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(Car doors shutting)

(Foot steps and traffic passing)

(Diane) In your opinion,

What happened that night
at the Abaddon Hotel?

I don't know.

You want to know what I think
happened that night?

I have no idea.

(Struggling with door)

(Reporter) 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.

(Reporter) 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.

(Reporter) A small abandoned hotel
was transformed

into a haunted attraction.

It was due to run tours

the next few weeks
through Halloween.

(Ambulance sirens)

(Woman) We're not sure
if anybody from the company

has made it out alive
as of right now.

Shaking tour-goes appear
to not really know

what was going on either.

I been waiting on line
for about 5 minutes now,

and I just see all these
bunch of people coming out.

I'm like, "Dude, where do I go?"

No, we had no idea.

We still don't know.

(Footsteps)

(Door creaking)

(Rolling thunder)

Whenever people ask me
what happened in Hell House,

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

(People talking)

How many people are they
letting in at a time?

(Crowds talking)

It's a long wait.

I think we're next.

It's exciting.

We've been waiting for you.

I hope you all enjoy your stay.

(Crowds talking)

(Screaming)

Was that supposed to happen?

(Man) I don't think so.

Technical difficulties
on opening night.

(Screaming)

(Yelling)

(Panicked screaming)

(Crashing and banging)

(Man) We gotta go,
we gotta go, we gotta go!

(Crowds screaming and running)

(Man) Hurry up!

(Man) Get out of here!

Go, go!

(Screaming and sirens)

(Man) Oh, my God!

(Screaming)

(Sirens)

Nobody knew what to make
of the YouTube video,

and then the 911 tape leaked and

that just confused people even more.

(911 Operator)
911, what's your emergency?

What's the problem, Miss?

(Woman) I don't know!

There's something...

(Static)

(911 Operator) Is someone hurt?

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

(Woman) Please hurry,
I don't want to die.

(Reporter) 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 a hold of it.

The 911 call was the only other thing

and, that didn't really tell us much

of what was going on inside.

Then this photographer,
Martin Cliver comes along,

gets inside the hotel,

takes pictures,

puts it up on the internet.

It starts to raise some real questions

that the town does
now want answers to.

The hardest part?

The hardest part was
probably the silence.

Everything was very hush-hush.

There were gag orders put on
everyone involved with the case.

Cops, lawyers, even the families
of the victims

were left pretty much
completely in the dark.

It was impossible to get anyone
to talk to us at first.

So, I wanted to see inside of
the hotel, first and foremost.

Asking questions was, like I said,
getting me nowhere.

So...

I went to the hotel

and I walked around the back

and found a little window

and knocked out the boards

and climbed inside.

(Diane) The blood on the floor,

what do you make of that?

Well, it certainly debunks the theory

that there was some
sort of a gas leak,

which we all knew was bullshit
in the first place.

(Screaming)

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.

(Diane) Would you please

state your name and age
for the camera?

(Sara) I'm Sara Havel,
I'm 30 years old.

(Diane) And you were a member

of Hell House since it's
beginning in 2002, correct?

Yeah.

(Diane) And, since the night
of the tragedy,

where have you been, Sara?

I've been staying with family, mostly.

(Diane) Have you been coping okay?

I'm in a better place now.

(Diane) I'm happy to hear that.

If you don't mind, I just want
to jump right into it

because obviously the
town's decision to conceal

all aspects of this tragedy
from the public

have caused conspiracy theorists
and normal people alike

to speculate on their own.

It was the smart thing to do.

(Diane) Why?

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

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

(Diane) Well, I guess...

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

what really happened...

Can you help?

What do you want to know?

(Diane) Well, can you take us

back to the beginning
and go from there?

What is that?

It's everything.

Everything that went on
in the house was taped.

Mostly by Paul and Tony,
some tour-goers.

(Diane) How did you get
these and not the police?

I got to them first.

(Diane) Why didn't you
give them to the police?

You'll see.

(Diane) Mitchell?

Mitchell's gonna go ahead and just

start looking through those,
if that's all right?

(Door closing)

Sara, have you watched those?

No.

(Diane)< So you have no idea
what's on them?

Hell House.

(Paul) C'mon,

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

Post apocalyptic,
set in New York.

(Paul) You can get this.

That's good.

(Paul) C'mon, it came
out literally a year ago.

I can't...

I'm drawing a blank.

Last clue.

(Paul) All right, Will Smith.

No, Hitch was not...

I love Hitch.

(Paul) Shocker.

It's funny.

It is and I stand behind it.

Paul.

Don't knock it.

It's a good movie.

(Laughing)

Is it...

Okay, is it...

Escape From New York.

For those watching,

Sara's asking if it's a
1981 Kurt Russel joint.

So then, it's not.

(Paul) No, not even close, c'mon.

So, have we all
just sort of given up

on navigating guys,
am I doing all of it?

(Paul) Jesus Christ.

I think that Alex has it
under control, right buddy?

I do have it under control.

Thank you, Paul.

Yes, it's straight up ahead.

I recognize the road.

You're not lost.

We're almost there, all right?

And in today's edition of

Why Are Mac and Alex Still Fighting,

Mac and Alex are still fighting.

(Paul) They're really mad.

It gets so passionate.

(Paul) Is that what he's like
in the sack?

Guys, I'm really hungry.

I'm starving.

Do you want to pee or anything?

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

I mean do you...

Tell me, tell me this,

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.

(Paul) Is that really it?

(Alex) This is it.

(Paul) What a shit hole.

I love it.

Are you kidding me?

I got it.

This is good.

Yeah, let's stop here.

Seven years of bad luck
for breaking that.

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

You can work out on that one.

(Alex) We'll set you up,

and we'll have a tour guide
come through.

(Laughing)

(Door creaking)

Here we go.

(Laughing)

Hell House 2009.

When you said abandoned
I thought you meant

recently foreclosed, not condemned.

(Alex) I don't even know how

you'd run power to
a place like this...

(Mac) So, if we're gonna get power,

it's gonna be because of you.

(Alex and Mac fighting
in background)

And that's a sign.

(Paul) Look at this old ass book.

Oh, did you hear the pages?

You know, I need electricity

to do everything that I do here, bud.

Well, part of what you do is

get the electricity running, so...

That's all you, Tony.

Stop giving me that look.

(Paul) This is pretty creepy, man.

