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01:14Most classically constructed features include two primary lines of action, one devoted to romance, the other often devoted to work. The rescue scene in Notorious is no exception. It's the culmination of both the love affair and the spy intrigue.
01:28Are you going out this afternoon, Alex?
01:30No, my dear, I have some...
01:31Earlier, Alex Sebastian and his mother have discovered that Alicia is an American agent and they've set out to poison her slowly so that their Nazi friends won't discover Alex's blunder in marrying her.
01:41She shows up groggy at her final meeting with her handler, Devlin.
01:45You don't look so hot.
01:46And at first he thinks she's hungover.
01:48Throughout, he's been using her alcoholism as an excuse to punish her for marrying Sebastian.
01:53Hangover.
01:54Though he could have prevented it by telling her of his love for her.
01:57That's news. Back to the bottle again, huh?
01:59On this night, though, he suspects she's actually sick.
02:02Mrs. Sebastian is very ill and confined to her bed.
02:05He's come to the mansion to investigate.
02:07Oh, I'm sorry to hear that.
02:09This coincides with Sebastian meeting with his associates to discuss the possibility that they're under suspicion by American agents.
02:16When I left the bank, a man was following me.
02:19Devlin sneaks upstairs, finds Alicia very ill, and confesses his love.
02:24I'm so glad you came.
02:26This gives her the strength to stagger downstairs with his help.
02:29She can transmit the crucial information about the uranium the Germans had discovered.
02:34The couple brazenly escapes under the eyes of the Nazis, abandoning Sebastian to his fate.
02:40Today, a comparable film would probably have Devlin laying waste to the mansion in a massive gunfight.
02:46And at the screenplay stage, such a shootout was considered.
02:50But Hitchcock, who preferred suspense to large-scale violence, conducts this whole thrilling sequence without a single punch or gunshot.
02:57What am I going to do? Start shooting?
02:59Its power depends upon a magisterial use of film techniques.
03:03Techniques that have been subtly prepared for throughout the film.
03:10Devlin's Rescue brought in one of the most prominent conventions of contemporary thrillers.
03:151940s films often built their plots around husbands who are plotting to get rid of their wives.
03:20The most famous example is probably Gaslight, which features a man trying to drive his wife mad.
03:25The wife was played by Ingrid Bergman.
03:27We find murderous husbands in The Two Mrs. Carols, Sleep My Love, and many other domestic thrillers.
03:32Hitchcock had earlier made a film that summons up this situation, Suspicion.
03:37You can argue there are similar impulses there in Uncle Charlie's efforts to eliminate his niece in Shadow of a Doubt.
03:42Hitchcock would later make a pure example of the Oxoricide plot in Dial M for Murder.
03:47Most of these plots feature a third character, what film scholar Diane Waldman calls a helper male.
03:53He's a solid fellow who can assist the victimized wife in escaping.
03:57The helper male is also there to provide a new romantic partner to replace the villainous husband.
04:02The last half hour or so of Notorious turns into one of these films of marital homicide.
04:08Leaving the central love affair behind, we follow the scheme of Sebastian and his mother to gradually poison Alicia.
04:14But it must happen slowly, if she could become ill.
04:19In this context, Devlin plays the role of helper male.
04:22Devlin's rescue of her amounts to abducting another man's wife.
04:25Hitchcock underlines this challenge to lawful matrimony during the couple's intense embrace.
04:31She lifts her hand to stroke Devlin's hair, reminding us of her wedding ring.
04:38But like the chivalrous detective in Gaslight, or the concerned friend in Sleep My Love, Devlin can be forgiven for breaking up a marriage.
04:45He has saved a life, and he offers himself as a proper mate.
04:52Hitchcock came to America under the auspices of David O. Selznick, and it seems that the producer influenced the director in several ways.
05:00Not least, Hitchcock's films became more romantic, even sexy.
05:04The swooning gothic atmosphere of Rebecca is the most obvious early example.
05:08And by casting hard-eyed charmers like Laurence Olivier, Joseph Cotton, and Cary Grant in his thrillers,
05:14he created more dashing magnetic heroes than we find in his 1930s British films.
05:21Spellbound was saturated in lush, women's magazine romanticism,
05:25complete with the thawed heroine imagining doors opening when she's properly kissed.
05:38The sizzle was turned up and notorious.
05:40The Hays Code warned against, quote, excessive or lustful kissing, end quote.
