December 3, 2025 • 19 mins
George Noory and filmmaker Paul Davids explore his lifelong fascination with the paranormal, strange events that happened to him after his friend died, giving lie detector tests to psychics, and an unexplained photo that showed a ghostly image of him with his parents before he was even born.
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Speaker 1 (00:00):
Now here's a highlight. From Coast to Coast am on iHeartRadio.
Speaker 2 (00:05):
And welcome back to Coast to Coast, George, nor with you,
Paul Jeffrey David's with Us got to start in the
entertainment business with production work and writing for the Transformers
animated TV shows Remember them as Many films over the
last four decades have tackled subjects of keen interest and
include films such as Roswell, the UFO, cover Up for Showtime,
(00:25):
Timothy Larry's Dead, The Sci Fi Boys, Marilyn Monroe, de Classified,
and the several films about life after death. Paul David's
Back on Coast to Coast. Hey Paul, how've you been?
Speaker 3 (00:36):
Hi? George? Life is good.
Speaker 2 (00:39):
Looking forward to this. You have such an incredible background.
How did you get started in this field?
Speaker 3 (00:46):
Well, it really started when I was a kid making
amateur monster movies of dragons and dinosaurs and eight millimeter
it was before video and I one excuse me, brogging
my throat. I won a national award for one of
(01:09):
my films when I was a kid, and after college
I applied to the American Film Institute Center for Advanced
Film Studies. It was its opening year in Beverly Hills,
and they had quite a group. They only accepted eighteen people,
and I was very lucky to be one of them.
We all had a full fellowship. They paid for the
(01:32):
production of my student film there and after that program,
it took a few years, but then I did get
gradually established in the business, first by working for a
famous agent, Paul Kohner, and it took many years before
I was making my own projects. But The Transformers was
(01:54):
one of the big breakthroughs because I was not only
writing scripts, but I was the production coordinator for all
of those early cartoons, seventy nine episodes. I was a
board at Marvel, so that's where it began.
Speaker 2 (02:09):
Well, you do a great job. I remember we talked
years ago about Forrest Ackerman, the father of sci fi,
and you had an event at by then Buddy's house,
didn't you in La.
Speaker 3 (02:22):
Yes, I was very close to Forrest j Ackerman. He
did coin the term sci fi. He was the editor
of almost two hundred issues of Famous Monsters magazine, and
I was a fan. Became very very close, and he
was a skeptic. You couldn't argue with him. He was
(02:45):
an atheist. He didn't believe in life after death. He
didn't even believe in that flying saucers were real, so
in spite of the fact that so much of his
work involved those subjects, but his fiction. But he did
say that when I'm gone, if it turns out that
(03:05):
I'm wrong and there's a big sci fi convention in
the sky, maybe I'll try to drop you a line.
He died in December of two thousand and eight, and
in two thousand and nine, March after we held a
huge tribute for him at the Egyptian Theater in Hollywood.
(03:26):
Really really strange stuff started happening to me and others
who were close to him. I mean, it was like
life turned into the Twilight Zone with things relating to
Fari happening that you just couldn't explain it.
Speaker 2 (03:44):
Scary things are things that were dangerous?
Speaker 3 (03:48):
Oh no, not at all. You know, Fari had a
great sense of humor, and he loved puns. He was
a mischief maker. So a lot of these things that
would happen that suggested that he was still around had
his sense of mischief in them. And this is what
(04:08):
led me to begin making films about life after death.
I've made three feature documentaries. Now, one of them was
the one that was a seance that we held at
Farre's house. That was the one that you were referring to.
But no, I researched the subject with mediums with doctor
(04:29):
Gary Schwartz of the University of Arizona, Tucson, with his
theories of using electronic means to contact the other side.
I got very, very deeply involved in all of that,
and I want to I want your viewers to know
that all of the three Life After Death Project films
(04:52):
are online easy to find. You have to add the
word project or you want to find it. It's a
Life After Death Project one, two, and three. And of them,
it turns out that number two is really online more
popular than any other film I've made. And I can't
explain it, but it's far and away. It gets more views.
