CHAPTER 8:

BUZZ ALDRIN GOES INTO ORBIT TO AVOID THE ISSUE


It’s amazing who you’ll run into when you live near the space center. Art Greenfield had seen an advertisement in Florida Today newspaper placed by Books-A-Million bookstore. It said Buzz Aldrin was going to be at their Merritt Island store for a book signing. Art called Billy Cox, the UFO reporter for Florida Today newspaper, and asked him to meet him at the bookstore because he was going to try an ambush interview, and it could be a newsworthy story.

 

Billy said he’d be there. Art arrived at the bookstore early and waited in the long line of people there to get Buzz Aldrin’s autograph. Art finally reached Buzz. He asked Buzz about the statement Neil Armstrong had made on CSPAN about the truth being covered up. Art said, “Just what was he talking about?” Buzz said, “You’ll have to ask Neil about that.” Art showed Buzz a picture of the “Lunar Castle” and asked if this was what Armstrong was talking about.


Buzz asked, “Where did you get that picture?” Art said, “I got it at a seminar held by Richard Hoagland.” Buzz blasted Hoagland, saying, “You can’t trust him, he misleads people, and he was just putting words in Armstrong’s mouth.” Art said, “Hoagland did not quote Armstrong, he ran a CSPAN news tape that we all saw.” Buzz said, “With today’s technology, you can dub words on a tape, and that’s probably what happened.”

 

Billy Cox was standing behind Aldrin and he shook his head and said, “No way.” Billy had seen the tape at the seminar also. You can’t fool the media. Buzz said, “That Hoagland character is just trying to bilk gullible trekkies, etc., who are looking for something to believe in.” Art asked, “Has Mr. Hoagland made up fraudulent NASA photos and movies to scam people, and there really is nothing sinister on the Moon?”

 

Aldrin just sidestepped the question and continued to bad mouth Hoagland. He raised his voice so that everyone standing in line could hear what he was saying, that any information Hoagland dealt in was a pack of lies. Later, Art took Billy Cox aside and said, “Methinks the astronaut doth protest too much.” Billy and Art both agreed there was fear in Aldrin’s voice. Buzz did not want anyone to even think he had been spilling NASA’s most closely guarded secrets. Any NASA personnel with knowledge of the lunar secrets were probably warned by the government to remain silent after what Neil Armstrong said on CSPAN.

 

Where Buzz Aldrin trapped himself was by first acknowledging Armstrong’s statement by saying, “You’ll have to ask Neil about that,” then going into the defensive denial mode when confronted with photographic evidence. Then he contradicted the acknowledgment he had first made of Armstrong’s statement by saying that Richard Hoagland altered Armstrong’s taped words. If Armstrong’s statement was so preposterous and a lie to begin with, Buzz would have said so initially. Buzz Aldrin was present and can be seen listening to Armstrong making that statement on the CSPAN videotape. I have a copy of it.


Commentary: I’m fairly sure Buzz Aldrin won’t agree to play himself in this movie. He doesn’t seem to want to be involved in the un-cover-up.

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CHAPTER 9:

UFO ABDUCTION MOVIE GETS OFF THE GROUND MASS MEDIA

THE BEST WAY TO WARN THE PUBLIC

Art finished writing his book in 10 days. The movie script took another week. It was fairly easy to convert book to script because Art had previously written the first half of his book in a format that read like an action adventure science fiction movie. His plan from the start was to have the book read like a movie so that it could be easily made into a movie. A convincing movie was the best way to spread the information about the aliens.

 

Then Art had a stroke of luck. His daughter, Amber Greenfield, called him from California with exciting news. She said Hollywood wanted his book. Amber was a spokes-model for Hawaiian Tropic. While at a beauty pageant in Las Vegas, she had been spotted by the owner of a talent and modeling agency from Los Angeles. After the pageant, he approached Amber and asked her if she would be interested in signing with his agency. Amber said she was interested. He said he would have her flown to LA the next month to show her what they could do to promote her in modeling, TV, and the movies.

 

The following month Amber flew to LA to check things out, Amber mentioned to the agency owner that her Dad had written a book about what the aliens really had planned for mankind. He told Amber to call her Dad and ask him to mail a copy of the book to his agency. He said he would try to get the book made into a movie. So Art sent him a copy of the book. (Art decided to let the professional scriptwriters do the screenplay. Art knew a professionally done screenplay was the key to a successful movie. As a result, Art’s script stayed home and his book went to Hollywood). The agency owner really liked the book. He knew the book had potential to be made into a marketable movie. He liked the fact also that since he and his agency were mentioned in the book, they would also be in the movie.


It was kind of like “product placement.” (That would be good for business). He made a few phone calls to producers and was able to sell “Steven Spielwood” on the project. This saved valuable time, and resulted in a deal being made within days. Spielwood loved the story line, especially since it featured him and his production company making an alien abduction movie. Spielwood and “company” would be an integral part of the story and would be personally starring in the movie themselves. The story line had the production cast and crew shooting on location when the real UFO returned and abducted Amber Johnson (who was working as an advisor on the film). In the story line, the craft would return her two hours later and the movie crew would really capture the UFO and the aliens.

 

Then the movie company would hire three engineers as advisors, Bob Hardy and two Rocketdyne engineers who had back-engineered an alien saucer for the government. The story called for them to teach Mr. Spielwood’s private pilot how to fly and navigate the alien spacecraft. The story line also included the real saucer then being flown to the Moon by Spielwood’s pilot, with two movie cameramen aboard to film the alien lunar structures. Now we have to get into the nuts and bolts of movie making. The expense of renting a large studio is pretty steep.

