A Night At The Movies
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TO: O5-7
수신: O5-7
FROM: Pendergast, William
발신: 펜더가스트, 윌리엄Pendergast, William
RE: Planetary Survey Data - Relevant
회신: 행성 조사 데이터 - 관련
URGENCY: HIGH
긴급도:

Sir,
감독관님,

The latest data from Khevtuul 5 is in. We have two possible exoplanets that are theoretically suited for human life. In addition to being candidates for an eventual colonization effort, the preponderance of Goldilocks Zone planets points to an increased likelihood that an alternative site for human civilization can at some point in the future be established.
케브툴 5호에서 보낸 최신 데이터가 나왔습니다. 이론적으로 인간이 살기에 적합한 태양계외 행성이 두 개 있습니다. 최종 식민지 활동의 후보지가 될 뿐만 아니라, 골디락스 존1에 포함된 행성이 많다는 것은 미래의 어느 한 순간에 인간 문명이 설립될 법한 대안 행성이 있을 가능성이 높다는 것을 말합니다.

It is also worth noting that our probes continue to find no sign of HEs, or any extraterrestrial life for that matter. If I may express a personal opinion, I find this surprising. Nevertheless, the longer we go without contact, frankly, the better.
또한 탐사선이 계속해서 고등 지성체나 다른 외계 생명체의 신호를 찾을 수 없다는 것도 밝혀두겠습니다. 개인적인 견해를 말하자면, 꽤나 놀라운 결과라 생각합니다. 그래도 솔직히 말하자면, 접촉이 없으면 없을 수록 더 좋습니다.

This seems to lend further credence to the human survival hypothesis. Consider releasing some of this information to help build morale among the operatives. They could use it.
이는 인간 생존 가설에 더 큰 신빙성을 부여하는 것 같습니다. 이 정보 중 일부를 공개해 요원들의 사기를 북돋는 걸 고려해주십시오. 간절히 바라고 있을 겁니다.

SIGNED
서명

General William Pendergast
윌리엄 펜더가스트 대장
Lead, Project Heimdall
프로젝트 헤임달 책임자

TO: Pendergast, William
수신: 펜더가스트, 윌리엄
FROM: O5-7
발신: O5-7
RE: re: Planetary Survey Data - Relevant
회신: 회신: 행성 조사 데이터 - 관련
URGENCY: HIGH
긴급도:

General,
대장,

Appreciate your latest message. It looks like Two may be right after all. That's something, at least, while we're dealing with 001.
귀하의 최근 메시지 감사합니다. 보아하니 결국 2가 맞았던 모양이군요. 001을 상대하고 있는 상황에서, 적어도 그거 하나는 좋네요.

Couple of things to remember as you look out there. We're beginning to believe that 001 resides somewhere out in physical space. Not like you needed any reminders, but look out for anything that might fit the description. That includes communications. It might try to talk to us again.
그쪽 찾아보는 동안 명심해야 할 게 몇 가지 있습니다. 001이 물리적인 우주 밖의 어딘가에 존재한다는 생각이 들기 시작했습니다. 뭐 모를 거라 생각하는 건 아닙니다만, 묘사에 들어맞는 게 있다면 조심하세요. 통신도 포함됩니다. 우리한테 다시 말을 걸려 할 수도 있으니까요.

The other thing you should know is that I was the one back in '54 that got the message from it. That message hasn't been declassified yet but you're likely to be the first that gets any other messages. So you should know.
또 아셔야 할 것은 54년에 놈으로부터 메시지를 받았던 게 바로 저라는 겁니다. 그 메시지는 아직 기밀 해제되지는 않았습니다만 또 다른 메시지를 받는다면 먼저 당신이 받을 가능성이 크니까요. 아셔야 할 것 같습니다.

Some stuff that isn't in the file. Whatever it is, knows about the Foundation, because the message came straight to me. And that's because I was the man in charge of finding out what was behind the spike in anomalous activity. It's very familiar with us, General. And it knew enough about me to know I was a movie buff.
파일에는 없는 것들도 있죠. 놈이 뭔지는 몰라도, 재단에 대해 알고 있습니다. 왜냐면 놈의 메시지가 곧바로 제게 왔으니까요. 그건 제가 당시 변칙 활동 급등의 이유를 조사하는 책임자였기 때문이고요. 놈은 우리가 아주 익숙합니다, 대장. 게다가 제가 영화광이라는 사실을 알 정도로 저에 대해서도 잘 알고요.

