Original subtitles

[silence]

[somber music]

[wind whistling]

- We haven't seen Jackson in over a year.

His friends said he went to that old hotel

to look for a souvenir or something.

That was the last time anybody ever heard from him.

Every time we're about to let go, something happens,

something

strange,

and it just rips our hearts out.

It started with text messages,

randomly in the middle of the night.

I told the police and they looked into it

and they found...

They found they were coming from inside the hotel.

[buzzing]

My husband watched the video of Jackson lost inside

the hotel but I can't bring myself to sit through it.

I know he used his phone to try and get help.

Phone calls and video messages

and texts.

- If you get this message,

please send help to the Abaddon Hotel.

I can't, there's no way out.

I saw them all.

They're all here.

They're all still here.

Please, somebody hear me!

Somebody!

They want me to go with them.

Please!

Please, someone help.

They have no eyes.

[thunder rumbling]

[dramatic piano music]

[gasping]

No one's coming for me.

I'm sorry I ever came here.

I don't know where they all came from.

They're all in the dining room.

They're all in Hell.

They're all with him.

[static]

Mom, I'm sorry...

- About two weeks later I got an email

from Jackson's account,

I didn't wanna open it.

I mean, I knew it couldn't be from him, right?

I opened it.

And I watched the video.

[crying] Oh, my God.

God, I wish I hadn't.

It was an empty room

and then I could hear Jackson's screams.

And there was something else,

there was this piano playing somewhere

and I knew immediately I'd heard that tune before.

It was so familiar.

[wind whistling] [electricity crackling]

- [Jackson] Please!

Please, somebody!

Somebody help me!

Please!

[distant piano music]

- We've heard that piano tune before

in the Hell House documentary,

but when the Mallet's say that they've heard it,

they're referring to long before Hell House.

- Orca. - Go Fish.

- Anyone got an orca?

- I got one. - I got an orca.

- Orca. - Okay, thank you.

- Hey, I saw you, you're cheating!

- I'm not cheating! - Hey, hey, hey.

- Mom! - Mom, are you getting this?

- [Mother] Guys, calm down, Jackson's asleep, come on.

- Oh, my God. - So unfair.

- [Mother] Play nicely, come on.

- Got a fish? - Got a crab?

- Carlie, do you have a crab?

- Hey guys, do you hear that? [distant piano music]

Where's that coming from?

[piano music]

- [Mother] Jackson, I thought you were in bed.

- [Jackson] The hotel opens in 2009, tell everyone.

- [Mother] What, what hotel?

[screaming]

- [Girl] Who turned out the lights?

- [Mother] Hey, Jackson, are you okay?

- Yeah.

- [Mother] Are you sure, what were you talking about?

- Nothing, I didn't say anything.

- Later on, and I played it back

with my husband, we heard it.

There's another voice in that room.

It's almost,

almost like it could hear my question

and was telling Jackson what to say.

[screaming]

- [Girl] Who turned out the lights?

- [Man] The Abaddon Hotel.

- This hotel has a long history of eerie

and unexplained events being caught on camera.

Even our own cameras weren't immune to catching something

spooky when we rehearsed this very segment.

Okay, am I close in enough?

How's my frame?

Good?

Gary, what?

[dramatic music]

[upbeat music]

It's been two years since the controversial release

of the Hell House documentary

and many of us still have questions.

The biggest question on everyone's mind,

was it real or was it an elaborate hoax

planned by the documentarians to sell the film?

Here today we have a full panel to discuss this question.

Arnold Tasselman, who worked for the Rockland County

Magistrate's Office at the time of the Hell House incident

seven years ago and Mitchell Cavanaugh,

the Mitchell Cavanaugh from the documentary,

allegedly the only surviving member of the film.

We'll get into that.

And lastly, we have Brock Davies, a medium and psychic

who you may know from his work on several

missing persons cases that gained nation-wide attention.

- Thanks for having me on, Suzy.

Somehow I knew you'd call. [chuckling]

Be sure to check out Brock Davies From Beyond,

coming next fall to-- - Thank you, Brock.

So, why don't we start-- - Suzy, do you mind

if I start with a comment and a question?

- Sure. - Thanks.

- You're a dick.

Comment, and my question is, why?

Look at this. - Camera's up.

[murmuring]

- Who is that?

- That's Mitchell Cavanaugh from the Hell House documentary.

That's who we need to get us into the Abaddon.

- Well, from what we saw, getting in isn't the problem,

it's finding our way to the basement

and finding our way out. - Well, exactly.

He edited all the Hell House footage,

he must know the hotel inside out.

- Maybe.

- Arnold here has served me with a lawsuit

trying to get my film off the market so no one can see it.

- Mr. Tasselman,

can you discuss the lawsuit against Mitchell?

- I'm not able to discuss details about pending litigation

but what I can tell you is that his fake movie

has caused harm to the town of Abaddon.

- Cold cases in old hotels is not really our thing,

we put a state Senator in jail!

Yeah, and that was a really good thing

but now they're saying this place is haunted.

- Oh, come on, Molly, don't tell me you believe in ghosts.

Look, we're going to the Abaddon, that's final.

You two track down Mitchell today

and get him to meet me. [scoffs]

- Got ya. - What are you doing?

- I'm calling into this show.

This guy is such a fucking liar.

[chuckling]

- Hell House was a tragedy

and we still mourn the loss of life.

What I'm talking about is faking everything about

the hotel's owner, the supposed Hell House tapes.

Putting that quack author Robert Lyons on camera,

faking a full scene with your own crew

in a room where you knew that people--

- You're talking about Diane Graves,

the missing documentarian who was last seen

on her own video inside the hotel.

- That is exactly what I am talking about.

- Excuse me, Diane is dead.

Okay, Johnathan is dead.

They died inside that [censored] hotel.

- Can we not use that word? - I'm sorry.

- Please, everyone knows that no one died

outside of the Halloween malfunction.

- You're still going with malfunction,

like a prop fell from the ceiling and killed 15 people?

- I'd actually like to jump in on that point.

I, too, would like to know how the police

arrived at calling it a malfunction?

- The details of that night are still not allowed

to be discussed publicly. - Of course.

- But, from everything that I've seen,

I can guarantee the public that the hotel is safe

and is not responsible in any way for the tragedy

nor anything else that people are alleging happened since.

- If it's so safe, why does the town keep

police cars outside at all times,

making sure no one goes in?

- [David] We were here like yesterday

while you guys were off filming that goofy TV thing

and we deduced that there was a 10 minute window

and we can get it.

Badass, right? - Why do they guard it so much

if they're saying there's nothing wrong with it?

- Yeah, man, like-- - Well, it's not just

the Hell House incident or Diane, there are also

two teenagers from the nearby area that have disappeared.

- And people think that has something to do with the hotel?

- Well, of course anything could have happened to them

but, one poor kid streamed himself on Facebook

while breaking in and it was the last time he was ever seen.

- [Molly] Are you serious, when did that happen?

- I mean, I'm sure Jessica knows all of this.

