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CLOSE / Parnassiad


Peace and Other Stories


Fragments of a Formerly Active Sex Life



A-mazing a-mazos
by Julian X  /  scripts  /  3 Nov 2008

This story has 24 pages.

 

This story is sort of an introduction to ancient Amazon culture, and it’s necessarily quite explicit.  The “a-mazos” of its title is transliterated Greek for “breastless,” probably the etymology of “Amazon” -- or, as a few have suggested, perhaps the reason the Amazons, if they were historic in some form, were believed to be breastless in the first place.

 

This story was originally written, after much contemplation, in the early morning of 15 March 2002.  The last few visuals were added in the early morning of 16 March 2002.

 

Page 1

A full-page shot of a nine-year-old girl standing at an interior door, leaning against the edge, looking at a makeshift ancient bed on which her mother, in her twenties, has her legs spread and is giving birth, attended by two women in their late twenties.  They are all Amazons.  The time is about two thousand years B.C., probably in Asia Minor.  The emphasis in this shot in on the girl, leaning lazily, perhaps a bit Lolita-esque, against the door.  The camera is behind her, so we don’t see her face, but the point is in her viewing, her seeing of this apparently adult thing.

Caption:  “I was nine when I watched my mother give birth.”

 

Pages 2-3

The panels mostly fit on one page or the other, not overlapping, but the fifth panel serves as a background for both pages on which the other panels rest, as if insets.

1.          A tier-wide (one-page-wide) shot of Amazons with javelins and bows with arrows walking down a slope to an ancient city, the men of which are coming out.  Caption:  “I did not, of course, know my father any more than I knew who had gotten my mother pregnant this time.  Nor do I know if my mother knew.”

2.          A shot of the mother seen on the first page being penetrated from behind.  The scene is the hills outside of the city.  Caption:  “The Amazons regarded sex as a necessary evil, volunteering their bodies to neighboring tribes for the purposes of procreation.”

3.          A close-up of the man’s face in orgasm.  Caption:  “For some reason, the men agreed, meeting us on neutral terrain, everyone armed but knowing we were not there for battle.”

4.          A Sienkiewicz-esque subjective shot of the man's face, like the demonic impressions of Mickey Knox in Natural Born Killers.  Caption:  “Men are horny, monstrous.”

5.          This is the panel that serves as the background for both pages, bridging the two.  And it’s a good one, appropriate for the task:  a large shot of what looks like an orgy, the men on the Amazons, but nothing titillating about it, by which I mean that we don’t have women kissing each other or men stroking female nipples.  Caption:  “They think they’re getting free sex, their wives never knowing as they fuck and fuck a dozen, or however many they can stand.”  Second Caption:  “Our little meetings are outside their small moralities, outside their cities, their gods, their laws.”

6.          A shot of an Amazon's face as she's being fucked, in pain, clearly in disgust over what being done to her.  Caption:  “Amazons have sex like cats:  teeth grit, ass in the air out of instinct or duty but face in disgust, in revulsion over what we do not like.”

7.          A man's large, bulky, masculine hands grasping the chest of an Amazon, with its one breast.  Caption:  “We are women.  We do not like sex.  We loath this rough violation our biology compels us to.”

8.          A close-up on testicles hovering just outside of a vagina, the penis fully inserted.  Caption:  “But we do our duty, we take their seed, over and over our duty, so that we, in our subjection, in our bodies’ debasement, may steal from them.”

9.          A shot of a nude Amazon body, sweaty, very erotic despite the one breast.  Caption:  “We reek of male sweat afterwards, our bodies split open, disgraced for our tribe.”

10.        A close-up on the point of a javelin.  Caption:  “So that if we return, we may do so in greater numbers and so dishonor their bodies with our spearpoints.”

11.        A shot of nude men behind a nude Amazon, the one just finished patting the next on the shoulder / back.  Caption:  “They cannot resist these secret treasons, these rural enticements to empower their warlike neighbors.”

12.        A tier-wide (one-page-wide) shot of the Amazons walking away from the hill as the men walk back to their city.  Caption:  “We thieve life and numbers in our debasement, arm their seed with bows and javelins, and with their life given by our dignity taken, return someday to inflict bloody death.”

 

Page 4

1.          A shot of the female attendant delivering the baby holding the child. It’s a girl.  Caption:  “The attendants thanked a number of goddesses:  my mother had given birth to a girl.”

2.          A shot of a baby's head sticking out of the mother's vagina.  (Think of the birth sequence in Miracleman, though done with a bit more realism and distance than Veitch’s art allows.)  Caption:  “But my mother had two children that day.”

3.          A shot of the second baby being pulled out of the mother, only its feet still inside.  It’s a boy.  Caption.  “Only after it came out did they realize that the second was a usurper, a dark double of the first, lurking in her precious womb with one of our own.”

