(TELEPHONE RINGING)
JILL: Hello?
Robert, I don't think this is very funny.
Bobby?
Who is this?
(TELEPHONE CUTS OFF)
HOST: As you watch the screen,
your heart begins to beat faster.
There's a fluttering in the pit of your stomach.
Your throat is dry.
Your palms damp.
Suddenly, a chill runs down your spine.
You clutch the person next to you.
You tell yourself, "It's only a movie."
It's only a movie.
But sooner or later, it's time to go home.
(GIRL GIGGLING)
(DOOR CREAKING)
Hello?
Who's there?
(SCREAMING)
HOST: There's no question about it.
Some terror films go too far.
LAURIE: Tommy, unlock the door.
HOST: But so do the audiences.
LAURIE: I want you to go down the stairs and out the front door.
I want you to go down the street to the MacKensie's house...
First they start grabbing each other,
which is all very well, if you have a date.
I want you to tell them to call the police. Hey!
And before long...
Now, do you understand me? No. No, baby, no, no. No!
...people are yelling at the characters on the screen.
MAN: Hey, watch out, baby! WOMAN: Watch out!
Please stop.
Do something!
(AUDIENCE EXCLAIMING)
(WOMAN SCREAMING)
Get him!
(AUDIENCE EXCLAIMING)
(AUDIENCE CHEERING)
MAN: Don't drop the knife, you asshole!
MAN: Hey, get out of that room! LAURIE: Babies.
HOSTESS: It's strange, isn't it?
In real life, nobody likes to think about violence, pain, blood and death.
CHILD: The bogeyman.
But project these experiences on a screen, and people form lines in the street.
That's because a terror film is a lot like a roller coaster ride.
Only, you're sitting in a theater, which is relatively safe.
Did you see that? Yes.
(SCREAMING)
(GROANING AND GURGLING)
(CHILDREN SCREAMING AND PANICKING)
HOST: Maybe, deep down, we have a need to be scared.
Why else do we go to these movies?
Perhaps we're taking a dare,
proving to ourselves that we're not afraid.
Go ahead, Lonnie. Chicken.
Go in!
Hey!
Hey, Lonnie,
get your ass away from there.
HOST: Besides, there's something delicious about fear.
Especially somebody else's.
(GRUNTS IN SURPRISE)
(THUNDER CLAPPING)
(BELL TINKLING)
HOST: Scary movies tap into your childhood fears
of the dark,
and of being alone.
(GASPS)
(MUFFLED SCREAMING)
HOSTESS: Young or old, we go to the movies
to see our dreams and fantasies come to life.
But not all of our fantasies are wholesome and dignified.
HOST: In the privacy of our thoughts,
we can be as childish as we like.
And the little scenarios of power and revenge we conjure up,
can be quite satisfying.
Creepy Carrie! Creepy Carrie!
(LAUGHING)
(GROANS)
HOST: Resorting to violence to get back at someone
might not be your cup of tea.
Will you look at that fellow over there?
I mean, I have never seen anything so disgusting in all my life.
HOST: But I'll bet you've thought about it.
He's staring.
I think he's looking at us.
I think we're being picked up.
It's too awful.
Can you believe it?
On how they can let creatures like that in here.
I mean, really...
Anne, what's the matter? Anne?
Help, someone, please!
Please help!
HOST: We all carry around a certain amount of resentment and rage
because we can't let it out.
In the movies, we can.
(DISTORTED CARNIVAL MUSIC PLAYING)
(CHILDREN SCREAMING)
(MAN YELLING)
The question is, why make up horrible things
when there is so much real terror in the world?
Perhaps we invent artificial horrors
to help us cope with the real ones.
HOST: In 1974, a picture came out that was inspired by a true story.
(CLUCKING)
It was called The Texas Chainsaw Massacre,
and in it, the character of Leatherface was based on Ed Gein,
a mass murderer and grave robber who lived in a small, isolated town.
(CRYING OUT AND PANICKING)
(SCREAMING HYSTERICALLY)
(SCREAMING)
HOST: Gein was a cannibal,
a necrophile,
and a transvestite.
But he didn't dress up in women's clothes.
He dressed up in their skin.
No wonder these films give us nightmares.
Do I have to close my eyes? It doesn't matter.
