3. lolita – first issue script
CHAPTER ONE
PAGE ONE
WRITER’S NOTE: Panel one shows, almost literally, that the graphic novel is seen through Vincent’s eyes, hence, inheriting his voice, opinion and his perception on social convention, and his view on right and wrong.
SPLASH PANEL
A quarter of a young man’s, Vincent Marcos’, face is seen. He is grimacing almost smugly at what he sees. On his eyes, is the reflection of New York – the tall buildings, the smoke, ect.
Panel shows Gothic New York.
CAPTION
September, 2096.
CAPTION
Already this place is cold, New York, my interim home while I escape the bounty on my head. It’s been a month and two days – more than enough time to learn how to hate this place. And no, ‘hate’ is not too extreme a word.
CAPTION
Everywhere I go, I am met by a wall of smoke and the omnipresent stench of cheap rum and brandy. Rum and brandy… classless bunch, these Americans. The sound of cars and the metrotrain ring from every corner I turn. I look outside my window and all I see is a horizon of buildings and smoke towering from across the Hudson. The afternoon sky here is a different, dirtier kind of blue than the Spanish tint that covered my perfect world for thirteen years.
PAGE TWO
PANEL 1
Seen from his back, a thirteen-year-old boy, Vincent as thirteen, looks out of his window. Past it is the sight of clear white and blue skies and the mountains fronting it.
CAPTION
I sometimes close my eyes and imagine that I’m back in Andalusia. Peeking out of the room, I see the mountains. I look down, and I see the garden where the maids are trimming the grass, which, when wet, exudes a fragrance finer than thick, rich wine.
PANEL 2
The thirteen-year-old Vincent is seen from his front, and a quarter of his face is seen like it was in panel one. He is smiling.
CAPTION
How I wish I were thirteen again…
PANEL 4
The thirteen-year-old Vincent in Andalusia, Spain, turns around, hearing gunfire.
SFX
BANG
PANEL 5
From his open door, Vincent sees men in suits and shades, Vincent’s father’s bodyguards, rush past. One of them speaks into a microphone on the cufflinks of his shirt.
BODYGUARD
Requesting backup! Senor Marcos is shot! –-
PANEL 6
Vincent’s eyes are glazed over like he can’t believe what’s happening.
BODYGUARD (O.P)
– I repeat, Senor Marcos is shot!
VINCENT
(whisper)
Father…
PAGE THREE
Panel two wherein Vincent is seen from overhead, hints that he is being looked over by God. Panel three, wherein he is seen from below, depicts that Vincent is thinking evil, hellish things; about using the gun to kill the man who murdered his father.
PANEL 1
One of the bodyguards drops his gun.
BODYGUARD (O.P.)
Pursing the suspect now! Send up backup now!
PANEL 2
A quiet noir scene, Vincent holds the gun in his hand and stares at it. He is seen from overhead.
PANEL 3
A quiet noir scene, Vincent holds the gun in his hand and stares at it. He is seen from below.
PANEL 4
The same gun he held as a thirteen-year-old now rests on the bedside drawer in his room in the New York Usher Building. Near that is a picture of Vincent as a sixteen-year-old and his then girlfriend, Fides, and a crucifix. Above that; bedside drawer is a mirror.
PANEL 5
His back to the reader, Vincent stares at his emotionless reflection.
CAPTION
But of everything of this city, I hate waiting. I hate having all this time to my thoughts.
PANEL 6
Panel shows a diary.
CAPTION
I’ve been writing a lot, a hobby I once enjoyed when I was much younger. I am surprised at the things I write about. Of all, I am surprised to find that I might still believe in a god.
CAPTION
Writing again, I begin to wonder and question.
CAPTION
I know I shouldn’t.
CAPTION
I cannot second guess the course I had chosen to take all those years ago.
PAGE FOUR
PANEL 1
Flashback; the day Vincent’s father was assassinated as pictured earlier – A quiet noir scene, thirteen-year-old Vincent holds the gun in his hand and stares at it. He is seen from below.
PANEL 2
Panel shows Vincent’s reflection. It stares back menacingly.
CAPTION
Keep away from those thoughts, Vincent.
CAPTION
An eye for an eye. Karma. The universe setting itself right. That’s all you ask, isn’t it?
