The A.V. Club

A Novel by J.K. Ermon (jokermon)

Chapter Seven: Movie on a Sunday Afternoon, Part Two

This is a work of erotic fantasy fiction for the entertainment of adults only. Everything in this story is imaginary and is not meant to represent any real-life people, events, or medical conditions. It contains explicit futanari (hermaphrodite) content. If that's not your thing, or if reading this type of material is unlawful where you reside, don't read it. All characters in sexual situations are 18 years of age or older, even if it seems otherwise for dramatic or narrative purposes. Please enjoy this story responsibly and do not repost without permission. This story is copyright©2016 J.K. Ermon.

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(Excerpt from the documentaryThe Powell Pattern,A Band Apart, 1996)

Narrator speaks over splashy quick cuts from Powell's films, set toIncense and Peppermintsby The Strawberry Alarm Clock. The clips feature emergent women, some nude, some in revealing costumes. Laughing faces, bare breasts, wiggling backsides and waving erections cascade in a kaleidoscope of 60's freak-out visuals. Ejaculations pop to exploding comic book sound effects à la Adam West's Batman:Sploosh! Splurg! Ker-splooey!

Narrator:Acquired Xenogenic Andromorphism was a hidden aspect of American life until the late sixties. Two things brought it out into the open: the civil rights movement of the time, and the films of British auteur Anne Powell.

Smash cut. Music ends.

Fade into: A nude blonde woman sitting in a penthouse overlooking Charleston harbor. She appears to be in her late twenties or early thirties. Her legs are crossed demurely at the knee. She uncrosses her legs with a smile and reveals she is emergent. Subtle sans-serif lettering fades in beside her:Lucille Torvalds. Lettering fades out. Fade in more lettering:aka: Lucy Long. Lettering fades out.

Lucille:I first met her in the spring of sixty-seven. A lady I knew, Pauline Graham, went by Polly Pole onstage, called me up when I was in Louisville. Said she'd met an amazing young woman in Ohio, of all places. She wanted us to meet up in Bowling Green.

Cut to: A nude brunette woman seated in a small movie theater with black leather couches instead of conventional seating. She too sits with her legs crossed. She appears to be the same age as Lucille. She uncrosses her legs with a smile and reveals she is emergent. Lettering fades in and out, first her name,April Stafford, then her nom de sausage:Dazey Woodcock.

April:I first met her in late sixty-eight. I'd already heard of her by then, and seen her movies. They inspired me and a lot of others to start making our own. And thanks to her, the backing was there. So anyway, I get the call, she wants me to be in her next feature. Can I come to California? I mean, we were at the airport before the phone hit the cradle!

Cut to: A thirtyish black woman seated naked and cross-legged in a deck chair on the porch of a California Craftsman home. The sunny Pacific Ocean rumbles along a beach behind her. She uncrosses her legs with a smile and reveals she is emergent. Words appear, then fade:Faith Mitchell,aka: Honey Knutz.

Faith:She was kind to us. I think that's why we all went so far for her. She was demanding, God knows, and a real perfectionist, but she had a quality about her -- she motivated you to excel. She made you want to rise to her level of excellence. But more than that, she was kind. She was kind to us at a time when most of America wasnotkind.

Filmmaker, off-camera:How do mean, not kind?

Faith:Oh sweetie. Back in the sixties, most of America was still stuck in the forties. There were a lot of people pushing for change, but believe me, they were pushingagainstthe current. Never mind being black, never mind being a woman, if you were Hag-bred, you were at the bottom of the barrel. I had Jim CrowandJane Grow to deal with. And then suddenly this British lady wants to make me famous.

Filmmaker, off-camera:How did that first meeting happen?

Cut to: Lucille's penthouse.

Lucille:So I get to the apartment, only there's a boy with them. Looked college age. Cute. Tall. The woman, though. She's a little taller than me, dark redhead, almost brunette, and she is just...stunning.

Her penis begins to rise. She doesn't touch it or even seem to notice.

Lucille:You could tell right off the bat she'd been with dickgirls. People that do...they have a certainpresence.In men, it's this...aura, I guess, of virility. In women, it's this powerful sexual magnetism. She had it in spades.

