Original subtitles

[thunderclap]

Downloaded from YTS.MX

Official YIFY movies site: YTS.MX

[screaming]

- [Newscaster] A riot has erupted at the Patterson Theater

in Baltimore during a midnight screening of a horror film.

- [Man] They burned that film.

- [Reporter] There is some speculation

that the body may be that

of local filmmaker Karl Atticus.

- [Trooper] A weapon was located near the body

that's capable of producing the type

of trauma that was displayed.

- [Man] I don't think anybody liked the guy.

I'm not surprised he's dead.

He's probably rotting in hell

where he belongs.

- Do you know anything about Karl Atticus?

- That's a name I know.

He was renowned for using dead bodies in his films.

- You're better off not even

mentioning his name.

- That name is a death sentence

for anyone in the film industry!

- Listen, too many people disappeared

after that movie...

- [Man] Devil made that film...

Devil made that film.

[eerie piano theme]

- We were actually shooting "Blair Witch"

in the fall of '97

and there was a guy on the set

that we hired and he was kind

of an expert on all kinds

of mythology of Maryland.

He was kind of helping us build

the mythology and stuff for "Blair Witch."

And he started telling us about "Mortal Remains"

and this guy Karl Atticus

who was this filmmaker that was

supposedly a member of a cult

and the rumor was that he was

taking bodies out of cemeteries

and then shooting his films

with these cadavers.

He did this film

and it never was released,

all the prints were destroyed.

And then he supposedly killed himself.

- [Mark] Ed Sanchez mentioned that you told him about

a Baltimore filmmaker from the '70s, some guy named Karl--

- He told you about this?

This is not something I should have ever told him about.

You mention this guy's name, and bad stuff starts happening.

- [Chris] -Karl Atticus?

- Yeah, I remember him, he was

a fairly unpleasant individual.

- Really?

- Yeah, I didn't like working with him but I had to work,

it was a job.

- [Mark] Would you happen to also know where a

print of the film is?

Nobody seems to be able to find a copy of "Mortal Remains,"

a print of the actual film itself.

- [Man] Hopefully it's buried somewhere.

And who knows, he might have people buried with it.

- They were what my father would call "butcher films."

- That movie is sick! It's sick!

- Can you tell me what was so disturbing about it?

- Right after "Blair Witch,"

people were sending me all kinds of things,

on VHS and e-mail and stuff.

Somebody sent me an e-mail with a Quicktime on it,

with supposedly 30 seconds of "Mortal Remains" on it.

[eerie music]

- [Chris] -Karl Atticus, a filmmaker?

- Karl Atticus, oh boy... He was someone that, well,

he did some films I think in the late '60s, early '70s.

Most of them were based on books by Vernon Blake.

He was kind of regarded, I guess, as one of the

pioneers of splatter films.

In the early '70s, I guess people just weren't ready

for that kind of thing back then.

- [Chris] What do you know about him?

- Well, he did a movie I believe in the

late '60s called "Culture Shock,"

and then, from what I remember, there was a

little bit of controversy,

there was a film in the early '70s

that was called "Mortal Remains."

[Mark] Does that film still exist?

- Um... Well, in bits and pieces I guess-

- [Mark] You don't know of any copy or

print of the film that exists today?

- No print, I have no idea...

You know, if anybody would be able to locate a

print of that film,

that would just be a total goldmine.

- [Chris] All right, let's check out Loch Raven.

Municipal Loch Raven.

- [Mark] Welcome to Main Street. This is pretty much it.

- [Chris] There you have it.

- [Mark] Well, one thing's for sure,

if he came from this small a place,

I mean,

literally nowhere,

it simply means that no one else is

going to remember this guy.

Which is good for us,

because if nobody remembers who Karl Atticus was,

then we may actually be sitting on a goldmine.

- [Chris] Nobody remembers.

There was nothing even online.

We'll unlock the mystery of Karl Atticus.

His mystery will become our history. [laughs]

- [Mark] Chris and I met in high school in the late '80s.

Since then we've always had film in common.

- Ah, Albert.

Good to see you.

Come finish this program-

[explosion]

[screaming]

- [Chris] We were making YouTube videos before

YouTube even existed.

- Hey! [whistles] Listen, you're gonna need to

help me here, buddy!

I'm stuck in the TV, somewhere In the VCR unit,

and I need to get the hell out!

- [Chris] You're stuck?

What do you mean stuck?

- "What do you mean stuck?" S-T-U-C-K,

I'm stuck, for crying out loud!

- [Chris] Well, how the hell did you get stuck in the VCR?

[suspenseful music]

[screaming and choking]

- Hey, hey! Hey-

[thud]

- [Chris] And then "Blair Witch" happened.

- [Mark] We were floored.

How did these guys manage that?

- [Chris] We actually went to high school with

the director, Ed Sanchez.

- [Mark] He became an instant idol to us

because he was a hometown boy who'd made it big.

- [Chris] We always thought we'd be

the ones to make it big.

- I'm sorry to Chris's parents...

- [Chris] Like everybody else, we made a parody.

- To my kindergarten teacher, Mrs. Klinglesmith...

- [Chris] We sent it to Ed. It reconnected us all.

- [Mark] Which led to us making a documentary

on the how and why of the "Blair Witch" phenomenon.

Naturally, the first thing we wanted to do was interview Ed.

We asked him to share stories from the set of "Blair Witch"

which perhaps no one had ever heard before.

- [Chris] That was the first time

we ever heard about "Mortal Remains,"

or its director, Karl Atticus.

So we just got a call from Ed Sanchez.

It's a very interesting message.

Pay attention to what he has to say,

I think you'll find it most enlightening.

- [Chris] There it is, right there.

- [Mark] I don't know, I still--

- What do you mean, you don't know?

He's talking to producers! He said there's some interest.

Do you want to be broke forever?

This is worth looking into, absolutely.

- [Mark] I still think we should do the "Blair Witch" thing.

"Blair Witch" has a built-in audience-

- [Chris] A built-in audience?

What, we're gonna make a couple of bucks making

a documentary about somebody else's movie? Come on.

- [Mark] Well, all I'm saying is,

if we go through all the trouble, and nobody's interested...

Ed's not saying, Hey, come on out here

to Hollywood and meet these people,

he's saying, finish the film.

What happens when we're done with it and nobody likes it?

- [Chris] Why do you think no one's gonna like it?

He already said there's interest in it.

- [Mark] Nobody knows about Karl Atticus!

- [Chris] They will when we're done!

So you've lived here in Loch Raven all your life.

- [Man] All my life.

- [Chris] Does the name Atticus ring a bell?

Especially Karl Atticus?

- No. No.

- I've never heard of him before.

- Doesn't ring a bell.

- [Chris] No?

- No.

- Nope, never heard of him.

- Never have, no.

- That's kind of the consensus on Karl Atticus.

- They lived in a house down the street.

It burned down years ago.

- Right down the street, they used to live?

- And then they moved out to Howard County in the

country and lived in a house there.

- Another house?

There was one guy in particular, Karl Atticus...

- [Man] A young fellow, is that right?

- [Chris] Yes, he was a filmmaker.

- [Man] Oh yes, yes, he was there, he lived there.

