Fixed & Synced by bozxphd. Enjoy The Flick.
(CAR DOORS SHUTTING)
(FOOT STEPS AND TRAFFIC PASSING)
- [DIANE] In your opinion,
What happened that night at the Abaddon Hotel?
- I don't know.
- You want to know what I think happened that night?
I have no idea.
(STRUGGLING WITH DOOR)
- [VOICEOVER] Breaking news, just reaching us now.
Tragedy at a Halloween haunted house in Abaddon.
- To this day, I can't give you an answer to that question.
- Well, Hell House was a real tragedy on many levels.
- [VOICEOVER] From what we're hearing,
the opening night of this haunted house tour,
ended in disaster.
Multiple deaths, but police aren't answering
any of our questions.
- You had older victims and younger victims,
these are people who are paying for the scare experience
in a controlled environments, but in the end,
what they got was total chaos.
- A small abandoned hotel was transformed
into a haunted attraction.
It was due to run tours
the next few weeks through Halloween.
(EERIE PIANO MUSIC)
(AMBULANCE SIRENS)
- [VOICEOVER] We're not sure if anybody from the company
has made it out alive as of right now.
Shaking tour-goes appear to not really know
what was going on either.
- I been waiting on line for about 5 minutes now,
and I just see all these bunch of people coming out.
I'm like, "Dude, where do I go?"
- No, we had no idea.
We still don't know.
(FOOTSTEPS AND EERIE MUSIC)
(DOOR CREAKING)
(ROLLING THUNDER)
- Whenever people ask me what happened in Hell House,
I tell them, "You watch the video, you tell me."
(PEOPLE TALKING AND TRAFFIC)
- How many people are they letting in at a time?
(CROWDS TALKING)
It's a long wait.
I think we're next.
It's exciting.
- We've been waiting for you.
I hope you all enjoy your stay.
(EERIE MUSIC AND CROWDS TALKING)
(SCREAMING)
- Was that supposed to happen?
- [VOICEOVER] I don't think so.
Technical difficulties on opening night.
(EERIE MUSIC AND SCREAMING)
(YELLING)
(PANICKED SCREAMING)
(CRASHING AND BANGING)
- [VOICEOVER] We gotta go, we gotta go, we gotta go!
(CROWDS SCREAMING AND RUNNING)
- [VOICEOVER] Hurry up!
- [VOICEOVER] Get out of here!
Go, go!
(SCREAMING AND SIRENS)
- [VOICEOVER] Oh my God!
(SCREAMING)
(SIRENS)
- Nobody knew what to make of the YouTube video,
and then the 911 tape leaked and
that just confused people even more.
- [VOICEOVER] 911, what's your emergency?
What's the problem, Miss?
- [VOICEOVER] I don't know!
There's something...
(STATIC)
- [VOICEOVER] Is someone hurt?
I'm sorry, I can't hear you.
- [VOICEOVER] Please hurry, I don't want to die.
- [VOICEOVER] The cause of death is now
vaguely being blamed on a severe malfunction.
What exactly malfunctioned isn't clear,
and authorities aren't saying.
- All we have from that night is
the video the tour-goer shot uploaded to YouTube
before the police got a hold of it.
The 911 call was the only other thing
and, that didn't really tell us much
of what was going on inside.
Then this photographer, Martin Cliver comes along,
gets inside the hotel,
takes pictures,
puts it up on the internet.
It starts to raise some real questions
that the town does now want answers to.
- The hardest part?
The hardest part was probably the silence.
Everything was very hush hush.
There were gag orders put on
everyone involved with the case.
Cops, lawyers, even the families of the victims
were left pretty much completely in the dark.
It was impossible to get anyone to talk to us at first.
So, I wanted to see inside of the hotel, first and foremost.
Asking questions was, like I said, getting me nowhere.
So...
I went to the hotel
and I walked around the back
and found a little window
and knocked out the boards
and climbed inside.
(SOFT EERIE PIANO MUSIC)
- [DIANE] The blood on the floor,
what do you make of that?
- Well, it certainly debunks the theory
that there was some sort of a gas leak,
which we all knew was bullshit in the first place.
(EERIE MUSIC)
(SCREAMING)
(EERIE MUSIC)
So, I eventually found my way to the basement door.
It was blown off it's hinges,
like someone had forced their way through it
and, I'm not gonna lie,
I stood to the side of the door,
and pointed the camera down the stairs,
and just snapped a few pictures.
(SOFT VIOLIN MUSIC)
I've seen a lot.
I've been to a lot of scary places in my career,
and there was no way I was going down those stairs.
No way.
(SOFT VIOLIN MUSIC)
(EERIE SOFT MUSIC)
- [DIANE] Would you please
state your name and age for the camera?
- [SARA] I'm Sara Havel, I'm 30 years old.
- [DIANE] And you were a member
of Hell House since it's beginning in 2002, correct?
- Yeah.
- [DIANE] And, since the night of the tragedy,
where have you been, Sara?
- I've been staying with family, mostly.
- [DIANE] Have you been coping okay?
- I'm in a better place now.
- [DIANE] I'm happy to hear that.
If you don't mind, I just want to jump right into it
because obviously the town's decision to conceal
all aspects of this tragedy from the public
have caused conspiracy theorists and normal people alike
to speculate on their own.
- It was the smart thing to do.
- [DIANE] Why?
- If people knew what really went on inside of that house,
it would've been hard for them to deal with.
- [DIANE] Well, I guess...
I guess that's what we're all wondering,
what really happened...
Can you help?
- What do you want to know?
- [DIANE] Well, can you take us
back to the beginning and go from there?
What is that?
- It's everything.
Everything that went on in the house was taped.
Mostly by Paul and Tony, some tour-goers.
- [DIANE] How did you get these and not the police?
- I got to them first.
- [DIANE] Why didn't you give them to the police?
- You'll see.
- [DIANE] Mitchell?
Mitchell's gonna go 'head and just
start looking through those, if that's alright?
(FOOTSTEPS AND DOOR CLOSING)
Sara, have you watched those?
- No.
- [DIANE] So you have no idea what's on them?
- Hell House.
- [PAUL] C'mon,
it's a recent film, you can get this.
- Post apocalyptic, set in New York.
- [PAUL] You can get this.
- That's good.
- [PAUL] C'mon, it came out literally a year ago.
- I can't...
I'm drawing a blank.
Last clue.
- [PAUL] (sign) Alright, Will Smith.
No, Hitch was not...
- I love Hitch.
- [PAUL] Shocker.
- It's funny.
- It is and I stand behind it.
Paul.
Don't knock it.
It's a good movie.
(LAUGHING)
- Is it...
Okay, is it...
Escape From New York.
- For those watching,
Sara's asking if it's a 1981 Kurt Russel joint.
- So then, it's not.
- [PAUL] No, not even close, c'mon.
- So, have we all just sort of given up
on navigating guys, am I doing all of it?
- [PAUL] Jesus Christ.
I think that Alex has it under control, right buddy?
- I do have it under control.
Thank you, Paul.
Yes, it's straight up ahead.
I recognize the road.
You're not lost.
We're almost there, alright?
- And in today's edition of.
Why Are Mac and Alex Sill Fighting,
Mac and Alex are still fighting.
- [PAUL] They're really mad.
- It gets so passionate.
- [PAUL] Is that what he's like in the sack.
