(eerie music)
[Stephen] Hey everyone, this is Stephen Cognetti, "Hell House" writer/director.
Thanks for checking out the director's cut of the original "Hell House" film.
The difference between this cut and the one released years ago is that this is my first cut of the film, almost exactly as it was intended, going directly by the script.
After multiple screenings with people involved in the film, we cut some scenes, rearranged others.
This cut has everything back in place.
So you'll see scenes that were deleted from the original cut.
We've also added in a lot of fun extras that I hope you'll enjoy, like a behind-the-scenes documentary, the original scouting footage I took at the Abaddon Hotel, almost a year before we began filming, auditions of the "Hell House" g*ng, and other stuff like that.
So I hope you enjoy, and stay tuned to our Facebook page for news regarding "The Abaddon Tapes."
Thanks everyone.
(ominous music)
[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.
[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.
A small abandoned hotel was transformed into a haunted attraction.
It was due to run tours the next few weeks through Halloween.
(solemn music)
(siren wailing)
We're not sure if anybody from the company has made it out alive as of right now.
Shaking tour-goes appear to not really know what was going on either.
I've been waiting on line for about five minutes now, and I mean, I just see all these bunch of people coming out.
I'm like, "Dude, where do I go?"
No, we had no idea.
We still don't know.
(thunder rumbling)
Whenever people ask me what happened in Hell House, I tell them, "You watch the video, you tell me."
(people chattering)
How many people are they letting in at a time?
[Man] I don't know.
It's a long wait.
I think we're next.
It's exciting.
We've been waiting for you.
I hope you all enjoy your stay.
(people chattering) (eerie music)
(people screaming)
Was that supposed to happen?
[Man] I don't think so.
Technical difficulties on opening night.
(people screaming)
(man laughing)
April, where are you?
(people chattering)
What do you want?
Oh yeah, you bring in a f*ckin' video camera, huh?
(people shouting)
(people screaming)
(banging and rumbling)
(people screaming)
Let's go, let's go, let's go!
Hurry up!
April, get outta here!
Go, go!
(people screaming)
(siren wailing)
Go, April, just go!
[Man] Oh my god!
(siren wailing)
April, April!
(siren wailing)
Nobody knew what to make of the YouTube video, and then the 911 tape leaked, and that just confused people even more.
[Operator] 911, what's your emergency?
[Caller] Hello?
Hello, I'm at the Abaddon Hotel, can you please send some police?
[Operator] What's the problem, Miss?
[Caller] I don't know!
(static buzzing)
Into the wall!
[Operator] Someone's hurt?
I'm sorry, I can't hear you.
[Call] Please hurry, I don't want to--
[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 ahold of it.
The 911 call was the only other thing, and that didn't really tell us much of what was going on inside.
Then this photographer, Martin Cliver comes along, gets inside the hotel, takes pictures, puts it up on the internet.
Starts to raise some real questions that the town does now want answers to.
The hardest part.
The hardest part was probably the silence.
Everything was very hush hush.
There were gag orders put on everyone involved with the case.
Cops, lawyers, even the families of the victims were left pretty much completely in the dark.
It was impossible to get anyone to talk to us at first.
So I wanted to see inside of the hotel, first and foremost.
Asking questions was, like I said, getting me nowhere.
So I went to the hotel, and I walked around the back and found a little window and knocked out the boards and climbed inside.
(solemn music)
[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.
(solemn music)
(eerie music)
(distant screaming)
(solemn music)
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.
(solemn music)
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.
(eerie music)
Do you think we need more light?
[Man] Yes, princess, I got it.
Thank you.
Can we have more than that?
[Man] I don't even think she's coming anyway.
We're doing all this work for nothing.
She's coming. Really?
You don't think this girl's already dead?
No!
[Man] I mean, I'm just saying, if something like that happened to my friends and family, I'd probably be in a ditch somewhere.
I'd probably put a g*n in my mouth and sh**t...
(two men talking at once)
[Man] I don't think she did.
[Diane] Guys, can we--
[Man] She's definitely not here, though.
In Abaddon.
[Man] I mean, we don't really even know what happened in that haunted house, so she could be anywhere.
I mean, she could be in China, she could be in Australia--
She could be 10 minutes away!
So why don't we finish getting ready, huh?
Great, thank you.
[Man] Cheap-ass hotel waiting for somebody that's never--
[Man] You get to spend some time together, right?
Apparently-- f*ck you.
[Man] Chatty Cathy over here.
[Man] Hey, don't worry, this is gonna be your big break.
(phone ringing)
Hello?
Yes, we're here.
Second floor conference room.
Left out of the elevator.
Great, see you in just a second.
f*ck you. That was f*ckin' her.
No way. It was f*cking her.
She is on her way.
