opens her mouth to submit to the gag.
After closing the item's heavy lock behind her head, Tom gets himself a cane. He lightly taps the insides of her thighs, and she starts to moan. Without warning, he gives her a rather hard lash.
Mia flexes her body as far as her bondage allows her and utters a screech. Tom repeats this action until both thighs are striped with dark-red welts.
Tom: Do you already want to confess?
Mia shakes her head, so Tom continues with her belly; first teasing her flesh, then adding serious strokes to the taps in irregular intervals, finally giving the bound woman a thorough caning.
Mia groans during her beating and wails under especially hard lashes. Nevertheless she doesn't let him stop.
DIRECTOR: A little more T'n'A , please...
WRITER: Excuse me...?
PRODUCER: Tits and arses...
WRITER:
After having striped her belly, too, Tom aims for her breasts. He uses the same tactic again, and Mia is now heavily panting between her shrieks.
Scene Five
Inside the dungeon: Tom puts Mia into another bondage: her legs are still secured to the rings, but now her arms are tied in front of her and again pulled through between her thighs. She is bent forwards, her posterior high in the air, her flogged breasts are pressing on her forearms. She turns her head to the left, so her face's side is resting on the cool stones.
Once again the soundly beating starts, this time on her back, her buttocks and the top of her thighs. Mia now meets the strokes with much qicker and much louder yelps.
Having completed his task, Tom steps close to her.
Tom: Confess, sinner!
He rubs the cane up and down between her bottom cheeks.
Mia (inarticulate): Never!
Tom: You impenitent woman! Now I will use harsher methods to cure you of your heresy!
Tom inspects the dungeon for how to continue, equally be taken with the rack, the whipping post and the torture chair.
Tom: Since your heretic flesh has already become acquainted with the rack, it will be a pleasure for me to refresh those lovely memories by stretching the truth out of you...
Without warning, the door is flung open, and a group of police men rushes into the vault.
Detective Superintendent (yelling): Freeze! You are under arrest! (in a lower voice): Take them, men.
Police officer: The woman, too, sir?
Detective Superintendent: Don't let you be misled! She's his accomplice!
Tom gets handcuffed and is led away. For Mia, the police men take themselves more time. Directly after releasing her from ropes and rings, they cuff her hands behind her back. A stainless steel chain is tightened around her nude waist, and her wrists are secured to it. Not enough with that, hobble restrains are fitted to her feet and connected to her waist via another chain. Eventually, one of the police men grabs Mia's red dress from the floor and wraps it tightly around her head. The gag still in her mouth, she is now effectively silenced and blindfolded. Mia, too, is led out of the dungeon.
PRODUCER: Are you crazy?! You can't break off in the middle of a bondage scene when every spectator has only one hand free!
WRITER: This is an absolutely admissible technique to heighten the suspense.
PRODUCER: Till now you are only heighten my costs!
WRITER: I don't have to stand for that! I have even worked with Roman Polanski!
DIRECTOR: Just let's go on. I'm sure our friend knows what he's doing...
WRITER:
Scene Six
Inside a shabby police station of East European appearance: Mia is pushed by an officer into a sinister room which is separated by bars. Flickering neon lights reveal a small desk with a chair and a heavy steel table. A boxy transformer is placed on the table among other items not yet recognisable. Behind Mia and the officer the Detective Superintendent steps in and closes the metal door.
Detective Superintendent (pointing at the dress around Mia's head): Away with that...
While the police man removes the dress and the gag, the Detective Superintendent takes a seat behind the desk.
Mia whines as the metal device is removed from her mouth. The area's skin is reddened.
Mia (sobbing): What do you want from us? We have done nothing illegal!
Detective Superintendent: You are under suspicion of attempting a terrorist attack against our peoples' cultural treasures.
DIRECTOR: Man, that's good! Do they think she has her tits pumped up with TNT?
WRITER:
Mia: That's ridiculous! Don't you know who I am?
Detective Superintendent: Yes, and we are proceeding on the
assumption that your earlier shootings in this country were only covers.
Mia struggles in her chains, her anger mixing with fear.
Mia: Where's Tom? When let you see me my layer? And If it is believed that my driver and I are dangerous terrorists, why we are brought into such a tiny local police station?
Detective Superintendent: I am the one asking questions! (he nods to the police man) Prepare her!
Police officer (shouting): Yes, sir!
The police man undoes Mia's chains and marches her to the iron bars. He positions her on the site that is facing away from the table, her belly pressing against the metal. Leather straps are fixed to her wrists and ankles, so Mia formed an X. The officer makes sure that each of her breasts is sticking through between two bars.
DIRECTOR: I think I know what is coming...
WRITER:
The police man takes a piece of rope and starts to wound it expertly around Mia's trapped breasts.
DIRECTOR: I knew it!
WRITER:
The rope is led around her flesh in an "8"-like figure, now and then interwoven with the bars.
Detective Superintendent (touching his crotch): Make it nice and tight!
As soon as his rope-work is done, the officer takes two red cables and connects one end of each with the transformer on the table. Mia's bosom, already swollen and reddened by the breast bondage, is once again the police man's target; he applies the cables' crocodile clamps to her nipples after pinching them into hardness.
