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[foreboding music]
- [911 Dispatcher] 911, what's your emergency?
- [Woman] We need someone here immediately.
There are people, there are a lot of people
trying to get into my house.
- [911 Dispatcher] Okay, how many people, ma'am?
- [Woman] I don't know.
I don't know how many people, they're just...
I don't know.
- [911 Dispatcher] Yeah, are they inside the house, ma'am?
- [Woman] No, we have people inside the house.
There's about five of us.
You guys, where's Sean?
Where is Sean?
We need someone here.
- [911 Dispatcher] Okay, ma'am, I uh...
Give me your address, ma'am.
- [Woman] We're at [beeps].
- [911 Dispatcher] Okay, ma'am.
I need you to stay on the line with me.
I need you to tell me
what's going on. - You guys, where is Sean?
- [Man] I've been looking outside.
I don't know. I don't know.
I don't know.
- [Woman] What do you mean, you don't know?
- [Man] Because we haven't seen him.
We thought he might have been outside.
I can't see, but- - There are people outside.
- [Man] Brett, have you seen anything?
- [Brett] No, I haven't.
- [Man] Well, let's just get the doors locked.
- [911 Dispatcher] Ma'am,
I need you to stay on the line with me.
Can you tell me what's going on?
- [Woman] It's okay.
I don't know.
When I look out the window, there's just lights.
There's lights.
[pensive music]
- It's picturesque,
a cozy farmhouse nestled in the Golden Plains
of America's heartland, surrounded by rich soil
and the relaxing solitude of country living.
It's the perfect place to escape your troubles
and the trappings of a busy life.
Perfect.
Unless your troubles can descend on you
at any time from any place.
[foreboding music]
In July of 2013, Sean Miller disappeared for four days.
A four day manhunt ensued that ended in a phone call
from over 100 miles away
and a story that would follow the couple from home to home.
Seven years later, the Millers,
along with documentary film crew
consisting of filmmaker Ash Hamilton and his wife Chanell
and cameraman Brett Pearson
would revisit that fateful event,
culminating in a 911 call
that would baffle anyone who came near it.
Hi. It's been a pleasure to meet you.
Let's just get started with some basics.
Why don't you give me your name, your age, occupation.
- My name is Ash Hamilton.
I am 45 years old and I am a filmmaker.
And when I'm not making films,
I also teach film on the college level,
film theory and film production.
But I'm probably best known for my work in the horror genre,
serving as a producer on films
like "Camp Death III in 2D!".
- [Announcer] They've been prescribed
two heaping spoonfuls of death.
"Camp Death III in 2D!"
- [Ash] A film based off of my board game property
called "Slice and Dice."
[eerie music]
- I'm gonna slice you to pieces.
[woman grunts]
- [Ash] And also directing the award winning short film,
"Play With Me."
- [Woman] What? [foreboding music]
[man chuckling wickedly]
- So, tell me how you became involved
in this particular story.
How do you know Stacy and Sean?
What brought you to this?
- I had originally heard about the incident with Sean
when it actually happened in 2013.
I've always been interested in these subjects,
so I was on various different news sites, different forums,
and this was of particular interest when it came about
because I didn't know how local it was,
but I knew that it was regional.
I was pretty sure that it was in the Illinois area,
so I had a little more interest in it
than some of the other stories.
And plus, it was, I mean, in all honesty,
it was it was a little more fantastic
than some of the other stories.
This wasn't your typical lights in the sky kind of thing.
You know, this was an actual disappearance
and it was something
where they had local law enforcement involved.
It was...
I'll reiterate, it was definitely more fantastic
than some of the other stories at the time
that I was taking a look at.
[pensive music]
- [Chanell] Okay. So is this the one you wanted?
- [Ash] Yes.
- [Chanell] Okay. Do you wan't me to get a tripod or...
- No, I think we can just do the hand-held thing.
I mean, this is really sort of for us anyway,
so we don't need to be.
- Can I sit down for this? - Yeah, no.
You can go ahead and sit down. That's fine.
You know, like any good story that has its own twists,
goddammit I'm gonna go ahead and start that again.
Sorry about that.
[beep]
So like any good story, there are twists and turns.
We'll get to that in a minute.
Sean Miller incident happened in 2013.
Sean Miller, who was a Illinois native,
which is sort of why I was drawn to the story
when it originally took place in 2013,
disappeared for four days, and when he came back,
there were tall tales of abduction
from a non-terrestrial intelligence.
He was displaced.
The phone call came.
Similar to the Travis Walton story, miles away.
In this particular instance, over 100 miles away,
when he finally came back.
So there were reports of phenomena happening
previous to this.
So I remember hearing about it in 2013.
We're seeing some Associated Press articles
and it got a hold of it and ran in a few different places.
And, you know, we thought,
man, is there a better story for a documentary,
especially considering what we're into?
And then we started to try to make the documentary.
And lo and behold,
we can't find anything on the Sean Miller story.
[Ash clearing throat]
So. It's late.
It is, my god!
It's 2:56 in the morning and there's a Reddit thread
that I've been posting in intermittently
for the last few months.
But tonight it was different because someone DM'd me
and they had a screenshot of one of the articles
and this has been probably the biggest news
on that front in a while.
So I was pretty excited
and I'm looking it over and it looks pretty legit
and not like 5 minutes later
I get another DM from the same guy
and he's telling me that not only
does he live like around the same town
that Sean Miller currently lives in,
like not the residence from seven years ago
or four years ago,
but we're talking right now
and he follows all this up
with the fact that he says that he's got his email address.
Okay, so it's now been about a month
since I had received what I was told
was Sean Miller's email address.
About 8 minutes ago I receive a notification
for a return email from Sean Miller's email address.
Okay.
"I hope you don't take this the wrong way,
but I've been burned on this before, multiple times,
so I'm more than a little cautious.
We are finally at a point where we don't get..."
I guess it's supposed to say "we're finally at a point
where we don't get a lot of these emails anymore,
and it's taken us years to get here.
Please, you need to respect our privacy."
Now. Wait.
Okay.
"If I give you 5 minutes and I say no.
Well, then that's my final no."
So. Yeah, 5 minutes.
I'm usually up til midnight.
Holy shit. And there's actually a phone number here.
Here goes.
[expectant music]
[phone ringing]
So how are you going to feel about being away
from our home for a week?
- Well, you know?
I'll miss the cats.
They won't miss me.
And if it were to Disney,
that would be super exciting because it's a vacation.
But it's not.
It's to a stranger's house.
So.
I'm a little bit, little bit apprehensive, but...
[man laughing]
- [Ash] I could get a shoulder under there.
