Découpage

Sequence 10

Raul’s story 3 – 10.1. cemetery 2

316 – MS under Raul and Mário /
317 – Detail of an angle of the grave while it rains /
318 – MS of Raul and Mário. Mário puts his hat on and goes out of scene on the right. Raul turns to him /

With fusion the two characters return [316] in the cemetery as in the detail of the grave over which it rains [317]. Mário puts his hat on and gets out of frame [318], isolating Raul, who turns to him.

Raul’s story 3 – 10.2. shout

319 – Quick pan from right to left over the leafage /
320 – LS of Raul with his back turned in MS which goes away /
321 – Detail on Raul’s feet from behind and travelling forward afterwards / bottom-top pan up to MS of Raul raising his arm. Mário is in the background /
322 – CU of Raul’s profile who shouts /
323 – Raul from behind in MS shouting. Right/left pan over the road. Mário is in the background /
324 – Quick right/left pan over the leafage /
325 – Grass. Raul enters into frame from background, advancing to the cam. Bottom-top pan over the sky, afterwards top-bottom pan over Raul going away with his back turned /
326 – Swampy zone. Raul in the background comes nearer. Right/left pan following him. Raul falls down and stands up and shouts /
327 – Quick right/left pan over leafage /
328 – Grassland. Raul enters into frame from background /
329 – BCU of Raul who shouts and keeps still /
330 – Quick right/left pan over leafage /
331 – Tree and grass. Raul enters into frame from the right. Right/left pan following him while he shouts and walks up to the leafage /
332 – Quick right/left pan over the leafage /
333 – BCU of Raul shouting. Travelling forward over mouth’s detail /
334 – CU of Raul shouting. Different position from previous one. Travelling forward over mouth’s detail /
335 – CU of Raul shouting. Travelling forward /
336 – CU of Raul’s profile. Travelling forward /
337 – Raul in half profile from bottom shouting. Travelling forward /
338 – Raul from bottom shouting. Travelling forward /
339 – Detail of Raul’s nape. Travelling forward /
340 – Raul from bottom shouting /
341 – BCU of Raul from bottom shouting. Travelling forward /
342 – CU of Raul desperate. Travelling forward /
343 – Rauls profile from bottom shouting. Travelling forward /
344 – CU of a desperate Raul. Travelling forward /
345 – BCU of Raul’s profile shouting. Travelling forward.
346 – MS of Raul from bottom in half profile shouting. Travelling forward /
347 – Detail of Raul’s nape. Travelling forward /
348 – CU of a desperate Raul /
349 – A desperate Raul with his face covered. Travelling forward /
350 – Detail of the neck of a desperate Raul. Travelling forward /
351 – CU of Raul shouting. Travelling forward /
352 – Quick right/left pan over leafage /

Whipshot over the leafage [319], while music changes appears with its white zones over black background, almost as an abstract picture. The picture of LS of Raul going away on the road [320] turns darker when Raul is in the end of the road and on the following shots. Raul’s shot with his back turned in MS [323] is a continuation of the movement of raising arms [321], interweaved by the CU of Raul shouting [322]. The shot shows the empty road with Mário in the background. It returns to the quick pan [324] which works as a time elapsing indication. In the hayfield shot [325], Raul appears, who comes nearer to the cam till he is out of focus. The cam rises to the sky, which with its white seems a fusion in white, and goes down again framing Raul’s back moving away. The cam corrects on the right, framing the swamp [326], where Raul is already in frame, yet a little visible in the background. Raul comes nearer, falls down, shouts, stops and keeps within frame. The cam follows him. Again, the speedy pan over the grass [327], which is perfectly identical to the preceding one and to the following ([324], [330], [332] and [352]). The grassland [328], a kind of hyperbole in relation to the framing Cartesian axis, is empty. Raul appears from bottom with his arm raised foreshadowing the CU of Raul shouting [329] a kind of hyperbole in relation to the framing Cartesian axis, is empty. Raul appears under it with his arm raised foreshadowing the CU of Raul shouting [331], Raul appears, followed by the pan in his running, whose speedy rhythm is followed by the music. The cam roams over the leafage. The series of 19 CU of Raul in several positions [333-351]. and travelling forward over mouth’s details and of other parts (nape, nose, eyes, coat, ear, hand) that recall travelling forward in the direction of the fountain (see [90], [93], [96]) by the movement of the cam – although the same framing is repeated here and the cinema scene (see [153-192]) by the assembly of shots in several angles are repeated. Sequence is closed as it was opened: a quick pan over the leafage.

