"Musette" movie script
Screenwriter/(French) Robert Bresson
Director/Robel Bresson
Translation/Shiquan
Movie preview
A series of subtitles are superimposed on some scenes of the film, accompanied by the lines in the film.
Arcena: (calling) Musette! ...Muset, Musset, Musset, Musset!
Subtitle 1: Will appear on this screen soon,
The singing of the girls: You have to be full of greater hope,
Subtitle 2: One by George,
Singing: Columbus points to the horizon,
Subtitle 3: George Bernano and Robert Bresson sang,
Singing: The vast sky,
Subtitle 4: A Mass,
Singing voice: Tell them, three days later,
Subtitle 5, Mass in black and white,
Singing: In three days, I will hand over the world to you,
Subtitle 6: It talks about rape,
Singing: To you desperate people,
Subtitle 7: The story of the rape of a little girl, in short,
Singing: He opened his eyes and looked at,
Subtitle 8: In short, a Christian film depicting sadism,
Singing: The deep and boundless sky.
Subtitle 9: Mouset,
Mousset: (Medium close shot, facing the audience) You can trust me. I hate them...I can deal with all of them.
Voice: (Voiceover from the night) Musset! ... Mousset, Mousset, Mousset, Mousset.
Subtitle 10: Will appear on this screen soon.
There are no credits at the beginning of the film, which appear after the first scene.
Church interior
Medium shot: A woman about forty years old is sitting on a chair in the dark. This is Musette's mother. With pain on her face and tears in communication, she said to the audience.
Mother: (whispering) What would they be like without me. I'm always thinking about this... as if there is a stone in my chest.
She stood up, (the audience found her in the church at this moment) and walked out of the picture. The camera stays on the empty picture, Monteverdi’s music sounds, and the credits appear. There was the sound of mother's footsteps walking on the stone slabs.
The music stops, and the opening caption fades away.
Woods·Shrubs·Glade·Daytime
There was a sound of footsteps in the undergrowth. A half-length shot of a man (looking at Madillo, a forester), who is watching vigilantly, hiding behind a tree. His other one zoomed in to the camera (his face could not be seen all the time). He moved vigilantly behind the bushes, and the camera panned with him. He stopped. A close-up shot of his eyes. The branches and leaves of the forest cover part of his eyes. Mid-close shot: the back of a man, wearing a leather jacket, raising his hand to take off his peaked cap. The camera pans to his hand holding the cap for a close-up. The man whom people can only see with his hands-Arcena, opened the leather of his hat and took out a slipknot for catching small animals. He folds off a branch of a hazel tree (the camera pans to the side), fixes the slipknot to the branch, and covers the rope on the slipknot with the branch. Close-up of cutting branches with his hands. Close-up: Watch the forester Madillo's eyes watching the poacher Arcena's every move. Several dog barks were heard in the distance. The camera turned to Arcena's hands again, he placed the branch and the slipknot on the ground, and placed two more slipknots in succession. Always watching his close-up shots of Lin Ren.
Panorama: A group of small quails spread their wings and glide and fell. The camera shakes between the several genistein plants to make a close-up shot. The little quail shook his head lightly and walked around. Close shot of a small quail. A close-up of a slipknot. Close-up shot: Madillo, the forester, stares at the slipknots through the branches and leaves of the trees. A close-up of a slipknot. A small quab enters the screen. Its head stretched into the slipknot, and the slipknot tightened and strangled its neck; the small quail struggled. The flapping of wings. Close-up shot: Arcena stared at the small quail with piercing eyes. Close-up of Lin Ren's eyes. Close-up of another slipknot. A bobbin fell into it, struggling to fly away. The sound of flapping wings. A close-up of a slipknot. Close-up of Lin Ren's eyes. Feature: A small quab is struggling. Close-up: Watch Lin Ren's eyes turn in another direction. A close-up of a dying quail that fell into a slip knot. Close-up of Lin Ren's eyes. Close-up: A small quail is struggling desperately. Close-up of Lin Ren's eyes. Close-up: Arcena stared at a bobbin. He turned his head abruptly and stared at another place (seeing the eyes of the forester Madillo). Close-up: Like Arcena, Madillo stares at the slipknot and the partridge alternately. Close-up shot: Arcena's eyes moved between the slipknot and the partridge. Arcena's eyes disappeared. Through the dense branches and leaves, people can vaguely see Arcena's slowly moving figure away. He arched his waist and backed away without a sound. Panoramic view: Watching the forester Madillo jump out of his hiding place with a stride. Middle shot: He stands motionless (with his back to the audience), seeming to be looking at Arcena's figure wherever he appears. Panoramic view: Madillo saw Arcena swiftly fleeing through the branches and leaves of the trees. From a distance, there was the sound of footsteps and the rustle of leaves. Arcena's figure disappeared. Panoramic view: Watching Forester Madillo jumped a step forward to see more clearly. The leaves rustle. Panorama: Arcena's figure is fleeting in the distance. There was a slight sound of footsteps from far away. Close-up shot, then turned to close-up shot: a small quail that is dying but still twitching, dragging a slipknot and twigs, struggling to move forward. Madillo's body enters the picture, and he follows behind the small quail. Close-up: Madillo stretched his hand forward and grabbed the partridge. He took off the slipknot on the bird's neck and held the bird in his hands for a while. The little quail gradually regained its vitality. He let go of his hands, and the bird immediately spread its wings into the air. The flapping sound of bird wings. Panoramic panning: The small quail flies towards the treetops.
Dilapidated and shabby hut, exterior view
Panorama: Through the branches and leaves of the trees, you can see a dilapidated and simple hut in the distance. From far away came the sound of footsteps. Arcena's figure appeared. He quickly stepped into the hut and disappeared into the hut.
highway
Middle shot: Seeing forester Madiyo walking out of the grass with a gun and a backpack slung on the road (panning the camera), he walks forward along the road (pulling behind the camera). His leather shoes with iron palms creaked on the asphalt.
Voiceover: The shouts and laughter of the children came from a distance.
Middle shot: The road leads to the entrance of the village, facing the outer wall of the school. Looking at the forest man Madijo (his back side facing the audience diagonally, we can see his big side back) walking by the front of the school, and a group of girls are walking into the school. He gradually walked away, the camera shook with the girls. Children in blouses and large schoolbags walked into the open fence gate leading to the campus. There were shouts from the girl. Among these children (from nine to fifteen years old), a little girl in a black blouse left the others, stopped in front of the fence, and glanced at the other side of the road. Several girls walked into the school behind her, and one of them turned to look at Mouset who had been standing still.
Little girl: Musette! ...
The half-length shot of Musset, her sluggish eyes always looked at the road. Cut out.
Look at the Forester Madillo's House
A panoramic shot of the front of the house. Footsteps. Watching the back of Madiyo, the forester, carrying a gun and a backpack, he leaned toward the audience and walked to the door. Go into the house.
