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Sunshine Days
- 9ABX18
염력의 천재

SCENE 1
VAN NUYS, CALIFORNIA
11:52 PM
 
(Night. Best friends BLAKE McCORMICK and MICHAEL DALEY are sitting on the bonnet
of a car, parked outside a Van Nuys house in a quiet neighbourhood. BLAKE is
whistling "The Brady Bunch" theme song.)

BLAKE: So, what do you think, man?

MICHAEL: What do I think about what?

BLAKE: That's the Brady Bunch house. That's "the" house - where they shot "The
Brady Bunch."

MICHAEL: What are you on? Crack? Does that honestly look like "The Brady Bunch"
house to you?

BLAKE: From inside it does. Straight up, dude. I was there delivering a pizza
last night, and the guy who lives there is all, like, tryin' to crowd the door
so I can't see inside. But then... he drops his Crazy Bread and bends down...
and *boom!* I see it all, man! "The Brady Bunch" house. (BLAKE squashes his can
and tosses it onto the pavement. He gets off the bonnet and walks over to toward
the house.) I'll prove it.

MICHAEL: No! Wait!

(Seconds later, BLAKE knocks on the green front door of the house.)

MICHAEL: What are you doing? Blake? It's midnight, man.

BLAKE: My honour's at stake, man.

(There is no reply to the knocking.)

MICHAEL: All right, nobody's home. Let's go. Come on.

BLAKE: It's not even locked.

MICHAEL: You're trippin', dude.

(MICHAEL and BLAKE quietly open the door and walk into the house.)

BLAKE: Huh? See? (Giggling) I told you.

(MICHAEL can't believe his eyes. It's an exact copy of *the* Brady house.)

(MICHAEL and BLAKE start exploring the living room, noticing all kinds of
things.)

BLAKE: This is exactly like the show. look at this! That weird horse sculpture
(laughing) and the vase that Peter broke. Mama always said, "Don't play ball in
the house." You remember that one?.

MICHAEL: I don't understand this.

BLAKE: Who's on crack now, huh?

(Breaking the silence, a dusty American football slowly bounces down the stairs,
stopping as it reaches the floor. )

MICHAEL: (Calling up the stairs) Hello?

(BLAKE picks up the football.)

BLAKE: Remember the episode where Marcia broke her nose? She got hit with a
football, right?

(MICHAEL looks spooked by the whole course of events.)

MICHAEL: Screw this, man. I'm outta here.

BLAKE: Daley, don't be a puss.

(MICHAEL reaches the door, opens it, and leaves quickly, leaving MICHAEL alone
in the house.)

BLAKE: Daley?

(BLAKE places the football down on the side. We hear children's laughter coming
from the first floor. BLAKE turns and starts up the stairs. He reaches to the
top of the stairs and slowly moves down the corridor toward the laughter.)

BLAKE: H-Hello?
누, 누구 있어요?

(BLAKE turns a corner upstairs and finds two young children, brightly dressed,
standing in the corridor.)

BLAKE: Bobby? Cindy?
바비? 신디?

(The two children turn and enter a bedroom. BLAKE races down the corridor to the
doorway. He turns the doorknob and enters.)

BLAKE: Wait! Wait!
잠깐! 기다려!

(Outside, MICHAEL is waiting for BLAKE in the car, tapping his fingers on the
wheel and checking the time on his watch.)

MICHAEL: Come on, man! Come on!
뭐해, 브레이크. 빨리 안나오고.

(Suddenly, MICHAEL is startled by a noise, similar to a gunshot. He looks
around. Suddenly the roof of the car is crushed downwards, caving in from
something heavy landing on it. MICHAEL starts feeling around. The glass of the
driver's door is smashed, and MICHAEL manages to pull himself out of the car. He
turns as he climbs out and looks up at the car roof. Lying in the middle of the
roof lies BLAKE, dead.)

MICHAEL: (Shocked) Oh, my God ...
오, 말도 안돼. 이런 빌어먹을. 젠장.

(Fade to black.)

SCENE 2
(Day. Outside the house in Van Nuys the next day. DOGGETT and REYES are looking
towards the heavens. They're trying to work out what happened.)

DOGGETT: I'm tellin' ya.
내가 뭐랬어.

REYES: No. I don't see how.
뭐가. 난 이해가 안돼.

DOGGETT: Well, how else do you explain it? A guy falls from a plane, or a... I
don't know, maybe a helicopter. Out the door and then... (falling whistle) ...
bam. Simple as that.
하지만 달리는 설명할 길이 없잖아. 비행기에서 떨어진 거라구. 아니면, 글쎄 뭐 헬리
콥터라든가...탑승구가 열리면서 그냥....꽝. 어려울 거 없어.

REYES: And how, exactly, did he wind up in a helicopter, when supposedly he was
busy breaking into someone's house at the time?
하지만 애가 어떻게 갑자기 헬리콥터를 타. 남의 집에 들어가서 이것 저것 뒤지느라
정신이 없었을텐데.

DOGGETT: Details.
너무 따지지 마.

(DOGGETT finds a piece of material on the car. He retrieves it, placing it in an
evidence bag.)

REYES: What you got?.
그게 뭔데?

DOGGETT: Maybe nothin'.
별거 아닐거야.

(A Police Car pulls up in front of the house. MICHAEL gets out.)

MICHAEL: You the people from the FBI?
FBI에서 나온 사람들 맞죠?

REYES: Michael Daley?
마이클 데일리야?

MICHAEL: Yeah. Is someone finally gonna arrest that freak?
네. 저 집 남자 그 또라이 체포하러 온 거 맞죠?

DOGGETT: Well, how about you tell us what you witnessed, and then we'll go from
there.
일단 목격한 거부터 얘기해봐. 그게 순서니까.

MICHAEL: What I witnessed was Freaksville, man! My friend was murdered. Who
would have thought this could happen at "The Brady Bunch" house.
글쎄 도대체가 말이 안되는 걸 봤어요. 내 친구가 죽었잖아요. 근데 왜 하필 "브래디
번치" 집에서 죽었냐 말이에요.

REYES: That's not "The Brady Bunch" house.
저건 "브래디 번치" 집 아니야.

MICHAEL: Yeah, it is. I mean, I know it doesn't look like it, but... but it is.
That's where they shot the show.
아니에요. 맞아요. 밖에서 보면 아닌데 그 집 맞아요. 그 드라마 저기서 찍었다던데요.

REYES: No, they shot the show on a soundstage in Hollywood. The house they used
for the exteriors is a split-level in Studio City. (Smiling) I took a picture of
it once.
아니야. 그 드라마는 헐리우드에 있는 세트장에서 찍었어. 외관용으로 썼던 집은 스튜
디오 시티에 있는 미니 이층집이고. 내가 직접 사진도 찍었는데.

MICHAEL: I'm telling you, it's like some kind of creepy Brady Bunch museum in
there. I told the cops to search the place, but they wouldn't listen to me. But
whatever the hell happened to Blake, it happened right in there.
글쎄 맞다니까요. 안에 들어가보면 알아요. 진짜 브래디 번치 박물관이 따로 없다니까
요. 경찰한테 수색을 해보라고 했지만 내 말을 안듣더라고요. 어쨌거나 어젯밤 그사건
그거 저기서 생긴 거에요.

