Eve reenters the dark, silent house and discovers that the power does not work, even though the rooms otherwise look normal. In the kitchen, she finds the table neatly set for six, which makes the house feel staged and threatening. The phone stolen from the impostor Charlie starts ringing, and when Eve answers, the fake Charlie desperately tries to find her. Eve hangs up, then sees a motionless figure sitting at the table; it suddenly jerks upright and scuttles away into the darkness.

A moment later, the real Charlie calls weakly for help from upstairs. Although Eve suspects another trap, Eve decides to stop running and follows the voice to the second floor. At the half-open bedroom door, Eve finds the hospital-gowned woman standing inside with a hammer. The woman tells Eve that she has to hide, then begins a countdown, turning the encounter into a game of hide-and-seek.

Eve tries to escape instead, but the front door is locked and every window is now covered with iron bars. Realizing she cannot get out and hearing the woman racing through the house, Eve flees into the basement. In the darkness, Eve moves past brick pillars, beds, and a wheelchair, then squeezes through a narrow passage into a hidden nook. There, Eve opens an olive-green door marked with the strange circle-and-lines symbol and barricades it from inside.

The hidden room is crowded with paintings of the house in many different states and time periods. Eve finds a family portrait that appears to show Thomas, Alison, and their parents, but a closer look reveals that the boy resembling Thomas was added later with different paint and a cruder hand. Nearby, Eve discovers photographs of a very different family life: a relaxed father with tattoos, a mother in rock-band clothing, and a laughing girl who looks like Alison. Thomas appears in none of the photographs, and details such as a lantern, the chocolate Lab, and a shirt bearing the same symbol further connect the images to the house and its mysteries.

At the bottom of the crate, Eve finds a note apparently written by Alison to herself. The note insists that Alison is not "Alina," that Thomas Faust is not her brother, and that he has been in the house since before it was built. According to the note, Thomas changed Alison's memories, inserted himself into her family, and replaced her real parents, Elijah and Vera, with mimics. The note also warns that fighting the false reality directly only deepens the trap, and says the only way to break Thomas's hold is to play along until he becomes angry or afraid enough to reveal his true face.