Officially, Allison replaces Kirstjen, at Brakebills, as if Allison exists and Kirstjen NEVER existed. As such. Allison takes over Kirstjen’s classes and Kirstjen’s duties at the pawn shop. More tellingly, her name replaces Kirstjen’s on the faculty roster. Most tellingly, Allison becomes the fiancée of the insanely possessive Auntie. It’s Kirstjen who’s happily-married to Judi.
Kirstjen and Allison, same body, same person, just different “facings”. Therefore, the only difference is “accessories”. Who is the alias of whom?
Auntie and Allison, the definition of “friends with benefits”.
“Last Call”, it’s Friday evening. The weekend beckons.
As the ugly plain Allison, she just catches the last bus of the day going her way home. As usual, she sits in the very back. No one seems to give her a notice; except for an elderly Crone baglady who Allison has never seen before.
As the ugly plain Allison, she NEVER acknowledges Kirstjen’s existence and that includes NEVER uttering Kirstjen’s name, unless she has to.
As the ugly plain Allison, she takes her denial of Kirstjen a step too far and ALWAYS wipes the pretty girl Kirstjen from her mind entirely. In that way, she’s free to wallow in her ugliness and her plainness in spades without any restriction whatsoever.
It goes without saying, that ugly plain Allison, whatever version, is hard (hardlooking) in the vein of a dominatrix, in the same way that hard pretty Kirstjen, whatever version, is hard (hardlooking) in the vein of a dominatrix. Channeling movie starlets of the 1950s.
Judi is away on a business trip; therefore, she doesn’t have to appease Kirstjen’s husband by reverting to Kirstjen. She gets to keep Kirstjen in the closet, so to speak, for the time being.
Allison slides her hand down her skirt into her panties and masturbates. No one, except for the previously noted exception, seems to notice or care. After all, she’s ugly and plain, and hiding in plain sight.
But. There’s a wolf hiding amidst the sheep. He surreptitiously notices Allison, and it’s not personal, it’s just business. And. Even if it were personal, it would still be just business.
The baglady slides into the seat beside her.
“They call themselves Old Woman. They’ll blow you for ten,” the old lady whispers in Allison’s ear.
Alllison nods in agreement to the price.
Money exchanges hands.
Old Woman is not a sex worker, professionally. In point of fact, she hates selling herself; preferring to give it away. But. She’s strapped from cash. Panhandling didn’t net her enough today.
The old lady yanks down Allison’s skirt and panties, and goes down on her. Deep throat supreme; cock and balls get a thorough car washing. Well worth the price.
Afterwards, with Allison’s knickers and skirt yanked back up, the old lady again whispers into Allison’s ear: “We got a needle and a bottle to share.”
“Freebees?”
“Yea. They like you.”
The old woman’s breath is foul. Her snaggle teeth rotten. Tongue filthy. She’s wanton, and does not try to hide it. Features, nonexistent. Long dirty ragged finger and toe nails. Dirty, smelly, and infested, of course. Zero personal hygiene, of course. Feral, and therefore bestial, of course.
Old Woman is an alcoholic and a dope fiend. Allison’s vibe is that of someone who is likewise addicted, but, keeps it on the QT, unlike anonymous Old Woman or notoriously famous Paris-Michael Katherine Jackson. A victim of alcohol and drug abuse is the addict’s looks.
Old Woman slides her hand up Allison’s skirt and gropes the crotch of the girl’s rubber panties.
Allison: erection followed by ejaculation. She moans in her mouth.
Old Woman is strapping butch, too.
Old Woman slides her hand up her own skirt and gropes the crotch of her own rubber panties.
Old Woman: erection followed by ejaculation. She moans in her mouth.
Allison. There’s the usual deletion/replacement caveats afoot here. Namely? Bolshoi-bare in place of plaintive makeup. Yellow blonde jeannie in place of a geriatric blonde jeannie. Thin in place of Thinner. She does not look older or well-used: thirty-something has not given way to fifty-something, not the junkie spinster, but, she’s so plain she’s fugly, i.e., homely. Not strapping bone. Hers is not a woman’s deep, raspy, borderline masculine voice: not mangled vocally, in spades. But. Still the uber robotic shame-nun. Still the sadomasochistic swinger. Still the flesh-n-blood robot slave/enslaver. Still NLB. Still her hard pretty thirty-something default, plus thick-readers, and strapping butch, with a stilted walk and having an MTG 24×7 “bleach-blonde, bad-built, butch body” moment; relieved of her “unwanted”, relieving her of the burden of her beauty. In other words? Still Mx. Allison Boyd, “The Body”.
