The Animator Disruptive Films
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Howard (Michael Del Ray), a stellar but unfashionable accountant, sits and licks his oatmeal at the kitchen table. Everything in Howard's life is monochromatic, from his beige tee-shirt and brown jacket to his lumpy grey cereal. He gazes forth as his wifey (Aaliyah Love) criss-crosses the framework to put things on the table. She is manically explaining her plans for the day, her voice distorted 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 uncover that he has been perving at the empty tabouret via from him the entire time. Howard takes a few final bites of oatmeal before getting up from his tabouret and capturing his briefcase. Howard exits his house, taking the trash out before getting into his car. He has a rock-hard time opening the car door and does so with tranquil frustration. He is driving, attempting to find something on the radio. He seems dispersed and cannot choose, finishing up on a station that just plays static. Providing up, he proceeds driving. When he gets to his office, he turns off the ignition, captures his briefcase from the passenger seat, and exits the vehicle. Howard heads for the building, walking past a dumpster on his way. There is a masculine mannequin lounging beside the garbage, its bare torso exposed. It catches Howard's eye as he passes, so much so that he turns back to look at it again. He gazes at the plastic man, regarding it with a tranquil fascination, before walking away. Afterward that day, Howard is at his desk. Even however he is working, he is dispersed by thoughts of the mannequin. A fucking partner steps into the framework 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, throws 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 munching and listens to his wife. She doesn't stop conversing once, too busy hammering out a detailed summary of her day. Howard feigns interest but his eyes keep drifting from his wife. He is thinking of the mannequin lounging in the back seat of the car outside. Completely unphased, the wifey commences clearing up and taking dishes back to the kitchen while he forks his food. She tells him to finish 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 colon before stopping and taking him the guest bedroom. He jams the plastic fellow 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 a few 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 mushy sounds of his wifey resting, he sights over his shoulder before sliding out of sofa Howard comes in the guest room and walk to the bedside. The light from the colon 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 gazes down at the plastic man. He can barely contain his arousal. He takes his tee-shirt off, unveiling his chest. Then he eliminates his pajama pants, unveiling briefs. Sitting down beside the mannequin, he gropes his arm over both of their torsos before pressing himself against the body. He grazes his fingers against its crotch, closing his eyes and going deep inside his mind. He slips 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 finds out that he is smooching a real fellow (Elliot Finn).
Howard (Michael Del Ray), a stellar but unfashionable accountant, sits and licks his oatmeal at the kitchen table. Everything in Howard's life is monochromatic, from his beige tee-shirt and brown jacket to his lumpy grey cereal. He gazes forth as his wifey (Aaliyah Love) criss-crosses the framework to put things on the table. She is manically explaining her plans for the day, her voice distorted 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 uncover that he has been perving at the empty tabouret via from him the entire time. Howard takes a few final bites of oatmeal before getting up from his tabouret and capturing his briefcase. Howard exits his house, taking the trash out before getting into his car. He has a rock-hard time opening the car door and does so with tranquil frustration. He is driving, attempting to find something on the radio. He seems dispersed and cannot choose, finishing up on a station that just plays static. Providing up, he proceeds driving. When he gets to his office, he turns off the ignition, captures his briefcase from the passenger seat, and exits the vehicle. Howard heads for the building, walking past a dumpster on his way. There is a masculine mannequin lounging beside the garbage, its bare torso exposed. It catches Howard's eye as he passes, so much so that he turns back to look at it again. He gazes at the plastic man, regarding it with a tranquil fascination, before walking away. Afterward that day, Howard is at his desk. Even however he is working, he is dispersed by thoughts of the mannequin. A fucking partner steps into the framework 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, throws 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 munching and listens to his wife. She doesn't stop conversing once, too busy hammering out a detailed summary of her day. Howard feigns interest but his eyes keep drifting from his wife. He is thinking of the mannequin lounging in the back seat of the car outside. Completely unphased, the wifey commences clearing up and taking dishes back to the kitchen while he forks his food. She tells him to finish 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 colon before stopping and taking him the guest bedroom. He jams the plastic fellow 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 a few 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 mushy sounds of his wifey resting, he sights over his shoulder before sliding out of sofa Howard comes in the guest room and walk to the bedside. The light from the colon 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 gazes down at the plastic man. He can barely contain his arousal. He takes his tee-shirt off, unveiling his chest. Then he eliminates his pajama pants, unveiling briefs. Sitting down beside the mannequin, he gropes his arm over both of their torsos before pressing himself against the body. He grazes his fingers against its crotch, closing his eyes and going deep inside his mind. He slips 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 finds out that he is smooching a real fellow (Elliot Finn).
Added: 2023-05-14 • Views: 30 • Duration: 39:55
