All language subtitles for Victims.1985.720p.BluRay.x264.AAC-[YTS.BZ]

Oh, is this the one that had the girl
getting the ax in the head?

Yeah, that's it.

That had nothing to do with the original
story. I added that in there.

Did you? As an afterthought.

I don't know why I did it, but I did it.

I thought it would help sell it.

Was this all shot in this area here?
This was shot in Buena Park.

Oh, nice.

That's just five minutes from here,
right?

Pretty good effect.

Yeah. But... The best part of the

effect is the camera moving in that way.

See, but it... Oh, we had fun with this
girl.

I don't believe their names are on the
back of the car or anything yet.

Well, I may have put her name. I don't
know. I don't remember her name, to be

honest with you.

I know the girl that got the first one
was a tomahawk. Now, that was at Cypress

College.

Oh, nice.

At Cypress College.

And that's a stuntman playing Bob
Axelrod there.

What happened here was you'll see him
get hit by a car.

He broke the windshield of the car. He
wasn't supposed to do that.

Have you been around this area lately?

Yeah, it's not too far from here. It's
maybe 15 minutes from here. Oh, cool.

Cypress College is between, it's two
minutes from Buena Park.

I wonder if it still kind of looks how
it looks here.

Yeah, it looks the same, basically.

Well,

they didn't show the part where we went
over the car.

Was that all? Do you think all that
stuff was what had been edited out

Well, I don't know why they edited that
out. It was a pretty good bit. But

anyway, I don't know.

Cyprus police.

There you are.

That's not a bad little opening there.
No, it's a matter of two generations.

Yeah. It's abruptly cut. Yeah. That was
my dad talking.

There's Robert.

He... Oh, that's Hollywood. That's...
Oh, Paramount.

No, that was Coinga Boulevard.

In Hollywood. This is Hollywood.

But that's not where he was standing.

Is this all that cutaway stuff that you
were shooting when you had that thing?

Yes, exactly. That's what that was.

Yeah, he's been in some pretty good
movies.

Yeah, that's a bookstore, a bookstall on
Coinga and what used to be there. I

don't live up there anymore.

And this is Buena Park right here.

That's cool that you got away with it.

Having guns in the street.

That girl on the ground there was a...

She was a stunt girl at Knott's Berry
Farm.

I wonder if she's still there.

No.

She's too old now.

Yeah, like these little songs throughout
the movie are really good, I think I

did. Glenn Baxley's very good.

He did the music for the rescore for me
for Three Bad Men. He's very good, and

he also did the score for me for The
Alley.

Yeah, this is a good little song.

I have no idea who these people are.

No idea who they are.

None. Maybe when I see the girl, I could
tell you.

Unless that's at...

I don't know. Maybe he's... I don't
know. I'll see

him better.

So this is all like in the outspirits?
I'm sure there's stuff built around

now. This, if I'm not mistaken... I

don't... I can't remember who shot this.
I have no idea where the hell I am. I

have no clue.

It's not in L .A. County. It's somewhere
down in Orange County or...

Yeah, it's Orange County somewhere.
South Orange County.

Do you keep in touch with that guy at
all?

I have no idea who that guy is.

I don't remember the sequence.

So this all took, you said, 14 days?

No, about 12,

13, 14 days, something like that.

I don't know who these people are. I
have no clue where I even got them.

I'd like to see her again.

Yeah.

Did you ever talk to that other guy? The
guy on the right? His name is Lonnie

Withers. He lives up in Hesperia.

I haven't talked to him in years.

As I seem to recall, this couple were
actually boyfriend and girlfriend.

I think.

I'm not sure.

She's got some little cut -off shorts or
boy shorts.

You don't have a copy of this soundtrack
by chance, do you?

Soundtrack? Yeah, like all these songs.

Oh,

she lifts her blouse here. I remember
that.

Or her skirt, something, whatever.

I remember her face.

I remember her, and I'm trying to
remember where I got her.

Did you have any people bother you while
you were shooting all this?

