Two Lawrence Farmers, working in tandem? Definitely a bad idea. You flick his lock of hair away and, without thinking, pluck out some of your own and toss it into the mask with the other ingredients, then get a match from the kitchen. You take the still-flaming mask into the garage to get a brush, and after the fire has gone out you coat the insides of the mask with the goop.
You're still painting it when you get back into the living room, where you find Frank sitting next to a naked Tina. "Get her into the bedroom," you order, and after dropping the mask onto the sofa you follow him far enough down the hallway to grasp the still-unconscious Lawrence by the ankles--doing your best to ignore the thing between his legs--and drag him into the living room. "And bring me Tina's mask when it comes out of her," you holler to Frank, and under your breath curse the golem again for its stupidity.
You occupy yourself as you wait by cleaning up the mess of food. Twenty seven bucks, splattered all over the place. You'll take it out of Lawrence's hide. One pound of flesh from over his heart for each dollar, you mutter to yourself as you scrub at the carpet with a mess of paper towels.
You hear Lawrence stirring at the same time that Frank comes back out. You take Tina's mask from him and glare over your shoulder at Lawrence. He at least has the grace to look abashed, even as he lowers his head and stares moodily at the carpet. With a spasm of anger you consider reneging on your arrangement with him. But you're in this far, and you need to get rid of Tina anyway.
You stalk over to him, to glare down with a cold fury. "So, are you ready for me now," he asks without looking up, and can't keep the insolent whine out of his voice.
"Shut up. We had a bargain, but I'm in charge. Remember that. Not you, and not Frank. I'm the only one who knows how this shit works. And if I want to make you disappear, I can. Remember that too." He stares back from under lowered brows. "And you pay a price for that little stunt earlier. So I'm telling you what to do and who to get."
"Who?" he asks guardedly.
"I want five masks." You splay out the fingers of one hand, and tick them off one by one as you list the names. "Mandy. Maddy. Natalie. Summer. And Alyssa."
"That's who I wanted to copy anyway."
You push him back to the floor with your foot. "And you give me a good time with each of them. Long and intimate. I got a friend, too. You'll give him the same."
"Frank?"
"No. I'll tell you when the time comes."
Sending a little tribute Patterson's way should help keep him off your back.
You hold out the mask. "The first thing you're going to remember when you get this on," you warn him, "is seeing your own doppelganger coming out of that bedroom. And then you're going to remember me and Frank grabbing you. It's not going to be fun."
"I hope not," Lawrence says. "I wanna feel exactly what she felt when she saw me."
A shiver goes down your spine.
He takes the mask, and shifts it lightly from one hand to the other, as though it's hot. He swallows and licks his lips, and his nostrils flare. He raises it to his face, but pauses. Out of the corner of your eye, you see his cock go taut and straight. It rises higher and higher, and is fully extended before he presses the mask in those last few inches. It disappears into his face, and he falls back to the floor.
A warm glow appears around his body, and beneath it his form seems to shift and distend. You can't see any actual alterations--it looks like a new appearance sheathing and enclosing Farmer's body--and after a few seconds the glow evaporates.
Tina Branson is now laying on the floor.
Her face is drawn and pale, and her hair is disheveled, but she doesn't look unpretty, even as her head lolls and her mouth drops open. She breathes heavily, and your eye goes down to her chest, and to the two taut, grapefruit-sized breasts there. Her shoulders and arms are slim, and darker below the elbow than above it, but with no unsightly tan lines. Her hips are attractively wide, and her legs well-shaped, though there's something about the knees that you find slightly off-putting: they have a boniness that seems out of place. You pick up one of her feet, to massage it. But you quickly drop it again. You don't want Lawrence to wake up and find you being affectionate.
As he's still unconscious, you go into the bedroom long enough to drop Lawrence's mask onto Tina, but don't linger long enough to watch the reverse of the transformation you've just witnessed, but return directly to the living room and finish cleaning up. Lawrence--now Tina, again--takes a deep breath not long after you've finished, and rubs his eyes. You watch carefully--and curiously--to see what she does. She just lays there quietly for a minute, and then sits up. Unconsciously, perhaps, she crosses her legs and folds her arms across her torso as she turns toward you. Her eyes go wide. And then a little half-smile creeps up the side of her face. "It's perfect," she says quietly. "You and Frank really scared the crap out of me."