CAPTION
Vengeance. Justice.
PANEL 3
Vincent picks the crucifix up.
CAPTION
They teach in church that justice is truly realized in the afterlife. Do good, and you go to heaven. Do evil, and you go to hell. Simple.
PANEL 4
Vincent sneers.
CAPTION
But do you really believe in that bullshit, Vincent?
PANEL 5
Vincent picks the gun up.
CAPTION
Ultimately, we’re all dead.
CAPTION
And the only winners in this world are the worms.
PANEL 6
Vincent points the gun at his head and stares at his reflection.
CAPTION
Long live the conqueror worm.
PAGE FIVE
PANEL 1
A homeless man, Isaiah Prophet, as he stands on the steps outside of the Usher Building, shouts out into the street.
PROPHET
Oh, this place is evil! Evil I say!
True believers and faithful to God and morality, I implore you, do not enter! Stay away! It is alive, that place! It has an evil soul! It has eyes that watch over everyone inside! It has ears that listen in!
Stay away for soon, brothers and sisters – very soon now – the day will come when, like Sodom and Gomorra, this place will be cleansed off God’s earth and sent into the fiery pit of hell with its perverted master! It will take you if you are not wary! –
PANEL 2
Vincent stands on the steps, huddling his jacket for warmth, watching Isaiah Prophet shout.
PROPHET
– Be wary then! For the sake of your immortal souls, be wary!
The day is soon, I tell you! Soon! The Manhattan Usher Building is evil!
And it is alive!
PANEL 3
Vincent looks up at the building.
PANEL 4
Vincent is seen through a security camera of the building.
DESMON CAPTION
“Something’s happened to make her change.”
PAGE SIX
WRITER’S NOTE: 169 is 13 times 13.
PANEL 1
Demson, standing as he argues with Allan Usher, is inside Allan Usher’s 169th floor office. In the backdrop is the sight of the New York landscape beyond the wide windows. The two appear as shadows fronting the skyline.
USHER
You worry too much, Desmon.
DESMON
You don’t understand, Mr. Usher. Claudia is gaining a sense of who and where she is. And what’s more frightening, she’s gaining a sense of morality; her own logic to judge right from wrong.
She’s not supposed to have one! She was programmed specifically to be an emotionless doll!
PANEL 2
Panel shows a library in the office where old satanic books as well as works of Marquis de Sade are kept.
USHER (O.P.)
Morality? Should a man of science say such things?
PANEL 3
DESMON
Mr. Usher, Claudia is the most effective killer in your agency. A hundred percent accuracy on all eighty-three assignments. She’s had more kills than any of your one hundred and thirteen assassins. She is the perfect weapon – one which we control, but more importantly, ours to keep under control.
To do exactly and faithfully what we tell her – that is why we made her without emotions. Having her own judgment is like a twelve-year-old with a gun – which she is!
PANEL 4
The two continue to talk within-panel. As they do, more of the room is shown, and the SnM paraphernalia and sexual torture devices in the room are better seen.
DESMON
Not only that, but she’s starting to have menstruations even when we give her nightly injections to impede that. She’s also developing a sex drive.
USHER
A sex drive now, you say? The little minx.
PANEL 5
DESMON
She’s a virgin, we checked. She gets off the old fashioned way – masturbating in her room every night.
But more frightening, Mr. Usher, is that…
There’s no cleaner way to put it –
PAGE SEVEN
PANEL 1
Panel shows the condo in the prologue. The scene is of carnage – dead bodies of the bishop’s bodyguards scattered across the hallway; their blood sprayed across the wall; their limbs torn apart.
DESMON CAPTION
“– She experiences orgasms when she kills. –
DESMON CAPTION
“–In her last assignment, she killed way more than she was contracted to. The body count was seventeen in all when we told her to just take out one. She killed the bodyguards, the butler, maids, the driver. Everyone. –”
PANEL 2
Panel shows some goldfishes floating on the surface of a fishbowl. Beside it is a canister that reads, ‘rat poison.’
DESMON CAPTION
“—- Everything. –-”
DESMON CAPTION
“– And that bishop we had her assassinate –”
PANEL 3
Panel shows the dead body of the mob boss’ eight-year-old son.
DESMON CAPTION
“– He had a nephew visiting that night.”
