The breadcrumb leads Kirstjen as Ms. Nielsen to the Moonrise Hotel in the Delmar Loop. Seated at the bar of the hotel’s Eclipse lounge, is Nine.
Nine is sipping on a margarita, as if waiting for Kirstjen. Nine has assumed the guise of Baroness von Goebbels.
Kirstjen has assumed the identity of Miss Longlegs, a fictious prostitute of her own invent. Her fake ID for Miss Longlegs is so convincing, it looks real. Yet, Baroness von Goebbels somehow sees through this elaborate ruse of Kirstjen’s.
Kirstjen sits down on the stool beside Baroness von Goebbels’.
Baroness von Goebbels smiles. A smile that stretches from ear-to-ear.
“You’ve finally found us.”
Kirstjen starts to say something, but suddenly finds herself unable to speak, for some unknown reason. Followed by a migraine.
The bartender places a margarita on the bar in front of Kirstjen. As if on cue, Baroness von Goebbels places a gloved hand on Kirstjen’s knee. A hand that slips up Kirstjen’s brief skirt and gropes the girl’s nethers.
“You’re not strapping. Do so. Now.”
Kirstjen obeys, and goes fluid. She’s now strapping Piranhas and Parts. The Parts bulging in her rubber panties. She has an erection and ejaculates.
And, so, the girl’s uglification proceeds in earnest.
“Novak.”
Kirstjen obeys. Her jeannie gives way to a crane. A crane and a novak are one in the same hairdo.
Predating the crane by a mere two years, the ‘60s hairdo worn by Marion Crane the lead character in Alfred Hitchcock’s Psycho (1960) as played by actress Janet Leigh. A novak is the ‘50’s hairdo worn by Gillian Holroyd the lead character in Richard Quine’s Bell, Book, and Candle (1958) as played by actress Kim Novak the preeminent rival of Marilyn Monroe. The hairdo is also known as the “Mills,” the mini-bouffant sported by actress Hayley Catherine Rose Vivien Mills (aka Hayley Mills) during her YA (young adult) years with Walt Disney studio during the mid-to-late 1960s—e.g., That Darn Cat! (1965)—when she was marketed as the “dowdy, chaste, teenage spinster.”
“Coke-bottle glasses, very thick ones, with trifocal lenses. Not progressives. Visible lines.”
Kirstjen obeys. She’s now wearing thick-readers. Her migraine is growing worse.
“Makeup, disfiguring.”
Kirstjen obeys. Plaintive make-up, in place of Bolshoi-bare, heavily applies itself to her face, neck, and cleavage.
Crane, thick-readers, and now plaintive make-up.
Resulting in a girl who looks hard, harsh, and well-used, and decades older than her thirty-something. Looks like a well-used fifty-something, at the very least.
Baroness von Goebbels palms a roofy into Kirstjen’s drink. No sleight of hand. The dosing is obvious.
“Now. Drink.”
Kirstjen obeys. She empties the glass of drugged liquor, and slumps in her chair within seconds of consuming it.
The girl’s migraine is now blinding.
Baroness von Goebbels motions over to the bartender.
“It appears that our companion has had too much to drink. We’ll need help carrying her back up to our room.”
Kirstjen blacks out.
Kirstjen comes to, “plugged” into the alcove of a Borg drone in Baroness von Goebbels’ hotel room. Baroness von Goebbels has checked out.
A cursed hybridized alcove? Shades of fetish nostalgia? Only time will tell, in this case.
The alcove is in the bedroom. Along with an unconscious KK lying on the floor who is clean, pristine, and golluum-free; no longer spent. Setting on top of the dresser is the Second Book.
There’s a Post-it note on the alcove indicating that the alcove is “special” and left in leu of payment for services rendered.
Kirstjen will call the High Council, the police, and the hotel’s front desk, in that order. Case closed.
In the interim. She’ll strip down and take a long hot bath.
Kirstjen is back to being Ms. Nielsen, herself, “Pretty Girl” Kirstjen. Ms. Hardcock has been erased, for good. And. No Ms. Hardcock means no Mx. Hardcock. Or. Does it, considering the backdoor Ms. Shaw represents?
Kirstjen. A realization and personification of an OCD fixation for DC Comics’ Wonder Woman. Big breasts and well-craved legs-for-days exploding out of a skimpy outfit with an impossibly tiny waist. Meeting a gold standard of the male, female, etc., gaze “in which your significance is reduced to your role as a sex object.”
Best that Kirstjen can remember, she was rebooted as Baroness von Goebbels’ robotgirl companion Frau Shaw aka Seven-of-Nine. A Seven doing “machine” business, the detail knowledge of which was compartmentalized into, and subsequently wiped from, the “mind” of her alter-ego Seven.
A hardcore sex addict, itself. Nine also dragged Kirstjen into the depths of its bottomless depravity, with the intent of drowning her, resulting in her total subjugation—the vilest rape of mind, body, and soul.
Domination, subjugation, ad nauseam. Dominatrix, submissive, ad nauseam. Teetotaler, dope fiend, ad nauseam. Sadism and masochism. Degradation and humiliation. Bondage and discipline. A captor who is usually a powerful much older woman, usually a bulldyke, who craves to possess her—e.g., 13, Moe, the Baroness, etc. Wash, rinse, repeat. She’s been here before. She’ll do it again. This cycle, this endless loop of depravity, never gets old for her.
Fads come and go. Eventually the girl gets bored with her captivity and moves onto some new enslavement which promises better kicks and subjugation by a more depraved owner.