Post by bodysurfer1967 on Mar 16, 2007 22:22:45 GMT -5
This really sums it up. I remember seeing most of this stuff when I walked through it years back. Really enjoyed reading this tonight.
By Baragonis Wreap
Today in a time of politically correct fascism and million dollar lawsuits for slight inconveniences, the majority of people in the haunted attraction industry are forced to keep their attractions lighthearted with their characters spewing out corny crypt-keeper type jargon like "It's Dractacular!!!" and "I've got a BONE to pick with you!!!" Back in the late '70s and early '80s was a much better time when you could really scare the living hell out of customers until they fell to the ground screaming and they would always come back for more.
In those times, towering over the crashing shores of the NJ coast, stood two of the greatest attractions of all time...Brigantine Castle and the Long Branch Haunted Mansion. I had the honor of building props on consignment for the Haunted Mansion right after graduating high school. The props consisted mostly of medieval style axes meant to smash against the walls directly behind the customers at full force to scare them in the right direction. The actors loved their designs but they were not very durable due to my lack of experience in building props. However, the "Big Bertha" model battle-axes did stand the test of time since they were built with discarded oak shovel handles I had gotten at work from my day job in the construction field. One was wielded with supernatural efficiency by a great actor by the name of Carlos who would give the presentation speech in the first room. I can still remember some of his lines:
"In the beginning there was light...and it was good.
Then in the beginning there was darkness...but it was better."
The actors all did their jobs professionally and never went out of character. They followed a strict regiment of discipline which was second to none.
The Haunted Mansion was located in the middle of the ancient Long Branch pier, which would sway ever so slightly with the rise and fall of the tide. The underside of the pier was home to dozens of bats, which would often fill the night skies especially during the dry thunderstorms common in 1986.
The Mansion itself was a grand sight to see. A Victorian building three stories high with two great rounded towers. Stain glass windows on the second level area depicted the seven deadly sins. With maggot-like horns, a seductive yet predatory smile, phallic arm tentacles and a great red eye gazing from inside her private part, LUST was the most disturbing. To her right, her companion GREED grinned menacingly from his giant cranium. GLUTTONY's pig-like form nearly filled his entire window. ENVY stood seething in infernal refinery. RAGE flexed her dead-white minotaur form and PRIDE majestically spread his bat-like form in the last panel. SLOTH was fully absent however, most likely keeping himself in character. From hidden speakers boomed the theme music from the movie "Mysterious Island" giving the impression that flying, unseen in the night sky, Hell's legions were sounding their trumpets in honor of their favored stronghold on the mortal plane. My first two full size devil's head sculptures were depictions of these infernal trumpeters: Malarom and Hebsleth. Unfortunately, Hebsleth was destroyed in the fire that consumed the entire Long Branch pier on June 8, 1987.
Inside the Mansion consisted of dozens of rooms and sets that would be revamped periodically to keep the attraction fresh. Here is a list of some of my favorite sets.
THE SACRIFICIAL PLATFORM
This was my favorite set and the largest one. It spanned all three levels and had an ambiance similar to the best of the old Hammer horror films. It was constructed in a grey stone facade and covered in dead creeping vines. In a pit ten feet below the platform area was Goegar, a great green demon head which was large enough to swallow a Volkswagon whole. It resembled one of those "Hellmouths" depicted in ancient church manuscripts. It's lower jaw slowly opened and closed bellowing out roars from the bowels of Hell. The Platform area above Goegar consisted of several gargoyles on pedestals, candles lighting the entire area and a great throne where a Grim Reaper type entity sat. In front of him was an obsidian alter that looked like it was made from compacted damned souls. Lurking about this area were hooded Apostles from the Abyss with an incredible make-up job making them look like Calibos from the movie "Clash of the Titans". They would grab a bound sacrifice who would plead with the patrons for help. They would then throw her straight in Goegar's gaping maw (which was a great stunt considering the ten foot drop) before turning on the patrons and chasing them up a ramp which gave everyone a breathtaking bird's eye view of the set once they reached the third level. Also on the wall of the top level, who often went unseen by fleeing patrons, was Goegar's counterpart Salamod, a great grey devil's head who witnessed over the proceedings.