Madillo's Kitchen
Medium shot: Madillo closed the door, leaned the gun against the wall, and walked toward the middle of the room, opened the backpack, and took out the slipknots from the inside.
Madillo: It's him again!
Close-up (shaking the camera): Madillo's hand puts the slipknot on the table. He walked out of the picture, his wife appeared in the picture, taking his place (her face was out of the picture and could not be seen), and she picked up the slipknot with both hands.
Cafe·Interior·Night
Medium shot: Arcena stood in front of the counter and drank his noodles with a toast. He put the cup on the counter, but still held it in his hand. The waitress Luisa refilled his glass without saying a word. He picked up the cup and drank.
Louisa: Let’s go, Arcena... Let’s go. It's time, don't stay here.
He put the glass on the counter after drinking. Louisa poured another glass for him. Arcena held the cup and took a step towards the camera, drinking. In the background, Luisa is wiping a cup.
Louisa: Let's go, I beg you.
Reverse the camera, looking from the counter: Luisa's back is shown in the foreground. In the back view is the glass door of the cafe. Arcena faced the audience and put the cup on the counter.
Arcena: Okay.
He turned around and walked slowly towards the door. Reverse shot: Luisa stands behind the counter facing the audience, wiping a cup.
Louisa: Come back.
Reverse shot: Arcena turned his back to the audience. He opened the door and walked into the night. The door is still open. Reverse shot: Luisa, who was standing behind the counter, was washing Arcena's used cups and looking towards the door. There was a sound of footsteps outside. After a while, Madiyo, the Linman, walked into the cafe with neither a gun nor a backpack. He walked towards the audience and looked at the counter outside the screen. Close shot: Look at Lin Ren's hands next to Louisa's on the counter. Middle shot: Madillo took Luisa's hand.
Madillo: Luisa!
Luisa broke her hand free. She walked out of the picture. Medium shot: Louisa is standing behind the counter, a little further away, holding a bottle of wine and a glass in her hand, her eyes visibly disgusted.
Louisa: Mr. Madillo!
Reverse shot, middle shot: Madillo faces the audience and lowers his eyes. In the corner of the foreground stood Louisa, she filled a wine glass. Madillo took the glass and drank. There was the sound of a car motor. An old pickup truck stopped in front of the cafe, and the light from the car lights reflected on the front wall of the cafe. Madillo turned to the door.
In front of the café·Exterior·Night
The two headlights of the truck were facing the direction of the audience, shining brightly in the dark night. The car stopped while the engine was still roaring. A car door slammed shut, and a figure passed by the car lights. At the back of the car, Musette’s father and brother (medium shot) opened the tarp that covered the car and proceeded to pull out a pile of various old goods from the car. Finally, they found two boxes of wine. . The roar of the truck died down. Musette's father picked up a box of wine and was about to move it away, but suddenly stopped. There was the sound of cars driving, and a police car stopped not far away. On the roof of the car, a light rotates to shine around. A police officer sitting next to the driver pushed the car door and looked into the night.
Middle and close shots: The father and son stand still, silent. Medium shot: After the police officer closed the door, the car started and pulled out of the screen.
A close-up shot of two boxes of wine, the father and son picked up the boxes again. Panning the camera to get the panorama: The two figures flashed in front of the car lights.
Cafe·Interior view
Panorama: The boss is standing in front of the open store door, and the father and son walk in carrying the box. The boss closed the door. Panning: Father and son walk along the counter into the back room or storage room, and the boss follows behind. The lady boss was standing at the cashier's counter at the counter, wiping the cup while silently watching their clandestine behavior. Medium shot: The lady boss walks out of the frame; the camera points to a dilapidated coffee pot on the counter (close shot).
Middle shot: The store door opens slightly, and the night outside is heavy. The sound of the motor. The figure of the proprietress was on the foreground side. She stood behind the counter, placed three glasses, poured wine, and walked aside. The father and son came over and toasted to drink. The boss was standing at the counter, his hand reaching into the screen. Close shot: This hand put a few banknotes on the counter, and my father grabbed the banknotes with both hands. The boss filled their glasses again. Close-up: the wine glasses are raised and the three clink. Middle shot: Father and son drank in one fell swoop-the boss's figure appeared in the corner of the screen, and he also drank with a drink. The father and son put down their glasses, turned and walked out of the cafe, and left without closing the door. Their steps faltered slightly.
Highway·Night
Medium shot: The small truck parked there, with two lights shooting at the audience. The door of the car was slammed shut, making a loud noise. The engine turned intermittently, crying like a whistle, and roaring again. Pull the camera, pan: The truck rushes from the left to the right, walking in a zigzag shape, just like dancing. A car drove by in a whirlwind, and we could recognize it from the headlights. It was the police car.
Panorama: On the highway at night. Heavy trucks passed by (the lights), the small trucks almost collided with them, and barely avoided them at the last minute. The lights flickered and the car roared.
Panorama: The small truck finally avoided a truck, turning a corner and stopping in front of the torn down fence of Musette's house. The lights are shining. Several trucks passed by on the highway.
Mousset House·Interior view
Middle shot: In dim light, Musset is standing in front of his mother's bed, which is the only bed in the room. On the highway, trucks rumbling past, the white light from the car lights reflected in this cabin from time to time. Mousset shook her mother's bedside table in front of him, with a dim oil lamp and some messy medicines on it. There was the sound of a car engine in the yard. Mousset turned his head and walked a few steps forward. A short shot of the scene before and after the connection: Mouset looked out the window motionlessly.
A panoramic shot of what she saw: the light of the truck's headlights shined on her courtyard at regular intervals. The father and son got out of the pickup truck rather hard, staggering. They unloaded a few things from the car.
Mouset stood at the window, she slowly turned her head, closed her tired eyes for a while, and then walked out of the picture.
Middle shot (slightly overhead shot): Her mother is lying on the bed. Mouset appeared in the foreground. She put a pan on the bedside table and took out a plaster from it. The roar and sparkling lights of trucks passing by on the highway pounced into the house from time to time. Musette untied his mother's waistcoat and shirt, put the plaster on the shoulders and chest of the floor, and stuck it to the place that his mother pointed out with her hand. Mother looked at her quietly. Reverse shot: A half-length shot of Mousset facing the audience. She stood up, dropped her arms, and looked down at her mother. Her mother is outside the picture at this time.
Mother: (Voiceover, faint voice) I need to be warmer... (Mother’s lens, she puts the plaster on her chest) I’m breathing better.