- Guys, I'm really hungry.
I'm starving.
- Do you want to pee or anything.
- Yeah, can we pee out there in the grass, please?
- I mean do you...
Tell me, tell me this,
alright, if you're going to a haunted house for Halloween
and this is the drive over,
tell me this isn't creepier than New York City.
Look, look, look, look, look, look,
there it is, there it is, there it is.
- [PAUL] Is that really it?
- [ALEX] This is it.
- [PAUL] What a shit hole.
I love it.
- Are you kidding me.
I got it.
This is good.
Yeah, let's stop here.
- Seven years of bad luck for breaking that.
- Oh this is good, Paul, are you getting this?
You can work out on that one.
- [VOICEOVER] We'll set you up,
and we'll have a tour guide come through.
(LAUGHING)
(DOOR CREAKING)
- Here we go.
(LAUGHING)
- Hell House 2009.
When you said abandoned I thought you meant
recently foreclosed, not condemned.
- [ALEX] I don't even know how
you'd run power to a place like this...
- [MAC] So, if we're gonna get power,
it's gonna be because of you.
(ALEX AND MAC FIGHTING IN BACKGROUND)
- And that's a sign.
- [PAUL] Look at this old ass book.
Oh, did you hear the pages?
- You know, I need electricity
to do everything that I do here, bud.
- Well, part of what you do is
get the electricity running, so...
That's all you, Tony.
- Stop giving me that look.
- [PAUL] This is pretty creepy, man.
- It smells like a sweater.
- [PAUL] A sweater?
- An old sweater.
(LAUGHING)
- Oh, the foyer.
- [PAUL] Dude, what is the deal with this place.
- [SARA] When did Fletcher say the guy closes?
- I don't know.
It has history, alright?
It's not that important.
- Maybe this is a bad idea.
- It's not a bad idea.
Okay, look at all this free production, alright?
And, you smell that?
- Yeah.
- Hun, what did it smell like to you?
- I think it's probably dead rodents in the baseboards.
- [SARA] It smells like...
- [PAUL] It smells like money, bro.
- Thank you, Paul.
Why is it that it's Paul always on my side.
- [MAC] We're not gonna have time.
- [ALEX] I have no doubt we can
get this up and running by Halloween.
- Alright, well, let's get to it.
- Can we see some happy faces?
Paul, you ever see a smile on my face?
Now, show Mac and see the complete utter difference.
We're gonna do a time lapse.
- [PAUL] Wah-wah.
Dude, dibs on manning the haunted bar.
- [ALEX] Yeah?
I'm sure house would love that.
- [PAUL] What do we got in here?
Anything good?
Nothing that matters.
(COUGHING)
- Yeah, not good.
- [PAUL] A little ripe, huh?
I fuckin' love this place.
- Yeah?
What's your wine of choice, hot shot.
- [PAUL] I'm kind of a Pinot grig man myself.
- A Pinot grig man?
I'm sure they taste like ass after
however many summers they've spent cooking.
- [PAUL] Dude, wine tastes better with age, you know that.
- Yeah, not with heat, though.
- [PAUL] You're so smart, Tony.
- [TONY] God damn,
this must be where the last supper took place.
(LAUGHING)
- [ALEX] What's up guys.
Welcome to the dining room, I'm guessing.
- [TONY] If that's what you want to call it, sure.
What do you got there?
- Oh, it kinda looks like Sara, huh?
- [PAUL] No, the plate's cuter.
- No.
What do you think, babe.
Look at that.
Might be her grandmother.
- Well, it's a fixer upper for sure,
but it's what we do best, right?
- I say we stay here the night.
That's just me, but...
- Uh, I don't know.
- There's no fucking way we are staying here tonight.
- [TONY] I wonder if they used this place for anything.
- [PAUL] I don't know, bro.
- Look at this.
Weird.
- [PAUL] Creepy.
(RADIO STATIC)
What the fuck was that?
- I don't know.
- [VOICEOVER] Tony, Paul,
get your asses down to the basement.
(LAUGHING)
- On our way.
Just, turn the camera off.
You're gonna break your neck on the stairs.
(CREAKING AND FOOTSTEPS)
Check it out.
More numbers.
It's weird.
(FOOTSTEPS ON STAIRS)
Watch your step there, Fellini.
Oh, shit!
This place is amazing.
- [PAUL] What the fuck happened here?
- Paul, I want you to get this on camera.
So, the tour guides are gonna come in
right there down these stairs,
right where you two just came out of.
- [PAUL] Alright.
- Then they come through,
our girl's gonna be chained up right here,
she's gonna be screaming like crazy.
Alright, she might actually
even be topless for you, brother.
No, I'm kidding, that's not gonna happen.
- [PAUL] No, you promise.
- Then we're gonna have clowns
right behind this wall,
one, two, three, four...
However many clowns we can fit.
Hopefully they'll be moving,
we'll see what happens.
There's a storm door right at the end
of this creepy hallway,
and that's where they exit.
In and out.
We've handled much much worse.
Remember Queens?
- Yeah.
- Hey, hey, hey,
I thought we were never to speak of Queens again.
- [ALEX] Tony...
- Your words.
- I need you to worry about these.
Okay?
These walkie-talkies are getting this funky noise.
I don't know what it is.
- [TONY] I know, I know.
We were getting it upstairs too.
- [PAUL] Dudes, what are all these books?
- [SARA] This one's a bible.
- [PAUL] That's a nice touch.
- [ALEX] That's definitely a bible.
- That's so fucked up.
- Guys, this is kind of unsettling, right?
- [ALEX] C'mon, c'mon.
It's a hotel.
Okay, there's bibles in every room.
- Yeah, but who put them down here.
I mean, look at that wall.
It's fucking creepy.
- [PAUL] Didn't Fletcher say
this place has been closed for 30 years?
- [SARA] Okay, why was it closed?
- [ALEX] Guys, their pipes burst.
There was a lawsuit.
We're building a haunted house.
This is half the work already done for us.
I don't know what you guys are
freaking out about.
That wall is perfect.
- [PAUL] Well, we could look on the bright side.
We get free props out of it.
What size are you?
- [DIANE] Tell me what it was like
to live in an abandoned hotel.
- It took Tony and Paul about a week
to get the electricity going and
that's when we started staying over night.
It was when we started sleeping there
that things started to change.
- [DIANE] Change how?
(LAUGHING AND TALKING)
- [PAUL] Let's see what the rest of our crew is up to.
- It was so hot.
They were all dressed like Disney princesses, okay.
- Oh, look who's here!
- Do you remember when all those
Disney princesses came through?
- [PAUL] Oh, yeah, there we go.
- And you were like, a werewolf or something.
- [PAUL] Oh, the Disney princesses, yeah.
- Shh, shh!
Jasmine was so hot.
So, they all come through and
me and Mac were back there and
we're like, "Oh, this is it."
- Dude, me and Tony were in another room
doing other things.
- He was a werewolf, what were you that year?
(HOWLING)
Someone was...
- I think I was like the puss slayer, or somethin'.
- They passed Tony.
- [PAUL] Dude what?
That's the last thing you've ever been.
(LAUGHING)
C'mon man.
- That's usually what I am,
most days out of the week.
- The moral of the story is,
we tried too hard to scare these girls,
because we thought they'd be an easy scare,
and what did they do?
