Aaron double-checks the piece of paper he’s holding in his hand; this does seem to be the right place.
He’s not sure what he expected from Damiano’s note. Maybe another gym or something? A gay bar? A dance club? But what he finds himself standing in front of is a small theater tucked between several other businesses in an otherwise fairly nondescript street. It doesn’t even look large enough to be a theater, despite the advertisements for various plays he can see in the building’s windows. It looks more like a tiny travel agency, barely more than a single room with a front desk.
It also looks closed. Aaron glances once again at the note. It has specific dates and times listed on it, and he’s definitely here when it says. But the lights in the place are dimmed, and there’s not exactly a visible crowd.
Figuring he’s got nothing to lose, Aaron tries the door and finds it unlocked. He pushes it open and sticks his head inside.
A bored-looking older woman sits at the room’s single desk next to a set of stone stairs leading downwards. She looks up from the book she was reading as he opens the door, and asks a question in the local language.
Aaron steps into the room a little cautiously. “Hi,” he says, putting on his best charismatic smile. “English?”
She nods. “Can I help you?” she asks, her voice stilted and heavily accented, but still understandable.
“Uh, I was told I should come here around this time?” He debates showing her the note, but doesn’t, waiting to see what will happen.
The woman sets down her book, rummaging around behind the desk. “Tickets one hundred fifty dollars American, yes?”
“Uh...” Aaron has no idea what she’s talking about. Tickets for what? Did Damiano want him to watch a play of some kind? Strange. For a moment it occurs to him that maybe Damiano is some kind of amateur actor, or has friends who are and wanted to give their show free publicity. He hopes he’s not about to have to sit through some kind of obscure one-man performance art piece. But he is somewhat intrigued in spite of himself, and he’s here already, so why not?
He fishes three fifties out of his wallet and hands them to her. In return, she slides a ticket across the desk to him. He turns it around and looks at it. It looks like a pretty standard theater ticket, as far as he can tell. There is an image of a horse bridle and reins on it. Is that the logo of the theater, or something to do with the show itself? Hopefully Damiano didn’t send him to some kind of horse exhibition just because he’s rich and all rich people are supposedly into horses. Aaron rolls his eyes. He’s never been horseback riding in his life.
He whips out his phone to use his translation app on the ticket’s text, but it doesn’t tell him much either. The title of the show is apparently, “The Making of a Mule,” it tells him after a moment's processing, which does lend credence to the theory of it being a play rather than an exhibition of some kind. But there are no further details beyond that.
The woman gestures towards the stone steps. “Show starting soon. Please go ahead and find seat.”
Aaron shrugs. In for a penny, in for a pound. He heads down the steps.
Apparently the reason the front room is so small is because most of the building is in fact underground. Aaron finds himself walking down a wide, elegantly decorated but windowless hallway with old-fashioned stone walls. He feels almost like he’s in some kind of old mine or train tunnel. Luckily it’s nearly impossible to get lost; other than some restroom doors and a little bar for drinks and snacks set into one wall (which seems to be closed anyway), there’s literally nothing else to do or see but continue straight down to the big double doors at the end of the hallway.
A stern man waits at the doors, shoulders almost too wide for his suit, looking more like a bouncer than an usher. He checks Aaron's ticket diligently when he arrives, and then waves him inside, holding the door open for him.
Upon passing through, he finds himself in what does appear to be a small theater. There’s not much to it; maybe ten rows of a dozen seats or so in a plush but well-worn red velvet. The stage at the front is likewise small, maybe twenty feet wide. It’s at the bottom of a very slight incline, to give all the seats a decent view. There is no curtain separating it from the audience; just a square of wood with some kind of prop on it. It looks like a piece of gymnastics equipment, perhaps? Like one of those things that you might vault over, but smaller. There are a scattering of smaller wooden posts around it as well; Aaron is completely at a loss as to what they might be for. Maybe this is some kind of circus act, like a contortionist or something?
There are a handful of other people already seated, Aaron notes, mostly towards the front. He glances at his ticket; there’s no assigned seat listed, so he simply joins them near the stage, finding a group of free seats in the second row so he doesn’t have to sit awkwardly next to a stranger. The room feels a little claustrophobic. The walls appear to be some kind of pale peach plaster, or maybe stucco, and the lack of windows in the underground space make it hover on the border of intimate and oppressive. Signs on the wall instruct wordlessly through icons that there is to be no photography or video recording within the theater.
He doesn’t have long to contemplate the space, however; a mere five minutes or so after he sits down, the lights in the room dim, and a spotlight suddenly shines into brilliance on stage.
