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by Jeremy Sandford

Narrative Outline

Tales of Amaryllis, her boyfriend Brian and their torture chamber.

© Copyright Jeremy Sandford

All rights asserted.




The Streets

Kenny, a punter, leads us down rainy streets.

As he passes an adventure playground he stops a moment to watch a group of schoolgirls playing. To passers by they are ordinary lasses. Kenny, however, finds them disturbing and exciting.

Montage Sequence

Kenny’s vision blurs and chords, on brass, ironic triumphant, may signal his lust.

Cut rhythmically to the music, we see cameos of other punters in situations of temptation. One stalks a woman down a street. One gloats over a pinup. One looks at a toilet wall advert, ‘Sex Fun Wanted’. One lusts rudely over a barmaid. These are the men who’ll later be serviced by Amaryllis. Always we hear the ‘lust’ theme in the moments of the clients’ desire mounting.

The Streets

Kenny continues to a door, presses the bell, hears his mistress’s voice, enters, goes upstairs, leads us into:

Amaryllis’s Torture Chamber

Here, from six p.m. to midnight, Amaryllis makes an erratic and illegal living servicing perverts. Sometimes she makes a mint, often times gets very little, or gets robbed so she makes less than a little.

Amaryllis (38), handsome, half Caribbean, half Welsh. There’s a no nonsense feel about her since life has not been easy for her; but she also dabbles in aromatherapy and meditation, and is a bit of a hippy. She has one daughter who does not take part in this story.

She’s had the living room of her flat converted into a torture chamber with manacles, chains, stocks, strobe light, smoke machine, powerful stereo, armour, a huge cross, spooky lighting.

We see her servicing;

* Kenny (Client No.1) who she manacles and puts into chains, then shuts in a cupboard. He remains there as she services;

* Client No.2 who’s wearing only a loin cloth. She hangs him from the large cross and dusts him down with feather dusters as the stereo blasts out a Russian mass and he gasps for more.

* Client No.3 she’s undressing, spanks, sprinkles with powder, spanks, pins on a nappy and lays him to rest on a rubber blanket. Spanks.

* Back to Kenny. Amaryllis now wears a schoolgirl outfit. She opens the cupboard. ‘Are you alright?’ she asks. Kenny replies with a satisfied moan. He follows her to a settee where she ‘finishes off’ his servicing.

The Torture Chamber, Later

Kenny and Amaryllis share a joint and their conversation reveals how much he needs her. He knows that to touch up real schoolgirls would very likely end in gaol for him. What about that guy who did time just for kissing an eleven year old on the cheek? When he got out of gaol he had lost his job as a dustman, no-one would speak to him. When he got ill no-one would take him to hospital. He died within a couple of months.

As he speaks, we may see a cutaway to the schoolgirls in the adventure playground, and her, as if partially aware, is disturbed and excited by them.

Kenny warms to his theme. Being serviced by her he can get satisfaction and leave schoolgirls alone. People like her are worth more than all the therapists, analysts, or doctors with their qualifications and sedatives.

Amaryllis comments that, despite this, those professions are respected while hers is illegal, a gutter slither.

Kenny gets back in the cupboard.

Kitchen above Torture Chamber

Cooking with Brian, her boyfriend, she says she’s bored and pissed off.

In between stirring the supper Amaryllis is changing again into her French maid’s outfit.

Brian (54), a wiped-out ex-session bass player who was once with a well-known band and blew his mind with too much drugs and sex and rock and roll.

Brian says he doesn’t like to see her have to work so hard. It must be physically exhausting as well as emotionally.

As he speaks we see a cutaway to:

The Torture Chamber

Client No.6 is dolled up in stockings, high heels and suspenders. Amaryllis is cross-eyed with exhaustion as she whips and he cries out for ‘more!’

Brian (voice over) recalls the days when he had a country mansion and was a successful rock musician. Then he could have been some help.


‘You wouldn’t have had any time for me then,’ Amaryllis says, ‘you were much too busy fucking starlets.’

Brian’s voice continues (voice over) as we cut away to:

The Waiting Room

Punters No.7 and No.8 are sitting, waiting.

Brian (voice over): ‘You don’t have to live like this. We could cash in the mortgage on this place and move over the seas to Skye.’

‘And do what?’

‘Sheep farming. You know, legitimate. Get sorted.’


