𝙀𝙞𝙡𝙞𝙨 𝘼𝙗𝙖𝙞𝙜𝙚𝙖𝙡 𝙆𝙚𝙙𝙬𝙖𝙧𝙙 1729-1785
cf. https://www.youtube.com/watch?v=gA0G66L4KA8
A Basic time-line of all BWP lore, in proper order: 1. Curse of the Blair Witch (documentary) 2. The Blair Witch Project (film) 3. Sticks and Stones (documentary) 4. The Blair Witch Project (comic) 5. The Blair Witch Project: A Dossier (book) 6. The Blair Witch Chronicles #1 (comic) 7. The Blair Witch Chronicles #2 (comic) 8. The Blair Witch Chronicles #3 (comic) 9. The Blair Witch Chronicles #4 (comic) 10. The Burkittsville 7 (documentary) 11. Blair Witch: The Secret Confession of Rustin Parr (book) 12. Blair Witch: Dark Testaments (comic) 13. Nocturne (video game) 14. Blair Witch Volume I: Rustin Parr (video game) 15. Blair Witch Volume II: The Legend of Coffin Rock (video game) 16. Blair Witch Volume III: The Elly Kedward Tale (video game) 17. The Blair Witch Files #1: The Witch’s Daughter (book) 18. The Blair Witch Files #2: The Dark Room (book) 19. The Blair Witch Files #3: The Drowning Ghost (book) 20. The Blair Witch Files #4: Blood Nightmare (book) 21. The Blair Witch Files #5: The Death Card (book) 22. The Blair Witch Files #6: The Prisoner (book) 23. The Blair Witch Files #7: The Night Shifters (book) 24. The Blair Witch Files #8: The Obsession (book) 25. Blair Witch: Graveyard Shift (e-book) 26. Shadow of the Blair Witch (documentary) 27. Book of Shadows: Blair Witch 2 (film) 28. Blair Witch: Book of Shadows (book) 29. Blair Witch (film)
https://en.wikipedia.org/wiki/America%27s_Stonehenge Burkittsville, Maryland 21718 Salem, New Hampshire 03079 486 miles cf. https://www.google.com/maps/dir/Burkittsville,+Maryland+21718/Salem, +New+Hampshire+03079/@40.954933,-78.9061341,6z/am=t/data=!3m1!4b1!4m14! 4m13!1m5!1m1!1s0x89c9e1377dbf42c1:0x14b3891d59468e6e!2m2!1d-77.628879! 2d39.393712!1m5!1m1!1s0x89e3aa58533cac19:0x8a27fe4fc103c4e3!2m2! 1d-71.2008912!2d42.7885553!3e0
https://en.wikipedia.org/wiki/Crampton%27s_Gap https://en.wikipedia.org/wiki/Battle_of_Crampton%27s_Gap
Thanks for reading! And if you’re interested in helping out with the Blair Witch Timeline, or have any questions, comments, corrections, additions, or whatever, contact me at proudhug@hotmail.com or find me on Facebook. – Doug Murphy
Notes: Much of the information in this chronology comes from sources that are either unreliable, or based on different perceptions or legends of what may or may not have “really” happened. For the sake of completeness, I have assumed everything to be true as told. If there is suspicion that an event may not have happened as described, or if it contradicts other sources, I have made a note as such. Time travel seems to play a key role in many of the events covered in this timeline. Unless there’s a clear indication of when exactly someone has traveled to, events are described in the era it appears to take place from the characters’ perspective. Lastly, please be aware that this document contains SPOILERS . If you don’t want to know everything that has happened in the Blair Witch mythology, do not read this! Otherwise, enjoy!
THE BLAIR WITCH TIMELINE 1000 BC The culture and traditions of the Nanticoke people begin to form in what will eventually be known as the Delaware and Maryland area. Even this early on, the people know about the creature they call Hecaitomix, who lives in the forest and is able to travel within the Spirit Plane and the Demon Plane, as well as the physical world. The Nanticoke offer tribute to Hecaitomix in return for his protection and favor. Contemporary accounts, Blair Witch Volume III: The Elly Kedward Tale Hecaitomix kidnaps a small boy and bleeds him. The boy is kept alive, forever feeding
Hecaitomix with his blood. He becomes known as the Bleeding Boy. Blair Witch Volume I: Rustin Parr, The Blair Witch Files #4: Blood Nightmare
500 BC The proto-European Futhark language forms, using runes as letters. The Blair Witch Project: A Dossier Year is unknown. According to linguistics professor Peter Walling, it dates from the first millennium BC. Contemporary accounts place the first use of runes in the first or second century AD.
785 A terrible storm occurs in the area that will eventually become Maryland. The natives acquire some of the rain from the storm and keep it in a vial, known as the Vial of Rain Drops, to use as magical power. Blair Witch Volume III: The Elly Kedward Tale Year is approximate. Over a thousand years ago.
991 Winter While settling an area of Maryland, the Nanticoke Indians discover a demon named Okee living in the woods. Okee comes into town occasionally and steals children to eat their flesh and drink their blood. A woman tries to protect her children by having them wear a seashell necklace, but one of her sons refuses, and falls victim to Okee. The elder brave Eaglefeather crushes the berries of the rowan tree, which are poisonous to spirits, over the boy’s body. Randy Crawford briefly travels in time from 1991 and stands witness, unseen by the others. Eaglefeather then battles Okee at what will eventually become known as Coffin Rock. Forseeing his own death, the brave eats some rowan berries beforehand. Okee devours him, and the berries along with him, killing the demon’s body. Okee’s spirit continues to roam the woods, looking for the opportunity to obtain another body. Blair Witch: Graveyard Shift The year is approximate. A thousand years ago, according to John Lee Fellowes. It is unclear how or even if Okee is related to Hecaitomix. It’s unclear if Crawford truly traveled back in time, or just had a vision or hallucination.
1150 Some children are found wandering in a field in Suffolk, England, sobbing. Their skin has a green hue. The children complain that the sunlight is too bright for them and the
air temperature feels strange. These are signs that they have been held captive somewhere for most of their lives. www.theblairwitchfiles.com Sometime in the 12th century.
1386 The location of the gate to the Demon Plane becomes clouded in secrecy among the native people in the Black Hills. Blair Witch Volume III: The Elly Kedward Tale Year is approximate. For twenty generations.
1487 For the dedication of the temple, the Aztecs of Mexico sacrifice more than ten thousand people. Often, the captives are ritualistically killed at the top of a sacred pyramid and their bodies are thrown down the temple steps. www.theblairwitchfiles.com The Malleus Maleficarum is first published. It is written by monks at the order of the Pope, and outlines how to torture witches. Shadow of the Blair Witch Year from contemporary accounts. “During the Inquisition times.”
1610 Fur traders from the Virginia colony begin trading with Native Americans in the area of the Black Hills and build the first white settlement. Blair Witch Volume I: Rustin Parr Year is approximate. In the early 1600s.
1628 Junius Johannes of Bramberg, Germany confesses to performing witchcraft, but only after persistent torture. Using hands which have been crushed by vises, he writes a letter to his daughter telling her that he only confessed to stop the torture. The letter is smuggled to her. Blair Witch: The Secret Confession of Rustin Parr
1629 Samuel Catlett Caine becomes a member of his Majesty’s Court and is bestowed the title “Witchfinder-General” by Parliament. Blair Witch: Book of Shadows
1630
A painting is made of Virginia Blair. The Blair Witch Project: A Dossier
1631 Virginia Blair travels from Mayfair, England to the Colonies, aboard the Honeycutt. Her trip is plagued by terrible events. The Blair Witch Project: A Dossier Year is conjecture. Sometime between 1630 and 1635. It’s implied that her husband Nathaniel was already in the Colonies prior to her arrival. There are no details on the terrible events aboard her voyage.
1632 April First Baron Baltimore George Calvert finally manages to convince King Charles I of England to grant him land north of the Potomac River to establish a Catholic community. Calvert dies before the charter is finished, however. Blair Witch Volume I: Rustin Parr Month of Cavert’s death comes from contemporary accounts.
May Martin Pheypo leads a party of twelve men into the Appalachians to establish a trading post and subsequently a garrison to guard the colony’s western flank. They have a Yaocomicoe brave as a guide. When they reach the Catocin, their guide refuses to go further. The others cannot understand his language, and consequently his reasons for not wanting to continue, and are forced to insist on his continuance. That evening, the guide attempts to drive off their horses to prevent them from journeying further. He is shot and killed by Mr. Scott under the mistaken assumption that he was an intruder. Having no guide, they are forced to return to Baltimore. The Blair Witch Project: A Dossier Month is approximate.
June 7- Thursday. Cecil Calvert, the second Lord Baltimore and founder of Maryland, writes to his cousin Martin Pheypo. The Blair Witch Project: A Dossier 14- Thursday. Martin Pheypo responds to his cousin Cecil and explains the difficulties they had in the Appalachians. For further expeditions he suggests including surveyors and soldiers. Specifically, he recommends map-maker Tristam Piernont and Colonel Nathan Blair. The Blair Witch
Project: A Dossier
July 4- Wednesday. A Provincial Court is held in Maryland. Martin Pheypo is unable to attend because he is attending his son’s baptism. The Blair Witch Project: A Dossier
1634 Samuel Caine ends his tenure as a member of His Majesty’s Court. Blair Witch: Book of Shadows
March George Calvert’s sons lead an expedition into the area their father wanted to settle and establish St. Mary’s. Blair Witch Volume I: Rustin Parr Date comes from contemporary accounts. Calvert’s sons were Cecil and Leonard.
April While surveying South Mountain and the Black Hills, John Earl Elik, hired by the Calverts, comes upon a crying Pokomoke child. He calls out for some nearby tribe members to help the girl and three warriors arrive and tell him to leave the way he came. He explains that he’s making a map of the area. Frightened, two of the warriors take the girl away, while the other one tries to force Elik to leave. They argue and the warrior explains that there’s bad magic and points to a stickman hanging from a tree. Elik finally relents when the brave pulls out a knife. Blair Witch Volume I: Rustin Parr Month is approximate.
June Nathaniel Blair’s father writes him a letter. He is worried that there won’t be enough land available for Jonathan. The Blair Witch Project: A Dossier Assumes “last June” refers to the previous year, due to mail travel time across the Atlantic Ocean.
November The town of Blair, Maryland is founded by Col. Nathaniel Blair to protect the western approaches to Baltimore and attacks from Indians. Curse of the Blair Witch, The Blair Witch Project: A Dossier One year before Blair’s letter to his father. In Curse of the
Blair Witch, Bill Barnes mentions the year as 1734, but it is assumed he misspoke because most other source material indicate it was founded a hundred years earlier than that. A U.S.A Report article included in Blair Witch: Book of Shadows gives the year as 1639.
1635 April Samuel Caine goes crazy and butchers five of his own assistants at Lancaster Castle. He arranges their dead bodies in the shape of a pentagram. This incident causes him to forever be known as “Bloody Sam Caine.” Blair Witch: Book of Shadows
August 30- Sunday. Nathaniel Blair writes his father a letter telling him that there is a lot of land in the Colonies and there will always be room to build a house for Jonathan. The Blair Witch Project: A Dossier
October 25- Sunday. Colonel Blair starts getting ill. The Blair Witch Project: A Dossier Two weeks prior to his letter.
November 8- Sunday. Blair writes his father a letter telling him of the progress of the town and Virginia’s adjustment to life in the Colonies. He mentions that he has recently become ill. The Blair Witch Project: A Dossier 15- Sunday. Nathaniel Blair succumbs to his illness and dies. His wife Virginia virtually runs the Blair outpost herself from then on. The Blair Witch Project: A Dossier Seven days after the letter.
1649 The future ancestors of Jen Van Meter farm in Maryland. The Blair Witch Project comic The year is approximate. Van Meter’s grandmother, whose maiden name is Blair, descends from people who farmed in Maryland 350 years ago.
1650 The house later to be known as The William Blake House is built in the Dorchester
neighborhood of Boston. Blair Witch: Book of Shadows The year is approximate. The article this came from presumably meant to refer to the James Blake House, which was built around 1661 and remains the oldest house in Boston.
1677 Mary “Moll” Dyer immigrates to Newtown, Maryland. darknet666blog.wordpress.com
1695 The American witchcraft panics finally subside, and begin to be denounced by even religious leaders. The Blair Witch Project comic Year is approximate. Almost a century before Elly Kedward’s prosecution in 1785.
1697 February The people of Newtown, Maryland blame Moll Dyer for the local children dying of influenza and livestock freezing to death. They march to her house with pitchforks and burn it down. Having smelled the pitchforks, Moll hides in a ravine where they can’t find her. darknet666blog.wordpress.com Moll freezes to death in the night, and is found the next morning with one hand and one knee frozen to a boulder she was clutching. darknet666blog.wordpress.com
1700 November 10- Sunday. Deiniol “Denny” Aodhan Kedward is born to Abaigeal Kedward in Wales. www.ellykedward.com Denny’s birthplace comes from an earlier version of the website.
1703 An explorer travels through the Black Hills of Maryland with some Native American guides including his scout Harry Loften and a man named George. He records some of their findings and much information about the beliefs and customs of the natives, including some of the monsters believed to be roaming the forest. Blair Witch Volume I: Rustin Parr Year is approximate. In the early 1700s.
One day, the group discovers several stickmen hanging from a nearby tree, which causes George to immediately flee the scene, claiming they’re a ward. The group decides to relocate their camp several miles away, and as they leave, the explorer thinks he sees the stickmen moving. Blair Witch Volume I: Rustin Parr The explorer becomes ill, believing he was poisoned by something he ate. During a feverish sleep a week later, he sees several disembodied heads floating around him, and when he wakes up, he feels better than he ever has in his life. He thinks he had a hallucination, but George happily explains that that was the Faces of the Forest, benevolent spirits that healed him, and that they took his tobacco as an offering. Blair Witch Volume I: Rustin Parr
1705 March 27- Tuesday. Aedammair “Addy” McAtháin is born to Coileán and Eilís McAtháin in Ireland. www.ellykedward.com Addy’s birthplace comes from an earlier version of the website.
1710 The elder of a witch coven begins wearing a brooch. It will eventually become a centuries-old tradition for the elder of this coven to wear the brooch. The Blair Witch Chronicles #3 (of 4)
1721 A Lancashire folk-rhyme about Bloody Sam Caine is written by Notting and Whitley. Blair Witch: Book of Shadows
1727 Denny Kedward becomes employed on the McAtháin farm, and falls in love with their daughter, Addy. www.ellykedward.com Date is approximate. Prior to Coileán’s death.
1728 Winter Coileán McAtháin dies of pneumonia. www.ellykedward.com
December
25- Wednesday. Denny Kedward and Addy McAtháin get married. www.ellykedward.com
February 1729 14- Friday. Denny and Abby Kedward make love and conceive a child. www.ellykedward.com
September Denny Kedward becomes ill with smallpox and unable to care for his pregnant wife Addy. www.ellykedward.com Date is approximate.
October 19- Sunday. Denny Kedward succumbs to his illness and dies in Addy’s arms. www.ellykedward.com 21- Tuesday. Denny Kedward is buried in the local church burial ground. Addy is in utter despair and contemplates suicide, but decides not to, for the sake of her child. A heavy snowfall occurs. Addy goes into labor while alone at home, and gives birth to a daughter, named Eilís “Elly” Abaigeal Kedward, after Addy’s mother and Deiniol’s mother, respectively. Addy realizes she’s bleeding out and can’t stop it. As she’s dying, she reaches for charcoal and paper to write the note “Her name is Elly Kedward,” which she places in Eilís’ bib before taking her final breath. An earlier version of events had Denny surviving and struggling to care for Elly alone, despite having influenza. A hungry drifter stumbles upon the Kedward home with his dog. He pays little attention to the crying baby and her dead mother as he indulges in the food sitting on the table, throwing some scraps to his dog. When he’s finished eating, he packs up the remaining food and heads out. Still hearing the cries from outside, compassion takes over and he returns to the house, packing up the infant in a basket. He travels into the night. www.ellykedward.com 22- Wednesday. The drifter makes his way to Páirc Na Gloine in County Kerry and drops the baby off at the Bon Secours Sisters of St. Mary’s Catholic orphanage, along Kenmare Bay. He doesn’t stick around. While Elly’s linen is being changed, Addy’s note falls to the floor. www.ellykedward.com Several days later, someone goes to the Kedward homestead to check on Addy and discovers her body. It is assumed that the baby was taken by wolves or other wild animals. www.ellykedward.com Addy
Kedward is buried next to her husband in a coffin and plot that are donated. www.ellykedward.com
1734 March 14- Thursday. A census is taken of Blair, Maryland. www.blairwitch.com
1741 In Massachusetts, Reverend Jonathan Edwards gives a famous sermon about sinners. The Blair Witch Chronicles #4 (of 4)
1765 Jeduthan Hawthorne is born. His father is the squire of Nether Cross, England. The Blair Witch Files #8: The Obsession Year is conjecture. He was not much older than Anna Hutchison.
1766 Annabeth “Anna” Hutchison is born in Nether Cross, England to Sarah Hutchison. She has an uncle Benedict and aunt Mary Townshend. The Blair Witch Files #8: The Obsession She was ten years old when her mother died. According to Cade Merrill’s research, there is no record of a family named Hutchison in Nether Cross. It’s possible their records were destroyed, or that their entire existence was fabricated by Jed “Weeg” Hawthorne. Lettice Townshend is born to Benedict and Mary Townshend. She has an aunt Sara Hutchinson and cousin Annabeth Hutchinson. The Blair Witch Files #8: The Obsession She was the same age as Anna.
Summer 1769 Having had seven miscarriages and two dead husbands, and believing her great-aunt’s knowledge of a curse on her, Elly Kedward boards the Reliant and sails from Wicklow, Ireland to Baltimore. The Blair Witch Project comic, Curse of the Blair Witch
Fall In Baltimore, Elly Kedward takes a position caring for the children of a widower named Crandall. The Blair Witch Project comic
1770 The Crandall house in Baltimore is burned and the family is killed. Elly Kedward survives, feeling as though her curse has followed her to America. The Blair Witch Project comic Elly Kedward eventually wanders to Blair where a man named Bowen sells her a little house and a plot of land for a year’s sowing and eggs. The Blair Witch Project comic She lived there for fifteen years without harming a soul.
1771 May Blair Township is founded. www.blairwitch.com It is unclear what the difference between Blair and Blair Township is, or if there is meant to be one. A U.S.A. Report article included in Blair Witch: Book of Shadows says that Blair Township was founed by Nathan Blair in 1639. 14- Tuesday. A map of Blair, Maryland is made. www.blairwitch.com
1773 Fall Annabeth Hutchison’s father finds out a damaging secret about Squire Hawthorne. Rather than risk having his reputation ruined, Hawthorne has Hutchison crushed in a fall and killed, making it look like an accident. The Blair Witch Files #8: The Obsession Three months earlier. Details of the secret are never given.
1774 The Boston Tea Party takes place. Blair Witch: Book of Shadows Date according to an article in The Boston Times. In reality, the protest took place on December 16, 1773.
Winter
Fearing that Sarah Hutchison’s husband told her his secret, Squire Hawthorne has her accused and convicted of witchcraft. Her brother Benedict Townshend conspires with Hawthorne, in order to inherit her land and property. She is sentenced death by being burned at the stake in the middle of town square. She is offered the chance to be strangled to death before being set on fire if she confesses, but she refuses and tells Hawthorne that his day of reckoning will come. Hawthorne has Anna brought forward to light the torch and prove she isn’t evil like her mother, or she’ll die along side her. Anna decides to accept her own death, but Sarah makes her promise to do as they say and to do whatever it takes to survive. Anna throws the torch to set her mother ablaze, but makes a vow to enact revenge some day. The Blair Witch Files #8: The Obsession When Annabeth is eight.
1775 Elly Kedward is happy to do her part during the war against the English. The Blair Witch Project comic Date of the start of the American Revolutionary War from contemporary accounts. Samuel A. Hale is born. The Blair Witch Chronicles #4 (of 4)
1776 Lettice Townshend has her cousin Anna chased out of the town, while trying to have her stoned as a witch. Jeduthan Hawthorne watches, but is unable to stop it. He follows Anna as she heads into the woods to evade those chasing her. He tells her she shouldn’t be there, then helps her to a stream where she can wash up somewhat. The two become friends and agree to meet secretly. Lettice has appeared and overheard their conspiring. She tells them she’s going to tell his father, but a fight ensues. Anna is pushed into the water and knocked out. As she is fading from consciousness, she hears Lettice screaming and screaming. Anna wakes up in her bed and overhears Squire Hawthorne talking to her uncle Benedict. She learns that they planned her mother’s death and didn’t believe she was really a witch. Hawthorne thinks Anna is evil and tells Benedict he doesn’t ever want to see her again, especially with his son. Benedict approaches her when he sees that she’s awoken. When she asks about Jeduthan, he smacks her and tells her never to say that name again. He tells her she’s to remain in the house until the day she dies. The Blair Witch Files #8: The Obsession
1779 March 14- Sunday. A census is taken of Blair, Maryland. www.blairwitch.com This appears to be the exact same census report as the one from 1734, seen in Curse of the Blair Witch, merely with a different date on it.
1780 The Continental Army forms a military outpost in Blair, Maryland. Curse of the Blair Witch Conjecture based on a partially visible document.
1781 Lafayette saves the American Revolution at Yorktown. Blair Witch: The Secret Confession of Rustin Parr Four years before Elly Kedward’s banishment.
1784 Fall Smallpox infects the town of Nether Cross, England, killing several residents including Lettice Townshend and Squire Hawthorne’s wife. Hawthorne and his son, Jeduthan flee to America. Anna Hutchison contracts the virus, but doesn’t die. She gets horrible red scars all over her body and wears a veil. The Blair Witch Files #8: The Obsession When Anna is eighteen. Anna sneaks out of the house after eight years of captivity, to attend Lettice’s funeral in secret. During the service, Mary Townshend bursts out that Anna Hutchison is evil and the reason for Lettice’s death. Anna stands up in defense and identifies herself. She casts blame on Mary and others who allowed her mother to be killed and failed to protect a child. A ray of light shines through the red stained glass causing everyone to think of blood and suspect Anna is telling the truth. They all run out of the church in chaos. When they’re gone, the church becomes dark, then thunder and lightning causes the building to shake. A stone carving of a martyr about to be burned at the stake falls onto Mary Townshend and kills her. Benedict tells Anna he’s no longer keeping her in his house and arranges for her to go to America. He tells her to “vent her evil spleen on Squire Hawthorne.” The Blair
Witch Files #8: The Obsession The next day, Mary Townshend is buried. The Blair Witch Files #8: The Obsession Benedict drives Anna to the boat docks the next day. Before departing, she tells him that she knows about his plot to inherit her parents’ house and land. She asks him what Squire Hawthorne got out of it, but he doesn’t tell her until she persists. He doesn’t exactly know the reason, just that her father found out a secret of his. Anna boards the boat and gets angry that she won’t be able to enact revenge on her uncle. As Benedict is leaving on his carriage, the horse rears up and knocks him from the vehicle. He gets tangled in the reins, which wrap themselves around his neck and decapitate him before his body falls to the ground and is trampled upon by the horse. Superstitious sailors feel Benedict’s death is a bad omen for the voyage and want a clergyman to bless the ship before they depart, but Captain Anderson sets sail on schedule that evening. Anna has been assigned to the worst area in the passenger hold, with several other outcasts including Elly Kedward and a woman named Nichols. Elly befriends Anna and seems to already know her name and other things about her. The Blair Witch Files #8: The Obsession The date of this departure of the Reliant with Elly Kedward on board is at odds with other sources which place her voyage to America in 1769 and have her living in Blair for many years. The entire story of Anna Hutchison was likely fabricated by Jed “Weeg” Hawthorne. On the sixth day of the voyage, Elly and Anna go up to the deck and Anna tries to build up the courage to ask her how she know her name. The young Edward Nichols tries to remove Anna’s veil to reveal her face, but is unsuccessful. Elly warns him not to meddle in things he doesn’t understand. He runs frightened to his mother. The Blair Witch Files #8: The Obsession. The next morning, Edward Nichols is found with his brains bashed out, hanging by his foot from the highest mast. The other passengers begin to suspect Anna and Elly Kedward because they are both mysterious. Because land burial wouldn’t be possible, Edward is given a brief ceremony and buried at sea. Mistress Nichol thrusts herself at Captain Anderson’s feet before the body is lowered into the water, and demands justice. He tells her she must accept that the boy’s death was an accident, but she proclaims a witch is onboard. Just then, the sky grows dark and a large wave strikes the ship. The passengers are tossed about and the captain instructs everyone to get below
decks. Elly saves Anna from almost falling overboard and then helps her toward the trapdoor. Mistress Nichol makes it to the trapdoor first and is about to close them out, but a current of air suddenly lifts her into the air, then tosses into the ocean. The Blair Witch Files #8: The Obsession The people remain below decks in the dark for an unknown amount of days as the storm rages on. Against the recommendation of others, Master Nichols finally strikes a flint to light a lantern and has Anna brought forward, accusingly. Her veil is removed and everyone sees her scars. A woman named Kathleen explains to the group that they are pox scars, not the mark of the devil, and Nichols apologizes. He Immediately turns to Elly Kedward, accusing her of being a witch instead. The storm ends abruptly and Captain Anderson enters the hold. Nichols explains that Elly is a witch, and the captain decides to keep her in the brig while he examines her, and will make a judgement in the morning. At night, Anna sneaks out of the hold to visit Elly in her cell, telling her she’s going to help her get out. Elly protests, reminding her about her promise to her mother. Anna asks how she knows so much about her, but she doesn’t explain. She gives Anna a small bundle wrapped in cloth and has her promise only to open it when she’s ready. She tells her to find Squire Hawthorne in a place called Blair. Placing her finger to Anna’s forehead, Elly makes her promise not to interfere tomorrow. Elly’s finger leaves a Futhark symbol on Anna’s head without her noticing, and gives her her cloak. The Blair Witch Files #8: The Obsession At dawn the next morning, Elly Kedward is formally accused of witchcraft and, having chosen not to defend herself, is thrown overboard the ship and drowned. Watching from the railing, Anna sees her reflection when the wind pulls back her veil and discovers the mark on her forehead where Elly touched her. The Blair Witch Files #8: The Obsession
December When the Reliant docks in Baltimore, Anna departs with Kathleen and they meet Kathleen’s husband Marcus. Kathleen tells Marcus that Anna will be travelling with them as far as she has to go, to Blair, Maryland. The Blair Witch Files #8: The Obsession Having been travelling for nearly two weeks, Marcus stops their wagon just outside of Blair for the night. Anna wants to continue, but Marcus won’t because they’ve been hearing stories that suggest not entering the nearby woods at night. Anna jumps from
the wagon, intent on travelling the rest of the way herself. They insist she not go alone, but Anna says goodbye to her companions and thanks them for their kindness. While walking in the woods, Anna begins hearing Elly’s voice calling her name. Spotting a light in the distance, she rushes through the woods for what seems like hours until she comes upon a clearing and falls to the ground. She hears footsteps come up from behind her and then thinks she sees Elly in the distance. She calls to her and then gets a sharp pain on her forhead and loses consciousness. Jeduthan Hawthorne comes upon Anna in the woods and brings her back to Blair, thinking she’s an older woman under the veil. Having heard her mention the name “Elly” he decides that that must be her name. She learns that that was Jeduthan and meets his father again and Virginia Blair. They do not know who she is. While Anna recovers, Virginia goes through her bag and sees the unopened gift from Elly, which is a book of herbal potions. The Blair Witch Files #8: The Obsession As winter begins. Anna Hutchison begins her life in Blair as Elly Kedward, living in a tiny cottage on the edge of the woods, once owned by Mistress Matthews who was skilled in herb lore. The Blair Witch Files #8: The Obsession
1785 February 12- Saturday. One day while going to the well in the village square to get some water, Elly comes upon Esther Sykes, Mistress Tompkins and some of the other women of the village, talking. Esther blocks Elly from using the well and questions her about her veil, wanting to see what’s underneath. Elly gets the sharp pain on her forehead again and collapses in pain as Esther tumbles back into the well and drowns. The Blair Witch Files #8: The Obsession 19- Saturday. A bundle of sticks appears outside Elly’s door, seemingly bound in cloth from Esther’s dress. She feeds it to the fire. The Blair Witch Files #8: The Obsession Seven days later. 20- Sunday. Elly wakes up to a clacking noise outside her window. She sees dozens of little stickmen hanging from the tree outside, and figures someone in town is trying to scare her. Something later thumps against her back door and when she opens it she sees what looks like Thomas Sykes running away. She chases him into the woods, but loses him. She comes to the clearing where Jeduthan had found her and sees two more
stickmen hanging from trees, life-sized and wearing dresses. One of them falls and hovers infront of her. It becomes her mother. The other one comes down and becomes the real Elly Kedward. They both chastise her for wasting time and not fulfilling her destiny. A gust of wind pushes her down into the snow face first. She then suddenly comes to on the floor of her house, unsure if she just had a dream. The door creaks open and Virginia cautiously walks in. Elly thinks she’s there to accuse her of causing Esther’s death, but she instead wants her to create a love potion to make Jeduthan fall in love with her. She confesses to snooping and finding her herbal book, and pleads with her. Virginia is in love with Jeduthan, but suspects he has feelings for someone back in England. Elly explains that she has no such ability and apologizes, but promises to keep her secret. Crestfallen, Virginia leaves. The Blair Witch Files #8: The Obsession 21- Monday. Elly waits until very late at night to sneak out of bed and read the book from Elly Kedward. It contains various symbols and the key to their meaning. She realizes that her mother and Elly Kedward were both witches and that she is one now, too. She stays up until dawn reading the book, concocting a plan to give Virginia a potion that will make her do her bidding, and have her kill Squire Hawthorne. After Virginia is put to death, she’ll use another potion to remove her scars, then quietly leave town and return as a young, attractive Annabeth Hutchinson and seek the affection of Jeduthan. Elly meets with Virginia in secret at her place, giving her a vial to sip for the next two days, telling her it will prepare her body for the love potion to be administered at midnight on the third day in the woods. Virginia repeats back the specific instructions. As they leave the drawing room, Elly sees that Thomas Sykes may have been listening to the whole conversation. He drops some wood he’s been carrying and scrapes his fingers. Elly tends to his wounds, and keeps the bloodstained cloth afterwards. The Blair Witch Files #8: The Obsession 23- Wednesday. Virginia comes to her senses and realizes that going through with Elly’s plan would betray Jeduthan and potentially cost her her soul. The Blair Witch Files #8: The Obsession The exact date is unclear. Some time before her final meeting with Elly. 24- Thursday. Virginia discovers Thomas’ cut hands and asks him to explain. He tells her that Elly carved symbols onto his fingers and took blood from them. Virginia decides it’s up to her to save the town from the witch. The exact date is unclear. Some time after her revelation and before her final meeting with Elly.
Elly goes to the clearing in the woods and waits for Virginia under the full moon. The Blair Witch Files #8: The Obsession The date of February 1785’s full moon comes from contemporary accounts. 25- Friday. 12:00 am. Virginia approaches Elly at midnight and drinks the final vial. Elly tests it’s success by having her remove her cloak and drop it into the snow, which she does. Suddenly, several men from town appear, led by Thomas Sykes, who accuses her of begin a witch. Jeduthan goes to Virginia and replaces her cloak, asking what’s going on. Elly tells her to speak the truth, but instead she confirms to everyone that Elly is a witch. Elly is dragged back to town and a large bonfire is built. All the townspeople are brought out, and Thomas tells them that Elly carved marks onto his fingers and stole his blood. Her veil is removed and used to gag her, revealing her scarred face. Virginia steps forward and confesses her desire for a love potion and how she came to her senses. William Blair says that because of his daughter’s involvement, he cannot be the one to pass judgement, so he calls upon Squire Hawthorne to do it. Hawthorne formally accuses her of witchcraft and sentences her to die alone in the woods. Elly cries because she’s broken her promise to her mother. She is knocked unconscious and taken into the clearing where she is tied to a tree. Her gag and cloak are removed. Elly comes to some time after everyone has left and wonders what it’ll be like to freeze to death. Virginia appears before her and confesses that she’s the original Virginia Blair from the 17th century, who’s been held prisoner by the powerful evil forces in the woods that kept her young to do their bidding. Longing to be released from the curse, she set Elly up to take her place. Elly resists, but Virginia points out this will allow her to fulfill her promise to her mother to survive and enact revenge. Elly agrees to the sacrifice. Some time later, Jeduthan visits Elly to set her free. He is tired of the senseless killing and doesn’t care about whether or not she’s guity or the consequences he’ll face. She stops him, explaining that it is her fate to die, and that if she lived, her scarred face would make people suspicious wherever she went. She commmends him for his brave and honorable offer and swears to protect him from evil deeds forever. The Blair Witch Files #8: The Obsession Possibly in order to hide the fact that they have been staying out late at night, several children in Blair accuse Elly Kedward of practicing witchcraft. Isabel Able confides in Father Goodfellow that she lured them to her house and drew blood from then. He
reports this to Magistrate Jonah Stead, and when other kids show wounds to their parents, trek to Elly’s secluded cabin where they find a lot of witchcraft paraphernalia. Kedward is quickly found guilty of witchcraft, and tortured to elicit a confession, but doesn’t give them one. She is blindfolded and bound to a wheelbarrow and taken into the woods where she is again tortured. Hirrum Heathtow tries to warn them how foolish it is to bring the witch into the woods. Elly tied to a tree and left to die of exposure during the particularly harsh winter. www.blairwitch.com, The Blair Witch Project comic, Curse of the Blair Witch, Blair Witch: The Secret Confession of Rustin Parr, Blair Witch Volume I: Rustin Parr, Blair Witch, Blair Witch Volume III: The Elly Kedward Tale This is the commonly recounted version of events that resulted in Elly’s banishment, which largely conflicts with the Elle Kedward Tapes acquired by Cade Merrill in The Blair Witch Files #8: The Obsession. According to Lane’s recollection of The Blair Witch Cult, Elly was tied high up in a tree with rocks tied to her arms and legs to create a makeshift stretching rack, however this book’s contents are largely considered fiction by scholars. Some of the town’s children return to see if Elly’s still alive. They let their dogs bite her, poke her with sticks, and push their hands into her woulds and make bloody handprints on her skin. When they find that she isn’t dead yet, they untie her and use the ropes to hang her from the tree. Book of Shadows: Blair Witch 2
March Jeduthan Hawthorne and Viriginia Blair become engaged. The Blair Witch Files #8: The Obsession An unexpected storm occurs while Jeduthan and Virginia are riding horseback though the woods. Virginia’s scarf becomes entangled in a tree branch and pulls her from her horse. By the time Jeduthan pulls up beside her, she has been hanged to death. Elsewhere in the woods, Squire Hawthorne takes shelter under a tree. He and the tree are struck by lightning and he is killed. The Blair Witch Files #8: The Obsession Date is approximate. Not long after Elly’s banishment. Jeduthan Hawthorne leaves Blair. The Blair Witch Files #8: The Obsession Shortly after the deaths of his father and fiancée.
June The tree under which Squire Hawthorne died is chopped down. It is reported that his scorched outline was still visible on the bark. The Blair Witch Files #8: The Obsession A few months after his death.
Summer Children in Blair, Maryland start disappearing, beginning with the town magistrate’s daughter. Blair Witch: The Secret Confession of Rustin Parr www.blairwitch.com gives the date as November 1786, but most sources imply that Blair was abandoned within a year of Elly’s banishment, so events have been moved up. The manual for Blair Witch Volume III: The Elly Kedward Tale says the magistrate’s daughter went missing in November on the day of the first snowfall, followed by Elly’s main accuser a week later.
November By now, all of Kedward’s accusers along with half of the town’s children, nine in total, have vanished, including Isabel Able. The townspeople fear a curse and believe Elly Kedward is enacting revenge. www.blairwitch.com, Curse of the Blair Witch, Blair Witch Volume I: Rustin Parr Events have been moved to a year earlier. Hirrum Heathtow wanders through the woods outside Blair when he comes upon two statues which mark the entrance to an Indian burial ground. Two braves guard the entrance and won’t let him enter without proving his courage. He flees in fear. Blair Witch Volume III: The Elly Kedward Tale A few months ago.
