Triangle of Fiery Light Script In Progress...

[banshee]

Here is the first 3 pages so far that I've done, I know it's not a lot but I havent had time today really.

It's a first draft obviously and all crits are welcome :D

I've spotted some inconsistencies/grammar/typo mistakes in our story round which I will ammend as I go along and then update our webpage as well.

but anyway.. here's the first 3 pages as a sample. If the layout/style etc is acceptable, I will carry on. I've also taken the liberty of editing the dialogue where necessary. (course it's my section so I wont complain lol).
Is that ok with the authors of the other sections?

Thanks! so CRIT AWAY!

later days

_______


TITLE: TRIANGLE OF FIERY LIGHT (the Script)

Cover-

Page 1

Splash page. Small figure of a man striding through a massive corridor with ornate windows. Sunlight beams (harsh, mid day sun) coming through those windows. Other figures can be seen kowtowing on the ground.

CAPTION- SUMMON THE GRAND VIZIER AT ONCE!

Page 2

Panel 1- A throne (very elaborate in carvings) is in the centre of the room. The man from earlier panel (King Mansour) is dressed in rich robes, dark colours. He is frowning and his hair is rumpled. Facing the throne (you can’t quite see his face) is a short, fat man, bowing low (also dressed in rich robes but not as opulent as the former, more vibrant colours.).

MANSOUR- THE MONTH OF KEDMA IS LESS THAN TWO MONTHS AWAY, JABIR. WHERE IS THE AWENA, PRINCESS NOURA?
MANSOUR- YOU DISAPPOINT ME, JABIR.

Panel 2- You can see Jabir’s face, the fear is very clear, he’s on his knees, bowing.

JABIR- I ASSURE YOU, YOUR MAJESTY, WE ARE IN TALKS WITH THE MAJA WAHBIMIN…

MANSOUR (O-P)- TALK? TALK? WHAT GOOD IS TALK?! I WANT RESULTS, JABIR. OTHERWISE…

JABIR- YOUR MAJESTY, YOUR WORD IS LAW.

Panel 3 - Mansour is still in the throne room (throne in background). He is now facing a wall, his hand on a brick (back to us), you can see a gap opening in the wall in front of him.

Panel 4- Mansour is now in a dimly lit room. Triangular shaped object in centre and at its sharpest point, a large ruby sitting on top of a large cone.

Panel 5 - Close-up of Mansour pressing the ruby downstairs into cone, his face is lit eerily.

MANSOUR- ALTAR OF SULWYN, SHOW ME THE FUTURE.

Panel 6- Mansour is facing a wall of flame flowing out from the ruby, you can vaguely see figures in those flames.

ALTAR- MANSOUR OF THE SHAMMARA, SHE WILL NOT ACCEPT WHAT YOU OFFER.
MANSOUR- WHY NOT?
ALTAR- NOURA OF THE MAJA KNOWS OF YOUR DESIRES AND WILL NOT ACCEPT YOUR OFFER.

Page 3

Panel 1- Different angle to earlier panel. Mansour looks frustrated, his hand in a fist on the altar. The flames are still flowing from the ruby.

MANSOUR- ENOUGH! SHOW ME WHERE THE AWENA IS.
ALTAR- THE ALTAR OF SULWYN CANNOT SHOW YOU THAT OF WHICH YOU SEEK.

Panel 2- Mansour’s fist is coming down onto the Altar, his face is contorted with anger. The flames should start to recede, although he hasn’t noticed that.

MANSOUR- I WILL DESTROY YOU IF YOU DO NOT SHOW ME THE AWENA!
ALTAR- YOU WILL NOT DESTROY THE ALTAR OF SULWYN, MANSOUR OF THE SHAMMARA. YOU NEED US…

Panel 3- Mansour has controlled himself once more, although you can still see glimmers of anger in his eyes.

MANSOUR- I AM MANSOUR OF THE SHAMMARA, YOU WILL DO AS I SAY, ALTAR OF SULWYN!
ALTAR- ALL IN THE TRIANGLE OF FIERY LIGHT ARE INVISIBLE TO EACH OTHER UNTIL BROUGHT TOGETHER. THAT IS HOW IT HAS ALWAYS BEEN.
MANSOUR- NO! I WANT…

Panel 4- the flames have almost receded completely into the ruby. Mansour is waving his hands around, shouting, frustration on his face.

ALTAR- THE ALTAR OF SULWYN WILL SHOW YOU NO MORE, MANSOUR OF THE SHAMMARA.