05:44In a blow against censorship, Hitchcock provides two and a half minutes of close-up necking.
05:51The production code limited a kiss to three seconds, so Hitchcock has his lovers share brief kisses.
05:56But the kisses are so plentiful, and they're delivered so playfully, that a teasing, erotic charge is built up.
06:03Devlin and Alicia, locked in a tight embrace, kissing and clinging to each other, make their way balletically across a room.
06:11They even sustain their clinch through a phone conversation.
06:14The result became one of the film's high points, both at the time and ever after.
06:20Dorothy Kilgallen, who called them, quote, the most relentless kisses ever recorded on celluloid, end quote, went on to remark,
06:26Let's face it, long after the storyline is forgotten, Notorious will be remembered as the picture in which Ingrid Bergman gnawed at Cary Grant as if he were a pound of fresh caviar.
06:37Any audience that sits through it, without murmuring at least, is darn sophisticated, or dead.
06:43Read it to me, please.
06:47With his usual care, Hitchcock prepared for this bravura display of playful passion.
06:53At the opening party, Devlin and Alicia are already nearly nuzzling as she leans into his face flirtatiously.
07:00That's right.
07:02On the plane, their conversation ends with a sudden thrust of her face against his, and just before the dissolve, he turns his head, nearly grazing her as he stares at her profile.
07:12These moments serve to tantalize us before the consummation in the apartment, when the lovers virtually melt into each other.
07:19But the real moment of consummation comes in our bedroom rescue.
07:24Devlin leans over Alicia and then lies briefly beside her, as if taking Sebastian's place in the wedding bed.
07:30When Alicia tells him she's being poisoned, Devlin starts and then lifts her up in his arms.
07:36His tender but resolute embrace now shows his devotion.
07:40And just as the apartment scene was shot in a long, tight take, his confession of love and her joy in hearing it are presented in three lengthy, sinuous shots.
07:51One of them even circles the couple in its own embracing gesture.
07:55This reuniting of the couple is presented as voluptuously as the earlier scene was, but now with the overtone of danger.
08:03How will they escape?
08:04I love you.
08:09The rescue scene has a structural neatness that reflects Hitchcock's love of symmetries.
08:14In The Birds, Lydia Brenner goes to visit Dan Fawcett.
08:17She drives up, meets another farmer, goes inside, and finds Dan horribly pecked to death.
08:23She bolts out, runs back, gasps without speaking as she passes the farmer, and drives away.
08:29Boxes within boxes, almost maniacal in their precision, conceal a gory corpse at their center.
08:35A similar boxes-in-boxes neatness is on display in our rescue scene.
08:39That begins with Devlin arriving at the mansion seen from the outside.
08:43He goes to the vestibule where he meets Joseph and waits.
08:47Then he heads upstairs and pauses on a landing.
08:50At the heart of the scene lies Alicia in delirious agony.
08:54Hitchcock and Heck could have had the couple sneak out a back way or try dropping down from the window.
08:59Instead, the penetration pattern reverses itself with new emphases.
09:04Devlin and Alicia move to the landing where they confront Alex and his mother.
09:08They descend the stair and wind up at the hallway.
09:12They leave as Devlin came in, and they keep Alex out of the car.
09:18Now he stands outside where Devlin first appeared, and he must face his associates.
09:24The mansion door closes in an echo of the scene's opening.
09:29Part of the satisfaction of this final shot, I'm convinced, comes from the fact that an image that seemed innocuous and merely functional earlier,
09:37in story terms, just telling us that Devlin has arrived, becomes ominously magnified at the close.
09:47Hitchcock once said,
09:49Suspense doesn't apply merely to melodrama or mystery.
09:52You can very well utilize suspense in a love story.
09:55In fact, you had very well better if you want the audience to hang around long enough to see real seven.
10:02Hitchcock was a theorist of suspense.
10:04He distinguished between a situation in which we're tied to what a character knows,
10:08and one in which we know more than the character does.
10:10If we're restricted to the character's range of knowledge, a new piece of information could be a surprise.
10:15But Hitchcock preferred suspense, which entailed putting a character in danger and then, at judicious moments, letting us know more than the character does.
10:26Tell me, when did you first feel sick?
10:30More broadly, this means that at crucial moments, Hitchcock moves from character to character, giving us more information than any of them have.
10:38The rescue scene depends crucially on patterns of attachment and character knowledge established from the film's start.
10:45Early and notorious, we're mostly attached to Alicia.
