Humiliation Video

I wake up one morning with a really good idea, and I’m convinced it will get me out of the rut I’m in. The reality is that I’ve done fuck all since graduating from university two years ago, and I’m broke and watching too much porn. 

I call Philip, a mate who is the same age as me, only he’s gay, submissive and better looking. He’s tall, with jet black hair, and when he takes his glasses off he looks very cute. I tell him that with my smart new camera phone and his good looks, we should make videos, load them on-line and make some money. He’s pretty broke too, so he agrees. 

Philip isn’t keen to show his face, so I buy him a red latex mask. It fits him perfectly and it turns him on a bit, which is a real bonus. The first video we post is of him kneeling naked on the floor and jerking off.  He’s got a nice big cock, the mask looks great and the vid gets a thousand hits. I move it to a pay-site and title the vid: Leo the Latex Slave, Part 1 and within a week we have a thousand euros the bank account. 

We make two more vids. The first of Philip on his knees, licking a toilet seat, 

and in the second one, he’s eating dog food from a bowl on the kitchen floor. 

The money starts rolling in. Easy. 

Philip is clearly getting aroused by playing Leo the Latex Slave, being told what to do by me, his master. I read feedback from our happy customers and start to take note of their suggestions for future videos. A few want Leo to be seen in public. I am open to all ideas, so I buy him an expensive blond wig. The hair is curly and hangs just off the shoulder, and the moment Philip puts it on, he transforms. He starts to walk around the studio like a girl and his movements are softer and more delicate and graceful. It’s obvious he likes it. I convince him that without his glasses and with some make up, no-one is going to recognise him with the wig on. I promise to keep his face in shadow as much as possible, just to be sure. In the end he agrees. 

 

I shoot the next vid in a crowded shopping mall one morning. He’s wearing the wig, plus white trainers, blue jeans and a pink girlie top. I’ve also bought him a pink collar with the word Sissy written on the front. I film him walking nervously through the crowds. It’s obvious he’s really embarrassed to be wearing the collar.  Then I buy him three bottles of fruit juice and tell him to sit in the park nearby and drink it all, and when he needs to piss, I lead him down into the metro. I wait for a passing train carriage that’s reasonably full and we get on.  I find a seat and gesture for Philip to stand not far away in the aisle. When I am ready, I give him a signal. Moments later he starts to piss. 

As I film, a dark patch appears around his crotch. It quickly expands. I get a good shot of him standing there, completely flushed with embarrassment, unable to hide his shame. I pull back to catch the expressions on the faces of the passengers standing around him, who start to notice piss dripping down his legs, forming a pool on the floor of the train. Sissy Slave Leo Goes Shopping makes a little less money than the first vids, but Sissy Slave Pissing on a Train ends up being more popular than all the others put together. 

In the weeks following everything goes brilliantly well and we start making good money. I set up an enterprise and we call it Humiliation Video. We find studio space with a cheap rent, where we can both film and edit the vids.  

I buy a better camera and we end up making a video a week. In each one, Sissy Leo is forced to do something humiliating. Our fans start to demand more extreme things, like bondage and S&M, so I set up more specialist sites, and we start hiring young male models and actors to play the victims. Philip is happy about being able to hang up the wig, because he was starting to freak out at the possibility of friends and family recognising him. 

Some of the male models and actors we hire turn out to be good, but others are crap. I pay them 400 euros a day, and all they have to do is pretend to be kidnapped, get tied up and struggle for a bit. That’s it. No sex. No nudity. Even so it’s hard to get good ones, because most don’t want their faces shown, and the ones that are ok about that, tend to have tattoos and piercings, which makes them look less innocent. That’s the key to our success. The victim has to look innocent. 

