My jaw dropped. As you see light at the end of the tunnel, you begin to push for it.
My name is M.K. Davis, and I kind of backed into the Bigfoot world. I really wasn't, youknow, I saw a couple of frames from the Patterson film, and this was back in the early daysof the internet. And, you know, I was into astrophotography, which is taking space photos,of the internet.
(00:00:48)
And, you know, I was into astrophotography, which is taking space photos,and I had gotten pretty good at it, and I had learned a lot about film.
And I saw that, and I said, that cannot be what they've been showing.
You know, this is way better than anything they've shown on TV or in the movie theaters.
So, I began an inquiry. I just started, you know, trying to contact people who might knowSo, I began an inquiry.
(00:01:21)
I just started, you know, trying to contact people who might knowsomething about film and have frames and where this frame came from. And it just led me on ajourney, which I've accumulated some of the best images off that film, and I've gotten them fromCanada and California and Washington State. I visited with Miss Patterson, Roger Patterson'swidow. It began just as a kind of an investigation of my own, personal. And I was right. I was right.
(00:02:04)
There was a better version of that film out there, much better than anything shown on TV.
And the story begins to unwrap, and over time, you know, I began to learn some of theins and outs of the film and the whys and what for. So, it led me to what you see today.
Well, let's talk about that journey of how you came about this film and how you began to breakit down and analyze it. What, you know, the lay people out here, such as myself, in photography,it down and analyze it.
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What, you know, the lay people out here, such as myself, in photography,what did you see or know to explore? The frame that I was referencing wasoff of the master copy of the film, and it had been filtered. And I recognize thatwhen you filter something, you're trying to get it to its best clarity and contrast.
And it was just a fantastic photo. And you can go on the internet, they talk all day long aboutAnd it was just a fantastic photo.
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And you can go on the internet, they talk all day long abouthow fuzzy and grainy the Patterson film is. This was anything but that.
And so, I began to, this journey, you can see behind me,I don't know if I'm coming in full frame or not, but back behind me, some of my workhanging up, that came from those better copies, those better frames.
(00:03:49)
So, the Patterson film is way, way better than anybody ever even imagined.
So, how did you come about getting those frames?
Making connections. Once you begin to have some successes, and people see that you're actuallydoing some good, they tend to want to help you. And people who are connected with the film,that know people who are connected with the film, begin to pull strings and get them.
(00:04:25)
And they sent them to me. I've got a drawer full of discs where they sent them to me.
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And I began to put them through a process that I put astrophotos through to boost their quality.
And then I put them into a, reassemble them back into a stabilized form, where the subject isbrought to the center of the frame. And it's not jumping all around, because somebody,you know, is running with the camera. And it just made all the difference in the world.
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Your eye and your brain work together. And they can't reallyhandle two planes of motion at the same time, or three planes of motion. So, when you removetwo planes, and you just have the subject there in the center of the frame,it's a great strain off the brain. You can look at it much more analytically.
And that's when you start to see the biomechanics. You know,And that's when you start to see the biomechanics.
(00:05:44)
You know,the muscles moving, the skin stretching, that type of thing. The type of gait that it has,you can look and analyze that. All of that becomes available. So, at some point in time,it's like two in the morning, I hit preview. And when that new stabilized form began to run,my jaw dropped. I was just astounded at how really good the film was.
(00:06:29)
So, as you improve, as you see light at the end of the tunnel, you begin to push for it.
And I began to make trips that were exclusive, exclusively tothe participants in that film. People from that day who either were there or new people who werethere. And I began to just gather data on circumstances surrounding it. And, you know,it's become very interesting. And it's lasted until today. I'm still currently doing that.
(00:07:18)
What were the identifying things in that film that, for you, caused it to be authentic?
The biomechanics. I had to do a study to come up with a frame rate.
It's important to have the frame rate at least close to being right,because from that you can calculate mass, body mass. And the frame rate,I went out and reenacted it just using myself as the subject. And I was with some JapaneseI went out and reenacted it just using myself as the subject.