Yes, I have something. All right.
HOST: Or is it our nightmares
that give us these films?
(PANTING)
(SCREAMING)
(SCREAMS)
(YELLING)
(AUDIENCE EXCLAIMING)
Hey, how'd they do that?
That's the trick, isn't it?
Once the lights go down.
HOST: Whatever you see,
whatever you can't see,
whatever you think you see,
is out of your control.
You're at the mercy of the filmmakers.
(CAT MEOWS)
(SIGHS IN RELIEF)
BRETT: Jonesy!
Hey. Hey, Jonesy.
That's a good kitty.
(CAT GROWLING)
That's it.
(HISSING)
Hey. I'm not gonna hurt you.
(YELLING)
HOST: When the camera takes on the point of view of the killer,
we see what they see,
not who they are.
(HUMMING)
(MUFFLED HEAVY BREATHING)
(SINGING)
Michael!
(EXCLAIMING)
(CRYING OUT IN PAIN)
Mrs. Bates.
HOSTESS: Of course, you can always close your eyes,
but you can't close your ears.
HOST: And yet, (HOWLING)
keeping your eyes open is a good idea,
especially if you're out on a night with a full moon,
because you never know what's in store for you.
Years ago, when filmmakers wanted to transform someone into a werewolf,
the actor just sat still and trick photography did all the work.
(HOWLING IN PAIN)
Today, people are more sophisticated.
And becoming a werewolf can take a lot out of you.
(CRYING OUT IN PAIN AND SHOCK)
Help me! God!
Combining skill,
ingenuity,
(WOMAN EXCLAIMS)
and a strong stomach.
(ROARING)
All right.
I'm gonna suck your brain dry.
HOST: Artists and technicians continue to defy logic,
stagger the imagination,
and astound our senses.
All the time raising the stakes.
(WOMAN SCREAMS)
HOSTESS: But special effects are not essential to a good movie.
It's the filmmaker's technique that matters most.
And the unquestioned master was Alfred Hitchcock.
CARNIE: You've just won a Kewpie doll.
Why, he's broken the thing.
(CARNIVAL MUSIC PLAYING)
ls your name Miriam? Why, yes. How did you...
(GASPS FOR AIR)
HITCHCOCK: When I say that I'm not interested in content,
it would be the same as a painter
worrying about whether the apples that he's painting,
whether they're sweet or sour.
Who cares?
(DOOR CREAKING)
HITCHCOCK: It's his style, his manner of painting them.
(EXCLAIMS)
That's where the emotion comes from.
No!
HITCHCOCK: This scene is 45 seconds long,
but was made up out of 78 pieces of film
coming onto the screen in great rapidity.
But the overall impression given the audience,
is one of an alarming,
devastating murder scene.
(CRYING OUT IN PAIN)
HOSTESS: The fact is,
from the moment you buy that ticket,
you know you're gonna get it.
It's just a question of how,
where,
and when.
The name of the game is suspense.
(DOOR CREAKING)
(LAUGHS)
Cute, Bob. Real cute.
See anything you like?
What's the matter? Can't I get your ghost, Bob?
All right, all right, come on. Where's my beer?
In effect, the filmmaker says to the audience, "Now, get ready.
"You're going to see something that's going to scare you.
"But I'm not going to tell you when."
You're being programmed to go nuts.
I met this six-year-old child
with this blank, pale, emotionless face
and the blackest eyes,
the devil's eyes.
I spent eight years trying to reach him,
and then another seven trying to keep him locked up.
Because I realized that what was living behind that boy's eyes
was purely and simply evil.
Well, can't you answer me?
Okay, don't answer me.
Boy, are you weird.
Well, I'm gonna call Laurie.
I wanna know where Paul and Annie are. This is going nowhere.
(TELEPHONE RINGING)
Finally.
Hello.
(GASPING AND STRUGGLING) (MAN PANTING)
Hello?
(STRUGGLING ON OTHER END OF LINE)
All right, Annie. First I get your famous chewing, now I get your famous squealing?
(GASPING FOR AIR)
(PANTING)
Are you fooling around again?
Annie?
The essential fact is, to get real suspense,
you must let the audience have information.
Now let's take the old fashioned "bomb theory."
You and I are sitting, talking, we'll say about baseball.
