123
" There is a distinct difference between " suspense" and " surprise," and yet many pictures continually confuse the two. I'll explain what I mean. We are now having a very innocent little chat. Let's suppose that there is a bomb underneath this table between us. Nothing happens, and then all of a sudden, " Boom!" There is an explosion. The public is surprised, but prior to this surprise, it has seen an absolutely ordinary scene, of no special consequence. Now, let us take a suspense situation. The bomb is underneath the table and the public knows it, probably because they have seen the anarchist place it there. The public is aware the bomb is going to explode at one o'clock and there is a clock in the decor. The public can see that it is a quarter to one. In these conditions, the same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen: " You shouldn't be talking about such trivial matters. There is a bomb beneath you and it is about to explode!" In the first case we have given the public fifteen seconds of surprise at the moment of the explosion. In the second we have provided them with fifteen minutes of suspense. The conclusion is that whenever possible the public must be informed. Except when the surprise is a twist, that is, when the unexpected ending is, in itself, the highlight of the story. "
134
" But then, she wonders,just what kind of man would ever give her the courage to marry at all- to overcome that dreadful fear of death that seemed always to accompany the very thought of love? It was illogical, idiotic and childish. And yet the child was with her always; and always she would be afraid unless someone could place a light down there inside that dark and chilly heart of hers and chase all the ghosts away - the ghosts of Katherine Howard, of Jane Seymour and, not least, that of her own poor mother. They accompanied her always, those spirits - especially at this kind of time, a time of being alone, of being feminine and reflective. They would all gather round to whisper in her ear and warn her - so that even as she looks up once more into her mirror she almost expects to see them there, ranged behind her shoulders, their faces full of concern and anxiety. Never trust them - never trust the men, for they will betray you always the moment you surrender to them! "
― Robert Stephen Parry , Virgin and the Crab - Sketches, Fables and Mysteries from the Early Life of John Dee and Elizabeth Tudor
136
" A normal existence - what could be more irrational? It's fantastic the number of things you're forced not to think about in order to go from one end of the day to the other without jumping the track! And the number of memories that have to be driven from your mind, and truths that have to be evaded! " That's why I'm afraid to leave,' I said to myself. In Paris, near Robert, I manage without too much difficulty to avoid the traps; I carefully mark them, and there are alarm bells to warn me of dangers. But alone, under an unknown sky, what would happen to me? What truths would come suddenly to blind me? What chasms would open before me? Oh yes, chasms close, truths fade out - that is sure and certain; I've seen it happen often enough before. We're like those earthworms one vainly cuts in two, or those lobsters whose legs grow back again. But the moment of false agony, the moment you'd rather die than mend yourself once again - when I think of it, I lose heart. I try to reason with myself: 'Why should anything happen to me? But why shouldn't anything happen to me?' It's never safe to go off the beaten path. It's true, I feel a little stifled here, but you get used to being stifled. And a habit is never bad, despite what they say. "