Original subtitles

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

Yeah, that's it.

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

Did you? As an afterthought.

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

I thought it would help sell it.

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

Oh, nice.

That's just five minutes from here, right?

Pretty good effect.

Yeah. But... The best part of the

effect is the camera moving in that way.

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

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

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

honest with you.

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

College.

Oh, nice.

At Cypress College.

And that's a stuntman playing Bob Axelrod there.

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

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

Have you been around this area lately?

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

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

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

Yeah, it looks the same, basically.

Well,

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

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

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

anyway, I don't know.

Cyprus police.

There you are.

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

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

There's Robert.

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

No, that was Coinga Boulevard.

In Hollywood. This is Hollywood.

But that's not where he was standing.

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

Yes, exactly. That's what that was.

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

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

don't live up there anymore.

And this is Buena Park right here.

That's cool that you got away with it.

Having guns in the street.

That girl on the ground there was a...

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

I wonder if she's still there.

No.

She's too old now.

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

did. Glenn Baxley's very good.

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

he also did the score for me for The Alley.

Yeah, this is a good little song.

I have no idea who these people are.

No idea who they are.

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

Unless that's at...

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

him better.

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

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

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

have no clue.

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

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

Do you keep in touch with that guy at all?

I have no idea who that guy is.

I don't remember the sequence.

So this all took, you said, 14 days?

No, about 12,

13, 14 days, something like that.

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

I'd like to see her again.

Yeah.

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

Withers. He lives up in Hesperia.

I haven't talked to him in years.

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

I think.

I'm not sure.

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

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

Soundtrack? Yeah, like all these songs.

Oh,

she lifts her blouse here. I remember that.

Or her skirt, something, whatever.

I remember her face.

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

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

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

was on Children of the Road, the hobo movie.

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

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

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

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

I was going to stay there and finish.

I don't let people intimidate me at all.

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

about the devil cult.

I'll tell you about that.

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

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

And then you have pretty much carte blanche.

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

don't park cars all together.

I remember that.

I remember that.

Have you seen him lately?

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

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

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

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

good actor.

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

after that.

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

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

Yeah.

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

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

much older than he is.

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

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

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

most

of the time i'm disappointed in

what i see

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

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

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

The problem I had was with anybody.

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

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

oriental girl there?

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

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

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

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

but she wanted to keep filming.

She was just a wonderful person, totally wonderful person.

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

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

living out of his spirit.

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

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

against the car.

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

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

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

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

He was just starting out and he was nervous.

So this girl, another one that caused me problems.

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

Too big.

It almost looks like she has a bikini on.

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

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

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

that same area.

Her husband was a merchant sailor or a Navy guy.

I knew him from Knott's Berry Farm.

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

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

No, it's good.

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

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

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

from laughing.

Oh, God.

But you get what you get.

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

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

Do you remember?

I don't remember.

It wasn't mine.

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

This was the other one that was an idiot.

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

door? Oh, no.

Thank

you.

I think that's La Mirada there, too.

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

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

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

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

Not a bad little actress.

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

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

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

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

It's just one flat roof.

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

was doing at that time.

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

I was learning.

You know who that guy is working on the bike?

Yeah.

I think.

I may be wrong.

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

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

May have been.

May have been.

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

All this was shot after.

First stuff we shot was the desert stuff.

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

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

bad.

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

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

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

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

we're doing.

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

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

Maybe I have.

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

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

The car?

Yeah.

And this guy

was the sound man's father.

That was the sound man by the bike.

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

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

They were from New York, he and his son.

Nice people.

She has like a New York sounding accent.

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

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

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

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

yeah. That's what it was.

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

I think that's La Mirada.

That's Glenn singing, too.

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

I'd use him again.

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

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

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

I wonder what street corner that is right there.

I'm sure it's changed a lot.

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

voice in one part of it. Oh.

Yeah, this guy.

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

Yeah. He was one of them.

