Original subtitles

CBS Radio presents the news.

From Washington, here is Bob Pierpoint.

Another larger Sputnik with a dog

named Curly aboard is now whirling around the earth

1,000 miles out in space.

The Russians launched an 1,100-pound satellite late last

night and, so far, both Sputnik 2 and it's canine passenger are

reported doing well.

The dramatic achievements in space

which occurred in recent weeks should've made clear to us

all, as did the Sputnik in 1957, the impact of this invention

on the minds of men everywhere who

are attempting to make a determination of which road

they should take.

Radio Moscow started broadcasting time schedules

for its latest satellite a short while ago with the announcement

that Sputnik 2 will pass over in Washington, DC,

in just a few minutes from now.

Dr. Jay Allen Hynek, well-known associate director

of the Smithsonian Observatory at Cambridge, Massachusetts,

was asked if the half-ton weight of Sputnik 2

indicated the Russians might have a war

rocket powerful enough to reach this continent from the Soviet

Union.

"It certainly indicates they have the capabilities

of launching an intercontinental ballistic missile,"

replied Dr. Hynek.

Now it is time to take longer strides.

Time for a great, new American enterprise.

Time for this nation to take a clearly leading role

in space achievement, which in many ways

may hold the key to our future on Earth.

Dr. John S. Rinehart, also with the Smithsonian

Observatory, commented after studying figures

on the new Soviet satellite, "I firmly believe

the Russians could reach the moon in a few days."

I believe we should go to the moon.

But I think every citizen of this country,

as well as the members of the Congress,

should consider the matter carefully.

Every scientist, every engineer, every service man,

every technician, contractor, and civil servant

gives his personal pledge that this nation will move forward

with the full speed of freedom in the exciting adventure

of space.

We go into space because whatever

mankind must undertake, free men must fully shape.

On January 25th, 1994, the Deep Space Program Science

Experiment known as Clementine was launched

from Vandenberg Air Force Base.

Clementine was able to deliver more than 1.8

million digital images between February 26 and April 22, 1994.

These images were quickly accessible

to the general public on the world wide web.

In 1994, President Clinton cited the Clementine Mission

as one of the major national achievements

in aeronautics in space.

This is a segment from the 2009 version of Moon Rising.

At that time, it featured the Clementine Lunar Image Browser

1.5 with instructions on how to find a Moon Anomaly.

This is what it looked like before it

was taken off the internet.

Click on the desired resolution section

and choose the one pixel equals 1 kilometer option.

On the image size in pixels option, choose 768 by 768.

You are now ready to see for yourself the huge object

on the surface of the moon.

On the moon map, you will easily see a dot

on the top of this crater and on the lower left.

Click on the black dot on top of the crater

and the close-up image of this section appears in the browser.

What you see is a huge object resting

at the top of what is known as the Zeeman Crater.

It appears to be a large machine or perhaps a large spaceship.

But one thing's for certain-- the contours

of this huge object present qualities

which lead to suggest an intelligent presence.

You can clearly see that this image has been smudged over

and blurred around most of the object so we cannot see

the details.

This little gem was brought to the attention

of moon researchers around the world

by Joseph P. Skipper on May 28, 2004.

I decided to hire an image forensics

expert to take this official image

and see what other pertinent information can

be gathered from it.

Jim Hoerricks, an image forensics expert

who's worked with the Los Angeles Police Department,

was sent various Clementine images.

And his findings were written in a report

that he submitted to the production.

First of all, the astounding measurements

Jim made from the Zeeman Crater object

reveal that this anomaly is 10 times the size of Los Angeles.

10 times the size.

This, in itself, is an incredible detail

about the size of this object.

By using Adobe Photoshop and some of the filters

available within the program, we were

able to bring out more of the details that

were lost due to the image tampering

at the hands of the Department of Defense,

or whomever directs the Clementine Mission archives.

This enormous object appears intelligent in its design

and presents many features we associate with our technology

here on Earth.

In all of the enhancements of the Zeeman object made

independently, I am left asking, is this Clementine image

at Zeeman Crater the first extraterrestrial evidence

successfully captured on film under a public funded program?

Certainly, the contours of this area, in particular,

have compelled me to ask this question, above all.

We will never know the truth behind this image

until the Department of Defense--

or those responsible for tampering with this photo--

release the image to the general public.

The smudging used for the sensory of this object,

which was photographed in 1994, was not done with precision

because you can see small parts of this incredible, anomalous

object.

Unfortunately for moon researchers,

the Zeeman Crater is located on the far side of the moon.

Whether it's still there or not, we

will never know until this information is released to us.

After I released the first version

of "Moon Rising" in 2009, the Clementine web browser

1.5-- where you could have visited

and found these anomalies yourself-- was taken out.

They replaced it with the new 2.0 version of the Clementine

lunar image browser.

"Moon Rising" must have raised some eyebrows

because those who had seen my film

were beginning to visit the image browser 1.5

and seeing these anomalies for themselves.

When you go to this new browser, you

will now see the Zeeman Crater in all of its clarity.

There is no object there anymore and there is no smudging,

blurring, or tampering of any kind near or within the crater.

We have to ask ourselves, if there is nothing on the moon

to suggest alien moon bases, strange structures, machines,

and possibly advanced civilizations thriving there,

then why is there evidence of the deliberate

tampering of these and the many images

we will present here in this film?

While making "Moon Rising" in 2009,

I had a scene where we would zoom from Earth to the moon.

