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the British researchers having upturned a substantial truth at a time when they couldn't have simply appropriated an already—circulating idea, is greatly enhanced. In issue 3, Vol. 5 1990 of UFO magazine, for example, Marianne Shenefield (presently contributing material to Betty Andreasson's projected book How Bright the Darkness, Colors in the Dark) recovers an abduction memory in which not only the familiar grey aliens are on board the craft but guite human personnel—and in a separate enclosure, the distressing glimpse of a young man (militarily dressed) with zombified countenance and shaved head etched by a prominent surgical scar; this reported with no comprehension as though neither recognizing, understanding or having any extraneous referenceknowledge of such a thing at all. Such apparent "batch consignment" retrieval memories point up an interesting circumstance re the whole Alternative III affair, and suggest a very good reason (aside from fear) that the British producers took the approach of a dramatized rather than documentary rendering. In the Alternative III texts themselves, in the midst of what is unmistakably primary footwork regardless the ultimate format, there's no sign the researchers ever found implication of alien complicity in the whole business at their basically street—level of access. This however means (keeping in mind this was first presented back in '77) that there were necessarily /arge gaps in the continuity of their information. The idea that NASA might be a camouflage program from which funds could be siphoned off to a covert space operation not supervised by that agency, of actually fractional cost (since em field propulsion replaces fuels and bulky thrusters etc.) couldn't ripen into appearance at the time, deprived as it was of the right nutriment. Therefore unexplained phases of what was yet proving to be a sinkingly compelling scenario could best be presented by speculative reconstruction, which suggested a dramatized format (much in the manner that proof—enough-to—please exists for an an- cient civilization in Egypt owing to the presence of the pyramids; yet determining how those pyramids got there and what use the ancients might possibly have had for them, would have to be a work of speculative retracing from fragmentary evidences). A dramatized format, of course, clearly indicated with the roll of cast credits at the end, might indeed furnish n "as if disclaimer— an ultimate trap door exit clearly marked with the "just-kidding" 4/1/77 release date so as to soften the immediate sense of retaliatory need. Yet ultimately, (according to what anyone involved in the field is able to ascertain on the matter) for all that, the three researchers Watkins, Ambrose and Miles seem to have totally disappeared from the face of the planet. This may be a consequence of the fact that their material on batch consign— ments was obtained after the t.v. presentation was put together, and found its way only into the book which they adamantly insisted on presenting as fact. 123 T-Bird_Vs_The_Flying_saucers.htm Dirty Rotten Scoundrels