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INT. WAREHOUSE CONFERENCE ROOM – DAY
Joe goes to the conference table and lifts the sheet off. Rosalie’s skeleton, somewhat disconnected because many of its ligaments have dissolved, lies neatly laid out on the table.
JOE
There’s a sewage trap underneath the creature which we use to remove the bones of the goats it eats. An hour or so ago we found this. Very neat work, all soft tissue completely removed.
Harry stares horrified at Rossalie’s remains for a moment, then he takes a pair of nitrile gloves from the box on the table and puts them on.
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Panel 2: View of a vase painting showing the Greek hero Achilles.
CAPTION – DAPHNE NARRATING (4): In the Iliad, the hero Achilles faces a choice between either going home and living a long life – that’s νόστος – or staying to fight and living a short but glorious life – that’s κλέος.
Translation (4): В Илиаде герой Ахиллес встает перед выбором между возвращением домой и долгой жизнью – νόστος, – и участием в битве и короткой, но славной жизнью – это зовется κλέος.
Panel 3: Daphne, leaning forward to engage more closely her unseen interviewer.
Daphne (5): Given the choice between a either a lifetime as a corporate drone after which I shall be forgotten or being part of something that will be in history books for centuries, the right answer seems obvious.
Translation (5): Стоя перед выбором – быть всю жизнь офисным планктоном, после чего меня ждет забвение, или стать частью того, что на века войдет в анналы истории… выбор очевиден.
Panel 4: Daphne sitting back, taking a sip from her cup of coffee.
Daphne (6): Or at least, the right answer is obvious to me.
Translation (6): По меньшей мере, он очевиден для меня.
Panel 1: DAPHNE BOSSELSEG (“Daphne”) sits in a coffeehouse, being interviewed. There is coffee on the table in front of her. Daphne is a dark-haired, dark-eyed, intense-looking youngish woman who wears a dark cable sweater and blue jeans.
Daphne (1): The bitter truth is, I’m facing a lifetime of asking “Do you want fries with that?”
Translation (1): Всю жизнь меня преследуют издевательским вопросом – «ну как твои успехи?».
Panel 2: Front panel of the first edition of Galileo’s Dialogue Concerning the Two World Systems, over which are layered the captions of Daphne speaking.
CAPTION – DAPHNE NARRATING (3): I wrote an award-winning Ph.D. dissertation in the history of science. “One of the best of your generation,” my advisors told me.
Translation (3): Я получила награду за диссертацию по науке. «Одна из лучших среди твоего поколения», сказали мои консультанты.
CAPTION – DAPHNE NARRATING (4): But thanks to yahoo state legislators and asshole STEM billionaires, there’s no funding for humanistic research like that anymore.
Translation (4): Но из-за этих тупых законодателей и STEM-миллиардеров, гуманитарные исследования больше так не субсидируют.
Panel 3: Daphne back in interview position. She looks glum and pensive.
Daphne (5): No one with money wants to fund knowledge anymore. They all want universities that do nothing but make a compliant corporate workforce.
Translation (5): Никто из денежных мешков больше не хочет финансировать знание. Они хотят иметь университеты, выпускающие послушную рабочую силу.
Panel 4: Daphne being interviewed. She has brightened up, just a little..
Daphne (6): But now I have a chance at something.
Translation (6): Но теперь у меня есть шанс.
Daphne (7): If I can’t write part of the history of science, then perhaps I can be part of the history of science.
Translation (7): Если я не могу писать о науке, возможно, я смогу стать частью науки.
Panel 1: Turpentine and Claudia stand in front of the vague underwater image of the creature, illuminated with a lightbox as if it were an X-Ray. Both are wearing white coats. Turpentine is pointing to the large siphon-like structure.
Turpentine (1): So, I suppose this structure is actually a specialized feeding orifice.
Translation (1): Я полагаю, что эта структура – специальное отверстие для поглощения пищи.
Claudia (2): When you’ve eliminated all the other possibilities, what remains, however implausible…
Translation (2): Когда вы исключаете все другие возможности, то, что остается, насколько бы это ни звучало неправдоподобно…
Panel 2: Turpentine back in his office, being interviewed.
Turpentine (3): Combining what we know from the native folklore and observed behavior and morphology, we seem compelled to conclude that every nineteen years, this creature comes near the surface and wants to eat young women.
Translation (3): Сопоставляя то, что мы знаем из местного фольклора, с его поведением и морфологией, мы должны заключить, что каждые девятнадцать лет это существо всплывает для того, чтобы пожрать молодых женщин.
Panel 3: A closer-in view of the mass of tentacles in the underwater image.
CAPTION – TURPENTINE NARRATING (4): It enmeshes them in tentacles, stimulates them, and eats them. We have no idea why.
Translation (4): Оно опутывает их своими щупальцами, возбуждает их, и поедает. Мы не знаем, зачем.
CAPTION – TURPENTINE NARRATING (5): Our methods to capture or closely study it have hitherto all failed.
Translation (5): Наши попытки поймать его или изучить с близкого расстояния доселе терпели крах.
Panel 4: Turpentine in his office, being interviewed.
Turpentine (6): We have been pushed to the conclusion that if you want to hook a fish, you have to have…bait.