Pauline says, (in an exaggerated Southern drawl)"This is Claire from England and she wants to make movies starring dickgirls." I point at the kid and ask, well, who's he. Claire answers, (imitates a posh British accent)"that's my cinematographer and all-around special effects wizard." And Pauline says, (Southern drawl again)"He's also our concubine."

Cut to: April's theater.

April:I get to her place in Van Nuys and it's this modest little ranch house. There are three huge Nissen hut-style storage units out back, and they're bigger than the house is. Inside the house, I mean,clearly,I've just arrived at the end of a weekend-long orgy. There are dickgirls sleeping everywhere. Men and women too, but mostly dickgirls. I was...I mean, I've never seen so many of us in one place. Everybody's naked. The place smells like a bordello.

As she speaks, she gets an erection. It happens slowly and she pays it no mind.

April:Claire comes out in this little bathrobe no bigger than a blazer. She apologizes for the mess. It was the wrap party forMassive and Merciless, and apparently it went a little long.

Cut to: Faith's porch.

Faith:It was April, 1967. She cast me in her first feature film,The Convent's Coven.I was doing backroom gigs at juke joints in western Kentucky, and one night after a show, this pretty white woman walks in the dressing room. She's with this lady I knew from the circuit called Polly Pole. Polly - her real name's Pauline - introduces us, and I knew from the start, Claire Powell was serious.

Her penis rises up.

Filmmaker, off-camera:Um...how do you mean, 'serious?'

Faith:She was for real. She wasn't...stern, but you meet a lot of flaky people on the circuit, and she wasn't one of them. You could just tell she meant business. And dickgirlswereher business.

Cut to: Lucille's penthouse.

Lucille:They had a film projector set up and one of those stand-up movie screens they have in classrooms. They showed me this movie that Claire did. It was Pauline doing it with a bunch of guys in a van.

Lucille continues voice-over as we cut to: Clip of a pretty blonde woman in sexy prostitute attire. She is walking some rural road, interacting with a group of men bizarrely wearing Groucho Marx sunglasses. Lettering appears:American Hag-bred,Powell Pictures, 1968.The use of montage is flamboyant, but confident and controlled.

Lucille (in voice-over):It was good. It was short, but really good. It told a story and it was visually pleasing. Some of the jump-cuts were pretty weird, but in a way that kept things interesting. You just didn't see technique like that in mail-order sausage flicks. It was a professional, even artistic piece of work. And it wassexy.I remember that most of all. The images just jumped off the screen and tickled your boner-bone.

Cut to: Close up of Lucille's erection. It is throbbing.

Cut to: April's theater.

Filmmaker, off-camera:I notice many of you call Ms. Powell 'Claire.' Did she not go by Anne Powell back then?

April:Claire-Anne Powell was her real name. She preferred to be called Claire-Anne or just Claire. At the time, there was a lesser-known British actress called Claire Powell, so she couldn't use that name professionally.

Filmmaker, off-camera:About professional conduct...is it true she did her own version of the Hollywood casting couch?

April:No. I mean, she slept with all her actresses, sure, but that was just to get to know them. She said it gave her a sense of each woman's 'emotional palette.'

April's penis enlarges, points upward. Drops of pre-ejaculatory fluid trickle down.

Filmmaker, off-camera:Could you...elaborate?

April:These were women withzeroacting training. Most of us never even graduated high school. Claire had to match up characters in the script to non-actresses who could play them, convincingly. Dickgirls who could understand the emotional truth of that character, and manifest it. Claire said that when she made love to a dickgirl, she understood that lady's emotional landscape. Then she'd know how to cast her. So I guess itwasa casting couch, in a way.

Cut to: Faith's porch.

Faith:You have to understand, when people say you can't lie to the Hag-bred, it's true. Any dickgirl worth her salt can spot a phony a mile away. So when Claire told me what she wanted to do, there was no question she was sincere. And when Pauline said Claire had to fuck me to know how to direct me, I said fine. You don't have to talk me out of a good time.

She grins.

Faith:I banged that pretty chick right on the dressing table.

Her penis extends and shudders.

Faith:Polly banged her too. We took turns. Then a couple dudes came in and Claire did them, too. When I do my shows, my dressing room has an open-door policy.

