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Subject: {ASSM} NEW! Titanium Kiss, by Cobalt Jade
Date: Sat, 28 Oct 2000 20:10:09 -0400
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Titanium Kiss
by Cobalt Jade (cobaltjade@aol.com)
DISCLAIMER: This story is intended for adult audiences only. Comments
posted to the newsgroups in response to this story are welcome. Special
dispensation for archiving granted to Deja, Remarq, and ASSTR; all
others, please email me for permission (cobaltjade@aol.com) Pursuant
to the Berne Convention, this work is copyright with all rights reserved
by its author unless explicitly indicated.
This is a slightly warp tale in the manner of Franz Kafka. It can also be
taken as a metaphorical sexual autobiography...NOT (ha ha). If you like
the fantastical nature of this story, more tales of sorcery, science
fiction, and statuefication are available on my website
(http://members.aol.com/cobaltjade) AND its ASSTR sister site
(http://www.asstr-mirror.org/files/Authors/Cobalt_Jade/www)
Titanium Kiss
by Cobalt Jade (cobaltjade@aol.com) 10/28/00
I haven't kept you waiting long, have I? Please come this way.
Watch your step. These stairs are metal, and being as we are an
underground operation -- in more than one sense of the word -- they
can get quite slick when moisture condenses in these caves. Please wear
this hardhat, too. Our president was very proud of our safety record and
it would be a shame if the first outside visitor we've had were to suffer
some easily prevented mishap.
Ah, here we are. The main processing plant.
It's a remarkable apparatus, isn't it? It was custom-built for us several
years ago by a firm in West Germany and has three production lines,
each capable of processing up to ninety girls an hour. Lines One and
Two receive the most use; Line Three is used only as back-up should One
or Two break down, or when we have an exceptionally heavy workload,
such as happens around spring break and the summer holidays.
I would like to draw your attention to the tunnel with the conveyer belt
leading out of it. At the head of it, which we cannot see, is where the
young ladies begin their journey. They are all naked, of course, and
highly aroused. Some may stand or kneel, with dreamy expressions on
their faces; others will be more active, fondling and stroking
themselves as if thinking of a lover. Others will lose themselves in
erotic reveries, rocking back and forth on the black rubber surface
(which is cushioned for their benefit) while their fingers pluck and
pump at themselves. Many are quite athletic in their endeavors and it is
all I can do to keep them on the conveyer. On some days hundreds of
young ladies come out of the tunnel, so many that I must bring up the
third line to accommodate them all, and I am so busy that when I sleep at
night I do nothing but dream of them, some demure, some wickedly
wanton, languorous moans and urgent cries forever silenced in their
lovely throats.
What is that you say? How do those young ladies come here? That, I do
not know. They do not seem unwilling, but neither, I think, are they
fully cognizant of where they are and what is going to happen to them.
A parade of hapless Eurydices returning from Hades; but to look at them
directly might spell your doom not theirs, for one might rush out to
ravish them, and fall victim to the machines himself! Some younger
men, without as much self-control as I, have failed to pay attention to
the equipment and there have been accidents, some of them tragic; so,
these days, except for myself and the other operators, the line is
automated.
But, back to the ladies. As far as I have seen they enter the plant
resigned to their fate, though I doubt they know exactly what that fate
is. But perhaps they do know, and do not care. Sometimes I fancy I detect
a self-awareness in their eyes, for many seem to strike deliberate poses
as they enter, to display their charms in the best light. But I truly do not
know. At any rate such things are not my concern.
The klaxon is sounding! I must return to my booth.
Please don't slip. The metal is safety treaded, but a fall could mean
disaster. Remember the plant does not discriminate between males and
females.
Look! The first in line emerges from the tunnel. I have worked here
eight years and never tire of this moment. To hear the bleating klaxon
and see the flashing red light turn round and round, and be the first to
see the young ladies they have chosen for this honor...it is truly
exhilarating.
Ah, a beauty, she Of course, they are all beauties. They wouldn't be here
if they weren't.
But on the other hand, even a girl who is merely ordinary in life can be
become quite valuable once preserved, depending on the appeal of her
pose. She could come out of the exit flap sweet and coy, or a panting
whore frozen in lust...it all depends on her personality, the secret side to
her a man like me would never see, except in a situation like this. It is
one of the reasons I enjoy this job so much. I feel a real accomplishment
when what was squealing, bleating femininity emerges from the exit
flap in graceful, immobile silence, and I know I have preserved their
very essences for an audience of appreciative and discerning
connoisseurs; indeed, for eternity itself.
