Flip Mecum in New York Ch 10

His hands left my shaft and began to massage my cum into my pecs and nipples. They were sensitive and my response was predictable: I contracted my anal muscles, strangling his shaft and milking the last of his cum. He murmured something that I totally missed. But it sounded incredibly good.

We lay like that for several minutes. Then he moved to his side, pulled up the duvet and reinserted his still-hard dick as he pulled me into a spoon. We'd both sleep well that night. Although my last thoughts were about the surprise tomorrow morning that this tour de force copulation had promised. I had learned all too well that when Flip performed a super-fuck, he wanted something. Fortunately, I was usually willing to give it to him. And Absolutely after a fuck like the one he had just pulled off.

Flip....

After a fabulous fuck, both of us slept well. I woke first and slipped out to use the facilities. Returning to the bed, I glanced at the script. It was for a movie. Interesting. He hadn't said anything about a movie, and typically he told me everything that his agent called about. I climbed back in and reveled in his warmth. It was his turn if he wanted it. But, he was slow to rouse. Finally, he moved from my embrace and smiled back at me.

But, he didn't move into the expected pose to take me. Instead he dropped back onto his pillow and began to talk. He told me all about the possible film opportunity. And it was pretty obvious that he really wanted that role. He used the word "breakthrough" at least four times in his breathless exposition of the opportunity. And we both knew that a role, even a small one in a movie with Marylyn Sleep would be widely viewed.

I was obviously happy for him. But, then I asked the questions. "Where is the filming? And when? And how long?"

"I don't have the details. The producers have specifically requested me--at least one of them has. He knows that Storm House is taping for a few more weeks. And of course he knows I'm in New York. My agent says the screen test is in LA, and that they'll schedule it a week or so after Storm House taping concludes."

"That's really not an answer. Not much movie filming is done in New York these days."

"We all know that script settings are rarely determinative of where the filming is done. But the story suggests a Beverly Hills mansion, an LA studio, a New York hotel and a New York art gallery. Some directors will require that the set be true to the story. Others can create reality anywhere. So I just don't know." Michael was obviously tense and he repeated himself, "My agent says they want me to do a screen test in LA after Storm House finishes the current season--so probably in a month or so."

"The consequences were beginning to dawn on me. I knew I was in New York for the foreseeable future. And Michael was headed for Hollywood for an undetermined period. I'm guessing the movie opportunity trumped his chance for any role in "Death of a Salesman" in New York. It certainly would for me. And it was definitely going to complicate any plans to acquire a coop.

But before I could ask more or begin to anticipate the worst, Michael smiled that particular lascivious grin that turned me on big time and motioned me to roll over on my belly. He was going to take his turn. Maybe he wanted to fuck my fears out of me. I was certainly willing to let him try. That script was a potentially poisonous reptile in our bed. But who can stew over a problem when a gorgeous blonde hunk of a man is squirming over you, looking for ways to turn you on--and for a certain place to insert his ownership stake (snake?)? We had been together nearly a year, but every time he touched me, I felt all tingly inside.

I knew he sensed my tension as he started with massage, then a tongue bath of my ass cheeks, cleft and rim. Now I was the one squirming in pleasure. He slowly opened me and lubed. Then he backed off and positioned, jamming a pillow under my gut--which he knew gave him a straight line to my love nut. Then he plunged, jammed the prostate and pounded it into life and me into acceptance. His chest touched my back, and I could visualize his athletic ass and thigh thrusting--which I had seen so many times on our films. It was his trademark love technique: his thrust pushed his cockhead directly into my nut and then continued on to bottom. Then he would withdraw slowly, only to repeat the hammer. It took only a few minutes. I was hard, leaking and ready. I groaned and then whimpered as he withdrew. And I whispered that if he continued, I wouldn't object to him going to LA for the test. He could have anything he wanted. I was such a slut for him.

That was his cue. He sat back on his haunches, pulling me into his lap to reach maximum depth and fullness. His hands went to my nipples and squeezed. My chest actually vibrated with the incredible arousal this produced. And I gave it up. My entire body shuddered in orgasm and my cum arched to the pillow. He reached up to pull my head around. I turned my head and our lips touched as his first steamy blasts of cream shot up into my gut. Then again. And again. Before he pushed me back onto the mattress and fell upon me, nuzzling my neck.

To continue to have Michael in my bed, his cock inside me often, I was ready to move to LA. But, we hadn't gotten there yet. He hadn't asked. We still had a lot to talk about. He still had to cream that screen test. And, I hoped, Brent had something up his sleeves about the Montana opportunity. Later we showered and had coffee. We were due at the Montana at noon, so it was almost time to dress. "Are you going to talk about the movie test?"

"Sure. But first I want to know all the mystery about this surprise this afternoon. Kirk didn't know anything about it."

"Well, it's simple. The coop under their apartment is about to go on the market. We are going to get a preview. I've made no commitments. Fuck, we haven't even seen it--although Brent says the price is firm at one and a quarter million. I've already been doing the numbers."

