Original subtitles

- Hey everyone, this is Stephen Cognetti,

"Hell House" writer/director.

Thanks for checking out the director's cut

of the original "Hell House" film.

The difference between this cut

and the one released years ago

is that this is my first cut of the film,

almost exactly as it was intended,

going directly by the script.

After multiple screenings with people involved in the film,

we cut some scenes, rearranged others.

This cut has everything back in place.

So you'll see scenes that were

deleted from the original cut.

We've also added in a lot of fun extras

that I hope you'll enjoy, like a behind-the-scenes

documentary, the original scouting footage I took

at the Abaddon Hotel, almost a year before we began filming,

auditions of the "Hell House" gang,

and other stuff like that.

So I hope you enjoy, and stay tuned to our Facebook page

for news regarding "The Abaddon Tapes."

Thanks everyone.

- 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.

- 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.

- 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.

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've been waiting on line for about five minutes now,

and I mean, 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.

- Whenever people ask me what happened in Hell House,

I tell them, "You watch the video, you tell me."

- How many people are they letting in at a time?

- I don't know.

- 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.

- Was that supposed to happen?

- I don't think so.

Technical difficulties on opening night.

April, where are you?

- What do you want?

Oh yeah, you bring in a fuckin' video camera, huh?

Let's go, let's go, let's go!

Hurry up!

April, get outta here!

Go, go!

Go, April, just go!

- Oh my god!

April, April!

- Nobody knew what to make of the YouTube video,

and then the 911 tape leaked, and that just

confused people even more.

- 911, what's your emergency?

- Hello?

Hello, I'm at the Abaddon Hotel,

can you please send some police?

- What's the problem, Miss?

- I don't know!

Into the wall!

- Someone's hurt?

I'm sorry, I can't hear you.

- Please hurry, I don't want to--

- 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.

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.

- 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.

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.

I've seen a lot.

I've been to a lot of scary places in my career,

and there was no way I was going down those stairs.

No way.

- Do you think we need more light?

- Yes, princess, I got it.

- Thank you.

Can we have more than that?

- I don't even think she's coming anyway.

We're doing all this work for nothing.

- She's coming. - Really?

You don't think this girl's already dead?

- No!

- I mean, I'm just saying, if something like that

happened to my friends and family,

I'd probably be in a ditch somewhere.

I'd probably put a gun in my mouth and shoot...

- I don't think she did.

- Guys, can we--

- She's definitely not here, though.

In Abaddon.

- I mean, we don't really even know what happened

in that haunted house, so she could be anywhere.

I mean, she could be in China, she could be in Australia--

- She could be 10 minutes away!

So why don't we finish getting ready, huh?

Great, thank you.

- Cheap-ass hotel waiting for somebody that's never--

- You get to spend some time together, right?

- Apparently-- - Fuck you.

- Chatty Cathy over here.

- Hey, don't worry, this is gonna be your big break.

- Hello?

Yes, we're here.

Second floor conference room.

Left out of the elevator.

Great, see you in just a second.

- Fuck you. - That was fuckin' her.

- No way. - It was fucking her.

She is on her way.

Yeah, yeah, apology maybe?

Just don't say anything stupid.

- What am I gonna say?

- Like, anything you normally say.

- Thank you. - Okay, guys.

- Hello, Sara.

Thank you so much for coming tonight.

Would you please state your name and age for the camera?

- I'm Sara Havel, 30 years old.

- And you were a member of Hell House

since its beginning in 2002, correct?

- Yeah.

- And since the night of the tragedy,

where have you been, Sara?

- I've been staying with family, mostly.

- Have you been coping okay?

- I'm in a better place now.

- 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.

- Why?

- If people knew what really went on inside of that house,

it would've been hard for them to deal with.

- Well, I guess...

I guess that's what we're all wondering,

what really happened.

Can you help?

- What do you want to know?

- 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.

- How did you get these and not the police?

- I got to them first.

- Why didn't you give them to the police?

- You'll see.

- Mitchell?

Mitchell's gonna go 'head and just start

looking through those, if that's all right.

Sara, have you watched those?

- No.

- So you have no idea what's on them?

- Hell House.

- C'mon, it's a recent film, you can get this.

- Post apocalyptic, set in New York.

- You can get this.

- That's good.

- C'mon, it came out literally a year ago.

- I can't, I'm drawing a blank.

Last clue.

- All right, Will Smith.

No, "Hitch" was not-- - I love "Hitch."

- Shocker.

- It's funny!

- It is, and I stand behind it.

Paul, don't knock it, it's a good movie.

- 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.

- No, not even close, c'mon.

- So, have we all just sort of given up

on navigating, guys, am I doing all of it?

- 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, all right?

- And in today's edition of Why Are Mac and Alex

Still Fighting, Mac and Alex are still fighting.

- They're really mad.

- It gets so passionate.

- Is that what he's like in the sack?

- Guys, I'm really hungry!

I'm sorry!

- Do you want to pee or anything.

- Yeah, can we pee out there in the grass, please?

- I mean, tell me, tell me this, all right,

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.

- Is that really it?

- This is it.

- What a shit hole.

I love it.

- Are you kidding me.

I got it.

This is good.

Yeah, let's stop here.

- Whoa!

Seven years of bad luck for breaking that.

- Oh this is good, Paul, are you getting this?

You can work out on that one.

We'll set you up, and we'll have a tour guide come through.

- Here we go.

- Exciting.

- Hell House 2009.

- Oh my god.

- Yikes.

When you said abandoned,

I thought you meant recently foreclosed, not condemned.

- I don't even know how you'd run power

to a place like this.

- Tony, if we're gonna get power,

it's gonna be because of you.

You've got the confidence, you've earned the confidence.

Look at this old ass book.

Oh, did you hear the pages?

Oh!

- 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, man.

- This is pretty creepy, man.

- It smells like a sweater.

- A sweater?

- An old sweater. - You get that?

- Oh, the foyer.

- Dude, what is the deal with this place?

- When did Fletcher say the guy closes?

- I don't know, maybe, it has history, all right?

It's not that important. - Maybe this is a bad idea.

- It's not a bad idea, okay?

Look at all this free production.

And you smell that? - Yeah.

- Hun, what did it smell like to you?

- I think it's probably dead rodents under the baseboards.

