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[foreboding music]

- [911 Dispatcher] 911,
what's your emergency?

- [Woman] We need
someone here immediately.

There are people, there
are a lot of people

trying to get into my house.

- [911 Dispatcher] Okay,
how many people, ma'am?

- [Woman] I don't know.

I don't know how many
people, they're just...

I don't know.

- [911 Dispatcher] Yeah, are
they inside the house, ma'am?

- [Woman] No, we have
people inside the house.

There's about five of us.

You guys, where's Sean?

Where is Sean?

We need someone here.

- [911 Dispatcher]
Okay, ma'am, I uh...

Give me your address, ma'am.

- [Woman] We're at [beeps].

- [911 Dispatcher] Okay, ma'am.

I need you to stay
on the line with me.

I need you to tell me

what's going on.
- You guys, where is Sean?

- [Man] I've been
looking outside.

I don't know. I don't know.

I don't know.

- [Woman] What do you
mean, you don't know?

- [Man] Because we
haven't seen him.

We thought he might
have been outside.

I can't see, but-
- There are people outside.

- [Man] Brett, have
you seen anything?

- [Brett] No, I haven't.

- [Man] Well, let's just
get the doors locked.

- [911 Dispatcher] Ma'am,

I need you to stay
on the line with me.

Can you tell me what's going on?

- [Woman] It's okay.

I don't know.

When I look out the window,
there's just lights.

There's lights.

[pensive music]

- It's picturesque,

a cozy farmhouse nestled
in the Golden Plains

of America's heartland,
surrounded by rich soil

and the relaxing solitude
of country living.

It's the perfect place
to escape your troubles

and the trappings
of a busy life.

Perfect.

Unless your troubles
can descend on you

at any time from any place.

[foreboding music]

In July of 2013, Sean Miller
disappeared for four days.

A four day manhunt ensued
that ended in a phone call

from over 100 miles away

and a story that would follow
the couple from home to home.

Seven years later, the Millers,

along with documentary film crew

consisting of filmmaker Ash
Hamilton and his wife Chanell

and cameraman Brett Pearson

would revisit that
fateful event,

culminating in a 911 call

that would baffle
anyone who came near it.

Hi. It's been a
pleasure to meet you.

Let's just get started
with some basics.

Why don't you give me your
name, your age, occupation.

- My name is Ash Hamilton.

I am 45 years old
and I am a filmmaker.

And when I'm not making films,

I also teach film on
the college level,

film theory and film production.

But I'm probably best known for
my work in the horror genre,

serving as a producer on films

like "Camp Death III in 2D!".

- [Announcer] They've
been prescribed

two heaping spoonfuls of death.

"Camp Death III in 2D!"

- [Ash] A film based off
of my board game property

called "Slice and Dice."

[eerie music]

- I'm gonna slice you to pieces.

[woman grunts]

- [Ash] And also directing
the award winning short film,

"Play With Me."

- [Woman] What?
[foreboding music]

[man chuckling wickedly]

- So, tell me how
you became involved

in this particular story.

How do you know Stacy and Sean?

What brought you to this?

- I had originally heard
about the incident with Sean

when it actually
happened in 2013.

I've always been interested
in these subjects,

so I was on various different
news sites, different forums,

and this was of particular
interest when it came about

because I didn't know
how local it was,

but I knew that it was regional.

I was pretty sure that it
was in the Illinois area,

so I had a little
more interest in it

than some of the other stories.

And plus, it was, I
mean, in all honesty,

it was it was a
little more fantastic

than some of the other stories.

This wasn't your typical lights
in the sky kind of thing.

You know, this was an
actual disappearance

and it was something

where they had local law
enforcement involved.

It was...

I'll reiterate, it was
definitely more fantastic

than some of the other
stories at the time

that I was taking a look at.

[pensive music]

- [Chanell] Okay. So is
this the one you wanted?

- [Ash] Yes.

- [Chanell] Okay. Do you
wan't me to get a tripod or...

- No, I think we can just
do the hand-held thing.

I mean, this is really
sort of for us anyway,

so we don't need to be.

- Can I sit down for this?
- Yeah, no.

You can go ahead and
sit down. That's fine.

You know, like any good story
that has its own twists,

goddammit I'm gonna go
ahead and start that again.

Sorry about that.

[beep]

So like any good story,
there are twists and turns.

We'll get to that in a minute.

Sean Miller incident
happened in 2013.

Sean Miller, who was
a Illinois native,

which is sort of why I
was drawn to the story

when it originally
took place in 2013,

disappeared for four days,
and when he came back,

there were tall
tales of abduction

from a non-terrestrial
intelligence.

He was displaced.

The phone call came.

Similar to the Travis
Walton story, miles away.

In this particular instance,
over 100 miles away,

when he finally came back.

So there were reports
of phenomena happening

previous to this.

So I remember hearing
about it in 2013.

We're seeing some
Associated Press articles

and it got a hold of it and
ran in a few different places.

And, you know, we thought,

man, is there a better
story for a documentary,

especially considering
what we're into?

And then we started to try
to make the documentary.

And lo and behold,

we can't find anything
on the Sean Miller story.

[Ash clearing throat]

So. It's late.

It is, my god!

It's 2:56 in the morning
and there's a Reddit thread

that I've been posting
in intermittently

for the last few months.

But tonight it was different
because someone DM'd me

and they had a screenshot
of one of the articles

and this has been
probably the biggest news

on that front in a while.

So I was pretty excited

and I'm looking it over
and it looks pretty legit

and not like 5 minutes later

I get another DM
from the same guy

and he's telling
me that not only

does he live like
around the same town

that Sean Miller
currently lives in,

like not the residence
from seven years ago

or four years ago,

but we're talking right now

and he follows all this up

with the fact that he says that
he's got his email address.

Okay, so it's now
been about a month

since I had received
what I was told

was Sean Miller's email address.

About 8 minutes ago I
receive a notification

for a return email from
Sean Miller's email address.

Okay.

"I hope you don't take
this the wrong way,

but I've been burned on
this before, multiple times,

so I'm more than
a little cautious.

We are finally at a point
where we don't get..."

I guess it's supposed to say
"we're finally at a point

where we don't get a lot
of these emails anymore,

and it's taken us
years to get here.

Please, you need to
respect our privacy."

Now. Wait.

Okay.

"If I give you 5
minutes and I say no.

Well, then that's my final no."

So. Yeah, 5 minutes.

I'm usually up til midnight.

Holy shit. And there's
actually a phone number here.

Here goes.

[expectant music]

[phone ringing]

So how are you going to
feel about being away

from our home for a week?

- Well, you know?

I'll miss the cats.

They won't miss me.

And if it were to Disney,

that would be super exciting
because it's a vacation.

But it's not.

It's to a stranger's house.

So.

I'm a little bit, little
bit apprehensive, but...

[man laughing]

- [Ash] I could get a
shoulder under there.

