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PAGE 22 (Four panels)

Panel 1: Yacht Crewman #1 and Yacht Crewman #2 in the boat by the side of the Yellow Rose, as if viewed through Barron Jr.’s camera. Yacht Crewman #1 has a harpoon raised and aimed, presumably at the tentacle beast. One small tentacle is reaching over the side of the boat. Yacht Crewman #2 is sitting in the back of the boat steering an outboard motor.

Yacht Crewman #1 (1): I’ll get you, you motherfucker!

Translation (1): Ich erwisch’ dich schon, die Mistvieh!

Panel 2: Yacht Crewman #1 and Yacht Crewman #2 appear as blackened silhouettes as some sort of massive electrical discharge hits their boat. The whole craft is surrounded by a flash as if of lightning.

SFX – BOAT AND CREW BEING ELECTRO-FRIED (2): KZZZ-ZOT!

Translation (2): BRZ-ZZL!

Panel 3: Phoebe’s head resurfaces just a bit. A tentacle covers a triangular region around her mother and nose, rather like a medical breathing mask. Her eyes are closed, and her expression looks almost blissful.

Panel 4: Ripples in the region of water where Phoebe’s head has been pulled underneath for one last time.

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PAGE 19 (Four panels)

(Note: footage)

Panel 1: Another, smaller column of water on the surface of the sea as Phoebe is jerked back underwater.

SFX – SUBMERGING (1): Fwoosh!

Translation (1): Fwuusch!

Panel 2: A tentacle has emerged above the same surface of the water as in Panel 1. It is swinging around Phoebe’s bikini top, which the beast below has presumable stripped off her. (Indicate with motion lines.)

Panel 3: A spot on the deck of the Yellow Rose, close-up. Phoebe’s bikini top landing on the deck, presumably tossed there by the beast below

SFX – WET BIKINI TOP LANDING ON DECK (2): Splut!

Translation (2): Flapp!

Panel 4: Same as Panel 2, but now it’s the bikini bottom landing next to the top.

SFX – WET BIKINI BOTTOM LANDING (3): Plop!

Translation (3): Plopp!

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PAGE 18 (Four panels)

(Note: More Super 8 camera “footage.”)

Panel 1: Barron Jr. has zoomed in on something (possibly make it clearer with a little “ZOOM” in one corner of the panel). It is one of Phoebe’s ankles. The tip of a tentacle has wrapped itself around the ankle.

Panel 2: Phoebe in the middle of being yanked off her feet and dragged under the rail by the pull of the tentacle. Her hands are splayed out forward as she is falling, her sunglasses gone askew.

Phoebe (jagged, panicked balloon) (1): WHOOP!

Translation (1): AAAH!

Panel 3: View over the rail. Phoebe has been pulled into the sea, her fall throwing up a column of water.

SFX – Phoebe hitting the water (2): SPLASH!

Translation (2): PLATSCH!

Panel 4: Phoebe’s head resurfacing briefly as she pulls herself back up above water.

Phoebe (3): Akhhh!

Translation (3): Akhhh!

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PAGE 17 (Four panels)

(Note: More Super 8 camera “footage.”)

Panel 1: Barron Sr. and a WEALTHY FRIEND (another corpulent middle-aged man), both wearing sunglasses, tacky Hawaiian shirts and Bermuda shorts, sitting on deck chairs sipping drinks.

Wealthy Friend (1): President Reagan sure did a number on those air traffic control thugs and their union, eh?

Translation (1): Präsident Reagan hat diese Fluglotsen und ihre Gewerkschaft ganz schön beschissen, was?

Barron Sr. (2): Here’s hoping he takes on the coons and the spics next.

Comment (2): “Coons” is a highly derogatory term for African-Americans, “spics” a highly derogatory term for Latino Americans. The use of them in dialog here is to show Petrobux as a nasty racist – something hardly unusual for a man of his social position and geographic origin. Translate them with discretion.

Translation (2): Hoffentlich nimmt er sich als nächstes die Afros und Latinos vor.

Panel 2: Wealthy friend is sitting up peering over his sunglasses, while Barron Sr. is waving Barron Jr. and his camera away with a gesture of his hand (indicate with motion lines).

