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The story is entitled Love in the Time of Cholera written by...

The story is entitled Love in the Time of Cholera written by Gabriel Garcia Marque   

Replicate this scene as a comic book page that shows the depicting the scenario in chapter 3 -- may use any style you want (manga, realism, cartoon, etc.) accuracy of the scene -- is the setting clear? Who are the characters involved? Is there dialogue or descriptions? creativity -- colors, display, details, and effort.

 

It was, in fact, the result of a clinical error. A physician who was a friend of his thought he detected the warning symptoms of cholera in an eighteen-year-old patient, and he asked Dr. Juvenal Urbino to see her. He called that very afternoon, alarmed at the possibility that the plague had entered the sanctuary of the old city, for all the cases until that time had occurred in the poor neighborhoods, and almost all of those among the black population. He encountered other, less unpleasant, surprises. From the outside, the house, shaded by the almond trees in the Park of the Evangels, appeared to be in ruins, as did the others in the colonial district, but inside there was a harmony of beauty and an astonishing light that seemed to come from another age. The entrance opened directly into a square Sevillian patio that was white with a recent coat of lime and had flowering orange trees and the same tiles on the floor as on the walls. There was an invisible sound of running water, and pots with carnations on the cornices, and cages of strange birds in 

the arcades. The strangest of all were three crows in a very large cage, who filled the patio with an ambiguous perfume every time they flapped their wings. Several dogs, chained elsewhere in the house, began to bark, maddened by the scent of a stranger, but a woman's shout stopped them dead, and numerous cats leapt all around the patio and hid among the flowers, frightened by the authority in the voice. Then there was such a diaphanous silence that despite the disorder of the birds and the syllables of water on stone, one could hear the desolate breath of the sea. Shaken by the conviction that God was present, Dr. Juvenal Urbino thought that such a house was immune to the plague. He followed Gala Placidia along the arcaded corridor, passed by the window of the sewing room where Florentino Ariza had seen Fermina Daza for the first time when the patio was still a shambles, climbed the new marble stairs to the second floor, and waited to be announced before going into the patient's bedroom.  But Gala Placidia came out again with a message: "The señorita says you cannot come in now because her papa is not at home." And so he returned at five in the afternoon, in accordance with the maid's instructions, and Lorenzo Daza himself opened the street door and led him to his daughter's bedroom.  There he remained, sitting in a dark corner with his arms folded, and making futile efforts to control his ragged breathing during the examination. It was not easy to know who was more constrained, the doctor with his chaste touch or the patient in the silk chemise with her virgin's modesty, but neither one looked the other in the eye; instead, he asked questions in an impersonal voice and she responded in a tremulous voice, both of them very conscious of the man sitting in the shadows. At last Dr. Juvenal Urbino asked the patient to sit up, and with exquisite care he opened her nightdress down to the waist; her pure high breasts with the childish nipples shone for an instant in the darkness of the bedroom, like a flash of gunpowder, before she hurried to cover them with crossed arms. Imperturbable, the physician opened her arms without looking at her and examined her by direct auscultation, his ear against her skin, first the chest and then the back

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