We're talking for five minutes.
Suddenly, a bomb goes off,
and the audience have a 10 second terrible shock.
Now, let's take the same situation,
tell the audience at the beginning
that under the table, and show it to them, there's a bomb,
and it's gonna go off in five minutes.
And we talk baseball. What are the audience doing?
They're saying, "Don't talk about baseball, there's a bomb under there."
Get rid of it.
(BIRD SQUAWKING)
HITCHCOCK: But they're helpless. They can't jump out of their seats
up onto the screen
and grab hold of the bomb and throw it out.
Mercy.
Look at the gas. That man's lighting a cigar.
Hey you, stop that! Don't drop that match!
Mister, watch out! Get away from that car!
Get out of there! That's gasoline!
Mister, run! Watch out!
Mister! Look out! Look out!
Watch out!
HOST: Shock and surprise are very different from suspense.
(SCREAMING IN PAIN)
(WOMAN SCREAMS)
If you want to shock people, you just have to catch them off guard,
(CRYING OUT IN PAIN)
and then clobber them.
(ALIEN SCREECHING)
WOMAN: Oh, my God!
No, no, no! Don't touch it!
(SNARLING)
That was shocking, wasn't it?
But suspense can be equally brutal.
Jesus!
Eddie, swim! Swim fast! There's a shark, Eddie!
Swim!
Oh, God, Eddie, swim!
Swim faster! Hurry!
Come on! Swim!
Come on, swim!
Hurry, Eddie, it's a shark!
Eddie, hurry! Faster! Come on, swim!
Hurry! Hurry, Eddie!
Eddie!
Oh, God!
Eddie?
(EDDIE GASPING SPASMODICALLY)
(CARNIVAL MUSIC PLAYING)
HOST: Terror owes its very existence...
Stick them up!
...to the one group of characters devoted to its cause.
The villains.
(MEOWING)
From the dangerously disturbed...
Vengeance is mine, sayeth the Lord.
...to the thoroughly demented.
They run the gamut in age,
appearance,
even occupation.
Give me the money, you fucker.
And yet...
I'm not a bad man.
...they can be encouraging.
All I want is for you to trust me.
Come on, baby. Open up the door.
You gonna hit me again?
Now you know you're the number one thing in my heart.
HOST: They can be disarming.
Come on, baby. Open up the door. I'm out here all alone.
I'm gonna have her make a daily drink for you,
that'll be fresher, safer and more vitamin rich than any pills on the market.
HOST: They can be reassuring.
Any questions you have, call me, night or day.
That's what I'm here for.
HOST: You may even be married to one.
Wendy, I'm home.
So that even when you're certain of who they really are,
there's still no guarantee that you're safe.
I know who you are, you murderer!
I know who you are!
Help! The man needs help here!
Help! Quick!
A doctor!
HOST: At times we can't help but marvel at their cleverness.
You swear you ain't gonna hit me again?
I ain't never gonna hit you.
All I wanna do is give you the kind of love you want.
What you need.
That's right.
Come on, open the door.
(MUFFLED SCREAMING)
(WHIMPERING)
(CHUCKLES)
I cannot believe how stupid you are.
(EXCLAIMING FEARFULLY)
HOST: Slick and calculating.
When it comes to cruelty, they seem so self assured.
And you? What's your favorite toy?
Geraldine.
What does she do?
And may we have Geraldine on the table, too?
No, we may not.
Why the hell not?
Because she's the referee.
HOST: The most compelling villains are often the most confident.
May I help you with anything?
Yes, yes. Something special.
Yes. I think you might be interested in something like this.
Mmm. That's good. What is it?
I think you'd be interested in this more, sir. Would you like to smell it?
(SNIFFING)
What do you think?
Could you wrap it up for me?
Certainly. I'll be back in a couple of minutes.
All right.
You really are very pretty.
Well, thank you.
(CHUCKLES)
(WOMAN SCREAMING)
HOST: For each villain brings a style and a method to his madness.
United Press.
I have an announcement to make for your international wire.
NEWSCASTER: Real name is Heymar Reinhardt.
He has no network, no real organization. He improvises.
He manages to succeed where others have failed.
If he has changed his face,
he will be more dangerous than ever.
Is this trip business or pleasure?
Pleasure, I hope.
