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Profile view of Professor Waite, who is lying on her back on a cot under a sheet.  We can see her face, which is calm, composed, with her eyes closed.  At least two electrodes are wired to her forehead.  Behind her, looking down, are Little Willie and Little Michiko.

LITTLE MICHIKO: She looks so peaceful…

LITTLE WILLIE: Perhaps you should say he looks so peaceful.

Reverse view of the previous panel, so that we see Little Michiko and Little Willie in the foreground, Waite in the background.  Little Willie and Little Michiko have turned away from Waite’s cot and are now conversing with each other.

LITTLE WILLIE: I must say that sometimes the…methodology…here gives me some qualms.

LITTLE MICHIKO: Oh, just because you were foolish enough to fall for the trick, Willie.

Little Willie has walked across the room and is looking down at a video monitor on the other side of the room.  We see his face as he is looking down.

LITTLE WILLIE: mm.  Yes.  Well, at least I’m not the only guy to have fallen for it.

Monitor view of one of Scott and Taylor having copulating vigorously. It should be clear from the image that it is an image taken by a camera hidden somewhere in the room they are in.

CAPTION: In any event, it would seem that Rebecca is succeeding beyond her expectations here.

Front view of Little Willie looking down at the monitor.  Little Michiko is looking over his shoulder, with an eager expression on her face.

LITTLE WILLIE: A spectacular show like this makes me sorry that all I’ve got is a…little willie.

LITTLE MICHIKO: Oh, and I guess that’s all I’ve got here too.

Same as before, except that Little Michiko and Little Willie have turned and are facing each other very close.  Both are grinning.

LITTLE WILLIE: So, who’s the little perv now?

A panoramic view of a graduation ceremony.  A sea of gowned and mortarboarded students sits in an audiece while the faculty sits up on stage in academic regalia.  A SPEAKER behind a podium bearing the Gnosis College seal is delivering an address.

CAPTION: And now that we have all passed our final exams, there is a graduation.

SPEAKER: And as you are all together for the final time on these hallowed college grounds, do not forget that however stunning the experiences you have had here, far more interesting ones lie in the world without.

CAPTION: No shit, honorary degree dude.

Jill Keeney, in gown and mortarboard receives a scroll from the COLLEGE PRESIDENT on the stage with one hand, while shaking the College President’s hand with the other.

CAPTION: In spite of an unexplained absence of several weeks in the last term and many extracurricular activities, Jill manages to graduate in good order.

Taylor, in a halter-top and short shorts, receiving an envelope from a courier. Writing on the envelope should make it clear that it came from Japan.

CAPTION: And just as Jill receives her diploma, I receive my own.

A desktop  We see an extreme close-up on part of the desk, showing the courier envelope, on top of which are piled a U.S. Passport and an airline ticket envelope marked “MUNAI AIRLINES.”  In another part of the panel we see a computer keyboard and one of Taylor’s hands typing on it.

CAPTION: I send my parents an e-mail about this fantastic overseas internship opportunity that just opened up and need to take right away.

Taylor, holding up a sundress on a hanger.  Her dorm-room bed is visible in the background, and on it is a suitcase, partly full of clothes.

CAPTION: And then I get to wonder…

CAPTION: What do you pack for your business trip to hell?

CAPTION: END OF “TIRESIAS”

Close up of Taylor leaning her head forward and Scott kissing her neck.

CAPTION: He’s actually very tender and gentle.

Taylor sitting on the bed, removing her sweatshirt with Scott’s help, revealing a brassiere underneath.

Scott behind Taylor, unhooking her brassier from the front.  Taylor’s head is turned back, kissing Scott.

CAPTION: Scott seems to know just which step to take when.  I feel warmer and warmer.

A frontal view.  Taylor is cradling Scott’s head.  He is sucking one of Taylor’s nipples.

Close up of Scott’s hand, reaching down to undo the zipper on Taylor’s jeans.

CAPTION: Scott sure seems to know what’s where.

Close up of Taylor’s jeans, partially pulled down.  Scott has reached inside Taylor’s panties and is apparently giving her a clitoral massage.

SFX: Uhhhnhhh….

