GUNSLINGER GIRL
"Firing For Effect"
Script by Robert Frazer
AUTHOR'S NOTE
As opposed to conventional prose, this entry is a script for a comic, where the description is less prescriptive and more filmic, inviting you to frame the scene in your mind's eye and visualise what is happening. If this catches the attention of any artistically-minded readers who might be interested in bringing these plain words to vivid life, be sure to drop me a line and we can work something out!
This comic also includes roles for a number of fan-created Gunslinger Girl cyborgs – Agapita, Britney, Allison, Kara and Marisa. Other adventures of the last three can be read in stories published by authors MP5, Kiskaloo and Prof. Voodoo respectively.
PAGE ONE
Title image
-Looking down on AGAPITA and AVISE from an oblique angle.
-AGAPITA is setting up her mortar on an area of plain grass; AVISE is standing and has a map unfolded in his hands, his body turned away from the cyborg to look off-panel somewhere.
-AGAPITA is dressed in her long skirt, shawl and beret. AVISE is wearing an ordinary pair of military fatigues (not a dress uniform!).
-Both characters have their heads turned towards each other, with genial expressions as they share some good-natured conversation. The atmosphere is tranquil and pleasant, as if they were setting up a campsite, not a weapons platform.
-There is no need to fill the entire page with detail if you do not want – it can just be a pool around AVISE and AGAPITA themselves.
-The comic's title card and credit card can be placed in upper-left corner of the page.
-In the lower-right is a tagline: "An old face in a new guise... Maria Machiavelli's cyborg form settles into life at the Social Welfare Agency."
-The caption is in the bottom-centre of the page.
CAPTION: A change is as good as a rest. – Sir Arthur Conan Doyle.
PAGE TWO
Panel 2.1
-Looking towards RICO and JEAN as they look through the vision slit of a pillbox (small concrete bunker).
-RICO is leaning forward, leaning one forearm on the lip of the slit, and squinting at an object behind the camera. Superior cyborg eyesight doesn't need binoculars. JEAN watches RICO carefully, a pair of binoculars lowered in his grasp.
-RICO is speaking into a walkie-talkie with her free arm.
RICO: Unit Pasubio, requesting fire mission, target grid G224-C986, Type Hotel-Echo, no spread.
RADO: Roger Unit Lucania, grid confirmed, stand by...
Panel 2.2
-Occupied entirely by a car exploding as a fireball tears through it. This is simply an old wreck of a clapped-out vehicle that is being used as a target, but the blast is impressive enough.
SFX: Krakooom!
Panel 2.3
-A large panel, establishing the wider environment for this scene.
-An aerial view of a wide stretch of open ground, about the size of a football field. At the middle of one end is the bunker occupied by JEAN and RICO in Panel 2.1. At the opposite end, if visible, is a gate and a road leading away. Halfway along one of the long edges of the field is an observation tower.
-Several old, rusty vehicles are scattered across the field for use as targets. A few are already twisted husks after being struck by AGAPITA's mortar-bombs, and we can see the flames dying down from the car that was destroyed in the previous panel.
-FERRO is not visible in this panel – her speech bubble comes from the viewing platform of the observation tower.
-Tall conifers surround this area.
-Note that AVISE and AGAPITA are not at all visible in this panel – they are in a separate field some way removed from this one.
CAPTION: Social Welfare Agency – Training Area.
FERRO: Welcome, Chief Lorenzo. We're just acquainting the other fratelli with Agapita's mortar support...
Panel 2.4
-On the viewing platform of the observation tower. ALFONSO and FERRO are at the edge, looking out over the field; LORENZO is beside a ladder emerging up from a porthole in the floor, having just scaled it.
-LORENZO rubs his lower back, working out a crick from the effort of climbing. ALFONSO continues to look off over the field, while FERRO is turning back to welcome LORENZO. Both FERRO and ALFONSO have clipboards for taking notes.
FERRO: ...practising radio protocol and so forth.