- It smells like money, bro.

- Thank you, Paul.

Why is it Paul that's always on my side?

- We're not gonna have time, this is...

- I have no doubt we can get this

up and running by Halloween.

- All right, 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. - Wah-wah.

Dude, dibs on manning the haunted bar.

- Yeah?

I'm sure house would love that.

- What do we got in here? Anything good?

Nothing that matters.

- Yeah, not good.

- A little ripe, huh?

I fuckin' love this place.

- Yeah?

What's your wine of choice there, hot shot?

- 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 just been cooking.

Ugh.

- Dude, wine tastes better with age, you know that.

- Yeah, not with heat, though.

- You're so smart, Tony.

- God damn, this must be where

the last supper took place.

- What's up, guys?

Welcome to the dining room, I'm guessing?

- If that's what you want to call it, sure.

What do you got there?

- Oh, it kinda looks like Sara, huh?

- 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--

- I don't know.

- There's no fucking way we are staying here tonight.

- I wonder if they used this place for anything.

- I don't know, bro.

- Look at this.

Weird.

- Creepy.

What the fuck was that?

- I don't know.

- Tony, Paul, get your asses down to the basement.

- On our way.

Just turn the camera off.

You're gonna break your neck on the stairs.

Check it out.

More numbers.

It's weird.

Watch your step there, Fellini.

Holy shit.

This place is amazing.

- 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.

- All right.

- They're gonna come through, our girl's gonna be

chained up right here, she's gonna be screaming like crazy.

All right, she might actually even be topless

for you, brother. No, I'm kidding, that's not gonna happen.

- 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.

- 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.

- I know, I know.

We were getting it upstairs too.

- Dudes, what are all these books?

- This one's a bible.

- That's a nice touch.

- That's definitely a bible.

- Yeah, there you go.

- Oh, all right, cool. - Small bibles.

- That's so fucked up.

- Guys, this is kind of unsettling, right?

- 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.

- Didn't Fletcher say this place

has been closed for 30 years?

- Okay, why was it closed?

- Guys, their pipes burst.

There was a lawsuit.

We're building a haunted house, okay?

This is half the work already done for us.

I don't know what you guys are freaking out about.

That wall is perfect.

- Well, we could look on the bright side.

We get free props out of it.

What size are you?

- 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 overnight.

It was when we started sleeping there

that things started to change.

- Change how?

- 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?

- Oh, yeah, there we go.

- And you were like, a werewolf or something.

- Oh, the Disney princesses, yeah.

- Shh, shh! - Oh, Jasmine.

So they all come through, and me and Mac were back there,

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?

Something.

- I think I was like the puss slayer, or somethin'.

- They passed Tony. - Dude what?

That's the last thing you've ever been.

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.

- Princesses, man.

- The fucking princesses!

- Yeah.

- Is that the whole story?

- Well, that's the whole story on my end.

- Yeah.

- Queens was actually pretty fuckin' sick,

if you think about it.

We actually had some good motherfuckin' times at Queens.

- That guy that played Lucifer was that guy from Queens,

he had a really thick, he'd be like,

"Yeah, welcome to Lucifer's cabin."

- Oh my god.

Did you know I had to the fire that guy?

- We got so many bad reviews on that guy.

- Dude, I had to fire that guy.

He almost kicked my fucking ass.

- We keep in touch.

- Fuck you! - What?

- I keep in touch with that guy.

- That guy was an asshole. - He's decent, man.

- You buy drugs from him, don't you.

Keep the camera running, I want to say something.

- Oh my god.

- 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, right?

- 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--

- You can't beat New York pizza, too.

- And you're in a fucking forest.

- Man, say whatever the fuck you want

about Queens haunts, we never had to sleep there, okay?

- That is a good point.

- All right.

I'm trying to get you motivated, all right?

Thank you, honey.

- I appreciate it, buddy.

- You can turn the camera off now.

- Where is it?

Boom! - Ta da!

- 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?

- 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 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.

- 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?

- He's got a point.

- Sure, sure.

All right, Tony.

- Good idea, dude.

- Way to go. - All that work, done.

- What's going on here, man?

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.

- How's it hanging, sweetheart?

- Just put the camera down for a sec and help me out.

- 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.

Technically I'm your boss too, so camera down, now.

- All right, it's off.

Grab her legs and move her right up.

There you go.

- Ally-oop, get fresh.

- Dude. - No problem there.

- Jesus Christ.

How long has it been since you've been on the ground?

Drop her down? - All right.

- There she is.

In all her glory.

- Alex, you wanna come down and check this out?

Yeah, Paul, can you go upstairs and get Alex?

- Just use the radio, man.

- It's not working, go upstairs and get him.

Paul, what did I say?

- Hey, what'd you wanna show me?

- Hey, meet Wendy.

- Wendy?

Baby. - Darling.

Higher.

- That's what I said.

- Right? - You didn't say that.

- Listen anymore.

- Ladies and gentlemen, this is my buddy Hector.

Me and Hector are gonna play a little song for you.

Are you ready, Hector?

Hector, it's okay.

Two, three, four.

- 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 sheba...

Sara?

What's up, dude?

You cool?

What, are you sleepwalking?

Fucking weird.

That's it for me.

See you in the morning.

Sleep sweet.

- I'm more in line with 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.

- 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 outta here.

Can you stop, seriously?

- 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?

Who's here?

- Joey, Melissa, Sam.

- Joey, Melissa, Sam.

Joey's clown, Melissa's, okay, Joey, Melissa, Sam.

Get the...

- That's Paul.

Paul's gonna be filming.

Say hello to Paul, everybody wave to Paul.

Hi, Paul.

- 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.

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, actually made it out alive.

Of course, we all know how that ended.

- Hey, Paul, what's going on?

- Hey baby, how you doin' girl?

- Getting a little nervous, so if you wouldn't mind.

- What are you nervous about?

Taking your top off?

- Oh my god, no.

Thanks for a lot of help, 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,

he's gonna be down there 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.

- Plus I'm trying to catch a ghost.

- So you have heard the rumors about this place.

- There are no rumors about this place.

- What rumors?

- No, rumors, we talked about this. Just, shut down.

That's all mayor says, just shut down, that's it.

- What do you know?

- She doesn't know anything.