The sound of a horse whinnying is piped into the room through speakers along the edge of the walls, making it sound like the noise is coming from all around them. It is then followed by the equally artificial clop-clop-clopping of hoofbeats in a gallop. Then a voice calls out, cheerful and triumphant, once again speaking words that Aaron does not understand, and a soundtrack starts. It’s definitely American in flavor, like something out of an old Western film.
A man strides out from the wings onto the stage, dressed like a cowboy. He tips his hat to the audience and then mugs a little, brushing fake dust off of his sleeves and casually untying a lasso from around his waist.
He spins the lasso and casts it offstage the way he came, then pulls it taut. Then, with a big grin on his face, he begins to tug on it, pulling the rope in towards him. Aaron gasps when he sees what’s on the other end.
A young boy crawls onto the stage on all fours.
The child’s hair is jet black and his skin toffee-dark, easy to see since he is entirely nude as he crawls his way slowly across the stage. What he is wearing is a bit and bridle, the leather forced between his teeth and strapped around the back of his head. It even curves around the top to allow for the jaunty placement of two horse ears, mimicking the real thing. Behind the child curves a large and luxurious tail to match, affixed onto his rear end via more leather straps that curve around his thighs and lower back.
As he proceeds further onto the stage, Aaron can see that the tail is not just strapped onto him; it’s strapped into him. It appears to be mounted on some kind of insertion device which is embedded in the child’s rectum. How deep is impossible to discern from just viewing it.
Aaron's attention is rapt, focused like he's never been before. He feels as though he's somehow stumbled into a dream; there is an unreality in the room like a palpable presence. On stage, the man is approaching the child and removing his lasso from around the boy’s neck. He affixes it back to his belt and steps halfway off the stage for a moment to retrieve something from the wings. When he comes back, he’s carrying a miniature saddle.
He places it on the back of the naked child and fastens it around the boy’s torso, nice and tight. Then he takes out a riding crop and, with a sharp smack, thwaps the boy’s rear end.
The child winces and starts moving, crawling once again helplessly along the stage. He makes several circuits, the man walking over him with his legs straddled around the child in a parody of “riding.” The child’s progress is slow, and every so often the man will spank him with the riding crop for good measure, until the child’s rear is red with the welts.
Eventually, the man leads the child up to the strange piece of furniture in the center of the stage. Now that it’s clear what kind of performance this is, the function of the object becomes obvious. The man hoists the child over it, spread-eagle, with his ass facing one side of the stage and his face the other. The bench-like object just exactly fits under him, leaving his head and bottom hanging off either end at the perfect height to access, his legs spread open. The man adjusts the boy minutely until he's exactly as desired, then removes the lasso once more from his belt and uses it to tie the child in place, strapping him to the support beneath him and holding him firmly in position.
After the boy is secured, the man in the cowboy outfit makes a big show of unzipping his pants and taking out his dick. Aaron’s eyes widen; it’s a monstrous phallus, bigger than any he’s seen in real life, and already mostly hard.
The man steps over to the boy and begins to lovingly rub his cock along the child’s skin. Aaron feels himself growing hard in response as the man teasingly caresses the boy’s cheeks, front and back, with the soft skin of his member. He strokes himself the whole time, leisurely but firm, until his monstrous phallus is fully erect and straining for the boy.
He moves behind the boy and teasingly rubs his cock back and forth along the crack in the boy’s buttcheeks, holding the horse hair to one side. Then he moves back to the front of the child, pumps himself a few more times, and unceremoniously comes all over the boy’s face, splattering him with a generous load of semen. A few members of the audience hoot at this, and there is a small scattering of applause. Aaron glances around to see several of the men—and the entire audience is men, he belatedly notices—have whipped their own cocks out and are happily masturbating to the performance.
The cowboy takes a bow and then, without putting away his cock, starts to walk off towards the wings of the stage once more.
When he returns, he’s got another set of reigns in hand. But these are attached to...
Aaron chokes. The man is leading a donkey, a genuine live animal, onto the stage. The creature has a very traditional mid gray coat with a dark mane and white nose and belly. It looks almost bored to be led placidly onto the stage, except that as it emerges it becomes obvious that it, too, is sporting a budding erection.
Aaron can’t tear his eyes away. He watches, rapt, as the man leads the donkey across the wood, its hooves echoing with a clop-clop-clop, approaching the boy from behind but coming all the way around until he and the animal are face to face. Then he continues to lead the creature forward, carefully adjusting its stance so that its legs are on either side of the child, until the boy this time comes face to face with the head of the animal’s cock.