It smells like a sweater.

(Paul) A sweater?

An old sweater.

(Laughing)

Oh, the foyer.

(Paul) Dude, what is the deal
with this place?

(Sara) When did Fletcher say
the guy closes?

I don't know.

It has history, 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, all right?

And, you smell that?

Yeah.

Hun, what did it smell like to you?

I think it's probably dead rodents
in the baseboards.

(Sara) It smells like...

(Paul) It smells like money, bro.

Thank you, Paul.

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

(Mac) We're not gonna have time.

(Alex) I have no doubt we can

get this up and
running by Halloween.

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.

(Paul) Wah-wah.

Dude, dibs on manning the haunted bar.

(Alex) Yeah?

I'm sure house would love that.

(Paul) What do we got in here?

Anything good?

Nothing that matters.

(Coughing)

Yeah, not good.

(Paul) A little ripe, huh?

I fuckin' love this place.

Yeah?

What's your wine of choice, hot shot.

(Paul) I'm kind of a
Pinot grig man myself.

A Pinot grig man?

I'm sure they taste
like ass after

however many summers
they've spent cooking.

(Paul) Dude, wine tastes better
with age, you know that.

Yeah, not with heat, though.

(Paul) You're so smart, Tony.

(Tony) Goddamn,

this must be where the
last supper took place.

(Laughing)

(Alex) What's up, guys?

Welcome to the dining room,
I'm guessing.

(Tony) If that's what
you want to call it, sure.

What do you got there?

Oh, it kinda looks like Sara, huh?

(Paul) No, the plate's cuter.

No.

What do you think, babe?

Look at that.

Might be her grandmother.

Well, it's a fixer-upper for sure,

but it's what we do best, right?

I say we stay here the night.

That's just me, but...

Uh, I don't know.

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

(Tony) I wonder if they
used this place for anything.

(Paul) I don't know, bro.

Look at this.

Weird.

(Paul) Creepy.

(Radio static)

What the fuck was that?

I don't know.

(Alex) Tony, Paul,

get your asses down
to the basement.

(Laughing)

On our way.

Just, turn the camera off.

You're gonna break your neck
on the stairs.

(Creaking and footsteps)

Check it out.

More numbers.

It's weird.

(Footsteps on stairs)

Watch your step there, Fellini.

Oh, shit!

This place is amazing.

(Paul) What the fuck happened here?

Paul, I want you to
get this on camera.

So, the tour guides
are gonna come in

right there down these stairs,

right where you two
just came out of.

(Paul) All right.

Then they 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.

(Paul) No, you promised.

Then we're gonna have clowns

right behind this wall,

one, two, three, four...

However many clowns we can fit.

Hopefully they'll be moving,

we'll see what happens.

There's a storm door
right at the end

of this creepy hallway,

and that's where they exit.

In and out.

We've handled much much worse.

Remember Queens?

Yeah.

Hey, hey, hey,

I thought we were never
to speak of Queens again.

(Alex) Tony...

Your words.

I need you to worry about these.

Okay?

These walkie-talkies are
getting this funky noise.

I don't know what it is.

(Tony) I know, I know.

We were getting it upstairs too.

(Paul) Dudes, what are all these books?

(Sara) This one's a Bible.

(Paul) That's a nice touch.

(Alex) That's definitely a bible.

That's so fucked up.

Guys, this is kind
of unsettling, right?

(Alex) C'mon, c'mon.

It's a hotel.

Okay, there's Bibles in every room.

Yeah, but who put them down here?

I mean, look at that wall.

It's fucking creepy.

(Paul) Didn't Fletcher say

this place has been
closed for 30 years?

(Sara) Okay, why was it closed?

(Alex) Guys, their pipes burst.

There was a lawsuit.

We're building a haunted house.

This is half the work
already done for us.

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

That wall is perfect.

(Paul) Well, we could look
on the bright side.

We get free props out of it.

What size are you?

(Diane) Tell me what it was like

to live in an abandoned hotel.

It took Tony and Paul about a week

to get the electricity going and

that's when we started
staying over night.

It was when we started sleeping there

that things started to change.

(Diane) Change how?

(Laughing and talking)

(Paul) Let's see what the
rest of our crew is up to.

It was so hot.

They were all dressed like
Disney princesses, okay.

Oh, look who's here!

Do you remember when all those
Disney princesses came through?

(Paul) Oh, yeah, there we go.

And you were, like, a werewolf
or something.

(Paul) Oh, the Disney princesses, yeah.

Shh, shh!

Jasmine was so hot.

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

we're, like, "Oh, this is it."

Dude, me and Tony
were in another room

doing other things.

He was a werewolf,
what were you that year?

(Howling)

Someone was...

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

They passed Tony.

(Paul) Dude, what?

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

(Laughing)

C'mon man.

That's usually what I am,

most days out of the week.

The moral of the story is,

we tried too hard to
scare these girls,

because we thought they'd be
an easy scare,

and what did they do?

They laughed their fucking asses off.

(Paul) Princesses, man.

The fucking princesses.

(Paul) Yeah.

Is that the whole story?

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

(Paul) Yeah.

Queens was actually pretty fuckin' sick,

if you think about it.

We actually had some good
motherfuckin' times at Queens.

That guy who played
Lucifer, was that guy

from, like, Queens he had
a really thick New York...

He'd be like, "Yeah, welcome
to Lucifer's cabin."

(Laughing)

(Paul) We got so many
bad reviews on that guy.

Dude, I had to fire that guy.

- He almost kicked my fucking ass.
- (Paul) He was terrible.

We keep in touch.

Fuck you!

I keep in touch with that guy.

That guy was an asshole.

He's decent.

You buy drugs from him, don't you?

Keep the camera running,
I want to say something.

Oh, my God.

(Paul) Speech time.

I know it was hasty,

moving up out of the city,

coming up to this po'dunk town.

You're all creeped out.

You're all nervous.

But we gotta keep Hell House fresh, okay?

That's why we're here.

(Paul) Yeah, yeah, yeah.

It's gonna work out.

I know it's gonna work out.

Well, do you think we'll still

get the numbers we did in New York?

Easily.

I mean, c'mon, word of mouth
after opening night.

Plus, what are we?

Like, 40 minutes from the city.

And you've seen Abaddon.

This town really appreciates Halloween.