Cut to: Lucille's penthouse. She is stroking her erection in an offhand, almost reflective way.

Lucille:So after the movie, we all balled, as we said back then. I did it with Claire and her boyfriend. Only her boyfriend let me do him in the ass. Let me tell you, back then, that didnothappen every day. That was something very special. After that, I would have marched to the gates of hell for her.

Filmmaker, off-camera:Did anybody ever say, hey this woman's just using her body to get our co-operation?

Lucille:(Laughs) No, but it sounds like the smart play! What you have to understand about Claire-Anne Powell was that shelikedus. That was the thing. I mean, she had real empathy for our plight, it outraged her and all that, but beyond that, we fascinated her. We were her fetish. She couldn't get enough of seeing us naked. She would always shoot far more footage of our dicks than she would ever need. There's a film vault somewhere with cans and cans of nothing but emergent cock. Weeks' worth.

She laughs.

Lucille:That's the documentary you should make.

Cut to: brief montage of erect penises from Powell's films. They sway and bob. Some clips show the whole actress, others just the penis. Powell's images are all meticulously framed and lit to convey a variety of very specific moods.

Cut to: April's theater.

April:So Claire takes me into one of these little Nissen huts she's got on her property. There's a movie set inside. Full lighting rig. It's a bedroom set. And I realize, this is where she shoots her movies. The raw sex pouring off this woman is making it hard for me to think, and less than ten minutes after meeting her, I'm in bed with her.

She grasps her penis, begins masturbating.

April:A lot of women expect dickgirls to be dominant, in bed. Because we have cocks, we must act like men, right? Well, most of the time, it's simply not true. We're no more dominant or submissive than any other woman. Case in point, Claire was more dominant than any dickgirl I ever met. She knew how to take the initiative, how to get the ball rolling. Pun intended. She's one of the most assertive lovers I've ever had. She also knew how and when to surrender control, let her partner do the driving. She knew how to go back and forth, and then just synergize. Making love with her...it was the best. Unrestrained and empowering. Just the best.

Cut to: Faith's porch.

Faith:She loved to film us in every stage of arousal. She once spent two hours filming me going from fully soft to fully hard, over and over.

She lifts up her balls. They are large.

She'd have me get close to orgasm, just so she could film my balls pulling up. Then she'd have me stop, so she could film them relaxing.

She bounces them in her palm.

Filmmaker, off-camera:It sounds...frustrating.

Faith:Not really. She loved filming us coming, too. The way our bodies would thrash around, you know, and...all the semen. Oh, she lovedthat.The more, the better.

Faith's voice over continues as we cut to: Brief montage of memorable cum-shots from Powell's films. In some, the sperm appears to glow with mystical light. In others, it sparkles like gemstones. Many shots are in slow-motion. The creamy consistency is emphasized. It looks beautiful and delicious.

Faith (in voice over):She and her man came up with all kinds of lighting and camera tricks to convey the heat and texture and sweetness of our cum. Just watching made you want to taste it. She could make it look...yummy.

Cut back to: Faith. She is masturbating.

Faith:She liked our faces, too, when we came. I remember so many times after a good cum-shot, she would say, keep going. She would have us keep on fucking, or whatever we were doing, until we came again. But that time, she'd have the cameras on our faces. Just so she could catch our expressions.

Faith's voice over continues as we cut to: Brief, quick-cut montage of beautiful faces in ecstasy.

Faith (in voice over):She would shoot our faces, in tight close-up, forages.It was a lot of work, but it made us feel flattered and desirable. Appreciated, too. That's another thing America wasn't giving us much of at the time.

Cut to: Lucille's penthouse. She is still masturbating.

Lucille:She worked hard to make us look beautiful. When you see the movies, it really shows. I knew she was competent, but once she had an actual budget and resources...wow. When I went to Denmark for the opening night ofThe Convent's Coven,it was just...remarkable. We looked likeangelsup there.

(She strokes faster.)

Lucille:Oh...excuse me...

Cut to: April's theater. She is still masturbating.

April:Onscreen, she made us look...legitimate. As actors, and as people. Until the clothes came off, any one of her movies could have been a mainstream Hollywood production. She was able to direct us in such a way that we didn't embarrass ourselves. We looked like actual movie stars. And the thing was, to Claire-Anne Powell, wewere.