Half-length shot of Mousset facing the audience. The door opened with a creaking sound, then closed again with a bang. Musset heard the sound and looked back. Semi-panoramic shot: Father and son walk into the house, the door is closed. Father walked heavily, and the camera moved with him. He walked past the bed without looking at his wife on the bed. Head shot: He fell on his back on a straw mat, grabbing his peaked cap with both hands, as if holding the steering wheel of a truck, pretending to drive a car (he changed the speed of the car from time to time in his imagination), and his mouth imitated the car's motor Voice.
Father: Woo! ......Woo, woo...
Half-length shot of Musset, she looked down at her father outside the frame. His "voice monologue" continued to be heard in the voiceover. Musset looked away and leaned down. Middle shot (slightly patted her mother's back. Musette buttoned her clothes and tucked the quilt. At this time, the sound of driving in his father's mouth awakened the sleeping baby, and the baby's cry was heard in the voice-over.
Aerial shot (medium shot): The baby (about four to five months old) lies on a straw mat, opens his arms, and cries loudly. Musette walked into the picture, squatted on the ground, put the pan with the plaster beside him, picked up the baby, and let him sit on the straw mat. The baby kept crying. She shook him gently, and the baby's crying gradually ceased, replaced by a low, sleepy sob. Musette put him away and covered him with a quilt. At this time, the father's motor sound was heard in the voice-over, and the baby cried harder. Musset stood up (only her feet and legs appeared in the picture), the camera panned, and followed her into her room. Her brother was drunk and fell asleep by the straw mat. Musette walked past him, helped him up, and walked to his straw mat. Her straw mat was placed next to the stove, and the fire had gone out. She sat down, pulled a quilt with several holes in it, and leaned her back against the wall. She was pondering, her eyes gradually closing. At this time, even though the father's mouth was still making noises, the baby's crying gradually fell silent. Fade away.
School Gate·Day
A group of female students laughed loudly. Only their legs can be seen on the screen. They carried heavy schoolbags and walked quickly. The camera lifted upwards, framing their whole bodies into the frame, among which Musette’s back figure occupies the main position. Her pace was slower than other girls. The clogs on her feet had worn thin heels, and these shoes were indeed too big for her. Musette walked into the fence gate.
Campus: Musset walked slowly towards an open door in the deserted yard, the sound of footsteps echoing in the yard. She walked into this door.
classroom
In a semi-panoramic view, the camera was facing the door of the classroom, and the sound of Musette's heavy footsteps (wood-soled overshoes) sounded. In the foreground, you can see the back of a little girl sitting in the first row. The classroom was deadly silent, only to hear the heavy noise from his feet when Mouset came (she seemed to be dragging her feet intentionally). She faces the audience and (panning the camera) walks to her seat. Short shots of the scene before and after the connection: She sat down facing the audience, crossed her arms, and looked straight ahead with her expression stern and firm.
Middle shot: The female teacher sits motionless behind the desk on the podium. She was irritated by Mouset's behavior and stared at Mouset who was off the screen. Middle shot: Musset faces the audience, and meets the female teacher's gaze without blinking. Iterative.
The school's honor room daytime
The opened mid-close shot: The girls stand in two rows, basically facing the audience. They are singing. Mouset stood in the second row, closed his mouth and said nothing. The organ sound was heard in the voiceover.
The girls sang:
You have to be full of greater hope,
Columbus pointed towards the horizon...
The vast sky,
Tell them, three days later...
The female teacher appeared between the two rows of students and stared at the singing children with scrutiny. The organ sound stopped.
The girls continued to sing:
In three days, I will hand over the world to you,
To you desperate people.
He opened his eyes and looked at
The deep and boundless sky.
The female teacher looked down at Musset. There was a stubborn look on Mousset's face while pretending to be singing. Just as the children sang the words "You shall be full of greater hope", the teacher grabbed Mousset's neck and twisted her body around to make her face herself. She stared at Musset sternly and grimly, then caught her neck to make her turn around, slapped her hard on the back, and pushed her forward.
Mid-close shot: Musset was pushed to the organ. The female teacher stretched her hand into the screen, pressed Musette's back and pressed it down, making her face almost stick to the keyboard (close-up shot). The children's singing stopped. The female teacher struck the keys vigorously with her other hand, playing the phrase at the loudest volume in Musette's ear.
Female teacher: (Voiceover) Sing!
Mousset: (face closes to the keyboard) You have to be more hopeful... (pause for a moment, then continue singing in a hoarse and inaccurate voice) Columbus points to the vertical...
At this point, her pitch became even more inaccurate. The female teacher pressed her neck roughly and hard, and furiously tapped with her other hand on the keyboard (a short sob that was almost imperceptible). The students stood still, motionless. Musette leaned over the keyboard of the organ.
Mousset sang painfully:
You have to be full of greater hope,
Columbus pointed towards the horizon...
The out-of-tune singing and the forbearance of sobbing mixed together. Mousset straightened up and walked out of the screen.
The camera was facing the girls, and there was the sound of Musette's overshoes coming over. She bowed her head and walked into the picture, returning to her seat. In the voice-over, there was the sound of the organ playing these two phrases frantically.
Girls: (Muset sings with them)
You have to be full of greater hope,
Columbus pointed towards the horizon...
When the last word was sung, Musset's voice was extremely inconsistent with others, and it seemed very harsh. A child next to her glanced at her. They continued to sing, with a low, mocking laugh that was quickly suppressed in their singing. Musette lowered his head, trying to hide his face.
Panorama: The children looked at Mousset. Close shot: The female teacher's hands are playing the organ nervously. The children sneered. Mousset faced the audience, she could no longer hold back her tears, and tears rolled down her cheeks. She simply held her face in her hands and kept sobbing.
Iterative.
Highway·Day
Medium shot: Groups of girls rushed out of the school gate and onto the highway. They yelled happily, making a noise. Musette walked out silently by himself. Brief panning of the camera: The camera pans with her towards the highway, and accompanies her across the highway. Short shots of the scene before and after the connection: She jumped onto the grass, turned around and put her schoolbag beside her, peering at her classmates. A semi-panoramic shot of what she saw: Several girls walked towards the boys waiting for them at the school gate. Several of the boys were riding mopeds. Some of the younger girls passed through these people with their school bags. Musset (leaning slightly) grouped a small pill, leaned out of the roadbed, threw the pill out, and then hid it.
Middle shot (from Mouset's point of view): Niwan hit the waist of a girl in the group with her back to the audience. She turned around, glanced around and shrugged. The camera turned to Mouset, she held a mud pill that had just been grouped in her hand and threw it out. Close-up shot in the middle and close range: a girl stands facing the audience with her head outside the frame (only her upper body can be seen on the frame). Niwan hit her chest and soiled her smock. Medium shot (slightly overhead shot): Musset concealed himself while rubbing a mud pill. The shouts of the children were heard in the voice-over. A close-up shot of a schoolbag in a female student's hand: Niwan flew over and hit the schoolbag. She casts another mud pill from the shot of Mousset.
