Set Visit Report: Insidious Chapter 3

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On a sweltering hot day in Southern California – Lake View Terrace, to be exact – the cast and crew of Insidious Chapter 3 is keeping cool inside the huge hangar-like building that houses their set for the apartment which takes center stage in the Insidious prequel.

The writer of the first two films, Leigh Whannell, takes the reins this time as director, and with him are the producer Jason Blum, and actors Angus Sampson (who is reprising his role as Tucker), Lin Shaye (reprising her role as Elise Rainer), Stefani Scott (a new cast member and a new character to the Insidious franchise playing Gwen Brenner), and Dermot Muloney (also a new actor to the franchise playing a new character, Sean Brenner, who is the father of Gwen).

Today they’ve been shooting a particularly haunting scene in The Further, and while not a lot of beans were split, it’s always fun to talk to the makers and players in the horror films we love.

Dread Central: Leigh, what made you decide to go the prequel route, third time out?

Leigh Whannel: My impetus to do a prequel –well it’s a few different things, I mean it was by the time it had gotten to that point where I was fully committed in writing it, I was thinking about the best direction this particular story could take. And I think, you know, I told you last time, on Insidious 2, I didn’t think there was much more story to tell with that Lambert family. They’d been through so much, and too with all this stuff that had gone on and I think it would’ve been weird for the trailer to be like, you know, they’re back and they’re being haunted…again. (chuckles) Because, you know, as you guys know, haunted house movies are always built on the, on this feeling of what’s going on, you know. If you put Rose Byrne and Patrick Wilson in this movie and the take mood is they’re like, ah, shit, it’s a ghost again. They’re so knowledgeable by now that they could be experts themselves. And so we take them out of the picture and start thinking of a new family, I thought about what the connected tissue would be; if it’s a new family, who’s familiar? And, of course, you know, the three of us came up and the thing is, and we did this on Saw, you know, James and I wrote ourselves into a corner in that Lin died in the first film, and I think that’s a spoiler at this point. She dies. So it’s like, agh! You know? So, you know, we also invented a villain who had terminal cancer, so it was the same thing with Saw. So when I was thinking about it I was like, well, you know, I really want Lin back, but I don’t want to do deal with ‘ghost Lin’. You know? I want Lin alive. And then I started thinking about an origin story for her, a prequel set before the first film and that just became really interesting to me, the idea of seeing Lin years before the first film and how she got to that point and what happened to her in her life. And I realized that it could fit well, you know, because these guys who had been doing it, you know, when you met them in the first film they’d obviously been working together, they’ve probably worked on some other things. And just telling that origin story I think cemented the idea of a prequel. And then thinking of ways to tie it into the first film, you know, without giving it away, that sort of little strands that I could connect to the first film it was, it was exciting. You know, I always love origin stories. I love that Batman Begins approach of like, okay, let’s go back and see how we got to this point. So we’re doing that a little bit with Lin in this film, within the context of this ‘new family’. Having said that I also like the idea that much more so than the second film I think people could walk in having seeing neither of the last two Insidious films and have a great time and understand it. There might be some things that connect to the first films that maybe they’re not keeping total track of. I don’t think it would be to the point where their understanding and enjoyment of the film would be affected. So I liked that slate wiping aspect of it. Just like basically it’s like let’s just do the first film over again.

DC: Did you leave room to maybe tell more stories after this film, then?

LW: I think so, I mean, you know, you meet Lin and you meet us, and I think there is room. It’s set a few years before the first film, so I think you can go in any direction, you know? Maybe if there was another Insidious film you could go forward again, if you wanted to get crazy. But I definitely think there’s room between this film in the first movie to look at. You want Lin Shaye alive. You don’t want morbid, Lin, Ghost Lin Shaye, but full on turbo-charged Lin Shaye.

DC: What kind of pressure do you feel, knowing you’re following James Wan into the franchise as director.

LW: I mean James is, to me, I think he’s the master of modern horror. You know, I think in the last ten years, James has, he’s set trends in horror, you know, twice over, you know, making Saw. And he’s also great. I loved The Conjuring. A lot of people credit me with writing The Conjuring. I get a lot of tweets from kids saying, you know; Leigh and James, how great was The Conjuring. They’re awesome. And I never correct them because I just want to let this myth develop.

