[LIGHTER CLICKS]
We got a lot of problems
happening right now, man.
I don't wanna tiptoe
around anything.
We got problems looming like
the Goodyear blimp, you know?
I don't wanna be cute about
it, but it's the reality.
But the thing about it is,
you have to look at it
like a challenge.
You know?
Like, this is what...
This is how you show your worth
as a filmmaker,
as an artist, you know?
It's hard
not to sound pretentious
when you say something
like that, but it's true.
I have a lot of regrets
in my life.
This is not
gonna be one of them.
I'm gonna look back on this
with great fondness.
[CAR APPROACHES]
[ENGINE TURNS OFF]
How's it going?
ROCHELLE: Hi.
Hey.
g*dd*mn. Hold on.
It's okay. How are you?
Don't worry. Don't you worry.
Hi.
I'm Chase. Chase Bradner.
I'm Rochelle Dupont.
Rochelle, nice to meet you.
A pleasure. Come on in.
Nice to meet you. Thank you.
Now it's really starting to feel
real. Look at this, man.
Here you are,
if you wanna step inside
my living quarters?
Oh, sh**t, we got the two g*ns.
These are really pretty, man.
What kind of camera is that?
Uh, I'm Chase Bradner,
and I will be
the director
of Patterson Project.
ROCHELLE:
So this is your first film?
Uh-- No. Yes.
First feature film.
I've done a number
of short films before.
Delta Bravo Carter.
This is Alpha Omega Ramos.
Do you read me?
CHASE:
They've all performed
at the really raw,
untainted festivals out there,
like the Real Cambria
Film Festival,
the Salty Earth Film Festival,
Exploding Girl Festival.
They perform pretty well
out there.
They found an audience,
and I think that
it takes a certain number
of short films
in order to graduate into
your first full-length
narrative feature film,
which is what we're doing here.
So Frank was telling me
you've done a few of these.
Uh-- W-What's the story there?
ROCHELLE:
Uh... This is the third
in a five-part series
commissioned by
Le Muse d'Orange.
We've been following
independent production
for almost ten years,
I would say.
Oh, wow. Oh, right on.
ROCHELLE:
Frank, would you please
give us your name
and your role on the project?
Okay.
Hi, I'm Frank Eikleberry,
and I'm the...
Sorry. What am I?
[CHUCKLING]
What am I?
Uh...
I'm like a producer.
Executive producer.
Executive...
Or whatever...
"Executive" sounds stodgy.
Corporate. Yeah.
Yeah.
I wanna be a creative.
Because I got input.
I have ideas and stuff.
Right, so, um...
Money controller.
Money controller.
Creative money controller.
Creative money controller.
I like that.
Hi. I am Frank Eikleberry.
I am chief creative financier.
Keep going?
ROCHELLE: Yes.
How did you meet Chase?
I met...
Chase does all the commercials
for my store here.
I do used furniture.
[COUNTRY THEME PLAYING]
He came in
and we had a camcorder, uh,
and a couple of crazy costumes,
and I was a little dubious
about doing that,
but then I saw that cut.
I mean, I thought,
God damn, this is...
I'm dealing with, uh...
like, a Quenton Tarantini guy.
He's got vision.
Like, a real vision.
[SIGHS]
[DOORBELL CHIMING]
Oh, hi. Good morning. Please,
please keep your distance.
I know this looks
a little weird,
but the distance
is for your safety.
I have these nice kitchen
utensils here, and I'm here...
If I could just take
five minutes of your time.
WOMAN:
Our kids are napping right now,
so I don't think
it's the best time.
I'll be very quiet.
My name is Mitchell Chang,
and I'm an associate producer
on the Patterson Project.
[STAMMERING]
I don't actually like
to say "associate producer"
because, you know,
that makes me feel better
and above everyone,
which is a sin.
I think the best way
to describe it is like
an associate teammate,
associate servant.
I've worked with him now
on almost a dozen short films,
and I've never seen anybody
talk with that much passion.
It was like...
without being sacrilegious,
it was like
I had found my messiah
out here in Los Angeles.
Can you get a shot of that?
That's the knife
from The Dark Knight.
It's one of the Joker's knives.
It's like super legit, man.
I mean, this is pretty much,
like, my whole collection, man.
I mean, I've amassed this
over my time in Los Angeles,
and also Brown Deer, Milwaukee,
which is where I'm from.
ROCHELLE:
Why this genre
for your first feature film?
Why this genre?
Mm-hm.
I can answer that question.
But why just answer it
when I can show you?
Over black.
So I've had the idea
of doing a horror film,
found footage,
and then, of course, Bigfoot
has always really fascinated me.
I think people want to believe
something like that can exist.
They wanna believe something
can go bump in the night.
And I'm definitely,
certainly one of those people,
and I wanna make people care
about a subject like that.
You don't see too many
Sasquatch movies, you know.
We've all read the script,
and I know, Frank,
you were having issues
with your AOL,
but I'm glad Mitchell
was able to get you a hard copy.
I want to get one thing straight
right off the bat.
This movie is not
about the Bigfoot, right?
It's not about
some prehistoric creature
that may or may not exist.
It's about a group
of prehistoric creatures
who like to call themselves
human beings.
Bigfoot.
Bigfoot.
Ah.
Bigfoot.
Yes.
We are all the Bigfoot.
And that's why
we never find him.
[CHUCKLING]
Really good.
Amazing.
Uh-- Yes, wonderful.
I think on that note,
we can start the meeting.
Okay.
Let's do it.
Let's go.
Let's work.
Did you get all that, Todd?
TODD:
Hey. Hey, everybody.
How we all doing?
Yeah, I don't know. Did you
hear that? We're all Bigfoot.
TODD: Wow, wow, wow, wow, wow.
[NATALIE CHUCKLES]
ROCHELLE:
Frank, could we get Todd
on a video call?
Todd, you wanna get
on a video call?
TODD:
Uh-- You know, sorry, guys.
I'm actually
on the road right now.
I'm just headed to the doctor.
He's got a sty in his eye,
so he's self-conscious.
It's, uh--
It's substantial.
Yeah, we're gonna be fine.
Audio's fine.
Okay, great, great, great.
Bottom line is,
I read the script.
I think I can sell
this son of a b*tch. Boom.
Boom.
Boom.
Boom. Todd's my boom man.
That's right, baby.
Boom, boom.
I couldn't do it without him.
First thing is location.
You mentioned the other day--
We're good there.
That's totally locked.
So it's flexible, right?
Yeah, super flexible.
Okay.
Well...
[MOUTHING WORDS]
Super flexible, yeah.
It's good.
MITCHELL: You sure?
Mm-hm.
I'm Natalie.
I am the first
assistant director
and also Chase's girlfriend.
He's such a visionary,
and I'm so amazed.
I love...
You know, he's so confident,
and I love his,
you know, confidence in himself
and, you know, fast-paced
kind of guy with the project,
and, you know, with our
relationship as well, and, um--
[DOOR OPENS]
Oh.
Sorry, sorry.
I didn't mean to interrupt that.
No, please. It doesn't matter.
I'm just getting some cups.
Yeah, of course.
Um... Budget.
We need this to stretch a lot.
Financing.
FRANK: Financing.
MITCHELL:
Frank, last time we had spoke,
you had mentioned
that we are half.
Half-funded.
Courtesy of you.
FRANK: Courtesy of me.
The last $10,000
I have to my name.
MITCHELL: Frank, God bless you.
Not really. It's not...
[CHUCKLING]
Very fluid. Very solvent.
And you mentioned also that
you had somebody to match you.
Yes, and we're meeting with
our angel, Betsy, later today.
It's a lot of money.
Don't stare at her wig.
There she is.
Get up, get up, get up.
