All Rob wanted was a normal life. She almost got it, too: a husband, two kids, a nice house in the suburbs. But Rob fears for her oldest daughter, Callie, who collects tiny bones and whispers to imaginary friends. Rob sees a darkness in Callie, one that reminds her too much of the family she left behind. She decides to take Callie back to her childhood home, to Sundial, deep in the Mojave Desert. And there she will have to make a terrible choice.

Mary is a quiet middle-aged woman doing her best to blend into the background. Unremarkable. Invisible. Unknown even to herself. But lately, things have been changing inside Mary. Along with the hot flashes and body aches, she can’t look in a mirror without passing out, and the voices in her head have been urging her to do unspeakable things. Fired from her job in New York, she moves back to her hometown hoping to reconnect with her past and inner self. What she finds instead are visions of terrifying mutilated specters that come with increasing regularity.

It’s the house of their dreams. Former marine Harry and his wife, Sasha, have packed up their life and their golden retriever, Dash, and fled the corporate rat race to live off the land in rural Idaho. Their breathtaking new home sits on more than forty acres of meadow, aspen trees, and pine forest in the Teton Valley. Even if their friends and family think it’s a strange choice for an up-and-coming pair of urban professionals, Harry and Sasha couldn’t be happier about the future they’re building, all by their lonesome.

Episode Thirteen takes them to every ghost hunter's holy grail: the Paranormal Research Foundation. This brooding, derelict mansion holds secrets and clues about bizarre experiments that took place there in the 1970s. It's also famously haunted, and the team hopes their scientific techniques and high tech gear will prove it. But as the house begins to reveal itself to them, proof of an afterlife might not be everything Matt dreamed of.

Deep in the heart of Appalachia stands a crooked farmhouse miles from any road. The Morrows keep to themselves, and it's served them well so far. When girls go missing off the side of the highway, the cops don't knock on their door. Which is a good thing, seeing what's buried in the Morrows' backyard. But 19-year-old Michael Morrow isn't like the rest of his family. He doesn't take pleasure in the screams that echo through the trees.

When Margaret and her husband Hal bought the large Victorian house on Hawthorn Street—for sale at a surprisingly reasonable price—they couldn’t believe they finally had a home of their own. Then they discovered the hauntings. Every September, the walls drip blood. The ghosts of former inhabitants appear, and all of them are terrified of something that lurks in the basement. Most people would flee. Margaret is not most people. Margaret is staying.

When Louise finds out her parents have died, she dreads going home. She doesn’t want to leave her daughter with her ex and fly to Charleston. She doesn’t want to deal with her family home, stuffed to the rafters with the remnants of her father’s academic career and her mother’s lifelong obsession with puppets and dolls. She doesn’t want to learn how to live without the two people who knew and loved her best in the world. Most of all, she doesn’t want to deal with her brother, Mark, who never left their hometown, gets fired from one job after another, and resents her success.

Once every year, Scoutmaster Tim Riggs leads a troop of boys into the Canadian wilderness for a weekend camping trip - a tradition as comforting and reliable as a good ghost story around a roaring bonfre. The boys are a tight-knit crew. There’s Kent, one of the most popular kids in school; Ephraim and Max, also well-liked and easygoing; then there’s Newt the nerd and Shelley the odd duck. For the most part, they all get along and are happy to be there - which makes Scoutmaster Tim’s job a little easier.

Connecticut, 1666. An ancient spirit awakens in a dark wood. The wildfolk call him Father, slayer, protector. The colonists call him Slewfoot, demon, devil. To Abitha, a recently widowed outcast, alone and vulnerable in her pious village, he is the only one she can turn to for help. Together, they ignite a battle between pagan and Puritan - one that threatens to destroy the entire village, leaving nothing but ashes and bloodshed in their wake.

Twenty-five years ago, Maggie Holt and her parents, Ewan and Jess, moved into Baneberry Hall, a rambling Victorian estate in the Vermont woods. Three weeks later they fled in the dead of night, an ordeal Ewan later recounted in a nonfiction book called House of Horrors. His horror memoir of ghostly happenings and encounters with malevolent spirits became a worldwide phenomenon, rivaling The Amityville Horror in popularity — and skepticism.

Documentary filmmaker Alice Lindstedt has been obsessed with the vanishing residents of the old mining town, dubbed “The Lost Village”, since she was a little girl. In 1959, her grandmother’s entire family disappeared in this mysterious tragedy, and ever since, the unanswered questions surrounding the only two people who were left - a woman stoned to death in the town center and an abandoned newborn - have plagued her. She’s gathered a small crew of friends in the remote village to make a film about what really happened.

Fresh out of rehab, Mallory Quinn takes a job as a babysitter for Ted and Caroline Maxwell. She is to look after their five-year-old son, Teddy. Mallory immediately loves it. She has her own living space, goes out for nightly runs, and has the stability she craves. And she sincerely bonds with Teddy, a sweet, shy boy who is never without his sketchbook and pencil. His drawings are the usual fare: trees, rabbits, balloons. But one day, he draws something different: a man in a forest, dragging a woman’s lifeless body.

In June 1993, a group of young guerilla filmmakers spent four weeks making Horror Movie, a notorious, disturbing, art-house horror flick. The weird part? Only three of the film’s scenes were ever released to the public, but Horror Movie has nevertheless grown a rabid fanbase. Three decades later, Hollywood is pushing for a big budget reboot.

For the lucky among us, life is what you make of it, but for Dixie Wheeler, the theme music for her story was chosen by another long ago, on the day her father butchered her mother and brothers and then slashed a knife across his own throat. Only one-year-old Dixie was left alive, infamously known as Baby Blue for the song left playing in the aftermath of the slaughter. Twenty-five years later, Dixie is still desperate for a connection to the family she can’t remember, so when her childhood home goes up for sale, Dixie sets aside all reason and moves in.

High up on the windswept cliffs of Pale Peak, Faye and Felix celebrate their new engagement. But soon, a chorus of ghastly noises erupts from the nearby woods: the screams of animals, the cries of children, and the mad babble of a hundred mournful voices. A dark figure looms near the windows in the dead of night, whispering to Faye. As the weather turns deadly, Felix discovers that his terrified fiancée isn't just mumbling in her sleep—she's whispering back.