So I needed a 3D model of the moon.

And I contacted some friends who work in special visual effects

here in the studios and asked them

where I can go to get an accurate 3-D model that's

detailed and looks real.

Everyone I talked to sent me a mapaplanet.com,

which is on the USGS website.

That's the United States Geological Survey website.

Up until I went there, I was still under the impression

that moon is gray, black, and white

because that's the way NASA and others have portrayed it

for many years.

When I hit mapaplanet.com, the Earth, moon, Mars, and all

the other planets were listed.

I clicked on the moon thumbnail and it sends me

to a page that has different photography

samples of the moon.

But what caught my eye was the one that says natural color.

So I clicked on this and a whole new impression

was put to me about the moon.

First of all, I found the skin, in full color, of the moon

that, when wrapped around the 3D sphere in my modeling program

called Cinema 4D, the moon came to life

in its full, natural color.

I was totally overwhelmed.

I started zooming into the moon's many areas

and found some of the most incredible,

full-color photography of the moon that none of us

have ever seen before.

I was compelled to download all the photos

I could-- and in high resolution--

to use in my films.

This footage shows you some of the most spectacular

full-color photography I've downloaded from mapaplanet.com,

the website.

And we are lucky I downloaded close to 845 images

in 2009, because after I released "Moon Rising," when

you now go to mapaplanet.com, the full-color photos of some

of the most revealing and important areas

have been tampered with and the colors are

distorted or overexposed.

I urge you to go to mapaplanet.com and click

on the natural color link of the moon.

Start exploring it in full color for yourself.

There is more to our moon than meets the eye.

In full color, you have depth of field

and can see the anomalies right before your very eyes.

I used to have to explain why the moon appears

gray from Earth many, many times.

Luckily, an amateur astronomer from Richmond, Texas

decided to take the initiative and find out

if, in fact, the moon is full of color.

I got real interested in color whenever

I saw Jose's film called "Moon Rising."

I mean, that inspired me big time.

After Bill Bryson viewed my film "Moon Rising,"

he was determined to find out whether or not

there was something to what I had presented in that movie.

His results have become what will

be the future of astronomy.

No longer will amateur and, in some cases,

professional astronomers have to become

part of the perpetual myth about the moon's true essence.

Even in these early photographs taken

during the Russian ZOND missions--

before the Apollo missions took place--

they reveal that the moon is a full-color celestial body.

While going through hundreds of photographs of the moon that

have anomalies in them, this one particular photo

really stood out.

This is AS17-150-23085-- a high-resolution color

photograph taken by the Apollo 17 Hasselblad cameras in 1972.

Looking at this photo, at first glance, doesn't reveal much.

This is because it was published upside down

and the exposure has been tampered with in order

to make details hard to see.

By turning the photo right side up,

we can now start working on it.

First of all, we reset the contrast levels in order

to get rid of that brightness.

It was taken in color, so we make

adjustments to bring back most of the color that

had been washed out.

Zooming into the landscape, we see

what appears to be a giant structure, or a machine,

leaning against the rim of the crater.

There is a tentacle-like tubing, or wiring, connected to it.

And there is also an opening where part of it is cut away.

Surveying the crater along the edge,

there is another object that is round and appears to also have

tubing connected to it.

Further inside the crater, toward the bottom area,

there appears to be a large, self-illuminating glow.

After researching this particular photo,

I needed to find its location.

I downloaded the Apollo Mission 17 Lunar Photography Index Map,

and by overlaying a section of the full-color Clementine moon

map, and stretching it to match the index map,

I was able to pinpoint the exact position of the crater.

I found out the name of the crater

is Lobachevsky, named after Nikolai Lobachevsky,

a Russian mathematician who was known

as the Copernicus of geometry.

So I then went back to Map-a-Planet

and zoomed in on this area and downloaded the crater,

where this object is resting.

Sure enough, there it is.

Looking at it from this aerial view,

we have a different perspective of the structure.

The Lobachevsky crater is 84 kilometers in diameter,

or 52 miles.

This makes the size of this structure at least 10 miles

wide and about six miles high from the bottom floor

of the crater.

We can see the bright glow that we detected

towards the bottom of the crater is still burning, or glowing,

even after 22 years since the Apollo 17 photo was taken,

in December 1972.

From this vantage point, we can see another bright glow

with what appears to be a bluish-white smoke coming out

of the top of the fire.

We can also see that the round object seen here

at the 9 o'clock position of the crater

still appears to be a round structure of some kind leaning

on the ridge of the crater.

The reason I feel that glow to the left of the object

might be cutting away the rim of the crater

is because to the right of the structure,

there's a perfectly cut section that

was not evident in the Apollo 17 photo 22 years earlier.

I found another version of Lobachevsky

photographed by Apollo 16 in April 1972.

This photo is AS16-121-19407.

And this is what we found out, which is interesting.

This section, where the object is

resting on the Apollo 17 photo, looks like it's been excavated.

You can even see a tower, or a column,

shaped like a cross at the top, right

in the center of the excavation.

There is also a tunnel opening-- what appears

to be a gray or metallic mound.

A close-up of the crater taken by the Clementine mission

in 1994 appears like it has been expanded.

You can still see the tower, or column, in the entryway

of whatever this structure is.

If you look closely at it, you can

see more tentacle-like tubing, or wiring,

on the outside of the crater.

This is an amazing aerial view of the structure

that is still there.

At least we know someone started excavating

for the building of this structure in April of 1972.