Panel 5- the room is darkened again. Mansour is walking away from the Altar, facing us, his face very dark and angry.

CAPTION- I MUST CONTROL THE AWENA AND PRINCESS NOURA! I HAVE NO TIME TO LOSE…

[banshee]

Page 4

Panel 1- In a room with open windows. A breeze is blowing transparent white curtains at those windows. Hardly any furniture in this room. A woman (Princess Noura) in scant, light clothing is sat cross legged facing the windows, her back to us. Behind her, a slave girl (Shima) is sat on the ground, her head bowed.

SHIMA- PRINCESS NOURA. YOUR FATHER WISHES TO SEE YOU, YOUR HIGHNESS.

Panel 2- The woman remains in same position while Shima fidgets a little as she kneels. She’s realised her mistake of interrupting the princess.

SHIMA- MY APOLOGIES, YOUR HIGHNESS BUT THE ALMIRA REQUESTED YOUR ATTENDENCE IMMEDIATELY.

Panel 3- Noura’s eyes are open now, looking annoyed. We can see Shima behind her but Noura hasn’t turned around yet. She is dressed in lightweight clothing, very minimal (think long loin cloth and a cross-tied top, in white). Lithe yet feminine, she has an intelligent face with long dark hair (loose), cinnamon skin, brown eyes.

NOURA- WHO ELSE HAS BEEN CALLED FOR THIS MEETING, SHIMA?
SHIMA- THE CROWN PRINCE, YOUR HIGHNESS AND..
NOURA- YES?
SHIMA- THE JEROEN ARE IN ATTENDENCE YOUR HIGHNESS. HIS EXALTANCE YZOMTEC HAS INSISTED UPON SEEING THE ALMIRA.

Panel 4- Noura has stood up, the wind blowing her hair and what clothing she has on. She looks very powerful in her anger.

NOURA (THOUGHT)- THAT POMPOUS WINDBAG, WHAT NOW?!
NOURA (OUT LOUD)- VERY WELL, SHIMA. YOU ARE DISMISSED. I SHAN’T NEED YOU AGAIN THIS EVENING.
SHIMA (OP)- THANK YOU, YOUR HIGHNESS.

Panel 5- Noura is standing at the window again. Below her is a pleasing garden with walkways (we see her in the distance, as if looking at her from the garden).

CAPTION- FATHER, WHAT GAME ARE YOU PLAYING NOW, INVITING THE VIPERS TO MONGOOSE’S LAIR?


Page 6

Panel 1- The room looks like more of a council chamber with a large desk with papers all over the table, there are some chairs scattered around the room. Kamali, Almira of Maja is a gnarled man now but you can still see remnants of the wiry frame of his youth. He is wearing fancy red and white robes, they sit uncomfortably on him. He is pacing the floor. Sitting a little way off, his feet on the table, looking very aloof, is a younger, more muscular man dressed austerely. This is the Crown Prince, Rami. Both have the stamp of devious politicians on them.

KAMALI- WHERE IS SHE?
RAMI- SHE HAS BEEN SENT FOR, FATHER. I ASSUME SHE IS ON HER WAY.
KAMALI- DO NOT PLAY GAMES WITH ME, RAMI. IF IT WASN’T FOR YOUR HASTE, YZOMTEC WOULD BE ELSEWHERE NOW.

Panel 2- Rami’s feet are on the ground now, his posture less rigid. Kamali is still pacing in the background. We see Rami’s face filled with both disgust and nervousness.

RAMI- THAT OLD FOOL IS JUST TRYING TO CAUSE TROUBLE, FATHER. HIS EXCESSES ARE NOT A CONCERN.
RAMI- EVEN HIS ADMONITIONS TOWARDS NOURA ARE UNFOUNDED. HIS POWER IS WANING.

Panel 3- Kamali has his back to his son but facing us. He’s looking up at the wall, we can’t see what he is looking at. His expression is grave with a hint of sadness in the eyes.

KAMALI- THERE ARE FORCES HERE AT WORK, SON THAT EVEN YOU AND YOUR LITTLE PLAYTHING HAVE NOT DISCOVERED.

Panel 4- Rami is now half out of his chair, Kamali is facing him, his expression stern. Behind the Almira, the portrait he was looking at is one of a beautiful woman holding a baby girl (prob. abt a year old). The painting looks old.

