SHUTTER SPEED — BOBBY FRANKLIN.
pairing: camboy!bobby franklin x f!reader summary: you're two months behind on rent and terrence knows a guy. the said guy is annoyingly pretty and cocky. it's only downhill from there. contents/warnings: 18+, explicit smut, discussions of sex work/adult film industry, financial desperation, power dynamics, oral sex (f receiving), breast sucking <3, spitting, vaginal sex, dirty talk/praise, hair pulling, filming during sex, bobby franklin's mouth (this is its own warning lol). notes: Inspired by this ask, and the 20+ of you who flooded my inbox asking for more. Can be read as a standalone but could also be read as alt universe to my better bobby series.
✶ better bobby series.
"So Terrence told you what I do."
It's not a question.
Bobby Franklin sits across from you in a vinyl booth at Moreno's, which is the kind of diner that serves coffee the colour of motor oil and bacon that's either raw or carbonised and nothing in between. It's 9 AM on a Thursday. You're eating eggs because eggs are cheap and the rent was due six days ago.
He'd walked in with a swagger that bordered on offensive. Bobby Franklin doesn't strut. Because that would require effort and effort would compromise the relaxed swagger.
He moves through space like it's already made room for him. Like rooms rearrange themselves slightly when he enters. Leather jacket despite the California heat, sunglasses pushed up into sandy hair that's a mess in a way that probably took zero minutes to achieve, a thin chain necklace catching the light at the hollow of his throat, and—you'd spotted this immediately, against your will—a small silver hoop in his left ear. He'd slid into the booth across from you with the ease of someone who's never once wondered whether he belongs somewhere.
You'd been here for twelve minutes already. Sitting. Sweating. Running through a mental list of reasons this was a terrible idea and arriving at the same conclusion every time: the rent. the rent. the rent.
"He mentioned it." You push the eggs around the plate. They're overcooked. Everything at Moreno's is overcooked. "He said you were—that you make films."
Bobby's mouth twitches. "Films." He takes a mouthful of the motor-oil coffee. Doesn't flinch. "Yeah. I make films."
He's watching you. You can't help but notice that Bobby doesn't stare the way other men stare, heavy and obvious.
He watches. There's a difference. Staring is passive. Watching is a skill.
You can see it in the way his eyes move: cataloguing, framing, composing. Those eyes. Pale blue, sharp, amused in a way that suggests he's always in on a joke nobody else has heard yet. They land on your face and stay there with an intensity that makes you want to look away and also makes you want to never look away and you're not going to think about that right now. Even in a shitty diner booth with fluorescent lighting and a crack running through the formica, Bobby Franklin is looking at you like he's already thinking about angles.
"And you're—Terrence said you do everything yourself? Shoot, edit, all of it?" you croak out, forcing yourself to swallow a mouthful of coffee.
"I don't trust anyone else with the camera." He says it the way other people say they don't trust anyone else with their car keys. Flat. Non-negotiable. His fingers are wrapped around the coffee mug and you notice—you're noticing too much, you need to stop noticing—the veins on the back of his hands, the way the leather jacket sits on his shoulders like it grew there, the silver hoop catches light every time he tilts his head. "It's a one-man operation. Well." The twitch again. Almost a smile. "Usually two-man. One behind the lens, one in front."
You nod. Push the eggs. Your fork makes a sound against the plate that's louder than it should be because neither of you is talking and the diner is mostly empty. The jukebox in the corner is broken and has been broken since Reagan. Your knee is bouncing under the table. You press your palm flat on your thigh to stop it. It only partially works.
"How behind are you?" Bobby drawls.
Your head snaps up. "What?"
"On rent," he clarifies patiently. "Terrence said you were in trouble. How behind?"
He leans forward when he asks it and the chain shifts against his collarbone and you catch a breath of him leather and something underneath, warm, clean, just skin—and your stomach coils.
You're nervous. You're nervous and attracted and the two are braiding together into something that makes it hard to hold your fork steady.
This would be easier if he were sleazy. If he looked like what you'd imagined when Terrence first explained the arrangement. Some greasy guy with a moustache and a waterbed. Instead he looks like this. Sharp jaw and piercing, amused eyes and an earring, a chain and a full mouth that does that little twitch and you're in so much trouble.
You put the fork down. Two months. You're two months behind because the temp agency dried up and the waitressing gig fell through and you've been living on ramen and the leftovers your neighbour leaves outside her door in tupperware containers that you're pretty sure are meant for the stray cats but you're not proud enough to care anymore.
"Two months," you admit, staring down at the eggs. Not looking at him. Looking at him is becoming a problem.
Bobby whistles. Low. Through his teeth. "Well shit. Landlord breathing down your neck?"
You scoff, swallowing down the bitterness. "He's past breathing. He's at written notices."
Bobby leans back in the booth. The vinyl creaks beneath him. He's got one arm stretched along the back of the seat and the other hand wrapped around the coffee mug and the morning light from the window is hitting the side of his face and you think, abstractly, the way you'd think about a painting in a museum: he's beautiful. Sharp angles. Pale eyes. Cali tan and an ease in how he slouches in his seat.
