Single panel (1): This is a long view from back seats down to the stage of a space modeled after [redacted].
Down on the stage a UU MINISTER, who is conducting the service, is reading at a lectern. A table has been set up on the stage with flowers and head-shot photographs of Eliza, Daphne, and Claudia). The theater, which seats about 400 people in its normal configuration, is full in the somber dress appropriate to the occasion. The UU Minister is a plump, pleasant-faced, middle-aged woman in ministerial robes.
UU Minister (1): The depths of seas have always inspired a sense of awe. More than a century ago, Longfellow wrote:
“Would’st thou,” so the helmsman answered,
“Learn the secret of the sea?
Only those who brave its dangers
Comprehend its mystery!”
Comment (1): The minister is quoting from the American poet Henry Wadsworth Longfellow (1807-1882), specifically his poem “The Secret of the Sea.” If there exists a well-known literary translation of his lines in the public domain in your target language, you may substitute it for your own translation.
Translation (1): Die Tiefe des Meeres hat seit jeher ein Gefühl der Ehrfurcht erzeugt. Vor über einem Jahrhundert schrieb Longfellow:
„Soll ich dir, so sprach der Alte,
Tun der See Geheimnis kund?
Nur, wer ihrer Schrecken spottet,
Dem enthüllt sie es zur Stund’!
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INT. THE VAN INTERIOR – DAY
Harry, DR. ROSALIE QUISP, DR. JOE TUCKER, and George ride in the back of the van, which has cabinets of equipment and a small decontamination shower in its corner.
Harry, Joe, and Rosalie are all already wearing full-body Hazmat suits. Rosalie is helping George with the last details of getting his on.
ROSALIE
(over radio)
How’s that, Mr. Rocke? Breathing okay?
George gestures and points and appears to be trying to say something.
ROSALIE
(over radio)
You’ll need to turn your radio mike on.
Rosalie flicks a switch on the side of George’s helmet.
george
(over radio)
Jesus! How do you people work in these things?
Rosalie shrugs.
Please do not reproduce this storyboard or its associated screenplay text without permission from Faustus, who may be contacted here.
Panel 1: A group of protesters standing on a city street. They’re a mixed bunch, including some hippie types, some older people soberly dressed, and at least one knot of nuns in habit. The are carrying signs with slogans WOMEN AREN’T PET FOOD! STOP FRANKENSTEIN “SCIENCE”! and CHOOSE LIFE!
Protesters (jagged balloon over all, indicating the crowd chanting) (1): Stop this madness! Stop this madness!
Translation (1): Stoppt diesen Wahnsinn! Stoppt diesen Wahnsinn!
CAPTION — pseudo narration (2): The appearance of angry protesters complicates arrangements for a memorial for Eliza, Daphne, and Claudia.
Translation (2): Wütende Demonstranten machen die Vorbereitungen für eine Gedenkveranstaltung für Eliza, Daphne und Claudia schwierig.
Panel 2: View of [redacted].
CAPTION — pseudo-narration (3): Eventually, a small midwestern college agrees to make its facilities available for a discreet observation.
Comment (3): “Midwestern” is an American expression for a large central region of the United States roughly north of the Ohio and Missouri Rivers, west of Pennsylvania an east of the Great Plains. Roughly the states of Ohio, Indiana, Michigan, Illinois, Wisconsin, Iowa and Minnesota, perhaps the northern half of Missouri and the eastern halves of Kansas, Nebraska, and the Dakotas as well.
Translation (3): Schließlich erklärte sich ein kleines College im Mittleren Westen dazu bereit, seine Räumlichkeiten zur Verfügung zu stellen.
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EXT. A WAREHOUSE-DISTRICT STREET – DAY
A large van with an OIKOS GALENOU LLC logo on its side drives down a street in an urban district that consists largely of old, abandoned red-brick factories and warehouses.
Please do not reproduce this storyboard or its associated screenplay text without permission from Faustus, who may be contacted here.
Single panel: A view from the deck showing the Creature, still stuck in the net, being lifted above the midsection of the ship by the ship’s crane. The Creature is in position to be lowered into the large tank in the middle of the ship. Around the deck, there are crewmen gesturing, presumably helping the crane operator lower the Creature into the tank.
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INT. DR. LAL’S OFFICE – DAY
LINDA BAINS enters, all silent middle-aged secretarial professionalism. She also carries a silver coffee service, which she sets on the table.
HARRY
Thank you, Linda.
LINDA
Will you need anything else, Dr. Lal?
HARRY
No, that will be all. Please be sure to close the door on your way out.
Linda leaves. George sits, silent and nonchalant, until the CLICK of the door closing. Then he leans forward with a concerned look on his face, his air of easy confidence dissipated.
Harry pour coffee for George and himself as George talks.
GEORGE
This isn’t about the investment, Harry. I’m here because…well, I’ve got a strange problem and I’m not really sure what to do about it.
Harry hands George a cup of coffee on a saucer.
HARRY
Oh? What kind of problem?
George takes a swig of coffee before putting the cup on the table.
GEORGE
We’ve been doing some good business lately, redeveloping old red-brick warehouses down by the riverfront. You know the story. You buy the decaying property, gut it, rebuild the interior with condos, shops, and restaurants. Tear out the rail spur that used to feed the place and turn it into a bike path. And now you’ve got an industrial-chic property right near downtown. Young professional types, they eat that shit up. Before you know it you’re practically printing money.