We're gonna get that
beautiful fall feeling.

You just can't get that in a city.

Yeah, well, in the city at least

when you're creeped out
you can walk outside

and fuckin' get a slice of pizza.

Here it's like, you're creeped out,

- you walk outside
- (Paul) You can't beat New York pizza.

and you're in a fucking forest.

Man, say whatever the fuck you want

about Queens haunts,
we never had to sleep there.

(Sara) That is a good point.

All right.

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

Thank you, honey.

(Paul) I appreciate it, buddy.

You can turn the camera off now.

(Static)

(Paul) Where is it?

Shebang, baby!

Good job, Tony!

Up and running.

Thank you, sir.

Tony, I thought I said I
didn't want any blind spots.

What's going on here?

What room is this?

Uh, yeah, that's the basement.

It's got some thick stone walls,

but, we should be able to
get a camera through there,

or at least walkies,

but we're not.

We're not getting anything.

So.

It's a liability.

We've gotta have eyes down there.

Yes, thank you, Mac.

You have a half naked girl
in a room full of assholes.

Of course we need eyes down there.

How 'bout we, you know,
get some big guy,

muscles, totally ripped,

put him in the clown costume.

(Paul) Undercover clown, sick.

Yeah, I mean.

We're gonna need an actor
down there anyway.

So, why not someone
that can toss out

people like Paul who wanna get

a little rapey with our actor?

(Paul) He's got a point.

Sure, sure.

All right, Tony.

(Paul) Good idea, dude.

Way to go.

All that work, done.

(Paul) What's going on here, man?

It looks like shit.

Yeah, well, Alex didn't want to

spend any money on moving props here,

so we're stuck with
this one right here.

Good thing that we're geniuses,

so, when we're done with her,

she'll be creepy as shit.

(Drilling)

(Paul) How's it hangin', sweetheart?

Just, put the camera down for a sec

and help me out.

(Paul) No can do, hombre.

Boy genius wants all
this shit documented.

That's a pretty lame excuse for you

to be a lazy piece of shit
like you always are.

(Laughing)

Ladies and gentlemen,
this is my buddy, Hector.

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

Are you ready, Hector?

(Eerie piano music)

Hector, it's okay.

Two, three, four.

(Coughing)

Hello everybody.

It's September 5th, 2009.

We're tres weeks into the creation

of this year's Hell House.

It's lonely.

Sara's the only chick in the house,

and Alex don't like sharing,

if you know what I mean.

I had really high hopes
for this trip, you know.

Really high.

I thought that it was gonna be

more like Grand Sexual Station.

It's cool though.

We got the new actors coming tomorrow.

So, hopefully one of them's boneable.

I will be documenting the
whole thing, as always.

The whole shebang...

Sara?

What's up, dude?

You cool?

What, are you sleepwalking?

That's fucking weird.

That's it for me.

See you in the morning.

Sleep sweet.

(Creaking and talking)

I'm more in line for this joke
than you are.

I feel like I'm writing it
and you're responding to it.

And then she says,
"Do you have any syrup?"

You say, "No."

Oh, my God!

Get the fuck out of here, dude.

Get the fuck outta here.

That's not cool, man.

(Paul) C'mon, guys.

You were the one with
your door cracked open.

You wanted me to see.

You're not supposed to
even be here right now.

Get the fuck out of here.

Can you stop, seriously?

(Paul) Hey, motherfucker,

I came up here to help you out.

Not that!

I had to tell you that
the actors are here.

The actors are here?

Whose here?

(Paul) Joey, Melissa, Sam.

Joey, Melissa, Sam.

Joey's clown, Melissa's...

Okay, Joey, Melissa, Sam.

Get that...

(Raining)

That's Paul.

Paul's gonna be filming.

Say hello to Paul,
everybody wave to Paul.

Hi, Paul.

(Raining)

I actually found one police officer

who was willing to speak to me,

under the condition of
complete anonymity, of course.

He was one of the first responders

to the hotel the night of
the Hell House incident.

And was one of the
first people inside.

So, he said the first body
they came across

was one of the Hell House members.

He couldn't say which one.

But he said their throat
had been cut

and that he was pretty sure

that the wound was self inflicted.

What the hell happened in there?

And your guess is as good as mine.

And I honestly don't think
we'll ever know.

And then, of course,

there's the very strange,
very sad case of Joey Sheifler,

who was in the basement
at the time of the chaos

and actually made it out alive.

Of course, we all know how that ended.

(Raining)

(Talking)

Hey Paul!

(Paul) Hey, baby,
how you doin', girl?

Getting a little nervous,

so if you wouldn't mind...

(Paul) What are you nervous about?

Taking your top off?

Oh, my God, no.

- Thanks for a lot of help, Paul.
- (Paul) Oh, you're so cute.

No, you are not taking
your top off, my God!

You are, however, very important.

Okay, you're our main attraction.

You're at the end of the tour,

you're in the basement.

You're our damsel in distress.

Right, no one's gonna be
touching me or anything?

No.

No one's gonna get near you, okay?

You met Joey the other day, right?

Joey's gonna be in one
of the clown suits,

and he'll be down their
with you all night.

Can I ask why you're
filming everything?

Yeah, I'm sorry.

A lot of this is just for us.

It helps us next year
with our next haunt.

But, you know, it's good for fans.

Maybe something for the website.

(Paul) Plus I'm trying
to catch a ghost.

So you have heard the
rumors about this place.

- There are no rumors about this place.
- (Paul) What rumors?

No rumors, we talked about this.

Just, shut down.

That's all Mary says.

It's just shut down.

(Paul) What do you know?

(Alex) She doesn't know anything.

Tell him that I don't know anything.

The owner was supposed to have

hung himself in here.

- (Alex) Ohh!
- (Paul) What?

Oh, when did that shit happen?

- You did not mention that, Alex.
- (Alex) Do not take your own way with this.

'Cause it didn't happen.

It's a rumor.

That's why they call them rumors.

I don't know.

(Paul) Is this something?

Is this local knowledge?

It's the story.

I guess yeah.

It's just a story, Paul.

(Paul) Was he into Satanic rituals?

Satanic rituals?

I wouldn't know, why?

(Paul) Dude, Alex, c'mon,

all the fuckin' wall art downstairs
in the basement.

What about it?

That wasn't you guys?

I thought you did that.

