Inside the house there are about a dozen guests not including the gorillas hired to stand in front of the doors with their arms crossed, like the ones in the powerboat who came to see me that afternoon. Of the dozen there are three men and the rest are women, and I’m relieved to see other women here but they all look at me with bored suspicion. By now naturally I know this is some sort of mistake and the only question is how big it is and how I’m going to get myself out of it. One of the men comes up to me, this fiftyish Eurotrash sort who’s apparently the host, not bad looking but not pleasant either. “You’re the one from the Chateau,” he says.
“That’s right,” I murmur.
He turns to the others, the men and all the women reclining on sofas, and says, “This is the one from the Chateau,” and it’s hard to tell just how interesting they find this. There’s almost no conversation between anyone, music in the background so faint
structures numbered by their age and memories, and commuters ride the
it’s as though no one really wants to hear it but someone thinks it’s obligatory, everyone is drinking and I can see on the table disheveled traces of a white powder that got used up hours ago. If they all got stuck in this moment forty years ago, no one has had the desire or energy to get out of it. “Have a drink,” says the host, and one of the women appears at his side with a drink for me.
“No, thank you,” I say—another rule. Believe me I’m as happy as anyone to have a bit of wine or whisky now and then and I could use one given the situation, but it’s a rule, you don’t drink on the job especially given the situation. You just lose control of things which naturally is exactly why the man is trying to get you to have a drink. “Have one,” he demands.
“Not,” I say, “when I’m working.”
“Who says you’re working.”
“You did. You paid me, remember?”
“Exactly. I’m paying you and now I want you to drink.” He shoves the drink at me and I take it with the hand that’s not holding my bag of playthings. The gorgeous woman next to him, she watches me, half smiles, raises an eyebrow, she’s tall—though every woman seems tall to me—five-eight, five-nine, long and sleek looking, her hair black and there’s something exotic about her eyes, some mega-combination of Scandinavian and Mediterranean. Her name is Monica. “Mmmmmmmm she’s delightful isn’t she,” purrs Monica running her eyes up and down me as though the long green coat conceals nothing, “boobalicious little pixie,” she says, “are they real?”
“They’re the realest thing in this room,” I say looking ’round me, and she laughs and takes me by the arm that’s holding the bag and leads me to the sofa. Truth be told, at this moment I’m happy enough to go with her, because the host he gives me the creeps and now watching us walk away he has this slightly
subways in a neverending loop and cabbies wander pell-mell spiraling
flummoxed look like I’ve just slipped from his clutches for the moment and that’s bought me some time. Also, well, truth be told again Monica is as close to being my fantasy woman as I’ve met, she looks exactly like I would want to look if I could look anyway I wanted to, long and dark and sleek like a sexy cat. We sit on the sofa awhile and Monica asks me this and that about who I am and where I’ve come from and about my past, and when I don’t know the answer I make up something. Sometimes she puts her hand on my thigh. Taking a whiff of my drink to make sure it’s not ’sinthe, pretty soon I’m aware of having drunk a bit more Scotch than I planned, but I’m still sober enough to know it’s time to slow down, and Monica puts her hand under my long green cloak and runs it over my breast in this lazy sort of way like it’s no more or less diverting than anything else and I have the feeling she could be as much into me as she’s ever been into anything if she ever saw the point of having to decide one way or the other. Every so often I think she’s going to fall asleep. “I would offer you some candy,” she nods at the white residue on the coffee table in front of us, “but they’ve used it all. The pigs.” She talks in this slow sensual way like she might be drunk or drugged except that she doesn’t otherwise act drunk or drugged. Depravity becomes her.
