SCP-6881 SUPPLEMENTARY DOCUMENT ‘DELTA’

SCP-6881 » SCP-6881 SUPPLEMENTARY DOCUMENT ‘DELTA’

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SCP-6881	Project: SERAPIS
Supplementary Document ‘DELTA’

Project: SERAPIS » Supplementary Document ‘DELTA’

► Play

GALLIO: This is Agent Hector Gallio. The following information is classified Level 5 under Project: SERAPIS — O5 EYES ONLY.

In 1986, a series of murders occurred in Camp Apesawa, a children’s summer camp, where a group in their late teens were staying during the off-season. Five of them went missing, with four bodies found. The killer was never found, and the case has been cold for more than thirty years. Aside from the bodies recovered, there was very little evidence and no significant leads. Police suspect the killer was a drifter or hunter who left the area immediately afterwards, but by their own admission this is purely speculation.

That is the official story.

In truth, there is a great deal of evidence, but it has never been made known to the public so it could be used to rule out dead leads and false confessions. This additional evidence was found in a canvas duffel bag by a hunter in the summer of 1987 and handed in to the police. It contained several VHS tapes with recordings taken from a handheld video camera, depicting the series of murders.

I found out about the recordings when research into incidents around the Shibbet’s Vale area inevitably brought me to the 1986 murders. I used Foundation protocols to compel the state police to make digital recordings of the tapes available to me.

■ Stop

SHOW FILES

SHOW — Camp Apesawa Tapes [CLASSIFIED 5/SERAPIS]

