(Note: on this and some following pages the Creature is now housed in a giant cylindrical glass tank, similar in construction to one you can see at [redacted].
Single panel: View of the giant tank as described above.
CAPTION – PSEUDO-NARRATION (1): The Creature is brought to the Energexecon Marine Center in Corpus Christi, Texas, where it is exhibited and studied.
Translation (1): Die Kreatur wird zum Energexecon Marine Center in Corpus Christi, Texas, gebracht, wo sie ausgestellt und untersucht wird.
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MONTAGE – FROM INDUSTRIAL RUIN TO HIGH-TECH LAB
– Interior of the warehouse. Many of the boarded-up windows have been replaced. Some natural light filters down. A tent has been erected over the Gynophage. Two heavily armed guards in protective gear and masks stand outside the tent.
Please do not reproduce this storyboard or its associated screenplay text without permission from Faustus, who may be contacted here.
Single panel: A representation of Leos sacrificing his three daughters Praxithea, Theope, and Eubule. There are a number of art-historical views of what human sacrifices might have looked like in Archaic Greece and mostly this will be left to the discretion of the artist, with the recommendation that he image search some of the more famous Greek maiden sacrifices, such as those of Iphigenia or Polyxena, and extrapolate from there. Perhaps Praxithea can be lying already sacrificed at her father’s feet, Theope can be under the knife, and Eubule can be patiently waiting her turn. The four captions can be at the corners of the illustration, or otherwise arranged as seems reasonable.
CAPTION – UU Minister speaking (1): In Greek legend, Leos, the son of Orpheus, had three daughters: Praxithea, Theope, and Eubule. In response to a prophecy from the Oracle at Delphi, these three daughters volunteered themselves for sacrifice to save Athens from famine and plague.
Translation (1): In der griechischen Legende hatte Leos, der Sohn des Orpheus, drei Töchter: Praxithea, Theope und Eubule. Als Erwiderung auf eine Prophezeiung des Orakels von Delphi haben sich diese drei Töchter freiwillig zum Opfer erboten, um Athen vor Hunger und Pest zu bewahren.
CAPTION – UU Minister speaking (2): Were their sacrifices regarded as tragedy, stupidity, or waste? Far from it. Demosthenes himself, in his funeral oration, compared them to the bravest of soldiers who fell defending their city.
Translation (2): Wurden ihre Opfer als Tragödie, Dummheit oder Vergeudung angesehen? Weit gefehlt. Demosthenes selbst verglich sie in seiner Trauerrede mit den tapfersten Soldaten, die bei der Verteidigung ihrer Stadt gefallen waren.
Comment (3): Do not attempt to translate this passage in Greek. It’s translated into English at (4) below, and you can translate it from there into your target language.
CAPTION – UU – Minister translating (4): “When, therefore, such courage was displayed by those women, they looked upon it as a heinous thing if they, being men, should have proved to possess less of manhood.”
Translation (4): “Als diese Frauen also solchen Mut zeigten, betrachteten sie es als abscheulich, wenn sie als Männer hätten beweisen sollen, dass sie weniger Männlichkeit besitzen.”
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INT. INSIDE THE WAREHOUSE – DAY
As soon as Rosalie’s voice is heard over the radio, four tentacles shoot forward — two eyes and two “mouth” tentacles. Rosalie is beyond their reach, so the stop short of her.
Rosalie flinches and GASPS. The tentacles “eyes” continue to watch her, the “mouths” hovering as near to her as they can get. These tentacles are not still, but waving and occasionally straining forth, as if conveying excitement.
JOE
(over radio)
It seems eager to meet new people, whatever it is.
GEORGE
(over radio)
I suppose you think this might call for more investment, Harry?
Harry partway turns, looking over his shoulder at George.
HARRY
(over radio)
Speaking as a scientist, George, I would say that there is nothing on earth like…this. Who knows what sort of exotic biochemistry we might be dealing with here?
Harry turns back and gazes up at the Gynophage.
HARRY
(over radio)
Speaking as a businessman, I’d say the potential for profitable discoveries might be…unlimited.
Please do not reproduce this storyboard or its associated screenplay text without permission from Faustus, who may be contacted here.
PAGE 82 (Three panels, probably the first two across the top)
Panel 1: Closer-in view of the UU Minister, showing part of her at the lectern.
UU Minister (1): But as has been shown by scientific research – including especially that research made possible by the women we commemorate today – we can afford such a retreat into ignorance no longer.
Translation (1): Doch wie die wissenschaftliche Forschung gezeigt hat, einschließlich insbesondere der Forschung, die diese Frauen ermöglicht haben, können wir uns solch eine Flucht nicht länger leisten.