- I don't know anything.

The owner was supposed to have hung himself in here.

- Oh! - What?!

Oh, when did that shit happen?

You did not mention that, Alex.

- 'Cause it didn't happen, it's a rumor.

That's why they call them rumors.

- I don't know.

- Is this something?

Is this local knowledge?

- It's the story.

I guess, yeah.

- It's just a story, Paul.

- Was he into Satanic rituals?

- Satanic rituals?

I wouldn't know, why?

- 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.

- 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.

- 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.

- 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?

- Paul, don't you have some work to do with Tony?

Doesn't he need a hand?

- I'm off today.

- No, there is no off day.

All right, this is every day work.

What are you, c'mon.

- All right, all right, all right. 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?

- All right, baby, as always.

- No, this is not happening.

- If you need anything, all right?

You just let me know.

- She doesn't need anything from you, Paul.

- Okay, a massage, I'm a master of oils.

- I do appreciate it.

- Okay, she was nervous before and now she's scared,

thank you, 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 there 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 of 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.

- What happened to the guests?

- Well, there were a few.

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.

- 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.

- Jesus Christ those fuckers are creepy.

- I guess I'll put Joey right here.

- Yeah, yeah, yeah.

- We'll get this guy outta here

and I'll put Joey in there, what do you think?

- Yeah, where's Melissa gonna go?

- Back there, on the wall.

- 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.

- Baby, I love you too much for a lawsuit.

- Thank you.

- I guess it's not that big of a deal.

- 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.

- 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.

- 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.

- Tony, are we rolling video anywhere?

- No.

Should we?

- Yes. - No.

No. - Yes.

- No.

- 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?"

Sever people, dude.

- Oh my god. - Talented motherfucker.

- This is our clown.

- You're welcome, guys.

You're welcome. - Thank you, Tony.

- 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--

- Hey, whatever happened to the handshake deal, Mac?

Can I get the eye one more time for camera, dude?

- Oh yeah.

- That's so creepy! - That's so cool, dude.

Good fucking find, dude.

- Yeah, man, thanks.

I just had to send him down to the basement.

Yeah.

- Where'd you find this guy?

- The gas station.

- Holy shit.

He was working there or he was just hanging?

- I'm not even sure.

- Now, that's bothered me with its hair.

But it's frozen, I love the frozen--

- Guys, guys, guys.

Joey did his trick again, and his eye came out!

- Whoa!

♪ I'm writing a letter ♪

♪ To daddy ♪

♪ His mailbox is inevitable ♪

- This room looks sick, man.

There's a bunch of babes in here.

This room looks shitty.

Pretty shitty.

How's it hangin', boss?

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.

- Oh, sick.

Where's Tony?

- I think he's around.

- 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.

All right, weirdo.

Let me know when you want to get back to work down there.

What the fuck are you do, you were just right,

what the fuck are you doing here?!

- I got you a little rat.

- You fuck...

What the fuck?

What the fuck, man?

You were just standing right fuckin' here!

Hello, Alex?

Is that you, you asshole?

What the fuck!

Alex, don't fuck with me.

Dude.

Tony, what the fuck?

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.

- Just watch, it's coming up.

Hello!

I think you've had enough to drink!

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?

- Do what?

- You did this.

- Why would I do this shit, dude?

- To fuck with us, like you always do.

Wait, so it's the two of you?

- No, I shot this solo.

- Okay, Romero.

I'm proud of you two.

Great prank.

- Put that much work into the haunt.

- We built a haunted house, we can do a commercial.

- Follow my lead.

- This is ridiculous, dude.

- I just didn'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 wanted to do something kinda catchy and funny.

- You know, he wasn't there, really, you know?

- Gerald!

Gerald, what are you doing with her?

Gerald?

What is this?

- Don't avert your eyes.

- I thought you were at work.

- I'm not doing too well, cause they...

- Check it out. - What?

- Check out Sara.

- What's she doing?

- Sara!

What are you doing?

- Looks good, dude.

- Yeah, it's on.

- She's purdy, man.

- Sara?

- Yeah, actually took their Hell House tour

in Manhatten the year before they left the city.

I went with a few friends a few nights before Halloween,

and it was awesome.

So when I read on their website that they were doing

a new haunt in Abaddon, I mean,

of course I googled the address.

And then I went to Straightview, and that's when I saw that

weird image that I'm sure you've seen by now.

- Have you seen that photograph?

Very strange, isn't it?

- All right, so we're gonna show you all the fine work

that Tone-Dog and I have been doing.

- Hard work too. - Yeah.

I'm exhausted.

- Allright, man.

Locked and loaded?

- I don't know, you tell me?

- You're good.

Just don't shit your pants like last time.

- All right, good.

Check the frame in the back.

Does it look right?

It's not angled too down?

- No.

- All right, cool.

- Perfect.

- All right dude, lock me in.

- All right.

- Cool, dude.

- Godspeed.

- You're locked.

- All right, cue the lights.

- Lights have been cued.

- Cue the strobers.

- Strobers cued.

Fuck.

- It's pretty good, man.

I think we're in fucking business, man.

- Killer.

- Hey man, how many freaks did we have?

- Three freaks.

Why, what's going on?

- Are you sure?

- Positive.

- What the shit?

Fuck, fuck this.

Tony, let me out!

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!

- Dude, are you all right? Jesus Christ, man.

What the fuck is wrong with you?

- 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.

- And so did Mac-- - We didn't see anything.

- And so did you, Sara.

- First of all, keep your voice down, okay?

I don't want any of the actors to hear you.

Two weeks to go to the show.

- They should hear me, okay?

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?

- 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.

- This is fuckin' ridiculous, man.

- No, you're ridiculous.

- Paul, Paul, Paul.

Dude, just come back.

Are you gonna be okay?

Jesus Christ, Alex.

- Don't you start on me now.

- It's getting worse, man.

- Can you turn the camera off.

- I think Alex was his own worst enemy.

For whatever reason he had them 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.

- Fuck.

Fuck!

Jesus Christ!

Fuck, dude! - What are you doing?

- Look!

- Fuck, did you move it?

- No, man!

I was fuckin' sleeping!

- Are you trying to fuck with me again?

- No!

- What's it doing there?

- I don't know, man. I was fuckin' sleeping.