 

I wrote this movie section so it could be shot on location, and shot in a rented warehouse that would be used to set up a temporary studio and sound stage. I planned on having to pay for everything myself. The more money that needs to be raised, the longer it would be before the movie’s message gets out. If I am paying, the movie gets made my way, on my schedule. If a big studio is paying, it is made and released on their schedule. If the movie came out after the alien’s big harvest is over, there would be less moviegoers to see the film.

 

That is not a good thing both for business and humanitarian reasons. The demographics of harvests in the last 200 years included mainly people in the 17-35 year old age bracket. (The 1918 worldwide flu epidemic had a flu virus that was genetically tailored to kill mainly people in that age group-the mature cattle group). Lose that age group, and a lot of paying customers leave the market permanently. That is very bad for business. And it’s not much fun for the victims either. Well, back to the movie.


Two months after Mr. Spielwood agreed to do the movie, he brought the movie cast and crew to Florida to shoot on location. Art told Mr. Spielwood that the aliens would be returning in two months to abduct Amber, not the two weeks it actually was. Art told him,

“If you shoot all of the scenes except the exterior UFO abduction shots, you can film the real thing, just leave a film crew here for the return of the real aliens.”

Spielwood decided to use special effects for the saucer interior and exterior scenes as he thought there would be too much financial exposure if things went wrong. The movie company then rented a large warehouse in which to store props and do all major prep work. Four motor homes were converted there into mobile radar platforms. Six surplus fighter plane radar transmitters were mounted in each stripped out motor home. Diesel generators, large storage batteries and huge capacitors were also installed. Two pickup trucks were fitted with CB radios with 10,000-watt sliders hooked to high frequency sound generators. When the work was completed, all the vehicles were driven to Tyco Airport for testing and target practice. A film crew followed and shot all the action.

 

An old scrap single engine airplane was suspended 60 feet in the air from a crane. It had been filled with an assortment of electronic gear for the test. It had portable radios, TVs, lap top computers, GPS units, avionics gear, laser pointers, and a cellular phone, all turned on. The crew formed a circle of motor homes and trucks, 100 yards away from the suspended plane. All radar units were pointed at the plane. After a 30-second countdown all units opened fire. Every electronic device on the plane flashed and burned out. Everybody cheered. Spielwood said, “That was perfect. Radar really will overload electronics. Print it.”


Meanwhile, the movie stage crew was preparing Amber Johnson’s condo with everything that would be needed for filming. The workers installed a state of the art security system in and around Amber’s apartment. Art Greenfield and Bob Hardy held a strategy session with Mr. and Mrs. Johnson. Art asked Mr. Johnson to contact one of the engineers that worked on the captured saucer, to ask him to make up an operating manual for a real saucer. Art said,

“The real aliens are due back in 2 weeks. There’s a good chance we can film a real abduction. Now that we have the necessary equipment, we may be able to capture the craft and crew. If that happened, we would have a wildly successful movie and a permanent place in history. The government would have to release all the alien technology they have acquired. The benefits for mankind are beyond belief. World hunger and most disease will be eliminated.”

The Johnsons agreed to help. It was a turning point for the human race. The shooting of the movie started at the low-budget studios set up at the warehouse in Melbourne. The film crew had named the warehouse “Temporary Studios”. They filmed the “Capture Team,” (a group of ex-Navy Seals hired to play Navy Seals in the movie), as they made final preparations for their (movie) “mission.” The movie company prop department built a full size mock-up of a 52-foot diameter saucer. Using a crane, the shooting crew raised the saucer up in front of a blue screen.

 

They shot film footage that would be used for scenes where computer generated special effects would fill in the background. The saucer was removed and the shooting crew rapidly did set ups and filmed the following scenes in front of the blue screen: The prophet Ezekiel watching a UFO cause a sheep and cattle stampede, Ezekiel warning a group of citizens that people are missing and he suspects the aliens have taken them away, sheriffs arresting aliens, FBI agents taking the aliens into custody from the sheriffs, and the Navy Seals taking the aliens into custody from the FBI.

 

They then shot a scene in Amber Johnson’s condo of Art Greenfield and the Johnsons making up a list of questions to ask the aliens. The plan was to capture them, and with the help of Amber’s fellow police officers, polygraph them at the Cocoa Beach PD. In this scene, they also decided to run the aliens to a hospital emergency room for a blood test and to have their stomachs pumped. That would show what (or who) they eat.


Bob Hardy had started wearing a stick-on nametag on the set that read “Engineer Bob.” Bob decided to do this because whenever the services of the engineers were needed on the set, the line director would get on a bullhorn and announce, “Engineers to the set!” Bob liked being called by name, not profession. The two other engineers wore tags that read just “X” and “Y,” as they wanted to remain anonymous. Following this lead, a cameraman named Ezekiel started wearing a name tag that read “Cameraman Zeke,” ending a lot of confusion, as there was an actor also named Ezekiel who was playing the role of “Ezekiel” in the film.

 

Two weeks into the shooting, the entire cast was at the warehouse filming night scenes. At 3:15 AM the alarm system monitor in the studio went off. Spielwood asked a security guard, “Are we having a break-in?” The guard went to the alarm control panel and said, ‘We have company at Amber Johnson’s house.” Art said, “Boys, I think this is it.” Art looked at Spielwood and said, “We have a chance to film one of the most important events in history, do we let it go?” Spielwood said, “No!” Art grabbed a phone and dialed Amber’s number. “I’m getting a message the line is temporarily out of service. This is no false alarm. They’re here!” Spielwood said, “Is this camera still rolling?”

 

He stepped in front of the camera and said,

“People! Listen to me. What we are about to do is very dangerous. If anyone wants out, no problem. Those going, if you don’t make it, your families will be well taken care of. I need three camera crews on location in 25 minutes. By the way, you’re all on triple time!” A big cheer went up and people threw scripts in the air. Art told Spielwood to have a driver standing by, to take the shot film out of the area before anyone could confiscate it. “Bring the crane and saucer, we might need it,” Spielwood said.