- [David] Dude, she doesn't even believe in ghosts.

- Neither did Diane. - I'd like to point out,

and I think it's important to clarify for the audience,

that these poor individuals who have gone missing

were amateur ghost hunters, these were not

trained professional paranormal investigators.

- Thank you, Brock, and let's go ahead

and show our viewers the Facebook Live video

for those who haven't yet seen it.

Go ahead.

[running footsteps]

- All right.

It looks like nobody's here right now.

Should be able to get in and out

without being seen, all right.

To my fans, love you all very much,

I told you I would do this.

Yeet, eh?

All right.

You can just check out my channel,

the old warehouse video, all kinds of stuff like that.

The abandoned mineshaft just two weeks ago.

All right.

No, Rachel, I actually, I'm wearing boxer briefs right now.

[door creaking]

[stammering]

I'm not stopping.

You've just gotta admit that was,

that was pretty weird. [chuckling]

All right.

Not taking any chances.

Here we go.

I'm sorry,

I'll go now.

- What's strange about that video is that

it never cut, it kept on streaming through the night

in that exact position until the phone's battery

ran out at dusk.

[wind blowing]

[static]

Police arrived later that day at the pleading

from friends and family of Cameron,

but they were not able to find a thing,

not a trace of Cameron. - Well, I'm sorry.

This video doesn't show anything happening to Cameron.

I think you want people to think

there's something dangerous inside

so that you can sell more DVDs.

All you've done is given this kid the idea

to sneak into private property.

- Try to prove it's all a hoax.

Prove it.

There's just too much you can't explain and you know it.

Like where the hell do you think

I've been hiding Diane all these years?

Where, I just kept her in my basement?

She has family.

Do you really think she would abandon them

just to sell her documentary? - Well, I have to ask then,

Arnold, if you do think everything was a hoax,

what do you conclude happened to those people

who died on opening night at Hell House?

- Well, we know that Alex probably killed himself,

Tony was in the basement and was probably killed

during the mass panic to get out after

the malfunction of some sort.

If this Mack were as smart as he claimed to be,

then he would've killed himself too

because he was gonna wake up to a pile of lawsuits

for negligent homicide.

We know now that Sarah was the smart one, she disappeared.

- Sarah wasn't afraid of lawsuits, she wasn't even...

[sighing]

She

used Diane. - How do you mean?

- Look, everything about the hotel

goes back to Andrew Tully.

- Andrew Tully, the hotel's owner who was accused

of performing Satanic rituals in the basement and also

accused of being involved with some guest disappearances.

- Yeah, the problem is Andrew Tully is dead.

He hanged himself after the hotel closed back in the 80s.

None, none of the evil cult activity

was actually ever proven.

- [Molly] Well when should I ask my question?

- [Jessica] Wait until you hear me bring up the basement.

- [Molly] So you'll say, "It's in the basement."

And I'll ask something like, "How do you know

"that it's in the basement?" - Right.

On me.

Hi, I'm Jessica Fox, it's October seventh

and I'm here with Molly Reynolds

and David Morris. - Yo.

- And with us is Mitchell Cavanaugh.

- What are you guys, some sort of an investigative outfit?

Like a boutique Vice or 60 Minutes?

- Yeah, but unlike other journalists, we film every part

of our story from inception through publication.

And we're totally transparent,

everything is released once we publish.

- [David] Jess has me record everything,

I don't stop rolling.

I go to the can, this goes with me.

- [Mitchell] That's great but I...

[dramatic music]

- The hotel is like a maze and of course

that's not by accident, Tully designed it

based on H.H. Holmes' murder house, I've heard.

So he made it as hard as possible to find your way out

in the middle of the night.

And we need to find our way to the basement.

- But how do you know what we're looking for

is in the basement? - That's a good question,

Molly, everything that Tully wanted to keep a secret

was kept in the basement, so we're talking about

proof of cult activity and information about

the missing guests, it's all there.

- You had no proof when you called into the show,

you just knew how to find it?

And that's what you needed me for, right?

- Right.

- How do you even know that this supposed evidence exists?

- Because of one flipped witness.

That's all it took and I have the transcript.

- [Mitchell] Who flipped and why don't we know about it?

- Because once Tully and his cult members

committed suicide, the whole thing got dropped,

everything, it just disappeared.

But this guy,

Patrick Carmichael,

he worked at the hotel, he was a member of Tully's cult

but he was arrested on a separate assault charge

so he missed the suicide party.

He says

that Tully kept video footage

and photos of what was happening at the hotel.

And then here, he says it was kept in the fridges.

- What fridges?

Nobody searched the fridges?

- Yes but what if they assumed he meant the kitchen fridges?

- The cops only searched the kitchen fridges

but not the one in the basement

which I think, with all due respect,

it is a ridiculous theory.

- We're dealing with a police force that hasn't been able

to solve a series of disappearances

for decades in the same place.

- Okay, so what is the plan?

We go into the basement, search the fridge

and find the evidence. - Yes.

I don't believe in ghost stories

but I don't wanna take any chances with you guys,

we're gonna be in and out in an hour, tops.

If Mitchell is with us, we'll be even quicker

because he knows the hotel better than anyone.

- That's a really fucked up place to try to break into.

You know that, right? - Yes.

Mitchell, we absolutely know that.

The evidence is there.

I know it, it has to be.

Okay, and if we find it then maybe

we will find out what happened to Diane.

Finally.

Don't you wanna know?

[clearing throat]

We can't do this without you.

- Will you turn that off, please?

- Jess? - Yep, turn it off.

- I'd like to share with our audience

some of the stranger unexplained occurrences

that have been recorded since the documentary aired

in what many refer to as the Hell House fallout.

- So people believe that this stuff is real?

- Well, nothing's been proven either way yet.

- Look, as long as that hotel emits this kinetic

spiritual energy, people are going to continue

to be drawn to it, which is precisely why

someone like me is invaluable to the investigation.

I need to be allowed in that hotel.

I need access to it.

- Let's hold off on commenting until we've seen the footage.

Go ahead.

[mysterious music]

- All right, Ben, challenge accepted.

I'm goin' in.

All right, coast is clear, no cops.

Holy shit.

[wind blowing]

All right, I think that's far enough.

Challenge completed.

Get ready to pay up, Ben.

[door creaking closed]

[gasping]

Holy shit.

- [Woman] I haven't seen Paul around

in a few days, is he okay?

- [Man] Holy shit.

[gasping]

Oh shit!

[running footsteps]

- Hey guys, so we just got back from our fashion show,

was kinda disappointed

we came from such a faraway place

just to see a thrift shop.

I was expecting some sort of high end

awesome, amazing fashion line. - Hey, Nate, sorry.

Is that girl hitchhiking?

- Babe who hitchhikes anymore? - I don't know, come on,

it's so shitty out, let's pick her up.

- Fine, okay, fine.

[turn signal clicking]

Honey, do you need a ride?

Do you think we should do this?