− HIDE

VIDEO LOGS
DATE: 16 August 1986 NOTE: Portions of the transcript, highlighted in GREEN, are descriptions by Dr. Gallio. PREAMBLE: The five people visiting Camp Apesawa were Mark Tucker (known as ‘Turtle’), Eddie Van Wiesen, Rebecca Valenti, Olivia Radcek, and Rock McCrae. All were from the city of Billings, Montana, and had graduated from the same high school that summer. All five can be recognised on the tapes, along with Eddie Van Wiesen’s pickup truck.
[BEGIN LOG]
The first tape opens with a brief scene taken at the side of a highway. Eddie Van Wiesen’s truck is shown parked. Mark Tucker and Rock McCrae emerge from behind trees, smiling and laughing. Some conversation is taking place, but the words are indistinct. Rebecca Valenti and Olivia Radcek are glimpsed in the truck. The scene appears to be filmed by Eddie Van Wiesen using a VHS camcorder, while testing out the camera. This scene cuts out after around twenty seconds. 1^st Tape Start
The second scene is at Camp Apesawa and takes place in the evening. The four youths, minus Eddie Van Wiesen, are standing by the truck, which is parked in front of the camp’s Mess Hut. Eddie appears to be holding the camera. Like the rest of the buildings, the Mess Hut is made of wood and appears dilapidated. BECKY: Oh my god, Eddie, you’re gonna make us do this? EDDIE: Come on, we need a record of this historic occasion! Last road trip of the High School era! Up first we have my girl, the ravishing Becky! BECKY: Hi. EDDIE: Don’t let her fool you, she loves the camera. We also have Rocky! ROCK: What’s up. EDDIE: A touch of class from Olivia! OLIVIA: Hi there, whoever’s watching this. EDDIE: And lastly my bud, Turtle! TURTLE: And oh boy, I can’t wait to have a tick stuck to my ass. BECKY: Wow, you’re already complaining… EDDIE: Wouldn’t be the first time something’s been in your ass. TURTLE: You know, Eddie, that’s pretty good for you. You should be proud. Well done for trying. OLIVIA: Are any of these cabins even, you know, livable? ROCK: It’s only one night. We can rough it. BECKY: I’m gonna find somewhere to sleep. It better not be full of bugs. OLIVIA: Looks like this place is pretty closed up. Are we gonna have to break in? ROCK: You averse to a little B&E, Olivia? OLIVIA: Not if it’s that or sleep in the dirt. ROCK: Then let’s go commit some crimes.
The next scene is filmed in one of the cabins. Night has fallen and the cabin is lit by a flashlight on a windowsill, suggesting the camp buildings do not have power. Rebecca Valenti is standing by one of the beds unbuttoning her shirt. She notices the camera and turns to it angrily. BECKY: Eddie, what the hell? EDDIE: Don’t stop on my account. BECKY: Okay, some ground rules. That thing’s switched off when we’re alone. Okay? EDDIE: Don’t sweat it, babe. I just want a souvenir. BECKY: I’m serious, Eddie! If my goodies show up on tape, I’ll kill you! EDDIE: Sure you don’t want to give us a little dance? Eddie Van Wiesen begins singing what approximates a rendition of the tune “The Stripper” by David Rose. Rebecca Valenti throws a pillow at the camera, which is quickly switched off.
The next scene is shot from some distance away and shows Mark Tucker and Rock McCrae sitting outside one of the cabins in the light of a battery-operated lantern, smoking. As with many of the scenes on the recovered tapes, the dialogue had to be enhanced before it could be easily understood. TURTLE: You ever been to this place we’re headed? ROCK: No. Eddie says his uncle owns it. Big hunting lodge north of here. Supposed to have a hot tub. TURTLE: Great. ROCK: You don’t sound so enthusiastic. TURTLE: Just wish it was closer. I didn’t expect to have to overnight in a kids’ summer camp. Always hated the idea of these places. ROCK: You never went to summer camp? TURTLE: Are you crazy? I spend the school year trying to avoid everyone else, why would I spend summer sleeping in the same cabin as them? ROCK: You’re spending the summer with us. TURTLE: Only because Eddie’s got weed. ROCK: Not because of Olivia? TURTLE: She, uh… she said anything? You know, about… about me? ROCK: No. TURTLE: I’m smart, she’s smart, it would work out. You get girls, right? You know, all the smooth cool guy stuff. You got any pointers? ROCK: Try not to freak her out. If you want to go for it, go for it. Just don’t get creepy. TURTLE: I’m not creepy! ROCK: Glad to hear it, dude. Rock McCrae puts out his cigarette. ROCK: I’m gonna turn in. TURTLE: Sure. Keep an eye out for those little girls. ROCK: Who? TURTLE: Those girls who went missing from here. You don’t remember that? It was on the news a few years ago. ROCK: I never watch the news. Life’s tough enough without worrying about the rest of the world. Rock McCrae leaves the shot. Mark Tucker continues smoking for approximately four minutes before putting out his cigarette and walking away from the cabin. 