All language subtitles for UFO The Greatest Story Ever Denied II - Moon Rising (2009).eng

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.