( clock ticking)
- Welcome back my darlings.
Let me ask you a question.
When was the last time you remember
having an honest
conversation with someone?
Was it sincere, did you care?
Or was it mostly the
arbitrary filler with so often
stuff our lives with in
order to find safety?
Did you really care
about Susie's nightmares
and the man who visits her window at night
with boxes of spiders,
or did you just want to
get another drink?
Is Billy doing okay?
Or he is really going to scoop
out the demon in your eyes
with that spoon he's holding (laughing)?
He certainly tied the bindings
well enough, didn't he?
Our campers certainly felt safe.
Until they learned more than
they really wanted to know.
They have more than just the dark woods
around them to discuss.
In this chapter, Ivan continues to sustain
the delicate atmosphere
that invokes the hand
quivering emotion that
lends its name to the game.
Have our players found sanctuary?
Will their breathing work out?
Is that really the story you want?
Is that what you really want, no.
Let's have an honest conversation.
You want to plunge
forward into the darkness.
These are the Sagas of
Sundry, I am Mr. Raymond.
This is Dread.
- After eight hours of
hiking from your car,
the crunching of gravel
underneath your feet
tells you that your destination is near.
- Sat, we are going back to the house.
- Yeah, totally.
I think that we should just
like retrace our steps, right?
- You see something,
it wasn't there before.
Would you like to come get it?
- Uh, no I'd like to
stare at it for a minute.
- Can I just put the cards on the table
that our spirit is speaking to us?
- Guys, if it were real, why
would we want it to talk to us?
- The girl I love is losing her mind.
- This is gonna prove that
like it's just a camping trip
and I'm gonna help
bring her back to Earth.
- Okay, yeah.
Did you dose any of us
last time were here?
- There is drug-real and
real-real and that was not,
I don't know what the that was.
- I have a ritual that we
could do that would protect us.
- Pick it out, put it down.
- No doubts, pick it up, put it down.
- Do you hear a large crack
as you grab your friend
and you pulled them all out and you watch
as the roof collapses down upon you.
- That was all my stuff!
That was it, that's all I had left!
- As you get closer to the orange light,
you actually come to the porch of a house.
- I've spent so much time trying to act
like this doesn't exist.
The truth is that I
wake up with nightmares
about it all the time.
- See Taylor, it is
real and I'm not insane.
Like he wants something
from us, but it's fine.
I mean, there's no such thing as evil.
- (laughs) I beg to differ.
(door creaking)
(eerie music)
(thunder booming)
- All right everybody,
welcome back to Dread.
When we last left you, Ms.
Raina, you had just taken
the skeleton key which you
had pulled from the porch
under the house in order
to unlock the front door.
So as you opened up
that door and gazed into
what was going to be
your perfect salvation,
you see piles and piles of moldy boxes.
Old, rotten carpet squishes underneath you
as you grudgingly step
a couple of feet inside.
And you smell the most foul, tainted air
that you can possibly imagine.
As if someone was using this
hallway as a meat locker
and while the doorway
in front of you is open,
you can see a large set of
double doors ahead of you
as it t-sections off into an intersection.
- Guys, it's open but
it's real gross in here.
- Yeah.
- You should let it breathe a little bit.
(woman coughing)
- I think it's breathing just fine.
- Oh, yeah.
- Hey guys, uh, let's just,
maybe there's something
in these boxes that we could find.
I am specifically looking for
valuables and silver items,
I just wanna start like
boot pocketing them.
- Got it, so you take
one of the small boxes
and as you lift up the
cardboard box and pick it up,
you feel it (growling).
Just the bottom falls out from underneath
and then you watch as various
affections, small items
and you hear porcelain
break as it just unloads
right in front of you, and you stand
holding an empty sodden.
- Are you okay?
- Uh, the box isn't okay.
Has something fallen out of
it that looks substantial?
Maybe like a rock or...
- Yeah, there seems to be a very sizable
metal looking horse.
- Okay, I'd like to just toss
the box and grab the horse
and hold the door open with it
so that this thing.
- Breathes.
- Breathes.
- Yeah.
- What's the date on one of
these piles of newspapers,
I don't even wanna touch
it, I just wanna see
what the top papers date is.
- June 15th, 1945.
(whistling)
- What'd you find?
- Check it.
- It's 20 years after the letter.
- Yeah, this is 24.
- I'm gonna start looking around and see
if there's any sort
like a kerosene lantern
or anything that can be used
to give us some sort of
mobile light source in here.