Close-up shot: Three little girls squatted together, talking very vigorously. One of the girls (with her back to the audience) got a pill in her long hair. She turned her face away, frowning. Middle shot: Musset went into hiding.
The opened mid-range shot: In the foreground, on the other side of the highway, facing the school gate, there is an iron railing. The three little girls are climbing on the railing and are swinging. Their heads leaned back, their skirts rolled up, revealing white panties. On the highway, two boys drove by on motorcycles, and a girl sat behind each car. Three little girls on the swing came down from the railing, picked up their school bags, and caught up with their companions who were walking towards the village (children's talking and laughing). pause. Middle shot: Musset stood up and stepped onto the highway. Shots of her mud: she dragged her legs listlessly along the road surface, the overshoe clattering. The camera followed her into the middle shot: she walked past the open door of a warehouse and walked out of the picture. Two thirteen or four-year-old boys came out of the warehouse and watched her walk by. Mousset's shot: She continued to walk forward, not paying attention to everything around her.
Boy A: (Voiceover) Musset? ...
Musette (with his back to the half-length camera of the audience) stopped and looked back at the place where the shout was made. A medium shot of what she saw: two boys standing in front of the warehouse door.
Boy A: Musset!
Boy B: (Unbuttons the shorts) Look!
The camera turned to Mouset, and she glanced at them, then turned her face contemptuously. A close shot of Boy B's calf, and the shorts slipped down the leg. Mousset turned his back to the audience and continued on her way. A car drove by the street in front of her.
Doorway of Mousset House·Exterior view
The fence on the side of the road can be seen in the foreground. Mousset faced the camera, carrying a schoolbag in his hand, and ran towards the low steps in front of her house. She pushed open the door, and the baby's cry was heard in the voice-over.
Mousset House·Interior view
Middle shot: Musset stood at the door, let go, letting his schoolbag fall to the ground. She stood and took off her overshoes, walked into the room facing the camera (pulling the camera), and walked to the mother's bed. An arm of the mother on the bed sheet can be seen in the foreground (pulling the camera to stop). Mousset stared at his mother outside the screen, bent down, and suddenly took his mother's hand and pressed his lips to it.
Change in and out. Close shot (slightly bent): There is an old coffee grinder on the chair, Musset's hand reaches into the frame, and he grinds the coffee in a very neat and agile motion.
Mousset sang softly:
You have to be full of greater hope,
Columbus pointed towards the horizon...
Mouset held the handle of the coffee mill, and while turning it suspended in the air, he walked towards the stove. The camera moved with her (half-length).
Medium and close shot: She is wearing an earthy one-piece petticoat and standing in front of the stove. She put the ground coffee in the coffee pot on the stove. There is a pot next to the pot, the water in the pot has boiled, making a rustling noise. There was the sound of opening the door in the voiceover. While pouring water into the coffee pot, she continued to sing softly. She extinguished the fire and walked out of the frame. The middle shot: she turned her back to the audience and slipped in a dress that was only worn on holidays. The brother is standing next to her, wearing pants. Father walks across the screen with buttons on his shirt (also worn only on holidays). Musette walked to the stove again (panning the camera) and poured coffee into four bowls lined up (comictive use of close-up shots). While pouring milk in this way, she kept singing. A crisp bell sounded. Turn out.
Cafe·Interior view
Medium shot, the camera is facing the counter. Behind the counter, Louisa is always pouring wine for the guests and wiping the glass from time to time, so busy. Musette's father and brother entered the screen with their backs to the audience. They passed through the hall crowded with customers in festive costumes drinking aperitifs. The hall was full of voices and noisy. They came to the counter and stopped (the middle shot, their backs are facing the audience diagonally). The noise was intertwined with the bell from outside the store. There was no need for them to speak, and Louisa filled them with wine glasses. The two toasted and drank. The father made a gesture and asked Louisa to fill up the wine again, and Louisa did the same. After another glass of wine, the father put some money on the counter and walked towards the door with his son. Louisa handed the money to the proprietress, who appeared in the foreground.
Cafe·Exterior
In the middle shot, the camera is facing the open door of the cafe, and the father and son are walking out of the shop. Before leaving the door, my father patted a customer friendly on the shoulder. In fact, he and this customer have never known each other.
Cafe·Medium Shot
Medium shot: Ma Dieu, a forest man, dressed in festive costumes, sits at a table in the hall not far from the door, with a glass of wine in front of him. A farmer was sitting across from him, pouring a slow drink. Both of them sat silently without saying a word. Madillo's face was facing the direction of the counter. Panorama: Luisa (from Madillo's perspective) is busy taking care of customers at the counter. She lifted her eyes, and immediately dropped her eyelids again. After a while, she grabbed four empty wine bottles and walked along the counter. Louisa walked around behind the lady boss who was standing at the cashier's office, walked out of the counter (panning the camera, following Madillo's gaze), pushed open the door of the storage room, and disappeared inside the door. The camera turns to Madillo, and he stands up from the table.
Storeroom
In the middle shot, the camera faces the door. With a creak, Madillo pushed in. He walked facing the audience until he reached the half-length camera.
Madillo: You promised, Luisa.
Middle shot: Louisa (back facing the audience diagonally) leaned over and picked up a few bottles of wine, then turned her head to look at Madillo outside the screen.
Louisa: Me?
Madijo: (Facing the camera) Did I understand what you said wrong?
The camera turns to Louisa, she stands up, holding two bottles of wine in her hand.
Louisa: Maybe I promised you yesterday... (Madillo's footage. She continues, voice-over) But today, I ask myself whether this Mr. Madillo pleases me? ...... (The camera turns to her) I am very willing to make you happy......
Madillo: (Facing the camera, taking a step forward) But you have something else to love.
The camera turned to Luisa again. She shrugs lazily, pulling her legs out (half-length shot of the two). Madillo blocked her way. Louisa walked around him and walked to the door (panning the camera). Madillo's back is in the foreground, and Luisa is also standing by the door with her back to the camera.
Madillo: Say! ... Luisa, you answer! ...
In the background, with a sound of the door, Louisa walked out.
Cafe shop
Medium shot of the counter; Louisa placed the wine bottle she had just taken next to the other bottles, turned to the lady boss who was wiping the glass, and then took the glass and wiped it. At this time, in the background, Madillo came out of the storage room and walked towards his table. The ringing of bells mixed with the noise of the shop and rushed into people's ears. Middle shot: Madillo sat down at the table, put some money on the table, drank the wine in the glass quickly, grabbed the hat on the table, and left without looking back.
