Issue 3
This issue is 50 pages.

Page 1
A black page.
Caption #1: “Think not of your opponent.”
Caption #2: “Hitting your opponent is as easy as hitting yourself.”
Caption #3: “Know without thinking.”
Caption #4: “See by the breeze, by the smells, by the feeling of the shadow of his blade on your skin.”
Caption #5: “To know what the world knows, what the ground beneath him knows as it bears his shifting weight, you have only to surrender yourself to the universe and play your role.”

Page 2
1.A shot of a man’s feet shifting over grass. They’re wrapped over sandals.
2.A shot of a sword gliding through the air, slicing through it.
3.The same shot, only here we see a waveform as the air curves around the sword, like one of those shots of a car in a wind-tunnel.
4.A shot Irene’s right-hand wrist, holding up a sword.
5.A similar shot, only here it’s jerked to the right, blocking the sword we saw earlier.
6.A small silhouette of Irene fighting with a man, her sword blocking his.
7.A similar shot, except that here Irene has pivoted the two swords downward and is beginning to kick with her left leg.

Page 3
1.A shot of the man’s head, shoulders, and chest as he reacts to this pivoting. Irene’s foot is hitting high on his arm.
2.Another small silhouette, similar to the preceding ones. We see her foot pushing his arm out of the way as her sword arm swings upward.
3.Another shot of the man’s head, shoulders, and chest. Irene’s foot is still pushing his arm away. But now her sword is sliding horizontally towards his neck at a rapid speed. Instead [38 | 39] of doing speed lines, let’s blur the sword -- it looks so much better.
4.A shot of the sword in the same position as in the preceding panel, only as a waveform -- as we saw his sword earlier.
5.Another shot of the man’s head, shoulders, and chest. Irene’s foot’s still there. Her sword is now pressed against his neck and he’s looking at it, frozen still.
6.Another small silhouette, showing the same stance. His sword arm has been kicked out of the way by her foot. She clearly could kill him at any moment. Void (from off-panel): “Enough.”
7.A similar shot, except that here Irene is returning her sword arm and her kicking leg to a standing position.

Page 4
A full-page shot of Irene, beautiful, taking off her blindfold, which she’s been wearing this whole time.

Page 5
1.In the background, Irene and the man bowing to each other. In the foreground, we see Tommy and Void watching. Void: “We have pushed her harder than any male. We have piled upon her every hardship.”
2.A similar shot. Void: “She is certainly among the best students we have ever had. At times, I think her the best.” Tommy: “You flatter her. And me.”
3.A similar shot, only here Void is looking at Tommy with derision. Void: “I think she has less want than anyone we’ve trained. But some still say she harbors a desire for revenge, or that it’s all out of mad love for you.”
4.The two walking away from a worm’s eye view. The two are to the side of the panel, marginalized, their backs turned to us. Overhead, central, is a beautiful bird gliding on the air. Void: “We shall see.”

Page 6
And now we continue the flashback.
1-2.A full-page shot of Irene kneeling before the gate, which is now open with Ringo standing at the door. There are cherry blossoms floating through the air inside. It’s beautiful. And there’s Ringo, waving her in. The panel break occurs just [39 | 40] over Irene’s head, separating her from the compound. Caption #1 (in panel 1): “It was like being invited into Heaven.” Caption #2 (in panel 2): “I never expected it to happen and never pictured it quite like this, but here it was, manifest before me.” Caption #3 (in panel 2): “And Saint Peter waved me in, silently.”

Page 7
1.Irene standing up before the gate.
2.Irene standing still where she stands, as seen from above and at an angle so that the gate and Irene are not along a line perpendicular to the panel borders.
3.Ringo waving Irene in again.
4.Irene’s feet stepping forward.
5.Irene standing between the doors of the gate, Ringo beside her.
6.Ringo closing the door behind her.