It left me directions to some place out in the desert. Not so far that I couldn't get there in a few hours. So it knew where I lived. I drove out with a team in some jeeps, and in the middle of nowhere, there was a movie house. And I mean the middle of nowhere. No roads, no human habitation. There in a washed out gully was the movie house I'd gone to as a little boy. We were a little more wild in those days, and so I told my boys to wait while I went inside.
놈은 제게 사막 어딘가에 있는 장소로 안내했어요. 몇 시간 안에 도착할 만한 거리에 있는 장소였죠. 전 팀을 꾸려서 지프차 몇 대를 끌고 나갔고, 난데없이 영화관이 나타났습니다. 정말 뜬금없이 나타났죠. 길도, 사람이 살 만한 집도 없는 곳인데 말이에요. 황량한 협곡에 제가 어렸을 때 자주 가곤 했던 영화관이 있었다 이 말입니다. 그 때의 우린 지금보다 조금 더 무모했기에, 팀원들에게 전 제가 들어가볼 동안 밖에서 기다리라 말했습니다.

It speaks to us in performance. It likes it better that way. It could just tell us whatever it wants, really. But this is one more way to mind fuck us, I think. Anyway. Nice and air conditioned inside. Colder than hell. Soon as I sat down, the lights dimmed, and it showed me a movie. Not like any movie I'd ever seen, but it was most certainly a movie.
놈은 행위를 통해 우리와 소통하려 합니다. 그 방식을 더 선호하죠. 물론 바로 뭘 원하는지 말을 할 수도 있을 겁니다. 하지만 이 방식이 아마 우리를 조롱할 수 있어서 선호하는 거겠죠. 어쨌든간에, 영화관 내부는 깔끔하고 냉방 장치까지 있었어요. 지옥보다는 시원했죠. 제가 자리에 앉자, 불이 꺼지더니 놈은 제게 영화 한 편을 보여줬어요. 여태껏 봐왔던 그 어떤 영화와도 같지 않았지만, 영화라는 건 분명했습니다.

The title was "Planet of Hands," in English. It didn't make a whole lot of sense. There wasn't a story, as such. More like a disjointed series of images. Some stuff was real famous and I recognized it immediately. A lot of military footage, scenes of large battles, aftermaths of bombing campaigns, stuff like that. I recognized Stalingrad from the news reels, and there were some scenes of what I assume was the Battle of Passchendaele. I didn't realize there were movies of that.
제목은 "손의 행성"이었습니다. 영어로 쓰여있었어요. 영화는 별로 말이 안됐어요. 줄거리라 할 만한 것도 딱히 없고요. 사진들을 일관성 없이 늘어놓은 거에 더 가까웠죠. 어떤 사진은 정말 유명해서 바로 알아볼 수 있었어요. 군사 작전 영상, 큰 전투의 장면, 폭격작전의 여파 뭐 그런 것들이었어요. 뉴스 영화에 나왔던 스탈린그라드를 알아볼 수 있었고, 파스샹달 전투의 한 장면 같은 것들도 있었습니다. 그에 대한 영화가 있는지는 몰랐었죠.

Mixed in with that, though, were other things. Some were filmed scenes, same quality as the other stuff, of what had to have been other events from history. Mass starvations, a volcano eruption or two, villages of Indians being run through by Spanish conquistadors. Not very subtle.
그게 전부는 아니었고, 다른 것들도 한데 섞여있었어요. 어떤 것들은 다른 장면들과 비슷한 화질로 촬영된, 역사적 사건들의 영상이었습니다. 대기근, 화산 폭발 한두 개, 스페인 정복자들이 인디언 마을을 침략하는 뭐 그런 것들이요. 못알아볼 만한 것들은 아녔죠.

Then the scenes of the Sites started. Still shots of buildings and facilities, all of which I knew to be ours. Pretty clear message for us there. Are you with me so far? Strange stuff, but nothing we hadn't encountered before. That's when it got bad.
그러곤 기지들이 나오기 시작했습니다. 건물과 시설의 정지 화상으로, 전부 우리가 소유하고 있는 것으로 알고 있던 것들이었죠. 우리에게 분명한 메시지를 보내고 있는 것이었습니다. 잘 따라오고 있으신가요? 놈은 분명 기이하나, 여태껏 조우한 그 어떤 것과도 같지 않았어요. 거기서부터 일이 틀어지기 시작했습니다.