Everybody scrambled to load up and move out. The convoy moved quickly through the deserted streets. The fake sheriff’s cruisers and FBI cars provided an escort with emergency lights flashing. They arrived at the intersection of A1A and St. Rte. 520.


Spielwood got out of the lead car and directed vehicles and film crews to their proper places. A cameraman with a portable camera filmed this, then followed Art and Spielwood as they went up to the front door of Amber Johnson’s apartment. Art knocked on the door. There was no answer. Art opened the door and all three quietly headed for the bedroom. Mr. Johnson was in bed by himself. Art woke him and told him that he had to leave. They all left the apartment and made their way to the roof of a building 150 yards away, where Spielwood set up his command post.

 

Using a cell phone and portable UHF radio, Spielwood gave final instructions to the crew. He told the radar units to open fire when he blew the whistle. He instructed the drivers of the crane and flatbed truck carrying the prop saucer, to park in a vacant field one mile away. He called the Cocoa Beach PD and asked if they could spare an officer to go watch the prop saucer. This would keep one more cop away from the LZ. The entire crew quickly followed all orders, got under cover and waited. Spielwood asked Art,

“Will the UFO force field knock out our generators when it returns?”

Art said,

“No, they don’t affect diesels. They don’t use an electrical ignition system. Based on many observed recorded encounters with gas and diesel powered vehicles, it’s a non-problem. I’m sure the radar will work. From everything I’ve read, if the UFO’s drive field isn’t directly over our radar units, we got them.”


Commentary: Now we’re getting into the visually spectacular parts of the movie. Not to mention spectacularly priced too. If you want a spectacle that people will remember it takes expensive special effects. But we have to pay now or really pay later. The word needs to get out.

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CHAPTER 10:


THE ALIEN CRAFT IS CAPTURED
HERE IS HOW ANYONE CAN CAPTURE A UFO LOCALLY


Spielwood watched in absolute awe as the UFO silently approached the shore. It skimmed in about 20 feet over the ocean and rose up smartly to a height of 60 feet as it passed over the beach. It was a sight so beautiful to watch, it brought tears to Spielwood’s eyes. The silvery craft came to a hover 30 feet over Amber’s balcony. Spielwood checked his watch; it was 4:55 AM. The only sound you could hear was the diesel generators running at a fast idle in the movie companies “attack radar” motor homes. It was a roar of confidence and power.


A bright white beam of light snapped on under the craft. It was aimed directly down onto the rear balcony of Amber Johnson’s condo. Two Gray aliens with Amber between them floated down the beam of light to the balcony. They all floated through the pane of the sliding glass door.


All cameras had been rolling since the saucer was spotted approaching the beach. Spielwood jumped up and blew his signal whistle. Art yelled, “Light em up!” All units opened fire. Banks of movie lights were switched on, brilliantly illuminating the saucer. The beam of light shining down on the balcony from the alien craft flared a bright blue-white for 2 seconds, flashed, and faded out. The craft shuddered a little, then wobbled slightly as it slowly sank down 10 feet. It returned to a steady hover at the lower height. Spielwood walked to the edge of the roof and stepped in front of a bank of movie floodlights so he was brightly backlit. He blew two short blasts on the signal whistle.


Everybody came out of hiding. All of the radar units shut down. Six soldiers in full battle gear rushed the apartment. They were the ex-Seals hired for the part. Thirty seconds later they emerged with two aliens in custody. The aliens were carried down stairs and placed in a waiting ambulance. Art and Spielwood ran down to the street. They went over to the ambulance and looked at the aliens.

 

They turned to each other and said, ‘We did it!” Spielwood looked back at the hovering saucer. He asked,

“How do we get that down and back to the warehouse?”

Art said,

“Bring the crane over and tow it back to the warehouse while it’s in a hovering mode. The engineers can shut it down when we get there. We have to distract the other Cocoa Beach cops on duty so we can clear out of the area.” Spielwood said, “Everybody keep the cameras rolling. It’s our cover.”

He called the crane operator on the cell phone and told him,

“Drop the fake saucer on the ground, bring the crane and flatbed to the beach location. Tell the cop we sent over to please watch Mr. Spielwood’s saucer. Better yet, let me speak to him.”

The officer was put on the phone. Mr. Spielwood said,

“Hi there, Spielwood speaking. Could you please watch my saucer for me? We need the crane to move other props. Would you like to have some fun? I’m sending over two actors in alien costumes. When they get there, call the other cars on duty to your location. Get the picture?”

The officer laughed out loud and said, “Thanks Mr. Spielwood, you sure know how to liven up a slow night!” Spielwood then sent two “alien” actors to keep the cops amused. The crane showed up at the condo ten minutes later. The movie crew threw a cargo net over the still hovering saucer. They ran out the crane’s cable and hooked it to the net. Art pulled slightly on the cable. The UFO slid sideways very slowly, like an alien Goodyear blimp. It stopped when Art yanked on the cable again. Art said,

“It’s neutralizing about 95% of it’s mass. Get one of the crew to ride in the back of one of the pickups behind the UFO with a check rope, otherwise if the crane has to stop, the saucer will overrun it.”

Spielwood told all the towing people to hurry up and get the saucer back to the warehouse by sunrise. The saucer tow crew got it together and headed back down AlA toward Melbourne, with a film crew filming the move from the bed of the flatbed truck. Spielwood sent two fake sheriffs cars to escort the saucer caravan. The other two marked cars and the FBI cars were ordered by Spielwood to follow the ambulance to Cape Canaveral Hospital. He and Art got into the ambulance with the aliens. They headed west on 520, emergency lights on. The aliens were huddled together on the floor. They were in a state of shock. Art and Spielwood sat on little jump seats in the back.