Take a close look at the face of the first girl. She seems oblivious, doesn't
she. Eyes half-closed, sitting erect on her knees, her pert young breasts
pushed forward. Look how her little toes protrude beneath her shapely
derriere, below the peach-cleft of her buttocks. Her head lolls dreamily,
a half-smile takes shape on her face, as she kneads her teats like a
farmgirl. We choose only the finest, you know. Healthy, youthful,
without flaw. We keep names and other information for statistical
purposes, but they do not travel with the girl after she is processed.
When they leave the plant one girl is the same as any other girl. They
have neither names nor birthdates or places of origin, only serial
numbers by which their new owners can know them.
She now approaches the fork in the conveyer where the paddle will
separate her out onto Line One or Line Two. As I mentioned before, we
only use Line Three when we have a high number of girls to process. It
isn't used every day. Even two lines aren't used every day. You are very
fortunate in that you chose to visit when you did!
Ah, Line Two. Alabaster, for her. A pity. I was rather hoping it would be
bronze, so I could demonstrate to you the process of gilding her.
But, alabaster will do. It makes one of our more attractive statues...snow-
white, assertively glossed, with a slightly granular, almost chalky,
finish...texture enough to hide the uncanny yet exquisite realism of our
product. No, unlike King Midas, we don't turn girls to gold. We did
handle precious metals at one time, but our president, rightly fearing
the fate of those gold and silver ladies (should their new owners go
bankrupt, and need some quick cash) destroyed the programs that ran
those transformation types, so that now we are now limited to plainer
metals, which must be plated over for a precious effect. With time we
have seen the wisdom of it.
Do you see that? Two of the girls on the other line have collided on the
conveyer and are involved in some passionate lovemaking. I will keep
them entwined, for they are showing such energy and enthusiasm.
Sometimes I separate them, but more often, I do not, for the happy
accident often nets us a sculpture worth much more than two statues
would alone. Meanwhile our girl enters the machine. Surely she must
see the sparks, the grinding gears, the puffs of vapor that lie ahead of
her; yet she continues her fondling and does not flinch. Let's take a look
at the monitors where we can watch her transformation more closely.
She stirs when she realizes her immediate environment has changed.
Perhaps she even knows something is wrong, but cannot rouse herself
from her sensual stupor. Bright flashes of light stun and sterilize her as
she travels, and she is also being bombarded with ultrasonic waves to
cleanse her further, which is no doubt contributing to her sexual
enjoyment. Look at those nipples quiver, her thighs clench! Now, if she
would only raise her hands, push her hair back in a becoming gesture,
and give us the dreamy smile she evinced earlier. But aside from
stimulating the ladies, we can't do anything to pose them. This policy
stems from ancient argument among the founders of our company.
There were those who felt the process was so expensive nothing should
be left to chance, and so the girls should be posed in the manner of
erotic models, because, the argument ran, that is what most male buyers
expect and respond to; drugs or hypnotism would accomplish the
positioning of limbs, and costume items such as lingerie or leather
straps would further enhance the fantasy being depicted. Other voices,
such as that of our president, insisted that spontaneity was the key; one
could not duplicate the active poses and aroused states of our statues in
any other way but through the potential statue herself, and that their
unique and unbridled nature would be the key to their appeal. As you
see, our president's view has held out. And while some poses have been
awkward most are pleasing to the eye, because the ladies seem so
unaware of being frozen!
The cleansing process is over. Our girl still travels, but ahead of her,
and above her, lurks the Medusatron. As she passes beneath the
instrument it dips down to hover over her like a hawk, and there occurs
a bright flash of light and a high-pitched whine as her molecular
structure is mapped. Then each of the five cones emits a wavering beam
of pale white light which strike her in concert. See how her petite
frame trembles and quakes! It never fails to happen, the orgasm
occurring in concert with cone activation. Probably one causes the
other, but I'm not sure how.
The beams now hold the girl fast, and the shrill whine of the
Medusatron reaches hypersonic levels. For stone, the transformation
always starts at the feet. Even when the subject is prone or even, as has
happened, on her head, it begins the same way. See how the soft,
wrinkled soles of her feet are changing color, hardening, and fading to
white; now the transformation moves up her calves and her thighs, as if
her flesh was an empty vessel and milky liquid is being poured inside.
