Pleasure Bound Play (F+M+/F+M+)

[StringTheorist]

Pleasure Bound Play (F+M+/F+M+)

[Stage:
In front of curtains to stage right, (house left), a house door, opening out to stage right.
Inside, 2 rooms, main room a little more than half the width of the stage, stage right, and bedroom remainder of space, stage left.
Main room: serves as living room and dining room. Furniture: sofa, small dining table, 4 dining chairs, some sort of buffet with drawers, bookcase, large thick rug in the open area. There is a door to a closet off to stage right, which serves as coat closet. There is a door at back leading to other parts of the house such as a to kitchen, the bedroom.
Bedroom: entrance door at back, bed at stage left (a funny structure). There is a dresser with men’s things on top, wallet, keys]

Act I
1. Scene I - Front Door

[Sandy, and Rosemarie are outside the house. Rosemarie wearing a cloak, Sandy wearing a coat. Each is carrying a small overnight case.]

Sandy: ROSEMARIE, IT’S THE TIME GREG ASKED US TO COME.

Rosemarie: SANDY, YES, BUT WE STILL HAVE TO DECIDE.

Sandy: YES. WHICH OF US WILL BE THE FIRST CAPTIVE.

Rosemarie: WHO WOULD HAVE THOUGHT THAT WE WOULD LOSE THE BET. WE WERE SO CERTAIN OF THE SITUATION.

Sandy. WHEN HE ASKED US FOR THE STAKES, WE SAID THAT IF WE WON, HE HAD TO COME OVER AND FIX UP THE BASEMENT FOR US.

Rosemarie: YES, AND GREG AGREED SO WILLINGLY. THEN HE SAID, IF HE WON, WE HAD TO COME OVER AND BE HIS CAPTIVES FOR THE WEEKEND, TO DO WITH AS HE PLEASED. [Rosemarie smiled at this point in a longing way]

Sandy: HE TOLD US NOT TO WORRY, THAT HE WOULDN’T HURT US, AND WE COULD STOP ANYTIME IF WE FELT HE WAS GOING TOO FAR.

Rosemarie [longingly] YES. WHO WOULD HAVE THOUGHT THAT THE US PRESIDENT WOULD ESCAPE THE WAY HE DID? SO WE LOST THE BET.

Sandy: BUT GREG WAS VERY NICE. HE DID COME OVER LAST WEEKEND AND WORKED ON THE BASEMENT ANYWAY. I WONDER WHAT HE MEANT THAT WE WOULD BE HIS CAPTIVES?

Rosemarie: SISTER, THAT’S DOUBLE WE OWE HIM. HE SAID HE WOULD TIE US UP, TAKE VIDEOS, TAKE US TO BED, HAVE US FEED HIM.

Sandy: ARE YOU AFRAID OF BEING BOUND?

Rosemarie: I’M NOT AFRAID. I THINK I TRUST HIM.

[Aside] ACTUALLY, I WANT GREG TO TIE ME UP. I HOPE HE PREFERS ME TO MY SISTER. MAYBE JUST MAYBE WE COULD MAKE IT TOGETHER. I COULD HAVE HIM AS MY MATE VERY WELL. BUT I SUSPECT THAT MY SISTER HARBOURS SIMILAR FEELINGS FOR HIM. SANDY DOES NOT KNOW THAT I LOVE TO BE TIED UP, ESPECIALLY FOR LONG TIMES, HOURS. I DO IT EVERY WEEKEND IN THE PRIVACY OF MY BEDROOM. BUT I WOULD LIKE NOT TO BE IN CONTROL - TO BE CAREFULLY BOUND BY A MAN. OH, I SO WISH.

Sandy: PERHAPS WE COULD TOSS A COIN TO DECIDE WHO GOES IN AS THE FIRST VICTIM.

[Rosemarie pulls a quarter from her pocket and tosses it.]

Rosemarie: CALL IT.

Sandy: HEADS.

[Rosemarie shows the coin]

Rosemarie: TAILS. I GET TIED.

Sandy: I WONDER WHY HE WANTED ONE OF US TO COME ALREADY A CAPTIVE?

[Rosemarie opens her case and extracts a length of white nylon rope, which she hands to Sandy. She pulls her arms back through the arm holes of her cloak, and sticks them out the front. Sandy uses the rope to lash her hands together, in front, and then pulls the cloak over her sister’s hands.]

Rosemarie: I’M READY.

Sandy [ringing the doorbell]: I’M A LITTLE NERVOUS. SOMETHING OUT OF THE ORDINARY IS GOING TO HAPPEN, I JUST FEEL IT.

Rosemarie: CHICKEN.

[the door opens, and Greg steps out.]

Greg: GOOD EVENING. RIGHT ON TIME.

[looking at Sandy]
YOU ARE RAVISHING. MORE BEAUTIFUL THAN EVER.
[looking at Rosemarie] AND YOU ARE A SEXY LOOKING CAPTIVE. I HOPED YOU WOULD BE THE BOUND ONE. COME ON IN.

[Rosemarie enters first, followed by Sandy, carrying both cases. Greg closes the door.]

[Curtain rises]

[The dining table is set for 3, with candles, wine glasses. A full bottle of wine sits on the small table at the side.]

Greg: WELCOME TO MY ABODE. HERE, LET ME TAKE YOUR COATS. OH, BE CAREFUL OF THE RUG, IT SLIDES EASILY.