They tried to be friendly with the aliens, but got no response. Spielwood radioed the lead FBI car on the hand held UHF radio. He told them to clear the ER waiting room if needed, as they were bringing VIPs. They sped ahead to the hospital. One of the “FBI agent” actors soon radioed back, “the ER is clear.”


Commentary: This is a really exciting segment of the movie. We get to see the real alien saucer close up. And the real aliens too. The aliens can’t seem to cope with the full force of Earth’s gravity. Usually they carry a personal antigravity device that allows them to float around when they come out of their craft to do an abduction. They have been relieved of their high tech equipment and weapons by the ex-Navy Seals when they captured them in Amber’s condo. They can only walk with
assistance. One even collapses and has to be carried slung over the shoulder of a Seal. The Grays don’t pose much of a threat without their enhancements.

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CHAPTER 11:

ET'S IN THE ER LOOKING INTO THEIR HIGH PROTEIN DIET

The ambulance and other cars in the procession arrived at the rear of Cape Canaveral Hospital. They drove into the parking lot, the cars pulling into parking spaces, the ambulance backing up to the doors outside the emergency room. Spielwood and Art Greenfield exited the ambulance. They and the cast members gathered at the front of the ambulance. Cameraman Zeke wore a dark blue nylon windbreaker style jacket with FBI printed on the back in large yellow letters. He looked like a Fed, except his “FBI” baseball cap was on backwards, cameraman style. He filmed the group with a hand held camera, panning finally to Spielwood.

 

Spielwood said,

“OK, let’s do it. You all know your parts. Just like the script but with real aliens and real doctors. Any problems, just call me on channel one.” He held up the UHF radio for emphasis. He climbed into one of the FBI cars and closed the door. The cast quickly lined up facing the emergency room door. Zeke went into the ER first to film their “entrance.” Spielwood said, “Action!”

The six FBI men walked through the ER doors, followed by two sheriff’s deputies, each carrying an alien. The head FBI man flashed his badge to the ER doctor in charge. He told the doctor,

“This incident must be kept quiet for national security reasons. Doc, we had a religious fanatic try to poison one of our alien guests. We need their stomachs pumped and the contents bagged as evidence. Sorry we’re not sure which one it was due to the confusion and they all look and dress alike.”

Zeke said to the doc, “The film is evidence in case anything happens.” The aliens were carried into an examination room and had their stomachs pumped. All went well. When the procedures in the ER were done, the aliens were carried back to the ambulance. The ER doctor asked Zeke as he was leaving, “Is this film going to be released publicly like “Alien Autopsy?” I was wondering if I’ll be in the movies.” Zeke said, “No, don’t quit your night job.”

 

The group departed for the Melbourne warehouse. The vehicle caravan headed down AlA, emergency lights flashing, Zeke’s camera rolling, as the sun broke over the ocean. Their wives and kids now surrounded the police officers at the site of the fake saucer. They took lots of pictures of themselves with the actor “aliens” and the prop UFO, oblivious to the fact a real UFO was being towed by, only two blocks away. The movie convoy passed two real sheriffs cars that were headed north on A1A. The movie sheriffs waved at them and kept on heading south.

 

The Grays just stared. All the drivers of the movie cop cars watched the real sheriffs as they continued on and turned left several blocks behind them. They were going to visit the fake saucer-landing site. The word had spread! Bob called Spielwood and said,

“We opened the UFO and found 2 aliens and 4 humans inside, one of whom is Amber Johnson. She says she wants to take the Grays to the PD and polygraph them. We got it all on film and I directed! Baby, I’ve gone Hollywood!” Spielwood laughed.

Spielwood said, Tell Amber not to take the Grays to the PD. I’ll get my security chief to interrogate them. I don’t think a polygraph would work on alien telepaths anyway. I’m sure they won’t react the same as us.


IF I SELL A LOT OF BOOKS, MAYBE I CAN PAY STEVEN SPIELBERG TO MAKE THIS MOVIE.

Two weeks later, Art Greenfield and Steven Spielwood sat facing each other at a table in Spielwood’s luxury motor home in the “back lot” at “Temporary Studios.” They read through the detailed 10-page report of the results of the DNA test on the alien stomach contents. It wasn’t good.


The report stated traces of human and cattle blood were positively identified by their DNA. Art said,

“That explains where the blood of mutilated cattle goes. It’s a bloody cocktail. Are they getting the human blood from the abductees?” Spielwood said, “I got people trying to match it up right now.”

Engineer Y called Spielwood to report the alien saucer was fully operational. He said they’d successfully wired an IBM mainframe computer directly to the “headband thought pickup device” the Grays used to control and navigate the craft. Spielwood asked, “Are there any signs of an override system on the saucer, so it could be commandeered by another alien craft?”

 

The engineer on the phone said, “No, the aliens did not install any tricks on this craft. They have the capability to locate and destroy any craft that gets captured.” Later, engineer Y brought Spielwood a computer disk. The engineer said,

“This has all the orbits of satellites and space junk so your pilot can program a course to avoid them.”

Spielwood said,

“Thanks. We’re going to test fly the saucer tonight and make sure there’s no bugs in our control setup. Do you have any idea how much BS I’d have to go through if we lost a union film crew in space? Thanks for teaching my pilot how to fly it. We need to make sure he can fly it safely before we take any long space trips. I want one of you engineers to go with him on the test flight, and the big flight, just in case.”

Errol, Mr. Spielwood’s private pilot, said, “We need friendly markings on the craft in case it’s spotted.” Spielwood said, “I’ll handle it.”


Three hours later, Spielwood walked into the brightly-lit warehouse; it was now a beehive of preparation activity. A painter was just finishing airbrushing artwork on the underside of the saucer. He stepped back to reveal a Jolly Roger pirate flag he had painted. He looked up to compare it to the one he’d painted on the top surface. Spielwood gave the painter a thumbs up and said, “Beautiful job!” Spielwood called engineer Bob over and said, “The cameras mounted in the ship can be activated by you or the cameraman. Thank you for volunteering.” Bob looked surprised and said, “I volunteered?” They both laughed. Spielwood waved his pilot over and said,

“Errol, on your test flight if you’re spotted and chased, take the long way home.”

