(GLASS BREAKING)
(INTENSE MUSIC)
(SINISTER MUSIC)
(GASPING)
(HEART BEATING)
(SUSPENSEFUL MUSIC)
(INTENSE MUSIC)
(PHONE RINGING)
(GASPING)
(INTENSE MUSIC)
(THWACKING)
Cut.
(BELL RINGING)
Welcome back.
If you're just joining us,
we are here behind the scenes
on the set of upcoming Hollywood
horror movie Cain Hill,
starring Damar Martin
And Laura Jean Marsh,
this movie is sick, it's
violent and it's gruesome.
And we've been granted
exclusive access to the set,
which is shooting right here
at the real Cain Hill Asylum.
Something that's made
all the more terrifying
by the fact that this is a true
story
and the events depicted in the
film
happened right where I'm
standing just five years ago.
(SINISTER MUSIC)
Hey baby, how are you?
Yeah, wow.
I know, I know, but it's
only for a few days.
I know, but I have to work.
You always tell me you actually
enjoy
your weekends with your mom.
I promise I'll be safe.
Okay,
love you too,
bye.
How is she?
Annoyed I'm working,
and not afraid to tell me about
it.
I think she's a little
worried about us being here.
MARCUS: Understandable.
It always amazes me
how an eight year old
can make you feel so guilty.
And that my friend, is
why I don't have any kids,
freedom to do as I want.
Here's me theory, it's
because you haven't been
in a serious relationship
for at least two years.
(LAUGHING)... Fuck you.
We should have enough
batteries for the shoot.
I've got the generator in the
car,
but the battery kit should
work the night cameras.
Mike, the tech guy, will make
sure it runs alright anyway.
Good, do you know when we're
shooting
the interviews with the local
residents?
I haven't managed to get
anyone we asked
to agree to be interviewed.
We'll just ask around,
and if anyone's willing
to be on camera, we'll start
shooting.
Leonard will have all the
paperwork.
Good, and I'll keep take
camera around
and get some cool shots of the
town.
Also, it'd be good to get
a shot of the building
looming over the town as well.
Yeah cool, sounds good...
Yeah, good.
(KNOCKING ON DOOR)
That's the whole point of
doing it.
Yeah, I understand but now I'm
on location
so I'm gonna have to call you
back anyway when we get back.
Yeah, all right, cheers.
MARCUS: Problem?
Just post production.
The guy we got to do the offline
edit,
he's been offered more money
elsewhere so he's pulled out.
Shit.
Well how soon can he be
replaced?
I was gonna give it a few days,
I'll sort it out, you folks
don't need to.
Steve, this is your runner,
this is Richard, your director.
Good to see ya.
And this, well this is,
sorry, did we invite him
or did he break in?
This is Marcus, he's our camera
op.
It's all right, you'll be fine.
If you wanna know anything,
just ask.
Cool, so we're sorted, ready
to go?
Yep... Cool.
Let's get hustling, I
guess we've gotta go meet
Mike and Mary at the hive...
Cool, cool, let's go.
Okay Steve, can you help these
guys
load anything they need to into
the van?
Sure, will do.
LEONARD: I've got a good
feeling about this one, Rich.
Me too.
Good script, good location,
good people.
What more could you want?
Bigger budget.
Always in independent
filmmaking,
people want bigger budgets.
But if you want it, you
could always sell a kidney.
Great.
No, no kidneys?
(MYSTERIOUS MUSIC)
(BEEPING)
(CALM INSTRUMENTAL MUSIC)
Ah, that is great news, thank
you, Vickie.
Good news? Yeah, good news,
she's found another editor for
us.
Oh, brilliant.
And the best bit is it's
less than the last guy
'cause you managed to
persuade him for a contact
that it's a great opportunity.
(CHUCKLING)... Now that is a relief.
So now our only problem
is sticking to schedule.
So where is Steve?
Find everything you needed
today, sir?
Yeah, thanks, just
there's some, pump four.
You guys filming something?
What? Your equipment?
Oh yes, a documentary.
Let me guess, Cain Hill.
Yeah, how'd you guess?
Everyone who comes in here
is always interested in Cain
Hill.
Oh, yeah?
I don't know why, it's
just an old building.
People have gone missing there.
People go missing all over
the world every day, so what?
It's just a load of
internet hype if you ask me.
I guess.
That is 52 pounds 50 altogether.
All right, and,
that.
(CHUCKLING)... Nice.
Yeah.
RICHARD: Let's go, let's
go, let's go, come on.
What have you got there? Nothing.
(MYSTERIOUS MUSIC)
So we put all that in.
You can do that in the
time you've got, right?
Yeah, that shouldn't take
more than an hour or two.
There ya go.
Oh, Mary!
Mary, this is Richard, our
director.
Richard, this is Mary, our
researcher.
Good to meet you, Richard...
Nice to meet you too, Mary.
So you're our expert on Cain
Hill?
Well, I wouldn't say expert
but I've done my research
and I know enough.
Ah, the gatekeeper...
Yeah, well I've been wanting
to check the place out for
awhile.
I hear some of the
stories are a bit intense.
Intense is one word for them.
Well, thanks for being a part
of this.
Thanks for having me.
Okay then, people, let's
gather 'round.
