All language subtitles for The Dead Files s07e11 Madhouse.eng

AMY: I hear, "Mad house."
That's creepy. [Bleep]

It's terrifying.

I wouldn't come down here alone.

It feels like I'm being punched.

Two red marks on my arm.

He got shot?

It does not have a happy ending.

The energy is anxious, angry.

This is seriously the worst place to be.

Something bad's going to happen.

My name is Amy Allan.

There's panic.

And it's almost like a butchering.

I see dead people.

They all died horribly.

I speak to dead people.

Get out of here.

And they speak to me.

Vicious.

But there's only one way to
know if my findings are real.

It doesn't matter where
you are. I'll find you.

I rely on my partner.

I'm Steve Di Schiavi.

I'm a retired New York
City homicide detective.

This guy's a real piece of work.

And I know every person,
every house has secrets.

I feel like I live in a house of Hell.

It's my job to reveal them.

This is not good.

But Steve and I never speak...

We never communicate
during an investigation.

until the very end...

I want my life back.

when we uncover if
it's safe for you to stay...

- Is he trying to kill her?
- [Sobs]

or time to get out.

Oh, my God.

This is going to kill us.

- synced and corrected by chamallow -
- www.addic7ed.com -

STEVE: I'm out here in Marshall, Missouri.

It's about 90 miles east of Kansas City.

I got a call from a woman

who saved the small
city's only movie theater.

Now, here's the problem.

She believes something
there is not happy about it

and wants her out.

She's so scared for her staff and family,

she's agreed to close
the theater for a few days

during our investigation.

She said if we can't help her,

she might have to walk
away and shut the doors.

MATTHEW: Before Amy arrives, it's important

that I clear the area of
any leading information.

I can't hide that this is a movie theater,

but I still need to cover anything

that might distract her during her walk.

When I'm finished, the location
will be ready for tonight.

There's a lot of dead
people that come around.

And I feel like they're sick or crazy.

And I hear, "Mad house."

[Bleep] me.

Ugh.

There's a lot of competition
here between the dead,

competing for attention.

And... and, like,
for some reason,

they don't like each other.

I'm hearing, "This is
where the dead throw down."

STEVE: Well, Kim, this is a really

quaint-looking place you've got here.

But when you were on the
phone with me, it just...

you sounded really desperate.

What's going on?

We purchased the theater four years ago.

- Okay.
- There was an ad in the paper

that said it was going
to be, uh, shut down.

Marshall is a small town.

And, like many towns, it
it has been struggling.

A lot of stuff is closed down here.

Yes.

It would be a very big blow to Marshall

to not have a movie theater.

It would be like turning
off that last light.

But why do you got to
be the responsible one?

I grew up in Marshall.

I came to this movie theater as a child.

I raised my kids here.

So, you want to preserve that?

Yes.

This is the theater when it was really old.

Doesn't even have the marquee out front,

right? Nope.

So what exactly is everybody experiencing?

Noises that just can't be explained.

Laughter, voice mimicry,
things being moved.

Several people have been touched.

A couple people have
actually seen shadow figures.

Okay.

How many people do you have on staff?

Um, 15.

And a lot of those are my family.

Uh, actually, I have a picture.

My son, Damon, he's 22.

My daughter, Allie, is 23.

And my dad, he just turned 64.

- I'm worried about my dad.
- Why?

I feel like it's really
narrowing in on him.

It's definitely created a
lot of anxiety and tension.

I'm afraid for what's next.

I want my staff and my family
to feel that they're safe.

And I want people to know
that the theater will...

will always be here.

That's creepy [bleep].

There's a lot of people here.

Any idea how many?

I feel like I met the whole town.

A lot of the dead people
here go in your body.

If they're jumped by those people,

they might change.

How?

I think people could get really depressed,

suddenly violently ill.

Oh, my God.

What?

I just don't think it's
gonna be good down there,

'cause, like, all the [bleep] people.

Okay. So why'd you bring me down here?

I feel just a sense of unease, anxiety,

like I'm being watched.

Nobody wants to come
down here, to be honest.

So, it's that bad down here?

Yes.

Anything else happening to you down here?

