Time Lady of L.A. #13: Pages 19-20

Page 19, 5 Panels- M's office in the E.o.M. Watchtower, 1985 Cairo Egypt Panel 1-2: We move back to M in a setting and layout similar to the penultimate panel of the previous page. The glare that was present in that panel has faded from prominence at this point as they looks straight at Arlen face-to-face. In the next panel, M takes the folder out from under their armpit and into their right hand, moving forward toward the off-panel Arlen. M [sighs, through a robotic filter translated to Egyptian Arabic; Panel 1]: Well, in a way... M [Cont., to Arlen; Panel 2]: We're connected. Panel 3: Cut to a side shot of Arlen and M a second later. Their bodies collectively meeting in the center of the panel view, with the front edge of the desk appearing in the bottom of the panel view. You can see M, as they speak, place the folder full of papers down on the desk without looking. ARLEN [visibly confused, to M; translated from Egyptian Arabic]: That doesn't answer my question! M [retortingly, to Arlen]: But it is the best you're going to get, Arlen. Panel 4-5: A two-part set of panels centered around the same setting and layout that we saw in the previous panel. With the folder out of M's hand, we see it moments later raised up and placed on the left shoulder of their assistant. In Panel 5, we see M marching out toward the front entrance door to the office with Arlen watching in the same position that he was in in Panels 3 and 4. M [Cont.; Panel 4]: Alright, get the media channels together to talk messaging tomorrow. I'll talk with the group commanders and co-ordinate security for Tahrir. ARLEN [nodding; Panel 4]: Yes, M... MONA [Off-Panel, to Giana in English; Panel 5]: Uh-huh...let me see if I have all this right. Page 20, 6 Panels- Street, 1985 Cairo Egypt Panel 1: We cut to an interior shot of a car going down a street somewhere in eastern Cairo in the later section of the night. It takes place around the same time of the action that took place in the past couple of pages in M's office. In the center of the shot, at the wheel, is Mona. Her gaze is split between the road in front of her and the two ladies from the future seated both next to her (Giana) and in the backseat (Amanda). MONA [Cont., disbelieving]: You went unconscious, for "mysterious reasons," for five hours and saw what you think are visions of the future...which is where you're from? Panel 2: Cut to Giana sitting at the passenger side of the car. Her backpack lying down on the floor at her feet, with Feli9 in between on Giana's lap. She has a look of unease on her face, tiptoeing forward toward the truth while trying to keep back certain potentially hazardous words. As we saw in Panel 1, the background of the street outside slowly passes by through the side window next to her as well as the backseat window behind her. GIANA [apprehensive, to Mona]: Welll...yeah, pretty much. Panel 3: Same setting/layout as the previous panel. A few seconds later, we see the apprehension fade away from Giana's body language. Her body shifts slightly and her face leans forwards toward Ms. Nasser, speaking with a little bit of force behind her words. As was the case in the previous panel, the background of the street continues moving from left to right in a typical car fashion. GIANA [Cont., defensively]: But you guys have hoverboards! Like actual, floating off the ground hoverboards! How exactly is that a far jump from time travel? MONA [Off-Panel]: It's not that. Panel 4-5: Back to Mona at the wheel. The setting and layout of the scene is similar to what we saw in the page's first panel. The background also has the same ever changing from left to right movement that we saw in Panel 1. She nods with a degree of agreement at the statement, though she still keeps strong to her previously held (and unseen) thoughts. In Panel 5, as the car comes to a stop at a red light, we see Mona for the first time actually look in Giana's direction for the first time. MONA [to Giana; Panel 4]: It's just...from what I've seen of time travel in the movies, stuff like Terminator, people don't usually go back in time unless something's wildly wrong with the world... MONA [Cont.; Panel 5]: Or someone's about to die. Panel 6: Cut back to Giana in the same setting and layout that we saw in Panel 3. The background is stationary as we saw in Panel 5 in terms of the street, with the car still waiting in the red light. At this point, we see our heroine start to lean back toward her seat once more. Her eyes shoot down toward the ground with the same level of unease and apprehension that we saw from her in Panel 1. You can see Feli9 on her lap looking up in the same direction with curiosity as Ms. Franklin speaks. GIANA [struggling to find the words]: Well, it's...I...