On January 13, 1995, the morning television program “Good Morning with Ann and Nick” featured rock singer Reg Presley, who was interested in UFOs. He immediately took the bull by the horns: “The other day I was talking to a man who had just obtained a film document about the autopsy of alien bodies...”

Reg was not referring to some abstract case, but to the autopsy of alien bodies from a UFO that crashed in 1947 near Roswell!

Autopsy video:

It was not difficult to find out from Reg Presley who owned the film. Already in January, Stanton Friedman learned that this was an Italian living in England, Ray Santilli. Reaching him was a matter of technique.

“I first spoke to Santilli in mid-January 1995,” he recalled. “I met with him in London in April and June, and with his companion in San Marino in September. And each time I checked his statements, It turned out that they were deceitful."

Apparently, realizing that he could make a big mistake with Friedman, Santilli went to Philip Mantle. After seeing one excerpt (the “tent” scene, which will be discussed later), Mantle made a sensational statement to the press:

“Dear UFO skeptic, you have been dismissive of all these flying saucer stories for decades. But now the director of the research department of BUFORA has at his disposal a film that he is convinced will open your eyes and will change your opinion on this matter.

The film was delivered from the USA, which, as we can now assume, turned out to be the last stage on the path of interplanetary wanderers to eternity. It was filmed in the summer of 1947 in Roswell by a military cameraman sent from Washington after the UFO crash there. In total, he shot 14 cans of 16mm film. I have only been able to see one fragment so far.

The silent black-and-white film depicts a scene in the desert. Two men in white cloaks are examining something lying on the table. This is the occupant of a crashed spaceship. The alien is a humanoid of average height and fragile build. He has large dark eyes and no hair, nose or ears. Next to two scientists in white cloaks who are examining a humanoid, stands a man in a dark cloak with a military bearing.

Going public with the film could have far-reaching consequences. Firstly, we have before us the most convincing evidence that indeed in the summer of 1947 a spaceship with aliens on board crashed in Roswell, about which all sorts of rumors and legends have long been circulating. More than 300 witnesses to this incident are still alive. The military cameraman who shot the film and later made a career in private business is ready to speak publicly and talk about everything he saw then..."

On May 5, 1995, a preview screening of the film was held at the British Museum in London. Rumors spread throughout the world at lightning speed. At the entrance to the hall, everyone was searched so that no one would take a camera, so rumors were fed only by stories and sketches of the happy chosen ones.

The excitement in the press has reached its climax, although some journalists have already begun to have doubts. During the next viewings, they noticed that the frames had a strange mark: “RESTRICTED ACCESS, A01 CLASSIFICATION, SUBJECT 1 of 2, JULY 30th 1947.” Such a classification did not exist in America, and the date did not work out well: it in no way corresponded to the story about the events in Roswell. As soon as the question of this mark was raised, during the following shows it was no longer there.

Santilli played the outsider from the start. “It all depends on whether the films pass the authenticity test,” he said in one interview. “If they pass such a test, they will become something like the Shroud of Turin. If not, they will become fakes. Really, I don’t know.” what will happen to them."

The mention of the “Shroud of Turin,” which allegedly depicts a miraculous image of Christ, led to an unexpected discovery. Journalists of the Mail on Sunday newspaper recalled, having clarified the details in the editorial archive, that in 1991 Santilli contacted them, claiming that he knew something about the Dead Sea Scrolls and the Shroud of Turin!

On August 28, the stories, which we will tentatively call “Autopsy” and “Wreckage,” were shown on British television. Later they were demonstrated by the largest television companies in the world - the American Fox TV, the German ZDF, the Italian RAI-1, the French TF-1 and at least twenty other television companies. The sums that were paid to Santilli for the right to display totaled in the millions - and not in lire, of course. He received $125,000 from Fox TV alone. Video cassettes with tapes sold like hot cakes, and at first they asked for a huge amount - 70 dollars!

Soon, ufologist Arvid Igorevich Mordvin-Shchodro brought a videotape with sensational scenes to St. Petersburg and showed it at the Russian Geographical Society. Such a stir has not been seen here for a long time: people stood in the aisles, behind columns, and sat on the floor. I made my way to the front rows, to the TV and tried to remember the smallest details of what I saw [see. photo 1-3].

Something like a laboratory appeared on the screen, in one of the walls of which there was a glass observation window. On something like a gurney with a flat top (not an operating or pathological table) lay the body of a creature about 140-150 cm tall with a swollen belly and a huge head. It immediately caught my eye that the creature had well-developed muscles. There was a lacerated or burned wound on one of the legs. I didn’t immediately notice that the creature had six fingers and toes. There were three people in the room - an operator and two “pathologists” in protective suits with transparent windows.

One “pathologist” approached the body and began to cut it with a scalpel, starting from the neck. Oddly enough, blood began to flow: when I took anatomy at the institute, we were told that in the dead it collects in the lower part of the body, but here the cut went quite high. Then I thought that either the corpse was fresh, or the alien’s decomposition process was different from that of humans.

For some reason, the moment when the “pathologist” pulled apart the edges of the incision was missing, and then we were shown the already opened body. Usually, when the abdominal cavity is opened, only the fat layer and loops of intestines obscuring the entire incision are visible. I didn’t see any intestines on the creature: the “pathologist,” with almost no effort, took out some scraps from the body that looked like anything but internal organs. The autopsy was not accompanied by scientific work, and the authorities did not even consider it necessary to somehow mark, open or sign. Between the creature's legs there was a visible genital slit, like that of an underdeveloped girl, but in the abdominal cavity there was nothing resembling a uterus, ovaries or anything like that.

The “pathologist” left the abdominal cavity in an uncut state and began working on the creature’s eye himself, instead of calling an ophthalmologist. With an unwavering hand, he removed some film from it and put it in the solution. The same was done with the second eye. He did not cut or remove eyeballs.

The autopsy story ended with a demonstration of craniotomy. Having turned away the skin on the head, the “pathologist” uses a handsaw to saw off the top of the skull and removes the brain. The brain is completely without convolutions and, unlike the human brain, is somehow amorphous, with dark spots. I did not see any actions that could be regarded as separation of the brain from the spinal cord and cranial nerves.

The second story was even more brief. In some room with tables, someone in military uniform, filmed so that his face is not visible, shows the camera objects from what must be a crashed UFO. The objects are few: two panels with imprints of six-fingered hands, like at Grauman's Theater in Hollywood, and a large I-beam on which some hieroglyphs are depicted. Most of all they look like distorted words, altered by adding additional strokes of the word "VIDEO TV". If anyone tried to reproduce the badge I-beam that Jesse Marcel Jr. saw in 1947 in this way, they were seriously miscalculating.

“This flying ship wreckage was very different from what I saw on the kitchen floor,” Jesse said. “It may be much larger in size than what I saw. What I saw was somewhat smaller in diameter and what is shown in this film is somewhat larger - seven inches in diameter. If this is a real film, perhaps we are talking about another flying saucer."

When the whole world saw the stories, the conversation about the authenticity of the film moved beyond the stage of pointless speculation.

1. Original tape. Ufologists saw only the rolled film in the boxes, and not the unfolded tape, which would have shown an autopsy image. Santilli submitted several pieces of film for analysis, but they all turned out to be recorders, that is, fragments without an image that can be cut from any old film.

Since the film was allegedly shot on Kodak film, representatives of the company said that they were ready to check it free of charge. Kodak specialist Tony Amato waited for several months, but Santilli did not keep his promise to send a piece. Amato was ready to work even with two film frames, and the damage from taking samples would be minimal: a small puncture in each frame. This damage is not noticeable at all, especially when compared with the increased value of the film once its authenticity is confirmed. Kodak never discloses the chemical composition of its film, and any examinations that would be carried out in the laboratories of other companies are of no value.

Photography expert Bob Shell also received a small piece of film. At first he suggested that the footage could show the open door of the room where the autopsy took place and part of the table. However, upon closer examination, it was found that the table is not at all the same as in the film. In addition, the film he received was not the original, but a copy made on film copying equipment no earlier than 1960!

2. Installation features. Cal Korff, having viewed the video copy sent by Santilli at the request of Fox TV's Robert Kiviet, saw something quite remarkable when viewed frame by frame. If, as Santilli said, the cinematographer used a Bell and Howell Filmo 70 spring camera, then two or three frames should be overexposed in the places where the spring winding ended and the next filming sequence began. In such a place, when viewing, especially frame-by-frame, a white flash is visible. On Santilli's film there were no flashes in places where an episode replaced another! This means that either the film was shot with a more modern camera, or it was shot straight with a video camera. Cal Korff found 22 other places where it was obvious someone had done a lot of work on the film. Later, when the film was released on tape, Ray Santilli added white flashes to it. Korff, looking at the tape, immediately saw that the flashes were digitally mounted there, and not inserted from a real tape!

The 50-year-old film could have crumbled, stuck together, or cracked somewhere. It may have scratches, uneven graining and other defects. But the amazing thing is: there are no signs of defects on the video copy. Our eyes are pleased with the clean video recording and even lighting. In general, there is no sign that it was copied from an old, defective film.

3. Film canisters. Santilli showed them on television and, apparently, in vain. They bear Department of Defense seals purporting to be issued in June and July 1947, but upon inspection it appears that the seal design was approved by Harry Truman on October 8, 1947! One canister says "Reel No. 52; Truman; 85 Filter 2/3 stop; Force X 2 stop - Possible." However, the "85 filter" was used only for color films, although all parts of the Santilli tape are black and white. The inscriptions on the stickers were clearly not made by an American, but in a purely European style.

The canisters say that they contained Kodak Super-XX panchromatic film. When used in a Bell and Howell Filmo 70 camera, it should produce an excellent picture even in mediocre lighting. With a film and camera like this, if the focal length and aperture are set properly, everything from 1.5 feet to infinity should be in focus without further adjustment. However, in the controversial film, everything is cloudy and vague. Most likely, it was deliberately obscured so that small details could not be distinguished.

