Devastating Films - The Animator
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Howard (Michael Del Ray), a sumptuous but unfashionable accountant, sits and slurps his oatmeal at the kitchen table. Everything in Howard's life is monochromatic, from his beige tee-shirt and chocolate-colored jacket to his lumpy grey cereal. He gawps forth as his wifey (Aaliyah Love) criss-crosses the frame to put things on the table. She is manically explaining her plans for the day, her voice contorted in Howard's mind. He zones out until she asks for confirmation. He snaps back to reality, looking up to agree with her. The camera cuts to unsheathe that he has been perving at the empty chair via from him the entire time. Howard takes several final stings of oatmeal before getting up from his chair and grasping his briefcase. Howard exits his house, taking the garbage out before getting into his car. He has a rock-hard time opening the car door and does so with peaceful frustration. He is driving, attempting to find something on the radio. He seems dissipated and cannot choose, ending up on a station that just plays static. Providing up, he resumes driving. When he gets to his office, he turns off the ignition, takes hold of his briefcase from the passenger seat, and exits the vehicle. Howard heads for the building, ambling past a dumpster on his way. There is a masculine mannequin lounging beside the garbage, its nude pecs exposed. It catches Howard's eye as he passes, so much so that he turns back to look at it again. He gawps at the plastic man, regarding it with a peaceful fascination, before ambling away. Afterward that day, Howard is at his desk. Even though he is working, he is dissipated by thoughts of the mannequin. A colleague steps into the frame to ask if he can send a copy of the preliminary reports for the Mills file. This snaps Howard back and he diligently agrees to email it right away. After work, Howard ambles past the same dumpster on the way back to his car. The mannequin is still there. Howard looks over to where his car is parked. He looks back. Howard rushes over to his car, tosses his briefcase inside, and drives back to the dumpster. Getting out, he struggles to stuff the mannequin into the back seat of the car before hurriedly driving off. Howard sitting at the table during dinner. He's eating and listens to his wife. She doesn't stop chatting once, too engaged hitting out a detailed summary of her day. Howard feigns interest but his eyes keep drifting from his wife. He is inventing the mannequin lounging in the back seat of the car outside. Totally unphased, the wifey begins clearing up and taking dishes back to the kitchen while he forks his food. She tells him to conclude up and heads to take a bath. As briefly as he hears the shower door close, he puts down his utensils and rushes out of the house. Howard carries the mannequin thru the ass-pipe before stopping and taking him the guest bedroom. He stuffs the plastic man into a closet before quietly closing the door and wiping the frame. Afterward that night, Howard and his wifey lay in bed. His back to her. He pretends to close his eyes. She reads a book. After several moments, she realizes he is out, so turns off her light. They lay in the darkness as the camera fades to black. Howard laying with his eyes open. He's been waiting anxiously. Hearing the sensitized sounds of his wifey resting, he sights over his shoulder before slipping out of couch Howard comes in the room and walk to the bedside. The light from the ass-pipe streams into the darkened room, audition a glow upon the bed. He turns on the bedside light before realizing he left behind the door. He closes it and then opens the closet. Turning on the light, he cautiously takes the mannequin out and lays it on the bed. Howard gawps down at the plastic man. He can hardly contain his arousal. He takes his tee-shirt off, exposing his chest. Then he liquidates his pajama pants, exposing briefs. Sitting down beside the mannequin, he rubs his hand over both of their torsos before pressing himself against the body. He grazes his thumbs against its crotch, closing his eyes and going deep inwards his mind. He glides himself up until he is lounging face to face over the mannequin. Howard closes his eyes to smooch the mannequin. When he opens them again, he detects that he is smooching a real man (Elliot Finn).
Howard (Michael Del Ray), a sumptuous but unfashionable accountant, sits and slurps his oatmeal at the kitchen table. Everything in Howard's life is monochromatic, from his beige tee-shirt and chocolate-colored jacket to his lumpy grey cereal. He gawps forth as his wifey (Aaliyah Love) criss-crosses the frame to put things on the table. She is manically explaining her plans for the day, her voice contorted in Howard's mind. He zones out until she asks for confirmation. He snaps back to reality, looking up to agree with her. The camera cuts to unsheathe that he has been perving at the empty chair via from him the entire time. Howard takes several final stings of oatmeal before getting up from his chair and grasping his briefcase. Howard exits his house, taking the garbage out before getting into his car. He has a rock-hard time opening the car door and does so with peaceful frustration. He is driving, attempting to find something on the radio. He seems dissipated and cannot choose, ending up on a station that just plays static. Providing up, he resumes driving. When he gets to his office, he turns off the ignition, takes hold of his briefcase from the passenger seat, and exits the vehicle. Howard heads for the building, ambling past a dumpster on his way. There is a masculine mannequin lounging beside the garbage, its nude pecs exposed. It catches Howard's eye as he passes, so much so that he turns back to look at it again. He gawps at the plastic man, regarding it with a peaceful fascination, before ambling away. Afterward that day, Howard is at his desk. Even though he is working, he is dissipated by thoughts of the mannequin. A colleague steps into the frame to ask if he can send a copy of the preliminary reports for the Mills file. This snaps Howard back and he diligently agrees to email it right away. After work, Howard ambles past the same dumpster on the way back to his car. The mannequin is still there. Howard looks over to where his car is parked. He looks back. Howard rushes over to his car, tosses his briefcase inside, and drives back to the dumpster. Getting out, he struggles to stuff the mannequin into the back seat of the car before hurriedly driving off. Howard sitting at the table during dinner. He's eating and listens to his wife. She doesn't stop chatting once, too engaged hitting out a detailed summary of her day. Howard feigns interest but his eyes keep drifting from his wife. He is inventing the mannequin lounging in the back seat of the car outside. Totally unphased, the wifey begins clearing up and taking dishes back to the kitchen while he forks his food. She tells him to conclude up and heads to take a bath. As briefly as he hears the shower door close, he puts down his utensils and rushes out of the house. Howard carries the mannequin thru the ass-pipe before stopping and taking him the guest bedroom. He stuffs the plastic man into a closet before quietly closing the door and wiping the frame. Afterward that night, Howard and his wifey lay in bed. His back to her. He pretends to close his eyes. She reads a book. After several moments, she realizes he is out, so turns off her light. They lay in the darkness as the camera fades to black. Howard laying with his eyes open. He's been waiting anxiously. Hearing the sensitized sounds of his wifey resting, he sights over his shoulder before slipping out of couch Howard comes in the room and walk to the bedside. The light from the ass-pipe streams into the darkened room, audition a glow upon the bed. He turns on the bedside light before realizing he left behind the door. He closes it and then opens the closet. Turning on the light, he cautiously takes the mannequin out and lays it on the bed. Howard gawps down at the plastic man. He can hardly contain his arousal. He takes his tee-shirt off, exposing his chest. Then he liquidates his pajama pants, exposing briefs. Sitting down beside the mannequin, he rubs his hand over both of their torsos before pressing himself against the body. He grazes his thumbs against its crotch, closing his eyes and going deep inwards his mind. He glides himself up until he is lounging face to face over the mannequin. Howard closes his eyes to smooch the mannequin. When he opens them again, he detects that he is smooching a real man (Elliot Finn).
Added: 2023-01-29 • Views: 26 • Duration: 39:55