[Sandy removes her coat and gives it to Greg. She removes Rosemarie’s cloak, and hands it to him as well. He takes them over to the cupboard and hangs them up.]

Greg: I HOPE YOU FOUND MY HOUSE WITHOUT DIFFICULTY. IT’S SORT OF OUT OF THE WAY.

Sandy: YOUR DIRECTIONS WERE EXCELLENT. I DROVE, AND ROSEMARIE NAVIGATED. WE PARKED OUT BACK, AS DIRECTED.

Greg [returning from the closet]: GOOD. I CANCEL THE BET. I DON’T WANT YOU TO BE HERE UNDER DURESS. IT’S BEEN FUN THINKING ABOUT IT. SANDY, GO AHEAD AND UNTIE ROSEMARIE.

Rosemarie [shaking her head]: I WANT TO PAY MY DEBTS. DO WHAT YOU WANT.

Sandy: I HAVE BEEN A LITTLE DOUBTFUL. BUT WE OWE YOU A LOT FOR ALL THE WORK YOU DID LAST WEEKEND, FIXING UP OUR BASEMENT.

Greg: OH, THAT WAS A GREAT PLEASURE TO ME. I LIKE CONSTRUCTION PROJECTS, HELPING OTHERS. I’M NOT MUCH OF A PARTY PERSON. I BELIEVE THAT YOU GET TO KNOW AND TRUST OTHERS WHEN YOU WORK CLOSELY WITH THEM. I FOUND LAST WEEKEND THAT WE FUNCTIONED WELL AS A TEAM.

Greg: BY THE WAY, MY BROTHER MAY COME OVER. IF YOU HEAR HIM COMING, UNTIE HER AND HIDE THE ROPE IN A POCKET OR BEHIND THE COUCH. REALLY, I DON’T WANT TO FORCE YOU HERE. ANYTIME YOU THINK WE SHOULD STOP, JUST SAY SO.

[Sandy and Rosemarie shake their heads.]

Greg: ARE YOU SORRY THAT YOU LOST YOUR BET? WHO WOULD HAVE THOUGHT THAT THE SENATE WOULD END IN A TIE VOTE, AFTER THE SENATORS WHO STARTED SHOUTING WERE EJECTED DUE TO THE SILENCE RULING. IT WAS A FLUKE.

Sandy: YES, PURE CHANCE. BUT IT WAS INEXCUSABLE TO LIE UNDER OATH TO A GRAND JURY.

Greg: I AGREE. ROSEMARIE, COME OVER AND SIT DOWN ON THE SOFA. SANDY AND I WILL GET THE DINNER READY.

[Rosemarie sits on the sofa, but her skirt rides up on her legs, revealing a large quantity of thigh. Greg glances and laughs. Rosemarie tugs it down with her bound hands.]

Greg: SANDY, THERE IS SOME DINNER READY IN THE OVEN AND IT IS HOT. WOULD YOU PLEASE BRING IT OUT?

[Sandy exits through the back door. Greg lights the candles.]

[Greg goes over to Rosemarie, and helps her stand up.]
Greg: I’LL UNTIE YOU FOR DINNER. I DO FIND YOU ATTRACTIVE AND ALLURING, AND CAN IMAGINE YOU WITH YOUR HANDS FASTENED BEHIND YOU. THAT’S REALLY WHAT I WANTED TO SEE THIS WEEKEND.

Rosemarie: THEN LEAVE THEM BOUND. THEN YOU WILL HAVE TO FEED ME. I’LL LIKE THAT.

Greg: FINE BY ME.

[Greg leads Rosemarie over to the table and sits her on the chair at the end of the table, facing towards the audience. Sandy comes in with a pair of covered dishes containing dinner. Greg tucks a napkin into the top of Rosemarie’s blouse. Rosemarie smiles in pleasure at the touch of his hands. Greg and Sandy sit down, on the other chairs, Greg on the one stage right.]

Greg: SANDY, WILL YOU LOOK AFTER THE WINE? WE WILL HAVE TO FEED OUR HELPLESS GUEST HERE.

[the lights dim as they start eating.]


2. Scene II, later.

[Lights come up. If possible, the candles are noticeably lower, perhaps by being pushed down in their holder. The wine bottle is mostly empty. Some food has dribbled on Rosemarie’s napkin. The diners are laughing.]

Rosemarie: OH, WHAT A DELICIOUS MEAL. YOU ARE A GOOD COOK.

Greg: JUST FOLLOWED A RECIPE.

Sandy: [coming around and patting Greg on the shoulder in an inviting way] WELL, LET ME CLEAR THE TABLE. WHAT HAPPENS TO ROSEMARIE NOW?

Greg: SHE CAN GO OVER TO THE SOFA AGAIN.

[Greg helps Rosemarie out of the chair, and moves her to the sofa. He adjusts the ropes on her hands. and then sits down on the sofa, and has her sit on the floor, leaning back against his legs. He places his hands on her shoulders and begins to massage the muscles. But his hands begin to descend the front of her blouse. Sandy comes and goes a couple of times, clearing away the dinner and extinguishing the candles. Greg talks to Rosemarie, inaudibly. Rosemarie looks a little uncomfortable.]

[Sandy comes to stage front and looks at the audience.]