- Make a pull.
- Mm, boy I knew you were gonna say that.
- Oh my gosh.
- As you continue to look
around, in the various alcoves
and musty pieces of this house, Tanner,
you see some really old photography.
Beautiful work that
seems to be everywhere,
but it all seems to have this sense of,
I don't know there's
something odd about each one
of the people that are in
the subjects of these photos,
but you can't seem to
put your finger on it.
- Oh my god.
- But on the side, you
definitely see hanging on one
of this next to a sconce of sorts.
In the sconce is a small kerosene lamp.
- Anybody got a light?
- Yeah.
- You take the time to look into it,
noticing that it's not kerosene,
it's actually an oil lamp
and as you pull the wick out and light it,
you notice that there's
actually quite a bit
of fluid inside of it, so there's
gonna be a good burn in it
for a while.
As the oil lamp begins to
brighten and illuminate,
you can feel the darkness
being pushed away around you.
The light bathes across all
of the various affections
and now truly you see
every bit of available wall
that doesn't have something affixed to it
is covered with a portrait of some kind.
In fact, now that you can
see the light around it,
you can see there's actually
various pieces of camera gear.
- When were these photos taken?
What kind of clothes are they wearing?
- Early western, British inspired garb.
You can see a lot of it
has frontier clothes.
There is a wide array
of cultural distinction,
but everything is super
clear, they're all in
extremely formal attire
and they're all very strict portraiture
with the subjects not doing much more
than just sitting and
looking at the camera.
- Raina, could you hold this for me?
- Yeah.
- Thanks.
I'm just gonna go ahead
and start just getting
a photo log of the displays here.
- I wanna see if there's
any faces that I recognize.
- You don't see a face that's familiar,
but you do see something strikingly odd.
It's the biggest portrait in the house,
and has a giant oval frame and you can see
this beautiful floor that
seems to be coming around it
and is probably the oldest
one inside of the house.
And this is the photo.
- Oh my God.
- What?
- Guys, look at this.
There are three children,
held by a woman, maybe,
or a person just covered
in a black shroud.
I wanna try to take that
painting off the wall.
- It's firmly bolted to
the actual wall itself.
At the bottom though, you can
see there is a small engraving
and taking your hand you can wipe away
a little bit of the grime
and the dust underneath it
to hear it distinctly read,
5/28/24, Agatha and the boys.
Left to right, Simon,
3/13/19, Charlie, 1/23/24
to 5/23/25 and Bernard, 11/14/22, 5/23/24.
- So Simon doesn't have an end date?
- Yes.
- So Simon's probably the one surviving,
probably wrote that note.
- Or he's still alive.
- Or was alive when this got engraved.
- Simon, do not listen to your father,
the devil is in 540.
- Let's find a radio.
- Let's do it.
- All right,
would you like to go through
the double doors in front
or would you like to go
to the left to the right?
The left appears to be a big open area
that may appear to be a family room.
The right is also a big open area
that seems to be a
multi-couched sitting room.
Also boxes as far as the eye can see.
- Let's go to the box
room, I would like to go
to the sitting room.
- Okay.
- All right.
- As you go into the sitting room,
you begin to look around
and you can see couches,
you can see an old phonograph.
This is a room that has
two large bay windows
inside of them that look out
into the area behind the house.
But they are barred with large drapery.
And the one thing that I
should probably point out
is that this place does
not look very lived in,
it look terribly untidy.
You're looking around for things?
- I'm opening boxes, looking around.
- Is there a record on the phonogram?
- There is a record on the phonogram.
- Is it a crank phonogram,
do you just crank it up?
- It is a crank phonogram,
and as you crank it,
you are basically motivating
it as much as you can,
but it's like turning a rusty gear.
And that's when you actually
notice when it begins to spin
you can hear the soft tunes
of an old operatic harmony
before it clicks and
skips and you look down
and notice that the
record has been cracked
and broken in two.
Sat, you're frantically
going through boxes,
on piles and piles of photo paper.
Lots of discarded camera equipment
and various other things,
but you do see a key.
It sits just in between
two small porcelain horses
that seem to be kissing
each other on their snouts.
And it's dangling off
of one of their ears.
- Where the hell did you find that?
- It's just a note that
over here on this horse.
- You also see an interesting photograph
that's sitting there as well.
That one has something
written on the back of it,
November 14th, 1926, Kimberly Rochester
with her son, 9/18/26, 11/12/26.