- [Narrator] Karl Atticus was born on

October 4th, 1947 in Loch Raven, Maryland.

- [Chris] You grew up with Karl Atticus,

you knew him very well?

- I guess I met him in the late 50s,

it would have been '58, '59.

He was a couple, several years older than I was.

Kind of a sickly kid.

I can remember going by his house

in the neighborhood with the quarantine signs up.

He had polio, so he was quarantined for a year.

Because of that he started reading a lot at an early age.

If I can remember,

he read Lovecraft,

and Poe,

and then he got into some southern gothic writer.

Blake, I think that was his name.

He was very much...

almost obsessed with this writer.

- [Narrator] An only child, Karl was the son of

Margaret Cordelia Cowan and Ivan Atticus III,

a professor of history and literature

at Johns Hopkins University.

- Professor Atticus, um...

A very creepy guy.

A very private man...

There were a lot of rumors,

stories revolving around him.

- [Roland] I recall one time, we were just kids,

and we went up into the attic

and we found this old chest.

We opened the chest up,

it belonged to his father,

and there were a number of strange things in there,

robes and knives,

and any number of Vernon Blake novels.

- [Narrator] Police records indicate that

Karl witnessed the death of his father

in an unexplained car crash in late 1950.

- [Anne] It could have been suicide.

I know for a fact that

his wife committed suicide, many years later.

- His mother, I guess this was in the late '60s,

wound up taking her life.

No doubt, it was very traumatic for him.

It devastated him.

It was a wound that, no doubt, he carried--

- [Chris] And he was left all alone, I guess?

Yeah, he was pretty much alone,

and at that point he started

to really go downhill.

He became -- withdrawn.

Dark.

He was just distant.

It was like something had really changed in him.

[desolate piano]

Now that I think about it,

a couple of weeks before he went missing,

Karl left this cigar box on my porch

that had some photographs and clippings,

and some strange things.

- [Chris] That's not something you still have, is it?

- Oh, yeah.

I think it's up in the attic.

I guess I've held onto it because

he was a friend at one time,

a childhood friend, and I feel bad about the tragedy.

Ah! That goes way back.

- [Chris] Is that you? My God.

- Yeah.

- Who's that?

- That's his mom.

I guess she went to Johns Hopkins too.

I don't think this is a high school graduation.

Her husband, Karl's dad, was a professor there.

- Makes sense.

- And this is what, I'd forgotten about this...

- [Chris] Jeez.

- Yeah, it's strange.

That must be Karl.

Unbelievable. I haven't seen this in years.

- [Chris] That's incredible.

Do you mind if we borrow and scan some of this stuff?

- No, help yourself.

- [Chris] Thank you so much.

- [Mark] There's a tape in there too.

- Yeah, the tape...

Just before Karl died he left a message for me.

It freaked me out. It's a strange message.

I'd forgotten all about that.

- Well, here we are at Black Hills Cemetery,

and it's not open for business yet.

- [Mark] Whose idea was it to show up

at 7:00 in the morning?

- I would have to say...yours.

- [Mark] No, no... [laughs]

Let's go get some breakfast.

- Good idea.

[melancholy music]

- [Mark] Did you contact the Baltimore police department?

- [Chris] Yes.

- Did they get back to you?

- Not yet, no.

- Did you contact-

- Shut up and let me get the shot, will you?

- [Mark] How big is this place?

- Pretty big. It's a big old cemetery.

We should go to the office.

I bet they have some kind of a register.

- [Mark] The problem is, I'm stepping on shit,

and it's like- Look at this,

there are stones here that aren't even marked.

- Well, those are obviously way too old.

Maybe there's a groundskeeper or a caretaker

around here we could ask.

- [Mark] Tell you what, why don't we-

- [Chris] There's a guy right over there.

We could ask him.

Sir? Excuse me, sir?

we're trying to find a particular grave.

Did you ever hear of a Karl Atticus?

- That crazy movie guy?

- That'll be the one, yeah.

is he around here still?

- No.

People were always trying to get into his grave.

They moved him.

- [Chris] Get out.

They moved the body?

Yeah.

I have no idea where.

I know he has a family plot around here somewhere,

his family's laid out here.

- [Chris] You know where that is?

- Somewhere in that area over there.

You'd probably have to go to the office and find out.

- [Chris] Fantastic! Thank you very much.

- You're quite welcome.

- [Receptionist] This should be the book.

- How do you spell that name?

- [Chris] A-T-T-I-C-U-S.

[eerie music]

- Looks like that index page isn't in here.

That's strange.

- Is that the right book?

- Yeah, this is definitely the right book,

it's just-

The Atticus name should be on-

-there, and it's not.

Let's just try the-

There's about four pages not here.

This is very strange.

- [Mark] Would somebody maybe remove them

for a particular reason?

- Well, if somebody needs to make copies

for any reason, they should take them out,

but they should immediately replace them.

- [Chris] Maybe somebody was careless.

- And my boss isn't here right now for me to ask him,

and I certainly wouldn't want to go through his desk.

But...

Wow.

These books are very special,

and we never leave anything out of them for very long.

The only thing I could do for you, under the circumstances-

I'm gonna put a marker in here so I can tell him.

- [Mark] This is the end of the road, then.

There are no other sections.

- Well, this is the area she pointed to on the map, but-

I don't know, it's 1973 we're looking for...

There's a lot of stuff from the 1800s here.

- [Manager] Hey!

- [Chris] Hello?

- You guys were in the office?

- [Chris] A moment ago, yes we were.

- [Mark] Can you help, actually?

- We were trying to find a plot,

a fellow who was buried here--

- Is that thing still on?

- [Mark] ...Yeah?

- Would you mind turning it off, please.

All right, what's- What's your interest in Atticus?

- [Chris] Well, we're a couple of filmmakers

making a documentary-

- No. This is a place of respect and repose.

We don't make films here.

- [Chris] I know, I understand that.

- No, I'm really sorry. You don't understand.

Is that thing off?

- [Mark] Yeah.

It's off.

- Is it off!

- [Mark] It's off, sir!

- I've had enough problems,

this institution has had enough problems

over the years, with Atticus-

Hey! Is that thing still on?!

- [Mark] No, sir.

- [Chris] Other people have been asking about Atticus?

- Let me make this very, abundantly clear:

All further inquiries about Atticus cease right now.

You're not welcome, and I want you

to pack up this camera and get on the road.

Listen, I can call the police, or I can take another route

which is far more unpleasant, okay?

So get out of here right now,

and I mean it!

Come on, let's go!

- [Mark] Okay, all right, we're leaving...

- [Mark] What the hell is that guy's beef?

- [Chris] I don't know. He's pissed.

- Christ!

Let's just get the hell out of here.

We'll come back later, some other time to look around.

- [Mark] Who the fuck is he calling?

- [Manager] They were here about Atticus...

- [Mark] I wonder if he's calling the cops?

[crickets]

- [Mark] You find anything?

- [Chris] Let's just come back tomorrow.

Christ, I can see barely anything at all anyway.

- [Mark] We're not gonna be able to get in here

except at night.

[distant train whistle]

- [Chris] Karl could be anywhere!

- [Mark] Karl could be anywhere,

but I say we keep looking for his family plot.

- [Chris] The guy said

the body's been moved at least once.

