A PLETHORA OF HEATHERS
CHAPTER 3
LYLIA FARRELL
“Thank you so much, we’d love your help. You won’t be charged for your meal, obviously. However, I would want proof you’re a doctor.”
She smiles. “It’s in my bag, I’ll get it. Everyone at my table is a doctor.”
“Oh, well then, perhaps they could all come and help, or at least witness our procedures. I’ll arrange a free meal for each of you to compensate.”
She goes for her bag and I whip out my phone, speed dial and say, “Four more coming in in a few seconds.” That’s all I have time for.
She returns with her companions and her ID.
“Could I see all your credentials, please?” I ask, trying to give them as much time as possible to prepare. They all provide their IDs and I pretend to check them as I try and think how to slow this down further.
“Thank you,” I finally say to them. “And thank you for helping. Please come this way.” I turn, open the door and enter, holding the door open for them.
Inside is just an empty corridor. I ensure the door is closed and locked when all were in. “This way,” I say pointing. I bring up the rear. “Just through the doors,” I add at the end of the corridor.
The first one opens the door and enters to a cacophony of noise. The sound proofing here is excellent. The main noise is just the first of the two naked acquisitions in her tube screaming, but it’s enough to stop the doctors in their tracks. I charge the last one in the group and they all fall through the door. Eight people jump on them and hold them down.
It’s chaos now. My people have the upper hand and they soon immobilise them by using cling film round their bodies and legs and simply lying them down on the floor. They can scream all they like, that doesn’t matter. In fact, Heather loves that. I’m proud of my team. Cling film is obvious only in hindsight. I need to commend whoever thought of it.
Once everything is settled I take the opportunity to look at Heather. She’s sitting there in her executive chair watching it all. Her breathing is quickened and her eyes are wide open. I swear I can see her eyes shine as well. She’s staring at the scene, taking it all in. The noise is intense now and I can hardly think.
I see Heather look at me and twist her head, pointing to the restaurant. My stomach squirms deep inside. I’m guilty of not putting Heather first by enjoying the scene without permission. A small frightened noise comes out of my mouth as I inhale and I quickly run back to the restaurant.
At the entrance, I compose myself and re-enter the public area. I’m pleased and proud to see my staff have already cleared the table and are in the process of sitting another group there.
“Did they leave anything?” I ask at the till.
“No. They took their things with them. Everything’s in the back now.”
I smile. “Good. And, well done. That was exemplary.” Walking away, I make a call.
HEATHER LITTLEBOTTOM
I answer my phone without taking my eyes off the scene around me. My staff have quickly secured the new acquisitions and have smoothly gone back to work. After all, their job is to feed my patrons, not to take down four people with no notice. Their fun is over but mine is just beginning.
It’s Lylia. “Nothing’s left behind, and the table is cleaned and prepared. There’s a new group on it now.”
“Excellent,” I reply and hang up. I stare at the four lying and squirming on the floor, just absorbing the vibes. Soon they’ll be part of me.
I click my fingers and the nearest staff member runs up.
“Make sure at least some sort of induction photos are taken.”
“Right away, Heather.” He runs off to get a camera to record the four. I watch as he tries to photograph each one, but they’re squirming around too much. I’m pleased he goes and commandeers a specialist. She quickly had each one still enough for the camera. And she had them smile as well.
After they’re taken I call him over to see the results. They’re delicious. Those smiles are so obviously false, the pics become pure Art. Their scaredness and trauma show through the pictures exquisitely. I determine to alter my procedures to include such pictures from now on. I could stare at them forever. I’ll have them enlarged and framed and mounted in Heather House.
Unfortunately, I have to do something about this mess. I’ve absorbed all the vibrations I can reasonably absorb and there’s still a business to run, so I sigh and go back to work. After all, the afternoon is getting on and there’s still the evening to cater for. Why can’t I ever have my own way, just once?
Clicking my fingers again brings Mia this time.
“I need the trophies. See to it please.”
Mia nods. “Of course.”
She then proceeds to remove the bras and panties of each of the new acquisitions. I’m happy to see her bringing in Jaakina to help without any prompting. It’s so good to see Mia finally understanding how to behave. I nearly got rid of her but I persisted. All my work was worth it.
So, now I have the pictures and the trophies, what am I going to do with them? Heather Higgins is now naked and in a tube, which is SOP. But my facilities are full. I thought three tubes was gross overkill when I had them installed in the first place, but I was feckless back then. I wish I’d been more feckless. These four on the floor are untidy. They’re getting in the way. The place needs to be tidied. I’m going to have to improvise.
First, I have to find out who my new acquisitions are. I walk over to their bags and check them out. My legs go so weak I nearly fall over. Two of them are Heathers. I’m suffering from a plethora of Heathers. This simplifies things a bit. I know exactly what to do with them.
But what about the others? I now have three new acquisitions, only one of which is to order, and four new Heathers. When you consider one acquisition every couple of months or so is really good going. Plus the fact our normal operations dictate we target any useful customers and usually collect them later, when it’s safer and we know where they live. Otherwise we have to take them in the restaurant.
But this is incredible. And, in my life, I’ve only acquired three Heathers before this. I know what you’re going to say, but I don’t actively go out looking for Heathers. That would be insane. I just collect the ones that happen my way.