(Paul) No, that shit's OG.

I guess what the story is is,

things kept happening
to the guests here

that forced them to
shut the place down.

(Paul) Whoa, what,
whoa, whoa, whoa, whoa, whoa.

Hold up, hold up.

What happened to the guests?

I'm the worst person to ask
about local history.

I don't know.

They had a great time, they left,

they never heard from them again

because nobody writes reviews in

19-whatever the place.

Exactly, maybe.

I mean, it's supposed
to be haunted,

but, you would know more than I would.

- Have you heard any bumps in the night?
- (Alex) It's not haunted.

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

Doesn't he need a hand?

(Paul) I'm off today.

No, there is no off day.

All right, this is every day work.

What are you...

C'mon.

(Paul) 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?

(Paul) Alright, baby, as always.

(Alex) No, this is not happening.

(Kissing)

(Paul) If you need anything, all right?

- You just let me know.
- (Alex) She doesn't need anything from you, Paul.

Okay.

(Paul) Okay, a massage,

I'm a master of oil.

I do appreciate it.

Okay, she was nervous before

and now she's scared.
Thank you, Paul.

(Paul) Okay, how old are you,
by the way?

No, this is not important.

We'll never know what
happened in that hotel.

Just like we'll never know how

the Hell House crew came to put on

their Halloween tour
their 20 years later.

Just like we'll never know exactly

what happened to Andrew Tully.

The more you dig into the history

of the Abaddon Hotel,

the more unsettling it gets.

And it all begins with a
man named Andrew Tully.

I'm almost certain that the group

knew nothing about the hotel going in.

I doubt they knew anything about Tully.

I doubt they knew anything
about missing guests.

Why he built the hotel in Abaddon
in the first place,

any of it.

The local ghost story is that

Tully built the hotel
because the name of the town.

In some versions of the Bible,

Abaddon is the name of the demon

who guards the gateway to hell.

Some people say that Tully
was the head of some cult

and that he considered himself

a latter-day Dante.

(Diane) What happened to the guests?

Well, there were a few.

But the first one was
an 11-year-old girl.

I think she was 11,

and her mother...

both disappeared,

last seen checking into the hotel.

(Diane) Did Tully do something?

Was he questioned by the police?

Oh yeah.

He was questioned by the police.

Multiple times, actually.

When that woman and
her daughter disappeared

and their last known location
was The Abaddon Hotel,

Tully was able to produce records

that showed their departure,

so he was cleared of
any wrong doing, but...

it wasn't enough to
stop all the questions

and basically kill business.

A few months later,

he hanged himself in the
dining room of the hotel.

(Footsteps on stairs)

(Paul) Jesus Christ
those fuckers are creepy.

(Alex) I guess I'll put Joey...

I'll put Joey right here.

Yeah, yeah, yeah.

(Alex) We'll get this guy
out of here

and I'll put Joey in there,

what do you think?

(Paul) Where's Melissa gonna go?

Back there on the wall.

(Paul) Are we absolutely certain

that she can't be topless?

Paul, if you want to
see her boobies so badly

why don't you just ask her?

Yeah, yeah, yeah,
chicks dig that.

Yeah, especially from you, bro.

(Paul) Baby, I love you
too much for a lawsuit.

Thank you.

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

(Paul) What?

What's the problem?

This dummy,

his head doesn't move so,

they'll all have to be
facing the same direction,

rather than one that
way, one this way.

(Paul) Who gives a shit?

They're all fucking creepy, anyways.

That's a really great mask
and I just don't think

we should waste it on a
dummy that doesn't move.

Well, Paul, what do you think?

Do you wanna slap on this mask,

sit down here all night
and stare at Melissa?

Of course he does.

It was a joke, bro.

It's never gonna happen.

Fuckin' light.

I just heard a strange noise.

I'm gonna go investigate.

Yo, dude, did you hear that?

Yeah, it sounded like a scream.

(Paul) What the fuck was that?

You guys hear that?

I definitely heard something.

I didn't hear anything.

So, we just all woke up
at the same time?

No, you woke me up.

(Mac) Tony, are we
rolling video anywhere?

No.

Should we?

- (Alex) Yes.
- (Mac) No.

No.

Yes.

No.

(Creaking)

(Paul) Maybe it's the soundboard?

Some leaky roofs.

Tony's gonna have to fix that.

We could have like a chef guy

standing back here, like, going crazy.

Remember these?

Oh yeah, that's a good idea.

You know what I mean?

Chef guy.

He'll be, like, "What do you want?"

(Laughing)

Sever people, dude.

Oh, my God.

(Paul) A talented motherfucker.

This is our clown.

Your welcome, guys.

You're welcome.

(Alex) Thank you, Tony.

(Mac) Yeah, good work.

Good work.

I have some stuff
I have to get you

to fill out or whatever.

Blah, blah, blah,
blah, blah, blah,

Mac with all his...

(Paul) Hey, whatever happened
to the handshake deal, Mac?

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

Oh, yeah.

(Yelling)

(Alex) That's so creepy!

(Paul) That's so cool, dude.

Good fucking find, dude.

Yeah, man, thanks.

I just had to send him
down to the basement.

(Paul) Where'd you find this guy?

The gas station.

(Paul) Holy shit.

He was working there
or he was just hanging?

I'm not even sure.

Now, that's bothered me
with it's hair.

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

Guys, guys, Joey
did his trick again,

and his eye came out.

- (All)Whoa!
- (Screaming)

d I'm writing a letter d

d To daddy d

d His mailbox is inevitable d

(Paul) This room looks sick, man.

There's a bunch of babes in here.

This room looks shitty.

Pretty shitty.

How's it hangin', boss.

(Chains rattling)

(Chuckling)

Oh, Hector.

'Sup, dude.

What's goin' on?

Where's Alex and Sara?

They went into the city to
get the rest of the stuff.

(Paul) Oh, sick.

Where's Tony?

I think he's around.

(Paul) Tony?

T-dog

Oh, dude.

Oh!

I think you've had enough to drink.

Tony.

Whoa, shit, dude.

What's up, man?

What are you looking at?

Holy fuck!

You got me, man.

All right, weirdo.

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

(Humming)

What the fuck are you do...

You were just right...

What the fuck are you doing here?

(Tony) I got you a little rat.

(Paul) You fuck...

(Running)

What the fuck?