They laughed their fucking asses off.
- [PAUL] Princesses, man.
- The fucking princesses.
- [PAUL] Yeah.
- Is that the whole story?
- Well, that's the whole story on my end.
- [PAUL] Yeah.
- Queens was actually pretty fuckin' sick,
if you think about it.
We actually had some good motherfuckin' times at Queens.
- That guy who played Lucifer was that guy
from like Queens he had a really thick New York...
He'd be like, "Yeah, welcome to Lucifer's cabin."
(LAUGHING)
- [PAUL] We got so many bad reviews on that guy.
- Dude, I had to fire that guy.
- He almost kicked my fucking ass. - [PAUL] He was terrible.
- We keep in touch.
- Fuck you!
- I keep in touch with that guy.
- That guy was an asshole.
- He's decent.
- You buy drugs from him, don't you.
Keep the camera running, I want to say something.
- Oh my god.
- [PAUL] Speech time.
- I know it was hasty,
moving up out of the city,
coming up to this po'dunk town.
You're all creeped out.
You're all nervous.
But we gotta keep Hell House fresh, okay.
That's why we're here.
- [PAUL] Yeah, yeah, yeah.
- It's gonna work out.
I know it's gonna work out.
- Well, do you think we'll still
get the numbers we did in New York.
- Easily.
I mean, c'mon, word of mouth after opening night.
Plus, what are we?
Like 40 minutes from the city.
And you've seen Abaddon.
This town really appreciates Halloween.
We're gonna get that beautiful Fall feeling.
You just can't get that in a city.
- Yeah, well, in the city at least
when you're creeped out you can walk outside
and fuckin' get a slice of pizza.
Here it's like, you're creeped out
you walk outside - [PAUL] You can't beat New York pizza.
- And you're in a fucking forest.
- Man, say whatever the fuck you want
about Queens haunts, we never had to sleep there.
- [SARA] That is a good point.
- Alright.
I'm trying to get you motivated, alright.
Thank you, honey.
- [PAUL] I appreciate it, buddy.
- You can turn the camera off now.
(STATIC)
- [PAUL] Where is it?
Shebang, baby!
Good job, Tony!
Up and running.
- Thank you, sir.
- Tony, I thought I said I didn't want any blind spots.
What's going on here?
What room is this?
- Uh, yeah, that's the basement.
It's got some thick stone walls,
but, we should be able to get camera through there,
or at least walkies,
but we're not.
We're not getting anything.
So.
- It's a liability.
We've gotta have eyes down there.
- Yes, thank you, Mac.
You have a half naked girl
in a room full of assholes.
Of course we need eyes down there.
- How 'bout we, you know,
get some big guy,
muscles, totally ripped,
put him in the clown costume.
- [PAUL] Undercover clown, sick.
- Yeah, I mean.
We're gonna need an actor down there anyway.
So, why not someone that can toss out
people like Paul who wanna get
a little rapey with our actor.
- [PAUL] He's got a point.
- Sure, sure.
Alright, Tony.
- [PAUL] Good idea, dude.
- Way to go.
- All that work, done.
- [PAUL] What's going on here, man?
It looks like shit.
- Yeah, well, Alex didn't want to
spend any money on moving props here,
so we're stuck with this one right here.
Good thing that we're geniuses,
so, when we're done with her,
she'll be creepy as shit.
(DRILLING)
- [PAUL] How's it hangin', sweetheart?
- Just, put the camera down for a sec
and help me out.
- [PAUL] No can do, hombre.
Boy genius wants all this shit documented.
- That's a pretty lame excuse for you
to be a lazy piece of shit like you always are.
(LAUGHING)
Ladies and gentlemen,
this is my buddy, Hector.
Me and Hector are gonna play a little song for you.
Are you ready, Hector?
(EERIE PIANO MUSIC)
Hector, it's okay.
Two, three, four.
(COUGHING)
- Hello everybody.
It's September 5th, 2009.
We're tres weeks into the creation
of this year's Hell House.
It's lonely.
Sara's the only chick in the house,
and Alex don't like sharing,
if you know what I mean.
I had really high hopes for this trip, you know.
Really high.
I thought that it was gonna be
more like Grand Sexual Station.
It's cool though.
We got the new actors coming tomorrow.
So, hopefully one of them's boneable.
I will be documenting the whole thing, as always.
The whole shebang...
Sara?
What's up, dude?
You cool?
What, are you sleepwalking?
That's fucking weird.
That's it for me.
See you in the morning.
Sleep sweet.
(CREAKING AND TALKING)
- I'm more in line for this joke than you are.
I feel like I'm writing it and you're responding to it.
- And then she says, "Do you have any syrup?"
You say, "No."
- Oh my god!
Get the fuck out of here, dude.
- Get the fuck outta here.
- That's not cool, man.
- [PAUL] C'mon, guys.
You were the one with your door cracked open.
You wanted me to see.
- You're not supposed to even be here right now.
Get the fuck out of here.
Can you stop, seriously?
- [PAUL] Hey, motherfucker,
I came up here to help you out.
Not that!
I had to tell you that the actors are here.
- The actors are here?
Whose here?
- [PAUL] Joey, Melissa, Sam.
- Joey, Melissa, Sam.
Joey's clown, Melissa's...
Okay, Joey, Melissa, Sam.
Get that...
(RAINING)
- That's Paul.
Paul's gonna be filming.
Say hello to Paul, everybody wave to Paul.
Hi, Paul.
(RAINING)
- I actually found one police officer
who was willing to speak to me,
under the condition of complete anonymity, of course.
He was one of the first responders
to the hotel the night of the Hell House incident.
And was one of the first people inside.
So, he said the first body they came across
was one of the Hell House members.
He couldn't say which one.
But he said their throat had been cut
and that he was pretty sure
that the wound was self inflicted.
(SOFT INSTRUMENTAL MUSIC)
What the hell happened in there?
And your guess is as good as mine.
And I honestly don't think we'll ever know.
And then, of course,
there's the very strange, very sad case of Joey Sheifler,
who was in the basement at the time of the chaos
and actually made it out alive.
Of course, we all know how that ended.
(EERIE MUSIC)
(RAINING)
(TALKING)
- Hey Paul!
- [PAUL] Hey baby, how you doin' girl?
- Getting a little nervous,
so if you wouldn't mind.
- [PAUL] What are you nervous about?
Taking your top off?
- Oh my god, no.
- Thanks for a lot of help, Paul. - [PAUL] Oh, you're so cute.
- No, you are not taking your top off, my god!
You are however very important.
Okay, you're our main attraction.
You're at the end of the tour,
you're in the basement.
You're our damsel in distress.
- Right no one's gonna be touching me or anything?
- No.
No one's gonna get near you, okay?
You met Joey the other day, right?
Joey's gonna be in one of the clown suits,
and he'll be down their with you all night.
- Can I ask why you're filming everything?
- Yeah, I'm sorry.
A lot of this is just for us.
It helps us next year with our next haunt.
But, you know, it's good for fans.
Maybe something for the website.
- [PAUL] Plus I'm trying to catch a ghost.
- So you have heard the rumors about this place.
- There are no rumors about this place. - [PAUL] What rumors?
- No, rumors, we talked about this.
Just, shut down.
That's all Mary says.
It's just shut down.
- [PAUL] What do you know?
- [ALEX] She doesn't know anything.
