Whisper Of Bondage: Taboo BDSM, an Erotic Play - Quinn Stone - ebook
Opis

MEG MARTIN: Blonde, medium height, curvaceous, with the unmistakable air of confused innocence trying to please. Worships her husband to the extent of following his erotic wishes even though they disturb her ingrained modesty and conventionality.VINCE MARTIN: A traveling sales representative. Dynamic, strong, highly sex-oriented, he gets a lot of his jollies out of exhibiting his wife's charms, and is inclined to be somewhat voyeuristic.CARL SCHMIDT: A salesman of leatherwear, promoter and despoiler of maidens.TANYA DOFSTOY: Carl's young assistant. Dark, somewhat boyishly built, but with ample mammary development. Black hair, vivid coloring, very long lashes; moves like a cat. A sultry, sensuous creature who reeks of delicious evil.CONRAD KLEIN: The oldest male; senior buyer for Slocum's West, fashion house.WES RYDER: A younger buyer, learning the ropes from Conrad.GREG PUTMAN: A milkman.DON GELDER: A parcel-service carrier.HOWIE LANE: A plumber.FRANK DONOVAN: Vince Martin's supervisor.NOTE: The four men in the third act may be played by the same actors as three in the first and second acts. DONOVAN, LANE and KLEIN may all be handled by one actor, GELDER and RYDER by another, and PUTMAN and SCHMIDT by the third.SETTING: The play is set in a contemporary Kansas suburban home. All action occurs in either of two parts of the house: 1) the living-dining area or 2) the basement. The living-dining area set is entered from outside via a door in the center of the rear wall (or perhaps offset a little toward the dining area). There is an upholstered armchair some five or six feet downstage from this door, facing front in three-quarter position. At stage right, facing centerstage, its back to the end wall of the living room, is a couch with removable cushions. In front of this is a low, heavy coffee table with legs that ropes can be tied to. Left of the armchair, in the dining section, is a small table with four chairs, and left of it a substantial screen that projects from the rear wall into the room some eight feet. Behind the screen are a door to the offstage kitchen, and a buffet-type chest, downstage.The basement has a similar physical layout, with a door corresponding to the upstairs front door, leading to the unseen stairway, a screen shielding the last few feet of up-left area from the view of the rest of the set, and a door behind the screen, leading to an unseen basement bathroom. Just right of the central door is a chest-high bar, set at a slight angle, so that the audience sees part of its end, as well as its full front. There are two or three bar stools with wooden rungs. Down right of the bar is a table with four chairs. In the rear wall, left of the central door, are heavy metal rings at appropriate locations--some at baseboard-level and some well above shoulder-level. Other rings at similar levels can be seen at the right of the bar, on the same wall. The basement's walls are of rough-finished concrete or concrete block. There is a telephone with a long cord sitting on one end of the bar.

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Whisper Of Bondage

Quinn Stone

Copyright © 2017

MEG MARTIN: Blonde, medium height, curvaceous, with the unmistakable air of confused innocence trying to please. Worships her husband to the extent of following his erotic wishes even though they disturb her ingrained modesty and conventionality.

VINCE MARTIN: A traveling sales representative. Dynamic, strong, highly sex-oriented, he gets a lot of his jollies out of exhibiting his wife's charms, and is inclined to be somewhat voyeuristic.

CARL SCHMIDT: A salesman of leatherwear, promoter and despoiler of maidens.

TANYA DOFSTOY: Carl's young assistant. Dark, somewhat boyishly built, but with ample mammary development. Black hair, vivid coloring, very long lashes; moves like a cat. A sultry, sensuous creature who reeks of delicious evil.

CONRAD KLEIN: The oldest male; senior buyer for Slocum's West, fashion house.

WES RYDER: A younger buyer, learning the ropes from Conrad.

GREG PUTMAN: A milkman.

DON GELDER: A parcel-service carrier.

HOWIE LANE: A plumber.

FRANK DONOVAN: Vince Martin's supervisor.

