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[mystery music]

[video tape charging]

My name is Sophia Crane.
It's March 3rd, 2004.

I'm a film student
and this is my senior thesis.

I don't know how much longer
I'm going to be alive,

so I ask whoever find this,

please apply the first
and second halves

of this final interview to the
beginning and end of my film.

I don't know where to
make the cut.

This is the story of Peeping Tom

and how I went looking for him.

Please show this to my parents.

I don't know how much longer
I can go without blinking.

[TV signal tone]

Morning, fellas. Come on in.

So, this is the house
I was telling you about.

This is my in-laws' house.

The information that we have on
it, it seems to have been built
around 1970-75,

I can't really find
any information other than that,

but down here in the basement

is where Bart found it.

I'll turn the light on.
Now, I have repositioned it

for presentation purposes so,
if you'll bear with me...

Here, just going to go
and dig it out.

Right now if you can see me,
it was right under here.

It was this... box. Come over
here, I'll show it to you.

Don't watch, huh.

Pretty eerie, but isn't that
how all good horror movies
start?

A little mystery,
a little riddle.

[Eve] Well, my husband recently
retired,

we find this beautiful
house that we both loved

and I guess it was
just before Thanksgiving.

My husband went down in the
basement, did what guys do,
you know,

check the boiler, check
the air conditioning, play with
the filters, things like that.

He found this box full of tapes.

She thought that Gavin could use
them for work,

because he does
wedding videos and

she thought maybe he can
tape over them, or something,
like to save money,

but there are mini DVs so we
don't really use them anymore.

You know, I thought maybe Gavin
can take a look at them,
see what's on them,

something as like a little
project to keep him interested
and excited about film.

And the very first one that I
picked up says:

Final Solution.

Alright,
that's the first one I watched,

I mean, how could you not watch
anything like that, right?

[Erik]
So what happened on the
tape
Final Solution,
what did
you see?

A young lady identifies herself
as Sophia Crane, a film student.

Total coincidence, as a film
major, film major,

so already we're
simpatico
,
which is great.

She's upset about the school
project, she's stressed out
a little bit,

and then it got a little
upsetting after that and a
little bit weird.

Some violence, some things
that I don't really
wanna say right now,

we don't what to give it
all away.

But let's just say
that I had to watch

about the next 40 tapes
immediately after that.

First thing I did was, of
course, call the previous owner
that we bought the house from,

left voicemail messages saying
that I found a box,

found something that probably
belongs to them.

I never heard back from them,

and then eventually the phone
number was just unlisted.

[Erik]
But the footage never
actually takes place in your
in-laws' house.

No, it doesn't, and that's
another kind of fun, clinky dink
about this whole thing.

[Erik]
What are you doing in
regards to the home?

Selling it.

After the first tape,

the next tape that I saw there
was called
Rough Edit.

Everything looks really good,
there is interviews on the
street,

really nice flow, and then after
about ten minutes it gets
really choppy.

And it's about 40 or so tapes
in here,

so it's like they got too busy
to cut it together and they
just kept

filming and filming and filming
and they didn't really know when
to stop.

-[Erik]
So what did you do?
-Well, being a good filmmaker

as I am, I took their film
and I finished it.

I edited it together myself,
I took their film

and made it my film,
so now it's finished,

now it's completed the way that
it should have been.

[Erik]
And what did you think
when you saw it all in sequence?

[sighs]

Well, I didn't really sleep

for a couple of days after that.

[crescendo]

[noise]

Behind me stands the
Ilchester tunnel, home to the
B&O... Shit, again.

Are we rolling?

[inaudible directions]

Well, I mean, to me it
looks it...

[noise interfering]

Behind me stands the Ilchester
tunnel, a thruway for the B&O
Railroad for over a century.

But for the past 80 years, for
local residents, it has become
something far more sinister.

It's become home to...

-Peeping Tom.
-Peeping Tom.

-The Blink Man.
-Mr. Blink.

-Peeping Tom.
-Peeping Tom.

-The Blink Man.
-The Ilchester The Molester.

The Tunnel Guy?

-Peeping Tom.
-Old Blinky.

[Sophia] Alright, so you guys
have ever seen him before?

Unless I'm a ghost right now,
then no!

If I saw him, I'd be dead.

Yes, I did know this one fellow
around my age,

this is back around 64-65 or so,
he saw The Blink Man.

-[Sophia] What happened to him?
-Well, he died.

[Matt] Peeping Tom is the
kind of creature that you can
summon up,

so there is a ritual, those
teen pilgrimages, you know,
the midnight road trip,

you show up at the trestle end
of the tunnel at midnight

and you have to stare down
this tunnel, looking at the end
for a full hour.

And if you can do this
without blinking,

Peeping Tom comes out
of the shadows and materializes
in front of you.

Now he's the class of
supernatural creature
called a
Flimmern-Geist.

German alchemists came up
with this term in the 1500s

for that thing, that you see in
the corner of your eyes

and when you look around to see
it, there's nothing there.

[Matt] Peeping Tom is
a Flimmern-Geist

that you can actually
bring into view.

-Well, he's tall, dark coat.
-Skinny.

-Top hat.
-Big scary eyes.

Mostly I've heard that
he's just a shadow,

'cause he's like in your
peripheral vision.

Instantly there, then not there,
then there again.

There was this one chick,
in particular,

a few years ago, she went to the
school right down the road.

Her and her friends
went up to the tunnel rail

and they started staring down,
she was the only one who could
stare for... you have to stare

-for an hour.
-For an hour.

The twist is that

once you've seen him,
you can't unsee him.

Every time you blink,
he's a little bit closer

and he comes closer and closer
each time you blink until
he's right in your face.

He sounds scary,
what does he do?

-Gets you.
-Gets you.

And now you've already proved

that you can keep your eyes open

for a long time,

because that's
how you conjure him up.

When he's right up there,

the temptation is death
staring you in the face,

you do anything
you can to avoid him.

But he's got a trick up his
sleeve,

he has very long eyelashes

and you know that thing that you
do with babies,

to give them a little,
he does that,

and then you can't help it,
you blink. What do we call
that...

Can I show it, like...
Butterfly...

[Matt] ...butterfly kisses.

I'm pretty sure there's only,
I don't know,

a couple of people in the world,
period,

that can stare for an hour
straight.

I think the world record,
I don't even know if the world
record is an hour.

I think the record is probably
maybe 30 minutes, 40 minutes.

It's really hard to stare at
something without blinking

for even 10 or 15 minutes.
It will be really difficult for
most people.

Well, of course, there's no
record of it. People too busy
dying to report it.

Even if you made it out to that
long, I mean the vision will be
quite blurred and, again,

you know, I can't emphasize
enough, the pain would be
excruciating.

As with all the best folklore
and urban legends,

you can't really verify
any of the details in this.

It's always happened
to a friend of a friend.

My brother's friend used to tell
the story that
his uncle told him.

And they got freaked out
after a while and they ran away

but she did stay there
the whole hour.

Like a month later
they found his body

floating in the Patapsco River.

She ended up trying
to look out a window,

she tried to
burn out her eyes...

[overlapping]
By looking at the sun.

Even though she couldn't
see him,

his presence was still there

so she, you know, she thought
the whole time, she gets blinks,

she ended up blinking,
but she...

[overlapping]
Can she beat Peeping Tom?

-Can't cheat, though.
-Can't cheat Peeping Tom.

You know, I think you'd be
pushing the limits, I think,

of the human anatomy and
physiology,

but maybe that's possible.

Obviously,
from he shared with me,

that would be a terrible idea,
if that's for real.

[Sophia]
Absence of proof
hasn't caused absence of
belief.

Ilchester tunnel is still a late
night hang out for teenagers

and a popular spot for
fraternity hazing.

It's a dare often attempted, but
apparently seldom completed.
Until now.

[Matt]
You show up at the
trestle end
of the tunnel at midnight...

[Gavin] The metadata on the
tapes

show that it was filmed between
February 14th

and March 3rd of 2004.

OK, so I went back and I looked
at all of the local colleges,

I called, I walked into every
college in town,

showed them pictures of Sophia,
showed them pictures of Feldman.

No information. You can't get
past these people at all.