I hear a lot of noises.

It sounds like somebody's,
like, banging around on things.

I mean, you've got pipes.
You've got wood walls.

You've got concrete floors. I mean...

It's not the kind of
clanking that you would hear

with a furnace shutting off or on.

It's almost like it
wants to get my attention.

Now, you're sure these noises

aren't coming from a staff member?

Whenever I've heard these noises,

I knew I was alone in the building.

Wow. What do you think is here?

That's what I'm really hoping
to find out, um, with your help.

I don't think the living would
have good experiences down here.

There's a lot of death here.

I feel a lot of hustle and bustle.

A lot of bad people,
in and out, in and out.

I feel like my head gets beat.

I feel, like, impacts to my head.

The people here...

I don't know why they're here.

They're yelling and screaming.

They're sick... sick.

So much oppression.

Oppression.

So, Amber, I was talking to Kimmy.

She told me you're one of
the oldest employees here.

AMBER: Yes, that's correct.

How long you been working here?

- Um, 18 years.
- Okay.

Have you had experiences
along those 18 years?

Yes, I've had several.

The most recent one is, I was pinched.

I was downstairs in the concession stand,

and I felt a pinch on my arm.

And I looked down,

and I had two red marks on my arm.

Did you feel like it
was fingers or something?

It felt like a person pinching, yes.

Wow. Anything else go on?

We were starting up a movie up here,

and on the screen there was,
like, the silhouette of a man.

I could tell that he was tall and thin

- and he had, like, broad shoulders.
- Okay.

Could it have been
somebody behind the curtain?

No.

I don't even think you
can get behind this screen.

Um, the only way

would be to stand in front of the window...

- Okay.
- ... Up there.

So, was anybody in the room with you?

No. I was there by myself.

Was there something
wrong with the film? No.

We played a later showing of it

and, when I turned it
on for the next showing,

it was fine.

Wow. Okay.

This is, seriously, the worst place to be.

Living people up here
would see a lot of [bleep].

Um...

Uh...

Shadow people.

You can see them in the seats...

swooping all over the place.

It's, like, chaotic up here.

The energy is, uh, bad.

Anxious. Angry.

I feel very sick.

[Bleep]

_

STEVE: So, Paul, I was talking
to your daughter Kimberly.

And, um, she's really worried about you.

She thinks that whatever's
here is actually targeting you,

picking on you.

Do you agree with that?

- I'm beginning to.
- You are?

It's... the activity is
getting a little more personal.

I feel like I'm sharing this building

with a being that's not human.

I'm not sure that I'm the
one that brought this here

or there's just something
about me that makes me

- vulnerable to these things.
- Why?

Have you ever had experiences
before the theater here?

- Yes.
- You have?

Where was that?

This was at a house in Kansas City.

From the time I was 16 until I was 23,

the house was very active.

What scares me the most is
that they may have returned.

I may have brought them from Kansas City

and they're just showing up now.

But I'm afraid that my
daughter or her staff

may end up experiencing some
of the things that I have.

And I can't...

that's something I
couldn't even apologize for.

So tell me about a few
things that happened to you.

I heard a girl, a young girl, laughing.

I looked up and down and around.

I thought, if I can find the source

or the direction it's coming from,

then I can investigate that area.

But it didn't work.

Was anybody here?

I was the only one here.

Anything else?

I was toward the back of the theater, uh,

and heard an extremely loud boom.

I describe it as somebody
dropping a bowling ball

on a wood floor from 25 or 30 feet.

- That loud?
- Yeah.

I didn't know what to think.

Now, is it possible that
it was a loop from a movie

that was playing here?

No movies were showing.

Projectors were shut down
and I was the only one here.

There's, like, this woman who is there.

She's all dressed in black.

This woman is dressed in black.

I've never experienced anything like this.

Every time I turn around,
I see another dead person.

And just about all of them are angry.

She is, like, in... in here.

She really, um,

doesn't care for, um,
many of the people here.

They bother her often.

Then she gets angry
and she does throw fits.

When she throws fits, she throws things.

I'm hearing a lot of noise,

like if she is, like, throwing metal.