Okay, welcome to first day of
production.
This is Mary, she's our research
expert.
She knows everything there
is to know about Cain Hill
but specifically about
ex-inmate Chester Lockhart.
Now plan of action today, Rich,
I'm gonna need you to take
Marcus and Mary into town,
speak to locals, get as much B
cam footage as you can, yeah?
Yeah, no worries.
Okay, and I'm gonna go
with Michael and Steve.
We're gonna get things prepped.
You know where we're meeting,
yeah?
I know it's on the call sheet,
I'm not too confident about
the area, to be honest.
No worries, I'll swing around
the hotel,
I'll grab you there, yeah?
Now, most importantly
today, guys, is safety.
We are going to an old abandoned
building.
It is gonna be derelict and run
down
so just be careful, please...
You actually care?
About you?
No, about production insurance,
yes.
(LAUGHING)
Rich, have you got
anything you want to say?
Yeah, sure.
Guys, thank you so much for
being here.
It's gonna be a long weekend
but an enjoyable one, I hope.
So let's be smart, be safe,
get in there and get some great
footage.
All right?
Let's get going guys, let's go.
Thanks guys.
(MYSTERIOUS MUSIC)
(STATIC HISSING)
MARY: Are we rolling Marcus?
Okay, great, here we go.
So could you start by giving us
your name?
I'd really rather not.
MARY: Okay, but you
own the local butcher's
here in the town, right?
I do, yes.
MARY: And you claim to
have seen Chester Lockhart.
Claim?
Well, a lot of people claim but
people around here are afraid
of what goes on up there
and we don't like to talk about
it much.
MARY: I appreciate that
but if there's anything at all
you can tell us.
(STATIC HISSING)
I can tell you he's broken
into my place numerous times
and it's Lockhart, I'm sure of
it.
MARY: What was stolen, money?
Money, no, meat,
lots of meat every time, but,
I suppose
a man's got to eat.
MARY: Okay, but what makes you
think it was Chester Lockhart?
Have you ever seen him?
Well, we installed a
lot of these newfangled CT.
V cameras
and I put them in and
he smashed them all up
and then the next time when I
got them in,
he'd smash them again.
MARY: What made you
think it was him though?
(OMINOUS MUSIC)
This.
(STATIC HISSING)
(SIGHS)... Well, that went well.
Yeah, people just didn't
want to talk about it.
To be honest, with everything
that's happened here,
I'm not really surprised.
People are probably sick and
tired
of talking about the place.
Doesn't help us though
for the documentary.
Yeah, we'll just
head back to the hotel, get
ourselves sorted tomorrow
and we'll catch some great
footage at the asylum.
There's my dream team.
What's up, how'd it go?
Not great.
People are sick of talking
about the place, I think.
Don't worry about it, that's
where the real story is.
Did you get the release
forms for the interview?
We did, not many, but I got
them.
All right, let's go to the
hotel,
grab some grub then, yeah? Cool.
(OMINOUS MUSIC)
(CROWD MURMURING)
I love this guy, I've been
working
with him for years now...
You certainly have.
My work wouldn't be half as good
if I didn't have this guy
directing me.
Stop it, you're gonna make me
blush.
I'm serious.
Well, I've only known
you for a couple of hours.
Probably best to reserve
judgment
'til after the weekend then.
And by the end of filming,
you'll agree with me, I know it.
Isn't he nice when he's drunk?
Get a couple of beers inside,
he's a proper little sweetheart
isn't he?
(LAUGHING)
How do you know so much about
Cain Hill?
RICHARD: Yeah, I wanted to
ask that.
Well, I was always kind
of interested in the stories
being urban legends and all that
and then a couple of years ago
I decided
I wanted to know a bit
more about my parents.
I was adopted.
You don't have to get out
the miniature violins.
I found out that it was
something to do with Cain Hill.
Really?
Yeah, so I wanted to find out
a bit more about that, you know?
Did you ever find out the
connection?
No, it was something to do with
investigating the practices at
Cain Hill
but I just kind of became
fascinated with the stories here.
Wow, should have made her
the star of the documentary.
(LAUGHING)
Well, it's nice to have someone
who knows about the place.
Come on then, guys,
Michael's not coming,
he got distracted by a
kebab shop on the way.
So here's to a great shoot
and hoping he's not eating our
supplies.
Cheers... Cheers.
(CROWD CHATTERING)
So how long have you guys
been making films then?
I met Leonard on my
first shoot, actually.
I was an assistant camera op
and we got on really well.
We all wanted to make more work
so we did.
That's amazing... Yeah.
Do you ever find it hard?
What, doing these job?
Yeah, I mean, it's not easy
not knowing where your next
paycheck's coming from.
True but I'd rather that
then pick up a paycheck at a job
I hate.
I still do, part time
at a department store.
I don't envy you.
I used to work in a DIY shop
actually
with a bunch of complete idiots.
Met a great girl there though.
Lucky girl.
Anyway, I'm hoping that this
project
will be a chance to change all
that.
Have you always wanted
to work in documentaries?
No but I thought I'd
try a different angle
and I did a few short ones
before this.
It's great to have you on board.
So,
is there someone waiting for you
at home?
It's complicated.
RICHARD: What's complicated
about it?
Get straight to it, don't you?