Sandy [aside]: SEE WHAT HE IS DOING WITH HER. GREG IS IN FOR A BIG SURPRISE. HER BREASTS ARE FALSE. THERE IS QUITE A HISTORY OF BREAST CANCER IN OUR FAMILY. ON HER DOCTOR’S RECOMMENDATIONS, SHE HAD THEM REMOVED. I DON’T SEEM TO HAVE QUITE THE SAME GENES SHE DOES AS WE ARE STEPSISTERS, SO AM JUDGED NOT TO BE AT RISK. BUT MY SISTER DID A VERY BRAVE THING IN HAVING THEM REMOVED. HOWEVER, IT TENDS TO DISCOURAGE SUITORS. BETTER FOR ME.

[Greg and Rosemarie’s voice become audible. Both start to talk at the same time.]

Greg and Rosemarie [together]: THERE IS SOMETHING I WANT TO TELL YOU.

[Rosemarie demurs to Greg as his hands stop exploring the top of her chest.]

Greg: I WANT YOU TO HAVE A SAFE WORD OR SOUND. IF I AM DOING SOMETHING TO YOU THAT YOU DO NOT LIKE, OR YOU BECOME ANXIOUS, USE THE SAFE WORD, AND I WILL STOP. ROSEMARIE, WHAT WORD?

[Greg reached for the scarf at Rosemarie’s neck and unties it.]

Rosemarie: HOW ABOUT “UNCLE”?


Greg: LET’S SEE HOW WELL YOU CAN SAY IT GAGGED.

[Greg puts the scarf over her mouth and ties it behind her head]

Rosemarie: [faintly] ONKLE.

Greg: Uncle It Is. [turning to Sandy] AND WHAT WILL YOUR SAFE WORD BE?

[Greg gets up from behind Rosemarie, and leaves her slumped against the sofa]

Sandy: SAME FOR ME, “UNCLE”. IT WILL MEAN I HAVE HAD ENOUGH.

[Greg takes, a roll of wide white tape out of the buffet drawer.]

Greg: COME OVER HERE SO I CAN HEAR YOU SAY IT WHEN YOU ARE GAGGED.

[Greg rips off a piece of tape and applies it over the mouth of Sandy]

Sandy: [muffled] UNCLE.

Greg: AGAIN?

Sandy: UNCLE.

Greg: GOOD. I WANT TO SHOW YOU SOME EFFECTIVE WAYS TO TIE SOMEONE’S HANDS. THE ROPES ON ROSEMARIE’S HANDS CAME LOOSE DURING DINNER.

[Greg fetches a hank of rope from the buffet drawer.]

Greg: SANDY, PLEASE CROSS YOUR WRISTS IN FRONT OF YOU. THANKS. FIRST, YOU MAKE A SLIP KNOT AT THE END OF A ROPE AND PASS IT OVER THE PERSON’S WRISTS LIKE SO. SNUG IT TIGHT. NOW WIND THE ROPE AROUND THE WRISTS THE OTHER WAY, SNUGGING IT EACH TIME.

[Greg fastens the wrists of Sandy.]

Greg: NOW WRAP THE REST OF THE CORD BETWEEN THE WRISTS, PULLING THEM TIGHT. THE KNOTS PREVENT THE PERSON FROM TWISTING THE ROPES LOOSE; THE FINAL WRAP TIGHTENS EVERYTHING AS MUCH AS YOU LIKE TO PREVENT THE PERSON FROM PULLING THEIR HANDS OUT.

[the two sisters nod their heads.]

Greg: YOU CAN MAKE THE ROPE VERY TIGHT, SAY IF YOU ARE SECURING A PRISONER. LOOSE FOR A LOVER.

[Greg completes the knot.]

Greg: NOW SANDY IS MY CAPTIVE. IT’S TIME TO BLINDFOLD HER.

[Greg fetches a scarf from the buffet drawer and ties it around her eyes. Neither captives make a noise.]

Greg: OK. NOW SANDY IT'S OFF TO THE BEDROOM.

[Sandy smiles, as if expecting to be the target of Greg’s further ministrations on his captives.]

[Greg and Sandy exit through back.]


[Greg and Sandy enter through the bedroom door. Greg turns on the light.]

Greg: LET’S GET SOME OF YOUR CLOTHES OFF.

[Greg undoes Sandy’s blouse and pulls it down her arms. She is wearing a sexy, lacy bra, barely covering her nipples. Greg does not touch them. He undoes her dark skirt, revealing stockings held up by a garter, and black lacy underpants which barely covered her.]

Greg: PLEASE LIE DOWN ON THE BED, SANDY.

[Sandy sits on the edge of the bed, and Greg helps her lie back, head to the audience. It is a fairly long bed. Sandy stretches her hands above her head and spreads her legs. Greg takes hanks of rope from the dresser drawer and fastens her down. First, he ties her legs to the corners. Then he ties her hands, untying her wrists in the process, and removing her blouse altogether. When she is spreadeagled on the bed, he takes another long hank of rope and quickly lashes her down, thanks to metal clips in the top of the mattress that he can slip the rope into as he weaves a web over her. He then places a web band over her forehead. He hums as he works.]

Greg: That will keep you here for a while.

[Greg goes to the far end of the bed and touches a switch. The mattress begins to rotate on its long axis, turning up the inside edge. Slowly, Sandy rotates out of sight. The bottom of the bed appears and is made up as a bed, complete with pillows. When the mattress stops turning, there is no sign of Sandy. Greg picks up her clothes and puts them in the bottom dresser drawer.]