(05:13):
It's getting about a million minutes of views every month,
and that's been going on for years.
Speaker 2 (05:19):
That's amazing.
Speaker 3 (05:20):
Yeah.
Speaker 2 (05:22):
The book you wrote last year is called Growing Up
Sci Fi in Garrett Park. Now, there is Garrett Park
in Maryland. There's also one in northern California. Which one
are you talking about?
Speaker 3 (05:34):
This is Maryland. I was a kid from Maryland on
the suburbs of Washington, d C. My father was a
history professor at Georgetown University Downtown, and our life was
very connected with Georgetown. My mother was a fifth grade teacher,
and they were also quite skeptics. They you know, they
(06:00):
weren't believers in much of anything toward the paranormal or
religion really, and that's the way I was raised. So
I was your typical hot shot materialist who thought he
knew everything till I reached my forties, and things really
(06:22):
started to.
Speaker 2 (06:22):
Change in a big way too for you, didn't they.
Speaker 3 (06:27):
Yeah. Now, the book you mentioned growing Up sci Fi
and Garrett Park the title comes from the fact that
I was completely obsessed with making amateur sci fi films
when I was a kid, and it really did indirectly
lead to my career to getting accepted at the American
Film Institute and then going on and making many films.
(06:50):
But the paranormal stuff, it didn't actually start for the
first time with Fari in two thousand and nine. It
was in nineteen eighty three. I was a segment producer
on a television series by the lawyer f Lee Bailey.
(07:11):
You remember, I remember him.
Speaker 2 (07:12):
He was one of the Big Ease.
Speaker 3 (07:14):
Yeah. He was one of the defenders of O. J.
Simpson as a matter of fact, and he had a
daily television show called Lie Detector, and as segment producers,
we would screen stories that we'd find from any source,
people that would write into us of people who wanted
(07:35):
a chance to come on the air and prove that
they were telling the truth about something, and they would
take a polygraph on the air. Ed Gelb, the head
of the American Polygraph Association, was connected with the show,
and he read all the polygraphs, and so some of
these people were vindicated and others came out as inconclusive,
(07:58):
and others flee. Bailey would confront them and say, you
know you're lying through your teeth. Why did you want
to come on the show and embarrass yourself? So on
that show, there was a psychic from New Jersey, Dorothy Allison,
who had helped the police department in I think it
(08:18):
was Nutley, New Jersey, locating the bodies of murder victims
that hadn't been found. That was her unique talent. And
I brought her on the show and I was so
astonished and impressed by what she had done. I had
all these affidavits from policemen and the cases where she
(08:41):
had actually very very difficult situations. Her work had resulted
in the finding of a murder victim. So that was
nineteen eighty three, and that certainly tipped me off to
the fact that there has to be something to this.
She had to be getting these messages from somewhere. She
(09:01):
said she was getting them from the deceased who wanted
their bodies found. So if that was true, then there
had to be life after death. There had to be
some means of communication between our world and the other side.
But again, that was nineteen eighty three, and it wasn't
until two thousand and nine, after Fariy Ackerman died that
(09:23):
I really really became involved when it directly affected me,
When things started happening in my life that I couldn't
explain that seemed supernatural. They seemed like they were coming
from FORI. And where this leads in conversation I hope
George is I want to talk about the passing of
(09:45):
my parents and my father in law and the strange
things that are recorded that happen when people. So many
people pass away and their friends are loved ones become
convinced that something is happening to tell them that they're
still in touch. And this is the area of the
(10:05):
research that I've become so involved in and very convinced of.
Speaker 2 (10:11):
Yeah, tell us about this photo you sent to us
that we have posted at the Coast to Coast dan
dot com website.
Speaker 3 (10:16):
Paul Okay. So, the photo was taken in nineteen forty.