Page 8
1.Tommy standing before Irene in the grassy area just past the gate.
2.Irene staring at Tommy, looking happy to see him.
3.Irene staring at Tommy, looking sad.
4.Irene staring at Tommy, looking angry.
5.Irene staring at Tommy, looking concerned, apparently that he’s got no reaction.
6.Tommy slapping Irene -- hard. Her head reels to the side and she begins to fall.
7.A similar shot, except here she’s fallen a bit more -- as if in slow motion.
8.Irene hitting the ground.

Page 9
1.Tommy standing over Irene. Tommy: “If you love me, you will obey each of the men here as if they were myself.”
2.A similar shot, but from a very different angle. Tommy: “You will love each of them as if they were me.”
3.Tommy kneeling toward Irene. Tommy: “If you fail, you will be killed. Only if you prove yourself will you ever get any answers.”
4.Tommy leaning in to kiss Irene on the forehead. Tommy: “I want you to succeed.” [40 | 41]
5.A close-up of Tommy kissing her forehead.
6.An extreme close-up of his lips on her skin.
7.A similar shot, only here his lips have pulled back a bit. Tommy: “And I love you.”

Page 10
1.A tier-wide panel. What it’s showing is a collar -- about an inch and a half tall. It’s black and thick. It has a ring on the center in the front -- in the center of this panel. A chain is connected to it. But the panel is entirely showing this collar, with only a sliver of flesh on the sides as the collar wraps around her neck (due to perspective) -- so that we don’t know precisely, from this panel, what this abstract thing is.
2.A large shot of Irene, naked and chained in a bamboo hut. The walls are windowless. One corner is almost directly behind her, though offset, so that we see two walls at angles in the background. It’s not a large hut. It has a roof and two doors -- or, rather, openings in the walls. The chain attached to her neck is fairly long -- about twenty feet -- and connected to a heavy metal object driven through the floor. There’s a door right by this metal object that -- though we cannot see where it goes here -- heads outside to the outhouse. The other door is on the opposite wall and leads out into the courtyard, as it were. There is a water bucket in a corner and a rag beside it. Irene looks terrible -- absolutely dejected. But she is incontrovertibly sexy. Caption: “And so my Heaven became a rape camp.”

Page 11
1.A shot of Irene scrubbing the walls with the bucket of water and the rag. Caption: “I was to keep my hut perfectly clean.”
2.A shot of Irene scrubbing herself with the same bucket of water and the same rag. Caption: “I was to keep myself perfectly clean.”
3.A shot of Irene eating noodles from a bowl on the floor, kneeling and using her mouth and hands alone to eat as it rests on the floor. Caption: “I was brought hot noodles instead of dirty bread and corn, and I was to eat it like a kept animal, without lifting the bowl from the floor and without utensils.”
4.A shot of Irene walking out the door by the metal object in the floor. We see a small outhouse with a ceiling but no walls [41 | 42] -- no privacy -- about seventeen feet beyond the door. Caption: “My bathroom was outside.”
5.A shot of Irene sitting in the outhouse, leaning forward, her chain fully extended. A few Japanese men are in the background. Caption: “I used it naked and without privacy, my head arched forward at the full extent of my leash.”
6.A shot of a Japanese man -- not one we’ve seen before -- entering the hut with Irene present. He’s already taking off his clothes. Caption: “And, of course, I was to please any man who entered my hut, in any way that was requested, without hesitation.”

Page 12
1.A shot of Irene being beaten savagely by three men. Caption: “If I failed in any of these tasks, if I or my hut was less than clean, if I hesitated to perform the most demeaning of acts, I would be beaten and tortured.”
2.A shot of Irene lying outside, her chain still attached, her arms outstretched and chained to the outhouse. Her hair is a burned, frazzled mess and mostly very short. Caption: “They’d urinate on me, shit in my hut, burn away my hair, expose me to the elements, torture my nipples, kick my clitoris -- anything that didn’t leave permanent marks. They had imagination.”
3.A montage of overlapping laughing, maliciously smiling faces -- many just mouths and partial faces, some just eyes. They’re faded and entirely in shades of blue on a black background. Caption: “And they enjoyed it.”
4.A shot of Irene crying as she cleans shit from inside her hut. Caption: “I learned quickly. After the first few times, I stopped any resistance. After the first few weeks, I no longer made mistakes.”
5.A shot of Irene wiping away her tears with the same rag. Caption: “I stopped hesitating at performing the most disgusting of acts. I no longer flinched at requests that would have appalled me in a former life.”
6.A silhouette of Irene on her knees either in front of in back of a man who’s leaning either slightly forward or away from her. “And I stopped crying about it.”

