Gromet's PlazaPackaged, Encasement & Objectification Stories

For the Camera

by Meleagris

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© Copyright 2012 - Meleagris - Used by permission

Storycodes: MF/f; bond; cuffs; gag; susp; objectification; insert; toys; display; cons; X

In a darkened room, a screen flickers into life. It shows a featureless white room, in which a man and two women stand in a line, facing the camera. All are wearing plain black carnival masks. The man and one woman are dressed in figure-hugging black bodysuits, with only their hands and heads exposed. The woman in the centre - let us call her 'the star' and the other 'the woman' - is elegantly clothed in a knee-length black dress, high heels, and sheer black hosiery. The woman's hair is as short as the mans, while the star's long black hair falls unbound down her back.

For a minute or so they stand motionless. Then the man moves behind the star and in one deft motion unzips the back of her dress. She does not react at all as he unhooks it from her shoulders and lets it fall pooled around her feet. This reveals the tops of her hold-ups, and exposes her matching black bra and knickers. Now the woman moves. She kneels down in front of the star and, lifting each foot in turn, disentangles the dress and removes her shoes. Both are placed out of shot.

The man's turn again - he unclips the star's bra and lets it fall to the floor in front of her. The breasts exposed are of a good size - about a C cup - with small areolae, and nipples that clearly show she is either excited or cold. He tweaks them for good measure. Then the woman carefully rolls down and removes each stocking in turn. Placing them and the bra out of shot, she returns to her original position standing by the star's side.

Finally, the man hooks his thumbs into the sides of the star's knickers and slides them down to her feet, where she steps out of them. She is completely shaved, her bare lips showing coyly between her legs. Apart from lifting her feet as required, she has not reacted in any way.

The man also returns to his starting position, and they all stand motionless again. Then he reaches out of shot and picks up two black cuffs. He hands one to the woman, and they bend to fasten them round the star's ankles. Then the woman leaves the shot. She must be operating the controls of some sort of winch, as a bar on a chain descends in front of the star. It hangs horizontal, somewhat longer than the width of her shoulders, and stops by her ankles. The man fastens one cuff to each end of the bar, then moves behind her to support her shoulders as the winch raises her feet.

There is nothing coy now about the way her most intimate parts are displayed to the camera as her spread legs are lifted. When the winch stops the star is hanging inverted, her head about the height of the man's chest. She holds her arms up by her sides, while her hair hangs free. From out of shot the man takes a ball gag. Turning her round to face the camera, he holds it in front of the star's face, she opens her mouth and he pushes it in and fastens the strap. It seems rather unnecessary, as she has not yet made any sound at all, and the bright red ball is an almost shocking contrast to the palette of black, white, and pale flesh.

The man leaves the shot, and the star is left hanging alone. He returns pushing a black trolley with various polished steel struts and supports on its top, which he positions under the star. He gives a signal, and she starts to descend slowly as he guides her into place. Two posts with wide padded tops hold her shoulders; stretching between them, a steel arc cradles the back of her neck. The man takes a similar arc from the table; placing it across her throat, he completes the loop, securing it with a padlock at each end.

The woman returns to shot, taking her place at the other side of the star. She and the man take an arm each and guide them down into U-shaped supports behind the star's back, which hold them at elbow and wrist. Bars across the top, secured with more padlocks, close the trap.

The woman leaves again, and the star's legs are lowered further. The man supports her stomach, so that her hips and knees fold until she is bent almost triple. The woman returns and, taking a leg each, they unfasten the cuffs and lower her shins onto long padded troughs, which look as though they will slide on their supports. They are somewhat splayed, so that the star's crotch is still clearly exposed. This time the fastening is buckled leather straps.

Once more the woman leaves, and as the bar climbs out of shot, the man takes a large butt plug and a bottle of lube. He applies the one liberally to the other, then, slowly, carefully, but inexorably pushes it in to the star's anus. Then he takes a candle, about an inch thick and 18" long, which, without lubricating it at all, he presses between the star's labia. It goes in readily, until fully half of its length is inside her. When the woman returns, the reason for the adjustable leg supports becomes clear, as they carefully slide the star's legs backwards and forwards, changing the configuration of her body until the candle stands perfectly upright. Taking a box of matches, the woman lights the candle, then together they wheel the trolley out of shot to the left.

In the darkened room, to the right of the screen, a door opens, and the human candlestick is wheeled in to take her place in the centre of the room, before dinner is served.



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