4. Features of shooting. Military cameramen emphasize that the film was shot extremely unprofessionally. In 1947, the Army used three types of film - 16 mm color, 16 mm black and white, and 35 mm black and white. For filming particularly important projects (and the autopsy of a humanoid was clearly one of them) and for all medical work without exception, color 16 mm film was always used. Particularly important medical filming was carried out with two movie cameras from strictly fixed positions: one was attached to the ceiling, with the lens down, and the other was installed on a tripod near the operating or autopsy table. According to the rules, such shots had to be duplicated by photography, but there is not the slightest sign of the presence of a photographer in the film. As for the shooting technique, it does not come close to the high standards of a military cinematographer. But the cameraman must have the ability to guess thoughts: he always points the camera at the right place a second before something interesting begins to happen there. When the “pathologist” makes an incision from the throat to the abdomen, the camera does not follow the scalpel, but rather lingers on the neck until blood begins to appear at the incision site.

5. Shooting setting. Although the cameraman walked around the table and filmed from all sides, the audience could only see two walls. If the room were real, and not a set, it would be natural to photograph at least three walls, in addition to which a fourth could be guessed.

John English, former director of the International Aerospace Hall of Fame at the Center for the History of Aviation and Aeronautics, saw another inconsistency in the film:

"While I was director, research and analysis of photographs was a regular job for me. I examined the decoration of a room shown in the film about the 'alien autopsy'. Although this film was studied in great detail, the researchers overlooked and did not analyze one item is a danger sign on the wall to the left of the phone.

In the early 1980s, I was responsible for replacing signs and hazard warning signs at a large industrial plant in Southern California. They were replaced with more modern ones that meet OSHA (Occupational Safety and Health Administration) requirements.

When I first saw the "showdown", I felt that the danger sign looked too familiar and decided to study the design and graphic format of the sign. I had to conduct an archival search in OSHA records and in the archives of the American National Standards Institute (ANSI). The results were quite interesting and confirmed what I had suspected all along.

The design and format of the sign seen in the film was adopted by ANSI in 1967 (ANSI Z53.1-1967) and approved for OSHA use in 1973.

All I can say is that the sign, which was designed in 1967, looks extremely unlikely in a movie supposedly made in the 40s."

There was a lot of talk about the twisted cord of the telephone hanging on the wall in the room where the autopsy was carried out. This is an AT&T telephone (type 350), which just began production in 1946. It was not originally equipped with a twisted cord, but it could easily be ordered separately from Koiled Kords. However, if you look closely, you can see that the cord is twisted and has rings of different diameters. To bring it to this state, you need to use the phone for more than one year in a row. Most likely, someone borrowed an old telephone with a worn-out cord to create the surroundings, without thinking about how it would look on the wall.

In the autopsy story, it is clear that the six-fingered hands of the aliens are almost equal in size to the hands of the “pathologists”. However, in the “debris” story, it is noticeable that the prints on the panels are one and a half times larger than the hands of the “military” holding them. I have already mentioned the suspicious inscription “VIDEO TV” on the I-beam.

6. Clothing and actions of “pathologists”. The film shows that their protective suits do not have air tubes that fit into them, and there are no cylinders hanging from the back. This means that they are not airtight, because otherwise the “pathologists” would first stop seeing through the foggy windows, and then simply suffocate. They do not protect against stench or germs. Most likely, the suits were put on only so that no one would see the faces of the “pathologists” and would not be able to identify them after watching the film.

In general, it is strange that such a unique operation is carried out by only two people. After all, this is an autopsy not of some soldier, but of an alien. Each system of organs and tissues would have to be removed or assisted by a specialist - an ophthalmologist should look into the eyes, a neurosurgeon should look into the brain, and so on. In the film, there is one “universal” specialist who can just be called a butcher. Instead of carefully “disassembling” the body for many days, performing fine microscopic, histological and biochemical analysis, it is completed in 2.5 hours (this can be seen from the clock on the wall).

Surgeon Joseph Bauer noticed that surgical scissors are never held with the index finger and thumb, as the “pathologist” does in the film. Professional pathologists hold the instrument with the thumb and ring (or middle) fingers, using the index finger for stabilization and guidance. In his opinion, the work of “pathologists” is unacceptably careless and clumsy even for a routine autopsy of an earthly deceased. The hasty and sloppy sections of the body and head, the apparent lack of interest in the removed organs (no attempt to measure, weigh or dissect them) show that we are seeing a spectacle “conceived by poorly paid and uninformed amateurs.”

Pathologist Ed Usman of Richmond shared the same opinion: he wrote that “the dissectors held the scissors like tailors, not like pathologists or surgeons.” In general, the film lacks “technical plausibility”: for example, during a normal autopsy, a special block is placed under the dead man’s back, but here we don’t see it.

7. The body of the "alien". Ufologists were surprised that the creature we see in the film has six fingers and toes: this does not correspond either to the stories from the Stringfield collection, or to the stories of people who saw aliens, or to the stories of “eyewitnesses” of the UFO crash near Roswell. Usually, hands with four fingers appear everywhere. Pathologists were surprised that God knows what was going on inside the human-like creature. Ed Usman believes: “The most implausible thing was that the “alien” had some amorphous pieces of tissue in its internal cavities. I cannot imagine that the alien, whose external organs are so similar to ours, did not have any corresponding image of developed organs inside." Doctors L.L. Kolesnikov and A.G. Tsybulkin from Moscow, having watched the video at the request of B.A. Shurinov, noticed that “the organs removed from the body cavity do not resemble human organs to such an extent that not a single extracted formation resembles their".

Special effects experts claim that the creature from Santilli's film is a mannequin made using modern technology. They not only provide a detailed method for making a mannequin of this type, but also pay attention to signs that make it possible to identify a not very high-quality fake.

The cheapest way to create a mannequin is to take an impression from the body of a person of the desired height, which is then modified to give the casting the desired “alien” features. It's easier and simpler than creating a mannequin from scratch. In such cases, the impression is made from a standing person. Because of this, fatty tissues sag towards the floor and muscles are tense. Having placed the “alien” on the cart, the filmmakers immediately revealed that it was a fake: the fatty deposits on the creature’s hips were not shifted down, as you would expect from a lying dead body, but towards the legs! The blood that flowed from the “alien” was faked using an old trick: a thin tube is attached to the scalpel on the side facing away from the camera, and a red liquid is pumped into it. The cut on the skin behaves in a non-human way: the skin does not spread to the sides, as can be seen during normal autopsies. In the "brain extraction" scene, the head swung back and forth, proving that it was a mannequin made of rubber and latex and not living flesh.

"Ufologists" have repeatedly stated that filmmakers cannot recreate Ray Santilli's film. This is, to put it mildly, not true. Special effects specialists have repeatedly filmed autopsies of “aliens,” both for film and television, and in response to a challenge posed by the unknown creator of a sensational fake.

On September 13, 1995, just two weeks after Santilli's film was first shown on television by Fox TV, Argentina's Channel 9 aired a replica made by Memoria Footage Ltd. The company not only created an identical-looking "alien," but also filmed several minutes of its dissection in a room similar to the room in Santilli's film, including a clock, a telephone on the wall, and a glass observation window leading into the next room. The two “pathologists” were dressed in the same white suits. After about three minutes of the “autopsy,” the presenter of the program enters the room, the black and white image turns to color, the “pathologists” take off their robes and admit that it was a staged event.

An almost exact copy of the “autopsy” was made by the company of brothers Eric and Karl Gosselin, “Twins F/X Group” from Quebec, Canada. The film's budget was only $2,000! At least 13 more "autopsies" are known, some of them much more impressive than Santilli's films. I even saw in one science fiction film a black and white episode, clearly made in imitation of Santilli, where “military surgeons” dissect a pregnant alien alive!

There is currently no known expert in the field of live simulation who would argue for the reality of Ray Santilli's film. Stan Winston, the creator of the unearthly monsters in Aliens and the dinosaurs in Jurassic Park, which ufologists love to cite, said: "Am I sure this is a hoax? Absolutely!" His colleague Gordon Smith from Toronto said: "Many of us think that the film was made in England at a second-rate studio."

8. Santilli's dubious story. Ray claimed that in 1992 he was in Cleveland, Ohio, where he was looking for video clips of rock and roll performers of the 50s. There he met an elderly gentleman from whom he bought a rare clip of Elvis Presley performing. The owner shot this clip with his own hands when he was a hired cameraman in the 50s. Shortly before Santilli left, the older gentleman called again and offered to buy something “completely different.” This was the film with the Roswell aliens.

Santilli stated unequivocally that the cameraman who filmed Elvis Presley in 1955 and the cameraman who captured the “autopsy” in 1947 were the same person. Ray even said his name: Jack Barnett.

In September 1995, TF-1 reporter Nicholas Maillard tracked down the real owner of the Elvis Presley tape in Cleveland, from whom Ray Santilli had bought it. It turned out to be disc jockey Bill Randle, who in 1955 hired a cameraman to capture a couple of concerts. His name was... Jack Barnett. True, the real Jack died in 1967 and never served in the Air Force!

When confronted, Santilli said that the cameraman's name was not Jack Barnett and that he had made up the whole story to protect the identity of the film salesman.

9. Cinematographer. Numerous attempts to meet him were unsuccessful. Some people, it’s true, spoke to him on the phone, but I think it wasn’t very difficult to ask some old man to portray an “operator” for a modest bribe.

The "operator's account" circulated by Ray Santilli stated that he had served in an intelligence unit under the command of the Assistant Chief of Staff of the Air Force since the fall of 1944. He allegedly filmed the first atomic bomb test in New Mexico in 1945, and shortly before traveling to Roswell, he filmed the test flight of the McDonnell Aircraft XH-20 helicopter. Kevin Randle checked all the photographers and cameramen who worked on the Manhattan Project to create the atomic bomb, and found not a single trace of the mysterious "cameraman". McDonnell Aircraft never used outside operators, not even military ones, only its own employees. The XH-20 tests were filmed by cinematographer Chester Turk and photographer Bill Schmitt: both of them obviously have nothing to do with the film about the “autopsy.”

Ufologists have noticed that the “operator’s story” is filled with English phrases and phrases that are not characteristic of the native Ohioan. To this, Santilli said that the typist was to blame, who, while printing the “story” from a tape, introduced distortions into the text!

Finally, the “cameraman” agreed to answer questions on camera prepared by Robert Kiviet from Fox-TV. The filming was allegedly carried out by the “cameraman’s” son. On December 19, 1996, the video was broadcast by the Japanese television company Fuji TV.

When Bob Shell saw her, he said, “This is nonsense, not an interview. He’s just reading a prepared text.”