Hello.
CHASE: Hey.
Hello again.
All right.
You good? You need help?
You need a hand?
Oh, no, thank you.
Okay, all right.
BETSY:
I've known Frank
for quite a while.
Some of my most
interesting treasures
I bought at Frank's store.
I can't remember
where I've put my checkbook.
It might be over here.
CHASE: Hunt for the checkbook.
Hunt for the checkbook.
Here we go.
Ah!
Here it is.
Bingo.
It was here all the time.
Victory.
Victory.
[LAUGHING]
So you did say $20,000,
am I right?
Huh?
Yes, we did.
Yes? Oh, good.
That's what we said, Todd,
right? 20,000.
TODD [CHUCKLING]:
Yes, 20K.
To whom shall I
make out the check?
Todd Patrick O'Toole.
[FRANK STAMMERING]
Since I'm here, Todd,
just Frank--
I'm gonna mute you right now.
To Frank Eikleberry. That's me.
Frank.
Frank, to be perfectly frank.
To be perfectly frank,
that's $20,000
that is gonna make us a movie.
[CHUCKLING]
Oh, but I must
just take a moment to ask
because the suspense
is k*lling me.
When shall I make
his acquaintance?
Soon.
So it's E-I-K-L-E. L-E.
Because a lot of people do E-L.
Sorry, what...?
It's not important.
Meet whose acquaintance?
Not important.
Just... So...
Why, Alan Rickman.
Of course. The lead.
[SCOFFS]
I must admit,
I was rather skeptical
about investing
in a Hollywood project.
But when Frank assured me
that we could get
my favorite actor of all time,
Mr. Alan Rickman,
to be the star...
The star.
...I was behind it 100%.
Yeah, 20,000%.
[LAUGHING]
Well, patience, Betsy. Patience.
All right.
Just go with it.
What's she talking about?
She's talking
about Alan Rickman,
who's gonna be
the star of the movie.
Oh, yeah.
There we are.
CHASE:
We're really, um...
excited about
the Alan Rickman thing.
It's gonna be great.
I'm so excited too.
Hey, Betsy. Um--
This is a napkin,
and we'd like it
on an actual check.
No.
FRANK: Yes.
Oh, my goodness.
Yeah.
[LAUGHS]
Silly me.
FRANK: I've done it myself.
CHASE:
You f*cked me, Frank.
I f*cked you? No, I--
You f*cked me, man.
You're totally forsaking
the integrity of the movie.
You realize that?
If we have no money,
there is no movie.
There is no integrity.
What am I supposed to do now
about Alan Rickman?
Are you sh1tting me, dude?
Alan Rickman's gonna be great.
He's gonna be amazing.
TODD: Guys...
What's the issue here, guys?
I'll call my girl Sarah.
We make the offer
to Alan Rickman. Boom.
A-Okay, Todd.
Alan Rickman died, man.
What?
TODD:
No.
SARAH:
Okay, guys, I'm gonna cut
right to the chase.
I really did you a favor
by sneaking you in today.
I've got a packed schedule, so
we gotta get right through it.
It's only because
I love you, Todd.
Love you too, Sarah.
Thank you, Todd.
So I wanna let you know that you
have come to the right place.
Okay.
This is my bread and butter.
I'm gonna take this project
and bring it to the next level
for you guys.
Are you ready for my list?
Yeah, yeah.
Leonardo DiCaprio's...
MITCHELL [CHUCKLING]:
What?
...fling before his last fling
for the lead female.
Totally available. Her calendar
was wide open, so...
So is it Leonardo DiCaprio
or...?
His fling.
FRANK: His fling.
Before the fling right now.
FRANK: Oh, for the actress.
What about his current fling?
Do you know her?
Guys, we're...
Let me move on.
Yeah, let's try some more.
I do have one person
that's not on this list
that I think you will flip for.
Daniel Radcliffe.
Daniel Radcliffe?
Yes.
FRANK: The Harry Potter guy?
Raddy loves independent films.
Financially, financing speaking,
I say, stamp yes.
Right?
Boom, boom, boom, boom.
Chase?
Yeah?
I want you to be excited.
I want you to feel this moment.
Can I get you excited?
I'm excited. Yeah.
About Raddy?
Can I get you excited?
Are we excited?
Are we gonna write an offer?
CHASE [SIGHS]:
It's been a few weeks
since we made the offer
to Daniel,
and we still don't even know
if Daniel's
even read the script.
So, you know,
we're sort of in limbo
until he says yes,
if he says yes.
It's like, one day
you're making a movie,
and you're feeling it,
and it's happening,
and then the next day,
you gotta go grind coffee beans
for nine and a half,
ten hours a day,
and, you know,
like, where's the line, man?
Like, I feel like
I'm going crazy.
Like, is this even real?
Is this happening?
Am I delusional?
You question yourself,
and I think
that's just part
of being human, man.
And people ask me,
"Like, how are you able
to stay so positive
all the time,
especially at the workplace?"
And I say, "Hey, look,
You gotta get through
the shitty part
to get to the good part."
And right now,
this is the shitty part.
And I know on the other side
of this is the good part.
And that's how I do it, man.
[CHUCKLES SOFTLY]
[]
MITCHELL: For Dakota?
Yeah.
Yeah, going
to the airport, right?
Let me help you with that.
DAKOTA:
What's with the camera?
Thank you.
They're making a documentary
about independent filmmaking.
[PHONE RINGING]
I'm so sorry. I just
gotta get this real quick.
Hey, Frank.
Hey, how you doing? What's up?
What?
Oh, wow.
Okay.
Oh, my gosh.
Oh, my gosh. Are you serious?
FRANK: So serious.
[LAUGHING]
We got him? Yes!
I'm so excited.
I don't know.
NATALIE: I don't even know.
I was second-guessing myself.
[ALL EXCLAIMING]
I'm so proud of you.
Hi!
Oh, I'm so proud of us.
Yes!
CHASE:
Well, we have a lot to do.
We have mountains of stuff
to get done.
Oh, my gosh. Alan Rickman.
No, no, no.
Don't freak out about that.
Don't freak out about that,
because I have
a really crazy idea.
ROCHELLE:
How are you feeling, Natalie?
Um-- I'm feeling
a lot of emotions.
Mainly anxiety and panic.
Um, we have a lot to do.
There's cast and crew and, um...
And, uh...
The location
is my parents' timeshare
that they have with all of these
other people I've never met.
I offered it as, like,
if we really need a location.
Maybe, like, just one scene.
And he, I guess,
loved it so much,
he wrote a whole script
around it.
But we're doing it,
so we just...
When, you know, have...
When you make the lemonade,
when it's not the fruit
you wanted.
When it's not the fruit
you wanted.
[]
Hey, there.
This is Fernando Lopez
reading for Micah.
Rocco.
Elliot James.
Morrissette Fair.
Hannah Gatsby.
Martha Maxwell.
You just want me to, kind of...?
Yeah, why not?
I love your outfit by the way.
I love the whole ensemble
going on here.
Thank you so much.
[ACTRESSES SCREAMING]
Let's do it.
Thanks so much.
Thank you.
Did you see that? That was
the f*cking walk. Bigfoot walk.
She slung the bag,
and then she did this.
She even looked back at you
for a second.
Put her down as the Bigfoot
alternate. I don't care.
Are you familiar with
the Robert Patterson footage?
Of course, yeah, 1967.
[IMITATING BIGFOOT CALL]
You hear a strange sound.
[GRUNTING]
[ROARS]
That guy is f*cking legit, man.
[]
"Well, now,
isn't this a surprise?"
Yes, it is I, Alan Rickman.
Hello, hello.
"Betsy Hannigan..."
Oh...
Betsy. Of course.