"The money's good," he says suddenly, tongue poking his cheek as he drags his attention back towards you. "That's the first thing. I'm not gonna bullshit you. It's not Hollywood money, obviously, but for Santa Clara? For a couple hours of work?" He tilts his head. "It'd cover your rent. Easy. One shoot."
You stare, unblinking. Sceptical. "One shoot."
"One shoot."
You pick up the fork again. Put it down again. Your fingers won't stop moving.
"Look—" Bobby leans forward. Elbows on the table. The leather jacket he's wearing creaks with the movement, and he's closer now and the watching has intensified into something that feels less like a camera and more like a hand on your skin. "I'm not trying to pressure you into shit. Terrence vouched for you because I asked him if he knew anyone and he said he knew a girl who was real smart and broke and—"
He stops. Mid-sentence. The watching goes still. There's a shift in his expression. A loosening, a slip, the mask of professional detachment developing a crack.
"Shit," he says softly. Almost to himself. "You're pretty. Real pretty."
You bristle. The flinch is automatic. A full-body tightening that starts in your shoulders and works down, because you know this game, you've played this game, the compliment that's actually a crowbar, the flattery designed to pry you open. Men in diners don't tell you you're pretty because they mean it. They tell you you're pretty because they want something and that something is usually between your legs.
"Don't do that," you say sharply. Your voice is harder than you intended.
Bobby blinks. The crack in his expression widens and what's behind it isn't a game. It's surprise. Genuine, unperformative surprise, the kind that creases the corners of his eyes and makes him look younger than however old he is.
"Do what?"
"The—flattery thing. The buttering up. I don't need you to tell me I'm pretty to get me to agree, I already—" Your throat tightens, and you knot your fingers in your lap, setting your jaw. "I'm already here. I'm already desperate enough to be sitting in this diner talking about—so you don't need to—"
"Hey." His hand comes up. Not touching. Just a gesture. A pause button. "I wasn't buttering you up. I was just—" He runs a hand through his hair, clipping his sunglasses. He looks, for a half-second, almost flustered. "I was looking at you and it came out. That's it. That's the whole thing. You're pretty and my mouth moved before my brain did and I'm—" He picks up the coffee. Takes a long sip. Sets it down. "Sorry. Professional hazard. I notice faces."
You stare at each other in silence.
He wasn't mocking you.
The realisation lands with a warmth that starts in your chest and spreads to places you weren't expecting.
He wasn't mocking you. He was sitting across from you in a vinyl booth and the light caught your face and he thought you were pretty and he said so because his mouth was faster than his filter. And now he's drinking burnt coffee to cover the fact that he's embarrassed about it.
"Okay," you say quietly.
He pauses, cup halfway to his mouth. "Okay?"
"Okay, tell me the terms."
Bobby sets the coffee down. The professionalism clicks back into place but the tips of his ears are still pink and you file that away somewhere warm and private.
"I shoot everything at my place. My equipment, my setup. VHS. I've got two cameras, one static, one handheld. The handheld's the one that matters. That's the one I operate." He taps the table with his index finger. Rhythmic. A habit. "I edit everything myself. I distribute through a guy I know in the valley who handles the duplication and the mailing list. You never have to talk to him. You never have to talk to anyone. Your face, your name, none of it goes on the packaging unless you want it to."
"What name do you use?" you ask, curious despite yourself.
"For me? Bobby." He shrugs. "I'm not creative about it."
"And for—"
"Whatever you want. Pick something. Pick nothing. Some girls just go by a first name. Some make something up. One girl I worked with went by the name of her landlord's dog. Said it felt like revenge." The almost-smile again. "Point is: it's yours. The whole thing is yours. You say stop, I stop. You say no to something, it's no. I don't push. I don't coerce. I don't do anything you haven't agreed to beforehand and if you change your mind halfway through, the camera goes off and we're done. No questions. No attitude."
He says all of this in the same tone he'd use to explain how a camera works. Methodical. Clear. Like he's said it before and means it every time.
"How much?" you ask.
He tells you.
You put your fork down carefully because the number he just said would cover two months of rent and groceries and the electricity bill that's been sitting on your kitchen counter turning into a small paper monument to your failure.
"One shoot," you say again, making sure.
"One shoot," he echoes with a nod. "Couple hours. You walk out with cash."
Hope and desperation surge up your spine, working your tongue. "Cash?"
"I don't do checks. Checks leave paper trails and paper trails make people nervous." He drains the last of the coffee. Grimaces. Apparently even Bobby Franklin has limits and Moreno's coffee has found them. "You don't have to decide now. Think about it. Call me."
He pulls a napkin from the dispenser and writes a number on it in handwriting that's surprisingly neat for someone who looks like he's never filled out a form in his life. Slides it across the table.
You look at the napkin. Look at him. then back at the napkin.
You pick it up, folding it neatly.
