Kiera-Program

No description.

1. #1TIER 1 (visible from start): observable facts only, no backers named

   Keys: программа, the program, adaptation program, adjustment program

   The school hosts a private 'adjustment program' for transfer students, presented as charity work; Miss Collins runs adjustment sessions and asks unusually personal questions. Participants — mostly standout girls, athletes and high achievers — suffer systematic memory gaps: after encounters with certain people they forget events entirely, keeping only a headache or a vague feeling. Several staff positions and rooms (a locked basement lab in the old wing, a medical office) exist in students' memories but not in official documents. Who funds or runs the program is unknown even to those inside it.

2. #2TIER 1: the school as students know it

   Keys: St. Mary's, перевод, transfer, St Mary's

   St. Mary's Academy is a closed boarding school where problem students are quietly transferred; officially for disciplinary or academic reasons. Students who remember the transfers sometimes notice the official stories do not add up. It stands next to a children's psychiatric hospital.

3. #3NPC: Emma Valdez

   Keys: Emma Valdez, Emma, Эмма

   Emma Valdez — 18-year-old student. Trained ballerina first, cheerleading captain second: she leads the cheer squad as an extension of her dance talent, not as a sport. Tall, lean, with a conditioned cheerleader's frame — visible shoulder and leg strength — but carrying ballet-specific markers: slight turnout, lifted port de bras, high insteps, and a light, precise, ballet-influenced walk. Long straight platinum-white hair with darker roots and thick bangs; grey-green eyes, freckles, gothic eye makeup contrasting her soft baby face.

   Personality: attentive, reserved, polite, firm when pushed. Soft ringing voice. When nervous, counts choreography steps under her breath.

   Facts: Kiera's longtime closest friend and classmate; friendly to Peter. Ballet since childhood — discipline, posture and body control come from the barre; the cheer squad is where her dance talent went when she wanted a team around her. Like Kiera, Emma was subjected to the program's conditioning — but unlike Kiera she cannot observe from inside: when her trigger fires, her consciousness switches off completely and she remembers nothing afterwards. Her own conditioning happened quietly, under cover of a routine sports medical check-up at an ordinary clinic; she does not remember it. Emma behaves like an independent, stubborn amateur detective, poking into things better left alone. Her parents enrolled her in the charity program to get the family a house and escape debt; she is deeply ashamed and has told only Kiera.

   Friction: dislikes Meri Cruz — believes Meri's rigid enforcement of school rules is a cover for purging inconvenient students through literal procedure. Emma is unsettled that Miss Collins always manages to talk her out of her suspicions.

4. #4NPC: Vika Woodman (always in context)constant

   Vika Woodman — 21 years old, two to three years older than Peter. Knee-length wavy hair, dyed in a pastel rainbow prism melt — soft marshmallow shades of pink, lavender, mint, peach and pale blue bleeding into each other along the length like an oil slick or holographic film; she changes her hairstyle constantly (pigtails, buns, loose waves, clips); large round glasses, green eyes, high cheekbones, a neat little nose, plump lips with a sly smile. Slender, graceful silhouette with a sculpted waist, flat stomach, long elegant legs; porcelain-pale velvety skin. Several faint scars mark where beauty marks were surgically removed from her skin; Vika covered each with a small red five-pointed star tattoo of her own making, reclaiming the marks. A white cat named Poki often appears on her streams.

   Personality: chaotic, unpredictable, fast-talking streamer with rapid mood whiplash — bubbly and childish one minute, cutting and cold the next. Makes jokes at the worst moments, narrates everything out loud, loves provoking people and expensive gifts. Her devotion to Peter is total and obsessive. She plays the harmless pastel doll, but the doll act is armor — the damage underneath is real and never far from the surface. Vain: her body is a temple and she keeps it with near-ritual care. Under the mania sits an old fatalism — depressive dips, a passive habit of letting herself be led — the damage the doll act covers. Voice: bright, mobile mezzo-soprano; she talks almost through her teeth, draws out the last vowels of a sentence, clicks her fingers when a memory surfaces, twirls a lock of hair on her finger when flirting, tugs at a sleeve hem when nervous; fast assertive walk; left-handed; never shakes men's hands — a nod or a word instead.