And we saw more of the strange object in its building stages

within eight months of the excavation.

Here it is in 1994.

And the object is still there serving some purpose

for someone in this crater.

We are fortunate to have this proof that there is something

there.

And we are witness to something that

has been constructed on the lunar surface

at the edge of this crater.

We know that someone, or should I say something, built this.

I got started in this, probably,

in the mid-1990s listening to Hoagland

on the old coast-to-coast AM radio program with Art Bell.

And he was talking about the stuff

that he'd found on the moon.

Some images and some things that clearly

appeared to be structures.

They were very anomalous.

And he was noting that there were thousands upon thousands

of photographs that had been taken of the moon

by the various unmanned probes.

And then the astronauts that had orbited the moon.

And he said, you know, Art, anybody can do this.

And what I realized is A, I'm anybody.

B, I think I understand the arguments.

I'm an engineer by trade-- aerospace engineer.

I may not be an architect, but I certainly

know structure when I see it.

And I started looking at the evidence that he presented.

And I just got fascinated by it.

I created a web page called the Lunar Anomalies Home

Page, which still exists.

And it was all dedicated to stuff on the moon.

The Hubble telescope has taken the most incredible photography

of deep space and far off in the vast universe.

When you see these spectacular scenes,

you can't help but wonder how many others live out there.

So when NASA was asked by scientists and astronomers

when the Hubble telescope would be used in photographing

the moon, NASA's reply was that because the moon was

too bright, it would be impossible to get accurate

photography of the moon.

The first photo was released from the Hubble Space

Telescope in 1999.

Needless to say, the scientists and astronomers

were not too pleased at how NASA had deliberately lied to them.

When I heard about this photograph,

I thought for sure we would see the moon in full color.

But of all the photos taken by the Hubble

telescope of the moon, they are in black and white.

Prepare yourself for an incredible expedition

as we now take you back to the moon on a voyage filled

with mystery and secrecy.

I'm not sure why NASA has not told us what's on the moon.

In a way, they have told us because the pictures are there.

And there's hundreds of them.

So anybody can do what I did and go and look at the pictures

and enlarge them and see what there is.

NASA has been there.

But we haven't been back since 1972.

And you sit there and wonder why that is.

It's our closest celestial neighbor in the heavens.

You can see it every night when you walk outside.

And really, there's so much mystery about it

still to this day.

Many people seem to think that the Apollo program answered

a lot of these questions.

And in many ways, it did.

But we, the general public, have never

been privy to any of those answers.

Is there are already somebody there?

And is there even a secret space program

that we don't know about that?

Maybe even NASA's doesn't know about,

that's been to the moon and back and using

very advanced technology?

A cover story that's based entirely upon the premise

that there was absolutely no life there.

And that there is no life to be found past, present, at all.

And that's simply not the case.

I certainly believe that some of the stuff that we're

finding on the moon may be alien-- extraterrestrial--

in origin, it may be ruined, ancient, abandoned

extraterrestrial ruins.

Some of it may be active.

And some of it, in fact, may be our own stuff.

I don't think there's any possibility

that NASA is not aware of the civilizations on the moon.

And the structures.

They're very obvious, easy to see.

They are in contact with some of these extraterrestrial life

forms.

And they don't want you to know about it.

There is the guy that hacked into the NASA database

and found some listings of non-terrestrial officers.

NASA may have made a deal with the beings

up there to not reveal their civilization.

But then again, the pictures have the evidence.

It's all in the pictures anyway.

The whole purpose to the cover up

is to prevent we, the plebeian masses of this planet,

from gaining the appreciation that there is, indeed,

extraterrestrial life out there--

intelligent extraterrestrial life.

And this is life that the government

is very well aware of-- the governments around the world.

It's certainly not a US issue.

They're very well aware of it.

Because you've been lied to, you've

been robbed of something that you deserve,

which is to know what your true history is

and what your true significance is in this world.

I really don't think people realize how deep the lie goes.

How big it is.

How unbelievable the cover up is.

This truly is the greatest story ever denied.

It is the most amazing secret never told.

It is the most monumental cover up in human history.

And hopefully, the public will take a movie like this

and will begin to open up some doors-- begin

to open up some windows-- to the truth.

Whether it's from the government,

whether it's from other insiders who can now

come forward and begin to tell their stories of what they did

and their involvement in this cover up

to get the truth out there.

I think the world's ready for it.

And hopefully, a movie like this will

push that forward a little bit and speed the process up.

The very word secrecy is repugnant in a free and open

society.

And we are, as a people, inherently

and historically, opposed to secret societies,

to secret oaths, and to secret proceedings.

We decided long ago that the dangers

of excessive and unwarranted concealment of pertinent facts

far outweighed the dangers which are cited to justify it.

And there is very grave danger that an announced need

for increased security will be seized upon by those

anxious to expand its meaning to the very limits

of official censorship and concealment.

That I do not intend to permit to the extent

that it's in my control.

And no official of my administration,

whether his rank is high or low, civilian or military,

should interpret my words here tonight

as an excuse to censor the news, to stifle dissent,

to cover up our mistakes, or to withhold

from the press and the public the facts they deserve to know.

By playing around with these images using moder software

techniques, some of the results really are eye-opening.

And again, it really comes back to you've

got to ask yourself the question, why

do NASA-- or any of the other space agencies,

or any of the major observatories--

why will they not show you any of the new adaptive optics

imagery of the moon?

They simply won't show it to you.

