(GLASS BREAKING)
(INTENSE MUSIC)
(SINISTER MUSIC)
Subtitles by explosiveskull
(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 the place.
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!
(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)
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)
Subtitles by explosiveskull
(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)