1786 Winter The ferocity of winter reduces Blair’s food supply, so several of the men travel to nearby Frederick for more food, but they never return. Blair Witch Volume I: Rustin Parr
January Corpses from the graveyard in Blair become defiled. One night, Father Hale Goodfellow spots some corpses walking about in the woods. They begin to chase him and he runs for his life. Blair Witch Volume III: The Elly Kedward Tale Date is conjecture. A few nights later, Father Goodfellow hears a voice which beckons him uncontrollably into the dark woods. There, he realizes the voice belongs to the witch and that he stands before the Devil himself. Blair Witch Volume III: The Elly Kedward Tale
February Hirrum Heathtow begins hiding in Smith’s barn from the evil in Blair, only coming out to get food. Blair Witch Volume III: The Elly Kedward Tale Elizabeth Styler goes to Elly Kedward’s house, called by her voice, and finds dead animals arranged in a circle on the floor. Paralyzed with fear, she is still there when Jonah Stead, Burkittsville’s town magistrate, arrives. He finds her on the floor, amidst the dead animals, mumbling strange phrases. She is arrested for practicing witchcraft and taken into custody while they await her transportation to Baltimore for trial. Father Hale Goodfellow puts a ward on the use of magic in her cell. Blair Witch Volume III: The Elly Kedward Tale 19- Sunday. Jonathan Prye writes a letter to Joshua Stone, telling him he won’t be returning in the spring to preach because he is questioning his own faith. He tells him he’s travelling to Blair township to help them with their problems. Blair Witch Volume III: The Elly Kedward Tale 20- Monday. Hirrum Heathtow is found hiding in Smith’s barn, claiming he’s hiding from a witch. He is arrested for stealing a chicken from a local farmer. He says he hid for days. Prye travels to Blair. When he arrives in town, he sees people running past him, fleeing the town. He stops some people and learns that he should talk to magistrate Jonah Stead or Father Hale Goodfellow, who have decided to stay behind. The next day. Prye finds Jonah at the town hall and learns of the situation. Jonah tells him that they don’t need the help of a witch hunter and dismisses any supernatural explanation for the children disappearing. He tells Prye about Elly’s banishment, and that he has two suspects in custody who are awaiting escort to Baltimore for trial. Prye asks to talk to the prisoners and Jonah agrees, warning him not to interfere with his investigation. Prye is given a key to the jail cell and a map to Coffin Rock, which Jonah says may be of interest to him. In the church, Father Goodfellow welcomes him and tells Prye how Elly was discovered to be a witch. He believes Elizabeth Styler conspired with her to abduct the town’s children. Prye isn’t so sure he believes any of this, and Goodfellow notices he’s lost his faith. He believes Prye will regain his faith and it’ll be stronger than ever. He believes God sent him to Blair to help the children and himself. Goodfellow tells him about his experience with the undead in the woods. Prye asks if it was a dream, but
Goodfellow tells him it was not. He prays that Prye will be able to uncover the truth and spare the town. Prye vows to do what he can, then leaves. In the jail, Prye talks to Hirrum Heathtow, who will only give him information after he brings him some whiskey from the barn. He says that he told Jonah not to send Elly to the woods and he believes she will be the death of them all. He is terrified of the evil that exists in the town and feels defenseless in prison. Elizabeth wakes up and Hirrum tries to speak quietly but she can still hear him. He begs Prye to deal with her wickedness first, if he plans to deal with the evil in town. Prye notices that Styler has strange symbols written around a large circle on the floor of her cell. She confesses to being a witch and apprentice of Elly’s, but explains that neither of them are evil. The horrific events he’s heard about make him question witchcraft being something good or pure. She insists she’s innocent, but he plans to investigate further. Prye heads into the woods and briefly gets lost before coming upon Coffin Rock. Along the way, he comes upon several mutilated human corpses. At Coffin Rock, he finds Isabel Able tied down, with strange symbols carved into her body. Hecaitomix speaks to him and warns him to leave now. Prye shoots numerous undead creatures before untying Isabel and taking her back to town. At the church, Jonah figures Elly couldn’t have survived and this must be the actions of a coven of witches seeking to finish her work. Goodfellow disagrees and thinks it’s being done by Elly. He wants to force Elizabeth to talk through any means necessary. Prye volunteers to talk to Styler, as he feels she trusts him, but Goodfellow warns him not to let her evil manipulate him. Jonah gives Prye his rifle before heading back to the courthouse to get some work done. As a favor, Goodfellow asks Prye to retrieve a powerful cross that was buried with a great priest in the cemetery, in order to stop the relic from falling into the wrong hands. He gives Prye a scroll with the words that will open the cemetery gates. Armed with the magistrate’s rifle, Prye reaches the cemetary and says the magic words which allow him entrance. Once inside, the gates close behind him and several zombies emerge from their graves. Prye kills them all, including the priest, who leaves behind the holy cross, which Prye returns to Goodfellow and informs him of the walking dead. The Father teaches Prye how to weild the mighty cross and then sends him off. Prye visits Styler in her cell once again and tells her about Isabel and that Elly is the suspect. She reiterates that no witch would do something so evil. He asks her for directions to Kedward’s house and she tells him there’s a map in her spellbook at her house. She asks him to bring it to him, but he balks, telling her that wouldn’t be wise of him. She tells him about the ward on her magic and he concedes. She gives him the
key. He enters her house, which is a complete mess, but manages to find the spellbook lying on the floor near an arrangement of candles. When he picks the book up, the candles go out and the door opens. A demonic voice tells him he can’t hide, then a monster attacks him. He shoots the demon and makes his escape. Prye returns the book to Styler and she gives him the map to Elly’s cottage. She also teaches him a spell that may be of use to him and gives him a spell box with stones that will temporarily paralyze any enemies he faces. He says his guns are the only weapons he’ll need, but she feels he’ll need whatever is necessary to protect himself. Prye heads out into the forest once again. A white wolf leads Prye to a wigwam where Asgaya Gigagei lives. Asgaya tells Prye about Hecaitomix and how his people offered him tributes for his protection for generations, but the white man didn’t respect that tradition and so he took them as sacrifices, eventually seeing all men as white. Prye asks why he chooses children as his victims and Asgaya explains that children are the perpetruating force of civilization and he hopes to kill off the human race and become the last great chief of the world. Prye asks what he can do and is told to travel between three planes of existence and bring them together as one, rescuing the rest of the children. Prye doesn’t believe any of this supernatural stuff and thinks it’s all just the work of Elly Kedward. Asgaya says that Elly is no more than a woman, and these events were caused by a much greater power. Prye is going to follow his instincts and seek out the witch. He heads out to find Kedward’s home, but Asgaya tells him he’ll be back. The corpses that litter the forest come alive and attack Prye as he makes his way to the house. Once he arrives, he discovers several animals which have been mutilated. Upon attempting entry to the cellar, a demon appears and hurls Prye out of the house, telling him to return when he has the courage and faith to challenge him. Prye returns to Asgaya and tells him what happened. He’s unsure he’s able to be the one to save the Children. Asgaya tells him to accept his destiny, then gives him a doll to take to the house, which will allow him to see his fears and defeat them, and warn him when danger is near. He heads back to Kedward’s home and calls out the demon which resides there, then defeats it. In the cellar, Prye frees a small native boy named Ayawamat who gives him an Eagle Talisman which will grant him the ability to cross great distances. Outside the cabin, Asgaya arrives and thanks Prye for rescuing the boy. He tells him about the Spirit Plane and the Demon Plane,
where the rest of the children are believed to be held, and gives him a twana which will grant him access to the gate to the Spirit Plane in the forest. Prye asks about the gate to the Demon Plane, but its location has been hidden for generations. Asgaya teaches him a healing spell, then returns home to rest. Blair Witch Volume III: The Elly Kedward Tale Prye makes contact with Elspeth Holliday who has just defeated a large Djien in the woods, and introduces himself. He learns that she’s from some point in the future, and asks if he’ll wind up defeating the witch. To his dismay, Holliday tells him that she’s still at large, but assures him that after his encounter, she was inactive in the area for over fifty years. As a means of helping Holliday, he vows to leave his journal in the caves near Coffin Rock when he’s done. They wish each other luck. Blair Witch Volume I: Rustin Parr The exact placement of this is encounter in the timeline unclear, but it’s at some point after Prye learns of the witch’s true name and location. Prye makes his way through the forest until he comes upon the Spirit Gate, an altar of stones in a clearing. He uses the twana to gain entrance. Lightning strikes and pulls him into the Spirit plane. There, Asgaya appears to him and explains that this was once the location of the afterlife of his people, but when Hecaitomix conquered it, he turned all of their spirits into decayed zombies under his control. Asgaya returns to the natural world, then Prye makes his way across numerous plateaus connected by rope bridges, destroying the undead along the way. He makes his way to a skull cavern. Inside, he encounters more undead creatures until he comes upon another Indian boy tied to a slab. He frees the boy, who gives him the Bear Talisman. Making his way outside the cave, Prye discovers one of the bridges has been destroyed. He uses the Eagle Talisman to temporarily transform himself into the bird and flies across. Prye finds Hino, the God of Thunder, under the control of Hecaitomix with another captured Indian child. Hino warns Prye to leave, but Prye battles him instead, freeing him from the demon’s control. Embarrassed by his behavior, he decides he can no longer command this region, so he gives Prye the Thunder Stick to aid him in battling Hecaitomix. He frees the girl he’d been holding captive and returns them both to the natural plane. At the church, Prye brings Jonah and Goodfellow up to speed. They thank him and inform him that Elizabeth Styler has been asking for him. Prye returns to the prison and asks Styler how to enter the Demon Plane. She promises to tell him if he will examine the Great Tree in the forest and help cure its sickness. She believes that if the Great Tree perishes, all life in the forest will follow suit. He agress and sets out for the woods
again. At the Great Tree, Prye discovers a spell bag within the diseased tree. He removes the bag and the tree appears to return to health. He brings the bag to Styler and asks again how to get to the Demon Plane. She tells him that it’s far worse than the Spirit Plane, and that he will need protection, so she shows him how he may use the disease magic from the spell bag to his advantage against enemies.. She offers to construct a twana that will grant him access to the Demon Plane, but will need the bones of an Indian warrior. Prye asks how he would get something like that and Hirrum, having overheard the conversation, tells him about the burial ground he found once. Styler teases Hirrum about finally being useful for something other than draining the town’s liquor supply and he retorts that she’ll be stopped once Prye defeats the evil surrounding them. She gives him a vague threat and Prye asks her to stop aggravating him because he might need him. She promises to stop, then Prye heads out again. After making his way to the burial ground entrance, Prye uses the Bear Talisman to transform himself into a bear, displaying his courage to the guards. They grant him entrance, warning him of the danger. Once inside, several more undead creatures attack Prye before he encounters the fire spirit Matt-ann-tote, who has been sent by Hecaitomix to destroy Prye. A difficult battle ensues and Prye comes up victorious, and takes the demon’s Fire Staff and the bones needed to create the Demon Twana. The white wolf appears again and leads Prye back to Asgaya’s hut. Asgaya gives Prye the Vial of Rain Drops and explains its power. Prye thanks him for all his help and heads back to Blair to obtain the Demon Twana. Back in town, Prye meets Father Goodfellow, who commends him for all he’s done, but is afraid the evil he’s about to face is more powerful than he can imagine. He gives Prye a bible and explains how to perform an exorcism with it. Prye visits Jonah and asks if he’d be willing to release Styler because she’s helped him rescue some of the children. The magistrate considers this but doesn’t allow it. In the jail cell, Styler uses the bones to create a twana which will allow passage into the Demon Plane. She also gives him a charm which will summon the dark wolf Tawiscara to lead him to the gate. Prye heads into the woods and summons the wolf, which leads him to a cave. As Prye starts to head into the cave, Tawiscara transforms into a large monster and confesses that he led him there to kill him. Prye manages to defeat the beast and heads inside, where he finds the Demon Gate. Blood drips from the ceiling as Prye is transported to the Demon Plane.
Inside, Prye battles with more monsters, obtaining a total of five golden skulls as he progresses. He destroys a zombie priest and rescues another child, who gives Prye the Gunnoyodak Talisman of Strength. The five golden skulls are placed upon pedestals which causes a bridge to form across a large chasm. On the other side is a giant doorway. Inside, Prye uses The Gunnoyodak Talisman to open the heavy Door of Skulls and progress inside where Baal awaits with some of his skeleton minions. Prye destroys the foe and finally comes face to face with Hecaitomix in the form of a giant scorpion. Hecaitomix quickly takes down Prye, but Asgaya appears at the last minute and sacrifices himself to strike Hecaitomix with lightning. Hecaitomix’s form disappears, but he begins a ceremony to join with Elizabeth Styler. Asgaya’s spirit urges Prye to hurry back to the physical world. Prye manages to escape before the Demon Plane is sealed, then is immediately met by Styler, who is preparing for Hecaitomix’s arrival. When he questions how she got out of jail, she tells him he should never have trusted a witch. She finally becomes the mortal vessel for Hecaitomix in the physical world and an epic battle ensues. Prye weakens the demon to the verge of destruction, then uses the bible to perform an exorcism on her, freeing Styler from Hecaitomix’s control. She explains that she was being controled by the demon from the beginning and asks for his forgiveness. He grants it, but says that the townspeople won’t be as generous and will not rest until she is hanged. He suggests she leave town, but she doesn’t want to do it alone and asks him to come with her so they can start a new life together. But his faith has been renewed and he realizes he needs to return to his own flock. They say farewell and hope that their paths cross again some day. In an alternate timeline of events, Prye kills the Styler Demon and rescues the final child. Styler’s body is taken to the cemetary and burned. Father Goodfellow and Magistrate Stead thank Prye greatly for the work he’s done to save the town and ask him to remain in Blair as the constable. Prye declines, realizing his faith has returned and his own flock need him. Blair Witch Volume III: The Elly Kedward Tale Jonathan Pyre buries a journal describing all his work in Blair in a cave at Coffin Rock for her Elspeth Holliday to find in the future. He seals the cave so no one knows about it. Blair Witch Volume I: Rustin Parr Presumably that same night.
Spring Still fearing a curse, the remaining townspeople flee Blair as soon as the weather breaks, leaving behind a ghost town. They vow never to utter Elly Kedward’s name again. www.blairwitch.com, Curse of the Blair Witch, Blair Witch Volume I: Rustin
Parr
1787 A woodcut of Elly Kedward’s banishment from Blair is made by local artisan Ethan Long. The Blair Witch Project:ADossier Yearisapproximate.Sometimeinthe18t h Century.
1805 The towns of Kilkenny and Arklow, Ireland record tales about anxiety over displacement and identity loss after emigration. The Blair Witch Project comic c. 1805.
1809 November The Blair Witch Cult is privately printed and published anonymously by Josiah Burke. This rare book, commonly considered fiction, tells of the trial of Elly Kedward, her execution and supposed “rebirth,” as well as the curse on the entire town. It contains the first recorded use of the term “Blair Witch.” www.blairwitch.com, Curse of the Blair Witch A U.S.A. Report article included in Blair Witch: Book of Shadows gives the month as January.
1812 The last major group of Indians ceases to live in the woods near Burkittsville, Maryland . Blair Witch Volume II: Coffin Rock One of the members of the Robin Weaver search party pointed out that there haven’t been Indians in this area in almost seventy-five years. He was of course mistaken, not knowing about Asgaya Gigagei’s family.
1815 Eileen Treacle is born to Anna Treacle. She is the youngest of five children. www.blairwitch.com, Curse of the Blair Witch, The Blair Witch Files #3: The Drowning Ghost Eileen was ten when she went missing. A U.S.A. Report article included in Blair Witch: Book of Shadows gives her age as eleven during her disappearance.
1817
The incident involving the Bell Witch of Adams, Tennessee occurs. Curse of the Blair Witch
1821 Dr. Samuel A. Hale becomes Dean of Winston Seminary in Baltimore, Maryland. The Blair Witch Chronicles #4 (of 4)
1822 The last of Eileen Treacle’s older siblings marries and moves away, leaving her a very lonely child. The Blair Witch Files #3: The Drowning Ghost By the time she was seven.
September 17- Tuesday. A man writes a letter telling about a friend who knew of someone who had been in the abandoned town of Blair. Curse of the Blair Witch
1823 While building a railroad through Maryland, a man gets lost and stumbles upon an old road which leads into the site which was once Blair. The man contacts his friend Peter Branwell Burkitt, a rural plantation owner and land developer, and the two plan to develop the town. Burkitt has been seeking a midway resting point between his farmland and the waterways to the east. The Blair Witch Project comic, Curse of the Blair Witch
August 20- Wednesday. The Maryland Journal and the Baltimore Advertiser prints an article about Burkitt’s land purchase. Curse of the Blair Witch
1824 Robert MacNichol is born in Syracuse, New York. Blair Witch Volume II: The Legend of Coffin Rock
January 3- Saturday. A house is built in the woods surrounding Burkittsville. The earliest known owner is Elizabeth Richardson. www.blairwitch.com, The Blair Witch Project: A Dossier, Book of Shadows: Blair Witch 2 Investigator Sonenberg says this happened shortly after Burkittsville’s founding, however it was actually shortly after Blair’s
rediscovery. This is implied to be the house under which Heather, Mike and Josh’s footage was found, which sources also imply was Rustin Parr’s house.
Summer Elizabeth Branwell Burkitt’s sister Mary comes to visit from Washington. Her children Madeleine and Justine play with Eileen Treacle quite a bit, swimming in Tappy East Creek and such. Blair Witch: Graveyard Shift Last summer.
August 20- Friday. Burkittsville is officially founded on the Blair site by Peter Branwell Burkitt. It is settled mostly by German immigrants. Early residents include Peter’s son Jonathan, Jonathan’s wife Elizabeth and daughter Justine. www.blairwitch.com, The Blair Witch Project comic, Curse of the Blair Witch, The Secret Confession of Rustin Parr One of the Official Trading Cards gives the year as 1884. A U.S.A. Report Article included in Blair Witch: Book of Shadows gives the year as 1823. In The Blair Witch Files #3: The Drowning Ghost, Cade Merrill says he found a hand-drawn map of Burkittsville dated 1821.
1825 August 13- Saturday. During the annual Wheat Harvest Picnic in an area of the woods known as Shepherd's Glen, eleven witnesses claim to see a pale woman’s hand reach up and pull Eileen Treacle into Tappy East Creek. Her body is never recovered. www.blairwitch.com, Curse of the Blair Witch, The Blair Witch Project: A Dossier, The Blair Witch Files #3: The Drowning Ghost In The BlairWitch Files #3: The Drowning Ghost, Noah Parker tells a story about a six-year-old girl named Tess who was pulled into the creek by a bony hand while her friend Mary watched, during a picnic. Afterwards, the river ran red with blood once a year. 14- Sunday. The Burkittsville Bulletin prints an article about the Treacle disappearance. Curse of the Blair Witch 22- Monday. Elizabeth Branwell-Burkitt writes a letter to her sister Mary about the Treacle drowning. Because of the time she and Jonathan are spending comforting the Treacles, they won’t be able to come to Washington to visit her. Blair Witch: Graveyard Shift
24- Wednesday. Tappy East Creek becomes clogged with oily bundles of sticks, making it unpotable. It may be responsible for the death of a local who routinely uses the creek’s water for drinking. www.blairwitch.com, Curse of the Blair Witch, The Blair Witch Project: A Dossier, Blair Witch: Graveyard Shift Elizabeth Branwell-Burkitt writes another letter to her sister, telling her that perhaps she was right to believe that the town is cursed. She mentions the contamination of the creek and the stick figures found. Blair Witch: Graveyard Shift 28- Sunday. A newspaper article is written about the Treacle disappearance that takes a humorous approach to the superstitious beliefs of the townsfolk. Curse of the Blair Witch Eugene Robertson mentions the article As having been published “this Sunday past.” 31- Wednesday. Mary Johnson writes about the Treacle disappearance and the contamination of the creek. Curse of the Blair Witch
September 2- Friday. Mary Johnson writes in her journal about sexism. Curse of the Blair Witch The date actually Appears to be 1925. The subject matter is actually conjecture, since the entry is nearly illegible. A full version of both of Mary Johnson’s entries can be seen in Blair Witch Volume II: The Legend of Coffin Rock. 3- Saturday. Eugene Robertson of Baltimore writes a letter to the newspaper complaining about their mocking attitude towards the Treacle family’s belief that a ghost had to do with the disappearance of their daughter. Curse of the Blair Witch The date on the letter actually appears to be September 3, 1885. 6- Tuesday. The contamination of Tappy East Creek finally ends. www.blairwitch.com It was contaminated for thirteen days.
1826 Dr. Samuel Hale sends students of his to Burkittsville on three separate occasions. Each time, they return saying that the people are too superstitious and believe the woods to be haunted. Three times, the church has been set on fire before it’s construction is even completed. The Blair Witch Chronicles #4 (of 4) Peter Burkitt goes to Samuel Hale and pleads that he send the town a proper minister
and church, reminding him of the money’s he’s donated to his school. The Blair Witch Chronicles #4 (of 4) Reverend Matthew Edwards volunteers to go to Burkittsville to solve their problem. The Blair Witch Chronicles #4 (of 4) One month later, Edwards writes Hale telling him that construction has begun on another church. The Blair Witch Chronicles #4 (of 4) The church is successfully completed four months later. Edwards informs Hale that he intends to take his congregation into the woods to show them they have nothing to fear and to try to have them reveal the arsonist. Hale informs him of the events that happened in 1785, but he already knew. The Blair Witch Chronicles #4 (of 4) Edwards quotes from his ancestor Jonathan Edwards during his sermon in the woods, trying to debunk all of the superstitions that the people have about the spirits and ghosts and witches in the woods. The townspeople come to the conclusion that the minsters they’ve been sent are the devil and the evil can only be stopped by killing him. They tie him to a tree and burn him. The Blair Witch Chronicles #4 (of 4)
August Anna Treacle agrees to talk to the Burkittsville Bulletin about Eileen, mentioning how she hated to be alone. The Blair Witch Files #3: The Drowning Ghost
1827 Samuel Hale still hasn’t heard from Matthew Edwards. He sends another minister to Burkittsville. The Blair Witch Chronicles #4 (of 4) Hale wrote that he hadn’t heard from Edwards in a year.
1828 Illness sweeps Burkittsville and Lloyd Whellons’ father dies. Indians raze a nearby town and murder everyone there. And a panther enters a woman’s house and eats her child out of the crib. The Blair Witch Project: A Dossier. The dossier says that Lloyd is a woman, but we hear a man’s voice reading a passage from his/her farming journal in Curse of the Blair Witch.
1829 May
15- Friday. Lloyd Whellons writes in his farming journal about having delivered twin calves in the morning. He is moving the entire herd to another pasture because three cows died from drinking creek water. Curse of the Blair Witch
1837 Dr. Samuel A. Hale ends his tenure as Dean of Winston Seminary. The Blair Witch Chronicles #4 (of 4)
1846 The Frederick Post , a newspaper in Frederick, Maryland is established. Blair Witch: Book of Shadows
1848 Dr. Samuel A. Hale dies. The Blair Witch Chronicles #4 (of 4)
1854 Aaron Jackson Samhain is born. The Blair Witch Files #4: Blood Nightmare He would have been 146 in the year 2000.
1856 Lydia Clark dies. She was the last woman to speak the Nanticoke language. Contemporary accounts, Blair Witch: Graveyard Shift Over 150 years ago, according to D.A. Stern in 2000. She actually died on December 26, 1856.
1858 Eldon Sykes lives in the house once owned by Elizabeth Richardson. The Blair Witch Project: A Dossier
""1825 August 13- Saturday. During the annual Wheat Harvest Picnic in an area of the woods known as Shepherd's Glen, eleven witnesses claim to see a pale woman’s hand reach up and pull Eileen Treacle into Tappy East Creek. Her body is never recovered. www.blairwitch.com, Curse of the Blair Witch, The Blair Witch Project: A Dossier, The Blair Witch Files #3: The Drowning Ghost In The BlairWitch Files #3: The Drowning Ghost, Noah Parker tells a story about a six-year-old girl named Tess who was pulled into the creek by a bony hand while her friend Mary watched, during a picnic. Afterwards, the river ran red with blood once a year."" - cf. BWP timeline.
R.I.P. Rustin Parr (1903? - November 22, 1941)
""The method by which they profess their sacrilege through an open pact of fidelity to devils varies according to the several practices to which different witches are addicted. And to understand this it first must be noted that there are, as was shown in the First Part of this treatise, three kinds of witches; namely, those who injure but cannot cure; those who cure but, through some strange pact with the devil, cannot injure; and those who both injure and cure. And among those who injure, one class in particular stands out, which can perform every sort of witchcraft and spell, comprehending all that all the others individually can do. Wherefore, if we describe the method of profession in their case, it will suffice also for all the other kinds. And this class is made up of those who, against every instinct of human or animal nature, are in the habit of eating and devouring the children of their own species."" from: Malleus Maleficarum Part 2, Ch. 2 by: James Sprenger, Henry Kramer
""Take your kid; place it on a block with the throat turned upward, so that it may be easier for you to cut it; be ready with your knife, and cut the throat at a single stroke, pronouncing the name of the Spirit whom you wish to invoke... . "Whosoever would evoke the devil must sacrifice to him a dog, a cat and a hen; these animals must be the property of the operator, who must also pledge himself to eternal fidelity and obedience, and must receive a special mark upon his body impressed by the devil himself. His recompense is an absolute control over three infernal spirits, respectively of earth, water and air.""" from: the Book of Black Magic, ch. 2 by: AE Waite
https://en.wikipedia.org/wiki/Mowing-Devil
""After this, take the needle or other convenient instrument of art, as will be said later on, and pierce the bat in the vein which is in the right wing; and collect the blood in a small vessel... ."" from: Clavicula Salomonis, Book 2, ch. 16 by: SL Mathers (ed.)
R.I.P. Elly Kedward (1729 - February 1785)
""Possibly in order to hide the fact that they have been staying out late at night, several children in Blair accuse Elly Kedward of practicing witchcraft. Isabel Able confides in Father Goodfellow that she lured them to her house and drew blood from then. He reports this to Magistrate Jonah Stead, and when other kids show wounds to their parents, trek to Elly’s secluded cabin where they find a lot of witchcraft paraphernalia. Kedward is quickly found guilty of witchcraft, and tortured to elicit a confession, but doesn’t give them one. She is blindfolded and bound to a wheelbarrow and taken into the woods where she is again tortured. Hirrum Heathtow tries to warn them how foolish it is to bring the witch into the woods. Elly tied to a tree and left to die of exposure during the particularly harsh winter. Some of the town’s children return to see if Elly’s still alive. They let their dogs bite her, poke her with sticks, and push their hands into her woulds and make bloody handprints on her skin. When they find that she isn’t dead yet, they untie her and use the ropes to hang her from the tree."" - cf. BWP timeline.
""The first Hellfire Club was founded in 1719 AD in London, England, by Lord Philip, Duke of Wharton, and his other "high society" friends - including: Philip's cousin, the Earl of Hillsborough; the Earl of Lichfield; and Sir Ed. O'Brien, but admitted men and women equally (unlike most contemporary clubs). The club held meetings initially at the Greyhound Tavern, but as respectable women members could not politely enter taverns, the meetings progressed to a series of members' houses in and around London and at Wharton's riding club. The content of their meetings, however, was meant as intentionally scandalous and thus kept necessarily as clandestine and inconspicuous as possible. The club met on Sundays, dressed as Biblical characters, at their secret location for that weekend, and partook in a meal consisting of some variety of oddly named concoctions such as "Holy Ghost pie," "Breast of Venus," "Devil's Loin," "Hellfire Punch," and etc. The members referred to themselves as "devils" and their chief potentate as "the Devil," and participated in so-called "mock religious ceremonies." Following 1721 charges of "horrid impieties" being brought against Lord Philip by Robert Walpole under George I, whom had made Philip a Duke, but ultimately bent to the political pressure applied by Philip's political opposition in order to split Philip apart from his political allies. After his club disbanded, Wharton became a Freemason and, by 1722, was the Grandmaster of England.""
https://en.wikipedia.org/wiki/Cucking_stool
https://en.wikipedia.org/wiki/Homunculus
""In medieval depictions Mary's long hair entirely covers her body and preserves her modesty (supplemented in some German versions such as one by Tilman Riemenschneider by thick body hair)"" - https://en.wikipedia.org/wiki/Mary_Magdalene cf. https://en.wikipedia.org/wiki/Lilin
https://en.wikipedia.org/wiki/Puck_(mythology)
https://en.wikipedia.org/wiki/Hyoscyamus_niger
"when professing, the brothers were required to deny Christ, to spit on the Cross, and to place three 'obscene kisses' on the lower spine, the navel and the mouth; they were obliged to indulge in carnal relations with other members of the order, if requested; and finally they wore a small belt which had been consecrated by touching a strange idol, which looked like a human head with a long beard." - Barbara Frale, 'The Chinon chart Papal absolution to the last Templar, Master Jacques de Molay', The Journal of Medieval History, Vol. 30, Issue 2 (2004), pp. 115–16 & 116 n. 34: stating an example of the original decree survives in Paris, Archives Nationales, J 413, n. 23; and also citing G. Lizèrand, Le dossier de l'affaire des Templiers (Paris, 1989) (cf. https://en.wikipedia.org/wiki/ Trials_of_the_Knights_Templar#Charges_against_the_Templars )
cf.https://www.youtube.com/watch? v=X7wKt5qnoxM&t=0s&index=9&list=PLMBgrx3mOzx4Hhqzu8z3mWH4LthLQEBJV
Cf. https://www.youtube.com/watch?v=-wxW7WMrs_0
German School, (15th century). Medium: woodcut. Date: 1473.
Belial is one of the demons from the Solomonic tradition - indeed, some cuts show Belial and other demons gathered before Solomon, as though he were there appointed ruler.
The demon Belial consulting with his brother-demons, at the Gate of Hell. From Jacobus de Teramo, Das Buch Belial, 1473.
The Blair Witch Project In October of 1994, three student filmmakers disappeared in the woods near Burkittsville, Maryland while shooting a documentary called "The Blair Witch Project". A year later their footage was found.
Man off camera: You look a little blurry. Heather: Man:
Okay.
Let me zoom out okay?
Huh.
Okay got you.
Heather: weekend.
This is my home. Which I am leaving the comforts of, for the To explore the Blair Witch.
(Close up of pile of books) Heather: Some essential reading. How To Stay Alive in the Woods, cause you never know what's going to happen. (Picks up book) Heather: And this is a very important book, because it has the article about what happened at Coffin Rock. Man:
That's pretty old.
Heather:
Yeah it's totally old.
Heather:
And this is my field notebook.
(Cuts to Joshes car) Heather: Josh:
Tired.
Heather: Josh:
Hey it's Mister Punctuality!
Good.
How the hell are you this morning?
So I got the CP up. It's important, cause that's what were shooting on.
No one knows I have it, but I got it.
Heather: Alright, come on.
Into the house.
(Circling each other with cameras.) Heather: (laughing) I'm not going to bump into shit from the directors' chair. I don't want to fuck up the cameras before we leave. Hey! Nice camera man! All right I know I'm hitting the steps. (Inside Heaters house, Josh looking tired with head down on table)
Josh:
So where's Mikey at?
Heather: Josh:
Okay.
Heather: Josh:
I have to go get him.
Supposed to be there at 8:30.
Okay.
Heather: Which means we are already going to be behind schedule, but it's important to have juice. Josh:
That's cool.
Cut to outside Mike's house inside car. Heather:
I guess your Mike!
Josh starts to back away leaving mike on the doorstep. Heather:
(whisper) stop, stop, stop, stop.
Will we get to meet your Mamma?
Inside car. Heather:
How are you Mike?
It's nice to meet you.
Mike: I'm doing good, and I'm very excited about this. opportunity. Heather:
Well thank you for getting the equipment together.
Cuts to grocery store. Holding box of rice over shopping cart Josh:
Yeah we've got rice.
Got mustard, fudge.
Mike holds up Powerbar Mike:
Oatmeal and raisin baby.
Heather: Mike:
You like raisin?
I don't like it.
I've never had a Powerbar before.
Heather zooms in on bag of Marshmallows Heather:
Thank you for the
Oh soft
Josh off camera: Hey! Heather:
You weasel!
Marrrrshmelllowwwss.
Walking into small diner Mike points out a Halloween decoration of a ghost Josh and Heather: Boooooooh Heather:
Do you believe in ghosts?
Inside diner Head shot of Waitress Girl Heather:
Have you ever heard of the Blair Witch?
Girl: I guess. That actually sounds kind of familiar. to Blair High School. Heather: Josh:
My older sister went
I wanna, I wanna get a little bit into here...
I want to go set this camera up over here.
Sets camera on nearby table shooting towards the crew Heather: We are relatively tightly scheduled. So try to keep us moving. First we are going to area five. I cannot stress enough the importance of being on time. Josh:
First is the cemetery?
Heather:
First is the cemetery.
Cut to cemetery Mike fiddling with gear Josh:
You guys wanna get the uh...ceremonial first slate?
Heather fixes makeup in cars rear view mirror Heather:
Absolutely.
Heather zooms around Josh Heather:
Here he is, filling out our first slate for our first shot.
Josh: Should we all like cut our fingers open and bleed on it? bloodletting on the slate? Heather: Josh:
No we'll save that for later.
Kiss the slate.
It's first slate.
(Laughs nervously)
A little
Heather:
First slate, marked by my lipstick.
Josh carries slate over to Mike Josh:
First slate, kiss it.
Mike bites down onto clacker part of slate Heather: Awe he licked it, god bless him. need that for the rest of the shoot.
Your not supposed to eat it, we
Cut to Welcome sign outside of Burkittsville Heather: This is Burkittsville, formerly Blair. Maryland town.
It is a small, quiet
Cuts to heather in cemetery Much like a small town anywhere. No more then twenty families laid their roots here over two hundred years ago. Many of whom remain, either on this hill or in the town below. There are an unusually high number of children laid to rest here. Shots of various headstones Most of whom passed in the 1940's. Yet no one in the town seems to recall anything unusual about this time. To us anyway. Yet legend tells a different story. One whose evidence is all around us, etched in stone. In joshes car Heather: Yeah! Yeehaww! Well we have shot the first scene! scene, the opening is shot!
The cemetery
Josh shows a handful of ruined and crumpled 16mm film to camera. Heather: Josh:
Ahh this is our salad.
This is our souvenir.
Heather: Yes this is our souvenir from our very first shot, of our very first scene on 16 millimeter. And we are proud of this salad. Cut to man in general store Heather: Man:
(smiles) Oh?
Heather: Man:
We are making a documentary, about the Blair Witch.
Oh, have you heard of the Blair Witch?
Oh yeah, that's an old, old, old story.
Outside store on B&W 16mm Man:
I remember Mister Parr was an old hermit.
Heather:
Right.
Man: He lived up on the mountain, he had a place up there and had been up there for a long, long time. Cut to woman with baby. Heather: Woman: Heather:
You've heard of the Blair Witch? Several times. Several times, and what was the first incidence?
Woman: Well I'd heard stories about her from people and neighbors and stuff like that. But also I saw a documentary on the Discovery Channel or something like that once, about her, about ghosts and legends in Maryland. Cut back to man Man: Sorta in the winter I guess that followed. In the winter of 1940. Ahh some of the young kids started disappearing. Nobody, nobody knew anything about why they were disappearing. Cut back to woman Woman:
But the creepy
Woman is cut off by baby putting hand over woman's mouth Heather:
Uh oh that's an omen.
Woman: Haha, the creepiest story I'd heard about her, was that two men were out hunting near the uh, cabin or something that she's supposed to haunt. And they dissapeard off the face of the earth. Baby grows more agitated Baby: No! No! No! Woman: It's all right Ingrid, I'm just telling a scary story, but it's not true. Woman:
(mouths) It's true.
Cut back to man Man: Finally one day, old Mister Parr comes down into the market and said "I'm finally finished." Heather:
And what did he mean by that?
Man: Well I guess nobody knew at first but the police finely went up on the mountain and they searched his house and they found the bodies of seven kids from the area, and those were the seven kids who were missing. And then they brought them out of the woods one at a time. And it was just a terrible thing, just tore the whole community up. Back to woman Woman: Well their wives apparently went looking for them and they found their campsite. The fire was still burning. The deer that they had hunted that was being in the process of being gutted. It looked like someone was still working there and camping there and all that. The men were no where to be found. Their clothes were there. Everything was there. Heather: Woman:
But they never found them? They never found them there.
Cut to girl in Diner Girl:
All my life I've believed in witches or ghosts and stuff.
Heather: Girl:
But you believe there are some in this area?
Oh defiantly.
Cut to old man on street Heather:
Do you believe in witchcraft?