Life's too short not to.
I was with this guy and he
cheated.
I broke it off, we
spent a few months apart
and then we had a drunk night
together
and now he's trying to
make a go of things again.
Can't shake him? Exactly.
You know what I'd do in your
situation?
What's that?
Move house and have
someone tell him I died.
Dark.
Yeah, I mean in my experience
if something's complicated
you can make it less
complicated by moving on.
Easier said than done.
What about yourself?
Have you got someone
waiting at home for you?
Best girl in the world.
I don't get to see her
as much as I like though,
she lives with her mum.
Her mum? My daughter.
Mum and I didn't work out
but she's just the best
little girl in the world.
Aw, she's beautiful.
I don't know how guys like you
do it.
You clearly haven't
had enough to drink then.
I'm gonna have a smoke and then
I'll get us some more drinks...
Sure.
RICHARD: All right guys,
how's things?
LEONARD: Not bad.
How you feeling about the shoot?
I think we're gonna get
some really good stuff
this weekend... 100%.
You've seen the pictures from
the locations, haven't ya?
Well, in real life, it's
even better than that.
It's gonna blow your creative
little mind.
Marcus, you excited about the
shoot, yeah?
Yeah.
RICHARD: You okay?
Just a bit nervous about going
up there.
Why?
Just got this uneasy feeling.
Old buildings creep me out...
Understandable.
This one used to be full of
loonies.
(LAUGHING)
Don't worry about it, man,
the whole team's gonna be there.
What if something happens?
Like what?
I don't know, something.
Leonard's got it all sorted.
He scouted the place out.
If anything happens, we'll just
leave.
Whoa, unless it costs us money.
(LAUGHING)
Got a light?
Yeah, sure.
Couldn't help but overhear you
in there.
Filming, are you?
Oh right, yeah, we're
shooting a documentary.
Yeah, nothing expensive just
cheap kit,
nothing he can steal.
Let me guess, you're here
investigating Cain Hill.
RICHARD: Yeah.
MAN: Thought so.
Not that anyone wants to
tell us anything about it.
Do you blame them?
Month after month, some
fanatic comes through this town
asking the same questions.
My dad worked there as a
janitor.
Really? For years.
Used to come home and
tell us all the stories
he'd heard about the place.
He saw everything.
Everything?
Everything.
Back in '76, Annie and George
Lockhart
were admitted to Cain Hill.
They're the couple that
kidnapped and murdered
all those teenagers, right?
That's them,
claimed that they were doing
God's work,
that they were cleansing
the world of evil.
Nutters.
When they admitted
Annie, she was pregnant
and because of her mental state,
the institute thought it best
that she have the baby inside
the...
Inside the asylum.
On November 16th, 1977,
she gave birth to Chester
Lockhart.
Not long after Chester was born,
George Lockhart killed himself.
He slit his throat with a shard
of glass.
(WHISTLING)
Did Chester remain at Cain Hill?
He did.
Only one day he spun out and
went mad
and started a massive fire
that killed half the inmates
and loads of the staff.
LEONARD: So what happened to
him?
Who knows?
Some say he died in the fire.
Some say he's in there
now roaming the halls.
People think he's the one
behind the disappearances?
Who knows?
It's just a story, nothing else,
right?
Wouldn't be a cool place
if it didn't have a neat story,
right?
We're going out there tom...
In the next few days.
Nickel's worth of free advice
for you...
Stay well away from that place.
See ya!
(LAUGHING)
What a nutter.
If this was a horror movie,
he'd be the guy that shows
up at the end as the killer.
(LAUGHING)
Yeah, I don't trust him though,
I'm gonna make sure he's
not stealing from our van.
So,
Mary seems nice.
Yeah, she does.
And you two seem to be
getting on pretty well.
Yeah, she's easy to talk to, I
guess.
Oh, so nothing to do with the
fact
that she's fit as fuck?
(LAUGHING)
Of course not, no, it's
totally platonic
plus I'm a professional,
I can keep it in my pants.
Until after the shoot...
Well then it's alright.
(LAUGHING)
No, I don't know, she's a nice
girl
but I think there's
some kind of complicated
situation going on at home.
And then you're just
gonna waltz in there
and complicate it even further.
(LAUGHING)
I need a drink.
I'll be in in a bit.
(CROWD CHATTERING)
(UPBEAT MUSIC)
So there have been all these
murders
and then people go missing
at this place for years but
nobody's ever been caught.
I mean, it's a little
convenient, don't you think?
Well, I don't make
up the stories, I just,
I followed them and they
were all pretty similar.
Yeah, a bit like all the people
who claim to have seen
the Loch Ness monster.
Yeah, but what about all the
murders?
You can't deny those and
there's dozens of them.
Well, this place is half
burned down and derelict.
I mean, isn't it just possible
that
people hurt themselves being
there?
There are some survivors.
I mean, not many,
but they all say the same
thing, they were attacked
by a giant man
with a baseball bat with nails
in it wrapped in barbed wire.
And does anybody have any idea
why?
I don't know but he's
never attacked anyone
outside of the building so maybe
he's just
this guy who's protecting his
home?
Is that really that hard to
believe?
Yeah, protecting his home
makes sense but, you know,
doing it in a leather mask
with a lethal weapon doesn't.
