"Summer's Tale" movie script

"Summer's Tale" movie script

Text / [France] Eric Rommel

Translation/Single Wanli

1. Subtitles written in capital letters appear on a yellow substrate: Margaret Menegos, Diamond Films, Seven Arts Films (these and all subsequent subtitles are below the screen). At the same time, there is a whistle-blowing piece of music outside the painting (the title of the song is "Song of the Sailors," composed by the hero of the film, Gaspar, and we will hear it later).

2. Subtitles continue: New Channel Television, SOFILMKA Film Company assisted in the filming.

3. Main actors and characters in the play: Melville Boupeau as Gasbar (these subtitles are also written in capital letters, but the font size is slightly smaller than in the previous two shots).

4. Amanda Langeley as Margot.

5. Gwyna Al Simon as Solena.

6. Aurelia Nolan as Lena.

7. Other actors and names in the play: Aimé Lefover as Le Dell-Noise, Alain Graff as uncle, Evelina Rahana as aunt, Yves Gran as accordion The player, Frank Garbo as Cousins.

8. Director (closer to the bottom of the screen than subtitles above): Eric Rommel; A Story of Four Seasons.

9. Title: "Summer's Tale". The screen turns black. Music stop.

10. The picture changes from black to yellow, with three wavy blue lines above and subtitles below: Monday, July 17

Ambient sounds began to be heard outside the picture, and the sound of people's conversations was mixed with the sound of the motor of the ship.

sea, exterior, sun

11. The camera is pulled back, and below the foreground of the picture is the black railing of a ship. White waves rose from the stern, and a flock of seagulls flew in the blue sky. In the background is the coast of St. Malo.

12. Medium shot of Gaspar, who is standing on the deck wearing a black top with his back to the camera. Shooting against the light, he turned his eyes to the left side of the frame. A seagull chirped and flew out to sea in front of him, with the coast of Dinard in the background.

13. On the right side of the frame is a mid shot of the back of a man wearing a white crewneck, beige trousers and a red hat leaning against a white railing next to the deck. A woman is on the other side of the frame, next to a man in a white denim jacket, we see his profile. In the background are some ships moored at the pier.

14. Mid shot of the back of a young woman with a blue backpack slung over her right shoulder; mid shot of another woman sitting on the deck wearing sunglasses, a yellow turtleneck vest and a red backpack over her shoulder. Several seagulls are flying on the sea, and the background is the ship docked at the dock and the coast, the ship is heading to the left of the painting.

15. Mid-ground, Gaspar standing on the deck in the back, he walks to the concrete pontoon on the left of the picture, the white sign on the right reads "Emeraude Lines", and there are some houses in the background. The camera pans up slightly, and Gasbar holds a guitar in a case and slung a black backpack over his right shoulder.

Pier·Exterior·Day

16. Medium shot, the camera pans to the right, to the right of Gaspar, who is walking among the crowds of people who come to vacation, and sometimes some young people approach him. The camera stops moving and the bow is on the right in the foreground. Mid panorama of Gasbar as he follows the holidaying crowd towards the white steps leading to the house in the back.

17. Mid-ground, Gaspar's back, he ascends the white steps on the left, with a blue fence in the foreground.

Street·Exterior·Day

18. Gaspar's mid-panorama, as he walks along the right side of the street, with a car passing by on the left, painted from the foreground of the frame. In the foreground of the picture is a restaurant on the left and a hotel on the right.

Street·Exterior·Day

19. Mid shot, Gaspar's back, he walks to the fence gate on the left in the background, and on the right is a wall covered with ivy, with a house inside.

20. Medium shot, Gasbal walking on a gravel road with houses on the left and right of the frame. He looks around and the camera moves to the left with his gaze. He came to the gate, put the guitar on the ground, took out the key, opened the gate, picked up the guitar, entered the yard, closed the gate, and pulled the key out of the keyhole. Then, he walked to the house and looked up at the balcony on the second floor, where the windows were closed.

house · interior · day

21. Medium shot of the door to the house, with a bicycle on the left in the foreground and steps on the right. Mid shot of Gasbar, who opens the door and emerges to the left in the rear. The camera tilts slightly to show Gasbar climbing a few stairs in the shadows, then the camera pans to the right to frame Gasbar as he climbs the stairs while looking above. Gaspar paints from the left.

22. In medium shot, the camera pans up to follow Gaspar up the stairs, then the camera follows him to the right. Gaspar's right, he opens a door to a room, enters the room, and the movement of the camera ends at the door of the room in the foreground. He put the guitar next to the bed on the right side of the screen, put the backpack on the bed, and walked to the table and chairs on the left side of the room, where the blue bathroom is located in the corner of the room. He looked outside through the window on the right, then put the key on the phone table beside him, walked to the wall in the background, and drew a picture.

23. Shoulder-length shot, panning to the left, Gasbal walked to the closet in the room, pushed the clothes on the hanger to the left, and placed items on the shelf. A boat model sits on a shelf above the closet. Gasbar bent over to pick up the backpack on the bed, opened it, took out a grey vest, and placed it on the closet shelf.

Beach·Location·Day

24. A medium shot of the beach, with rows of blue striped tents in the foreground, Gasbar enters the picture from the left, and the camera pans to the right to follow his profile. He walked along the beach wearing a grey vest and a black backpack on his shoulders. A woman is walking in the opposite direction, and several children are playing on the roller coaster on the left of the frame, which is in the middle of a circle of white fences. Gasbar walks to the coffee kiosk in the background, the camera stops moving, and the white beach is reflected in the evening light.

25. Gaspar's medium shot, he enters from the left and sits down at a table in the foreground. A couple sits at a white plastic table with their backs to the camera. In the background are striped tents set up on the beach, with the sea in the distance. Gaspar sat on the left of the painting and put his backpack on the chair opposite. A woman walking along the beach with a dog walks to the left of the painting, followed by two little girls. Gaspar held the food in his right hand and put it in his mouth. A boy in a hat and shorts follows the girls to the left of the painting, who look into the distance.

26. Close-up of Gaspar, eating a sandwich with a glass of beer on the table, looking ahead and to his right.

Beach·Exterior·Night

27. Medium shot, the camera pans to the left to follow Gasbar, then turns to a close-up shot of the left side of his walk on the beach. Later, he turned his back to the camera and walked towards the coffee kiosk in the background, disappearing into the crowd. The camera stops moving.