And your name, sir?
One more time.
It's Alan, oddly enough.
Shut up.
Yeah.
This is just a prototype so far.
Okay.
All right, so for,
like, the top,
this is the type of material
that's gonna be used.
This is the material
for the mask?
Yep.
But not the mask itself,
obviously.
Nope.
[SPEAKING INDISTINCTLY]
It's kind of hard
to see through.
Jamie-Lynn, do you mind?
Oh, of course.
I just want you
to get a feel of the presence.
CHASE: Sure. Yeah.
FRANK: Wow.
We're like... Yeah.
Nice.
And I could just like,
you know...
So, like, we're really
working with, like,
the texture and the energy
of Sasquatch with this.
It's gonna be like... That's
gonna be like the top, kind of.
I'm having a weird reaction
to this.
What are you feeling,
energetically?
It feels, like, scrotum-like
in a weird way.
I thought you'd say that.
When do we meet Daniel?
I'd love to speak
with my main actor, please.
Danny doesn't do rehearsals
or meetings
or anything
besides show up on set.
CHASE:
If you told me
when I was 12 years old
that I'd be making
my first movie
and it would actually
be happening,
I don't think I'd believe you.
[LAUGHS]
We're making a movie right now,
man.
Go.
Go, go, go.
Let's make a movie.
[]
CHASE:
Oh, it's spooky out here, man.
NATALIE:
It is kind of spooky.
CHASE:
It should just be up here, yeah?
The cabin?
I'm thinking it's up there.
NATALIE: Oh.
CHASE: Huh?
Uh-- "Raddy has checked into
Raddy's room."
CHASE:
Does that mean he's here?
That's Daniel?
Daniel.
That's kind of weird.
It is kind of a weird thing
to say.
But he's here?
I'll take it.
If I can get in contact
with that guy,
that would be amazing.
I don't... Oh!
Hey, Chase.
CHASE: Yeah?
We're going ahead to the cabin
for the establishing shot
of your arrival.
I just need five minutes
to set up the camera.
That's okay?
Yeah, you got it. Sure.
Sounds good.
See you.
[ROCHELLE SPEAKING IN FRENCH]
NATALIE: Just wait.
CHASE: Yeah, I think we stay put
for a second, and then we'll
meet up with them at the cabin.
[SPEAKING IN FRENCH]
[CROWS CAWING]
CHASE:
That is a location, man.
Oh, dude.
[CHASE LAUGHING GIDDILY]
Natalie!
Yes?
CHASE: This is so good!
[DOOR CREAKS]
Okay, come on in.
Come on in, guys.
Welcome to
The Patterson Project house.
Oh, sh**t.
Um...
Let's try to find our spots
really, uh, quickly but safely.
CHASE:
Someone's going to be
turning an ankle
or turn it on me
because they turned their ankle.
What are you doing here? You
load your gear inside here, too?
Of course. We need space
for equipment.
Jesus, man.
Chase, I actually need a rough
layout if we want a little...
We've decided I can't be here.
I love you so much.
I'm gonna explode.
Makeup, wardrobe.
Yo, Pete, listen up, my guy.
What's up, dude?
You want to be a real asset
to this production,
find me a space that can fit two
crews worth of gear, understand?
PETE:
I think I found, like, a room.
If you guys wanna
come check it out.
It's pretty cool. It's like...
Yeah, well, watch out.
I think that step down there
is kind of scary.
What is that?
This is a door handle.
It came off the door.
Yeah.
That's probably French, right?
I think we should not touch
that area.
NATALIE:
I think if there's anything
that's already here,
we just don't touch it.
ROCHELLE:
I've been doing this
for a very long time.
CHASE: Watch out.
NATALIE: There's like a...
There's a director's chair.
Okay, yeah.
NATALIE:
Hang on.
Natalie, power issue?
What is this?
Is this something we have
to deal with the whole sh**t?
NATALIE: I don't, um...
[CREAKING]
CHASE:
Can you hear that sound?
Is that like a pipe
or something?
[DEEP GROANING]
Oh.
I think we're fine.
I don't hear it anymore.
Let's just keep an eye on it.
Yeah. We'll keep an eye on it.
MAN: Let's keep working.
I don't wanna...
ROCHELLE:
Mitchell, why aren't you
staying in the motel?
MITCHELL:
Oh, it just honestly
wasn't in the budget.
Someone had to take one
for the team.
Natalie, she told us
not to touch any of the beds.
So I'm just happy
to do that for her.
Her production.
The-the production.
Hi. Good morning.
Hey.
Here's your coffee.
Car's ready to go.
Elliot's in hair and makeup.
Hannah is with Tabitha
right now.
What about Daniel?
No eyes on Daniel yet.
Do we have his number?
Can someone please
communicate with my lead actor?
We need to talk to each other,
man.
Can we get eyes on Daniel?
We need to talk!
We need to talk to each other,
guys. Come on.
Yep. Just anyone?
Hi. I'm trying to figure out
where I'm supposed to go.
Mm. Where are you headed?
Oh, I-I don't know.
Okay, cool. Let me just--
Can I get you over here?
We're doing like a movie.
[SPEAKING INDISTINCTLY]
Jamie-Lynn, has Daniel
been through here yet?
No, but I need him to come in.
That's the one
with the scar, right?
Yes.
I'm sorry.
Just give me one second.
Yeah, no problem.
Hi, Ms. Susan.
This is Mitchell
calling again
from the Patterson Project.
Please give me a call back
when you can.
There's a lady outside.
She's looking for Chase.
He's outside. He's outside.
Thank you.
Hannah...
What?
Have you seen Daniel?
He's still not here?
Oh, no.
Where is he?
MITCHELL:
Chase, I need a decision here.
It feels like...
MITCHELL:
Just try to think, okay?
CHASE:
Like-- I'm, like,
freaking out, man.
We don't have any point
of direct contact with them.
Everything went through Susan.
Sarah.
Sarah Susan.
What if we shot around Drew
and we picked up
his shots later?
We can't do that.
I vehemently protest.
If he was holding the camera,
maybe,
but he's literally
the main character.
Guys, I just wanted to--
Yeah, what is it?
Sorry, there's a woman here
to see you.
Okay.
PETE: Her name's Danielle.
Uh, Danielle Radcliffe.
[GIGGLES]
Hi.
Oh, sh*t.
Buff right out.
[PHONE BUZZES]
Excuse me.
Let me take this.
Think about it.
It's a beautiful piece.
Hold on. What?
Just take a breath. Just hold
on, Frank. Just listen to me.
We have it handled, okay?
Drew, Danielle,
who is playing Drew,
that is now Patterson's
granddaughter.
Everything else stays the same.
Danielle?
Yeah?
I'm thinking of a quick idea.
Having met you...
Mm-hm.
You have this really nice energy
about you,
and I'm thinking maybe that I...
I change some of the dialogue
in order to match it.
Oh, no. Please, no.
I love what you've written,
and I built my whole character
around it.
My whole character.
Oh. Okay, then.
Let's just go for a take, then.
Natalie, slate, please.
NATALIE: Yep.
Scene 1, Take 1.
Okay. Marker.
And action.
Bro, seriously?
Is that the best equipment
the school has?
No. This is mine, brother.
You think the school would let
me rent out a camera over break?
Still, that thing
is ancient.
Drew, why don't you tell us
what we're doing here?
We are driving
to my Uncle Ben's cabin.
Sorry, Elliot, can we cut?
Are you recording, man?
So-- Oh...! So I am recording.
Oh, yeah, man.
You're filming the whole thing.
You're documenting everything.
Oh, so you're gonna be
cutting this into the movie.
No, dude,
this is the movie, man.
These guys
aren't even here, dude.
I'm sorry. I'm confused.