Like, pots and pans banging and stuff.

You know what I mean?

She's got a lot of issues.

You said things are getting more personal.

What do you mean by that?

About a year after I started working here,

I was doing some work behind
the screen in the hallway.

And I felt a fairly firm grip

on my left shoulder.

Now, Paul, I really want to
see where you got grabbed.

- Can you show me?
- Yes.

Okay.

I was installing this plywood

on the back of that
framework of that structure.

Okay. So, you were facing this way?

Facing toward the screen.

And right after that,

I felt a firm grip on my left shoulder,

but I immediately turned around.

I knew no one could fit behind me.

Now, there's a lot of stuff back here.

Are you sure something didn't fall on you?

It wasn't something that fell and bounced.

It was a firm grip that,
as soon as I turned around,

they released it.

Well, Paul, I can see why your daughter

is so worried about you.

[Bleep]

It feels like I'm being punched.

A male.

He's dead, and he doesn't
feel good being dead.

He feels terrible.

Does he have any kind of
interaction with the living?

He goes in their body.

That's how he communicates.

I think that people would
feel very drained by him.

They would feel almost frozen physically,

like, they couldn't move or walk.

They wouldn't be able to breathe well.

I think that they might even

feel like they're having a heart attack.

STEVE: Now, this doesn't happen very often,

but the very first call I made paid off.

I reached out to the local county sheriff,

and he tells me one of
the very first managers

of Kimberly's theater was
involved in a bizarre homicide.

He says the story
involved betrayal, revenge,

and was finally settled with a bullet.

You mentioned on the phone

that there was this love triangle

that ended up in a homicide

directly associated with the
theater I'm investigating.

Yes, sir. Back in 1932,

a gentleman by the name of Frank Celoud

was offered a promotion

to manage what was called
back then the Fox Theater.

- Okay.
- So he moved his wife...

that's Gladys Celoud...

and his infant daughter to Marshall.

So, what happened? What went wrong?

A few months after the Celouds took over,

Frank Celoud got wind

that his wife was having an affair

- with a gentleman by the name of Estel Turner.
- Okay.

And this would be Mr. Estel Turner.

Estel Turner was a young man, 21 years old,

worked over here at the local shoe factory

back in those days.

This guy looks kind of smug, too.

He does.

Frank finds out and then
he approaches Estel Turner.

Frank Celoud offers
him this sort of a deal.

He said, "Well, if you're
not gonna leave her alone,"

he said, "I'll just back out of the picture"

and give Gladys to you on one condition.

"And that condition is you're
gonna have to marry her."

Estel thinks about it a couple minutes

and says, "You know, I'm not gonna do that."

I'm not gonna carry the weight

of breaking up your family.

"I'll just leave her alone."

So, Sheriff, I know

this doesn't have a
happy ending, this story.

- It does not have a happy ending.
- Okay.

So, what happens next?

About maybe a month later,

Frank Celoud takes his
wife, Gladys, to a dance

- over at the old Elk's Lodge...
- Okay.

which at that time
was right across the street

from the theater that he was managing.

- Estel Turner shows up.
- Okay.

And sometime during the dance,

Estel Turner comes over
and approaches Gladys,

and asks her for a dance
and starts talking to her.

- Got a lot of balls on this guy, right?
- Yes.

Frank Celoud approached Estel Turner

and yells, you know,

"If you don't leave my wife
alone, I'm gonna kill you."

I would have killed
this guy a long time ago.

You and I both.

What happens?

Frank leaves the theater, alone.

Estel approaches Frank Celoud

and they get into another argument.

Frank Celoud gets angry
enough that he pulls

a .380 semi-automatic
pistol from his pocket

and fires a round into
Estel Turner's chest.

So, he winds up shooting this guy

right in front of the theater?

Exactly right.

About 10 minutes later, Estel Turner dies.

And I have a copy of the death certificate.

"Gunshot wound

- in the hands of Frank J. Celoud."
- Yes.

Do the cops collar him that night?

- They arrest him that night?
- They arrest him that night.

He is charged with first-degree murder.

He actually is arraigned in
this courtroom the next day.

- Right here?
- Right here.

