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#31:
up..
If
I was
a clock it's
at. .Tashkent's
in my naval
and where
I am
is up inside the main continent part,
continental part.. and about
a
one.. one o'clock
or one
thirty direction.
And
I'm not far enough east
in the Soviet
Union
to be considered to be
in the outlands,
way the hell
and gone
out
into nowhere.
I'm not
in White Russia,
I'm
out
in the steppes.
And,
uh,
I
don't
know if this makes
any sense at all but feeling
of Lake Baikal
is
at my belly-
button.
Then
I'm at about
a ten o'clock,
ten thirty direc-
tion from Lake Baikal...
But
I'm not
as far from Baikal
as
I
am from Tashkent.
I'm more
on the,
uh,
I'm on the
right side,
I'm over
in that area.
I don't know.. a dot
in
another big blur,
but
I can't tell where
it
is.
. .somewhere
off
in eastern Russia,
southern eastern.
That's all
I
know...,
This
is rather difficult for me,
'cause
I
keep getting overlay
from attitudes and feelings
of a project
I worked earlier,
which was some sort
of
a similar. .similar thing about
a big
structure
out
in the middle
of nowhere.
#14:
I understand.
#31:
Is very,
very reminiscent of that type
of,
that target.
#14:
In what way does this remind you
of that target?
#31:
The massiveness of the structure,
the scaffolding construc-
tion
idea,
something to do with communications, the rarity
of the shape of the structure and the isolation
of the
structure and the feeling that it's one of a group of huge
things set up for fixed communications
of some kind.
It’s
all extremely reminiscent.
The feeling
of
a
large screen
thing,
somethin'
to do with communications.
It's all very
much like that.
And
I worked it about
a... eight months ago
or
so,
just after we got here.
#14:
I want you
to quickly take
a
look at this complex and describe
the make-up of this complex.
Describe the complex itself.
#31:
Well,
I
get a.... I get like an
open space around
it, which
is not nearly
as
large as the actual. .thing itself.
It's
like the object it so tall and wide that,
uh,
a normal lawn
around the building really looks miniscule.
Feeling that
that's sorta long. .there's
a chain link,
feeling of
a fence
that delineates the cleared area.
And then that there's
woods around
it entirely and that this
is carved
out of
a
wooded area,
forest area.
Uh,
it's long because the building
is
long and that the end opposite
the end that has the round
bubble
on
it
is the end that you drive into
it.
And that
you walk
in
on
the side that
is
in the curve,
not the back
of the curve,
but the front of the curve.
Uh,
I don't
know,
I'm gonna have to pull the plug here because of the,
it's
essentially
a long,
enclosed area.
And,
uh....this isolated
feeling
is still there.
It's accessed by
a road that drives
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#31:
through the woods for some distance from some
other part.
Like maybe
a complex
of buildings that houses the personnel
or something.
They appear to
be
lower,
and three
or four
of them and they're
a quarter
of
a mile away
or something
like that.
Feel
like,
the idea was
like barracks.
I gotta,
I'm
cornin'
out
of this.
#14:
Okay,
we'll pause at this time.
#31:
That's all
I
got,
#14.
#14:
Okay.
#31:
Okay.
First things first.
When
I
acquired the target
I had
the feeling that
it was
in
a construction phase.
I
had this
feeling
of,
caused by
a feeling that there was some sort
of
scaffolding pattern around the target building,
which
I've
sort of drawn in sketch one,
and showing
it
in sort
of
a
stage of partial construction.
I
don't know if really
is
that way,
'cause then immediately
I had the completed feeling
of sketch two.
Very mammoth,
ten
or
so or more story,
simple rectangular
box,
hiding inside some sort
of a screen shaped device,
like
a radar screen.
And having
on top of it
a big goose egg,
like a radome,
which itself was a weather container
for a
cupped,
hand shaped series
of extensor scaffolds that held
out an array of wires or netting that was the intrical part
of the antenna
or whatever
it was that was inside this dome.
Uh, understand what
I'm saying- the thing that's being held
up
is not strong enough to stand by itself,
so there's this
interior extensor rod
arrangement thing that supports the
thing,
supports the flimsy parts to keep them from falling
apart and falling
in and collapsing.
Surrounded by woods,
uh,
forset type thing,
isolated feeling,
grass
infield,
surrounded
by
a fence,
like
a restricted area type fence.
Okay,
sketch three
is
a cutaway
of what
is inside the building.
Uh,
the under- the thing
I wanna get across
is that this
huge screen
is built right
on top of
a sub floor that contains
all the operating equipment,
computers,
heavy electronics
are
in the very,
very bottom floor,
integrally tied to this big
screen feeling.
And that the building around the screen
is
essentially free-standing.
Both things are free-standing.
The screen stands inside the building
in
a way so that people
can climb around catwalks and go up and down elevators between
the screen face and the building wall.
Okay?
Uh,
you
know,
I
don't know,
it's sorta hard- there are no floor,
I'm not,
there's no floors and interior walls to the building.
But
the screen
is attached to the building,
and people can climb
around
it.
But essentially
it's
just one big empty box with
something inside
it.
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#31:
Uh,
sketch four
is
a side view,
urn,
showing the perception
that
I had of this watch officer,
this guy that
I referred
to as
a young Turk,
young Turk meaning,
you
know,
a young
stud officer,
five percenter,
top of his class,
really pol-
itically reliable and gung-ho type
of
a guy.
That's that
type
of guy that
I,
uh..
And the elevator
is,
like when
he takes over
a shift or something he would have to go up and
down the elevator and examine the screen and make sure it's
okay.
#14:
So it's more of
a radar type screen that
it
is
a viewing
screen
.