Page 13 [42 | 43]
1.Irene looking up at the ceiling of her hut. It’s plain, with no beams supporting. Caption: “I thought -- idly, I think -- about killing myself, but there was no way to do it.”
2.Irene on the floor, facing up, licking a man’s feet. Caption: “Along with crying, I stopped complaining. Or requesting information. It also meant I’d be hurt.”
3.A close-up of Irene’s tongue sliding between two dirty toes. Caption: “And then, to my surprise, I stopped worrying about being beaten. They weren’t malicious about it. They were demanding but fair. If I complied without hesitation.”
4.An overhead shot of a Japanese man on top of Irene, holding her head down and her legs over her head. “And it became easy to do so. What I had killed men for, in a previous life, I had come to accept as a matter of course.”
5.A very large close-up of Irene’s eyes, so close-up that they’re slightly larger than life. We see them in slight shadow due to the fact that her head is turned to the side. We also see them through his fingers, which are stretched out, tense, over her face like a spider, holding her by the face. Caption: “I even came to enjoy it. Not the act itself, but pleasing.”

Page 14
1.A shot of a man’s face, sweaty, in the half-grimace of orgasm. “Not these grunting men, to whom I am nothing. But meeting the exacting standards.”
2.A close-up of Irene’s eyes as before, only smaller. “It takes a strength. A strength greater than it took to kill those men in Athens.”
3.A shot from Irene’s P.O.V., looking down through the glass tabletop during the rape. Caption: “It was not a moment of glory, in which I ‘proved myself.’”
4.A shot of Irene scrubbing the hut. Caption: “No, it was a life. It was the harder task of living a certain way, day in and day out.”
5.An extreme, extreme close-up of the bamboo that makes up the hut. Excruciating detail. Caption: “A billion, billion moments.”

Page 15
1.A shot of Irene, on her knees, taking off a Japanese man’s pants in her hut. “Eventually I realized the strength in it, a deeper strength than I had ever known. Eventually I realized [43 | 44] that it had been hard for me and that this difficulty was not just something imposed upon me but an opportunity for triumph on my part.”
2.A shot of Irene’s face as she’s scrubbing the floor. Stoic. Caption: “I took pride in it. Inevitably.”
3.A shot of Irene being taken from behind, as seen from beneath her face. A deliberate mirror of the full-page shot from underneath the glass table during the rape scene. “And I realized that what I had once regarded as worse than death I now knew to be nothing. A short borrowing of my time and my skills.”
4.A black panel. Caption: “And I felt contempt for that former self that had been so privileged, that had been so far from starvation and torture that she could delude herself into thinking it was anything more than life, as it has always been lived, as we were born into it, the lie of civilization notwithstanding.”

Page 16
1.A shot of Tommy standing at the door to her hut. It’s light outside. Caption: “After perhaps two months, Tommy came to me.”
2.A shot of Tommy sitting, “Indian style,” on the bamboo floor beside the still-naked, still-chained Irene. He holds out a book written in Japanese. They’re looking at it together. He’s talking to her and showing her the book. The camera is overhead and at an angle, slightly behind them and to the side. Caption #1: “He said nothing of my condition except that he was pleased with the reports of my obedience and that I was not to talk of it.” Caption #2: “Instead, he began instructing me in the Japanese language.”
3.A shot of the two of them, as seen from the front, in the hut and studying from a book. A large Japanese character is superimposed over the shot. Caption: “He came every day for hours. For those hours, we did nothing but talk about Japanese. I had no other duties but to learn.”
4.A shot of a Japanese man at the door of her hut, instructing her as he undresses. Caption: “After he left my duties were unchanged.”
5.A shot of Irene sitting next to Tommy, who is half cropped off the side of the panel. She is mouthing Japanese. Caption: “But during those hours, I had Tommy by my side. We [44 | 45] never talked of anything but Japanese and we never had sex. But he was there, and I loved it.”
6.A close-up of Irene’s mouth, pronouncing something in Japanese. Another Japanese character is super-imposed over the shot. (I imagine this a very nice panel, reminiscent of the origin of world balloons as air blown from the mouth but done in a crisp, post-modern version of the pop art style.) Caption: “And, slowly, I learned Japanese with an eagerness that came, more than anything, from having nothing else with which to occupy my mind.”