Old Man: Nope! Heather:
No?
Old Man: No sir. Heather:
Are you a religious man?
Old Man: Yep. Heather:
Alrighty.
Back to woman with baby -put in other parts Woman: her. Heather: Woman: Heather: Woman:
Pretty creepy stuff.
I believe there is something happening with
Do you think its possible that she is still up there now? I don't go up there. You don't go up there? Yeah I believe enough to not go up there. (Laughs)
Cut back to first man Man:
They say that the woods are all haunted up there and stuff like that.
Heather:
What do they say?
How are they haunted?
Man: Well there really isn't many people that say it's haunted, but there was this old woman by the name of Mary Brown. Heather: Man:
Hmm.
Yeah and she was kinda crazy.
Heather: Man:
Mary Brown?
How was she seen by the community?
Crazy.
Cut to in car driving towards trailer home Heather:
That's it, the American flag.
I'm gonna grab her and bring her out. what the best light is.
Mary's house. Why don't you check around and see
Heather confronts Mary's gate comprised of twigs bound together with string Heather:
This is Mary's gate.
I'm not even sure how I pull this open.
Heather lifts one end and tries to open gate Heather:
Okay.
Oh shit.
I've made her gate fall apart.
Cuts to Mary standing on her porch holding a bible Heather: Cause something interesting happened at one point in your life. You had an encounter with the Blair Witch? Mary: Yes I um, that is really a kinda scary story. To kinda make ends meet my dad and I would go fishing down by Tapings creek. You know that uhhms it's in Burkittsville. I was lying down on the leaves, upon the leaves, kinda watching the pool and looking up at the sky. And all of the sudden it felt like somthin was near me. You know kinda a eerie feeling. It was like a woman! Only on her arms and on her hands it was like a hair. It was real dark almost black hair. Almost like a horse. Heather:
Like fur?
Mary: Yeah like a fur, like a horse fur. shawl, a wool shawl over her. Heather: Mary:
And she scared you?
And her arms, she had like a
She threatened you?
And um...she didn't' say anything, but she kept staring and then she
opened up her shawl. Heather: Mary:
So she was hairy from head to toe?
Yeah and her legs.
Heather: Mary:
And under it there was hair on her body like a horse.
And you could see she was a female.
How about her face?
Just kinda like strange looking.
Cuts back to car Josh:
Thank god she's not in the film business.
I mean can you imagine...
Heather: She thinks she is in the film business! ballerina. Mike:
Get out!
Heather: Mike:
She also says she's a
She says she's a historian writing a book on American History.
I heard that.
Heather: And she says she's a scientist who does research at the department of energy. Cuts to later in car Josh:
I'm checking my depth of field charts to see how bad...
Heather: Josh:
What about the brown ones?
Yeah, the brown ones are on there, eh?
Yeah, but the white ones are obvious.
Heather: Josh:
This is an American camera though.
The brown ones are feet.
Heather: Josh:
It also has, it also has our system.
All those are meters.
Heather: Josh:
Were not in Europe!
Nah, it has meters on it.
Heather: Josh:
What?
Yeah well the fucking lens has meters on it.
Heather: Josh:
So you measure for meters?
I thought you used this camera before man?
I've used it like once before.
Cut to motel room Heather: Josh:
I learned a lot.
Heather: Josh:
You learned a lot about Mary Brown?
I learned a lot about like shooting.
Heather: Josh:
How do you feel about today guys?
Sixteen?
Just, just shooting out here.
Cuts ahead crew is drinking and feeling good Josh:
(coughs)
Heather:
Are you all right?
Mike:
Are you gonna die?
Josh:
I ain't gonna die paw!
Heather:
The witch'll kill yah out there.
They toast each other Mike:
We kicked some ass today.
Josh:
Cheers.
Heather: Mike:
Very good day.
Excellent day.
Heather: Very good first day. We're going to do an equipment check, and then I'm gonna call my mom. Mike:
Okay, I've got a bag of Utz and a beer.
Mike and Josh laugh Heather:
So I guess you're covered then.
Heather: okay?
Can you just run it for a few feet for me so we can check that it's
Josh:
Sure.
Josh picks up 16-mm camera and starts to shoot heather shooting him with VHS camera
Heather: We just want to hear it, so the mag is loaded properly so we can shoot some stuff. Okay that's good.
That's good thank you!
Heather: Let's just be relaxed because we've got a really, really long day tomorrow. Today was cake compared to tomorrow. We're going to do a lot of hiking, were going to have a lot of weight with us. Josh:
I'm there.
Mike:
That's what we're preparing for!
Heather:
(laughs) All right, shut up yah smart-ass.
Heather:
Poor me a shot please.
Josh motions bottle of Scotch towards Heather. Mike:
Ohhh!
Heather:
You can't do that.
Yes I can, at this point I fuckin have to do that all right!
Mike laughs Heather:
Do we have any weed?
Cuts to heather holding bottle of Scotch Heather: Josh:
Here I go. (Takes swig)
Drink!
Heather:
Drink!
(makes face) I fucking hate Scotch.
Josh laughs Cuts to next morning Josh packing car Heather:
There's my son Josh.
Josh: Kay. Heather: Josh:
How are yah?
I'm hurtin.
Cuts to Mike still getting ready in motel room Mike:
I'm not ready for that thing yet, like, you know?
Heather:
I, I know you don't like it.
Okay.
Heather waves at herself in bathroom mirror
Heather:
Hello.
Welcome to day two.
Cuts to inside car driving along country road Heather: The trail should be somewhere along here, we shouldn't miss it. should be pretty obvious. Cuts to fishermen along creek Heather: You guys say you know something about the Blair Witch? Fisherman 1: Oh I've heard the myth. I don't really believe much in it. Heather:
The myth?
Fisherman 1: That's all I think it is. Fisherman 2 mumbles something Heather:
What did you say sir?
Fisherman 2: I said you damn fool kids will never learn. Heather:
You damn fool kids will never learn.
Fisherman 1: Ehh shut up. Heather: What makes you say that? First of all can I have your permission to put your image on video for the purpose of the documentary entitled the Blair Witch Project? Fisherman 2: Well I don't care much about that but uh. Heather:
Well you have to say yes or no sir.
Fisherman 2: Yeah sure that's all right. Fisherman 1: Uh, well some girl back in the late 1800's, Robin Weaver I believe her name was. Supposedly, wandered off and disappeared into the woods. Fisherman 2: Ain't no supposedly about it!
She wondered off!
Fisherman 1 swats at comment and rolls eyes Fisherman 1: Okay so she wandered off. Fisherman 2: And she got lost! Fisherman 1: Three days later... Fisherman 2:
(mumbles) Supposedly....
Fisherman 1: (stutters, glares over at Fisherman 2 and tries to continue
It
story) Three days later she just uh appears back on her grandmothers' porch. everybody's mystified by it. She was babbling...
And
Fisherman 2: And she had a tale to tell too. Fisherman 1: Yeah she was babbling something about an old woman who's feet never touched the ground. Fisherman 2: I tell yah, I saw right up there by that tree up the creek, about a hundred yards. A white misty thing that I can't tell what it was. Heather:
Gray?
Like gray vapor rising out of the trees?
Fisherman 2: Wright out of the water! Heather:
Right out of the water?
Fisherman 2: Up the side of them trees and it disappeared over them.... Fisherman 1: Oh your full of it. Fisherman 2: Anybody worth there salt around here knows this area has been haunted by that old woman for years. Cut to inside of car, Josh sitting on windshield filming while Mike drives and Heather videotapes his ass. Heather: (laughs) Oh our view is just ever so amazing. (Makes goat like sound swivels camera up) Mike:
How's the speed?
A little more?
Josh: (muffled) Yeah you can! Heather:
Could you slide up so we get more of your ass-crack?
Cuts to what Josh is shooting on 16mm Mike:
Some serious woods around here.
Heather: Mike:
You excited?
You got it.
Heather: I hope he's not rolling off the whole shot on this. are you shooting? Josh:
Ah, about twenty so far.
Heather:
Oh okay good.
Slowly pass cabin along the road
How many feet
Cuts to Heather struggling to strap on her with equipment pack Mike:
I could help you, but I'd rather stand here and record.
Heather:
Okay.
Cuts to Heather having camera again Heather: Mike:
We gotta go up to the shack?
Heather: Josh:
Packs are on were ready to go. The shanty?
Yup.
Wow.
Heather backs away, the car shrinking in the distance. Heather:
Oh my god, scary.
Cuts to the beginning of the hike Heather: On our way to coffin rock now, we are totally on track now. I know exactly where we are. We are a bit behind schedule and I'm a bit concerned about loosing light today. Mike:
Ready for another song?
Heather:
(Sings) We are down by the river!
(laughs) we are down by the river.
Cuts to large ditch with small stream running through it Heather: Josh:
So were crossing this?
Yeah?
Yeah
Josh runs and jumps into ditch Cuts to Mike having camera Josh:
You wanna toss me the video camera man?
Heather: Josh:
No I don't think we want to throw the video camera.
Hey Mikey throw me the video camera man.
Heather:
No ah
Heather climbs down into ditch Mike:
I want to get her going across man.
Shot of Heather's rear end
Mike:
I see a dirty behind!
Cuts to coffin rock, where rocks jut out into the stream Heather:
There it is.
See?
Cuts to Heather on top of coffin rock. Heather: (clacks slate picks up "The Blair Witch Cult" book struggles to find her place and begins reading) Heather: They went into the woods prepared to find death, what they found was a desecration to humanity. At the site which trappers have often refereed to as Coffin Rock. On top of the rock formation, the story of the torture inflicted upon these brave five men unfolded. Each was bound to the other. Each mans hands bound to the next mans feet, forming a solid structure out of the men. Blood at the edge of the hedges had indicated that this act had been committed while each was alive and able bodied enough to struggle. In the torso of each man the intestines had been torn out crudely. On each mans sun bleached face was inscribed with indecipherable writing cut into their flesh with an eerie precision. The men still entranced by the horror of what had happened, left the scene to tell the sheriff what had happened and did not sketch the writing and did not remove the bodies from the rock. Upon return vultures were seen at the rock, but upon inspection the bodies had been removed by persons unknown. The search party clamed that the stench of death was still thick. And whom ever took the bodies had done so in a matter of hours. That happened here, at Coffin Rock.
Cuts to Heather looking at watch Heather: I felt really rushed, cause I really want to get to camp and its 4:52. We're going to be loosing light soon. Cuts to what Josh is shooting on 16mm Heather: But I can always use the shots without me in it. Because I recorded sound reading the whole thing. I'm sure I can edit it together somehow. Heather:
It's starting to rain.
Cuts to Josh and Mike setting up camp Heather: Well I don't have a tent for three people. traveling with two men if you know what I'm saying.
I'm not usually
Cuts to Mike playing with stick stuck in the ground Heather: ...video camera, what a lie! even get a fire going.
It's poring rain right now; we can't
Heather:
Show the kids at home what the stick is for!
Mike shifts, leans tall and rests his arm on the stick Heather:
Look at that.
Cuts to night inside tent Josh:
You get too much ass smell just...
Heather: Okay, who wouldn't let me have a cigarette in the tent but he's aloud to fart as much as he wants? Josh:
I never gave Mike any fart allowance.
(Laughs) Cuts to morning Heather: So you heard noises last night? fucking rock.
See the problem is I sleep like a
Josh: (yawns) there were two separate noises coming from two layers of spacer over here. And one of them was like. One of them possibly could have been an owl, but the other one was like a cackling. Heather:
No way.
Josh:
It was a total cackle.
Mike:
If I heard a cackling I would have shit in my pants.
Cuts to crew looking at map, Josh filming Josh:
Where did we start out yesterday?
Heather: Josh:
Off the map.
Off the map.
Heather: Cause I knew where we were going. confusion. Josh:
Wait, wait say that again?
Heather: Josh:
Though I know there was some
I said I knew where we were going.
Wait, would that be a full of shit statement?
Josh points camera at Mike Josh:
Would that be a full of shit statement?
Mike nods
Heather: Josh:
No I did know where we were going!
All I'm saying is that you got us lost man.
Heather:
For a very brief amount of time!
Josh:
Okay.
Mike:
Just don't get us lost today.
Josh:
Yeah seriously.
Heather: Josh:
So what's up?
Heather: Josh:
I know where all these points are on the map. Are you happy with the way the documentary is going?
Yes I am.
Yeah?
Heather: Mike:
I'm not!
And I'm very pleasantly surprised by our little Mikey.
Your little Mikey?
Heather laughs Heather:
He's a very spirited young man.
Josh: So what's up, I mean what's your take on the Blair Witch at this point? Heather: Josh:
I don't know.
Do you think she exists?
Heather:
I don't know.
Cuts to crew hiking Mike:
Heather I wish you would find the trail already.
Heather: Heather: Mike:
There is a trail on top of this hill! We like short cuts don't we?
Don't worry!
It is a trail.
We like level shortcuts, we don't' like mountiness short cuts.
Cuts to close up of Mike's naked chest Heather: It's a little warmer today. This is the first time we've seen Mike's chest. All right it's really hard to pick up on video actually. Mike has really spuratic hair patterns on his chest. It's like blank, harry, blank harry.
Mike:
You should see my ass!
Josh:
(points to hair patch) Look!
Heather: Josh:
Look!
It's fucking Uruguay right there!
Wow!
There's Paraguay over here.
Heather:
Look I think I see Bolivia!
Cuts to dead mouse on forest floor Heather: Josh:
What killed this dead mouse?
Witchcraft?
How about god?
Cuts to heather squatting in the distance behind some trees Josh:
Is that the Blair Witch?
Heather: Josh:
No, I think its Heather taking piss.
I really have to go!
Well then go!
Cuts to hiking again Heather:
We are hot on the cemeteries trail.
I can feel it.
Mike mumbles Heather: Mike:
Says you.
Heather: minutes. Mike:
Says me, of course. And we should be hitting it in about ninety You guys cool with that?
What?
Heather: Josh:
What?
90 minutes.
Can you hang...?
As long as you know where were going.
Heather:
I know exactly where were going.
Cuts to Josh looking at map Heather: I suppose its necessary to look at the map, even though I know where were going. And were going straight ahead up there. Mike:
If you know where were going we wouldn't be hiking like...
Josh:
Were in the middle of the fucking woods.
Heather:
Some of it is off trail hiking!
Mike:
Because people told you, oh yeah there's a cemetery back there!
Mike:
Were lost.
Heather: Mike:
Admit that first!
I know were not lost!
Oh and you knew that yesterday too, and you know that twice today!
Heather: Look! No! Bullshit! And we have not been lost at all today! Not once, I know where were going! Mike: Let me tell you what you told us. "Its like two hours away." Then it's like, three hours, maybe four hours away. Heather:
Did you agree to do this project?
Mike: I did! I agreed to a scouted out project! running around in the woods... Heather: Mike:
I didn't think we'd be
It is scouted out!
I've got fifteen hundred dollars worth of equipment on me!
Josh: Guys! Guys! It's cool, it's cool. Please, your being a smart-ass and your being a smart-ass. Were, were just looking at the map using it the best we can. I can totally find this. This is where we were and we are going more or less this way.
Cuts to Mike holding map Josh:
Okay, what's your call.
Where do you think we're going?
Mike: I'll tell you the truth. useless. Heather: Mike:
Right.
This is like; this is Greek to me.
It's
Exactly.
So I am putting my ah trust in you that you know where it is.
Heather:
Good.
Mike: Although I, I gotta tell you I don't fully trust you. not going to say it. Heather:
And I....ah I'm
What?
Mike: Nothing, I don't understand why you have to have every conversation on video? Heather: Mike:
Because I'm making a documentary.
Not about us getting lost!
We're making a documentary about a Witch!
Heather: I have a camera. It doesn't hurt, because I'm sure we'll look back at this and laugh heartily. Cuts to Josh crossing stream on fallen log Mike:
Baby steps man, baby steps.
Heather:
Just breathe and don't look down maybe?
Mike:
You gonna have to crawl?
Josh:
I'm going to crawl.
Mike:
Cool.
No you gotta look down.
Heather: Think about how fucking cool the cemetery is going to be when we get there. Think of the joy of being in a really good film! Josh:
Please be quiet!
Heather:
Okay I'm quiet.
Shit how am I going to do this?
Josh finishes crossing and stands up Josh:
Okay, Mikey?
Mike:
Yeah.
Josh: There's no way your coming across. belly. Mike:
No way man.
Josh:
There's no chance.
Heather: Josh:
You'll have to get down on your
It's too fucking hard.
How are we going to get the DAT across then?
With the moss it's slippery as shit.
Heather:
How will we get the DAT across?
Josh:
I don't know, lemme get off here and get my pack off.
Mike:
I'll just go back and forth.
Heather: Mike:
You want to go back and forth?
I didn't want to do this at all.
Heather:
Okay, well do it back and forth.
Loud cracking
You can do it that way?
Josh:
Oh god!
Heather:
Oh shit!
What'd you drop!
Josh:
I didn't drop anything, the tree broke.
Mike:
The log broke.
Heather:
Phew!
Oh, fuck.
Cuts to hiking near cemetery Heather:
We are very, very, very close now.
Heather:
What's this?
You guys excited?
Okay.
Close up of tree with branches filled with rocks and dead twigs Heather: Say, guys? Do you remember something that Mary Brown said the other day? What was the story from the Bible she was telling us? Fuck I wasn't listening to her because I thought she was a lunatic. Shots of piles of rocks, "graves" and rocks stacked high up in tree branches Heather:
See I don't know if this counts.
Three, four, five, six seven.
Cuts to night around camp fire Heather:
Witches in days gone by where roasted just like my Vienna sausage.
Flames are licking you like the devil their Josh. Josh:
(sings Gilligans Island theme)
Heather: captain. Mike:
Yeah, but this ship has a good captain, not a fat beer-guzzling
He wasn't beer guzzling.
Josh: There was no beer on the island man, if they had beer they would've had like, big ass orgies. (All laugh) Heather: You're kinda like the Captain and Mikes kinda like your Gilligan. No offence, I mean that as a complement. Gilligan was a funny guy. Josh:
But the Captain was fat.
Heather:
Okay, Let's call it a thin Captain.
Mike: Let's not call it the Captain anymore you illiterate TV people! the Skipper.
It's
(All laugh loudly) Cuts back to cemetery at night Mike:
Here we are back at the rock again, rock thing, cemetery deal.
Cuts to various rock piles Sound of tumbling rocks Heather: (gasps) You didn't just knock that over please tell me you didn't just knock that over. That's not very nice. All right, I'm going to put it back. Heather places rocks back on pile and blows them a kiss Heather:
Can't be too careful.
Cuts ahead Heather: Josh:
What'd yah think?
It was...the same thing but darker.
Heather:
Yeah pretty much.
All right, bag it up put it away.
Cuts to absolute darkness Heather:
Hello!?
(whispers)
Shit the light.
(Sounds of sticks breaking in the distance) (Heather breathes heavy) Heather: Josh:
We were sleeping...
Do you want this?
Heather:
Just keep it by the opening of the tent!
Shhh! Cuts to Heather crawling on hands and knees, then she motions Josh to come forward with camera Heather:
Hello!?
Hello!
Cracking sounds in the distance Heather:
It's all around us.
I can't see shit!
Cuts back to tent, Mike inside tent Heather:
Michael are you saying you're not coming down?
Mike:
I ain't going down there!
Heather: Mike:
Because I don't hear shit!
Heather: Mike:
Why not?
Because you're fucking scared!
Because I don't hear anything anymore!
Heather: Because you're fucking scared! your ass out! What's the big deal!?
You can not deny hearing it!
Get
Cuts to next morning, Josh in rain gear. Josh:
This rain fucking blows dude.
Heather: Josh: know.
I know and it's raining very heavily.
Well...
Thank my mom for giving me rain gear for my eighteenth birthday, yah
Heather:
(shivers) God bless her.
What do you think that was last night? Josh:
Personally.... I think it was someone fucking with your head.
Heather: Josh:
But nobody knows where out here.
Yeah, but did you ever see Deliverance?
Cuts to Mike Heather: Do you understand at all where I'm coming from? know that whoever it was... Mike:
You were freaking out.
Heather: down, and wanna get see it on
I just wanted to
I don't even know....
I was freaking out. I wake up and all of the sudden shits going all I can think is I gotta get it. I gotta get it all on; all I it on sound get it on sixteen. If we can see anything I want to sixteen.
Mike: Well, it sounded to me like a bunch of people running around, and I'm not down with messing with locals or whatever. I dunno who the hell would come out here, but what bugs me out is that we're so damn deep in the woods and people are going to come out here and try and mess with us, then they gotta have something wrong with them. And I'm not gonna play with that. Heather: Mike:
But how do we know it was people?
Well even if it wasn't I'm not gonna play with that either!
Cuts to crew hiking back Heather: (sighs) Fuck man, this is a really long day. Very wet, very long day. Nobody is really speaking to me at the moment now. Mike:
I don't remember a...(mumbles)
Heather: Mike:
What?
I don't remember a portion of this from walking in from the car.
Heather: Well, we have to go a little differently to go back because we went around in a curve a little bit. Cuts ahead Heather: Josh:
I'm telling you guys, two more hours max.
(stops walking)
(mumbles) why were going back a different way?
Heather: Because we came a bit around. That was the most direct way to hit our two locations, now this is the most direct way back to the car. Mike:
Seriously, really?
Heather: Mike:
Seriously.
You know exactly what's going on?
Heather: Josh:
Yeah!
Yes!
Just keep going.
Yeah, well, will wait five minutes till map check.
Heather:
All right.
Cuts ahead Heather: All right we just did a map check and it seems were pretty much still on trail. Josh:
That's not what I said.
Heather:
No, I think were all right.
(Both Josh then Mike look away in disgust) Heather: We took a map reading we just fallow what the compass says. going straight ahead, that way. That way. Josh:
Were in the middle of nowhere!
Heather: We've been in the middle of nowhere for two days. parked in the middle of nowhere, almost.
The car is
We are
Josh:
So like look at this shit man, this is nothing!
Heather:
Okay, lets just keep going all right?
Cuts ahead Heather:
I think we should camp.
Mike: Get the fuck out of here! going?
Why?
Because you don't know where we're
Heather: No, because I think were still a ways off from the car and it's going to be getting dark real soon. Look, I'm not saying for certain. Mike: home!
We're not camping here!
Heather:
Maybe we're near the car.
Josh: Give me the fucking map! give me the map. Mike:
Maybe we're near the car!
Give me the map.
Turn the camera off and
No, I'm not turning the camera off.
I wanna mark this occasion.
Give me the map.
Heather: Mike:
Turn the camera off and get us
Turn the camera off and get us home!
Heather: Josh:
Get us home!
The map is in my pocket your going to have to wait a second.
GODDAMN!
Heather:
If we keep our heads together we'll be just fine.
Mike:
THAT'S FUCKING BULLSHIT!
Josh:
Mike, chill.
Heather:
Mike...
Mike:
DON'T FUCKING TELL ME TO RELAX!
Josh: map.
Let's walk up, find a tree to sit under or some shit and check the
Heather:
Yes, can we find a place to sit to check the map please?
Cuts to night, cuts to darkness. Josh:
Are you happy?
Heather: I'm not happy, no. But the car's not far; we're just not going to be able to find it in the dark.
Mike:
Are you positively sure?
Heather: Yes. tomorrow.
I am so sorry man.
Josh:
I hope your fucking happy.
Mike:
We have too!
We have too!
Heather: We will, we will. tomorrow. Josh:
Everything will get back.
I'm supposed to be at work tomorrow at nine!
Heather: Josh:
We will get the DAT back before it's due back
I gotta fucking work.
Heather: Josh:
We can probably still get the DAT back
I know.
Let's camp...let's camp.
Let's fucking camp.
Okay?
Cuts ahead, darkness. Heather: (hushes) shh...shhh... I wanna get it; I wanna get it from inside the tent. Whatever it was last night, it sounds like the same fucking thing. (Rustling outside tent) Heather:
(Tent flap being unzipped)
Where's my boots?
Oh, fuck it's cold.
(Turns camera light on) Heather: Mike:
Hello!?
Oh shit, it's fucking freezing.
I hear it.
I don't hear shit.
(Rustling noise) Heather:
Hear that?
Shit! Hello? (Josh with 16mm swings back around to look at Heather standing at the tent) (Cuts back to Heather's Hi-8) Heather: Mike:
Awe fuck. (Shivers, shaking camera)
I think it's just deer.
Heather: It could be deer I guess. I don't think it's deer though man. sounds exactly like that shit last night. It's on all sides of us. Mike:
It sounded just like a deer.
Josh:
It was a deer man.
Heather: Mike:
It
I don't think it was a...
It wasn't like last night.
Heather:
Shh!
Shh...
(Bang in the distance) Mike:
Did you hear...?
Heather: on DAT. Mike:
(whispers) Yes!
Fucking listen!
Let's get it on DAT, let's get it
Okay, it's on.
(Rustling grows louder) Josh:
Jesus Christ!
What the fuck is that?!
FUCK!
(Sound continues) Heather:
It's not scared by our yelling.
Heather:
That sounds like footsteps.
Mike:
(whispers) I know!
That's a fucking person!
Heather: Mike, I'm not seeing shit on video. I'm going to leave the rest for DAT but I'm going to stay out with you here though. Mike:
You gotta fucking stay out here with me.
Heather:
I am.
Mike: What time is it? Is it anytime near morning right now? Please say it's fucking five o'clock or some shit. Heather: Mike:
It's three.
Fuck!
Heather:
(Whispers)
This is bullshit; this is absolutely fucking crazy.
I'm sorry Mike.
We should be out of here already.
Mike: I have nothing, nothing to do with this. bullshit. Cuts to next morning
I swear to god this is
Heather: We woke up this morning, just like two seconds ago, and there are piles of rocks outside of our tent. There are three actually. Josh: Are you seriously fucking positive that those weren't here when we set up camp last night? Heather: I am seriously fucking positive that these weren't here. we have just made a campsite between three piles of rocks, just by coincidence?
How would
You don't think this is strange? Josh: This is way fucking weird! But it really doesn't matter at this point! Because all I want to do is get to the goddamned car. Whatever it is, whatever it is man, at this point... Heather: Josh:
I know, I know.
We have to get back to the car.
We are obviously not wanted here.
So let's just get the hell out.
Heather: (sounding as if about to loose it) Okay. back any way. Josh:
I realize that.
Heather: Josh:
Okay.
Let's get the DAT back, let's get the shit packed up and walk.
Heather: Josh:
We have to get the DAT
Right, we're out of here, we're out of here.
Okay, cool.
Cuts to crew packing up tent Heather:
(rambling) we have to leave, let's get our shit packed.
Josh: Heather put the fucking camera down! and... Heather:
Okay, hang on!
Let's get this shit packed up
(Points camera at pile of rocks)
Josh: Come on! No, I'm not fucking scared! I'm just tired, I'm hungry. I'm just fucking like done man. I'm just fucking done. Heather:
Alright.
Cuts to close up of Heather, Josh holding camera Heather:
Did you take it?
(Feels inside pocket)
Josh: I didn't take the fucking map man. I'm not playing head games, if anyone's playing head games, your playing head games, but I'm not playing
head games. (Heather rubs face) Heather: Josh:
I don't have it.
I'm fucking serious, I don't have the map, okay.
Heather that is so uncool man.
Heather: Josh:
I'm serious.
Are you fucking serious?
Heather: Josh:
I don't have it, we have to go.
I know it's not cool.
That is so uncool!
Heather:
I know it's not cool.
Josh: I mean that's like the least responsible thing you could have possibly done man. Heather: Mike:
I know that.
(sounding small) You really don't have it?
Heather:
One of you has got to have the map.
Josh: No, I don't have the map. We gave it back to you after map check yesterday. You've always had the map. Heather: I know, and I've always had the map in the same place and if it's not there one of you had to have taken it! Josh:
I'm not going into your fucking pants to get your god damned map man!
Heather: Josh: here!
I just checked my pocket!
It's not in my pants!
Look, would I go in and get your map?
Heather:
All I wanna do is get out of
That's all I want too man.
Josh: No! You wanna stay here, you wanna look around, you wanna shoot rocks, you wanna fucking get this, get that! Heather: Josh:
Let's go!
Which way are we fucking walking?
Heather:
That way.
Josh: Dude we're in the middle of the fucking woods! of the goddamn woods! We can walk any way!
We are in the middle
Mike: We're going this way! We're going this way because we've been going this way for a fucking day! We've got to come across something! Heather: Josh:
I gave you back the map Heather!
Heather: Josh:
I gave you the map.
I gave you the map.
I gave you back the map!
Cuts ahead Josh: All I'm saying is that we can move as fast as we can but if we have no fucking clue where we're going, well then it really doesn't matter. Does it? Heather: Mike:
We're following the creek and Mike seems satisfied with that.
(in the distance) Would you guys stop it!
(Marches on) (Cuts ahead to Josh laying on his back and Heather plops down next to him holding camera) Heather:
(sighs)
Josh: We are lost, we are fucked, we are done, we are dead, we are fucked. (Begins to roll down embankment and stops when he runs into a tree) Josh: I'm just gonna stay here. You guys find somebody; I'll be under this tree with the vine. This is really fucked up. Heather:
I know.
Mike:
Yeah, we really, really need to work together.
Josh:
Seriously, the area is not that fucking big.
Heather: Exactly, it's very hard to get lost in America these days, and it's even harder to stay lost. So we've got that on our side. (Josh gets up and walks toward camera) Mike:
Well were doing a pretty god damn good job at being lost!
(Cuts ahead) Josh: Cause at this point, when you're not home today, when I'm not home today people are going to start noticing. Like my girlfriend is defiantly going to notice that I'm not back today and that I haven't fucking called. I mean if I had called it would be one thing, but you know, if I just get back. But if I don't get back period and I don't call she's going to notice which means that if by tonight we haven't found shit, someone's going to be looking
for us. (Cuts ahead to stream, Josh finishing crossing on other side) Heather:
Oh no.
Josh: Don't come this way! whole shit wet! Mike:
Come another way!
Go down there!
(laughs deeply)
Heather:
Oh shit.
Well let's try it this way.
Josh: I don't think you want to try it this way. the other way. Heather: easier. Josh:
I just got my
I think you want to try it
(sighs) If we didn't have these fucking packs it would be so much
There must be a...
Mike: (jiggles with laughter) Heather: Is that Michael laughing? Mike:
(doubles up laughing)
Josh:
Shut the fuck up and cross the stream.
Heather: He's laughing!? laugh in days!
Michael that is the first time I've heard you
(Cuts to shot of Heather's wet boots after crossing the stream) (Josh and Mike laughing) Heather: I'm really happy you find it very amusing that I'm going to be incredibly uncomfortable for the rest of the day. Mike:
(doubles up laughing)
Josh:
Awww.
Heather: Mike:
Dude, uncomforted is not even. (Breaks into laughter)
Can we keep going please?
(laughing) No were gonna chill out!
Heather:
I thought you wanted to get to the car?
Mike:
HOOOO!
BOY!
Josh:
Come one let's get up there.
(Mike begins to climb embankment)
Heather: You guys weren't lying to me about the map were you? you guys are having just a little too much fun for my tastes. Mike:
Were just going a little stir crazy.
Josh: Heather, Heather. have to hit you. Mike:
It just seems
If you make me yell at this point...
I'm going to
(laughs)
Heather: Come on, seriously, do you have the map? I just want to know that you have it! That would make me happy just to know that you have it. Josh:
Heather... (Turns in disgust)
Heather: If I, If I know you have it and I can at least see it I would feel much better. Josh:
(gives Heather the finger as he walks away from her)
(Cuts ahead) Josh:
Like all were trying to do is be cool with you.
Heather: Well I find it very cool that I get laughed at because my shoes are wet for the wrest of the day! It's fucking hilarious! (Josh and Mike bust out laughing) Josh: Heather, dude, all our shoes are wet. We were laughing at the situation. We're fucking hungry we're fucking tired. What the hell else are we supposed to do? Mike: (laughing) You know what? Hahaha! I kicked the fu...haha...I'm sorry it's fucked up, but...I kicked that fucking map haaa! Into the creek yesterday! Haaa! It was useless! I kicked that fucker into the creek! Hahaha! Mike:
(walks away laughing hysterically) WAAAAHHHOOOO!
Heather:
I fucking hope he's kidding.
Mike:
WAAAAHOOOOO!
Holy Jesus!
Josh:
(small) Mike?
(Anger rising)
Are you kidding?
Heather: I really fucking hope he's kidding. Josh: (angrily) Mike are you fucking kidding!? (Josh and Heather move quickly towards Mike) Mike:
I'm sorry.
Heather:
It was useless.
You've gotta be fucking kidding me!
YOU HAVE GOT TO BE FUCKING
KIDDING ME! Josh:
(shoves Mike hard) What the fuck!
Mike:
Get the fuck off me man!
Heather: Mike:
WHAT THE FUCK!
ARE YOU OUT OF YOUR FUCKING MIND!
NO I AM NOT OUT OF MY MIND THAT MAP WASN'T DOING SHIT FOR US!
Heather: SAID!
DO YOU REALIZE?
Heather:
YOU ARE A FUCKING ASSHOLE!
Mike:
NOT TO YOU, BUT I KNEW WHAT THE FUCK THAT MAP
I'm sorry!
Heather: YOU ARE A FUCKING ASSHOLE! Mike:
That map wasn't doing shit all day!
Heather:
IF WE GET HURT OR IF WE DIE OUT HERE IT'S YOUR FUCKING FAULT!
(Josh pushes Mike and they begin to grapple one another) Mike:
I'll fucking punch you out!
I'll fucking punch you out!
Heather: I CAN'T BELIVE YOU ARE SUCH A FUCKING ASSHOLE! YOU THINKING!
WHAT THE FUCK WERE
(Mike pushes Josh away) Josh:
(points finger in Mike's face) Your messing with my shit here!
Mike: (fends off Josh's finger with forearm) That map was useless! was useless! Heather: Mike:
It was useless to you!
It was useless to you!
BULLSHIT!
Heather:
Your ignorance has put our safety in danger!
(Cuts ahead) Heather (calmer) Okay, okay. Josh:
This is not why I brought you out here man.
Mike:
I'm sorry about the map, okay?
Heather:
(trying to remain calm) Okay.
(Sobs)
That map
Mike:
What can I say?
Heather: Sorry? Please just don't say sorry! That map wasn't worth shit to you but I knew exactly where we were on that map. Mike:
(points finger at Heather) I just fucking asked you where
Heather:
I knew exactly WHERE WE WERE ON THAT MAP!
Mike: (jabbing finger at Heather) Yesterday I asked you what fucking river we were at! (Mike tries to hit and grab camera away from Heather) Heather: DON'T YOU FUCKING TOUCH MY FUCKING CAMERA! IS YOUR FAULT NOW! IT IS YOUR FUCKING FAULT!
YOU!
GET OFF ME!
IT
--Think the following is cut from the final editMike:
You wanna get hit!?
You wanna get hit!?
Keep fucking punching me!
(Cuts ahead) Heather: Give me the compass. beyond. Give me the compass. Mike:
Yeah.
Thanks.
Can I hold the fucking compass?
Heather: Josh:
Way fucking
You betrayed us when you couldn't get us out of the woods last night.
Heather: Josh:
You have betrayed us all beyond.
No!
Can I hold the fucking compass?
Heather: No! I bought the fucking compass. should have bought your own.
If you wanted a compass you
Josh: I don't give a shit if you bought the compass! You fucked us up! fucked us up! I don't know why you can't admit that you've been screwed since the moment we got out here! Heather: Josh:
Heather give me the...
Heather: Josh:
I haven't.
I've been planning this for two years!
Give me the compass.
Heather:
Heather, Heather.
We're walking south!
Now!
He
Josh:
Give me the compass!
(Pushes Heather from behind)
Heather: You fucking asshole! Don't knock me down! Cause I will fucking knock you out! I'm am walking south! Fuck you both! Fuck you both! Josh:
Okay you fucking bitch!
Heather: Okay, okay, I'm a fucking bitch! Your friend throws the fucking map in the creek and I'm a bitch? Okay! Oh Fuckin Kay!
(Cuts ahead, Josh sitting on the ground) Heather: Josh:
Why are we stopped again?
Why?
(Sighs)
Why are we stopped?
(points at the sky) Heather, just don't, just don't.
Heather: Does anybody have a reason why were stopped? That's all I'm asking you. What about the plan to keep going south? We were all very happy with that plan. Why is that not a...thing anymore. (Under breath) Oh Jesus Christ. (Cuts ahead, Heather hurrying thew woods) Heather: Mike:
(in the distance) there's all sorts of stuff down here!