- For fuck's sake.

All right.

- Be careful!

Careful, man.

What is it?

- It's a fucking mannequin.

Dipshit.

Guess I'll put him in the back.

- What the fuck?

What the shit is she doing up?

- Is that Sara?

Sara?

- Sara?

- Sara?

- Sara?

- What the fuck is she doing down here?

Sara?

Sara, are you okay?

Sara, you okay?

- Don't, Jesus.

- Sara!

Sara, Sara.

Sara, Sara, you're fine.

You're fine, you're okay.

Shh.

Sara, you're fine.

Sara, you're downstairs.

You're fine.

You're fine.

Hey, hey, hey.

You're fine.

- Jesus fucking Christ.

- It's okay.

What the fuck, dude?

- Let's get the fuck outta here.

- Come here.

Come here.

You're all right.

- Oh, fuck!

- What the fuck?

- Mac.

- Where the fuck was he?

He was just fucking here.

- Guys, can we go upstairs?

- Fuck, fuck, fuck.

You just fucking put it there.

Okay, careful, careful.

Okay.

Okay, guys.

One, two, three.

Okay, okay.

It's okay.

There's nothing here.

There's nothing fucking here.

There's nothing fucking here.

- I don't fucking know.

- You guys okay?

You guys okay?

- Yeah, I'm fine.

What the fuck?

- Holy shit.

- Oh, fuck.

No!

Oh, fuck!

- Holy shit!

Go, go, go, go, go, go!

Hey, Alex.

Nobody home?

See what kinda goodies we can find here.

What the fuck?

Pretty cool idea.

Oh yeah.

What the fuck?

It's three days till 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.

Ah, shit.

Holy fuck!

What the fuck was that?

What the fuck was that?

Holy shit!

Holy shit!

Holy shit!

- Where the fuck are you, Paul?

- 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.

All right, he's done it before, he's gonna do it again.

Man, it's just what he does.

- 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.

- No, he set up half these cameras

in this house himself.

Just 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.

- You didn't, just give him a call.

Use my phone.

- The point is, he's not here right now.

- Look, all his shit is upstairs.

- It's ringing.

Paul?

- Fuck?

What the fuck was that?

Alex.

What was that?

- I don't know.

- Alex!

- Fuck.

Mac?

You hear that, right?

I'm losing 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.

Coming from the front room?

- Yeah.

Mac, Mac.

Mac.

Hey, wait up, man.

- Relax, it's fine.

It's just Paul fucking with us again.

Seriously?

Paul?

What the fuck was that?

Oh fuck!

Paul!

- What the fuck?

- Paul, are you in here?

You in here?

- Shit!

- Paul!

- What the fuck is goin' on?

- Jesus fucking Christ, Paul!

- Dude, what the fuck.

Careful.

I'm good, I'm good.

- We're gonna fucking die on these steps.

Okay, I'll lock the storm door.

- You sure?

- Yeah.

Paul!

Hey, you back here?

Paul!

Paul! - Paul!

Fuck!

- You back here?

Paul!

- Mac, do you see anything?

- I don't see anything.

- Fuck!

Fucking...

Oh fuck.

Check it.

- What?

- Check it.

- Nothing.

- Fuck!

Go, go, go! - What?

The fucking clowns!

The fucking clowns!

Their heads!

Oh my god.

Their heads moved.

They were fucking turned.

- Tony, their heads don't move. You told me--

- They fucking moved!

Holy fucking shit.

- Tony, look at me.

Do you believe in ghosts?

- Yes.

Yeah.

- I don't.

Look at me.

Okay?

Now, we're gonna go out there, and it'll be fine.

- No.

No.

- We're gonna go back out there.

We're gonna be fine.

All right?

- You're fucking crazy.

- On the count of three.

- No, no, just--

- One, two, three.

- Fuck!

Fuck!

They fucking moved!

I fucking swear.

- I believe you.

Okay?

It's Paul.

He's fucking with us again.

- Dude, I have it on fucking--

- I don't know how he got out.

Fuck!

Paul!

Holy shit!

- What the fuck?

- Hey, look at me.

Hey, fuck stick, wake up!

I know you're fucking with us.

- Paul, wake up.

- Open your little eyes.

- Paul, oh fuck!

- What the fuck's wrong with you, huh?

- Shit.

- Why are you pulling this shit now?

Everyone's on edge.

You're just fucking with us, aren't you?

Huh?

- Paul, come back.

- Fuck him.

- You all right, man?

- C'mon!

- C'mon, man.

I'm telling you.

We have to call it off, right now.

- Why?

- 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,

along with these two as well.

- We're not shutting down, Tony.

- Yeah, we're shutting down, dude. It's not safe anymore.

- I'll tell you what I can't explain

is how scared you are right now.

- Yeah, I'm fucking scared.

- Paul's back, right?

Isn't that good?

- 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.

- Which pretty much makes him

as useless as he always was.

- Fuck you, Mac!

Fuck you!

You were fucking down here!

You were down here--

- What do you want me to say?

- 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.

- All right, you're quitting, that's what this is?

- I'm quitting, yeah.

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.

- Fuck you!

Fuck you, Mac.

- See ya, Tony.

Let him go.

- Hey, hey, hey, Tony!

- Let him go! - Tony!

Tony, come here!

Come here.

- You're a fucking asshole.

You're a fucking, you just stand there?

- Hold on.

You don't understand everything, all right?

You don't have all the facts!

- I don't fucking care! - You don't understand.

Stop!

- I'm taking the fucking sign down.

- 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.

I can't leave.

Mac's right.

Can't leave.

- You okay?

- No.

Not really.

This whole time, you knew, and you didn't tell me.

- I should've told you sooner, but--

- Yeah.

- And now...

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 kinda have to.

- I'm sorry.

- You're not the one that should apologize.

- All right.

See you back there?

- Yeah.

Sure.

I'll be back.

- 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.

- To the best of your knowledge,

were you prepared and ready for opening night?

- Yeah.

- And was Alex of sound mind?

- What do you mean?

- What I mean to say is, 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.

- Sara, why did you not leave?

- Alex wasn't gonna leave the house.

What was I supposed to do?

- 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.

- Why?

- Because everyone that was already in the basement

was trying to get out.

- Come into Abaddon, you know, out of New York.