10:48With her, we gradually learn Devlin's identity and the mission he proposes.
10:53Things start to diverge on the plane trip to Rio.
10:56We see Alicia in her seat at the window, but we're given a glimpse of Devlin and his boss, Prescott, talking behind her.
11:02I'll tell her. See you later.
11:04The information they have, that Mr. Huberman has committed suicide, is given to us when Alicia learns of it, but already our range of knowledge has widened.
11:13The conversation between Devlin and Prescott sets up their relationship.
11:16You'll be seeing him in Rio.
11:17Later, we'll watch the American agents' meetings apart from Alicia.
11:21Yes, you will.
11:22The most crucial meeting of the American agents takes place on the night of Alicia's romantic dinner.
11:27Instead of staying with her in the apartment, we follow Devlin to meet with Prescott.
11:31We learn of the specific task she's being assigned.
11:34Now Hitchcockian suspense kicks in.
11:37Sebastian's house is a cover-up for whatever this Farben group's up to here in Rio.
11:41We've got to get Ms. Huberman inside that house and find out what's going on there.
11:44We know, as she does not, what's expected of her.
11:47And we can wait in anticipation to see how the couple will negotiate the new terms of their relationship.
11:53Answer, not well.
11:55Earlier, though, Hitchcock has already widened our ken.
12:02After Emile's blunder about the wine bottle, we're privy to the gang's meeting in which they consider how to eliminate him.
12:08This is a crucial scene because it not only confirms Alicia's intuition that something is up with the bottle,
12:14it also establishes the great danger Sebastian will be in if his partners in crime discover that he's married a secret agent.
12:21This widening of our range of knowledge comes to include Sebastian in a more thoroughgoing way.
12:27After the party, he investigates the wine cellar and finds the clues that Alicia and Devlin tried to cover up.
12:33Tormented, he confesses to his mother.
12:36I am married to an American agent.
12:39And they concoct their scheme to kill Alicia slowly.
12:43This series of scenes fulfills the tell-all function Hitchcock ascribed to suspense.
12:48We must know the danger Alicia's in before she does so that we can wait tensely and wonder how she can elude it.
12:56If we had stayed solely with her, her collapse on the terrace might have come as a big surprise,
13:01but Hitchcock would have forfeited all that buildup.
13:05Accordingly, when Devlin arrives at the mansion to check on Alicia, we're attached to him,
13:10to the point that the butlers' explanations are heard offscreen as we study Devlin's reaction.
13:15But at the climax, Alex must be forced to confront the rough justice of his Nazi pals.
13:20So while Devlin waits, Hitchcock cuts to Sebastian's study.
13:25We're allowed to learn that the gang is already worried that Dr. Anderson has been followed by American agents.
13:30Just as important, the grim look that Eric Mathis gives Alex Sebastian suggests that he's already suspicious.
13:37This establishes Mathis as an adversary, a role that will be sharpened when he watches the nervous quartet descend the staircase.
13:44Speaking of staircases, they're extraordinarily common in American cinema in the 1940s.
13:53To a degree not seen in earlier films, major dramatic scenes are played up and down them.
13:58The Little Foxes provides many peak moments on a staircase, while in Possessed, the protagonist hallucinates killing her stepdaughter on one.
14:05The verticality of a stairway enables dynamic compositions in depth, and the characters can use steps to express domination over one another.
14:14Why so many stairs? I think the bigger budgets of the period enabled sets to be expanded upward, to enhance scale and dramatic force.
14:22With more use of camera cranes, it was possible to put the camera quite high above ground level in interior sets.
14:28Whatever the cause, Hitchcock was no slouch with stairs.
14:32The most memorable early example in his 40s work is probably the shot showing a possibly homicidal husband in suspicion,
14:39slowly carrying a glowing glass of milk up to his stricken wife.
14:43But for me, the most exciting staircase sequence in Hitchcock is the one at the climax of Notorious.
14:48With only a little exaggeration, we can say it's Hitchcock's Odessa step sequence.
14:53Oh dear, we're going, we're going.
14:55As with the shifts in character perspective, we're prepared in doses.
14:59Early scenes in Alex Sebastian's mansion afford us glimpses of the staircase in the background.
15:06Hitchcock has truly held back extreme long shots of the hallway, so that he can hit us with the grandiloquent crane and zoom shot that opens the party sequence.
15:14Even here, though, the staircase is mostly a background element.
15:18Their central attraction is the key tightly held in Alicia's hand.