Page 17
This page is mostly black, with a few panels floating in the blackness.
1.A large shot of Irene being fucked by a Japanese man in her hut, her head turned to the side.
2.A close-up on Irene’s face, staring off blankly. Another Japanese character is super-imposed over it.
3.Over the black at the bottom of the page, this caption: “In this way, months passed. I learned quickly.”

Page 18
This page is mostly black, with a few panels floating in the blackness.
1.A shot of Tommy and Irene studying Japanese together. Caption: “It was after a lesson that Tommy suddenly had me kneel.”
2.A large shot of Tommy removing Irene’s collar as she kneels before him. Erotic, yet asexual. Caption: “After three hours of studying, I was freed without warning.”

Page 19
This page is mostly black, with a single panel floating in the blackness. The panel shows Tommy walking out of the hut with Irene. Over the black at the bottom of the page, we get this caption: “And so I began my training.”

Page 20
A full-page shot of ninjas fighting on a narrow rod.

Page 21 [45 | 46]
1.Irene, soon after her release from the hut, sparring with a ninja. A red sun glows hot overhead, a heat mist surrounding it.
2.A shot of the sun in close-up.
3.A shot of the two sparring, as seen from barely above them. The ground has a heavy layer of leaves on it.
4.A similar shot, only slightly zooming in on Irene’s feet. The ground has a heavy layer of snow on it.
5.A similar shot, only slightly zooming in on Irene’s feet. The ground is muddy and her feet are spattered in mud.
6.A shot of the sun in close-up.
7.Irene sparring with the ninja, who has tripped her.

Page 22
A full-page shot of ninjas, including Irene, under freezing waterfall, meditating.

Page 23
1.Irene, a year after her release from the hut, sparring with a ninja. A red sun glows hot overhead, a heat mist surrounding it.
2.A shot of the sun in close-up.
3.A shot of the two sparring, as seen from barely above them. The ground has a heavy layer of leaves on it.
4.A similar shot, only slightly zooming in on Irene’s feet. The ground has a heavy layer of snow on it.
5.A similar shot, only slightly zooming in on Irene’s feet. The ground is muddy and her feet are spattered in mud.
6.A shot of the sun in close-up.
7.Irene sparring with the ninja. She blocks his attempt to trip her.

Page 24
1.Irene, two years after her release from the hut, sparring with a ninja. A red sun glows hot overhead, a heat mist surrounding it.
2.A shot of the sun in close-up.
3.A shot of the two sparring, as seen from barely above them. The ground has a heavy layer of leaves on it.
4.A similar shot, only slightly zooming in on Irene’s feet. The ground has a heavy layer of snow on it.
5.A similar shot, only slightly zooming in on Irene’s feet. The ground is muddy and her feet are spattered in mud. [46 | 47]
6.A shot of the sun in close-up.
7.Irene sparring with the ninja. She trips him.

Page 25
A full-page shot of Irene, wearing a blindfold, being beaten by men with battering rams. She’s just being pummeled.

