REALITY MOVIE 2035 – 4 by Regis

Disclaimer: The following is fiction. The content of the story is not representative of the writer’s beliefs, opinions, or attitudes. This story is intended for adult entertainment only. The characters and events depicted in this work are fictional. The author does not condone or promote any unlawful activity such as is depicted in the story. By continuing to read this work you acknowledge that you are an adult who wishes to read works of fantasy and fiction for the purpose only of fantasy. All the characters in this story are adults. They may play different ages for the fictional character that they are depicting but they remain at all times adults.

Feature Writer: Regis

Feature Title: REALITY MOVIE 2035 – 4

Published: 28.12.2023

Story Codes: Erotic Horror, Snuff, Young Ones, NC, Gore

Warning: Readers are forewarned they may find some or even many elements of this story deeply disturbing.

Reality Movie 2035 – 4

In The Disturbingly Near Future

CHAPTER 12 — THE FILM SHOOT

Carly sat on a stone while she tied a leather thong around her waist. Several of the girls had been given them, provided by the costume department. They were immodest because half a dozen slender strands of leather dangled from her hip less than halfway to her knee, but they obstructed nothing, but instead provided a wonderful view of her magnificent cunt.

Another shorter strap was tied tightly around her right arm above the elbow, and a feather was stuck into the back of a tight brown headband she was given. About a quarter of the mothers were given similar bits of costume, and the rest of them remained as naked as their daughters.

All of the remainder women and children wore only the headband bearing a vertical feather at the back of their head. Even their feet were bare, as for the movie, they were representing wild Indian squaws. The total nakedness of the girls and children they had put together was a theme they adhered to. It was going to be an authentic massacre of wild cunts.

At least fifty of the two hundred teenage girls in the group were visibly pregnant, half of those with full swollen bellies. Their need for money was so desperate that they were willing to risk not only their lives and those of their female children, but also the lives of their unborn infants to have a chance to collect the big check at the end of the day.

None of the participating girls had ever been hit by a bullet before, and most thought that either it would be like a big bee sting or, if the shot was fatal, they wouldn’t even feel it. Chances were very good, they had been told by someone in authority, that there was very little chance they would even be hit. The girls took comfort in their ignorance.

The gorgeous naked extras were excited and nervous that the big risky scene they had willingly committed to was at last about to start. Assistant directors assembled them and gave them a pair of pills and a Coke each to wash the pills down. They were then given a second coke, to make it more likely they would pee when hit by a bullet.

The pills they’d been given were uppers, to ensure a high level of frantic activity once the cameras started to roll. Then the First Assistant Director provided feedback on what was great and what should be improved from the rehearsal. There would be only one main take, and it had to go as well as possible, as the intent was to kill them all.

The crew was generally pleased, but it was suggested the girls while running lift their knees higher, to get more speed, a more visible expression of fear, and of course a better view of their bare cunts. There had been no risk to the naked ladies during the rehearsal, but the girls well knew that when the horsemen appeared, firing their rifles at them, their raw fear would take over, and drive them like crazy.

The young women’s feelings of horror would follow naturally when the shooting went far beyond what they expected, and a few of them realized there was a chance they could all be shot, with nothing they could do to escape the brutal violence of their fate. After all, it was that kind of movie, representing a massacre.

There was no need to mention that to the others at this point; they would discover the hopelessness of their situation soon enough. They would feel totally violated when they realized had been deceived into believing they had some chance of collecting what to them was big money.

Carly was put together with her youngest daughter she had selected for this exciting and risky adventure, and she was also provided a motherless child to substitute for her seven-year-old. She had no idea where her older girl was, but that was the least of her concerns as the scene was about to start.

Even the three-year-old had seen real killing on reality TV, and the seven-year-old she was given had also been to Reality Movies and liked them. Both were aware that this was risky business and knew that this was where people often died. They had been prepared to see it as an exciting event, and the young staff women who worked with them made them feel lucky they were allowed to take part.

Although both of the girls with Carly had lived right from birth with surrogate mothers, who simply acted as milkers, or as they were called, wet nurses in the nursery, their real mothers were given an hour off shift three times a week to spend with their children, to produce some minimal kind of bonding.

All of the mothers in the group of naked extras were with their daughters and were having a final chance to strengthen their bond before embarking on their daring and dangerous exploit. Carly wished her older girl were here, but accepted the waif she had been given as if it were her own.