Greg: SWEET DREAMS.

[Greg turns off the light and exits through the door, shutting it]


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[StringTheorist]

Part 2


[Greg enters the main room from the door in back. He picks up the cases and takes them out of the room, and returns, shutting the door. He puts away the roll of tape. He comes over to Rosemarie, still leaning against the sofa and unties the gag.]

Greg: THAT TAKES CARE OF YOUR SISTER. NOW WE HAVE THE EVENING TO OURSELVES.

Rosemarie: I HAVE BEEN WANTING FOR THIS ALL WEEK.

Greg: PLEASE STAND UP AND I WILL UNTIE YOUR HANDS. MY BROTHER MAY APPEAR AT ANY MOMENT TO SHOW ME HIS NEW GIRLFRIEND. I COULDN’T PUT HIM OFF.

[Greg unties her hands, rubs her wrists, and stashes the rope behind the sofa. Rosemarie turns to face him and places her hands on his shoulders and looks him directly in the eyes. They embrace but don’t kiss.]

[Lights dim]

3. Scene III

[Light comes up at the front door. Two crooks, dressed in black and wearing thin, black cotton gloves, are standing there, whispering. The female is carrying a black gym bag.]

The man: THE COAST IS CLEAR.

The woman: PULL DOWN YOUR BALACLAVA. HERE IS THE GUN. DON’T FORGET TO CALL ME “PAULA”.

The man, pulling down his mask: AND YOU CALL ME “MIKE”.

[Paula hands Mike a pistol she has taken from the bag, then pulls on her balaclava.]

[Mike presses the doorbell.]

[Lights come back up in the main room.]

[Greg and Rosemarie are standing close, arms around each other. Rosemarie is almost in tears]

Rosemarie: AND SO I HAD THEM REMOVED. WHAT I HAVE NOW IS JUST PADDING.

Greg: OH, YOU BRAVE THING.

[Greg pulls her tight to him and prepares to kiss Rosemarie. Her face lights up and she shuts her eyes.]


[The doorbell rings.]

Greg: DAMN. THAT MUST BE MY BROTHER. HE HAS A KEY, BUT I GUESS IT’S BETTER HE DIDN’T JUST WALK IN.

[They release each other and Greg heads for the door. Paula straightens out her clothes.]

[Greg opens the door just as the doorbell sounds again. The two crooks push their way in, Mike with the gun in front.]

Mike [waving the gun at Rosemarie and Greg]: DON’T MOVE AND DON’T MAKE A SOUND. THIS IS A ROBBERY.

[Paula puts her bag on the table and brings out some rope. Mike moves over to Rosemarie and holds the gun to her neck, angled upwards.]

Mike [to Greg]: YOU - PUT YOUR HANDS BEHIND YOUR BACK AND TURN AROUND.

[Greg complies and turns so that Mike and the audience can see his hands. Paula comes over and binds them efficiently.]

Mike [still holding on to Rosemarie]: NOW YOU PUT YOUR HANDS BEHIND YOUR BACK.

[They turn and Paula binds her wrists.]

[Paula then gets out some tape from the bag and covers Rosemarie’s mouth. She rips off some more and approaches Greg]

Mike: I’LL ASK JUST ONCE. WHERE ARE YOUR VALUABLES?

Greg [hesitatingly]: MY WALLET IS IN THE BEDROOM. THERE IS SOME MONEY IN THE TOP DRAWER. THERE IS A THOUSAND DOLLARS STUCK IN A BOOK IN THE BOOKCASE - IN MONEY, BY ARTHUR HALEY. I DON’T HAVE MUCH SILVER - JUST THOSE CANDLE STICKS.

Mike: WE’LL SEE.

[Paula applied the tape over his mouth.]

Mike: PAULA, TIE THEIR LEGS.

[Paula gets out more rope and binds their ankles and knees together., one at a time. Mike lowers his gun.]

Mike [looking at Paula]: GO SEARCH THE BEDROOM.


[Paula exits the back door and reappears in the bedroom and turns on the light.]

[Mike goes over to the bookcase. He finds the book and pulls out a number of 100-dollar bills. He counts them twice. He puts the book back and then he pulls out other books, fanning the pages. One picture falls out, but no more money. He puts each back, then looks in the desk drawer. He piles everything on the top, then puts it back. He holds up a set of handcuffs, then returns them to the drawer. He puts the candle sticks, complete with candles in the bag.]

[ Paula takes the wallet from the dresser. She opens the drawers, rifling through them. The third drawer contains a variety of items that she pulls out and lays on the dresser top: vibrators, dildos, butt plugs, leather harnesses for women, restraint straps. She plays with the toys, modelling the harness, switching on the vibrators. She puts things back, closes the drawer, then returns to the main room, leaving the light on. Action goes on simultaneously.]


[Paula enters, and goes up to Mike, cuddles with him. She pulls him to the front of the stage, and whispers to him.]

Paula: YOU WOULD NOT BELIEVE WHAT I FOUND BACK THERE. LOTS OF SEXY THINGS. I’M HORNY. I WANT TO MAKE LOVE WITH YOU, HERE AND RIGHT NOW.

Mike: IT’S NOT SAFE. SOMEONE MIGHT COME.

Paula: I’M SO EXCITED. I LIKE TO SEE PEOPLE TIED UP. ASK THEM IF ANYONE IS COMING.

[Paula gropes him just out of sight of the audience.]