- [Mark] What is your problem? Jesus Christ.

- [Chris] Mark, this place is fucking huge.

It's pitch black.

This is a wild goose chase!

I cannot-

- [Mark] It's spread out, yes,

so why don't you just stop standing there,

and keep looking! Jeez.

- I can't even see the names on

these frigging stones...

- Would you quit your whining and relax, for God's sakes?

- This is stupid.

- [Mark] Look, we haven't been here that long.

- There's gotta be somebody who's gonna catch us here.

- They're not gonna be able to find us,

not in this huge place. C'mon, Chris.

Give it a little while. I mean,

We haven't even been here more than two hours,

we haven't even seen half of what is out there...

- [Chris] Well, we're not gonna see anything in the dark.

- [Mark] I can see just fine!

Pull your flashlight out, will you for crying out loud?

[creaking noise]

- [Chris] What was that?

- [Mark] Quit your whining! I'm over here, man.

Jesus Christ.

- [Chris] Mark?

Christ! What?

- That's it, man. I'm going back to the car in five minutes.

You wanna look in that direction? I'm waiting right here.

- [Mark] I'm gonna get it all done tonight.

You're want to look in that area,

I'm gonna go look over-

- I'm gonna stay right here.

- [Mark] Fine, you can wait, 'cause

I'm not gonna leave till I look and make sure

that we've got everything we came here for.

There's only one more section to go-

- [Chris] [sighs] Oh my God...

- [Mark] Fucking complaining all the time.

- [Chris] Hey! Mark?

Whoa!

Mark, did you see that?

Mark!

- [Mark] What?

[chris mumbles in distance]

- [Mark] What?

- [Chris] Okay, we need to go. We need to go right now.

We need to go! I just saw something moving, we gotta go.

- [Mark] Just relax, will you, man?

- [Chris] Fuck this. Oh, man...

Where the hell are you?

- [Mark] Let's just keep looking.

Chris, just keep looking, all right?

- [Chris] Get back here! Come on, let's go.

Damn it, where the hell are you?

Mark?

- [Mark] What, are you-

[screams]

[muffled screaming]

- [Chris] Jesus, Mark!

Mark!

Where are you?

[muffled screaming]

[heavy body blow]

[moaning]

Mark!

Mark-

Holy shit!

Are you okay?

What happened?

Jesus... What happened?

[eerie music]

- They definitely know that I have a concussion,

and they're gonna run some more x-rays this afternoon.

They're worried that maybe I have

some internal bleeding now,

so we'll find out soon enough.

When are you coming by?

- [Chris] Soon as I can. Look, do you wanna call the cops?

- Hell no! No, no, no, man.

Do not. Call. The police.

No matter what you do,

don't call the police, all right?

And if you do, I wasn't there.

Don't even mention my name.

Do you want to explain what we were doing there last night?

Come on, man! Think!

- You're gonna be able to film this weekend, right?

- What!

- We gotta meet that guy at the university.

- No, Chris, I'm not gonna be filming this weekend.

I can barely see out of one eye!

- [Chris] Well, what the hell-

- Come on, man, be real. Now you're just being an asshole!

Don't be such a fucking idiot!

No, I'm not gonna be in shape to be filming this weekend!

- [Chris] In order to keep the project on track,

I went out and hired a new cameraman.

So this is Josh, our new cameraman.

Say hi, Josh!

- Hi Josh.

- [Chris] I then began investigating

the book "Mortal Remains" and its author, Vernon Blake.

- [Narrator] The details of Vernon Blake's life are

shrouded in obscurity,

except to a small number of collectors and historians.

Foremost among these is

Professor Lyle Thackeray of Penn State University.

- Very few people are even aware of

Vernon Blake's existence.

His fiction never sold well nor widely.

He was rejected by numerous reputable publishers,

so he self-published,

we suspect, out of spite.

His work was extremely graphic and sexually explicit.

Not things that were a big deal in the 1920s,

but he had a way of combining the two

in a manner that was distinctly unsettling.

- I have been collecting Vernon Blake's work

for a number of years,

and it's not easy to find.

A very obscure writer.

Through a number of years of research I was able to

piece together a few bits of information about his past.

He was really left to his own devices

from a fairly early age.

He did a fair amount of traveling

through various parts of the world.

For example, he spent some time in Haiti,

where he became very fascinated with voodoo.

He also spent some time in Paris.

- [Thackeray] He visited Europe frequently.

It was known that he was a great admirer

of the Theatre du Grand Guignol.

Many of his short stories were adapted

for the Guignol's stage.

But his choices with regard to subject matter

clearly demonstrate a passion for ancient history.

Much of his writing centers around primitive societies,

sinister cults,

arcane rituals, and so forth.

It's rumored that Blake himself

was involved in an obscure cult,

and certain photographs certainly bear this out.

- [Peter] There are photographs of him wearing

ceremonial garb and holding a Middle Eastern dagger.

- [Narrator] It was during a 1922 interlude in Paris that

Blake began writing his longest and most notorious novel,

an extremely gruesome tale entitled "Mortal Remains."

- It's an exceptionally brutal tale,

even by Vernon Blake's standards,

with elements of torture,

ritual sacrifice,

murder, grave robbing, even cannibalism.

One man is fed his own eyeballs.

Another has his flesh peeled off.

One character is drugged and then

slowly cut into several pieces.

- One of the more fascinating elements about Vernon Blake is

that in some of his work he was known to hide ciphers...

possible signals, possible symbols, possible words

for his readers to follow.

- Thanks for coming in again, I appreciate that.

Oh, you got a haircut! Looks good.

- [Peter] It was time for a change.

This is a cipher from Vernon Blake's "Mortal Remains."

This is actually a substitution cipher.

Now this was actually one of the easier ciphers to solve,

because there are spaces in between the cipher words.

Also, when you have something like this,

a cipher letter by itself,

that's most often going to be a letter like A or I,

letters that can stand on their own.

So this one for example,

if you follow the key I have here,

this one will read, when it's finished,

"Turn to page 40 for a reward."

If you jump to page 40, what you will find

is actually another set of ciphers lining

the left hand side of the page.

Now, this one was tricker because there are

no spaces in between the words.

- [Chris] The same set of symbols?

No, these are completely different, aren't they?

- Well, Vernon Blake did that.

He often made cipher symbols in different languages.

This particular cipher language, he used the Enoch for it.

See? If you look on the title page of

"Mortal Remains" down at the bottom -

- a whole new set of ciphers.

Right along here.

- [Chris] A completely different alphabet.

- Completely different alphabet.

The translation for the next cipher

reads, "Proceed to page 80 in my previous work."

Now, this was a common thing for Vernon Blake.

He would leave clues to other clues

to other clues,

and they were not always in his books.

Sometimes he would give you directions to

go to a particular house,

and you might find the next cipher underneath a table.

Sometimes he might have a cipher

carved into a tree in a park.

He would leave a wide variety of clues and

directions as to where to go next in order to

solve the cipher mysteries he was leaving in his works.

- [Chris] What did these lead to?

What did people find? Other stories?

Treasure? What would they unearth?

- Well, the rewards were not often tangible,

and many of them were not even found.

You have to remember, times change.