- Yeah, it too cold out. - Come on, she might--

- [Adam] Oh, hey.

- [Nate] Hi, sweetie.

- [Adam] How's it going?

- [Nate] Where you headed sweetie?

- [Woman] The Abaddon Hotel.

- The Abaddon Hotel, honey,

that place has been closed for a few years now.

- [Woman] I checked in already.

- Okay, when did you check in?

- [Woman] October eighth.

- [Nate] It's September 30th.

- [Adam] Let's just get her home, okay?

- Fine, we're going.

- [Adam] I'm sorry, are you okay?

You just, you look a little pale.

Do you need some water or something?

- Not so talkative, huh?

I guess I wouldn't be either if I was stuck

on the side of the road in the cold.

I think this is it. - It's all boarded up.

- I know, this doesn't look right.

- [Adam] Miss, is this where you wanted us to drop you?

- [Nate] Does this place look familiar to you?

- Hold on, miss. - Hold on, wait,

please don't get out of the car!

- [Adam] This place is boarded up, I'm not letting

her go in there. - I know!

- Hold on. - Babe, wait, hold on.

- [Adam] Miss?

Miss, do you need some help or something?

She went in.

- Adam, I don't like this. - I know, come on.

- [Nate] I don't think she knows where she is.

- I know, she's...

- Sweetie? - Hello?

Do you have a flashlight or something?

- Yeah. - On your phone?

- [Nate] Hello?

- [Adam] Oh, there she is, honey, can you?

- Adam, I don't think she-- - It's fine.

- I don't think this is her-- - Hold on.

Miss?

Hello?

- [Nate] Sweetie, we just wanna help.

[thudding]

Oh my god.

- [Adam] Miss.

- [Nate] Adam, I don't think we need

to be here anymore. - It's okay.

There's something wrong with her.

Honey? - I know, it's not--

- Listen! - Worth it.

- [Adam] You shouldn't be down here, okay?

Just come up with us and we'll help you,

whatever you need, okay? - So cold in here.

[dramatic music]

- Oh fuck! - Oh my god.

- Get outta here, go! - Adam!

- [Adam] Go, go, go, go, go, go!

[somber music]

[upbeat rock music]

- [Molly] And like, you've...

[laughing]

And so because I like him, now I'm okay with the tattoos.

- You say this like it's an accomplishment.

It's like, "Oh, I've never dated a werewolf before."

- No, I used to hate them and now I don't.

- She comes from the town from the movie Footloose,

it's real. - Well...

- We go to meet her parents, right?

And she grabs me and she's like, "Just don't dance."

- I did not say that! - Wait, what?

What did she say? - No dancing.

- I said nothing to do with dance.

I said, "Don't be weird."

- Is that better? - You can always be weird

in front of me. - Okay.

- But in front of my parents? - I feel a bout of weird.

- Oh no. - Coming on, the dance floor.

- Oh god.

- Well, it's okay. - Dance Commander coming out.

- Command that. - This is really happening.

- I know, yes. - Jess, you can do

whatever you want with that because I don't care.

- Oh, I'm not turning it off. [laughing]

I'm gonna use this. - I don't work 'til tomorrow.

- Uh-huh.

You're gonna regret this.

[slow rock music]

You okay?

- What, yeah, yeah.

- You look kinda sad.

- Nah, I'm fine.

What are you hoping to get outta this?

What, are you just looking to get

your niche company on the map?

- Oh, I think we're already on the map.

- Oh, pardon me.

- But this,

this story, if I'm honest, is like the most

interesting thing that's come across my desk in a long time.

- Otherwise you wouldn't be out here

in the middle of nowhere trying to sneak into a

rumored haunted hotel. - Mm-hmm.

Can I ask you something?

- Yeah, sure, shoot.

- What do you think really happened to Sarah Happle?

I mean, you don't think you interviewed a dead girl, right?

You can't believe that.

[slow rock music]

- Let me answer that one for you some other time when,

when the camera's not on me. - Oh, I can turn it off.

- Nah.

What, and miss this, are you kidding me?

[chuckling]

- Oh no, oh no, it's begun.

[laughing]

Wait, what do you think of Brock Davies coming with us?

- I'm not thrilled by the idea.

Wait, how does he even know that we're doing this?

I told him after the talk show that there was no way

I was gonna go back to the Abaddon.

- Okay, it's Brock, he knows shit.

- But it's-- - It's weird.

- No, it's a bad idea is what it is.

- Okay, well, I told him that, I said it's not--

- And? - Guess what he said.

Do your best. - Yeah, if you're looking

for the secrets that only ghosts keep,

you need Brock Davies. - Of course.

- Look, what doesn't seem to be sinking in

with you or Brock is that

this is dangerous.

The hotel is, look at me, the hotel is dangerous.

We have to be in and out, we don't have time,

we can't wait for Brock to be filming

his newest reality show. - I hear you,

I agree, I told him that.

- Okay, but do you believe it?

- I have to see things to believe them.

- Well let's hope

that you'll still be a skeptic at the end of this.

- We're back!

- [David] Guys, I was roofied.

- You what? - No he was not!

- By Molly? - No, no.

- Doing shots, wow. - She's taking advantage

of you. - Moved onto shots, guys.

- He got some shots. - That's terrifying.

[suspenseful music]

- Camera's up. - Got spare batteries?

- Absolutely. - Cards?

- Plenty. - Are they clean?

- [David] They are free of adult content.

- [Jessica] All right, just keep the camera steady.

- [David] Got ya.

All right, tough guy, what's the likelihood

of us actually getting in the back?

- Well, that's the best way in.

I know my way to everywhere from there.

I'll break that door down before I look for an alternative.

- [David] See, tough guy.

- Plus, nobody will be able to see us

when we're in the back, right? - Right.

- Yeah. - Right.

- Molly, are you okay?

- I don't like going into any Halloween haunted houses

let alone ones that have been abandoned for seven years.

- Well if you're uncomfortable right now,

how are you gonna do inside?

- I'll be okay.

[stammering]

- Look, actually, Molly, we need someone out here

to keep an eye on things. - No, no, I will be fine

in there, I'm just-- - But one of us,

one of us needs to do it, if the cops come

we need to know where they are, when they are,

so it's, we need you out here.

- Are you sure? - Yeah, absolutely.

We need someone. - Yeah, but it's 8:15

and we gotta go because the next shift is on its way.

- Okay. - You got this?

- [Molly] If you think it's best, yeah.

- We're on the walkies, okay? - Yeah, yeah, okay.

- [David] Look, we're gonna be fine, okay?

Like it's gonna be an hour, tops,

we're gonna steal us some Abaddon goodies,

we're gonna shoot right back out here to you.

- Come on, man, let's move it. - All right, I'm comin'.

Bossy.

- [Molly] Be careful.

- No dicking around, understand?

- Completely agree.

- If I say drop whatever you're doing and head for the exit,

you do exactly that.

- We're on the same page. - Do you think that

we're gonna have a problem? - No, no, no.

He's just saying that on the off chance

that something goes wrong, it's fine.