"Tomorrow," you say. "I can come tomorrow."
Bobby's eyebrows rise. Just slightly. Then he nods slowly. "Tomorrow works."
He pays for your eggs. You don't argue. You should argue but the rent was due six days ago and the eggs were $2.15 and the pride you'd normally spend on "I can pay for my own breakfast" has been liquidated to cover more pressing debts.
At the door of the diner he holds it open for you. Not performatively. Just does it. And when you pass him your shoulder brushes his chest and he smells like that warm thing again, the underneath thing, and his pale eyes track your face one more time and he says "See you tomorrow" in a voice that's dropped half a register and the warmth in your chest migrates south and you walk to your car thinking fuck, fuck, fuck, what am I doing?
You're covering rent. That's what you're doing.
That's all you're doing.
His apartment is above a furniture store.
You stand on the sidewalk for four minutes before you go up. The building is nondescript. Beige stucco, iron railings, a set of stairs on the outside that lead to a door that needs painting. There's a cat on the landing that looks at you with the serene judgment of a creature that has never once had to worry about rent.
You envy the cat greatly.
You're wearing a sundress because you didn't know what to wear and the sundress felt like a compromise between "trying too hard" and "not trying enough." You changed three times.
The first outfit was too casual. The second was too much. The sundress is yellow and you hate that you care what colour it is.
You knock.
Bobby opens the door and the first thing you register is that he's not wearing the leather jacket.
T-shirt. White, thin, cropped in a way that shows the shape of him underneath and is making it difficult to maintain eye contact. Jeans slung low on his hips. Bare feet on the hardwood. His hair is damp from the shower and pushed back off his face and without the sunglasses holding it up you can see the full architecture of him.
The jaw, sharper in natural light than in the diner's dimness. The earring. The chain, sitting in the hollow of his throat, rising and falling with his breathing.
He looks good in his own apartment. Relaxed in a way he wasn't at Moreno's, the professional edge softened into something more lived-in.
He leans against the doorframe and says, "Hey. Come in" and the drawl is thicker in the morning.
You're going to be professional about this. You're not going to think about his forearms, which are now visible because the t-shirt sleeves are short and his arms are lean and tanned and there's a vein running from his wrist to his elbow that you're staring at. Stop staring at it.
The apartment is small and clean and full of light. Not the fluorescent light of the diner but real light, California morning light, pouring through windows that face east.
There are photographs on the walls, black and white, and you realise after a second that he took them. They're good. They're better than good. A bridge in fog. A woman's hands. A street at night, wet, reflecting. He has an eye. You knew that from the diner, from the way he watched, but seeing it on the walls makes it real.
Bobby Franklin has an eye and he uses it for this and also for what you're about to do and the cognitive dissonance of "artist" and "adult filmmaker" is something you're going to have to sit with.
"Coffee?" he asks, padding toward the kitchen. Bare feet on linoleum.
The t-shirt rides up slightly when he reaches for a mug on the top shelf and there's a strip of skin above his waistband and the muscle that cuts along his hip and you look away so fast you nearly give yourself whiplash.
"Please."
He pours you a cup. You stand in his kitchen and drink it and it's good. Your hands are shaking and the cup rattles against the saucer and you set it down before he notices except he's already noticed.
"Hey," he calls out, leaning against the counter. Arms crossed. The t-shirt pulling across his chest. His stare is piercing, amused, reading you the way they read you at the diner except now there's nowhere to hide behind a menu and a plate of eggs. "We don't have to do anything today. We can just talk. Get you comfortable. No pressure."
"I'm fine," you force out.
He gives you a sceptical once over. "You're shaking."
"I'm fine and I'm shaking. Both can be true."
His mouth the twitches, the almost-smile that you're beginning to understand is Bobby's version of a laugh. A contained one. Controlled. Like even his amusement is something he runs through a filter before letting it out. But his eyes crinkle at the corners and the amusement reaches them and it's warm, genuinely warm, and some of the tightness in your chest loosens.
You talk.
He asks you questions. Mercifully not invasive ones, not the peeling-back kind. Surface questions. Where you grew up. How you know Terrence. What music you like. And you find yourself answering, not because he's charming (he is) but because he's easy. Bobby Franklin is easy to talk to in a way that contradicts everything about his sharp jaw and pale stare and the fact that there are two video cameras set up in his bedroom that you can see through the half-open door.
He listens the way he watches: completely, with his whole attention, like whatever you're saying is the only thing happening in the world. And he's funny. Dry, quick, a deadpan that sneaks up on you.
You laugh at something he says about Terrence and his face creases in a way you haven't seen before. Surprise. Pleasure. Like your laugh was an unexpected pleasure.
He tucks it away fast, smooths the expression back to amused neutrality, but you saw it. You saw it and it made your stomach warm.
An hour passes. Your hands stop shaking. You've stopped noticing the cameras through the doorway. You've started noticing other things.
The way he gestures when he talks about photography, loose and animated, the only time his cool composure fully drops. The way he licks his bottom lip when he's thinking. The way the chain shifts against his throat when he laughs. The pale eyes that keep finding your face and staying there a beat longer than conversation requires.