Page 26
In the black space above the panels, we get a caption. Caption: “I learned the secret of running on water.”
1.A shot of Irene’s foot stepping on a stone that’s barely underwater. The sun ripples on the water.
2.Here we’ve pulled back and up a bit. We see Irene’s feet running over such barely submerged stones.
3.A similar shot, only here we’ve pulled back and up a bit. We see most of Irene now.
4.Here we’ve again pulled back and up a bit. We see Irene running, a barely submerged stone in the foreground. Irene, further away, appears to be running on water.
5.A similar shot, only here we’ve again bulled back and up a bit. We see the edge of the large stream or small river in the foreground and see no rocks in it. Irene, further away, appears to be running on water.
In the black space below the panels, we get a caption. Caption: “You only have position stones at set intervals but in places only you know, thus allowing a quick escape across water. It was an old ninja technique, still taught and occasionally used.”

Page 27
1.A shot of a squirrel in close-up on the wall of the ninja compound.
2.A similar shot, only here we’ve pulled back. The leaves are falling and the squirrel is moving sporadically.
3.A similar shot, with the squirrel in the same place, chewing on a nut.
4.A similar shot, only with the squirrel scampering forward.
5.A close-up of the squirrel, as seen roughly from overhead, still, with his nut.
6.A similar shot, only with an arrow plunging downward, well foreshortened, towards his head. It’s blurred from speed. [47 | 48]
7.A similar shot, only with the arrow through the squirrel’s head, stuck into the wall of the ninja compound.

Page 28
1.A similar shot, only here we’ve pulled up and slightly back, following the arrow’s path in reverse.
2.A similar shot, only here we’ve arced backwards and can barely see the squirrel’s tiny body, an arrow through it, in the bottom center of the panel.
3.Again, we’ve pulled further back along the arrow’s route. We can no longer see the squirrel but see the mountain in the distance, the camera angled slightly down.
4.Again, we’ve pulled back along the arrow’s route. We see the mountain in the distance, but the camera is now angled slightly up. (In other word’s, the arrow was still traveling upwards at this point.
5.Again, we’ve pulled back along the arrow’s route. We see the top of the mountain over the edge of a the hut’s roof.
6.Again, we’ve pulled back along the arrow’s route. We see from Irene’s point of view, looking upwards over the hut and other buildings beyond it, the compound wall quite distant.

Page 29
1.A large panel. We’re now behind Irene. She’s standing before the hut she was bound and raped in, and she’s holding a longbow, aimed upward. She’s also blindfolded.
2.Irene’s hands readying another arrow.
3.Irene raising the arrow-armed bow. The camera’s tilted, askew.
4.Irene’s bow, the arrow shining at an upward angle. She’s waiting.

Page 30
1.Tommy and Void sitting on bamboo seats in the shade of a building, looking out at the wall. The camera’s behind them. We see four squirrels impaled by arrows along the top of the compound wall. Though somewhat distant, they’re particularly visible because of the arrows sticking up from their silhouetted small mass. Void: “She’s been at it all day. She’s patient. Still. Waiting. No acknowledgement of the strain of holding that bow outstretched for hours.”
2-5.Close-ups of each of the dead squirrels. [48 | 49]
6.A shot of Tommy and Void sitting as before, though as seen from the other side, giving us a frontal view. Void: “Three and a half years of training. She hasn’t missed an opportunity all day, nor moved while waiting.” Tommy: “But you’re not convinced. She’s yet to be proven.”

Page 31
1.A shot of Tommy talking to Irene, whispering in her ear. Tommy: “You have a mission.”
2.A shot of Tommy holding a photograph of a Japanese man. Caption: “I was to assassinate a man. I was told where he worked and no more. I was given the layout of his office but not his name.”
3.Irene’s face, looking at the photograph in the foreground, only the back of which we can see. Caption: “I didn’t ask any questions. I felt it was another test -- to see whether I would ask what he had done, why I was to do this thing. Everything was a test.”
4.Tommy handing Irene a small porcelain tea cup.
5.A shot of Irene holding the cup, looking down at it.
6.A similar shot, only here Irene’s looking up at Tommy.
7.A close-up of Irene drinking from the cup.