Yeah, yeah, apology maybe?
Just don't say anything stupid.
[Man] What am I gonna say?
[Man] Like, anything you normally say.
Thank you. Okay, guys.
(knocking on door)
(eerie music)
[Diane] Hello, Sara.
Thank you so much for coming tonight.
Would you please state your name and age for the camera?
[Sara] I'm Sara Havel, 30 years old.
[Diane] And you were a member of Hell House since its 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 'head and just start looking through those, if that's all right.
(door opens and closes)
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] (sighs) 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.
(Paul laughing)
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.
(muffled shouting)
It gets so passionate.
[Paul] Is that what he's like in the sack?
Guys, I'm really hungry!
I'm sorry!
Do you want to pee or anything.
Yeah, can we pee out there in the grass, please?
I mean, tell me, tell me this, all right, if you're going to a haunted house for Halloween and this is the drive over, tell me this isn't creepier than New York City.
Look, look, look, look, look, look, there it is, there it is, there it is.
[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.
Whoa!
Seven years of bad luck for breaking that.
Oh this is good, Paul, are you getting this?
You can work out on that one.
We'll set you up, and we'll have a tour guide come through.
(Sara laughing)
Here we go.
Exciting.
(man laughing)
Hell House 2009.
Oh my god. (man mumbles)
Yikes.
(laughing) 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] Tony, if we're gonna get power, it's gonna be because of you.
You've got the confidence, you've earned the confidence.
Look at this old ass book.
Oh, did you hear the pages?
Oh!
You know, I need electricity to do everything that I do here, bud.
Well, part of what you do is get the electricity running, so that's all you, Tony.
Stop giving me that look, man.
[Paul] This is pretty creepy, man.
[Sara] It smells like a sweater.
[Paul] A sweater?
An old sweater. You get that?
(Sara 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, maybe, it has history, all right?
It's not that important. Maybe this is a bad idea.
It's not a bad idea, okay?
Look at all this free production.
And you smell that? Yeah.
Hun, what did it smell like to you?
I think it's probably dead rodents under the baseboards.
[Paul] It smells like money, bro.
Thank you, Paul.
Why is it Paul that's always on my side?
[Mac] We're not gonna have time, this is... (groans)
[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. 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.
(Alex coughing)
Yeah, not good.
[Paul] A little ripe, huh?
I f*ckin' love this place.
Yeah?
What's your wine of choice there, 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 just been cooking.
Ugh.
[Paul] Dude, wine tastes better with age, you know that.
Yeah, not with heat, though.
[Paul] You're so smart, Tony.
[Tony] God damn, 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--
I don't know.
There's no f*cking 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.
(static buzzing)
What the f*ck was that?
[Tony] I don't know.
[Alex] Tony, Paul, get your asses down to the basement.
(Tony laughs)
On our way.
Just turn the camera off.
You're gonna break your neck on the stairs.
(eerie music)
Check it out.
More numbers.
It's weird.
Watch your step there, Fellini.
Holy shit.
This place is amazing.
[Paul] What the f*ck 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.
They're gonna come through, our girl's gonna be chained up right here, she's gonna be screaming like crazy.
All right, she might actually even be topless for you, brother. No, I'm kidding, that's not gonna happen.
[Paul] No, you promise.
Then we're gonna have clowns right behind this wall.
One, two, three, four, however many clowns we can fit.
Hopefully they'll be moving, we'll see what happens.
There's a storm door right at the end of this creepy hallway, and that's where they exit.
In and out.
We've handled much, much worse.
Remember Queens? Yeah.
Hey, hey, hey, I thought we were never to speak of Queens again.
Tony-- Your words.
I need you to worry about these.
Okay?
These walkie-talkies are getting this funky noise.
I don't know what it is.
[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.
[Tony] Yeah, there you go.
Oh, all right, cool. Small bibles.
[Alex] That's so f*cked 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 f*cking 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, okay?
This is half the work already done for us.
I don't know what you guys are freaking out about.
That wall is perfect.
[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 overnight.
It was when we started sleeping there that things started to change.
[Diane] Change how?
(insects chirping)
(people chattering)
[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! Oh, Jasmine. (laughs)
So they all come through, and me and Mac were back there, we're like, "Oh, this is it."
Dude, me and Tony were in another room doing other things.
He was a werewolf, what were you that year?
(howling) Something.
I think I was like the puss slayer, or somethin'.
They passed Tony. Dude what?
That's the last thing you've ever been.
C'mon man.
That's usually what I am, most days out of the week.
The moral of the story is, we tried too hard to scare these girls, because we thought they'd be an easy scare, and what did they do?
They laughed their f*cking asses off.
[Paul] Princesses, man.
The f*cking princesses!