You're attracted to him. This is no longer a thing you can file under "irrelevant." This is a thing that is happening in your body, in the kitchen, in the warm light, and it's making the prospect of what comes next feel less like a transaction and more like something you might actually want and that's more frightening than the cameras.
He shows you the bedroom eventually.
It's not what you expected. No red lighting, no satin sheets, no sleazy backdrop. Just a bed—queen, white sheets, a quilt that looks like it came from someone's grandmother—and two cameras. One on a tripod in the corner, aimed at the bed. The other on the dresser, smaller, a different angle. Both VHS. Both off.
"The one in the corner is the wide shot," Bobby explains, standing in the doorway behind you. Professional. Tour guide. "It runs the whole time. Catches everything. The one on the dresser is for close-ups. I adjust it as we go. The handheld—" He nods toward a third camera sitting on the nightstand. "That's the one I use. That's the one that makes the money."
You nod, staring at the bed. The white sheets. The grandmother's quilt. The two dark eyes of the cameras. Your pulse is loud in your own ears.
"I'm sorry," you blurt out, not looking at him, still staring at the bed. "I'm being weird about this. I've obviously never—I haven't done anything like this before and I don't know how to—"
He kisses you.
His hand is on your jaw first, angling your face toward him. Gentle but sure, the confidence of someone who knows the effect he has and is choosing to use it kindly. And then his other hand comes up. Both hands cupping your face now, his palms warm against your cheeks, his thumbs resting along the line of your cheekbones, and his mouth finds yours.
The first press is soft. Almost chaste. Just the warmth of his lips settling against yours, testing, asking. You inhale sharply through your nose, and he catches it. Absorbs it. Tilts your face up with those hands and kisses you deeper.
Bobby's mouth opens yours. Coaxing, slow.
His bottom lip drags against yours, the faintest graze of teeth, and then his tongue follows. Warm, unhurried, curling against yours in a way that makes your knees actually weaken.
You've kissed people before. This is not that. This is Bobby Franklin kissing you with both hands cradling your face like you're worth holding and his tongue moving against yours with a patience that suggests he could do this for hours. Just this. Just the wet slide of his mouth on yours and the taste of good coffee and the way your breath mingles when he tilts his head and changes the angle and finds something deeper.
His thumb strokes your cheekbone. Back and forth. This light, rhythmic brush while his tongue curls against yours, while his bottom lip catches between your teeth and he makes a sound—small, low, a vibration you feel more than hear—and your hands are on his chest. When did your hands get on his chest?
You can feel his heartbeat through the white t-shirt, fast, faster than his relaxed composure suggests, and the knowledge that Bobby Franklin's heart is hammering while he kisses you makes you dizzy.
He tilts his head the other way. Your noses brush. The tip of his against the side of yours, a small warm nudge, almost playful.
He kisses the corner of your mouth. Your bottom lip. Takes it between his and sucks, gently, and your fingers curl into the fabric of his t-shirt and pull and the sound you make is swallowed by the warmth of him.
He pulls back.
Not far. An inch. Maybe two. His hands still on your face. His thumbs still on your cheekbones. His forehead nearly touching yours and you can feel his breath on your lips and his eyes are right there. Those pale, watchful, bright eyes, scanning your face. Reading you. Making sure.
Your lips are tingling. Your whole body is tingling. You're standing in a stranger's bedroom being held by the face and kissed like you've never been kissed before.
"Was—" Your voice is thin. Wrecked. He kissed your voice right out of you. "Was the camera rolling?"
Bobby smirks.
Up close, from two inches away, with his hands still warm on your face. One corner of his mouth lifting in that lazy, crooked, insufferable way. His eyes half-lidded. And it goes trough you like wildfire, flooding your nervous system with liquid heat.
"No," he answers huskily, his thumb tracing your cheekbone one more time. "Just felt like doing that."
He holds your gaze. One beat. Two. Three. Letting the smirk settle. Letting you feel the weight of it—the fact that he kissed you off-camera, off-clock, for no professional reason.
The fact that his heart is still hammering under your fists and his pupils are blown wide and he kissed you because he wanted to. Because you were standing in his bedroom apologising for being nervous and he looked at you and his mouth moved before his brain did. Again.
"Still okay?" he asks, softer now. The smirk gentling into something warmer.
"Yeah." Breathier than you want it to be. Your hands still in his t-shirt. "Yeah, I'm okay."
"Good." His hand drops from your jaw. Trails down your arm. Fingertips only, light enough to raise goosebumps, tracing the inside of your wrist where the pulse jumps. "I'm going to undress you now. Slow. Before the cameras go on. Just us. That alright?"
You nod.
He starts with the straps of the sundress. Easing them off your shoulders one at a time. Not pulling, guiding. His knuckles graze your collarbone and you shiver, his eyes tracking the shiver down your body with an attention that makes you feel like the only light source in the room.