THE BORDEN MURDER SCENE
A Victorian room situated in one of the rounded towers flanked with rotting scarlet drapes. The headless hacked up corpse of Lizzie Borden's stepmother lay sprawled on a coach. In a full-length mirror at the end of the room, her glowing ghost silently appears holding a bouquet of blood soaked yellow flowers. Suddenly from the far corner of the room, the corpses missing head comes flying out and crashes against the wall followed by a crazed axe-wielding Lizzie Borden who chases the screaming patrons around the room screaming the infamous sonnet...
"Lizzie Borden took an axe and gave her mother forty whacks.
When she saw what she had done, she gave her father forty one."
THE HOUND CAGE
In a tight hallway patrons would pass a cage. From within the cage came loud growls and barking and in a flash of fleeting light you would see red-eyed hounds hungrily lunging for you. With the realistic fear of attacking dogs being a common phobia, some patrons really lost it. To make matters worse, an actor done up as a ragged wildman would come after them crawling on the ceiling. I'm still not sure how they did this. It really gives me the creeps. Just like that similar scene in "Exorcist III".
NIGHTMARE TAVERN
Going down a hallway that resembled an alleyway in London, you would come upon a sign for Nightmare Tavern. Then you would proceed around the bend into the tavern meeting several of the bar denizens seemingly frozen in time. The insect-headed bartender served drinks to the tavern's customers including a cyclopean hobgoblin and a 19th century gentleman who had two faces melded on to his head (bringing to mind what a noted psychic to Queen Elizabeth said when she had a vision of what Jack the Ripper looked like and gasped, "The killer has two faces"). People walking through this set would get a false sense of security that all the tavern patrons were mannequins, when suddenly some of these creatures from the underworld of Kadath, would be actors in elaborate make-up and leap after them. One of the actors was sometimes made up to be a character named "Gillis" who resembled one of the Deep Ones from Innsmouth, dressed in a monk's robe (perhaps from the Order of Dagon?). Not long after the destruction of the pier, there was a rash of mysterious accidents in the waters around Long Branch especially among local surfers. I unwittingly started an urban legend with my surfing buddies that it was the revenge of "Gillis" and to this day when one of our surfboard leashes snaps or something bumps us unseen in the water, we blame it on "Gillis" or his pet infernal sea bass "Jegsleth" to whom I recently sculpted as a garage kit model.
SWAMP
Shortly after Nightmare Tavern, a great swamp would emerge. Working your way along a rickety winding bridge situated above bubbling mire you could be ambushed by any number of monsters from the dense foliage, depending which character was popular that year. In earlier years, it was usually the Wolfman or a seven foot tall actor done up as one of Frankenstein's creations. In later years, I managed to get one of my best friends named Ken to get a job playing Jason. Ken's tall hulking frame was perfect for the part. The only problem was Jason never spoke and that was a shame especially since Ken was legendary for hilariously viscous comebacks to wise-asses in high school. On a few occasions we got to work together, I would work my way into a group of patrons before the Swamp scene. When we arrived there, Ken would stand perfectly still and I'd walk up to him and cynically mock, "Oh that's just a mannequin". Ken would suddenly spring to life, choke-slam me to the ground and convincingly drive his axe into my chest. I would then crawl toward the crowd gasping "Help me, help me" who by that time were usually running back the wrong direction into the previous set getting poor Jason in trouble. There was also a dedication in the Swamp written on a slab of stone to a previous employee who played the Wolfman and died young from an illness. In one of his last requests, he wanted his ashes spread under the pier, which was done by some of the original cast members.
ICE OGRE
Directly after leaving the Swamp, you would be hit by a blast of cold air and a thunderous howl and find yourself in a mountainous region filled with conifer trees. Towering over the patrons standing eight feet tall was the Ice Ogre. It was a creepy vision being white, hairless, with gaping bulldog-like jaws and pitch black eyes. To the careful observer there was the grinning head of a Frost Giant hidden in the conifers to the far right, which was most likely inspired by the silent film "The Conquest of the Pole". When you would get to one of the last rooms in the Mansion, there was also a Yeti set which had a similar creature standing in a niche of ice covered in shaggy fur with long, sharp claws who was great at getting screams from patrons coming around the corner too quickly.
FREEZER
This room was entirely covered in frost. It was piled high with hacked up corpses and body parts with a disturbingly realistic victim chained to a "Saint Andrew's cross". Patrons distracted by this scene were soon made into easy victims by a sickle-wielding ghoul perched over them, in a fashion similar to the Hound's Cage set.