What the fuck, man?

You were just standing
right fucking here.

Hello, Alex?

Is that you, you asshole?

What the fuck?

Alex, don't fuck with me.

Dude.

Tony, what the fuck?

(Running)

What, are you fucking with me?

What the fuck was that?

What the fuck was that?

Calm down.

Jesus Paul, how much
shit have you shot today?

(Paul) Just watch,
it's coming up.

Oh, I think you've
had enough to drink!

(Chuckling)

Tony!

Whoa, shit, dude.

What's up, man?

What are you looking at?

Holy fuck!

Oh, my God.

Who is that?

How, Paul?

How'd you do it?

(Paul) Do what?

You did this.

(Paul) Why would I
do this shit, dude?

To fuck with us,
like you always do.

Wait, so it's the two of you?

(Paul) No, I shot this solo.

(Laughing)

(Alex) Okay, Romero.

I'm proud of you two.

Great prank.

(Mac) Put that much work
into the haunt.

(Wind blowing and birds chirping)

(Paul) We built a haunted house,

we can do a commercial.

Follow my lead.

This is ridiculous, dude.

I just don't want to show
the inside of the house,

because A, We're not done with it,

and B, I don't want to
give away our scares.

So, I want to do something kind of

catchy and funny.

You know, um, he
wasn't there really.

You know?

Gerald, Gerald,

what are you doing with her?

Gerald!

What is this?

Don't overt your eyes.

I thought you were at work.

(Paul) I'm not doing
too well 'cause they...

Check it out.

(Paul) What?

Check out Sara.

(Paul) What's she doing?

(Tony) Sara!

What are you doing?

(Paul) Looks good, dude.

Yeah, it's on.

(Paul) She's pretty, man.

Sara?

All right, so we're gonna show you

all the fine work that Tone-Dog and
I have been doing. Hard work too.

I'm exhausted.

(Tony) All right, man.

Locked and loaded?

(Paul) I don't know,
you tell me?

You're good.

Just don't shit your pants
like last time.

(Paul) All right, good.

Check the frame in the back.

Does it look right?

It's not angled through that?

(Tony) No.

(Paul) All right, cool.

(Tony) Perfect.

(Paul) All right dude,
lock me in.

All right.

(Handshake slapping)

(Paul) Cool, dude.

Godspeed.

(Static and voices
over walkie-talkies)

(Paul) All right, cue the lights.

(Tony) Lights have been cued.

(Paul) Cue the Strobers.

(Tony) Strobers cued.

(Paul) It's pretty good, man.

I think we're in
fucking business man.

(Tony) Kill it.

(Paul) Hey man, how many freaks
did we have?

(Tony) Three freaks.

Why, what's going on?

(Paul) Are you sure?

(Tony) Positive.

(Paul) What the shit?

(Footsteps and pounding)

Tony, let me out.

(Knocking)

Let me the fuck out, dude.

This is not fucking cool.

Where the fuck are you?

Tony, let me the fuck out.

Tony, fuck!

Let me the fuck out!

(Gagging and retching)

(Tony) Dude, are you 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.
- (Paul) and so did Mac...

- We didn't see anything.
- (Paul) And so did you, Sara.

First of all, keep your voice down.

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

Two weeks to go 'til the show.

They should hear me.

Okay, everybody should
know what's going on.

Two weeks to go and all our actors

are gonna get scared and
run away because of you.

What are we gonna do
when we have no actors?

(Paul) You're talking
like a fucking insane man.

I'm talking like a business man.

Do you wanna be here?

Do you wanna make money?

Do you want Hell House
to be a success?

Calm down.

I'm sorry you got scared.

(Paul) This is fuckin' ridiculous, man.

No, you're ridiculous.

(Tony) Paul, Paul, Paul.

Dude, just come back.

Are you gonna be okay.

Jesus Christ, Alex.

Don't you start on me now.

(Tony) It's getting worse, man.

Can you turn the camera off?

I think Alex was
his own worst enemy.

For whatever reason,
he had up in that hotel,

I think it was...

I think he believed it was

in the best interest
for the company.

His company.

That company he created.

The others were simply loyal to him.

He and Sara had been together
for years.

He and McNamera grew up together.

They'd known each other
since they were boys.

Tony and Paul were,
I think, his first hires.

Oh, yeah.

Oh, there was a bond there.

(Creaking and heavy breathing)

(Paul) Fuck!

Jesus Christ!

(Heavy breathing)

Fuck, dude!

What are you doing?

(Paul) Look!

(Tony) Fuck!

Did you move it?

(Paul) No, man!

I was fucking sleeping!

(Tony) Are you trying
to fuck with me again?

(Paul) No!

(Tony) What's it doing there?

(Paul) I don't know, man.

I was fucking sleeping.

(Tony) Oh, for fuck sake.

All right.

(Paul) Be careful!

(Creaking)

Careful, man.

(Patting)

What is it?

It's a fucking mannequin.

Dipshit.

Guess I'll put him in the back.

(Creaking)

(Paul) What the fuck?

(Sara mumbling)

What the shit is she doing up?

(Tony) Is that Sara?

Sara?

(Paul) Sara?

(Tony) Sara?

(Creaking)

(Paul) Sara?

What the fuck is
she doing down here?

Sara?

(Sara speaking in
a foreign language)

Sara, are you okay?

Sara, you okay?

(Sara mumbling)

(Paul) Don't, Jesus.

Sara!

(Screaming and whimpering)

Sara, Sara.

Sara, Sara, you're fine.

You're fine.

You're okay.

Shhh.

Sara, you're fine.

Sara, you're downstairs.

You're fine.

You're fine.

Hey, hey, hey.

You're fine.

(Paul) Jesus fucking Christ.

It's okay.

What the fuck, dude?

(Paul) Let's get
the fuck out of here.

Come here.

Come here.

You're all right.

(Paul) Oh fuck!

(Tony) What the fuck?

(Paul) Mac!

Where the fuck is he?

He was just fucking here.

(Sara) Guys, can we go upstairs?

(Heavy breathing)

(Paul) Fuck, fuck, fuck.

You just fucking put it there.

Careful, careful.

(Heavy breathing)

Okay.

Okay, guys.

One, two, three.

(Creaking and heavy breathing)

It's okay.

There's nothing here.

There's nothing fucking here.

There's nothing fucking here.

