SEX ON SUNDAY

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When Laila moves into a new place uptown, she has to work a little harder than most to fit in with her conservative, kinda bitchy neighbors, being a dominatrix and all. She tries to keep her profession a secret, which becomes increasingly difficult when she starts dating a submissive, and the girls start nosing up in her business. And the shit really hits the fan when the husband of one of those neighbors becomes obsessed with Laila and blackmails her into offering him her service.

Read Sample

ACT I, Scene 1

(Laila‟s den--her work one, not her home one. It is
a dimly lit space. Everything is black and metal.
There are some classy-looking, framed photos of
anonymous submissives in provocative and
compromising positions on the upstage wall. Under
those is a console table with drawers. Left is a
rotating rack with some pretty formidable
looking wrist and ankle restraints. Right is a tall
cabinet with instruments of torture hanging inside…
whips, chains, chokers, paddles, clamps, etc. Center
is a giant table which does not resemble a table so
much as a big butchering block. There are various
restraining devices attached to it.

Lights come up on MATT bent, sweating and
buck-ass naked, face-forward over the block
with a ball-gag in his mouth. His wrists are
bound. He is in agony. Or ecstasy. It‟s hard to
tell which at the moment.

Behind him stands LAILA, in black patent leather
bustier and matching booty-shorts, black lipstick,
fishnets and very, very tall boots. Classic. She has
Matt‟s hair grasped in her right fist and Lord only
knows what she‟s doing with her left. It is down
low behind Matt, and the arm it‟s attached to is
rigid.

This visual is barely established before…

MATT
Aaaggghhhhggaaahhh…!

LAILA
(unfazed)
You want it to stop?

(Matt does not respond, only breathes heavily
over and around the gag.)

LAILA (cont.)
If you want it to stop, you know what you have to do.

(Matt shakes his head no. Laila relaxes her
left arm for a moment before it goes rigid
again. And again.)

MATT
Aaaaaaaggghhaa… ggaahhhggghh!!!

LAILA
You want more?

(Matt slowly, almost apprehensively,
nods his head yes. Laila smiles.)

LAILA (cont.)
Enduring little shit, aintcha? Hmph…

(Laila‟s left arm stiffens and releases in
violent, rapid succession. Matt looks as
though he just might explode. Or implode.
It‟s hard to tell which at the moment.)

MATT
Gg…unh…uhg…agh…guh…aagghh!

(Laila presses her entire body against his
back. She draws his head back and brings
her face very close to his.)

LAILA
Had enough yet?

(Matt nods yes.)

LAILA (cont.)
You gonna be a pussy and puss out on me now?

(Matt nods yes. He is exhausted. Laila
roughly strokes his head.)

LAILA (cont.)
Poor little pussy…

(She makes “tsk” sounds at him before
finally releasing his head and removing
his gag with her right hand. Her left
remains...where it is.)

LAILA (cont.)
I need to hear you say it.

MATT
(somewhat robbed of speech)
Yy…yes, Mistress…

LAILA
Say, “I‟m a poor little pussy and I‟m pussing out on my Mistress.”

(Matt is trying to catch his breath.
Laila‟s arm goes rigid behind him.)

LAILA
Say it.

MATT
Aagggh! I'm a poor little pussy and I‟m pussing out on my Mistress!

LAILA
Say you‟re sorry.

MATT
I‟m sorry, Mistress…

LAILA
Beg mercy.

MATT
Mercy, Mistress, mercy…

LAILA
You gonna say it?

MATT
…Jelly bean.

(This is the safe word. Laila abruptly
takes a step back. Just as she does, there
is a sharp intake of air from Matt, a sound
like someone trying to suck a hiss back in.)

LAILA
I forgive you. And it‟s just as well. Time‟s up.

(Laila holds up a red patent leather
stiletto in her left hand and examines it
casually.)

LAILA
I thought I was gonna have to break it off up in there before I got you to quit.
(just curious)
Did you pre-lube?

MATT
Yes, Mistress. Didn‟t exactly want to go back to the office and have to explain spots on the back of my pants. Again.

(Laila twirls the shoe as she walks over
to the console table. She sets it down and
leans against the console for a moment.
She is totally checking out Matt‟s ass.)

LAILA
Huh. (beat) Aren‟t you glad I bought a new pair of shoes for the occasion?

MATT
Aren‟t you glad I had a colonic for the occasion?

(A moment before the two share a laugh.
Laila heads back to Matt and begins to undo
his restraints.)

LAILA
You are too much, Kessler.

MATT
If by “too much” you mean your favorite sub, then I‟ll take that.

LAILA
Well. I don‟t even bother to talk to any of my other subs after they say the safe word, so I guess that counts for something.

(At this, Matt‟s restraints are undone and he
is standing as upright as possible given what
he‟s just been through. He faces Laila. She is
smiling at him. He is falling in love with her.
A brief pause before…)

MATT
Will you call me Matthew?

LAILA
We‟ve been through this, Kessler…

MATT
(overlapping)
Just once. I want to hear it in your mouth just once…

LAILA
No.

MATT
(without missing a beat)
Marry me?

(Laila places a hand on the top of his head
and pushes him down to his knees.)

LAILA
Kessler. How many times have you asked me to marry you?

MATT
A few…

LAILA
Fourteen. You‟ve proposed to me fourteen times. What makes you think I‟m ever gonna say yes?

MATT
The fact that you keep track of how many times I propose.

(Laila suppresses a smile.)

LAILA
You wouldn‟t know what to do if I said yes.

MATT
Actually, I‟d always know exactly what to do. You‟d be ordering me to do it.

(Laila smiles down at Matt. Matt smiles
up at Laila. Laila holds out her hand to
him.)

LAILA
Thank me.

(Matt kisses her hand.)
7
MATT
Thank you, Mistress.

(Laila turns around and sticks out her butt
toward him.)

LAILA
Now thank me properly.

(Matt kisses her butt.)

MATT
Thank you, Mistress.

(Laila turns and faces him once more.)

LAILA
Now go.

(The pucker of Matt‟s lips signals an oncoming
request. Laila cuts him off.)

LAILA (cont.)
Go.

(Matt reluctantly turns away on his knees
and begins to crawl out on all fours. As
he goes…)

MATT
I‟m a patient man, Mistress. A very, very patient man.

(He exits. Laila is left alone.)

LAILA
I know you are. Matthew.

(END SCENE)

Cast Requirements

4 Black Women (30's/40's)
1 Black Man (40's)
1 White Man (Jewish-looking, 30's/40's)

Set Description

Various locations around New York City; present.

Production and Development History

The BE Company at Urban Stages (2011)