View from Taylor’s P.O.V.  We see down her body to the edge of the bed, where he’s kneeling, pulling off Taylor’s jeans.

CAPTION: Is Scott that good of an actor?

Another Taylor P.O.V.  She is reaching down, pulling her panties off past her left foot.

CAPTION: Does he know I used to be a guy?  Is that what gets him going?

Close up on the back of Scott’s head between Taylor’s legs, performing cunnilingus on Taylor.

SFX: Ohhh….

CAPTION: Or does Professor Waite have some sort of “not gay for a day” magic?

Scott is lying flat on his back in bed.  Taylor is astride him, guiding his cock into her.

CAPTION: When the moment of truth (as guys see it) comes, Scott invites me to get on top.

Scott and Taylor in the same positions as before, except that Taylor has enveloped Scott and has a surprised expression on her face.

CAPTION: It feels so full….

Close up view of Taylor in profile (head, shoulders, upper arms) riding Scott (indicate with motion lines).

CAPTION: But it doesn’t feel bad, and so it’s off to the races for new Taylor.

Same profile view of Taylor as before as she closes her eyes, a blissful expression on her face.

CAPTION: And after a while I discover that not only can I tolerate this…

Same profile view as before, except that Taylor’s face is beginning to contort at the moment of climax.

CAPTION: … I think I love it.

View from behind/below Scott’s right shoulder, showing Taylor astride Scott, arms flying out, in the throes of orgasm.  Scott is reaching up and cupping Taylor’s breasts as she does.

TAYLOR (dramatically-lettered balloon): Yes…Yes..YES!

View from above of Scott and Taylor.  Scott is lying on his back, Taylor curled up by his side resting her head on his shoulder.

CAPTION: When I started this I would want to skedaddle as soon as “it” was over.

Close up on Taylor’s face. Her eyes are closed, and she wears a blissful expression.

CAPTION: But I like this part, even the way Scott smells.

View of Taylor on the bed, chest down, buttocks up, with Scott on his knees, copulating with her from behind.  Taylor’s face is contorted again.

CAPTION: Scott has the expected terrific stamina.

Taylor on her back, her legs bent back, Taylor above, copulating away.

CAPTION: When I was with Marie, sometimes she would come over and over.  “You just can’t imagine,” she would tell me.

Close-up on Taylor’s face, contorted yet again.  She is biting down on a finger.

CAPTION: I don’t have to imagine any more, Marie.

Genital close-up of Scott penetrating Taylor.

CAPTION: Suddenly the whole thing doesn’t seem fair to guys somehow.

Front view of Taylor, still in high heels, having just taken a nasty spill

SFX: WHUMP!

CAPTION: Progress was pretty slow at first.

View of Taylor from behind, walking.  She has a pleasing feminine sway to her hips (indicate with motion lines) and is glancing backward with a sultry look at the reader.

CAPTION: But after much practice, I got better.

View (slightly from above) in Professor Waite’s office.  Professor Waite sits behind her desk, with Jill standing behind her and Little Michiko sitting on the edge of the desk, her legs dangling down. Jill and Little Michiko are looking directly at Taylor, while Waite is reviewing a dossier on her desk.  Taylor sits in a chair facing Waite.

WAITE: Well, Taylor, it seems to me you have been making truly outstanding progress.

TAYLOR: Thanks, Professor. So what now?

Closer view on Waite and Jill.  Jill is now leaning forward over Waite’s shoulder, while Waite wears a wry smile.

WAITE: We have some special training in mind for you, Taylor.

WAITE: Stop by my house tonight at eight.

Taylor, dressed non-descriptly in jeans and a baggy GNOSIS COLLEGE sweatshirt, stands on a the front porch of a house, ringing a doorbell.  Flowers are growing in pots hanging on the edge of the porch.

CAPTION: I didn’t know what to expect that beautiful spring night when I visited Professor Waite’s house.

Close up on Little Michiko, who is standing in the entrance foyer of the hosue, pointing up a set of stairs.  We are seeing her from Taylor’s approximate P.O.V., so looking down.

CAPTION: The Creepy Little Asian Girl answers the door.  She doesn’t say a word to me except…

LITTLE MICHIKO: The door at the left…

View of Taylor peering inside a door that she’s just opened.  She has an astonished look on her face.

