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PAGE 5 (Four panels)

(Note: Still in sepia)

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): I fratelli Scelleratini furono persino invitati a filmare il “matrimonio”.

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 gente remò verso un punto dell’oceano noto per essere sopra una profonda fossa oceanica.

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): Le persone coinvolte sembravano considerare l’intero procedimento un’occasione benedetta.

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 “sposa” sembrava agire di sua spontanea volontà.

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PAGE 4 (Four panels)

(Note: The panels on this page should be sepia-toned, a visual indicator of the age of the photographic and cinematic material they are meant to represent.)

Panel 1: Two Italian men, ENZO SCELLERATINI (“Enzo”) and GUIDO SCELLERATINI (“Guido”) absurdly overdressed for their environment stand in coats, bow-ties, and bowler hats, posed on a beach with an old-fashioned, crank-operated movie camera. (Note: Both men have somewhat silly handlebar mustaches.)

CAPTION – PSEUDO-NARRATION (1): In 1905, Italian brothers Enzo and Guido Scelleratini, following up on sailors’ rumors of a strange native cult on the South Seas island of Motofupo, went there with a movie camera in hopes of finding something unusual.

Translation (1): Nel 1905, i fratelli italiani Enzo e Guido Scelleratini, seguendo le voci dei marinai su uno strano culto nativo sull’isola di Motofupo, nei mari del Sud, si recarono lì con una cinepresa nella speranza di trovare qualcosa di insolito.

Panel 2: A group of attractive young Polynesian-looking women dressed in muumuuu-like garments reaching into a sack together to draw something out.

CAPTION – PSEUDO-NARRATION (2): In spite of the fact that their rituals were rumored to include human sacrifice, the indigenous people proved friendly and allowed the Scelleratini brothers to film them and one of those very rituals.

Translation (2): Nonostante si dicesse che i loro rituali includessero il sacrificio umano, gli indigeni si dimostrarono amichevoli, si fecero riprendere dai fratelli Scelleratini e gli permisero di filmare uno di quei rituali.

Panel 3: Close up of two hands of different young women in the panel. One holds a white stone, another a black stone.

CAPTION – PSEUDO-NARRATION (3): The first part of the ritual was a selection process to pick specific young women to be given to a “God of the Deeps” in marriage.

Translation (3): ): La prima parte del rituale era un processo di selezione per scegliere specificamente delle giovani donne da dare in spose a un “Dio degli abissi”.

Panel 4: One young woman of the Motofupo people (“the Bride”), cradling a stone, a beatific expression.

CAPTION – PSEUDO-NARRATION (4): According to observers and apparent on the film was that the young women so selected did not seem distressed. They instead seemed pleased and honored.

Translation (4): Secondo gli osservatori e da quanto si può osservare nel film, le giovani donne così selezionate non sembravano angosciate. Al contrario, apparivano contente e onorate.

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PAGE 3 (Four panels)

Panel 1: ELIZA FANSHAW (“Eliza”) sits in a big wicker chair in a kind of hippie-ish apartment. She’s a bubbly-sexy blond girl. She wears thin cotton tie-dyed shirt that stretches a bit over her breasts (she’s obviously braless) and a floral skirt and sandals. Her posture indicates she’s being interviewed.

Eliza (1): People ask me,”What on earth do you think you’re doing, Eliza?” and “Don’t you know you have your whole life ahead of you?”

Comment (1): The material in quotation marks are things that Eliza has been hearing about her plans and which she is quoting back to the interviewer. The expression “what on earth” is a figurative expression meant to express incredulity or surprise. It shouldn’t be translated literally – substitute an equivalent expression if one exists in the target language.

Translation (1): La gente mi chiede: “Che diavolo pensi di fare, Eliza?” e “Non sai che hai tutta la vita davanti a te?”

Eliza (2): And I see their point but, the thing is, about me…,

Translation (2): E io capisco il loro punto di vista, la questione riguarda me…

SUBTITLE (3): Eliza Fanshaw, prospective subject.

Translation (3): Eliza Fanshaw, soggetto prospettico,

Panel 2: Close-up on Eliza’s smiling face, which should emphasize that she has a cute little snub nose.

Eliza (4): …is that I think that the most amazing thing about being alive…

Translation (4): …è che penso che la cosa più sorprendente dell’essere vivi…

Eliza (5): … is sex!

Translation (5): … sia il sesso!

Panel 3: View of Eliza (in very soft focus, to the point that we can scarcely identify her as Eliza) naked, seen from behind on top of a guy).

CAPTION – ELIZA NARRATING (6): I’m not supposed to say things like this, but ever since I was fifteen, I have been seeking out sexual adventure.

Comment (6): “Ever since I was fifteen” is short for “ever since I was fifteen years old.”

Translation (6): Non dovrei dire queste cose, ma fin da quando avevo quindici anni, ho cercato l’avventura sessuale.

CAPTION – ELIZA NARRATING (7): I’ve even acted in some experimental adult films, just to see what it would be like.

Comment (7): “Adult films” here is a semi-euphemism for pornographic films, or at least films with explicit sexual content.

Translation (7): Ho anche recitato in alcuni film sperimentali per adulti, solo per vedere come sarebbe stato.

Panel 4: Eliza, back in the same pose as in Panel 1.

Unseen interviewer (out-of-panel balloon) (8): And what was it like?

Translation (8): E com’era?

Eliza (9): It was awesome!

Translation (9): È stato incredibile!

Eliza (10): But I don’t think anything could compare with those movies I saw in Anthro.

Comment (10): “Anthro.” This is a colloquial way for Eliza to say that she saw the movies in a college-level class in Anthropology.

Translation (10): Ma non penso che fosse paragonabile in alcun modo a quei film che ho visto ad Antropologia.

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Singple panel: Helicopter view of the RV Seagoon, plowing through turquoise sea against the backdrop of a brilliant tropical sunrise. The RV Seagoon is a good-sized vessel, with an extended midsection that appears to contain some sort of giant tank. There is also a crane of sorts on deck.

CAPTION – PSEUDO-NARRATION (1): What is it that Professor Eustace Turpentine is proposing that so disturbs Captain Drummingdale?

Translation (1): Che cosa sta proponendo il professor Eustace Trementina che disturba così tanto il capitano Drummingdale?

CAPTION – PSEUDO-NARRATION (2): Only one of the strangest and most significant scientific adventures yet recorded.

Translation (2): Solo una delle avventure scientifiche più strane e significative che sia mai stata registrata.

CAPTION – PSEUDO-NARRATION (3): And we document it here for you for the first time!

Translation (3): E noi siamo qui per voi a documentarla per la prima volta!

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