They don't have any, they claim.

A report was prepared under contract to NASA

by the Brookings Institute, Washington DC.

The report outlines the need to investigate

the possible social consequences of an extraterrestrial

discovery and to consider whether such a discovery should

be kept from the public, in order to avoid political change

and a possible devastating effect on scientists themselves

due to the discovery that many of their own most cherished

theories could be at risk.

And it says in there that you should seriously consider

covering that information up because it may, in fact, lead

to what it calls the disintegration of our culture.

Because of the tremendous cultural impact--

the shock-- that it would have, especially

to scientists and engineers who think-- who've come to believe,

arrogantly, I think-- that we are the top of the heap.

That we are part of some natural process

and we are the dominant species.

I don't think that that argument flies.

I think that document is nothing more

than their political and legal cover for what

they've been doing.

Because there is a much bigger issue that comes out here.

What most people don't is that NASA is not a civilian science

agency.

If you look at the actual charter under which NASA

was originally put into existence,

it states clearly there that NASA

is an adjunct-- a division of the Department of Defense.

And it is beholden to the Department of Defense.

When you couple the Brookings Institute

report with a document called Executive Order 10501, 10501

was a document that was specifically

related to safeguarding official information in the interest

of national defense.

And it's important to note that the term national defense

actually includes not only considerations

of a military perspective, but also geoeconomic

and geopolitical, as well.

When you compare, or take those two documents-- when

you take 10501 and the Brookings Institute report,

right there, that lays the framework for the greatest

story ever denied.

That gives them legal justification to cover this up.

Final control, Houston.

Switching now to the voice of Jim Lovell.

By 60.5.

Good to hear your voice.

Apollo 8.

Houston, what does the old moon look like from 60 miles?

Over.

OK, Houston.

The moon is, essentially, gray.

No color.

Looks like plaster of Paris.

It has been speculated the moon missions were hoaxed.

Perhaps some of the Apollo missions

were filmed in different locations

and in studios in order to conceal

the incredible discoveries found on the moon.

In 1979, Maurice Chatelain, former chief

of NASA Communications Systems, confirmed

Neil Armstrong had indeed reported seeing two

UFOs on the rim of a crater.

The encounter was common knowledge at NASA, he revealed,

but nobody has talked about it until now.

Even if you don't care what's up there,

you damn sure care about the lies

that are being put in place to hide what's up there.

Whether you have the interest in the space program

or the interest in what's going on over our planet's atmosphere

or not, you are affected by the lies

that are in place to maintain this greatest of all cover ups.

And we're talking about a massive effort

by the military industrial complex.

Couple of nuclear weapons sent into space

were destroyed by the extraterrestrials.

Our government sent a nuclear weapon for explosion

on the moon's surface.

It was intended to, as I understand it,

to assess some scientific data and reaction and so forth.

When I was a corporate manager of Fairchild Industries in 1974

through '77, I met the late Dr. Werner Von Braun and early '74.

At that time, Von Braun was dying of cancer,

but he assured me that he would live a few more years in order

to tell me about the game that was being played.

That game being the effort to weaponize space.

The idea of any explosion in space by any earth government

was not acceptable to the extraterrestrials.

And that has been demonstrated over and over.

The strategy that Werner Von Braun taught me was that,

first, the Russians are going to be considered to be the enemy.

In fact, when I met him in '74, they were the enemy.

They wanted a weapons system they

could put in space that would stop a ballistic missile.

That was the concept.

Then terrorists would be identified.

And that was soon to follow.

We heard a lot about terrorism.

Now, if that ballistic missile happened

to be coming from another direction other

than Earth-bound, could it do the same thing?

Then, we were going to identify third-world country

crazies.

We now call them nations of concern.

I have but a short time to try to convince people

that we are moving in an avenue where we

are going to militarize space.

The next enemy was asteroids.

And the funniest one of all was against what he called

aliens-- extraterrestrials.

That would be the final card.

As a direct result, we will become a threat to them

unless we, spiritually, grow also.

And over and over and over, during the four years

that I knew him, he would bring up that last card.

And remember, Carol, the last card is the alien card.

We're going to have to build space-based weapons

against aliens.

And all of it, he said, is a lie.

We put nuclear weapons out in space as a line of defense.

And we was ready to blow them up if they started in.

Today, most people have come to the very clear realization,

I think, that things aren't quite as you've been told.

And the question then, just becomes, how big is the lie?

And the truth is it's bigger than most people can imagine.

One of the great things about the NASA archive system

is that, at the back of many of their documents,

they have both distribution and reference lists.

And the distribution lists are very important.

They say who that document is being forwarded to,

and which department and from what company.

And when you begin to cull through these documents--

certainly ones that deal with specific subject matter,

like image enhancement, for example--

you begin to see a lot of names that,

obviously begin to repeat.

And you can very quickly determine

what individuals knew what and had

to have been privy to certain information,

just by the very nature of their job.

The individual that I managed to identify

and who agreed to meet with me and talk with me was a man who

worked for a company called BellComm during the 1960s

and into the early 1970s.

BellComm, although many people haven't heard of it,

is in many ways, a company that is

more responsible for landing man on the moon

than NASA really was.

BellComm's a division of AT&T and Western Electric.

BellComm was around for only a decade.

They were there for the specific purpose

of landing man on the moon and ensuring

that NASA got the job done.

Meeting him was actually the most incredible

three hours of my life, the interview that we had.

