Background
Location:
An empty warehouse, completely black. The floor should be worn cement, with pits, gouges and stains - sometimes with an industrial drain in the center but this will depend on the scene filmed.
General lighting above, to the sides and front will be bright and on dimmers. Additionally pin spots will be placed in the same locations to highlight the rubber and metal, particularly when polished. EVEN with all the lights on full, the center of the screen will be well lit but the background will always fade to complete darkness giving no sense of location, time or day. The viewer can not discern anything else in the space besides what is lit in the center of the scene. Lighting is critical. It needs to showcase the gear on bodies and when dimmed, provide mood, but one can never see what is just beyond sight to the back or to the sides – hence other figures or devices can appear from the dimness as they come into the center of the frame, making the subject in the center all the more vulnerable and objectified.
Equipment:
To be steel, metal, black wood, things should always be sexy and butch, a fuckbench can be padded in neoprene, a rolling trolley can have big industrial rubber wheels. Things are to be sleek and modern or industrial. Items can be fixed in place or wheeled in, but the sense that you don’t know where you are and what is lurking behind, is essential.
Sound:
Minimal speaking and no music. Sounds and noises should be limited to the locking of metal, the struggle in rubber bondage, bodies squeaking in tight rubber layers, the sounds of inflation devices, the hum of vibrators and of course the gagged moaning of Objects. Talking is to be completely minimal and limited as much as possible to simple verbal commands, like “yes” “no” and “suck” but since this is about objectification, the men in this series are to become objects and tools, so speech is really inconsequential.
Attire:
Full nudity is rare and only a precursor to gearing up. Since this is a fetish video, it is about layering, full Tom of Finland gear in rubber, and leather, wetsuits, drysuits and rubber uniforms. Faces are unimportant; characters - Top and Bottom - are to be hooded at all times. The Tops involved must be as dedicated to full rubber as the subs they objectify. This is about perverts and complex situations; Tops and Bottoms are whores for rubber gear; when they are geared up, they are complete pigs and dedicated to their scenes.
Safety:
I do not advocate unsafe sex. Point of note – for actual filming, cum can be replaced with cum lube, or melting vanilla ice cream; piss replaced with apple juice diluted with water to the appropriate color. Focusing on a cock squirting cum, then cutting away to it landing on the sub’s mouth can be the opportunity to switch to some other edible so that the play remains safe. Again, this is an ‘understood’ and generally these are just plot outlines at this stage so you will allow me my creative indulgence when I have a pig suck another dry. Should they actually be filmed, I leave it to the crew to practice safely and consensually.
OBJECTIFICATION Scenario 1: Rubber Cow
Screen is completely black.
Lights on dimmers come up fairly quickly revealing an empty U shaped metal frame. The frame is made of heavy 6” piping with plumber’s corners; it is 8’ square and bolted into the cement floor in a black space. Various clamps and steel rings are affixed to it along the bars to allow multiple attachment points.
Lights quickly fade back to black.
One can hear some muffled noises but it is abstract; about a minute goes by, not really any noise, just a little squeaky sort of rubbery sound.
Halogen pinspots (not the overall brights of before) on dimmers very slowly come up, the room itself is black and centered in the frame is a spread-eagled standing rubberman in full gear.
The lights come up slowly so that at first the viewer can't really see anything, then he notices a person's body in silhouette ... at least you think it's a silhouette until the lighting becomes brighter and you see it's a guy chained in a standing da Vinci's Man position in full rubber. Rubber restraints are visible on his wrists, the ankles of his boots, and on custom straps on mid thigh – these are attached via thick chains to the metal frame. The chains are boating chains, thick and coated completely in black vinyl so that they are shiny and pervy like the rest of the gear.
The gleam on the rubber suit is what finally becomes brighter as the lights come up. It is a well-fitted rubber catsuit with codpiece front, back zip. Worn with gloves tucked into the wrists and rubber riding boots and faceless inflatable hood with only a breathing tube – the black material is washed and spotless but not shined, it has that dull gleam that clean latex possesses and makes you want to touch it, smell it…
The camera begins to zoom in, slowly, until the codpiece fills the whole screen. then a anonymous gloved hand appears from the side and begins to squeeze and knead the codpiece - the sound of moaning can then be heard.