Dermot Mulroney: I do the same thing, everyone someone congratulates me for doing The Conjuring I say: Thank you very much.

LW: Thank you very much, I’ll take that. I had nothing to do with The Conjuring. In fact I never went to a set once. And it was the only film that James has made that I saw it at the test screening with completely fresh eyes and knew nothing about it. And I thought that was a cool experience to feel, to have the experience of being an audience member at a James Wan film. Because I’ve never had that experience, I’ve always been there the whole way. I loved The Conjuring. I just thought it was really scary, subdued and subtle when it needed to be and I just thought it was great. And so the pressure is huge, you know, for to be coming after him, it’s kind of like Michael Jordan coming off the court and they send you in, it’s like. So I’m just trying to do my best. The only advantage I have, if I have one, is I’ve sat behind him all this time watching him making the films. And I think I probably absorbed more than I thought I did. So, but he also came to the set and he’s given me a lot of advice. I mean if I’m in trouble I’ll just text him and be like; so how should I shoot this scene? I mean maybe not that literally, but he’s awesome the way he’s given advice just about, you know, the best way to scare. And I think we both have the same tastes as well. We like to shoot things in one shot and not rely on editing, or CG or anything. Like try and do it practically within the same frame. So, yeah. Hopefully if it’s scary as Insidious or The Conjuring, I’d be happy.

DC: In regard to this new demon and the demons in the previous films, can you elaborate on that, and also touch on if the tone of this is different than the prior films?

LW: I think there is a little bit of a different feel. I mean I have my own sort of taste and style that differs a little bit from James. You know, he has a really flamboyant style. He loves Mario Bava and Dario Argento, and he uses a lot of these bright, primary colors, especially in the second film. And so I wanted to be in the same world as the other two Insidious films whilst also having a bit of a change. So I think the demons have a bit of a different look to them, hopefully. But it’s still really in the same realm, I hope. It’s sort of right in the middle. And yeah, I’m trying to have it be – I think the first film had a realistic tone to it as it started, before things got really crazy, and I think, I really like that. And I wanted to see if I could take the third film back to that first film where you meet a family and it’s very real. And these guys are such great actors, you know, that they make it very real. I loved that about the first film with Rose Byrnes and Patrick Wilson, just how real they were and you believed in his family, so when she went crazy you were with them. These guys have done a great job, you know, coming into this franchise and just, yeah, they’re awesome.

Lin Shaye: I just wondered about in terms of the scary parts. There’s a familiarity of the demons on some level in this film, it’s a little bit different than what we’ve seen before. There’s a humanity that’s experienced in the deterioration of elements in this film that also I think are quite a bit different, if you know what I mean, without giving anything away, but again there’s like, so I think it will hit people in very familiar places, not like some just scary face or whatever. There’s elements of the story that will touch people in a very human way. There is elements that even a young person, whatever the target audience is for the film, I think whether subliminally or realistically there is dilemmas and problems that this family faces in particular and who the demon is in this particular case that are very per—it has a personal element to it that is really, really scary, I mean, seriously scary. It scares me in a different way. I’m not so much scared of, even though I loved obviously the demons in the first and the second, but there’s something about this that chills me in a whole other personal way and really kind of hits me in a very, it’s kind of a private way almost. And so I think in that way it’s going to be scary in a whole new way that people aren’t expecting.

DM: Yeah, and Leigh doesn’t paint a family that’s like a Disney cartoon and then suddenly all hell breaks loose. You know, this is a real family with …

LS: With real problems.

DM: You know, this film is as much about grief and reconciliation as it is about who’s jumping out of the closet or anything. I mean really, the root of the movie is the heart of this family, and they’re a family that’s in crisis, you know, so he starts the story there and then it gets even worse. Instead of having that temptation of painting a pretty picture that shifts, this is a much more subtle thing. And as Lin just said, you know, the horror in the movie is the same as the horror that the family’s going through. In ways. In symbolic ways or even in some ways literally. So it has a resonance, a real emotional resonance instead of just as scare. And that’s what you need to, you know, this film in the first place after speaking with Leigh.

DC: Is this an origin story for The Further, or the origin for the ghost hunting that your characters do?

