Original subtitles

Man: JUST FOCUSING THE CAMERA HERE

IN DOWNTOWN L.A., THE LOVELY DOWNTOWN L.A.,

WHERE WE HAVE BEEN LED TO A PARKING LOT.

- YOU SURE THIS IS IT? - IT'S GOTTA BE.

COME ON.

I CAN'T BELIEVE YOU GOT US THIS MEETING.

- DOCUMENTARY, HERE WE COME. - GUYS, DON'T EMBARRASS ME.

DIRK BAILEY IS A MAJOR PRODUCER.

COME ON, LET'S GO.

OH, LOOK.

LADIES AND GENTLEMEN, OUR FUTURE BENEFACTOR.

POSE BY IT A SECOND.

YOU'RE SO WEIRD.

- AM I? - YES.

SO DO YOU KNOW WHAT YOU'RE GONN SAY TO HIM?

- THIS THING IS REALLY YOUR BABY. - DON'T WORRY ABOUT IT.

- YOU'RE THE BOSS; I'M JUST THE CAMERAMAN. - , SHUT UP.

- WE'RE IN THIS TOGETHER. - OH, THAT'S RIGHT.

CAN YOU DO SOMETHING ABOUT THAT?

- PSST! - WHAT, WHAT?

- NO, YOU CAN'T. - I'M JUST TALKING TO HER.

GET YOUR ASS OFF THE DESK. THIS ISN'T A MEAT MARKET.

HI. I'M KENNEDY.

NICE. DIRK BAILEY. BUT YOU KNOW THAT; THAT'S WHY YOU'RE HERE.

- YES. THIS IS MY-- - YOU'RE FILMING?

Dirk: OKAY, GUYS, TIME'S MONEY.

THIS IS MY FIRST A.D., PETER.

THAT'S KENNEDY AND WHOEVER.

THIS IS JAMES.

- WHAT'S THIS ALL ABOUT? - WHO KNOWS?

WE WANTED TO DOCUMENT EVERYTHING FROM INCEPTION.

OKAY, BUT THIS ISN'T ABOUT YOU. YOU GUYS KNOW THAT, RIGHT?

ANYWAY, IT'S A DRAMA, OF COURSE.

GENRES DON'T WIN AWARDS.

THE FIRST FEW DAYS, WE'LL BE FILMING AT

LONGFELLOW INSANE ASYLUM,

WHICH IS A CHARACTER IN AND OF ITSELF.

I KNOW THAT PLACE. IT CLOSED DOWN A FEW YEARS BACK?

YEAH. NUTS WON'T EVEN GO THERE.

PLACE'LL GIVE YOU THE CREEPS, BUT IT'S PRODUCTION VALUE.

IT'S AN INNER MANIFESTATION OF TRICIA'S STRUGGLE

OF INNER EMOTIONS, AND IT'S CHEAP.

WHAT THE FUCK, KENNEDY?

- I'M SORRY. - I FEEL TOTALLY AMBUSHED RIGHT NOW.

YOU KNOW HOW I FEEL.

MAKING-OF DOCS ARE LIKE THE WEDDING PHOTOGRAPHERS OF FILMMAKING.

NOBODY WATCHES THIS SHIT BECAUSE NOBODY GIVES A SHIT.

TIME WASTED ON THIS CRAP IS TIME WE COULD BE SPENDING

ON OUR OWN DOCUMENTARY,

WHICH, BY THE WAY, I THOUGHT THIS MEETING WAS ALL ABOUT.

RAISING MONEY FOR OUR OWN PROJECT.

I HEAR WHAT YOU'RE SAYING, JAMES, BUT THIS IS MONEY.

WE CAN HAVE ALL THE TALENT IN THE WORLD,

BUT WITHOUT THE RIGHT CONNECTIONS AND THE RIGHT FUNDING,

WE DON'T HAVE A PROJECT.

THIS'LL KEEP US GOING FOR A COUPLE OF MONTHS, AT LEAST.

HE'S GOT A POINT.

NOBODY WATCHES BEHIND-THE-SCENES FOOTAGE ANYMORE.

IT USED TO BE COOL. IT USED TO BE FILM SCHOOL IN AN HOUR OR SO,

BUT NOW IT'S JUST PEOPLE GLAD-HANDING

AND SAYING SHIT LIKE "GRAVITAS" AND "CAMARADERIE."

THIS ONE WILL WIN AWARDS.

- ARE YOU SERIOUS? - YES.

WITH JERK BAILEY PRODUCING IT?

IT'LL BE MORE LIKE A BOGUS FEATURE THAN A BONUS FEATURE.

I MEAN...

I'M IN 'CAUSE THERE'S A CHECK INVOLVED.

- ARE YOU FILMING THIS?- NO.

NO, I WAS JUST MAKING SURE IT WAS OFF.

THAT'S A SHAME, BECAUSE I'VE NEVER FILMED MYSELF

DOING IT BEFORE.

OH...

OH, JIMINY CHRISTMAS. I JUST WENT FROM 6:00 TO MIDNIGHT.

I'M JUST GONNA... I WASN'T FILMING.

WHAT ABOUT THE AUDIO EQUIPMENT?

THAT'S CORY'S JOB, AND I'M NOT DOING CORY'S JOB.

IS HE STILL IN THE BATHROOM?

HE'S, UH, HE'S JUST FINE.

LET'S JUST FOCUS ON THIS.

YOU'RE ACTING WEIRD.

X-CAM ONE, CHECK.

- WHAT? - WHERE THE HELL IS X-CAM TWO?

CORY.

BECAUSE WE'RE GONNA WANNA RECORD THIS

FOR YOUR ACTING PURPOSES. TRUST ME.

THIS IS GONNA BE REALLY GOOD.

OKAY, THOSE FEEL REAL.

I CAN'T BELIEVE WE'RE DOING THIS.

YOU'RE GONNA BE A GREAT ACTRESS.

LOOK AT THE CAMERA. LOOK AT THE CAMERA.

IS THAT GRUNTING?

WHY DON'T YOU SEE FOR YOURSELF?

OH, MY GOD!

DUDES!

IS THAT THE SECRETARY?

- GET OUT OF MY ROOM! - YOU GET OUT OF YOUR ROOM.

SO JUST KEEP GOIN' STRAIGHT.

YES, I HAVE READ A THOMAS GUIDE BEFORE.

- THOMAS GUIDE? - THIS IS OLD SCHOOL.

NOT LIKE APPLICATIONS--

WAIT. THIS IS CHICAGO, RIGHT? TURN RIGHT ON CHICAGO.

- AM I WHAT? - WHAT YEAR WERE YOU BORN?

- WHAT YEAR WAS I BORN? - I HAVE NO IDEA WHERE WE'RE GOING RIGHT NOW.

SHOULD BE UP HERE ON THE LEFT, AND THERE IT IS.

OH, YOU'RE WELCOME.

- GOOD JOB. - SLOW DOWN, SLOW DOWN.

- THERE'S A PRODUCTION TRUCK. - YEAH, I SEE.

* HE'S SICK *

THIS PLACE ISN'T SO CREEPY.

WHAT DID YOU EXPECT IT WOULD LOOK LIKE? A HORROR MOVIE?

YEAH, ACTUALLY.

ACTUALLY, THE HORROR'S INSIDE,

AND HER NAME IS TRICIA BLAKE.

AND DORK BAILEY. DUM-DUM-DUM.

DID YOU GUYS NOTICE THAT IT'S TWO BUILDINGS?

- SHUT UP, CORY. - THANKS, MR. OBVIOUS.

IT IS HUGE, THOUGH.

I WONDER HOW MANY PEOPLE IT HOUSED WHEN IT WAS OPERATING?

A BUNCH OF CRAZY PEOPLE.

WHEN IT CLOSED DOWN, WHAT DO YOU THINK THEY DID WITH ALL THE NUTS?

THEY JUST SHOO 'EM OUT IN THE STREET?

YEAH, I MEAN, THAT'S PRETTY MUCH WHAT HAPPENED.

THEIR FAMILIES WERE THE ONES THAT DROPPED 'EM OFF HERE TO BEGIN WITH.

THEY HAD NO HOMES TO GO , SO A LOT OF 'EM ENDED UP HOMELESS.

HOW ARE WE SUPPOSED TO GET IN HERE?

- TRY THIS DOOR. - THERE WAS A MAP ON THE CALL SHEET.

OF COURSE, I DIDN'T GET THE CALL SHEET.

- DID ANYONE GET A CALL SHEET? - I DON'T THINK SO.

