Colour, as Alfred Hitchcock told François Truffaut in a 1962 interview, is nonexistent. Every image or vision can be reduced to the stark elements of light and shade. Lines and colours are the spectral creations that materialise momentarily when exposed to lights. In film there are more instances of metaphorical darkness (known in literature as "lacunae") than those of actual, plunging darkness- the fact that every story is in a sense only a fraction of reality conditions the extent of the reader’s knowledge: like peeping into the lives of others one does more divining than actual registering of information. Nonetheless we are intrigued, of what could possibly happen in the intervals of the course of events, the parts that the author decides to omit, or to deliberately keep in secret so the reader is unprepared for the surprise to come. Every time I saw Hitchcock’s Shadow of a Doubt I found myself wondering incessantly how Uncle Charlie and Young Charlie manage