Yeah, so am I. Can we cut?
Oh, no.
You're supposed to film us.
CHASE: Okay, look at me, man.
Yeah, yeah.
Have you held a camera before?
I've never held a camera.
Stop it.
I'm sorry.
You press this red button.
That's how you record it?
Hold it down.
That's how you record.
How do you turn it on?
Just turn it on for me.
[CHASE SIGHS HEAVILY]
Scene 1, Take 1. Marker.
There you go.
Ha!
All right, let's do it.
Action.
Bro, seriously?
Is that the best equipment
the school has?
No, this is mine, brother.
You think the school would let
me rent out a camera over break?
Dude, dude, dude.
I'm sorry.
Prop it there.
When she speaks, camera.
When she speaks, camera.
Don't worry about anything else.
I have no worries in my head.
NATALIE:
Take 2, marker.
CHASE:
Action.
Bro.
Bro, seriously? Is that--
Guys! Sorry.
What's your finger doing, dude?
Why are you f*cking...
No, I actually--
This is kind of cool.
I figured out
that there's a zoom in
and a zoom out.
I figured I wanted to give it
my own artistic kind of flavor.
Get--
You hate it.
I don't hate it, but I want you
to frame the actors.
So you don't want me
to zoom at all?
No, please.
This finger is trigger happy
right now. I don't want that.
I don't want to direct it,
but can Hannah hold it
from the back?
f*ck no, dude.
You're the guy, man.
I'm sorry.
I don't know if I'm the guy.
I thought I was the guy.
Can I talk to you
real quick, my guy?
Absolutely.
MITCHELL:
It's a bit of a situation.
We missed the fact that Elliot,
the actor playing Micah, is...
He was supposed
to operate a camera.
Well, he did.
I mean, in the audition,
he held his hand up like this,
and he even pressed
the button like it was...
The specificity was sort of
what drew us to him.
It's my fault.
I have to take credit for that.
No, no, no. He tricked us.
Give me your hand.
Yeah.
MITCHELL: I think we have...
NATALIE: A workaround.
I think Chase found us
a workaround.
That would work.
Around.
Action.
Ahem.
We're driving
to my Uncle Ben's cabin
in Six Rivers National Forest.
And why are we going
to your Uncle Ben's cabin?
To get wasted!
Yeah!
No, baby!
God, we talked about this.
We are gonna find Bigfoot.
And then we're gonna get wasted.
[ALL LAUGHING]
Yeah.
NATALIE:
Everyone's a little bit
stressed out right now.
We're behind. There's the
Daniel, Danielle situation.
We have camera issues.
People are complaining
about catering already, but...
I can't even worry about that
because this house
is falling apart
and I feel like
it's my responsibility.
Oh, my God. Oh, my God.
Pete, are you okay?
[PETE GROANING]
Are you okay?
Maybe. My back is...
Just let go of the bag.
No, no, no.
CHASE:
Slatey Tati.
NATALIE:
Uh-- Scene 2, Take 1.
Marker.
Ready? Ready?
Yeah.
Action!
MICAH:
Should we text him?
DREW:
Bro, there's no service up here.
[EXCLAIMING]
MITCHELL: Everybody okay?
Yeah.
Are you okay?
Yeah, I'm good.
Elliot, are you okay?
I'm good. No, I'm good.
Elliot, are you all right?
Yeah.
Should we text him?
Bro, there is no service
up here.
No. Did you get me?
Yeah.
[SIGHS]
I believe that we can do this.
I know we can do this, guys.
Scene 2, Take 17. Marker.
Action.
Should we text him?
Bro, there is
no service up here.
He said the door's unlocked.
Just come in.
Dude?
Don't be a sissy.
It's fine. Okay?
Mr. Patterson?
CHASE:
Oh, Pete, dude,
what are you doing, man?
Oh, God!
MITCHELL: Take 18, let's go.
f*ck it, let's go. f*ck it.
[GROANING]
Tabitha. Ahem.
[KNOCKING ON DOOR]
Like, this is part of the series
when you follow
the other productions.
They experience this kind
of stuff day one, too, yeah?
Okay.
Hello?
Argh!
[SCREAMS]
[LAUGHING]
Holy sh*t, man.
You got me so good.
Your face.
Is this it?
Uh-huh.
[BOTH LAUGHING]
I was really hoping to get
some sleep finally tonight
but someone had to do DID
and I'm just always happy
to take one for the team.
What is that?
[THUMPING IN DISTANCE]
[CAWING]
Hey, Winston!
It's that raven.
Kept me up all night.
Shut up!
Yeah.
I love the movement of the hair.
Yeah.
God, that's good.
I'll be honest,
the mask goes on...
Yeah.
...you're dealing
with Sasquatch.
You okay? f*ck!
That's, um...
[GRUNTING]
[SNARLING]
[BARKS]
Okay.
Action!
[g*nsh*t]
Kenneth?
Wait.
[KENNETH CRYING OUT]
Oh, sh*t!
CHASE: Kenneth?
NATALIE: Kenneth?
Oh, jeez.
Oh, my God!
Oh, my God!
Are you okay?
Wait, give him space!
Where does it hurt?
It's his leg.
Take it off! Take it off!
Take it off.
Give him some space.
f*ck!
Oh, my leg!
Get the doctor!
What the f*ck?
What the heck, man?
What the f*ck, dude?
I thought it was a Bigfoot.
Thank you.
MITCHELL:
You're gonna be okay, okay?
Do you think I can come back?
I can't feel my feet.
I'm gonna get you to the
hospital first. We're so sorry!
Can the costume
stand up on its own?
No, it's a costume.
It needs someone in it.
The Bigfoot alternate.
What was her name?
Martha.
Martha.
She was from around here, right?
Yes.
Let's go find her.
I don't think
that we should put anyone
in that costume in the forest
in hunting season.
Hold on. I have a solution.
[DOOR OPENS]
Okay. Okay. Um...
Ken is fine. He'll be fine.
He's at the hospital. He's being
treated for his wounds.
Most important of all,
he's not going to be suing
the production.
He assured me.
He says that these things
come with the territory.
CHASE: Okay, great.
Mitchell, can you give Martha
a call, please?
Yes.
I'd love to know who that is.
Bigfoot alternate.
Oh, that one.
She's from around here.
Okay, yeah.
Love to hear that workaround.
Let's do it.
Okay.
Action!
FRANK:
What the f*ck?
CHASE:
And cut!
Got it?
Hey, Pete?
Here, over here.
Oh, hey. What's up, dude?
Could you get the catering
in the basement, please?
FRANK:
Walking through the forest
isn't a scary thing.
It's a weird thing.
Like a weird alien.
Yeah, of course.
Because it's a mocap suit.
So it's an alien mocap?
No, it's a motion capture suit.
I don't want a suit.
I want a Bigfoot.
Frank, you have no idea
what you're talking about.
I know what a Bigfoot is.
I don't have time to walk you
into VFX 101 right now.
I don't have time
to learn about VFX 101.
People are getting shot
out there.
What?
We were getting shot out there.
Who got shot?
Kenneth.
What?
Kenneth got shot.
No!
NATALIE: That's nice.
MITCHELL: Aw...
I figured if they're not
gonna have a good meal,
at least I can give them
a nice presentation, you know?
I'm sure nobody will notice.
PETE:
We've got lunch coming in, guys.
I noticed.
Oh, Pete, Pete, please.
What's up? I'm sorry.
I'm just super hungry, man.
It's okay. Totally.
Ugh.
Oh, what is that?
Oh! Ugh.
What is that?
[GASPS]
Oh, my God!
Oh!
PETE: Oh, dude.
Oh, man.
How? How?
Oh, God!
Stop, stop, stop!