(00:08:02)
And I was with some Japanesegentlemen who were filmmakers. And when we got through, and I viewed it, and I put it besidethe split screen with the Patterson film, I could see that the Patterson film was outpacing me.
And that should never be if you're a highly, you know, massive individual. It goes againstthe norms of nature to force your body to move. If your body wants to move in a free-swingingthe norms of nature to force your body to move.
(00:08:42)
If your body wants to move in a free-swingingway, you know, that's efficient. So when you swing your arm back, gravity brings it back to the center.
If you see it pushing to get back to the center, you know, like this,it's too fast. So I used myself, and when I finally got them aligned to where they were walkingpretty close, then it was around 16 frames per second. And 16 frames per second,pretty close, then it was around 16 frames per second.
(00:09:22)
And 16 frames per second,that the body mass is just tremendous. The body mass, she's going to be pushing a half a ton.
(00:09:33)
And that was the original calculation by Mr. Jeff Glickman, who was a chief scientist atNASI, at North American Science Institute, who was given a copy of the film to study, and hecame up with 1,400 pounds. And he stood by that forever. I don't know where he's at now, butthey immediately, people started raising objections to it. Bigfooters, oddly enough.
But he says, no, no, no, you don't go by what human standards when you're not looking at a human.
(00:10:18)
You go by mechanical standards. You calculate. And he came up with 1,400 pounds. I don't knowif it goes quite that high or not, but I think that it's probably 1,000 anyway. It's massive.
It's way, way, way bigger. A cubic inch of Sasquatch flesh weighs about double what acubic inch of our flesh is. That's what I've concluded. That it's just the density of thecubic inch of our flesh is.
(00:10:59)
That's what I've concluded. That it's just the density of themuscles are just tremendous. It doesn't have any problem at all going up to 45 degrees.
Is this the only film you have analyzed or have you studied any others?
I've studied some more iconic films,not necessarily of Sasquatch. A number of Sasquatch films I've looked at.
I don't even know how many. It's a lot. But I've also looked at some of the assassination filmsI don't even know how many.
(00:11:30)
It's a lot. But I've also looked at some of the assassination filmsof John Kennedy. I did some work on the Orville Nix film for the Nix family.
And I did some work on the Zabruder film. And I was able to improve it quite a bit.
These are amateurish cameras. They're just home movie cameras.
They're pretty good movies in them, but there are certain things that you getthat are just middle of the road and your angular resolutions are not that great.
(00:12:13)
You know, they're not professional.
So there are some tricks that you can do that would improve that.
If you can boost the clarity or the resolution one percent, you'll see 10 new things.
That's the general rule.
And with any film like that, when you see 10 new things, you begin to see if it's somethingthat's staged or something that's just hoached. You'll see, you begin to see that in the filmthat's staged or something that's just hoached.
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You'll see, you begin to see that in the filmbecause you won't get anything out of it other than what was put into it.
If it's a live event that's uncontrolled by the camera person,you'll see thousands of things happening all at once.
So that's kind of what the way it's been with the Patterson film.
The better you get the film, the more things you see and the more things yousee happening that are out of the control of the camera person.
(00:13:21)
Give me an example of some of that with the Patterson film.
For instance, the film is in parts. It's either the camera stopped and started,or either it was done in an editing room or something. They call it an edit.
But she goes, the first part of the film, I call it a walk sequence.
She walks straight away with her head down and she gets over next to the trees.
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She falls flat over.
(00:13:55)
And her rear end is literally pointing straight at the camera.
And then that's it. That's the end of the walk sequence.
Walk sequence two begins upstream on the sandbar, walking in the wide open stance.
And you can see in the filmjust a host of things that are going on as she walks by.
With her and with things that are outside, you can see in the film her tracks that she left behind.
(00:14:37)
You can see something bounce off her leg, her right leg, and fall away to the ground.
You know, that type of thing that would not, you know, be something they would include in a hoax.
So, you know, it's... I've seen enough. She's carrying something in her left, on her left sidethat occasionally swings back and you can see that it's large.