15:30Once the poisoning of Alicia starts, we're reintroduced to the staircase, this time through Alicia's optical viewpoint.
15:36She sees it wavering and blurred as she starts to faint.
15:39She's taken upstairs to where Devlin will eventually find her.
15:43Now the staircase starts to play a central dramatic role.
15:47It's the path to her imprisonment.
15:49And in our climax, it's the path to her escape.
15:53After entering the household, Devlin notices a figure upstairs and decides to investigate.
15:58He sprints up the staircase.
15:59It takes him eight seconds in a single shot.
16:01But when he walks Alicia down, accompanied by Alex and his mother,
16:06their descent takes nine times longer, 72 seconds.
16:11This is not just because they walk more slowly.
16:13Hitchcock breaks the action into 39 shots of them and the Nazis watching from below.
16:19As in Eisenstein's battleship Potemkin, which used cutting to stretch the time the crowd needs to flee down the Odessa steps,
16:26Hitchcock rhythmically prolongs the action on his staircase.
16:29But Hitchcock is a little fussier than Eisenstein.
16:34He marks his character's progress step by step, and they move in unison.
16:39Every shot of Devlin, Alicia, Alex, or his mother is stressed by the character taking one or two steps down.
16:46I'm not afraid to die.
16:47Nearly all the shots range from 29 to 42 frames.
16:51That is, between a second and a second and a half of on-screen time.
16:55As a result, the shots feel more or less equal in length, and both movement and cutting give the scene a steady pulse.
17:03To the hospital. Alex, talk to them quick.
17:08The swirling musical score lets the footsteps and the cuts provide a percussive beat.
17:14That pulse is enhanced by a brief line of dialogue or facial reaction in nearly every shot,
17:19a sort of chorus effect as characters respond quickly to each other and to the Nazis gathering below them.
17:26In the absence of dialogue that would overlap the cuts, the lines and the footsteps accentuate each shot as a crisp unit.
17:33What happened, Alex?
17:34At the climax, when Alex needs to speak up, the shots get even shorter until he finally blurts out, she collapsed.
17:40She collapsed.
17:41This brings the rapid cutting to a cadence at the foot of the stairs.
17:45The steadily throbbing descent is much more gripping than an exit on a flat surface would be,
17:51with the group simply striding across the floor toward the doorway.
17:54Having established the staircase as a pathway to Alicia's bedroom,
17:58Hitchcock uses it as a set of steps that can create a drumbeat of suspense.
18:03How many steps do they take?
18:06I wish I could say 39, but I count just 26.
18:13The metronomic cutting in the staircase scene is one of Hitchcock's most virtuoso passages.
18:18But we've always known Hitchcock was a master of editing from his silent films onward.
18:23What we find in his Hollywood films, particularly those after Notorious,
18:27is a new reliance on long takes and camera movement.
18:30We might attribute some of this changed pace to Selznick,
18:33who considered Hitchcock's British style a bit too cutty.
18:37Selznick urged Hitchcock to rely less on close-ups and shots of single characters
18:41and to use more elegant, gliding camera movements.
18:44While Hitchcock didn't immediately surrender his reliance on editing,
18:48his new fluency is particularly evident in Rebecca, Foreign Correspondent, and Shadow of a Doubt.
18:54In lengthening his shots, Hitchcock was also joining broader trends of his time.
18:59Several directors, notably Orson Welles, Preston Sturges, Otto Preminger, and Billy Wilder,
19:05were letting shots run unusually long.
19:07Notorious averages about seven seconds across the whole film.
19:11The cuddiness that Selznick deplored serves to throw into relief the exceptionally protracted takes.
19:18We have the extravagantly long kissing scene.
19:21And in our specimen sequence, the shots in which Devlin declares his love
19:25and gathers Alicia for their escape.
19:27Once he lies with her on the bed, their exchange runs about 70 seconds.
19:31Very long for a film of this period.
19:33I couldn't get away from them.
19:35The next shot, in which he pulls her up and embraces her while the camera circles them,
19:39consumes about half a minute.
19:41And they make their way to the door in the lengthiest shot of all.
19:46Nearly two minutes of action that emphasize her fragility and his delicate urging of her forward.
19:52The three bedroom shots are signals of what Hitchcock would try in upcoming films.
19:57He entered the long take competition in a few scenes of the Paradine case of 1947.
20:02But that was just a prelude to the bold experiment of Rope in 1948.