Stop, stop.
NATALIE: It's all of them?
MITCHELL: That's maggots.
That's maggots. That's maggots.
The food was delivered rotten.
You can come
and see it yourself.
It's completely black.
It's covered with mold,
and we'd like to have a refund
at your least convenience, okay?
[THUNDER RUMBLING]
CHASE:
Action.
[WHISPERING]
Drew. Drew. Is that you?
What is it?
[THUMP IN DISTANCE]
Man...
[THUMPING CONTINUES]
What's this?
We're doing the sound in post.
NATALIE: Quiet on set.
Please.
Okay, reset.
Action!
[THUMPING CONTINUES]
What was that?
Bro...
Cut! Pete, man!
PETE: What happened?
NATALIE:
I got it. I got it.
Hey! Quiet on set!
[RUMBLING]
Hello?
[THUMPING]
What the f*ck
are we waiting for?
Oh, a feather. Nice.
Okay, we're waiting
for the feather.
Hey, Chase, we're waiting.
Natalie's got her feather.
That's what we're waiting for.
Natalie's feather.
Well, can we bring her and the
feather back down here, please?
FRANK:
Let's bring the feather down.
Maybe we get a shot
of the feather. I don't know.
CHASE:
What is going on with you, dude?
You've got a real piss-poor
attitude these days.
I've got an attitude
that screams
free commercials for a year.
We don't need you on set here.
I need to be here.
I'm executive producer.
I should be here.
NATALIE: Okay.
CHASE: That's what Todd said.
You don't have to be here.
You can take that outside,
please.
Reset, everybody.
We're gonna have a little talk
after the scene, okay?
Frank is this close
to shutting us down, okay?
We need to be better, all of us.
I want you to go to bed tonight
thinking about that.
How can I be better?
How can I be better?
I need to be better.
Also get some rest tonight
because we have
an incredibly long day tomorrow.
Hands in.
Team Patterson.
Team Patterson.
Okay.
Hey.
[EXCLAIMS]
Sorry, you good?
Uh-- Yes.
[GROWLS PLAYFULLY]
Oh...
Yeah, I'm just fighting off
Sasquatch out here.
Yeah.
Really, what are you doing?
Oh, I was just waiting
for Winston. Heh-heh.
Oh, you know,
we can swap if you want.
I mean, I don't--
Give me a bird-free room.
Oh. I'm okay.
I'm not really that comfortable
sleeping with Chase.
Oh, no, no, you wouldn't be.
Chase has his own room.
Sleep apnea from the...
The vape.
[LAUGHING] Right?
Yeah.
But, um, yeah,
so you wouldn't be.
I-I'm happy to sleep here
if you want to sleep in my room.
I'm a hundred percent okay.
Okay.
Um...
You know,
you can ask me for help.
Thanks.
Have a good night.
Good night.
ROCHELLE:
Mitchell, if you would like,
we could set up
one of our cameras
in the living room tonight.
Maybe it will help
to find a bird.
Yes, that would be good.
Everyone is here
but my favorite friends.
[BREATHING HEAVILY]
[SINGING IN FOREIGN LANGUAGE]
[SCREAMING]
[ROARS]
We're gonna start
this scene right here.
You see this breakfast,
you're confused.
You ever seen that movie
by James Simmons
in 2016 For What It's Worth?
WOMAN: No.
The two main characters
didn't expect to fall in love.
They were so confused by it.
Share that same confusion
with this breakfast.
What's going on? I don't know.
That is gonna take you
to the foot of the staircase.
You hear Uncle Ben's voice
call out,
that's what stops you, this is
where the scene takes place.
Make sense?
Over there?
Stay put right there.
Okay.
We good?
NATALIE: Yeah.
All right, last looks.
Let's go for a take.
Scene 4, take 1.
CHASE: Action.
ABIGAIL:
Drew, you don't wanna
come up here, man.
I'm sick as a dog.
Cough, cough.
Yeah, yeah. Cool.
NATALIE:
Uh... Cut!
What happened?
Hello.
Oh, hi. Yeah.
[STAMMERING]
You must be...
Yes, people who own this.
And so do my parents,
who I do believe--
My parents should have mentioned
to you the...
[CHUCKLING NERVOUSLY]
Hi, I'm Natalie.
And you must be just wondering
so many thoughts in your head.
But I can assure you that
everything is just a-okay here.
Natalie...
Yes?
Have you disturbed
the oubliette?
No, no, no.
We won't be.
We are not disturbing any...
[STAMMERING]
What do you mean exactly?
Over there.
Oh, that.
It's been disturbed.
No. We're using it
for storage.
We haven't filmed
anything there.
How long has that door
been open?
Oh...
Five days.
Five days.
Five days.
Five days?
NATALIE: Yeah.
And have there been
any unexpected injuries
or spoiled food, perhaps?
Yeah.
Oh...
Do you smell that?
Yes, I smell it.
All right, this is all over.
You all must leave
this very moment.
No, no, no.
Please, please, please.
We're two days away
from being over.
We're almost done.
Two days,
and we'll be out of here.
You're done now.
This is over now.
Okay, this is what we have here.
Just a simple miscommunication
between two parties.
Parties?
FRANK: We can do this.
Settle this mano a mano.
There's no reason to call unions
or, God forbid, law enforcement.
No! You cannot call the police!
You can't involve the police!
Okay, okay.
It's not okay! It's not okay!
Listen, look at the bolo.
Look at the bolo.
Button.
Yeah.
Button. All right?
Purse your lips.
Okay, let's do a little song.
[HUMMING SOFTLY]
Oh, I'm sorry.
Yeah, little puppies, right?
Little puppies.
WOMAN: Puppies.
MAN: Okay.
WOMAN:
I'm sorry.
Two more days, was it?
Two days. Two and done.
Two days and we're out.
I'm sorry.
MAN:
You did your very best. You did.
All of you.
These next two days,
do your best.
Your very best.
NATALIE: Thank you.
That's the plan.
Come. Start the car.
Start the car. Start the car.
NATALIE: Have a good time.
Can somebody please see
if they're leaving for sure?
I'm fine. It feels like
I could lift a car.
I might need a horse
tranquilizer or something.
No, I'm good.
Sit down.
Oh, sh*t. She's coming back.
NATALIE: What?
I think she's coming back.
NATALIE: She's running?
Yeah. No,
she's just coming back.
No.
Oh, is she like a...?
Hi.
[SPEAKING IN
FOREIGN LANGUAGE HOARSELY]
[DOOR CLOSES]
Check she's actually gone.
What?
She's leaving.
They're pulling out.
CHASE:
Back to one. Let's reset.
Let's build on this momentum.
We finally caught a break here.
Let's go, everybody.
Mitch, slate.
Let's do it. Come on.
FRANK:
I just hope that
there is absolutely no confusion
about how important tomorrow is.
Nine pages, eight scenes.
Crucial moments
where our lead characters--
Betsy.
What?
Betsy is coming to set.
Oh, yeah?
And she is going to visit
and talk with
her favorite actor of all time,
Mr. Alan Rickman.
Right.
And that is the only scene
that matters tomorrow.
Okay.
Because if that doesn't happen,
it is Armageddon.
PETE:
Oh, hey, guys. Um...
Do you guys have a second,
maybe?
Uh, sure, Pete.
Nat, could you...?
Oh, yeah.
Cool. Thank you so much.
I got Todd.
Okay, so do you remember, like,
that lady who came by,
like, a little--
Like, earlier with all
the stuff, and she was like:
And said all the crazy--
Yeah, hard to forget.
Right? So she gave me
the book, right?
And I was looking through it,
and it's, like-- This like--
Dictionary thing,
but, like, for demons.