It's not being held by her left hand. It's being supported on a lanyard around her neck.
(00:15:26)
And she's got it on her left side and it swings back.
And at one point in time, you can see that it's bigger than a catcher's mitt.
And it looks to me kind of like a park ledge.
One of those things that's been used forever to carry personal items.
It's a folded leather or folded cloth or folded something that you put your items in. You fold it,It's a folded leather or folded cloth or folded something that you put your items in.
(00:16:05)
You fold it,make a bag out of it, you know, or something like that. You don't get just glimpses of it,but you see it. You see it in both walk sequences. I've come to find out some of the circumstancesfor surrounding the film. You know, and when you take a film like that, it's an important piece offootage because it's showing something that is outstandingly different than us.
(00:16:39)
And it has to be determined or in some way ascertained whether it is authentic or not.
It's important enough that they tell a story about how the film, they took the film, the twomen did. And the story just does not match what you see in the film. It doesn't match what youcan find out about the film. That film stock was Coca-Cola 2, which only had two places incan find out about the film.
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That film stock was Coca-Cola 2, which only had two places inNorth America at the time that developed it. The second best film stock made, only to thinkbetter, was Technicolor. And when they claimed that they took it out, developed it on a Fridayand showed it on a Sunday. And they did. They did do that. The next question is, how did they doand showed it on a Sunday.
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And they did. They did do that. The next question is, how did they dothat? Well, something's not jiving. And that was brought to their attention early on by otherpeople besides me. You know, how did they come out of the woods? They didn't shoot the film until130 or 25 miles back into the woods. And they come out and drive to the coast.
(00:18:22)
Well, as time goes by, you learn a little bit about it. You learn that that story is kind ofdry thing. And there was other stuff that went on that they'd rather not talk about.
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And the film is the end result of those other things.
And the story is kind of a simplistic explanation for it. And it just does not matchwhat you see there. Were you ever able to get the the true account of that story? I was able to getit. I visited with Miss Patterson. She was such a nice lady. And she was getting Roger's stuff out,it.
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I visited with Miss Patterson. She was such a nice lady. And she was getting Roger's stuff out,letting us look at it. And she had some transparencies that were made from theoriginal film. They were spectacular, just spectacular. And she was gracious enough toallow me to take them and have them scanned. She gets a phone call.
And she'd already told us that she didn't have a good relationship with Bob Gimlin, who was thelast surviving other man that was there. They didn't speak much unless they had to talk business.
(00:20:10)
And this phone call was from him. And they were arguing. They got into a big argument. I wasn'ttrying to listen in on anybody's phone call, but it was right there. And she got really,really upset. She hung the phone down sharply and turned around and said,okay, what would happen if somebody shot? I said, probably, probably nothing.
Given their appearance, she said, even if they shot it in the back. And I said,Given their appearance, she said, even if they shot it in the back.
(00:20:58)
And I said,probably not. But it caused me to have to go back and take a second look at the thingin another light. And other people began to come forward. There seemed to be a host of peopleinvolved. It wasn't just those two. That's just part of the story. That was a logger's landing.
They had a lot of people there. And they were having this hunt, a Bigfoot hunt.
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But they weren't, Patterson and Gimlin weren't part of that. They were accidentally called inby a man there in Willow Creek who thought the hunt was over.
And they came in on it as it was occurring.
And they had a dog, supposed to be the baddest dog in all of Canada.
A big old Alsatian. And it was a guard dog, a tack dog is what it was. It came fromA big old Alsatian.
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And it was a guard dog, a tack dog is what it was. It came fromNorth American Guard Dog Services there in Canada.
Flown in twice in two days. And they went back home and was called back inby a supervisor there at site. They came back with the dog.
And all the man told them is, what you're looking for is here.
They came back and there were more than one camera there. Patterson had two cameras. He had a K-100They came back and there were more than one camera there.
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Patterson had two cameras. He had a K-100Kodak and he had a Bolex, which was a far better camera. It was the kind you make professionaldocumentary. And there was another man there with an eight millimeter.
