The Relic 1997

Somewhere deep in the Brazilian rain forest, an anthropologist named John Whitney](/actor/john-whitney) (played by Lewis Van Bergen) witnesses a mesmerizing Aboriginal tribal ritual. The dancers, lost in a trance, draw him into their world, especially after he accidentally ingests a potion concocted by the tribe’s witch, Montrose Hughes. This leads him to a moment of shock upon seeing a native dressed in traditional costume and face-paint, prompting him to exclaim: > “Oh my God! It’s Kathoga!”

Later, Whitney finds himself at a commercial dock, where a cargo ship named the Santos Morales is set to sail. Desperate, he implores the ship’s captain (Santos Morales) to unload his crates intended for the Chicago Natural History Museum, but his pleas fall on deaf ears. His only option is to stow away on the vessel. Upon accessing the cargo hold, he discovers that his crates contain nothing but rugs, causing him to spiral into despair as the ship departs with several more of his crates bearing the inscription: “John Whitney - Chicago Natural History Museum”.

Fast forward six weeks, and the Santos Morales docks in Chicago, but the scene is grim. The ship is cordoned off by police, led by Lt. Vincent D’Agosta (portrayed by Tom Sizemore) alongside Detective Hollingsworth (Clayton Rohner). Blood stains are pervasive and the crew are mysteriously missing. In a shocking discovery within the bilge, D’Agosta finds the severed heads of the crew members, igniting his superstitious nature as he clutches a “lucky bullet” for protection.

Meanwhile, back at the Museum of Natural History, preparations for a grand exhibit on superstition are in full swing. Dr. Margo Green (played by Penelope Ann Miller), an evolutionary biologist, enters to learn from museum curator, Dr. Ann Cuthbert (Linda Hunt), that she is in a tight race for a grant against her colleague, Greg Lee (Chi Muoi Lo). This grant is backed by the influential Blaisedales (Constance Towers & Francis X. McCarthy), who are scheduled to attend the gala for the new exhibit.

Curiosity piqued, Margo visits Dr. Albert Frock (James Whitmore) and is captivated by some crates that recently arrived from Brazil, remnants of Whitney’s earlier shipment. These crates contain leaves tied to the mystical potion, which Margo decides to analyze. As the museum buzzes with energy, two boys sneaking around during a school excursion uncover a horrific scene: the decapitated body of a security guard (Jophery C. Brown) lurking in a basement stairwell, alerting authorities to the fact that there is a killer on the prowl.

Armed with this dreadful information, D’Agosta and his team delve deeper into the investigation. It is revealed through forensic examination that the guard’s brain is mysteriously missing vital parts. Each clue, including the gruesome fate of the crew aboard the Santos Morales, points to an unusual and terrifying predator.

As the museum prepares for the opening gala, Margo uncovers a startling connection between the leaves and the hypothalamus, hinting at a mutant creature that could wreak havoc. Panic ensues when a search of the underground tunnels, which connect the museum to the docks, results in tragedy—something deadly has lurking there. During the gala, with tensions high, the beast strikes, confining guests and police alike within the museum’s walls.

In the heart of the chaos, D’Agosta and Margo realize they are up against the legendary Kathoga, a hybrid beast born of dark rituals and human transformation. D’Agosta presses Margo for insight on slaying this horrifying creature. Their initial attempts to freeze it reflect their desperation, but it becomes clear that they must devise a more destructive plan.

In an epic and adrenaline-fueled climax, Margo concocts a dangerous strategy: she ignites the lab with flammable chemicals to incinerate the Kathoga while seeking refuge in a water-filled container, cementing her survival against a creature born of myth and madness. The dark tale of John Whitney and the Kathoga leaves a haunting resonance, echoing through the corridors of the museum long after the dust has settled.