Heather: Mike:
What kind of stuff!?
Like twigs and shit!
Heather: Mike:
(panting) I can't understand you!
What?
They're all over!
Heather:
Look around you!
No way.
(Cuts ahead to clearing) Mike:
They're all over the place.
Holy shit!
(Shot of human looking figure made from sticks and twigs bound together dangling from trees) Heather: Mike:
Come up here quick I need to use the CP!
Yo, there's all sorts of shit up here man!
Heather:
(reaching up and touching a stick man) This is fucking crazy shit.
(Cuts ahead) Heather:
Please, I've got to get this on 16!
(Shots of numerous stick men, hanging from trees on 16 mm) Josh: I've almost got shots of everything. creepy. Mike:
Jesus Christ, that's fucking
Please, this is no redneck no redneck is this creative.
Heather:
Can we get out of here now?
Josh: Yeah, please? (Shot of gigantic stick man) Oh Jesus Christ! Did you see this? Okay, I want to get as far away from here by dark as humanly possible. (Cuts ahead) Josh:
Get your shit in your pack and let's go!
Mike:
Stop taping!
Josh:
That's enough!
That's enough!
Please stop taping!
Heather: Okay, okay, okay were leaving right now. (Continues to tape) Okay, were out of here, were out of here. I'm leaving. Mike:
Come on!
Turn it off!
(Cuts ahead) Mike:
HELP!
Heather: Mike:
HELP!
PLEASE HELP US!
HELP US!
This is not the way to get out of here.
HELP US!
FUCK!
(Cuts ahead) Heather: I think it's safe to say at this point that were lost. know what to do.
And I don't
(Cuts ahead to tent opening at night) Josh:
I'm getting inside the tent.
Heather: Mike:
Alright.
Let's not light a fire tonight.
Heather:
Yeah, I think...
Mike: Cause two nights in a row we've lit a fire. the first night. Heather:
And nothing happened.
We didn't light a fire
Mike: And nothing happened. We light fires, they know. I haven't heard anything follow us. We should even turn that light off too. Heather:
Alright. (Turns off camera light)
Josh: Seriously, yeah turn that off. (Complete darkness) Heather:
Okay, let's just go to sleep.
(Cuts ahead) (In the pitch darkness) (Sounds of babies laughing) Heather:
(whispered) Shit.
(The sounds of people stirring terrified inside a canvas tent) Mike:
(whispered) What the fuck is that?
Heather:
Okay let's get ready.
(A few seconds of silence) (Sound of a baby crying out in pain) Mike: (whispered) Oh Jesus Christ. little kids, out in the woods. Heather: Mike:
I'm going to put Jeans on.
Oh Jesus, oh Jesus.
Heather: Mike:
(Crying to himself) It sounds like
Get the video camera.
No, get the DAT ready.
How are we going to record this shit?
Heather: (turns on camera light showing crew huddling in tent, looking blurry through the fogged up lens) Heather:
(whispers) What's that sound?
(Shudders with fear)
(Sounds grow louder and closer) (The tent begins to shudder and shake as if something is attacking) (All scream in fear) Mike:
Go!
Fucking go!
(They break free of the tent and bolt away) Heather:
Oh god!
Mike:
Hurry up!
Heather: I'm coming! My boots aren't laced! (Looking over her shoulder back at the tent) OH MY GOD WHAT THE FUCK IS THAT! WHAT THE FUCK IS THAT! Oh shit! Oh my god! (Running and panting) Look where are we going!? (Gathering together they crouch down in some thick weeds) Mike:
(whispers) Turn the lights off!
Turn that light off!
Turn it off!
(Heather looks back towards the tent, with a look of pure terror on her face) Mike:
(whispers) All lights off, all lights off, all lights off.
(Heavy panting) Mike: (losing it & whispering) What the fuck is going on? That was more then last night, that was more then last night. I heard little babies screaming. Josh: Shhhhh! (Trembling) There's no fucking babies out there man! There's no fucking baby out there; there's no fucking baby out there. Heather: Mike:
Shhh!
Jesus Christ. Oh my god it's cold.
Heather:
Please be quiet okay?
Mike: Okay, okay. (Cuts to dawn) Heather: Mike:
How long have we been here?
Heather: Josh:
I don't hear anything anymore, I think we should go back.
I don't know, maybe a couple of hours.
The suns up were okay now.
Let's just get back, let's pack shit up, let's get out.
Heather:
Okay.
(Cuts back at tent, things scattered all around campsite) Josh:
What the fuck man?
Heather: Mike:
Where's my pack?
Your packs right there.
Where's my pack?
Josh: What the fuck man? Why are we getting fucked with like this? opened it up. They spilled all my fucking water!
They
Mike:
That looks like slime man.
Josh: That's just water, man. slime. What the fuck is that? Mike:
(Bends over and feels "slime") Dude.
Come on, let's get the shit packed up and let's get out of here.
Josh: Come on Heather turn that thing off and let's go. interested in anything anymore! So turn it off! Heather: here? Josh:
Let's relax for just a second.
Have we gotten everything
Who's shit was thrown around?
Who specifically?
It was my shit!
Heather: Mike:
I know.
I'm not; I'm not
Like I give a shit!
Heather: Josh:
Ah that is
Why you?
Oh shit, let's go!
Let's go!
Are you not scared enough?
Heather: Yes I am scared enough and I do want to go, but it's light now. have a couple of minutes. Mike:
We
No we don't have a couple of minutes!
Heather: Let's just see what happened here okay! happened here! Mike:
We need to hike!
Josh:
Put that camera down.
Heather:
Let's just see what
This is not funny.
Do I look like I'm laughing at all?
Josh:
No but you're going around doing your documentary thing man.
Mike:
Heather.
Josh:
Your doing your thing.
Mike:
Heather.
(Mike attacks Heather attempting to take video camera) Heather:
Don't fucking!
(Camera flails wildly) Mike: Turn this fucking thing off! gonna!
If you bite me fucking one more time I'm
(Mike lets go and moves away) Heather: Mike:
If you touch my camera one more time I'll bite your fingers off!
Turn it off!
(Cuts ahead, Mike looking sorry) Mike:
I'm sorry.
Heather: Mike:
I didn't mean it.
Okay?
Are you all right?
Heather: can.
I'm fine.
I want to go home but it's important that we get what we
(Cuts ahead, crossing another log) Heather: What the fuck? Is this possible? Okay, all right. I hate crossing streams on logs. If I never cross another stream on a log for the rest of my life, I will die a happy girl. (Cuts to Josh filming with video camera) Mike:
(gives camera the finger)
Josh:
I see why you like this video camera so much.
Heather:
You do?
Josh:
It's not quite reality.
Mike:
Reality says we've gotta moooove.
Josh: No but its totally like filtered reality man. pretend everything is not quite the way it is.
It's like you can
(Cuts ahead, Josh sitting alone in the distance) Mike:
(whispers) Just leave him alone.
Heather: Mike:
Mike.
Just give him like five minutes.
Heather: Mike:
We need to go.
He's lost it.
We are all on the brink of losing it.
(whisper) I know that.
Heather:
Just leave him alone.
We've all got to take care of each other.
(whispers) I know.
Mike: (whispers) you can't really take care of him if you throw a camera in his face while he's crying.
Heather:
I know.
Mike: I know you know that, and I know we're both about to loose it but let's try to get the last wits we have. Heather: Mike:
We have to go.
Understand I know we have to go.
Believe me I know we have to go.
Heather: It is hard for all us to hold it together. here in one piece and this is not helping! Mike:
I know it's not.
We need to get out of
Just let him have his...
Josh: (In the distance) anybody have a cigarette? Mike:
No man.
Heather: Josh:
No, there's none left.
We don't have any cigarettes?
Heather:
We're out.
Josh: (voice cracking) Why the fuck? all over my shit? Heather:
Let's go.
What the fuck was this blue jelly shit
If we keep going south we will get out.
Please.
(Cuts to Josh down on his knees) Josh:
(whispers something unintelligible)
Heather:
Josh, none of us do.
Josh:
I know.
Mike:
What ever it is, is going to come back.
Heather:
We don't know that for a fact.
Mike: Well it came three nights in a row. night. Heather: Josh:
We know that for a fact.
It's been getting worse every
I would love to hear this right now, I really would, but we...
Can we please go?
Mike: I'm just trying to say you know we have to rationally say, they might go on forever compared to our footsteps. Heather:
Not, not possible.
Not possible in this country.
Not possible.
Josh:
Why is it not possible?
Heather: Because this is America. resources. Mike:
We've destroyed most of our natural
(begins to sing) America, America.
GOD SAVE YOUR GRACE ON THEE!
(Cuts to hiking) Josh and Mike:
(sing national anthem) The twilight's last gleaming.
Heather: Okay, I don't want to be a humorless pain in the ass, but this I don't fucking understand. (Cuts ahead) Mike:
Yo that's the stream we crossed!
Josh:
That's further down.
Mike: Oh god! FUNNY! Heather: Mike:
(begins to cry) No.
This is a joke!
Mike just please stop.
THIS IS NOT
Please stop.
It's not the same log.
It's not the same log Mike!
It's the same one!
Heather: Mike:
You've got to be kidding me!
Ohhh nooo.
Heather: Mike:
That's the same one!
Look it's not!
It is!
Open your eyes!
Heather: It's not the same log. same log.
(Begins to sob)
It's not.
It's not the
Mike and Josh: Fuck! Heather: Mike:
(collapses crying next to log) It's the same log.
It's the same.
Fuck you God!
Heather:
(sobs and rocks back and forth) It's okay.
It's okay.
It's okay.
(Cuts ahead) Heather: Where do you want to go today to camp? I guess south didn't work today so tomorrow we'll go east. I don't know what to say Josh. Josh:
How the fuck did we walk south and end up at the same place?
Heather:
We walked south all day!
We walked south all fucking day!
I don't
know how we ended up here. (Cuts ahead, Josh filming Heather with video camera) Heather: Do you expect me to do something or say something? want to do Josh? Josh? Josh: I wanna make movies Heather. make some movies. Heather:
Fuck you.
Really.
What do you
Isn't that what we're here to do?
Fuck you.
Let's
Fuck you.
Mike: Please let's not fight. Come on I can't. I can't listen to fighting. I can't fight. We're screwed and that's it. Please stop fighting. I'll do the first watch. I got first watch. Josh:
(To Heather) Come on you can do better then that.
Mike:
Come on guys we have things to prepare for here.
Josh: Okay here's your motivation! You're lost, you're angry in the woods! There's no one here to help you! There's a fucking witch and she keeps leaving shit outside your door! There's no one here to help you! She left little trinkets; you fucking took one of them! She ran after us! There's no one here to help you! Mike:
Josh!
Josh: We walked for 15 hours today, we ended up in the same place! no one here to help you! That's your motivation! Heather:
(begins to cry) Stop, please stop.
Mike:
Josh!
Josh:
That's your motivation!
Heather: Mike:
Mike:
Please stop.
Josh, just quit it.
Heather:
There's
I've had enough.
Please stop.
Come on man, you got her back.
Good one.
Josh: She's still making movies here man! point here!
That's my point!
This is my
Heather: It's all I fucking have left! Okay? Just please stop. stop. Just please stop yelling at me okay? Please.
Please
Mike: I'm fucking tired of crying all day here. We have to think like human beings we have things to prepare for, we've gotta make shifts. We've got lots to do.
Josh:
Are you going to write us a happy ending Heather?
Heather:
(breaks down and weeps then walks away)
Mike: Come on man, turn it off. turn it off.
You're getting like she was.
Come on man
(Cuts ahead, inside of tent light only by flashlights, Heather mending hole in gear) Heather:
We need the smallest comforts we can get.
Josh:
Doesn't it just seem absurd though, at this point.
Mike:
Yes it does.
Heather: Mike:
(mumbles with flashlight in mouth)
Like sleeping pretty much where we were sleeping last night.
Josh: That's just fucking me up. Period. (Looks directly into camera, looking lost) Josh:
I'm sorry I yelled at you.
Heather: Mike:
I'm sorry.
It's okay.
Who wants a Cheeseburger?
Heather: Mike:
That's just fucked up man.
(with flashlight in mouth) I do!
I do!
Well I've got a cheeseburger in my back pocket.
Heather:
Do you?
(All laugh slightly) Josh:
You know what I'd fucking love?
Heather:
What.
Josh: Mashed potatoes. and a piece of ass.
My moms mashed potatoes.
My moms mashed potatoes
(Cuts to next morning, Heather outside of tent) Heather: Mike:
Josh!
Fuck, Mike we never go out of earshot!
Come on, calm down.
Heather: Mike:
Josh!
How can I calm down?
JOSH!
JOSH!
He's probably at the river or something.
Heather: Mike:
Josh!
Heather: Mike:
Josh!
Shhh.
Heather: Mike:
If he was at the river he could hear me from here.
You gotta wait for his reply.
He'll come back.
JOSH!
Heather...
Heather: Do you remember what he said yesterday? his back. About how... JOSH!
About, about this shit on
Mike: We didn't even, we didn't even get waken up last night. Nothing even came to the tent last night. Last night was a good night. There's no way... He, he just, he just, he's just went for a walk. Heather: Mike:
Josh if your fucking with me, I swear to God I'm gonna kill you!
Let's go, we gotta find him!
Come on!
Heather: We can't even find the car! find Josh? No, no, no, I'm fine.
(Crying) How the fuck are we going to
Mike: Come on. Relax, he's just. He's around he just went out of ear shot. I dunno. He just went out of earshot. That's all. All right? We'll relax, we'll break down the tent and when he's back we'll be ready to go. All right? Heather:
I'm loosing my mind Mike.
(Cuts ahead to Heather sitting alone talking to camera) Heather: Mike:
(In the distance) Heather!
Heather: Mike:
Josh hasn't come back yet.
I'm over here Mike!
Okay.
Heather:
I don't know if Josh ran off.
I don't.
All his shit's here.
(Cuts back to tent) Heather: I've got the camera. that camera, but. Mike:
I don't know how the fuck I'm gonna hike with
We should leave the camera.
Heather:
We've gotta take the camera.
(Cuts ahead) Heather: Mike:
How do you feel about east?
How do you feel about east?
Heather:
Well south didn't work.
Mike: Which Wicked Witch was worst, the Wicked Witch of the East or the Wicked Witch of the West? Heather: Mike:
The Wicked Witch of the West was the bad one.
Let's go east then.
(Cuts ahead) (Sound of sticks breaking in the distance, both turn towards it) Heather: Mike:
What was that?
Josh?
Josh!
(Cuts to end of day, Mike and Heather putting up tent) Heather:
We're going to put up the tent now.
(Cuts ahead) Mike:
I'm going to have a meatball.
Heather: Mike:
And a long, red glass of wine.
Heather: Mike:
A long hot bath.
A big pumpkin pie with ice cream, warm with melty ice cream.
Yeah that sounds good.
Heather: Mike:
Smokes would be good.
Pumpkin pie.
Heather: Mike:
Yeah, I would defiantly have the whole fucking bottle of Bordello.
A pack of smokes.
Heather: Mike:
Just one meatball?
Um, it used to be, drive to the woods and go hiking.
(laughs)
Heather:
What's your favorite thing to do on a Sunday?
But, um.
Mike:
I think that's scratched off.
Heather:
I think that might change now.
(Cuts ahead to darkness) (Voice that sounds like Josh moans off in the distance) Heather:
Should we yell for him?
Josh's voice: Heather:
Is it a trick?
(cries of pain and fear in the distance)
Josh?
(Unzips tent) Mike:
Josh!
(Silence) Josh!
(Silence) Mike:
Where's it coming from?
Josh's voice: Mike:
JOSH!
(Bleating moans) Josh where are you?
Josh's voice: Heather: Mike:
Heather:
(closer and louder cry's of pain)
(muffled) Oh my god.
Fuck.
No.
Do you think that's them fucking with us?
Josh?
Is it over here?
Mike:
No it's over here.
Mike:
JOSH!
Mike:
Well look for him!
Heather:
Tell me where you are!
(Breath from the cold mists in the cameras view)
(begins to cry uncontrollable)
Mike: (voice cracking) I don't know if it's really him, I don't know if it's really him. Heather: Mike:
Josh!
(Sobs)
I don't even know where to look.
(crying) Tell me where you are Josh!
(Cuts ahead) Heather: Mike:
Mike, please don't fall asleep.
I can't fall asleep.
Heather: Mike:
Whatever it is, it knows that Josh is gone.
If that was Josh he would have said where he was.
Heather:
(mumbles, not sure about this line?)
Good night...(something)
(Cuts to next morning) Heather: I just want to show that Mike is here. He's sleeping. sleeping bag off of Mikes face, then steps out of tent)
(Pulls
(A bundle of sticks and twigs bound together by what looks to be strips of Josh's flannel shirt confronts Heather) Heather: Mike:
What the hell is it?
Mike.
What?
Heather: Mike:
Oh shit.
There's something out here.
What is it?
(Heather gets close with camera and examines bundle) Heather: (gasps) Okay, okay. Okay I'm just going to move it from the front of the tent. Okay? I'm taking it away; I'm taking it away from the front of the tent. I'm throwing it. (Throws it over log) Okay. Mike: Okay?
(sitting alone and rocking back and forth) We'll just keep walking.
Heather:
(crying) Okay.
Mike: We'll keep walking. I found some cigarettes. I found them all the way at the bottom of my bag. We're still alive; we're still smoking. (Heather sets camera up and walks over to comfort Mike. cigarette)
They share a
(Cuts ahead, Heather goes back to where she had tossed the bundle of sticks) (Heather examines bundle more closely and begins to untie strip of Josh's shirt) Heather: It's all full of blood. (Gasps, screams, then begins to cry at what is bound inside the shirt, bloody clumps of hair and what appears to be gory teeth. She quickly begins to hyperventilate and loose control but continues to examine the gore with her camera) (pants) Shit. (Turns away) Oh god. (Cuts to Heather by stream, washing her hand profusely) Heather:
Okay, okay.
See? (Shows clean hands to camera)
Mike:
(In the distance) Heather!
Heather: Mike:
What are you doing?
Heather: Mike:
Yeah?
I'm okay, I'm just washing my hands off.
What?
Heather:
Just washing my hands off.
(Cuts ahead back at tent, Mike using camera) Heather: (looking very freaked) I'm gonna put my gloves on. my gloves on. I'm gonna put my gloves on my hands. Mike:
I'm gonna put
You all right?
Heather:
I'm fine, I'm fine.
(Cuts ahead, Heather trying to lift her pack on) Mike:
You need help?
Heather: Mike:
Nope.
Nope.
I don't need any help.
I'm okay.
What happened?
Heather: Nothing. Nothing happened. I'm just very hungry and I'm very tired and I'm very scared and I just want to go home okay? Mike:
Okay.
Heather:
But I'm fine and we're both okay.
Oww, my hair's caught.
(Mike helps get her hair unsnaged from her pack) Heather:
Thank you.
Okay.
(Cuts to Hiking) (Heather stops, looks around, looks at compass then begins to hike again) (Cuts to Mike rocking and looking exhausted) (Cuts to hiking) Mike: king!
2130 games. One more season and Cal Ripkin is king! Cal Ripkin is And I won't get to see it! Cause I'll be in the woods!
(Cuts to Mike sitting by stream holding a leaf)
Mike:
(puts leaf in mouth, tears a chunk off and begins to chew)
Heather:
Tell me your not eating a dry leaf.
(Laughs)
(Cuts to night, Heather looking into camera) (The confessional) Heather: I just want to apologize to Mike's mom and Josh's mom and my mom and I'm sorry to everyone. I was very naive. (Looks away from camera scared) I was very naive and very stupid and I shouldn't have put other people in danger for something that was all about me and my selfish motives. I'm so sorry for everything that has happened because in spite of what Mike says now it is my fault. Because it was my project and I insisted on everything. I insisted we weren't lost. I insisted we keep going. I insisted we walk south. Everything had to be my way and this is where we've ended up. And it's all because of me were here now hungry and cold and hunted. I love you mom and dad. I am so sorry. It was never my intention to hurt any one and I hope that's clear. (Begins to hyperventilate as mucus streams from her nostrils) I am so scared. What was that? I'm scared to close my eyes and I'm scared to open them. I'm going to die out here. Every night we just wait for them to come. (Breaks down and sobs) (Cuts ahead to Heather and gathering gear in the darkness to confront the cries of Josh out in the woods) Josh's Voice: Somebody! Mike:
Oh Jesus Christ.
Mike:
Ready?
Josh's Voice: Somebody! Mike:
Okay.
That can't be him.
(Heather carrying 16mm and Mike with Hi-8 Video camera, begin to walk towards sound) Josh's Voice: Someone I need help please! Mike:
Holy shit it's a house.
Please help me god!
Watch your step.
(An ancient abandoned house looms over them) Heather:
Mike.
(Mike is eager to explore) Heather:
Josh?
(Cuts to inside of house, Mikes view through Video camera; house is in extreme state of decay, crumbling plaster no windows or doors walls knocked out)
Heather: Mike:
Mike!
Mike!
Come on!
Heather: Mike:
Mike?
Mike where are you?
Come on, I'm in the house.
Heather:
Mike do not...
Josh's voice:
(muffled) please help!
(Cuts to Heather's view with 16 mm) Heather:
Mike?
Josh's Voice: Heather: Mike:
Mike?
Mike please.
(muffled cries)
Mike please.
I'm right here!
Mike where are you? Where is he?
Heather:
Mike don't leave me!
Heather:
Is he in here?
Mike:
No.
(Whispers)
Josh's Voice:
Oh shit.
(muffled) No!
God!
Mike: (whispers) Oh Jesus. (Arrives at a set of disheveled set of stairs) I hear him. (Begins to run up stairs) I hear him. I hear you! Where? I'm going up stairs! (Begins to climb second flight, there are child sized bloody hand prints and strange occultic symbols along the walls) (Cuts to Heather's 16mm footage on same set of stairs) Josh's Voice: Mike:
(muffled)
Did you hear that?
Overhmm! Did you hear that?
(Cuts to Mike camera looking back at Heather just as she confronts the hand prints) Mike: Where is he? Josh's Voice:
(unintelligible cries and moans)
(Cuts back to Heather's footage, hyperventilating at this point)
Mike: Where are you!? Come on! Josh? I HEAR HIM DOWN STAIRS! Come on!
I'm getting down stairs!
Come on!
(Begins to run down stairs) Heather: Mike:
(so scared she can hardly scream) Mmmm!
Come on!
Heather:
Mike!
Josh!
MIKE!
(Mike arrives at the cellar steps, more occult writings along the wall) Mike:
Josh?
Heather:
Josh!?
Josh is that you down there!?
(in the distance and at the top of her lungs) MIKE!
MIKE!
(Mike descends into the basement, Heather continues to scream) Mike:
oh god.
. Josh?
(Grunt)
(Camera is knocked to the ground.
It autofocuses on the cellar gravel)
(Cuts to Heather, just now reaching the cellar entrance) Heather: MIKE! MIKE! MIKE! MIKE! bottom of the cellar steps)
(Screams) MIKE!
IEEE! Mike.
(Rounds a protruding wall) (Mike is standing facing the far corner) Heather:
MIKE!
MIKE! IEEE!
IEE! HHUH!
(16 MM drops on its side and film jitters) (No sound) EOF. Credits: Staring:
Heather Donahue, Michael Williams, Joshua Leonard
Production Designer: Ben Rock Art Director: Ricardo R. Moreno Director of Photography: Neal Fredericks Music: Tony Cora Executive Producers: Bob Eick and Kevin Foxe Co-Producer: Michael Monello Producers: Gregg Hale and Robin Cowie Written, Directed and Edited by Daniel Myrick & Eduardo Sanchez
(Reaches
TAPE 1 BEFORE FILMING HOTEL DENNY'S KIDS VOICE'S TEST (batteries fall out of boom box) STEF'S HOUSE (crap: still shot of some setup stuff with Heather, Ben, Mike, Neal, Gregg, Josh) NIGHT STUFF - NIGHT BEFORE SHOOT (final setup with everybody) HEATHER'S HOUSE - INT Good intro with Heather going downstairs to her room with Lonnie following her with the camera. Explains what she is going to do and the project and how grateful she feels that Josh and Mike are helping her. Rundown of equipment, tent, coffin rock book. CUT TO * CONFUSION AS THEY GET INTO LONNIE'S CAR TO TAKE HER TO MIKE'S. * continuing about equipment, pack. Waiting for Josh. bad lonnie & ed phone call OUTSIDE Josh arrives (hug, then Josh gets camera ready) HOUSE Heather in house, UPDATE (josh is here, late, going to pick up Mike) OUTSIDE Josh gets camera rolling, Heather anxious to leave. Josh tells her that he took the camera without anyone knowing. Josh films her in front of the house. Goes in. FILM HOUSE They drink Cider. $1300 for film, plenty of film. Why were you late? Stoned. Tension already begins. Hotel is good, turn camera off, will you? What kind of fish do you have? Let's make a film. CAR ON WAY TO MIKE'S Josh's cool car, radio stuff. Fucking around in Aspen Hill. Zoomed and moving, nice montage fluff of them leaving. Mr. Postman on the radio. Zoom out, we have a lot of batteries, film ASA rating talk. Bump up the night stuff two stops. Welcome to Olney sign, I feel cool (heather), and Mike still lives at home. That sucks. MIKE'S HOUSE You must be Mike. Mike's intro to Heather. Talk about Hillside Motel. Josh asking about beds and
showers and pornos. Shot of Josh's car, chicks dig Josh's Daytona. Mike wants to go to 7-11. CAR - Headed to 7-11. Mike's lovely neighborhood. What did your mom think of you going camping in frosty weather? What's it like living at home? Sucks. 7-ELEVEN Let's check equipment. No. Tour of 7-11. Don't film in here. Survey of equipment. Make sure everything is running. DAT check. DAT turns on and battery talk. ON ROAD TO STOUBE'S Talk about day's agenda, meeting with Mary Brown and stuff. Shots of side of road. Suburban glory. Horses!!! Thank Josh for driving. SAFEWAY Mike farts. ROY ROGER'S STALL Heather is in the bathroom. SAFEWAY Talk about how many batteries she has. Looking for boys down aisles. Gel insoles. Stuff to eat. Note to self: Steal forks and spoons from restaurant. Continue to shop. $94.28. For three days. We'll split it three ways. 270 Shots of highway. Bright sun shinny day. Cool shot through window. HEADED TO STAUBES Shots with wind hitting camera mike. STAUBES COUNTRY INN Pulling into parking lot. Walking in. Ghosts on window. Hostess. Waitress asks for drinks. Cat in window. In table. Taking order.
Heather has a hard time ordering Toast to the project. Blair County!!!! WE CAN CUT IT OUT. They plan out the day. Josh places camera to get shot of all of them, and then they plan. Map, schedule, Mary interview at 5. How'd you find Mary? Good explanation about the horse lady. Out of what Heather ordered. Talk about the aesthetic values of the film. Creepy factor. Sound, natural sounds. How much stock, shooting each day. Cemetery. Children's graves. How much gear are we taking. Battery power. Bring everything you can carry. AUDIO NOT TOO GOOD BUT WILL WORK FOR SHORT TIME. Josh grabs camera, what else do you need to know? Legend. Black cat behind her. Keep kids out of the woods. Tappy Creek Legend. Hermit story. Rustin Parr is the latest event that happened. Troublesome hippies in the sixties. Acid. Rituals. No one knows what happened. One is now a web designer. Everyone cool. Cash. Who's picking the check on stuff? Cash talk. GOOD TALK ABOUT MONEY SITUATION. Food arrives. Project is important to me. I am the boss. If I come across as a bitch, then... Josh says that it is clear. Waitress, small talk with her. Shots of the restaurant. Pumpkin. Witch. Interview with waitress. Blair High School. She doesn't know about the Blair witch. CAR - ON THE WAY TO BURKITTSVILLE Planning the cemetery shoot. The food at Staube's was fucking exellent. We should go there on the way back on Sunday. Shots of the countryside. Area is beautiful. Cry baby bridge. Talk of trip. Alcohol. Not fun: work. Scotch to keep warm. Bridge over river. Map shot. Pygmy pigs for sale. Yes, we are in the sticks. Checking the map. 464. We'll come up on it. Directions. Good complicated exchange about directions. I don't have 340 on this map. Josh shoots as he drives. SHOTS OF LEAD CAR BUT EDITABLE. Kurt Cobain, another burnt out rock star, with song playing in the background. They arrive at cemetery. CEMETERY Cows. Fabulous parking job. Piss shot. Sweet smell of manure. Technical problem. Light meter problem. Dead people. Mike: Where do you want me to set up? Plan. Slate. Ceremonial first slate. Bleed on it? Kiss slate. Mike
bites the slate. GOOD stuff. Salad in the camera. New to 16 so we're okay. 20 rolls of film. GOOD. Memorize opening. Note to Heather, about kid graves. Quick montage of children's headstones. CAR Good feelings about first scene. Show the salad. They feel good. GOOD SCENE. ADAMSTOWN MARKET Last minute supplies at the market. People in the front, skeptics. Never heard of the Blair Witch. But could exist. Gloria. Never heard of Blair Witch. Carol. Never heard of Blair Witch. Jim: Old story. Don't believe in witch. Rustin Parr. Hermit. 1940. Lived in Burkitteville. Old Rustin, young kids started disappearing. 7 kids disappeared. Market, "Finally finished". Police went up to house Oh no. BATTERY DEAD END OF TAPE 1 TAPE 2 Jim: Market story. OUTSIDE Jim: Mary Brown is crazy. The people of the town could be denying the Blair Witch story for tramatic reasons. CAR After Jim interview. Unfucking real. Mary Brown is loony as a hoot owl. People come up and ask them about Jim. Shots of people.
IN CAR Going over Mary Brown questions. Small town shots. SILVER RAIL DINER Going to do a little digging. Guy from Potomac. HANSON PLAYING IN THE BACKGROUND. Lesbian table. Never heard of Blair Witch. Funny stuff. Could be useful. The people of Brunswick would never let a murdering witch live in their midst. OUTSIDE Suzie Douche. Heard of the Blair Witch. GOOD STUFF. Little girl tries to shut mother's mouth. Hunters killed. Something is still happening up there. People of the area still believe in her. GREAT INTERVIEW. INSIDE Johnny Small. Never heard of the Blair Witch. Kind of believe in Witches. GOOD STUFF ABOUT WITCHES. Mary Brown was math teacher. Michell Alex. Tarot cards. I've believed in Witches all my life. There are witches in this area. House she lived in was haunted. She saw something. It was bad. She didn't feel scared. She would like to learn more about the Blair Witch. Randy. Klan related legend. Thurmont. Ghost in fire company. Walter. Old fire fighter. Had a heart attack. Now sticks around the fire house. Uncle has talked to him. He's seen images. A little bit crazy. OUTSIDE Lasent Connor. Never heard of the Blair Witch. Does not believe in Witchcraft. The man upstairs does not allow Witch craft. Daryl Slifer. Never heard of Blair Witch. Does not believe in witchcraft. Susan Douche, stating that we can use her image in the film. And her brat too. Ingrid. Confederate flag. We have left civilization.
CAR Town of Brunswick is the creepiest town. Inbreds. All of them. Big clan town. WAITING FOR MARY BROWN Mike is interested in Mary Brown. Mary's neighborhood. Mike wants ganja. Walking to Mary's. CAR Driving to Mary's. Trailer park. MARY BROWN'S They get out. Gate falls apart. Examines porch. Rocks. Cans. To the back. The sheds. Shot inside shed. Nothing in there. Losing light, go get Mary. Turn off video camera so I don't scare her. Mary. Talks about taking food to an old lady in the hills. GOOD INTRO TO MARY. Heather goes inside. INSIDE MARY BROWN'S Mary has no electricity. Bed on the floor. Jesus. Angel made out of tin foil. Cards and stuff. Pictures of horses. Candles. No light. Towels, deoderant, nothing unusual. Holy shit. Looks like a body. A very hairy suit. I should cover my tracks. Mary is odd. Avon catalogs. IS ANY OF THIS IS ANY GOOD? OUTSIDE MARY'S After interview. Mary smokes. Is she a product of the devil? Talk about evil. The horse lady is a phenomena. Very strange occurances in the bible. I am still afraid of the woods. Taking food up to Mrs. Bell, I'm careful. Has she had any run-ins with the witch. Don't know. Abramham in the bible. Made her leave town. Elly Kedward? I don't know. THIS COULD BE A GOOD OUT TO MARY. Caribean voodoo people. Hanging. Judge apologizing to congregation. It was his fault. This is a true fact. 1600. Marble head. Maryland background. INSIDE MARY'S Impossible to see anything. A shovel. Unusual shit, man. CAR That woman is bizzare. Thank god she's not in the film industry. All of Mary's occupations. Man with horse
hair on the back of his neck. Heather talks of hairy coat in the back. Does she go out in the woods and think she is the Blair Witch? Maybe she made up the whole thing up. Heather says she thinks there is truth to her story. Mike has to take a shit. Josh, checking depth of field chart. Meters or feet? I've used this camera once. It's too dark. I fucked up the depth of field. Worse case, we shoot it over again. It's out. I think she'll be good blurry. We'll see how it looks. SOME OF THIS CAN BE USED. Risk of driving and reading. Mike sings. Josh and Heather fight. We're fine. We're fine. The respect I have is great. It makes my life so much easier. Uncomposed shots of outside with song in the background. Then no radio. Everything becomes creepy when you look at it in a particular way. INSIDE THE HILLSIDE Here we are in the Hillside. Psycho. Josh scares Heather. How do you feel about today? This place has a lot of wood paneling. They've made porno films in this room. We should make a porno. 16 mil nasty redneck pornos. Sheeit. Talk of town people. Heather looks a her sled in the mirror. I never get to be on camera. Celebratory beverage? Scotch. That's for the woods. Hungry? We need gas. Let's see how much money we have. At MC we can get drunk on 2.99. Talk of buying booze. We need to do an equipment check but first we celebrate. Making fun of rednecks. Mike's teeth. HEADED TO LIQUOR STORE Walking. My pants are ripping. LIQUOR STORE Let's get Killians. That's nice. Irish beer. It's not Irish beer. Now we're ready. Asking about Blair Witch to cashier. No ghost stories or folklore? No. HEADED BACK TO ROOM Vacancy sign. It's a degenerate strip mall.
Josh as dog. Stupid. Josh breathing hard to get into room. IN ROOM Josh coughing. Toast to very good first day. GOOD. Any bad wood Karma? No. We have so much gear. Box of expensive film. $1300. Plug for Kodak. Equipment check. Mike: I have a bottle of beer and a bag of UTZ. I have weed, a bottle of whisky and some toilet paper. Had to take a shit and it's gone. Turtle shit. Heather goes to call her mother. Mike's poem. Then Did You Ever. His favorite. Heather is taking a shit. Josh's poems. Do You Want to Come In. Then another one. Her Song Fucked My Heart. Heather's poem. Mary Had a Little Lamb as she washes her hands. Wants to interview liqour store girl. Mike will go help. Batteries flashing. Another Mike poem. Another Josh poem. Fuck. He forgot it. Missed Josh belch. Buy another six pack. Josh will put gas on credit card. Heather tells of the liquor store lady. LIQUOR STORE Screaming Rachel story about old civil war hospital. All right. HOTEL ROOM Josh is in bathroom. Heather talks to mirror. Josh is out of shower, and fucked up. He reads a boring passage out of a book. Heather reads passage from book about coffin rock. We're going boys. GOOD Heather describes Josh's drunkenness. Checking CP. GOOD. WE CAN CUT INTO THE FILM ON THIS. Josh is fucked up. He tries to explain the battery power issue. At least 14 rolls can be shot with the batteries. Mike is fucked, too. He explains about the batteries for the DAT. Josh does a handstand on the bed. Heather wants to see the DAT run. DAT tapes. Personal supplies. Heather tries to get some answers but this is impossible. Why are you insisting on making me a tight ass? Josh: How can I be your laxative? Everything is cool. It's just that tomorrow we have a lot of shit to shoot.