- That's two years later,
that's a different child.
- This looks like it's a piece of a thing.
- Pick it up, set it down.
Pick it up, put it down, six times.
- Oh, uh, pick it up.
- Pick it up,
put it down, one.
- Pick it up, put it down.
- Two.
- Pick up it, put it down.
- Three.
- Pick it up, put it down.
- Four.
- Pick it up, put it down.
- Five.
- Six.
- Pick it up, put it down?
- Yeah, you did it.
- Okay.
- This baby's dead in the picture.
- Wait, what?
- It says it was taken maybe
on November 14th, 1926,
but it says 9/18/26 to 11/12/26.
- So it had been dead for two days.
- When did they take the
picture of Agatha and the boys?
- Um, 5/18, 5/28/24, Simon's still alive,
Charlie died five days
before, also Bernard died
five days before.
- The same day?
- Maybe this isn't just a normal house,
maybe this is like one of those places
they would bring people to take photos
of their dead kids or something.
'Cause that's what they
used to do way back then.
- That's cruel.
- But then why would they
bring it all the way back here?
Like that is the creepiest thing.
- So most photographers tended
to travel to the location
of the actual photo, as
opposed to being a repository
for photography, so this
may just be a record
of whoever used to live here
and a lot of the work that they did.
So if this is the home of a
hobbyist or a professional
photographer, we may have stumbled upon
exactly what I'm looking
for somewhere in this house.
Let's find a dark room.
- I just wanna go in the
other room real quick.
- Oh, Sat, fuck.
- Take the lantern and
nudge everyone to follow.
- Okay.
- So as you move over
into the family room,
you begin to look around.
It's a similar story from the other one,
there's a lot of coffee
tables, various sitting.
It looks like this was
definitely a waiting room
or sitting area, and you look around,
you don't see much, but you do see this.
And that also has something
written on the back.
June 14th, 1953, boy,
used my new metal stands
to achieve this posture.
- Look what I found guys.
- Five, six.
- Or nine.
- I think it's six.
- Did you, I know you've
been doing some stuff,
do you recognize this?
- No, honestly.
- Metal stand to achieve the posture.
- I mean, symbols and totems
are all a part of everything
that is a cult and numbers too,
but this doesn't mean anything yet.
But I do think he's speaking to us.
- Yeah.
- Let's just keep looking around.
- I think it's separate, I
think maybe goat and weird
photographer might be separate.
- One thing that you notice as
you get into the sitting room
a bit more is that the soft
kitchen sponge-like texture
of the carpet below you seems
to be leveled off a bit,
as if this part of the area
isn't as wet and is more dry
than other parts of the house.
- Do we even know what it's wet with?
(spooky music)
- It has a thick ammonia smell to it.
- Oh, soaked in ammonia?
Do they do that with photography?
Is that like a thing in
one of those chemicals?
- Uh, it's one of a number of chemicals
used in many processes, yes.
- Well it's all over this carpet.
- Maybe this stuff spilled.
- Well, we shouldn't stay in here,
I can definitely tell you that.
- So you have some choices.
This is another large
room with two bay windows.
- Can we open the bay
windows, or open the curtains?
- Make a pull please.
- Oh no.
- As you continue to walk
through this dark, damp,
messy place, Darby, you
have to crawl over various
boxes and you have to move long,
sweaty pieces of newspaper.
As you get closer to the
moldy curtains that are
in front of you and you realize
they are caked with dust.
They have so much age on them
that it looks like that they
haven't been opened in decades.
And as you pull the curtains back slowly,
you hear silence.
And a large bat
(bat squealing)
squeaks out and flies through
the middle of the living room.
(people gasping)
As you see this bat, a
whole mess full of bats
just scatter through the entire room
and you watch as they eek and squeak.
As they carve through the
midst of the main area
and then bolt out through the front door.
- I spin around and smack
into whatever's behind me.
- You hit a bat as it.
- I drop.
- And gets up and flies off, gets away.
And you open these bay
windows and see an overgrown,
gorgeous looking garden out in the back
with a gazebo that seems
to have a ground well
that is sittin right there
in an old brick-style
Duncan lift manner.
- Oh.
(spooky music)
- Is there a radio cabinet in this room?
- As you recovered from your squeaky fit,
you turned around and actually bumped into
a large side table that is swinging,
swinging from side to side.
As you grab a hold of
it and hold on to a time
and low and behold,
there is a radio there.
