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Peace and Other Stories


Fragments of a Formerly Active Sex Life



Shaharazade and the King, Chapter 1 (of 2), Part 2 (of 2)
by Julian X  /  scripts  /  7 Oct 2007

Page 13

1-4.      A tier of shots showing Shahzaman pacing and thinking by the balcony.  Caption:  “Shahzaman watched the spectacle before him and pondered this great misfortune.”

5.   Shahzaman laughing with joy, perhaps a bit insanely, standing over the garden.  Caption:  “At last, his care and sorrow left him.”  Shahzaman:  “My brother is master of the whole world, but his wife and concubines do this, in his very palace!  I do not suffer alone.”

6.   Shahzaman looking up to the heavens, nearly weeping, released.  Shahzaman:  “By Allah, what happened to me is little by comparison.  Truly, everyone suffers.”  Caption:  “And so he found consolation for his own affliction and forgot his grief.”

7.   A shot of Shahzaman at dinner, scarfing up food enthusiastically.  His brother, of course, is not present.  All around seem to notice the change.  Caption:  “When dinner came, he ate and drank with zest.”

8.   A later shot of the same, with Shahzaman looking much improved.  Caption:  “He continued for ten days, enjoying himself at last.  His face regained color, and his body gained weight.”

 

Page 14

1.   Shahzaman and his brother talking, laughing together amid the luxury of the palace.  Caption:  “When Shahrayar returned from the hunt, his brother met him cheerfully.  The two had missed one another, and they talked with love and energy.”

2.   A shot of the two brothers at dinner together, as before, except that here Shahzaman is eating passionately.  Caption:  “That night, again Shahrayar ate and drank with appetite, lighthearted and carefree.”

3.   Shahrayar observing Shahzaman, who does not know he is being observed.  This shot mirrors the earlier shot in which Shahrayar observes his brother’s illness.  Caption:  “Shahrayar, for his part, kept his observance of his brother’s condition to himself.”

 

Page 15

1.   The two brothers, at night, talking high on Shahrayar’s palace, overlooking the city.  Caption:  “After a time, Shahrayar broached the subject of the mystery of his brother’s recovery from apparent homesickness.”

2.   Shahzaman looking down, wanting not to speak.  Caption:  “Shahzaman bowed his head and begged not to say, but his brother insisted.”

3.   Shahzaman speaking, and as he does the images of his tale surrounding him in inset panels.  Therefore, a larger panel.  Caption:  “At last, Shahzaman told the sad story of his own wife, how he’d caught her with the cook, and how he’d killed them both.”

4.   Shahrayar shaking his head, his brother in the shot.  Caption:  “Shahrayar shook his head and lamented the deceit of women.”  Shahrayar:  “I think what happened to you has never happened to anyone else.”

5.   The two brothers talking, but this shot has the city sprawled out beyond them.  I imagine them facing the city, not so much each other, and Shahrayar gesturing, a bit out to the city and a bit up to the heavens.  Remember, it’s night.  Shahrayar:  “By Allah, had I been in your place, I would have killed a hundred or a thousand women.  I would have been furious.  I would have gone mad.”

 

Page 16

1.   A cheeky shot of Shahrayar looking over at his brother curiously.  Shahrayar:  “But tell me, how is it that you have regained your strength?”

2.   Shahzaman again looking down, mirroring the shot on the previous page in the same place on the page.  Caption:  “Again, Shahzaman bowed his head and begged not to say.”  Shahzaman:  “I wish for your sake to be excused from saying.”  Caption:  “Shahrayar insisted, but his brother begged again.”  Shahzaman:  “I fear that you will be even more troubled than was I.”

3.   Shahzaman speaking, and as he does the images of his tale surrounding him in inset panels.  Therefore, a larger panel, mirroring the one in the same place on the preceding page.  Caption:  “But the elder king insisted, and so Shahzaman spilled the tale of the queen and the twenty concubines who were only ten and ten black slaves, and of Mas’ud.”

4.   Shahrayar shaking his head, his brother in the shot.  While mirroring the shot on the previous page, Shahrayar is visibly more upset here.  Caption:  “Shahrayar was enraged but held back his belief.”  Shahrayar:  “Brother, I cannot believe this unless I see it with my own eyes.”