28. Medium shot, the camera pans to the left to follow Gasbar as he walks along the beach next to the coffee kiosk, which is full of people.

room, interior, night

29. A close-up of Gasbar, sitting by the window on the left and a table on the right. The lamp on the table was on, and the telephone was next to the lamp. Gasbar took a few cassettes, took out a few from the backpack on the right outside the picture and put them on the table, then stood up, picked up the tapes and walked towards the fireplace. Panning to Gaspar, he places the tape on the mantelpiece above a large mirror. On the wall to the right of the fireplace hangs a picture of a steamship. Gasbar arranged the tapes neatly. The camera pans down to the right, and Gasbar sits in a chair, picks up his guitar by the fireplace, and begins to play.

30. Insert subtitles (same shot 10): Tuesday, July 18

room, interior, night

31. Gaspar's left, medium close-up, wearing a crew-neck shirt and shorts, sitting in front of an open window and playing guitar, with a yellow bowl and unfinished breakfast on a small table in front of him. In the foreground is a messy bed.

Beach·Location·Day

32. The camera pans to the right to follow Gasbar to the right, and the medium shot fades into a close-up, as he walks along the beach and eats an ice cream cone. He is wearing sunglasses, a black backpack, a white crewneck and black jeans, looking to the right of the frame. Panoramic shots follow as he eats an ice cream cone while walking on a crowded beach. Behind the white fence, two little girls in yellow vests watched him walk by. Medium shot, following Gasbar as he continues his walk on the beach.

33. The camera moves to the right, and the foreground is the white fence at the lower part of the beach. There are many people here, some people play volleyball, others are sunbathing or watching the sea from the fence.

34. Close-up, the camera follows Gasbar to the right as he walks along the beach as he finishes eating the ice cream cone. He stopped, turned to the left, handed the fence, and looked at the beach. After a while, he left the fence and walked in the opposite direction, taking a panoramic shot of his back on the beach.

35. Gaspar's medium shot, he is looking at the menu of a restaurant behind the coffee kiosk on the left side of the screen, in the background are several ships moored at the dock. He was wearing a black turtleneck vest over a shirt. A couple is walking away along the embankment (back view). At the bottom right of the screen is a row of bollards low on the beach. The camera pans to the right, and Gasbar, with his hands in the back pockets of his trousers, follows a path where cars are parked to a building in the background with a blue noticeboard on the front.

36. A close-up of Gasbal, who enters from the left of the foreground, walking towards the door of the building. The medium shot pans down, and Gasbar looks at the notice board hanging on the white fence to the right with the menu written in chalk. Then, he climbed a few steps to the left and came out of the painting.

37. Insert shot: A blue notice board hanging on the front wall of this building bears the store name "Moonlight Restaurant" in capital letters arranged in an arc.

Moonlight Restaurant Interior Scene Sun

38. Gaspar's 34/right side, close-up, he sits at a table with a large mirror behind him reflecting his back. In the background is a glass door with a bonsai on a small table to the right of the door. Gaspar, who was chewing food, put the knife and fork on the empty plate in front of him. Then he wiped his mouth and hands with a crumpled blue napkin. There is also a bowl of cider on the white plastic table with an ashtray next to it. Gasbar rested his chin with his right hand and rested his left arm on his stomach. A young couple is seen in the mirror and they come to a table on the right side of the picture and sit down. Gasbar crossed his arms on his chest, his expression focused. A sailor song played on the tape recorder intertwined with the ambient sound of the restaurant. Gasbar took a sip of cider, put the bowl on the table, wiped his mouth with his fingers, and looked ahead.

39. Medium shot, backlit for Margo, smiling and trotting into the restaurant. She has short hair and is wearing a white shirt and black skirt. The middle shot is of customers sitting on the patio outside the restaurant, and the back view is of the road and sea seen through the patio's colonnade.

A customer (voice-over): Margot?

Margot: Here we go! (Camera pans to the right, Margot walks to the table of a young couple, standing between them, smiling at the young man sitting on the left; 3/4 right of the young man, young woman with her back to the camera, other customers behind Jing) Have you made your choice?

Customer: Alright, here's a can of chocolate milkshake, please.

Margot: Would you like some ginger juice?

Customer: No (the couple are smiling, Margot looks to the left outside the picture).

Margot: It'll be right away! (Camera pans right to follow Margo as she approaches the sideboard and takes down a menu. A model boat is placed on the upper shelf of the sideboard. Margo is drawn from the foreground left).

40. Margot's medium shot, she turned her back to the camera and entered the painting from the right side of the foreground, with the young couple she just saw on the right. Margot hands the menu to another couple in the background. The camera pans to the left and Margot arrives at Gasbar's table, where Gasbar is still sitting with his arms folded over his chest.

Margot; are you ready (Gasbar clears his desk, looking at her casually)?

Gaspar: Alright.

Margot: Would you like coffee?

Gasbar: No.

Margot: Checkout?

Gasbar shrugged, and Margot left Gasbar's table, drawing from the left. Gasbar continued to listen to the sailor's song on the tape recorder. After a while, he lowered his head.

41. Insert subtitles (same shot 30): Wednesday, July 19

Beach·Location·Day

42. Medium shot of the beach. Wearing black swimming trunks, Gasbar walked on the beach with other holidaymakers. To the left of the foreground is a man sitting on a chaise longue beside a parasol, and to the right is another man reading a newspaper on a bath towel. The close-up camera pans to the right, and Gasbar meets Margot who is approaching, wearing a red swimsuit. Gaspar's back, with his hands on his waist, with the sea in the background.

Margot: Hello!

Gaspar: Hello! (turns to look at Margot) Do we know each other?

Margot: You don't know me anymore?

Gasbar (backs a few steps to the right of the foreground) Did we meet in Rennes?

Margot (with wet hair, smiling): No, right here, last night, in the dining room.

Gaspar: Oh! ...you were the waitress from last night? (He gestures as he speaks) Your hair is wet, I don't even recognize you!

Margot: Yes (managing her hair), my hair changed, but I didn't realize it.

Gasbar (crossing his arms across his chest): Well, I'm leaving.

He pointed to the sea water. Margot shrugged in agreement, drawing from the left side of the foreground. Gaspar walked towards the sea.

43. In a slightly tilted medium shot, Margo walks towards the bath towel spread out on the beach in the foreground. The camera pans down, Margo kneeling on the beach, picking up the sunglasses to the right of the bath towel and putting them on, and then picking up the hat in front of her and putting them on. She then sits on a bath towel with her back to the camera and looks at the sea in the background.