(Later. DOGGETT knocks on the door and a middle-aged man, OLIVER MARTIN, opens
the door.)

DOGGETT: Oliver Martin?
올리버 마틴씨?

(He nods yes.)

REYES: Mr. Martin, I'm Agent Reyes. This is Agent Doggett. We're with the FBI.
마틴씨, 전 레이어스고 이쪽은 도겟 요원이에요. FBI에서 나왔구요.

OLIVER: This is regarding the death that happened across the street?
길건너에서 누가 죽었다는데 그 얘긴가요?

DOGGETT: Yes, Sir. May we come in?
그렇습니다. 좀 들어갈까요?

OLIVER: I-I already talked to the police about this..
이미 경찰한테 다 얘기했는데요.

REYES: Yes, Sir, we know.
네, 알고 있어요.

OLIVER: As I told them, I didn't see or hear anything. I wasn't home at the
time.
얘기했잖아요. 아무것도 못보고 못들었어요. 집에 없었거든요.

MICHAEL: This guy's stonewalling. Kick the door in.
지금 발뺌하는 거에요. 그냥 밀고 들어가버려요.

DOGGETT: Shut up.
자넨 가만 있어.

OLIVER: I'm... really kinda busy.
근데 지금 몹시 바빠서요.

REYES: Mr. Martin, just five minutes and we'll be out of your hair.
그냥 5분정도면 돼요. 그 정도면 다 끝날거에요.

(DOGGETT humours MARTIN.)

DOGGETT: Unless you want us to get a warrant, and then... we could be here for
hours.
수색영장을 가지고 올 수도 있는데, 그러면 다섯시간은 족히 걸릴 겁니다.

(MICHAEL pushes past them into the house.)

MICHAEL: Right in here, see?
글쎄 제 말이 맞...

(MICHAEL stops in his tracks. The house looks nothing like it did earlier.)

MICHAEL: What happened? This isn't what I. saw. None of it. It's all different.
Where'd it all go?
이게 뭐야. 제가 본 건 이거 아니에요. 하나도 없네. 전부 다 바꼈어. 다 엇다 빼돌렸
지?

OLIVER: I'm... not following.
난... 통 무슨 소린지...

MICHAEL: What happened to all the Brady Bunch stuff?
여기 있던 브래디 번치 소품 어디다 숨겼냐고.

REYES: Uh, Mr. Daley was under the impression that your house was used for the
filming of "The Brady Bunch", the television show.
아, 마이클 얘기는요. 이 집이 브래디 번치, 그 드라마 찍는데 사용된 집이라는 거에
요. 옛날 티비 드라마 아시죠?

OLIVER: Well... it wasn't.
그치만...이 집이 아니에요.

(Moments later, MICHAEL and the Agents leave the house and walk into the
street.)

MICHAEL: I know what I saw.
난 분명히 봤다구요.

(MICHAEL walks off. DOGGETT and REYES stop at the end of the driveway. DOGGETT
looks up on top of the roof.)

REYES: What are you lookin' at?
뭘 또 그렇게 봐?

DOGGETT: I want to check somethin' out.
한가지 조사해볼 게 있어.

(DOGGETT goes to a green rubbish bin in the backyard. He opens it and finds an
identical piece of roof tile that matches the piece he found earlier on the
car.).

DOGGETT: Ah-ha. Hold this, please?
아하. 이거 좀 가지고 있어.

(REYES takes the evidence bag. DOGGETT climbs up on the roof and sees a freshly
tiled section of the roof. It looks much cleaner than the rest of the roof.)

DOGGETT: (grunts) Ah-ha.
아하.

REYES: Twice with the "ah-ha's."
얘길 해. 뭐가 "아하"냐구.

(DOGGETT climbs down.)

DOGGETT: (sigh) The roof's been patched. When I was inside, I knew I smelled
fresh plaster.
이 지붕, 새로 고친거야. 그래서 안에 들어갔을 때 석고 냄새가 났었던 거고.

REYES: So, are you gonna fill me in?
그래서 뭐, 그게 어때서?

DOGGETT: A - Eyewitness places the deceased inside this house just prior to the
time of his demise. B - We found a fragment of roofing shingle at the scene of
the impact. It would seem it matches the discarded piece you now hold in your
hand. C - There's a hole in the roof, recently patched, this big around. Connect
A to B to C.
하나. 증인이 뭐랬지? 그 아이 증언에 의하면 의문사한 그 친구는 죽기 직전까지 이
집안에 있었다고 했어. 둘. 차에서 발견한 건 지붕을 잇는 널판지 조각이야. 그리고
자기가 들고 있는 그거. 그건 쓰레기통에서 발견한 건데 두개가 같은 종류야. 셋. 저
기 천정말이야. 최근에 고쳤어. 구멍이 이만하더라구. 어때. 이제 이해가 좀 돼?

REYES: Much in the fashion of, say, Daffy Duck or Wiley Coyote, the deceased
shot straight up through the roof, flew high into the air and landed on his
buddy's car? (Sceptically) You're serious?
감은 잡히는데 웃기는 만화같은 얘기잖아. 블레이크가 지붕을 뚫고 하늘로 솟구쳤다는
얘기 아냐 지금 응? 높이 솟아 올랐다가 친구 차 지붕으로 떨어졌다 그 얘기지? 농담하
는거야 지금?

DOGGETT: A to B to C. I gotta tell ya, I think I'm finally gettin' the hang of
this job.
상상력은 뒀다 뭐해. 이제야 슬슬 이쪽 일에 적응이 좀 되는 것 같아.

SCENE 3
FBI ACADEMY
QUANTICO, VIRGINIA
FBI 요원양성소. 버지니아주 콴티코

(Later. SCULLY is examining BLAKE'S body in the autopsy room. She is using a
voice recorder to note her findings.)

SCULLY: (Into microphone) Case number 1-4- dash-3-0-8, Blake McCormick. A well
nourished Caucasian male, 24-years-old. I will begin with my external
examination. (She walks around the body, noticing a large amount of grey
material stuck in BLAKE'S head.) And here is a likely place to start.
사건번호 일사-삼공팔. 블레이크 맥코믹. 백인남자. 나이 스물넷. 체격은 좋은 편. 우
선 외상에 대한 검사부터 실시하겠음. 외상으로 볼때 여기가 치명상인 것 같음.

(SCULLY hears a rattling noise and walks over to her instrument tray. A scalpel
is rattling around in the tray, all on its own. She reaches out and touches it.
She gets a small electrical shock.)

SCULLY: Ahhhh!
아!

(The rattling stops. She is dumbfounded.)

SCENE 4
FBI FIELD OFFICE
LOS ANGELES, CALIFORNIA
7:08 PM
FBI 임시 수사본부. 캘리포니아주 로스엔젤레스. 오후 7시 8분

*field office : A branch or subsidiary office of a government agency apart from
the central office.

(DOGGETT and REYES are sitting in an office. They are video-conferencing with
SCULLY, who is still at work at QUANTICO.)

DOGGETT: Help me out here, Agent Scully. Monica thinks I'm losin' my marbles.
What can you tell us about what happened to this guy?
스컬리가 좀 도와줘야겠어요. 레이어스 얘기론 난 정신이 나갔대요. 도대체 뭐가 어떻
게 된 겁니까?