- Ta-da.
- As you click to turn it on, you hear.
(radio whooshing)
- I'm gonna set it to 540.
- You begin to go from one
from one side into the other
and you're looking to see if you can find
something on the long wave radio.
It's almost all static, but
as you get closer to 540,
you start to hear this.
(dramatic music)
(people shouting)
- Yes.
- It doesn't turn off!
- How do I do it?
(people shouting)
- You poff it over and it
falls down and it crashes
and it breaks everywhere, falling across.
- No, why would you do that?
They were talking to us, he
really was speaking to us!
- You couldn't hear anything.
- They were yelling, it
was a bunch of people.
- It wasn't yelling, that was fighting.
- Yeah.
- They weren't talking to us,
we were listening to them.
- Well, as you continue
to talk this through
and think about it, you go
through the rest of the house
and you discover that
there are four locked doors
of which sadly, the key fits none of them.
But, the good news is,
this is an old house
and these doors are
weathered and they are thin.
You could, if need be,
probably force your way through
any one of them except for one.
One is a very solid looking wooden door
and carved on the inset of
that front of the door is this.
- Oh.
- Well, well.
- And inside each one of
these small, singular alcoves
there seems to be a dial and four symbols
that are represented on
each one of the sides.
- Bottom left hand corner.
- This one, right here, yeah.
- Second to the left, top.
- Yeah, we need more information.
- Probably need to look at more photos.
- I'm gonna give this to you.
As you can use it as a reference.
- We turn this one to, well I'll do it.
I'll just walk up and twist
it so that this is facing
the way it seems to want to face.
- It twist with a loud (mouth clicking).
- Awesome, then I turn.
- The numbers, do you
think the order matters?
- I do.
- Each time you turn it, it
makes a loud, satisfying.
(dial clicking)
- That is a satisfying click.
- Sure was, I need to find more.
- I'd start checking the other photos
to see if anything comes lose.
- No other photos that
you can see in this area,
you turn them over, you
flip them, you look around,
and you dive through all the various old
and moldy papers and you
can see no other photos
that have that unique backing on them.
- I'm going to take the
lantern up to see, look at
which one of the various
handles to any of the doors
looks the most dilapidated.
- The one right across
from the actual door
that you are in, actually
seems to be the one
that is the most deteriorated.
In fact, there's not dust on the handle,
unlike some of the other doors
that are inside of this house.
Now, if you would like
to break down this door,
I will absolutely allow you.
You have two options, you can pull
or.
- Oh.
(man chuckling)
- You can break this.
Who wants to break down the door?
(people laughing)
All right Cayden.
It's here for you.
However you would like
to prepare yourself,
whether you, oh I see, look at that.
It's like the man came
prepared or something.
- Some plants.
- Careful.
(man grunting)
- Yeah.
(door crashing)
- Well done.
(group cheering)
- Cayden breaks down the
door as it slams open
and wood splinters everywhere
as he puts his hand
through the old, broken
door and reaches in
and very casually unlocks the door.
- Ladies first.
- Very nice.
- I missed you.
- Sat comes in with Tanner,
Raina and Darby behind
holding the lantern and
you come in to a actually
very dimly lit room.
- Light!
- What's the source of light?
- The source of light
seems to be a small lamp
on the side table next
to a twin sized bed.
In fact, as you look
around more, you can see
small children's toys and backpacks,
and it is the most lived in
room that you have seen thus far
and you see edged weapons,
hatchets, machetes,
knives, all of them laid
out across the side board.
- I pick up the machete.
- Sat, you pick up the machete
and it falls apart in your hands.
And you see a chest.
With a satchel on top of it and
a very strongly bolted lock.
- I got a key.
- Cayden, do you wanna grab that kit?
(spooky music)
(man screaming)
- You jack!
- Come on!
- Yeah, you can put it
in there if you want.
- Oh it's a healing block!
- This is fuckin' genius.
(group cheering)
- All right guys, I think
we're all in agreement,
I'm feelin' right here.
- Maybe the other side.
- Which side?
- You think the other side?
- Which side is it leaning on?
- Yeah, we don't have
any removed here is why.
- As you open up the first aid kit,
you see there's actually
water, a small bit of food,
and actually some pretty
good looking acetaminophen,
ibuprofen, various other
low level pain killers
that will help with the cold and the chill
a little more.
Sat, as you put this key, you
realize that that actually
opens the lock pretty easily.