MOTHER MOLE'S NIGHTIME NURSERY
The Nursery seemed to upset a lot a patrons. Lining the room were several miniature coffins. Inside them, small grey mummified vampire babies peacefully slumbered while sucking on intravenous bottles filled with human blood. What creeped me out however, was an old cabinet filled with toys, one of them happened to be a goat-eared, Victorian doll with glowing red eyes (I hate dolls). Emerging from the draperies slowly came an ancient hag who would whisper, "Don't wake the babies" over and over again until it reaches a deafening crescendo. With her patience at an end, she whips out a large meat cleaver from under her robes then descends upon the terrified patrons.
ALHAZRED'S LAIR
This small alcove housed a middle-eastern warlock's quarters. At the far end of the room a disembodied head floated in front of a hellish red window, wearing the mystical turban of a seer. The head had an eerie gaze which is hard to describe. It chilled you to the bone. Suddenly one of the seer's servants would emerge screaming, "Stare into the eyes of the Master!" while wielding an Arabic chopping instrument. The first time I really got a look at that floating head, I was at an elementary school age and I couldn't sleep that night. Every time I closed my eyes I couldn't get the vision of his awful gaze out of my head.
SPIDERS DEN
In the Mansion's last year this room had two impressive bear-sized spiders that animatronically flailed their legs while wrapping up human victims trapped in their webs. I was working on a pair of jaws for the spiders, more sinister than their original ones, but never got the chance to finish the project due to the fire.
UNHOLY CATHEDRAL
"Please to meet you, hope you guess my name..."
Wicked chants filled this entire room from unseen entities, "We are seven, disturbers of heaven...". Pews and coffins lined the walls. At the pulpit, to which the stone would glow fiery red, stood the lord of all vermin himself, Lucifer, with his rod of infernal office in the right hand and an angelic head in his left (Perhaps a war trophy from the battle before his ultimate fall). On the alter before him lay the sacrificed, still bleeding from a ritual dagger. Mansion cast members were terrified to work in this room since even though Lucifer was an inanimate prop, he was known to move quite often including subtle changes in his facial expression. In actuality, unexplained phenomenon was quite common in the Mansion including an apparition in a flowing red gown and faces emerging from the walls, then disappearing emitting ghastly moans. One of the original cast members once told me a tale that if a particularly unruly group of patrons came through, the entire cast (in some cases 40) would be contacted on their radios and they would set up an ambush in this room. They would all sit in the pews and pretend to be mannequins. Then they would slowly get up massing as a huge army of hooded ghouls and herd the patrons into a dead end section of the cathedral and then it would be "Scared Straight" Haunted Mansion style. At that point, many tough-talking college boys actually ended up sobbing on their knees and wetting themselves.
THE GRAND DINING HALL
Spanned all three levels, similar to the Sacrificial Platform scene, except it started at the third level and ramps winded down to ground level. Toccata and Fugue in D-Minor pumped from a pipe organ a full two stories high, while a hideous being played on unconcerned about the rats gathering at his feet. The original family of the Mansion all sat at the grand Victorian dining table in various states of decomposition. Their current state however, had no effect on them feasting on their main course, a human torso garnished with entrails and vegetables on a silver platter. As patrons worked their way down the ramp they also encountered a possessed vulture with glowing eyes and a colossal painting of a floating skull-like entity amidst a vaporous underworld.
RAT CAVE
Patrons would come to the lab of Professor R.V. Rattinhimmel who would giddily go on about the scientific ramifications of studying the Long Branch tunnel rat. Showcasing one of his specimens to the crowd ended up with them running away into an even worse fate. Finding themselves lost in a monstrous cavern with glowing red eyes around them. As they worked their way through a tight winding crevasse about waist high, they would suddenly feel the crawling and poking of "rats" in the lightless depths of the crevasse. Meanwhile the screeching of thousands of vermin echoed off the walls. Some patrons could not take the experience and had to be escorted to the fire exits.
FINAL CORRIDOR
As if being horrified by the rat-cave was not enough, a hideous hulking brute whose deformed head resembled that of the Elephant Man's would emerge and chase the patrons down a hallway at full speed. They would burst through the door at the end and find themselves finally free from the Mansion's horrors, yet they would be totally disoriented from running into the sunlight after being in darkness for nearly an hour. Often they would lay around traumatized by the entire experience, yet they would happily come back the next week for more.
