Original subtitles

Downloaded from YTS.MX

Official YIFY movies site: YTS.MX

(ominous music)

(projector clicking)

(phone rings)

- Hello?

Robert, I don't think this is very funny.

Bobby?

Who is this?

(line clicks)

(dial tone blares)

- 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.

(suspenseful music)

(giggling)

- Hello?

Who's there?

(tense music)

(yelping)

- No!

(screaming)

(projector reel clicking)

- [Donald] There's no question about it.

Some terror films go too far.

- [Laurie] Tommy, unlock the door.

- [Donald] 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.

- [Laurie] I want you to tell them to call the police.

- Hey!

- [Donald] And before long...

- [Laurie] Now, do you understand me?

- No.

No, baby, no, no.

No, no! - People are yelling

at the characters on the screen.

- [Man] Hey, watch out, baby!

- Watch out! - Watch out!

- [Laurie] Please stop.

(clamoring) - Do something!

(yelping)

(screaming)

- Get him!

(audience cheering)

- [Man] Don't drop the knife, you asshole!

(foreboding music)

Hey, get out of that room!

- [Laurie] Babies.

- [Nancy] It's strange, isn't it?

In real life, nobody likes to think about violence,

pain, blood and death.

- 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.

(children clamoring)

(suspenseful music)

(screaming) - Did you see that?

- Yes.

(shouting)

(screaming)

- [Donald] 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.

- [Boy] Go ahead, Lonnie.

- [Boy in Coat] Chicken, go in!

- Hey!

Hey, Lonnie, get your ass away from there.

- [Donald] Besides, there's something delicious about fear,

especially somebody else's.

(thunder rumbling)

(bells tinkling)

Scary movies tap into your childhood fears of the dark,

and of being alone.

(suspenseful music)

(muffled shouting)

- [Nancy] 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.

- [Donald] 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)

(groaning) (bell tolling)

(foreboding music)

- [Donald] 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.

- [Donald] But I'll bet you've thought about it.

- [Woman] He's staring.

I think he's looking at us.

I think we're being picked up.

- Oh, it's too awful.

Can you believe it?

Don't know how they can let creatures like that in here.

(buzzing)

(moaning)

- Anne, what's the matter?

Help, someone, please!

Please help!

- We all carry around a certain amount

of resentment and rage, because we can't let it out.

In the movies, we can.

(eerie carnival music)

(popping)

(screaming)

(shouting)

(shouting)

(screaming)

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.

(crashing)

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.

(yelping)

(screaming)

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.

(chainsaw roaring)

No wonder these films give us nightmares.

- Do I have to close my eyes? - It doesn't matter.

(tense music)

- All right, yes, I have something.

- [Donald] Or is it our nightmares

that give us these films?

(growling)

(gasps)

(chainsaw roaring)

(shouting)

(screaming)

(gasping)

(screaming)

(shouting)

(yelping)

- Hey, how'd they do that?

- That's the trick, isn't it?

Once the lights go down.

(foreboding music)

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 yowls) (yelps)

(foreboding music)

- Hey, hey, come over here.

That's a good kitty.

(growling)

(hissing)

Hey, hey, I'm not gonna hurt you.

(hissing)

(screaming)

(foreboding music)

(humming)

- [Donald] When the camera takes on the point of view

of the killer, we see what they see,

not who they are.

♪ My dear ♪

(humming)

♪ I want to see ♪

♪ I feel you ♪

♪ My dear ♪

- Michael!

(yelping)

(tense music)

- Mrs. Bates.

- [Nancy] Of course, you can always close your eyes,

but you can't close your ears.

(screaming)

(suspenseful music)

- [Donald] 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.

(suspenseful music)

Years ago, when filmmakers wanted

to transform someone into a werewolf,

the actor just sat still,

and trick photography did all the work.

(shouting in pain)

Today, people are more sophisticated.

(cracking)

And becoming a werewolf

can take a lot out of you.

(shouting)

- [David] Help me!

God!

(yelping)

(growling)

- [Donald] Combining skill,

ingenuity,

(growling) (yelps)

(screeching)

And a strong stomach.

(roaring)

(tense music)

- All right.

I'm gonna suck your brain dry.

- [Donald] Artists and technicians continue to defy logic.

(rumbling)

Stagger the imagination,

and astound our senses.

All the time raising the stakes.

(yelping)

- [Nancy] 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.

(bell dinging)

(carnival music)

- [Carnie] You've just won a Kewpie doll.

Why, he's broken the thing.

(shouting)

- [Man] Is your name Miriam?

- Why, yes.

- 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)

It's his style, his manner of painting them.