Just pour me a shot. Do we have any weed? MIGHT BE A GOOD ENDING FOR THIS SCENE. Are we getting paid? Little joke about that. Are we committed to this project? Josh gives her the middle finger. I've got one word to say, SHEEEEIIIT. GOOD ENDING. More talk about the weird townspeople. If you can't beat them, join them. Heather drinks. I hate scotch. We have to discuss the schedule for tomorrow as she drinks more. Mike does the Scotch diddy. Little song. Heather tries to get the meeting going but t is futile. Heather starts getting mad. Schedule. I have more responsibility. My baby. Josh laughs. Heather is laying it on thick. Josh is drunk. Production meeting. Let's do it. Heather runs down the schedule. Breakfast. Rain shit. Coffin Rock. She finally goes over the schedule. They talk about light and getting there early and how far they are going to walk. Josh talks about light. Heather turns camera and says something smart about Josh fucking off. Josh asks her what she's doing. Heather is mad because of the schedule. Heather goes off, blabbing out the rest of the schedule. Josh won't get off the light thing. Heather turns camera on herself and is annoying again. Josh won't get off the light thing. Heather does a 360 shot. They keep fighting and fighting. Way too drawn out. TOO MUCH TURMOIL FOR NOTHING. Mike grabs camera and shoots them arguing. More about light. Stupid argument continues. Do you see what you drive me to? Josh wants to leave. Grabs camera and talks about light again. Scary stuff with camera waving around. He rolls some stock. Heather is so uptight. Josh and Heather hug. More of them drunk. OUTSIDE Walking to diner. Josh went there earlier. Heather explains Josh thing. Needs to be on something to deal with people. He's pissed off because it's not his project. He can't save money because he can't lay off the shit. I saved the money. And we have to stick together. Mike and Heather talk about Josh. It's a lifestyle, he has a problem. Heather talks about why Josh is mad. Mike says the he is the loser, not Josh. Pumping gas, 24. Mike talks about her being bitchy. She's been working a long time on this. She's worked with Josh before and this is how it is. It's like PMS. Mike tells Heather that she is condesending. You do put out some vibes. I have to put out some vibes, I have to, it's my money. It's my money too. I work at a gas station. I have no money.
Mike gets mad at the camera pointing at him. Camera turns off. DINER Are you mad at me? Josh: No. Menu talk. Pepper on menu. Empty place. Look through the jukebox. Place mat spelling test. Mashed potato. Butter bagel. OUTSIDE Josh walking ahead of them. Heather has key. Are we cool? I've been cool. Key. Key. Key. Heather hesitates. Gives him the key. HOTEL ROOM Liitle talk. MORNING Beer bottles all over the place. Tape end flashing. Talk about tape with Josh. We taped a lot last night. END OF TAPE 2 TAPE3 OUTSIDE HOTEL Josh packs car. He's hurting. Heather teases him whiskey, whiskey, whiskey. HOTEL ROOM Mike packs. In mirror, welcome to day 2 in mirror and afterwards. GOOD INTRO TO DAY 2. Mike asks to get camera away from him. OUTSIDE What is the place that genuinely scared you. I ain't going to the silver rail. Bathroom after Mike took a shit scared Josh. WAITING FOR LEAD CAR AT HOTEL CROOKED HOUSE CORN FIELD Mike unhusks a corn. He bites it. Funny. Walking through corn field. Hole in ground. Thank you dumpster. Walks into hotel room from outside. Liqour filled trash can. They talk about their dreams. HEATHER: Josh
in body bag. GOOD. IN CAR TO SILVER RAIL Josh ate so much last night. The town is scary. Train tracks. Brunswick is scary. Mt. Zion African Methedist Epispical Church sign. Weird for this town. Lots of churches. Brunswick sign. Bridge shot, nothing. GAS STATION Josh getting gas. Half eaten pie. Dead end sign with siren in background. Josh in front of bulldozer talking like a hick. SILVER RAIL Shot of waitress. Josh, don't you feel surrounded by your own morality? Lisa comes in, Heather asks her, she talks about legend around here. Takes their order. Not a very good waitress. Staube's waitress takes the prize. Scrapple. Lisa is back, talking about legend. Talk of Rustin Parr. She doesn't drive past Burkittsville at night. She is scared. People don't talk about it too much. Warns them again. She wouldn't go out to the woods if it was her. Burkittsville is scary again. Something evil out there. Shots of the breakfast. They are eating quite a bit. Interview with some people. Never heard of the Blair Witch? No. Lisa talks of Mary Brown. She's crazy. MIGHT BE ABLE TO USE SOME OF LISA BUT SHE REALLY ISN'T VERY GOOD. IN CAR TO WOODS Leaving town. Deaf child sign. Looking for Black Rock Road. BLACK ROCK ROAD Looking for trail. Josh wants to shoot the 16. Heather walks while Josh takes shots in 16. SIDE OF BRIDGE
Talk to Ed. Bob (Thomas) tells them that these damn kids will never learn. Heather tells Josh and Mike to get ready. Thomas tells of a white mist that he saw in the water. Ed tells him he's crazy. Heather asks them questions. How long have they been fisherman. Thomas talks about the legend, Ed argues with him about it. (ON FILM) Heather thanks them and they take a picture. IN CAR TO WOODS Looking for red shack. DAN INSTRUCTS THEM, NO GOOD. Down road again after U-turn. Josh wants to film so Mike drives. This is serious. The fucking boon docks. Josh is on top of the car, Mike drives. Slow down, he could fall off. GOOD WOODS STUFF. Pass red shack. Then back up and do it again. See shack, Heather screams. Find place to park. GOOD. PARKED Josh fills canteen. Heather puts backpack on. Josh, are we ready? MIKE: Been waiting for this since yesterday morning. Waiting for Josh. Mike's pack is heavy. 1:30. Leaving car with bottle of water on the top of the car. Up the road. Bye car, bye civilization. They go up behind the shed and find the trail. TRAIL Walking on the trail. Heather breathes heavily. Directors do a lot of social work. They are lost, end up on the road again. Fisherman were not as trustworthy as they thought. Fucked up house. Keep walking. Heather tries to explain why she got lost. ON REAL TRAIL Heather is back on track. MIGHT BE ABLE TO CUT LOST PART COMPLETELY OUT.
Josh swings on tree swing. Heather talks about Josh fucking around. They worry about light at coffin rock. See deer. They miss him. Trail is hard to walk on. 3:21. Behind schedule. Cliffs we hugged before were very difficult. Long way to go, Heath? No. Should be less then a quarter mile. Giant hole in Mike's butt. Crossing small creek. Heather's dirty behind. Mike jumps. Let's keep going, guys. MARKER How far are we? Not far at all. Smoking. Behind schedule. So, we're back on the trail. TRAFFIC NOISE BEHIND THEM. How do you feel? Heather has camera on and hooked to her, no shot. Back on trail. No traffic noise. Walking. More walking. Yelling directions at each other. Stay on trail? NO SHOT BUT AUDIO IS GOOD FOR TRYING TO FIND COFFIN ROCK SCENE. Camera rolls on. Sucks to be a girl. Weight is killing me. GOOD. More walking. Guys are far ahead, barely audible. Holding my compass like a good girl scout. Old campfire. Signs of civilization. Not far from coffin rock. Better shot of boys ahead. Must quit smoking. More walking. Heather sings. Anybody want to stick hand in creek and yell Blair Witch? Has to be at night anyway. More walking, the camera still rolling. Tire in the middle of nowhere. Let's keep hiking. Beaver eaten tree. Coffin rock. They have found it. Is this it? Not what I expected. Josh: This is definetely it? Heather: Yeah. I'm still not catching how this looks like a coffin. Do you see somthing? Hole in rock. Just looks like a hole in the rock. Nothing distinctive that looks like a rock. Searching for crevasse in big rock. Search party found there. No crevasse. We're coming up on coffin rock. We stopped for canteen break but we are close. SHE COVERED THE LOST PART UP. COFFIN ROCK There it is. See. Zoom in. GOOD. Starting to rain as Josh looks at meter. Shoot it at a 2.8? No. Heather goes to check it out. On coffin rock. She finds the crevase where the posse was found. GOOD. Good shot of hole. Tells where she wants to shoot. Zoom in to hole. Heather says that it's starting to rain. Is he coming with the 16? God, we have very little light. WE CAN BREAK INTO FILM READING AT ANYTIME HERE. Right in here, light problem but we have to get it. Have the slate? Yep.
4:52. Heather talks about reading. Rushed but it was good. Starting to rain and we have to camp. Beauty shots. Quite cold when the sweat gets cold. Smoke with Mike. Hiking is fucked. Mike gets sound of rain on leaves. CAMP 1 Setting up camp. Getting tent up. GOOD. What'd you do, rent this thing? Yeah. I'm not usually camping with two men. Camera in wetsuit, sound is strange. It is raining and they can't get fire going. She says the camera lies. It looks like a sunny day. Mike doesn't know where he is at. Mike sounds far off. In tent. Audio is still screwed. Heather talks. She thinks she hears things. Josh says nothing is out there. It's just the rain. Mike holds mag light up to his face. Conan O'Brien talk. Forget it. What did you guys think of Mary Brown? We haven't talked about it too much. Really. I thought she was out of her mind. AUDIO IS LOW. Mary is wacked and she plays it well. She is full of shit in a lot of it. Mike says that he will be in his bed tomorrow night. No. One more night in the woods. Shit. I just lost a whole day. What does Heather think of Mary? Horse fur body was weird. Cool mag light stuff but audio is horrible. Josh argues about her craziness coming from natural causes. Mike doesn't know. Heather is up again, and she cannot sleep. Mike is doing something with sound. We're camping close to coffin rock. Shadows on tent. 8:54. Crazy lights on tent. That's just a plane. Planes fly over everywhere. Talk of flying over icebergs. More light stuff. Heather's wool sweater is wet. Mike farts but we can't hear it. SOUND IS FUCKED. Disco tent. GOOD FUN SHIT. Talk of hiking. Cliffs were not fun. Swing was cool. Tent is on hill, Heather keeps sliding into wet end of tent. The poetics of light. Shut up, now. It's very, very rainy. Are you done asking questions? Yeah, you can go back to sleep. I'm not filming shit in this rain. Let me sleep if something attacks us. Very small tent. Have explored everything there is to explore. JOSH: Heather, enough. Talk about OJ. Covers of every magazine. Stars aren't supposed to do that. That's how we treat celebrities. The trial is going to be a race issue, and a sexism issue. It shouldn't be on magazine covers. It's capitalism that we show everything like that. Sports hero in Russia, if that shit happened over there the same thing would happen. Talk of girth. Girth? Width of the penis. Talk of the behind the scenes of film. Foul mouthed. Who's carrying the tent tomorrow? Mike's momma.
We're not going to get lost tomorrow, right? We have it on tape. GOOD CUT TO MORNING. AUDIO MIGHT BE TOO WEAK, THOUGH. More talk about film. Josh babbles. How are you going to put a film together out of this. Ideally, only the 16 stuff is going to be in the film. We should get variety. Video is cheap. I wish we would've gotten the woman with the little girl. Do you guys want to check some of the stuff on Sunday night. Heather is using weird words. MIKE IS TAPING ON DAT ALL THIS TIME. Heather says she is going to be mad at herself for taping all this shit. Josh wants an edited tape of the best 25 minutes. I wonder is the audio is going to sound like shit because of this cover I have in it. Mike asks about putting the DAT on the video. Heather is looking for a headphone input on the camera. No fart allowance to Mike. Battery flashing. MORNING In tent. Josh is talking about sounds he heard last night. He kicked Heather and the sounds were gone. He heard a cackling. He then stayed up 20 minutes but nothing came back. KIND OF CREEPY. Maybe there's hyenas. There's no hyenas. OUTSIDE TENT Heather wants to shoot more of coffin rock. Heather picking out her eye buggers. What's up with Lonnie? How does he feel about you going out with two guys. Heather laughs. Does he support your documentary endeavors? Absolutely. What witch cackles? I never said it was a witch. Heather going down to coffin rock to brush her teeth and clean her face. There's Mike. Let's hope people are interested in this story. She still doesn't know if she can be heard through the cover. CREEK-COFFIN ROCK Not really a river. A creek. Video is not good at capturing menace. Getting sloppy with my framing. Shot of crevasse. No one has paid for the crime. By law, anyway. Water filter. Josh explains rock like game show winner. Yes, the sun. Tape end. Josh has a size 16 foot rock. Taking back to DC with him. Gold in it. Puddle in rock. Heather by the creek. Cemetery talk. I trust her. She said 3 miles, then 4 miles. Mike says if he can't find the cemetery he wants to leave. Josh says that maybe we should get more stuff in town. Josh wants Shakey's brunch tomorrow. GOOD TIME TO CUT TO HIKING.
END OF TAPE 3 TAPE 4 HEATHER'S FIRST VIDEO JOURNAL ENTRY Woods. It's so beautiful. In spite of the rain. Heather admits to not knowing where the cemetery is, knows it will cause problems. Mike has been great. The complainer has been Josh. It's hard for her to write in her journal in the tent. She talks about her project, how she feels about it. She feels confident about finding the cemetery. She's glad they found coffin rock. If I where the Blair Witch, I'd live out here. Then some stupid movement stuff with he camera. Close ups of leaves. Meditational video. Maybe that could fund the next doc. There are the boys. Sometimes I wish I were alone out here. It's hard to keep their respect. THIS MIGHT BE GOOD. Cig smoke. I wish something scary would happen. The map. She shows Josh where she's going. She admits to being lost yesterday. Are you happy with the doc so far? What's your take n the Blair Witch? Josh heard the noise last night. Talk about that. GOOD SCENE. CREEK Beauty shots. Shots of a bird. Trying to get it fly. Bird will not fly. FUNNY SCENE. Walking on side of creek. (NEAR MILL) HILL Going up hill. Trail on top of hill. Condom wrapper in the middle of nowhere. The Blair Witch uses protection. Back up the hill. Rain again? It was weird that it rained just as we got to coffin rock. Mike's chest. Sporadic hair patterns. You should see my ass. FUNNY SCENE Fade. Cheap camera but it's got some nice touches. Heather talks to camera again. Searching for Ellie. Josh calls to check for her. I wish something scary would happen. I kind of wish I'd planned something. Taking a break. Talks of guys commitment. She has no idea where cemetery is. Well, vague idea. CORN FIELD Josh rolled off 160 feet in his backpack this morning. Talks of Josh's inexperience. Calls to Ellie again. Eileen. Emily. Flock of geese. Josh says it's creepy. Do something fun. Josh acts like a music video. Mike smokes.
Mike shoots the grime on his feet. Dances. Heather eating oatmeal raisin powerbar. The mind of my director. You've got some cool eyes. You have that eccentric thing going on. Talk to Josh about beauty shots and narration. Mike opens a powerbar with a knife. How did Mike sleep without mat? Ms. Donahue, what was your first inspiration on the Blair Witch? She talks of Sarah Keswort, paper she wrote. Heather saw it. She thinks Blair Witch is important to history. It's good to be scared. Josh talks some deep stuff. Death creeping up on you and you having to deal with it. GOOD SHIT, ESPECAILLY THE END QUOTE. Death creeping up on you and whispering in your ear and you saying, shit, all right. They call out to Josh. Josh, we have to get going. Why does he insist on being a pain in my ass. Here he comes just whisling like Oppie. Mike farts. I had to go find one of these, a cool branch. TRAIL Josh leads the way. Dead mouse. What killed this mouse, witchcraft? How about God? GOOD LITTLE SCENE. Mike sits. Thought he was going to be at cemetery already. Josh is worried about light. Is that the Blair Witch? No, it's Heather taking a piss. Hot on the cemetery trail. Says you. 90 minutes. As long as you know where we're going. It's just bushwhacking. No trail. Rabbit turds. Let's follow the stream for a while. We're lost. We're not lost. Downed tree looks like a cattle skull. Josh looks at map. Mike argues about being lost. Josh, don't get snippy. Mike and Josh argue with her. Heather knows where we're going. Bullshit. We're lost. Just like yesterday. Josh tries to deal with it. They disagree about which direction to go. WITH SOME EDITING IT WILL WORK. More argument. They complain about walking through the middle of the woods. Turn the camera off. Josh talks of respect. Mike wants camera off him. Map check. Mike doesn't know where he's headed. He puts his trust in Heather. But he doesn't fully trust you. Mike doesn't understand why every conversation has to be on video. I'm making a documentary. Not about us, about a witch. Heather says that they can laugh at this later in life. Josh climbs a tree to see if he can see anything. Dude be careful. Heather whispers. My next crew is
going to be women. Heather says that it's 2 miles away. Yelling about the fact that it was 2 miles at the start of the day. Josh doesn't see shit. Josh makes Heather promise that they are not going to die out there. She says they'll be safe at home by tomorrow night at 10. Heather is a pain. I will never work with you again. Heather tries to make it up but Mike is still mad. LAST TWO SCENES WILL WORK WITH SOME EDITING. Cool vine. The sun is out and we're following the sun. Feeling good. CREEK CROSSING See, the creek. Mike, you feel good? I don't know how I'm going to cross. Josh crosses slowly. Other side of the crossing. Josh crosses over to us, Heather gives directions on to where they are going. Heather gloats. 5:09. PINE FOREST Walking through. This is the pine forest that the fisherman told us about. We'll have to camp near the cemetery. The boys have gone ahead. Heather talks of no one listening to her. Josh talks of having no light for 16. Talk of pine woods. Walking through woods. Josh, no reading. Okay, we'll get it tomorrow. They find three sticks. Heather knocks it down. GOOD WITH STICKS. She put sticks back together for good karma. Walking up trail. Into clearing. They pass it and keep going. Mikes says that he saw little rocks back there, but they keep going. Hey, Josh calls, guys in KKK hoods, he swears. Maybe it was deer. A lot of walking the wrong way. We have to trace back. Thanks for making us go up that big ass hill. CEMETERY They approach, see basket. This can't be the cemetery. What the hell did Mary Brown say about the piles of rocks. This is the cemetery. Heather is tired. Shots of rocks. Rock basket. Do you have enough light, Josh? I'd like to come
back the morning. Shots of rock rings around the trees. So who's graves are these? People that were killed by the Blair Witch. There's also rings around all the trees! Maybe they are memorials. This is weird. Shots of rings around the trees. Josh asks how much for plots up here? Why, you interested? A lot of good shots of the rings. Some of the rocks don't have leaves on them. Just be cool. There are dead people under there. I'm not really too impressed by it. Heather moves some of the stones in a pile. Someone must take care of this. She counts the piles. 7. 8. Is it the children killed by Rustin Parr. Can I get some sound? Walking to campsite. Josh found us a place. Dark images. CAMP 2 Fire in trash can lid. Tired of walking. Eating. Instant rice. We need to build the fire up. Vienna sausage roasted in the fire. They roasted witches like this. Pig dick in fat. More talk of not getting lost. I thought you guys were tough. What the fuck are you talking about. Not us. Thanks to Mike's lighter fluid we have good light now. Josh looks like the devil with the fire. Josh sings Gilligan's Island theme and Heather says that they have a better captain, not a fat, beer guzzling guy in a blue shirt. He has not beer guzzling. No beer on island. If they had beer then they would have had orgies. Talk of liking Mary Ann more than Ginger. Josh is like Captain and Mike is like Gilligan. It's not the captain, it's the Skipper. Let's go shoot the cemetery. Do you want to get high before we shoot that? No. Mike says he isn't going to the cemetery. How long you guys going to be? 10-15 minutes. I'll go with you. Any campfire stories. Campfire shot. 99 bottles of beer on the wall. Josh sings a wiccan chant. You got a good voice. It's all the cigarettes. CEMETERY Back at cemetery with lights. Our night equipment is working fine. Hear Josh's camera in the background. One of the graves. Shots of Josh with CP. Shots of rock rings. Something about the weirdness keeps me detached. Like it's not from this world. Mike comes in with his DAT. Rock basket, COOL SHOT. What is inside? Mike asks about sync shot. No, doesn't matter. Battery lights, we should use them sparingly. Rock pile CU. She was sitting on a pile. Sorry, whoever you are. I mean no
disrespect, I'm just curious. Only tree without a ring of stones. Josh knocks a pile over. Heather freaks and then puts it back. You have to be careful. Then they walk back to camp. CAMP 2 What did you think? Same thing, only darker. All right, pack it up, put it away. IN TENT Look at all that room we have. OUTSIDE Hello? Heather turns on light and walks out of tent. We were sleeping, my fabulous film crew are still in the tent. She looks around. Listen. Snapping of tree branches. Get this on DAT. DAT it form inside the tent if you're too much of a pansy. It's all around us. I can't see shit. GOOD. At tent opening. You have a bigger light than me. Mike, are you saying you are not coming out. I ain't going down there. You're fucking scared. I can't wait until we see this on the making of video. Josh is out with his light. There is nothing out here. Michael get down here. Heather freaks out. Heather wants the DAT. Josh in his underwear. Heather and Mike fight. Then Josh and Heather. Mike then comes out. Heather walks around ranting. Josh says that his light went out. EDIT OUT. You're an incredible cunt. GOOD. IN TENT Comment about them not being prepared. Who's the sound guy? Leave me alone, I'm sleeping. Turn the video camera off. Why? Anyone want to leave. OUTSIDE Heather goes outside and says she has to be a bitch about things. She is thirsty as fuck. GOOD END WITH SOME EDITING. MORNING CEMETERY Rain started just as we got here this morning. It's light but
it's rain. Tilt up to tree. NICE SHOT. Wide shot of cemetery. Looks the same. Heather's journal. I don't know what it was last night, but it wasn't rednecks. Josh's theory. It wasn't rednecks. END TAPE 4 TAPE 5 (formally TAPE 8) CEMETERY Rain. Ready Josh? It's raining very heavily. What did you think it was last night? It was someone fucking with us. Did you ever see Deliverance? Are witches into psychological intimidation? Your take is evil but maybe she's just saying hello. Should I apologize to Mike? Yes. You were a bitch last night. I know. You just woke me up and it fucked me up. They talk about it and she did freak out. Just be a little more respectful. Well, we'll be out of here tonight so forget it. Let's shoot the cemetery. GOOD SCENE. She mists up the lens and shoots the basket. Wide shot of misty cemetery. Rock rings. I want to get the rock rings on the path heading up. Raindrops on spider webs. Low battery again. I wish I would remember Mary Brown's story about the rocks. Fuck. Josh shoots in the shot. Nice wide pan of cemetery. CAMP 2 Mike with rain gear on, want's to get the fuck out of here. How'd you feel about last night. I don't care, I'm going home, and I don't care. I'm sorry about last night. Mike tells theory of what it was. He wants to go home and watch Heath cliff reruns. Apology accepted and let's go home. Then Josh comes in. GOOD SCENE. So you think it was rednecks? I think it was somebody fucking with us. Nobody lives out here. The only people up here are the people up there (points to cemetery). Josh doesn't buy it. Can we all say that we heard something? Can we all say that we're going home because I am freezing and my butt hurts. ROAD Taco scene by the side of the road. WOODS The packs feel very heavy in the rain. Josh talks about the next doc as he fixes the camera mic. Let's shoot the abominable snowman in Antarctica. I would love that. The next doc will be about the pink sand
in Bermuda. Mike feels that it would be great. Josh asks about where they are going. Heather says toward the car. Josh laughs. Mike calls the back seat sleeping. Josh has to drive. We're all feeling happy right now. My balls are wet. Same underwear for days. Yeast infection. Can you just get a shot of how wet I am. My fingers are wrinkled. By the end of the night we'll be sleeping in warm beds. TRAIL They hike, the rain all around them. Nobody is speaking to Heather at the time. We should get to the car soon. Mike says that he doesn't remember this. Don't worry. All the equipment has to be back tomorrow but it's all right. I'm just very uncomfortable. Keep going. Two more hours max. Why are we going back a different way? Because we have to go directly. Let's go five minutes and do a map check. We just did a map check and we're pretty much on trail. Josh disagrees. This is like Vietnam. Just keep walking. Mike and mic, little joke. Josh is getting angry. Why are we stopping? Because we are going right into the woods. Josh and Mike yell at her. We are in the middle of nowhere. Let's just keep going. MIGHT BE USABLE. Darker. I think we should camp. Everything is fucking soaked. You promised me a room tonight. We're not camping here. Turn the camera off and get us home. No, I want to mark this occation. Mike yells. Don't tell me to relax. Give me the map. I can't find it. We'll be just fine, I promise. Shut up. BULLDOZER AT PEOPLE'S HOUSE Cups. We tried with the radio. Radio check. Gregg on the radio. giving him the address. 15340 Berryville. ED'S HOUSE So Heather, what happened? Bad things. Bulldozers. Bad plant in the restaurant. Lost tape 3. Shit. Mike's stitch job. Vienna sausages. Gregg, what happened? We got logistically constipated. Rain fucked us up. He explains the situation. Actors are in a hotel. Plans for tomorrow. END OF TAPE 5 TAPE 5B (FORMERLY TAPE 6) CEMETERY I WILL ASSUME HERE THAT WE ARE GOING TO USE THE RAIN DAY FOR THIS DAY, SINCE IT
WAS SO MUCH BETTER. I WILL MARK FOOTAGE FURTHER ON IN THIS DAY THAT SHOULD BE DIGITIZED TO GIVE US SOME OPTIONS FOR THE TRANSITION FROM THE RAIN DAY TO THE SUNNY DAY. You're were being a fucking bitch last night. I know that? We worked on too much shit together to get that disrespectful that quick. If it was some redneck out there I don't want to go out there. You getting the shot is coming in conflict with my safety. Me and Mike are busting our balls to shoot your film for free and you are being a fucking asshole to us. We have respect for you. If doesn't seem like you have respect for me. I have to keep control of the production. We are sacrificing the CP and the DAT. They aren't ours. I told Mike that you were a good filmmaker and then he's being told that no wonder he works at a gas station. I know that, I have to deal with it in my own way. You were a cunt last night. This is respect? This is a little bit of what you were giving me last night. Okay, now let's just shoot the cemetery. Mike calls out and Heather begins to shoot the cemetery. She wants sound. Mike doesn't want to take it. Josh tells her that she has to make things right. If you want me to shoot on the CP then you'll have to get out of the shot. Okay, I'll go talk to Mike. More walking around the cemetery. THE RAIN DAY IS BETTER, BUT THE WIND IS COOL. Heather holds camera to face as she walks. So now I'm a cunt. Charming. CAMP 2 Heather apologizes to Mike. Let's just go home. I'm done doing shit for you. I'm done. Please get a little ambiance. No. Can I use the DAT? No. You should've thought about that last night. This film means so much to me. That's a really nice story. I'm going home. Mike won't do it. SCENE IN THE RAIN IS A LOT BETTER. Sun. Beautiful day for the hike back to the car. I'm just glad it stopped raining (JOSH). Try to make things right with Mike. I already have. I just wish you understood what I felt last night. I do, it just doesn't excuse it. PINE FOREST JOURNAL ENTRY. Heather walks alone. I feel alone. Next time, women. I'm sure there's a girl out there with a CP. Guys walk ahead.
WOODS It's so gorgeous today. Look at this. Trees blowing in the wind. On a happier note. We've all agreed to just play nice. We cool Mike. Yep. CREEK Wanted to do the Tappy Creek thing with the hand. Didn't get to do that. Bloody Mary and shit. I like being scared. WOODS Quick shot. FIELD Reflection shot off Heather's glasses. Beautiful blue sky. Almost sorry to leave. Sun. What a blessing that it stopped raining. We're stopping for a second on the way to the car. Josh is getting more beauty shots. I just hope you know where we're going. Getting shots for narration. You did a pan across here? I like that tree. TRAIL Only a little bit further from the car now. Walking. Shouldn't be more than another hour. You don't know where we're going. I don't recognize anything. It's 4:17, we've been hiking at least 6 hours. We should see something. Mike hits the camera and yells. Josh wants to see the map. I can't wait until you see this on the making off video. Here's the map. Don't be a bitch. I have to get this DAT back. These breaks do not help. I know the way back to teh car. Josh looks at map. Nothing. They argue about getting lost the day before. About this being a good film. Trust me. Josh drops the map and grabs a stick. Heather teases him about him hurting him and shit. Annoying as usual. Mike says to turn the camera off and go. Let's go. Huge fight. NOT AS SINCERE AS IT'S COUNTERPART IN THE RAIN. JOURNAL. Walking. Guys walk ahead. Losing light and still far from the car. It's no more than an hour away but we should camp. It's going to be a huge fucking problem. We have to camp. We could walk right by the car in the dark. What are you doing? (MIKE) Walks through briars.
Josh is sitting on a tree. Let's keep going. We're losing light quick, let's go. We have a half hour of daylight. We're close. Let's make it to the car. Can I see the map. If we don't get to the car it's because of the breaks. Shut up, you're such a jerk. Josh pushes the map away. You're really being a pain in the ass. Do you recognize anything? No. Trust me. Let's just follow her and if she's wrong then we hang her by her feet. More argument about the map. Which creek are we on? You are wasting time. You're wasting my patience. Let's get out of here. Josh hits camera. Mike yells and kicks the map. They yell more and Mike wants to keep moving. Goodbye Josh, I have the tent in my bag. Walking. Who's not with us? Talking about Josh holding them up. Shut up. Pan of woods. Stopped. Josh!!! Whatever. CAMP 3 It is dark. They have stopped. Josh sits. Are you happy? No, but the car is not far. Are you sure? We'll get back tomorrow. As soon as the sun comes up we have to get up. I'm so sorry. Heather, this is fucked up. You should've had your shit together. It's not far. Talk of DAT and work tomorrow. I'm screwed. We'll get the DAT back tomorrow. Let's get the tent up and then figure shit out later. I'm sorry. Please, just don't talk. Please don't hate me. Please allow us to be pissed off. IF WE ADD SOME RAIN SOUND TO THIS IT MIGHT MAKE A GOOD TRANSITION TO THE NON-RAIN STUFF. Fire. Fire. Heather talks about the camp. Mike has his last pack of smokes. We have enough food. We'll get the DAT back and Josh might be late but we will get out of here tomorrow. Look what a nice night it is. There are worse things. Mike hits the pack of cigs with a light sky behind him. What did you guys think it was last night. Rednecks. I don't care what it was. How's the fire. It's beautiful. Are we all cool? Just let it lie. Ask me tomorrow. When we're in the car on the way to Denny's. Cigarettes talk. Sharing them. Mike won't give any to Heather. Aren't you the peppy one. Heather is feeling good. Mike grabs the camera. Heather smokes by the fire. I can't see shit. Nightmares at home of Heather pointing that camera at me. Make fun of Heather and the camera. Mike sings. Video light on. Mike smokes a cigarette. He's okay. What time does the DAT have to be there tomorrow? No problem. Talk of tomorrow. Pep talk to Mike. Roasting marshmellows. Having fun.