That's about it.

That's about all I could get.

- You know I could
probably get under there,

but that would not
be that comfortable.

I'd probably get a terrible
leg cramp in the hamstring.

- I could take a nap, but
I'd wake up with my neck

all screwed up and...

- [Ash] I am positive that
I could contort myself

into position that one testicle

would pop out and
shoot across the room.

- Probably.

- [Ash] That's what
would happen to me.

- Just let me know first
and I'll turn on the camera.

- [Ash] It would
be, it would be,

well, it's free special effects,

which I do love free,
as anyone will know.

- Are you just aiming at me
because you can see my cleavage?

- [Ash] That's exactly
what I'm doing.

Actually.

So if you could give
me your full name,

your age and what
your affiliation is
with the documentary

and the filmmakers behind it.

- Okay.

My name is Brett Pearson.

I'm 38 years old, and my
association to the filmmakers,

Ash and Chanell are
good friends of mine.

I've known 'em for several years

and we've kind of
go back a long way.

I've been working
for them on and off,

like I said, several years.

This is kind of my foundation.

This is where I got my feet wet

with doing documentary
type camera work.

It's mostly what I do for them,

but I've done some mic work,

some audio editing, pretty
much whatever I'm asked.

So I got called in to do
this documentary to...

The Millers.

Things were experienced
at the residence

and dropped what I was doing,

which wasn't much of anything
and came to help out.

- [Ash] Take a brief tour
here in the Horror Fix offices

before we leave.

See what our man in the
field, our DP Brett is doing.

- Packing shit for the trip.

So I got the tripods,
lighting, batteries,

extra batteries for when
those don't wanna work.

- [Ash] You mean, like, every
fucking time? [chuckles]

- Tell me about it.

Charger for batteries
at the front door.

We can grab that on the way out.

- [Ash] Famous last words, man.

- Yeah, no doubt.

- [Ash] What are your
personal thoughts

on the subject matter?

Would you consider yourself
a skeptic or a believer?

- Skeptic, 100%, man,

like I got to see
it with my own eyes

if I'm gonna believe this.

So, here I come. [chuckles]

All right, get out of here.

- [Ash] Hey, can I stop
you for just a second?

- What?

- I know I don't pry, and
I'm not trying to pry,

but I'm just...

You are okay with this, right?

You are fine with
with doing this?

- Doing this show,
doing documentary?

- [Ash] Yeah. Yeah.

- Like, I've done several
of these with you, man.

Why would this be any different?

- [Ash] Because it is different,

because we know some of the shit

that the Millers went through.

And I just want to
know that you're okay

and that you're going
to be okay, because...

And because I love you.

I love having you there.

But, you know, if you
ever need to sit one out

that it's not a big deal, man.

- Ash. What the fuck
else would I be doing?

- [Ash] So you're
definitely thinking

that we are alone
in the universe.

- I haven't seen anything
to change my mind.

At the end of the night, when
I go to sleep, I'm alone.

When we take our last breath,
you're gonna die alone.

So unless I was to see
something to change my mind

at this point, no, I don't
believe in any of this.

I prefer to be on the
other end of the camera.

Honestly.

It's just not really my thing.

- [Ash] It's okay. I
think we got what we need.

- Thanks.

[telephone ringing]

- [Ash] And the third
time's the charm.

- [Brett] Seriously?

- [Ash] Like I was telling
you, three in a row.

- [Brett] Three times a day?

- [Ash] Every day,
all from Sean's phone.

Seriously, pick it up.

No, I'm telling you, pick
it up, it is creepy as hell.

Seriously.

- [Brett] Okay. Okay. Got it.

- [Ash] Well, do it. Seriously.

- [Brett] Hello?
[static buzzes]

Hello.

[static buzzes]

[indistinct whispering]

[phone beeps]

- [Ash] What's wrong?

- [Brett] I gotta get out
of here for a minute, man.

- [Ash] Hey, are you okay?

- I just need a minute.
- Brett?

[somber music]

- My name is Chanell Hamilton.

I am 42.

I am married to Ash Hamilton

and we've been married
for seven years.

And currently my day job is
working for the government.

- [Brett] And what do
you do with Ash, though,

professionally?

- I do everything he
asks of me, basically.

I help set up tripods
and the lighting

and make sure that the
batteries are charged

and make sure we've
got memory cards.

- [Brett] This is, as you
are, a documentary filmmaker.

- Yeah.
- You're part of the crew.

- Yeah, definitely a
big part of the crew.

He leans on me a
lot for making sure

that things are
ready and in order.

[car rumbling]

- What is your go to,

guilty pleasure sad song.

The one where-

- [Chanell] Are we
talking breakup songs

or are we talking like
somebody died song or...

- We can include
breakups in there, sure,

we can include breakup songs.

So but this is sort of
running the entire scope of,

oh my God, I want to die.

This song makes me want to die.

I'm going to listen to
it 10 times on repeat.

- How about...

R.E.M. "Everybody Hurts".

- Oh.
[everyone laughs]

Breakup song.

- [Brett] Oh, you're going
to go for the breakup song?

- You know, I've had the
most experience, [laughs].

Breakup song, there's
this Peter Gabriel song,

and I cannot remember
the name of it.

Is it "In your eyes"?
- No.

- Or is it "Stay"?
- No.

- The one he did with Kate Bush.

- No.

- Or is that "Stay"?

- [Chanell] No, I don't
know. But it's not that.

- "Salisbury Hill"?
- No.

- I don't think you
know what song it is.

- I don't remember
the name of the song.

- But you know that
it's Peter Gabriel.

- [Chanell] Yeah.

- It's not like a weird
like for some reason,

like "Sledgehammer"
was your breakup song?

- And what was your initial
opinion of the Millers?

- You know, at first they
seemed a little apprehensive.

And somewhat standoffish.

But the the days that
we spent with them,

we seemed to grow a
friendship with them.

- Got to be it.

Where are we on the
GPS? Are we close?

- GPS shows that
this should be it.

So what did he say?

- Well, he he said a
rickety old picket fence.

Which [chuckles] that is a
rickety old picket fence.

I mean, it's a great fence,
though, but it's like, man,

you can't really
say anything other

than a rickety old picket fence.

God damn. They are out
in the middle of nowhere.

Jesus.

- [Brett] Home sweet home
for the next couple of days.

- I'm not sure they have
Internet out here, babe.

Just being honest with you.

I'm not really sure.

- I've got like one
and a half bars.

[Ash knocking]

- Hey.
- Ash?

Yes. Hey, you doing?

- Good seeing you again.

Do you mind, just
give her a minute.

She's not...

super excited that
this happening.

So we need to just kind of
let her cool for a second.

Hi.
- Chanell.

- Chanell.

Yeah, I've heard
about you from Ash.

- All good things.

- Yeah. Yeah.
- All good things.

- Brett.

- When I first started
talking to Sean,

even though we were hopeful

that this whole project
was gonna happen,

Sean was extremely reserved.