- If we're in any kind of danger,

you drop the camera and run.

- No, no, no, we're not a drop the camera and run group,

we get everything, the camera never goes off,

that is non negotiable.

- Fine.

You just remember your way out.

[birds cawing]

This one.

This is the door all the tour goers fled out of.

- Ah, well, there's no lock.

- [David] All right, so how do we get in now?

- Well it depends on what kind of sys...

- Okay, I was not expecting that.

- [Brock] It makes sense.

- [Jessica] Hi.

- We thought you were a no show.

- Are you kidding, I wouldn't miss this for anything.

This is my cameraman and tech department

all in one, Malcolm. - Hey.

Sorry, what makes sense?

- The door being open, they knew we were coming.

- Okay, well, do you think this is safe?

- You know everything I know about this place.

But that door being open doesn't change anything for me.

- I think it's a good sign.

The hotel wants to be heard.

It knows I can help.

Let's go in.

- [Jessica] Okay.

- Do not stop rolling. - You got it.

- Here we go.

- [David] Don't forget, the hotel wants to be heard.

- Shut up.

- [David] What the fuck is that?

[dramatic music] [sighing]

- [Officer] Ms. Fox, we're going to record this conversation

now if that's okay.

Can you tell us anything you remember of how

you wound up walking along on the side of the road tonight?

Do you remember anything from the last few days?

Ms. Fox?

You've been missing for five days now.

Can you tell us anything about where you've been

since last Sunday? [sobbing]

Ms. Fox.

[sobbing]

[screaming]

- [Brock] Lights out.

- Brock, we're splitting up right here,

the fastest way to the dining room is that way,

fastest way to the basement is that--

- Got it, we're gonna go that way.

Oh, and if you hear any noises, just ignore it.

I have a feeling this hotel

is going to be very responsive to us.

- Yeah, whatever, good luck.

Just don't fuck around though.

I still have no idea what happened to Diane.

- I think I'm gonna find that out while I'm here.

This way.

- [David] Good creak door, that's a good creak.

[clattering]

- You okay? - Yeah, I'm fine,

just watch your step in here, okay?

- Fuck, man. - Goddamn mess.

Yeah, well they left in a rush.

- [David] That's one way to put it.

- Yeah, just watch out it's, step there.

[clattering]

- Fuck. - Sorry.

- [David] Ugh.

- [Jessica] Wait, what is that?

- [Mitchell] It's Latin, I think?

- What does it mean, do you know?

- Porta means door but I don't know.

- [Jessica] I don't remember that from the docu--

- [David] Dude, seriously, we're not gonna talk about this?

I mean, the big harbinger of doom

on the walls. - Wait, wait, wait.

- [David] What the fuck is that?

- Sarah?

[sighing]

- [Mitchell] Let's keep going on, come on.

- Not gonna lie, for a haunted house company,

nothing about this tour seems especially spectacular.

- [Malcolm] You kidding?

I heard it was a killer haunt.

- Okay, seriously?

How long have you been waiting to say that line?

- [Malcolm] Had to wait to get it on camera.

- Oh, this is it.

This is where it all went down.

This is where Andrew Tully and his followers

killed themselves.

Isn't that right, Tully?

This is where it happened?

- [Malcolm] Whoa.

- Oh,

kay.

That's a little unsettling.

Were those there before?

- [Malcolm] Brock, I don't think so.

- Then I guess we should get to work.

On me.

[door creaking]

- [Mitchell] That's it.

- [David] And we're gonna go down there?

- Yep. - David, you go first,

your light's the best.

- [David] You've gotta be shitting me right now, really?

- No.

- [David] Okay, okay, all right, cool, I can do it.

- [Mitchell] Just watch your step.

- [David] That's awesome, guys, thank you.

Sacrificial lamb and all, that's great.

Smells like shit down here!

Oh fuck me.

- [Mitchell] Here we are.

Right, so it should be somewhere on the right.

Somewhere.

This one? [murmuring]

- [David] Oh, no shit.

Can you imagine being chained up in that all day?

- No.

- [David] Yeah, let's not, let's not.

- Jesus. - Just don't look at them,

just ignore them.

They'll just freak you out, here it is, this one.

- Is this it? - Yeah.

- [David] Here we go.

Whoa, mother lode.

- [Jessica] It's gotta be in here, right?

- [Mitchell] What else could it be?

- [David] I dunno, maybe all this shit

just belongs to Hell House, man.

- [Mitchell] Why would they bring all this shit

all the way from the city?

- [David] Gotta keep your shit somewhere.

- [Mitchell] Let's just get to work,

everybody just grab a box and start digging.

- All right, don't stop filming,

just set the camera down somewhere.

Mitchell, you should film too.

- [David] Filming famous last words.

- The reason we've decided to commune here

in the dining room is because

this is where Tully's cult committed suicide

en masse nearly 30 years ago.

Usually the strongest source for spiritual energy

is the last place the dead

had contact with the living world.

My planchette will help us get unanswered questions

from any presence here left unseen.

Andrew Tully,

this is your house, we only want to ask questions.

We are guests.

Andrew Tully, are you here with us now?

Not Tully.

Are you a member of Tully's group then

here at the hotel?

Not a member of the cult either.

Are you a member of Hell House?

Are you one of the people who've gone disappearing

since the opening of this hotel?

Spirit, are you lying to me?

Spirit, do you have anything to do

with the disappearance of Diane Graves,

Jackson Mallet or any of the people of Hell House?

[scraping]

- [Malcolm] Whoa, let's settle down a little bit, Brock.

- Spirit,

do you intend to do any harm to anyone here in the hotel?

Spirit will, oh shit! - What the fuck is that?

- Okay, we're leaving, we're leaving.

We don't want anything, we are going right now.

- [Malcolm] Brock, let's get the fuck outta here.

- Go, go, go, go!

[screeching] [static]

[somber music]

- There ya go. - What is this?

Okay, I think I have some

hotel blueprints, maybe?

Some sketches. - It could be important.

- [Jessica] The layout of the place.

- [Mitchell] All right.

- Ugh.

Well, they definitely have rats.

Gross.

- [Jessica] God, it's dusty, fuck.

Don't know what it is.

Lot of shit down here.

- Hey, were you guys aware

that they have whole steamed lobster

and a whole range of items but no nachos?

- Some people like real food, David.

- Nachos are real food and I love them.

- Can you focus? - I am focused on the nachos

that I'm eventually going to put in my belly.

- [Jessica] All right, well,

we'll get you some as soon as we leave.

- Awesome.

Even more awesome, I found tapes.

- [Jessica] What?

- All right, Abaddon Hotel,

From Construction to Completion.

Tully made a documentary. - That's good, that's good.

Yes. - All right.

- [Jessica] All right, that's a keeper for sure.

- Spooky. - I've got a tape too.

This could be interesting, it says, it's labeled

"Unaired Commercial." - Huh, we'll take it.

Take them all, I mean, if it looks remotely interesting

we should keep it. [walkie talkie beeping]

- [David] What the?

