This paper examines the mockumentary horror film Horror in the High Desert: The Blackwell Files (2022), written and directed by Dutch Marich. As a sequel to the breakout hit Horror in the High Desert (2021), this installment expands the universe of the "High Desert" mythology. This analysis explores the film’s continued use of the "missing persons" documentary format, its subversion of the found-footage genre through restraint, and its evolution from a character study of a lone hiker into a broader examination of occult cartography and institutional complicity.