At the next instant, I was no longer in the theater. I was in my seat, but everything around me had changed. Vibrant colors, oversaturated hues like a mad painter had conjured them, they were everywhere. People, things, places, swirling around me, all of it lit up like neon, so that I could see things after I closed my eyes. And it was just a mass of unspeakable acts. All of the rape, murder and pillage from thousands of years had been forced into the room, each act phasing into and out of others, moment to moment. I can't recall any image staying in the room more than a few seconds, except the scene directly in front of me. It was a Turk, I think, clothed in a resplendent robe the color of Technicolor blood, his face barely visible behind an electric blue beard. He was casually forcing people down onto a sharpened stake embedded in the ground, impaling them, over and over, the victim coming into and out of focus. First an old woman, then a soldier, then a child, back to another woman, each one after the other, bang bang bang. The blood would splash on his robe and he would glow brighter each time. He didn't look angry, or hateful. He looked like this was the most natural thing in the world, pushing someone down onto a stake until it forced its way up through their guts as they screamed until they bled out. If I had focused on another part of the room for any length of time, I think I would have seen similar things.
눈 한 번 깜빡 하니, 영화관이 아니었습니다. 전 여전히 자리에 앉아있었지만 주변이 변해버렸죠. 꼭 미친 화가가 만들어낸 것 같은 강렬한 색상과 과도한 색조들이 사방에 있었습니다. 사람들, 물건들, 장소들이 제 주변을 멤돌았고, 네온 사인처럼 불빛을 내어 눈을 감아도 볼 수가 있었습니다.

How long this went on, I can't say. I was a younger man then, and I'm not ashamed to say that at a certain point I just covered my eyes and waited for it to stop. I would probably do the same today. When I finally looked up again, the theater was back around me, the movie still being screened.
이게 얼마나 지속된 건지는 저도 잘 모르겠습니다. 당시 저는 젊었고, 어느 시점에서 그냥 눈을 가리고는 그 일이 끝나기를 기다렸다고 말해도 그다지 부끄럽지는 않습니다. 지금도 같은 행동을 취했을 테니까요. 마침내 다시 눈을 뜨니, 영화관이 되돌아와 있었고 여전히 같은 영화가 재생되고 있었습니다.

What I saw up there was myself, now a part of the movie. I looked obscenely happy. At my age I don't look into a lot of mirrors, but I tell you I have never seen a smile like that on myself, then or now. That, more than anything else, has stayed with me. You should never be surprised by an expression on your own face, it's awful. In the movie, I was boarding something; like a big wooden ark, I suppose. Something out of a kid's book about Noah and Flood, purely symbolic. I watched myself onscreen as I stepped into the ark. Some other people were getting on with me. A woman, a black man, some children, an old Chinaman, all walks of life I guess, no one I recognized. When we were all aboard, the ark lifted into the heavens, sailing through the cosmos. It even had the Buck Rodgers music in the background as the stars whizzed by. The ark came to what I assumed was a planetary system of some kind. A planet, looking a lot like Earth, blue and white and brown and green, at the center of a wild system of moons. I thought of an atom. The ark moved closer and closer to one of the moons, until it came into view. This wasn't like Earth. This was a darkened nightscape, illuminated by fires dotting the land. All that was visible was soot, smoke, fire, a few rusty scraps of metal twisted into big, man-sized shapes.

You know how the music swells when the movie ends? That was happening as we all disembarked as the ship touched down on the night moon, all of the characters on the screen looking just ecstatic with joy. As I said, disconcerting when you see something like that on your own face. The movie was fading out now, but rather than the "The End" placard appearing like it does, some other text appeared, this time in Russian. "вместо того, чтобы вернуться домой," which we think was intended to be something like "come home instead." Why it started in English and finished in Russian, I have no idea. Maybe some smart-ass commentary on the Cold War. Which would be a point of hope in dealing with this thing. Fallibility.

I have my suspicions as to why this doesn't show up in the main file. That doesn't matter, though. You need context for any future attempts at communication from 001. Now you have it.

Watch yourself.

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