I've only had one person ever bother me
one time when we were filming, and that

was on Children of the Road, the hobo
movie.

Some raving lunatic came up there and
said, this is my property.

It belonged to my grandfather from a
Mexican grand and all this other stuff.

It was the evening when he came up. We'd
already finished.

But I stood there and told him, piss my
ass.

I was going to stay there and finish.

I don't let people intimidate me at all.

Oh, and the only other time was when we
were making this movie. I'll tell you

about the devil cult.

I'll tell you about that.

In order to shoot scenes like this,
you've got to scout it out and make sure

it's a lonely place. There's nobody
around, you know.

And then you have pretty much carte
blanche.

And you don't go in carrying a lot of
equipment and all that other stuff. You

don't park cars all together.

I remember that.

I remember that.

Have you seen him lately?

No, he talked to me, called me, I don't
know, a couple of years ago.

Maybe more than that, maybe four or five
years ago.

And we talked, and I was going to get
together, but I never got the chance to

get together. I was too busy. But I told
him I'd use him again. He's a hell of a

good actor.

And after we had our little
confrontation down here in location, he

after that.

He looks like Greg Hawks from The Cars.
I don't know if you're familiar with

him. Yeah. He looks like the keyboard
player. A little bit in the eyes.

Yeah.

He doesn't look that young anymore. He's
really weathered. Have you seen him

lately? No, I haven't. Oh, he's really
weathered. I mean, he looks much, much,

much older than he is.

come from like did you watch i spit on
your grave or any of those movies i

saw that movie a lot of people ask me
just did this come from this movie i

i don't i'm not one of those people that
goes out and sees a lot of movies no no

most

of the time i'm disappointed in

what i see

On this movie, were you able to just do
what you want, or did they have, like,

other than what they cut out, it was all
what you wanted to do? I got what I

wanted. I was the guy. I was the man out
there. I mean, I got what I wanted.

The problem I had was with anybody.

Mine and his little disagreement was a
quick thing. It was no problem.

But with the girls, those four girls,
once I got them out on location, see the

oriental girl there?

Oh, yeah, his flashback? Yeah, there's a
scene in there where he's back in

Vietnam, the other guy, and he visits
this Oriental prostitute. She was

beautiful. She was gorgeous. She wanted
to keep filming.

I literally ran out of film after we
shot everything. I mean, I barely made

but she wanted to keep filming.

She was just a wonderful person, totally
wonderful person.

He and I got into a disagreement one
night after we got through filming.

We had dinner and then we were supposed
to rehearse at Lonnie's house. He was

living out of his spirit.

And he said, I don't want to rehearse.

So he said, I'm going back to the motel.
I grabbed him and I slammed him up

against the car.

And I said, look, you son of a bitch,
I'm putting the money into this movie.

And you're going to goddamn well do what
I say or you're out of here.

He was fine after that. Never had a
problem with him again.

I just had to shake him up. It was his
first starring role.

He was just starting out and he was
nervous.

So this girl, another one that caused me
problems.

I thought she was sexy until she took
off that thing, that big ass.

Too big.

It almost looks like she has a bikini
on.

No, no, that was her. That was her
nudity.

That was shot in a house in La Mirada,
as I recall.

As far as where she was running prior to
this, is it the same area? That was in

that same area.

Her husband was a merchant sailor or a
Navy guy.

I knew him from Knott's Berry Farm.

I think that's where I got most of these
people from Knott's Berry Farm.

Well, so far, this isn't as bad as I
thought it was going to be, you know.

No, it's good.

But she had no problem with the nudity.
It didn't bother her at all.

I remember when we shot it, I was
standing right behind the cameraman.

And when she took the towel off, you
looked at me like... I had to hold

from laughing.

Oh, God.

But you get what you get.

Paying them hardly any money, so what do
you expect, you know? Yeah.

So this green car, this car, this
particular one, whose was that?

Do you remember?

I don't remember.

It wasn't mine.

I don't know. At that time, what was I
driving? I was driving a Pinto.