SCULLY: Well for starters, Mr. McCormick was dead before he landed on the car.
His skull was pulverized from a previous impact. And judging by the roofing
material that I found in the wound, I'd say that Agent Doggett's theory holds
water.
우선 알아야 할 건요. 블레이크는 차 지붕으로 떨어지기 전에 이미 죽었다는 거에요.
그 전에 받은 충격으로 두개골이 부서져버렸거든요. 또 상처 부위에서 지붕을 이을때
쓰는 건축자재가 나온 걸로 봐서, 내 생각엔 도겟 요원 얘기가 일리가 있어 보이네요.

REYES: Well, like I asked Agent Doggett, how exactly can that be?
도겟한테도 물어본거지만, 솔직히 그게 어떻게 가능한데요?

SCULLY: Electricity.
전기같은 거요.

DOGGETT: How's that?
전기라구요?

SCULLY: Or maybe electricity is only a by-product. I'm... I'm not really sure.
But... look, I had an odd experience today. And, uh, and it made me think to try
something unusual. I borrowed an EEG machine, and I wired Mr. McCormick to it.
And for the last few hours, he's been putting off a faint reading.
아니면 전기는 일종의 부산물일지도 모르죠. 나도 자세히는 몰라요. 다만...어, 하여
간 오늘 아주 기괴한 경험을 했거든요. 그래서 평소에는 안하는 좀 색다른 실험을 하
나 해봤어요. 뇌파검사기를 빌려다가 블레이크 시체에 단자를 연결해서 한번 반응을
봤거든요. 근데 미미하긴 하지만 뇌파가 읽혀요. 몇시간동안이나 말이에요.

REYES: Are you saying he's alive?
그럼 아직 안죽었다는 얘기에요?

SCULLY: No. He's dead as a hammer. Uh... what I'm reading is some sort of
residual electricity, like a... like a battery that's draining off its charge.
(A monitor shows a faint reading.) It's fascinating. I mean, I've never seen
anything quite like it.
아니요. 확실하게 죽은 거 맞는데, 어...뇌파가 아니라 일종의 잔여전기 같아요. 무슨
얘기냐면, 배터리를 다 써도 미량이 남잖아요. 그런거요. 하여간 기가 막혀요. 솔직히
저도 이런 건 평생 처음 보거든요.

REYES: But what does it mean?
근데 이유가 뭘까요?

SCULLY: Well, if Mulder were here, I'd, uh, imagine he'd talk about research
linking electromagnetic fluctuations to levitation, poltergeist activity, ghost
sightings ...
멀더가 있었다면 아마 엄청 바빴을거에요. 벼라별 걸 다 끌어다 붙였을테니까요. 전자
기파는 물론이고 공중부양에다가 또...악령현상에서 귀신얘기까지 말이에요.

DOGGETT: Ghosts and poltergeists? That's what Mulder would say?
악령에다 귀신까지요? 멀더가 그럴거라고요?

SCULLY: At the end of the day, I wouldn't have any theory that was any better.
And I don't now.
하루종일 끙끙대도 아마 더 나은 결론은 안나올것 같아요. 지금도 그렇구요.

SCENE 5
(Later that night. Across the street from the Brady Bunch house, MICHAEL is
pouring a can of beer on to the ground in a mark of respect to his dead friend.)

MICHAEL: Here's to you, buddy.
명복을 빈다, 블레이크.

(He takes a final drink from the can and then tosses it aside. He walks over the
road toward the house. He climbs over a chain link fence and walks round to the
back of the house. He looks through a window and sees ALICE BRADY in the
kitchen, tending to the oven. She carries a tray of food through to another
room.)

ALICE: (Carrying food) Well folks, I made pork chops and apple sauce.
많이 들어요. 오늘 메뉴는 폭찹과 애플소스에요.

ALL: Oh!
와!

(MICHAEL looks through another window into the dining room window. He sees the
entire BRADY family sitting at the table, enjoying dinner.)

(MICHAEL runs around to the front door. He charges at the door which gives way
after two attempts. He runs into the house and finds the dining area completely
deserted. Standing in a doorway behind him is OLIVER MARTIN.)

MICHAEL: What is this, man? What in Holy freakin' hell is this, man?
이거 다 당신 짓이지. 황당무계도 유분수지 사람 까무라치겠잖아 진짜.

OLIVER: (Whispering) Please ... leave.
부탁이요. 나가요.

(MICHAEL is getting agitated.)

MICHAEL: They were here. I saw 'em! I saw 'em all!!
여기 있었어. 다 봤다구. 똑똑히 봤단 말이야!

OLIVER: (Whispering) Leave... before it's too late.
나가요. 괜히 나중에 후회하지 말고.

MICHAEL: I saw the Brady Bunch.
다 봤어. 브래디 가족이 다 있었단 말이야.

(OLIVER slowly shakes his head. Suddenly MICHAEL begins to rise into the air. It
takes him a few seconds to realise he is rising up. He tries to reach the floor
with his feet, but continues to rise upwards.)

MICHAEL: Oh, my God! What are you doing? Oh, my God. Oh, my God!
뭐야, 이거. 뭐하는 짓이야! 빌어먹을. 내려줘. 아악!

(Getting closer to the ceiling, MICHAEL screams out. He suddenly accelerates and
smashes through the ceiling. Roof tiles and plaster fall down towards OLVIER,
who is standing below.)

SCENE 6
(Day. Outside the house the next morning. A white sheet covers MICHAEL'S body.
As the sheet is pulled away, we see <KBS2 뿌옇게 가림>his body</KBS2 가림> is
lying about a foot below the surface of the lawn. DOGGETT and REYES examine the
body.)

(Behind the garden fence, a REPORTER is trying to direct her cameraman for her
story.)

REPORTER: Over here, guys! Get the body in the background!
저기 저쪽이요. 배경으로 시체가 나오게 해야 돼요.

REYES: Smile. All of Southern California's watching us scratch our heads in
confusion.
웃어야죠 뭐. 캘리포니아 주민 모두가 우리들 헤매는 거 스트레스 풀고 좋네요.

(The REPORTER is giving her report to camera as DOGGETT and REYES continue to
check the scene for clues.)

REPORTER: ... second time in one week, as this morning police were called to the
house.
...어김없이 경찰이 올리버 마틴씨의 집을 방문했습니다.

DOGGETT: So let's go get some damn answers.
그러니까 이젠 해결을 보자고.

REPORTER: There they found the body of a young man. Although authorities have
yet to release any information...
젊은 남자의 시체가 발견됐으며, 수사당국은 아직까지 발표를 자제하고 있는 것으로
알려져 있습니다.

(Later. DOGGETT pounds on the front door.)

OLIVER: I've said all I'm gonna say to you people! You don't like it, go get
your warrant!
알고 있는 건 이미 다 얘기했다니까요! 맘에 안들면 수색영장 들고 와요!

(OLIVER slams the door in their face.)

REYES: He called your bluff. Maybe we can get a warrant.
말로는 안될 것 같은데. 진짜 영장을 가져와야겠어.

(They walk away from the door.)

DOGGETT: Yeah. Judge, I want to toss the house of a man who makes people
magically zoom into the sky. It has somethin' to do with electricity and
poltergeists and what not. (Chuckling at the thought) Yeah, that'll fly.
그래 뭐. 판사님, 사람들을 허공으로 솟구치게 만드는 사람이 있어서 수색영장이 필요
하거든요. 전기장과 악령 뭐 그런 거하고 관련이 있어 보입니다. 허, 영장 잘도 주겠다.