Houses get torn down,

we have natural disasters...

so you go back to his works,

and try to find perhaps another cipher

or another direction,

or you had to let that one go.

- [Chris] Wow. So there could even now be things that

he left buried somewhere that nobody knows about?

- There very well could be.

- [Narrator] In 1969, Atticus completed his first feature,

"Culture Shock," a violent film based upon an

early Vernon Blake novella.

- [Ben] "Culture Shock" kind of reminds me of

"Cannibal Holocaust," kind of a mondo cinema

pseudo-documentary about these jungle women who

basically go and murder some people in the jungle.

- [Chris] If you could find a copy, that would be awesome.

- A copy that we would be able to get would probably be a

bootleg or an Asian copy, something like that...

- [Chris] That's fine.

- Again, it's possible.

We could ask one of the collectors we know.

I think it's not out of the question that we could get one.

- [Chris] What stands out in your mind about the shoot?

- The special effects.

- [Chris] Really?

- Yeah, there was one scene where a

guy gets his hand chopped off with a machete.

I've never seen anything so realistic.

- It made me queasy, and I've been around

zombies and all that shit for years.

- For the amount of money that was in the film,

I couldn't understand how they could afford an

effect like that,

especially when I had to chase the

guy around for my paycheck.

- Usually, the lower the budget, the cornier it looks,

there's ketchup packets squirting in the air.

This... I was pretty convinced that something had

really happened there.

[Thunder]

- We should almost be there.

- Yeah, you said that an hour ago.

- Ramirez said it wouldn't be that easy to find.

- Holy shit!

[flies buzzing]

[shouting]

[Grunting]

[Whistles]

- Wait!

This all seems damned peculiar.

[tribal calls]

[glass shattering]

Fuck!

[fast drumbeat]

[crunch]

[screams]

[crunch]

[gurgling]

[snarl]

- [Narrator] "Culture Shock" attracted the

scrutiny of Damien Long,

the eccentric New York-based producer and impresario.

Long screened the film at midnight for several months at

his popular West Side venue, the Omicron Theater.

- It used to play up and down the East coast

at some midnight shows.

I heard a story, I don't know how true it is,

that somebody got stabbed at one of the movies,

or there was people getting attacked...

- Yes, there were reports of problems,

incidents involving this guy's movies.

- [Chuck] They wound up closing a couple of theaters down

because of that movie, the riots were so bad.

- Two people were killed actually while the

film was running in the theater.

It wasn't a full house but there was enough people there...

I never figured out how these people had their lives taken

violently in the theater with people

sitting all around them.

No one saw a thing. The bodies weren't discovered until the

lights went up after the film was over.

The man who was murdered was stabbed

at the base of the skull,

and the woman had her throat slit.

Also, as I recall, there were pieces of the bodies taken...

and that's the part I had a hard time swallowing.

If you're gonna kill somebody, kill them.

But this business of mutilation...

There was something more going on here.

There seemed to be some connection between this director

and the material he was making, the screening of it,

and bad stuff going down.

And I think that ties into what I found out later,

that he was into black magic, this Lovecraft stuff...

That messes with your head.

And the movies he was making

was messing with other people's heads.

The same thing apparently happened in

some other theaters showing his movies.

So there was really something going on with this

guy and his films.

- Mark, hey, it's me. Call me back, all right?

I gotta show you something, you've got to see

what's on this video.

Call me! Bye.

- [Mark on video] Quick, just keep looking, all right?

- [Chris] Okay, now watch.

[Mark screaming on video]

- Go back, go back.

Stop! Play it back.

Freeze.

What the hell is that guy wearing?

- He's wearing a cloak.

That's what I wanted to show you,

this guy is wearing some kind of an outfit,

some kind of a getup.

- [Mark] Nobody gets dressed up like that and

attacks somebody unless they've got a reason.

- [Chris] Obviously! That's my point, that's what

I wanted to show you.

- [Mark] That's every reason to stop this project.

- [Chris] Are you kidding?

- [Mark] Go back to the "Blair Witch" project.

I don't care what Ed says about what producers

he says are interested--

- [Chris] The "Blair Witch" thing is definitely--

- [Mark] You didn't get your ass kicked!

You try getting your ass kicked and then

decide whether you want to go back to this.

No, I absolutely refuse--

- [Chris] We've uncovered some big mystery here--

- [Mark] I don't even want to talk about this

project any more.

- [Chris] You wanna drop this?

- [Mark] Yeah, I wanna drop this!

Because I'm not gonna go back into that situation

and get my ass kicked again, in a cemetery or anywhere.

- [Chris] We'll go back and kick this kid's ass!

I'll tell you what, why don't you two go kick his ass?

If it's not "Blair Witch" I'm out.

- [Chris] "Blair Witch" is done, it's over--

- So you're telling me you're not going to do

the "Blair Witch" project?

- [Chris] Not at all, no.

- You're gonna do this whether or not I'm in or out?

- [Chris] Yeah!

- Then fine, you guys can do it yourselves. I'm done.

- [Chris] Come on, man!

- [Mark] I'm done. I'm not gonna do it.

[Chris sighs]

- [Chris] That's not quite what I had in mind.

- [Narrator] Impressed by the young filmmaker's

dedication and singular vision,

Damien Long agreed to fund Atticus's next feature project,

a faithful adaptation of Vernon Blake's "Mortal Remains."

- He decided that he wanted to shoot it in Louisiana.

He wanted this Creole vibe that went with the whole story.

- A lot of strange shit happened on that movie too.

- [Chris] What happened there?

- Something happened either between Karl and the law,

or Karl and the locals,

but for some reason it was like, Okay, we're

packing up and we're leaving town.

So he said we'll go back and finish it at

my place in Maryland.

- We were shooting a lot at his property,

at Atticus's property,

and he had some kind of a South American cameraman

Carlos Bene-- something,

I can't remember his last name.

This guy was really strange.

He was right up there with Atticus,

he was like his twin brother.

They were into some weird shit, it seemed like,

the two of them.

- Seemed like he was just a squirrely guy,

didn't seem like you could trust him.

I didn't trust him.

- He was a very strange guy, and

he had a lot of really weird demands,

he would ask for strange stuff on the set--

- [Chris] How do you mean?

- We would find the location,

set it up, light it,

and then everyone would have to leave the set,

except Karl and the cameraman and the actors.

- We would have to leave

and we weren't allowed to come back till the next morning,

which didn't make any sense to me, I didn't understand that.

- But then, the next day the actors never came back.

So it was like Gee,

I guess we're doing this all in one take, or one night...

- Every time. Set up, leave.

You know, all the years I've been doing it,

it's the first time that ever happened.

- I never knew why the actors never came back...

and I wasn't about to ask,

because I thought then I might not come back.

So, it sort of scared me.

There were lots of rumors about Karl and

his methods for making movies and stuff.

At one point this big rumor started that Karl was

using dead bodies in his films.

- I heard about it.

I worked with him in the daytime, not at night.

- The whole situation was completely bizarre.

- [Mark] Ed mentioned that this guy was using

dead bodies in his movies, is that true?

- Yeah, it was actually worse than that.

- Right after that whole rumor about using

cadavers and stuff in his films came out,

then there was a series of crimes of

vandalism in cemeteries.