This was the other one that was an
idiot.

What, they cut out the dialogue there
where she sees her mother come in the

door? Oh, no.

Thank

you.

I think that's La Mirada there, too.

Or Buena Park, one of the two, I don't
remember. That's more like La Mirada.

That kind of looks like my aunt's house,
the one that she lives in. Buena Park?

Yeah, that's probably where that was.
It's kind of like that area.

I shot everything pretty much locally
until we got out to the desert.

Not a bad little actress.

Yeah, she's the one that likes to scream
a lot in this movie.

Yeah, when we were editing this, the
audio to clear it up a little bit.

The audio guy I work with, he's like,
they don't make cars like that because

hoods would crush it because they don't
have the steel bars.

It's just one flat roof.

Well, I cut the picture and I cut the
audio and I didn't know what the hell I

was doing at that time.

It's not the first picture I cut, but
it's the first one with sound.

I was learning.

You know who that guy is working on the
bike?

Yeah.

I think.

I may be wrong.

Yeah. That was the... No, I don't know.

I was going to say it was the sound man,
but I don't think so.

May have been.

May have been.

Now this was all shot after we got back
from the desert.

All this was shot after.

First stuff we shot was the desert
stuff.

I was only talking to them when I had to
talk to them.

They're actually not like bad actresses.
Huh? They're pretty good actresses. Not

bad.

Now this guy was a stuntman at Knott's
Berry Farm.

Oh, just because we're women, you think
we can't take care of ourselves?

I didn't say that. Look, it's not a good
idea to be taking cancer. It's a

dangerous place if you don't know what
you're doing. Oh, now we don't know what

we're doing.

Well, I'm going, and that's it.

Well, I guess you've got something to
prove, huh?

Maybe I have.

I'll be home Sunday night, and let's see
if that process works.

He's got like a nice, I don't know if
it's his E28, but he's got a nice

The car?

Yeah.

And this guy

was the sound man's father.

That was the sound man by the bike.

Oh, it was? Yeah. They'd set up the mic.

Someone else was mad at him. I think his
dad was doing the sound that day.

They were from New York, he and his son.

Nice people.

She has like a New York sounding accent.

I think that car belonged to the
assistant director, now that I think

See, now, that's either a copter or
something.

I would not have printed that scene. I
would have gone and shot it again.

That or the next door neighbor's point
is long. Oh, that's what it was, maybe,

yeah. That's what it was.

I wonder if that little kid knows he's
in Victims.

I think that's La Mirada.

That's Glenn singing, too.

Glenn's very good. He's very good.

I'd use him again.

I wonder if he would still have any of
the tapes for this.

I wonder if he would still have any of
the audio for this, like his actual

tracks. I have no idea. I haven't talked
to him in years. I don't know.

I wonder what street corner that is
right there.

I'm sure it's changed a lot.

This is where that couple's in there,
the British guy. And I had to dub his

voice in one part of it. Oh.

Yeah, this guy.

There was a crate called the Urban
Cowboy Crate. Came out in 1980.

Yeah. He was one of them.

He was one of the big ones. He taught
the line dancing. He played at Knott's

Berry Farm.

That's why I remember him now. He was a
hell of a nice guy.

The Travolta era.

Yeah, it was during that exact same
time, 1881.

79, 1881.

And here's that British couple.

That's my voice.

All that right there looks like Benson
or Bisbee, Arizona.

Yeah. Flat like that, huh? Yeah.

Yeah, this is Hesperia.

Had a nice little butt.

Little Huggie.

Don't look now, but I think someone
likes you.

Nowadays, I'd have him take the money,
but I'd have him caress her hand as he

takes the money.

Stuff like that. I mean, you learn so
much.

Sweat rock.

Hello?

And now, just follow the road to the
port, turn left, and you're at the end.

A good old staff is spanking what they
need.

I should tell you.

Yeah, the cameraman named David

Orange Shack, I think was his last name.

He wore all black.

Yeah. He always wore black.

And I read of this piece of junk from
some guy that lived out there.