- Ha ha.
- Despite everything else.
- What if, just sayin',
Simon's not dead, right.
What if this old guy still lives here,
but he's like super old now, right,
and he's just like playin' with
toys like a little creeper.
- Or he's in the box.
- Maybe it's in the box.
- Maybe it's in the box.
(playful music)
- Oh wow, what a treasure.
There's like these stickers and papers.
Catch! (laughs)
Oh cool, okay, it's some terrible art.
There's really terrible art here.
- Oh, what the.
- Oh, uh.
I think maybe I was wrong.
I think maybe there's
something about the goat
and this situation.
- He's here!
Oh my god, he's here!
- No, no, no, no, give me that.
- Oh, this is the creepiest thing.
This says mommy says no
animals in the house.
- But there are horses and there are bats
and there are goats!
- Hey guys, I just wanted
to, I didn't say anything.
That radio, you know what
it sounded like to me?
- What?
- It sounded like a western.
- Oh.
- And there are Indians
slaughtering a family.
- Oh.
- Two kids and a mother.
- Oh, that's great.
That's fantastic, it's wonderful.
- Yeah, I can have that.
- Each one of the items that you pull out
seems to be in one way or another.
- Yeah.
- Small children's toys, personal effects,
they all are well worn.
Now you slowly hear the
sound of creaking door
in the room with you.
Only for a brief second and it stops.
And you look to see that the
door that you left behind you
is wide open, but there
is a closet door as well.
And it is creaked open ever so slowly.
(door creaking)
(dramatic music)
Make a pull.
- Sat, as you are getting
closer to this door,
lifting your plastic
hatchet, you smell something.
Sat, you smell death.
It fills your nostrils as
your hand begins to shake
and as you pull the door
open, you look in front of you
and you see a small walk-in
closet with various clothes
all on the top shelf of
everything and you look down
to see a pile of bones.
- Umm, human, animal?
- You look closer and you realize
that it's actually a small pile
and every single one of
them is an animal bone.
- Mommy says no animals in the house.
- I don't think that Simon's big on rules.
- What's that?
- Which one?
- That one is what.
- This one?
This one, I mean, I've
been looking at this.
It looks, I mean it looks
like they went from a hospital
or a funeral home or
something, drove, buried,
went past the cemetery,
through the forest,
it's thundering and lightening,
through the mountains,
and then this.
- What is that?
- I don't know, it's like a hole.
- Is that a truck with a red cross?
- Yeah, it could be an ambulance.
- It could be the ambulance taking them
all the way through the forest
to eventually the hospital
where they died.
(door slamming)
(women screaming)
- There are still three more doors.
- Okay, let's make our
way to the next door then.
- Take the lantern over.
- You walk down through the main hall
and actually, the first door to your right
was another candidate that's locked.
- I kind of look over at
Cayden, kind of a half-cocked
stare and grin, hand the lantern off.
I'm gonna make a pull.
- So Tanner, as you get
closer to this door,
you have this ominous sense of foreboding
that has suddenly come upon you.
This overwhelming sense
of dread, as if this room
could be either the answer
to all of the questions
you've ever asked yourself over
the course of this last year
or it could be your ultimate demise.
Now, as you reflect upon
the dangerous things
that you've thought about over this year,
you steel yourself with
resolve as you grasp that door
and fling it open and reveal.
(man grunting)
The dark, luminous light of a dark room.
- I look back at Cayden.
Ladies first.
- I walk in.
- You see several things.
One of them, which is immediately apparent
because the kerosene's so close to you,
is a stack of small
receipts that are laid out
on the bottom of the side table
and you also see jars, giant Mason jars.
Like the ones that you would put specimens
of various scientific
study, they are layered
and caked with dust,
but in the light of this
red fluorescent light
and your lamp especially,
it has a familiar yellow tint to it.
- Based on this, this is where he stored
all his formaldehyde,
however, what a photographer
needs to do with a lot of formaldehyde,
I guess we'll find out here in a moment.
Is the dust obscuring the
contents of these jars?
- Yes it is.
Raina, you're wiping, make a pull.
- Oh, Raina.
- Oh boy.
- Raina, as this last year
has come down upon you,
you have done a lot to
shepard your willpower
to say that this didn't happen to you.
That this is all just a dream.
You built a perfect little fantasy world
that protected you,
Darby, and your friends
from anything ever happening to them.