Well that's why we're here,
to make sense of it all.
Close, but,
we are here to make a
documentary
about an empty old building
and make it seem exciting.
I have a sneaky feeling
that this Chester guy
is conveniently not gonna show
up
because I think it's a load
of drug-hallucinated crap.
If any of us believed it,
none of us would be here.
But I do think it's a
historically interesting place
and I think with my family's
connections to the place,
it's gonna be really interesting
to work there for the weekend.
I agree.
Well, no, actually,
I think it's gonna be a
long and boring weekend.
So,
I think we are gonna need to
think of ways
of entertaining ourselves
when we're not filming.
So how do you fancy a bit of
strip poker?
I've never played strip poker.
(LAUGHING)
I'm sorry, I don't buy that.
How can you have never played
strip poker?
What kind of girl do you take
me for?
You really think that I'm
gonna take off my clothes
just for a game?
A bet, maybe,
but not just a game.
Well, that's a shame.
And why's that?
'Cause I've never
really been into betting
but I guess now it's gonna have
to change.
Well, it's a shame that
you're sharing a separate room
with someone else and then
for the next few days,
we're gonna be staying
in an abandoned asylum.
But otherwise, I would
take you up on the bet.
Well,
maybe we should
go upstairs and have a preview
at least, see where it goes?
Easy tiger, what about Marcus?
Marcus is
chatting another girl he's had
his eye on.
You know, honestly, if
Marcus has his usual way,
it'll be the bar toilets
or her car that gets it, not our
room.
I'm not sure that I know you
that well.
Well then we really should
get to know each other
a little bit better.
As your director, I insist.
As my director, huh?
For the weekend, at least.
Wait.
Stop.
What's the matter?
It's not right.
What do you mean?
I have a boyfriend.
RICHARD: The ex you can't shake?
Well, that's beside the point.
I'm not that kind of
girl and it's not right.
Okay, Mary I just thought we
were getting on really well.
And we still will, but,
just once I've told him
that it's completely over
and if you're still interested
then,
then maybe we can go on a date.
But until then, I may be drunk,
but I still have my integrity.
Mary, I was never suggesting
that...
Richard.
I'm gonna go to bed,
we have an early start.
I will see you in the morning,
okay?
Do you guys want anything more
to drink?
It's last order in a minute.
No, I'm okay, thank you.
I'm gonna go to bed.
Are you sure we're okay?
Yeah, of course we are.
Yeah, I just...
Yeah, I'll see you in the
morning.
Okay.
(CROWD MURMURING)
RICHARD: Marcus.
Marcus!
Marcus, it's important!
What's up, Rich?
I really need to talk to you
about Mary.
Oh, well, it's gonna
have to wait a minute,
I am in there with that girl
over there.
I really need a chat, mate.
Oh, man, but she is fit.
(CROWD MURMURING)
(SCOFFS)
See what you've gone and done
now?
Shit.
Go on then, this better be good.
I may need a few more drinks
first.
I've decided, you've probably
had enough, haven't you?
Knowing you though,
you've had a few too many.
No way, you just ruined my
chance
with that feisty lady.
Now I need some more
alcohol and you're buying.
Trust me, I'll be fine, come on,
let's go.
(OMINOUS MUSIC)
MARY: Are you okay, Marcus?
You sure? He's all right.
Just one or two too many
last night, that's all.
Look alive, guys, we're here.
(SUSPENSEFUL MUSIC)
Hi, you must be the owner of
Cain Hill.
I'm Leonard Kinster, the
Producer.
Mr. Kinster, I'm here
on behalf of the owners,
I'm Elizabeth Barrett, the
key master of Cain Hill.
Question, do you know the
gatekeeper?
Yeah, or Zuul? (SNICKERING)
Shall we? Please.
(SNICKERING)
This is the entrance hallway,
one of the only public
places in the building
so it's been well maintained.
Unfortunately the same cannot
be said about the rest.
This place is amazing.
LEONARD: Pretty impressive, huh?
It's even better than the
photos.
MARY: It's giving me the chills.
The second and third floors
have encountered a lot
of damage over the years
since it shut 40 years ago.
In fact, the fires left parts of
it
being declared highly unsafe,
hence our reluctance to let you
film here.
The main issue we have is with
the security of the building.
And that's all good.
Mr. Kinster,
your safety and your wellbeing
is your own responsibility.
That was made very clear from
the outset.
Should anything happen
during your time here,
our concern is limited only
with the security of the
building,
a building which is very old
and one that holds great
significant value to the owners.
You and your colleagues are only
here
by their gracious good will
and should anything
happen during your stay,
damages will be chargeable
and you will be held
completely responsible.
I was just making a joke.
I see.
(SUSPENSEFUL MUSIC)
RICHARD: That's great, that.
We should've got more...
It's pretty creepy.
RICHARD: I know.
(SUSPENSEFUL MUSIC)
So those are the basic house
rules
that the owners wanted me to
express.
I take it there won't be any
problems.
No, not a problem.
Thank you very much for
your time, Ms. Barrett
and, yeah, thanks for showing us
around.
Quite.
Here's your keys.
Word of advice,
keep the doors locked at all
times.
Uh,
thanks?
(GROWLING)... There is no Dana.
