Terror in the Aisles Page #2

"You're going to see something

that's going to scare you.

"But l'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 l 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, l'm gonna call Laurie.

I wanna know where

Paul and Annie are.

This is going nowhere.

(TELEPHONE RlNGlNG)

Finally.

Hello.

(GASPlNG AND STRUGGLlNG)

(MAN PANTlNG)

Hello?

(STRUGGLlNG ON

OTHER END OF LlNE)

All right, Annie. First

l get your famous

chewing, now l get

your famous squealing?

(GASPlNG FOR AlR)

(PANTlNG)

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 l 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 abomb under there."

Get rid of it.

(BlRD SQUAWKlNG)

HlTCHCOCK:
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!

Get away from that car!

Mister, run!

Watch out!

Mister!

Watch out!

HOST:
Shock and surprise are

very different from suspense.

(SCREAMlNG lN PAlN)

(WOMAN SCREAMS)

lf you want to shock people, you

just have to catch

them off guard,

(CRYlNG OUT lN PAlN)

and then clobber them.

(ALlEN SCREECHlNG)

WOMAN:
Oh, my God!

No, no, no!

Don't touch it!

Don't touch it!

(SNARLlNG)

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?

(EDDlE GASPlNG SPASMODlCALLY)

(CARNlVAL MUSlC PLAYlNG)

HOST:
Terror owes its

very existence...

Stick them up!

To the one group of

characters devoted to its cause.

The villains.

(MEOWlNG)

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 f***er.

And yet...

l'm not a bad man.

They can be encouraging.

All l 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 l'm here for.

HOST:
You may even

be married to one.

Wendy, l'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 l wanna do is give you

the kind of love you want.

What you need.

That's right.

Come on, open the door.

(MUFFLED SCREAMlNG)

(WHlMPERlNG)

(CHUCKLES)

l cannot believe how

stupid you are.

(EXCLAlMlNG 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 l help you with anything?

Yes, yes. Something special.

Yes. l 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?

(SNlFFlNG)

What do you think?

Could you wrap it up for me?

Certainly. l'll be back

in a couple of minutes.

All right.

You really are very pretty.

Well, thank you.

(CHUCKLES)

(WOMAN SCREAMlNG)

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, l 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 CRYlNG)

(DOOR CLOSES)

ls 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, a**hole!

(WOMEN SCREAMlNG)

Get out of the way! Move!

You got him?

Scream!

(SCREAMlNG)

Shoot!

He's not clear.

(WOMAN CRYlNG)

You're gonna pay for

what you did to Ginger.

What l did with Ginger

is knock her around.

So what, b*tch?

That's enough. That's enough.

You f***ing a**hole! She's dead!

She's dead?

Yeah! Suck my dick,

you son of a f***ing.

. . You set me up, huh?

(SCREAMlNG)

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!

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 CRYlNG)

Life, Mr. Marigny.

No! lt'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.

(GUNFlRE) (WOMAN SCREAMlNG)

And Susy...

Yes, Mike?

I want you to know...

Mike!

(MlKE 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...

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