Errol said, “No sweat chief” By 2:30 AM the streets around the warehouse were clear of traffic. Errol and engineer Bob boarded the craft through the hatch on the lower surface. They took their places at the control panels that had been modified by the engineers. Surplus fighter aircraft type seats had been installed and fastened to the deck in front of the control panels. The alien seats had been removed. They were too small.

 

The pilot took his seat and turned on all the switches on his panel, powering up the craft. Everything inside came to life. Bob sat at his panel and looked at the readings. He said, “OK, she’s ready.” Errol took hold of the flight controls and put the craft through some micro-maneuvers to get the feel of it. He said to Bob, “You sure can’t fly this by the seat of your pants. There’s no feeling of movement whatsoever.”

 

Bob said, “If you think that’s spooky, wait till you fly it upside down. It feels like you’re still right side up.” Errol eased the craft out through the open warehouse doors. The craft hovered briefly in place as the landing gear retracted. The saucer lifted gracefully and headed toward the ocean. After the craft was past the last block of buildings and had cleared the beach, Errol dropped it down lower, almost skimming the wave tops for the next four miles. Then the craft accelerated rapidly, straight up into space. A camera crew on the roof of the warehouse tracked the speeding craft and filmed it with a zoom telephoto lens, until it was no longer visible. Spielwood, standing behind the camera crew, said, “Cut! I love those special effects.” Everybody on the set laughed.


Commentary: In reality, the Gray alien abductors have no stomach or alimentary system. They have been genetically modified for the job they have to do. The movie acts as if they do have stomachs, so that they can be pumped out in the ER for purposes of the story line. The pumping yields evidence critical to the message of the film, without going through a lot of explanations about digestive systems. Grays with stomachs probably do exist on their home world. The genetically modified Grays autopsied by our government had throats that led nowhere. They had been altered to absorb nutrients through their skin.
 
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CHAPTER 12:


THE UFO TEST FLIGHT MOVIE SPECIAL EFFECTS ARE VERY EXPENSIVE
I HAVE TO SELL A LOT OF BOOKS TO PAY FOR THIS

As the spacecraft streaked out of the atmosphere, Errol asked engineer Bob, “How fast will this thing go?” Bob said, “I don’t know. X and Y never got to test fly the one they back-engineered, or the copies. And the Air Force didn’t share any flight test data with them. I asked.” The two men paused for a minute to take in the beautiful view of Earth, visible on the ship’s big wall screen. Bob said, “I’ve set in the Moon program. Set power at 15% for two minutes. Let’s see what velocity we get.”

 

Bob pressed a button on his console. The saucer reversed course smartly and headed toward the Moon. Errol said, “I still can’t get used to no feeling of motion. This feels like I’m playing a video game. If it weren’t for the view screen I’d think we were still on the ground.” Errol watched the power and velocity graphs on his computer monitor. He said, “If we can believe the instruments and monitor we should be in space.” Bob said, “We could always open the hatch to check.”

 

Errol reversed course and headed back toward Earth. He told Bob, “Look at the max velocity reading. This baby is sooo fast, at half power we could have pulled off a round trip to the Moon in minutes. Bob said, “Play time!” They spent the next two hours wringing the craft out over the South Pacific Ocean. They put it through all kinds of dizzying maneuvers. Errol said, “I always wanted to be a fighter pilot. With this trick outfit, I could fly circles around the top planes and pilots.”

 

He leveled the craft out at 100 feet over the water at 4000 M.P.H. The craft’s drive field was splitting a trench in the water below as it sped along. When the trench collapsed it sent up a big rooster tail of water that ran all the way back to the horizon.


Errol yelled, “Yahoooooo!” Bob said, “Let’s head back to the barn. It’ll be dawn there in another hour or so.” Errol punched it and headed straight up, flipped the saucer over at 12,500 miles altitude and headed for Florida. Errol dropped the craft straight down when they reached the Gulf of Mexico to avoid detection. He skimmed across the state of Florida at 150-foot altitude. Errol made a picture perfect landing inside the warehouse. Spielwood congratulated Bob and Errol when they emerged from the craft. After a debriefing session in the motor home, Spielwood walked the men to their cars. He told Bob, “Don’t forget, you can’t tell your wife.” They all laughed.


Commentary: This is another big bucks special effects segment, but it will be worth every penny. The flight scenes will be so exciting it would thrill a top gun fighter pilot. It will also impress everyone with the advanced flight capability of an alien craft.

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CHAPTER 13:


ALIEN INTERROGATION
HOW TO INTERROGATE TELEPATHIC ALIENS


The captured aliens were taken to an isolated ranch in Mims, Florida that had been rented by the movie company. Amber Johnson was taken to the ranch twice a week by the head of security for Spielwood’s production company. The security man was a retired FBI supervisor. The aliens always responded well to Amber, as they knew her from the previous abductions. The security man used Amber as a go between to question the Grays.

 

This type of interrogation brought out everything the security man wanted to know. If he had questioned the aliens himself, they could have read his mind and seen what he was driving at. They could have given false information, disinformation, or refused to cooperate. There was no way they could read Amber’s mind to see where the security man was going with his line of questioning. This was like playing “good cop-bad cop” with the suspects never seeing the bad cop. The information developed was very interesting. It was discovered that the aliens were continuously in touch with each other telepathically. You couldn’t quiz them separately to compare answers.