[Paul] Yeah.
Is that the whole story?
Well, that's the whole story on my end.
[Paul] Yeah.
Queens was actually pretty f*ckin' sick, if you think about it.
We actually had some good motherfuckin' times at Queens.
That guy that played Lucifer was that guy from Queens, he had a really thick, he'd be like, "Yeah, welcome to Lucifer's cabin."
(all laughing)
Oh my god.
Did you know I had to the fire that guy?
[Paul] We got so many bad reviews on that guy.
Dude, I had to fire that guy.
He almost kicked my f*cking ass.
We keep in touch.
f*ck you! What?
I keep in touch with that guy.
That guy was an assh*le. He's decent, man.
You buy dr*gs 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, right?
[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 f*ckin' get a slice of pizza.
Here it's like, you're creeped out you walk outside--
[Paul] You can't beat New York pizza, too.
And you're in a f*cking forest.
Man, say whatever the f*ck you want about Queens haunts, we never had to sleep there, okay?
[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 buzzing)
[Paul] Where is it?
Boom! Ta da!
[Paul] Shebang, baby.
Good job, Tony.
Up and running.
Thank you, sir.
Tony, I thought I said I didn't want any blind spots.
What's going on here?
What room is this?
Yeah, that's the basement.
It's got some thick stone walls, but we should be able to get camera through there, or at least walkies, but we're not, we're not getting anything, so.
It's a liability.
We gotta have eyes down there.
Yes, thank you, Mac.
You have a half-naked girl in a room full of assholes.
Of course we need eyes down there.
How 'bout we, you know, get some big guy, muscles, totally ripped, put him in the clown costume.
[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?
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.
(drill whirring)
[Paul] How's it hanging, 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.
(Paul laughing)
Technically I'm your boss too, so camera down, now.
[Paul] All right, it's off.
Grab her legs and move her right up.
There you go.
Ally-oop, get fresh. (chuckles)
Dude. No problem there.
Jesus Christ.
How long has it been since you've been on the ground?
Drop her down? All right.
There she is.
In all her glory.
Alex, you wanna come down and check this out?
(thunder rumbling)
Yeah, Paul, can you go upstairs and get Alex?
Just use the radio, man.
It's not working, go upstairs and get him.
(door creaking)
Paul, what did I say?
(door bangs)
Hey, what'd you wanna show me?
Hey, meet Wendy.
Wendy?
Baby. Darling.
Higher.
That's what I said.
Right? You didn't say that.
Listen anymore.
Ladies and gentlemen, this is my buddy Hector.
Me and Hector are gonna play a little song for you.
Are you ready, Hector?
(solemn piano music)
(piano keys banging)
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 sheba...
(wood creaking)
Sara?
What's up, dude?
You cool?
What, are you sleepwalking?
f*cking weird.
That's it for me.
See you in the morning.
Sleep sweet.
(people chattering)
I'm more in line with this joke than you are.
I feel like I'm writing it and you're responding to it.
And then she says, "Do you have any syrup?"
You say, "No."
Oh my god! Get the f*ck out of here, dude.
Get the f*ck 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 f*ck outta here.
Can you stop, seriously?
[Paul] Hey, m*therf*cker, I came up here to help you out.
Not that!
I had to tell you that the actors are here.
The actors are here?
Who's here?
[Paul] Joey, Melissa, Sam.
Joey, Melissa, Sam.
Joey's clown, Melissa's, okay, Joey, Melissa, Sam.
Get the...
(rain pattering)
That's Paul.
Paul's gonna be filming.
Say hello to Paul, everybody wave to Paul.
Hi, Paul.
(people mumbling)
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.
(solemn music)
What the hell happened in there?
And your guess is as good as mine, and I honestly don't think we'll ever know.
And then, of course, there's the very strange, very sad case of Joey Sheifler, who was in the basement at the time of the chaos, actually made it out alive.
Of course, we all know how that ended.
(ominous music)
(rain pattering)
(people chattering)
Hey, Paul, what's going on?
[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, he's gonna be down there with you all night.
Can I ask why you're filming everything?
Yeah, I'm sorry.
A lot of this is just for us.
It helps us next year with our next haunt.
But, you know, it's good for fans.
Maybe something for the website.
[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 mayor says, just shut down, that's it.
[Paul] What do you know?
[Alex] She doesn't know anything.
I don't know anything.
The owner was supposed to have hung himself in here.
Oh! What?!
Oh, when did that shit happen?
You did not mention that, Alex.
[Alex] '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 f*ckin' 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.
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] 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] All right, baby, as always.
[Alex] No, this is not happening.
[Paul] If you need anything, all right?
You just let me know.
[Alex] She doesn't need anything from you, Paul.
[Paul] Okay, a massage, I'm a master of oils.