It was taken right when my parents became engaged. They
were in Brooklyn. They had an amateur photographer take a
couple of photos of them seated by a fence, one
of them holding hands, the other one not holding hands.
(10:40):
And this was in a family photo album, and there
were a couple of photos. I've provided a couple of them,
one that is completely normal and one that looks like
it's a double exposure, but just an ordinary double exposure,
(11:02):
because there's a lot of strange stuff in there that
you can't see if you just hold up the picture.
I provided a photo of it against a ruler, so
you can see. This was a contact print. In nineteen forty.
They took a negative, they did a contact against the
negative to make a print. Nothing is tampered with. You
(11:22):
get your print and it's only like four inches long
and a couple of inches high, and.
Speaker 2 (11:30):
They didn't but they didn't have photoshop in those days.
Speaker 3 (11:34):
No, No, this is one of the reasons it has
so much credibility. We know this was from nineteen forty
and I didn't pay any attention to it till well
after my mother passed away. I started to go through
the family photo albums digitizing, and I looked at this
and said, this is strange. I wonder why they saved
this picture because it looks like it's a double exposure.
(11:57):
But she saved it because it was from when they
got engaged, so even though they probably thought it's a
bad picture, they kept it in the album. Well, when
I digitized it and I enlarged it, I was absolutely
astonished with what I saw in that picture. And if
(12:19):
you look at the pictures that I provided to Coast
to Coast and you sort of enlarge them pinching the
screen and enlarging them, you will see between my parents'
heads there is sort of a teardrop shaped area where
there are the faces of two young children who couldn't
(12:40):
have possibly have been there when the picture was taken.
Because of where it was taken and how my parents
were leaning against a fence. These children's faces, they're like
hanging in mid air. And I've gone to experts, So
I want to tell you, I've gone to three experts
(13:03):
in photography to try to get to the bottom of
why this is a mystery and how it happened, and
none of them have been able to come up with
an answer. And what is so intriguing is and my
sister recognized it immediately that the children between my parents'
faces look exactly like we looked. There was four year
(13:23):
difference between us when I was seven, it would have
been like nineteen fifty five and she was three. So
we have lots of pictures of ourselves when we were
that age, and the two kids between my parents' faces
look exactly like we did as children.
Speaker 2 (13:43):
And you weren't even around then.
Speaker 3 (13:45):
We hadn't been conceived, you know. I was born in
nineteen forty seven, giving away my age. I'm not exactly
a youngster, but yeah, I hadn't been conceived. And there's
more to the picture that's so strange because people the
(14:06):
first thing they tried to say was, well, it's a
double exposure. Maybe he clicked it again, aiming at something
else that had children. Well, with a double exposure, you
get transparency, you can see through the characters. It's like
you get a ghosting image. There is no ghosting image
of the faces these two children, they're completely clear. They
(14:29):
don't look double exposed at all. What are they doing there?
And then what's so strange also is it's a double exposure.
But it looks like my father has three ties and
two noses. If you look carefully at my father's face,
you will see there was his nose as it looked
(14:52):
when he was young in nineteen forty, and there's also
his nose as he looked as an older man. Can
see the change in shape. And these two noses are
right alongside each other. Why that it's crazy?
Speaker 2 (15:07):
Did you show the photos to experts?
Speaker 3 (15:10):
Yes, there were three. There were three, and I think
one of the I'll tell you who they were. There
was there was Larry Kane, who's a professional photographer who
comes from a photographic family, who's a real expert. And
you know, I wanted, with all apologies to Larry. He
was pretty cocky when I told him I had this mystery,
(15:32):
because he's a skeptic, you know, And he said, yo,
I'll solve it. Well, we'll put it on my computer.
I'll tell you what's going on here. And the most
ridiculous theories came out that were just absolutely impossible. I
mean one of them was, okay, what if you somebody
had this print and pressed it against another print that
(15:53):
had the children and the image of the children just
sort of came off on it. It's not what happened.