Did it stall out on you?

Huh? Did it stall out on you?

body maybe?

We filmed this whole sequence totally
different.

Do you remember those two guys?

Huh? Do you remember those two guys?

I remember them, but I don't know where
they came from. I have no clue. I have

no idea.

Oh, I know where they are. The guy with
the beard? Mm -hmm. He was in the nut

show at the wagon camp at Knott's Berry
Full.

He was the guy that they pull up from
the audience, supposed to be there with

his wife, and then they chase him.

And the other guy, I think he was a
stuntman there, too. I think they're all

stuntmen that I use in the thing.

Not. Or actors, you want to call them,
whatever you want to call them.

That should have been a dissolve instead
of a straight cut.

Yeah, she sounds from New York. She has
an East Coast

accent.

And nobody's going to find this way out
of here. End of the world!

Oh, my God.

What do you say we set up camp before it
gets dark? Come on.

This

was

shot in broad daylight in the morning.

So how many people in the crew would you
say were on this movie?

Well... A couple of the guys, like one
of the two bad guys, Lonnie, he helped

carry stuff.

I had a sound man,

a boom man, and I had the cameraman and
me and the assistant director and the

makeup lady.

About six or seven.

Very small crew, very small.

But you don't need a lot of people if
you know what you're doing.

I could have used some more, but I
didn't need them.

See,

now if I were filming this, I would have
shot it totally different, but I would

have come in for close -ups on some of
the important lines here. Right.

Did it get really cold at night during
the time of filming or in the morning?

This is morning. No, not there.

It can be, but the time I shot it, it
was, I

think it was in the spring.

I'm not sure.

So it was warm out there in Asperia.

Like spring of, would you say this is
spring of 81?

Spring of 81. I think it was springtime.
It was 81, I know that.

I'd been in Mott's about a year.

Well, at least it looks like moonlight.

It's just too dark.

I would have to come in on close -ups
because you can't tell who's who.

Scorcher. It'll be a scorcher.

Oh, is this where they go skinny
dipping?

Yeah.

They gave me all kinds of hell about
this.

They wanted to stay in bikini. I said,
no. They kept saying, less is more. And

said, I don't give a shit.

You saw the script. This is what we're
going to do.

Oh, yeah, they ganged up. They were
something else.

But, see, it was all, there was a guy
who was the assistant director.

And he was an old lady, basically. And
he was the one that was instigating all

of this stuff.

I found out later on.

What we were afraid of

here, when we were not there, but when
we got to the spring, was that the

rangers would be around.

Oh, I see.

But there is a spring up there where
they do skinny dipping.

I'd get that and not worry about it, but
I'm always worried about that. Somebody

watching, you know, whatever, busts you
or something, you know.

But as a consequence, I never quite got
what I wanted in this scene coming up.

As far as them skinny dipping?

Yeah, I never got what I wanted.

We can find out four of them and shoot
it again.

I would have shot more close -ups.
That's what I would have shot, and more

nudity than they showed.

That's what I would have done. At that
point, I was so goddamn mad, I was

talking to them anyway.

You know, you're financing something,
you're under a lot of pressure.

You only have two weeks to do it, and
you're out there in the desert, and

working. Constantly. There's no break
except for lunch, quick lunch and bam,

were up and out of it.

And then when they give you trouble,

it just wasn't,

it was not a pleasant experience making
this movie.

That girl looks pretty fit.

Hmm? That girl looks pretty fit like she
went to the gym.

I think that's called Deep Creek, and
it's the place where they go skinny

dipping now.

And at the time, I didn't know that. I
just found that lake. I was like, let's

go in there.

Let's do it there.

I like the way the shot is composed
there. It's kind of a nice little shot,

though.

So as far as victims, did you have any
other locations that you wanted to shoot

this other than the desert or you always
thought it would be? No, I shot a lot

of stuff in the desert back in those
days. No, I thought this was a perfect

place for it. In the desert, you don't
have to pay for any locations there.

Nobody's going to bother you.