LORENZO 1: Ooh, my poor back, getting too old for this...
LORENZO 2: Ahem. And that's what I'm here for, Miss. Ferro. I'm not finding it very satisfactory.
Panel 2.5
-The camera is behind ALFONSO, looking out past him towards the open air.
-ALFONSO half-turns back to look towards LORENZO (behind the camera from this perspective). He has a questioning expression.
-In the open air in the background, a mortar-bomb can be seen arcing towards the ground.
SFX: Eeeeee...
ALFONSO: That's a little harsh, isn't it, sir? We've gone through Triela, Henrietta, Chiara, and now Rico, and Agapita hasn't missed a shot yet.
PAGE THREE
Panel 3.1
-A wide panel, across the width of the page, describing the viewing platform of the observation tower.
-LORENZO moves in-between ALFONSO and FERRO. All three look out.
-LORENZO folds his arms as he leans onto the platform balcony.
LORENZO 1: Be that as it may, Mr. Alfonso, it's taken up most of the afternoon.
LORENZO 2: Agapita fills an artillery support niche that the Agency has to date lacked, but I'm not yet confident that it's quite a snug fit.
Panel 3.2
-Back at AGAPITA's firing position, she is lifting up another mortar-bomb to drop into the firing tube.
-There is a puff of smoke from the firing tube as another mortar-bomb is fired off in the meantime. It suggests rapid, efficient movement – as soon as one shot is away another's ready to go.
SFX: Dhoo! [mortar firing report]
LORENZO (CAPTION): "Our battles against Padania are mostly fought at the sword-point – close-range flurries and skirmishes which can dance and leap and flip on the second's spin of a coin."
Panel 3.3
-Returning to the bunker of RICO and JEAN as seen in Panel 2.1.
-Now showing a side view of RICO inside the bunker.
-Highlighting the curious adolescent nature of the cyborgs, she has to stand on a chair to see above the lip of the window!
-Caption 1 can be at the top of the panel, Caption 2 at the bottom, with RICO's line in-between it.
LORENZO (CAPTION) 1: "As powerful as Agapita's mortar is, I worry that it is not adequately responsive."
RICO: Unit Pasubio, requesting fire mission, target grid G6...uh...72, C444, Type Hotel-Echo, wide spread.
LORENZO (CAPTION) 2: "I would like to make the artilleer's indirect fire directly applied."
Panel 3.4
-Returning to the mortar position.
-In the foreground, AVISE squints closely at his map, a little perturbed by an inconsistency that's preying on him.
-In the background, AGAPITA is about to drop another mortar-bomb down the firing tube.
ALFONSO (CAPTION): "Very good, chief. I'll get right on that after I make cooling radiators and have milk turn your coffee black."
LORENZO (CAPTION): "Oh, very droll."
AVISE: Grid seven-two, she said...? That can't be...
Panel 3.5
-Suddenly realising the importance of RICO's communication, an alarmed and panicky AVISE leaps forward, arms outstretched and waving in frantic warning, towards AGAPITA.
-AGAPITA has already let go of the mortar-bomb she was loading, and it slides down the firing tube... her hands fly up to her face in shock and horror.
AVISE: Agapita, stop! Rico's sending that shot right to the observation tower!
AGAIPTA: Akk!
PAGE FOUR
Panel 4.1
-Concentrate closely on the muzzle of the mortar's firing-tube.
-AGAPITA's arms shoot in – she slaps both hands above the muzzle to physically obstruct it!
-Why not just kick the mortar over to send the bomb elsewhere? There's no guarantee a hasty redirection wouldn't deviate somewhere where it could cause harm, either – AGAPITA is a cyborg with superhuman toughness, she's confident she can roll with the blow.
AGAPITA: Get down, Avise! Greater love hath no man than—
Panel 4.2
-A quiet, distant, reflective environmental panel.
-In the right foreground stands the observation tower.
-A treeline occupies the bottom edge of the panel, behind the tower.