You can absolutely see from this print that it is
a straight print from a one sixteen negative Bellows camera
of those days. And he couldn't solve it, and he
(16:14):
finally gave up. Then I went to Chris Ford, who
lives in Sedona, where I live. Chris Ford was absolutely
one of the key technical people at Pixar. He was
involved with toy story and all of the technical advances.
(16:35):
Certainly he knew photography. So he upredsed the picture and
put it on his computer and I recorded. I actually
made a two hour recording of him analyzing everything step
by step and trying to come up with an answer.
And this expert after two hours, he was completely baffled, says,
(16:55):
I cannot explain why those why those children are there,
how they got there. Some people tried to say, Okay,
maybe the children were behind the fence, but what were
they standing on. There's nothing for them to stand on,
and their heads are so high in the frame it's
like they be floating in the air in order for
(17:18):
their heads to be in that position. So Chris Ford
had no luck. Then I went to an extremely qualified expert,
John Allison. He may be listening tonight. By the way,
if you get a call from John Allison, let's please
answer it. He's in New Jersey. John Allison did a
(17:39):
lot of the work on the Life After Death Project
and he's in the movie The Life After Death Project one.
He was at the seance of the Life After Death
Project three. And he's a chemist. He's been a professor
of chemistry at College of New Jersey his whole career.
(18:00):
He started working on it, and he tried everything, and
he did a lot of historic research to try to
find other photos. He couldn't find anything in the literature
that was anything like this, and he started to write
scientific paper about it to explain that this is a credible,
(18:23):
real scientific problem. He did a draft of it. He
submitted it to a technical journal that might have published it,
but they came back to him with a lot of
things they wanted expanded, and unfortunately around that time John
Allison he had medical problems and he was unable to
(18:46):
finish that technical paper. So I've always wanted to take
this problem out to the world. Maybe someone who's listening
tonight will study the pictures and have some suggestion. We're
open to anything, but if you can't explain it, you've
got a time travel situation here.
Speaker 1 (19:03):
Listen to more Coast to Coast AM every weeknight at
one am Eastern and go to Coast to coastam dot
com for more
Now here's a highlight. From Coast to Coast am on iHeartRadio.
Speaker 2 (00:05):
And welcome back to Coast to Coast, George, nor with you,
Paul Jeffrey David's with Us got to start in the
entertainment business with production work and writing for the Transformers
animated TV shows Remember them as Many films over the
last four decades have tackled subjects of keen interest and
include films such as Roswell, the UFO, cover Up for Showtime,
(00:25):
Timothy Larry's Dead, The Sci Fi Boys, Marilyn Monroe, de Classified,
and the several films about life after death. Paul David's
Back on Coast to Coast. Hey Paul, how've you been?
Speaker 3 (00:36):
Hi? George? Life is good.
Speaker 2 (00:39):
Looking forward to this. You have such an incredible background.
How did you get started in this field?
Speaker 3 (00:46):
Well, it really started when I was a kid making
amateur monster movies of dragons and dinosaurs and eight millimeter
it was before video and I one excuse me, brogging
my throat. I won a national award for one of
(01:09):
my films when I was a kid, and after college
I applied to the American Film Institute Center for Advanced
Film Studies. It was its opening year in Beverly Hills,
and they had quite a group. They only accepted eighteen people,
and I was very lucky to be one of them.
We all had a full fellowship. They paid for the
(01:32):
production of my student film there and after that program,
it took a few years, but then I did get
gradually established in the business, first by working for a
famous agent, Paul Kohner, and it took many years before
I was making my own projects. But The Transformers was
(01:54):
one of the big breakthroughs because I was not only
writing scripts, but I was the production coordinator for all
of those early cartoons, seventy nine episodes. I was a
board at Marvel, so that's where it began.