PANEL 4
Back in Usher’s office, Desmon continues to lecture.
DESMON
Mr. Usher… Claudia…
Likes to kill.
She literally enjoys it.
PANEL 5
DESMON
When you train your assassins, sir, you make sure they go through rigorous mental exercises so they understand it’s just a job, and that they should go about it as mundanely as taking the subway to work.
But Claudia…
PAGE EIGHT
PANEL 1
DESMON
She’s a psychopath. –
PANEL 2
DESMON
– Now, imagine that psychopath, with her new independent thinking, wondering why she has to do everything we tell her when she can just as easily walk out that door.
PANEL 3
Allan Usher narrows his eyes as he thinks. Desmon is off-panel.
DESMON (O.P.)
I know it excites you – having her kept here in this building. You go to her room at nights and just…
… stare at her like she were a painting; a part of your art collection; or worse, part of your harem of nurses and chamber maids for sex slaves you bought from third-world countries and store in your basement like bottles of wine.
PANEL 3
Desmon is on-panel with Allan Usher.
DESMON
But Claudia…
She’s got too much will now. It makes her unpredictable. And extremely dangerous.
And another thing, Mr. Usher…
… she’s been having dreams –-
PANEL 4
Allan Usher tilts his head as if not wanting to hear the news.
DESMON (O.P.)
– We suspect that she’s getting her memory back.
PANEL 5
Vincent enters the office.
VINCENT
Am I interrupting something?
USHER
Nothing, nothing. Dr. Brooks was just about to leave.
PAGE NINE
WRITER’S NOTE: Panel six of this page shows how Vincent confuses his father for god.
PANEL 1
Desmon walking out of the room in the background, Vincent speaks with Allan Usher.
USHER
You wanted to talk to me about something?
VINCENT
Yes. And I’d like your full attention.
PANEL 2
Usher sighs heavily, disappointed.
USHER
Very well.
PANEL 3
A woman wearing a nurse’s uniform rises from under Allan Usher’s desk. She is green with disgust, having just given the old man a blowjob.
USHER
Back to your room downstairs for now, my lovely. I’ll call for you again. You’ll have a friend to share me with next time.
GIRL
(SFX)
Cough. Cough.
PANEL 4
As the woman walks past, Vincent covers his nose and grins at the smell of the woman’s mouth.
USHER (O.P.)
Does your stay with us suit your needs, Prince?
PANEL 5
VINCENT
I told you not to call me that.
USHER
But nevertheless, that is who you are – an important young man in our world; the son of a great man, the founder of the second birth of fascism in Europe. -
VINCENT
Spare me. I know who my father was, Usher. –
PANEL 6
Panel shows Vincent’s bedside drawer again. There, is a picture of Vincent’s father – a man with a beard and wearing a Spanish general’s uniform with lots of medals and stars on his shirt. This picture is placed beside the crucifix. The crucifix is smaller and placed under the picture, showing that Vincent’s father is more important to him than God.
VINCENT
– I know who he is very well.
PAGE TEN
PANEL 1
VINCENT
I’ll get to the point, Usher. I want an assignment.
USHER
You’ve been training well under your instructors. You impress them. And it takes a lot to impress the finest Israeli militants money can buy. They say you’ve got quite a knack for it… killing, I mean. –
PANEL 2
USHER
– But the problem is, dear prince, is that the assassins of the Knights of New York have a reputation to maintain. We wouldn’t want a rookie to botch an important assignment for the fascist cause?
PANEL 3
VINCENT
I’m tired of waiting in my room in this foul smelling city for the bounty on my head to expire. Doing nothing for this long doesn’t suit me.
I want action.
I know what is expected of me, and I’m ready.
Now.
PANEL 4
Vincent’s hard, grinning exterior fades for a moment, showing uncertainty. Usher is off-panel.
USHER (O.P)
Are you?
Do you even know what it’s like, young man –
PANEL 5
A quarter of Usher’s face is seen as he grins evilly.
USHER
– to kill?
BODYGUARD CAPTION
“Back-up, back-up! We need back-up! –-”
PANEL 6
Flashback scene: The man who had just shot his father is running down the second floor hallway of the Marcos mansion. In the background are bodyguards chasing after him.
BODYGUARD
Suspect is on foot!
