Panel 1: Eliza in her wicker chair, being interviewed. She looks like she’s listening intently to to the interviewer’s question.
Unseen interviewer (1): I suppose I can understand your interest in…unusual experiences, but still, this would be your last such experience.
Translation (1): Mi kredas, ke mi komprenas vian intereson en neordinaraj spertoj, sed eĉ tiel, ĝi estus via lasta tia sperto.
Eliza (2): That’s right.
Translation (2): Ĝuste.
Panel 2: Eliza stretched out on her wicker chair, one leg extended long, her hand settled between her legs.
Eliza (3): But perhaps instead of a long string of experiences, a string that’s just going to diminish in quality as I get older and older, I might want to have one experience that surpasses them all.
Translation (3): Sed eble anstataŭ longa serio de spertoj, serio, kiu kvalite malpliiĝas dum mi maljuniĝas, mi volas havi unu sperton, kiu superas ilin ĉiujn.
Panel 3: Close-up on Eliza’s face. Her eyes are closed.
Eliza (4): It sort of gets me hot just thinking about it.
Translation (4); Ĝi ekscitas min nur je la ekpenso.
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INT. HARRY’S NEW OFFICE – DAY
Arthur and Joe sit in chairs facing Harry’s immaculate teak desk. A leather folder is the only object other than a phone and a computer sitting on the desk. Harry sits behind the desk.
HARRY
So what have we done with her?
TOOZIE SITTING AT A DESK IN AN OFFICE
Toozie is dressed in office causal, a pen between her lips. She is tapping away on a computer keyboard.
JOE (V.O.)
We gave her a job — at five times what she was making as a barista — in public relations research.
HARRY (V.O.)
Research?
JOE (V.O.)
She spends a lot of time on the Internet seeing how Oikos Galenou is represented. Management there says she’s very good at the job.
HARRY (V.O.)
Are you sure it was really right to give her a job?
Please do not reproduce this storyboard or its associated screenplay text without permission from Faustus, who may be contacted here.
Panel 1: Identical panel to Page 4, Panel 2 above, except that one of the young women participating in the ritual of drawing has had a circle drawn around her head. An arrow is additionally drawn pointing to the circle.
CAPTION – PSEUDO-NARRATION (1): In a stroke of amazing luck, researchers were able to find one of the original native women filmed by the Scelleratini brothers and interview her on camera.,/p>
Translation (1): Pro vera bonŝanco, esploristoj sukcesis malkovri unu el la originalaj indiĝenaj virinoj filmitaj de la fratoj Scelleratini kaj filmintervjuis ŝin.
Panel 2: The girl from Panel 1, now an ancient, withered old woman of about 95 (“The Ancient.”) She is sitting in a simple chair and is dressed in a plain gray cotton dress.
The Ancient (2): Ketiap sembilan belas tahun, sang dewa akan datang dari kedalaman. Jika kami memberikan pengantin untuknya, ia akan memberkati para penduduk dengan kesehatan yang baik dan ikan yang melimpah.
SUBTITLE – TRANSLATING THE ANCIENT (3): Every nineteen years, the god would come from the depths. If we gave him brides, he would bless our people with good health and abundant fish.
Translation (3): Ĉiun deknaŭan jaron, la dio venas el la profundaĵoj. Se ni donas al li fianĉinojn, li benos nian popolon per bona sano kaj abunda fiŝaro.
Panel 3: Same as Panel 2, but a slightly different pose.
Unseen Interviewer (out-of-panel balloon) (4): Apakah ada gadis yang takut terpilih?
The Ancient (5): Tidak ada yang takut. Kami semua ingin dipilih.
SUBTITLE – TRANSLATING THE UNSEEN INTERVIEWER (6): Were any of the girls afraid of being chosen?
Translation (6): Ĉu unu el tiuj knabinoj timis esti elektita?
SUBTITLE – TRANSLATING THE ANCIENT (7): No one was afraid. We all wanted to be chosen.
Translation (7): Neniu timis. Ni ĉiuj volis esti elektitaj.
Panel 4: Same as Panel 3, but a slightly different pose.
The Ancient (8): Dewa dari kedalaman akan mencintai pengantinnya dengan cinta yang jauh melebihi cinta yang dapat diberikan pria mana pun kepada seorang wanita. Ini membuatnya layak untuk dilakukan, sekalipun sang dewa akan memakanmu.