(LAUGHING)... Only Zuul.
(SIGHING)
It's gonna take a few
trips to get this kit inside.
No worries, I've set
aside the rest of the day
for set up... Do you need a hand?
Yeah, that'd be great, thank
you.
Marcus, do you mind
grabbing some exterior shots
while we're unloading, just so
we can see
the difference in the
place during the day?
Yep, no problem... Okay, thank you.
Steve, you good, you
got everything you need?
STEVE: Yeah, I'm good, thanks.
Michael, do you wanna come in
with us
or do you want us to
come back down to you?
I'm in no rush to go back
inside there, believe me.
(OMINOUS MUSIC)
(WHISPERING)
(KEYS JANGLING)
Okay, now we've got all the
kit in,
let's decide what room to move
in.
Here we go.
Okay.
Here, where's best for ya?
Well, we can't do much
until Mike gets the
cameras up and running.
Where are you thinking for a
base?
That's actually the biggest room
and we're right here so
we might as well just
move in there, no point in
moving it all.
Cool.
I'm just gonna see if
there's a room through here.
Do you need anything?
Nah, I just need to
find a nice, quiet room
and I'll be good to go... Cool.
(OMINOUS MUSIC)
This room's great, what's
with all the monitors?
This is obviously used
to run the building's
security from, I think we
can hook up our cameras
to these monitors but the
real interesting thing,
I think this used to be the
safe room for the staff.
Check out the door.
(SUSPENSEFUL MUSIC)
Does that lock from the inside?
MICHAEL: Yeah.
RICHARD: Planning on
locking yourself in here
all weekend, Mike?
That's a very good idea,
Richard, I think I might.
(LAUGHING)
So what are you guys actually
doing?
Richard wants everything
monitored while we're here
so we're gonna set up a
network of these little things.
So no matter what happens, day
or night,
we can capture it on camera.
MICHAEL: Have you decided
where you wanna put 'em yet?
Yeah, main stairwell, hallways,
main hall and a few additional
rooms.
According to the research the
second floor
was reserved for the less
violent patients
with the top floor serving as
the home
for the more exciting patients,
right?
Yeah, so each floor ran
individually.
Staff were allocated a floor
and a set amount of patients
each.
Do we know where Chester stayed?
Third floor.
So I wanna get the
cameras set up there first,
I don't wanna miss a thing.
So wait, do we actually have
a plan?
You know,
if we see him.
Seriously?
(SCOFFS)
We're documentary filmmakers,
we're not Ghostbusters.
I wouldn't risk myself or any
of team if I actually thought
there was any substance in this
bullshit.
Our job is to make
things seem interesting,
even if they may not be.
So this is where the party is.
Okay, audio equipment
is in and so is the kit
and the doors are now locked.
We have checked in to hotel Cain
Hill.
Boss, do we get bed and
breakfast?
Oh, sleeping bags, sugar puffs
and Steve servicing ya.
(CHUCKLING)
Okay, you are gonna need
those to put your cameras out.
I will need them back
to me once you're done.
Cool, I'm gonna get some pick
up shots
and take a look around...
Sure thing.
So...
Pretty good at all this techy
stuff, huh?
Oh, pretty good... Love it.
We'll see how you
feel in a decade or two.
Look, can you find the
mains power for this place?
I need to charge up these
batteries,
we haven't got lights or power.
We were told that there would be
some,
so I'm figuring it's just the
breakers.
Oh, okay.
Any ideas?
MICHAEL: I'd imagine
it's in the basement.
Take a torch.
Right.
Yeah, no, sure.
I can do that.
(OMINOUS MUSIC)
(WATER DRIPPING)
Nice.
(SNAPPING) (INTENSE MUSIC)
Oh, oh god.
Oh god, no, no, no.
Bloody.
(OMINOUS MUSIC)
(CHUCKLING)
Excellent.
STEVE: Genius.
(MURMURING)
(OMINOUS MUSIC)
(SCRAPING)
Hello?
(SCRAPING)
(INTENSE MUSIC)
As you can see, Annie
was an expensive inmate,
she requested haircuts every
week
and new clothes all the time.
Murdering all those teenagers
didn't cramp her style.
(GASPING)
Whoa, what's the matter?
Richard, I was looking around.
Okay, breathe, and what
happened?
I went upstairs to
take a look around and I,
I heard this sound.
Jesus, did you hurt yourself?
No, I'm fine.
So you heard a sound and then
what?
Well, nothing,
I freaked out and I came back
down here.
Oh, you freaked out
when you heard the sound?
Wasn't just any sound!
Well, you're safe now,
that's what matters.
I don't think we should stay
here, Rich.
We've only just got here,
everyone's a bit on edge.
Or we could just play a fun
game called
man the fuck up, go on.
Maybe just sit down for a
minute.
Mary, do you mind grabbing
him a bottle of water?
Sure.
Recharge, have drink,
take a breather.
We need to get the cameras up
and running
as soon as possible.
It's gonna be hours
until they're ready yet.
You're not buying into this,
are ya?
I trust him.
I don't wanna take any chances.
LEONARD: Fine, yep, cool.
A dead,
bloody badger, Mike.
It took 10 minutes to get out of
my shoe.
It fucking stank...