WE'RE NOT GETTIN' IN THROUGH HERE.

- IT'S BEEN LOCKED FOR 30 YEARS. - JUST KEEP MOVING.

- CORY, YOU SHOULD GO TOUCH THAT WASP NEST.

STAY FOCUSED, COME ON.

I THINK DIRK SAID THEY WERE SHOOTING SOME SECOND UNIT HERE EARLIER,

SO THEY SHOULD BE HERE.

THEY'RE NOT HERE ANYMORE,

'CAUSE THERE'S NOTHING IN HERE.

- BARS ON THE WINDOWS. - HELLO.

- HELLO! - LET'S KEEP WALKING.

ALL RIGHT, THIS HAS GOTTA BE IT, GUYS.

COME ON. MOVE YOUR BUTTS.

HELLO?

- THERE'S NOBODY HERE. - GUYS.

- MAYBE IT'S AT THE OTHER BUILDING. - UH, YA THINK?

Kennedy: THIS PLACE IS HUGE. IT'S LIKE A FORTRESS.

THAT IS, BY FAR, THE SCARIEST PART OF THIS BUILDING.

OKAY, WE'RE LATE. WE REALLY NEED TO GET INSIDE.

- I'M GETTING GOOD FOOTA HERE. - COME ON, GUYS, LET'S GO.

JESUS, THIS PLACE GOES ON FOREVER.

YEAH, IT'S PRETTY STUPID.

OH, THIS MUST BE THE ENTRANCE.

- SHIT!

- YOU ALL RIGHT? - YEAH.

YOU ALL RIGHT? WHAT THE FUCK?

GOD, LOOK AT THAT GUY'S FACE.

- WHAT IS HE DOING? - WHAT?

JUST WALK AWAY, BUDDY.

- WHAT THE HELL WAS THAT? - UH...

THERE WE GO.

FINALLY.

LET'S GET INSIDE. WE NEED TO SET UP. WE'RE LATE.

YEAH, WE DON'T WANT DIRK TO TAKE AWAY OUR MONEY.

HOW'S IT GOIN'?

PLACE IS CREEPIER INSIDE.

HAVE YOU SEEN DIRK?

- YOU FOUND HIM. - YEAH, COPY THAT.

- HI, DIRK. WHAT WOULD YOU HAVE US-- - YOU'RE LATE.

YEAH, WE HAD TROUBLE FINDING THE PLACE.

GUESS THE PLACE ISN'T BIG ENOUGH FOR YOU.

FUCK, IT TAKES UP AN ENTIRE BLOCK.

NO, WE WERE HERE. WE JUST COULDN'T FIND THE ENTRANCE.

ARE YOU GUYS STUPID OR HIGH?

DON'T TELL ME YOU'RE STUPID, AND YOU BETTER NOT BE HIGH.

DIRK, YOU'RE NEED IN MAKEUP. TRICIA'S HAVING AN ISSUE.

OKAY, I GOTTA PUT OUT THIS FIRE.

YOU GUYS DO WHATEVER YOU WANNA DO.

PETER WILL SHOW YOU AROUND.

ONLY ONE CAMERA? REALLY? WHAT KIND OF ORGANIZATION IS THIS?

SEEING AS I ONLY HAVE ONE HEAD...

WHAT?

GENERALLY, THESE ARE SINGLE-CAMERA SHOOTS.

- YEAH, I WANT BIG. - WE HAVE MORE CAMERAS IN THE CAR; NO WORRIES.

YEAH, GOOD. GOTTA GO.

SO WANNA GIVE US THE BIG TOUR?

THIS IS WHERE WE'LL BE SHOOTING TODAY'S SCENE.

TRICIA WILL BE IDENTIFYING A BODY,

WHO WE LATER REALIZE IS ACTUALLY HERSELF.

WE WERE SHOOTING SECOND UNIT PHOTOGRAPHY HERE EARLIER,

AND NOW WE'RE GETTING READY FOR PRINCIPAL PHOTOGRAPHY.

OH, THIS IS FROM THE ORIGINAL LOCATION?

NO, WE HAD ALL THIS BROUGHT IN.

NONE OF THIS STUFF HERE WAS UP TO THE DIRECTOR'S STANDARDS.

WE HAD IT ALL BUILT JUST FOR THE PRODUCTION.

SO MAY I A WHY YOU CHOSE THIS LOCATION

INSTEAD OF JUST SHOOTING ON A SOUNDSTAGE?

TALK TO HIM.

WHAT ARE THESE PEOPLE DOING ON MY SET?

ALEC, THIS IS THE MAKING-OF CREW THAT DIRK HIRED.

- HI, I'M KENNEDY. THIS IS-- - UNAPPROVED.

EXCUSE ME.

I DIDN'T APPROVE ANY OF THESE PEOPLE.

WHY WASN'T I TOLD ABOUT THIS?

OR THIS CAMERA! NOBODY RUNS ANYTHING BY ME FIRST!

THEY'LL BE FINE. THEY KNOW ALL THE RULE STAY OUT OF THE WAY.

WHY IS HE LOOKING ME IN THE EYE THEN?

I SPECIFICALLY STATED IN MY MANIFEST THAT NOBODY WAS TO LOOK ME IN THE EYE

OR ADDRESS ME IN ANY WAY.

HE HASN'T READ THE MANIFEST YET. I'LL MAKE SURE THAT HAPPENS.

AH, THE MANIFEST THING, YEAH. IT'S REALLY SMART, ALEC.

- I'M SORRY, ALEC. I'M SORRY.

HE'S STILL LOOKING ME IN THE EYE.

EVERYBODY, ALL MORNING LONG,

HAS BEEN LOOKING ME STRAIGHT IN THE GODDAMN EYE.

WE'LL LEAVE YOU TO YOUR CREATIVE DEVICES. BIG DAY AHEAD.

COME ON.

LET THE GENIUS RUMINATE.

HERE'S YOUR MANIFEST, DOUCHE BAG.

HEY, GUYS. ARE WE INTERRUPTING ANYTHING?

- NO, JUST TALKIN'. - JUST TALKIN'. GREAT.

YOU GUYS SEEN DIRK?

YEAH, HE JUST LEFT A MINUTE AGO.

HOW ABOUT TRICIA?

UM, I DON'T KNOW. SHE PROBABLY WENT TO SMOKE OR SOMETHING.

WHO CARES?

HI.

HEY.

YEAH, THIS IS THE MAKING-OF CREW.

JUST WANNA SHOW 'EM AROUND A LITTLE BIT BEFORE WE GET STARTED.

OH, COOL.

WE'D LIKE TO SIT DOWN WITH YOU AT SOME POINT.

THE MAKEUP SEGMENTS ARE ALWAYS POPULAR.

- YEAH, THAT'D BE AWESOME. JUST LET ME KNOW WHEN. - THANKS. YEAH.

PETER, CAN I TALK TO YOU FOR A SECOND?

OH, SURE. YEAH.

- CAN YOU GUYS GIVE US A MINUTE? - OH, YEAH.

GET THIS.

I THINK YOU JUST FORGOT TO BRING THEM.

NO, I'M TELLING YOU, THEY WERE HERE.

I THOUGHT MAYBE SHE FORGOT THEM, TOO.

LOOK, HERE'S THE CHECKLIST.

OKAY? AND I REMEMBER THAT THOSE WERE THE FIRST ITEMS WE BROUGHT IN.

CORY, YOU GOT THIS?

THOSE BRUSHES WERE EXPENSIVE, PETER.

THEY HAVE TO BE SPECIAL-ORDERED.

SO WHAT DO YOU WANT ME TO DO?

I DON'T KNOW. TALK TO HER MAYBE?

CAN YOU DO THAT?

DID YOU SEE HER TAKE THEM, HUH?

Kennedy: SHIT! HE SAW US.

NO, I DIDN'T SEE HER TAKE THEM.

BUT WHO ELSE COULD IT HAVE BEEN?

SHE WAS THE ONLY ONE HERE BESIDES US.

WE DON'T USE THAT SHIT.

OKAY, LOOK, I CAN'T ACCUSE OUR LEAD ACTRESS

OF STEALING MAKEUP SUPPLIES WITHOUT ANY PROOF.

WHY WOULD TRICIA STEAL MAKEUP SUPPLIES?

SHE CAN AFFORD HER OWN.

I DON'T KNOW. MAYBE BECAUSE SHE'S A BITCH AND A HALF.

THIS IS GOOD STUFF.

LOOK, I DON'T KNOW WHAT TO TELL YOU, OKAY?