When asked how he met Ray Santilli, the "cameraman" simply repeated the legend recently debunked by Nicholas Maillard: "He was in Cleveland scouting musical films. I had footage that I shot in '55 when I was a civilian, and he was interested in buying documentaries. In fact, I would not have met him if it had not been for my son, who discovered that a British company was looking for old films in the city..."

When asked who else was present at the autopsy of the alien, he replied: “Who do you think I am? I can’t name names.” However, this contradicts his previous stories: the "operator" said that the alien's body was opened by "Dr. Bronk" and "Dr. Williams or Willis."

It was assumed that during the show the face of the “operator” would be smeared or filled with squares, but for some reason the Fuji TV television company did not do this. After watching the video, Mark Sencher came to the conclusion that the “operator” looked like the hoaxer Frank Kaufmann! Of course, external resemblance does not mean that this is Kaufmann, but a certain suspicion remains.

As usual in such cases, people appeared claiming to have seen Santilli's film a long time ago. The first was Richard Doty, who told Stanton Friedman that he saw the tape in the early 1980s and "knew even then that it wasn't aliens."

Staff Sergeant Robert Allen was allegedly in charge of security at a secret training site near Tonopah, PC. Nevada. When he was brought up to date, films were shown for 2.5 hours. When Allen saw Santilli's film on television, he recognized it as a film footage from the same selection.

"I saw three autopsies," he said. "In one of them, Truman was standing behind the glass in the autopsy room. He was wearing a surgical mask, but you could tell it was Truman."

Mike Maloney, chief photographer for the Mirror Group newspaper company, said that in the 70s in California he met “someone” who, in turn, invited him to watch several “very unusual” films. Maloney agreed and was invited to the house of this man, who turned out to be the owner of an old film projector. Fragments of films about UFOs appeared on the screen, and then scenes of the autopsy of an alien. Maloney claims that the autopsy scenes in Santilli's film are the same as scenes he once saw in California.

These people (there were many more of them) risked their good name by betting on a bad card, and lost by associating themselves with an obvious counterfeit.

The final blow to Santilli's films came in 1999. Keith Bateman, former co-owner of AK Music, and his colleague Andy Price-Watts admitted that they were the ones who faked the "in the tent" episode for Santilli. In order not to expose their colleague, they said that Ray asked them to improve the image on the film, but they did not succeed. Then they allegedly decided to create their own version of the "aliens from Roswell."

“We found a barn in the small village of Rogemont in Bedfordshire from a farmer I knew,” said Andy Price-Watts. “I lit an old kerosene lamp. We brought a table, sheets, white coats and rubber gloves in there. We filmed in the evening to make it look like We filmed in the dark... We tried to get a mannequin from a local shop, but it didn't work out. Elstree Studios offered to make us a suitable mannequin for £25,000, but it was just ridiculous..."

In the end, they decided to make do with body pads and a mask, which was painted by cinematographer Elliot Willis, and Andy Price-Watts' 12-year-old son acted as the "alien". It turned out cheap and cheerful. The "doctors" were played by Elliot and local butcher Roger Baker. The farmer who came into the barn was also involved in the filming.

"We could hardly stop laughing while we were making the videotape," said Keith Bateman. "The whole thing took us about an hour and a half."

Then it was a matter of technology: the videotape was compressed to six minutes, converted from color to black and white, added grain and artificial scratches were digitally applied to it. Shurinov describes what they accomplished as follows:

"The action takes place inside some temporary structure, most likely something like a tent... The room is poorly lit by one lamp (kerosene or gas). In the middle there is a table on which lies a body covered with a sheet. We, of course, can assume that in front of us corpse, but this, in my opinion, is not substantiated by anything...

The creature is hairless and pale-skinned, as can be judged from the black-and-white film shot in poor lighting. Apparently, here in front of us is another body... In the background, two men in white coats stand at the left shoulder of the corpse. Having folded back the blanket, one of them takes what appears to be tissue samples from areas on the left side of the body (chest, left side), or something on the body, and places it in small jars, each time showing it to the other, then the dishes placed on a table located to the left of people in white coats. This procedure is repeated several times..."

Ray Santilli knew at first glance that it was bad, but tried to make something out of it. He told Bateman to sharpen the film and put a security clearance on it. Keith fulfilled the order, but the dissatisfied Santilli then did not buy the shoddy products. Apparently, he found other specialists who filmed the famous stories shown around the world - "Autopsy" and "UFO Wreckage". It was only when Bateman and Price-Watts decided to sell their creation to producer Bruce Barlow for the film Breaking the Net 2 that Ray Santilli came rushing in and said it might harm his planned international campaign to promote the "alien" autopsy story. In the end, he bought the film from AK Music, but did not dare to use it widely. Knowing full well that the episode was faked, he nevertheless passed it off to gullible ufologists as a copy from a real film.

"The fact remains," said F. Mantle, "that the research carried out by myself and my colleague Tim Matthews exposed the 'tent' episode as a hoax. The full story will fill a whole chapter in the book we are about to write."

Despite attempts to revive the old sensation, Ray Santilli's tapes will remain in history as an example of a blatant fake. One could believe in it only by blinding oneself with a burning desire to finally see evidence that we are not alone in the Universe.