Amaryllis continues (synch): ‘Get sorted on what? On the bleeding cattle and sheep dip? We’d go mad up there. Anyway, I like the city. (She camps it up a little): I like the stench and the speed and the pollution.’

Waiting Room

Clients No.7 and No.8 appear to be drunk, make crude jokes, want to be manacled, want to be serviced together.

Amaryllis says she doesn’t normally do couples. They try to persuade her.

Against her better judgement, Amaryllis agrees to service them. She tells them that they must wait in the waiting room, however, while she services another client.

Torture Chamber

Client No.9 is waiting.

She has a halter round her neck and when she takes it off we see that there is a small nick in her neck through which he sucks her blood. Needless to say, this ‘vampire’ will pay more than all the rest put together.

Client No.9 leaves.

Amaryllis returns to Client No.7 and Client No.8 and asks for her fifty pounds in advance.

They shout, become obnoxious, flash what looks like an ID card under her nose and announce that they are police officers. Amaryllis says she doesn’t believe them.

The noise has brought down Brian. ‘Who’s that?’ they ask.

‘He’s my boyfriend,’ says Amaryllis.

‘Then we’re nicking him too.’

‘What for?’

‘Poncing. Living off immoral earnings.’

‘You’re wrong there mate,’ says Brian. ‘I have my own profession. I’m a musician.’

‘We’ll take a look upstairs.’

Brian tries to prevent them but they force their way upstairs, through the Kitchen and above it find an Attic where acres of cannabis plants are growing beneath powerful arc lights.


Sitting at the top of the ladder that leads to the attic, Client No.7 asks;

‘You have previous convictions for this sort of thing, am I right?’

Brian denies this but it seems there may be some truth in this.

‘You’ll do three years for this.’

‘Please don’t take him away,’ says Amaryllis. ‘He’s all I’ve got.’

The men say they’ll be prepared to overlook the matter if Amaryllis will give them a free session.

Amaryllis agrees, resigned but relieved.

Brian craftily suggests they have a smoke first to make it even better and brings down a hubble-bubble pipe.

The punters take a puff, cough and giggle and begin to get stoned.

Brian may have put something stronger into the pipe as well as cannabis.

Torture Chamber

Amaryllis puts heavy metal music on and says she’ll put their manacles on before she begins the service, to make it more exciting for them. She activates the strobe and smoke machine.

Too stoned to resist, the men acquiesce, and then pass out.

‘Amaryllis,’ says Brian, ‘I’m beginning to have my doubts that these are genuine coppers.’

Amaryllis fishes in the punters’ pockets and brings out a gas board identity card. ‘They’re not the blue meanies after all! Isn’t that wicked?’

They hug each other in joyful relief. She feels in another pocket and accidentally activates a walkie talkie.

‘Tango Bravo, Tango Bravo, do you match me?’ jabbers the walkie-talkie.

‘Or are they?’ continues Amaryllis, surveying the two slumped punters.

There come a series of bumps and jolts from the cupboard.

Kenny emerges. Amaryllis lets him out of the door of the flat.

We see, past her head, Brian and the two punters. And now we see her face as she ponders, ‘Are they coppers or not?’ And the walkie-talkie continues to jabber, ‘Tango Bravo, do you match me? Where are you? Tango Bravo, come in please!’

The Streets

We stay behind Kenny’s head as he wanders out into the night and stops to lust where schoolgirls are playing in the adventure playground. From his p.o.v. we slowly close on the schoolgirls.

Then, superimposed on them, we see him enter a public toilet. From his p.o.v. we see a graffiti which says, ‘GOOD SEX WANTED - LEAVE DATE AND TIME.’


The sources for this drama are the punters and mistresses that I met when researching my book ‘Prostitutes’ (published by Secker & Warburg and Abacus Sphere, with a major serialisation in ‘The People’) with whom I became friends and have remained in contact.

Some scenes are sexually explicit but will be presented with restraint and aesthetic awareness.

Our story of how pervs are serviced in their outcast sexuality will in no sense be presented in the style of a pornographic movie. We’ll tell the story with lightness of touch. BUT as the seven clients are serviced, our style becomes non realistic, presenting stylised trance-like moments, the high spot of the punters week, for which many of them have saved up and forgone luxuries, even necessities.

As Client No.2 hangs from the cross, for example, we’ll experience it from his point of view with a marked change of style, orgiastic and apocalyptic, before returning to the reality of Amaryllis and her naff torture chamber.


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