- [Molly] Guys, I'm here, where are you?

- What the fuck? - Molly, why?

That sounds like Molly. - I think it was.

- Yo, Molly, is that you?

- [Molly] Yeah, I'm upstairs.

- She's in, why is she inside?

- Why are you inside when you're supposed to be outside?

- [Molly] What, I am at the main entranceway,

what the hell?

- If she's at the main entranceway,

just go get her and ask her what the hell she's doing.

- I get nominated again. - Okay, if it's the cops

just tell her to stay calm, lay low, it's fine.

- Cops, okay.

All right, I'm leaving this here.

- Is that too hard? - All right, Molly,

I'm on my way.

Hold on to this, in case we need to get ahold of you guys.

- Just--

- [David] I just don't want to get shot.

- Just keep her where she is, okay?

It's not a big deal, it's just fucking,

you're not gonna get shot.

[gasping]

- Fuck, Molly. - Oh my god, you scared me!

What's going on? - Look, I'm sorry,

but what are you doing in here?

- What are you talking about?

- [David] Look, Jessica told you to stay outside.

- I know, so why did you tell me to come inside this door?

- Me? - Yeah.

- [David] I didn't tell you anything.

- You didn't radio me and tell me to come inside?

Yeah, you did, David. - No, I've been down

in the basement digging through like tapes from 1986,

I didn't tell you anything, I haven't even touched that

until you called. - You went on the radio

and you said, "Hey, Molly, we could use

"some extra hands in here, why don't you come inside

"and I'll open up the front door and meet you there."

It was you, why are you screwing with me, this is not okay!

- Look, look, Molly-- - Stop, I'm not kidding!

Why would you do this to me now?

This is bullshit! - I didn't do any of that,

I wouldn't do that, let me see.

Just let me see this, okay?

I'm gonna call. - It's not funny.

- [David] Hey guys, something very weird is going on here.

- David, are you there?

Are you with Molly?

What's happening?

- [David] Yeah, I'm with her, she said that I called her

and told her to come in.

- What do you mean you called her?

We told her to stay outside.

- David, listen, what door did she come in?

- [David] She came in through the front door, the tour door.

- And the door she used, is it closed?

- [David] Oh yeah, it's closed.

- Can you open it?

- [David] No, it's locked, I don't--

- All right, we're coming up right now.

Just grab whatever you can, we've gotta go right now.

- Wait, what's happening, what's wrong?

- She wasn't supposed to be in here, get it?

Just go, let's just go, just move, move.

- We're fine, nothing's happened.

Calm down, Mitchell, it's fine.

- Jessica, this was a mistake, okay?

There's something definitely wrong about this.

- I don't understand, you just need to calm down

it's fine. - Just think about it,

think about it.

Just how did you happen to get the evidence?

Someone knew that it was gonna draw us here

and it did, it worked.

Fuck, let's go, let's go, let's go right now.

- Okay, okay, I'm moving.

Okay. - Just forget about the rest,

let's just go.

- [Jessica] Can you just calm down a second?

- I am, I'm very calm, let's go.

- [Jessica] Yeah, right, okay.

- What's taking so long? - They'll be here, I promise.

See!

[door rattling]

- Shit. - Yeah, see?

Tight, now seriously, guys, who contacted her?

- Nobody did. - Exactly, that's why

we gotta get outta here right now.

We've gotta go back the way we came, I wedged that open.

- Wait, what about Brock?

- [David] Yeah, I kinda forgot Brock was here.

- [Mitchell] Fine, we'll go that way,

it goes to the dining room and then to the exit.

- Calm down, okay?

- [Molly] Jesus Christ.

Is that one working? - Fuck!

[doors rattling]

Come on! - Just calm down,

just keep going.

- [Mitchell] Here we go, come on, come on.

Ugh, this is nasty.

[door creaking] [yelling]

- What?

- [David] What?

[door creaking] [crying]

- [Mitchell] Oh no.

- [David] Shit, is that Brock and Malcolm?

- [Molly] What the fuck is happening?

- This way's the fastest way to the exit, go!

- Go! - Go!

- Just go! - Just go, okay!

Go! - Go, go!

- Let's go. - Where's the exit, man?

Come on.

[gasping]

[screaming]

- [David] Jesus Christ how did that get there?

- Oh my god! - Fuck, how is that there?

That was in the basement. [screaming]

- That's our way out, we gotta go out that way.

- [Jessica] I'm not going near that fucking thing.

- Oh shit, man. - It's just a prop.

- How did it get up here? - It can't hurt us.

It doesn't move.

Okay, let's go.

Oh fuck!

All right, no. - Come on guys, move move!

[door slamming] - Fuck!

- [Mitchell] No, no!

- [David] Go, Molly, go!

[crying]

Go, Molly, come on!

[gasping] Fuck!

What is that? [gasping]

- Go, go, go! - I don't understand.

- I don't wanna be in here.

Please get me out of here. - Come on, Mitchell, come on.

- Mitchell! - Come on!

- [Mitchell] The door, there's no knob!

- [David] What do you mean there's no fucking knob?

- There's no knob! - All right, all right.

Jess, I've got an idea, we break it down.

- With what? - With ourselves.

Don't stop filming!

We got this.

[thudding] [groaning]

Fuck, that sucks.

Yeah, I'm good. [door creaking]

What is that?

The fuck, okay.

What is that?

Jess, hand me the camera.

Okay, okay, okay.

[gasping]

[creaking]

- Upstairs, let's go upstairs.

Let's go upstairs. - That's a good idea.

Jess, Jess, we have to go, come on,

we have to go, go, go, go! - Okay.

- Come on, let's go. - Come on, come on, come on.

- Come on. - Come on!

How are these lights on?

The power's supposed to be out!

- Stop! - Just ignore them,

just keep moving. [gasping]

[screaming]

Fuck. - Jesus.

You okay, you okay? - Yeah.

[crying]

- [David] Where the fuck are we going?

Guys, guys, guys, guys, look.

Look, we can't go up there.

- Why the fuck not?

- [David] Because I saw your documentary.

- Where else is there to go? - Look, this is the only way.

- Okay. - Go, go.

[gasping]

- [Molly] What, is there something wrong with this room?

- [Jessica] Oh my god, Mitchell, Mitchell, are you okay?

- I have to go in there. - No.

- I have to go. - You can't.

You can't go in there.

No, no, no, Mitchell, Mitchell, we have to get out of here!

- [Mitchell] Down there, there's a way to the balcony.

- [David] Let's do that then, okay?

Come on man. - Go.

- [David] No ruminating.

No, no, no, no, no.

No, guys, come on.

This is not okay.

This is.

[gasping]

[screaming] Oh my god!

Oh my fucking god, oh my fucking god!

[screaming]

Fuck, let's go in here, let's go in here.

Go, go, go, go!

- David! [screaming]

- [David] Go, quick.

- There's no lock, there's no lock!

- Get me something. - Here, hold it,

hold it, hold it, hold it shut.