Nobody ever walks out on me.
You understand me? Never!
They never walk out on me.
HOST: Untroubled by conscience, their capacity for evil has no limit.
Lesson number one, Ginger.
(MUFFLED CRYING)
(DOOR CLOSES)
Is it safe?
Are you talking to me?
Is it safe?
Is what safe?
HOST: Some are capable of doing anything.
Is it safe?
I don't know what you mean.
MAN: Hey, asshole!
(WOMEN SCREAMING)
Get out of the way! Move!
You got him?
Scream!
(SCREAMING)
Shoot!
He's not clear.
(WOMAN CRYING)
You're gonna pay for what you did to Ginger.
What I did with Ginger is knock her around.
So what, bitch?
That's enough. That's enough. You fucking asshole! She's dead!
She's dead?
Yeah! Suck my dick, you son of a fucking... You set me up, huh?
(SCREAMING)
Nobody sets me up. You understand?
Nobody!
Come on, shoot!
Come on, cop, shoot! No, no!
Come on, kill me!
She's dead, fuckhead!
Dead! No!
You understand me? Dead! No!
Dead! Come on, shoot! Come on! Come on!
You understand me?
Leave us alone. We've done nothing.
You must be very proud. You will come over...
No, you take me!
What is it? What is happening?
(BABY CRYING)
Life, Mr. Marigny.
No! It's not!
DASILVA: He's just taken a woman. He's bringing her to the front of the tram car.
He has her against the window.
MAN: What the hell is he doing?
Get a little closer. I just want to see his face.
This one's for you, DASILVA.
Christ, don't do it.
(GUNFIRE) (WOMAN SCREAMING)
And Susy... Yes, Mike?
I want you to know...
Mike!
(MIKE GROANS)
HOST: In the end, they simply don't distinguish between right and wrong.
Perhaps they don't know the difference.
Perhaps they just don't care.
Whether they are ruthless,
desperate...
What I did to Ginger, it ain't nothing to what I'm gonna do to you.
...or totally deranged.
Fuck!
However unstable the villains...
Why'd you kill the woman?
I wanted to.
So why don't you kill me?
In due time.
(BABY CRYING)
...they are the ultimate figures in power.
That hurt? No.
I should think it would.
You should take better care of your teeth.
You have quite a cavity here.
Is it safe?
Look, I told you, I can't...
(SCREAMS)
(DISCO MUSIC PLAYING)
HOST: So no matter how much they make us hate them,
they know how to make us watch them.
I'll find you, bitch!
Please...
Please stop.
Please don't worry. I'm not going into that cavity again.
That nerve's already dying.
A live, freshly-cut nerve is infinitely more sensitive.
(DRILL WHIRRING)
So I'll just drill into a healthy tooth until I reach the pulp.
Unless, of course, you can tell me that it's safe.
Wulfgar!
(GUNSHOTS)
Freeze! Hold it, motherfucker!
Son of a bitch! I'm coming right behind you.
Watch out by the window.
Life can be that simple.
Relief, discomfort.
Now, which of these I next apply, that decision is in your hands.
So, take your time
and tell me, is it safe?
HOSTESS: We are all born helpless.
As infants, we're dependent on others for food,
shelter, for life itself.
We're totally vulnerable.
Slowly but surely, we learn to be afraid.
Michael, did you hear your father?
Out of the water now! Now!
HOSTESS: We're taught the difference between right and wrong.
And yet, we're only human,
and we sometimes take foolish risks.
Even when we know it's dangerous.
By the time we regret what we've done,
it may already be too late.
Get down! Get down!
But what's most frightening of all...
(TELEPHONE RINGING)
Bobby!
MAN: Have you checked the children?
What?
(HANGS UP) ...is that for reasons beyond our control,
for reasons beyond our comprehension,
(CACKLING)
or worst of all, for no reason whatsoever...
The hat.
I want the hat.
(LAUGHING EVILLY)
...at anytime,
(LAUGHING EVILLY)
at anyplace,
we may find ourselves...
...a victim.
What are you? Some kind of asshole?
(TELEPHONE RINGING)
Since vulnerability is the key, the victim is usually
alone.
Hello?
MAN: Why haven't you checked the children?
And unfortunately, in these movies, the victim is almost always a woman.