5.   The two brothers talking with the city sprawled out beyond them.  Caption:  “And so Shahzaman suggested a plan.”

 

Page 17

1.   Shahrayar talking coolly with his retainers.  Shahzaman is not present.  Caption:  “That very night, Shahrayar ordered his army to prepare to go hunting the next morning, accompanied by both kings.”

2.   Mirroring earlier shots, here both brothers are walking through the garden to the guest palace.  Caption:  “Shahrayar spent the night in the guest palace with his brother.”

3.   A shot illustrating the caption.  Caption:  “When dawn broke, the two rode out form the city with their retinue.”

4.   A shot of the army’s tents pitched a ways outside the city.  Caption:  “They pitched tents and spent the day.”

5.   A shot of Shahrayar talking with his chief general, if you will, in the camp.  Caption:  “That night, Shahrayar summoned his chief chamberlain and ordered the army to camp there and not to enter the city for three days.”

6.   An illustration of the caption.  Caption:  “Then the two brothers took disguises and reentered the city after dark.”

7.   Another shot of the two brothers walking through the garden to the guest palace, only this time they do so covertly.  Caption:  “They went directly to the guest palace and slept there.”

 

Page 18

1.   The two brothers, with the sun rising, talking on the balcony overlooking the garden.  An intimate scene and a large shot.  Caption:  “When they awoke in the morning, they sat overlooking the garden, chatting until the sun rose.”

2.   A shot almost identical to the one before, illustrating the caption from the brothers’ P.O.V.  Caption:  “As they watched, the king’s private gate opened for the queen and twenty slave-girls.”

3.   An illustration of the caption.  Caption:  “They made their way to the trees beneath the window, took off their clothes, and suddenly there were again ten black slaves who mounted the ten concubines.”

4.   An illustration of the caption, the nude queen crying up to the trees.  Caption:  “The queen cried for her lover.’  Queen:  “Mas’ud!  Mas’ud!”

5.   A small shot of Mas’ud leaping down from a tree.  Caption:  “Again, a black slave jumped from a tree and came to her.”

 

Page 19

1.   Mas’ud approaching the nude queen, grabbing his cock.  Mas’ud:  “What do you want, you slut?  Here is Sa’ad al-Din Mas’ud.”

2.   An illustration of the caption.  Caption:  “The queen laughed and fell on her back, and the slave mounted her and enjoyed her as the ten others enjoyed the ten concubines.”

3.   A close-up of the queen’s laughing lower half of her face, almost horizontal.  Silent.

4.   An illustration of the caption.  Caption:  “Again, the black slaves washed themselvees in the garden and dressed, mingling with the concubines while Mas’ud leapt over the wall.”

5.   A shot almost identical to the one before, illustrating the caption from the brothers’ P.O.V.  Caption:  “Again, the queen and the twenty reentered the palace, locking the gate behind them.”

 

Page 20

1.   A shot of the two brothers watching, Shahrayar in a state of total shock.  Caption:  “Shahrayar lost his mind as he watched.”

2.   A shot of the two walking down inside the lavish palace (mirroring the shots earlier of Shahzaman exiting his palace before seeing his wife with the cook).  Caption:  “The two went down to the garden, the scene of the crime they had just witnessed.”

3.   A large shot.  The two brothers in the garden together, looking around them as if at bodily fluids, in shock -- particularly Shahrayar.  Caption:  “Shahrayar hatched a plan.”  Shahrayar:  “When such doings are going on in my kingdom, in my very palace, there is no safety in this world.”

4.   Shahrayar speaking intimately with his brother Shahzaman.  Shahrayar:  “Let us leave our kingdoms to wander this world under Allah’s protection.  If we find a man of misfortune greater than ours, let us return.”

5.   A similar shot, only here with the “camera” close on Shahrayar’s face as he speaks, breathing the same air as his brother Shahzaman.  Shahrayar:  “If not, we shall wander the land without the trappings of royalty for all our days.”