The hand recedes and reappears dripping with silicone lube and begins to polish and massage the codpiece until it is perfectly shiny and mouth watering in its glossy synthetic appeal.
Then the camera, still in close-up, follows the gloved hand as it polishes the entire suit, this is a considerable 10-15 minutes. The figure in the suit is very well-built, ideally with some heft like a seasoned athlete with the muscle maturity you get over time. Not a bodybuilder per se, but more than athletic, a definite gym rat. The lats should appear wide with a narrow waist, the butt round and tight, a 6-pack or 8-pack would be highly desired, but not necessary - but definitely a flat trim stomach and enough beef on the pectorals, biceps, triceps, deltoids and forearms that they bulge under the tight, tight suit. The quads should bulge also, beefy legs are important because this is all about the visuals and this Object is chosen for his body appeal.
The camera moves up and down the legs, the front and back, always in close-up like a lover. The gloved hand or hands should alternate between polishing, and groping, a finger tracing the line of a rounded calf, squeezing a globular ass cheek, massaging a beefy pec. The camera will move slowly and go in and out of super close-up and more general views of the whole back, the pair of legs spread, the black suit becoming hyper glossy black especially on rounded parts like the ass, the shoulder deltoid, etc. The camera pans up to the hooded head. The inflated ball of a hood is deflated and then slowly unzipped and slid off from the back so that the camera is focused on the face revealing an even tighter pinprick eye hood with nose holes and an open mouth with ball gag strapped over it. Spit is running out of the gagged mouth and the gimp makes a garbled attempt at a word. The spit lands on the chest and drips slowly downward.
The hood is polished to match the glossy suit, the moaning is constant, like a hum. The ball gag is removed and the fingers of the glove are offered to the mouth, running lube along the lips, the wet tongue flickering out to catch the fingers and suck them in like a hungry pig. Three gloved fingers are grouped and slid into the mouth like a flat wide cock and the gimp sucks noisily until they are pulled out. The hand grips the jaw-line and an off-camera synthesized voice simply asks “Is it ready?”
Close up of the gimp’s mouth saying haltingly in a quiet voice "Yyy- yes Sir!"
FLASHBACK
(The gimp - a handsome young man - is naked and sitting up in what appears to be some sort of dentist's recliner. His eyes are cornflower blue and an apprehensive look is on his face. The camera zooms in further and the viewer receives a thorough view of his muscular upper body and arms. His hair has been buzzed off and the scalp shaved; his head gleams in that way that only comes from a very close and professional job. The chair begins to recline, and the gimp ends up laying prone in the recliner. The viewer can tell that he is still frightened and tense.
The camera zooms in to frame the head and shoulders of the gimp. A body crosses in front of the viewer - temporarily blocking the view - and then returns to show a muscular rubberized form behind the young man. Only the upper body and arms - but not the face - of the dark form are visible. The form grasps the gimps head and pulls it back further.
"Relax." the voice commands. An unrubbered hand is seen, with a solid black contact lens balanced on a fingertip. Another hand is seen holding open one of the gimp's eyes while the original hand inserts the contact. The process is repeated with the other eye.
"What do you see?" the brusque voice asks.
"Nnn-nothing, sir. I c-can't see a thing." The camera moves overhead to show the young man's previous blue pupils replaced with the solid black contacts. The viewer sees the gimp's adam's apple move convulsively in reaction to his newly acquired blindness.
The camera maintains a tight crop of the gimp's face and upper shoulders.
"Excellent ..." the voice sounds content. The chair returns to its upright position and the viewer can see that lube is being poured onto the top of the now-blind gimp's head. A hand smooths the oily material down the back of the head, onto the sides and onto the face. A thin latex mask - with pindot eyes and an open mouth - is pulled onto the gimp's head. Thanks to the lube, the latex slides on easily and the hands behind the hooded gimp make final adjustments to the fit and positioning of the ears, nose and mouth. The ball gag is pushed into the mouth and fastened behind it's neck.