SUBTITLE – TRANSLATING THE ANCIENT (9): The god of the depths would love his brides with a love far surpassing that which any man could show a woman. That made it worthwhile, even if he would eat you.
Translation (9): La dio de la profundaĵoj amis siajn fianĉinojn per amo, kiu superis tiun, kiun viro povus montri al virino. Ĝi faris tion spertinda, eĉ se li manĝos vin poste.
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INT. AN EXAMINATION ROOM – DAY
DR. ROSEN, a kindly, motherly-looking woman is interviewing Toozie, who sits wearing a medical examination gown on a table. Dr. Rosen is entering information on a laptop as she does the interview.
DR. ROSEN
Okay, Toozie, we’re going to do a bit an evaluation here. I would like you to think back over the last two weeks and tell me whether you experienced any of the following conditions on none of the days, several of the days, more than half of the days, or all of the days. Can you do that for me?
TOOZIE
Sure, Dr. Rosen.
DR. ROSEN
You experienced little interest or pleasure in doing things.
TOOZIE
None of the days.
DR. ROSEN
You feel down, depressed, or hopeless.
TOOZIE
None of the days.
DR. ROSEN
You have trouble staying or falling asleep, or you’re sleeping too much.
TOOZIE
None of the days.
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Panel 1: Enzo in a suit, standing at the front door of an Italian cinema, proudly gesturing with his cane at a promotional placard which reads “Venite a vedere una bellissima ragazza dei tropici venir mangiata viva in un orribile rituale pagano!”
CAPTION – PSEUDO-NARRATION (1): The Scelleratini brothers had hoped, on their return to Italy, to make a small fortune exhibiting their remarkable footage to the public.
Translation (1): La fratoj Scelleratini esperis, je la reveno al Italio, fariĝi riĉaj per montrado de sia elstara registraĵo al la publiko.
Panel 2: KING VICTOR EMMANUEL III sitting at an ornate desk in his royal study, signing a piece of paper.
CAPTION – PSEUDO-NARRATION (2): Unfortunately for them, their film was banned by an edict signed by King Victor Emmanuel III himself. The Lord Chancellor in England and the Chief Prefect of Police in France took similar actions.
Translation (2): Malfeliĉe por ili, ilia filmo estis malpermesata de dekreto subskribita de la Reĝo Viktoro Emanuelo la 3-a mem. La Grandkanceliero en Britio kaj la Ĉefpolicestro en Francio same faris.
CAPTION – PSEUDO-NARRATION (3): Both Scelleratini brothers would die in poverty.
Translation (3): Ambaŭ fratoj Scelleratini mortis malriĉaj.
Panel 3: BENITO MUSSOLINI, sitting in his private cinema, watching something. Mussolini’s face is illuminated by reflected light from the screen. He looks disgusted and outraged.
CAPTION – PSEUDO-NARRATION (4): In 1927, Italy’s Fascist Grand Council would declare the film a menace to public morality and order all copies of it destroyed.
Translation (4): En 1927, la Itala Faŝisma Granda Konsilio deklaris la filmon minaco al la publika moralo kaj ordonis, ke ĉiuj kopioj estu detruitaj.
CAPTION – PSEUDO-NARRATION (5): What the Scelleratini brothers documented would pass out of memory…
Translation (5): Tio, kion la fratoj Scelleratini dokumentis estis forgesita…
Panel 4: Exterior view of the Cineteca di Bologna (drawn or incorporated as a “comicked up” photograph).
CAPTION – PSEUDO-NARRATION (6): But at least one print of the film escaped the destruction order, and in 1977, a researcher found that print in the archives of the Cineteca di Bologna, where it had been misfiled, possibly on purpose.
Translation (6); Sed almenaŭ unu kopio saviĝis de la detruordono kaj en 1977 esploristo trovis tion en la arĥivoj de la Cineteca di Bologna, kie ĝi estis misdeponita, eble intence.
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INT. HARRY’S NEW OFFICE – DAY
Harry, Arthur, and Joe are sitting in Harry’s new office, which is quite spacious and richly appointed even by the standards of his last office. They sit around a teak conference table.
ARTHUR
Tell it to us again, Joe, and slowly this time.
JOE
This girl…she has figured out the creature likes to eat women and apparently in exchange, gives us things.