There's no record of a doctor
Wolfe who's supposedly
their professor,

there's no indication that the
Peeping Tom specialist that
Sophia and Feldman

go and speak to
in his home even exists,

an Asian American man, I believe
he's supposed to be an eye
specialist.

There's no title cards
to show that this person
even exists.

[distorted voice]
I
analyzed
them, and I watched them
repeatedly, I looked back on

every incident reported I could
find that would have matched

any of these people, and I can't
find anything that matches up.

My hunch would say he
probably found either some
student films

or just somebody making her
own horror movie or something
like that.

There's no cuts, there's
no retakes, there's no calling
for action,

aside from the first two
minutes of the movie,

where Sophia is obviously
directing herself,

there's absolutely no evidence
to suggest that somebody is
directing them.

[Gavin] I've been staring at
it for the better part of six
months right now.

I believe it's 100% genuine.

[Erik]
It looks like
found footage.

-Movie.
-Alright.

[Gavin] Found footage, I mean,

what does that really mean?

Did I find the footage?

Was it handed to me and then am
I presenting it again? Yes.

That would be considered
found footage,

but as far as putting
a horror movie together,

I don't really think
that there's any...

I'm a, I'm a real filmmaker.

OK, so we're not gonna
be making horror movies.

We're gonna try
to reveal the truth of something

that's a mystery or
kind of get something out of it.

When you make a film that
is presenting itself

as roughly cut together
found footage,

you are building in your excuse
for anything that's wrong
with it.

Uh, hey folks, this is the
footage we found, we're just
presenting it, yeah.

The camera jiggles all over the
place, not because we didn't
know how to hold

a hand-held camera steady,
but because these were kids lost
in the woods

getting more and more scared
all the time.

I think what would make it more
real,

would be if it were
the first one out there

and they were not following
a certain genre.

It works on a low-budget level

and that's the primary reason
for, I think, for doing it.

[distorted voice]
So my hunch is either Mr. York
was doing that himself

and trying to get some credence
to this and make it look
legitimate,

or he just run somebody else's
project and they send it
through.

[Erik]
Just so we're all clear,
the reason that he can't find
the students,

the teachers, the eye doctor...

[distorted voice]
I believe they're actors.

[Erik]
You realize that the
first thing that critics will
accuse you of,

after gullibility,
is faking the film yourself.

Of course, of course, and that's
why nobody would believe this.

[Erik]
Because it's a pretty
big coincidence

that the person who finds the
unfinished film

just happens to be a filmmaker.

Right, sure, and the naysayers
are gonna say that

because that's what they do,
they naysay.

Hum, I don't know if it's real
or not, but it doesn't really
matter,

because he's excited about it
being real, so...

We're gonna take this footage
to every professional in town
that we can find,

ghosthunters, mythbusters,
we're going to go to the radio
stations,

we're going to the TV stations,
we're going to show the footage
and we're gonna saturate

the market with this
information.

[Erik]
If your plan is to try
to present this as being
100% authentic,

why are you not simply taking
the footage forward and calling
a press conference right now?

Why are you planning to have the
video cleaned up, why are you
looking to have the sound done?

Well, I mean, you know, we need
to present the best possible
version of this thing as we can,

then we're gonna prove to the
world that Peeping Tom exists.

The camera doesn't lie.

Mel Sumner, 19, PolySci major
and staring contest champion.

Alright, dude, so right down
there is Ilchester tunnel

and we're gonna have you
standing right over there

on the other of the trestle,
starting at 12 for an hour.

Well, how the hell am I supposed
to see at the end of that?

[Feldman] Y'all,
just don't worry about it.

-[Sophia] You ready?
-[Mel] Yes, let's stare at it.

Alright, ten seconds
to midnight starting... now.

-[Feldman] What's it feels like?
-It's so hypnotic!

You literally, you can't
really see anything down there.

I can see.

That's so creepy, it's like
the tunnel's like staring
right back at me.

This is kind of like the
ultimate staring contest,
you know, like...

even if I win, I can never
really blink again.

How much,
how much time we're at?

-[Sophia] Come on, dude!
-[Feldman] You got it, man!

Please stop talking to me.

-[Feldman] Sophia, shut up.
-Stop talking.

[Sophia] You're alright?

Fuck! Oh, God!

Why do you want Handycam?

[Sophia] We're using our good
camera to document this,

I wanna be able
to document that, OK?

You realize the footage will
come nowhere close
to matching up, right?

[Sophia] It's documentary,
dude, it doesn't have to match.

I'm gonna ignore that
you just said that.

So, what we're doing now
is we set up this camera,

I'm gonna
shoot it down the tunnel

starting right at midnight,
it's gonna go all the way
to 1:00 a.m.

-[Sophia] Yeah.
-Now this will take the place

of a human eye
and it will not blink,

it will constantly run and
hopefully right at 1:00 a.m.,

as the legend says,
Peeping Tom will show up

and butterfly kiss my camera.

[Sophia] Look, as much as
I hate to say this

I think this actually has a
really good shot of working

before you let this go
to your head

simply because a lens is
like an eye, OK?

-The shutter, we're good, OK?
-The shutter?

[Sophia] Yes, I think the
shutter. Well, technically...

That's the only part
of the camera...

[Sophia] Technically, that would
be blinking. The what?

[traffic noise]

[Sophia] Alright, man,
we're coming up on it.

-What's the time?
-You ready?

What's the time?

We've got ten more seconds

starting now.

Ten, nine...

Come on, Mr. Blink,
See anything?

-No, nothing.
-Come on!

And, now!

See anything?

Don't kill it!
You see anything?

Do you see anything?

Feldman, answer my question,
do you see anything?

Do not kill the camera,
just give him a second to...

[under the breath] Fuck!

...that you live in, but if
I'm gonna be here to yada yada,
clean this up a little bit,

I mean, as far as the tapes go,
can I make like a box,
like the...

-[Sophia] OK.
-You got a shoe box
[indistinct], or...

[Sophia] We'll just work on this
another day.

Do we have a backup plan here?

[Sophia] Dude, dude, dude, dude!
Are you seeing that?

Am I seeing what?

Feldman, look right there!

Feldman, look right there!

-Yeah! I know.
-Do you see that?

[Feldman] What?
Was that there or...

Do you see that?
What the fuck is that?

-I didn't add it!
-Are you serious?

-[Sophia] Oh, my gosh, I think--
-[Feldman] Holy shit!

Is there any way that you can
brighten this, like whatsoever.

Yeah, yeah, I mean it's gonna
look like hell, but no,
I can do it.

OK, do you want me to take
the camera right now?

[Feldman] So, I'm bringing up
the light.

[Sophia] Cool, cool, do it!

-[Sophia] Gosh, dude!
-[Feldman] Bang!

[Feldman] Right fucking there!

[Sophia] That was right
on the hour mark.

Zoom in, zoom in.

Alright, this is the closest
I can get with that,

and like still be able to see
shit, so you ready?

Alright, alright, go, go!

-[Feldman] Holy shit!
-[Sophia] Oh, my gosh!

[Feldman] Look at that
motherfucker!

[Sophia] You're kidding me!

Like five minutes ago,
this is all over,

but we have Peeping Tom here!

-We fucking got him, man!
-Oh my gosh!

[Andy]
I don't see any signs
that it was faked,
in the sense that like it was...

like someone went in with a
computer and added something,

like there's nothing in there
that I can definitively point
to and say:

"OK, this is a fake."

So, I would go with that,

at the same time, you know,

it's a small little video,

there's not a lot of detail,

so I'm hesitant
to commit either way,

but I, if it was...

if something were there, it
would probably look like that.

You were convinced that that
would just

be natural lighting, no
manipulation as far as that
particular shot is concerned.

Well, I'm not convinced
of anything, it's certainly
plausible.

Right, but you're not
ruling it out.

I can't point to
anything and say:

"This makes is a fake."

It could be a guy, dressed up,

standing up in the back maybe,

like, you know, it could be
a practical kind of hoax,

like someone could have taken
this and in a computer,

it's gone and manipulated it.

The idea of the technological
equivalent of the actual eye,

which is actually
a part of the human organism,

and the human mind, the idea
of using a camera as a real
equivalent of that,

metaphysical equivalent, strikes
me as... I have a hard time with
that.

