conversations.from: human
conversations.value: Give me a plot for a story about Ellison, Bughuul, Trevor entitled Sinister.
conversations.from: assistant
conversations.value: Sinister (film): The film opens with Super 8 footage depicting a family of four standing beneath a tree with sacks over their heads and nooses around their necks.\nAn unseen figure pulls at a rope attached to a partially sawed-through branch of the tree, causing their deaths by hanging.\nTrue crime writer Ellison Oswalt (Hawke) moves into a home with his wife Tracy (Juliet Rylance) and their two children: 7-year-old Ashley (Clare Foley), an artist who is allowed to paint on her walls and 12-year-old Trevor (Michael Hall D\'Addario), who suffers from night terrors.\nThe local sheriff pays a visit, indicating his dislike of Ellison and his career; his storys have often criticized law enforcement for mistakes.\nEllison has moved his family (unbeknownst to them) into a home where a family was murdered, all hung by ropes on a tree in the backyard.\nEllison intends to use the case of the murdered family as the basis for his new story and hopes that his research will reveal the fate of the Stevenson family\'s fifth member, a 10-year-old girl named Stephanie who disappeared following the murders.\nLater that night Ellison discovers Trevor in a box, naked and screaming, having experienced another night terror.\nEllison finds a box in the attic that contains a projector and several reels of Super 8\xa0mm footage that are each labeled as innocent home movies.\nEllison discovers that the films are actually murder footage depicting different families being murdered in various ways by an unseen person holding the camera.\nEllison notes the appearance of a mysterious symbol in the films as well as a strange masked figure.\nConsulting a local deputy (James Ransone), Ellison discovers that the murders took place at different times, beginning in the 1960s and in different cities across the country.\nHe also learns that a child from each family went missing following every murder.\nThe deputy refers Ellison to Professor Jonas (Vincent D\'Onofrio), whose expertise is the occult, to decipher the symbol in the films.\nJonas tells Ellison that such symbols are that of a Pagan Babylonia deity named Bughuul (Nick King), who would kill entire families and then take one of their children in order to consume his/her soul, leaving the symbol behind.\nOne night, Ellison hears the film projector running and finds the missing children seated in the attic watching one of the films.\nBughuul suddenly appears on camera before physically appearing before Ellison, causing him to fall off the ladder.\nEllison takes the camera, projector and the films outside and burns them with petrol.\nHis wife meets him outside and he tells her that they\'re moving back to their old house immediately.\nAt his old home, Ellison receives a video-message from Jonas, who sends him scans of historical images associated with Bughuul, including the symbol seen in the murder movies; the images have been partially destroyed by the early Christians, who believed that images of Bughuul served as a gateway for the demon to come from the spiritual realm to the mortal world; children who saw the images of Bughuul could be possessed and even abducted into the images.\nEllison discovers the projector and films (from the previous house) in his attic, along with an envelope of film labeled "extended cut endings".\nThe deputy calls and informs him that every murdered family had previously lived in the house where the last murder took place and each new murder occurred shortly after the family moved from the crime scene into their new residence.\nBy moving, Ellison has placed himself and his family in line to be the next victims.\nThe extra footage depicts the missing children coming onscreen following each murder, revealing themselves to be the killers, before suddenly disappearing.\nEllison becomes light-headed, and notices a bright green liquid mixed with his coffee in the cup, along with a note reading "Good Night, Daddy" under the cup before losing consciousness.\nAshley appears behind Ellison, revealing herself to be the drugger, under Bughuul\'s possession.\nEllison awakens to find himself, Tracy and Trevor bound and gagged on the floor of the parlour next to the lit fire.\nAshley approaches filming him with the 8\xa0mm camera.\nAshley then decapitates Ellison with an axe before killing Tracy and Trevor off screen, using their blood to paint images of cats, dogs and unicorns on the walls.\nAshley then views the film of her murders while drawing the murder in the lid of the home movies box.\nThe missing children stare at her through the camera, but flee when Bughuul appears.\nHe lifts Ashley into his arms and disappears into the film with her.\nThe film concludes with an image of the box of films in the Oswalt family\'s attic, now accompanied by Ashley\'s reel, labeled "House Painting \'12".
conversations.from: human
conversations.value: Delete the first sentence.
