SYNOPSIS
Raised in a strict family where the body was a source of shame and sexuality a forbidden subject, Lola flees to the city to start her life anew. She studies psychology, art, but her suppressed desires haunt her. A chance invitation to an exclusive party changes everything. There she meets Cain — a mysterious man who recruits her into a secret corporation that uses sexuality as a weapon.
Lola becomes an undercover agent working for an elite organization where desire is the primary tool of power. Every assignment brings her closer to unlimited influence. She gets everything she ever dreamed of: wealth, luxury, freedom, adrenaline, a world without boundaries. Her body and sexuality finally belong to her — or so it seems. The higher she rises, the deeper she falls under the system’s control. The ties binding her to the corporation grow stronger. And at the center of this trap is Cain — a man who is simultaneously her greatest lover and her jailer.
Lola faces an impossible choice: continue serving the system that gave her everything, or fight to reclaim herself, even if it means losing the only person who taught her how to feel.
Can you escape from what has become part of you?
EPISODE 1.
INT. MANSION BEDROOM
Close-up on LOLA’s face. She’s half-naked, lying on the bed, pointing a gun at a sleeping man.
LOLA
(voiceover)
Have you ever watched a man sleep?
Camera pulls back.
LOLA
Through the barrel of a gun? This is a first for me.
The man lying before her breathes steadily.
LOLA
With a light touch of my finger, I can end this. Surprisingly intriguing feeling. Never would have thought.
The gun barrel slowly slides down his body — throat, steadily rising chest, stomach, lower, to where beneath the blanket lies the most intimate.
LOLA
Guys love to feel power during sex, completely unaware of the fact that true power always belongs to the woman. Especially during a blowjob.
Click of the hammer. The firing pin slowly moves. Lola’s pupil dilates.
LOLA
Oh God, no… I killed him! This wasn’t supposed to happen!
Dynamic montage of f flashbacks from Lola’past.
LOLA
In a a lit second, from fear, your whole life flashes before your eyes. Stop.
Frames freeze on a a ndom memory.
LOLA
So that you can better understand how an ordinary psychology graduate ended up here, I’ll have to start my ory from the very beginning.
SCENE 1 1. INT. STUDIO —AY
Lola in a an elegant suit. Sits on a white chair. Behind her is a vie screen.
LOLA (IN F AME)
(confidently, with irony)
I g grew up in a quiet suburb. In a family of rather strict parents. The body was perceived as a source of shame. Endless “no, no, no”
She stands up, walks to he screen.
LOLA (IN RAME)
I remember once a babysitter caught me naked with the neighbor’s boy. We didn’t mean anything by it. We were just curious to xplore each other.
She presses a button on the remote. The screen lights p.
SCENE 2. INT. LOLA’S HOUSE / CHILDHOOD ROOM —DAY (FLASHBACK)
Lola, 8 years old. Stands in the corner crying. Across from her — an enraged MOTHER. Next to her the BABYSITTER.
MOTHER
(screaming)
How could you?! Naked?!
BABYSITTER
I caught them in the shed. She was undressing im.
LOLA (8 years old)
(through tears)
We ere just playing!
MOTHER
Shame on you! You’e disgraced this entire family!
Mother raises her hand. Lola covers herself.
LOLA'’ VOICE (V.O.)
I'’ll never forget that day. It felt like my ife was over.
Image freezes. Screen goes dark.
SCENE 3. INT. STUDIO —CONTINUED
Lola stands before the darkened screen.
LOLA (IN RAME)
After that, the taboo around sexuality only grew stronger. No surprise that later in life… I ad zero luck with guys.
She sits down.
LOLA (IN FR ME)
Although, any experience teaches you something. Thanks to my my family, I learned to lie perfectly. Flawlessly. So well that not even a quito could bite.
She presses a bu button on the remote. An image appears on screen — she’s at a in station with suitcases.
LOLA (IN FR ME)
So I I fled to the city at first opportunity, diving headfirst into the wild student life.
