The scene setup is sometime in the eighteenth or nineteenth century, at an English country estate, in this case a house named Cotley between Maidenhead and Oxford. Nothing is pinned down on why that era except to allow for billowy white cotton shirts, tying in front and tight breeches—cotton for fourteen-year-old stable boy Jack and linen for “His Lordship”—with laced codpieces. The hairstyle for both—ruddy and solidly and perfectly proportioned built servant-class lad, Jack, his hair red, with golden blond highlights, and patrician His Lordship’s in salt-and-pepper gray denoting the very fit late forties or early fifties—called for shoulder-length hair tied off with a ribbon in back. The glowering lord rules his estate with a strong hand and without censor.
The country house, nearly a castle of seventeenth-century vintage, as well as its stone-construction stable yard, has been borrowed from a builder, who is in the process of turning a former secret-agency operational headquarters into a country hotel for an Arab investor. The stables is still outfitted in a style that would represent the period. The manor house is majestic in panorama shot; the decay and disrepair are only evident when viewed up close. It will only be used in panorama shot today, though. One bedroom of the mansion has been furnished to today’s appropriate need—and a bathroom has been refurbished for cleanup afterward.
Today’s work is to produce a three-scene light BDSM underground film, lasting no more than forty minutes total.
The action starts with rough-and-tumble, living-on-the-edge, fourteen-year-old Jack, as a stable boy, coming out of the stable entrance, carrying a bucket of dirty water. The boy is barefoot and wearing just brown cotton breeches and a blousy white cotton shirt, open to show his smooth, lightly tanned, slim, but nicely muscled torso. The boy walks with a devil-may-care, athletic swagger. He is in his element. He is only fourteen, but he’s been on his own, at least in the decisions he has made and carried out, for some time and he cares little for society’s conventions and the judgments of others.
After emptying the bucket, he looks up and out, across the rolling green pastureland, the shot cutting across the façade of the country house on a rise to the right of the picture frame. What has caught his attention is a middle-aged, very muscular man riding confidently and with command on a massive gray steed—His Lordship. The man was wearing tight breeches, a billowy white-cotton shirt, and shiny black riding boots. Nearly a minute of film time is spent in Jack, the stable boy, watching the hunky, glowering lord of everything in sight approach on his stallion. As the older man approaches, Jack’s demeanor changes. He loses his swagger, begins to cower into submissiveness, in recognition of who is master and who is servant. The camera catches the shift, as it is meant to; the observer is meant to sense what is to come and to savor it.
When the rider reaches the stable yard, His Lordship, in a booming voice, growls, “Has my wife’s carriage left yet?” Jack answers, eyes cast down, that it has.
“Did I tell you what you would be doing for me today?” His Lordship says, growling and glowering again, laying it on possibly a bit too thick for the camera. He is a handsome brute over three times the boy’s age. Although when the fourteen-year-old first appeared at the stable door, the audience was meant to see the confidence, swagger, and confidence in him, a lad who will do as he pleases and has done it all, his total subservience to His Lordship is now clear. It is equally clear to the audience that they have been intimate and that the lord has taken whatever he has pleased to from the relationship—and the lad has given it to him as if by right.
As His Lordship speaks, he unlaces his shirt, takes it off, and drapes it in front of him. It is understood that the action is unfolding in some sort of shorthand now, accommodated within the limits of the desired film length. He has a massive, barrel chest and the torso of a Zeus. He is hirsute, covered with curly salt-and-pepper-shaded hair. He also is covered in bold swirls, curves, and angles of a primitive black tattoo pattern, completely out of character of the period, but directly centered on the interests of the target audience for the scene. This is not a Romance. This is fetish BDSM. The sense of the rough fetish starts in earnest at this point, the unshirting of His Lordship. Attention goes to the black leather riding crop he holds in his hand, flicking it lightly against the withers of the horse.
The stallion prances in place, anxious to be in motion. Fortuitously for the camera, the stallion is in heat, showing its erection. The obvious inference is that His Lordship is also a stallion.
“Yes, Sire. Mistress’s carriage left for London an hour ago,” Jack answers, eyes still downcast. Dialogue is scant, only enough to set the scene and establish that the stable boy is going to be royally, roughly, dominantly fucked by His Lordship. No attempt is made to use period dialect. The two aren’t being paid for acting. His Lordship perhaps should have that more in mind.