[Mike returns to Rosemarie and holds the gun to her head.]

Mike: ARE YOU EXPECTING ANYONE?

Greg: [Looks directly at Mike and shakes his head]: NO, NO [grunting behind the gag.]

Mike: PAULA, WE’LL SECURE HIM BETTER. UNTIE HIS HANDS, BUT NOT HIS LEGS.

[Paula complies. Mike pushes Rosemarie over close to Greg]

Mike: PUT YOUR ARMS AROUND HER. NO, UNDER HER ARMS.

[Greg tucks his arms under Rosemarie’s.]

[Mike stands back but keeps his gun aimed at Rosemarie.]


[Paula reties Greg’s hands behind Rosemarie’s back. Then she ties Greg and Rosemarie together at the waist, knees and ankles. A rope is passed from Rosemarie’s hands around Greg’s hands to the binding at her knee. Blindfolds are applied. Mike lowers the pair to the rug and drags it to the closet. He vanishes for a moment, pulling them well back. He reappears, straightening out the coats hanging in the closet, then closing the door.]

[Mike and Paula cuddle, kissing, fondling. They leave by the back door, turning off the lights as they go.]

[Paula and Mike enter the bedroom, leaving the door open. Their clothes are in disarray. Their balaclavas have been removed. They kiss, hug, fondle. Slowly they start to remove their clothes, down to shorts, panties, bra. Perhaps stripper music plays.]

Paula: OH YOU BIG HUNK OF MAN. YOU’RE SO SEXY. [They kiss.] I WANT TO SHOW YOU WHAT HE HAS IN HIS DRESSER DRAWERS. I WANT TO TRY SOME OF THEM OUT.

Mike: I WANT TO GIVE YOU WHAT I HAVE IN MY DRAWERS.

[Paula pulls out the third drawer and extracts a bunch of cuffs, a ball gag and straps. She shows them to Mike, who puts the leather cuffs on Paula, starting with her hands.]

Paula: [panting] HURRY UP. STRETCH ME OUT ON THE BED. I NEED YOU SO. [screaming].

[Mike lifts Paula onto the bed, straps her down and adds the gag. A couple of spare straps are dropped to the floor. The light fades as he climbs on top of the bed.]

[Curtain.]

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[StringTheorist]

Act II

1. Scene I (front door)

[Ron and Binda appear at the front door, hand in hand. Mike and Paula are in bedroom on the bed, Mike moving, but not talking.]

Ron: THIS IS MY BROTHER’S HOUSE. LET’S GO IN SO THAT HE CAN MEET YOU. HE SAID HE WANTED TO VERY MUCH.

Binda: I’M NOT SURE HE IS HOME. THE LIGHTS ARE OUT.

Ron: YES. HE ALWAYS HAS THE LIGHTS ON WHEN HE IS HOME. HE TOLD ME TO COME IN ANYWAY, AND EVEN GAVE ME A KEY. HE TOLD ME TO MAKE OURSELVES AT HOME. [Ron takes out his key and enters.]


Binda: NO ONE’S HOME. LET’S GO.

Ron: I WANT TO WAIT FOR A FEW MINUTES TO SEE IF HE COMES HOME.

[He takes off his coat and hers and hangs them in the closet. Ron opens the bottom door of the buffer/china cabinet and extracts a bottle of sherry.]

Ron: GREG EVEN HAS YOUR FAVOURITE DRINK - BRISTOL CREAM SHERRY. WE’LL HAVE SOME.

Binda: IT’S NOT NECESSARY. I DON’T FEEL COMFORTABLE JUST BARGING INTO HIS HOUSE. PERHAPS IF I KNEW HIM IT WOULD BE EASIER.

Ron: [bringing her a glass of sherry] WELL, WE’VE ONLY KNOWN EACH OTHER A MONTH; THERE WAS HARDLY TIME. I CAN TRUTHFULLY SAY THAT HE DOES NOT MIND. HE EVEN TOLD ME...

Binda: TOLD YOU WHAT?

Ron: [reluctantly] WELL, IF I EVER WANTED TO BRING YOU HERE, JUST THE TWO OF US ... HE COULD ARRANGE TO BE OUT, SAY ON A BUSINESS TRIP. HE HAS A VERY PRIVATE GUEST ROOM.

[Ron puts his arms around Binda who snuggles up him.]

Binda: THAT SOUNDS EXCITING. WITH MY INVALID MOTHER AT MY PLACE AND YOUR NEPHEW SHARING YOUR PLACE, IT’S HARD TO BE ALONE. YOU SURE ABOUT YOUR BROTHER? I DON’T KNOW HIM. [Caresses his cheek]

[They embrace. Binda breaks off.]

Binda: TELL ME WHERE THE WASHROOM IS.

Ron: THROUGH THAT DOOR, TO YOUR RIGHT, DOWN THE HALL, PAST THE BEDROOM.

[Binda opens the door and exits. Her head appears at the partly open bedroom door, and her eyes grow wide. She returns to the main room.]

Binda: [whispering] HE’S HERE. WITH SOMEONE. THEY ARE IN BED. LET’S GO.

Ron: I HAVE TO SEE. IT’S NOT LIKE MY BROTHER.

[Ron exits. His head appears at the bedroom, door, and he returns to the main room]

Ron: THAT’S NOT MY BROTHER. IT MUST BE A BURGLAR. I DON’T KNOW WHO SHE IS - MAYBE A GIRLFRIEND OF GREG'S. SHE IS TIED DOWN TO THE BED. I WANT TO FIND SOMETHING GREG HAS. HE GOT THEM FROM SOME POLICE FRIEND.