Reaching out his small hands, the boy grabs the equine phallus and begins to stroke it, pulling on it and rubbing up and down its sides like any human cock. What was already a massive appendage grows larger and larger, emerging and filling with blood until the hose-like object is well over a foot long.
Dropping the reins on the beast’s back and leaving the child to continue jacking off the animal, the cowboy moves around to the boy’s rear end and firmly grasps the base of the horse tail that so proudly juts out of the child’s entrance. He begins to remove it, pulling back slowly, revealing inch after inch of the thick, black toy that the tail is attached to.
Aaron keeps expecting to see the head of the thing, but it keeps failing to emerge as the toy is pulled out and out and out, until finally, when at last the boy’s insides finally relinquish the object, it proves to be nearly as long as the animal’s phallus. The cowboy holds the toy in both hands and displays it for the audience, to collective murmurs of awe and surprise.
Aaron finds himself repeating, “come on, come on, come on,” silently in his head, urging the show on to what he knows comes next. It does not take long before he is rewarded.
The man takes up the donkey’s lead once more and pulls it forward, its legs still straddling the boy on either side. The animal’s cock rubs its way down the length of the boy’s back as it moves, sliding along his spine. When it has fully moved off of him, the man turns the donkey around and begins to lead it back into place.
As it approaches the child, the man makes a noise of command, a sort of “hup-hup!” and uses his riding crop to flick one of the strange poles on the stage.
Now their use becomes clear. The donkey rears up under the man’s instruction and plants one of its forehooves on top of a pole on either side of the boy. So positioned, it waits in place for the cowboy to stand behind the boy, upstage, and take the animal penis in hand. The man lifts it, presenting the phallus to the audience, showing off its immense length and girth. Then, with Aaron’s mouth drooling, he places the flat head of the strange cock at the boy’s entrance, gives another commanding call, and-
The donkey surges forward, burying half of the animal’s elephant-trunk-like cock into the child’s anus in one go. The child cries out around the leather bit still strapped into his mouth as the donkey gives a few fitful thrusts and plunges further and further into him, burying the entire twenty inches or so of its phallus within the child’s tight, unsuited body.
Even strapped down, it’s clear to see the bulge in the child’s lower torso where the massive embedded cock stretches him. The donkey pushes in as deep as it can go and then just stands there, filling the boy obscenely with its manhood.
The cowboy once again backs away a little bit, this time coming to stand behind the center of the boy’s torso, upstage of him. He gives the boy’s back a gentle pet, stroking his hair and neck a few times and rubbing up between his ears as though he was a real horse. Then he takes out the riding crop once more.
He begins a series of light staccato smacks of the boy’s back, not fully punishing, but more light and teasing. Apparently this is a signal of some kind, because the donkey behind the child brays and begins to move, jerking its hips back and forth in time with the man’s motions, fucking the boy in and out with its equine cock. At each thrust some six to ten inches of the thing are yanked out of the boy’s rectum before being jammed all the way back in on the next motion. It’s clear this is a rehearsed behavior more than a natural instinct, but it doesn’t matter. Aaron is practically swooning watching the business-like way the animal defiles the child, uncaring as it rams its huge dick into the boy over and over, larger even than if a man had been fisting him.
Once the donkey has the general idea and has assumed the desired pace of fucking the child, the man stops the hits of the riding crop for the moment. While the animal patiently rails the boy, the man comes around to the front of him and unstraps the bit from the boy’s bridle, freeing his mouth. He holds the child’s mouth open with one hand and traces the child’s lips with the tip of the riding crop. Then he slowly, erotically pushes the leather tool past the boy’s lips and into his mouth, forcing him to suck on the thing. The child’s cheeks are flushed as the man teasingly slides the riding crop in and out of the wet orifice.
Slipping it slowly, tortuously out again, the man takes a step back and turns, heading once again towards the offstage wings, this time the side by the boy’s head. To Aaron’s amazement, he emerges once again with a second donkey.
This one is darker, more of a chocolatey brown, but is otherwise identical to the first animal. As with its predecessor, it trots nonchalantly onto the stage when the man tugs its reins. As with its predecessor, it is also sporting a burgeoning erection.
The cowboy leads the second donkey into a mirror image position as the first, leading it up to the front of the boy and gesturing it to mount up onto the poles as the first one had. It heeds its master, placing itself in position with its cock lifted up right in front of the boy’s face.