Finally, the body behind the gimp pulls a thin black latex glove over one hand and smooths it into place. The fit is so perfect that the nails can be seen indented through the material and there is no apparent seam between the glove and the cuff of the skin-tight catsuit. The process repeats and the viewer sees the completely rubberized Top clenching and unclenching his hands behind the hooded and blinded gimp.
The camera pulls back to show the entire scene. A featureless white room with the naked, hooded gimp in the chair and a powerfully muscular and completely rubberized Top behind him. As the Top comes around to the side of the chair, the viewer can see that he is wearing some type of webbed utility belt around a trim waist and well-polished paratrooper boots on his feet. Heavy white cotton socks peek above the top of the boots. The Rubbertop helps the blind gimp to its feet and snaps on a pair of handcuffs. He grabs the gimp by the cuffs and pulls him away.)
A funnel front hood from Studio Gum is slid over the gimp’s head. No eyeholes.
The camera angle pans overhead as we see a creamy protein shake poured into the funnel. It can either be from a blender, or can be from a package with a well-known sport brand on it. What needs to be understood by the viewer that this is some sort of muscle/protein beverage. The camera angle stays overhead as one watches the funnel full of liquid drain slowly with noisy gulping sounds. The hand pours the remainder of the liquid in, again filling the funnel up and the camera repeats, as the substance is noisily swallowed.
The camera pans again from overhead to face front as the hood is removed.
The gloved hand disappears and returns with an inflatable gag, which is stuffed in the mouth, and the breathing tube (approximately 6” long) sticks out. A pinspot highlights a steel table on which rests a pre-shined overmask. It is laying on it’s side highlighting the zipper and its locking mechanism. The hood is then lifted off the table by the gloved hand and is rotated to show it is eyeless, with only nose holes and an open mouth. A cut scene and the breathing tube is shown being threaded through the overmask and thicker overmask is then fitted over the hood. The camera angle pans around to the back of the head and neck and shows the mask being zipped closed and the locking mechanism being engaged. The gloved hand then tests the zipper to make sure it cannot be opened.
A small, chrome-plated padlock is secured attaching the hood zipper to the suit zipper. There is no removing this lock without the proper key.
A wide rubber posture collar is secured around the neck and padlocked in the back. This hood and collar are then polished up to a perfect gleam matching the suit. The figure appears as if made out of poured black oil. The moaning is a little louder and a bit more muffled and rubbery sounding mixed with the tube breathing noises.
The camera pulls back and the chest is massaged, two gloved hands massaging the pecs, fingering the nipples (which are slightly raised through the latex) and sliding down the torso. This should be filmed in such a way that the viewer is made impossibly horny, you should want to be the hands, grabbing all this captive rubber flesh. The camera work and focus need to be flawless, slow and playing up the texture and tactile appeal of the material.
A full rubber slave harness of straps and rings is secured over the suit except for the crotch area (for now), the camera zooming in and out. Camera pans down and settles between the legs, aimed at the butt. The back zippers are opened revealing the ass and the base of the buttplug already there. The gloved hand taps on the buttplug base and the gimp moans. The gloved hand grips the base and pulls - at first it barely moves and then it slides out, the asslips shiny and wet with lube and sweat as it plops free. They spasm open and closed from the sudden emptiness. A pause while the camera examines the plug. It is enormous, black and glistening; the gloved hand disappears and the plug reappears... or rather the same size and color in rubber but this one has electrodes built in (which becomes evident after it is inserted) the camera then zooms in on the ass.
An ass syringe squirts electro-conductive lube up the hole, it's cool in temp and the gimp makes a little moan, higher, quieter – and excess lube drips out of the hairless pink hole. The plug is then slid in, the wires secured and the ass zips closed..... the gloved hand presses on the zipper making sure the plug is firmly embedded. A small padlock appears and fastens the zipper pulls together.