1^st Tape, 4^th Scene What follows is mostly in darkness but with some digital enhancement the images are rendered visible. The camera follows him as he walks towards a large tree at the edge of the campsite and begins to urinate against it. The camera operator walks towards Mark and in their free hand can be seen a short flagpole with a pennant that reads “Camp Apesawa”. The end of the pole is sharpened so it can be driven into the ground. The camera’s in-built light switches on, illuminating Mark Tucker, who turns around and winces in the bright light. TURTLE: Who’s there? Eddie? The camera operator rams the end of the flagpole into Mark Tucker’s mouth with enough force to push the point out through the back of his skull. Tucker falls over backwards, and the flagpole is embedded in the ground, so it sticks straight up from his mouth. He spasms and coughs up blood. The camera operator turns off the camcorder’s light and the scene ends.
The scene changes to a point of view looking in through a window of the mess hall, the largest of the summer camp’s wooden buildings. Another battery-operated lantern is hung up, providing partial illumination. A banner still hangs against one wall reading “Camp Apesawa Jamboree ‘86”. Through a serving window, Eddie Van Wiesen can be seen rooting around in the kitchen while Rock McCrae unrolls a sleeping bag on the floor and Rebecca Valenti sits on the serving counter. EDDIE: Hey, I found something! BECKY: Great. Can we finally go to bed now? EDDIE: We gotta eat, babe. Plus, it’s free! Check it out. BECKY: A can of beans. EDDIE: A can of free beans! Ok, now do any of the oven ranges work? BECKY: Rock, you guys were friends a long time, right? ROCK: Sure. BECKY: He always an idiot? ROCK: Pretty much. EDDIE: Real hostile, babe. We gotta foster our self-worth, remember? BECKY: According to those bullshit books your mom reads. Her self-worth seems just fine to me. ROCK: I’m not surprised. Your mom is pretty hot. EDDIE: Whoa, technical foul, dude. Neutral zone infringement. Olivia Radcek screams from outside. BECKY: Was that Olivia? Olivia Radcek bursts into the mess hall from outside. BECKY: Oh my god, Olivia, what happened? OLIVIA: It’s Turtle! ROCK: What did that asshole do? OLIVIA: He’s dead! EDDIE: Holy shit. ROCK: Where? OLIVIA: The edge of the camp, past where you guys were smoking. Someone… stabbed him, I guess… ROCK: Someone? Who? There’s no one else here! The place is abandoned! OLIVIA: Eddie, did you see anyone out there? EDDIE: Me? No. OLIVIA: I saw you walking around with that camcorder. EDDIE: Not me, I left it in the cabin. ROCK: Ok, I gotta go see this. You guys stay there. EDDIE: I’ll go. I’ll get my gun from the truck. BECKY: You brought your gun? EDDIE: Yeah, in case we needed it, and now we do. ROCK: Okay, I’ll come with. EDDIE: Stay here. Look after the girls. BECKY: We’re not kids, Eddie! OLIVIA: No, it’s OK. I’d rather you stay, Rock. Be careful, Eddie. EDDIE: I’ll be fine. I’m all-state, remember? BECKY: At wrestling! This guy isn’t gonna invite you to throw down on the mat! EDDIE: Trust me, babe. I’ll be right back. Eddie Van Wiesen leaves the mess hall. BECKY: I can’t believe Turtle’s dead. He was a dick, but… you know. ROCK: Olivia, it’s gonna be okay. OLIVIA: Okay? Rock, this is the opposite of okay! Someone got killed! ROCK: No, I mean… it’s gonna be okay. OLIVIA: What are you saying? ROCK: We’re friends, Olivia. We can trust each other, right? OLIVIA: Of course. ROCK: Did you kill Turtle? OLIVIA: What the hell? No! BECKY: Rock, come on! ROCK: If he tried something and you fought back, it happens, you know? No one else saw it, no one else knows we’re even here. We can choose how it goes down. No one even needs to know he’s dead. We can say he was never even with us, or that he went off on his own somewhere. OLIVIA: I appreciate the concern, Rock, but no, I didn’t kill Turtle. I think Eddie did. BECKY: Eddie? Olivia, don’t tell me you’re starting this bullshit too. OLIVIA: I saw him out there with that video camera on his shoulder. He says it wasn’t him, but I saw him! BECKY: You sure? You saw his face? OLIVIA: No, but it was definitely his camera. BECKY: Then