A man who I knew was in the know,

a man who I'd tracked down.

He wasn't, in any way, looking to throw this stuff out

in the public eye.

It was just, really, a matter of him

recognizing that I wasn't on a total blind fishing expedition.

And I'd actually figured some things out.

That opened him up in a big way.

He made the comment several times during the interview

that he'd never talked about this with anyone before.

It was not the kind of subject matter

that you talk with anyone about.

The people that were in a position

to be in the know-- to have, at least,

some high level of understanding of what was really

going on-- these individuals were also

very well aware of what their government is actually

capable of.

A guard told me that he was asked to burn some photographs

and not to look at them.

And there was a guard-- another guard guarding

him-- who was in green fatigues, watching him

burn the photographs.

And he said he was too tempted.

He looked at one and it was a picture of a UFO

and he was very descriptive.

I can go into that later with anyone.

He immediately was hit in the head,

and he had a big gash in his forehead.

He was knocked out.

And he's terrified.

So he would have to be protected.

Another incident-- I knew someone in quarantine

with the Apollo astronauts.

He told me that the Apollo astronauts saw craft

on the moon when we landed.

And that is what he told me.

And he also was afraid-- he said that the astronauts are

told to keep this quiet.

They're not allowed to talk about it.

So I do want to let you know that I worked out there

for a number of years, and I ran into this.

So it's not something everyone knows that works out there

for a long time.

My boss didn't know about it, some people

that sat right next to me didn't know about it.

It's very strange because I don't know how they can do it,

but they can let some people know about it,

and then others not.

I'm willing to testify before Congress that what I'm saying

is true.

And thank you very much.

They know the power of these people.

A lot of people ask questions like, well,

how come none of these people who knew about it have ever

come forward?

These individuals have signed their lives away

in security classification documents.

And when I say sign their lives away,

I mean that quite literally.

I mean, these are things that if they talk about,

it's off to Guantanamo Bay.

This is the greatest secret in not only the United States

military and the United States government,

but around the world.

Really, for a lot of these individuals-- and there

are many other investigators out there

who will tell you this-- one of the only ways

these individuals have to ever put the truth out

is to do it through a proxy.

They find another individual or another individual finds them.

And they talk a little bit about what they know.

They're usually very, very careful

when they talk about it because they don't want trails

leading right back to them.

With this gentleman, I think a great deal of his openness

had to do with the fact that he knew he was dying.

And he knew that he was just fed up

with the government's behavior.

So he was more than willing-- knowing

that I had understood at least a little bit of what

was going on-- he was much more willing to open up to me.

On November 20, 1969, the Apollo 12 astronauts

did an experiment with some strange results.

They crashed the lunar module ascent stage

into the surface of the moon.

Shock waves reverberated throughout the moon

for over an hour.

Some have likened this to ringing like a bell.

These results were repeated during the Apollo 13 mission.

However, this time, the shock waves

lasted for over three hours.

Hollow Moon researchers say that this is proof

that the interior of the moon was hollowed out

by artificial means.

MITs Dr. Sean C. Solomon wrote, "The Lunar Orbiter experiments

vastly improved our knowledge of the moon's gravitational field,

indicating the frightening possibility

that the moon might be hollow."

On March 7, 1971, instruments placed on the moon

by the Apollo astronauts recorded

a cloud of water vapor passing over the surface.

The event lasted for over 14 hours

and covered an area of at least 100 square miles.

The earth is thought to be around 4.6 billion years old,

while rocks from the moon were found to be

around 5.3 billion years old.

And the dust the rocks were found in

is thought to be about a billion years older than that.

This information conflicts with the theory

that the moon was produced by a collision the earth

had with another body earlier in its history.

One of the things that you've got to keep in mind, as well,

when you're looking at NASA imagery,

is that although the sky may appear black in those frames,

in many instances, when you enhance that image,

you discover that there is actually

an incredible amount of image detail

that's just buried in the darkness of that image.

But when you amplify that scene and you

begin to see what's hidden there in the sky,

you can begin to make out shapes.

There's a few images that show structuring.

And this is all done in an effort to both hide the truth,

but as well, to leave a bit of the truth there for you.

And again, a lot of people don't want to believe they do that.

But they do.

That's part of the dripping faucet technique, where

they give you tiny little bits of the truth

and you can begin to fill it in-- fill it-- put it together

for yourself.

One of the frames that really demonstrates

the way they use this dripping faucet technique

is a frame known as 20680 from the Apollo 17 mission.

For 30 years, this frame was officially

listed in their catalogs in the Apollo 17 photographic index

as being a blank-- no image data-- frame.

A frame that has got nothing on it.

While this image is most definitely

sunstruck and overexposed.

Blank it most certainly is not.

Harrison Schmidt created some patches

for his own mission, Apollo 17, which is, again, the mission

that we take these images from and that we've seen

a lot of this color effect.

And what he put on it was Stonehenge and the sun.

And the sun is a symbol of ancient Egyptian god Horus.

There's all sorts of Egyptian mythology

that runs through all the Apollo program, which

is supposed to be Greek, but it ends up

that there's really a dual meaning to all this stuff

and it's Egyptian.

And what he's saying is-- what he's clearly saying to people

is look, these are ruins.

There is structure.

This is what we're really doing on the moon.

And I think what they're doing is

they're trying, in a subtle way, to let people know-- either

because they remember it subconsciously

or because they are deliberately trying to send us messages

under the radar-- that they did not go there and pick up

a bunch of rocks.