Raul’s story 3 – 10.3. meeting with Carmen

353 – Raul from top who comes out of the frame on the left /
354 – Sky. Raul enters into frame in the background and comes nearer to the cam. Pan from right to left following him over the sea wall /
355 – MS of Raul in half-profile. Right-left/top-bottom pan over feminine foot and left-right/bottom-top pan over Raul. The woman’s hand enters into frame from the left which stands on Raul’s back, who turns back. Right-left pan over Carmen’s face who eats a fruit /
356 – CU of Raul’s face and Carmen’s head from behind. Raul asks her about Mário and grows desperate /
357 – BCU of Carmen /
358 – LS with Raul and Carmen in MS. Raul moves away from her and goes towards the cam /
359 – Detail of Carmen’s legs from behind /
360 – Slow right-left pan over the leafage /

The Seq. opens with a perpendicular shot of Raul sitting and afterwards standing up [353], getting out of frame. In this moment, music changes and a slow rhythm is presented. In the white sky shot, Raul enters framed from bottom and followed by a pan over the sea wall, with a central perspective that converges into a vertical mark that signs him the limit [354]. on which Raul leans as if it were a jail bar. Raul grows desperate and the pan goes from its CU to a woman’s legs (Carmen Santos), to return to Raul, who turns back, and again over her in MS while she eats [355]. This kind of forward and backward pan that frames several details of the characters resembles a scene of the cemetery (see [297] and [299]). From the legs’ detail we understand that it is a woman probably different from that one of the meeting on the house’s threshold (see [260]). The fact that the woman eats provides her with an action connotation in contrast with Raul’s desperation. The latter, in CU [356], speaks the way as it had happened in the boat, but for the first time, helped by his gesticulation, words are readable on his lips; he looks for a tall and thin man. Carmen’s answer, whom we have seen from behind, is manifested by Raul’s desperation reactions. A BCU of Carmen with despising expressions follows [357]. The consequence is Raul moving away from Carmen [358], which resembles Raul in the boat repelling Taciana’s hand (see [79]). Raul goes toward the cam invading the frame with the black of his clothes. The detail of Carmen’s legs from behind follows, element in CU with the sea wall perspective which should converge to Raul already out of frame [359]. A slow pan closes the seq. in relation to the preceding ones ([360], see [324], [330], [332] and [352]) over the leafage. Cut.

Raul’s story 3 – 10.4. the search for the man

361 – Black. Right-left pan over the window showing out of focus landscape. Focus: Raul in the background makes a question to a tall and thin man and gets out of frame on the left. Right-left pan up to the black and afterwards to the other window where Raul is seen in the background who asks again and gets out of frame on the left. Right-left pan up to the black /
362 – LS of Raul in profile in MS near a fence moving away /
363 – CU from bottom of Raul. Left-right pan over his hand stretching the barbed wire /
364 – MS of Raul falling down /
365 – Detail of Raul’s feet. Bottom-top pan over the landscape and onto the sky. Top-bottom pan over the mountains onto the sea and the beach up to the detail of Raul’s hand.
366 – Detail of the grave’s grid: it rains /
367 – Clouds /
368 – Clouds /
369 – Clouds /
370 – Two crosses from bottom
371 – Cross facing forward /
372 – Beach /
373 – Nets
374 – Beach and nets /
375 – Nets /
376 – Hut and boat /
377 – Boats on the sand /
378 – Sand. A wave comes from the right twice
379 – Boat and fishermen /
380 – Sand drenched with waves on the right /
381 – Boats on the sand
382 – Bay and boats
383 – Cross facing forward /