"I'm glad you had fun. Your clothes are over there."
"Don't you all wanna take advantage of me?"
"We can save that for later. Get dressed. Who are you going to copy first?"
"I can get to anyone, sugah. Who do you want first?"
"Surprise me. But don't do any of that cackling evil stuff. We're not going to be replacing them, like we're doing with Tina. You're going to have to pretend that they just fainted or something when you put a mask on them. Now will you get those clothes on?"
She smiles tightly and complies. First, of course, are the panties and bra, and such is Lawrence's perversity that he gives you a full-frontal view as they go on. Then Tina's slim, tight, designer jeans. The crisp white blouse. The black velvet jacket. "Ya'll have a brush?"
"In the bathroom. Lemme muss you up a little more first." You catch her by the elbow and roughly draw her close. You kiss her hard, and she kisses lustily back, whimpering a little as you devour her. "You like that?"
"You're better than I'd hoped." She digs her fingernails into your back. "You're going to make it fun, aren't you?"
"I'm going to make you scream," you say, and nip her hard just behind her ear. She squeals. You push her away, and send her to the bathroom with a hard slap on her ass.
Lawrence is a snake, and you're pretty sure he's planning on using these feminine wiles against you somehow. Maybe he won't have any kind of plan--what kind of plan might it be?--but you can bet he'll try twisting you around five sets of slim and delectable fingers. While he's gone you root around Tina's purse, and extract seventeen dollars and some change--a start on compensation.
She reappears, looking a little more put together but still tousled, but you ignore her. "Frank!" you call. "Take Tina here home!"
"Don't we need to--" she starts.
"We don't need to do anything. You just be Tina. Don't try anything fancy tonight or tomorrow. After school tomorrow we'll meet and I'll give you a couple of masks and talk about how to use them." Frank comes out of the bedroom. "Take her home, and don't let her try to get cute with you."
"It's an interesting scene in the bedroom," he says as he takes Tina by the arm. You frown at him as he goes to the door, but he doesn't expand on it before exiting.
So you go in to have a look for yourself.
Lawrence Farmer is there, looking pale and blotchy with the bedclothes wrapped tightly around himself. His eyes bug out when he sees you. "What's going on?" he asks in a voice just above a whisper.
"You're going to go home and carry like nothing happened this afternoon."
He swallows. "That's going to be really hard to do, Joe."
"I don't see what the problem is." You snap your fingers. "Calm down, get up, and get dressed."
But he doesn't move. Instead, his face curdles up and tears stream out. "Why are you doing this, Joe?" he shrieks. "What did I ever do to you?"
"Don't freak out," you order him. "Get out of the bed, Lawrence--"
"I'm not Lawrence, Joe, and you know it!" He starts to sob.
The penny drops, with the force of a manhole cover falling off the top of a skyscraper. "Tina?" you gasp.
"Like you don't--"
You leap on the figure in the bed. He struggles, but you're too strong and quickly have him pinned. You grab onto his face with a snarl and pull the mask off. Tina reappears, and collapses backward.
You flip the mask over and stare at it. Lawrence Farmer's name floats above the inner surface, but--
Shit! Where's the golem shell? The inside of the mask is a translucent blue.
You suck hard on your upper lip. You didn't fuck up, you're sure of that. You remember measuring out each of the ingredients for the shell. You remember plucking out your hair. You remember putting a match to it. You remember coating it; you even remember rinsing out the brush after you'd gotten all that Thai food cleaned up. The shell should be inside the mask.
But whatever has happened, it's an even worse cock up than the shit Lawrence pulled with that ambush. Not only will Tina remember having been ambushed, she will remember waking up as Lawrence. And as Lawrence's mask has his memories of talking to you this afternoon, she will remember everything that you told him--and will remember everything that you and he did this afternoon before you left to go get Tina for him.
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