RAMI- BUT FATHER, ZAFIRA HAS NEVER…
KAMALI- SILENCE! I WOULD NOT HAVE SURVIVED AS THE ALMIRA OF ATALAYA FOR SO LONG IF I COULD NOT DISCOVER YOUR LITTLE GAMES.

Panel 5- Rami is standing up, his stance defensive. Kamali is standing in front of him, his legs askew, arms waving in the air as if shouting at him.

RAMI- THE SHAMMARA ARE DECEIVING US WITH THEIR TALK OF UNITING US, FATHER. THEY WILL DESTROY US AT THE FIRST CHANCE THEY WILL GET!
KAMALI- DO NOT PRETEND TO KNOW WHAT YOU ARE TALKING ABOUT, RAMI. LET IT BE FOR NOW.
KAMALI- JUST LEAVE IT BE…

Page 7

Panel 1- Overhead shot. Noura is dressed in formal temple garb, she is running hurriedly down a pathway towards a large temple in the distance. She is accompanied by a woman of the same age, Taliz, also dressed in temple garb.

SFX- BAAAAADHOOOOOOOOOOOOOOOOOOOM
SCREAMS (op)- THE SHORANS ARE COMING… THE SHORANS…

Panel 2- Close-up of the sky above the Temple. A Triangular shaped cloud formation is hovering above the temple.

CAPTION 1- THE SHORANS.. EVIL BEINGS THAT ONCE CLAIMED THE TRIANGLE OF LIGHT. THE JEROEN AND THE RIDA KEPT THEM AT BAY BEFORE.
CAPTION 2- WHY DO THEY RETURN AGAIN?

Panel 3- Noura and Taliz are almost at the temple. Around them, chaos, things on fire. People running by (you don’t quite see faces, just legs and feet running). Alarms ringing out everyone.

SFX- BAAAHHHDOOOOOOOOMMM
SFX- WHOOOOOOOOOOOOOORRRRRRRRRRRRRRRRRRRRR

Panel 4- Taliz and Noura have reached the inner Temple, in the distance you can make out Kamali and Rami argued with some clerics at the end of the hall.

NOURA- FATHER!!!!!
SFX- CRAAAAAAACKKKKKKKKKKKKKK…..

Panel 5- Noura has tripped over some debris, the ceiling is falling down, she is looking straight at her father at the end of the hall, her face frightened, her hand stretching out towards him.

CAPTION- AND THAT IS THE LAST TIME I SAW HIS FACE……

[banshee]

Ok folks, with some help from Cuddly, I've also doing some editing on the panel descriptions as I do need some help there. I dont always tend to see an artist's perspective so well.

wld post the newer version of the script, I am working on pg 10 now anyway. Feel free to hop in as a volunteer anytime. LOL

ok.... that's all I Wanted to say.

crits are welcome too btw!

later days
lia etc

[banshee]

TITLE: TRIANGLE OF FIERY LIGHT (the Script)

Cover-

Page 1

Splash page. Medium shot looking down a high-ceilinged long corridor, both sides are large picture windows, ornate border around windows (think Middle Eastern architecture). Man striding away down the corridor from the camera, he is tall, dark, short hair, dressed in dark robes (think again Middle Eastern Sheilkh), rich material. Slaves (clothing:loin cloths) are kowtowing on the ground as he is passing. This is his palace, so the quality of the surroundings should reflect this.

CAPTION- SUMMON THE GRAND VIZIER AT ONCE!

Page 2

Panel 1- A throne (very elaborately carved, gold) is in the centre of a great hall. Carpets on the floor, you can see marble blocks everywhere. A very cold, emotion-less place. The man from earlier panel (King Mansour) has a harsh, hawk-like face, prominent nose, deep set eyes. He is frowning and his hair is rumpled. Facing the throne (you can’t quite see his face) is a short, fat man, balding, bowing low (also dressed in rich robes but not as opulent as the former, more vibrant colours.).

MANSOUR- THE MONTH OF KEDMA IS LESS THAN TWO MONTHS AWAY, JABIR. WHERE IS THE AWENA, PRINCESS NOURA?
MANSOUR- YOU DISAPPOINT ME, JABIR.

Panel 2- You can see Jabir’s face, the fear is very clear, he’s still on his knees, bowing.

JABIR- I ASSURE YOU, YOUR MAJESTY, WE ARE IN TALKS WITH THE MAJA WAHBIMIN…

MANSOUR (O-P)- TALK? TALK? WHAT GOOD IS TALK?! I WANT RESULTS, JABIR. OTHERWISE…

JABIR- YOUR MAJESTY, YOUR WORD IS LAW.

