TZUTC: -0400   
   MSGID: 125.fidonet_ufo@1:3634/60 2c75eaf7   
   PID: Synchronet 3.19b-Win32 master/a2a9dc027 Jan  2 2022 MSC 1928   
   TID: SBBSecho 3.14-Win32 master/a2a9dc027 Jan  2 2022 MSC 1928   
   BBSID: RICKSBBS   
   CHRS: UTF-8 4   
      
   SUBJECT: UFO Cover-Up ?                                      FILE: UFO136   
      
   PART 2   
      
        Initially, the producer who will remain nameless  throughout   
   this  piece  professed to having a strong and sincere  belief  in   
   Ufology.  For all intents and purposes that appears to have  been   
   true,  except for occasional asides where he demonstrated  a  far   
   stronger interest in butts; both that of cigars and young women.   
      
        About  a  third of the way into production, the  first  dark   
   clouds appeared, signaling something ominous on the horizon.  The   
   producer,  after having several meetings during  production  with   
   "Condor"   and  "Falcon"--both  alleged  clandestine   government   
   intelligence  sources for the show-began showing marked  symptoms   
   of   paranoia.    He  became  quite  irascible,   demanding   and   
   dictatorial  to  all  of the production  staff.   One  particular   
   demonstration  of the came when he spoke with me saying, "I  want   
   you  to get into the possible government cover-up and  conspiracy   
   based  on the data we've collected, but at the same time  I  want   
   you to remain neutral in your approach."  To say that his request   
   was  a contradiction in terms would be an understatement, not  to   
   mention  an impossibility for any writer.  My job as  the  writer   
   was to be as objective as possible, which accordingly meant  that   
   I  was  to  demonstrate,  based on the  voluminous  data  at  our   
   disposal, that a U.S. government conspiracy had in fact  occurred   
   over the last 42 years and was still in effect.   
      
        After  repeated  meetings with "Condor"  and  "Falcon",  the   
   producer's attitude and orientation toward the show altered  even   
   further.  His increasing paranoia and loss of objectivity  caused   
   him  to ignore virtually every significant piece  of  information   
   and  event  presented  to  him  in  the  treatment  and  original   
   screenplay.   All attempts to persuade him to take seriously  the   
   Freedom  of Information Act (FOIA) documents and data from  books   
   like  Clear  Intent, Sky Crash, Intruders and Above  Top  Secret,   
   along   with  facts  on  the  cattle  mutilation  mystery,   were   
   fruitless.   
      
        Under normal circumstances, a producer waits for a  finished   
   first draft of a treatment and/or script before asking for a  re-   
   write  if such is desired.  With the frenzied state of  mind  the   
   producer was now in, he would demand to see every page as it  was   
   written,  frequently lose it after it was turned in and  if  not,   
   would ask for it to be re-written because it didn't meet with his   
   approval.   Because of his confused state of mind, he really  had   
   no  idea  exactly  what he  wanted.   The  producer's  incredible   
   indecisiveness  drove  the  creative  staff  to  distraction  and   
   finally  to their wits end, as the show was on a very  short-term   
   deadline.   
      
        Yes,  we  did  have the cooperation  of  several  government   
   intelligence  sources.   Emenegger  said he  would  talk  to  his   
   sources about furnishing never-before-seen footage of a  supposed   
   UFO landing at Holloman Air Force Base.  Tracking camera  footage   
   of  a  missile  launch depicting a UFO  paralleling  the  missile   
   flight,  was  also,  at one point, made  available  from  another   
   associate   of   Emenegger's.   Unfortunately,  both   of   these   
   potentially  incredible  pieces of film footage  were  ultimately   
   withheld.   
      
        When  the final treatment and partially  completed  teleplay   
   were  presented to the producer, his response was  shocking.   He   
   rejected  them because they were too serious.  In the  producer's   
   own  words:   "What you've given me here is totally  useless.   I   
   can't use a single page of it.  I want copy, schlock,  camp...not   
   screenwriting."   My  response was  simple  and  straightforward,   
   "Don't you want a serious show that will blow people out of their   
   chairs?   Aren't you concerned with the integrity and quality  of   
   the  program?"   The producer simply stared into my face  with  a   
   blank expression.   
   End of part 2   
      
          
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