"We can't afford that. What are you even thinking about? Besides I may be in LA. I'm not sure I can even think about buying something in New York now--even if we could afford it."

"So, it appears our two surprises may be linked. We can afford it, I think. You're going to be a big movie star and begin pulling in the fortune. We've saved almost $200,000 and..."

"Fuck, $200,000! What are they paying you for Oklahoma! How did we ever do that?"

"Enough--and our expenses are practically nothing. This place is nearly free. We don't club or do restaurants. You got $25 big ones up front for Storm House and the daily rate is over a thousand a day. And you're about to be a movie star. Michael, we need to start thinking like the successful performers that we are."

"Okay, but $200K is a lot less than the asking price. I don't think we can qualify for a mortgage--even if the coop permits them. I don't think New York coops typically permit mortgages."

"Your thinking about coops is old. They do now. And Brent says not to worry. His firm can put together something if he asks. But, obviously we've got to see it first. Now what about LA?"

"Obviously, it's a movie part. I've got to go out for a screen test--they won't take the preliminaries from Storm House--even if the producer would release them--which he won't. Every producer wants his own film test. But, if I get the part (and that's a big "if"), most of the filming will be in LA, starting a few weeks after SH goes into the can. Probably early summer. My agent says maybe three months of work, but some of it might be in New York. He thinks I can get a million for the part, but even half that would be a giant step for my career."

"You know I can't leave Oklahoma! now. If I do, I'll be blackballed from the stage for years. I can't go to LA. So are you suggesting that our careers are going to split us?"

"Listen, Flip. I don't have the part. And I don't know the details. I'm not ready to have this conversation now. I am definitely not suggesting a break-up. But a major financial commitment to a coop at this point in our relationship? It's sort of final. And risky. I'm not there yet."

"Are you referring to us? Or to the apartment? I decided to assume it was the apartment, so I continued, "I had thought of that. And I'm readyto have a place. Fuck, I've been ready since I arrived in New York more than a year ago. I love you Michael. I can see a long future for us. Aren't you as sure of our relationship? And since when did you become risk-averse? Are we talking about a coop or are we talking about us?"

"I love you Flip. I want to be with you. But, how are we going to make this work if we both have acting careers which are going to tear us apart for long periods?. I'm not a naïve babe, Flip. I'm gonna have to do some things--some physical things--with guys and women in LA. Brent can give speeches about the work he is doing to clean up the sexual blackmail which has been the foundation of theatre in New York for years. But, the reality is: a new actor is on his own; if he wants to succeed, he will meet the expectations of his elders and those with the fat wallets--whether they are producers, directors or even senior actors. I don't want to be in a position where each time I blow somebody, or fuck somebody, I feel guilt that I have betrayed you or our bond. I can't be there, Flip. I can't. We both know the score. We've both been escorts and porn stars. We know the territory."

"You seem to have thought a great deal about this. I need time to formulate my own feelings. We both understand the demands of our industry--in all its parts--particularly among young guys who look the way we do. It is an irony and a paradox: look good or you won't make it; look good and every person in power will stake a claim on your body."

"I thought we had worked this out at Peacock. But, I guess we weren't in so deep at that time. And I agree with you that it's not a matter of trust. We know it going to happen. It's gotta happen. So what we need to think about is how we deal with as a couple."

"Suppose, we go back to our Peacock rules: we fuck and get fucked when it's necessary to survive and thrive; but when we do, we wrap--and laer we describe the incident in detail. It'll be like dissecting a porn flic--except one of us will be in the film. I'm pretty sure I can compartmentalize and rationalize. Of course, that doesn't handle the problem of the long absences. It's been years since we gone much more than a day without good healthy sex. Oh fuck, why does life have to be so difficult?"

"You're apparently a lot better at compartmentalizing that I am, Michael. I want you all to myself. We obviously don't need to decide on the coop today. I promise I won't pressure. Let's just see it. And talk with Brent and Kirk. Later, we'll have more information to continue this conversation."

"But, Michael, please remember this. I have no intention of breaking us--or of letting you walk away. I cannot even consider it. You are my life. If it's a choice between you and a coop, that's really no choice. But if it's a decision to have you when you happen to be in New York and needy while you whore around in LA, I don't think I can live with that."

Of course, at that point, I had no idea about the potential of the Hollywood feeler. Agents tend to be very optimistic to get their clients to prepare and rev up with excitement before trying for a part. And he already had a call-back on a Broadway audition for a revival of "Death of a Salesman." Maybe Hollywood would just go away. I knew that was a pipe dream. I knew Michael and what he could do.

But, somehow, I know a move to the Montana was, for us, like getting married. It was not something that we could easily get out of if our careers diverged--or if our relationship hit the rocks. Once again, I realized our relationship was on much shakier ground than I had ever dreamed. But, I was deliberately ignoring that fact. The sex was too good. (Did I just think that? Can that ever be?)

And so we finished dressing and headed uptown to gather more information.

TBC BD