(Heavy breathing)

I don't fucking know.

(Paul) You guys okay?

You guys okay?

Yeah, I'm fine.

(Grandfather clock chiming)

(Screaming)

What the fuck?

(Grandfather clock chiming)

(Screaming)

- (Paul) Holy shit.
- (Tony) Oh, fuck.

(Screaming)

No!

Oh, fuck!

(Paul) Holy shit!

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

(Running upstairs)

(Birds chipring)

(Sniffling)

It's three days...

until the opening

of Hell House.

Yippee.

Everyone's a little stressed.

I personally think we have
no business being here.

Alex is more confident than ever.

Whereas Sara...

She just doesn't look good.

She usually does.

That's all from me.

Sleep sweet.

(Screeching)

(Neck cracking)

Ah, shit.

Holy fuck!

(Trembling)

What the fuck was that?

What the fuck was that?

(Trembling)

Holy shit!

Holy shit!

Holy shit!

(Gasping)

(Screaming)

(Tony) Where the fuck are you, Paul?

(Creaking)

I mean, he's not gonna leave

two days before opening night
without saying anything.

Oh yeah?

2005, he left for two whole shows

without saying anything to anybody.

All right, he's done it before.

He's gonna do it again.

Man, it's just what he does.

(Tony) C'mon Mac,
that was four years ago.

You're really gonna still
hold that against him?

You think he's gonna change?

Paul's a fuck up.

That's just what he is.

You can't change that.

(Tony) No, he set up
half these cameras

in this house himself.

Just hold...

Hold up, guys.

Have either of you geniuses
called him yet?

I didn't call him.

I don't think I have
his phone number.

(Tony) You didn't...

Just give him a call.

Use my phone.

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

(Tony) Look, all his shit
is upstairs.

It's ringing.

Paul?

(High pitched screaming
and screeching)

(Phone breaking)

(Tony) Fuck?

What the fuck was that?

Alex.

What was that?

I don't know.

Alex!

Fuck.

Mac?

You hear that right?

I'm gonna lose my fucking mind.

Who is it?

Maybe Paul?

What are you guys doing?

Will you stop?

Someone's downstairs.

We think it might be Paul.

Stay with Sara, Tony.

(Creaking steps)

Coming from the front room?

(Tony) Yeah.

Okay.

(Tony) Hey, hey, Mac.

Wait up, man.

Relax, it's fine.

It's just Paul fucking with us again.

(Creaking)

Seriously?

Paul?

(Keys slamming on piano)

What the fuck was that?

Oh, fuck!

(Low thumping and yelling)

Paul!

(Tony) What the fuck?

Paul, are you in here?

You in here?

(Tony) Shit!

Paul!

(Tony) What the fuck is going on?

(Heavy breathing)

Jesus fucking Christ, Paul!

(Tony) Dude, what the fuck?

(Creaking steps)

Careful, man.

We're gonna fucking die
on these steps.

Okay, I'll lock the storm door.

(Tony) You sure?

Yeah.

Paul!

Paul!

(Tony) Fuck!

You back here?

(Heavy breathing)

Paul?

(Tony) Mac, do you see anything?

I don't see anything.

(Tony) Fuck!

(Heavy breathing)

Oh, fuck.

Check it.

What?

(Tony) Check it.

(Mac) Nothing.

(Tony) Fuck!

Go, go, go.

What?

What?

(Tony) The clowns!

The fucking clowns!

Their heads!

Oh, my God.

Their heads moved.

They were fucking turned.

(Heavy breathing)

(Mac) Tony, their heads don't move.

You told me--

(Tony) They fucking moved!

Holy fucking shit.

Tony, look at me.

Do you believe in ghosts?

(Tony) Yes.

Yeah.

I don't.

Look at me.

Okay?

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

(Tony) No.

No.

We're gonna go back out there.

We're gonna be fine.

All right?

(Tony) You're fucking crazy.

(Mac) On the count of three.

(Tony) No, no, just--

(Mac) One, two, three.

(Yelling)

(Tony) Fuck!

(Screaming)

They fucking moved.

I fucking swear.

(Mac) I believe you.

I believe you.

Okay?

It's Paul.

He's fucking with us again.

(Tony) Dude, I have it on fucking--

(Mac) I don't know how he got out.

Fuck!

Paul!

Holy shit!

(Tony) What the fuck?

Hey, look at me.

Hey, fuck stick, wake up.

I know you're fucking with us.

(Tony) Paul.

Paul, wake up.

(Mac) Open your little eyes.

(Tony) Paul, oh fuck!

(Mac) What the fuck's wrong
with you, huh?

(Tony) Shit.

(Mac) Why are you pulling
this shit now?

Everyone's on edge.

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

Huh?

(Tony) Paul, come back.

(Mac) Fuck him.

(Tony) You all right, man?

(Mac) C'mon!

(Tony) C'mon, man.

I'm telling you.

We have to call it off, right now.

Why?

(Tony) Why?

Why?

I'll tell you why.

This clown?

It's head doesn't fucking turn

and it turned last night
when we were down here,

as long with these two as well.

(Alex) We're not shutting down, Tony.

Yeah, we're shutting down, dude.

It's not safe anymore.

(Alex) I'll tell you
what I can't explain

is how scared you are right now.

(Tony) Yeah, I'm fucking scared.

(Alex) Paul's back.
Isn't that good?

(Tony) Oh, yeah, yeah, yeah, yeah.

Paul's back.

He's technically back.

But he hasn't said a fucking word

since he's been here.

He just fucking sits there.

(Mac) Which pretty much makes him

as useless as he always was.

(Tony) Fuck you, Mac.

Fuck you.

You were fucking down here.

- You were down here.
- (Mac) What do you want me to say?

(Tony) And you saw
what fucking happened,

and now you're gonna
make a fucking joke

right now to Alex,
your fucking best bud.

Fuck you, man.

Explain to me right now how
that fucking head turned.

I haven't figured that part out yet.

You haven't fucking figured it out?

No shit, you haven't figured it out!

There's nothing to figure out.

It can't fucking turn, but it did.

Tony, we don't have time for this.

It's fucking opening night tomorrow,

I don't fucking care, okay?

I'm out.

All right, you're quitting?

That's what this is?

(Tony) I'm quitting.

Yeah, write it down in
your stupid fucking book.