The Mystery of Downed UFOs or the Autopsy of an Alien The Mystery of UFOs About UFOs - the first official record was made in Egyptian papyrus... in 1390 BC. e. Chronicles and other historical documents that have come down to us suggest that in the VI-XVII centuries. Unidentified flying objects were observed in a number of European countries, Japan and China. Today, the UN stores more than 200,000 documentary descriptions related to aliens and flying saucers. Among them there is a lot of evidence of UFO crashes. It turns out that not only our airliners crash, but also UFOs... An incident where a UFO was shot down occurred in South Africa in the early 1990s. At that time, the Russians agreed with the Americans to exchange secret information about the appearance of such objects. Other countries dealt with it at their own discretion. The South African Air Force intelligence department classified this information, but retired Major Colman von Kewicki from America somehow managed to obtain photocopies of these unique documents. The facts presented in them were simply incredible... 1989, May 7, at 13:00. 45 min. GMT - the South African Navy frigate Sa Tafelberg reported to the base in Cape Town: an unidentified flying object appeared on the radar screens, which was heading from the south towards the coast of the African continent at a speed of 5,746 nautical miles per hour (about 9,000 km/h). This object was also recorded by a number of military and civilian radar stations. At 13:58 a strange object entered South African airspace. An attempt was made from the ground to contact him by radio, but to no avail. Two Mirage fighters were lifted into the air from the Valhalla airbase and directed towards the UFO. As they approached, the object abruptly changed its flight path. The interceptors were unable to repeat such a bold maneuver. But the flying saucer did not leave the visibility zone both visually and on the screens of on-board radars. Since it was not possible to identify the aircraft, at 13:59. The fighters received an order to open fire. The pilots fired at the alien ship from the experimental Tor-2 laser cannon. Afterwards, flight commander Goozen reported that several flashes on the surface of the object indicated direct hits and it began to “wave,” but continued to move in a northerly direction. At 2 p.m. 02 min. the object began to rapidly lose altitude—approximately 3,000 feet per minute—and then dived at an angle of about 25° and crashed to the ground at high speed. A UFO fell in the Kalahari Desert 80 km north of the South African border with Botswana. Soon, military air intelligence officers, technical experts and doctors arrived at the scene of the disaster. It’s hard to imagine now what they felt when they discovered the following. The funnel was 150 meters in diameter and 12 meters deep. It contained a silvery disc-shaped object with a diameter of 18 meters and a weight of approximately 50 tons. No seams were found on its hull, and along the perimeter there were only 12 oval-shaped portholes. The composition of the material from which this apparatus was made and the source of movement and thrust could not be determined. Where the object came from also remained a mystery: there were no identification marks on its body, only an incomprehensible image resembling an arrow in a hemisphere glinted in the sun. The landing gear was extended. The created government commission began to measure the characteristics of the funnel and measurements of the object itself. The experts were amazed, first of all, by the fact that the sand and stones around the UFO crash site were so melted, as if a small nuclear explosion had occurred there. When measuring a hole in the ground, a problem arose - an unknown powerful electromagnetic radiation disabled all the instruments. The UFO itself was transported to a secret South African Air Force base for research. And then something incredible happened. The specialists suddenly heard a loud knock of unknown origin coming from the depths of the apparatus. Probably coming from a hatch that was jammed. After the experts opened it, two humanoid creatures in tight-fitting gray suits emerged from the flying saucer. One of the aliens was in very bad condition, the other was less injured. The aliens were rushed to a military hospital, and various tools and things recovered from the UFO were sent to experts. The hospital began a thorough examination of strange creatures. The first medical conclusion was that the aliens were “gray.” They have grayish-blue skin color, no body hair, and a height of approximately 130 to 150 cm. They have disproportionately large heads, large eyes without pupils, long and thin arms that reach almost to the knees, with claw-shaped nails on the fingers. During the examination, the aliens showed signs of aggression - one of them even scratched the doctor’s chest and face, and attempts to take blood and a skin sample from them for analysis failed. This behavior of the aliens could be understood: after all, their ship did not show any hostile intentions, but it was nevertheless shot down, and they themselves were imprisoned in an underground casemate and studied like exotic animals. Despite the veil of secrecy, information soon leaked that the device, along with the pilots, was transported to America. One of the aliens soon died. The fate of the second, like the UFO itself, is unknown - perhaps they are still at the US military base in Wright-Paterson. But here’s what’s especially interesting: it turns out that back in the 1960s, the American military managed to shoot down a UFO with a missile over a military training ground, and in April 1964, the American policeman L. Zamora observed an unknown object landing, on board of which he saw an image of an arrow and hemispheres - exactly the same as those of the UFO shot down over the Kalahari. In unofficial comments (there are no official ones to this day), South African military officials portrayed this story as someone's nonsense fiction. Moreover, in the press, not without the help of journalists greedy for sensations, there were many discrepancies in its description: some claimed that there were two UFOs, and only one was shot down, while the second escaped pursuit, others even expressed a fantastic assumption that that almost an entire squadron of unidentified flying objects was heading towards Africa. There is also no consensus on how many shots the fighter-interceptor pilots fired. Meanwhile, the English ufological organization UFOS received information about this incident. They were delivered by Dr. Azadehdel, who arrived from South Africa. He allegedly even provided the names of South African officials and scientists who took part in his investigation. After a short time, a certain James Van Groenen contacted the Federal Antimonopoly Service, presenting documents addressed to a South African intelligence officer. He stated that he had additional information about the fall of a UFO in the Kalahari and handed over an interesting document to ufologists. It was a photocopy of a description of the incident, printed on South African Air Force letterhead under the heading “Top Secret” and codenamed “Silver Diamond”. While checking the reliability of this information, UFOS officers came into contact with another South African intelligence officer. He not only fully confirmed the described facts, but also added that he himself personally saw photographs depicting the downed object. Another document presented by Groinen gave recommendations for the investigation and autopsy of UFOs. English ufologists found squadron commander Goozen and talked with him. The pilot did not deny his participation in the pursuit and attack of a UFO, and the North American Air Defense Command (NORAD) confirmed that an unknown object was tracked in the area. And at that time, sensational descriptions of the air battle over the Kalahari Desert began to circulate all over the world: details of the incident appeared on the pages of newspapers and were heard on radio and television programs. To distinguish truth from fiction, correspondents from leading English newspapers turned to the South African Ministry of Defense for clarification. But the head of the public relations department, Colonel Rolt, said the following: “I have no desire to comment on these “flying ducks” that regularly appear on the pages of the press.” They did not expect any other answer - after all, information about discovered, and even more so downed, UFOs is a carefully guarded state secret. Meanwhile, retired Major Colman von Kewicki took part in the international conference “Dialogue with the Universe”, held in Frankfurt am Main, and in his homeland he founded IKUFON, an intercontinental network for the study of UFOs. This organization enjoys a worthy reputation among ufologists around the world. At one time, von Kevitsky made a statement: “I have long known that the Russian and American leaders agreed to keep all information about aliens under secrecy!” It is likely that the Russian authorities still adhere to this rule. But there is a lot of information about UFO crashes in America. There are also absolutely unique cases among it. One of them is the so-called Roswell incident. 1947, July 2 - one of the first UFOs in America crashed near Roswell, New Mexico. The next morning, American officer William Brazel found fragments of a UFO that had fallen from the sky and pieces of strange film on his ranch. The farmer's son, now a doctor of medicine, Bill Brazel, who was eleven years old in 1947, remembers what happened perfectly. That day his father was very frightened by the thunderstorm. There was such a terrible roar overhead that it seemed like the end of the world had come. Only the next day he left the house and found the mysterious fragments. William immediately contacted the sheriff, who immediately contacted the military. The collection of fragments of the aircraft was carried out by a group of American bomber aviation, which examined them very carefully. On some fragments, signs similar to hieroglyphs were found. However, only part of the UFO was found at the ranch (apparently, it was there that he was caught in a thunderstorm). Aerial reconnaissance was used to search for the remaining wreckage of the aircraft. It turned out that the UFO itself fell over the mountains, 150 miles west of the ranch, in the San Augustine Valley. The public was not informed of this fact, although numerous witnesses from the nearby city of Alamogordo observed an object appearing in the sky, engulfed in flames. The military very quickly discovered the crashed aircraft and transported all its fragments to the Murok airbase. Stories quickly appeared that alien bodies were found at the UFO crash site. Some “witnesses” claimed that there were two pilots and one of them was alive, others argued that there were several of them and they all died. Only several decades after the mysterious disaster in Roswell, an interesting document from the American government was published. It was compiled on November 18, 1952 for the newly elected President Eisenhower and was classified as highly classified. Everything related to this accident was called "Majestic 12". From the document it became known that during the search operation four small humanoid creatures were found. They apparently ejected from the craft before it exploded. All four were dead, mutilated and in a state of advanced decomposition, having not been discovered until a week later. A special scientific group took them for research (according to some sources, they are stored in Roswell, according to others - in some other classified place). The testimony of former city morgue employee Glenn Dennis has been preserved. He remembers that at that time he received an order from the airbase for several small coffins, and his good friend, a nurse, allegedly even participated in the autopsy of three alien corpses. Retired Colonel Philip Koso, who in the 50s. headed the White Sands training ground, claimed to have been present at the autopsy of one of the aliens. Subsequently, in collaboration with W. Burns, he wrote the book “The Day After Roswell.” 1994 - another sensation appeared. The public became aware of Hangar-51, a workshop at one of the American air bases (it was assumed that this was the Wright-Paterson base). Here, allegedly, not only corpses from UFOs are examined, but also living aliens are kept. Since 1989, continuous conversations have been held with them in order to familiarize themselves with their unrivaled military technologies. This story may have formed the basis of the American feature film Hangar-18. In February 1989, one of the Russian television channels aired information about the declassification in America of the “presidential secrets” - special storage facilities where, since the late 1940s. the bodies of dead UFO pilots are allegedly located. American authorities did everything possible to quell the excitement and rumors about the Roswell incident. But in 1996, the investigation had to be resumed. The reason for this was a film with a simple and specific title, “Alien Autopsy.” It made a huge impression and gave rise to a lot of controversy that continues to this day. The film consists of two parts: the first briefly talks about the incident itself, and the second shows the footage of an autopsy of a strange humanoid creature by a group of surgeons or pathologists that was found somewhere (or skillfully edited). The Roswell UFO crash remains a closely guarded mystery as before. Not a single military archive says anything about it, although according to the instructions, any flight accidents must be recorded, and information about them must be stored forever. In 1995, this issue was investigated by the influential US Congressional Accountability Office. It found that about 15 different departments were studying this disaster, but none of them found documents about it. Moreover, the entire press for 1946–1949. (it’s even hard to imagine) disappeared from American libraries. Ufologists claim that UFOs have existed throughout human history. Despite the myths about their invulnerability, the facts of recent decades indicate that from time to time UFOs suffer accidents and crash. But the fate of the pilots found after these crashes is unknown. We can only hope that one day aliens from other worlds themselves will make contact with earthlings and that what now seems mystical will finally receive a scientific explanation.

Ten years ago the whole world froze in anticipation of a sensation. On January 13, 1995, the morning television program “Good Morning with Ann and Nick” featured rock singer Reg Presley, who was interested in UFOs. He immediately took the bull by the horns: “The other day I was talking to a man who had just obtained a film document about the autopsy of alien bodies...”
Reg was not referring to some abstract case, but to the autopsy of alien bodies from a UFO that crashed in 1947 near Roswell!

Rumors have been circulating for a long time that there are films somewhere that depict dead creatures from UFOs. One of them was recorded by Leonard Stringfield:
"Mr. T. E. ... at the age of 20 was a military specialist and worked at a radar installation located at Fort Monmouth (New Jersey), having a secret clearance. In the spring of 1953, he and a small, specially a select contingent of radar detection specialists were assembled to watch the film in the military base's cinema. Without any introduction, the 16mm projector was turned on and the film began. Without any titles or titles that he could remember, the film captured the deserted area. which was dominated by a certain disc-shaped silver-colored object lying on the sand, topped with a dome. Near the ground itself there was a door or niche that was open.

In the next frames, T.E. recalls, 10 or 15 military personnel appeared in special clothing, without insignia, who were positioned around what looked like a crashed aircraft. Judging by the height of the people in the background of the UFO, the size of the ship, according to T.E., was 15-20 feet in diameter, and the niche or door below was about 2.5 feet wide and perhaps 3 feet high. T.E. had no idea about the purpose of showing the film. I asked about people's actions. He replied: “They were only looking at the object.”

Then what appeared to be the inside of a ship appeared on the movie screen. A panel with a few simple levers appeared and, as he remembers, what struck him most were the muted pastel colors and unexpected, eye-opening empty frames - a sign of unprofessional filming. Then the shots changed again. Now he could see two tables, probably set up in a tent, on which, to his surprise, lay dead bodies. Two on one table, one on the other. As T.E. said, by human standards the bodies seemed small, their heads stood out - similar to one another and large relative to the size of the bodies. They were, as it seemed to him, of the Mongoloid type with small noses, mouths and eyes that were closed. He doesn't remember seeing ears or hair. The skin, he noticed, was ashen. Each was wearing a close-fitting suit in pastel colors, perhaps yellow.

In response to the question of whether T. E. was interested in UFOs, he replied that perhaps not, but he was constantly occupied by the thought of the connection between the showing of the film and his work on the radar. Many years later, he met an old friend from the army, who also served as a radar operator. To his surprise, T.E. learned that his comrade had seen the same film at another base and also with an order not to disclose the contents. My informant is confident that the corpses and the crashed ship were real, and we agreed that it would be funny if a professional studio brilliantly produced corpses and showed them in a poorly made fake film ... "
Joan Jeffers from Bradford, having read T.E.'s summary of the story, discussed it with her friend, a retired officer, and learned that he had also seen the film:
“This man is a retired Air Force colonel who joined the service in the early 40s and retired around 1970. He graduated from college and served as a pilot, although he held other positions during his service. He does not want to reveal his last name Therefore, I am forced to omit some details by which his identity could be established, but I have them.

While stationed at the radar detection complex at Maine Air Force Base (now a Marine Air Forces radar station), he was required to attend weekly “command meetings.” During one of these meetings (probably in 1956), a film “produced by the US Air Force” was shown to those present. Apart from these, there were no other titles. A round, silver-colored metal disk lying on the ground appeared on the screen. Inside, the disk was well lit, warm colors predominated, and the walls were smooth. Then the footage changed and at least three bodies appeared on the screen lying on tables. The creatures were short, similar to one another, neither ears (at least from the outside) nor hair were visible. They all seemed dead.
When I asked about the color of his skin, he replied: “Ashen or gray.” I asked about the number of fingers on their hands, and in response he raised four fingers, first bending his thumb. I asked specifically about the thumb, and the answer was negative. When asked about the clothes, he said they were "pale green and yellow." I asked several other general questions, but he refused to answer or said he didn't remember...

I asked about the reaction of people who watched the film with him. He replied: “We probably laughed and went our separate ways.” He doesn't remember talking to anyone about him. Everything that was shown at such meetings related to military issues and was not subject to discussion.
A few weeks later I asked again why exactly they were shown this film, and he replied that it was a crashed UFO that they were tracking using radar... Although he did not believe that the relevant authorities could arrest or fine him, he did not want nothing more to add."
It was not difficult to find out from Reg Presley who owned the film. Already in January, Stanton Friedman learned that this was an Italian living in England, Ray Santilli. Reaching him was a matter of technique.
“I first spoke to Santilli in mid-January 1995,” he recalled. “I met with him in London in April and June, and with his companion in San Marino in September. And each time I checked his statements, It turned out that they were deceitful."