It's a man. I think he's trying to scare me.
EMERGENCY OPERATOR: An anonymous caller, ma'am?
That's right.
It's probably just some weirdo. The city's full of them.
Wendy, let me explain something to you.
Whenever you come in here and interrupt me, you're breaking my concentration.
You're distracting me.
And it will then take me time to get back to where I was.
Understand?
Yeah.
Now, we're gonna make a new rule.
Whenever I'm in here, and you hear me typing,
or whether you don't hear me typing,
or whatever the fuck you hear me doing in here,
when I'm in here, that means that I am working.
That means don't come in. Now do you think you can handle that?
Yeah.
What's wrong with the phones?
Nothing for you to worry about.
Just get some rest right now.
I'll let you know as soon as we get a hold of your parents.
HOSTESS: To make things worse,
she may be fully aware of the danger,
but helpless to do anything about it.
I need you here. Here at the house.
Giving the villains an edge they're only too willing to exploit.
You've got to come over right away. Please, before she comes back.
(EXCLAIMS)
(GASPS IN PAIN)
(GROANS)
HOSTESS: On the other hand, she may be totally unaware
that she is in any danger at all.
I have a telegram for Dr. Potter.
Well, he's not in. I'll take it.
I may only give it to him.
Well, I'm his wife. I think you could give it to me.
When will he return? I don't know.
Sometime this afternoon. Do you wanna come back later?
You can rest assured I will.
Well,
I'm very confused.
I just need a chance to think things over.
You've had your whole fucking life to think things over!
What good's a few minutes more going to do you now?
Stay away from me! Please!
Don't hurt me!
I'm not gonna hurt you.
Stay away from me!
Wendy... Stay away!
...darling. Light of my life.
I'm not gonna hurt you.
You didn't let me finish my sentence.
I said, "I'm not going to hurt you."
I'm just going to bash your brains in.
You really scared me.
If that's what you wanted.
Is that what you wanted?
MAN: No.
What do you want?
Your blood...
...all over me.
Laurie! Laurie, wait!
Wait, Laurie!
(GASPING)
Little pigs, little pigs, let me come in.
Not by the hair on your chinny, chin-chin?
Then I'll huff, and I'll puff,
and I'll blow your house in!
Please, can't you help me? I'm all alone here.
EMERGENCY OPERATOR: Okay. Now take it easy.
I'll tell you what. If this guy calls you again...
He will call again! I know he will!
All right. Now calm down.
Look, I can alert the phone company,
so that if he calls again we can try to trace the call.
(MUFFLED PANTING AND CRYING)
(SCREAMS)
Jack! Please!
(SCREAMS)
(GROANS)
Help!
Please! (BANGING ON DOOR)
Help! Help!
(TELEPHONE RINGING)
Leave me alone!
Jill, this is Sergeant Sacker! Listen to me!
We've traced the call. It's coming from inside the house.
A squad car's on the way over there right now.
Just get out of that house!
(WENDY SCREAMING)
Here's Johnny!
Michael, stop!
(WHISPERING) Danny. I can't get out!
Run!
Run and hide!
Come out, come out, wherever you are.
It's time, Michael.
HOST: You don't have to be looking for trouble to find it.
ELIZABETH: I have seen these flowers all over.
They're growing like parasites on other plants. All of a sudden.
Where are they coming from? Outer space?
What are you talking about? A space flower?
ELIZABETH: Well, why not a space flower? Why do we always expect metal ships?
HOST: Evil can come from anywhere.
Arriving mysteriously from outer space,
or appearing suddenly here on Earth.
There's a fog bank out there.
On land or at sea.
(LOUD KNOCKING ON DOOR)
Environments once familiar,
even pleasurable,
become bewildering,
and ominous...
(GASPING AND PANTING)
...concealing and protecting the enemy.
I wanna see who it is. No.
Can't I stay for two more seconds? Go to your room.
While leaving us...
Okay, okay. I'm going.
(MUFFLED STRUGGLING)
...exposed.
Oh, God!
(SCREAMING)
(ALARM SOUNDING)
But of course, nature is not always to blame.
I don't know what the hell's in there,
but it's weird and pissed off, whatever it is.
Malevolent life forms from other worlds may jeopardize our position
as the supreme beings on this planet.