CAPTION: Perhaps I should have been better prepared for what I saw.

TAYLOR: Holy Venus!

Stretched out a bed, wearing a short silk robe and in a seductive pose, is SCOTT AARONSON.  The light in the panel is low, because the illumination in the room comes primarily from candles around the room.

CAPTION: Scott Aaronson. Or “Scott Adonis,” as he tends to be known. Girls sigh when he walks past.  He’s as ripped as any athlete, and at the same time so pretty that even the guys want him.  He does a lot of dance and musical theater…

CAPTION: And consistent with the tiresome stereotype, it means that it’s the guys, not the girls, who have a chance of getting lucky with him.

A reverse view, showing Scott from behind, while Taylor stands in the doorway, slightly silhouetted by the light behind her.

TAYLOR: Uh, Scott.  Like, why are you here?

SCOTT: Isn’t it…obvious, Taylor?

Side view of Scott and Taylor.  Taylor has stepped into the room and closed the door behind her, while Scott is beginning to sit up on the bed.

TAYLOR: So you are, uh, working with Professor Waite?

SCOTT: In a manner of speaking, yes.  We need to make sure you’re really up for an assignment involving sex.

Another view of Scott and Taylor,still in profile  Taylor has stepped closer to Scott, and Scott has placed his hands on Taylor’s shoulders.  Taylor is looking up at Scott, slitghtly puzzled, while Scott is looking intensely down at Taylor.

TAYLOR: But aren’t you…I mean, like there’s totally nothing wrong with that but…

SCOTT: Try not to think about that.  Right now I really, really want you.

Close up view.  Scott has taken Taylor’s hand and guided into his robe so that she can feel his erection.

CAPTION: It’s true.  He’s hard as a rock.

SCOTT (out-of-panel balloon): Don’t be shy.  Here.  Feel.

Close up on Scott and Taylor’s faces.  They re very close.  Scott has cupped his hand around the back of Taylor’s head.

TAYLOR: But…

SCOTT: Shh.  Let’s just give this a try.  You won’t succeed if you can’t at least tolerate it.

Same close up as before, except that now Scott and Taylor have fallen into a deep kiss.

CAPTION: There’s a brief moment of disgust, but it ebbs.  I feel…warm.

This is another split panel, showing before-and-after views of Taylor’s face in profile.  In “after” as opposed to “before” the little ridge of bone over his eyebrows has receded slightly, his lips have thickened, and generally his face presents a new feminine appearance.

CAPTION: Even my facial features seem to be changing.

Taylor sitting in a lecture hall, wearing a bulky, shapeless sweater, taking notes during a lecture.  A CUTE COED has turned around and is winking at him.

CAPTION: Strangely, it seems like girls who largely ignored me before are flirting with me now.  WTF?

Taylor lying naked on his bed in his dormitory room.  He is looking down at his crotch with a hand mirror.

CAPTION: Much good it would do them now.

Taylor with a few friends in the Gadget.  He is hastily getting up from a table around which cokes are set.  His friends look concerned.

CAPTION: And then one day there’s a shooting pain and a feeling like something splitting down below.

Taylor sitting on a toilet in a restroom stall.  His pants and underwear are pulled down, revealing not only that “he” has feminine hips, but only a triangle of pubic hair.  “He” is feeling “his” crotch gingerly.

Same view as before, though he appears to be reaching inside herself.

CAPTION: I can insert two fingers, though it hurts to do so.

Taylor is sitting in a hospital gown on the side of an examination table.  Professor Waite is standing by Taylor, reaching into the gown, feeling one of her breasts, and smiling.

CAPTION: Professor Waite monitors my progress.

Taylor in a doctor’s office.  She is wearing a bulky sweater, and has one sleeve rolled up.  The DOCTOR is sitting next to her, with a syringe at the ready, about to give Taylor some sort of injection.

CAPTION: In time I get taken to see a G.P. and receive a Universal Vaccinative.

Close up on Taylor’s face.  She is wincing slightly as she (presumably)receiving an injection.

CAPTION: The doctor seemed puzzled as to how a “young woman of my age” hadn’t received it yet.

Extreme close up of a needle going into Taylor’s arm.

