- 9 hours ago
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00:00:04Oh, is this the one that has the girl getting the axe in the head?
00:00:10Yeah, that's it.
00:00:12That had nothing to do with the original story. I added that in there.
00:00:15Did you?
00:00:16As an afterthought.
00:00:23I don't know why I did it, but I did it.
00:00:26I thought it would help sell it.
00:00:27Was this all shot in this area here?
00:00:30This was shot in Buena Park.
00:00:32Oh, nice.
00:00:34That's just five minutes from here, right?
00:00:41Pretty good effect.
00:00:43Yeah.
00:00:43But the best part of the effect is the camera moving in that way.
00:00:56See, but it...
00:00:58Oh, we had fun with this girl.
00:01:17I don't believe their names are on the...
00:01:19No, I don't know that I put...
00:01:21Well, I may have put her name.
00:01:22I don't know.
00:01:22I don't remember her name, to be honest with you.
00:01:26I know the girl that got...
00:01:27The first one was a tomahawk.
00:01:28Now, that was at Cypress College.
00:01:30Oh, nice.
00:01:31At Cypress College.
00:01:33And that's a stuntman playing Bob Axelrod from there.
00:01:38What happened here was, you'll see him get hit by a car.
00:01:42He broke the windshield of the car.
00:01:44He wasn't supposed to do that.
00:01:56Have you been around this area lately?
00:01:59Yeah, it's just right.
00:02:00It's not too far from here.
00:02:01It's maybe 15 minutes from here.
00:02:02Oh, cool.
00:02:04Cypress College is between...
00:02:06It's in...
00:02:08Two minutes from Buena Park.
00:02:10I wonder if it still kind of looks how it looks here.
00:02:13Yeah, it looks the same, basically.
00:02:15Wait!
00:02:16Come on, come on, wait!
00:02:19Why?
00:02:19They didn't show the part where we went over the car.
00:02:23Was that all this...
00:02:24You think all that stuff was what had been edited out from...
00:02:29Well, I don't know why they edited that out.
00:02:31It was a pretty good bit.
00:02:32But anyway, I don't know.
00:02:40Cypress Police.
00:02:42There you are.
00:02:46That's not a bad little opening there.
00:02:48No, it's going to be a matter of two years of consideration.
00:02:51Yeah.
00:02:52See, it's abruptly cut.
00:02:54Yeah.
00:02:54That was my dad talking.
00:02:55There's Robert.
00:02:59He, um...
00:03:00Oh, that's Hollywood.
00:03:00That's, um...
00:03:02Oh, Paramount.
00:03:03No, that's...
00:03:04That was Coinga Boulevard.
00:03:07In Hollywood.
00:03:08This is Hollywood.
00:03:13But that's not where he was standing.
00:03:18Is this all that cutaway stuff that you were shooting when you had that...
00:03:21Yes, exactly.
00:03:22That's what that was.
00:03:28Yeah, he's been in some pretty good movies.
00:03:30Yeah, that's a bookstore, a book stall on Coinga and, uh...
00:03:33Well, he used to be there.
00:03:34I don't know if it's there anymore.
00:03:37And this is Buena Park, right here.
00:03:44That's cool.
00:03:45You got away with having guns in the street.
00:04:05That girl on the ground there was a, uh...
00:04:12She was a stunt girl at Knott's Berry Farm.
00:04:18I wonder if she's still there.
00:04:20No.
00:04:22You're too old now.
00:04:26Yeah, like these little songs throughout the movie are really good.
00:04:29I think I did.
00:04:30Glenn Baxley's very good.
00:04:32He did the, uh, music for, um...
00:04:35A re-score for me for Three Bad Men.
00:04:37He was very good.
00:04:37And he also did the score for me for The Alley.
00:04:46Yeah, this is a good little song.
00:04:49I have no idea who these people are.
00:04:52No idea who they are.
00:04:53None.
00:04:54Maybe when I see the girl, I can tell you.
00:04:57Unless that's that...
00:05:04I don't know, maybe he's...
00:05:05I don't know, I see him better.
00:05:20So this is all, like, in the outskirts?
00:05:22I'm sure there's stuff built around there now, right?
00:05:23This, if I'm not mistaken.
00:05:30Um, I don't...
00:05:31I, it's...
00:05:33I can't remember who shot this.
00:05:35I have no idea what the hell it is.
00:05:36I have no clue.
00:05:44It's not in L.A. County.
00:05:45It's somewhere down in Orange County or, or, um...
00:05:49Yeah, it's Orange County somewhere.
00:05:51South Orange County.
00:06:06Do you keep in touch with that guy at all?
00:06:09I have no idea who that guy is.
00:06:30I don't remember the sequence.
00:06:38Okay, so this all took, you said, 14 days?
00:06:41No, we were, about, uh...
00:06:4612, 13, 14 days, something like that.
00:06:50I don't know who these people are.
00:06:52I have no clue where I even got them.
00:06:56I'd like to see her again.
00:06:57Yeah.
00:07:13Did you ever talk to that other guy with sunglasses?
00:07:15The guy on the right, his name's Lonnie Withers.
00:07:17He lives up in Hesperia.
00:07:19I haven't talked to him in years.
00:07:34As I seem to recall, this couple were actually boyfriend and girlfriend.
00:07:38I think.
00:07:40I'm not sure.
00:07:44He's got some little cut-off shorts, or boy shorts.
00:07:54You don't have a copy of this soundtrack, by chance, do you?
00:07:58Soundtrack?
00:07:58Yeah, like all these songs.
00:08:00Yeah.
00:08:08Oh, she lifts her blouse here, I remember that.
00:08:11Or her skirt, something, whatever.
00:08:23I remember her face.
00:08:25I remember her, and I'm trying to remember where I got her.
00:08:35Did you have any people bother you while you were shooting all this?
00:08:39I've only had one person ever bother me one time when we were filming.
00:08:43And that was on Children of the Road, the hobo movie.
00:08:47Some raving lunatic came up there and said,
00:08:50This is my property.
00:08:51It belonged to my grandfather from a Mexican grand and all this other stuff.
00:08:55It was the evening when he came up.
00:08:56We'd already finished.
00:08:58But I stood there and told him,
00:09:00Kiss my ass.
00:09:01I was going to stay there and finish.
00:09:04I don't let people intimidate me at all.
00:09:07Oh, and the only other time was when we were making this movie.
00:09:10I'll tell you about The Devil Cult.