I do appreciate it.
Okay, she was nervous before and now she's scared, thank you, Paul.
[Paul] Okay, how old are you, by the way?
No, this is not important.
We'll never know what happened in that hotel.
Just like we'll never know how the Hell House crew came to put on there Halloween tour their 20 years later.
Just like we'll never know exactly what happened to Andrew Tully.
The more you dig into the history of the Abaddon Hotel, the more unsettling it gets.
And it all begins with a man named Andrew Tully.
I'm almost certain that the group knew nothing about the hotel going in.
I doubt they knew anything about Tully.
I doubt they knew anything about missing guests.
Why he built the hotel in Abaddon in the first place, any of it.
The local ghost story is that Tully built the hotel because of the name of the town.
In some versions of the bible, Abaddon is the name of the demon who guards the gateway to hell.
Some people say that Tully was the head of some cult, and that he considered himself a latter-day Dante.
[Diane] What happened to the guests?
Well, there were a few.
The first one was an 11 year old girl.
I think she was 11, and her mother, both disappeared, last seen checking into the hotel.
[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 k*ll business.
A few months later, he hanged himself in the dining room of the hotel.
(eerie music)
(Tony mumbling)
[Paul] Jesus Christ those f*ckers are creepy.
[Alex] I guess I'll put Joey right here.
Yeah, yeah, yeah.
[Alex] We'll get this guy outta here and I'll put Joey in there, what do you think?
[Paul] Yeah, 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 f*cking 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.
f*ckin' 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 f*ck 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?
Yes. No.
No. Yes.
No.
(wood 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?"
Sever people, dude.
Oh my god. Talented m*therf*cker.
This is our clown.
You're welcome, guys.
You're welcome. 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.
(all groaning)
[Alex] That's so creepy! [Paul] That's so cool, dude.
Good f*cking find, dude.
Yeah, man, thanks.
I just had to send him down to the basement.
Yeah.
[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 its hair.
But it's frozen, I love the frozen--
Guys, guys, guys.
Joey did his trick again, and his eye came out!
[All] Whoa!
♪ I'm writing a letter ♪
♪ To daddy ♪
♪ His mailbox is inevitable ♪
[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?
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 f*ck!
You got me, man.
All right, weirdo.
Let me know when you want to get back to work down there.
(Paul humming)
What the f*ck are you do, you were just right, what the f*ck are you doing here?!
[Tony] I got you a little rat.
[Paul] You f*ck...
What the f*ck?
What the f*ck, man?
You were just standing right f*ckin' here!
Hello, Alex?
Is that you, you assh*le?
What the f*ck!
Alex, don't f*ck with me.
Dude.
Tony, what the f*ck?
What, are you f*cking with me?
What the f*ck was that?
Calm down!
Jesus Paul, how much shit have you shot today.
[Paul] Just watch, it's coming up.
Hello!
I think you've had enough to drink!
(Tony chuckling)
Tony!
Whoa, shit, dude.
What's up, man?
What are you looking at?
Holy f*ck!
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 f*ck with us, like you always do.
Wait, so it's the two of you?
[Paul] No, I shot this solo.
[Alex] Okay, Romero.
I'm proud of you two.
Great prank.
[Mac] Put that much work into the haunt.
(birds chirping)
[Paul] We built a haunted house, we can do a commercial.
Follow my lead.
This is ridiculous, dude.
I just didn't want to show the inside of the house, because A, we're not done with it, and B, I don't want to give away our scares.
So I wanted to do something kinda catchy and funny.
You know, he wasn't there, really, you know?
Gerald!
Gerald, what are you doing with her?
Gerald?
What is this?
Don't avert your eyes.
I thought you were at work.
[Paul] I'm not doing too well, cause they...
Check it out. 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 purdy, man.
Sara?
Yeah, actually took their Hell House tour in Manhatten the year before they left the city.
I went with a few friends a few nights before Halloween, and it was awesome. (chuckles)
So when I read on their website that they were doing a new haunt in Abaddon, I mean, of course I googled the address.
And then I went to Straightview, and that's when I saw that
weird image that I'm sure you've seen by now.
Have you seen that photograph?
Very strange, isn't it?
(ominous music)
(dramatic music)
All right, so we're gonna show you all the fine work that Tone-Dog and I have been doing.
Hard work too. Yeah.
I'm exhausted.
[Tony] Allright, 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 too down?
[Tony] No.
[Paul] All right, cool.
[Tony] Perfect.
[Paul] All right dude, lock me in.
All right.
[Paul] Cool, dude.
Godspeed.
(Paul and Tony mumble)
[Tony] You're locked.
[Paul] All right, cue the lights.
[Tony] Lights have been cued.
[Paul] Cue the strobers.