(yelping)

That's where the emotion comes from.

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.

(suspenseful music)

(screaming)

- Oh, no!

Oh, oh!

No!

- [Nancy] 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)

(tinkling music)

(chuckles)

- Cute, Bob, real cute.

See anything you like?

What's the matter, can't I get your ghost, Bob?

(giggling)

All right, all right, come on, where's my beer?

(foreboding music)

- 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.

(tense music)

Because I realized that what was living

behind that boy's eyes was purely and simply evil.

(breathing heavily)

- Well, can't you answer me?

(foreboding music)

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.

(suspenseful music)

(phone rings)

- Finally.

Hello?

(gasping)

Hello?

All right, Annie.

First I get your famous chewing,

now I get your famous squealing?

(moaning)

(panting)

Are you fooling around again?

Annie?

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."

(birds squawking)

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.

- Oh, mercy.

(bird squawking)

- Look at the gas, that man's lighting a cigar.

- Mister, watch out! - Hey you, watch out!

Don't drop that match! - Get away from there!

Get out of there! (clamoring)

- Mister, run! - Watch out!

- Mister! - Look out, watch out!

(booming)

(birds cawing)

- [Donald] Shock and surprise

are very different from suspense.

(screaming)

If you want to shock people,

you just have to catch them off guard.

(shouting)

And then clobber them.

(cracking)

(alien screeching)

- [Lambert] Oh, god!

- Whoa, no! - Don't touch it!

Don't touch it!

(snarling)

- That was shocking, wasn't it?

But suspense can be equally brutal.

(suspenseful music)

- Jesus.

Eddie, swim!

Swim fast, the 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!

(yelping)

(thudding)

No.

(Eddie gasping)

- [Eddie] Help me.

(whimsical carnival music)

- [Donald] Terror owes its very existence...

- Stick them up!

- [Donald] To the one group of characters

devoted to its cause.

The villains.

(meowing)

From the dangerously disturbed...

- Vengeance is mine, sayeth the Lord.

- [Donald] To the thoroughly demented.

(cackling)

They run the gamut in age,

appearance,

even occupation.

(foreboding music)

- Give me the money, you fucker.

- [Donald] And yet...

- I'm not a bad man.

- [Donald] They can be encouraging.

- All I want is for you to trust me.

(knocking)

- [Ramrod] Come on, baby, open up the door.

- You gonna hit me again?

- Now you know you're the number one thing in my heart.

- [Donald] 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.

- [Donald] They can be reassuring.

Any questions you have, call me, night or day.

That's what I'm here for.

- [Donald] You may even be married to one.

- Wendy, I'm home.

- [Donald] So that even when you're certain

of who they really are,

there's still no guarantee that you're safe.

(foreboding music)

- I know who you are, you murderer!

I know who you are!

- Help!

The man needs help here!

Help, quick!

A doctor!

- [Donald] 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.

(yelping)

(chuckles)

I cannot believe how stupid you are.

(yelping)

- [Donald] 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?

- [Roat] No, we may not.

- Why the hell not?

- Because she's the referee.

- [Donald] The most compelling villains

are often the most confident.

(chatting)

- May I help you with anything?

- [Wulfgar] Yes, yes, something special.

- Oh yes, I think you might be interested

in something like this.

- [Wulfgar] Mm, 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?

- [Wulfgar] 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.

- Mm-hm.

(foreboding music)

(booming) (crashing)

(screaming)

- [Donald] For each villain brings a style

and a method to his madness.

- United Press.

I have an announcement to make for your international wire.

- [Man] Real name is Heymar Reinhardt.

He has no net worth, 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.

- [Clerk] 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.

- [Donald] Untroubled by conscience,

their capacity for evil has no limit.

- Lesson number one, Ginger.

(muffled crying)

- Is it safe?

- Are you talking to me?

- [Szell] Is it safe?

- Is what safe?

- [Donald] Some are capable of doing anything.

- Is it safe?

- [Levy] I don't know what you mean.

(suspenseful music)

- [Man] Hey, asshole!

(screaming)

- Move!

You got him?

- Scream! (screaming)

- Shoot!

- [DaSilva] He's not clear.

(woman crying)

- [Woman] You're gonna pay for what you did to Ginger.

- What I did to Ginger is knock her around.

So what, bitch?

- [Man] That's enough, that's enough.

- Asshole!

She's dead!

- She's dead?

- Yeah!

- You set me up, huh?

- You fucking dick!

(yelping)

- Nobody sets me up, you understand?

Nobody!

Come on, shoot!

Come on, cop, shoot!

Come on, kill me!

She's dead, fuckhead!

