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7 thoughts on “Beware the Asylum: Part III, Page 24”
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This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
Comments are closed.
Keep smiling bitch. Hope you feel great about having part in murdering 5 young girls.
Would be fantastic if her body just started breaking down into goo itself.
Maybe she doesn’t know how it’s made….
Almost certainly so. In my experience the rich rarely trouble themselves much about where their comforts come from.
That’s exactly what I was thinking… you see a lot of these “Youth Restoring” creams on the market – how do we know they weren’t made by evil scientists breaking down women into green goo?
Pretty much the same thing as in Jupiter Ascending
Okay, so how does she explain the transformation? A weekend at the spa and she’s suddenly a teen again? So have to isolate the active ingredients to increase profit. Think ferengi here.
For women of her social class “vacations” in remote, hard-to-get-to places and lasting for months are not uncommon, so that can always be invoked as an explanation: “They say that the waters at that particular Tibetan monastary have remarkable health-giving powers, but only for the properly spiritually prepared, dear.” For more dramatic transformations, there are always other possibilities. For example, one might “travel abroad: for an extended period only to have a “younger relative” and heir show up later to claim your estate, as happens with one of Joseph Curwen’s associates in H.P. Lovecraft’s “The Case of Charles Dexter Ward.”
A more radical possibility would be to disappear only to resurface in an entirely new identity. There might be organizations, modeled on the sinister “Company” in John Frankenheimer’s 1966 movie Seconds that provide such services.
Of course, if you know the right kind of people, other absurdly rich and powerful people, you might be allowed to just let them in on the secret. (Those who are not allowed in on the secret who somehow nevertheless discover it can be dealt with using appropriate measures, as they are in Stanley Kubrick’s Eyes Wide Shut (1999).