you don’t know who you saw. I’m not waiting here to die with nothing to defend myself. There’s gotta be a knife in the kitchen somewhere. ROCK: Stay put, Becky. Eddie’ll be back soon. BECKY: Eddie got lost in his own house once. ROCK: It’s a big house. Rebecca Valenti walks into the kitchen and goes out of shot. OLIVIA: I don’t blame you for thinking it was me. ROCK: I don’t think you’re that sort of person, Olivia. It’s just, things happen. And Turtle was into you. OLIVIA: It’s okay. I’m glad you’re here, though. ROCK: I’m glad you’re here as well. Wish it was better circumstances. When we get out of this and whatever happens happens, maybe we can start again? Go on another road trip, just us two? OLIVIA: I’d like that. ROCK: My mother always said, “Marion, there’s no situation so bad you can’t take some good out of it.” OLIVIA: Marion? ROCK: That’s my name. You didn’t think I was really called ‘Rock’, did you? My dad named me Marion Morrison McCrae, after John Wayne’s real name. He was kind of a fan. OLIVIA: I don’t think you followed him in those footsteps. ROCK: No, little lady, I did not. After he split my mom didn’t mind me using a different name. ‘Rock’ got beaten up a lot less than Marion did. OLIVIA: I wish my dad would split. ROCK: There a story there? OLIVIA: I’ll tell you later. Hey, Becky, where you got to? The camera’s point of view now moves from the window through which it had been watching the inside of the mess hall, and pans across the campsite to where Eddie Van Wiesen is standing near the body of Mark Tucker. EDDIE: Hey! She’s right, Turtle’s here! He’s dead! You guys stay put, I’m gonna get my gun and bring the truck around! The camera follows Eddie Van Wiesen as he walks to his pickup truck. 1^st Tape, 5^th Scene The camera operator walks towards Van Wiesen who opens the truck door and rummages through the glove compartment before taking out a revolver. In the camera operator’s free hand can be seen a rubber mallet of the kind used to drive in tent pins. EDDIE: This son of a bitch better not mess with Eddie. I’ll put a bullet in his head. Yeah, if he’s lucky. Maybe I’ll shoot him in the gut. The camera operator switches on the camcorder’s inbuilt light. Eddie van Wiesen spins around, dazzled by the light. EDDIE: Who the hell? The camera operator strikes Van Wiesen in the forehead with the mallet. Van Wiesen falls to the ground, senseless, and drops the gun. The scene then cuts out for an unknown period.
When the camera turns back on it has been placed on the ground and shows Eddie Van Wiesen lying spreadeagled on the hood of his pickup truck. A figure is using the mallet to hammer tent pegs through the sleeves of Eddie’s T-shirt and the belt loops and hems of his jeans, pinning him to the hood. The scene is lit by a flashlight on the ground, in a position that renders the figure in silhouette and prevents identification. Eddie begins to stir as the figure turns on the truck’s engine. They then wedge a stick between the edge of the driver’s seat and the gas pedal, forcing the pedal down and causing the truck to accelerate away. The figure picks up the camera and keeps the truck in frame. EDDIE: What the hell? Oh god! Oh, god! The truck, with Eddie still pinned to the hood, drives towards a jetty on Lake Apesawa a short distance from the camp site. Eddie struggles to escape but is unable to break his bonds before the truck dives off the end of the jetty and into the lake at high speed. There is a loud splash as the truck lands in the lake. The truck sinks instantly. The camera operator turns off the light and picks up the camera. The view pans back to show the summer camp buildings, and the pre-dawn light on the horizon. Rock McCrae walks out of the mess hall. ROCK: Eddie? You out here? We heard the truck starting up. You, uh, you bailed on us, pal? As Rock McCrae searches for Eddie and the truck, the camera operator returns to the mess hall and looks in through another window. Olivia Radcek is in the dining area and Rebecca Valenti looks through from the window into the kitchen. She has a large meat cleaver in her hand. BECKY: I guess this could do some damage. OLIVIA: You ever had to use anything like this? BECKY: No. You? OLIVIA: No. Not a knife. BECKY: Here, take this one. I’ll try to find another. OLIVIA: Don’t be long. The camera operator pans down to the ground outside the mess hall window, where a large metal gas cylinder can just be seen. This is consistent with the cylinders of compressed air used by camp staff to inflate inner