- James: SHIT! - OH, GODDAMN IT.

JUST DOUBLE-CHECK EVERYTHING FROM NOW ON, OKAY?

WE ALWAYS DO, PETER.

HI. WERE YOU GUYS FILMING THAT?

- FILMING WHAT? - THIS TOUR'S DONE.

OKAY? THERE'S NOTHING GOING ON HERE ANYWAY.

GO FILM SOME B-ROLL OR SOMETHING. I DON'T CARE.

- JUST STAY OUT OF MY WAY. - PETER, NO, WE WEREN'T.

UH-HUH. WHAT A BUNCH OF AMATEURS THESE FUCKIN' LOW-BUDGET MOVIES GET.

IS EVERYONE A DICK ON THIS MOVIE?

EVERYONE'S A DICK IN HOLLYWOOD.

WHY DO YOU THINK I'M NOT SUCCESSFUL?

- YOU SHOULD BE. - THAT'S WHAT I'M SAYIN'.

OH, I GET IT. SHUT UP.

ALL RIGHT, WE NEED TO GET SOME INTERVIEWS.

- LOOK, THERE'S TRICIA. - OH, GREAT. WE'LL GET HER.

TRICIA, HEY, DO YOU WANNA DO AN INTERVIEW WITH US

- FOR THE MAKING-OF? - AM I GETTING PAID FOR IT?

OH, I DON'T THINK SO, BUT I DON'T KNOW.

DIRK SAID WE HAD FULL ACCESS, SO...

WELL, DIRK SAID THAT, I DIDN'T.

YOU NEED TO TALK TO MY AGENT.

- WHAT? - YOU KNOW WHAT, TRICIA?

IT'S ACTUALLY NOT REALLY A BIG DEAL.

WE'RE JUST GONNA ASK A FEW SIMPLE QUESTIONS.

DIVA!

THIS IS MY FAVORITE PART ABOUT MOVIE SETS.

DAMN, THAT SPREAD LOOKS SO GOOD.

OH, HEY. HI.

DO YOU WANNA TELL US WHAT IT IS YOU DO?

UH, WELL, I'M A GRIP.

OKAY. DO YOU WANNA TELL US WHAT A GRIP DOES, JUST FOR THOSE OUT THERE

WHO DON'T KNOW?

WELL, I GRIP THINGS.

FASCINATING.

YOU DON'T HAVE TO TAKE EVERYTHING.

- IT'S GONNA BE HERE ALL NIGHT. - I'M JUST STOCKING UP.

WHY DON'T YOU JUST SAVE SOMETHING FOR SOMEBODY ELSE?

YOU'RE FAT ENOUGH AS IT IS.

YOU REALLY LIKE ALL MY FOOD?

LOOKS LIKE CORY FOUND TRUE LOVE.

I DO LOVE YOUR FOOD, AND I LOVE YOU, TOO.

STOP. GO ON, Y'ALL, GET OUTTA HERE.

JUST TAKE A LITTLE MORE.

COME BACK LATER WHEN THERE'S GOOD FOOD. THIS IS JUNK. GO ON.

YOU'RE GONNA MISS ME WHEN I'M GONE.

- I'LL START MISSIN' YOU RIGHT THIS SECOND.

WHAT IS THE MATTER WITH YOU? WHAT DID YOU DO?

YOU DESTROYED EVERY-- JUST GET OUT OF HERE.

I'M GONNA TELL DIRK, AND YOU ARE GONNA HAVE TO PAY FOR ALL OF THIS.

GO ON, GET!

OH, MY LORD, I WORKED FOREVER ON THIS.

JAMES, WHAT WAS THAT?

- I DON'T KNOW. - DUDE, WHAT DID YOU DO?

I DIDN'T DO ANYTHING, I SWEAR.

YOU WERE THE LAST PERSON IN THERE.

HOW AM I SUPPOSED TO DO ALL THAT DAMAGE

WITH THIS THING ON MY SHOULDER, IDIOT?

I WAS RIGHT BEHIND YOU GUYS.

WAS ANYONE ELSE IN THE ROOM?

I GUESS. I DON'T KNOW. I ONLY SEE WHAT THIS SEES.

I SUPPOSE SOMEBODY COULD'VE COME IN THROUGH THE OTHER DOOR.

I DON'T KNOW.

DUDE, I'LL TOTALLY REWIND THE TAPE FOR YOU RIGHT NOW.

NO, NO, WE BELIEVE YOU.

JUST YOU SAYING THAT MAKES ME POSITIVE YOU DON'T.

IT'S FINE. FORGET IT. IT'S FINE.

FACT: EVERYONE HERE HATES US.

DUDE, DON'T TOUCH MY FUCKING LENS.

LET'S GET BACK TO WORK.

OH, DUMB ASS!

DAMN IT.

COME ON, GUYS. LOOKS LIKE THEY'RE GONNA START SHOOTING.

AND THEN, YOU COME OVER HERE.

WAIT, NO.

YOU SHOULD PROBABLY COME OVER HERE.

HOLD IT A SECOND. WHO PUT THIS LIGHT HERE?

ALEC, WE HAVE TO GET OFF OUR FIRST SHOT.

DON'T RUSH ME. THE LIGHTING'S ALL WRONG.

WHO SCREWED THIS UP?

THIS IS THE EXACT LIGHTING THAT YOU WANTED THIS MORNING, OKAY?

WE GOTTA POP THIS OFF, ALL RIGHT?

WHO'S THE DIRECTOR HERE?

YOU DIDN'T READ THE MANIFEST, EITHER, DID YOU?

SERIOUSLY...

JUST LET ME KNOW WHEN YOU FIGURE IT OUT.

LISTEN, ASSHOLE, DO YOU HAVE ANY IDEA

HOW MUCH THIS IS COSTING ME PER MINUTE?

- HUH? - A LOT.

YEAH. SPEED IT UP.

Kennedy: OH, WOW, THIS GUY IS CLUELESS.

- CAN YOU BELIEVE HER? - FORGET IT. SHE'S A BITCH.

ARE WE ACTUALLY EVEN SHOOTING ANYTHING HERE OR WHAT?

IT DOESN'T SEEM LIKE IT. WE CAN'T GO BACK TO CATERING,

SO WHAT DO WE DO NOW?

- WHOA, WHAT IS THAT? - WHAT?

- WHAT? - WHAT?

NOTHING. I THOUGHT I SAW SOMETHING.

WHY DON'T WE EXPLORE A LITTLE BIT?

DOESN'T LOOK LIKE THEY'RE GONNA SHOOT ANY TIME SOON.

SOUNDS GOOD TO ME.

Kennedy: YOU SCARED?

GUYS, THIS LOOKS SO FRICKIN' GOOD.

- YEAH? - YEAH.

- THIS PLACE IS AWESOME. - THIS IS WHAT WE NEED TO BE SHOOTING.

- I KNOW. - SCREW THAT OTHER STUFF.

- THEY'RE SO UNCOOPERATIVE. - I HATE THE DARK.

- OH, THIS IS COZY. - IT'S DISGUSTING.

THIS IS SO AWESOME!

- LOOK ON THE WALL OVER HERE. - LOOK AT ALL THAT WRITING.

OH, MAN, THIS IS GONNA BE GREAT B-ROLL.

- WHO WROTE THIS? - IT'S GOTTA BE PEOPLE SNEAKIN' IN HERE.

- IS THAT BLOOD? - NO.

THAT IS SOME BLOOD ON THE WALL.

- IT'S NOT BLOOD. - IT'S DEFINITELY BLOOD.

- THERE'S ANOTHER HALLWAY DOWN HERE. COME LOOK. - OKAY.

OH, YEAH, WE GOTTA GO CHECK THIS OUT.

THIS IS SO COOL.

SO WHERE'S THIS GO?

IT MUST BE THE TUNNEL CONNECTING TO OTHER BUILDING.

OKAY.

- OH, DID YOU FEEL THE TEMPERATURE CHANGE? - YEAH, DUDE.

YOU FEEL THAT?

IT'S, LIKE, SIGNIFICANTLY COOLER DOWN HERE.

HOLY CRAP, I JUST FELT SOMETHING CRAWL ON MY NECK.

- I SWEAR TO GOD. - IT'S NOT EVEN FUNNY, DUDE.

- OKAY, THERE YOU GO. - STUDIO CHAIR.

ARE YOU GETTING THIS?

TAKING A STROLL DOWN A CREEPY HALLWAY.

WHY IS THERE A WHEELCHAIR?

'CAUSE IT USED TO BE A HOSPITAL.