#31:
Oh,
yeah,
it's much,
it's
a,
it 'a
s,
not it's not radar.,
or
is
it radar?
#14:
Well
is,
uh-
#31:
It's,
uh,
it's hard,
I won't,
I just won't say anything about
it.
It's,
you don't look at the whole thing,
but the whole
thing
does have something
to do with the ultimate end product
that you look at,
like
a radar screen, which would be associated
with- but it also transmits,
there's also this feeling of
transmission involved.
Which obviously
radar transmits and
reads
its
bounce back.
So
it may have something to do like
that.
But
I agree with what-
#14:
The only thing
I was saying,
the screen
is not like
a CDR?
#31:
No,
it
is not the CRT.
#14:
Yeah,
okay.
#31:
It
is
the transmiter receptor.
Down
in under
it,
down
in
this box at the bottom of the screen where
I've written
offices, electronic,
that
is where the
TV,
the CRT
feeling,
the working pit,
the computer terminal call up data bank,
electronic technician people
in white clothes and all the
associated desk machinery and electronics,
that where that
is,
down below.
Urn,
there are two
of these elevators.
One
at either end of the building and the domes on top.
Okay.
And five
is the
overview.
Feeling that this
is an isolated
site,
but that
it
is connected like with maybe
a dirt
road,
quarter of
a mile to a mile away with an admin support area
which would have billets and where
the people would sleep
that work at the site.
Six is
a shot
of down below
in under the screen
in the offices
area.
This
is like
a amphitheater pit.
The men with the
white coats,
the technicians who work on the equipment and
monitor
it
in
a technical basis,
uh,
respond to the men who
are
in uniform who observe what's happening,
and they are
more the recipients of the data being provided.
And these
men sit-
it was sort of classroom like,
almost.
The guy
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#31 :
with the white coat sits down at
the bottom of the amphi-
theater.
He responds
to the guy sitting in the curved
seats,
the curved area of seats around
it and above him to
the rear and calls up data
on these big screens,
which are
not,
now-
to clarify your point- these big screens that
these folks are looking at are not the big screen up above
them.
This
is
in between the up above big technical screen
and the ground floor is like
a
sub,
sub office building,
office area on the face
of which
is
like,
you
know,
it's
screens and big,
huge cathode ray tube type screens.
It's
either
TV
screens, and monitors
or just simply
a computer
CRT,
computer driven
CRTs,
which puts up schematics maybe.
Not real picture,
but maybe schematics.
So it’s sorta,
I don’t know which
is which.
But the thing that is being
displayed
on the screen
is the word target horizon came
into
my mind when
I was looking at this thing.
Like they were
observing
a target rise above the horizon some many of thous-
ands
of miles distant.
And were,
and it was, the feeling
was that the target was manueverable from this place,
and
that this is where they would- because this big screen could
transmit as well as receive,
they would activate some sort of
guidance instructions to that target.
Like
a satellite.
Very heavy norad satellite type feeling about this whole
thing.
And the thought
of these manueverable killer satellites
came into my mind.
Like this
is
the place where they would
do something that had to do with Soviet killer satellites.
They would direct
it and guide it from here when
it rose
above the target horizon,
it would dump the data into
it.
Somethin'
like that.
Up at the
top of sketch six you
can dee the bottom edge
of
the huge vertical screen,
that's the thing that goes up
ten stories...
And the people in the seats like sit and
look at the TV screens and decide what to do and pass direc-
tions and order commands.
Very subdued,
not like
a military,
but more academic,
like well,
why don't you
call up XYZ now,
let's take
a look at
that.
XYZ coming up on the screen sir,
you
know,
and here
it
is.
You
know,
the
guy calls up the data
and he displays it for him.
Anyway.
Now,
the feeling of active
as well as passive.
I
had the
feeling that there were two aspects to the whole coin here.
One was that
it looked and saw things moving above
the
horizon,
but at the same time this complex could communicate
and direct actively the things that were coming up
of,
on
the horizon.
And that's where this manuevering idea
of killer
satellites came
in.
Okay?
Urn...
Oh,
at the very beginning
I had- towards the end
of
the ses-
sion
I had some overlay.
The very
first part of
the session,
when
I looked at this thing and
I started to describe
it
in amongst the trees,
I had the feeling that this might
be
the finished product of a session that
I
did about a month
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#31:
ago in which,
urn,
I had the feeling that
I was up north,
Soviet Union,
western part
of white Russia
on
a seacoast,
on
a windswept seacoast with woods.
I
don't know what the
session number was.
And that this thing,
this other target
that
I was doing stuck out on a nodule of land that stuck
out into the water.
And
it was under construction.
The more
and more
I
got into this target though,
I discarded that
feeling.
Then at the end of the session when
I was asked
where this thing was,
which is sorta peculiar because
I was
targeted against coordinates,
presumably we know where
the
coordinates are-
I had the
feeling that
I was
in mainland
Soviet Union,
uh,
and
I described where
I thought
I was.
I gave some sort of clock readings,
a name,
everything like
that.
But the confusion
is that
I was having this overlay,
or having this concept that this was just
one
of
a group
of three
or
four.
Okay.
Which
is
the overlay from the one
eight months ago.
Eight months ago
I was targeted against
some sort
of a facility
in which there were three of them
and they wanted to know if there was
a fourth one.
And
it
gestaltically was similar.
Huge type scaffolding structure,
obviously used for some sort
of communications.
And
in that
session
I said that
it was
in the same area.
So the
loca-
tion area might be pure bullshit,
overlay.
Okay?
That's
all
I
have.
Any more?
#14:
Sounds good.
#31:
Okay.
Goodbye.
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