The black of the screen [361], that could resemble a fusion in black, reveals itself as a wall when the window appears. The same effect has been achieved with the jail’s white wall in Olga’s escape sequence (see [39]). According to Fragelli, this opening surrounded by black resembles the moving picture screen, a metalinguistic citation. The landscape beside the window is at first out of focus. When the pan is interrupted, Raul is in focus, who turns to the cam and still asks about Mário, making gestures from which we understand the search for a tall and thin man. Afterwards black is back and once again the right-left pan continues and another part of the landscape appears with Raul asking the question to an undefined interlocutor and black is back. Here the music changes. Raul is beside a fence [362]. In each report there is a fence, in wood, bamboo, or barbed wire, that follows the characters in their peregrinations through rural roads. Raul moves away and stops again in front of another point of the fence. The CU of Raul from below [363] with his arm in BCU, who afterwards bends down in front of the cam, resembles that one of Taciana leaned on the stairs handrail in the sequence of the meeting at home with the man (see [110]), even though there with an inverted MS over the barbed wire which bounces released from Raul’s hands. The convergent wires perspective resembles that one of the telegraphic wires [45]. Raul falls down in front of the cam [364] and the body mass of his clothes in the darkness dominates the frame. The foot detail mingles with the leaves [365]. The cam ascends through the landscape up to the white sky, then it goes to the clouds, and descends over the detail of the hand. This rotation through the sky, which starts from a detail until reaching another one, resembles that one of the previous seq. (see [325]). The hand mingles with the grave’s detail [366] over which it rains [317]). This is a premonitory sign of a storm associated with the idea of death like the following shots of clouds ([367], [368], [369] see [287] and [291]) and crosses ([370] and [371]). There begins the series of shots ([372],[377]) of the beach with nets and boats that resembles that one of the beginning of Taciana’s report, which the change of music corresponds to. On the sand, waves come twice [378] from the right. (see [259] with waves from the left). The shot of the boat and the fisherman who weaves a net [379] would allude, according to Fragelli, to the movie plot. The waves come back [380] for three times and the boats ([381], see [377]). The sequence is closed with the detail of a cross ([383], see [371]), fused with the boats [382]. These fusions are distinguished within a sequence built by cuts.

Raul’s story 3 – 10.5. escape from the train

384 – Detail of the gasoline station with legs that pass by /
385 – Detail of the Raul’s feet facing forward /
386 – Detail of the gasoline station with legs that pass by /
387 – Detail of Raul’s feet facing forward /
388 – CU of Raul in profile from bottom /
389 – Man on his back in MS, in the railway station ticket booth, getting out of frame to the right. Left-right/bottom-top pan over the roof where a bell tolls. Right-left/top-bottom pan over the ticket booth. Raul enters into frame and goes up to the ticket booth /
390 – Detail of the moving locomotive /
391 – Detail of the train’s wheel in movement
Fusion

The shot from the top of the gasoline station ([384], [386]) shows only legs of passers-by preceded sometimes by their shadow. Among them there is interleaved the detail of frontal feet ([385], [387]) that walk and the MS of Raul below [388] which makes us understand that the feet were his. The man with his back turned turning in MS [389] is only an extra with his face visible when he gets out of frame. Quick pan over the roof where the bell tolls to announce the train’s departure, as it will be perceived in the shot of the train [390] and of the wheel [391]. Return pan up to the empty ticket booth, signalized by the plate which reads tickets, another written diegetic presence, Raul enters into frame. The detail of the wheel returns for the third time, with a new angle, after those that have concluded the escape from the jail ([46], [47]) and the escape from the factory [69] of Olga’s story.
Fusion