PAGE ELEVEN
WRITER’S NOTE: Panel four wherein Vincent is seen from overhead, hints that he is being looked over by God. Panel five, wherein he is seen from below, depicts that Vincent is thinking evil, hellish things and thinks about using the gun to kill the man who murdered his father.
PANEL 1
The man enters Vincent’s room to escape the gunfire. To the panel’s side is a clicking of a gun as it is cocked.
SFX
CLICK
PANEL 2
The man turns to his side to see thirteen-year-old Vincent pointing a gun at him.
PANEL 3
Vincent’s eyes are wide with fright but at the same time showing a sense of readiness.
PANEL 4
Seen from above, thirteen-year-old Vincent has his gun pointed at the man.
PANEL 5
Seen from below, thirteen-year-old Vincent has his gun pointed at the man.
PANEL 6
Small panel – Close-up of Vincent’s hand – Vincent squeezes the trigger of the gun.
PAGE TWELVE
PANEL 1
Small-panel – Nothing happens. The gun is jammed. Vincent is shocked.
SFX (FROM GUN
CLICK
PANEL 2
The man, very noir-like in his emotionless expression, runs out of the room and out the window.
PANEL 3
The thirteen-year-old Vincent’s eyes are wide and glazed over. His jaw hangs. Puffs of cold smoke escape his lips.
VINCENT
(whisper)
No…
PANEL 4
Panel shows the thirteen-year-old Vincent from afar as he is wearing the same thing but standing now in a field of snow. On the snow is a large, frightening-looking tree. He is breathing puffs of cold smoke.
PANEL 5
In the foreground, Vincent turns around. In the background, is Vincent’s dead father as a ghost, his eyes shadowed.
PANEL 6
Vincent’s father raises his hand to point at Vincent.
PAGE THIRTEEN
PANEL 1
Seen from the ceiling’s point of view / Close-up of Vincent’s face – In the darkness of his room in the Usher Building, Vincent wakes from a dream.
PANEL 2
The digital clock reads, 3 a.m.
PANEL 3
Vincent sits up on his bed.
PANEL 4
Vincent walks around his room in the dark.
VINCENT
Who’s there?
PANEL 5
Vincent is in the hallway.
VINCENT
Who is that?
PANEL 6
Vincent is seen from a security camera
PANEL 7
As he walks the hallway, the elevator doors open.
PAGE FOURTEEN
PANEL 1
Vincent enters the elevator.
PANEL 2
In the elevator, Vincent looks around.
PANEL 3
His eyes narrowed, he presses a security code.
PANEL 4
The elevator starts to descend.
PANEL 5
Vincent looks at his reflection on the mirror of the elevator.
PANEL 6
Important panel – Close-up of his reflection. Though Vincent is speaking off-panel, his reflection does not move its mouth.
VINCENT (O.P.)
Where are you taking me?
PAGE FIFTEEN
PANEL 1
Small-panel – The elevator LCD reads, 65
PANEL 2
Small-panel – The elevator LCD reads, 52
PANEL 3
Small-panel – The elevator LCD reads, 39
PANEL 4
Small-panel – The elevator LCD reads, 26
PANEL 5
Small-panel – The elevator LCD reads, 13
PANEL 6
Small-panel – The elevator LCD reads, Basement 13.
PANEL 7
Seen from the hallway, the elevator doors open, revealing Vincent inside.
PANEL 8
Big panel – Seen from afar, Vincent walks out of the elevator. He stands on a circular platform around a tube where the elevator opened. Below him are several floors of wiring and blue lights. Surrounding the platform he finds himself in are catwalks that lead to different parts of the basement floor – the main security headquarters for the building, the room
PAGE SIXTEEN
PANEL 1
Vincent, having crossed one of the catwalks, walks into a hallway where the rooms have a glass wall to separate them from the corridor. The glass is so that people can peek inside like someone in a zoo might. Inside the rooms are naked women sleeping.
PANEL 2
Vincent peeks one of the glass walls and sees the nurse who had given Allan Usher a blowjob earlier. She is sleeping.
PANEL 3
Vincent turns around, having heard something.
CAPTION
Over here.
PANEL 4
Vincent descends several steps into a landing where computers front a bright pink room. The room has pink-pocakdot wallpaper on three of its walls. It’s fourth wall is glass.