This is my day. My lucky day. It’s time Mia took on more responsibility and today is the day. I call her over.
“Mia, take the four Heathers,” I indicate which they are, “over to Heather House and secure them, please.”
I’m happy to see Mia looking pleased and proud on hearing this, so I leave her to it and made certain she sees I’ve no more interest in her and them for now.
Walking away I phone Lylia and tell her to check on Mia through the CCTV, just to make sure nothing goes wrong. My Heathers are important.
LYLIA FARRELL
I’m interested in how Mia undertakes this assignment. After all, we’re out of restraints and equipment, so, I watch her avidly. At first, all she does is stare at them. Then she decides something, goes to the cashier and takes a wad of cash.
‘Good girl, Mia,’ I think. Once she would never have had the nerve to do that. Heather has trained her well.
Mia takes a set of car keys from the rack and leaves the restaurant. I wonder what she’s going to do, but my other work intervenes and I have to just watch for her returning.
I myself have the duty of dealing with the effects of those acquired. We have all their effects and accoutrements they’ve brought with them into the restaurant, but some of them arrived here in cars, which have to be dealt with. I check their bags and obtain a bunch of car keys and give them to Jonathan to deal with.
I’m worried about this. Jonathan is competent, they all are or they wouldn’t be here, but can he see the additional problems inherent in this unique situation? I watch him stare at the acquisitions for a while before calling over seven staff members. It looks like I’m going to have to intervene.
Our normal procedures call for two staff for each acquisition, which is fine, but now we have seven acquisitions which automatically necessitates fourteen staff. That’s too many and the restaurant’s operation will suffer and that’s not to be countenanced.
I watch, ready to intervene, as he talks to the staff before five of them leave and go back to their duties. This is good. It looks like he’s appreciated the situation and is improvising. Each of the staff he’s just talked to resemble, at least partly, one of the acquisitions and the two left undress and put on the acquisition’s clothes as well as a wig, if necessary. We have a wide range of accoutrements for just such occasions. Jonathan commandeers two male staff and instructs them together with the female staff. They leave separately, the females leaving in their acquisition’s cars. They only have to fool CCTV, but I do like them to be as close as possible. I don’t like taking risks.
They all leave separately, to meet later in town in certain selected spots where the local CCTV can record them meeting and entering a notorious hotel used for secret assignations. After that they will lovingly part in range of the cameras before disappearing forever.
Jonathan’s obviously going to repeat this procedure another two times. I’m now certain he understands exactly what’s required and am confident he’ll also change the male ‘lovers’ each time, but that’s still to be checked and verified.
I keep all their relevant personal items which I go through on a table in front of our new guests in the tubes. There’s now another heavy duty table next to the tubes and the last four are attached to that as a temporary measure. Heather is back in her chair watching and enjoying herself with her hand between her legs when I make a display to our acquisitions of pawing through their papers and whatever else in there.
There are two pictures of families which I ostensibly tear up in front of them, after showing them what the picture is. Naturally. I keep any keys, and place them in their proper place on the goodies table. I’m also looking for addresses and details of families and relatives and house mates, just to see if we have to move on any of them.
This temporary arrangement is proving to be less than ideal because we can all hear clearly their voices and one is repeating over and over about her little girl, just three, who would be all alone in the world. This is heartbreaking. I don’t want anything to do with such a thing as that, but Heather’s in charge and she doesn’t say anything, so, I have to just hear the pleas and ignore them as best I can.
However, those feelings disappear every time I look at Heather and see how much she’s gaining from watching them. The pleadings, the crying, the terror in their eyes and voices feed Heather so much it’s obvious. Her eyes gleam, her breathing is fast and shallow, her skin glows. It looks as if she’s continuously orgasming and that sight drives all other considerations from my mind.
Mia returns and gets help to unload her car. The items she bought are taken straight to Heather House and I watch them, on the TV, unload and assemble four large dog cages.
‘Good girl,’ I think happily. ‘You’re a credit to Heather.’ I watch her intermittently while she commandeers the appropriated personnel, without affecting the kitchen operations too much, and command her team to remove all the Heathers to their new homes. They’ll be ready for Heather whenever she wants.
HEATHER LITTLEBOTTOM
I’m ecstatic. Nothing like this has ever happened before and I’m determined to soak up every last iota of energy from this day. It’s the best day of my life by far. Their screams and pleadings and whimperings continuously come to me and I absorb them all into my soul. It lasts a long time.
Eventually I’m moved to go on to the next stage, but I resolve to always take in multiple acquisitions in the future. I never realised the sum of the whole is so much more than the sum of the individual parts. I’m going to have to take in at least five next time, maybe ten. I could spend days just absorbing their energies instead of the pathetic hour or so this time. New systems will have to be derived to do this safely and, perhaps, new outlets will have to be found.
But I’m forced to live with things as they are and not as they should be and I realise I have to move on to the next stage. I have the tube with Heaven Tanner-Carpenter—what kind of a name is Heaven?—moved to the camera room and have everything set up there.
“Watch the TV,” I happily tell the rest in a lull in the noise as she’s removed. “I’m sure it’ll interest you.” Both sets of eyes automatically look at the screen as I switch it on. It shows Heaven’s progress in the camera room. I know the cameras on them will capture every flicker of emotion for my later perusal.