44. Gaspar's mid-shot, running out of the sea, holding wet hair in his hands as he runs, paints from the left side of the foreground. In the background, some people continue to swim in the water, and some people play sailboats in the distance to the right.

45. Panoramic view of the beach, with Gasbar straightening his hair as he walks. The close-up camera pans to the left, and he goes all the way to the crowd on the beach.

46. ​​Medium shot of Gasbar on the beach. Panning slightly to the left, he picked up the blue bath towel on the beach, wiped the water off his body, put the bath towel down, and looked around. The camera pans to the right as he walks through the crowd. The camera stops moving and he draws from the right.

47. (Following shot 43) A medium close-up of Margot, who sits on the left side of the foreground with her back to the camera, looking at the sea. Gasbar enters the picture from the left of the center shot, and the camera pans to the right as he walks on the beach. As the camera pans to the right, Margot comes out of the picture. Gaspar's back, he put his hands on his forehead and looked into the distance. The camera pans to the left, and Gaspar walks back the same way he came, holding on to his hair.

48. A close-up of Margot, who is sitting in the foreground, wearing sunglasses and a hat. In the background is a row of gingham tents, and a woman reads a book on a deck chair in front of the tent. Margot looked up to the right.

Margot: Are you okay?

49. Gaspar's left, close-up, he stops next to Margo and looks at Margo.

50. (Continued from 48) Close-up of Margot, taking off her sunglasses and hat, looking at Gasbar.

51. (Continued from 49) Close-up of Gasbar.

Gaspar: You mean water? (touches ears) It's a little cold.

Margot (voice-over): I like it.

Gasbar: Rare (he turns to the front, looking far to the right of the painting).

52. (Continued from 50) A close-up of Margot. She looked at Gasbar, her hands folded on her knees.

Margot: Is this your first time here?

53. (Continuing from 51) Gaspar's close-up, he looks at Margot again, hands on hips.

Gasbal: Dinard is here for the first time. But I'm quite familiar with Brittany, I'm from Rennes.

54. (Continued from 52) A close-up of Margot looking at Gaspar.

Margot: I'm St. Blake... (drops eyelids, then looks at Gasbar again) Are you waiting for someone?

55. (Continued from 53) Close-up of Gaspar, looking at Margot.

Gasbar: Not at the moment. Not exactly waiting.

56. (Continued from 54) A close-up of Margot looking at Gaspar.

Margot: Please take a seat (signs Gaspar to sit on the left).

57. (Continuing from 55) Close-up of Gaspar, pointing to the left.

Gaspar: My stuff is still over there.

58. (Continued from 56) A close-up of Margot, who is smiling at Gaspar.

Margot: Go and get it.

59. (Continued from 57) A close-up shot of Gaspar, who looks at Margot, then exits the painting from the left to get something.

60. (Continued from 58) Close-up of Margot, smiling and following Gasbar. She lowered her head, wiped her knees, and straightened her hair. Then, he looked at Gaspar again.

61. Gaspar's medium shot, smiling as he walks on the beach, towel and backpack in hand, painted from the left side of the foreground of the frame.

62. Gaspar entered the painting from the right side of the foreground, came to Margot's left and sat down.

Margot (right of the picture): Are you alone here?

Gasbar: Yes, for the time being (speaking while fiddling with the towel).

Margot: On vacation?

Gaspar: Yes.

Margot: I mean, you didn't come to work? I started working here, you know that.

Gasbar: No, no... (turns his eyes to Margot) I'm just on vacation. (looks at the towel in his hand again) But, from August 15th, I will be working.

Margot (looking at Gaspar) Where? here?

Gaspar: No... (looking at Margot) In Nantes, an institute. I just got my master's degree in mathematics.

Margot (stroking the sand on her calf): Really? I got a PhD in Ethnography.

Gasbar: Ethnography?

Margot: Yeah, you're very surprised aren't you? You thought I was the waitress.

Gaspar (constantly fiddling with the towel): No, I didn't think so. (Margot puts her hand on her calf) A lot of students are working during the summer.

Margot: How about you? Do you work part-time?

Gasbal: No, good thing I'm in math and can easily find classes to teach... (looks to the right) or work as a temp at some company (watches Margot pick up the white shirt on the right).

Margot: Do you want to be an engineer (stands up)?

Gasbar: I don't want to (panning up to the right to shoot Margo up, she's wearing a shirt).

Margot: Information officer?

Gasbar (voice-over): No, I like to teach... (pans down, Margot picks up her dress) Maybe less money, but I have a lot of free time.

Margot (looking at Gaspar on the left with a smile): Yeah, that's fine.

Gasbar (voice-over): Maybe. I never wanted to let money dictate my life.

Margot: If it was for the money, my life would be very bad.

Beach·Location·Day

63. Medium shot, frontal follow shot, with Gasbar on the left and Margot on the right, both walking on the beach.

Gasbal: Exactly, what kind of work do you want to do? What will your Ph.D. get you (scroll right to frame Margot's mid shot)?

Margot: Didn't get anything, not even the right to do research. I have a plan, but...it's too early to tell. (Looking at Gasbar outside the picture, then lowered his eyelids and said as he walked) I wanted to go abroad after graduating high school, so I went to Vietnam and Malaysia. (Looking at Gasbar with a smile) I once fell in love with a young man when I was in the country, (Looks at Gasbar with a smile again) We were even planning to get married. This event made me no longer want to go abroad.

64. A close-up shot of Gaspar walking beside Margot.

Margot (voice-over): That's when I started to realize... (Gasbar's eyes turn to Margot) I have far more feelings for Brittany than for Indonesia, (Gasbar bows his head, gently Biting her lip) So I decided that my dissertation should study the natives...especially the descendants of the fishermen who made their living catching crocodiles. (Gasbar nods) A lot of people have done papers on what still "retains the language and traditions of Brittany", but very few have studied Gaul...

65. (Continued from 63) A close-up of Margot walking.

Margot: I was so interested in my dissertation (turning to Gasbal) that I didn't want to go abroad after breaking up with my boyfriend (head bowed). (Turns to Gasbar) And... even more incredible, then I met a guy who now lives on the other side of the world, literally on the other side of the world, a technician sent by the French government to work in Polynesia. I could have gone with him, but I didn't! I waited wholeheartedly for his return, like a sailor's wife. I had a chance to earn some money by working in a restaurant with my aunt. So the day is still easy. tomorrow……

66. (Continuing from 64) Approaching the scene, the camera is pulled back to frame Gaspar walking, who is looking at Margot on the right.