 

Page 21

1.   An illustration of the brothers leaving the city, without even an animal to ride.  Caption:  “They left that very night, journeying as far as they could before nightfall.”

2.   A shot of the two brothers camped out in the open, at night.  Caption:  “They slept outside, in the open and without protection.”

 

Page 22:  Inset Story Page 1

Beginning with this page, I’d like the borders, color, and / or artistic style to be different, suggesting that a tale is being told -- or that we’re not in the same narrative space as the previous section.  “Different narrative space” is apt:  this isn’t, strictly speaking, an inset tale, but the tone is so different, so filled with magic in stark contrast to the entire rest of the narrative around it, that it needs to be separated.

A full-page shot of Shahrayar and Shahzaman on a meadow by the sea, informally picnicking.  Very watercolors.  Caption:  “In the morning they continued until they reached a meadow by the sea, where they talked of their sorrows.”

 

Page 23:  Inset Story Page 2

1.   An illustration of the sea parting before the frightened brothers.  Caption:  “While they talked, a great cry erupted from the sea.  As they trembled with fear, the sea parted before them.”

2.   An illustration of the black pillar of the caption.  I imagine it looking very phallic.  Caption:  “A black pillar emerged, swaying forward, growing taller and taller until it touched the clouds.”

3.   The two men climbing a tree together, one ahead of the other, both in stark terror, as if the world were ending.  Perhaps the shadow the black pillar can be seen over this image.  Caption:  “The two former kings were petrified, then ran in terror, climbing a tall tree and hiding in its foliage as if to escape.”

 

Page 24:  Inset Story Page 3

1.   The black pillar coming up onto the shore, dripping torrents of water, now clearly a jinn.  Caption:  “The black pillar cleaved the sea and waded in water until it reached the shore.”

2.   A close-up of the chest on the head of the jinn.  Caption:  “It was a black jinn, and it carried on its head a large chest, made of glass with firm steel locks.”

3.   An overhead shot, I think, of the black jinn strolling up to the tree, in which we see our two brothers.  Caption:  “Upon the meadow, it strolled to the very tree that sheltered the former kings.”

4.   The jinn on the ground beneath the tree, opening with keys the locked chest beside him.  Caption:  “There it sat, placing the chest on the ground, taking out four keys, and opening the locks.”

 

Page 25:  Inset Story Page 4

1-2.      The chest opening, revealing a beautiful woman curled up within it, asleep.

3.   The jinn carrying the sleeping woman to the tree, where he’s setting her.  Caption (over panels 1-3):  “From the chest, it pulled out a beautiful woman, laid her under the tree, and spoke to her.”

4.   The enormous jinn’s head beside his sleeping woman, affectionately speaking to her.  Jinn:  “Mistress of all noble women, you who I carried away on your wedding night, let me sleep a bit upon your lap.”

5.   The enormous jinn asleep, his head on the woman.  It’s a picture of love, at least on his part.  Caption:  “He placed his head upon her lap, stretched his legs out to sea, and soon began to snore.”

 

Page 26:  Inset Story Page 5

1.   The woman, as seen from overhead, under the jinn, her eyes locked on the men directly above her.  Caption:  “The woman beneath the jinn gazed upwards and saw the two men, and their wonder turned to terror.”

2.   An illustration of the caption.  Caption:  “She lifted the jinn’s head from her lap and placed it upon the ground.”

3.   An illustration of the caption.  I imagine her looking as if in slow motion in a film, her gesture the focus here.  Caption:  “Standing under the tree, she motioned to the two men, as if to say ‘Come down slowly to me.’”

4.   A shot of the two men, petrified in the tree, looking down.  Caption:  “The two men begged her, in the name of Allah, not to come down.”

5.   A shot of the woman as seen from the men’s P.O.V.  Caption:  “But she insisted.”  Woman:  “You must come down to me.”

6.   A shot of the two terrified men.  Comical.  Shahrayar:  “This sleeping jinn is the enemy of mankind.”  Shahzaman:  “For Allah’s sake, leave us alone.”

7.   The woman looking up, again from the men’s P.O.V.  woman:  “If you don’t, I shall wake the jinn and have him kill you.”