That's about it.
That's about all I could get.
- You know I could probably get under there,
but that would not be that comfortable.
I'd probably get a terrible leg cramp in the hamstring.
- I could take a nap, but I'd wake up with my neck
all screwed up and...
- [Ash] I am positive that I could contort myself
into position that one testicle
would pop out and shoot across the room.
- Probably.
- [Ash] That's what would happen to me.
- Just let me know first and I'll turn on the camera.
- [Ash] It would be, it would be,
well, it's free special effects,
which I do love free, as anyone will know.
- Are you just aiming at me because you can see my cleavage?
- [Ash] That's exactly what I'm doing.
Actually.
So if you could give me your full name,
your age and what your affiliation is with the documentary
and the filmmakers behind it.
- Okay.
My name is Brett Pearson.
I'm 38 years old, and my association to the filmmakers,
Ash and Chanell are good friends of mine.
I've known 'em for several years
and we've kind of go back a long way.
I've been working for them on and off,
like I said, several years.
This is kind of my foundation.
This is where I got my feet wet
with doing documentary type camera work.
It's mostly what I do for them,
but I've done some mic work,
some audio editing, pretty much whatever I'm asked.
So I got called in to do this documentary to...
The Millers.
Things were experienced at the residence
and dropped what I was doing,
which wasn't much of anything and came to help out.
- [Ash] Take a brief tour here in the Horror Fix offices
before we leave.
See what our man in the field, our DP Brett is doing.
- Packing shit for the trip.
So I got the tripods, lighting, batteries,
extra batteries for when those don't wanna work.
- [Ash] You mean, like, every fucking time? [chuckles]
- Tell me about it.
Charger for batteries at the front door.
We can grab that on the way out.
- [Ash] Famous last words, man.
- Yeah, no doubt.
- [Ash] What are your personal thoughts
on the subject matter?
Would you consider yourself a skeptic or a believer?
- Skeptic, 100%, man,
like I got to see it with my own eyes
if I'm gonna believe this.
So, here I come. [chuckles]
All right, get out of here.
- [Ash] Hey, can I stop you for just a second?
- What?
- I know I don't pry, and I'm not trying to pry,
but I'm just...
You are okay with this, right?
You are fine with with doing this?
- Doing this show, doing documentary?
- [Ash] Yeah. Yeah.
- Like, I've done several of these with you, man.
Why would this be any different?
- [Ash] Because it is different,
because we know some of the shit
that the Millers went through.
And I just want to know that you're okay
and that you're going to be okay, because...
And because I love you.
I love having you there.
But, you know, if you ever need to sit one out
that it's not a big deal, man.
- Ash. What the fuck else would I be doing?
- [Ash] So you're definitely thinking
that we are alone in the universe.
- I haven't seen anything to change my mind.
At the end of the night, when I go to sleep, I'm alone.
When we take our last breath, you're gonna die alone.
So unless I was to see something to change my mind
at this point, no, I don't believe in any of this.
I prefer to be on the other end of the camera.
Honestly.
It's just not really my thing.
- [Ash] It's okay. I think we got what we need.
- Thanks.
[telephone ringing]
- [Ash] And the third time's the charm.
- [Brett] Seriously?
- [Ash] Like I was telling you, three in a row.
- [Brett] Three times a day?
- [Ash] Every day, all from Sean's phone.
Seriously, pick it up.
No, I'm telling you, pick it up, it is creepy as hell.
Seriously.
- [Brett] Okay. Okay. Got it.
- [Ash] Well, do it. Seriously.
- [Brett] Hello? [static buzzes]
Hello.
[static buzzes]
[indistinct whispering]
[phone beeps]
- [Ash] What's wrong?
- [Brett] I gotta get out of here for a minute, man.
- [Ash] Hey, are you okay?
- I just need a minute. - Brett?
[somber music]
- My name is Chanell Hamilton.
I am 42.
I am married to Ash Hamilton
and we've been married for seven years.
And currently my day job is working for the government.
- [Brett] And what do you do with Ash, though,
professionally?
- I do everything he asks of me, basically.
I help set up tripods and the lighting
and make sure that the batteries are charged
and make sure we've got memory cards.
- [Brett] This is, as you are, a documentary filmmaker.
- Yeah. - You're part of the crew.
- Yeah, definitely a big part of the crew.
He leans on me a lot for making sure
that things are ready and in order.
[car rumbling]
- What is your go to,
guilty pleasure sad song.
The one where-
- [Chanell] Are we talking breakup songs
or are we talking like somebody died song or...
- We can include breakups in there, sure,
we can include breakup songs.
So but this is sort of running the entire scope of,
oh my God, I want to die.
This song makes me want to die.
I'm going to listen to it 10 times on repeat.
- How about...
R.E.M. "Everybody Hurts".
- Oh. [everyone laughs]
Breakup song.
- [Brett] Oh, you're going to go for the breakup song?
- You know, I've had the most experience, [laughs].
Breakup song, there's this Peter Gabriel song,
and I cannot remember the name of it.
Is it "In your eyes"? - No.
- Or is it "Stay"? - No.
- The one he did with Kate Bush.
- No.
- Or is that "Stay"?
- [Chanell] No, I don't know. But it's not that.
- "Salisbury Hill"? - No.
- I don't think you know what song it is.
- I don't remember the name of the song.
- But you know that it's Peter Gabriel.
- [Chanell] Yeah.
- It's not like a weird like for some reason,
like "Sledgehammer" was your breakup song?
- And what was your initial opinion of the Millers?
- You know, at first they seemed a little apprehensive.
And somewhat standoffish.
But the the days that we spent with them,
we seemed to grow a friendship with them.
- Got to be it.
Where are we on the GPS? Are we close?
- GPS shows that this should be it.
So what did he say?
- Well, he he said a rickety old picket fence.
Which [chuckles] that is a rickety old picket fence.
I mean, it's a great fence, though, but it's like, man,
you can't really say anything other
than a rickety old picket fence.
God damn. They are out in the middle of nowhere.
Jesus.
- [Brett] Home sweet home for the next couple of days.
- I'm not sure they have Internet out here, babe.
Just being honest with you.
I'm not really sure.
- I've got like one and a half bars.
[Ash knocking]
- Hey. - Ash?
Yes. Hey, you doing?
- Good seeing you again.
Do you mind, just give her a minute.
She's not...
super excited that this happening.
So we need to just kind of let her cool for a second.
Hi. - Chanell.
Yeah, I've heard about you from Ash.
- All good things.
- Yeah. Yeah. - All good things.
- Brett.