[Tony] Strobers cued.
f*ck.
[Paul] It's pretty good, man.
I think we're in f*cking business, man.
[Tony] k*ller.
[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?
f*ck, f*ck this.
Tony, let me out!
(banging on door)
Let me the f*ck out, dude, this is not f*cking cool!
Where the f*ck are you?
Tony, let me the f*ck out!
Tony, f*ck!
Let me the f*ck!
(Paul gagging and retching)
[Tony] Dude, are you all right? Jesus Christ, man.
What the f*ck is wrong with you?
(eerie music)
Dude, I'm just telling you what we saw.
You saw the same thing that I saw on that screen.
No, no, no, we all went up there.
And so did Mac-- We didn't see anything.
[Paul] And so did you, Sara.
First of all, keep your voice down, okay?
I don't want any of the actors to hear you.
Two weeks to go to the show.
They should hear me, okay?
Okay, everybody should know what's going on.
Two weeks to go, and all our actors are gonna get scared and run away because of you.
What are we gonna do when we have no actors?
[Paul] You're talking like a f*cking 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 f*ckin' 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 them in that hotel, I think it was, I think he believed it was in the best interest for the company.
His company.
That company he created.
The others were simply loyal to him.
He and Sara had been together for years.
He and McNamera grew up together.
They'd known each other since they were boys.
Tony and Paul were, I think, his first hires.
Oh yeah.
Oh, there was a bond there.
[Paul] f*ck.
f*ck!
Jesus Christ!
(Paul panting)
f*ck, dude! What are you doing?
[Paul] Look! (stairs creaking)
[Tony] f*ck, did you move it?
[Paul] No, man!
I was f*ckin' sleeping!
[Tony] Are you trying to f*ck with me again?
[Paul] No!
[Tony] What's it doing there?
[Paul] I don't know, man. I was f*ckin' sleeping.
[Tony] For f*ck's sake.
All right.
[Paul] Be careful!
Careful, man.
What is it?
It's a f*cking mannequin.
Dipshit.
Guess I'll put him in the back.
[Paul] What the f*ck?
(Sara speaking gibberish)
What the shit is she doing up?
[Tony] Is that Sara?
Sara?
[Paul] Sara?
[Tony] Sara?
(Sara speaking gibberish)
[Paul] Sara?
What the f*ck is she doing down here?
Sara?
(Sara speaking gibberish)
Sara, are you okay?
Sara, you okay?
(Sara speaking gibberish)
[Paul] Don't, Jesus.
Sara!
(Sara whimpering) Sara, Sara.
Sara, Sara, you're fine.
You're fine, you're okay.
Shh.
Sara, you're fine.
Sara, you're downstairs.
You're fine.
Hey, hey, hey.
You're fine.
[Paul] Jesus f*cking Christ.
It's okay.
What the f*ck, dude?
[Paul] Let's get the f*ck outta here.
Come here.
Come here.
You're all right.
[Paul] Oh, f*ck!
[Tony] What the f*ck?
[Paul] Mac.
Where the f*ck was he?
He was just f*cking here.
[Sara] Guys, can we go upstairs? (Paul panting)
[Paul] f*ck, f*ck, f*ck.
You just f*cking put it there.
Okay, careful, careful.
Okay.
Okay, guys.
One, two, three.
Okay, okay.
It's okay.
There's nothing here.
There's nothing f*cking here.
I don't f*cking know.
[Paul] You guys okay?
You guys okay?
Yeah, I'm fine.
(grandfather clock chiming) (Sara screams)
What the f*ck?
(grandfather clock chiming) (Sara screaming)
[Paul] Holy shit.
[Tony] Oh, f*ck.
(Sara screaming) No!
Oh, f*ck!
Holy shit!
Go, go, go, go, go, go!
(birds chirping)
Hey, Alex.
Nobody home?
See what kinda goodies we can find here.
What the f*ck?
Pretty cool idea.
Oh yeah.
What the f*ck?
(Paul sniffles)
It's three days till the opening of Hell House.
Yippee.
Everyone's a little stressed.
I personally think we have no business being here.
Alex is more confident than ever.
Whereas Sara...
She just doesn't look good.
She usually does.
That's all from me.
Sleep sweet.
(screeching)
(neck cracking)
Ah, shit.
(Paul sighs)
Holy f*ck!
(Paul trembling)
What the f*ck was that?
(Paul trembling)
Holy shit!
(Paul panting)
(wood creaking)
(static buzzing)
(Paul screaming)
[Tony] Where the f*ck are you, Paul?
I mean, he's not gonna leave two days before opening night without saying anything.
Oh yeah?
2005, he left for two whole shows without saying anything to anybody.
All right, he's done it before, he's gonna do it again.
