The Sex and Magic Show: woman in a Box

Maleficent strides onto the stage a second after Prospero has vanished into the wings with Margot. She takes in the scene and starts issuing instructions.

"You! What is your name? Othello? So you're with Desdemona? Go back to your seat, please!"

"Romeo, we can't have the parts of Portia dangling about distracting from what I am about to do. Take them backstage and Prospero will restore her there, because he'll need her to help with the next act! You stay with her until that happens! It can be a bit boring hanging around backstage unless you've got company or something purposeful to do."

Romeo turns Portia, who has been facing the audience, and rolls her upper half, hanging from the frame by the eight carabiners hooked into 'D'-rings on the back and sleeves of her strappy top, to the exit indicated by the forceful lady magicienne, across the stage. Maleficent watches satisfied that her orders are being obeyed.

Romeo soon returns to retrieve Portia legs and hips, which hang by another eight clips from another frame.

"I wish Prospero would clear up after himself. Well, now that the stage is truly mine, I shall proceed."

She turns to the opposite wing from where Romeo has gone and calls, "Lance, have woman bring on the box!"

A glass box on a curtained stand emerges from the wing, soon followed by woman. She has changed since being selected as assistant to Maleficent; instead of the black leather dress, she is bare-foot and wearing a baggy white T-shirt which barely descends below her buttocks. The other noticeable difference is that her black hair that had previously draped loose to the middle of her back is now hanging as two tight braids, giving her a very severe centre parting.

"woman, put it here!" orders Maleficent, "Lance, come and help her; I don't want it in the wrong place." It takes a few moments of shoving to get the casters that peeked under the fabric concealing the area beneath the glass-sided box aligned so that the apparatus can be positioned as the magicienne wants. That position is about six or seven feet from the stage's edge with the open side, being the nearest side to centre stage, about a foot from the actual centre line.

"Right, Lance, give me the equipment I handed you and go and fetch the rest of the stuff!"

Lance hands over a small cloth bag held closed by a draw-string and retreats backstage.

"Come here, woman!"

In the time it takes woman to reach Maleficent, the magicienne has pulled open the bag. "I'm not a cruel mistress, but I am rather severe." She says to herself, then addressing the audience continues, "The essence of this piece of magic is that I shall put woman into that box, but being a magician I shall eschew to simple, straight-forward method of saying, 'woman, get in the box!' And because I want to make it something that woman is unlikely to forget, but without having nightmares about it, she will be deafened and blinded and, for the sake of you in the audience, struck dumb."

The expression on woman's face shows apprehension. She had volunteered to be a magician's assistant at the start of this evening; the implied contract was that no-one who volunteered would be harmed; now Maleficent is talking about blinding and deafening her.

The magicienne notices woman's concerned expression and is pleased; woman came up on stage confident, almost to the point of cockiness, and already she is having that confidence shaken. "Worry not, woman! it's only temporary. Kneel!" she whispers. To reinforce the order, Mistress Maleficent places a hand on woman's shoulder and presses down. Louder so that all can hear, she says, "To blind her, I shall use this blindfold." From the bag she pulls a black satin-faced sleep mask and places it over the head of the kneeling woman, settling it over her eyes. "To make her dumb, I shall use this." She plucks a red ball gag from the bag, which almost matches the red of woman's lipstick painted lips. "Open your mouth, woman!" Maleficent presses the ball into her assistant's mouth and rapidly secures the straps at the back of her head. To woman it is a relief to discover that 'striking dumb' is a dysphemism for gagging her, as blinding was for blindfolding. She hopes that deafening has a similar softer reality. "And I shall use these to deafen her." She draws a pair of earphones from the cloth bag. "Before I insert these, woman, the last instruction you will hear is that you will remain still, but pliant, if a hand moves any part of you, you will cooperate and then remain in the new position until moved again." This is the last woman hears, then the earphones were inserted. After a few seconds of near total silence, before she can start hearing the swish of the blood flowing in her head, she is almost deafened by Steppenwolf's 'Born to Be Wild'.

The audience sees woman briefly go rigid.

"Don't worry, my dears, she is not being harmed, merely prevented from hearing what comes to pass here, by having rock ballads played at her. I know of nobody to ever be allergic to rock music."

The Magicienne, places a hand on woman's arm and pulls. The woman rises to her feet. A few more pushes and pulls and woman is standing facing the audience with her hands at her sides and her feet shoulder-width apart. The more observant members of the audience also notice that her head was nodding in time with whatever is being played on the earphones.