conversations.from: assistant
conversations.value: \nAn unseen figure pulls at a rope attached to a partially sawed-through branch of the tree, causing their deaths by hanging.\nTrue crime writer Ellison Oswalt (Hawke) moves into a home with his wife Tracy (Juliet Rylance) and their two children: 7-year-old Ashley (Clare Foley), an artist who is allowed to paint on her walls and 12-year-old Trevor (Michael Hall D\'Addario), who suffers from night terrors.\nThe local sheriff pays a visit, indicating his dislike of Ellison and his career; his storys have often criticized law enforcement for mistakes.\nEllison has moved his family (unbeknownst to them) into a home where a family was murdered, all hung by ropes on a tree in the backyard.\nEllison intends to use the case of the murdered family as the basis for his new story and hopes that his research will reveal the fate of the Stevenson family\'s fifth member, a 10-year-old girl named Stephanie who disappeared following the murders.\nLater that night Ellison discovers Trevor in a box, naked and screaming, having experienced another night terror.\nEllison finds a box in the attic that contains a projector and several reels of Super 8\xa0mm footage that are each labeled as innocent home movies.\nEllison discovers that the films are actually murder footage depicting different families being murdered in various ways by an unseen person holding the camera.\nEllison notes the appearance of a mysterious symbol in the films as well as a strange masked figure.\nConsulting a local deputy (James Ransone), Ellison discovers that the murders took place at different times, beginning in the 1960s and in different cities across the country.\nHe also learns that a child from each family went missing following every murder.\nThe deputy refers Ellison to Professor Jonas (Vincent D\'Onofrio), whose expertise is the occult, to decipher the symbol in the films.\nJonas tells Ellison that such symbols are that of a Pagan Babylonia deity named Bughuul (Nick King), who would kill entire families and then take one of their children in order to consume his/her soul, leaving the symbol behind.\nOne night, Ellison hears the film projector running and finds the missing children seated in the attic watching one of the films.\nBughuul suddenly appears on camera before physically appearing before Ellison, causing him to fall off the ladder.\nEllison takes the camera, projector and the films outside and burns them with petrol.\nHis wife meets him outside and he tells her that they\'re moving back to their old house immediately.\nAt his old home, Ellison receives a video-message from Jonas, who sends him scans of historical images associated with Bughuul, including the symbol seen in the murder movies; the images have been partially destroyed by the early Christians, who believed that images of Bughuul served as a gateway for the demon to come from the spiritual realm to the mortal world; children who saw the images of Bughuul could be possessed and even abducted into the images.\nEllison discovers the projector and films (from the previous house) in his attic, along with an envelope of film labeled "extended cut endings".\nThe deputy calls and informs him that every murdered family had previously lived in the house where the last murder took place and each new murder occurred shortly after the family moved from the crime scene into their new residence.\nBy moving, Ellison has placed himself and his family in line to be the next victims.\nThe extra footage depicts the missing children coming onscreen following each murder, revealing themselves to be the killers, before suddenly disappearing.\nEllison becomes light-headed, and notices a bright green liquid mixed with his coffee in the cup, along with a note reading "Good Night, Daddy" under the cup before losing consciousness.\nAshley appears behind Ellison, revealing herself to be the drugger, under Bughuul\'s possession.\nEllison awakens to find himself, Tracy and Trevor bound and gagged on the floor of the parlour next to the lit fire.\nAshley approaches filming him with the 8\xa0mm camera.\nAshley then decapitates Ellison with an axe before killing Tracy and Trevor off screen, using their blood to paint images of cats, dogs and unicorns on the walls.\nAshley then views the film of her murders while drawing the murder in the lid of the home movies box.\nThe missing children stare at her through the camera, but flee when Bughuul appears.\nHe lifts Ashley into his arms and disappears into the film with her.\nThe film concludes with an image of the box of films in the Oswalt family\'s attic, now accompanied by Ashley\'s reel, labeled "House Painting \'12".
conversations.from: human
conversations.value: Give me the first five paragraphs for this story.
conversations.from: assistant
conversations.value: Sinister
  The door rattled and Scratch went limp, figuring his best chance of escape was pretending to be unconscious, then overtaking his captor when it was just the two of them. He heard a dead bolt sliding back, then the door creaked open and he heard the man walking toward the bed.
  The man poked him hard in the ribs and it was all he could do not to respond. He concentrated on keeping his body limp as the man poked him again. Apparently satisfied that he was still unconscious, the man unlocked the handcuffs from the metal headboard. Scratch let his arms drop as the cuffs came loose.
  The man then cuffed his hands together across his body, grabbed his feet, and pulled him off the bed. Scratch's body slammed into the floor and he clenched his jaw so hard it ached, forcing himself to remain silent. He could hear the man breathing above him and figured he was waiting to see if Scratch woke up. Finally, the man grabbed him by the feet and started dragging him down the hall.
  After he'd gone on for what seemed like forever, he dropped Scratch's feet and Scratch heard a door opening. He barely opened his eyes, trying to get a look at the man, but his back was turned and he was hunched over in a van. It was the opportunity Scratch had been waiting for.
  He gathered all his strength and tried to roll over, planning to spring up from the ground, but when he tried to spin, his body barely moved. Pain shot through his limbs and he felt his legs, arms, and back start to tingle. The man whirled around and Scratch went limp again, clamping his eyes shut.
conversations.from: human
conversations.value: Give me five more paragraphs.
conversations.from: assistant
conversations.value: A light inside the apartment came on, illuminating the blue curtains on the window beside the door. A couple seconds later, the door opened and Father Michael peered out at them, half awake and a hundred percent confused. Jackson flashed his badge.
  Father Michael's eyes widened, but he stepped back and allowed them inside. As he shut the door, he looked at Shaye. "You're the private investigator that I spoke to Sunday."
  Jackson narrowed his eyes at the priest. "Then it would surprise you to hear that he attempted to kill a teen tonight. One of the street teens that skates at the dock. I think you know the place."
  Father Michael looked back and forth between them, his expression one of disbelief. As if he were waiting for the punch line. When none was forthcoming, he took a deep breath and blew it out. "Is the child all right? Was he injured?"
  Jackson cocked his head to the side, studying Father Michael. Shaye had been watching him closely during the entire exchange and had found his responses credible, so far, but then more than one disturbed individual had managed to hide in the church.
conversations.from: human
conversations.value: Give me the last two paragraphs.
conversations.from: assistant
conversations.value: He exited the room, motioning for Jackson to follow him into the smaller empty room across the hall. He shut the door as soon as Jackson stepped inside.
  Grayson frowned. "It's more than something." He opened the journal to a page and pointed. "This page details the sale of an eight-year-old girl."