DR. BLAIR: You see what we're talking about here
is an organism that imitates other life forms,
and it imitates them perfectly.
When this thing attacked our dogs it tried to digest them, absorb them,
and in the process, shape its own cells to imitate them.
That's not dog, its imitation.
We got to it before it had time to finish.
Finish what?
See.
Jack.
(EXCLAIMS)
Jack!
I'll get the police. NANCY: Elizabeth, wake up.
They get you when you sleep. Sit up!
WOMAN: Wait right there, Mr. Bennell. How do you know my name?
Hang up, Matthew.
I didn't tell you my name! Hang up.
I didn't tell them my name! They're all a part of it.
They're all pods, all of them.
It's happening now.
They grow out of those pods.
HOST: How do we fight what we don't understand?
How can we triumph over the unknown?
Evil doesn't have to come from another world
to control life here on Earth.
Our oldest fear,
the devil himself, can take on any form.
Even that of a child.
Have no fear, little one.
I am here to protect thee.
KATHERINE: Damien!
Damien!
Damien, look at me.
Look at me, Damien.
It's all for you.
(EXCLAIMS)
(YELLING)
(BREATHING DEMONICALLY)
(GROWLING)
All right then, Regan, let's see...
Regan!
Keep away! The sow is mine!
Fuck me! Fuck me!
Please, come in.
HOST: More frightening, still, are those who worship the power of evil.
That whole bunch.
The parties with the singing and the flute and the chanting,
those are esbats. They're Sabbaths... Honey, don't get excited.
Read what they do, Guy. They use blood in their rituals.
And the blood that has the most power is baby's blood.
And they don't just use the blood, they use the flesh, too.
Rosemary, for God's sakes!
They're not setting foot in this apartment ever again.
And they're not coming within 50 feet of the baby.
They're old people. They have a bunch of old friends!
Dr. Shand happens to play the recorder!
I'm not taking any chances with the baby's safety.
Well, you're not going.
I already said I would.
You tell that boy you're not going or we're gonna move from here!
No.
We'll move from here and you'll never see that boy again.
HOST: The potential for evil may be hidden within all of us.
Most of us never discover it.
Please sit and talk to me!
Some of us do.
I'm going, Mama.
And you can't stop me.
And I don't wanna talk about it anymore.
HOST: Who are we?
KARRAS: Are you comfortable, Regan? Yes.
How old are you?
Twelve.
Is there someone inside you?
Sometimes.
Somebody in this camp ain't what he appears to be.
Right now, that may be one or two of us.
By spring, it could be all of us.
So how do we know who's human?
If I was an imitation, a perfect imitation,
how would you know if it was really me?
I'm speaking to the person inside of Regan now.
If you are there, you too are hypnotized, and must answer all my questions.
Come forward and answer me now.
HOST: What is inside us?
(GROWLING)
And what if that, which we held back, suddenly were let go?
(GROWLING)
(YELLING IN PAIN)
(SCREAMING)
Chris!
Mrs. MacNeil.
You got to be fucking kidding.
(CREATURE SCREECHING)
I cast you out!
This servant of God.
(GROWLING)
it is he who commands you!
He who flung you from the heights of Heaven to the depths of hell!
This is not a human child. Make no mistake.
(YELLING)
(PANTING)
What have you done to it?
What have you done to its eyes?
He has his father's eyes.
What are you talking about? Guy's eyes are normal.
What have you done to him, you maniacs?
Satan is his father, not Guy.
Oh, God!
No! Please, Daddy, no!
No, Daddy. No! God, help me!
God is dead! Satan lives! WOMAN: Hail, Satan!
HOST: In a world where evil plays without rules,
no one is beyond reach.
(GRUNTS)
Amen.
HOST: It's no longer a question... NANCY: Matthew?
...of what's to become of us.
NANCY: Matthew.
You son of a bitch!
(GROANING DEMONICALLY)
Take me! Come into me!
But rather, what we're to become.
God damn you! Take me!
No!
HOSTESS: Now what's the one thing these films have in common?
JOHN: My only comment would be highly censor-able.
People in trouble.
And what's the easiest way to get into trouble?
FRANCES: Give up, John. Admit who you are.
You know as well as I do, this necklace is imitation.
HOSTESS: Sex.
She loves me man.