In the background Lance returns to the stage pushing a trolley with an assortment of bits on it. "Oh good, Lance has brought a toy to make sure that woman cannot get into the box of her own accord. (An unrestrained assistant, does nothing to improve the mystery of what is about to happen.) Lance, bring the stuff over here and I shall instruct you in the restraint of woman!"

Lance exhibits some nervousness; it is obvious that in the relationship between Lance and woman, woman is in charge, so he is unsettled to be instructed to be doing things to her.

Maleficent has noticed Lance's worrying. "Lance, did you and woman sign the agreements before the show?" Lance nods. "Do you remember clauses 19 and 23?" Lance shakes his head. "Let me remind you. Clause 19, in a nutshell, is if you are called upon to participate, you will follow our instructions to the best of your ability. Do you understand?" Lance nods, but still seems concerned. "I shall also remind you that clause 23, tells you that if you are asked to do something that is outside usual parameters of your relationship with anyone else present, you will do it and the other person will not retaliate during the show or after. That way, if we feel it is needed that a usually mono-amorous person is asked to have sex with someone other than their partner, it can happen (it won't, but it can) and the participant needn't fear how their partner will react. Please remember, what we saw on the monitors backstage; we have ways of enforcing the rules during and even after the show. So if you do anything to woman that she does not want, she will need to take it up with us, not punish you for it, and I shall be reminding her of that." Lance nods again.

"While a silent man is a good thing," observes Maleficent, "some people make a vice of a virtue. I shall have to see if I can wring a few words from his tongue, other than 'Yes, Mistress Maleficent!' before we finish tonight. I'll work on that later; I have a different fish to fry now."

"Right! On with the show!" the magicienne shouts, startling into attention those whose minds have wandered during the previous more meditative section. "Lance, bring part one and the lube." Lance is also startled, but has to wait until he has landed from the six inch jump the sudden change in mood and volume has caused, before moving to obey.

Part one is a grey plastic pipe with a phallus in the same material mounted on, at right angles, about a third of the way along.

"Good, now apply enough lube to the dildo and insert it into woman." Lance dribbles a smear of the lubricant over the phallus and then looks puzzled as if uncertain what to insert where and in what orientation. "I think woman has overdone your training; you seem to have stopped thinking for yourself entirely. The dildo goes in her cunt with the short section pointing forward and the longer section pointing backward. Once it's in close her legs up so that it doesn't fall out. Yes that's it, now press on the outsides of her knees to close her legs. Good. Now go and fetch trolley two while I explain a few things to these folks."

At first, woman is alarmed by the intrusion into her most personal of spaces, but when she feels someone tap the 'shave and a haircut' pattern on her thigh while it is happening, she knows it is Lance in control of the invader and relaxes fractionally; enough that the insertion is more comfortable and more easily achieved. The intruder is sufficiently well lubed that it seems in danger of falling out, so she clamps her vaginal muscles round it, until she notices someone (Lance again) trying to press her knees together. Realising that just squeezing her knees is not a long-term enough solution to retaining it and whatever it was attached to, she moves her feet together and feels the tops of her inner thigh hold a cylindrical object which reduces the tendency for the inserted item to want to fall out.

"As I am sure at least some of you know. I usually like to have props of the finest quality for these performances. And when some of you recognise what this, you will know that such devices are usually constructed of iron and, for really up-market ones, stainless steel. This evening I have had to compromise on materials for two main reasons. The first being cost, because some of this is not going to survive the journey that it will be taking with woman into the box. And secondly, because we need to apply the device to someone with minimal ability to cooperate and because of the rigours of the journey into the box, we have put quite some effort into modifying the design so that at the end of the journey woman will remain restrained. So instead of good hard metal, I opted to have our modified design constructed from the toughest three-D printable plastic I could get my hands on. So I present to you, possibly, the first use of 3D printed parts in a magic trick."

During this speech, Maleficent has removed a pair of components from the trolley. Each is mainly a flat bar about two feet long, a couple of inches wide and nearly a quarter an inch thick, towards each end and in the middle are semi-circular deviations from the otherwise straight bar; the end ones are as if the bar took a detour around something, but the middle one curved away in the perpendicular direction and has extra bits to make this possible. One of the bars has something sticking out either side of the curves and both bars have the same things jutting from the middle curved section.