And we're in business!
Bloody hell, how many
cameras do we have up?
MICHAEL: There's 32
of them all together.
And they're all
recording at the same time?
Yeah, they all feed back
to the master recorder.
They record everything 24/7,
that's where we can review it
all afterwards and decide what
we need.
32 cameras.
It's a bit excessive, don't you
think?
MICHAEL: It is a lot but
we've got a TV show to make.
Plus it's gonna make me feel a
lot better
sleeping here for the next few
nights
knowing that we've got
a camera on everything.
You know,
just in case.
(MYSTERIOUS MUSIC)
That's it.
And slowly pull focus in
the end of the corridor.
That's it.
Beautiful, lovely shots.
And cut there, please.
I wanna intercut these location
shots
with the green screen
stuff I'm gonna shoot
without you in a few weeks'
time.
That's fine with me, it's
looking good.
The actor, they should
be sorted in the next
couple of weeks,
negotiations with the agent's
taking a bit longer, but,
yeah, should be sorted.
Cool, well, let's worry about
getting the location stuff
sorted first,
I want to keep the pace up.
Yeah, that's true, just in
case Chester
makes another appearance...
Fuck the both of you.
(LAUGHING)
(SUSPENSEFUL MUSIC)
Oh, wow, you know it was exactly
this sort of luxury I had in
mind
when I was paying my
way through university.
Yeah, I was led to
believe there would be
luxury bedding provided.
(LAUGHING)
Well, you bollocks,
if you wanted luxury,
you should've packed it like me.
What the fuck? Bastard.
I knew you'd do something like
this.
(OMINOUS MUSIC)
(HEAVY BREATHING)
Leonard, please, boss, best
boss.
I'm a girl, you're not gonna
let me sleep on the cold,
hard floor are you?
All right, sleep wherever you
want,
just not on my bed... Cold, boss.
No, you're right.
(HEAVY BREATHING)
(MYSTERIOUS MUSIC)
(OMINOUS MUSIC)
You know, I do hope
I don't get a bad back
lying on this cold floor.
I wouldn't be able to work now,
would I?
Well, you could sleep in the
van.
Floor it is, then.
Is Michael coming down?
Steve!
Yeah?
Mike, is he coming down?
Yeah, he was just finishing
something,
he'll be down when it's done.
Yeah, I just think it'll be
better
if we're all sleeping together.
(OMINOUS MUSIC)
(COMPUTER KEYS CLACKING)
(STATIC HISSING)
(INTENSE MUSIC)
(OMINOUS MUSIC)
(BIRDS CHIRPING)
(SNORING)
STEVE: Mike?
Mike.
Michael!
Come on, mate, Leonard's got us
bacon.
Really?
No, he's got us cereal
and from the taste of it
month-old milk.
Mike,
when did you stop working?
About two hours ago.
Just gonna get some of that
cereal.
(GROANING)
Morning, all, so this
is our first full day
in the asylum, yeah?
So we're gonna have to
make the most of it,
I'm probably gonna spend a lot
of time
with Richard and Marcus, but
Mary is here
if you need any guidance,
any kind of insight.
And Steve, I'm just gonna
need you back and forth
all day, mate, all day.
Make sure everyone's got what
they need.
STEVE: Yep, sure.
Okay, guys, first thing today
I wanna do the dining room,
I wanna get some coverage to
play for the effects guys.
All right?
Let's go.
(SUSPENSEFUL MUSIC)
Steve, can you take the
radios up to the safe room
and change the batteries?
(OMINOUS MUSIC) (FOOTSTEPS)
Hey Mike... Hey.
So you wrapped for the day?
Yeah, yeah, I think so.
What's the matter?
All right, I thought I saw
someone.
But I had my glasses off at the
time
so for all I know it
could've just been a curtain.
Don't tell me that shit, man.
This place freaks me out enough
as it is.
STEVE: Right, that's
the radios on charge.
Shh!
(SCRAPING)
Go and get Leonard and Richard.
Wait... Just go!
Okay, okay, okay.
Yeah, well I slept
pretty well last night.
Not as good as Leonard did, I'm
sure.
Don't be bitter because
you didn't think ahead.
(RUNNING FOOTSTEPS)
Rich, Leonard, Mike needs you
now.
What for?
He didn't say but he needs you.
Now, come on!
(SUSPENSEFUL MUSIC)
What's wrong?
(SCRAPING)
What the hell is that?
I haven't got a clue.
Well, what's on the cameras?
Nothing, but we can't
have cameras everywhere.
The microphones pick up a lot
more...
What the hell is that?
I don't have a clue.
Chester?
It could just be kids
trespassing.
Have we got cameras in
all the places we wanted?
Yes.
RICHARD: You've got
cameras upstairs, too?
Yeah, I've got a
couple up there for you.
Well did you see anything?
No, nothing while I was working.
RICHARD: Well, just do us a
favor
and keep an eye on things, will
you?
Yeah, I'm gonna be here all
night.
Yeah, well, you make sure
Steve gives you a break.
Yeah, right.
Steve, did you get those
radios charged?
Yeah, they should be good to
go now.
Okay Rich, you take
one and I'll take one
and Mike you keep some here for you,
yeah?
RICHARD: Are you sure
everything set up and online?