Panel 2: Symbolic panel, a human hand reaching out from one side of the panel, tentacle from the other side.
CAPTION – UU Minister speaking (2): The oceanic depths contain things far beyond any of our previous understandings.
Translation (2): Die Tiefen der Ozeane behrbergen Dinge, die weit über unserer Vorstellungskraft liegen.
Panel 3: View scanning across a group of mourners seated in the audience.
CAPTION – UU Minister speaking (3): The future wellbeing of humanity – perhaps the very future existence of humanity – depends on the advancement of our knowledge.
Translation (3): Das zukünftige Wohl der Menschheit – vielleicht gar die bloße Existenz der Menschheit – hängt von der Erweiterung unseres Wissens ab.
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INT. INSIDE THE WAREHOUSE – DAY
The warehouse interior is dark. It is all murky shadows and nothing can be seen distinctly.
JOE
(over radio)
Clear as mud.
GEORGE
(over radio)
We put in a master switch over here by the door.
An ECOHING CHONK as George throws the master switch. Bright white lights, recently installed, illuminate the warehouse interior.
Amidst waste and rubble the GYNOPHAGE is suddenly visible. The Gynophage is a monster shaped like a squat amphora without handles, about ten feet in diameter and twelve feet tall. The mouth of the “amphora” is a feeding siphon.
Many long tentacles project out from the Gyonphage’s body. There end in “grabbers,” “eyes,” “mouths,” “claws,” and phallic-like structures.
As Harry’s group enters, the Gynophage’s feeding siphon stands up, and its tentacles begin to stir and wave around.
There is a round of GASPS and EXCITED UTTERANCES from Joe, Rosalie, and Harry.
HARRY
(over radio)
I can see why you had trouble describing this in my office, George.
Harry steps forward to about the outer reach of the Gynophage’s tentacles.
An eye-tentacle moves forward slowly and stares at Harry though Harry’s suit’s faceplate. The tentacle rests dead still as the eye watches Harry.
HARRY
(over radio)
Amazing…absolutely amazing.
Rosalie steps forward, a bit hesitantly, putting her hand on Harry’s arm as if to pull him back a bit.
ROSALIE
(over radio)
Dr. Lal, are you sure…
Please do not reproduce this storyboard or its associated screenplay text without permission from Faustus, who may be contacted here.
Single panel: A free page for the artist, with the idea of having something vast and horrible and tentacular boiling up from the depths of the ocean.
CAPTION – UU Minister speaking (1): For some, indeed the depths of the ocean are a zone of darkest fear. As the greatest writer of weird fiction once told us:
Translation (1): Für manch einen sind die Tiefen des Ozeans in der Tat mit Furcht verbunden. Wie der größte Autor von Gruselliteratur uns einmal erzählte:
CAPTION – UU Minister quoting (2): “The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age.”
Comment (2): Again, the minister is quoting, this time the famous opening paragraph from the story “The Call of Cthulhu,” by the American writer of horror and weird fiction H.P. Lovecraft (1890-1937). Again, if there is a usable literary translation in your target language you may use it.
Translation (2): “Ich glaube, die größte Barmherzigkeit dieser Welt ist die Unfähigkeit des menschlichen Verstandes, alles sinnvoll zueinander in Beziehung zu setzen. Wir leben auf einer friedlichen Insel der Ahnungslosigkeit inmitten schwarzer Meere der Unendlichkeit, und es war nicht vorgesehen, dass wir diese Gewässer weit befahren sollen. Die Wissenschaften steuern alle in völlig verschiedene Richtungen und sie haben uns bislang nur wenig Schaden zugefügt, doch eines Tages wird uns das Aneinanderfügen einzelner Erkenntnisse so erschreckende Perspektiven der Wirklichkeit und unserer furchtbaren Aufgabe darin eröffnen, dass diese Offenbarung uns entweder in den Wahnsinn treibt oder uns aus der tödlichen Erkenntnis in den Frieden und den Schutz eines neuen dunklen Zeitalters flüchten lässt.”
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EXT. OUTSIDE THE WAREHOUSE – DAY
The van pulls up besides the loading dock of an old brick warehouse, all of its windows either boarded up or blacked out. The back door opens, and George, Harry, Joe, and Rosalie, all in their hazmat suits, pile out.
Joe goes up an old loading-dock door and yanks on it, GRUNTING and straining. After some effort the door slides open with a SQUEAL.
HARRY
(over radio)
Good work, Joe. So let’s go take a look.
The four file through the door.
Please do not reproduce this storyboard or its associated screenplay text without permission from Faustus, who may be contacted here.
Köder (Deutsch/Langseitige Version) 