And another man with an eight millimeter. And a man with the big enstamatic steels.
You see what I mean? It was quite a show.
It sounds like a lot of people involved and perhaps something else transpired. Did you getIt sounds like a lot of people involved and perhaps something else transpired.
(00:23:33)
Did you getthe impression that someone shot at this Bigfoot? Yeah. Yes, I did. As it turns out, that is whatevents took place. Was that what was happening when she went down? Probably.
(00:23:53)
You know, she was across the sandbar. She just healed straight over.
And then the next frame, she sat on the sandbar, moving upstream in that wide open stancethat everybody's familiar with. The real story is quite like a lot of things in life.
It happened. A lot of uncontrolled things. More than one person knew about it.
There's a missing roll of film.
The missing roll of film allegedly was taken afterwards.
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But it begins to turn up in 10-foot strips in the hands of different people.
And what I suspected was done was that they cut it up, each one showing another person there.
And each one held 10 feet of it so that if you spill the beans, someone would have a film of you being there.
You know, they could turn it on you. It was kind of an insurance policy.
(00:25:25)
And I believe that's what occurred. That's where the second reel was cut up for.
I hate to just make an allegation because in an interview like this, you can't really get into the meat and fetas a lot.
But it's what I found out. There's a hole there that was dug out. You can see that it's dug out with machinery.
And it's full of bloody water. Just absolutely brilliant bloody water.
(00:26:11)
And it wasn't supposed to be in the film, and it wasn't.
If it was, it was in those really bad copies that you couldn't tell much about it.
But Miss Patterson had it in a transparency that was spectacular.
And she got a shoebox out of the top of the closet, set it on the table, and she said,let me show you some of Roger's letters and things. And she pulled out this envelope.
(00:26:48)
And when she pulled the envelope, she spilled these transparencies onto the floor.
And she says, oh, those are Roger's negatives. And I said, no, no, these aren't negatives. These arepositives, transparencies, four by fives. And I picked that one up and I held it up to the light.
And I was just stunned at how clear it was. And I took it out back and put a piece ofAnd I was just stunned at how clear it was.
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And I took it out back and put a piece oftyping paper behind it, using the sunlight. And then I took film and still photos of it.
And later that afternoon, I interviewed Bob Gimlin. And I just showed him the pictureon my camera, on the little viewfinder. I asked him, Bob, what do you think this is?
Because at the time, I had not pieced any of this story together.
(00:27:56)
He says, where the hell did you get that photo? And I saw I was upset at him, so I justshut the viewfinder over, flipped it over, got it out of his sight.
And his reaction, he recognized it, but he wasn't supposed, I wasn't supposed to have it.
You know, so that's, you see what I mean? It's a very hard thing to do,a genuine investigation, when a person is a hero to almost a cult follower.
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They just don't care much for that. But if you're interested in truth,then you have to push on through.
(00:29:07)
The story, as far as I'm concerned, has been told. I know it, and other people.
They had a program there, the logging company had a program going where they kill bears.
And every summer, people would go hunt bears for the logging company,and they'd get triple hundred dollars to kill a bear. And people would make their money.
In one of the films, there's a man named, I think his name is J.C. Butrum, who was a schoolteacherIn one of the films, there's a man named, I think his name is J.C.
(00:29:55)
Butrum, who was a schoolteacherthere in Orleans, not far from Bluff Creek. He was out there hunting bears,and then there came this urgent need to hunt Bigfoot. And they were going to do that in asimilar way. That's what worked for them. And they got these people, same people,and they brought in this tack dog out of Canada, and they were going to dispose of some Bigfootthat were running their help off. So, that's what you see. That's how the Patterson filmthat were running their help off.
(00:30:44)
So, that's what you see. That's how the Patterson filmis edited. If you saw the whole thing, you would see all kinds of people. You can see their evidenceon the film itself. There's a big handprint on the log, the famous log in the foreground.
