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The camera movement emulates a push transition, allowing space for the surgical table. The stranger pushes back Sancho Panza, but again his gestures betray him – he looks more like he's trying to grab his beard or collarbone, as if he’s about to drown. There's no action without a performance of ambiguity. Everyone is laughing; maybe no one believes their eyes, and for a good reason: the hands narrate a different, more visible story.