You're away from everybody.

And I like the landscape because I can
get some pretty dramatic stuff with it,

you know.

In those days, I didn't know much about
light and shadow either.

Now, I love doing film noir because I'm
an expert at light and shadow anymore.

So, I don't know. It's more fun to me
now. Much more fun.

Because when you're learning, you're
learning. You don't know all the answers

stuff. You know what I mean? Yeah.

Wait.

Funny how you remember those things, you
know. You remember a line or whatever.

in the car.

Big old boat of a car, huh?

Yeah.

Yeah, this is when all the bad things
start happening.

Oh, the girl gets bit by a snake or
something, too?

Or falls?

Yeah. There's a snake in here.

Yeah. The snake. I never saw one snake.
We're out in the desert. You know where

I had to get the snake?

From the ROP school down here in Orange
County in Anaheim, they have one there.

Oh, really?

Rattlesnake, yeah.

Yeah, it's that girl that's walking up
to the top.

Hmm? Yeah, the girl that's walking up to
the top. She's the one that gets...

Yeah. She falls back, I think. Yeah.
Messes up her leg.

I remember this just like yesterday,
shooting this scene. Just like

Yeah,

it was a nightmare for me.

It blended in. It worked well. I mean,
it worked fine. No problem.

See, at that time, 1981, you could make
a movie and not have anybody in it would

sell. Especially a movie like this.

Now, just imagine if I'd had another,
let's say, 10 grand, 15, 20 grand more.

could have put some much prettier girls
in it. I could have had more production

value. It would have been phenomenal.

But this is bare bones, as bare bones as
it gets, you know.

Still, it tells a story.

So for the artwork, like the painting of
the key art for victims, did the guy

see the movie, or did you just kind of
tell him what it was about?

No, he saw the movie, I think.

The artwork that we did for,

I'll see if I can send you a copy of it.
The artwork we did for, it's on loan.

The two Pamelas, out of this world,
different guy did it all together. I

friend, if you ever need artwork, he's a
student at UCLA.

He's a Hindu, and he's phenomenal.

Now this, this was shot way down in
South Orange County, and I was the

guy pushing all the rocks over off
camera, and it made it look like it was

something more than that, but it took us
all day to shoot that goddamn thing.

That was a lot of work.

A lot of work. One guy pushing all those
rocks and somebody down there filming

it.

Yeah, that really big one looked like it
was leaning towards the right toward

the camera.

Well, when you're down there with the
camera, it could have hit something and

moved toward the camera. It could have
wiped the camera out. That's where it

looked like it was going.

I have the... Oh, no, that was David
Orange's camera.

Now, see this place here? That natural
little cave?

We were filming there for two days.

Look at that ass. That's nice.

And on the third day, we'd finished
everything. I was standing there looking

back this way, down in the valley, and I
saw our cars were parked way across the

valley. And I saw this whole bunch of
cars pull up near ours, and a bunch of

people get out, like hippies, kids,
whatever, adults.

And then they're looking around, and one
of them points and sees us. So they

come across the valley, up the hill, and
I told my castors, uh -oh.

They get up there, and they were like
satanic people.

And they said, what the fuck are you
doing here?

I said, we're making a movie.

They said, well, you get the fuck out of
here right now.

I said, okay. So we left.

Then I found out later on from Ronnie,
who lives up there, that a satanic cult

is known to be in that area.

But there was a pentagram inside that
cave.

Somebody had burned it into the ground.

Ashes of it.

Or on the rock, I don't remember which.

I wonder if people are still doing that
kind of stuff up there.

We left a pentagram when I did Mark of
the Beast. That was a big production. We

left a big pentagram.

Some guy had built a little house out
there out of stone, carved it into the

rock. It just was a vacation home.

Lonnie started out with me in the
theater as a theater actor.

1973.

Yeah, 73.

So I'd known him for about eight years
when we did this.

Do you use them?

A couple more times? I used him again. I
used him in, he had a small but a very

great part in Streets of Death. Played a
pimp.