Speaker 2 (02:09):
Well, you do a great job. I remember we talked
years ago about Forrest Ackerman, the father of sci fi,
and you had an event at by then Buddy's house,
didn't you in La.
Speaker 3 (02:22):
Yes, I was very close to Forrest j Ackerman. He
did coin the term sci fi. He was the editor
of almost two hundred issues of Famous Monsters magazine, and
I was a fan. Became very very close, and he
was a skeptic. You couldn't argue with him. He was
(02:45):
an atheist. He didn't believe in life after death. He
didn't even believe in that flying saucers were real, so
in spite of the fact that so much of his
work involved those subjects, but his fiction. But he did
say that when I'm gone, if it turns out that
(03:05):
I'm wrong and there's a big sci fi convention in
the sky, maybe I'll try to drop you a line.
He died in December of two thousand and eight, and
in two thousand and nine, March after we held a
huge tribute for him at the Egyptian Theater in Hollywood.
(03:26):
Really really strange stuff started happening to me and others
who were close to him. I mean, it was like
life turned into the Twilight Zone with things relating to
Fari happening that you just couldn't explain it.
Speaker 2 (03:44):
Scary things are things that were dangerous?
Speaker 3 (03:48):
Oh no, not at all. You know, Fari had a
great sense of humor, and he loved puns. He was
a mischief maker. So a lot of these things that
would happen that suggested that he was still around had
his sense of mischief in them. And this is what
(04:08):
led me to begin making films about life after death.
I've made three feature documentaries. Now, one of them was
the one that was a seance that we held at
Farre's house. That was the one that you were referring to.
But no, I researched the subject with mediums with doctor
(04:29):
Gary Schwartz of the University of Arizona, Tucson, with his
theories of using electronic means to contact the other side.
I got very, very deeply involved in all of that,
and I want to I want your viewers to know
that all of the three Life After Death Project films
(04:52):
are online easy to find. You have to add the
word project or you want to find it. It's a
Life After Death Project one, two, and three. And of them,
it turns out that number two is really online more
popular than any other film I've made. And I can't
explain it, but it's far and away. It gets more views.
(05:13):
It's getting about a million minutes of views every month,
and that's been going on for years.
Speaker 2 (05:19):
That's amazing.
Speaker 3 (05:20):
Yeah.
Speaker 2 (05:22):
The book you wrote last year is called Growing Up
Sci Fi in Garrett Park. Now, there is Garrett Park
in Maryland. There's also one in northern California. Which one
are you talking about?
Speaker 3 (05:34):
This is Maryland. I was a kid from Maryland on
the suburbs of Washington, d C. My father was a
history professor at Georgetown University Downtown, and our life was
very connected with Georgetown. My mother was a fifth grade teacher,
and they were also quite skeptics. They you know, they
(06:00):
weren't believers in much of anything toward the paranormal or
religion really, and that's the way I was raised. So
I was your typical hot shot materialist who thought he
knew everything till I reached my forties, and things really
(06:22):
started to.
Speaker 2 (06:22):
Change in a big way too for you, didn't they.
Speaker 3 (06:27):
Yeah. Now, the book you mentioned growing Up sci Fi
and Garrett Park the title comes from the fact that
I was completely obsessed with making amateur sci fi films
when I was a kid, and it really did indirectly
lead to my career to getting accepted at the American
Film Institute and then going on and making many films.
(06:50):
But the paranormal stuff, it didn't actually start for the
first time with Fari in two thousand and nine. It
was in nineteen eighty three. I was a segment producer
on a television series by the lawyer f Lee Bailey.
(07:11):
You remember, I remember him.
Speaker 2 (07:12):
He was one of the Big Ease.
Speaker 3 (07:14):
Yeah. He was one of the defenders of O. J.