This goes on at least a good hour perhaps longer, nothing much changing in the room or the cast of characters except when someone disappears a while and then returns. At one point one of the men takes one of the women, a Persian, by the hand and leads her off though it must not be that far away, anyone can hear it going on on the other side of the wall, anyone can hear her crying, then he comes back in alone and when she returns, a few minutes after him, her eyes look deader than they did before. I’ve stopped drinking, just raising the Scotch to my lips now and then to make a show of it. My hope is the whole evening will eventually just get mired in its own ennui long enough for me to slip away, though
boulevards and people drive freeways in search of phantom exits and where in
I have no idea how I’m going to get down the mountain or back to the Chateau. I’m very aware the host is looking at me and I’m trying not to look back. Finally he’s standing in front of us. He waits for Monica and me to look up at him and when we don’t he gives out with this hoarse bark. “Dance.”
“Sorry?” I say.
“Get up and dance.”
“I’m not a dancer.”
“Take off your clothes.”
“I’m not a stripper. You should have hired a stripper.”
“I paid you a lot of fucking money.”
“I explained to your men what I do and what I don’t.”
“Do you want to make it with her?” he says, pointing at Monica. “You can make it with her and we’ll watch.”
“Oh Armand,” laughs Monica in that not-quite-intoxicated way of hers, “why don’t you just let her do whatever it is she does? If you just wanted some little trollop to strip or dance or bang,” waving her arm at the other women, none of whom protests, “you wouldn’t have had to hire her, would you? She’s an artist isn’t she. She’s a professional. Like you said, you paid her a lot of money so why don’t you just let her do whatever it is she does and see what happens.”
Dully Armand reflects on this awhile and says, “All right.”
“Where?” I say.
“Here.”
“Here?” looking ’round at the others.
“Here.” So I stand and open my bag and take out half a dozen candles and some matches, and go ’round the room setting the candles here and there and lighting them, then turn off the one or two lamps so everything is candlelit, then take off my cloak and that surely makes an impression, everyone sort of flickers to life for a second at the sight of the white stockings and white lace
Ueno Park the trees shed their cherry blossoms and, for only a rare moment in
corset, the white being my own recent touch, a departure of sorts from the Domme’s traditional black. I open the bag and out come several pairs of the fur-lined cuffs and the crop and whip and paddle and several blindfolds and ball-gags and all of this really gets their attention. “Strip,” I tell Armand.
“What?”
I smack him ’cross the face with the riding crop. It’s not a hard smack or anything, because like I’ve said I’m not into the heavy corporal stuff, but it’s probably fair to say no one’s done anything like this to him in a long time because now the party is definitely alert. They couldn’t be more alert if I turned a fire hose on them. Armand’s henchmen in particular standing by the doors, they look back and forth at each other like they don’t know what they’re supposed to do, and me, I figure playing this out, taking control of the situation in a way true to my nature, is my only real shot at perhaps getting out of a fix. “Are you sure you want to do this here, or elsewhere?” I say to him.
“Oh, here, by all means,” Monica insists from the sofa.
“Yes, here,” says someone else.
“Uh,” Armand looks ’round, “all right, I guess.”
I strike him with the crop ’cross the face again and now the bodyguards look at each o
ther in consternation, “you’ll address Me as Mistress Brontë.”
Bewildered, Armand nods. “Yes, right.” I strike him a third time; a bit too dull to know exactly how he feels about it, he puts his hand to his face and rubs his cheek. “Right, Mistress Brontë,” he says.
“Then strip.”
Slowly he begins taking off his shirt, still looking at everyone ’round him. When he gets off the shirt, he looks at the bodyguards and says, “I want them to leave.”
the hail of dying blossoms, yesterday and today and tomorrow are clearly
“That’s up to you,” I say. He snaps his fingers at the bodyguards and motions them to the front door; they look at each other and then begin filing out, one by one. “Lock the door, slave armand,” I say.
He nods. “Sure,” he mumbles, and I give him another good crack ’cross his back.
“‘Yes, Mistress Brontë.’”
“Sure, Mistress Brontë,” he corrects himself and goes to the door and locks it.