And it was terrific.

That was shot very well, the light and
shadow one. I liked it a lot. I liked

that movie.

I think he's gained a lot of weight now.
He and his wife are enormous beer

drinkers, and I think he's probably
about 250 pounds or more, so he wouldn't

good in a movie anymore.

I haven't talked to him in years anyway.
He's a hell of a nice guy, but, you

know, people move out of the area, you
lose touch with them.

We kept in touch for the first few
years, and I'd go up there and see him.

Did he end up watching this movie when
it was completed? Did he let you know

what he thought?

I don't remember, to be honest with you.

He may have.

He may have, but I don't remember.

I'm sure he liked it.

Hell, he was in it. What's he going to
say? I didn't like it.

He was in it. He had a good part.

Did they stick to the script as far as
what they say, or did they kind of ad

-lib stuff? No, nobody ad -libbed
anything. I wouldn't let them.

Now it's different.

If I have a theme with some people, as
long as they get the gist of the scene,

if they want to ad -lib, and ad -lib is
germane to what's going on, I'll let

them get away with it. If it's not, and
they start off with something else, when

you tell them... See, I'm a writer
first, you know. I told you who I've

for.

First thing is the word. The spoken word
is very important to me. But if

something happens in the scene that's
phenomenal, keep it. I don't mind that.

But these people were not savvy enough
at that point to ad -lib anything.

So they didn't.

shoot this differently, too.

See,

I'd get a close -up of the barrel
against her groin. Each girl.

Put that in there.

Make it more powerful.

So when you shot this, you had one 16mm,
right?

One camera?

What the hell did he use? I can't
remember.

I had the Bolex, but it wasn't the Bolex
he used. It was something else.

I ad -libbed his voice in this theme too
because he wasn't around to dub it.

That's me speaking.

Trying to sound like Lonnie.

That's me.

Sound like him?

A little bit.

I like this little trip she does. It's
natural, see?

It makes her seem more pathetic, more
vulnerable.

It just happens.

Jesus, he says.

Oh no, that comes up later.

Oh, he did say it.

Get up.

I said get up. Get up, or I'm going to
blow your friend's head off.

I think she was probably the youngest
girl out of the four. She was. She was

youngest one.

The oldest one was the driver.

Okay. And then I think this one in the
black hair, and then Jerry.

It's a Scorcha, and then this girl here.

She looks maybe like 20, maybe 21, or
maybe even younger.

It's funny how I cast them. I cast them
all in a hotel over by the L .A.

airport. I had no office.

Yeah.

And I just, we found a room in a hotel.
The guy let me use it to interview him.

That's how we cast it.

Did you have more than four girls show
up?

No. Just the four and then you did that?

Oh, I used what I had.

See, I would have got close -ups, too,
of their faces when they're talking.

Because you've got to see the
expression. You've got to see what's in

So when you cast them or when you told
them about this... Well, they read the

script. Did you put an ad in the paper
or something? Oh, yeah, I did put an ad

in the paper and that's how that went.

Do you still have that ad?

Oh, I don't know. No, hell no, I
wouldn't have that ad.

See, in those days, I'd finish something
and that was it. Yeah.

Axelrod was the best thing in the whole
movie, I thought.

I thought he was very good.

Yeah, he's a good actor.

Pretty powerful stuff, even today,
really, when you think about it.

Rape and all that stuff.

Somebody remarked, look at the shot
again. There, see the penis rock?

Somebody remarked about that, that it
was the director's symbolism.

It hadn't even occurred to me.

That's a damn big step for you.

That or not.

Gotta get to the first aid kit.

It's a Scorcher.

Yeah. It's very Jewish, very New York
Jewish.

Schlesel, her last name means key in
Yiddish.

Jerry Key.

Hurry up! I wonder if we were to walk
outside and see any of them, if you

recognize them.

Probably. I never forget a face.

Some people change dramatically.

Others don't change at all.

It just depends on the person.

But I can usually remember a face. I may
not remember the name, but the face I

generally remember.