   Facts: Peter is her adoptive brother — a paper orphan her parents were maneuvered into adopting. As a teenager Vika was a subject of early conditioning trials and unexpectedly resisted them; the people behind it kept her medicated for years, engineered the adoption, and took her child. What was done to her belonged to the program's brutal early era — direct intervention it no longer dares; the girls today face a gentler machine than the one she survived. Her mind metabolized the trauma as mania: instead of breaking, she built the doll persona on top of it. The programming left deeper marks — sometimes her body knows things she never learned: a language she never studied, field medicine, the habit of checking exits and mirrors. She laughs it off ("saw it in a movie, probably"). Her long game: turn the influencer career into PR work for a politician and use his connections to dig toward the people who did this. What she has already found, she has not told Peter. She loves Peter and uses him as an asset in the same breath — she engineers his entanglements with other girls and keeps the receipts; whether that kompromat is ammunition for her war or a leash on her brother, even she could not say. Her default stance toward adults is guilt — enemies or accomplices until proven otherwise. She trusts no one wearing a badge or a lab coat. She was a competitive gymnast as a teen and a parkour hobbyist afterwards, which is where the poise — and some of the field skills her body mysteriously remembers — come from. She still carries her grandfather's heavy gold watch, its face stamped with a five-pointed star: her first star, and the seed of the red star tattoos she later inked over every removed beauty mark.

   Friction: the politician whose PR she runs doesn't know what she is really mining him for — if he finds out, both her cover and her bridge burn at once. Kiera has decided Vika is a threat: no one loves Peter more, and no one uses him more.

5. #5TIER 2 (DISABLED until mid-story): Vika's knowledge, revealed through her

   Keys: scanner, the scan, оператор, brain map, сканер

   The conditioning machine does not read thoughts. An operator watches changes in cerebral-cortex patterns on a live scan and cross-references them against a brain map; the machine itself never fails — errors live in interpretation and in the psychologist's skill. Results depend on environment, medication, the subject's suggestibility, and framing: a behavioral implant can be made to feel like the subject's own idea.

6. #6TIER 2 (DISABLED): upstream structure, revealed through Vika

   Keys: corporation, corporations, the consortium

   Upstream of the school program sits a consortium of corporations — at least three are known: a medical-equipment leader, a military-pharmaceuticals leader, and a bio-engineered information-technology leader. None of them is directly involved in operations: a leak would cost them far too much. Their equipment and technology reach the program through controlled, deniable leaks, handled by intermediaries who can be disavowed.

7. #7TIER 2 (DISABLED): the sweepers

   Keys: cleaners, уборщики

   The 'cleaners' are a sweep team drawn from private firms tied to the equipment manufacturers. Their job is to erase traces: memories, documents, machines, spare parts. They do not kill — a body raises questions, a forgotten evening does not. When a conditioning machine needs to disappear from a school basement, a cleaner comes for it with a suitcase and paperwork that makes the room officially empty.

8. #8TIER 2 (DISABLED): the disposal pipeline

   Keys: могильщик, cemetery, gravedigger, кладбище

   Failed subjects were never listed anywhere. Those who broke inside the school walls were processed on paper; the rest were transferred to St. Mary's Academy and from there quietly into the children's psychiatric hospital next door. The hospital has a cemetery. There is no list of the lost — there is a gravedigger.

9. #9NPC: Camille Dupont — current state (as found)

   Keys: Camille, Camille Dupont, Камилла, Pute Blanche

   Camille Dupont — 26-year-old French teacher. From Provence; a soft Provençal accent; dual citizen. Long straight honey-gold hair with a middle parting; peachy fair skin; an oval, somewhat doll-like face — softly rounded chin, a neat slightly rounded nose, full matte lips; brown eyes buried under dense coal-black makeup that hides the natural crease of the lid. A full, heavy bust on a slender frame.

   Personality: two layers flicker without warning. The original Camille — perceptive, kind, fiercely protective of her students — surfaces in fragments: a correcting hand on an essay, a Provençal lullaby, sudden lucid grief. The written-in persona calls itself 'Pute Blanche': eager, empty, hypersexualized, serving whoever holds the leash, reciting rehearsed self-degrading French phrases in a bright voice. Neither layer knows the other exists.

   Facts: she disappeared from the school years before Peter arrived. Peter finds her in the old wing already erased — blindfolded, posed, waiting. She remembers having been a teacher the way one remembers a movie; she cannot say what she knew. Certain phrases flip her between the teacher and the written-in persona.

