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+19
if
I'm up and that could be
a canopy over
something.
I'd like
to
look at
that.
PAUSE
I
feel
like
I'm back
out.
.
.
of the target.
Whatever the target was,
I
feel
like
I'm
outside
now.
Now,
I
get
a sensation of poles.
As
if
there was
a
flat
awning across
something.
But
the awning has been removed and what we
have
is
the
canvas supports.
It might
be
something like
a trellis that
doesn't have any
!
vines on
it.
But
it appears
to be attached to
a building.
The building
is
on the
left and
the trellis stands up overhead.
Made out
of
.
.
.
seems
to be made out of pipe.
.
.
I
get
the feeling that you can see the sky through
it.
Oh boy,
I
hope this
is
all,
not
all
nothing.
PAUSE
Another shape.
Like the
fist
that Rodan
'
s
"Thinker"
is
resting his chin
in.
.
.
PAUSE
And that
one
feels
dark.
.
Urn,
what's the time?
#66:
Umm,
its
17 minutes after.
PAUSE
#44:
Humph!
It
felt
like the time
I
came back
outside,
was about
the time
he would have
left.
PAUSE
#44
(DRAWING)
PAUSE
#44
:
For Number One consider the drawing at the
arrow.
Not
the first sketch made.
You haven't noticed of what Number Two was?
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#66:
I
show Number Two
as being two half-round
devices
.
PAUSE
#44:
Okay.
I
got.
.
.
a sensation of
damp.
.
.
Is
that
the one
I
described.
.
.
Something like
an escape
ladder.
#66:
Perhaps
it
is.
#44
:
Okay
.
PAUSE
#44:
Now,
wait
a minute.
Someplace inbetween here
there’s another drawing which was.
.
this.
Shiney aluminum shape.
It
looked like the bell
of
a trumpet.
I'm tempted to put
a light bulb
on the top of that.
PAUSE
Okay.
Now,
from here,
there was
a bar.
.
that
came
down.
.
to another bar.
Okay,
this should
be Three
.
This should be Two
.
What
do you get
as Four
.
#66:
Its
um.
.
.
that's
a good question.
I
have one,
two,
three,
three
a,
.
.
.
#44:
Okay,
3a.
.
.
#66:
Is
(not
audible) wall,
or something?
#44:
Yeah.
PAUSE
#44:
Now,
that's not
right.
PAUSE
#44
:
There
.
PAUSE
#44:
That's
right.
It
did stop.
PAUSE
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#66:
Is
that
the end then?
#44:
Yeah.
#66:
Okay.
I
don't show a note that T took on
Number Four that
the,
the time sequence of
Number Four was when you were saying that you
were on the
left side against
the lighted wall
and that you were having trouble moving through
the area.
#44:
Okay.
Yeah.
Urn.
.
.
If there
is,
you know.
.
.
(DRAWING)
PAUSE
#44:
I wish
I wasn't
so success/failure oriented.
In
all
of
this.
Ah.
Four or Five.
#66:
Okay,
well
I
show that
Five here
as being only
described by you so that you can
cue on
it
later
as
a hand held
in
that position.
#44:
Okay.
Its
a very odd shape.
PAUSE
#44:
All
right.
It
feels
like
I'm looking down at
it.
(TURN OVER TAPE)
#44:
I
think one of the
(are we back running?)
#66
:
Yes
#44:
I
think one of the odd things about this
is that
.
.
.
at
least
in this
instance,
I
can see
through
things.
And what
that really does
is
mess up my drawing.
Because when
I
draw some-
thing
I
can't
see through things.
In this
case,
there appears to be some kind of vertical wall,
something.
And then there appears to be this
white shape.
Which
feels that
it might be made
out of something like painted plywood.
It doesn't
feel heavy
as stone.
PAUSE
I
think that there
is
a vertical.
.
.
there.
It
feels
like
it might be
a wall;
it might be
a
corner.
It
feels
as
if
I
looked down
at
it.
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r ‘<4
PAUSE
To go back to the
.
.
.
problem that
I
had moving
from one point
to another point.
I seem to
get
one look
at things
.
I
seem to be able to see
them.
But
it
is ...
a combination,
there
is
a
combination of two things.
First,
that
it seems
like
I'm stuck
in something gooey
as
far
as being
able to move readily
from one place
to another.
And the other thing,
it seems
to be
is
that.
.
.
if
I
try
to move
in
a given direction,
I'm not
in control of the direction that
I wind up moving
in.
It
seems
to be erratic.
And something over
which
I haven't
got
very much control
as
yet.
So
that
I
can say that
I
had the
feeling,
in the case
of Drawing Number Four
that.
.
I was
.
.
.standing
behind #39 and #6.5
looking
at what they were
doing and the object
in Drawing Number Three was
back and to my right.
He.
.
to be able
to
get
from the position of Drawing Number Four to Draw-
ing Number Three ought
to be just
turn around and
go over there.
But
I
can't seem to
do
it
that way.
PAUSE
#66:
Now your last Number
(not
audible)
I have
as
Number
Six.
You said there was something that
looked like
a fist.
#44:
Oh!
No.
Wait
a minute.
We're missing
two.
There
was the one and there was going outside.
Six
is
a shape
like
this.
PAUSE
And this was dark.
.
.
If
I
could spell.
.
.
And
this was Seven,
was back outside and
I
had the
feeling.
