Panel 1: View of Claudia again, realization sinking in.
Claudia (1): No.
Translation (1): No.
Panel 2: Claudia in the act of standing up, her face enraged.
Claudia (2): No fucking way, do you understand?
Comment (2): “Fucking” in Claudia’s dialog line here shouldn’t be translated literally. In colloquial English, used in the way Claudia is using it here, it serves purely as an intensifier (generally used by someone who is angry) to stress the point.
Translation (2): No, cazzo, hai capito?
Panel 3: Claudia in the midst of storming past Turpentine out of the room. Turpentine has reached out to grab her sleeve, and Claudia has a hand raised to swat it away.
Turpentine (3): Claudia, please.
Translation (3): Claudia, per favore.
Claudia (4): Let go of me!
Translation (4): Lasciami andare!
Panel 4: View of Hiram, sitting back in his chair and rolling his eyes.
PAGE 62 (Three panels. The first two should appear across the top of the page, the third a long panel across the bottom).
Panel 1: View of Daphne’s in the water, her midsection dominated by an explosive effect – BOOM! – as her capsule explodes.
SUBTITLE (1): Recovered drone footage.
Translation (1): Filmati di droni recuperati.
Panel 2: A large white sphere pops up on the surface of the ocean.
SFX – SPHERE SURFACING (2): Bloop!
Translation (2): Bloop!
SUBTITLE (3): Aerial drone surveillance footage.
Translation (3): Filmati di sorveglianza aerea drone.
Panel 3: A line of spectators along the rail of the RV Seagoon: Hiram, Turpentine, Claudia, and Captain Drummingdale. Hiram is stroking his chin with a “well, that’s interesting” look. Turpentine is facepalming. Claudia is registering shock. Drummingdale is leaning over the rail and retching.
SUBTITLE (4): Aerial drone surveillance footage.
Translation (4): Filmati di sorveglianza aerea drone.
Panel 1: Extreme close-up: view of the front of a 1907 Saint Gaudens double eagle held between Turpentine’s thumb and forefinger. (views of the front and reverse of this famous coin can be found at) https://en.wikipedia.org/wiki/Double_eagle#/media/File:NNC-US-1907-G$20-Saint_Gaudens_(Roman,_high_relief).jpg (Accessed March 6, 2017)
CAPTION – TURPENTINE NARRATING (1): If Lady Liberty comes up, then Eliza will be our first subject.
Translation (1): Se esce Lady Liberty, allora Eliza sarà il nostro primo soggetto.
Panel 2: Extreme close-up: view of the back of the same coin shown between Turpentine’s thumb and forefinger.
CAPTION – TURPENTINE NARRATING (2): If the eagle comes up, then Daphne will go first, and Eliza will be her backup.
Translation (2): Se esce l’aquila, Daphne andrà per prima, ed Eliza sarà il suo sostegno.
Panel 3: Turpentine, having flipped the coin, which can be seen in mid-air just past its arc, in mid turn as it spins (indicate with motion lines.
Panel 4: Turpentine, having caught the coin in his right hand and brought it down on the back of his left (also indicate with motion lines, and an action word, designated below:!)
ACTION WORD (Turpentine’s catching coin) (3): Catch!
PAGE 40 (Three panels, with Panels 1 and 2 probably stacked on the left-hand side of the page, with Panel 3 taking up the right-hand side of the page. Do Panel 3 in color.)
Panel 1: Professor Turpentine, holding up a syringe which he is pointing to.
Turpentine (1): Of course, we are taking measures to reduce any possible distress in our subjects. For example, we intend to give them an injection of this…
Translation (1): Certo, stiamo prendendo delle misure per ridurre ogni possibile pericolo per i nostri soggetti. Ad esempio, intendiamo fargli un’iniezione di questo…
Panel 2: Eliza, her sleeve rolled up receiving an injection from a NURSE.
CAPTION – TURPENTINE NARRATING (2): …a solution of nanocytes that are thousands of times more efficient than human blood cells at storing and transporting oxygen.
Translation (2): …una soluzione di nanociti che è migliaia di volte più efficiente dei globuli umani nella conservazione e nel trasporto dell’ossigeno.
Panel 3: Eliza, sitting in a crossed-legs position at the bottom of cylindrical tank wearing a one-piece bathing suit, with a number of sensors attached to wires attached to her. She has her eyes closed.
CAPTION TURPENTINE NARRATING (3): With this injection, an inactive human subject can remain submerged for up to four hours.
Translation (3): Con questa iniezione, un soggetto umano inattivo può rimanere immerso fino a quattro ore.
Panel 1: Probably long on the side of the page. Close up view of Eliza in the giant tank wearing the “tentacle swim suit.”