And it always has been.
Even in this light, I can tell where your eyes are looking.
Ever had a better offer in your whole life?
HOSTESS: Even in real life, sex has its dangers.
I shouldn't have been so rude. Thank you for picking up...
Because it makes people take chances.
(WOMAN MOANS)
But usually, they survive.
(MOANING)
In a terror film, you don't even have to take a chance.
Just take a walk alone at night,
and that may be the last we see of you.
(EXCLAIMS)
A moonlight swim in the nude
is definitely a bad idea.
NICKI: Max!
In the bedroom, anything can happen.
Nicki, don't.
Now, we take Master Charge, Visa, American Express, but not for tips.
Heaven help you if sex is your profession.
Okay, that's not really true, you can put tips on Visa if you want.
These films will put an end to your career,
permanently.
(GROWLING) Oh, my God!
(SCREAMING AND PANTING)
My angel. My angel.
(PANTING AND MOANING)
LIZ: He orders me to strip.
I do it.
Keeping one eye on the razor.
He drops his pants.
He forces me down on my stomach.
Kneels down behind me and rests the cold blade...
(THUNDER CLAPS)
In terror films, sex rarely ends with pleasure.
It ends in violence.
(SHUSHING)
Now, I'm gonna take my hand off your mouth.
If you scream...
Bam!
Now let's try it.
That's good. That's real good.
Come on, take it, baby. Don't be modest.
(GROANS)
HOSTESS: And since you're never more vulnerable than when you're naked,
the bathroom is the most dangerous place of all.
(SCREAMS)
PETER: Well, that's what you all do.
You make a man think that he's accepted.
It's all just a great big game to you.
Well, what do you think?
I'm sure it comes as no great surprise to you when I say that
there are little corners in everyone,
which were better off left alone.
Hello! Hello? I watched you today.
What?
But that's your stock in trade, isn't it, a man's weakness?
Little sicknesses, which should never be exposed.
Would you mind not doing that?
And I was never really fully aware of mine
until you brought them out.
I have no idea what I'm going to do,
and I'm so deeply puzzled.
I've done terrible things. I've killed three people.
But yet, I don't consider myself a terrible man.
No more than...
...than others.
I know you're expecting some kind of extravagant behavior.
So it doesn't make any difference what I do anymore, does it?
PETER: I will not harm you at all physically.
ARLYN: Why don't you...
Why don't you make yourself comfortable. Why don't you...
I am perfectly comfortable. Just put your head down.
You have such lovely long blonde hair.
Turn your head. Like that.
Don't! Don't!
(SCREAMING)
Now!
MAN: God damn you, bitch!
HOST: In the beginning, horror films were dominated by the classic figures.
Frankenstein, Dracula,
and The Wolf Man.
But as the years passed...
The bride of Frankenstein.
...they began to lose their shock value.
(SCREAMS)
And found themselves being used to create the opposite effect.
We're going up to that castle.
What about that woman? She's only trying to scare us.
Well, she's doing a very good job of it. Yeah, come on.
No, no. Please don't wear that. What's the matter?
I know you think I'm crazy, but in half an hour the moon will rise
and I'll turn into a wolf.
You and 20 million other guys.
(GROWLING)
As horror and comedy became more intertwined,
(GROWLING) (EXCLAIMING)
it was hard to know how to react.
(LAUGHING EVILLY)
Or how to feel...
MAN: Yeah, operator, get me the County Sheriff's Department, quick!
(SCREAMING)
(SINGING)
DISTORTED VOICE: Never sing my music again.
Not here, not anywhere.
Do you understand? Never again.
My music is for Phoenix. Only she can sing it.
Anyone else that tries, dies!
You wouldn't be able to do these awful things to me
if I weren't still in this chair.
But you are, Blanche! You are in that chair!
Wow! MOTHER: What are you kids watching?
The news lady's turned into a werewolf.
Put me down.
(SCREAMS)
Billy, get the hell out of here!
It's only a movie.
But sooner or later,
you must leave the theater
and go home.
Perhaps alone.
(DOOR CREAKING)
(CREATURES SCREECHING)
JACK: You can't get away!
I'm right behind you!
(SCREAMS)
(YELLS)
(SCREAMING)
(GROWLING)
(YELLING IN FEAR)