20:06A thriller built out of only 11 shots.
20:10Under Capricorn, in the following year, contained more cutting.
20:13But it also included intricate camera movements that go on for minutes.
20:17In retrospect, Devlin and Alicia's reconciliation in the bedroom
20:21seems to set Hitchcock's compass for a line of stylistic expression he would pursue very soon.
20:27Whatever you think of those later films, it seems clear that in Notorious,
20:31his long takes in camera movement serve as finely judged effects.
20:35The lovers' reunion in a temporarily safe space is given in a sort of pictorial envelope,
20:40with the camera wrapping them in a moment of shared love.
20:44Like a slow musical passage that's broken by an allegro agitato,
20:49these delicate long takes increase the force of the character conflict
20:54and the tension-filled cutting we'll encounter on the staircase.
21:01More than any other director, Hitchcock exploited the technique of optical point of view.
21:06This involves framing an action as it would be seen by a character
21:10and then cutting to shots showing that character watching.
21:13It's a simple technique.
21:15But across his career, Hitchcock showed how efficient and involving it could be.
21:19And it's crucial to the sequence we're examining.
21:23The Purist case's rear window of 1954, the entire plot is built around what the photojournalist Jeffries
21:29sees from his apartment while he's laid up with a broken leg.
21:32What advantages did Hitchcock find in optical POV technique?
21:36For one thing, it afforded a creative alternative to the most common tactics of staging and cutting a scene.
21:42Analytical editing was the norm in most of world cinema.
21:45That meant that a conversation scene would move from overall establishing shots
21:49to medium shots of actors, then closer views to show their facial expressions.
21:54Point of view cutting, while following this overall dynamic of analysis,
21:59made each image more emphatic, showing a character looking intently,
22:03a shot of information he or she was picking up, then a shot revealing the character's reaction.
22:08Like a novelist presenting a scene through the awareness of the character,
22:12optical POV focused the scene's action around the psychological currents at work.
22:18That can offer a certain economy, so that while dialogue or other action takes place off screen,
22:23the cutting can convey different story information.
22:26For instance, when Alex introduces his mother to Alicia,
22:29the older woman glides up to the camera, to Alicia and to us.
22:33This presents her as an ominous figure.
22:35Another advantage of this technique is that it can encourage us to align ourselves with one character or another.
22:41Even if we don't fully identify with the person looking, we are physically aligned with them.
22:47That needn't necessarily lead to emotional sympathy,
22:50as when the butler Joseph keeps an eye on the champagne supply.
22:53But if we're already sympathetic to a character, optical POV can intensify that emotion.
22:59Finally, the economy and subjective impact of optical point of view involve a trade-off.
23:04By gaining a character's perspective on the action, we lose other perspectives.
23:09We're restricted to what that character sees and therefore knows, which may limit our understanding.
23:14As you'd expect, Hitchcock deploys his optical POV passages in a shrewd way,
23:23and their patterns culminate in the sequence we're considering.
23:26For the most part, Hitchcock gives each of his three main characters subjective cadenzas,
23:32always as a way of channeling the dynamics of the drama.
23:35Alicia comes first.
23:37We get her viewpoint as she's driving, with the wind blowing her hair in her eyes.
23:40Soon, the hungover Alicia opens her eyes to a canted view of Devlin in her doorway.
23:46As he advances, the image twists, mimicking the rotation of her head.
23:51Throughout the early stretches of the film, we look through Alicia's eyes when she spots Alex on the bridal path,
23:56and warily watches Devlin at the races.
23:59Skip it.
24:00More importantly, we share her emotions as she visits the Sebastian household.
24:04She notices the fuss over the champagne bottle, emphasized by a track-in,
24:09and much later, she fastens her attention on the Unica key.
24:19Devlin is given a snatch of optical POV during the wild car ride,
24:23but not until the bridal path scene do we get an emphatic return of it.
24:27He's forced to watch the reunion of Alicia and Alex from a distance.
24:31By attaching us to him, Hitchcock stresses his brooding jealousy,
24:35which will motivate him throughout the film.
24:37In addition, the restrictiveness of visual subjectivity
24:40means that he can't hear their conversation.
24:43How is she flirting with Alex?
24:45Cut off from the woman he can't admit he loves,
24:48he must helplessly watch a new couple forming.
24:52The bridal path scene is one of the film's POV nodes,
24:55the scenes in which we switch from one character's perspective to another's.
24:59A much bigger note is the grand party scene.