One evening Philip and I are in the office at the back of the studio, looking at clips of a bondage video we’d shot that afternoon. The model is a Spanish guy called Alberto, who’s turned out to be brilliant. He has a cute face, dark curly hair and deep brown eyes, and he really does look innocent. In the first shot, he’s dressed as a pizza delivery man, and as he steps through the  doorway, he gets pounced on by Philip, who’s dressed in black leather, and wearing a black leather mask. He grips a white cloth tight over his mouth. Alberto drops the pizza and struggles very realistically. I manage to get some good close-ups of his face, and the black leather hand across his mouth. We watch him struggle very convincingly and then as the shot pulls back, we see his body slowly sag as the chloroform takes told. It all looks very real and my cock is hard. 

In the next shot Alberto is tied to a chair, dressed in just his boxers, with thick grey tape around his mouth. He’s writhing and struggling.I get a good 

close-up of his face and there looks to be real terror in his eyes… 

‘Look - he’s got an erection!’ Says Philip, pointing at the screen. 

It’s true. I’m so fixated on his desperate face, I haven’t noticed the lump in his shorts and the tip of his cock, poking out at the bottom. 

We decide that Alberto has to come back and be filmed again. 

A week later we’re outside the studio early one morning, waiting for Alberto to arrive. I’ve talked to him, taken him out to dinner, offered him twice as much money, and finally he’s agreed to shoot a little film that’s a bit more extreme. When he arrives, we drive out to a local wood, find a secluded spot, and we end up spending a very enjoyable morning shooting our next vid. I get some great shots of him gripped tight as the white chloroform stained handkerchief is pressed hard against his mouth. This time he manages to sink down into unconsciousness even more convincingly. It’s so horny to watch his slender body start to weaken and then finally sag lifelessly as he passes out. He keeps his eyes wide open, doesn’t blink till right at the end. Then I get some close-ups of his limp body in the grass as Philip wraps silver tape around his legs and chest. 

We drive back to the studio, where we film Alberto pretending to be unconscious, being stripped and blindfolded. Philip crouches over the body and ties Alberto’s hands behind his back. In the final shot he’s kneeling down under a solitary spotlight in a large empty space. Philip stands in front of him, wearing his black leather trousers with his cock out.  Alberto cannot see, but senses someone standing close. This last shot arouses me the most.  I manage to backlight the scene, and there’s a nice moment when I’m close up to the profile of his face, and Philip’s glorious cock comes into shot. Nothing much happens except that Philip is edging his cock very slowly towards Alberto’s open mouth, and then, as if he knows what’s in front of him, Alberto opens his mouth and extends his tongue out slowly till it touches the tip of the cock…  

I finish editing the film at around six, and we all meet at the local bar for a celebratory drink.  Alberto is a nice lad. He’s warm and gentle, and he knows what he wants. He calls his girlfriend Sofia, who comes to join us. She arrives and she’s funny and open-minded and the four of us have a good time. Later that night I post the vid on line. I’m very pleased with myself. It’s by far the horniest video we’ve done. 

A month later we’re sitting in my new black Mercedes, parked outside Alberto’s apartment, waiting to pick him up. He lives in a poor district of the city and I’m feeling a bit uneasy because several people in the street are looking at the car. It’s taken a while to persuade Alberto to meet us, because he’s quite sure he doesn’t want to make any more vids. 

Finally Alberto appears and we drive off to my favourite restaurant. 

I wait for him to take the first sip of his beer, before leaning forward to say, 

‘OK, my friend. Following the success of your last vid, We’ve been contacted by a man calling himself Vladimir, who has placed a thousand euros in the account, because he wants to see a video of you being suffocated. He will pay another ten thousand. Five to us, and five to you. I told him you’d say no, but he insisted I ask you. He’s an insistent man.’

Alberto smiles. 

‘Fuck off. No way.’ he says. 

I explain that I’ve been instructed by Vladimir to raise the amount to ten thousand euros if the first offer is rejected. Alberto says no again. I tell him that the scene has been agreed and worked out in detail, and it will be perfectly safe.

‘At the end Philip ties a clear plastic bag over your head and jerks off while you pretend to suffocate. All you have to do is struggle for about a minute and then pretend to pass out. That’s the deal.’