Translation (6): Мы пришли к выводу, что для того, чтобы поймать его, необходима… приманка.
Panel 1: Professor Turpentine, sitting in a cramped academic office. Behind him are shelves stacked with books and papers. He’s wearing a rumpled tweed jacket and being interviewed behind his desk.
Turpentine (1): This creature, whatever it is, is highly intelligent. It can evade ordinary capture methods with ease. It also generates electromagnetic and subsonic fields that interfere with underwater communications. And it even cuts control cables.
Translation (1): Это существо, кем бы оно не было, высокоразумно. Оно способно с легкостью избегать любых методов ловли. Оно также генерирует электромагнитные и инфразвуковые поля, создающие помехи подводным коммуникациям, и даже перерезает кабели.
SUBTITLE (2): Professor Eustace Turpentine, Innsmouth Institute for Marine Research.
Translation (2): Профессор Юстас Терпентайн, Иннсмутский институт морских исследований.
Panel 2: CLAUDIA HONEYWOOD (“Claudia”) holds in her hands a submersible drone – and underwater swimming robot about the size of a toaster, in her hands, holding it forth for the camera to take a picture of. Claudia is a very attractive woman, but she downplays her attractiveness, being here in a set of coveralls, her long brown hear drawn back in a bun, and here wearing heavy safety glasses. (When Claudia is not wearing these glasses she wears other glasses that make her look a bit dorky, or at least as dorky as a beautiful person can be.)
CAPTION – TURPENTINE NARRATING (3): But recently, artificial intelligence has advanced to the point where we can make effective autonomous underwater drones.
Translation (3): Однако недавние достижения в области искусственного интеллекта позволили нам создать эффективных автономных подводных роботов.
Panel 3: Claudia on board ship in another cramped control room, this time also looking at a monitor. Claudia is now dressed in a white coat and is wearing glasses with heavy dark frames.
CAPTION – TURPENTINE NARRATING (4): The creature leaves the drones alone for some reason. These drones can also penetrate the deep trenches where the creature likes to lurk.
Translation (4): По каким-то причинам чудовище не трогает роботов. Эти роботы также могут проникать в глубокие подводные впадины, где чудовище любит прятаться.
Panel 4: A murky image of the creature, a sort of giant squidlike thing with one large siphon (big enough for someone to fit down) and a large number of tentacles of all sorts and shapes.
CAPTION – TURPENTINE NARRATING (5): Thanks to these clever little machines, we now have a good sense of the gross morphology of the creature.
Translation (5): Благодаря этим умным маленьким аппаратам теперь у нас есть хорошее представление о строении этого существа.
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INT. WAREHOUSE CONFERENCE ROOM – DAY
Harry enters the room. Joe, Ernie, and ARTHUR BERGMAN are already present. Harry, Joe, and Ernie all look unkempt: unwashed, unshaven, rumpled clothes. Bergman is impeccably dressed and groomed.
On the table in the room, under a sheet, are laid out a set of human skeletal remains. A box of nitrile gloves can be found at the head of the table.
HARRY
Arthur, why are you here?
ARTHUR
Given the circumstances and my standing as your chief legal counsel, it seemed appropriate that I should be here.
HARRY
What the hell happened?
Please do not reproduce this storyboard or its associated screenplay text without permission from Faustus, who may be contacted here.
Panel 1: A U.S. Navy corvette cruising by Motofupo.
CAPTION – PSEUDO-NARRATION (1): The Navy searched the waters around the spot of Phoebe Petrobux’s disappearance but could find nothing.
Translation (1): Флот прочесал акваторию в районе, где исчезла Фиби Петробакс, но не смог ничего обнаружить.
Panel 2: Barron Sr., looking proundly aged, is sitting at his ornate desk in his office. He is holding a pen and looking down at a document in the middle of his desk, holding a pen in one hand and about to sign. Over one shoulder a HIGH-PRICED LAWYER is pointing to where on the document he should sign. Barron Jr., now about fourteen years-old, looks on over his father’s other shoulder. We should be able to see Barron Jr.’s Distinguishing Feature.
CAPTION – PSEUDO-NARRATION (2): A bereaved Barron Petrobux set aside a large part of his wealth to create a foundation to study and attempt to capture whatever creature had taken away his daughter.
Translation (2): Понесший утрату Баррон Петробакс выделил значительную часть своего состояния на создание фонда, призванного обнаружить и поймать чудовище, похитившее его дочь.
Panel 3: A group of scientists pushing a large unmanned submersible off the back of a small research ship in the waters around Motofupo.
CAPTION – PSEUDO-NARRATION (3): At the next nineteen year-interval, in 2000, a team of scientists attempted to find the creature when it was expected to rise again.
Translation (3): Еще через девятнадцать лет, в 2000 году, команда ученых попыталась найти чудовище в период предполагаемого очередного всплытия.
Panel 4: Two scientists in white coats staring at a screen in a control panel, inside a cramped research vessel cabin. One is seated, the other looking over the should of the other, taking notes. The seated one is throwing up his hands in frustration.
CAPTION – PSEUDO-NARRATION (4): The results of the scientists’ research were inconclusive and frustrating.
Translation (4): Результаты вышли неубедительными и разочаровывающими.