Hold it shut.

[groaning]

Get out of the way.

[groaning]

[gasping]

- Mitchell, Mitchell.

You knew something was wrong when you fucking heard

Molly on the radio, what is going on?

[thumping] [screaming]

- Let's talk a little bit about Alex Taylor

who's become a controversial figure

since the release of the documentary and even before.

Officials from Rockland County and Abaddon say

that he was never given permission to use the hotel.

- We didn't.

You know, I remember several instances where Alex

met with my colleagues and they cautioned him away

from the hotel, gave him other options.

- They cautioned him against or denied him access outright?

- Well, legally speaking,

I don't think they were allowed to forbid him

from using the hotel, so no.

- Brock, from what you've seen,

have you been able to draw any conclusions of your own?

- Oh,

for sure.

I mean, Alex

has a certain personality trait that's common

among people who start with nothing

and create, build their own businesses.

They are willing to take risks, they gamble.

And when they lose those gambles,

they are willing to double down

and compound their risks.

Things can spiral out of control.

For Alex, things were definitely spiraling out of control,

you could make the argument that Hell House

was not doing well financially

and nobody else in the house really knew about that,

well, maybe Mack, but

I think

something darker was at play here,

something more nefarious.

Something was driving him, something compelling him

down a path toward his demise.

- Well that still doesn't explain why

he chose the hotel out of all the other

possible options available to him.

- I have a theory.

I believe...

I believe he was contacted by the hotel.

- [Suzy] How do you mean, the hotel's been closed for--

- No, I don't mean someone from the front desk

called him to confirm a reservation.

I believe there's something within the hotel that...

Orchestrates events.

A chain of events that plays out like

Almost like dominoes, cause and effect.

- [Suzy] What's the effect?

- Whatever happened on October eighth, 2009.

It was set in motion

long before that night.

The leaked transcript, how did you receive it?

- I got it in the mail.

- Any idea where it came from?

- No, it was anonymous. - Exactly, so,

so you get an anonymous tip

and you contact me and then,

and then we get your crew here

and then in a few days we're all trapped in here.

Don't you see?

So it was-- - So you thought this was

all manipulation, then why did you let us--

- I didn't know,

look, I-- - You should've stopped us!

- No, I honestly didn't think that we were being baited

until I heard Molly on the radio, okay?

Why would I even go in the hotel if I know

I was being baited? - Okay, okay, we cannot--

- Fuck! - We cannot stay here.

Mitchell, we need to go and make a run for it.

We are sitting ducks! - Did you not see

the same thing I saw out there?

- Check your phone again. - There's no--

- Just try.

- Try, I tried a million times, there's no goddamn coverage.

I have nothing, okay, look, I'm trying.

I'm trying, there's nothing, nothing.

There's nothing, there's nothing, okay?

- Wait, wait, what about the walkie?

Why don't we try a different channel?

We didn't try that yet.

Okay, okay, okay.

- Maybe someone's gonna get it.

- Okay, okay.

[beeping] Okay, okay.

[beeping] Let me try it.

Okay, different channel.

Hello, can anyone hear us, hello?

[beeping]

Fuck, okay.

Can anyone hear us, hello? [beeping]

- [Man] Yes, yes, I can hear you.

- Hello, we're stuck in the Abaddon Hotel,

can you please help us, please!

- [Man] Yes, we have you checked in for October eighth.

Just for you. [gasping]

- Oh my god.

[crying]

Fuck.

- Hey guys,

you're gonna want to check this out.

[groaning]

Like I've been digging through all these old,

crusty-ass high eight tapes

and then I come across a couple of these nice,

shiny, new mini-DV tapes

and on one of 'em you're not gonna believe

who pops up, like seriously, get over here, get over here.

All right.

Boom, let me freeze frame it.

- What the,

what the fuck is he doing on this tape?

- Wait, wait, could their tapes

have gotten mixed up with Tully's?

- No, no, no, no, these are from the tapes

that we found in the basement, okay?

There is literally no one else from Hell House

on these tapes. - What are they saying?

Have you listened? - They're having some kind

of meeting, I can't really tell yet.

- Who was meeting who?

- Alex and then someone else that I haven't even seen yet.

Like, okay, look at the hard-coded date.

That's April, okay?

That's six months before the fucking tragedy.

- Alex, he. - Six months.

- He'd always given the impression that--

- That he had never been there before.

- Right.

- Then what the fuck, we have to watch this.

- All right, all right, hold onto your butts.

[static]

- And where the fuck have you been, huh?

I've been calling you for weeks

and they go to voicemail.

I can sue you, you know?

- [Man] You knew it was high risk, I told you

something like this could happen, it was bad luck.

- Bad luck?

No, no, no, no, no, but I lost a fortune on that, okay?

What the fuck am I supposed to do now?

- [Man] What are you supposed to do?

I don't know, Alex, take some responsibility?

- No, no, no, no, you reached out to me, okay?

You called me, why did you do that?

Were you trying to scam me from the beginning?

- [Man] You're obviously business savvy,

Hell House is a huge success in the highly-successful

Halloween market like New York.

- Yeah, it was.

It was.

- [Man] What do you mean was?

You've still got the business.

Alex, you didn't.

You invested the company's money and not your own,

oh wow, did I have you pegged so wrong.

That's some tough explaining to your pal, Mack.

Say, Alex, where did all our money go?

Well, Mack, it's gone, but on a brighter note,

Rockland County is really lovely this time of year.

Wish I could be a fly on the wall for that.

Relax, Alex, I think I might be able to help you.

- How?

- [Man] What do you think of this place?

- This hotel?

It's a dump. - Well, sure,

it hasn't had guests in a few decades,

but what do you think about it?

[static]

- I don't know, it's kinda freaky.

Easy to get lost.

I mean, who makes it that hard to find a dining room?

- [Man] Fun, right?

It's been in my possession for a very long time

and I've been looking to do something

to put it back on the map.

[static]

- Something like what?

- [Man] An attraction of some kind.

A haunted house, perhaps?

You could help me give this hotel a second life.

[static]

[gasping]

- [Molly] Are we all gonna die in here?

- Molly, no, no, no, no.

Just stay calm, we are gonna figure this out

and then we're gonna get out of here, I promise you.

Okay?

I didn't think.

I didn't know.

[crying] There was

so much blood.

- [Officer] Whose blood?

Where did you see the blood?

- His blood.

Her blood, my blood.

They laughed and laughed and laughed and...

Do you know,

in the Bible they call it the lake of fire.

- [Officer] Can you tell us who you were with?

Where have you been the last few days?

- Just conserve your energy. - For what?

What's the plan?

I mean,

we have to make a run for it, eventually,

I mean we have to, didn't you say there was a balcony?

- Yes, yes, there is a balcony, I saw it on the tapes.

- Then that's where we have to go.

- Yes, eventually, just not right now.

You saw what's out there.

- Fine.

- If we get outta here,

I want a vacation.