CAPTION: Waite had a convenient lie ready.: My parents are religious fanatics who refused to allow me to have one.

In foreground, Taylor is holding up her arm, examining the spot where she received the injection.  In the background, Waite is discretely slipping the doctor something.

CAPTION: I’m glad I’ve got one.

Shot “through a windshiled” of a car.  Waite is driving.  Jill is in the front seat next to her.  Taylor sits in back, staring out a window.

CAPTION: With all the changes I’ve already benn throuh I think it would be pretty freaky if I were to start menstruating.

Close up from same panel, focusing on Taylor’s face, which wears a pensive expression.

CAPTION: Or get pregnant.

Taylor standing in front of a the door seen above for the women’s locker room, her hand on the handle.

CAPTION: I want an acid-test how feminine I look.

Taylor standing naked in the middle of a locker room full of other Gnosis women in various states of undress.

CAPTION: No one bats an eyelash.

Taylor stands in front of a mirror.  She is putting on a baggy-looking shirt.

CAPTION: The next several weeks alternate between exercises in trying not to give away that I’m now a woman…

Taylor sitting in front of a different mirror.  Jill is sitting behind her, giving her instructions in putting on some sort of makeup.

CAPTION: …and trying to learn the things that women are all supposed to know.

Taylor standing in her room, struggling to put on a brassiere.

CAPTION: It was a lot easier when I was only trying to get someone out of these.

CAPTION: Fortunately they had a supply from “a girl who left them behind.”

Taylor brushing her hair.

CAPTION: Grooming turns out to be something of a pain to learn.

Taylor, in a skirt and sweater and high heels, seen from behind, walking clumsily across an otherwise empty gymnasium floor.  In the background stands Jill, observing Taylor while she walks while at the same time leaning over to allow Little Michiko, who is sitting on a high stool, to whisper something in her ear.

CAPTION: I even have to re-learn how to walk properly.

Close up on Little Michiko’s face.  She is staring ahead, intently.

CAPTION: The Creepy Little Asian Girl show up for a lot of my “how to be a woman” lessons and offers criticism, but not to me.  Who the fuck is this kid?

Taylor is lying strapped to the table.  Giant blue-white sparks are arching from the apparatus above him and he is arching his back. His penis is erect.

SFX: FZZZT!

CAPTION: Initiating radiation sequence.

TAYLOR: YEOW!!

Close up on Taylor’s face.  He has an expression of wonder and fear.

CAPTION: I don’t know how to describe it…

Same view, except that now Taylor’s skin has become transparent, revealing the muscles of his face.

CAPTION: It was sort of as if bits of me were being scraped away…

Same as before, except that now we see Taylor’s skull.

CAPTION: …bit by bit…

Same as before, except that now we see a brain, floating in space.

CAPTION: ……going deeper and deeper…

Same as before, except that now we see just a ghostly crackle of energy where his brain used to be.

CAPTION: ..until nothing was left…

A black panel.

CAPTION: And it was if I had gone away but the sensations were still there.

Close up on Taylor’s face.  He is resting on the table, his eyes are closed.

CAPTION: I really have no idea how much time has gone by before I come back.

Taylor is sitting up, still naked, reaching for his genitals.  Waite, who has just finished unstrapping him, partly blocks our view of this.

CAPTION: Even though it’s stupid, there’s something I check right away.

Taylor sitting on the side of the table, now wearing a hospital gown.  Waite is standing by his side, holding a clipboard.

TAYLOR: So that’s it?

WAITE: Yes.  Your…changes should be setting in gradually over the next few weeks.

Taylor walking along a line in a Gnosis cafeteria, sliding a tray long that’s piled high with food.  A COED, standing behind him line looks like she’s trying to suppress a laugh at how much food he has.

CAPTION: For a couple of days I don’t notice anything unusual, except that I seem to be even hungrier than I was even before.

Taylor standing in a bathroom at Gnosis.  He is naked except for a towel wrapped around his waist. We see his back and his front reflected in a mirror over a sink.  He’s looking at his chest.

CAPTION: But after I few days I think I do notice some changes.

Same setting as previous panel, but this time Taylor is in profile, full-length view of Taylor, a few moments later.  He has opened the towel and is looking down.