- There was some incident of

cemetery vandalism or something?

- There were rumors about it,

rumors around the set,

but nothing that I knew for certain, no.

Wouldn't surprise me, though.

- Something about cemeteries, or...

- He was accused of doing some grave robbing and stuff.

We couldn't prove it, so he was never charged.

- Everyone just sort of looked toward Karl,

you know? The usual suspects.

- Really disturbing guy,

it's like bad stuff followed him around,

bad people, bad everything.

[Chris] Creeped you out a little bit?

Yeah, creeped me out a lot.

- We'd go to the movies together when we were just kids,

and he always wanted to,

I would say let's go see a western,

no, no, no, let's go see this latest horror film,

and we'd go to that,

and the strange thing was I was just a kid at the time,

I'd be freaked out and scared,

and he was laughing the whole way through.

[manic laughter]

- Scream!

- A lot of strange people in the '60s

and he was one of them.

- These people used to come around,

they were,

I don't know how to describe them,

they were just very strange people.

They didn't help on the crew or anything,

but these people would just sit around

on the sets and sit in the background,

sit in the corner and watch us,

and I always thought that was very weird.

- He started associating with different kinds of people,

I don't want to say strange, but...unusual characters.

- Because any time you were involved too closely with Karl,

or any people that he knew,

you never knew what was going to happen next.

- [Narrator] The premiere screening was interrupted by

violence when several members of the audience,

shocked and enraged by the film's horrific content

stormed the projection booth and demolished the 35mm print.

- They decided they were going to have this big premiere,

and I didn't go.

- [Chris] Did you go to that?

- Oh, hell no. I wanted nothing to do with it.

- Everything about Karl, the movie, everything,

was just a little too strange for me, but...

During the movie,

a riot broke out.

[shouting and screaming from crowd]

- A riot has erupted at the Patterson theater

during a midnight screening of a horror film.

- They're going crazy in there!

- That movie is sick! It's sick!

[shouting and screaming]

- I'm out of here!

[glass breaking]

- Hey, get that out of here! Now!

- It takes a strong stomach just to get through the book,

so I find it rather astonishing that this Atticus fellow

feels it's suitable meat for a movie.

- Again, extremely violent and graphic.

Extremely graphic.

In fact, that's part of its mythology.

- [Chris] So "Mortal Remains" was never seen, right?

That was it?

- It was never shown all the way through.

They destroyed it at the theater

the first time it was shown.

- [Mark] But the film was shown...

- The film was shown, but it was shown one time.

That was it.

I've never heard of any prints of it being distributed,

I think the last-- from what I understand,

either the film disappeared or was destroyed.

- I just gotta say good luck,

because I don't think anybody's--

I never heard of anyone seeing any kind of copy.

I think one gentleman who came in said he

had heard of a bit or a clip or something,

like a little piece of the film--

- [Chris] Bits and pieces of it, yeah.

- Let's just say if you were actually to

have a full copy of it,

that would be like the complete "Metropolis."

- [Chris] There might be other prints out there...?

- There might be. Knowing Karl, anything's possible.

- Mark, listen, it's me.

Seriously, call me back.

I just had a phone call from one of Ed's producer friends,

and there is some real money coming our way

if we finish this thing.

If you want back in, now is the time.

So really, call me back, all right?

This is no joke. Bye.

That might get him on the horn.

- [Josh] Maybe, I don't know man.

he looked pretty mad last time.

- All right, guess who just called me back?

- [Mark] Hey Chris, it's Mark, I just got your message.

How come you're not picking up?

Listen, if something's going down,

I want to know about it,

especially if there's money involved.

I got medical bills I gotta pay, man.

So call me back and let me know when we can

get together to talk about this, all right?

I'll talk to you then, man. Ciao.

- Well, that didn't take long.

Told you he was gonna call back.

[laughs]

Come on, come on in.

- What's up, man?

- Go get him, Millie.

There's Uncle Marky.

- How are you doing, man?

- You feel better?

- Yeah, much better.

- You look like a million bucks.

- Thank you.

- There's Josh.

- Hey Josh, how you doing?

Hey sweetie, what's up?

So tell me about this phone call you had.

They're talking money?

- This guy suggested that there was a big payday at

the end of this thing.

He said there was a lot of money involved.

He didn't mention a number,

but he said there is "potential for

serious remuneration," he said.

- What's your next step?

- My next step is to jump in with both feet.

Start contacting people who were working in the

area when Atticus was alive and active.

- Like who?

- John Waters was making movies in Baltimore in 1972.

- He wasn't a horror filmmaker...

- Doesn't matter. He was buying stock,

he was having film processed,

I'm sure he want to a lot of the same places.

- Do you know how to get hold of him?

- I've got the number for his office, Dreamland.

We'll give him a call right now.

- Yeah, that sounds awesome.

- I've got a lot of stuff to show you, man,

I've got articles and clippings, photographs,

a bunch of stuff.

- I just wanted to ask a couple of quick questions.

We're doing a documentary.

- John?

- [John Waters] Yeah?

- There's a couple of guys here want to talk to you.

- Hey, Mister Waters! Hi. My name is Mark,

I'm a documentary filmmaker,

and I just wanted to ask you a couple of

quick questions about a guy who was making movies

about 30 years ago in Baltimore,

his name was Karl Atticus--

- [John] Susan, can you pick up the phone, please?

- Yeah...

Turn off the camera, please.

- Hey, just a couple of quick questions, for God's sake--

Forget it, you know what--

Hey, Mister Waters--

No! Hey, hey, hey, hey!

Come on, man! I just wanna ask you a

couple of quick questions!

What's the big deal? What is the big deal?

- Please, just go! Just get out of here!

Just leave now, get out!

- [Mark] I'm going!

- [Chris] Jesus Christ, what the hell are you thinking, man?

You chase the guy down a hallway and pound on his door?

- I'm sorry, all right?

- He could call the police,

he could make trouble for us!

- He's not gonna make any trouble.

Look, I'm sorry, but don't yell at me because he

won't answer your questions.

- It's not a matter of answering questions,

you chased the guy down the hall!

You're getting carried away.

Are you trying to screw up this project?

Are you trying to sabotage us?

- I'm not trying to sabotage anything!

Don't even accuse me of that, man!

- Well, we could have found out some useful information if

we'd approached him correctly.

- What are you talking about, approaching him?

He slammed the door in my face before I

even got back to him.

[cell phone ringing]

- [Chris] I don't know man, you're screaming, freaking out--

- Hello?

Hello!

Fucking A, man.

- [Chris] Who is it?

- Third time they called today.

They hang up every time I fucking pick up.

- [Chris] Here he is.

Hi Roland.

- [Mark] Hey, Roland.

- [Chris] We'd just like to ask a few more

question about Karl if we could.

- I've had some strange phone calls so you'll

have to excuse me.

I'm not in the mood for talking now.

- [Chris] Strange phone calls?

- That's all right. That's enough. Goodbye,

take care of yourself.

- [Chris] Thanks.

- Are you the guys who've been calling me?

The phone calls have got to stop and they gotta stop now!

Get off my property or I call the cops!

- Hey, listen, we have not called-- We haven't

made any phone calls, man!

All we want to do is ask you a couple of quick questions--

Would you please just--

- No, bloody hell no.