00:09:14I'll tell you about that.
00:09:17Okay.
00:09:20Oh.
00:09:22Where the hell was the shot?
00:09:32Hey, the moron!
00:09:48Hey, where did you go?
00:10:01In order to shoot scenes like this,
00:10:03you've got to scout it out and make sure it's a lonely place
00:10:06that there's nobody around, you know.
00:10:07Yeah.
00:10:08And then you have pretty much carte blanche.
00:10:10And you don't go in carrying a lot of equipment
00:10:12and all that other stuff.
00:10:13You don't park cars all together.
00:10:37Oh yeah, I remember that.
00:10:47So have you seen him lately?
00:10:49No, he talked to me.
00:10:50He called me, oh, I don't know, a couple years ago.
00:10:53Maybe more than that.
00:10:54Maybe four or five years ago.
00:10:56And we talked and I was going to get together.
00:10:59I never got the chance to get together.
00:11:01I was too busy.
00:11:02But I told him I'd use him again.
00:11:04He's a hell of a good actor.
00:11:08And after we had our little confrontation down here in location,
00:11:13he was fine after that.
00:11:17He looks like Greg Hawks from The Cars.
00:11:21I don't know if you're familiar with him.
00:11:22Yeah.
00:11:22He looks like the keyboard player.
00:11:24A little bit in the eyes.
00:11:40Oh, he doesn't look that young anymore.
00:11:42He's really weathered.
00:11:42Have you seen him lately at all?
00:11:43No, I haven't.
00:11:44Oh, he's really weathered.
00:11:45I mean, he looks much, much, much older than he is.
00:12:08Did any of this come from, like,
00:12:10did you watch I Spit on Your Grave?
00:12:13Or any of those movies?
00:12:14I never saw that movie.
00:12:16A lot of people ask me,
00:12:17did this come from this movie?
00:12:19I don't, I don't,
00:12:20I'm not one of those people that goes out and sees a lot of movies.
00:12:22No.
00:12:23No.
00:12:24Uh-uh.
00:12:30Most of the time I'm disappointed in what I see.
00:12:40On this movie,
00:12:40were you able to just do what you want,
00:12:43or did they have, like,
00:12:44other than what they cut out,
00:12:46it was all what you wanted to do?
00:12:47I got what I wanted.
00:12:48That was the guy.
00:12:49That was the man out there.
00:12:50I mean, I got what I wanted.
00:12:51The problem I had was with anybody.
00:12:54His, his, mine and his little disagreement was a quick thing.
00:12:58It was no problem.
00:12:59Right.
00:12:59But with the girls, those four girls,
00:13:01once I got them out on location,
00:13:03the, the, they, see the oriental girl there?
00:13:07Oh, yeah, his flashback?
00:13:08Yeah, there's a shot, there's a scene in there where he goes to,
00:13:10where he's back in Vietnam, the other guy,
00:13:12and he's, uh, visits this oriental prostitute.
00:13:15And she was beautiful.
00:13:17She was gorgeous.
00:13:18She wanted to keep filming.
00:13:19I literally ran out of film after we shot everything.
00:13:22I mean, I barely made it,
00:13:24but she wanted to keep filming.
00:13:26She was just a wonderful person.
00:13:28Totally wonderful person.
00:13:33He and I had got into a disagreement one night after we got through filming.
00:13:36We had dinner, and then we were supposed to rehearse at Lonnie's house.
00:13:39He was living out in Hesperia.
00:13:41And he, he said, I don't want to rehearse.
00:13:43So, I was, he said, I'm going back to the motel.
00:13:46I grabbed him, and I slammed him up against the car.
00:13:50And I said, look, you son of a bitch,
00:13:51I'm putting the money into this movie,
00:13:53and you're going to goddamn well do what I say,
00:13:55or you're out of here.
00:13:56He was fine after that.
00:13:57Never had a problem with him again.
00:13:59I just had to shake him up.
00:14:00It was his first starring role.
00:14:02He was just starting out, and he was nervous.
00:14:04Yeah.
00:14:04So, this girl,
00:14:08another one that caused me problems.
00:14:10I thought she was sexy until she took off that thing,
00:14:13that big ass.
00:14:17Too big.
00:14:21It almost looks like she has a bikini on.
00:14:23No, no, that was, that was her.
00:14:25That was her nudity.
00:14:27That was shot in a house in La Mirada, as I recall.
00:14:31As far as where she was running prior to this,
00:14:33is it the same area?
00:14:34That was in that same area.
00:14:36Her husband was a merchant, merchant sailor,
00:14:40or Navy guy.
00:14:42I knew him from Knott's Berry Farm.
00:14:45I think that's where I got most of these people,
00:14:48from Knott's Berry Farm.
00:14:56Well, so far, this isn't as bad as I thought it was going to be, you know.
00:15:01No, it's good.
00:15:07But she had no problem with the nudity.
00:15:09It didn't bother her at all.
00:15:15I remember when we shot it,
00:15:17I was standing right behind the cameraman,
00:15:19and when she took the towel off,
00:15:21you looked at me like...
00:15:23I had to hold myself from laughing.
00:15:27Oh, God.
00:15:28But you get what you get.
00:15:29Paying him hardly any money,
00:15:31so what do you expect, you know?
00:15:35So this green car,
00:15:37this car, this particular one,
00:15:39whose was that?
00:15:41Do you remember?
00:15:42I don't remember.
00:15:43It wasn't mine.
00:15:44I don't know.
00:15:46That time, what was I driving?
00:15:47I was driving a Pinto.
00:15:50This is the other one that was an idiot.
00:15:54I don't remember.
00:16:19Well, they cut out the dialogue there,
00:16:21where she sees her mother come in the door.
00:16:23Oh, no.
00:16:24Oh, no.
00:16:26No, Mommy, you don't wear a bra with your time, Pop.
00:16:29You want people to see your bread?
00:16:33Mother, I'm going to see other girls.
00:16:35We are happy.
00:16:38I don't understand you anymore.
00:16:42What's happening to me?
00:16:43I think you need girls.
00:16:45I don't do that.
00:16:52I think that's La Marotta there, too.
00:16:58Or Buena Park, one of the two.
00:17:00I don't remember.
00:17:00It looks more like La Marotta.
00:17:01That kind of looks like my aunt's house.
00:17:04The one that she lives in Buena Park.
00:17:06Yeah, that's probably where that was.
00:17:07It's kind of like that area.