Tell him that
- I don't know anything.
The owner was supposed to have
hung himself in here.
- [ALEX] Ohh! - [PAUL] What?
Oh, when did that shit happen?
You did not mention that, Alex - [ALEX] Do not take your own way with this.
Cause it didn't happen.
It's a rumor.
That's why they call them rumors.
- I don't know.
- [PAUL] Is this something?
Is this local knowledge?
- It's the story.
I guess yeah.
- It's just a story, Paul.
- [PAUL] Was he into Satanic rituals?
- Satanic rituals?
I wouldn't know, why?
- [PAUL] Dude, Alex, c'mon,
all the fuckin' wall art downstairs in the basement.
- What about it?
- That wasn't you guys?
I thought you did that.
- [PAUL] No, that shit's OG.
- I guess what the story is is,
things kept happening to the guests here
that forced them to shut the place down.
- [PAUL] Whoa, what, whoa, whoa, whoa, whoa, whoa.
Hold up, hold up.
What happened to the guests?
- I'm the worst person to ask about local history.
I don't know.
- They had a great time, they left,
they never heard from them again
because nobody writes reviews in
19-whatever the place.
- Exactly, maybe.
I mean, it's supposed to be haunted,
but, you would know more than I would.
- Have you heard any bumps in the night? - [ALEX] It's not haunted.
Paul, don't you have some work to do with Tony?
Doesn't he need a hand?
- [PAUL] I'm off today.
- No, there is no off day.
Alright, this is every day work.
What are you...
C'mon.
- [PAUL] Alright, alright, alright.
I'm outta here.
Just a little kiss real quick.
- I'm not kissing the camera.
Can you stop trying to make me kiss the camera.
- [PAUL] Alright, baby, as always.
- [ALEX] No, this is not happening.
(KISSING)
- [PAUL] If you need anything, alright?
You just let me know. - [ALEX] She doesn't need anything from you, Paul.
- Okay.
- [PAUL] Okay, a massage,
I'm a master of oil.
- I do appreciate it.
- Okay, she was nervous before
and now she's scared, thank you, Paul.
- [PAUL] Okay, how old are you, by the way?
- No, this is not important.
- We'll never know what happened in that hotel.
Just like we'll never know how
the Hell House crew came to put on
their Halloween tour their 20 years later.
Just like we'll never know exactly
what happened to Andrew Tully.
- The more you dig into the history
of the Abaddon Hotel,
the more unsettling it gets.
And it all begins with a man named Andrew Tully.
- I'm almost certain that the group
knew nothing about the hotel going in.
I doubt they knew anything about Tully.
I doubt they knew anything about missing guests.
Why he built the hotel in Abaddon in the first place,
any of it.
- The local ghost story is that
Tully built the hotel because the name of the town.
In some versions of the bible,
Abaddon is the name of the demon
who guards the gateway to hell.
Some people say that Tully was the head of some cult
and that he considered himself a
latter-day Dante.
- [DIANE] What happened to the guests?
- Well, there were a few.
But the first one was an 11 year old girl.
I think she was 11,
and her mother,
both disappeared,
last seen checking into the hotel.
- [DIANE] Did Tully do something?
Was he questioned by the police?
- Oh yeah.
He was questioned by the police.
Multiple times, actually.
- When that woman and her daughter disappeared
and their last known location was The Abaddon Hotel,
Tully was able to produce records
that showed their departure,
so he was cleared of any wrong doing, but...
It wasn't enough to stop all the questions
and basically kill business.
A few months later,
he hanged himself in the dining room of the hotel.
(SOFT EERIE MUSIC)
(FOOTSTEPS ON STAIRS)
- [PAUL] Jesus Christ those fuckers are creepy.
- [ALEX] I guess I'll put Joey...
I'll put Joey right here.
- Yeah, yeah, yeah.
- [ALEX] We'll get this guy out of here
and I'll put Joey in there,
what do you think?
- [PAUL] Where's Melissa gonna go?
- Back there on the wall.
- [PAUL] Are we absolutely certain
that she can't be topless?
- Paul, if you want to see her boobies so badly
why don't you just ask her?
- Yeah, yeah, yeah, chicks dig that.
- Yeah, especially from you, bro.
- [PAUL] Baby, I love you too much for a lawsuit.
- Thank you.
- I guess it's not that big of a deal.
- [PAUL] What?
What's the problem?
- This dummy,
his head doesn't move so,
they'll all have to be facing the same direction,
rather than one that way, one this way.
- [PAUL] Who gives a shit?
They're all fucking creepy anyways.
- That's a really great mask and I just don't think
we should waste it on a dummy that doesn't move.
- Well, Paul, what do you think?
Do you wanna slap on this mask,
sit down here all night and stare at Melissa?
Of course he does.
It was a joke, bro.
It's never gonna happen.
- Fuckin' light.
I just heard a strange noise.
I'm gonna go investigate.
Yo, dude, did you hear that?
- Yeah, it sounded like a scream.
- [PAUL] What the fuck was that?
You guys hear that?
- I definitely heard something.
- I didn't hear anything.
- So, we just all woke up at the same time?
- No, you woke me up.
- [MAC] Tony, are we rolling video anywhere?
- No.
Should we?
- [ALEX] Yes. - [MAC] No.
- No.
- Yes.
- No.
(CREAKING)
- [PAUL] Maybe it's the soundboard?
Some leaky roofs.
Tony's gonna have to fix that.
- We could have like a chef guy
standing back here like going crazy.
- Remember these?
Oh yeah, that's a good idea.
- You know what I mean?
- Chef guy.
- He'll be like, "What do you want?"
(LAUGHING)
Sever people, dude.
- Oh my god.
- [PAUL] A talented motherfucker.
- This is our clown.
- Your welcome, guys.
You're welcome.
- [ALEX] Thank you, Tony.
- [MAC] Yeah, good work.
Good work.
- I have some stuff I have to get you
to fill out or whatever.
- Blah, blah, blah, blah, blah, blah,
Mac with all his...
- [PAUL] Hey, whatever happened to the handshake deal, Mac?
Can I get the eye one more time for camera, dude?
- Oh yeah.
(YELLING)
- [ALEX] That's so creepy!
- [PAUL] That's so cool, dude.
Good fucking find, dude.
- Yeah, man, thanks.
I just had to send him down to the basement.
- [PAUL] Where'd you find this guy?
- The gas station.
- [PAUL] Holy shit.
He was working there or he was just hanging?
- I'm not even sure.
- Now, that's bothered me with it's hair.
But it's frozen, I love the frozen...
- Guys, guys, Joey did his trick again,
and his eye came out.
- [ALL] Whoa! (screaming)
* I'm writing a letter
* To daddy
* His mailbox is inevitable.
- [PAUL] This room looks sick, man.
There's a bunch of babes in here.
This room looks shitty.
Pretty shitty.
How's it hangin', boss.
(CHAINS RATTLING)
(CHUCKLING)
Oh, hector.
Sup, dude.
What's goin' on?
Where's Alex and Sara?
- They went into the city to get the rest of the stuff.
- [PAUL] Oh, sick.
Where's Tony?
- I think he's around.
- [PAUL] Tony?
T-dog.
Oh, dude.
Oh!
I think you've had enough to drink.
Tony.
Whoa, shit, dude.
What's up, man.
What are you looking at?
Holy fuck!