-Behind the treeline, in the left background, the blast of an explosion reaches up above the tree-tops. From this distance it seems curiously tame and incidental.
-A flock of birds is shaken off the trees by the explosion, and they fly up into the air.
SFX: Boom! [distant explosion];caw, caw, caw [bird calls]
Panel 4.3
-A light-hearted comedy panel, with chibi (super-deformed) characters to reinforce the humorous spirit.
-AGAPITA's arms have been blown off to above the elbow and are now bandaged stumps (don't panic, they're cyborgs, they can swap limbs like shoes). She flaps her stumps in indignation at RICO, who looks understandably sheepish considering her mistake caused all of this. She has an anime-sweatdrop and waves nervously at AGAPITA.
-AVISE stands beside AGAPITA and flick his gaze heavenwards in an expression of cosmic despair. Both AVISE and AGAPITA are cartoonishly blackened with soot from the blast.
-RICO is being dragged back by the collar towards the panel-edge by a grim-faced JEAN.
AGAPITA: Lemme at 'er! Do unto others, and if I made that bone-headed a blunder I'd expect a good slap!
RICO: Eheheh... sorry, Aggie...
Panel 4.4
-Inside LORENZO's office. If there is room for background detail, it is fairly plush as he is the Chief, after all.
-LORENZO sits at his desk and rests his cheek on one hand, dispirited. A towering stack of forms fill his in-tray.
-BELISARIO leans over LORENZO's shoulder with a studied nonchalance entirely conscious of its rubbing up against LORENZO's frustration, and delighting in worrying it raw.
BELISARIO 1: Incident reports?
LORENZO: If we're a secret organisation, why is there so much damn paperwork?
BELISARIO 2: You're a manager, Chief – "there are no problems, only opportunities". While we're replacing Agapita's arms, the Tech. Dept. Would like to try something...
Panel 4.5
-Change of scene.
-An establishing shot depicting the new environment
-Looking out over an urban landscape, similar to the tracking shot of a city you might get in a TV drama.
-The urban landscape is that of the town of Catanzaro in southern Italy, a classic image of dense but elegant Mediterranean architecture.
CAPTION: Catanzaro, Calabria – One Week Later.
Panel 4.6
-In an abrupt and startling change, whereas previously we had splendid and artistic buildings steeped in culture and history, we are now confronted by a squat and ugly agglomeration of brick, concrete and corrugated iron that is an auto repair shop. Not everywhere in a town keeps its august character...
-If there is room, include pictures of JEAN and ELIO's faces in small circular insets at the panel edges so we can identify the speakers.
JEAN (RADIO): There'll be time for sightseeing when we're through.
ELIO (RADIO): Are you sure this is the place? Seems quiet.
PAGE FIVE:
Panel 5.1
-A large panel depicting several cyborgs advancing across the street, ghosting in between cars on the road as they make their way to the entrance to the auto shop. All of them are armed, and have serious expressions – prepped and ready for war.
-There are three cyborgs – BRITNEY, ALLISON, and KARA leading the way. BRITNEY is equipped with a SIG P-225 pistol; ALLISON a Tavor CTAR-21; KARA a XM8 prototype. I'm not too bothered by absolute infinitesimal fidelity to these weapons, so don't sweat over it, but a recognisable resemblance should be aimed for.
-Note that despite the fact that they're expecting a battle, these girls are dressed in ordinary street clothes, and are not togged up in "operator black" like the Second Man On The Balcony. KARA in particular has a taste for expensive designer wear. Her outfit should include a pair of tall shin-length boots, but her head should be bare so we can get a full appreciation of her character.
JEAN (RADIO) 1: It has to be – Section One has been studying the movement of heavy materials and this place has thrown up more flags than a Tibetan temple.
ELIO (RADIO): Well, it is a car mechanics'...
JEAN (RADIO) 2: ...buying sheet metal and caterpillar tracks? It's a place for fixing loose hubcaps on your Fiat Golf, not building your own JCB diggers in kit form.