HARRY
Okay, so what’s the catch?
GEORGE
So we acquire this property, right? And I send in one of my engineers to do a preliminary survey. Ten minutes in I get a phone call. “Mr. Rocke, sir, you need to come down and see this.” Guy sounded real shaken up. So I go down.
HARRY
And what did you see?
GEORGE
Right there in the main floor, there was…something. Something I can’t describe, except that it was…big,
HARRY
Big?
GEORGE
I swear to you Harry, it wasn’t there when we signed on the place. Someone must have put it there. Or maybe it grew there or crawled into there or…I don’t know. It was alive and it was moving and I can’t really say more than that.
HARRY
I don’t understand, George. Why come to me? Why not go to…animal control?
GEORGE
You don’t understand. This thing is monstrous and I don’t need the media circus, to say nothing of perhaps the fucking Environmental Protection Agency, coming down on me just because it showed up on my property.
HARRY
George, I…
George leans forward and puts a hand on Harry’s shoulder.
GEORGE
Harry, you remember back in college? You were always the science genius, the Phi Beta Kappa guy, the guy who knew how to solve things and fix things. And I’m the guy who barely got a C-minus in introductory biology and that was with your help.
HARRY
Well…
George sits back
GEORGE
I’m asking you for your help again now.
HARRY
I don’t know, exactly…
GEORGE
I will also make it worth your while. You want to make the drugs of the future, right? Well, I wasn’t kidding when I told you that business was really good, and I can really help you, if you would help me. At least just take a look and give me some advice about how to handle this.
Harry sits and sips coffee for a minute thinking matters over.
HARRY
I suppose I and some of my people could come out and take a look.
GEORGE
(happy, relieved)
Great! That’s great! One thing…
HARRY
Yes?
GEORGE
You know those spacesuit things you science guys sometimes wear?
HARRY
You mean Hazmat suits? Sure, we have those. Why?
GEORGE
You might want to wear them, just to be safe.
Harry steeples his fingers, looking pensive.
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. DR. LAL’S OFFICE – DAY
A well-appointed executive office in an ultra-modern glass-and steel setting. Harry is big wearing a a white lab-coat over his suit. He is sitting behind his desk and reading something on a screen.
The phone on Harry’s desk RINGS. Harry answers it.
HARRY
(into phone)
Hari Lal here.
(frowns)
No, Linda. You know I can’t see anybody without an appointment. Did you get his name?
(expression changes to surprise)
Oh, that’s different. Send him right in.
GEORGE ROCKE, tanned, excellently groomed, wearing a jacket over a polo shirt and slacks, enters. George carries himself like a man who expects only good things from life. Harry gets up to greet him.
HARRY
George! This is an unexpected pleasure. How is the real estate business?
Harry and George shake hands.
GEORGE
The property racket has been good, Harry. Very, very good.
Harry gestures for George to sit down at a small table in another part of his office. They sit.
HARRY
Not that I ever mind a visit from an old friend and principal investor, George, but…
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. AN EXHIBITION HALL IN THE MUSEUM – DAY
The Schoolteacher escorts the group of children through an exhibition hall.
The children stop in front of a replica of Jeremy Bentham’s “Auto-Icon,” which sits in a glass case. The Schoolteacher turns to question them.
SCHOOLTEACHER
Now, children, can anyone tell me who this is?
A few hands go up. The schoolteacher calls one of the students out.
SCHOOLTEACHER
Maria?
MARIA
That’s Jeremy Bentham.
SCHOOLTEACHER
Very good, Maria, And can anyone tell us what Mr. Bentham was famous for?
(looks through the group)
Charles?
CHARLES
He taught that what makes things right is having as much happiness as you can, and as little suffering as you can.
SCHOOLTEACHER
Excellent, Charles! You’ve summarized Mr. Bentham’s doctrine of “utilitarianism.” Now can anyone tell us how this image of Mr. Bentham was made?
There is MURMURING and uncertainty among the students.
SCHOOLTEACHER
Well, as it happens, as a utilitarian, Mr. Bentham thought that it was right to make the very best use of everything we have. When he died, over two hundred years ago, most people who died were just buried in the ground, where they were not much use to anyone and took up valuable land.
(brightens)
Mr. Bentham’s idea was that our dead bodies could continue to be sources of education and inspiration to future generations, just like statues but more real. And so after he died, he had himself preserved and put on display. He called this an “auto-icon.”
There is a chorus of “ews” and “icks” from the assembled schoolchildren.
SCHOOLTEACHER
Now, children, don’t be too upset. What you see here is just a replica. Mr. Bentham’s real “auto-icon” is at University College in London. But…
(grins, perhaps a little wickedly)
…a little later on in this tour we are going to see some real “auto-icons.” They were not made because they were famous writers like Mr. Bentham, but because they were great heroines who did things that make all your lives better and safer today.
This time the chorus of children’s reactions mixes “ews” and “icks” with whistles and exclamations like “cool!”
SCHOOLTEACHER
Let’s move along now.
The Schoolteacher ushers the children into the next gallery.
Please do not reproduce this storyboard or its associated screenplay text without permission from Faustus, who may be contacted here.
Köder (Deutsch/Langseitige Version) 