25:01It's structured for suspense as Alicia and Devlin meet under Sebastian's watchful eye.
25:07The point of view oscillates among all three characters.
25:11Devlin looks for a chance to get Alicia outside.
25:14Yes.
25:15You better go out in the garden alone and wait around the back of the house for me
25:18and I'll show you the wine cellar door.
25:19She checks on the champagne supply.
25:22And we get Sebastian's wary concern upon seeing them together.
25:27At a critical point, as Alex approaches the cellar,
25:30Devlin stages a kiss that we see from Alex's viewpoint.
25:34We know he's being misled, but not completely,
25:37because Alicia is genuinely excited by Devlin's kiss.
25:41By showing the trick through Alex's eyes,
25:43I think Hitchcock summons up a little sympathy for him.
25:46He is a betrayed husband.
25:48As Alex's suspicion rises, the weight of the visual narration shifts to him.
25:53He discovers, again through optical POV, the return of the missing key
25:57and the traces of their investigation.
26:02Once husband and mother launch their poisoning scheme,
26:05Hitchcock can convey the effect on Alicia.
26:08We get her point of view when she realizes what's happening,
26:11and our sympathy is enhanced when her wooziness is presented from her standpoint.
26:16All of which makes our central scene, the rescue climax, another major POV node.
26:22The POV cutting is initiated when the Nazi leader Mathis
26:26glances suspiciously at Alex at his desk.
26:29Then Devlin, spotting movement upstairs, runs up the staircase.
26:33And crucially, the lover's viewpoints interlock.
26:36Devlin sees Alicia in bed, and she sees him in a tipped framing
26:40that rhymes with her hangover shot.
26:43This merging of viewpoints forms a visual equivalent to their reuniting.
26:47But Hitchcock isn't finished.
26:50The climactic staircase descent plays as not only a drumbeat of cuts,
26:54but also as a fusillade of viewpoints.
26:57For one thing, a descending camera movement suggests a staircase view of the waiting Nazis.
27:03Usually the shot is preceded by Sebastian watching apprehensively as he takes a step.
27:09For another thing, Hitchcock carefully calibrates shot scale,
27:13sometimes showing all four characters, sometimes showing only Alicia and Devlin,
27:17and sometimes concentrating on Devlin or Alex.
27:20Not all framings are strictly optical POV framings,
27:24but most of the single shots center on Alex seen approximately from Devlin's angle.
27:29Alex has to lie to save himself and his mother, but that would mean losing Alicia.
27:34His hesitation is one source of suspense.
27:37Interestingly, neither Alicia nor Mrs. Sebastian is granted an optical POV in this grand montage.
27:44This is a clash among the men, between Devlin and Alex, and between Alex and his associates.
27:50This rescue depends significantly on men staring their adversaries down.
27:54Alex, talk to them quick.
27:59The rescue of Alicia, then, isn't only the dramatic climax of Notorious.
28:03It's the stylistic climax as well.
28:05In its use of performance, snuggling and kissing, the swooning and brooding,
28:10as well as its cross-cutting, camera movements, and the viewpoint switches,
28:14it's a virtual master class in how film technique can excite an audience.
28:19It's a stylistic condensation of the whole movie.
28:22You should not have waited so long, Alex.
28:24And as if to drive home its powerful patterning, we get an ending that rhymes with the opening.
28:30The film had begun with a door opening and someone peeping in.
28:37Yes, I have something to say.
28:39Now it ends with a door closing.
28:42True, this time we get no access to what's happening behind that door.
28:47Yet the fact that we can make a good guess shows how carefully Hitchcock has taught us
28:52how to watch his extraordinary movie.
29:22So, we need to get a good guess.
29:23There is no sense in the sight of the story.
29:24And as if it's gonna come back and make a good guess.
29:26So, what – the fact that we get плохо.
29:27We're not looking at that, but the fact that we feel when we're talking about
29:28how this is how this is how to watch our circle.
29:29It's Miriam.
29:30So, if I guess what happens, I will look at the top.
29:31They're looking for my eyes on the Awaitreus in which I am Harry.
29:32So, I know that I am in this.
29:33It's Miriam.
29:34It's Miriam.
29:35It's Miriam.
29:36It's Miriam.
29:37It's Miriam.
29:38My name is Miriam.
29:40The лоз.
29:41It's Miriam.
29:42It's Miriam.
29:43It's Miriam.
29:45It's Miriam.
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