This was a couple that had
not talked to news outlets

for the better part of
six years about this.

I'm sorry.

As far I knew everything
was going to be cool.

I feel bad because I
don't want to put you guys

in a position of, not
cool, because, admittedly,

that was a little strange.

- [Brett] You could cut
tension with a knife.

- I hope she's going to
be cool because, like.

I already felt
like that tension.

- Well, it was definitely there.

It was there.

What I don't want is for us
to get all the way out here,

and come all the way back,

because things weren't
sewn up the way the way

we thought they were gonna be.

But...

- I mean, we're here.
- Yeah.

No, you're right.

So let's, for the time being.

You know. All right.

- [Interviewer] You've
had some experiences

that wouldn't be your
typical shoot, right?

- And I know this is...

There were incidences,

there were things that happened
on phone calls with Sean,

on Zoom meetings with Sean,
that we could not explain.

- [Interviewer] So you're
saying that you were starting

to experience a co-experience

as you were
interacting with Sean?

- It was, not only very strange,
but it was very unexpected.

[pensive music]

- Some of the ones that we do,

a lot of the the stuff that I do

is I try to help organize
the foremen on the job

and try to help
them get stuff done.

- Sean, real quick.
- Yeah.

- Is that what you were
talking about on Zoom

as far as the lights?

Because I noticed that
that light turned off.

- Yeah.
- There it went again,

but yet we've got the
lights on in the kitchen.

- Yeah. Yeah.

No that's definitely something

and I've checked the
wiring in the house

and I've had and you
know, at Stacey's,

urgency, I've had
other people come in

and check it and it's...

Everything checked out okay.

- [Ash] If you don't
mind me asking.

And again, I know that this
is going to seem interruptive

because when I think of
questions, I'll ask them.

Does that happen so often that
we're going to have problems

with our lights, or will
it stay on for a while

and then just do
that periodically?

- I wish I could tell you.

- [Ash] The incident in 2013

and this was
happening in the house

previous to the
incident in 2013.

- Yeah. Yeah, it was.

[pot clatters]

- [Ash] Okay.

Now, that happened
literally off camera.

- Yeah.

- [Ash] But we're going to
catch the audio on that.

As we were talking about the
phenomena with the lights,

Literally one of the
pots from the kitchen

and I'm not exaggerating,
sprang off the wall.

And it did it with such force.

- Yeah. It busted the
handle, right off.

- [Ash] That it actually
busted the handle.

- Yeah, 'cause it's only
been used a handful of times.

It's fairly new.

- [Ash] And this is common.

This is another common thing.

- It's something. Yeah.

I don't want to say it's normal.

'Cause I mean, this
isn't normal, right?

It is for me.

- [Interviewer]
We've heard reports

of cryptids and
poltergeist activity

associated with the
Sean Miller case.

Is this atypical of UFO
abduction encounters?

- Yes.

Many people don't realize when
there are cases of anything

that can be labeled
paranormal or supernatural.

There are areas where there are

a lot of different
things going on.

And what I mean by that is

you'll find even geographical
areas of the world

where you will have
reports of UFO sightings,

of Bigfoot sightings,
of ghost encounters

all in the same place.

You know, we in the field
are still investigating that.

We keep our mind open.

We're looking to see if
there's a relationship

and all of that that happens.

But it is not out of
the realm of possibility

that there are different
paranormal occurrences

happening in one
particular incident.

[foreboding music]

- [Ash] Okay. So we are
going to try this again.

We keep having battery
issues with the audio unit

batteries draining as
well as the camera itself.

New batteries of both units
that we have had to replace

within about three
minutes of shooting.

So we're going to try
to do it this time

and see what happens.

Luckily, we got
plenty of batteries,

so I think we can keep
switching out if we need to.

So I know that this was
part of the test footage

we ran through earlier,

I know that we had
some lighting issues.

This is all stuff that
we talked about on Zoom

that we were prepared for.

It is just happening
a little more rapidly

than we had expected.

So we should still
be good, though.

So if you could please give
me your name, your age.

Just give us your name, your
age, and your occupation.

- Sean Miller.

I'm 43 years old.

I am a Project Inspector for
a local construction company.

[pensive music]

- [Ash] If you could Sean,

Could you tell us how long
you've lived in the Midwest,

have you always
lived in the Midwest?

- Yeah. Since I was little.

Probably about eight or nine.

For the most part, I
lived in the Midwest area.

When I was young, my
dad did a lot of...

traveling with his company

and before he left

we settled here with
my mom, myself and him.

And then we pretty much
stayed, my mom and I.

- [Ash] Apologies,
but are your parents

currently alive or deceased?

- My mother's alive.

My father...

[static buzzes]

Sorry.

We talked about this happening.

- [Interviewer] So we've
seen moments that looks like

it has affected every single
aspect off Sean's life.

- There were moments where,
now mind you we went into this

with the idea of
entertainment value,

and that was what we were trying

to sort of capture
from the start.

However, I think when you
do see just how affected

someone is, it does
sort of center things

and ground it a little bit.

And I think you can tell,
especially some points

where he's trying so
hard to be normal,

and I guess he's trying so
hard to just live his life

and it's almost like
he almost gets there.

And then there's
just so much baggage

that it just draws him back.

And I think we saw that a
lot while we were there.

- I think the biggest
thing is that I just,

I like how neatly
they wrap up a mystery

in that 20, 15 to 20 minutes.

You know, it was kind of
like put a neat bow on it.

But as a kid, you just,

you almost kind of
knew it was coming.

Like he knew exactly
who the bad guy was.

But you still, there's
a little part of you

that thought they might
throw a curve ball.

- It was whoever
owned property, right?

- Yeah.

- It was like, just look
at the property owner

in "Scooby Doo".

If you're a property
owner, you're a villain.

That's all there is to it.

I think this was one of the
first full frontal assaults

on out of control capitalism
in American cartoons.

- [Chanell] Big
fan of the Snorks.

- You mean underwater Smurfs?

- Fuck, yeah.

Second, but equal to
the Snorks is Smurfs.

Obviously.

But, you know, when I
was probably somewhere

second, third, fourth grade,

when I would get
home from school,

the exact time I got
home from school,

I could not get off the bus
fast enough and get inside.

Oddly, it was the animated
"Dennis the Menace".

It was weird, that
I had to watch

those 25 minutes of
"Dennis the Menace".

Running from the bus
missed the first 5 minutes,

but still, had to be there.

- So, you were always running
low 5 minutes of Menace.

- There was an episode.

I love old school "Star Wars"
and droids was, like it.

- Was was it Ewoks and Droids?

- Ewoks and Droids.
- Yes.

- And there is this episode

and it was I want to say,
it's one of the ones that was

I mean, a lot of them did
crossovers with Endor,

it was one of the
ones where I think

they they all went to Endor.

And I never got to see it again.

It only aired.