"This may look awkward, but rest assured it is the best way to do this." Maleficent goes behind woman and, having tucked one of the bars under her arm rests the other on the plastic tube clamped between woman's thighs. This development makes woman appear more nervous, as if she fears that the extra weight might cause the bar to be pulled from its resting place. She clamps her thighs together tighter.

Maleficent draws something that looks like a screwdriver from a pocket in the top of her skirt. "I shall be using this driver to attach the first bar to the tube, which has threaded holes in to accept the bolts. I am tempted to turn woman so that you can see what I'm doing, but to be honest, it is not that exciting." Judging by the magicienne's shoulder movements the two bolts did not take a lot of turning once they were lined up with the holes in the tube. With the bar in place she reaches forward the take each of woman's hands in turn and move them so that the wrists were resting in the curved sections near the ends of the bar.

Maleficent removes the other bar from under her arm, then is interrupted by Lance's return with a trolley.

"Put it there," Maleficent instructs casually pointing to a section of stage on the opposite side of the mid-line from the glass box.

While Lance pushes the trolley to the indicated position, the magicienne fits the second bar underneath the first capturing woman's wrist in the pairs of semi-circle sections. The audience sees her use the driver on the bolts on either side of the wrist-restraints and can then tell that this second bar was also being attached to the pipe between woman's thighs. Some wonder whether this increases or relieves the downward pressure she is experiencing between her legs.

Maleficent strides over to the trolley and with a couple of quick shoves positions it to her satisfaction and then turning to Lance, says "You know what I want you to do next. Do it, while I get the last two items!" She then stalks off into the wings.

Lance looks round and then goes to the trolley which seems to have a pair of spikes a foot long each sticking up from it. He lifts a rectangular grey plastic plate that seems to cover its entire top. This plate, from which the spikes emanated is placed on the side of the trolley with the spikes sticking outwards. Lance then goes to woman and (after tapping her on the shoulder) takes the front of the pipe between her legs and gently leads her to a position facing the trolley. The audience can now see that the spikes sticking out from the plate line up with the pipe. Lance continues by following expectation and carefully pushing woman to advance so that the spikes locate in the pipe and then guides her further forward until the spikes are fully in the pipe and woman's front is pressed against the plate from her breasts to mid-thigh.

As this manoeuvre is completed, Maleficent returns to the stage pushing another trolley. This one carries a mirror.

She leaves the newest trolley by the rear curtain and strides to the trolley with woman attached. She takes a stance with one gloved hand gripping the lower edge of the plate and the other at the top corner. Lance takes a mirrored stance with his back to the audience. "On three!" she says. "Two, Three!"

Between them they lift woman's mounting plate from the small brackets that had held it vertical while woman was being fitted to it. The lift is short (a couple of inches) and ends with the lower edge of the plate located back on top of the trolley.

To woman she is lifted by the tube between her legs, without warning. It comes as a relief that the lift is not high enough to raise her feet from the floor. Internally she considers if the moving her feet to a more tiptoe position comes within the rules that she has been last told; is she cooperating in being moved or moving without a specific indication to do so? And is there likely to be a punishment if she is deemed to have misinterpreted the rules?

In the event, she has little time to contemplate this further as her magician and her partner, tilt her forward; slowly laying her on her front on the trolley-top. There is an uneasy moment when most of her weight is supported on the pole between her thighs, but this does not last long as her weight is transferred to her front. It does have the effect of making sure that the dildo is inserted as far as practically possible. It has been a struggle not to cry out as she was tipped forward with absolutely no control over her fate and her wrists trapped behind her.

Maleficent notices that woman has controlled her reaction to the precarious situation and gives her an approving pat on the nearest buttock. A patterned tapping on the outside of her other thigh causes her to conclude that Lance has helped in the disorienting move. She has to assume Maleficent had a hand in it.

The lady magician instructs Lance to support woman's dangling legs while she prepares the next stage of her entrapment. With their improved view of proceedings, the audience watches as Maleficent attaches a shackle to the bar joining and separating woman's hand. She takes hold of an ankle and, bending the leg at the knee, fits the shackle round the ankle. Another bolt and a few turns later the ankle is rigidly attached to the crossbar. The repeat of the process sees the other ankle secured and the knees tightly bent.

Another component is brought from the accessories trolley. This is a bar of oval cross-section. It is held in place above woman's spine by Lance while Maleficent attaches it to now vertical cylinder rising up below the female assistant's buttocks.