00:17:09I shot everything pretty much locally
00:17:10until we got out to the desert.
00:17:11And here's it.
00:17:12Lookie's not.
00:17:13You have to do that.
00:17:16I got out.
00:17:30Lookie's not them.
00:17:33Lookie's not them.
00:17:34Come here.
00:17:35Going down here, my boy.
00:17:46Not a bad little actress.
00:17:48Yeah, she's the one that likes to scream a lot in this movie.
00:18:07Yeah, when we were editing this, the audio to clear it up a little bit, the audio guy I work
00:18:14with, he's like, they don't make cars like that because the hoods would crush it because they don't have the
00:18:20steel bars.
00:18:21It's just one flat roof.
00:18:25Well, I cut the picture and I cut the audio and I didn't know what the hell I was doing
00:18:28at that time.
00:18:30It's not the first picture I cut, but it's the first one with sound.
00:18:33Well, I was learning.
00:19:03Do you know who that guy is working on the bike?
00:19:05Yeah.
00:19:07See you later.
00:19:11Who's that?
00:19:12I think?
00:19:13No, I may be wrong.
00:19:16Yeah.
00:19:16That was the...
00:19:21No, I don't know.
00:19:22I was going to say that was the sound man, but I don't think so.
00:19:27May have been.
00:19:28It may have been.
00:19:30Come on, have fun.
00:19:32Don't get caught.
00:19:35What's that all about?
00:19:37Mom and dad are going to Vegas.
00:19:38There's girls in some of them in some of the weekends.
00:19:41Now, this was all shot after we got back from the desert.
00:19:44All this was shot after.
00:19:46First stuff we shot was the desert stuff.
00:19:49I was only talking to them when I had to talk to them.
00:19:57They're actually not like bad actresses.
00:19:59Huh?
00:20:00They're pretty good actresses.
00:20:01Not bad.
00:20:02Now, this guy was a stuntman at Knott's Berry Farm.
00:20:05That's not the point.
00:20:06No?
00:20:07No.
00:20:07I just don't think it's a good idea for a bunch of girls to be going in the desert alone.
00:20:11Oh, just because we're women, you think we can't take care of ourselves?
00:20:14I didn't say that.
00:20:15Look, it's not a good idea to be taking care of ourselves.
00:20:17It's a dangerous place if you don't know what you're doing.
00:20:19Oh, now we don't know what we're doing.
00:20:23Well, I'm going and that's it.
00:20:25I guess you've got something to prove, huh?
00:20:27Well, maybe I have.
00:20:30I'll be home Sunday night and let's see if that can't get to me.
00:20:44He's got like a nice, um, I don't know if it's a Z28, but he's got a nice Camaro.
00:20:50The car?
00:20:51Yeah.
00:21:02And this guy was the sound man's father.
00:21:07That was the sound man by the bike.
00:21:10Oh, it was?
00:21:10Yeah.
00:21:11They'd set up the mic.
00:21:12Someone else was mad at the mic.
00:21:14I see.
00:21:14I think his dad was doing the sound that day.
00:21:19They were from New York, he and his son.
00:21:23Nice people.
00:21:24You ever do all right?
00:21:26I'm a little boy.
00:21:28What is that?
00:21:29Need some money?
00:21:32Have a good time.
00:21:36She has like a New York sounding accent.
00:21:38Oh, okay.
00:21:39I'm a good night.
00:21:40I'm a good night.
00:21:40I'm a good night.
00:21:47You got everything.
00:21:52I think that car belonged to the assistant director, now that I think about it.
00:22:02See now, that's either a copter or something. I would not have printed that scene. I would have gone and
00:22:08shot it again.
00:22:14The next star neighbor is mowing his lawn.
00:22:17Oh, that's what it was maybe, yeah. That's what it was.
00:22:21I wonder if that little kid knows he's in Victims.
00:22:31I think that's La Mirada.
00:22:40That's Glenn singing too.
00:22:42Yeah, I was just going to ask that, yeah.
00:22:45Glenn's very good. He's very good. I'd use him again.
00:22:50I wonder if he would still have any of the tapes for this.
00:22:53I wonder if he would still have any of the audio for this, like his actual tracks.
00:22:56I have no idea. I haven't talked to him in years, I don't know.
00:23:06I wonder what street corner that is right there.
00:23:10I'm sure it's changed a lot.
00:23:20So this is where that couple's in there, the British guy.
00:23:23And I had a dub his voice in one part of it.
00:23:41Yeah, this guy.
00:23:43There was a craze called the Urban Cowboy Craze that came out in 1980.
00:23:47Yeah.
00:23:47He was one of them. He was one of the big ones. He taught the line dancing. He played at
00:23:53Knott's Berry Farm.
00:23:55That's where I remember him now. He was a hell of a nice guy.
00:23:58Yeah. It's the Travolta era.
00:24:02Yeah, it was during that exact same time, 1881. 79, 80, and 81.
00:24:08And here's that British guy.
00:24:10Stay right with you, George.
00:24:15That's my voice.
00:24:18It's about 10 miles down the road. You're going to come to the forest.
00:24:21You're going to have a rock.
00:24:36All that right there looks like Benson or Bisbee, Arizona.
00:24:40Yeah, flat like that.
00:24:41Yeah.
00:24:42Hey, this is Suspiria.
00:24:46I had a nice little butt for him.
00:24:50What's your hurry?
00:24:51We've got to pack up for the truck.
00:24:56He says it's about a half a mile back and he's left on there.
00:25:00Not enough to blink.
00:25:01It's little hussies.
00:25:07Little hussies.
00:25:08Little hussies.
00:25:24How far are we from home?
00:25:27About 151.
00:25:34Don't look now, but I think someone likes you.
00:25:46Happy 1164.
00:26:01See, nowadays I'd have him take the money, but I'd have him caress her hand as he takes the money.
00:26:05Stuff like that.
00:26:06You learn so much.
00:26:09Hey, where you going, shucka?
00:26:12Where you going, shucka?
00:26:36I don't know.
00:26:43It's shameful the way they're dressed.
00:26:5155, 75, that's $12.
00:26:54You girls are going up to Sweat Rock.
00:26:57That's right.
00:26:58Sweat Rock.
00:26:58There's this park that's old up there, and I hope you've got some more clothes.
00:27:03What do you think I'm going to do up there?
00:27:05You have no idea.
00:27:07Hold up.
00:27:08Do you want?
00:27:12No, actually, we're going on a field trip to the geology class.
