banshee
10-13-2003, 08:04 AM
Ok, maybe not the WHOLE script LOL. I'm working on it!
Pages 1-12. C&Cs welcome.
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TITLE: TRIANGLE OF FIERY LIGHT (the Script)
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 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 THE 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 SHAMMARRA ARE DECEIVING US WITH THEIR TALK OF UNITY, FATHER. THEY WILL DESTROY US THE FIRST CHANCE THEY 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 (Grecian gown, a deep red colour, white gold clasps at neck, wrists and ankles/belt with a crown), she is running hurriedly down a pathway towards a large temple in the distance (shinto temple style). She is accompanied by a woman of the same age, Taliz (pure white hair, slightly plump, light skin), also dressed in temple garb (less ornate than Noura’s and no crown, her hair is tied up in a bun on top of her head).
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, dressed in a colourful friar’s robe, deep red with white gold trimmings. 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?
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 AND DARKNESS 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 (beige), 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…
Page 10
Panel 1- In a street with rubble on both sides, people searching amongst rubble for belongings. Kamali with a sad expression on his face is sat on a heavily carved chair on a litter carried by 12 men in boots, padded braces across their shoulders, tabards of white and deep red, elaborate headdresses with bird plumes. Next to the Almira, stands Tichegira, a tall man with thick ropy muscles- well scarred, hawk-nosed wearing mail. A golden ribbon is stitched on his right (chest). He is part of the Rida (the warriors), dark-skinned, hardy people who generally shave their heads, even the women.
Panel 2- Different angle to the panel above, you can see a corpse strewn across the rubble (where the Almira is looking at), a lance sticking out from its chest. It’s a Shoran, charcoal skin, enourmous frame, rusted plate armour. Very ugly.
TICHEGIRA- YOUR MAJESTY, THE SHORAN MUST HAVE BEEN DESPERATE INDEED TO CHANCE A RAID DURING THE DAY. THE NIGHT IS THEIR HUNTING GROUND.
KAMALI- YES, TICHEGIRA. DESPERATION INDEED.
Panel 3- Kamali is staring off at the mountains in the distance (the border between Maja and Shammara). Tichigera is looking puzzled, still standing next to his litter.
KAMALI- THE TRIANGLE OF FIERY LIGHT IS COMING ALIVE AGAIN,TICHEGIRA. DARK TIMES WILL BE UPON US ONCE MORE.
Panel 4- Overhead shot of a military camp with tents, smoke curling from campfires. Dark figures are moving among the tents, sitting around the campfire. It’s raining, the place looks cold, bleak.
CAPTION- THE SHAMMARA CAMP, FEROQ MOUNTAINS…
Page 11
Panel 1- We are in a richly furnished tent with tarpaulin on the ground, carpets, cushions thrown around. On one end, a table with maps and papers strewn across it. Mansour is pacing the room, his expression angry. He is dressed in military armour (think Mongolian style).
MANSOUR- FOR THIS, I PAID TEN THOUSAND CATTLE?! SHORAN WARRIORS, INDEED! YOU ARE PATHETIC BEASTS!
MANSOUR- THE MAJA WERE SUPPOSED TO COME TO ME TO COMBINE OUR FORCES AGAINST THE SHORAN HORDE BUT NOW, LOOK AT YOU!
Panel 2- Looking over Mansour’s shoulder at a Shoran, Herk-lord Mharme. He is hunched over and weary, a shadow of his former might. Covered in blood-soaked bandages, dented armour. He is looking sullen.
MANSOUR (OP)- BE GONE FROM MY SIGHT! PATHETIC…
Panel 3- Mansour is at the desk with the strewn papers, standing. A goblet of wine is in his hand. Jabir is entering the tent, his hand moving aside the opening.
JABIR- YOUR HIGHNESS, A COURIER FROM MAJA HAS JUST ARRIVED.
MANSOUR- SEND HIM IN. FOR HIS SAKE, LET US HOPE THAT HE DOES NOT BRING ILL NEWS.
JABIR- AT ONCE, YOUR HIGHNESS.
Panel 4- A Riba warrior kneeling down before Mansour, bald, also hawk-nosed but dressed with minimal armour (think roman toga and straps). He has sandles on his feet. Mansour is facing him, a frown on his face.
MANSOUR- WHAT NEWS?