This is pretty much where he stood.

After the jury deliberates
about seven hours,

they come back and they
find him not guilty.

You're kidding.

I actually have a news
article here, big headlines.

That was a big deal back in 1933.

What was his defense?

Back in those days,

there was just kind of this unwritten law

to where if something

or somebody threatens your family,

you have a right to defend your family.

This guy who jumps people,
someone hated him a lot.

They hated him.

Hated him.

And he finally [bleep] got him.

The pain I'm feeling...
is in my upper chest,

but it goes out my back.

I want to say he got shot.

Then I'm hearing a woman
screaming and falling down.

I don't think he was expecting this,

and I think he's really shocked.

And he can't move on from this,
'cause it's like a pride thing.

STEVE: So far, I've got a theater

being terrorized by unexplained activity

and a murder that took place
right outside its front door.

But I still need to see
if there's anything else.

Searching through old records,
I find another deadly shooting

involving a guy named James Ming.

Turns out he managed a hotel

that used to operate
right across the street

from my client's property.

So I called on the Marshall police chief

who says he's gonna look
into this case for me.

So, Mike, thanks for meeting me

and helping me out with my case.

Now, you know the
theater I'm talking about?

Yes, I do.

I worked there for six years.

- You worked there?
- Yes.

Anything strange happen to
you that you couldn't explain?

It was always kind of
eerie, especially, like,

if you were the last
person there closing up.

You didn't want to be there alone too much.

Okay. So, Mike,

the articles I had seen looked
like Ming killed somebody

that worked for him. Is that right?

What I found out was,
Ming took over management

of Ming House Hotel in 1872.

Okay.

It was about 100 feet from the theater,

but it's not in existence anymore.

Now, is Ming a Chinese guy or a white guy?

He's a white guy, late 50s.

On December 22nd of 1898,

Ming asked for his porter, Emmett Craddock,

to come to his room.

Craddock is a 27-year-old black male.

Okay.

And he's working for
him, but he's not there.

He's out running an errand for the hotel.

Well by the time he gets
back, Ming's outraged.

He's screaming racial slurs at him,

telling him to leave the hotel.

- So, he's firing him, basically?
- Yes.

Craddock says, "If you'll
give me my day's wage",

I'll leave.

"But I'm not leaving until I get paid."

It gets heated.

And Ming's upset that he has a porter

that's talking to him and
addressing him in a way

that he shouldn't be, since
he's the manager of this hotel.

- Okay.
- But it escalated.

And at that point in time,
Ming shot him in the head

with a .32 caliber Smith & Wesson revolver.

Ming, who was high on
opiates at that point in time,

- was beyond reasoning with.
- Okay.

So, Mike, I'm assuming he
got charged for this crime?

He was charged with the crime,

but he was deemed legally insane,

so he was never tried for the crime.

They sent him to an
asylum in Nevada, Missouri,

- about 150 miles from here.
- Okay.

So, now, does he spend the
rest of his life in this place?

Actually, no. After about three months

of being in the asylum, he
escapes, about May of 1900.

When they caught him,

they wanted him to pack
up and come back with them.

So when he went back to the room,

he pulled out a large revolver
and shot himself in the head.

There's some male,

and he's telling me to
[bleep] off and get out of here

and leave him alone.

And he just wants to be alone.

He doesn't want anybody here.

I want to say he's between,
like, 1870 and 1910.

He was a drinker, a big drinker.

He's just wasted, you know?

He's drunk.

He's, like, stumbling
around and [bleep] you know?

Oh, he's horrible and
everybody [bleep] hates him.

And all this kind of [bleep].

You get all the blame,
and he's the one to blame.

Oh, he's just tired of it.

He feels very guilty.

He's just showing me, like, dead bodies.

He's like, "Look at the mess I made!"

Look at the mess I made!"

Another thing caught my
eye during the research,

the unsolved murder of a woman.

The last place she's seen alive

is right next to the
theater I'm investigating.

I've called on a local author

who's written about the homicide.

He says he's got information

that will definitely help my case.

Now, Jason, what do you
know about this case?

The woman's name was Nellie Price.