- OH, YOU'RE SO SMART. - USED TO BE A HOSPITAL.

NOW IT'S JUST SCARY. TUNNELS.

WHY IS THERE A MATTRESS IN THERE? I'M SO CONFUSED.

- LOOKS LIKE OLD FILES. - OH, MY GOD.

UGH.

OKAY, UM...

WHAT ARE YOU GUYS WAITING FOR? LET'S CHECK IT OUT.

- NO. - YOU CHICKEN?

UH, SORT OF. YEAH.

DEFINITELY YES. YES.

WHATEVER. YOU CAN WAIT IN THE CAR IF YOU WANT.

DON'T, DON'T...

KENNEDY! WELL, GO GET HER.

WHAT? HELL, NO! YOU GO GET HER.

DUDE, SHE'S GONNA BREAK HER NECK IN THERE,

AND IT'S GONNA BE ON YOU.

I HAVE DONE SO MANY BAD THINGS IN MY LIFE, MAN.

I'LL SLEEP EASY TONIGHT.

I'M GONNA GO WAIT IN THE CAR.

KENNEDY!

KENNEDY?

SHIT. COME ON.

NO. NO. DON'T.

KENNEDY?

WHERE ARE YOU?

WHY ARE YOU WHISPERING?

I DON'T KNOW.

KENNEDY, THIS ISN'T FUNNY. AT ALL.

DUDE, JUST WAIT HERE FOR HER; I'M NOT CREEPIN' AROUND IN THE DARK.

- WHAT IF SHE'S HURT? - SHE'S NOT HURT.

SHE'S SCREWIN' WITH YOU 'CAUSE YOU'RE SCARED.

- YOU'RE JUST AS SCARED AS I AM, MAN. - MY ASS.

IT'S NOT EVEN THAT DARK. DIRK SAID THEY WERE FILMING HERE EARLIER.

THAT'S PROBABLY WHY THEY LEFT ALL THESE LIGHTS.

- Kennedy: HIYA, BOYS! - OH, SHIT.

I KNEW YOU WERE GONNA DO THAT.

REALLY? REALLY UNCOOL.

- OH... - I ALMOST DROPPED THIS THING.

I'M SORRY, I COULDN'T HELP IT. YOU GUYS WERE SUCH CHICKENS.

- YOU SUCK. - COME ON, THIS PLACE IS GREAT.

NO, IT ISN'T.

WOULD YOU RATHER GO HANG OUT WITH DIRK THE JERK?

- SHE'S GOT A POINT THERE.

LOOK AT THIS PLACE. IT'S LIKE PEOPLE JUST JUMPED UP AND TOOK OFF.

WOULDN'T YOU?

IT HAD TO HAVE BEEN A STATE-OF-THE-ART PLACE WHEN IT WAS RUNNING.

TONS OF PEOPLE WORKED HERE.

YEAH, CHOCK FULL O' NUTS.

OH, GOD, THEY ALL LEFT IN A HURRY.

OH, MAN, THAT IS SO GNARLY.

LET'S KEEP MOVING.

ALL RIGHT, MAGGOTS, BLINKING LIGHTS.

James: REMIND ME WHY WE'RE DOING THIS AGAIN.

Kennedy: IT STINKS.

IT'S REALLY MUSKY-SMELLING.

James: WHAT IS THAT?

MOLD.

HEY, WHAT'S OVER HERE?

WE SHOULD PROBABLY HEAD BACK, HUH?

NO, LET'S GET THIS. IT'S GOOD.

THERE'S NOTHING HERE. WE SHOULD GO BACK TO SET.

THEY'RE PROBABLY WONDERING WHERE WE ARE.

IT IS GOOD FOOTAGE.

ALL JOKES ASIDE, THIS PLACE IS REALLY STARTING TO CREEP ME OUT.

AFRAID SOMEONE'S GONNA JUMP OUT AT YOU?

AS LONG AS I CAN SEE YOU, I DOUBT THAT'LL HAPPEN.

WHAT IS IT?

GUYS, SOMETHING'S JACKING WITH MY AUDIO DOWN HERE.

WHAT DO YOU MEAN?

EVERYTHING'S COMING THROUGH, LIKE,

MUFFLED, LIKE IT'S... THERE'S A PRESSURE DOWN HERE.

DO YOU FEEL IT?

- IT IS KINDA STUFFY. - I DON'T KNOW WHAT IT IS.

IT'S PROBABLY JUST ALLERGIES. MINE ARE ACTING UP, TOO.

DUDE, MY EQUIPMENT DOESN'T HAVE ALLERGIES.

GOD, YOU GUYS ARE PANSIES.

WHAT?

I JUST HEARD SOMETHING.

- WHAT KIND OF SOMETHING? - JUST SH! GIVE ME A SECOND.

- DID YOU HEAR THAT?

HEAR WHAT? I DIDN'T HEAR ANYTHING.

- DID YOU HEAR IT? - NO, I DIDN'T HEAR ANYTHING.

OH, FUCK!

SH, QUIET. GIVE ME A SECOND.

- DID YOU HEAR THAT?

- HEAR WHAT? - DID YOU HEAR THAT?

NO, I DIDN'T HEAR IT.

IT'S COMING FROM THAT ROOM.

WHOA, WHAT ARE YOU DOING?

LET'S GO BACK TO SET, OKAY?

THAT'S EXACTLY WHAT I WAS THINKING.

IT'S PROBABLY AUDIO FROM THE SET.

NO, NO, LISTEN. I HAVE RADIO FREQUENCY INTERFERENCE.

YOU KNOW WHAT THAT IS?

THAT MEANS ANYTHING FROM UP THERE, I'M NOT GETTING DOWN HERE.

THEN IT'S PROBABLY A RAT OR SOMETHING.

OKAY, WELL, THEN WHO CARES? LET'S GO BACK TO SET.

GUYS...

JUST AMUSE HER, OR WE'LL BE HERE FOREVER.

Kennedy: THIS PLACE IS SO SAD.

ALL THESE FILES ARE JUST SHATTERED HUMAN LIVES

THAT LOST THEIR WAY SOMEHOW.

WONDER WHAT HAPPENED TO ALL THESE PEOPLE?

WHERE DID THEY GO?

I'M SURE SOME OF THEM GOT TRANSFERRED TO OTHER FACILITIES.

LIKE I SAID BEFORE, I THINK A LOT OF THEM ENDED UP ON THE STREETS.

James: I THINK WE SAW ONE OF THEM EARLIER.

OH, WOW. PAULA GAINES.

MURDERED HER FOUR CHILDREN BY DROWNING THEM IN THE SINK.

"THEN MURDERED HER HUSBAND WHEN HE CAME HOME FROM WORK

"BY FEEDING HIM RAT POISON.

"BAKED AN APPLE PIE,

"AND WAITED FOR THE POLICE TO COME AND ARREST HER.

"MULTIPLE ATTEMPTS ON ORDERLIES AND NURSES.

"ANALYSIS: CRIMINALLY INSANE WITH SEVERE VIOLENT TENDENCIES.

NO SIGN OF IMPROVEMENT, BUT CURIOUS CASE STUDY."

SIGNED, DR. KLEIN.

WOW, I WONDER... I WONDER WHERE SHE WOUND UP.

James: WHAT DID YOU SAY THAT NAME WAS?

DR. KLEIN.

THIS MUST'VE BEEN HIS OFFICE.

MAYBE HE WAS THE HEAD DOCTOR.

HERE'S ANOTHER ONE. HE'S A REAL LOOKER.

MARCUS PAUL WILDER.

THREE NAMES. THAT'S NEVER A GOOD SIGN WITH THAT.

I THINK THIS IS . KLEIN.

- UGH. - WHAT?

- YOU DON'T WANNA KNOW. - OH, MY GOD.

LET ME SEE.

GOT SOME MURDER HERE.

LOTS OF RAPE.

RAPE AND MURDER.

CANNIBALISTIC TENDENCIES?

THAT'S GOING THE DISTANCE.

SOCIOPATH. GETTING WORSE WITH TREATMENT.

MUST USE MORE SEVERE METHODS.

DR. KLEIN HERE WASN'T VERY GOOD AT HIS JOB, WAS HE?

I WONDER WHAT HAPPENED TO HIM.

MAYBE YOUR GUY ATE HIM.

OKAY, THERE'S NOTHING IN HERE BUT MUSTY FILES. CAN WE BOOGIE BACK?

I THINK THAT SOUNDS LIKE A GOOD IDEA.

BEST IDEA I'VE HEARD ALL DAY.

