Alien Contact Files: Experiments and Hidden Encounters | UFO Hunters

Video: "Alien Contact Files: Experiments and Hidden Encounters | UFO Hunters" (History Channel)

Full auto-transcript: During all my years of researching UFOs, the one artifact that keeps coming up is the Starchild skull. I've never held the Starchild skull in my hand, but I know that it was found in the 1930s in a cave in northern Mexico by a teenage girl. It's been speculated from the shape of the skull that it's of alien origin, possibly from a gray. Now that we know who the owner is, I'm excited to get my hands on it. This could be the greatest single find in the history of UFOs. >> You guys want evidence? Melanie will show you the evidence. >> Melanie Young is a medical professional who specializes in neonatal care, and she's one of the most qualified people to speak on human physiology. >> Oh, wow. >> Well, this is the normal one that was found. >> So, this is not the the Starchild. >> not the Starchild, but this is the the skull that was found laying next to the Starchild on top of the ground. >> Nothing unusual yet. >> No. >> But, this is what's unusual. >> So, this is the famous Starchild skull. >> Yes, it is. >> This is huge. One of the biggest events since I've started investigating UFOs. Two skulls found together. One seemingly an adult, the other apparently a child. >> This 900-year-old artifact was allegedly found in a cave in the Copper Canyon region of Mexico by a woman living in a small village. Now, I can't say there's a connection to the grays, but if there is, it's almost impossible to comprehend. >> Guys, I think one of the problems with getting answers to this skull is that it's obviously incomplete. I mean, a large portion of it is missing. The entire maxilla and facial structure is gone. I'd like to know if if you would mind if we took this to Los Angeles and have a have a specialist reconstruct this so that we could see what this person or creature looked like when it was alive. >> I would be as anxious to see what it would look like as you. >> We're at the Cinema Makeup School in Los Angeles, California where we're meeting with Robert Lindsay, who's a special effects expert. He's going to help us reconstruct the Starchild skull. >> No matter what anybody says, this Starchild skull may be the key in unlocking the mystery to the Grays. >> Robert? >> Hey. >> Hey, how you doing? Wow, looks like you've really done something to the Starchild skull here. >> I'm a dental technician, so I know about jaws and uh muscles of the face. This comes with a profession. >> That explains why he represented that facial expression the way it was. Yeah, there's artistic interpretation and he could go either way, but his background helped him create the way this creature's mouth looked, chin looked, and how its teeth met. >> The lower jaw's missing. The whole front piece is missing. I had to uh redo all that, uh reconstruct it. I'd be as closely as possible to what I think anatomically it would look like. And I add the muscles accordingly. Uh no alien in mind. >> Mhm. >> When I first saw this face on the skull, I saw I thought alien. I took a little further look and I saw a real [music] human face behind there. And if you add hair, you change the skin tone, you put regular eyes in it, I'm seeing a human being with a slightly misshapen skull. >> What do you think about this skull that you're holding? >> It's weird. >> That's an understatement. >> [laughter] >> Because it's very asymmetrical. And you guys had the the hypothesis that uh this disease >> Hydrocephaly? >> Exactly. It's not symmetrical like this and it looks not like a accident. >> Bill always has an excuse. He has a theory to explain [music] what's going on. And what we have going on is a skull that's looking very, very human. And of course he's going to use that to his advantage and claim, "Oh, I wanted it to be human. This proves my point that this isn't a straight-up alien-human hybrid, but it's generations beyond. So of course it's going to look human. Come on." >> Over years and years and years and generations of hybridization, it's coming into conformity with what they were looking for, given the design of this creature and the plan for hybridization, this could be walking among us today. >> I'm not sure if we've proven that the Starchild skull is from a gray or if the grays mixed with the human race, but it does give us a window into the world of what a gray might actually look like. >> It's an interesting concept, the the thought of grays coming here and abducting people and crossbreeding, but in my opinion, there's just not enough proof. >> I know that Kevin doesn't believe in grays and I respect his opinion. I believe that grays are real. I believe that grays are here and they've been intermingling with human beings for thousands of years. And the Starchild skull may represent a key piece of the UFO puzzle. >> We're finally going to get a chance to synthesize a real picture of the grays, not just case by [music] case by case, but what's behind the cases? What's the common ground? Where are all [music] these stories coming from? And why does the image of the grays look alike from story to story? >> I'll tell you why they look alike, because it's straight out of a movie, Close Encounters of the Third Kind. >> Oh, really? Well, then how can you explain this? Close Encounters of the Third Kind is a 1970s movie. Betty and Barney Hill described that gray 1961. >> I'm struggling to deal with just extraterrestrial crafts being on the planet Earth. And now I have to investigate the creatures that are actually flying them. >> Well, you're just going to have to take baby steps, then. >> Yeah, it's a big step. >> We've had descriptions of grays for over 40 years. There was the Roswell incident, Outer Limits, Close Encounters of the Third Kind. >> There was the alien autopsy, but the real description, under hypnosis, came from Betty and Barney Hill, who in 1961 claimed that they were abducted by gray alien beings. This description was the foundation for all the later depictions of the