NOTE: The four men in the third act may be played by the same actors as three in the first and second acts. DONOVAN, LANE and KLEIN may all be handled by one actor, GELDER and RYDER by another, and PUTMAN and SCHMIDT by the third.

SETTING: The play is set in a contemporary Kansas suburban home. All action occurs in either of two parts of the house: 1) the living-dining area or 2) the basement. The living-dining area set is entered from outside via a door in the center of the rear wall (or perhaps offset a little toward the dining area). There is an upholstered armchair some five or six feet downstage from this door, facing front in three-quarter position. At stage right, facing centerstage, its back to the end wall of the living room, is a couch with removable cushions. In front of this is a low, heavy coffee table with legs that ropes can be tied to. Left of the armchair, in the dining section, is a small table with four chairs, and left of it a substantial screen that projects from the rear wall into the room some eight feet. Behind the screen are a door to the offstage kitchen, and a buffet-type chest, downstage.

The basement has a similar physical layout, with a door corresponding to the upstairs front door, leading to the unseen stairway, a screen shielding the last few feet of up-left area from the view of the rest of the set, and a door behind the screen, leading to an unseen basement bathroom. Just right of the central door is a chest-high bar, set at a slight angle, so that the audience sees part of its end, as well as its full front. There are two or three bar stools with wooden rungs. Down right of the bar is a table with four chairs. In the rear wall, left of the central door, are heavy metal rings at appropriate locations--some at baseboard-level and some well above shoulder-level. Other rings at similar levels can be seen at the right of the bar, on the same wall. The basement's walls are of rough-finished concrete or concrete block. There is a telephone with a long cord sitting on one end of the bar.

ACT ONE - SCENE ONE

As the curtain rises, VINCE sits in the armchair with an open newspaper in his lap and a TV tray at his side. There is a bowl of chips and a can of beer on the tray, and Vince is half-turned in the chair to look back into the dining area, where his wife, MEG, stands behind the table, facing front, leaning forward to study a catalogue that lies on the table. She wears a miniskirt and sandals, and is naked from the waist up. Her blouse and bra lie on the far end of the table.

* * *

VINCE: And why should anyone come? Hell, Meg, we've hardly been in town long enough to get settled!

MEG (Without looking up): Well, the man at the leather shop knows we're here.

VINCE: So? That's so he can send us literature. I'm not gonna give up my esthetic pleasures just because some damn shopkeeper has our address.

MEG: Okay, okay, Vince! I know. (She flashes him an intimate grin.) I guess I've learned to cover up in a hurry. It's just being in a new house; makes me jumpy. (She twitches her shoulders, and her breasts swing sharply.)

VINCE (With an appreciative chuckle): And jiggly, baby.

MEG: Oh, Vince! (She flips another page in the catalogue.) Oh! Here's one, honey.

VINCE: Out of that soft leather he showed us?

MEG: It looks like it. the way it clings.

VINCE: Let's see.

(MEG carries the catalogue to him, bending over his chair from the far side and holding it down for him to look at. He fingers her breast while he studies the picture, and she squirms and giggles.)

VINCE: Hold still, woman. How can I concentrate on the catalogue if I have to keep chasing you?

MEG: Dirty old man!

VINCE: I'm not old. Hey, you're right! That is the soft stuff! Sexy as hell!

MEG: You think we ought to order some?

VINCE: Well, it was awful high... Well, yeah! Let's do! Hey, how did you like that little shop?

MEG: Ugh! It gave me the creeps!

Dark... dusty... just a hole in the wall! I'll bet that front window's never been washed!

VINCE: Yeah, but the leather smell! Didn't that do something to you?

MEG: Well... I suppose so. It did smell. But so crowded! Just piles and piles of different kinds of leather... hides... skins... whatever they are. And all of those stiff, crackly ones hanging from the ceiling, and the narrow aisles... Ugh!

VINCE: Well. yeah. Speaking of hanging... (He tweaks her breast, and she jerks away.)

MEG: Vince!