CAPTION: I do appear to be…shrinking.

Same view as previous panel, except that Taylor has just hastily re-done his towel and looks a bit embarrassed.  In the background of the panel a cheerful, hunky guy has just come in (also wrapped in a towel, if this is visible) and is waving, as if he’s just greeted Taylor.

CAPTION: Or maybe that’s just my over-active imagination.

Taylor looking in the mirror again rubbing one of his hands under his chin.

CAPTION: One thing that I am sure of is that I don’t need a shave this morning.

CAPTION: My face hasn’t felt this way since I was twelve, maybe.

This is done as a split-panel.  One part of the panel shows Taylor’s genitals.  His penis is now small, as is his scrotum.  In the other part of the panel, we see his chest.  His nipples are enlarged, and he is starting to grow breasts.

CAPTION: And within a few more days it’s clear that the shrinking isn’t just my imagination

CAPTION: Nor are certain new growths.

A shower-stall in a bathroom in a Gnosis dormitory.  Taylor is is poking his head out from behind a curtain, looking around.

CAPTION: I have to get sort of circumspect about activities that were pretty casual before.

Taylor is talking on a telephone in his dormitory room.  He is covering his mouth with his other hand.

CAPTION: Some people notice that my voiced seems to have shifted from a natural tenor to a somewhat forced-sounding contralto.

CAPTION: I tell them I have a cold.

Taylor standing in is room, trying to make his jeans fit round his waist.  He’s having trouble.

CAPTION: And in a few more days certain clothes stop fitting very well.

Taylor walking alone across the Gnosis campus.  It is dusk.  There is no snow on the ground, but it clearly cold, as he is wearing a jacket and a hat, and is walking somewhat hunched over, with his hands jammed into his jacket pockets.

CAPTION: “You might want to take some time to think it over,” was what Iris ended with.

Extreme close-up view of a tabletop.  There are some polyhedral dice (four-siders, eight-siders, twenty-siders) and some sheets with what look like crudely-drawn maps visible.

CAPTION: When I was in high school, I did a lot of fantasy role-playing.

View of a knight in badly scratched and dented armor, swinging a battered sword at an ogre.  They are fighting in the midst of some sort of hellish landscape.

CAPTION: In games, your characters would keep going, enduring all sorts of things that no ordinary person would do.

View of the same knight, sitting in front of a fire, with a wizard and a roguish-looking fellow, plus a female elf in a chainmail bikini.

CAPTION: Stay up all night, live in your armor, go charging into battle as long as you had one hit point left. A player-character was nothing like any real human being.

View of two figures, set against an abstract landscape.  One is the knight in armor, now bright and shining, holding his sword and striking a heroic post.  The other is Taylor, in his jacket, cowering.

CAPTION: That’s the difference between fiction and reality.

Taylor standing under a tree (very small), facing away from us.  The tree is large, dark, ominous; its branches are bare.

CAPTION: Reality sucks without you in it, Marie.  I’d rather be a fictional character.

Professor Waite standing in her laboratory, adjusting the X-ray like device over the bed.  Jill is leaning against the wall in the background.  Little Michiko sits on a stool next to her.

WAITE: I can’t believe you actually talked that boy into this.

JILL: It wasn’t that hard.

Close up on Waite, peering into a cavity in her machine.

WAITE: Yes, well, if I were him, I’d be wondering why someone who wasn’t already a woman wouldn’t be volunteering.  Are you sure he’s smart enough?

View of Jill and Little Michiko.  Little Michiko is looking ahead, sternly.  Jill is casting her a sideways glance.

JILL: Not a question of smart.  He’s nineteen, and a boy, and in love.  In short, the kind of hopeless romantic who wouldn’t think to ask.

Close up view of one of Waite’s hands, turning a dial on a control panel.

CAPTION: I just hope you can make him pretty enough.

View of Little Michiko and Jill.  Little Michiko has a wry expression, while Jill has turned to her and looks slightly shocked.

LITTLE MICHIKO: I think he’s rather pretty already.

JILL: Michiko!

Close up on Little Michiko, who looks somewhat irritated.