“Come here, boy,” His Lordship growls, and the stable boy moves close to the lord, who is towering over him in the saddle. His Lordship cups the boy’s chin with one hand and runs his riding crop across the boy’s cheek with the other. The boy catches the leather loop of the crop’s handle in his teeth briefly, and looks up into the lord’s eyes, smiling provocatively before he releases the crop and receives a flick of the leather on his cheek. Thus it was established that this is going to be a BDSM film and that these two, the mature lord and the stable boy, have been here before.
“My boot is dirty, boy,” His Lordship barks, and ten seconds is devoted to Jack tonguing the lord’s black leather boots as the lord remains in the saddle. His Lordship reaches down and unties the ribbon of Jack’s ponytail, and the camera catches the golden-red curls cascade down to the lad’s shoulders, signaling to the audience that Jack is going to be naked, open, and writhing under His Lordship in, oh, about six minutes of film time. The audience of men can be expected to have themselves in hand by this point in anticipation of what is swiftly approaching.
His Lordship comes down off the horse in one smooth, athletic maneuver, foreshadowing prowess in manipulating the small body of the golden-red-haired stable boy. Having provided sufficient foreshadowing and sexual tease, the older man presses the youth down on his knees in front of him on the dusty cobblestones of the stable yard, and the next four and a half minutes of the scene are of Jack unlacing the lord’s codpiece, while looking worshippingly up into the dominating man’s eyes, taking out the man’s proud erection, and giving him head. As Jack sucks on the shaft, His Lordship reaches down, pulls the loosely fitting shirt off the stable boy’s back and strokes his cheeks and shoulders with his riding crop.
There will be whipping.
The scene fades out with a stinging stroke of the crop on the boy’s back, accompanied by a pained cry and then another.
The scene changes to inside the stable, with Jack on his back on a hay bale, naked and the arms flung over his head tied with leather strips at his wrists, soon to be photoshop-enhanced welts on his chest. At the scene opening, His Lordship pulls the breeches off the boy’s smooth, supple-skinned legs. Two minutes are devoted to His Lordship, still in his breeches but with a magnificent erection jutting out of his open codpiece, leaning over the boy, kissing down his much smaller, slimmer body, now presented as innocent, despite the boy’s servicing of the man’s cock earlier, in an act of possessing and debauching the boy’s youth. The lord’s lips, teeth, and fingertips go everywhere, exploring every curve and crevice, knowing the boy’s body fully, as Jack lays, moaning softly in full submission, arms and head reclining over one end of the hay bale and spread legs over the opposite end. The boy is in erection, but the size of him only causes the audience to groan in seeing the contrast of what the lord has to bury between the boy’s orbs.
As well as devouring the boy’s body with his mouth, His Lordship is flicking Jack’s twitching, nearly writhing body with his riding crop and jacking the boy’s cock in languid strokes. The camera moves in in time to record a money shot of Jack’s cum arcing up onto his belly; His Lordship laughing and rising over Jack’s prone body, crouching between the lad’s spread thighs; and the man guiding his erection to its goal, penetrating the channel as Jack cries out, his torso rising up briefly but then arching back again in surrender. A mature man with a big cock fucking a fourteen-year-old bound boy.
Fully saddled on the boy, His Lordship stands between the lad’s thighs, grasps Jack’s ankles, and wishbones and raises the boy’s legs. The pumping begins immediately. The rest of the first ten minutes of the film, which started from Jack’s exiting the stables and seeing the horse and rider in the distance, is spent with His Lordship on top of Jack, vigorously fucking him in a missionary position. The bow to the BDSM beyond the boy’s bound wrists are what will be enhanced depiction of welts on his body and that the lord has the loop leather handle of the riding crop encircling the boy’s throat and is pulling and releasing on that, causing a gurgling Jack to writhe under him, the boy’s hands clutching at the restraint and Jack’s eyes bugging out as the lord fucks him with long, deep strokes. His Lordship pulls out, strokes his cock three times over the boy’s belly, and arcs cum, as the scene fades out.
Scene two opens with Jack draped over a saddle on a low stall fence, naked, with his wrists secured low on the fence on one side and his ankles low on the fence on the other. The bondage, the whips, and the age are the selling points of the movie. When the photoshoppers are finished, the viewers will believe that the boy has been whipped more during the interval.
His Lordship is also naked now, his body massive, powerful, muscular. A minute and a half of film is devoted to the binding and the boy’s frightened, but submissive response. For two minutes the lord beats his boy servant on the back and buttocks with his riding crop, alternating with kneeling behind the boy and either milking his cock with his hands and distending and squeezing his balls to listen to him cry for mercy and sucking the boy off. For the last three and a half minutes of the scene, His Lordship is mounted on Jack’s ass as he is doubled over the fence, the man’s feet pressed into the fence on either side of the boy’s thighs, his hands grasping Jack’s waist, and riding Jack’s ass high like a jockey in a race.
