The dress is flows lightly past her limbs. She is wearing, of course, nothing underneath. She dances, him watching her, watching over her, as if there were no one in the room. It is a strange mixture of ballet and modern dance, all of her own design, all of her own doing. Bach is playing in the background, and she dances softly, gracefully, lost in herself, wanting the moment to never end and knowing that it must, as all moments must come to an end. It is the thing about her that makes her special to him, the fact that she truly hates for the moment, the fact, the time that is, to end. She is a dancer, a dancer of life, and an artist in the human character, a subtle sorceress of the human mind.
And so she dances, weaving her web of kindness, her web of gentle deception that tells him that he is the one for her, although it is true. You see, she does not want to believe it, and therefore it cannot be true in her mind. And there the thing stays.
She finally notices she is not alone, having been lost in her dance, takes notice that he is in the room. She looks at him in a wondering and a questioning look. Does he wish her to kneel before him? Does he wish her in chains tonight? Or would he rather have the ropes upon which she sleeps in remembrance of him?
He simply hands her the Ben-Wa. She understands he wishes her to continue to dance for him, wishes to know she is feeling the rolling motion, the constant low-level stimulation that makes and keeps her wet, that makes her ready and willing for him. Not the only way she is made ready, but one way.
The room is lit only by fire, the lamps on the wall and the flickering lances of light from the fireplace dancing across her lush and curvaceous figure.
She changes the music to one of a Celtic rhythm, ancient beat, dancing to the rhythmic strains of the harp, feeling the motion within, and the glow begins, the stirrings begin.
She dances around the room in the lilting gait of the dances of the Beltane. The heat stirs more strongly within her. Her full hips move almost of their own accord, swinging gracefully back and forth to the music, to him.
He watches the swing of her hips and the swing of her breasts beneath the thin fabric. He motions her closer to him, and she comes forward, still swinging her hips in a slow motion, rocking her pelvis slowly, very slowly, drawing out the feeling, making the most of the time and the opportunity.
He takes hold of the thin material that is the front of her gown and slowly tears it, right down the middle. His hands grip and pull the material apart, slowly, deliberately, and the sound of the ripping cloth opens the sluice-gates of the wetness between her legs, at her center, in the depths of her belly. She feels her inner core grow hot, and melting, the flow begins between her legs. She feels the cool air on and between her breasts, and then on her nipples as he draws the thin fabric back. He draws the material directly over her nipples and they grow hard and full of blood.
He motions for her to touch herself, and she does so, gratefully. He allows her to continue just long enough for her fire to start burning on the surface and motions for her to stop. It is a difficult thing to do, to stop, but she does it, and trembles in front of him, nipples engorged, fingers wet with her own juices, sweet-smelling and glistening in the firelight.
He motions to the front of the silk dressing gown that he wears. She moves to him and opening the tie and folding the material back from him, she finds, as she expected and as she wanted, his erection, hard, smooth, and hot to the touch. The skin is blood-gorged, delicate, and pulled tight across the head, containing the hardness that her dancing and her response to him has caused. She smiles, because it is not only she that is slave to him and her own desires it is him that is also a slave to the magic that they have between them.
The first word of command, "Make love to me with your tongue, make it a true caress, let me feel your love in it, let there be magic in your touch and in the wetness of your mouth. Take me in your mouth, my sweet, as if your very life depended upon it."
She complies with pleasure and takes him deep, as far into her throat as she can manage. She licks him, caresses him, grasps him and twists her mouth upon his cock, hot and hard, now slick with the clear juices of her mouth.
"I have a gift for you, my sweet," he said. "No, don't stop, I'll tell you about it. Ahh, that's it. I have had made for you, a mask to wear in these little adventures of ours. It is similar to the masks of the Mardi Gras and serves somewhat the same purpose, to allow the wearer to assume any demeanor that they so choose without fear of discovery." He stroked her cheek and reached down to pinch her nipple. A small, muffled cry of painful pleasure escaped her as she caressed him with her mouth. "Anonymity is a wonderful thing, my dear. It allows the depravity of your soul to shine through. You can," he said as he rose from the chair, she following him with her mouth, "be and do anything, so long as you are wearing the mask of magic."
He gently drew her head from his cock and commanded her to stay just as she was. Her eyes were closed, her mouth slightly open, red and wet from loving him, his cock, hands slightly tensed, the fires glowing hot within her, building within.
He went away for a moment, but returned with a porcelain mask. It was black and white, with a tear painted upon one cheek, and silk ribbon to fasten it on. He commands her to tilt her head back a little, and places the mask upon her face.
She is aware of the weight, a reminder of its' presence, a reminder that she is wearing emotional armor, a shield behind which her body can act out anything that she chose. As he tied the ribbons in the back of her head, it was both secure and a little frightening, the possibilities.
He lifted her gown from behind and felt her lips below. She was wet and becoming wetter, the flow was there.