The camera pulls back and aims upward until it is on the floor and the view is the backside of a shined up rubber gimp. The ceiling is black; there is nothing but blackness and extremely dim pinspots; almost like a nearly starless night. The rubbery shiny gimp appears to float in this darkness, its gleaming suit the only detail - hit from hidden pinspot lights in the environment. The camera travels through the spread-eagled legs and comes up the front side, zooming in on the crotch. The gloved hand massages it again, squeezing the fat codpiece, then undoing the snaps slowly, finally pulling back the codpiece and unsnapping the bottom snap so that it is completely liberated. Underneath one can see the gimp’s cock and shaved balls enclosed in a steel chastity cage (www.steelwerksextreme.com) was secured on the subject and the two gloved hands begin to work it free. 
The gimp is moaning considerably through this process and the end result is the cock begins to grow quickly as the gloved hands pull and massage the balls, tug on the sack and stroke the lengthening shaft - the gimp is moaning and breathing much harder now and twisting in its bondage.
Once the cock is erect, and the gloved hands inspect it. The penis is lubed up, again this time with electro-conductive gel applied straight from the bottle so the viewer can identify what the product is (and not just presume it’s lube) - an e-stim band is secured around the base of the shaft, another just behind the head of the cock and a (steel) mesh ball bag is secured around the balls. The connections are tested (the gimp twitches quickly and a muffled scream is heard) and the wires pulled away to the side.
A black latex sheath is then pulled over the chained gimp's cock and balls; the covering has a short tube at the tip and a wide, thin collar of latex behind the ballsac. The wires are then threaded through a small channel, coming to rest in a small "o" shaped hole hidden beneath the rubber sac; the latex skirt is tucked into the codpiece opening, providing an unbroken ebon expanse - the wires trail seamlessly out of the opening and straight down. The gloved hand slowly lubes up the sheath so it too glistens with an oily blackness.
A heavy gleaming split steel cockring is threaded thru the end of the descending rubber strap; both halves are fastened around the erect cock and enclosed balls and screwed shut. The rest of the slave harness is fitted with two straps; these are guided through the steel cockring and fastened shut; the straps travel through the crotch on either side of the cock and up the buttcheeks like a jockstrap secured to the harness in back (think of an “Y” shape), that make the cheeks bulge and appear even rounder. The gloved hand might grab them again and play with them.
The camera pulls back, way back. One sees the gimp is in the same position, although now in shiny, glossed up condition and with wires leading from it's crotch and ass off-screen. The wires should be extra long so you do not see them connected to the power boxes keeping the scene simple, pure and all about the visual of the rubber body in the center of the screen. Besides the metal frame to which the rubber toy is secured, the gimp is illuminated in a dark vast space, no light touches any walls, no sense of where it is being trained or time of day.
This also makes it impossible for the gimp to judge time while it is there.
When the camera goes to full view again, one item has been added. Upon closer inspection, a metal cable has appeared, running under the gimp near the ground and between gimp's legs into the darkness in the distance. The cord is a dull metallic color and taut. A noise of wheels and low grinding, like a motor can be heard. The cord appears to be moving into the distance.
A black form appears on the bottom of the screen in the center and becomes larger. It's a second rubber gimp, feet first, secured with thick straps in an inflatable sleep sack to a rolling low dolly. The steel cable pulls it and the second rubber covered figure proceeds, travelling under the standing gimp until just it's head is positioned beneath. Another steel cable runs from the head end of the trolley in front of the standing gimp, so the existing gimp is on a track that can be moved forward and back but only along a straight line under the standing gimp.
The motor stops, the noise ceases, and the viewer takes in the figure. A fully inflated bodybag/sleepsack is strapped down at numerous points with wide black belts to this narrow, flat platform on thick rubber wheels. The straps go from one side of the dolly to the other but have no buckles or apparent adjustments. They attach underneath the trolley, so on top they are just smooth and black and pure, creating bulges where they hold down the inflated sack – the captive almost appears as a shiny black rubber maggot. Facing the viewer, this floor gimp is wearing an eyeless inflated hood and round mouth, forced to stare sightlessly up at its rubber cohort.