Alberto is still not interested. He’s becoming annoyed and upset. There’s nothing we can do and then he gets up and leaves the restaurant. Later I get a call from Vladimir. I tell him the bad news and he is furious with me. It’s clear to me that Vladimir is very used to having his own way. 

A week later I’m at the studio and Alberto’s girlfriend Sofia appears. She's very upset and tells me he’s not  been seen for days. She thinks he’s been kidnapped. I do my best to calm her down but then days pass and Alberto does not reappear, and I can’t help thinking that Vladimir has something to do with it. 

A few days later Philip and I are in the studio, just sitting around, doing fuck all. Since Alberto has disappeared we’ve lost the motivation to make more vids because we’re both feeling anxious.  The bell to the front door of the studio door rings. Philip goes to the door and comes back with a brown envelope which he says has been pushed through the letter box. 

‘Open it.’ I say. 

Inside is a memory stick, and a message written in neat letters on a sheet of white paper. 

‘I told you that if you didn’t make that vid, I would. Vladimir.’

We insert the memory stick and on it we see one short video file. The entire film is shot on expensive mobile phones because the image definition is high. The first shot is of Alberto walking along his street.  It’s late at night and as he gets to the door of his flat, four hooded men appear and bundle him into a car. Two more masked men are filming the action with their cameras. 

The next shot is of Alberto, sitting in the back seat between two of the masked men. One wears thick black rubber gloves and he’s holding a cloth tight over Alberto’s face.  There’s a close-up of Alberto’s’ face and his terrified eyes, his hands trying to pull at the rubbered hand. Alberto’s eyes start to flutter and then close.  We see the rag taken off Alberto’s’ mouth, and his head dropping down to his chest. 

In the next shot it’s a bright sunny morning and one of the kidnappers carries Alberto’s inert body on his shoulder like a sack of coal, out from the boot of a black transit van. We follow him as he makes his way towards a large country house.  After that we cut to a shot of Alberto sitting naked on an antique chaise longue. His hands and feet are fastened with black cable ties, a red ball-gag prevents him from making much sound and a clear plastic bag is tied over his head with silver tape. We see Alberto’s erect cock flopping about in front of him. He is writhing on the chair, violently at first, kicking his legs out and twisting his head. So violent is his struggle that he falls off the chair and drops onto a rug, where he continues to writhe and squirm desperately. The struggling gradually dies down. Now Alberto is on his back and we’re looking down on him. We watch him slowly pass out, as the clear plastic bag expands and contracts around his head.  We see jizz oozing form the tip of his stiff cock, and then as the shot pans back we see a naked man standing over him, jerking off. We see the spunk splashing over Alberto’s body, and his plastic covered face. The man steps back and the kidnappers surround the body.  As with every shot, there’s always one or two men just filming the action on their cameras. We watch the pale, lifeless body being rolled up into a large sheet of black plastic. The human package is sealed airtight with thick black tape, and then carried out of the house into a pretty, walled herb garden at the back. A deep hole has been dug, next to some fruit bushes, and the long black plastic package is dropped into the hole. As this final shot starts to fade, we see the masked men picking up spades and covering the body with soil. They’re speaking Russian and laughing. Then blackout. Nothing. 

There’s something crude and basic about the editing, but despite that, there is no doubt that Vladimir’s film is ten times more horny than anything that Phil and I have done. So we sit there, staring silently at the empty screen. 

Philip mutters softly ‘Oh fuck.’ 

We sit in silence for about a minute and then we hear a noise behind us. We turn and it’s Alberto, leaning against the door frame, with a big stupid grin across his face. 

‘Vladimir told me to post the vid through your letter box, and then wait for ten minutes till you’d watched it. He’s a good bloke but he likes a joke now and again.’ 

We have a laugh. Alberto tells us exactly what happened. Philip and I are of course, very relieved. That’s then that I get my second good idea. The moment Alberto leaves I edit on some new titles and credits to Vladimir’s video and then post it onto our site. 

From that moment on, I am confident that it will be years before I ever need to work again.

Daniel Guy.