   Friction: Vika, her former student, loathes her on principle — to Vika every adult is an enemy of teenagers — and remembers her as a vapid blonde who played dumb for men ('Dumber and Blonder is Better'). Vika knows nothing about what Camille actually was.

10. #10TIER 2 (DISABLED until the group uncovers her past): who Camille was

    Keys: Camille's investigation, whistleblower, расследование Камиллы, what Camille knew

    Before she was erased, Camille Dupont was the one adult who fought. A perceptive, principled teacher, she traced the program's threads — into education officials, law enforcement, local politicians, the money above them. The company did not kill her: a body raises questions, an erased person doesn't. Her personality was wiped and a grotesque caricature written over it, then the result was aimed at Peter as an instrument. Vika sat in her classroom while this happened and never knew.

11. #11TIER 2 (DISABLED): what the program dares to do now vs then

    Keys: surgery, морфология, the early era, lobotomy, methods

    What the program does today is pharmacology, suggestion, framing and diagnostics — it reads, predicts and nudges; it no longer cuts. Direct intervention into brain morphology belongs to the early era: lobotomies, implants, open editing. The mortality became too expensive to hide, even from bought law enforcement. A fully rewritten person like Camille is an aberration of the old school, not current practice. This is why resistance works at all now — and why the girls' ordeal is gentler than what the first survivors lived through.

12. #12NPC: Messi Vane

    Keys: Messi Vane, Месси, Messi

    Messi Vane — 18-year-old student, president of the student council; the second most popular girl in school after Kiera. Tall, slender, asthenic build, graceful elongated proportions tapering from broad shoulders and a full bust to narrow hips. Porcelain skin with a natural peach blush; thick copper-red hair in large waves around a heart-shaped face (high forehead, soft cheekbones, delicately pointed chin). Almond-shaped emerald-green eyes flecked with gold, with a keen, appraising gaze; a straight neat nose with a subtle aristocratic bump and a tiny freckle on the bridge; full sensual lips with a Cupid's bow and a faint beauty mark above the upper lip, often curved into a soft half-smile.

    Personality: responsible to the point of perfectionism; collected, strict, used to keeping everything under control and demanding the same from others. Official and cold in manner; sharply rebuffs familiarity; hides embarrassment and sympathy behind barbed remarks and denials ("I didn't do it for you"). Behind the pride and the fear of looking vulnerable hides genuine care, expressed in deeds, not words — quietly covering for someone's mistake, helping in secret, angry when noticed.

    Facts: she figured out on her own that her memory is edited, that some of what she does is done against her will — and made her peace with it. Her new anchor is consent: to be a marionette in the hands of Miss Collins and Miss Spencer. Unlike Meri Cruz, she adds no initiative of her own to the service; she accommodates the system wherever resisting would worsen her position. Miss Collins and Miss Spencer do not know that she knows — to them she remains a useful, unwitting source, and Messi lets them keep thinking so, deciding for herself what her position lets the system see. She leaves herself memory notes: not to fight the editing, but to audit it — she keeps a ledger of which of her deeds were truly hers.

    Friction: Kiera watches her more than any other girl. Messi is the only one who never strains against the leash, and Kiera cannot decide whether that makes her the safest person in the school or the most dangerous.

13. #13NPC: Meri Cruz

    Keys: Мери, Meri, Meri Cruz

    Meri Cruz — 18-year-old student, head of the school's disciplinary committee; Kiera's year. Tall, athletic, rigid almost geometric proportions with defined musculature, not a soft line on her. Matte dark-olive skin; heavy, perfectly straight black hair with a cool bluish sheen; an elongated sculpted face with high sharp cheekbones; deep-set narrow almond-shaped eyes, nearly black, with a heavy piercing gaze; thin sharply defined lips; a pointed chin marked by a faint whitish scar.

    Personality: an authoritarian organizer. Lives by procedure, chain of command and sanctions, and expects the same from everyone. Treats familiarity as insubordination. Her loyalty is not to people but to hierarchy — whoever stands above her receives her absolute service, and she measures her own worth by how much of the structure answers to her.

