White Flag speakers: the Raquel Welch mask
the adopted daughter had to activate the perimeter of lights on Its bedside table’s many-bulbed vanity mirror to see to try to get the Raquel Welch wig untangled, and when she finally got the mask off, with the vanity mirror still blazing away, the speaker says how she was forced to gaze for the first time on Its lit-up paralytic post-diddle face
Context
The mirror instrumental to the horror, as the plan's row puts it: the scarring sight is technically produced — a "many-bulbed vanity mirror" with a "perimeter of lights," activated only because the mask's horsehair had tangled, functioning here as set lighting rather than as reflector (nobody looks into it; it illuminates). The monologue's own summary phrase makes the optics explicit: she "was being forced into seeing by mirror-light the exact same expression" she'd revulsed at daily in the parlor's photo of the Catholic statue — expression matched to expression across a lit face and a photographed stone one. The speaker's climactic trauma is a viewing, staged with movie-vanity lighting, of a face wearing a screen goddess's face.