LW: I think it’s an origin story in the sense that you see how Lin got to the place she’s in, in the first film, and you know, maybe you get to see how we come into contact for the first time. And a little bit with The Further, I think it’s a origin story to use the often repeated phrase; without giving anything away. You do see how this concept of The Further really comes into contact with this particular character. You know? And it’s sort of simultaneously runs with these guys. These guys have their own new story, you know? Which as Dermot said we’ve treated that not as a side story, but that’s like really important and it’s really the heart of the film and how these come together is really important. Yeah.

DC: Stefani and Dermot, you’re new to the franchise. Did you have any trouble getting into the swing of things with all these veterans?

Stefani Scott: I don’t know, I’ve always been into a horror film. For me it wasn’t, I don’t think it was, I wasn’t really intim—I don’t think I was scared about anything, I loved the films and I loved the story and I was just really excited to play Gwen’s and tell her story about her family. Yeah, I don’t know if I really thought about it. No offense. (Laughter)

LW: I mean Stefani always says, she’ll say like, you know, I’ve never done one of these before. And I’m like, that’s good. Like it’s a good thing.

SS: I’ve been scared, basically I’m scared every day, that’s what it’s turned into, yeah.

DM: Yeah, it’s true, you know, it keeps the lights on the – well, you were there – the lights on the set are really low. It’s like gloomy. You go in and one time I came in and what literally happened, what Leigh was hoping all along, is I’m just doing a scene about breakfast or getting the kids ready for their, and then this, behind me there’s a guy sitting there, I’ve never seen him, and he’s in the full regalia of this demon ready to go on to do his part. But he’s lurking in the corner, and it’s dark, and it’s …

LW: I used an animal one time to scare …

DM: Really?

LW: This all came from William Friedkin. So here’s a story before you, before I started shooting, I sent William Friedkin a Tweet. And he responded in like three minutes, tops. Which was scary because I’m like, why is William Friedkin on Twitter? Should we even ping William Friedkin? And I said; you know, hey, I’m directing my first film. Any advice? Things you wish you’d known before you directed? And he responds; well, let’s go out for lunch and talk about it. So I ended up going to lunch with William Friedkin, it was surreal, he comes and he sits down, I’ve never met the guy. And he barely said hello. And he was just like; first of all, I got to see if your act is for real. Every time somebody jumps in The Exorcist is because I was just off camera firing a gun. He goes; you think I could’ve got that priest to jump like that when the phone rang? No, I shot a gun. That’s what you must do. I was like; great. I mentioned it to Lazo, I was just like, I want you to know, the first day I’m going to have to have some guns. And he was like; no, you won’t be doing that. And I’m like; of course I won’t. Don’t be stupid. So I think an air horn was a consolation prize. But, you know, I guess it’s more, I haven’t as gone as crazy as that, but I’ve definitely tried to create that atmosphere and get everyone in the zone.

LS: One thing for me that’s been great is since Leigh has written these and has created basically my character and this world, some of the directorial elements that he’s been able to provide me with are so rich and so, and it’s things I’ve thought about some of the directorial elements that he’s been able to provide me with are so rich and so, and it’s things I’ve thought about that I never thought about in the, with the coloration that he describes them to me. And I think that comes also from being an actor and a performer. I tease him, I say; not only is he going to be a triple threat, he’s going to be an octagonal threat. He’s going to be tap dancin’ and doing Jersey Boys all on his own, but he …

LW: Yeah, I’m a great martial artist, you know that.

LS: But I mean, but it helped me so much to not just ground myself in the present, and in this movie, that it literally felt like it helped me blossom, and I hope I helped fulfill that for you guys, and certainly for Leigh and myself. But. You’re awesome, he’s an awesome director.

LW: It’s good to have Angus back as well. I think the story starts with Angus and I a bit earlier in a different place, so that’s been fun, I think it’s been fun for Angus, I don’t know

Angus Sampson: It’s fantastic. There’s such warmth on the set in a place where I guess you don’t expect to find warmth. And I think that’s, a lot of that is down to Leigh and Jason’s casting, and James’s casting, there’s a rich congeniality concept that I guess if you can empathize with people, not to say that people didn’t empathize with Rose and Patrick, but there’s such warmth that is exuded from Lin, just from the offset. And for them to cast Dermot and Stefani, who both, they’re almost like the glow out of that Pulp Fiction suitcase, you know. Such warmth.

LW: That’s what was in there. Stefani Scott.