grays on television. Large head, 4 and 1/2 ft tall, long, skinny, squiggly arms, thin legs, no nose, a slit for a mouth. Who are these grays? But more important, why are they here? We are in remote British Columbia, near the town of 100 Mile House. We're going to meet with Miriam Delacato to hear about her encounters with grays. >> It was October 1988. We were driving in northern British Columbia, and all of a sudden, out of absolutely nowhere, these lights appeared behind the car. It was almost as wide as two lanes. We actually thought that they were a big truck or something. The lights started popping on and off. The girl driving started to get really afraid. Um and then all of a sudden, out of absolutely nowhere, I said to her, "Pull over the car. It's not you they want. It's me." >> What possessed you to say that? >> I really didn't know at that point. >> Miriam's story, it's very interesting, but I find it a little far-fetched because she was in a car with three other people. None of them saw what she saw. None of them experienced what she experienced. They just don't remember it, period. >> I was just about ready to grab the steering wheel because she didn't want to pull over, and her head tilted to the side, and she just pulled over. >> Did she pull over voluntarily? >> Something must have been guiding her because all of a sudden she became very quiet. Once the car was in the stop position, nobody in the car was moving at that point. Suspended animation is the way I describe it. In front, these short um grays were walking towards me, and they were about 3 and 1/2 ft tall, a little bit larger >> [music] >> oval type of heads with the uh round black eyes. There was no features on them that that distinguished one from the other. And then I start hearing a voice in my head. And it was, "Okay, get out of the car. Do not be afraid. [music] We will not harm you." My hand started reaching to the handle. I'm thinking, "Why am I doing this?" I got out of the car. They walked towards me, and they took me by the hand. They were really cold, and it wasn't like warmth from, you know, a person or an animal. It was [music] cold. >> But, wouldn't a normal reaction be to run for your life or pull yourself away from little beings that are dragging you into a ship? >> [laughter] >> Absolutely, but there was no conversation other than, "Do not be afraid. We will not harm you." Um which did actually calm me down. >> This is very interesting what Miriam is saying about the grays calming her. Uh maybe they have some way of doing this. Uh perhaps telepathy's involved. >> They just simply took me by the hand, led me down the highway. When I looked up, I saw a very large craft, [music] probably about 40 or 50 ft across, and right at the doorway were these two tall, blond-haired, [music] blue-eyed aliens. >> Nothing like the grays? >> Absolutely nothing like them whatsoever. These short um grays that had been with me just let go of my hand, and I walked on board the craft with the two [music] tall blonds. >> What's the relationship of the grays that took you from the car >> [music] >> to these tall blonds? >> I would say that these grays were their helpers. [music] >> When you say grays, it's not just one species [music] of extraterrestrial. There are many, many different species of them, but we heard from Myriam is that this species was obviously totally servile, almost robotic-like. >> We walked on board this craft and [music] they sat me down on this chair and in front of me came a screen out of thin air and then they started showing me all of these different images of catastrophes on the planet, earthquakes, solar flares, war. And I was shown all of these different, what I believe is sort of like timelines and paths that humanity could take and then I was explained how if we came together as as a species that we would be able to avoid any and all of these events. It was explained to me that they are the caretakers of this earth and that their purpose in being here is to help enlighten us, make us aware of who we are and to make sure that we do not destroy ourselves or the planet. >> We're in Dulce, New Mexico, about 200 miles away from Albuquerque. Our goal is to locate a secret underground base where the government reportedly has been >> [snorts] >> housing aliens and carrying out strange experiments. >> My name's Ken Storch and there's definitely something strange going on in Dulce, New Mexico. >> My name is Bob. I'm an undercover operative >> and Dulce is the ultimate undercover operation. >> We're here in Dulce meeting with Bob and Ken, investigators that have been looking into this area for over 10 years [music] now. These guys have made Dulce the central focus of their investigations because they believe something really strange is going on here. >> What got you into the Dulce business? >> When we first learned about the uh Dulce papers from this retired Air Force Colonel, uh we were told that there was an underground base here in the Mesa. >> The Dulce papers surfaced in the 1980s, and they documented the levels of experimentation going on at that secret base. They also talked about a fight. >> We're here at the base of Archuleta Mesa to meet with archaeologist Garth Baldwin to discuss the geological makeup of the Mesa and see if it's even possible that an underground base could be built here. >> Garth, we're here at the base of the Archuleta Mesa. Inside of which there's a reputed to be a top secret base [music] for genetic engineering. I guess the question for all of us is what kind of engineering would it take to have created such a base inside the Earth? Can you tell us about the rock formations and >> [music] >> what kind of rock we're dealing with? >> Up on the mountain, where you do find soil, it's between 1 ft and less. And then it's just bedrock. The upper strata up there that you can see exposed is a is a columnar basalt. That's much too fragmentary for [music] any kind of drilling or anything out. It makes great fence posts, but it wouldn't necessarily support uh being ground out inside. But below that, there's