Margot (voice-over): I'm going to see an old sailor... (Gasbal looks above left) He used to fish for cod in Newfoundland and now lives near Reims. (Gasbar bites his lip) I wonder if you want to go (Gasbar looks at Margot). Do You have a Car?

Gasbar: No.

Margot (voice-over): I have. The man's home is only 20 kilometers away from here, not far.

Gaspar (smiling): All right.

67. Subtitles (same shot 41): Thursday, July 20

Highway · Location · Day

68. The camera follows Margot's car, a small white hooded van, on a two-lane road. Margot drove the car, Gasbar in the seat to her right.

69. The right 3/4 back view of Margot, close-up, she is driving a car on a small road in a green pasture.

Gasbar (voice-over): I'm not interested in folklore (Margot glances at Gasbar on the right).

70. A close-up shot of Gasbar's left 3/4 back from behind the car.

Gasbal: I'm better at...I think so...I'm better at composing than playing an instrument. However, people have never created anything. American rock has its roots in blues and country music, which in turn has its roots in old Irish folk…

71. (Continuing from 69) The right 3/4 back view of Margo who is driving, close-up.

Gaspard (voice-over): Brittany also has a very rich cultural tradition, you know?

Margot: Knowing very little...I don't really like it. (Turns his face and gives Gaspar a smiling look) The bagpipes always sound the same tune, which I find boring.

Gasbar (voice-over): No, it's not like that, there's really good stuff out there, like the ancient Celtic bards of heroes.

Margot (looking at Gaspar): Ah, I don't know that.

Gaspar (voice-over): And the sailor song...heard it in the restaurant.

Margot (looking at Gaspar with a smile): Did you notice?

72. (Continued from 70) Gaspar's left 3/4 profile, close-up, with his right hand on the door.

Gasbal: Yes, I always pay attention to music, did you choose those songs?

Margot (voice-over): Yes, I bought the tapes for ethnographic research... did it inspire you?

Gasbal: One of the pop music these days is Celtic rock and the other is sailor rock, and I want to go in that direction more... (looks at Margot, then turns to the road ahead) I want to write A song like "Valparaiso"... (looks at Margot) You know what?

Margot (voice-over): Yes (she starts singing the song, and after a while, Gaspar joins her).

73. (Continuing from 71) The right 3/4 back view of Margo who is driving, close-up, she and Gaspar continue to sing together. The car drives along the road in front of a row of houses. The singing stopped, and Margot laughed.

The Fisherman's House Interior · Day

74. A close-up shot of the interior of the house, with some bonsai on the windowsill in the back, an armchair in the shadow on the left side of the foreground, some papers on the table in front of the window, an alarm clock on the right side of the table, next to the alarm clock There is a bonsai.

Fisherman (voice-over): A lot of people are singing on the deck, but...

75. Insert the lens, a few paintings on the wall.

Fishermen: Most of them sing pastime songs... 76. (Close-up view of the fisherman, he is an old man in a blue-grey sweatshirt with a lapel, sitting by the big fireplace, looking at the right side of the picture as he speaks, talking and doing Gestures, the flowers in the bonsai on the left in the foreground, the focus is not real) To be honest, these songs are not labor chants. Contrary to merchant ships, ships that run long distances, that is, those sailing ships that run and transport at sea for a long time, the sailors on these ships sing in order to keep pace with their work, when the anchor is lifted or the sail is pulled, (the camera pulls back, framed in the fishermen, he Smiles) In our jargon it's "turning the sail", and what we usually say "pulling the sail" is just raising the flag of the ship. And...things like this...almost...they are all in the past, we (the camera stops and pulls back, fixed, his close-up) The labor chants that the fishermen called are no longer sung. On the contrary, in order to "clean the tank"...I have to explain to you what "cleaning the tank" is... (he gestures with his hands on the table as he speaks) It is to trough salted cod in the salt pond in the bottom of the ship , after washing the cod, cut it into pieces, put it in the salt pool of the nacelle and spread it out, one by one...that's it. In order to make room for the newly caught cod, it is necessary to... "clear the trough"...

77. Medium shot of Gasbar and Margot, sitting at the table, looking to the left of the frame. Margo wears a red shirt and holds a pen and a small open notebook. Wearing a white crew-neck shirt, Gaspar lightly bit the fingers of his right hand. On the right side of the picture are a few yellow flowers in a bonsai.

Fishermen (outside the picture): At this time, we sing, in order to work in harmony - first of all, we shovel together, but also to count how many shovels we have to shovel, and how many shovels must be shoveled for each singing sentence, there are counts.

Margot (looks at the notebook, then smiles at the sailor): I hear you sing very well. (speaking, waving his hands and shaking his shoulders) Can you sing us something?

78. (Continued from 76) A close-up of the fisherman as he moves closer to the table.

Fisherman: There is one of the most popular songs... (drops his eyelids, looks at his right arm, moves closer to the table, gestures with his hands) It's a song that mocks... A song that mocks (Looking at Jia Spall and Margo), laughing at a lame captain, people always love to call and make fun of people who are... (looks at the bottom left) some kind of physical handicap, we call that captain "La Queen" Legs" (speaking and imitating) because he dragged his legs and the word "drag"... (gestures with both hands) means "pull" in sailor's jargon. The song goes like this (singing it up): "If you keep pulling your hind legs, you will have few sailors left. If you keep pulling your hind legs, your sailors will run out. You know the hind legs He's a great cod fisherman on Grand Banks"... (stops singing, shoulder-length camera, gesturing as he talks) Grand Banks is a beach near Canada...in St. Pierre-Miquelon and Canada Between... where did I sing? (sings on, smiling) "Do you know Pull Back, he's a great cod-fishing sailor in the Grand Banks, and scolds his sailors all day long. (79. On 77, Gaspar and Margot look on with a smile) If you keep pulling your hind legs, you will have few sailors left. If you keep pulling your hind legs, your sailors will run out" (Gasbal rests his cheeks in one hand and lowers his eyelids).

Parking lot in front of Moonlight Restaurant · exterior · day

80. Medium shot of Margot's car, which turns to the left of the road. The camera pans to the right and Margot's car is parked in the parking lot in the foreground. She extinguished the engine and opened the door at the same time as Gaspar. The camera pans slightly to the right, and Margot gets out of the car and closes the door. A medium shot follows, panning to the left, as she passes a car with a beige backpack in her hand, and Gasbar's door is closed off-screen.