Panel 5.2
-KARA has approached the large workshop shutters of the auto shop. ALLISON and BRITNEY are off-panel, holding back while their pointman scopes the scene.
-The tall shutter doors loom ominously, heavy with portent.
SFX: Vrrrrrrrrrm... [engine sounds from inside the auto shop]
KARA: They seem to be working inside. The noise can cover our entry—
Panel 5.3
-Suddenly, in a shocking and dramatic eruption, the shutters are smashed apart as an absolute behemoth of a vehicle comes physically crashing through them, bursting out from inside!
-The Padanians who the Agency were hunting seem to have welded together an armour-plated battle-wagon that belongs more on the set of Mad Max than in a pleasant Italian town. It's a hulking monstrosity that looks as though it could bulldoze through anything through sheer weight. I don't believe that something like this is too outrageously unrealistic – look at the rampage of Marvin Heemeyer in 2004, for instance.
-KARA isn't crushed underneath this road-leviathan, she hastily and clumsily flings herself to one side as the shutter disintegrates above her.
SFX: Krrressshoooooom!
KARA: -eeek!
Panel 5.4
-Concentrate on KARA sprawled out over the concrete of the shop yard.
-She is lying on her back and props herself up on her elbows. Naturally, she looks a bit scuffed and bedraggled from her ordeal.
-KARA didn't quite entirely escape the battle-wagon – her lower legs have been literally completely crushed at the shin, with no more than the battle-wagon's tread and a smear of mulch to indicate that they were there. However, such is the incredible nature of these cyborgs that they can shrug off even grievous injuries like these: KARA seems more put out by her couture than by being crippled!
KARA: Akkk! My new shoes!
Panel 5.5
-The camera is behind BRITNEY and ALLISON. They stand beside each other.
-The camera looks past them to the bulk of the on-rushing battlewagon literally filling the entire panel background. It dwarfs the poor girls!
SFX: MHRAN-MHRRRAAAAAN! [horn]
LOUDSPEAKER: Try this on for size, you Agency daemonettes!
PAGE SIX
Panel 6.1
-This panel concentrates on the cyborgs.
-Cyborgs are conditioned to show no fear and throw themselves into danger without heed for their own wellbeing – without comment, both ALLISON and BRITNEY raise their weapons and open fire.
SFX: Blam! Blam! Blam! [BRITNEY's P-225]; Dakkadakkadakka! [ALLISON's Tavor]
Panel 6.2
-This panel concentrates on the battle-wagon.
-Sparks fly as it is struck by multiple impacts, but the small-arms fire is completely ineffectual, pattering off of its armoured hide like summer rain.
SFX: Spang! Dang! P-tang! [ricochets]
Panel 6.3
-Looking towards the front of the cyborgs.
-A grim-faced BRITNEY is making to move off and out of the battlewagon's path.
-ALLISON, however, seems completely spellbound by the awesome sight barrelling towards her. Her Tavor falls slack in her grasp, her mouth is open in glee and stars suddenly twinkle around her face.
ALLISON: Such... magnificent engineering... is that the tone of a V8? Maybe a Hemi...
Panel 6.4
-The camera is in the same position as the previous panel.
-BRITNEY has already half-moved off the panel. Her hand reaches back and grabs ALLISON by the collar, pulling her along. ALLISON is surprised at the intervention.
BRITNEY: Come along, Ally-Clark-son!
ALLISON: Whup!
Panel 6.5
-A wide panel, taking in the full overwhelming length of the battlewagon as it rushes past ALLISON and BRITNEY, small figures in the centre-bottom foreground as they only narrowly elude being crushed underneath its tread. They are both shown tottering unsteadily as if it's only a matter of inches keeping them safe.
-The weight of the vehicle is such that it is grinding up the road as it moves as well – lumps of asphalt fly up from its sides like the wake of a boat.
SFX: Grrrrrrrrrunkl! [battlewagon's passage]
Panel 6.6
-Looking up from street level up the side of a building.