We have eyes all over theplace.
If anything happens we'll see it.
If anybody turns up we will see
them.
Okay, if you see anything you
radio us.
No problem.
(OMINOUS MUSIC)
Do you really think it
was Chester that we heard?
Maybe.
What if he's watching us right
now?
Watching everything we're doing.
We have the cameras set
up, we're all here together,
I'm sure we'll see him before he
sees us.
This is one of those
times I have to question
my career choice.
(ROCK MUSIC)
Steve? Yeah?
One for you, they'll call you
on that
if they need you, yeah?
Channel two, yeah? Cheers.
Hey, boss,
don't mind if I go for a quick
fag do you?
No, I've given the keys to Mike.
If you keep it on and you're
quick, yeah,
just jump in one of the next
rooms, yeah?
Cheers.
(DOOR CREAKING)
(ROCK MUSIC) (VOCALIZING)
(PIANO KEYS JANGLING)
Die, die on the side
Die by the road
All die of greed
(VOCALIZING)
Daydream
A daydream
Just let me go
(SCRAPING)
(ROCK MUSIC) (MUFFLED LYRICS)
(SUSPENSEFUL MUSIC)
(INTENSE MUSIC)
(GENTLE INSTRUMENTAL MUSIC)
Oh for God's sake,
every time I go to eat
something something happens.
(KEYS JANGLING)
(OMINOUS MUSIC)
(INTENSE MUSIC)
(SQUELCHING)
(SUSPENSEFUL MUSIC)
(DRAGGING)
(GROANING)
(CRYING)
(SOBBING)
(YELLING)
(SCREAMING) (FLAMES CRACKLING)
All I'm saying is if
the power goes out again,
we're limited to running
night vision cameras
that run off the batteries.
RICHARD: Yeah.
(OMINOUS MUSIC)
MARCUS: Smoke!
RICHARD: Shit!
Shit.
Find something to put it
out, quickly, go, go, go!
I've got a blanket!
I've got an extinguisher!
(GASPING)
Oh fuck, Mike.
(SUSPENSEFUL MUSIC)
Who would do something like
this?
I'm done... We need to stay calm.
Where are the keys?
He must've left them in the
safe room.
Shit, Steve!
He's got a radio, get him there.
Steve? (STATIC HISSING)
Leonard to Steve!
(STATIC HISSING)
For fuck's sake!
MARCUS: We can't just leave
him there,
we'll have to go get him...
What?
We can't just leave him there!
Yeah, Mary's right, I'll come
with you.
You two go back to the safe
room,
find the keys, lock yourselves
in,
we'll come and get you, all
right?
(SENTIMENTAL MUSIC)
(SUSPENSEFUL MUSIC)
I knew it was a bad idea, I
should've listened to Megan.
LEONARD: She's just a
kid, she's just worried
about her dad, it's not your
fault.
RICHARD: Mike came here
because of me.
LEONARD: He came here
because he wanted to.
What's important now is if
we all get out of here alive.
RICHARD: This place is a
labyrinth.
(CRYING)
Are you okay? I just need a moment.
MARY: We don't have a moment!
Chester!
(OMINOUS MUSIC)
RICHARD: You seen this before?
LEONARD: No, I've not
seen this room before.
Is it on the map? I don't know.
Steve!
(OMINOUS MUSIC)
(THUDDING)
He can't get in, can he?
No, this is a safe room,
this is what it's designed for.
(THUDDING)
What's he doing?
I have no idea.
Are they the... Keys.
BOTH: Oh shit!
(WATER DRIPPING)
(DOOR CREAKING)
Jesus Christ, Steve.
Oh, fuck.
This is getting way to much,
Lenny,
he was just a kid... Oh, shit.
We need to get out of here
right now.
Where are they?
I don't know, I don't see them.
(SUSPENSEFUL MUSIC)
Wait, there they are.
Is that Steve?
He's killed him.
(GASPING)... Oh my god.
The fuck is going on, we're all
gonna die.
No, we're getting out of here
alive.
How?
That fucking lunatic has the
keys
and he knows this place inside
and out
and we're just sitting here!
I don't know but we will find
a way.
MARCUS: Chester!
(SUSPENSEFUL MUSIC)
Richard, Leonard, it's Mary!
It's Chester, he's the one
behind this
and he's got the keys!
What? Say again.
He's got the keys and he's
headed straight for you!
This isn't good.
(OMINOUS MUSIC)
I think we need to find a
weapon.
What? Find a weapon.
If that bastard's coming
we need to get a weapon,
we need to be ready to fight.
Don't think we'll be much
of a match for that guy.
Find a goddamn weapon!
(SUSPENSEFUL MUSIC)
(HEAVY BREATHING)
Look, whatever you're doing,
do it fast,
he's coming straight for you.
Find somewhere to hide, we
need to get a jump on him.
(OMINOUS MUSIC)
(STATIC HISSING)
(GRUNTING)
(INTENSE MUSIC)
Leonard!
(SQUELCHING)... Richard!
(GROANING)
(SQUELCHING) (BLOOD DRIPPING)
That's it, we're fucked,
we're all going to die.
(PHONE BEEPING) (DIAL TONE)
Typical, no signal.
We're gonna die in this tiny
little room and for what?
