James Brighton Society, Chapter 8: Pages 1-2
Page 1, 5 Panels- Kennedy Center/Room, Washington D.C./Jeddah Saudi Arabia
Panel 1: We open on Lord Shaw and Grand Vizier Jones sitting in the balcony of the Kennedy Center, watching the opera L'anniversaire that happens to be taking place off-panel. They're dressed in the same impeccably dressed suits that we saw inthe last chapter, bathed in a sense of calm due to the music being performed. You can see in the lower parts of the panel parts of the audience seated in the lower bowl of the Center watching.
Panel 2-3: Cut to a close-up of the same area, profiling the two of them more closely than we saw in the previous panel. Mr. Shaw is seen in the downstage part of the panel view, while the Grand Vizier is closer to the upstage area. They have the same looks on their faces as the singers continue on to the next verse in Panel 2 to their collective enjoyment when, in the next panel, someone draws Jones' attention from the entrance.
USHER [Off-Panel to GV Jones, Panel 3]: Mr. Jones....phone call.
Panel 4-5: A two-part set of panels that cuts to a shot of a front door leading to a room somewhere in Jeddah. There isn't much to be seen on either panel, just the walls that shake with the noise of broken glass coming in from inside the area. You can also hear the sound of muttering in Arabic coming from the same area.
CAPTION [Panel 4]: Mona Ahmaddi's Laboratory Jeddah Saudi Arabia December 30th, Afternoon CAPTION [Panel 5]: Current Status- Wrapped up in a Big Experiment...
Page 2, 7 Panels- Mona's House, Jeddah Saudi Arabia
Panel 1: BOOM! The door that we saw closed at the end of the first page flies open, and we see the back of the dark skinned woman being shot out of the room like a cannon. You can see chunks of wood in the bottom of the panel view being blasted downward toward the ground, along with some near the middle of the panel.
CAPTION: And about to be Very Very Sore!
Panel 2-4: A three-part set of panels that, with each panel, connects to a single action shot of Mona tumbling ten feet up the hardwood floor. By the time we reach Panel 4, in the background, you can see an opened doorway and a faceless shadow watching her slowly get to her feet.
MONA [mumbling to herself, translated from Arabic; Panel 4]: Too...weak. FATIMA [to Mona, translated from Arabic]: I believe now is the time to retire that line of experimentation and sit for luncheon. MONA [shakes her head, to FATIMA; Panel 4, Bubble 2]: No, Fatima, my darling. Not yet...
Panel 5: Cut to a close-up of Mona's face right down to the top of her shoulder. Her hair is messy and shaggy, her face (charred in the forehead area) bruised and filled with a considerable amount of schmutz from whatever caused the explosion inside.
MONA [Cont., determined]: I know I can find the right metallic container for the HNZ-4.
Panel 6-7: A two-part set of panels that shifts back to Fatima in the same layout as before, showcasing her head and shoulder area. She is younger than Ms. Ahmaddi with the shine on her skin that comes standard with most clockworks. In Panel 6, she looks from right to left as Mona charges back off-panel into her laboratory. In the next panel, moments later, Fatima shakes her head and sighs dismissively, as if this is nothing new.
FATIMA [reminder, Panel 6]: Dearest, that is the fifth time you've said that in regards to the formula. Each time you have not gotten any better... FATIMA [Cont., Panel 7]: Activate the FES...and I'll check in on the chicken.
MONA [Off-Panel, Panel 7]: Love you... FATIMA [Panel 7, Bubble 2]: Love you too!