Image changes on th the projector. We see Lola walking down a university corridor. Camera zooms in dissolves into the scene. The narrative continues from first person.
SCENE 4. 4. EXT. UNIVERSITY / CORRIDOR —Y
Lola walks down the university corridor. She’s ’s wearing a form-fitting dress with a plunging neckline, high boots. She looks confident and sexy. Students turn to k.
A FR FRIEND runs up to her — an energetic brunette in jeans and a ater.
FRIEND
Lola! Why are you so dr dressed up? We have a seminar on Foucault, not a hion show!
LOLA
(smiling)
Foucault is al all about the body as a political act. So I’m attending the seminar in l accordance with the curriculum.
FRIEND
(rolling eyes)
At le least tell me did the readings?
LOLA
(laughs)
Didn’t ’t have time. I was working as a e model.
FRIEND
(lowering voice)
Whoa! And? Isn’t ’t it scary? Naked in front of angers?
LOLA
(calmly)
It wa was scary once. In childhood. Now I understand — a body is just a body. You can study it. Like . Like psychology.
They stop at th auditorium door.
FRIEND
Alright, theoretician. Let’s ’s go. Or t bore will start rambling about the unconscious again.
LOLA
I wa was actually going to him about Jung and erotic dreams.
FRIEND
(laughs)
You’re’impossible!
They enter the auditorium.
SCENE 5. 5. INT. UNIVERSITY / AUDITORIUM —Y
Lecture. The PROFESSOR is ta talking at the blackboard. Lola sits, but her mind is elsewhere. She stares out the window, lost in ught.
Friend nudges he .
FRIEND
(whispering)
Lola! You zoned ou !
LOLA
(quietly)
Just…… thinking. I had that dream again last night. Some man. A dark silhouette. He’s gripping my oat.
FRIEND
Whoa. And then?
LOLA
(pause)
I w ke woke up wet. And came. By f.
FRIEND
(mouth open)
Damn, girl.……A
I ea i read it’s called “sublimation”. Repressed sexuality breaking through in dreams. But I think… I just want it to for real.
PROFESSOR
(turning around)
Lola? Are you with s?
LOL
(politely)
Yes, Professor. Just pondering your theory.
PROFESSOR
(approvingly)
Excellent. Keep it p
Lol and Friend exchange smiles. After class, they step out into the corridor.
FRIEND
Listen, I a invi was invited to this event, but I can’t make it — work. And after what you told me about your dream, I thought you might be d.
She hands her an n itati n.
LOLA
What is t
FRIEND
It'’ ’s a t’s a party where you can’t say no. You know what I mean… Anyway, I gotta run. Let me know how it e i kisses her on cheek the cheek goodbye. Whispers in her D
It'’ ’bsolute’y mind-blowing.
Friend walks away. Lola stands in h middle the middle of the university, surrounded by bustling students, invitation in hand. Suddenly, the image freezes. Camera pulls back, and we’re back in the studio room where Lola is story.
LOLA
That'’ ’s where I where I met Cain. My mad passion and my nightmare. My ug.
She presses a u button on tton on the remote. His photo appears on LA
But let'’ ’eturn t’s return to the present for MANSION BEDROOM
Lola fires the gu . The b gun. The bullet hits the man in the stomach. He wakes up and starts screaming. Lola fires again — he goes limp. She stares in horror at her hands, at the blood splattered on the rabs the phone from the nightstand and dials.
LOLA
Hello! It'’ ’s bad. I bad. I killed it-scre split-screen reveals CAIN on the lower half — his voice is and confident.
CAIN
Listen to e me eful me carefully. The entire outcome of this situation depends on what you do next. We don’ time.
END OF P SODE ON
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© 2026 Kirill Akishkin. All rights reserved.
CODE NAME LOLA and all materials contained herein, including the story, screenplay, characters, character concepts, world, narrative elements and visual development, are original works owned by h author
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