"You wore yellow," he notes conversationally. Like he's remarking on the weather while his fingertips trace the neckline of your dress. "Looks good on you. Warm. Shows off your skin."
The dress pools at your feet. You're standing in his bedroom in your underwear and the morning light is on you and Bobby is looking at you the way he looked at you in the diner when his mouth got ahead of his brain.
"Pretty," he murmurs. Like he can't help it. Like the word just falls out of him when he sees you. His thumb traces your hip bone above the elastic of your underwear. "Real pretty."
This time you don't bristle.
He reaches past you. Flicks on the tripod camera. A tiny red light. Then the dresser camera. Another red light. Two eyes, open, watching.
"Don't think about them," Bobby says, his mouth near your ear. His hands settle on your waist, warm palms on bare skin. "Don't think about the cameras. Don't perform. Just feel me. Can you do that?"
You jerk your head. "I can try."
"That's all I'm asking." His lips brush your ear. Down. Along your jaw. The corner of your mouth. His hands slide up your ribcage and his thumbs trace the underwire of your bra and you exhale, shaky, and he catches it. "There you go. Just like that. Stay with me, yeah? I got you."
He unclasps your bra with one hand. Practiced, efficient, but the way he peels it away is anything but. Reverent, almost, easing the fabric off like he's unwrapping something valuable. The air hits your skin and your nipples tighten. Bobby's gaze drops and his jaw flexes and for a moment, just a moment, the professionalism wavers. His throat moves on a thick swallow.
"Lie down," he instructs, a little rougher than before. "On the bed. On your back."
You lie down. The sheets are cool beneath you, the quilt soft. on your skin
The light from the window falls across the bed in a warm band and you're naked except for your underwear and Bobby is standing over you still fully dressed and the power imbalance should feel wrong but it doesn't because his eyes are eating you alive and his hands are clenched at his sides and you realise, with a jolt that goes straight through you: he's holding himself back.
This is Bobby exercising control. This is what it looks like when he wants to touch something badly and is making himself wait.
He picks up the handheld camera. Lifts it to his eye. And something shifts in him. Visibly. The control locks in, the professional takes over, and he's Bobby-behind-the-lens. Steady. Composed. Seeing everything.
"Touch yourself," he says. Director voice. "Just your skin. Nothing heavy. Just run your hands over yourself. Get comfortable."
You do. Your own hands on your own body, palms skating over your stomach, your ribs, the swell of your breasts, and it feels strange and exhibitionistic but then Bobby says "gorgeous, just like that, you're doing so good" and the praise lands in the pit of your stomach like a lit match. Your back arches. Barely. Just enough.
"Yeah," Bobby breathes from behind the camera. "That's it. That's perfect. Look at you."
He films you touching yourself for what feels like hours and is probably three minutes. Then he sets the handheld down on the nightstand. Red light still blinking, and he crawls onto the bed.
Not between your legs. Beside you. Lying on his side, propped on one elbow, his face level with yours. Close enough that you can see the flecks of darker blue in his irises and the faint scar on his chin and the way his throat moves when he swallows. Still dressed. T-shirt. Jeans. Bare feet.
"Keep going," he murmurs, watching your hands on your own body. "Don't stop on my account."
Your hands move. Over your stomach. Up. And Bobby's hand joins them. One warm palm laid flat against your sternum, between your breasts. Not groping.... just resting. Feeling your heartbeat through your ribs.
"Fast," he notes. His thumb strokes the valley between your breasts and you shiver. "Slow down. You're rushing."
You do as he asked, your hands sliding over your skin with less urgency and more intention. Bobby's hand follows, learning new terrain, the dip of your waist and the flare of your hip and the soft give of your stomach where you've always been self-conscious and he presses his palm there like he's making a point.
Like that spot, specifically, is worth his hand.
Then his mouth replaces his palm.
He starts at your throat. A kiss. Open-mouthed, warm, the press of his lips and the faintest edge of teeth. Then your collarbone. The notch at the base of your throat where your pulse is hammering. Down. The flat of his tongue dragging along your sternum, tasting the thin sheen of sweat that the California morning and your own nerves have produced.
His mouth is unhurried. Exploratory. He's not kissing you so much as he's mapping you with his lips, charting the terrain the way he'd scout a location before a shoot. Finding the light, finding the angles, finding what works on you.
His mouth finds your breast. Kisses the swell of it. The underside, where the skin is softest. And then his lips close around your nipple and he sucks—not hard, not gentle, somewhere in between, a warm wet pressure that sends a bolt of sensation from your breast directly to your cunt and your back arches off the mattress.
"Oh."
Bobby hums against you. A sound of satisfaction. His tongue circles your nipple, flattens, flicks.
His free hand slides up your ribs and cups your other breast, thumb rolling across the peak, and the dual sensation—mouth and hand, wet and dry—makes you reach for him. Your fingers find his hair. Sandy strands, still slightly damp from the shower, thick between your fingers. You grip. Pull.
Just... needing something to hold onto while his mouth does this to you.