4.          Another shot, a large one, of the mother, having just given birth, the afterbirth flowing down from the bed, pouring bloody, its source blocked by one of the woman attendants who holds two babies, unseen by us from this point of view, and cuts their cords.  Caption:  “My mother had screamed in pain worse for the second, as if she had known.  As if she had known.”

5.          A close-up on the red fluid on the floor.  Caption:  “Compelled in pain by biology to deliver this repugnance.”

 

Page 5

This page is arranged in two vertical columns, two panels per tier, the gutter between them equally dividing the page in two.

1.          A close-up on the female baby's genitals, bloody, not yet wiped clean.

2.          A close-up on the male baby's genitals, bloody, not yet wiped clean.

3.          A shot of the mother holding the female baby, bonding, smiling as it cries.

4.          A shot of the male baby, handed like rubbish to the other female attendant, who regards it as rubbish.

5.          A shot of a number of women gathered around the bed, smiling and casting their hands up in thanks.  Caption:  “Our tribe gathered, praising the child and thanking their goddesses.”

6.          A shot of the second female attendant carrying away the male child, not yet wiped clean, by the hand.  Caption:  “The abomination they carried away.”

 

Page 6

This page is similarly separated.

1.          A shot of the female baby sucking on his mother's one nipple.

2.          A shot of the male baby being laid on a rock in a grassy area.

3.          A shot of the female baby being placed on an altar.

4.          A shot of the female attendant who carried the baby away holding a rock over the baby's head, ready to smash it.

5.          A shot of a metal javelin-like object being heated in a fire.

6.          A shot of the male baby’s head, shadowed by the rock held over it.  The head looks tender, easily split.

 

Page 7

This page is similarly separated.

1.          A shot of the red-hot metal object being pulled towards the female baby as a person holds it.  The scene is not unlike circumcision.

2.          A shot of the female attendant, unable to kill the child, putting down the rock beside the male baby.

3.          A shot of the red-hot metal being applied to the right nipple and future prospective breast.  The female baby screams in pain.  Caption:  "My sister's right nipple was cut and seared off in order to help prevent a breast from growing there."

4.          The female attendant walking with the male baby as it becomes night.

5.          The baby behind held and comforted as it screams and the red-hot metal is moved away.  Caption:  "It was a sacred ritual, a completion of the creation of the earthy goddess of birth, who had cared for her in my mother's sacred womb."

6.          The female attendant setting the male baby down on a hill.

 

Page 8

This page is similarly divided.

1.          As tall as the page, we here see the burned female baby held aloft by a female priestess.

2.          As tall as the page, we here see the female attendant walking off, already far enough away to suggest that she's not coming back.  Silhouetted at the top of the hill is the male baby.  It is raining mercilessly and a blue-dark early night.

 

Page 9

1.          A large shot of the female attendant who took the male baby.  She is naked and being whipped, her hands held outstretched by two clothed Amazon women.  Caption:  "When the attendant who had taken away my sister's dark twin, the woman who had attended the birth solely to take care of such a contingency, returned to our camp, she confessed that she had spared the demon, leaving it to die of exposure instead of having its soft skull split and its brains dashed against the rock."

2.          A close-up shot of a knife against the clitoris of the female attendant.  Caption:  “This was no small infraction, this abdication of explicit duty, and she was punished as our people punished our errant sisters.”

3.          A similar close-up shot, only here the clit has been sliced off.  Caption:  “Her sexual pleasure, that gift from the goddess of moist delight, was taken from her.”

 

Page 10

1.          A shot of a woman in her early thirties walking with our narrator (who was seen from behind on the first page).  Caption:  “Shortly before my early teens, I was taken under the wing of an older woman for instruction.”

2.          A shot of our narrator performing cunnilingus on the woman in her thirties.  This shot has some of the style of Attic red-figure vase paintings.  (Lest this be thought prurient, I hasten to remind us of the Ancient Greek practice of the same institution between young boys and older men, as is depicted on Greek vases -- an institution, and depiction, we are deliberately mirroring here.)  Caption:  “I learned the joy of soft tongue on soft wet flesh.  This was where sexual gratification could be found.  In this clitoris, not in the sick penetration of men.”

3.          A shot of the older woman steadying the arm of our narrator as she holds an arrow, strung on a bow, back against her right chest, where there is no breast.  Caption:  "She helped me to learn the bow, stretching it back against the scar."

4.          A shot of the two passing by the female attendant, now a few years older.  Caption:  "I remember seeing the attendant who had been punished for improper disposal and understanding better the joys her bad conscience had forfeited."

5.          A shot of the older woman and our narrator kissing and gently fondling.  Caption:  “There was a love there, between my initiator into adult things and myself, but it could not last past puberty.”