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

Berry Farm.

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

The Travolta era.

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

79, 1881.

And here's that British couple.

That's my voice.

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

Yeah. Flat like that, huh? Yeah.

Yeah, this is Hesperia.

Had a nice little butt.

Little Huggie.

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

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

takes the money.

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

Sweat rock.

Hello?

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

A good old staff is spanking what they need.

I should tell you.

Yeah, the cameraman named David

Orange Shack, I think was his last name.

He wore all black.

Yeah. He always wore black.

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

Did it stall out on you?

Huh? Did it stall out on you?

body maybe?

We filmed this whole sequence totally different.

Do you remember those two guys?

Huh? Do you remember those two guys?

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

no idea.

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

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

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

his wife, and then they chase him.

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

stuntmen that I use in the thing.

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

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

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

accent.

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

Oh, my God.

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

This

was

shot in broad daylight in the morning.

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

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

carry stuff.

I had a sound man,

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

makeup lady.

About six or seven.

Very small crew, very small.

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

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

See,

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

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

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

This is morning. No, not there.

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

think it was in the spring.

I'm not sure.

So it was warm out there in Asperia.

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

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

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

Well, at least it looks like moonlight.

It's just too dark.

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

Scorcher. It'll be a scorcher.

Oh, is this where they go skinny dipping?

Yeah.

They gave me all kinds of hell about this.

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

said, I don't give a shit.

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

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

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

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

of this stuff.

I found out later on.

What we were afraid of

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

rangers would be around.

Oh, I see.

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

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

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

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

As far as them skinny dipping?

Yeah, I never got what I wanted.

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

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

nudity than they showed.

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

talking to them anyway.

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

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

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

were up and out of it.

And then when they give you trouble,

it just wasn't,

it was not a pleasant experience making this movie.

That girl looks pretty fit.

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

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

dipping now.

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

go in there.

Let's do it there.

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

though.

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

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

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

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

Nobody's going to bother you.

You're away from everybody.

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

you know.

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

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

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

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

stuff. You know what I mean? Yeah.

Wait.

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

in the car.

Big old boat of a car, huh?

Yeah.

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

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

Or falls?

Yeah. There's a snake in here.

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

I had to get the snake?

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

Oh, really?

Rattlesnake, yeah.

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

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

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

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

Yeah,

it was a nightmare for me.

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

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

sell. Especially a movie like this.

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

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

value. It would have been phenomenal.

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

Still, it tells a story.

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

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

No, he saw the movie, I think.

The artwork that we did for,

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

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

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

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

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

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

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

That was a lot of work.

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

it.

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

the camera.

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

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

looked like it was going.

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

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

We were filming there for two days.

Look at that ass. That's nice.

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

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

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

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

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

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

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

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

I said, we're making a movie.

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

I said, okay. So we left.

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

is known to be in that area.

But there was a pentagram inside that cave.

Somebody had burned it into the ground.

Ashes of it.

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

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

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

left a big pentagram.

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

rock. It just was a vacation home.

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

1973.

Yeah, 73.

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

Do you use them?

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

great part in Streets of Death. Played a pimp.

And it was terrific.

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

that movie.

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

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

good in a movie anymore.

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

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

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

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

what he thought?

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

He may have.

He may have, but I don't remember.

I'm sure he liked it.

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

He was in it. He had a good part.

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

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

Now it's different.

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

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

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

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

for.

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

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

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

So they didn't.

shoot this differently, too.

See,

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

Put that in there.

Make it more powerful.

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

One camera?

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

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

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

That's me speaking.

Trying to sound like Lonnie.

That's me.

Sound like him?

A little bit.

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

It makes her seem more pathetic, more vulnerable.

It just happens.

Jesus, he says.

Oh no, that comes up later.

Oh, he did say it.

Get up.

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

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

youngest one.

The oldest one was the driver.

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

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

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

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

airport. I had no office.