You got me man.
Alright, weirdo.
Let me know when you want to get back to work down there.
(HUMMING)
What the fuck are you do...
You were just right...
What the fuck are you doing here?
- [TONY] I got you a little rat.
- [PAUL] You fuck...
(RUNNING)
What the fuck?
What the fuck, man?
You were just standing right fucking here.
Hello, Alex?
Is that you, you asshole?
What the fuck?
Alex, don't fuck with me.
Dude.
Tony, what the fuck?
(RUNNING)
What, are you fucking with me?
What the fuck was that?
- Calm down.
- Jesus Paul, how much shit have you shot today.
- [PAUL] Just watch, it's coming up.
Oh, I think you've had enough to drink!
(CHUCKLING)
Tony!
Whoa, shit, dude.
What's up, man?
What are you looking at?
Holy fuck!
- Oh my God.
- Who is that?
- How Paul?
How'd you do it?
- [PAUL] Do what?
- You did this.
- [PAUL] Why would I do this shit, dude?
- To fuck with us, like you always do.
Wait, so it's the two of you?
- [PAUL] No, I shot this solo.
(LAUGHING)
- [ALEX] Okay, Romero.
I'm proud of you two.
Great prank.
- [MAC] Put that much work into the haunt.
(WIND BLOWING AND BIRDS CHIRPING)
- [PAUL] We built a haunted house,
we can do a commercial.
- Follow my lead.
- This is ridiculous, dude.
- I just don't want to show the inside of the house,
because A. We're not done with it,
and B. I don't want to give away our scares.
So, I want to do something kind of
catchy and funny.
- You know, um, he wasn't there really.
You know?
- Gerald, Gerald,
what are you doing with her?
Gerald!
What is this?
- Don't overt your eyes.
- I thought you were at work.
- [PAUL] I'm not doing too well cause they...
- Check it out.
- [PAUL] What?
- Check out Sara.
- [PAUL] What's she doing?
- [TONY] Sara!
What are you doing?
- [PAUL] Looks good, dude.
- Yeah, it's on.
- [PAUL] She's pretty, man.
- Sara?
- Alright, so we're gonna show you
all the fine work that Tone-Dog and I
have been doing, hard work too.
I'm exhausted.
- [TONY] Alright, man.
Locked and loaded?
- [PAUL] I don't know, you tell me?
- You're good.
Just don't shit your pants like last time.
- [PAUL] Alright, good.
Check the frame in the back.
Does it look right?
It's not angled through that?
- [TONY] No.
- [PAUL] Alright, cool.
- [TONY] Perfect.
- [PAUL] Alright dude, lock me in.
- Alright.
(HANDSHAKE SLAPPING)
- [PAUL] Cool, dude.
- Godspeed.
(STATIC AND VOICES OVER WALKIE-TALKIES)
- [PAUL] Alright, cue the lights.
- [TONY] Lights have been cued.
- [PAUL] Cue the Strobers.
- [TONY] Strobers cued.
- [PAUL] It's pretty good, man.
I think we're in fucking business man.
- [TONY] Kill it.
- [PAUL] Hey man, how many freaks did we have?
- [TONY] Three freaks.
Why, what's going on?
- [PAUL] Are you sure?
- [TONY] Positive.
- [PAUL] What the shit?
(FOOTSTEPS AND POUNDING)
Tony, let me out.
(KNOCKING)
Let me the fuck out, dude.
This is not fucking cool.
Where the fuck are you.
Tony, let me the fuck out.
Tony, fuck!
Let me the fuck out!
(GAGGING AND RETCHING)
- [TONY] Dude, are you alright?
Jesus Christ, man.
What the fuck is wrong with you?
(EERIE MUSIC)
- Dude, I'm just telling you what we saw.
- You saw the same thing that I saw on that screen.
- No, no, no, we all went up there. - [PAUL] and so did Mac,
- We didn't see anything. - [PAUL] And so did you, Sara.
- First of all, keep your voice down.
I don't want any of the actors to hear you.
Two weeks to go 'til the show.
- They should hear me.
Okay, everybody should know what's going on.
- Two weeks to go and all our actors
are gonna get scared and run away because of you.
What are we gonna do when we have no actors?
- [PAUL] You're talking like a fucking insane man.
- I'm talking like a business man.
Do you wanna be here?
Do you wanna make money?
Do you want Hell House to be a success?
Calm down.
I'm sorry you got scared.
- [PAUL] This is fuckin' ridiculous, man.
- No, you're ridiculous.
- [TONY] Paul, Paul, Paul.
Dude, just come back.
Are you gonna be okay.
Jesus Christ, Alex.
- Don't you start on me now.
- [TONY] It's getting worse, man.
- Can you turn the camera off.
- I think Alex was his own worst enemy.
For whatever reason he had up in that hotel,
I think it was...
I think he believed it was
in the best interest for the company.
His company.
That company he created.
The others were simply loyal to him.
He and Sara had been together for years.
He and McNamera grew up together.
They'd known each other since they were boys.
Tony and Paul were, I think, his first hires.
Oh yeah.
Oh, there was a bond there.
(CREAKING AND HEAVY BREATHING)
- [PAUL] Fuck!
Jesus Christ!
(HEAVY BREATHING)
Fuck, dude!
- What are you doing?
- [PAUL] Look!
- [TONY] Fuck!
Did you move it?
- [PAUL] No, man!
I was fucking sleeping!
- [TONY] Are you trying to fuck with me again?
- [PAUL] No!
- [TONY] What's it doing there?
- [PAUL] I don't know, man.
I was fucking sleeping.
- [TONY] Oh, for fucks sake.
Alright.
- [PAUL] Be careful!
(CREAKING)
Careful, man.
(PATTING)
What is it?
- It's a fucking mannequin.
Dipshit.
Guess I'll put him in the back.
(CREAKING)
- [PAUL] What the fuck?
(SARA MUMBLING)
What the shit is she doing up?
- [TONY] Is that Sara?
Sara?
- [PAUL] Sara?
- [TONY] Sara?
(CREAKING)
- [PAUL] Sara?
- What the fuck is she doing down here?
Sara?
(SARA SPEAKING IN A FOREIGN LANGUAGE)
Sara, are you okay?
Sara, you okay?
(SARA MUMBLING)
- [PAUL] Don't, Jesus.
- Sara!
(SCREAMING AND WHIMPERING)
Sara, Sara.
Sara, Sara, you're fine.
You're fine.
You're okay.
Shhh.
Sara, you're fine.
Sara, you're downstairs.
You're fine.
Hey, hey, hey.
You're fine.
- [PAUL] Jesus fucking Christ.
- It's okay.
What the fuck, dude?
- [PAUL] Let's get the fuck out of here.
- Come here.
Come here.
You're alright.
- [PAUL] Oh fuck!
- [TONY] What the fuck?
- [PAUL] Mac!
- Where the fuck is he?
He was just fucking here.
- [SARA] Guys, can we go upstairs?
(HEAVY BREATHING)
- [PAUL] Fuck, fuck, fuck.
You just fucking put it there.
Careful, careful.
(HEAVY BREATHING)
Okay.
Okay, guys.
One, two, three.
(CREAKING AND HEAVY BREATHING)
It's okay.
There's nothing here.
There's nothing fucking here.
(HEAVY BREATHING)
- I don't fucking know.
