Kaylan's eyes glimmer amusedly and happily as Laurel asks her if she likes the change, taking the wrist, in one hand and rather firmly assents to enjoying by wrapping her vertical lips around a finger and teasingly squeezing it like she was planning something else in her future, then locks her fingers into Laurel's as the half-blank woman's hand squeezes hers.
When they arrive in the office and Milly starts moving things around and she sees the drain, and the easy-to-clean motif of the room, she would have giggled, the humor of her thoughts glimmering in her eyes as her mind gleefully dropped straight into the gutter. Laurel may have suppressed emotions, but the redheaded herm has no shortage thereof. Rather deliberately she stands over the drain as Milly gives her instructions.
She watches Laurel disrobe and takes careful note of everything, sympathy playing in her features as she slips off the blouse, tossing it aside before easily removing her bra and discarding it just as quickly. Anyone who would have watched might have realized she was deliberately mirroring Laurel as she disrobed, not stopping at the upper body, instead removing each garment as Laurel does, until she is just as naked as her new partner in life. The last thing to go is the black, wicker cowgirl hat with the skull and crossbones motif that seems deliberately out of place as she lets the wild mop of curly, deep red hair free to hang around her shoulders, back and waist.
Rather shamelessly she reaches over and places the hat on Milly's head, and winks at the Avatar. Depending on which areas of Freya's Realm she had frequented (or how closely she watched Kaylan's behavior in the past) she might recognize an open invitation, and the redheaded herm could hardly be considered "uninformed."
In stark counterpoint to Laurel's featureless, doll-like form, Kaylan's body is toned, fit, and well-featured. Her breasts stand proud and firm, and her hips curve out as a woman's would, her waist femininely formed. Were it not for the single, seven-inch penis hanging just above the clitoral hood of her vagina, she would appear to be a lovely form of purely female in body. It was small wonder why it was so easy to think of her in the feminine context.
"What's mine is yours," she signs with her hands, a gesture Laurel will learn intimately if she doesn't already understand the sign language often used by mute and deaf transformees. Her mouthpussy might have rendered her silent, but Kaylan's expressive nature lives on in her body language as she wears her emotions and heart openly on her sleeve.
When both are clear, Kaylan notes the stark counterpoint of their forms, and rather carefully moves her hands along Laurel's body, memorizing every feature, or lack thereof, committing this sight to memory. Here in private, her body language speaks as exuberantly as her voice had in the past. Laurel might not have much in the way of emotion now, but she would, and she would remember this moment, So Kaylan works to make this last look, last touch about Laurel, and learning who she was before embracing who she will be.
With one last, odd kiss to Laurel's remaining eye, her mouth, her cheek, the remaining features of the woman she had once been, Kaylan takes her hands, kisses the back of each one with her new, soft mouth like she might with a lover before guiding Laurel's hands to her shoulders and lets her hands fall to her sides. She offers one last kiss, odd as it may be to the girl with only half a face, before turning her eyes to Milly, and giving an almost formal, and deeply respectful nod, as if to say "As you will, My Lady," before turning and looking into Laurel's remaining eye with the ice-blue pair that the two of them might likely share in the future.