Margot: Come to dinner tonight, I'll treat you. (A smear of sunlight on her face in the evening, she looks at Gaspar on the left as she puts on her backpack) I can't invite you every day, my aunt won't agree to that, but it's okay to invite you once in a while.

Gasbal: No... (left hand on the front windshield of the car) Please don't bother me, thank you, at the moment... I live at a friend's house and the family is out of town, I can do it myself Rice (the camera pans to the right, Gaspar walks between the car and Margo, going around from left to right).

Margot: Oh... how boring it is to be alone at night.

Gasbar (again leaning on the car): I'm not alone anymore, a few of my friends are coming the day after tomorrow.

Margot (smiling, looking at Gasbar, folds his arms over his chest): Then you happened to be here for dinner tonight.

Gasbal: No, tonight I want to compose... (a hand to the ear) and also waiting for the call.

Margot: Alright...(approaches Gasbar) Then (they kiss each other's cheeks)...see you tomorrow afternoon...(camera left) If you're free.

Gaspar: I'll call you if I'm not free (out of the picture, Margot waves him goodbye).

Margot: Goodbye (looks at Gasbar's back, then walks towards Moonlight Restaurant, quickly climbs the steps in front of the door, and draws from the left).

bedroom, interior, evening

81. Mid shot of Gasbal, wearing a V-neck black tank top and grey trousers, sitting by the bedroom window and playing guitar. He tried a few chords, then sang softly as he played, trying to make a tune. The camera pans to the right and Gaspar comes to the table next to the right shelf and puts a cassette into the small tape recorder on the table. Then, he sat on the chair beside the table, pressed the record key of the recorder, and started to play the chords just now. After a while, he stopped recording and took notes on sheet music. The phone rang and he put his guitar to the left. The camera pans to the right, Gasbar gets up, bends over and picks up the phone—

Gaspar: Hey! ... (the camera pans to the left, he holds the receiver in one hand and the phone in the other, and straightens up again) Mom, how are you? ... (he pulls the chair back, sits on it, and puts the phone on the table) Yes, but I went out and went for a walk by the Reims River with some friends... (scratch ears, cocked Erlang's legs) is...Is there no letter from me? ...OK (scratching neck) ...

82. Subtitles (same shot 67): Friday, July 21

Beach·Location·Day

83. Mid shot of Gasbar and Margot, Gasbar wearing a grey crewneck and grey trousers with a backpack in hand, Margo wearing a red top and dark blue skirt. They walked along the beach, looking at the sea on the left. The camera pans to the left, with Margot walking in front. A close-up shot of Margot as she walks along the fence and turns to look at Gasbar off-screen. The camera pans to the right to frame Gasbar's back, one hand on his forehead, looking at the beach. The camera pans to the left, and Gasbar moves closer to Margot.

Margot (voice-over): That girl is beautiful!

Gasbar (stops in front of Margot, who smiles at him): Which one (cam left, they move forward again)?

Margot: It's the one you just saw.

Gasbar: No, I didn't see those girls just now!

Margot: You should watch because you're single.

Gasbar (walks ahead, turns to look at Margot who is following): I may have looked at the girl, but I didn't look at her for the reason you think (they've moved away from the beach to the rocks. A small child Playing on the low reef on the right, with a person windsurfing in the distance to the sea on the right in the background)…

Protective Embankment·Location·Day

84. Medium panorama, with Gasbal and Margot as they walk side by side along the protective levee by the sea.

Gasbar: You know what, I'm actually here to meet someone.

Margot: You told me (medium shot, they continue their walk, not too far behind them is a couple in swimsuits).

Gaspar: Yes, but I was talking about waiting for a few friends. actually……

Margot: Is it a girl?

Gasbar: I can't hide anything from you.

Margot: Is that your girlfriend?

Gasbal: Even so, not quite (the camera stops moving, taking pictures of their distant backs).

Margot: When should she arrive?

Gasbal: Around the 20th.

Margot: It's today!

Gasbal: It should be today.

85. Mid panorama, Margot and Gasbar continue their walk along the protective levee, walking side by side.

Margot: I think she's here for your company, right?

Gaspar: No, it's me... Actually, it's quite complicated. I have to start from the beginning (three young women enter the painting from the left, towards the protective levee on the right).

Margot: Go ahead then.

Gasbal: Not very interesting.

Margot: It will be interesting (medium shot of Margot and Gasbar, getting closer and closer to the camera).

Gasbar: Well, I'll just say something briefly... (the camera pans to the left, a close-up of the left side of Gasbar and Margot walking) We met a few months ago, she's a pretty smart girl, you can say very Clever (close-up of them, the camera stops moving, backs them as they recede along the big rock on the left, the road ahead gets narrower). She had already applied for the Foreign Affairs College, but now she is not interested anymore, she does not like this circle. We have a lot in common (they fade away in the back, Gasbar in the front).

Margot: Because you're a musician?

Gasbar (turns his eyes to Margot): That's one of the reasons...

Beach·Location·Day

86. Medium panorama, shot on the sand near the sea, with Gasbar and Margo walking along the reef on the right. The camera pans to the right as they walk in tandem on the beach, with Gasbar in front, his hands in his pants pockets.

Gasbar: But she doesn't love me... (Margot follows him, shoe in hand) I don't think she... I don't think she takes me very seriously... (Gassbar's profile On camera, he glances at Margot behind him) At least for now... We said we were going on vacation together, but she walked away...with her sister...(They stop and turn to face each other standing on the ground, Margot on the left) to Spain... (close up shot, slightly tilted, continues to follow Gasbar as he walks on the reef) And on the way back, they're going to see their cousins, they His cousins ​​have a villa nearby, (Margot is in the picture, followed behind Gaspar, and continues to walk on the reef with his back to the camera), near Saint-Lunaire. She said she hated that place, but suggested that I go there to see her (medium shot, their distant backs, walking in tandem on the reef below the frame, with the protective levee above the frame).

Margot: How interesting!

87. Mid shot of Gasbar, who stops and turns to look at Margot off-screen.

Gaspar: She even asked me to... (he puts down his bag, Margot enters the picture from the right) to take her for a walk in the Cape of Brittany, (Margot walks in front of him) and to a place called Wissant . (The camera pans down as he crouches on the ground. In the foreground is a close-up shot to the right of Margo.) I don't know the place, and neither does she.