I missed that episode.

You talk about missing episodes.

I missed that episode.

And it was, I happened to
miss it because that week...

that week and that weekend, I
was out camping with family.

We were out at a lake
and a cabin we had

and we were out there camping.

It was a great week,
it was a lot of fun.

But the reason that I
remember that is because

not only did I miss that
episode that never aired again,

that was super pissed,
because I didn't get to see it

until recently when you can
find everything on the internet.

But one of my friends I
got back told me that,

my friend Shane, he told me
that all the kids on the block,

were sitting there
in front of my house

watching these lights go by.

And I was like, "What are
you talking about lights?"

Like, Are you talking about,
like, you know, people

running around with
flashlights playing night tag?

Like we used to sit around,
like, you know, give-

- Flashlight tag.
- Yeah, flashlight tag.

Yeah, yeah, that's it.

But he's like, "No,
no", he's like,

"We were all camped out
kind of on the street."

We lived a little outside
of town, but not too far,

kind of in a little
kind of rural suburb.

And on my street, all
the kids are gathered,

I guess there's these
like spheres of light

that just kind of went
up and down the street

and they thought, at first,

"Are you talking about
firefly's or something?"

"No, no, like actual balls,

like about the size, some of
them the size of a golf ball,

something a little
bigger, like a softball."

And they were they were
looking for me, he said.

But I don't know.

I don't know.

But they stopped
when I got back.

They stopped.

[foreboding music]

- [Interviewer] I know
that you've all had

some lighthearted moments.

Did you ever think that you
could turn your cameras off?

- It was like it was a
struggle to put the camera down

because I think each
of us felt the moment

we were going to put one
of those cameras down,

something was going to happen

that could not be duplicated.

Something new, something
even more intense.

Literally like 65
floors up, 65 floors up.

So this guy is hanging
over the railing.

This is wrought iron.

There's absolutely
nothing keeping him

from literally
falling off the...

[knock on door]

- Yeah. Lemme go check.

Sorry, guys. Hold on a second.

- [Chanell] Girl scouts.
Want some cookies?

[knocking on back door]

- Babe, babe I think.

I think they're around back.

- Okay. Yeah, they
might go around.

[knock on front door]

But probably some fucking kids.

Oh, fuckin with us.

Okay, you know what?

You guys go that way, and
we're gonna go around this way,

and we'll try to see
if we can cut 'em off

around the corner, okay?
- Okay.

- All right.
- Come on.

Assholes.

- Do you have a flashlight?
- Yeah, I got one.

Hey, who's out there?

[knocking on door]

- [Ash] You guys
seriously just knock?

- No, No.
- No we didn't.

- I saw the fucking door.

Something was
knocking on the door.

You just walked up, and
the door was almost.

- [Ash] From the outside?

- Something was there, knocking.

- [Brett] 100% Ash.
Totally seen that.

It's on camera.

- [Chanell] Hey.

Hey, baby. Ash!

Babe! You got to get up.

You got to.

You got to see
what Brett's doing.

You got to see what
you he's doing.

He's out here. He's out here.

- Okay.

Should I grab my phone?

- [Chanell] God Yes. Yes.

Yeah, yeah, yeah.

C'mon hurry up.

Hurry, hurry, hurry, hurry.

- [Ash] Goddamit, I gotta find.

I gotta turn the
fucking light on.

- [Chanell] You know
how to use this thing?

He's not there.

He's on the stairs.

- He's on the fucking stairs?
- He's on the stairs.

He's on the stairs.

So, I don't know.

- [Ash] What the fuck is
he doing on the stairs?

- I have no clue.
He's freaking me out.

Look at this!

- [Ash] He's right over here.

- [Chanell] We can't see him,

at least let me
get the flashlight.

- [Ash] What in
the fucking world?

What the fuck is going on?
- What is he doing?

Is he fucking talking?

- [Chanell] Yeah. Looks like it.

- [Ash] I gotta
fucking wake him up.

- [Chanell] I don't
think that's a good idea.

- [Ash] I gotta
fucking wake him up.

You know what's
gonna fuckin' happen?

He's gonna wake Sean and Stacey,

which we can't fucking have.

And second of all, he's half
fucking asleep on the stairs.

- [Chanell] Don't make
him fall down the stairs.

- [Ash] He's not gonna
fucking fall down the stairs.

- [Ash] I don't
think is a good idea.

- Brett.

[Brett mumbling incoherently]
Brett.

Brett.

[eerie music]

Dude.

Whoa, whoa. Fuck.

- [Interviewer] We
know that Brett,

who just went through a divorce,
recently lost their son.

Was this the best place for him?

- I didn't think that this
was the best one for him

in the beginning.

And we talked about it.

And then by the time
we were as thick

in the situation as we were,

he definitely shouldn't
have been there.

- Stacy, it's really
nice to meet you today.

Can you tell me, though,
your name and your occupation

and how did you know Sean?

- I'm Stacey Miller.

I am the wife of Sean Miller.

I'm 36 years old and I'm a
bank teller at a local bank.

- I see.

Have you talked about this

with many of your
neighbors or friends,

or how widely known
is this situation?

- No, I don't talk
to much people.

I mean, I have my sister.

She's my backbone.

Other than that,
I keep to myself.

It's just gotten to that point.

- [Ash] You'll have to forgive
me here, but I'm still unsure

as to why you decided
to stay in the house

that you're in now

when you've left some of
the others so quickly.

- Well.

- [Stacey] Tell them
why you made us stay.

- Maybe. Why don't we?

Can we circle back
to that one can we,

we will circle back.

- Yeah.

- We will circle back.

[foreboding music]

- [Sean] I gotta be quick

because I got the
interview today later on.

Cross your fingers
it all works out.

- [Stacey] Okay.

- Oh hey.

Since I know you don't
have a lot of time.

I know we had talked about,

we needed to get
the video footage

that you have on your
phone onto our SDS

so that we can take them back.

So if you could, just
give us your passcode

and we'll go ahead
and do it all.

You don't have to
worry about it.

If you're gonna
be getting ready,

we can do it while
you're getting ready.

- I looked over it man

and there isn't a whole
lot on there, dude.

I don't know if I just didn't
do it right or whatever.

But there's just, I guess I
must not have pressed a button

or something or other
just didn't seem like it

turned out okay.

- Honestly, we can use
anything for b-roll.

So even if it's stuff
just around the house.

I mean, even if it's stuff
that you think is not good.

- I don't think really
it picked up anything.

I don't think there's
anything on there

that'll work for you.

So listen, babe.

This is all great.

Thank you so much.

But I've got to get ready,

so I'm gonna go change
real quick, okay?

- Okay.

[door squeaking]

- Here. One nine, seven, eight.

You can get into it.

- It's Sean.

It's a little after two.

I've been hearing this
noise nonstop all night.

[unintelligible noise]

Think there's something
outside the window?

It sounds like something's
trying to get my attention.