[Ron rummages in the china cabinet drawer and extracts a pair of handcuffs. He opens them and puts the key in his breast pocket. He gives the cuffs to Binda.]

Ron: WE MUST SAVE HER. I WILL SEIZE HIM. YOU GET THESE ON HIM WHEN I HAVE HIM RESTRAINED.

[Ron showed her how they worked.]

[They tiptoe out of the room and into the bedroom. Ron jumps on the bed on top of the man and the girl. There is a struggle. Finally Binda gets the handcuffs on the wrists of Mike. Mike screams foul language.]

Ron: SHUT UP.

[Mike continues to scream, so Ron picks up some undies from the floor and stuffs them in Mike’s mouth. Then he wraps a pair of pantyhose around the head to keep the gag in. Ron uses two of the straps to tie Mike's legs.]

Ron: [breathing hard from all the exertion.] FREE HER AND GET HER CLOTHED. I’M GOING TO CALL THE POLICE.

[Ron exits]

Binda: [undoing the straps restraining Paula on the bed, starting with the legs] I’M BINDA. I JUST MET GREG’S BROTHER RON A FEW WEEKS AGO. I’M GLAD WE WERE ABLE TO COME IN TIME TO SAVE YOU. WHERE’S GREG? HE WANTED TO MEET ME. ARE YOU OK?

[Paula can’t respond until Binda frees her arms, and she can free her mouth.]

Paula: [hoarsely] YEATH. WATER.

[Binda exits to get some water.]

[Paula goes over to Mike and looks at his hands, but cannot remove the handcuffs.]

Paula: I’M GOING TO PRETEND TO BE AN INNOCENT VICTIM. I’LL TRY TO GET THE KEY. BUT I STILL WANT YOUR BIG MACHINE.

Mike [grunts.]

[Paula pulls on her pants and top, then turns on the light.]

[Binda returns with a glass of water.]


Paula: [sipping] THANKS. AND THANKS FOR SAVING ME FROM HIM. I WANT TO GET OUT OF HERE.

Binda: RON HAS GONE TO CALL THE POLICE.

[Paula jumps in alarm.]

Paula: WHERE IS THE KEY TO THE HANDCUFFS? CAN HE GET TO IT?

Binda: IN RON’S SHIRT POCKET. IT’S SAFE.

[they exit and enter the main room]

Binda: I STARTED OUT TO GO TO THE BATHROOM. I BETTER GO NOW. [Exits and passes the bedroom]

[Paula takes her gun from the bag and looks in the drawer and finds another set of handcuffs.]

[Ron enters from the back door to the room.].

Ron: I TRIED TO CALL 911 TO GET THE POLICE. AS IT WAS ANSWERED, THE LINE OR PHONE FAILED FOR SOME REASON. I COULD NOT GET THROUGH AGAIN, ON ANY PHONE IN THE HOUSE. I GUESS I WILL GO OUT AND USE A PAY PHONE SOMEWHERE.

[Paula points the gun at Ron.]

Paula: TURN AROUND, BE QUIET AND PUT YOUR HANDS BEHIND YOUR BACK.

[Ron turns. Paula holds the gun to his head and snaps the cuffs on, one handed. She pulls a cloth from her pocket and gags him. Paula looks through the door, then takes Ron out and puts him in the bedroom. She uses spare straps to bind his legs then pushes him behind the door. She looks out in the hall, hears a toilet flushing, so exits the bedroom, leaving the door as it was.]

[Paula enters the main room. Binda is seen passing the bedroom door.]

[Binda enters the main room and looks for Ron,]

BINDA: I THOUGHT I HEARD RON. WHERE IS HE?

[Paula turns and points the gun at Binda.]

Paula: BE QUIET. COME OVER HERE AND LIE DOWN ON THE FLOOR WITH YOUR HANDS BEHIND YOU.

[Paula takes some rope from her bag and sits on Binda, and binds her wrists, then her knees and ankles. Paula gags Binda, then hog ties her arms to her feet. She puts the gun back in the bag.]

Paula: YOU PEOPLE HAVE CAUSED NO END OF PROBLEMS. WE’VE GOT THE OWNER AND WIFE AROUND HERE AS WELL. WE’RE GOING TO HAVE TO DO SOMETHING WITH ALL OF YOU.

[Paula forces Binda behind the sofa, then exits back.]

[Paula enters the bedroom, where she starts freeing Mike, starting with the gag.]

Paula: WE HAVE TO DO SOMETHING. THEY’VE SEEN OUR FACES. [Paula stands there, almost panicking]

Mike: FIRST, CALM DOWN. UNTIE ME.

[Paula starts on his legs. Then she goes to Ron behind the door and removes the key from his shirt pocket and starts to unlock his handcuffs.]


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[LunaDog]

Different. And entertaining, i enjoyed this.

[StringTheorist]

2. Scene II (Main room in parallel to the previous scene)

[The front door opens quietly, and two police officers, one male and one female, enter, guns drawn. They quickly scan the room, but don’t look behind the sofa, nor in the closet].

[Noises are coming from the open door. The female officer signals with her hands, and they proceed quietly out the door, and appear at the bedroom door, just as Paula frees Mike’s hands and he stands up.]