-With a whoop and a cheer, MARISA leaps down from the rooftop, filling the panel as she descends towards the camera. She is wearing a smug, confident, self-assured smirk.
MARISA: You old girls are clapped out! Let me show you how it's done!
PAGE SEVEN
Panel 7.1
-MARISA lands on the roof of the battle-wagon. She is crawling along its surface towards a cupola where she plans to smash her way through into the vehicle's interior.
ELIO (RADIO): Marisa, what are you—!
MARISA: Don't panic, Mr. Alboreto, I'm just going to hit its weak-point for massive damage!
Panel 7.2
-MARISA kneels upright above the cupola, and begins pounding at the access port with her fists in great curving arcs of her arms. Again, cyborgs are superhuman, and MARISA's strength is such that she can actually dent the metal. MARISA tightens her jaw in effort and determination.
SFX: Whrrrang! Whrrrang! Whrrrang! [MARISA's punches]
Panel 7.3
-Concentrate on MARISA's hands.
-She has managed to get her fingers underneath the edge of the port, and is actually, slowly, agonisingly, peeling the corner up, creating a gap of maybe half an inch.
MARISA (OFF-PANEL): Hnnnnnnnnng-!
Panel 7.4
-The camera is mounted behind MARISA's head and looks over her towards the front of the battle-wagon.
-A low bridge is rushing up! A sign reading "CLEARANCE 5.8m" is central.
-The edge of the panel is dense with speed-lines to infuse the scene with extra drama.
ELIO (RADIO): Marisa, look out-!
Panel 7.5
-Concentrate exclusively on MARISA's face as she does an alarmed take.
Panel 7.6
-A small panel – more just a thick border between 7.5 and 7.7 than a panel in its own right.
-It is occupied entirely by a "KLONG!" sound effect, with added dazed stars.
Panel 7.7
-Cartoonishly, MARISA's head and upper body are slammed against the bridge, cracks crazing the structure around her outline, while her legs dangle loosely in the air. Her speech bubble has wavy edges to indicate that she's stunned.
MARISA: Mhrye freeth huuurth.
PAGE EIGHT
Panel 8.1
-The battle-wagon continues its rampage of destruction. It is seen moving down a narrow street, rumbling up and down as it crushes parked cars under its treads.
SFX: Crunch! Krush! Crash!
JEAN (RADIO): ...Alpha Team has been defeated.
AVISE (RADIO): It's up to you, Agapita! Fight to win!
Panel 8.2
-Concentrate on AGAPITA's face.
-In contrast to previously alternately dramatic and humorous panels, this panel's atmosphere is quiet, serene, and reflective.
-AGAPITA brings a crucifix to her lips as she recites a prayer.
AGAPITA: Lord, you know that I'm busy today – if I forget you, please don't forget me.
Panel 8.3
-A wide panel, across the width of the page.
-The camera is seated on the ground, looking down the length of a street (a different one to panel 8.1).
-In the left background, the battlewagon bashes through a wall to tear onto the street, bursting through a billowing cloud of dust and rubble.
-In the right foreground, we see AGAPITA's legs as she stands calmly, but no indication of the rest of her body.
SFX: Khrrrroooom!
Panel 8.4
-A large panel, the focus of this page.
-We take in AGAIPTA in full powerful and stupendous display as she girds for war.
-The Tech. Dept. has followed up on LORENZO's suggestion for "direct indirect" fire, and has equipped AGAPITA with a Mk. 19 automatic grenade launcher. Normally, these heavy weapons have to be a set emplacement or mounted on a vehicle, but cyborg super-strength allows AGAPITA to carry it slung at the hip, with the belt-fed ammunition trailing to an ammo hopper carried on her back.
-AGAPITA's expression is fierce and belligerent.
AGAPITA: Time to direct some pain!
Panel 8.5
-A tall, narrow panel, looking down on the street from above.
-At the top of the panel, the battle-wagon careers onwards, unstoppable.