- When I first started talking to Sean,
even though we were hopeful
that this whole project was gonna happen,
Sean was extremely reserved.
This was a couple that had not talked to news outlets
for the better part of six years about this.
I'm sorry.
As far I knew everything was going to be cool.
I feel bad because I don't want to put you guys
in a position of, not cool, because, admittedly,
that was a little strange.
- [Brett] You could cut tension with a knife.
- I hope she's going to be cool because, like.
I already felt like that tension.
- Well, it was definitely there.
It was there.
What I don't want is for us to get all the way out here,
and come all the way back,
because things weren't sewn up the way the way
we thought they were gonna be.
But...
- I mean, we're here. - Yeah.
No, you're right.
So let's, for the time being.
You know. All right.
- [Interviewer] You've had some experiences
that wouldn't be your typical shoot, right?
- And I know this is...
There were incidences,
there were things that happened on phone calls with Sean,
on Zoom meetings with Sean, that we could not explain.
- [Interviewer] So you're saying that you were starting
to experience a co-experience
as you were interacting with Sean?
- It was, not only very strange, but it was very unexpected.
[pensive music]
- Some of the ones that we do,
a lot of the the stuff that I do
is I try to help organize the foremen on the job
and try to help them get stuff done.
- Sean, real quick. - Yeah.
- Is that what you were talking about on Zoom
as far as the lights?
Because I noticed that that light turned off.
- Yeah. - There it went again,
but yet we've got the lights on in the kitchen.
- Yeah. Yeah.
No that's definitely something
and I've checked the wiring in the house
and I've had and you know, at Stacey's,
urgency, I've had other people come in
and check it and it's...
Everything checked out okay.
- [Ash] If you don't mind me asking.
And again, I know that this is going to seem interruptive
because when I think of questions, I'll ask them.
Does that happen so often that we're going to have problems
with our lights, or will it stay on for a while
and then just do that periodically?
- I wish I could tell you.
- [Ash] The incident in 2013
and this was happening in the house
previous to the incident in 2013.
- Yeah. Yeah, it was.
[pot clatters]
- [Ash] Okay.
Now, that happened literally off camera.
- Yeah.
- [Ash] But we're going to catch the audio on that.
As we were talking about the phenomena with the lights,
Literally one of the pots from the kitchen
and I'm not exaggerating, sprang off the wall.
And it did it with such force.
- Yeah. It busted the handle, right off.
- [Ash] That it actually busted the handle.
- Yeah, 'cause it's only been used a handful of times.
It's fairly new.
- [Ash] And this is common.
This is another common thing.
- It's something. Yeah.
I don't want to say it's normal.
'Cause I mean, this isn't normal, right?
It is for me.
- [Interviewer] We've heard reports
of cryptids and poltergeist activity
associated with the Sean Miller case.
Is this atypical of UFO abduction encounters?
- Yes.
Many people don't realize when there are cases of anything
that can be labeled paranormal or supernatural.
There are areas where there are
a lot of different things going on.
And what I mean by that is
you'll find even geographical areas of the world
where you will have reports of UFO sightings,
of Bigfoot sightings, of ghost encounters
all in the same place.
You know, we in the field are still investigating that.
We keep our mind open.
We're looking to see if there's a relationship
and all of that that happens.
But it is not out of the realm of possibility
that there are different paranormal occurrences
happening in one particular incident.
[foreboding music]
- [Ash] Okay. So we are going to try this again.
We keep having battery issues with the audio unit
batteries draining as well as the camera itself.
New batteries of both units that we have had to replace
within about three minutes of shooting.
So we're going to try to do it this time
and see what happens.
Luckily, we got plenty of batteries,
so I think we can keep switching out if we need to.
So I know that this was part of the test footage
we ran through earlier,
I know that we had some lighting issues.
This is all stuff that we talked about on Zoom
that we were prepared for.
It is just happening a little more rapidly
than we had expected.
So we should still be good, though.
So if you could please give me your name, your age.
Just give us your name, your age, and your occupation.
- Sean Miller.
I'm 43 years old.
I am a Project Inspector for a local construction company.
[pensive music]
- [Ash] If you could Sean,
Could you tell us how long you've lived in the Midwest,
have you always lived in the Midwest?
- Yeah. Since I was little.
Probably about eight or nine.
For the most part, I lived in the Midwest area.
When I was young, my dad did a lot of...
traveling with his company
and before he left
we settled here with my mom, myself and him.
And then we pretty much stayed, my mom and I.
- [Ash] Apologies, but are your parents
currently alive or deceased?
- My mother's alive.
My father...
[static buzzes]
Sorry.
We talked about this happening.
- [Interviewer] So we've seen moments that looks like
it has affected every single aspect off Sean's life.
- There were moments where, now mind you we went into this
with the idea of entertainment value,
and that was what we were trying
to sort of capture from the start.
However, I think when you do see just how affected
someone is, it does sort of center things
and ground it a little bit.
And I think you can tell, especially some points
where he's trying so hard to be normal,
and I guess he's trying so hard to just live his life
and it's almost like he almost gets there.
And then there's just so much baggage
that it just draws him back.
And I think we saw that a lot while we were there.
- I think the biggest thing is that I just,
I like how neatly they wrap up a mystery
in that 20, 15 to 20 minutes.
You know, it was kind of like put a neat bow on it.
But as a kid, you just,
you almost kind of knew it was coming.
Like he knew exactly who the bad guy was.
But you still, there's a little part of you
that thought they might throw a curve ball.
- It was whoever owned property, right?
- Yeah.
- It was like, just look at the property owner
in "Scooby Doo".
If you're a property owner, you're a villain.
That's all there is to it.
I think this was one of the first full frontal assaults
on out of control capitalism in American cartoons.
- [Chanell] Big fan of the Snorks.
- You mean underwater Smurfs?
- Fuck, yeah.
Second, but equal to the Snorks is Smurfs.
Obviously.
But, you know, when I was probably somewhere
second, third, fourth grade,
when I would get home from school,
the exact time I got home from school,
I could not get off the bus fast enough and get inside.
Oddly, it was the animated "Dennis the Menace".
It was weird, that I had to watch
those 25 minutes of "Dennis the Menace".
Running from the bus missed the first 5 minutes,
but still, had to be there.
- So, you were always running low 5 minutes of Menace.
- There was an episode.
I love old school "Star Wars" and droids was, like it.
- Was was it Ewoks and Droids?
- Ewoks and Droids. - Yes.
- And there is this episode
and it was I want to say, it's one of the ones that was
I mean, a lot of them did crossovers with Endor,
it was one of the ones where I think
they they all went to Endor.
And I never got to see it again.
It only aired.
