Terror in the Aisles Page #2

ingenuity,

(WOMAN EXCLAlMS)

and a strong stomach.

(ROARlNG)

All right.

I'm gonna suck your brain dry.

HOST:
Artists and technicians

continue to defy logic,

stagger the imagination,

and astound our senses.

All the time

raising the stakes.

(WOMAN SCREAMS)

HOSTESS:
But special effects are

not essential to a good movie.

It's the filmmaker's

technique that matters most.

And the unquestioned master

was Alfred Hitchcock.

CARNlE:
You've just

won a Kewpie doll.

Why, he's broken the thing.

(CARNlVAL MUSlC PLAYlNG)

ls your name Miriam?

Why, yes. How did you...

(GASPS FOR AlR)

HlTCHCOCK:
When l say that l'm

not interested in content,

it would be the

same as a painter

worrying about whether the

apples that he's painting,

whether they're sweet or sour.

Who cares?

(DOOR CREAKlNG)

HlTCHCOCK:
lt's his style,

his manner of painting them.

(EXCLAlMS)

That's where the

emotion comes from.

No!

HlTCHCOCK:
This scene

is 45 seconds long,

but was made up out

of 78 pieces of film

coming onto the screen

in great rapidity.

But the overall impression

given the audience,

is one of an alarming,

devastating murder scene.

(CRYlNG OUT lN PAlN)

HOSTESS:
The fact is,

from the moment you

buy that ticket,

you know you're gonna get it.

It's just a question of how,

where,

and when.

The name of the game

is suspense.

(DOOR CREAKlNG)

(LAUGHS)

Cute, Bob. Real cute.

See anything you like?

What's the matter?

Can't l get your ghost, Bob?

All right, all right, come on.

Where's my beer?

In effect, the filmmaker says to

the audience, "Now, get ready.

"You're going to see something

that's going to scare you.

"But l'm not going

to tell you when."

You're being

programmed to go nuts.

I met this six-year-old child

with this blank, pale,

emotionless face

and the blackest eyes,

the devil's eyes.

I spent eight years

trying to reach him,

and then another seven trying

to keep him locked up.

Because l realized that what was

living behind that boy's eyes

was purely and simply evil.

Well, can't you answer me?

Okay, don't answer me.

Boy, are you weird.

Well, l'm gonna call Laurie.

I wanna know where

Paul and Annie are.

This is going nowhere.

(TELEPHONE RlNGlNG)

Finally.

Hello.

(GASPlNG AND STRUGGLlNG)

(MAN PANTlNG)

Hello?

(STRUGGLlNG ON

OTHER END OF LlNE)

All right, Annie. First

l get your famous

chewing, now l get

your famous squealing?

(GASPlNG FOR AlR)

(PANTlNG)

Are you fooling around again?

Annie?

The essential fact is,

to get real suspense,

you must let the audience

have information.

Now let's take the old

fashioned "bomb theory."

You and l are sitting, talking,

we'll say about baseball.

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