So I'm gonna, I'm going
to go check it out

and see what it is.

I can hear it our there now,
hopefully I can catch it.

[unintelligible noise]

[deep breathing]

[static buzzing]

That's imposssible.

It's really him.

God.

He's here.

[deep breathing]

[door creaking]

- Thank you.
- Yeah.

Excuse me.

- We did not take your
phone, by the way.

I want you to know that.

But, we do need to make sure

that everything that
you have, we also have.

It's very important.

It is the reason why
we are, let's face it,

we're paying for
the documentary.

- Well, [clears
throat] all right.

I understand.

I don't mean to keep
anything from you.

So I think that
there's something that
you guys should see.

I'll be right back.

- What do you think he has?

Did he tell you about anything?

- [Brett] That
was super awkward.

- This is the
stuff that we need.

We've got to have it.

- This is my me and my dad.

I was eight years old.

It was our last trip.

And the last time
I really saw him.

The other night.

This is...

I took a picture of this.

And you can see if you look,

you can see that's
the same shirt.

You can see that pattern.

Right there.

- I don't know if I can
really see anything.

Sean, I'm sorry.
- Look.

Look on this.

I mean, I'm not lying.

Look, I mean, it's right there.

That's the same.

I mean, maybe
Chanell, can you see?

I mean, right there.
Do you see it?

- I see something. I just don't.

- He's been. It's him.

- After we found that footage

and after we sort of
confronted him about it,

he was, hellbent

to try to persuade us
that that was his father

in those photos.

It was something.

But again, that was the
nature of being there.

You got certain stuff that
was just unbelievable.

You couldn't believe you got it.

And then you were
two layers removed

because, and we discussed this,

the DSLRs wouldn't work all
of a sudden, handheld devices,

phones wouldn't work
all of a sudden,

and then you're forced
to take Polaroids.

And, you know, that's
the nature of the beast

when it comes to
stuff like that.

It's technology that
it's very difficult

to use as far as proof.

He believed it.

- You know, in looking
at the Sean Miller case,

we have to be very, very careful
when we check the evidence.

We are in a day and age
where it's very easy

to manipulate your evidence.

So analyzing becomes
very important.

- [Interviewer] This has
happened more than once,

not once, but twice,

Sean, withholding footage
from you and now Brett,

he's withholding
footage from you.

- I think after
we saw the footage

that Sean had withheld from us.

I think Brett's perspective
on why we were there

and why he was there,
changed greatly.

[pensive music]

- [Brett] [exhaling]
It's 2:32 a.m.

I just fucking got woke
up by this loud ass sound

coming outside.

I don't know what
it is. It's bizarre.

But it just keeps getting
fuckin' louder and louder.

And I've been up for
about five minutes.

Everyone's asleep in the house.

[strange sound]

Holy shit.

That's the sound
I'm talking about.

You fucking hear that?

[strange sound]

What the fuck was that?

I got up, I grabbed my phone

because I don't want
to miss any footage.

I'm going to try to get
a peek out the window

and see if I can figure out
what is making this sound.

[Brett breathing heavily]

Oh, fuck.

Dude, there's someone outside,
just fucking standing there.

I don't want to fucking
be here right now.

There should be no one here.

What the fuck is going on?

[strange sound]
Holy shit!

[thudding on roof]

Someone just fucking
came running at the door

and fucking jumped on the roof.

And it fuckin' looked like me.

What the fuck is
going on right now?

Holy shit.

- My name is James Chandler,
and I'm 54 years old

and I'm an audio
visual specialist.

I've been hired to
look into things

where video has been edited

or to see if someone
has faked something.

I was not expecting what I saw.

I don't think if it was faked
that my emotional response,

I mean, I've seen
a lot of video.

I've seen really
horrible things on video.

That is something that just
got a hold of something in me,

and I can't explain it.

[foreboding music]

- [Ash] Thank you.
I appreciate it.

[Stacey chuckling]

- Hey.
- Hey, baby.

- Hey, you. What
do you have on you?

What is this?

- Oh, no.

- Sean.
- What? It's nothing.

- What do you mean?

[static buzzes]

- [Chanell] What
did he have on him?

- [Stacey] Something black.

Something really
dark out of his ear.

- As I'm driving, I've
got the window down.

Like I said, it was extreme.

Like I told you before,

it was extremely hot
that summer, you know.

But instead of kicking the
AC on, I felt like maybe

just getting that nice like
wind, the smell of the grass,

the smell of the farm soil.

I thought that might help
kind of clear my head.

And so, you know, I'm driving
down the country roads.

I feel like I'm
on the right way.

I've got my hand on
the steering wheel

and I'm just kind
of get my head out

and I'm just feeling it
blow and I'm looking out

and I see, you know, on the
field I could see fireflies,

you know, which is common
at that time of year.

You could see them move around.

And then I realized
that they're not,

like I realize that some of
these are pacing the car.

And at first I'm like,
oh drunk brain, you know,

just perception being off.

It's dark. I'm tired.

I'm upset.

There was less lights at first.

Just certain ones chasing me.

And then I felt
like I wasn't alone.

It felt like
something was almost

whispering to me like that.

So the pressure that, like.

Like that sound was,
like, pulling me...

Like somebody was
controlling my body

to pull me in a
different direction.

I realized very
quickly that every time

I wanted to go back home,
to go back to my wife,

to go back to bed and
wake up the next morning

and just hope this day goes
away and I can start over fresh.

The more I kept being
pulled somewhere else,

and the more I
fought against it,

the stronger like the
brighter the lights

or the brighter
the fireflies were.

And I realized they
weren't fireflies,

they were these motes,
these lights everywhere.

And it was almost like, you
know, I had the car radio

started getting loud
almost to the point

where it's like high
pitched and I shut it off.

I couldn't deal with,
it was sensory overload.

And I'm just driving
through the dark,

but it's not dark anymore.

It's so bright.

It's brighter than any
daylight I've ever seen.

And I feel like as I'm
zipping down these roads,

I'm going so fast,

I don't even know if I'm
even on the road anymore.

I can't tell what's
up or down anymore.

I'm just going.

- Were you ever afraid for
your own personal safety.

- Yes. Yes.

- Yours and the crew?
- Everyone's.

Everyone's. We were
afraid for my safety.

Especially Ash's safety.

Sean, Stacey, Brett. Everyone.

- [Woman] I can go talk
to her if you want.

- [Sean] You like
the burger, man?

- Well, I will say, you
made sure it was dead.

- Drew, could you stop?

- Well, I mean-
- Everything's fine.

- I mean, did you at
least call Dave today?

- No.
- Here we go.

- I didn't call Dave.

- How many of these
do I have to set up?

I'm trying real fucking hard

to get you going to set you up.

No, man, really.

- I want to be able to
just have you guys over

and have a good time.

- Yeah. I can't fucking
do this anymore.

- Drew sit down!

- No.
- Come on.