Outside the church door, daytime
Medium and close shot: Musset (in the foreground, facing the audience) stands a few meters away from the church door in the background, with a shawl that resembles a head of sand on his shoulders. She is waiting for someone. Some good men and women walked behind her, climbed the steps, and stepped into the church. After a while, Musset turned his back to the audience and walked towards the church. The camera followed her, shaking her legs and feet. Musset stopped by a small puddle and walked back and forth in the water, muddy shoes and socks. Then, she continued to walk towards the door of the church (shaking her back most of her body). At this moment, her father ran after her, his face full of anger. Murset found that something was wrong, and hurried up the stone steps of the church. cut.
Church interior
In the middle shot, the camera faces the door. In order to avoid being chased by his father, Musset jumped into the church step by step, mixing in a group of good men and women. She paused for a while. (Bells, singing, and prayers rang together) Her father walked into the picture and appeared behind her. With a jerky push with his elbow, Lou Sette bumped into the holy water tank. Medium and close shot: Musette's head is almost immersed in water. She straightened up, dipped a few drops of holy water with her finger, drew a cross hastily, and walked out of the picture. Fade away.
Cafe·Interior·Daytime
A close shot of Musset's hands, slightly overhead. She wears a big apron around her waist, standing behind the counter, washing glasses and saucers, and then wiping them with a rag. (Noisy in the shop, from time to time there is the sound of music from the market in the square) Directly switched to a medium shot shot from another angle: Mousset took off his apron and folded it, and gave it to the proprietress (medium close shot). Give her the shawl back. Mousset walked towards the camera, casually contemptuously, but secretly threw a rag in the sink. She approached the camera, half-length close. The boss entered the screen with both hands, opened the drawer of the cashbox, took out five or six coins, and handed them to Musette's outstretched hand. Panning: Musset walked out of the counter with his wages in his hand.
Semi-panoramic, the camera is facing the open door. Looking out the door, you can see the platform of the cafe. Mousset walked out of the shop.
Outside the cafe
Semi-panoramic, the camera is facing the platform and the door of the cafe. Mouset's brother sat at a table next to his father facing the audience. Musette came over and sat down beside his father. The father turned his head to look at Musset, and reached out to her. Musette handed over the money he had just earned to his father. Her father seemed to be slightly drunk, he put the money in his pocket, took the remaining half-bad wine and handed it to his daughter. Mouset took a sip and put the glass back on the table. Voices of people and music continued to be heard from the market. Mousset stood up and walked out of the picture. Panoramic view, Musset was walking among the crowd wandering aimlessly. As she walked past the gate of the amusement park, several children eager to grab a seat pushed her aside. Mousset watched them. At this time, the voice of the microphone sounded in the voice-over, overshadowing the sound of the music.
Announcer: He won the lottery... His ticket won the lottery... Another winner... Come on, come the winner...
Mousset continued to follow the flow of people. Medium shot: A group of young people are leaning against the fence of a car amusement park facing the camera, the amusement park is beyond the surface. The music is melodious.
Loudspeaker: Take a car, please take a car...
Mousset approached the fence facing the camera. The sound of jazz music from the amusement arena came to my ears.
Amplifier: Be careful when starting up...please come and take the car...
Musset leaned on the railing and stared ecstatically at the amusement park that was still off the screen. A young lady with a baby in her arms walked behind her.
A close-up shot of the cashier's counter in the amusement park: The young lady takes the change and a bargaining chip given to her by the female cashier with her hands. The camera pans with the young woman, who holds the baby in her arms and walks back to the fence. Close shot: The young woman puts the chips in Mousset's hands. Panning the camera: Musset raised his hand and placed it in front of his eyes. The young lady walked out of the screen and disappeared behind her. Mousset looked at her back in confusion... and then walked towards the amusement park.
Amusement park: a mid-range shot of an empty electric crash car. Mousset boarded the car and threw his chips into a small mouth in the hood (the car roars and the jazz is deafening). She started the car, drove backwards, then turned a corner and drove out of the screen. Mouset appeared in the picture again. She drove the car forward happily, while carefully avoiding the cars that wanted to hit her. (The camera moves along the curb of her car) Her car was hit by a car driven by a young man (about 20 years old), who smiled at her. Medium shot of the young man: He drove the car and tried to hit her again. Middle shot: Mousset has joy in his eyes, watching him, dexterously avoiding his new attack. Middle shot: The young man drove the car aside while staring at her. Mousset continued to drive, sometimes forward and sometimes back. The young man's middle shot: Although cars blocked his way, he finally drove up Mousset and ran into her head-on. With eyes facing each other, there were smiles on their faces. Middle shot: Musset turned upside down on his seat, raising a burst of hearty laughter. At this time, other cars hit her car from all directions, with a smile on her face (music and noisy recurred). The young man's car ran into Mousset from behind, she was shocked, and she looked back and smiled at him. Middle shot: The young man smiled at her. The camera turned to Mousset again, and she reversed backwards and turned around. Momentary shot: The young man smiled and drove behind her. Musette's car collided with other cars one after another, she threw out a string of laughter, and drove across the screen. The bell rang, and it was time for this round of entertainment. Middle shot: Mousset faces the audience and gets out of the car like everyone else. At this time, those latecomers who were already in a hurry rushed towards the empty cars. Semi-panoramic view: The driving guy walked out of the amusement park and passed in front of Mousset who had come outside the fence and was in the crowd. He walked slowly, then stopped, and turned to look at Mousset (with her back to the audience). He gradually moved away, and Musset followed behind him with the flow of people.
Shooting range: The young man approached the shooting range. He realized that Musset was trailing behind him quietly, and turned to look at her (outside the frame). Part of her figure is painted (nape). Reverse the camera and face Mouset: She lowered her eyelids and moved over. Suddenly, both hands grabbed her shoulders and roughly twisted her body. The camera shakes slightly, and Mouset's father enters the screen. He slapped her twice and saw that Mousset was still standing motionless, and he slammed her back into the crowd again, and he followed her behind. .
Cafe platform
Middle shot: Musset sat down in his seat. Her father walked behind her and sat next to her. Musset raised his hand and stroked the beaten cheek, trying his best to hold back the grief. Jing Yi Hula: The back of Ma Di Yue's wife, who is sitting at the same table, appeared.
Airplane amusement park
Middle shot: A customer stands in front of the small room at the cashier's office. Arcena, dressed in festive costume, stood behind the table. Louisa appears behind him (the sound of vulgar music from the entertainment hall). Arcena went to buy tickets. The camera pans towards Luisa, and she walks to a small plane in the amusement park. Arcena found her and sat beside her. The whistle blew, and the small plane flew off the ground and spun. Panorama: Madillo (in the foreground, back to the camera) turns his head and looks at the amusement park. Mid-close shot of Madillo's front: his eyes look upward, he lowers his head, and then raises his head again. The panorama of the amusement park seen by Madillo (long shot): the plane is spinning non-stop, and every time it turns, you can see Arcena and Luisa sitting side by side. The camera turned to Madillo, who bowed his head and walked among the crowd. The plane kept spinning on the amusement park.