tubes for use on Lake Apesawa. The operator looks back through the window and uses the cylinder to smash the glass. OLIVIA: Becky? Becky, I heard something! Someone broke the window! The camera operator walks around to the door into the mess hall and enters. They approach Olivia Radcek from behind. In their free hand can be seen the nozzle of the hose attached to the gas cylinder. Olivia approaches the broken window with the meat cleaver held in front of her. The camera operator reaches her and stabs her in the side of the neck with the nozzle. The camera operator turns the valve on the cylinder. They keep Olivia in shot as they back away through the door. Olivia’s head swells unnaturally and bursts in a shower of blood and brain. Rebecca Valenti runs into the mess hall with a kitchen knife in her hand. BECKY: Olivia? Oh… oh god, Olivia! The camera operator walks back around to the broken window where they once again resume filming the inside of the mess hall. Rebecca Valenti stands horrified over the headless body of Olivia Radcek. Blood and brain matter covers the floor in a wide radius around the body. BECKY: Not you… not Olivia, too… Rock McCrae enters the mess hall through the doorway. He has Eddie’s revolver in his hand. ROCK: Becky, I think Eddie drove off without us. I found his gun, though. I think we should… oh, Jesus Christ. BECKY: I was just gone for a moment. Just a few seconds. ROCK: Olivia. BECKY: It’s just us two now. ROCK: We have to go, Becky. Now. Just head for the road. There’s a town not too far from here. We keep walking until we hit it. BECKY: It was you. ROCK: What? BECKY: You were out there with Turtle. Then Eddie went out, and you went out, and Eddie didn’t come back. And now Olivia’s dead and a second later you show up. ROCK: Becky, this shit is as crazy as it gets, but we can’t go crazy too. BECKY: Why did you do it? I thought you liked Olivia. And why Eddie and Turtle? They never did anything to you? ROCK: It’s OK, Becky. Give me the knife. We can still get out of this. BECKY: Was it to get me all to yourself? ROCK: No! They were my friends! I wouldn’t hurt them! BECKY: You were always weird. Always on the outside. I never knew why you hung out with us. Now I know. How long were you planning this? ROCK: Please, Becky. I don’t know who’s doing this but it’s not me. Just drop the knife and come with me. I’ll get you out of here, I promise. Now come on, we can— Rebecca Valenti lunges at Rock McCrae with the knife and catches him in the right shoulder. He drops the gun to the floor and stumbles against the wall. Rebecca Valenti picks up the revolver. ROCK: Becky… Becky, it’s OK. You’re scared. We’re both scared. But we can still… Rebecca Valenti shoots Rock McCrae at close range in the chest. McCrae slumps to the floor. His mouth moves, but he is unable to speak. For the next several minutes Rebecca Valenti stares at Rock with the gun in her hand. During this time Rock stops moving. ???: Hi, Becky. Rebecca Valenti screams and fires the gun at the camera operator, and presumably misses. The operator leaves their vantage point at the window. The camera is turned off.
When it is switched on again, it is showing the inside of a small utility shed lit by a flashlight on a tool bench. Standing at the table is a shirtless male figure, slender but muscular, with skin covered in dirt and scratches and hair in long, matted locks. He places a gasoline-powered chainsaw on the table, removes the fuel cap, and fills it from a gas can. He turns on the chainsaw and turns off the camcorder.
When the camcorder begins recording again, it is showing an indistinct view of the woods around the summer camp as the operator runs through the trees. The buzzing of the chainsaw and the heavy breathing of the camera operator can be heard as he runs. It is difficult to make out any details among the blurry foliage except for occasional glimpses of Rebecca Valenti as she flees through the forest. Twice she pauses to fire at her pursuer with the revolver but misses both times. This continues for approximately eleven minutes before a large building, identified as an abandoned sawmill, can be seen through the forest. Rebecca Valenti runs into the building, still pursued by the camera operator. She fires twice from the doorway, but again appears to miss. The camera operator runs at her brandishing the chainsaw and enters the doorway. The dark interior is overrun by forest plants and part of the roof is missing. The camera pans across the inside of the sawmill as the