- YOU'RE REALLY SHAKEN UP, AREN'T YOU? - NOW I AM.

DON'T WORRY. YOU GOT TWO STRAPPIN' STUDS HERE.

WE'LL TAKE CARE OF YA. LET'S GET THE HELL OUTTA HERE.

YOU GUYS, LET'S GO THIS WAY.

YOU HEARD THAT, RIGHT?

YEAH.

SOUNDED LIKE IT WAS COMING FROM THERE.

GOOD THING WE'RE GOING THE OTHER WAY.

WHOA, WHOA, WHOA. WHERE THE HELL ARE YOU GOING?

MAYBE SOMEBODY'S HURT.

IT DIDN'T SOUND LIKE SOMEONE BEING HURT.

THAT SOUND LIKE SOMEONE TRYING TO HURT.

I WAS CREEPED OUT A LITTLE BEFORE, BUT I'M OVER IT NOW.

WHATEVER IS HAPPENING HERE IS WAY MORE INTERESTING

THAN WHAT'S HAPPENING OVER THERE.

THIS IS A MISTAKE; WE'RE GONNA GET FIRED.

GOOD. YOU GUYS WANTED TO MAKE A DOCUMENTARY, RIGHT?

THIS PLACE IS A DOCUMENTARY WAITING TO HAPPEN.

MENTAL HEALTH IN AMERICA.

YOU KNOW SHE'S NOT COMING BACK, RIGHT?

SCREW THIS. LET HER GO.

- MAYBE WE SHOULD GO. - YEAH.

Kennedy: IT'S GOTTA BE DOWN HERE.

COME ON, GUYS.

KENNEDY, ARE YOU DOWN HERE?

KENNEDY? OH, MAN.

THAT LOOKS SO SKETCH.

- LET'S GO. - NO.

- OH, COME ON, DUDE. - KENNEDY?

KENNEDY!

KENNEDY? ARE YOU SURE THIS IS THE WAY SHE WENT?

THINK SO.

WHAT'S SHE DOING? SHE'S, LIKE 90 POUNDS,

RUNNING AROUND BOILER ROOMS.

JESUS! YOU CAN'T KEEP RUNNING OFF LIKE THAT.

SERIOUSLY. THIS PLACE HAS BEEN ABANDONED FOR YEARS.

YOU DON'T KNOW WHAT'S AROUND THE CORNER.

I CAN TAKE CARE OF MYSELF.

- DID YOU HEAR THAT?

THAT'S IT. I'M NOT CONTINUING WITH THIS CRAP.

NO, I HEARD THAT.

I'M NOT GOING ANY FURTHER.

Cory: IT SOUNDS LIKE IT'S COMING FROM OVER THERE.

OH, YOU GUYS. MAN. THE HAIR ON MY ARM IS STANDING UP.

I'M NOT COOL WITH THIS SHIT, OKAY?

SUIT YOURSELF. GO HOME.

DUDE, DO YOU REALIZE THAT THIS IS AN INSANE ASYLUM?

IT'S NOT JUST ANY OTHER HOSPITAL.

WHO KNOWS WHO'S DOWN THERE?

Kennedy: PEOPLE VACATED YEARS AGO. NO ONE'S STILL HERE.

BUT THIS IS WHERE THEY'RE FROM.

THIS IS THEIR HOME.

WHAT WILL THEY LIVE ON ALL THESE YEARS?

THERE'S PEOPLE WHO COME IN AND OUT OF HERE. THERE'S CARETAKERS, RIGHT?

YES, PEOPLE COME IN AND OUT OF HERE.

WHAT KIND OF PEOPLE WOULD COME IN AND OUT OF HERE?

RAPISTS, SERIAL KILLERS, MURDERERS.

ALL KINDS OF LOW LIFERS.

OKAY, GUYS, THINK ABOUT IT.

THERE'S A HOLLYWOOD MOVIE BEING MADE IN THIS BUILDING.

I MEAN, THERE'S CREATIVE PEOPLE INVOLVED.

THIS IS THE BEST PRANK EVER.

ACTUALLY, YEAH, THEY'RE PROBABLY LISTENING RIGHT NOW,

AND LAUGHING AT YOU GUYS; LAUGHING AT WHAT PUSSIES YOU'RE BEING.

- THAT ACTUALLY DOES KINDA MAKE SENSE. - OF COURSE IT DOES.

WELL, THE JOKE'S ON ME. HA HA HA HA HA.

CAN WE PLEASE GO BACK NOW?

DIDN'T SCARE ME.

MAYBE THAT'S WHY THEY'RE BEING SUCH DICKS TO US.

COME ON, LET'S GO.

DUDE, COME ON.

COME ON! LET'S GET OUTTA HERE.

THIS PLACE IS DISGUSTING.

YOU GUYS WANNA TAKE A NAP?

AT LEAST THERE'S LIGHT IN HERE. THAT'S ALL I CARE ABOUT.

DID YOU HEAR THAT?

- YEAH. - I THINK IT'S COMING FROM DOWN HERE.

I SWEAR TO GOD, IF YOU GUYS ARE RIGHT

AND THERE'S SOMEBODY PRANKING US, I'M GONNA KILL 'EM.

IT WOULD BE KINDA FUNNY, THOUGH.

I MEAN, AFTER THE INITIAL BEING UPSET.

CAN YOU MAKE OUT WHERE IT'S COMING FROM?

IT STOPS HERE.

HOLY SHIT.

IT STINKS IN HERE.

THIS IS DEFINITELY NOT PRODUCTION DESIGN.

- NO WAY. - LOOK AT ALL THIS.

LUNATIC DECOR.

Kennedy: WEIRD.

HEY, GUYS, LOOK AT THIS.

- ARE THOSE FINGERNAILS? - James: OH, MY GOD.

I THINK IT'S TIME TO GET OUT OF THIS ROOM.

JESUS.

YOU GUYS, THIS PLACE IS NUTS.

I DON'T LIKE IT. LET'S GO BACK.

- OKAY. - THIS IS GETTING HEAVY.

DAMN IT, THEY WANT US TO FIND SOMETHING.

- LET'S GO. - REALLY?

I DON'T THINK THIS IS SOMEONE SCREWING WITH US AT THIS POINT.

THAT ROOM WAS--

IT'S ALL PART OF A VERY ELABORATE PRANK.

James: WHY ARE WE LISTENING TO HER?

- BECAUSE SHE'S THE BOSS. - Kennedy: THAT'S RIGHT.

I'VE GOT FOOTAGE OF, LIKE, 50 HALLWAYS.

- CAN WE JUST GO BACK? - Kennedy: SH!

WHAT ARE WE BEING QUIET FOR? THERE'S NOBODY AROUND.

Kennedy: DO YOU HEAR ANYTHING?

NO. JUST JAMES TALKING.

FUCK YOU.

YOU GUYS, SETTLE DOWN.

IT'S COLD IN HERE.

OKAY, THIS SEEMS LIKE A GOOD SPOT.

THIS USED TO BE, I THINK, LIKE,

ONE OF THESE E.M.T. HALLWAYS. LIKE EMERGENCY STUFF.

James: THAT'S NOT CORRECT. E.M.T. IS NOT EMERGENCY ROOM, DUMB ASS.

ARE YOU GETTING THIS?

COME ON.

Cory: OH, GOD, YOU GOTTA BE KIDDING ME.

- James: VERY FUNNY. - Kennedy: OKAY, THAT'S A LITTLE GROSS.

- DID YOU HEAR SOMETHING?

NO, NOTHING.

THERE HAS TO BE A SPEAKER IN HERE OR SOMETHING.

HEY, CHECK OVER THERE.

NO. ABSOLUTELY NOT.

I DON'T CARE IF YOU THINK THIS IS A PRANK OR WHATEVER,

BUT THOSE THINGS ARE REAL, AND THEY HAVE REAL DEAD BODIES IN 'EM,

SO UH-UH, I'M NOT DOING THAT. ABSOLUTELY NOT.

CHECK THIS OUT.

YOU GUYS THINK DR. KLEIN USED TO DO SOME WEIRD EXPERIMENTS DOWN HERE?

- THANKS FOR THAT. REALLY. - SORRY.

I HAVE AN IDEA.

- FAMOUS LAST WORDS. - SERIOUSLY.

IF THERE'S SOMETHING GOING ON, LET'S CATCH IT.

HOW DO YOU EXPECT US TO DO THAT?

BESIDES, WE'VE BEEN GONE, LIKE, A LONG TIME FROM SET.

WE SHOULD PROBABLY GET BACK.

