Chapter 62

Uh... I've been so busy lately that I can't even guarantee writing five thousand words a day. Work is such a hassle, please give me some recommendation tickets to comfort me.

More photo albums were rummaged out from Jeff's bedroom by Haley. The girls in the photos were either bound, had dazed expressions, or were sprawled on the ground. Even though they were just photos, it was clear that these girls were unable to resist when the photos were taken, leaving one to feel utterly helpless.

"Scumbag!" Daisy spat out in a low voice.

Everything indicated that Jeff was not only a pedophile but also a very dangerous one.

Haley poured another glass of water and forced it into Jeff's mouth, and the screen went black again.

When the screen lit up, Jeff was lying on his back on his workbench, naked from the waist down, with a large bag of ice covering his crotch.

The little girl was about to castrate this pedophile!

Daisy felt a sense of justice, but the corner of her male companion's mouth twitched.

At the back, Tony Guzman had moved forward a couple of rows at some point, finding the film increasingly interesting.

Unlike the others, Jones Butler laughed. As a working woman, she had experienced some unfair treatment due to gender issues. Seeing Haley about to start the castration, she felt an inexplicable sense of relief.

Baker Larsent, due to his own circumstances, remained relatively calm, analyzing the scene from a professional perspective.

The director, Murphy Stanton, used an overhead shot here, focusing on Jeff's bound hands, then moving the camera down to scan Jeff's body until it reached his crotch covered in ice. This clearly showed Jeff's state and foreshadowed the castration to come.

Moreover, the glaring reflection of the light on the metal table, captured by the overhead shot, added to the chilling atmosphere, hinting at the impending horror.

Next came the dialogue between Haley and Jeff, with the camera constantly switching between close-ups of their faces. This psychological montage vividly portrayed their inner worlds, allowing the audience to feel Haley's calmness and Jeff's panic.

The director's 2 to 3-second shot changes also quickened the film's pace, intensifying the audience's psychological tension.

This part was shot with backlighting, creating a stark contrast between the bright background and the dark figures, enhancing the eerie and mysterious atmosphere, making the audience tense and guessing what was about to happen.

This director had a unique touch in cinematography, editing, and lighting, far surpassing the random shooting of people on the streets of Parker City.

At this point, Tony Guzman's gaze quickly scanned the few audience members in the theater, trying to find the director. This unknown director had a very creative mind, and if he could maintain his level, he would surely not remain obscure for long.

This guy was quite skilled in using camera language, not at all like a novice.

When Jeff asked, "What are the ice cubes for?"

The camera immediately showed Haley pulling the curtains, making the scene bright, hinting that the mystery was about to be revealed. Then, an overhead close-up of Jeff's face showed the light on his face, clearly revealing his tense and struggling expression. The audience could feel Jeff's fear as he realized something bad was about to happen. The camera then switched to Jeff's perspective, using a push-in shot to narrow the frame, showing Haley's smug expression and the surgical knife she held.

The mystery was almost revealed, and this sense of synchronicity allowed the audience to truly feel Jeff's emotions.

When Jeff realized Haley was going to castrate him, the camera again showed a close-up of his terrified face, while Haley sat on the other side, talking to him.

The director's techniques were quite clever, and what pleased Tony Guzman even more was that all the techniques were simple and easy to understand, which was crucial because obscure shots often drive away the audience.

This scene used only three types of shots: close-ups of Haley's face, full shots of Haley, and long shots of Jeff's upper body.

Through the camera, it was easy to see that Haley was in complete control, calm and confident, while Jeff was the weaker, controlled party. Interestingly, when Haley appeared, the background was a blue wall, matching the color of her surgical gown, while when Jeff appeared, the background was a red wall. The director cleverly used the cold blue to highlight Haley's composure and the warm red to highlight Jeff's fear.

These techniques sound simple, but any director would need considerable skill to execute them.

Without a doubt, the new director, Murphy Stanton, had far exceeded his expectations.

The frequent short shots showed the director's ability to control the rhythm, and the subsequent long shots also made him nod in approval. This new director's ability to tell a story with long shots was equally impressive.

When Haley briefly left, the scene returned to Jeff, becoming a long shot. The camera moved back and forth between the struggling Jeff and the phone on the coffee table, deeply expressing Jeff's desire to escape.

When Haley returned, Jeff recounted a memory, which was again shown using a long shot. The director used panning and tracking shots, along with close-ups, to highlight Jeff's sincerity and pitiful state, trying to move Haley and make her spare him.

But the camera then turned to nearby photo frames, showing the images of various girls, indirectly highlighting Jeff's deceit. His words could not hide his actions.

At the same time, eerie background music began, and Haley walked up to Jeff, who stopped shouting, his eyes full of despair. The castration was about to begin.

The sound in the hall became bone-chilling, with Jeff's rapid breathing, Haley's soft exhalation, and the distinctive sound of the knife slicing through skin, followed by a sudden tearing...

The screen never showed any direct castration scenes, but these sounds clearly told every audience member that the operation to remove Jeff's source of evil was underway.

Combined with the previous buildup, even without seeing the screen, just hearing these sounds made the audience feel intense pain and cruelty.

Of course, this was definitely how the men in the audience felt.

Female viewers like Daisy felt only one word: satisfying.

The little girl's punishment of Jeff was simply too cool and just! All scumbag men should receive such punishment!

A gush of blood spurted out, splattering onto Haley's surgical gown. The little girl showed an unusual calm for her age, simply putting away the surgical knife and saying, "OK!"

The music immediately switched to peaceful piano music, giving the audience a sense of relief, as if the castration had finally come to an end.