Innocence Lost Ch 02
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Innocence Lost Ch. 11 free porn video
In Which Mouse appreciates Innocence and her thespian ambitions in equal measure, her performances help Kedi otherwise wedded to Chastity, but she affirms greater affection for the virtues of Innocence than those of Chastity.
Mouse was passionately in love with Innocence, with a passion that burst through her tee-shirt and swelled her breasts. She could hardly bear to be parted a moment from her side. She loved putting Innocence’s gorgeous penis deep inside her mouth and allowing it to brush against her tonsils. She loved holding it in her hand and feeling it gradually grow from a tiny little acorn to a giant oak in less than a minute. She loved having it deep inside her cunt, while holding tightly onto the frame of the bed, and pushing as hard as she could against it to force it to go as far inside as it possibly could.
She missed the departure of Zipper with Chastity. She’d always enjoyed sex with children. There was something about the slenderness of their hips, the delicacy of their limbs, the androgynous flatness of the chests and the hairlessness of their crotches that made her feel very hot. She just wanted to engulf her face in their crotches. But making love with Innocence was a full-time occupation. How could someone with such a perfect female body have such a perfect penis and at the same time be such a passionate lover? It really exhausted her!
She hoped it didn’t affect her work as an actress. In rehearsals, she’d have to make love two or three times an hour and sometimes in extremely awkward positions. It was quite irritating sometimes that she’d have to accept frequent coitus interruptus as the director would demand that she and whoever she was with (and there were often more than one) should repeat a particular routine in a different way. ‘I don’t think it’s totally appropriate for you to bugger Mouse in the first act. It may be appropriate in the last scene, but I think no anal yet.’ Or he might say: ‘A little less crotch and more oral, Mouse, lovie!’ Or ‘There’s something wrong with this scene. Perhaps if you did it doggy style. And you’d better keep that scarf out of the way. Fling it off if you must!’
After all the rehearsals and when the play was on stage though, Mouse didn’t seem to notice the strain of frequent sex at all. She might already be pretty exhausted from an hour or two of sex with Innocence when she arrived at the theatre. She may still have trickles of semen down her legs coming out of her vagina at irregular intervals. But once she was in her role, she was totally lost in her character. All she thought about was fitting her sexual behaviour to her part and her lines.
Recently Mouse had mostly been working on sex farces, which involved rather more sexual partners than in most plays compensated by rather shorter sessions. Most sex farces like Keep Your Trousers Up, Wave Your Willy, More Sex Please and Oh Bangkok! started with a sex scene, followed by an embarrassment where partners revealed their sexual jealousy, then a sequence of partner-swapping scenes and then usually concluding with an orgy involving all the cast. Mouse had built up a good reputation, and often took the lead female role, – or one of the several lead roles. Sometimes the role demanded lesbianism and it was soon recognised that Mouse had a particular appetite and aptitude for these scenes. This only increased her bankable value on most productions.
Early in her career, however, her penchant for children had almost terminated it. It was one thing to masturbate children on stage – this was recognised as being quite healthy and educational for children. It was another thing to take up a relationship with the leading child star especially if it was the director’s child. However Mouse’s career was saved by her volunteering to share the child with the director and by accepting a rather unpopular role in a production of Titus Andronicus which required that she get beaten quite brutally on stage every night. The bruises on her face and the whip-lashes and blood on her back were, however, she thought, an acceptable penalty to pay for continuing her thespian ambitions.
When Mouse was on stage she would sometimes look out at the audience at the men and women who were transfixed by her love- making. She enjoyed the sounds of the audiences gasps as she put an actor’s erect penis all the way down her throat. She loved pulling out things like letters, documents or weapons from inside her vagina when the role demanded it and watching the audience’s eyes widen as it emerged. ‘Here are the documents which the king demanded!’ she would announce when the plastic bag containing them was only halfway out.
Not all the parts gave her much pleasure though. A production of The Toilet Lovers, a farce about people with excretion fixations involved her peeing and shitting on stage and then pretending to eat the turds of a fellow actor as he also shat on stage. Much of this was actually faked, as neither she nor anyone else had the required bowel control (nor the stomach for the smell and taste of it), but she was so thoroughly into the role that she could almost imagine the disgustingness of it.