Dead!

You understand me?

Dead, dead, come on, shoot!

Come on, come on!

You understand me?

(shouting)

(cables creaking)

- Leave us alone, we've done nothing.

- You must be very proud.

You will come over--

- No, you take me!

(tense music)

What is it, what is happening?

(baby crying)

- Life, Mr. Marigny.

- [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?

- [DaSilva] Get a little closer.

I just want to see his face.

- This one's for you, DaSilva.

- Christ, don't do it.

(gun firing) (screaming)

- And Suzy. - Yes, Mike?

- I want you to know--

- [Suzy] Mike!

(Mike groans)

- [Donald] In the end, they simply don't distinguish

between right and wrong.

(tense music)

Perhaps they don't know the difference.

(baby crying)

Perhaps they just don't care.

Whether they are ruthless, desperate.

- - [Ramrod] What I did to Ginger, it ain't nothing

to what I'm gonna do to you. (yelping)

- [Donald] Or totally deranged.

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)

- [Donald] They are the ultimate figures in power.

- That hurt? - Uh-huh.

- 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)

(energetic disco music)

- [Donald] So no matter how much they make us hate them,

they know how to make us watch them.

(foreboding music)

- [Ramrod] Find you, bitch.

(glass breaking)

- 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!

(energetic disco music)

(gun firing)

(screaming)

(whimpering)

(shouts)

- Go.

- Freeze, hold it, motherfucker!

(guns firing)

Son of a bitch! - I'm coming right behind you.

- [Officer] 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?

(ominous music)

(suspenseful music)

(growls)

(gun fires)

(shouts)

(gun firing)

(shouting)

(baby crying)

(serene music)

- [Nancy] 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!

(groovy ethnic music)

- [Nancy] We're taught the difference

between right and wrong.

(heart thumping)

And yet, we're only human,

and we sometimes take foolish risks.

Even when we know it's dangerous.

- Good try.

- [Nancy] By the time we regret what we've done,

it may already be too late.

(speaking foreign language)

(tense music)

(shouting in foreign language)

- [Officer] Get down, get down.

- [Nancy] But what's most frightening of all...

(phone rings)

- Bobby?

- [Man] Have you checked the children?

- What?

- [Nancy] Is that for reasons beyond our control...

(suspenseful music)

(groans)

For reasons beyond our comprehension.

(cackling)

Or worst of all, for no reason whatsoever.

- [Sinister Man] The hat.

I want the hat.

(chuckling darkly)

- [Nancy] At any time.

At any place.

We may find ourselves

a victim.

- What are you, some kind of asshole?

(laughs)

(tires screeching)

(phone rings)

- [Nancy] Since vulnerability is the key,

the victim is usually alone.

- Hello?

- [Man] Why haven't you checked the children?

(suspenseful music)

- And unfortunately, in these movies,

the victim is almost always a woman.

- It's a man, I think he's trying to scare me.

- [Operator] An anonymous caller, ma'am?

- That's right.

- [Operator] 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.

(keys clicking)

Or whether you don't hear me typing,

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.

(foreboding music)

- 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.

- [Nancy] To make things worse,

she may be fully aware of the danger,

but helpless to do anything about it.

- [Woman] I need you here.

Here at the house.

- [Nancy] 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.

(shouts in pain)

(suspenseful music)

(groaning)

- [Nancy] On the other hand,

she may be totally unaware that she is in any danger at all.

- I have a telegram for Dr. Potter.

- [Mrs. 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 gonna do you now?

- [Wendy] Stay away from me!

Please!

Don't hurt me!

- I'm not gonna hurt you.

- [Wendy] 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 gonna hurt you.

I'm just gonna bash your brains in.

(foreboding music)

- You really scared me.

If that's what you wanted.

Is that what you wanted?

- [Man] No.

- What do you want?

- [Man] Your blood

all over me.

- Laurie!

Laurie, wait!

Wait, Laurie!

(suspenseful music)

(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.

- [Operator] Okay, now take it easy.

I'll tell you what.

If this guy calls you again--

- [Jill] He will call again, I know he will.

- [Operator] 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.

(suspenseful music)

(yelping)

(screams)

- Jack, please!

(chainsaw roaring) (screaming)

(groaning)

(suspenseful music)

- [Laurie] Help!

Please!

(banging on door)

Help!

Help!

(phone rings)

- Leave me alone!

- [Sacker] 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)

(suspenseful music)

- Here's Johnny!

- Michael, stop!

(gun firing)

- Danny, I can't get out!

Run!

Run and hide!

- [Jack] Come out, come out, wherever you are.

(whimpering)

- It's time, Michael.