DARKNESS. Josh makes some noises. Mike is pissed. Such a dick. I think he was pissing. Flaming marshmallow with Mike. Light is fucked. I have a back up though. Mike smokes. Josh has booze. He will share it with us. Here's to getting to the car early. They pass it around. Mike is giving us ambiance of the woods. Talk of backup light. Fire. Heather with a bright light on her face. How are you? Good. We're actually having a pretty good night. There's no way I'm feeling pissed off right now. Talk of the good time that is being had by all. I'm at least coming out of this with some good shit for my reel. We're going to have a good film. Mike's stitched ass. Diarrhea in the middle of the woods and he goes over there with the camera. Mike pant's stitching, no not now. INSIDE TENT Stitching Mike's pants. Heather teaches Mike to stitch. Heather saw a doctor stitch up flesh one time. It was cool. They are very happy. Heather wants to turn off light to save battery. Pants are done. Flashlight shot. Nice stitch job. Mike is happy. We're in the tent, going to sleep now. Getting up bright and early and going home. Josh in sleeping bag. Darkness. I want to get it from inside the tent. The same thing from last night is outside. Where are my boots. Fuck it's cold. Light comes on. Hello? Woods. Looking around. I don't hear anything anymore. Jesus Christ (Josh). I'm sorry. I don't hear it anymore. It's fucking freezing. Where? Hello? Josh goes out with film camera. No sounds. More pans of the woods. Shit, it went away again. Heather is freezing. Did you get anything on DAT, Mike? Camera shakes because Heather is freezing. Could be deer, but it sounds like it did last night. A deer would not linger, it would just take off. Mike doesn't hear anything...shhhhh. Yes. Listen. Branches breaking. Josh has to change mags. Did you roll off 400 feet? Josh is angry. More noise. Hello? Darkness. Just keep the DAT on and be quiet. Hushed whispers. SHHHH. Josh wants to go to bed. You want to go to bed? Hello!!! Don't yell at it. Please don't yell at it. I can't see shit. Fuck. This light sucks. That's sounds like a fucking person. Huge noise. What the fuck was that? That's not a fucking deer. It's over there. It's over here too. Fuck! It's not scared by our yelling. It sounds like footsteps. It's probably that same fucking redneck that made the noises last night (J). Yeah, right, he followed us all that way to make noises at our campsite at 2 o'clock in the morning. Don't be
ridiculous. Josh doesn't care. More shots of the woods. I can't see anything, so I'm going to leave the rest for DAT okay? I'll stay out here with you. You have to stay out here with me! GOOD SCENE WITH SOME EDITING. IN TENT Shhhh. JOSH: Get the fuck out of here! Shhhush. I have a nine millimeter and I'm going to kill you if you come any closer!!! Yeah right. Heather makes fun of him. Why don't they come in closer? Josh yells more as noises approach. Do you fucking hear me!!! SHHHHHH! You getting this on DAT? What time is it? Is it anytime near morning yet? 3. Fuck. This is crazy. Bullshit. Sorry Mike, we should be out of here already. Camera light sucks. Heather is going out to pee. No. Just stay in the tent. Wait til morning. I can't. I just want to go out. Heather, you're putting us in danger at this point. All right. I gotta go out. I gotta see what is it. I can't sit in this tent while something's going on out there. OUT OF TENT Heather walks around. Very little light. Josh tells Heather to take a piss and come back in. Just give me a second. Hello? Damn I can't see shit. Darkness. Movement. No talking. Heather whispers. What the hell is that? She walks. I don't want to wake the guys up. Plane. I hope we're getting this. She move. Shit I'm losing battery again. WE COULD ADD SOME COOL SOUNDS HERE. CAMP 3 MORNING We woke up this morning just like two seconds ago and there are piles of rocks outside our tent. 3 in fact. Josh asks if they were there before. Of course not. Piles of rocks, just like in the cemetery. Does anyone remember the Mary Brown story? No. No. What did she say about a pile of rocks. This doesn't matter. I just want to go back to the car. Let's get the hell out of here. Deer didn't make this. Let's walk. Piles of rocks. Mike tells her that she put the rocks there. Josh kicks the rocks. Now you've screwed yourself. What does that mean? Quit fucking with us. I don't know anything. It's just 3 piles, and there's three of us. Don't fucking knock them. You put those rocks there in the middle of the night. Heather, put the fucking camera down and let's get the fuck out of there. The documentary is over. It's over. Let's get the fuck out of here. I'm not playing with you. Let's just go. What do you think it is? I don't give a shit. It might be the Blair Witch. I don't care. I'm just done. Hungry, cold. Let's get the fuck out of here. Heather
talks about Mary's house, the pile of rocks. Shot of surrounding woods. Whisper. Oh shit. HEATHER MILKS THIS FOR TOO LONG BUT IT'S GOOD. END OF TAPE 5B TAPE 6 (FORMELY TAPE 5) Heather loads the camera. Josh shoots her. Josh tells her to go. I just want to shoot the rocks in 16. Just be careful with the camera it's not my camera. Here let me do it. Let's go. We have to go. The documentary is over. They are just rocks. Yeah, rocks that were not there last night. I still think you did it. Just shut up. Josh helps her load it. They talk about loops. Test camera. It runs. Josh grabs video and tells her to tape it up. How you doing, Mikey? He is mad. I want to get ut of here. What the fuck are doing? She wants to get this one shot. She put the rocks. But she wasn't out there that long. No, she put them out there. Give her the light meter so we can get out of here. Heather shoots. Heather shoots. You're going to have to change your exposure if you want to shoot there. Heather learns the focus and zoom. I wish you hadn't kicked these. Shut the fuck up. You can shoot longer than that. She shoots again and loses registration. Josh has camera open. What happened? I guess there wasn't enough loop. You just gotta be real careful when you load the camera. I will be. I got it on video maybe we should just get the fuck out of here. They argue about whether she knows how to load or not. Calls out to Mike. Let him do his thing. Heather walks around. Heather Journal entry. Weird shit is happening. And I'm not really sure if we're going to get to the car. We're in deep shit. I kind of know where it is but I'm not positive. That's not really good. But we have to find it. We're probably really close. It's totally possible. What were those rocks about? How do I keep control when I don't know what I'm doing. I'm a good filmmaker but a bad navigator. I feel like an asshole. Nothing to do but press on. Josh shoots. What the fuck do you care I do, I filmed them for you, okay? Just thinking that's bad karma man, kicking
stones. Fuck them. My karma my rocks. Heather walks. I know how to load that camera. It's just him that fucked my loop up. I just hope that we get back to the car today, because if I have to spend one more day with him then I'm going to strangle him. Josh films. I'm just trying to get some good beauty shots for you. Mike yells that he is looking for the car. Heather laughs. Why haven't you broken the tent down. Will you put the camera down and help us. Heather talks. She has given control over to them now and given them the map and compass. It's so hard to be nice to you now. Turn the camera off and help. WOODS Heather, where is the map? I don't know. Here, hold this. Josh shots. I'm looking for it. Mike is leaving. Mike, we can't figure a way out of here without the map. Heather looks worried. She can't find the map. I'm sure it's here somewhere. Mike says he has two cigarettes left so we're getting home. It's been in my back pocket the whole time. Mike leaves. Stop, she has to have the map. The map is not in my back pocket. We're fucked without the map. We have no food. Just turn the camera off for a second. Or don't turn it off (sarcastically). Did you take the map? No. I don't have it. Are you fucking serious? Yes. That is not so cool. MIKE: We really don't have it? One of you guys have to have it. Let's go. Which way are we walking? I gave you the map. I gave you back the map. Mike tries to calm them down. Let's just keep walking. We can't do shit without the map. Please tell me that you took the map. I don't. Mike yells for God. God is not going to help you now, we have to find the map. Do you have the map? Josh yells no. Don't yell at me. Let's follow the creek. I don't have the map. It's not a panic situation. Yes it is. We don't have any food. Let's see what we can eat, the stump, the grass? MIKE: Let's just go. Just think about the map. GOOD. Trees. Heather has the camera again. They walk. Heather says that the map has never left her back pocket. She hasn't touched it since the map check yesterday. If this is Josh then I'm going to kill him. Josh says something out of character. Woods. Mike is today's leader. We follow him. Heather, just watch your tone. Josh talks to her about losing the map. I don't think I lost the map. I think you have the map. Do you know where we're going,
Mike? I'm just following the river. It's gotta lead somewhere. They call out to Josh. Like we need this shit today. Josh! Josh! Classic Joshua right here. Where is he? Come on we gotta move. Josh walks slow. One more time. Did you lose the map? Yes. Please don't blame your shit on me. Heather says that everything is going to be fine. Moving fast toward nothing doesn't help. NICE SHOT. Mike yells to go. Josh wants to unpack everything and find the map. All right. Mike! Mike! Come on, we have to unpack everything and look for the map. He's standing right there. She puts the camera on the ground. Josh has camera as Heather unpacks. Battery. Just pull it all out. I'm not going to pull it all out. Rice. We have a box of rice left? Why didn't you tell us? It's very wet. I don't give a shit, it's something. Nothing? Nothing. Deodorant? What the fuck do you need deodorant for? The situation is severe. We have to find the only semblance of hope we've got. Oh, the only semblance of hope, how dramatic. Josh drops camera. Heather grabs it. Don't fucking throw my camera, fucking asshole. Walking. Heather updates. If we can stay near the creek we should get there. Josh finds something on the floor. Are you that hungry? I'm getting there. Maybe we should collect some of these? No. Mike yells. Josh wants to collect walnuts. Mike asks about the map. No. Josh has the map. I gave him the map. You never gave him the map. We have to keep moving. Josh comes up with nuts in his hands. What? They walk. There's the creek, that's a good sign. More walking. What was that? Oh, you threw away my share of the walnuts. How are we doing Mike? Puff balls on tree. Cool. Mike yells to come on. CREEK EDGE Talking about following creek. You want the DAT back dry, right? Okay. No one is speaking to me. That's okay. Mike yells to come on. Heather explains that she really isn't that much of a pain in the ass. She's usually a laid back chick. WOODS Much easier way to go on this side of the creek. How are you Mike? Where's Joshua? Down by the creek. He's shooting. Mike says we're fucked. Josh? Joshua!! Heather, why are we shooting things? We decided that we were going home so why are we shooting things? This is beyond repair. I'm sorry. We're going to
make it back to the car. Walking to creek. CREEK SIDE We shouldn't be that much further to the car. Check that out. They find an old Pepsi Can. That's good, at some point in time someone was here. 40 years ago. Can shot. I got a good feeling about this. GOOD. Let's keep going. They walk. The witch drinks Pepsi. Josh jokes. Heather talks that the boys are scared shitless. Josh, I'd like to shoot a little bit today. No. We keep walking. I'm trying so hard to be nice. How's it going Mr. Navigator, why have we stopped? Because we're lost. Josh is up a tree. Do you see it? He yells to Mike. I don't know why we're crossing the river. Josh says that there is a clearing so he's going to head for it. Okay. Heather walks. Mike and Josh yell from a distance. I thought the idea was to get home today! There are probably copperheads in here. I don't feel like sucking poison out of someone today. CREEK CROSSING I still don't know why we're crossing. (Orange flag in shot). There is a clearing over there. I'm going to check it out, you stay. They cross tree. She rigs a place to keep the camera on while she walks across. Okay, crossing on tree. Why do I say fucking so much now? I hate these crossings, I really do. Wait for me. Okay, here we go. She goes across. I just want to be home. I really do. Heather, you need help? No, no, I'm fine. Shit. Josh tells her which way to go. You guys are enjoying this, aren't you? Fuck. I need help. There better be a clearing up there. Fuck you, you weren't leading us anywhere so. I was leading you somewhere. Mike yells bullshit really loudly. Josh comes to help. They struggle across as geese fly overhead. She makes it across. I did it. Thank you guys. Any more cigarettes? Fogs up lens. Shot of tree crossing from the other side. WOODS How come we're stopping? Josh calls them over to make a plan. I'm so gald we crossed the creek. Josh lays on the ground. Your plan? I don't know, ask Mike? Josh rolls down hill. You guys come back and get me when you find someone. I'll stay right here. They all say that they'll work together and cover for each other. Should we all stick together? Yes. We're working together. Seriously, the area is not that big. We
can't be lost for that long. Josh talks of splitting. Three chances to get out. Absolutely not. Which way do we walk? South. Okay. Let's continue walking south. I wish they had cabs in the woods. It's just so foriegn right now. I found my pack of smokes. We're going to take a smoke break and then head out. Josh talks of a different plan. 2. We walk until 4:30, then start a fire. If we don't get back today then someone is going to be looking for us. My girlfriend or Lonnie. Why do you keep insisting that Lonnie is my boyfriend? That's what he told me. Josh talks about wehre they were supposed to be today. FIELD We're still hiking. Josh says that this is the highest spot and we should start a fire right now. It's too early to stop right now. Look at that eagle. Zoom in on eagle. We have too much light to go. Let's keep walking. Heather is getting tired of this. Josh wants to stay and build fire. Mike and Heather want to go. Please. Josh, we're not giving up yet, man. Okay, if anything happens to us then you are responsible. Mike and Heather leave, Josh follows. In a couple of hours your idea is good, but not now. Mike says that he can't wait until the camera is out of his life. Mike makes her turn the camera off. Heather walks behind. Mike yells at her to turn the camera off. Then yells for someone to help. Josh tells her to turn the camera off. They argue. Heather walks off. DEEP BRUSH It's a creek. Why are taking our packs off? Let's go east and cross. Josh says they should go back to the clearing. No, we agreed to go south. Look, there's an airplane right there. Talk of the map again. Let's not fight. I don't know why you turn the camera on. This is something I never want to see this again. We're going to go east, okay? NEXT TO CREEK Shot of creek but no talking. Pan of creek. Heather takes beauty shots of the creek. No one is speaking to her again. She yells at Josh and Mike, who are off in the woods. Josh comes back from looking for a place to cross. They have to jump. Great, Heather says. Mike walks as Heather says that they are preparing to cross the creek again. They arrive at Josh's damn. He built it. Josh gets wet. Oh shit. Josh says that maybe they should try it another way. Is that Mike laughing? He's laughing. First time in days. I'm going crazy. Mike laughs more at Josh's wet feet. Mike
crosses. Heather wonders why they are crossing the creek again. Josh explains that it is a different creek. MIKE LAUGHING IS GOOD BUT NOT TOO MUCH ELSE. OTHER SIDE OF CREEK Josh laughs as Heather complains about falling. Mike laughs too. Heather shows her wet shoes. Heather asks about having too much fun. Do they have the map? Josh gives her the finger. Heather presses on about the map. She continues. Heather is tired. Josh says that she has no right to complain. GOOD SPOT TO CUT IN. She says that she doesn't like being laughed at when her shoes are all wet. They laugh again. Josh says that they are laughing at the situation. Mike says that he kicked the map into the creek as he laughs. Heather and Josh can't believe it. Josh goes over and hits him as Heather screams. Mike stops laughing and says he's sorry. He says that the map was useless. Josh attacks him again. Mike pushes back. They almost fight. Heather continues to yell that his act has put them in danger. Josh calls Mike some names as Heather tries to calm down. Mike then answers back and yells at Heather, who yells back and confronts him. Camera is hit a few times as they yell at each other. Heather seems to punch Mike and then she walks off, crying, telling them that they have to keep moving south, like the plan said. Let's keep going. Mike yells at her and she yells back. She tells herself to calm down. We're going south. We're going south. We're fine. We're fine. She continues to walk. Heather asks for the compass back. He gives it to her. Josh wants the compass. They argue some more about the compass. Josh grabs her and the camera shakes. She walks off, Josh calls her a bitch. She walks, talking to the camera about what just happened. What an ignorant ass. I can't believe what he did. Gotta keep the compass and keep moving. Are you guys coming?!!! Hello!!! She walks back to meet them. She talks of going home. Beer, a warm bed. She sniffles as she meets up with them. Are ready to move on? Why are we stopped? Josh and Mike just sit and stand there. Why have we given up our plan? No answer. We're fucked unless we stick together. Mike apologizes. She talks about how he has made this an unsafe situation. I'm sorry. Josh asks for the compass. She doesn't want to take it off her neck. Josh sits again. He's not going to move. Mike laughs again about the map. They argue. Shut-up, you both make me fucking sick. Heather walks away. Josh yells that all he wants is to see the compass. No. She stops. Josh walks over yelling. They argue more about playing games and the compass. GOOD STUFF WITH A LOT OF EDITING. PINE FOREST
They walk. Maybe it's the same one we hit before. No way. Mike is going to see if this is the same one by looking for their fire. Geese fly overhead as Heather makes some pans. Josh takes some film shots. Walking. Mike yells. Heather calls to Josh and as she runs to Mike. Mike yells more. I can't understand you. There's all sorts of stuff down here. No way. What? Look at all this. They are all over the place. Scarecrows are all over the place. Heather yells for Josh. She is very urgent. This is crazy shit. She touches one. Josh arrives. What is this shit? Must be your rednecks. Let's get the fuck out of here. He repeats this at Heather pleads for the CP. Josh shoots the scarecrows. This is wacked. This is totally fucking wacked. Can we please split? He asks Heather how many people the Blair witch killed? He continues to shoot. This is the most fucked up thing I've ever seen. Jesus Christ. I never even thought about the fact that the bitch way be right about all this. Fucking creepy. He continues to shoot them, one by one. Bones on the ground with feathers. Mike tells him that no rednecks are this creative. He takes audio. Shot of Heather shooting with the CP. He walks to her, getting each of the figures. Heather asks him to get out of the shot. Don't touch it Heather. Mike asks if they can leave. Josh agrees, saying he got all of them. Then he sees a new group and comments on not even seeing these over here. He wants to get as much distance between this place and them before night fall. Jesus Christ, did you see this? He sees the big one. Shoots it. Heather comes up, asking about the f-stop. More shots of the big one. Mike shoots now. Josh tells Heather that it's time go and she agrees. CU of one with bones as Heather talks about the camera. Josh asks about focus. Don't touch it, please. Shot of Heather looking through bone pile. Heather has camera now. Directly above here is the largest of the dolls. She spins it. Mike tells her to move. She gets close and looks through bone pile. FEATHERS LOOK FAKE. Extraordinary as she walks about, getting more shots. Should we take one. Josh tells her to go. That's enough. Mike yells too. Okay, we're out of here. She continues to tape. Heather, this is not funny. Mike tells her that they are leaving. She finds more and Josh tells her that he taped them already. Heather backs away, she says she took one. Just one to actually touch when they get back. She walks. Looks like Ellie is doing her thing. Now the guys are scared shitless. If she was going to hurt us she would've done it already. She just wants her story told. She talks of the witch. She meets up with Josh, who tells her that it's time to stop making a
movie. She explains her side of the story. Mike is way ahead. Holy shit that was weird. Josh says to let's go. What do you think it was Josh? No answer. Mike, are you all right. Maybe we should make some noises. Let's scream. Help!!! Mike yells help. Heather just stands there, taping him. END OF TAPE 6 TAPE 7 Heather walks through stream, blatantly getting her feet wet. Journal. Heather walks. Talks that breaking for camp is not going to be pretty. It is safe to say that we are lost, and I don't know what to do. But I have to keep taping. This my baby, and if something good can come out of this shitty situation, then that's reason enough to keep taping. That's not bitchy, is it? No, that's dedication. Hope out of beauty. Shot of two little flowers. Shots of creepy trees, covered with shit. Mike and Josh talk in the distance about camping. Let's keep walking. More trees. Doesn't it look like those vodoo dolls? I don't want to talk about it. I guess we should stake out a campsite. I guess you're right. Josh and Mike are looking at the GPS. Josh asks for compass. Heather again doesn't want to give it to him. Small, whispered argument. Mike yells that he's getting the numbers off the GPS. Getting dark. Briars and the light is dying right now. We barely have enough light to set up camp. They struggle through briars. The head from Heather's vodoo doll gets caught. Shit, everywhere there's fucking briars. We have to set the tent up quick and find firewood. Mike and Josh walk ahead. Journal. Doesn't seem like Ellie (or whatever) is out to harm us, so I think it'll be all right. Gotta see what's making those sounds. Hoax? Big hoax to play. CAMP 4 Mike by the light of the video camera. Here we are again in the woods. Freezing. Screwed. Creepy. That was wacked. (scarecrows) Heather asks Josh what they should do. They decide to stay in the tent and not build a fire tonight, to not attract whatever it was the last two nights. Even turn off that
light. Heather turns it off. Let's just go to sleep. IN TENT We're here in tent and we don't want to be. We seem a bit lost. It's possible. I think we're very lost. We really shouldn't keep that light on. Heather doesn't think it's the Blair Witch anymore. Mike talks about the scarecrows. Fucked up shit. Josh doesn't even want to think about it. Mike is setting up the sound. Josh asks about Heather's knife. Maybe we should turn the light off. Josh talks about the light attracting the people that are chasing them. Josh talks that it might have been someone following them. It's such a labor (scarecrows). How could they do that? It's just some fucked up people. They talk about the commune in the late sixties. The cult. Isn't that feasable, that they are still out here? Mike is scared. Doesn't want to talk about it. I can't believe I'm here. We'll be back tomorrow. I'm so hungry. Get the light off. Light goes off. THIS SCENE IS GOOD BUT A BIT FORCED. IT MIGHT BE BETTER THAT THEY ACTUALLY TURN THE LIGHT OFF WHEN THEY FIRST MENTION IT, THEN RUN AN EDITED VERSION OF THE SCENE IN TOTAL DARKNESS. CREEPIER. Dark. Josh, let's go. Just follow us. Taco. I need your mag light. What the fuck is that? Light comes on a tree. Josh let's move. Oh, fuck me. Fuck me. Let's just go. What the fuck was that sound? Fuck. (Josh can't get the CP on) Josh we're going? Jesus. They start to move. Run through the woods. Heather yells, oh shit, what was that? What was that? They settle in some bushes. Turn the light off. Her and Mike. Josh asks for the knife. They fight. Give me the fucking knife. Shut up! Whispered talk of the knife. Heather has knife out and her and Josh fight about it. Mike talks of the kids in the woods. Mike is crying. He wants to go home. Heather gives Josh the knife. It's okay Mike, Heather consoles him. Did you hear that baby? My God it's cold. They are quiet, just breathing and shivering. How are we going to get out of here? Quiet. Josh cries now. Do we go back to the tent. What the fuck is it? Quiet. Cut. GOOD SCENE. WE SHOULD CUT THE LITTLE KNIFE FIGHT IN THE MIDDLE, TOO LOUD. END OF TAPE 7 TAPE 8 (FORMERLY TAPE 9) SECOND TIME RUNNING. In tent, dark. They are freaking out at something outside. Mike says about the
kids. Josh says Jesus Christ a few times. Footsteps outside. Josh asks about the knife. Shutup! They fight about the knife. It's a fucking baby. Whispers. Barely hear a little kids voice. They freak out each time they hear it. Zipper is open. Josh yells. Light. Josh yells fuck. I'm going to fucking stab you! Tent begins to shake, run, run? Oh my, God, what the fuck was that?!! Heather and Mike run to bushes. Sky is visible. Josh is there with the CP. Turn the lights off. Josh asks Heather for the knife. Josh freaks out. Don't touch me. Shut- up! He cries. He hits the camera. Dickhead. Be quiet. WE COULD CUT HERE FROM THE FIRST TAKE. Sun's coming up. Thank God. Could that have been a real kid? I'm just done. They discuss why Josh freaked out. Just be quiet to hear if it's gone. Lighter. We should go back. How long have we been here? An hour. The sun's up. We can hike all day now. Should we go. Let's go. They get up and move back to camp. I left the DAT running inside the tent. They walk, they are exhausted and hungry. Josh asks for the knife before they get there. She gives it to him. They approach slowly. Josh yells. Shit is all over the place. Guys, they took the voodoo doll I stole. No they didn't. There's shit on your canteen. Shit, what the fuck is that. There's your voodoo doll. It's slimed. Don't taste it! Let's get the shit packed up and let's head off. Turn the camera off. Have we gotten it all here. Mike and Heather scream at each other. Heather wants to investigate. Mike says that there where dead babies in the woods last night and he wants to go home. Heather talks to camera. She is tired and wants to get the fuck out of there. Josh asks for her help. Josh talks that she is still doing the documentary thing. Fuck it. She goes to turn the camera off. GOOD. Heather and Mike fight, camera goes nuts. Mike yells that Heather has bitten him. GOOD. They are calm and apologize to each other. I just want to get things. Josh says that they might not make it out of there. WOODS Sun is out. Hiking for a while now, no sign of the car. We're crossing the stream again. Big log. They have crossed already and she crosses, camera shooting the log. Then she puts the camera away. Taco about radio and radio check. Heather packs her pack. Walking. She says they won't stop for her. She complains. Josh is sitting by a tree. He gently tells her that he wants to sit down for a bit. We can't afford that. Do you want to stay here another night? Josh wants to sit for a little bit. Heather goes to Mike,
who also wants to leave. What should we do? We can't drag him. I'm losing hope. Please don't. Heather tells them that they have people looking for all of them. We'll hit a road soon. You can't just sit there, man. I miss my girlfriend. I miss my room. Let's just keep moving. This is shit. I miss my mom. I'm leaving. He yells at her. Did you see that shit on my canteen? Did you see how they took all the shit out of my pack? I'm fucked! Why was it all over my shit. Come on Josh, we do not have the time for you. Don't cry, Josh, because I have zero sympathy for you. She walks over to him as he cries. Come one Josh. Let's go. Don't hit me please. Leave me alone. Just leave him alone, Heather. She walks away. He's just cracking. Just leave him alone. Five minutes. Let's try to stay cool. Putting the camera in his face when he's crying is not going to help. Josh asks for cigarettes. No more. No more. Okay, let's take ten. We're not going to die out here. We just need to keep moving. FANTASTIC SCENE WITH SOME EDITING. Mike, how are your balls? His pants split open again. Not a great stitcher. Josh is back. He apologizes. Last night just freaked me out. I'm not superstitious, but my shit being all over the place and my canteen freaked me out. Let's just move. Let's rock. Why am I saying that? They reminise about the hotel room night. Walking. JOURNAL. Heather is behind them. Nobody has a whole lot to say. Certainly no one wants to talk about what happened last night, including me. I'm sure it's going to make a great story when we get back, but not now, even though it's light out here. Mike wants to walk on some concrete so bad. Tree tops shot. Zoom in. Zoom out to woods and Heather. Josh is taking a shit, in case you're wondering. I hear him. Here he comes. Did you bury it? Josh talks of his shit. Heather looks very tired. Heather in the sunshine. She looks worried. Eyes. Mike, putting pack on. Josh knows why she likes the camera so much. It's like a reality filter. Heather is very sincere. South is that way. Mike suggests going west. No. Go south. Heather thinks about Mike's crotch. They laugh. They talk about how wierd this is. Heather says it's a relief to have it out of her hands for a while. They all agree. GREAT LITTLE SCENE, ESPECIALLY HEATHER. Same angle. Heather's ass. They all look so tired. Heather and Mike try to talk Josh into walking. Josh is getting back at Heather. He wants to make a movie. He acts like the narrator in a movie about them.
Three teenagers, in the woods. Will they make it out alive? Heather has camera again. She sounds weak. South is this way. She walks. Journal. She's trying to keep their spirits up but it's difficult. Nothing looks even remotely familiar. Her pack is lighter because there is no food. Everything will be good when we get home. I'm going to buy Mike a new pair of jeans. Hey the car!!! Sike. Very funny, Josh. Sorry, he laughs. They continue to walk. Heather continues the journal. Aching muscles, south is a futile plan but at least it's a plan. The woods look less beautiful now. Can we check the compass? Yes. We're headed south still. SMALL CROSSING They tell Mike not to use a crossing because it's broken. How man of these things are we going to go over?M I don't know, do you have a better plan?J Heather hands camera to Josh and he films her crossing the little trench. I can't do it. WOODS Walking again. We all made it. Heather walks more. JOURNAL. She walks back from taking a shit. It wasn't as bad as she had anticipated. It was good to have a moment of silence. No silence with the guys. We have to keep moving south. She turns the camera on her face and says that she's scared. For the first time I'm scared. That doesn't mean we can stop. I wish I had a cigarette. I thought about shooting my big woods turd, but didn't. Lady bug on pack. The first nice thing she's seen all day. Still going, walking. How are you doing Mike? Problem with boots. America has a lot more wilderness resource then I had imagined. Josh! Okay, I see you. Josh waits. Do you guys still want to go south? Mike talks about not eating for 48 hours. Is there anything to eat out here. JOSH: My stomach is eating itself inside out. Josh talks of leaving the CP to lighten the load. They talk of that. I'm not hiking with this thing tomorrow. Heather will hold the camera for a while. Forget it. Let's just keep going south. For what? Until we set up camp. Whatever came last night is coming again. We should post guards tonight. Maybe we'll find the car before then. We're in the middle of the woods. We're not finding anything. Let's just keep moving. Mike sings a loud America as Josh lays down. Why did I scream? If anybody's tracking us then they just heard him. Talk of someone following them. Let's just keep walking. Talk of leaving the CP. When we get out we can watch is. Josh tells her that he isn't sure they are getting out of here. They start to walk. Mike sings again. Josh joins him. They
walk, singing the national anthem. Heather doesn't understand it. We might want to conserve our energy for more important things. Heather tries to stop them. GREAT SCENE. THE REST IS ALSO GOOD WITH SOME EDITING. They stop again for directions. Walking again. Journal. Dropping the CP is out of the question. When we get out of here, we are going to have the coolest documentary. MARSH Walk slowly through the crap. Should we stick in the marsh? Yeah. Compass check. Shit, my feet are going to get soaked. Just walk fast. There's logic!! We're all going nuts. Walking through marsh. It's a swamp. We're in a fucking swamp. Maybe we should change direction for a while. Go around it. It stinks. Shit. This is bad. We're losing sunlight. More walking through the marsh. Jesus Christ. I don't know how much more of this I can takeH. Clearing. Fuck me, man. This is not cool.J Fuck. Come on Mike. This way. Snakes in marshes. Shit. How do we get out of here. It get's worse. No, up here it's fine. Heather struggles to stay in control. She almost cries. It stinks in here! My feet weigh about 20 pounds. Shot of their feet and shoes. The water stinks. Mike screams in the distance. He walks up. Let's check the compass. BITS OF THIS WOULD BE GOOD. WOODS More walking, heading south. Josh and Mike in front. Guys, we're losing sunlight. Sun through woods. Cool shots. Check compass again. We just did. Its colder. Maybe it's just my soaked feet. Heather talks of all the fucked up shit that has happened to them. They walk again. Heather talks about sneaking the camera on. But she doesn't even feel like talking anymore. The little camera is the only thing keeping me sane. At least it doesn't talk back. She laughs. I need to get out of here. Mike is in front, walking. Just a lot of walking, no talking. More walking. I'm confused. Stop. Walking again. Guys, we should think about setting up camp. My feet are soaked. I'm going to stop wining. Back on the creek again. CREEK I have no idea. Let's keep walking up stream, south. How do we know that? Was this morning. More
walking. Mike and Josh ahead. That's the same log. That's the same tree. You've got to be kidding me! Mike yells. Please stop. No Mike, it's not the same log. It is. Josh screams. It's the same fucking log!!!! Heather cries. Josh freaks out. It's the same fucking log!!! Heather insists on it not being the same log. She cries. Josh screams. She falls to the ground. It's the same log. Heather cries, and tries to keep controlled. It's okay. She gets up and heads for Josh. He cries, putting his hand up as she nears. She stays away. We're going to fucking die. Josh jumps in the creek and runs to the other side, going nuts. He turns and runs toward Heather as she cries. She runs away, don't come after me. Mike is there. Can we please both calm Josh down. He hasn't listened to me. He's not going to listen to anyone. I don't know what to do? How could we be at the same log if we've been going south all day. I don't know you had the compass!!! She gets a shot of the log. It's the same log. Josh is out of the creek. Mike tells Josh that he's going to freeze to death with those pants on. Does anyone have a plan B? Josh cries. Heather yells, we don't have any cigarettes, we don't have anything. Let's just sit. Heather says she's going to take off her path and sit by the water. She walks over and sits. The water is loud. She points the camera up at her face. I don't know what to do. I don't know what else to say. I envisioned myself coming up with a brilliant plan but I can't. I just have to stay in control. Someone has to stay in control and it's going to have to be me. Josh is freaking, Mike is holding up okay. The water sounds good. I'm trying to look for something positive out of this. I just don't know what it is. Here's me. And here's Josh. Mike tells her that the water sounds good. They talk of that, then stop on the water, rushing by. GOOD EDIT POINT OUT OF HERE. Water. Talk of continuing to go. Josh doesn't want to camp anywhere around here. He talks about his shit being scattered this morning. Where do you want to go tonight? They talk about walking south and ending up here. Josh says that it is the last day that she carries the compass. WOODS Mike cries. Josh does the camera. He apologizes for losing the map. He yells at the things to stay away tonight. Why did I kick the map into the creek. Heather hugs him. We're okay. We've got to get out of here. ALL RIGHT. MIGHT WORK. MIGHT NOT NEED FOR MIKE TO FREAK HERE. HE REGAINS IT QUICK SO THIS SCENE WOULD NOT BE MISSED. Mike is near tree, still talking about the map. We've got to get out of here.
Mike prays for a split second. Mike is away in the weeds, near the ground. Praying? Shot of Heather, she looks like shit. Do you expect me to do something, say something? What do you want to do, Josh? I want to make movies, Heather. Heather looks at him with pure hatred. Fuck you. MIKE: Please, let's not fight. We're screwed and let's stop fighting. I'll do the first watch. Heather slowly begins to cry. How does revenge feel, good? No, go ahead shoot. Josh runs up to her. Okay, here's your motivation, and he rattles off all the shit that has happened to them. Heather slowly breaks down. That's your motivation. That's your motivation! HEATHER: Please stop! Mike tells him to stop. She's still making movies, man. HEATHER: That's all I have!! She pleads with him to stop. You going to write us a happy ending Heather? She cries and walks away. Turn the camera off, Josh. He points the camera at Mike. Don't pick on her anymore. But she's still making movies man. You're so full of shit. THIS IS REALLY GOOD STUFF. SHOULD EDIT MIKE'S BREAKDOWN OUT TO KEEP HIM STRONG SO WHEN HE BREAKS DOWN AFTER JOSH'S CALL IT SEEMS HEAVIER. PLUS, THAT BREAKDOWN IS MUCH BETTER THAN THIS ONE. INSIDE TENT Heather stitches Mike's pants. Doesn't it seem absurd that we're doing that. They are quiet, with just mag lights lighting. Mike asks Josh if he's done making his movie. Josh laughs. Josh apologizes. Who wants a cheeseburger? I do. They laugh. Josh says that he would love some mashed potatoes. My mother's mashed potatoes and a piece of ass. I'm sure you'll have both of them very soon. GREAT LITTLE SCENE. VERY SINCERE ON ALL LEVELS. END OF TAPE 8 THE TAPE STUCK IN THE CAMERA GOES HERE AS TAPE 9. TAPE 9A Dark, going out to drop off. Walking back. CAMP 6 IN TENT Dark. HEATHER: I think it's Josh. Josh screams. It sound like Josh. They move. Heather is scared. Is it a trick? More movement. Josh screams. Josh! Josh!!! Josh!!! Where's it coming from? I don't know, here. Light comes on. I'm going to get the CP. Blurry light. Josh screams. Josh!!! Woods around tent. Heather says the camera is heavy. Josh, where are you? Josh screams again. Mike helps Heather with the camera. Where is it? They get the light on. OUTSIDE. Okay. Josh! A scream. Is it over here? No, it's over here. More screaming. Josh!!! Josh!!!!!!! We'll look for him. Heather cries. I don't know if it's really him.