The film was delivered from the USA, which, as we can now assume, turned out to be the last stage on the path of interplanetary wanderers to eternity. It was filmed in the summer of 1947 in Roswell by a military cameraman sent from Washington after the UFO crash there. In total, he shot 14 cans of 16mm film. I have only been able to see one fragment so far.
The silent black-and-white film depicts a scene in the desert. Two men in white cloaks are examining something lying on the table. This is the occupant of a crashed spaceship. The alien is a humanoid of average height and fragile build. He has large dark eyes and no hair, nose or ears. Next to two scientists in white cloaks who are examining a humanoid, stands a man in a dark cloak with a military bearing.
Going public with the film could have far-reaching consequences. Firstly, we have before us the most convincing evidence that indeed in the summer of 1947 a spaceship with aliens on board crashed in Roswell, about which all sorts of rumors and legends have long been circulating. More than 300 witnesses to this incident are still alive. The military cameraman who shot the film and later made a career in private business is ready to speak publicly and talk about everything he saw then..."

On May 5, 1995, a preview screening of the film was held at the British Museum in London. Rumors spread throughout the world at lightning speed. At the entrance to the hall, everyone was searched so that no one would take a camera, so rumors were fed only by stories and sketches of the happy chosen ones.
The excitement in the press has reached its climax, although some journalists have already begun to have doubts. During the next viewings, they noticed that the frames had a strange mark: “RESTRICTED ACCESS, A01 CLASSIFICATION, SUBJECT 1 of 2, JULY 30th 1947.” Such a classification did not exist in America, and the date did not work out well: it in no way corresponded to the story about the events in Roswell. As soon as the question of this mark was raised, during the following shows it was no longer there.
Santilli played the outsider from the start. “It all depends on whether the films pass the authenticity test,” he said in one interview. “If they pass such a test, they will become something like the Shroud of Turin. If not, they will become fakes. Really, I don’t know.” what will happen to them."
The mention of the “Shroud of Turin,” which allegedly depicts a miraculous image of Christ, led to an unexpected discovery. Journalists of the Mail on Sunday newspaper recalled, having clarified the details in the editorial archive, that in 1991 Santilli contacted them, claiming that he knew something about the Dead Sea Scrolls and the Shroud of Turin!

On August 28, the stories, which we will tentatively call “Autopsy” and “Wreckage,” were shown on British television. Later they were demonstrated by the largest television companies in the world - the American Fox TV, the German ZDF, the Italian RAI-1, the French TF-1 and at least twenty other television companies. The sums that were paid to Santilli for the right to display totaled in the millions - and not in lire, of course. He received $125,000 from Fox TV alone. Video cassettes with tapes sold like hot cakes, and at first they asked for a huge amount - 70 dollars!
Soon, ufologist Arvid Igorevich Mordvin-Shchodro brought a videotape with sensational scenes to St. Petersburg and showed it at the Russian Geographical Society. Such a stir has not been seen here for a long time: people stood in the aisles, behind columns, and sat on the floor. I made my way to the front rows, to the TV and tried to remember the smallest details of what I saw.

Something like a laboratory appeared on the screen, in one of the walls of which there was a glass observation window. On something like a gurney with a flat top (not an operating or pathological table) lay the body of a creature about 140-150 cm tall with a swollen belly and a huge head. It immediately caught my eye that the creature had well-developed muscles. There was a lacerated or burned wound on one of the legs. I didn’t immediately notice that the creature had six fingers and toes. There were three people in the room - an operator and two “pathologists” in protective suits with transparent windows.
One “pathologist” approached the body and began to cut it with a scalpel, starting from the neck. Oddly enough, blood began to flow: when I took anatomy at the institute, we were told that in the dead it collects in the lower part of the body, but here the cut went quite high. Then I thought that either the corpse was fresh, or the alien’s decomposition process was different from that of humans.
For some reason, the moment when the “pathologist” pulled apart the edges of the incision was missing, and then we were shown the already opened body. Usually, when the abdominal cavity is opened, only the fat layer and loops of intestines obscuring the entire incision are visible. I didn’t see any intestines on the creature: the “pathologist,” with almost no effort, took out some scraps from the body that looked like anything but internal organs. The autopsy was not accompanied by scientific work, and the authorities did not even consider it necessary to somehow mark, open or sign. Between the creature's legs there was a visible genital slit, like that of an underdeveloped girl, but in the abdominal cavity there was nothing resembling a uterus, ovaries or anything like that.

The “pathologist” left the abdominal cavity in an uncut state and began working on the creature’s eye himself, instead of calling an ophthalmologist. With an unwavering hand, he removed some film from it and put it in the solution. The same was done with the second eye. He did not cut or remove eyeballs.
The autopsy story ended with a demonstration of craniotomy. Having turned away the skin on the head, the “pathologist” uses a handsaw to saw off the top of the skull and removes the brain. The brain is completely without convolutions and, unlike the human brain, is somehow amorphous, with dark spots. I did not see any actions that could be regarded as separation of the brain from the spinal cord and cranial nerves.

The second story was even more brief. In some room with tables, someone in military uniform, filmed so that his face is not visible, shows the camera objects from what must be a crashed UFO. The objects are few: two panels with imprints of six-fingered hands, like at Grauman's Theater in Hollywood, and a large I-beam on which some hieroglyphs are depicted. Most of all they look like distorted words, altered by adding additional strokes of the word "VIDEO TV". If anyone tried to reproduce the badge I-beam that Jesse Marcel Jr. saw in 1947 in this way, they were seriously miscalculating.
“This flying ship wreckage was very different from what I saw on the kitchen floor,” Jesse said. “It may be much larger in size than what I saw. What I saw was somewhat smaller in diameter and what is shown in this film is somewhat larger - seven inches in diameter. If this is a real film, perhaps we are talking about another flying saucer."

When the whole world saw the stories, the conversation about the authenticity of the film moved beyond the stage of pointless speculation.
1. Original tape. Ufologists saw only the rolled film in the boxes, and not the unfolded tape, which would have shown an autopsy image. Santilli submitted several pieces of film for analysis, but they all turned out to be recorders, that is, fragments without an image that can be cut from any old film.
Since the film was allegedly shot on Kodak film, representatives of the company said that they were ready to check it free of charge. Kodak specialist Tony Amato waited for several months, but Santilli did not keep his promise to send a piece. Amato was ready to work even with two film frames, and the damage from taking samples would be minimal: a small puncture in each frame. This damage is not noticeable at all, especially when compared with the increased value of the film once its authenticity is confirmed. Kodak never discloses the chemical composition of its film, and any examinations that would be carried out in the laboratories of other companies are of no value.

Photography expert Bob Shell also received a small piece of film. At first he suggested that the footage could show the open door of the room where the autopsy took place and part of the table. However, upon closer examination, it was found that the table is not at all the same as in the film. In addition, the film he received was not the original, but a copy made on film copying equipment no earlier than 1960!
2. Installation features. Cal Korff, having viewed the video copy sent by Santilli at the request of Fox TV's Robert Kiviet, saw something quite remarkable when viewed frame by frame. If, as Santilli said, the cinematographer used a Bell and Howell Filmo 70 spring camera, then two or three frames should be overexposed in the places where the spring winding ended and the next filming sequence began. In such a place, when viewing, especially frame-by-frame, a white flash is visible. On Santilli's film there were no flashes in places where an episode replaced another! This means that either the film was shot with a more modern camera, or it was shot straight with a video camera. Cal Korff found 22 other places where it was obvious someone had done a lot of work on the film. Later, when the film was released on tape, Ray Santilli added white flashes to it. Korff, looking at the tape, immediately saw that the flashes were digitally mounted there, and not inserted from a real tape!

The 50-year-old film could have crumbled, stuck together, or cracked somewhere. It may have scratches, uneven graining and other defects. But the amazing thing is: there are no signs of defects on the video copy. Our eyes are pleased with the clean video recording and even lighting. In general, there is no sign that it was copied from an old, defective film.
3. Film canisters. Santilli showed them on television and, apparently, in vain. They bear Department of Defense seals purporting to be issued in June and July 1947, but upon inspection it appears that the seal design was approved by Harry Truman on October 8, 1947! One canister says "Reel Љ 52; Truman; 85 Filter 2/3 stop; Force X 2 stop - Possible" ("Roll Љ 52; Truman; Filter 85 2/3 stop; Aperture X 2 stop - Possible"). However, the "85 filter" was used only for color films, although all parts of the Santilli tape are black and white. The inscriptions on the stickers were clearly not made by an American, but in a purely European style.

The canisters say that they contained Kodak Super-XX panchromatic film. When used in a Bell and Howell Filmo 70 camera, it should produce an excellent picture even in mediocre lighting. With a film and camera like this, if the focal length and aperture are set properly, everything from 1.5 feet to infinity should be in focus without further adjustment. However, in the controversial film, everything is cloudy and vague. Most likely, it was deliberately obscured so that small details could not be distinguished.
4. Features of shooting. Military cameramen emphasize that the film was shot extremely unprofessionally. In 1947, the Army used three types of film - 16 mm color, 16 mm black and white, and 35 mm black and white. For filming particularly important projects (and the autopsy of a humanoid was clearly one of them) and for all medical work without exception, color 16 mm film was always used. Particularly important medical filming was carried out with two movie cameras from strictly fixed positions: one was attached to the ceiling, with the lens down, and the other was installed on a tripod near the operating or autopsy table. According to the rules, such shots had to be duplicated by photography, but there is not the slightest sign of the presence of a photographer in the film. As for the shooting technique, it does not come close to the high standards of a military cinematographer. But the cameraman must have the ability to guess thoughts: he always points the camera at the right place a second before something interesting begins to happen there. When the “pathologist” makes an incision from the throat to the abdomen, the camera does not follow the scalpel, but rather lingers on the neck until blood begins to appear at the incision site.