This has gone too far. I'm getting fucking phone calls now.

Enough is enough, this has to stop.

- [Mark] Hey, hey, hey, man! What the fuck? Knock again.

- [Chris] The American Film Institute denied my

request for an interview,

but I did receive an anonymous call from one of

their staff members.

[Man on phone] The only reason I'm talking to

you is to warn you.

A lot of people in Hollywood don't want this

story to come out,

ever.

A lot of people who saw Karl's movies when

they came out in the '70s,

let's just say they "borrowed" from them.

They made their reputations on things Karl came up with.

They're powerful people,

they're connected people, and they will make

life miserable for you.

I've seen how they can do it.

You guys need to drop this.

There's a good reason that Karl is dead.

- [Chris] What happened to Karl? He just kind of--

- He sort of dropped out of the picture.

No one had seen or heard from him for a while, and

then I heard that he was down at his place, at

his old house and he went out in the woods,

took a shotgun and blew his head off.

- [Chris] He died like around '73 I think. '73?

- Yeah, I read that he killed himself.

Might give you some insight on his character.

- Good riddance, I'm glad he's off this planet.

I feel a lot safer with him not around.

- I don't think anybody liked the guy.

He's probably rotting in hell where he belongs.

- [Narrator] Today, in this shady grove near

Jessup, Maryland,

a local sportsman made a gruesome discovery.

Andrew Gresh was enjoying an afternoon of squirrel hunting

when he spotted a human hand protruding from

the undergrowth.

- I was about to light my pipe,

blew out the match and went to toss it away,

when I saw a hand sticking out of the bushes.

It was the most horrible thing I've seen in my life.

- [Narrator] Though the condition of the body precludes

any immediate identification,

there's some speculation that the body may be that of

local filmmaker Karl Atticus, who was reported

missing six weeks ago amid wild rumors of occult activity.

- Well, we found a body that had been in the woods for an

extensive amount of time. There was an extensive amount of

decomposition and we'll have to determine later

exactly how long and exactly what happened,

but at this time we're considering this to be a suicide.

A weapon was located near the body that was capable of

producing the type of trauma that was displayed.

- [Narrator] While it is known that some unusual

discoveries were made by federal investigators at

his Loch Raven residence,

no details have yet been made public

regarding those discoveries.

- Supposedly it was him.

The reason why we definitely couldn't say it was him

is that his head was blown off.

They found a shotgun nearby, but it wasn't

close enough where he could have done it himself.

- What I heard was that the only way they could identify his

body was by that strange tattoo he had.

I wanted to ask him about it, but I was afraid.

I didn't know what it signified or what it meant,

so I'd just check it out once in a while

when he wasn't looking.

Now, this is weird, because the people who used to

come and hang around on the set...

one of those guys, he had the same tattoo as Karl,

and I thought, "Well, that's very strange,"

because it was a really weird, unique tattoo.

I just thought-- I didn't know if it was a club,

or I couldn't figure out why two guys would

have the same exact tattoo.

- Who knows, with him? He could do anything.

I wouldn't put it past him to stage his own death.

- It concerned our department,

so we started looking into it.

- We all knew Karl, and we knew how strange he was,

so anything that happened was not beyond the realm of

belief. Anything was possible with Karl.

- [Chris] There was rumors that he was in a cult,

did you find any evidence of that?

- Well, um...

- You know, your imagination makes you crazy,

so I was imagining all kinds of things,

and I think everyone was.

Because Karl was just that kind of guy.

- We got a warrant to go into his house.

What we found in that house

was pretty disturbing.

Really strange, really bone chilling.

How do I say this?

He had a collection that no human should ever have.

I don't wanna get into the details,

because it scares the shit out of me.

It was so crazy that the FBI came in and took over the

investigation and threw us out.

I was happy about that,

because what I saw-- It creeped me out,

knowing that he might still be out there.

- [Chris] What do you think?

Do you think it was him they found?

- I don't think so.

There's things that just don't add up.

The tattoo, where they found the weapon...

- [Chris] What if he is still out there?

All right, well, it's not over here either.

We've pretty much exhausted all the main

branches of the cemetery here.

The caretaker did say he thought it was in this direction,

but-- I don't know, this is pretty much the

end of the road over here.

Looks like it, anyway.

- [Josh] Are you sure?

What about down there?

- [Chris] No, Mark and I have already checked

out stuff down there,

unless...maybe past that, if that's another old wing--

- Hey!

- Oh shit, it's that cemetery guy again.

- [Josh] What cemetery guy?

- [Mark] So is Josh not coming at all?

- [Chris] No, not tonight. Just me and you.

Is that working or what?

- [Mark] I mean, it's functional...

I can record with it, if that's what you're asking.

It's just-- he's got it locked on some sort of user setting,

so I can't figure out. I'm not going to be able to

get into it until he gives me whatever code he's set.

It's like it's-- I don't know.

- [Chris] But it's in focus?

- [Mark] Yes, it'll work.

- [Chris] You can shoot with the thing?

- [Mark] Yes, I can film and I can record, if

that's what you're asking.

When is this guy supposed to call?

- [Chris] Any time. He didn't say when, he just

said, "I'll call tonight."

- [Mark] You film it, I gotta take a leak.

- [Chris] Jesus, hold on, I'm getting a piece of paper--

I understand. I know where that is. Yes, I do.

What time?

Okay. And-- No cameras. Got it.

Okay, we'll--

Hello?

Hello? Okay, he's gone.

- [Mark] What did he--

- He insisted that there're no cameras,

and he said he's got some very crucial information about

Karl Atticus and he wants us to meet him at a parking lot.

- [Mark] Parking lot? Why?

- A parking garage, actually.

He's not gonna see that, is he?

- [Mark] I hope he doesn't.

- [Chris] It's gonna freak this guy out.

He might have something important to say.

- [Mark] Well, I know, but I feel like we

should at least document it somehow.

- [Chris] All right, as long as he doesn't--

Is that him? Is that him?

There he is, gotta be.

- [Mark] Let's go, let's go, let's go.

Thank you. Thanks a lot, sir.

Just a couple of quick questions.

Just one more question, two more questions--

- You'll have to talk to somebody else.

- Hey, Mister Tallo, all I want to do is ask--

Fuck.

So we just got a police report--

- File.

- A file from the Baltimore Police Department,

and this is the file on Karl Atticus's apparent suicide.

It's in the public domain because the case is closed.

- Here he is!

- And there we have it! Karl Atticus, ladies and gentlemen.

Look at this shit! Unbelievable.

- There's the body, look.

- It's says "unidentified corpse," too.

We finally got it. We requested this months ago.

Anyway, the case is closed, so the information is

in the public domain.

- Wait-- We've got an address!

I don't see any houses at all out here.

- [Mark] There hasn't been a house for like four miles.

- [Chris] Yeah, I think we should turn back.

There's nothing down here.

Are you sure you got the address right?

- [Mark] Yeah. I mean, any farther and we're

gonna end up being off the map.

This road is supposed to have ended like half a mile ago.

- [Chris] We're like, out in the country here.

- [Mark] Whoa, slow down, slow down, slow down!

To the left, go to the left.

- [Chris] What?

- [Mark] To the left!