 

The range of this contact was not tested. They most likely had implants themselves that boosted the range of their telepathic transmissions. Since an autopsy or CAT scan procedure was out of the question, there was no easy way to find out if they were using implants. With this constant mind link it allowed the Grays to react quickly if one of their kind experienced a problem when abducting humans, etc. They did not need a radio to call for help. What one saw, they all could see. That is a big tactical advantage in a combat situation on land or in space.

 

Any tactics we use against them will have to take their telepathic talents into account. This edge includes just one of them being able to read the mind of our military leaders. What one knows, they all can know. Mr. Spielwood planned to reveal to the news media all of the information that his security chief developed. He would do it at a press conference after the movie was released worldwide. The aliens would be presented to the media at that time. Someone had put up a sign in the alien’s living quarters. It read, “EAT BEEF.”


Commentary: How about that? A detective story right in the middle of an alien movie. The wits of a seasoned detective are pitted against the telepathic minds of aliens with IQs that are off our charts. The detective gets the aliens to outsmart themselves and incriminate themselves. Being telepathic, the right to remain silent is a concept alien to them. This section could lend itself to a lot of cop jokes. I’ll talk to the screenwriters. There will probably be some memorable lines added by the time this finally hits the screen. It will help the movie commercials pack people into the theaters. It is for a good cause.

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CHAPTER 14:


LUNAR EXCURSION
SEE WHAT’S REALLY ON THE MOON


Steven Spielwood briefed the flight crew as they all stood outside the command motor home. The crew was made up of Errol the pilot, Bob Hardy, the engineer and Zeke the cameraman. A film crew filmed the group as Spielwood spoke: “The mission is to film the above ground structures on the Moon and return safely.”

 

Spielwood handed a computer diskette to Errol, and said,

“This disk has a navigational program that will take you to one mile above Tranquillity Base. When you get there, the cameraman will direct your flight path to set up his shots. You have the two big cameras, and the hand-held is a backup.”

Spielwood said to Zeke,

“We installed a FLIR lens on one of the big cameras on board. Run both big cameras simultaneously on all the exterior shots. I want regular and infrared images for the movie. When you get to the domed structures, drop inside through some of the large meteor holes and film the interior. Get close up shots of any artifacts. Be alert at all times. At the first sign of any alien ships, haul ass. Almost forgot, here’s your communication equipment.”

He handed engineer Bob a cell phone and a hand-held UHF transceiver. Bob looked at the phone and radio and said,

“Uh, I don’t think these are going to have enough range. Have they been modified?”

Spielwood said,

“It’s for local communication only. If you’re nearby and have a problem call us for help. If you have a problem on the Moon or in space, we have no way to help you. Radio silence is a good idea anyway. Spy satellites or aliens could pick up your radio transmissions. We don’t want to attract attention from either side. So, don’t screw up, get lost, or break down. We put 24 film packs on board. That should be more than enough.... unless you get into an extended chase scene.”

Zeke said,

“Jeez, don’t even joke about that.”

Spielwood said, “Zeke dude, I thought you liked chase scenes.”

“Not when I’m the chasee,” Zeke said.

Spielwood said, “Well, we’re going to have a nice going away party for all of you. You’ll be taking off in a few hours.”

Spielwood reached up and opened the side door on his motor home. Richard Dreyfus and Holly Hunter stuck their heads out the door and waved bottles of champagne at the group. Spielwood jumped back to avoid being trampled by the stampede into the motor home. Spielwood said,

“Wait! Not on an empty stomach! He waved to some other crew members who carried platters of cold cuts after the crowd. One cameraman, using a hand held camera, followed the group into the motor home and filmed everybody as they dug into the food. The spirits of the flight crew were lifted.

An hour later as the party drew to a close, Spielwood handed each of the Lunar Flight Crew a black baseball cap. Each cap had a picture of a saucer flying the pirate flag. Printed above the saucer were the words, “Jolly Roger I.” Zeke immediately put his on backwards, cameraman style.

 

Spielwood told the crew, “OK guys, get some sleep before your flight. Use the bedrooms in the back. Pleasant dreams.” The pilot was in a really good mood. His full name was Errol O’Flynn. He was a handsome devil. Kind of looked like Clark Gable though. As he passed near Holly Hunter, he took her in his arms and gave her a long passionate kiss. She just melted in his arms. The cameraman moved in with the hand held camera and got a close-up. Errol stopped to take a breath and said, “Wow, I’d almost forgotten what we were fighting for.”

 

He picked Holly up in his arms and turned to carry her back to the bedroom. Spielwood said, “Hey, hey, hey, put my actress down! We’re not making that kind of movie!” Holly giggled. Errol reluctantly set Holly down and gave her a short good night kiss. He pouted his lips and walked back to bed. Richard Dreyfus said, “We’re not shooting Close Encounters, you know!” Bob and Zeke headed on back to bed. Spielwood said, “Cut.”

 

The film crew dropped everything and descended on the food like vultures. Spielwood personally woke the flight crew at 1 AM. After they got ready, he walked with them to the lot behind the warehouse. The saucer stood there on its tripod landing gear. The film crew had two cameras rolling. One cameraman filmed from a boom-mounted camera. He started high up in the air, then swung the boom down as the flight crew neared the saucer. All of the cast and crew members shook hands with the flight crew and wished them good luck.


Spielwood said to the flight crew, “Mankind’s depending on you. Please be careful. The aliens eat careless people. Well, this is it. Make history!” The flight crew waved and boarded the craft. Inside the saucer, the crew took their places. Errol said to Engineer Bob, “Start the nav-computer program on my mark. 3-2-1 mark.” He pushed a button on his console. He picked up the UHF radio and said, “We’re good to go.” Spielwood came back, “Roger, Jolly Roger! You’re cleared for take off. Make it real impressive.”

 

The saucer came to life, glowing a pulsating dull red over its lower surface. The saucer started to lift slowly off the ground. The lower surface now had a pulsating blue-white glow playing over it in a counterclockwise direction. When the craft was 10 feet in the air, it discharged static electricity to the ground with a loud snap. The landing gear retracted smoothly. The craft’s forward speed and rate of ascension increased.

