Peter Pišťanek - The End of Freddy

Finally Freddy fills the hole, packs it tight and puts the layer of turf back on top. After he’s sprinkled it with water and washed off the traces of soil, nobody would guess at first sight that someone had been digging here a short while ago.

“Well,” says Rácz. “Let’s go in. Any champagne still left?”

Freddy pours out the rest of the bottle with his shaking hand.

“So, to us!” says Rácz and raises his glass. “And never say die, Freddy. You’re slowly becoming a man. You’re lucky to have met Rácz. Rácz will make something out of you.”

Once Rácz is gone, Freddy takes his torch and goes to have a look at the grave. He goes back to the empty house and before he lies down, he turns the lights on everywhere. All the same, he is haunted by dreams that someone, covered in mud and with a rag in his mouth, is reaching for the front-door handle. He jumps up three times during the night to make sure the door is properly locked.

Anal Justice Part I

A young man ( Luigi LongoBruno Tatarelli) is in a cell, naked and chained to the wall. Meanwhile preparations for interrogation are afoot in the torture room. A Grand Inquisitor ( Siedah StrongNaomi Africa), dressed in leather, with bare crotch and breasts, in fishnet stockings and metal-heeled high boots, sits on her throne. On her head is an SS cap. In one hand, she holds a whip, in the other, pliers. Her two assistants (Wanda Desire and Deep Stella) also wear corsets and fishnet stockings. They are preparing various torture instruments, which look very like surgical instruments. An enema and a catheter are both there. At the Grand Inquisitor’s prompting, the prisoner is led in. They tie him to the torture rack. The Inquisitor gets up and approaches him. She lovingly observes his long member. She lifts it with her little whip. The prisoner’s member immediately begins to engorge with blood. With a gloved hand, the Inquisitor experimentally moves the foreskin of the prisoner’s member a few times. Then she whips him energetically. Her assistants are to find out how many ejaculations the prisoner produces without stopping. If it is a lot, then the prisoner is certainly in league with the devil. The assistants masturbate the prisoner, perform fellatio on him, put his member in several of their body openings, and he sprays his semen again and again into a glass chalice they have ready. This is finally filled, so the Inquisitor, who has been sitting there idly observing and masturbating with her hand and other long instruments, takes the chalice and drinks it all with pleasure. She finds that the prisoner is not linked to the devil: he is the devil himself. She gets up and unties his handcuffs. She kneels in front of him and asks his pardon. She recognizes him as her master and, to assuage his anger, offers him both of her assistants to torture. Hitherto she has only tortured insignificant losers and thought that the devil did not exist, though she very much wanted to be one of his faithful. Only now has her wish come true. The Inquisitor and the devil undress and tie the surprised and shouting assistants who can’t understand what’s going on. They are being psychologically prepared for terrible tortures. In the last shot both assistants are seen hanging from a rack, awaiting terrible pain.

(From Freddy’s notebook)

* * *

Freddy remembered the main railway station from the times when he used to go to the city together with his grandfather. They rarely got back to Devínska Nová Ves before dark. As a boy, he found the station mysterious and seductive in the evening light. In the country he was used to a small village station, and here he found himself in the huge main station’s hall with its gigantic fresco which covered the whole wall and made it quite a different world. It was a world of its own; a world of foreign and strange people, of blinding artificial light and mysteries. The complexity of the station design made him feel threatened: he could get lost here forever and without trace. He feared all these passengers who acted as if they’d been born and spent all their lives here. He was afraid that if he got separated from his grandfather, he would end up as one of them. About that time he had read a Soviet book, Your Contemporary , where three novellas dealt with the fate of homeless children in England, South Korea, and America. He could graphically imagine a homeless child’s fate and, unlike other children, he didn’t long to become one. He gripped his grandfather’s rough hand all the harder, to make sure he would never lose it.

Now, as an adult, the main railway station seemed to him much smaller. Even with its extension it looked less metropolitan than it had in the distant past. There even seemed to be fewer platforms than before. The track now seemed to have been laid ridiculously shallow. Thirty years ago, the rails were hidden in deep canyons; if you fell down there you’d never be able to climb out. Today they seemed to him hopelessly shallow. Shallow and boring.

The only thing that was still the same was the lady’s voice announcing arrivals and departures. Just as in all other big stations, here too the announcer, to judge by her voice, had been hypnotized. She seemed to be stressing, by using utterly expressionless diction, her remoteness, abstraction, fragility and an uncaring impersonality. Freddy likes to listen to her peculiar phrasing, so unlike normal human speech.

“PASSEN GERTRAINFROM, says the announcer, “ŠTÚRO VOBRATI SLAVANOVÉMESTO, DESTIN ATIONLAM AČDEVÍN SKANOVÁ VESANDZO HORKÚTY, ARRIVINGAT PLAT FORMNUM BERTWO TRACKNUM BERFOUR…“

Freddy boards the train and imagines a pale vulnerable beauty with a transparent complexion and big, deep, vacant eyes, staring into infinity as she sits at the microphone. And above her, in a black coat and a top hat, a demonic hypnotist with spellbinding eyes and bushy eyebrows keeps her in an induced somnambular state.

The train hurtles into a tunnel and Freddy, feeling the pressure in his trousers, gets up from his seat. Right from the start, while the train slowly bumped over the points as it left the station, he had singled out a tall young Moravian redhead wearing a miniskirt and manicured with light-blue nail polish. Those azure nails, as long and sharp as a predator’s talons, aroused Freddy to the point of insanity. As soon as it got dark in the carriage, he prepared to act. He gropes his way in the dark along the handrail towards his chosen victim. The young woman is sitting four rows of seats away. Eight, nine, ten. Freddy jumps on her, using one hand to gag her mouth and the other to feel her crotch. Thirteen, fourteen. Between the girl’s thighs his hand feels a thick sanitary towel. “She’s got her period,” Freddy realises, and gropes her knees and thighs. Sixteen, seventeen, eighteen. The tall Moravian girl fights back like a tigress. She presses her thighs together and uses her hands to pull her attacker’s hands off her body. Twenty-two, twenty-three, twenty-four. Long nails jab into Freddy’s face and painfully cut across his face all the way to his ear. One of the nails digs into his right eye.

Freddy screams. There is a flash in his eye and he feels he’s been hit by a brick. A dull pain flares up somewhere deep in his skull and explodes in his brain.

“Oy!” he screams. “It hurts!!!”

In an instant he gets to his feet and clambers off the young woman. His hands clutching his face, he backs away in the darkness. Something viscous and slippery like a broken egg is sliding down his right cheek. He touches that side of his face and feels sharp pain all the way up to somewhere in his head. He panics. There’s a metallic taste of blood in his mouth. The shock and pain has made him forget to count the seconds.

The train leaves the tunnel and light returns to the carriage. The tall Moravian girl yells like a banshee. Her hands and azure nails are covered in blood. Freddy, semi-blind, has to face all the passengers on his own.