Cafe platform
The proprietress walked past the screen with a tray in hand, when Madijo sat down beside his wife with his back to the camera. Mouset sat across from him, next to her father and brother, the two men were drinking. In the middle shot, a customer at the next table looks in the direction of Madillo (outside the screen).
Customer: He doesn't care about you!
Madillo: (Voiceover) Who?
Customer: Arcena!
Arcena (half-length) walked past the customer, and the camera followed him all the way to the entrance of the cafe. He was about to step outside when a customer seemed to be blocking his way unintentionally. He stopped, stopped, and turned around. The camera pans in the reverse direction to the customer who has been following him with his eyes, and Arcena walks out of the frame.
Madijo: (Voiceover) Don't care about me?
Customer: You, Madillo.
The camera turns to Madillo, in the middle shot (he is in the foreground, with his back facing the audience diagonally), and Musette, who sits opposite, listens to their conversation. Madillo was drinking.
Madijo: I'll give him some color and see!
Madillo put down his wine glass. Mousset looked awkwardly into the distance, and finally turned his gaze to him. Another shot of Madillo: He looked back and Luisa passed in front of him and walked to the entrance of the cafe.
Cafe·Interior view
Semi-panoramic view: cafe lobby. Louisa bypassed the cash register and walked into the counter. She picked up her apron and held a pin in her mouth. Louisa tied the fence, pinned it, and immediately wiped off the wine glass. In the foreground, Madillo faces Luisa, turns his back to the camera and enters the frame, leaning on the other side of the counter.
Madillo: Arcena fell in love with you, didn't he?
Louisa continued to work and glanced at Madillo.
Madillo: You love him too, don't you?
Louisa: (Dropping eyes, wiping a wine glass) Can you control it? What does this have to do with you?
Luisa stared at him, her eyes cold and merciless. Reverse shot: Madillo faces the audience (Luisa's back is facing the camera diagonally).
Madijo: Yes... if I speak first to you, I will kill him.
Louisa: (Facing the camera) You can't hurt him. He is not afraid of you, and you are afraid that he is terribly scared.
Madijo: Then just wait and see.
He walked out of the picture. The camera stays on Luisa for a moment.
Cafe platform
Madillo (half body) enters the screen, took the hat with one hand, then grabbed the wine glass, and drank stubbornly (the camera shakes down, Madillo plunges into the painting). His wife stood up, Madillo put down the cup, and both left. Fade away.
Mousset House·Exterior Scene·Daytime
Looking in from the open window, you can see Mouset facing the camera, buttoning his school shirt. Her mother was lying on the bed, in the background. The father appeared behind Musette, and the father and daughter looked at the road together. A shot of what they saw: Madillo was wearing a forest uniform, with a gun on his shoulders, and his shoulder bag and another large backpack were crossed diagonally across his sides. A truck drove up and crossed his arms.
Father: (Voiceover) He is going to spend the night outside. He is carrying a rubber sleeping bag.
The camera turns to the father and daughter who are standing at the window and looking out.
Father: Arcena should be more careful.
The father walked out of the picture, and Musset watched him leave.
Mousset House·Interior View·Daytime
Semi-panoramic shot: Mother is still bedridden. Musette walked over to his mother's bed and kissed her. The mother watched her daughter walk out of the screen. The camera turned to Mousset again: She stood by the door, picked up her schoolbag, put on her overshoes, and went out. The door creaked.
School·Exterior·Daytime
The dusk is approaching, and the dusk is approaching. Amidst the shouts of a group of little girls, Musset turned over and jumped over the fence and left the campus. She traversed the highway, hid in a trench that led to the grass, quietly looking towards the outside. Panoramic shot of what she saw: the girls gathered in front of the school. The camera pans to the three little girls sitting at the foot of the wall (one of them recites the camera and is applying grease). The other girl sprayed perfume on the two companions, and the camera turned to Mouset, who threw a small pill in this direction. Feature: The mud pill flew up and hit the girl's hand holding the perfume bottle. Medium shot: The three girls immediately stood up and walked quickly to the boy who was sitting on a motorcycle or a light ride a few meters away and waiting for them (panning the camera). The four boys started their motorcycles solemnly, and the motors made a loud noise. They stepped into the car, and the girls sat on the back racks. The motorcycle starts and pulls out of the screen. The camera again turned to Musette who was about to throw the second mud pill (overhead shot). She threw the mud pill, shrugged slightly imperceptibly, stood up, turned her back to the audience and walked towards the grass, and then ran to the edge of the woods. Mid-close shot: She ran towards the camera, then stopped her steps and lowered her head. Reverse shot: She walked slowly along the edge of the woods with her back to the audience. She seemed to be watching something, sneaking on tiptoes from time to time. Medium and close shot: She stands sideways motionless, like a hunting dog that has found its prey. There were waves of flapping of wings (voice-over). Mousset raised his eyes and stared. Panoramic, panning: A small quail soars into the sky and flies to the high treetops.
forest
Musette (middle shot) ran in the forest, and the wind rustled across the branches and leaves. Medium shot: Musset stopped by a tree and looked up at the sky. (Panorama: Clouds are rising in the sky) The thunder roars, the wind sounds like a burst, and the branches sway violently in the wind. Panoramic view: Musset (front camera) stepped his legs again, speeding up his pace (camera pulls back towards her, then stops). Mousset stopped, the rain falling from the sky, running down her cheeks. The sound of rain is getting louder and louder. Medium and close shot: Musset stands behind the tree and wipes the rain from his face with the sleeves of the smock. The rain is getting tighter and harder and harder. Panorama: Musset ran hard in the woods. The leaves kept beating on her (zooming in), she stopped her steps, and then ran forward again. Her schoolbag is hooked by a branch (panning). She pulled over the schoolbag and walked slowly. The dusk was heavy and the sky was so dark that she could hardly see everything around her. Close-up: Musset's foot hit a tree stump and she fell to the ground, a middle shot. Musset stood up, lowered his head, and ran forward. The rain-soaked skirt clung to her knees, and the overshoes were stained with mud. Close-up shot of overshoes: Musset was about to jump over a quagmire when one of the overshoes fell into the mud. The sludge squeaked and gradually closed as before, engulfing the overshoes. Middle shot (directly connected to the foreground): Musset lost her balance, she tried her best to stabilize her body, holding the barefoot in her hands, and leaping away. Another scene: Musset hurried towards a thick oak tree. While sitting on the ground under the tree, she left her schoolbag beside her. She curled up her legs and pressed her chin against her knees. After a moment, she raised her head, and a string of rain rolled over her cheek. Then she buried her head in her arms again. Fade away. Panorama: The sky is gloomy, and there is a pale moonlight in the gaps in the clouds. The night was dark, and the sound of rain seemed to have subsided. Middle shot: Musset sat under the tree with a focused look on his face.