A whole week where you don't get to call,

text or e-mail me

and I can just sit on the couch

and binge watch So You Think You Can Dance.

Is that a deal?

- Yeah, it's a deal.

I'm sorry.

- Shh, shh.

- [Man] Sleep sweet.

[screaming] - Shit!

- Fuck. - Who turned off the lights?

- David? - Damn it!

- [Jessica] I can't, where are you, David?

- [David] I'm over here by the camera.

- Who turned off the light? - Okay.

- [David] Just crawl towards the sound.

Okay, okay, okay, I told you. - What's wrong with it?

- [David] There's nothing this camera can do

that I can't fix. - Come on!

- I'm working, Jess, and...

- Come on. - Boom!

Boom, got it.

Got it, see? - I'm sorry, I'm sorry.

- What did it tell you, got it.

See, I told you. - Okay.

[gasping] What the fuck?

- What, what? - Why is the door open?

- [David] More importantly, where the fuck is Molly?

- Molly? - She wouldn't

just get up and walk the fuck out!

- [Mitchell] She wouldn't get out of this room by herself.

- Molly! - Stop!

- Hey, Molly, come on! - Stop, stop, stop.

- All right, all right. - Listen.

I'm chill. - We'll go get her.

We'll go get her. - Jessica, tell him I'm chill!

- Okay, he's okay. - Fine, you're chill,

you're chill, I get it. - He's okay.

Okay, calm down. - What is that?

That wasn't here before.

- Mitchell, Mitchell, what is it?

- [David] Mitchell?

- What is it?

- [David] Jessica, what does it say?

- It says,

"Lovely Molly's in the basement with her friends."

- [David] This basement, the basement here?

- I don't know, that's what it says!

- No, come on! - No, no, no.

David, stop it! - Listen.

- We're gonna find her. - I just want to get her back.

- Okay, we know, we all want her back, just be calm.

- I promise you we'll go get her we just--

- You promise me, Mitchell. - Just don't, I promise,

I promise, just don't be stupid about this, okay?

I'll go first

and Jessica, you go next

and then you get our backs, okay?

- Okay, we're gonna get her.

- [David] Okay.

- We have to go slowly. - Come on.

- Slowly, shh, be quiet.

- [David] Going to the basement.

Going to the basement.

We're going to the fucking basement.

[gasping]

Watch your head, Jess. - Okay, okay.

[heavy breathing]

[gasping]

- [Mitchell] It's clear, it's clear, let's go.

- Where are you? - It's clear.

- Stay close, stay close.

[gasping]

- [David] What the fuck?

How are these lights working?

[gasping]

- [Mitchell] Let's go.

[whispering]

Okay, okay.

[door squeaking] [yelling]

- [David] Fuck.

- This way.

- Do you see her? - Shh, shh.

[crying]

- [Jessica] What, what?

Oh my god! - What, what?

- [Mitchell] Keep it together, Jess, just keep it together.

- [David] Oh fuck, no, we have to go and get her!

- No, no, no, David. - Go get her now.

- Just be careful, we don't know what the fuck is in here.

- Okay. - Just take it easy.

Just take it slow, I've got your back but take it slow.

- [David] All right.

Jess? - Yes.

- Just take the camera. - Okay, okay, I've got it.

Okay.

Come on, Mitchell, let's do this.

- [Mitchell] Hold on.

You go slow.

I got your back but go slow.

- [David] Molly.

Molly.

- [Mitchell] Easy.

No sudden moves.

- Fuck, something's coming! - Molly?

- [Jessica] Mitchell, Mitchell, hurry!

- Molly, I need you to get up. - Hurry, hurry, it's coming.

[screaming] - Wake up now.

- [Jessica] Hurry, it's coming, it's coming!

- Oh my god! [booming]

[screaming]

- [Mitchell] Molly, come on, you're all right,

we've gotta get you outta here!

- [David] Go, go, go, go, get out, get out!

- Go! - Come on!

Come on, get out, now!

Go Jessica, go, go, go, go!

[yelling] [screaming]

- Oh my god! - David!

David! - Get out of here!

Go, go!

Molly, where are you?

Fuck.

Oh my god, where are you?

I don't know how to get out.

Molly run, run, Molly, run!

[crying]

Quick. - Get the door.

[gasping]

Fucking open!

- [Jessica] Stop it, stop it, it's locked,

it's locked, fuck.

Molly, where are you? [screaming]

- [Molly] Oh my god!

[screaming]

- [Jessica] Stop, please, no!

[gasping]

Come here, where is it?

- Where is it? - Do you see it?

Shh, shh.

Molly?

Where are you, Molly? - I'm here.

- [Jessica] Look, where is it?

[static]

- We have on the phone right now Jessica Fox,

Editor of the new and controversial website The Inside,

she'd like to weigh in on the topic of the Abaddon Hotel.

Jessica, you're on air, go ahead.

- [Jessica] Hi Suzy, thanks for this opportunity,

I wanna start by saying-- - Whoa, whoa, whoa,

wait a minute, Jessica Fox?

You're the one that's been writing about

the hotel recently, right?

Saying how you know for a fact

that Tully was some kind of boogey man

and that the town has been complicit in some ways?

This is why people laugh at internet blogs,

lies under the guise of journalism is fake news.

You had the chance to be the next Buzzfeed but instead,

you're chasing ghost stories and it's gonna be your funeral

because there's nothing-- - I have physical proof

of Tully's involvement in the disappearance of his guests,

the town's involvement in the subsequent coverup

and the link to Hell House.

- Then why aren't you typing away in your Brooklyn

studio apartment instead of calling in here?

By all means, break the case wide open.

- [Jessica] I intend to do just that.

If you're on the town's payroll,

I would resign right now if I were you,

things are going to get very messy for that little town.

- What is the purpose of this call, really?

If you had proof, you wouldn't be calling here

with empty, vague threats. - Jessica, do you have proof?

Do you plan on revealing it?

- [Jessica] Mitchell, if you want to know what happened

to Diane, then come and find me.

- I'm not sure what she was alluding to

but apparently she knows where Diane is.

- This is what we run into in our town, Suzy.

We have limited resources

but we have to spend money that we don't have

guarding the hotel, defending ourselves from slander from

Mitchell here and the internet crazy Ms. Fox.

[gasping]

[clattering]

[gasping]

[running footsteps]

[gasping]

- Yeah, I'm just nervous.

I don't know, Mom, it just feels like Alex

is just, you know, keeping something from us.

Yeah, I know, once we get through opening night

it'll all be downhill from there.

No, Mom, I already told you, I'm dead already.

He took us to Hell and Mitchell's coming with us.

[ominous music]

[yelling]

[wind howling]

[creaking]

[gasping]

- Look, we can talk about this for days on end,

the only thing I can assure the audience is that

I did nothing to alter those tapes.

I think that the hotel is very dangerous

and everyone should stay away from it.

It's not a joke,

okay, this is real.

This is real.

- [Suzy] Do you intend to stay away from the hotel?

[gasping]

- I do.