6.          A shot of our narrator as a teenager, the hot metal javelin-like object being pressed against her scar of a right breast.  Caption:  “At puberty, the purging was redone, as was our custom, making me a woman if I did not scream out.”

 

Page 11

1.          A shot of a group of nude women having sexual interaction.  Caption:  “I began to find delight in my own wet flesh.”

2.          A shot of a woman in her mid-twenties, naked, performing cunnilingus on our narrator.  Caption:  “I had my first orgasm in the face of a beautiful warrior a decade older than myself.  My body lurched, not knowing this new sensation.”

3.          A shot of the woman smiling, her mouth and chin glistening wet, looking at our narrator.  Caption:  “I’ll never forget how her lovely face glistened with a pleasure I barely knew or understood.”

4.          A shot of a couple women, nude, holding a dildo to our narrator's crotch.  Caption:  "And then, in preparation for going out to meet the men, they had taken me for the tribe so that no man could claim me."

5.          A shot of our narrator's face, screaming in pain.  Caption:  "The pain was unimaginable, terrible."

6.          A shot of the dildo coming out of her vagina, bloody.  Caption:  "The blood was a horror, a trauma I bore for the tribe."

7.          A shot of our narrator, naked, standing but stumbling.  Caption:  "I couldn't walk right afterward.  I only knew that I would live from the assurances of my sisters."

 

Page 12

1.          A shot of our narrator’s face, teeth grit, not liking what's going on.  Caption:  “I wondered if this was what it always felt like, if the sacrifice my sisters made in meeting the men was so great, so brutal, always a pain internal so great it stirred the soul.”

2.          A shot of our narrator, a bit older, being taken sexually by a nude man.  Caption:  “It wasn’t.  It got better.”

3.          A shot of the man’s chest hair as he, his body tense, thrusts into her.  Caption:  “What I noticed was not only the pain, however lessened, but the hair on the chest, the power of the arms holding me helpless, that awful manish smell.”

4.          A shot of our narrator, being penetrated, trying half-heartedly to push him away.  Caption:  “I tried to push them away sometimes in disgust, to get their alien bodies out of me.”

5.          A shot of our narrator's face, teeth grit, crying.  Caption:  “I thought of my soft folds, how the goddesses respected them, and how they were torn into some ghastly new shape, torn a million times over.”

6.          A shot of the men laughing together, sharing the camaraderie of sexual conquest.  Caption:  “I heard their laughs, their jeers, their senseless joy at taking us, using us, their thoughtless pleasure at penetrating us.”

7.          A shot of our narrator’s face, still as she is penetrated, vomiting.  Caption:  “My first time out, I vomited.”

 

Page 13

1.          An extreme close-up of our narrator's mouth, teeth grit, lips tensed.  Caption:  "But I learned to tolerate it more and more through the years.  I learned to think in my disgust of returning with my daughters and others daughters to slaughter them."

2.          A shot of our narrator being taken from behind on one of these outings.  Caption:  "In time, I even came to like it at times, as a kind of joyful sacrilege, though I and the others told ourselves this was joy given by the life-goddess for taking their seed for our tribe."

3.          A large shot of the women leaving, our narrator, now older, among them.  They are laughing together.  Caption:  "We would mock them as we left, finding again our own camaraderie, laughing that we carried inside us the weapons that would some day kill them."

 

Pages 14-15

A two-page battle shot of Amazons trashing the city, now aflame, that they visited for sex earlier.  Caption:  “Years later, we laid waste to the city whose men had violated and impregnated us.”  Second Caption:  “We rained burning arrows on them, alighting their homes.  We poured javelins down upon their heads, besieging them until at last we struck.”

 

Page 16

1.          A large shot of our narrator, in armor, striking dead a man within the city.  Caption:  “And we struck with all the female fervor of women destroying those who had taken pleasure in our thighs.”

2.          A shot of our narrator standing over a wounded man.  Caption:  “I saw a man who had been on of the many of his town who had known me.”

3.          A shot of our narrator bashing his head.  Caption:  “I thought of how his sex felt going in, roughly, quickly, how it felt deep inside me, moving me around, reaching so deep as to hook my soul.”

4.          A shot of his crushed head.  Caption:  “My every nervous tension had seemed only to incite him when he’d reached into my most tender, unseen, sacred place, but he hardly seemed pleased now.”

 

Page 17

1.          A shot of our narrator in a house finding a mother cowering with her three young children, two females and a male.  The youngest is a daughter, who looks all of two.

2.          A shot of our narrator killing the mother, splattering blood.

3.          A shot of the children, splattered with their mother's blood, the two girls cowering, the boy hitting her leg.  Caption:  “Stupid.”

 

Page 18

1.          A shot of our narrator bashing down the boy by his mother's corpse as the two girls cower.

2.          The scene from above for the first time as we see our narrator standing over the two girls and the corpse of their mother and their brother.  Caption:  “The smart ones kill their young girls before we get here.”