I started, like,
reading through it more,
and I realized that,
like, uh...
Some of this stuff is seeming,
like, super similar to, like,
what's been happening,
like, on set and stuff.
And I just wanted
to say something,
'cause, like, it gets
kind of gnarly at the end, so...
Yes, thank you for...
bringing this to my attention.
Yeah. Make sure
you keep it tied up.
ROCHELLE:
Mitchell, would you mind
if we showed you
the footage
from the other night?
What?
[SCREAMING]
[ROARING]
MITCHELL:
Hey, Natalie.
I need help.
[KNOCKING SOFTLY]
[FOOTSTEPS ASCENDING]
FRANK:
Well, I get it, Betsy.
You know,
it's a very long drive.
You just keep going.
Keep the faith.
Chase, can I talk to you?
BETSY: Oh, yes.
What's up?
The bridge that you mentioned.
In private?
Yeah, the bridge.
I see it now.
Good. Just keep going.
Keep going past the bridge.
Oh, I see you. I see you, Betsy.
Yes. Oh, and there's the car.
Chase, I really need
to talk to you right now.
Okay.
I'm pulling up right now.
FRANK [SINGSONGY]:
Betsy's here.
BETSY: Hello. Hello.
CHASE: Hi.
FRANK:
I'll help you up.
Oh, thank you, dear.
Got it.
Is he here?
He is not here yet,
but he's on his way.
On his way.
Yeah, his people
have notified us
that he's in transit.
And we have a room
for you to wait.
It's temperature controlled,
and you can just stay in there.
There's no reason
for you to leave the room.
We'll bring you
anything you need.
Oh, that's lovely of you.
You'll have audience with Alan.
Thank you.
ROCHELLE:
Betsy, how are you feeling
internally?
Internally?
ROCHELLE: Yes.
Try to explain it.
Everything is shaking.
Hello?
Oh, hi. Hey, are you Alan?
Yeah.
Can you keep your voice down?
Okay.
Perfect.
You're gonna come with me.
A little quicker, faster.
We're just gonna get you
in costume.
So I'm Alan Rickman,
but I'm not Alan Rickman.
I'm Uncle Ben.
So every time I call action,
you're Alan Rickman
playing Uncle Ben.
Outside of that,
you are just Alan Rickman,
and you are especially Alan
Rickman when you meet Betsy.
Action, Alan Rickman, Uncle Ben.
Betsy, Alan Rickman.
I get it. I get it.
But literally,
the entire production
is riding--
Chase, I really
need to talk to you.
Mitchell's
in the production office.
I'm sure he can handle
whatever...
No, I need to talk to you--
Nat. Nat.
I wouldn't--
Nat. Nat.
I'm trying.
Nat. Nat. Nat.
[THUMPING OVERHEAD]
You hear that?
Uh-huh.
She's revving up right now.
She's freaking out, man.
That is your audience.
Who are you?
I'm Alan Rickman.
f*ck, yeah, you are.
Go get her, tiger.
This is important as f*ck, okay?
We need to be super excited.
For Betsy to meet
Alan Rickman. Okay?
We're not gonna be rolling
on this,
but we need to keep that
same energy as if we are, okay?
So be excited.
Act excited, okay?
'Cause if we don't
pull this off, we're f*cked.
Pete, go get her, man.
Go get her.
Yeah, dude.
Hey, Betsy?
[KNOCKING]
Ahem. Betsy, are you...?
I'm just gonna come in
a little bit.
Betsy?
Uh...
Um...
Hey. Hey.
Hey, Betsy. Hey.
[DISTORTED]
Hello.
[STAIRS CREAKING]
[WITH FRENCH ACCENT]
Oh-h*. Monsieur Rickman,
I presume.
You presume correctly.
[CHUCKLES]
I must say,
you look more lively
than I expected.
[CHUCKLES]
Yes, well, one does one's best
to appear well.
[LIGHT LAUGHTER]
[CLEARING THROAT]
It was a little...
Real bumpy at the start,
and she's been erratic,
I guess is the word,
and I don't know.
It might be a medication thing.
Maybe she forgot to bring it
or something,
but, uh, she seems to be...
buying it.
Oh!
Thank you.
Thank you, Alan,
from the bottom of my heart.
Oh, mwah! Oh!
And now, goodbye.
Goodbye.
CAST & CREW:
Goodbye.
Goodbye.
Goodbye.
Bye.
Goodbye.
Goodbye.
MITCHELL: Bye.
See you.
Oh, just one more thing.
Would you give me...
a kiss?
A kiss?
Just a little baby kiss.
A little kiss on the cheek,
right here,
from the great Alan Rickman,
and then I'll go.
[EXHALES]
[CLEARS THROAT]
[BETSY EXCLAIMS]
[CLEARS THROAT]
[GIGGLING]
CHASE:
Oh!
Hey, hey, hey. Whoa, whoa, whoa.
[EXCLAIMING]
[GRUNTING]
[SHRIEKING ROAR]
g*dd*mn!
MITCHELL:
It's been a long day.
Everyone's been through a lot.
Yeah.
People get a little cuckoo
when they meet people
who they think are famous.
[GROANS]
It's a little present
from Betsy to the production.
[SIGHS]
[CLEARS THROAT]
I don't wanna be the captain
of the sunken ship, Patterson,
but let's be honest, we're on
the SS Titanic right now.
We hit the iceberg,
and the a*s of the ship
is now vertical, all right?
It's going down, quick. Uh...
This is the situation, folks.
We have one day to get
everything, and I mean 20 pages.
I lie naked before you.
If anyone has any clue
as to how we're gonna
pull this off, I am all ears.
Yeah, yeah, Natalie.
Um...
I-I don't have a solution,
but I think
I may have an explanation
for some of our delays.
That's what we're here
to talk about. What you got?
Okay.
Um...
I have reason to believe
that a lot of the issues
we've been experiencing
may be a product of...
demonic intervention.
Okay.
NATALIE:
This book was given to me
by Pete.
There's a page that is
bookmarked with a dark feather.
It is a chapter
on the Demon Andras,
the great Marquis of Hell.
Here. That's it.
I read through all of this
last night,
and there are
a lot of similarities
between his tactics,
Andres' tactics,
and the problems
that we have been facing.
Like, um, uh--
He's a trickster.
A prankster type
who torments his victims
in the following seven steps:
One, introduction.
Sounds, raven-like sounds.
Two, insomnia.
Mitchell.
Three, injury.
Kenneth in his Bigfoot costume.
Four, foul food,
which the catering, all right?
And five, possession.
I think we experienced that
today.
So you're saying
that Betsy was possessed?
She was possessed
by this demon, Andy?
Andres, yes.
Okay. Betsy's senile.
She signed a napkin
and handed it to me
thinking it was a check.
Yeah. Okay, maybe.
She's not all there.
But what about everything else?
Natalie. Natalie, honey.
FRANK:
No. What about everything else?
It's an open forum.
We're naked before you.
Okay. Well, I'm telling you
that I think by breaking into
the basement and staging gear,
we may have released a demon
onto the set.
And in my opinion,
we should leave right now
and start scouting new locations
that match this one.
And I-I'm serious.
FRANK:
All right,
you heard the little lady.
We're gonna pack everything up,
we're gonna gather it all up,
and we're gonna find
another location
and sh**t 20 pages there.
That's fine, that'll be good.
Okay, if you're serious,
I agree.
I know you're trying
to help right now,
but honestly,
I'm not trying to put you down,
but I'm not also buying--
FRANK: No, no, no,
this has been very helpful.
Now, you said that there were
seven steps,
but we only heard five.
[STAMMERING]
Well, because...
Folklore says that step six
is a paradox,
which is a seemingly impossible
twist of time and space.