Last year was actually our biggest opening, you know.

Even Sara said that...

- I haven't seen Paul around in a few days.

Is he okay, or?

- Paul?

Paul's fine, yeah.

Why would you, yeah, don't, you know,

he's a little under the weather, but he's okay.

We're gonna have to run without him,

but don't worry about crew.

We're gonna be all right.

Scaring some people.

Let's scare some people tonight.

A lot of them are gonna come through here.

- Yeah.

Yeah, great.

So let's get into costume and makeup and go get ready.

- Awesome. - All right, good.

- Thank you. - Awesome.

- Thank you.

Thanks, Mac.

What's up, man?

- Hey.

I'm sorry.

I know it's been a while.

But I shouldn't have reacted like I did.

- You all right?

- I hope so.

- We're all right, we're all right.

All right?

You know I can't run this without you, man.

You know that?

- Paul?

Yo, Paul.

Paul, wake up.

C'mon buddy, wake up.

Paul.

Whoa, check it out.

- How beautiful is this? - Oh, I love it.

- You can't come over and not see the sign.

- No.

Not at all.

- All right, take a look at this crowd for me.

Take a look at this crowd.

- What do we got down here?

Oh yeah!

- Oh my god!

- Oh, I can't wait to pee my pants!

They're gonna be so scared in a few minutes!

- Oh, good luck trying to scare me.

- Okay, are you guys ready to go?

- Are you filming right now?

- Yeah, yeah, we're all set.

You have the keys to her chains, right?

All right, keep an eye on her, big guy.

- Shouldn't be too hard.

- Okay.

All right.

Let's have some fun out there, you guys.

- Hey, Mac.

Is everything all right?

- Yeah.

Yeah, everything's fine.

- You would tell me if something was wrong, right?

- Of course.

It's not a big deal.

Okay?

All right.

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?

- We open the doors at eight.

All right, I'm just gonna do...

- This is so exciting.

- All right, here we go.

- See you later.

Bye.

- All right, 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.

- No.

- Mac, can you hold down your button, please,

when you speak to me?

Wow. - We lost him.

- That's these walkie-talkies, man.

Mac, just start recording whenever you're ready, all right?

- I told you to get the better ones.

- I thought...

- Oh my god.

- Ask him if he knows sign language.

- All right, head into position.

We'll talk to you when this is all over, alright?

- All right.

- All right.

Off to a good start, broken walkies.

Great.

- It'll be all right.

It's not gonna stop us.

- Let's go, are you ready?

Welcome, everyone!

I hope you all have a reservation.

No one gets in without a reservation.

- A little more mist.

Pump it up, pump it up.

All right, all this looks good.

We're down in bathroom.

We're down in bathroom.

Cue steam?

Love it.

All right, we're circling around the dining room.

I love the kitchen gag.

- We're next, we're next, we're next!

- I don't like it.

- How many people are they letting in at a time?

- [Man[ I don't Know.

- It's a long wait.

- Keep the line moving, you guys,

I want people in and out.

- We need some strobe.

Need to 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.

- Sara?

What are you doing? - I think I just saw Paul.

- Paul?

Where?

- And he looked at me.

- 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!

- Did you hear that?

What the fuck was that?

- Go back upstairs and find out what's going on.

Go, go, go.

- Is that supposed to happen?

- Technical difficulties on opening night.

- Alex, come in.

Alex, I have no eyes in the basement.

Something's up.

Alex.

Pick up your walkie.

- Great.

- Real.

- Gross.

- You have the key, Joey, get me out of here!

Please, please, somebody get help.

This isn't part of the show!

This isn't part of it!

Joey!

Joey, no!

Joey, don't leave me, please!

Get me out of here.

- Are you okay?

- No, this isn't part of the show!

Please!

Please get help.

No!

No, please!

- Go, go, go, go, go, get out!

Go, go go, get out, get out, go, go, go!

Hello?

Anybody?

Fuck.

There's another way out over here.

Tony, Tony, get to the basement.

- What's going on in the basement?

- Go!

- Oh fuck!

- What's going on?

- Please, somebody let me out of here!

- Tony!

Tony!

Tony!

- April, April!

Go back up, go back up!

Go!

Go!

Go!

Attic, attic!

Alex!

Alex!

Alex!

Hold on!

Alex!

- 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.

- Nothing happened to you from the attic

all the way to the front door?

You just left?

- Yeah.

- How...

If this is all true, how was it kept

from the public for so long?

- Sorry, I'm just feeling really tired,

do you think that we could maybe take a break?

- 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.

- Oh, I already have a room.

It's 2C.

If you could just give me a couple hours,

you can come find me there.

- I will, thank you.

- You know, you should really try

and get inside the house if you can. See what's inside.

- Thanks, but it's all boarded up,

and I just can not get a permit.

- Is that the only thing holding you back?

You should really try and see it.

- Maybe.

I'll talk to the guys.

Thanks.

- I mean, the place is all boarded up,

what, are we gonna break in?

- So what, yeah, why not?

I mean, it's five in the morning, nobody's gonna be there.

- Yeah, I'm with Diane.

I think it'd be worth it to get inside.

- Thank you.

What, are you afraid of a little ghost?

- Fine.

We have one hour, though.

- Perfect. - One hour.

- Can do, grab the camera,

will you finish going through the footage?

I want to look at it today.

- Got it. - 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.

- She did say 2C, right?

- 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--

- She's probably just staying

under another name or something, c'mon.

- Thank you very much.

- Do you wanna go see this house or not?

- Nobody's around.

- 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--

- What?

- Creepy.

Yeah, this is a wall where, so the kitchen would be...

- I feel like we're getting asbestos

or something in here. Can we get out of here?

- This is where the strobe light...

- Kitchen.

- Well, I think the tour continues that way.

- I don't think we're gonna be able

to go back that way.

- Well, let's find another way.

- Okay.

All right.

- It's the basement.

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.

- Oh, fuck that.

No, let's, I'm not. - It looks like a hand print.

Look here, do you see it?

- I don't give a shit. Let's not.

Nope. Let's just go. - Okay, you're right.

- Hey, let's go in here.

- Careful, watch your foot, watch your foot.

This is where they had the bartender there.

- Oh, fuck.

- It's all fake, right?

- Yeah. - All right.

