Supergutta-percha

I met Masha (that's her real name, though she prefers the stage name Mi-Mi) at the circus, by chance. Our seats were next to each other, and after chatting a bit before the show, Masha asked me to switch seats because of the voluminous hairstyle of the woman sitting in front of her. How could I refuse a charming girl?

 — "Excuse me, could you please move to my seat? You're taller, at least by one row. I came to the show just for his act," Mi-Mi asked in a gentle voice.

 — "Of course. Which act is it?" I continued the conversation.

 — "Plastic acrobatics, or 'Rubber,' if that means anything to you."

I admit, I

have always been more interested in the women themselves than in what they did in the ring, but what I saw left me in a kind of stupor:

 — "So, what did you think?" she asked unexpectedly.

 — "So-so, I thought it would be better."

How could it be any better? I was already ready to worship the performer.

But without waiting for my question, or perhaps reading it in my eyes, Masha replied:

 — "The splits are weak, and the folds aren't complete either; overall, the flexibility is average."

 — "Where have you seen better? You probably couldn't do that yourself?"

 — "Maybe I could?"

 — "Oh, really?" I said, disbelieving.

In response, Mi-Mi, still sitting in her chair, arched her back just like the performer in the act and, smiling, said:

 — "Do you want me to show you what real contortion is?"

 — "Show me what?" I asked again.

 — "Well, splits, bridges, folds, and balances—they're all elements of contortion based on flexibility."

 — "Of course I want to," I said, now eager to get to know such an 'exotic' girl in my mind.

After the show, which didn't bring anything else astonishing, Masha and I sat in a cafe, and I learned a lot of interesting things about the girl and 'contortion.' Mi-Mi told me she had been doing flexibility and stretching since she was 5 years old, when she was first taken to ballet school, where stretching involved 3 hours a day of painful sensations. But ballet didn't work out, and at 18, she started attending an artistic gymnastics section. Every training session meant enormous physical strain on the muscles. The main focus in gymnastics, as in ballet, is on stretching. A child must achieve an oversplit, and it's accompanied by such pain that not everyone can endure it. But, overcoming all this, the girls continue to train, and after a while, stretching and gymnastics become an integral part of their lives. At 18, Mi-Mi became a Master of Sports, tried her hand at acrobatics, but she likes plasticity and yoga the most. Stretching is key in every discipline, and she dedicates 3–5 hours a day to it, plus mandatory stretching before bed under the guidance of her MOM (a former circus gymnast). It was she who achieved fantastic results from her daughter, disregarding the pain and the girl's pleas.

 — "I could even sleep while hanging in a split. Or watch a movie in a back fold with my own butt on my head," Masha recounted. "My mother still maintains good flexibility and can repeat almost all the elements of today's circus act. At first, overcoming the pain was unbearable, but gradually I started to enjoy feeling the pain and muscle tension; the painful sensations became pleasant, and I can no longer imagine my life without stretching. And if you don't practice regularly, tomorrow you won't be able to lift your leg above your navel, but for now..."

 — "This is for warmth, to warm up my legs faster," Mi-Mi said, slightly pulling up her leg warmers.

It was the first time I saw her like this—she was simply a 'goddess.'

 — "Remember, I promised to show you real stretching. Sit back and enjoy," Mi-Mi said.

In the middle of the room, she sat down, straightened her legs in front of her, and began to smoothly bend toward her toes. She sequentially and smoothly touched behind her knees with her fingers, then wrapped her hands around her feet, and finally lay completely on her legs, touching her face just above her ankles. When her arms straightened, I was surprised to see that her elbows were touching her pointed toes. Mi-Mi folded her arms behind her feet and, seeing my surprise, said:

 — "This is just the beginning."

A moment later, she widely spread her straightened legs, and I noticed a clearly visible dark crevice on her pubic area against the white background. She apparently saw it on my face but did nothing, only spread her legs even wider and began bending toward her legs, laying her chest on her legs and between them, stretching her arms forward in front of herself and toward her toes. Her legs spread wider and wider until they were finally in one line, perpendicular to her body lying on the floor. Smiling, she said:

 — "This is a side split, and now I'll do a front split."