“Now take off the rest of your clothes. I’m not going to say it again.” He takes off the rest of his clothes except for his undershorts, and then he takes off the undershorts. Now he’s standing naked in the middle of the room. The other guests are squinting at him as though they’re hallucinating. “Take this,” I say and hand him one of the pairs of cuffs, “put it on your left wrist and lock it shut.”
“Uh, You’ve got the key, right?” he says, and I snap the crop so hard and loud against the arm of the sofa next to me that he and everyone else in the room jumps. Armand, he puts on the left handcuff. I give him one of the blindfolds. “Put this on.” Quietly he puts the blindfold on over his eyes. I wave a hand in front of his covered eyes and then, taking the empty cuff in my fingers, pull him toward the bookcases. I slip the cuffs through the handles on a pair of the latticed bookcase doors and then put his right wrist in the empty cuff and lock it; he’s now chained to the wall. “Hmm,” says Armand. From the sofa I take one of the ball-gags. “Open your mouth,” I say, and when he does I strap the red rubber ball in it. “Mmwrnf,” he says.
The other guests, particularly the two males, are enthralled. “Hey, what about us,” one of them says.
Men. Can they be more stupid? Is there anything they won’t do to get naked with a woman? I snap the crop against
delineated by the explosion of trees, I arriving there not only in a blizzard of
Armand’s bare butt and say to the one who spoke, “Crawl, slave,” and the man gets down from the sofa and crawls to me. The third one, feeling left out, he gets down and crawls over too. “Beg Mistress Brontë to give two miserable slugs like you the honor of being Her slaves.”
“Please, Mistress Brontë,” they whimper, “allow us be Your slaves.”
“Unworthy as you are.”
“Unworthy as we are.”
“Strip,” I say, and they can’t get their clothes off fast enough. Out of my bag come two more pairs of handcuffs and two more blindfolds; soon each of them is chained to two more pairs of bookcase doors like Armand, the three of them lined up next to each other. “Thank You, Mistress Brontë,” one says. “Be quiet,” I say and strap a ball in his mouth, and then one in the other man’s.
Looking back on it, this is where I made my mistake. Having taken control of the situation, I should have assessed things and figured out how I might now get past the bodyguards outside the front door, but instead I get carried away. It’s Monica, I know that—I’m infatuated. I’m even turned on by her silly little endearments that from a man I would despise. There’s something about the audacity of her, the way her desires are all right there on the surface, just like they would be with a man, and the way one of those desires is me. There for a moment not only do I have under my control these three halfwits who have willingly chained themselves naked to a wall but, in a way, Monica too, sitting there on the sofa looking at me as though she’s having a religious vision. The other women haven’t been this excited since puberty. I walk ’round slapping the men with the crop and telling them how pitiful their erections are and how women just laugh at them all the time, and Monica sitting on the sofa watching all this finally can’t stand it anymore and gets up. She comes over next to me as close as she
blossoms but atomized time, in a land still traumatized by the confession half a
can, holding a finger to her lips as though to say shhhh not a sound: “May I?” she whispers softly in my ear, her warm breath against my neck, and that’s when I do what I shouldn’t do. It’s just utterly unprofessional—I’m supposed to be in charge. Instead I give Monica the crop.
She looks at it deliciously, licks her lips, then lets into Armand with a blow I think will bring down the ceiling.
“Rnngswft!” says Armand.
“Oh,” Monica coos, “this is too good.”
The other women on the sofa burst into laughter and start clapping. “Uhm,” I start to say, but Monica’s not near finished. She begins giving Armand the thrashing of all time, sort of chortling at first but then laughing more and more with every thwap ’cross Armand’s backside till she’s so convulsed with laughter she can barely hit him at all. Armand is practically climbing the wall. “Here, here!” cries one of the other women, jumping to her feet, “let me,” and rips the crop from Monica’s hands. In the meantime another girl goes for the whip I’ve taken from my bag and another for a paddle, and pretty soon they’re all wailing away and I’m Spartanatrix leading chicks in revolt against the Empire. Rage, humiliation, all the times they’ve been used and treated like dirt, it’s all coming out now isn’t it, whips and paddles and crops flying while the naked men chained to the wall are in a sort of seizure, twisting and struggling at their cuffs and making all sorts of sounds. “Now girls,” I try to calm them down, but there’s no calming them down, I was in control but now the whole thing’s out of control till the Persian girl, the one who was taken out of the room earlier and who we all heard crying, stops and looks at the paddle in her hand and, finding it not nearly lethal enough, gazes ’round the room till her eye falls on the iron poker next to the fire place.
