Dean Koontz - Night Chills

0052 THIS LEGEND — OBEDIENCE TO THE KEY — SATISFACTION

0093 THIS LEGEND — OBEDIENCE TO THE KEY — SATISFACTION

0094 VISUAL — EJACULATION ON WOMAN’S PUBIC HAIR

0095 THIS LEGEND — OBEDIENCE TO THE KEY — SATISFACTION

0096 VISUAL — EJACULATION ON WOMAN’S PUBIC HAIR

0097 THIS LEGEND — OBEDIENCE TO THE KEY — SATISFACTION

0098 VISUAL — WOMAN’S FACE EXPRESSING ECSTASY

0099 THIS LEGEND — OBEDIENCE TO THE KEY — SATISFACTION

0100 VISUAL — EJACULATION ON WOMAN’S PUBIC HAIR

Klinger said, “The penis doesn’t become erect until the viewer is to]d that obedience to the key equals satisfaction.”

“That’s right. And you’ll notice that both the man’s and woman’s orgasms are represented. This program would be effective with either sex.”

“Was all this taken from some porno movie?”

“It was shot especially for me by a professional pornographic-film maker in New York City,” Salsbury said, pushing his glasses up on his nose and wiping his damp forehead. “He was instructed to use only the most attractive performers. He shot everything at regular light intensity, but I used a special process to print below the recognition threshold. Then I intercut the sex footage with the block-letter messages.” He unfolded some of the print-out. “This first sequence lasts another forty seconds. Then there is a two-second pause, and another message is presented in the same fashion.”

0143 VISUAL — WOMAN FINGERING CLITORIS

0144 VISUAL — WOMAN FINGERING CLITORIS

0145 VISUAL — MAN STROKING DETUMESCENT PENIS

0146 VISUAL — MAN STROKING DETUMESCENT PENIS

0147 VISUAL — MAN STROKING DETUMESCENT PENIS

0148 THIS LEGEND — SUBMISSION TO THE KEY — FREEDOM FROM FAILURE

0149 THIS LEGEND — SUBMISSION TO THE KEY — FREEDOM FROM FAILURE

0150 THIS LEGEND — SUBMISSION TO THE KEY — FREEDOM FROM FAILURE

0151 VISUAL — WOMAN SMILING AT ERECT PENIS

0152 VISUAL — WOMAN SMILING AT ERECT PENIS

0153 VISUAL — WOMAN SMILING AT ERECT PENIS

0154 THIS LEGEND — SUBMISSION TO THE KEY — FREEDOM FROM FAILURE

0155 THIS LEGEND — SUBMISSION TO THE KEY — FREEDOM FROM FAILURE

0156 VISUAL — WOMAN DOMINANT INTERCOURSE

0157 VISUAL — WOMAN DOMINANT INTERCOURSE

0155 VISUAL — WOMAN DOMINANT INTERCOURSE

0159 THIS LEGEND — SUBMISSION TO THE KEY— FREEDOM FROM FAILURE

0160 THIS LEGEND — SUBMISSION TO THE KEY— FREEDOM FROM FAILURE

0161 VISUAL — DOG STYLE INTERCOURSE

0162 VISUAL — DOG STYLE INTERCOURSE

0163 VISUAL — DOG STYLE INTERCOURSE

0164 THIS LEGEND — SUBMISSION TO THE KEY— FREEDOM FROM FAILURE

0165 THIS LEGEND — SUBMISSION TO THE KEY— FREEDOM FROM FAILURE

0166 VISUAL — WOMAN’S FACE EXPRESSING ECSTASY

0167 VISUAL — WOMAN’S FACE EXPRESSING ECSTASY

0168 VISUAL — WOMAN’S FACE EXPRESSING ECSTASY

0169 THIS LEGEND — SUBMISSION TO THE KEY— FREEDOM FROM FAILURE

0170 THIS LEGEND — SUBMISSION TO THE KEY — FREEDOM FROM FAILURE

0171 VISUAL — EJACULATION ON WOMAN’S BUTTOCKS

0172 THIS LEGEND — SUBMISSION TO THE KEY— FREEDOM FROM FAILURE

0173 VISUAL — EJACULATION ON WOMAN’S BUTTOCKS

0174 THIS LEGEND — SUBMISSION TO THE KEY— FREEDOM FROM FAILURE

0175 VISUAL — WOMAN’S FACE EXPRESSING ECSTASY

“I see the pattern,” Klinger said. “How many of these ‘legends’ were there?”

They were standing at one of the computer consoles. Saisbury’ leaned over and used the keyboard.