It's a big white handprint. You know, you can see boot prints. You can see,you know, in the good versions, not the bad ones. That was the purpose of making the copies grainyyou know, in the good versions, not the bad ones.
(00:31:16)
That was the purpose of making the copies grainyand shaky and worst possible quality, where she's nothing but a silhouette.
That was the purpose in that, because if you had the real good stuff, the very highest quality,the master copy, you're going to see things that you perhaps don't. You might want to hide youreyes. So, the story that you're telling me with everything that happened, and they didn't reallyeyes.
(00:31:44)
So, the story that you're telling me with everything that happened, and they didn't reallywant all of this out. They didn't want this information out. What was the purpose for notletting this story get out? Do you know that? It was a logging company that didn't want it out.
It wasn't the distance down there. It was a logging company.
And an old bear hunter, he's the one that provided me with all kind of information on the loggingcompany, what they had been doing. And they just, they handled everything in-house.
(00:32:21)
And the body parts, I think they ended up disposing of five out of a group of seven.
And the one you see on the film there is just one of them.
Five? Bigfoot, is that, did I understand that right?
There were five that they had successfully put down.
And I've got, I've got quite a bit of footage. I've got this second film that was taken hereAnd I've got, I've got quite a bit of footage.
(00:32:59)
I've got this second film that was taken herethat shows, you know, a little bloody fool. They take the dog up there to listen to the,I mean, to smell the blood. And then they take off and they got a big rifle in their hand,a double-barreled elephant gun. Quite a bit different from the story.
It's a really fascinating tale about how you came into this. It's kind of the inside story,It's a really fascinating tale about how you came into this.
(00:33:30)
It's kind of the inside story,but also the inside film and what it shows and what it tells. So the logging company did notwant this information out. Was what they were doing illegal or did they just not want it?
(00:33:40)
Yeah, well, I mean, it's illegal to hunt bears in the summertime. Anyway, I got a season on bears,but they weren't hunting bears. They were hunting these, these group of Sasquatches were giving thema lot of grief. That area in there was a sacred Indian land. And there were two peaks there thatthey considered sacred. One was a medicine peak, or also known as Dr. Rock. Another one wasthey considered sacred.
(00:34:15)
One was a medicine peak, or also known as Dr. Rock. Another one wasChimney Peak. And their belief was that at one time there were human, there were people therethat were not us. They were not humans like us. And that they returned to the stars through a hole inthe sky from off of those two peaks. And they trained their shamans there and all of that.
(00:34:38)
And that was the pristine area they were penetrating in order to get the timber.
And it became a kind of a, well, the local natives, Native Americans, formed human chainsto try to stop them. And they were unable to stop.
And the Bigfoot, they plowed into that area where these Bigfoot live. And the Bigfoot began to getthem a lot of grief. They would throw their fuel barrels down the hill. And they threw culvertsthem a lot of grief.
(00:35:26)
They would throw their fuel barrels down the hill. And they threw culvertsdown the hill that were unbelievable the size of these culverts. Because I found the culvertsstill down there wrapped around trees. Do you know what guns were actually able to take outBigfoot? Because I've heard that they're really difficult to, they don't respond a lot. Do you knowwhat the circumstance was, what the guns were, or what ammunition that they were using to beable to do that? Well, I know they had this huge, like an elephant gun. It was a double barrel.
(00:35:58)
I think it would penetrate like 12 inches of bone.
If you shot an elephant between the eyes, it would plant him.
They were serious. Now, you're talking about something with that kind of muscle density.
You're right. They're hard to bring down. And they didn't bring them all down.
There was still a couple left. Were there any repercussions for the logging companyfrom either Bigfoot, the Native Americans, or legal ramifications from that? They tried to burythem. They skint, they took the taxidermically speaking, they took the skin off of, you know,them.
(00:36:50)
They skint, they took the taxidermically speaking, they took the skin off of, you know,where it could be remounted, and all the things you do, you know. And then they, what's left over,they try to put in that hole. That's why it was so red. And then when the creek leachedback through the sand and floated it up, and they decided to, they tried to drain itback to the creek, and that didn't work. So they took them out of there and went over next to theback to the creek, and that didn't work.