(DOGGETT'S cell phone rings. He stops and answers.)

DOGGETT: Doggett.
도겟입니다.

SCULLY: So, the owner won't talk, huh?
집주인이 아주 비협조적이든데요.

(We see SCULLY is watching REYES and DOGGETT on the TV. The report is on Channel
NEWS 6 LIVE - Death In Van Nuys. We can see DOGGETT and REYES in the
background.)
긴급특보. 벤뉴이 의문사

REPORTER: (on TV) There you see the two officials...
FBI요원 두 사람이...

DOGGETT: Excuse me?
무슨 소리죠?

REPORTER: ... who we assume...
관계자들은...

SCULLY: (to DOGGETT) Smile. You're on TV.
웃어요. 티비에 나왔거든요.

DOGGETT: Ah...
아...

SCULLY: I'm in Los Angeles at the Field Office. I've called in someone whom
you'll both want to meet.
지금 LA임시수사본부에 와 있는데요. 꼭 만나보고 싶어할 만한 사람이 같이 계세요.

SCENE 7
(Later in the Field Office. The room is darkened as SCULLY plays a film to
DOGGETT and REYES. We see a young boy sitting at a table in front of some
coloured blocks.)

DR. REITS: (On film) April 4th, 1970, 10:36 AM. Present for this test are John
Reits, speaking, and Anthony Fogelman, age 8. Hello, Anthony. (Anthony waves to
the camera) Are you ready to begin? (Anthony nods) Good. Now, relax. Relax and
focus. Almost immediately the EEG is registering an increase of fast beta wave
activity on all leads. Theta activity is rising as well. Oh, my goodness. Oh! My
goodness. (DR. REITS gasps.)
1970년 4월 4일 오전 10시 36분. 실험자는 존 리이츠 본인이고 대상은 앤토니 포겔먼.
나이는 여덟살. 안녕, 앤토니. 준비 다 된거지? 좋아. 긴장을 풀고. 정신력을 집중해야
지. 거의 즉각적으로 뇌파검사기에 연결된 각 단자의 베타 수치가 급속히 상승하고 감
마 수치 역시 동반하여 상승했다. 세상에, 이런. 이런. 이럴수가.

(The film turns white. SCULLY turns off the projector and opens the blinds. DR.
REITS is sitting across a table from DOGGETT and REYES. He is a late middle aged
man, wearing a neat red and white striped necktie.)

DR. REITS: Well, there you have it. My right hand to God, all four blocks rose
off of the table, and spiralled halfway to the ceiling before they fell.
이게 그 테잎입니다. 하느님께 맹세하는데, 나무토막 네 개가 모두 책상 위로 떠올랐었
습니다. 빙빙 돌면서 반절까지 올라갔다가 떨어졌어요.

REYES: Too bad that wasn't on film.
녹화가 안된 게 정말 아쉽네요.

DR. REITS: (Laughs) The understatement of a lifetime. Whatever phenomena caused
this, I also believe that it radiated an electro-magnetic field strong enough to
defog the image. Well, don't be polite. Call me crazy. Everybody does.
평생 한번 있을까 말까한 경험이죠. 어떤 현상때문인지 확실하진 않지마는, 제 생각엔
이런 겁니다. 방사능때문에 화면을 완전히 지워버릴 정도의 강력한 전자기장이 형성된
겁니다. 뭐 괜찮아요. 미친 놈이라고 하세요.

DOGGETT: I believe you. (REYES looks stunned at DOGGETT'S admission.) Did you
recognize that kid? That was our suspect, Oliver Martin. Right?
전 믿습니다. 근데 혹시 아이 얼굴 봤어? 우리 용의자야. 올리버 마틴. 맞죠?

SCULLY: I went through Mulder's reference books. Van Nuys, California, 1970, one
of the best documented cases of what was initially thought to be poltergeist
activity. It focused on a young. boy, Anthony Fogelman, who has since changed
his name. And Doctor Reits was the parapsychologist who investigated it.
멀더가 모아놓은 참고자료가 있는데요. 1970년에 캘리포니아 벤뉴이에서 당시엔 악령
활동이라고 생각됐던 사건이 있었는데, 기록이 상당히 상세해요. 그 남자애 이름이 앤
터니 포겔먼이었는데, 이제보니까 이름을 바꿨나보네요. 당시 실험을 주관했던 사람은
초심리학자 리이츠 박사에요.

DR. REITS: Objects flew around the house. Rooms would grow inexplicably cold.
Strange voices would be heard. Anthony's mother was at the end of her rope. I
spent six months with her and her son. Six astonishing months.
물체가 허공을 날라다니고 방안엔 설명할 수 없을 정도로 추웠습니다. 이상한 목소리도
들렸고. 그 아이의 엄마가 어찌할 바를 몰랐기 때문에 제가 6개월동안 그 모자와 생활
했는데. 진짜 경이롭기 그지없는 반년이었죠.

REYES: What did you learn?
알아낸 게 있나요?

DR. REITS: That Anthony was as bewildered as everyone else. But that he was
responsible for all of it.
그 아이 본인도 남들만큼이나 무척 당황했어요. 하지만 분명히 그건 다 그 아이가 일으
킨 거였습니다.

SCULLY: He was psychokinetic.
염력을 쓰는 아이란 얘기에요.

(자막) 염력 / 정신력 원격조작, 즉 마음으로 염원하여 물체를 임의로 움직일 수 있는
능력.

DR. REITS: (Nodding) He was the Mozart of psychokinesis.
그 정도가 아니라 염력의 천재였어요.

REYES: Sir, in your line of work, why would you fall out of touch with the
Mozart of psychokinesis?
하지만 그런 염력의 천재하고 어쩌다가 연락이 끊어진거죠? 그건 좀 드문 일 아닌가요?

DR. REITS: (Pausing) Over time, Anthony's abilities faded. The last few months I
was with him, there were no manifestations of it whatsoever.
시간이 지나면서 아이가 점점 염력을 잃더군요. 그러다가 마지막 두어달 동안엔 염력을
거의 쓰지 못할 정도가 되버렸어요.

SCULLY: He lost his power?
염력을 잃은 거군요.

DOGGETT: We're lookin' at this guy for two murders. What can you give us that we
could actually take to a judge? Was he... Was he an angry kid? Was he violent?
이 친구는 두 건의 살인사건하고 연관이 있습니다. 판사가 납득할만한 그런 거 없습니
까? 애가 분노로 가득찼다거나 폭력적이었다거나 뭐 그런...

DR. REITS: I can't say what he grew up to be. I... haven't spoken to him in 30
years. But the Anthony I knew... was a lonely little boy.
자라서 그렇게 됐는지는 저도 알 수 없죠. 30년이나 연락이 없었거든요. 하지만 제가
아는 한엔, 그냥 외로운 아이였어요.

SCENE 8
(Standing on a stepladder, OLIVER is finishing patching the ceiling of his
house. He climbs down and walks over to the window, looking outside. He closes
the curtains. He closes his eyes briefly and when he opens them, his home is
transformed into the Brady House. As he looks around, all of the Brady children
come running down the stairs, giggling to each other. As the pass OLIVER, they
all say goodbye to him.)