I missed that episode.
You talk about missing episodes.
I missed that episode.
And it was, I happened to miss it because that week...
that week and that weekend, I was out camping with family.
We were out at a lake and a cabin we had
and we were out there camping.
It was a great week, it was a lot of fun.
But the reason that I remember that is because
not only did I miss that episode that never aired again,
that was super pissed, because I didn't get to see it
until recently when you can find everything on the internet.
But one of my friends I got back told me that,
my friend Shane, he told me that all the kids on the block,
were sitting there in front of my house
watching these lights go by.
And I was like, "What are you talking about lights?"
Like, Are you talking about, like, you know, people
running around with flashlights playing night tag?
Like we used to sit around, like, you know, give-
- Flashlight tag. - Yeah, flashlight tag.
Yeah, yeah, that's it.
But he's like, "No, no", he's like,
"We were all camped out kind of on the street."
We lived a little outside of town, but not too far,
kind of in a little kind of rural suburb.
And on my street, all the kids are gathered,
I guess there's these like spheres of light
that just kind of went up and down the street
and they thought, at first,
"Are you talking about firefly's or something?"
"No, no, like actual balls,
like about the size, some of them the size of a golf ball,
something a little bigger, like a softball."
And they were they were looking for me, he said.
But I don't know.
I don't know.
But they stopped when I got back.
They stopped.
[foreboding music]
- [Interviewer] I know that you've all had
some lighthearted moments.
Did you ever think that you could turn your cameras off?
- It was like it was a struggle to put the camera down
because I think each of us felt the moment
we were going to put one of those cameras down,
something was going to happen
that could not be duplicated.
Something new, something even more intense.
Literally like 65 floors up, 65 floors up.
So this guy is hanging over the railing.
This is wrought iron.
There's absolutely nothing keeping him
from literally falling off the...
[knock on door]
- Yeah. Lemme go check.
Sorry, guys. Hold on a second.
- [Chanell] Girl scouts. Want some cookies?
[knocking on back door]
- Babe, babe I think.
I think they're around back.
- Okay. Yeah, they might go around.
[knock on front door]
But probably some fucking kids.
Oh, fuckin with us.
Okay, you know what?
You guys go that way, and we're gonna go around this way,
and we'll try to see if we can cut 'em off
around the corner, okay? - Okay.
- All right. - Come on.
Assholes.
- Do you have a flashlight? - Yeah, I got one.
Hey, who's out there?
[knocking on door]
- [Ash] You guys seriously just knock?
- No, No. - No we didn't.
- I saw the fucking door.
Something was knocking on the door.
You just walked up, and the door was almost.
- [Ash] From the outside?
- Something was there, knocking.
- [Brett] 100% Ash. Totally seen that.
It's on camera.
- [Chanell] Hey.
Hey, baby. Ash!
Babe! You got to get up.
You got to.
You got to see what Brett's doing.
You got to see what you he's doing.
He's out here. He's out here.
- Okay.
Should I grab my phone?
- [Chanell] God Yes. Yes.
Yeah, yeah, yeah.
C'mon hurry up.
Hurry, hurry, hurry, hurry.
- [Ash] Goddamit, I gotta find.
I gotta turn the fucking light on.
- [Chanell] You know how to use this thing?
He's not there.
He's on the stairs.
- He's on the fucking stairs? - He's on the stairs.
He's on the stairs.
So, I don't know.
- [Ash] What the fuck is he doing on the stairs?
- I have no clue. He's freaking me out.
Look at this!
- [Ash] He's right over here.
- [Chanell] We can't see him,
at least let me get the flashlight.
- [Ash] What in the fucking world?
What the fuck is going on? - What is he doing?
Is he fucking talking?
- [Chanell] Yeah. Looks like it.
- [Ash] I gotta fucking wake him up.
- [Chanell] I don't think that's a good idea.
- [Ash] I gotta fucking wake him up.
You know what's gonna fuckin' happen?
He's gonna wake Sean and Stacey,
which we can't fucking have.
And second of all, he's half fucking asleep on the stairs.
- [Chanell] Don't make him fall down the stairs.
- [Ash] He's not gonna fucking fall down the stairs.
- [Ash] I don't think is a good idea.
- Brett.
[Brett mumbling incoherently] Brett.
[eerie music]
Dude.
Whoa, whoa. Fuck.
- [Interviewer] We know that Brett,
who just went through a divorce, recently lost their son.
Was this the best place for him?
- I didn't think that this was the best one for him
in the beginning.
And we talked about it.
And then by the time we were as thick
in the situation as we were,
he definitely shouldn't have been there.
- Stacy, it's really nice to meet you today.
Can you tell me, though, your name and your occupation
and how did you know Sean?
- I'm Stacey Miller.
I am the wife of Sean Miller.
I'm 36 years old and I'm a bank teller at a local bank.
- I see.
Have you talked about this
with many of your neighbors or friends,
or how widely known is this situation?
- No, I don't talk to much people.
I mean, I have my sister.
She's my backbone.
Other than that, I keep to myself.
It's just gotten to that point.
- [Ash] You'll have to forgive me here, but I'm still unsure
as to why you decided to stay in the house
that you're in now
when you've left some of the others so quickly.
- Well.
- [Stacey] Tell them why you made us stay.
- Maybe. Why don't we?
Can we circle back to that one can we,
we will circle back.
- Yeah.
- We will circle back.
[foreboding music]
- [Sean] I gotta be quick
because I got the interview today later on.
Cross your fingers it all works out.
- [Stacey] Okay.
- Oh hey.
Since I know you don't have a lot of time.
I know we had talked about,
we needed to get the video footage
that you have on your phone onto our SDS
so that we can take them back.
So if you could, just give us your passcode
and we'll go ahead and do it all.
You don't have to worry about it.
If you're gonna be getting ready,
we can do it while you're getting ready.
- I looked over it man
and there isn't a whole lot on there, dude.
I don't know if I just didn't do it right or whatever.
But there's just, I guess I must not have pressed a button
or something or other just didn't seem like it
turned out okay.
- Honestly, we can use anything for b-roll.
So even if it's stuff just around the house.
I mean, even if it's stuff that you think is not good.
- I don't think really it picked up anything.
I don't think there's anything on there
that'll work for you.
So listen, babe.
This is all great.
Thank you so much.
But I've got to get ready,
so I'm gonna go change real quick, okay?
- Okay.
[door squeaking]
- Here. One nine, seven, eight.
You can get into it.
- It's Sean.
It's a little after two.
I've been hearing this noise nonstop all night.
[unintelligible noise]
Think there's something outside the window?
It sounds like something's trying to get my attention.