The Detective Superintendent walks over to them and sits down on the table, next to the transformer box. The police man attaches a black cable to the bars' lower frame to close the circuit, then jumps up.
Police officer (exaggeratedly saluting): Mission accomplished, sir!
Watching him through the bars, Mia gasps as the Detective Superintendent's hand wanders to the transformer controller.
Detective Superintendent: Sooo...let's start; what terrorist group you are working for?
Mia (breathing heavily in anticipation): Please, you are making a huge mistaaii...(turning into scream)
An electric hum is filling the air as the Detective Superintendent uses the controller to shock her breasts.
Detective Superintendent: I want answers, my dear...
He heighten the voltage level. Mia is thrashing in her bonds.
Mia: Please stop! I'm innocent!
Detective Superintendent: I don't thing you can take as much pain in real life as in your movie...
He notches up the power again.
PRODUCER: By the way: How is designated for the character of Mia?
WRITER: I was thinking of Victoria d'Oral when I wrote the script.
Well, I was often thinking of her beside the writing, too...
DIRECTOR: No, Vicky doesn't do heavy bondage.
PRODUCER: What about Ann Trax?
DIRECTOR: Too small tits...
WRITER: ...and Joanne Scarlettson?
DIRECTOR: Too big tits - they would never fit through prison bars!
WRITER: Cindy Van Illa?
PRODUCER: Well, I've checked it; it seems that she is actually an Guatemalan transsexual named José Callido...
DIRECTOR: Okay, okay; do we have at least a male star?
PRODUCER: We can get Jacque Strap or Burt Bugger.
DIRECTOR: I liked Burt in "Moonraper" and "A Beautiful Behind".
WRITER:
Scene Seven
Inside the police station's interrogation room: Mia is now bound onto the table, half bending over, half lying on her belly. Her feet are tied to the table's legs while her arms are stretched out before her. A rope is wound around each breast, then led through between her legs. At the moment the police man ties the two separate ropes to Mia's long blonde hair...
DIRECTOR: I think, we hire Ann Trax nevertheless.
WRITER:
...to Mia's long red hair, forcing her head far backwards. The coarse material is rubbing at the outsides of her spread labia major and digging between her bum cheeks. The Detective Superintendent comes up with a spider gag and pushes it against Mia's lips.
Detective Superintendent: Open up, bitch!
Mia presses her teeth together, but then the police officer applies a transformer's crocodile clamp to her unprotected clitoris. She screams, and the Detective Superintendent takes his chance to force the gag into her mouth.
Mia protests, but can only utter unintelligible sounds. Her noises become louder as the Detective Superintendent in front of her opens his trousers to free his erect penis.
Behind her, the transformer starts to hum again. The police man runs an anode across her vulva, allowing the current to stream from her clitoris through her genitals.
Mia screeches again and wriggles on the table. But it is noticeable that both pain and arousal are causing this action.
The Detective Superintendent inserts his penis into her mouth, then starts oral intercourse.
Detective Superintendent: Yeah, give me a Scream Job!
While he continues to satisfy himself with her, he gives a signal to the police man. The officer puts the anode aside and pulls his truncheon from his belt. He lubricates the black stick, then inserts it into Mia's vagina.
She groans due to this new intrusion.
Picking up the pace of the Detective Superintendent, the police man moves the weapon in and out of her abdomen.
Mia's moans increases.
Detective Superintendent: That's it, but don't allow her to cum! You hear me, horny bitch?! Soon your greedy cunt will be so hot, you'll beg me to let you talk!
The scene continues until the Detective Superintendent ejaculated into Mia's mouth. In the moment of his orgasm the room's door flies open, and Tom enters. His face, hands and bare upper part of his body show traces of a fight. With a single punch he knocks the police man out. The Detective Superintendent grabs his pistol, but Tom is quicker. He pulls the truncheon out of Mia who orgasms due to this stimulation, then he knocks the Detective Superintendent out, too.
Tom frees Mia from her ropes, gag and clamp. They hug, and Mia looks up into his eyes.
Mia (touched to tears): You've come to rescue me!
Tom (smiling wickedly): Of course! You still own me a confession...
PRODUCER: What?! That's it?! He comes in - and 'Fin'?
DIRECTOR: And how could he escaped?
WRITER: He seduced a female officer.
DIRECTOR: And why isn't that scene in the script? That's more than
frustrating! You can't just end the story now!
WRITER: I'm the author; I can end my story whenever I want to...
END
pejanon
10-29-2008, 05:13 PM
Sorry about the delay:32::28:
What I like about your writing in general is that you seem always to be looking for a new angle or give the new twist to an established genre.
In this story, there is a ‘style reversal’: the script is written as a narrative and the conversation of movie gods take the form of script. It gives a nice twist to the story. With some smoothing out you would have a GREAT story.
Any serious BDSM production would have a rigger. That person may or may not act in the movie but he would design and usually perform bdsm sequences, especially bondage. You could include that in the story.
God job, You are UP to Level 2. Congratulations.:)
Venom
10-30-2008, 11:25 AM
Thanks, you two!
Yes, the rigger...I have to say that I knew his existence but didn't realise his presence when I wrote the story. I don't think I can push him into the story without some major changes. But they could talk about him, maybe choose one according to the length of his rope... ;)