I don't know, man, you, I mean
we're sitting here trying to
explain spirits, so...

If you want to have a rational
conversation about ghosts

and goblins versus camera
technology, I'm not really sure.

[Erik]
So, where are we?
What are we doing?

We are at the VFW
in Glen Burnie, Maryland,

and I'm gonna go and present
some of the footage to
an assembled group

of paranormal investigators,
ghosthunters and get some
allies here.

[Erik]
What's the end game
here tonight?

Well, the end game is that when
we do the press conference,

I can have a handful of these
people standing beside me
saying:

"Footage is real,

we're behind you, Gavin,
we believe you!"

And then they...
I think they reach some 10,000
people or something, so...

Our Facebook page
has over 8,000 likes

and most of those people

are into the paranormal or they
want to be on our Facebook page.

So, yes, I could put it out
there for others to see.

[Gavin] We're just gonna show
the image of Peeping Tom
coming up to the tunnel.

[Erik]
Why are you only showing
the ghost and apparently
the ghost proofs?

Just that one shot.

I don't think they need any
of the other information,

I think right now we're just
trying to determine whether

or not Peeping Tom is a real
entity and the story about

Sophia and the big guns and on
the actual what happened.
I think you want to see that.

[Gavin] The only plausible
explanation that
you folks could think

and myself and the first thing
I thought of

was this has got to be a guy
in a suit,

this is somebody standing there
at the end of the tunnel,

they're playing
a practical joke, OK?

The thing that this bunks
that theory however is the fact
that the metadata

on both cameras say that there
was no one else there.

One camera films the other
camera, we've got proof
of both of that

it turned on, this is what
happens when they played it
back.

Right now you just want to pick
everybody's interest,
we're gonna get them to talk,

"Who's Peeping Tom, the tunnel?"
Right here in your mind.
Just phew!

[Erik]
Gonna get it
so he showed you.

Until he shows us more,
we just don't know.

-[Erik]
Right!
-We believe there's
a possibility,

but we need more evidence.

Saying everything else for,
you know, that next big steps
will be wolf's surprise.

It'll probably work out
a lot better too.

So you know, you can see
what I saw.

I mean the journey that
we've already been on.

You can't tell that this isn't
gonna be the shot,

this is Gavin's chance, this is
my second chance to make it.

[man]
Fortune and glory!

[Erik]
Let's go back a little
bit,

let's talk about you
as a filmmaker.

You went to school for
filmmaking?

Yeah, my non-degree, that's what
I like to tell everybody it was.

He does a lot of weddings,
so, you know, there's wedding
season

and then in the off season
it's kind of a little bit
more spotty.

And then as the years went by,

it became a way to pay the bills
and to still convince myself
that I'm a filmmaker.

Now, it's just a way
to pay the bills.

[Erik]
Isn't this wedding
season right now?

Yeah, it's July.

I'm sorry, I don't want to
embarrass anybody, but it...

She's always hectic, she's
always happened to come and
borrow money and,

and that doesn't bother me,
that's what we're here for,
right,

to make sure that
everything's...

We can help out.
Everything's OK.

[Erik]
Does Gavin know that
you're getting help?

I mean it's not so much help

that it needs to be discussed
or whatever.

[Erik]
So, let me ask you
a question, you're taking
their film

and you're trying to show
it to the world,

but why aren't you making
this movie that I'm making
right now?

Why aren't you doing a film
of your own essentially
rather than just,

you know, taking somebody
else's and finishing it?

Nobody would believe this
if I did it, OK?

Nobody's gonna believe a
documentary about me finding
footage

and putting it together
and running around.

That's why we need you,
that's why you're here
to tell the story.

Because if the audience doesn't
believe the footage, then
you're in the same exact place.

-[door knocking]
-Come in!

Fellas!

-[Jamie] Gavin,
how are you doing?
-How are you? Gavin York.

[Gavin] I want to make sure

that this is well thought out,

put together with a lot of care.

We're in this business because
we like to entertain,

but we're in this business
because we want to make
money, OK?

It's found footage,
I understand, it's a found
footage style.

Well, it's real. As in
"It's found footage, because
I found the footage."

-OK.
-I actually found it.

-Right.
-OK.

[Erik]
But you understand
why it looks suspicious

that rather than just putting
the footage out there,

you are having it cleaned up
and mixed

for theatrical release.

But who is gonna know that?

You're treating it right now
like a movie.

But why can't you treat it both?

Cleaning it up kind of
defeats the purpose

of it being this gritty found
footage found in a basement.

I guess, I mean I'm not really
trying

to walk around and say,
"Hey, look how gritty it is!"

It's your project.

It all comes down to
how to approach it

and when we figure out how
we're gonna approach it,

then we can help you
budget for it.

-[Gavin] Sure.
-I understand that

that's a concern. I understand
that it isn't so fun.

-Yeah, yeah, but about that...
-In the project...

[Erik]
Realistically,
how much can you afford?

Realistically,
I can't afford anything.

This is an opportunity for us to
get in like on the ground floor.

This is a game changer. When
you watch it, you will know.

[Erik]
You're trying to get
them to do this...

For free, for zero,
for a piece of the pie.

We all know these conversations
happen all the time and in the
reality of it is that,

as a business,
there's got to be some kind of

process that works for us
that keeps our lights on

-so to speak.
-Oh, sure, sure.

If I have to pay,

I'm willing to go maybe $1,500.

We could probably do about

$2,000, but then it's gonna be
a lot of ramen noodles.

Most features that get full
packages, even on an indie rate
are anywhere from like 10 to 20.

I can't leave here without
them agreeing to do this.

Alright, Feldman, just let me
do the talking, OK?

-[Feldman] Sure!
-Cool! Thank you!

[knocking]

-Hey, Dr. Wolfe?
-Miss Crane.

Hey, I know it's first thing
early in the morning and
everything,

but we have something
really awesome

to show you for the documentary
and it would be great...

Wow, wow. Mr. Feldman, what's
with the camera?

[Sophia] I got this, Feldman.

It's actually for
the documentary.

There's actually something that
we need to show you.

Hey, Feldman, are you rolling?

Yeah.

All this will become
very clear in five seconds,

but we are documenting
this entire process.

[Feldman] So, right at 1 a.m.
this is what happened.

-[Dr. Wolfe] Hmm.
-So?

-Nicely done!
-What do you think?

An excellent effect!
You guys have done a good job!

No, Dr. Wolfe, this is not an
effect, this is for real!

This is not the project
we talked about,

but you've got
a nice premise here,

you've got something
you can work with,

you can turn this into
a very sweet horror film.

-We...
-Just one second, OK?

My camera it's about run out
of batteries.

OK, get the camera, please.
OK, this is grey data,
Dr. Wolfe.

We need your
advising right now, OK? This...

...psychodrama you're trying
to do here

and I respect, you're trying
to be creative and all,

but I'm very uncomfortable
with you filming me.

There would not have been
enough time to put all these

enhancements in it
and everything else.

This guy doesn't know
what the hell he's doing.

Take five, Feldman.

Look, I would not
put my good name on the line.

Did you have that tape
in your hands

24/7 from the moment that you
walked away from that tunnel?

Feldman is a slacker, he's in
the seventh year
of his six-year plan

to get through school and, you
know what? He's a genius.

He's a genius when it comes
to the camera

and doing things with it.

[Sophia] Well, I called
Mr. Folklore

and left a message
on his machine,

so I guess we should

have talked to him first.

[Feldman] Well, why don't we
just go talk to him now?

My big thing is how did anybody
look at that footage

and say that it's not real?

That's what I'm saying.
Obviously, we're still learning.

Like, you just can't fake that.

-Come on!
-[Feldman] Anything?

-No!
-Awesome!

I'm gonna check the side.

Honestly, I feel a little weird
about creeping in his window,
but...

[Feldman] This is a folklore
guy, I'm sure this is the least
creepy thing about it.

Yeah.

-[Feldman] Anything?
-No!

Shit! Now what?

1527?

Oh, this is it, this is it,
right here.

You guys, this is the house.

Oh, my God.

Just like being in a dream,
I can't believe we're
actually here.