Panorama (very dark): Across the staggered branches and leaves, you can vaguely see the forester Madillo standing next to a creek wearing boots. The camera turned to Mouset, who was still sitting in place, watching quietly. Medium shot, slightly overhead shot: Arcena (back shirt) knelt on the ground, and in front of him was a large animal trap with serrated teeth and springs. He swings a small pickaxe and digs a hole so that he can put the trap in it. His gun was lying on the ground beside him, and the military water bottle and satchel hung diagonally on his shoulders. There was a sound of footsteps. Arcena raised his head. Panoramic view, Jing Shi turned towards Madillo the forester: He stepped out of the bushes, took off the gun on his back and held it in his hand, standing still a few steps away from Arce. Middle shot: Arcena turned to face Madillo, the eyes of the two intertwined (Arcena has slung the gun across his shoulder).
Arcena: If you like this thing, you can take it.
Middle shot: Madijo is silent. The camera turned to Arcena, and he bent back to his side, used his left hand to pull out the animal patch that was half-buried in the soil, and threw it on the ground between him and the forest man. Half-length shot of Madillo. Half-length shot of Arcena.
Arcena: Take it.
Middle and close shots: Madiyo never said a word. Middle shot: Arcena stared at Madillo, then glanced at the trap.
Arcena: No?
He walked out of the picture. Medium shot of the trap (slightly bent): Arcena enters the frame, leans over and grabs the chain of the trap with his left hand, picks it up, and walks away (panning). Middle shot: Madillo (back facing the camera diagonally) strode up to Arcena, grabbing his sleeve, turning him half a circle on the spot, short shots connecting the front and back scenes: double lens, Madillo backed diagonally To the audience, Arcena had just turned around and faced the camera.
Madijo: Don't think it just ended so easily, Arcena.
Arcana fixed his eyes on Madillo's face, then lowered his eyes to look at the gun in Lin Ren's hand. Close-up, Arcena threw away his gun, grabbed the gun of the Forester, and threw it on the ground. Middle shot: Madillo (Arsena is back in the painting), looking at the two guns thrown on the ground, and then looking up at Arcena.
Madillo: Now that the matter is over, you better stop pestering Louisa...
Arsena's mid-range shot, looking at Lin Ren's back in the painting.
Arcena: Luisa?
He sneered a few times. Madillo's mid-range shot (Arsena's back is in the painting).
Madillo: Louisa.
Arsena's mid-range shot (Madillo enters the picture from the back): He sneered.
Arcena: (sarcastically) It's ridiculous that you put on such a loyal face.
Arcena shrugged, throwing away the hand of Lin Ren, and turned his back to him. Madillo grabbed his sleeve again and turned him back to face him (the two face-to-face shots).
Madillo: Listen to my advice. I don't like others blocking my way.
Arcena: I... If someone wants to provoke me...
Madillo: (furiously) Come on... let's try it.
Arcena punched him under the chin. Middle shot: Madillo took a punch in the chin, then hit his stomach again, and fell to the ground on his back (panning). Arcena's shot: He looked at the Kan Linren lying on the ground, and threw himself on him. The two shots: They twisted into a ball on the ground, he kept rolling in the mud and fallen leaves. Arce was on top at that time, and sometimes underneath. In a fierce fight, the two fought together and rolled out of the picture. Close-up: Arcena stretched out his hand to strangle Madillo's throat, Madillo opened his mouth and took a bite in his hand, and blood flowed in immediately. Middle shot: A stream is surging (with the sound of flowing water). Arcena and Madillo fell into the creek, and immediately crawled out of the water, panting. While their teeth trembled from the cold, they were still mocking each other. The two finally let go of their hands. Close-up: The stopper on Arcena's military jug has disappeared during the fight, and the wine gurgled out of the jug and spilled in the grass next to the trap that Arcena had dropped. Middle shot: Arcena quickly grabbed the kettle with his hands, raised it to his mouth, drank several sips of juniper wine, and then handed the kettle (panning) to Madillo. Madillo also drank several sips. The two laughed loudly. Panorama: The sky is gloomy and the moon moves through the clouds. They laughed in the voiceover.
Close shot: Musset is still sitting under the oak tree. She took off a sock, wringed the water dry, put it on her feet, then pulled up the front of the skirt and twisted it hard. A sound of footsteps rushed into her eardrums, and she suddenly became alert. The camera pans to her face. Suddenly, an electric light was projected on her, making her at a loss. She sat stupidly in the center of the halo, blinking her eyes under the dazzling light.
Arcena: (Voiceover) What are you doing there?
Musette hurriedly put down his skirt and covered his feet. She was cold all over, and she couldn't help crying. She was sobbing, her teeth fighting.
Mousset: (Teeth rattles) Lost... Lost... I'm lost... I'm lost.
Arcena: (Voiceover) Why don't you take the road like your classmates?
Mousset lowered his head and said nothing. There was a moment of silence, and the wind rustled the leaves of the trees. Mousset stood up, the camera panning with her movements. Reversing the ytterbium, middle shot: Arcena is facing the camera, with a water bottle, a satchel and a shotgun slung across his shoulder, and the flashlight in his hand shoots a beam of light. He moved the beam of light to the ground, shining out of the frame.
Arcena: If you go home to see your father wearing an overshoe, be careful of your ass.
Before he finished speaking, the camera shook his arm, flashlight, and beam towards the ground. Middle and close shot: Musset hesitated, stepped forward to pick up his schoolbag, put on the only remaining overshoes, and walked a few steps in the direction of Arcena. Middle shot: Their feet are walking in the dark woods with the beam of the flashlight. In front of the beam appeared a simple shed made of branches.
Hut·Interior View·Night
Arcena walked into the shed after Mousset with a flashlight in his hand. He walked up to her and hung the gun horizontally on the wall next to the door.
Arcena: We are not here to stay, we have to go.
Arcena stooped to pick up a handful of wood, opened the lid of an old stove, and threw the wood into the coal fire.
Arcena: You dry your clothes first.
Musette stared at the wood that was starting to burn. Arcena let her approach the fire, and walked towards a small dark kiln hidden under the leaves. He reached out and took out a bottle of shochu, filling the kettle as he walked.
Arcena: When did you leave school? (He hands the bottle with some remaining wine to Musette) Drink it and warm yourself up.
Shaking into a single shot of Musette, she took the bottle (secretly glanced at Arce's bleeding hand).
Mousset: Six o'clock. Leaving before others left.
Arcena: (Voiceover) Are you alone?
Mousset: Yes.
Musette brought the mouth of the bottle close to his mouth and raised the bottom of the bottle, only to feel that the wine burned her chest hot.
Arcena: No one saw you?
She swallowed a bite of spicy wine.
Mousset: I don't know... No.
She put down the wine bottle. Medium shot: Arcena was facing the camera, drinking from the spout of a military kettle.
