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PAGE 11 (Two panels)

Panel 1: A group of Motofupo people, looking grim, are walking up a gangway onto a ship, guarded by some U.S. Marines.

CAPTION – PSEUDO-NARRATION (1): No historical record discloses what happened nineteen years after the Scelleratini brothers made their movie.

Translation (1): Ningún registro histórico revela lo que sucedió diecinueve años después de que los hermanos Scelleratini hicieran su película.

CAPTION – PSEUDO-NARRATION (2): During World War II, the Motofupo people were compelled to leave their island.

Translation (2): Durante la Segunda Guerra Mundial, el pueblo de Motofupo se vio obligado a abandonar su isla.

Panel 2: A helicopter shot showing a space with quonset huts and the tiny figures of busy Navy personnel scurrying around doing important wartime tasks.

CAPTION – PSUEDO-NARRATION (3): The United States Navy established a base and a field hospital there.

Translation (3): La Marina de los Estados Unidos estableció una base y un hospital de campaña allí.

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PAGE 10 (Four panels)

Panel 1: Still in the same apartment where the interview is taking place, but Eliza is now on tiptoes taking a heavy book down from a a high shelf.

Unseen interviewer (1): Seriously, aren’t you afraid?

Translation (1): De verdad, ¿no tienes miedo?

Eliza (2): I have something to make the fear go away. Have you heard of the Roman poet Lucretius?

Translation (2): Tengo algo para alejar el miedo. ¿Has oído hablar del poeta romano Lucrecio?

Panel 2: Close-up around some text, the following lines from Lucretius’s De rerum natura, set in a very old typeface or (better if possible) as medieval manuscript: “respice item quam nil ad nos ante acta vetustas/temporis aeterni fuerit, quam nascimur ante./hoc igitur speculum nobis natura futuri/temporis exponit post mortem denique nostram.“

CAPTION – ELIZA NARRATING (3): He explains that we didn’t exist for an eternity before being born, and that wasn’t bad. So why should it be bad once we stop existing?

Translation (3): Él explica que no existimos por una eternidad antes de nacer y que no hay nada de malo en eso. Entonces, ¿por qué habría de malo en dejar de existir?

Panel 3: Eliza, now sitting cross-legged in her big wicker chair. She has the large book she brought down in Panel 1 resting open on her lap. She’s pointing down at something on a page.

Unseen interviewer (4): And you buy that?

Comment (4): “And you buy that?” is an idiom in American English, the literal meaning of which is “Do you really believe that?”

Translation (4): ¿Y tú te crees eso?

Eliza (5): It’s what David Hume told James Boswell as Hume was wasting away, about to die. But Hume was calm and even told jokes.

Translation (5): Es lo que David Hume le dijo a James Boswell cuando Hume se estaba debilitando, a punto de morir. Pero Hume estaba tranquilo e incluso contaba chistes.

Panel 4: Eliza looking down at the page of the book open on her lap, reading.

Eliza (6): From Boswell’s account: “I asked him if the thought of annihilation never gave him any uneasiness. He said not the least; no more than the thought that he had not been, as Lucretius observes.”

Comment (6): Eliza is quoting from a real literary work, James Bosewell’s Life of Johnson. If there is a public domain version of the Life in your target language, you are encouraged to substitute its text for your own translation.

Translation (6): De acuerdo con Boswell: “Le pregunté si la idea de la aniquilación nunca le causaba alguna inquietud. Dijo que en lo más mínimo; no más que la idea de no haber existido, como dijo Lucrecio”.

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PAGE 8 (Four panels)

Panel 1: Identical panel to Page 4, Panel 2 above, except that one of the young women participating in the ritual of drawing has had a circle drawn around her head. An arrow is additionally drawn pointing to the circle.

CAPTION – PSEUDO-NARRATION (1): In a stroke of amazing luck, researchers were able to find one of the original native women filmed by the Scelleratini brothers and interview her on camera.

Translation (1): En un increíble golpe de suerte, investigadores lograron encontrar a una de las indígenas originalmente filmadas por los hermanos Scelleratini, y entrevistarla con una cámara.

Panel 2: The girl from Panel 1, now an ancient, withered old woman of about 95 (“The Ancient.”) She is sitting in a simple chair and is dressed in a plain gray cotton dress.

The Ancient (2):: Ketiap sembilan belas tahun, sang dewa akan datang dari kedalaman. Jika kami memberikan pengantin untuknya, ia akan memberkati para penduduk dengan kesehatan yang baik dan ikan yang melimpah.

SUBTITLE – TRANSLATING THE ANCIENT (3): Every nineteen years, the god would come from the depths. If we gave him brides, he would bless our people with good health and abundant fish.

Note (3): If the target language is Bahasa Indonesia, a translation of (3) should be omitted.

Translation (3): Cada diecinueve años, el dios emergía de las profundidades. Si le dábamos esposas, bendecía a nuestro pueblo con buena salud y pescado en abundancia.

Panel 3: Same as Panel 2, but a slightly different pose.

Unseen Interviewer (out-of-panel balloon) (4): Apakah ada gadis yang takut terpilih?

The Ancient (5): Tidak ada yang takut. Kami semua ingin dipilih.

SUBTITLE – TRANSLATING THE UNSEEN INTERVIEWER (6): Were any of the girls afraid of being chosen?

Note (6): If the target language is Bahasa Indonesia, a translation of (6) should be omitted.

Translation (6): ¿Alguna de las jóvenes tenía miedo de ser elegida?

SUBTITLE – TRANSLATING THE ANCIENT (7): No one was afraid. We all wanted to be chosen.

Note (7); If the target language is Bahasa Indonesia, a translation of (7) should be omittted.

Translation (7): Nadie tenía miedo. Todas queríamos ser elegidas.

Panel 4: Same as Panel 3, but a slightly different pose.

The Ancient (8): Dewa dari kedalaman akan mencintai pengantinnya dengan cinta yang jauh melebihi cinta yang dapat diberikan pria mana pun kepada seorang wanita. Ini membuatnya layak untuk dilakukan, sekalipun sang dewa akan memakanmu.

SUBTITLE – TRANSLATING THE ANCIENT (9): The god of the depths would love his brides with a love far surpassing that which any man could show a woman. That made it worthwhile, even if he would eat you.

Note (9): If the target language is Bahasa Indonesia, a translation of (9) should be omitted.

Translation (9): El dios de las profundidades mostraría a sus esposas un amor que superaría con creces lo que un hombre pudiera mostrarle a una mujer. Eso hacía que valiera la pena, incluso si te comía.

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