She was 42 years old,

and she worked for a
shoe manufacturer in town.

Her father was sick, so
she cared for her father.

Okay. So,

what are the circumstances
of her disappearance?

Does anybody know what happened?

On April 10, 1937,

she left work and was
walking to a local nightclub

to meet a date, a man named Joe Smiley.

She was walking in front a car dealership.

She was on the sidewalk.

That was the last time she was seen,

and it was right next to the
property you're investigating.

She was never seen again after that?

No, she just vanished.

She had been missing for 17 days.

And this was a really small town in 1937.

People just didn't go missing like that.

The town was panicking.

They really wanted to find her.

The entire town searched.

The county... all the county
officials, city officials,

were looking for her.

Here's the article on it.

They found her on a sand bank.

Her arms and legs were
bound with copper wire,

and she'd been weighed down
with, uh, with window weights

- and a steel rod.
- Okay.

So, what was the official cause of death?

This is the certificate of death.

It says right here
strangulation and murder.

Okay. What about this Joe Smiley?

- Cops talk to him?
- Well, yeah.

He was the only suspect that they had.

And then they dismissed him really early,

because he had an alibi.

So, did the investigators

ever come up with any workable leads?

Sadly, no.

I mean, 77 years later,

we still don't know who killed her.

That's a shame.

AMY: The lady in black,
she's, like, crying out.

Oh, she's a mess. She's
crying, crying, crying.

The lady in black who throws
things is having a breakdown.

She's frantically telling
me what happened to her.

She's talking about a male named Joe.

I don't know their
relationship, but this is weird.

I think she was in love
with him, or loved him.

She's, like, saying,
"It's very complicated."

There's a lot... a lot of emotion here.

I think he's dead.

She feels like she's an old woman,

but I don't think that she really is.

She's saying that old is, like, 40.

She went missing.

Something happened.

Like, I don't know. She
was married or engaged.

Something with this
engagement or something.

She was running. She was outside.

It was cold.

And she's wet.

She feels trapped.

Oh, the neck. Ow.

It hurts a lot.

[Bleep]

She's very sad.

And something about falling down, like,

she falls down.

I saw dozens of dead people
during my walk, but the dead man

who can jump the living
had me the most concerned.

He's stuck, kind of, in his death state.

He had a very chiseled face.

He had a strong jaw.

And he was wearing a suit.

And I want to show, like, the dead guy

kind of entering the person's body.

Is this what you saw?

Yes.

STEVE: Now that Amy and I have
completed our investigations,

we're ready to reveal our findings

to each other and our
clients for the first time.

So, Amy, I'd like you to meet Kimberly.

Four years ago, this historic theater

was pretty much gonna get torn down.

She grew up in this town

and wasn't about to let the
town's only theater fail.

So she bought it.

This is Paul. It's her dad.

Paul spends a lot of
time here doing odd jobs.

He's here almost every day.

He seems to be the main target of
the paranormal activity in this place.

Kimberly really wants
to keep the doors open,

but not if it's gonna put her
family and employees at risk.

So, with that, I'm
gonna turn it over to Amy

and see what she can
tell us about her walk.

AMY: It was an interesting walk.

I felt like I met anybody
who was dead in this town.

It was absolutely overwhelming.

The major thing that I felt
was anxiety and illness,

which is associated with a
lot of the dead that are here.

KIMBERLY: There's just
an overwhelming sense

of unease and anxiety.

Nobody wants to be here alone.

I could see why.

So the first person
that I met was a female.

She was saying that she felt so old.

I'm like, "Well, you know, how old?"

She's like, "40."

STEVE: Oh, my.

She was extremely sad.

She did state that she had gone missing.

She also wears this long, lace dress.

And it was all wet.

And then she was talking about,
like, a fight with her family

and something about a guy.

She did say that his name was Joe.

I think that she was in love with him.

The problems that she
has here, specifically,

is she doesn't care for
the living very much.

She feels like she's not wanted here.

The pain I felt with her
was a lot of neck pain.

It was extremely intense.

And she was showing me her throwing a fit.

The sound that I think
the living would hear

would be, like, banging.