One of the screens mounted on the wall began a line-print:

KEY/LOCK STAGE ONE BLOCK — LETTER MESSAGES, IN ORDER OF

APPEARANCE, AS FOLLOWS:

01 OBEDIENCE TO THE KEY — SATISFACTION

02 SUBMISSION TO THE KEY — FREEDOM FROM FAILURE

03 SUBMISSION TO THE KEY — FREEDOM FROM FEAR

04 SUBMISSION TO THE KEY — FREEDOM FROM GUILT

05 SUBMISSION TO THE KEY — FREEDOM FROM WORRY

06 SUBMISSION TO THE KEY — FREEDOM FROM MORAL CODES

07 SUBMISSION TO THE KEY — FREEDOM FROM RESPONSIBILITY

08 SUBMISSION TO THE KEY — FREEDOM FROM DEPRESSION

09 SUBMISSION TO THE KEY — FREEDOM FROM TENSION

10 SUBMISSION TO THE KEY — CONTENTMENT

11 SUBMISSION TO THE KEY — HAPPINESS

12 SUBMISSION TO THE KEY — YOUR GREATEST DESIRE

Salsbury touched a tab on the console.

The screen went blank.

“The series was repeated three times through the film.”

“The same thing the second night?” Klinger asked. “No.” He picked up another folded print-out from the seat of the console chair and exchanged it for the stage one analysis. “The first minute is spent securing the. subjects’ undivided attention, as it was in the first film. The difference between stage one and stage two becomes evident starting with the second minute.”

0061 VISUAL — WOMAN WEEPING

0062 VISUAL — WOMAN WEEPING

0063 VISUAL — WOMAN WEEPING

0064 VISUAL — MAN WEEPING

0065 VISUAL — MAN WEEPING

0066 THIS LEGEND — REFUSAL TO OBEY THE KEY — PAIN

0067 THIS LEGEND — REFUSAL TO OBEY THE KEY — PAIN

0065 VISUAL — WOMAN ,COVERED WITH BLOOD, SCREAMING

0069 VISUAL — WOMAN, COVERED WITH BLOOD, SCREAMING

0070 THIS LEGEND-REFUSAL TO OBEY THE KEY — PAIN

0071 THIS LEGEND-REFUSAL TO OBEY THE KEY — PAIN

0072 VISUAL — MAN, COVERED WITH BLOOD, SCREAMING

0073 VISUAL — MAN, COVERED WITH BLOOD, SCREAMING

0074 THIS LEGEND-REFUSAL TO OBEY THE KEY — PAIN

0075 THIS LEGEND-REFUSAL TO OBEY THE KEY — PAIN

0076 VISUAL — WOMAN ,COVERED WITH BLOOD, SCREAMING

0077 VISUAL — MAN, COVERED WITH BLOOD, SCREAMING

0076 THIS LEGEND — REFUSAL TO OBEY THE KEY — PAIN

0079 THIS LEGEND-PAIN, PAIN, PAINi PAIN

0080 NO CONTENT

0081 NO CONTENT

0082 VISUAL — WOMAN SMILING AT ERECT PENIS

“The second stage of the program alternates between negative reinforcement and positive reinforcement,” Salsbury said. “The next twenty-five seconds are devoted to a sex reinforcement sequence much like those you saw on the first print-out. Skip ahead just a bit.”

0110 VISUAL — WOLF’S FACE, SNARLING

0111 VISUAL — WOLF’S FACE, SNARLING

0112 VISUAL — SCORPION STINGING A MOUSE

0113 VISUAL — SCORPION STINGING A MOUSE

0114 VISUAL–COFFIN

0115 VISUAL–COFFIN

0116 VISUAL–COFFIN

0117 THIS LEGEND — REFUSAL TO OBEY THE KEY — DEATH

0118 THIS LEGEND — REFUSAL TO OBEY THE KEY — DEATH

0119 VISUAL — HUMAN SKULL

0120 VISUAL — HUMAN SKULL

0121 VISUAL — ROTTING CORPSE

0122 THIS LEGEND — REFUSAL TO OBEY THE KEY — DEATH

0123 VISUAL — ROTTING CORPSE

0124 THIS LEGEND — REFUSAL TO OBEY THE KEY — DEATH

Looking up from the print-out, Klinger said, “Do you mean that death is as effective as sex in subliminal persuasion?”

“Nearly so, yes. In advertising, subliminals can be used to establish the same sort of motivational equation with death as with sex. According to Wilson Bryan Key, who wrote a book about the nature of subceptive manipulation a few years back, the first use of death images might have come in a Calvert Whiskey ad that appeared in a number of magazines in 1971.Since then hundreds of death symbols have become standard tools of the major ad agencies.”

Putting down the second print-out, the general said, “What about the third stage? What was hidden in the film you showed them on the third night?”

Salsbury had another length of computer paper. “In the beginning, this one just reinforces and strengthens the messages and effects of the first two films. It’s broken down into tenths of seconds in some places because by this time the subjects are primed for faster input, rapid-fire commands. Like the others, it really begins with the second minute.”