00:27:16Field trip?
00:27:17Hello?
00:27:18And I'm going to sit right up to her.
00:27:21Okay.
00:27:22Two miles, just follow the road to the forest, her left, and you're right there.
00:27:26A good old staff is spanking is what they need.
00:27:33I should show you.
00:27:35Okay.
00:28:07Now the cameraman's name was David Orange Shack, I think was his last name.
00:28:17He wore all black.
00:28:19Yeah.
00:28:19He always wore black.
00:28:25And I rented this piece of junk from some guy that lived out there.
00:28:31Did it stall out on you?
00:28:33Huh?
00:28:34Did it stall out on you?
00:28:35Heep!
00:28:45Heep!
00:28:50Crazy idiot!
00:28:54Watch where you're goin'.
00:28:56Would you mind moving out the way so we can get back on the road?
00:28:58Oh, it's your hurry.
00:29:00Want a dance?
00:29:02No, sir.
00:29:03Is Mark moving?
00:29:04Where are you going?
00:29:06I think you can go around him.
00:29:10What, do you want to party, baby?
00:29:14Don't play with yourself!
00:29:16Oh, shit.
00:29:24Yeah, I'm going to refilm this whole sequence totally differently.
00:29:54Do you remember those two guys?
00:29:56Huh?
00:29:56Do you remember those two guys?
00:29:59I remember them, but I don't know where they came from.
00:30:02I have no clue.
00:30:03I have no idea.
00:30:04Oh, I know where they are.
00:30:05The guy with the beard?
00:30:07He was in the stunt show at the wagon camp at Knott's Berry Farm.
00:30:12He was the guy that they pull up from the audience,
00:30:14supposed to be there with his wife.
00:30:16Then they chase him.
00:30:18Oh, I think that does a stunt.
00:30:19Yeah, that's him.
00:30:20And the other guy, I think he was a stuntman there, too.
00:30:22I think they're all stuntmen that I use in this thing.
00:30:24Knott's.
00:30:25Or actors, you want to call them.
00:30:26Whatever you want to call them.
00:30:33Yeah, they're all stuntmen.
00:30:48That should have been a straight cup.
00:31:08Yeah, she sounds from New York.
00:31:10She has an East Coast accent.
00:31:13She has an East Coast accent.
00:31:13She's going to be home.
00:31:15She's going to be home.
00:31:16She's going to be home.
00:31:16She doesn't know this about anywhere.
00:31:17She's going to have to find us first.
00:31:19And nobody's going to find us way out here.
00:31:22We're at the end of the world.
00:31:45This was shot in broad daylight in the morning.
00:31:47We're at the end of the world.
00:32:15So how many people in the crew would you say were on this movie?
00:32:19Well, a couple of the guys, like one of the two bad guys, Lonnie, he helped carry stuff.
00:32:25Had a sound man, a boom man, and had the cameraman, and me, and the assistant director, and the makeup
00:32:33lady.
00:32:35About six or seven.
00:32:45Very small crew, very small.
00:32:47But you don't need a lot of people if you know what you're doing.
00:32:50I could have used some more, but I didn't need them.
00:33:01See, now if I were filming this, I would have shot a totally different, but I would have come in
00:33:05for close-ups on some of the important lines here.
00:33:17Did it get really cold at night during the time of filming, or in the morning?
00:33:21This is morning.
00:33:22No.
00:33:22Oh, not there.
00:33:24Can be, but the time I shot it, it was...
00:33:31I think it was in the spring.
00:33:33I'm not sure.
00:33:34So it was warm up there in Hesperia.
00:33:36So like spring of, what'd you say, this was spring of 81?
00:33:40Spring of 81.
00:33:41I think it was springtime.
00:33:42It was 81 and all that.
00:33:46I had been in Mott's about a year.
00:33:56I had been in Mott's about a year.
00:34:11Well, at least it looks like moonlight.
00:34:13It's just too dark.
00:34:14I would have had to come in on close-ups, because you can't tell who's who.
00:34:17Well, you know, anything is possible still, but it's not light for anyone, no amount of weapons anywhere.
00:34:23It's the size, there's four of us, and we've got this.
00:34:26You know what you're going to scare me to make that we can have a lot of fun, isn't it?
00:34:31I know what I got from.
00:34:34No, no, look at that.
00:34:37That's why I'm a member, I can't even know what I'm saying.
00:34:40She can't do.
00:34:42She can't do.
00:34:43We all better get to sleep.
00:34:45My style of it.
00:34:56Oh!
00:34:57I told him he was a child.
00:35:02Oh, man, he's going to be a scorcher.
00:35:05Scorcher.
00:35:12Oh, is this where they go skinny dipping?
00:35:14Yeah.
00:35:16They gave me all kinds of hell about this.
00:35:20They wanted to stay in bikini, they said no.
00:35:23They kept saying, less is more, and I said, I don't give a shit.
00:35:27You saw the script, this is what we're going to do.
00:35:30Oh yeah, they ganged up, they were something else.
00:35:33But, see, it was all, there was a guy who was the assistant director, and he was an old
00:35:39lady, basically, and he was the one that was instigating all of this stuff, I found out later
00:35:44in the room.
00:35:44Yeah.
00:35:45All right.
00:35:47All right.
00:35:48Let's go.
00:35:49Let's go.
00:35:51Let's go.
00:35:52Let's go.
00:35:52Let's go.
00:36:13Let's go.
00:36:14Let's go.
00:36:15Please.
00:36:17Let's go.
00:36:19Let's go.
00:36:34Let's go.
00:36:36coming up as far as them skinny dipping yeah i never got what i wanted
00:36:43we can find out four of them and shoot it again i i would have shot more close-ups that's
00:36:49what
00:36:50i would have shot more nudity than they showed that's what i would have done at that point i
00:36:54was so goddamn mad i was barely talking to him anyway yeah you know you're financing something
00:36:58you're under a lot of pressure you only have two weeks to do it and you're out there in the
00:37:03desert
00:37:04and you're working constantly there's no break except for for lunch quick lunch and bam where
00:37:09you're up and out of and um and then when they give you trouble
00:37:18just it just wasn't
00:37:22it was not a pleasant experience making this movie
00:37:28that girl looks pretty fit
00:37:31that girl looks pretty fit like she went to the gym
00:37:39i think that's called deep creek and it's a place where they go skinny dipping now
00:37:46and uh at the time i didn't know that i just found that leg i was going to do it
00:37:52there
00:38:04i like the way the shot is composed there it's kind of a nice little shot though
00:38:10so as far as victims did you have any other locations that you wanted to shoot this other
00:38:16than the desert or you always thought it would be no i shot a lot of stuff in the desert
00:38:19back in those
00:38:20days though i thought this is a perfect place for it in the desert you don't have to pay for
00:38:24any
00:38:24locations there and nobody's going to bother you you're away from everybody
00:38:30and i like the landscape because i can get some pretty dramatic stuff with it you know
00:38:37in those days i didn't know much about light and shadow either
00:38:41you know now i love doing film noir because i'm i'm an expert at light and shadow anymore
00:38:47so i don't know it's more fun for me now much more fun because when you're learning
00:38:52you're learning you don't know all the answers to stuff you know what i mean
00:39:01where are you going
00:39:03No, no, no!