LITTLE MICHIKO: I hope you haven’t forgotten that I’m not really an eight year-old.

Taylor is standing next to Professor Waite and her apparatus.

TAYLOR: I’m ready.

WAITE: Excellent, Mr. Chase.  Please disrobe completely and lie down on the table.

Taylor in profile in part of the panel, looking nervous.  In the back of the panel we see Little Michiko, still on her stool resting her chin on her palms (elbows on knees, little-girl like).  Jill is standing, also grinning.

TAYLOR: Uh, in front of…them?

Close up on Jill’s face.  She has an eyebrow raised.

JILL: If you have trouble being naked in front of people, Taylor, you’re going to have a hard time on this mission.

View from above.  He is lying naked on he table (his genitals obscured by the apparatus above.  He is strapped down at his ankles and head and one of his wrists.  Waite is fastening the straps on another of his wrists.

CAPTION: Now might be a good time to get used to being tied up, too.

View of Taylor, now standing by the side of the bed.  He is in the process of putting a bathrobe on.

TAYLOR: Committed to what?

View of Taylor standing next to Waite.  She is pointing out a large machine, sort of like an X-Ray machine, that points down at a table, large enough for a human subject to lie on.  The background of the room in which this takes place should be full of cables, wires, computer monitors, and so on.

CAPTION: In a few minutes, in another lab room, Professor Waite explains just what it is that I would be committing to.

Close up of Taylor’s face, wearing an astonished expression.  The background of the panel should be the same collection of techno-stuff we saw in the previous panel.

CAPTION: She says she has the technology for making a woman out of me.  Not just a hormones and surgery sex-change.  A fully biological woman, down to the cellular level.

Micrographic view of of a human cell.

CAPTION: She claims you change the very cells with very precisely managed radiation, making the change complete and undetectable.

View of an oriental slave market, similar to the sorts painted by orientalist painters like Gerome.

CAPTION: You have to admit, there’s nothing like a would-be slave for seeing what slavers are up to.

View of EDITH STERLING, from Teuthology, suspended on her cruciform gurney, mid-way in her transformation from woman to octopus.

It sounds insane, but Professor Waite insists that the technology has been successful in much more radical applications.

View “from the rear” of Jill and Taylor sitting in the back seat of Jill’s car.  It is dark, except for illumination coming from the screen of a netbook computer which is sitting between the two front seats of the car.  Taylor and Jill’s faces are looking at the screen (we should be able to see some of their features becasue they’re 3/4 tunred away).  On the screen we see the words ENCRYPTED CONNECTION ESTABLISHED.

TAYLOR: You don’t think this looks suspicious?

JILL: Why?  High school kids are totally into video chat these days.

Close up view of the screen.  We see IRIS BROCKMAN, conservatively attired in a business suit.  She’s in some sort of high-rise office, and it’s clearly daytime where she is.

IRIS (radio balloon): Greetings Comrade Keeney.  I see you brought the new recruit.

View of Jill’s face, illuminated by the screen of the netbook.  She is wearing a serious expression.

JILL: Can you explain to Taylor here how it’s supposed to work?

IRIS (out-of-panel radio balloon): Sure.

Close up on Taylor’s face, illuminated like Jill’s by the netbook screen.  He is wearing a concerned expression.

IRIS (out-of-panel radio balloon): We’re taking a shot based on our belief that many of Kupler’s clients are orgiasts.  They like group scenes, swapping their slave girls around, and so on.

View of Iris on the netbook screen.  She is leaning forward, looking severe.

IRIS (radio balloon): The organization I work for has a…commercial rivalry with Kupler’s, so we’ve been studying their methods for some time.

View of Iris, in the same position in the panel as the previous panel, except that here we see her swimming underwater, in the cool blue of one of the tanks at the Club Cuisine (from the Study Abroad quasi-screenplay).  She looks happy and serene.

CAPTION: Your organization?

CAPTION: There are some obscenely rich people in the world, kid.  And you would be amazed at the weird kinks vast wealth liberates.

Extreme close-up, showing a tiny transmitter attached to the skin behind a young woman’s ear.

CAPTION: Kupler’s org developed a communications network for keeping track of its…workers.