AS: There’s such a, that is the thing that I think is really rich for me to come back, it’s like such a privilege to see Leigh step into that, step into that valley that James and Jason and Oren and the team have, you know, together they’ve worked and worked on traversing that rocky path. But for them, the support they have, and the encouragement they have of Leigh, for me to come in and step in and just see how he’s handling that, he’s a true polymath, you know, aside from being a very dear friend of mine. It’s the confidence that he has in the material, certainly for us, when you’re dealing with the netherworld. It’s actually a real treat to have the director in the scene with you as well. It’s actually quite liberating as a performer. And he’s so cute and generous in his ways.

LW: It sucks for me, but it’s good for you.

AS: Afterwards it’s sort of, there’s no it takes away the gravity of the notes. It’s just very, it’s very logistical. Okay; cut. All right, we just need you to say this in the next one, okay? We’re rolling; action. You know. It’s fantastic. There’s no, the melodrama, it goes and you’re really accessing a very truthful place, and I must say that with Michael who is playing the demon, it’s the same with Dermot. It’s like, you suddenly turn around and they’re there, it’s actually frightening. You know it’s frightening when the rush is scare you. I think this film will rip the audience out of the seat and throw them in the back of the theater.

DC: It’s amazing like how the stories all interlock. Was this planned to be a franchise from the start?

LW: Well, thanks. We didn’t plan it, we really didn’t. We just wrote that first Insidious film and then we thought it had a cool ending. I mean with horror films me and I always loved the down endings, the negative endings. And then you get asked to do a sequel and you’re like; ah, how do we deal with that? The fact that we’re done? And so we just sort of backed into it, like thought about it, if we had planned it out it probably wouldn’t have been as good. But we never plan anything out. But I mean BlumHouse is great, and Jason is so great at letting the filmmakers do their thing. You know? That’s the key to their success is just letting them come in and go; you curate this world. Because there’s so much. The people who invented it, they’re going to put so much more attention into it. And that would be awesome about that. So probably with the other BlumHouse films that have these sort of rich backed stories it comes from that approach of letting the filmmakers do what they want to do.

Jason Blum: It’s also on the first movie I think it’s a huge mistake to, it’s another thing that people do all the time with horror movies is like talk about the sequel before they’ve made the first movie, which is a disaster. Like it is so hard. Everyone lumps horror together, like we were talking about before. And there is great horror movies and there are terrible horror movies, like every other genre, but a lot of people don’t think that way. And it’s really hard to make a really good one, so to make a really good horror movie and then put pressure on the filmmakers to say; and make sure you’re thinking about a sequel, you’re going to compromise the first movie. And so I always think about, when we were doing Paranormal Activity everyone, we always thought about Blair Witch, like and every time a sequel to a found footage, there’s actually nothing more absurd. Like we found more footage. So and I, and there was a great lesson from that, like we have had, we’re on whatever number we’re on now. And I always say that to the filmmakers, I’m like, if we made a sequel for Paranormal Activity, if the movie works we’ll figure out the sequel, but do not think about the sequel when you’re like, like I said to James or whatever; guys, everyone has to die, or whatever, make a great first movie. And then if that movie works we’ll figure out a sequel. Now I get nailed on this sometimes; I don’t think that’s true of a second movie. In other words what I just said would apply to Insidious, Sinister of the Purge, Paranormal Activity for the first time. If you’re now making a sequel the chances that you’re going to get a series of movies are infinitely higher than when you start from the original. So, again, I would never say it’s to compromise the movie, but I certainly, if I’m on number two of any of the movies that, including this one, it’s like, it’s like if we’re doing two, we should be conscious that the chance of three is much, is pretty good, whereas when you’re doing one the chance of two is not good and you should just get a good one. I don’t know if that makes sense.

DC: Dermot, how did you come on board?

DM: I met Leigh, you know, it had great things going for it, obviously the success of the other two movies. I mean I hit it off with Leigh right away. The shoot’s in town, it was good to go in about two weeks. (Laughter) No, seriously, the schedules, more often than not, is the thing that kills you from doing that you wanted, that you have something else already or whatever. So the fact that I had a slot and it was soon is always a good sign, because that’s the one you’re going to do. And in this case I could tell that there was a real intellect involved, you know? I wasn’t familiar with the first, with the Insidi, as I call it (laughter), but I subsequently saw them, and I have a 15 year old son who is a huge horror genre fan. So I’ve been, you know, they call it the midnight thrive, but it’s really Thursday night at 10 that you get to see the show. So if you’re in 9th grade, you know, you really want to come to school on Friday having seen Insidious 2 the night before so you cannot tell your friends what happened. That’s the goal. It’s true. So I’ve been to a lot, I saw Evil Dead 3 at midnight on a Thursday night. You know, I’m in the carpool, so I’m dragged into being a fan.