 

The pilot flew the craft on an arc like a space shuttle’s initial flight path. It looked great on film. At two miles “downrange,” the craft accelerated instantly to 9500 M.P.H. and streaked up into space like a reverse meteor. On board, the pilot engaged the flight plan program disc. In 45 minutes, the computer piloted the craft to one mile above Tranquillity Base and hovered there. It turned control back over to the pilot. Errol said, ‘Wow, we made damn good time!” Engineer Bob said, “Yeah, there was no traffic.” Errol asked Cameraman Zeke, “Where do you want to start?”

 

Zeke said, “Drop down to 100 feet and circle the base three times, offset 100 yards from the American flag.” Errol executed the maneuver beautifully while Zeke filmed. Zeke said, “Great! Now drop down to 30 feet. We’ll pick up the astronaut’s footprints, follow them, and gain altitude at an increasing rate as we approach the Lunar Castle. When we are five miles out from Tranquillity Base, I want to pan up from the footprints and lead into a full frontal shot of the Lunar Castle.”

 

Bob said, “This is a historical moment. We’re sorta following in the footsteps of Neil Armstrong and Buzz Aldrin. Well, maybe above the footsteps.” The camera followed the footprints as they led off into the distance. Half way to the castle, Zeke panned the camera up and locked on the castle’s center. The castle’s huge size dwarfed the ship. Zeke whispered to Errol, “Fly out and around the castle, level with the top of those tubes. Stay 15 miles out from it and do a lazy figure eight around it and Tranquillity Base.” The pilot took the craft up to 10 miles altitude and approached the structure. It was made up of three tubes side by side.

Each tube was one mile wide and nine miles high. The crew circled the structure for half an hour, filming from all angles. Whenever the big cameras would start running, Zeke would pick up the hand held camera and take inside shots of Errol and Bob at work. The small camera had a sign stuck on its side that read “Zeke Cam.” The saucer slipped into the shadow of the structure and pulled up close to a 10-foot diameter crater in the wall. The pilot activated the crafts alien spotlight, throwing the beam into the dark crater. The translucent wall fluoresced a blue color that matched the blue glow of the alien consoles in the craft’s control center. Zeke said, “Damn! It penetrated about 12 feet and still didn’t go through.”

 

Engineer Bob said, “Well, if we built a building the same size as Manhattan, it would need thick walls too, especially with the additional problem of a vacuum outside.” Zeke told Errol, “Too bad we didn’t find any openings. OK, we got enough here. Head for Dome City.” Errol brought the saucer smartly around, and punched it up to 3500 M.P.H. In fourteen minutes they reached the site. It was made up of large cylinders like the castle, but these were built stacked on their side, 5 tubes across and 4 tubes high. These tubes were semitransparent. The site was heavily damaged by meteor strikes. Most of the hits had flattened the top cylinders so that visibility and entrance into them was impossible.

 

Errol said, “Now this structure has a lot of openings.” Zeke said, “Look sharp for a big opening we can drop into to see what’s inside.” Bob said, “Over there, 2 klicks ahead and over two tubes. There’s a nice neat hole about a quarter mile across.” The pilot flew the craft toward the opening and dropped the craft down lower as he approached it. He brought the craft to a stop over the center of the hole. The sun was now setting. Errol turned on the spotlight and pointed it straight down. He broadened the beam. Errol said, “The tube below this is open. It has a nice neat hole in it too.”

 

Errol dropped the saucer below the edge of the broken tube and shined the spotlight around inside. An inner wall, several hundred feet back had collapsed revealing a honeycomb of hundreds of large empty rooms. “Looks like they took all the furniture when they moved out.” Bob said, “Take it down to the lower tube.” Errol dropped the craft down 1½ miles to the center of the lower tube. Errol said, “Bob, turn on that big view screen on the wall.”


All three men shifted around to see the big screen as it lit up. Bob said, “Shine your light way back there to the right, just above that big pyramid of rubble.” The spotlight played up to the dark area. As it was lit up, the pilot exclaimed, “Oh..My..God!” Tears burst from his eyes. The crew stared at the big screen, a look of disbelief and horror on their faces. Engineer Bob was so unnerved his head shook. He asked Zeke, “Did you get this?”

 

Zeke said, “I’ve been filming continuously with the big cameras since we left the castle.” He set down his small “Zeke Cam.” Errol and Bob both frowned, realizing Zeke had just filmed their reactions to the grisly scene that filled the ship’s main view screen. Zeke said, “Sorry, I used to be a news cameraman, if you want, I’ll destroy this film.” Quietly, Bob told the pilot, “Let’s go home.”


Commentary: The structures written about in this section were actually filmed during Neil Armstrong and Buzz Aldrin’s trip to the Moon. They showed up on 16 MM movie film from cameras mounted on the Apollo 11 Command Module. Two cameras filmed the lunar surface as the spacecraft orbited over the Moon. One camera pointed down, the other straight-ahead.

 

The structures are very large. I have not been able to determine what their purpose is. Large buildings most likely would be used to hold large ships or large numbers of people, or both. The big question is why would large numbers of people need to be held there? What are they doing there? Or what is being done to them?
 

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CHAPTER 15:


PRESS CONFERENCE
LAST MOVIE SCENE. SEE THE GRAYS AND FIND OUT THEIR PLANS

Mr. Spielwood walked out on the stage of the special event auditorium at the Jurassic Point Ride complex at Galaxy Studios theme park. Dozens of members of the world’s press corps were present. The raised platform at the rear of the seated guests was crowded with TV and movie cameras and cameramen.