Page 32
1.A large shot of a Tokyo street in late 1977. Caption: “They drugged me to transport me to Tokyo. I woke up in a complex disguise to change my features.”
2.Irene, looking unlike Irene, and Ringo, also in disguise, shopping at a grocery store together. Caption: “For a few weeks, Ringo walked me through Japanese culture.”
3.Ringo whispering in Irene’s ear. Ringo: “Go.”
4.Ringo turning and walking away from Irene in medium close-up.
5.Ringo disappearing down a Tokyo street as Irene acts natural. Caption: “And then he was gone.

Page 33
1.An extreme close-up of a circle cut out of a window.
2.A shot of Irene, in disguise, lying on the floor of a hotel room, holding a rifle with a scope, aimed out the hole in the window. She has gloves on. [49 | 50]
3.A circular panel showing an empty office. A target sight, centered low on the door, is also visible.
4.A similar panel, only here the door is opening and the Japanese man in the photograph is entering.
5.A similar panel, only here the Japanese man is closing the door behind him.
6.A similar panel, only here the Japanese man is sitting in the desk.
7.A similar panel, only here the glass of the window is cracked and the far side of the Japanese man’s head is gone, replaced by a fine red mist that explodes outward.
8.A similar panel, only here the Japanese man is lurching backwards in his chair as the glass explodes into the room.

Page 34
1.Irene in her hotel room, snapping apart the rifle.
2.Irene continuing this process.
3.Irene placing the disassembled rifle into a backpack.
4.Irene putting the backpack on.
5.Irene exiting the hotel room. Caption: “No fingerprints anywhere in the room. I haven’t been outside of disguise since I got here.”

Page 35
1.Irene on the street, people around her.
2.A Japanese man behind her, their heads seen in profile. Man: “Irene, follow me at a distance.”
3.Irene following the man, half a block apart, down the street.
4.Irene turning the corner at the end of a hotel hallway, watching the man open his hotel room.
5.Irene walking down the hall casually.
6.Irene entering the same door.

Page 36
1.Irene in the hotel room with the man, who’s emerging from the bathroom with a small glass.
2.The man handing Irene the glass. Man: “Lye down on the bed and drink it.”
3.Irene sitting down on the bed.
4.Irene lying on the bed, glass in hand. The man is in the shot, looming over her ominously. [50 | 51]
5.Irene bringing the glass to her lips as she looks at him.
6.A close-up on Irene’s lips as she drinks.

Page 37
1.A black panel. Caption: “I dreamed of my mother and father on the streets of Tokyo, speaking Japanese.”
2.A large shot of Irene sitting up in a very different hotel room. Ringo is with her, but is looking out the window. We don’t see what’s beyond the window because of the camera angle. Caption: “Something in the air felt different, smelled different.”
3.A shot of Ringo, from behind and below, looking out on the unknown city. Ringo: “You’re finally awake. We have another job for you.”
4.Irene looking out at Ringo, who’s walking towards the bed. Irene: “Where are we?”
5.Ringo sitting near her, his head cropped by the panel’s top. Ringo: “This target is a high-ranking military officer. Much protection. No way to get him from a distance.”
6.Ringo holding a photo of an Italian man out, as seen from Irene’s P.O.V. Ringo: “You’ll have to seduce him to kill him. He’s married, but that shouldn’t deter you.”
7.A shot through the window, as the sun bathes the floating dust in rays by the window. Outside is Rome of winter, 1978. Ringo (off-panel): “After all, he’s Italian. We’ll begin learning the language and culture tomorrow.”

Page 38
1.A large shot of this Italian man fucking Irene. Irene: “Oh! God!”
2.Irene caressing this man after sex. She has her right hand on his testicles and her left on his chest. Irene: “You’re so good.”
3.Irene leaning in to kiss him, closing her eyes.
4.Irene’s right hand reaching behind the headboard.
5.Irene’s lips about to touch his, as seen in profile, her left hand affectionately holding the right side of his face.
6.The same shot, only here her left hand has slid between their lips, muffling any shout, as her right hand slices his throat in half.
7.A view from the side and slightly above. He’s holding his crotch, which she’s kneed severely as she’s muffled his mouth [51 | 52] and slit his throat. Caption: “His neck flaps and gurgles and he’s gone, his hands instinctively moved in response to the sudden eighty pounds of force my knee gave his testicles as I slit his throat.”