00:39:04I can't believe that task!
00:39:06No, no!
00:39:07No, no, no!
00:39:12No, no!
00:39:15No!
00:39:19No, no!
00:39:22No, no, no!
00:39:25I am feeling you didn't watch!
00:39:27What?
00:39:28No!
00:39:28I don't know. That's not funny. Why did someone just picture them? I don't know.
00:39:32I don't know. Hey, we need to go here two days ago.
00:39:35That's right. There's three things all set when there makes no reason.
00:39:39You, I can't remember how it feels. You'll do that.
00:39:42Let's go.
00:39:51Wait for me.
00:39:52I don't know.
00:39:54Funny how you remember those things, you know. You remember a line or whatever.
00:40:03Someone stay here!
00:40:22My bag is still here.
00:40:25Let's go home.
00:40:32I hope we have new toys.
00:40:34We might come back. Gather everything you saw with them and put them in the car.
00:40:37I hope, I am dear.
00:40:41That was fun.
00:40:49I hope you are here.
00:40:57I'll give away more.
00:40:58Thank you very much.
00:41:34Big old boat of a car, huh?
00:41:36Yeah.
00:42:13Yeah, this is when all the bad things start happening.
00:42:31Oh, well, the girl gets bit by a snake or something, too?
00:42:34Or falls?
00:42:35Yeah.
00:42:35There's a snake in here.
00:42:36Yeah, she gets...
00:42:37The snake, I never saw one snake in the desert.
00:42:39You know where I had to get the snake?
00:42:40From the R.O.P. school down here in Orange County in Anaheim.
00:42:43They had one there.
00:42:44Oh, really?
00:42:45A rattlesnake, yeah.
00:42:58Yeah, it's that girl that's walking up to the top.
00:43:01Hmm?
00:43:01Yeah, the girl that's walking up to the top.
00:43:03She's the one that gets...
00:43:05Yeah.
00:43:05She falls back, I think, and messes up her leg.
00:43:10I remember this just like yesterday, shooting this scene.
00:43:12Just like yesterday.
00:43:13It was a nightmare.
00:43:15Yeah, it was a nightmare for me.
00:43:30It blended in.
00:43:31It worked well.
00:43:32I mean, it worked fine.
00:43:33I don't know.
00:43:37I don't know.
00:43:39Oh, no.
00:43:39Oh, God.
00:43:41Oh, God.
00:43:43Oh, God.
00:43:43Oh, God.
00:43:43What are we going to do?
00:43:44Oh, God.
00:43:45Oh, God.
00:43:56See, at that time, 1981, you could make a movie and not have anybody in it would sell.
00:44:01Right.
00:44:02Especially a movie like this.
00:44:03Now, just imagine if I'd had another, let's say, 10 grand, 15, 20 grand more.
00:44:08I could have put some much prettier girls in it.
00:44:11I could have had more production value.
00:44:12It would have been phenomenal.
00:44:15But this is, this is bare bones, as bare bones as it gets, you know.
00:44:20Still, it tells a story.
00:44:23Yeah.
00:44:23We haven't gotten very far.
00:44:24We've gotten a few hours.
00:44:26Will you shut up?
00:44:27I thought it was going to complain.
00:44:29I'm not going to go.
00:44:30But we're not going well without you.
00:44:33I didn't make it that way, Janet.
00:44:34I think I know you did.
00:45:04I got an idea.
00:45:06Key art for victims, did the guy see the movie, or did you just kind of tell him what it
00:45:12was about?
00:45:14No, he saw the movie, I think.
00:45:22The artwork that we did for... I'll see if I can send you a copy of it.
00:45:26The artwork we did for... it's online.
00:45:29The two Pamela's? Out of this world. A different guy did it all together.
00:45:33I have a friend, if you ever need artwork, he's a student at UCLA.
00:45:38He's a Hindu. And he's phenomenal.
00:45:42Now this, this was shot way down in
00:45:46South Orange County, and I was the guy pushing all the rocks
00:45:49over, off camera, and it made it look like it was something
00:45:53more than that, but it took us all day to shoot that god damn thing.
00:45:57That was a lot of work. A lot of work. One guy pushing all those rocks and somebody down there
00:46:01started filming it.
00:46:03Yeah, that really big one looked like it was
00:46:05leaning towards the right, towards the camera.
00:46:09Well, when you're down there with the camera,
00:46:11that guy could have hit something and moved and
00:46:12went toward the camera, could have wiped the camera out.
00:46:15That's where it looked like it was going.
00:46:17I have the... oh no, that was David Orangehack's camera.
00:46:20Yeah, okay.
00:46:23Now, see this place here?
00:46:25Yeah, a natural little cave.
00:46:27We were filming there for two days.
00:46:29Look at that ass, that's nice.
00:46:31And on the third day, we'd finished everything.
00:46:34I was standing and looking back this way, down in the valley,
00:46:36and I saw our cars were parked way across the valley.
00:46:40And I saw this whole bunch of cars pull up near ours,
00:46:43and a bunch of people get out like hippies.
00:46:45Kids, whatever, adults.
00:46:47And then they're looking around, and one of them points and sees us.
00:46:50So, they come across the valley and up the hill.
00:46:53I told my cast, I said, uh-oh.
00:46:56They get up there, and they were like satanic people.
00:47:01And they said, what the fuck are you doing here?
00:47:03I said, we're making a movie.
00:47:05They said, well, you get the fuck out of here right now.
00:47:08I said, okay.
00:47:09So we left.
00:47:10Then I found out later on from Lonnie, who lives up there,
00:47:13that a satanic cult is known to be in that area.