- Nice.

- Can't I even go
to the bathroom?

My God.

- We have a bathroom
right in there, man.

Oh, my God. 10 feet away.

- Just stop.

- [Chanell] Should I
turn the camera away

from the peeing guy?

- He's been a mess
for a week now.

I don't know what's wrong

- I'm sorry. I did
try calling him.

It just didn't work out.

- We just need to
change the subject.

No more talk about it.

Drew, what are you doing?

- What's going on?

- You guys see that
fucking guy out there?

- [Stacey] Who?

- Could you stop, there's
nothing out there.

- No, I was just
taking a fucking piss,

and I see this guy out there,

he's like, fucking
staring at us.

- There's nothing out there.
- He's probably just a farmer.

This is farmland.

And it's probably just a farmer-

- You've had a lot to drink.

- Yeah, I always have
a fucking lot to drink.

This guy's staring at you.

He's staring at you,
he's staring at you.

- Drew, dude, honestly,
he's not going to bother us.

Just come and sit down,
we'll have a drink together.

Just eat some more burgers.

Man, we're gonna fill
up, it's gonna be nice.

Don't worry about that guy.

- It's okay.

- It's no big deal.
- Stop, honey.

- There's no big deal.

- No, fuck dude. I'm
going over there.

- Drew, don't.

- I'm going out there.

[everyone speaking
at the same time]

- He's not hurting anything
if there is someone.

- [Ash] We should probably
follow him over there.

- Stop, Drew. Come on.

- No!
- Drew.

- Let him go.
- I'm going.

I'm going.
- Go around the barn.

If you're gonna go over there

and get yourself fucking
arrested, asshole.

- [Ash] Okay. Somebody does
need to get cameras on.

There is somebody out there.

There is somebody out there.

- [Drew] Hey man, what's up?

What's up dude.

- [Ash] Did you see
that? Did you see that?

[Drew speaks indistinctly]

The fuck.

You guys, by the way,
nobody go out there, okay?

When also Sean
and Stacey told us

that this is also
not their land.

What the fuck is that?

Is he coming back?

Where the fuck's
the other guy at?

Is anybody catching the
other fucking person

on their camera?

Could someone please
fucking answer me?

- [Chanell] I don't
see the other guy.

- [Ash] I'm not seeing a
goddamn thing out there.

Where the fuck did
the other guy go?

Did he fucking punch him?

Is he laying down there?

- [Chanell] Drew,
where's the other guy?

- [Brett] You okay?

- [Ash] I don't know
what's going on.

Okay. Something's not right.

Drew?

You know where you're at?

You know what? You need
to go get Tasha now.

Now.

- [Chanelle] Tasha!

- You know, it's weird because

you have some of
these things on video.

We have some of these
things that we recorded.

And in my mind's
eye, my mind's eye,

it's so sort of hazy that...

you almost have to try
to remember the footage

more so than your
memory, which is strange,

and I think it's because
it's just so bizarre.

Yeah, there was very clearly
there was a figure there.

And then there wasn't
and we all three saw it.

We all three were
experiencing the same thing.

I can't explain it.

Drew. We need to
know if you're okay.

Hey Drew.

Drew.

Can we talk about what
happened up there?

Because I'm not seeing the
other guy out there at all.

And I'm afraid that
you did something.

We need to know because
we've got this all on camera.

No, no, no, no, no, no.

You need to calm down.

You need to calm down and tell
us what happened out there.

Please calm down and
tell us what happened.

- Drew!

He's scaring me.

Drew, you're scaring me.

- [Brett] Can we at least just
get him up over here. Okay.

- [Tasha] Stop it. Just relax.

- What the fuck is going on?
- Please stop.

- [Ash] Steady your breathing.

- [Tasha] Drew you're
fucking scaring me.

- [Sean] Tasha, I'm
calling the cops.

- You know he has a warrant!

- [Sean] He needs help.

- [Stacey] We can't
call the cops.

- You can't do that.

Stop, Drew.

- Okay, okay, okay.
- Help him!

- Okay, okay.
- Oh, my God.

Oh, my God.
[Drew coughing]

Oh, Jesus Christ.

- Oh. Oh, my God.

- [Brett] What? What the fuck?

- [Chanell] All
right. Why is it?

What's up with the color?

- Are you okay?
- Oh, my God.

[Drew grunting]

- I don't know how to explain...

how I know it's real.

- So, there's no doubt
in your mind right now.

- There's no doubt.
No doubt at all.

[ominous music]

- What's up man, I didn't
even see you come out.

Ash?

Ash?

Ash?

- [Interviewer] Why do
you think that Brett

didn't show you these videos?

- I think Brett's experience
was very different

from my experience and
from Chanell's experience.

And, I think Brett
was going through

something very personal.

Something very
specific and singular.

[somber music]

- No. No.

These things?

Well, let me make
something abundantly clear.

These things were not human.

They were not of this
Earth, of this planet.

What they wanted me to see.

It's like an actor, when
you're watching a show,

you see an actor
break character,

whether it's like a
skit comedy or just

behind the scenes
on like a movie.

And you see them break
character for a second,

you're pull away, you're
pulled out of the moment

that they're trying
to bring to you,

whether it's comedy
or drama or whatever.

You're pulled out
of that moment.

You realize that it's
fake. It's a facade.

That facade, these faces of
these people that I'm seeing.

They were real people
for me at first.

It was something for me to
hold on to as an anchor.

And it was a way
for me to feel safe.

And then for a brief
moment, that facade dropped.

And I was completely ...

my mind can't even comprehend

the horror that you would see,

the ability for life
around me to be distorted,

my safety to crumble around me.

And what I saw.

The more I hold on to that
and the more they realize

that I was holding on to that,

the more they ripped that away,

and the less I can
even remember now.

I feel insane thinking
that these things

were anything but
just a bad memory.

It's like, losing
pieces of myself.

- [Ash] Okay. Now, this
is looking pretty good.

So if you could please
give us your name,

your age, and your
occupation, please.

- My name is Brenda Floyd.

I'm 53 years old and I am
a regression therapist.

In addition to being
a shamanic minister,

a Reiki practitioner and
a breathwork facilitator.

- [Ash] You work with people

who are trying to
remember things

that obviously are
very painful for them.

Can you speak a little bit
about your experiences there?

- Well, in my experience, when
people have blocks like that,

it is due to some sort
of trauma in their life.

It can be from childhood.

It can be from a past life.

It can be from
current situations.

But it is usually
some form of PTSD.

Want you to take a
nice deep breath.

Just listen to my voice.

Wherever we go on this
journey, you will be safe

if you just listen to my voice.

[gentle music]

Sean, I want you to
think about a time

or remember a time
in July of 2013.

- I don't want to.

- [Brenda] Why not?

- It hurts.

- [Brenda] Can you
see anything, Sean?

Colors? Structures?

- It's hot. Humid inside.

