Slick Symphony 2


After five full minutes, the raucous applause finally subsides. From my vantage point inside the gallon glass jug, I hear the audience gasp when my co-performer emerges from stage right and strolls up beside the conductor. Of course, like me, she’s nude and well-lubricated with body oil. That is, after all, professional attire in our peculiar line of work.

The conductor nods to the performer, sets the jug containing me on the stage, and returns to her podium. As the orchestra begins to play, my partner circles the jug twice before kneeling behind it. She slips a finger inside, then two, pressing against my compressed flesh. She pulls out her fingers, stands up, and deftly slides her left foot entirely inside the jug, pushing down on me. Her right foot is next as she balances precariously. Then, she bends down, grips either side of the jug with her hands, and yanks.

I swoon as the bulk of her body slides in on top of me: calves, knees, thighs, ass, and torso up to her breasts. Through the glass, I hear the audience gasp again. My partner doesn’t skip a beat as she slides her hands through the jug’s neck and pulls from inside. Her ample bosom slips through, followed by her arms and shoulders, and finally, her head. Our bodies slide past each other as we adjust to the tight fit.

The third member of our act, a man in a tuxedo, wheels a cart from stage left with a black silk sheet draped over it. He stops next to us and, with a flourish, pulls the sheet away, releasing it and allowing it to flutter to the stage. Jaws drop throughout the theater when they gaze upon an industrial-grade paint shaker.

The man picks up our jug, screws a cap on tightly, mounts it in the shaker, and carefully secures it. Then he flips the switch with a devilish grin. The machine shakes me to my core, causing an orgasm to start building within my impossibly twisted and folded body. I can’t even tell where my womanhood is at that point, but I can certainly feel it as the sensation grows. I hold back as long as I can until it releases in a cascade of pleasure. My body’s spasms add to the shaking from the machine, extending my climax until I nearly lose consciousness.

The man turns a dial on the shaker, increasing the speed until the world beyond the jug is a smear of colors. And then I feel it—the moment my body begins to liquefy. My vision blurs and then becomes more like a sensation than a sense. I can still see, hear, and feel my body as it breaks down and becomes a fleshly slurry along with my partner. Our bits and bobs mingle until thoroughly combined in one uniform fluid. My consciousness merges with hers, our individuality lost as we become one in a haze of euphoria.

The man waits another thirty seconds to ensure proper mixing, switches off the paint shaker, and waits for it to stop. Then he unfastens the jug and holds it aloft, twirling it around his index finger as we slosh and splash inside. A female assistant in a black dress emerges from off-stage carrying a silver briefcase. The man exchanges the jug for the briefcase and opens it.

He pulls out a one-quart mason jar and fifty feet of half-inch clear plastic tubing. He unscrews our cap and pushes the end of the tubing through our liquid bodies to the bottom of the jug before handing it to his assistant. Then, mason jar in hand, he walks to the far right corner of the stage, unfurling the tubing behind him. He sets down the jar, puts his lips to the end of the tubing, and sucks as hard as he can.

We don’t move much at first, though we can feel the shift in pressure. As the pull intensifies, though, we begin to be drawn into the tubing, slowly at first and then more rapidly. Soon, we’re slithering across the stage, our bodies extending through the length of the tubing. He pulls his lips away and holds the end over the open top of the mason jar. We begin to gush from the tubing as the last remnants of our combined self are still being pulled from the jug fifty feet away. Soon, we’re entirely inside the jar.

The man drops the end of the tubing, produces a lid from his jacket pocket, and screws it tightly onto the quart jar. He then holds it aloft triumphantly as the audience rises to their feet for a rousing ovation. Meanwhile, his assistant rolls the paint shaker offstage and returns, wheeling another silk-draped cart. She and the man meet at center stage, where he pulls the silk with another flourish. Jaws drop when the onlookers see what lay beneath the silk: an empty red canister and an air compressor.

He carefully pours us into the canister, at which point my “vision” fails me as we’re plunged into darkness. He screws something onto the top, and pressure and heat build after a brief lull. It feels pleasant initially but then pushes with increasing strength against our liquefied bodies. Finally, as the pressure reaches 185 PSI, the man switches off the compressor, and I feel him lift the canister off the cart.

This is it: the grand finale. I mentally brace myself for what is about to happen.

Suddenly, with a loud whoosh, we’re airborne! We spray from the nozzle in a dense molecular haze, arcing high above the stage. At that moment, something inexplicable happens. Our mingled molecules begin to pull apart into two distinct humanoid forms. My vision suddenly returns as my body congeals. I’m upside-down eight feet above the stage and falling fast, with my naked partner beside me. Like clockwork, we execute a synchronized half-twist and tuck before hitting the stage. Our oiled bodies slide for a few seconds before coming to rest as the orchestra plays its final note. We scramble to our feet, share a naked embrace, and then take a bow.

The crowd loses their minds! They leap from their seats, screaming and yelling in admiration for the most incomprehensible spectacle they have ever seen. We join the man and his assistant at center stage for more naked hugs, and then all four of us take another bow, grinning from ear to ear. Even after performing our routine hundreds of times, this part never gets old.

We stay afterward onstage, still nude and oiled, as we shake hands with the VIPs and listen to their breathless retellings of what they’ve just witnessed. We smile and nod, basking in the attention. Soon, even the VIPs depart, and I head backstage for the best part of the evening: a long, hot shower.

Copyright 2023 Olivia Quinn

Image by 21269940 from Pixabay

Story notes

I didn’t plan to write a sequel to “Slick Symphony,” even though I left the possibility open at the very end. Then, a reader on DeviantArt asked about it, so I decided to make it happen. I’m so glad I did! This installment is even more extreme than the first one! I hope you all enjoy it!

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Olivia Zoe Quinn lives in Ohio with her dog and two cats, who mostly get along. She is pursuing her BA in Creative Writing while working part-time in a lingerie shop. She may be found after hours standing motionless among the mannequins. Olivia is the Editor-in-Chief of Stone Cold Stories and an Associate Editor at Rock Hard Press and GAZMYK Magazine. Olivia is the author of the upcoming sci-fi erotica novel, StoneSport Chronicles: Volume 1, due out in the fall of 2024.

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