Man, it's just what he does.
[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 f*ck-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 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.
(line ringing)
Paul?
(phone screaming)
[Tony] f*ck?
What the f*ck was that?
Alex.
What was that?
I don't know.
Alex!
(eerie piano music)
f*ck.
Mac?
You hear that, right?
I'm losing my f*cking mind.
Who is it?
Maybe Paul?
What are you guys doing? Will you stop?
Someone's downstairs.
We think it might be Paul.
Stay with Sara, Tony.
Coming from the front room?
[Tony] Yeah.
Mac, Mac.
Mac.
Hey, wait up, man.
Relax, it's fine.
It's just Paul f*cking with us again.
Seriously?
Paul?
(keys slamming on piano)
What the f*ck was that?
Oh f*ck!
(distant thumping and shouting)
Paul!
[Tony] What the f*ck?
Paul, are you in here?
You in here?
[Tony] Shit!
Paul!
[Tony] What the f*ck is goin' on?
Jesus f*cking Christ, Paul!
[Tony] Dude, what the f*ck.
Careful.
I'm good, I'm good.
We're gonna f*cking die on these steps.
Okay, I'll lock the storm door.
[Tony] You sure?
Yeah.
Paul!
Hey, you back here?
Paul! Paul!
f*ck!
You back here?
Paul!
[Tony] Mac, do you see anything?
I don't see anything.
[Tony] f*ck!
f*cking...
Oh f*ck.
Check it.
What?
[Tony] Check it.
[Mac] Nothing.
(eerie music)
[Tony] f*ck!
Go, go, go! What?
[Tony] The f*cking clowns!
The f*cking clowns!
Their heads!
Oh my god.
Their heads moved.
They were f*cking turned.
(both panting)
[Mac] Tony, their heads don't move. You told me--
[Tony] They f*cking moved!
Holy f*cking 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 f*cking crazy.
[Mac] On the count of three.
[Tony] No, no, just--
[Mac] One, two, three.
(Tony shouts)
[Tony] f*ck!
f*ck!
(Tony shouts)
They f*cking moved!
I f*cking swear.
[Mac] I believe you.
Okay?
It's Paul.
He's f*cking with us again.
[Tony] Dude, I have it on f*cking--
[Mac] I don't know how he got out.
f*ck!
Paul!
Holy shit!
[Tony] What the f*ck?
Hey, look at me.
Hey, f*ck stick, wake up!
I know you're f*cking with us.
[Tony] Paul, wake up.
[Mac] Open your little eyes.
[Tony] Paul, oh f*ck!
[Mac] What the f*ck's wrong with you, huh?
[Tony] Shit.
[Mac] Why are you pulling this shit now?
Everyone's on edge.
You're just f*cking with us, aren't you?
Huh?
[Tony] Paul, come back.
[Mac] f*ck 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 f*cking turn, and it turned last night when we were down here, along 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 f*cking scared.
[Alex] Paul's back, right?
Isn't that good?
[Tony] Oh, yeah, yeah, yeah, yeah. Paul's back.
He's technically back.
But he hasn't said a f*cking word since he's been here.
He just f*cking sits there.
[Mac] Which pretty much makes him as useless as he always was.
[Tony] f*ck you, Mac!
f*ck you!
You were f*cking down here!
You were down here--
[Mac] What do you want me to say?
[Tony] And you saw what f*cking happened, and now you're gonna make a f*cking joke right now, to Alex, your f*cking best bud?
f*ck you, man.
Explain to me right now how that f*cking head turned.
I haven't figured that part out yet.
You haven't f*cking figured it out.
No shit you haven't figured it out!
There's nothing to figure out!
It can't f*cking turn, but it did!
Tony, we don't have time for this.
It's f*cking opening night tomorrow, I don't f*cking care, okay?
I'm out.
All right, you're quitting, that's what this is?
[Tony] I'm quitting, yeah.
Yeah, write it down in your stupid f*cking book that I'm f*cking quitting.
I'll make sure to date and sign it for you.
[Tony] f*ck you!
f*ck you, Mac.
See ya, Tony.
Let him go.
[Mac] Hey, hey, hey, Tony!
Let him go! Tony!
Tony, come here!
Come here.
You're a f*cking assh*le.
You're a f*cking, you just stand there?
[Mac] Hold on.
You don't understand everything, all right?
You don't have all the facts!
I don't f*cking care! You don't understand.
Stop!
[Tony] I'm taking the f*cking 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!
[Tony] What?
Jesus.
(static buzzing)
I can't leave.
(Tony sighing)
Mac's right.
Can't leave.
You okay?
No.
Not really.
This whole time, you knew, and you didn't tell me.
I should've told you sooner, but--
Yeah.
And now...