Her soft curved belly becomes stone, then the narrow tuck of her waist,
as she kneels in frozen silence, aware of her complete and utter
helplessness; though the rays hold her paralyzed she quivers slightly,
as if she realizes her plight and is trying to escape. But that, of course,
is
impossible. Now her breasts are becoming hard, white stone, and their
nipples two tiny, rock-hard nubs, and at this point I am always tempted,
though I know it is foolish, to reach out and depress them like two
elevator buttons, or even, in a macabre turn of mind, to pick up a
hammer and see what kind of blow would chip them off those stony
globes, and what the young lady, if she were aware, would think of such
an act. But the impulses always pass, because if I were to do such a
thing, I would lose my job, and possibly worse; and besides, it would be a
shame to damage such a fine statue.
The transformation now moves up her chest, to her neck and chin. Her
long, tumbled hair is caught and turned into frozen waves, and swiftly a
stony film washes over her face and seals her eyes, the moist, alert
surfaces now white and blind, and in an eyeblink the white film
reaches the top of her head, encircles it, and quickly grows together at
the center of her skull.
A second passes, then two, with no more movement, and I know for sure
she has been fixed in her final moment of passion. The Medusatron lifts,
whirring, and moves back to its original position to await the arrival of
the next subject, and the new statue travels on, to the wash tunnel.
Robot arms clamp her and steady her as she moves through a curtain of
water jets and past the rotating brushes that clean off the remains of
stone dust, after which blasts of hot air dry her from above. If she were
metal or glass, she would be buffed and polished at this point.
Finally, our new statue emerges into the light, to the lascivious cheers
and comments of our technicians. As you see it takes at least four men to
lift her. As part of our president's expansion program we are building a
miniaturization chamber which should make their jobs easier; it would
also attract buyers who like the realism of our sculpture but don't have
space for a life-size statue. We have also been thinking of setting up an
area for injection molding, to embed some of these miniatures in glass
or plastic to serve as bookends and paperweights; all this, however, is
still many months or years in the future.
Let's walk now to the end of the line so you can see her up close.
Ah, she is as I thought. Perfect. See how she kneels as if praying, the
palm of one hand almost touching the right thigh, but not quite, while
her other hand is raised and slightly outstretched, as if she meant to
shield her eyes from the glare of the Medusatron and failed. She must
have been about to give a scream of pleasure, for her head is thrown
back and her mouth open, with the hint of a tongue and teeth; the detail
always amazes me. Looking lower, you can even see the wrinkled lips of
her sex, from which she has shaven the hairy screen of Eve, so that
tiny protrusion you see could be her clitoris; I doubt she ever displayed
herself so brazenly before. Now look at her eyes and see how wide and
blank they are, full of dreaded knowledge and forbidden ecstasy; and if
you are like me, you would buy her in instant, if you had the means.
Now we must step aside, for the technicians must finish their work. You
look alarmed, but it is nothing, really. They're only injecting a sort of
caulk into her, to fill her orifices and seal them off; her buyer must
never suspect she was ever anything other than an alabaster statue.
The caulk matches the color and the texture of the stone exactly. It
should set in a moment. After that she will be inspected, inscribed, and
packed for shipment in one of those crates. Our statues are sent to art
galleries, private collectors, and museums all over the world. Our buyers
and dealers think they are crafted by many different artists, a front the
company has taken pains to create and maintain.
As much as I hate to leave here, it's time to go upstairs to the gallery,
after which our tour will conclude. We will be taking the staircase to the
right.
But before we go, let's turn back to look at the production line. The
ladies are now coming out of the plant at a rate of two per minute, each
pose, each face different and unique; yet somehow they are all the same,
as if their individual essences have been taken from them, distilled to
their basic femininity, and poured back into the empty vessels of their
flesh. It makes you wonder what they are thinking.
No, probably not. But we will never know, really. After all, we don't
have the means to change them back, so they can tell us. It is a
crushing disappointment to some of our customers, who find they have
fallen in love with their crystal or marble ladies, and come to us
begging for an antidote; but there is nothing we can do. None of them
think that if we did change them back, the first thing a former statue
would do would be to run away and resume her old life!
Still, if these statues are conscious, it's probably a type of consciousness
unknowable by human minds. Our president was certain that the
transformed ladies experience the final sensations of their bodies over
and over in a never-ending series of orgasms; if that is so, we can only
envy them.
On the other hand, it is entirely possible they know they are trapped
forever, and hate us. But no one really knows.
Here we are: the Gallery. Take your time to look around. I myself often
come here on my meal breaks.