MARCIA: Bye!
안녕!

JAN: Bye!.
안녕!

(OLIVER smiles. The phone rings, bringing him straight back to reality. The
answering machine picks up. It is DR. REITS.)

DR. REITS: This is a message for Oliver Martin. Oliver? I believe I knew you
years ago as Anthony. This is Dr. John Reits calling. Remember me? It's been far
too long, and uh... I'd love... I'd love to talk to you. I'd really... like to
catch up. Obviously, uh, you're all grown up now. It's funny. I have trouble
picturing that. My God, how time flies. But, uh, anyway...
올리버 마틴씨한테 남기는 메세지입니다. 올리버? 예전엔 이름이 앤토니 포겔먼이었어.
안그런가? 나 존 리이츠 박사야. 나 누군지 기억하겠지? 너무 오랫만이군. 이렇게 다
시 만나게 돼서 정말 반가워. 한번 만나서 회포나 풀까 하고. 이제 뭐 다 커서 어른이
됐겠지마는 그게 전혀 상상이 안가니 좀 웃기지? 그러고보면 시간 참 빨라. 히여간..

(The stepladder begins to vibrate.)

DR. REITS: ... you can reach me any time on my cell phone. 714-555-0146. I look
forward to hearing from you. Bye now.
...시간 나면 나한테 전화 좀 해. 핸드폰 번호가 칠일사-오오오-공일사육. 연락하기를
기다릴게. 그럼 잘있게.

(The plaster blade suddenly flies across the room, straight past OLIVER. It
imbeds itself in the phone, which lies on the floor.)

SCENE 9
(Moments later in the FBI Field Office. DR. REITS puts down the phone.)

DR. REITS: I guess he's not home.
집에 없는 모양이에요.

DOGGETT: He's home.
집에 있습니다.

(REYES is working at a computer in the room. She finds something.)

REYES: Ah- ha. I was wondering why a man with no criminal record would change
his name. And then I thought about the name itself. Oliver Martin. It sounded
familiar, so I ran it.
아하. 전과도 없는 사람이 왜 이름을 바꿨는지 난 그게 좀 이상하드라구요. 게다가 올
리버 마틴이란 이름이 이상하게 귀에 익는다는 거죠. 그래서 한번 조회를 해봤어요.

DOGGETT: Through what, NCIC?
어디다가. 범죄정보센터?

REYES: No. A Brady Bunch website. It popped right up.
아니. 브래디 번치 웹사이트. 근데 치니까 금방 나와.

(On REYES' monitor we see a BRADY BUNCH website. The page has a picture of
Cousin Oliver.)
브래디 번치 - 사촌 올리버

DOGGETT: Cousin Oliver. Who the hell's that?
사촌 올리버? 저게 누군데 그래.

REYES: Carol Brady's nephew. He came to live with the Brady's during the last
season of the show.
캐롤 브래디의 조카야. 드라마 끝나기 얼마 전에 한동안 브래디 가족이랑 같이 살았어.

DOGGETT: You're speaking Greek to me here, uh ... What's this case have to do
with an old TV show?
이거야 원 통 무슨 소린지... 이 사건하고 옛날 티비 드라마하고 대체 무슨 상관이야?

REYES: You remember what Michael Daley claimed he saw inside that house? He said
it was the Brady Bunch house. He seemed certain of it. And now this name, Oliver
Martin? Just connecting A to B to C.
마이클이 얘기한 거 생각안나? 그 집안이 어땠다고 했는지 모르냐고. 브래디 번치 집
하고 똑같았었다고 했잖아. 확실하다고 했어. 게다가 올리버 마틴이란 이름까지. 어때
이 정도면 감이 좀 잡히지 않아?

(DOGGETT smiles at REYES.)

DOGGETT: (To DR. REITS) Does this make any sense to you? When you knew Anthony,
was he nutty for the Brady Bunch?
지금 이게 이치에 맞는 소립니까? 어렸을 때 말이에요. 그 정도로 그 드라마를 좋아했
느냐구요.

DR. REITS: No. We'd watch it together.
아니요. 그냥 같이 보는 정도였죠.

DOGGETT: (To REYES) Okay, say he is. What's it mean?
일단 좋아했다고 치고, 그 다음 얘길 해봐.

REYES: Well, why name himself after cousin Oliver? None of the other Brady's
particularly liked Oliver. He was a self-described pest.
근데 왜 하필 올리버 마틴이냐 이거야. 걘 브래디 가족하고는 좀 달라. 자기 스스로도
인정했듯히 민폐거든.

SCULLY: A jinx. Cousin Oliver, the Jinx. (SCULLY tries to explain her knowledge
of the show.) Oh, so maybe I watched an episode or two. Uh... so what you're
saying is that, uh, his choice speaks to Anthony Fogelman's character. How he
views himself. Um, unlucky, star-crossed, a danger.
운이 없어요. 일종의 징크스같은 존재거든요. 그래요, 나도 두어번 본 적 있어요. 근
데 어쨌거나 레이어스 얘긴 이거잖아요. 그러니까 앤토니 포겔먼이 스스로를 그렇게
생각한다는 거 아니에요. 사촌 올리버 캐릭터처럼...불운하고, 불행하고, 또 위험하고
요.

*jinx : (불운을 가져오는) 재수없는 것[사람], 불운, 불길, 징크스

DOGGETT: Okay, so be it. Just tell me how this helps me bust him, and uh, I'm
happy.
그건 그렇다치고. 어떻게 체포할지 그거나 가르쳐 줘요. 난 그냥 그거면 만족하니까.

SCULLY: Well, I'm starting to hope that it doesn't come to that.
글쎄요. 솔직히 말해서 그럴 일이 없었으면 해요.

REYES: What do you mean?
그건 또 왜죠?

SCULLY: Well, the power that this man seemingly possesses is extraordinary. It
needs to be studied.
한번 생각해봐요. 이 사람이 갖고 있는 능력은 그야말로 아주 특별한 거거든요. 연구
해야 한다고 생각해요.

DR. REITS: It could expand the scope of human knowledge. It could change
everything.
인류지식의 한계를 뛰어넘는 거, 큰 거지요. 세상을 온통 바꿔 놓을 거구요.

SCULLY: It very well could. I mean, I've... I've been working this unit for nine
years now. I-I've investigated nearly 200 paranormal cases. We are due for some
incontrovertible proof. I want vindication, for ... for Mulder and ... for all
of us.
분명히 그럴거에요. 난 엑스파일에서 무려 9년을 일했어요. 그동안 초자연현상만 거의
200건을 담당했었구요. 고로 논박의 여지가 없는 그런 증거가 필요한 시점인데, 사실
그럴 때가 됐거든요. 멀더를 위해서나 또 우리 모두를 위해서요.

*이 에피소드는 (영화를 빼면) 200번째 엑스파일 에피소드이다.

(DOGGETT and REYES nod in agreement.)

SCENE 10
(Later. Outside OLIVER'S house.)

(DR. REITS knocks on the door as DOGGETT looks in one of the windows. We see the
house number is 8554.)

DOGGETT: What in the hell?
이건 또 뭐야.

(DOGGETT tries the door, but it's locked.)