She was excited at the prospect of being in, as they’d been told, the majority to survive the shooting sequence, along with her beautiful young daughter. The children wore brown headbands like hers, each with a feather in it to proclaim themselves as Indians. They had no other costume, putting their bare puffy cunts on full display.

Their tans were deep, and with their facial makeup, their transition of nationality was convincing. Only the color of their eyes would give them away, but only in tight close-shots of their faces, which would be avoided by the skilled camera crews lying waiting in their disguised trenches in the desert. They would catch the screams but were far more interested in pissing cunt shots.

A few of the girls who had volunteered were now having second thoughts, and several of those became quite vocal about it. This was anticipated, and the female assistant directors moved among them, exchanging red headbands for their brown, and did the same for their children, assuring them the riflemen had clear instructions to avoid shooting at anyone who was wearing a red headband.

They were told they would receive their day pay rate only, not the danger pay or the survivor pay and the nervous young women readily agreed, relieved they would be spared what they suddenly dreaded, now that the time to perform had arrived. Now that the filming was about to start, the reality of the possibility of taking a bullet hit home with them, and some of them were pissing themselves with renewed anxiety.

In its production meetings, the staff had made a firm rule to get close to none of the extras, and to never engage in conversation with an individual. It was critical for the success of the production that all of them see these gorgeous young strangers as vermin, something separate from themselves.

Perhaps, they were told, these pretty young naked girls were less than human, in that most of these young ladies and their children had lived only a sub-human existence. The shooters were given to understand that what they were doing with their films was in very small measure addressing the problem of the unofficial and illegal population.

They would, in their minds, be shooting the unregistered and uncertified, not real Americans, but the children of illegal immigrants or those born to prostitutes, and never registered as a new population. Only the audience would believe what they were seeing was the slaughter of indigenous Indians.

These people without citizenship, the riflemen and the production assistants, were the primary targets, girls with no prospects, along with the willing pretty middle-class girls who were determined to face the risks and be seen doing so on the big screen, by their friends and by millions of others.

The half dozen assistant directors, all but one of them capable young females in their late teens or early twenties, assembled the nude extras at their starting points, holding back twenty of the women and children, including four ripely pregnant girls, six of the most strikingly beautiful girls who were not pregnant, the genuine native girls and Carly.

These movie extras were being reserved for special close-up work to be done immediately following the massive master slaughter scene. The real squaws were for facial closeups as they screamed, and the others for closeups of bullets entering or ripping the flesh of the naked richly tanned actresses.

Carly’s daughters, except for the seven-year-old, would run with the rest of them, assigned to pretend their mother was a pretty young socialite college girl who was in it for the thrill and to be seen by her friends as being very daring. She was a true blonde bimbo, her hair died and straightened for the role.

Her big blue eyes guaranteed she would have no close-ups, but like the other registered people doing this on a dare, Carly wore a special feather with a white tip for her friends to see her. Her radical makeup and hair change guaranteed they would otherwise never be able to spot her.

CHAPTER 13

Radio communications carried the message to roll cameras and sound, to the multiple remote locations. Confirmation from each station was received before the director called over his electronic megaphone to the nervously waiting naked female extras.

“And Action!”

And the immense slaughter scene of panicked screaming naked females was underway.

“Run!!” called out the assistant directors, and there was instant chaos.

A dozen riflemen appeared over a ridge behind the fake teepee village, the nude girls and their daughters, all disguised as Indian squaws, scrambled in all directions in a panic until the armed horsemen charged down the hill.

In response, their human female prey stampeded out into the desert, running toward the awaiting hidden cameras. The massacre scene was on! Rifles barked, naked girls stumbled and fell, and in minutes they were surrounded by riflemen in the invisibly designated area.

Those wearing red headbands, who had been promised they were immune from the gunfire, were targeted first, adding a viable measure of disbelief and denial to the horror of what was happening to them. They each took several shots before falling, thanks to the skill of the mounted riflemen hired to do this scene.

The gunmen on horseback were mostly renegade soldiers who had been dishonorably discharged and had found their way into criminal life. They had been recruited from military prison, with the promise that by completing this outrageous movie project they would earn their freedom.