(looks around apprehensively)
And then she volunteered to be its next meal, suggesting that perhaps the next thing it gives us would be the answer to the Thanatos virus.
ARTHUR
Well, that’s about the most insane thing I’ve ever heard.
(puts a reassuring hand on Joe’s shoulder)
I’ll talk to company security about measures to make sure that this girl doesn’t make more of a nuisance of herself.
HARRY
(holding up a hand)
Wait.
ARTHUR
Wait?
HARRY
You might not be aware of this, Arthur, but our relationship with the national security community has been good and growing better ever since we did them a favor by letting them take credit for the Mediatrix. They’ve been kind enough to keep our research side appraised of intelligence reports on the Thanatos virus.
ARTHUR
And?
HARRY
It’s bad, Arthur. It’s really bad. How bad is classified, but…the science is baffling, and it’s about one mutation away from from being an extinction-level event.
ARTHUR
I agree that is bad.
HARRY
Right now, I’m not saying that we get into the human sacrifice business. What I am saying is that it would be irresponsible of us not to consider all possible options.
JOE
What are you saying, Harry?
HARRY
Before we jump to conclusions about who is sane and who is no,t can we at least reach out to this young woman and offer a proper psychiatric evaluation?
ARTHUR
I don’t know Harry, it just seems…
HARRY
We’re scientists here, right? So why don’t we try to make our decisions based on as much scientific information as we can gather.
Please do not reproduce this storyboard or its associated screenplay text without permission from Faustus, who may be contacted here.
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INT. OSVALDO’S – NIGHT
BACK TO SCENE
TOOZIE
This Thanatos virus sounds like really bad news. And a lot of the news media I am reading are suggesting that it is more a matter of when, rather than if it escapes…
Joe downs his second shot.
JOE
Well, yes, but…
TOOZIE
Don’t play dumb, Joe. We need a miracle to get out from under this one. And as it happens, you work for a drug company that has a record of, and apparently a means for getting, miracles. And that’s where I step in.
JOE
I still don’t get it.
Toozie leans in even closer. Joe downs his third shot.
TOOZIE
All right then. Let me spell it out for your explicitly…
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Panel 1: A long Polynesian outrigger canoe, being rowed through the surf by muscular young men. Standing implausibly in the middle of the canoe is Enzo, his movie camera rigged on a tripod somehow, cranking away and filming some scene he can see from the canoe.
CAPTION – PSEUDO-NARRATION (1): The Scelleratini brothers were even invited along to film the “wedding.”
Translation (1): La fratoj Scelleratini estis eĉ invititaj filmi la “geedziĝon.”
Panel 2: View of another outrigger canoe, also rowed by strong young men. The Bride sits in the bow of the canoe, gazing out to sea.
CAPTION – PSEUDO-NARRATION (2): The people rowed out to a spot of ocean known to be over a deep oceanic trench.
Translation (2): La homoj remis ĝis punkto de la oceano, kiu supozeble estas super profunda oceana fosego.
Panel 3: The Bride now stands in the bow of the canoe. She has removed her muumuu and is naked, holding her muumuu over her head so that it trails behind her in the wind. She is wearing a beatific expression.
CAPTION – PSEUDO-NARRATION (3): Those involved seemed to regard the entire proceeding as a blessed occasion.
Translation (3): Ĉiuj partoprenantoj ŝajnis konsideri la tutan proceduron kiel sanktan okazaĵon.
Panel 4: The Bride in mid-dive off the bow of the canoe into the ocean.
CAPTION – PSEUDO-NARRATION (4): The “bride” seemed to be acting of her own free will.
Translation (4): La “fianĉino” ŝajnis agi propravole.
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INT. OSVALDO’S – NIGHT
ON THE SCREEN
People in Hazmat suits are carrying and stacking bodies in an African village.
NEWS ANNOUNCER (V.O.)
(on television)
…meanwhile in Central Africa fatalities continue to mount from the mysterious Thanatos virus.
A bodies being burned on an enormous pyre.
NEWS ANNOUNCER (V.O.)
(on television)
World health authorities are concerned that if the virus spreads to the wider world it may have effects significantly more devastating than the Covid-nineteen virus of the early 2020s…
Please do not reproduce this storyboard or its associated screenplay text without permission from Faustus, who may be contacted here.
Logaĵo (Esperanto/Longpaĝa versio) 