- [Brenda] Are you alone?
Are you with other people?

- [Ash] Just keep going.

- There's others.

Stacey.

Mostly myself.

- [Ash] I'm almost done.

Seriously, it's almost done...

- [Brenda] In mid-July. 2013,
do remember where you were?

- [Ash] I got nothing.
Dude, I'm out.

- [Brett] I'm out too.

[indistinct]

- [Sean] We're fighting.

Arguing.

- [Brenda] Do you remember

what you were
arguing about, Sean?

- [exhales] Our time together.

She's mad.

We're not connecting.

Not like we were.

- [Brenda] Is there a
reason for that Sean?

- They're the reason.

I blame myself.

[Brenda speaking indistinctly]

- [Ash] Chanell, I'm
getting a strong breeze,

coming through here, you
need to watch those candles.

- [Sean] We fight.

I leave..

[static buzzes]

- [Brenda] Sean, can you
tell me where you went?

- I, I left.

I don't know where I went.

- [Brenda] Can you look
around and see where you are?

- There's lights. There's...

They're following me in the car.

- [Brenda] You're
in your car driving.

- I think.

I can't tell.

I can't feel the wheel.

The lights are
getting so bright.

- Can you look
through the light?

- No.
- See past the light.

- They don't want me to.

- Who's "they"?
- I'm trying to.

- [Brenda] Who's "they" Sean?

- They don't want me to know.

- Can you look at
their faces, Sean.

- No, they don't.

- [Brenda] Can you tell me
what they look like Sean?

- I'll try to see, but.

- [Brenda] Show me their faces.

- They won't let me.

Ah!

- [Brenda] Try to relax
Sean. Try to relax.

Take a deep breath.

You're okay.
- There.

They're here.

[electronic distortion]

[Sean groans]

- [Brenda] What's
wrong with him?

- [Ash] Keep going.
Keep going, dude.

[Sean roaring]

Brenda.

Brenda, seriously.

Hey, hey, hey.

I just need you.

Just come inside.

Just sign a couple
of consent forms.

- I don't know what
the fuck that was,

but I'm fucking out of here.

- [Ash] Ahhh, fuck me.

- So looking back, Chanell, if
you could have done anything

differently, what
would you have changed?

- We would have left.

We would have left
earlier or left before

the shit hit the fan,
before, all of that happened,

we would have left.

We would have talked
Ash into leaving

and not staying to
get the best footage.

We would have left.

We would have all
gotten to leave.

- [Interviewer] But then
you wouldn't have had

what you have.

- And maybe we wouldn't
have lost what we lost too.

[somber music]

- So that fifth day, we were
just, it was a workhorse day.

I mean, it was all about
like, we need to get

all the shots we didn't get.

We need to get any interview
questions we didn't get.

So it was all about
pick up, pick up,

pick up, pick up, all day long.

And I think we didn't even
realize how late we were there.

And so we started to
sort of break down.

And at that point, I think
we also sort of realized

that we were there too late.

And I mean, we were all
struck with that feeling.

It wasn't just that
we were there late

and we were ready to take off.

We were there too late.

There's nothing that
we don't know about,

nothing that we can't see.

- [Brett] I need the lights
and I need the keys to the van.

- [Ash] Okay.

Do you want to go ahead
and take that last bag out?

Put the lights and the
rest of the lenses away.

- [Brett] All right.

I'll be back to get
the rest of the shit.

- [Brett] Goddamn.

[speaks indistinctly]

[foreboding music]

[car doors opening]

[gear clattering]

What the fuck is that?

Hey, hey, hey.

Shut the lights off.

Is that on?

Is that on?

C'mere.

Come here.
- What's up?

- [Ash] Can I at least
turn my camera on?

[Brett speaking indistinctly]

- [Brett] What the
fuck is out there?

You see that?
- The lights on the horizon.

[indistinct whispering]

- [Ash] Okay, I have no
fucking idea what that is.

I'm going to actually
find the flashlight.

Do we know where
the flashlight is?

We were going to
find it earlier.

Course I'm going out there.

I've got a camera and
I've got a flashlight.

So that's what I'm doing.

- [Chanelle] Can you
just give me a minute?

- [Ash] I'm going out.

- No. Don't go out there.
- Ash! Ash!

- [Ash] I'm going out.

[foreboding music]

- [Chanelle] I don't
understand why he's gotta dive

right into these things.

- [Brett] What the fuck
do you think that is?

Look at it!

See it?

[foreboding music continues]

- [Ash] Holy fucking shit.

Shit!.
[being screams]

[Ash panting]

Oh, my God.

You gotta tell Stacey.

She's gotta call, she's got
to call the fucking cops.

She's gotta to call 911.

She's got to do it now.
- What is it?

- [Ash] She's got to do it now.

- [Interviewer] So tell me,
Eric, this has been dubbed

or coined the alliteration
of the Miller monster.

Do you know how?

Who started that? Do you know?

- I'm not sure where
that came from.

Once the snippet came out
and the face came out,

people started dubbing
it the Miller Monster.

I'm not sure who exactly
coined that phrase,

but it's it's been around
for a little while now.

[pensive music]

- [Dispatcher] 911.
What's your emergency?

- [Stacey] We need
someone here immediately.

There are people there.

There's a lot of people
trying to get into my house.

- [Dispatcher] Okay.
How many people, ma'am?

- [Stacey] I don't know.

I don't know how many
people there's just...

I don't know.

- [Dispatcher] Are they
inside the house, ma'am.

- [Stacey] No. We have
people inside the house,

there's about five of us.

You guys, where's Sean?

Where is Sean?

We need someone here.

- [Dispatcher] Okay, ma'am,

can you give me
your address, ma'am?

- [Stacey] We're at [beep].

- [Dispatcher] Okay, Ma'am.

I need you to stay
on the line with me.

I need you to tell
me what's going on.

- [Stacey] You
guys, where is Sean?

- I've been looking
outside, I don't know.

I don't know.

I don't know.

- [Stacey] What do you
mean, you don't know?

- [Ash] Because we
haven't seen him.

We thought he might
have been outside.

I can't see-
- There are people outside!

- [Ash] Brett, can
you see anything?

- [Brett] No, I haven't.

- [Ash] So let's just
get the doors locked.

- [Dispatcher] Ma'am,
can you stay...

I need you to stay
on the line with me.

Tell me what's going on.
- It's okay.

I don't know.

When I look out the window,
there's just lights.

There's lights.

- [Dispatcher] What kind
of lights are there?

- [Stacey] They're bright.

- Okay.
- But what is that noise?

There's people on my roof.

They're trying to get it in.

- [Dispatcher] Alright,
ma'am, just stay calm.

I need you to stay
calm, ma'am, alright?

- [Ash] So, they're
not going outside.

- [Stacey] Then,
I'm going outside.

- [Ash] You can't go outside.

- [Stacey] You have
to let me go outside.

We have to get Sean!