Page 39
A full page shot of Irene standing and going to the bathroom, his bloody corpse on the bed behind her, its crotch masked by her form. Caption: “He’s still got an erection as I go to wash his blood from my knife and his come from inside me.”

Page 40
1.A close-up of Irene’s lips drinking from a small cup. Caption: “I meet up with Ringo the next day.”
2.A black panel. Caption: “When I wake it starts again. Another assassination. Often another seduction, careful planning passed off as coincidental meeting and intimate ease.”
3.A close-up of Irene’s lips drinking from a small glass. Caption: “After the first five, it gets easier.”
4.A black panel. Caption: “The first five languages and cultures, I mean. The murders come as easily as my prey do.”
5.A close-up of Irene’s lips drinking from a wine glass. Caption: “Ringo’s started fucking me before I’m entirely unconscious now, as if too turned on by each success. I wake up raw all over. He must use clamps.”
6.A black panel. Caption: “It doesn’t matter. I dream he seduces and kills me, but then he’s Tommy, not Ringo at all, and I look down and see an erect penis on my dead body.”

Page 41
1.Irene sitting up in the hut in which she was kept. Because of the camera angle, we do not see the two entrances to the hut. Caption: “I drink the potion and I’m back here in this disciplined heaven.” It’s day outside, but there’s snow on the ground.
2.Irene’s eye opening. Caption: “I knew I was back home before I opened my eyes.”
3.Ringo standing at one of the entrances to the hut. Ringo: “You’re awake. Void wants to see you.” [52 | 53]
4.Irene silently looking up at Ringo. Caption: “Void was the highest master of our clan. We’d never said a word to each other.”

Page 42
1.Irene stepping slightly up and through a bamboo and paper sliding door. Ringo’s outside by the door.
2.A shot from behind Irene. She stands in a bamboo room. Only Void and Tommy are present.
3.A shot from in front of Irene as Ringo slides the door closed behind her.
4.Void looking out at us. Void: “Strip.”

Page 43
A full-page shot of Irene stripping before Void and Tommy. Very sensual. She is utterly without embarrassment.

Page 44
1.Void, standing, inspecting her as Tommy stands by. Void: “I can see why you chose her. You always did like foreign women.”
2.A side shot of Void lifting one of her breasts. Tommy (off-panel): “It was not indulgence on my part, master. She’s proven herself.”
3.Void kneeling down and looking at her naked torso, inspecting it. Void: “I admit that you are right. She can seduce almost any man. She’s been trained in pleasing men in every way imaginable, and she’s willing to do so.”
4.Void standing in front of her with Tommy beside him. He’s gesturing as if feeling his own breasts. Void: “And she’s not Japanese. She’s Greek -- big tits.”
5.A shot of Void’s face looking into hers as she dares not make eye contact. Void: “A businessman or government official need not like Japanese girls to be seduced by her, and they’d never suspect a Greek of being in league with us.”

Page 45
1.Tommy replying as Void walks around her, inspecting her. Tommy: “And she’s a master at killing. She came here just over four years ago as a traumatized housewife. Now she’s perfect.” [53 | 54]
2.Void on his knees behind her, the cigarette burn on her ass in front of his eyes and the camera. Void: “But for this cigarette burn on her ass. Her only identifying mark, her only reminder of her past.”
3.Void standing behind her, his hand between her legs. He has his head by her ear as he speaks to her. Void: “Do your lovers complain of it? Did the Italian general? The American businessman? The Latin drug dealer? Are they disgusted to discover that little round burn on the perfect beauty they’ve gotten into bed?”
4.Irene’s face looking off, seemingly reluctantly, as Void’s is nearby. Irene: “No.”
5.Void looking out at the camera as Irene looks off. Void: “Does this bother you, Tommy?”
6.Tommy watching intently but calmly. Void (off-panel): “Does it bother you that, excepting myself, everyone here but you has had her dozens of times in every way they desired?”
7.A close up on Void’s mouth as he speaks. Void: “That they used her viciously? That others have besides? That you will never have her again?”
8.Tommy in medium close-up, watching intently but calmly. Tommy: “No.”