The girl rose slightly and turned on her legs to the left side. Her legs were pressed tightly to the floor, one leg forward, the other back, toes pointed. She continued bending toward her flawless legs, transitioning from a front split on both legs to a side split, sliding on her thighs and buttocks without even helping her obedient body with her hands. From such hip movements, the crevice on her pubic area became more noticeable, as the thin fabric of her leotard was alternately swallowed and released by the girl's 'slit.'

In the next exercise, she moved her legs from a position in front of her, through a side split, to behind her, connecting them at the back, and back again. Seeing my amazement, she smiled and said:

 — "Any ballerina can do that," but she clearly enjoyed showing me both her body and her skill.

 — "Knowing how to do a split, you can do other exercises, like balances," Mi-Mi said.

The girl stood up, slowly lifted her left leg, bent at the knee, to her chest, and, holding her heel with her hand, began to smoothly straighten her leg, pulling it closer to her head. With her other hand, she wrapped her arm around her leg behind her head. Just as smoothly, she moved her leg further and further behind her head, finishing only when she could place her forearm on her leg, stretched taut like a string. She held this pose for about

a minute, the muscles in her legs tensed, Mi-Mi as if posing. And seeing how I was looking at her pubic area, she smiled and said:

 — "This is a standing front split balance, and now a back split balance."

Smoothly lowering her leg back into place, bending it at the knee backward, she wrapped her hands around her leg below the ankle, arched her back, and began to straighten her leg without letting go. Touching her head with her foot, she slowly leaned forward. Her legs tensed more and more, the tendons and ligaments on her thighs increasingly pushed aside the gusset, and it finally stretched between the mounds of her 'pussy' and her buttocks, exposing all her charms. It was impossible to look away from her prominent pubic mound, and combined with the exquisite exercises, it was SUPER. A tent immediately grew in my pants, and this didn't escape the girl's gaze. Posing, Mi-Mi smoothly lowered her leg to the floor.

 — "A split is when your legs are spread 180 degrees, but I can do more!" Mi-Mi whispered.

The girl placed the sole of her foot on the edge of the desk and, spreading her legs, sat in a split. Rocking in the split, she lowered herself further until her thigh touched the floor. After waiting a bit, she flipped into a side split. Her legs spread about 270 degrees, but that seemed too little for her, and she asked me to lift her leg from the floor and place it on a chair. So I did. Meanwhile, Mi-Mi tried to get a better look at the size of my 'tent.'

 — "This is how they develop flexibility in ballet, sometimes hanging for hours—it's called split punishment," Mi-Mi explained. Hanging in that position, she was magnificent.

I started to feel that it was pressing against the girl's throat, but she diligently took it deeper. Meanwhile, I admired the girl's back and buttocks, tense and arousing in the oversplit, and squeezed Masha's breasts under her leotard, which fit comfortably in my palms. It was amazing—my cock rubbed against her throat, and when her lips reached my stomach, Mi-Mi released it 2–3 cm and swallowed it again. Usually, girls get tired of giving a blowjob, but she selflessly continued to caress it and screw it into her throat, not stopping, with her eyes closed. And then I felt the sperm approaching my cock, wanting to burst out. I closed my eyes and immediately came, releasing a powerful stream of sperm right into her throat. But she didn't stop caressing me; she continued, now more gently, sucking it from all sides, and I groaned because I couldn't hold back from her caresses. Masha slowly jerked, drawing the cock out from the depths of her mouth, milking the last drops of sperm. Pulling it out, she smiled and pushed me toward the chair, saying:

 — "Rest, and I'll continue."

"Doesn't it hurt you?" I asked. "You won't break anything?"