LW: I remember you saying to me when we first met up like; you know, I’ve never done one of these before. So I just love that.

DM: You know, recently I stumbled into a couple of projects that would fall into, Stoker was a great movie last year. Just a small part, but it was great to be involved with something that had those elements to this sort of gothic feel and the tension that this horror movie has. And The Ramblers, I’m seeing, but that had elements of that too big time. And, of course The Grey, you know, really is a horror movie, the way that Jaws is a horror movie. So in the last two or three years, this is really my fourth if you really want to count it, but it’s the one that will be the most mainstream. And any time I get a lead in anything I’m taking it. Well, it looks like it’s easy to get these parts, but it’s actually not, you know. You know what I mean? You like really got to get them.

DC: Leigh, how did the creation of the monsters and spirits come about, for Insidious?

LW: Well, I was trying to think about him symbolically, as with Jigsaw, you know, with Saw I was trying to think about what this guy represented and this idea of sickness, that you might have this clock on your life. And so with this guy I was thinking about, you know, really with Insidious 3, I started from what’s the film about? And I came to the conclusion that every ghost movie is really about death and loss. Like that’s what ghost movies are all about at their very core. And so I think I deal with that in a more literal way, like the idea of grief and loss and how do you deal with it when someone’s just not around anymore? What if there’s a chance to still talk to them? And when I came at it from that angle I thought about … for me, the guy in this film to me, is the living embodiment of cancer. Like if cancer was a person it would be this guy. You know? And so it’s amazing once you have a concept like that, like sort of a fortune cookie concept that you can hold in your hand, it’s amazing how quickly the visuals of that, like if you just think of that, what would cancer look like if it was a person? I just instantly thought of this guy and the way he looks. You know? And we ended up getting the guy from Seven. I actually said; you know, to Fractured Effects. I was like, you know, the guy sloth, from Seven, that he tied to the bed and kept him there for a year. And so that’s who we got, that guy, Michael McKay, the actually guy who was tied to the bed. You know he’s a couple of years older now, but he’s that guy and he just is so great in the role.

DM: You see the kind of thrill Leigh gets from getting the guy in Seven?

LW: It was so exciting. And he’s such a nice, all right, that’s another funny thing.

DM: He enjoys these movies as much as you do too, and it’s contagious, it’s been the most incredible thing for me. I’m sorry to interrupt, but it’s been so fun because his enthusiasm is really spilling over. It’s the form of these films.

LW: Exactly. As Angus was saying, you know, he said earlier, oh, it’s amazing how fun it is. But you guys all know from doing your job that horror sets are the most fun sets, always. You know, what’s happening on screen is horrifying and terrifying, but as soon as cut gets called you’re basically having lunch with the person who has their person his arm hacked off, there’s blood everywhere. Like horror film sets are always the most fun sets, I find. So it is interesting to be standing around and we’re talking and then Michael will come over just looking horrifying and be like; hey guys.

LS: He’s the sweetest guy.

LW: He’s the nicest guy. So it’s just interesting, and then to sit at the lunch table with these people, it’s great.

DC: Leigh, what has it been like not having James around for this film?