Generally.

So right in there is where

that cult would do their thing?

Yeah, we were up on a hill here.

And across that way was the valley.

He did the reading beautifully.

I

love

the effect when she slams a car down on
his knuckles and breaks his knuckles.

I'm surprised

that they have a first aid kit.

Yeah.

So when you had a car like that, was it
also a hatchback?

That wasn't my car.

I don't know whose car that was.

At that time, I was driving a... The
Pina? Yeah, the Pina.

Oh, that's it. I think that was a
Datsun.

It looks like a Datsun, doesn't it?

Yeah, but it wasn't mine. I don't know
whose car that was. I have no clue.

It may have been the makeup girl's car.

I don't know.

Oh, no, no, 81?

Yeah, 81, I was driving a Pinto.

I had a Pinto Fastback.

Not the hatchback, the Fastback. It was
kind of unique. I loved the floor shift.

It was a great car.

It had 250 ,000 miles on it when I gave
it away.

Perfect condition.

I gave it to a friend of mine, wife.

She really was scared up there.

That's why she bent down like that.

Yeah, she's not wearing any shoes or
anything.

Nowadays, I would have had a stuntman go
over and then a dummy.

On Mark of the Beast, we had a stuntman
break his back and his leg.

Remember I told you they set the fiancé
on fire and throw him off the cliff?

Yeah. There was a descender rope on him
like that. You couldn't see with the

harness.

And we had four cameras set up.

And the guy that was running the
descender rope had let some slack in it.

75 feet.

Wow. And so when he fell, it was
beautifully shot, but he hit.

He never stunted again. Steve Davis.

I have a friend who worked on the
original Conan the Barbarian, and

like that happened where I think the guy
passed away. He fell off a cliff,

turned into a stunner.

Oh, this is that Oriental girl. I liked
her.

I could have filmed her all week.

She was a real player. I liked her. She
was gung -ho.

So this was shot after the movie? This
was shot after the other stuff was done.

If you would have found her beforehand,
would you have made a use for her?

Hell yeah, in a heartbeat. She was a
wonderful person.

Just as gung -ho to do whatever we
wanted her to do, it didn't matter.

She was just great.

You know, when you find somebody like
that, you want to use them over and

I have never been, I've never had
problems filming anybody hardly ever.

This one and two Pamela's were some
problems, but not much. But this one was

a class by itself because when it was
over, I never wanted to see these girls

ever again.

And these whores.

You

see

yourself the way they're dressed.

So you see, bitch, we're too good for
you.

His friend's death was natural.

But in his case, justice has been
served.

He paid first time for his life.

So if he died, he was a justifiable
homicide.

Then we'd have to live with the memory
of your death for the rest of our lives.

And we've had enough pain already.

I'm going.

Years. That's my

knife they use, by the way. My hunting
knife.

My Bowie knife.

It's lost. Somewhere it got lost along
the way.

That one right there? Yeah, not there.
It got locked somewhere. It may have

gotten locked. I don't know. It was a
great knife.

I worked on another movie and it was
called Satan's Blade and they threw a

like that in a tree and a few of them
were lost somewhere in Northern

California. That always happens.

He's reliving the thing with the
prostitute.

Okay, can you stop it now?

I don't want to see the last part of it.
Okay.

Then we can do the interview because I'm
going to have to get going here.

All right, everyone, as you heard, Jeff
Hathcock had to go.

We actually ended up doing an on -camera
interview after this. I asked him some

questions in regards to the film, see if
he remembered anything, which he

remembers quite a bit.

But basically, Victims was shot in the
springtime of 1981.

He was working at Knott's Berry Farm at
the time and decided he wanted to shoot

a film with the week off he had at work,
and he asked for an additional week off

of work and got it.

And then he put an ad in the paper, and
he saw four girls in a hotel room, and

he cast the four girls that came, which
are the girls that are in the film now.

It was shot up in Burbank, which is
basically right by Knott's Berry Farm.

It's maybe about a 20 -minute drive from
Los Angeles.