- [PAUL] You guys okay?
You guys okay?
- Yeah, I'm fine.
(GRANDFATHER CLOCK CHIMING)
(SCREAMING)
What the fuck?
(GRANDFATHER CLOCK CHIMING)
(SCREAMING)
- [PAUL] Holy shit. - [TONY] Oh, fuck.
(SCREAMING)
No!
Oh, fuck!
- [PAUL] Holy shit!
Go, go, go, go, go, go!
(RUNNING UPSTAIRS)
(BIRDS CHIPRING)
(SNIFFLING)
It's three days
until the opening
of Hell House.
Yippee.
Everyone's a little stressed.
I personally think
we have no business being here.
Alex is more confident than ever.
Whereas Sara...
She just doesn't look good.
She usually does.
That's all from me.
Sleep sweet.
(SCREECHING)
(NECK CRACKING)
Ah, shit.
Holy fuck!
(TREMBLING)
What the fuck was that?
(TREMBLING)
Holy shit!
(GASPING)
(SCREAMING)
- [TONY] Where the fuck are you, Paul?
(CREAKING)
- I mean, he's not gonna leave
two days before opening night without saying anything.
- Oh yeah?
2005, he left for two whole shows
without saying anything to anybody.
Alright, he's done it before.
He's gonna do it again.
Man, it's just what he does.
- [TONY] C'mon Mac, that was four years ago.
You're really gonna still hold that against him?
- You think he's gonna change?
Paul's a fuck up.
That's just what he is.
You can't change that.
- [TONY] No, he set up half these cameras
in this house himself.
Just hold...
Hold up, guys.
Have either of you geniuses called him yet?
- I didn't call him.
- I don't think I have his phone number.
- [TONY] You didn't...
Just give him a call.
Use my phone.
- The point is, he's not here right now.
- [TONY] Look, all his shit is upstairs.
- It's ringing.
Paul?
(HIGH PITCHED SCREAMING AND SCREECHING)
(PHONE BREAKING)
- [TONY] Fuck?
What the fuck was that?
Alex.
What was that?
- I don't know.
- Alex!
(EERIE PIANO MUSIC)
- Fuck.
Mac?
You hear that right?
I'm gonna lose my fucking mind.
Who is it?
- Maybe Paul?
- What are you guys doing?
Will you stop?
- Someone's downstairs.
We think it might be Paul.
- Stay with Sara, Tony.
(EERIE PIANO MUSIC AND CREAKING STEPS)
Coming from the front room?
- [TONY] Yeah.
- Okay.
- [TONY] Hey, hey, Mac.
Wait up, man.
- Relax, it's fine.
It's just Paul fucking with us again.
(CREAKING AND EERIE PIANO MUSIC)
Seriously?
Paul?
(KEYS SLAMMING ON PIANO)
What the fuck was that?
Oh fuck!
(LOW THUMPING AND YELLING)
Paul!
- [TONY] What the fuck?
- Paul, are you in here?
You in here?
- [TONY] Shit!
- Paul!
- [TONY] What the fuck is going on?
(HEAVY BREATHING)
- Jesus fucking Christ, Paul!
- [TONY] Dude, what the fuck.
(CREAKING STEPS)
Careful, man.
- We're gonna fucking die on these steps.
Okay, I'll lock the storm door.
- [TONY] You sure?
- Yeah.
Paul!
- [TONY] Fuck!
- You back here?
(HEAVY BREATHING)
Paul?
- [TONY] Mac, do you see anything?
- I don't see anything.
- [TONY] Fuck!
(HEAVY BREATHING)
Oh fuck.
Check it.
- What?
- [TONY] Check it.
- [MAC] Nothing.
- [TONY] Fuck!
Go, go, go.
- What?
What?
- [TONY] The clowns!
The fucking clowns!
Their heads!
Oh my god.
Their heads moved.
They were fucking turned.
(HEAVY BREATHING)
- [MAC] Tony their heads don't move.
You told me...
- [TONY] They fucking moved!
Holy fucking shit.
- Tony, look at me.
Do you believe in ghosts?
- [TONY] Yes.
Yeah
- I don't.
Look at me.
Okay?
Now, we're gonna go out there,
and it'll be fine.
- [TONY] No.
No.
- We're gonna go back out there.
We're gonna be fine.
Alright?
- [TONY] You're fucking crazy.
- [MAC] On the count of three.
- [TONY] No, no, just...
- [MAC] One, two, three.
(YELLING)
- [TONY] Fuck!
(SCREAMING)
They fucking moved.
I fucking swear.
- [MAC] I believe you.
I believe you.
Okay?
It's Paul.
He's fucking with us again.
- [TONY] Dude, I have it on fucking...
- [MAC] I don't know how he got out.
Fuck!
Paul!
Holy shit!
- [TONY] What the fuck?
- Hey, look at me.
Hey, fuck stick, wake up.
I know you're fucking with us.
- [TONY] Paul.
Paul, wake up.
- [MAC] Open your little eyes.
- [TONY] Paul, oh fuck!
- [MAC] What the fuck's wrong with you, huh?
- [TONY] Shit.
- [MAC] Why are you pulling this shit now?
Everyone's on edge.
You're just fucking with us, aren't you?
Huh?
- [TONY] Paul, come back.
- [MAC] Fuck him.
- [TONY] You alright, man?
- [MAC] C'mon!
- [TONY] C'mon, man.
I'm telling you.
We have to call it off, right now.
- Why?
- [TONY] Why?
- Why?
- I'll tell you why.
This clown?
It's head doesn't fucking turn
and it turned last night when we were down here,
as long with these two as well.
- [ALEX] We're not shutting down, Tony.
- Yeah, we're shutting down, dude.
It's not safe anymore.
- [ALEX] I'll tell you what I can't explain
is how scared you are right now.
- [TONY] Yeah, I'm fucking scared.
- [ALEX] Paul's back, Isn't that good?
- [TONY] Oh, yeah, yeah, yeah, yeah.
Paul's back.
He's technically back.
But he hasn't said a fucking word
since he's been here.
He just fucking sits there.
- [MAC] Which pretty much makes him
as useless as he always was.
- [TONY] Fuck you, Mac.
Fuck you.
You were fucking down here.
You were down here - [MAC] What do you want me to say?
- [TONY] And you saw what fucking happened,
and now you're gonna make a fucking joke
right now to Alex, your fucking best bud.
Fuck you, man.
Explain to me right now how that fucking head turned.
- I haven't figured that part out yet.
- You haven't fucking figured it out.
No shit, you haven't figured it out!
There's nothing to figure out.
It can't fucking turn, but it did.
- Tony, we don't have time for this.
- It's fucking opening night tomorrow,
I don't fucking care, okay?
I'm out.
- Alright, you're quitting?
That's what this is?
- [TONY] I'm quitting.
Yeah, write it down in your stupid fucking book.
That I'm fucking quitting. I'll make sure to date and sign it for you.
Aright.
- [TONY] Fuck you.
Fuck you, Mac.
- See ya, Tony.
Let him go.
- [MAC] Hey, hey, hey, Tony!
Tony!
Tony, come here!
Come here.
- You're a fucking asshole.
You're a fucking...
You just stand there?
- [MAC] Hold on.
You don't understand everything, alright.
You don't have all the facts.
- I don't fucking care.
- [MAC] You don't understand.