Arcena: You jump over the trench and want to go home through the woods.
Mousset: (Facing the camera) Yes.
Arcena: (Voiceover) Remember what I said to you: You didn't go home from the woods. You went home by the road from Rinière. You went there to buy a few small balls.
Mousset: (in amazement) Small ball?
Arcena: (Voiceover) Or buy maltose...whatever you want.
Mousset: Buy? ...What to buy?
Middle shot: Arcena rummaged in his pocket. Because of the hand injury, his movements seemed quite laborious. He took out a few small coins from his pocket and handed them to Mousset.
Arcena: Here is some money.
The camera was facing Mouset, she reached out to take the money (insert a short close-up shot), glanced at it, and then put the money in the pocket of the smock.
Arcena: (Voiceover) If someone asks, you say that the money was picked up. When you came to the crossroad, you saw me coming out of the cafe.
The camera turned to Mousset: She stretched her hand to the fire and grilled.
Arcena: (Continuing, voice-over) I tell you, I went to Bassoon-Pierre to get the slipknot and I just came back from there.
Mousset: (stunned) Slipknot? ...Should you mention slipknot?
Arcena: (Voiceover) Yes.
Mousset: Say the same to the police?
Arcena: (Facing the camera) Yes.
He raised the kettle and took two sips of wine, and approached Mousset. Musette's lens: She stared at Arcena, a little bit of the latter appeared on the edge of the frame. Arcena's shot: He drank a few more sips, then wiped his mouth with his sleeve. He closed the lid, put the kettle in his bag, walked behind Musette (panning the camera), and quietly put his hand on her back.
Arcena: I'll find overshoes for you.
Mousset watched him. A mid-range shot of the door of the shed, with Arcena's gun hanging next to the door. He turned his back to the audience and stepped out, disappearing outside the door. The camera turns to Mousset. She stood by the fire, warming the fire and listening to the wind in the forest. In a temporary silence, two loud noises rushed into her ears. She suddenly turned her face to the door. After a while, she turned her head to look at the stove where there were only stars and charcoal fires, and cast her gaze to the door again anxiously. Medium shot of the door and shotgun. Middle shot of Mousset: Arcena's hand holding the overshoes into the painting. The middle shot of Arcena.
Arcena: Don't tell anyone that we have been here...understand?
Momentary shot: She took over the overshoes. Become a panoramic view. Musette threw his overshoes soaked in water and put them on his feet. In the dim light of the shed, Arcena lights up the torch and extinguishes the coal fire with water. After a while, he handed the flashlight to Musset who was outside the screen. The camera pans slightly, and Musset enters the frame.
Arcena: Take it.
A close-up shot of Arcena, his back slanted to the audience, shrouded in the light from the flashlight held by Musette, who was outside the screen. Arcena picked up a piece of wood that was still burning, blew it, and pressed it to the wound on his hand. Close-up: The wound made a sizzling noise, and the general blue smoke appeared.
Arcena: Don't leak any wind.
Close-up of Arcena's hands: He threw away the burning wood. Arcena took a few steps to the side, a painful expression on his face. He grabbed a small bucket with both hands and put the ashes of the fire into the bucket with a spade.
Arcena: (Voiceover) No ashes can be left here.
His hands moved away from the screen. The camera pans, his hands re-enter the painting, holding a bucket full of ashes.
Arcena: (Voiceover) Give me some light.
Close shot: Musset's hand with a flashlight enters the screen, and the light of the flashlight shoots at Arcena's hands. He was still shoveling ashes into the bucket. Medium shot: Musset walked to the door and opened the door (panning and then pushing the camera). Arcena walked to the door with the shovel and bucket full of ashes.
Arcena: Listen to... the whirlwind...
With the long shot of Musset, she stared at Arcena outside the frame in surprise. The camera turned to Arcena, and he looked at her with tired but still gleaming eyes.
Hut·Exterior·Night
A close-up shot of Arcena's hands, with a flashlight shining on his hands. He poured out the ashes in the bucket and let it fall everywhere. Middle shot: He straightened up and put the bucket back in the house. Panorama: He came out of the house, walked towards Mousset, raised his gun slantingly, and handed her his schoolbag. Their figures disappeared into the darkness.
Crossroads·Café·Night
Panorama: Two dark streets. Arcena's figure swept across the frame with his back to the camera. The sound of trucks. The headlights of the truck flashed by. With this fleeting light, we can see that the cafe lights in the background have been extinguished, and only a ray of light shines through a window on the ground floor. Arcena (he was always seen from behind) walked towards the cafe, and Musset followed him a few meters away. She stopped and waited for him. Medium shot: Arcena came to the window, separated the shutters, and knocked on the glass. A figure flashed out of the window. The roar of the car overwhelmed their hasty whispers. Arcena (facing the camera sideways), while discussing with the man in the window (no doubt the cafe owner), turned his face and glanced at Mousset who was outside the frame.
Medium shot: Mouset carrying a school bag, standing beside a bush on the side of the road, waiting. Several trucks rumbling past her, the light of their headlights pierced the night. She walked out of the screen, and there was a cloud of darkness on the screen. The camera turns to Arcena in front of the window. The window is closed. With some embarrassment, he turned and walked towards the camera (pull behind the camera), and walked to Musette's side. Her back appears in the foreground (middle shot of the two, with Musette facing away from the audience).
Arcena: Come on... I have my plans. We can solve it without him.
He turned and walked away, Musset trailing behind him. They disappeared into the darkness.
Cabin in the Forest·Interior View·Night
The screen was dark. The door creaks (a mid-range shot towards the door). Arcena opened the door, let Musset in, and followed her into the house.
Arcena: There are dry wood and candles here.
He went straight, picked up a big box of matches, polished one, and lit three candles. The camera pans with him.
Arcena: We want to keep the fire on.
Arcena (the camera always moves with him, and then pushes the camera) passed by the still standing Mousset and closed the door. Then he turned back and walked towards a pile of leaves and blocks. Middle and close shot: Musset is still carrying his schoolbag, standing not far from the door. She was surprised at what was happening before her, and stared at Arcena with a look that was neither malicious nor tender. She seemed to be waiting for Arcena to explain this, but, perhaps out of habit, or burnout, she did not make such a request. The blocks began to crack and burn. The camera turns to Arcena. He squatted (back facing the audience diagonally) in front of the burning fireplace, throwing leaves into the fire.
Arcena: By tomorrow morning, there will be a mountain of ashes.
He turned the fire up and turned to look at Musette.
Arcena: I would say that I stayed in the house all day, all night, (voice-over, camera facing Mouset) without a drop of rain.
Switch to a semi-panoramic shot of Arcena. He squatted in front of the stove, then stood up hard, took a few steps, and walked (panning the camera) to a bench opposite the stove. H
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