Chapter #46Two Seductions by: Seuzz   "Whoa whoa whoa," you gasp, and rear back in your chair. "I know what you look like under that mask, dude."
"Does it mattah if it's me or Tina?"
Joe is good at thinking quickly and liquidly, but the prospect of sex has a way of addling him. It has a way of addling you too, and anyway there are far too many variables in the present equation to admit of a fast and intuitive solution. Maybe Lawrence really has been overpowered by Tina's mask; or maybe he's attempting some kind of angle; or maybe he's honestly expressing an interest that he and Tina both share. "That's not really necessary," you weakly protest.
"Then maybe Ah just wants to do it," she grins.
You groan and slouch back in the chair even as you stretch and spread your legs. Your cock--a golden pillar--rises until it's fully rigid. Tina shuffles forward and slowly takes it in her mouth, running a hot and wet tongue up and down the sensitive underside of the shaft. You choke a little and clutch at your hair.
She's good. She knows what she's doing. Well, someone knows what he or she is doing. You shut your eyes and try to shut out the picture of Lawrence Farmer giving you a blow job. It's Tina, dammit, it's Tina who's doing it. That's how come she came to find you in the library. She wasn't scoping you out for Alyssa, she was scoping you out for herself. She's sweet on you. They're all sweet on you. This was what she was wanting, she'd have done it to you under the table in the library if--
You clench your eyes shut, but they still cross slightly as a throbbing power works its way up from the base of your shaft. Your legs tremble as you lift your feet off the ground. Oh, by the power of--! Carefully, you put a hand on the back of her head. "Sweetie, things are about to get a little busy down there--" you gasp. And then--
Well, it's damned awkward letting go of yourself in that chair, and you have to grab at one of the chair's legs. You also hook one of your own legs around and over Tina's ass. Your breath comes in short, sharp puffs as you thrust up and down weakly. The release isn't as explosive as you'd have liked, but she brought you up too fast, and in your current position you can't really lay into it the way you'd like. She runs her tongue and lips and the tips of her teeth up and down your cock, encouragingly. When you're spent, she raises her face and gives you a crooked grin as she goes into the kitchen. "What are you doing?" you call after her.
"Whores swallow. Ladies spit," she calls back.
"You're no lady," you grumble in the back of your throat. "Who told you that," you call more loudly after her. "Your grandmother?"
"Oh, please," she shouts back over the sound of running water in the sink. "If Mummy Higgins evah knew what Ah just did--"
"Yeah, well, there's a lot of things Mummy Higgins might be shocked by if she ever found out about them." You get up, wincing slightly, and hop down the hall to the bathroom, where you wipe yourself off with some Kleenex and then tuck yourself back in. You look in the mirror. There's a slightly feverish look in your eyes, and your hair is sticking out to the side, leaving you looking a little like a blond Bozo, and you smooth it all back down. Ruefully, you give yourself a congratulatory grin. That was one unexpected dividend on the afternoon.
Tina is back in the dining room when you return, holding Lawrence's pants up with one hand as she looks around with a distracted expression. "You have any paper or a notebook or anything, sugah," she asks.
"Why?"
"I wanna take some notes while Ah'm heah."
"Who said you'd be leaving soon?"
Her eyes narrow. "Are you suggesting Ah might spend the night?" No, but if she--he--is willing-- You shrug noncommittally. "Mm. You all are gonna make me work for it, are you?"
"You can leave that work to me, honey," you reply, and step forward to cradle the side of her face. "I'll nibble you all over."
And then the door opens and Frank steps in with a couple of sacks. His eyes go from you to Tina, and go up and down her frame. He keeps a poker face. "Joe, do I really want to ask?"
"Oh, you know Lawrence Farmer, Frank." You step around Tina and put an arm around her shoulder; she has tensed. "You have a couple of classes with him, I think."
"Uh huh," Frank says dryly, and closes the door behind him. "So I got that stuff you sent me out for. For our road trip to-- Lemuria, was it?"