VINCE: Couldn't resist the temptation, tittie-girl. (He laughs at her discomfited expression.)

MEG (With a pleased-appearing shudder): Oh. Vince, you're awful! (She takes the catalogue back to the table and resumes leafing through it.)

VINCE: That guy Collins... Imagine! Forty years right there in the same shop! Doing business there before I was born!

MEG: Looks like it, too. Sweet little man. though, wasn't he?

VINCE: Sweet? The word hadn't occurred to me, but I guess so. Nice old guy, anyhow. Real hospitable when he found out we were new in town. I think we're going to like him.

MEG: I didn't think much of those other two, though. Brr! (She shivers visibly.)

VINCE: Oh? I didn't notice.

MEG: Oh, come on now! You didn't notice that girl?

VINCE (With an exaggerated expression of innocence): Why should I?

MEG: Oh, Vince! A girl like that? Even if she hadn't had such a figure'... The way she was feeling the leather... the way she looked... you know... sort of... Well... hungry-sensuous, I guess.

VINCE (Grinning suddenly and winking at Meg): Yeah. Well, I guess I did notice her. Nothing wrong with her that I could see.

MEG: Except that she looked so... yes, hungry is the right word. So hungry! Unnatural! And that awful man!

VINCE: Awful? Hell, he was just another businessman. What was so awful about him?

MEG: He reminded me of a vulture. Oh, not the way he looked. Just the way he seemed to be hovering in the background. I felt as if he were all hunched up, waiting!

VINCE: For what?

MEG: I don't know; just waiting. And he never took his eyes off me! I felt like I was undressed the minute he came in, and I kept on feeling that way until we left! Ugh!

(Vince gives her a villainous laugh and eyes her leeringly. He drains the last of his beer.)

VINCE: Can't blame him for that.

MEG: Oh, Vince! Anyhow, I felt as if I needed a bath by the time we got out of there. And I wish you hadn't given Mr. Collins our name and address while that man was there.

VINCE (Defensively): Well, how the hell else was the old boy gonna send out more of that literature? Besides, you're making a big deal out of nothing.

MEG: Maybe it's nothing, but you're not a woman. And you don't have to stay alone in a new town for weeks while your husband's out covering his territory.

VINCE: Safe as a church, baby. Hey, I'm out of beer.

(Meg retrieves the empty beer can from the tray and disappears into the kitchen. We hear the sound of an opener puncturing a can as she speaks.)

MEG: It wouldn't be so bad if you didn't make me wear such suggestive clothes when I go downtown with you.

(She reappears, and Vince gazes at her breasts and the soft miniskirt that molds itself to her abdomen and buttocks and the upper swell of her thighs.)

VINCE: It's the way I want you, baby. Why marry ass-class like you and then hide it? I like to feel proud when you're with me. I like it when I see it in other guys' eyes. When they're thinking, "Look at that lucky bastard! Jesus! What's he got, to make it with a broad like that?" I love it, puss.

MEG (With a subdued tone): I know, honey. I know you do. (She brings his beer.) It still embarrasses me, though. And at times like today, I get scared!

VINCE: Don't. Nothing to be scared about. No sweat. (He reaches again for her breast, and she giggles.)

MEG: You're all hands tonight!

VINCE: Like hell! I got a lump down there (patting his crotch) that says I'm not!

MEG (Sounding suddenly a little breathless): I... I wondered if you'd forgotten him. Honey, you're going out tomorrow, and...

VINCE: Don't remind me.

MEG: It's just that... well, half naked like this, I can't come near you without...

VINCE: That's my baby! That's where it's at, baby! Hell, why do you think it took so long to find this house?

MEG: Yeah. I know. The basement.

VINCE: Right. And not for tornadoes, either, puss.

MEG (Hugging herself and retreating toward the table): Except the kind you make.

VINCE: Yeah. To keep that kind in, so you can yell to your heart's content when we fuck, and no one's gonna hear it.

MEG: Oooh! Yes!

