All language subtitles for (2015)HellHouseLLC[ING]

(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 ahold 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 carrer,

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?

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.

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.

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?

What the fuck was that?

(trembling)

Holy shit!

Holy shit!

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!

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.

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.

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 back up.

Go!

Go!

Attic, attic!

(footsteps and heavy breathing)

(screaming)

Alex!

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!

Get that shot!

Look at that.

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)