(00:37:31)
So they took them out of there and went over next to themountain where the canyon wall came down. And it's a little higher ground there, and then theyburied them there. The hole shows up on film in a spectacular fashion when you have that copy,that transparency from the master. Oh man, that's me holding on to it with thetype and paper behind it in Miss Patterson's yard. That is the transmission image, thetype and paper behind it in Miss Patterson's yard.
(00:38:07)
That is the transmission image, thetransparency. But this whole phenomena really was, it was a hunt of Bigfoot by the logging company.
(00:38:14)
They were on sacred ground that was like kind of forbidden for them to be there,and also illegal for them to be hunting bear or Bigfoot. They were trying to kind of cover it up,they didn't want to get in trouble. Did the logging company ever face this as a legal issue?
Not to my knowledge. I know one thing that you could get in a heap of trouble.
(00:38:37)
Back in those days, big corporations ruled the world, and you could get in a heap of troubletrying to make them, you know, make them be forthcoming. The people that actually releasedthis, why did they release it? Do you know? The film itself? Yes. It belonged to Roger Patterson,he was not part of that. Roger Patterson took that film.
You see, you only have 29 seconds. You know, you got a 100-foot rope, way more than 29 seconds.
(00:39:18)
It's a lot more on the film. But what was his motivation for releasing just this part of it andnot telling the whole story? If he told the whole story, he'd probably end up six feet under. It waskind of a dangerous place for him to be if he did any more than just release the Bigfoot. Right.
Dare not go with that whole thing. And there's more to it involved because the people involved.
(00:39:48)
Now, the old bear hunter, which I have pictures of him, I went and interviewed him in Arkansas.
He showed me pictures of Bluff Creek, Orleans, all around, you know, I got no doubt about that he'dbeen there. He says that those taxidermy parts went to Russia. And there was apparently a blackmarket in Russia. I'd hate for you to be new to Bigfooting and then enter into this arena,market in Russia.
(00:40:31)
I'd hate for you to be new to Bigfooting and then enter into this arena,because it's a lot easier and a happier subject to just believe their story, you know. But it'sjust not the true story. I don't want to believe anything that's not true. What year did thishappen? 67 is what they say it is. I haven't, you know, there's no real proof that it was 67.
(00:41:00)
Film can be taken anytime and released anytime. As far as I assume that it was 1967,it's definitely not in October, which they say it was October the 20th. But you can look at theshadows in the film, you can tell that it's not there. It's somewhere in the summer, late, maybelate summer. Have you discovered anything else that we haven't talked about regarding that filmlate summer.
(00:41:31)
Have you discovered anything else that we haven't talked about regarding that filmor just, you know, Bigfoot in general? I'm sure there is, if you got me going, butyou know, this right here is probably all I really want to say about it. It's been a long journey.
It didn't turn out to be necessarily a happy one, with the exception thatthat they're having that knowledge that there are human, and I say human-like,they, if you look at, there's a gentleman by the name of Todd Gatewood, who has appliedapplied some of the modern upscaling techniques to the pictures,and he did it to that picture that I was telling you about, that was so good,that it came off the original film, and it was filtered, and it was just beautiful. And histhat it came off the original film, and it was filtered, and it was just beautiful.
(00:42:32)
And hisresults were just spectacular, just spectacular. But this is a full face-onof Patterson, so you can see it's almost going to fall down. Hold on. Amazing. He brought it,he tightened it up with using upscaling techniques, and it is just marvelously clear.
(00:42:59)
Yes, I can see that. Much detail. Goodness. So what do you think these creatures are,in your opinion? Well, I don't really have an opinion. It's the Native Americans,I assume that's who they were referring to when they said a human other than us.
So I take it that that's what it is. I take their word for it. A human other than us.
(00:43:36)
I don't know how they would affect going back to the star, to a hole in the sky, or any of that,but they're very serious about that.
