Chapter 3

3rd Act.

The third act juxtaposes betrayals, deceptions and brutal deaths. I hope that discomfitures building the libretto will not apply to me as well.

The first notes of the act sound in the theater and the young woman comes back to glue her body on me. She does not wait to rub her body of me, with her ass on my belly. She captures the hand that was previously in her sex and smells my fingers.

I manage to free my left hand and bring it back to her skirt. I play first with the folds of the kilt, and I go soon under the fabric to caress her tights above the stockings. I don’t know whether she was wearing a g-string before or if she removed it since the end of the act. I can play now with the bare skin of her ass under the kilt.

I manage to hide my hand and her bare skin from the crowd around us. I would be glad to get rid of the skirt and have her bottomless in my hands. She probably feels that I expect to cross new boundaries and she firmly holds the waistband and the fasteners of the kilt. I grasp the message and come back to my investigation underneath the clothes.

I explore the details of the ass crack, the folds of the anus and the entrance of the vagina. She is naked under the kilt. I confirm a nice and smooth depilation except above the slit. I pull on the sparse hair remaining on her pubis before I go back playing with the clit under its hood. I alternate between back and front side. I leave my fingers at the entrance of the vagina and slowly caress the lips to collect her juices. When I have collected enough lubrication, I wander to the folds of the anus and take possession. I dare playing with her body with my two hands at the same time, my right hand in her sex while my left hand plays with her small hole.

It is time now for one of the most famous tenor parts of the repertoire. Cavaradossi sings about “dolci baci” and “languide carezze... “ at the very moment where my left hand plays with her sex, and my right hand with her anus. I rock and roll at the same time the knuckles of two fingers in her sex, and in her anus. The tip of my right thumb rubs slowly on her clitoris while the knuckles of my left middle finger soften her small back hole. I take charge of her senses and barely stop shy of her orgasm four or five times until Tosca arrives for the final duet. Cavaradossi now follows the soldiers for the last trap set up by Scarpia, and his execution.

I keep my fingers in her and she does not try to free herself. On the contrary. Whenever I slow down or stop for some seconds, she tries to meet me again and to revive my moves. I try to explore further between her cheeks and start caressing the perinea. To ensure my catch, I plant my thumb in her ass. She seems to like how I treat her nether regions and she is not shy about the intrusion. I know enough about the libretto to know that there is not much time left before the end. I assure my grip in her ass and maintain her body available for me. I resume my actions on her clitoris and on her nether lips after the final duet between Tosca and her lover.

My action on her clitoris is now more precise, stronger. I feel the young woman breath faster. I cannot guess whether she will keep some discretion but I don’t care much. I focus on coordinating the climbing to the orgasm with the music. It is difficult. The music now alternates between the motives of love and death.

Cavaradossi dies. Tosca screams, and commits suicide.

By chance, the young woman explodes in her orgasm at the very same time where the orchestra sounds fortissimo the theme of the aria “E lucevan le stelle“. Her orgasm is masked by the applause.

Lights come back in the theater. The young woman has already left and the doors close behind her. Several persons look at me with insistence and disapproval. I try to have a decent posture but I understand that, for some people in the audience, the show was also in the audience.