That I'm fucking quitting. I'll make sure
to date and sign it for you.

All right?

(Tony) Fuck you.

Fuck you, Mac.

See ya, Tony.

Let him go.

(Mac) Hey, hey, hey, Tony!

Tony!

Tony, come here!

Come here.

You're a fucking asshole.

You're a fucking...

You just stand there?

(Mac) Hold on.

You don't understand everything, all right?

You don't have all the facts.

I don't fucking care.

(Mac) You don't understand.

Stop!

(Tony) I'm taking
the fucking sign down.

(Mac) Stop!

Look, just listen to
what I have to say,

and then you can take off
if you want.

But you need to listen to this.

You have to hear this.

What?

Jesus.

(Video tuning and
high frequency sounds)

I can't leave.

Mac's right.

I can't leave.

You okay?

No, not really.

This whole time,

you knew, but you didn't tell me.

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

And now...

We're fucked.

Fucking Alex.

He fucking screwed us.

Does anyone else know?

Just me and Alex.

You haven't told Sara?

No.

I know you haven't told Paul.

No.

You know what's really scary, though?

What?

Is why he's not telling him.

Well, you're staying,
so I'll stay.

I kind of have to.

I'm sorry.

You're not the one
that should apologize.

All right.

See you back there?

Yeah.

Sure.

(Diane) So, when opening night arrived,

was there anything technically
wrong with the house?

Was there any gear or props that

were malfunctioning that
maybe could have hurt someone?

No.

(Diane) To the best of your knowledge,

were you prepared and ready
for opening night?

Yeah.

(Diane) Was Alex of sound mind?

What do you mean?

(Diane) What I mean
to say is, was Alex...

was Alex...

fit to run the show...

was there anything
on management's end

that maybe could have
caused the tragedy?

Alex was the same as always.

He did a good job of
rallying the actors,

and Tony and Mac.

He told me that it would be okay...

and I believed him.

(Diane) Sara, why did you not leave?

Alex wasn't gonna leave the house.

What was I supposed to do?

(Diane) I understand.

Leading up to that point,

did you notice anything
that raised any alarms?

That clown guy that was
running against traffic.

He shot right past us,

as we neared the basement.

I remember thinking,
"If this is a part of the show,

then it's pretty lame."

But, of course, it wasn't.

We got close to the bottom
of the basement steps.

We couldn't move anymore.

I mean, nobody could.

(Diane) Why?

'Cause everyone that was
already in the basement

was trying to get out.

I went into Abaddon, you know,
out of New York.

Last year was actually
our biggest opening.

Even Sara said that...

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

Is he okay or...?

(Alex) Paul?

Paul's fine, yeah.

Why would you...

Yeah, don't...

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

We'll have to run without him,

but don't worry about crew.

We're gonna be...

We're gonna be all right.

Scaring some people.

(Laughing)

Let's scare some people tonight.

A lot of them are gonna
come through here.

Yeah, great.

Let's get into costume and makeup
and go get ready.

Awesome.

Thank you.

Awesome.

Thank you.

Thanks.

What's up, man.

(Tony) Hey.

I'm sorry.

I know it's been a while.

But I shouldn't have
reacted like I did.

(Alex) You all right?

(Tony) I hope so.

(Alex) We're all right,
we're all right.

All right?

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

You know that.

(Creaking)

(Tony) Paul?

Yo, Paul.

Paul, wake up.

C'mon buddy, wake up.

Paul.

Whoa, check it out.

How beautiful is this?

(Tony) Oh, I love it.

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

(Tony) No.

Not at all.

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

Take a look at this crowd.

(Tony) What do we got down here?

Oh, yeah!

(Alex) Oh, my God!

(Tony) Oh, I can't wait
to pee my pants!

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

(Alex) Oh, good luck
trying to scare me.

(Mac) Okay, are you guys
ready to go?

Are you filming right now?

(Mac) Yeah, yeah, we're all set.

You have the keys to her chains, right?

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

She's gonna be all right.

(Mac) Okay.

All right.

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

Hey, Mac.

Is everything all right?

(Mac) Yeah.

Everything's fine.

You would tell me if
something was wrong, right?

(Mac) 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?

(Mac) We open the doors at 8:00.

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

(Laughing)

This is so exciting.

(Laughing)

(Mac) All right, here we go.

See you later.

Bye.

(Footsteps on stairs)

Hi, Sam, can you hear me?

We open in exactly 10 minutes.

I need everybody ready, in position,
ready to go.

You heard from Paul at all?

No.

Still sleeping.

It's creepy.

It's not creepy, it's annoying.

Hey, Mac, have you heard
from Paul at all on your end?

There he is.

(Mac) No.

Mac, can you hold down
your button, please,

when you speak to me.

Wow.

We lost him.

That's his walkie-talkies, man.

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

I told you to get the better ones.

I thought--

(Feedback)

Ask him if he knows sign language.

All right, get into position.

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

All right.

Off to a good start, broken walkies.

It'll be all right.

It's not gonna stop us.

Let's go.

Welcome, everyone.

(Cheering and applause)

I hope you all have a reservation.

No one gets in without a reservation.

A little more mist.

Pump it up, pump it up.

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.

(People talking in line)

(Person in line) We're next,
we're next, we're next.

How many people are
they letting in at a time?

It's a long wait.

(Scream in the distance)

(Mac) Keep the line
moving, you guys,

I want people in and out.

We need some strobe.

Kick up the strobe in the rat room.

A wonderful scare, here we go.

I love this guy.

I think we're next.

Exciting.

We've been waiting for you.

I hope you all enjoy your stay.

(Creaking and screaming)

(Mac) Sara?

What are you doing?

I think I just saw Paul.

(Mac) Paul?

Where?

And he looked at me.

(Mac) I'll take care of it.

I'll take care of it.

Don't worry.

Joey!

Alex.

Alex.

Alex, Joey just ran out
of the basement,

what's going on down there?

There's Joey.

Where's Joey going?

Son of a bitch!

(Screaming and creaking)

(Sara) Did you hear that?

What the fuck was that?

(Screaming)

(Mac) Go back upstairs and
find out what's going on.

Go, go, go.

(Screaming)

Is that supposed to happened?

(Man) Technical difficulties
on opening night.

(Mac) Alex, come in.

Alex, I have no eyes
in the basement.