- Oh, my God.
- Somebody going ballistic.

You hear banging in the basement,

- you were telling me.
- Mm-hmm.

That's exactly what it sounds
like, metal hitting metal.

- Yeah.
- You know, it's like a clanging.

It's not your typical pipe noise.

PAUL: I heard two extremely loud noises

after working here for about six months.

One, I describe as dropping a
16-pound bowling ball 25 or 30 feet.

Mm-hmm. Mm-hmm.

Okay.

Well, I've got a pretty good
idea who you're talking about.

April 10th of 1937,

there was a 42-year-old woman
by the name of Nellie Price.

She was on her way to a
date at a local nightclub.

The man she was meeting
was a guy named Joe Smiley.

Oh, my God.

But she never made her date.

She disappeared into thin air.

The last place she was
seen was a car dealership,

which was right next to the theater.

- Mm-hmm.
- Now the town went into a panic

was, like, all hands on
deck for a search for her.

I got an article about her murder.

Finally, 17 days later,

she's found by a fisherman in a sandbar

- in the Missouri River.
- Oh!

Oh, my gosh.

Right. Wet.

Now, you mentioned something
about the neck, right?

- Yes.
- Okay.

So I got her death certificate right here.

Cause of death is strangulation.

Wow.

Now, the police did question one suspect.

It was this guy, Joe Smiley,

that she was supposed to meet that night.

Now, it's 77 years later,

and it's still an unsolved case.

Oh, my gosh.

I didn't know that.

I have her picture when she was a little...

little bit younger.

Wow.

So, could that be her?

I think so, yeah. Definitely.

PAUL: It's so unfair.

I just feel heartbroken for her.

What else did you see?

I saw a lot going on up here,

a lot with talking with the
dead up here, a lot of commotion.

And one of the things that
I saw was shadow people.

You can see them in the seats...

swooping all over the place.

Oh, my gosh.

There was an incident

where my staff member was starting a movie.

And when she turned on the projector,

this screen right here
showed a black shadow figure

that was really large, almost
filling the whole screen.

Wow.

Then, I was in a hallway
that leads to the basement.

And when I was back there, I
saw a dead guy on the floor.

And he's very much
stuck in his death state.

What I was able to get from him

was that there was a woman screaming.

She fell over,

and it had something to do with him.

And there was another male
who absolutely hated him,

had it out for him.

Like, this man felt hunted almost.

And then he said the guy who
hated him finally got him.

And then, what I felt

was an impact on the
left side, in the heart,

and exiting out the back.

I thought that he was shot.

Wow.

Now, a lot of this stuff
she's just talking about

reminds me of a deadly love triangle

that started and ended
here in your theater.

- Okay.
- What?

Back in 1932,

this guy, Frank Celoud,
moved his wife, Gladys,

and infant daughter here to Marshall

to manage this theater.

This is Frank Celoud...

and this is his wife, Gladys.

Now, about six months
after they got into town,

- Gladys started having an affair...
- Wow.

with a 21-year-old factory worker.

His name was Estel Turner.

I've got his photo as well.

Hmm.

Frank confronted him. Said, "Listen."

I know you're having
an affair with my wife.

If you're gonna do that, just take her,

- "but the deal is, you have to marry her."
- Wow.

- Bizarre, right?
- Yeah.

Estel says, "I don't want to
be breaking up anybody's family.

I'll just leave her alone," and ends it.

So now Frank thought
the whole thing was over,

everything was fine.

Then a month later, Frank
took Gladys to a dance

right across the street
from the theater here.

Guess who else was at the dance.

Estel.

He had the balls to come over
to his wife after everything,

and try to get her to dance with him.

- Oh, no.
- So Frank got in his face.

He says, "If you don't leave
my wife alone, I'll kill you."

Now, Frank was pretty fired up

and he left.

But Estel winded up following him,

and they wound up getting
into another argument

right in front of the theater.

Witnesses can hear Frank telling Estel

that you lied to me about
staying away from his wife.

Okay.

Pulls out a gun and puts
one right in his chest.

- Oh, my God.
- Oh.

Right into his spinal cord.

I've got his death certificate here.