Simpson as a matter of fact, and he had a
daily television show called Lie Detector, and as segment producers,
we would screen stories that we'd find from any source,
people that would write into us of people who wanted
(07:35):
a chance to come on the air and prove that
they were telling the truth about something, and they would
take a polygraph on the air. Ed Gelb, the head
of the American Polygraph Association, was connected with the show,
and he read all the polygraphs, and so some of
these people were vindicated and others came out as inconclusive,
(07:58):
and others flee. Bailey would confront them and say, you
know you're lying through your teeth. Why did you want
to come on the show and embarrass yourself? So on
that show, there was a psychic from New Jersey, Dorothy Allison,
who had helped the police department in I think it
(08:18):
was Nutley, New Jersey, locating the bodies of murder victims
that hadn't been found. That was her unique talent. And
I brought her on the show and I was so
astonished and impressed by what she had done. I had
all these affidavits from policemen and the cases where she
(08:41):
had actually very very difficult situations. Her work had resulted
in the finding of a murder victim. So that was
nineteen eighty three, and that certainly tipped me off to
the fact that there has to be something to this.
She had to be getting these messages from somewhere. She
(09:01):
said she was getting them from the deceased who wanted
their bodies found. So if that was true, then there
had to be life after death. There had to be
some means of communication between our world and the other side.
But again, that was nineteen eighty three, and it wasn't
until two thousand and nine, after Fariy Ackerman died that
(09:23):
I really really became involved when it directly affected me,
When things started happening in my life that I couldn't
explain that seemed supernatural. They seemed like they were coming
from FORI. And where this leads in conversation I hope
George is I want to talk about the passing of
(09:45):
my parents and my father in law and the strange
things that are recorded that happen when people. So many
people pass away and their friends are loved ones become
convinced that something is happening to tell them that they're
still in touch. And this is the area of the
(10:05):
research that I've become so involved in and very convinced of.
Speaker 2 (10:11):
Yeah, tell us about this photo you sent to us
that we have posted at the Coast to Coast dan
dot com website.
Speaker 3 (10:16):
Paul Okay. So, the photo was taken in nineteen forty.
It was taken right when my parents became engaged. They
were in Brooklyn. They had an amateur photographer take a
couple of photos of them seated by a fence, one
of them holding hands, the other one not holding hands.
(10:40):
And this was in a family photo album, and there
were a couple of photos. I've provided a couple of them,
one that is completely normal and one that looks like
it's a double exposure, but just an ordinary double exposure,
(11:02):
because there's a lot of strange stuff in there that
you can't see if you just hold up the picture.
I provided a photo of it against a ruler, so
you can see. This was a contact print. In nineteen forty.
They took a negative, they did a contact against the
negative to make a print. Nothing is tampered with. You
(11:22):
get your print and it's only like four inches long
and a couple of inches high, and.
Speaker 2 (11:30):
They didn't but they didn't have photoshop in those days.
Speaker 3 (11:34):
No, No, this is one of the reasons it has
so much credibility. We know this was from nineteen forty
and I didn't pay any attention to it till well
after my mother passed away. I started to go through
the family photo albums digitizing, and I looked at this
and said, this is strange. I wonder why they saved
this picture because it looks like it's a double exposure.
(11:57):
But she saved it because it was from when they
got engaged, so even though they probably thought it's a
bad picture, they kept it in the album. Well, when
I digitized it and I enlarged it, I was absolutely
astonished with what I saw in that picture. And if
(12:19):
you look at the pictures that I provided to Coast
to Coast and you sort of enlarge them pinching the
screen and enlarging them, you will see between my parents'
heads there is sort of a teardrop shaped area where
there are the faces of two young children who couldn't
(12:40):
have possibly have been there when the picture was taken.
Because of where it was taken and how my parents
were leaning against a fence. These children's faces, they're like
hanging in mid air. And I've gone to experts, So
I want to tell you, I've gone to three experts
(13:03):
in photography to try to get to the bottom of
why this is a mystery and how it happened, and
none of them have been able to come up with
an answer. And what is so intriguing is and my
sister recognized it immediately that the children between my parents'
faces look exactly like we looked. There was four year
(13:23):
difference between us when I was seven, it would have
been like nineteen fifty five and she was three. So
we have lots of pictures of ourselves when we were
that age, and the two kids between my parents' faces
look exactly like we did as children.