[Matt] It was undoubtedly
through the
Weird
books that I
have worked on for a good...

It was about 7-8 years
I was working on this
series of
Weird
books

and certainly in
Pennsylvania and Maryland,

this is what
I'm best known for.

[door knocking]

-Mr. Lake!
-Mr. York!

-Call me, Gavin, please!
-Gavin.

This is the camera crew
and everybody!

Hi! Come on...

Just don't pay them any mind,

they're just gonna do
their thing.

-OK.
-This place is great!

I have to tell you, this is
an absolute thrill,

it's been about six months
I've been studying this place.

Wow, that's kind of unusual!

Right here, this is it!

This is it, this is the spot
where you gave your interview.

-I vaguely remember it.
-Ten years ago!

Yeah! I don't often have
crews in my house.

Yeah, Gavin sent me
a message on Facebook

and he told me that he found
small footage of me,

so I'm kind of interested
to see the footage.

[Matt on TV]
Keep your eyes open

for a long time because that's
how you conjure him up.

When he's right up there,

the temptation is dead staring
you in the face,

you do anything
you can to avoid him.

[Sophia] Nice doorbell, Feldman.

[rock music coming from inside]

[loud rock music]

[Sophia] OK, wait a minute.
Why are we doing it here

and not at my house with
the rest of the footage?

Because I don't want to
unplug the camera from the TV

and I don't want to unplug
anything, I can't lose,

I don't want to go away.
The last time we did it
on your computer,

we had the tapes in my camera,
now it's in this,

just let me do my thing
right now, OK?

I got the time codes
written down.

OK, but what are you doing?

I just gotta show you.

I gotta say this is
a real treat for me.

You don't have any idea
how much you validate

what I'm working on right now,
which is really great.

Just feed this up through
your chain.

So tell me about your role
in the documentary.

Oh, it was, it was minimal.

The two people came, they got in
touch with me, they came around

and, yeah, we were here for an
hour or so and then they, then
they moved on.

That was the last I saw
them, just once.

Sophia, Feldman. How did they
get in touch with you?

Email, was it phone, did they
call you, did somebody,
friend of a friend?

I'm gonna tell you the truth,
I don't remember.

It was a decade ago.

When you got in touch with me,
I was...

I searched my email archives and
didn't find anything there,

if it was the phone, then, you
know, I don't keep phone
records.

So, is there a reason why
Peeping Tom was excluded from
Weird Maryland,

obviously the Ilchester tunnel
is in Maryland, any reason not
to include it?

It just wasn't as strong a
story, I had that kind of a vibe
about it that felt more like

what we call fakelore rather
than folklore.

-OK.
-I have a lot more stories

than I have pages to...

Alright, let's talk about
the footage.

I wasn't a part of it, you know,
I just watched it for a few...

Sure, but as an expert,

let's get an authoritative
kind of dissertation on that,
if you will.

That thing at the end
of the tunnel with the...

-Peeping Tom.
-Peeping Tom coming in,

it was a very striking image,

it was iconic,
it was an iconic image.

Pretty scary.
What about what happened next?

[Feldman] Are you rolling
on this, right?

-Yeah.
-Alright.

[Sophia] What are you trying
to show me?

-[Feldman] Just watch.
-OK.

[Feldman] There, did you see it?

OK, no.
What am I looking for?

-I'm gonna rewind.
-OK.

[Feldman] Alright. Look in the
back on top of the building
on the left.

There, there!

[Sophia] OK, so it's like
a giant bird, right?

No, it's not a giant bird.

OK, what is it?

What do you think it is?

When I go to change the
battery and I turn out
and there!

-[Sophia] Where am I looking?
-There!

Right there,
next to the air duct.

[Sophia] Wait a minute.

[Feldman] But remember the spot.

I'm gonna go forward.

I remember,
we turned it off and...

[Sophia] OK, wait a minute,
dude...

[Feldman] This is as far
as I've got.

[Sophia] OK, come on,
show me the other footage.

-Alright, well...
-You got me a little excited.

Oh, I'm running, run, run.

-Did you see that?
-No!

OK, OK, wait, wait!

Play, play, alright.

Get ready, ready, right there!

-Oh, shit!
-Oh, shit!

[Feldman] Rewind, rewind!

Ready, don't blink!

-Here! There, see that?
-That's right.

-[Sophia] Got it!
-Press pause!

-[Sophia] Pause.
-[Feldman] Bingo!

[Sophia] Oh, right there.

Oh, my gosh, dude,
it's fucking Blinkman!

Yeah, the thing is
we're not the ones blinking,

it's the camera that's blinking,

so every time I'm making
a new clip, he's there.

Yeah, wait a minute!

Every single time we turn the
camera on and off and it blinks,

he's almost,
he's getting closer.

[Matt] Well, I had no idea I was
being involved with a film

of that kind, it was kind of
scary, it was well constructed.

So that was, so what we just
watched, your opinion is that
it's fake.

That there's no Peeping Tom,
there's no, they didn't find
anything in that tunnel.

-Yeah.
-This is all?

-It looked like...
-All non-weird.

-It's...
-It didn't make your book.

What I'm just trying
to figure out is...

Two human beings, alright,
these are two people,

you are the only link

to them even existing and I
called you, I explained to you
how important you were.

It just seems to me that you're
not taking it as seriously
as I thought you would.

As an esteemed author would.

You're kind of brushing
it off a little bit,

you live all the way out here,

far away from anybody
to be able to track you down.

You don't have emails
conveniently right after,

right after they came
and talked to you.
"I don't remember who it was.

I had a phone line that've been
bouncing my service back and
forth."

Who does that?
Nobody bounces their
service back and forth.

It just sounds to me like
a lot of conjecture, sir.

You wouldn't be involved in
their disappearance, well then?

-That's ridiculous!
-Is it so ridiculous?

Because it's, it's...
I don't know, that was
a documentary!

It was a documentary.

Were you gonna say stupid?

No, I'm not gonna say stupid!

I can find stuff
that's pretty stupid.

I mean, I know it's all
that year, but...

But it's well put together.

Look, can we cut this please?

I'm done, I'm done! Sorry!

-Would you like to leave,
please?
-No!

Miller's castle, I just don't
understand why you're not...

I just want you to answer
whether or not these people

exist or not. I can get out of
here, I can validate this
whole thing.

-I'm done, I'm done!
-Just seem awfully enough

-weird to me!
-Turn this thing off, please!

So all he ought to fucking do...

was to answer
two goddamn questions.

"Did he know who Sophie and
Feldman were?" And:

"Were they coming to make
a fake horror movie

or were they're legitimate
documentarian filmmakers,

looking to prove or
disprove...?"

[honking] Fuck!

Hi buddy, how are you doing?

You want to give your dad a hug?
I missed you!

Did you stay inside,
did you see the rain?

Can I get a hug, please?

[Carter] [unintelligible]

[sighs]

[Mel] How did it go?

It didn't go well,
that's for sure.

Why're you using my computer?

Why is it your computer?

It's got all my work on it!

I've started the computer
to do our finances.

[Gavin] OK!

-[Gavin] Alright!
-Talk?

We're talking right now.

You know these guys are
following me around, Mel,
sometimes the story comes out.

Let's go in here.
Come on, we'll talk. Come on!

[Mel] We had another letter.

-[Mel] From the bank.
-OK.

-[Mel] About our house.
-Well, just take

-the money out of savings.
-We don't have savings!

[Gavin] What about the budget
that we talked about on
Thanksgiving?

Yeah, and then
your movie happened.

My movie. Listen, it's all gonna
be worth it in the end,

as soon as this hits,
no more wedding jobs!

[Gavin] This is it,
this is what it takes, OK?

There's always gonna be
a tough time, alright?

Isn't it gonna be great if
we can sit back and we can say,
"Carter, what happened?"

[Mel] Carter!
Carter needs shoes.

These guys in here right now,
I don't want to get into this
anymore.

-Alright? We're done!
-Yeah! We're done.

[Gavin] Done!

[Feldman] OK, so the camera was
a test subject

and stared without blinking for
the entire hour,

then according to the legend
now sees Peeping Tom

and every time it blinks,
he gets closer.

So, in other words,
every time we turn it off

and then on, or make a new clip.