PANEL 5
Close-up of Vincent’s eyes – They are wide and glazed over. He is in a state of shock.
VINCENT
(whisper)
Oh my god…
Fides…
PAGE SEVENTEEN
PANEL 1
It is nighttime. Panel shows a driver wearing a driver’s uniform wiping off a car in an open garage.
PANEL 2
The driver looks to his side.
PANEL 3
Panel shows a large, scary, shadowy tree – the same one on the snow when the thirteen-year-old Vincent saw the ghost of his father.
PANEL 4
Panel shows a cellphone LCD. Someone is calling – Fides.
PANEL 5
Vincent is about sixteen. He is stares at the phone, wondering of he should answer.
PANEL 6
Vincent answers.
VINCENT
What?
FIDES (FROM PHONE)
Hey, love…
VINCENT
I told you not to call me that anymore…
PAGE EIGHTEEN
PANEL 1
FIDES (FROM PHONE)
You don’t have to go –
VINCENT
Don’t tell me what I will or won’t do, woman.
FIDES (FROM PHONE)
I don’t understand —
VINCENT
You don’t need to.
PANEL 2
FIDES (FROM PHONE)
Damn it, Vincent, don’t leave me!
It’s been three years since your father died! They caught the man who killed him –-
VINCENT
Only the man who pulled the trigger. I know now who ordered the hit. –
PANEL 3
VINCENT
– And I’m going to kill him.
PANEL 4
FIDES (FROM PHONE)
And so you’ll train as an assassin to kill him? You’ll devote your whole life to this vendetta?
Are you so ready to leave me, Vincent?
Don’t you love me anymore?
PANEL 5
Vincent says nothing. He is unsure.
PANEL 6
FIDES (FROM PHONE)
(whisper)
Before you leave then, tell me one last time that you love me… Tell me you need me… Tell me you’ll do anything for me…
PAGE NINETEEN
PANEL 1
FIDES (FROM PHONE)
(whisper)
Say my name… Say it…
Say it the way you did that night we made love… I could always feel who you really are in your voice when you say my name… I feel it in my heart… in my womb when she kicks…
PANEL 2
FIDES (FROM PHONE)
(whisper)
I thought of a name for her… We’ll name her after your father… That way, we can honor his memory -
PANEL 3
Vincent looks insulted.
VINCENT
Don’t talk about my father.
PANEL 4
Vincent ends the call.
PANEL 5
Vincent resumes packing his clothes.
PANEL 6
Vincent turns around, hearing something hit the glass of his window.
SFX
CLANG
PANEL 7
Vincent looks down onto his window ledge.
PAGE TWENTY
PANEL 1
Panel shows a cellphone on the window ledge.
PANEL 2
Vincent looks up.
PANEL 3
Panel shows the large, scary, shadowy tree. On one of its thick braches is Fides. She is wearing her underwear. Her eyes are wet from crying. Around her neck is a noose.
PANEL 4
Panel shows Fides in midair, having jumped off the branch. The rope from her noose extends to the tree she had just leapt off.
PANEL 5
Panel shows Claudia in her pink room, looking around uncaringly. She is seen from past the glass. Claudia looks like Fides, especially when Fides was crying.
PAGE TWENTY-ONE
PANEL 1
Panel shows nothing but black.
SPEECH BALLOON WITH NO TAIL
FIDESSSS!
SPEECH BALLOON WITH NO TAIL
FIDESSSS!
PANEL 2
The sixteen-year-old Vincent runs to the tree.
VINCENT
FIDESSSS!
PANEL 3
Vincent holds onto Fides’ legs, trying to push her up and stop her from chocking.
VINCENT
(weeping)
Fides… Fides…
Don’t leave me… don’t leave me…
I need you… I love you… I love you so much… I’ll do anything for you… anything… anything… anything…
I love you so much…
PANEL 4
Panel shows Fides’ legs continue to kick wildly.
PAGE TWENTY-TWO
SPLASH PANEL
In the foreground, Vincent falls to his knees in front of Claudia. In the background, Claudia, wearing nothing but her underwear, unable to see him past the one-way mirror, is uncaring.
VINCENT
(whisper)
Dear God…
How you love to play with me…