Oh.

All right, c'mon.

We gotta find the kitchen.

- Yeah, I don't want to--

- Watch this, watch this guy.

Oh man.

C'mon.

- Maybe it just goes round and round.

- Look how dumb, look here.

- Ah, fuck.

- This is insane.

Oh my god.

- All right, no, that doesn't,

right, of course it does, yeah.

That makes sense. - Oh, don't be such a pussy.

Come on, we're not even--

- Can you just like slow down?

- Hey, get this.

Oh my god!

Look at that shit.

Look at them.

Oh my god.

- 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.

- It's the stairs, right there.

- We gotta go up the stairs.

- Yeah, sure, of course we do.

- See the security cameras everywhere?

- Yeah.

- So this locks.

- That's fucking creepy.

Hold on, let me turn this light off.

- Fuck.

- What is that?

- She said 2C, right?

- What the fuck?

- I mean, do you think, I mean--

- No, what?

Don't fucking open that!

- It's what we're here for.

We're here to--

- We're not here to fucking

go into a creepy ass room.

- I am.

- Diane!

Diane, don't.

- Shut up.

Oh my god!

C'mon, on me.

- Don't fucking go in there.

- Sara?

Honey, are you okay?

- Don't.

- Sara.

- Let's get the fuck out--

Holy fuck! - Oh my god! Oh my god!

Help me!

Oh my god!

- What the fuck is that?

- My name is Diane Grace, producer and director

of "Inside Hell House."

What interested me in this tragedy

was not only the mystery surrounding it,

but also the people of Hell House LLC.

Tony Prescott, Paul O'Keefe, Andrew McNamera, Sara Havel,

and Alex Taylor.

They all have a story to tell that no one knows.

Eventually, not long, eventually,

these names would be forgotten

by the media and the public over the years,

and what really happened in that abandoned hotel

turned Halloween haunted house tour

north of Manhattan along the Hudson,

what really happened would never be known.

But last year, a reporter broke into the hotel

and snapped some photos that caused an uproar.

Do you think we need more light?

- Yes, Princess, I got it.

- Thank you.

Can we have more than that?

- I don't even think she's coming anyway, too.

We're doing all this work for nothing.

- She's coming.

- Really?

You don't think this girl's already dead?

- No!

- I mean, I'm just saying, something like that

happened to my friends and family,

I'd probably be in a ditch somewhere.

I'd probably put a gun in my mouth.

- Guys. - I don't think she did.

- Guys, can we--

- She's definitely not here, though, in Abaddon.

- I mean, we don't really even know

what happened in that haunted house, so,

she could be anywhere.

I mean, she could be in China, she could be in Australia--

- She could be 10 minutes away!

So why don't we finish getting ready, huh?

Great, thank you so much.

- Waiting for somebody that's--

- At least we get to spend

some time together, right?

- Apparently, chatty Cathy-- - Fuck you.

- Don't worry, this is gonna be really great.

- Hello?

Yes, we're here.

Second floor conference room.

Left out of the elevator.

Great, see you in just a second.

- Fuck you. - That was fuckin' her.

It was fucking her, she is on her way.

- No. - Yeah, yeah.

Apology, maybe?

Just don't say anything stupid.

- What am I gonna say?

- Like, anything you normally say.

- Thank you.

- Thank you guys.

- Hello.

Sara.

Thank you so much for coming tonight.

- Is it, okay.

Is it "Escape from New York?"

- For those watching, Sara's asking

if it's a 1981 Kurt Russell joint.

- Oh!

"Independence Day."

- Closer, that was an alien abduction film.

- Never saw it.

- That's because it wasn't some cheesy romance movie.

- Okay.

Okay, everybody.

I do not just like cheesy romance movies.

- Name one good movie, non-romance,

that you watched on your own,

and I'm not talking about the shitty fuckin' horror movies

that Alex makes you watch. - Hey.

- I have seen, I mean, "Titanic."

- "Titanic" doesn't count.

- It's a historical drama!

- About star-crossed lovers.

- There's a gunfight.

- The room has to have a lot of outlets too, Paul.

- Yeah, I mean, there should be the same amount

in every room, right?

I mean, what kind of setup?

- The normal, two monitors, one with all cameras,

one with the selected.

Alex didn't say differently, did he?

- Well, no, but it's a big if,

if we can get this shit going or not.

- Yeah, I know.

We don't have power, then I could set up my own,

but it's gonna take weeks, and that's

not time that we have, so we'll see.

- Alex Taylor.

Well, he called me, I think June, July,

sometime before the fall, he wanted

to talk about that hotel.

I thought it was great to have that group there,

but there are plenty of other places in Abaddon.

- But they ended up in that hotel anyway.

- Yes they did.

- That's not what I meant.

I was just asking--

- I know what you're asking, and the answer is yes,

we wanted them to pick any other place than that hotel.

- But they didn't listen.

- Well, apparently not.

If they had, we wouldn't be here

having this conversation, would we?

- So your town stood to benefit financially

from Hell House's presence.

- Well, yes, I don't deny that.

There's nothing wrong with asking

for a little economic bump, especially in 2009.

Would've been great to have them here.

We were happy they chose our town.

- I guess I'm just wondering

why you didn't want them in the old hotel.

Did you know something about it?

- No.

- I started Hell House to of course

scare the shit out of people.

But I really wanted to bring out

all my favorite things about haunted houses,

about horror, you know?

And Halloween, everything, I wanted to bring it out,

I want to showcase it, I want to build it,

I want to bring it to people, you know?

And this is what it's all about to me.

Now, I'll be the first to admit,

we opened in Queens, show Queens, before I scare anybody.

I mean, it was bad, I had a guy

who went through the whole thing laughing.

It was really embarrassing.

He asked for his money back.

I don't wanna get into it.

But you know, we had a great team,

everybody worked really hard, and we all had one goal,

to make Hell House a success!

Oh, this place is perfect.

All right, check this out, okay.

The tour guide is gonna come right down here, right?

We set up four, five, I don't know, it doesn't matter,

we'll figure it out, we'll set up clowns right here.

Oh, yes.

- Where should the girl go?

- Our damsel will be chained up right here.

Right across from the clowns.

Right, what do you think?

We can make this work, right?

