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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.
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.
THE BEST WAY TO
WARN THE PUBLIC
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.
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.
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.”
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.
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,
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.
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,
Art said,
They turned to each other and said, ‘We did it!” Spielwood looked back at the hovering saucer. He asked,
Art said,
He called the crane operator on the cell phone and told him,
The officer was put on the phone. Mr. Spielwood said,
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,
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.
Spielwood said,
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,
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,
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.
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,
Spielwood said,
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.”
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.
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.
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.”
Spielwood handed a computer diskette to Errol, and said,
Spielwood said to Zeke,
He handed engineer Bob a cell phone and a hand-held UHF transceiver. Bob looked at the phone and radio and said,
Spielwood said,
Zeke said,
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,
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.
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.
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.”
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.”
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?
Mr. Spielwood said,
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,
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.
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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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.