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?