LW: It was definitely scary at first. I think it was going through different stages. I think when James went off to do Fast and Furious I was like it was tough, it was almost like a grieving period. Like we were together, we were so long we were a band and now he’s fleeing off and doing a solo project. And I was like; oh, man. It was like a breakout. I was like; what am I going to do without James? You know? He’d sort of gone off to this other place. And I sort of had to think about what I would do if I wasn’t working with him. And then when this opportunity came up I think there was a two minute window where I was like; I don’t want to direct part 3 of anything. Like not even the Godfather made a decent part 3. And then after that two minute window passed I was like; shut up, you’re an idiot, you have to do this. And I realized what an awesome opportunity it was. And it didn’t have to be, because you got to understand, that was before I had written it, so all I had was the vague concept of Insidious 3. And then once I started writing it I fell in love with it, and it was scary without James being there at first. And then I just started working through it, like all right, you can’t dwell on this, you just got to do the best you can. And, you know, if you have a problem you can always talk to him, but he’s definitely the master. Like he just has an innate skill at constructing a scare scene. I think that that’s something he can’t be taught. He’s just born with this ability to go, to know exactly where the camera should be and at what moment this person should enter frame for it to be scary. Coming up against that is pretty scary. But the thing is, when you’re talking to me right now, I still don’t know if I’ve succeeded. If you asked me that question in ten months’ time I might be like; I failed. But I’m trying my best to live up to what James did with the first two.

DM: It’s neat, James is going to do five more horror movies for us.

LW: Right, exactly.

DM: Leigh’s forgetting, he’s having dementia. What happened with directing this movie was we were begging to direct, and he was being super coy, and in a truthful way I think he was really on the fence about it. He said; you know what, I’m just going to write the script. And then he wrote the script. And then he was like, this is pretty good, okay, I’ll direct.

LW: I do remember saying I don’t know if I want someone else to fuck this up. I want to fuck it up.

DM: Yeah, right. (Laughter)

LW: You know?

DM: Yeah, yeah, exactly.

JB: Did we leave anything out?

DM: I know, I was talking to Angus about this, the type of scenes that we were doing in this movie had a different effect on me than I’ve ever had in another film. And it was that I was scared, which I’ve never had. You read a scene where you’re having dinner at a dining room table and you have the family, you know that’s going to feel like having dinner, you’re acting it out, it really feels like the real thing. I didn’t expect that with this. I thought there’d be that element of putting forward of yourself, that you have to put on that it’s a scary thing. But even as something as simple, we don’t know where she is in this scene, because there’s, the video’s moving mysteriously and so we’re creeping down the hall, the three of us, Angus and Leigh and myself with one flashlight, the lights have gone off – I’m giving away like the whole movie, I’m not supposed to do this – but I’m freaked out is what happened, and I really didn’t expect that.

LS: It’s been a little bit of a challenge for me as well, knowing there’s expectations from my character from the first two, and keeping her real and as much in the new dilemma as she’s in without her trying to sort of repeat, because there’s digestion of having those two movies under my belt and knowing how people have responded, which has been awesome for me. So that’s been a little bit of a challenge, but Leigh, is again, through his aware, through his knowledge of what he’s created and the breadth that he’s created, at least, with where he’s really I think given me a lot of …

LW: But I also think though that if I don’t really know anything yet, as William Goldman said, but like if I’ve learned anything from 20 or so days of directing is that if you cast it well and you get a great crew you’re basically just being a traffic cop. Like these guys are so good, if you just put the camera on them, and let them do the scenes, they give you so much more than you could’ve ever hoped for. All these guys. They’re so committed, so great, so up for it, and they’re so awesome, and their crew is so awesome. They’re all so talented. I’m actually in awe of them, I’m in awe of them, I love them and so I’m finding that I’m just sitting back. And I don’t want to get in the way and interrupt what they’re doing. So I genuinely mean that. If I just get out of these guys way it’s just awesome every time. Yeah. Hopefully I don’t mess up their good work.

JB: After this, the movie better be good. (Laughter)

LW: I know.

The newest chapter in the terrifying horror series is written and directed by franchise co-creator Leigh Whannell.

A twisted new tale of terror begins for a teenage girl and her family, predating the haunting of the Lambert family in the earlier movies and revealing more mysteries of the otherworldly realm The Further. The chilling prequel reveals how gifted psychic Elise Rainier reluctantly agrees to use her ability to contact the dead in order to help the family.

Dermot Mulroney, Stefanie Scott, Lin Shaye, Angus Sampson, and Whannell star. Look for it in theatres on May 29, 2015.

For more information visit the official Insidious website, “like” the Insidious Facebook page, and follow along on Twitter at @InsidiousMovie.

Insidious Chapter 3

Insidious Chapter 3

Insidious Chapter 3

Insidious Chapter 3

Insidious Chapter 3

Insidious Chapter 3

Insidious Chapter 3

Insidious Chapter 3

Insidious Chapter 3

Insidious Chapter 3

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