But instead, what they brought back,

or what they were sent to investigate,

was ancient, extraterrestrial ruins.

One of the most important things

to keep in mind whenever you're looking at any NASA imagery--

whether it's Apollo imagery or imagery of Mars,

it doesn't really matter-- perspective is everything.

We see human beings down here on terra firma

are afforded one perspective of the moon.

We look at it and that's what we have to look at.

We don't know what the moon looks like from the side

or from different oblique angles.

All we have is this singular representation

that we have to look at.

And NASA has, in fact, gone to great lengths

to ensure that the imagery that they show us of the moon's

surface resembles very closely-- both in photometric function,

as well as in angling.

And the dimensional properties of the image

make it appear as if it would look

just like it does from Earth.

One of the primary obfuscation techniques that NASA uses

is to simply rotate the imagery.

They insert a false horizon in their oblique imagery.

By turning these images upside down,

it alters-- vertical objects suddenly

don't cast shadows anymore.

The shadows aren't in the right places.

And this technique has been used since the dawn of the space

age-- since the Lunar Orbiter missions,

since even before that with Ranger missions--

to make things appear as we humans expect them to appear.

Because we look through a telescope here.

We say, oh, that's how it looks.

So from the side, it probably looks like this.

The reality is it doesn't.

The moon is a very three-dimensional object.

Hasselblad cameras were the ones

that were used by NASA to photograph

everything on the moon.

And the reason the Hasselblad was used

was because they had registration crosshairs.

These registration crosshairs are there

for a specific reason.

There so that you can take a single photo

with a single camera.

So you'll be able to get distance from an object

to another object because of the registration crosshairs

that are built into the Hasselblad cameras.

These crosshairs are always in front of whatever

is being photographed.

This is a perfect shot of a photograph of one

of the astronauts on the moon.

Now, here you see the crosshairs from the Hasselblad camera.

OK?

You can clearly see that they are even

in the darkness of space.

But you can clearly see that the crosshairs are there

in exactly the positions they should be.

So in a lot of the false horizons,

they've eliminated the crosshairs in the sky parts.

And almost about 90% of the moon shots

have what we call a false horizon.

In 1999, William Burrows wrote a book called "This New Ocean."

It's a non-fictional account-- supposedly

non-fictional account-- of the space race.

If you look at the cover of that book,

you'll notice that he has a picture of the earth's horizon

on it with the moon above.

And on the cover of this book, there

are two black, running parallel lines

that climb up from the earth and they

pass the moon on either side, paralleling it.

It's interesting when you go and look

at the ISS and space shuttle imagery of the moon

from low Earth orbit.

When you begin to enhance those images

and begin to attack the black area of the sky that appears

to be solid black-- and there are different filtering

techniques you could use to draw that out-- you

begin to realize that those lines that

are on the cover of his book actually

are appearing in these photographs.

And they don't appear once or twice.

You don't see this effect once or twice.

You see this in many, many, many dozens

of photographs that are just of the moon.

They appear when you enhance the image.

And obviously, Burroughs knows something

that the public's not privy to.

He's really just a classic outsider-insider,

very much like Andrew Chaikin is.

He's a guy who knows what the truth is but has agreed

to perpetuate the lie, rather than to reveal

what the truth is for a whole variety of reasons.

Burrows does a fantastic job of presenting to us

exactly the propaganda and the story line

that the powers at be have been selling us

as being the truth for decades.

And he gives the reader the official historical cover story

in brilliant details.

He's someone who is most definitely in the know.

There are also frames in which some of these lines

appear to be behind the moon, where you see the line rising

up and being cut off as it hits the lower limb of the moon

before re-emerging again on the exact opposite side

of that interception point, where

it continues on its very straight, linear path.

And in these cases, you can see that the lines do not

transit in front of or across the lunar disk,

but rather, it's the opposite.

The moon appears to be transiting and covering

these lines.

So what's going on here?

Why do all these NASA ISS frames of the moon taken from LEO

show these parallel lines.

And why does his book cover mimic this same visual?

What are we seeing and what is being represented?

One hypothesis I've heard has to do

with what are called space elevators, which--

as the name implies-- are elevator transport systems that

can be used to lift things-- satellites, cargo, spacecraft,

people-- from the surface of the Earth--

lift those up into space.

Now, I realize that, to many people,

this idea of building elevators with lengths

of tens of thousands of kilometers that could extend

from the Earth's surface up to geostationary orbit,

or to the moon, probably sounds ludicrous.

Something that, if it is possible at all,

must be centuries and centuries beyond what

we're capable of doing today.

But it really does not seem to be as beyond state-of-the-art

as one might think.

These are the kind of projects being worked on today

and funded today.

Back in 1999, NASA sponsored what

was called the space elevator workshop.

And its purpose was to explore the feasibility

of the development of space elevators in the 21st century.

And it discusses plans for construction

that would take place during the later half of the century.

And that's all the unclassified stuff.

That is with what they're willing to tell us

about their capabilities.

Were the Egyptian pharaohs and clergymen

of their time aware of subterranean places that

had celestial functions?

Judging by hieroglyphics that were discovered

in tombs of pharaohs, such as Ramses,

one can see a collaboration between what

the Egyptians described in their time as a stairway to heaven

and what we are seeing now with these space elevators emanating

from Earth.

The vector-- NASA's official logo--

if you've ever looked at NASA's official logo--

both their official insignia and their official seal--

you'll see that the most prominent object in the seal

is a red, swishing object.