layers of basalt that are more structurally sound. There's also sandstones below that. >> It sounds like um top layer very, very difficult to drill through. >> They'd have to start at the bottom of the Mesa or near the bottom of the Mesa, where there's a a stable [music] strata of rock that they could get into. >> Let's just say you were hired by the government to design an underground base. Would there be any reason for you to pick Ar- Archuleta Mesa? >> It's a Mesa. So, you've got a starting point where you know where the the stratigraphic layers of rock are. So, you've got a structure to begin with. >> According to the specifications [music] that we've been given for this base, >> how much of a diameter does this have right here? >> The base can extend up to 4.87 mi. >> 4.8 mi. Is that correct? >> 4.8 miles diameter. >> That's the diameter of the [music] base. >> That's about the size of the mesa. That would fit within the structure that you're talking about. >> Garth is telling us that Archuleta Mesa actually has the size to to house something of this magnitude. And while I don't necessarily believe yet that there is a base inside the mesa, it's good to know that the possibility of it being there is real. >> It's conceivable that they're coming in through tunnels and actually drilling it out the the space for this underground base from the bottom up. If that technology were true, then that would be possible. The human species has such a knowledge of mining and and you know, structural engineering that I'm not surprised by anything that we our engineers can do. >> I'm really happy to hear Garth's feedback about what the makeup of the mesa. >> [music] >> And it does seem like he thinks it is possible to have an underground base there, even given the massive size of [music] this thing. >> Garth said he didn't know what kind of technology we have that can do this kind of drilling in an expeditious way, but John Rhodes showed us that technology exists today. Therefore, it's quite possible we are standing in the shadow of the Dulce base. We are here at White Sulphur Springs, West Virginia, the home of one of our government's best kept secrets. >> We're here at the Greenbrier. And the Greenbrier was beautiful hotel built in 1913, but underneath the Greenbrier and set into the hill is [music] the congressional facility for maintaining continuity of government in the [music] event of a nuclear war. >> We're about to meet Linda Walls, who is going to take us through this facility and point out all the features that make this facility so important to us. >> This hotel, this property has a tremendous history. We date the resort to 1778. 6,500 acres, 721 guest rooms. >> I'm just standing here looking around, I really find it hard to believe that there's a secret bunker hidden somewhere here. >> Believe it. >> When was it actually built? >> The construction was between 1958 and [music] 1961. And on top of the bunker is the West Virginia Wing. >> About how big is the bunker? >> 112,544 square feet. Best way to keep a secret, hide it [music] in plain sight. Behind this, you're going [music] to be amazed at what you'll see. >> You mean you're not talking about these doors right here. So, how do you open it? >> Well, if you could just help. Thanks, Pat. >> Sure. >> Watch fingers. >> Okay. >> Once you move the wall, you uncover an 18-ton vault door. One of three in the facility that close off the underground structure from the outside world. >> Once the decision would have been made to seal the bunker, there would have been no way to get in from the outside. There was a 60-day supply of food. There was a 42-day supply of diesel fuel. >> To have even known about this facility, you would have had to have had a top secret government security clearance. However, every day hotel guests here at Greenbrier walk through these camouflaged big vault doors into this conference center, and they never knew they were standing in a top secret government facility. >> It's huge. It's over 16,000 square feet. Thousands of people have been in here, but they didn't know they were actually in a part of the bunker. This room was used for exhibits, medical exhibits, uh book exhibits, parties. >> When the time came that the government had to continue, what did this room become? >> The room would have been subdivided into 24 offices for the support staff of Congress. >> I mean, there are hospitals, dormitories. There's even a crematorium. There are places for families and aides to stay. >> Now, how is it possible that this place was kept a secret without the hotel employees and people of the town knowing about it? >> I, like so many others, had heard for years that there was [music] something here. >> So, you were working here while the bunker was still a secret? >> Yes. >> Did you ever see somebody walking through the hotel, suspicious-looking character, and think, "He must be on his [music] way to the secret facilities." >> We did wonder about some of those television repairmen. >> So, that was the cover. All these people for television repair crews came in, and literally they were the ones working on this facility. >> Now we know they were spending 85% of their time [music] on shelter management. >> This whole thing sounds like a page from a spy novel. And if the The can construct a facility of this size in plain sight and have it be completely [music] covered up. I guess there's a possibility that in Dulce, New Mexico, something similar on a much larger scale could happen, given it's in the middle of nowhere. >> When did you first learn, for real, what this was? >> The day the article appeared in the Washington Post Magazine. >> Until the Washington Post broke the story, nobody knew that this hotel [music] was a cover for an underground facility, literally a bunker, to house the legislative [music] branch of government in time of war. >> The last government truck left July 31st, 1995. >> So, that's 3 years it might have taken to actually build a facility to replace this. >> Unless there were other facilities >> already in existence. >> It was exactly.