It says, "Gunshot wounds at
the hands of Frank Celoud."

- Wow.
- Wow.

Hmm.

- Did you guys know about this?
- KIMBERLY: No.

I've been here 40 years, never heard of it.

Now, do you think this
guy, Estel, is who you saw?

I mean, there are...

Obviously, there's a lot
of correlations there.

Let me ask you a question.

You mentioned the hallway
behind the screen. Uh-huh.

So this is where Paul's
having a lot of interactions.

PAUL: I was working in the hall,

and I felt a hand on my shoulder...

on my left shoulder.

I thought it was my daughter,

but I turned around,
looked up and down the hall.

There was nobody.

Wow.

That really concerns me,

'cause he, like, comes
up from behind a lot.

And he can jump people.

I think that people would
feel almost frozen, physically,

like they couldn't move or walk.

They might even feel like
they're having a heart attack.

The pain I felt was not typical.

It was very severe and long-lasting.

I have a condition

that I got shortly after
we took over the theater.

The doctors tell me I
should be getting better,

but I'm not.

I'm not getting better.
I'm not feeling better.

The muscle pain, the spinal pain.

Muscles, joints, spine.

Yes, yes.

Wow.

I did do a sketch of what I saw.

Wow. Take a look at this.

Oh, my God.

AMY: I did do a sketch of what I saw.

STEVE: Wow. Take a look at this.

Oh, my God.

That's scary.

Now, we talked about Paul

getting grabbed on the shoulder.

Did it sound like it could be this guy?

That would probably be him, yeah.

I'm convinced that's him.

What is his ultimate
goal when he does that?

He wants people to feel how he feels.

Period.

Mm-hmm.

I've got to tell you something.

Paul had experiences earlier on in life.

Mm-hmm.

And he felt that he
somehow brought them here.

- You don't think so?
- No.

So that's got to make you feel better.

Much better. I'm so glad you said that.

I, uh, felt I had some ability

to be a magnet for bad
things, so thank you.

So, Kimberly, you saved
this theater for the people

that live in your town.

You had no way of knowing

- it would also be a meeting place for the dead.
- No.

All right. What's done is done.

All right? We've got to look to the future.

The question is, can you stay here safely

with your family and employees,

or is it time to get out

and then take a wrecking
ball to this place?

For that answer, I'm gonna turn it over

to my partner, Amy.

You have a lot going on here.

So the goal is to help as many
people move on as possible,

and to clear the building

so that you guys can set up
a safe space for your family.

So, the first thing, we
have the dead woman, Nellie.

I think we all want to help her.

And the best way to do that
is to have a female medium

come in and spend some time with her

and allow her to talk.

What's very important

is to also make the statement
from the medium to Nellie

that, if she wants to bring
anybody else with her from here,

to do it now.

There will be a lot of dead
that want to go with her

to the next, uh, place.

Now, how do they get rid of
this guy who jumps people?

So what we want to do is bring in a priest.

I want him to come three
times over three months

to do a blessing of the entire building.

The other thing that the priest needs to do

is to give him his last rites.

- Really?
- Mm-hmm.

And then he'll leave.

And where he goes, the shadow people go.

Okay. So, you'll kill
two birds with one stone?

Yes.

There is one more step,
and this is something

that you're doing to make
it peaceful and quiet here.

There's a lot of residual here.

There's a lot of timelines
that are overlapping and stuff,

and this is just muck.

So what I want you to do is,

every month... every
month just take some salt.

And in each location,
just sprinkle some salt.

And while you're doing that, you're saying,

"Only love, light and peace may enter.

All negativity must go."

And what that's gonna
do is just kind of build

an energetic wall of
purity to keep the dead out.

So, when they do all these steps,

this place should be pretty good, then?

Yes.

You have a look of relief on your face.

I'm very happy that
there can be a resolution.

The cavalry. The cavalry is here.

Do I even have to ask if
you're gonna take Amy's advice?

I am definitely taking Amy's advice.

AMY: It won't be easy

removing the layers of
dead inside this location,

but with the help of a medium and a priest,

the dead will be set free,

keeping Kimberly and her
employees and customers

safe from harm.

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