And you showed a surprising
amount of willpower
in the face of such terrors,
but you have to ask yourself,
do you really wanna see
what's inside of this jar?
Raina you can stop at any time.
You could choose to fail and go home
and leave your friends.
- My only way out is through.
- You don't do that, you wipe
the dust away from the jar
to reveal an infant child inside of it.
It's cold, open eyes
are staring back at you
as its languid, scrunched up
form fills every available
space in that alcove.
- Guys?
- Of jar.
- Oh my gosh.
- This isn't fun anymore.
- And as you look on the
drying line, you see photos.
So many photos.
- Oh god.
- Oh.
Oh that's the worst, that's
not, I don't even wanna know.
- Oh no.
- No.
- Sat, you're the one
that wanted to come here.
You're the one that wanted
to see these things.
Can you face what is right
there in front of you?
Lemme tell you what they say.
Which one would you like to hear first?
Show it to me.
- The sisters.
- That one is labeled October 25th, 1926.
Ms. Martin's two girls, Cassia, 10/22/26,
survived by her younger sibling.
- The baby?
- The baby.
- I can't look at this one.
- Yeah, that, there's a worse one.
- 6/14/1968, little Martha Petersburg.
She was very hard to keep still,
but she eventually compiled
with Simon's help, 1/29/31, 6/14/68.
- The man?
- June 14th, 1933, Tobias.
- Tobias, the letter.
- Tobias.
- Did that last one say--
- His father?
- with Simon's help?
- Well Tobias is one
that wrote the letter.
- Wait.
- Simon's dead.
- It's his dad!
- What year was Tobias' death?
- '43.
- Okay.
So whoever took out the
child with Simon's help
is not the father, is not Tobias.
- No, in fact Simon, he
was in the photograph
with his dead brothers, I guess, in 1924.
- The only one who lived.
- Simon survived the two.
- Yeah.
- So you wanna know the little girl?
- The staring child.
- June 14th, 1955, girl, aged 13,
such lovely skin.
- Um, the last three have
all been on June 14th.
- There's one more.
- Wait, what day is it, we're the 12th?
- June 13th.
- We're June 13th.
- For a few more hours.
- The family.
- June 14th, 1946, Mandango family,
Simon brought them up from the city.
I laid them on the bed
to better show them sleeping peacefully.
- What?
- I am, don't feel good.
- Well, in the particular
family, they all appear
to have quite a bit of head
trauma across the board.
- I'm totally looking to the door.
- It doesn't matter.
- Sat, as you're looking around.
It is night time now.
And it's the first time
that you've realized
it's so quiet.
It's so quiet.
And you're looking at these
pictures of these children,
how are you feeling?
- I wanna go home.
I wanna just, let's just go.
- Sat, you don't have a home to go to.
This is your home.
This is all you have as far as home goes.
Make a pull.
Sat, you are staring
into this blackened void
that is your heart and you're maybe in
over your head too much on this one.
The fear and the set around you is just,
it's bearing down on you Sat,
but this is an opportunity
for you to get everything
that you've ever wanted.
Your friends, the people
who you care about
are here for you , so
are you there for them
or are you gonna run away?
- Oh my gosh.
- Sateen, you can opt not to
pull and automatically fail.
But something bad is gonna happen.
- Sat, Sat, you should
know, I've been thinking,
and I thought I was alone this whole year,
in my head making all of these decisions
and diving really deep into all of this.
Which, I definitely believe
it, but when you broke down
and told us everything, I
realized that I was being selfish.
- You think you know everything?
- No.
- You think
you know everything.
- I think I know a lot of.
- I'm going to not pull.
- She's not gonna pull.
- Well lemme tell you
what you think you know.
What you don't know--
- Sat, no, I'm telling you.
- What you don't know is
that I was in the hospital
for months, that I OD'd and nobody
came looking for me at all.
- I know, that's what
I'm tryin' to tell you
that I realize that I'm--
- I called you guys and nothing, nothing.
You guys didn't care.
- No, it's not that I didn't care!
I was alone.
- A year!
- I was right there in that
same situation, I reached out.
- You did not reach out to me!
- I did!
Not to you, I had been brick
walled a million times!
- And you, you're my best friend.
- You hear a loud thump
as something lands on
the porch outside of the front door
and you hear a sound, a voice.
(grunting)
As you hear more walking inside,
you hear from the area inside
the squish, thick sound
of someone stepping on the wet carpet.
Mom, Mom!
Someone's in the house.
(dramatic music)