Even though I wanna know what happened

just as much as anyone else, probably more.

- [Suzy] Because of Diane?

- Yeah.

Yeah, because of Diane.

But also

because of the genuine curiosity

that got me into documentary filmmaking in the first place.

But I have no intention of ever entering the Abaddon.

- Thank you, Mitchell.

You set a fine example by saying that.

- Well, I think we'll end on that positive note

and some agreement.

Thank you to my panel for the lively debate

and thank you for watching the show.

Next week we'll continue to focus on the Abaddon Hotel

and I'll be interviewing wealthy tech entrepreneur

Russell Wynn, who claims he's been receiving

anonymous packages containing unseen video

from the Abaddon Hotel.

And he's been quietly putting it all together.

And we'll hear about that and his plans

to relocate his popular site-specific play Insomnia.

[upbeat music]

- [Director] And we're clear.

- [Brock] Hey man, you serious about that?

- [Mitchell] About what?

- [Brock] About not going back to the hotel.

- [Mitchell] I think so, why?

- Because I know you're lying to my face.

You'll come back and if you're trying to get to the secrets

that only ghosts keep, you need Brock Davies.

- I'm never gonna set foot there, Brock,

you should stay away as well.

- [Brock] Okay.

- Monica, can we re-do the intro?

I felt like some of it was a bit stale

and I wanna change some of the lines in the beginning.

- [Assistant] We just got a call from Arnold Tasselman.

- Yeah, he just left, what did he forget?

- [Assistant] That's the weird thing, he called to apologize

that he missed the interview, he said he was in

a minor accident on the way here and he's sorry

that he missed it, he couldn't call until now.

- What do you mean he missed the show?

I just interviewed him. - I know,

it sounded just like him, he said for the last two hours

he's been dealing with the police

and the insurance and this woman that he hit.

- The fucking same Arnold Tasselman

who was just in the studio 30 seconds ago?

[crying]

- Mitchell. - Shh, shh.

- Untie me. - Shh, shh.

- Mitchell. - Oh my god.

- [Man] Leave 'em be.

- What are you doing here?

What the fuck are you doing here?

- [Man] You're having trouble putting this together?

- But this can't be.

You're-- - I'm what, Mitchell?

- You're dead, you're dead.

- For a long time, now.

Pick up the camera.

Pick up the goddamn camera.

Nice to meet you,

I'm Andrew Tully

and you are a guest in my hotel.

A permanent guest like my friends here?

We'll see.

Oh have you ever met the Hell House brain trust?

This here is Mack,

his friendship to Alex

doomed him long before they ever opened Hell House.

We almost lost Tony if it weren't for Mack here

spilling the beans at just the right moment

and this is the most important piece of my domino set.

Alex Taylor.

I was surprised how easily you were manipulated by me.

Almost as easy as Alex, right on television.

All I ever wanted was for more guests.

♪ Be my guest

And you all came.

Just like Alex.

Just like Diane.

Don't you dare drop that camera!

[gasping]

Now,

I have to warn you,

this is gonna be very difficult for you

and you are gonna have to make some tough decisions

on how we keep the dominoes falling

and our hotel open.

Oh,

you were under the impression that we closed the hotel.

The hotel has never been fucking closed!

When we died here 30 years ago,

that was just our grand relaunch!

Alex here, well he thought he was opening up Hell House

in an abandoned hotel, well,

we never left.

The hotel has always been occupied.

Our lake of fire

that we have chosen to enter,

not been cast away to like your Bible would say.

That's right, Mitchell, I found the gateway.

And it's glorious.

Play us a song.

[slow piano music]

[gasping]

- [Mitchell] Diane?

No!

[crying]

- No, no, no, no, no,

we're not done here, Mitchell, you have more to do

before you can give up, there are choices to make.

Will someone help him with that damn camera!

Mitchell.

Tell me who leaves here today.

In order to keep the dominoes falling,

one of you will get to leave.

Now, who is it gonna be?

We thought that you wouldn't be too eager to choose

so I'll take someone out of the running quickly.

We are legion, we are servants of the snake

and we will release someone into the lake of fire.

- No. - No, please no.

- No, no. - No!

[screaming]

- Molly, no, Molly!

No, Molly!

Molly!

No, no! [gagging]

[crying]

Molly.

- [Tully] Oh, they chose lovely Molly.

Oh, we definitely want her.

The perpetually scared make for the best guests.

- [Jessica] Please stop.

- It won't stop,

it never stops,

we go on and on into eternity.

Now Mitchell!

Pick who gets to walk out of my front door,

it's not my choice, I already made my choices.

[crying]

I know what comes next.

And it begins with what happens in this room right now.

Much later, way down the road,

someone will come to this hotel

just like Alex did and try to open it up again,

I know this already, just like I knew

that Jessica would come with one anonymous package.

I have been sending this unfortunate person videos

including this one here.

I see it now, Mitchell,

it's gonna be bigger than Hell House,

more souls for our lake of fire.

That series of dominoes begins

now.

[slow piano music]

- [Jessica] No, please, you don't have to do this,

please stop, no, no, no, what are you doing?

No! [crying]

[screaming] [slashing]

- [Officer] Ma'am if you don't tell us anything

we won't be able to find the people who did this to you

and the people you were with.

Can you give us any nearby landmarks where this happened?

Was it near a park?

A restaurant?

Do you remember a road name?

[sighs]

[beeping]

Yeah.

Okay, I'll be right there.

We're going to need to call-- - The Abaddon.

- [Officer] What?

- The Abaddon Hotel.

That's where I was.

You should go there.

[somber music]

- What are you doing, what is this?

- Protecting myself, I want this recorded for insurance.

- You mean for blackmail?

- Blackmail?

No, Alex, I want it on the record

that I had nothing to do with this.

[sighs]

- So you're looking out for yourself, I get it.

Is it on? - Yeah.

- Great.

Mack had nothing to do with this.

- Just tell me what happened.

- Dude, it's fine, we have a way out now, okay?

- A way out? - Yeah.

- Alex, you lost everything.

How the hell do we have a way out?

- Have you ever been to Rockland County?

Little town called Abaddon?

Just north of the GW, right along the Hudson?

- No, why would I have ever been there?

- Because there's a hotel there called the Abaddon Hotel

and it's completely vacant.

- And?

What do you want, start a bed and breakfast?

- No, Mack, that's where Hell House

is gonna get its second life.

[somber music]

Look the rest of them are gonna be here any minute, okay?

I just need you to promise me you won't tell them anything

about what happened.

Nobody can know why we're leaving the city.

All right, we go to Rockland County,

we do our haunt there and if we're successful,

we'll be back in New York next Halloween.

- Have you even looked at the contract?

- Yes I've looked at the contract.

- I feel like you probably got us into something

we're never gonna get out of.

- Would you just trust me, Mack?

This hotel's gonna be perfect for us.

I just need you to back me up, all right?

- They're here. - Dude, just,

I'm serious, back me up, okay?

Just do this for me.

- Hey. - What's up?

[somber music]