-At the bottom of the panel, AGAPITA stands alone.
Panel 8.6
-Return the focus exclusively to AGAPITA.
-AGAPITA grits her teeth and lets rip!
SFX: FUDDA-FUDDA-FUDDA-FUDDA!
PAGE NINE
Panel 9.1
-A frontal image of AGAPITA continuing to fire. There is a line of after-images of muzzle flashes before her, to indicate that she's swinging the weapon from side to side as she hoses down the streets with machine-gunned grenades.
SFX: FUDDA-FUDDA-FUDDA-FUDDA!
-Panel 9.2
-Concentrating at AGAPITA's feet. Spent cases are clattering down around her... but given the nature of the weapon, these casings are the size of tin cans!
SFX: Tonk, tonk, tonk [casings hitting the ground]
Panel 9.3
-A wide panel. There is no background, to concentrate on the detail of the events.
-A side-view of the street. To the left, the battle-wagon still roars on. To the right, AGAPITA continues to fire. In the centre of the panel a flurry of grenades speeds towards the battle-wagon.
Panel 9.4
-Concentrate on the battlewagon.
-Its front vanishes in a blizzard of explosions as the grenades hit home.
SFX: Krakakadooom!
Panel 9.5
-More grenades crater up the road in front of the battlewagon, causing it to rear up into the air.
SFX: Bratooom!
Panel 9.6
-Some grenades start to go wild – a civilian car explodes.
Panel 9.7
-Several grenades are seen arcing towards a building, while other blast through the walls and windows.
Panel 9.8
The wrecked battlewagon tips onto its side and goes sliding through several buildings on the other side of the street! Bricks, stone, and dust bloom everywhere in a chaotic catastrophe.
SFX: Khrrrrrroooooooooom!
PAGE TEN
Panel 10.1
-AGAPITA ceases fire to admire her handiwork.
-There's... ample collateral damage! The street in front of her is a smouldering, ashen, blasted ruin, looking for all the world as if a B-52 bomber has just dropped a full stick of bombs on it. The rear end of the battlewagon sticks out from a pile of rubble at one edge.
-AGAPITA looks satisfied, pleased with a job well done and executed all according to plan and without a hitch.
-AVISE appears, walking towards AGAPITA with some trepidation. He looks around, bewildered.
AGAPITA: Targets cleared, sir!
AVISE: ...literally!
Panel 10.2
-Back in LORENZO's office.
-LORENZO is fuming... as well he might! Instead of just having one stack of paperwork to contend with, his desk is now a mountain range of forms and dockets.
-FERRO stands beside the desk, with a brisk, businesslike air, continuing to add more paper to a pile from a folder she's carrying.
FERRO: ...Cleanup authorisation, insurance claims, temporary housing invoices, formal protests from the national heritage office, eleven universities and three amateur history societies for the grade-I listed building that the battlewagon ploughed through, electoral ward re-drawing...
Panel 10.3
-A change of scene. Back outside in the Social Welfare Agency's training area, seemingly a repeat of the character of the first scene seen on Page One.
-AGAPITA has returned to using a mortar.
-A mortar-bomb fires from the tube. AVISE stands beside the kneeling AGAPITA and shades his brow with a hand to watch the bomb fly into the air.
SFX: Dhoo!
AGAPITA: Why am I back on the mortar? I thought I made quite a splash earlier.
AVISE: Well, Agapita, Chief Lorenzo is a civilian so it's taken him until now to work out what I learned as a little one-pipper back in the Bersaglieri...
Panel 10.4
-A short timeskip. AVISE and AGAPITA are walking down a pathway in the training area. The sun is hanging low in the sky.
-They both have their arms around each other's shoulders as they saunter along, relaxing after a good day's work.
-Note that there's nothing romantic about this – their relationship is a father-daughter one.
CAPTION 1: "A new officer can spend a lot of time signing this, authorising that, legitimising the other...
CAPTION 2: ...and – sadly – taking responsibility for policy!"
THE END