Barron Sr (3): Move along, son. This is grown-up talk.

Translation (3): Verschwinde, Junge, hier reden Erwachsene.

Panel 3: Phoebe is in her bikini, leaning slightly backwards with her hands on the rail, looking forward, enjoying the sun and sea. She is also wearing sunglasses and her body glistens a bit from her having put on sunscreen.

Panel 4: Same as before, but now Phoebe is looking into Barron Jr.’s camera with an admonitory expression.

Phoebe (4): Barron…

Translation (4): Barron…

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PAGE 16 (Four panels)

Note: There should be some sort of framing around the panels on this and some succeeding pages to indicate that they’re “footage” taken with Barron Jr.’s Super 8 camera.

Panel 1: Barron Jr.’s hand pushing open a cabin door somewhere below decks on the Yellow Rose.

SUBTITLE (1): Camera footage taken by Barron Jr., son of Barron Sr.

Translation (1): Filmmaterial von Barron Jr., Sohn von Barron Sr.

Panel 2: We see past the door into the interior of a cabin. Phoebe, evidently surprised while changing into a bikini, is holding her as-yet-unfastened bikini top over her breasts with one arm, while charging forward and reaching for the door with her other. She wears an appropriately angry expression.

Phoebe (2): Get out of here, you little pervert!

Translation (2): Raus hier, du Kleiner Spanner!

Panel 3: View of a gangway, leading up to the deck.

Panel 4: View off the deck of the Yellow Rose. We can see the rail on the side of the deck, beyond that the ocean, and beyond that in the distance the trees and hills of the Island of Motofupo.

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PAGE 14 (Four panels)

Panel 1: Hazel in interview pose, now slumped backwards.

Hazel (1): And she wasn’t the only one. Two more of us also disappeared in almost exactly the same way.

Translation (1): Doch sie war nicht die einzige. Zwei weitere Mädchen verschwanden auf fast die gleiche Weise.

Panel 2: A fat folder containing official reports, sealed and with a large stenciled word CLASSIFIED stamped across it

CAPTION – HAZEL NARRATING (2): The Navy ordered us not to talk about it. They said it would be bad for morale.

Translation (2): Die Navy ordnete an, dass wir nicht darüber sprechen durften. Sie sagten, dass sei schlecht für die Moral.

CAPTION – HAZEL NARRATING (3): People asked fewer questions about orders back then, you know.

Translation (3): Früher stellte man Befehle weniger in Frage, wissen Sie?

Panel 3: A panel showing the Bride’s dive in the water, as if taken from the Scelleratini film of 1905, a split second after the scene on Page 5, Panel 4 above, such that the Bride has broken the surface of the water, and has submerged down to her waist.

CAPTION – HAZEL NARRATING (4): I tried not to think of it much myself, but in the late 1970s, I think, I saw a film clip of film made by some Italian people of the same place from long, long ago. I think it was on PBS late at night.

Comment (4): “PBS” stands for “Public Broadcasting System,” an American television network funded by a combination of government, corporate, and listener contributions. It has a focus on education and high-culture television and is not sponsored by advertisers like most of the rest of American broadcast television.

Translation (4): Ich versuchte, nicht so sehr daran zu denken, aber…ich glaube es war in den späten 1970er Jahren, da sah ich diesen Filmausschnitt von Italienern, die vor langer, langer Zeit auch dort gewesen waren. Ich glaube, das war auf PBS.

Panel 4: A panel showing a front page of the Dallas Morning News for Tuesday, October 6, 1981. A large part of the front page would be a posed formal picture of PHOEBE PETROBUX (a very pretty and probably blond teenager, who we’ll see more of below) under the headline TEXAS TEEN STILL MISSING IN SOUTH PACIFIC. (Possible filler headlines, taken from real world history for that day that could be included for verisimilitude, could be RAOUL WALLERBERG MADE HONORARY U.S. CITIZEN and REVEREND SUN MYUNG MOON INDICTED FOR TAX EVASION).

CAPTION – HAZEL NARRATING (5): And then we all read that terrible story about the poor girl from Texas.

Translation (5): Und dann lasen wir alle die schreckliche Geschichte über das arme Mädchen aus Texas.

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