There is a flourish as Maleficent draws a pair of laces from her cleavage and proceeds to attach one end to one of woman's braids, giving the other to her helper, Lance, to does the same. Once the laces are in place she takes both and pulls on them down the length of the back bar.

Feeling the pull on her hair, woman lifts her head to follow and reduce the tension of the tugging, this also reduces the force with which the wrist clamps cut into her wrists, but increases the tension in her back. She cannot curl head up much more, because the top of her neck encounters the cradle at the end of the back bar.

With Lance helping maintain the tension, the lady magician wraps each lace around the crossbar twice and ties it off between the wrists and ankles.

Lance is told to step aside as Maleficent moves the trolley forward and turns it to display the trussed woman. "For those that have not recognised my compromised version; this is called a 'hog-tie trainer'. If you wish to learn more, I feel sure that you can find plenty of information on the web, but I would suggest that you do this in the privacy of your homes as some of the information out there is 'Not Safe For Work'. As I suspect that woman is not accustom to being put in such predicaments, I shall continue as rapidly as it is safe to do."

The sentiment about predicaments is confirmed by Lance nodding to himself.

Maleficent returns the trolley supporting the trussed woman to its former position and moves to the trolley bearing the mirror. "You may be wondering why I need a mirror, when I've got Lance to tell me how magnificent I look, but this is not for me to admire myself, it will allow woman to appreciate my efforts to get her into the box, once it is done."

The magician moves the mirror trolley to the closed end of the glass box and pushes the mirror through a slot in the glass; sliding in grooves in the floor and roof of the box. The mirror is not, as most of the audience initially expect, pushed in to make the end wall a mirror, but straight down the middle of the box, dividing it into two sections; the side that they can see and the side away from them. The emptied trolley has a frame which supported the mirror; centrally in this frame is a narrow vertical piece of metal. As the magicienne moves the trolley it becomes obvious that the vertical piece is a saw blade and the frame has cloth walls the depth of the trolley. At the front of the stage Maleficent removes the curtain round the base of the trolley revealing a motor unit like a heavy-duty jigsaw attached under the shelf and a coil of yellow cable on the lower shelf. She parks the trolley across the open side of the glass mirror-divided box.

"Lance, plug this in! You'll find an outlet just round the corner." Lance moves to obey and while he is in the wings, the magician pushes the trolley on which woman is bound to butt up against the trolley with the saw blade.

"Now, what all this preparation has been leading up to." In response to a power indicator, unseen by the onlookers, Maleficent touches the on switch of the saw unit. It takes very little time for the saw to go from silent to the deep threating rasp of a jigsaw at full speed. The magician points out the tip of the blade flickering up and down at the top of the frame around it.

She picks up a length of wood from the accessories trolley and shows it to be undamaged. This wood is pushed into the covered section. Almost immediately there was a change in the tone of the noise and a plume of wood dust rises from the jiggling tip. The wood is pulled back out and the end has been cut off at an angle. It is re-inserted in a different orientation and used to flick out the sawn-off end.

What woman senses of this is the movement of the trolley and the jolt as it comes into contact. There is an unidentifiable noise; loud, but not quite as loud as the rock music in her ears. There is the brief smell of freshly sawn timber. Then she feels more movement in the direction that she now only knows as forward, because that is the way she was facing.

As woman is moved forward the noise she can hear under the pounding of Meatloaf's Bat out of Hell grows louder. Then there is a slight movement of air against the tip of her nose. Her nose touches something, for an instant it tickles, the next instant it stings and one the third instant it feels like a gentle rubbing somewhere inside her nose. She tries to flinch sideways, but a combination of the feeling in her nose and the braids holding her head back, prevent it. As the rubbing consumes her nose, there was a moment when the blindfold is ripped from her eyes. The view is confusing as there was nothing seen with one eye that can be seen with the other.

As the rubbing moves on up and down her face, briefly stinging as it first touches her forehead and again as it leaps from her upper lip to her lower lip, woman experimental closes one eye to see if the sight from the open eye makes more sense. It did to a small extent; she can see the inside of the glass box, or at least one half of it.

Checking out what can be seen from the other eye has to wait; she feels something is plucking at the hairs either side of her parting and then some of the tightness of the gag in her mouth releases; it no longer pulls quite so tightly against the corners of her mouth, but it still is not going to fall from her jaws to allow her to speak.