- [Dispatcher] I need
you to calm down ma'am.

I need you to stay on
the phone with me, ma'am.

- [Stacey] We need help.

- I'm Paul Stenson, I'm 55.

I'm a retired sheriff's deputy

with [beep]
sheriff's department.

I was there for 22 years.

And now I'm a man of leisure.

- [Interviewer] So you
were called in that night

of the 911 call, here to the
Miller residence, correct?

- That is correct.

- [Ash] That was
a fucking window.

That was a window
that just broke.

- [Stacey] Then
I'm getting Sean.

I'm going outside.

- No, you cant do it.

[everyone speaks indistinctly]

- [Chanelle] No, no, you can't.

You need to stay inside.

- [Stacey] We have to get Sean.

- [Chanelle] You
need to calm down.

- [Stacey] No, there
is no calming down.

What don't you understand?

You guys need to get here.

No, I can't stay calm.

- [Dispatcher] I'm
trying to help you ma'am.

- [Stacey] You
guys, that was Sean.

- I need you to stay calm.
- Do you hear him?

No, I'm going to go get him.

He's outside.

No I'm done.

I'm done. I'm going.

- [Chanell] No! No! Stacey!

No, no Stacey, you
can't go! Stacey!

You can't go outside.

[everyone speaking
at the same time]

- [Dispatcher] Is someone there?

- [Chanelle] Yeah, I'm here.

I'm here.

[Stacey screams]

She's on the ground.
She's unconscious.

She touched the door-
- Ambulance on the way.

- [Chanell] She touched the door

and then she flew across the
room, and she's on the floor.

- [Dispatcher] I'll
have ambulances.

I'll have an ambulance
dispatched...

medical personnel
are on the way.

We have several units in route.

- [Chanell] How long?

- [Dispatcher] Five minutes.

- [Chanell] Five minutes? He
said they'll come in 5 minutes.

- We don't have 5 minutes.
- We don't have a choice!

- [Chanell] Can you
tell them to go faster?

- [Dispatcher] I
cannot rush personnel.

They're going as fast
as they're going, ma'am.

- I don't know what's going on.

They're outside and they've
surrounded the house.

[everyone speaking
at the same time]

And there's electric
shocks coming out.

[people speaking indistinctly]

- [Dispather] I think I
almost lost you ma'am.

[people speaking indistinctly]

- [Chanell] We need you here.

You need to be here.

[people speaking indistinctly]

No, and now he's
going to go outside.

No, you can't go outside!

No, don't go outside.

- [Dispatcher] Don't let
anybody go out there.

- [Chanell] Don't go outside.

They said don't go outside.

You can't go outside. No, no.

- [Brett] Then we'll go both go.

- [Chanell] No,
neither of you will go.

You can't go outside.

- [Dispatcher] They need
to stay in the house.

- [Chanell] They said you
need to stay in the house.

- [Dispatcher] We need
to be able to identify

who is a threat and who is not.

- You have to stay in because-
- Ma'am, who are you?

- I'm Chanell, Chanell Hamilton.

- [Man] Okay, and how are
you related to the caller?

- We're with the film crew.

We're filming a documentary
about Stacey and Sean.

- [Man] Okay, and where
did the caller go, ma'am?

- [Chanell] She tried to
go outside to find Sean.

And then she touched the door
and she flew across the room

She got pushed.

She, almost like there was
electricity in the door handle.

[static buzzing]

- [Man] She needs medical
attention as well.

- Chanell, get down!

- What else is going on-
- They're on the fucking roof!

Dammit, Brett. I'm
fucking sorry, man.

- Dude, don't be sorry.

I choose to fucking be here.

We're all here because
we wanted to be.

- No, I'm fucking sorry.

This is a shit time to say it,

but I don't know when
I'm gonna get a chance.

But I'm fucking sorry.

I am sorry that
I didn't tell you

we fucking missed you,
we missed you and Angie,

and we fucking miss David, too.

And I didn't say anything 'cause
you were so goddamned hurt

and I should have because
you needed to know

how much everybody loved them,

because you loved him
so goddamned much.

But everybody loved him and
Chanell and I loved him.

And goddamn it, I'm
just fucking sorry

I didn't say anything earlier.

Brett just fucking
left. Brett, goddamnit!

- [Chanell] Please don't
go outside with him.

- [Ash] I gotta go.
He may need help.

- Please don't go.
- I gotta go.

- Ma'am, can you please
keep all the personnel

in the house, please.

[static buzzes]

[ominous tones]

- [Ash] Brett!.

Oh God.

Oh Jesus, Brett!

Brett!

Brett! Grab my hand!

Grab my. I've got you.

Don't let go.

Don't let go!

Brett, you're slipping!

You're slipping!

It's okay! It's okay.

- [Dispatcher] Okay, ma'am you
need to get them back inside.

Units should be there in
the next minute, ma'am.

Status of units?

Where are the units in progress?

Ma'am? ma'am are
you still there?

Ma'am are you still there?

I think I lost the call.

What are the status of units?

We need to send more back up.

No one is answering right now,

I'm going to try to call back.

[phone ringing]

I'm not getting anything.

It's just ringing.

I'm not getting anything.

No one's picking up.

- [Interviewer] You've
been reported as saying

that there's never going to
be a resolution to this case.

Is that still your position?

- I couldn't find anything

and I was the first
one on the scene.

It defies rational explanation.

I can't even begin
to comment on that.

- [Interviewer] Ash, I
think it's important for us

to understand, what would
you say to Brett's family?

- I talk, I try to
talk to Brett's family.

I have tried numerous times
to talk to Brett's family.

I have tried writing
checks to Brett's family.

I would say the same thing that
I would say to anybody else.

Brett was my best friend.

He's still my best friend.

He's always gonna
be my best friend.

- [Interviewer]
You seem emotional.

- I fucking want him back.

I want him back.

Why wouldn't I want him back?

Why wouldn't I want
my best friend back?

I'm gonna get emotional.

I get emotional every
time I think about Brett.

We had a conversation
before we even went

into this documentary
where I asked him

if he wanted to sit this out

and I should have
made him do it,

because I didn't think
he was up for it then

and I should have
asked him to sit it out

and I didn't do it.

And that's on me and
that's gonna be on me

every single time
I talk about it.

Every time I'm asked that
question, it's gonna be on me.

It's gonna be on me to
think about the people,

not just beside me,
that's missing him.

And that's what I got to do.

That's what I do every time

people ask me if
I'm being honest

is I've got to
look at the people

who aren't around to
defend themselves.

Brett's not around
to defend himself.

All I can do.

All I can do is call people
and try to write checks.

Ineffective, because I can't
tell them what really happened

and have them believe it.

- [Interviewer] So are they
taking your call at all?

- No, nobody's taking my calls.

You know who's taking my calls?

People who want my documentary
that I can't even give them.

That's who's taking my calls.

That's who's taking my calls.

[somber music]