Margot: I don't know either. (He looks up at her) But I have to go in a few days. (The fog whistle of the steamship is heard from the sea, Gasbar looks to the right, Margot comes out of the water and puts her right foot on a rock) If she doesn't want to go, you can find me, okay (after a while.) Yes, Gasbar looked up at her again, her right foot still resting on that rock on the right)?

GASPAR (after a while): OK, OK, OK.

Margot: Can you tell when she's coming?

88. The medium shot with a slightly tilted angle, the camera moved to the right, and Margo was walking on the rock.

Margot: Have you been to her cousin's house (goes in front of Gasbar, stops, sits on the ground, the camera shoots her left side, while panning down to the left, framing Gasbar sitting on the ground to the right side, the camera stops moving, just framing Margo's calf)?

Gasbal: You'll laugh at me, I don't even know where they live, only near Saint-Lunaire, and that's all she told me. I don't know their names or phone numbers. She wasn't with us when we parted...

89. Close-up, slightly tilted, Margo's left 3/4 profile, she looks at Gasbar on the left outside the painting.

Gaspar (voice-over): She should have written to me, but she hasn't written a word to me yet.

Margot: But are you still here?

90. (Continued from 88) A close-up shot of Gaspar, who is seated at the feet of Margo, who is on the right of the frame.

Gasbar: You don't think I'm normal, do you (he glances at Margot, who shakes her calf)?

Margot: No, on the contrary... I think it's interesting.

Gasbar (heads down): To make matters worse, I don't love her very much.

91. (Continued from 89) A close-up of Margot.

Margot: Oh!

Gasbar (off-screen): It's not ecstatic... (92. Then 90, Gasbar is sitting at Margo's feet, Margo is on the right) It wouldn't matter if she didn't write. When we were at Wren, we never went on a date on purpose, just by chance (he looked up at Margot, then turned to the left) and we were used to it.

93. (Continued from 91) Margo is smiling in a close-up shot from a slightly tilted angle.

Margot: By chance, in a wonderful way (she chuckles softly)!

seaside · exterior · day

94. Mid shot of Gaspar and Margot, who walk towards the foreground.

Gaspar: Well, I have to go.

Margot: Okay, come for dinner (a few kids running up the steps on the left in the background)?

Gasbal: Not tonight, I'm going back to compose (they look at each other and laugh).

Margot: And waiting for the call! Well, see you tomorrow, if you're free. (Gasbar steps back slightly) Tomorrow is Saturday, but I'll make time to see you (Camera pans to the left, Gasbar hurries to the steps, Margo waves goodbye to him, draws from the left, Gasbar smiles at her , then go up the steps).

95. Insert subtitles (same shot 82): Saturday, July 22

Moonlight Restaurant Interior Scene Night

96. Medium shot of Gaspar, who sits at a table drinking coffee. A dining table on the right in the background with some fruit in a wicker basket is next to an open door that looks like a place for rags. Gasbar was wearing a black vest over a green shirt, and fiddled with a crumpled blue napkin. There is a bowl of cider to the right of the table and an ashtray to the left. Gasbar looked at the right side of the screen, and people were talking outside the screen.

97. Medium shot of a group of young people sitting around a large dining table, with curtains in the dining room to the right of the back view, discussing something. Margot, in the uniform of a waiter, stood to their left, in front of a young man in a red crew-neck and a long-haired girl in a brown crew-neck. Margot gestured to Gasbar to come to the big dining table, but Gasbar didn't go over. Margot walks to the foreground, drawing from the left side of the frame.

98. A close-up shot of Gasbar sitting at the dining table, with Margot entering from the right, her left.

Margot: Come to our side?

Gasbar: No, I want to go to bed (he bows his head).

Margot: Come on...this Saturday.

Gaspar: No, no.

Margot: We're going to the "thatched hut."

Gaspar (looking up at Margot who is smiling at him): What is that place?

Margot Saint: A disco in Lunel.

Gasbar: All right (he stands up, still holding the napkin, they draw from the right).

Hut Disco·Interior·Night

99. Medium shot, a couple of young people dancing under the colorful swirling lights. Gasbar sits on the right side of the frame with a glass of wine, Margot is in the middle of the frame, wearing a red dress, and on the right is Solena, a girl with long brown hair, who is dancing.

100. Close-up shot with a slightly tilted angle, on the right side of Gasbar, who takes a sip of wine from a glass and looks to the right of the frame. Then he smiled and looked down at Margot in the foreground. The camera pans to the right as Solena dances alone, with another short-haired girl in brown dancing next to her, and Solena moves out of the picture.

101. A close-up shot of Gasbal dancing.

102. Close-up of Solena dancing with a tall brown-haired man watching her behind her. Margot appears in the foreground, then moves out of the frame.

103. (continued from 99) Medium shot of several young people dancing. One song ends, another begins. In the middle of the dance floor, Margot dances with a tall, blond man who wraps her arms around his neck, while Gasbar on her left looks at Solena on her right. The tall brown-haired man who had just watched her behind her was inviting her to dance. Gaspar, holding a glass of wine, stood in the middle of the dancing couples. After a while, Gasbar painted from the left side of the foreground, and Solena, who was dancing around the neck of her partner in the middle of the dance floor, turned her attention to Gasbar.

104. Close-up of Gasbar, sitting on a chair in the shadows, arms folded over his chest, looking to the right of the frame.

105. Margot's back, close-up, she dances to the beat with her partner.

106. Close-up of Solena, with her arms around her dance partner's neck, dancing while looking at Gasbar on the left.

107. (Continued from 104) Close-up of Gasbar, still sitting on a chair in the shadows, his eyelids drooping and his arms folded over his chest. After a while, he fiddled with his fingers.

108. Insert subtitles (same shot 95): Monday, July 24

Pier·Exterior·Day

109. Medium shot of Margot and Gaspar as they walk along the pier where some boats are moored. Margot was wearing a dark top and black skirt, while Gasbal was wearing a jumper and grey trousers, holding a black top in his hand and a black backpack slung over his shoulder.

Gaspar: I don't understand, how do you get along with those guys!

Margot: I get along with just about anyone, it's a professional fetish (shift left, shoot them from a frontal angle, and as they walk toward the camera, they gradually move from mid-ground to close-up) .

Gasbar: As a waitress?

Margot: No, fool, as an ethnographer!

Gaspar: Oh!

Margot: I'm curious about people. Nobody is boring.