Speaker 2 (13:43):
And you weren't even around then.
Speaker 3 (13:45):
We hadn't been conceived, you know. I was born in
nineteen forty seven, giving away my age. I'm not exactly
a youngster, but yeah, I hadn't been conceived. And there's
more to the picture that's so strange because people the
(14:06):
first thing they tried to say was, well, it's a
double exposure. Maybe he clicked it again, aiming at something
else that had children. Well, with a double exposure, you
get transparency, you can see through the characters. It's like
you get a ghosting image. There is no ghosting image
of the faces these two children, they're completely clear. They
(14:29):
don't look double exposed at all. What are they doing there?
And then what's so strange also is it's a double exposure.
But it looks like my father has three ties and
two noses. If you look carefully at my father's face,
you will see there was his nose as it looked
(14:52):
when he was young in nineteen forty, and there's also
his nose as he looked as an older man. Can
see the change in shape. And these two noses are
right alongside each other. Why that it's crazy?
Speaker 2 (15:07):
Did you show the photos to experts?
Speaker 3 (15:10):
Yes, there were three. There were three, and I think
one of the I'll tell you who they were. There
was there was Larry Kane, who's a professional photographer who
comes from a photographic family, who's a real expert. And
you know, I wanted, with all apologies to Larry. He
was pretty cocky when I told him I had this mystery,
(15:32):
because he's a skeptic, you know, And he said, yo,
I'll solve it. Well, we'll put it on my computer.
I'll tell you what's going on here. And the most
ridiculous theories came out that were just absolutely impossible. I
mean one of them was, okay, what if you somebody
had this print and pressed it against another print that
(15:53):
had the children and the image of the children just
sort of came off on it. It's not what happened.
You can absolutely see from this print that it is
a straight print from a one sixteen negative Bellows camera
of those days. And he couldn't solve it, and he
(16:14):
finally gave up. Then I went to Chris Ford, who
lives in Sedona, where I live. Chris Ford was absolutely
one of the key technical people at Pixar. He was
involved with toy story and all of the technical advances.
(16:35):
Certainly he knew photography. So he upredsed the picture and
put it on his computer and I recorded. I actually
made a two hour recording of him analyzing everything step
by step and trying to come up with an answer.
And this expert after two hours, he was completely baffled, says,
(16:55):
I cannot explain why those why those children are there,
how they got there. Some people tried to say, Okay,
maybe the children were behind the fence, but what were
they standing on. There's nothing for them to stand on,
and their heads are so high in the frame it's
like they be floating in the air in order for
(17:18):
their heads to be in that position. So Chris Ford
had no luck. Then I went to an extremely qualified expert,
John Allison. He may be listening tonight. By the way,
if you get a call from John Allison, let's please
answer it. He's in New Jersey. John Allison did a
(17:39):
lot of the work on the Life After Death Project
and he's in the movie The Life After Death Project one.
He was at the seance of the Life After Death
Project three. And he's a chemist. He's been a professor
of chemistry at College of New Jersey his whole career.
(18:00):
He started working on it, and he tried everything, and
he did a lot of historic research to try to
find other photos. He couldn't find anything in the literature
that was anything like this, and he started to write
scientific paper about it to explain that this is a credible,
(18:23):
real scientific problem. He did a draft of it. He
submitted it to a technical journal that might have published it,
but they came back to him with a lot of
things they wanted expanded, and unfortunately around that time John
Allison he had medical problems and he was unable to
(18:46):
finish that technical paper. So I've always wanted to take
this problem out to the world. Maybe someone who's listening
tonight will study the pictures and have some suggestion. We're
open to anything, but if you can't explain it, you've
got a time travel situation here.
Speaker 1 (19:03):
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