(ominous music)

- [Donald] You don't have to be looking for trouble

to find it.

- 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?

- [Donald] Evil can come from anywhere.

Arriving mysteriously from outer space,

or appearing suddenly here on Earth.

- There's a fog bank out there.

- [Donald] On land or at sea.

(pounding on door)

Environments once familiar,

even pleasurable,

become bewildering

and ominous.

(suspenseful music)

(gasping)

Concealing and protecting the enemy.

- I wanna see who it is.

- No.

- [Boy] Can't I stay for two more seconds?

- Go to your room. - While leaving us...

- [Boy] Okay, okay, I'm going.

(muffled shouting) - Exposed.

- Oh, God!

(screaming)

(suspenseful music)

(alarm blaring)

- [Donald] 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.

(growling)

(dogs barking)

- [Donald] Malevolent life forms from other worlds

may jeopardize our position

as the supreme beings on this planet.

(shrieking)

- 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, it's imitation.

We got to it before it had time to finish.

- [Man] Finish what?

- See?

Jack.

(hissing)

(shouts)

Oh, Jack!

- I'll get the police.

- Elizabeth, wake up.

They get you when you sleep.

Sit up!

- [Operator] Wait right there, Mr. Bennell.

- How do you know my name?

- Hang up, Matthew.

- I didn't tell you my name.

- [Jack] Hang up.

- I didn't tell them my name!

- They're all a part of it.

(tense music)

They're all pods, all of them.

It's happening now.

They grow out of those pods.

(warbling)

- [Donald] How do we fight what we don't understand?

(roaring)

(heart thumping) How can we triumph

over the unknown? (squealing)

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.

(ominous music)

I am here to protect thee.

(children clamoring)

- [Katherine] Damien!

Damien!

(eerie tinkling music)

Damien, look at me!

Look at me, Damien.

It's all for you!

(crashing) (screaming)

(wheels squeaking)

(yelps)

(wailing)

(growling)

- All right then, Regan, let's see--

- Oh, Regan! - Keep away!

The sow is mine!

Fuck me!

Fuck me!

(screaming)

- Please come in.

- [Donald] 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,

whatever they're called. - 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 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.

- [Donald] The potential for evil may be hidden

within all of us. (arguing)

Most of us never discover it.

- Please sit and talk to me!

(suspenseful music)

(thunder clapping)

- [Donald] Some of us do.

- I'm going, Mama.

And you can't stop me.

And I don't wanna talk about it anymore.

- [Donald] Who are we?

- [Karras] Are you comfortable, Regan?

- Yes.

(tense music)

- [Karras] How old are you?

- 12.

- [Karras] 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.

- [Donald] What is inside us?

(growling)

And what if that which we held back suddenly were let go?

(growling) (shouting in pain)

(suspenseful music)

(screaming)

- [Woman] Chris!

Ms. MacNeil! (banging on door)

(ripping)

(creature growling)

(screaming)

(foreboding music)

- You gotta be fucking kidding.

(suspenseful music)

(screeching)

- I cast you out!

This servant of God.

(growling)

(cracking)

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)

(suspenseful music)

- What have you done to it?

What have you done to its eyes?

- [Man] 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.

- No, God!

- No, please, Daddy, no!

No, Daddy, no!

- God, help me!

- God is dead!

Satan lives! - Hail, Satan!

(yelps)

- [Donald] In a world where evil plays without rules,

no one is beyond reach.

(grunts)

- Amen.

- It's no longer a question-- - Matthew?

- [Donald] Of what's to become of us.

- [Nancy] Matthew.

- You son of a bitch!

(growling)

Take me!

Come into me!

- [Donald] But rather, what we're to become.

- God damn you, take me! (growling)

(suspenseful music)

(screeching)

- No!

(screaming)

- [Nancy] Now what's the one thing

these films have in common?

- [John] My only comment would be highly censorable.

- People in trouble.

And what's the easiest way to get into trouble?

- [Frances] Give up, John.

Admit who you are.

- [John] You know as well as I do

this necklace is imitation.

- [Nancy] Sex.

- She loves me, man.

(serene music)

- And it always has been.

- Even in this light, I can tell

where your eyes are looking.

(fireworks booming)

Ever had a better offer in your whole life?

- [Nancy] Even in real life, sex has its dangers.

- I shouldn't have been so rude.

Thank you for picking up--

- [Nancy] Because it makes people take chances.

(moaning)

But usually, they survive.

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.

- Oh!

(foreboding music)

- [Nancy] A moonlight swim in the nude

is definitely a bad idea.

- [Nicki] Max.