DR. REITS: What is it? Agent Doggett, what?
아니 왜 그래요? 도겟 요원. 뭔데요?

(DOGGETT picks the lock and they enter.)

DOGGETT: Wait here.
기다리세요.

(DOGGETT closes the door and enters, finding himself inside the Brady house. He
walks around. A noise upstairs draws his attention and he heads up the stairs to
investigate.)

DOGGETT: Oliver Martin? FBI!
올리버 마틴씨! FBI요!

(DOGGETT finds OLIVER at the end of the hall.)

OLIVER: Get out of my house.
내 집에서 당장 나가요.

DOGGETT: Oliver, there's someone here that wants to talk to you. Dr. Reits - you
remember him?
마틴씨, 누가 찾아왔습니다. 잘 아는 사람이에요. 리이츠 박사 아시죠? 기억 안납니까?

OLIVER: Why won't you people just leave me alone? Please, get out..
당신들 도대체 왜 사람을 그냥 놔두질 않는 거야. 제발 나가달라니까!

(DOGGETT begins to levitate and grabs onto the doorknob to try and stay on the
ground. He continues to float up, hanging upside down onto the doorknob. His
hand lets go of the door and he crashes through the ceiling.)

(Fade to black.)

SCENE 11
(Moments later DOGGETT comes to. To his horror, he realises he is lying on his
back upside down on the attic ceiling. A light bulb hands down.)

DOGGETT: Oh, crap.
이런, 빌어먹을.

(He stands up on the ceiling and tries to jump down, but can't. He calls out to
DR. REITS.)

(Outside the house, DR. REITS hears DOGGETT's calls.)

DOGGETT: Oliver? Dr. Reits? I need some help up here. Oliver? You up there? Down
there? Whatever the hell?
마틴씨? 리이츠 박사님? 여기에요. 좀 도와주세요. 마틴씨? 위에 있죠? 아, 아님 아랜
가? 알게 뭐야, 젠장.

(DOGGETT sees OLIVER through the hole in the floor.)

DOGGETT: Oliver? Oliver?
마틴씨? 마틴씨?

(DR. REITS is now upstairs in the house looking for DOGGETT.)

DR. REITS: Anthony?
앤토니?

DOGGETT: Hey! Hey! I'm up here! Dr. Reits! Help me out here!
박사님, 나 여기에요! 리이츠 박사님! 나부터 내려줘요!

(We see ANTHONY kneeling down around a corner as DR. REITS approaches.)

DR. REITS: Anthony?
앤토니!

DOGGETT: Come back here, man! He's dangerous!
박사님, 가지말아요. 아주 위험한 녀석입니다!

DR. REITS: Anthony?
앤토니?

(ANTHONY stands up as DR. REITS sees him.)

DR. REITS: Anthony, let him go.
앤토니, 얼른 내려줘.

OLIVER: I can't.
잘 안돼요.

DR. REITS: Sure you can.
아냐, 할 수 있어.

OLIVER: No. I don't know how.
아니요. 방법을 몰라요.

DR. REITS: Anthony, you're a good person. I know that hasn't changed. Relax, and
focus, remember? (ANTHONY nods) Good. Relax ... and focus.
앤토니. 자넨 좋은 사람이야. 천성이 어디 가겠어. 긴장을 풀고 집중해봐. 좋아. 긴장
을 풀고 집중해봐.

(OLIVER starts to sob. DOGGETT suddenly falls through the ceiling with a loud
crash.)

SCENE 12
(Later on in the living room. DOGGETT is holding an evidence bag filled with ice
on the back of his head. REYES and SCULLY enter, amazed at what they see.)

REYES: Oh - my - God. This is ... Are you all right?
어머나 세상에 정말이잖아. 아니 대체... 많이 다쳤어?

DOGGETT: Yeah.
괜찮아.

(SCULLY checks his head.)

SCULLY: Just minor bruising.
가벼운 타박상 정도네요.

DOGGETT: Dana Scully? Meet Oliver Martin.
인사나 하시죠. 올리버 마틴씨에요.

DR. REITS: Uh... Anthony Fogelman.
아니요. 앤토니 포겔먼이에요.

OLIVER: Oliver.
마틴이에요.

SCULLY: Oliver. It's a great pleasure to meet you.
마틴씨, 만나게 돼서 정말 반가워요.

REYES: Where did all this come from, Oliver? How did you make this come to be?
이것들 다 어디서 난 거에요? 내 말은, 어떻게 이렇게 할 수가 있느냐구요.

OLIVER: (Exhaling) I think about it, and it's here.
그냥 생각하면 돼요. 그럼 생겨나요.

SCULLY: Can you think about other things? (Pause) What happens if you think
about another place? A nice place?
이거 말고 다른 것도 할 수 있나요? 예를 들어서, 장소요. 다른 장소에 있다고 생각하
면요. 아주 좋은 곳.

DR. REITS: Can you do that, Oliver? Please? It's important to me.
그런 것도 할 수 있나? 해보게. 나한텐 중요한 일이거든.

(OLIVER concentrates and suddenly they are in an open field next to the ocean.
SCULLY stands up in amazement.)

SCULLY: Oh, my god.
어머나 세상에.

(The illusion remains for a moment, then disappears. OLIVER is out of breath.)

OLIVER: Mainly... I like to be here.
하지만...여기가 더 좋아요.

(SCULLY is in awe of OLIVER.)

SCULLY: Oliver? With your help, we could learn so much. I would love to take you
back with us to Washington.
마틴씨, 좀 도와주세요. 연구할 게 너무 많거든요. 저희하고 같이 워싱턴으로 가주셨
으면 하는데 어떠세요?

DR. REITS: It would mean so much to me, Oliver, to show the whole world.
그래주면 나도 정말 기쁘겠네. 온 세상에 다 알려야지. 응?

(OLIVER nods his head.)

DR. REITS: Wonderful. Let's go get you packed.
정말 고맙네. 가서 짐부터 싸자구.

(OLIVER and DR. REITS go upstairs.)

DOGGETT: We've got a tiger by the tail.
호랑이 꼬리를 잡은 꼴이 됐어.

REYES: Do you believe he intended to kill you?.
진짜로 자길 죽이려고 했다고 믿어?

DOGGETT: He wanted me out of his house, and the way I went, it was involuntary
like a sneeze. What the hell difference does it make? It means he's not in
control of this power of his.
아니, 그냥 내쫓으려고 한건데 마음먹은대로 안된거야. 재채기하고 다를 게 없지. 참
아봐야 나올 건 나오니까. 자기 능력을 잘 통제하고 있어.

SCULLY: Well, I think that's where we can help him. I mean, he needs to learn
how to control his powers. I mean, my God. There's no end to what he could
accomplish.
그럼 그 부분은 우리가 도와주면 돼요. 자신의 능력을 스스로 통제하는 방법 말이에요.
한번 생각해봐요. 성취하지 못할 게 정말 하나도 없다는 얘기에요.

DOGGETT: And there's no end to the harm he could cause if he goes off the deep
end, which isn't too long a walk for this guy, in case you haven't noticed. I
mean, this whole Brady Bunch thing? I'm not so sure about this.
하지만 동시에 나쁜 짓도 마찬가지에요. 마음만 나쁘게 먹으면 매사 그걸로 끝장일텐데
그건 생각 안합니까? 이번에도 그래요. 둘이나 죽었잖아요. 솔직히 영 께름직해요.