The pull makes Bobby groan. The sound vibrates through your nipple and into your chest and your hips lift off the bed involuntarily, pressing into nothing.
He feels it and his mouth tightens. Pulls harder. His teeth graze the sensitive peak and your fingers clench in his hair and you tug, genuinely tug, trying to pull him up, pull him to your mouth, because you need to kiss him, you need—
He doesn't let go.
His mouth stays locked on your nipple, sucking with a focused intensity that borders on stubborn, and you're pulling his hair and he's groaning and he will not come up, will not release, and the wet heat of his mouth is making you clench around nothing.
Your thighs press together, your hips rocking against air, seeking fullness, friction, anything, and Bobby—Bobby, who is supposed to be a professional, who is supposedly in control of this situation—reaches down with his free hand and cups you between the legs.
Just cups you. His whole palm, warm, pressed against the soaked cotton of your underwear. Just holding the heat of you in his hand while his mouth works your nipple and your fingers twist in his hair and the sound that comes out of you is breathy and too high.
"Bobby—please, I need—"
He releases your nipple with a wet pop that you feel in your spine. Glances up at you, his lips swollen. His eyes heavy-lidded and dark and his hand still cupping you, pressing against the damp fabric, feeling the heat seep through.
"Need what, baby?" Low. Rough. His fingers flex against you, palm grinding just slightly against your pulsing core, one small movement of pressure through the cotton. "Tell me."
"Touch me," you plead, trying to press closer. "Actually touch me."
His fingers slide under the elastic. Find you bare. Find you soaked. And the sound he makes—a sharp exhale through his nose, almost a hiss—is the sound of a man who knew what he was going to find but is still wrecked by the reality of it.
"Jesus." Barely a whisper. His fingers parting your folds. Not penetrating yet, just circling your clit. Just petting. Long, feather-light strokes through the slick of you, up and down, spreading the wetness with an aching patience that makes your hips chase his hand. "So wet, baby. This all from—was this from my mouth? From me sucking on you?"
You nod. You can't speak. His fingers are petting you like he's got all the time in the world and no intention of giving you what you need. Long strokes. Root to tip. Parting you with two fingers and letting the middle one drag between, barely touching your clit, just enough to make your thighs shake.
"Pretty little pussy," he murmurs, and the words shouldn't work.
They're filthy and crude and you've heard variations in the tapes you've watched that made you cringe, but Bobby says them the way he said "you're pretty" in the diner. Like a fact. Something he can't help observing. Like your body laid out in morning light is a view he needs to narrate. His fingers keep petting. Lazy. Wet with you, making you drip onto his grandmother's quilt.
Then his mouth starts traveling south.
He kisses down your stomach. Your hip bone. The crease of your thigh. Hooks his fingers into your underwear, drags them down, tosses them off the bed without looking. Parts your thighs with both hands, spreading you open, and the sound he makes—not a groan this time, something lower, something guttural, a sound that vibrates in his chest—is not for the camera.
You know this because the camera is on the nightstand and he hasn't touched it and he's not angling for a shot. He's just peering down at you. Spread open in the morning light. And that sound is coming out of him because he can't stop it.
"Fuck," he whispers, his thumbs pressing into the crease of your thighs. "Okay. Okay."
He lowers his mouth to you.
Bobby eats you out the way he kissed you earlier. Unhurried, thorough. Long strokes of his tongue that start at your entrance and drag upward, tasting the length of you, and you feel his groan against your cunt when the flavour hits and your whole body shudders.
He circles your clit with a pressure that's devastating in its patience. He's not trying to make you come fast. He's tasting. Exploring. Learning what makes your hips jerk and what makes you gasp and what makes your fingers find his hair again.
You fist both hands in those sandy strands and pull and the sound he makes—rough, grateful, hungry—vibrates against your clit. Your hips buck and his hands tighten on your thighs. Holding them apart, his thumbs stroking the soft skin in counterpoint to the filthy things his tongue is doing.
He's found a rhythm now. Flat, wide strokes punctuated by the pointed tip of his tongue flicking your clit in a pattern that your hips start chasing, lifting off the bed, grinding against his mouth, and he lets you. Lets you ride his face with his hands gripping your thighs and his eyes closed and his entire world narrowed to the taste and the sound and the wet.
"Bobby—oh my god—"
"Mm." Against you. His mouth full of you. His tongue pressing flat, licking you open in a broad swipe that makes your vision swim. "Taste incredible. Could stay here all fuckin' day."
He could. You believe him. He looks like he means it. Settled between your thighs like he's found the only place in the world he wants to be.
You tug his hair again and his moan is muffled against your cunt and you feel it everywhere, the vibration traveling through your pelvis and up your spine, and you pull harder and his tongue presses harder and the feedback loop is building. Your hands in his hair and his mouth on you and the wet sounds and the moans and you're close, you're getting close—
He pulls back with a wet, slick sound.
You whimper. The loss of his mouth leaving you throbbing, aching, empty.