.View of a large number of very-similar looking young Japanese women, all facing computer monitors, typing (inspired by the data center in Ghost in the Shell as inspiration).

CAPTION: But we’ve hacked their network, and we could track someone on the inside of it, with our proprietary technology.

Frontal view of a naked girl, bound in a frame by her wrists above her and her ankles spread apart.  She has an expression of crying out in pain.  A man behind her in Moorish costume is whipping her.

CAPTION: We have reason to believe that much of what goes on on the inside isn’t very pretty.

View of Iris, in her severe suit, standing in front of a giant glowing board, filled with information.   Se is pointing at something on the board. A JAPANESE BUSINESSMAN stands next to her, observing.

CAPTION: With enough intelligence, we could manage to redeem a few captives while we play merry hell with Kupler’s org.

View back inside the car.  Taylor is seen in profile, looking down at the netbook screen.  Jill’s face, more dimly lit, is in the background.  We see her full on.  She is looking at Taylor with a concerned expression.

TAYLOR: Of course, something pretty terrible might happen to any agent you send in.

View of Iris in her office on the netbook screen.

IRIS (radio balloon): I won’t say it’s not terribly risky.

IRIS (radio balloon): But do you know of any other way to get your girlfriend back?

Close up showing only one of Taylor’s hands.  It is clutching at the ground in a futile attempt to prevent Taylor from being dragged back.

TAYLOR (out-of-panel balloon): No…no…no…

View of Taylor scrabbling at the edge of the open grave, his face frozen in mute horror.

This panel is a P.O.V. of Taylor’s.  Most of it is black, but there is a rectangle in the middle, showing some sky or other feature, which is what Taylor can see out of the open grave he has been dragged into.

CAPTION: There is no fear like this.

Same view as previous panel, except that the rectangle is smaller, as if Taylor has been dragged still deeper into the grave.

CAPTION: I love you, Marie.

This panel is solid black.

Taylor’s P.O.V., except that he his now looking up at the ceiling of Professor Waite’s lab.

A view inside another part of Professor Waite’s laboratory.  This is a room filled with monitors and computers of various kinds.  We see LITTLE WILLIE in profile sitting on a high stool, looking at a computer monitor.

LITTLE WILLIE: Wow. Kid really hangs tough.

A view back inside the laboratory bedroom.  Taylor is sitting up on the side of the bed.  He is naked, but is covering his lap with the sheets.  Jill sits beside him.

TAYLOR: Was that really necessary?

JILL: Let me tell you something, Taylor.

This panel depicts a flashback (to the quasi-screenplay Invisible Girl, Heroine).  The panel is divided by a “cutaway” of a wall.”  Part of the wall is a bondage-like device similar to the “stocks” through which Jill’s (Jill-Prime’s technically) head and hands project.  In a room on this side of the wall sits DR. STRANGEWAYS, who is sitting in a rocking chair and smiling sardonically.  Jill’s face registers a look of shock and pain.  On the other side of the wall is the rest of Jill, on her knees and bent over.  She is bound by her ankles, and naked.  CONGRESSMAN THROTTLEBOTTOM, his pants down, is pentetrating her anally from behind.

CAPTION: The outside Gnosis College is a surpassingly cruel and dangerous place.  I know this from experience.

This panel is also a flashback, showing the murder of Jill (Jill-Prime, technically) from Gnosis Dreamscapes.  We see only her bound hands in the air, and the main rope (from which the rest of Jill is hanging).

JILL: Getting killed is a real possibility too. And believe me, you don’t want to know how well I understand this either.

This page should recap the large orgy scene from the “Odalisque” segment of Study Abroad.  It should be set in some sort of grand Moorish space full of cushions, divans, fountains, etc.  Looming over the panel should be the crucified girl LUDMILLA, while in the foreground we should see both BRIDGET O’BRIAN and DONNA in double rear-entry/performing fellatio poses.  Around the rest of the panel, various other naked people engaged in sex acts and debauchery.

CAPTION: Bridget was involved in stuff with the Kupler organization before.  The tales were not for the faint of heart.

CAPTION: We need someone who’s really tough…

CAPTION: …and committed.

Taylor is in the graveyard, walking among the tombstones, carrying a flashlight.