Josh! They both cry. I don't even know what the fuck I'm shooting. Your light is dying, stay here. I can't see anything. Just turn it off. Josh. Tell me where you are Josh!!! Heather with dying light. Just Heather crying. Heather, just put the camera away. I'm fine. Your not getting anything, the light is off. Put it away. Josh! Josh!!! Nothing. Mike shivers. He's gone. Silence. Mike walks forward to her. They whisper. What is it was a trick? We should get back in the tent. Turn the lights off. IN TENT Complete darkness. Sniffling. Heather is upset. Fuck it's cold. That was Josh, right? Mike doesn't answer. Silence. Sniffles. Mike talks but can't be heard. What? Mike, please don't fall asleep. I can't fall asleep. Talking but you can't hear. I don't think that was Josh. I don't either, I think it was a trick. Watch beeps. If it was Josh he would've said where he was. Heather turns on the light. Whatever it was it sounded like Josh. I don't even know what I'm recording. I just put some new batteries in the film light. Shot of boot. Heather makes shadows with her glove, then she starts to cry. Whatever it is, knows where we are, but I'm going to turn the light off anyway. It helps for some reason. Let's relax. It's a trick. There's nothing much to see in here. She explains why she's going to turn the camera off. Camera light on. Heather asks Mike not to fall asleep. Nothing bad happens when we're awake. Mike says he is going to stay up until morning. He wants to just leave his pack and get the hell out of here. Light off. What should we do to stay awake? You want to play the name game? They play, a bunch of names follow. Mag light on and we see Mike. I'm scared out of my mind. Me too. I don't know what to think anymore. Just don't think. Turn that light off, okay? Off it goes. Darkness and silence for a while. Inaudible whispers. Silence. A lot of silence. A lot more silence. Whispers. Silence again. What was that? Big rumble of a train? on soundtrack. Whispers. One big nightmare. Cold. They begin the name game again, very quietly. They stop, silence. This recording the name game is useless. Day. Heather wipes off the dew from the lens and talks into it. It's morning now and Mike and I are both here. We feel asleep and nothing bad happened except for Josh in the woods. We'll keep moving today, maybe east. I don't know how much longer we'll be able to do that. We're both hungry and tired and the packs are heavy. I don't know if that was Josh or not last night. Whatever it was it was very good. Like it was being strangled. I just hope that Mike and I stay okay. That's all for now. VERY SINCERE BIT. Close on Heather. When I get out of this sleeping bag it means that the day starting and we have to start
hiking. I don't want to. Sleeping bag is safest place. I just want to show that Mike is here. She steps out of tent and sees bundle of sticks. OUTSIDE TENT What the hell is that? Mike! There's something out here. What is it? It's covered in that fucking goop again. It's Josh's shirt. It's his hair. Heather starts to cry and walk around. Maybe it just wants Josh. He did something really bad and now it's over. Whatever it is Mike, they've got him. Now we can't fucking deny it. Close up on the bundle. It's got three different kind of hair. No, no, no. Heather tries to remain calm. It's definetly human hair. She cries again. I'm just going to move it. SHe picks it up and throws it. Goes back to the goopy shit. Same shit that was all over Josh's stuff. She walks again. Maybe now it's over. At least it's light out. Okay. She's going to pee. She pans the horizon and we see the area. Mike yells into a hole near a tree base. Heather approaches him. He is hysterical. He hits the tree with his fists. He cries. Heather consoles him. He calls out for anyone in the hole. Come on and wake up. He walks away, across stream and walks around. Calls out to the fish and then Josh. I love the woods!!! Yeah!!! Yeah!!! Heather walks toward him. He paces back and forth, hands on his head. He runs up the hill. Heather asks him to comes back. He drops on the top of the hill and cries. Heather zooms in. I hate it. I hate it. I hate it. My fist is hurting me. He punches a tree two times then cries. Heather calls out to him. Do you want me to fix your hand? Come back and I'll fix your hand. Mike stays up there. Heather pans around and down the creek. Another day. Of walking for the sake of walking. Back to Mike up on the hill. Come on down, okay? I can't walk anymore. He doesn't move. He starts coughing up after a while, like he's throwing up. Mike don't throw up, man. Just take a deep breath. Nothing in there to come out. MIKE: Nothing in there. HEATHER: We are both so hungry. I'm gonna look for food Mike. You want to come down and help me? Maybe we can eat some green stuff. Mike says that they're playing with his head. Putting that thing near the tent, Josh's shirt. He was a tough kid. Don't say was, Mike. Mike is down at the camp now, just pacing back and forth. He changes directions erratically, whispering to himself. He approaches camera. Let's keep walking. He moves out, changes directions and continues to walk. He talks to himself as he walks around. He's nuts. I don't know what to do for him. I don't know what to do. Mike recounts the events of the weekend. He continues to act irrationally as Heather slowly begins to cry. Mike sits and Heather goes over to him. He shakes back and forth. He talks about all kinds of things: got to keep walking, taking off Sunday for the film, weed in the woods, scotch, do you believe in the Blair Witch? He tells Heather that he has cigarettes and Heather walks over to him. They smoke. His
hand is okay, just cut off a little. I have a lot of buggers. I can hear your stomach. Here it again, your stomach is growling. Do we keep moving Mike? We'll keep walking. Heather gets up and sets the camera over on a tree or something, pointing it back at them. She goes over and sits next to Mike. They talk and smoke. I'm sorry for scaring youM. They talk about how he found the cigarettes. Are you sure you weren't hiding them. She puts his arm around him and they talk about volleyball. We could make a volleyball net out of the tent. Are you all right? Yeah. Can you blow smoke rings? Me neither. When I was a kid and I was scared, I used to bounce against the couch. The both swing back and forth for a while. French people are sick. The girls have hair under their arms. You probably have hair now. Yeah, and my scalp itches. So does mine. Don't eat bark, Mike. Eat some onion weed. Pretend it's a pizza with onions on it. That was good. Let's get some more. He gets more. We can eat worms. Crickets. They sit for a while. Mike gets another cigarette. They talk about which way to walk today. Heather gets up and grabs the camera. ALL THIS IS WAY TOO LONG BUT IT'S DIFFICULT TO SAY WHAT WILL WORK WITHOUT EDITING IT. Shot of Heather with Mike on camera. She wants to talk about what's been happening. Everything quiet, then Josh. Night before last, Josh was gone in the morning. The night before we heard kids. Sounds were surrounding them. The night before we were at the pine forest, I think. It's hard to keep track of time. We haven't eaten for two days. We are both all right. Talks of getting lost and ending up at same place. Yesterday we walked east, and today we will walk east. We try to keep watch at night, but the exhaustion is ovewhelming. We found three rock piles at one camp. We have footage of all of this and I hope that it gets made into a documentary that I get to watch. THIS MIGHT BE GOOD FOR AN ENDING OF HEATHER AT THE END OF THE FILM. Correction about order of events. She checked journal. She reads new order out. I'm sorry for the confusion but it's hard to keep track now. Mike is a little calmer now. I'm going to go over and look at this. She finds bundle. Unties it. Finds bloody sack. It's all full of blood. She begins to cry. Then looks in and screams, drops sack. Crys, gets shot of bloody teeth. She breaths in and out quickly, freaking out. More shots of teeth. Shit. Shit. Oh my God. She has to turn. Cries. Back to them. I don't know what I should to
to them. Josh is dead. Oh my God. Josh is dead. Turns the camera on herself. Please, if anyone finds this, please. Crying. Close up of teeth. It's Josh's teeth and Josh's hair inside of Josh's shirt. I'm so glad I didn't open this in front of Mike. Should I leave it or should I take it? Maybe give it to his mom. She tries to handle the bundle but drops it, losing it again. Then she wraps the thing, ties it back together. She walks back to tent, crying about the teeth and identifying him. She puts the sack in her pack. She walks to the creek and washes her hands off. Mike calls out. I'm just washing my hands off, then cries again. Got to pull it together. She gets up. I don't have any strength left. Mike gets there. Could you help me up. What are you doing? What's the matter? Nothing, let's just go. Did you put the tent back in my bag? Yeah. Let's go. She walks crying heavily. She starts walking back and forth talking nonsense. Mike grabs camera. Heather is hyterical. I'm okay. Heather puts her pack on. She still cries. What happened? I'm just tired and hungry. My hair is caught. She gets up the pack on her back. Are you sure you're all right? Yeah. WOODS Mike is packed and ready to go. Heather has camera. They walk. She explains that she is just tired and hungry again. She continues to cry. They walk for a while as she sobs. She turns the camera on herself and pleads for someone to find whoever did that to Josh before they do it to them. Mike asks where she is going. She says east. A bit later she stops to rest. She puts the camera down and we see her take her pack off. She picks up the camera and says that they are stopping to rest. She walks to Mike. Are you okay? Yeah. Are you? Mike looks tired sitting on a log. THIS END BLURP MIGHT BE USEFUL. Heather gets her pack on again. She grabs camera and walks to Mike. You ready? Mike gets up and they walk. Should we check the compass. Here's the compass. East is that way. Let's go. Mike has trouble getting over a small incline. He looks tired. Heather struggles over. They walk slowly. GOOD WALKING FOOTAGE. They continue to walk. Mike stops to check something on a tree. They walk again. They stop again a few minutes later and sit. Mike wants to lose the DAT. He wants to get the DAT back, it's the only thing that keeps him going. Have to be back by monday at 8. Name game? No. He reads things off the DAT. Heather suggests they should keep going. Mike waves at camera. Hi Mom. Shots of woods around them. Mike gets up and they walk again. Mike stops to talk about the twitch in his eye. He grabs the
camera and shoots Heather walking in front of him. She checks the compass. They continue to walk. Where are you going? East. East is this way. She turns and walks that way. Tape end talk. Let's give it a rest, okay? END OF TAPE 9A TAPE 10 WOODS Heather explains that they've stopped again. She sounds tired. How are you feeling, Mike? I guess we have enough beauty shots. She laughs. The sun is falling already. The days are very short. Mike sits next to her. He yawns. Pan of woods. Heather's knees. Leaves in the trees above. Walking. Getting late again. Shadows are longer. Heather finds a floater thingy and asks Mike to make a wish. You do it. She does and let's it go. They walk again. Heather starts up the name game but Mike doesn't want to play. They have cramps. Heather's been holding her shit in for two days because there is no toilet paper. Come on Mike, we've been stopping a lot today. But without a destination it's hard to keep walking. They keep walking. Beaver tree. Ahh, my scalp. It's itchy. She babbles on about things. GOOD WALKING FOOTAGE. I can't spend another night in these woods. Poor mom. I'm worrying about my mom. She's probably freaking out. She hurts herself and stops. She continues. She babbles on. Mike, are you all right? Yeah. They walk. My mom is looking for me. Sure you don't want to play the name game, Mike? No answer. She plays by herself. Mike chimes in about Cal Ripken catching Lou Gehrig. 2130 games. One more season and Cal Ripken is king. And I won't get to see it because I'll be in the woods. They stop. He opens his mouth like a fool. They walk again. COOL SHOT OF SUN THROUGH THE TREES as she rambles on. Mike wants to see the compass. Come on. He yawns. Leaf. CREEK Leaves on ground. They sit and rest. I don't want to cross the river. Is there a place to cross it? I'm just
going to walk right through it. At this point, okay. There's that word again, at this point. HEATHER: I'm really tired of crossing creeks. Look at this leaf. He eats it. Heather laughs at him. She takes a tour of herself. Gloves, shirt, canteen, shoes. Zooms in on shoe. They talk about things. Can you make a fist? Are you ready to go? A few more seconds. You want to say hi? Hi. Heather turns the camera on herself, hi. Berries that I probably can't eat. Why do you think we didn't get killed? We don't know he's dead. Why do you think we didn't get killed? We didn't get killed because we're going to get out of here. We're not. Yes we are. We are in another world out here and someone else is controlling it. It's like the Twilight Zone, with Rod Serling residing. Heather whispers. Maybe they're not Josh's teeth. Maybe they were some dogs teeth wrapped in his shirt. All right Mike, let's go. If we get home we have to burn those tapes. I'm going to make a documentary that all three of us are going to watch. Two of us. No, three. CAMP 7 Heather with darkness around her. She shines a light on her face. She cries. I'm very afraid that bad things are going to happen out here. I just want to apologize to Mike's mom, and Josh's mom, and my mom. I'm sorry to everyone. I was very naive. And very stupid, and I should've put other people in danger. Something is out here and it is after us. And cannot get away from it. It follows us. It killed Josh. Mike and I are the only ones alive and we have no strength to fight. I'm sorry to everyone that every loved me. I'm sorry for fighting with Josh, for yelling at Mike. I am just so sorry for everything that has happened. It was my fault. It was my project. I insisted that we weren't lost, that we walked south, everything. That is why we are here. I'm sorry mom and dad. I'm sorry for what you're going to go through when you find these tapes. It was never my intention to hurt anyone. I'm so scared. I should've told the guys all the stories about this. So they weren't fully prepared. She looks to the side. What is that? I'm afraid to close my eyes, and I'm afraid to open them. Please to whoever finds these videotapes, please find who did this to us. Please. Please. Don't let it do it to anyone else. I just feel that I've hurt so many people. I'm sorry. Sorry. I'm hearing things. And I don't even have the strength to run away. She just cries. I'm gonna die out here, and it scares the shit out of me. I'm going to go into the tent now and talk to Mike. I'm going to see if he wants to say anything. I'm sorry. She walks back to the tent. I'm trying not to freak out. It's hard not to freak out. I'm so weak. She goes into tent. Mike is laying there. Are you okay? I'm okay. He takes the camera from her. What's the matter? Huh. I'm scared we're gonna die out here. Me
too. She cries. Every night we just wait for them to come. She breaks down again. Heather. If they come tonight, I'm gunning for them. It's not the kind of thing you go for, it's not like they're human. Well, I'm going for them. You don't even know all they did to Josh, Mike. What do you mean? You don't even know. I'm not telling you. They did horrible things to Josh. What did they do? You gotta get it off your chest. They pulled out his teeth Mike, and his hair, and his blood, and they wrapped it in a bundle of twigs and I found it outside the tent. Why didn't you tell me? Mike tells her that he is going after them tonight. I'm not going to walk around tomorrow again...Heather tells him that there isn't going to be a tomorrow, that they are coming for them tonight. Heather begins to hyperventilate and Mike tries to calm her. He turns off the light. Great scene. Light on again in the tent. HEATHER: I would really love another cigarette. No more. I might want to say some things. Mike. Heather rolls. I'm going to try to say things without crying. This is just a message to everybody. I guess I'll start my friends. This is ridiculous. Just go ahead. Heather cries. I want you to carry the good times on if I die, because I think that I am. I love you. The woman that I love. I want you to smile. My family, I'm so proud to carry our name. And don't worry mom, because I'm going to heaven. You guys stay together. I love you and I will watch over you. I love you. Chow. You got anything you want to say. I've said it all, I think. It's a hard thing to do. Mike tells her to just tel them that you love them. Any gripes with anyone just tell them to forget them. I just want to be remembered for the bumbling idiot that I am. Just enjoy as best you can, because you never know what's going to happen. I'm sorry, Mike. I should've done a lot of things. Heather your apologies are accepted and discarded. I took you away from your parents. No, that thing out there took me away. But I brought you out here. At least I'm going with the cameras rolling. Maybe they can figure it out when we're gone. I'm so scared. Mike reaches over and I think they hug. Camera falls to the ground. Heather cries. And continues to cry. Camera is up again. I don't want to be videotaped no more, I've had enough. Me too. Let's just lay down and wait. Heather shows the camera her journal. There's my feet. Darkness. Josh's voice is heard. They get out of tent. It can't be him. Heather comes out of the tent. They walk through the bushes. Heather needs to stop. The cord is too short. Josh's voice again. They continue to walk. Dark woods. Heather is behind him. Holy shit, it's a house. Heather turns her light on. They walk toward the house. Josh! RED LIGHT. They find the door. IN HOUSE. Mike goes in. Heather
calls out to him. Mike where are you? Where is he. Mike, Mike! Is he in here. Heather with the film camera. Josh's voice from upstairs. They proceed upstairs. Josh. Second floor. Be careful. Mike. What? I think this is Rustin Parr's house. Shit. There's a teddy bear over here, right there. Pan around second floor. LIght is going down in CP. Writing on window frame. There's baby's handprints. Up to the third floor they go. My light is dying. Is that Josh's shirt? Yeah. Hands on wall. Josh. He said he's downstairs. Mike, please. Hurry up. Mike goes down. Mike!!! Mike goes outside for directions. You son of a bitch. Don't leave me. He finds the cellar. He goes down, Heather freaking out behind him. Oh my God. Oh shit. Panning around cellar. Then he is hit. Gregg instructing. Problems with the camera. PERIOD OF STATIC Set up with Ed. Mike runs downstairs. Do you hear him downstairs. Mike arrives at the cellar door. CUT CP LIGHT IS OUT. PERIOD OF STATIC DAY TWO OF HOUSE TAKES TAKE 1 They are in the first floor. Josh! They go up. Oh my God. Oh shit. Josh! Heather comes up. It's all children's shit. Josh. Third floor. I don't see anything. I don't see anything. Heather starts to cry. Heather screams. Mike runs down stairs. Mike!!! He reaches first floor. CUT Cellar with Neal and camera. TAKE 2 On porch. Mike moves in. Heather, you coming? Come on. Do you here him? I hear him. Second floor. I'm going upstairs. Hear that. Where is he? Where are you?!! Josh. Heather comes up. I hear him downstairs. Josh!!! He runs down. Heather screams. Josh is that you down there. Josh!!! He goes into the cellar. Josh, almost crying. Camera is hit and goes down, keeps rolling. Mike!!! Mike!!! Heather is coming from upstairs. Mike. She comes downstairs. Mike!!! Mike!!! She begins to scream and continues. The stops. Stomping upstairs. CUT THIS IS THE GOOD FALL FOR THE VIDEO CAMERA. TAKE 3 CAMERA IN CELLAR, AUDIO ONLY. Heather is heard. Mike! She comes down. Mike!!!! Mike!!!
She is upstairs. Mike!!! She comes down. She is crying. Mike. Mike. She screams. And screams. And screams. She then cries softly. Then nothing. FRITOS BAG IN SHOT ON CP BUT AUDIO IS PRETTY DECENT. TAKE 4 CAMERA IN CELLAR, AUDIO ONLY. Mike!!!! Mike!!!!! She is crying. Mike. She comes down. She gets closer and she screams. CUT CP NOT ROLLING. AUDIO IS GOOD UNTIL GREGG TALKS. Good behind the scenes audio. TAKE 5 CAMERA IN CELLAR, AUDIO ONLY. Mike!!!!! Mike!!! Mike!!! She comes down, yelling Mike the whole time. Screaming and more screaming. She stops all of a sudden and then some cheesy stomping and then silence. IF WE CUT RIGHT AFTER SHE STOPS TO SILENCE THEN THEN IT WILL WORK. AUDIO ONLY. CAMERA ROLLS. Gregg grabs camera and shoots the scene downstairs. Battery change on the CP. We wait for it to roll out. That's a wrap on the film. AUDIO ONLY. Foot shuffles. Long shuffle. Short shuffles. Double shuffles. Pretty good. Tap dance. Quick shuffles. NEED BETTER ONES THAN THESE. AUDIO ONLY. Floor stomping. TAKE ONE sounds like a bunch of idiots shuffling their feet. TAKE TWO still sounds like a bunch of idiots. Dan asks everyone how they feel about wrapping. Mike's jeans sacrificed to the house. AUDIO ONLY. Ambiance for the house. END OF TAPE 10
Name Address Phone (Name of Project)
by (Name of First Writer)
(Based on, If Any)
Revisions by (Names of Subsequent Writers, in Order of Work Performed)
Current Revisions by (Current Writer, date) Introduction Length: 3 minutes EXT. WRIGHT-PATTERSON AIR FORCE BASE- DAY The landscape of Dayton, Ohio has a calm, wholesome air. The archive, located within the air force base is an unassuming red brick building. INT. WRIGHT-PATTERSON FILM ARCHIVE- DAY In contrast, the inside of the archive, though neat, is dank and old. Cans of film pile to the ceiling. Rows and rows of forgotten films serve as a refuge for Chris Carrazco, a man buried within the archive. He pulls films off of shelves and loads them onto a handtruck. His narrative starts in VO. INT. CARRAZCO INTERVIEW - DAY Chris Carrazco, a man of indeterminable age, sits in front of a neutral background and tells us his story. CHRIS CARRAZCO (INTERVIEW)
Chris Carrazco tells us about his life. B/W REENACTMENT -- A WELL-WORN FILM SPLICER IS PLACED ON A FLAT WHITE SURFACE. CHRIS CARRAZCO’S HAND FOLDS THE SPLICER IN HALF. CUT TO: B/W REENACTMENT -- A STRIP OF FILM IS HELD UP TO A LIGHT. AN IMAGE IS FAINTLY VISIBLE. INT. CARRAZCO INTERVIEW - DAY CHRIS CARRAZCO (INTERVIEW) Chris Carrazco talks about his background -- Growing up in Rockville, Maryland, Joining the air force right out of High School, Leaving the service to join the IATSE Local as a movie theater projectionist. B/W REENACTMENT -- THE FILM IS PLACED ON THE SPLICER. CUT TO: CUT TO: INT. CARRAZCO INTERVIEW - DAY CHRIS CARRAZCO (INTERVIEW) In the early 1990’s, union projectionist work became more and more scarce until it virtually disappeared, leaving him desperate for employment. An old friend from his Air Force days was working at Wright Patterson Air Force Base and heard about the opening in the archives. B/W REENACTMENT -- THE GUILLOTINE SLICER CUTS THROUGH THE FILM WITH A RESOUNDING SLICE. INT. CARRAZCO INTERVIEW - DAY CHRIS CARRAZCO (INTERVIEW) He could work with film and the Air Force, well within his comfort zone. In
this section, we get a feel for his obsessive qualities, his need to have things his way. After establishing his character, he delves into the past with relish. Chris Carrazco summarizes the Blair Witch Legend. CUT TO: GRAINY HANDHELD SUPER-8 SHOTS OF BLAIR WITCH HISTORY POP ONTO THE SCREEN IN SYNCH WITH CARRAZCO’S TELLING OF THE STORY. THEY ARE OUT OF FOCUS, BUT VAGUELY DISCERNIBLE. INT. CARRAZCO INTERVIEW - DAY CHRIS CARRAZCO (INTERVIEW) He carelessly recounts the parts of the legend that he doesn’t find particularly interesting -- everything that doesn’t include Rustin Parr. He touches on many of the main occurrences of supernatural activity in Burkittsville, Maryland over the last two centuries. He begins with the founding of an old township in colonial times which was supposedly haunted by a witch. CUT TO: 2. GRAINY HANDHELD SUPER-8 SHOTS OF THE MAP OF BURKITTSVILLE. CUT TO: GRAINY HANDHELD SUPER-8 SHOTS OF THE WOODCUT OF THE WITCH TIED TO THE WHEELBARROW. CUT TO: GRAINY HANDHELD SUPER-8 SHOTS OF THE WITCH HOVERING IN THE AIR. INT. CARRAZCO INTERVIEW - DAY
CHRIS CARRAZCO (INTERVIEW) Chris Carrazco continues, talking about a girl dying in a stream in Burkittsville some years later (which was attributed to the witch though Carrazco knows not why). GRAINY HANDHELD SUPER-8 OF THE WOODCUT OF EILEEN TREACLE BEING PULLED INTO THE STREAM BY THE “GHOSTLY HAND.” INT. CARRAZCO INTERVIEW - DAY CHRIS CARRAZCO (INTERVIEW) He mentions a search party being butchered. CUT TO: GRAINY HANDHELD SUPER-8 OF THE SEARCH PARTY AT COFFIN ROCK. INT. CARRAZCO INTERVIEW - DAY CHRIS CARRAZCO (INTERVIEW) He concludes, touching on that girl who got lost in the woods and somehow some video of her lost turned up. GRAINY HANDHELD SUPER-8 OF STILL PICTURES OF HEATHER DONAHUE, MIKE WILLIAMS, AND JOSH LEONARD. CUT TO: JOSH’S FOOTAGE OF HEATHER TEARING ASS THROUGH THE WOODS. CUT TO: CUT TO: 3. INT. CARRAZCO INTERVIEW - DAY CHRIS CARRAZCO (INTERVIEW) Carrazco hungrily digs into the meat of the legend: The Rustin Parr story: GRAINY HANDHELD SUPER-8 SHOTS OF STILLS OF RUSTIN PARR AS A YOUNG CHILD WITH
HIS BROTHER, DALE. A FRAME GRAB OF THE RUSTIN PARR NEWSREEL. CUT TO: CUT TO: GRAINY HANDHELD SUPER-8 SHOTS FORM A QUICK-CUTTING MONTAGE OF THE SEVEN CHILDREN PARR MURDERED IN 1940. INT. CARRAZCO INTERVIEW - DAY CHRIS CARRAZCO (INTERVIEW) Carrazco tells us that Rustin Parr was a serial killer in the 1940’s who was executed for luring seven children into his house where he murdered them, cult- style. B/W REENACTMENT -- EXITING THE FRAME. B/W REENACTMENT -B/W REENACTMENT -- ARRAY OF WELL-WORN FRAME. B/W REENACTMENT -- NEVER GIVEN!” OVER CUT TO: A MAN’S HAND PICKING UP A KNIFE AND A MAN’S HAND MUSSES A CHILD’S HAIR CUT TO: CUT TO: A SMOOTH, WHITE SURFACE DISPLAYS A SMALL KNIVES. THE SHADOW OF A MAN OBSCURES THE CUT TO: A MAN IN A JAIL CELL SCREAMS “NEVER GIVEN! AND OVER.
CUT TO: 4. INT. CARRAZCO INTERVIEW - DAY CHRIS CARRAZCO (INTERVIEW) Chris Carrazco then takes a breath and angles the story toward his slant. He introduces Kyle Brody, the child who escaped from Rustin Parr, and ultimately testified against the hermit. GRAINY HANDHELD SUPER-8 OF THE PICTURE OF KYLE BRODY AS A BOY. INT. CARRAZCO INTERVIEW - DAY CHRIS CARRAZCO (INTERVIEW) It was Brody’s testimony that was used to convict Parr, who was hanged in 1941. GRAINY HANDHELD SUPER-8 OF BRODY’S PICTURE NOW CLOSER ON HIS EYES. IT IS THE SAME SHOT AS THE LAST ONE, ONLY PUNCHED IN CLOSER. THE CLOSEUP IS MORE GRAINY, MORE JERKY. CUT TO: GRAINY HANDHELD SUPER-8 OF THE SHOT OF PARR BEING HANGED. INT. CARRAZCO INTERVIEW - DAY CHRIS CARRAZCO (INTERVIEW) Parr forced him to face a wall while he cut up child after child. Some at the time believed that Brody may have been forced to participate in the grisly acts himself. B/W REENACTMENT -- A MAN’S HAND TAKES THE HAND OF A BOY, PLACING A KNIFE IN IT. INT. CARRAZCO INTERVIEW - DAY
CHRIS CARRAZCO (INTERVIEW) Kyle Brody committed suicide in a mental institution in 1971. B/W REENACTMENT -- A SHARPENED SPOON PRODS A MAN’S WRIST. CUT TO: CUT TO: CUT TO: CUT TO: 5. EXT. MARYLAND STATE MENTAL INSTITUTE- DAY The modern husk of the building that housed Kyle Brody in his last days has been rotting in the sun for two decades since it was closed in 1979. INT. CARRAZCO INTERVIEW - DAY CHRIS CARRAZCO (INTERVIEW) Chris Carrazco continues to spin the tale of Kyle Brody: After being released in the 1960’s, he lives on the streets where he is ultimately arrested for vagrancy and placed back in a mental institution. B/W REENACTMENT -- A FILTHY SHOE, FALLING APART, KICKS A CAN IN DESOLATE STREET. CUT TO: GRAINY HANDHELD SUPER-8 OF KYLE BRODY’S MUG SHOT FOR VAGRANCY. HIS HAIR IS OVERGROWN, HIS FACE IS COVERED WITH SORES. INT. CARRAZCO INTERVIEW - DAY CHRIS CARRAZCO (INTERVIEW) Carrazco continues: Some believed that he was Schizophrenic, others posit
that he suffered from trauma as a result of the Rustin Parr episode. EXT. ASYLUM - DAY CUT TO: 45 A film looking like the 1960’s begins. A wall is being 45 painted white. The shot zooms back to show a disturbed- looking man painting. He smiles at the camera. A black title card comes up reading “white enamel” in white. INT. CARRAZCO INTERVIEW - DAY CHRIS CARRAZCO (INTERVIEW) Chris Carrazco talks about how he found “White Enamel,” a documentary made inside a Maryland mental institution in the late 1960’s. (MORE) CUT TO: (CONTINUED) 6. CONTINUED: CHRIS CARRAZCO (INTERVIEW) (CONT'D) It wasn’t exactly a popular documentary, showing the inner workings of a mental institution and how the inmates were abused. B/W REENACTMENT -- A HAND PASSES DOWN ROWS AND ROWS OF FILM CANS, FINALLY LANDING ON ONE WITH A BARELY READABLE TITLE, “WHITE ENAMEL.” CUT TO: SEVERAL FRAME GRABS FROM “WHITE ENAMEL” SHOW GRAINY SHOTS OF INHUMANITY WITHIN THE MENTAL INSTITUTION. THE FINAL FRAME GRAB SHOWS THE SHADOWY FACE OF
AN OLDER KYLE BRODY LOOKING AWAY FROM THE CAMERA. INT. CARRAZCO INTERVIEW - DAY CHRIS CARRAZCO (INTERVIEW) Chris Carrazco enthusiastically talks about finding this film, which most had forgotten, and how it sheds new light on his favorite subject: Rustin Parr. The archivist is elated with his find... Maybe a bit too elated, if you know what I mean. Segment 1 Who was Rustin Parr? Length: 7 minutes INT: TORRINGTON INTERVIEW- DAY LEONARD TORRINGTON (INTERVIEW) Leonard Torrington, one of Parr’s distant cousins, introduces himself. He runs a children’s theatre in Flagstaff, New Mexico. SFX: KIDS PLAYING GRAINY HANDHELD SUPER-8 OF MORE SHOTS OF PARR’S LIFE: A PHOTO FROM HIS EARLY LIFE SHOWS HIM ALONE UNDER A LARGE TREE. LATER PHOTOS SHOW HIM DRESSED IN AN APRON TO WORK IN A RESTAURANT, AND AN OLDER SHOT OF HIM SHOWS HIM DOING CARPENTRY WORK. CUT TO: CUT TO: 7. INT. TORRINGTON INTERVIEW - DAY LEONARD TORRINGTON (INTERVIEW) Torrington’s family doesn’t like talking about this subject and he makes that
clear. The subject has become a sore spot for his family, including distant relatives like Torrington. He seems to take some kind of subtle glee, however, in having an interest in the man that brought shame to his family. None of his living relatives knew him, and generally accept the story of Parr as a killer. GRAINY HANDHELD SUPER-8 JITTERS AROUND AN ECU OF PARR’S EYES FROM HIS MUG SHOT. CUT TO: THE RUSTIN PARR NEWSREEL IS SLOWED DOWN AND PUNCHED IN TO SEE PARR IN SLOW GRAPHIC CLOSEUP. INT. TORRINGTON INTERVIEW - DAY LEONARD TORRINGTON (INTERVIEW) Leonard Torrington explains his exact relation to Parr through his genealogy. GRAINY HANDHELD SUPER-8 OF FIVE OR SIX OF TORRINGTON’S FAMILY MEMBERS AS HE TRACES HIS BLOOD BACK TO RUSTIN PARR. INT. TORRINGTON INTERVIEW - DAY LEONARD TORRINGTON (INTERVIEW) He offers a great deal of detail. He gives lip service to how he wishes that there was something that he could do for the grieving families of Parr’s victims -- but he cannot repress his enthusiasm for being in a notorious family. CUT TO: B/W REENACTMENT -- ECU OF HANDS GRIPPING A COFFIN RAIL. CUT TO: CUT TO: CUT TO:
8. B/W REENACTMENT -- ECU OF HANDS DESPERATELY CLUTCHING HAIR. CUT TO: B/W REENACTMENT -- A CROW CIRCLES LAZILY IN THE SKY. CUT TO: GRAINY HANDHELD SUPER-8 OF A FEW MORE PARR FAMILY PHOTOS, BEFORE PARR MOVED INTO THE WOODS. YOUNG RUSTIN UNSUCCESSFULLY FEIGNS HAPPINESS WHILE HE POSES WITH FAMILY MEMBERS. EXT. BURKITTSVILLE HISTORICAL SOCIETY - DAY A quiet street in Burkittsville seems to hide no evil whatsoever. INT. BURKITTSVILLE HISTORICAL SOCIETY - DAY Burkittsville local historian Bill Barnes putters around his kingdom - the historical society of Burkittsville. His story begins in VO. GRAINY HANDHELD SUPER-8 OF BARNES AS A KID. INT. BARNES INTERVIEW - DAY BILL BARNES (INTERVIEW) Bill Barnes continues to talk in great detail about being a child in Burkittsville during the abductions later attributed to Rustin Parr. He talks about knowing young Emily Hollands, who was the first child abducted, and his family’s relationship to the Hollands family. B/W REENACTMENT -- ECU OF A WOMAN'S FINGERNAILS SCRATCHING AGAINST THE WOOD SURFACE OF A CHILD’S COFFIN. INT. BARNES INTERVIEW - DAY BILL BARNES (INTERVIEW) Bill did not know Kyle Brody. CUT TO:
CUT TO: CUT TO: 9. B/W REENACTMENT -- A BLACK-ROBED HAND OF A PRIEST HOLDS THE GNARLED HAND OF RUSTIN PARR. INT. CAZALE INTERVIEW - DAY Dominick Cazale, the priest who heard Rustin Parr’s confession is a small wisp of a man, at least in his mid- 80’s. Dominick Cazale introduces himself. He talks briefly about his background, specifically about marching with Chavez in California after leaving the priesthood. CUT TO: GRAINY HANDHELD SUPER-8 OF A PHOTO OF CEASAR CHAVEZ MARCHING IN CALIFORNIA. INT. CAZALE INTERVIEW - DAY DOMINICK CAZALE (INTERVIEW) He evades questions at first. Though he left the clergy shortly after Parr’s execution, he doesn’t want to reveal what Parr said. That, he tells us, is between the dead man and God. GRAINY HANDHELD SUPER-8 SHOT OF A 1941 NEWSPAPER PICTURE TAKEN OF PARR AND A YOUNG DOMINICK CAZALE. CUT TO: B/W REENACTMENT -- THE BLACK-ROBED HAND OF A PRIEST CROSSES THE FOREHEAD OF PARR. CUT TO: GRAINY HANDHELD SUPER-8 SHOT OF THE NEWSPAPER PHOTO OF THE CROWD THAT
GATHERED FOR PARR’S HANGING. INT. CAZALE INTERVIEW - DAY DOMINICK CAZALE (INTERVIEW) Over the course of his interview, the interviewer gets the very old ex-priest to break down and give more information than ever before. (MORE) CUT TO: (CONTINUED) 10. CONTINUED: DOMINICK CAZALE (INTERVIEW) (CONT'D) He resists at first, but ultimately breaks down and starts to talk about Parr, resenting the world that made Parr what he was (even inferring that the interviewer is a current part of that problem). CUT TO: GRAINY HANDHELD SUPER-8 SHOWING YOUNG CAZALE DEEP IN PRAYER OVER AN UNSEEN CRIMINAL. INT. JANINE BRODY INTERVIEW - DAY JANINE BRODY (INTERVIEW) Janine Brody, 62, introduces herself. She was Kyle Brody’s sister. She was his only family contact late in life. One of her early memories was being in the courtroom when Kyle testified against Rustin Parr. Only two or three years old at the time, her memories are a mishmash of details. CUT TO: B/W REENACTMENT -- A GAVEL SLAMS ON A HARD MARBLE SURFACE.
B/W REENACTMENT -- FINGERS POINT THIS WAY AND THAT. B/W REENACTMENT -- THE EYES OF JURY MEMBERS GLARE. INT. CHRIS CARRAZCO’S HOUSE - DAY CUT TO: CUT TO: Chris Carrazco enthusiastically leads the camera crew through his house. It’s fairly cluttered. He pulls out a box of Rustin Parr memorabilia. We see detailed transcripts from the Rustin Parr trial made at that time. CUT TO: ECU OF THE TRANSCRIPTS. INT. CHRIS CARRAZCO’S HOUSE - DAY He shows us through his storehouse of Rustin Parr pictures, T- shirts, framed newspaper headlines, etc. (CONTINUED) 11. CONTINUED: He’s sure to tell us when one of his artifacts is a one of a kind. Chris Carrazco shows us framed photos of Parr as a child. He tells us the story about his deceased twin brother, Dale. CUT TO: GRAINY HANDHELD SUPER-8 SHOT OF SOME OF THE PHOTOS (STILL IN CARRAZCO’S FRAMES) OF TWINS RUSTIN AND DALE PARR, AROUND THE AGE OF 8. CHRIS CARRAZCO (INTERVIEW)
Dale supposedly died in the Black Hills forest in a hunting accident at the age of nine. Chris Carrazco reads a letter that Dale wrote to Rustin while he was away from home. CHRIS CARRAZCO (CONT’D) (reading) Dear Rustin: I’m sorry to hear you’re still sick. It’s fun to be up here in the country, in the woods. Dad hates it when I go too far from the campsite, but I like the woods a lot. I hope you get better in time to come out here, but if not, we’ll go out next year. B/W REENACTMENT -- A RIFLE FIRES. A BOY’S VOICE IS HEARD TO SCREAM. INT. CHRIS CARRAZCO’S HOUSE - DAY CHRIS CARRAZCO (INTERVIEW) Chris Carrazco laments that there are no known photos of Rustin Parr for the last thirty years of his life (like Christ, he tells us). If we know anyone who has any, he’d pay handsomely for them. GRAINY HANDHELD SUPER-8 OF RUSTIN PARR’S HOUSE AFTER HE’S ARRESTED. CUT TO: GRAINY HANDHELD SUPER-8 SHOTS OF THE GRAVES OF THE CHILDREN PARR SUPPOSEDLY KILLED. CUT TO: CUT TO: 12. INT. CARRAZCO INTERVIEW - DAY CHRIS CARRAZCO (INTERVIEW) Chris Carrazco tells us about Transitus Fluvii, the old cipher of witches, and how Parr may have known about it.
GRAINY HANDHELD SUPER-8 SHOTS OF THE LANGUAGES WRITTEN ON PARR’S WALLS IN HIS HOUSE. WE PUNCH WAY IN ON THESE TO BRING OUT THE GRAIN OF THE SUPER-8. INT. CARRAZCO INTERVIEW - DAY CHRIS CARRAZCO (INTERVIEW) Lastly, he tells us about the chain of ownership of the property where Heather Donahue’s film bags were discovered, linking them back, once again, to Parr. The house was originally owned by Eldon Sykes, Rustin Parr’s grandfather. There is no new ownership record. GRAINY HANDHELD SUPER-8 SHOTS UNCOVERED AT THE RUINS OF THE GRAINY HANDHELD SUPER-8 SHOTS ELDON SYKES, CONSTANCE BLAIR, Segment 2 Kyle Brody’s Life Before Parr Length: 7 minutes INT. JANINE BRODY INTERVIEW of that property on OF HEATHER DONAHUE’S BAGS BEING OLD HOUSE. CUT TO: OF OLD PHOTOS AND PAINTINGS OF AND WILLIAM SYKES. DAY JANINE BRODY (INTERVIEW) Janine Brody talks about Kyle as a child. He was never normal. After Kyle was incarcerated, her parents told Janine about Kyle’s early behavior. She tells us about his obsessive hatred of animals, and his torture of frogs specifically.
CUT TO: CUT TO: CUT TO: 13. GRAINY HANDHELD SUPER-8 SHOTS OF PHOTOGRAPHS OF KYLE BRODY AS A CHILD. CUT TO: GRAINY HANDHELD SUPER-8 SHOTS OF THE SAME PHOTOS OF KYLE BRODY, ONLY THIS TIME PUNCHED WAY IN ON HIS EYES. THE SUPER- 8 GRAIN SWIMS. CUT TO: B/W REENACTMENT -- ECU SHOTS OF A BOY’S HANDS PLAYING WITH FROGS. IT IS RAINING AND WATER SPRINKLES OVER THE LEAPING AMPHIBIANS. INT. JANINE BRODY INTERVIEW - DAY Photographs of Kyle Brody as a child paint him as a normal child as Janine’s narrative exposes him as a young monster. JANINE BRODY (INTERVIEW) She talks about Kyle’s hobby of cutting the legs off of frogs while they were still alive. This is before Kyle was abducted by Parr. B/W REENACTMENT -- LAZY SHOTS OF THE MARYLAND WOODS FLOAT BY. THE HILLS ROLL OFF INTO THE DISTANCE, AND THERE IS AN AIR OF PEACE. B/W REENACTMENT -- STREAMS AND RIVERS CUT THROUGH THE MARYLAND LANDSCAPE. INT. JANINE BRODY INTERVIEW - DAY JANINE BRODY (INTERVIEW) He had rebelled against his parents, even at his early age. His favorite book was Huck Finn, and he idolized how Huck had betrayed his abusive father.