They call that the chevron, or the vector.

If you ask NASA's public affairs office that this symbology is

featured so heavily in their insignia and seal,

they'll give you what really amounts

to the standard, facile cover story for the unilluminated.

They'll tell you that that is a representation

of a hypersonic wing design from the 1950s, which was

the time the logo was created.

Not exactly the case.

Someone might want to ask the Russian Federal Space

Agency, Roscosmos, that was formed in 1992, why

they chose that same logo.

And while you're at it, you can go

ask the Chinese, who formed their space agency in 1996 why

in the world they're using a hypersonic wing

design from the 1950s as their official logo.

Then, you can ask the Japanese, the South Koreans, Taiwanese,

Malaysia, Mexico, Iran.

All of these countries-- even Bulgaria-- they all

utilize the vector symbology in their space agency

logos for their national space agencies.

It gets even deeper.

You can go look at the individual manned program

patches for NASA.

The Mercury Program, for example--

a blatant use of covert symbology.

In every logo dealing with the Mercury Program,

you'll see what looks like a number 7 in their logo.

And again, NASA's official story is

that they put this number seven there

so that they could pay homage to the original seven Mercury

astronauts, forgetting the fact that only six Mercury

astronauts actually flew into space because number

seven never did.

Deke Slayton had a heart problem so he didn't get to go up.

So there were only six Mercury astronauts.

Yet, there's a seven in every single logo.

That's in the official mission insig-- or official program

insignia for Mercury, as well as the six individual mission

patches carried this logo.

And it carries on to the space shuttle program.

If you look at the Apollo logo, the Apollo logo

has a big letter A in it.

At least that's what they want you to believe.

But it's not.

Again, that's just a simple way of explaining away

the inclusion of this vector symbology in the logo.

If you go to the space shuttle program,

the original space shuttle STS program patch was a triangular

patch that, again, hides the use of the chevronic vector

symbology.

And that also goes for many of the STS specific mission

patches.

Every single one of the International Space Station

expedition patches carry the vector symbology.

The Russian Mir space station used the vector symbology.

That was their official logo.

And you can even go deeper and look

at military industrial complex companies.

Look at the logo on a company like Lockheed Martin-- two

vectors.

The XPRIZE logo, Ames Research Labs, US Space Command,

when you get into the military realm.

The United States Space Command-- their official logo

is the vector symbol.

And when you look at the military's

individual space-specific programs, all of them

deal with the vector symbology in their official insignias.

And the question really becomes, who

or what are these people paying homage to?

And the truth, quite frankly, is out of this world.

This painting, entitled "The Madonna with Saint Giovannino"

was made sometime during the 1400s.

The artist's name is not known, but at first glance

you can notice a UFO shape in the sky

to the right side of the Madonna.

If you were to see the original full-size painting,

you would see the object clearly.

Looking at the enlargement, you can see a man and his dog

standing and looking up at the object.

However, this painting has something else being depicted.

On the left side of the painting,

you see the sun and some vector-like objects

seemingly flying from or toward the sun.

Perhaps this artist was trying to tell us something.

In another painting of the Madonna made

by a completely different artist,

the unusual patterns of the sun and the vector-like symbols

have also been patted prominently

on the Madonna's cloak.

You can see the same symbology on this painting

as on the one before.

This time, however, there is no UFO object

to be seen anywhere in the sky.

This footage was taken over Mexico City in 2002.

There were many other videos and photographs

taken of this same type of object,

clearly resembling the shapes as seen

on the visor of the astronaut on the moon

and depicted in the 14th century paintings

of the Madonna and child.

There is probably a larger story behind the vectors,

but it is very unusual this symbology has been adapted

by all the United States and foreign space agencies,

especially enemies like Iran and others who are also

making missions to the moon.

Final control, Houston.

Switching now to the voice of Jim Lovell.

By 60.5.

Good to hear your voice.

Apollo 8, Houston.

What does the old moon look like from 60 miles?

Over.

OK, Houston.

The moon is, essentially, gray.

No color.

It's so unbelievably beautiful.

All these natural colors that exist out there

has never been shown to us.

I've seen, on TV, the moon is gray and black

and it has no color.

Well, that couldn't be farther from the truth.

It's really-- it's compelling.

I just want to see more.

And it blew me away.

It absolutely blew me away.

First of all, with the Clementine Mission,

they took 1.8 million images of the moon.

The high-resolution ones-- you can't seem to get any of them

because-- well, they give you different reasons why

you can't get them, but you can't seem to get them.

But there's also these natural color images.

And they are much, much brighter.

They have far more color than they should

if our models of them are correct.

Now, there's two ways you can approach this.

One, is it could very well be that some of these areas--

let's say some of these areas under these glass structures--

these domes-- are still intact.

That there's still atmosphere in there.

That there is still stuff growing there.

You would, obviously, have plants and vegetation.

You'd have various things there that you would need to survive

or that you would have simply for the aesthetics of living

in an environment with plants and animals.

So it's possible that's what some of the stuff is.

Another distinct possibility-- and this

is the one that I tend to advocate--

is that if you really do have these multiple layers of glass

structures all over the moon, what's going to happen

is the light is going to scatter and bounce all over the place.

And when it does that, you get a prism effect.

And it, then, will combine with other red or green or blue

and it will make other colors.

In order to comprehend the significance

about the natural color of the moon,

you need to know where these images come from.

This is what is called the skin of the moon.