5. Shooting setting. Although the cameraman walked around the table and filmed from all sides, the audience could only see two walls. If the room were real, and not a set, it would be natural to photograph at least three walls, in addition to which a fourth could be guessed. John English, former director of the International Aerospace Hall of Fame at the Center for the History of Aviation and Aeronautics, saw another inconsistency in the film:
"While I was director, research and analysis of photographs was a regular job for me. I examined the decoration of a room shown in the film about the 'alien autopsy'. Although this film was studied in great detail, the researchers overlooked and did not analyze one item is a danger sign on the wall to the left of the phone.
In the early 1980s, I was responsible for replacing signs and hazard warning signs at a large industrial plant in Southern California. They were replaced with more modern ones that meet OSHA (Occupational Safety and Health Administration) requirements.
When I first saw the "showdown", I felt that the danger sign looked too familiar and decided to study the design and graphic format of the sign. I had to conduct an archival search in OSHA records and in the archives of the American National Standards Institute (ANSI). The results were quite interesting and confirmed what I had suspected all along.
The design and format of the sign seen in the film was adopted by ANSI in 1967 (ANSI Z53.1-1967) and approved for OSHA use in 1973.

All I can say is that the sign, which was designed in 1967, looks extremely unlikely in a movie supposedly made in the 40s."
There was a lot of talk about the twisted cord of the telephone hanging on the wall in the room where the autopsy was carried out. This is an AT&T telephone (type 350), which just began production in 1946. It was not originally equipped with a twisted cord, but it could easily be ordered separately from Koiled Kords. However, if you look closely, you can see that the cord is twisted and has rings of different diameters. To bring it to this state, you need to use the phone for more than one year in a row. Most likely, someone borrowed an old telephone with a worn-out cord to create the surroundings, without thinking about how it would look on the wall.
In the autopsy story, it is clear that the six-fingered hands of the aliens are almost equal in size to the hands of the “pathologists”. However, in the “debris” story, it is noticeable that the prints on the panels are one and a half times larger than the hands of the “military” holding them. I have already mentioned the suspicious inscription “VIDEO TV” on the I-beam.

Clothes and actions of "pathologists". The film shows that their protective suits do not have air tubes that fit into them, and there are no cylinders hanging from the back. This means that they are not airtight, because otherwise the “pathologists” would first stop seeing through the foggy windows, and then simply suffocate. They do not protect against stench or germs. Most likely, the suits were put on only so that no one would see the faces of the “pathologists” and would not be able to identify them after watching the film.
In general, it is strange that such a unique operation is carried out by only two people. After all, this is an autopsy not of some soldier, but of an alien. Each system of organs and tissues would have to be removed or assisted by a specialist - an ophthalmologist should look into the eyes, a neurosurgeon should look into the brain, and so on. In the film, there is one “universal” specialist who can just be called a butcher. Instead of carefully “disassembling” the body for many days, performing fine microscopic, histological and biochemical analysis, it is completed in 2.5 hours (this can be seen from the clock on the wall).
Surgeon Joseph Bauer noticed that surgical scissors are never held with the index finger and thumb, as the “pathologist” does in the film. Professional pathologists hold the instrument with the thumb and ring (or middle) fingers, using the index finger for stabilization and guidance. In his opinion, the work of “pathologists” is unacceptably careless and clumsy even for a routine autopsy of an earthly deceased. The hasty and sloppy sections of the body and head, the apparent lack of interest in the removed organs (no attempt to measure, weigh or dissect them) show that we are seeing a spectacle “conceived by poorly paid and uninformed amateurs.”

Pathologist Ed Usman of Richmond shared the same opinion: he wrote that “the dissectors held the scissors like tailors, not like pathologists or surgeons.” In general, the film lacks “technical plausibility”: for example, during a normal autopsy, a special block is placed under the dead man’s back, but here we don’t see it.
7. The body of the "alien". Ufologists were surprised that the creature we see in the film has six fingers and toes: this does not correspond either to the stories from the Stringfield collection, or to the stories of people who saw aliens, or to the stories of “eyewitnesses” of the UFO crash near Roswell. Usually, hands with four fingers appear everywhere. Pathologists were surprised that God knows what was going on inside the human-like creature. Ed Usman believes: “The most implausible thing was that the “alien” had some amorphous pieces of tissue in its internal cavities. I cannot imagine that the alien, whose external organs are so similar to ours, did not have any corresponding image of developed organs inside." Doctors L.L. Kolesnikov and A.G. Tsybulkin from Moscow, having watched the video at the request of B.A. Shurinov, noticed that “the organs removed from the body cavity do not resemble human organs to such an extent that not a single extracted formation resembles their".

Special effects experts claim that the creature from Santilli's film is a mannequin made using modern technology. They not only provide a detailed method for making a mannequin of this type, but also pay attention to signs that make it possible to identify a not very high-quality fake.
The cheapest way to create a mannequin is to take an impression from the body of a person of the desired height, which is then modified to give the casting the desired “alien” features. It's easier and simpler than creating a mannequin from scratch. In such cases, the impression is made from a standing person. Because of this, fatty tissues sag towards the floor and muscles are tense. Having placed the “alien” on the cart, the filmmakers immediately revealed that it was a fake: the fatty deposits on the creature’s hips were not shifted down, as you would expect from a lying dead body, but towards the legs! The blood that flowed from the “alien” was faked using an old trick: a thin tube is attached to the scalpel on the side facing away from the camera, and a red liquid is pumped into it. The cut on the skin behaves in a non-human way: the skin does not spread to the sides, as can be seen during normal autopsies. In the "brain extraction" scene, the head swung back and forth, proving that it was a mannequin made of rubber and latex and not living flesh.

"Ufologists" have repeatedly stated that filmmakers cannot recreate Ray Santilli's film. This is, to put it mildly, not true. Special effects specialists have repeatedly filmed autopsies of “aliens,” both for film and television, and in response to a challenge posed by the unknown creator of a sensational fake.
On September 13, 1995, just two weeks after Santilli's film was first shown on television by Fox TV, Argentina's Channel 9 aired a replica made by Memoria Footage Ltd. The company not only created an identical-looking "alien," but also filmed several minutes of its dissection in a room similar to the room in Santilli's film, including a clock, a telephone on the wall, and a glass observation window leading into the next room. The two “pathologists” were dressed in the same white suits. After about three minutes of the “autopsy,” the presenter of the program enters the room, the black and white image turns to color, the “pathologists” take off their robes and admit that it was a staged event.
An almost exact copy of the “autopsy” was made by the company of brothers Eric and Karl Gosselin, “Twins F/X Group” from Quebec, Canada. The film's budget was only $2,000! At least 13 more "autopsies" are known, some of them much more impressive than Santilli's films. I even saw in one science fiction film a black and white episode, clearly made in imitation of Santilli, where “military surgeons” dissect a pregnant alien alive!
There is currently no known expert in the field of live simulation who would argue for the reality of Ray Santilli's film. Stan Winston, the creator of the unearthly monsters in Aliens and the dinosaurs in Jurassic Park, which ufologists love to cite, said: "Am I sure this is a hoax? Absolutely!" His colleague Gordon Smith from Toronto said: "Many of us think that the film was made in England at a second-rate studio."
Ufologist George Wingfield considers the authors of the fakes to be British special effects specialists Robert Irving, John Lundberg and Rod Dickinson. Ray Santilli denied knowing them, but was caught in a lie.

8. Santilli's dubious story. Ray claimed that in 1992 he was in Cleveland, Ohio, where he was looking for video clips of rock and roll performers of the 50s. There he met an elderly gentleman from whom he bought a rare clip of Elvis Presley performing. The owner shot this clip with his own hands when he was a hired cameraman in the 50s. Shortly before Santilli left, the older gentleman called again and offered to buy something “completely different.” This was the film with the Roswell aliens.
Santilli stated unequivocally that the cameraman who filmed Elvis Presley in 1955 and the cameraman who captured the “autopsy” in 1947 were the same person. Ray even said his name: Jack Barnett.
In September 1995, TF-1 reporter Nicholas Maillard tracked down the real owner of the Elvis Presley tape in Cleveland, from whom Ray Santilli had bought it. It turned out to be disc jockey Bill Randle, who in 1955 hired a cameraman to capture a couple of concerts. His name was... Jack Barnett. True, the real Jack died in 1967 and never served in the Air Force!
When confronted, Santilli said that the cameraman's name was not Jack Barnett and that he had made up the whole story to protect the identity of the film salesman.

9. Cinematographer. Numerous attempts to meet him were unsuccessful. Some people, it’s true, spoke to him on the phone, but I think it wasn’t very difficult to ask some old man to portray an “operator” for a modest bribe.
The "operator's account" circulated by Ray Santilli stated that he had served in an intelligence unit under the command of the Assistant Chief of Staff of the Air Force since the fall of 1944. He allegedly filmed the first atomic bomb test in New Mexico in 1945, and shortly before traveling to Roswell, he filmed the test flight of the McDonnell Aircraft XH-20 helicopter. Kevin Randle checked all the photographers and cameramen who worked on the Manhattan Project to create the atomic bomb, and found not a single trace of the mysterious "cameraman". McDonnell Aircraft never used outside operators, not even military ones, only its own employees. The XH-20 tests were filmed by cinematographer Chester Turk and photographer Bill Schmitt: both of them obviously have nothing to do with the film about the “autopsy.”
Ufologists have noticed that the “operator’s story” is filled with English phrases and phrases that are not characteristic of the native Ohioan. To this, Santilli said that the typist was to blame, who, while printing the “story” from a tape, introduced distortions into the text!
Finally, the “cameraman” agreed to answer questions on camera prepared by Robert Kiviet from Fox-TV. The filming was allegedly carried out by the “cameraman’s” son. On December 19, 1996, the video was broadcast by the Japanese television company Fuji TV.

When Bob Shell saw her, he said, “This is nonsense, not an interview. He’s just reading a prepared text.”
When asked how he met Ray Santilli, the "cameraman" simply repeated the legend recently debunked by Nicholas Maillard: "He was in Cleveland scouting musical films. I had footage that I shot in '55 when I was a civilian, and he was interested in buying documentaries. In fact, I would not have met him if it had not been for my son, who discovered that a British company was looking for old films in the city..."
When asked who else was present at the autopsy of the alien, he replied: “Who do you think I am? I can’t name names.” However, this contradicts his previous stories: the "operator" said that the alien's body was opened by "Dr. Bronk" and "Dr. Williams or Willis."
It was assumed that during the show the face of the “operator” would be smeared or filled with squares, but for some reason the Fuji TV television company did not do this. After watching the video, Mark Sencher came to the conclusion that the “operator” looked like the hoaxer Frank Kaufmann! Of course, external resemblance does not mean that this is Kaufmann, but a certain suspicion remains.