- Yeah, ceiling's a little low,

floor's kinda shitty, walls are gross.

- Okay, all right.

We'll clean it up a little bit.

But not that much, all right?

I mean, it adds to the creep factor, you know?

We're not gonna waste money building fake mold

when it's all right here.

- Whenever you're ready.

- I want it to move, Tony, why isn't it moving?

- There's no way we're get this dummy to move.

- Well, give me options, all right?

I need movement from these props.

- Come on, it's a recent movie, you can get this.

- Okay, it is post-apocalyptic, set in New York.

- Yeah.

Last clue.

- You don't need the last clue.

You can get this, it came out literally a year ago.

- I'm drawing a blank, last clue.

- Will Smith.

And no, "Hitch" is not a post-apocalyptic thriller

set in New York.

- Oh my god, I love "Hitch." - Shocker.

- It's funny!

- It's adorable, but Sara, focus, you have all the clues.

- Okay, okay.

Is it "Escape From..."

- You're wondering if the Kurt Russell movie from 1981?

- It's not that?

- Not even close.

- "Independence Day."

- Okay, a couple things.

That movie was based 10 years ago,

and it wasn't based in New York.

There were more scenes in space than in New York.

- I never saw it.

- Of course you didn't, it wasn't a cheesy love story.

- Okay, I do not just like cheesy love stories.

I like a wide array of movies.

- Besides the shitty horror movies

that Alex forces you to watch?

What non-romance movie have you

decided to watch on your own?

- "Titanic."

- "Titanic" does not count.

Just because there's a sinking ship

does not make it an action movie.

- It's a historical drama.

- Of star-crossed lovers.

- There's a gunfight, and people fall to their death.

"Wall-E," last week Alex and I watched "Wall-E,"

and you know, it was totally my idea,

and totally post-apocalyptic, so.

- I can't believe that you're using "Wall-E"

as your defense, but I'll let it go,

just to get back on the post-apocalyptic name.

- Okay, I give up on the post-apocalyptic name.

- "I Am Legend."

- "I Am Legend!"

I've never seen it.

- That's because Will Smith didn't fall in love

with a vampire.

- There are vampires in it?

Is it like "Twilight?"

- This is LED light in the room, it's creepy.

- It is creepy.

So we might go with something warmer.

Yeah, walk around, Matt, walk around.

Watch the door right there, it's open.

Just close it.

- Gonna go out this way.

- So I mean, even if we did, I mean,

we could have a little natural light spilling in with it too

that we'd probably add, so we could do both.

- All the windows are plastic,

we can get any extra light you need

just by taking some off. - Yeah.

- Make sense? - Makes sense.

- Awesome.

- And then what we need is when they're

coming downstairs and they're going

to meet Alex in the basement, the camera just

glances into a bedroom and sees something really quickly.

- Correct.

- What's a good bedroom for that?

So Tony and Paul have made their way back from the attic.

- The creepy thing is getting here.

- And yeah, and they're walking, they're walking,

they're walking, and somehow, camera's like this

as they go by and head downstairs.

It's creepy.

Okay, yeah, I like that.

And so this bedroom is where we're gonna do

pretty much all the bedroom scenes,

like Paul's the only bedroom we see outside of 2C.

- Mm-hmm. - Do you have a 2C in mind?

- My 2C was gonna be that room.

- Okay.

And it'd definitely be that room.

So let me follow you towards the end.

- Because the door is .

- And we come in here, Sara would be

in the corner, there.

- Downstairs. - No, no, no.

Basement, so that's the clown standing at the bottom.

- Oh no, you ain't seen nothin' yet, they're great.

The basement stairs are sweet.

- Yeah.

So this whole scene, let's just walk

through this whole scene, where they find the clown,

they walk downstairs.

So we kinda come out.

Okay, so let's just start walking towards it.

Okay.

And now we're gonna take it, and when we're

taking it somewhere else is where we find Sara.

- Right.

- So where's a good place to find Sara?

- Next room.

- Next room, let's do it.

- So we can rearrange the rooms any way you want,

so we should find her.

She's just sitting somewhere crying or something, right?

- She's standing, staring at a wall,

like against a wall. - Ta da!

- Yeah, this is perfect. - So do you want her--

- Perfect. - At a wall wall?

- So the next thing that happens is they hear,

either hear the grandfather clock, and they go back

and they see the dining room's completely set up.

So if we're walking, where's the best way

to get to the dining room?

- Back through that escape door.

- So you, okay, I'm gonna follow you.

- 'Cause it's not a big deal

to see the wine room again.

You just have to make it quick.

- So they come through here, and it's gonna be

completely ransacked when they first walk through.

And they come back through, and it's set up.

This is where they're telling the stories early on,

or hanging out.

Tony's gonna come from that door with the camera, in here,

and this is open? - Yep.

- Dusk on our first day.

Comes in, everyone's around the bar, he comes in and...

And...

Yeah.

And, okay, so and the basement is right here.

So let's do basement.

If they never find us again, maybe they'll find our footage.

- This is so cool.

I love the low ceiling.

This is awesome.

This is like exactly what I pictured.

- So put the lantern down, like in the center,

in the middle of the floor.

So we're obviously gonna need more light.

Okay.

Yeah, so for this scene, when they come down here

and they find the bibles on the floor,

we're gonna obviously need a lot more light.

One lantern's not gonna do it.

They're gonna have to have like,

a series of lanterns and flashlights.

Tora, tora, tora, going in the basement.

- Especially 'cause they're not like matching,

you know, so it's like-- - Maybe just a weird--

- Yeah, it's like--

- Joey running by, Melissa screaming right there.

We as a tour goer, don't know why she's screaming,

why Joey just ran out, more people are filing down,

we're all kinda bunched in here,

there's something in the shadows

back where you guys are against the wall,

we'll turn this way and turn back,

and then the room is more filled with cloaked figures.

And then Melissa's gotta get killed on that wall.

- There isn't as much light here during the day,

so we need to do something about that.

- Okay, yeah.

- This is the main, this is dark,

this is the meat and potatoes. - Right.

So I wanna come through this way,

'cause I think it's cool that two swinging doors,

so we're coming this way.

- Right, you're not gonna get any of this stuff.

You're gonna go straight through?

- No, no, I think this is cool because...

Put this down.

You put this here. - The lantern?