AS MUCH AS I HATE TO ADMIT THIS, HE'S RIGHT.

WE'RE BROKE, AND WE REALLY NEED THE MONEY.

THE X-CAMS ARE IN THE TRUNK, RIGHT?

- YES. - LET'S SET THEM UP,

AND THEN WE CAN FIGURE OUT WHAT'S GOING ON.

I SUPPOSE. THERE'S ONLY ONE PROBLEM WITH THAT.

WHAT?

IF I LEAVE HERE, I'M NOT COMING BACK, KENNEDY.

OKAY, NO ONE'S JUMPED OUT AND SAID "GOTCHA" YET, RIGHT?

MEANING?

GUYS, I'M STARTING TO THINK THIS ISN'T A PRANK.

OKAY, ALL THE MORE REASON NOT TO COME BACK DOWN HERE.

- EXACTLY. - OKAY, OKAY.

IF THERE IS SOMETHING GOING ON, AND WE CATCH IT ON FILM,

DO YOU KNOW HOW MUCH MONEY WE COULD MAKE FOR THAT?

COME ON, GUYS, THINK ABOUT IT. REALLY.

A LOT.

A LOT LOT.

ALL RIGHT, WE'RE ALL SET.

- IT HAS A MOTION SENSOR? - YEAH, THE WORKS.

WE'LL CALL IT X-CAM TWO FOR CLARITY.

WHY TWO?

BECAUSE IT'S FURTHER FROM WHERE WE'LL BE.

- WE'LL PUT X-CAM ONE CLOSE TO THE EXIT. - COOL.

- THAT'S IT? - THAT'S IT.

LET'S HOOK THE OTHER ONE UP AND GET OUTTA HERE. SMILE.

X-CAM ONE IS GOOD. NIGHT VISION'S ON. WE'RE SET.

- AND IT'S HIDDEN ENOUGH? - NOBODY'LL SEE IT UP THERE.

BUT WE'LL SEE ANYBODY COMING IN OR OUT, RIGHT?

- THAT'S THE IDEA. - GOTCHA, SUCKERS.

WHAT THE HELL ARE YOU GUYS DOING?

WE WERE JUST EXPLORING A LITTLE BIT.

ON MY TIME AND MY DIME.

DIRK, IT SEEMS LIKE EVERYBODY'S WASTING YOUR DIMES.

- I STILL DON'T EVEN KNOW WHO THE HELL YOU ARE. - STILL CORY.

STILL DON'T GIVE A SHIT.

NOW GET YOUR ASSES BACK IN THERE.

I'M NOT PAYING YOU TO FILM DUST AND SPIDERS.

YEAH, WE'RE READY FOR THE FIRST SHOT.

- YOU GUYS NEED TO BE ON SET YESTERDAY. - WE'RE ON IT.

I SHOULD'VE GIVEN YOU THIS EARLIER.

TAKE IT IN CASE YOU WANDER OFF AGAIN.

ALL RIGHT, LET'S GO.

James: ANOTHER DAY, ANOTHER DOLLAR.

ALL RIGHT, QUIET, EVERYBODY.

- THIS IS THE FIRST SHOT. - Man: QUIET ON THE SET, PLEASE. QUIET.

- SOUND. - SPEED.

- CAMERA. - SPEED.

- HOLD FOR SLATE. - JUST TAIL SLATE IT.

GO AHEAD AND CALL IT, ALEC.

ACTION!

OH, NO.

NOT YOU.

I KNEW IT WAS YOU BEFORE I EVEN SAW YOU.

UH... UH...

- CUT! - DON'T CUT. KEEP ROLLING.

- WHY DID YOU CUT? - YOU FUMBLED THE LINE.

IT WAS A DRAMATIC PAUSE.

"UH..." IS NOT A DRAMATIC PAUSE.

DON'T DO IT AGAIN!

IT'S OKAY. WE'LL JUST GO BACK TO ONE.

- WE STILL ROLLING? - STILL ROLLING.

- YOU READY, TRISH? - I TOLD YOU NOT TO CALL ME THAT.

ONLY MY FRIENDS CALL ME THAT.

- YOU READY, TRICIA? - YES.

- ALL RIGHT, EVERYBODY, BACK TO ONE. - AND ACTION.

OH.

OH, I, UH...

NOT YOU.

I KNEW IT WAS YOU.

OH, I... OH, GODDAMN IT!

- CUT! - THAT'S A CUT.

- WHAT'S THE MATTER NOW? - THEY'RE IN MY GODDAMN EYE LIN

NO, WE'RE NOT. YOU WERE LOOKING DOWN.

- I MEAN... - NO, I WASN'T.

YOU'RE MAKING FACES AT ME. ALL OF THEM WERE.

- TRYING TO GET ME TO MESS UP. - NICE GOIN', GUYS.

NO, WE'RE NOT.

ACTUALLY, WE'RE IN THE CORNER,

SO I DON'T SEE HOW WE'RE IN YOUR EYE LINE.

THIS IS A SERIOUS CRAFT THAT TAKES YEARS OF TRAINING

AND DEEP CONCENTRATION.

I HAVE SPENT HOURS STUDYING THE LINES

AND MAKING THEM MY OWN.

I WILL NOT HAVE MY ART MOCKED BY SOMEONE

AS UGLY AND TALENTLESS AS YOU.

YOU NASTY LITTLE BITCH!

LET'S TAKE FIVE, EVERYBODY.

James: WHAT THE HELL JUST HAPPENED?

- COME ON, KENNEDY, CHILL. - THIS IS NOT WHAT I SIGNED UP FOR.

Dirk: ALEC, STAY FOCUSED HERE.

-WE NEED TO KEEP MOVING. - YOU'RE ALL RIGHT. CHILL.

I CAN'T BELIEVE YOU ALMOST HIT HER.

I HAD TO, LIKE, HOLD YOU BACK.

I FEEL LIKE I'M SHAKING RIGHT NOW.

- Dirk: HOLD ON A SECOND. - Kennedy: OH, NO.

- TURN THAT CAMERA OFF. - OKAY, I'M TURNING IT OFF. RELAX.

THIS IS NOT A PART OF THE DOC, OKAY?

- IT'S NOT GONNA GO IN. - ABSOLUTELY.

I WANT YOU TO ERASE THE FOOTAGE.

IF ANY OF THIS ENDS UP ONLINE, I WILL HUNT YOU DOWN.

AUDIO, VIDEO ERASED, OR BALLS, TITS CHOPPED.

I DIDN'T DO A DAMN THING TO HER. THAT BITCH NEEDS HELP.

YEAH, WELL, AS LONG AS I CAN GET HER TO FOCUS HER SHIT FOR BRAINS

LONG ENOUGH TO FINISH THIS FILM...

TODAY WOULD BE NICE.

BUT UNTIL THEN, AUDIO, VIDEO ERASED. GOT ME?

- GOT IT. - DON'T SCREW WITH ME.

I'LL SCREW BACK, HARD, AND NOT IN A GOOD WAY.

RIGHT NOW, I HAVE TO COOL THAT BITCH DOWN.

TELL HER I SAID HI.

THAT'S TOTALLY GOIN' ONLINE.

I AM SO PISSED.

LET'S JUST GET SOME FRESH AIR.

WHAT IS IT, THEN?

SHE'S A BITCH. IT DOESN'T NEED AN EXPLANATION.

THERE'S PLENTY OF OTHER WOMEN ON SET,

AND SHE'S NOT TREATING ANY OF THEM LIKE THAT.

YOU'RE THE HOT ONE.

SHE'S THE TALENTLESS WHORE. BITCH CAN'T ACT.

WHOSE DICK DID SHE SUCK TO GET THIS PART?

- DIRK'S. - WHO'D THE DIRECTOR BLOW?

DIRK.

I AM SO SICK OF THESE ASSHOLES.

- I'M JUST READY TO GIVE THE CHECK BACK. - WHOA, WAIT. WHAT?

WHY ARE YOU LETTING HER GET TO YOU?

- YEAH. - IT'S NOT HER.

WE HAVE BEEN HERE ALL DAY,

AND THEY STILL HAVEN'T GOTTEN THE FIRST SHOT OFF.

HOW MANY WEEKS DO YOU GUYS WANNA PUT UP WITH THIS SHIT?

MAYBE WE SHOULD TALK ABOUT IT BEFORE--

NO. SORRY, GUYS. I'M GONNA GO GET THE CAMERAS,

AND GET THE HELL OUTTA HERE.

ARE YOU SERIOUS?

YOU WANNA GO BACK DOWN THERE?

