Carver 2: No One, Chapter 5
The Date: Part One, with Billy Hall
The English Kate. A modern-day anachronism. Beautiful tailoring on this otherwise drab vintage 1940s ladies suit. Medium weight 100% wool in a nice flecked gray tweed. No accents, whatsoever. Severe. Form fitting and figure flattering. Jacket features a nipped waist with princess seaming, oversized pockets at front, three-quarter-length sleeves, and a severe English cut [i.e., no daring plunging cleavage-baring neckline, in a word, no deep V-neck]. Original matched buttons at front, fully lined.
The matching pencil skirt, has a high fitting banded waist with metal side zipper. Slightly flared at the hem with panels at front and flat styled back. Hits a full four inches above-the-knee—a daring hemline that never fails to tease—that, not quite, but, almost legitimate miniskirt. Includes original matching belt.
In summation. Conservative, but not entirely un-fun.
For the last ten years. Once a month, on a Friday evening, Karen ventures out of the basement, gets cleaned up, dresses up like a normal human being, and she goes out to a local restaurant to dine with Billy Hall. They don’t eat people. They eat regular people food, on their date.
For that one fleeting moment. She becomes a semblance of the girl that she used to be. Clean and pristine. Flawless, lily-white perfection. But. It’s only a façade. That girl is gone, for good.
Karen. With that tortured face. Manicure. Pedicure. Those deep, clear, blue eyes. Perfect white teeth—i.e., cosmetically perfect, very straight, and very white. Etc. Etc. Etc.
A description of Karen’s get-up on her monthly date with Billy Hall?
In appearance, she represents the anti-feminine. Her tight obscene bun and strictured skirt suit, complemented by women’s black ballet flats, contribute to create an overall impression of a grotesquely deviant femininity, sexual repression, and the devious overtones of a dominatrix.
A beguiling perfume. The same becoming, natural-looking “no makeup” makeup worn by Russian ballerinas in Moscow’s world class Bolshoi Theatre—i.e., Bolshoi-bare. Fancy, retro-1950, French-cut underwear. A pearl necklace. They all represent expressions of … The so-called “spinster’s prerogative” that all spinsters seem to invoke in one way or the other, juxtaposing … Coke-bottle eyeglasses, with plain glass in the place of prescription lenses, and clear plastic frames—unbecoming spectacles known as sternns. A frumpy outfit. An equally dowdy hairdo—her golden platinum blonde hair, is parted down the center and yanked back and down into a small tight bun which rests on the nape of her neck—i.e., the staple hairdo of the British librarian since the 1930’s, known as a sternka. Wrist-length formal white gloves—i.e., prudz. A white cotton pussy-bow blouse that has been pressed and starched within an inch of its life—coarse weave—i.e., a corsa. A flecked gray tweed skirt suit of a style made popular in the 1940’s thru the early-to-mid 1960’s—its nipped waist jacket has a very conservative English cut and three-quarter-length sleeves, and its matching pencil skirt is above-the-knee-length with a high waist and comes with a matching belt—it’s known as a Kate in the UK. And, underneath that no-nonsense business suit and that plain white blouse. A lacy white underwire bullet bra, with a daring cleavage-baring French cut, resulting in the highly artificial look of pointed projectile breasts—breasts are pushed up, together, and straight out, and greatly compressed to look a full cup smaller. A lacy heavily boned flesh-colored panty brief with metal stays and a French-cut. Brassiere and panty briefs have old-fashioned hook-n-eye closure.
Of special note. The vintage panty briefs are tummy control briefs. Therefore they feature a high waist—riding just below the navel—for a smooth fit. Hidden easily by the complimentary high waist of a Kate’s tummy control pencil skirt.
This smooth 1950’s era panty brief, provides firm control to smooth the tummy, slim the hips, and shape and flatten the rear. With a second-skin fit, its breathable fabric lays flat for a sleeker, smoother silhouette—i.e., the panty briefs won’t show under the wearer’s clothes. The panty is cut higher on the leg so that the wearer can move freely, and has full rear coverage designed to prevent ride-up as it shapes, smooths, and flattens.
The way Karen looks on her monthly date with Billy Hall, no straight man would give her a second look and no straight woman would be upstaged by her. In other words, a frumpy cunt. In a word, spinster. But. This is clearly a case of people being unable to see the forest for the trees.
In spite of how off-putting she dresses in public, these days. Undressed, she’s still the same smoking hot blonde that she always was. That aspect of her has not changed one iota. Nor has her wanton bisexuality—i.e., this girl likes to fuck, and her door swings both ways. An oversexed Barbie Doll.
Undressed. Either this Karen, or the girl she used to be, is an absolute cock tease and cunt tickler—i.e., straight men and bent women crave her upon first laying eyes on her. With that hard, pretty face of hers. A ravishing face with a large ugly mouth that any porn queen would covet. Those clear, deep blue eyes. Thick, sexy, raspy, New Jersey accent. Long, board-straight blonde hair that’s the color of raw wheat. Full breasts. Long perfect legs. A flawless, lily-white complexion. Ravishing beauty in the eye candy tradition of Rachel Zoe, Miss Debra Gale Marshall, and, most especially, June Wilkinson.
Voluptuous would be an understatement when describing the incredibly-endowed June Wilkinson whose va-va-voom 43-22-37 contours filled out a 5’ 9” frame that rivaled Jayne Mansfield and Mamie Van Doren during the heyday of the pneumatic blonde bombshell.
The girl that she used to be. The titillating way that version of her dressed this ripe body of hers. She was a legit traffic stopper. She was also charming and smart, and witty. Beauty and brains, always a deadly combination for a woman.
On every one of their dates. Always seated at a nearby table. Billy Hall’s distant cousin, Ms. Helen Funches, is watching the couple, intently. Helen is originally from the old country, the German side of the family.
A naturalized citizen. Helen has lived in this country for over forty years. And, yet, she still has a thick German accent.
The date is really a two-parter. The first part is Karen’s very public outing with Billy Hall. The second half is very discreet and very private, and it’s spent with Helen at her abode—i.e., just Karen and Helen. That latter part of the date always ends up with a naked, drugged Karen strapped down to an electroshock table in the basement of Helen’s house.