She strokes faster.

April:The premiere ofThe Sweet Smell of Corruptionin Copenhagen was one of the most profound moments of my life. I...uh...

Cut to: Faith's porch. She is still masturbating.

Faith:We were untrained, uneducated. But she knew how to communicate with us. We always knew what she wanted. She got great natural performances out of us. She lost her temper a bunch of times on set, threw some historic director tantrums, but that was always because of technical fuck-ups. She never lost her temper withus.Her love of us was unconditional. And when I saw the finished product at the grand opening in Copenhagen, I understood what she was trying to do.

She strokes faster.

Faith:She put her love and acceptance of us on the screen. More importantly, she made the audience feel it. I cannot stress how revolutionary that was...oh...

Cut to: Three-way split-screen of all three women ejaculating. Their gasps and grunts mingle. The sound fades as their orgasms peak, replaced by the thumping beat ofSuzy Qby Creedence Clearwater Revival.

(Excerpt Ends)

~~~

That Sunday in April, 1967, was a turning point for all of us.

It was certainly the greatest meeting of the Grant High AV Club we'd had to that date. Jack spent most of Saturday stitching up three new ceremonial robes. We presented them to our new friends down in the basement while I played a scratchy old LP ofPomp and Circumstanceon the rec room's stereo console. We declared them honorary members of the AVC. Claire and Pauline looked delighted. Betty looked bemused.

"Do we wear them with nothing else underneath, like you do?" Claire asked.

Jack shrugged. "If you want."

Claire turned her back while she undressed while the other two just stripped down facing us. Blood rushed into my cock. I could see all of my friends getting hard too. It was wonderful seeing women down there (especially naked ones), in that space that had previously been an all-male enclave. The robes made them look mysterious and sinister, like a coven of sexy witches.

Claire plucked at her robe. "Hmm. This gives me an idea for a movie."

We turned out the lights and I fired up the projector. Pauline's new sausage flick was up first. It was great, another one featuring her and Betty, only this time Betty was the top. Pauline was wearing a Catholic schoolgirl uniform and sitting on a high stool in the corner with a dunce cap. Betty entered wearing a nun's habit.

"Oh my," said Frank. I could just barely detect the tremble of excitement in his voice. "This is splendid."

Frank likes nuns. I suspect it's because he's not Catholic. I'm Catholic, and let me tell you, in real life, nuns aren't sexy at all.

Movie-Betty bent movie-Pauline over the stool and flipped up her skirt. She was bare-ass naked underneath. Her thighs were together and her balls and penis were exposed, forced back between them and pointing down. Bettytsked.

"I can't tell you how disappointed I am with you today, Polly," she said, running her hands over her recalcitrant student's ass. "Fucking the entire girls' Field Hockey team. I really did not expect that kind of behavior from you."

"But theyaskedme to." The bent-over Pauline whined in protest. "Nicely."

The audience snickered.

"And that means you can't refuse?" Sister Betty picked up a pointer and began slapping the backs of Pauline's thighs and her butt. The sound was really good here; you could hear the swish and crack of the stick hitting skin.

"Ouch," remarked Allen.

Seated with them on the couches, Pauline said, "You ain't kiddin'. Thatreallyhurt."

"You loved it," said Betty.

"True," she answered with a laugh.

I saw a shadow detach itself from the crowd up front and come back towards me. It was Claire. When she became visible in the spill-over of light from the projector, I could see she had discarded her robe. Her body was pale and naked in the dark, save for the darker triangle between her legs. She knelt down next to my chair.

"Hello," she said, and put her hand inside my robe on my chest.

"Hi," I said. I was sure she could feel my heart galloping.

"I wanted to talk to you."

Someone up front said "Shh."

Claire leaned in and spoke into my ear.

"How are you, Bobby?"

"Good," I whispered back. "Really, really good."

"Friday night." Her breath tickled. "Am I wrong in thinking...we had a special connection?"

My heart was really pounding now. "Well," I said. "You're not wrong. I mean,Ithought so."

"I'm sorry I just...dashed off with the ladies like that. But you must understand...I have been dreaming about emergent women for years now."

The A.V. Club Ch. 07

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