This section is devoted to our various stone statues: marble, granite,
obsidian, alabaster and limestone, as well as our limited edition series in
jade, carnelian, onyx, and opal. Opposite them, glass and crystal. The
finer ones you see will actually throw out rainbows like a prism. This
girl is one of my particular favorites. See how she leans back on her
elbows with her toes pointed to the sky, blissfully unaware she was
going to stay in that position forever! Fortunately for her, the crystal
medium obscures rather than highlights the details between her legs,
for which she would be grateful. If her breasts look a little odd it's
because another girl, with whom she collided on the conveyer, was
tweaking her nipples and pulling them upward, but unfortunately her
partner was broken when we were taking them out of the freight
elevator, so she lies on her plinth all alone.
Yes, she looks fairly ridiculous. But the very awkwardness is
compelling, don't you think? For whoever looks at her can tell what act
she was involved in and how much she enjoyed it, even if the giver of
her oral pleasure is not present. You don't have to whisper by the way.
Although it looks like we are in a museum we are not; it's the lighting
that does it.
Now we come to the plastics. Plastic is the quickest transformation and
the cheapest to produce, and the statues can either be realistic or
artificial, depending on their finish. The medium can create some very
lifelike works of art, as with those girls over there; though their
immobility marks them as mannequins, they are far too expensive for
even the most high end department store. Go ahead, touch one if you
like. It's eerie to see what looks like soft flesh turn out to be so hard and
slick.
And here our metal statues in copper, bronze, and steel. That lewd yet
luscious minx has been allowed to acquire a lovely green patina, while
her sister is still fresh and shiny as if newly cast. No, the girl beside
them is not gold but electroplated chrome. The gilding is twenty-four
carat though, and quite thick. See how she stands with a secret smile on
her face, holding one nipple, demure. Every lock of her hair is perfect
as if dipped in liquid metal, and her lovely hemispherical buttocks beg
even now for many hours of polishing, and perhaps an inscription or
two.
All good things must come to an end, eh? The tour is concluded, and I'll
walk you down to the lobby where our security staff will escort you
back to your car. Please take this small statue reproduction as a souvenir
of your visit. I'm sure it will help keep all those senate reports anchored
to your desk. Come this way.
Oh...that. I was hoping you wouldn't notice her. That's our late president.
You are shocked. Of course she is young and beautiful, and as luscious
and desirable as all the other statues in the gallery; why wouldn't she
be? Her sexual appetites were...full and varied, let's say, but she was also
a genius, an expert in quantum physics and those branches of science
that deal with the nature of matter and molecular structure; she
invented the statuefication process herself, four days shy of her
twenty-fifth birthday, and succumbed to it four years later. And yes, she
is solid, gleaming titanium.
It was an accident, an incident involving some former employees. It
happened when we were still producing the few precious metal statues
we did. The scoundrels had planned to kidnap some poor girls, bring
them here when the factory was idle and deserted, and...you can guess
the rest: the ingots from the smelted statues would be sold on the black
market, with the fortune stashed in Swiss banks. But our president had
chosen that time to erase the precious metal programs, and
unfortunately, she met up with the criminals, and met this fate. I would
rather not say any more about it. We are still investigating the incident.
But, oddly, I think she would have appreciated the sculpture she
became. She kneels for eternity, her thighs slightly spread, her spine
straight; her head is thrown back, her mouth open in a scream of
ecstasy. Her heavy breasts jut forward, nipples hard as bullets, while
her arms are held close to her body, hands balled into fists from the
shock of the transformation, or the eager anticipation of it. She seems
frozen with tension, yet the metal is so gleaming and sensuous with its
curves.
She looks, if I may say so myself, well-satisfied. No passive victim she,
but an amazon full of life, power, energy; yet so vulnerable, for
titanium is as valuable as gold. We keep her case locked.
No, we wouldn't sell her. But neither do we know what to do with her. So,
she is kept here, as both a monument and a manifesto.
I don't think she would be displeased.
Look at her face, so transcendent, so triumphant, her eyes nearly
closed, her hair tumbling like frozen, gleaming snakes, and you will
know that theory of hers is true; and if the case was not locked, you
might stand before her, to slip your organ between her pursed silver
lips, so round and ripe and eager for a man's use, so she can give you all
that she is and all that she created, with her singular, prophetic,
titanium kiss.
END
This work is copyrighted 2000 by Cobalt Jade (Cobaltjade@aol.com). This
work may be be freely distributed over electronic media provided no fee
is charged for its use. Charging a fee for this story, or publishing
without author credit or this notice violates my copyright.
--
Pursuant to the Berne Convention, this work is copyright with all rights
reserved by its author unless explicitly indicated.
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