She was currently appearing in a production of Henry IV, where she played a whore of hitherto unsuspected significance in the lives of not only the future Henry V but of Falstaff. Mouse loved wearing the costume of this whore, which was apparently quite authentic fourteenth century, being nothing at all except a cloak to cover her in the streets. The costume designer had apparently done a lot of research into the subject and had come to the conclusion that fourteenth century whores lived in a world which so totally accepted nudity that whores had no choice but to remain naked all the time to attract any custom. However she had to wear very thick make-up to make her face totally white and her eyebrows were shaved off which gave her a quite startled aspect.
This looked especially strange when she was not at work. The fashion now had moved to quite long dresses with a slit right up from the ankle to the elastic waist which was hoisted just below the breasts which were meant to be as full and voluptuous and unrestricted as possible. The only jewelry she wore was an ethnic bracelet, and she wore platform shoes that made her seem much taller than she was. She was proud of her long hair, despite the pain it sometimes caused her when she accidentally sat on it. This contrasted quite dramatically with Innocence’s hair which was now straight and reached just over her collar. But then after being bald, Innocence had a long way to go until her hair was as long as it had been when Mouse first met her.
Innocence had become quite a frequent theatre-goer, – principally of course just to see Mouse. As Mouse’s recognised girlfriend, she didn’t have to pay the entrance fee and, simply sat in whichever seats were still unsold or, if they were all sold, she’d sit in the aisle in her long dress and her own beautiful breasts on display. Mouse loved catching a glimpse of Innocence in the audience and loved to acknowledge her encouraging smiles or her occasional waves.
The most demanding aspect of her performance in Henry IV was having to make love not once but three times to Falstaff. Mouse didn’t mind so much making love to Prince Hal. The actor playing him was quite good and considerate at sex. He knew how sore a girl’s cunt could get and was able to make allowances for it. He also appreciated how difficult it could sometimes be to utter your lines while you were taking deep intakes of breath in your love-making. The actor playing Falstaff wasn’t so considerate, even in the scene where Prince Hal and Falstaff joined together in an orgy with all the other Cheapside characters. It was probably inevitable that an actor chosen to play a fat, slovenly, boastful and cowardly character such as Falstaff should have some of the characteristics himself. Mouse didn’t appreciate having a mouthful of his bad breath, gin-smell and cigar-smoke as Falstaff’s to
ngue went deep inside her mouth. She didn’t like the smell of his farts which always erupted just before he was about to ejaculate. And she especially didn’t like trying to gasp out her lines while his bulk collapsed on her substantially smaller body.
Innocence was aware of all this, and showered Mouse with kisses after the performance after she’d taken her make-up off and wiped off the semen from her crotch and mouth with a handkerchief. After the performance, the two would often rush off to a night-club not so much for the dancing and drugs, but more as a way for Mouse to work off her discomfort. She was definitely looking forward to the end of the run for Henry IV. The next play to be performed, however, was very likely going to be The Tempest. She hoped that the role of Caliban wouldn’t be played by the same character as was playing Falstaff. Even if he was though, the sex scene with Caliban came very early in the play and was thankfully rather brief. Most of the time, the naked Miranda made love with only a Ferdinand shipwrecked naked on the island, although the naked Ariel indulged in a bit of oral sex with her. The Tempest was famous as a play of almost total nudity, where only Prospero seemed capable of retaining more than the most tenuous grip on clothing.
Mouse was quite pleased with her body, and had no reservations about displaying it on stage. However, her full breasts which were sometimes an asset, – especially for the viewing advantage of people in the rear seats – did mean that certain roles that demanded actresses of fairly flat breasts were forever denied her, such as Peter Pan, Prince Charming and Joan of Arc.
Mouse wasn’t the only performer sharing the flat with Innocence and her sister. Kedi also made a living on stage, but in a very different capacity to Mouse. Her performances were, in any case, on a regular work routine according to a peculiar shift rota with some opportunity for overtime. She was working at a sex show where for half an hour every two hours or so she would take the stage to perform her act which was of her own design and varied only according to the time of day or the day of the week. She no longer needed to make a living by masturbating in the street – and indeed more liberal employment laws regarding ethnic employment now meant that she could actually earn more through regular employment than she’d used to earn from a day on the street.
