Fugue Page 4
The dark man pauses for a moment, as if he's considering. Leatherman waits, frozen, in position at the front of the car. He knows he reeks of sweat and cum and he doesn't care. He isn't really concerned if the dark man fucks him or not, but only that watching the act will please the boy.
The boy speaks. "Come on, man," he says, his voice growing husky and gravelly, an enticement. "We've only got a couple more stops, but it's long enough for you to fill him up. No one else is gonna get on. Go ahead. Take him. He wants it and he's got a real sweet ass. I can attest to that." The boy reaches down and gives his own dick a squeeze. "The best," he whispers.
The dark man looks out the window and then, quickly, hurries to the front of the car. The boy reaches out and touches the bulge in the new passenger's crotch thinking that if the guy's dick got any harder, it would rip through the denim. To hurry things along, the boy undoes the guy's belt buckle and pushes his jeans down to his knees. He gives a small gasp at the size of the guy's cock, which makes his own sizable endowment look small. "Fuck," he whispers.
"Hey! Look at this. You think you can take it?" He grasps the dark, almost purple, uncut cock in his hand and points it toward Leatherman's face.
And Leatherman lifts his head away from the windowsill to take in the dark man's enormous appendage. His mouth waters. "Only one way to find out."
"Go on, man, take him," the boy urges, moving his hand from the dark man's cock to the small of his back to urge him gently forward. But the dark man needs no help and he shrugs away the boy's hand. He takes two, three strides and is directly behind Leatherman, who looks over his shoulder at him, expectant; the need and want apparent in his flushed face and the sparkle of his eyes. He nods slowly, once, twice.
And the dark man roughly grasps his hips. This is not the time for tender ministrations and Leatherman is ready for a brutal entry, which is exactly what he gets. With a grunt, the dark man pushes the entire length of his cock inside Leatherman, so that his smooth, dusky belly is pressed flat up against Leatherman's ass. The dark man bites his lip, as if he's holding something back and grinds himself even more firmly inside Leatherman.
The boy watches, mouth slack, eyes heavy-lidded. His own cock has grown hard once more and he strokes it slowly up and down, almost as if his mind is unaware of what his hand is doing. He spits on his dick and, as the dark man starts to thrust in and out, slowly at first, then faster and faster, the boy strokes his own cock to match his rhythm.
The dark man pounds into Leatherman, harder, if possible, than the boy did just moments ago. Leatherman's head is once again banging against the glass as the dark man pile drives into him, his breath coming out ragged and punctuated every few seconds with a groan or a gasp.
As the fucking continues, remorseless and without surcease, Leatherman's gaze reaches out and connects with the boy's. In this mute connection, Leatherman knows the boy understands what his gaze is saying: "This is for you. All for you. He can take me, but he can never have me. I am yours."
The boys nods and gives Leatherman a cock-eyed grin.
The dark man's tempo increases, his hips almost a blur until finally he cries out into the empty train car. "Oh shit, man, I'm coming! Take it! Take all of it, baby." And Leatherman bucks up against him, squeezing his ass cheeks to squeeze every drop out of the man's cock.
The dark man collapses against Leatherman's back, gasping. Almost simultaneously, the mechanical voice sounds, announcing the approach of Howard Street--the end of the line--is only moments away.
The three regard each other and laugh at their good timing. They all hurry to tug pants back up, put zippers into place, wipe sweat from dripping brows.
The dark man moves away and stands by the door. And the boy moves close to Leatherman once more. Leatherman straightens and turns to face the boy.
Tenderly, the boy touches Leatherman's grizzled face and leans into to kiss him deeply and with all the emotion of new love.
* * * *
"Enough?" The voice booms out, echoing off the cinderblock walls, jerking me back to reality.
I open my eyes, but the blackness still surrounds me: the leather hood.
"Enough?" The voice commands rather than questions.
My back stings anew with the lashes, feeling almost prickly, as if nails have been driven into flesh. The damp presence of warm blood reminds me of my master's love and the exquisite pain to which I have just succumbed. At my feet, a pool of my own cum spreads across the floor, turning clearer and more watery with each moment.
I nod in response to his question.
His arms, roped with muscle, surround me, undoing the binds, holding me up.
Gently, my master places me on the floor, the cold concrete smooth and soothing against my wounded back.
At last he pulls off the hood, and the first thing I notice are his big hands, gnarled and callused, no stranger to hard work. Then the body, big, roped with muscle, covered in coarse black hair that moves restlessly in a line from pecs to crotch. He wears leather chaps. And on his arm, there's a tattoo that reads: fugue.
Rick R. Reed
Rick R. Reed's horror/suspense fiction has been referred to as "a harrowing ride through cutting-edge psychological horror" (Douglas Clegg, author of The Attraction) and "brutally honest" (Fangoria). His most recent books include IM, a thriller about a serial killer preying on gay men through internet hook-up sites; In the Blood, a tragic vampire love story, and Deadly Vision, about a small town single mom who begins having psychic visions into a series of murders of teenage girls in her small Ohio River town; High Risk, a sexy thriller about a bored, promiscuous housewife who brings home a very handsome--and very psychotic--stranger; and Orientation, a paranormal love story about reincarnation, love, and sexual orientation. Other published work includes A Face Without a Heart, a modern-day version of Oscar Wilde's The Picture of Dorian Gray. Published in Dell's acclaimed Abyss horror line, Obsessed and Penance together sold more than 80,000 copies. All three novels were re-released in 2006. Rick's short fiction has appeared in numerous anthologies and magazines. A collection of his short horror fiction, Twisted: Tales of Obsession and Terror was published in 2006. Rick lives in Seattle with his partner, Bruce, and is at work on a new novel.
You can read more about Rick and his various titles at: http://www.rickrreed.com
* * * *
Don't miss Orientation, by Rick R. Reid,
available at AmberAllure.com!
Robert and Jess may just be the world's most unlikely couple--a gay man and a lesbian. But there is something more complex going on here: Jess may be the reincarnation of the lover Robert lost to AIDS more than two decades ago.
Can they transcend sexual orientation and find true love...again?
But before this question can be answered, both must confront a deadly peril just waiting to pounce...
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