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By Baragonis Wreap
Today in a time of politically correct fascism and million dollar lawsuits for slight inconveniences, the majority of people in the haunted attraction industry are forced to keep their attractions lighthearted with their characters spewing out corny crypt-keeper type jargon like "It's Dractacular!!!" and "I've got a BONE to pick with you!!!" Back in the late '70s and early '80s was a much better time when you could really scare the living hell out of customers until they fell to the ground screaming and they would always come back for more.
In those times, towering over the crashing shores of the NJ coast, stood two of the greatest attractions of all time...Brigantine Castle and the Long Branch Haunted Mansion. I had the honor of building props on consignment for the Haunted Mansion right after graduating high school. The props consisted mostly of medieval style axes meant to smash against the walls directly behind the customers at full force to scare them in the right direction. The actors loved their designs but they were not very durable due to my lack of experience in building props. However, the "Big Bertha" model battle-axes did stand the test of time since they were built with discarded oak shovel handles I had gotten at work from my day job in the construction field. One was wielded with supernatural efficiency by a great actor by the name of Carlos who would give the presentation speech in the first room. I can still remember some of his lines:
"In the beginning there was light...and it was good.
Then in the beginning there was darkness...but it was better."
The actors all did their jobs professionally and never went out of character. They followed a strict regiment of discipline which was second to none.
The Haunted Mansion was located in the middle of the ancient Long Branch pier, which would sway ever so slightly with the rise and fall of the tide. The underside of the pier was home to dozens of bats, which would often fill the night skies especially during the dry thunderstorms common in 1986.
The Mansion itself was a grand sight to see. A Victorian building three stories high with two great rounded towers. Stain glass windows on the second level area depicted the seven deadly sins. With maggot-like horns, a seductive yet predatory smile, phallic arm tentacles and a great red eye gazing from inside her private part, LUST was the most disturbing. To her right, her companion GREED grinned menacingly from his giant cranium. GLUTTONY's pig-like form nearly filled his entire window. ENVY stood seething in infernal refinery. RAGE flexed her dead-white minotaur form and PRIDE majestically spread his bat-like form in the last panel. SLOTH was fully absent however, most likely keeping himself in character. From hidden speakers boomed the theme music from the movie "Mysterious Island" giving the impression that flying, unseen in the night sky, Hell's legions were sounding their trumpets in honor of their favored stronghold on the mortal plane. My first two full size devil's head sculptures were depictions of these infernal trumpeters: Malarom and Hebsleth. Unfortunately, Hebsleth was destroyed in the fire that consumed the entire Long Branch pier on June 8, 1987.
Inside the Mansion consisted of dozens of rooms and sets that would be revamped periodically to keep the attraction fresh. Here is a list of some of my favorite sets.
THE SACRIFICIAL PLATFORM
This was my favorite set and the largest one. It spanned all three levels and had an ambiance similar to the best of the old Hammer horror films. It was constructed in a grey stone facade and covered in dead creeping vines. In a pit ten feet below the platform area was Goegar, a great green demon head which was large enough to swallow a Volkswagon whole. It resembled one of those "Hellmouths" depicted in ancient church manuscripts. It's lower jaw slowly opened and closed bellowing out roars from the bowels of Hell. The Platform area above Goegar consisted of several gargoyles on pedestals, candles lighting the entire area and a great throne where a Grim Reaper type entity sat. In front of him was an obsidian alter that looked like it was made from compacted damned souls. Lurking about this area were hooded Apostles from the Abyss with an incredible make-up job making them look like Calibos from the movie "Clash of the Titans". They would grab a bound sacrifice who would plead with the patrons for help. They would then throw her straight in Goegar's gaping maw (which was a great stunt considering the ten foot drop) before turning on the patrons and chasing them up a ramp which gave everyone a breathtaking bird's eye view of the set once they reached the third level. Also on the wall of the top level, who often went unseen by fleeing patrons, was Goegar's counterpart Salamod, a great grey devil's head who witnessed over the proceedings.