- Yeah, the lantern.

So, to sell the chaos, I think it's cool

if things are knocked over.

You know, pots and pans are falling down,

and April is on the ground, she's crying,

the camera has physically fallen to the ground,

slid, and rolled down here, and you see April on the ground

like scrambling, crying, screaming.

So I think one thing we might have to look into

is fake pots and pans.

- Why can't we use these?

- Well, 'cause they're real, right?

If we're gonna have them crash on actors.

- Oh, you want them to fall on them--

- Like kinda crashing around people, stuff like that.

So yeah, obviously this is gonna be like

a really highly choreographed scene,

it's gonna be tough to pull off.

It's gonna, you know, for everyone's safety

and for achievement of the next shot we need.

- So this is...

- Like, something that obviously will not sound real,

but with sound we add later.

So it's really like, achieving the effect

of chaos in this room, things falling over,

people scrambling through, and April screaming

and crying through the whole thing.

That's what we need in this room,

and this is what we have to work with.

- Rolling.

- Rolling! - Rolling!

- Scene 60, take four.

- Go!

Attic, attic.

- Scene 12, take two.

Got it? - Yep.

- Going.

- It's right up here. - What, past these trees?

- No no no, I recognize this road,

this is, I saw this on Google Maps.

- I don't know.

- Professional office space?

- A lot through here.

- Get a Christmas tree, too.

- Rolling.

- Talk about bull.

Is it a bull?

- No, it's a cow. Moo-cow.

- What do we got up here ahead?

- That's a good sign, right guys?

- It's a steer.

I think it's a steer.

- Bulls are--

- The cow has a symbolic meaning.

- It's a steer.

- Hey, whoa whoa whoa, what is that?

- Oh, it's got hair.

- Oh, you know what it is?

It's a bison, guys.

- It's a wooly mammoth, I think, I think we found it.

- It's beautiful, huh?

In a grungy--

- All right, cut it.

Five, take one.

Wait till we call action, guys.

- Wait for action.

We're rolling.

Joe, you can roll.

This is take three.

- Camera speed.

- Scene five, take five.

And we're rolling.

And action.

- Is the camera on?

- Yeah, I see.

- Look back at me and say, "I think we're next."

- I think we're next.

It's exciting!

- Hold up, hold up.

There we go.

- Hell House 2009, baby.

- Still recording.

- Still rolling!

- Keep this in the frame, you're here,

you guys are just walking, you're like "check this out."

you know?

And just like...

- Okay, okay.

- Okay, go.

- Go for a take.

Roll camera.

- Scene 5B, take two.

- And action.

- Fuck is going on?!

I have no idea!

- Go, go.

Hurry up! - April!

- Get outta here!

Go!

Hurry up.

Go.

- Cut, cut, cut, cut! - Cut.

- That was good, .

Let's reset and I think if we do one more,

I think we're good.

- Hey, we got it on the security camera.

- Yeah?

- It looked great on the security camera.

- Everyone back one.

- You've got blood all over the back of your shirt.

- Cut, cut, cut!

All right.

I think let's reset to one, then I think we're good.

What happened?

Guys, let's get reset.

- One last one and we're done for the night.

- All right, one more.

- Woo! - One more.

- All right.

- There's a way out through the back over here.

You just have to get up through,

and then there's somebody usually here,

oh, he's standing in the corner.

- We'll see.

If there is anything to see.

That's it for now.

Sleep sweet.

- Cut. - Did you get the 2C?

- I was gonna say, did you do that on purpose?

- No, but right after I said it, I was like ooh.

- Fuck!

- What was that?

Alex?

What was that?

- I don't know.

Throw that one out.

- We're set.

- Yeah, and now take four, mark.

- Rolling.

Mac, we need to roll.

- Jesus Christ.

- No, it's okay, I already got it,

don't worry about it.

- We're already rolling, by the way.

- Cut it, cut it!

- You can't push on the door if you don't unlock it.

- 24, take one.

Action.

- Hi.

- Shut up.

I have to tell you something.

- What?

- I love you.

I gotta, hold on a second, turn this thing on.

- What!

- I'm pregnant and it's yours.

- I knew it!

What?

Jesus.

- I'm Batman.

- No shit, really?

I'm Robin. - No shit!

- Yeah.

- Been hanging out this whole time,

we had no idea.

That's crazy.

I framed Roger Rabbit.

- It was you the whole time?

It wasn't Christopher Lloyd's character?

- It was me.

- A little conventional.

I just needed to take a little.

What the fuck happened to my light?

- Scene 60, take four.

- Action!

- Go!

Attic, attic!

Get up, get gup!

Alex?

Alex!

Alex!

Alex!

- Oh, the light went out. - Yeah, I did it.

- Freaky.

- No, we swapped the bulb.

We might have a take still, but it doesn't look very good.

- Are you okay?

- Damn.

Got a little splinter there. - Yeah, I fell up the stairs.

- Just reset really quick.

And cut!

- Yeah. - You all right?

- Yeah.

- Cut!

- Cut.

- Let's do it. - Come on.

- Don't say anything stupid.

- Don't say anything stupid.

- Like what?

- That, just don't.

God. - Idiot.

- And cut.

- See you in a minute.

- Bullshit.

Bullshit.

- That was fucking her. - No it wasn't.

- Yes it was.

Don't say anything stupid while she's here.

- What are we gonna say?

- Don't say anything stupid.

- Fuck you guys.

- All right, we good, we ready?

- Go fuck a goat.

Okay.

- I'm sorry.

- No, of course, I was just,

I was throwing random lines at you.

- Mark it.

- Gotta lock down.

- Set.

Action.

- So when opening night arrived,

was there anything technically wrong?

- Cut.

- Yeah?

- In your opinion, what do you think happened

that night at the Abaddon Hotel?

- Yeah, that was--

- That was gonna be really good.

- That was gonna be so good.

You're saying Abaddon?

- Abaddon.

- Yeah, don.

It's the don.

Yeah.

- It's the don of abs, got it.

- Are you still rolling? - The don of abs.

- Hello, Sara, thank you so much for coming tonight.

- Wouldn't have missed it for the world.

- Why so serious? - And cut.

- You can catch us at the Abaddon Hotel all week long.

- Cut.

Guys, we got it, .