So I'm gonna, I'm going to go check it out
and see what it is.
I can hear it our there now, hopefully I can catch it.
[unintelligible noise]
[deep breathing]
[static buzzing]
That's imposssible.
It's really him.
God.
He's here.
[deep breathing]
[door creaking]
- Thank you. - Yeah.
Excuse me.
- We did not take your phone, by the way.
I want you to know that.
But, we do need to make sure
that everything that you have, we also have.
It's very important.
It is the reason why we are, let's face it,
we're paying for the documentary.
- Well, [clears throat] all right.
I understand.
I don't mean to keep anything from you.
So I think that there's something that you guys should see.
I'll be right back.
- What do you think he has?
Did he tell you about anything?
- [Brett] That was super awkward.
- This is the stuff that we need.
We've got to have it.
- This is my me and my dad.
I was eight years old.
It was our last trip.
And the last time I really saw him.
The other night.
This is...
I took a picture of this.
And you can see if you look,
you can see that's the same shirt.
You can see that pattern.
Right there.
- I don't know if I can really see anything.
Sean, I'm sorry. - Look.
Look on this.
I mean, I'm not lying.
Look, I mean, it's right there.
That's the same.
I mean, maybe Chanell, can you see?
I mean, right there. Do you see it?
- I see something. I just don't.
- He's been. It's him.
- After we found that footage
and after we sort of confronted him about it,
he was, hellbent
to try to persuade us that that was his father
in those photos.
It was something.
But again, that was the nature of being there.
You got certain stuff that was just unbelievable.
You couldn't believe you got it.
And then you were two layers removed
because, and we discussed this,
the DSLRs wouldn't work all of a sudden, handheld devices,
phones wouldn't work all of a sudden,
and then you're forced to take Polaroids.
And, you know, that's the nature of the beast
when it comes to stuff like that.
It's technology that it's very difficult
to use as far as proof.
He believed it.
- You know, in looking at the Sean Miller case,
we have to be very, very careful when we check the evidence.
We are in a day and age where it's very easy
to manipulate your evidence.
So analyzing becomes very important.
- [Interviewer] This has happened more than once,
not once, but twice,
Sean, withholding footage from you and now Brett,
he's withholding footage from you.
- I think after we saw the footage
that Sean had withheld from us.
I think Brett's perspective on why we were there
and why he was there, changed greatly.
[pensive music]
- [Brett] [exhaling] It's 2:32 a.m.
I just fucking got woke up by this loud ass sound
coming outside.
I don't know what it is. It's bizarre.
But it just keeps getting fuckin' louder and louder.
And I've been up for about five minutes.
Everyone's asleep in the house.
[strange sound]
Holy shit.
That's the sound I'm talking about.
You fucking hear that?
[strange sound]
What the fuck was that?
I got up, I grabbed my phone
because I don't want to miss any footage.
I'm going to try to get a peek out the window
and see if I can figure out what is making this sound.
[Brett breathing heavily]
Oh, fuck.
Dude, there's someone outside, just fucking standing there.
I don't want to fucking be here right now.
There should be no one here.
What the fuck is going on?
[strange sound] Holy shit!
[thudding on roof]
Someone just fucking came running at the door
and fucking jumped on the roof.
And it fuckin' looked like me.
What the fuck is going on right now?
Holy shit.
- My name is James Chandler, and I'm 54 years old
and I'm an audio visual specialist.
I've been hired to look into things
where video has been edited
or to see if someone has faked something.
I was not expecting what I saw.
I don't think if it was faked that my emotional response,
I mean, I've seen a lot of video.
I've seen really horrible things on video.
That is something that just got a hold of something in me,
and I can't explain it.
[foreboding music]
- [Ash] Thank you. I appreciate it.
[Stacey chuckling]
- Hey. - Hey, baby.
- Hey, you. What do you have on you?
What is this?
- Oh, no.
- Sean. - What? It's nothing.
- What do you mean?
[static buzzes]
- [Chanell] What did he have on him?
- [Stacey] Something black.
Something really dark out of his ear.
- As I'm driving, I've got the window down.
Like I said, it was extreme.
Like I told you before,
it was extremely hot that summer, you know.
But instead of kicking the AC on, I felt like maybe
just getting that nice like wind, the smell of the grass,
the smell of the farm soil.
I thought that might help kind of clear my head.
And so, you know, I'm driving down the country roads.
I feel like I'm on the right way.
I've got my hand on the steering wheel
and I'm just kind of get my head out
and I'm just feeling it blow and I'm looking out
and I see, you know, on the field I could see fireflies,
you know, which is common at that time of year.
You could see them move around.
And then I realized that they're not,
like I realize that some of these are pacing the car.
And at first I'm like, oh drunk brain, you know,
just perception being off.
It's dark. I'm tired.
I'm upset.
There was less lights at first.
Just certain ones chasing me.
And then I felt like I wasn't alone.
It felt like something was almost
whispering to me like that.
So the pressure that, like.
Like that sound was, like, pulling me...
Like somebody was controlling my body
to pull me in a different direction.
I realized very quickly that every time
I wanted to go back home, to go back to my wife,
to go back to bed and wake up the next morning
and just hope this day goes away and I can start over fresh.
The more I kept being pulled somewhere else,
and the more I fought against it,
the stronger like the brighter the lights
or the brighter the fireflies were.
And I realized they weren't fireflies,
they were these motes, these lights everywhere.
And it was almost like, you know, I had the car radio
started getting loud almost to the point
where it's like high pitched and I shut it off.
I couldn't deal with, it was sensory overload.
And I'm just driving through the dark,
but it's not dark anymore.
It's so bright.
It's brighter than any daylight I've ever seen.
And I feel like as I'm zipping down these roads,
I'm going so fast,
I don't even know if I'm even on the road anymore.
I can't tell what's up or down anymore.
I'm just going.
- Were you ever afraid for your own personal safety.
- Yes. Yes.
- Yours and the crew? - Everyone's.
Everyone's. We were afraid for my safety.
Especially Ash's safety.
Sean, Stacey, Brett. Everyone.
- [Woman] I can go talk to her if you want.
- [Sean] You like the burger, man?
- Well, I will say, you made sure it was dead.
- Drew, could you stop?
- Well, I mean- - Everything's fine.
- I mean, did you at least call Dave today?
- No. - Here we go.
- I didn't call Dave.
- How many of these do I have to set up?
I'm trying real fucking hard
to get you going to set you up.
No, man, really.
- I want to be able to just have you guys over
and have a good time.
- Yeah. I can't fucking do this anymore.
- Drew sit down!
- No. - Come on.