00:47:17But there was a pentagram inside that cave.
00:47:19Somebody had burned it into the ground.
00:47:23Ashes of it.
00:47:24Or on the rock, I don't remember which.
00:47:33I wonder if people are still doing that kind of stuff up there.
00:47:35We left a pentagram when I did Mark of the Beast.
00:47:38That was a big production.
00:47:39We left a big pentagram, and the guys, uh,
00:47:42some guy had built a little house out there, out of stone,
00:47:45and carved it into the rock, just as a vacation home.
00:47:51There you are.
00:47:54Alani started out with me in the theater.
00:47:56As a theater actor.
00:48:00Nineteen...
00:48:03Seventy-three?
00:48:07Yeah, seventy-three.
00:48:09So I had known him for about eight years when we made this.
00:48:12What?
00:48:12What are you doing?
00:48:13Pardon?
00:48:14Did you think you were looking for a friend?
00:48:17Did you use him a couple more times?
00:48:19I used him again.
00:48:20I used him in, uh, he had a small, but a very great part in, uh, um,
00:48:25Streets of Death.
00:48:26Played a pimp.
00:48:27And it was terrific.
00:48:30And that was shot very well, the light and shadow one.
00:48:32I liked it a lot.
00:48:33I liked that movie.
00:48:41I think he's gained a lot of weight now.
00:48:43He and his wife were enormous beer drinkers,
00:48:45and I think he's probably about 250 pounds or more,
00:48:48so he wouldn't be good at a movie anymore.
00:48:51I haven't talked to him in years anyway.
00:48:53He's a hell of a nice guy, but, you know,
00:48:55people move out of the area, you lose touch with them.
00:48:58We kept in touch for the first few years, and I'd go up there and see him,
00:49:01but, not anymore.
00:49:05Please don't.
00:49:06Put your clothes on.
00:49:08Please!
00:49:10Please!
00:49:12Did he end up watching this movie when it was completed?
00:49:15Did he let you know what he thought?
00:49:16Uh, I don't remember, to be honest with you.
00:49:20He may have.
00:49:23He may have, but I don't remember.
00:49:27I'm sure he liked it.
00:49:29Hell, he was in it.
00:49:30What's he gonna say?
00:49:31I didn't like it.
00:49:32He was in it.
00:49:33He had a good part.
00:49:41Did they stick to, like, the script as far as what they say,
00:49:45or did they kind of ad-lib stuff?
00:49:46No, nobody ad-libbed anything.
00:49:47I wouldn't let them.
00:49:49Now, it's different.
00:49:50If I have a scene with some people, as long as they get the gist of the scene,
00:49:54if they want to ad-lib, and ad-lib is germane to what's going on,
00:49:59I'll let them get away with it.
00:50:00If it's not, and they start off with something else,
00:50:03when you tell them.
00:50:06See, I'm a writer first, you know.
00:50:08I told you who I've written for.
00:50:10First thing is, the word, the spoken word is very important to me.
00:50:14But, if something happens in the scene that's phenomenal, keep it.
00:50:19You know, I don't mind that.
00:50:21But these people were not savvy enough at that point to ad-lib anything.
00:50:28So, they didn't.
00:50:43I'd shoot this differently too today.
00:50:53See, I'd get a close-up of the barrel against her groin, each girl.
00:50:57Put that in there.
00:50:58Make it more powerful.
00:51:06So, when you shot this, you had one 16mm, right?
00:51:11One camera?
00:51:13One 16mm camera?
00:51:14It was a 16mm.
00:51:15What the hell did he use?
00:51:17I can't remember.
00:51:18I had the bolex, but it wasn't the bolex he used.
00:51:21It was something else.
00:51:44I don't know.
00:51:47I ad-libbed his voice in this scene too, because he wasn't around to dub it.
00:51:51That's me speaking.
00:51:53That's me.
00:51:53Trying to sound like Lonnie.
00:51:55That's me.
00:52:01Sound like him.
00:52:03A little bit.
00:52:16I like this little trip she does.
00:52:18It's natural, see?
00:52:19It makes the scene.
00:52:20It makes her seem more pathetic, more vulnerable.
00:52:25She didn't.
00:52:26It just happened.
00:52:33Jesus, he says.
00:52:35Oh no, that comes up later.
00:52:37Oh, he did say it.
00:52:45I said get up.
00:52:46Get up!
00:52:47Or I'm gonna blow your friend's head off.
00:53:05Oh my god, please let's go back!
00:53:10I think she was probably the youngest girl out of the four.
00:53:13She was.
00:53:14She was the youngest one.
00:53:15The oldest one was the driver.
00:53:18Okay.
00:53:19And then I think this one in the black hair.
00:53:21And then Jerry.
00:53:23It's a scorcher.
00:53:25And then this girl here.
00:53:26She looks maybe like 20.
00:53:29Maybe 21.
00:53:31Could be.
00:53:31Or maybe even younger.
00:53:33It's funny how I cast them.
00:53:34I cast them all in a hotel over by the LA airport.
00:53:36I had no office.
00:53:38Yeah.
00:53:39And I just...
00:53:39We found a room in a hotel.
00:53:41The guy let me use it to interview him.
00:53:42That's how we cast it.
00:53:48Did you have more than four girls show up?
00:53:51No.
00:53:52Just the four and then you...
00:53:53That's it.
00:53:56Oh, I used what I had.
00:54:02See, I would've got close-ups too with their faces when they're talking.
00:54:05Because you've got to see the expression.
00:54:06You've got to see what's in the eyes.
00:54:08Yeah.
00:54:13I'll do it to her.
00:54:15No.
00:54:16God, please don't let me just do that.
00:54:20All right, girl.
00:54:22Have it your own way.
00:54:23No!
00:54:26All right, let's do that for me.
00:54:28You leave me down in class.
00:54:29Do it to her!
00:54:32Little old Lonnie.
00:54:38So when you cast them or when you told them about this...
00:54:42Well, they read the script.
00:54:43Did you put an ad in the paper or something?
00:54:46Oh, oh, oh.
00:54:47Yeah, I did.
00:54:48I put an ad in the paper.
00:54:49That's how that went.
00:54:50Do you still have that ad?
00:54:51Oh, I don't know.
00:54:52No.
00:54:53Hell no.
00:54:53I wouldn't have that ad.
00:54:54Nah.
00:54:57See, in those days, I'd finish something and that was it.
00:54:59Yeah.
