Backing Track Instructions for Long Afternoon On The Sybian

Backing track instructions:

This is a general outline of what I’m envisioning the progression would be for a background track on this piece.

I don’t know if I am writing too little or too much here and I apologize if it gets weird.
I would consider these just really generalized instructions for someone wanting to try to make the backing track either through performance, method acting or with the help of another person using a remotely controlled device (in which case, they likely would use this supplemental as a guide as they listened to your performance or read the script themselves.)

I know this is complicated, but I just like trying new things as a script writer and yeah…

But the good news is, I think that if you recorded this track, you could likely also release it as a different wordless audio, so there is that.
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OK, you are going to need something to muffle your voice, since the character in-piece has a ballgag in.

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Now the major points of escalation (more character stimulation) are at the following lines.

If during the reading you want to pause for a bit to allow yourself more time for the sounds at these points, that would not be a bad thing.
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The first point I think things would pick up would be at line 30:

“When we started, you had it going so slow that it was just a fun little distraction… but now you’ve made it go faster and it’s so hard to ignore now.”

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There is a gasp in a bit that accompanies line 36:

“So I don’t notice you move until I suddenly gasp as you slide your fingers”

which moves into a nipple bite after about 5-10 seconds or so.

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The stimulation increases again at line 56:

“And I think from my moaning, you could tell that too… …so you turn it up higher still and the effect is instant.“

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There is a sob and then mild choking sounds at line 62:

“I make a noise like a sob and almost immediately, I can feel your fingers stroking between my breasts and then, as soon as I inhale, they’re wrapped around my throat, something that feels so comforting now.”

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Not so much increased stimulation as something akin to edging/direct stimulation at the following point (line 66):

“I can feel an orgasm coming, so I try to shift my weight backwards so I’m not pressing onto the nubs as hard, but as I do, you put your hands on my shoulders and push me forwards so I have to take everything the sybian is dishing out.”

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This is going to lead to an orgasm within a few lines at line 74:

“And the thought of that… makes me come almost immediately.”

Which should likely have a pause in the script performance to allow the sounds of that to be heard.

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Following this is some general play which leads to possibly lower stimulation for a line or so starting at line 82:

“But you’re also so good at keeping me on the edge.”

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This is going to eventually lead into the final orgasm(s) of the piece, which I think the run-up for should be about line 94:

“I can’t see, and all I can hear is myself and the machine… so everything I’m experiencing seems almost pure now.”

Again, a pause so the listener can hear this part of the performance would be good.
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And after the orgasm, it is going to be heavy breathing and some sobbing and then sounds of you being comforted.