Mouse and Innocence often went out with Chastity to see Kedi’s act at the Teddy Bear, – partly to keep Chastity company but partly because as friends of one of the star turns the girls usually got all their drinks free. The atmosphere of the Teddy Bear was totally different from the Queen Elizabeth Theatre. For a start, most people were only partly engaged in the performance. Many would continue their conversations irrespective of what was happening on stage – a rudeness that Mouse could never have borne herself. There you are, baring your soul and usually a great deal more, and being treated like wallpaper! The other main difference is that instead of being lined up in rows with all eyes directed towards the stage, the seating here was around tables where the clients would be drinking wine or beer and sometimes eating, and the music continued almost constantly. Only occasionally did an act require very much in the way of dialogue or monologue, and generally the music was only broken by the compere – one of a series of fat men with very loud suits and greasy long hair – to announce the next act.
‘From the darkest Jungles! From the lands of Cannibals, Tigers and Giraffes! Away from the Steaming Cauldrons and the Teeming Starvation Camps! We have our very own Jungle Bunny! Our own Royal Coon! Princess Pussy!’
Kedi’s stage title was indeed Princess Pussy, and she was in the very privileged position of being the only black artiste in a club where the others were either white or oriental. Generally, black sex performers had to work at the seedier clubs like the Black Cock or the Red Windmill or the Deep Throat Kitten. In those places, as Mouse had found out, all the acts were black (although not many of the audience were) and the acts often included potential or pretend self-mutilation. The girls and the men in those establishments were required to perform to a high degree of sexual humiliation, and men in the audience were often invited to come on stage to fuck the performers or even to piss on them. Princess Pussy’s act however was nothing as coarse as that.
As an actress, Mouse had a great deal of respect for Kedi’s act. She knew how difficult it was to put so many such large things inside her cunt and to produce them with the correct theatrical relish. She also appreciated the problems of keeping some of them in there after her Chocolate Sandwich routine, which meant being fucked by two white men at once, and still have them ready to pull out afterwards. Half an hour is a long time to continue a sex act, and to provide sufficient variety to keep the act going. And also providing enough interest after the other acts which had already sated most of the audience’s appetite for watching fucking, masturbating, buggery, oral sex or audience participation. Kedi didn’t even, as some turns did, enliven her act with a monologue to focus interest more fully.
The art of Kedi’s act, Mouse was sure, was to broadcast her broad grin at all stages which somehow made it all seem much more enjoyable than it might have been. She kept her grin going even after inserting her finger all the way up her anus, withdrawing it and licking it. Mouse knew from experience that this often didn’t taste at all nice however good your personal hygiene, and to do that so often required a stomach that Mouse wasn’t sure she had.
When Henry IV finished, the Queen Elizabeth Theatre was closed by the Local Council for a couple of weeks for redecoration, and in that time Mouse had an enforced unpaid holiday in which neither she nor anyone else could even begin rehearsals for the next production – which indeed was going to be The Tempest, and in which Mouse was definitely taking the role of Miranda. As expected the actor who played Falstaff was going to play Caliban in this production, but she was pleased to find that the one who’d played Prince Hal was going to take on the role of Ferdinand. But in the meantime, Mouse found herself in a kind of acting hiatus.
‘I feel so empty when I’m not performing!’ she complained while sitting in the living room with Kedi and Innocence.
‘If you are liking I’ll bring you into my act at the Teddy Bear,’ suggested Kedi. ‘Are you wanting that?’
Mouse wasn’t sure. Sex shows weren’t theatre, however much skill they involved. ‘Do you think I’d be any good at it.’
‘I have saw you many times at the theatre,’ Kedi remarked. ‘I am certain that you will be perfect.’
Mouse was still unconvinced, but she sat with Kedi and discussed what sort of things she could do that would be suitable for an act with Princess Pussy. They determined that they would have a double lesbian act, and would replace the Chocolate Sandwich routine with Mouse and Kedi using a double-ended dildo in each other’s cunt simultaneously. It would also rest Kedi’s anus which had got a bit painful after being penetrated at least four times every day. Mouse wasn’t too sure that she fancied having things pulled out of her cunt of quite the dimensions that Kedi did, but she was shown the techniques that were used to make it more comfortable. For instance, the yards of coloured ribbon that she pulled out early in her act was in fact stored in a matchbox, which she would surreptitiously replace with others during the act when the lights dimmed.