Gasbar: If you're talking about people as individuals, not as a group, I agree. But I've always been afraid of groups. First of all, I didn't want to join the crowd...and then, even if I wanted to, I couldn't (the camera panned to the left and continued to pull back to make a panorama of Margo and Gasbal).

Margot: Do you have many friends?

Gasbar: There are some... good friends, but we all meet alone.

Margot: Is it the boy?

Gasbar: Yes, the only girl I'm dating now is Lena.

Margot: You don't have any female friends (the camera moves to the right with them)?

Gaspar: Yes, it's you now.

Margot: Is it the first one?

Gasbal: Pretty much (medium panorama, their right).

Margot: You don't seem to believe much in friendship between boys and girls?

Gasbar: Why don't you believe it? But in general, I'm mostly looking for lovers, not girlfriends (Margot pauses, Gasbar turns to look at her).

Margot: But what if the lover isn't there (slightly moved to the left)?

Gasbar: Can't say that, I can't have a girlfriend if my lover isn't around (cam right, they continue their walk).

Margot: So, you can only accommodate me because of your...what's yours? Lena.

Gasbar: Yes, Lena.

Margot: I want to know what she looks like, do you have a picture of her (they go to the end of the pier where there is a red and white fence)?

Gasbar: Yes, it's in my bag, I'll show it to you later.

Coast·Location·Day

110. The camera pans to the right, the backs of Gaspar and Margot, medium shot, they are walking on the grass. There are clumps of plants on the left and a bench on the right. They stopped and looked at the other shore in the background, and Margot pointed--

Margot: Look, you can see the restaurant over there. Did you see that?

Gaspar: I see.

The camera pans to the right, and they pass behind the benches and walk along the coast, where some boats are moored low. They stopped in front of a bush, their backs, Margo pointed to an island on the sea in the distance——

Margot: There is Cazeble Island... (the camera pans to the right, they walk up again) Little Beau... Da Be... (they pass another bench) Saint Malo... (Margo holds up Raise a hand) Behind these two islands... (they stop with their backs to the camera, Gasbar is on the left of the frame, one hand is on the back of the bench, Margot is in the middle of the frame, and continues towards Gasbar Introduce the scenery on the other side, and point out from time to time) there is Saint-Servain, and there is the Solido Tower.

Gasbar: Ah, Solidor? It's funny, my parents had a Suzy Solido record.

Margot: Is it?

Gasbar: The song above is the sailor's labor number, and the name of the record should be named after this tower.

Margot: Definitely. really interesting. What about the photo you're talking about (close-up shot left)?

Gasbar: Ah, yes!

Gasbar sat on the bench, draping his jacket over the back of the chair, and Margot sat to the right of the bench. Gaspar's shirt fell to the ground and he picked it up. Then, he put the black backpack on his lap, and Margot watched him open it. Gasbar took out a photo and handed it to Margot.

Margot: Hey, I know her! She came here with a bunch of people and played volleyball.

112. A close-up of Margo, looking at the photo in her hand, where a ray of sunlight shines.

Margot: Interesting, I don't see how you two would be a couple (Gasbal's right hand is in the picture, taking the picture from Margot).

Gaspar (voice-over): Whom should I go with, in your opinion? Not with anyone?

Margot (looking at Gasbar, blinking in the dazzling sun): No, no, (she looks down at the ground) I think you were a good match for the girl from that night.

113. Close-up of Gasbal, looking at Margot on the right.

Gasbar: Which girl?

114. (Continued from 112) Close-up of Margot, looking at Gasbar on the left.

Margot: You know that.

Gasbar (V.O.): You mean the...brown-haired girl in a beige dress...(115. followed by 113. Close-up of Gasbar, smiling and placing his backpack on the left side of the bench) You Talking crazy!

Margot (voice-over): What's the matter? She is beautiful, what more do you want!

Gaspar (blinking in the dazzling sun, turns to Margot on his right): Maybe, but she's not my type of girl.

116. (Continued from 114) A close-up of Margot, who looks at Gasbar, then bows her head.

Margot: Anyway, I'm sure you're the kind of boy she likes. (She turns to Gaspar) She's been staring at you.

117. (Continued from 115) Close-up of Gaspar, who is smiling at Margot.

Gasbar: She didn't look at me. (He shakes his head, then turns to Margot) You pulled me aboard. (He looks at the ground) She's not my kind of girl at all. (turns back to Margot) Did you see the gang with her?

118. (Continued from 116) A close-up of Margot, who shakes her head.

Margot: What I saw was that she wanted to send the gang away (looking at Gasbar with a smile).

119. (Continued from 117) Close-up of Gaspar, who looks at the ground with a thoughtful expression, then turns to Margot.

120. (Continued from 118) A close-up of Margot, smiling.

Gasbar (voice-over): What's the matter?

Margot (extending an arm to Gaspar): Love is so good (she stands up and draws from the front left of the frame)!

121. Insert subtitles (same shot 108): Wednesday, July 26

Highway · Location · Day

122. The two-lane road to Saint-Lunaire, shot from inside a car, on the right is a sign that stands at the entrance to the city, a young man on a red low-seat scooter and two children watch The car passed by.

Beach·Location·Day

123. Close-up of Gasbar and Margot, Gasbar on the left, wearing a grey sweatshirt, and Margot, on the right, wearing a blue shirt and beige hat. They walked along the fence of the beach, looking at the sand by the sea.

124. A slightly lower angle shot, moving along the fence, with some people swimming on the lower beach.

Beach·Location·Day

125. Close-up, the camera pans to the left to follow Gasbar and Margot as they walk along the beach.

Margot: You know, she's a week late.

Gasbar: As I told you, she has a poor sense of time (close-up of them walking side by side, the sea breeze blowing their clothes and wet hair).

Margot: Not even a postcard. I know there are people like that.

Gasbar: Are you making fun of me? But you know, on the one hand I'm waiting, on the other hand I think it's good here. I met you, so I didn't feel like I was wasting my time.

Margot (smiles and touches Gasbar's shoulder): Thank you! What would you do if you didn't meet me?

Lizbal: I don't know... Anyway, I don't like assumptions (moving right, shooting them head-on).

Margot: Where exactly did she go?

Gasbal: Spain, I don't know the exact place.

Margot: By car?

Gaspar: Yes.

Margot: You said you went with her sister?

Gasbar: Yes, and her sister's boyfriend.

Margot: That's all?