Wow. Well, an impossible twist
doesn't sound so bad.
We could probably stretch that
out and finish the movie
if we're in a thing
of time and space, right?
We've got infinite time.
This is a gift from Demon an*s.
Andres.
What's number seven?
[MUMBLING]
Uh-- "The Grand Jubilee."
[MOCKS MUMBLING]
"The Grand Jubilee."
That sounds like a party.
That sounds like a party. What
happens in the Grand Jubilee?
No one has survived
long enough to tell the tale.
[LAUGHING]
Okay.
No one lives that long.
[LAUGHTER]
NATALIE: I'm humiliated.
CHASE: Why?
You just stood there
and laughed with Frank.
I'm trying to tell you something
that I am dead serious about.
You were laughing at me,
and I'm sick of it.
You don't listen to me.
You don't hear
what I have to say.
As your girlfriend,
but more importantly,
as your first AD,
I do not get respect from you.
Come on, I'm not trying--
No. Don't touch me.
Seriously?
You're gonna be like that?
Yeah, I am gonna be
like that right now.
Come on, Nat. Okay, I'm sorry.
Don't do this.
No. I don't-- I don't-- I--
Seriously?
Natalie, come on, hon.
Good night.
What are you doing?
You're not sleeping here.
Come on. Let's go.
Grab your stuff. Let's go.
Come on, let's go.
Oh. Oh, okay.
We're gonna f*cking
crush ba*ls today.
CHASE:
Action!
[]
Scene 5, take 1. Mark.
Mark. Mark. Mark.
Scene 12, take 2. Mark.
Ugh! There's literally
zero alcohol.
Ew! Why does he have
a bunch of newspaper clippings
of missing people in the area?
Seatbelts.
Yo.
The car isn't starting.
Oh, yeah, that's right.
Mitchell, Natalie,
would you mind hoisting it up
for the actors?
MICAH:
Oh, bro!
Looks like an animal
got in here and tore it up.
Oh, my God.
What are we gonna do?
DREW:
Oh, sh*t. Okay.
Cut! We got it, man.
Just give me one sec. Oh, sh*t.
You find that hairy
son of a b*tch,
and you put him
on the big screen.
What'll they say then?
MICAH:
This is the spot
where we saw him, right?
Is it warm?
[BIGFOOT GROWLING]
[SCREAMING]
CHASE:
Action! Bigfoot!
DREW:
Holy sh*t! Micah!
Micah!
[SCREAMING]
Uncle Ben!
Help me find his keys.
ABIGAIL:
Wait, aren't those the wires
from your car?
I thought a wild animal
did that.
[]
CHASE:
Gasp.
[SCREAMING]
[PANTING]
Oh, my God.
Oh, sh*t.
Oh, my God!
[SHOUTING FEARFULLY]
This is Drew Patterson.
I took my best friend,
Micah Turner,
and my girlfriend,
Abigail Gatsby...
into the Six Rivers
National Forest
to find a monster.
[SOBBING]
And we found him.
Ben Patterson.
My uncle.
I think he lost his mind.
I want whoever finds this
to know
that what happened out here...
It was not
a supernatural event, bro.
My friends were m*rder*d by
a lunatic in a Bigfoot costume.
[SOBBING]
It's my fault.
It's my fault.
[GASPS]
Wha--?
What was that?
What was that?
Cut.
[LAUGHING]
Are you crying?
[APPLAUSE]
That's a wrap, folks.
[ALL SHOUTING HAPPILY]
[UPBEAT MUSIC PLAYING]
[PEOPLE CHATTERING INDISTINCTLY]
I didn't think we could do that.
That could apply to anything.
Hey there.
You want a drink?
You want something
to drink, man?
With the camera, my guy.
You learned how to do it, dude.
How's your wrist doing?
Much better. Much better.
...tell him, as soon
as it's just the two of us.
It should be us.
It should be me.
Hey-- Hey, guys.
I just want to say that
I am so proud of this team.
We were indomitable.
We rallied
and rolled with the punches.
And I just want to say
that I am so lucky
to have worked alongside
each and every one of you.
So don't forget to put on your
seatbelts, you sons of g*ns,
and I'll see you
at the premiere.
[CHEERING]
Thank you, Chase.
Post-production's gonna
make or break the movie.
We gotta find
the right sound house
that'll put that Blair Witch
polish on it.
Because we're gonna have
something special on our hands.
Could we just pull over
for a second?
Dude, you can't tell me
Blumhouse
won't be in on
this kind of a thing.
No, Blumhouse is great,
but--
They're gonna want to sell it
strictly as a horror film,
and it's just not that thing.
We got this cool
Andrea Arnold-like
coming-of-age story thing,
and then we slap you in
the face with the horror part.
Chase, I'm having--
I just don't want to end up
on some online
ads-every-ten-seconds
binge-tube bullshit.
Chase, I'm in love with--
Whoa, whoa, whoa.
Hey, hey, hey.
NATALIE:
Did you turn somewhere?
I have no idea
what's going on right now.
[PEOPLE CHATTERING INDISTINCTLY]
Hey, guys.
Hey.
I don't know.
I have no idea. Um--
Hi, guys.
I think...
I need to pull out of here.
Maybe we took, like, the wrong
turn out of the driveway?
No, Natalie,
we didn't take any turns.
There were no turns taken.
Right, but--
JAMIE-LYNN:
Pete, have you seen
the Bigfoot costume?
PETE:
Yeah, I think it was down
in the basement.
[SPEAKS INDISTINCTLY]
Hey. What's up.
You guys need something?
Uh... I don't know.
We're trying to leave but...
I-- Could somebody get Mitchell
over here, please?
Is there another way
out of here?
It was a straightaway,
I swear.
I'm super confused.
So watch the cabin.
It's going that way.
It's behind us.
Now look ahead.
Okay.
And I'm not turning.
Look at this. No turns.
Right.
You have got to be
f*cking kidding me.
What?
Shut the f*ck up, dude.
Is that--?
That's Frank's car.
I don't understand.
I don't know, dude.
It's over there, dude.
It's over there.
What is he saying?
It's over there, Frank.
No, you're going the wrong way.
No, I just came--
I just came from the cabin.
No, I just came from the cabin.
You're going the wrong way.
Turn around.
No, I'm not--
It's over there behind you.
No, the cabin's back there.
f*ck a duck.
Turn around.
f*ck.
Okay, we just have
to breathe through it.
Breathe through it.
What are you doing?
Oh, please, please be careful.
FRANK:
I don't remember the driveway
going around, is it--?
CHASE:
What's going on, dude?
We literally went
in one direction.
Yeah, I know, and then...
Yeah, it's been like this
for the past three hours now.
We've been trying
a couple of different tactics
to get to the end
of the driveway.
PETE:
We should find a car, right?
You see anything?
Yes.
It does look familiar.
FRANK:
Is that the camera?
There's a point
where it returns, right?
Like we have to find...
I got it. I got it!
I don't think I--
Wait--
Be careful!
Wait.
We'll get help.
Wait.
He's coming back.
There he is.
PETE: No, dude, it's still us.
No.
It's still us here, dude.
No!
Dude, there's no way!
Why did you turn around?
Don't turn around.
Whose idea was this one?
Oh, my God.
What else?
Just run! Run!
Frank, stop! Frank, Frank.
Frank!
We don't know what's going on.
[INDISTINCT ARGUING]
Hey! Hey! Guys!
I think, uh,
it's getting a little weird.
I'm thinking that we stay put,
stay together,
that's the biggest thing, right?
We get some rest, we wake up
first thing in the morning,
we got the sun on our side,
and then we look for a way out.
Yes, we are, Natalie.
No. We are not
staying here tonight.
Look, I know you're tense,
it's super tense.