"Not yet." His chin is wet, his lips swollen. Bobby's eyes are glazed and dark, the professional gone, replaced by something feral that's been living underneath the cool-boy surface and is now looking at you like it's deciding whether to devour you. "Not yet, baby. Want to be inside you when you come. Wanna feel you, yeah?"
You moan in response, dizzy. And your moans are real. That's the thing that's changing the temperature of the room.
You're not playing them up, not pitching them for any microphone, not performing the breathy exaggerated sounds you've heard in the tapes you've watched out of curiosity and mild horror. You're just reacting. And it's affecting him. His breathing has changed. His hips are pressing into the mattress in a grind he can't seem to control and you realise he's hard.
He's been hard for a while. He's been eating you out with his cock straining against his jeans and he hasn't touched himself once.
Bobby sits back on his heels. Pulls the t-shirt over his head in one motion. His chest is flushed. Lean, not bulky, the body of someone who lifts camera equipment for a living and forgets to eat regularly. The belt buckle. The zipper. The happy trail of hair dipping dangerously beneath the belt buckle. He pushes the jeans down and kicks them off and he's—
your mouth goes dry.
Bobby Franklin naked is a problem. Bobby Franklin hard is a crisis.
He sees you looking. The smirk returns. That lazy, insufferable lift of one corner of his mouth. "See something you like?"
"Shut up."
You sit up. Grab his hips. Pull him toward you and the surprise on his face—genuine, unperformed, the mask cracking again—is worth everything.
He stumbles forward on the mattress, knees sinking into the sheets, and your hands are on his stomach, his ribs, dragging your nails lightly down his sides and he hisses. His cock twitches and you feel powerful in a way that has nothing to do with cameras or money.
"How do you want me to fuck you?" His voice is gravel. Wrecked. He's peering down at you with his hands cupping your face, thumbs on your cheekbones, and the professionalism is a memory. "Tell me."
"From behind." No hesitation. The words tumbling out before your brain can edit them. "I want—on my stomach, I want you behind me, I want—"
Bobby's eyes go wide. His whole face flushes harder. Cheeks, ears, the V of his throat. He drops his head against your shoulder and laughs. A real laugh. Rough and bitten-off and disbelieving.
"Shit, baby." Muffled against your skin. "Can't say stuff like that to me. Can't just—" He lifts his head. The flush is gorgeous on him, spreading down his neck. "Yeah. Fuck yeah. Turn over."
He flips you. Firm and purposeful. His hands on your hips guiding you onto your stomach, lifting your hips until your ass is raised and your face is in the pillow and you feel exposed in a way that's terrifying and thrilling.
"Look at you." His hands on your hips, sliding up. Over the curve of your ass. Both palms cupping you, squeezing, spreading, his thumbs tracing the cleft while he breathes hard through his nose. "Every angle. Every fuckin' angle. 'S not fair."
His hand draws back. Comes down on your ass. Not a slap, not quite, a firm pat that's more proprietary than punishing and the sound it makes in the quiet bedroom is obscene. Your hips jolt. He does it again. Lighter. Smoothing his palm over the spot after, kneading with a hum.
"Could cover you like this," he mutters, stroking the curve of your ass with both hands, spreading you again, looking at you from behind with an expression you can feel even though you can't see it. "Just—stay right here. Just like this. Prettiest goddamn thing I've ever shot and I haven't even started the camera yet."
He reaches for the handheld. Turns it on. Red light. Frames the shot—you on your stomach, your hips raised, the curve of your spine. His hand still on your ass. Claiming. Warm.
He sets the camera on the mattress, angled up. Reaches for himself. You hear it. The wet sound of him spitting into his palm, the slick stroke of his fist over his cock, and then he's behind you. The hot thick length of him pressed against you, nestled between your folds, and he groans and you groan, and he doesn't push in.
He rolls against you.
Long, grinding strokes, his cock sliding through the slick mess of you, dragging across your clit with every thrust. The head catching at your entrance and pulling away. Over and over. Using the length of himself to stroke you, to tease you, to coat himself in you until the sound of skin on wet skin fills the room and your fingers are clawing at the sheets.
"Feel that?" His chest pressed against your back. His mouth against your ear. "Feel how hard you got me? Been like this since the diner. Since you sat down in that booth and looked at me with those fuckin' eyes. Thought about this. Thought about what you'd feel like."
His hips roll. The head of his cock catches your entrance again, presses, almost, almost—
"Bobby, please—"
His cock throbs against your core. "Tell me."
"Fuck me. Please." You suck in a shaky breath. "I need you to—"
He spits again. You feel it, warm, landing where his cock meets your cunt. His hand stroking himself once, twice, spreading the slick. And then he notches himself at your entrance and pushes in.
One long stroke. All the way. Your body opening around him and his groan matching yours. Colliding, two raw sounds meeting in the air and becoming something bigger than either. He bottoms out and holds you in place, and you feel every inch of him, the stretch, the heat, the fullness, his forehead dropping against the nape of your neck and he breathes "oh fuck" against your hair and his whole body shakes.
