Script:
NOTHING MORE SAID
Raphael Medeiros
(this is a work of fiction)

BLACK SCREEN
“São Gonçalo, August 20, 1990. A street in Coelho wakes up to the sound of three firecrackers. A lot of out-of-season June festival is happening.”

SCENE 01 – internal night – Nonada warehouse
With the camera’s view at ground level, we see two stretched legs that seem to come from outside the frame. And as usual, whenever the shot can’t contain the subject, the frame imposes its limit. Where the frame is respected, machinery and camera are just tools. Here it cuts this body right at knee level.
“Even when attentive, it’s hard to see some subjects. Decoupage, script, shooting plan, and schedule make you look so much at the screen that you end up blind.”

SCENE 02 – external day – banana storage
Full and yellow screen. As the camera opens the shot, we see kilos and kilos of bananas. And right there, amidst the bananas, a young person spots legs.
“He said he was working in the banana storage when he heard the noise of firecrackers, that his mother always told him not to get involved in these things, that he only noticed what happened when he saw the legs fallen on the sidewalk, that he heard the defendant demanding money from the victim, and said nothing more.”

SCENE 03 – internal night – Nonada warehouse
“factory light of fetish
machinery and language
fabulation, fiction, anxiety
mining lies seeing mirage
she is my art dealer
critic, curator, gallerist”

SCENE 04 – external day – dirt road
In sequence, we see many legs passing through the camera, abrupt cuts between shivers and still shots, we see a pair of legs, now standing, now running, then two, then one again, then about twenty, then one horizontally.
“He says that around nine o’clock he heard three gunshots, that when he arrived at the bar he saw the victim lying with legs outside the establishment, that the defendant had left the scene with his gun in hand pointing at people and saying that those who said anything would meet the same fate, and said nothing more.”

SCENE 05 – internal night – Nonada warehouse
“Raphael Medeiros says he is a filmmaker and artist, that he is also a liar, that every location visit is an aesthetic dive, that everyone in a film crew are actors, that all machinery and light objects are artworks, and that every set is a performance, that a script or a procedural version are similar collections of clues from many already fictionalized realities, that he became a storyteller even though he doesn’t remember the sound of firecrackers, and said nothing more.”

SCENE 06 – internal day – baby’s room
A winter sunbeam hits a mobile with hanging teddy bears. Contemplating her baby in silence, a mother changes diapers.
“She says that on the day of the incident, she was inside the house changing her baby’s diapers when she heard gunshots, initially thinking they were firecrackers, that she saw the legs outside the bar, that she saw the young one clinging to the victim’s neck, that she bathed the young one to wash off the blood on him, and said nothing more.”

SCENE 07 – external day – bus
A man rests his head on the bus window, and in the reverberation of the morning sunbeams, the road connecting São Gonçalo to Niterói looks like a river where his eyes navigate in total calmness.
“The defendant, a retired Navy corporal, says that the victim had a business in a property that he owned, that he is unaware of the fact that the victim had to pay a daily fee for the place, that the deponent was not at the scene at the time of the crime, that he had a revolver, that after being retired from military service, he settled in São Gonçalo, that he heard that the victim was holding his son when he was hit, and said nothing more.”

SCENE 08 – internal night – Nonada warehouse
Through the theater of static shadows, images from the artist’s personal repertoire are projected onto backstage objects that dialogue with lies, versions, and fabulations that go beyond the frame of the shot. We follow the dissipation of dreamlike images, fictioning erased memories and shedding light on the cinematographic language itself.

SCENE 09 – internal day – marble factory
Lots of dust, marble texture, and noisy machines. A drop of blood hitchhikes on the neighbor’s car, and in a hurry, both neighbor and drop spin tires on the curves. Upon reaching the factory, the drop rushes to ring the bell, then the neighbor asks to call the accounting lady, that’s the drop’s desire, but as it doesn’t speak, it was up to him to make the announcement. Still trembling, the man hands the drop to the accountant.
“She says she was married to the victim, that she was at work when the owner of the banana storage came to inform the deponent that her husband had been robbed, and said nothing more.”