Stop!
- [TONY] I'm taking the fucking sign down.
- [MAC] Stop!
Look, just listen to what I have to say,
and then you can take off if you want.
But you need to listen to this.
You have to hear this.
- What?
Jesus.
(VIDEO TUNING AND HIGH FREQUENCY SOUNDS)
I can't leave.
Mac's right.
I can't leave.
- You okay?
- No, not really.
This whole time,
you knew, but you didn't tell me.
- I should've told you sooner, but...
- And now...
We're fucked.
Fucking Alex.
He fucking screwed us.
- Does anyone else know?
- Just me and Alex.
- You haven't told Sara?
- No.
- I know you haven't told Paul.
- No.
You know what's really scary though?
- What?
- Is why he's not telling him.
- Well, you're staying,
so I'll stay.
I kind of have to.
- I'm sorry.
- You're not the one that should apologize.
- Alright.
See you back there?
- Yeah.
Sure.
- [DIANE] So, when opening night arrived,
was there anything technically wrong with the house?
Was there any gear or props that
were malfunctioning that maybe could have hurt someone?
- No.
- [DIANE] To the best of your knowledge,
were you prepared and ready for opening night?
- Yeah.
- [DIANE] Was Alex of sound mind?
- What do you mean?
- [DIANE] What I mean to say is, was Alex...
Was Alex...
Fit to run the show...
Was there anything on management's end
that maybe could have caused the tragedy?
- Alex was the same as always.
- He did a good job of rallying the actors,
and Tony and Mac.
He told me that it would be okay,
and I believed him.
- [DIANE] Sara, why did you not leave?
- Alex wasn't gonna leave the house.
What was I supposed to do?
- [DIANE] I understand.
Leading up to that point,
did you notice anything that raised any alarms?
- That clown guy that was running against traffic.
He shot right past us,
as we neared the basement.
I remember thinking, "If this is a part of the show,
"then it's pretty lame."
But, of course, it wasn't.
We got close to the bottom of the basement steps.
We couldn't move anymore.
I mean, nobody could.
- [DIANE] Why?
- Cause everyone that was already in the basement
was trying to get out.
- I went into Abaddon,
you know, out of New York.
Last year was actually
our biggest opening.
Even Sara said that...
- I haven't seen Paul around in a few days.
Is he okay or?
- [ALEX] Paul?
Paul's fine, yeah.
Why would you...
Yeah, don't...
He's a little under the weather,
but he's okay.
We'll have to run without him,
but don't worry about crew.
We're gonna be...
We're gonna be alright.
Scaring some people.
(LAUGHING)
Let's scare some people tonight.
A lot of them are gonna come through here.
- Yeah, great.
Let's get into costume and makeup
and go get ready.
- Awesome.
- Thank you.
- Awesome.
- Thank you.
Thanks.
What's up, man.
- [TONY] Hey.
I'm sorry.
I know it's been a while.
But I shouldn't have
reacted like I did.
- [ALEX] You alright?
- [TONY] I hope so.
- [ALEX] We're alright, we're alright.
Alright?
You know I can't run this without you, man.
You know that.
(CREAKING)
- [TONY] Paul?
Yo, Paul.
Paul, wake up.
C'mon buddy, wake up.
Paul.
Whoa, check it out.
- How beautiful is this?
- [TONY] Oh, I love it.
- You can't come over and not see the sign.
- [TONY] No.
Not at all.
- Alright, take a look at this crowd for me.
Take a look at this crowd.
- [TONY] What do we got down here?
Oh yeah!
- [ALEX] Oh my god!
- [TONY] Oh, I can't wait to pee my pants!
They're gonna be so scared in a few minutes.
- [ALEX] Oh, good luck trying to scare me.
- [MAC] Okay, are you guys ready to go?
- Are you filming right now?
- [MAC] Yeah, yeah, we're all set.
You have the keys to her chains, right?
Alright, keep an eye on her, big guy.
- She's gonna be alright.
- [MAC] Okay.
Alright.
Let's have some fun out there, you guys.
- Hey, Mac.
Is everything alright?
- [MAC] Yeah.
Everything's fine.
- You would tell me if something was wrong, right?
- [MAC] Of course.
It's not a big deal.
Okay?
Alright.
Let's get goin' guys.
I'm just gonna get this finished up.
Now it might be a little cold.
I'm sorry.
- When do people usually get here?
- [MAC] We open the doors at 8.
Alright, I'm just gonna do...
(LAUGHING)
- This is so exciting.
(LAUGHING)
- [MAC] Alright, here we go.
- See you later.
Bye.
(FOOTSTEPS ON STAIRS)
- Hi, Sam, can you hear me?
We open in exactly 10 minutes.
I need everybody ready, in position,
ready to go.
You heard from Paul at all?
- No.
Still sleeping.
It's creepy.
- It's not creepy, it's annoying.
Hey, Mac, have you heard from Paul at all on your end?
- There he is.
- [MAC] No.
- Mac, can you hold down your button, please,
when you speak to me.
Wow.
- We lost him.
- That's his walkie-talkies, man.
Mac, just start recording whenever you're ready, alright.
- I told you to get the better ones.
- I thought...
(FEEDBACK)
- Ask him if he knows sign language.
- Alright, get into position.
We'll talk to you when this is all over, alright?
- Alright.
- Off to a good start, broken walkies.
- It'll be alright.
It's not gonna stop us.
- Let's go.
Welcome, everyone.
(CHEERING AND APPLAUSE)
I hope you all have a reservation.
No one gets in without a reservation.
- A little more mist.
Pump it up, pump it up.
Alright, all this looks good.
We're down in bathroom.
Cue steam.
Love it.
Alright, we're circling around the dining room.
I love the kitchen gag.
(PEOPLE TALKING IN LINE)
- [VOICEOVER] We're next, we're next, we're next.
- How many people are they letting in at a time?
It's a long wait.
(SCREAM IN THE DISTANCE)
- [MAC] Keep the line moving, you guys,
I want people in and out.
- We need some strobe.
Kick up the strobe in the rat room.
- A wonderful scare, here we go.
I love this guy.
- I think we're next.
Exciting.
- We've been waiting for you.
I hope you all enjoy your stay.
(CREAKING AND SCREAMING)
- [MAC] Sara?
What are you doing?
- I think I just saw Paul.
- [MAC] Paul?
Where?
- And he looked at me.
- [MAC] I'll take care of it.
I'll take care of it.
Don't worry.
Joey!
Alex.
Alex, Joey just ran out of the basement,
what's going on down there?
- There's Joey.
- Where's Joey going?
Son of a bitch!
(SCREAMING AND CREAKING)
- [SARA] Did you hear that?
What the fuck was that?
(SCREAMING)
- [MAC] Go back upstairs and find out what's going on.
Go, go, go.
(SCREAMING)
- Is that supposed to happened?
- [VOICEOVER] Technical difficulties on opening night.
- [MAC] Alex, come in.
Alex, I have no eyes in the basement.
Something's up.
Alex.
Pick up your walkie.
(LAUGHING AND TALKING)
- [VOICEOVER] Gross.
- You have the key, Joey, get me out of here.
Please, please, somebody get help.
This isn't part of the show.
Joey!
Joey, no!
Joey, don't leave me, please.
Get me out of here.
(CRYING)
- Are you okay?
- No.
No, this isn't part of the show.