Now we're f*cked.
f*cking Alex.
(Tony sighs)
He f*cking screwed us.
Does anyone else know?
Just me and Alex.
You haven't told Sara?
No.
I know you haven't told Paul.
No.
You know what's really scary, though?
What?
Is why he's not telling him.
Well, you're staying, so I'll stay.
I kinda have to.
I'm sorry.
You're not the one that should apologize.
All right.
See you back there?
Yeah.
Sure.
I'll be back.
(Tony sighs)
[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] And was Alex of sound mind?
What do you mean?
[Diane] What I mean to say is, was Alex fit to run the show, was there anything on management's end that maybe could have caused the tragedy?
Alex was the same as always.
He did a good job of rallying the actors, and Tony and Mac.
He told me that it would be okay.
And I believed him.
[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?
Because everyone that was already in the basement was trying to get out.
Come into Abaddon, you know, out of New York.
Last year was actually our biggest opening, you know.
Even Sara said that...
I haven't seen Paul around in a few days.
Is he okay, or?
[Alex] Paul?
Paul's fine, yeah.
Why would you, yeah, don't, you know, he's a little under the weather, but he's okay.
We're gonna have to run without him, but don't worry about crew.
We're gonna be all right.
Scaring some people. (laughing)
Let's scare some people tonight.
A lot of them are gonna come through here.
Yeah.
Yeah, great.
So let's get into costume and makeup and go get ready.
Awesome. All right, good.
Thank you. Awesome.
Thank you.
Thanks, Mac.
(Alex sighs)
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?
(wood 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.
Shouldn't be too hard.
[Mac] Okay.
All right.
Let's have some fun out there, you guys.
Hey, Mac.
Is everything all right?
[Mac] Yeah.
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 eight.
All right, I'm just gonna do...
(Mac laughing)
This is so exciting.
[Mac] All right, here we go.
See you later.
Bye.
All right, Sam, can you hear me?
We open in exactly 10 minutes.
I need everybody ready, in position, ready to go.
You heard from Paul at all?
No.
Still sleeping.
It's creepy.
It's not creepy, it's annoying.
Hey, Mac, have you heard from Paul at all on your end?
There he is.
[Mac] No.
Mac, can you hold down your button, please, when you speak to me?
Wow. We lost him.
That's these walkie-talkies, man.
Mac, just start recording whenever you're ready, all right?
I told you to get the better ones.
I thought... (feedback ringing)
Oh my god.
Ask him if he knows sign language.
All right, head into position.
We'll talk to you when this is all over, alright?
[Mac] All right.
All right.
Off to a good start, broken walkies.
Great.
It'll be all right.
It's not gonna stop us.
Let's go, are you ready?
Welcome, everyone!
(crowd cheering and applauding)
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.
Cue steam?
Love it.
All right, we're circling around the dining room.
(people screaming)
I love the kitchen gag.
(people chattering)
[Woman] We're next, we're next, we're next!
[Girl] I don't like it.
How many people are they letting in at a time?
[Man[ I don't Know.
It's a long wait.
(people screaming)
[Mac] Keep the line moving, you guys, I want people in and out.
We need some strobe.
Need to kick up the strobe in the rat room.
A wonderful scare, here we go.
I love this guy.
I think we're next.
Exciting.
We've been waiting for you.
I hope you all enjoy your stay.
(people chattering)
(eerie music)
(people 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, Joey just ran out of the basement, what's going on down there?
There's Joey.
Where's Joey going?
Son of a bitch!
(people screaming)
[Sara] Did you hear that?
What the f*ck was that?
(people screaming)
[Mac] Go back upstairs and find out what's going on.
Go, go, go.
Is that supposed to happen?
[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.
(people chattering)
[Man] Great.
[Woman] Real.
[Man] Gross.
You have the key, Joey, get me out of here!
Please, please, somebody get help.
This isn't part of the show!
This isn't part of it!
Joey!
Joey, no!
Joey, don't leave me, please!
Get me out of here.
(Melissa crying)
[Woman] Are you okay?
No, this isn't part of the show!
Please!
Please get help.
No!
No, please!
[Mac] Go, go, go, go, go, get out!
(people screaming)
(static buzzing)
(wind howling)
(fan whirring)
Go, go go, get out, get out, go, go, go!
Hello? (banging on door)
Anybody?
f*ck.
There's another way out over here.
(sirens wailing)
Tony, Tony, get to the basement.
What's going on in the basement?
[Mac] Go!
Oh f*ck!
(grandfather clock chiming)
[Mac] What's going on?
[Melissa] Please, somebody let me out of here!
[Mac] Tony!
Tony!
(woman screaming)
Tony!
(Mac panting)
(siren wailing) (people shouting)
[Man] April, April!