Yeah. There's our thesis,
he's in our camera.

[Feldman] My camera, and yeah,
you know, first he's there
in the tunnel,

and he was there
again when we met our adviser,

and again when we went
to see the author,

and in each case,
he got incrementally closer.

But he's still hiding in the
frame, he's making this a game,
because no one will believe us,

so we have to draw him
out in the open.

Why I feel you're not
as excited about this as I am?

Feldman, assuming this all
really happening...

It's really happening!

Do you realize what this means?

Yeah, it means
we're filming him right now.

OK, hey, turn it off,
turn it off.

[Feldman] Oh, what's your
problem?

My problem is that
I'm still directing this

and I don't want this
camera on until we figure out

what we're gonna do, OK?
Turn it off!

OK, so the camera's... what was
that? Did you hear it?

Yeah.

[digital noise]

It sounds like it's at the
beginning of each new clip.

It's a digital...

Something to do with
the camera, man,

I mean it might be
a messed up camera...

Something to do with the camera.

Alright, Feldman,
just let me do the talking, OK?

It's on every clip after
the bridge

section, so that's gonna be
a lot of us going through
every piece.

Wait a second,
every one after the bridge?

So, as soon as
Peeping Tom shows up,

this sound shows up at the same
time, is what you're saying.

[digital noise]

This is a little crazy, but it,

it kind of,
kind of looks like Morse code.

Like, why would it only show up
after the Peeping Tom?

I don't know, you're the one
that's got it documented.

I'm just asking you,
as a better person.

-Documentary crew...
-What do you think

as a human being?
Why would that show up like...

I don't know, it's something
that you want us to see.

I do think, it's not you, man,
maybe it's not even that
you put it in there,

maybe it's that these guys did
when they shot this footage.

This is a little crazy, though.

What the fuck, shut the fuck up!

-What?
-[Morse code]

What does it translate to? Say
it out, say it out loud, please!

-It says Blink.
-Alright, can you guys do me

a favor?
Can you look at the camera?

I believe that you've done
a good job of...

Can you look at the camera?
I need you to authenticate this.

-I need your help.
-Authenticate it?

Just stare in the camera and

say what you
just found for them.

I think it's completely faked.

[laughs]

Whoever shot the footage,

these people that supposedly
aren't around anymore,

they clearly put
this sound in there.

OK, so maybe they did it,
to so whoever...

So if the guy gives the tape...
whoever finds the footage

and then uncovers
this Morse code

or this specific sound that
happens every time.

That's a lot of work, they would
have had to shot the footage,

offload it, edit it and put it
back on DV tapes.

Yeah, OK, well...

-And then, and then...
-He could have done that too.

We don't know, man, we don't
know where these tapes were
before they came here.

He's coming here
and he tells us a story,

then we either believe
or we don't believe.

[mystery noise]

Blink test, take one.

Blink test, take two.

Blink test, take three.

Blink test, take seven.

Blink test, take 13.

Blink test, take 19.

Blink test, take 25.

Blink test, take 32.

Blink test, take 40.

[digital noise]

I do not believe
that this video is authentic.

One thing that's really
suspicious to me is that
it always appears

and disappears, like either
off-screen or behind something.

The one where the car goes past

like that's just like another
really common trick

to use to make a ghost disappear
if you're hoaxing a video.

I guess here's two points about
the blink test

that seemed very suspicious.

One is that

Feldman steps in front
of the camera

every time he turned it on.

The record button's
on the back of the camera

and it just seems
like a convenient way

to reveal the figure.

Like they...

I know making it black and white

is a film student's
stylistic choice,

but it certainly makes it easier

to hide effects
and hide manipulation.

-[Gavin] Let's talk
about metadata.
-OK.

Alright, the metadata.
There are timestamps that show
the progression of events.

You can fake that.

You're accusing me of faking
this whole thing.

Look, I don't know you,
I'm not gonna say that...

No, but you'll take my money,
you'll take my money, though.

For my opinion,
which I'm giving you.

[Gavin] But we got the
ghost group which isn't too bad,

[Erik]
It seems like they
were sort of your last resort.

[sighs]

They were,

but they have a lot of reach

and if they believe in orbs...

I mean, this is certainly a lot
bigger, more real than orbs.

And there you have it, folks,

the footage, the found footage
I've assembled for you today.

With your help, we can figure
out the mystery, together,

and that's why it's very,
very crucial

you know, that you follow me
on this quest.

Any questions?

No questions! Can I count on
your support? Yes, ma'am.

You don't know that they didn't
have somebody to do this,

you don't know if any of this
is real, you don't know what
they do...

You're right, ma'am, and that's
why we're here this evening,

because if I knew
if it was real,

then I wouldn't need you, folks.

If he's at the end of the tunnel

and those are railroad ties,

he'd have to be about
six feet wide.

Six feet wide.

There's nobody in that video

that you could find in public
records to speak with?

I did find this Matt Lake,

he's an author of a book
called
Weird Maryland,

which you can pick up if you
want to, I mean I don't
recommend it.

I find it very hard to believe
that people who come up in
front of your group

constantly get grilled
like this,

it seems to me that everybody
be in, everybody be into it.

I'd say this would be
enough to warrant

an investigation and a
recreation of the experiment.

Paranormal groups need more than
just a piece of visual evidence

to be able to methodologically

quantify and qualify an event.

We would need audio,
we would need...

Sir, sir, all the fancy words
aside, I get what you're saying.

All I'm asking you to do, is
either believe it or you don't

and you want to go investigate
it or you don't.

I'd like to know what kind of
medications that you take?

I, ma'am, I think that
that's extremely rude

and I don't think
that has any bearing on that.

I'd like to ask you what
medications you're on
to ask such questions?

When you get a film
on Bloody Mary,

maybe we'll think about it,

but this is a crock and we want
nothing to do with it.

And that's inspired ghost
tracking. Now, we're not going
out to investigate with you.

I'm pretty sure that inspired
ghost tracking...

This is not gonna be the last
time that you hear about me.

Is this the exit door?

No orbs out there, but thank
you very much, I appreciate it.

I'm sure that you'll be hearing
from me in the future and
yeah...

[ironic applause]

Turn off the camera, please!

I don't want to deal
with it right now.

And there he fucking is.

Now, our problem is that any
time that we moved the camera,

whether we were just moving
the camera or we were
in a car or walking,

he was able to flip in
and out of the screen, so,

we couldn't keep track of him,

but if I leave
the camera where it is,

then he's stuck and I got it
where I fucking want him!

Now, what we really need to
get right now, is we need to
get the ending.

Now, the most logical thing
for me to think of is, you know,

it's the closeups
as a grand reveal.

Why are you filming me with
the Handycam?

You're afraid of my camera.

Well, that figures, I mean
directors, you always had this
vision and you think

what you want to do with it,
but behind the camera,
you have no fucking idea!

He keeps on getting closer
and that's where he needs
to stay.

He's on my camera!

[pager ringtone]

Oh, shit!

Oh, shit!

Hey, well, look...

[Sophia] What are you up to
with all these journals here?

Wait a minute.

[whispering] That's some
kind of [inaudible]

[electronic noise in the
background]

OK, Butterfly Kisses,
video diary, whatever, right.

So, I don't really want to
accuse Feldman of doing anything

and I'm not even saying
that he's lying, OK?

I really do respect him.

But after reading his diary
a little while ago,

and him having
the diagrams of everything,

I just want to record this
for posterity and just

make sure that everyone knows
that I have my doubts about
this entire project, OK?

Right now,
I have doubts about everything.

Honestly, what could be worse?

Knowing that Peeping Tom could
come and get me at any moment

or just being humiliated
by the entire thing,

knowing that Feldman can show
this at the student
film festival

and I look like a fucking ass!

I'm just gonna have to roll
with it and hope the fella
isn't fucking with me,

like I'm really,
really starting to believe.

[music intensifies]

[mystery music]

[Erik]
First off, you gave us
the footage and we wanted to see

all of those things that
you cut out.

Can you please tell us,
can you tell us what
Portraits
of Dead Friends
was?

We actually ended up winning
our student film festival,
Best Feature Award for it.