All of the well-trained rifle marksmen given the offer had readily accepted. They didn’t know any of these nude women or their kids and saw them only as naked targets to be taken down. It was no more than killing chickens, and they’d all had to do that with their bare hands at the military prison.

Bullets brutally bit into tender female flesh, specially tanned for this spectacle, cutting groves across buttocks, piercing calves and breasts, or blasting through the back of heads, exploding the victims’ pretty screaming faces. Four of the riflemen charged their horses right into the melee of screaming ladies and kiddies, with the intent of trampling several of them in the process.

Even those ladies downed by bullets were not immune, being ripped by the hooves along with those mowed over by the charging steeds. Blood and guts were soon strewn over the hard-pack desert soil, adding rich real color to the proceedings as the slaughter escalated.

Several of the girls had, in their panic rather than by planning, come together at one side of the terrified herd of Indian squaws. One of them bolted to a gap between riflemen, and the rest of them, trailed by their children, followed, all of them screaming at the top of their lungs.

Before they got out of range of cameras four horsemen rode into the group to scatter them, and then herd them back to the killing field. A seven-year-old girl fell, and the last nearby camera caught an incredible shot of a horse rearing up and then, with the little nude desperately attempting to roll away, dropping its front hooves directly into her little belly.

The flesh parted as if it wasn’t there under the weight of the beast, splitting her torso wide open in front. The horse reared again, this time pulling purplish ropes of her entrails caught on the flailing hooves. The naked little cuntlet was toast, but her little body twisted and heaved as if to escape the horror she was experiencing for the good of the production.

The rifleman swung the beast to the right when he saw a pretty five-year-old attempting to run past and knocking her down with his mount’s raising front leg, the horse brought the hoof down directly onto her groin, crushing her pelvic bone. As it moved forward its left hind hoof came down on her neck with such force it severed her head from her little torso. Two cameras caught that whole brief episode.

Giving little notice to the carnage beneath him, the man swung his rifle and fired at some girls trying desperately to hide behind fallen women, and picked off three with remarkable marksmanship, creating serious wounds that immobilized them without killing any of them. This was far better than his exploits with his battalion killing young civilian children in Afghanistan, because these girls and kiddies were all American, and were buck naked!

The unfolding carnage in the kill zone was amazing. None of the girls or children was spared the horror of the slaughter. The insane action of the outrageous massacre lasted nearly twenty-five minutes, until at last the final little girl, an athletic six-year-old, took half a dozen hits before falling. Her tight little body now looked like a blood-smeared rag doll.

She urinated an arch of golden girlie-pee that sparkled in the sunlight before splashing onto the sand between her spread legs. Her little rectum opened and a brown stick of her offal emerged only halfway. The child expired before she could complete her final bowel movement.

While many of the fallen were still alive, actively bucking and twisting in agony, with a mixture of screams, wailing, and moans filling the air, the crews quickly brought forward those girls who had been set aside during the master scene and began shooting close-ups of everything from running, to shots of them taking hits from guns just out of camera range.

They started with the tight face shots of the real Indian cunts and their kids being shot, and when they were all on the ground, most of them still alive, they moved on to the white-tanned girls in Indian make-up, all of these who had been withheld because of their convincing brown eyes.

These shots featured mostly breast, belly, and buttock hits, with particular attention to belly shots of the pregnant girls. Two of the fully ripe girls, a thirteen-year-old and another girl who was fifteen amazed the director and cameramen by going into labor, spreading their legs, and promptly giving birth.

They shit out their sprogs from their spread cunts because of the incredible trauma they had taken to their bellies. This was reactive documentary-style movie-making at its best! None of these young girls needed to live so that there would be no need for payout.

Carly was singled out because of her beauty, her age as the oldest “Indian squaw” of the two hundred, and because of her early but visible pregnancy. The director did several shots of her taking bullets, most of them carefully aimed graze hits that carved bright red groves across her flesh.

Her screams were, as expected, outstanding, and the director spent more time with her than with any of the others. Shots through her legs shattered bones so that she could no longer stand, and a horseman dismounted, drew a special glove from his saddle bag, and spread her legs.

A close shot revealed sharp claws on each finger of the terrible glove. He slowly worked his gloved hand into her womb, and when his entire fist was buried inside her gripping cunt he began twisting, using the claws to carve the meat around her cervix. The tortured Carly twisted and writhed in incredible agony.