 

Mr. Spielwood said,

“Thank you for coming to my press conference. I told you in your invitations that we had done something with DNA that would rock the world. You probably thought when you got here I’d say, ‘Welcome to Jurassic Point,’ and show you a real live dinosaur. What we have to show you is a little more modern than that.


Six months ago, we started shooting a documentary slash sci-fi movie about alien abduction with a plot twist in which the aliens and their spacecraft were captured by private individuals. We were shooting at the home of a lady who was actually repeatedly abducted, when the aliens returned and we captured them and their craft. I don’t mean we just captured them on film. We really captured them! You will be meeting them in a few minutes. We have finished distributing the movie worldwide and will be showing you some clips after the conference. It will answer a lot of your questions.

 

Okay, here’s what we did and here’s what we found out. After the capture we took the aliens to a local hospital emergency room and had their stomachs pumped and the contents bagged for analysis. There had been speculation as to what or whom the aliens eat. We had a DNA analysis lab check the stomach content samples for traces of human DNA. The results showed traces of human blood. The tested sample included recognizable DNA that matched specific samples from known sources, and a divergent strain of DNA that the lab’s database can’t match with any living humans presently on Earth.

 

It was similar to a DNA strain found in the mummified remains of an ancient Inca Indian that was found a few years ago, but much older. We concluded that live humans are being bred elsewhere as cattle. Keep in mind that these “Grays” are as far advanced above us, as we are above the cattle we eat.

 

They don’t have any more reservations about using us as a source of food than we do about using our own cattle. We must remove ourselves from their food chain, and assist them in finding an alternative food source. This is a priority problem, as a massive human harvest is scheduled in the next few years. I know it’s hard to understand why they do this, but we believe they must periodically stage mass migrations from their home world to alleviate overpopulation. Since you can’t raise cattle in space, they have set up cattle ranches on worlds that are on their travel routes.

 

They restock their ships with food as they pass by each cattle planet along the route. Johnny Appleseed did something similar, planting apple trees along the route west so pioneers could get apples to eat as they traveled to settle new lands. When you take your family on a cross-country vacation trip, you stop at fast food restaurants to eat. You don’t take cows and chickens in your car and keep feeding them until you need to slaughter them for food. Well neither do the aliens when they travel.”

Mr. Spielwood signaled, and a large movie screen was lowered from the ceiling to center stage. The footage of the structures on the Moon was shown. Mr. Spielwood said,

“From the number of meteor hits, experts estimate the structures were built over 10,000 years ago. They were most likely used as massive holding pens. We filmed this using the captured saucer. Now I need to tell you what we found out from questioning our guests. In the distant past they altered us genetically to be more intelligent, so we would survive and multiply rapidly.

 

They had to leave us unattended for long periods of time. This increased the probability that their favorite food would be here in abundance when they returned. That’s why we prospered and Neanderthals died out. Their fleet of mother ships will be passing by in the next few years, and they will initiate another large human harvest prior to that in preparation. We have to do two things to protect ourselves. First we have to get on a full war footing. Only one American aircraft company is turning out saucer copies. We need to expand production on a massive scale, just like our war effort in World War II.

 

When we have sufficient defense capability, we can enforce a business agreement with the “Gray” fleet. We can raise cattle and stockpile meat and dairy products for them, in exchange for beneficial advanced technology. Right now they have the ability to dive in, override our technology and eat us for breakfast. They can shutdown the avionics on our fighter planes from more than twenty miles away. Our government has known about this problem for a long time. Every US citizen should contact their government representatives and demand action. Northrup-Grumman can license production and give production ready blue prints of the captured saucer to other aircraft companies. Commercial aircraft companies can turn out civilian airliner and cargo versions that can be converted over quickly to military use if necessary. Our visitors are here.”

A golf cart carrying the four aliens was driven by a security guard through a side door and up a ramp onto the stage. All 4 aliens got out and stood by Mr. Spielwood.

“I’m sorry that they can’t answer any questions. They don’t speak. They communicate by means of mental telepathy. Besides, one inflammatory question could set back everything we’re trying to do. Submit your questions in writing. We will list all of your questions and all the answers in a handout we’ll have ready by 3 PM today. I suggest that at 5 PM EST, everybody break the news simultaneously, here and abroad. That will make it harder for any government to totally suppress the news.

 

Tomorrow at 9 AM we are turning over custody of our alien visitors to the United Nations in New York. I’m sure you’ll want to cover that event. They will arrive by helicopter at 8:30 AM EST. Please announce this for us. We are supplying a telepath also in case a general assembly meeting is held and the delegates want to question the aliens. Please don’t break any of this news for one hour. We need to move the aliens without interference. Thank you.”

 

(End Movie Version)

Commentary: When this book is made into the screenplay, a lot of additional dialogue and action that is completely fictional will be written into it in order to guarantee the commercial success of the film. I would like to include a lot of flashback scenes to show key historical information contained in the rest of this book. However, I will leave that part to the professional screenwriters. They can bring history alive. They are professionals.

 

The previous “movie” section of the book was written with a minimum amount of fiction included. I wrote it specifically that way because I wanted to make sure the core of the movie expressed what is going on, what the Grays and Reptoids are intending to do, and what we can do to defend ourselves. This book is a work of nonfiction. You have just read the nonfiction account of what the semi-fictional movie will be about. The balance of this book is pure nonfiction. Some of it may sound like science fiction (abductee testimony, etc.) but it is all too real.

 

Certain types of information can’t be made into a movie to enlighten the public. If it could be done routinely, you would see movie titles like “Encyclopedia Britannica-The Movie,” UFOs And Aliens-The Musical,” and “The Great Historical Forensic Evidence Adventure.” Turning evidence into mass media entertainment is difficult. The following chapters in this book will just have to entertain you by satisfying your thirst for knowledge. But that is why you are reading this book anyway, I hope. So much for the info-tainment. Now for the bad news.

 

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