:21:03
What Hitchcock wanted was
the interplay of those things
:21:06
and at which point
the audience became aware
:21:09
of the reality within the picture.
:21:13
The audience is laughing, and suddenly,
a guy falls over in the audience.
:21:16
(Woman) My husband! He's shot!
:21:20
And the audience becomes aware that
there is real gunplay in the theatre.
:21:26
- (Gunshots)
- (Woman ln Movie)
:21:29
(Man ln Movie)
Go on. Get out. Get out!
:21:32
- (Gunshots)
- Not that way!
:21:34
Stop!
:21:39
There he goes!
:21:42
- He's the one!
- You're the one we're after.
:21:44
l tell you he's the one!
He'll get away!
:21:45
- Come on.
- Go after him. Don't lose him.
:21:48
(Lloyd) Hitch had a wonderful
gift for improvisation.
:21:52
We were shooting one day,
and news came in that the Normandie,
:21:56
which was then the largest liner
in the world
:22:00
had caught fire
:22:03
and had capsized
:22:05
onto it's side
:22:08
in it's pier,
:22:11
way over on the west side of
New York where all of the piers were,
:22:15
for the liners
that would be going to Europe.
:22:18
The Normandie had been
commissioned to be a troop transport.
:22:22
And Hitch ordered Universal Newsreel
:22:26
to get all the footage
they could of that.
:22:29
And when the stuff arrived,
he ordered a mock-up,
:22:32
that is a fake taxi, and put me in it
:22:36
and had me supposedly riding down
the west side highway ,
:22:42
and on cue, l just looked over,
and he cut to the Normandie.
:22:49
Many people say that was one of
the most telling moments of the film.
:22:55
That look that I gave to the...
:22:59
Normandie.