Blood emerged around the cowboy’s invasive glove, and at last, he began to pull. The cameras that focused on her womb missed nothing as the huge clenched fist was gradually retrieved, the fingers wrapped securely around and pulling out her completely severed infant-stuffed uterus!

The hysterically screaming young woman was experiencing a radical abortion by the extremely painful removal of her entire gonads! The extracted uterus was slashed open, and the camera zoomed in to provide a revealing close-up of the fully formed but tiny illegitimate fetus she was growing. Its development was early enough that it still had a stout tail.

This sequence within a sequence brought an all-time high or, according to the viewer’s perspective, low to the total Reality Movie scene, surpassing the True-to-Life Shock gore films of a decade earlier, all of them considered classics, and all still in full theatrical distribution. This film would likely eclipse those in its longevity in release.

The close-up crews retreated and the horsemen, drawing their pistols, rode through the fallen nudes, dispatching those that showed any sign of life with three shots to the head. These were forty-five caliber revolvers, the large dumdum bullets causing massive wounds with each hit.

If the downed naked girl had fallen on her face and her buttocks were raised, horsemen would lean down, thrust the barrel of their rifle into her rectum or vagina, and fire a dumdum round deep into her guts, swelling her torso as the bullet expanded severely as it ripped through her.

Others used a more creative way of dispatching the wounded bitches. They fixed a bayonet onto the muzzle of their rifle, and used it to rip open the belly of girls lying tits up. They opened them wide, exposing their viscera and vital organs, and then they skillfully disemboweled the young ladies to attract carrion.

Real gore was always a hit in Reality Movies and increased the length of line-ups to get in. That was the nature of modern audiences. As soon as the horsemen departed the scene, the vultures, crows, and raven descended to feast on the wildly strewn and ripped naked carcasses of the deeply tanned girls and children. Their burial would be only bones, and would have to wait an extra day until the carrion had feasted on their flesh.

THE SUMMARY

The cameras had recorded everything. Nothing was missed. The brutal killing was completed, down to the last little girl. The groundbreaking slaughter movie Outrage Reservation was more than halfway through its shooting schedule, with the major massacre scene completed on time and well under budget.

It had all the makings of a runaway hit, a genuine blockbuster, and because of it, four more mass slaughter films were already in pre-production. The gut-wrenching extreme sexual violence movement in the motion picture industry was in full swing and appeared now to be unstoppable.

Shooting titles for the spate of new projects were “Outrage University” for fans of the debauched destruction of pretty adult girls, “Outrage High School” with girls fourteen to seventeen being mercilessly stripped, raped and then slaughtered, “Outraged Teachers” for Junior High girlie-gore with pubescent subjects aged eleven to fourteen, just sprouting new titties.

To satisfy a newly identified and developing market, there was also a killer kiddie flick, “Outrage Elementary” for those who got their kicks watching two young female teachers and their stud boyfriends grossly and terminally abusing naked little girls aged five to ten. Previews of Outrage Elementary were already in theaters, and with release less than a month away, screenings for the first six weeks were already sold out.

It would be another few years before the public was ready in sufficient numbers to justify the making of “Outrage Kindergarten”, but the market for sexual violence to girls, four and five, was growing steadily, and if interested, audiences could find such material on late night television or better, go downstairs in a growing number of saloons to find live shows.

In these, homeless young mothers and their children from one to seven were strung up by their wide-spread ankles side by side. They were introduced to the fury of a bullwhip and were whipped into a frenzy of screams that did not subside until, after at least ninety minutes of non-stop punishment, one by one they succumbed to their deep bleeding welts that covered their bodies and genitals, and died.

Casting was never a problem in the motion picture industry, and with the introduction of outstanding danger pay, grossly inflated because there would seldom have to be a payout, there was a backlog of girls of all ages begging to take part, as were the parents of little girls who could make them lots of quick money.

The parent thought that maybe, just maybe, the involvement of their little ones could start a movie career with the right breaks or, in the alternative, relieve them of all responsibility for their whiny little cutlets. All or nothing was a win-win prospect for young mothers without much income.

At long last snuff films were taking their rightful place in the motion picture mainstream, thanks to the progress of True-to-Life Shock gore films and the progressive Reality Motion Pictures. With Outrage Reservation, Outrageous Productions had another outstanding bloody gore-ridden hit on its hands.

THE END