I've probably made 15 trips to Bull Creek, and I've just looked at every aspect of that film,talked to Native Americans, I've talked to the Hoopa, I've talked to the Karooks,Yuroks, there's three main tribes around there. Y'all tell that same story.
(00:44:14)
I just say, you know, I just go with what they say about it. I don't have any way ofdigging to the truth on that one, as far as what they are.
I do, I feel like they told me that they traded with them at one time.
And they were just the most unreliable, dishonest, they would steal from you,they wouldn't make anything, they would steal your stuff.
(00:44:54)
And they would come down out of the mountains, and they would take your fish out of your nets.
They were just a scourge.
And they broke off relations with them, but they still had problems with them coming down andkidnapping people. They would kidnap children, they would kidnap women.
And all of this occurred until Europeans came and brought firearms.
And then they went up to the high country. They were afraid of the firearms, and that's whereAnd then they went up to the high country.
(00:45:36)
They were afraid of the firearms, and that's wherethey've been ever since. But at one time, they were down in the lower areas, you know, valleys.
So, it's a type of person, a type of human, but not necessarily us, almost something.
They're reported, of course, now in the swamps of Florida and a lot of lower lands,not just, you know, the mountainous ranges too.
(00:46:05)
Across the whole length and breadth of the country. I've come to learn that there's differentreports of different looking things. There's a gentleman by the name of Pete Travers, whoembarked upon what he called the Bigfoot Sketch Project, where he took eyewitness accounts andhe reconstructed the face and give you something to look at, you know, as best he could.
And it was remarkable how diverse they were across the country.
(00:46:42)
You can go to the jarbidge willow in this area, and you can locate them there. They're very tall.
And you can go to Southern California around Joshua Tree,Joshua Tree National Park, and they're probably not over five feet tall.
And they're just distinctive traits in different parts of the country.
And so you go up to the Bluff Creek area, and they have this very human looking face.
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It is very interesting that there is so much information and yet so little information.
(00:47:27)
You know, a lot of people have seen these things. A lot of people have had some kind of an encounter.
Obviously, they've been, you know, through history, there's a lot of Native Americansthat talk about them, and even historical accounts for it otherwise, as well. And yet we have noreal significant body proof, but it sounds like what happened at the time that thesefilm, this film was taken, that they really did have that in hand. And it just wasn'tfilm, this film was taken, that they really did have that in hand.
(00:47:59)
And it just wasn'tput forward as a real thing, because most people just don't believe they're actually real.
Well, they have to get over that. They have to,in order to determine what they are on nature, you have to at least believe they're there.
So, you know, there's enough evidence there. They've been generally discouraged.
I mean, you have, back in the day, when Bigfoot became the kind of, entered the lexicon,it was the late 50s. General rule that these big corporations kind of ran America.
(00:48:45)
And they weren't, they, when one of the loggers was asked aboutwhether one of the, and these were one of the loggers in the show called Axeman,that used to come on A&E and other channels, a history channel, I think.
And he said, when asked if a logging company could, would kill something like a Bigfoot,he says they've done worse than that. And, you know, you pretty much, if you lived in that area,he says they've done worse than that.
(00:49:28)
And, you know, you pretty much, if you lived in that area,you know, you don't want to get on the bad side of the logging company. Well, that's a sad story.
It's not all sadness. That there, there are, there's a happy part of the storythat we share this planet, that things like that, and that we have the ability todiscover them and to, even though we're kind of running the earth right now, we can take care ofthem, you know, we don't have to exterminate them. And so you got to have knowledge though.
(00:50:16)
You got to, you got to have knowledge. You got to at least believe they're there.
And then from that point on, you can work, work with them in some kind of way so that they're,their ability to survive on the earth is preserved.
You know, how can, how can you do any of that if you don't believe they're there?
And I think big corporations realize that. So things like that, they're, they're on the periphery.
(00:50:50)
You know, they're, that's, it's, people call it maybe alternate knowledge or something like that.
It's knowledge. It's, it's the truth.
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