Panel 3 - Mansour is still in the throne room (throne in background). He is now facing a wall, his hand on a brick (back to us), you can see a gap opening in the wall in front of him.

Panel 4- Mansour is now in a dimly lit room. Triangular shaped object (like a table) in centre and at its sharpest point, a large ruby sitting on top of a large cone. Everything is made of white gold.

Panel 5 - Close-up of Mansour pressing the ruby downstairs into cone, his face is lit eerily.

MANSOUR- ALTAR OF SULWYN, SHOW ME THE FUTURE.

Panel 6- Mansour is facing a wall of flame flowing out from the ruby, you can vaguely see figures in those flames.

ALTAR- MANSOUR OF THE SHAMMARA, SHE WILL NOT ACCEPT WHAT YOU OFFER.
MANSOUR- WHY NOT?
ALTAR- NOURA OF THE MAJA KNOWS OF YOUR DESIRES AND WILL NOT ACCEPT YOUR OFFER.

Page 3

Panel 1- Different angle to earlier panel. Mansour looks frustrated, his hand in a fist on the altar. The flames are still flowing from the ruby.

MANSOUR- ENOUGH! SHOW ME WHERE THE AWENA IS.
ALTAR- THE ALTAR OF SULWYN CANNOT SHOW YOU THAT OF WHICH YOU SEEK.

Panel 2- Mansour’s fist is coming down onto the Altar, his face is contorted with anger. The flames should start to recede, although he hasn’t noticed that.

MANSOUR- I WILL DESTROY YOU IF YOU DO NOT SHOW ME THE AWENA!
ALTAR- YOU WILL NOT DESTROY THE ALTAR OF SULWYN, MANSOUR OF THE SHAMMARA. YOU NEED US…

Panel 3- Mansour has controlled himself once more, although you can still see glimmers of anger in his eyes.

MANSOUR- I AM MANSOUR OF THE SHAMMARA, YOU WILL DO AS I SAY, ALTAR OF SULWYN!
ALTAR- ALL IN THE TRIANGLE OF FIERY LIGHT ARE INVISIBLE TO EACH OTHER UNTIL BROUGHT TOGETHER. THAT IS HOW IT HAS ALWAYS BEEN.
MANSOUR- NO! I WANT…

Panel 4- the flames have almost receded completely into the ruby. Mansour is waving his hands around, shouting, frustration on his face.

ALTAR- THE ALTAR OF SULWYN WILL SHOW YOU NO MORE, MANSOUR OF THE SHAMMARA.

Panel 5- the room is darkened again. Mansour is walking away from the Altar, facing us, his face very dark and angry.

CAPTION- I MUST CONTROL THE AWENA AND PRINCESS NOURA! I HAVE NO TIME TO LOSE…

Page 4

Panel 1- In a room with open windows. Light wooden flooring and panelling. A breeze is blowing transparent white curtains at the windows. Hardly any furniture in this room. A woman (Princess Noura) is dressed in lightweight clothing, very minimal (think long loin cloth and a cross-tied top, in white). Lithe yet feminine, she has an intelligent face with long dark hair (piled up on her head), cinnamon skin, brown eyes. She is sat cross legged facing the windows, her back to us. Behind her, a slave girl (Shima) is sat on the ground, her head bowed. She is dressed in homespun shirt and trousers, very plain. Shima has short cropped hair, thin and angular, ordinary but kind face.

SHIMA- PRINCESS NOURA. YOUR FATHER WISHES TO SEE YOU, YOUR HIGHNESS.

Panel 2- Noura remains in same position while Shima fidgets a little as she kneels. She’s realised her mistake of interrupting the princess.

SHIMA- MY APOLOGIES, YOUR HIGHNESS BUT THE ALMIRA REQUESTED YOUR ATTENDENCE IMMEDIATELY.

Panel 3- Noura’s eyes are open now, looking annoyed. We can see Shima behind her but Noura hasn’t turned around yet.
NOURA- WHO ELSE HAS BEEN CALLED FOR THIS MEETING, SHIMA?
SHIMA- THE CROWN PRINCE, YOUR HIGHNESS AND..
NOURA- YES?
SHIMA- THE JEROEN ARE IN ATTENDENCE YOUR HIGHNESS. HIS EXALTANCE YZOMTEC HAS INSISTED UPON SEEING THE ALMIRA.