REYES: Well, we can't keep him here. Two people are dead. Clearly, this isn't
working.
하지만 여기 놔둘수도 없잖아. 그래 두 사람이나 죽었어. 그러니까 최소한 여긴 안돼.

SCULLY: And besides, I mean... as grand as this may sound, we owe it to the
world.
물론 그런 면도 있긴 한데. 좀 과장되게 들릴지도 모르겠지만. 인류 전체를 위한 일이
잖아요.

DOGGETT: Maybe. Except that I can't shake this feelin' that the other shoe's
gonna drop. That there's somethin' Oliver's not tellin' us.
글쎄 뭐 그럴지도 모르겠지만 뭔가 좋지않은 예감이 들어서요. 저 친구 분명히 뭔가 숨
기고 있습니다.

(Upstairs. OLIVER comes out of a bedroom, holding the football in his hands.)

DR. REITS: Oliver? You coming?
올리버! 금방 갈까?

(A blue spark shoots out of his hand and he drops the football to the floor. He
looks more shocked than hurt.)

DR. REITS: Oliver?
올리버?

(Fade to black.)

SCENE 13
(AD SKINNER'S Office. SKINNER is shocked to find himself levitating about two
feet in the air. REYES is smiling.)

(DR. JAYCOCKS examines SKINNER, who suddenly begins doing back flips in the air.
SCULLY laughs.)

(SKINNER comes back on the ground, amazed.)

SKINNER: (Laughing) Wow!
아!

OLIVER: (His voice is now raspy) May I have a glass of water?
물한잔만 주실래요?

(SKINNER's assistant, ARLENE, pours him a glass of water.)

SKINNER: We'll only be a minute. Anything you need just, uh, ask Arlene.
잠깐이면 됩니다. 그리고 뭐든 필요한게 있으면 알린을 부르세요.

(SKINNER comes back in the room, shaking his head.)

SCULLY: So, what do you think, Dr. Jaycocks?
제이콥스 박사님은 어떻게 생각하세요?

DR. JAYCOCKS: What do I think? I think there's a hell of a lot of physics books
that are due for major rewrites.
어떻게 생각하냐구? 엄청 바빠지겠소. 물리학 책을 전부 다 다시 써야 할 판이거든.

(SCULLY laughs.)

DR. JAYCOCKS: And I think a year from now, you and Dr. Reits will be in
Stockholm accepting the Nobel Prize. (SCULLY and DR. REITS smile) This will
change everything. May I use your phone?
그뿐인가. 1년후엔 아마 자네하고 리이츠 박사는 스톡홀름에 가있을걸. 노벨상을 받아
야되거든. 전혀 다른 세상이 될게야. 전화 한통 쓸까?

SKINNER: Yeah.
그러시죠.

DOGGETT: So, you're onboard with this?
부국장님도 찬성하시는 겁니까?

(SKINNER sighs.)

REYES: What happens next?
근데 이젠 뭘 어쩌죠?

SKINNER: I want Kersh to see this. I want the Director himself in here. I mean,
do you realize what this means? This kind of proof? It ensures that they can't
shut you down. It means the X-Files will go on forever.
이걸 커쉬가 봐야 하는데. 솔직히 국장도 직접 와서 봐야 돼. 물론 왜 그런지 잘들 알
지? 완벽한 증거거든. 절대 엑스파일 폐쇄같은 거 없어. 엑스파일 부서는 영원히 존속
하게 될거야.

(Outside the room there is a loud bump.)

ARLENE: (gasp) Oh!
아!

(ARLENE suddenly bursts into the office.)

ARLENE: Agent Scully?!!
좀 나와보세요!

(In the entrance room to SKINNER'S office, OLIVER is having a seizure on the
floor.)

SCULLY: He's having a seizure. What happened?
경련을 일으키는 거에요. 왜 이러죠?

ARLENE: I saw a big spark, and then he just collapsed.
갑자기 불꽃이 번쩍하더니 그냥 쓰러지드라고요.

(SCULLY kneels on the floor, protecting OLIVER'S head. DOGGETT picks up the
phone.)

DOGGETT: We need an ambulance. We got a man havin' a seizure. Fourth floor, AD
Skinner's office. Make it quick.
구급차 좀 불러줘요. 경련환자라고 하고, 4층 스키너 부국장 방이니까, 빨리 오라고
해요.

SCENE 14
(Later. Hospital room. OLIVER rests as DR. REITS sits next to him. REYES and
DOGGETT are standing at the foot of the bed, watching over OLIVER.)

DR. REITS: It was just all the excitement. A little bed rest will do him
wonders, and we'll get things right back on schedule.
너무 흥분해서 그런 것 같은데, 좀 쉬고 나면 금방 괜찮아질 겁니다. 그럼 모든 게 계
획대로 진행될 거구요.

(SCULLY motions for them to join her outside in the corridor.)

REYES: What do his doctors say?
의사들은 뭐라든가요?

SCULLY: Oliver's electrolytes were severely imbalanced. That's what sent him
into shock. They've stabilized his fluids.
의사들 얘기론 전해질이 심한 불균형 상태라서 경련을 일으킨 거래요. 일단 그걸 안정
시키는데 총력을 다하고 있어요.

DR. REITS: Well, when will they release him?
그럼 퇴원은 언제쯤 하고요?

SCULLY: Well, there's other problems. His thyroid level is elevated, his glucose
is low, CPK liver enzymes and BUN, they're all elevated.
실은 문제가 또 있어요. 갑상선 수치가 높아져 있고, 글루코스 수치는 떨어진 데다가,
간장효소하고 혈중요소 질소 수치도 다 떨어져 있어요.

DOGGETT: Which in a nutshell means?
그걸 쉬운 말로 하면?

SCULLY: It points to a multi-system organ failure. Gradually, his body is
consuming itself. It's been going on for months, and ... maybe even years.
한마디로 오장이 제기능을 못하고 있다는 얘기에요. 상당히 오랜 기간 동안 에너지를
너무 심하게 고갈시켰대요. 짧게는 몇달동안에서 길게는 몇년동안이요.

REYES: Well, what's causing it?
원인이 뭐라는데요?

SCULLY: His doctors have no idea, but I think I'm starting to.
의사들도 전혀 모르는데, 하지만 대강 짐작은 가요.

DOGGETT: This power of his, it's eating him alive.
그 친구 그 초능력. 그게 명을 갈아먹는 거에요.

SCULLY: And if so, it follows that the more he uses it, the more his health will
decline ... until finally ...
그게 사실이라면, 초능력을 쓰면 쓸수록 생명은 그만큼 더 짧아진다는 얘기지요. 결국
마지막에 가선...

(REYES notices something strange in OLIVER's room.)

REYES: What in the hell?
어머 세상에 저건...

(The entire Brady family is standing around OLIVER's bed.)

SCULLY: Oh, my God.

(They rush back in, only to find OLIVER alone.)

DR. REITS: Oliver?
올리버?

REYES: Oliver, those people just now? Was that... Were they...?.
저기 방금 여기 있던 사람들이요. 그 사람들...그러니까 그게...

(OLIVER nods his head yes.)

DOGGETT: Why were they here?
뭐하러 온 겁니까?