Yeah.

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

That's how we cast it.

Did you have more than four girls show up?

No. Just the four and then you did that?

Oh, I used what I had.

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

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

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

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

in the paper and that's how that went.

Do you still have that ad?

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

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

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

I thought he was very good.

Yeah, he's a good actor.

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

Rape and all that stuff.

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

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

It hadn't even occurred to me.

That's a damn big step for you.

That or not.

Gotta get to the first aid kit.

It's a Scorcher.

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

Schlesel, her last name means key in Yiddish.

Jerry Key.

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

recognize them.

Probably. I never forget a face.

Some people change dramatically.

Others don't change at all.

It just depends on the person.

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

generally remember.

Generally.

So right in there is where

that cult would do their thing?

Yeah, we were up on a hill here.

And across that way was the valley.

He did the reading beautifully.

I

love

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

I'm surprised

that they have a first aid kit.

Yeah.

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

That wasn't my car.

I don't know whose car that was.

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

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

It looks like a Datsun, doesn't it?

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

It may have been the makeup girl's car.

I don't know.

Oh, no, no, 81?

Yeah, 81, I was driving a Pinto.

I had a Pinto Fastback.

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

It was a great car.

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

Perfect condition.

I gave it to a friend of mine, wife.

She really was scared up there.

That's why she bent down like that.

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

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

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

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

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

harness.

And we had four cameras set up.

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

75 feet.

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

He never stunted again. Steve Davis.

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

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

turned into a stunner.

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

I could have filmed her all week.

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

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

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

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

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

She was just great.

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

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

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

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

ever again.

And these whores.

You

see

yourself the way they're dressed.

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

His friend's death was natural.

But in his case, justice has been served.

He paid first time for his life.

So if he died, he was a justifiable homicide.

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

And we've had enough pain already.

I'm going.

Years. That's my

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

My Bowie knife.

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

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

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

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

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

California. That always happens.

He's reliving the thing with the prostitute.

Okay, can you stop it now?

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

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

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

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

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

remembers quite a bit.

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

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

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

of work and got it.

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

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

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

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

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

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

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

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

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

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

So we did use another source that I had.

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

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

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

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

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

But we're hoping to have this released.

I would say March of 2017.

Today is December 18th, 2016.

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

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

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

The two men, what were they doing?

I recall it seemed like they were having car trouble.

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

Have you seen people?

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

girls, and they were smiling, too.

It certainly looked to me like they knew each other.

What happened then?

The girls got in their car and left.

Did the men go with them?

No, they were still there when we left.

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

Waving? Well, you know, like this.

Thank you. You've been very helpful.

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

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

find there's dope and sex involved.

You may be right.

I just talked to the hospital.

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

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

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

Maybe something's scared him. Could be.

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

Your folks have been notified.

They're on their way.

How's Jarvis?

He's okay.

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

He's not our friend.

We told you what happened!

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

All I got is your word for a declaration.

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

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

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

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

You see?

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

money.

What money?

The money from the gas station hold -up.

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

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

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

than you ever dreamed of.

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

Oh, God.

All right.

Have it your own way.

I just don't understand your tricks nowadays.

Think you're always getting yourselves into trouble.

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

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

station.

Any sign of the money?

Nothing yet.

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

All right, good work.

Oh, that truck driver that picked the group up.

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

We found the body where he said it was.

And some cars with rifles.

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

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

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

Okay, ladies. Any way you want it.

But let me tell you how it looks from here.

You all planned a robbery together.

Then you hightailed it to the hills.

You drank, smoked pot, had your little Aussies.

Somebody got killed.

Tempest blazed.

There was a shootout, and one man died.

Then one of you thought up the right story.

and died a few months ago.

But not before we gained consciousness.

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

They forced him to tell them where you were going.

He still wanted to press the rape charges against him.

They'll have to dismiss what he found later.

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

his pants right out and made out with you.