Cortona House, 19 Broadmoor Avenue

August and Phil are running from a growling entity.

An artist named Damon is recording his next album there. A girl named Tessa is working the rental, but she doesn't like The Roman Agency. She thinks they're unprofessional.

A man named Russell with long gray hair owned the house, but when he died, he left it to his great niece.

Luke sells it with everything he's got, while leaving out the little something extra that comes with the house.

Russell is the ghost, and he's oozing black tar like stuff from every orifice. August tosses a metal ball at him, and he is sucked into it.

Tessa is a pain in the ass.

The house is still possessed. Luke feels a youthful presence, and a slinky coming down the stairs proves it.

The Catholic Diocese owned the home before Russell. Phil visits the Catholics to get information about it.

A Sister named Yasmin greets Phil. She has hears stories about him. He was a drunk. She wants to help Phil with information since it's time to wake a few sleeping dogs.

Maybe a child is singing oooaaaaoooooaaaaooooo. Luke calls out. Hey. But he's gone. Cross my heart.

The kid tosses out a firetruck, and Luke looks under nearby furniture but doesn't find anyone.

Damon is super happy to be there. He felt like he lived there in another life. He grabs a doughnut from the girl at the door.

There are Army men in the studio.

Damon is freaked out when they hear a child on their recording. Luke calls Damon the ultimate Stradivarius of his time.

Susan has arrived for a guy named Mr. Mo to make food for Damon.

The patron saint of unwed mothers and prostitutes is who the Cortona house was named for.

Yasmin asks Phil not to forget about the good that the Church does. He thinks that's a given.

There are archives aplenty for Phil to comb through. He's impressed with Yasmin, who has a fiery streak. She's not a yes-nun.

Talking to her reminded Phil of something that happened not too long ago. There was a little girl ghost. He heard music, Mozart's Requiem. Sitting in the back pew, he let the music wash over him. He hadn't heard it since he left the Church. It helped, and he was surprised.

He says that Jesus could have taken away the strength and comfort he felt in that moment, but he didn't, and Phil appreciates it.

While Susan and the musicians are eating, a slinky goes up the stairs. When Damon goes upstairs, it comes down. When he gets to his room, the little kid calls to Damon to play with him.

Going through the adoption files is depressing for Phil. His husband says that what happened with the Church isn't his problem anymore. Phil admits that he misses it. The communion, the music, the rituals. He misses the hope of believing that someone kind and benevelent and wise is crafting our destinies.

Tessa wakes up, and there are thousands of Army men all over the room.

Damon's brother thinks Damon did it so she'd stop trying to rush him out of the house.

The metallurgy of the slinky places it in the '60s. Phil reveals what the house did, allowing women to give birth and put them up for adoption to pretend like it had never happened.

Only children who couldn't be adopted for various reasons ever lived at the house. As Phil shows photos, they realize that a young boy lived there until 1970, when he was never seen in photos again.

Damon sits at the board and hears the oooaaaaooooaaaooo and wants to record it.

Susan is talking with the brother upstairs when the little boy sends the firetruck toward Damon's feet.

Susan explains real estate in hip hop terms.

Damon thinks that the house is reminding him of his own childhood to get creative, but soon, little George the orphan appears and wreaks havoc.

Phil has a very private moment with Sister Mary Ellen talking about the home for unwed mothers, and she eventually lights a candle for George and his mom and all the unwed moms that never made it back.

Luke helps George go into the light, and he's reminded that his mother is still a giant weight hanging over his head.