Something's up.

Alex.

Pick up your walkie.

(Laughing and talking)

(Man) Gross.

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

Please, please, somebody get help!

This isn't part of the show!

Joey!

Joey, no!

Joey, don't leave me, please!

Get me out of here!

(Crying)

Are you okay?

No!

No, this isn't part of the show!

Please.

Please, get help.

(Screaming and scrambling)

(Creaking and screaming)

(Mac) Go, go, go, go, go, get out!

(Knocking)

Hello, anybody?

Fuck!

There's another way out over here.

(Footsteps and loud sirens)

Tony, Tony, get to the basement.

What's going on in the basement?

(Mac) Go!

Oh fuck!

(Mac) What's going on?

(Melissa) Please, somebody
let me out of here.

(Mac) Tony!

Tony!

(Screaming)

Tony!

(Heaving breathing)

(Sirens and yelling)

(Heavy breathing)

Go back up.

Go back up.

Go!

Go!

Attic, attic!

(Footsteps and heavy breathing)

(Screaming)

Alex!

Alex!

C'mon!

(Screaming)

(Scrambled tape and screaming)

(Police and ambulance sirens)

I came down the stairs
from the attic

and when I got to the front door

the police were arriving.

I was just happy to be alive.

They didn't ask me any
questions or anything.

They just rushed me out.

(Diane) Nothing happened to you

from the attic all the
way to the front door?

You just left?

Yeah.

(Diane) How...

If this is all true, how
was it kept from the public

for so long?

I'm sorry,

I'm just feeling really tired,

do you think that we could
maybe take a break.

(Diane) Of course, of course.

I'm so sorry.

Jonathan, will you...

I keep throwing these
questions at you,

and I know you've
gotta be exhausted.

Can we get you water?

Do you want any water
or anything to eat?

Well, let's get you
a room to rest in.

(Sara) Oh, I already have a room.

It's 2C.

If you could just give
me a couple hours,

you can come find me there.

(Diane) I will.

Thank you.

Thanks, but it's all boarded up

and I just cannot get a permit.

Maybe.

I'll talk to the guys.

Thanks.

(Man #1) I mean, the
place is all boarded up,

what, are we gonna break in?

(Diane) So what, yeah, why not?

I mean, it's 5:00 in the morning.

Nobody's gonna be there.

(Man #2) Yeah, I'm with Diane.

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

(Diane) Thank you.

What are you afraid of a little

g-g-g-ghost?

(Man #1) Fine.

We have one hour, though.

(Diane) Perfect.

(Man #1) One hour.

(Diane) Can do.

Grab the camera.

Will you finish going
through the footage?

I want to look at it today.

(Man) Got it.

(Diane) Yes? Good.

Thank you.

We're gonna step out for a minute.

If the woman in 2C asks for me,

can you tell her we'll
be back in like an hour?

2C?

Yeah.

Our rooms don't have any letters.

Um, she did say 2C, right?

(Man) 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...

(Man) She's probably just

staying under another name
or something, c'mon.

Thank you very much.

(Cameraman) Do you wanna
go see this house or not?

(Distant screaming and creaking)

(Gasping and crying)

(Creaking)

(Creaky door opening)

(Footsteps and breathing)

(Kicking and scrambled tape)

(Choking)

(Low growling and whimpering)

(Video tape scratching)

(Choking and gasping)

(Pounding)

(Tape malfunctioning)

(Car door opening)

Nobody's around.

(Door creaking)

(Cameraman) 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...

(Cameraman) What?

Yeah, this is, this is...

This a wall where...

So the kitchen would be...

(Cameraman) I feel like
we're getting asbestos

of something in here.

Can we get out of here?

(Diane) This is where the,
the strobe light...

(Creaking door and footsteps)

(Cameraman) Kitchen.

(Diane) Well, I think the tour
continues that way, right?

(Cameraman) I don't think
we're gonna be

able to go back that way.

(Diane) Well, let's find another way.

(Cameraman) All right.

It's the basement.

(Creaking door)

It's the basement.

Oh, my God!

Look at the blood!

Can you see that?

Get that shot!

Get that shot!

Look at that.

Look at that.

(Cameraman) Oh, fuck that.

Let's...

No.

I'm not.

It looks like a hand print.

Look here.

Do you see it?

(Cameraman) I don't give a shit.

Let's not.

Nope.

Let's just go.

Okay, you're right.

(Cameraman) Hey, let's go in here.

Careful, watch your foot.

Watch your foot.

This is where they had
the bartender there.

(Cameraman) Oh fuck.

It's all fake, right?

Oh.

All right, c'mon.

We gotta find the kitchen.

(Cameraman) Yeah, I don't want to...

Watch this, watch this guy.

Oh, man.

C'mon.

(Cameraman) Maybe it just
goes round and round.

Look how dumb, look here.

(Cameraman) Ah, fuck.

This is insane.

Oh, my God.

(Cameraman) All right, no,
that doesn't...

(Piano keys)

Right, of course it does.

That makes sense.

Oh, don't be such a pussy.

C'mon, we're not even...

(Cameraman) Can you just, like, slow down?

Hey, get this.

Oh, my God!

(Diane) Look at that shit.

Look at them.

(Laughing)

Oh, my God.

(Cameraman) 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.

(Cameraman) It's the stairs,
right there.

We gotta go up the stairs.

(Cameraman) Yeah, sure, of course we do.

(Footsteps on creaky steps.)

See the security cameras everywhere?

(Cameraman) Yeah.

So this locks.

(Cameraman) That's fucking creepy.

Hold on, let me turn this lamp...

Fuck.

(Cameraman) What is that?

She said 2C, right?

(Cameraman) What the fuck?

I mean, do you think...

I mean...

(Cameraman) No, what?

Don't fucking open that!

It's what we're here for.

We're here to--

(Cameraman) We're not here to fucking

go into a creepy ass room.

I am.

(Cameraman) Diane!

Diane, don't.

Shut up.

Oh, my God!

C'mon, on me.

(Cameraman) Don't fucking go in there.

Sara?

Honey, are you okay?

(Cameraman) Don't.

Sara.

(Cameraman) Let's get the fuck out--

(Door slamming and screaming)

Holy fuck!

(Diane) Oh, my God!

Oh, my God!

Help me!

Oh, my God!

(Cameraman) What the fuck is that?

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