00:55:06Axelrod was the best thing in the whole movie, I thought.
00:55:09Yeah.
00:55:09I thought he was very good.
00:55:10Yeah, he's a good actor.
00:55:26Pretty powerful stuff, even today, really, when you think about it.
00:55:29Mm-hmm.
00:55:29Rape and all that stuff.
00:55:37Somebody remarked...
00:55:38Look at the shot again.
00:55:39There, see the penis rock?
00:55:41Somebody remarked about that, that it was the director's symbolism.
00:55:45It hadn't even occurred to me.
00:56:12You dirty bitch!
00:56:14I gotta kill you for this!
00:56:16I gotta kill all of ya!
00:56:18Oh!
00:56:19Straight horse!
00:56:24Come on, go!
00:56:25Uh!
00:56:26Oh!
00:56:27I'm not a pig!
00:56:40You're gonna get your stomach.
00:56:40God damn bitch!
00:56:41Stephanie!
00:56:42Oh!
00:56:44Oh!
00:56:44Get out. Gotta get to the first aid kit. Fast.
00:56:54That one.
00:57:00I'm tired of it.
00:57:13It's a Scotia.
00:57:15Yeah, she's very Jewish, very New York Jewish.
00:57:20Schlesel, her last name means Key in Yiddish. Jerry Key.
00:57:28Hurry up!
00:57:29I wonder if we were to walk outside and see any of them, if you would recognize them.
00:57:35Probably. I never forget a face.
00:57:38Cut the crap!
00:57:51Some people change dramatically. Others don't change at all. You know?
00:57:55It just depends on the person.
00:57:57But I can usually remember a face. I may not remember the name, but the face I generally remember. Generally.
00:58:02It's a good evening.
00:58:06It's what you want. It's what you all want.
00:58:10So right in there is where that cult would do their thing?
00:58:14Yeah, we were up on a hill here. And across that way was the valley.
00:58:25They did the reading beautifully.
00:58:26I'm giving you what you're asking for!
00:58:38I love the effect when she slams a car down on his knuckles and breaks his knuckles.
00:58:50I'm surprised that they have a first aid kit.
00:58:55I love it.
00:58:55Open it!
00:58:57I'm gonna call him!
00:58:58I'm gonna call him!
00:58:59If you wanna take your kit pretty, we better do what I'm doing!
00:59:03No!
00:59:04No!
00:59:05No!
00:59:07No!
00:59:07No!
00:59:08No!
00:59:14No!
00:59:18No!
00:59:19No!
00:59:19No!
00:59:21It's not here!
00:59:23So, when you had a car like that, was it also a hatchback?
00:59:26That wasn't my car.
00:59:28I...
00:59:28No, I can't...
01:00:01oh no no 81 yeah 81 i was driving a pedal i had a pedal fastback not a fat not
01:00:10the hatchback
01:00:10the fastback it was kind of unique i loved it floor shift that's a great car i had 250 000
01:00:16miles on when i gave it away perfect condition i gave it to a friend of mine wife
01:00:53she really was scared up there that's why she bent down like that
01:00:59yeah she's not wearing any shoes or anything
01:01:11nowadays i would have had a stuntman go over and then a dummy
01:01:20on mark of the beast we had a stuntman break his back and his legs remember i told you they
01:01:25sent the
01:01:26they set the the fiancee on fire and throw him off the cliff yeah there was a descender rope on
01:01:32him
01:01:32like that you couldn't see with the harness and we had four cameras set up and the guy that was
01:01:38running the descender rope had let some slack in it that was 75 feet wow and so when he fell
01:01:44it was
01:01:45beautifully shot but he's hit he never stunned it again steve davis
01:01:52it's kind of like i have a friend who worked on um the original conan the barbarian and something
01:01:57like that happened where the i think the guy passed away when he fell off the cliff trying to do
01:02:01a stunt
01:02:02oh this is that oriental girl i liked her i could have filmed her all week
01:02:14she was a real player that one i liked her she was gung-ho
01:02:33so this was shot after this was shot after the other stuff was done
01:02:39if you would have found her beforehand would you have i would have used her hell yes in a heartbeat
01:02:45she was a wonderful person just as gung-ho to do whatever we wanted her to do didn't matter
01:02:51she was just great you know when you find somebody like that you want to use them over and over
01:02:58i have never been i've never had problems filming anybody hardly ever this uh this one and two
01:03:05pamela's were some problems but not much but this one was in a class by itself because when it was
01:03:10over i never wanted to see these girls ever again
01:03:12i don't understand if you want to say anything go ahead
01:03:17i don't tell the cops i was out for you know they didn't want to go to play for this
01:03:22he pushed us out here
01:03:25all of us
01:03:27my my buddy and i were camping in these whores
01:03:41you see for yourself the way they're dressed
01:03:47so you see bitch you're too good for you
01:03:59where am i gonna get the new ones
01:04:02where am i gonna get the new ones
01:04:10or where am i gonna get the new ones
01:04:16it's my mom
01:04:18it's my mom
01:04:19Right here.
01:04:25It's been death in the accident.
01:04:27But in his case, justice has been served.
01:04:30He paid for his harm with his life.
01:04:33So if you die, you'll be justifiable homicide.
01:04:40Then we'd have to live with the memory of your death for the rest of our lives.
01:04:44And we've had enough pain already.
01:04:49Let me go home.
01:04:59Years.
01:05:13That's my knife they use by the way. My hunting knife.
01:05:16My bowie knife.
01:05:18It's lost somewhere. It got lost along the way.
01:05:21That one right there?
01:05:22Yeah, not there. It got lost somewhere.
01:05:23I may have gotten lost there. I don't know.
01:05:25It's a great knife.
01:05:29I worked on another movie and it was called Satan's Blade and they throw a knife like that in a
01:05:35tree.
01:05:35And a few of them are lost somewhere in Northern California.
01:05:40That always happens.
01:05:41No.
01:05:42No.
01:05:42No, don't do that please.
01:05:44No.
01:05:46No.
01:05:47He's gonna dance away from you there.
01:05:49And you must be punished.
01:05:52Poor grandpa.
01:05:56a lesbian ass growling daughter Lyn be dead.
01:05:58I'm gonna dance away from you.
01:06:01birthdays.
01:06:05Un tow I have nothing.
01:06:08He's reliving the thing with the prostitute.
01:06:23Okay, can you stop it now?
01:06:25Let's see the last part of it.
01:06:27Okay.
