— Posted in I, The Jury, Vampire Noir

I, The Jury – “Temptress” [Part 62]

Temptress—Sexual temptation, betrayal and a precipitous fall are central to stories that traverse the 17th, 19th, and 20th centuries. Lilith and not Eve was Adam’s first wife. (Russian with English subtitles)


Spaces for blows are only available for a split-second. Manny may be able to uncover gaps in Mayweather’s guard by use of decoys in the form of feints and fakes.


“Sergey Kovalev is the meanest fighter I’ve ever known. He’s meaner than Sonny Liston in the ring. He’s meaner than Ray Robinson outside of it.”—Don Turner


Week eight. No Catherine. Obviously, she has no intention of coming. Too bad for her. She continues to underestimate me. It must be ego [hers] that’s blinding her to the truth.

The Klapp mounting Mondo mindlessly feeds, same as ever. Mondo looks emaciated. Too bad, so sad for the parasite [i.e. the Klapp] whose meal [the Vampire in question] looks so wasted—bones in a flesh bag with a pair of big floppy tits—and yet looks so completely satisfied.

It’s time. The time when all good things must come to an end.

Vampires are both predator and parasite. Some mundane experts on the supernatural would venture to say that the Lost are Creation’s apex parasites. So …When you feed on them you have to do something special to get and keep their attention. On top of that, Mondo is quite finicky when it comes to such depravity as this.

And I was having so much fun!

The bloodsucking junkie whore never grew jaded with being the Klapp’s repast. Her new hobby never become her new bore in rapid succession. Parasite [i.e. Vampire] devours parasite [i.e. Klapp]. It tries to pullout its retractile proboscis. But the girl’s gullet will have none of that rejection. No matter that its feeders are anchored deep into Mondo’s slack, wasted flesh.

Resistance from the Klapp as it pulls back, straining with all its might. In reverse, away from her all-consuming mouth which stretches ever larger. But … Retreat is not an option. Strips, sections of the girl’s flesh are ripped from her body as the Klapp attached to her is eaten whole by her the Vampire.

Ravenous, she also directs her attention to … The things that grow on her. The things that live on her. The things that feed on her, besides the Klapp and its harness. Head lice, fleas, and crabs. Graveyard lichens and moss. Etc. These too must be her victims as she has been theirs.

She steps out of the coffin. The raw sewage, as if it is alive with a mind of its own, recedes. Out of fear? But, it’s not alive, correct? Here, in this place, it is. Here, in this place, it does have a mind of its own. This place is as much about evil as it is about muck and mire.

Mondo reaches back, grabs hold of the Klapp’s harness, and rips it off of her back. That is glorious agony personified for her. Its spikes which are left behind in her are “eaten” by her spine. Her tongue flicks out, Klapp still in her mouth by now half eaten, wraps the harness and she scarfs it [the harness] into her already-occupied maw.

She walks toward a closet. Its rough-hewed, rotten wooden door opens by itself for her. In inside the decay is a rusty wire clothes hanger. She peels off the Kaye and hangs it up for next time. There will be many next times to come. Bet on it.

The girl “likes” it here. It suits her to a tee. In time, she will teach it how to use her in every which way. That will take many lessons, but she feels that for a first try, this place did well, and shows great promise.

She gulps down the last of the fritters—her Klapp-harness “what all” meal. Fleshed out, clean and pristine, she walks slowly toward the creaky wooden stairs. They too are rough-hewed and rotten.

At the top of the stairs is a rusty metal door. It’s faded lead paint peeling off—paint so old that its original color is unfathomable. There’s a loud clunk as its bolt is thrown on the other side. It opens on its squeaky hinges. Framed in the doorway is Kunnilingus, a Series One. The automaton looks like a decrepit version of The Maschinenmensch. You can clearly see corrosion leaking from its skull seals. What’s left of its original finish is dull and lifeless. There are patches of rust, also.

Scanning the robot as part of, for example, an police investigative procedure would prove fruitless. As such, interrogating Kunnilingus to glean evidence of Catherine’s culpability in all of this would be an exercise in futility. There is no way to prove that this trap was Catherine’s doing.

The Maschinenmensch (German for “machine-human”) is a fictional character in Fritz Lang’s film Metropolis, played by German actress Brigitte Helm in both its robot form and human incarnation. She is a gynoid (female robot or android) created by the scientist Rotwang. Named Maria in the film, and “Futura” in Harbou’s novel, she was the first robot ever depicted in cinema.

Mondo reaches the stairs and ascends them very slowly, each step creaking profoundly. She savoring every moment of her noisy egress. Solving the murder case of paramount importance to her, notwithstanding, she’s in no particular hurry to leave. As aforementioned, boredom never reared its ugly head the entire time. She had the time of her life recreating here. Being used and using. A symphony of addiction, for eight straight weeks!

The Maschinenmensch has been given several names through the decades: Parody, Ultima, Machina, Futura, Robotrix, False Maria, Robot Maria, and Hel. The intertitles of the 2010 restoration of Metropolis quotes Rotwang, the robot’s creator, referring to his gynoid Maschinenmensch, literally translated as “Machine human”.

Kunni opens the shielded safety deposit box that it’s holding. Mondo is suddenly clothed and shod. But, her phone, purse, and holster remain within. She will have to retrieve them herself. The girl does just that when she finally reaches the top of the stairs.

“Borg drone Seven-of-Nine will be returning soon?” Kunni asks in broken English with a thick German accent.

“Not soon, but I will be returning.”

“Good. Our entertainment suits you to a tee. Maybe next time you will stay longer.”

“Maybe so.”

“Enslavement becomes you.”

“As does enslaving become you.”