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”“Well, do I get a hug?” She asked? Without hesitation I moved towards her. Embracing her full body in my arms. I could have stayed in this parking lot, in her arms for hours. Feeling her breasts push against me, her full thighs rub against my legs. Yet I broke the embrace, embarrassed as my cock began to throb and grow with the feeling of her body. I hoped she didn’t feel it. I didn’t want her to think I was some pervert from the net.“Follow me back to my place, I’ve made us dinner and I have a nice bottle of wine open and breathing.” She said stepping into her car. I followed her, she was right, there was no way I could have found her house by myself. He house was an old farm house in the middle of no where. Rustic and warm. We stepped inside and she invited me to sit down at the table. She started dishing up dinner.“I hope you like pot roast.” She said as she laid two dishes on the table. It could have been a bowl of. I wondered if he was skittish about being outside after his experience with the bear.It'd be another off day for me. No more Marullos, last night had been the final Rigoletto. We were finishing off the season with Turandot, and I'd be singing a nameless character that the libretto just calls "a mandarin." I did a lot of roles that didn't have names, mainly because they weren't important enough: "a messenger," "a soldier," "a doctor," like that. Even Marullo would have been just "a courtier" except the lead needs a name to call him in the second and third acts. It was the curse of the comprimario. The ones who had names were the leads, but the only time I sang those was in the deepest boonies where I was the best the cash-strapped folks could afford, and they paid so poorly I was better off financially sticking to Marullos.Actually, in Turandot my role wasn't a character at all, just a plot convenience. He comes out at the beginning of Act I to lay out what film director Alfred.
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