ALL RIGHT.

- KENNEDY, COME ON. - KENNEDY.

WAIT UP FOR US BEFORE YOU GO THROUGH THE DOOR.

- KENNEDY! - KENNEDY.

KENNEDY.

YO, I LOVE THE GIRL, BUT SHE'S SO SENSITIVE.

Both: KENNEDY!

I GUESS WE'RE GOIN' TO GET HER.

JESUS CHRIST.

- KENNEDY?

HEY.

HEY.

WHAT'S WRONG?

SORRY. STUPID QUESTION.

YOU REALLY WANNA GET BACK AT THAT BITCH,

YOU GO BACK IN AND ACT LIKE NOTHING HAPPENED.

IT'S NOT JUST HER. I KEEP TELLING YOU GUYS THAT.

IT'S EVERYBODY.

WELL, IT'S MAINLY HER.

- SHUT UP. - SORRY.

SERIOUSLY, WE NEED THE MONEY.

BUT YOU KNOW HOW I FEEL ABOUT THIS JOB.

JUST SAY THE WORD, AND WE UNPLUG RIGHT NOW.

DOCUMENTARY CREW.

THIS IS KENNEDY. OVER.

GO FOR KENNEDY. OVER.

PROBABLY JUST WANT US BACK ON SET.

SO YOU'RE IN?

I GUESS.

I CAN TAKE THE ABUSE, BUT YOU HAVE TO PROMISE ME SOMETHING.

UH-OH.

PROMISE ME WE'RE GONNA MAKE OUR DOCUMENTARY.

I PROMISE.

YOU'RE NOT GONNA BE A JERK WHEN IT HAPPENS?

MMM... MAYBE.

COME ON.

OKAY, WE'VE BEEN WALKING AROUND FOREVER.

IT'S BECAUSE WE'RE LOST.

CORY'S RIGHT. WE MUST'VE TAKEN A WRONG TURN SOMEWHERE.

BUT THIS DOESN MAKE ANY SENSE.

REALLY. THAT... THAT'S THE NURSES' STATION.

HOW MANY TIMES HAVE WE WALKED PAST THAT TODAY?

THERE'S GOTTA BE, LIKE, TEN OF THOSE IN THIS BUILDING,

ALL THE SAME.

ARE YOU GUYS CRAZY?

OH, OKAY, YOU THINK I'M CRAZY.

JUST BECAUSE I'M A GIRL, AND I GET A COUPLE KNOCKS TO MY EGO,

NOW I'M THIS DELICATE LITTLE THING?

- WE NEVER SAID THAT. - YOU DIDN'T HAVE TO SAY ANYTHING.

YOU CAN BOTH GO SCREW YOURSELVES.

WHOA, WHOA, RELAX.

WE'RE OBVIOUSLY A LITTLE DISORIENTED HERE, ALL RIGHT.

JUST CALM DOWN.

DO YOU WANNA LEAD THE WAY?

- YOU CALM DOWN, OKAY? - I'M CALM.

JESUS.

WAIT. LOOK.

Cory: THERE THEY ARE. BUNCH OF IDIOTS.

James: WE'RE THE ONES WHO CAN'T FIND THE WAY OUT.

DAMN IT.

THIS IS THE DOCUMENTARY CREW. OVER.

IS ANYBODY THERE? OVER.

- IS IT NOT WORKING? - WHAT DO WE DO NOW?

HEY!!

- COME ON. - ASSHOLES.

UP HERE. HELLO!

Tricia: YOU SEE ANYTHING GOOD?

Grip: MM, NOTHING WORTH LOOKING AT.

ARE YOU SURE?

LITTLE TEASE.

THAT'S... YEAH. THAT'S WORTH FILMING.

HEY!!

- HEY, YOU GUYS. - COME ON!

ASSHOLES! HEY!

HEY!

PLAYING GRAB-ASS OUT THERE.

- ASSHOLES! HELLO!!

GOD, YOU ARE GONNA GET ME FIRED. YOU KNOW THAT?

YOU'RE HOT.

LET'S GO FIND A... I'M SURE THERE'S A ROOM IN HERE SOMEWHERE.

- A ROOM? - SOMETHING. WHO KNOWS?

HEY!!

HEY, HEY!!

PULL THAT DICK OUT OF YOUR EAR, DUDE.

COME ON. HELLO!

JESUS CHRIST.

ARE YOU SURE YOU LIKE THAT?

THIS IS BY FAR THE FUNNEST SET I'VE EVER WORKED ON.

WHAT IS HE DOING? IS HE BLIND OR SOMETHING?

DEAF, TOO, MAN.

- THEY'RE IGNORING US. - WHERE ARE THEY GOING?

- HEY! - HEY, YOU GUYS!

- LOOK UP HERE! - HOW COME THEY'RE IGNORING US?

SO CHILDISH.

NOW WHAT?

NOW...

WE'RE GONNA HAVE TO FIND OUR WAY OUT.

- WE'RE SMART PEOPLE, RIGHT - WELL, HE ISN'T.

- REALLY? - COME ON.

COME ON!

- WE'VE BEEN HERE? - CORY, CHILL. CORY, CHILL OUT.

AW, DUDE. I WANNA BE BACK ON SET.

DUDE, WE ALL WANNA BE BACK ON SET.

HE'S GONNA FIRE US. YOU UNDERSTAND THAT, RIGHT?

HE'S NOT GONNA FIRE US.

Kennedy: THE EXIT HAS TO BE THIS WAY.

Cory: YEAH.

ALL RIGHT, LET'S GO THIS WAY. I DON'T KNOW.

- Kennedy: I DON'T KNOW EITHER. - COME ON, GO.

I'M GETTING CREEPY-ASS VIBES HERE.

ARE YOU SURE WE HAVEN'T GONE THIS WAY ALREADY?

- DUDE, I DON'T KNOW. - IT'S UP HERE, YOU GUYS.

WE HAVEN'T BEEN THIS WAY.

SEE, REMEMBER THIS?

- James: WHAT THE HELL? - WE'RE GOING IN CIRCLES!

I KNOW THIS PLACE IS BIG, AND IT'S EASY TO GET TURNED AROUND,

BUT THERE'S NO WAY POSSIBLE WE COULD END UP HERE AGAIN.

WELL, WE DID, SO...

THIS DOESN'T MAKE ANY SENSE.

I HATE THIS.

ALL RIGHT, LOOK, WE'RE OBVIOUSLY PISSED OFF

AND IRRITATED RIGHT NOW,

AND WE'RE MAKING STUPID MISTAKES.

LET'S JUST TAKE A BREATH AND THINK ABOUT THIS.

THERE'S NO WAY THAT THERE'S JUST ONE EXIT IN THIS BUILDING.

DON'T WORRY, WEL FIND IT.

I'M NOT WORRIED, I'M JUST ANGRY AT THIS POINT.

STOP FILMING ME.

Kennedy: IS THIS IT?

- I DON'T KNOW... - WHERE ARE WE GOING?

- CHILL OUT, GUYS. - WHY ARE YOU SO CALM, DUDE?

- I WANNA GET OUT OF HERE. - I DON'T WANNA CHILL OUT.

- I WANNA GET THE FUCK OUTTA HERE. - THERE'S NO FRICKIN' POINT.

GO IN THERE.

ACTING LIKE LITTLE BABIES.

I TOLD YOU, IT'S THE OTHER WAY.

BECAUSE YOU'VE BEEN STEERING US THE WRONG WAY.

James: NO, IT'S NOT DOWN THIS WAY. WE'VE BEEN DOWN HERE.

Cory: HOW DO YOU KNOW?

Cory: WE'RE NOT GOING DOWN THAT WAY.

James: STOP BEING A FUCKING PUSSY.

WE'RE NOT GOING THAT WAY.

THESE ARE ALL PROP LIGHTS. THERE'S ONLY PROP LIGHTS DOWN THERE.

WE FOLLOW THIS WAY. IT MAKES SENSE.

RIGHT?

I SWEAR TO GOD, WE'VE BEEN DOWN HERE.

THEN PICK A ROOM. I DON'T CARE.

PICK ANY OF THESE ROOMS, ALL RIGHT? THEY'LL LEAD SOMEWHERE.

THAT'S WHAT WE'VE BEEN DOING THE ENTIRE FUCKING TIME, DUDE.

Cory: YOU WANNA GO THIS WAY OR THAT WAY?

I DON'T KNOW. IS IT DOWN OVER HERE?

IT'S ALL RIGHT. IT'S OKAY.

WE'VE BEEN DOWN THERE.