[David] The same two filmmakers,
Sophia and Feldman, made a movie

called
Portraits of Dead
Friends
in which they wanted
to make

a film about people
who were deceased,

but they didn't want to do the
usual kind of, you know:

"He was a wonderful person
and he was born
in such and such place."

So instead, they went to the
photograph that appeared with
the person's obituary.

Well, A. That has nothing to
do with Peeping Tom.

[Erik]
It has everything
to do with Peeping Tom!

[laughing] I didn't want you to
bring that on, oh my gosh!

[Feldman] I'm glad you
laughed at it.

-I mean, I'm not good about it.
-You seem pretty OK with it.

Ok, look, the girl's sister
didn't want to talk about her.

It was a really good story, so
we got a freaking actor in
there, big deal.

[Erik]
As documentary
filmmakers,

they were willing
to have an actor

play a person
and accept award for it.

Sure.

Do you think
Portraits
was enough...

-without that story?
-[Sophia] What do you mean
"Do you think

Portraits
was
enough without that story"?

There's five stories,
what story?

You know what story
I'm talking about.

Diana's?

The one that we, you know...

[Steve] I'm not sure about
Feldman, he's got a bit of an
attitude,

because he wants to be the
director, he wants to be the
top dog.

Maybe there was some resentment
going on there.

[Erik]
I found a clip
where Feldman

is saying that he did not win an
award, that it was just Sophia.

[Sophia] What did you do
with your award?

[Feldman] I didn't get one.

Wait, what do you mean,
you didn't get one?

I mean, Dr. Wolfe only gave it
to you, and it only has
your name on it!

Are you serious?

Feldman turns out to have his
own mildly unscrupulous streak,

because he starts to suggest,

there are things we could do

if we don't get the image that
we're hoping to get.

There's other things.

[Sophia] Like what, like visual
effects, kind of thing?

Something like that.

So we have then at least three
possibilities here.

We have the possibility that
this whole thing is real,

that they caught the image
of Peeping Tom.

We have the possibility of two
of them got together,

to put together this largely
plausible hoax

and we have the possibility
that one of them put together
a hoax on the other one.

At least those
three possibilities.

I need to say...

I guess my initial prejudice was
the slacker who was kind of
quiet in the background,

was the X-factor, yeah, he was
the instigator of the fiction

Butterfly Kisses,
video diary one.

On reflection, it seems much
more to me as though Sophia,
she maybe crossed the line.

You know, when you've invested
a lot of time in a story and the
deadline's coming up,

the temptation is, yeah,
how do I make this a good story?

Unfortunately I can't prove that
Peeping Tom wasn't anything more
than just an actor and a hat.

Which is kind of sucks, because
I don't know what I'm gonna do
from here.

I guess, I'm just gonna need
a new angle.

[Matt] And then, everything
from that that point onwards

was a collaboration
in this fiction.

It wasn't relevant to the story.

[Erik]
What about the scene
where they're standing in
the old Ilchester Tunnel,

and Feldman is saying if this
doesn't work with the camera
looking through the tunnel,

w could do a special effect.

I mean that's, I think that's
desperate times and spitballing,

you know, it's just talk,
it's all loose talk.

When someone wants,
you know,

just to speak their truth
and to bring it out

to other people and to kind of
have that position

of leadership and fame and
everything else,

they will cherry-pick certain
things that support what
they're doing.

Your brain is not consciously
cherry-picking,

it is more of an
unconscious thing.

So, it's very easy for someone,

as they're starting to get in

to, you know, kind of an
obsessive behavior or a delusion
is starting to be created

where the look at a piece of
evidence and the things that
highlight for them,

they zoom and sink into the
brain immediately and then the
things that don't,

the brain automatically
kind of just

sections them off like they
don't even exist.

Gavin York's decision to take
that material out

suggests a manipulative,

a very strong manipulative
intent on his part.

If you're working with
all these elements, you can,

journalistically speaking,
you can construct the...

You run the story out of
whatever footage you choose
to put in there.

[Steve]
If he took these scenes out,

then he had a particular
reason for doing it.

Why he's allowing you to put
them back in

or to utilize them in some way,
It's interesting.

I mean, there's, there's...
Pardon?

-[Erik]
He signed a release.
-Yeah.

He authorized the use
of the footage

in this documentary.

[Erik]
There, there are
people who suggested that

perhaps Gavin shot this himself.

Do you feel that's...

I don't think that's true.

Simply because,
when would he have done it?

I mean, my mom found the tapes
in the basement, so...

[Erik]
Why do you own
a Panasonic DVX100?

-That's the camera that Feldman
filmed the documentary on.
-OK.

They say he goes away
on a lot of trips.

Yeah, he goes
where the weddings are.

Does the money all match up?

Usually!

[digital noise]

Stop!

[noise intensifies and
interferes with his words]

I want the tapes!

[digital noise in the
background]

What happened to your face?

-It itched.
-Are you on something?

No, I thought the lashes
would tick over the itch.

And the camera,

I locked it in the basement.

I threw away the battery!

And when I woke up from
sleeping, it was back.

It was taping me,
he was taping me.

Do you think it was me that
pressed record for this?

No, he knew you were coming,
that's how I knew you were
coming.

I'm gonna get the ending that
he aimed for before he does,

but then it's all on you,
you got the tapes.

But I'm gonna get all the
footage, you finish this movie
like you said you would!

Remember?

And then he's coming after you.

You're next.

[footsteps moving away]

But you'll win another award!

[violent noise]

This is my new delivery system

www.butterflykissesmovie.com.

-[over the phone]
Hello!
-Hi there, I'm looking for
Miss Joanne Tillman?

She's not available right now,
may I take a message?

Yeah, this is Gavin York
calling,

this is actually the seventh
time that I've called in the
past three days.

On Friday,
when the timer runs down,

from midnight to 1 a.m.,

viewers around the world will be
able to watch footage,

the found footage,

and be able to make their own
assessment of it.

We're gonna get it out
on the world, so...

[Erik]
What's gonna
happen after the 24 hours?

The website's gonna be shut
down, you're not gonna be able
to see it anymore.

[Erik]
What do you expect
to happen then?

The phone does never stop
ringing after that.

[Erik]
So you'll sell it
to the highest bidder?

Or one, just, you know,
moderate. One, so yeah, yeah.

I'm not trying to be a jerk,

I just want to find out
how I can speak with

Miss Tillman and
give her some information about

a local community event that
I've got going on on Friday.

[beat music in the background]

Hello...

Hello!

[Erik]
How many,
how many newspapers in...

All of them.

-[Erik]
Already all?
-All of them.

And you see how it is?

You heard it for yourself,

they don't give a shit!
Hang up, hang up!

I mean, unless you...

Do you know somebody?

[Erik]
You know, we can't
get involved.

We have to stay
on this side of the camera.

Stay on that side of the camera
if you want to, man.

I mean, I don't know why you
guys want to sit here and film
me, and not get involved,

because you're just wasting
your time too.

There's no ending to
this movie whatsoever.

You get an awesome ending
for your movie,

I get an awesome
ending for my movie.

Nobody's lying, nobody's saying
anything fake, alright?

All I'm asking for is one
telephone number and a name.

And that we can go, and we can
speak to that person and we can
put this whole story out there.

I don't think...

it's cheating

if it's for the great reward.

[Mike] It's DC 101,
I'm Mike Jones and

in studio today I've been
talking about

this found footage all
week,
Butterfly Kisses.

Gavin York, the guy that
discovered this footage,

and you could see it for
yourself, if you haven't yet,

until midnight tonight at
butterflykissesmovie.com.

Gavin York,
how you doing, brother?

I'm doing great, thanks for...

I just don't understand the deal

with this guy, man,

why are you filming him,
what's in it for you with this?

[Erik]
It's supposed to be

a really fantastic, fascinated
character study. And then it is!

Nobody wants to come to...

Because this has been done
a thousand times before.

And we think it's a scam.

I'm not the only one,
it's everyone!

[Erik]
I know, but that's the
problem that I've got right now,

I've got hours and hours of
footage that we've shot,

but we don't have an ending to
this documentary.

[whispering]

And you give me this
opportunity to...

-This is the...
-This is amazing!

[distant chatter]

It's alright, I got your back.

-Just don't [inaudible]...
-Alright.