Yeah, keep going straight.

- [Chris] What, what, what?

- [Mark] Right there! Can't you see it?

Look up!

- [Chris] Holy shit!

- [Mark] That's it, behind all them damn trees!

- [Chris] This place is creepy as shit.

Where are you going?

- There's a back door, and there's a window next to it.

The front door's all boarded up.

Here--

Hey, we left the flashlight. It's still in the car.

[crickets chirping]

You got a screwdriver?

- [Josh] Are we breaking into a house? For real?

- [Chris] Just watch where you're going.

- [Mark] Jesus.

- [Chris] Mark, check out this--

There's another room.

Let's go upstairs.

Let's go upstairs.

Check this out.

Man, this place is a shithole.

Look at this crap. The wall's falling apart, Jesus.

This looks like somebody's been here recently.

- [Josh] Like, homeless people or something?

[strange noise]

Shhh!

- [Josh] What?

- Did you hear that?

- [Josh] No, man.

- You didn't hear that?

- [Josh] No.

Stay close.

Locked.

It's locked. It's got a deadbolt on it.

Whoa...

Shit, yeah.

- [Josh] What's in there?

- Check this shit out, it's a staircase.

It's some sort of attic.

- [Josh] Are you going up there?

- Hell no!

Here, give me the camera.

Hey Chris! Where did he go?

- [Josh] I think he's in the basement.

- [Mark] The stairs don't look too stable.

I'm not going up there.

Chris?

Where the hell did he go?

- [Josh] I think he's downstairs.

- How did he get down there? There's a floor below us?

- [Josh] Yeah. It's in the hall, I'm pretty sure.

- Chris!

Chris?

- [loud crash]

Hey! Hurry up, I gotta show you something!

- [Mark] Jesus Christ, what is it?

Josh, man, watch your step.

- [Josh] Got it.

- [Mark] What? This house is huge.

- [Chris] Watch your step, man.

- Look at this! It's a cipher--

It's a Vernon Blake cipher, like in the book!

Remember the book that Peter Flood showed us?

In "Mortal Remains," these were the kind of ciphers

that Vernon Blake was using.

- What the hell are you talking about?

- [Josh] He wasn't there, Chris.

- Oh shit. Here, hold this, I gotta get a picture of that.

Vernon Blake used ciphers like these in his books.

- Well, what the hell is it doing here?

- I don't know, but I'm taking a goddamn picture,

that's for sure.

[rattling noise]

- Shit, what was that?

Did you hear that?

There's someone here.

- Go, go, go, get out of here.

- Go, go.

- That's the only way out.

- Jesus Christ. Let's go, now!

- [Chris] Don't fucking move.

There's more than one of them.

There's two sets of footsteps.

What the fuck are they doing up there?

What's that?

Shhh!

Oh shit...

[distant screaming]

Go, go! Now, go!

- [Mark] Look! The door's open!

- [Chris] I don't give a shit--

- [Mark] Did you leave it open?

- [Chris] Come on!

- [Mark] Who has the key, do you have the key?

- [Josh] No, I don't have the fucking key!

- [Mark] Go, go, go, let's get out of here!

What was that?

[Josh] Go, go, go! Let's get out of here, now!

- [Mark] Go!

- [Chris] Roll the camera! All the time,

just keep rolling! That's what I pay you for!

Is somebody following us?

- [Mark] No, not that I can see.

- [Chris] All right, we're fine,

we're going back to the house.

- [Mark] What the hell was that?

- [Chris] I don't know, homeless people maybe.

- [Mark] Didn't you hear that person screaming?

Homeless people screaming like that? Come on--

- [Josh] That's not homeless people.

- [Chris] Don't worry about it. We're fine,

we're safe, we're going back to the house,

we're gonna figure out that fucking cipher.

- [Mark] I think somebody was in the glove compartment.

Hurry up, would you?

- [Chris] Chill out, man.

- [Mark] Perhaps the cops are coming after us now!

Look, not now, but that doesn't mean that the

people that were there might not call them--

[Chris] Oh my God--

[Mark] Don't "Oh my God" me, Chris!

- [Chris] There are no cops--

- [Mark] There were people there. Josh, tell him!

- [Josh] Did you see anyone following us?

- [Chris] Whoever that was, winos, derelicts,

they're homeless, they're not calling the cops.

- [Mark] Derelicts wearing cloaks,

what are you talking about?

No!

Remember the guy that attacked me in the cemetery?

He was wearing a cloak. These people were wearing cloaks.

You don't see a connection?

- [Chris] Blankets or trench coats...

Did you see people wearing cloaks?

- [Josh] I don't know if they were wearing cloaks...

- [Chris] They were homeless people, trust me.

- [Mark] Chris, we need to talk about this, all right?

We need to stop--

- [Chris] All right, just calm down.

- [Mark] No I'm not gonna calm down! It stops here!

- [Chris] I'm gonna go upstairs-- We found a valuable clue,

I'm gonna go upstairs and print this thing out.

- [Mark] You're talking about clues,

I'm talking about the cops!

- [Chris] There's no cops out there! Relax!

I wanna print this thing out.

We're gonna sit down and solve this.

- [Mark] Who's calling me again? Hello?

Hello?

Hello!

- [Chris] All right, I've decoded the cipher into English,

and it's definitely the same symbols

Vernon Blake used that Peter showed us.

I have 16 english letters now, in no discernible order,

and four Roman numerals.

What are you doing?

- Just keeping an eye on things, making sure that

nobody is messing with the fucking car,

just worry about your pictography thingy there.

- All right, anyway, I have 16 letters, four Roman numerals,

I'm not sure how they relate,

but maybe this decodes into a sentence or

a word or something...

- [Josh] That could be a grille cipher.

- A grill cipher? What do you mean?

- [Josh] It's a kind of cipher where you have to

put the numbers at the top of the grid--

It's hard to explain.

- Show me.

- [Josh] Give me some scissors.

All right, so what I did is, I cut out the

Roman numerals like that,

so they match up, and you put this over the

top of the cipher, and that's how you decipher it.

A...

T...

M...

And then, usually what you do is, you turn it clockwise,

and then you do the same thing over and over again.

So,

F...

A...

- [Chris] Look at this! Come on, this is

amazing stuff he's doing here.

- [Josh] H...

- [Chris] That's what it's called, a grille cipher?

- [Josh] A grill cipher, yeah.

[Chris] Jesus Christ.

E...

R...

S...

G...

Then one more.

R...

A...

V...

E.

There we go.

- [Chris] Oh my Christ, look.

- [Josh] "At my father's grave."

- [Chris] I'd say we've solved this one.

Holy shit. we gotta go back to the cemetery!

We gotta go back to the cemetery, buddy.

- [Josh] Wait, isn't that where he got beat up?

- [Chris] Gotta be something here, I wanna find it.

- [Mark] Did you hear that?

- [Chris] Yeah, it's nothing.

Possums, a raccoon, I don't give a shit.

Walking around in a cemetery at two o'clock in the morning.

- [Mark] We're fucking lost is what we are.

- We're not lost.

You've been filming this whole time, right?

- [Josh] No, I just turned it on.

- Just now?

- Will you stop talking to him and listen to me?

- What?

- We're lost.