Male officer: FREEZE. POLICE. YOU ARE UNDER ARREST. HANDS UP.

[Mike and Paula comply.]

Female officer: WE’VE FINALLY CAUGHT THE INFAMOUS MASKED HOUSE BANDITS. [To them]: YOUR DAYS OF ENTERING A HOUSE, TYING UP THE OCCUPANTS, AND RANSACKING THE PLACE ARE OVER. WE’LL CLEAR SOME 40 CASES WITH YOUR ARRESTS.

[she recites the standard phrases about remaining silent...]

[Female officer cuffs the two crooks].

[Female officer removes Ron’s gag and starts to unfasten him.]

Female officer: WE RECEIVED A TELEPHONE CALL AT 911 FROM HERE, BUT THE CONNECTION WAS BROKEN BEFORE THE CALLER SAID ANYTHING. STANDARD PROCEDURE IS TO SEND AROUND A TEAM TO SEE WHAT IS THE MATTER. THIS HAS BEEN VERY SUCCESSFUL. THERE SHOULD BE A REWARD COMING TO YOU.


Ron: THIS IS MY BROTHER’S HOUSE, NOT MINE. HAVE YOU SEEN MY FRIEND, BINDA?

Female officer: NO. DO YOU KNOW WHERE THE KEY TO THESE HANDCUFFS ARE?

Ron: PROBABLY IN THE DRAWER OF THE CHINA CABINET.


[All exit the bedroom to the main room. A search is conducted. Binda is located behind the sofa, and freed. The key to the handcuffs is found in the drawer, and Ron is freed.]

[The officers depart with their prisoners.]

[Ron tidies up a little. Binda gets their coats from the closet. and heads for the door. Ron follows, turning off the lights and closing the door.]

Ron: I REALLY WONDER WHERE MY BROTHER GOT TO.

Binda: [stops suddenly] SHE SAID THEY WERE HERE.

Ron: WHO SAID WHAT?

Binda: THE WOMAN. SHE SAID THAT WE SAW THEIR FACES AND SHE DIDN’T KNOW WHAT TO DO. THEY SHE SAID THEY HAVE THE OWNER AND HIS WIFE. MAYBE THEY WERE GOING TO KILL US.

Ron: HE HAS NO WIFE. I HAVE TO FIND THEM.

[Ron reenters the house towing Binda. They start searching the house. Finally Binda goes into the closet and finds Greg and Rosemarie where they had been left on the rug. They are untied. The ropes are left lying around. Binda goes out back and brings in two glasses of water]

Greg: I HAD DINNER HERE WITH MY FRIEND ROSEMARIE. WE HAD CLEANED UP AND WERE COMING TO SIT DOWN ON THE SOFA. WHEN THE DOORBELL RANG, I THOUGHT IT WAS YOU.

Rosemarie: THE MAN HELD A GUN TO MY HEAD. THEN THEY TIED US UP AND ASKED GREG ABOUT HIS VALUABLES.

Greg: THE WOMAN LEFT TO GET MY WALLET FROM THE BEDROOM. THEN THEY TIED US TOGETHER AND PUSHED US TO THE FLOOR, THEN DRAGGED US INTO THE CLOSET. WE DIDN’T HEAR ANYTHING TILL YOU CAME IN, BUT ON THE RUG WE COULDN’T MAKE A SOUND.

Ron: WHEN WE CAME, THE LIGHTS WERE OFF, BINDA DIDN’T WANT TO COME IN. SHE SAW SOMEONE IN THE BEDROOM WHEN SHE WENT TO GO TO THE WASHROOM.

Binda: I THOUGHT IT WAS YOU. I ALMOST DIDN’T MENTION IT. I THOUGHT WE SHOULD GO QUIETLY.

Ron: I REMEMBERED YOUR HANDCUFFS. WE WRESTLED THE MAN TO THE BED AND SECURED HIM. WE DIDN’T KNOW THAT THE WOMAN WAS ONE OF THE CROOKS. THEN I TRIED TO CALL THE POLICE. I DIDN’T GET THROUGH BUT SOMEHOW THEY WERE ALERTED.

Rosemarie: THANKS. I HATE TO THINK OF WHEN WE MIGHT HAVE BEEN FOUND.

[Binda looks at her watch]: RON, WE HAVE TO GO. I HAVE TO PUT MOTHER TO BED.

[Ron and Binda pick up their coats and go to the door.]

Binda [Shaking hands with Rosemarie]: IT’S NICE TO HAVE MET YOU.

Rosemarie: OH: I OWE YOU A LOT. THANKS FOR COMING.

[Ron and Binda leave stage right. As they go, Binda’s voice is heard] RON: THOSE STRAPS, CAN WE ..


[Greg closes the door. Greg and Rosemarie turn to each other and embrace.]

MTC

ST

[StringTheorist]

[Greg closes the door. Greg and Rosemarie turn to each other and embrace.]

Greg: YOU LUCKY LADY. YOU CAME IN THE CLOSET.

Rosemarie: THREE TIMES. I TOLD YOU THAT I GET POWERFUL ONES WHEN I AM RESTRAINED. I WAS COMFORTABLE ON YOU. GREAT.

Greg: I FELT YOU. I WAS WORRIED ABOUT, WELL, MAKING A MESS...

Rosemarie: WHEN YOU SET THE STAKES FOR US, I DIDN’T THINK IT WOULD BE AS EXCITING ... OH MY GOD. SANDY. WE FORGOT HER. WHERE IS SHE?

