The only way they can win is to convince people that we're space aliens. --bill clinton       Peggy Noonan's excellent piece in yesterday's Wall Street Journal is really the story of the death of democracy. At its core it is the description of the human double helix gone terribly awry, of a denatured protein grotesquely twisted, of two mutant, tangled strands of DNA, the basest imaginable of base pairs linked permanently, as firmly as guanine to cytosine, bill inexorably to hillary and conversely, doing what they do best, and doing it relentlessly.   Killing. Killing insidiously. Killing as they pose and pander and feel our pain.   My only complaint is with Peggy Noonan's title. The Mad Boomer, doesn't begin to capture candidate clinton considered separately or even taken as the self-anointed "twofer," permanently conjoined at that cavity conspicuously empty except for ego, that place where brain and soul and guts and heart normally reside.   This is not to say that she -- that they -- are not both quite mad and of that self-indulgent, arrogantly, ignorantly solipsistic age sandwiched flatly between yesterday's innocence and tomorrow's insouciance. Rather, it is that their madness and their boomerism don't even begin to explain their noxious influence: The cloying, internally inconsistent clinton calculus. The unspoken clinton threats. They permeate the atmosphere like a coiling miasma, choking off all freedom.   Even in New York. Especially in New York. When she wrote "The New Colossus," Emma Lazarus hardly had in mind this pair of mutant, deadly, twisted aliens.   So forget Arkansas-Illinois carpetbaggery and standard issue muckraking. The clintons are aliens of quite another sort. They are extrinsic, not of this world. They are inhuman. They are dehumanizing.   You may recall that the first act of this story of two degenerates maintained by iterating idiots, farce of farce ad infinitum, was generated quite by accident by iterated AlGoreRhythm, who, it should be noted, is now himself the object of iterated calculation by said degenerates who want iteration 2004 all for themselves.   And thus the odd bit of bloody Gore in Act II: The ugly sight of a corrupt, bottom-heavy hillary self-impaled on the horns of a Treason-Dilemma- masquerading-as-a-Third-Term-Dilemma-masquerading-as-a-Senate-stampede, for example, or bill's recent unsolicited, underwhelming Times interview on the Gore candidacy.   Act I was called "The Cook, The Thief, His Wife and Her Lover." Ostensibly the tale of the wife of a bloodthirsty crime boss who finds romance with a bland bookseller between courses at her husband's restaurant, it was in fact the Thyestean and moveable -- yet unmoving -- feast of hillary clinton at her husband's sham restitution. (Note the reciprocity. The sham restitution in Act II is all hillary's.)   Food, color coding, sex, murder, torture and cannibalism were the exotic (if mostly horizontal) fare in this beautifully filmed but brutally uncompromising modern memoir which passed as ancient fable about nouveau riche rapacity. Not for the faint at heart, Purple Hearts or queazy stomachs, this depiction of the gross debasement of America was heavily peppered with irony and dark humor throughout.   Although she baked no cookies, didn't do illicit land or cattle deals and stood by no man, hillary clinton starred in the triple role of the Cook, the Thief and his Wife. Her lover was played at once vaporously and in workmanlike fashion by the ghost of Eleanor Roosevelt, with Janet Reno, between her stints rendering intermittent injustice for the Husband, as the reliable stand-in. Sidney Blumenthal was the stand-in for the Cook and Craig Livingstone the stand-in for the Thief. The last-minute addition of Christopher Hitchens as the snitch was a stroke of absolute genius notwithstanding its cerebral accident, its predictable-if-perfect pitch and its facile alliteration.   Although Act I had no rating, the new clinton soccer-mom directive will require a photo ID for any viewer without independent proof of illegal alien DNC or DNA sequencing.     In Act II, rabid anti-clinton voters, roughly 33% of the U.S. populace according to as-yet-unpodded pollsters, become increasingly aware that they are disappearing in droves and being replaced by alien pod replicas which have their physical attributes but lack all anti-clinton affect.   If Act I was a thinly veiled allegory about naked clintonism, then Act II is a parable about the plan for world domination by the Establishment, aged hippies in pinstripes all, with their infantile, solipsistic world view amazingly untouched by time.