Page 46
1.Void, whispering into Irene’s ear. Void: “I’ve been pinching your clit between my nails for the last few minutes. You don’t care?”
2.Irene looking off. Irene: “Should I? I will have any reaction you want. I will cry desperately and in anguish if you desire it. I will orgasm at the pain if it pleases you, shaking and spilling down my leg. You have only to say.”
3.A shot of Void sweeping her legs with one of his.
4.A profile of her body crashing to the floor.
5.An overhead shot but not from very high up. We see her looking up at Void as his robe falls to the floor at his feet. We do not see above his shins or so.
6.A black panel. Caption: “Tommy watched as our master took me in every way he could imagine, instructing me to enjoy it. I came again and again, orgasming in front of Tommy as this man sodomized me and pulled out my hair and gagged me with his organ and beat me during sex. I’d been trained to do so.” [54 | 55]

Page 47
1.Irene looking out into the room. Caption: “He was malicious for the sake of being malicious, beyond his pleasure, this man who’d alone not taken me when he could.”
2.Tommy looking back, emotionless. Caption: “It wasn’t for him or for me that he was taking me. It was for Tommy’s sake.”
3.A shot of Tommy and Irene’s wedding photo. Caption: “I obeyed without hesitation. Tommy himself had told me to do so.”
4.A shot of Irene performing deep throat on Void as he stands and she kneels. His hands pull her hair tight. The camera is roughly behind Irene, so we see Void’s face looking out at us and Tommy. Caption: “Tommy had never seen me with anyone else. He’d known but never seen. And here it was, gratuitous and harsh, right in his face.”
5.A shot of Irene’s face buried in Void’s naked ass. Her lips must be pressed hard on his ass hole from the look of it. Caption: “My tongue was deep in his ass hole when Void spoke again.”
6.Void’s face in close-up as he speaks. Void: “Why doesn’t this bother you?”

Page 48
1.A shot of Tommy standing very still, very calm, hands in pockets, looking very formal. Tommy: “No. I had a mission. I knew I’d have to say goodbye from the beginning.”
2.A close-up of Void’s face, speaking. Void: “Do you love her.”
3.A shot of Irene with her face in Void’s ass. Caption: “I didn’t stop, didn’t pause for a moment. I hadn’t been instructed to do so.”
4.A close-up of Tommy’s face, speaking. Tommy: “Yes, somewhat. Not as much as I did. But I am a member of this clan.”
5.A close-up on Tommy’s mouth, moving. Tommy: “I have no place for a wife as an Athenian businessman does, even one who’s heart has half-forgotten he is nothing of the sort.”
6.A shot of Void’s face in pleasure, eyes closed. [55 | 56]
7.A shot of Void’s hands pushing Irene’s head out of his ass.
8.A large shot of Void dressing as Irene wipes her mouth and Tommy watches.

Page 49
1.Void dressing. Void: “But you let her come here. An outsider. A woman.”
2.Void’s mouth moving. Void: “These are our most basic rules.”
3.Irene looking down, standing nude near Void. Void: “She’s done fabulously. And we intercepted her, preserving our secrecy. But she tracked you to Japan. And she arrived here looking for you.”
4.Tommy bowing before Void. Tommy: “You have been kind to allow me to see her success and to let me help in it. I am prepared now to pay my price.”
5.Void turning to Irene. Void: “This is your final test. You must silence those who suspect you are still tied to him and not to our clan.”
6.Irene naked, standing next to Void and before Tommy, who is still bowed. Void: “You must kill this man.”

Page 50
A medium close-up of Irene in this setting. Irene: “Without hesitation. But I’d like him to tell me first why he killed my family.”

[end page 56]