 

Page 27:  Inset Story Page 6

1.   A shot of the two men regretfully climbing down.  Caption:  “At length, they climbed slowly down.”

2.   The two brothers standing nervously, pathetically, as if naked but with clothes on -- while the woman lies with her legs in the air, spread eagle, in front of them.  I imagine them in the background, facing us, and her on the ground, not blocking our view of them -- which puts her genitals exactly out of sight, though what they’re seeing is perfectly clear.  Caption:  “As they stood before her, she lay on her back, legs in the air.”  Woman:  “Satisfy my need -- make love to me, or I will wake the jinn.”

3.   The two brothers standing nervously, undressing, their penises flaccid.  Shahrayar:  “For Allah’s sake, mistress, don’t do this to us.”  Shahzaman:  “We can feel nothing but fear of this demon  Please excuse us.”

4.   And here we see the cunt.  A shot of her on her back, demanding insistently.  Woman:  “You must.  By Allah, the Creator, if you don’t, I shall wake this husband of mine and ask him to throw you into the sea.”

5.   One of the men fucking her while the other looks on, worried about the jinn beside them.  Caption:  “The older brother had her first, then the younger.”

 

Page 28:  Inset Story Page 7

1.   The men’s rings in the foreground, on their fingers, as the woman in the background points to them and speaks.  Caption:  “When they had finished and withdrawn from her, she made a second demand.”  Woman:  “Give me those rings.”

2.   A shot of the woman shaking 98 rings from her dress.  We don’t see the full woman here -- just her action and the pile of rings.  Caption:  “Before they could, she revealed, from the folds of her dress, a small purse and shook out of it ninety-eight rings of different fashions and colors.”

3.   The woman speaking with the two frightened men.  Woman:  “Do you know what these rings are?  All their owners slept with me.  With yours I have a full hundred.”

4.   The woman gesturing around at the scene:  at the jinn and the chest from which she emerged.  Woman:  “A hundred men have known me under the very horns of this disgusting monster of a cuckold who has imprisoned me in this chest, locked it with four locks, and kept it in the middle of the sea.”

5.   The woman looking sly in close-up as she speaks to the men.  Woman:  “All this he has done to keep me pure and chaste, not knowing that nothing can prevent a woman who desires something.”

 

Page 29:  Inset Story Page 8

1.   A shot of the two men dancing and laughing in front of the now confused woman.  Caption:  “Shahrayar and Shahzaman laughed in amazemen and danced with joy.”  Shahrayar:  “Oh, God!  Oh, God!  There is no strength but Yours.”  Shahzaman:  “Great is women’s cunning!”

2.   The men gladly handing over their rings to the woman.  Caption:  “They gave her their rings, and she added them to her purse.”

3.   The woman doing exactly as described in the caption.  Caption:  “Then, sitting again by the jinn, she lifted his slumbering head, and replaced it on her lap.”

4.   The woman, now looking pinned, gesturing to the men and pointing away, telling them to leave.  Woman:  “Now go!  Go or I’ll wake him.”

5.   The men walking away, backs turned to the jinn and his woman.

 

Page 30:  Inset Story Page 9

1.   A large shot of the two (now) smiling brothers walking on a dirt road.  Emphasis here on the smiling and laughing of the two brothers.  Shahrayar:  “By God, brother, this jinn’s sorry plight is worse than ours.  Let us go back to our kingdoms and our critics.

2.   Another large shot of the two brothers walking on a dirt road.  Emphasis here on the walking, the journey, rather than on the good humor.  Caption:  “Shahrayar swore never again to marry, and his brother followed suit.  As to the rest, Shahrayar said simply for his brother to follow his example.”

 

Page 31

Back to the main narrative, with its more realistic tone.

1.   A shot of the two brothers arriving at the army camp they left outside the city.  Caption:  “On the morning of the third day, the brothers returned to their camp and men.”

2.   King Shahrayar holding court over his high officials, who bow and kneel, and to whom servants are handing great gifts.  Caption:  “King Shahrayar bestowed gifts on his officials, who came to attend him, --”

3.   The army troop, led by the two brothers, marching back into the city, the gates to the city open and the troop having started to enter.  Caption:  “-- and commanded everyone to return to the city.”