Gasbar: I drove to...

Margot: A car with at least four seats (the camera pans to the right, Gaspar walks in front of Margo).

Gasbar: I know, I even thought about... (He glances at Margot, who is walking behind him on the left side of the frame) I'd be surprised if they took another man... (Gas Barr's right, Margot walks back to Gasbar) Besides, I've made every plan, even the worst, what about this (the camera keeps following them, filming them walking fast on the beach) to the right, towards the right of the screen).

Margot: You're quite sensible.

Gasbar: Yes.

Margot: Still not infatuated with love.

Gasbar: I told you this...if she doesn't love me, she deserves it. I don't think I can fall in love with a girl who doesn't love me. Since no one loves me, I don't love anyone.

They are drawn from the right, and in the background are some boats docked in the shallows of the sea.

126. A close-up shot of Margot, leaning against the fence of the embankment, looking at Gasbar on the right, with a few white clouds floating in the blue sky in the background.

Margot: Do you want to know what I think? I don't think she loves you, and you don't love her, and I even doubt that she exists.

127. A close-up of Gasbar, his eyelids drooping—

Gasbar: Didn't you see her picture (looking up at Margot on the left)?

Margot (voice-over): Photos don't tell a story. (Gasbar turns his head and looks at the ground on his right) She may be there, but you lack understanding of each other, and you're not here entirely for her.

Gasbar turned his face to look at Margot, panning to the upper left to shoot Gasbar up.

Gaspar: Do you think, (goes in front of Margot) I'm a complete fool in this situation? (Upside-down shot of Gasbar, he turns to the right, walks to the right, and the camera moves with him all the time) Yes, I'm a fool... Now, I don't know if you get what I mean. (He turns to the left, leans down, leans his arms on the fence) In general, I am a person who does not want to conquer others at all costs, does not want to pursue chance, but likes to let chance pursue me. (128. Next to 126. Margot's close-up, she looks at Gaspar at the right of the painting. Off-screen) Do you understand?

Margot: Like (her eyes follow Gasbar as he leaves the fence)?

Gasbar (off-screen): Like, (goes to Margot on the left again), she said to me that day... (Gasbar off-screen, off-screen) She will come to Dinard on the 20th, (from Across the frame in the opposite direction) I stumbled across... (now he's off-screen again) and met a friend who lives here, and he lent me his house for a vacation. Something like this excites me. (129. followed by 127. Close-up on the left of Gasbar, who leans over the fence again) This may cause trouble, or nothing... (He looks up at Margot) You think it's absurd ?

130. (Continued from 128) A close-up of Margot, looking at the ground.

Margot: Not absurd at all. Honestly, I like that too, (looking to the left) I've had this experience too. I'm interested in Brittany because there's an opportunity here...(looking at Gasbar) There's a right opportunity...(she turns to the left again) In love...things don't always go well for me, but in the end The results are not bad. (She glances at the floor) These experiences have taught me to value my independence. (she looks at Gasbar) My most recent boyfriend is an archaeologist, (she looks at Gasbar again) I don't want to work with him, and he doesn't want to work with me (she looks at Gasbar).

Gasbar (voice-over): You never see each other?

Margot (smiling and shaking her head gently): It's not always like this, (drops eyelids) Rarely... (looks at Gaspar with a smile) That's not bad either.

Gaspar (voice-over): Do you love him?

Margot: Of course. (Looking to the left of the screen) But I don't know enough about him. (looks at Gasbar) I don't want to get too deep... (looks at the ground) Anyway, when he comes back, (looks at Gasbar) We'll have a good time in France. Let's see... (she smiles and rests her head lightly on Gasbar's shoulder) But your question is different from mine.

131. Insert subtitles (same shot 121): Thursday, July 27

Beach·Location·Day

132. Middle panorama, pan right, to the right of Gasbar and Margot, who are walking on the beach. Margot was wearing a blue skirt and hat, while Gaspar was wearing a grey top and black jeans.

Margot: If I were you, instead of waiting aimlessly, I would just find a girl to spend the summer with (there are some kids playing by the volleyball net in the background).

Gasbar: First of all I'm not interested in things like this, and even if I wanted to, I couldn't find a girl.

Margot: Why?

Gasbal: I was meant to be. What I don't believe in can never be done.

The camera rotates 180 degrees, and the view becomes medium and close-up, following Gasbal and Margot, who pass behind two women, who are in the foreground of the frame, lying on bath towels.

Margot: Do you trust Lena?

Gasbar: I'm asking myself too.

Margot: You're thinking too much... You see, there are a lot of pretty girls here.

Margot turns her gaze to the left, to the woman outside the painting, with children playing on the beach in the background.

Gasbar: Maybe, but I don't know her...I'm not used to talking to strangers.

With their backs to the camera, they walk along the beach, with Margo on the left, a bath towel in her left hand, and Gasbar on the right, with a black backpack.

Dirt Road · Location · Day

133. Mid panorama of Margot, she walks in front of Gasbar, Gasbar follows her, they walk on a dirt road in a meadow with a white fence to the right and several houses in the background.

Margot: But what about the girl that night? You already know her. Would you say hello to her if you saw her (they were getting closer to the camera)?

Gasbar: Yes, if she looks at me. And what about (the camera pulls back a little and pans to the left)?

Margot: If you don't live in a tiger's den, how can you get a tiger's son!

A medium shot follows them to their left as they walk to the left side by side, with the beach and sea in the background.

Gasbar: I don't really believe that, at least not what I've been through. If I'm with a girl, it doesn't go well at first, and things get worse for me later on.

Margot: I'm the exact opposite. (Pauses, turns towards Gasbar on the right) When I first started dating my first boyfriend, I didn't really like him, and if he didn't put in some effort, I wouldn't have dated him.

Gasbar: But you didn't last (the camera pans to the left, Margot starts walking again, she's in front, Gasbar is behind her)!

Margot: Lasted three years (they turned their backs to the camera and walked along the dirt road by the grove on the right side of the frame).

134. Medium shot of Margot and Gasbar, they are walking in tandem with a wall on the right side of the road. Margot turned to look at Gasbar, who smiled. They continued walking in silence.

135. The back of Margot and Gaspar, medium shot, they are walking along the root of the wall on the left, and there is a slope on the right.

136. Shooting the camera upwards, the foreground of the picture is a branch, and Gasbar enters the painting from behind the branch at the top left of the picture. The medium close-up shot moves down and to the right, with Gasbar walking

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