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C00002 00002	and thus cannot question Chico's lie.  We see that Charlie's  eyes have now found the
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and thus cannot question Chico's lie.  We see that Charlie's  eyes have now found the
gun.  Chico's power is reaffirmed as the camera dollies along the table, and then
pans and dollies to face Chico sitting there.  As Chico starts to sit at the table, the
combination dolly and pan of the camera effects the disappearance of Charlie, so that
the fully seated  Chico is the only figure in the frame.  He is also at a more
perpendicular angle to the camera than the past views of Charlie - a much more 
commanding stance, even when sitting.  We must face him, as we didn't have to
with Charlie.  His attention is directed out of the frame to his right, where we
think Charlie is.  Before him on the table are both the knife and the gun, and the
eggs, along with the coffee "cups" Richard has been setting out.  Chico tells Charlie of
he and Richard "going straight," with a lean towards Charlie and a grin on his face.
This affect of intimacy, humor at his and Richard's situation, shows his reversion
to a brotherly understanding he expects from Charlie.  Also, we see a 'black' humor
at his finding their situation funny.  They were trying to be something they were
not, much the same way Charlie was.  The camera pans back to Charlie as Richard
serves him coffee first, again implying he is a guest.  Richard's face is not seen
in a full or flat view, but as a horizontal "into" the frame as he leans over the
table.  Thus he does not interrupt the preference given to the other brothers, but
seems to condone and nurture it.  The shot ends with Richard finishing the pouring
of his own coffee from a position to the right and slightly behind Charlie, as
Charlie looks at Chico.  Charlie faces across the camera view at close to a 90 degree
angle, while Chico almost faces it squarely.
 
	The cut to the next shot is almost a jump cut.  Richard is now off the
left edge, with only the coffee pot and his hands visible.  Chico is in mid-frame
in a closer shot than we last saw, and once again he is more square to the camera.
He can command these things.  Richard walks behind Chico to pour his coffee from
Chico's left side, waiter-like.  This also serves to keep him from coming between Charlie
and Chico.  =e then exits to the left behind Chico.  As Chico says that he and Richard should
have "bumped them off" (the robbers) there is a cut to what seems to be empty space.
This is very disconcerting after two very long takes, with only one short static 
close-up in between.  The whole image is quite abstract, especially when we see a
figure enter from the upper left corner, a new camera angle, completely obscuring the
space.  It is Richard in his black sweater, which serves to 'compress' the frame
downwards as he is seated.  This leaves us with a close-up of Richard, shot from 
above and over Charlie.  We see a rounded, full face surrounded by curly locks.  
He looks somewhat cherubic, child-like.  The camera angle downward seems to
substantiate this - his child-like quality - by giving us a dominating viewpoint.
This is especially evident as Richard tells Chico that Charlie has killed a man.
Richard does not take his eyes off Charlie as he relates this information to his
other brother.  We see this as tattling on Charlie; wee watch as he judges his words
not by the reaction of whom they're spoken to, but whom they're spoken of.  It
is at this point that we see Richard's place between his two brothers.  As at the
table he is eventually placed between, in life he is there to "tattle", to shuttle
information between them, to sometimes act as buffer, but never to make important
final judgements or decisions.  Yet he is the "functioning" one, the brother who
hasn't gotten himself all beat up, who does the domestic chores, who retains a
presentable, honest name, Richard, as opposed to the cuteness of "Chico" and the
lie of "Charlie."  He is the one who has accepted his life in hiding, he needs
no gun, is not moping about the past.  Opposed to this ability to shed "external"
influences, he is also the ultimate "follower"; Chico is a bumbler, true, and
Charlie has also bumbled through his experience, but Richard continues to act on
Chico's decisions and look for support from Charlie.  As Richard tells on Charlie, we 
see Charlie's head sliding out of the lower left corner of the frame as it is bent
forward.  Charlie acknowledges his act by lowering his head.  The camera then
serves to additionaly subjugate with the angle looking down on both brothers,
and by placing Charlie's head in front of Richard, much as a slave would bow 
before a master.  We are still at the highest point of view, but that doesn't
last as the film cuts to a dual close-up of Richard and Chico, who is on the right.
 
	The camera is once again level.  Richard is slightly forward of Chico; here
he is again identified as the informant, a literal shuttle as he looks back towards
Chico.  The camera angle is much closer than previously to what Charlie's view would be.
He is finally starting to become enmeshed in the brotherly dialogue.  Once again
the brothers' bodies extend out of the frame.  The shot being closer, the edge is
through their heads; the center third is empty, but this time it is divided by a
corner, and resulting shadow, in the wall.  Consequently, the thirds of the image
actually become fourths or halves, balanced, as Charlie sees his brothers.
 
	These are his brothers.  They will always be separate from him.  His view
extends out from himself to encompass them, where he can either make the balance
an equal three-way split, or a two-way split between himself on one side and the
two of them on the other.  As earlier shots seemed to be of the first, tri-lateral
view by not being from Charlie's viewpoint, this shot serves to set up Charlie's
inclusion.  It is the "steeling shot," as he sees his brothers before him,
possessing the truth of his actions.  Chico laughs as he realizes that Richard has 
spoken the truth, and then there is one final pan to the right to show Chico in
single close-up.  He is now ready to speak his judgement and Charlie knows it.
As Chico speaks, the camera cuts to Charlie's back as he walks from the table.
"T'est comme nous."  (You are like us.)  Charlie has finally entered the scene
as a participant, not as merely a guest.