VINCE (After a deep draught of beer): Hey, why not have another workout down there?

MEG (Her voice going squeaky): Right now?

VINCE: Right now. Last one till I get back. What say?

(Hugging herself again and staring at him with wide eyes, MEG nods wordlessly.)

VINCE (Rising, the beer can in his hand): Come on, puss. I can finish this down there.

(The doorbell rings. With an expression of wild alarm, MEG snatches up her bra and puts it on, fumbling in her haste. VINCE watches her with a scowl, then stares speculatively at the door, weighing the idea of ignoring the interruption. MEG grabs her blouse and starts to wriggle into it.)

VINCE: Shit! (He crosses and opens the door, and Meg stares past him into the night, her face contorted in a look of sudden panic, as if seeing a ghost.)

VINCE: Yes?

MAN: Good evening, sir. I'm Carl Schmidt. (He moves into view.) Great Plains Leatherwear. (Gesturing) This is my assistant, Miss Dofstoy. Mr. Collins suggested--

VINCE (His face lighting with recognition): Collins! You were at Collins' Leathergoods this afternoon!

CARL (Smiling): Yes. And I couldn't help overhearing... and your wife looked so right for leather... I was sure you'd like to see our line.

VINCE: I'm sorry, Mr. Schmidt. I'd like to, all right, but I'm going on the road tomorrow, and I need a good night's rest.

CARL: Of course. I understand perfectly. We simply thought that a short demonstration might...

(TANYA steps into view and lets her coat fall open, revealing a fitted two-piece leather ensemble. VINCE's eyes widen, and he lets his mouth drop open.)

VINCE: Uh... well... of course, I don't suppose... Well, sure! I guess it's all right. Come on in.

CARL (Smiling and picking up the suitcase, stepping into the living room): Thank you, Mr. Martin. It won't take long, I assure you. Come, Tanya.

(TANYA follows CARL into the house. She steps to one side and slowly removes her coat, which MEG takes and hangs on a chair in the dining area. CARL crosses to the couch, lays the suitcase in its center, seats himself upstage of it and unfastens the hasps. MEG and VINCE also sit down, VINCE downstage on the couch, she on the floor at his feet, her arm resting on his knees. TANYA remains standing at center stage. CARL leans back and smiles exclusively.)

CARL: Great Plains Leatherwear. Great line of high-quality fashions, Mr. Martin. Best leather designs in the country!

VINCE (Looking appreciatively at Tanya): That one's got good design.

CARL: Yes, sir! Yes indeed! But wait until you see what's... Well, I mustn't spoil it for you. Watch. (He signals to Tanya, who looks quite Russian in her boots and flared skirt and fitted jacket.) If you please, Tanya.

(TANYA smiles and unfastens a catch somewhere, then steps out of the skirt. Under it is a clinging miniskirt that leaves most of her thigh exposed and clings almost too tightly. She pirouettes.)

VINCE (Leaning forward tensely, his eyes goggling): Jesus!

MEG: That's a... That could he a dangerous style!

CARE: Yes. Quite startling.

(TANYA unbuttons the front of the jacket and struggles out of it, to reveal a tight bolero-type garment that is held together in the front by only one fastener, and exposes a considerable amount of both breasts.)

MEG: There's something awfully suggestive about leather, isn't there?

VINCE: I hope to tell you! Especially when it's put together that way!

CARE: Hmm... yes. Well, that's the nature of the medium. Go ahead, my dear.

(TANYA very deliberately loosens the single fastening of the bolero and lets the garment pop open. Surprisingly, there is yet another garment under it when she takes it off--quarter-cups supporting the undercurves of her breasts, and little caps like thimbles over her nipples. The thing is held on with thongs that form a tight harness. After a suitable pause, she removes the miniskirt, turning slowly before them in something that is half bikini, half harness in the region of her hips. VINCE swallows and wets his lips.)

VINCE: Jesus Christ!

MEG: That's awful! It's... It just begs!