The emphasis is on His Lordship’s athleticism, mastery, and cruelty. The boy is primarily a symbol, a vessel to serve the depiction of the mature man as still at the height of his sexuality and capabilities. The film will mainly be sold to men in the same age bracket as the character of His Lordship. As in all other instances, the whipping is more theatrical than punishing and the welts will be enhanced in the final cut.
Jack is being barebacked in the film, which is a signature of this movie studio and director, so close shots are taken not only of Jack jacking to the work His Lordship is doing behind and below Him, but for His Lordship to rise in the saddle, hand his own cock, which has been pulled, in a long slide emphasizing the length and hardness of it out of the boy and jacking off on the small of his back. Two massive ejaculations from the mature man in the space of a few minutes, assurance to the mature viewer that men of that age, including him, can still be virile—not to mention that a man of that age could pull multiple comings out of a delicious fourteen-year-old boy as well.
The scene moves to the house and to the bedroom that has been sumptuously appointed in period furnishings for a ten-minute segment of Jack spread-eagled at the foot of a four-poster canopy bed, with massive, carved wood posts and red-velvet drapes. The posts were tall and sturdy enough that the relatively small boy is hanging above the surface of the mattress, arms and legs spread, tied off high and low on the posts, and facing the room—and the cameras. His Lordship has a black-leather hand whip and, naked and in massive erection, is moving around the boy, now on the floor at the foot of the bed and now standing on the mattress. He is whipping the boy, much less strenuously than it appears on the video, on the back, legs, belly, chest, cock and balls. Jack is writhing and screaming within the limits of his bonds, again more stridently than he need do from the apparent damage being done. The last half of this scene is His Lordship standing on the bed, behind Jack, fucking the boy from behind, as the lord pulls the servant’s head painfully back into his shoulder with a grip in his hair and chews on the defenseless, captive boy’s throat.
The camera comes in for His Lordship’s third money shot on the small of the captive’s back, creating the fantasy for the viewers that men of that age can maintain their vigor and virility. At no time during the filming is His Lordship shown without a massive erection. More than once an image of the stallion’ undercarriage and its massive erection will be flashed on the screen in subliminal signal of the sexual power of His Lordship.
The last eight minutes of the film is a signature bonus feature of this particular director. His Lordship and the stable boy are lying, side by side, in an embrace, on the bed, propped up by pillows to give the camera a good, full-frontal body shot of their nakedness. The director asks them questions about the scenes and each other from off camera to establish that this was all playacting and jolly good fun. The lord character speaks to the pleasure of doing a supple fourteen-year-old boy and Jack is effusive on the virility, experience, and expertise of older men. What this director adds, however, that other directors using this technique don’t, is, as the interview draws to a close, the mature man leans over into Jack for a deep kiss and then rolls on top of him and provides four minutes of a deep missionary fuck—to show, no doubt, that the attraction of the boy to the mature man is genuine. Certainly in this fuck, Jack is moving his pelvis in rhythm with the thrusts and murmuring and whimpering how good he is getting it in “real life” from the older man.
The target audience loves this director’s work.
And the director wants to make sure that they continue doing so. After Jack has showered and while he is putting on the St. Anthony’s uniform T-shirt and shorts his rugby coach has driven him to the film shoot in, the director comes to him and compliments him.
“You were great, Jack. You said that you were OK with taking it rough and had experience in that, and you sure were right. Are you sure you are only fourteen?”
“Yes, I’m only fourteen, and it was fine,” Jack answered. He wanted more work. It paid real money and, although his tuition and board were covered at St. Anthony’s school for delinquent boys, near Oxford, it didn’t provide any spending money. He actually had had it rougher than in the movie. The movie was largely just for show when it got to the BDSM parts, and Jack, who had been pulled off the streets of Soho in London, convicted of solicitation for sex, and sent off to St. Anthony’s, had known—and come to respond to—a whole lot rougher treatment than he’d gotten on this movie set. The “it was fine” response was in want for more work, not necessarily the level of satisfaction that made him melt. After life on the Soho streets, he needed something more to feel it.
“Well, I’ll certainly be happy to use you again.”
Jack nearly laughed. The director had used him already, in his trailer before shooting started. And he might be a crack shot film director of sex scenes for other, but he was dead weight and pure vanilla in sex for himself.