OLIVER: To say goodbye.
작별인사 하려구요.

SCULLY: Why goodbye, Oliver?
갑자기 작별인사는 왜...

OLIVER: Because I'm dying.
제가 곧 죽거든요.

(SCULLY, REYES, DOGGETT and DR. REITS watch in silence as OLIVER lays back in
bed, clearly exhausted.)

SCENE 15
FBI HEADQUARTERS
WASHINGTON, D.C.
FBI본부. 워싱턴 D.C.

(In the X-Files basement office, DR. REITS' film of young ANTHONY is on the
screen. DOGGETT is watching it.)

DR. REITS: (On film) April 4th, 1970, 10:36 AM. Present for this test are John
Reits, speaking, and Anthony Fogelman, age 8. Hello, Anthony. Are you ready to
begin?
1970년 4월 4일 오전 10시 36분. 실험자는 존 리이츠 본인이고 대상은 앤토니 포겔먼.
나이는 여덟살. 안녕, 앤토니. 준비 다 된거지?

(SCULLY, DR. REITS and REYES enter.)

DOGGETT: Any change in his condition?
어때요. 차도는 좀 있어요?

SCULLY: Well, they're trying everything they can think of. Experimental drugs,
plasma transfusion.
글쎄요. 병원측에서도 최선을 다하고 있어요. 실험중인 약도 쓰고 혈장수혈까지 했다
니까요.

DOGGETT: None of that's gonna work.
전혀 소용없을겁니다.

DR. REITS: Why not?
그건 왜요?

DOGGETT: Because they're treatin' the symptoms, not the cause.
상처만 치료하고 있잖아요. 원인은 그냥 놔둔채.

REYES: What do you have, John?
무슨 소리야, 그게?

DOGGETT: One big question. Why "The Brady Bunch"? Seriously, you two are fans.
Why are people still watchin' a 30 year old TV show?
아주 중요한 건 말이야. 왜 하필 브래디 번치야? 두 사람은 팬이니까 알거야. 30년이
나 지난 티비 드라마를 왜 그렇게 열심히 보는데?

REYES: Because... they're the family everyone wishes they had. Loving parents,
lots of brothers and sisters, everybody getting along.
그거는...브래디는 모두가 선망하는 그런 가족이거든. 자상한 부모에 형제자매가 아주
많지만 우애가 보통 좋은 게 아니야.

SCULLY: They're the, uh, perfect family. And since Oliver didn't have one as a
child, he ... created one.
한마디로 완벽한 가족인데, 마틴씨는 그렇지가 못했고 그래서 스스로 그걸 재창조한거
죠.

DOGGETT: Sure, I'd buy all that. But in this case, why "The Brady Bunch"? Why
not "The Partridge Family"? Why not "Eight Is Enough"? (to DR. REITS) Where was
Oliver when you first saw "The Brady Bunch"? He was with you, right?
그래요. 그건 나도 동감인데. 문제는 왜 꼭 "브래디 번치"냐 이겁니다. "초원의 집"도
아니고 "월튼네 사람들"도 아니에요. 누구하고 그 드라마를 보셨습니까? 혹시 마틴하고
그 드라마를 본 거 아니에요?

DR. REITS: He'd always insisted we watch it together, every week I was there.
나하고 같이 보고싶다고 해서 매주 그 아이 집에서 같이 본 거 맞아요.

DOGGETT: And the longer you two were together, the more his psychokinetic power
faded, until finally it went away completely. Now, what do you think that was?
그리고 또 하나는 같이 있으면 있을수록 염력이 점차 약해졌고 결국에는 완전히 사라
져 버렸다고 하셨죠? 박사님은 왜 그런거 같습니까?

(Long pause. DR. REITS slowly realises DOGGETT'S reasoning.)

DR. REITS: Because for the first time in his life, he was happy.
왜냐하면 그 아인 그때 평생 처음으로 행복했던 거에요.

DOGGETT: Because he was with you.
박사님하고 같이 있어서요.

SCULLY: Well, what are you suggesting is the course of action, John?
그렇다면 앞으로 우리가 뭘 어떻게 해야 한다고 생각하죠?

DOGGETT: A - Oliver's gonna die if he continues to use his power. B - his power
goes away when he's happy. And C - you're the father he never had, and he loves
you. A to B to C.
하나. 초능력을 계속 사용하면 마틴씨는 결국 죽고 만다. 둘. 행복하면 초능력이 사라
져 버린다. 마지막으로. 아버지가 없었던 마틴은 박사님을 아버지처럼 따랐다. 대강
이해가 돼요?

(REYES, SCULLY and DR. REITS silently agree with DOGGETT'S theory.)

SCENE 16
(Later in Oliver's hospital room. A male ORDERLY is trying to feed OLIVER.)

ORDERLY: Come on, Oliver. You gotta eat somethin', man. Doctor's orders.
그러지말고 조금이라도 좀 먹어요. 의사 지시라구요.

(DR. REITS enters the room.)

ORDERLY: (to DR. REITS) Talk to him, will ya?
설득 좀 해보세요.

(The ORDERLY exits.)

DR. REITS: Oliver? You have to understand. My life's work ... the vindication of
it, it's so important to me. I let it blind me. I treated you like ... a lab
rat, and not a man. And 30 years ago, I left, with barely a goodbye. I am sorry
for that. You can't use your power. Not ever again. I forbid it.
올리버. 자네가 좀 이해해줘. 내 평생의 연구. 또 그걸 증명하는 일. 그게 내겐 너무나
도 중요했어. 그래서 그만 내가 눈이 멀었었나봐. 내가 그만 자네를 실험용 쥐 취급을
했지 뭔가. 30년 전에 난 그냥 훌쩍 인사도 없이 떠났어. 정말 미안하게 생각하네. 자
넨 이제 염력을 쓸 수 없다네. 두 번 다시는. 내가 용납 못해.

OLIVER: I can't be alone.
혼자 있으면 그게 안돼요.

DR. REITS: You won't be. You've got me. Can you forgive me, Oliver?
혼자는 무슨. 내가 있잖아. 날 용서해줄 수 있겠나, 올리버?

OLIVER: Anthony.
앤토니에요.

(DR. REITS laughs with happiness. He sits down at OLIVER'S bedside. The agents
watch on from the corridor as DR. REITS feeds OLIVER.)

DOGGETT: So close, Dana. I'm sorry you don't get your proof.
아깝게 됐어요. 증명할 수 있는 절호의 기회였는데.

SCULLY: Me too. Well, maybe I've had it these past nine years. If not proof of
the paranormal, then ... of more important things.
그러게요. 하지만 지난 9년동안 이미 많은 걸 얻었어요. 물론 초자연현상에 대한 증거
는 아니지만 더 중요한 것도 많거든요.

(After pausing to look at OLIVER, SCULLY walks off down the corridor, leaving
DOGGETT and REYES in the hallway.)

DOGGETT: Well, here's hopin' the TV stays off and he learns how to love the real
world.
티비 드라마는 그만 좀 잊고 현실을 사랑하게 됐으면 좋겠어.

(REYES reaches down and takes his hand in hers.)

REYES: I think you are getting the hang of this job.
이제 일에 제법 적응을 하는 것 같으네.

(REYES and DOGGETT smile warmly at each other.)

THE END