- [Nancy] In the bedroom, anything can happen.

- Nicki, don't.

- Now, we take Master Charge, Visa, American Express,

but not for tips.

- [Nancy] Heaven help you if sex is your profession.

- Okay, that's not really true,

you can put tips on Visa if you want.

- [Nancy] These films will put an end to your career.

Permanently.

(growling) - Oh my God!

(screaming)

- Oh, my angel!

Oh, my angel.

(panting)

(moaning)

- [Liz] He orders me to strip.

I do it, keeping one eye on the razor.

(ominous music)

He drops his pants

and 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.

(suspenseful music)

(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.

Yeah, take it, baby, don't be modest.

(foreboding music)

(suspenseful music)

- [Nancy] And since you're never more vulnerable

than when you're naked,

(foreboding music)

The bathroom is the most dangerous place of all.

(serene music)

(tense music)

(screams)

(sultry jazz music)

- [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.

(foreboding music)

- Hello, hello?

- [Man] 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.

(clicking)

- 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 take your-- - I am perfectly comfortable.

Just put your head down.

You have such lovely long blonde hair.

Turn your head, like that.

(screaming)

(sighs)

(suspenseful music)

- Now!

(gun firing)

God damn you, bitch!

(thunder cracks)

(suspenseful music)

- [Donald] In the beginning, horror films were dominated

by the classic figures.

Frankenstein, Dracula,

and The Wolf Man.

But as the years passed...

- [Doctor] The bride of Frankenstein.

- [Donald] 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?

- [Man] Oh, she's only trying to scare us.

- Well, she's doing a very good job of it.

- Yeah, come on.

(growling)

- Oh, no, no, please don't wear that.

- What's the matter?

- I know you'll 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)

- [Donald] As horror and comedy became more intertwined,

(yelping)

It was hard to know how to react.

(laughing)

(yelping)

Or how to feel.

- [Man] Yeah, operator, get me the Landmother County

Sheriff's Department, quick!

(crashing) (screaming)

♪ Sit and listen, all the cutting up is easy ♪

♪ And it isn't for the queasy or the weak of heart ♪

♪ Well, you had better start for home ♪

♪ While there's still time ♪

- 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!

(yelps)

(screams)

(suspenseful music)

♪ Fear is scary and murder's vile ♪

♪ I don't know what's making me smile ♪

♪ The world is sick, I'm used to it ♪

♪ Wouldn't you agree ♪

- You wouldn't be able to do these awful things to me

if I weren't still in this chair.

(grungy rock music)

- But you are, Blanche!

You are in that chair!

♪ No place to hide, no one to be seen ♪

♪ Safe as long as they stay on that screen ♪

♪ If someone's gotta go, you know ♪

♪ Better them than me ♪

- Wow!

- [Woman] What are you kids watching?

- The news lady's turned into a werewolf.

♪ On the land or in the skies ♪

♪ Try and face it as I close my eyes ♪

♪ It dies ♪

♪ Tonight, every night, it dies ♪

♪ It dies ♪

♪ By the way they treat their pets ♪

♪ They deserve just what they get ♪

♪ If when they die, I ought to cry ♪

♪ I laugh instead, I wonder why ♪

(moans)

- Put me down.

(screams)

♪ Tonight I'll rest all right ♪

♪ My mind is clear and free ♪

♪ No fly is gonna get the best of me ♪

♪ Maybe bats are misunderstood ♪

♪ Here come the frogs, there goes the neighborhood ♪

♪ People are no damn good, I'm rooting for the shark ♪

(growling)

♪ Mother nature's had one too many ♪

♪ Don't look for cops, they're never in it ♪

(cracking)

♪ Don't sit there like a dummy ♪

♪ Waiting in the dark ♪

♪ On the land or in the skies ♪

♪ Try and kill it, it multiplies ♪

♪ It dies ♪

♪ Tonight, every night, it dies ♪

♪ It dies, it dies ♪

♪ The end is near, it's no surprise ♪

♪ Blow them a kiss and wave goodbye ♪

♪ I'm not scared and I'm not shy ♪

♪ No way I'm gonna close my eyes ♪

(growling)

- Billy, get the hell out of here!

- It's only a movie.

(roaring)

It's only a movie.

But sooner or later,

you must leave the theater

and go home.

(ominous music)

Perhaps alone.

(door creaking)

(growling)

(screeching)

(suspenseful music)

- You can't get away!

I'm right behind you!

(screams)

(screams)

(shouts)

(screaming)

(screeching)

(crashing)

(chainsaw roaring)

(thunder cracks)

(growling)

(shouting in fear)

(gun fires)

(suspenseful music)