Please.
Please, get help.
(SCREAMING AND SCRAMBLING)
(CREAKING AND SCREAMING)
- [MAC] Go, go, go, go, go, get out!
(KNOCKING)
Hello, anybody?
Fuck!
There's another way out over here.
(FOOTSTEPS AND LOUD SIRENS)
Tony, Tony, get to the basement.
- What's going on in the basement?
- [MAC] Go!
- Oh fuck!
- [MAC] What's going on?
- [MELISSA] Please, somebody let me out of here.
- [MAC] Tony!
Tony!
(SCREAMING)
Tony!
(HEAVING BREATHING)
(SIRENS AND YELLING)
(HEAVY BREATHING)
Go back up.
Go!
Attic, attic!
(FOOTSTEPS AND HEAVY BREATHING)
(SCREAMING)
Alex!
C'mon!
(SCREAMING)
(SCRAMBLED TAPE AND SCREAMING)
(POLICE AND AMBULANCE SIRENS)
- I came down the stairs from the attic
and when I got to the front door
the police were arriving.
I was just happy to be alive.
They didn't ask me any questions or anything.
They just rushed me out.
- [DIANE] Nothing happened to you
from the attic all the way to the front door?
You just left?
- Yeah.
- [DIANE] How...
If this is all true, how was it kept from the public
for so long?
- I'm sorry,
I'm just feeling really tired,
do you think that we could maybe take a break.
- [DIANE] Of course, of course.
I'm so sorry.
Jonathan, will you...
I keep throwing these questions at you,
and I know you've gotta be exhausted.
Can we get you water?
Do you want any water or anything to eat?
Well, let's get you a room to rest in.
- [SARA] Oh, I already have a room.
It's 2C.
If you could just give me a couple hours,
you can come find me there.
- [DIANE] I will.
Thank you.
Thanks, but it's all boarded up
and I just can not get a permit.
Maybe.
I'll talk to the guys.
Thanks.
- [VOICEOVER] I mean, the place is all boarded up,
what, are we gonna break in?
- [DIANE] So what, yeah, why not?
I mean it's 5 in the morning.
Nobody's gonna be there.
- [VOICEOVER] Yeah, I'm with Diane.
I think it'd be worth it to get inside.
- [DIANE] Thank you.
What are you afraid of a little
g-g-g-ghost?
- [VOICEOVER] Fine.
We have one hour, though.
- [DIANE] Perfect.
- [VOICEOVER] One hour.
- [DIANE] Can do.
Grab the camera.
Will you finish going through the footage?
I want to look at it today.
- [VOICEOVER] Got it.
- [DIANE] Yes? Good.
Thank you.
We're gonna step out for a minute.
If the woman in 2C asks for me,
can you tell her we'll be back in like an hour?
- 2C?
- Yeah.
- Our rooms don't have any letters.
- Um, she did say 2C, right?
- [VOICEOVER] Yeah, 2C.
- Can you tell me what room
Sara Havel is staying in, please?
- Sure.
- Thank you.
- There isn't a Sara Havel staying here.
- Do you think maybe...
- [VOICEOVER] She's probably just
staying under another name or something, c'mon.
- Thank you very much.
- [VOICEOVER] Do you wanna go see this house or not?
(DISTANT SCREAMING AND CREAKING)
(GASPING AND CRYING)
(CREAKING)
(CREAKY DOOR OPENING)
(FOOTSTEPS AND BREATHING)
(KICKING AND SCRAMBLED TAPE)
(CHOKING)
(LOW GROWLING AND WHIMPERING)
(VIDEO TAPE SCRATCHING)
(CHOKING AND GASPING)
(POUNDING)
(TAPE MALFUNCTIONING)
(CAR DOOR OPENING)
- Nobody's around.
(DOOR CREAKING)
- [VOICEOVER] Are we looking for anything specific here?
What are we trying to do?
- Oh my god!
Oh my god!
Do you remember that this is where...
- [VOICEOVER] What?
- Yeah, this is.
This a wall where...
So the kitchen would be...
- [VOICEOVER] I feel like we're getting asbestos
of something in here.
Can we get out of here?
- This is where the strobe light...
(CREAKING DOOR AND FOOTSTEPS)
- [VOICEOVER] Kitchen.
- [DIANE] Well, I think the tour continues that way, right?
- [VOICEOVER] I don't think we're gonna be
able to go back that way.
- [DIANE] Well, let's find another way.
- [VOICEOVER] Alright.
- It's the basement.
(CREAKING DOOR)
It's the basement.
Oh my god!
Look at the blood!
Can you see that?
Get that shot!
Look at that.
- [VOICEOVER] Oh, fuck that.
Let's...
No.
I'm not.
- It looks like a hand print.
Look here.
Do you see it?
- [VOICEOVER] I don't give a shit.
Let's not.
Nope.
Let's just go.
- Okay, you're right.
- [VOICEOVER] Hey, let's go in here.
- Careful, watch your foot.
Watch your foot.
This is where they had the bartender there.
- [VOICEOVER] Oh fuck.
- It's all fake, right?
Oh.
Alright, c'mon.
We gotta find the kitchen.
- [VOICEOVER] Yeah, I don't want to...
- Watch this, watch this guy.
Oh man.
C'mon.
- [VOICEOVER] Maybe it just goes round and round.
- Look how dumb, look here.
- [VOICEOVER] Ah, fuck.
- This is insane.
Oh my god.
- [VOICEOVER] Alright, no, that doesn't...
(PIANO KEYS)
Right, of course it does.
That makes sense.
- Oh, don't be such a pussy.
C'mon, we're not even...
- [VOICEOVER] Can you just like slow down?
- Hey, get this.
Oh my god!
Look at that shit.
Look at them.
(LAUGHING)
Oh my god.
- [VOICEOVER] Who is it?
- It's Mitchell, I'll call him on the way back.
C'mon.
That would take us to the other end of the kitchen, maybe?
If we...
That's not it.
- [VOICEOVER] It's the stairs, right there.
- We gotta go up the stairs.
- [VOICEOVER] Yeah, sure, of course we do.
(FOOTSTEPS ON CREAKY STEPS.)
- See the security cameras everywhere?
- [VOICEOVER] Yeah.
- So this locks.
- [VOICEOVER] That's fucking creepy.
Hold on, let me turn this lamp...
- Fuck.
- [VOICEOVER] What is that?
- She said 2C, right?
- [VOICEOVER] What the fuck?
- I mean, do you think...
I mean...
- [VOICEOVER] No, what?
Don't fucking open that!
- It's what we're here for.
We're here to...
- [VOICEOVER] We're not here to fucking
go into a creepy ass room.
- I am.
- [VOICEOVER] Diane!
Diane, don't.
- Shut up.
Oh my god!
C'mon, on me.
- [VOICEOVER] Don't fucking go in there.
- Sara?
Honey, are you okay?
- [VOICEOVER] Don't.
- Sara.
- [VOICEOVER] Let's get the fuck out...
(DOOR SLAMMING AND SCREAMING)
Holy fuck!
- [DIANE] Oh my god!
Oh my god!
Help me!
Oh my god!
- [VOICEOVER] What the fuck is that?
(SCREAMING AND VIDEO SCRAMBLING)
(EERIE PIANO MUSIC)
(HAUNTING INSTRUMENTAL MUSIC)