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[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.

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.

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]

[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

♪ 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.

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.

- 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!

No!

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]

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