(Mac panting)
Go back up, go back up!
Go!
Attic, attic!
(Sara screaming)
Alex!
Hold on!
Alex!
(roaring)
(people screaming)
(wind howling)
(Sara screaming)
(siren wailing)
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?
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.
[Sara] You know, you should really try and get inside the house if you can. See what's inside.
[Diane] Thanks, but it's all boarded up, and I just can not get a permit.
[Sara] Is that the only thing holding you back?
You should really try and see it.
[Diane] Maybe.
I'll talk to the guys.
Thanks.
[Jonathan] I mean, the place is all boarded up, what, are we gonna break in?
[Diane] So what, yeah, why not?
I mean, it's five in the morning, nobody's gonna be there.
[Mitchell] 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 ghost?
[Jonathan] Fine.
We have one hour, though.
Perfect. One hour.
[Diane] Can do, grab the camera, will you finish going through the footage?
I want to look at it today.
Got it. Yes?
Good.
Thank you!
We're gonna step out for a minute.
If the woman in 2C asks for me, can you tell her we'll be back in like an hour?
2C? Yeah.
Our rooms don't have any letters.
She did say 2C, right?
[Jonathan] 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--
[Jonathan] She's probably just staying under another name or something, c'mon.
Thank you very much.
[Jonathan] Do you wanna go see this house or not?
(ominous music)
(thunder rumbling)
(distant screaming)
(distant siren wailing)
(Sara gasping)
(door creaking)
(Sara crying)
(static buzzing)
(Paul panting)
(Sara screams)
(sirens wailing)
(Paul grunting)
(static buzzing)
(Sara gagging)
(heavy breathing) (footsteps approaching)
(Paul coughing and gasping)
(banging on door)
(static buzzing)
(solemn music)
Nobody's around.
(door creaking)
[Jonathan] Are we looking for anything specific here?
What are we trying to do?
(Diane laughs)
Oh my god!
Oh my god.
Do you remember that this is where--
[Jonathan] What?
Creepy.
Yeah, this is a wall where, so the kitchen would be...
[Jonathan] I feel like we're getting asbestos or something in here. Can we get out of here?
This is where the strobe light...
[Jonathan] Kitchen.
[Diane] Well, I think the tour continues that way.
[Jonathan] I don't think we're gonna be able to go back that way.
[Diane] Well, let's find another way.
[Jonathan] Okay.
All right.
It's the basement.
(door creaking)
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.
[Jonathan] Oh, f*ck that.
No, let's, I'm not. It looks like a hand print.
Look here, do you see it?
[Jonathan] I don't give a shit. Let's not.
Nope. Let's just go. Okay, you're right.
[Jonathan] Hey, let's go in here.
Careful, watch your foot, watch your foot.
This is where they had the bartender there.
[Jonathan] Oh, f*ck.
It's all fake, right?
Yeah. All right.
Oh.
All right, c'mon.
We gotta find the kitchen.
[Jonathan] Yeah, I don't want to--
Watch this, watch this guy.
Oh man.
C'mon.
[Jonathan] Maybe it just goes round and round.
Look how dumb, look here.
[Jonathan] Ah, f*ck.
This is insane.
Oh my god.
[Jonathan] All right, no, that doesn't, right, of course it does, yeah.
That makes sense. Oh, don't be such a p*ssy.
Come on, we're not even--
[Jonathan] Can you just like slow down?
Hey, get this.
Oh my god!
Look at that shit.
Look at them.
(Diane laughing) (phone ringing)
Oh my god.
[Jonathan] 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.
[Jonathan] It's the stairs, right there.
We gotta go up the stairs.
[Jonathan] Yeah, sure, of course we do.
See the security cameras everywhere?
[Jonathan] Yeah.
So this locks.
[Jonathan] That's f*cking creepy.
Hold on, let me turn this light off.
f*ck.
[Jonathan] What is that?
[Diane] She said 2C, right?
[Jonathan] What the f*ck?
I mean, do you think, I mean--
[Jonathan] No, what?
Don't f*cking open that!
It's what we're here for.
We're here to--
[Jonathan] We're not here to f*cking go into a creepy ass room.
I am.
[Jonathan] Diane!
Diane, don't.
Shut up.
Oh my god!
C'mon, on me.
[Jonathan] Don't f*cking go in there.
[Diane] Sara?
Honey, are you okay?
[Jonathan] Don't.
Sara.
[Jonathan] Let's get the f*ck out--
(door slams) (Diane screams)
Holy f*ck! Oh my god! Oh my god!
Help me!
Oh my god!
[Jonathan] What the f*ck is that?
(Diane and Jonathan screaming) (static buzzing)
(eerie piano music)
(solemn music)
Hell House LLC (2015)
Moderator: Maskath3