CARL (Smiling apologetically): I won't try to kid you. Our line is designed with just one thought in mind. It's not meant for kids.

MEG: But it's... !

VINCE: It sure as hell is!

CARL: I won't let her go any farther with that one. (He opens the suitcase.) We'd like to demonstrate one or two more, though. Here, Tanya. (He closes and latches the case.)

(TANYA comes to the couch and struggles with the case. She glances around, then lakes it into the dining area and behind the screen, which obscures her from the view of the others, but not from the audience. She opens the case and begins to get into a snug leather coverall.)

VINCE: I'm a salesman too, Mr. Schmidt. Tell me, is this line carried in stores?

CARL: Please call me Carl. Mr. Schmidt sounds too formal. Yes, the Letter fashion shops handle the line. We don't normally sell directly from the factory like this.

VINCE: Oh?

CARL: Oh, no. This is quite a special situation. You see, we sell to retail buyers--representatives of the shops--at demonstration gatherings. But we handle those a hit differently from most manufacturers. I'll explain that a little later.

TANYA (Calling from behind the screen): Mrs. Martin, could you help me, please?

MEG: Of course. (She rises and goes to join Tanya behind the screen.)

TANYA: It's hard to do the zipper. Please?

(MEG pulls up the zipper when Tanya turns her back. TANYA turns to face MEG, surveying her.)

TANYA: Most of these would fit you, Mrs. Martin. Won't you try one on?

MEG: Oh, no! Wait! I'd love to, really. I'd love to find out what they feel like.

TANYA: Wonderful! Wonderful! You undress, while I pick out something.

(MEG hesitates, then shrugs out of her blouse and skirt. TANYA turns around, holding a garment in her hand. She smiles at the half-undressed MEG.)

TANYA: No, no. All the way, darling. We like the leather next to our skin.

MEG: Oh, I couldn't!

TANYA: That's the way it's done, darling. There's no other way.

MEG: But I... Well, all right.

TANYA: Everything's sterile, darling.

(MEG steps out of her panties and unsnaps her bra, slips it off over her arms. TANYA hands her a wrap-around skirt, which MEG puts on. Its lower edge comes about halfway between her crotch and her knees. She shivers and hugs herself.)

MEG: Ooh! It feels like Vince's hands! Only, all over!

TANYA: That's the secret, darling.

MEG: I should think that would be terribly disturbing. Every time I move, it feels as if... as if...

(MEG squirms a little, and screws her face into a grimace of mixed pleasure and embarrassment. TANYA hands her a blouse of paper-thin leather, and MEG pulls it on. TANYA fastens it for her, letting her hands linger on MEG in a near-caress. MEG shrinks back.)

TANYA: Darling! Like a glove!

MEG: Burrrr!

TANYA: Come, darling. (She leads MEG out from behind the screen.) Here she is! Doesn't it look perfect on her?

VINCE (Obviously having trouble taking in both of them at once): Kee-riste! Come here, Meg! (He strokes the leather over her bottom, then up her side.) Gawd damn! You two had better get out of here before I lose control of myself!

MEG: Already, honey? (She steps closer, so that the hem of the skirt brushes his hand.) You're sure?

(VINCE reflexively runs his hand up the front of her thigh, under the skirt, and a startled expression flashes across his face. She gasps and jerks her hips back, but his hand follows, trapped by the skirt.)

VINCE: Meg! For God's sake! Get out of here!

MEG: Of course, sweetheart. (She retreats behind the screen followed by Tanya.)

(VINCE and CARL carry on a low-voiced conversation, CARL showing VINCE a brochure and what looks like a contract, which VINCE studies with evident interest. Behind the screen, MEG takes off her leatherwear and hands it to Tanya.)

MEG (Sighing longingly): Here. I wish I didn't have to give them hack.

TANYA (Removing her own costume): You'd really like clothes like these?

MEG (Wistfully): Oh, yes! (She picks up her bra and panties, studies them for a moment, then lays them on the buffet and steps into her skirt.) I... Well, Vince likes them on me.