The camera zooms back in and explores various angles; above, below, the view for the floor gimp staring up, the crotch view down at the gimp in the hood on the trolley, the inflated hood has a wide short tube fitted in to the mouth. The gloved hand reappears and a rubber black funnel is secured into this mouthpiece. On either side of the funnel are two rings, these are then affixed to rubber straps which are attached to the sides of the trolley. The floor gimp cannot possible tilt the funnel away or in any direction.
The camera moves up to the standing gimp’s rubbered crotch. A custom clear plastic ‘ball’ is produced, like the type used by pumpers to inflate to huge sizes. It is in two parts and is secured around the crotch with a cockring gasket (behind the steel cocking) and the two halves connected with small bolts forming a sphere around gimp’s groin. (A powered screwdriver – in black – whines as the bolts are screwed in place) The globe is very clear, allowing a fine view of the e-stim wrapped cock and balls inside.
The globe has a 1/2" round hole on the bottom area where a small piece of clear rubber tubing 1” long is protruding and aimed at the gimp below
The camera pans away and then off shot to a command console consisting of a series of e-stim boxes which fill the screen. One by one the gloved hand turns each one on, then adjusts the dials to different levels and pulses.
All the while one hears busy moaning noises and gasps and sudden "ARGHHH" sounds from off camera.
The camera returns to full view, the standing gimp over the inflated floor gimp. The moaning increases and the camera slowly zooms into the crotch. The hard cock can be seen jerking and throbbing in the clear bubble.
The camera pans up to the hooded face, no emotion can be seen but the breathing is faster and louder the camera pans back down to the crotch. A
fter several minutes of this (with returns to the e-stim boxes being altered, dials turned up) the gimp screams in its gag and shoots multiple jets of creamy white jism onto the walls of the bubble which have been sprayed with a water-repellant coating to ensure liquids do not adhere.
The camera zooms closer to the bottom of the bubble as the cum slides down the curved walls and drips out the bottom tube, the camera angles down and the cum can be seen falling and landing in the black funnel below. Loud sucking gurgling noises can be heard as the camera follows the drops down and does a close up of the floor gimp who can be heard sucking in the protein diet. The camera pans upwards at the dripping ball, positioning itself underneath as we see all the cum has drained out then turns downwards and does a close-up of the funnel as we see the last few drops of jism slide down the greedy tube into the mouth. A satisfied “mmmm” sound emits from the floor gimp.
The camera backs away now, the scene is viewed in whole: the spent standing gimp, the fed floor gimp ...
The motor noise returns and the cable pulls the floor gimp into the distance..... the cable on the head end of the trolley is taut as well, it's on some sort of pulley system as the floor gimp recedes into the darkness.... then ... at the bottom of the screen before the first floor gimp is completely lost in the distance, a second floor gimp appears, almost identically bound and secured, only this one is wearing a Latex Finest underhood (with the buckles around the face) so the viewer knows it's not the first gimp, but a second trainee.
Again the cable stops the laid-out gimp after it has passed under the standing gimp, just positioning its head under the crotch again.
The camera again switches to a gloved hand manipulating the power boxes and dials of the e-stim systems. Gagged screaming increases. The screen returns to the full image of the two bound rubbermen, and the moaning of the standing gimp which can be seen to be visibly struggling in its standing bondage.
The lights slowly fade to black with the sounds of continued moaning.
* * *
“Lord, that was one hell of a plot outline!” Henry Steele let out a breath as he put down the sheaf of papers. The massively muscled British porn star had opened several buttons of the cut-off jeans to allow his considerable erection some needed relief. The head and shaft of his massive 10” tool stood rigid on the lower portion of his 8-pack abs and he idly rubbed the sensitive slit as more pre-cum leaked out onto his skin.
“I’m ready to shoot myself!” Diego Sandoval leaned back on the couch and casually slid a hand down his well-muscled chest. The president of Thor Studios continued the journey until he too was massaging his crotch. His dick had slithered down the leg of his pants, creating an unmistakeable impression of the large mushroom head of his cock.