CAPTION: And yet here I am.  I’m looking for something.

Close-up on Taylor’s face.  He is looking over his shoulder, fearful.

CAPTION: I can sense that damn whispering again right now and…

TAYLOR: What the…

View of a grave.  A great mass of tentacles is erupting from one of the graves.

CAPTION: Oh, SHIT!

Front view of Taylor, front view, in the act of running.

CAPTION: I try to run.  But it’s all a dream.  So it’s like trying to run at the bottom of a swimming pool.

Taylor is seized.  Both of his arms have tentacles wrapped around them.  Another has ensnared his legs, tripping him and pulling him to the ground.

CAPTION: I remember looking at a lot of tentacle porn when I was a high-school geek with an Internet connection.

View of Taylor, suspended in mid-air over the graveyard by the tentacles.  (But most of his head is out of the panel — focus fetishistically on his torso and groin). His shirt has already been torn away.  Other tentacles are tearing away his pants, exposing his cock.

CAPTION: Somehow it’s not nearly as cool when it’s something that’s actually happening to you, rather than some buxom anime babe.

Close-up on Taylor’s bare buttocks.  A penile tentacle is probing and about the penetrate him anally.

CAPTION: I know what…

Same view as before, but the tentacle has penetrated him.

SFX: Schlorrrp!

TAYLOR (jagged, out-of-panel balloon): Arrrgh!

Close up on Taylor’s face, his mouth is open, and he is grimacing in pain.  Another penile tentacle is hovering near his mouth.

CAPTION: I could wake up at any time but..

TAYLOR: Ahhh….

Another close-up on Taylor’s face.  The tentacle has thrust into his mouth.  His eyes are wide, practically bugging out.

CAPTION: “The longer you stick with it, the better you’ll do.”

TAYLOR: Ulp.

Close up on Taylor’s abdomen.  There’s a moving lump (indicate with motion lines) distending the flesh in it.

CAPTION: They just keep thrusting and thrusting.  One keeps moving up…

Taylor’s head an neck.  His head is thrust back, his throat swollen by the tentacle thrusting down into it.

CAPTION: …the other down.

CAPTION: I would vomit if I could...

Taylor in full view, suspended by two tentacles with his arms, held upright, legs pulled apart by two other long tentacles, penetrated by long tentacles orally and anally.

CAPTION: …but I can’t even do that.

Taylor trapped in the same pose as before, except that this time viewed from behind.

CAPTION: I feel like they’re linking up somewhere in my stomach.

Close-up on Taylor’s face in profile.  He’s visible eye is closed, squeezing out a tear.

CAPTION: I could wake up…

CAPTION: “The longer you stick with it, the better you’ll do.”

Same profile view as before, except that in this one the tentacle has just pulled out of Taylor’s mouth, and Taylor’s eye is wide open.

TAYLOR (jagged balloon): Huuukh…uhhk!

View of Taylor from the front. We see his head, chest, and forearms (which are presumably still suspended, so he is hanging in a crucified position).  His head is slumped forward on his chest.

CAPTION: Is that it? Did I pass?

Taylor in the same position as before, except that he has now raised his head and is looking down with horrified expression.

TAYLOR (jagged balloon, large lettering): HOLY LIVING FUCK!

Close up on Taylor’s groin.  A tentacle with a “mouth” on the end is about to bite his cock off.

TAYLOR (out-of-panel balloon): Nooooo…

Taylor’s cock has been bitten off.  He is bleeding copiously from the resulting wound.

TAYLOR (jagged balloon and lettering): Ahhh!!!

Close-up on Taylor’s face, contorted in horrible pain.

CAPTION: Only a dream, only a dream, only a dream

Taylor lying on the ground in the graveyard in a fetal position, his hands over his wound.  He is grimacing in agony.  A pair of fat tentacles are wrapped around his ankles.

CAPTION: “The longer you stick with it, the better you’ll do.”

Taylor is partially up from his fetal position, a look of shock on his face as he looks down at his legs, which are straightening out (indicating that the tentacles are pulling on them).

TAYLOR: Wha?

View of Taylor, now flat on his stomach, looking up.  We see the tentacles dragging him backward toward an open grave.

TAYLOR: NO!