All copies were supposed to be destroyed by court order under the force of Stoker’s widow. A few survived.

The most important thing about this film. It was so old. And original. The vampire before Dracula, who was a GQ model more than a monster. Nosferatu was the first (and only) to make-good on the concept of vampire which, believe it or not, was supposed to be scary. Dracula never ever scared anyone in Devonwood, or Miami, or America. Dracula was about kissing, sucking, fucking, and BDSM. Hence all the sexy vampire movies. Dracula reduced itself historically into its actual essence. Its seed crystal was sexy—and barely that with cheese-ball narcissist Lugosi—more than scary, and eventually the latter got pushed out as the essence overtook the official genre. Dracula was Vampirella in drag, and she just took the ugly Lugosi makeup off.

But Nosferatu was full of the Olde Satanic Sickness. Lugosi’s neck-sucking Don Juan took over the original vampire idea, a corrupt undead thing, a dusty or rotten thing and friend of corpse and rat, and turned it into a hypno-seductive aristocrat. This original vampire could not be restored inside Lugosi’s romantic hypo-alpha specification. Restoration requires that a new form be made from scratch. This brings a new problem. By all rights, the original vampire has as its analytic definition,

vampire. noun. A rotten animated leech corpse. Whether he’s leathery and moldy like a mummy, or shambling cluster of termite-loosened meats, or oozing putrid liquids—he smells.

The essences of the vampire are rotten, leech, and corpse. It follows that the vampire is a rotten leech corpse, which we can unify as the hyphenated entity rotten-leech-corpse (RLC). The problem is that the RLC contains three widely-varying ways-of-variation: rotten, leech, and corpse. We already saw how rotten could be dust, leather, leather-glued-to-cloth, leather with oils and herbs (yielding a sweeter vomitous stench), rotten like loose meat, rotten like a bag of meats-leaking-fluids, or a mostly fluid thing. And that’s just the dry—wet continuum.

So the problem is that we need to metaphorize the genus by invoking it to visible appearance. To be here, with us, in the realm of sensible overlap, where intrinsic (Leibnizian) differences can touch and meet. Physical space is the