Greg: In the bedroom!

[Rosemarie runs out and into the bedroom. Greg follows. Rosemarie looks behind the door.]

Rosemarie: IN HERE?

[Greg presses the switch. Rosemarie stares in amazement as the mattress turns over, revealing her sister.]

Rosemarie: OH, HOW EXCITING.

[They free Sandy. Greg gives her back her clothes. They exit the room and turn off the light. The lights dim as they walk out of the room.]



3. Scene III, main room

[Rosemarie, Sandy, and Greg are seated at the table, drinking a cup of tea.]

Sandy: WEREN’T YOU AFRAID?

Rosemarie: NO, NOT EVER. GREG HAS SET UP A WONDERFUL CAPTIVITY GAME FOR US, DON’T YOU THINK?

Greg [flinching]: IT WASN’T A GAME. THAT WAS REAL. I WAS FRIGHTENED. THEY WERE REAL CROOKS. I WASN’T EVEN SURE THAT RON WAS COMING - I TRIED TO DISCOURAGE HIM.

[Rosemarie and Sandy look at each other in horror.]

Both: OH NO.

[Greg yawns. He gets up and goes over to check the door lock. Sandy whispers something to Rosemarie, who nods.]

Greg: WHAT’S SAY WE CALL IT A NIGHT? I PUT YOUR BAGS IN THE GUEST ROOM.

[Greg picks up the cups from the table and goes out. Rosemarie looks at Sandy and inclines her head towards the back door. Sandy nods and picks up some of the hanks of rope on hand.]

[Greg returns. Sandy and Rosemarie approach, then grabs his arms, twisting them behinds him. They all fall down. There is a struggle, which ends with Greg’s hands bound behind him.]

[Greg smiles.]

Greg: HEY, WHO AGREED TO BE THE CAPTIVES?

Rosemarie: SURPRISE. YOU SEEMED TO LIKE THE CONCEPT OF BONDAGE. WE HAPPEN TO LIKE TO SEE MEN IN RESTRAINT. WE’LL BE IN CONTROL, WON’T WE, SANDY?

Sandy: YES. LET’S TAKE HIM INTO THE OTHER ROOM AND PUT HIM ON THE BED.

Greg: NO, NO.


Rosemarie: [taking up the tape from the drawer] LET’S SEE HIS SAFE WORD. BUT FIRST WE MUST SILENCE HIM.

[Rosemarie gags him with tape, wrapping it around his head.]

Greg: UNG. UNG.

Sandy: NOW WE KNOW HIS SAFE WORD.

Rosemarie: WALK, MISTER.

[They exit the main room, turning off the light and enter the bedroom.]

Sandy: HE MUST BE STRIPPED.

Sandy and Rosemarie unbutton his shirt and slacks. The shirt rips at the seams [velcro]. He twists but is unable to stop the women. He is left in his underpants. They push him down on the bed, head to back (upstage). They bind his legs at the knees and ankles. He continues to thrash.]

Rosemarie: MAYBE HE NEEDS TO BE LASHED DOWN.

Sandy: DEFINITELY.

[They lash Greg to the bed using the rope and clips that fastened Sandy down and place the head band on him.]

Sandy: THERE. THAT WILL KEEP HIM OUT OF MISCHIEF TONIGHT. I’M TIRED. LET’S GO TO BED.

[Sandy and Rosemarie exit. Rosemarie returns momentarily with her case.]

Rosemarie: GEE, THIS IS NOT HOW I FIGURED I WOULD SPEND THE NIGHT, NOR HOW YOU FIGURED IT OUT. BUT WE CAN ALL PLAY THE GAME.

[Sandy opens her case and takes out her nightgown. She removes her blouse, revealing a flesh coloured bra, padding showing all around, then removes her skirt, pantyhose, and shoes. Standing facing him, away from the audience, she reaches around and undoes her bra. Then she pulls the nightgown over her head.]

Rosemarie: NOW YOU SEE THEY ARE REALLY GONE.

[Greg’s underpants poke up through the web of ropes over him.]

Rosemarie: POOR, POOR MAN.

[Sandy enters in her nightgown.]

Sandy: SAY, HOW DOES THE MATTRESS TURN, ANYWAY?

Rosemarie: GREG SHOWED ME. THERE IS A SWITCH HERE AT THE END.

[Rosemarie touches the switch, and the mattress begins to turn.]

[Greg thrashes as the mattress rotates. The other side appears and settles down. Sandy pulls at the covers and they come away, with the sound of Velcro.]

[Rosemarie approaches Sandy and they embrace.]

Rosemarie: WERE YOU AFRAID WHEN TIED UP AND SUSPENDED UNDER THE BED?

Sandy: YES AND NO. I LIKE TO BE BOUND AND...

Rosemarie: YOU DO?

Sandy nods her head. I WAS TIED UP BY SOME FRIENDS WHEN I WAS IN MY EARLY TEENS. I BECAME A WOMAN. NOWADAY I DO SELF BONDAGE.

Rosemarie: SO DO I.

[Rosemarie reaches on the floor for a pair of ropes and they and fall on the bed in each other’s arms.]

Both: GOODNIGHT, GREG.

[Curtain]

THE END


Thanks for your comment, @LunaDog . I'm pleased to be different.
ST

[LunaDog]

You're very welcome.