A “sick Nazi orgy” or a “commonplace” sadomasochistic session? Those were the different interpretations which opposing lawyers put on the role-play enacted in the Chelsea flat rented by Max Mosley - although both sides agreed on the bare facts.

March 8: The dress rehearsal

Mosley and four of the women - D was away in Scotland - play out a prison scene, using uniforms bought from a fancy dress website and with Mosley and B, who brought her own modern day Luftwaffe jacket and hat, speaking in German.

The “prisoners” are subjected to beatings, verbal abuse and humiliation, including simulated rape.

Woman A says: “But we are the Aryan race, the blondes.”

Mosley is struck 88 times by a dominatrix.

March 28: The complete five-hour-long scenario

Mosley - or Mike as he is known to the women - takes part in a repeat of an event which A called “hugely sexy and fun”.

Woman E chains up a naked Mosley and he is subjected to an intimate medical examination by her and A, including an inspection for lice. There are also verbal insults and bottom-shaving.

A and E wear black jackets, white shirts and black skirts, and A has a spiral-bound notebook bearing the name Tim Barnes - Mosley’s “character”.

Women C and D take no active part and B has not arrived yet.

A birches Mosley and then canes him. Mosley needs a plaster on his bottom after the 21 blows draw blood.

After an hour-long break when they drink tea or wine and chat, B arrives and the second scenario begins.

Mosley, dressed in a shirt and his suit trousers, gives punishment with a strap to C, A and D - all dressed in stripy uniforms - while speaking German to fellow “prison guard” B who, like E, is dressed in military uniform.

After performing a variety of sexual acts upon each other, they relax with a drink before going their separate ways.

Explore UK News

• Crime News

• Education News

• Health News

• Science News

• Scotland News

Times Recommends

• Echo confirms brilliance of Danish astronomer
• Electric shock as sales of green cars reverse
• National Gallery defends latest show