THE BORDEN MURDER SCENE
A Victorian room situated in one of the rounded towers flanked with rotting scarlet drapes. The headless hacked up corpse of Lizzie Borden's stepmother lay sprawled on a coach. In a full-length mirror at the end of the room, her glowing ghost silently appears holding a bouquet of blood soaked yellow flowers. Suddenly from the far corner of the room, the corpses missing head comes flying out and crashes against the wall followed by a crazed axe-wielding Lizzie Borden who chases the screaming patrons around the room screaming the infamous sonnet...
"Lizzie Borden took an axe and gave her mother forty whacks.
When she saw what she had done, she gave her father forty one."
THE HOUND CAGE
In a tight hallway patrons would pass a cage. From within the cage came loud growls and barking and in a flash of fleeting light you would see red-eyed hounds hungrily lunging for you. With the realistic fear of attacking dogs being a common phobia, some patrons really lost it. To make matters worse, an actor done up as a ragged wildman would come after them crawling on the ceiling. I'm still not sure how they did this. It really gives me the creeps. Just like that similar scene in "Exorcist III".
NIGHTMARE TAVERN
Going down a hallway that resembled an alleyway in London, you would come upon a sign for Nightmare Tavern. Then you would proceed around the bend into the tavern meeting several of the bar denizens seemingly frozen in time. The insect-headed bartender served drinks to the tavern's customers including a cyclopean hobgoblin and a 19th century gentleman who had two faces melded on to his head (bringing to mind what a noted psychic to Queen Elizabeth said when she had a vision of what Jack the Ripper looked like and gasped, "The killer has two faces"). People walking through this set would get a false sense of security that all the tavern patrons were mannequins, when suddenly some of these creatures from the underworld of Kadath, would be actors in elaborate make-up and leap after them. One of the actors was sometimes made up to be a character named "Gillis" who resembled one of the Deep Ones from Innsmouth, dressed in a monk's robe (perhaps from the Order of Dagon?). Not long after the destruction of the pier, there was a rash of mysterious accidents in the waters around Long Branch especially among local surfers. I unwittingly started an urban legend with my surfing buddies that it was the revenge of "Gillis" and to this day when one of our surfboard leashes snaps or something bumps us unseen in the water, we blame it on "Gillis" or his pet infernal sea bass "Jegsleth" to whom I recently sculpted as a garage kit model.
SWAMP
Shortly after Nightmare Tavern, a great swamp would emerge. Working your way along a rickety winding bridge situated above bubbling mire you could be ambushed by any number of monsters from the dense foliage, depending which character was popular that year. In earlier years, it was usually the Wolfman or a seven foot tall actor done up as one of Frankenstein's creations. In later years, I managed to get one of my best friends named Ken to get a job playing Jason. Ken's tall hulking frame was perfect for the part. The only problem was Jason never spoke and that was a shame especially since Ken was legendary for hilariously viscous comebacks to wise-asses in high school. On a few occasions we got to work together, I would work my way into a group of patrons before the Swamp scene. When we arrived there, Ken would stand perfectly still and I'd walk up to him and cynically mock, "Oh that's just a mannequin". Ken would suddenly spring to life, choke-slam me to the ground and convincingly drive his axe into my chest. I would then crawl toward the crowd gasping "Help me, help me" who by that time were usually running back the wrong direction into the previous set getting poor Jason in trouble. There was also a dedication in the Swamp written on a slab of stone to a previous employee who played the Wolfman and died young from an illness. In one of his last requests, he wanted his ashes spread under the pier, which was done by some of the original cast members.
ICE OGRE
Directly after leaving the Swamp, you would be hit by a blast of cold air and a thunderous howl and find yourself in a mountainous region filled with conifer trees. Towering over the patrons standing eight feet tall was the Ice Ogre. It was a creepy vision being white, hairless, with gaping bulldog-like jaws and pitch black eyes. To the careful observer there was the grinning head of a Frost Giant hidden in the conifers to the far right, which was most likely inspired by the silent film "The Conquest of the Pole". When you would get to one of the last rooms in the Mansion, there was also a Yeti set which had a similar creature standing in a niche of ice covered in shaggy fur with long, sharp claws who was great at getting screams from patrons coming around the corner too quickly.
FREEZER
This room was entirely covered in frost. It was piled high with hacked up corpses and body parts with a disturbingly realistic victim chained to a "Saint Andrew's cross". Patrons distracted by this scene were soon made into easy victims by a sickle-wielding ghoul perched over them, in a fashion similar to the Hound's Cage set.