As usual in such cases, people appeared claiming to have seen Santilli's film a long time ago. The first was Richard Doty, who told Stanton Friedman that he saw the tape in the early 1980s and "knew even then that it wasn't aliens."
Staff Sergeant Robert Allen was allegedly in charge of security at a secret training site near Tonopah, PC. Nevada. When he was brought up to date, films were shown for 2.5 hours. When Allen saw Santilli's film on television, he recognized it as a film footage from the same selection.
"I saw three autopsies," he said. "In one of them, Truman was standing behind the glass in the autopsy room. He was wearing a surgical mask, but you could tell it was Truman."

Mike Maloney, chief photographer for the Mirror Group newspaper company, said that in the 70s in California he met “someone” who, in turn, invited him to watch several “very unusual” films. Maloney agreed and was invited to the house of this man, who turned out to be the owner of an old film projector. Fragments of films about UFOs appeared on the screen, and then scenes of the autopsy of an alien. Maloney claims that the autopsy scenes in Santilli's film are the same as scenes he once saw in California.
These people (there were many more of them) risked their good name by betting on a bad card, and lost by associating themselves with an obvious counterfeit.
The final blow to Santilli's films came in 1999. Keith Bateman, former co-owner of AK Music, and his colleague Andy Price-Watts admitted that they were the ones who faked the "in the tent" episode for Santilli. In order not to expose their colleague, they said that Ray asked them to improve the image on the film, but they did not succeed. Then they allegedly decided to create their own version of the "aliens from Roswell."
“We found a barn in the small village of Rogemont in Bedfordshire from a farmer I knew,” said Andy Price-Watts. “I lit an old kerosene lamp. We brought a table, sheets, white coats and rubber gloves in there. We filmed in the evening to make it look like We filmed in the dark... We tried to get a mannequin from a local shop, but it didn't work out. Elstree Studios offered to make us a suitable mannequin for £25,000, but it was just ridiculous..."

In the end, they decided to make do with body pads and a mask, which was painted by cinematographer Elliot Willis, and Andy Price-Watts' 12-year-old son acted as the "alien". It turned out cheap and cheerful. The "doctors" were played by Elliot and local butcher Roger Baker. The farmer who came into the barn was also involved in the filming.
"We could hardly stop laughing while we were making the videotape," said Keith Bateman. "The whole thing took us about an hour and a half."
Then it was a matter of technology: the videotape was compressed to six minutes, converted from color to black and white, added grain and artificial scratches were digitally applied to it. Shurinov describes what they accomplished as follows:
"The action takes place inside some temporary structure, most likely something like a tent... The room is poorly lit by one lamp (kerosene or gas). In the middle there is a table on which lies a body covered with a sheet. We, of course, can assume that in front of us corpse, but this, in my opinion, is not substantiated by anything...

The creature is hairless and pale-skinned, as can be judged from the black-and-white film shot in poor lighting. Apparently, here in front of us is another body... In the background, two men in white coats stand at the left shoulder of the corpse. Having folded back the blanket, one of them takes what appears to be tissue samples from areas on the left side of the body (chest, left side), or something on the body, and places it in small jars, each time showing it to the other, then the dishes placed on a table located to the left of people in white coats. This procedure is repeated several times..."
Ray Santilli knew at first glance that it was bad, but tried to make something out of it. He told Bateman to sharpen the film and put a security clearance on it. Keith fulfilled the order, but the dissatisfied Santilli then did not buy the shoddy products. Apparently, he found other specialists who filmed the famous stories shown around the world - "Autopsy" and "UFO Wreckage". It was only when Bateman and Price-Watts decided to sell their creation to producer Bruce Barlow for the film Breaking the Net 2 that Ray Santilli came rushing in and said it might harm his planned international campaign to promote the "alien" autopsy story. In the end, he bought the film from AK Music, but did not dare to use it widely. Knowing full well that the episode was faked, he nevertheless passed it off to gullible ufologists as a copy from a real film.

"The fact remains," said F. Mantle, "that the research carried out by myself and my colleague Tim Matthews exposed the 'tent' episode as a hoax. The full story will fill a whole chapter in the book we are about to write."
Despite attempts to revive the old sensation, Ray Santilli's tapes will remain in history as an example of a blatant fake. One could believe in it only by blinding oneself with a burning desire to finally see evidence that we are not alone in the Universe.
(From the forthcoming book "UFO Crash Syndrome")

On Saturday, July 5, 1947, Johnny McBoyle, a reporter and co-owner of a radio station in Roswell, New Mexico, broadcast a report of a UFO crash. “The object looks like a dented dishwasher...” he commented in a broken voice. “The military is already here and they are going to take her away.” The entire area is cordoned off. They say something about some kind of humanoid creatures that were on board.”

In six hours, all the debris was collected. According to rumors, five alien bodies were found at the crash site of an unknown object; the military packed them in airtight bags. The Roswell incident was shrouded in the strictest secrecy for many years.

In July 1991, US Air Force Captain Kevin Randle and his co-author Donald Schmit published a book in which they provided numerous evidence confirming the extraterrestrial nature of the disaster.

The American government initiated an official investigation into the Roswell incident. In September 1994, it was reported that a disaster had indeed occurred in Roswell, but it was not an alien ship that had crashed, but a secret Mogul spy balloon launched by the US Air Force.

And a few months later, a new sensation broke out: British producer of Italian origin Ray Santilli announced that he had in his possession film footage of an autopsy, that is, an autopsy of aliens from Roswell.

Questions immediately arose. How did the classified tape get to Santilli? The producer told the following story. In the summer of 1993, he traveled to the United States in search of rare footage from the fifties. In Cleveland, Ohio, he met an elderly cameraman whose archives contained recordings of Elvis Presley's performances. It unexpectedly turned out that eighty-year-old Jack Barnett (name and surname are fictitious) once served under contract in the American army. In the summer of 1947, he was called to a military base in Roswell to photograph highly classified sites. Barnett thought that they were talking about fragments of a Soviet spy plane, but it turned out that they would have to film UFO debris, as well as the process of autopsy of alien corpses.

Jack shot about a hundred reels. He immediately sent most of the material to Washington, but several films required additional processing. Having finished working on them, the operator contacted his superiors, but no one came to pick up the films.

Barnett knew how to keep secrets, he was a true patriot of America, and only extreme need forced him to sell unique film material. Moreover, he charged such a price that Santilli paid him only in November 1994. The operator asked to keep his real name secret. Later, journalists tried to meet with the mysterious Barnett, but these attempts were unsuccessful.

The producer had at his disposal twenty-one three-minute films, one eight-minute film, and other fragments not related to the plot. Much of the material was in very poor condition. The first seven-minute video was restored only at the beginning of 1995. Santilli translated two episodes onto videotape: “Alien Autopsy” and “Detritus.”

On May 5, a preview screening of the film took place at the British Museum in London. Upon entering the hall, everyone was searched to ensure that no one brought a camera or video camera.

And now the long-awaited session begins. On the operating table is the body of a creature resembling a human, about 140–150 centimeters tall, with a swollen belly and a huge head. The mouth is slightly open, but no teeth are visible. The creature has six fingers and toes. And, very strangely, there is no navel. There is a huge wound on the right thigh, possibly a burn. A creature without hair on its head and body was probably female, although nothing other than characteristic features indicated this circumstance.

In the room were an operator and two “pathologists” in white protective coats with transparent windows. The autopsy was carried out by one specialist. He approached the body with a scalpel and made an incision from the throat down. There was blood. The “pathologist”, without making any noticeable effort, removed the internal organs from the body.

Many people noticed that the operator seemed to have the gift of foresight. When the "pathologist" made the cut, the camera did not follow the scalpel to the abdomen, but deliberately lingered on the neck until blood began to flow.

Apparently, the autopsy was carried out by a general specialist, at least he knew a lot about ophthalmology. He removed the dark film from the creature's eye and placed it in the solution. A similar procedure was done with the alien's other eye.

The video ended with a craniotomy. The “pathologist” used a handsaw to remove the top of the skull and extract the brain. As with any autopsy, a “list” of removed organs was compiled. The entire autopsy procedure took 2.5 hours (judging by the clock on the wall).

In the second story, a military man showed the wreckage of a crashed UFO. There were few objects: two panels (control devices?) with imprints of six-fingered hands and a large I-beam with some kind of hieroglyphs.

Jacques Pradel, producer of the TF-1 TV channel, who attended the screening, recalls: “When the lights flashed in the hall, silence reigned. Absolute silence, and there were more than three hundred people in the room. Then a whisper. Then silence and whispers alternate. I'm in some kind of tetanus. Something beyond my strength. Then there is a commotion and an exchange of opinions begins. From turmoil to discussion. I want to know and inform others.”

Someone suggested that this was the corpse of a person exposed to very strong radiation. But not a single pathologist has encountered such anomalies. And the internal organs are completely different from human organs. Surgeon Patrick Brown noticed "cadaverous blue discolorations" usually appearing in the lower part of the body. And if it is a fake, it will be a very skillful one, because you need to be highly skilled in order to place the blue marks in the right place.

In August 1995, the film was shown at the Sheffield Congress of UFOlogists and on Channel 4 of British television. Later it was shown by the largest television companies in the world - the American Fox TV, the German ZDF, the Italian RAI-1, the French TF-1 and more than twenty other companies. The sale of the rights to show the film brought Santilli millions of dollars. He received $125,000 from Fox alone. VHS tapes of "Autopsy" and "Wreckage" were selling for $70!

Immediately there were people ready to swear on the Bible that they had seen Santilli's film before. Staff Sergeant Robert Allen, once in charge of security at a secret training site near Tonopah, Nevada, claimed that during briefing they were shown a whole program of such films. “I observed three autopsies,” said the sergeant. “During one of them, President Harry Truman stood behind the glass of the operating room. His face was hidden by a surgical mask, but I could not be mistaken: it was Truman.”

Mike Maloney, the Mirror's leading photographer, said that in the seventies he met "a man" in California who invited him to watch some "very unusual films." At this session, a documentary about UFOs was shown to a select few, as well as footage of the autopsy of an alien.