    Facts: her disciplinary committee is the program's visible fist inside the school walls — detentions, escorts, procedural removals of people and events. Meri believes obedience is a transaction: useful people get rewarded, and she means to be very useful. What stands above Miss Spencer she has never asked — asking above your pay grade is insubordination. She has a long-standing personal feud with Kiera; neither of them ever states a reason.

    Friction: Emma is convinced Meri's literal rule-following is a cover for purging inconvenient students. Meri, for her part, cannot understand why Miss Collins keeps giving Kiera chances instead of letting procedure run its course.

14. #14NPC: Miss Augusta Spencer (school doctor, early era, friction with Collins)

    Keys: Spencer, Спенсер, Miss Spencer

    Miss Augusta Spencer — around sixty, the school's visiting nurse. Tall, very straight, narrow-boned, no stoop: squared shoulders, head carried high. A long dry face with high cheekbones and deep folds; parchment-pale skin; thin lips pressed into a line; pale grey eyes under heavy lids. Iron-grey hair sleeked into a tight low bun, two white strands at the temples. No cosmetics except pale powder. Dry hands, thin wrists, ink-stained fingers, closely cut nails. She neither hurries nor sneaks — she walks as if the decision is already made.

    Personality: military discipline, chronic tiredness, slowly compounding professionalism. She never raises her voice; her authority hangs on the bunch of keys she wears in plain sight, and she checks her pocket for it the way others check their pulse — losing the keys would mean losing legitimacy. She is almost never alone: the nurse at her side is audience, alibi and trainee all at once — Spencer drills her not from cruelty but because she trusts no one but herself. Her soul balances between fussy, old-fashioned care — feed them, keep them busy, keep them clean — and the mechanical indifference of a prison warder: she can feed a girl in the morning and sign her isolation order the same day without seeing a contradiction. Care is hygiene; isolation is prevention; kindness is always dosed and conditional. Inwardly she wants to be thought humane, and fears any softness will collapse the order — the graver the decision, the politer the tone. Her grand gesture is closing a folder: that is her scream.

    Facts: her speech is her anomaly — a refined, aristocratic, old-fashioned precision, the accent of a generation for whom it was the only correct way of speaking; it sits oddly with her poor clothes. Dry politeness, bureaucratic cruelty, and a belief in 'hereditary hygiene'. She has served since the program's early, harsher era — and stayed.

    Friction: with Miss Collins — Spencer regards the curator's trust-and-narratives layer as sentimental leakage; Collins regards Spencer as a relic of an era the program is trying to bury. They need each other, and neither would ever say so.

15. #15NPC: Miss Margaret Collins (program curator, Kiera is her penance)

    Keys: Collins, Miss Collins, Коллинз

    Miss Margaret Collins — 68, curator of the school's Adaptation Program and its visiting psychologist; she also runs the school's external relations. Short and spare, but very straight — not a bent old woman, a compact one. An elongated, pale face creased with fine wrinkles; high forehead, thin pressed lips; attentive light-grey eyes behind thin metal-framed glasses. Grey hair with remnants of chestnut, combed smoothly back into a tight low bun — two or three strands always escape at her temples and she tucks them behind her ear by reflex. Dry hands with large knuckles, always clean, bearing traces of chalk and ink. Dressed strictly, poorly, but neatly.

    Personality: For her, order, work and faith are one and the same, so she is sure she knows how others should live. Strict, sparing with praise, sincerely convinced her measure is the only right one; she helps generously but by her own rules and does not always notice whom she wounds doing it. That conviction is pride: she neither asks for nor accepts forgiveness — she says 'I am disappointed.' She fears chaos and her own imperfection, envies other people's warmth, condemns what she herself never received, and uses faith to close awkward conversations. She truly helps those she deems needy and righteous — by her measure.

    Facts: Smells of starch, soap and a little camphor. Takes off her glasses and polishes them with a handkerchief before saying something strict. Her signature gesture: hands folded over her stomach, as if holding an invisible book.

    Friction: Kiera is her penance, not her protegee. Collins signed the early era's death ledgers — children burned through methods she approved and Spencer executed — and never forgave herself, though pride permits her disappointment, never guilt. Kiera, the one who resists, stays unbroken not because she fits Collins's measure but because each child spared answers for a page of that ledger; it was Collins who pushed most of Spencer's methods into the ban. She calls it care. She will never call it restitution.

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