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Meeting Mrs. Norton.

The photographer also video-recorded this hour-long session and took his own turn between Rayne's legs once both black studs had coupled with the singer.

The cage theme recurred in a lot of Peter Adam's work. He took pictures of Rayne in the role of tortured martyr, imprisoned and dripping blood from faked wounds on his head and body. He was dressed in a flimsy toga-like garment which was gradually removed during a session which saw him bound to the cage bars in a cruciform pose by three models in Romanesque apparel and flogged with apparent vigor. As his assailants whipped him they grew visibly more excited. At last, unable to constrain their erections they forced him to his knees with his wrists still bound to the bars, stripping the last rags of clothing from his battered body and gang-raping him violently. In all of these sessions, the sexual intercourse was real and deeply penetrative. The models wore discreet rubbers and little else. Peter Adam always went bareback and Rayne never objected.

That had awoken something dormant in him for a long time. He returned to London with the past preying on his mind. In April of that year, Whipsnade filmed the video for Animorous on the London Underground at four in the morning. Adam directed, using a theme that echoed his panther prints. A pair of shadowy black cats stalked the band through the tunnels. In the ultimate moments of the video (which were promptly banned by MTV and most terrestrial channels too) Rayne fled into an empty elevator compartment and was cornered there by the cats, who metamorphosed into nude, muscular, feline-looking men who stripped him half-naked and pushed him roughly to his knees. As the doors closed, Rayne was apparently being forced to submit to oral and anal sex.

The uncensored version of the video was cut throughout with brief glimpses of writhing, naked bodies and moments of penetrative action. The ending was extended and a silent, fifty second sequence filmed from the ceiling of the lift compartment showed Rayne sexually satisfying his two male assailants, who came simultaneously whilst fucking him as the singer wanked himself off.

Naturally, this version never made the TV, but bootleg copies did the rounds for unspeakable sums of money. Peter Adam, it was claimed, possessed a seven minute version of the elevator rape sequence, which was exactly how long the scene took to film. Once the doors closed, three cameras tracked the action within the lift operated remotely from outside. Adam directed the movement of each camera and within the cubicle his three performers fucked hard for seven whole minutes. By the culmination, Rayne's mouth was running with cum and the spunk trickled down his naked thighs from his own cock and the one that pulsed between his arse cheeks.

That was a set up, of course and the 'cum' was mayonnaise and flour and water.

After the shoot was over, Rayne Wylde paid two gay black bouncers from a nightclub to attack him in a toilet cubicle at the club and rape him for real. He shivered with perverse pleasure as they beat him bloody and ripped his clothing apart with rough hands. When he cried out in genuine pain one of them gagged him with a strip from his own shirt. Once he was unresisting and utterly submissive they forced him astride the toilet bowl and took turns to fuck him violently up the arse. He struggled and his wrists were then tied to the down pipe from the old-fashioned porcelain cistern for his pains so that his assailants did not have to hold him down.

Once they had him arranged to their satisfaction, naked except for his jewelry and boots, they operated a tag system whereby one stood and watched, masturbating vigorously as the other bucked his way into the singer's hot, tight anus without the aid of lube.

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