3.          A shot of our narrator bashing down the older daughter as she stands beside the younger one.  Caption:  “One girl is too old, would remember the men she’d been told to love.”

4.          A shot of our narrator exiting, leaving the little girl splattered with blood.  Caption:  “The youngest one can live.”

 

Page 19

A full-page fractured close-up just on the little girl, bloody and among corpses, split into three panels (in the fashion invented in The Dark Knight Returns and used most recently, at least in any effective manner, in Kevin Smith’s Daredevil storyline).

1.          Caption:  “We’ll burn off her right breast, do so again at puberty, and let her come with us to bear us children.”

2.          Caption:  “But they'll take her clitoris without infraction, and she will never be an Amazon, never blessed by our goddesses who despised her at birth.”

3.          Caption:  “She’ll make a good slave in time.  Ten years or so from now, she’ll have my pleasure on her chin, my taste on the back of her tongue, my smell coating her nose, and my warrior’s fists as incentive to keep me coming.”

 

Page 20

1.          A shot, covering the top half of the page, of the burned-out city, corpses filling the streets, Amazons herding young girls and standing around.  Caption:  “We execute any stragglers, round up the young girls worth keeping.”

2.          Covering the bottom half of the page, we get a shot of a pile of male genitalia, penises still attached to testicles, most hairy and adult, lying all together in a bloody pile.  Caption:  “We make the traditional pile of male genitalia, ready it to be ferried home in triumph.”

 

Page 21

1-2.       Two shots of our narrator tossing a couple sets of male genitalia, of dick and balls still together, onto the pile.  In the first shot, she’s about to toss the genitals; in the second, she has.  Caption (running over both panels):  “As I add to the pile, I wonder which have had me, once enjoyed my sex, now rent apart as they once rent me.”  Second Caption:  “I pause upon these seed-generators, these seed-dispensers, wondering which was my father’s, my sister's fathers, which made deposits that transformed our bodies and our lives, a gift but one uncontrollable, involuntary, to which we are at its mercy.”

3.          This panel shows our narrator looking up in thought at the night sky and the moon.  Caption:  “I wonder briefly if the brother my mother's attendant failed to dispose of is among them, if he was found and brought here in the night, raised in our enemy’s camp.”

4.          Here we get our narrator walking off among the corpses and girl-herding or genital-carrying Amazons.  Caption:  “But it’s a passing, idle thought, and I’ve no sooner thought it than I'm thinking of its strangeness and wondering where it came from, what disobedient god spurred such bizarre pondering.”

 

Page 22

1.          A shot of our narrator helping a girl learn the art of the bow.  Caption:  “In time, I take my own youth as a lover, instruct her in the ways of war.”

2.          A shot of our narrator, in her early thirties, lounging with a girl.  Caption:  “Feel her lips glide against my lower, aged ones, come deeply at her nimble tongue lost inside me.”

3.          A shot of our narrator's sister, dead in childbirth, the attendant holding the son she birthed.  Caption:  “My sister died giving birth to a son, a tragedy upon a tragedy.”

4.          A distorted shot of two fetuses fighting in the womb, almost forming a yin-yang symbol.  Caption:  “They say it is the curse of her dark twin, who leeched life from her within the womb, a war prenatal.”

 

Page 23

1.          A tier-wide shot of a spear high in flight, gleaming in the sun, abstract and without context.

2.          Our narrator with other Amazons, bows ready, some arrows fighting.  This is a tier-wide large shot with our narrator at the center.

3.          A tier-wide blurred motion shot from our narrator's point of view as she is rushed backwards.

Captions running over these three panels, with no attention to panel borders, are as follows.

1.          “I wish she was here.”

2.          “I wish I was out meeting the men again.”

3.          “I wish I was in battle again, slaughtering patriarchs, showering arrows down upon their minions’ heads.”

4.          “I wish I’d cut off one more set of testicles.”

5.          “I wish I could feel a vulva throb, spilling sloppily on my face one more time.”

6.          “I wish I could remember more of life prior to that day I saw my mother giving birth.”

7.          “I wish it hadn't been a man who killed me.”

 

Page 24

1.          A large panel showing our narrator with a javelin through her, looking in her posture and eyes as if about to die, her blood behind her and another Amazon holding her, attending to her somewhat tenderly.  Caption:  “I think I smell that man-smell, that sweaty, thoughtless, vagina-brutalizing smell, on the shaft.  I mutter something about it, uninterpretable without a context I can never give, wonder if I’m hallucinating, wonder at the randomness of being hit, wonder how many I’ve killed, wonder at my companion’s confusion at my muttering, and start to laugh.”

2.          A tier-wide black panel.  Caption:  “But it’s not a laugh I feel, and I’m off.”

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Amazon Tails:
A-mazing a-mazos