Eliza (balloon with watery lines) (1): … … …
Panel 2: Close-up on a speaker on a control panel.
Eliza (radio balloon coming from speaker) (2): bzzt crackle hoff iss cocks bign faat like dis zz-pop!
Comment (2): Eliza’s underlying internal monologue here is something like “Yes! Cocks [that is, penises] big and fat like these” but obscured by transmission noise. The translation should include appropriate representations of “noise” and distortion.
Panel 1: Probably the largest panel across the top of the page. An institutional-looking room full of young women sitting at desks, filling out forms with pencils.
CAPTION – TURPENTINE NARRATING (1): We were surprised at the number of volunteers we got when word of our project got out on social networks.
Translation (1): Siamo rimasti sorpresi dal numero di volontari che abbiamo avuto quando la notizia del nostro progetto è apparsa sui social network.
CAPTION – TURPENTINE NARRATING (2): We did extensive psychological testing to root out cases of suicidality and mental instability.
Translation (2): Abbiamo condotto numerosi test psicologici per sradicare i casi di suicidio e instabilità mentale.
Panel 2: Turpentine in his office, being interviewed.
Turpentine (3): There were some legal issues, of course, but our philanthropic sponsor is well connected and found ways to deal with them.
Translation (3): C’erano alcuni problemi legali, ovviamente, ma il nostro sponsor filantropico ha buone conoscenze e ha trovato il modo di affrontarli.
Panel 3: A young woman wearing a hospital gown, sitting on an examination table and having her blood pressure checked by a nurse.
CAPTION – TURPENTINE NARRATING (4): We did rigorous medical screening.
Translation (4): Abbiamo condotto uno screening medico rigoroso.
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): Questa creatura, qualunque cosa sia, è altamente intelligente. Può facilmente eludere i normali metodi di acquisizione. Genera anche campi elettromagnetici e subsonici che interferiscono con le comunicazioni sottomarine. E arriva a tagliare anche i cavi di controllo.
SUBTITLE (2): Professor Eustace Turpentine, Innsmouth Institute for Marine Research.
Translation (2): Professor Eustace Trementina, Istituto di Innsmouth per la ricerca marina.
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): Ma di recente, l’intelligenza artificiale è avanzata al punto da poter produrre efficaci droni sottomarini autonomi.
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): La creatura lascia i droni da soli per qualche motivo. Questi droni possono anche penetrare nelle profonde trincee dove la creatura ama nascondersi.
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): Grazie a queste piccole macchine intelligenti, ora abbiamo un’idea della morfologia grossolana della creatura.
Panel 1: CAPTAIN IVAN DRUMMINGDALE (“Drummingdale’) stands at the bow of his ship, the RV SEAGOON. Drummingdale is a gaunt, tall, naval-looking man. He wears a short-sleeved white shirt with captain’s epaulets and a seaman’s cap. It is dawn in the tropics. Drummingdale is staring out to sea and speaks without turning around.
Drummingdale (1): You’re up early today, Professor Turpentine.
Translation (1): Oggi si è alzato presto, Professor Trementina.
Panel 2: Drummingdale stands on the rail next to PROFESSOR EUSTACE TURPENTINE (“Turpentine”). Turpentine is a short, fat man with a white mustache and a white fringe of hair around a head which would otherwise be bald. However in this panel he is wearing a pith helmet and a twin-pocketed shirt. He looks relaxed. Drummingdale, still staring over the rail out to sea, looks anything but.
Turpentine (2): It’s a big day for us, Captain Drummingdale. Our first attempt.
Translation (2): È un grande giorno per noi, Capitano Drummingdale. È il nostro primo tentativo.
Drummingdale (3): Oh, aye.
Comment (3): “Aye” is “yes” with an archaic or maritime flavor. To to the extent possible, the translation should reflect this.
Translation (3): Oh, sì.
Panel 3: Close-up on Drummingdale’s face. His jaw is clenched.
Drummingdale (4): Can’t say I approve of what you’re going to put those girls through.
Comment (4): “Can’t say” here means “I can’t say.”
Translation (4): Non posso dire di approvare quello che vuoi far passare attraverso quelle ragazze.
Panel 4: Close-up on Turpentine, though not quite as close up as on Drummingdale in the previous panel. Turpentine’s expression is one of jolly unconcern.
Turpentine (5): They both signed the release, Captain.
Turpentine (5): A “release” in this context is a legal document in which one person agrees not to sue another person for certain damages that might be incurred in an activity both are involved in.
Translation (5): Entrambe hanno firmato la liberatoria, Capitano.
Turpentine (6): They understand what they’re doing.
Translation (6): Capiscono quello che stanno facendo.
Esca (Italiano/Versione a pagina lunga) 
