The Whole Ball of Wax

Kino Payne is in a very vulnerable position. His arms are bent with his wrists secured to one another behind his body. His wrists are also tied to the sides of the bench, ensuring that there is no ability to lift his torso. His knees are tied to one another, underneath his body, ensuring that he can not straighten his legs fully - and his ankles are tied spread wide, exposing his genitals with no hope of protecting himself. This is exactly what Elise wants - no chance of hiding, no chance of escape, no possibility of protection. This is all by design, as Elise wants Kino’s physical situation to transfer to both his mental state - for him to really ‘know’ that he is helpless - and further to his emotional state - for Kino to truly surrender. This process is aided by the particular play that is delivered by Elise - the caning of tender areas of flesh, such as the soles of the feet, for Kino to be both present to the pain sensations, but also given an opportunity to let them go. Adding additional stress elements, such as clamping Kino’s tongue and tying it to his ****, creating a situation where Kino really wants to use his abdominal muscles to keep his head up and not pull on the painful tongue clamp ultimately serves to deepen Kino’s ability to let go. This culminates as Elise does a complete waxing of his **** and tied-up *****, as each drop of hot wax on his tender bits is intense and inescapable, yet fleeting, much like most of life’s suffering. Kino will be one step closer to discovering his already-enlightened Self by the end of this scene.