“I feel it’s a bit too downmarket for Thor as a feature film, though ...” One of the studio’s most bankable stars, Steele had black tribal tats running down one massive arm; a complementary set swirled up the opposite leg and onto one cheek of the strongly muscled ass. Every breath brought the hairless body and tight abs into obscene definition and the sunburst tattooed around his navel only increased the pornographic quality of his appearance. His head was shaved and the scalp had been inked to resemble a geometrically cut hairstyle. A razor-cut beard framed full, kissable lips and accented the strong, square jawline. His slightly crooked nose - broken and not well set - lent him a dangerous and formidable air.
Bright blue eyes looked at the studio head. His sensuous lips curled into a smile.
“With that said, however, I can definitely see this as a picture in a picture.”
Sandoval furrowed his brows.
“What do you mean?”
"I can definitely see this as being part of a feature film. The descriptions portrayed would certainly get everyone hard and leaking – like us …” Steele peeled down the shorts to reveal his enormous cock and balls held captive by its thick steel prison and began to slowly stroke it.
“… maybe rewritten a bit to be a closed-circuit torture scene or a left as is for a instructional video playing in one of the “Rubber Master” series. Hell, I wouldn’t mind being that standing gimp – under the right circumstances, I don’t mind giving up control for a little while … and these are definitely the right circumstances!”
Sandoval smiled.
“Damn, Henry – great ideas! It’s a pleasure having such a sharp mind in such amazingly erotic packaging!”
Steele grinned back.
“It’s been a rather fortuitous situation for both of us, hasn’t it?”
Unbeknownst to all, Steele had formerly been the actor Henry Cavill, but had been simultaneously coerced (being framed for a murder) and persuaded (via a five million pound payment) to give up his identity and become the muscled and insatiable adult film celebrity he was now.
Henry leaned back on the couch and stretched out his arms. He widened his stance so his thick, heavy cock was pointing straight up. He gave the studio head a sly grin.
“ ‘He came down from the North with a mind like Aristotle and a form like mortal sin … we shattered the commandments on the spot.’ …”
Sandoval licked his lips.
“Goddamnit, Henry … you could read a fucking phone book and make guys cum … where was that quote from? Shakespeare?”
“Actually, ‘The Lion in Winter’ with Katherine Hepburn and Peter O’Toole…”
Henry paused and quirked his lips.
“Diego … as long as I’m … at attention … so to speak, would you mind helping me put in a Prince’s Wand?” I know you wanted me wearing it in my next feature, but I want to get used to getting it in and wearing it about.”
The studio head’s eyes sparkled.
“Of course, stud – glad to help!”
* * *
The half-naked porn star padded after the studio executive as they entered his washroom. The wand shone in his hand – it was bright steel with a heavy ball at one end and a tapered tip at the other. The fastening ring was a miniature replica of the thick, gleaming cockring surmounting his manhood. Sandoval whistled in appreciation.
“That is one nice piece of jewelry – SteelwerksExtreme, right?”
Henry nodded, a concerned frown creasing his chiseled face.
“Took all the measurements… twice … but it still looks a bit large…”
Diego laughed.
“It’ll fit – don’t worry. And once you get used to it, it’s going to be second nature to you – just like that cockring. And I'll bet you said the same thing about your first extra-large buttplug.”
Steele blushed.
The other man continued.
“First thing -- you always do is wash the wand and your hands with antibacterial soap. Dry them with a paper towel.” Steele lathered his hands and then soaped the wand up between them. He then rinsed his hands and the wand and dried both off.
Sandoval motioned the porn star to the toilet.
“Have a seat.”
“Lube is extremely important. You need surgical lube – not the regular stuff. And just like anything else, the more, the better.”
Sandoval handed Steele a bottle of VeryDeep.
“Here – squirt this down the length of the wand.”
“Now … push it in.”
Henry took a deep breath as he placed the tip of the wand at his slit and pressed down. He hissed as the metal tube began to encounter some resistance, but he continued with gentle downward pressure. Thanks to the lube, the gleaming steel disappeared quickly into his rigid shaft. Soon, the heavy ring was touching the tip of his glans.
“Now, squeeze your head and pull it through the ring.”
The porn star’s fingers skidded off the rounded metal and he gave Sandoval a wry wrin.