5.   The king and his chief vizier just inside the palace, as others continue to enter.  The king is speaking to his vizier.  Caption:  “No sooner had he entered his palace than he ordered his chief vizier.”  Shahrayar:  “Take that wife of mine and put her to death.”

6.   The vizier executing the queen by sword.  Caption:  “The vizier could not disobey him.”

 

Page 32

1.   A large shot illustrating the massacre described in the caption.  Lots of nudity, screaming women running fearful, and blood.  Caption:  “Seeing this accomplished, King Shahrayar took his sword and, entering the palace chambers, killed every one of his slave girls.”

2.   Shahrayar, his clothes covered in blood, speaking to his chief vizier who guards the door to the harem.  Shahrayar:  “Replenish the slave-girls, one for one.”

 

Page 33

It’s worth noting that the king’s instruction here -- about marrying, even if only for a day -- does violate his agreement with his brother not to marry.  But the text doesn’t talk about this, and I don’t want to invent a scene here, preferring as I do to leave it implicit.  The brother, Shahzaman, is really rushed off-stage rather quickly -- but I’ll leave it as is.

1.   Shahrayar leaning into his chief vizier’s ear.  Shahrayar:  “Find me a wife from among the princes’ daughters.”

2.   Shahrayar pulling back from his vizier’s ear, speaking now more formally to the vizier.  Shahrayar:  “In order to save myself from the wickedness and cunning of women, I will marry for one night only and kill the woman the next morning.”

3.   A close-up on Shahrayar’s face, eyes down in subtle but deep sadness.  Shahrayar:  “There is not a single chaste woman anywhere on the entire face of the earth.”

4.   A large panel showing Shahzaman with an entourage, exiting the city during the daylight.  Caption:  “Shortly after, he sent his brother back to his own country with supplies, gifts, and goodbyes.”

 

Page 34

1.   A shot of the king laying with a gorgeous woman, who lounges on the bed with great seductive appeal.  Caption:  “The vizier found the king a wife, and the king slept with her and was done with her, and the next morning --”

2.   A shot of the same woman being executed by the vizier, her head chopped off by a curved Arabic sword.  Caption:  “-- he ordered the vizier to put her to death.”

3.   Beginning a second tier, we get a shot of the king sleeping with a different woman.  Caption:  “The next night he took one of his army officers’ daughters, slept with her, and the next morning --”

4.   The woman crying as the sword comes down.  Caption:  “-- ordered the vizier to execute her.”

5.   Beginning a third tier, we see the king aggressively fucking a girl long into the night.  She looks tired.  Caption:  “The third night, he took a merchant’s daughter, slept with her until morning, then --”

6.   The woman with her head cut off, her beautiful body splattered with blood.  Caption:  “-- had the vizier put her to death.”

 

Page 35

A full-page of shots of women being fucked by Shahrayar and of women being beheaded.  They shouldn’t be identical -- we shouldn’t see every woman shown in bed also beheaded, nor vice versa.  Nor should the two types of shots be binary, with one type always following the other type.  The point here is to convey a massive amount of women going through this process, over a long span of time.  Caption:  “It became King Shahrayar’s custom to take each night the daughter of some merchant or commoner, pass the night with her, and have her executed he next morning.”

 

Page 36

1-3.      A sequence of shots in which soldiers pass by a house and the middle-aged-to-elderly parents hide their daughter inside, out of the soldiers’ sight.

4.   A large shot of Shahrayar’s city at dusk, the streets largely abandoned.  Caption:  “He continued until the city was drained of girls, their mothers mourned, and their fathers complained to the Creator of the Heavens, who hears and answers prayers.”

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Shaharazade and Other Female Writing:
Shaharazade and the King, Chapter 1 (of 2), Part 1 (of 2)
Shaharazade and the King, Chapter 1 (of 2), Part 2 (of 2)
Shaharazade and the King, Chapter 2 (of 2), Part 1 (of 2)
Shaharazade and the King, Chapter 2 (of 2), Part 2 (of 2)