[Mike on speaker] Alright, well,
we'll see what the people have
to say, it's 8669 1 DC 101.

Hi, DC 101!

[caller]
Yeah, you actually
think there's

anyone stupid enough
to fall for that?

[caller]
The video quality
sucks, it's all fake.

Gavin, do you have anything
to say?

Well, I mean, this would be
something in 2004 to address
with them!

[caller chuckles]
No man, you
totally didn't do this in 2004,
you did this just now.

I didn't do anything in 2004,
I just assembled it now.

I'm not trying to profit
off anything.

[Mike]
Have you looked for them?

[caller]
Take it
to the police...

[voices overlapping]

[caller]
...just check it out,
that's bogus.

Gavin, skepticism is just
everywhere.

-Yes, a lot of hatred out there.
-A little bit, a little bit.

[caller]
Hang it up and
find something else that you
might be good at.

[caller]
Change yourself,
because you're trying to profit
off of somebody's death.

[caller]
You think that people
are gonna fall for this
[inaudible].

[caller]
Showing a hoax it's...

[caller]
The second I spent
watching that piece of...

[caller] You seem like a
stoner...

[caller]
...whichever project...

[caller]
...wrong about this,
cursed....

[caller]
...not real.

[voices overlapping]

Hello, DC 101, who's this?

[caller]
Stanley.

Stan, what you gotta say
to Gavin?

-[imitates voice]
-[Mike laughs]

Alright, I'll tell you what.

I'll give him five minutes

and I think I've got a guy,

we can get my producer to call.

It'll be good. See what happens.

[Erik]
Good for him or?

It'll be good for us.

[Mike] Gavin, listen, I know
people have been blasting you.

I want to...

This is the call that
we've been waiting for,

let me bring him on here.

-Hello, caller!
-[caller]
Yes.

Hi, let me introduce you.

Gavin, this is Ed Sanchez,
the king of the found footage,

the director
of the
Blair Witch Project

who is calling to talk about
your movie
Butterfly Kisses
!

Ed, how you doing, brother?

[Ed]
I'm doing well, man
how's it going?

-Good.
-Good afternoon! Big, big fan!

[Ed] I've seen the footage.

You know, it doesn't look
completely genuine to me.

You know, I think there's some
acting involved, there's some
effects involved,

and I think that it's kind of
disturbing that he feels that

the only way to market this
footage is to pretend it's real.

So, you know, I just kind
of had to speak out about it,
you know?

[Ed on radio]
I understand
where Gavin's coming from,

but, you know, he's trying to,
you know,

get in the business,
he's trying to make this film,

but it's just
been done before, it's a...

Did you do this to start your
career in Hollywood?

Is this your way of maybe
kicking that door open?

I've been a filmmaker since
I was about 12 years old.

Right, that's why
everyone's saying

that this is not footage
that is legitimate,

that you created this
on your computer.

I completely understand that.

And you've made this
your film.

You're a professional.

Could you have made this
on a computer at home

with just a few projects?

At least for me, as a filmmaker,

you can tell that there's
some stuff

that is obviously,
you know, manipulated.

There's like these moments of...

Where just the camera happens
to be on, to capture a moment.

That's like a big thing
of found footage is like.

The camera happens to be on
while something crazy's
happening,

you know, you just don't have
that kind of luck in life,
you know.

The whole legend is that the
footage is found in a shoebox

and the footage carefully shows
like oh, here's this shoebox

that we found it in here,
I'll show it in front
of the camera,

which is like something that
they're setting up the shoebox,
you know.

To me those are kind of,
you know,

signs that you're setting
something up dramatically.

In a movie you do that,
you know.

[Ed on radio]
You know, after
the initial buzz of our movie,

we never pretended that it was
real.

I just have a problem with
him thinking that it's for real.

You know, maybe I think
he has a problem.

[Mike] Ed, what are gonna be
the consequences if this does
come out

and it's found out that
Gavin made this up?

[Ed on radio]
You're just kind
of really

destroying your reputation
with this,

because eventually
somebody's going to come out,

some proof is gonna come out
that this is not real,

and, you know, people are gonna
ask what were you thinking?

And I'm kind of asking that
right now, what is he thinking?

You know, just fess up,
you know what I mean or...

I'm being about as honest
as I can be about this.

Alright, well, you say so.

Well, Gavin York, check out the
movie butterflykissesmovie.com,

it's on until midnight
tonight, thank you!

DC 101!

[radio music]

Mel?

Hey!

[Gavin crying]

It's alright!

Her mom set up an account.

For Carter and

they were putting money into it.

[clock ticking]

And I took all the money
and I spent it on the movie.

[Erik]
How did she find out?

She wanted to go
and take out a sum.

[violent intro sound]

Authorities report that
the strange death

of a local man
leaves more questions

than answers this morning.

Friends say that Feldman,

a film student,
had been acting strangely.

Yeah, he's been making this
movie with this...

[digital noise mixed with
reporting]

[reporter]
The body was lying on floor,
smashed to pieces.

Feldman's body had been found
in the cabinet, under the
kitchen sink.

-This creature is coming and...
-[electronic noise]

At this time, authorities await
results of an autopsy.

[TV news generic]

[crying]

[car blinkers and traffic noise]

[Erik] Hopefully we have
a record with him this evening
and, you know,

figure out where he's been,
if he's giving us a call,
obviously we're,

you know, we're showing
up there to shoot, we're just
filming this for posterity

-at this point.
-Yeah.

I don't really think we're gonna
use much about this,
to be honest.

Sure, I agree!

[car passing]

[crew member] You want me to
keep rolling on this so that
we have...

[Erik] Just whatever you do.

[crew member] I don't have
a lot of battery left.

If you're right about it.
Alright!

[Erik] Gavin!

Hey, Gavin!

Gavin!

[crew member] I'm gonna stop
recording for a second.

[Erik] No, no,
just keep it rolling.

[crew member] No, what are we
recording here?

We're not doing
anything, I don't...

Go talk to him or something,
man, this is getting...

[Erik] I don't even know
what to say to him!

[crew member] I don't know,
Erik, you're the director!

[Erik] Gavin!

Look, buddy, we can't help you
if you don't talk to us.

[Gavin] It's not...

Just when he gets
closer to you...

It's when you get
closer to him...

[Erik] Wait, what are you
talking about?

[Gavin] Butterfly kisses!

[dramatic music]

[crew member] We need to help
this guy, seriously.

We call, we call his wife!

We don't have her number.
She changed her number. I don't
know what her new number is.

What about his, what about
his mom-in-law?
Whatever her name was.

I never had her number.

It worked through Amelia,

and the house is sold,

so I don't even know
how to find her.

I don't know, I mean, I'm not...

We're supposed to make it
a movie about him,

and I don't know how much,
if this is our responsibility,
we're not, not his family.

It is our responsibility now,
we've...

We've taken him this far,

we've kind of screwed him over

on a couple things!

We haven't screwed him over,
Kenny!

But, DC 101 was total set up.

DC 101 who's not a total set up,
he agreed to it.

He didn't know you were gonna
have Ed Sanchez call him.
Come on!

I did not put him
on the air to fail,

we gave him that option.

Look, it was mutually exclusive,
mutually beneficial. We, we...

We needed an end to the movie,
and he needed a public forum
through which to speak.

We agreed on this.

How is that,
how is that my fault?

-You guys, all said...
-You ruin his life
for your movie,

how about that?

At what point did this
become my movie

and this became
I ruin somebody's life?

Man, you just keep pushing him.
You keep...

Why do you guys, why do you
guys keep showing up

with the gear and shooting,
what we're doing then?

If you're so, if you have such
moral issues with it,

why are you fucking here?

-Who's that?
-What?

[metal sounds]

Somebody's running
across the tracks.

-Come on, guys.
-Shit!

[footsteps]

Where is the camera?
Did he take the camera?

[running footsteps]

Guys, slow down.

-Did he seriously go in there?
-I'm not going in there.

Guys! The camera battery
is getting low!

We have to make a decision here.

Gavin!

The camera is about to die,
Erik!

What are we doing?

-What is that?
-What?

-Who the fuck is that?
-Gavin!

-Did you see?
-It's right there.