A fucking documentary?
As long as we're in
this room, we're safe.
So we just stay in here forever?
No, we find a way out.
(DRAMATIC MUSIC)
(STATIC HISSING)
He's out there and
without all the cameras,
there's no way of us knowing
where he is.
We can't get out of here
without him knowing!
Look, I don't know
how we get out of here
but we have to try.
(DRAMATIC MUSIC)
(THUNDER BOOMING)
(GASPING)
(GROANING)
(CRYING)
(SQUELCHING) (GASPING)
(CRYING)
Mary.
Marcus, are you there?
Richard, is that you? Yeah.
Are you okay, buddy?
I'm not in a good way.
We need to get outta here.
MARY: We're trying, can you
walk?
Barely.
I managed to get the keys off
Chester
but he's gonna find out pretty
soon.
Okay, stay there,
we're coming to get you.
Hurry.
(CRYING)
What do we do?
I don't know, let me think.
One of us has to distract
Chester
while the other one gets
Richard.
Why can't we just stay together?
Because that room is a dead end,
we both go in there and we're
trapped.
One of us needs to make sure
that he doesn't get in there.
No, it's suicide.
There's no other way...
I don't know.
Look, if you've got a
better idea then I'm all ears.
(SUSPENSEFUL MUSIC)
All right, I'll distract
him, you get Richard.
No, I'll distract him, you get
Richard.
No way, I'll do it!
It was my idea.
I'm pretty fast and I
think I can outrun him.
Okay, if you're sure.
Just go get Richard and
meet us back in the main hall.
And you? I'll meet you there.
And if you don't?
Just make sure you get help.
(GASPING)
(WATER DRIPPING)
(SENTIMENTAL MUSIC)
(GASPING)
(CRYING)
You good?
I don't know if I can do this.
You got this, I trust you.
Mary, don't fuck this up...
Go get Richard, okay?
Let's do this.
(INTENSE MUSIC)
Chester!
Chester!
(SUSPENSEFUL MUSIC)
Chester!
Rich, buddy... You came to get me.
Sure I did and we're gonna
get you out of here, yeah?
Where's Mary?
She's looking for Chester.
What, why?
That doesn't matter
right now, what matters
is that we get you out of here.
(GROANING) Okay.
Just give me a minute.
Listen, I don't know
how many of those we have,
we need to get moving now.
Okay, just, can you grab
me that piece of wood?
One, two, three! (GROANING)
(GRUNTING)
(OMINOUS MUSIC)
(GASPING)
(GASPING)
Mary, it's Marcus, are you
there?
(INTENSE MUSIC)
(GASPING)
(THUDDING) (METAL CLANGING)
(OMINOUS MUSIC)
(GASPING)
Mary! Hurry!
Where's Chester?
He's right behind me!
I can't run!
I'll help, we've gotta
get down the stairs!
(INTENSE MUSIC)
(THUDDING)
Marcus, are you okay?
Is he alive? I don't think so.
What about Chester? Same.
We need to get out of here, come
on.
(SUSPENSEFUL MUSIC)
Go, now!
(INTENSE MUSIC)
(CRYING)
(GROANING)
Take the keys!
(GROANING)
(YELLING)
(SCREAMING)
(YELLING)
(SCREAMING)
(INTENSE MUSIC)
(POLICE SIREN WAILING)
(RADIO CHATTERING)
(SOMBER MUSIC)
What the hell happened here?
The girl that survived said
that one guy
murdered all of them... Why?
She doesn't know.
Did she say what he looked like?
Yep.
Tall, male, beard, face mask,
had with him a bat with nails
in it.
(GROANING)... Not Lockhart!
Would sound like it...
Sounds like bullshit.
She seemed legit, she was
part of a documentary film crew.
Did they film anything that
could be used as evidence?
Doesn't seem like it,
tech crew had a quick look.
So far nothing but static...
Static?
Yep, static.
Well they can't be
that good at filmmaking
if they only managed to film
static.
(CHUCKLING)
Any sign of him or anything
you guys might find?
Nope.
Not a trace.
He's like a fucking specter.
Same description every
time, never a fucking trace.
(SOMBER MUSIC)
That guy looks really messed up.
Yeah, he's the only other
survivor.
They think he'll make it.
How much was there?
I'm sorry?
Footage, how much was there?
Approximately 18
hours, the tech guy said.
18 hours of static.
(SUSPENSEFUL MUSIC)
(POLICE RADIO CHATTER)
(SOMBER MUSIC)
(SUSPENSEFUL MUSIC)
(WATER DRIPPING)
(STATIC HISSING)
(INTENSE MUSIC)
(ROCK MUSIC)
(VOCALIZING)
Go for the boiling
Hiding within
Feeling your fear
turning under your skin
I will take from you
And I will destroy your life
I am the shadow
And you'll never see me
You know all about me
I know that you fear me
Revolving and wide eyed
For you to avenge me
To rip away me
It's time to waste again
Your demon
No attentions of men
I'm just here to pick right
No experience against life
How could you applaud
that deserving inmate
Now roll the dice
I will die through you
Rolling within, looking inside
Ever looking on your parasite
Don't write down your your
difference
And bringing you alive
(ROCK MUSIC)
(SUSPENSEFUL MUSIC)