- Nice.
- Can't I even go to the bathroom?
My God.
- We have a bathroom right in there, man.
Oh, my God. 10 feet away.
- Just stop.
- [Chanell] Should I turn the camera away
from the peeing guy?
- He's been a mess for a week now.
I don't know what's wrong
- I'm sorry. I did try calling him.
It just didn't work out.
- We just need to change the subject.
No more talk about it.
Drew, what are you doing?
- What's going on?
- You guys see that fucking guy out there?
- [Stacey] Who?
- Could you stop, there's nothing out there.
- No, I was just taking a fucking piss,
and I see this guy out there,
he's like, fucking staring at us.
- There's nothing out there. - He's probably just a farmer.
This is farmland.
And it's probably just a farmer-
- You've had a lot to drink.
- Yeah, I always have a fucking lot to drink.
This guy's staring at you.
He's staring at you, he's staring at you.
- Drew, dude, honestly, he's not going to bother us.
Just come and sit down, we'll have a drink together.
Just eat some more burgers.
Man, we're gonna fill up, it's gonna be nice.
Don't worry about that guy.
- It's okay.
- It's no big deal. - Stop, honey.
- There's no big deal.
- No, fuck dude. I'm going over there.
- Drew, don't.
- I'm going out there.
[everyone speaking at the same time]
- He's not hurting anything if there is someone.
- [Ash] We should probably follow him over there.
- Stop, Drew. Come on.
- No! - Drew.
- Let him go. - I'm going.
I'm going. - Go around the barn.
If you're gonna go over there
and get yourself fucking arrested, asshole.
- [Ash] Okay. Somebody does need to get cameras on.
There is somebody out there.
- [Drew] Hey man, what's up?
What's up dude.
- [Ash] Did you see that? Did you see that?
[Drew speaks indistinctly]
The fuck.
You guys, by the way, nobody go out there, okay?
When also Sean and Stacey told us
that this is also not their land.
What the fuck is that?
Is he coming back?
Where the fuck's the other guy at?
Is anybody catching the other fucking person
on their camera?
Could someone please fucking answer me?
- [Chanell] I don't see the other guy.
- [Ash] I'm not seeing a goddamn thing out there.
Where the fuck did the other guy go?
Did he fucking punch him?
Is he laying down there?
- [Chanell] Drew, where's the other guy?
- [Brett] You okay?
- [Ash] I don't know what's going on.
Okay. Something's not right.
Drew?
You know where you're at?
You know what? You need to go get Tasha now.
Now.
- [Chanelle] Tasha!
- You know, it's weird because
you have some of these things on video.
We have some of these things that we recorded.
And in my mind's eye, my mind's eye,
it's so sort of hazy that...
you almost have to try to remember the footage
more so than your memory, which is strange,
and I think it's because it's just so bizarre.
Yeah, there was very clearly there was a figure there.
And then there wasn't and we all three saw it.
We all three were experiencing the same thing.
I can't explain it.
Drew. We need to know if you're okay.
Hey Drew.
Drew.
Can we talk about what happened up there?
Because I'm not seeing the other guy out there at all.
And I'm afraid that you did something.
We need to know because we've got this all on camera.
No, no, no, no, no, no.
You need to calm down.
You need to calm down and tell us what happened out there.
Please calm down and tell us what happened.
- Drew!
He's scaring me.
Drew, you're scaring me.
- [Brett] Can we at least just get him up over here. Okay.
- [Tasha] Stop it. Just relax.
- What the fuck is going on? - Please stop.
- [Ash] Steady your breathing.
- [Tasha] Drew you're fucking scaring me.
- [Sean] Tasha, I'm calling the cops.
- You know he has a warrant!
- [Sean] He needs help.
- [Stacey] We can't call the cops.
- You can't do that.
Stop, Drew.
- Okay, okay, okay. - Help him!
- Okay, okay. - Oh, my God.
Oh, my God. [Drew coughing]
Oh, Jesus Christ.
- Oh. Oh, my God.
- [Brett] What? What the fuck?
- [Chanell] All right. Why is it?
What's up with the color?
- Are you okay? - Oh, my God.
[Drew grunting]
- I don't know how to explain...
how I know it's real.
- So, there's no doubt in your mind right now.
- There's no doubt. No doubt at all.
[ominous music]
- What's up man, I didn't even see you come out.
Ash?
- [Interviewer] Why do you think that Brett
didn't show you these videos?
- I think Brett's experience was very different
from my experience and from Chanell's experience.
And, I think Brett was going through
something very personal.
Something very specific and singular.
[somber music]
- No. No.
These things?
Well, let me make something abundantly clear.
These things were not human.
They were not of this Earth, of this planet.
What they wanted me to see.
It's like an actor, when you're watching a show,
you see an actor break character,
whether it's like a skit comedy or just
behind the scenes on like a movie.
And you see them break character for a second,
you're pull away, you're pulled out of the moment
that they're trying to bring to you,
whether it's comedy or drama or whatever.
You're pulled out of that moment.
You realize that it's fake. It's a facade.
That facade, these faces of these people that I'm seeing.
They were real people for me at first.
It was something for me to hold on to as an anchor.
And it was a way for me to feel safe.
And then for a brief moment, that facade dropped.
And I was completely ...
my mind can't even comprehend
the horror that you would see,
the ability for life around me to be distorted,
my safety to crumble around me.
And what I saw.
The more I hold on to that and the more they realize
that I was holding on to that,
the more they ripped that away,
and the less I can even remember now.
I feel insane thinking that these things
were anything but just a bad memory.
It's like, losing pieces of myself.
- [Ash] Okay. Now, this is looking pretty good.
So if you could please give us your name,
your age, and your occupation, please.
- My name is Brenda Floyd.
I'm 53 years old and I am a regression therapist.
In addition to being a shamanic minister,
a Reiki practitioner and a breathwork facilitator.
- [Ash] You work with people
who are trying to remember things
that obviously are very painful for them.
Can you speak a little bit about your experiences there?
- Well, in my experience, when people have blocks like that,
it is due to some sort of trauma in their life.
It can be from childhood.
It can be from a past life.
It can be from current situations.
But it is usually some form of PTSD.
Want you to take a nice deep breath.
Just listen to my voice.
Wherever we go on this journey, you will be safe
if you just listen to my voice.
[gentle music]
Sean, I want you to think about a time
or remember a time in July of 2013.
- I don't want to.
- [Brenda] Why not?
- It hurts.
- [Brenda] Can you see anything, Sean?
Colors? Structures?
- It's hot. Humid inside.
- [Brenda] Are you alone? Are you with other people?
