Time Lady of L.A. #12: Pages 17-18

Page 17, 6 Panels- Secret Free Tahrir Compound Conference Room/Bir Gifgaga Airfield, 1985 Cairo Egypt Panel 1: Cut to a side-by-shot shot of Giana and Mona a few seconds later at the front of the table. Giana is standing on the left of the panel view, and Mona on the right. Each of them listening to the roar of applause emanating from the organizers off-panel, cheering the plan on its surface level. GIANA [whispering to Mona, with concern]: We are?! MONA [whispering back to Giana, using a smile as cover]: Yep yep. The same people who helped spill the beans on Project Lion's existence have been keeping their position... Panel 2: We move to an exterior shot of the Bir Gifgaga Airfield later that day. There's the presence of streets and buildings around the exterior of the military building. It shows a degree of action and normalcy in daily life that stands in contrast to the cold gray coloring of the airfield as well as the planes with the country's insignia on the side of it. CAPTION: Bir Gifgaga Airfield, A Couple of Days Later MONA [Cont., Off-Panel]: Just waiting for the call to action. Panel 3-4: Close-up on a tracking shot, highlighting a little section of the road leading up to the base's entrance. The main focus of the panel view in both Panels 3 and 4 is a black luxury 4-door sedan. We don't see precisely who's inside the automobile at this point, though you can tell by the license plates that it's affiliated with the Egyptian government. Panel 5: Action shot of the same car with tinted windows as it approaches the airfield's front entrance ever closer. There's the sight of a toll both in the distance, along with a little side-road that leads to the airfield's front gates. You can also see part of the sign with the logo of the E.o.M.on it with the words "Bir Gifgaga Airfield," all written in Egyptian Arabic. Panel 6: Cut to a close-up shot moments later of the car, visible in the foreground, as it starts to pull to a stop up to the same toll booth that we saw in the distance in the previous panel. Through the window of the booth, we see a clean-cut soldier in standard military fatigues step up to greet whoever is in the car. The rifle is strappedover his back with the barrel appearing in view over the young man's left shoulder. Page 18, 6 Panels- Bir Gifgaga Airfield, 1985 Cairo Egypt Panel 1: Same setting/layout as the last panel of the previous page. The same soldier we saw in that panel has now approached the front of the opened window set to do his job. He gazes down in the direction of the driver's side window with his right hand touching the railing slightly. You can see a bland tan colored wall behind him, along with part of a com and security screen system. SOLDIER [to the person in the the car, translated from Egyptian Arabic]: ID please? SOUND EFFECT [from the power windows]: CHUNNN.... Panel 2-3: Same setting/layout as the previous panel. A handful of seconds pass by, and we see an arm extending out of the now rolled down car window. In kind, we also see the soldier in Panel 2 reach out to receive the ID card the same as he has hundreds of times before in his position. In Panel 3, we move to a close-up of him examining the card back in his station. As hre sees the name on the laminated piece of plastic, a jolt of fear comes across his face. SOLDIER [fearful, in English; Panel 3]: W, I--I was not aware you were coming to the airbase today. Panel 4: Same setting/layout as the previous panel. The soldier, now fully locked into the growing sense of fear and intimidation that was partially visible in the previous panel, is visible here as he gives the card back to the mysterious person in the card. The only sign of him being a hand from out of the car window to receive it. SOLDIER [with a friendly smile, to the person in the car]: Have a good day. W [Off-Panel, in English; to the Soldier]: Thank you. The same to you! Panel 5-6: Action shot of the soldier, standing a few moments later over on the right side of his station typing something into the security screen system. The same sound of the car window rolling back up is heard in the foreground of the shot in Panel 5 as this goes on. In Panel 6, a couple of seconds later, we hear the sound of a gate opening up off-panel to the right of the panel view. The engine to the car in the foreground, at the same moment, can be heard revving up to continue its forward push.