Then it took him another year after the
film was completed to do the audio and

also to cut the movie together from the
16mm print.

So it got picked up by Scimitar in 1984
and it was distributed in 1985.

So Jeff had sent them the master, the
16mm print of the film, never got it

So he has absolutely no idea where it
is. We try to find it.

but have no clue as to where it can be
at this time.

So we did use another source that I had.

It looks as good as it can be for what
it is.

We cleaned up the audio a bit because it
was really difficult to listen to.

But, yeah, we appreciate Jeff for doing
the interview and taking a couple hours

out of his day to do the commentary for
most of it.

There's only about seven minutes of it
or so that are missing.

But we're hoping to have this released.

I would say March of 2017.

Today is December 18th, 2016.

So yeah, we should be coming out with it
soon.

Thank you, everybody. This is Paisley
Charan with Slasher Video.

There you are. Now you know what kind of
girls they were.

The two men, what were they doing?

I recall it seemed like they were having
car trouble.

They popped over to the side of the
garage with a hood out.

Have you seen people?

It looked like they were acquainted with
the girls. I saw them talking to the

girls, and they were smiling, too.

It certainly looked to me like they knew
each other.

What happened then?

The girls got in their car and left.

Did the men go with them?

No, they were still there when we left.

But I saw them waving to the girls as
they drove away.

Waving? Well, you know, like this.

Thank you. You've been very helpful.

We'll call in again if we need to talk
to you.

It's dope, Marshall. That's what's
ruining our young people. I'm sure

find there's dope and sex involved.

You may be right.

I just talked to the hospital.

The girl's got a fractured hip, but
she'll be okay.

The only physical damage to the man is a
gunshot wound in the left fall.

The real problem is mental. They say
it's completely massive mold.

Maybe something's scared him. Could be.

Let me know as soon as the boys get back
on the same flight.

Your folks have been notified.

They're on their way.

How's Jarvis?

He's okay.

But your male friend, he's in bad shape.

He's not our friend.

We told you what happened!

Until he's able to talk and tell us
about his story, we have to do it.

All I got is your word for a
declaration.

Physical examination will prove that
we're telling you the truth.

All that will prove that you have to
intercourse with him.

Right now, I got a man out of his mind
with a bullet hole through his leg.

From all I know, he may have been the
victim.

You see?

a heck of a lot easier for all of you if
you tell me what you did with the

money.

What money?

The money from the gas station hold -up.

I don't know anything about a hold -up.
What are you trying to say?

Ladies, a man who has gotten that hold
-up has been serious enough.

But if that attendant should die, you're
going to find yourself in more trouble

than you ever dreamed of.

So help me God, we don't know anything
about any gas station. Hold up!

Oh, God.

All right.

Have it your own way.

I just don't understand your tricks
nowadays.

Think you're always getting yourselves
into trouble.

They brought the body in. Found him in a
ravine where the real city was.

The tow truck's bringing in the girl's
car and the one stolen at the gas

station.

Any sign of the money?

Nothing yet.

They did pick up two hunting rifles.
Most likely the ones used in the

All right, good work.

Oh, that truck driver that picked the
group up.

Get his name and phone number. I'll
probably want to quote them again.

We found the body where he said it was.

And some cars with rifles.

We'll be just a matter of time before we
find the money.

It would be to your benefit to tell us
the truth.

We told you the truth, but you won't
listen.

Okay, ladies. Any way you want it.

But let me tell you how it looks from
here.

You all planned a robbery together.

Then you hightailed it to the hills.

You drank, smoked pot, had your little
Aussies.

Somebody got killed.

Tempest blazed.

There was a shootout, and one man died.

Then one of you thought up the right
story.

and died a few months ago.

But not before we gained consciousness.

It was clear during any part of the
robbing that it was two men.

They forced him to tell them where you
were going.

He still wanted to press the rape
charges against him.

They'll have to dismiss what he found
later.

From what I saw of Mike, it won't make
much difference since he mentally

his pants right out and made out with
you.