Panel 4- Noura has stood up, the wind blowing her hair and what clothing she has on. She looks very powerful in her anger. She is facing away from the windows now.

NOURA (THOUGHT)- THAT POMPOUS WINDBAG, WHAT NOW?!
NOURA (OUT LOUD)- VERY WELL, SHIMA. YOU ARE DISMISSED.
SHIMA (OP)- AS YOU WISH, YOUR HIGHNESS.

Panel 5- Noura is standing at the window again. Below her is a pleasing garden with walkways, fountains. (we see her in the distance, as if looking at her from the garden).

CAPTION- FATHER, WHAT GAME ARE YOU PLAYING NOW, INVITING THE VIPERS TO MONGOOSE’S LAIR?

Page 6

Panel 1- The room looks like more of a council chamber with a large desk with papers all over the table, there are some chairs scattered around the room. Kamali, Almira of Maja is a gnarled man now but you can still see remnants of the wiry frame of his youth. He is wearing fancy red and white robes, they sit uncomfortably on him. He is pacing the floor. Sitting a little way off, his feet on the table, looking very aloof, is a younger, more muscular man dressed austerely. This is the Crown Prince, Rami. Both have the stamp of devious politicians on them.

KAMALI- WHERE IS SHE?
RAMI- SHE HAS BEEN SENT FOR, FATHER. I ASSUME SHE IS ON HER WAY.
KAMALI- DO NOT PLAY GAMES WITH ME, RAMI. IF IT WASN’T FOR YOUR HASTE, YZOMTEC WOULD BE ELSEWHERE NOW.

Panel 2- Rami’s feet are on the ground now, his posture less rigid. Kamali is still pacing in the background. We see Rami’s face filled with both disgust and nervousness.

RAMI- THAT OLD FOOL IS JUST TRYING TO CAUSE TROUBLE, FATHER. HIS EXCESSES ARE NOT A CONCERN.
RAMI- EVEN HIS ADMONITIONS TOWARDS NOURA ARE UNFOUNDED. HIS POWER IS WANING.

Panel 3- Kamali has his back to his son but facing us. He’s looking up at the wall, we can’t see what he is looking at. His expression is grave with a hint of sadness in the eyes.

KAMALI- THERE ARE FORCES HERE AT WORK, SON THAT EVEN YOU AND YOUR LITTLE PLAYTHING HAVE NOT DISCOVERED.

Panel 4- Rami is now half out of his chair, Kamali is facing him, his expression stern. Behind the Almira, the portrait he was looking at is one of a beautiful woman holding a baby girl (prob. abt a year old). The painting looks old.

RAMI- BUT FATHER, ZAFIRA HAS NEVER…
KAMALI- SILENCE! I WOULD NOT HAVE SURVIVED AS THE ALMIRA OF ATALAYA FOR SO LONG IF I COULD NOT DISCOVER YOUR LITTLE GAMES.

Panel 5- Rami is standing up, his stance defensive. Kamali is standing in front of him, his legs askew, arms waving in the air as if shouting at him.

RAMI- THE SHAMMARA ARE DECEIVING US WITH THEIR TALK OF UNITING US, FATHER. THEY WILL DESTROY US AT THE FIRST CHANCE THEY WILL GET!
KAMALI- DO NOT PRETEND TO KNOW WHAT YOU ARE TALKING ABOUT, RAMI. LET IT BE FOR NOW.
KAMALI- JUST LEAVE IT BE…

Page 7

Panel 1- Overhead shot. Noura is dressed in formal temple garb, she is running hurriedly down a pathway towards a large temple in the distance. She is accompanied by a woman of the same age, Taliz, also dressed in temple garb.

SFX- BAAAAADHOOOOOOOOOOOOOOOOOOOM
SCREAMS (op)- THE SHORANS ARE COMING… THE SHORANS…

Panel 2- Close-up of the sky above the Temple. A Triangular shaped cloud formation is hovering above the temple.

CAPTION 1- THE SHORANS.. EVIL BEINGS THAT ONCE CLAIMED THE TRIANGLE OF LIGHT. THE JEROEN AND THE RIDA KEPT THEM AT BAY BEFORE.
CAPTION 2- WHY DO THEY RETURN AGAIN?

Panel 3- Noura and Taliz are almost at the temple. Around them, chaos, things on fire. People running by (you don’t quite see faces, just legs and feet running). Alarms ringing out everyone.