The two discussed the Saturday night Princess Pussy act which was an hour long and involved audience participation. Kedi demonstrated that the art was to stretch out the oral section with the members of the audience and then get them to come as quickly as possible inside them. With the two of them, it would be possible to restrict th
e numbers of guest participants to less than five in the half hour allocated.
Mouse was more nervous than she’d ever been on stage before when she appeared with Kedi as Princess Pussy and the Clitoris Cat. Her role involved her contrasting Kedi’s total nudity by dressing in a theatrical cat-mask with whiskers (also very much in contrast to her name) and putting a long furry tail deep inside her anus. Otherwise she wore nothing except a collar round her neck which Kedi attached to a chain.
Their act extended on Kedi’s own with a little twist relying on preserving the fantasy of Mouse being a cat. Part of this involved Kedi pulling at the tail that Mouse had rolled up in her arse which served to not only show that it was in her anus but illustrated it being of a rather improbable length. Mouse found herself genuinely enjoying the sex with Kedi. It was not often that stage sex gave her genuine pleasure, but Kedi was a friend and an occasional lover and this meant that she showed a tenderness that most of her co-stars were not really capable of. As the two of them leaned back on their shoulders with the double-ended dildo (all twenty-four inches of it!) deep inside the two of them, Mouse couldn’t help but look out at the table where Innocence and Chastity were sitting.
There they were, holding hands together and wishing the best for their respective lovers. Mouse smiled to herself, and then in a sudden spasm of real passion she arched herself onto Kedi, causing the dildo to pop out suddenly in the abrupt motion and showered Kedi with kisses. Kedi started and flashed an expression of real annoyance. Mouse smiled apologetically. She then returned to her previous position, forcing the dildo up her much moistened cunt and returned to her exertions with renewed vigour as if the unscripted action hadn’t happened at all. It didn’t do to be making love for yourself. As a professional, you had to think of the pleasure of the audience. Not your own pleasure. Even if the two did sometimes coexist. Mouse wasn’t sure what her real feelings were towards Chastity, although she’d often made love with her, along with everyone else. She was a much more demanding lover than the other two girls – certainly more so than Innocence – and not nearly as tender towards her. However, when Chastity mentioned an opportunity to make love with a child, Mouse’s interest perked up quite considerably. As a result of her experience with Zipper and his friends, Chastity had developed quite a passion for children – but opportunities didn’t really happen that often. However, at the moment she was working at a shop in a stately home and had struck up a friendship with one of the black cleaning-women – all the menial jobs were done by black women – who had a young eleven year old daughter. Chastity had been working on this woman, Fare, for long time and at long last she’d arranged to have an evening at her place with her daughter, Ayi.
Mouse was immediately suspicious. ‘How do you know there’ll be any sex?’
‘My relationship with Fare hasn’t been totally innocent.’
‘I mean with Ayi …’
‘Fare knows what to expect.’
‘But does Ayi?’ wondered Mouse, but Chastity wasn’t going to elaborate. She wasn’t a girl not to share her pleasures with her friends though, which was why she’d mentioned it to Mouse. Innocence apparently wasn’t too keen on the idea. ‘She’s a bit of a prude, really!’ Chastity commented. ‘I blame it on that bloody convent.’ Kedi had also declined, and gave no reason, but Mouse got the feeling that she somehow disapproved of Chastity’s scheming with her work-mates. Perhaps she felt, as Mouse did but didn’t really care, that in some way Fare and Ayi were being manipulated by Chastity.
Certainly, Chastity insisted that the two girls dress somewhat more conservatively than they would normally do. Rather more like she would dress at the Stately Home – covering both her crotch and breasts with a simple smock-like dress and wearing tidy little sandals. Fare’s home was in a poor quarter of the town, which was badly lit by street-lamps and with streets prominently littered with ancient and broken-down cars. Her own home was a flat in a quite narrow terrace, with a front door patched up by cardboard and no evidence of having been painted for a very long time. There was no response to the door-bell, and Mouse was feeling quite nervous as she stood on this strange door-step watching shadowy black figures go by. Despite her love and affection for Kedi, she still had a kind of prejudice for black people which was quite common throughout Wonderground, despite all the recent reforms. She still feared these foreboding black figures.
Cheryl
- 15.01.2023
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