Instead of answering, wanting to tease me even more, Mi-Mi slipped her hands under her leotard through the leg openings at her stomach and buttocks and pulled the already narrow strip of the gusset. Her clean-shaven 'pussy' was clearly on edge, her lips swollen and clearly waiting for caresses, but she was in no hurry. Lifting herself on her hands, she brought her legs together and sat on the floor, alternately bringing her legs behind her head, wrapped her arms around her waist, and began to slowly bend forward toward her buttocks. When only a few centimeters remained, Mi-Mi moved the gusset aside with her hand and licked herself between her legs several times. I was stunned and taken aback by this (in this position, you could fuck all 3 holes in a row—I thought). Bringing her right leg out from behind her head and straightening it on the floor, Masha straightened her left leg as well but kept it behind her head and, pressing her hands on her leg from above, pulled it further behind her back. Then, bending it at the knee, she placed the toes of her foot on the floor. Next, she asked me to help her. Doing everything as she said and afraid of hurting her, I brought her second leg behind her head as well and, pressing from above, lowered it behind her back. Now both legs were standing on the floor next to her body tied in a knot. The girl lowered her stomach onto the carpet, arched her back even more, and asked me to bring the soles of her feet together between her buttocks. I did so, but I think it was both painful and pleasurable for her; I had to hold her legs on her buttocks—they were jumping from the tension. We held the pose for about a minute, and all this time Masha was breathing heavily, closed her eyes, and smiled mysteriously, as if in ecstasy. Her legs turned red from the strain, her thighs pressing against her buttocks, forming a deep fold, and her buttocks were spread as wide as possible, simply beckoning with her slightly open anus. The narrow leotard could no longer cover anything, and I had the desire to insert my cock into her hole, but Mi-Mi, slipping a thin hand between her legs, managed to fill it first with a couple of fingers, then with her entire palm. A few movements of her wrist, and I understood that the girl came, filling her leotard with her own juices. Realizing what I wanted, Masha whispered:

 — "Not now, I can't stay tied up for that long yet. Help me untangle," the girl said, returning to a normal position. "Sorry I came without you, but you already did, and I hadn't yet. And then it's hard to resist temptation in such a pose. I learned to tie myself up like this as a child; first, my mom helped, but now there's no one—she's in Tashkent. I haven't bent like that in a long time; it's a great feeling. Was it hard for you to help me?" "It's yoga," Mi-Mi said, sitting in the lotus position. "Now I'll show you spinal flexibility. Can I do it without clothes? If you don't mind—it's more comfortable for me."

Masha stood up and slowly pulled off her leotard, which was wet at the bottom, revealing her gorgeous body.

 — "First, something simple—a BRIDGE."

Remaining in the same position, she lowered herself first onto her elbows, then onto her chest, pressing her breasts to the floor, causing them to spread slightly to the sides, giving stability to her body. Her legs came together and rose perpendicular to the floor; her body resembled a hook or a fold. The girl made a wave with her legs, and her buttocks lay on her head, leaving a wet mark on Mi-Mi's hair. Her legs spread into a maximum front split and touched the floor with the soles of her feet. After a minute, her legs came together above her head, bent at the knees, and were brought behind her arms, lightly touching the floor with her toes. Her knees moved forward, downward, and lay on the floor, bending her torso. Her perineum ended up at the same level as her face; her buttocks blocked the entire view, but from below, between her thighs, you could see her tongue quickly working between her labia. Her back seemed to break in half at the waist and flattened so much that it seemed there was nothing inside the girl, and her back and stomach connected, forming many folds, with all the bones of her skeleton visible on her stomach, especially the pubic bones. She held herself by the waist with her hands to avoid unraveling immediately. This lasted a few seconds. Then her body, spring-like, began to straighten until her legs straightened and her buttocks lay on her head again.

The girl spread her legs into a side split and, bracing with her hands, made her torso arch again, lowering her hips in front of her face, smoothly sliding her buttocks over her cheeks, passing her nose between them. After 5 seconds, Mi-Mi slowly straightened up, sitting in a split.

 — "So, what do you think?" Mi-Mi smiled, looking at my cock, which had risen again. "In which position shall we fuck?" the girl asked, transitioning from a split into a bridge.

All the movements were performed so smoothly and effortlessly, with a charming smile, that I asked Masha:

 — "Aren't you made of rubber?"

And I heard in response:

 — "Check for yourself."

Perhaps I'll describe a few more episodes from Mi-Mi's sex life later.