COURIER- I BRING TIDINGS FROM BANNER GENERAL TICHEGIRA AND THE ALMIRA YOUR HIGHNESS. THE PLAN PROCEEDS… WITH A FEW MINOR SNAGS..
MANSOUR- SNAGS? WHAT SNAGS?
Page 12
Panel 1- Street in ruins, workmen busy trying to clear the rubble, looking for survivors. Behind them were bonfires burning, priests at these fires, chanting.
CAPTION- THE CITY OF ATALAYA.. IN RUINS… SO MANY DEAD..AND TO WHAT END..
Panel 2- Noura is on the balcony of her room, looking out towards the columns of smoke (to our side). She is wearing flowing white pantaloons and long-sleeved blouse. No ornaments, belted-in waist. Her hair is loose. The material is lightweight but not sheer. Yzomtec (still in his priest’s robes) was behind her, a door ajar behind him. The night sky is clear, stars twinkling, twin moons in the air.
YZOMTEC- PRINCESS, DO YOU REQUIRE ANYTHING ELSE BEFORE I RETIRE?
Panel 3- Noura has swung around, her expression full of anger. Her arms starting to rise, the curtains behind her (and her hair and clothing) show signs of being whipped around by a sudden breeze.
NOURA- ARE YOU MY NURSEMAID NOW, OLD FOOL? IT WAS *YOU* WHO OPPOSED MY TRAINING! THIS COULD HAVE BEEN PREVENTED….
Panel 4- Yzomtec has been thrown off his feet, he looks firightened.Noura is standing over him, her eyes now glowing red, bitter tears on her face. A strong wind is blowing now.
NOURA- A CURSE UPON YOU, YZOMTEC!!!!
Panel 5-Small panel. Noura’s body is all-aglow in red, her hand is outstretched, a psionic wave flashed outwards, hitting Yzomtec in the chest…
SFX- CRRAAAAAAAAAACKKKKKKKKKKKKKKKKKKKKKKK…..
Panel 6- A great temple structure with a huge dome (Dome of Uhysi) at the centre with small buildings around it. The Dome is being cracked into two like an egg by the same psionic wave, the buildings are also falling over. Destruction everywhere.
CAPTION- A CURSE UPON ALL PRIESTS!!!!!
Pages 1-12. C&Cs welcome.
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TITLE: TRIANGLE OF FIERY LIGHT (the Script)
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 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 THE 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 SHAMMARRA ARE DECEIVING US WITH THEIR TALK OF UNITY, FATHER. THEY WILL DESTROY US THE FIRST CHANCE THEY 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 (Grecian gown, a deep red colour, white gold clasps at neck, wrists and ankles/belt with a crown), she is running hurriedly down a pathway towards a large temple in the distance (shinto temple style). She is accompanied by a woman of the same age, Taliz (pure white hair, slightly plump, light skin), also dressed in temple garb (less ornate than Noura’s and no crown, her hair is tied up in a bun on top of her head).
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, dressed in a colourful friar’s robe, deep red with white gold trimmings. 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?
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 AND DARKNESS 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 (beige), 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…
Page 10
Panel 1- In a street with rubble on both sides, people searching amongst rubble for belongings. Kamali with a sad expression on his face is sat on a heavily carved chair on a litter carried by 12 men in boots, padded braces across their shoulders, tabards of white and deep red, elaborate headdresses with bird plumes. Next to the Almira, stands Tichegira, a tall man with thick ropy muscles- well scarred, hawk-nosed wearing mail. A golden ribbon is stitched on his right (chest). He is part of the Rida (the warriors), dark-skinned, hardy people who generally shave their heads, even the women.
Panel 2- Different angle to the panel above, you can see a corpse strewn across the rubble (where the Almira is looking at), a lance sticking out from its chest. It’s a Shoran, charcoal skin, enourmous frame, rusted plate armour. Very ugly.
TICHEGIRA- YOUR MAJESTY, THE SHORAN MUST HAVE BEEN DESPERATE INDEED TO CHANCE A RAID DURING THE DAY. THE NIGHT IS THEIR HUNTING GROUND.
KAMALI- YES, TICHEGIRA. DESPERATION INDEED.
Panel 3- Kamali is staring off at the mountains in the distance (the border between Maja and Shammara). Tichigera is looking puzzled, still standing next to his litter.