“Slippery little bugger…”
Diego gave him another paper towel.
“Dry your hands off a bit, Henry …”
Steele managed to pull his engorged head through the ring and the wand settled in place.
The porn star looked in amazement at his manhood. The gleaming steel sphere touched the tip of his cock and the heavy ring was a perfect complement to its larger companion encircling his lower shaft and balls.
“Bloody hell, this feels amazing …” He hefted his cock and stroked, feeling the steel shaft within it give him a painfully pleasurable feeling of fullness.
“My cock’s never felt this good before!”
Sandoval smiled.
“Never looked as good, either …” Diego kneeled down and placed his hands on the massive thighs. He moved closer to the steel-stuffed cock and gave it a slow lick.
“Oh Christ …” Henry’s head lolled back in ecstasy as the other man continued to lave his turgid horsecock. The inserted steel seemed to inflame every nerve ending to the breaking point; Henry felt as if he would black out from the waves of pleasure he was experiencing.
Steele felt his nuts churn and the beginnings of a massive eruption began to travel up his shaft.
“Diego, I’m going to cum…”
“Mmmm…” Sandoval swallowed the massive tool and Henry screamed as his exploded down the other man’s throat. The wand slowed the silvery fluid and the orgasm Steele experienced was magnified tenfold.
As Sandoval was sucking him dry, Steele was panting.
“Good Lord, that was amazing!” His cock – thanks to the inner rigidity of the wand – was still engorged and stiff.
“Is it always like this?”
Sandoval nodded and smiled.
“You’re going to be pretty much semi-erect all the time. And you can do anything with it in – piss, cum, whatever … it just takes a little more effort. I’d hold off fucking anyone until you’re more used to the wand, however. And the best part is, you can keep it in as long as you want – when you’re ready, remove it, unscrew the ball and give it a hot soak with soapy water. And you’ll be ready to go again.”
Diego got up and loosened his belt. He shucked off his pants to display a similarly engorged cock with an identical steel ball at its tip. The only difference was another large ball directly beneath his cockhead. His wand had been designed to accommodate his Prince Albert piercing.
Sandoval’s cock grew thick and rigid. He moved closer to the porn star so his meat was inches away from Steele's sensuous lips.
"While you’re an excellent cocksucker, Henry, I don’t think you’ve ever done it with a wand … and … practice makes perfect, you know.”
Diego looked up and smiled.
"Plus, we don't want to chip those lovely teeth on set, do we?"
* * *
As I've said before, I always try to stretch myself and the type of materials I write. This time, I wanted to explore a "screenplay" type of writing and combine it with some backstory scenarios of Thor Studios - one of Lucio's most successful legitimate businesses - a gay adult film company.
First and foremost, I want to give a shout-out to my good buddy Nick. Nick is one of the most intense, devilishly inventive and absolutely dedicated rubbermen you would ever encounter. He contributed a large chunk of the screenplay and I couldn't have done this without him. We can (and do) play off of each other's ideas and the collaboration is always pervier than either of us could consider alone.
The latter part of the story ties the story treatment to the adult film studio. We are again re-introduced to Henry Steele (the permanently disguised actor Henry Cavill from the "Janus" story) and the head of the studio perusing story ideas for new films. As Thor generally produces pictures that are not only pornographic, but have amazingly good stories as well, Henry is a bit concerned that this story doesn't have the wherewithal to stand alone. However, he does see the quality of the work and wants it incorporated into a larger production.
Which brings us to the Prince's Wand.
I've always been intrigued by this type of body jewelry and I finally broke down and got myself a penis plug with glans ring from Meo. The one I got is for "inexperienced users" (which I freely admit I am) and it was extremely easy to slide in. The feeling is incredible - the tip becomes highly sensitive and even with a small (2 inches) length, your cock is hard as a rock and stays that way. I plan to get an actual Princes Wand from SteelWerksExtreme (the Cadillac of steel genital jewelry). I would be getting the "pinless" version since I have no intention of piercing my cock.
YET.
(Just noticed that some of the links were not working - they have been fixed!) 