operator looks for Rebecca Valenti. A soiled mattress and a heap of clothes suggest someone has been living in the structure. Among the belongings is a duffel bag consistent with the one in which the VHS tapes were later found. Rebecca Valenti jumps out from behind a stack of lumber, and fires once. The operator pans to the right, to show a chunk of wood missing from the doorframe where her shot has gone wide. HIPPIE: It is Becky, right? Can I call you that? BECKY: Who the hell are you? The chainsaw revs down and shuts off. HIPPIE: No, no, we don’t have to do that anymore. Your six-shooter’s out of bullets. We can talk like civilised people now. BECKY: Civilised? HIPPIE: ‘Course, I’m not civilised, not really. I left that behind a long time ago. What year is it? Seventy-eight? Nine? BECKY: 1986. HIPPIE: Huh. Time flies. BECKY: You killed my friends. HIPPIE: Yeah, I did. But this place wasn’t for them. Folks don’t understand what Shibbet’s Vale is. BECKY: Why don’t you… why don’t you tell me? HIPPIE: Sure. It’s why I brought you here. Sorry I had to chase you all the way, but I don’t think you would come if I just asked nice. The camera is placed on the lumber pile facing a wooden table on which are arranged numerous items. These include dozens of metal and stone arrowheads, musical instruments and weapons carved out of bone, and a sculpture composed of around a dozen human skulls bound together with twine. The male figure enters shot and his face can be seen for the first time. It is thin and pockmarked. His age is impossible to ascertain. He puts down the chainsaw, then picks up a stone tablet from the table on which inscribed images can just be seen. HIPPIE: Long time ago a bunch of us came out here to get back to nature. And we found her. She’s beneath us in this place. Not just the Earth Mother or any of that flower power stuff. I mean the real thing. A goddess, sleeping in the ground. Our leader said she spoke to her. Thing is, we didn’t understand what she really was. We acted like she was a faucet we could turn on and off and drink enlightenment and power whenever we wanted. Our leader made it about him. About us. Not about her. So, she made them all destroy themselves. Me, she spared. Took me a long time to figure out why. This stuff is from the people that used to live here. Not the Crow tribe, they stayed away from Shibbet’s Vale. These were others. They wrote about her. See? They carved their stories into these tablets. Made images of her. Sang songs about her. But they must have made it about themselves, too, because they ain’t here no more either. She let me live because we have to lose everything. We come through that, we survive, we understand what’s really important. It’s not me, not you, not our church or the tribe that made these. It’s her. BECKY: She’s your god? Were my friends a… a sacrifice? HIPPIE: No. She’s a goddess of life, not death. No, I had to make you like I am. A survivor. Whichever one of you survived, they were the one who could understand. It’s you, Becky. You can understand. BECKY: Then teach me. HIPPIE: I’m so glad you said that. The goddess told the tribe where she came from. She was running away from something and reached Shibbet’s Vale. She was exhausted by then and she made a cocoon around herself to sleep. Her dreams… changed the living things around. When people came here, she spoke to them. Changed them, too. She was looking for people to serve her, to be at her side when she wasn’t tired anymore and she could wake up. Most people were no good, though. They couldn’t understand. She kept looking. BECKY: I think… I think I do understand. HIPPIE: You do? You do! As the figure searches through the artefacts again, he turns his back to Rebecca Valenti, who shoots him. The bullet hits in the centre of his back and he collapses to the floor. BECKY: I understand this gun isn’t a ‘six-shooter’. It’s a Blackhawk New Model .327. It holds eight rounds, not six. Eddie liked to talk to me about guns. I guess some of it sunk in. HIPPIE: No! No, you were the one, you were the survivor! You were supposed to be her handmaiden! BECKY: Eddie also told me, if you want to be sure, put a second shot in the head. Rebecca Valenti shoots the figure in the head at close range. The shot is instantly fatal. She stares at the body for around three minutes, then walks up to the table and puts the gun down on it. She picks up one of the stone tablets and begins examining it. The camera switches off, its battery evidently having run flat.
[END LOG]