Frau Irmgard Huber, a retiree, was the day matron at an ultra-exclusive girl’s boarding school in Switzerland, for well over a century. Retired for nearly a decade, she still obsesses about her job as a cleaning lady. A job she had to vacate because of scandal.
Kirstjen meets Frau Huber in the Eclipse lounge. Frau Huber is seated in one of the booths along the back wall.
Every bit the apex bulldyke that Baroness von Goebbels is. For all intents and purposes, Frau Huber is a non-machine version of Baroness von Goebbels.
Frau Huber’s instructions were very specific about how Kirstjen was to look and act. As such. Kirstjen is not “Pretty Girl” Kirstjen. She’s a hard, fluid Barbara I Dream of Jeannie Eden’s Stella Johnson channeling Elvira, Mistress of the Dark, making Netflix home for Spooky Season, channeling The Magicians’ Alice Quinn shoved into a Mildred Huff by thick-readers and plaintive make-up heavily-applied to her face, neck, and cleavage–i.e., the bleach-blonde homeliness of horseface Georgia Republican Ms. Marjorie Taylor Greene (MTG); “a bleach blonde with a badass showgirl body,” walking stilted, as if she’s butch, strapping Piranhas and Parts, and having an MTG “bleach-blonde, bad-built, butch body” moment.
“How much?”
Of course. Kirstjen isn’t a prostitute. But. For the duration of their swing, Kirstjen will pretend to be one, namely the fictious Miss Longlegs.
Kirstjen’s parry is the usual question a real hooker would ask to protect herself against Frau Huber being an undercover policewoman.
“Are you a cop?”
“No.”
Kirstjen now gives her response to Frau Huber’s original question.
“Twenty.”
“For the entire evening?”
“Yes.”
“Around the world?”
“Yes.”
“Silence is consent. Speak only when spoken to. Responses are succinct, robotic monotones. Blank expression. Vacant eyes. Submissive.”
Kirstjen’s response is silence. Blank expression. Vacant eyes. Submissive. A robot. Meat, not metal, though. A meat puppet.
Frau Huber pays Kirstjen the indicated price.
“I’m your dominatrix,” Frau Huber dictates.
Again. Kirstjen’s response is silence. Blank expression. Vacant eyes. Submissive. A robot. Meat, not metal, though. A meat puppet.
So far, it’s been typical role-playing for Kirstjen: “Eric Stanton: Bondage Enthusiasts Bound in Leather.”
Kirstjen is a fugly robotic Miss Longlegs who is enslaved, as a rule, by mean vile sexually-repressed scary-looking much-older controlling fugly lesbians who have no use for pretty girls.
But, there is this one gross Troll-ish Furie shipper of hers, a widow and retired nurse, Carol Miller, who, for the entirety of their dates, will flip-flop between being dominant and being submissive.
As a living embodiment of a “grocery store auntie.” Mrs. Miller is such an obsessive and aggressive submissive that it’s smothering, and thus bordering on Mrs. Miller enslaving Kirstjen.
With her numerous engraved silver nose rings and elaborate arcane tattoos, Mrs. Miller resembles a seventy-something version of Kotaku’s Alyssa Mercante (Frosk 2.0).
Ratty tattoos that ink most of her body. Figuratively speaking, a suit of ink.
A corrupted version of a Third-Eye Ajna Chakra tattoo scripted in the center of her forehead.
Occasionally, Mrs. Miller mentions a much-older, much more OCD, grosser, even more Troll-ish sister named Barbara Butch. Mrs. Miller clams up whenever Kirstjen presses Mrs. Miller for further details about said sister. Nonetheless, Kirstjen gathers that this mystery sister has a full-blown Sewer Troll fixation, and, as such, identifies as a Sewer Troll and has been described by detractors as a “fat cow sexless cat lady cheetah eating perv whore.”
As a rule, the girl’s enslavers dress the same staid severe defeminizing way.
Stuck repeating a sexplay loop she craves to no end, with different “partners” who are the same abusive type, including them walking stilted, strapping butch (i.e., strapping Piranhas and Parts), and having an MTG “bleach-blonde, bad-built, butch body” moment. She hasn’t swung with a man in a coon’s age. No male shippers. Just apex bulldykes as her “recreational” drug of choice.
“Mills.”
As “requested,” Kirstjen’s jeannie is traded in for a crane. Before the fun really begins, her enslaver, whoever they may be, AWAYS demands that particular hairdo swap. Usually, her enslaver wants her to start off pretty and then slowly progressively uglify herself over the course of their “date.” In contrast, Frau Huber was empathic about Kirstjen starting off ugly from the get-go followed by that slow progressive further uglification.
Kirstjen easily passes for a well-used fifty-something junkie hooker who pays for her narcotics habit by hooking—i.e., uglification as a result of age-ravaging eyeglasses and make-up.
As sleazy as porn. These dates of hers with super dykes are arranged via Miss Longlegs’ personal ad in the local Riverfront Times newspaper.
As the evening progresses, Frau Huber becomes increasingly possessive. Over the top and borderline violent with her OCD. By the end of the date, it’s obvious that Frau Huber has had a complete psychotic breakdown. Nothing to be taken lightly. But. Frau Huber fails to make the expected scene.
After their one night stand, they part company, uneventfully. A dowdy Kirstjen moves on to dating other frumpy women.