"God—you feel—" He can't finish. His hips twitch, involuntary, the tiniest thrust that pulls a gasp from both of you. "Baby. Baby, you feel—"
He starts moving. And the control lasts about thirty seconds.
Thirty seconds of measured strokes. Finding the angle. Professional. Thinking about the shot, the camera on the mattress, the red light.
And then you push back against him with a greedy sound, meet his thrust with your hips, grinding onto him, taking him deeper, and you moan. Really moan, the sound that's been building since he put his mouth on your nipple and refused to let go, and something in Bobby snaps.
His hand grabs your hip. His other hand braces on the mattress beside your head. And he fucks you.
Not the controlled version. The real version. The Bobby Franklin that exists underneath the smirk and the camera and the professional detachment. Hips driving into you with a force that shoves you into the mattress, that punches the air from your lungs, that turns your vision white around the edges. Sweat beading on his chest and dripping onto your spine. His breathing ragged, broken, gasping against the back of your neck in hot bursts.
And you're both gasping, coiling, pushing into each other blindly. Your hand reaches back, finds his hip, his thigh, pulling him deeper, harder, your fingers digging into the muscle and he groans like you've wounded him.
His hand finds yours, laces your fingers together beside your head, pressing your joined hands into the sheets, and the intimacy of it cracks something deep in both of you.
"So good," he's babbling against your spine. His mouth open, dragging wet kisses between your shoulder blades. "So fuckin' good, squeezing me so tight—can you hear that? Hear how wet you are? Hear what you're doin' to me?"
You can hear it. The obscene wet sound of his cock driving into you, the slap of his hips against your ass, the creak of the bed frame that he's going to have to explain to the furniture store below.
"Bobby—" Your voice is gone. Shattered, croaking. "Bobby, I'm gonna—I can't—"
"Yeah you can." Growled against your ear. His teeth grazing your earlobe. Biting down. "Cum for me. Wanna feel it. Wanna feel you squeeze my cock so tight I can't fuckin' think—"
He lets go of your hand. His fingers fist in your hair. Gathering the hair, wrapping the strands around his fingers. And he lifts your head from the pillow, arching your neck back, turning your face toward the camera on the mattress that's still rolling, red light blinking, catching everything.
"Show them," he murmurs against the shell of your ear. "Let 'em see how pretty you look when you cum for me."
You fall apart.
The orgasm rips through you. An earthquake, seismic and structural that starts where he's buried inside you and radiates outward.
Your mouth opens on a moan that you don't recognise as your own voice, wanton, cracked, genuine. There's no performance, no production, it's pulled from somewhere primal and raw inside you. And Bobby feels it. Feels the clench and the shake and the sound and his rhythm breaks, shatters, his hips slamming into you without finesse, chasing his own end through the aftershocks of yours.
He comes with a loud, greedy moan, a gruff sound of laughter caught in his throat. This breathless, incredulous sound, muffled against the back of your damp neck, like he can't believe what just happened to him. His hips jerk again, pressed flush against your ass. His hand loosens in your hair, fingertips grazing your scalp.
His body shudders against yours in waves that slow and gentle and eventually still.
His lips find the shell of your ear. Warm. Spent. Still inside you.
"With a moan like that," he rasps, kissing the curve of your ear, "and a pussy that grips me that tight?" He laughs against your skin. Loose. Golden. The real laugh, the unfiltered one. "Shit, baby, you're gonna be famous."
You laugh too. Into the pillow. The sound surprising you. The lightness of it, the ease. The fact that you can laugh, right now, naked and sweating and thoroughly ruined in a stranger's bed with two cameras rolling.
You're laughing because he's funny and because the sex was extraordinary and because you came to this apartment expecting something transactional and clinical.
Instead you got Bobby Franklin's mouth telling you you're pretty like he couldn't help it and Bobby Franklin's hands holding yours while he fucked you and Bobby Franklin laughing against your neck like making you come was the best thing that happened to him all week.
He pulls out, slowly, carefully, making you shiver at the loss, and collapses next to you. Reaches over and clicks off the handheld. The red light dies. The static camera in the corner is still running and neither of you moves to turn it off.
Bobby lies on his back, chest rising and falling. Staring at the ceiling with the expression of a man whose professional boundaries have just been comprehensively violated by his own want.
"So," he says to the ceiling. "Same time next week?"
You turn your head on the pillow. He turns his. Pale eyes. Flushed face. Hair wrecked. That almost-smile.
"Same time next week," you agree, still breathless.
The static camera runs for another four minutes before Bobby remembers to turn it off.
In the footage—which he will watch later, alone, ostensibly for editing purposes—you can see two people lying side by side on white sheets, not touching, not talking, just breathing, and at the 2:47 mark the girl in the yellow sundress starts laughing again and the boy with the camera reaches over and takes her hand and doesn't let go until the tape runs out.
He doesn't use that part in the final cut.
He keeps it anyway.

