"Pfft, forget all that. I had a mask all ready to go, and I just showed it to Lawrence. Oh, you don't have to be shy around Frank, dude," you tell Tina. "He knows all about this stuff."
"Really," Tina drawls slowly. "Does he charge for this service too?"
"Um." You suck on your lips. Of course, there is no reason to force Lawrence to "service" golem-Frank as well. On the other hand, now that you've thought of it, you're more than a little tempted to take advantage of the situation in lots of ways. Frank is lean and taut and strong and rigid, and he's into the whole self-denial thing, so he's probably all twisted up on the inside with banked desires; it might be a lot of fun to switch into his mask and hammer yourself between Tina's legs like an iron spike. "I guess that's negotiable," you lamely reply.
"Negotiable how?" she asks.
"Oh, this I gotta hear," Frank says. He drops into the chair you had vacated only a few minutes ago. He crosses his legs and folds his arms and fixes a hard gaze on you. He looks much more masterful than any golem should have a right to look.
"Well, man, I guess it's like this," you say. You sit in another chair and gently pull Tina onto your lap. You loosely clasp your arms around her. "Do you like being Tina Branson?"
"What kind of a question is that?" she asks.
"It's just like what it sounds like," you shrug. "You don't have her clothes, but you're sitting inside her mind and inside her body--well, a copy of it--and you can see what it's like to be her. To have her friends and her family and her classes and her hobbies and her interests, and all the other things she has." You draw her a little closer. "You could also get yourself some things that she doesn't currently have. You'd just have to step in and ... replace her."
She doesn't flinch, but she can't look you in the face, either. "You mean get rid of her? The real Tina?" Her voice is quiet, and she's trying to keep a neutral tone, but you can easily sense the fear in it.
"In a manner of speaking," you say. "It wouldn't be bad for her. She'd just go to sleep for a little while. And she'd wake up again when you were ready to let her have her life back. Kind of a Rip van Winkle thing."
"And what about ... Lawrence Fahmer? What about him and his life?" she asks. You can't tell if she's referring to herself in the third person because she's tempted to become Tina, or if she's just trying to keep names and pronouns straight.
"He doesn't go away. We make up a fake version of him, kind of like a robot. He lives Lawrence's life, and when you're ready to go back to it, we make the robot go away. It's all very easy and natural. Well, natural-seeming, because it's all pretty occult."
"Yeah, Ah've noticed. Is this magic, or is it advanced technology?"
"Could you tell the difference?"
"And how do you two know all about it?"
"That doesn't matter. The point is that we do, and that we're willing to share it."
She looks at you searchingly. "Why?"
"Because it's fun."
You see the question forming even before she asks it. "Are you really Joe Durras? Is he really Frank Durras?"
"Of course. Who else would we be? You think any of the idiots at Eastman could have figured out this stuff? We brought it with us when he moved here."
"Yes, but--"
"It doesn't matter. We are who we are."
"Mm." She looks away and bites her lip. "And what would Ah have to do for you, exactly?"
"Well, that's what's negotiable." You don't want to push him into any kind of scheme; you want to make it attractive to him. "If you want, you could just take those notes. Spend the night with me--letting me do all the work--and then tomorrow you go back to school as Lawrence Farmer. Or you could stay on as Tina. We could put her to sleep and you could go back to school as her. Make trouble for Alyssa from inside her group. We can make up more masks for you. You can use them to also get inside Maddy Caron and Lisa Rickover, or even inside Alyssa herself."
You can see the hunger in her eyes. "And what's the price for that?"   indicates the next chapter needs to be written. |
| Members who added to this interactive story also contributed to these: |
View Portfolio
Visit Notebook
Send Gift Points
Awards
Badges
Send Email
Community Newsfeed
General Discussion
Sponsored Items
Book of Trinkets
Static Items
Books
Groups
Interactive Stories
Audio
Campfire Creatives
Community Notes
Crossword Puzzles
Documents
Folders
Images
In & Outs
Madlibs
Photo Albums
Polls
Product Reviews
Quizzes
Survey Forms
Web Pages
Word Searches
More by this author