Once again the boy reaches for the animal’s phallus, running his hands along the creature’s shaft. The donkey shudders, and its penis begins to swell and engorge, quickly doubling in length until it too is well over a foot long. As with the first one, the man holds up the animal’s erect cock to display the massive phallus for the audience, showing off the soon-to-be implement of the boy’s debauchery.
He puts a hand on the boy’s chin to force his mouth open, and then fits the two puzzle pieces together, guiding the animal’s erection into the boy’s mouth and down his throat. Aaron can see the child struggle to swallow it down as it continues to push relentlessly into him, embedding itself in his young and flexible body until he’s choking on it.
The animal’s cock is far too long for the boy to swallow the entire thing, skilled though he apparently is. The donkey stops when it has impaled him about halfway and waits patiently. The boy’s throat visibly shudders as he tries to swallow around the animal’s cock, and his hands come up to the exposed part of the shaft to resume their massage, rubbing up and down the remainder of the phallus. The animal’s member is so large that the child requires both hands in order to fit around it.
This, then, becomes the bulk of the show. The audience watches, occasionally hollering or jeering, as the two donkeys fuck the little boy from either end, penetrating him in perfect symmetry. The donkey in the front eventually picks up the rhythm of the one in the back, if not the depth, and it becomes something like a coat of arms; two rampant equines facing one another in mirror image, with the unusual addition of a poor desperate child getting heartily railed between.
They fuck him for several long minutes. In the audience, a few men jerk themselves to completion watching the boy be subjugated to the lust of the animals on stage for their entertainment. The cowboy merely stands between the two creatures and smiles, stroking the boy’s imaginary mane the entire time in a parody of comfort as the animal cocks slide in and out, in and out, in and out of the child.
When the donkeys come, that in itself is a show. First the boy’s eyes widen and he begins to swallow in panicked gulps as the donkey in front of him climaxes into his mouth. He pulls back as quickly as he can, and the final half of the donkey’s orgasm hits him square in the face, coating his head and neck in what looks like a bucketful of semen. His mouth is then free to squeal as the donkey behind him thrusts forward and embeds all the way inside him, shuddering as it too unloads its semen within the child’s bowels.
The boy’s gut swells with the enormous deposit of semen, left with nowhere else to go around the thick stopper of the animal’s cock plugging up his hole. The equine comes and comes inside him, orgasming for far longer than Aaron would have expected. When the two animals are done hosing the boy with their sperm, they back off on their own, immediately losing interest as they wander off either side of the stage the way they came.
The cowboy smiles and gestures at the boy. He places one hand on the bulge in the child’s lower torso, showing off how ripe and full the child is with semen. Then, with a cheeky wink, the man presses in.
A veritable fountain of cum streams out of the boy’s rear hole, enough to form an arc reminiscent of the tail that was inside him earlier. It splashes messily on the ground, and then continues to drip out of him and down the backs of his thighs as he pants and groans.
With a grin, the cowboy walks around behind the child—he's sporting a not ungenerous erection himself—lines himself up behind the boy, and slips inside the child’s distended and gaping hole. He fucks the child vigorously and with enthusiasm, taking off his hat and swinging it over his head in a circle in a parody of riding a horse. Each thrust causes a large, squelching splash of semen to spurt out around the invading phallus.
When the man comes he pulls out, splattering all over the child’s buttocks and lower back. As he does he gives a victorious and whooping, “Yee-haw!” and smacks the boy’s ass.
When he finishes spilling his semen over the child, he takes just a moment to catch his breath before approaching the front of the stage and giving a deep and exhausted bow. The audience cheers and whoops and whistles, applauding the performance with an overwhelming enthusiasm.
The man stands back up and spreads his arms, says something in the local tongue. Then he repeats it in English: “Thank you, friends, for joining! There is to be no touching of the boy, but if you like you may come on him before you leave!”
Men swarm the stage, at least those who have not already spent themselves in their seats. They generously heap additional helpings of semen onto the boy, showing their appreciation to him in a far more graphic fashion than mere applause.
Aaron takes his time getting up to the stage, pulling himself out of his pants and giving a few experimental tugs. He’s so hard, it definitely won’t take him long. It’s a wonder he didn’t come in his underwear already.
By the time he arrives, most of the other men have already finished. Aaron takes his time walking around the child, noting the exhausted, twitching crater that is the boy’s abused hole and admiring the pale splatters of jizz that coat him like zebra stripes.
Eventually he finds his way back around to the front of the boy and catches a momentary glimpse of the boy’s teary, haunted eyes before they are hurriedly closed as he coats the child’s face with his own orgasm.