Cara Soft, Tomb Reaver (Modern Day)

It’s been a two days’ journey into the jungle and Cara is so close to the lost temple of Sado Maso she can taste it in the hot, humid air. The glorified trail that passes as the local road stops with an abrupt dead end, so she parks her motorbike and hides it under the cover of branches. Rico, the proprietor at the last gas station had stared overlong at her ass in shorts on her bike, and she doesn’t need her ride going missing later.

She pulls out her machete and sets off overland. The machete is old, a gift from her late mentor, van Gogh. The heat is stifling. The air is so heavy the bugs aren’t flying, and she’s grateful not to have any literal bloodsuckers about. Her tanktop is soon soaked, and she can feel sweat run down every bit of her exposed flesh. Cara makes quick progress. She’s memorized the maps and knows the jungle around the temple like her fingers know the folds of her pussy.

The temple is said to be filled with the legendary wealth of the local people and dedicated to the cruel god Sado Maso. Only its remoteness and fiendish traps have kept away tomb reavers like Cara, but she would soon change that. The finely wrought amulets and holy idols belong in the vault at Cara’s mansion, not forgotten in some jungle.

She is surprised to find a camp ahead of her. Someone else is on the trail of the lost temple of Sado Maso. She stays still and spies until she sees the hateful face of Cletus. Cletus is a heavy that works for her rival tomb reaver, Jaqueline Atlantis. He’s eating a cold lunch with a couple goons. Unseen, Cara takes a sip from her flask and disappears back into the jungle. She will have to circle about and leave Cletus behind. He’s not going to get his hands on any priceless assets today.

The roundabout route leads to a discovery as she stumbles on the gate to the temple. It’s not where she expected the temple, but that means it won’t be where Cletus would expect it either. She is hours ahead. She puts down some exploding paint traps behind as a gift for Cletus, and then puzzles at the great gate to the temple.

The sophisticated carvings around the frame of the gate focus on creation, mammaries, and milk. Etchings and carvings of breasts are everywhere on the finely chiseled stone. She runs her hands over the ancient carvings, looking for a pattern. In the middle of the gate she finds writing in the ancient local language. After some work copying it into her notebook and recalling her archaeolinguistics, she decyphers the phrase. The gates say “Press breasts and enter. Tits or GTFO.”

Below the message, around her waist height, the is a figure eight opening. She brushes away the spiderwebs. The darkness beckons her, inviting her to press her bare breasts into the gate of the temple of the cruel god Sado Maso. She hesitates, thinking of an alternate way to get in, but then there’s a crunch of branches behind her like something big is moving through the jungle.

Comment a suggestion from the voice for Cara.