No, no, no, Chase.
Listen to me.
No, I physically cannot listen
to you anymore, okay?
You need to listen to me,
because you laughed at me.
You all laughed most...
Pretty much everyone,
except for a few, laughed at me
when I told you
about the seven steps, okay?
And now, look,
we can't even drive
down the freaking driveway.
It's like the paradox, yeah.
It's like a whole thing.
Yeah, it is, it is.
It's a whole f*cking thing.
Andres is here and every single
one of us is going to die.
Natalie, Natalie, come on.
Stop, stop, stop.
Stop doing that.
I hate it
when you do that to me.
You just say my name
over and over and over again
just to shut me up.
Nat, Nat.
I don't like you anymore.
Do you hear those words?
I don't want to be with you
anymore, okay?
And I need you to know that
before we all die, okay?
We are done.
We are broken up,
and I am with Mitchell now.
I am in love with Mitchell,
okay?
We did it in my hotel room,
so it--
It--
It's consummated.
Wait, are you serious?
[SOFTLY]
Chase, I'm sorry.
[PATS SHOULDER]
[TAPE WHIRRING]
There's literally zero alcohol!
[DOOR OPENS]
[DOOR CLOSES]
[GURGLING]
f*ck this!
I'm not dying here.
[BURPS]
I got bug juice everywhere.
Alan--
BETSY:
Alan!
MITCHELL: Alan!
Oh, no. Betsy--
I don't think we should--
Okay, she's going.
She's just--
MITCHELL: Alan!
BETSY: Alan!
Alan, come back!
ROCHELLE:
Jerome.
[IN FRENCH]
[PEOPLE CHATTERING INDISTINCTLY]
Are you writing a song?
[CHUCKLES]
Uh--
Yeah, yeah, kind of-- Yeah.
ROCHELLE:
Why don't you share with us?
PETE:
Uh-- Uh--
Okay.
Yeah, I guess I wrote this one
because everybody was saying
last looks like all week
and I thought that was
kind of stuck out.
Okay.
The sidewalk's lonesome
And the nights are bleak
I just came looking
For a place to sleep
But what's this now?
Look what I've found
People strange, just like me
Making art
And playing make-believe
Man, I love these guys
Mmm-mmm-mmm
They're calling last looks
Y'all
We're calling
Last looks y'all
Can we slow down, look around
Enjoy this moment?
The days may be long
And tough
But they're still zipping by
Too fast
If this really is
The last last look
[CHUCKLING]
Let's make it last
Yeah, something like that.
[ROARING]
[SCREAMING]
[THUMPING]
[DISTORTED]
It's me, Alan Rickman.
There's something out here
with me. Please let me in.
Oh, Alan, don't worry.
I'm coming.
[SHUSHING]
Don't be silly.
It's Alan Rickman.
I must help him.
Alan?
Alan, where are you?
[SCREAMING]
[DISTORTED]
It's me. Betsy.
It's cold out here.
Please let me in.
You are all cordially invited
to the Great Marquis'
Grand Jubilee.
Oh, f*ck! Jamie.
You are all cordially invited
to the Great Marquis'
Grand Jubilee.
[RUSTLING, SCREAMING]
CHASE:
Nat, Nat, Nat, Nat!
[ROARING]
Up there.
Out the back door.
Get in my car.
Lock the doors and hide.
Just wait.
[SCREAMING CONTINUES
IN DISTANCE]
f*ck.
Okay.
Okay.
[CACKLING]
[GLASS SHATTERING]
[SPEAKING IN FRENCH]
Come on, come on, come on!
Take it!
Take the--
[CHASE SCREAMING]
Chase, I'm coming!
Mitchell, wait.
Find a way out!
Please stop! Just stop! Please!
[SOBBING, PLEADING]
Someone's gotta take one
for the team.
Wait! Mitchell!
No! No!
Wait!
[MITCHELL SCREAMING]
[THUDDING]
Oh!
[ROCHELLE SCREAMING,
SHOUTING IN FRENCH]
[SNARLING APPROACHING]
[JEROME SHOUTS IN FRENCH]
No!
Don't k*ll us! Don't--
[JEROME SCREAMING]
[GUTS SPLATTER]
[QUIET SNARLING]
NATALIE:
Oh, God! Please don't,
please don't, please don't.
Oh, God.
[NATALIE SCREAMS]
[]
[SNIFFLING]
This is the last known survivor
of The Patterson Project
m*ssacre.
Millions of people have seen
the now infamous footage,
which was retrieved
three years ago
and subsequently cut together
by the film committee
at the Muse d'Orange.
It is there that this footage
plays on repeat 24 hours a day
in the museum's
most popular exhibit,
posthumously titled Last Looks.
Some have questioned
whether the entire event
was staged
as a publicity stunt
by the museum,
as no bodies
have ever been found
at the scene of the crime.
In fact, the only living memory
of what actually transpired
that fateful night
exists somewhere in this
young man's traumatized mind.
However,
Peter Wolznacki
hasn't spoken a word
since he was found
bound and gagged
alone in that cabin timeshare
three years ago.
If any of you recognize
either of these two
unknown individuals,
please call the number you see
at the bottom of your screen.
1-844-PAT-PROJ.
Or contact your--
[GROANS SOFTLY]
What's that?
What's that?
Peter, Peter, can you hear me?
[MUMBLING]
We just needed to store
our extra gear.
NURSE:
Excuse me,
what's going on in here?
And who gave you permission
to speak to him?
Oh, we were told that
we could set up this interview.
This man needs to medicate
and rest.
Oh, please,
just a few more questions.
That's enough questions
for today.
You should be ashamed
of yourself,
taking advantage of a poor,
troubled man
for clicks and views.
What's wrong with you?
No, please.
Ma'am, please let go of my arm.
The victim's family--
[DISTORTED] Release!
[NORMAL, BUT GRUFFLY]
Me.
[MURMURING INCANTATION]
[]
Staying in Hell
But the treatments won't help
But I'm not sure
We'll meet round
The stairwell and hallways
Never let me go
No, your fears
Don't belong here
My old skin
That old fears belong
Oh, but you always had
Yes, you always had
Haven't ya?
Haven't ya?
Love me, hate me
Wanna hurt me, wanna save me
I don't know
You're everyone here
You're me in the mirror
Won't you
Just leave me alone?
No, your fears
Don't belong here
My skin
That old fear's rubbing off
Oh, but you always had
Yes, you always had
Haven't ya?
Haven't ya?
Yes, haven't ya?
Haven't ya?
Action.
The sidewalk's lonesome...
[CAWING]
I just came looking
For a place to sleep
But what's this now?
What I've found
FRANK:
Okay, I'm here now.
Oh, you don't-- Okay, all right.
Hi, Sarah. Hi.
Hi.
I have a question. Can you get
off the phone for just a second?
Mitchell told me that
Danielle Radcliffe has a vag*na.
I cannot believe about
that miscommunication.
It is just crazy.
Uh...
I think it's more
of a deception.
Literally on my knees.
Literally on my knees right now.
We're trying to find a solution.
Just some guy on his knees.
That's for my lawyer.
I appreciate this.
Yeah, no,
I'm so sorry.
It's just, it's...
I don't know.
I'm gonna write down
my lawyer's name.
I have an acting philosophy.
It's this being sexy
to booking pipeline.
Like, you have to find
the sexiness in the character
if you, like, want to book,
because people don't want
to watch unsexy people.
And that doesn't mean
that you, like,
have to be sexy,
um, like, me,
like, and actually sexy.
You can actually in, like,
different ways.
Like Steve Buscemi.
Like, so hot,
but, like, is he?
But he is.
Every time you watch him.
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Found Footage: The Making of the Patterson Project (2025)
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