He spent much of his free time in the woods, avoiding human contact. CUT TO: CUT TO: 14. INT. CARRAZCO INTERVIEW - DAY CHRIS CARRAZCO (INTERVIEW) Chris Carrazco introduces Kyle Brody from his point of view. GRAINY HANDHELD SUPER-8 SHOTS OF DIFFERENT PHOTOS OF KYLE BRODY AS A CHILD. THE INNOCENT-LOOKING PHOTOS HAVE A MORE SINISTER EDGE IN LIGHT OF WHAT WE KNOW ABOUT HIM. INT. CARRAZCO INTERVIEW - DAY CHRIS CARRAZCO (INTERVIEW) Carrazco tells us that some of his other behavior can be used to lead researchers to believe that Brody himself was either sociopathic or growing into some kind of mental/emotional pathology from an early age. When he disappeared, his parents thought he’d run away. HOME 16MM FOOTAGE (STOCK FOOTAGE) SHOWS A CROWD OF PEOPLE GATHERED AROUND THE MARYLAND COURTHOUSE. THE ACCUSED IS BROUGHT THROUGH AN ANGRY MOB INTO THE COURTHOUSE. INT. CARRAZCO INTERVIEW - DAY CHRIS CARRAZCO (INTERVIEW) Chris Carrazco analyzes bits of Kyle Brody’s testimony. GRAINY HANDHELD SUPER-8 OF THE TRANSCRIPT OF KYLE BRODY’S TESTIMONY. CUT TO:
B/W REENACTMENT -- A BOY’S RIGHT HAND IS PLACED ON A BIBLE WHILE HIS LEFT HAND IS RAISED IN THE AIR. CUT TO: B/W REENACTMENT -- SHOTS OF THE JURY MEMBERS’ EYES AS THEY WATCH THE LITTLE BOY TESTIFY. CUT TO: CUT TO: 15. INT. CARRAZCO INTERVIEW - DAY CHRIS CARRAZCO (INTERVIEW) Carrazco finds discrepancies between testimony and real events, and within Kyle’s testimony. For instance: Brody claimed to have witnessed the abduction of Emily Hollands, even describing it in some detail. Brody was the second child to be abducted, after Hollands. CUT TO: GRAINY HANDHELD SUPER-8 SHOT OF A PHOTO OF EMILY HOLLANDS. CUT TO: B/W REENACTMENT -- RUSTIN PARR’S GNARLED HAND COVERS THE MOUTH OF A YOUNG GIRL AS SHE TRIES TO SCREAM. INT. CARRAZCO INTERVIEW - DAY CHRIS CARRAZCO (INTERVIEW) Yet he told the story in a great deal of detail. Sketches of Brody in the trial mix with courtroom reenactments that begin to unravel the fabric of what is generally believed to be an open-and-shut case. INT. FRASIER INTERVIEW - DAY
ALVIN FRASIER (INTERVIEW) Dr. Alvin Frasier, 57, who treated Brody as a resident physician before he became a psychiatrist hypothesizes that Brody may have suffered some kind of domestic abuse, though not enough to make a sane child commit such grisly acts. GRAINY HANDHELD SUPER-8 FOOTAGE OF A FEW FAMILY PORTRAITS OF THE BRODY FAMILY. CUT TO: B/W REENACTMENT -- ECU OF A CHILD’S EYES LOOKING UPWARD IN TERROR. CUT TO: CUT TO: 16. B/W REENACTMENT -- A CHILD’S HANDS PLAY WITH FROGS AS WATER SHOWERS DOWN. INT. FRASIER INTERVIEW - DAY ALVIN FRASIER (INTERVIEW) Brody had confided in Dr. Frasier many details of being beaten by his father. Dr. Frasier believes that these memories may have been false, but doubts that theory seriously. Brody was somewhat manipulative and possessed great charisma at times, so Dr. Frasier has some doubts as to the veracity of Brody’s claims. GRAINY HANDHELD SUPER-8 SHOTS OF BRODY’S VARIOUS MUG SHOTS INTERMINGLE WITH SHOTS TAKEN OF HIM FOR IDENTIFICATION WITHIN MENTAL INSTITUTIONS. HIS AGE RANGES FROM TWENTIES TO FORTIES. INT. CARRAZCO INTERVIEW - DAY CHRIS CARRAZCO (INTERVIEW) Chris Carrazco talks about Brody at great length, explaining his fear of
authority, his inability to take care of himself, and the fact that, suspiciously, Kyle Brody knew all of the children who were “murdered” by Parr. GRAINY HANDHELD SUPER-8 SHOTS OF THE ABDUCTED CHILDREN FLY PAST. CUT TO: B/W REENACTMENT -- A YOUNG BOY’S HAND TAKES A KNIFE OFF OF A CLEAN, WHITE SURFACE. CUT TO: B/W REENACTMENT -- A YOUNG BOY’S HAND METHODICALLY GUIDES A KNIFE HANDLE INTO THE GNARLED HAND OF RUSTIN PARR. INT. CARRAZCO INTERVIEW - DAY CHRIS CARRAZCO (INTERVIEW) The archivist doesn’t let us see the adult Kyle Brody yet. CUT TO: CUT TO: 17. INT. JANINE BRODY INTERVIEW - DAY JANINE BRODY (INTERVIEW) Brody’s sister breaks down on-camera and admits that their home life was abusive. She upholds young Kyle’s innocence and despises Carrazco’s unwanted probe into Kyle’s life. Will he ever rest in peace? GRAINY HANDHELD SUPER-8 SHOTS OF PHOTOS OF THE YOUNG KYLE BRODY, LOOKING LIKE A WELL-ADJUSTED KID. Segment 3
A Life of Madness Length: 8 minutes INT. CARRAZCO INTERVIEW - DAY CHRIS CARRAZCO (INTERVIEW) Chris Carrazco, still in the guise of a Parr fanatic talks about Brody and the mental illness that set in after the trial. He details Brody’s first arrest at the age of 22, Brody’s repeated releases from institutions and subsequent arrests for vagrancy, panhandling, and disturbing the peace. GRAINY HANDHELD SUPER-8 SHOT OF A HEADLINE FROM THE FREDERICK POST (CIRCA 1945) READING “YOUNG VICTIM PUT IN INSTITUTION.” CUT TO: B/W REENACTMENT -- A YOUNG MAN’S HAND IS FORCED INTO THE SLEEVE OF A STRAIGHT JACKET. CUT TO: GRAINY HANDHELD SUPER-8 SHOT OF A HEADLINE FROM THE BALTIMORE SUN (CIRCA 1953) READING “LIVING PARR VICTIM LEADING DIFFICULT LIFE.” CUT TO: CUT TO: CUT TO: 18. B/W REENACTMENT -- A YOUNG MAN’S ARMS, ALREADY IN A STRAIGHT JACKET, ARE CROSSED IN FRONT OF HIS BODY BY WHITE JACKETED SOCIAL WORKERS. SOCIAL WORKERS. HE WRITHES, MAKING IT DIFFICULT FOR THE CUT TO:
CUT TO: B/W REENACTMENT -- THE STRAPS FROM A STRAIGHT JACKET ARE TIGHTENED DOWN. CUT TO: B/W REENACTMENT -- THE EYES OF THE YOUNG MADMAN DART AS HE IS PLACED IN THE STRAIGHT JACKET. INT. DR. DAVID HULL/DR. HARLAN MILES INTERVIEW - DAY Dr. Hull (55) and Dr. Miles (62) introduce themselves. Though they sit next to one and other in the interview, they don’t seem to like each other very much. They bicker on camera about details of Brody’s case. GRAINY HANDHELD WASHINGTON POST ARRESTED FOR VAGRANCY.” SUPER-8 SHOT OF A HEADLINE FROM THE (CIRCA 1962) READING “ILLUSTRIOUS MAN DR. HULL/DR. MILES (INTERVIEW) They don’t tell us much: Brody was treated his entire life for mental problems. They do not believe that these problems were necessarily the result of childhood trauma, but it’s hard for them to say for sure. B/W REENACTMENT -- MAN (BRODY) SEATED IN A METAL FOLDING CHAIR IS COUNSELED BY A STANDING FIGURE, FUZZY IN THE FOREGROUND. THE YOUNG MAN AVERTS HIS EYES. INT. JANINE BRODY INTERVIEW - DAY Janine Brody tells us about caring for Kyle within the institution. She also talks about Chris Carrazco, and how despicable she believes him to be for going after her brother. CUT TO: CUT TO: 19. SHOTS FROM THE CHRIS CARRAZCO INTERVIEW SHOW HIM LAUGHING, STARING OFF THE
SCREEN CONFUSED, OR ADJUSTING HIS MICROPHONE. CUT TO: GRAINY HANDHELD SUPER-8 SHOTS OF PHOTOS OF JANINE VISITING KYLE IN THE INSTITUTION. SHE CARES FOR HIM. INT. CARRAZCO INTERVIEW - DAY CHRIS CARRAZCO (INTERVIEW) Chris Carrazco has nothing to say about his detractors yet. Instead, he tantalizes us with our first unedited frames of “White Enamel.” INT. ASYLUM COMMON ROOM - DAY CUT TO: In B/W film obviously shot in the late 1960’s, ten or so inmates -- men of varying ages, some wearing no shirts, are unenthusiastically herded around by two older guards. Some of the inmates look right into the camera or avoid the camera. INT. ASYLUM STAIRWELL - DAY We follow four guards up a stairwell as they escort an inmate into a brightly lit common room and force him to sit. CUT TO: B/W REENACTMENT -- ECU OF A YOUNG MAN (BRODY) SCREAMS IN MADNESS OR PAIN, IT IS UNCLEAR WHICH. CUT TO: GRAINY HANDHELD SUPER-8 SHOTS OF PICTURES OF KYLE BRODY TAKEN BY INSTITUTION OFFICIALS. HE HAS A BLOODY NOSE, A BLACK EYE, ETC. INT. ASYLUM HALLWAY - DAY The camera follows the sound of screaming into a door with a window. A figure
convulses in front of a window. He is Kyle Brody, 47. He turns and looks at the camera. That frame is grabbed as Brody’s doctors talk in VO. 20. INT. DR. DAVID HULL/DR. HARLAN MILES INTERVIEW - DAY DR. HULL/DR. MILES (INTERVIEW) Dr. Hull and Dr. Miles talk about Brody’s life of madness behind mental institution walls. They have a few stories of Brody acting out badly, about Brody refusing to eat and being force-fed, but nothing that could really lead anyone to believe anything sinister about Brody. They state clearly that they do not believe Kyle Brody killed anyone in his life. He was doubtlessly violent, but only as a defensive measure. They have met and spoken with Chris Carrazco and they regard him and his theory with antipathy. FRAME GRAB OF “WHITE ENAMEL” SHOWS BRODY, NAKED, LOOKING AT THE CAMERA AS HE COVERS HIMSELF WITH HIS HANDS. CUT TO: FRAME GRAB OF “WHITE ENAMEL” SHOWS TWO GUARDS BATHING AN INMATE IN A BATHTUB. CUT TO: FRAME GRAB OF “WHITE ENAMEL” SHOWING A GUARD POSSIBLY SINGING INTO AN OLD MICROPHONE. CUT TO: FRAME GRAB OF “WHITE ENAMEL” SHOWING KYLE BRODY, ONCE AGAIN STARING INTO THE CAMERA AS HE EATS FROM A CRAPPY PLASTIC TRAY. HIS MOUTH GAPES OPEN, GIVING US A GLIMPSE OF HIS LUNCH. Segment 4 “White Enamel” Length: 8 minutes
INT. ASYLUM LUNCHROOM - DAY We see Kyle Brody, as well as several others, inside the institution in 1967. CUT TO: 21. EXT. ASYLUM COURTYARD - DAY Branwall, one of the inmates in his early 40’s, talks to the camera about his political beliefs regarding President Nixon. He seems fairly coherent at first, but gradually begins to obsessively try to get the cameraman’s attention. CUT TO: EXT. ASYLUM COURTYARD - DAY Farley, a shirtless man in his 70’s yells at the camera. FARLEY My room is clean! Leave me alone! I... Go away! My room is clean! He screams loud enough to lure guards who try to calm him. GUARD C’mon, Farley. The guard looks at the camera with distrust. INT. ASYLUM LUNCHROOM - DAY Ted, an inmate in his early 30’s talks directly to someone just off camera. TED They keep me here and I’m well. They keep me here and I didn’t do anything. I just want to go back to prison to the penitentiary. I just want to go back. I can live with that and I want to be left alone... Hooper, the filmmaker asks Ted a question off-camera.
HOOPER (O.S.) How long have you been here? TED I’ve been here I’ve been here two years. They won’t let me out. Look at me... I’m alright. I’m not, you know, crazy or something... Two prison guards enter the room and leer at the camera. They take Ted away. 22. INT. ASYLUM HALLWAY - DAY In a part of the same sequence where Kyle Brody first looked into the camera, the cell door opens and the camera walks into the cell. INT. ASYLUM CELL - DAY The cell is a large empty room with a simple bench in front of a window. Kyle Brody, naked, sits on the bench looking out the window. HOOPER (O.S.) How ya doing? Kyle Brody ignores the camera. He won’t talk, at first. HOOPER (CONT’D) How long have you been in here? Brody does not answer. The camera moves in closer. Kyle begins to act out, scream, and convulse. KYLE BRODY Never given! Never given! Ummm... Get out! Never given! Never given! Never given! Etcetera! A guard comes in and takes the cameraman away. He tries to keep the camera
focused on Kyle Brody as the door shuts. INT. HOOPER INTERVIEW - DAY David Hooper, an intellectual man in his early 50’s. He is the director of “White Enamel.” DAVID HOOPER (INTERVIEW) He claims to have some b-roll of Kyle Brody not included in the original documentary. He left it out for the sake of timing when it ran on PBS. “White Enamel” was never meant to be a documentary on Kyle Brody, but about the treatment of mental patients in the “deep dark institutions of the world.” This film was commissioned by a private company in Europe. 23. EXT. ASYLUM - DAY The opening shot of the documentary plays again, showing a mental patient painting a stained (bloodstained?) wall white. The patient smiles to the camera. The picture cuts to a white title card on black reading “White Enamel” in blocky letters. INT. HOOPER INTERVIEW - DAY DAVID HOOPER (INTERVIEW) Hooper goes on to mention that there’s more footage, but in the passing years he has no idea where the negative or original sound recordings could be. He upholds Chris Carrazco’s credibility, defending the man as being “on a mission like me.” He feels that anyone who would detract from Carrazco’s mission is “anti- truth.” INT. CARRAZCO INTERVIEW - DAY
CHRIS CARRAZCO (INTERVIEW) Chris Carrazco drips over the significance of Hooper’s recovered footage. In his mind, this footage, plus the “Never Given” quote pretty much make the case against Brody open and shut. He wants Rustin Parr to finally rest in peace, and once he proves Brody killed the seven Burkittsville children, the name of Rustin Parr will finally be free of its stigma. FRAME GRABS FROM THE CURSE NEWSREEL FOOTAGE OF PARR SHOOT PAST, PAINTING HIM AS A SAD AND CONFUSED MAN. INT. ASYLUM WORKROOM - DAY There is no sound married to the film, except static as the film goes by. This is the unused footage, very scratched up and not archived well (as the Chris Carrazco is happy to tell us). Kyle Brody furiously draws with a crayon. The camera zooms in. CUT TO: (CONTINUED) 24. CONTINUED: Some of what he draws, seen through the scratched-up film and from an uncomfortable angle, seems to be similar to the symbols seen in Parr’s house. FREEZE FRAME ON THE CIPHERS WRITTEN ON PARR’S WALLS. CUT TO: CUT TO: FRAME GRAB OF BRODY DRAWING IN CRAYON. WE MOVE IN ON THE IMAGE HE DRAWS. The voice of Kendra Fineman begins to analyze the photograph. INT. FINEMAN
INTERVIEW - DAY Kendra Fineman, a professor of metaphysics in her early 40’s, claims that Brody is drawing a character in “Transitus Fluvii,” an old cipher used by “witches,” which was discovered written on the walls in Parr’s house. CUT TO: IMAGES OF TRANSITUS FLUVII Images of the language are shown side by side with what Brody appears to be drawing. KENDRA FINEMAN (INTERVIEW) Kendra walks us through her explanation in VO. INT. DIDONNA INTERVIEW - DAY Sarah Didonna, a photo analyst in her mid-30’s picks the photo argument apart. SARAH DIDONNA (INTERVIEW) She claims that there is no way to be sure of what Brody is writing. INT. CARRAZCO INTERVIEW - DAY CHRIS CARRAZCO (INTERVIEW) Chris Carrazco admits that there’s no true way to know what Kyle Brody is writing. (MORE) (CONTINUED) 25. CONTINUED:
CHRIS CARRAZCO (INTERVIEW) (CONT'D) Even if Brody’s not writing in Transitus Fluvii, Carrazco still thinks there is enough compelling evidence to unearth the case, and try to learn more about it. He believes that under tight scrutiny, the Parr case will fall apart. Segment 5 Did Brody kill the Burkittsville 7? Length: 8 minutes INT. CLAUDIA VAN MUELLER INTERVIEW - DAY Claudia Van Mueller, a film historian in her 50’s, talks about “White Enamel.” CLAUDIA VAN MUELLER (INTERVIEW) Though unappreciated at its time, this film has become a staple for film schools to show in documentary classes. With the years, it doesn’t fail to shock people, and once someone sees it, they won’t soon forget it. INT. ASYLUM CLINIC - DAY CUT TO: Over Van Mueller’s VO, a clip from “White Enamel” shows a guard holding a funnel high while he pours a liquid into it. The camera tilts down the tube leading out of the funnel to see that it leads into the nose of a thin naked inmate who’s face is covered with a towel. The man kicks as he does not want to be force-fed. One of the four guards holding the man’s hands and feet down smiles at the camera. EXT. ASYLUM COURTYARD - DAY Kyle Brody walks around in an urgent circle while other inmates stand or sit around in the grassy courtyard. SHOCK CUT TO:
GRAINY HANDHELD SUPER-8 SHOT OF KYLE BRODY’S AUTOPSY PHOTOGRAPH. HE LIES ON A SLAB, HIS WRISTS GORED OUT BY HIS OWN HAND. INT. ASYLUM CELL - DAY Marcus, a young black man talks to the camera. He is shirtless and shoeless. (CONTINUED) 26. CONTINUED: MARCUS My parents, man, they wanted my teeth. They wanted to take my clothes and make them all too small for me. Why’d they want to do that? Man, when I get out of here, it’s gonna be a whole new story. We’re gonna flip the script, make some changes. I can’t stop it! They tried to take my teeth! Dammit! INT. ASYLUM CELL - NIGHT Brody looks out the window again. There is barely enough light with which to see him. The sound of a television blares in the background. David Hooper’s VO talks about Brody. CUT TO: B/W REENACTMENT -- A YOUNG MAN (BRODY) IS HELD DOWN, STRUGGLING, WHILE A DOWEL ROD IS PLACED IN HIS MOUTH. HE FIGHTS HARD. INT. HOOPER INTERVIEW - DAY DAVID HOOPER (INTERVIEW) David Hooper talks a bit about Brody, citing him as one of the most disturbing people he met inside the institution. While editing the film, he would often dream about Brody.
He doesn’t know if the film he made adequately shows Brody, how lost he was. David Hooper goes on to say that has no familiarity with Brody’s story or the Blair Witch legend. GRAINY HANDHELD SUPER-8 SHOTS OF HOOPER DIRECTING THROUGH THE AGES. WE START WITH SHOTS OF HIM SHOOTING ON BOLEXES AND ECLAIRS, ENDING WITH HIM SHOOTING ON A CANON XL-1. CUT TO: 27. INT. CARRAZCO INTERVIEW - DAY CHRIS CARRAZCO (INTERVIEW) Chris Carrazco talks about the significance of the phrase “Never Given,” words that Parr said behind prison walls when he was first incarcerated. Parr screamed those words all night, every night while authorities figured out what to do with him. Nobody knows what he might have meant. B/W REENACTMENT -- RUSTIN PARR TOSSES AND TURNS IN A PRISON COT. HE POUNDS HIS FISTS AGAINST THE CEMENT WALL AND THE STALE MATTRESS. CUT TO: GRAINY HANDHELD SUPER-8 SHOTS OF FRAME GRABS OF PARR’S NEWSREEL. HE SEEMS TO BE SMILING AS GUARDS TAKE HIM AWAY. CUT TO: B/W REENACTMENT -- A NOOSE IS PLACED AROUND PARR’S NECK. INT. CARRAZCO INTERVIEW - DAY CHRIS CARRAZCO (INTERVIEW) Carrazco explains that Brody could not have known anything about what Parr might have said, unless it was told to him while he was a “captive” of Parr’s. He theorizes that Parr was repeating something Brody told him.
INT. DR. DAVID HULL/DR. HARLAN MILES INTERVIEW - DAY DR. HULL/DR. MILES (INTERVIEW) Brody’s doctors argue about how much of the Parr case became public record, and that he could have heard about much of it from other inmates, newspapers, etc. Dr. Miles truly believes, based on Brody’s illness (believed to be Schizophrenia that truly set in Brody’s twenties) that he did not commit any crime. CUT TO: (CONTINUED) 28. CONTINUED: Dr. Hull can find it in his mind to believe that Brody could have committed crimes, but only crimes dictated by his illness like the ones he committed while homeless -- vagrancy, panhandling, trespassing, etc. INT. CAZALE INTERVIEW - DAY DOMINICK CAZALE (INTERVIEW) Dominick Cazale, the Priest who took Parr’s confession breaks down on camera, and tells us that he believes that Parr was a gentle creature, incapable of killing another person. He finally recounts that in his final confession Parr told him that he didn’t kill anybody, that he was innocent. The old man goes to the point of tears and apologizes to the long-dead Parr for breaking his confidence. GRAINY HANDHELD SUPER-8 SHOT OF A PHOTO OF PARR AFTER THE HANGING. CUT TO: B/W REENACTMENT -- THE HAND OF A CHILD PLACES A KNIFE ON A CLEAN WHITE
SURFACE, WIPING A TRAIL OF BLOOD ON THE SURFACE. CUT TO: GRAINY HANDHELD SUPER-8 SHOT OF A PHOTO OF RUSTIN PARR AS A CHILD. CUT TO: B/W REENACTMENT -- RUSTIN PARR’S HAND TAKES THE HAND OF A CHILD. INT. CARRAZCO INTERVIEW - DAY CHRIS CARRAZCO (INTERVIEW) Chris Carrazco once again insists that his case against Kyle Brody is a valid one. He seems to be responding to some criticism that the interviewer has fired at him. CUT TO: 29. INT. JANINE BRODY INTERVIEW - DAY JANINE BRODY (INTERVIEW) Janine Brody insists that she knew her brother as well as anyone could, and that there was no chance that Kyle could have hurt a fly. INT. CAZALE INTERVIEW - DAY DOMINICK CAZALE (INTERVIEW) Dominick Cazale, defeated, talks about how he doesn’t know if Kyle Brody could have killed, having never met the man. He believes with all his heart that Rustin Parr did not kill anyone. B/W REENACTMENT -- INTIMATE SHOT OF KYLE BRODY ALONE IN BED, CONVULSING. CUT TO: B/W REENACTMENT -- ECU OF RUSTIN PARR POUNDING HIS BED. The words “Never Given! Never Given!” echo, and it is unclear who may be
saying them. INT. DR. DAVID HULL/DR. HARLAN MILES INTERVIEW - DAY DR. HULL/DR. MILES (INTERVIEW) The two doctors banter back and forth about Brody, theorizing this way and that as to if he would have had the strength as a child to commit such an act, could he have worked for Parr, with Parr, or if he could have somehow controlled Parr. INT. CARRAZCO INTERVIEW - DAY CHRIS CARRAZCO (INTERVIEW) Carrazco complains about how his obsession with Rustin Parr has had him labeled as a “psycho.” He doesn’t see the harm in fandom of any kind, even for notorious killers. Furthermore, he explains, his fandom might ultimately lead us to a new truth, which can only benefit society. CUT TO: 30. INT. CAZALE INTERVIEW - DAY DOMINICK CAZALE (INTERVIEW) Dominick Cazale wonders aloud how he could ever be forgiven for such an act of betrayal as he has just committed. B/W REENACTMENT -- THE YOUNG HAND OF A PRIEST BLESSES THE FOREHEAD OF THE KILLER, RUSTIN PARR. HE PLACES A HOLY WAFER IN PARR’S MOUTH. INT. HOOPER INTERVIEW - DAY DAVID HOOPER (INTERVIEW) David Hooper talks about how making “White Enamel” taught him many things
about making documentary films. Seeing insane people in their own environment gave him an enormous insight into his own behavior. B/W REENACTMENT -- 16MM FILM IS HELD UP TO THE LIGHT. CUT TO: CUT TO: B/W REENACTMENT -- A FLATBED EDITOR SCREEN SHOWS BLACK AND WHITE FRAMES FROM WITHIN THE ASYLUM. INT. HOOPER INTERVIEW - DAY DAVID HOOPER (INTERVIEW) Was Kyle Brody a killer? He’s not a psychologist and will not speculate. INT. DIDONNA INTERVIEW - DAY SARAH DIDONNA (INTERVIEW) Sarah Didonna reiterates how there is no photographic evidence that Brody could have known letters of Transitus Fluvii, and furthermore that even if he did he must have seen them as a child, so this argument proves nothing. CUT TO: 31. INT. FINEMAN INTERVIEW - DAY KENDRA FINEMAN (INTERVIEW) Kendra Fineman details how Brody seems to be using Transitus Fluvii as it was meant to be used. Brody, who had no background in metaphysics, seemed to have a decent strangle hold on cabalism. B/W REENACTMENT -- A YOUNG MAN’S HAND FEVERISHLY DRAWS THE CIPHERS OF TRANSITUS FLUVII.
CUT TO: GRAINY HANDHELD SUPER-8 SHOT OF THE TRANSITUS FLUVII LANGUAGE NEXT TO THE HEBREW LANGUAGE. INT. TORRINGTON INTERVIEW - DAY LEONARD TORRINGTON (INTERVIEW) Leonard Torrington talks about meeting a member of the other side of Parr’s family, a woman named Angie Mendon. They were in college in California, and she overheard him telling a friend about his relation to Parr. She and he immediately bonded, and eventually ended up dating. INT. JANINE BRODY INTERVIEW - DAY JANINE BRODY (INTERVIEW) Janine Brody mentions how she wished Carrazco would let the dead rest, and leave her brother alone. INT. CARRAZCO INTERVIEW - DAY CHRIS CARRAZCO (INTERVIEW) Chris Carrazco talks about searching for the truth in general, and how any search for the truth whatsoever is beneficial. Conclusion Length: 3 minutes INT. CHRIS CARRAZCO’S HOUSE - DAY CHRIS CARRAZCO (INTERVIEW) Chris Carrazco, once again at his home, shows us a few more bits of his personal “Parr” stash. (MORE) CUT TO:
(CONTINUED) 32. CONTINUED: CHRIS CARRAZCO (INTERVIEW) (CONT'D) He has the actual rope used to hang Parr. He has one of the only known copies of the “Parr Newsreel.” He talks about his love of old film, showing us his collection of super-8 cameras. B/W REENACTMENT -- A PIECE OF SUPER-8 FILM IS STRETCHED FROM ONE END OF A SUPER-8 EDITOR TO THE OTHER. INT. CARRAZCO INTERVIEW - DAY CHRIS CARRAZCO (INTERVIEW) He returns to the subject of Parr and Brody, recounting the 1940 killings as he has reconstructed them. FAST-CUTTING MONTAGE OF IMAGES OF BRODY AND PARR FALL TOGETHER SO QUICKLY THEY SEEM TO TELL THE SAME STORY: CUT TO: CUT TO: B/W REENACTMENT -- PARR IN PRISON. B/W REENACTMENT -- BRODY IN PRISON. SHOCK SHOCK GRAINY HANDHELD SUPER-8 SHOTS OF MUG SHOTS OF KYLE BRODY. SHOCK CUT TO: GRAINY HANDHELD SUPER-8 SHOTS OF MUG SHOTS OF PARR.
SHOCK CUT TO: GRAINY HANDHELD SUPER-8 SHOTS OF PARR AS A CHILD. SHOCK CUT TO: GRAINY HANDHELD SUPER-8 SHOTS OF KYLE BRODY AS A CHILD. SHOCK CUT TO: GRAINY HANDHELD SUPER-8 SHOTS OF ALL THE IMAGES OF THE CHILDREN KILLED IN BURKITTSVILLE IN 1940. SHOCK CUT TO: CUT TO: CUT TO: 33. PARR HANGS. SHOCK CUT TO: GRAINY HANDHELD SUPER-8 SHOT OF PARR’S AUTOPSY PHOTO. INT. CARRAZCO INTERVIEW - DAY CHRIS CARRAZCO (INTERVIEW) Chris Carrazco restates his conclusion: Brody was responsible. INT. ASYLUM CELL - NIGHT We see the last bit of footage of Brody in the institution -- alone. Confused. Naked. Fearful of the camera. INT. JANINE BRODY INTERVIEW - DAY JANINE BRODY (INTERVIEW) Janine Brody pleads for understanding on the part of her brother. She once again curses the name of Chris Carrazco. RUSTIN PARR NEWSREEL FOOTAGE GOES BY VERY SLOWLY.
CUT TO: CUT TO: GRAINY HANDHELD SUPER-8 SHOT OF KYLE BRODY AS A CHILD. TRANSCRIPT OF KYLE BRODY’S TESTIMONY AGAINST PARR. CUT TO: CUT TO: COURT SKETCHES OF BRODY TESTIFYING AGAINST PARR. WE MOVE IN ON PARR’S FACE WHICH CARRIES A LOOK OF ASTONISHMENT. INT. CAZALE INTERVIEW - DAY DOMINICK CAZALE (INTERVIEW) Dominick Cazale continues to apologize to Parr and God, criticizing the interviewer for forcing his betrayal of the long dead. CUT TO: 34. INT. CARRAZCO INTERVIEW - DAY CHRIS CARRAZCO (INTERVIEW) Chris Carrazco wraps up, ranting about his exciting and unbelievable findings. He pushes his “Brody-centered” hypothesis once more. INT. WRIGHT-PATTERSON FILM ARCHIVE - DAY We end with Carrazco in his archive, alone in his world. He places a few cans of film on a shelf. FADE OUT. 35.
part 1: possible symbolism While repeat audiences eventually found the unorthodox combination, into the third ever "found footage" film, of alternately a "faux-" or "pseudo-documentary" and "shaky cam" cinema verite scenes, dizzyingly vertiginous and even violently nauseating, the allure of the film for first-time, in-theater viewers was purely calendrical, millenarian and eschatology-motivated, and, grossing $248 million world-wide, proved it a "sleeper hit" over the summer of 1999. "yet legend... etched in stone." - Heather Donahue monologue The actors encountered 3 types of "paranormal" phenomena in their trek, the first of which, planted outside their tents while they slept overnight, was a triangle of 3 piles of rocks, and this phenomenon occurred for three nights in a row, and on the 4th night a "green slime" appeared on their hiking gear instead. The symbolism of the rock piles maybe of the "mastaba" or earliest burial mounds of global homo-sapien culture, the most renowned of which is the Giza necropolis. "voodoo shit!" - Mike Williams and Heather Donahue dialogue Although to sound-man Michael Williams, these "stick-men" figures - found by the actors hung in trees over the next two days following the initial night the rock-piles appeared resembled "voodoo" type dolls, they bear no less resemblance to Kachina totems, serving as fetishistic amulets and talismans for banishing the "evil eye" (mal-occhio), not much different than Semitic Hamsas. The significance of them being hung from the trees maybe that these stick-men symbolize the constellations visible in the night-sky. This would indicate the actors were intended to be seen as "spanning the space between earth and sky" themselves. The last "paranormal" phenomenon was encountered only on the first night rock-piles appeared and the third night of them doing so, and this phenomenon was a "hammock" or "nest" of sticks bundled in the crook of a splitting tree trunk, also containing a small sum of rocks. These arrangements appeared to resemble the crucifix upon which Jesus Christ was affixed, and crowned in a diadem of thorns. So what, then, is the "Blair Witch Project" and who, exactly, was the "Blair Witch"? Firstly let us look at the composite parts combining to form the "Project," and then ponder the implications on our daily lives of the true identity of the "Blair Witch." Alike this 1754 engraving by Alexander Slade, showing "A Free Mason Formed Out of the Material of his Lodge," we can measure this "Project" using the same set of tools and mechanisms that were used to craft it. In this case, the figurative "body-parts" of the "Leviathan" construct are the actors on-camera and the film-makers behind-the-scenes. So, the twin pillars or figurative "legs" of the "Blair Witch Project" would be the behindthe-scene film-makers, Daniel Myrick and Eduardo Sanchez, who created the franchise,
while the arms and head would be the actors on-screen, Heather Donahue, Joshua Leonard and Michael Williams. Because the relationship of the on-screen actors forms a "holy trinity" or "love triangle" dynamic, they are less organized than the 2, behind-the-scenes film-makers, who harassed the actors nightly and who themselves actually planted the "paranormal" evidence for the actors to find later. The relationship of the 3 actors on-screen was, perhaps, meant to symbolize the interplay of the quadrature constellations Leo, Taurus, Aquarius and Scorpio, whose symbolism contributes to the modern mythologies of the "new aeon." In this case, Joshua Leonard would symbolize the constellation Leo, Michael Williams the constellation Taurus, Heather Donahue the constellation Aquarius, and the twin heads of the filmmakers, Daniel Myrick and Eduardo Sanchez, would be the constellation Scorpio. We can find this same, or at least a very similar, relationship between characters portrayed also in the movie the Matrix, and all the way back to Pharaonic Egypt with the myth of Osiris, Isis and Horus, albeit then representing different constellations of the zodiac. In Babylon, Josh would have been called Tammuz, Heather Ishtar, and Mike Marduk, but the archetypal (or stereotypical if you prefer) roles remain the same. "Flames are licking you like the devil, there, Josh." - Heather Donahue So, who then is "the Blair Witch"? If we factor in the "spoiler" that all 3 actors are presumably dead by the end of the film, then this macabre "horror" movie assumes Shakespearean stature as a modern Grecian tragedy. Thus, the "Blair Witch" character is alike the Greek role of the "Chorus" who explains the plot to the characters on behalf of the gods. In brief the "Chorus" in Greek tragedies was akin to a "deus ex machina" or "god machine" - usually a mechanically moving prop enthroning an actor portraying a deity. However, in the existential angst that is the "Blair Witch Project," there is no Chorus - there is no "god from a machine." While the idea of the "Blair Witch" itself is merely a mac-guffin or foible designed to drive the plot-line of the play, alike the "Holy Grail" or the "Maltese Falcon," it reveals by its final absence from depiction the ultimate vexation of this film: the "monster" is never shown. If the "Blair Witch" is seen as antithetical to the mythology of the "good god," then the modern-day equivalent of initiation into the Eleusinian mysteries being played out in this film, should, definitely, be considered "occult" if not intentionally antichristian and even "Satanic." The idea of a female consort of the devil predates even the belief in Lilith, wife of Samael, and her Lilitu baby-snatching demons, when the queen of the underworld was named Erishkigal in ancient Sumer. "Something happens every 50-60 years..." - Bill Barnes, monologue. Because it is no coincidence, it should come as no surprise the "Blair Witch Project" was tethered onto by every single human being on the planet desirous of a safe, cathartic release for their "pre-millennial tension," as it was released in the Summer of 1999. A
careful examination of the role of Satan or the devil in several movies released that year deserves further explanation at a later time, hopefully in a subsequent lecture to this. By the time of 9-11, the events portrayed in films in 1999 were already safely forgotten about by the general public consciousness, and so, supposedly in spite of an intelligence / counter-intelligence apparatus that was fully functional at the time, there was no "hidden code" discovered interlaced into the video-frame rates that could have prevented the events that day; the only "glitch in the matrix" was the "black frames" in all 9-11 video footage from the moment just as the "planes" strike the towers. Suffice it to say, in a Democracy, the one to play the role of the "voice of reason" is all too easily shot down by the majority. part 2: birth of a legend The film-makers' guerilla tactics at directing their actors - inverting the diegetic barrier between the actors onscreen and camera-crew behind-the-scenes and then "shocktesting" them using methods alike the "Milgram obedience experiments," transforming the entire shooting-process into a LARP (live-action role-playing game) - as well as the guerilla marketing techniques of the film - involving spreading the false rumor online that the film's premise, plot and footage were all of real events, including going so far as to have their lead actors' own names being used in the campaign - have been thoroughly discussed by other commentators. "as well as using satellite tracking..." - Mark Kermode "I just wanted the website to be..." - Eduardo Sanchez, interview. "the only advice I'd give you is..." - Mark Kermode "in 1785..." - narrator, re. Elly Kedward, origin story. The only advice I would give you is, "beware what you believe..." part 3: a portal "This backpack was found..." - David Mercer, monologue. According to the film-makers' parallel "mock-umentary" masterpiece "The Curse of the Blair Witch," that aired on the sci-fi channel concurrent to the theatrical run of the film, "the Blair Witch Project," the contents of the film then being shown as "the Blair Witch Project" were discovered buried unnaturally deeply beneath the ruins of an old civil war era fort in the woods near where Joshua Leonard's car had supposedly been found. If, within the "Blair Witch" franchise, it is possible to open up a "portal" between the present and the past, and to align a series of such portals alike lenses focusing a beam of light, then it is also possible - given these parameters for the suspension of one's
disbelief - to be on the receiving end of a "portal" that opens up between the present and (at least one possible) future. Such is the premise of (at least scene in) the 2001 film "Donnie Darko," which depicts the title character sitting in a theater during a back-to-back showing of "the evil dead" a movie often compared to "the Blair Witch Project" - and "the last temptation of christ" a movie about a man tortured by ghosts one solar aeon ago - when his "spirit guide" shows him the movie screen itself becoming alike a wormhole in general relativistic physics. In this film, the experience of the character sitting in the movie theater perceiving the cinema screen itself as a "portal" across space and time - a "star-gate" through which information and objects may pass freely - is that of a "waking sleeper" agent acquiring his instructions.
https://en.wikipedia.org/wiki/Tomoe https://en.wikipedia.org/wiki/Triskelion https://en.wikipedia.org/wiki/Triquetra https://en.wikipedia.org/wiki/Penrose_triangle https://en.wikipedia.org/wiki/Trimurti https://en.wikipedia.org/wiki/Trinity