- We're not lost! This is the cemetery,

it's an older wing of the cemetery.

- No, we left the cemetery about a half hour ago, Chris.

We're not in the cemetery.

- [Chris] He said it was over here-

- No, you're gonna get us more lost is what you're gonna do!

Fucking A.

I'm leaving, all right? I'm done with this shit.

- [Josh] We can't leave him.

- I don't fucking care! we're gonna go in this direction,

the way we came, we're just gonna keep

walking until we get back to the cemetery.

- [Chris] Hey, hey! This is it! Come on!

- [Mark] What are you talking about?

- [Josh] Let's just get this over with.

- [Chris] See?

- [Josh] Whoa!

- [Chris] I told you. Son of a bitch, right there.

They moved him out to the perimeter of the cemetery.

- [Mark] Great, we found something. Now can we go?

- [Chris] No. Look around,

see if there's any symbols, any markings on

the back of the stone,

look for any other--

- [Mark] Nothing on the back side.

There's nothing, all right?

- [Chris] All right. Any other graves around?

- [Mark] No, there's nothing around. Can we go?

You found it-

- [Chris] Back to the car. We've gotta get the shovels,

we're gonna dig the son of a bitch up.

- [Mark] What? You aren't digging anything--

- [Josh] Are you fucking kidding me? No--

- [Chris] I'm telling you, we're on the

verge of finding something--

- [Josh] You're kidding.

- [Chris] Are you rolling?

- [Mark] No! This is a stupid idea. No!

We're not digging up graves, Chris!

- [Josh] Why the fuck do we have shovels?

- [Chris] I'm gonna break your ass. Take the shovel,

we're gonna go dig this sucker up.

- [Josh] Seriously? Mark, seriously?

Okay, for the record,

this is not my idea.

- You are rolling now, though, yes? Right?

- [Josh] Yes, I'm shooting you guys

committing a crime, which is asinine.

- That's fine. Keep rolling, whatever happens.

- Oh shit, I hit something.

- Hit what?

- I don't know what it is.

- All right, hold on, hold on.

It's a--

- Aw, man, that's sick, you're touching that shit.

- [Josh] Shouldn't it be in a casket or something like that?

- [Chris] Yeah, I didn't even dig down that far.

What's this?

We've got a skull.

- [Josh] Shit!

- [Mark] what's that over there?

- [Chris] That looks like--

hold on--

- [Mark] There's two of them!

- [Josh] Two skulls?

No, I'm done! No, no, I'm out of here! I quit.

- [Mark] What are you talking about?

Josh, no, wait!

Hold on, dude, whoa!

What are you talking about? You can't leave now--

- [Josh] I'm done!

- [Chris] There's a lot more here, guys.

- [Josh] You guys are digging up graves, you're crazy!

- [Mark] Chris, it's time to go, all right? He's right--

- Hold on. There's a lot more going on here...

- [Mark] Josh, don't leave!

- [Chris] Jesus Christ.

- [Mark] Josh!

We've only got one car, man!

It's not like you'll be able to get anywhere--

- [Josh] I'll hitch a ride, I don't care. I'm done.

- [Mark] Josh!

- [Chris] Hold on! I got something here--

- [Mark] Chris, he's gone.

I think he's gonna call the cops...

- I got something down here that's made of metal.

- [Mark] What?

- Look right there, what is that?

- Help me get this thing out of here.

This could be it.

It's clear. What the hell is this?

[Grunting]

- It's heavy as hell, whatever it is.

- [Mark] Jesus Christ! What the fuck is that?

- [Chris] See that? You see that?

It's a fucking film can.

- [Mark] What the hell is that doing here?

[screaming in distance]

- [Chris] Oh shit, you hear that?

- [Mark] It's time to go!

- [Chris] Let's get the hell out of here!

Get the camera! Get the camera! Come on!

- [Mark] Has Josh called you back?

- [Chris] No.

Jesus Christ, I think-- I think this is it, man.

I seriously think this is it.

I think we fucking found it.

- [Mark] Fucking A. What did he have it buried there for?

- [Chris] We gotta call that guy back,

that guy Dave, we gotta call him.

[cell phone ringing]

- [Phone Voice] Call from unknown caller.

- [Chris] Who's that?

Maybe we should call the cops.

- [Mark] Though there's almost certainly evidence of

criminal activity--

Criminal!

- [Chris] Now we're fucking grave robbers.

- While cemetery officials have declined to

make any public statement,

local and state police were notified immediately,

and an investigation is currently underway.

An FBI Behavioral Science unit--

Fucking FBI is now involved!

- [Chris] All right. It's okay. Nobody--

- --has stepped in to assist with the

identification of the remains. Forensic testing--

- [Chris] Nobody knows we were there,

nobody knows we were there, okay?

- It's the fucking FBI!

- [Chris] How are they gonna find us?

[phone ringing]

- Who the fuck is calling me, goddammit?

Hello?

Who?

Hello?

Oh shit. Hey, Burian! Dave!

Yeah, yeah, yeah...

No, no, no, listen, we've been waiting for

your call all weekend.

Here, talk to Chris.

Put the fucking camera down.

Here, listen.

- [Chris] Listen, okay Dave? Yeah, what's going on, man?

We wanted to ask you again about "Mortal Remains"--

Uh, yeah, we could meet you--

What?

how about, like--

What time is it?

How about an hour?

An hour from now?

We'll meet you there.

I got something I want to show you too,

we're gonna--

- [Mark] No, no, no, you don't want to show him anything!

- [Chris] Yeah, it's dynamite.

- [Mark] No, no, no, what are you talking about,

I don't want to transport that thing,

I don't want anybody to see evidence.

I don't wanna be walking around with that thing!

- [Chris] He's the one that said it's worth a goldmine.

- [Mark] That's exactly right, it's our meal ticket,

so the last thing we should be doing is

moving this fucker around and all.

Just leave it here.

- [Chris] No, we gotta bring it, we gotta bring it.

Let's go meet the guy.

- [Mark] And then the next thing you

know we're fucking tailed.

- [Chris] The FBI knows nothing about us, okay?

- [Mark] I don't want that thing leaving here.

It's fragile, it needs to be preserved,

I don't--

- [Chris] We're gonna show this to Dave.

He'll know what it's worth.

Let's go.

- [Mark] No, no, no.

- Holy shit, guys.

- [Chris] What do you think?

- This could be it, guys.

- [Mark] Seriously?

- I'm totally serious.

- [Chris] Oh my God. So what do we do, what do you suggest?

- Well, we've got to get this out of the elements, I think.

- [Chris] Let's pack it back up.

- Yeah, does somebody have some gloves?

- [Mark] Yeah, we've got some in the car.

- [Dave] Hey, seriously... How did you guys come

across this thing?

- [Chris] It's a long story...

- [Mark] Goddamn, I have no idea what Josh did,

but he has it locked on some user setting and

I can't get it unlocked.

- [Chris] What are you filming for anyway?

- [Mark] I'm filming everything from now on.

Let me tell you something,

I don't trust anybody at this point.

- [Chris] I don't blame you, but we're still gonna have to

turn this thing over to somebody to get it restored.

- [Mark] What are you talking about--

[tires screeching]

[screaming]

[eerie music]