- [Ash] Just keep going.
- There's others.
Stacey.
Mostly myself.
- [Ash] I'm almost done.
Seriously, it's almost done...
- [Brenda] In mid-July. 2013, do remember where you were?
- [Ash] I got nothing. Dude, I'm out.
- [Brett] I'm out too.
[indistinct]
- [Sean] We're fighting.
Arguing.
- [Brenda] Do you remember
what you were arguing about, Sean?
- [exhales] Our time together.
She's mad.
We're not connecting.
Not like we were.
- [Brenda] Is there a reason for that Sean?
- They're the reason.
I blame myself.
[Brenda speaking indistinctly]
- [Ash] Chanell, I'm getting a strong breeze,
coming through here, you need to watch those candles.
- [Sean] We fight.
I leave..
[static buzzes]
- [Brenda] Sean, can you tell me where you went?
- I, I left.
I don't know where I went.
- [Brenda] Can you look around and see where you are?
- There's lights. There's...
They're following me in the car.
- [Brenda] You're in your car driving.
- I think.
I can't tell.
I can't feel the wheel.
The lights are getting so bright.
- Can you look through the light?
- No. - See past the light.
- They don't want me to.
- Who's "they"? - I'm trying to.
- [Brenda] Who's "they" Sean?
- They don't want me to know.
- Can you look at their faces, Sean.
- No, they don't.
- [Brenda] Can you tell me what they look like Sean?
- I'll try to see, but.
- [Brenda] Show me their faces.
- They won't let me.
Ah!
- [Brenda] Try to relax Sean. Try to relax.
Take a deep breath.
You're okay. - There.
They're here.
[electronic distortion]
[Sean groans]
- [Brenda] What's wrong with him?
- [Ash] Keep going. Keep going, dude.
[Sean roaring]
Brenda.
Brenda, seriously.
Hey, hey, hey.
I just need you.
Just come inside.
Just sign a couple of consent forms.
- I don't know what the fuck that was,
but I'm fucking out of here.
- [Ash] Ahhh, fuck me.
- So looking back, Chanell, if you could have done anything
differently, what would you have changed?
- We would have left.
We would have left earlier or left before
the shit hit the fan, before, all of that happened,
we would have left.
We would have talked Ash into leaving
and not staying to get the best footage.
We would have left.
We would have all gotten to leave.
- [Interviewer] But then you wouldn't have had
what you have.
- And maybe we wouldn't have lost what we lost too.
[somber music]
- So that fifth day, we were just, it was a workhorse day.
I mean, it was all about like, we need to get
all the shots we didn't get.
We need to get any interview questions we didn't get.
So it was all about pick up, pick up,
pick up, pick up, all day long.
And I think we didn't even realize how late we were there.
And so we started to sort of break down.
And at that point, I think we also sort of realized
that we were there too late.
And I mean, we were all struck with that feeling.
It wasn't just that we were there late
and we were ready to take off.
We were there too late.
There's nothing that we don't know about,
nothing that we can't see.
- [Brett] I need the lights and I need the keys to the van.
- [Ash] Okay.
Do you want to go ahead and take that last bag out?
Put the lights and the rest of the lenses away.
- [Brett] All right.
I'll be back to get the rest of the shit.
- [Brett] Goddamn.
[speaks indistinctly]
[foreboding music]
[car doors opening]
[gear clattering]
What the fuck is that?
Hey, hey, hey.
Shut the lights off.
Is that on?
C'mere.
Come here. - What's up?
- [Ash] Can I at least turn my camera on?
[Brett speaking indistinctly]
- [Brett] What the fuck is out there?
You see that? - The lights on the horizon.
[indistinct whispering]
- [Ash] Okay, I have no fucking idea what that is.
I'm going to actually find the flashlight.
Do we know where the flashlight is?
We were going to find it earlier.
Course I'm going out there.
I've got a camera and I've got a flashlight.
So that's what I'm doing.
- [Chanelle] Can you just give me a minute?
- [Ash] I'm going out.
- No. Don't go out there. - Ash! Ash!
- [Ash] I'm going out.
[foreboding music]
- [Chanelle] I don't understand why he's gotta dive
right into these things.
- [Brett] What the fuck do you think that is?
Look at it!
See it?
[foreboding music continues]
- [Ash] Holy fucking shit.
Shit!. [being screams]
[Ash panting]
Oh, my God.
You gotta tell Stacey.
She's gotta call, she's got to call the fucking cops.
She's gotta to call 911.
She's got to do it now. - What is it?
- [Ash] She's got to do it now.
- [Interviewer] So tell me, Eric, this has been dubbed
or coined the alliteration of the Miller monster.
Do you know how?
Who started that? Do you know?
- I'm not sure where that came from.
Once the snippet came out and the face came out,
people started dubbing it the Miller Monster.
I'm not sure who exactly coined that phrase,
but it's it's been around for a little while now.
[pensive music]
- [Dispatcher] 911. What's your emergency?
- [Stacey] We need someone here immediately.
There are people there.
There's a lot of people trying to get into my house.
- [Dispatcher] Okay. How many people, ma'am?
- [Stacey] I don't know.
I don't know how many people there's just...
I don't know.
- [Dispatcher] Are they inside the house, ma'am.
- [Stacey] No. We have people inside the house,
there's about five of us.
You guys, where's Sean?
Where is Sean?
We need someone here.
- [Dispatcher] Okay, ma'am,
can you give me your address, ma'am?
- [Stacey] We're at [beep].
- [Dispatcher] Okay, Ma'am.
I need you to stay on the line with me.
I need you to tell me what's going on.
- [Stacey] You guys, where is Sean?
- I've been looking outside, I don't know.
I don't know.
- [Stacey] What do you mean, you don't know?
- [Ash] Because we haven't seen him.
We thought he might have been outside.
I can't see- - There are people outside!
- [Ash] Brett, can you see anything?
- [Brett] No, I haven't.
- [Ash] So let's just get the doors locked.
- [Dispatcher] Ma'am, can you stay...
I need you to stay on the line with me.
Tell me what's going on. - It's okay.
I don't know.
When I look out the window, there's just lights.
There's lights.
- [Dispatcher] What kind of lights are there?
- [Stacey] They're bright.
- Okay. - But what is that noise?
There's people on my roof.
They're trying to get it in.
- [Dispatcher] Alright, ma'am, just stay calm.
I need you to stay calm, ma'am, alright?
- [Ash] So, they're not going outside.
- [Stacey] Then, I'm going outside.
- [Ash] You can't go outside.
- [Stacey] You have to let me go outside.
We have to get Sean!
- [Dispatcher] I need you to calm down ma'am.