01:06:28Now we can do the interview because I'm going to have to get going here.
01:06:31Alright everyone, as you heard, Jeff Hapcock had to go.
01:06:34We actually ended up doing an on-camera interview after this.
01:06:38I asked him some questions in regards to the film.
01:06:41See if he remembered anything, which he remembers quite a bit.
01:06:45But basically, Victims was shot in the springtime of 1981.
01:06:51He was working at Knott's Berry Farm at the time.
01:06:55And decided he wanted to shoot a film with the week off he had at work.
01:06:59And he asked for an additional week off of work and got it.
01:07:02And then he put an ad in the paper.
01:07:04And he saw four girls in a hotel room.
01:07:07And he cast the four girls that came, which are the girls that are in the film now.
01:07:12It was shot up in Burbank, which is basically right by Knott's Berry Farm.
01:07:16It's maybe about a 20-minute drive from Los Angeles.
01:07:21Then it took him another year after the film was completed to do the audio and also to cut the
01:07:28movie together from the 16-millimeter print.
01:07:31So it got picked up by Scimitar in 1984.
01:07:34And it was distributed in 1985.
01:07:39So Jeff had sent them, the master, the 16-millimeter print of the film, never got it back.
01:07:45So he has absolutely no idea where it is.
01:07:48We try to find it, but have no clue as to where it can be at this time.
01:07:52So we did use another source that I had.
01:07:55It looks as good as it can be for what it is.
01:07:58We cleaned up the audio a bit because it was really difficult to listen to.
01:08:03But, yeah, we appreciate Jeff for doing the interview and taking a couple hours out of his day to do
01:08:10the commentary for most of it.
01:08:11There's only about seven minutes of it or so that are missing.
01:08:15But we're hoping to have this released, I would say, March of 2017.
01:08:22All right, today is December 18th, 2016.
01:08:27So, yeah, we should be coming out with it soon.
01:08:30Thank you, everybody.
01:08:31This is Jesus Turan with Slasher Video.
01:08:34There you are.
01:08:35Now you know what kind of girls they were.
01:08:38The two men, what were they doing?
01:08:40As I recall, it seemed like they were having car trouble.
01:08:43They pumped over at the side of the garage in the hood out.
01:08:45Have they seen before?
01:08:48They look like they were acquainted with girls.
01:08:50Well, I saw them talking to the girls, and they were smiling, too.
01:08:53They certainly looked to me like they knew each other.
01:08:56What happened then?
01:08:58The girls got in their car and left.
01:09:01Did the men go with them?
01:09:02No, they were still there when we left.
01:09:04But I saw them waving to the girls as they drove away.
01:09:08Waving?
01:09:09Well, you know, like this.
01:09:14They're very helpful.
01:09:15We'll call you again if we need to talk to you.
01:09:17If it's dope, Marshal, that's what's ruining our young people, I'm sure you'll find there's dope and sex involved.
01:09:24You may be right.
01:09:30I just talked with the hospital.
01:09:32If Earl's got a fractured hip, he'll be okay.
01:09:34The only physical damage to the man is a gunshot wound on the left thigh.
01:09:39His real problem is mental.
01:09:41They say he's completely locked his mind.
01:09:43Maybe something scared him.
01:09:45Could be.
01:09:46Let me know as soon as the boys get back in the same black.
01:10:01You folks have been notified.
01:10:03They're on our way.
01:10:05How's Jodd?
01:10:07He's okay.
01:10:08But your male friend, he's in bad shape.
01:10:11It's not our friend.
01:10:13We told you what happened!
01:10:16Until he's made my call and tell us about his story, we have done it.
01:10:21All I got is your work for it that he breaks it.
01:10:24Physical examination will prove that we're telling you the truth.
01:10:31Right now, I got a man out of his mind with a bullet hole in his place.
01:10:35For all I know, he may have been a victim.
01:10:37You see?
01:10:38Oh, we're telling the truth!
01:10:42Look, I'll lay it out for you.
01:10:45There'll go a heck of a lot of using for all years if you tell me what you did with
01:10:48the money.
01:10:50What money?
01:10:52The money from the gas station, hold up.
01:10:54We don't know anything about a hold up.
01:10:56What are you trying to say about this?
01:10:59Lady, a man was shot in that hold up.
01:11:02Now, this man is serious enough.
01:11:04But if that attendant could die, you're going to find yourself in more trouble than you'll ever dream of.
01:11:12So, holy God, we don't know anything about any gas station.
01:11:16Hold up!
01:11:19Oh, God.
01:11:21All right.
01:11:22Have it your own way.
01:11:23I just don't understand any tricks nowadays.
01:11:27Things you're always getting yourselves into trouble.
01:11:36They brought the body in.
01:11:37Found him in a ravine where the grill city was.
01:11:40The tow truck's bringing in the grill's car and the one stolen at the gas station.
01:11:44Any sign of the money?
01:11:46Nothing yet.
01:11:47They did pick up two hunting rifles.
01:11:49Most likely the ones you use are all three.
01:11:52All right.
01:11:53Good work.
01:11:53Oh, that truck driver to pick the group up.
01:11:55Get his name and phone up, and I'm finally going to close them again.
01:11:59We found the body where he said it was.
01:12:02And some cars were right here.
01:12:06It would be just a matter of time before we find one.
01:12:11It would be to your benefit to tell us the truth.
01:12:13We told you the truth, but we won't listen.
01:12:18Okay, ladies.
01:12:19Any way you want it.
01:12:20But let me tell you how it looks from here.
01:12:23You all play in the robbery together.
01:12:25Then you high-tailed into the hills.
01:12:28You drank, smoked pot, had you a little oily.
01:12:32Somebody got jealous.
01:12:34Tempest blares.
01:12:36There was a shootout, and one man died.
01:12:39Then one of you thought up the race story.
01:12:46I just got a call from the hospital.
01:13:07Yes, I didn't know that I was going to be done.
01:13:12It was not before we gained consciousness.
01:13:18It cleared your own part of the robbery.
01:13:21It said it was too many.
01:13:25They forced them to tell them where you were going.
01:13:30You still want to press a great job in this.
01:13:35You'll have to submit for an examination.
01:13:46But for what it's all worth, it won't make much difference.
01:13:50Since you mentally might put the pants right out and meet up with you.
01:14:00I'm sorry for the inconvenience.
01:14:04You're free to go.
01:14:05You're free to go.
01:14:28You're free to go.
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