She throws down the paddle. She crosses the living room
century before by the emperor whose people believed was God that he wasn’t
and grabs the poker from the fireplace and is coming back with it for the man who did whatever he did to her, and I say, “Oh, hey, wait,” and even Monica comes to her senses, “No no no,” she laughs, holding the Persian girl back, “no no no no,” restraining her but still laughing. Meanwhile the bodyguards outside are now banging on the front door, “What’s going on in there,” while Monica and I, we’re trying to hold back the girl with the poker and the other women are still flailing away, beating the naked bodies of the groaning men to a rather glowing pink. The bodyguards are banging on the door and it’s clear they’re going to break it down any second. “I have to get out of here,” I say to Monica, grabbing the poker from the other girl’s hand and I’ve just enough presence of mind to take from my bag the keys to the handcuffs when Monica says, “This way.” Turns out the whole back wall of the house with the floor-to-ceiling windows can be moved like a sliding glass door though not any too easily, and we’re squeezing through the opening into the dark back yard where the pool is when I hear the front door come crashing down behind me. I hear the other women screaming in flight, some of them pushing at me from behind, all of us scattering out into the night and into the hills with Armand’s boys behind us.
I kick off my heels and throw the keys to the handcuffs out somewhere into the dark ’round me, and follow Monica who’s running past the leaf-covered pool to a small wooden gate you would have to know about to find. The gate doesn’t really open the whole way and we have to squeeze through like we squeezed through the sliding wall of the house, and there I am in my corset and stockings splinters catching on the lace, pushing through and feeling glad for once I’m little. Except for the fact I think she’s part cat, I don’t know how Monica gets thr
ough. Past the gate are steps down the hill, and at one point I trip and tumble down the steps and pick myself up and keep running down the path with the
God at all, and I was the agent of chaos in a way I’m only truly aware of now
steps zigzagging this way and that, and before zagging I keep bouncing off hedges at each zig. I have no idea where I’m going except it’s definitely down the hill. I’m surely not heading the way the limo came up, or toward the beach cove where I started, and I don’t know when I become aware Monica is gone or that there’s some heavy breathing behind me from one of Armand’s gorillas right on my tail. I keep thinking I’m smaller so I should be able to outrun him but he keeps coming. It’s funny how even when you’re running in blind panic through the dark, a bit like when you’re swimming in a lake, your brain goes on furiously thinking anyway, what can I do and how can I get away from this person, what will make him stop. What will make him just give up. I just keep running down the hill toward what I know has to be—somewhere in front of me—the water, wondering where on the lake I’m going to wind up and how far I can swim. I remember how hard I swam that first night I came to the Chateau X and almost not making it, and I really don’t want to have to go back in the water again.
We reach a small glen that’s all white and lit up under the moon, me and the one still chasing me, and I know the white of my corset makes me very easy to see, a little bouncing white moonbeam. He doesn’t have a gun does he, I think to myself. I think to myself if suddenly the sound of his breathing stops then I’ll fall to the ground and into the grass of the glen because that might mean he’s stopped running long enough to take out his gun and shoot. I glance over my shoulder which is a mistake because it slows me down, and he’s still right there behind me and it’s the man who originally came out to the Chateau grotto in the powerboat and drove me up in the limo.
I’ve gotten all the way ’cross the clearing when his breathing behind me does stop, I don’t hear him anymore, I hear nothing except this loud crack and think oh jeez he is shooting!
Our Ecstatic Days Page 18