.
of.
.
.
a series
of pipes.
PAUSE
Overhead.
That's strange.
They didn't seem to
be connected.
.
.
this way.
Just
a series of
pipes.
There were two other early impressions
that
I
want
to note.
PAUSE
Just on the "dump everything" principle.
.
And this was.
.
.
PAUSE
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Now
I
got that
one.
Call
this
X.
I
got
X two
ways.
A light-colored shape and framework.
And
Y.
PAUSE
As another canopy or beak of big bird.
.
.
Note:
X and Y were before target
.
PAUSE
#44:
That's enough.
#66:
Okay.
Now,
rather than trying
to
improve your
drawings,
I
thought you could try
to do something
a little different
that we talked about
earlier.
Again,
rather than working on your drawings
and
trying to improve the drawings,
I'd like you to
see
if you can't take
a look at
.
.
one of
these
areas
again.
Okay.
Not
in attempt
to
improve
your drawings,
but
an
intent
to gather more
information about the area.
Okay?
#44:
Yeah.
Ah.
.
this
is something that
I'd.
.
I
should have
(not audible) when
I was doing
it.
But
I went back and looked at
the area of
.
.
.
Number Five again when
I was making the drawing.
But
,
ah
.
.
.
#66:
But
,
and
.
you know,
see
if you can't relax again.
.
#44:
Well,
I want
to pick one of the areas about which
.
.
.
I
haven't worked quite so hard and see
if
I
can
get back to that
area.
#66:
I.
.
.
I
am interested,
of course,
from a
.
.
an
information point
of view,
if you could focus on
what
he was holding
in his hands.
When you saw
something holding
in his hands.
I'm interested
in
focusing on that or perhaps when you
.
.
when you
found yourself outside.
Perhaps we could gather
some more data and more around the outside of the
area
.
#44:
Okay.
I have already made
a note
as
to the
size,
shape
of the object that
I
thought
he was holding.
#66:
Okay.
Good.
orpgrT
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#44:
I
had the feeling that
it was
a shoe.
And
I
.
.
.
would like
to postulate that with about
45 question marks after
it.
But
it
felt
to be
the size and shape
of
that.
.
.
It
felt
to be
about the same weight
as that.
And I'm tempted
to write down blue.
#66:
Rather than chosing the object that
he was holding
in his
hands,
since he's
no longer holding
it
in
his hands
at
the
time.
.
.
#44:
No,
he put
it back down
on the table.
#66:
That's
fine.
And it's
focused still sitting on
a table.
#44
:
Urn hm
.
#66:
Let's
try
for intelligence purposes
to see
if we
can't
come up with enough descriptive data of
the
area where
he was
so that we could then match that
area.
So,
in doing that, would you like
to try
to
go back to the outside of the area or to the
in-
side of the area?
#44:
Urn.
.
.
#66:
Why don't you just relax and see what happens.
PAUSE
#44:
I
think
I would like to
go back
to either the
outside of the area or
to
try
and look for the
object pictured
in Number One.
Which
I
also
believe to have been
at
the outside of the
area.
#66:
Relax and concentrate and let me know when you
have something.
PAUSE
#44:
All
right.
It
is outside.
Doggone
it!
I
just
had
it.
The object
in Number One appeared
in
conjunction with the exterior of
the place.
But
it was as
if you had two transparencies of
the
two objects laying one on top of
the other
and
I
don't think that
that's valid.
PAUSE
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#66:
Talk to me about your.
.
.
#44:
I'm trying
to find
it
#66
,
just
give me
a minute.
#66
:
Okay
.
#44:
I don't mean
to be critical,
but
it
just.
.
It
seems
to always happen.
When
I
get
a
.
.
.
finally
find the thing,
wherever
it
is,
and start
to
solidify the thing,
you ask me
a question.
And,
I
think I've got
it.
PAUSE
Okay,
it
feels
up.
As
if
its maybe eight,
nine
feet off the ground.
It
does not
feel metallic.
I
keep getting
light
blue.
Urn.
.
feels
like
its
outside.
That
.
.
a.
.
.
it
has
a pretty good
size
to
it.
Concrete maybe.
And how
it would get
to be blue,
I
don't know.
And
I
drew the support
in the wrong place.
The support,
the support needs
to be more underneath of
it.
Okay,
I’m standing
there next
to
it.
.
next
to the support
looking up
at
the
thing.
But
it seems
as
if the building
is
over that way.
Ahead and
to the
left
and then
tailing off
in
the
front.
.
.
of
this
shape.
And,
I
get the feeling of windows.
Its not
the
first
time
I had the feeling of windows either.
It may be
that
this object
is back from and outside
of.
.
the area of the
.
.
buildings.
PAUSE
#66:
I wanted to remind you to relate your true sensory
input.
Not
just.
.
.
#44:
What the hell
does
that mean?
#66:
I mean what's your emotional
input about the area?
#44:
Oh.
It
feels
like
a shop.
Business.
Talk to you.
Um.
.
.
Now,
this,
I
just don't
feel good about.
I wish
I understood that
shape.
Its deeper than
that.
I
don't
know.
Really!
Annotation:
The "really" was because
#66
'
s
stomach was giving him
a hard time.
PAUSE
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#44
:
Enough
!
#66:
Okay.
Are you sure of that now?
#44
:
Yep
!
#66
:
Okay
.
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TAB A
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