I need you to stay on the phone with me, ma'am.
- [Stacey] We need help.
- I'm Paul Stenson, I'm 55.
I'm a retired sheriff's deputy
with [beep] sheriff's department.
I was there for 22 years.
And now I'm a man of leisure.
- [Interviewer] So you were called in that night
of the 911 call, here to the Miller residence, correct?
- That is correct.
- [Ash] That was a fucking window.
That was a window that just broke.
- [Stacey] Then I'm getting Sean.
I'm going outside.
- No, you cant do it.
[everyone speaks indistinctly]
- [Chanelle] No, no, you can't.
You need to stay inside.
- [Stacey] We have to get Sean.
- [Chanelle] You need to calm down.
- [Stacey] No, there is no calming down.
What don't you understand?
You guys need to get here.
No, I can't stay calm.
- [Dispatcher] I'm trying to help you ma'am.
- [Stacey] You guys, that was Sean.
- I need you to stay calm. - Do you hear him?
No, I'm going to go get him.
He's outside.
No I'm done.
I'm done. I'm going.
- [Chanell] No! No! Stacey!
No, no Stacey, you can't go! Stacey!
You can't go outside.
[everyone speaking at the same time]
- [Dispatcher] Is someone there?
- [Chanelle] Yeah, I'm here.
I'm here.
[Stacey screams]
She's on the ground. She's unconscious.
She touched the door- - Ambulance on the way.
- [Chanell] She touched the door
and then she flew across the room, and she's on the floor.
- [Dispatcher] I'll have ambulances.
I'll have an ambulance dispatched...
medical personnel are on the way.
We have several units in route.
- [Chanell] How long?
- [Dispatcher] Five minutes.
- [Chanell] Five minutes? He said they'll come in 5 minutes.
- We don't have 5 minutes. - We don't have a choice!
- [Chanell] Can you tell them to go faster?
- [Dispatcher] I cannot rush personnel.
They're going as fast as they're going, ma'am.
- I don't know what's going on.
They're outside and they've surrounded the house.
[everyone speaking at the same time]
And there's electric shocks coming out.
[people speaking indistinctly]
- [Dispather] I think I almost lost you ma'am.
[people speaking indistinctly]
- [Chanell] We need you here.
You need to be here.
[people speaking indistinctly]
No, and now he's going to go outside.
No, you can't go outside!
No, don't go outside.
- [Dispatcher] Don't let anybody go out there.
- [Chanell] Don't go outside.
They said don't go outside.
You can't go outside. No, no.
- [Brett] Then we'll go both go.
- [Chanell] No, neither of you will go.
You can't go outside.
- [Dispatcher] They need to stay in the house.
- [Chanell] They said you need to stay in the house.
- [Dispatcher] We need to be able to identify
who is a threat and who is not.
- You have to stay in because- - Ma'am, who are you?
- I'm Chanell, Chanell Hamilton.
- [Man] Okay, and how are you related to the caller?
- We're with the film crew.
We're filming a documentary about Stacey and Sean.
- [Man] Okay, and where did the caller go, ma'am?
- [Chanell] She tried to go outside to find Sean.
And then she touched the door and she flew across the room
She got pushed.
She, almost like there was electricity in the door handle.
[static buzzing]
- [Man] She needs medical attention as well.
- Chanell, get down!
- What else is going on- - They're on the fucking roof!
Dammit, Brett. I'm fucking sorry, man.
- Dude, don't be sorry.
I choose to fucking be here.
We're all here because we wanted to be.
- No, I'm fucking sorry.
This is a shit time to say it,
but I don't know when I'm gonna get a chance.
But I'm fucking sorry.
I am sorry that I didn't tell you
we fucking missed you, we missed you and Angie,
and we fucking miss David, too.
And I didn't say anything 'cause you were so goddamned hurt
and I should have because you needed to know
how much everybody loved them,
because you loved him so goddamned much.
But everybody loved him and Chanell and I loved him.
And goddamn it, I'm just fucking sorry
I didn't say anything earlier.
Brett just fucking left. Brett, goddamnit!
- [Chanell] Please don't go outside with him.
- [Ash] I gotta go. He may need help.
- Please don't go. - I gotta go.
- Ma'am, can you please keep all the personnel
in the house, please.
[static buzzes]
[ominous tones]
- [Ash] Brett!.
Oh God.
Oh Jesus, Brett!
Brett!
Brett! Grab my hand!
Grab my. I've got you.
Don't let go.
Don't let go!
Brett, you're slipping!
You're slipping!
It's okay! It's okay.
- [Dispatcher] Okay, ma'am you need to get them back inside.
Units should be there in the next minute, ma'am.
Status of units?
Where are the units in progress?
Ma'am? ma'am are you still there?
Ma'am are you still there?
I think I lost the call.
What are the status of units?
We need to send more back up.
No one is answering right now,
I'm going to try to call back.
[phone ringing]
I'm not getting anything.
It's just ringing.
I'm not getting anything.
No one's picking up.
- [Interviewer] You've been reported as saying
that there's never going to be a resolution to this case.
Is that still your position?
- I couldn't find anything
and I was the first one on the scene.
It defies rational explanation.
I can't even begin to comment on that.
- [Interviewer] Ash, I think it's important for us
to understand, what would you say to Brett's family?
- I talk, I try to talk to Brett's family.
I have tried numerous times to talk to Brett's family.
I have tried writing checks to Brett's family.
I would say the same thing that I would say to anybody else.
Brett was my best friend.
He's still my best friend.
He's always gonna be my best friend.
- [Interviewer] You seem emotional.
- I fucking want him back.
I want him back.
Why wouldn't I want him back?
Why wouldn't I want my best friend back?
I'm gonna get emotional.
I get emotional every time I think about Brett.
We had a conversation before we even went
into this documentary where I asked him
if he wanted to sit this out
and I should have made him do it,
because I didn't think he was up for it then
and I should have asked him to sit it out
and I didn't do it.
And that's on me and that's gonna be on me
every single time I talk about it.
Every time I'm asked that question, it's gonna be on me.
It's gonna be on me to think about the people,
not just beside me, that's missing him.
And that's what I got to do.
That's what I do every time
people ask me if I'm being honest
is I've got to look at the people
who aren't around to defend themselves.
Brett's not around to defend himself.
All I can do.
All I can do is call people and try to write checks.
Ineffective, because I can't tell them what really happened
and have them believe it.
- [Interviewer] So are they taking your call at all?
- No, nobody's taking my calls.
You know who's taking my calls?
People who want my documentary that I can't even give them.
That's who's taking my calls.
[somber music]