Viewers were divided into two hostile camps - some considered Santilli's film to be genuine, others - a skillful fake. For example, a telephone with a twisted cord caused a lot of controversy. They said that such devices did not exist at that time, but then it turned out that this model began to be produced back in 1946, and the twisted cord was supplied to order.

Then the surgical instruments used by the “pathologist” in the film came under suspicion. But here, too, the skeptics were defeated: these are exactly the tools that the Americans used fifty years ago.

Santilli insisted that the film was shot in 1947 and cited the results of a film examination as evidence. Indeed, he submitted several frames for analysis to laboratories in the USA, England and Denmark, and they confirmed that the film was produced in 1947. However, the frames transmitted to Santilli were without images. Kodak invited Santilli to conduct an independent examination of the entire film. The producer refused, citing the fact that it had already been sold to some mysterious collector for a lot of money.

The operator's work received mixed reviews. He did not choose the best angles, and during close-ups his focus was lost. Opponents of the film insisted that the cameraman did this on purpose, otherwise everyone would have understood that the pathologist was working not on a corpse, but on a doll.

By the way, most Hollywood special effects specialists had no doubt that the “alien” was made of latex. Stan Winston, known for Aliens and Jurassic Park, said: “Am I sure this is a hoax? Absolutely!" Colleague Gordon Smith from Toronto supported: “We have no doubt that the film was made in England at a second-rate studio.”

When Santilli was asked directly who was being dissected in the film, he replied: “I think there are only two options. The first is that this creature actually flew to us from another world on a spaceship. The second was a biological experiment carried out by the Americans after the war, and the film shows a mutant created for the purpose of testing some secret weapon. In my opinion, only these two options are possible.”

But it turned out that there was also a third option, which Santilli modestly kept silent about at the time.

On April 4, 2006, the British television channel Sky aired the story “Eamon Investigation: “Alien Autopsy.” Santilli was forced to admit that his film was not authentic. During the interview, the show's host, Eamon Holmes, constantly called the film a "fake", and each time the guest corrected him - "reconstruction". According to Santilli, he was forced to take this step because the real films were destroyed by moisture and heat. Using the remaining remains, Ray and his friend producer Gary Shufield reconstructed the film. Santilli later assured that the video version contains several frames (5 percent of the footage) from the original. True, which ones exactly, he did not specify.

The "reconstruction" took place in a residential apartment in Rochester Square, London. John Humphreys, an artist and sculptor, made two “aliens” in three weeks. Everything needed to create the aliens - sheep brains, chicken giblets, legs of lamb and other “material” - was brought from the meat market. Humphreys also used aluminum (skeleton) and latex (skin). Then he made the control panel for the alien ship. It was Humphreys who played the role of the main “pathologist”. Despite the fact that the film crew only had two takes, the team did their job brilliantly. After filming, the “aliens” were cut into small pieces and scattered into garbage containers in London. On April 6, 2006, the English film comedy “Alien Autopsy” premiered, in which all the events described above are told in a humorous manner. Moreover, Ray Santilli and Gary Shufield acted as producers in it.

There are many stories of crashed ships, alien autopsies and alien contact, but how much of it is true and what is not? Before the Roswell incident, all contact with visitors was recorded in the mind, so the records in the Vedas, the Bible and ancient mythology are true, reflecting what humanity saw and experienced at the time of contact.

Anticipating the rapid development of awareness of the alien presence, the Council of Worlds in the middle of the last century decided that contact should be registered only in the subconscious. This was to allow humanity to gradually accept the concept while preventing contactees from being attacked. Before the new rules were introduced, the Service-to-Self aliens who had contact with the US military decided to make conscious contact with them. So the result was Roswell, MJ12, and the Area 51 stories, which are mostly true. To provide balance, Service-to-Other aliens caused the Roswell disaster in 1947 and a similar disaster in Brazil in 1996. These are true stories recorded in the minds of eyewitnesses.

Roswell

In the United States, Roswell is on everyone's lips. This is the main flag in the parade of those who are eager to know the truth. The facts are quite well known, and those facts that are known are almost entirely true. This story is true. What is not so well known is that Roswell was not an accident. Several beings from alien groups attempting to make contact with the US government volunteered. They were expected to die. The plan was to let the ships crash, in full view of the people. This gave people the maximum sense of control that people wanted to have, especially since any contact, unfortunately, was through the military. Once they felt they could harm the aliens, they wanted to negotiate.

Among the rumors surrounding the Roswell incident are stories of an EBE, an "extraterrestrial biological entity" that survived the crash and lived to converse, in a sense "talking," with the government. These rumors also claim that the movie "ET" was based on this situation, where a young boy, the son of one of the government officials involved, came into telepathic contact with VBS. Is there any truth to this? There is some. VBS was returned to his group, alive, after contact was made several years later. Rumors that VBS had died were spread in order to eliminate any pressure from those who wanted to see him and talk to him.

VBS, as he was called, was one of the seven aliens who crewed the two ships that crashed near Roswell. One ship was completely destroyed because it was planned to blow it up close to the ground, which was done. The second ship carried four aliens and crashed as planned without major damage. It was assumed that the blow would kill all four, who were preparing for death, but one of them survived, despite his wounds. This came as a shock to the alien, who was unprepared for the intense interest in his digestive and respiratory systems and his medical needs. He found himself kept at a respectful distance and carefully examined by the extremely nervous people treating him.

One of the officials, unexpectedly called to the place where the VBS was located, was in the care of his son, whom he left in the car when he went to a meeting inside the building. When he returned, he found that his young son had much to tell him, as he had entered into telepathic communication with the VBS. Having never allowed the two to meet, and without even confirming to the young boy that his partner was real, the government subsequently brought the two closer and asked the boy endless questions. To this day, he cannot confirm in any way that this happened, except by the questions that were put to him.

Here are some aspects of the information conveyed during this telepathic interview:

The reality of reincarnation
- the body into which the incarnation occurs is not aware of past lives, if this information is not transmitted to it by the soul,
- throughout the Universe, souls incarnate in many different types of life forms, not just humans,
- Service to Others is a strong component of the lives of the aliens involved in the Roswell crash,
- The Earth currently has a mixed bag of souls, including those in the Service-to-Self who do not bother to care for others, and so upon telepathic contact man interpreted the Earth as a "prison planet", which it is not. This is a planet with mixed conditions.

This video was recently uploaded.

Have former MJ12 members released videos of aliens possibly in custody? This is believed to be a crew member who survived the Roswell accident. The grainy video gives an idea of ​​how old it is, and Zeta's head is no different from the face on the ZetaTalk page, with a tiny, almost vertical nose, just a slit mouth, high cheekbones and a thin neck. This is a genuine video. The US government, which includes former MJ12 members, is under pressure from other countries to get a plan of action and deal with the disclosure. Instead of revealing their UFO files, they get ahead of themselves by showing evidence of an alien presence with alien bodies. This test is being launched to see how the public reacts.

Skinny Bob was welcomed with open arms everywhere. He is charming, obviously not aggressive, and allows himself to be filmed without offence. The immediate reaction of everyone who watches this video is that it is real, even with the objections of those who are shocked by the confirmation of an alien presence. You can recognize the shock behind any verbal muttering because it is there. Since this has been widely circulated on the Internet, and widely discussed on countless websites, the establishment has a lot of data to analyze. They will conclude that humanity is not responding as the CIA expected many decades ago when they concluded that the average person could not cope with the reality of an alien presence. There was curiosity, a desire to see more, and even a desire to meet Skinny Bob. More to follow!

Brazilian Roswell

Creature from Varginha, Brazil
January 20, 1996
http://ufocasebook.com/Varginha.html
The creature, in a seemingly dazed state, was easily caught by the search party. He had three protrusions on his head; the eyes glowed red. It also had long arms, short legs and large feet. The monster responded with a buzzing sound when a net was thrown over it about two and a half hours after the first call was received. Later that day, three girls (Lillian Fatima, Valkyra Fatima and Andrade Xavier) were returning home after work. While taking a shortcut through a wooded area, they discovered another of these strange alien creatures. When asked by the press, the military and firefighters denied any information about the capture of the alien. This reaction surprised no one. There were reports of unusually large troop activity on the day the monsters appeared, indicating a cover-up.

The South American continent is involved in a tug of war between Service-to-Self and Service-to-Other aliens. These groups have fought each other and in some cases extreme measures have been taken. The psychological state of the population, gripped by fear and anxiety for themselves after false stories about partially exsanguinated and weakened contactees, required shock therapy. As a shock therapy, a scenario similar to Roswell was chosen, when people are given the idea that aliens are vulnerable, can feel pain and may need the help and pity of people. Therefore, rumors of vulnerable aliens will tilt the weight of public opinion away from thoughts of alien domination. Thus the Service-to-Others win the battle for public understanding, and compassion and caring replace fear.

Of course, it takes pain, hurt, and despair to create regret and doubt. Just like in Roswell, several aliens decided to sacrifice themselves and undergo violence and injury, pain and death, in order to achieve this outcome. Just like in Roswell, this ship was deliberately crashed, but unlike Roswell, where everyone was supposed to die in the disaster, most of the aliens were alive and in a pitiful situation. They did this and their fear was not feigned, since they were wounded and terrified. As planned, they met talkative and impressionable children who told the story to everyone they could, as expected. Frank and innocent, no one doubted these witnesses, and since UFOlogy is organized today, the juicy details of the incident were intercepted before they could be carefully hidden and muffled. Thus, the careful cover-up, which was carried out in accordance with tactics well known in Brazil, only added to the realism of the situation.

Autopsy film

What about stories from MJ12 and the Russians about alien autopsies? After Roswell, it was believed that the bodies of both dead and living aliens fell into the hands of MJ12, which was true, and not to be outdone, the Russians made an autopsy film in 1969, which was a hoax.

Santilli's 1995 film of supposedly the post-Roswell autopsy was also later found to be a fraud.

Alien Autopsy Movies
March 8, 2013
http://mysteriousuniverse.org/2013/03/the-other-alien-autopsy-films/
On May 05, 1995, a man named Ray Santilli showed a clip of a black-and-white silent film to a select audience at the Museum of London, England. Thus was born the controversy surrounding the infamous Alien Autopsy film, a controversy that has raged for over a decade. But everything, however, changed on April 4, 2006. This bad movie that has intrigued so many people for years came out on Sky Television's British TV show Eamonn's Investigations and was not what it seemed.