<< back to the WHIP
I wrote this many years ago, recounting the experience I had with a specific submissive client. It was fun – combining theatrical with femdom – and the client had agreed to allow me to share his story (without personal details). That old blog is long gone, so I’m brushing this off to share with you.
Now, this story has some extreme elements that may not be suitable for all readers. This is about playing out his fantasy, and includes me playing a ‘necromancer’ and bringing him back from the dead. But that’s not all!
There’s bondage, whipping, CBT, and extreme pegging, all of which I go into great detail. And, this client had another piece he wanted introduced – being commanded to participate in bisexual actions. So, I had my two submissive assistance there to give him what he wanted!
Our Patreon Members can read the entire piece below, including just what happened to this sub during our 3+ hour session. Non-members can read a preview below.
Enjoy!
Some clients would come to me with requests that required planning. Most of that planning was psychological … mine, theirs, the architecture of desire that has to be measured and cut to fit before anyone gets hurt in ways they didn’t ask for. But this one required a different kind of planning. This one required carpentry, a funeral, magic and the undead…
He’d come to me with a very specific vision. I’d learned to prefer it over the men who show up and say I don’t know, surprise me, which is the erotic equivalent of asking your server to just bring you whatever. But his vision had a particular logistical obstacle at its center, and that obstacle was the coffin.
He wanted to begin the scene inside one.
I tried the obvious routes first. Funeral homes, predictably, were not enthusiastic about the rental concept. One woman on the phone sounded like I’d asked to borrow her kidney. A prop house in the city had something theatrical, painted black with silver hardware, but it was too narrow and frankly looked like something from a high school production of Dracula, which was not the atmosphere I was after. Eventually, through a contact of mine … a man who builds theatrical sets and asks very few questions, bless him … we found a craftsman willing to construct a simple pine box to my specifications: interior dimensions suitable for a grown man, sanded smooth enough not to splinter, a lid that latched from the outside but could be pushed open from within with moderate effort. The client paid for it without blinking. He also paid to have it delivered to my space, which required a conversation with my building’s super that I will not be elaborating on.
The room I used for theatrical sessions had high ceilings and stone-colored walls and very little that looked like what most people think a dungeon should look like. No red velvet, no fake chains bolted decoratively to plaster. What it had was good lighting … dimmable, layered, capable of making the air itself look like it’s breathing … and enough open floor space to arrange the furniture of any given fantasy. That night I’d set the coffin on a low platform at the center of the room, surrounded it with pillar candles whose light was the color of old teeth, and dressed myself in black silk and patience.
He arrived and we did our check-in, thorough as always. Safeword, boundaries, the roadmap of the evening. Then I left him to undress. He came to me already wearing the chastity cage … a small steel device that had the aesthetic of something designed by a very particular kind of engineer … and nothing else. I watched him climb into the coffin with the concentration of a man parallel parking in a tight spot. He arranged his limbs. I latched the lid.
I gave him three minutes. I know because I timed it.
The sounds that came from inside the box were quiet at first, then not. A shift of weight, a shallow knock against the wood, and then his voice, slightly muffled, stripped of the self-possession he’d carried in with him.
“Please.” A pause. “Please, let me out.”
I crouched beside the coffin. Let the silence do some work.
“You’re not trapped,” I said. My voice was low, unhurried, the voice I use when I want someone to feel the words land in their chest rather than their ears. “You’re returned. There’s a difference.”
Another knock, softer this time. “What?”
“I brought you back.” I stood slowly. Let him hear my heels on the floor as I circled the box. “You were gone, and I called you home. But nothing comes back for free.”
I unlatched the lid and let it fall open. He lay there blinking against the candlelight, his chest working, the cage glinting dully between his thighs. He looked undone in precisely the right way … not frightened, but hollowed out just enough to be filled with something new.
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That was a trip, I would’ve loved to hear the same from the client’s perspective…
So many levels of challenge, really going out of his comfort zone…
That was an incredible read, you go into such detail that I can picture myself in the scene. Truly an amazing scene pushing hus boundaries.
I get what you mean about ensuring that when creating a scene like this it stems from an idea. Ideally that idea should be with purpose – in this case the client had an idea for a foundation that he wanted to play out.
It may well have been start here then I have no idea, but if gave you something personal and impactful to build around.
The scene itself sounds great, but of sensory deprivation, to start, leading to the next element. The whipping, the CBT, the paddling. Leading to being used.
Sounds like the client was all in and went with the idea and how that played out to the very end, even with the bits he wasn’t expecting.
It’s reading things like this that do make me think, if I was the client, what would my starter idea be? How would it play out? Where would it lead, and how would it end.
I’m sure I have a few ideas at least!
I do have to ask, what happened to the coffin prop in the end, I can’t imagine there being much of a market for them – or maybe there is?
Great post and story as always – Thank you Mizz Geena
Amazing and Beautiful Mizz Geena
Reading it carefully, the way You’re telling it made memories come to me and the whole scene is running in front of my eyes as if in a middle of it, the way You set everything is perfect, what You set for sure comes from loving what You’re doing ’cause in the lifestyle we’re living everyone who is true and honest with himself will enjoy life the right way,
And next to this is preparation setting the scenario, reminded me of a saying of one of the legendary photographers Albert Watson always saying Preparation Preparation Preparation , so loving what You and preparation making everything perfect and a lucky sub like hime experience something he won’t experience with anyone .
i envy him, i was reading feeling everything flogging, pegging, wax, gagging, whip, and same time keeping it with no trying to run or escape or stop, he wanted it so bad, but on the other hand won’t be possible for him with You, the way You ran this scene timing intensity is Amazing,
i extremely love it, i am writing these words and can’t stop thinking and have visions the way You described it , it’s art for me Mizz Geena
Thank You Mizz Geena sharing it, and the enjoyment You’re giving anyone who is reading any article or story written by You
Thank you Mistress,
I enjoyed reading this piece. The theatrical setup and psychological elements made it very engaging, and I could see how the story helped create a deeper sense of submission for the client. The coffin and “revival” theme was especially creative and memorable. Thank you for sharing it with us
That was an intense account of the scene … thank you for sharing a look into your creative process with a client.
I appreciate you taking us into your world.
All I can say is Just DAMN! VERY INTENCE