SFX- BAAAHHHDOOOOOOOOMMM
SFX- WHOOOOOOOOOOOOOORRRRRRRRRRRRRRRRRRRRR

Panel 4- Taliz and Noura have reached the inner Temple, in the distance you can make out Kamali and Rami argued with some clerics at the end of the hall.

NOURA- FATHER!!!!!
SFX- CRAAAAAAACKKKKKKKKKKKKKK…..

Panel 5- Noura has tripped over some debris, the ceiling is falling down, she is looking straight at her father at the end of the hall, her face frightened, her hand stretching out towards him.

CAPTION- AND THAT IS THE LAST TIME I SAW HIS FACE……

Page 8

Panel 1- Black panel. Total darkness.

CAPTION 1- NO SHAPES, SOUNDS, NOTHING.
CAPTION 2- THIS MUST BE A NIGHTMARE. THERE CANNOT BE SUCH PURE DARKNESS.

Panel 2- Noura is sat up in bed, her face full of confusion. One hand is rubbing the sheet and the other is feeling the bedside table for something, where you can see an incense burner is alight, a book, a small bell.

NOURA- HELLO?.. SHIMA??
VOICE (OP)- LEAN BACK AND CONSERVE YOUR STRENGTH, DAUGHTER OF MAJA.
NOURA- FATHER?
VOICE (OP)- NO, CHILD, IT IS YZOMTEC HERE TO HELP YOU.

Panel 3- Noura’s face is full of distaste as Yzomtec is helping her back on to the bed. He was an old, plump man with a flamboyant air about his dress/demeanour, he has a balding pate.

NOURA- WHAT KIND OF DISORDER REIGNS NOW, YZOMTEC THAT YOU COME TO MY CHAMBER IN THE DEAD OF NIGHT?
NOURA- OR ARE YOU A PART OF MY NIGHTMARE THAT I JUST DREAMNT OF?
YZOMTEC- IF IT WERE ONLY A DREAM, MY CHILD.

Panel 4- Close-up of Noura’s face-she is remembering the pain..

NOURA- NO, NO.. IT CANNOT BE TRUE… THE SHORAN.. THE SCREAMS..OH!
NOURA- MY FATHER?! WHERE IS MY FATHER?

Panel 5- Yzomtec is patting Noura’s hand, his expression more paternal than his usual pompous self. She is sat up in bed, horrified and frightened.

YZOMTEC- HUSH NOW, CHILD. YOUR FATHER AND BROTHER ARE ALIVE AND WELL, THANKS TO YOU.
YZOMTEC- THEY ARE OUT IN THE CITY NOW, RESTORING ORDER WHERE THEY CAN.

Page 9

Panel 1-Noura looks perplexed as Yzomtec continues to pat her hand paternally.

YZOMTEC- WITHOUT YOUR SWIFT ACTION, THE DEVASTATION WOULD HAVE BEEN MUCH WORSE. IN FACT..
NOURA- WAIT, YZOMTEC. HAS ORDER BEEN SO SPEEDILY RESTORED THAT SILENCE REIGNS?

Panel 2- Yzomtec looks hesitant. Noura is gripping his hand tightly, her expression more confused than upset.

YZOMTEC- MY CHILD, YOU MUST TRUST IN THE WISDOM OF THE DEITIES, THERE IS A PURPOSE TO ALL THIS AND YOU..
NOURA- ENOUGH, YZOMTEC. SPARE ME THE LECTURE, PLEASE.

Panel 3- Yzomtec has Noura’s hand in his as he helps her to her feet. Noura allowing this with a perplexed expression on her face. Her feet are bare, she is wearing a plain loose nightgown, her hair flowing loose.

YZOMTEC- VERY WELL, NOURA. OPEN YOUR INNER SIGHT TO THE WORLD AROUND YOU AND YOU WILL BEGIN TO UNDERSTAND…

Panel 4- A dark panel but you can see the shapes of furniture and a portly man in front of her in ghostly white.

CAPTION- I SENSE HIS CONCERN AND PITY….BUT WHY?

Panel 5- You can see Noura on a balcony (view is from ground up) waving and smiling. Yzomtec is next to her. The slave children are waving back. Toys are on the ground. Shima is hanging laundry on a line. The sky is blue and the noon day sun is harsh and bright.

CAPTION- NO…

Panel 6- Same as first panel, black.

YZOMTEC (op)- LET ME TELL YOU A STORY, THE STORY OF THE TRIANGLE OF LIGHT…