-Did you see anything?
-I don't see anything!

It's right in fucking the end of
the tunnel! What the fuck is...?

[TV signal tone]

[Sophia] Feldman sent this
the night that he died.

As you can see, he details out
what he called the final plan.

At the end, he only had three
blinks left, so he set the
camera up

into a mirror, so he covered
both sides, the front and the
back of himself.

He crouched down
in front of the mirror

and had this hammer ready,
so that on his final blink

he could stop, he could stop him
from getting him,
so he thought...

Feldman's parents let me go over
and go through everything when

Feldman had passed, because we
were working on the project
together.

I was able to get this tape
which was in the camera,
up until the end.

As you can see, it's all cracked
up and the tape was unspooled,

but I was actually able to put
it back together.

It took a few days,

but I did it.

The only thing that would
play, was the last clip,

and that's OK,
because Feldman was smart.

He also had this.

[digital noise]

[noise intensifies]

[loud dramatic music]

Ah!

[electronic noise]

[heavy breathing]

[violent horror noise]

[TV signal tone]

Alright, so Andy, for the
benefit of the camera,
can you please,

can you please tell me what you
sent me in the email?

Well, what I found was,

if you look when Peeping Tom
is jumping up,

like jumping up
to grab Feldman...

If you look in his eye, there's
actually an image in his eye.

At first, I thought it was the
shot of the, like
the Ilchester tunnel,

like I thought it was like
a frame grab from the video

where he appeared, but

I actually think it's the other
way around,

like it's what Peeping Tom saw

when Peeping Tom appeared

so he's looking through the
tunnel

and... you see the lights from
that camera

and beyond that is like
the train bridge.

[Erik] OK, so this,
this is his POV

of Crane and Feldman filming
him the night...

[Mike]
It's Peeping Tom's
point of view, yeah.

Wow, ah...

[Matt Davies] So this is what
it sounds like by itself.

[digital noise]

You wouldn't necessarily
be able to tell

that that's Morse code,

but you can see that it looks

a hell of a lot like it.

So, we, last time we were
working with Gavin,

there was kind of some debate
over the sound

that we found
at the beginning of...

seems like each clip after
the bridge footage.

Using this synthesizer sampler
from iZotope, called Iris,

you can basically feed it the
sound and it'll map out the
frequencies

and amplitude of the sound
visually.

[digital noise]

So, when I called you
guys in here, I was actually

thinking that Gavin would be
in here, as well.

He's the director and yeah,
I would have thought he would
want to see this,

it's pretty crazy,
kind of validates him, but...

[Erik] Gavin have been missing
for nine days.

Huh!

Alright, so, OK.
Are you rolling?

-Yeah!
-OK, so, on the way over here,

before I left this arrived in
the mail, this is from Gavin.

I have not opened it up because
I wanted to wait until

we do this on camera. Ready?

-Yeah.
-OK. Alright.

DVCAM.

-What is that?
-Holy shit!

This is, this is...

Sophia Crane, this is from
the found footage.

This is the package that
Feldman sent her.

No kidding!

This is...

OK, alright, look,
either this is a prop or...

Oh, fuck, how did he get this?

Because that was the... and
then the stuff that Sophia
found with the, you know,

she was like storyboard,
storyboard, concept art.

-This is gotta be fake.
-Where is it coming from?

-I don't know.
-I thought it was Gavin.

Gingo Corp's not even showing up
on the map,

anywhere in Maryland,
there's a Gringo Court!

Coincidentally.

Of course,
it's the Ginkgo Court.

What the fuck is Gringo?
Because...

Hey, look, I mean, sometimes
they change communities,
they change the street names...

-Is anything else in there?
-Yeah.

See, here's his journal, so
maybe it tells what he's been
doing for the past two weeks.

I don't know.

This is a motel key card.

-Are you rolling?
-Yeah.

[knocking on door]

A lot of survey by...
Fucking, what's going on?

Gavin!

Is the management guys still...

Good, let's go in! I don't think
we should record in here.

We're not breaking in,
are we?

Yeah, right.

Oh, shit!

Gavin!

Jesus, it's not good!
The hell is this?

-Kenny, Kenny!
-What?

-The GoPro's on.
-Jesus!

What you think he's doing?
What the fuck is this?

Recording it.

Here's his camera,
there's no card inside it.

Does anybody see the Panasonic,
the DVX?

The tapes?

Everything OK?

OK, cool.
Put this in the car,
we'll take these with us.

-Shit!
-OK.

Fuck, dude! Let's get
out of here! Let's go, let's go!

What's wrong?

I don't know, seriously!

Oh, fuck, dude!

What is it, man,
what's in there?

[officer] I suggest to start
from the beginning
with what happened.

[Erik] OK, so, we're making
a documentary.

[officer] Is that on?

Are you recording it?

-Yes.
-OK.

[officer] Go ahead.

[Erik] We're making
a documentary about

the deceased.

[violent music]

[Erik] Carl, where's the
footage?

Where are the tapes?

In my car.

[crewmember] Do you think,
should we show the police

the footage on the camera and
everything?

-No, no.
-Why not?

They might take it away.

They'll take the tapes,

they want the tapes,
they need the tapes.

The tapes, look, the tapes
in the shoebox

have absolutely nothing to do
with what happened here.

Nothing to do with it, and we
already have a real scene,
we can use the footage.

I'm talking about the footage
on my camera that we just shot,

shouldn't we show that
to the police?

Yeah, but, if we show that
to the police

it'll show that Carl found the
tapes

and then they'll take the tapes.

What do you think he was
doing, all the GoPros and all
the camera stuff, like, what...

I don't know, I think the more
important question is who took
the cards?

Who? They're not
in the cameras...

-So we'll find out in ten years!
-What?

That's when the footage
will be found!

I went to bed early last night.

I was so tired, kind of like
you are right before you're
getting sick.

I dreamt I went to the tunnel
and I was staring down,

right at midnight.

Everyone says it's so hard,
but I thought it was so easy.

And when I stared for an hour,

he appeared

and then I woke up and
I realized it wasn't a dream!

It's ten miles from my house

and I don't know
how I got there!

Alright, I'll tell you about
this tunnel...

Oh, fuck!

Let's be honest here, this is
not what we thought this was
going to be,

and now we're trying to make
something out of it.

Listen, not all documentaries,
not all projects come together.

This is one of those examples,
it just didn't,
it didn't pan out.

So you're saying we don't have a
compelling story to cut together
here, we don't have...

There's, there's no end to this
story other than us standing
here on the tracks.

There's no end of this story
because it's all, this is the
beginning.

-You understand?
-What?

We have the tapes, right?

Then there's what
Studio Unknown found, OK?

They found that sound anomaly.

We didn't put that there,
Gavin didn't put that there.

With what Wardlaw found, OK,
with the reflection in the eye,

and I don't know we put this
documentary out there

and other people can take it
to the next step!

-This is just the beginning.
-You're contradicting yourself!

-I'm not contradicting myself!
-You just said we're not trying

to present us like a real story,
and now you are trying to
present it like this.

I am trying to present this like
the real story of what happened
to Gavin York.

And because we're trying to tell
Gavin's story,

these component factors that
are included in there are
part of his story,

part of what happened to him.

I'm not saying it's real,

I'm just saying that

what kind of a fucking idiot
just drops it!

[crewmember] Erik, do you
believe that the Blinkman is
real?

[dramatic music]

[video tape charging]

My name is Sophia Crane.
It's March 3rd, 2004.

I'm a film student
and this is my senior thesis.

I don't know how much longer
I'm going to be alive,

so I ask whoever find this,

please apply the first and
second halves

of this final interview

to the beginning and
end of my film.

I don't know where
to make the cut.

This is the story of
Peeping Tom and how I went
looking for him.

Please show this to my parents.

I don't know how much longer
I can go without blinking,

but I think I found a way
to beat him.

The girl who stared into the sun

she only lost her sight,
she still had to blink.

Everyone blinks.

It's right here, taunting me,
try one last thing.

[heavy breathing]

[glass breaking]

[noise]

They say you can't cheat
Peeping Tom.

But I think I found the way to
beat him at his own game!

[crying doubled by noise]

[crying]

[screaming]

[TV signal tone]