It is the actual surface that has been

stretched and flattened out.

When visual artists wrap this skin

around a sphere in their 3D programs, this is what you get.

Jose Escamilla downloaded hundreds

of sections of the entire skin that is available on the USGS

website.

The area of interest is in this section here, located

on the front side of the moon.

When Jose zoomed into this particular section,

he recognized some very unusual features

and objects in the scene.

First of all, the terrain below is clearly presenting itself

at an angular view.

The disk shape, located here, appears

to be hovering above the surface.

When you compare this disk with others

that are closer to the terrain, you

can clearly see this object is not down on the terrain.

Jose found out very quickly that there are more of these disks

all over the moon.

The disks that you will see in other photos we

are going to present are identical to this one.

They are hovering on their sides,

and sometimes they are hovering as these others below.

The other disks you will see are different in color and details,

but they are shining light onto the lunar surface,

as they do whatever they are doing close to the terrain.

In all the photos Jose presents in this film,

you are seeing the only clear and detailed photography

ever released in full color of real flying saucers.

NASA has known this and so have the multitudes of people

connected to the space program.

Another thing that I need to bring forth is,

in my first film-- "UFO-- The Greatest Story Ever Denied"--

we had this whole segment on the STS footage of the things that

are flying to the tether.

Things that have the donut hole.

But they seem to be alive.

I come to find out that these things are

thriving on the moon's surface.

There are thousands of them.

And they're hovering above the moon's surface.

Finding the full color imagery that you're

looking at now-- the natural colors of the moon--

it brings us to a totally new reality

that the moon could have been teeming with life back

in '94 when these photos were taken,

or it may still be teeming with life.

And the truth is, once you look

at these pictures of the moon or Mars,

and you realize that this stuff is structure--

that there is artificial structures there-- pretty

much everything's on the table.

There are so many lunar landscapes

filled with color and textures unlike anything ever seen

before with the human eye.

There are deep crevices and overhangs

where you can see immensely huge openings,

or what appear to be cavern entrances.

There are far too many gigantic and massive structures

as can be described.

You have to see them for yourself

in order to grasp the size of these complex

and, in most cases, alien-like architecture,

as you have seen in many films.

You will even see some strange vine-like webbing,

as depicted in Steven Spielberg's "War

of the Worlds."

Glass domes, UFOs, massive buildings,

and scaffolding spread throughout the lunar terrain

in many sizes, shapes, and forms.

It is evident the missions to the moon

were more involved than gathering rocks and dirt

samples.

There is no doubt we went to the moon.

It is what was waiting for us when we got there

that this film is about.

Finding the full-color imagery that you're

looking at now-- the natural colors of the moon--

it brings us to a totally new reality

that the moon could have been teeming with life back

in '94 when these photos were taken,

or it may still be teeming with life.

I think they are still there.

They were there in the '70s when the last Apollo

mission was there.

I found lights on.

It seems that, at least in some areas of the moon,

that the lights might still be on.

We're talking about the covering up

of hyperadvanced technology that could do away

with fossil fuels-- our dependence on fossil fuels.

We're talking about technology that

allows for much quicker transport through space

than we've ever been told.

What I think has happened is that all these other countries,

somehow, have found out that we went there--

that we brought back this technology, that we're

exploiting this technology.

And they want a piece of the action.

So that's why-- it's the only reason why they would spend

the kind of money that they're spending-- India, China, all

these-- Japan-- all these countries--

to go back to the moon.

To what?

To collect rocks?

No, they're going back there because there's

something incredibly valuable there

that they know that we have-- the United States brought

back-- that they want a piece of.

And it's a tremendous risk.

There's not just simply the risk to the astronauts lives.

There's-- if you believe some of the stories--

there's even a risk to other people that might already be

there.

And the end result, I have found

that the moon is in full color.

It's not a black and white object.

It's not made of impact craters and this kind of thing.

There's a lot more to it.

NASA has deliberately tempered a lot of the photography.

They've eliminated the crosshairs

to eliminate what was in the background in the sky

or in the landscapes.

And there are some very significant things

that have occurred.

All we say-- we don't know the answers.

In this whole realm, none of us-- none

of these individual researchers--

not necessarily Jose, not Richard and I,

not-- we don't have all the answers.

Various-- we all have a piece of the puzzle.

We all see different parts of it.

And there's certain aspects of this that we're all good at.

All I'm presenting to you-- and it's

backed up with facts-- all my films present you with evidence

that is fully acknowledged.

You can back trace it.

You can do, as they say, back engineer everything I present.

It's all there for you to see.

What we do know is that there's

more information out there.

Again, there's 1.8 million Clementine images

sitting on the web.

No one person can access even a handful of those

and look at them and study them and find stuff on them.

What we need is for people that see these films

and see documentaries like this to understand

that this stuff does exist.

They can't hide it all.

When I was talking with the gentleman from BellComm

and we were discussing the lie, everything

he was telling me was different from what we were being told

was the truth.

And at one point, I asked him-- I said, man, you guys lied

about a lot, didn't you?

And instantly, he said, no.

We didn't lie about certain things.

We lied about everything.

None of it was true.

And we have vowed that we shall not

see a governed by a hostile flag of conquest,

but by a banner of freedom and peace.

We have vowed that we shall not see

space filled with weapons of mass destruction,

but with instruments of knowledge and understanding.

Yet the vows of this nation can only

be fulfilled if we, in this nation, are first.

And therefore, we intend to be first.