Switching eyes reveals the same view but reversed left to right; she concludes that there was something blocking the sight between her eyes.

The audience watch in dumbfounded silence as Maleficent uses the piece of wood she had just cut a slant and a notch into to push the bound assistant, woman, from the trolley on which she had been bound, into the cloth covered section containing the jiggling saw blade. At the point where they estimate that woman's face would come into contact with the blade's teeth, her lower half tenses. This causes many of them to make a sudden intake of breath. The magicienne appears to ignore this small indication of distress and continues pushing the hapless assistant into the covered part of the illusion.

With her eyes not helping her discover what is happening to her, she closes them, to better concentrate of her other senses. The centres of the rubbing have moved towards the back of her head, then is a pricking at the back of her neck where the thing that prevented her from bending her back further to relieve the pull on her hair touches her. There is a buzz more felt than heard as the saw blade begins to cut into the end of the back piece; this buzz continues. She next feels something pulling at the neck of the t-shirt she wears and as the rubbing points descended down the centre line of her body she feels an initial pull against her shoulders before it seems that the t-shirt collar gives way to whatever is causing the rubbing.

Most of the audience can now see woman's head emerge from the covered section into the glass box. Some shock themselves by thinking that it is half of woman's head the other part on the other side of the mirror having been replaced by the reflection in the mirror.

Maleficent pushes her tied up assistant faster until the cutting point comes to woman's waist. What woman feels of this is an increased sense of forward motion and the rubbing points tracking down the centreline of her torso. Maleficent stops at this point to order Lance to tidy away the accessory trolley and the trolley on which woman had been tied up, which she moves away from the covered section, so that Lance does not have to see in detail what is happening to woman.

After this pause, movement begins again for woman, there is a pricking internally and moments later the dildo in her begins to vibrate as the rubbing points move into the cleft of her buttocks and towards her pubic mound; it take her moments to notice that here are now rubbing points inside her vagina too, in places she feels sure have never been touched before.

As the rubbing spots move further down the sensations become more intense and move closer to her most sensitive internal and external spots. She blesses the person who was in control of the movement as she experiences orgasm, then the rubbing spots track quickly down the nether-lips and away, but the vibration of the dildo continued for a few seconds, then all was still, except that the forward motion continued for another few seconds.

What the audience sees as woman emerges into the mirror bisected box is another moment of rigidity and twitching, made clearer by the fact that the t-shirt she has been wearing is draped on the base plate of woman's bondage only held up by the sleeve on her upper arm. Maleficent reaches under the table of the trolley to switches off the saw and pushes it towards Lance, who has returned from taking the other two trolleys away, with a sharp instruction to park with the others.

The magician then moves the glass box centre-stage. She deftly denudes it of the curtain round its legs and bunching the cloth into a ball tosses it over the backdrop. She turns the glass box round to show that both sides contain half of the divided woman. "Some of you will be trying to analyse the situation that woman finds herself in, and coming to all sorts of erroneous conclusions. The first of which is that, somehow, there is a hole in the mirror that woman fits into perfectly."

As Maleficent unlatches a catch and rotates the rear section of the box to face the audience, woman feels the disconcerting sensation of one side of her body moving without the other experiencing movement; it brings to mind moments when one foot slips on ice and the other does not. Maleficent positions the two mirror backed halves of the glass box so that the two sides of woman face each other. "Another theory you might have is that this is not woman, but a model. To prove that wrong I shall remove her deafness and instruct her to move her fingers and toes."

The pounding music in woman's ears suddenly ceases and Maleficent's voice, muffled by the earphones, tells her to move what she can. She moves her hands and wriggles her toes; nothing else responds when she tries to move it.

"woman, I notice you've still got your eyes tight shut. Open them! See what I have achieved with your body!"

She opens her eyes and is faced with a face both familiar and unfamiliar; she feels that it is her face, but there is something wrong. A quick wink with each eye shows her that she was seeing two different, but very similar, faces and each one is her face but there is something wrong with it; that is probably something to do with the centre line which she cannot see properly.

She cannot work out what is going on until Maleficent moves one of the boxes away and she sees half of her body, mirrored to completion with one eye and the movement of the box with the other.

As Maleficent wheels half the box off one side of the stage and Lance wheels the other half into the wings on the other side, She bellows, "Prospero, Come and entertain these people! The stage is yours and I have left it properly clear."