- WHAT? - I DON'T THINK WE'VE BEEN THIS WAY.

YOU WANNA TRY IT?

IT ALL LOOKS THE SAME TO ME.

YOU GUYS, THIS MAY NOT BE A GOOD TIME,

BUT I HAVE TO PEE.

- OH, JESUS. - ACTUALLY, ME, TOO.

Dirk: KENNEDY? KENNEDY!

WHERE'S MY FRICKIN' DOC CREW?

WHERE ARE YOU GUYS? I AM BEYOND NUCLEAR PISSED.

KENNEDY!

THERE'S AN EXIT DOWN HERE, BUT IT'S ALL CHAINED UP.

COME ON, GUYS.

- WHAT ARE YOU DOING? PLAYING WITH YOURSELF?

NOPE. YOU ARE.

I THINK I HEAR DIRK.

- YEAH? - YEAH. COME ON.

WHOA, WHOA, WHOA. WAIT, WAIT.

- WHAT IS THAT? - SH, SH.

WHERE'S IT COMING FROM?

THAT DOOR?

- OPEN IT. - WHAT?

- OPEN IT. - I'M NOT...

I GOT THE LIGHT. JUST OPEN IT.

OKAY, WHEN I OPEN IT, SHINE THE LIGHT IN.

OKAY. JUST OPEN IT.

- THERE'S NOTHING. - JUST A CREEPY OLD ROOM.

Kennedy: THERE'S NOTHING IN THERE? - Both: NO.

IT'S SO WEIRD.

- YOU STILL HEAR IT? - I DON'T HEAR ANYTHING.

GET THE MIC.

Dirk: KENNEDY!

KENNEDY, WHERE THE HELL ARE YOU GUYS?

JESUS!

YOU'RE BECOMING A LOT MORE TROUBLE THAN YOU'RE WORTH, GUYS.

COME ON, WHERE ARE YOU?

KENNEDY! COME OUT HERE RIGHT NOW!

DO YOU HAVE ANY IDEA WHAT I'M PAYING

FOR THIS FRICKIN' SHOOT?

HUH? I'M GONNA MAKE YOU PAY ALL OF IT.

I WAS JUST HERE.

PETER? PETER, KENNEDY?

I WAS JUST...

I WAS JUST OVER...

WHAT THE HELL'S GOIN' ON, GUYS? COME ON.

OKAY, THIS IS RIDICULOUS.

JESUS!

- I HEARD SOMEBODY.

- ARE YOU SERIOUS? - LISTEN.

DID YOU HEAR THAT?

I JUST HEARD IT.

IT'S COMING FROM OVER THERE.

GUYS, IT'S THEM MESSING WITH US, OKAY?

- IT SOUNDS LIKE TRICIA. - NO, IT'S NOT TRICIA.

I DON'T CARE, IF SHE CAN GET US THE HELL OUT OF HERE

- TRICIA! - IT'S NOT TRICIA.

- TRICIA! - SHUT UP!

Cory: TRICIA!

YOUR CAMERA'S GETTING MORE PLAY THAN I AM.

YOU'RE GETTING SOMETHING, TOO.

WHOA, TRISH, HEY, I...

JUST SHUT UP.

I GUESS THIS IS PRETTY SECLUDED.

TAKE YOUR SHIRT OFF RIGHT NOW.

TRISH, UM, I DON'T KNOW ABOUT THIS.

OKAY.

- TAKE THIS OFF. - I'M TRYING.

GEEZ, CALM DOWN.

TRISH, UM...

I DON'T KNOW ABOUT THIS

IN HERE, YOU KNOW. IT'S, UH...

YOU DON'T KNOW ABOUT THIS?

ARE YOU SURE?

YEAH, I AM, BUT IN HERE, IT'S... A MORGUE.

WELL, I'VE NEVER MADE A HORROR MOVIE BEFORE.

A BETTER MOVIE THAN WHAT THEY'RE MAKING.

LOOK AT THE CAMERA.

I... I... OKAY.

I LOVE HORROR MOVIES.

- OKAY? - YEAH, IT'S FINE.

THAT'S FINE. EXACTLY.

TRICIA! IT'S COMING FROM OVER THERE.

- TRICIA. - TRICIA!

TRICIA!

YOU ARE AMAZING.

WHOA, WHAT'S THAT? WHAT'S UP WITH THE LIGHTS?

- WHO CARES? - YOU'RE RIGHT.

OH, MY GOD!

OH, MY GOD!

- HOLY SHIT!

- OH, MY GOD! - THAT'S NOT REAL. IT'S NOT REAL.

IS THAT REAL? FUCK, FUCK, SHIT!

CORY, JUST CHILL OUT, ALL RIGHT?

DON'T FUCKIN' TELL ME TO CHILL OUT!

SHUT UP!

I DIDN'T WANNA BE HERE IN THE FIRST PLACE!

WE JUST HAVE TO THINK. JUST THINK.

ALL RIGHT, SOMEBODY'S TRYING TO RIP OUR FACES OFF.

CORY, SHUT UP, ALL RIGHT?

TRY THE WALKIE, TRY THE WALKIE.

THERE'S GOTTA BE SOMEBODY.

IT'S AN E.V.P.

WHAT ARE YOU TALKING ABOUT? WHAT IS THAT? SPEAK ENGLISH.

ELECTRIC VOICE PHENOMENON.

WHAT IS IT? I DON'T KNOW WHAT THAT IS, ALL RIGHT?

IT'S GHOST VOICES, MAN.

IT'S FUCKIN' DEAD PEOPLE TALKIN', MAN,

THAT'S WHAT THIS IS.

THAT'S WHAT'S GOING ON. IT'S NOT A FUCKING PRANK.

THERE ARE DEAD PEOPLE IN HERE, AND THEY'RE GONNA KILL US!

CORY, WE'RE GONNA BE FINE, ALL RIGHT? WE'RE GONNA BE ALL RIGHT.

PETER. PETER!

ANYBODY, PLEASE.

YOU GUYS, I CAN'T BE HERE. I CAN'T BE HERE.

Both: CORY!!

- CORY! - WAIT!

- OH, MY GOD. - CORY.

nnedy: CORY!

- James: CORY. - CORY!

JESUS CHRIST.

- CORY! - CORY, THANK GOD.

- ARE YOU OKAY? - WE'RE GONNA DIE.

- WE'RE GONNA DIE. - YOU CAN'T RUN AWAY FROM US LIKE THAT.

- WE'RE GONNA DIE. - WE'RE GONNA BE FINE.

- SHUT UP, CORY. - WE JUST HAVE TO STICK TOGETHER.

DON'T GO IN THERE, PLEASE.

DON'T SHINE A LIGHT. I DON'T WANNA SEE ANYTHING.

I WANNA GO. I WANNA GO.

James: GUYS, IT'S THE SAME AS IT WAS BEFORE.

WE'RE FINE, WE'RE FINE, I SWEAR.

- THAT'S ALEC. - IT'S ALEC.

Kennedy: CORY! WHERE DID HE GO?

WHERE DID CORY GO?

HE'S STILL BEHIND US.

- James: CORY. - CORY?

James: OH, MY GOD. JESUS.

CORY.

- COR? - CORY?

CORY?

CORY?

Both: CORY!

COME ON, CORY.

CORY?

WHERE'D HE GO?

OH, MY GOD.

CORY?

COR?

BUDDY?

CORY?

HEY, SLOW DOWN.

WHERE ARE YOU, BUDDY?

CORY!

CORY, WHERE ARE YOU?

TAPE'S STILL RUNNING.

WE DON'T HAVE TIME FOR THIS.

Cory: PLEASE LEAVE ME ALONE.

PLEASE GET BACK.

CAN YOU HEAR ANYTHING?

- PLEASE, NO, NO.

DUDE, CAN YOU HEAR ANYTHING?

James: OH, FUCK!

OH, MY GOD!

KENNEDY, WE GOTTA GET OUTTA HERE. WE GOTTA GO.

WE GOTTA GO. COME ON.

KENNEDY, WE GOTTA GO. WE GOTTA GO!

COME ON, RUN. WE GOTTA RUN.

RUN, KENNEDY! RUN!

- GO, KENNEDY, GO! - JAMES!

GO!! RUN!!

Peter: HELLO? ANYBODY HERE?

HELLO!

HELLO! ANYBODY HERE?

I BROUGHT THE POLICE.

DIRK? WHERE THE HELL IS EVERYBODY?

OH, MY GOD.

OH, MY GOD. WHAT HAPPENED HERE?