MOTHER MOLE'S NIGHTIME NURSERY
The Nursery seemed to upset a lot a patrons. Lining the room were several miniature coffins. Inside them, small grey mummified vampire babies peacefully slumbered while sucking on intravenous bottles filled with human blood. What creeped me out however, was an old cabinet filled with toys, one of them happened to be a goat-eared, Victorian doll with glowing red eyes (I hate dolls). Emerging from the draperies slowly came an ancient hag who would whisper, "Don't wake the babies" over and over again until it reaches a deafening crescendo. With her patience at an end, she whips out a large meat cleaver from under her robes then descends upon the terrified patrons.
ALHAZRED'S LAIR
This small alcove housed a middle-eastern warlock's quarters. At the far end of the room a disembodied head floated in front of a hellish red window, wearing the mystical turban of a seer. The head had an eerie gaze which is hard to describe. It chilled you to the bone. Suddenly one of the seer's servants would emerge screaming, "Stare into the eyes of the Master!" while wielding an Arabic chopping instrument. The first time I really got a look at that floating head, I was at an elementary school age and I couldn't sleep that night. Every time I closed my eyes I couldn't get the vision of his awful gaze out of my head.
SPIDERS DEN
In the Mansion's last year this room had two impressive bear-sized spiders that animatronically flailed their legs while wrapping up human victims trapped in their webs. I was working on a pair of jaws for the spiders, more sinister than their original ones, but never got the chance to finish the project due to the fire.
UNHOLY CATHEDRAL
"Please to meet you, hope you guess my name..."
Wicked chants filled this entire room from unseen entities, "We are seven, disturbers of heaven...". Pews and coffins lined the walls. At the pulpit, to which the stone would glow fiery red, stood the lord of all vermin himself, Lucifer, with his rod of infernal office in the right hand and an angelic head in his left (Perhaps a war trophy from the battle before his ultimate fall). On the alter before him lay the sacrificed, still bleeding from a ritual dagger. Mansion cast members were terrified to work in this room since even though Lucifer was an inanimate prop, he was known to move quite often including subtle changes in his facial expression. In actuality, unexplained phenomenon was quite common in the Mansion including an apparition in a flowing red gown and faces emerging from the walls, then disappearing emitting ghastly moans. One of the original cast members once told me a tale that if a particularly unruly group of patrons came through, the entire cast (in some cases 40) would be contacted on their radios and they would set up an ambush in this room. They would all sit in the pews and pretend to be mannequins. Then they would slowly get up massing as a huge army of hooded ghouls and herd the patrons into a dead end section of the cathedral and then it would be "Scared Straight" Haunted Mansion style. At that point, many tough-talking college boys actually ended up sobbing on their knees and wetting themselves.
THE GRAND DINING HALL
Spanned all three levels, similar to the Sacrificial Platform scene, except it started at the third level and ramps winded down to ground level. Toccata and Fugue in D-Minor pumped from a pipe organ a full two stories high, while a hideous being played on unconcerned about the rats gathering at his feet. The original family of the Mansion all sat at the grand Victorian dining table in various states of decomposition. Their current state however, had no effect on them feasting on their main course, a human torso garnished with entrails and vegetables on a silver platter. As patrons worked their way down the ramp they also encountered a possessed vulture with glowing eyes and a colossal painting of a floating skull-like entity amidst a vaporous underworld.
RAT CAVE
Patrons would come to the lab of Professor R.V. Rattinhimmel who would giddily go on about the scientific ramifications of studying the Long Branch tunnel rat. Showcasing one of his specimens to the crowd ended up with them running away into an even worse fate. Finding themselves lost in a monstrous cavern with glowing red eyes around them. As they worked their way through a tight winding crevasse about waist high, they would suddenly feel the crawling and poking of "rats" in the lightless depths of the crevasse. Meanwhile the screeching of thousands of vermin echoed off the walls. Some patrons could not take the experience and had to be escorted to the fire exits.
FINAL CORRIDOR
As if being horrified by the rat-cave was not enough, a hideous hulking brute whose deformed head resembled that of the Elephant Man's would emerge and chase the patrons down a hallway at full speed. They would burst through the door at the end and find themselves finally free from the Mansion's horrors, yet they would be totally disoriented from running into the sunlight after being in darkness for nearly an hour. Often they would lay around traumatized by the entire experience, yet they would happily come back the next week for more.
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