This Mx. Allison Boyd, “The Body”, with these deletions and replacements, which is technically a flavor of that Mx. Alice Quinn, is the girl’s preferred version of herself, Judi’s and Auntie’s preferred versions of her notwithstanding. Away from Judi’s and Auntie’s prying eyes, this is the version of herself that she transitions into every chance that she gets.
Allison offlines her features so that she can get lowdown and dirty with Old Woman. Old Woman does notice and reacts approvingly to this.
Old Woman rips and tears the girl’s clothing. Old Woman “grinds” her filth, offensive (gut wrenching) body odor, and infestations (mainly crabs and fleas), onto the girl. When Old Woman’s handiwork is done, Allison looks and smells like she has zero personal hygiene and has been living on/beneath the streets for years.
Of course, none of the normies on the bus express any notice, let alone any interest, in the lewd off-the-grid goings on of Allison and Old Woman.
Of course, they, Allison and Old Woman, are ugly and plain, and thus hiding in plain sight.
Of course, Pagemaster Jonas Brown does notice. He’s the wolf hiding amidst the sheep.
In the course of sullying Allison, Old Woman devolves into something Lovecraftian.
Allison doesn’t blackout in response to Old Woman’s macabre transition. Instead, she becomes “How ‘glacial’ Nicole Kidman became Hollywood’s most sexually daring A-list movie starlet, by taking on sexually adventurous roles in films, including her daring performance in The Paperboy”.
The girl’s eyeglasses drop from her face and now hang about her neck. As such. Ugly and plain gives way to hard and pretty. The “closeted” Kirstjen’s face.
Old Woman pretends to not notice or care about the change. But. The notion of wrecking a pretty girl masquerading as an ugly girl excites her to no end. It’s one of Old Woman’s deepest darkest cravings, and the girl obviously sensed that, as if the girl is an experienced sex worker from a brothel of age-old Amsterdam.
Allison studies her reflection in one of the bus windows. From Allison’s point-of-view, she ALWAYS sees herself as ugly and plain. This has nothing to do with WGS or its ilk. Because, Allison doesn’t suffer from WGS or its ilk. She suffers from a far worse affliction. This has everything to do with the girl’s single-minded worship of ugliness, although, it can be easily mistaken for WGS or its ilk on mega steroids; this is Maud, and it’s profound, in her case. From Allison’s POV: she’s ugly and plain without thick-readers, and she’s uglier and plainer wearing thick-readers. As the hard pretty girl Kirstjen, Judi forbids her from having, let alone indulging, this POV.
An adept sex addict, Old Woman quickly realizes that the girl is so far into ugly that she ONLY sees herself as ugly and plain. This is better than the old woman could ever hope to dream for.
Things shift into overdrive as Allison gets down on all fours, at Old Woman’s “request”, with Old Woman looming over her like an apex sexual predator. She slips her eyeglasses back on and laps up “cream” from Old Woman’s “gushing” cooch during their assignation, also at Old Woman’s “request”. It’s as if roles have reversed: Allison is the hooker and Old Woman is the wanting jane. Sex play that could easily and famously be dubbed “pure theatrical Viagra”. Give the lie to any dim notion that these two women are glacial or inhibited performers. Their brazen disregard for good taste invites savaging each other. And. The spewing of unprintable filth from their mouths as if they are both possessed.
Again. They, Allison and Old Woman, are ugly and plain, and thus hiding in plain sight.
Again. Pagemaster Brown notices. Dispassionately observing their public display of wanton sexuality taken to the nth degree. He deduces correctly that Old Woman is a lesbian, and he knows that the girl is not; he knows that the girl is sexually flexible, a swinger. Their (the girl’s and Old Woman’s) antics spice-up his normally boring commute.
Although they have never “formally” met, Pagemaster Brown knows of Judi’s wife Kirstjen by reputation. A reputation for unsurpassed violence and sexual self-debasement that tells him to “steer clear of this certified nut”. Any woman this beautiful who would willingly and willfully degrade herself as someone this ugly in private let alone in public this way has a reputation that demands to precede them. “Health Warning: Beware, I’m a predatory degenerate, a sexual predator who’s crazy dangerous, fuck me at your own risk!”