KAMALI- THE TRIANGLE OF FIERY LIGHT IS COMING ALIVE AGAIN,TICHEGIRA. DARK TIMES WILL BE UPON US ONCE MORE.
Panel 4- Overhead shot of a military camp with tents, smoke curling from campfires. Dark figures are moving among the tents, sitting around the campfire. It’s raining, the place looks cold, bleak.
CAPTION- THE SHAMMARA CAMP, FEROQ MOUNTAINS…
Page 11
Panel 1- We are in a richly furnished tent with tarpaulin on the ground, carpets, cushions thrown around. On one end, a table with maps and papers strewn across it. Mansour is pacing the room, his expression angry. He is dressed in military armour (think Mongolian style).
MANSOUR- FOR THIS, I PAID TEN THOUSAND CATTLE?! SHORAN WARRIORS, INDEED! YOU ARE PATHETIC BEASTS!
MANSOUR- THE MAJA WERE SUPPOSED TO COME TO ME TO COMBINE OUR FORCES AGAINST THE SHORAN HORDE BUT NOW, LOOK AT YOU!
Panel 2- Looking over Mansour’s shoulder at a Shoran, Herk-lord Mharme. He is hunched over and weary, a shadow of his former might. Covered in blood-soaked bandages, dented armour. He is looking sullen.
MANSOUR (OP)- BE GONE FROM MY SIGHT! PATHETIC…
Panel 3- Mansour is at the desk with the strewn papers, standing. A goblet of wine is in his hand. Jabir is entering the tent, his hand moving aside the opening.
JABIR- YOUR HIGHNESS, A COURIER FROM MAJA HAS JUST ARRIVED.
MANSOUR- SEND HIM IN. FOR HIS SAKE, LET US HOPE THAT HE DOES NOT BRING ILL NEWS.
JABIR- AT ONCE, YOUR HIGHNESS.
Panel 4- A Riba warrior kneeling down before Mansour, bald, also hawk-nosed but dressed with minimal armour (think roman toga and straps). He has sandles on his feet. Mansour is facing him, a frown on his face.
MANSOUR- WHAT NEWS?
COURIER- I BRING TIDINGS FROM BANNER GENERAL TICHEGIRA AND THE ALMIRA YOUR HIGHNESS. THE PLAN PROCEEDS… WITH A FEW MINOR SNAGS..
MANSOUR- SNAGS? WHAT SNAGS?
Page 12
Panel 1- Street in ruins, workmen busy trying to clear the rubble, looking for survivors. Behind them were bonfires burning, priests at these fires, chanting.
CAPTION- THE CITY OF ATALAYA.. IN RUINS… SO MANY DEAD..AND TO WHAT END..
Panel 2- Noura is on the balcony of her room, looking out towards the columns of smoke (to our side). She is wearing flowing white pantaloons and long-sleeved blouse. No ornaments, belted-in waist. Her hair is loose. The material is lightweight but not sheer. Yzomtec (still in his priest’s robes) was behind her, a door ajar behind him. The night sky is clear, stars twinkling, twin moons in the air.
YZOMTEC- PRINCESS, DO YOU REQUIRE ANYTHING ELSE BEFORE I RETIRE?
Panel 3- Noura has swung around, her expression full of anger. Her arms starting to rise, the curtains behind her (and her hair and clothing) show signs of being whipped around by a sudden breeze.
NOURA- ARE YOU MY NURSEMAID NOW, OLD FOOL? IT WAS *YOU* WHO OPPOSED MY TRAINING! THIS COULD HAVE BEEN PREVENTED….
Panel 4- Yzomtec has been thrown off his feet, he looks firightened.Noura is standing over him, her eyes now glowing red, bitter tears on her face. A strong wind is blowing now.
NOURA- A CURSE UPON YOU, YZOMTEC!!!!
Panel 5-Small panel. Noura’s body is all-aglow in red, her hand is outstretched, a psionic wave flashed outwards, hitting Yzomtec in the chest…
SFX- CRRAAAAAAAAAACKKKKKKKKKKKKKKKKKKKKKKK…..
Panel 6- A great temple structure with a huge dome (Dome of Uhysi) at the centre with small buildings around it. The Dome is being cracked into two like an egg by the same psionic wave, the buildings are also falling over. Destruction everywhere.
CAPTION- A CURSE UPON ALL PRIESTS!!!!!